D8-xA POLYPHONIC SYNTHESIZER DDWNERS. MANUAL Third Edition April 1982 OBERHETM ELECTRONICS, INC. 2250 So. Barrington Ave. Los Angeles, CA 90086 USA (c) 1982 Oberheim Electronics, Ine. Reproduction prohibited without written permissionCAUTION: CAUTION: ise or shock hazard do not expose this appliance to rain oF moisture. WARNING: WARNING Tapment generates and uses radio frequency encrgy ad i, This eqpifed ond used properly, i.e., in strict sccordance sith not ineteyetion nerual, nay cause harmful. interference to, r0di0 the inetrtjone, It hag been tested and found to comply with the com eot a Ciese A computing device persvant to Subpert 2 of Lamits oF Fce Mules, which are designed to provide reasonable Part sction against such interference when operated in ® Cfemercial environnent.- operation of this equipsent in» residential area is Likert Operation OFerence in wich case the user at his own expense W122 cae inte tn take pnatever measures may be required to correct the interference.‘TABLE OF CONTENTS SECTION TNTRODUCTION.. «++ SETTING UP USING THE PROGRAMMER. 3 Modifying Sound Prograns 3 Creating New Sounds: 5 5 4 Jiriting Progrens Noving Programs WHAT'S INSIDE THE 0B-Xe FRONT PANEL CONTROLS. Manuel Sect ion Control Section Voduleticn Section Qacillators Section Filter Section Envelopes Section Keyboard Section (Splits end Doubles) xu Progranning Splits end Doubles i Modulation Panel 1% REAR PANEL CONNECTIONS Audio Outputs {esette Interface Inputs/Outputs 1 Foot Switches 18 Feat Pedsls » Computer Interface vw Power: is CASSETTE INTERFACE. 2000 a 20 Cassette Interface Connections 0 Cassette Interface Controls 2» Transferring Data a Poagible Causes of Data Trancfer Errors B Praying c8-X9/32 and OB-X Tapes on the 08-X0/120 2 INSIDE CONTROLS.» Opening The Unit, Nenory Protect. Seiten Pen Pots, Yoice Kill Switches Test Switches SPECIFICATIONS. «INTRODUCTION (CONGRATULATIONS! You have just purchased @ most poverful tool for synthesizer performance and composition. The Oberheim 08-Ko/120 Polyphonic Synthesizer is the letest result Of the evolutionary philosophy of product development at Oberheim Electeonice. the OB-Ka is an update of the OB-X, which was originally intreduced in June 1978. Since the introduction of the BB-Re in Decenber 1980, numerous changes and Inprovements have been made. These include the expansion of progran aenory from 32 Programe to 120 Peogranss doubling of the Split and Double Progeansy the addition of Squere Wave Hoduletion with the nodulation levers a quieter output section; an inproved Auto-Tune Circuit which will turn off out-of-tune voices; inproved Cassette Snterfece; and the latest update, the addition ‘of several Portonents modes, which present additional row possibilities for sound composition. The 0B-Xa is conplemented by the DSX Digital Polyphonic Sequencer, Which stores notes end patch chengeo in much the eane wey thet the Oi-Ka stores sounds, digitally. In fact, the 08-Ka ia a conplete microcomputer system, with fictoprécessor, menory, cassette data storage, and east of all, the conputer progtan of "software". Yet the OB-Ka has been Gesigned to be used by the beginning and professional synthesist alike. So, work with your new synthesizer; experiment with it. You'll Find that the OB-ka gives you more’ control over your sound than ever before. ‘And isn't more control what synthesizers ere all sbout?10 pees SHR “BN NOLL INGOL 109 NoUWINGoWSETTING UP 1) Firat, moke sure the 125/230 Voltage switch on the rear panel is fet for the locel AC powers 2) Apply power end plug into your sound systen; 5) Press "AUTO" to tune all of the oscillators; 4) Select ® progranned sound by pressing a GROUP (A thru D, or eny Combination) and s PROGRAM (1 thru 6); 5) Set the VOLUME control to an eppropricte level. 6) Play! ‘the unit comes from the factory pre-progrenned with 104 Sound Pragrans, B'Split Programs, and 8 Double Prograns. These include = grest variety oeeainde which will quickly acquaint you with the capabilities of your ot stounent the GB-Xe Pragrenmed Patches book details these factory programs. You can adjust the output volune of the OB-Xa with the VOLUME control {O¥ Re" ypper left band casner. This control simultanecusly controls ioe tene Gtereo utpute and the mono output. the MASTER TUNE control corewe the instrument to be Fine-tuned to other instruments. When this aurerei is within the "dead-zone" near the top center, the instrument Getuned to stsward A-440 pitch. NOTE * If a mono enplifier is boing used, be sure to use ‘the mono output:USING THE PROGRAMMER ‘the programe on the 0B-Xe/120 are divided into 15 GROUPS, of 8 PROGRAMS the etre I> GROUPS are selected by pressing the four GROUP buttons, tages wpts et, & SD") individually OR in any combination ("AB", ACY, {gen aaée, "ABCD", otc.). The PROGRAM within. the selected GROUP is Teen’ setected by pressing one of the eignt PROGRAM buttons. The sRecRAN button ey be pressed at any time—-before, after, or at the PROGR ne 28 the GROUP. button--but the GROUP button or buttons must san’ pe held down AT THE SAME TIME, like playing a chord. MODIFYING SOUND PROGRAMS Any sound secalled by the progrenner can be modified (edited) by tRyaging the controle on the front panel. The controls add to, or caeteace from, the settings stored in the computer program. For saoerie, the release time of the LOUDNESS ENVELOPE cen be eade longer eran ecogranned sinply by turning up the RELEASE control on the aeeNESS ENVELOPE. This feature allows quick yet sacoth modifications of existing progrens. nen selecting @ program, the front panel settings do not affect the Wren Gf the instrument.’ For instance, if a sound hed originelly been soumeamed with s FILTER FREGUENCY setting at 12 o'clock, but later proPteogran is recalled with the FILTER FREQUENCY contro] set et 5 the prodrtne progran sound will be the sene as if the FILTER FREQUENCY ceeifo wae sot at 12 o'clock. If it is desired to further increase contteresse a control getting, and the control is already at its OF eee ae’ minimun position, simply rotate the control all the way in Gesimum cite direction and then make your vesired setting the original, umodified eaund program can be recelled by pressing the rpsronetave GROUP end PROGRAM buttons again. the modified sound sepretn ean be recorded into the progran seory as well. See "WRITING PROGRAMS" (CREATING NEW SOUNDS THE denke ean be used to create completely new sounds, rather thon fer geisting sounds = described above, by using the MANUAL MODE . ater WAL the (B-Xa circuitry responds to the ebsolute settings of In MiM\trols. For instance, if the OSC 1 FREQUENCY control is set at A selock, upon entering MANUAL mode the pitch of this oseilletor Un! bevone ctave sbove its base pitch. In general, when one enters vil) RUAL wade fran one of the programs, the sound of the instrunent tne Mihange to reflect the actual physical settings of the controls. The various on-off states of the switches will be those that existed the last bine the 08-Xa was in the MANUAL node. ‘The ¥ANUAL MODE cannot be used while in SPLIT or DOUBLE nodes.USING THE PROGRAMMER / WRITING PROGRAMS New, modified, or even existing prograns can be written into the 08- Xe" memory. This is done with the following procedure: 1) Press and hold WRITE and wait for the WRITE Light to cone onj 2) Continue to hold WRITE and select © GROUP (A thru D, oF ‘any canbination) 3) Continue to hold WRITE and celect = PROGRAM (1 thru 8). The write operation actually eccurs when the WRITE switch is being preeged et the cone tine a PROGRAM switch is preased, with the WRITE fenton; Programing SPLIT coninetione wilt te sicewsod later in tenis manual « ++ NOTE Prograns will rot be recorded if the PROTECT sriteh {inside the unit is on (see MEMORY PROTECT SWITCH, page 25). MOVING PROGRAMS ‘Gccasionelly it may be desirable to move a complete progran from one Progeun wenvry Aecttion to another. To do this, simply aalact the Provram you wish to move, and then write into the desired new program llevatian, as described above.WHAT'S INSIDE THE OB-Xa ‘The O3-Xa is @ Polyphonic Synthesizer with up to eight voices. Each Velce inside the Gl-Xa ie a complete synthesizer, with two Yoltege Lontrolled Oscillators (VCOs), two Yoltage Controlled Filters (VCFs), @ Voltage Controlled Amplifier (VCA), and twa Envelope Generators. The weitetis configured es shown in the accompanying diagran (next pege). The voices are arranged in two groupe of four voices each, refered to We the Upper Voices and Lower Voices, respectively. Each’ group of SSices gets control signsle fron its’ own associated control circitry, Vaich sso containe the Low Frequency Oscillator for esch oraup. Whese is a control circuit for the Upper Voices, and a second for the peer Voices. Both control circuits are, in turn, controlled by the (B-a'e onbosrd conputer (see diagran, following page). It is the computer that looks at the keyboard and the front penol Controls, end then cosmunicates the sppropriate information to the Control circuits and to the voices themselves.i 3] 3 3] S| 2] 4] &| aay a)4|42 i i a au $a an Fm Rs» ——_____ sem 190 eer —2—A RS q 4e0, }<——___ oan t a fou HEB Ely [ons AMgs leew 3910" "X-€0dng Ws owvoaA3y Suna aw SF 9 98 oF ul (a |_| soma #01 Wht eel, amy | 12 can 0 re aan #88 oogooo 5 Cy | pty | Ram, amen | § B enya 1x0 o0n0 BR Spey an 3 33 3 Sele a Fy 1 Vr I Wy uy sem] [coon loon] [son pea auc a ‘wesberd 4901 wayshs EX-€0 uno NG INET HDFRONT PANEL CONTROLS / HANUAL SECTION cHoRD, This button ie used to procure a sustained note or chord. To use, press the HOLD button and simultaneously play one or more nates, and then release the HOLD button. The note or notes played will now be sustained indefinitely. You cen play notes one at a Cine oF all at ence, while holding down the HOLD button. To cancel the hold function, press HOLD 8 second Line, but be sure not to hold down any keys. HOLD may be used in Split end Double te sustain different. sounds at once. © and The HOLD evitch is alec used to select between Lis Quantized Fortanento modes. See "PORTAMENTO". ‘The HOLD and CHORD switches can be used together to play chords with one key. Firct, select the desired notes by lsing the HOLD function as described sbove. Then, prese the CHORD switch. The helé chord will cease sounding. By playing low C (CO) on the keyboard, the held chord will be Tepreduced ae previously played. Playing notes above CO will trenspose the chord up by @ corfesponding interval. If the G ‘above lowest C (G0) is played, the chord will sound trensposed up a fifth; if the C two cotaves above the lowest © (C2) is played, the chord will sound transposed up by two octaves. If any af the voices have not been used, the actus) ote being played will sound as well. The 09-Xa cannot play notes higher than the top note on the keyboard (C5). If a nate would be played higher than C5, the O8-Xa will transpose it down by octaves until it is in range. This accounts for the "cluster" effect that results when traneposing chorde by large intervals. The Tranepose Switches on the Nodulation Panel aay be used to echieve © higher range. The chord will always be transposed by the Lowest nate on the keyboard, even in split. However, individual notes can be played ebove the note transposing the chord. To exit the CHORD mode, simply press the HILO ‘ewiteh. When HOLD is not in use, the CHORD switch can be used as an envelope reset, to shut off the release of the Envelope Generators, causing any relessed notes to stop sounding. If tthe Portanento ie turned up, pressing the CHORD switch will cause all voices to move innediately to their next note, Instead of gliding. The CHORD ewitch ie aleo used to enable or disable Portenento Ofrset. See "PORTAMENTO™.FRONT PANEL CONTROLS / CONTROL SECTION PORTAMENTO This control determines the rate of portamento or "glide" of each voice as thst voice's pitch is changed. Note that the portanento of the 08-Xa is polyphonic, so each voice will Glide from nate to note independently’ of all other notes. Portanento also functions in UNISON mode. PORTAMENTO HODES-— In newer 0B-Xa's (after serial number 820818), the HOLD and CHORD switches are used in conjunction with the WRITE switch to select the Portanento Modes: HOLO The HOLD auitch selects between LINEAR PORTAMENTO (all voices slide anoothly fron one rote to another), and QUANTIZED PORTAMENTO (a11 voices nave fron one note to another in half ote steps). To change between LINEAR end QUANTIZED PORTAMENTO, hold the WRITE svitch, and shile holding it, press HOLD. There is na need to wait for the WRITE Light to cone on es with Kriting Prograns. CHORD The CHORD witch enables and disables an OFFSET in the Portamento Speed of the voices. The effect of the PORTAMENTO OFFSET is easiest to hear in UNISON, Without OFFSET, all of the voices will olide at exactly the sone soced: with OFFSET, the volese will glide at slightly different times, causing 2 Neluatering” effect curing the glide. To enable or disable the PORTAMENTO OFFSET, hold the WRITE foniteh, and while holding it, press CHORD. There is no need to wait for the WRITE Light fo come on as with Writing Prograns. The Portomento is act to LINEAR NITH OFFSET when the OB-Xa is firet turned on, The Portanento Offset or Guantizing may be changed at anytine, however sode changes are not progrannable. Also, if ¢ mode is Changed while @ chord is being held, the chord being held’ will be cancelled. vison hen switched on, causes all voices to be sounded by ene key depression. In UNISON, the GB-Xa keyboard operates with low ote rule, which meane’that the lowest note played on the keyboard will always have priority. When in SPLIT, the UNISON node is independent for the tro halves of the keyboard, so if the upper half is in UNISON, then only the Lowest note of the upper half of the keyboard will affect it. OSC 2 DETUNE This control allows Oscillator 2 to be tuned either flat or eherp relative to Oscillator 1. Turning the control to the Left makes Oscillator 2 oo flat and to the right makes it go sharp. The LED above the OSC 2 DETUNE control turns on when the Oscillator 2 is detuned fron Oscillator 1.FRONT PANEL CONTROLS / MODULATION SECTION THE LOW FREQUENCY OSCILLATOR (LFO) is used for modulation st low frequencies —-that is, frequencies below the range of hearing. If you were to listen to the LFO directly, you would not heer anything; however by Contralling the frequency ar pulse width of an cscillstor or filter, the effect of the LFO becones apparent. a-LF-- RATE This control determines the SPEED of modulation. The range ig fron approximately 1/10 oscilletion per second to 20 oscillations per second. The following enitches determine the TYPE of modulation: SINE nan ewitched on, solects sine wave modulation fron the LFO. This cousea a enocth rising and Felling of pitch of the oseiilatere or filter during frequency madulstion or smooth Changing of the pulse width during pulse width modulation. SQUARE nen eitched on, selects square wave modulation fron the LFO, This produces a discrete interval change during Frequency modulation of oscillators or filter, or discrete pulse width change during pulee width modulation. s/f hen switched on, selects a random output from the LFO. This produces © sequence af random pitches during frequent Resuletion of aecillators or filter, of a sequence of randon pulse widths éuring pulse width modulation. =F REGUENCY-—— perth This control determines the ANOLNT of frequency modulation. Smal anounts of frequency modulation are frequently used to create vibrato effects; larger azounts can be used for special effects. asc 1 Pressing this ewitch routes Frequency modulation to Oseillator 1. osc 2 Pressing this switch routes Frequency modulstion to Qseillator 2. FILTER Preseing thie ewitch routes Frequency modulation to the Filter.FRONT PANEL CONTROLS / NCDULATION SECTION verre ose 1 osc 2 PULSE WIDTH-- This control determines the AMOUNT of pulse width sodulstion. Pulse width modulation does not elter the pitch of the decilletors but rather the shape of the pulse wave, causing change in the tinbre of the sound not unlike the effect of = Foteting speaker on an organ. Pressing this ewitch routes modulation to the pulse width of Decillator 1. Pressing this switch routes modulation to the pulse width of Oscillator 2. OSCELLATORS SECTION The controls in the OSCILLATORS section control the range and shape of ‘the sound. 1. FREQUENCY SAM/PULSE, WAVEFORM PULSE WIDTH sync F-ENY 2 FREQUENCY SaW/PULSE WAVEF OF ‘This control determines the initial Frequency of Oscillstor 1, It operates in one octave steps within © four octave range. These switches choose the waveform of Oscillator 1. A Sawtooth wave contains all of the harnonic overtones, while 2 Pulse wave skips sone of the harmonics, and the sound is not ns "fot" oc 9 rocule. Thig control sets the initial pulse width of both oseilistore. ‘When it is set fully counter-cloclwise a square wave (50% duty eyele) ie selected. Turning this control Clockwise wakes the sound progressively thinner and more nasal. Pressing this ewitch causes Oscillator 2 to lock onto a hatmonic of Oscillator 1. Since Oscilletor 2 is syncing to Oscillator 1, changing the frequency of Oscillator 2 will cause a tinbral change rather then 2 pitch change This snitch allows the FILTER ENVELOPE to modulate the frequency of OSC 2. The snount is controlled by the MODULATION control in the FILTER section. With this control fat its maximum setting, and the FILTER ENVELOPE SUSTAIN level fat maximum, OSC 2 will increase in pitch one octave. This contral determinge the initial Frequency of Gecillator 2. It operates in half-step increments over a five octave range. Theee ewitches choace the waveform of Oscillator 2. 10FRONT PANEL CONTROLS / FILTER SECTION The Voltage Controlled Low Pass Filters (VCF) are used to control the brightness of the sound, Filtering out the higher frequencies (the *buzz") brignery controllable menner. The Filter is arguably the nost important jQaponene ina synthesizer, because it is the primary control of the tinbre, eettene color of the eaund. Because of this, each voice of the OB-Ke CEnteins two filters, 2 2-Pole end a 4-Pole.’ In the OB-Xa, the Filter SERtfon slao selects the sound sources (Oscilletors and Noise) thet are used in the patch. FREQUENCY This control sets the initiel cut-off frequency of the Filter. RESONANCE «This control determines the amount of resonance ("0" or Nenphasis") of the Filter. The RESONANCE enphasizes the cut~ off frequency of the Filter. As the RESONANCE is increased, the overall volume of the sound will increase in the 2-POLE node and decrease in the &-POLE made. MODULATION This control detersines the anount of Filter Envelope which nodulates the Filter. Modulation of the Filter by the Envelope is @ critical elenent in the synthesis of brass Sounds as well & creating percucsicn in organ sounds, to rane just_a few uses. The MODULATION contral also determines how much Filter Envelope will modulate OSC 2 when the F-ENY awiteh is on. the LFO cen also modulate the Filter. See SmoDULATION SccTzaN™ osc 1 When this switch is on, Oseillstor 1 is routed into the Filter ose 2 hen efther of these evitches are on, Oscillator 2 is routed TALF/FULL into the Filter. The FULL ewitch selects the full output of the oacilleter end the HALF switch selects 2 signal level approxinately 5 db below full output. NOISE, len this switch is on the Noise Generator is routed into the Filter. a-PoLe Turning this switch on selects the 4-POLE filter. When this aeitch is off the 2-POLE filter is selected. the effect of this switch is to chenge tho charpness of the Filtering effect. The POLE filter has a 24db/octave slope (sharper), Sich results in a fuller sound. The 2-POLE filter hes a YBeb/octave slope (nore gradual), which results in a brighter ‘sound. Rack This switch adds the control voltage from the keyboard to control the Filter Frequency. When an, the Filter in each Voice will treck the keyboard, and "open wp" ss higher notes fre played. The TRANSPOSE and MASTER TUNE controls will also contol the Filter shen TRACK is enitched on. nFRONT PANEL CONTROLS / ENVELOPES SECTION ihe Envelope Generetore control the timing of the sound. It is the cavelopes. that. sake a long sound long, end e short sound short. For cre ges the difference between a cresting ccean wave, snd an explosion, Sram ere two envelopes on each voice of the OB-Xa; one that controle the here “for tinbral control, end one that controls the Voltage Controlled Amplifier (VCA) for loucness control. FILTER ENVELOPE-—~ ArTack The Attack section af the envelope operates 25 soon ea a key is pressed on the keyboard, This control sets the tine the Filter tokes to get to its maximum offect, 25 determined by the MODULATION control in the FILTER SECTION. The shortest, Le se selected by setting the ATTACK control fully counter-closkwise.. vecay ‘ihe Decay section of the envelope comes into operation as soon #8 the envelope has reached its maximum level (as oon Se the Attack is completed). This control sets the time the Filter tekes to reach the austain level, as set by the SUSTAIN control, while a key on the koybosrd is being held down. ‘SUSTAIN this control este the level the Filter Envelope goes to Tollowiiy ite initiel decay, 29 oct by the DECAY control The Envelope will stay at the Sustain Level as long as. the key on the keyboard is held down. RELEASE nce the key is released, the Envelope moves to the Release section, end completes its cycle. The RELEASE control sets the Lime the Filter takes to go from the Sustain level, to the off level. If the SUSTAIN control is set to minisum, the Release section will have no effect on the sound if the key is pressed and held down. If the key is pressed and jnmediately let go (in less time then the combined Attack and Decay tine}, then the Releses Section will still have en effect. nen the F-ENV switeh is on, the Filter Envelope modulates OSC 2 28 well forthe FILTER. The pitch of OSC 2 will directly correspond to the wen Gr this Envelope. The ATTACK determines how fast OSC 2'e pitch will sab the OECAY determines how fast OSC 2 will decrease in pitch to the tise It by the SUSTAIN control, end the RELEASE determines how fast OSC 2 dere gerease in pitch after a nate hos been released. The MIDULATION wat Givin the Filter Section will control the range of the effect of the PMfter Envelope on both the Filter as well as Oscillator 2. 2FRONT PANEL CONTROLS / ENVELOPES SECTION LLOUONESS ENVELOPE-—— ATTACK The Attack section of the envelope operates ax coon 38 a key is pressed on the keyboard. This control sets the time the sound takes to get to its neximum loudness, The Shortest tine is selected by cetting the ATTACK control Fully counter-clockwise. Decay The Decay section of the envelope comes into operation as oon a5 the envelope hae reached its maximum level (as soon 2 the Attack is completed). this control sets the tin that the VCA (thet controls loudness) takes to reach the custein level, a6 eet by the SUSTAIN control, while © key Gn the keyboard ie being hold down. SUSTAIN This control sets the Level the Lousness Envelope goes to following ite initial decay, es set by the DECAY control. She Envelope will etay st the Sustain Level ss long as the key on the keyboard is held down. RELEASE once the key is released, the Envelope noves to the Release Section, and completes its cycle. The RELEASE control sets the tine the sound takes to go fron the Sustain level, to the ainimum level. If the SUSTAIN control is set to rnunimun, the Release eection will have no effect on the Sound if the key ie pressed and held down. If the key is pressed and inmedialely let go (in lees time then the fonbined Attack and Decay tine), then the Release Section Will etill have an effect. KEYBOARD SECTION (SPLITS AND DOUBLES) The KEYBOARD section controle the operation of Splits and Doubles on the B-te., The OB-Xa's rotmel configuration is that of e single &- Voice synthesizer. SPLIT anc DOUBLE allow the 08-Xa to be split into tho seperate polyphonic eynthesizers (hereafter called LOWER and UBPER), cach capable of different sounds and trenspositions. An Voice OB-Xe therefore Deconee two S-voices, a 6-voice becones two 3~ Voices, and 2 -voice becones two 2-voices. In the SPLIT mode, the [Oren voices are played with the lover half of the keyboard, while the UPPER voices are played with the upper helf of the keyboard. the SPLIT LOCATION can be placed anywhere on the keyboard, and either half of the keyboard can be transposed into any key without’ affecting the other elf. the DOUBLE mode causes the two halves of the keyboard to play “fnultaneously, with the upper and lower voices capable of having Eisferent sounds. The upper and lover voices can still be progranmed find transposed independently, and the balance between then can be Changed vsing the BALANCE control. »BFRONT PANEL CONTROLS / KEYBOARD SECTION ‘the KEYBOARD SECTION controls operate individuelly and in combination with eoch ather to produce ten different functions with just four buttons: FUNCTION Enter Split Mode Enter Double Hode cchenge Split Point Display Lower Program Display Upper Program Change Lower Transposition Change Upper Transposition Resetting Split Point & Transpositions Recalling Split Prograns Recalling Double Programe Bur TONS DovsLe SPLIT (hol¢ down) KEY (on the keyboard) Lower. weer SPLIT or DOUBLE (hold) LOWER (hold) KEY (on the keyboard) SPLIT or DOUBLE (hold) UPPER (hold) KEY (on the keyboard) SPLIT or DOUBLE. (hoe) GROUP A SPLIT (hold) PROGRAN a8) DovELE (hold) PROGRAM a8) oescRIPTION hen this button is pressed, the 0B-Ka enters the SPLIT mode. Pressing it again without sy Keys held down couses the OB-Ka to exit the SPLIT mode. nen thie ewitch is pressed the OB-Xa enters the DOUBLE mode. Pressing the ewiteh again Causes the O3-Ka to exit the DOUBLE mode. The key depressed ie now the lowest note of the UPPER keyboard. This new SPLIT LOCATION will be Tenenbered until anew split is entered, or @ split is recalled fron senory. The Lower Pragren cen be edited or changed without affecting the Upper Prooran. The Upper Progran ean be edited or changed without affecting the Lower Progran. NOTE: The MANUAL node cannot be used when an SPLIT or DOUBLE. The Loner Voices are referenced to the lowest "on the keyboard (CO). Trenspositions may be made to eny key. Preseing the "G" above the lowest "C" will transpose the Lower Voices 2 fifth, Transpositions may be sede in SPLIT or DGUBLE. ‘he Upper Voices are referenced to middle "C" on the keyboard (C2). Iranspositions may be rade to any key. Pressing the "C" below mniddle "C" will tranepose the upper Voices down an octave. The SPLIT Location and Transpositions are reset. to "normal" (Split Location at middle C, no transpositions). There are eight SPLIT PROGRAMS which can be programmed and recelled. (see "PROGRAMMING SPLITS AND DOUBLES", below). There ere eight DOUBLE PROGRAMS which can be programmed and recalled. (see "PROGRAMMING SPLITS AND DOUBLES", below). ryFRONT PANEL CONTROLS / MODULATION PANEL The Modulation Panel is located Just to the left of the keyboard. It contains a separate LOW FREQUENCY OSCILLATOR (LFO) with sine, sawtooth, and Square waveforme which can be assigned to one or both Oscillators. It’ also Contains @ PITCH BEND LEVER which can be used to bend Oscillator 2 or both Oseilletors up or down en octave or a major second. The functions of the Madulation Panel are not progrannable. When in the SPLIT er DOUBLE mode, the Nodulstion Panel can be assigned to either of both halves of the keyboard (see "KEYBOARD SECTION"). — UFO CONTROLS — RATE This controls the rate of the LFO. The rete can be adjusted from about .1 Hz to 20 Hz. The waveform of the LFO isa sine wave ven thie knab is pushed in, and a sawtooth wave when it {is pulled out. A square wave can be obtained by pushing and hnoLding the bend lever tonarde the resr (away from you), while at the sane tine pulling up on the RATE knob. err ‘This control allows you to control the depth of ‘the LFO without using the MODULATION LEVER. Turning the knob determines the modulation depth, and pulling up on the knob puts this control into affect. The srount of cepth set by Ehis control is sdded to the depth controlled by the WODULATION LEVER and the external MODULATION PEDAL. ose 1 These switches determine the destination of the LFO. The LFO ost 2 can be aesigned to OSC 1, OSC 2, or both. Both evitches are fautonetically turned off’ during’ Auto-tune to insure proper tuning. MODULATION This ie the left-nost of the two levers on the Modulation LEVER Penel. It controls the anqunt of modulation fron the LFO to the assigned Oscillators, Pulling this control towerds the Front of the unit will edd moze modulation. If the DEPTH control is on, this lever will add more modulation to the mount set by the DEPTH control. It hes no effect when pushed toward the rear. 16FRONT PANEL CONTROLS / MODULATION PANEL PITCH BEND LEVER osc 2 ONLY NARROW DORN & UP LOWER & + PITCH BEND CONTROLS -— This is the rightmost of the two levers on the Modulation Panel. It is used to bend the pitches of the notes being played. Pulling it towards the front causes the pitch to go Up, and pushing it towards the rear causes the pitch to go down. Tks Tange is determined by the NARROW switch. men this switch is on, the PITCH BEND lever bends only Oscillator 2 of each voice. When thie onitch is off, the BEND LEVER bend both Oscilieter of each voice. Bending only Oscillator 2 has an interesting, timbral effect fon prograns in which Oscillator 2 is in SYNC. This ovitch determines the range of the PITCH BEND LEVER. When this switch is on, the PITCH BEND LEVER has a NARROW Tange of up of down one whole step (e.g. "CM could move up to 2."D" or down to a "Bb"). When this switch is off, the PITCH BEND LEVER has a range of up or down one octave. == TRANSPOSE CONTROLS — These auitehes ect oa a master transpose for all voices. They allow you to tranopoce the entire heybeard up or down one octave fron the normal range. When neither of the two Switches are on, the keyboard is in the norsal range. Switching the DOWN butten on trensposes the keyboard one Gcteve below normal. Switehing it off pute the keyboard back fn the normal range. Snitching the UP button on trensposes ‘the keyboard one octave above normal, and snitching it off roturne the keyboard to its normal range. MODULATION PANEL ASSIGNMENT -~ These buttons are used to assign all of the functions of the UPPER MODULATION PANEL, except for the TRANSPOSE buttons, to either half of the keyboard wen in the SPLIT or DOVBLE mode. This allowe for MODULATION and PITCH BEND to be sssigned to one half of the keyboard, without affecting the other half. In the DOUBLE mode, it canbe assigned to one or both of the two Prograns being’ played. The LOWER end UPPER switches will both always stey on when not in the SPLIT or DOVBLE modes. See "KEYBOARD SECTION", sbove. uvxers 80s “Wwosd.004 KouWsioos a Mod OL a nano owOn le ek pees | no Wis 18 uy ‘wows o 107183 JOWTTOA ses edd ayo10 {euetad buss ap ‘sunaino O3Na1S ‘¥JONN3S OIOHAKTOSTWUIBIO SO OL B0UO)EM 3359¥9 OL Suojsauu0g Guymoys jauedieay eX-G0REAR PANEL CONNECTIONS AUDIO GUTPUTS ierr/aicnt oNo The B-Xe has a pair of stereo outputs as well as a mono ‘utput. Each voice can be individually panned to any position in the stereo spread with the pen pots located linaide the unit (see "PAN POTS", Page 26). The LEFT and RIGHT outputs have no relation to the Upper or Lower voices of the synthesizer. Similarly, the BALANCE control on the Front panel effects the balence between the Upper and Lower Voices rather then the belance between the Left and Right outputs. The one output is not affected by the penpots. However, the BALANCE control will still affect the balance between the Upper and Lower voices. The outputs are high impedance (approx. 75K Ohms) and. the average output level is 1 Volt peak to peak. A Direct Box is recommended when using the 08-Ka with low impedance recording consoles. CASSETTE INTERFACE onrTOR 0 mic sNeur To Auk INPUT 10 asreur ENABLE Foot SHITCHES ‘oF more information, see "CASSETTE INTERFACE", Page 20. This switch allons monitoring of the cassette interface deta through the audio outpute. This is @ low level cutput for cassette interface dat Thi is high level output for cassette interface data. This is the input for cassette interface date. Turning this switch "ON" (oway fron the audio output jacks) enables the cassette interface. All normal operations on the Instrument are turned off at this tine. The Foot Switch inputs are designed for use with the Model S-08X Foot Switch. The S-0BX contains @ momentary, normally open switch. SUSTAIN PROGRAM ADVANCE Pressing the Sustain Switch causes the RELEASE on all Envelope Generators to be set to about 3 0" Clock (opproxinately 7 seconde) Pressing the Program Advance Switch advances the programer to the next program. For exanple, if program Aé is presently selected and this switch is pressed, the Progranmer moves on to progran A7. IP progren ABCDS is’ selected and this ewitch is pressed, the Progranner moves on to progran Al. 1REAR PANEL CONNECTIONS / FOOT SWITCHES As the footswitch is depressed, the programs cycle as Follows: rou uicars Rou ucts NO. ABCD NO. A&B CD T : : 2 . 10 z.13 5 +e i oe oe 4 * a se 8 “8 B aes é . 4 sae 7 wae b eae a * HOLD The Hold switch functions exactly Like the HOLD button on the front panel, and will cause the HOLD light to light when in FOOT PEDALS The Pedal inputs ere designed for use with the Hodel P-OBX Foot Pedal. ‘The P-0BX cantaine a 50 K Ohm linear patentioneter with its wiper connected to the signal lead of the jack and the "off" or most counter-clockwise connection connected to the ground lead of the Jack. The wiper must make Fontact with the ground terminal when the foot dedai is in the completely "off" position. The third potentioneter connection is not used. vrBRATO The Vibrato Pedal functions like the Vibrato Lever on the MODULATION PANEL. It allows. the user to add vibrato from the LFO in the MODULATION PANEL to whatever oscillators are assigned to it. FILTER This pedal. controls the FILTER FREQUENCY of sll voices. The range of the pedel is Fron a slightly lover frequency than tien the pedal is not connected, to a significantly higher Frequency: COMPUTER INTERFACE ‘The Conputer Interface connector is used to interface the 08 Xa to the OSX Digital Polyphonic Sequencer, ot ather computer peripherals. This connector containe all of tho Conmnication Lines for the 08-Xe's microprocessor. Paver 115/230 ‘nis switch sete the power requirenents of the 08-Xa. AC RECEPTACLE Connect AC Power to this jack, which is @ standard, three-pin grounding connector; Switcheraft Series EAC. wwCASSETTE INTERFACE the B-Ka ie equipped with 2 Cassette Interface which sllovs programs conteined in the program mnory to de stored externally on an audio CSteetts. All that de required to use the Casket Interface feature is an Sigio cassette recorder with reasonable frequency response and a pair of Sinizplug to mini-plug audio connecting cables. The cassette player must have an eazphane or ext. spesker output. CASSETTE INTERFACE CONNECTIONS Connect the Earphone or Speaker output of your cassette recorder (a Cine output will act work) to the jack labeled "TD OUTPUT" on the rear af the OS-Xa, Connect the "TO LINE INPUT" jack on the rear panel of the 0d-Ka to the Line or Aux input of your cassette recorder. If the recorder does not have one, connect the "TO MIC INPUT" jack on the rear panel to the Mic input of your cassette recorder. Soe the diagram in Che "REAR PANEL CONNECTIONS" section of the manual. + note ** To reduce hum, the "TO LINE INPUT" and "TO MIC INPUT" Jacks have no ground connection. For this reason, it is necessary Eo connect both the Input and the Output cables when recording date ontc the cassatte recorder. CASSETTE INTERFAPF CONTROLS =-REAR PANEL CASSETTE This arith enables the csssetts interface. when the ENABLE Cessette Interface is enabled, the CASSETIE LIGAT on the front panel lights up and all’normal functions on the Inatrument are disabled. CASSETTE ‘This seiteh allows monitoring of the cassette interface dete MONITOR through the audio outputs. The switch has three volune levels: Loud, soft, and off. -FRONT PANEL-- RECORD Tie function shares witch with the WRITE function. Pressing RECORD allows you to record your prograns onto tape. PLay This function shares a switch with the GROUP A function. Presaing PLAY allone you to play your prograns fron the tape into the O8-¥a. CHECK. This function shares © switch with the MANUAL function. Pressing CHECK allove you to check your progres recordings without Writing them into the O3-Ka. 20CASSETTE INTERFACE / TRANSFERRING DATA ‘To RECORD PROGRAMS ONTO TAPE: ay 2) 3) 4) TO PLAY PROGRAMS FROM TAPE INTO THE OB-Ka: v 2) » 4) 5) Connect the Cassette Recorder to the Cassette Interface Jacks fon the rear panel of the 08-Ka as described in "CASSETTE INTERFACE CONNECTIONS", above Enable the Cassette Interface with the switch on the rear panel. Prese the RECORD switch on the tape recorder. You should now heer steady tone through the main outputs of the O3-Xa. Press the RECORD switch on the O8-Ka (it shares @ button with the WRITE switch )- After the RECORD witch is pressed, ten seeode of the steady "leader" tone will be sent. out followed by sixteen seconds of the ectuel menory inforastion. During these twenty-six seconds, the Light on the RECORD switch will be on. Connect the Cassette Recorder to the Cassette Interface Jacks Ge the rear panel of the OB-Xe es described in "CASSETTE INTERFACE CONNECTIONS", above. Eneble the Cassette Interface wilh the ewitch on the rear panel. Press the PLAY awiteh on the tape recorder. You will now be Eble te monitor the tape throuch the main outputs of the OB~ Ka. As soon as the Meader" tone is heard, press the PLAY switch fn the O8-Ka (it shares @ button with’ the GROUP A switch ). Re least three seconds of the "leader" tone must cone bet pressing PLAY and the rough sound of the nenory information. The Light on the PLAY ewitch will be 1it from the tine the Guiteh’is pressed until the First of the monory information is recognized. At that point, the GROUP Lights (A, B, C; 0) cone on in sequential ofder four times, indicating that {nfornation tranafer is taking place. If en error is detected, the CHECK Light will flash. ee nove He If the MEMORY PROTECT switch inside the 0B-Ka is set to PROTECT, the new data will not be stored in memory although the lights will sequence. See ‘ewony PROTECT SWITCH", page 25.THE OB-Xa/l2O FACTORY PATCH DIRECTORY Program 1 2 al 4 5 6 z 8 les [comm | atts | Bas [tm [vm | ae | Bi © | fener | covste | ie, | Semone | Ses | citrus | MSP | topo ns | rumest | tarmonica | St99* | accorion | Fite, | 88, | Bano | Ruse © [rumpaw | aor | Son, | Pesmoeree | Gane | eee’ [Fine | at wc [mse [tee [gies [ae [ase | se | tee | st ac | Yonica | Fuser | Suse | Bape | Gian | Reeorer | chimgs | “Roar” noc | come | pois | Sumo | Sot | Geet | Ye | Marimba | ter © | Foms Bik | Bex | cams | SWS? | Sym | Bo” | ea! ao | et star | ruse | fue | ew | grey | lee | Game ao [SziFot | cone | Sqpe | Ren [oan | “Rem? | Ree | Mion” ABD | laps carton | $00, | Woet | Ret |The | one” ‘Chopper o | « si | Sree | camer. | Bia | $0, | ciaves | ae soo | wag | was | Seem [ See [see [Gees | mnie | poreCASSETTE INTERFACE / TRANSFERRING DATA TO CHECK TAPES: The Hel the deta on Ck function of the Cassette Interface enables verification of @ tape without actually treneferring the data into the 03-Xa's retary. A TAPE SHOULD ALWAYS BE CHECKED AFTER RECORDING. v 2) 3) a 5) Connect the Cassette Recorder to the Cassette Interface Jacks fon the rear panel of the O8-Xe es described in "CASSETTE INTERFACE CONNECTIONS", sbove. Enable the Cessette Interface with the switch on the rear panel. Press the CHECK switch on the tape recorder. You will now be fable to monitor the tape Unrough the main outputs of the O3- xa. ‘As soon es the "leader" tone is heard, press the CHECK switch fon the 0B-Ke (it shares a button with’ the MANUAL switch ). Re with the PLAY switch, ot least three seconds of "leader" tone must follow pressing the switch and precede the rough sound of the manory information. The CHECK light will. be on Gaping the reception of the leader tone and the GROUP Lights will sequence, just ae during the PLAY operation, however no Sctual information transfer into menory takes place. A CHECK error ie indicated if the CHECK light flashes at the end of the operation. we yoTe # Once the leader tone hae sterted the cassette {interface must complete its cycle. However, before the leader tone has started you may cancel ‘the cassette operation by pressing CHORD. 2CASSETTE INTERFACE / POSSIBLE CALSES OF TAPE TRANSFER ERRORS If errors sre found during the play or check process, the CHECK Light will flash, of the Ay 8, C, or D lights will stay on. If this happens, one OF the following reasons might be responsible: A) There is a bad spot on the tape. B) The playback volume is too high or too low. Some trial and error may be required. Generally the best level is as hich 28 possible before distorion occurs (approxinately 3/4 of the way up). If the playback volume very lov, the O8-Ka will not acknowledge the cata at all. ©) The tone control may be set improperly. It is important. that tthe tone control(s) be set so that neither the high nor the low frequencies are attenuated. 1D) The Batteries in the cassette machine are too weak. E) The tape recorder may have too much Wow and Flutter. Listen to the tone thet precedes the data. A lot of wavering is an Andication that the tepe playback suffers fran a lat of How ‘and Flutter. F) Sometimes tape errors are caused by poor recordings. Because of the large asount of gain in a tape recorder mic preamp, it Decanes easy for hum, noise, and distortion to abscure the data being recorded, especially whon uaing s tape recorder with Automatic Level Control (ALC). Set the recording level ‘aanually if possible, and use LINE ar AUX input if available. hen recording date Se sure to use OTH the record and playback cables. G) Some cassette recorders invert the phase of the signal in the Process of recording and playing beck. Cassette deta with inverted phase may not play properly. IF your cessette recorder NEVER checks of plays date properly, the inverted phase say be the problem." Try reversing the connect ions. on one side of your playbsck cable, so that the tip of the plug at one end of the cable connects to the sleeve of the plug en the other end. The Cassette Interface is designed to work with portable cassette recorders having an "Earphone", "Speaker", or "Monitor" output. The Interface is not designed to work with tape recorders having only a line level output. It is possible to use a tape recorder with only line out iF ‘the signal is enplified using, perhaps, the headphone jack of a stereo amplifier, however this set wp may be too cunbersase td be practical. It ‘aay also be possible to use a portable AN/FN/Cassette stereos if there is an external speaker output, of a "Walknen" type portable with headphone cutputs. 23CASSETTE INTERFACE / PLAYING (B-Xa/32 AND OB-X TAPES ON THE 08-Ka/120 Older 08-Xa cassettes (32 Programs) as well a5 0B-X cassettes are conpatibie with the 0B-X2/120. When playing O8-X tapes into the OB-Ka/120 CREPEROLP Lights will cycle once only, the treneferred prograns will appear {PP ihe finet four croupe ("A", "B, TAB", & °C"), ond the progrens in the ie auiRing eleven groups will be unchanged. When’playing 08-Xe/32 tapes into the go-Xa/120, the GROUP Lights will cycle twice, and again the transferred Stegrane will’ appear in the first four groupe. The split and double Programs will ALL becone splits and eppear in’the eight split progron Seegtione. The eight double locetions as well es groups "AL", "BC", end "ASE" will becone Filled with rancon data (weied sounds or no sound at all), cae the other eight groups will remain unchanged. After transferring older’ Rapes, the power should be turned off and then on again fer proper operation. 08-X0/120 tapes may be played on 08-Xa/32"s and OB-K's a5 well, ‘although only the first 32 prograns ("A", "B", "AB", & "C") will be traneferred. (p-Xa programs containing F-ENV will play on 0B-X's a8 X-HOD and vice verse} similarly, 4-POLE on an 0B-Xa will appeer on an 08-K as HALF NOISE. FyINSIDE CONTROLS tneide the B-Xa are several infrequently usec controls. To operate these controls, it is necessary to open the unit. wee CAUTION 4 Exereise care when operating controls inside the unit. Some of the circuitry contains high voltages (Ropecisily on the left eide of the unit, near the AC recepticle) and the possibility of shock’ exists. OPENING THE UNIT 1) Remeve the top two screws on each ond belly 2) Raise the 0B-Xa covers 3) When finished ineide the unit, close the cover and replace the end bell screws. MEMORY PROTECT SWITCH ‘The 05-Ke contains a HEMORY PROTECT ewitch, that prevents @ user from weiting into Program Menory, either with the WRITE switch or mith the PLAY oviteh of the Cassette Interface. This allows one to protect programs fron accidental erasure. The HEVORY PROTECT euitch is located {feide the OB-Xa, on the printed circuit board which holde the microproceaser and the monories. The OS-Xa cones fron the fectory with this switeh set in the protected position. To change the position of the MEMORY PROTECT euitch, Follow this procedure: 1) Open the unit as described above; 2) Locate the PROTECT switch on the processor boards 3) To protect prograns, position the switch toward the front of the B-Kas 4) To allow progran changes, position the switch away from the Front of the (8-1. 5) Close the cover and replace the end bell screws. 2Protect Switch and Pan PotsINSIDE CONTROLS / PAN POTS The 0B-Ka comes from the factory with Voices 1b panned all the way to the left end Voices 5-8 panned all the way to the right. Each of the voices can be panned anywhere in the stereo outputs by setting the pan pots lorsted insice the unit. Use the following procedure: 1) Open the unit as described aboves 2) Each voice has its own pan pot, located on the right-hand side of teach of the two nother boards.” To gein access to the lower voices tray, disconnect the ceble connecting the two mother boards, Femove the three screvs holding down the upper voices tray, and Hilt it into a verticel position; 5) Determine the sequencing positions of the Voices by playing one rote repeatedly, ‘end observing the LEDs on each voice. Voice 1 is the left-nost Voice on the lower voices tray, Voice 2 is the Second voice fron the left on the lover voices tray, etc. A Voice Je determined "on" when its associated LED is on. 4) Set Voice 1 Pan Pot as desired, sequence to Voice 2 and set its Pan Pot, and repest for Voicos 3 snd 4 5) Return the upper voice trey to its normal position, secure with the screws, reconnect the cable, and set the renaining Pan Pots as described above. VOICE KILL SWITCHES Inoide the OB-Xa is an eight position DIP switch that is used to turn off individual voices. These owitches can be used to disable 2 voice that is not functioning properly or turn an specific voices for testing and calibration. The Voice Kill switches ere also used to disable the (nused voice positions on a Six-Voice er Four-Voice. The Voice Kill Switches are located on the Pot Bosrd (the board thet contains the knobe and switches on the front panel), next to the Test 1 Gn Tect 2 slide switches, With the point of a pencil, press the individual switch elenent "OPEN" (down) to turn OFF the corresponding TEST SWITCHES Next to the DIP switch you will find two large elide switches labelled TEST 1 and TEST 2. rest 1 The TEST 1 ewitch, when in the OFF (down) position, disables the Auto-Tune circuit. Test 2 ‘The new Auto-Tune circuit (in units above serial number 614203) will remove volcee which it cannot tune fron the Voice assignnent rotation. The TEST 2 switch defeats thi Feature. When the switch is in the Off (Down) position, Voices which cannot be tuned by the Auto-Tune circuit will Temain in the voice aseigrment rotation. 6SPECIFICATIONS SYNTHESIZER COMPONENTS: 4, 6, or 8 Voices; 3 Low Frequency Oscillators, ‘Seaple/Hiold Cizcuit, Polyphonic Portamento, Pink Noise Source COMPONENTS. IN EACH VOICE: 2 Voltage Controlled Oscillators 2 Voltage Controlled Filters (2-Pole or 4-Pole low pass type, selectable) 2 Envelope Generators 1 Voltage Controlled Amplifier NUMBER OF PROGRAMS: 120 Petch Prograns, 8 Split Programs, 8 Double Prograns KEYBOARD: 5 Octaves (C to C) KEYBOARD MODES: FULL, SPLIT (splits OB-Xa into two independent synthesizers), and DOUBLE (plays both independent synthesizers Simultaneously); ptogrannable split point and transpositions anywhere fn the keyboard (in SPLIT ar OOUBLE) OUTPUTS: Stereo and Mono signel outputs (Output Level 75K Ohas Tapedance: 1 Volt pesk to peak, Cassette Interface inputs and outputs Conmuiter Interface (Parallel Interface) FOOT CONTROLS: Footswitehes: Sustain, Hold, Program Advance Foot Pedale: Filter, vibrato POWER: 90-150 or 100-240 Volts AC, 50-60 Hz, 50 Watts DIMENSIONS: 40"(101.6em) wide, 20%(50.8en) deep, 6"(13.240m) high WEIGHT: &5 Abs. (20.42k9) 2