OB-XD Is half off $3.99 have all the issues been fixed???

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Poppadocrock

@qryss said:
This also works well to add to the list of presets available. Not all of them load but most do.

Only caveat is that you have to store them in AUM (for example) - there is no ability yet to store patches in OB-Xd.

https://patchstorage.com/rompler-v0-9-for-ob-xd/

Cheers. I’m an avid Mozaic user but I forgot about this one, I only just got OBXD, so overlooked it before. Thanks.

cazel

@ExAsperis99 said:

@auxmux said:
TAL is Roland Juno 60. This is Oberheim OBXa. Chocolate and Peanut Butter. Both good. Both delicious. This price is a no brainier, and AU parameters are accessible.

Finally my language is spoken!

+1 (:
ob-xd on macos is also great

LinearLineman

How many presets in OB-xD? I’m a preset man, after all!

cuscolima

@LinearLineman said:
How many presets in OB-xD? I’m a preset man, after all!

137

I also strongly suggest the rompler in mozaic https://patchstorage.com/rompler-v0-9-for-ob-xd/

LinearLineman

@cuscolima, sold! Thanks

espiegel123

FWIW, I just picked it up, and OB-XD is good, but I don't find it better sounding (or even as good sounding) as quite a few more mature feature-rich analog synth emulations. It is fine, but I wouldn't make this my first (or second or third or fourth) analog purchase.

[Deleted User]

The user and all related content has been deleted.

auxmux

The best analog synths or emulations sound good regardless of fx, but they sound even better with them. Oberheim Matrix 6 is a good example.

espiegel123

@BCKeys said:

@espiegel123 said:
FWIW, I just picked it up, and OB-XD is good, but I don't find it better sounding (or even as good sounding) as quite a few more mature feature-rich analog synth emulations. It is fine, but I wouldn't make this my first (or second or third or fourth) analog purchase.

OB-Xd doesn’t have any in-built FX. Add a few FF Pro-R on it, it becomes a beast 😊
Notice that most of the other synths have in-built FX.
I don’t know, it’s maybe only a matter of taste but OB-Xd’s sound is exactly what I expect from an analog emulation.

I am comparing it to other synths without FX. So, my lack of being wowed isn't because of effects. It sounds fine, but it doesn't stand out compared to other analog emulations to me. And it suffers from poor preset management options.

LinearLineman

@espiegel123, agreed. No organization and no save of edits. I found a few presets I like. It does have the Oberheim sound, tho.

horsetrainer

@espiegel123 said:

@BCKeys said:

@espiegel123 said:
FWIW, I just picked it up, and OB-XD is good, but I don't find it better sounding (or even as good sounding) as quite a few more mature feature-rich analog synth emulations. It is fine, but I wouldn't make this my first (or second or third or fourth) analog purchase.

OB-Xd doesn’t have any in-built FX. Add a few FF Pro-R on it, it becomes a beast 😊
Notice that most of the other synths have in-built FX.
I don’t know, it’s maybe only a matter of taste but OB-Xd’s sound is exactly what I expect from an analog emulation.

I am comparing it to other synths without FX. So, my lack of being wowed isn't because of effects. It sounds fine, but it doesn't stand out compared to other analog emulations to me. And it suffers from poor preset management options.

IMO, analog emulation on iPad is an underdeveloped science. OB-Xd does not sound "exactly" like a real OB-X or an OB-Xa, but whoever wrote the code for it seems to have had some studied insights about the inherent instabilities of the hardware of the OB-X, enough to create DSP code capable of emulating portions of it.

For anyone interested, try this quick and easy test using a new instance of OB-Xd opened to the init program. Once loaded, choose any one keyboard key and press that same key over and over about once every half second. Listen for the subtile difference in the sound of each note as the synth cycles through it's voices. The OB-Xd even has a section for programing voice variability settings.

That variability represents emulation of the type of hardware design used in many 80's synths. To achieve polyphony/paraphony in the 80's with analog components. Designers built individual mono synths called voice/sound cards, then installed one card per voice into one entire synth. In essence, an 80's poly synth was just a box filled with mono synths, and a keyboard control circuit that played each mono sound card sequentially, one mono voice per one depressed key.

Because analog circuits were a collection of components... IC chips, transistors, resistors, capacitors, each manufactured not exactly the same, but within a given "torrence" eg. +/- 5%. This necessitated that each sound card be calibrated in the factory, and periodically thereafter, to achieve uniformity of sound output amongst all the cards within the single synth.

Those old synths were very sensitive to temperature and required a warmup period before becoming playable. The circuit components would also drift with time and age. The circuit components could interact with adjacent components in serendipitous ways to alter sounds in interesting ways.

The collective result of 80's analog synth technology was often an instrument that was filled with subtly different nuances between voices, and when played collectively gave the vintage instruments a characteristic sound.

The Roland synths of the same era tended to use more stable circuit designs, and if one was to compare the voice variability between an OB-X, a Prophet-5, and a Jupiter-8. Most might agree that the Roland had the "tightest" tolerance between voices.

It's true that many subtractive analog style synths might do a good job at emulating certain vintage sounds, but I'd argue that only those synths that have a provisions for independent voice adjustment, will come closest to capturing the actual "sounds" of the 80's vintage synths.

Analog waveforms of the era were also typically not as "perfect" as those created digitally.

espiegel123

@horsetrainer said:

@espiegel123 said:

@BCKeys said:

@espiegel123 said:
FWIW, I just picked it up, and OB-XD is good, but I don't find it better sounding (or even as good sounding) as quite a few more mature feature-rich analog synth emulations. It is fine, but I wouldn't make this my first (or second or third or fourth) analog purchase.

OB-Xd doesn’t have any in-built FX. Add a few FF Pro-R on it, it becomes a beast 😊
Notice that most of the other synths have in-built FX.
I don’t know, it’s maybe only a matter of taste but OB-Xd’s sound is exactly what I expect from an analog emulation.

I am comparing it to other synths without FX. So, my lack of being wowed isn't because of effects. It sounds fine, but it doesn't stand out compared to other analog emulations to me. And it suffers from poor preset management options.

IMO, analog emulation on iPad is an underdeveloped science. OB-Xd does not sound "exactly" like a real OB-X or an OB-Xa, but whoever wrote the code for it seems to have had some studied insights about the inherent instabilities of the hardware of the OB-X, enough to create DSP code capable of emulating portions of it.

For anyone interested, try this quick and easy test using a new instance of OB-Xd opened to the init program. Once loaded, choose any one keyboard key and press that same key over and over about once every half second. Listen for the subtile difference in the sound of each note as the synth cycles through it's voices. The OB-Xd even has a section for programing voice variability settings.

That variability represents emulation of the type of hardware design used in many 80's synths. To achieve polyphony/paraphony in the 80's with analog components. Designers built individual mono synths called voice/sound cards, then installed one card per voice into one entire synth. In essence, an 80's poly synth was just a box filled with mono synths, and a keyboard control circuit that played each mono sound card sequentially, one mono voice per one depressed key.

Because analog circuits were a collection of components... IC chips, transistors, resistors, capacitors, each manufactured not exactly the same, but within a given "torrence" eg. +/- 5%. This necessitated that each sound card be calibrated in the factory, and periodically thereafter, to achieve uniformity of sound output amongst all the cards within the single synth.

Those old synths were very sensitive to temperature and required a warmup period before becoming playable. The circuit components would also drift with time and age. The circuit components could interact with adjacent components in serendipitous ways to alter sounds in interesting ways.

The collective result of 80's analog synth technology was often an instrument that was filled with subtly different nuances between voices, and when played collectively gave the vintage instruments a characteristic sound.

The Roland synths of the same era tended to use more stable circuit designs, and if one was to compare the voice variability between an OB-X, a Prophet-5, and a Jupiter-8. Most might agree that the Roland had the "tightest" tolerance between voices.

It's true that many subtractive analog style synths might do a good job at emulating certain vintage sounds, but I'd argue that only those synths that have a provisions for independent voice adjustment, will come closest to capturing the actual "sounds" of the 80's vintage synths.

Analog waveforms of the era were also typically not as "perfect" as those created digitally.

Fwiw, ob-xd isn't unique among iOS analog synth emulators with regard to these considerations.

Gavinski

@horsetrainer said:

@espiegel123 said:

@BCKeys said:

@espiegel123 said:
FWIW, I just picked it up, and OB-XD is good, but I don't find it better sounding (or even as good sounding) as quite a few more mature feature-rich analog synth emulations. It is fine, but I wouldn't make this my first (or second or third or fourth) analog purchase.

OB-Xd doesn’t have any in-built FX. Add a few FF Pro-R on it, it becomes a beast 😊
Notice that most of the other synths have in-built FX.
I don’t know, it’s maybe only a matter of taste but OB-Xd’s sound is exactly what I expect from an analog emulation.

I am comparing it to other synths without FX. So, my lack of being wowed isn't because of effects. It sounds fine, but it doesn't stand out compared to other analog emulations to me. And it suffers from poor preset management options.

IMO, analog emulation on iPad is an underdeveloped science. OB-Xd does not sound "exactly" like a real OB-X or an OB-Xa, but whoever wrote the code for it seems to have had some studied insights about the inherent instabilities of the hardware of the OB-X, enough to create DSP code capable of emulating portions of it.

For anyone interested, try this quick and easy test using a new instance of OB-Xd opened to the init program. Once loaded, choose any one keyboard key and press that same key over and over about once every half second. Listen for the subtile difference in the sound of each note as the synth cycles through it's voices. The OB-Xd even has a section for programing voice variability settings.

That variability represents emulation of the type of hardware design used in many 80's synths. To achieve polyphony/paraphony in the 80's with analog components. Designers built individual mono synths called voice/sound cards, then installed one card per voice into one entire synth. In essence, an 80's poly synth was just a box filled with mono synths, and a keyboard control circuit that played each mono sound card sequentially, one mono voice per one depressed key.

Because analog circuits were a collection of components... IC chips, transistors, resistors, capacitors, each manufactured not exactly the same, but within a given "torrence" eg. +/- 5%. This necessitated that each sound card be calibrated in the factory, and periodically thereafter, to achieve uniformity of sound output amongst all the cards within the single synth.

Those old synths were very sensitive to temperature and required a warmup period before becoming playable. The circuit components would also drift with time and age. The circuit components could interact with adjacent components in serendipitous ways to alter sounds in interesting ways.

The collective result of 80's analog synth technology was often an instrument that was filled with subtly different nuances between voices, and when played collectively gave the vintage instruments a characteristic sound.

The Roland synths of the same era tended to use more stable circuit designs, and if one was to compare the voice variability between an OB-X, a Prophet-5, and a Jupiter-8. Most might agree that the Roland had the "tightest" tolerance between voices.

It's true that many subtractive analog style synths might do a good job at emulating certain vintage sounds, but I'd argue that only those synths that have a provisions for independent voice adjustment, will come closest to capturing the actual "sounds" of the 80's vintage synths.

Analog waveforms of the era were also typically not as "perfect" as those created digitally.

Thanks for this lovely bit of knowledge. I really like both this and OPL but I agree that the preset management seriously sucks.

anickt

@Gavinski said:

@horsetrainer said:

@espiegel123 said:

@BCKeys said:

@espiegel123 said:
FWIW, I just picked it up, and OB-XD is good, but I don't find it better sounding (or even as good sounding) as quite a few more mature feature-rich analog synth emulations. It is fine, but I wouldn't make this my first (or second or third or fourth) analog purchase.

OB-Xd doesn’t have any in-built FX. Add a few FF Pro-R on it, it becomes a beast 😊
Notice that most of the other synths have in-built FX.
I don’t know, it’s maybe only a matter of taste but OB-Xd’s sound is exactly what I expect from an analog emulation.

I am comparing it to other synths without FX. So, my lack of being wowed isn't because of effects. It sounds fine, but it doesn't stand out compared to other analog emulations to me. And it suffers from poor preset management options.

IMO, analog emulation on iPad is an underdeveloped science. OB-Xd does not sound "exactly" like a real OB-X or an OB-Xa, but whoever wrote the code for it seems to have had some studied insights about the inherent instabilities of the hardware of the OB-X, enough to create DSP code capable of emulating portions of it.

For anyone interested, try this quick and easy test using a new instance of OB-Xd opened to the init program. Once loaded, choose any one keyboard key and press that same key over and over about once every half second. Listen for the subtile difference in the sound of each note as the synth cycles through it's voices. The OB-Xd even has a section for programing voice variability settings.

That variability represents emulation of the type of hardware design used in many 80's synths. To achieve polyphony/paraphony in the 80's with analog components. Designers built individual mono synths called voice/sound cards, then installed one card per voice into one entire synth. In essence, an 80's poly synth was just a box filled with mono synths, and a keyboard control circuit that played each mono sound card sequentially, one mono voice per one depressed key.

Because analog circuits were a collection of components... IC chips, transistors, resistors, capacitors, each manufactured not exactly the same, but within a given "torrence" eg. +/- 5%. This necessitated that each sound card be calibrated in the factory, and periodically thereafter, to achieve uniformity of sound output amongst all the cards within the single synth.

Those old synths were very sensitive to temperature and required a warmup period before becoming playable. The circuit components would also drift with time and age. The circuit components could interact with adjacent components in serendipitous ways to alter sounds in interesting ways.

The collective result of 80's analog synth technology was often an instrument that was filled with subtly different nuances between voices, and when played collectively gave the vintage instruments a characteristic sound.

The Roland synths of the same era tended to use more stable circuit designs, and if one was to compare the voice variability between an OB-X, a Prophet-5, and a Jupiter-8. Most might agree that the Roland had the "tightest" tolerance between voices.

It's true that many subtractive analog style synths might do a good job at emulating certain vintage sounds, but I'd argue that only those synths that have a provisions for independent voice adjustment, will come closest to capturing the actual "sounds" of the 80's vintage synths.

Analog waveforms of the era were also typically not as "perfect" as those created digitally.

Thanks for this lovely bit of knowledge. I really like both this and OPL but I agree that the preset management seriously sucks.

I can save user presets in Cubasis 3 FWIW. CB3 also appears to state save which it doesn’t do with all AUv3. More investigation necessary. ☠️👍🏼

reasOne

i think this synth sounds pretty great, it has the feeling of the ob , especially at the 4$ sale price.

now it is true i’d rather pay 30/40$ for a spot on synth emulation, however not for this particular synth as it isn’t really a synth that i thought about until it was on ios , so i’m happy to get what i got here, however i can def see how someone that really loves the original synth could be less satisfied

horsetrainer

@espiegel123 said:

@horsetrainer said:

@espiegel123 said:

@BCKeys said:

@espiegel123 said:
FWIW, I just picked it up, and OB-XD is good, but I don't find it better sounding (or even as good sounding) as quite a few more mature feature-rich analog synth emulations. It is fine, but I wouldn't make this my first (or second or third or fourth) analog purchase.

OB-Xd doesn’t have any in-built FX. Add a few FF Pro-R on it, it becomes a beast 😊
Notice that most of the other synths have in-built FX.
I don’t know, it’s maybe only a matter of taste but OB-Xd’s sound is exactly what I expect from an analog emulation.

I am comparing it to other synths without FX. So, my lack of being wowed isn't because of effects. It sounds fine, but it doesn't stand out compared to other analog emulations to me. And it suffers from poor preset management options.

IMO, analog emulation on iPad is an underdeveloped science. OB-Xd does not sound "exactly" like a real OB-X or an OB-Xa, but whoever wrote the code for it seems to have had some studied insights about the inherent instabilities of the hardware of the OB-X, enough to create DSP code capable of emulating portions of it.

For anyone interested, try this quick and easy test using a new instance of OB-Xd opened to the init program. Once loaded, choose any one keyboard key and press that same key over and over about once every half second. Listen for the subtile difference in the sound of each note as the synth cycles through it's voices. The OB-Xd even has a section for programing voice variability settings.

That variability represents emulation of the type of hardware design used in many 80's synths. To achieve polyphony/paraphony in the 80's with analog components. Designers built individual mono synths called voice/sound cards, then installed one card per voice into one entire synth. In essence, an 80's poly synth was just a box filled with mono synths, and a keyboard control circuit that played each mono sound card sequentially, one mono voice per one depressed key.

Because analog circuits were a collection of components... IC chips, transistors, resistors, capacitors, each manufactured not exactly the same, but within a given "torrence" eg. +/- 5%. This necessitated that each sound card be calibrated in the factory, and periodically thereafter, to achieve uniformity of sound output amongst all the cards within the single synth.

Those old synths were very sensitive to temperature and required a warmup period before becoming playable. The circuit components would also drift with time and age. The circuit components could interact with adjacent components in serendipitous ways to alter sounds in interesting ways.

The collective result of 80's analog synth technology was often an instrument that was filled with subtly different nuances between voices, and when played collectively gave the vintage instruments a characteristic sound.

The Roland synths of the same era tended to use more stable circuit designs, and if one was to compare the voice variability between an OB-X, a Prophet-5, and a Jupiter-8. Most might agree that the Roland had the "tightest" tolerance between voices.

It's true that many subtractive analog style synths might do a good job at emulating certain vintage sounds, but I'd argue that only those synths that have a provisions for independent voice adjustment, will come closest to capturing the actual "sounds" of the 80's vintage synths.

Analog waveforms of the era were also typically not as "perfect" as those created digitally.

Fwiw, ob-xd isn't unique among iOS analog synth emulators with regard to these considerations.

iSEM has comprehensive per-voice parameter variation. I've aware of certain other iOS synth having varying degrees of introducing limited voice-variation.

All I'm saying is I think "engine" of DSP of OB-Xd was conceived by someone who understood analog voice variation.

Anyone who's followed this App through it's iOS development knows it been a journey for it to get this far. IMO I agree it's still not a finished APP.

Perhaps the subject deserves it's own thread, but I'm not really discussing this particular App. I'm discussing virtual analog synths in general, and using OB-X hardware as an example why certain emulations will require voice card emulation to be accurate.

If you might point out any iOS synths that provide for comprehensive, per-voice, parameter configuration I'd be interested in looking into them.

Currently, the only App I'm aware of that has a full featured configuration of voice parameters, is iSEM.

Your_Milkshake

anyone know if theres any presets on this app that match or come close to 0:50 in this video??

oat_phipps

@Your_Milkshake said:
anyone know if theres any presets on this app that match or come close to 0:50 in this video??

No, OB-Xd pitch envelope can only be applied to oscillator 2. This sounds like one oscillator is rising via a pitch envelope and one is falling via the same pitch envelope inverted. It’s easy to do this in Zeeon and Zeeon’s right up there with the OB for sound quality and filter quality, but it doesn’t have the same “character” as an OB. For the record, the OB app isn’t perfect either although very good for a soft synth and totally approximates the vibe.

Your_Milkshake

@oat_phipps said:

@Your_Milkshake said:
anyone know if theres any presets on this app that match or come close to 0:50 in this video??

No, OB-Xd pitch envelope can only be applied to oscillator 2. This sounds like one oscillator is rising via a pitch envelope and one is falling via the same pitch envelope inverted. It’s easy to do this in Zeeon and Zeeon’s right up there with the OB for sound quality and filter quality, but it doesn’t have the same “character” as an OB. For the record, the OB app isn’t perfect either although very good for a soft synth and totally approximates the vibe.

thanks for the heads up. do you think the ob-xd app could do that patch minus the pitch rise? i particularly like the evolving filter envelope settings there.

Slush

@horsetrainer said:

@espiegel123 said:

@BCKeys said:

@espiegel123 said:
FWIW, I just picked it up, and OB-XD is good, but I don't find it better sounding (or even as good sounding) as quite a few more mature feature-rich analog synth emulations. It is fine, but I wouldn't make this my first (or second or third or fourth) analog purchase.

OB-Xd doesn’t have any in-built FX. Add a few FF Pro-R on it, it becomes a beast 😊
Notice that most of the other synths have in-built FX.
I don’t know, it’s maybe only a matter of taste but OB-Xd’s sound is exactly what I expect from an analog emulation.

I am comparing it to other synths without FX. So, my lack of being wowed isn't because of effects. It sounds fine, but it doesn't stand out compared to other analog emulations to me. And it suffers from poor preset management options.

IMO, analog emulation on iPad is an underdeveloped science. OB-Xd does not sound "exactly" like a real OB-X or an OB-Xa, but whoever wrote the code for it seems to have had some studied insights about the inherent instabilities of the hardware of the OB-X, enough to create DSP code capable of emulating portions of it.

For anyone interested, try this quick and easy test using a new instance of OB-Xd opened to the init program. Once loaded, choose any one keyboard key and press that same key over and over about once every half second. Listen for the subtile difference in the sound of each note as the synth cycles through it's voices. The OB-Xd even has a section for programing voice variability settings.

That variability represents emulation of the type of hardware design used in many 80's synths. To achieve polyphony/paraphony in the 80's with analog components. Designers built individual mono synths called voice/sound cards, then installed one card per voice into one entire synth. In essence, an 80's poly synth was just a box filled with mono synths, and a keyboard control circuit that played each mono sound card sequentially, one mono voice per one depressed key.

Because analog circuits were a collection of components... IC chips, transistors, resistors, capacitors, each manufactured not exactly the same, but within a given "torrence" eg. +/- 5%. This necessitated that each sound card be calibrated in the factory, and periodically thereafter, to achieve uniformity of sound output amongst all the cards within the single synth.

Those old synths were very sensitive to temperature and required a warmup period before becoming playable. The circuit components would also drift with time and age. The circuit components could interact with adjacent components in serendipitous ways to alter sounds in interesting ways.

The collective result of 80's analog synth technology was often an instrument that was filled with subtly different nuances between voices, and when played collectively gave the vintage instruments a characteristic sound.

The Roland synths of the same era tended to use more stable circuit designs, and if one was to compare the voice variability between an OB-X, a Prophet-5, and a Jupiter-8. Most might agree that the Roland had the "tightest" tolerance between voices.

It's true that many subtractive analog style synths might do a good job at emulating certain vintage sounds, but I'd argue that only those synths that have a provisions for independent voice adjustment, will come closest to capturing the actual "sounds" of the 80's vintage synths.

Analog waveforms of the era were also typically not as "perfect" as those created digitally.

I know this is an old discussion, I was researching some older threads about the OB-XD as I’m thinking of buying it now it’s on sale. I stumbled on this post which I find such a great explanation and insight of voice variability in vintage analog synths.

tahiche

I have to say the preset system is just terrible. Hard to navigate, the bank selection and terribly long lists of presets, no search or categorizing, plus no “favorites” system to at least pick a few and make it more manageable…. It would really benefit the app if it was improved.

musikeer

And the preset list is still difficult to control in the AUv3 version; still not possible to view presets from the first page to the second page of presets, missing 18-24 on the leftmost column when scrolling. iPad Air 5, iOS 15.5, Cubasis 3. No need for the special "workaround" tip to scroll with the L-R arrows. Not the ideal solution.

Slush

@tahiche said:
I have to say the preset system is just terrible. Hard to navigate, the bank selection and terribly long lists of presets, no search or categorizing, plus no “favorites” system to at least pick a few and make it more manageable…. It would really benefit the app if it was improved.

I jumped on it today, still messing around with all the banks/presets. Indeed not a slick preset system. And what I find a bit annoying is the scrolling of the UI, as I can’t see all the controls in Apematrix. I kind of keep on making the mistake by dragging in the middle of the screen, a habit so common on a tablet, but it only scrolls by the dragging on the sides. I wish I had a complete overview like in the standalone. It does sound very good though, especially after adding some fx.

belldu

With respect to the comment about 'no favourites' there is a bank called 'blank canvas' which can store 128 user defined presets. If you want to store favourites in there then thats a workaround. Agree with general sentiment though that preset management is tricky... but the synth sounds so good!

NeuM

@belldu said:
With respect to the comment about 'no favourites' there is a bank called 'blank canvas' which can store 128 user defined presets. If you want to store favourites in there then thats a workaround. Agree with general sentiment though that preset management is tricky... but the synth sounds so good!

It is possible to both love the synth and hate the preset browser at the same time.