Products

1970

Ring Modulator

Soon after graduating from UCLA, Tom was asked to build a ring modulator for The United States of America, an LA-based experimental rock band. The band’s eponymous 1968 album was highly 1 innovative in its use of electronics in rock music, as lead vocals were processed directly through the ring modulator. This was Tom’s start in designing electronic music equipment. Tom built many ring modulators during this period, producing units for the UCLA electronic music lab, innovative trumpeter Don Ellis, and experimental composer Richard Grayson, who played the units with Tom in a live performance.Tom was also asked by the acclaimed film composer Leonard Rosenman to 2 provide a ring modulator for an upcoming movie. The effect ended up on the score to Beneath the Planet of the Apes (1970) starring Charlton Heston and Kim Hunter. Tom’s career in the emerging industry had officially begun.

1969

Maestro RM-1

Towards the end of the 60’s, Tom integrated the circuitry of his earlier ring modulators into a single unit called the Oberheim Electronics Music Modulator. The device produced a signal that was mathematically related to its input rather than harmonically, and the resulting sound was complex and dissonant. At this experimental time in music, forward-thinking artists embraced the far-out sounds the Music Modulator could produce and the unit appeared on many notable recordings. It was one of the first effects pedals targeted towards keyboardists, and was used by Herbie Hancock in his Mwandishi band, and Joe Zawinulin the earliest Weather Report lineup, as well as George 45 Duke, Paul Bley,Shelly Manne, and Oliver Nelson. The Chicago Musical Instrument Company 6 contracted with Oberheim Electronics to build ring modulators under the Maestro name; an identically-sounding unit was simultaneously produced as the RM-1.

1972

Maestro PS-1 Phase Shifter

Tom was inspired by the sound of the Leslie rotating speaker which was used in pop songs like the The Beatles’ “Something.” He designed a pedal that could simulate this effect. The device, called the PS-1 Phase Shifter, was one of the first phaser pedals on the market and became one of Oberheim’s best-selling products.Designed to be a 7 Leslie emulator, the effect only had three speed switches (similar to the iconic “half-moon” chorale/ tremolo Leslie controls for a Hammond organ). The phasing accelerated and decelerated like a real rotating speaker between settings. A subsequent version, the PS-1B, included a variable speed knob. Both units were available with a footswitch accessory.

1973

Arp 2600 Paraphonic “Two Voice” Mod

Tom’s first foray into polyphony came as early as 1973 when he was working as an ARP dealer in Los Angeles. Alan Pearlman’s legendary ARP 2600 was Tom’s first synthesizer, and the instrument with which he taught himself analog synthesis. During this period Tom developed a small device which allowed the 2600 keyboard to generate two separate control voltages and control both oscillators independently as a two-voice paraphonic synthesizer. Composer Richard Grayson performed four voice Bach pieces on two paraphonic 2600s in 1973, a concert which Tom recalls as “something that left a big impression on me.”

1973

Digital Sequencer (DS-2)

The DS-2 was Tom’s first synthesizer product under the Oberheim Electronics name, and one of the first digital sequencers ever made. The 72-, and later 144- step sequencer interfaced with the ARP 2600 and Odyssey synthesizers as well as the Minimoog. Sequences could be recorded by playing a line on the synth itself. A digital logic section was capable of setting different time signatures. Three transposition settings could be preset and recalled. Each note in a sequence could have a duration from 1/20 of a second up to 8 seconds. The DS-2 was the also the first sequencer with a digital display.

1974

Synthesizer Expander Module (SEM-1)

The SEM is the heart of the Oberheim sound. Originally designed as a simple additional voice to accompany Minimoogs and ARP 2600’s, the humble Synthesizer Expander Module became the elemental building block of the monumental Four Voice and Eight Voice polyphonic systems, inspired the circuitry of the OB series of the late 70’s and 1980’s, and has recently become the focus of Tom’s latest instruments and collaborations. Modest in features and design, the SEM’s versatility proves seemingly limitless after almost 50 years of use since its debut in the winter of 1974. On its own, it is an elegant monophonic analog synthesizer, instantly recognizable by its rich 12 db/ octave multimode filter and warm timbre. This uniquely organic sound makes the SEM particularly well-suited for polyphony. Tom would use the SEM as the main voice for nearly all future Oberheim synthesizers.

1974

Universal Synthesizer System (USS-1)

The USS-1 was not a synthesizer, but one of the first multi effects pedals. Manufactured under the Maestro name, the USS-1 included fuzz, a voltage controlled SEM filter with sample/hold, an envelope follower, a PS-1 phase shifter, and an octave divider all in one box. The unit was used extensively by guitarist Wah Wah Watson for Herbie Hancock’s mid-70’s fusion albums, among others.

1974

Phasor

The Phasor pedal was a smaller version of the PS-1 circuit with a single knob for speed control instead of the three rocker switches from the earlier design.

1974

Voltage Controlled Filter

The Voltage Controlled Filter pedal was an SEM VCF filter in low pass mode coupled with an envelope follower and a sample/ hold circuit. The pedal was used prominently by Frank Zappa who, a few years earlier, had bought his ARP 2600 from Tom.

1974

Studio Amplifier

Oberheim produced a line of studio amplifiers with onboard effects in the mid-70’s. The amp included a special low-noise Phasor along with an op amp-based distortion circuit and eq controls. It was housed in a solid oak case and came with a vinyl cover.

1975

Two Voice Polyphonic Synthesizer (TVS-1)

The Two Voice arrived in late summer, 1975. It was the first SEM-based polyphonic system. It was also the first performance synthesizer with a built-in sequencer. Two SEMs sat in a Tolex-covered case alongside a two voice, eight-step Mini Sequencer with sample/ hold and a noise generator. The original Two Voice demonstrated the potential of SEM-based polyphonic instruments in a compact system. Tom’s favorite of all his synths, he revisited the Two Voice in 2012.

1975

Mini-Sequencer (MSQ-1)

The Mini-Sequencer also shipped individually in its own case. The small unit was a versatile two voice, eight step sequencer with a sample/ hold circuit and an audio noise generator. Its dual outputs could drive two separate synthesizer voices simultaneously, creating polyphonic lines.

1975

Four Voice Polyphonic Synthesizer (FVS-1)

The Four Voice was the world’s first commercially available polyphonic synthesizer. It was also one of the first synthesizers with patch memory, containing an early digital programmer with 16 presets and the capability of external patch storage via a cassette interface (the CASS-1). The Four Voice revolutionized modern music by allowing keyboardists to play multiple notes on a synthesizer at once, enabling them to create complex harmony in real time— a feat that until then could not be accomplished on monophonic synths. While polyphonic singing is as ancient as human music-making itself, four note polyphony has been fundamental to Western tonal music since the time of Gregorian chant and is often notated in SATB form: soprano, alto, tenor, and bass. Polyphonic synthesizer systems did exist pre-FVS, including the mammoth TONTO system built by Malcolm Cecil (who later included SEMs in the synth). However, the FVS was the first time musicians could play a polyphonic synth that was integrated in a single, portable unit. The Four Voice was fully multitimbral, using four SEMs as distinct voices. Each could be programmed uniquely and reassigned across the 49-key keyboard in various splits, unisons, and other configurations using a keyboard scanning module, which also included polyphonic portamento. An analog mixer section allowed the user to adjust volume and freely pan each SEM separately across the stereo field.

SEMs needed to be individually tuned. Even if they were programmed by hand to be near-identical, slight variances between their sounds would naturally occur, like a choir or orchestra. The result was a symphonic, subtly shifting and highly musical tone that artists instantly embraced. Musicians like Lyle Mays , Stevie Wonder, Prince , Geddy Lee, Herbie Hancock, Chick Corea,9 10 11 12 Greg Phillinganes, Joe Zawinul, and many others played the Four Voice and Eight Voice 1314synthesizers throughout the 1970’s and beyond. Today, the iconic instrument is cherished by musicians and composers for its incomparable sound.

1976

Polyphonic Synthesizer Programmer

With the large polyphonic synthesizers came a desire for global controls and the ability to store painstakingly created sounds. Released in 1976, the Programmer was a first in the industry, one that Oberheim held a patent in: a 16-preset, RAM-based digital patch memory system. With the Programmer, musicians could now save most of the settings for each SEM individually onto a total of 16 presets, control the global tuning of their oscillators, filters, and envelopes, and add vibrato. Tom was Doug Curtis’ first customer, and the Programmer was the first product to use now-legendary Curtis chips. The unit paved the way for the future of the synthesizer industry.

1976

Polyphonic Synthesizer Programmer

With the large polyphonic synthesizers came a desire for global controls and the ability to store painstakingly created sounds. Released in 1976, the Programmer was a first in the industry, one that Oberheim held a patent in: a 16-preset, RAM-based digital patch memory system. With the Programmer, musicians could now save most of the settings for each SEM individually onto a total of 16 presets, control the global tuning of their oscillators, filters, and envelopes, and add vibrato. Tom was Doug Curtis’ first customer, and the Programmer was the first product to use now-legendary Curtis chips. The unit paved the way for the future of the synthesizer industry.The Cassette Interface was a device to store patches from an OB-1, Four Voice, or Eight Voice externally onto audio tape. Users could reload factory patches onto their synthesizers and infinitely expand their library of external patches. Shipped in August 1977, the CASS-1 is notable for being one of the first external patch storage systems for analog synthesizers.

1977

CASS-1

The Cassette Interface was a device to store patches from an OB-1, Four Voice, or Eight Voice externally onto audio tape. Users could reload factory patches onto their synthesizers and infinitely expand their library of external patches. Shipped in August 1977, the CASS-1 is notable for being one of the first external patch storage systems for analog synthesizers.

1977

OB-1

The Oberheim OB-1 was a monophonic synthesizer notable for being the world’s first completely programmable analog synthesizer. Released in late 1977, the OB-1 could store 8 onboard patches with touch-sensitive buttons and interface with the CASS-1 for external storage. Based on the SEM, the instrument added ADSR envelopes, a noise generator, and a switchable 2 pole/ 4 pole VCF with keyboard tracking.

1979

OB-X

The OB-X was a fully programmable Oberheim polysynth. Built with discrete SEM-based circuitry and available in 4, 6, or 8 voice configurations, the synth was an immediate success upon its debut at NAMM ’79. It featured polymod, ADSR envelopes, polyphonic portamento, and 32 onboard patches with the capability of external storage via a cassette interface. The synth was used extensively, notably on Van Halen’s hit record “Jump” (1983).

1980

OB-SX

Released in the summer of 1980, the OB-SX was a smaller, preset-based version of the OB-X. Early units could store 24 presets with later units equipped with 56. With demand high for the larger OB-X, the lighter weight SX was intended to be a more affordable and portable option. It had similar voice architecture to the OB-X.

1981

OB-Xa

The OB-Xa was the successor to the OB-X. Several design changes were implemented in the updated synth, but the largest sonic impact was the move from discrete circuits to an integrated design using Curtis chips for the voice electronics. The switchable Curtis filter included two modes: 4-pole 24 db/octave and a classic SEM-style 2-pole 12 db/octave. The OB-X’s simple grey layout was replaced with the iconic Oberheim Blue Lines graphic design. A number of new features were added to the OB-Xa as well, including an expanded memory up to 120 patches, bitimbral split & layer modes, sample/hold, chord memory, and a computer interface, which would serve as the basis for the Oberheim System. The OB-Xa has remained one of the most cherished synthesizers of all time, appearing on countless recordings and films, including Prince’s Purple Rain.

1980

DMX

The DMX was a programmable, sample-based digital drum machine. It was the second commercially available digital drum machine following the Linn LM-1, and the first with an alphanumeric display. The DMX shipped in the fall of 1981 with 24 drum sounds which could be individually tuned, mixed via faders, and triggered on plastic pads. It used replaceable EPROM chips with 8 bit digital samples and allowed for eight voice polyphony with individual voice outputs on the rear panel. The DMX could record, save, and edit sequences and songs stored on its internal memory which had a maximum sequence time of over 5 hours and could record up to 2000 events (which could each contain up to 8 notes simultaneously). It could also quantize and add rhythm humanizations like shuffles, flams, and rolls. Part of the Oberheim System, the DMX could interface with the OB-Xa, DSX, and other compatible modules before the MIDI standard.

The DMX’s crisp and punchy sound was integral to the evolution of many genres, including new wave, synthpop, fusion, reggae, dancehall, and rock. It revolutionized h ip-hop by allowing producers to create their own drum patterns instead of sampling records. The instrument was subsequently used on many groundbreaking hip-hop records, including “Sucker MC’s”by Run  DMC. The Oberheim DMX was also prominently used on the best selling 12” single of all time: “Blue Monday”by New Order, which sold over 1.16 million copies as of 2011. Several artists even  named themselves after the influential drum machine, including DMX and Davy DMX.

1981

DSX

The DSX was an eight voice polyphonic digital sequencer designed for integration within the Oberheim System. Capable of storing 10 10-track sequences with 6,000 steps and 8 external CV/ gate outs, the DSX was a powerful digital sequencer for its time and expanded the functionality of the Oberheim line. Users could control their OB-X, OB-SX, OB-Xa, and DMX instruments from the DSX. It would later be able to control the OB-8. The DSX could record notes and patch changes from Oberheim keyboards. This allowed users to meticulously design live performance setups with all their Oberheim synths and drum machines with the DSX powering them all.

1982

DX

The DX was released in 1982 as an affordable alternative to the DMX. It featured 18 drum sounds with 6-voice polyphony and used similar voice architecture to the DMX, including replaceable EPROMs. Like the DMX, users could tune and mix drum samples. It could store 100 sequences and 50 songs on an 8K memory. The DX only had 6 faders and triggers on its front panel instead of the DMX’s 8, but had lit function buttons. Factory MIDI was later added on the DXa. The DX would later be able to interface with the Stretch for an addition 4 voices and MIDI functionality.

1983

OB-8

The last of the OB-X series, the Oberheim OB-8 was a powerful eight voice analog polyphonic synthesizer from 1983. The fully programmable OB-8 could store 120 patches, had a polyphonic arpeggiator, and was bitimbral with various split and layer options. One of the unique characteristics of the OB-8 was its innovative Page 2 functionality: a microprocessor-driven feature that enabled users to access a completely new set of functions on using the same set of front-panel controls. This groundbreaking design allowed for greatly expanded modulation capabilities. Equipped with a Computer Interface, the OB-8 became the centerpiece of the Oberheim System, able to communicate with the DMX and DSX units. Built right before the adoption of the MIDI standard, later OB-8 models included MIDI functionality. The OB-8 was housed in a rugged metal chassis and sported solid walnut endbells. Musicians across many styles embraced OB-8, including Alice Coltrane in her Ashram spiritual music as well as the Police, Prince, Depeche Mode, Trent Reznor, among many others.

1983

700 Professional Stereo Power Amp

A lesser-known member of the Oberheim System was the 700 Stereo Power Amp. The 700 was a professional-grade stereo power amp with a maximum output of 375 watts and a wide frequency spectrum up to 7Hz-100kHz. Designed for use on the road, the rugged two-channel amp also featured gold-plated output connectors.

1984

Stretch

Available in 1984 as an accessory for the DX drum machine, the Stretch module added four voice channels and MIDI functionality to the DX. These four channels could be individually tuned and had individual outputs. The Stretch module also added a MIDI clock output, which allowed the whole Stretch DX unit to interface with MIDI-equipped synthesizers and sequencers. Other features, such as selectable external clock rates, programmable metronome, record count-off, and Auto-Start record were also added. Users could change sound chips, which were housed in ZIF (Zero Insertion Force) sockets. The updated Stretch software expanded the DX’s quantization resolution; up to a 1/96 note, or a 64th note triplet.

1984

Xpander

While other companies in the mid-80s moved toward all-digital synths, Oberheim’s next instrument remained mainly analog, with the power of digital control. The Xpander was released in 1984, and is still stands as one of the most flexible synthesizers of all time. The six-voice multitimbral polysynth aimed to recreate the patchability of earlier modular synths while retaining the lush analog sound Oberheim was known for. The Xpander had a whopping 15 multimode filter choices, 5 LFOs, multiple split and layer options, 15 VCAs per voice, 12 VCOs, linear FM, and 100 patches. The first Oberheim synth designed for full MIDI integration, the Xpander had velocity, aftertouch, and a 6- voice MIDI-CV convertor, with 6 CV/ Gate inputs on the rear as well as a trigger input. Each voice had individual outputs as well as a master stereo out, so the instrument could be used as 6 monophonic synths, just like the earlier SEM designs. In production until 1988, the Xpander sounded warm, lush, and complex, with highly intricate modulation possibilities.

1985

Matrix 12

Released in 1985, the Matrix 12 put two Xpanders in an integrated unit along with a keyboard. The result was a 12-voice digitally controlled analog synth with a 61-note keyboard. The Matrix 12 had a whopping 47 modulation destinations and 27 modulation sources. Just like modular synths, users could create dense patches, but now for a polyphonic synth with a keyboard. The Matrix 12 was capable of lush, complex sounds and remains one of the most beloved synthesizers of the last 40 years.

1985

Matrix 6

The Matrix 6 was released in 1985, aiming to be a more affordable and smaller polyphonic synthesizer from Oberheim. Classic knob-per-function controls were replaced with a small membrane interface, though the Matrix was still programmable and could store 100 patches plus 50 splits. It was a 6 voice bitimbral synthesizer with a single low pass filter, 12 digitally-controlled oscillators12 VCAs, 3 envelope generators per voice, ramp generators and 2 LFO’s. The Matrix 6 had a 61 key keyboard with velocity and aftertouch and full MIDI functionality.

1986

Matrix 6R

Released the following year, the Matrix 6R was identical in voice architecture to the Matrix 6 but was housed in a rack mount unit instead of with a keyboard.

1986

Prommer

The Prommer was an EPROM chip burner designed for use with the DMX series drum machines, but could also burn EPROM chips for other devices of the era. Users could sample their own sounds and add effects, like reversing samples, ring modulation, and basic envelope functionality. The end result was a custom 8-bit monophonic sample that could be triggered by the early digital drum machines of the day. The device was impressive for its time, adding a level of sample manipulation that is now widespread among DAWs.

1987

Matrix 1000

Released in 1987 and in production until 1994, the Matrix 1000 was a preset-based rackmount synthesizer with 1000 presets based on the Matrix 6’s voice architecture. It was a 6 voice, multitimbral polyphonic synthesizer that was designed to have the Matrix sound yet fit easily within a rack setup. Patches could be edited on a MIDI controller.

2009

SEM Pro

Tom reissued the synth that started it all, the Synthesizer Expander Module, in 2009 under his Marion Systems company. The new SEM used nearly the same circuitry as the original, retaining the original sound and the internal modular patch-point capabilities. It used the same multimode VCF and voice architecture that fans knew and loved from 35 years prior. The SEM was reissued in three versions: the Patch Panel, MIDI to CV, and the Pro. The SEM Pro included 21 patch points, an audio preamp, portamento, filter tracking, various assignment modes, LFO retriggering, transposition, and a MIDI to CV interface. The patch panel version had 33 jacks and provided new ways for internal modulation as well as deep interfacing with Eurorack modular synths.

2016

TVS Pro

Tom’s favorite synth is the Two Voice. After the rerelease of the SEM, he brought back the TVS with a number of additional features that made it an extremely unique and versatile synthesizer. Sonically, the SEMs were the same as their individual reissue. However, they could be controlled by a velocity sensitive Fatar keyboard with aftertouch and/ or a new and improved sequencer module. This module came a long way from the original Mini Sequencer: the new sequencer was a two channel, 16 step unit that could store multiple sequences and chain them into longer songs. It also had eighth, sixteenth, and triplet ratchet modes, as well as sample/ hold. There were a whopping 56 patch points on the top panel in addition to six ¼” jacks on the rear, as well as MIDI in, out, and thru. The SEMs could be split across the keyboard, played in unison, duophonically, and have the sequencer control either one or both. Bendbox controls added pitch and mod wheels, as well as a global vibrato LFO and VCO 2 detune. Another addition to the influential SEM line, the TVS Pro marked a full-circle point for Tom and his timeless instruments.