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<\/a><\/p>\nT<\/span>he thing is: you can talk about classical vintage synthesizers, you can closely analyze their remarkable concepts and praise their unrivalled sound … but what’s that all good for if those objects of keen desire are no longer available? Most classic synthesizers have found a permanent home\u00a0these days. Studios and collectors all around the globe are in the picture as to the musical and financial value of the instruments. No wonder classic synths are\u00a0rarely sold nowadays!<\/p>\n <\/p>\n The vintage synth market has been swept clean, unless you count that playground of traders and opportunity hunters who continue to keep the market simmering with utopian price expectations – assuming the instruments are available at all! Memorymoog? Barely obtainable outside the USA. Yamaha CS-80? Nada! Rhodes Chroma? Long time no see. Roland Jupiter-8? Very rare and veeeery expensive. (Right now, early 2022, there are a few units available at reverb.com<\/a>\u00a0– for approx. 30,000 Euros \/ USD a throw.)<\/p>\n So … what about the\u00a0Oberheim OB-8? Well, this<\/em> classic still turns up with some regularity. And it’s still affordable – current OB-8 prices range somewhere between 6,000 Euros\/USD (January 2022) and 11,000 Euros\/USD (July 2022). Almost by coincidence, this is also one of the best vintage Oberheim synthesizers – possibly one of the best vintage polyphonic synths ever built. And although the new Oberheim (DSI) OB-6 is highly esteemed and – quite rightly – much praised, its sound is different. Seems as if the classic vintage vibe – a slow drifting sound full of beats – is impossible to copy.<\/p>\n M<\/span>y personal story with the OB-8 begins with Juergen Haible. When I was paying him a visit at the turn of the millenium, Haible offered me a tour through his laboratory, his sacred hall of mysterious instruments.<\/p>\n And there they were, those fabulous synth-clones that Haible had built himself: JH-720 \/ Korg MS-20 Clone, JH Synthi Clone, JH Midi Mini, the JH-3 modular system. Along with other\u00a0gems like the JH-3100 resonators, the JH HiFli \/ EMS Clone, a replica of the ARP Quadra phaser.<\/p>\n Alongside all DIY projects, for which Juergen Haible had gained worldwide fame, there were also some original classic synthesizers in his laboratory. Like the Yamaha CS-50. Or the Oberheim OB-8. And Juergen Haible surprisedly avowed that THIS – the OB-8 – was his favorite Oberheim synthesizer.<\/p>\n “I did not intend to buy an OB-8 when I was looking for a “real” analogue polysynth some years ago. When I\u00a0 was a student, I could only afford digital emulations of analogue sounds (on a Kawai K1 or Roland D50), or an analog\/digital hybrid like the Ensoniq ESQ1. Then, when I got a job, I was looking for the “real thing”, and that was, by then, a Prophet-5.<\/em><\/p>\n Then I saw this almost new OB-8 at a local dealer’s, at about the same price as a Prophet. I was offered to take it home and test it for a week or two, and that was when I fell in love with this synthesizer. I forgot the Prophet, bought the Oberheim, and did never regret it.” <\/em><\/p>\n (Source:\u00a0http:\/\/jhaible.com<\/a>)<\/p>\n I\u00a0kept those words secretly stored in my brain, until – by accident, and 10 years later – an OB-8 was offered for sale in a local town just around the corner. I bought it immediately. And\u00a0it’s still in my studio.<\/p>\n Today – another 10 years along the line – I have to admit: Juergen Haible was right. The OB-8 is one of the best (vintage) polyphonic synthesizers. Personally, I thinks it’s the peak of the polyphonic OB-Series, the cream of the crop.<\/p>\n Ok, ok, its\u00a0predecessors were also premium instruments as well. The massive sound and radical power of an OB-X is unsurpassed.\u00a0And the OB-Xa has written synthesizer history! But\u00a0taken as a whole,\u00a0the OB-8 is at the forefront, with its noble sound, factory MIDI, fine-to-the-feel keyboard and “tricky” software (for that extra bit of sound design) …<\/p>\n S<\/span>uperficially, the OB-8 has a strictly classic (analog) synth design. It is a 120-memory, split\/layer 8-voice machine. Each of its 8 voices offers:<\/strong><\/p>\n Then there are two\u00a0Low Frequency Oscillators:<\/p>\n Since the OB-8 has DOUBLE \/ SPLIT mode, there are actually 3 (!) Low Frequency Oscillators (two Main LFOs\u00a0and one Performance LFO).<\/p>\n Global features \/ controllers:<\/p>\n Now, these features would seem to be quite ordinary. Nothing really special, right? However, an important part of the OB-8 lies tucked under its bonnet.\u00a0This brings us back to those light blue labels – to all those glorious\u00a0PAGE 2 functions. Keyword “tricky” software.<\/p>\n PAGE 2 offers among other things the following double assignments:<\/p>\n Incidentally, there is another area of the OB-8 with double assignments. Pressing ARPEGGIATOR (ON) in the controller section\u00a0turns most of those switches into dedicated arpeggiator controls.<\/p>\n Granted, not all that glitters is gold. Some functions of the OB-8 are difficult to understand. Often, the\u00a0user manual isn’t any big help at all. A brief example …<\/p>\n Chord and Arpeggiator Portamento:\u00a0<\/strong>“Held Chords being transposed will not portamento if the PORTAMENTO BEND is on. Notes being Arpeggiated operate in the opposite manner: they will portamento only<\/strong> if the PORTAMENTO BEND is on. So, when using portamento with Held Chords that are being transposed and<\/strong> Arpeggiated, you have a choice: With the PORTAMENTO BEND on, each arpeggiated note will portamento; with the PORTAMENTO BEND off, only the chord transpositions will portamento.” <\/em><\/p>\n (OB-8 User Manual, page 36 \/ page 40)<\/p>\n At some point, after reading the paragraph\u00a0five or six\u00a0times, you might get an idea of what’s going on here.\u00a0But in the end, some double assignments and their functionality possibly remain a challenge. Nevertheless, PAGE 2 is a boon to the sound designer. A true “gem”.<\/p>\n F<\/span>actory MIDI is a blessing. I wrote that as a small rule of thumb in my diary. Sure: modern MIDI kits are “very” useful – Kenton Electronics and Encore Electronics\u00a0 offer excellent retrofit kits for many vintage polyphonic synthesizers. Nevertheless: If original factory MIDI is available, I would always tend towards that solution. Although the scope of performance\u00a0may be pitifully low, factory MIDI creates a clear unity with the instrument. No modification is necessary, the system remains self-contained and – generally – stable.<\/p>\n As expected, MIDI on\u00a0the OB-8 is simply\u00a0basic. NOTE ON\/OFF, PROGRAM CHANGE and PITCH BEND\/MOD WHEEL data is sent \/ recognized. In addition, sounds can be sent via MIDI dump from one OB-8 to another.\u00a0“Sound per sound”, one after the other … I’d assume roughly 120 sounds in ten minutes. And of course\u00a0you\u00a0have access to the desired MIDI channel. And that’s it.<\/p>\n A<\/span>dmittedly, technical details can be boring. Of course<\/em>\u00a0an Oberheim synthesizer from the early 80’s has 2 VCOs per voice and connectors here and there. So let’s get on to the music. How does the OB-8 sound?<\/p>\n Creamy and absolutely brilliant. More specifically: a fantastic 8 voices with lively beats that constantly change direction in the stereo panorama (assuming the PAN potentiometers have been accordingly set). Luxurious sound carpets, poly portamento shifts and filter sweeps – permanent cinema-sound feeling in the studio. 16-VCO-unison-lead solos – overwhelming! A\u00a0few quick impressions\u00a0thus\u00a0far.<\/p>\n The OB-8 distiguishes itself from some of its competitors because: It has 8 voices (Sequential Prophet 5<\/a>: 5 voices, Moog Memoyrmoog<\/a>: 6 voices) and it sounds – especially in contrast to the\u00a0Roland Jupiter-8<\/a> – alive and expansive, “without” the necessity of activating DOUBLE mode.<\/p>\n In plain text: for pad sounds of all kinds, OB-8 offers the most warmth of sound of most vintage polyphonic synthesizer (next to its brothers OB-X \/ OB-Xa, and possibly next to the Rhodes Chroma), even topping the new Oberheim (DSI) OB-6. However, the new OB-X8 might be a notable successor to the OB-8. Read the two-part article OB-X8: Best Oberheim ever?<\/a> by Matt Vrazo to find out more …<\/p>\n On the other hand, the original OB-8 does have a problem with its envelopes, which tend to be a little bit sluggish. Short, percussive sounds are not one of the instrument’s strengths. In this one case, Prophet-5, Memorymoog and Jupiter-8 are a lot snappier. Problem is the mediocre factory calibration. But this can be easily fixed! Adjust your OB-8 envelopes below<\/em> those sluggish factory settings and you get an instrument that is in line again with Prophet-5, Memorymoog and Jupiter-8.<\/p>\n Some aspects of sound design are unique in the OB-8 … key word ‘tricky software’<\/em>. Phase distorted LFO modulations for further amplification of audio pan? No problem. A quarter turn (90\u00b0), a half turn (180\u00b0)? You have the choice. Unison detuning adjustment, from already massive<\/em> to outrageously massive<\/em> sounds? One turn\u00a0– done!\u00a0Increasing LFO speed according to the keyboard? Just activate LFO TRACK – and you’re done. All this is fishing in that ominous PAGE 2 pond. It’s the software that makes the difference!<\/p>\n Granted, the OB-8 is not the best synth for effect sounds. Its modulation routings are “ok”, but not at all special. Once more, Memorymoog, Prophet-5 and Rhodes Chroma get more points here. To say nothing of Oberheim Xpander and Matrix-12, with their powerful software \/ modulation matrix.<\/p>\n BUT … it’s the OB-8 that produces the\u00a0“classic” warm, lush L.A. sound.\u00a0Its liveliness and sonority can hardly be achieved with any other poly-synth. What are tons of modulation routings good for if the basic sound is sterile and (a littlebit) ordinary? I had the Xpander for many years, then sold it, and don’t miss it at all. It’s a great piece of equipment for multi-timbral purposes, for exciting sequencing … but, somehow,\u00a0its basic sound character is a little boring. Tight and\u00a0precise.\u00a0At least, that’s what my ears tell me. No comparison to those great early Oberheim sounds …<\/p>\n Admittedly, the OB-8 sound is\u00a0a clear step below OB-X \/ Xa. But\u00a0Juergen Haible developed some (quite simple) modifications to bring the OB-8 up to OB-Xa standard.<\/p>\n The capacitor-mod in the VCF-VCA<\/a> area, for instance. Or an\u00a0increase in the final VCA audio quality<\/a>\u00a0(…\u00a0here’s<\/a> another link). Capacitor-mod and\/or audio-mod lend the\u00a0OB-8 more bass and a fundamentally stronger audio signal and – if I’m right – in filter self oscillation.<\/p>\n Further Haible\u00a0upgrades: MultiMode VCF Modification<\/a> and Poly Modulation<\/a> (audio-rate filter modulation by VCO 2 … ).<\/p>\n A<\/span> few surprises. First: Weight. Despite its massive size (103 x 52 x 16 cm),\u00a0the OB-8 weighs a mere 17 kg. Even in a flight case,\u00a0it’s quite comfortable to carry around.<\/p>\n Next: Those two handy recesses in the wooden side panels. One for\u00a0voice panning, one for MIDI.<\/p>\n [ MIDI seems to have undergone a 3-stage evolution, similar to the Elka Synthex. At first, there were a few hundred OB-8 “without” MIDI. Then there was factory MIDI, implemented in the left wooden panel (and also offered as a retrofit kit for the very first units). Finally, MIDI found its way to the back of the OB-8. ]<\/p>\n A special highlight of the OB-8 is its excellent keyboard. Not\u00a0touch-sensitive, of course, no … it’s just an excellent, well-weighted, very playable keyboard. OB-X and OB-Xa owners may\u00a0raise their eyebrows here: “How can that be – an Oberheim without\u00a0chunky<\/em> keys?” Ah, yes – the OB-8\u00a0is a true player’s instrument …<\/p>\n Not exactly a surprise, but a true\u00a0sensation: that luxurious OB-8 user panel. Such a clear layout with large knobs and lots of space is definitely a sensation. Pure luxury.<\/p>\n L<\/span>ooking for that earth-shattering, lively and meaty vintage sound of the late 70s \/ early 80s?\u00a0Keep an eye\u00a0out for an Oberheim OB-8. Simply one of the best sounding synthesizers ever. Modern polyphonic analog synthesizers don’t sound the same! They have their own musical qualities and their own legitimation. But they sound different\u00a0– straighter, more direct, more transparent.<\/p>\n The OB-8, however, is like a wild animal. Untaimable. The last of its kind with that famous L.A. Sound that gave Oberheim the world-famous reputation as producer of organic-sounding \/ massive-sounding instruments.<\/p>\n<\/a><\/p>\nOB-8 – the synth guru’s beloved Oberheim …<\/h2>\n
<\/a><\/p>\n<\/a><\/p>\nThe features: tradition meets progress<\/h2>\n
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\nx<\/span><\/li>\n<\/a>Pic.: Master-area\u00a0with\u00a0Portamento \/ Unison and VCO2\/Unison Detune.<\/p>\n<\/a>Pic.: LFO\u00a0with lots of waveforms and two (separate) modulation busses<\/p>\n<\/a>Pic.: VCO 1 \/ VCO 2, Osc-Sync and Filter-Envelope Control (of VCO 2)<\/p>\n<\/a>Pic.: Filter and simple Mixer (VCOs on\/off, Noise) in\u00a0one\u00a0…<\/p>\n<\/a>Pic.:\u00a0ADSR for VCF and VCA, plus Delay-Attack\u00a0envelopes (PAGE 2)<\/p>\n\n
<\/a><\/p>\n<\/a><\/p>\nMIDI – simple, but sufficient<\/h2>\n
<\/a>Pic.: Connections – Audio (Left \/ Mono \/ Right)<\/p>\n<\/a>Pic.: Connections – Cassette Interface and Computer Interface (Oberheim System)<\/p>\n<\/a>Pic.: Connections – Foot Switches, Foot (CV) Pedals and ARP Clock IN<\/p>\nThe SOUND: excellent – with some modifications even better<\/h2>\n
<\/a><\/p>\n<\/a><\/p>\n<\/a><\/p>\nFinally: The OB-8 hardware<\/h2>\n
<\/a><\/p>\n<\/a><\/p>\nAll in all<\/h2>\n
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