News and stuff going on Hi there! Categories Uncategorized. Archives January August Meta Register Log in. Top Blog at WordPress. Follow Following. OB12 Zone. Sign me up. Already have a WordPress. Quick Links. Table of Contents. Previous Page. Next Page. Protect the instrument from stresses both in transit and in use. The instrument should be transported in its original packaging or equivalent wrapping. And the huge advantage this provides is a user-friendliness which was perhaps being lost with the latest digital synthesizers, with programming procedures too complex for many people to attempt.
Page 7 OB 12 1. The LFO 1 is the first low frequency oscillator in the generation chain, capable of generating a waveform which modulates the sound cyclically. KEYBOARD section Here you can adjust a number of parameters relating to the keyboard, including the performance mode, enabling of the Portamento or Unison status and transposition of the oscillators by octaves.
Page 9: Connections OB 12 Display Backlit liquid crystal display of x 64 pixels for displaying the names of the Programs and Timbres, and all the functions relating to programming of the OB Thanks to this generously sized display, all operations will be easier and learning about the programming parameters will be more intuitive with the aid of specific bitmap or calculated graphic references.
Page 10 OB 12 Rotary encoder and [CURSOR] keys The rotary dynamic Encoder allows you to select the Program or Timbre of your choice, to increase or decrease the value of the parameter currently selected or to position the cursor on the chosen field in the option selection menu e. Page 11 OB 12 internal programming parameters to these connectors. Connect expression pedals to the [EXP.
Page Mixing Console OB 12 Connecting the OB to a mixing console will allow you to obtain excellent advantages, with the possibility of using four outputs. Page Midi Units OB 12 Essentially, the OB consists of five main sections: The control section consists of the velocity and Aftertouch sensitive key keyboard and the controls on the panel.
Page 15 OB 12 The internal memory is mainly subdivided into four large sections: 1. Once the selection has been made, the LED of the key illuminates and the following video page appears in confirmation: As we will see below, the OB has a huge number of parameters and controls on the front panel, used to generate the type of sound desired.
The LED on the button displays the current metronome tempo, and if the key is pressed twice, the OB will calculate the time between one press and the next in order to set the arpeggio tempo. The status of the function will be displayed by the LED on the button concerned in accordance with the following rule: - LED on: function active If the Phrase Recorder is already active, the Motion repetition tempo will be affected by the values set for the Phrase Recorder.
The function buttons beneath the display can be used to select the folder or function in line with the button concerned. Page Main Structure OB 12 Using the panel, allowing real time modifications, is one of the main features of the best synthesizers.
For this reason, we will first describe all the functions which can be recalled using the controls on the front panel. If the parameter is set with values above zero, the sound will be slightly out of tune; With the knob turned completely to the right, Osc. As the slider is raised the amount of Ring Modulator signal increases. Page 32 OB 12 As we have mentioned when discussing the synthesis technique used by the OB, the signal generated by the oscillators is rich in harmonics, or in other words it has a very wide frequency content.
The filter can be used to attenuate specific harmonics, or a given range of frequencies, in order to obtain the desired sound with regard to the timbre quality. Excessively high resonance coefficient values might trigger unwanted oscillations. Page 34 OB 12 [ATTACK] : this slider allows you to regulate the attack time of the filter envelope, Attack Time meaning the time the sound takes to reach the maximum cut-off frequency when the note has been played.
Page 35 OB 12 The amplifier controls the volume of the sound, varying it in relation to time when required. This section allows you to set the envelope which will control the amplifier and the distribution of the sound within the stereophonic panorama.
Page 37 OB 12 sawtooth or ramp : the signal passes triangular : starting from a minimum immediately from a maximum to a level, the signal rises to a maximum minimum value. Page 38 OB 12 This section of the panel allows you to regulate the transposition of the oscillators and the keyboard modes. The section contains the following controls, which as the illustration shows are subdivided into four subsections. Page 39 OB 12 The Legato function, only available with monophonic keyboard, allows a succession of notes to be played without interruption.
This means the attack on the following note is eliminated and only the pitch is changed. Excessively high resonance coefficient values might trigger unwanted oscillations. Page 34 OB 12 [ATTACK] : this slider allows you to regulate the attack time of the filter envelope, Attack Time meaning the time the sound takes to reach the maximum cut-off frequency when the note has been played.
Page 35 OB 12 The amplifier controls the volume of the sound, varying it in relation to time when required. This section allows you to set the envelope which will control the amplifier and the distribution of the sound within the stereophonic panorama. Page 37 OB 12 sawtooth or ramp : the signal passes triangular : starting from a minimum immediately from a maximum to a level, the signal rises to a maximum minimum value.
Page 38 OB 12 This section of the panel allows you to regulate the transposition of the oscillators and the keyboard modes. The section contains the following controls, which as the illustration shows are subdivided into four subsections.
Page 39 OB 12 The Legato function, only available with monophonic keyboard, allows a succession of notes to be played without interruption. This means the attack on the following note is eliminated and only the pitch is changed. Page 40 OB 12 The OB offers an effects section with which you can add four fully configurable algorithms to your sound. Can be used when creating timbres which simulate a guitar.
Page 41 OB 12 This section allows you to make use of a mutually exclusive graphic or parametric equalizer, used to regulate the equalization of the sound. You can use the Velocity, meaning the dynamic applied to the keyboard keys, to control up to 19 sound generation parameters see point 8. Page Play Program OB 12 The Edit Timbre function allows the user to set all the parameters relating to the chain for generation of a given sound. The display pages allow you to define additional settings for total control of the editing of a timbre.
Page 45 OB 12 they have been described in section 7. Alongside the name or code of the parameter whose function is being discussed, in round brackets you will find the full name of the parameter and of the panel control found in the section whose contents are being explained, used to modify the parameter in question. Refer to the descriptions of the pages relating to the first oscillator for the information you require.
This means that whenever the Osc. Page 51 OB 12 As we have already described, the waveform leaving the two oscillators is the sum of three basic waveforms, and is therefore a complex waveform. The OSC. As well as this, the resulting waveform can be combined with the result of the mixing of Osc.
Page 54 OB 12 Naturally, the above diagrams are only an example of the waveform leaving the filter, since as we have seen, the waveforms generated by the two oscillators are much more complex. The OB makes available two filters, with total configuration with regard to their type low pass, band pass and high pass and parameters of use.
Page 57 OB 12 this parameter will provide intermediate balances between the quantities of signal sent without distinction to the two filters. SPLIT: connection in which the user can set which signal will be sent individually to the two filters. Page 59 OB 12 The main function of an amplifier is to control the level of the signals received from the oscillators and the filters. VCAs consist of operational or differential amplifiers, while in the case of DCAs, since all it takes to amplify a digital wave is to multiply its numerical width values by a given factor, amplification is carried out by applying a width modulation to the oscillators.
Page 60 OB 12 affected by the envelope, in a range of values from 0 no delay to maximum delay. The Breakpoint value specifies the signal level after which DECAY 2 will start, in a range of values from 0 signal level zero to maximum sound level. TYPE: sets the type of dynamic. Page 68 OB 12 displaying the following parameter: CURVE: displays the name of the dynamic curve drawn on the left of the display assigned to the note. The curves are as follows: - LIGHT: Light dynamic response curve, in which the maximum dynamic values are reached quickly.
Page 69 OB 12 for high pressure values. This is possible because the Program can be divided into Parts, to which a given Timbre, a given portion of the keyboard and a specific function of the pedal connected to the rear connectors can be assigned. Page 73 OB 12 The main feature of a Program is that it can be subdivided into four Parts, to which one Timbre each is assigned. This allows you to play a multi-timbre Program and also assign the Parts to different zones of the keyboard, in order to obtain different sounds for example, you can play Parts 1 and 3 in a given zone of the keyboard and Parts 2 and 4 in another position by simply using the same Program.
This enables you to exploit the extraordinary feature of having each single Part on each single connector, guaranteeing easier mixing procedures outside the instrument. Page Edit Effects OB 12 algorithms within the effects chain. As already described in 9. This algorithm allows the distortion required to be inserted in the effects chain.
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