So, that’s what we did. )I proceeded to create a library of new patches, and it proved simple to obtain the sounds I wanted. That’s a nice touch.

Again, this has a dedicated ADSR contour generator, and again the amount can be velocity-sensitive should you wish it to be.Modulation is provided by the Prophet 6 host, and its contours and LFO are generated digitally before being converted to CVs and directed toward the oscillators, filters and amplifiers. The classic Oberheim-inspired 2-pole, state-variable, resonant filter provides low-pass, high-pass, band-pass, and notch functionality. To find out more about how each synth differs, view our Synth Comparison (pdf). To be fair, I could program some patches on all three that were almost indistinguishable, but those were relatively rare. Mark Lanoszka at Soundtower confirmed that a production version that addresses all of these points should be available long before you read this review.When the review OB6 arrived, its sound was inconsistent from one voice to the next, so I ran the calibration routine to bring the oscillators and filters into line with one another.

Destinations include oscillator 1 frequency, oscillator 1 shape, oscillator 1 pulse width, filter cutoff, and filter mode. I wondered whether this meant that they are genuinely built of individual components. Being bolder, and if I were designing the OB6 from scratch, I would have made it (at least) an eight-voice synth and incorporated a five-octave keyboard. You can also play over the top of sequences using any unallocated voices. The forthcoming Soundtower editor takes advantage of this, allowing you to view and edit patches, view sound banks and perform all the usual librarian functions. If that sounds a bit basic, you’ll be surprised at how much you can achieve with it because you can clock the sequencer using a gate signal or percussive audio generated in the outside world. Used carefully, this can make the OB6 sound less pristine — a bit more vintage, if you prefer to think of it like that. Nonetheless, you can synchronise the delay effects to the arpeggiator, the sequencer or MIDI Clock for the usual range of rhythmic effects. There are two bi-polar sources — the filter envelope and the output from VCO2 — and you can direct these to the pitch, pulse width and wave shape of VCO1, the filter frequency and mode, and the position in a range between the filter band-pass mode and whatever is selected in the swept mode. When I played a solo on the SH101, the OB6 accompanied it and, if I wanted to hang back a little, or push forward against the beat, I could do so. “There are no latter-day ICs that would work for oscillators or filters in this design.”There are two oscillators on each card, and they extend the traditional SEM architecture in numerous ways.
Secondly, I would have added a dedicated vibrato LFO (as on the Oberheim TVS-Pro) to free up the global LFO. Unison also offers chord memory, and the key assign mode then affects how the chord is played; if low-note priority is chosen, the pressed key is the lowest in the defined chord, whereas if high-note priority is chosen, the pressed key is the highest in the chord. It’s also more flexible. However, since you have a wider range of waveforms as starting points, you have a greater range of sync’d timbres at your disposal. Furthermore, the OB6 is far more flexible and more playable than its venerable forebear and, the more I compared them, the more I realised which I would choose today if someone asked me to add some ‘Oberheim sounds’ in a session. All rights reserved.Web site designed & maintained by PB Associates & SOSYou may login with either your assigned username or your e-mail address.The OB6’s main panel, resplendent in the fine pinstripe of its ancestor, measures 807 x 323 mm. In addition, it provides powerful morphing and ‘program genetics’ operations to create new sounds using selective mixing, morphing, mutating and randomising. Next, I would have tweaked the CVs generated by the LFO section; currently, a modulation amount that’s suitable for vibrato is too delicate for tremolo. For example, we could change the envelope shapes to better match the SEM and allow faster ramp times than the SEM is capable of for even snappier sounds.”Since the modulation architecture is essentially that of a Prophet, it should be no surprise to find that it comes in the form of a mono-mod section called LFO and a poly-mod section called X-Mod.

However, the slew is applied only to the CVs controlling the oscillators so, if you play a key at the bottom of the keyboard followed by one at the top, or vice-versa, the filter frequency jumps instantly if keyboard tracking is on. So, while the two synths’ characters are not identical, they’re nowhere near as different from one another as they are from my OB8, let alone something like a Prophet 5, or a Jupiter 8 or a Memorymoog, or any other analogue polysynth that’s not based on SEMs. Stepping through the first few of these, it soon became apparent that the OB6 excels at, well, almost everything. Included are 500 permanent factory programs and 500 rewritable user programs. This offers 64 steps, each capable of holding up to six notes so that you can sequence chords as well as melodies. The frequency range is huge — from 0.02Hz up to 500Hz — which means that, at the high end, you can create AM and FM effects, but the LFO doesn’t track the keyboard so you obtain a different sound from each key. To test this, I compared the OB6 with my 4-Voice. The polyphonic step sequencer allows up to 64 steps and up to 6 notes per step.

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