: OBX-a : Oberheim : December 1980-1983 : Clive Jones : Polyphonic : Released as 4, 6 or 8 voice models, although, any number of voices cards between 1 and 8 may be fitted and enabled with internal switches. : Keyboard : 5 Octaves C-C : Full, Unison, Split ( floating ), Double ( layer / dual ). : Limited bi-timbral via split keyboard and a different voice each end of the keyboard : Originally 40 ( 32 full, 8 split/double combinations) expanded to 120 on late models ( 104 full, 8 split, 8 doubles ) :Programmable : No : 2 VCO's / voice offering sawtooth and pulse waves. Osc1 Frequency adjustable over 4 octaves, Osc2 freq -uency ajustable over a 5 octaves ,variable pulse width. Filter EG can FM Osc2. Osc2 may be sync'd to Osc1. Osc2 can be detuned. : No : 2/4 pole 12/24db lowpass resonant filter. Adjustable cut-off frequency, resonance and mod amount. Pressing the noise switch routes noise directly into the filter. Filter can track keyboard CV. Osc1 can be switched in/out of the filter and Osc2 can either have half or the full signal routed through. : Programmable LFO provides sine, square and sample + hold waveforms with control over modulation depth and modulation rate. The Lever mod LFO provides sine and sawtooth waves ( the latter is selectable by pulling the rate knob up ) - mod depth controlled by knob. : Programmable LFO destinations ; Filter frequency, OSC1 and OSC2 frequency (FM), OSC1 and OSC2 pulse width (PWM). Lever mod destinations as Osc1 or Osc2 or both. Filter mod by Filter EG adjustable by the 'modulation' knob in the filter section. Filter EG can FM Osc2. : Filter EG - ADSR type, Amplifier EG - ADSR type. : No : Yes - white (no control over amount) : Yes - Polyphonic : No : No : 'Levers' for pitch and mod. Autotune cycle disables voices that will not tune ( operator adjustable ) Voices may be panned anywhere in stereo field. : Hold and chord switches, memory / cassette enable : ? : Cassette interface input, prog advance and sustain foot switches, vibrato and filter foot pedals. : Cassette interface x 2, left, right and mono audio. : Proprietry 37 pin DB 'Oberheim Sytem Interface' ( marked 'computer interface' ). : No : Yes - Kenton and Groove ( Groove now defunct ) : Unknown : Unknown : 16 Dec. / 10 Hex : Unknown : ? : OBX (predecessor), OB-SX (preset ), OB-8 (successor) DX and DMX drum machines, DSX sequencer. : Sound quality out-of-this-world. Extremely stable voices. Build quality IMO unparalleled - fine attention to detail, almost modular construction makes it a breeze to service. That autotune cycle. Looks gorgeous. Filter has more control than most. Big funky buttons and knobs that belong to royalty - they look like cavaliers hats! : Keyboard feels heavy, clumsy and above all is very noisey. No headphone socket. No CV's or Gate outputs. Clumsy programmer arangement - two hands required to select a patch ABCD 'n' - no patch number diplay.

: This synth just echoes pure class - from it's good looks and fine engineering to it's gutsy raw synth power. Soundwise it's capable of producing beautiful swirling strings, almost digital textures and basses that move your bowels at 100 paces. IMO - Oberheim were a step ahead of the rest - Gary Numan is quoted as saying it's his favourite keyboard of all time. Listen to Van Halens 'jump'. : 8-9