The Sublime Oberheim OB-1 with AlexBallMusic: A Synth Odyssey

The Rare Jewel: Oberheim OB-1

AlexBallMusic kicks off the video by introducing us to the rare Oberheim OB-1, which is quite the catch from 1977. As he dives into the intricacies of this vintage beauty, it’s clear he’s smitten with its timeless charm. This synth marked a significant departure for Oberheim, being the first monosynth with user-programmable digital memory. The OB-1 stands out for more than its scarcity; it’s the evolutionary bridge between the SEM and the illustrious OB-X. It’s a piece of history wrapped in knobs and circuits that still evokes sonic wonder.

The R2-D2 Myth Demystified

In an entertaining rant, Alex debunks the widely believed myth that the OB-1 was used for creating R2-D2’s voice, which in reality was crafted with the ARP 2600. Star Wars fans, brace yourselves. He humorously threatens to ‘bop your noggin’ with the OB-1 if the myth persists. It’s not just tongue-in-cheek; he insists on getting the facts straight. The OB-1, despite its capabilities, simply doesn’t meet the requirements to mimic the famous droid voice. Alex’s passionate storytelling makes for a compelling watch as he uncovers misconceptions with clarity and wit.

"...which is absolute bollocks."

© Screenshot/Quote: Alexballmusic (YouTube)

VCOs: The Sonic Powerhouse

"...then both have noise. Pretty self-explanatory."

© Screenshot/Quote: Alexballmusic (YouTube)

Alex expertly draws comparisons between the OB-1 and its predecessor, the SEM. Both share lovely, thick 70s oscillators, yet the OB-1’s VCOs offer unique features. Unlike the SEM, the OB-1 boasts wave shaping and dual sub oscillators, providing layers of rich, textured sound. Cross modulation between VCOs adds a gritty, powerful edge, perfect for those seeking that raw intensity. It’s like comparing a classic Rolls Royce to a souped-up roadster; each has its appeal but serves different sonic purposes. The OB-1 might just edge out in terms of versatility and power.

Filter Differences: A Dance of Frequencies

When it comes to filters, Alex gives us a fascinating look at how the OB-1 diverges from the SEM. Instead of a continuously variable filter, the OB-1 offers a simpler setup but adds the ability of a four-pole slope. This results in notable differences when comparing the low-pass capabilities of the two. The OB-1, though restricted to low-pass, delivers a distinct sound that is harder and cleaner. Listening closely, one could imagine the filter’s effect much like a precise, sharp knife carving through a wall of sound. Notably, resonance behaviour distinguishes the OB-1 and SEM, with the former’s tendency to whistle at high settings, a quirk not found in the SEM.

A Makeshift Four Voice Glory

In a creative twist, Alex conducts an experiment to transform his dual OB-1s into a makeshift four-voice synthesiser using a Roland system keyboard. The result is a cacophony of voices that dance together in glorious harmony reminiscent of a pub choir on a Saturday night. He notes how divine the synths sound in unison, paying homage to their simplicity and authenticity. It’s a stunning reminder of what analog circuits can achieve without fancy digital effects – a raw, unprocessed symphony straight to the soul. This dive into polyphonic usage exemplifies the versatility hidden within such vintage gems.

"...what wonderful sounding synths"

© Screenshot/Quote: Alexballmusic (YouTube)

The Plug-in Realities

While vintage synthesizers like the OB-1 are rare and heavily sought after, Alex acknowledges the digital age’s convenience. He tests out the GeForce Software’s OB-1 plug-in, comparing it directly with the hardware. Though not entirely indistinguishable, the plug-in holds its ground remarkably well, delivering that quintessential OB-1 flavour. It’s like swapping your classic vinyl collection for Spotify – you lose a bit of warmth, but the essence stays intact. Alex hands out a nod to the software for bridging the gap between hardware scarcity and digital accessibility, making such iconic sounds available to the masses.