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Finally got an OBXa, and I am one smiling mother-fucker. Got the 8 voice, 120 memory upgrade version in museum quality condition.
The OBXa should require no introduction, as it best exemplifies the classic Oberheim polysynth sound. Think Prince, the cheesy chords to "Jump", middle career Gary Numan, Thompson Twins or Rush (and early 80's prog-rock in general).
The OBXa sound massive, expansive, lush and resoutely EXPENSIVE. This thing sounds as good as it was expensive back in '81. (About $7100 at the time--not cheap). The OBXa may lack a lot of fancy doo-dads such as x-modulation or excessive modulation capabilities, but for basic synth sounds it sounds fantastic. Everything it does is glossy and thick--bright enough but still with substance and character. Overall, after hearing the OBXa I began to seriously wonder if excessive modulation choices are really that important if this damn things sounds so good. (Well, they are important but man... these things sound good!)
The OBXa particularly shines for strings and pads, and does a menacing show of bass force. The filter is perhaps the best feature of the entire synth--offering 12 and 24 db mode as well as variable tracking (half & full) as well as extensive filter routings. The resonance on this machine is nice--but doesn't go into self-oscillation. The oscillators themselves are fairly bare--offering only saw and pulse waveforms. Unison mode is available for ultra-thick sounds. Control features are nice, and the pitch levers are precise and offer great control and expression. The split mode is a nice addition--but nothing can hold a candle to doubling up patches, even if polyphony is cut in half. Very, very nice and responsible for many cutting edge, signature OBXa tones.
The bottom line: Great synth sounds--maybe some of the nicest ever. Nothing too fancy, but the OBXa is the master of the basics. Limitless in its applicability to electronic music. And it looks impressive too.
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