Oberheim OB-8

My OB-8 is a rev. B5 with factory midi installed. Easy enough to use if you understand an analog synth. Factory patches sound very good and are completely useable even in today's music. Mine came with a manual but I am seriously contemplating re-writing the manual in MS Word and distributing it as the original is extremely hard to read because of the poor copy (blurry). It does, however, explain things well and to the point.

8 voice polyphony, keyboard action sucks. It's like a good majority of the keyboard action of that era (Korg Polysix, Memorymoog, etc..) so it doesn't have any weight to it and it's very springy. No effects built in; you avoid aural clutter this way :) My unit has the MIDI installed from the factory but I believe it's very rudimentary and only transmits on channel 1? I could be wrong but this synth comes from 1984 so midi was still relatively new anyway. There is no sequencer but there is an arpeggiator; something the predecessor OB-Xa did not have. No more expansion possibilities, as this already is an 8-voice synth.

Now the sounds are what makes this synth shine above many others. I am new to the Oberheim sound and have really owned the board for a month, but I am familiar with synths that have "OB" patches in them trying to recreate the original without even coming close. This thing has phat brass sounds. You can do the filter sweep from "Tom Sawyer" by Rush, "Jump" by Van Halen, and anything else that's typical cliche Oberheim :) The factory patches are very good as is before tweaking. I have already found my favorite patch to be C7 with longer release time and higher cutoff freq. It basically became a synth piano for me, and sounds deathy close to a Prophet-5. Then again, it is using the same chips as the rev. 3 P5 so I can't imagine why it wouldn't sound similar. There is no aftertouch or velocity and the keyboard, as stated earlier, does take some time to get used to playing if you're not used to crappy, springy action, but it is what it is and will have to suffice. It's probably better than having an old school Pratt-Read keyboard as used on the earliest OB-8's because then you'd hear clicking and have uneven action eventually.

I would probably depend on my unit now, that is after the tech fixed just about everything under the hood. I had a slight misfortune when I received my OB-8; it didn't work! Luckily I found a highly reputable tech in Ohio (Analogics) who fixed, upgraded and calibrated it for me. Unfortunately, it was a pricy repair since the main DAC was blown, there were problems with the voices, and the keyboard was previously worked on and some idiot decided to leave the key contacts flapping in the wind. Everything else so far is good, besides voice 1 which was an issue at repair and still is. Thankfully, one of the HC members instructed me to disable the voice and even though it's technically a 7-voice synth now, it sounds just as good and I can't tell the difference! I'm actually tempted to gig with it except it weighs a ton with the flight case and just isn't practical for me.

Oberheim is long out of business, but as mentioned before there are techs out there that specialize in these repairs so I'm not too worried about it now.

If it were lost or stolen I'd be pissed, but that's more of a reason to keep it home and not take the chance. If someone stole it from my house, then we have a problem! Then it's a**-kicking time.

I have been playing for 13 years, only began to collect and use synths in my music since 2002. I use the OB-8 along with a Korg Polysix, Yamaha Sk-20, Yamaha S-03, Moog MicroMoog and Moog/Realistic MG-1. I have wanted an OB-8 or Xa since I became interested in synthesis after hearing it on many of my favorite records. These days I have the money to own one so i figured what the hell.

People constantly compare the OB-8 and the OB-Xa. Listen- I know that it's a known fact that the OB-Xa is slighty fatter than the OB-8 due to the 8 using more software-controlled parameters than the Xa. It's perfectly fine to me! I like the fact that it has the voice panning on the side for easy access, has factory midi installed, and has a page 2 function where more modulation options exist. It also has an arpeggiator; something that the Xa doesn't have and is extremely useful and almost mandatory for me. The synth is not thin either. The sounds are very fat and loud and can overpower anything else you own. If this thing sounds thin to you then get a hearing aid or use better speakers. It's fine and I'd also rather have the more reliable machine with more options than to worry about some slightly dirtier tuning and faster envelopes. I'm sure the Xa is great too, but the OB-8 has a place in history as well and is very sought after and very good. If you have some money to blow, hook your studio up with this exceptional synthesizer.

i owned a factory midi fitted ob8, last version
factory presets where not available with this one.

Editing
One of the reasons i hated the synth and eventually sold it
Page 2, no visual help of what is modulating what, and some of the most
esoteric functions (like scalable lfo ramps) are in this page.

i had no manual but the service manual and 4 datasheets for the page 2 fuctions

8 voice, very bad keyboard quality, light spongy like on cheap modern synths, my obx has a much nicer keyboard if a little touchy.

no fx, plain analog, the fx are the modulators

midi, channel and program change, sysex data dump

no sequencer, quite a complex arpeggiator

Sounds
my main gripe compared to obx and obxa.
the ob8 defenitely has the weakest sound of all oberheims (exept matrix 6 is weaker but that is dco), at the ob8 output stage there is about
30 hz of bass missing compared to obx/obxa. this is because they added
a bass cut at the output stage of the synth to make it more lowmid to fit in a mix more easely, resonance is harshsounding, no ringmod, oscsync is a laugh compared to prophet or roland mks80.

SLOW software enveloppes, obx and oxba are hardware fullthrough, ob8
has software lfo's (if you modulate the filter slowly you hear the lfo
staircase from digital quantization, a real analog doesn't do this).

only the osc's and filters are analog and are the same curtisschip ones used in the cheapmodel sequential pro600/sixtrack etc.

sounds are still better than any virtual synth but surely doesn't belong in analog hall of fame like prophet5, arp chroma, jupiter 8,obxa.

This synth wheigs nothing compared to a 'REAL' analog polysynth because hardware is scaled down alnd all integrated software.
componentwise it's about 55 procent of its predecessor obxa, soundwise
it's about 60 procent of an obxa.

unless you can buy it cheaply stay away from this one because it doesn't deserve the name oberheim and Tom oberheim cited he thinks it was his worst synth (apart from a marionsystemssynth that is :-)

rumoured to be more reliable than its predecessors (should be with about half the component count) but mine lost 2 of its voices when i sold it
while my 26 year old obx runs perfect.

no way i would buy another for it's sounds, i would ressel it to some stupid ass with a nice profit and let him think he has the pride-ob
while i buy a far superior obxa or prophet with my profit.

i repeat Don't buy it at the normal streetprice of +- 1000 usd,
if this is your first analog you'll love it but if you would compare it to it's predecessors you'll want to throw it out of the window, really that's my advice and don't beleive the hype. funnily an obxa will only cost you 2/3d's of the ob8.

I own a 85 OB-8 rev B-5. It's a monster. Got other synths like the juno 106, jx8-p, jp8 and some digital staff (NL3, Ob12 etc..)but about polyphonic synths i know, this is the most powerfull one. Most of the original presets are really good, of course i always edit the sounds if i'l use them in studio.Its easy to program. Its True about the manual You must have it. Page 2 functions are not silk screened in mine and i think a little beat dificult to program this page.

Incredible Polyphony. you can decide it rotating 8 buttons on the right side of the wood panel, one button left or right for each voice.
for me, about polyphony, only the nord lead3 can reach it but dont forget the NL3 is a 2003 machine. how great is the OB-8

Here is again tha polyphony. the OB-8 filters re really great and sweet, but you can have a metalic sound if you wish. with so good quality filters and a great polyphony you have a keyboard you wont forget.

This keyboard makes the diference. i'm sure about it. i already used it in some works in studio and its like you have that sensation... is that sound for sure you imagined.

i never had a problem. i use it lots of times and if i am one or two weeks without use it i turn it on one hour to get warm and charge the bat. There are lots of tecnical information in the net.

What!!!! if my OB-8 were stolen or lost i get very sad. of course i would buy one again but mine already know me, you know.. I love the sound the solid metalic construction and dont mind about after touch and so on.. because we have to be realistic, this is a 1983 keyboard and i'm sure that in 20 years no one built a better one about the sound. Here i am again with the NL3 to compare it about polyphony, but is the only one. In leads, for me the JP8000 is the better.

Fairly easy to use the professional console.

Solid midi spec considering that it was built in and not a retrofit.

Excellent analog. I consider it somewhere between Moog and Sequential - Moog thickness/presence and the somewhat darker, more electronic sound of Sequential (same chips). Big and fat - think early Janet Jackson, Alexander O'Neil or SOS Band Bass. Roland Jupiter 8's very good but a slight notch below American synths like this one in terms of character, warmth and power.

The comparison with the OB-Xa is moot; it's like comparing different revs of Prophet 5s - the Xa and rev 2s are slightly warmer, but the similarities far outweight the subtle differences! All sound superb, and the OB-8's far more reliable and has midi in most cases.

The most reliable of the older American synths, almost Japanese in build quality!!

Easily worked on with a knowledable tech..

Classic analog that covers all bases.

As far as I know the software is not upgradable. This is not a present day synth.

The presets sound terrific. They are very much an 80's sound heard on many popular recordings and soundtracks.

Editing patches is easy compared to today's synths. These old rigs don't have anywhere near the quantity of features that a modern synth has.

The manual is well organized, but beware. It was written before laser printers were available. The font is Courier with no special features.

8 voices get exhausted sometimes when playing a chord and melody at the same time.

The keyboard action is unusual. Here again you get to see keyboard development as you go backward in time. It is VERY springy and has some mechanical noise. Turn up your amp volume. The potentiometers are large, heavy, and slow turning.

There is no expansion. MIDI can be retrofitted for about $200. No on-board sequencer. It is available separately.

There aren't any on-board effects like reverb and such. And of course this synth doesn't do instruments. It is an old analog model. Very warm sounds compared to today's VA synths.

Can you depend on it? Yes, it is well built, though modern synths are built better.

Gid without a backup? That is not a good idea no matter what synth you are using.

As far as I know there is no more support from Oberheim. Consult your local fix-it shop.

If my OB-8 were lost or stolen I probably would not buy another. I got mine in absolutely mint condition. It was not played much. Instead, it was stored for many years. The polyphony is limited enough so that I could not justify buying another. You really have to want one bad to justify the price of these old units. I wish the polyphony was bigger, but... Also, I wish it had come with MIDI.

Overall, it is an easy-to-use synth. If you are getting ready to buy your first analog synth, this is a good choice because you will not get overwhelmed by numerous features--as often happens with today's synths.

It's very intuitive. If you have an idea of subtractive synthesis,
here you go. However, one will need the manual. Especially to find
out how to store sounds. But there is nothing which is illogical,
once you got it.
No display, no worries about submenus - it's all plain to see. Above
all - it's full of knobs, buttons and LED's what makes it look cool,
like some power plant control panel in bond movies.

8 voice polyphony, 4 voice in double mode, it has also split mode.
2 oscillators per voice. Each voice can be panned separately with a
knob at the right side of the unit, which is better than on the OB-Xa
where you had to open the thing for that. The voice panning is the
total burner. Never ever heard a sound bouncing around so cool while
playing, and the pads get much fatter with that feature. Especially
when connected to some echo machine you know what bouncing echoes are
all about.
Two envelopes, one filter (2 pole and 4 pole), noise (unfortunately
only to toggle on or off, no idea yet what I could use it for), pitch-
bend and modulation lever, arpeggiator (which is cool and eazy), two
LFOs. Mine has MIDI, but not every one has. No idea about the midi
features, fot I don't use it. Storing sounds is possible via tape, but
I didn't try it out yet. Large amount of foot controllers possible,
i.e. filter, modulation, volume via expression pedal, and hold, patch
advance and something else I forgot via foot controller.
Noisy keyboard action, but doesn't seem to be easy to break. No velocity,
no aftertouch. Pity.
Excellent overall build quality. Big, but not heavy. No built-in effects.

Mimicking other instruments - forget it. But if you want punchy brass,
fat, rich pads, you are right. Well the thing really makes the fattest
pads. It can fill rooms with sounds you can almost physical feel, even
without any chorus or reverb. Just play it and dive through oceans.
I played it a long time without any effect unit, and this makes
no wories. You just don't need 'em. That is, because the thing is real
stereo, and therefore no need to broaden the signal like other mono
synths. Finally, I use some echo effects on it, but flanging and chorus
mostly suck the fatness out of the sound, and the sound becomes thinner.
I play it mostly for funky riffs, and background filler pads. But it's
also suited for bass, I think, and of course for solos. It's best for
this Van Halen - Jump - sound and the Axel F theme. Thats what it's
meant for.

I've experienced that the sound is best after the unit being tuned
some hours ago. Immediately after tuning the fatness is gone somehow,
but it comes back after a while due to some detuning effects between
the oscillators. Probably it's this what all the 'OB-Xa is phatter
than OB-8' fuzz is all about. But - at least this synth is tuneable!
If you want real detune phatness, just leave it in cold weather for
a while and don't tune it.

Just some words to the filter, which is the most important part of any
analog synth. It's the secret of the sound this unit has. It always
sounds warm, even if you crank up the resonance to the limit. If you
look for that agressive moog sound, you won't find it here. Well -
the filter is just what defines the Oberheim Sound, love it or leave it.

Voice panning is made best when woices 1,3,6,8 and 2,4,5,7, are panned
to the opposite sides. That is, because in double mode the synth behaves
like two independent synths, where the first one uses voise 1-4 and the
second one uses 5-8. If you play one note, it's always the same pairing
of voices of the two synthies, i.e. Voice 1 sounds together with voice 5,
2 with 6 and so on. By panning it the mentioned way, it is made sure that
the synths always sound on opposite sides, and you still have the maximum
bouncing effect when playing in single mode. This fattens the double
patches a lot.

Reliable. Never ever had a problem. Furthermore, it survives beer
attacks...
I always gig it without backup.

No idea. I know an excellent tech guy so I don't even care.
Problem is: it contains curtis chips, and these are out of
production for years. So if one of them dies, it may be real
hard to get replacement. Not to talk of the costs...

I like it. It has personality, and since I'm a hammond player, this
is of big importance to me. It has a unique overall sound, especially
the incredible patches, which is why I built it.
I wish it had a knob for the noise instead of a button.
I'll never sell it, at most if I need the money for an Oberheim Matrix 12...

It does take a little getting use to
but after a while you'll get it down
and flow with it.

8 note poly that can be spread all over L-R.
all the good analog parameters you expect from Oberheim and more.
The Arp is coll especialy the randum.
The silk printing page 2 parameters are way advanced for analog
editors / programmers and it can be used as a cool add on.
The Knobs act funny by changing the parameters only after you
turn them unclockwise and than...

Good old Classic Poly Analog Real synthesizer.
great pads/Strings
Fat Bass and lead sounds.( mono)
I found that the OB-8 as the Jupiter-8 and the kawai SX-240
are capable of splitting/Layring 2 sounds together
which makes it a real Stereo Synth.
I've got the latest Midi update and it rocks.

so far so good.

forget it.
I used Kurt from Kurt amps and Keyboards, AZ.

If it were lost or stolen,
I would hunt that person down...
I simply respect this keyboard, It is a warm and in my view
one of the best analog synth ever created from Oberheim.
It must be the best OB because it does not fail like the
rest of them OB's that I owned before.
It smells and feels just like the good old Analog
that every CO on earth is trying to recreate.
but, It is not a Jupiter-8 ...
The guy before me said that he prefered the OB-8 over the Jupiter 8
I own 2 Jupiter 8's and one OB-8 among other..
and I totally don't agree with him on that one.
the Jupiter-8 has more colors and tones uniquly to it.
However, it is a great synth which I will keep and use as long as I live.
The OB-8 also have a very "Silky" sound that is hard to get
from other synths.
I bought mine used and sent it to Kurt from "Kurts Amp and Keyboard"
in Arizona USA.
This Tech did a total reBuilt and made it working like new !
He also loaded the original sounds .
I found it to be a very importent tool in my music productions
and a very useful and unique analog sound generator.
I wish it had sliders like the JUP-8 but it doesn't.
It is very big and heavy which I don't like.
Every time I play with it I'll get a new sound that I can use.
You can find them for around a $1000 these days,
this is truly a best buy which gives you
a real Analog sound that no VA synth can realy touch.
( I compared it to my Yamaha An1x -
and my Korg Prophecy that I like a lot)
One more note,
All the old analog synths ( not included the Korg DW-8000)
came with no effects built in.
If you want to compare a VA ( Virtual Analog) synth to the old
ones, simply connect the OB-8 to Reverb,Delay etc and than compare them
Or, take the VA synths and listen to them DRY...
Think about it.

I've got the latest rev as it has factory MIDI and the Page 2 commands silkscreened on the front panel. I have no idea about the presets as there were only a few still in the memory locations before I started tweaking away and saving my own patches. Editing patches is a bit different than the Roland Jupiter/Juno series I'm more familiar with, but I'm getting used to it pretty quickly. That's not to say editing is hard, just different from my past experiences on analogs as the layout on the front panel is different. It's a good thing the Page 2 commands are printed on the front panel. It's pretty deep for an analog, but that's also why it is so flexible. The manual is thick, but readable. There's a lot more than you would expect to the OB-8 and the manual does a good job of explaining that.

8-note polyphony which was standard for it's time of production ('83-'85). 4-notes of polyphony in double (layer) mode. It can also do splits. The keyboard action is not that great. Organ-like keys--springy and shallow action. This is probably the weakest aspect of the OB-8.

There are no built-in effects, which is amazing considering how rich the sounds are. Ryan Day suggested using the LFO Phase feature on Page 2 which is great because it helps create expansive, phase-like patches. The detuning is great for a chorusing effect without all the noise that you have on the onboard chorus units in Roland's Juno series. I simply run it through my Lexicon MPX-100 and experience aural nirvana. Unison mode creates a rowdy beast of a synth. Very gutsy.

No expansion capabilities that I know of, but I really don't think anyone can complain about having 120 patch memories, 12 split memories, and 12 double memories. Sounds can be saved/loaded through cassette interface or MIDI.

MIDI in, out, and thru on mine as it has factory-MIDI. Keys aren't pressure sensitive. I would suggest light playing styles on them as they don't feel all that sturdy.

No onboard sequencer, but a nifty arpeggiator which I believe is syncable via MIDI. It's located near the pitch and modulation levers as to not clutter up the front panel. Nice.

All in all, a nice set of features for a synth of this age. Very performance-oriented. I'm eager to gig it.

If you're trying to get realistic sounds, give it up. Buy a sampler, rompler, or a physical modelling synth instead. This is an analog synth, damn it! The sounds overall to me, are warm, lush, organic, silky, and full of character. My VA simply pales in comparison to it. I've been utilizing pulse width, sync, detune, and modulation features to create almost ethereal soundscapes. It complements my K5000s very well. The lead sounds in unison mode are exhilarating and spacey. The pads can be sweet and mellow but can also be rezzy and grungy. The bass can either be clean percussive styles or fat ballsy monsters. Sweeps are a specialty as well. Organs are really good, too, not that I use them. I've even attained a fair Wurlitzer patch. Most of the sounds I use the Obie for are pads, comp synths, and leads. Great f/x sounds if you want to get really adventurous. Yes, yes, it can do those famous Obie brass patches as well, but I tend to avoid those or the "Jump" massive sawtooth sounds. This has more than replaced my Jupiter-8 I sold. I really love this synth and can't say enough about it. I've noticed little or no noise at all when playing it unlike my Juno-60 or the JX-8P I used to own (due to their onboard chorus units). Nice.

Styles of music it's suitable for: any music that can be created. Your mindset is the only thing that limits this synth! It's not just a metalhead synth (I can't stand cheesy 80's metal myself). I'm more into New Wave/Synthpop/Postmodern and it does everything I want and more.

The keys are mushy and aren't my fave. I wish there would have been a rack version. Oh well. The pitch lever is very cool. I use it mostly to either transpose one of the oscilators up/down an octave ala Ultravox or to trigger sync or other changes in the timbres of the sounds.

It's been very reliable in the few weeks I've owned it. You do need to use the autotune function from time to time during a session, but it only takes about 10 seconds and you're good to go for a while.

I would use it on a gig without a back as I have no doubts about it. The OB-8 is the most reliable of the OB-series (the bastard OB-12 doesn't count as it's not a true Oberheim).

Never dealt with them. I've got a local tech here in town (Slemmons Music) who is awesome.

If it were stolen I would do my best to buy another one as this really does have it's own character. The problem is that the OB-8 is a rare beast and is seldom seen for sale. I felt I got my money's worth, though. I won it off e-Bay buy bidding $1 more than a last second bid. Ha ha!

I've been playing for 15 years (I'll be 28 a week from today). I use the Obie along with a K5000s, AN1x, Vintage Keys, Juno-60, and CZ-101. I might sell the An1x and Juno as the Obie covers all my analog needs and buy a Microwave XT.

Things I love about it: the sounds, the sounds, the sounds, layout of the front panel, the sounds, the pitch and mod levers, the sounds, the arpeggiator, the sounds, the 120 patch memories, the sounds, the layer/split capabilities, the sounds, the visual appearance of it (large black metal face with blue horizontal pinstripes complemented by wooden endcheeks and the huge Obie logo on the front and back panels), the sounds, the reliability, and the fact that not many people are using it prominently. Things I hate about: nothing to be quite honest. The key action could be better, but I can deal.

This is often seen in the same category as the OBX, OBXa, Jupiter-8, P-5, etc. I had a JP-8 before the OB-8 and have to say that I prefer the OB-8 solidly over the JP. Not to say the JP isn't a nice synth, but simply prefer the sounds of the Obie more. So, I sold the Jupe, bought this and saved $500 in the process. It has more character and presence to me. Altough trivial, it's nice in that it weighs 38 lbs. compared to the 50lbs. of the Jupe, making it a little more feasible for gigging. I chose the Obie because I wanted something totally different and not everyone was fighting to get one like they are a Jupe. I've become an old Obie devotee due to my experience with the OB-8. I wouldn't mind picking up either an OBX or OBXa in the future.

I wish it had a better keyboard, but that's not a major issue for me.

I've been busy programming some inspiring sounds (for me) with suprising ease. It's a very powerful synth. I would have to agree with Julian Colbeck's assessment in Keyfax that the OB-8 is truly a perfect mix of a programmer's and a player's instrument.

I own a 1985 OB-8 rev B-5. It's got most of the original presets and a few others that I programmed. The factory sounds are great and editing is a breeze. One word of caution: You absolutely MUST have the owner's manual on the OB-8 to fully understand its programming options. Several buttons can have multitude of functions that are not silk screened on the front. I had to buy the manual for it, which is the "second edition." It's great, but lacks the MIDI descriptions on the B-5.

The OB-8 is an 8-voice, 16 occilator synth. Keyboard action is decent, but lacks velocity/aftertouch. I noticed it being rather noisy to play. The MIDI capabilites are pretty lame. Just note on/off on eight channels. It will do program dump, however.

Okay, here goes. I am so tired of people who trash the OB-8 because it's supposedly not as "phat" as the OBXa or OBX. I have listened to them side by side and YES there is a difference. But it is very subtle and impossible to hear in a final mix. I'll say it again: NO MORTAL CAN TELL THE DIFFERENCE BETWEEN AN OB-8 AND THE OBXa IN A FINAL MIX!!
The OB-8 offers so much more in terms of programmability and sonic resources. It's also considerably more reliable. But simply because Tom Oberheim himself made the remark that the OB-8 was "too perfect" they sell for less. That's fine. I'll buy this instrument for $800 and laugh my way to the bank.

Stays in tune. Bullet-proof. Perfect.

I like this instrument better than the Jupiter-8. The sounds available on the OB-8 are beautiful.

I'm using A8. I don't know about the presets but I got the manual
which is a big help. Editing patches is roller coaster ride cause you
can get something different everytime. Manual is pretty straight forward.
Mine does not have the silk screen for page 2. So, the manual is
a life saver.

8 voices; 3 lfos, arpeggiator, portamento, pink noise source.
Voice Components:
2 VCOs
1 VCF (2-pole or 4-pole LP, selectable)
2 env generators
1 VCA
Osc sync
2 PWMs

LFO Components:
1 VCLFO w/triangle, square, up/down sawtooth
1 S&H

Page 2:
2 Env. Generators
90 and 180 degree Phase switch
Quantizing
keyboard Track
Programmable Trigger Point

Key Modes: Full, Split and Double (very Phat, Unison (even phatter)
split is programmable and transpositions anywhere on the keyboard (in split or double).

Check this out! Each one of the eight voices can be panned left/right by turning these
knobs on the side of the keyboard. Great for splits and live performance.

Lift up the hood and the voice chips can be tweaked to your liking. If you want overwhelming resonance no problem, want a brighter
sound to start with, once voice louder than the other, it can all be fixed under the hood.

What can I say analog circa '83. This board has incredible sounds. Great
Organ sound, analog strings, and bass in yo face. You've heard it before
Van Halen "jump", The Time, Prince. It can be very sweet and mellow or it
can be phat and nasty, gritty, metallic even. Thank God for cem 3310s and
the engineering genius of Tom Oberheim. Perfect for phatt'ning up guitar heavy songs.
Excels at accentuating dynamics of a song.

It's 17 years old. I would buy a second one, perhaps a third to take on the road. I only have
one and that was pure luck that I bought it before someone else did.

No never dealt with the original oberheim company, or even in it's
current incarnation for that matter.

Yep. I would buy it again and I'm planning on it for modification purposes.
This synth eats mixes for lunch. I'm mean it's not that it's loud, it's
dynamic! I've heard it on other records it really stands out in a mix in
a very complimentary way. This is not a toy.

Software revision: A4
Presets: Dunno. All memories were wiped out when I bought the thing. Had to find another owner and got a tape of sounds (not preset) from him.
Patch editing: Simple. The only quirk is that the knobs, no matter what position they are in, take on the setting of the stored parameter. Therefore, when you start to knobulize, you must sweep the knob all the way around before it can run the whole range for that parameter. Page-2 buttons offers some cool advanced editing options.
Manual: It's very useful. It has foldouts which indicate the functions of the knobs when the synth is in Page-2 mode.

Polyphony: 8-voice. Keyboard action is cheezy.
Effects: Page-2 offers modulation phase reversal options, but there's nothing like chorus or delay or other such.
Expansion: Inside, there are a couple empty chip sockets. I have no idea what they are for.
MIDI: Kits are available. OB-8 has serial port for connecting to other Oberheim gadgets of the same vintage, or to an Apple II computer.
Sequencer: no. Arpeggiator -- yes.

Another synth great for strangeness and space sounds. Mega-fun for that. Realistic sounds blah, except organ sounds are good. No aftertouch. Sounds can sometimes be a little crisp. Crunchy. Chewy. Gooey.

Very, extremely reliable. Haven't had a problem yet. Would, in fact, use it for a gig w/o a backup. Very well engineered. This thing is well designed. The top opens up like a car hood after removing only 4 screws. PC boards neatly arranged so almost everything is visible. Only layered boards are voice cards -- 2 of them, 4 voices each.

Haven't had to get it fixed, yet.

I'd buy it again.
Coolest thing -- each voice has an LED which lights up when that one is in use, making it ultra-mega-simple to troubleshoot a particular voice when only one needs fixing. Very clever.
I wish that the patches could store arppegiator settings. That would be useful.
The only other synth I own I'd compare it to is a Prophet-5 Rev 2. I prefer the sound of the Prophet overall, but I definitely dig both and intend on hanging on to them. They seem to get along fine. They play well together and even eat from the same food dish. I often let them both out in the yard to play.
This synth is presumably the direct descendent of the synth in Van Halen's video for "Jump".
It's huge, but surprisingly light.