Mitch Gallagher sits down with synthesizer legend Tom Oberheim for a special interview at Sweetwater’s GearFest 2015. A pioneer of the synth and MIDI world, Tom Oberheim co-designed the Synthesizer Expansion Module (SEM), a device that allowed musicians to simultaneously combine live playing and sequenced playback – a concept that pre-dated the MIDI revolution. In 1981, he, along with Roland’s Ikutaro Kakehashi and Sequential’s Dave Smith, developed the MIDI spec, which changed the course of modern music. Tom recently re-released his famed Two Voice synth.
A track made with sounds from the vintage Oberheim OB-X analog synthesizer from 1979 but now in a more modern production… Also the Yamaha CP-80 is used for piano sounds.Drum samples from Vengeance.
This is a re-upload of a previous video , now with a better audio mix.
Track is also known as Eldhjärta.
Here’s a presentation of Tom Oberheim’s Two Voice Pro synthesizer at the NAMM Show 2015
Oberheim Synthesizers the system 1983 DMX DSX OBX A part 1&2
The sequencer dsx controls by computer interface the synthesizer obxa (in split mode) and the dmx drum machine control the dsx in sync live, no midi used in this video, just like in 1983, more feeling, the video is in sync with the music , so the note counter is real live , oberheim the system is my favorite machines.
thanks to electrongates for the old clap & clic voice card i use in the dmx instead of the second tom voice card , 2 toms card is too much in the basic dmx, like that , i have the perfect drum machine.
more here : http://analogsynthmuseum.free.fr/Thes…
Vintage synthesizer track featuring the Oberheim OB-Xa
all sounds: Oberheim OB-Xa Analog Synthesizer (1981)
drums: LinnDrum (1982)
fx: a bite reverb and delay
This is a demonstration of the Oberheim Two Voice vintage analog synthesizer!
Oberheim’s first synthesizer was a single-voice mini-module called a SEM (Synthesizer Expander Module). However, in 1975, Oberheim created their first compact, programmable and polyphonic synthesizer by coupling two SEM modules to a 37-note keyboard and a simple analog sequencer. This was what became the Two Voice. Oberheim achieved a polyphonic sound not yet seen in ARP and Moog gear at the time by hard-wiring the two monophonic SEMs into the compact keyboard design.
In 1976 Oberheim came out with another module, the Polyphonic Synthesizer Programmer. This could memorize the control voltages of many parameters for up to eight SEM modules. When these were added to the Two Voice, Oberheim finally had one of the earliest programmable and polyphonic instruments! Released alongside the Two Voice also came the Four Voice which had four SEMs installed, and a larger 49-note keyboard. And later, in 1977, a second tier was added above the four SEMs on the Four Voice to add yet another four SEMS, making the Eight Voice.
Two voices was great in 1975, and eight voices was pretty monstrous in the later seventies. But, a major drawback to these first Oberheim synths was that polyphony was achieved by having multiple modules. This meant that each voice had to be independently programmed. This also means that each voice has its own filter, making real-time filter sweeps of all your voices more than a handful! Fortunately the sequencer comes in handy for controlling each voice/module independently.
Despite its innovative features, the Two Voice was soon blown out of the water by the popular monophonic and truly polyphonic synths like the OSCar, ARP Odyssey and SH-101.
Vintage gear demo featuring the Oberheim Xk
Oberheim Xk keyboard controller from the year 1986
The OB-Xk is a midi keyboard controller with a complex arpeggiator, chord memory functions and a lot more
used synth: Oberheim Matrix-1000 analog synthesizer module
The Oberheim OB-Xk is a MIDI keyboard controller from the mid-eighties. Originally designed to control the Matrix and Xpander modules, it uses MIDI and works fine as a controller for any MIDI gear. It’s got 61 keys that respond to velocity and aftertouch, two OB-style Pitch/Mod controllers, and one assignable continuous control slider. From the front panel you can directly access the first 100 single patches and/or 100 multi patches of your MIDI module. Any additional patches must be selected by another MIDI controller.
Other features include the ability to transpose up or down by up to 2 octaves or by half steps. The keyboard can be split into 3 zones. There are basic Hold and Chord memory functions and an Arpeggiator section with pretty decent features (it can use internal or external clock). The OB-Xk can also send a sequencer Song Select, Start and Stop commands. It’s built with Oberheim’s classic & vintage look: solid black metal case with wood end-cheeks. Definitely a unique controller to have around, although severely limited by today’s standards.
Tom Oberheim drops by the home of SF Bay area musician Mikael Johnston to deliver Mikael’s brand new Two-Voice synthesizer, and gives us a tour of the synth and his design philosophy in the process.
Vintage synthesizer sound tutorial featuring the Oberheim OB-Xa
part one: the haunting pad sound in Foreigners “Waiting For A Girl Like You”
the sound in the original song is made with the huge Oberheim OB-Xa Analog Synthesizer (1981) and layered with a simple OB sweep pad sound.
very important is the filter resonance (12dB/oct) and the pitch modulation.
Sounds in the series include:
- The Oberheim pad sound from Foreigner’s Waiting for a Girl Like You;
- Ultravox ARP Odyssey lead sound;
- Oberheim OB-X pad sound from Killing Joke’s Love Like Blood; and
- The classic Rush Tom Sawyer Moog Taurus bass sound.
Vintage synthesizer demo track by RetroSound
all sounds: Oberheim OB-X Analog Synthesizer (1979)
recording: multi-track without midi
fx: delay and reverb