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After nearly four decades, Oberheim reasserted their juggernaut status with a triumphant return to the synthesizer scene that masterfully blended heritage design with contemporary production and performance needs, transcending time and tone with the OB-X8. Much to the delight of Sweetwater’s synthesists and production pros, Oberheim has leveraged the unrelenting sonic forces of the OB-X8 and packed them into a portability-minded powerhouse: the OB-X8 Desktop Synthesizer Module. Like its counterpart, this features an 8-voice polyphony for exploring the painstakingly recreated features of the OB-X, OB-Xa, and OB-8 models, containing a selection of the most unforgettable and iconic synth sounds of the ’80s, complete with individual filter types and all the presets that made each a standout instrument. An all-analog signal path means the OB-X8 Desktop Module is just as sonically warm and full as its predecessors, with labeled sections containing tactile buttons and knobs for easy and complete control of your sound.
When anyone refers to an Oberheim as possessing that sound, there’s a solid chance this is the result of the high-quality filter configurations found in all their classic products. The OB-X8 possesses three analog filters, one from each model it replicates. From the OB-X is the SEM-lineage, 2-pole, discrete lowpass filter, delivering massive sound and body with the addition of all the different modes of the original SEM design. The Doug Curtis-designed CEM3320 filters found in the OB-Xa and OB-8 make their way into the OB-X8, available in 2- and 4-pole options and the primary source for these synths’ distinct sound.Â
While the uninitiated may not have played or experienced an Oberheim in person, anyone who has flipped through radio stations over the last four decades is sure to have heard one of these unmistakable instruments in action. As the first offering in the series, the OB-X polyphonic analog synth only sold approximately 800 units from 1979–1981. However, a selection of these synths ended up in the hands of some of the era’s most beloved music makers, including Rush on their Moving Pictures and Signals albums, Dennis DeYoung from Styx, Madonna, and even Prince. Replacing the OB-X in only two short years was the OB-Xa, which optimized the OB-X with welcome upgrades and streamlined its setup for ease of use. This synthesizer is responsible for the intro to Van Halen’s timeless track “Jump,” as well as gracing releases by New Order, Queen, The Police, and others. As the OB-8 replaced the OB-Xa in 1983, Oberheim’s influence on music expanded into the stratosphere as artists like Alice Coltrane, Boyz Noise, Depeche Mode, Kool & The Gang, and many more adopted synthesizers as a core component of their sound. As such, the OB-X8 Desktop Module packs the sum of this DNA into an easily portable, flexible unit.
One of the primary factors in the OB-X8 Desktop Module’s absolute accuracy to the OB series is its all-analog audio path. This factor is the catalyst behind the full-bodied, punchy synth sounds found in classics like “1999” by Prince and “Tom Sawyer” by Rush. This is more than just your standard clone or replication — from the components themselves to the actual interactions between said components, everything was meticulously analyzed for 1:1 realism, resulting in a powerhouse synth that delivers the sound and response of three iconic models in one. Fans of the OB-8’s extensive “Page 2” functions will find a lot more to love in the OB-X8 Module, featuring all the classic parameters alongside new ones for everything from accessing additional SEM filter modes to LFO keyboard tracking, independent pulse width control, and so much more.
At first glance, the OB-X8’s expansive control set may seem daunting. That said, Oberheim designed the desktop powerhouse with new and veteran users in mind, ensuring everyone can experience its sonic magic with minimal effort. Everything is labeled in function-specific sections with tactile knobs and buttons for effortless navigation across the board. Take the reins on every parameter, like volume and balance, for dialing in splits and doubles as well as chord memory, tuning, and note hold functions. You’re also given discrete options for Oscillator 2 detuning alongside a unique Vintage knob, affecting the voice-to-voice variability of envelopes, oscillators, and filters like the behavior of vintage instruments.
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