Oberheim OB-1
| OB-1 | |
|---|---|
|
Oberheim OB-1
|
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| Manufacturer | Oberheim |
| Dates | 1978 |
| Technical specifications | |
| Polyphony | 1 voice |
| Timbrality | Monotimbral |
| Oscillator | 2 VCOs |
| LFO | 1 |
| Synthesis type | Analog Subtractive |
| Filter | 2 or 4 pole switchable VCF |
| Attenuator | 2 x ADSR; one for VCF, one for VCA |
| Aftertouch | No |
| Velocity sensitive | No |
| Memory | 8 patches |
| Effects | None |
| Input/output | |
| Keyboard | 37-key |
The Oberheim OB-1 was a monophonic, programmable, analog synthesizer introduced by Oberheim Electronics in 1978. It originally sold for $1,895 and was the first analog synthesizer capable of storing patches.The design was based on the Oberheim SEM (Synthesizer Expansion Module) and intended to be used for live performance.[1][2]
Specification
The OB-1 was essentially an all-in-one, pre-routed Oberheim SEM and had one voice of polyphony, with two VCOs and a switchable multimode filter. It also contained an envelope control for both the filter and amplitude.[1]
In popular culture
Notable users of the OB-1 were the composer and musician Vince Clarke and the bands Tangerine Dream, Rush, and The Grid.[1] A 2014 feature on the French radio station France Inter claimed that the OB-1 had been used by the Star Wars sound engineer Ben Burtt to create the voice of R2-D2 and that the name of another Star Wars character, Obi-Wan Kenobi, derives from a transliteration of "OB-1".[3] However, Star Wars was first released in 1977, a year before the OB-1, and most sources credit the ARP 2600 synthesizer as being used to record R2-D2's voice.[4]
References
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- ↑ Moog, Bob (2009). "Oberheim SEM Module". Keyboard Magazine Presents Vintage Synthesizers, p. 172. Backbeat Books
- ↑ France Inter (18 February 2014. "Star wars Identities: visite virtuelle". Retrieved 25 April 2015 (French). See also Russ, Martin (2012) Sound Synthesis and Sampling, 3rd edition, p. 333. Taylor & Francis
- ↑ See for example, Kunkes, Michael (May-June 2009). "Sound Trek: The Audio Explorations of Ben Burtt". Editors Guild Magazine and Pinch, T. J. and Trocco, Frank (2004). Analog Days, p. 273. Harvard University Press
