discoDSP OB-Xd Virtual Synthesizer Instructions
- June 8, 2024
- discoDSP
Table of Contents
discoDSP OB-Xd Virtual Synthesizer
Introduction
The OB-Xd is based on the Oberheim OB-X. It attempts to recreate its sound and
behaviors, but as the original was very limited in some important ways a
number of things were added or altered to the original design. If you’re
unfamiliar with the OB-X, its user manual can easily be found from various
sources on the net. This manual will make no attempt to explain basic synth
programming or the operation of the OB-X, but will discuss modifications from
the basic design and in some cases their ramifications.
The OB-Xd was designed to sound as good and as rich as the original. It
implements micro random detuning which is a big part of that sound.
However, it was not designed as a self-contained completely independent soft-
synth. It needs to be contained within a VST framework where things like
transposition, automation, layering, arpeggiation, etc, are available. Also,
like many synths of the OB-X’s generation, the OB-Xd has no internal effects
so its sounds and textures can be greatly enhanced by the use of additional
processing like chorus, reverb, delay, etc.
Thanks to 2DaT who created this little marvel. But we would be remiss not to
thank all the members of KVR who participated in the OB-Xd forum thread! While
the heart and soul of its design and development is all 2DaT, much discussion
and debate went into it’s graphic layout and the implementation of some of its
features.
So thanks to all who participated in its creation and also to the various
people who stepped up to create excellent free patches for the OB-Xd.
Note: Operation description conforms to the latest Ob-Xd build as of the
above date
Oscillators
A mixer was introduced to blend the two oscillators and noise source which is much more flexible than the fixed levels of the original design.
In the OB-X cross modulation (Frequency Modulation), OSC2 modulated OSC1. On
the OB-Xd this is reversed: OSC1 modulates OSC2. Sounds created by sync and
x-mod this way were judged more useful than the inharmonic results of the
original modulation path.
The Step switch allows for precise tuning by semi-tone steps.
Note that disengaging this doesn’t keep the pitch at the precise semi-tone
step but resumes gradual pitch adjustment.
The Bright control adjusts the clarity of higher harmonics. Detune of OSC2
only adjusts up from the basic pitch (the original was bilateral).
Oscillator related controls (in the Global section)
TRANSPOSE
The transpose control in the Master section only transposes both oscillator pitches in parallel and by octaves.
It does not alter the filter cutoff frequency, which allows the filter to change it’s harmonic center relative to the fundamental frequency of the oscillators. This is consistent with the original OB-X design. Note that there is no built-in way to transpose the OB-Xd by steps. When a sound is created and is out of step with concert pitch, the Tune control in the Master section can help tune to the nearest concert note, but to play in pitch external MIDI will have to be transposed.
SPREAD: This control detunes every single oscillator by a random amount, simulating the sound of slightly detuned VCOs (unlike the precision of DCOs).
Filter
The original OB-X had a single 12dB/octave low-pass filter. The OB-Xd significantly improves on this design:
It implements a Multimode 12dB/octave filter like the Oberheim SEM module.
Using the MULTI rotary control, you can crossfade between low-pass
behavior on the complete left, to either notch (by default) or bandpass (using
the BP switch) behavior at 12 o’clock, and high pass behavior on the far
right.
There is also a 24dB mode which is activated by the 24dB switch. This mode
is only low-pass, but the MULTI control now allows you to smoothly change
the depth of the filter slope from 24dB/octave on the complete left, down to 6
dB/octave on the complete right.
The BP switch has no effect in 24dB mode. It turns on and off to give you
something to play with on the GUI which doesn’t affect the sound in any way.
The HQ button on the filter turns on “High Quality” mode which results in
better interpolation and smoother processing of higher frequency components at
the expense of CPU consumption.
Global Section
VAM (Voice Allocation Mode): By default the OB-Xd is a low-note priority
synth (like the OB-X) but the VAM switch changes this to last-note priority.
VOICES: Unlike the original OB-X, you can select the number of active
voices. This can be a CPU saving measure as much it can be a creative choice.
Note that CPU use scales linearly as the number of voices is increased.
UNISON: A single-note mode that stacks all the voices available. Spread
and Voice Panning are assets in this mode.
LEGATO: There are four behaviors allowed for legato playing. Releasing
notes over the maximum number of available voices reactivates the notes still
being held, in a manner based on the Legato style.
Keep all: This mode keeps playing notes at their sustain envelope levels
Note: In all cases, envelopes are only re-triggered once they’ve reached
their sustain phase. This is more noticeable with slow attacks and decays.
Additional notes above the max # of voices will steal held notes, but no
envelopes will be re-triggered.
Exceeding polyphony (max # of voices set in VOICES) and then letting go of
these additional notes replays the equivalent number of held notes (based on
note history) at the sustain level for the patch (envs not re-triggered).
Keep Filter Envelope
This mode will keep held notes at the Filter envelope sustain level.
Additional notes above the max # of voices will steal held notes and retrigger
the Amp envelope only.
Exceeding polyphony (max # of voices set in VOICES) and then letting go of
these additional notes replays the equivalent number of held notes (based on
note history) and only re-triggers the amplifier envelope.
Keep Amplifier Envelope
Best way to understand these modes is to reduce the polyphony to 2 or 3 notes and try them.
LEARN and CLEAR : Used to bind and unbind OB-Xd controls to MIDI CC#
for automation.
OB-Xd does not have it’s own internal automation map, but you can save current
assignments by saving a patch bank (*.fxb); this way any assignments you make
can be saved and recalled between projects and hosts. Any automation you
assign in your DAW will be correctly remembered by your VST host and re-
established on project reload.
LEARN: click on Learn, turn or activate the control you want to automate
(touching is not enough), and then send the CC message you want to use for it;
the LEARN LED will turn off and the controller will be assigned.
CLEAR: to make an OB-Xd control forget its automation, enable CLEAR, turn
the control and send it the original automation it was assigned to; the LED
will turn off & the assignment will be forgotten.
Note: it’s possible to re-assign a new controller to a previously
assigned control by performing LEARN and sending it a new CC#.
Voice Variation & Panning
The more variation is applied with Voice Variation, the more these parameters
will randomly stray from their predictable settings on repeated execution and
introduce more analog unpredictability.
Each voice can be panned, but now right on the front panel.
FLT ENV VELO (FLT SLOP) and AMP ENV VELO (ENV SLOP) (Filter and
Envelope Velocity Modulation): the original OB-X was not velocity sensitive in
any way. The OB-Xd allows note velocity to alter the envelope depth of the
Filter and Amplifier envelopes. Note that altering the filter envelope by
velocity will also cause variations in the Pitch when modulating OSC2 (P ENV)
from the Filter envelope.
VIBRATO RATE: On the original OB-X the Vibrato Depth is assigned to the
Modulation Paddle by default. Similarly, on the OB-Xd Vibrato Depth is
inexorably tied to the Modulation wheel as well (CC#1). In order to allow
assignment of the Modulation wheel to other parameters without turning on
vibrato, turning the Vibrato control to the complete left effectively turns
off the vibrato.
The vibrato control can be remapped to another controller to control its rate,
but CC#1 will ALWAYS affect vibrato depth.
MIDI CC Map
Since 2.4 OB-Xd can select custom, default and pre-configured MIDI CC boards from: Arturia MicroFreak, Dave Smith Instruments OB-6, Elektron Analog Four MKII, Elektron Digitakt, Elektron Digitone, freds-lab buzzzy, IK Multimedia Uno Synth, KORG micro KORG, KORG minilogue xd, KORG minilogue, KORG monologue, KORG MS2000, Modal Craft, Modal Skulpt, Moog Minitaur, Moog Sirin, Moog Sub 37, Moog Sub Phatty, Mutable Instruments Shruthi, Novation Circuit, Roland JD- XA, Roland JD-Xi, Roland JP 08, Roland JU-06, Roland JX-03, Roland SE-02, Roland SH-01A, Studiologic Sledge, Tasty Chips GR-1, Waldorf Blofeld.
OB-Xd for iOS only have the default MIDI CC mapping detailed below:
- 15 VOICE_COUNT
- 16 UNISON
- 17 OCTAVE
- 18 FILTER_WARM
- 19 LFOFREQ
- 20 VAMPENV
- 21 ASPLAYEDALLOCATION
- 22 LFO1AMT
- 23 PORTAMENTO
- 24 UDET
- 25 LFO2AMT
- 33 TUNE
- 34 BENDOSC2
- 35 LEGATOMODE
- 36 LDEC
- 37 LSUS
- 38 FATK
- 39 FDEC
- 40 FSUS
- 41 FREL
- 42 RESONANCE
- 43 OSC2_DET
- 44 LFOSINWAVE
- 45 LFOSQUAREWAVE
- 46 LFOSHWAVE
- 47 LFOOSC1
- 48 LFOOSC2
- 49 LFOFILTER
- 50 LFOPW1
- 51 LFOPW2
- 52 OSC2HS
- 53 XMOD
- 54 OSC1P
- 55 OSC2P
- 56 OSCQuantize
- 57 OSC1Saw
- 58 OSC1Pul
- 59 OSC2Saw
- 60 OSC2Pul
- 61 PW
- 62 BRIGHTNESS
- 63 ENVPITCH
- 71 VOLUME
- 72 LREL
- 73 LATK
- 74 CUTOFF
- 75 BENDLFORATE
- 76 VFLTENV
- 77 OSC1MIX
- 78 OSC2MIX
- 81 PAN1
- 82 PAN2
- 83 PAN3
- 84 PAN4
- 85 PAN5
- 86 PAN6
- 87 PAN7
- 88 PAN8
- 102 NOISEMIX
- 103 FLT_KF
- 104 MULTIMODE
- 105 BANDPASS
- 106 FOURPOLE
- 107 ENVELOPE_AMT
- 108 ENVDER
- 109 FILTERDER
- 110 PORTADER
- 111 ECONOMY_MODE
- 113 PW_ENV
- 114 PW_ENV_BOTH
- 115 ENV_PITCH_BOTH
- 116 FENV_INVERT
- 117 PW_OSC2_OFS
- 118 LEVEL_DIF
- 119 SELF_OSC_PUSH
Read User Manual Online (PDF format)
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