The OB-X8 sounds like a classic Oberheim because it is a classic Oberheim.
Its 100% analog audio path cuts through a mix like no other synth.
The audio signal path of the OB-X8 is all analog, filled with warmth and punch. It’s the same trademark Oberheim sound that made iconic tracks like 1999 by Prince, Jump by Van Halen, and Tom Sawyer by Rush so unforgettable. And now it’s yours to enhance your own music.
All New Sounds
The classic OB-series factory sounds that you know from countless recordings are all here. But that’s just the start: our network of world-class sound designers have created jaw-dropping new sounds just for the OB-X. And because the OB-X8 has a clear and easy-to-grasp set of controls, creating your own sounds is as easy as turning a few knobs and saving what you like.
Three In One
The OB-X8 combines the three different voice architectures of the OB-X, OB-Xa, and OB-8 into a single instrument. The individual filter types and other unique characteristics of each model have been faithfully reproduced, giving you the most authentic OB experience possible. You can even mix elements of different models to create sounds never possible with the originals. There’s never been an OB-series synth as powerful and versatile.
Set master volume, tuning, volume balance for splits and doubles, as well as chord memory and note hold functions here.
Here you can set the amount of oscillator 2 detuning and add as much “vintage” character as you like. Vintage mode affects the voice-to-voice variability of OB-X8 envelopes, oscillators, and LFO to replicate the behavior of vintage instruments with all of their organic instabilities. Additionally, activate and route aftertouch and velocity sensitivity, set portamento (glide) amount, and turn on unison voice stacking.
Here you can route the LFO (low frequency oscillator) to a variety of destinations to create rhythmic filter sweeps, pulse width modulation, vibrato, tremolo, and other effects. Choose from six waveforms: sine, square, sample & hold (random), up saw, down saw, and triangle.
Select the waveforms that generate the raw sound of the OB-X8. Each of the two discrete SEM-lineage oscillators produce sawtooth, pulse, or triangle waves. Combine pulse and sawtooth waves for extra punch. Hard sync and Xmod (oscillator frequency modulation) add more edge and sonic possibilities.
This is where the bi-timbral capability (two different sounds at once) of the OB-X8 comes into play. Choose any two presets (“upper” and “lower”) and assign them to two different regions of the keyboard. Alternatively, layer them together for more complex textures. Adjust panning and volume independently for each preset.
This is the soul of the OB-X8 sound. Choose between the three different analog filter configurations that gave the original OB-X, OB-Xa and OB8 their unique character. First, the classic SEM-lineage, two-pole, discrete low-pass OB-X filter is here, with its unmistakable ballsy sound. But it’s even more powerful on the OB-X8 because we’ve included not just the low-pass mode from OB-X, but all modes of the original SEM design — low-pass, high-pass, band-pass, and notch, exponentially expanding the sonic possibilities. From the OB-Xa and OB-8 we’ve also included the classic CEM3320 filter with both 2-pole and 4-pole modes, which gave those instruments their distinctive flavor.
The 4-stage (attack, decay, sustain, release) filter and volume envelopes give shape to the harmonics and loudness of OB-X8 sounds. Use these to make the OB-X8 whisper, growl, or scream by controlling the softness or percussiveness of synthesized textures.
Scroll through sound banks and access powerful “Page 2” functions for extra filter mode configurations, pan spread, LFO rate scaling, portamento modes, programmable bend box parameters, and more.
Select and save presets and access Global settings such as aftertouch curves, alternate tuning scales, MIDI parameters, and more.
If you want to bend notes and add vibrato or other real-time modulation, look no further. This is where you’ll find the classic, performance-friendly Oberheim pitch and mod levers. The levers feature programmable bend range and mod amount as well as the the ability to apply their effect to one or both oscillators.
The bend box also provides a second LFO with six different waveforms (triangle, square, Up Saw, Down Saw, sample & hold, and Noise). This LFO is dedicated to performance using the mod lever. Also present is a full-featured arpeggiator which can be applied independently to splits and doubles.
Use the arpeggiator to create chord-based rhythmic patterns. Hold down several notes and the arpeggiator will cycle through them at the rate that you set and a pattern that you choose: up, down, up & down, or note order played. You can transpose the arpeggio up or down an octave and apply it to one or both parts in a split or double.
The OB-X8 provides standard MIDI in/out/thru connections as well as USB for communicating with other electronic instruments or digital audio workstations (DAWS).
Connect your pedals here and use them to sustain notes, create volume swells, perform filter sweeps, and trigger the arpeggiator.
The OB-X8 provides both mono and stereo line-level outputs. Connect audio cables to these jacks, plug into a mixer or amp, and start performing or recording. Use the Page 2 enhancements to save stereo pan settings (4L4R, Ping Pong, Splayed, or Spread) per program.