Frequently Bought Together. Eastwood Pre Painting Prep Aerosol 11oz. USC Handy Masker 7 in x 65ft Add All to Cart. Price for all checked items:. Safety Information. I see there is a 1 year warrantee on this item does that mean it's only going to hold a patch panel in place for 1 year? No- the 1 year warranty is for the item itself.
Longevity can not be determined; there are too many variables involved. Answered by: Kelly H. Must be use on bare metal steel or aluminum. Due to the short working time 10 minutes it may be difficult to set the outer wheel well in the proper position before curing starts. This is not a recommended product for your application. This product is designed as a patch panel adhesive. Answered by: vince. Sign Up for Our Newsletter:.
Each voice could be individually tuned, mixed via faders, and had a direct audio output on the rear panel. Each voice was contained on its own dedicated voice card, which could be swapped out by the user with alternative drum voice cards that were sold separately. The DMX could record, save, and edit sequences and songs stored in internal battery backed-up memory, with a maximum sequence time of over 5 hours and up to events. It could also quantize and add rhythm humanizations like shuffles, flams, and rolls.
The DSX was a voice polyphonic digital sequencer designed for integration within the Oberheim System. Capable of storing 10 track sequences with 6, steps, the DSX was a powerful digital sequencer for its time and expanded the functionality of the Oberheim line. It featured 18 drum sounds with 6-voice polyphony and used a similar voice architecture to the DMX except with the six voices contained on a single board and sound changes being possible via replaceable EPROMs.
Like the DMX, users could tune and mix each drum voice. It could store sequences and 50 songs in 8K of memory. The last of the OB series, the Oberheim OB-8 was a powerful eight voice analog polyphonic synthesizer.
The fully programmable OB-8 could store patches, had a polyphonic arpeggiator, and was bi-timbral 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 using the same set of front-panel controls.
This design allowed for greatly expanded modulation capabilities. The Page 2 features were screened on the front panel in light blue on most OB-8 units early units had Page 2 features, but not the screening. 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.
The Xpander was released in , and still stands as one of the most flexible synthesizers of all time. This six-voice multi-timbral polysynth set out to recreate the patchability of earlier modular synths while retaining the lush analog sound Oberheim was known for. Each voice of the Xpander had two VCOs each with a dedicated level VCA and waveshape mixing, a mode filter, two output VCAs, seven-position panning control, five LFOs, five envelope generators, a lag processor, four ramp generators, and three tracking generators.
Individual presets could be stored in one of locations Single patches , and independently assigned to each voice with versatile split and layering capabilities into addition locations Multi patches.
In addition to MIDI the Xpander could be controlled via six dedicated CV and Gate inputs, making it directly compatible with modular synthesizers as well. In production until , the Xpander sounded warm, lush, and complex, with highly intricate modulation possibilities. The result was a voice digitally controlled analog synth with a note keyboard. Like the Xpander, 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.
It featured an arpeggiator, transport controls, switchable velocity curves, keyboard zone allocations, chord memory, release velocity and MIDI patch switching for up to patches. The Matrix 6 was released in , 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 6 was still programmable and could store patches plus 50 splits. It was a 6 voice bi-timbral synthesizer with a single low pass filter, 12 digitally-controlled oscillators, 12 VCAs, 3 envelope generators per voice, ramp generators and 2 LFOs.
With the growing use of synthesizer modules, the Matrix 6R was a logical extension to the Matrix lineup. It contained the identical voice architecture and user interface as the Matrix 6 but was housed in a 3U rack mount chassis.
It was a 6 voice, multitimbral polyphonic synthesizer that was designed to have the Matrix sound yet fit easily within a rack setup at only one third the height of the Matrix 6R. Patches could be edited on a MIDI controller.
Tom's company, Oberheim Electronics, Inc. Tom continued as an employee, although he left the company within a couple of years to start his new company, Marion Systems. In , Gibson Guitar Corporation, acquired the Oberheim brand and for a few years continued to make several of the existing Oberheim products such as the Xpander and Matrix Several other products with the Oberheim brand were released during the Gibson era, although none of them involved Tom Oberheim.
The OB-Mx was released in , and after that most Oberheim-branded products were produced under license by Viscount International. Products included digital organs, pianos, and in the year , a digital synthesizer called the OB By the late s Gibson seemed to have stopped pursuing new products under the Oberheim brand. Tom Oberheim began making synthesizers under his own name again in , and in Gibson formally returned the Oberheim trademark. During the Gibson era, Tom produced some products under his new company name, Marion Systems.
The one-U rack mainframe could accommodate up to two eight-voice, eight-way multi-timbral analog synthesizer modules ASMs. Other mainframe features included a six-input programmable mixer including external inputs, and a seven-band programmable stereo graphic equalizer.
Superpatch storage allowed storage of all system parameters including the module data, as well as mixer and equalizer settings. The Analog Synthesizer Module ASM was a complete eight-voice, eight-way multi-timbral analog synthesizer plug-in module utilizing custom integrated circuits developed by Marion Systems. The HROs had six different waveforms available.
Extensive modulation matrix was provided. Tom reissued the synth that started it all, the Synthesizer Expander Module, in , the first official synthesizer to carry Tom Oberheim's name in over a decade.
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. New to this generation of SEM was the addition of 33 connection points on a patch panel for interfacing with Eurorack modular synths.
In addition to pitch control, other modulation sources could be routed from MIDI, and an audio input preamp circuit allowed for external audio signals to be processed through the SEM filter. The three different versions of SEM were all available from Tom Oberheim for several years, and are still highly sought after today. After the rerelease of the SEM, he brought back the TVS with a number of additional features that made it a truly unique and versatile synthesizer. Sonically, the SEMs were the same as their individual reissue.
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. The SEMs could be split across the keyboard, played in unison, duophonically, and have the sequencer control either one or both.
A year after the TVS Pro was launched, a limited number of black-panel version were made. With only a little more than one hundred units made, these are the rarest of Oberheim Two Voice models ever produced. They are identical in every way to the TVS Pro with the exception of the panel color.
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