This analog powerhouse is packed into a four-octave, semi-weighted keyboard with velocity and channel aftertouch, making it perfect for stage or studio. In this state, what you see is what you hear. Turning on the Manual button enables live panel mode, in which the sound of the OB-6 switches to its current front panel settings. Included are 500 permanent factory programs and 500 rewritable user programs. The knob-per-function front panel puts virtually all OB-6 functions at your fingertips. Unison mode features configurable voice count (1-6 voices), chord memory, and key modes. The full-featured arpeggiator can be synced to external MIDI clock as well. You can create sequences polyphonically, with rests, and sync to an external MIDI clock. The polyphonic step sequencer allows up to 64 steps and up to 6 notes per step. Destinations include oscillator 1 frequency, oscillator 1 shape, oscillator 1 pulse width, filter cutoff, and filter mode. Modulation sources are filter envelope and oscillator 2, both with bi-polar control. X-Mod and Poly Step SequencingĪlso present is X-Mod, which expands the tonal palette and makes it easy to create dramatic and unconventional sounds. While the effects themselves are digital, with 24-bit, 48 kHz resolution, a true bypass maintains a full analog signal path. The dual effects section provides studio-quality reverbs, delays (standard and BBD), chorus, flangers, and faithful recreations of Tom’s original phase shifter and ring modulator. Voltage-controlled amplifiers complete the all-analog signal path. Powered by an engine conceived in the image of Tom Oberheim's groundbreaking SEM, each voi. The classic Oberheim-inspired 2-pole, state-variable, resonant filter provides low-pass, high-pass, band-pass, and notch functionality. The Dave Smith Instruments OB-6 6-Voice Polyphonic Analog Synthesizer is the realization of two of the greatest minds in synthesis coming together to produce an elite instrument brimming with possibilities. It features two discrete voltage-controlled oscillators (plus sub-oscillator) per voice with continuously variable waveshapes (sawtooth and variable-width pulse, plus a triangle wave on oscillator 2). The OB-6 sound engine is inspired by Tom’s original SEM, the core of his acclaimed 4-voice and 8- voice synthesizers. No other modern analog poly synth can boast such a pedigree or such a massive, in-your-face sonic signature. Maybe swapping out the crunchy options for a couple more acoustic models would have made it even more useful, but this remains an appealing six-string multi-tool and a genuine problem-solver for many gigging players.The OB-6 ® is a once-in-a-lifetime collaboration between the two most influential designers in poly synth history, Dave Smith and Tom Oberheim. The OB-6 takes the classic bold Tom Oberheim sound - with its true voltage-controlled oscillators, 2-pole filter, and amplifiers - and adds modern enhancements such as studio-quality effects, a polyphonic step sequencer, an arpeggiator, and more. “The launch of the Acoustasonic Player Telecaster feels like a no-brainer move for Fender, spreading the potential appeal of what is virtually a whole new category of guitar. The feel of the bevelled arm rest and fingerboard edges says quality and comfort this is an inviting guitar and that Modern Deep-C neck will feel familiar to anyone who has played the electric Player series models.” A lovely dark rosewood fingerboard and bridge replaces the US version’s ebony, but that’s not anissue for us. “In terms of feel and build, we honestly can’t find a compromise between this Ensenada-made Player and the US Acoustasonics we’ve tried. MusicRadar: The onboard voice options might have been scaled down but the Acoustasonic Telecaster sticks the landing as a Player Series model, in what could be one of the guitars to make the hybrid build truly go mainstream.įender Player Series Acoustasonic Telecaster: The web says That, in sum, is the sort of thing the Acoustasonic format encourages. That said, it can be pressed into service of many different kinds of styles, perhaps some that are all your own. It is warmer, with a little more width than you’d expect from a Tele’s bridge pickup. Fender promises twang but this isn’t Pete Anderson levels of twang. Park yourself on position one for a more traditional electric guitar experience, but don’t necessarily expect a traditional Telecaster experience. In a sense, this is a sound that almost exists outside of the spectrum of acoustic/electric tones, and is sure to support pedalboard experimentation. The sound is just coming from the piezo and as you turn the blend control it adds drive. Here is where the true hybrid tones are, and as such, there are fewer references for what we are hearing.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |