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At a time when manufacturers were doing their best to cram as many grainy 8-bit low-rate samples into an instruments' ROM as possible, Roland used only hi-res stuff, resulting in outstanding sound quality.Īlas, the JD-800 was released a decade too soon. More than that, it sounded out-of-this-world. It was big, impressive and utterly sexy, even if it was made mostly of plastic. Yep, the JD harkened back to the analogue era, offering scads of real-time control (that, alas, could only be transmitted via SysEx). However, the JD-800 offered something not available on any other sample-based synthesizer: a bucket load of sliders. Like the D-50, the JD combined sample-based oscillators with a fairly typical signal path that included a resonant filter, envelope generators and the like. Yet the JD-800 was, frankly, a far better instrument. The latter is arguably the classic between the two and represented a major shift in Roland's approach to instrument design and sales. It was a difficult decision, putting the JD-800 on the list in lieu of the massively popular D-50.
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Behringer is also working on a hardware clone.
#GOOGLE PLAY MUSIC DESKTOP PLAYER RAM OVERUSE FULL#
Such a System in full swing was a sight to behold in those pre-MIDI days, a technological wet dream that was far out of reach of all but the most successful musicians of the day.Įmulations: Arturia's Oberheim OB-Xa V is a thorough plugin recreation, and there's also the free OB-Xd from discoDSP. It's big.Īs with all Oberheim instruments of the time, the OB-Xa could be lashed together with a DMX or DX drum machine and a DSX sequencer to form a complete Oberheim 'System'. Users who dare to click that Unison button may have to have their teeth re-enamelled. The OB-Xa may be the single phattest sounding instrument we have ever heard. The OB-Xa, however, added a 24 dB filter to the OB-X's 12 dB job and, in fact, you could create layered sounds that combined both for a more complex and engaging sound.Īnd what a sound it was. Like the OB-X that preceded it, the OB-Xa was available in four-, six- or eight-voice versions and sported a somewhat simplified dual oscillator signal path. We could have picked the OB-X or OB-8 for our list, but we chose the one smack dab in the middle, the OB-Xa. It worked a treat and begat a number of follow-ups, each with its own specific qualities and refinements, and each with its own loyal following. Oberheim had a bit of a re-think after the Prophet-5 whizzed by, and took the best of its previous designs and combined them into the huge OB-X. They sounded immense, but they were difficult to manage, to say the least. There was even a rudimentary programmer available that could store some (but not all) of the parameters for later recall. modules into a case, attaching a keyboard and expecting the user to identically tweak each individual S.E.M.
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It offered polyphony in the form of its OB Four and Eight Voice instruments, achieved by strapping a handful of its S.E.M. Oberheim had, in reality, been there before Sequential. Some attempted to bring the cost of programmable polyphonic synthesizers down, while others, like Oberheim, attempted to put their own stamp on 'em. Monosynths were declared dead almost overnight, and if your synth couldn't store sounds, you might as well have scrapped it for parts.Įvery manufacturer that could afford to do so began pumping out competitive products. The success of Sequential Circuits' Prophet-5 shook the synth industry.