Oberheim's history
The company was founded by Tom Oberheim in 1969 and played a significant role in the development and popularization of synthesizers during the 1970s and 1980s.
Tom Oberheim initially started building and selling guitar amplifiers under the name Oberheim Electronics.
Synthesizer Expander Module (1974)
The SEM was a monophonic modular synthesizer module that offered a versatile range of sound synthesis capabilities. It was originally an expander module, for synths like a mini-moog or ARP 2600.
The SEM itself was a keyboard-less and sequencer-less. It had two VCOs & a 2-pole 12dB/octave multimode filter (LP/BP/HP/notch).
You select these with a single knob enabling variations in-between.
The filter doesn't self-oscillate.
The envelopes are simple Attack-Decay-Sustain design. Envelope 1 is hardwired to the VCA.
The LFO is triangle only.
Each of the two oscillators offer saw or variable pulse waveforms.
Note, the SEM is not a patchable synth module.
It's signal routing was hard-wired.
Individual SEMs were produced between 1974 an 1979.
Their circuit design changed over the years with the differences slightly effecting the envelopes & filters.
The early SEMs are labeled "1080".
Later: "1180".
Two Voice system (1975) - TVS-1 & TVS-1A
The module on the left is a 8 step mini-sequencer/arp, S/H, Clock.
Oberheim uses the V/Oct system like ARP, Roland etc.
Oberheim Four voice System (1976) : FVS-1
Four SEM modules were joined together with a simple analog mixer and 49-note keyboard.
Since each module has its own VCOs, filters, VCAs, LFOs and EGs the ability to create new sounds was unheard of for the time, but it also created more problems.
How to control such a beast???
Thus came the Polyphonic Synthesizer Programmer .
Polyphonic Synthesizer Programmer (1976).
Powerful for its time. It could store 16 patches.
It could be used with a single SEM or the Two-, Four-, and Eight-Voice models.
Oberheim 8 voice (1977) :EVS-1
OMG - Eight SEMs = 16 VCO's, 8 VCFs, 8 LFOs, 16 ADR envelope generators.
These were controlled with a single PSP.
Two models : 49 vs 61 note keyboard.
OB-1 (1977)
Monophonic.
the world's first completely programmable synthesizer.
The design was a replacement for the previous generation of Oberheim SEM (Synthesizer Expansion Module)
OB-X (June 1979)
MonoTimbral.
Two VCOs per voice
discrete circuits were used for oscillators and filters
32 user-programmable presets.
The "X" in OB-X originally stood for the number of voice-cards (notes of polyphony) installed. It came in four, six, and eight-voice models
61 keyboard
CV/Gate control
OB-Xa (dec 1980)
Instead of the discrete circuits for oscillators and filters utilized by the OB-X, the OB-Xa
(and the Oberheim synths to follow) switched to Curtis integrated circuits.
DMX (1981)
Oberheim also made significant contributions to the development of drum machines. In 1980/1, they introduced the DMX, one of the first programmable drum machines to use digital samples. It featured iconic sounds that became staples in the music of that era.
24 drum sounds
The DMX was later followed by the DX and DXa models.
Oberheim DX 1982
The DX was a stripped down version of the DMX drum machine.
Its sounds are sampled recordings of actual instruments.
18 drum sounds
6 outs
6 voice
Control - Trigger In/Out
No midi
DXa (1983)
The "basic" DX, has no MIDI capability and all the control buttons are the same size as the drum pads. The DXa has factory MIDI and smaller control buttons.
OB-8 (1983)
The last of the "OB" line.
Polyphony - 8 voices
Oscillators - 2 vco's per voice: saw, pulse, triangle
Memory - 120 patch programs,
12 split programs
and 12 double programs; external cassette storage; MIDI SysEx data dump
Filter - Switchable 2-pole or 4-pole VCF w/ ADSR
LFO - Triangle, Square, Ramp, Samp+Hold
Keyboard - 61 keys (can be split or doubled); no velocity or aftertouch
Arpeg/Seq - 8-note arpeggiator with external sync source
Matrix Xpander (1984)
The Xpander "Owner's Manual, First Edition" describes the technology as this:
- "An analogy to the Matrix Modulation system might be all of those millions of wires that existed on the first modular synthesizers. As cumbersome as all of that wiring was, it allowed the user to connect any input to any output, resulting in sophistication and flexibility unmatched by any programmable synthesizer...until now."
6 voice
Keyboardless
Timbrality : 6
Each of the six voices of the Xpander is completely independent.
each voice has two VCOs, five LFOs. five EGs, four ramp generators, 3 tracking generators
Control: CV/Gate & MIDI
100 single & 100 multi patch storage.
6-part multitimbral
with up to 6 zones
with up to 6 zones
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1985
In the mid-1980s, Oberheim faced financial difficulties and was eventually acquired by the Gibson Guitar Corporation in 1985. Under Gibson's ownership, Oberheim released a series of digital synthesizers, including the Matrix-6, Matrix-12, and the OB-12. However, the company's focus shifted away from analog synthesis, and they struggled to compete with other manufacturers.
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Matrix 12 (1985-88)
The Matrix-12 is in effect two Xpander's plus a keyboard.
12 voices
12-part multitimbral
with up to 6 zones
with up to 6 zones
Matrix 6 (1985–1988)
6 voices
12 DCOs (2 per voice) featuring CEM3396
1 low-pass resonant filter using CEM3396 built-in LPF
2-part multitimbral with up to 2 zones
Matrix - 6R
Rackmount
1 low-pass resonant filter using CEM3396 built-in LPF
2-part multitimbral with up to 2 zones
Matrix 1000 (1987/88)
1U Rackmount
1 low-pass resonant filter using CEM3396 built-in LPF 24dB
6 voice polyphonic, (digital/analog hybrid) synthesizer, featuring dual oscillators (with sync),
three DADSR envelopes, three LFOs, dual ramp generators, a tracking generator, 1000 presets, MIDI interface, along with extensive (matrix style) modulation capabilities.
OB-Mx (1994)
OB-Mx is designed by Don Buchla.
2 voice (expandable to 12)
Oscillators - 2 per voice; Triangle, Sawtooth, Pulse Width waveforms
LFO - 3 LFOs (triangle, sawtooth, sample/hold)
Filter - 2 filters per voice; Resonant 12 dB/oct Oberheim type filter with low, band, hi pass and a 24 dB/oct Minimoog low-pass filter section
VCA - 4 multistage envelopes per voice
Keyboard - None
Memory - 256 patches, 256 performances
Control - MIDI (12 parts)
OB-12 (2000) - Oberheim/Viscount
12 voice synth with 4-part physical modeling synthesis.
analog-emulation
2009
Following a series of ownership changes and financial troubles, Tom Oberheim regained the rights to the Oberheim name in 2009 and resumed building and selling instruments under the Oberheim brand. He introduced the SEM-based SEM VST plugin and later collaborated with Dave Smith Instruments to create the OB-6 synthesizer, combining the classic Oberheim sound with modern design and features.
TVS Pro (2015 - 18)
It is an updated version of the original Oberheim Two-Voice, which was produced from 1975-1979. This instrument was designed around coupling two SEM modules.
(upwards of 10K)
I hope Tom finds it in his heart to start production again.
I hope Tom finds it in his heart to start production again.
Dave Smith Instruments - OB-6 (Sequential made)
It's a 6 voice poly
OB-X8
The audio signal path of the OB-X8 is all analog
In July 2019, JC Curleigh, CEO of Gibson, returned the Oberheim trademark and IP back to Tom Oberheim as "a gesture of goodwill to the musical instrument industry."
Today, Oberheim remains a respected name in the world of synthesizers, revered for their analog sound and legacy. The company continues to produce innovative instruments while honoring its rich history and contributions to electronic music.
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