OB-E

THIS MANUAL IS COPYRIGHT GFORCE SOFTWARE LTD 2021.

ALL RIGHTS RESERVED. NO PART MAY BE REPRODUCED WITHOUT PERMISSION.
ALL TRADEMARKS ARE ACKNOWLEDGED.

1 OB-E
THE STORY
At Winter NAMM 2009 a keyboard player of note approached us with a list of desirable vintage
equipment asking if we were interested in making a purchase. Frankly, if we’d had the funds
we’d probably have bought everything, but two instruments stood out so we decided to throw
financial caution to the wind and, if necessary, sell a couple of vital organs in order to become their
custodians.
One of these instruments was an Oberheim 8-Voice and with a deal struck we returned to the UK
and excitedly awaited its delivery.
While we’d been informed there was no provenance by way of certificates or pictures, our 8-Voice
had been previously owned by Chick Corea and when it finally arrived on the 8th March 2009 we
were thrilled to see the custom flight-case emblazoned with ‘Chick Corea World Tour 1978’ plus an
address of Griffith Park Blvd, Los Angeles. This is currently listed as Mad Hatter Studios and was
originally established by Mr Corea back in the 1970s. Opening this custom flight-case revealed
an instrument of our dreams and it’s fair to say that day marked the start of an enduring love affair
with the 8-Voice.
While the instrument is a physical monster, the concept of the 8-Voice is actually very simple;
based around a single Synthesiser Expander Module (SEM) containing two VCOs with Pulse and
Sawtooth waveforms. Two ADS Envelope Generators. One LFO and a magical Multi-Mode Filter.
In isolation a SEM is monophonic, but in the 8-Voice, because there are eight SEMs triggered by a
polyphonic keyboard we have the potential for eight note polyphony.
The Oberheim SEM was first produced in 1974 by Tom Oberheim, a physics graduate of UCLA
who, via a series of fortunate events, was inspired by a Harald Bode electronics article to build a
ring-modulator for the band The United States Of America, and jazz trumpeter Don Ellis in the early
1960s. Over time other notable musicians and film composers recognised the musicality of Tom’s
work with electronics and in 1969 he was approached by the product manager of Chicago Musical
Instruments Company (CMI) asking if he’d work with them. Their first product was the Maestro
RM-1A Ring Modulator, and following its success Tom followed up with the Maestro PS-1 Phase
2 OB-E
Shifter, having been inspired by musicians who were playing guitars through Leslie Cabinets.
Approximately 75,000 PS-1’s were sold - pretty incredible from a small operation run out of Tom’s
spare bedroom.
Following an early 70s NAMM show, where he first encountered an ARP Synthesiser, Tom
became an ARP dealer and sold 2600’s to various movie composers and subsequently designed
a modification that enabled the 2600 to be played duophonically. In 1973 he also released the
second ever commercial digital sequencer (the first being the EMS), the DS-2 resplendent with
three tracks and a total of 48 notes.
This was a fertile time for Tom who decided to build a small module that was designed to
compliment and expand the tonal palate of existing synthesisers, including ARP’s and Moog’s,
resulting in the birth of the SEM. At the time most synthesisers featured 24db per octave Low-Pass
filters whereas the SEM contains a 12 db per octave Multi-Mode filter featuring Low-Pass, High-
Pass, Notch and Band-Pass filter modes.
Tom recalls. “Those were in the days when the typical musician would have only one synthesiser that
you could play by yourself, or my digital sequencer could play it, but you couldn’t do both. So, I came up
with this idea to develop what I thought would be the absolute minimum, but still fully useful, synthesiser
module. That became the SEM. Then you could have the digital sequencer play the SEM, while you
played your synthesiser.”
In January 1975 CMI (which had now become Norlin) cancelled all orders for Tom’s effects pedals
forcing him to take drastic action to save his business. After chaining four of his expander modules
together and attaching a digitally scanned polyphonic keyboard, licensed from E-mu, in June 1975
he showed prototype versions of the SEM based 2-Voice and 4-Voice instruments at the Chicago
NAMM Show. According to Tom this was the first time a true polyphonic synthesiser had been
shown at a trade show and afterwards, via a mutual friend, Tom was introduced to Stevie Wonder
who, after a short demo, bought the 4-voice prototype.
While true four note polyphony was a serious achievement back in 1975 to achieve eight note
polyphony a supplementary case containing a further four SEMs was made. After hooking this
case up to a 4-voice via a couple of umbilical cables the user was able to play eight note chords
via the single polyphonic scanning keyboard.
This was manna from heaven for keyboard players, but all this power didn’t come without
responsibility. For each note played on the keyboard, SEMs would trigger sequentially - the first
note of a chord would play SEM 1, the second SEM 2, the third SEM 3 etc. So if you wanted to
play a uniform sound, polyphonically, across every note, each SEM had to be set up identically.
Given that we’re talking analogue electronics with all the tuning issues and subtle vagaries that
go with that technology, this represented a real challenge. Furthermore, if you wanted to change
the sound to yet another uniform polyphonic sound, it would entail changing all eight SEMs to an
identical setting. That’s a potential of 160+ knobs - not ideal in a live situation.
Remember, this was before the micro processor controlled memories that would later become
available on instruments such as the Prophet 5. While Tom later released a programmer section
that helped in situations like this, in practice it was a bit of a fudge and really only good for storing
global settings of the 4 or 8-voice. Nonetheless, the sound of a SEM, and especially those within
a 4 or 8-Voice is something to behold so musicians were soon queuing up to become part of the
Oberheim club.
One such member was Joe Zawinul who called Tom in 1976 to say said he’d bought an 8-Voice
and would really appreciate some advice on how to use it. Tom visited him and tried to explain
the various intricacies of the instrument but left thinking that his explanations had been largely
misunderstood. However, several weeks later Joe called back and invited him to his studio where
he played him the seminal SEM based track, Birdland.
According to Tom, the 4-Voice and 8-Voice were initially adopted by artists with a jazz focus,
musicians including Herbie Hancock, Joe Zawinul and of course the aforementioned, Chick Corea.
Those with rock influences followed rapidly, artists including; Rush, Styx, Supertramp & Patrick
Moraz. Eventually a small army of users had to have that ‘Oberheim’ sound including Earth Wind
& Fire’s Larry Dunn, George Duke, Rose Royce, Jam & Lewis, Prince, Frank Zappa, Michael
MacDonald, Jan Hammer, Lyle Mays and many more.
So what is the fabled Oberheim sound? It’s a
tricky one to answer because the Oberheim
lineage is wide and varied, from the 2, 4 &
8-Voice SEM based instruments, to the OBX,
OBX-a, OB-8 and Matrix 6 & 12 range. Each
have their own sonic character, but the adjective
that’s probably most used when describing 90%
of Oberheim instruments is ‘creamy’.
SEMs are not used for effects or massively
punchy bass lines - Those are best taken care
of by other instruments. But the SEM’s 12db per
octave Multi-Mode filter, (with continuous control
from Low-Pass to Notch and High-Pass, plus
a switchable Band-Pass mode) is very musical
sounding, and its lack of aggressive resonance
and self-oscillation definitely contributes to the
instrument’s ‘creamy’ description. Some might
say the filter is the SEM’s crowning glory.
Designed by Dennis Colin, one of ARPs very
first engineers, plus the man behind the ARP
2500’s brilliant 1047 Multi-Mode Resonator
filter and contributor to the ARP 2600 feature-
set and patch points. Just before his death
we interviewed Dennis for the Bright Sparks
documentary and it was evident from the off he
was a brilliantly fascinating engineer, with a love
of phase, and who thought outside the box. We
think the SEM filter is a prime example of his
unconventional thinking.
After the SEM based instruments, Tom went
on to develop a vast range of influential
music products. The OBX, OBX-a, OB-8
synthesisers each contributed hugely to the
musical landscape. The DMX drum machine
and DSX sequencer systems were used
extensively because of their great sound and
the interconnectivity afforded by the parallel bus
interface system that pre-dated MIDI. In fact, it’s
a little known fact that after seeing the parallel
bus system, in 1981, Roland President Ikutaro
Kakehashi approached Oberheim with the idea
of a standard communication protocol between
electronic music instruments. And in 1983,
largely thanks to Kakehashi, Oberheim and
Dave Smith, MIDI was born.
Oh… and if that’s not enough of a contribution
to synthesiser culture, it’s also rumoured that
the OB-1 mono synth prompted George Lucas’
naming of Star Wars character Obi Wan Kenobi,
due in part to Harrison Ford owning one.
Sadly though, by the mid 80s, thanks to the
Prophet 5 and Yamaha’s dastardly DX-7,
Oberheim Electronics was struggling. For a brief
period the company became ECC/Oberheim
before the Oberheim brand name was acquired
by the Gibson Guitar Company. The last
instrument that Tom was an integral part of and
which carries his name is the Matrix 12.
The story of Gibson’s 1994 OBMx is the stuff
of nightmares which is best left for another day.
Suffice to say that despite the Oberheim name,
Tom had nothing to do with it and instead it was
designed by Don Bucha, Lynx Crowe & Keith
McMillen, with Don subsequently disowning the
instrument. Additionally, the 2000 released OB-
12 was made by Italian company, Viscount, with
Oberheim 4 Voice the name being licensed from Gibson. Likewise, Oberheim 1
a software SEM currently available, simply
licenses the Oberheim name.
There’s a rule in business that you never name
the company after yourself because if it folds
and the company’s assets are purchased by a
third party, not only do you lose the right to use
your own name, you also have no say as to
where your name can be used. To that extent,
Oberheim remained a cautionary tale until
in 2019 Gibson’s CEO, James ‘JC’ Curleigh,
instigated the return of the Oberheim brand and
intellectual property to Tom.
However, even during the 30 years of not
being able to use the Oberheim brand, Tom
Oberheim Matrix Oberheim OB 8
proved that you couldn’t keep a good man
down, forming Marion Systems in 1987 to
produce a 16-bit sound card option for the 12-
bit Akai S900 Sampler. He also created the
MSR-2 synthesiser, which even Tom regards
as not his finest. This was followed by another
venture, SeaSound, making audio interfaces.
More recently, in 2009, Tom started to remake
SEMs as well as the Two-Voice Pro. And later,
in conjunction with Dave Smith Instruments,
Tom released the wonderful OB-6, his first new
synthesiser since the 1980s.
In terms of legendary status though, the
Oberheim 8-Voice is up there with the great,
Oberheim OB 12 sainted analogue polysynths. It rightfully sits Oberheim OBMX
alongside other giants including Yamaha’s CS-
80 and Sequential’s Prophet 10, both in terms
of sonic beauty and physical footprint. Likewise,
the name Tom Oberheim sits up there with the
true legends of synthesis, and in our opinion,
his lifetime’s contribution to electronic music can
never be emphasised enough.
Oberheim Matrix 6 Oberheim OBXA
3 OB-E
WHY SOFTWARE?
We actually embarked on a project to emulate a SEM many years ago but as soon as Tom
Oberheim announced his intention to remake them in 2009, we decided to discontinue that project.
After all, why would we want to step on the toes of one of our heroes by offering a software
instrument for sale at about 10% of the cost of his hardware module?
However, after posting a tribute video to our 8-Voice on YouTube, it’s fair to say we’ve been
inundated by requests for a dedicated 8-Voice software instrument. While a hardware SEM is
within the financial reach of a dedicated synthesist, the hardware 8-voice isn’t. Furthermore, the 4
and 8-Voice keyboards include a delicious unison mode. This is where you stack all the oscillators
on top of each other then trigger them with a single note-on. While this option is available on
numerous synths, on the 8-Voice, because each SEM can be programmed with completely
different envelopes, filters, modulation, even pitches, the potential is absolutely immense.
However, if you want to set every SEM identically to play one uniform sound polyphonically across
eight notes, software gives you the ability to copy and paste so that each is identical… Finally!
In 2018, when we learned that Tom intended to discontinue the SEM and 2-Voice instruments we
decided to resurrect our project due to our enduring passion for this instrument. The result is the
Octaphonic Mac-only, OB-E, a true GForce labour of love based on the original 8-Voice instrument
that we’re loved for many years.
4 OB-E
SECTION CONTROLS (UPPER MODULE)
This section contains controls applicable to the Upper section (SEMs 5-8) only, plus the Tab
necessary to change the OB-E interface size.
OB-E INTERFACE RESIZE TAB
Clicking on the tab at the top-left of the Upper Module exposes a
numerical display with which you can choose a percentage size
for your OB-E. To select the value, click and hold on the numerical
display, then move the mouse up or down. Moving upwards
increases the percentage value and once a size is selected, close
the OB-E interface and then reopen it. The newly opened interface
will take on the previously selected value.
LEVEL KNOBS
Each of these control the corresponding volume level of each SEM
from SEM 5 through to SEM 8.
When any SEM Volume Knob is set to a zero value, either via the
volume knob being turned fully anti-clockwise, or via an active Mute,
the centre of the knob will be illuminated in red.
PAN KNOBS
Each of these knobs control the corresponding pan positions of SEM
5 through to SEM 8.
OB-E uses Head Related Transfer Function (HTRF) in a bid to place sounds more
accurately & realistically within a sound field. HTRF methodology uses a mix of amplitude,
filter, and delay changes to widen the stereo field and emulate something more musically
useful than the traditional pan method.
MASTER LEVEL KNOBS
While the SEM Level knobs determine the volume level of individual SEMs, this knob
controls the overall level for SEMs 5-8.
It’s possible to simultaneously control the Upper & Lower Master Level Knobs by holding
Alt+A on your QUERTY keyboard.
When the Master Level Knob is set to a zero value, either via the volume knob being set
to zero, or via an active Upper Module Mute, you will see the centre of all the Level knobs
illuminated in red.
NB: Because there are three gain stages within the OB-E it’s important to set each stage
up properly. If your patch is too hot the first thing to do is back-off the Master Level. If that
has no effect, reduce the level of each SEM via the eight individual SEM Level knobs.
LOCK BUTTON
Activating this Locks-out SEMs 5-8 from any edits. This is perfect for when OB-E is in Split
Keyboard Mode and you want to edit the SEMs in Lower split without altering the SEMs in
the upper split.
SOLO BUTTON
Activating this Solos SEMs 5-8 only.
MUTE BUTTON
Used to Mute and Unmute SEMs 5-8.
SECTION CONTROLS (LOWER MODULE)
This section contains controls applicable to the Lower section (SEMs 1-4) only.
LEVEL KNOBS
Each of these control the corresponding volume level of each SEM
from SEM 1 through to SEM 4.
When any SEM Volume Knob is set to a zero value, either via the
volume knob being turned fully anti-clockwise, or via an active
Mute, you will see the centre of the knob is illuminated red.
PAN KNOBS
Each of these control the corresponding pan positions of each SEM
from SEM 1 through to SEM 4.
MASTER LEVEL KNOB
While the SEM Level knobs determine the volume level of
individual SEMs, this knob controls the overall level for SEMs 1-4.
It’s possible to simultaneously control the Upper & Lower Master
Level Knobs by holding Alt+A on your QUERTY keyboard.
When the Master Level Knob is set to a zero value, either via the
volume knob being set to zero, or via an active Upper Module Mute,
you will see the centre of all the Level knobs illuminated in red.
LOCK BUTTON
Activating this Locks out SEMs 1-4 from any edits. This is perfect for when OB-E is in Split
Keyboard Mode and you want to edit the SEMs in Lower split without altering the SEMs in
the upper split.
SOLO BUTTON
Activating this Solos SEMs 1-4 only.
MUTE BUTTON
Used to Mute and Unmute SEMs 1–4
5 OB-E
GLOBAL CONTROLS
VCO1 FREQUENCY KNOB
This knob changes the tuning of every SEM VCO1 in accordance with
their setting within each SEM. This is a great real-time control allowing
you to change the relative pitches of all VCO1 Frequencies on-the-fly
from a single knob. As per the original instrument, the 12 semitone
increments are stepped.
VCO2 FREQUENCY KNOB
This knob changes the tuning of every SEM VCO2 in accordance with
their settings within each SEM. Like the VCO1 Frequency knob this is
a great real-time control allowing you to change the relative pitches
of all VCO2 Frequencies on-the-fly from a single knob across a 12
Semitone range.
PORTAMENTO
PORTAMENTO KNOB
Sets the glide time between notes.
PORTAMENTO LAYER SWITCH
In the upper position portamento is applied only to the
Upper SEMs (5-8).
In the centre position portamento is applied to all SEMs (1-8).
In the lower position portamento is applied only to the Lower SEMs (1-4).
VIBRATO
VIBRATO RATE KNOB
Vibrato is an independent LFO that’s directly linked
to the Modulation Wheel on your external controller
keyboard. This knob affects the speed of global
vibrato.
VIBRATO AMOUNT KNOB
This knob affects the depth or amount of vibrato and can be assigned via a CC to your
external controller keyboard. It can be used to apply a subtle amount of global vibrato as
an integral part of a patch.
NB: When being controlled by an external controller or Modulation Wheel the Vibrato
Amount knob does not animate.
VIBRATO DESTINATION SWITCH
In the upper position Vibrato is applied only to the Upper SEMs (5-8).
In the centre position Vibrato is applied to all SEMs (1-8).
In the lower position Vibrato is applied only to the Lower SEMs (1-4).
TUNE EDIT BUTTONS
DETUNE AMOUNT KNOB UNDO BUTTON
This knob is used to set the amount of oscillator Click this to UNDO any number of consecutive edits.
detune on all SEM VCOs. This can be used to
set each SEM VCO to either ultra precise tuning REDO BUTTON
accuracy (when set to it’s counter clockwise limit)
Accidentally hit the Undo button too many times? Hit this to REDO an edit.
or to create large VCO detuning (when set to the
clockwise extremity). If you want some detuned FLIP BUTTON
goodness, increase it. if you want to wrangle some
stray oscillators, decrease it. A shortcut button that provides immediate access to the flip-side of all SEMs where VCO3,
the additional LFO1 features and all Velocity and Aftertouch controls are located.
The Detune Knob effectively detunes and retunes
around semi-tone steps, and because of this, if you’re trying to you’re trying to get The keyboard shortcut to reset FLIP is: Alt+F.
something between tones it may affect your tuning. This is where the UNDO button can be
very useful. GROUP EDIT BUTTON
OB-E GLOBAL TUNE DISPLAY One of the most important editing tools on the OB-E, activating this button illuminates
all SEM controls green and every edit you make to each parameter will affect the same
With a default of 440KHz this display indicates the OB-E’s global tuning. By clicking and parameter on all other SEMs.
holding on the display, and then moving your mouse up or down, you can apply a global
tuning of anywhere between 430KHz and 450KHz. Double-clicking returns the value to the If you want to exclude (or lock-out) SEMs from a group edit, all you have to do is select the
default of 440KHz. LOCK button on each SEM you wish to remain unaffected by a group edit.
The keyboard shortcut for GROUP EDIT MODE is: Alt+G.
OCTAVE SELECTION SWITCH
OFFSET EDIT BUTTON
In the upper position the pitch of the OB-E is raised by one octave.
In the centre position the pitch of the OB-E is normal. Again, one of the most important editing tools on the OB-E, activating this button
illuminates all SEMs orange and every edit you make to each parameter will affect the
In the lower position the pitch of the OB-E is shifted down one octave. same parameter on all other SEMs while retaining their relative values.

TUNING REFERENCE BUTTON
When active, this button outputs a reference tone at the global tune frequency. The default
is 440KHz but if you change the global tune it will change.
PITCH BEND KNOB
Applies a positive and negative pitch bend in accordance with the amount of Semi-tones
set in the adjacent Range display. This is controlled by the pitch bend wheel or lever on
your external controller keyboard.
If you want to exclude (or lock-out) SEMs from a group edit, all you have to do is select the
LOCK button on each SEM you wish to remain unaffected by an offset edit.
The keyboard shortcut for OFFSET EDIT MODE is: Alt+O.
NB: OFFSET MODE ONLY WORKS ON CONTINUOUS CONTROLS. Also, if you have
VCO3 operating as a Syncronised LFO and you try to offset VCO3, any SEMs with
synchronised VCO3 settings will not respond.

PITCH BEND RANGE DISPLAY

Sets the pitch bend range between 0 and 48 Semi-Tones.

6 OB-E
PATCH HANDLING CONTROLS

LOAD BUTTON
Clicking on this opens the OB-E
Patch Browser. Here you can select
the patch that you want to audition
and/or load into OB-E. It’s possible
to select Folders and Patches either
via a mouse click or by using your
Mac keyboard’s Left, Right, Up and
Down Arrows.
Program - If you want to implement a set with program change commands, save your patches
here and assign them an patch change number at the beginning of the name.
Sequence Chord - Sequences that use the Sequence Chord Mode function.
Sequence Poly - S
 equences that use every SEM to create a fully Octaphonic
soundscape.
Sequence SEM8 - S
 equences that use SEM8 only. NB: SEM8 sequences are not
transposable.
Split Mono - M
 onophonic patches that contain a split point and consist of 4 SEMs in the
upper and lower split.
Split Poly - Polyphonic patches that implement the split feature.
Split Unison - Unison patches that implement the split feature.
Patch Browser
Unison Chord - Unison patches that create a chord via single note-on
Folders Patches
Unison Mono - Unison Monophonic patches.
As stated previously, you can use the arrow keys on your Mac keyboard to scroll up
and down through patches, as well as the left and right arrows to switch between Patch
Folders and Patches.
Factory Patches are located in HD/Library/Audio/Presets/OB-E

Once the Patch Browser is open, PROGRAM CHANGE

you will see three Tabs, each of Patches saved to the Folder named ‘Program’ will respond to MIDI Program Change
which show the following: Messages. Just make sure to add a program change number at the start of the Patch
1) Factory Patch Tab Name when saving to this location. Eg 00 Bass Pulse if you want that Patch to be loaded
via a Program Change Message value of 0.
This is the default tab when you
open the Patch Browser and reveals Subsequent Patches that you wish to respond to Program Changes should then be
two sections. The left section allocated numerical values of 01, 02 etc. Eg ’01 Aggressive Lead’ & ’02 The Blue Nile
contains the Folders in which all the Pad’.
patches are categorised. Eg Bass, Effects, Mono etc. 2) User Patch Tab
Clicking on a Folder reveals the Patches within that Folder in the right section. clicking on Use this tap when you want to load
a patch will highlight it and load it into OB-E for you to audition. patches that you’ve created yourself.
Folders are broken down into categories as follows: User Patches are located in User/Library/Audio/Presets/OB-E and when saving you can
Alpha Patches - these contain some of our favourite OB-E patches and are a good place obviously create your own folders to save your patches into.
to start if you want to know what OB-E is capable of 3) Tags
Bass - Patches designed primarily for use as Bass patches, These will be Monophonic. This tab reveals the various tags
Effects - FX style patches that the Factory Patches contain as
Mono - this folder encompass, lead type patches, monophonic patches with internal metadata. This makes it simple to
movement or general monophonic or legato patches. specify what kind of patch you’re
Poly Movements - Polyphonic patches that contain some kind of internal movement by looking for. Eg Bell, Drums, Poly,
way of noticeable filter or pattern based modulation. Atonal, Unison etc. You can also search for Major and Minor Sequences and Chords.
Poly Pad - Polyphonic patches that are great for use as beds or pads. Multiple tags can be selected by holding down the Command Key and clicking on the
Poly Pluck - We love a good pluck and this folder is chock full of polyphonic patches that various tag descriptors.
have sharp attacks. NB: You cannot assign Tags to your own Patches. Instead, we recommend
Poly Sweeps & Swells - If you’re looking for a nice resonant sweeps or sexy swells, this categorising them into folders containing your own descriptions.
is your folder.
Poly Synth - any other polyphonic patches that don’t fit into the other poly patch
categories.

7 OB-E
PATCH HANDLING CONTROLS

SAVE BUTTON MIDI BUTTON (CC)

Clicking on this opens the folder containing patches for OB-E. Simply name and save your
patch. All patches are save as Logic .aupresets and if you want to save in a format aligned
with your DAW host, please save via the DAW’s host Patch Management System.
MONO BUTTON
Clicking on this loads a basic default monophonic patch showing the Zoomed view of
SEM1 which you can use as a starting point to create your own monophonic patch.
This activates the MIDI CC window of OB-E where you assign MIDI controller numbers
to SEM parameters in order to control them from physical knobs or sliders on an external
hardware controller. Once this mode is activated, the button will turn yellow and you can
simply click on the parameter you wish to control and move the knob or slider with which
you wish to control it. The assignment is ‘learned’ and that knob or slider will now control
the movement of that OB-E parameter.
To remove an assignment, simply double-click on the number assigned to that parameter.

POLY BUTTON When all assignments are made, turn off the MIDI Button so that its Yellow illumination
disappears.
Clicking on this loads a basic default polyphonic patch showing the Zoomed view of SEM1
CLEAR button (Only visible when MIDI Button is active). This is used to clear the plugin of
but with Group Edit mode active. This means that any changes you make to SEM1 will
ALL MIDI CC Assignments.
take effect every other SEM.
The shortcut to enter or leave the MIDI CC mode is: alt-m.
M1-M4 BUTTONS
PARAMETER DISPLAY
M Buttons are four locations in which you can put your favourite patches in order to quickly
access them. To allocate a patch to an M Button, firstly have the desired patch loaded and This displays everything from the Patch Name to the value of the parameter being edited.
active on OB-E, then click on the M Button you wish to allocate this patch to while holding It is also possible to click and type a value into this window. To do this, click on the
down the Command key on your Mac keyboard (Command+Click M Button). parameter you wish to edit, then double-click on the parameter window, enter the required
value and hit Return.
M button Patches are stored in a Text File called ‘superpatches.txt’ located in USER/
Library/Application Support/GForce/OB-E

PREVIOUS PATCH BUTTON

Clicking on this changes the OB-E patch to the previous patch in the folder initially
selected via the Patch Browser.

NEXT PATCH BUTTON

Clicking on this changes the OB-E patch to the next patch in the folder initially selected via
the Patch Browser.

8 OB-E
KEYBOARD MODE CONTROLS

POLY/MONO/LEGATO SWITCH ADDITIONAL CONTROLS

Changes OB-E between Polyphonic, Monophonic & Monophonic Legato keyboard modes. SEQUENCER BUTTON
* Polyphonic Mode is used when you want to play OB-E Polyphonically.
This activates the onboard 8-step sequencer, details of which can be found on page 17.
* Monophonic Mode is used when you want the Filter and Amplitude Envelopes to re- The sequencer controls are revealed by clicking on the FX Tab.
trigger for each note on.
DELAY BUTTON
* Legato means ‘tied together’ and Legato Mode is used when you do not want the Filter
and Amplitude Envelopes to re-trigger when playing a note while another one is held. This This activates the OB-E’s Delay effect, details of which can be found on page 20. The
mode, combined with the correct playing technique achieves a smooth, transition from delay controls are revealed by clicking on the FX Tab.
note to note.
FX TAB
RESET/CONT SWITCH
Clicking on this replaces the Keyboard section with the Sequencer and Delay controls.
When RESET mode is selected, initial notes will always trigger SEM1.
In POLY Mode, if you play a four note chord the first note of the chord will trigger SEM1
but the other three notes within that chord will trigger SEM2, SEM3 & SEM4, respectively.
In MONO and LEGATO Modes each note will trigger SEM1.
When CONTINUOUS Mode is enabled, each note played, regardless of whether you’re in
POLY, MONO or LEGATO modes, will trigger the next successive SEM in what’s known as
a ‘round-robin’ triggering mode.

UNISON SWITCH
Arguably the most magnificent mode on both the original hardware 8-Voice and the OB-E.
This triggers all SEMs from a single note-on and is perfect for triggering chords or complex
soundscapes where each SEM is set to a different, yet complimentary sound.
NB: Unison is not Polyphonic so although you can play a Unison Patch with Poly
Keyboard Mode selected, i will only be monophonic. As such we recommend that
you use Mono or Legato Keyboard Modes when playing a Unison Patch.

SPLIT SWITCH
Similarly, it’s possible to use Split Mode in both Seq SEM 8 or Seq All modes.
In Seq SEM 8 Mode, you will lose SEM8 to the sequencer while retaining SEMs 5-7 in the
Upper Split and SEMs 1-4 in the Lower Split. This means that you have a maximum of four
voice polyphony in the Lower Split (SEMs 1-4) and three voice polyphony in the Upper
Split (SEMs 5-7), in addition to SEM 8 used as the sequencer.
You will find examples of this in the Sequence SEM 8 patch folder.

9 OB-E
SEM CONTROLS - FRONT PANEL
VCO1 FREQUENCY KNOB
This adjusts the tuning of oscillator 1 across a range of four octaves.
The outer ring of the knob controls coarse tune and the inner part of the
knob controls fine tune. Like the original hardware SEM, OB-E’s coarse
tune is continuous and there is no incremental steps when changing
pitch. This is great for creating subtle pitch settings or variations,
especially when creating differences between each SEM VCO.
However, for speed, we’ve enabled incremental pitch changes to the
coarse tune via a right-click (or Control-Click) Using this method you
can quickly establish the desired pitch via the outer Coarse Tune ring, before using the
fine tune ring for those subtle detunes.
10
VCO1 MODULATION KNOB & CONTROL SOURCE SWITCH
Move this knob to the left and the source control selected in the switch
below will control the frequency (pitch) of oscillator 1 depending on its
setting, as follows:
ENV1 will determine that the shape of Envelope 1 controls the
frequency (pitch) of oscillator 1.
VCO3 will cause the setting of VCO 3 to control the frequency (pitch) of
oscillator 1.
LFO1 will cause the setting of LFO 1 to control the frequency (pitch) of oscillator 1.
Move this knob to the right and the source control selected in the switch below will control
the pulse width of oscillator 1 depending on its setting and provided Pulse is the selected
waveform (see page XXX).
ENV1 will determine that the shape of Envelope 1 controls the pulse width of oscillator 1.
VCO3 will cause the setting of VCO 3 to control the pulse width modulation of oscillator 1.
LFO1 will cause the setting of LFO 1 to control the pulse width modulation of oscillator 1.
In the vertical position the selected control source will have no effect on oscillator 1.
PULSE WIDTH KNOB
This is a manual pulse width control for oscillator 1. In the vertical
position the pulse produced in each cycle is exactly one half as long as
the cycle itself (i.e. 50%). This is known as a Square Wave. As the knob
is rotated to the left of the vertical position the pulse becomes narrower.
As it is rotated right of the vertical is becomes wider.
Use this knob in conjunction with the VCO1 Modulation Knob and varying amounts of
Pulse Width Modulation, to modulate between varying pulse widths and create interesting,
non-static waveforms.
NB: This is only active if the Pulse Wave is selected for VCO1 in the VCF section. If the
saw wave is selected you will hear no changes when moving this knob.
SYNC SWITCH
When this switch is moved to the right, oscillator 2 is synchronised
to the frequency of oscillator 1. Oscillator 1 is not affected by this
switch but oscillator 2, when it is sync’d to oscillator 1 can only
produce harmonics of the frequency to which oscillator 1 is set. If this
switch is moved to the left (i.e. Off) the two oscillators are completely
independent.
OB-E
 VCF SECTION
VCO2 FREQUENCY KNOB
Containing the controls for the filter section.
This adjusts the tuning of oscillator 2 across a range of four octaves. The OB-E features a zero-delay feedback
The outer ring of the knob controls coarse tune and the inner part of the filter which is modelled using two hardware
knob controls fine tune. SEM filters as inspiration. One of these
As per VCO1, you can use right-click (or Control-Click) movements on were the vintage SEMs contained within our
the outer ring for quantised incremental pitch changes. 8-Voice. The other is from the reissued, more
modern SEM.
During development we constantly compared
and analysed the signals of both. The
VCO2 MODULATION KNOB & CONTROL SOURCE SWITCH differences between the two were probably
more down to calibration than anything
Move this knob to the left and the source control selected in the switch else, again testament to Tom’s exceptional
below will control the frequency (pitch) of oscillator 2 depending on its engineering abilities. However, we should
setting as follows: point out that Tom credits the SEM filter to ex-
ARP engineer Dennis P Colin, who we were
ENV2 determines that the shape of envelope 2 controls the frequency
fortunate enough to interview for our Bright
(pitch) of oscillator 2.
Sparks Documentary, shortly before his death
VCO3 will cause the setting of VCO 3 to control the frequency (pitch) of in November 2015.
oscillator 2.
LFO1 will cause the setting of LFO 1 to control the frequency (pitch) of oscillator 2.
Move this knob to the right and the source control selected in the switch below will control
the pulse width of oscillator 2 depending on its setting and provided Pulse is the selected
waveform (see page XXX).
ENV2 will cause the shape of envelope 2 to control the pulse width of oscillator 2. FILTER MODE KNOB
VCO3 will cause the setting of VCO 3 to control the pulse width modulation of oscillator 2.
The smaller knob at the lower right of the filter section determines
LFO will cause the setting of LFO 1 to control the pulse width modulation of oscillator 2. whether the filter will act as a Low-Pass filter (when set to the left),
a Notch filter (when set vertically) or a High-Pass filter (when set to
In the vertical position the selected control source will have no effect on oscillator 2.
the right). The transition between Low-Pass, Notch & High-Pass is
continuous, whereas Band-Pass mode is selected by moving the switch
situated underneath to the right.
PULSE WIDTH KNOB
NB: When Band-Pass Mode is active, moving the Filter Mode Knob will have no
This is a manual pulse width control for oscillator 1. In the vertical effect.
position the pulse produced in each cycle is exactly one half as long as
the cycle itself (i.e. 50%). This is known as a Square Wave. As the knob
is rotated to the left of the vertical position the pulse becomes narrower. FILTER FREQUENCY KNOB
As it is rotated right of the vertical is becomes wider.
This determines the cutoff frequency of the filter. If you don’t know what
Use this knob in conjunction with the VCO1 Modulation Knob and varying amounts of this means you’re probably a drummer.
Pulse Width Modulation, to modulate between varying pulse widths and create interesting,
non-static waveforms.
NB: This is only available if the Pulse Wave is selected for VCO2 in the VCF section.

11 OB-E
 ENVELOPE GENERATORS 1&2 (VCA)
RESONANCE KNOB
You can see by examining the MODULATION Switches for VCOs 1 & 2, and the VCF, Envelope
The original 4-Voice & 8-Voice manual gives what we think is a superb 1 can be used to control VCO 1 and Envelope 2 can be used to control VCO2 and/or the VCF. In
description of the resonance knob and as such we’ve reproduced it ordinary use ENV 1 will be used to only control the VCA, and ENV 2 will be used to control the VCF
verbatim:
The large single knob labelled RESONANCE determines the filter
resonance at the selected cutoff frequency. When this knob is fully
counter-clockwise the filter resonance is at a minimum; as it is rotated
to the right the resonance increases. At maximum resonance the filter strongly amplifies
any components of the input signal that lie within a semitone or so of the cutoff frequency,
but virtually ignores components that are not near the cutoff frequency. In other words a
pronounced peak occurs in the filter frequency response as the resonance is increased,
which grows higher in amplitude as it grows narrower in width. When the centre of the
peak is at exactly the frequency of an audio input to the filter, a relatively weak signal can
drive the filter to produce a very strong output.
ENVELOPE GENERATOR 1 (VCA)

FILTER MODULATION KNOB & CONTROL SOURCE SWITCH ATTACK KNOB

The attack knob determines the time taken to for the output voltage to rise from 0 to
The modulation knob is a reversible attenuator applying an amount of
maximum. This ranges from 0 to 6600 Milliseconds (6.6 Seconds).
control signal selected by the three position switch underneath. At its
vertical setting it will have no effect on the cutoff frequency but as the DECAY KNOB
knob is rotated to the right the selected control signal affects the VCF
directly. As the knob is rotated to the left, the signal affects the VCF The decay knob dictates the amount of time required for the Env 1 output to fall from
inversely, so that a positive voltage drives the VCF frequency down maximum to the sustain level set by the Sustain knob, and from this sustain level back to 0.
instead of up.
SUSTAIN KNOB
The switch selects one of the three sources for a control input to the filter modulation.
knob. The Sustain knob is not a time constant but a voltage constant. This constant is the level
at which the Env 1 output will be sustained for as long as a gate signal is present (i.e. as
ENV2 will cause the shape of envelope 2 to control filter modulation, where an amount has
long as the key is held).
been applied to the filter modulation knob.
VCO3 will cause the setting of VCO 3 to control filter modulation, where an amount has ENVELOPE GENERATOR 2 (VCF)
been applied to the filter modulation knob.
ATTACK KNOB
LFO1 will cause the setting of LFO 1 to control the pulse width modulation of oscillator 2,
where an amount has been applied to the filter modulation knob. The attack knob determines the time taken to for the output voltage to rise from 0 to
maximum. This ranges from 0 to 600 Milliseconds (6 Seconds).

VCO1, VCO2 & VCO3 WAVEFORM DECAY KNOB

SELECTOR & ATTENUATOR KNOBS
Unless at least one of these knobs is open i.e. rotated
either to the left or right, the SEM will produce no sound
regardless of any of the settings anywhere on the
module panel.
The first knob on the left, labelled VCO1, selects either the Sawtooth or Pulse signals
from VCO1 as an audio input to the VCF. The second knob does the same for signals
from VCO2. The third knob adds the signal from VCO3 when rotated to the left (see
VCO3 Waveform Switch) or Pink noise when rotated to the right. Signals from these three
oscillators may be mixed in various proportions by opening all three of the VCO waveform
attenuators at the same time.
NB: When VCO3 is set to LFO Mode, if you turn the VCO3 Attenuator knob to the
Left you will hear the a clicking that corresponds to VCO3’s frequency setting.
The decay knob selects the amount of time required for the Env 2 output to fall from
maximum to the sustain level set by the Sustain know and from this sustain level back to 0.
SUSTAIN KNOB
The Sustain knob is not a time constant but a voltage constant. This constant is the level
at which the Env 2 output will be sustained for as long as a gate signal is present (i.e. as
long as the key is held).
NB: As you can see by examining the Modulation switches for the two VCOs and the
VCF, Env 1 can be used to control VCO 2 and/or the VCF. In ordinary keyboard use, Env
1 will be used to only control the VCA and Env 2 will be used only to control the VCF.

12 OB-E
 MUTE BUTTON
LFO 1 CONTROLS
When activated, this Mutes the appropriate SEM.
In its original form the SEM LFO outputs a triangle wave and can control the VCOs
Again, as per the Section LOCK & SOLO buttons, there are also two Section MUTE
& VCF. On the OB-E we have expanded this to include additional waveforms, the
Buttons, one for SEMs 1-4 and one for SEMs 5-8 which enable quick solo of those SEMs
controls for which are included on the rear of each SEM (page 14).
via a single button push.
LFO 1 KNOB
This governs the frequency or rate of LFO. SEM CONTROLS - REAR PANEL
LFO 1 SYNC SWITCH Accessing SEM REAR PANELs can be done in various ways:
1 Click on the ZOOM button of an individual SEM. This enlarges the selected SEM placing the
When moved to the right position, this synchronises the rate of LFO 1 to your host tempo, FRONT AND REAR PANELS side by side.
and enables rates of between 16 beats and 1/32 of a beat.
2 Click on the triangle tab in the bottom right hand corner of an individual SEM to ‘flip’ it to
reveal its REAR PANEL.
SEM BUTTONS 3 Click on the FLIP button in the main control section to the left of the keyboard. This flips ALL
SEMs revealing their REAR PANELs.

COPY BUTTON
Copies the settings of that SEM to the clipboard.

PASTE BUTTON
Pastes the settings of any SEM copied, via the above button, from the clipboard to the
SEM.

ZOOM BUTTON
Click this button to zoom in on both the SEM front and rear. Once Zoom is enabled you
can switch between SEMs by clicking on any of the 1-8 buttons. To return to the normal
8-voice panel, simply deactivate the Zoom button.

LOCK BUTTON
Activating this stops the selected SEM responding to any edits.
There are also two Section LOCK Buttons, one for SEMs 1-4 and one for SEMs 5-8 which
enable quick locking of those SEMs via a single button push. This is especially useful
when you have a Split Keyboard with SEMs 1-4 in the lower half of the keyboard and
SEMs 5-8 in the upper half of the keyboard, and want to exclude either SEMs 1-4 (Lower)
or 5-8 (upper) from being edited while you tweak the others in Group or Offset edit mode.
NB: If you have any SEMs locked and you change Patch, the locked SEMs will not
change to that of the newly selected patch. So if you change to a new patch and
think “WTF is going on?” Check to see if any SEMs are locked and if so, turn them
off, reload the patch and make a note to be more careful next time.

SOLO BUTTON
Activating this Solos the SEM.
As per the Section LOCK buttons, there are also two Section SOLO Buttons, one for
SEMs 1-4 and one for SEMs 5-8 which enable quick solo of those SEMs via a single
button push.

13 OB-E
VCO 3 LFO 1 - PAGE 2 CONTROLS
VCO 3 can operate as either an audio range oscillator (as per VCO 1 & 2) or a Low Frequency
Oscillator (LFO). LFO 1 WAVE KNOB

VCO3 FREQUENCY KNOB As per the original hardware SEM, the default waveform for LFO1 is a
Triangle. However, we’ve included a few other waveforms which are selectable
When VCO 3 is used in audio range mode, this knob adjusts via this knob. Additional options are:
the tuning of oscillator 3 across a range of four octaves. As per Sine
Oscillators 1 & 2 the outer ring of the knob controls coarse tune
and the inner part of the knob controls fine tune. You can also use Ramp
right-click on the mouse (or Control-Click) to move the outer ring in
Square (positive only)
quantised pitch increments.
Square
When VCO3 is used as an LFO, this knob adjusts the frequency
or speed at which the LFO modulates. As per VCO1 & 2, the outer Noise (Sample & Hold)
ring of the knob controls coarse tune and the inner part of the knob
controls fine tune. Additionally, when used as an LFO (in non-sync LFO1 RETRIGGER SWITCH
mode) you can use right-click on the mouse (or Control-Click) to
When activated this resets the waveform phase every time a note-on event
move the outer ring in quantised pitch increments.
occurs.
VCO3 WAVE SHAPE SWITCH LFO INTRO KNOB
Selects between a Sawtooth, Sine or a Square Wave. The square
This applies a degree of ramp in or delay before the LFO1 Rate (set on the front panel of
wave is a fixed 50% square and its width cannot be changed.
the SEM) takes effect. When the LFO1 RATE SWITCH (on the SEM front panel) is set to
VCO3 MOD SOURCE SWITCH SYNC, the Intro (or Delay) Time is synchronised to the host tempo, with settings between
a minimum of 1/32 (Demi-semi-quaver) and 16/4 (Four Bars).
This determines the modulation source whenever any of the SEM
Page 1 Modulation switches are set to VCO3. By Selecting WAV
the modulation source will be the Waveform chosen by the above
VCO3 WAVE SHAPE Switch (Saw, Sine or Square), or Pink Noise.

VCO3 MOD ENV SWITCH

You can modulate (or sweep) VCO3 by the shape of either
Envelope 1 or Envelope 2. In the centre position (NIL) no
modulation will occur.

VCO3 LFO RATE SWITCH

When in the OFF position, VCO3 behaves in the same way as
VCO1 & VCO2 audio rate oscillators. When switched into LFO
mode (ON) VCO3 will become a second Low Frequency Oscillator
(LFO). With SYNC selected VCO becomes an LFO synchronised
to the tempo of your host with rates of between 16 beats and 1/32
of a beat.

RETRIGGER SWITCH
With VCO3 in LFO RATE mode, when in the ON position, the selected modulation
waveform will retrigger and reset the waveform phase every time a note-on event occurs.

VCO3 INTRO KNOB

In LFO RATE mode, this applies a degree of ramp-in or delay before the LFO Rate
waveform takes effect. When the LFO RATE SWITCH is set to SYNC the Intro Time is
synchronised to the host tempo with settings between a minimum of 1/32 (Demi-semi-
quaver) and 16/4 (Four Bars).

14 OB-E
VELOCITY CONTROL SECTION
Unlike the original 2, 4 or 8-Voice instruments, OB-E has
the ability to apply velocity dynamics and aftertouch to a
number of parameters. Whenever velocity is assigned to
a parameter you will see a Yellow corona appear on the
associated parameter’s knob.
VELOCITY FILTER FREQUENCY KNOB
When turned to the left, the harder you play the
keyboard the more the filter cutoff frequency closes
down. When turned to the right, the filter cutoff
frequency increases depending on how hard any
notes are played.
VELOCITY TO FILTER MODE KNOB
This control is used in conjunction with the SEM FILTER MODE knob and allows you to
change the position between the Low-Pass and High-Pass modes according to how hard
you play your controller keyboard. When Low-Pass mode is selected, only positive values
to the right of 12 o’clock will have an affect. Conversely, when High-Pass mode is selected
only negative values to the left of 12 o’clock will have an affect. When the FILTER MODE
knob is set to Notch (i.e. more central) settings to the left and right of 12 o’clock will have
an affect on the sound.
NB: The Velocity to Filter Mode Knob has no effect when Band-Pass Filter mode is
selected.
VELOCITY TO FILTER RESONANCE KNOB
With a zero position of 12 o’clock, this knob allows velocity control over Resonance in
conjunction with the VCF Resonance knob. When turned to the left, the harder you play
the keyboard the less Resonance will be applied. When turned to the right, the amount of
Resonance increases according to how hard any notes are played.
15
VELOCITY CONTROL SECTION (CONTINUED)
VCO1 WAVEFORM LEVEL KNOB
Applies velocity to either the Sawtooth or Pulse
waveform level of VCO1. When turned to the left,
the harder you play the keyboard the more level
will be applied to the VCO1 Sawtooth. When
turned to the right, the level of the Pulse Waveform
increases according to how hard any notes are
played. As with all other velocity controls, it should
be used in conjunction with the main VCO1
Waveform level knob. To indicate the degree of
velocity control applied to the main control, a yellow corona will be seen on the main
control knob.
VCO2 WAVEFORM LEVEL KNOB
Applies velocity to either the Sawtooth or Pulse waveform level of VCO2. When turned
to the left, the harder you play the keyboard the more level will be applied to the VCO2
Sawtooth. When turned to the right, the level of VCO2’s Pulse Waveform increases
according to how hard notes are played. As with all other velocity controls, it should be
used in conjunction with the main VCO2 Waveform level knob. To indicate the degree
of velocity control applied to the main control, a yellow corona will be seen on the main
control knob.
VCO3 WAVEFORM LEVEL KNOB
Applies velocity to either the Sawtooth or Pulse waveform level of VCO3. When turned
to the left, the harder you play the keyboard the more level will be applied to the selected
VCO3 waveform. When turned to the right, the level of VCO3’s Pink Noise increases
according to how hard notes are played.
As with all other velocity controls, it should be used in conjunction with the main VCO3
Waveform level knob. To indicate the degree of velocity control applied to the main control,
a yellow corona will be seen on the main control knob.
VCO1 MODULATION AMOUNT KNOB
Applies velocity to modulation of either VCO1’s frequency modulation parameter or pulse
width setting. When turned to the left, the harder you play the keyboard the more pitch
modulation will be applied in direct correlation to the yellow corona indicated inside the
VCO1 Modulation knob. When turned to the right, the harder you play the more Pulse
Width will be applied in direct correlation to the yellow corona indicated inside the VCO1
Modulation knob.
NB: The results of this are also dependent on the settings of the VCO1 Modulation
Source Switch on the front panel.
VCO2 MODULATION AMOUNT KNOB
Applies velocity to modulation of either VCO2’s frequency modulation parameter or pulse
width setting. When turned to the left, the harder you play the keyboard the more pitch
modulation will be applied in direct correlation to the yellow corona indicated inside the
VCO2 Modulation knob. When turned to the right, the harder you play the more Pulse
Width will be applied in direct correlation to the yellow corona indicated inside the VCO2
Modulation knob.
NB: The results of this are also dependent on the settings of the VCO2 Modulation
Source Switch on the front panel.
OB-E
VELOCITY CONTROL SECTION (CONTINUED)
ENV1 AT KNOB
Applies velocity to Attack Time of Env1 (VCA) as
indicated by the yellow corona on the Env1 Attack
Knob. When turned to the left, if you have set
anything other than an immediate Attack Time, the harder you play the keyboard the faster
the attack time will be. When turned to the right, the harder you play the keyboard the
slower the Env1 Attack Time will be.
ENV2 AT KNOB
Applies velocity to Attack Time of Env2 (VCF) as indicated by the yellow corona on
the Env2 Attack Knob. When turned to the left, if you have set anything other than an
immediate Attack Time, the harder you play the keyboard the faster the attack time will
be. When turned to the right, the harder you play the keyboard the slower the Env2 Attack
Time will be.
AMP AT KNOB
Applies a positive or negative value in conjunction with velocity. To indicate the level or
velocity to amplitude applied, a yellow corona will be visible on the corresponding SEM’s
Level Knob. If you’re in Group or Offset Edit mode.
FILTER TRACKING CONTROL SECTION
FILTER TRACKING AMOUNT KNOB
In the centre position filter tracking is off and filter cutoff is
constant for all notes. However, turning the knob to the right
progressively increases the filter cutoff above middle C while
progressively decreasing the filter cutoff on notes below
middle C.
FILTER TRACKING CENTRE KNOB
Changes the centre position of filter tracking across the keyboard range, changing it from
the default position of middle C. For a position above middle C, move the Centre knob
clockwise from centre. For a centre position below middle C, move the Centre knob anti-
clockwise from centre.
SEM LOAD AND SAVE BUTTONS
It’s possible to Save and Load the settings of an individual
SEM via these buttons. This is especially useful when
you’ve been playing with a single SEM and stumble across
a sound that could be valuable in the future but that you
don’t want to use right now. Simply press the save button, name it and save to a folder the
default destination.
User/Library/Application Support/GForce/OB-E/SEMPresets
NB: Loading a SEM Preset while in Group Edit mode will load the preset into all SEMs.
16
AFTERTOUCH CONTROL SECTION
You can select multiple Aftertouch destinations and apply a separate amount for each and a blue corona
appears on the selected destination in accordance with the amount applied.
NB: If Velocity has already been applied to the same destination, when you apply an amount
of aftertouch to the same destination, the yellow corona (velocity) will change to green for any
overlapping areas.
AFTERTOUCH AMOUNT KNOB
With the centre acting as a zero position, when turned right
this knob progressively increases the amount assigned to
the selected destination. Eg, when Filter Cutoff is selected
in the Destination Window Menu, turning this knob to the
right progressively increases the amount of Filter Cutoff that
occurs when you apply aftertouch on your external keyboard.
When turned left of the centre position applying aftertouch will decrease the amount of the
selected destination.
AFTERTOUCH
There are five aftertouch destinations, each of which can have a different amount applied.
The destination choices are as follows:
SEM Filter Cutoff
Select this destination to apply aftertouch to Filter Cutoff, then apply an amount via the
above Aftertouch Amount Knob. As soon as an amount is applied, you’ll notice the blue
corona appear on the Filter Cutoff knob with accordance to the specified amount.
SEM Amplitude
Select this destination to apply aftertouch to Amplitude, then apply an amount via the
above Aftertouch Amount Knob. As soon as an amount is applied, you’ll notice the blue
corona appear on the corresponding SEM level knob(s) in accordance with the selected
amount.
SEM VCO1 Modulation
Select this destination to apply aftertouch to the VCO1 Pitch or Pulse Width Modulation
knob, then apply an amount via the above Aftertouch Amount Knob. As soon as an amount
is applied, you’ll notice the blue corona appear on the corresponding VCO1 Modulation
knob(s) in accordance with the selected amount.
SEM VCO2 Modulation
Select this destination to apply aftertouch to the VCO2 Pitch or Pulse Width Modulation
knob, then apply an amount via the above Aftertouch Amount Knob. As soon as an amount
is applied, you’ll notice the blue corona appear on the corresponding VCO2 Modulation
knob(s) in accordance with the selected amount.
SEM LFO1 Modulation Rate
Select this destination to apply an increase or decrease to the rate of LFO1 modulation
knob, then apply an amount via the Aftertouch Amount Knob. As soon as an amount is
applied, you’ll notice the blue corona appear on the corresponding LFO1 Rate knob in
accordance with the selected amount.
NB: If Velocity has already been applied to the same aftertouch destination, the blue
corona will change to green for all overlapping areas.
OB-E
SEQUENCER SECTION
Back in 1976, Tom released the MS-1, a simple 8 step sequencer designed for use with the
original 2, 4 and 8 voice instruments. When plugged into the 4 or 8 voice it would trigger the last
SEM, leaving the other SEMs to be played from the keyboard. OB-E’s simple 8-step sequencer
takes Tom’s idea and enhances it in several ways. To access the Sequencer section, click on the
yellow tab in the bottom right of the black KEYBOARD MODE section.
While still only 8-Steps, OB-E’s sequencer can be simple or complex, depending on your chosen
settings. However, there are several things you should bear in mind when creating more complex
SEM 8/ALL OUTPUT SWITCH
When set to SEM 8 the OB-E mirrors the behaviour of the original 8-voice where an
optional 8-Step Mini-Sequencer can be used to trigger SEM8. We regard this mode as a
simple tool for ideas and as such it doesn’t employ the Transpose functions afforded to
the more elaborate All mode. SEM8 Mode does allow you to play along with the sequence
though, either fully polyphonically, (via the remaining seven SEMs), a polyphonic split
(with 4 SEMs in the lower split and 3 remaining SEMs in the upper split), monophonically
or in a monophonic split. The Patch Folder Sequence SEM8 contains various patches that
use this mode.
When set to ALL the sequencer will function according to the RESET or CONT settings in
the KEYBOARD MODE section.
If Reset is selected, the sequencer will only trigger SEM1*
If Continuous is selected the sequencer will cycle through the different SEMs starting
with SEM1* and continuing through each sequence step. This makes it possible to create
complex sequences where each SEM is set to a different sound.
* It is possible to override SEM1 being the sequence start SEM via the SEM START Knob. With
this knob the selected SEM will play the first step and subsequent SEMS will play in consecutive
order.
SEQUENCER NOTE INPUT SWITCH
It’s possible to input notes into the step sequencer via several methods. One is via a
click+hold and scrolling up or down in the NOTE Display windows (see NOTE Display
Windows section). However, with this switch it’s possible to input note numbers via an
external MIDI Keyboard and also to dictate the amount of steps played by the amount of
notes held on your external keyboard.
OFF
In this default position no incoming note data from an external keyboard is used to set
sequencer notes. The only notes that will play are the ones set in each of the Sequencer
Note Windows.
17
patterns, particularly when altering Seq Step Starts and Swing values. Essentially, swing is achieved
by offsetting every second step, while leaving the first and third steps intact. Therefore if you have a
sequence that starts on, say, Step 2, when you apply a swing value, because this Step 2 has taken the
place of the first step (or downbeat), when you apply swing it will become offset and the resulting rhythm
(just like the maths) is gonna sound a bit ‘wanky’. If that happens, just return the Swing to a zero value, or
make sure your sequence starts on a downbeat Step.
SET
In this position, when the sequencer is playing, the notes you play on your external
keyboard set the note value on the corresponding sequencer step.
AUTO
Sets the number of steps that the sequencer plays in accordance with the number of notes
you hold down on your external keyboard. e.g. if you play a 4 note chord, the sequencer
will only play for four steps before repeating. The notes played by the sequencer are
determined by the notes held down on your external keyboard.
SEQUENCER KYBD TRANSPOSE SWITCH
Once a sequence has been created by inputting the MIDI Note Numbers into the Note
Display, provided you are using the ALL Sequencer output setting, it’s then possible to
transpose that sequence, via your external MIDI keyboard, while it’s replaying.
NB: This transpose option will not work if the Sequence Output Mode is set to SEM8.
OFF
In this position the KYBD TRANSPOSE switch is inactive.
ON
In this position, when the sequencer is playing, if you play a note on your external
keyboard the entire sequence will relatively transpose to that position. i.e. If your
sequence is in the key of C and with the transpose switch in the On position, if you play an
F the entire sequence will transpose to the key of F.
HOLD
When activated the sequencer is muted if there are no notes being played. However, when
a note is held down it will play the sequence transposed according to the held note.
NB: Neither Sequence Transpose or Sequence Hold functions are available in SEM8
sequence mode.NOTE Display Windows
OB-E
SEQUENCER SECTION CONTINUED
NOTE DISPLAY WINDOWS
he display here indicates the notes in the sequence with its 8 steps indicated from left to
right. There are several ways to input note numbers for each of these steps:
1 Click and hold on the window displaying the note number and move the mouse upwards
or downwards.
2 Play and hold a note on your Master Keyboard and Click the LED of the Sequence Step
you wish to assign that note to.
3 Via the instructions in the aforementioned NOTE INPUT switch section.
GATE KNOBS
Controls the gate time (or duration the note plays) for each of the 8 steps. Used in
conjunction with the SEMs ENV1, turning the Gate knob to the right of centre increases
the gate time of the Envelope, while turning the Gate knob to the left of centre
progressively shortens the gate time of the Envelope.
GATE RESET BUTTON
Resets all gate times to their default centre position.
VELOCITY KNOBS
Controls the level (or loudness) for each note of the 8 steps. Used in conjunction with
the SEMs Volume Knob, turning the Velocity knob to the right of centre progressively
increases the level of the corresponding SEM, while turning the Velocity knob to the left of
centre progressively decreases the level of the corresponding SEM.
VELOCITY RESET BUTTON
Resets all Velocity knobs to their centre position.
SCALE DISPLAY
You can shoe-horn any sequence into the notes dictated by various Scales. To do this,
right-click and hold on the SCALE Display and select any of the Scales afforded by the
Major, Minor, Melodic and Natural options.
18
SEQUENCER MODE KNOB
Allows the user to select from 5 Sequencer modes as follows:
1) Forwards mode. Where the sequence plays the 8 steps from left to right, repeatedly.
2) Backwards mode. In this mode the sequence starts at step 8 and plays backwards to
step 1 before repeating.
3) Forwards & Backwards mode. Here steps 1-8 are played before the sequence reverses,
playing steps 8-1.
4) Random mode. Plays random steps repeatedly.
5) Chord mode. this mode allows you to play a chord and have that affected by the
Rhythm and Octave mode knobs.
SEQUENCER RHYTHM KNOB
Gives the choice of 15 rhythmic templates, each with preprogrammed Gate, Velocity &
Swing settings.
SEQUENCER OCTAVE KNOB
Selects the pitch range of the sequence in octave units, ranging from one octave to six
octaves for every sequence cycle.
SEQUENCER START SEM KNOB
When the Sequencer OUTPUT Switch is set to ALL and the KEYBOARD MODE is set
to CONT, The START SEM knob determines which SEM the sequencer starts from. The
default position is SEM1 and this, used in conjunction with the below Sequencer START
knob, can lead to complex patterns being created by different interactions between Steps
and SEM start positions.
SEQUENCER STEPS KNOB
OB-E’s sequencer has a maximum of 8 steps, but via this knob it’s possible to change that
to anything between 1 step and 8 steps.
SEQUENCER START KNOB
This determines the step the sequencer starts on and is especially useful for re-jigging a
sequence so that it starts on a different downbeat. The default position is to start on Step 1
but you can set it to start on any step as indicated in the Parameter Display Window.
OB-E
SEQUENCER SECTION CONTINUED

SEQUENCER RATE KNOB SEQUENCER FUNCTION BUTTONS

The default rate is synchronised to the tempo of your host or DAW at 1/8th Notes. LOCK BUTTON
However, the rate knob offers eighteen alternatives from 16/4 (four bars) to 1/32 notes.
Activating this allows you to change patches while retaining the currently active sequence.
SEQUENCER SWING KNOB LOAD BUTTON
Determines a positive or negative swing value for the currently selected sequencer Allows you to load any saved sequencer note values and associated sequence settings into
pattern. the currently active Sequencer Rhythm.
As explained previously, there are several things you should bear in mind when creating SAVE BUTTON
more complex patterns, particularly when altering Seq Step Starts and Swing values.
This allows you to save the currently active sequencer set up including note values for each
Essentially, swing is achieved by offsetting every second step, while leaving the first and
step and associated sequencer parameter settings.
third steps intact. Therefore if you have a sequence that starts on, say, Step 2, when
you apply a swing value, because this Step 2 has taken the place of the first step (or The default location for Sequencer Presets is: User/Library/ApplicationSupport/GForce/OB-E/
downbeat), when you apply swing it will become offset and the resulting rhythm (just like SEQPresets
the maths) is gonna sound a bit ‘wanky’. If that happens, just return the Swing to a zero
value, or make sure your sequence starts on a downbeat Step. DAW SYNC BUTTON

Below are comparisons between Logic’s Swing Settings and OB-E’s Positive (clockwise) When activated, the Sequencer will only play when your DAW (Logic, Cubase etc) is playing.
Swing Values: Pressing Stop on your DAW will force the sequencer to stop.
NB: All of the factory supplied Sequencer Patches have DAW Sync active which means that
Logic OB-E when the patch is loaded, nothing will play until you press Play on your DAW.

16A: 0.500 MIDI

16B: 0.540 Click and Hold on this button, then drag the current sequencer set-up into your DAW as a MIDI
File.
16C: 0.580
16D: 0.620
16E: 0.660
16F: 0.710

19 OB-E
DELAY SECTION

DELAY SYNC SWITCH DELAY DESTINATION SWITCH

Switches between unsynchronised and synchronised mode. Synchronised mode is used You can use this to apply the Delay signal either SEMs 1-4 or SEMs 5-8 or all SEMs.
to sync the delay times to that the host tempo of your DAW
DELAY HIGH-PASS KNOB
DELAY TIME LEFT KNOB
This applies a High-Pass filter to the delay signal and turning this knob progressively filters
Sets the delay time of the left channel. In Sync mode the delay times are from 1/32nd of out low frequencies of the delay’s audio bandwidth. This can help ‘declutter’ the overall
a beat to 4 beats. In unsynchronised mode the delay times are 10 Milliseconds to 1000 patch.
Milliseconds (10 Seconds).
KEYBOARD SHORTCUTS
DELAY TIME RIGHT KNOB
alt-a: for volume group edits
Sets the time of the right channel delay. In Sync mode the range goes from 1/32nd of
alt-o: offset mode
a beat to 4 beats. In unsynchronised mode the delay times are 10 Milliseconds to 1000
Milliseconds (10 Seconds). alt-g: group mode

DELAY LFO DEPTH KNOB alt-m: midi learn mode

alt-f: flip reset
This modulates the delay time, creating a chorus effect with long feedback, or a phaser
effect with short delay times. alt-z: zoom
DELAY LFO RATE KNOB cmd-click on an ‘M’ patch button sets the currently loaded patch to that button.

The rate of the Delay Rate LFO should be self-explanatory, but it also works with the LFO
Depth. Essentially, the “growth-rate” of the delay line is what determines depth, the less
time to “grow” the less depth the modulation has.

DELAY FEEDBACK KNOB

Sets the amount of times the delay lines repeat.
DELAY Sets the balance between the dry signal (containing no delay) and the wet signal
(containing only the delay signal).

DELAY CROSSOVER SWITCH

Switched to the ON position this feeds the left delay signal into the right signal and vice
versa, to create a ping pong delay signal.

20 OB-E
 GFORCESOFTWARE.COM

PATCH DESIGN:
Dave Spiers, Tom Wolfe, Darren Price, James High, Alex Ball, Stefano Daino, Jason Miles,
Jerry Kovarsky, Andrew Schlesinger, Nate Williams, Sean Charles, Graeme Rawson &
Hugo Brangwyn.

BETA TESTERS
Vincent Bead, Ty Unwin, Tim Dorney, Stefano Daino, Simon Forsyth, Sean Charles,
Robbie Bronnimann, Rick Smith, Richard Hilton, Reek Havoc, Norman Leete,
Nigel Hopkins, Lee Groves, Joseph Holiday, Jesse Terry, Jerome Meunier, Jem Godfrey,
Jeff Boult, Huston Singletary, Guy Robin, Flemming Bloch, Clifton Cameron,
Bruce Woolley, David Brinkworth, Alex Abajian and Gaetan Schurer.

PIRACY
If you have already purchased OB-E, thank you. The revenue from sales of our
instruments is put back into creating exciting products that we feel are different to those
offered elsewhere. As users of musical software we’re not thrilled by having to jump
through too many hoops to get things working and that’s why we offer unobtrusive copy
protection for our instruments. However, we can only continue to do this if people support
our efforts by paying for the huge amount of work that goes into creating each instrument.

LEGAL NOTICE
All product names used in this document are trademarks of their respective owners and
are in no way associated or affliated with GForce Software Ltd.

21 OB-E