An 8-voice polyphonic digitally controlled analog synthesizer with a 61-note keyboard.
The last synth of the OB line, produced between 1983 and 1985.

For sound generation the OB-8 offers two syncable VCOs per each voice, with sawtooth, triangle and pulse (with PWM) waveforms. A pink noise generator is also available.
A resonant low-pass multimode (2-/4-pole) VCF is included as the filter. It has its own ADSR envelope generator, which can be used for frequency modulating the oscillators. The VCA also has the traditional ADSR EG.
The OB-8 also features a flexible LFO switchable between triangle, square, sawtooth up/down and random (sample/hold) waves. Available modulation targets are VCO frequency, VCO pulse width, VCF frequency plus the VCA. All of them can be modulated simultaneously.
An arpeggiator with five programmable transpositions is also included, and can be triggered by external sources. Available patterns are up, down and random.

The keyboard can be split and doubled, with a unison mode for a thick 8-voice monophonic sound. 120 sound patches plus 12 split and 12 double settings are stored in the synth's internal memory. A cassette interface is available for backuping your sounds.
Other features include hold, sustain, Oberheim's computer interface (for use with the DMX drum machine for example) and versatile pedal/footswitch support.

Several revisions of the OB-8 exist. The most important change was adding MIDI in/out/thru on the later "B" models. The older versions could also be easily upgraded from CV/gate to MIDI.
There were also numerous software revisions, B5 being the latest known one.

The synth shares much of its circuitry with the OB-Xa and OB-SX models. This includes CEM chips 3340 (VCO), 3320 (VCF), 3310 (EG) and 3360 (VCA).

Famous users of the OB-8 include Depeche Mode, Eddie Van Halen, Future Sound of London, The KLF, Tangerine Dream and Trent Reznor.

101cm (w) x 50.8cm (d) x 15.24cm (h)

Information gathered from all over the net, like always.

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