Oberheim OB-8 Owners Manual 2nd Edition

OWNER'S MANUAL
C)
C)
OBERHEIM ELECTRONICS, IN C. 0-
SECOND EDITION
I
I
I
08-8
POLYPHONIC SYNTHESIZER
OWNERS MANUAL
by
DANIEL SOFER
Second Edition August 1983

Covering units starting with serial number C32726
OBERHEIM ELECTRONICS, INC.

2250 So. Barrington Ave.
Los Angeles, CA 90046 USA
(C) 1983 Oberheim Electronics , Inc.

All Rights Reserved
Oberheim 08-8 Ow ner 's Manual
S AF E T Y
Saf ety Ins tru ctio ns
I NS T R UC T I ONS
CAUTION:
To Pre ven t fire or shock haz ard
do not expose thi s app lian ce to
or mo istu re.
rain
WARNING:
Thi s equipment gen era tes and use
s
ins tall ed and used pro per ly, i.e rad io freq uen cy ene rgy and if not
.,
ins tru ctio n manual, may cau se har in str ict acc ord anc e wit h the
com mun icat ion s. It has been tes mfu l inte rfe ren ce to rad io
ted
lim its for a Cla ss A computing dev and found to comply wit h the
of FCC Rul es, which are des ign ed ice per sua nt to Sub par t J of Par t 15
to pro vid e rea son abl e pro tec tion
aga ins t such inte rfe ren ce when ope
rate d in a commercial env iron men
t.
Ope rati on of thi s equipment in a
inte rfe ren ce in which cas e the useres ide nti al are a is lik ely to cau se
req uire d to tak e wha teve r mea sure r at his own expense wil l be
s may be req uire d to cor rec t the
int erf ere nce .
I
I
I
I
I
I
I
I
I
I
I
I
I
Oberheim 08-8 Owner's Manual
TA8 LE
Table Of Con ten ts
OF
C ONT E NT S
1. INTRODUCTION. . . . . . . . . . . . .
............................
..
2. SETTING UP ... ... ... ... ...
...
... ... ... ... ... ... ... ... ..
2 .1. Master Volume.. . . . . . . . . . ...
.
.
.
2.2 . Master Tu ne ... ... ... ... ... . . . . . . . . . . . . . . . . . . . . . . . .
2. 3. Auto Tu ni ng ... ... ... ... ... ... ... ... ... ... ... ... ..
... ... ... ... ... ... ... ... ... ..
2.4 . Pan Po ts. ... ... ... ... ... ...
... ... ... ... ... ... ... ... .
J. USING THE PR OG RA MM ER
.... .... .... .... .... .... .... .... .... .
3.1 . Rec alli ng Pat ch Pr og ram
3.2 . Modifying Pat ch Pr og ram s.. ... ... ... ... ... ... ... ... ..
3. 3. Cre atin g New Sounds . . . . . . s.. ... ... ... ... ... ... ... ... ..
.
3. 4. Wr itin g Programs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
.
3.5 . Moving Pr og ra ms ... ... ... . . . . . . . . . . . . . . . . . . . . . . . . .
... ... ... ... ... ... ... ... ... .
2
2
2
2
2
3
3
3
4
4
4
4. SPLITS AND OOUBLES. . .

. . . . . . . . . . . . . .
. . .
4.1 . Sp lit And Double Fu
nc tio
4.2 . Modifying Sp lits And Do ubns ... ... ... ... ... ... ... ... ..
les
4.2 .1. Set tin g The Sp lit Po in ... ... ... ... ... ... ... ...
t.. ... ... ... ... ... ... ..
4.2 .2. Set tin g Lower And Upper
Tra
4.2 .3. Set tin g The Bal anc e Betwee nsp osi tio ns. .... ..
4.2 .4. Detuning The Lower Vo icen Lower And Up per ..
s.. ... ... ... ... ... ...
4.2 .5. Sp lit And Double Re se
t..
...
... ... ... ... ... ...
4.3 . Sp lit And Double Pr og ram
s..
...
...
...
... ... ... ... ... .
4.4 . Rec alli ng Sp lit And Double
Pr
og
ram
s..
.... .... .... ...
4.5 . Modifying Sp lit And Double
Pr
og
ram
s..
....
.... .... ...
4.6 . Wr itin g Sp lit And Double Pr
og ram s.. .... .... .... .... .
'. PERFORMANCE CONTROLS . .. ... ...
. ... .. .. .. , . , ... , . ,
5 .1. Modulation Pan el. . . . . . . . . ...
. . . . . . . . . . . . . . . . . . . . . . . . . . .,
5.2 . Modulation .. . . . .. . . .. . . . .
.
5. 3. Pit ch Bend . . . . . . . . . . . . . . . ... ... .. .. . . .. . . . .. . . . . . .
.
5. 4. Arpegg iat or . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
. . . . . . . . . . . . . . . . . . . . . . .
5.4 .1. Tra nsp osi ng The Arp egg.iato
r ... ... ... ... ... ...
5.4 .2. Programming Arp egg iato r
Tra
nsp osi tio ns ... ... .
5. 5. Hold and Chord Fu nc tio ns
...
...
...
... ... ... ... ... ... .
5.6 . Foot Sw itch es .. ... ... ...
...
...
...
...
... ... ... ... ...
5. 7. Foot Ped als .. . . . . . . . . . . . . .
..........................
6. SOUND PROGRAMMING CONTRO
LS. .. .. . .. .. . .. ..
. .. ..
6.1 . Os cil lat or s.. ...
5
6
7
7
7
7
7
8
8
9
9
10
10
11
12
13
15
16
16
18
19
20
... ... ...

6.2 . Fi lte r.. ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... 21
... ... ... ... ... ... ... ... .. 23
6. 3. En ve lop es. .... .... .... ....
. . . . . . . . . . . . . . . . . . . . . . 24
6.3 .1. Fil ter Envelope ... ... ...
6.3 .2. Volume Envelope ... ... ...... ... .. .. ... ... ... 25
... ... ... ... ... ... ... 26
6.4 . Co ntro l Sec tion ... ... ... ...
...
...
... ... ... ... ... ... . 27
6.5 . M od ul ati on ... ... ... ...
... ... ... ... ... ... ... ... ... ... 28
6.5 .1. Modulation Source ... ...
6.5 .2. Modulation De stin atio ns ... ... ... ... ... ... ... . 29
... ... ... ... ... ... ... . 30
I
I
I
l
Oberheim 08-8 Ow ne r's

Manual
Ta ble Of Co nte nts
7. PAGE 2 CONTROLS
.
. .
7. 1. Ac ce ssi ng Page 2
.. .. .. .. .. .. . .. .. .. .. . . 31
7. 2. Ad di tio na l LFO Co
nt ro ls .. .. .. .. .. .. .. .... .. .. .. .. .. .. 31
7. 3. LFO En ve lop es ..
. .. .. .. .. .. .. . .. .. .. .. .. .. .. .. .. . 32
7. 4. Po rta me nto Mo
.. .. .. .. .. .. .. .. 33
des..
7. 5. Voice Detuhe . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3.5
.. .. .. .. .. .. .. .. .. .. ..
.. .. .. .. .. .. .. 36
7. 6. Su sta in Pe da l Re
lea
se T im e. ... ... ... ...
7. 7. Page 2 Re se t.. .
... ... ... ... . 37
...
7. 8. Voice En ab le Sw . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
itc he s .. .. .. .. .. .. .. ..
.. . .. .. .. .. .. 37
S, CASSETTE INTERF' AC
E.
8 .1 . Tape Re co rd er Ho 38
8. 2. Ca ss ett e In te rfa okup. . . . . . . . . . . . . . . . . . . . . . . . . . . 38
ce Co nt ro ls . .. .. ..
8. 3. Re co rdi ng Pr og ram
..
s Onto Tape .. .. .. .. .. .. . .. .. .. .. . 38
.. .. .. .. .. .. .. 39
8. 4. Pl ay ing Pr og ram s
From Tape In to The OB
8. 5. Checking Tapes
-8
.. .. .. . .. . .. . .. .. .. .. .. .. .. .. .. 39
8. 6. Po ss ib le Causes
of Tape Tr an sfe r Er ro .. .. .. .. .. .. .. 40
rs .
8. 7. Loading Se lec ted
Pa tch es From Tape In to .. .. .. .. .. . 40
th e 08 -8 .. .. 41
9, COMPUTER INTERFACE
.
9. 1. Using The 08 -8
With The DSX .. .. .. .. .. 41
.. .. .. .. .. .. .. . 41
10 . SOF'TWARE REVISIONS
.
10 .l. Di sp lay ing The 42
So ftw are Re vis ion .. ..
.. .. .. .. .. .. .. . 42
ll . SOF'TWARE CALIBRATIO
NS
11 .l. Tape St or ag e of . 42
Ca lib ra tio ns .. .. .. .. ..
11 . 2. M ast er Re se t.. .
.. .. .. .. .. .. . 43
.
ll . 3. Re set of Al l Pe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
rfo rm an ce Co nt ro ls . ..
.. .. .. .. .. ... . 44
Ap pe nd ice s
A. SPECIFICATIONS . ..
.. .. .. .. . $. .. .. .. .. ..
.. .. .. .. .. .. .. .. .. 45
B. FRONT PANEL DIA GR
AMS.
46
C. SUBJECT INOE X. . . . .
. . . . . . . . . . . . . . . . .
. . . . . . . . . . . . . 48
D. PATCH DIRECTORY .. ...
. ... . ... . . . . .
. . .. . . . 55
LI ST
OF
Table Of Cont ents
F I GURE S
-----------------------------
3-1: Programmer Cont rols ..... ..... ..... ;... ....

.... .... .... .
4-1: Keyboard Con trol s.... ..... . . . . . . . . . . . . . . .
4-2: Spli t and Double Program Con trol s.... ...... . . . . . . . . . . . .
... . . . . . . . . . .
5-1: Modulation Panel I Mod ulatio n & Pitch Bend
Cont rols ....
5-2: Modulation Panel I Arpe ggiat or Con trol s_..
...... ...... ..
5-3: Modulation Pane l I Arpe ggiat or Tran spos ition
Cont rols ..
5-4: Hold and Chord Con trol s.... .... . . . . . . . . . .
..............
6-1: Volume Con trol s... ..... ..... ..... ..... .....
..... ..... ..
6-2: Osci llato r Cont rols ... .... ... ..... ...
..... ..... ....
6-3: Filte r Cont rols ..... ..... ..... ..... .... ....
6-4: Envelope Gene rator Con trol s.... ..... ..... ..... ... .
..... ..... ....
6-5: Cont rol Sect ion Cont rols .... .... .... .... ....
.... .... ...
7-1: Page 2 Mod ulatio n Cont rols .... .... .... ....
7-2: Page 2 LFO Phase Cont rols ... ..... ... ...... .... .... .
..... .... ...
7-3: Page 2 Trig Poin t Cont rol .... .... .... .... ....
.... .... . .
7-4: Page 2 LFO Envelope Cont rols ... ..... .....
.....
..... ...
7-5: Page 2 LFO Envelope Inve rt Cont rols ... .....
.....
..... .
7-6: Page 2 Porta ment o Mode Cont rols ... ..... .....
.....
.....
7-7: Page 2 Porta ment o Bend Cont rol .... .... ....
....
....
....
.
7-8: Voice Detune Cont rol .... ..... ..... ..... .....
....
.....
7-9: Page 2 Sust ain Peda l Rele ase Cont rol ....
... ..... .....
7-10 : Page 2 Voice Enab le Swit ches .... .... ~

8-1: Page l Fron t Pane l ... .... .... .... .... ....
.... .... .... .
8-2: Page 2 Fron t Pane l .... .... .... .... .... ....
.... .... .... .
3
5
8
10
13
15
16
20
21
23
24
27
32
32
33
33
34
35
36
36
37
37
46
47
Oberheim 08-8 Owne r's Manual
LI 5T
Table Of Conte nts
ar
T A8 L E S
---------------------------
4-1: Keyboard Contr ol Fun ctio ns... ...... ...... ...... ......
..
4-2: Split and Double Reset Valu es... ...... ...... ...... .....
6
7
5-1: Perfor mance LFO Modu lation Waveforms ... ...... ...
...
5-2: Program Advance Order . .. ... ... .. ... ...
11
18
D-1: ~-8 Patch Direc tory .... ...... ..... .... ... ....
...
55
I
I
I
I
I
I
I
I
I
I
I

l.
Intr odu ctio n
IN TR OD UC TI ON
CONGRATULATIONS!!!
And welcome to the OB-8. You
ele ctr oni c music dev ice . The 08- have jus t pur cha sed a sta te- of- the -ar t
fea tur es tha t allo w for ver y pre 8 is eas y to use , yet con tain s many
cis e sound syn the sis.
A refi nem ent and evo luti on
con tain s more fea tur es and bet terof Oberheim 's 08-X and 08-Xa, the 08-8
per form anc e, wit h fewer par ts, whi
more rel iab ilit y.
ch means
The most imp orta nt fun ctio ns
pre ssin g the des ired but ton or turnon the 08-8 are ava ilab le sim ply by
oth er les s used fun ctio ns tha t can ing the pro per knob; yet the re are many
be acc ess ed ind ire ctly , allo win g
ove r many fun ctio ns wit hou t the
con tro l
need for more knobs and but ton s ..
The 08-8 int erf ace s wit h the
which adds gre atly to the OB-B's Oberheim DSX Dig ital Pol yph oni c Seq uen cer ,
cap abi lity by rec ord ing and pla yin
as wel l as pat ch cha nge s.
g not es
As wit h any pie ce of equ ipm ent,
the more tha t you know abo ut it,
bet ter you wil l be abl e to use it.
the
So
rea d thi s ins tru ctio n manual
oft en, to fam ilia rize you rse lf wit
h the cap abi lity of thi s ins trum
ent .
And exp erim ent ! You won 't dis cov
er all of the OB-B's cap abi lity
you do.
unl ess
Good luck !
'
Page 1
I
I
I
I
I
I
I
I
I
I
I
I
Oberheim 08-8 Ow ner' s Manual
2.
S E T T I NG
1)
2)
3)
4)
5)
6)
Set ting Qe.
UP
Fir st, make sure the 115 /230 Vol tage

swi tch on the rea r pan el is
set for- tne loc al AC power;
Apply power and plug into your soun
d syst em;
Pre ss "AUTO" to tune all of the osc
illa tor s;
Sel ect a programmed sound by pre ssin
g a GROUP (A thru D, or any
com bina tion ) and a PROGRAM (1 thru
8);
Set the MASTER VOLUME con trol to an
app rop riat e lev el.
Play !
2. l.
Master Volume
You can adj ust the out put volume
of the 08-8 with the MASTER
VOLUME con trol in the upper lef
sim ulta neo usly con trol s both thet hand cor ner . Thi s con trol
ster eo out put s and the mono
out put .
2.2 .
Mas ter Tune

The MASTER TUNE con trol allo ws the
inst rum ent to be fine -tun ed to
oth er inst rum ent s. When this con trol
ls wit hin the "de ad-z one "
nea r the top cen ter, the inst rum ent
is
tune d to stan dar d A-440
pitc h.
2.3 .
Auto Tuning
The AUTO but ton act iva tes the Aut otun
tun es the ini tia l freq uen cy and vol e program. Thi s program
osc illa tor s one at a tim e, and the ts/o cta ve (tra cki ng) of the
afte r the oth er, to ind ica te which PROGRAM ligh ts wil l flas h one
voic e is cur ren tly bein g tun ed.
While the Aut otun e program is run nin
con trol s are disa ble d. The Autotun g, the out put s and all
pitc h bend lev er for zero bend and e program also cal ibr ate s the
vib rato . It is imp orta nt tha t the the vib rato lev er for zero
lev ers be lef t alon e dur ing
Aut otun e, so tha t the Aut otun e prog
ram
can set the zero poi nts
acc ura tely .
If a par ticu lar voi ce can not be tune
the PROGRAM ligh t rep rese ntin g tha d by the Aut o-tu ne prog ram ,
sec ond s, and the computer wil l aut t voic e wil l flas h for two
om atic ally dis abl e the out -of tune voi ce.
2.4 .
Pan Pot s
~- Tiie"""08-8 comes from the fac tory
with Voi ces 1-4 panned all the way
to the lef t and Voi ces 5-8 panned
all the way to the rig ht. Each
of the voi ces can be panned anywhe
re
set ting the pan pot s loc ated on the in the ster eo out put s by
righ t side of the uni t.
Page 2
I
I
I
I
I
I
I
I
I
I
I
I
Oberheim 08-8 Own er's Manual
3.
U 5 ING
T HE
Using The Programmer
P R O G R A MME R
GROUP
PRO GR Al'!
,E TT EU --- --- --- --- --- --- --- --- --- tig. 3-1: Programmer Controls
There are two type s of programs stor ed
in the OB-S's memory:
PATCH PROGRAMS that stor e soun ds.
SPLIT/DOUBLE PROGRAMS that stor e com bina
tion s of Patc h
Prog ram s.
The 08-8 comes from the fact ory pre-prog
Prog rams , 12 Spl it Prog rams , and 12 Dourammed with 104 Patc h
ble Prog rams . These
incl ude a grea t vari ety of soun ds which
will quic kly acqu aint you
with the cap abil itie s of your inst rum ent.
The 08-8 Programmed
Patc hes book deta ils thes e fact ory prog
ram s.
3.1.
Rec allin g Patc h Programs

The Patc h Programs on the 08-8 are divi ded
PROGRAMS each . The 15 GROUPS are sele cted into 15 GROUPS of 8
GROUP butt ons ("A" , "B", "C", & "D") indi by pres sing the four
vidu ally OR in any
com bina tion ("AB", "AC", "BC", "ABC", "ABC
D", etc .). The PROGRAM
with in the sele cted GROUP is then sele cted
by pres sing one of the
eigh t PROGRAM butt ons .
3.2.
Modifying Patc h Programs

Any sound reca lled by the programmer can
be mod ified (edi ted) by
chan ging the con trol s on the fron t pan el.
The con trol s add to, or sub trac t from,
the sett ings stor ed in the
computer program. For exam ple, the rele
ase time of the LOUDNESS
ENVELOPE can be made long er than programm
the RELEASE con trol on the LOUDNESS ENVE ed simp ly by turn ing up
LOPE
quic k yet smooth mod ifica tion s of exis ting . This feat ure allo ws
prog ram s. If it is
desi red to furt her incr ease or decr ease
a con trol sett ing , and the
con trol is alre ady at its maximum or
um pos itio n, simp ly
rota te the con trol all the way in the minim
opp osit e dire ctio n and then
make your desi red sett ing .
Modifying the program does not change the
OB-S's memory, and the orig inal , unm odif prog.ram stor ed in the
ied sound program can be
reca lled by pres sing the app ropr iate PROG
RAM butt on agai n.
For more info rma tion , see the sect ions
title d "SOUND PROGRAMMING
CONTROLS" and "PAGE 2 CONTROLS".
Page 3
I
I
I
I
I
I

3.3.
Using The Programmer
Creat ing New Sounds

The 08-8 can be used to creat e comp letely new sound s,
r than
alter existi ng sound s as descr ibed above, by using the rathe
MANUAL
MODE. In MANUAL, the sound of the instru ment will refle ct
the
actua l physi cal settin gs of the contr ols.
NOTE: The MANUAL MODE canno t be used while in SPLIT or
E
modes, and the 2ND PAGE of contr ols have no effec t (exceDOUBL
pt
for
VOICE ENABLES -- see "PAGE 2")
3.4.
Writin g Programs
New, modif ied, or even existi ng programs can be writte n into
the
OB-B's memory. This is done with the follow ing proce dure:
1)
2)
3)
Press and hold WRITE until the WRITE light comes on;
Selec t a GROUP (A thru D, or any comb inatio n)
Selec t a PROGRAM (1 thru 8).
The write opera tion actua lly occur s when the PROGRAM switc
h is
press ed, with the WRITE light on.
NOTE: Befor e any programs can be writte n, the MEMORY PROTE
CT
SWITCH an the rear panel must be OFF.
3.5.
Moving Programs
It is possi ble to move a program from one program memory
locati on
to anoth er. Ta do this, simpl y selec t the program you wish
to
move, and then write into the desire d new program locat ion,
as
descr ibed above .
Page 4
I
I
I
I
I
I
I
Oberheim 08-8 Ow ner 's Manual
4.
SP LI TS
A ND
Spl its And Doubles
D OU8 L E S
The OB-S's normal con figu rati

syn the siz er. In' Spl it or Double on is tha t of a sin gle 8 voi ce
modes however, the 08- 8 is div ide
sep ara tely programmable 4 voi ce
d into two
syn
the siz ers , cal led Lower and Upper.
of the 120 Pat ch Pro gram s can be
Any
rec alle d for the Lower or Upper
syn the siz ers , or a com bin atio n
"Sp lit Program" or "Double Program
rec alle d.
" can be
4.1 .
Spl it And Double Fun ctio ns

The KEYBOARD SECTION con tro ls ope
com bin atio n wit h eac h oth er to prorate ind ivid ual ly and in
duc e elev en dif fer ent fun ctio ns
wit h jus t fou r but ton s:
KE/BOARD
SPLIT
D0U8LE
LOWER
UPPER
---c50cE3SrSE
PLAY
F'ig. 4-1 : Keyboard Con tro ls

FUNCTION:
PRESS:
DESCRIPTION:
Ent er
Spl it Made
SPLIT
When thi s but ton is pre sse d, the

08- 8 ent ers
the SPLIT mode. Pre ssin g it aga
in wit hou t any
key s hel d dawn cau ses the 08- 8 to
exi t the
SPLIT made.
Ent er
Double Made
DOUBLE
Change
Spl it Poi nt
SPLIT
(ho ld down)
KEY (on the
key boa rd)
When thi s swi tch is pre sse d the

08the DOUBLE mode. Pre ssin g the swi 8 ent ers
cau ses the 08- 8 to exi t the DOUBLE tch aga in
mode.
The key dep ress ed is now the low
est not e of the
UPPER key boa rd. Thi s new SPLIT LOC
ATION wil l be
remembered unt il a new spl it is
ent ere d, or a
spl it is rec alle d from memory.
Dis pla y
Lower Program
LOWER
The Lower Program can be edi ted

or
wit hou t aff ect ing the Upper Programchanged
.
Dis pla y
Upper Program
UPPER
The Upper Program can be edi ted

or
wit hou t aff ect ing the Lower Pro gramchanged
.
NOTE: The MANUAL mode can not be
used when ln
SPLIT or DOUBLE.
Page 5

FUNCTION:
PRESS:
Change Lower
Tran spos ition
SPLIT or
DOUBLE (hol d)
LOWER (hol d)
KEY (on the
keyb oard )
Change Upper
Tran spos ition
SPLIT or
DOUBLE (hol d)
UPPER (hol d)
KEY ( on the
keyb oard )
SPLIT (hol d)
GROUP ( A-D) or
PROGRAM (l-8 )
Reca lling
Spli t
Programs
Reca lling
Double
Programs
Spli ts And Doubles

DESCRIPTION:
------------------- ----------------------The Lower Voices are ---refe renc ed to the lowe st
"C" on the keyboard (CO). Tran spos ition s

be made to any key. Pres sing the "G" abovemay
the lowe st "C" will tran spos e the Lower Voic
up a fifth . Tran spos ition s may be made in es
SPLIT or DOUBLE.
The Upper Voices are refe renc ed to midd le "C"
on the keyboard (C2) . Tran spos ition s may be
made to any key. Pres sing the "C" below
midd le "C" will tran spos e the Upper voic es
down an octa ve.
Ther e are twel ve SPLIT PROGRAMS which can be
programmed and reca lled . ( see "SPLIT AND
DOUBLE PROGRAMS", belo w).
DOUBLE (hol d) There are twel ve DOUBLE PROG

RAMS which can be
GROUP ( A-D) or programmed and reca lled . ( see
"SPLIT AND
PROGRAM (l-8 ) DOUBLE PROGRAMS", belo w).
Rese tting
SPLIT or
Spli t Poin t & DOUBLE (hol d)
Tran spos ition s MANUAL
The SPLIT Loca tion and Tran spos ition s are rese
t
to "nor mal" (Spl it Loca tion at middle C, no
tran spos ition s). Bala nce and Lower Voices
Detune are also rese t.
Change
Lower Voices
Tuning
The Lower voic es can be detu ned shar p or flat

from the Upper voic es. The LED above the DSC
2
DETUNE cont rol will turn on when the Lower
voic es are detu ned (onl y whil e hold ing the
LOWER but ton) .
LOWER (hol d)
(tur n:)
DSC 2 OCTUNE
Table 4-1: Keyboard Con trol Fun~ tions

All sett ings , inclu ding Patc h Prog rams , Spli
t Poin t,
Tran spos ition s, Bala nce, and Lower Voices Detu
unti l the sett ings are chan ged, eith er by hand ne are remembered
or by a Spli t or
Double Program. When you exit the Spli t or
Doub
le modes, the 08-8
reta ins all of thes e sett ings ; so that when
you
re-e
nter Spli t or
Double, all of the sett ings will be reca lled
as
they
were when you
were last in SPLIT or DOUBLE, even if the synt
hesi
zer
was turn ed
off.
4.2.
Modifying Spli ts And Doubles

In Spli t and Double ther e are two patc hes reca
and one for Upper. Eith er patc 'F,ca n be mod lled : One for Lower,
disp layi ng the desi red patc h (wit h the LOWE ified or changed by
R
then chan ging the cont rols on the fron t pane or UPPER butt on) and
l.
Page 6
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
Splits And Doubles
4.2.1.
Setting The Split Point

Press and hold the SPLIT button, and while holding the SPLIT
button, press any key on the keyboard . This key becomes the
bottom note of the Upper synthes izer. The keyboard can be split
anywhere, and is remembered until changed.
4.2.2.
Setting Lower And~ Transpo sitions

Either half of the synthes izer can be transpos ed by any amount.
The Lower half can only transpos e up. To transpos e the Lower
half, press and hold the current mode (either SPLIT or DOUBLE) and
LOWER. While holding both LOWER and SPLIT or DOUBLE press a key
on the keyboard . The interval between this key and the lowest
note on the keyboard (CO) becomes the transpo sition for the Lower
synthes izer.
The Upper half can transpos e up or down. To transpos e the Upper
half, press and hold the current mode (either SPLIT or DOUBLE) and
UPPER. While holding both UPPER and SPLIT or DOUBLE press a key
on the keyboard . The interval between this key and Middle C (C3)
becomes the transpo sition for the Upper synthes izer.
4.2.3.
Setting The Balance Between Lower And~

The control labelled PROGRAM VOL/BAL adjusts the balance between
the Upper and Lower voices.
The Programmed Volume of each patch program is ignored when in
SPLIT or DOUBLE.
4.2.4.
4.2.5.
Detuning The Lower Voices

The Lower voices can be detuned up or down from the Upper voices
by pressing the LOWER button, and while holding it, turning the
control labelled DSC 2 DETUNE. The LED above the control will
turn on when the Lower Voices are detuned from the Upper voices.
Split And Double Reset
of the function s unique to Split and Double (Transp ositions ,
Split Point, Lower Voices Detune, Balance) can be reset by
pressing and hold the current mode (SPLIT or DOUBLE) and while
holding SPLIT or DOUBLE, pressing MANUAL. These function s will be
reset to the followin g values:
FUNCTION:
Split Location
Lower Transpo sition
Upper Transpo sition
Balance
Lower Voices Detune
RESET TO:
--Mid dle C (C3)
Low C (CO)--no transpo sition
Middle C (C3)--no transpo sition
12 O'Clock --equal balance
12 O'Clock --no detune
Table 4-2: Split and Double Reset Values
Page 7
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
Oberheim 08-8 Owner 's Manual

4.3.
Splits And Doubles
Split And Double Programs

The 08-8 is capabl e of storin g 12 Split Progra ms, each of which
will remember the follow ing:
Lower Patch Program Number
Upper Patch Program Number
Split Locati on
Lower Transp osition
Upper Transp osition
Balanc e
Lower Voices Detune
These settin gs are stored using the SPLIT button and any one of
the 4 GROUP button s or 8 PROGRAM button s.
The 08-8 is also capabl e of storin g 12 Double Progra ms. These
settin gs are stored using the DOUBLE button and any one of the 4
GROUP button s or 8 PROGRAM button s.
The storag e of Split and Double Programs are indepe ndent of the
Patch Progra ms.
Split and Double Programs remember Patch Program Numbers
(e.g.," ABl") and not the Patch itself . If a Split Programs
utiliz es Patch Program "Al" and "Al" is change d, the Split sound
will change as well.
KEYBOARD
GROUP
PROGRAM
---- ---- ---- ---- -CA SSE TTE ('>- ---- ---- ---- ---- ---- ---- Fig. 4-2: Split and Double Program Contr ols
4.4.
Recall ing Split And Double Programs

To recall a Split Program, hold SPLIT, and while holdin g SPLIT,
press a GROUP or PROGRAM button . Make sure to releas e the SPLIT
button last. The Lower Patch Program recall ed as part of the
Split Program is displa yed on the GROUP and PROGRAM button s.
To recall a Double Program, the proced ure is the same: hold
DOUBLE, and while holdin g DOUBLE, press a GROUP or PROGRAM button
.
Page 8
I
I
I
I
I
I
I
I
I
I
I

4.5.
Splits And Doubles
Modifying Split And Double Programs

In Split and Double there are two patches recalle d: one for Lower,
and one for Upper. To display -ui"e Lower patch, press LOWER; to
display the Upper patch, press UPPER. Either patch can be
modifie d by display ing the desired patch and then changin g the
contro ls on the front panel.
NOTE:The MANUAL mode cannot be used while in SPLIT or DOUBLE.
In additio n, all of the Split and Double parame ters (Split Point,
Balanc e, etc.) that are recalle d as part of a Split or Double
Program can be modifie d as describ ed above.
4.6.
Writing Split And Double Programs

To write a Split Program:
1)
2)
Press & hold the WRITE button until the WRITE light comes on;
Hold SPLIT & press a GROUP or PROGRAM button.
Whatever Patche s, Transp osition s, Split Point, Balance , and Lower

Voices Detune being used at that time are now stored into the
selecte d Split Program. The selecte d Split Program will not
light, instead the Lower Patch Program will be display ed.
To write a Double Program follow the same procedu re except Press
and hold DOUBLE instead of SPLIT.
NOTE: Edited Patch Programs will not be remembered, only the Patch
Program as previou sly stored.
'
'
'I
I
I
I
Page 9
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
5.
PER
ORMA N CE
Perform ance Contro ls
CONT ROLS
These contro ls are used while playing the 08-8. The setting s of these
contro ls are not stored with a program, but remain in the OB-S's memory
until changed .
5.1.
Modula tion Panel
l::l
OSC 1
OSC 2
--MOD--
OSC2 Cff..Y Al'O.NT

--t!EN D-
DOWN
UP
-TRANSPO SE-
rig. 5-1: Modulation Panel I Modulation & Pitch Bend Contro ls
TRANSPOSE
DOWN & UP
These switche s allow you to transpo se the entire keyboard up

or down one octave from the normal range. When neither of
the two buttons are on, the keyboard is in the normal range.
Pressin g the DOWN button transpo ses the keyboard one octave
below normal. Pressin g the UP button transpo ses the keyboard
one octave above normal.
MODE
The MODULATION/PITCH BEND and the ARPEGGIATOR share the same

contro ls on the Modulation Panel. With the MODE switch off,
the MODULATION and PITCH BEND contro ls of the Modulation
Panel are display ed. With the MODE switch on, the
ARPEGGIATOR contro ls are display ed.
The MODULATION/PITCH BEND and the ARPEGGIATOR both operate at
all times. The MODE button simply changes the functio ns of
the buttons .
I
Page 10
I
-:.--.:-, .-
-.
.- ' :::
"--,;c,'_--
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I

5.2.
Performance Contro ls
Modulation
MODULATION
LEVER
This lever contro ls the amount of modul ation from the LFO to
the assign ed Oscill ators. Pullin g this contro l toward s the
front of the unit will add modul ation. If the DEPTH contro l
is on, this lever will add more modul ation to the amount set
by the DEPTH contro l.
Revers ing
The Lever
It is possib le to revers e the direct ion of the modul ation

lever. To do so, hold down the LOWER and DSC 2 ONLY button s
above and below the pitch bend lever while you turn the power
on. To return the pitch bend to normal operat ion, repeat the
proced ure. When it leaves the factor y the 08-8 is set for
the regula r direct ion (the right one!).
RATE
This contro ls the rate of the LFO.

from about .06 Hz to 50 Hz.
Waveform
Select ion
The variou s-wave forms of the LFO are shown in the follow ing
table:
DESIRED
WAVEFORM
RATE KNOB
SHOULD BE:
WHILE
The rate can be adjust ed
BEND LEVER
IS:
------------ --------Pushed Down
Straig ht
SQUARE
Pulled Up
Straig ht
UP SAWTOOTH
Pulled Up
UP ( toward s the front of

the unit)
DOWN SAWTOOTH
Pulled Up
DOWN (towar ds the rear of

the unit)
NOISE
Pushed Down
UP (towar ds the front of

the unit)
SAMPLE/HOLD
Pushed Down
DOWN (towar ds the rear of

the unit)
TRIANGLE
-----------
Table 5-l: Performance LFO Modulation Waveforms

DEPTH
This contro l allows you to contro l the depth of the LFO

withou t using the MODULATION LEVER. Turning the knob
determ ines the modul ation depth, and pullin g up on the knob
puts this contro l into effect .
The amount of depth set by this contro l is added to the depth
contro lled by the MODULATION LEVER or the extern al MODULATION
PEDAL.
DSC l & DSC 2
These switch es determ ine the destin ation of the LFO.
Page 11
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
Oberheim OB-8 Owner's Manual

5. 3.
Pitch Bend
PITCH BEND
LEVER
This lever
Pulling it
go up, and
down. Its
Reversi ng
The Lever
It is possib le to reverse the directi on of the pitch bend

lever. To do so, hold down the UPPER and AMOUNT buttons
on. To return the pitch bend to normal operati on, repeat the
proced ure. When it leaves the factory the OB-8 is set for
the regular directi on (the right one!).
AMOUNT
This switch determ ines the range of the PITCH BEND LEVER.
When this switch is off, the PITCH BEND LEVER has a range of
up or down one whole step (e.g. 11 C11 could move up to a 11 0 11 or
down to a "Bb").
Programming
Bend Amount
When the AMOUNT switch is on, the PITCH BEND LEVER can be
programmed to bend an amount between a quarter -tone and an
octave up or down. To program the amount of pitch bend,
press and hold the AMOUNT button , and while holding it, press
any key in the lowest octave of the keyboa rd. The interva l
between the lowest C and the key pressed becomes the maximum
range of the bend lever. For exampl e, holding the AMOUNT
button and pressin g the lowest Eb on the keyboard (EbO) will
program a maximum bend range of a minor third up or down.
The amount of pitch bend with the AMOUNT light on will remain
at this same programmed value until changed , even if the
power is turned off.
OSC 2 ONLY
When this switch is on, the PITCH BEND lever bends only
Oscilla tor 2 of each voice. When this switch is off, the
BfND LEVER bends both Oscill ators.
is used to be~d the pitches of notes being played.

towards the front of the unit causes the pitch to
pushing it towards the rear causes the pitch to go
range is determi ned by the AMOUNT switch .
Bending only Oscilla tor 2 has an interes ting, timbral effect

on program s in which Oscilla tor 2 is in SYNC.
LOWER &
UPPER
These buttons are used to assign all of the functio ns of the

MODULATION and PITCH BEND contro ls, to either half of the
keyboar d when in the SPLIT or DOUBLE mode. The LOWER and
UPPER switche s have separat e functio ns for the ARPEGGIATDR,
so that the arpegg iator and modula tion can be assigne d to
Upper or Lower indepen dently.
The LOWER and UPPER switche s will both come on when not in
the SPLIT or DOUBLE modes, and will revert to their previou s
setting s upon re-ente ring Split or Double .
VCF Track Of
Pitch Bend
The Pitch Bend lever will also bend the filter cutoff
frequen cy if KBD TRACK (in the filter section ) is turned on.
Page 12
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I

5.4.
Performan ce Controls
Arpeggiat or
~~ ~6 ):
!1
i
I
. , . . I_ _ _ _ _
1-=~ ,~,
I
.
MODE-
(PULL ONJ
ARPEGGIATE
I~
ARPEGGIATOR
HOLD
KBD
DOIIN
UP
i~~~~iI
I
I
DOIIN
UP
-TRANSPOSE-
rig. 5-2: Modulation Panel I Arpeggiator Controls
MODE
The ARPECCIATOR shares the same controls on the Modulation

Panel with the MODULATION and PITCH BEND. With the MODE
switch on, the ARPEGGIATOR controls are displayed .
ARPEGGIATE
This button turns the arpeggiat or on and off. The ARPEGGIATE

button operates while either arpeggiat or or modulatio n is
displayed (whether the MODE switch is on or off).
KBD
When this button is on, notes played on the keyboard will

arpeggiat e.
HOLD
When this button is on, held notes or a held chord will

arpeggiat e. The operation s for holding and transposin g an
arpeggio is the same as for holding and transposin g a chord
(see,"HOLD AND CHORD FUNCTIONS, BELOW).
Either the KBD or the HOLD button (or both) can be selected
at one time.
Page 13
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I

UP & DOWN
These buttons work togethe r to create four arpegg iator modes:

If the UP button is on, the notes will arpegg iate in the
order played.
If the DOWN button is on, the notes will arpegg iate in the
reverse order in which they were played.
If BOTH the UP and DOWN buttons are on, the notes will
arpegg iate first in order, and then in reverse order ..
If NEITHER the UP nor the DOWN buttons are on, the notes will
arpegg iate in random order. The random sequenc e is weighte d.
so that the first note played will sound more often than the
others, and that a note will not sound twice in a row.
LOWER & UPPER
These buttons are used to assign the ARPEGGIATOR to either or

both halves of the keyboard when in SPLIT or DOUBLE. In
SPLIT, the arpegg iator will first arpegg iate the LOWER half
of the keyboard and then the UPPER half regard less of the
order in which the notes were played (except in reverse
"DOWN" mode in which case the UPPER half will play first).
Either the LOWER or the UPPER button (or both) can be
selecte d when in Split or Double. They will both come on
when not in the SPLIT or DOUBLE modes, and revert to their
previou s setting s upon re-ente ring SPLIT or DOUBLE.
Page 14
I
I
I
I
I
I

5.4.l.
Transp osing The Arpeg giator

The OB-B's arpegg iator can transp ose arpegg iating notes by up
to five programmable interv als. The six button s at the front
of the MODULATION PANEL become the six transp ose button s
(five plus no transp ositio n) only while the MODE button is
presse d. Thus, the Modulation Panel actual ly contai ns three
pages of contro ls: Modul ation (MODE button off), Arpge ggiato r
(MODE button on) and Arpeg giator Transp osition s (MODE button
held down).
ARPEGGIATOR
TRANSPOSE PROGR M
I
I
I
I
I
I
I
I
R5==
(NONE)
rig. 5-3: Modulation Panel I Arpeggiator Transposition Contro ls

The left button (label led HOLD and DSC l) select s no
transp ositio n. With no transp ositio n, the notes will
arpegg iate as played (or held).
The other five button s select the five transp ositio ns. Each
transp ositio n adds to the previo us transp ositio ns, i.e.
pressi ng the right-m ast button (label led TRANSPOSE UP) will
arpegg iate the notes played (or held), and then transp ose the
arpegg iation by the first interv al, then by the second ,
third, fourth , and finall y the fifth, before startin g over at
the bottom .
When shippe d from the factor y, the transp ositio ns are
programmed to be succes sive octave s, but any of the
transp ositio n can be programmed to be any interv al. See
"PROGRAMMING ARPEGGIATOR TRANSPOSITIONS'', below.
Page 15
I
I
I
I
I
I
I
I
I
I
I
'
I
I
I
I
I
I
I
Performance Controls
In the ARPEGGIATE UP mode, the notes played (or: held) will

first arpeggiate as played, then by each transposition as
selected.
In ARPEGGIATOR DOWN mode, the arpeggiator action is the
reverse: the notes played (or held) will first arpeggiate in
reverse played order, transposed by the last interval
selected, then by the previous interval, etc., until reaching
the actual notes played.
In RANDOM mode (neither UP nor DOWN pressed), both the notes
played as well as the transpositions will be random.
5.4.2.
Programming Arpeggiator Transpositions

Press and Hold BOTH the ARPEGGIATOR MODE button, and the
ARPEGGIATE button. While holding BOTH buttons, play five
keys on the keyboard, one at a time. These five keys become
transpositions 1, 2, 3, 4, and 5 in the order in which they
are played. The arpeggiator will now transpose played or
held notes by these intervals, after arpeggiating the notes
as played.
HINT:
5.5.
To avoid turning the Arpeggiator on or off while programming

transpositions, press the MODE button before pressing the
ARPEGGIATE button.
Hold and Chord Functions
rig. 5~4: Hold end Chord Controls

HOLD
This button is used to produce a sustained note or chord.

To use, press the HOLD button and simultaneously play one or
more notes, and then release the HOLD button. The note or
notes played will now be sustained indefinitely. You can
play notes one at a time or all at once, while holding down
the HOLD button. To cancel the hold function, press HOLD a
second time, but be sure not to hold down any keys.
The HOLD button and the HOLD FOOTSWITCH operate the same and
can be used interchangeably.
HOLD may be used in Split and Double to sustain different
sounds at once, and with the Arpeggiator to arpeggiate a
sequence of notes without having to hold them down. (see
"ARPEGGIA TOR")
Page 16
I
I
I
I

CHORD
Chord Hold
Trans pose
Limit
I
I
I
I
I
I
I
I
I
I
I
Perfor mance Contr ols
The HOLD and CHORD butto ns can be used toget het to play
chord s with one key. First , selec t the desire d notes by
using the HOLD funct ion as descr ibed above . Then, press
the
CHORD switc h. The held chord will cease sound ing. By
playin g low C (CO) on the keybo ard, the held chord will be
reprod uced as previ ously playe d. Playin g notes above CO
will
transp ose the chord up by a corres pondi ng inter val. If the
G
above lowes t C (GO) is playe d, the chord will sound
transp osed up a fifth ; if the C two octav es above the lowes
C (CZ) is playe d, the chord will sound transp osed up by two t
octav es. The actua l note being playe d will not sound .
The transp osing effec t can be limite d to a part of the
keybo ard. Press the CHORD butto n, and while holdin g it press
a key on the keybo ard. This key becomes the Trans pose Limit
A held chord will not be transp osed above this key. Above .
the Trans pose Limit , the remai ning voice s will play norma
lly.
The Trans pose Limit remai ns stored in memory until chang ed.
NOTE:The Trans pose Limit can only be changed while a chord
is
being held.
The chord will always be transp osed by the lowes t note on
keybo ard below the Trans pose Limit , even in split . Howev the
er,
indiv idual notes can be played above the note transp osing
chord as well as above the Trans pose Limit . To exit the the
CHORD mode, simpl y press the HOLD switc h.
Chord Latch
A held chord can be latche d so it will remain gated on.

Press and hold the CHORD butto n, and then press the HOLD
butto n (be sure to releas e the HOLD butto n befor e releas ing
the CHORD butto n). A held chord will now stay on (be latche
d
on). To turn off the chord latch , repea t the above
proce dure.
The arpeg giator will conti nuall y cycle throug h a latche d
chord , and will not resta rt when the trans posit ion is
chang ed.
The chord latch is off when the 08-8 is first turned on.
Page 17

5.6.
Performance Controls
Foot Switches
The Foot Switch inputs are designed for use with the Model S-OBX Foot
Switch. The S-OBX contains a momentary, normally open switch.
SUSTAIN
PROGRAM
ADVANCE
Pressing the Sustain Switch causes the RELEASE on all

Envelope Generators to be set to the amount programmed in
each Patch (on PAGE 2). The PEDAL SUSTAIN time has the same
range as the front panel RELEASE TIME of the envelope
generators. In SPLIT or DOUBLE, the two patches will each
die out according to their own programmed PEDAL SUSTAIN time.
Pressing the Program Advance Switch advances the programmer
to the next program. For example, if program A6 is presently
selected and this switch is pressed, the Programmer moves on
to program A7.
As the footswitch is depressed,
the programs cycle as
follows:
GROUP
NO.
l
2
3
4
5
6
7
8
9
10
11
12
13
14
15
LIGHTS
A 8 C D
----------
*
* *
*
*
* *
* * *
*
*
* *
*
*
*
* *
* * *
*
*
*
*
*
*
*
*
Table 5-2: Program Advance Order

HOLD
The Hold switch functions exactly like the HOLD button on the
front panel, and will cause the HOLD light to light when in
use.
Page 18
Oberheim OB-8 Owne r's Manual

5.7.
Perfor mance Contr ols
Foot Pedal s
The Pedal input s are design ed for use with the Model P-OBX
Foot Pedal .
They are also design ed to respon d to Contr ol Volta ges, from
the DSX
Seque ncer or other sourc es.
VOLUME
The Volume Pedal varie s the volume of the 08-8 from zero
to
the MASTER VOLUME settin g on the front panel .
The VOLUME jack also can be used as a Contr ol Volta ge outpu
t
that will vary depen ding upon the settin g of the MASTER
VOLUME contr ol on the front panel .
VIBRATO
The Vibra to Pedal funct ions like the Vibra to Lever on the
MODULATION PANEL. It allow s the user to add vibra to from
the
LFO in the MODULATION PANEL to whate ver oscil lator s are
assign ed to it.
FILTER
This pedal contr ols the FILTER FREQUENCY of all voice s.

The
range of the pedal is from a sligh tly lower freque ncy than
when the pedal is not conne cted, to a signi fican tly highe
r
frequ ency.
Page 19

6.
[
l
S OUND
Sound Programming Controls
P R O G R A MM I N G
C ONT R OL S
The controls described on the next few pages are used control the sound
of the 08-8. It is the settings of these controls that is actually stored
in the 08-8 's program memory.
Any sound recalled by the programmer can be modified (edited) by
changing these Sound Programming Controls. The controls add to, or subtract
from, the settings stored in the computer program. For example, the release
time of the LOUDNESS ENVELOPE can be made longer than programmed simply by
turning up the RELEASE control on the LOUDNESS ENVELOPE. This feature
allows quick yet smooth modifications of existing programs.
When selecting a program, the front panel settings do not affect the
sound of the instrument. For instance, if a sound had originally been
programmed with a FILTER FREQUENCY setting at 12 o'clock, but later the
program is recalled with the FILTER FREQUENCY control set at 9 o'clock, the
program sound will be the same as if the FILTER FREQUENCY control was set at
12 o'clock. If it is desired to further increase or decrease a control
setting, and the control is already at its maximum or minimum position,
simply rotate the control all the way in the opposite direction and then
make your desired setting.
MASTER
MASTER
PROGRAM
VOLUME
VOL/BAL
[
Fig. 6-1: Volume Controls
PROGRAM
VOL/BAL
This control sets the volume of each patch program.

NOTE:In SPLIT or DOUBLE, the PROGRAM VOLUME of each patch is
disregarded in favor of the PROGRAM BALANCE of the Split or
Double Program.
Page 20
6.1.
Oscillators
I
OSC I
FREQUENCY
I
I
I
I
I
I
I
I
I
I
I
I
I
I.
I ANO 2
osc 2
FREQUENCY
-(~
Fig. 6-2: Oscillator Controls

1 FREQUENCY
This control determines the initial frequency of Oscillator

1. It operates in half steps within a four octave range.
WAVEFORM
(SAW/PULSE)
These switches choose the waveform of Oscillator 1.

If the SAW switch is on, a sawtooth wave is selected.
Sawtooth wave contains all of the harmonic overtones.
If the PULSE switch is on, a pulse wave is selected.

Compared to a sawtooth wave, a pulse wave is missing some of
the harmonics (the harmonic spectrum of the pulse wave is
controlled by the PULSE WIDTH control), and the sound is
thinner as a result.
If BOTH the SAW and the PULSE switches are on, then both
sawtooth and pulse waves are selected. This combination
creates and extremely fat sound. The PULSE WIDTH control and
the PULSE WIDTH MODULATION from the LFO will still affect the
pulse wave in this mode.
If NEITHER switch is on, a triangle wave is selected. The
triangle wave has the harmonics of the sawtooth wave, only
they are much softer in volume relative to the fundamental,
and the resulting sound is closer to the pure tone of a sine
wave.
Page 21
Oberheim 08-8 Ow ne r's Ma

nual
PULSE WIDTH
In div idu al
Pu lse Widths
SYNC
F-ENV
2 FREQUENCY
WAVEFORM
(SAW/PULSE)
Sound Programming Co ntr

ols
Th is co ntr ol se ts the in
os cil lat Dr s. When it is iti al pu lse wi dth of bo th
se t fu lly co un ter -cl oc
wave (50 % du ty cy cle )
is se lec ted . Tu rni ng thkw ise a sq ua re
clo bk wi se makes the sound
is
pr og res siv ely thi nn er andco ntr ol
na sa l.
more
The PULSE WIDTH co ntr ol
of each os cil lat or ind ep is als o used to se t the pu lse wi dth
the de sir ed OSCILLATOR, en de ntl y. Pr ess the PULSE bu tto n of
and wh ile ho ldi ng the PU
tur n the PULSE WIDTH co
LSE bu tto n,
nt
co ntr ol al l the way clo ck ro l. Turning the PULSE WIDTH
the ind ivi du al pu lse wi wi se or co un ter -cl oc kw ise wi ll re se t
dth se tti ng of the os ci
lla to rs .
Pr ess ing th is sw itc h ca
us
harmonic of Os cil lat or 1. es Os cil lat or 2 to loc k on to a
Sin ce Os cil lat or 2 is
Os cil lat or 1, ch an gin g
the fre qu en cy of Os cil lat sy nc ing to
ca us e a tim bra l change
rat he r tha n a pit ch ch an or 2 wi ll
ge .
Th is sw itc h all ow s the FIL
fre qu en cy of OSC 2. The TER ENVELOPE to mo du lat e the
MODULATION co ntr ol in the amount is co ntr oll ed by the
FILTER se cti on . With
at its maximum se tti ng ,
and the FILTER ENVELOPE th is co ntr ol
at maximum, DSC 2 wi ll
inc rea se in pit ch one oc SUSTAIN lev el
tav e.
Th is co ntr ol de ter mi ne s
2. It op era tes in ha lf the in iti al fre qu en cy of Os cil lat or
ste ps wi thi n a fou r oc tav
e ran ge .
These sw itc he s choose the
waveform of Os cil lat or
2.
If the SAW sw itc h is on
, a saw too th wave is se lec
Sawtooth wave co nta ins
al l of the harmonic ov ert ted . A
on es .
If the PULSE sw itc h is on
, a pu lse wave is se lec
Compared to a saw too th
wave, a pu lse wave is mi ted .
the ha rm on ics (th e harmo
ssi ng some of
co ntr oll ed by the PULSE nic spe ctr um of the pu lse wave is
WIDTH co nt ro l), and the
sound is no t
as "fa t" as a re su lt.
If BOTH the SAW and the
saw too th and pu lse waves PULSE sw itc he s are on , the n bo th
cre ate s and ex tre me ly fa are se lec ted . Th is co mb ina tio n
the PULSE WIDTH MODULAT t sou nd . The PULSE WIDTH co ntr ol and
ION from the LFO wi ll st
ill af fe ct the
pu lse wave in th is mode.
If NEITHER sw itc h is on
,
tri an gl e wave ha s the ha a tri an gl e wave is se lec ted . The
the y are much so fte r in rm on ics of the saw too th wave, on ly
volume re lat iv e to the fun
and the re su lti ng sound
is clo se r to the pu re ton da me nta l,
e of a sin e
wave.
Page 22
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I

6. 2.
Filter
The Voltage Controlled Low Pass Filter (VCF) are used to control the
brightness of the sound, filtering out the higher frequencies ( the "buzz")
in a very controllable manner. The Filter is arguably the most important
component in a synthesizer, because it is the primary control of the timbre,
or tone color of the sound. Because of this, the filter on each voice of
the 08-8 can be set to two modes: 2-Pole and a 4-Pole. In the 08-8, the
Filter Section also selects the sound sources (Oscillators and Noise) that
are used in the patch.
FREQUENCY
RESONANCE
osc
HALF
MODULATION
(ZJE
(Q)
2
NOISE
ON
4 POLE
TRACK
Fig. 6-3: Filter Controls

FREQUENCY
This control sets the initial cut-off frequency of the

Filter.
RESONANCE
This control determines the amount of resonance ( "Q" or

"emphasis") of the Filter. The RESONANCE emphasizes the cutoff frequency of the Fi1 ter. As the RESONANCE is increased,
the overall volume of the sound will increase in the 2-POLE
mode and decrease in the 4-POLE mode.
MODULATION
This control determines the amount of Filter Envelope which

modulates the Filter. Modulation of the Filter by the
Envelope is a critical element in the synthesis of brass
sounds as well as creating percussion in organ sounds, to
name just a few uses. The MODULATION control also determines
how much Filter Envelope will modulate OSC 2 when the F-ENV
switch is on. The LFO can also modulate the Filter. See
"MODULATION SECTION"
DSC l
ON
When this switch is on, Oscillator l is routed into the

Filter.
DSC 2
HALF /FULL
When either of these switches are on, Oscillator 2 is routed

into the Filter. The FULL switch selects the full output of
the oscillator and the HALF switch selects a signal level
approximately 5 db below full output.
NOISE
ON
When this switch is on the Noise Generator is routed into the

Filter.
Page 23
-~
_.-_;-.
--- -
~. .
,: .
,.-;;,
I
I
I
I
I
I
l
I
I
I
I
I
I
Sound Programming Contro ls
4-POLE
Turnin g this switch on select s the 4-POLE filter mode; When

this switch is off the 2-POLE filter mode is select ed. The
effect of this switch is to change the sharpn ess of the
filter ing effect . The 4-POLE mode has a 24db/o ctave slope
(sharp er), which result s in a more full sound. The 2-POLE
mode has a 12db/o ctave slope (more gradu al), which result s in
a bright er sound.
KBD
TRACK
This switch adds the contro l voltag e from the keyboard to

contro l the Filter Freque ncy. When on, the Filter in each
voice will track the keyboa rd, and "open up" as higher notes
are played . The TRANSPOSE and MASTER TUNE contro ls will also
contro l the Filter when TRACK is switch ed on.
When KBD TRACK is on, the pitch bend lever also contro ls the
Filter Freque ncy. In SPLIT or DOUBLE the filter will only
track the bend lever if it is assign ed to it with the UPPER
and LOWER button s in the bend box.
6.3.
Envelo pes
The Envelope Gener ators contro l the timing of the sound.

Envelo pes that make a long sound long, and a short sound short. It is the
For
examp le, the differ ence between a cresti ng ocean wave, and an explos
There are two envelo pes on each voice of the 08-8; one that contro ion.
Filter (VCF) for timbra l contro l, and one that contro ls the Ampli ls the
fier (VCA)
for volume contro l.
ENVELOPE$
FILTER ENVELOPE
ATT ACK
DECAY
SUSTAIN
RELEASE
Fig. 6-4: Envelope Genera tor Contro ls
Page 24
I
I
I

6. 3.1.
Filter Envelope
ATTACK
The Attack section of the envelope operates as soon as a key

is pressed on the keyboaid. This control sets the time the
Filter takes to get to its maximum effect, as determined by
the MODULATION control in the FILTER SECTION. The shortest
time is selected by setting the ATTACK control fully
counter-clockwise.
DECAY
The Decay section of the envelope comes into operation as

soon as the envelope has reached its maximum level (as soon
as the Attack is completed). This control sets the time the
Filter takes to reach the sustain level, as set by the
SUSTAIN control, while a key on the keyboard is being held
down.
SUSTAIN
This control sets the level the Filter Envelope goes to

following its initial decay, as set by the DECAY control.
The Envelope will stay at the Sustain ~evel as long as the
key on the keyboard is held down.
RELEASE
Once the key is released, the Envelope moves to the Release

section, and completes its cycle. The RELEASE control sets
the time the Filter takes to go from the Sustain level, to
the off level. If the SUSTAIN control is set to minimum, the
Release section will have no effect on the sound if the key
is pressed and held down. If the key is pressed and
immediately let go (in less time than the combined Attack and
Decay time), then the Release Section will still have an
effect.
Envelope
Reset
The Release of Envelope can be cut short by pressing the

WRITE button.
Modulating
When the F-ENV switch is on, the Filter Envelope modulates

OSC 2 as well as the FILTER. The pitch of OSC 2 will
directly correspond to the shape of this Envelope. The ATTACK
determines how fast OSC 2's pitch will rjse, the DECAY
determines how fast DSC 2 will decrease in pitch to the level
set by the SUSTAIN control, and. the RELEASE determines how
fast OSC 2 will decrease in pitch after a note has been
released. The MODULATION control in the Filter Section will
control the range of the effect of the Filter Envelope on
both the Filter as well as Oscillator 2.
1:
l
I
I
osc 2
With The
Filter
Envelope
Page 25
I
I
I
I
I
I
I
I
I
I
I
I
I

6.3. 2.
Sound Programming Con trols
Volume Enve lope
ATT ACK
The Atta ck sect ion of the enve lope oper ates

as soon as a key
is pres sed on the keyb oard . This cont rol
sets the time the
sound take s to get to its maximum volume.
The shor test time
is sele cted by sett ing the ATTACK cont rol fully
coun tercloc kwis e.
DECAY
The Decay sect ion of the enve lope comes into

oper atio n as
soon as the enve lope has reac hed its maxim
um
leve l (as soon
as the Atta ck is com plete d). This cont rol
sets
the time that
the VCA (tha t cont rols volume) take s to reac
h
the
sust ain
leve l, as set by the SUSTAIN cont rol, whil
e a key on the
keyb oard is bein g held down.
SUSTAIN
This cont rol sets the leve l the Volume Enve

lope goes to
follo wing its init ial deca y, as set by the
DECA
Y cont rol.
The Enve lope will stay at the Sust ain Leve
l as long as the
key on the keyb oard is held down.
RELEASE
Once the key is rele ased , the Envelope move

s
sect ion, and com plete s its cycl e. The RELE to the Rele ase
ASE cont rol sets
the time the sound take s to go from the Sust
ain leve l, to
the minimum leve l. If the SUSTAIN cont rol
is
set to
minimum, the Rele ase sect ion will have no
effe ct on the
sound if the key is pres sed and held down.
pres sed and imm edia tely let go (in less time If the key is
than the
combined Atta ck and Decay time ), then the
Rele ase Sect ion
will stil l have an effe ct.
Envelope
Rese t
The Rele ase of Enve lope can be cut shor t by

pres sing the
WRITE butt on.
'
Page 26
I
I

6.4.
Sound Programming Contro ls
Contro l Sectio n
CONTROL
1
PORTAMENTO
I
I
UNISON
f
rig. 6-5: Control Section Controls
1:
PORTAMENTO
This contro l determ ines the rate of portam ento or "glide " of
each voice as that voice' s pitch is change d. Note that the
portam ento of the 08-8 is polyph onic, so each voice will
glide from note to note indepe ndentl y of all other notes.
Portam ento als6 functi ons in UNISON mode. There are severa l
Portam ento Modes. For more inform ation, see "PORTAMENTO
MODES".
UNISON
When switch ed on, causes all voices to be sounded by one key

depres sion. In UNISON, the 08-8 keyboard operat es with low
note rule, which means that the lowest note played on the
keyboard will always have priori ty. When in SPLIT, the
UNISON mode is indepe ndent for the two halves of the
keyboa rd, so if the uppe~ half is in UNISON, then only the
lowest note of the upper half of the keyboard will affect it.
OSC 2 DETUNE
This contro l allows Oscill ator 2 to be tuned either flat or

sharp relati ve to Oscill ator 1. Turnin g the contro l to the
left makes Oscill ator 2 go flat and to the right makes it go
sharp. The LED above the OSC 2 DETUNE contro l turns on when
the Oscill ator 2 is detune d from Oscill ator 1.
I
I
Page 27
'
~.-"":--
:-
-- - - __ '.
., :"
_-_cc,_:"'"-~:- - : -c:_
I
I
I
I
I
I
I
Oberheim 08-8 Gwner's Manual

6.5.
Modulation
MODULA I ION
LFO
MODULATION
MODULATION
RATE
DEPTH I
DEPTH 2
OSC 1 FRO
Pl
OSC 2 FRO
PJ
OSC 1 PWM
ESE
OSC 2 PWM
ESE
VOLUME MOD
THE LOW FREQUENCY OSCILLATORS (LFOS) are used for modulation at low
frequencies --that is, frequencies near or below the range of hearing. If
you were to listen to an LFO directly, you would not hear anything; however
by controlling the frequency or pulse width of an oscillator or filter, the
effect of an LFO becomes apparent.
The 08-8 contains three LFOs: two are controlled from the Modulation
Section on the front panel and are discussed here; the third is controlled
from the Modulation Panel to the left of the keyboard ( see "PERFORMACE
CONTROLS II)
I
I
I
I
,_
'
Page 28
I
I
J
J
J'

6.5. 1.
Sound Programming Con trols
Modulation Sour ce
RATE
This cont rol dete rmin es the SPEED of mod ulati

on. The rang e
is from appr oxim ately 1/15 osci llati on per
second to 50
osci llati ons per seco nd.
WAVEFORM
The WAVEFORM swit ches sele ct the mod ulati on

sour ce acco rdin g
to the follo wing tabl e:
Sine
Squa re
Sample/Hold
Up Sawtooth
1,2
Down Sawtooth
2,3
Trig LFO
1,3
Sampled Vibr ato

LFO
1,2, 3
In this mode, the LFO rese ts each

time a key is pres sed (The re are
seve ral opti ons for this mode that
are avai labl e on PAGE 2--s ee "PAGE 2
CONTROLS II)
This mode is some thing like
SAMPLE/HOLD, exce pt that whil e
SAMPLE/HOLD samp les nois e, this
mode samp les the LFO in the
Mod ulati on Pane l, which can be set
to seve ral diff eren t waveforms and
spee ds itse lf ( see 11 PERFORMANCE
CONTROLS II)
.
I
I
'
Page 29
I
I
I
I'

6.5 .2.
Modulation Des tina tion s

MODULATION l
DEPTH l
This con trol dete rmi nes the AMOUNT of

mod ulat ion sen t to the des tina tion swi
tche s
below.
DSC l FRQ
Pre ssin g this swi tch rou tes freq uen cy

mod ulat ion to Osc illa tor 1. Small amo
unts of
freq uen cy mod ulat ion are freq uen tly used
to
crea te vibr ato effe cts; larg er amounts
can
be
used for spe cial effe cts.
DSC 2 FRQ
Pre ssin g this swi tch rou tes freq uen cy

mod ulat ion to Osc illa tor 2.
FILTER FRQ
Pres sing this swi tch rou tes freq uen cy

mod ulat ion to the Fil ter. Mod ulat ing
freq uen cy of the filt er crea tes a "wah the 11
-1vah
effe ct.
r:
DEPTH 2
MODULATION 2
This con trol dete rmi nes the AMOUNT of
mod ulat ion sen t to the des tina tion swi
tche s
below.
DSC 1 PWM
Pres sing this swi tch rou tes mod ulat ion
puls e width of Osc illa tor 1. Puls e widto the
th
mod ulat ion does not alte r the pitc h
of
the
osc illa tors but rath er the shap e of
the puls e
wave, cau sing a chan ge in the timb re
of the
sound not unli ke the effe ct of a rota
ting
spea ker on an orga n.
OSC 2 PWM
to the
pul~ e width of Osc illa tor 2.
VOLUME MOO
to
con trol the volume of the Vol tage Con
trol
led
Am plif ier (VCA). This volume mod ulat
ion (als o
known as amp litud e mod ulat ion) crea tes
effe ct of trem olo, among othe r thin gs. the
Sound Programming Con trol s
r
Page 30
I
I
I
I
I
I
I
1:
Dberheim 08-8 Own er's Manual

7.
PA GE
Page
l Cont rols
C ONT R OL S
Many of the 08-8 's featu res are cont rolle d

cont rols; in othe r words, the knobs and butto ns by a "seco nd page" of
func tions : for exam ple, the cont rol labe led LOUDon the fron t pane l have two
NESS ENVELOPE RELEASE
becomes the SUSTAIN PEDAL RELEASE cont rol when
in PAGE 2.
All of the Page 2 cont rols (with the exce ption
of the VOICE ENABLES
are store d with a patch program. The conti nuou
s edit featu res of the
cont rols on Pag el apply to the cont rols on page
2 as well ,
When in SPLIT or DOUBLE, the LOWER and UPPER butto
ns sele ct disp lay of
PAGE 2 for the LOWER patch or UPPER patc h, just
as they do for page l.
NOTE: In MANUAL mode, the Page 2 func tions do
not oper ate exce pt for
the VOICE ENABLES.
7.1.
Acce ssing Pag el

To acce ss the second page of func tions , pres s
the CHORD/PAGE 2
butto n twice with in 1.5 seco nds. The CHORD/PAG
EZ butto n will ligh t, and
voil a, you will be look ing at the second page
of cont rols.
To retur n to page 1, pres s the CHORD/PAGE 2 butto
n once more.
NOTE: any "held note s" will be changed into a
held chord '"henever the
CHORD/PAGE 2 butto n is pres sed.
[
Page 31
I
I
Additiona l LFO Controls
7.2.
MODULATION
HOOULATION
DEPTH 1
LFO
RAT!:
I
I
I
I
I
QUANTIZE 1
TRIG WA VEFORl1
==m2J
Pl
}g1~il
,.........
r-----
INVERT 2
'IIB U:O
PJ
TRIG
LFO TRACK
LFO ENV MOO
SPLIT
DOUBLE
7\d Fl
~ I
Fig. 7-1: Page 2 Modulation Controls

QUANTIZE l
QUANTIZE 2
These switches quantize the sweep of the LFO into half steps.
QUANTIZE 1 affects DSC l FRQ, DSC 2 FRQ, and FILTER FRQ, and
QUANTIZE 2 affects DSC 1 PW, DSC 2 PW, and VOL MOD.
LFO F'HASE
90
180
These switches change the phase of the LFO. With both

switches off, the LFOs of all voices are in phase. The
buttons offset the LFO phase of Voices 5-8 by 90 or 180
relative to Voices 1-4.
The LFO PHASE control has no effect when LFO TRACK or LFO ENV
MOD are on or when using a TRIG WAVEFORM.
r=:
==::;
osc LFO HOO INVERT
,~
~=
::JLJP D=
180
~..:....~==i1- -..;.....--11== ==i1----i~r== o=i1--- - - - - -......~

I
INVERT 1
90
u._NT:.:,IZ:.,;E_2__
--',.;;~==i l-----lF== il----i~r=o =i!--I

t
I
osc 1
FREOUENC1
HOOULATION
DEPTH 2
-..:..:.~==--=;;.:.:a.~__a...
Page~ Controls
'
1
FREQ.
'..__/
PW
Fig. 7-2: Page 2 LFO Phase Controls

LFO INVERT
vco 1
FREQUENCY
With this mode on, the LFO modulatio n of VCO l's frequency is
out of phase by 180 degrees (phase oppositio n) with respect
to the LFO frequency modulatio n on VCO 2 and the VCF.
LFO INVERT
With this mode on, the LFO modulatio n of VCO l's pulse width
is out of phase by 180 degrees (phase oppositio n) with
respect to the LFO pulse width modulatio n on VCO 2 and VOLUME
MOD.
vco
PULSE WIDTH
Page 32

TRIG WAVEFORM
Page~ Controls
Any of the waveforms of the front panel LFO can ~e selected

as the Triggered LFO Waveform by_selecting KBD TRIG as the
waveform on page land then selecting the desired waveform on
page 2. For example, if KBD TRIG is selected on page land
UP SAWTOOTH is selected on page 2, the result will be an UP
SAWTOOTH that is reset every time a new key is pressed.
TRIG POINT
rig, 7-3: Page 2 Trig Point Control

TRIG POINT
7.3.
The TRIG waveform can be set to retrigger at any point in its

cycle by turning the TRIG POINT control on page 2.
LFO Envelopes
Besides the FILTER ENVELOPE and VOLUME ENVELOPE, there are two simple
envelope generators for the LFO, one for DEPTH 1 (OSC 1 FRQ, DSC 2 FRQ, and
FILTER FRQ) and another for DEPTH 2 (DSC 1 PW, DSC 2 PW, and VOL MOD). The
LFO envelope generators enable changes in modulation depth as a note plays,
just as the FILTER ENVELOPE and VOLUME ENVELOPE enable changes in the filter
and volume levels as note plays.
ENyEu
DELAY 1'100 I
4 TT ACK 1'100 I
DELAY MOD 2
A rTACK MOD 2
rig, 7-4: Page 2 LFO Envelope Controls

DELAY MOD 1
DELAY MOD 2
These controls set the time delay of the LFO's envelope

generators. The delay ranges from a minimum of zero to a
maximum of 3.5 seconds. The delay is reset each time a new
note is played. MOD 1 affects DSC 1 FRQ, DSC 2 FRQ, and
FILTER FRQ, and MOD 2 affects DSC 1 PW, DSC 2 PW, and VOL
MOD.
ATTACK MOO 1
ATTACK MOD 2
These controls set the attack time of the LFO's envelope

generators. The attack time ranges from a minimum of zero to
a maximum of 3.5 seconds. The attack time is reset each time
a new note is played. MOD 1 affects DSC 1 FRQ, DSC 2 FRQ,
and FILTER FRQ, and MOO 2 affects DSC 1 PW, DSC 2 PW, and VOL
MOD.
I
Page 33
I
I
I
I
I
I
I
INVERT
I
I
I
I
I
I
l Contro ls
INVERT 2
[5[
LFO TRACIC
LFO ENV MOD
ESE
rig. 7-5: Page 2 LrO Envelope Invert Controls
INVERT l
INVERT 2
These switche s invert the LFO envelop e genera tors. INVERT l

affects OSC l FRQ, OSC 2 FRQ, and FILTER FRQ, and INVERT 2
affects OSC l PW, OSC 2 PW, and VOL MOD.
With INVERT off, the LFO will start each note at zero
modula tion and increas e to the depth set by the approp riate
DEPTH contro l in the time set by the DELAY and ATTACK
contro ls.
I
l
I
Page
With INVERT on, the LFO will start each note at the
modula tion depth set by the DEPTH contro l and decreas e to
zero modula tion in the time set by the DELAY and ATTACK
contro ls.
LFO TRACK
This adds 1/4 of the keyboard to the rate of the LFO. The
LFO speed will double every four octaves on the keyboard
(e.g.-C O to C4).
LFO ENV MOD
This switch acts somethi ng like the F-ENV switch on page l.

Pressin g this switch enables the LFO 2 envelop e to contro l
the rate of the LFD. The LFO 2 DEPTH contro ls the amount of
modula tion. DELAY 2, ATTACK 2, and INVERT 2 will all affect
the rate of the LFD when this switch is on.
Page 34
Page
I
I
7.4.
Controls
Portamento Modes
,,
PORTAMENTO
MATCH
OUANT!ZE
- - PORTAMENTO - EXPO
EQUAL iIME
U:GA iO
Fig. 7-6: Page 2 Portamento Mode Controls
I
I
I
I
MATCH
QUANTIZE
This switch quantizes the sliding portamento into semitone

steps.
LFGA TO
THIS MODE CAN BE TURNED ON ONLY WHILE IN UNISON MODE. When

legato portamento is on, notes will slide only when played
legato, e.g. without releasing the key while going from one
note to another. When notes are played detached, no
portamento will occur. This feature enables portamento to be
used expressively while soloing. Legato Portamento can be
used in conjunction with any of the other portamento modes,
but only in unison. Turning off UNISON will automatically
turn this mode off.
EQUAL TIME
This switch makes the glide time between notes independent of

the interval between the notes, e.g. it will take the same
time to glide from CO to C0 as it would from CO to C6. The
range of the glide time is smaller than with the regular
portamento mode. Note that BEND PORTAMENTO and EQUAL TIME
PORTAMENTO cannot be on at the same time.
EXPONENTIAL
This mode is essentially identical to the equal time

portamento but the "shape" of the glide is exponential
instead of linear. This means that the pitch will glide
slower and slower as it gets closer to the destination note.
This kind of portamento was used on the Oberheim Modular 2,4
& 8 voice synthesizers. Note that EXPONENTIAL PORTAMENTO
cannot be on at the same time as either EQUAL TIME or BEND
PORTAMENTO.
When the MATCH switch is on, all voices will portamento at

When the MATCH switch is off, the
voices will portamento at slightly different rates.
exactly the same rate.
'
.y--._-::-t=--i,,,r.--
Page 35
__ ,, ---
---
I
I
I
I
I
I
'
'
'I
Oberheirn 08-8 Owner's Manual
PORTAMENTO BENO
rig. 7-7: Page 2 Portamento Bend Control

PORTAMENTO
BEND
This switch causes all notes to glissando from a programable

interval above or below the note being played. The rate of
the gliss is controlled by the PORTAMENTO control on either
page.
Prograrnm ing
Portamento
Bend
Press and hold the PORTAMENTO BEND control, and play a note
on the keyboard. The C two octaves from the bottom of the
keyboard (CZ) equals zero bend, and each key away from CZ (up
or down) equals a quarter-tone, e.g. pressing D3 will set
notes to gliss from a perfect fifth above.
Chord and
Arpeggiator
Portamento
Held Chords being transposed will not portamento if the

PORTAMENTO BEND is on. Notes being Arpeggiated operate in
the opposite manner: they will portamento only if the
PORTAMENTO BEND is on. So, when using portamento with Held
Chords that are being transposed and Arpeggiated, you have a
choice: With the PORTAMENTO BEND on, each arpeggiated note
will portamento; with the PORTAMENTO BEND off, only the chord
transpositions will portamento.
I
I
'I
Page~ Controls
rig. 7-8: Voice Detune Control

7.5.
Voice Detune
This control detunes the voices from each other. Some of the
voices are tuned flat, some sharp, and some remain the same.
The voices are detuned when the led above the control is on.
Zero detune is achieved by turning the VOICE DETUNE control
completely counter-clockw ise.
I
I
Page 36
I
I
Page
Controls
?EOAL RELEASE
'
'I
I
I
Fig. 7-9: Page 2 Sustain Pedal Release Control

7.6.
Sustain Pedal Release Time

"i1iTs control sets the release time of the FILTER and VOLUME
ENVELOPES when the SUSTAIN FOOTSWITCH is depressed. The
PEDAL SUSTAIN can be set to any amount of time from zero to
20 seconds.
7. 7.
Page ;_ Reset
All of the controls on Page 2 can be reset to minimum or off.
To reset Page 2, follow this procedure:
'I
I
I
I
I
'
'I
l)
press the CHORD/PAGE 2 button twice, and hold the button
the second time.
2)
While holding the CHORD/PAGE 2 button, press the PAGE 2
RESET button ( labelled "F -ENV") on the front panel.
PROGRAMMER
vorcE ENABLES
tE
RESET
~,I!,
RECORD
rig. 7-10: Page 2 Voice Enable Switches

7.8.
Voice Enable Switches

The individual voices can be enabled or di$abled from the
front panel using the PROGRAM 1-8 buttons on page 2. A voice
is enabled when the corresponding PROGRAM light is on.
Page 37
'
I
I
I
I
I
I
I
I

8.
CASSETTE
I NT E RF AC E
The 08-8 is equipped with a Cassette Interface which enables programs

contained in the program memory to be stored externally on an audio
cassette. All that is require_d to use the Cassette Interface feature is an
audio cassette recorder with reasonable frequency response and a pair of
mini-plug to mini-plug audio connecting cables.
NOTE:
The cassette player must have an earphone or ext. speaker output

(a ~INE OUT will not work).
NOTE:
The 08-8 Cassette Interface is not compatible with other Oberheim

synthesizers.
8.1.
Tape Recorder Hookup

Connect the Earphone or Speaker output of your cassette recorder
(a Line output will not work) to the jack labeled "TO OUTPUT" on
the rear of the 08-8. Connect the "TO LINE INPUT" jack on the
rear panel of the 08-8 to the Line or Aux input of your cassette
recorder. If the recorder does not have one, connect the "TO MIC
INPUT" jack on the rear panel to the Mic input of your cassette
recorder.
NOTE:
8.2.
To reduce hum, the "TO LINE INPUT" and "TO MIC INPUT" jacks have
no ground connection. For this reason, it is necessary to connect
both the Input and the Output cables when recording data onto the
cassette recorder.
Cassette Interface Controls
CASSETTE
ENABLE
This switch on the rear panel enables the cassette interface.

When the Cassette Interface is enabled, the CASSETTE LIGHT on
the front panel lights up and all normal functions on the
instrument are disabled.
RECORD
RECORD shares a switch with the WRITE button. Pressing

RECORD allows you to record your programs onto tape.
PLAY
PLAY shares a switch with the UPPER button. Pressing PLAY

allows you to play your programs from the tape into the 08-8.
CHECK
CHECK shares a switch with the MANUAL button. Pressing CHECK

allows you to check your program recordings without writing
them into the 08-8.
HOLD
This button cancels any Cassette operation at any time.
'
Cassette Interface
Page 38
I
I
I
I
I
I
I

8.3.
Cassette Interface
Recording Programs Onto Tape

l)
Enable the Cassette Interface with the switch on the rear

panel.
2)
Press the RECORD switch on the tape recorder. You should now
hear a steady tone through the main outputs of the 08-8. The
MASTER VOLUME control will adjust the volume of the tone
heard in the OB-S's outputs, but will not affect the level of
the Cassette Interface Output.
3)
Press the RECORD switch on the 08-8. After the RECORD switch
is pressed, ten seconds of the steady "leader" tone will be
sent out followed by sixteen seconds of the actual memory
information . During these twenty-six seconds, the light on
the RECORD switch will be on. The GROUP lights (A, 8, C, D)
come on in sequential order ("A", "8", "AB", "C", "AC", etc.)
indicating that information transfer is taking place.
The RECORD function can be cancelled by pressing the HOLD button.

8.4.
Playing Programs From Tape Into The 08-8

1)

panel.
2)
Press PLAY on the tape recorder. You will be able to monitor

the tape through the main outputs of the 08-8. The MASTER
VOLUME will control the volume for monitoring the tape.
3)
As soon as the "leader" tone is heard, press the PLAY switch

on the 08-8. At least three seconds of the "leader" tone
must come between pressing PLAY and the rough sound of the
memory information . The light on the PLAY switch will be lit
from the time the switch is pressed until the first of the
memory information is recognized. At that point, the GROUP
lights (A, 8, C, D) come on in sequential order ("A", "8",
"AB", "C", "AC", "ABC", etc.) indicating which group is being
transferred . The Splits and Doubles are transferred last.
If the t-EMORY PROTECT switch on the Rear Panel of the 08-8 is
set to PROTECT, the PLAY light will not operate.
4)
If an error is detected, the PLAY light will flash.
The PLAY function can be cancelled by pressing the HOLD button.

NOTE: If a cassette of patches from an 08-8 with A7 or previous
software is loaded into an 08-8 with AS software, it is possible
that some of the new features of the AS software (portamento
and LFO invert functions) will be turned on in some of the
programs. To eliminate them, simply edit them out of each patch
and re-write it into memory. For more information , see the
SOFTWARE REVISIONS section of this manual.
Page 39
Oberheirn 08-8 Owner's Manual

8.5.
Cassette Interface
Checking Tapes
The CHECK function of the Cassette Interface enables verification of

the data on a tape without actually transferring the data into the OB-B's
memory. A TAPE SHOULD ALWAYS BE CHECKED AFTER RECORDING.
1)

panel.
2)
Press PLAY on the tape recorder. You will be able to monitor

the tape through the main outputs of the 08-8.
3)
As soon as the "leader" tone is heard, press the CHECK switch

on the 08-8. As with the PLAY switch, at least three seconds
of "leader" tone must follow pressing the switch and precede
the rough sound of the memory information. The CHECK light
will be on during the reception of the leader tone and the
GROUP lights will sequence, just as during the PLAY
operation, however no actual information transfer into memory
takes place.
4)
A CHECK error is indicated if the CHECK light flashes at the

end of the operation.
The CHECK function can be cancelled by pressing the HOLD button.

8.6.
Possible Causes of Tape Transfer Errors

A)
There is a dropout on the tape.
B)
The playback volume is too high or too low. Some trial and
error may be required. Generally the best level is as high
as possible before distorion occurs (approximately 3/4 of the
way up). If the playback volume is too low, the 08-8 will
not acknowledge the data at all.
C)
The tone control may be set improperly. It is important that

the tone control(s) be set so that neither the high nor the
low frequencies are attenuated.
D)
The Batteries in the cassette machine are too weak.
The Cassette Interface is designed to work with portable cassette

recorders having an "Earphone", "Speaker", or "Monitor" output.
The Interface is not designed to work with tape recorders having
only a line output. Our experience is that monophonic recorders
work more reliably that stereo units. One cassette recorder that
we have found to work well with the Cgssette interface on all of
Oberheim's products is the Superscope C-ZOOLP.
I
Page 40
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I

8.7.
Cassette I Computer Interface
Loading Selected Patches From Tape Into the 08-8

Up to eight individual patch Programs can be played from tape into the
08-8. Follow this procedure:
l)
Enable the Cassette Interface with the CASSETTE ENABLE switch on

the rear panel.
2)
Select the location of the desired Patch Program to be loaded from

the -tape by pressing the GROUP and PROGRAM buttons. This "source"
location will remain lit on the GROUP and PROGRAM buttons.
3)
Select the destination of this Patch Program by again pressing the

GROUP and then the PROGRAM buttons. While the PROGRAM button is
pressed, the "destination'' location will be ~isplayed; after the
PROGRAM button is released, the GROUP and PROGRAM lights will go
dark, indicating that the source and destination has been stored.
4)
Up to eight individual Patch Programs can be selected to be played

into the 08-8 at one time by repeating this procedure.
5)
After programming the selected Patch Sources and Destinations,

start the tape recorder and press PLAY as soon as the II leader 11
tone starts. The entire tape will play, and the GROUP lights will
sequence, but only the selected patches will actually be loaded
into the 08-8 's memory.
The Patch selections can be cancelled by pressing the HOLD button.
9.
C O MP U T E R
I NT E RF AC E
. The OB-S's Computer can be interfaced to other components such as

computers or the Oberheim DSX Digital Polyphonic Sequencer via the
Computer Interface connector on the rear panel.
The Computer Interface is a parallel interface that among other
features allows Direct Memory Access by other peripherals. For
more information about the interface, consult the DSX Service
Manual.
9. l.
Using The 08-8 With The DSX

The Oberheim DSX Digital Polyphonic Sequencer can be used to play
notes and change patches on the 08-8. The DSX features 10
Sequences, each of which contains.IO Tracks which can be
individually recorded and played.
The 08-8 connects. to the DSX with the multi-pin connector supplied
with the DSX.
For more information, consult the DSX Owner's Manual.
Page 41
I
I
I
I
I
10.
SOFTW ARE
Software Revision s I Calibrat ions
RE VI S I O NS
Since its release in January 1983, the software in the 08-8 has been
upgraded through several software revision s. These revision s have
added new features and improved performa nce to existing features .
All 08-Bs can be updated with new software by any authoriz ed Oberheim
Service Center.
10.l.
Displayi ng The Software Revision

The latest computer software (as of August 1983) is labeled AB. For a
quick check to see which software is in your 08-8, enter PAGE 2 by
pressing the CHORD/PAGE 2 button twice, and hold it down on the second
push. While holding, press the SYNC button. While holding both of
these buttons down, the software version will be displaye d in the
Programmer Section. If you currentl y have version AB software , the
GROUP A and the PROGRAM 8 lights will light up.
NOTE: If a cassette of patches from an 08-8 with previous software is

loaded into an 08-8 with AB software , it is possible that some of the
new features will be turned on in some of the program s. To eliminat e
them, simply edit them out of each patch and re-write it into memory.
11.
SOFTW ARE
C A L I 8 RA T I ONS
The 08-8 has a number of calibrat ions that are stored in its computer
memory. Mast of these are envelope time calibrat ions that are set at
the factory so that the envelope generato rs in the 08-8 will be matched
from voice to voice and between the upper and lower voices. These
calibrat ions are ~ique to each 08-8 and are stored on tape
automat ically each time you save your program s. This feature is on all
08-Bs having software version A6 or above. Under normal operatio n of
the 08-8, these calibrat ions should never be altered, but the followin g
provisio ns for setting them can be very useful if the unusual situatio n
arises in which the 08-8 is not function ing properly .
Page 42
'
Oberheim 08-8 Owne r's Manual

11.l.
Softw are Calib ration s
Tape Stora ge of Calib ration s

The calib ration s of your partic ular 08-8 stored in compu
ter memory are
record ed a, tape autom atical ly each time you save your progra
ms. If
for some reason your 08-8 gets out of calib ration (due to
memor
y drop) ,
the calib ration s on tape can be loaded back into the 08-8
in
much
the
same manner as patch programs are loaded into the 08-8 from
tape:
l)
Enabl e the Casse tte Interf ace with the switc h on the rear
panel .
2)
Press PLAY on the tape recor der. You will be able to monit
the tape throug h the main outpu ts of the 08-8. The MASTER or
VOLUME will contr ol the volume for monit oring the tape.
3)
Hold down all six butto ns in the FILTER sectio n (DSC l ON,
OSC 2 HALF, DSC 2 FULL, NOISE, 4 POLE, and TRACK).
4)
As soon as the "lead er" tone is heard , press the PLAY switc
on the 08-8. At least three secon ds of the "lead er" tone h
must come between press ing PLAY and the rough sound of the
memory inform ation. The light an the PLAY switc h will be
from the time the switch is presse d until the first of thelit
memory inform ation is recog nized . At that point , the GROUP
light s (A, 8, C, D) come an in seque ntial order .
If the MEMORY PROTECT switc h on the Rear Panel of the 08-8
is
set to PROTECT, the PLAY light will not opera te.
4)
If an error is detec ted, the PLAY light will flash .
The PLAY funct ion can be cance lled by press ing the HOLD butto
n.
The calib ration s shoul d only be loaded in if the 08-8 has
lost its
progra ms, or the envelo pe gener ators do not seem to be opera
prope rly. It is impor tant that these calib ration s are loadedting
in only
from a tape made from the same 08-8, otherw ise the wrong
calib ration s
will be loaded in.
Checking a data tape will also check the calib ration s on
that tape (See
CASSETTE INTERFACE).
Page 43
Software Calibrations
11.2. Master Reset

~~-If for somereason (memory drop, for example), the 08-8 seems to be
functioning improperly (i.e. four voices out of tune with the other
four, envelope generators are unmatched, transpose won't work), it is
possible to reset the computer inside the 08-8.
To reset the OB-B's computer, press all 8 PROGRAM buttons and the SPLIT
button at the same time (use your elbow), WHILE MEMORY PROTECT IS OFF.
The reason this a difficult procedure is so that it cannot be done
accidentally, since all the envelope calibrations will be reset to
zero.
When this reset is done, the envelopes should be matched closely enough
for normal operation, but to match them more accurately, the
calibrations must be loaded in from tape.
NOTE: These functions have been provided as a last resort when there
seems to be no other way to correct a problem of envelope matching or
transpositions not functioning. Since the consequences of these
operations are not user repairable, contact your authorized service
center or Oberheim Customer Service to determine whether or not these
actions should be taken to solve a particular problem.
11.3. Reset of All Performance Controls
~~If this samer:eset procedure is done with ONLY WITH MEMORY PROTECT ON,
all of the 08-8 functions EXCEPT the envelope calibrations will be
reset. This can be useful when it is desired to reset the arpeggiator
transpositions, bend amount, bend direction, split transpositions, etc.
without affecting any of the calibrations.
Page 44
A.
Specifications
SPECIFIC ATIONS
SYNTHESIZER COMPONENTS: 8 Voices; 3 Low Frequency Oscillators ,Arpeggiator,

Polyphonic Portamento, Pink Noise Source
VOICE COMPONENTS:
2 Voltage Controlled Oscillators
l Voltage Controlled Filter (2-Pole or 4-Pole low pass type,
selectable)
2 Envelope Generators
l Voltage Controlled Amplifier
LFO COMPONENTS:
l Voltage Controlled Low Frequency Oscillator with Triangle, Square, Up
and Down Sawtooth waveforms
l Sample/Hold Generator
Front Panel LFO's only:
2 Envelope Generators
90 and 180 Phase switch
Quantizing
Keyboard Track
Programmable Trigger point
NUMBER CF PROGRAMS: 120 Patch Programs, 12 Split Programs, 12 Double
Programs
KEYBOARD: 5 Octaves (C to C)
KEYBOARD MODES: FULL, SPLIT (splits 08-8 into two independent
synthesizers), and DOUBLE (plays both independent synthesizers
simultaneously) ; programmable split point and transpositions anywhere
on the keyboard (in SPLIT or DOUBLE)
INPUTS/OUTPUTS: Stereo and Mono signal outputs (Output Level: l Volt peak
to peak, 75K Ohms Impedance)
Cassette Interface inputs and ou~puts
Arpeggiator Clock Input
Computer Interface (Parallel Interface)
FOOT CONTROLS: Footswitches: Sustain, Hold, Program Advance
Foot Pedals: Volume, Filter, Vibrato
POWER: 90-130 or 180-240 Volts AC, 50-60 Hz, 46 Watts
DIMENSIONS: 40"(101.6cm) wide, 20"(50.8cm) deep, 6"(15.24cm) high
WEIGHT: 38 lbs. 17 (kg)
Page 45
Pi\r:'E
/-'. v
I
MASTER
?ROGRAM
'l~ME
VOL/BAL
~Q~Q~ilTIQN
CONTROL
MSTFR
IC
'1,l[TTr:~
~'U1\l
i _;_l._;1\L_J
ENVEJa.Qi5E:;
FIL IER ENVELOPE

MODULATION
OE_PJH I
LFO
RATE
PO~T_~NTO
MODULATION
DEP_T__l::',_1_
asc
1 ANO 2
PULSE HOTH
r:E_EOUENC'f
OSC2
FREQUENCY
RESONANCE
FREl)UENCY
ATTACK
1>10DU1 A1N
DECAY
~1_1:_~I_N_
PELF ASE
-,~~ ~~J ==~ o:t= =(6 :@ ==( 6~C E~$ =~W :,r- -0
~-------.-u,~,--H~O L~O--ii"':~;;;'"'
------
osc I FRO
IIAl/cFORM
=cE=: :f::
osc I P\111
SA~AVEFO~SE
$'(NC osc
UNISON
F-ENV
Nog;e
HALfosc \uLL
SA~AVEFO~SE
-, o
RELEA'>E
~=~B n'j::: ?,~
TCT . .l r : : l l ' -
\/OLUME EWELOPE
KEYlID);Ej)_
PROGRAM
GRO_!JP
SPLIT
SUSTAIN
~C~44--- IF"4-,bdl= =,'~- 3 ~ ~ ~ , , J

0
DECAY
ATTACK
ACK
4 POLE
DOUBLE
LOIIER
UPPER~-~Al~
!l
'-
~TE
o 1~-r-o-,
o.,,
- c : [ J = ~ ~ ._-_-_-_
= = : : [ ] ] ~ - ~D--LJ
-_-_-_- _-_I=W~!F ='lf_-_-
~~r:JLJ .CJ.LJP l~LJL~
i<_ITQRD
""'""""
-------- -------- -------- -------- -------- -------- -------- -----CA SSEHE (.)----- -------- -------- -------- -------- -~
PLa,
CH.;_K
"'--'C"f'I(
c__/
MASTER
CTlliI!lll[
!1A_~_ER
VOLUl'1E
f':ROGRAM
V0l!8A1_
',
/-
'...../
--
(_'
' \ '~
R:OT,}IJ[A.TIOll
LFO
RHE
1'>_9RTAME"ITO
TISIT[.-LA~
MODULATION
:-tODULAT!'.JN
osc :
I AND 2
DEP1rl '
(?_f?'l'!, 2
F;;;fQUf'lC
;,,t.;i'.E .irn7"',
FILTE.'l
OSC2
FRCLA'::1'1C"f
FRC:C...JENC'i
<'<.ESQ.NANCE
EWEcOPES
'10DULATION
oi:L;ii'fMOO
ATTACK"'!OD I
~RIG POINT
---~--(0~ ~'r- _--/:_1,~~ - - , . ~ - - ~

_ _ rA~-:: :ir~t)' ~~'._j 0!---'>~)-===\,l!;- ~~;;== -\,'-~-< =="->-- ---S':::' ~'-:'.:~::: ~ ~'----:'.~
~r---"~) - ::::::\,~~~,.r---l.~f-----\_\_____,,/
CH.9!">"''
1101.Q_
A_UIQ
PAGE !
PORTAMENTO BEND
LFO PhASE
TRI(f~iVEFORM
QUANTIZE 1
QUANTIZE 2
CJ__ ~
~
~
I__IL)J_
~~
=
= = = = - , u ~ __
0
0 0
- - - - - - - - ~~"~R~'"""'~H ~ - - - -
--------rc:s
f:1ASTER TUNE
-------~r
---------'i.
~ 1
...---1
~
VOI{J,E:1..E
EU E
--
INVERT 1
INVERT 2
=::=~~:u==
===
rn~
~
90
r---....
-~
- 0
- :
~-
PORTAMENTO
MATCH
QUANTIZE
PORTAMENTC
LEG,HO
ECUAL l!ME
EXPG
DELA 'f ,"\OD 2
(\,HILE HOLDING UT CMORO
0 .---
PEDAL
ELEASE
BUTTON)===================2:llm!lil.Iil:!EE::::======================
v
A:l' ACK .'100 2
~:,;.,~~~:o~' -'':;::E;,;G;.,E ;a------------- ---------------- ''-="---""-""-- -~=----"='---- --
0
---------';~
AM
VOICE ENABLES
TRIG
__:__,,,,_,, o _ , , _ : o _
FREQ.
C):0?:1:=
~.'
IOI=~~~~~~~=
~.
, LJPLJ~L cJ-Ld- --LJ--Ll=
W=LJ-~- ---:. U
01
'
SA.l'Pl.EI)
OSCI LFC MOD INVE"1T
1a0
SPUT
DOUBLE
LO\IER
UPPER
RESET
o . ~ - - ==ro--'~::: :J:g]== ~~::,o'-fo ,::6J~~ ::i:IJ=C]: ]~r::C[J: :=;:]Jf-----
_CJ-Fil
=LaJ-- ___,,~'~-c::t:i:: ::l=LJ~-D -tJ-JLJ= LJ=iU~L dl,------
---------- ---------- ---------- ---------- ---------- ---------- -CASSE TTEQ--- ---------- ---------- ---------- -------
FACTORY PATCHES
PROGRAM
7
GENEVIEVE
STRING
ENSENBLE
VIBES
ACCELERATING
ROTARY DR6AN
IIHISTLE
REPEAT
BOUNCING
BALL
CLAV!NEl
HIGH
STkINGS
Dl6JTAl
PIANO
CATHEDRAL
ORGAN
CHORUS
PULSE
SIIEEP
CALLIOPE
FRENCH
HOR HS
BASS I
BRIGHT
STRINGS
ELECTRIC
PIANO
ROTARY
ORGAN
BAGPIPES
LFO
RUSH
REZZ
TRUIIF'E1
IIA6IC
CLAVINE1
SLO~
STRINGS
RESONANCE
SIIEEP
COl1B0
ORGAN
DOUBLE
REED
FARR'S
FUNK
FIi
AC
TRUIIPET
ENSENBLE
FOUR POLE
STRINGS
REED
BASS:
PIANO
CIRCUS
ORGAN
SAX
HARP
DI STOP.Tl ON
SOLO
BC
TROPICAL
HORNS
RUBBER
CUWINET
STRINGS i
KL!Nt'.
PIANO
HY!VI
ORGAN
RECORDER
LONG
CHIIIES
PERCUSSIVE
SOLO
ABC
CONP
HORNS
BELLS
FOUR POLE
STRINGS 2
SOFT
PIANO
BIRDS
11011
IIARIIIBAS
ROCK
UNJSOH
DELAYED
OCTAVE
TRIG
PULSE IIIDTH
POLYPHONIC
PORTAl!ENTO
STEEL
DRUIIS
SQUARE
IIOD
COIIP
SYNTH
UNISON
PORT MENTO
DELAY
IIOD
FIDDLE
SAW
PIANO
PULSE IIIDTH
REH
TRIANGLE
COIIP
JAZZ
SOLO
ti
BRASS
A ENSEIIBLE
0::
'-!J
BONES
AB
:::,
0
AD
BD
ST.
SWELL
HORNS
Sl1AR
S1H
PORT REZZ
ABD DECELERATE
TUNED
CD PORTAIIENTO
ACD
CON6A
STRINGS 3
FUNt:Y
KEYS
CARILLON
SOLO
STRINGS
DETUNED
LON6 PIANO
ALIEN
CRAFT
STRIMGS 4
FLANGED
PIANO
ROSIN
STRINGS
STRIPPER
SAX
IIATER
IIIGGLE
PULSE IIIDTH
l!OD
QUANTIZED
VOCAL
FADIN6
FlLTER
DETUNE
DRONE
O' PUPS
3 IIA'r
HARIIONIC
PERCUSSION
m
:u
EllRTHl:lUAKE
ffi
Fn
STEREO
SPIN
CHOPPER
Fi
.J.11
-I
:0
IIETAL
SOLO
WHIPPETS
CD
BOX
TREIIOLO
REE
CLAVE
JET
THUNDER
START
EN61NES
ru
ru
IJI
SAIi
ll!PACT
!!OD
Lf1
:f
CD
QJ
BCD
'0
,+
::,
b
U1
SPLITS
DOUBLES
SPLITS/
DOUBLES
ORGAN i
POLY PORT
OCTAVE
CLAVINET
STRINGS i
BRASS
A
DEii BOIIES
i STRINGS
STEEL DRUl!S
I CONGA
ROCK UNISON
I ORGAN
DOUBLE
STRINGS
BELLS
IN FOURTHS
STRI1t6S
IN HEAVEN
FARR, s noo:
I REPEAT
B
ORGAN
BASS
C
ST. GENE
I PIANO
D
)>
~iii
.!fl
n
w
PIANO/STRING
IN FIFTHS
SPLIT A DOUBLE B
----
OCTAVE
ORGAN
PERCUSSIVE
ORGAN
C
STRIH6S L
BRASS
D
Di
u,
0
NEW PAGE 2 FEATURES

The latest version of the Oberheim 08-8 has eight exciting
new features not listed in the current Owner's Manual. All
of these features are retrofitable to any previously
manufactured 08-8 at your local Oberheim Service Center.
The new computer software is labeled AB. For a quick check
to see which software is in your 08-8, enter PAGE 2 by
pressing the CHORD/PAGE 2 button twice, and hold it down on
the second push. While holding, press the SYNC button.
While holding both of these buttons down, the software
version will be displayed in the Programmer Section. If you
currently have version AS software, the GROUP A and the
PROGRAM 8 lights will light up.
NOTE: If a cassette of patches from an 08-8 with old
software is loaded into an 08-8 with AB software, it is
possible that some of the new features will be turned on in
some of the programs. To eliminate them, simply edit them
out of each patch and re-write it into memory.
The software version AB contains the following new features:
1)-2)-3)-4)-5)-6)-7)-8)--
LEGATO PORTAMENTO
EQUAL TIME LINEAR PORTAMENTO
EXPONENTIAL PORTAMENTO
INVERT LFO FREQUENCY MODULATION ON VCO l
INVERT LFO PULSE WIDTH MODULATION ON VCO 1
VCF TRACKING OF THE BEND LEVER
REVERSABLE BEND LEVER
RfVERSABLE MODULATION LEVER
1)
LEGATO PORTAMENTO
This mode is turned on from PAGE 2 with the DSC 1 FULL switch
and is stored in the patch. THIS MODE CAN BE TURNED ON ONLY
WHILE IN UNISON MODE. Turning off UNISON will automatically
turn this mode off. When legato portamento is on, the
portamento (any kind) will be active only when the keyboard
.is played legato, e.g. without releasing the key while going
from one note to another.
2)
EQUAL TIME LINEAR PORTAMENTO
This mode is turned on from PAGE 2 with the OSC 2 HALF switch
and is stored in the patch. BEND PORTAMENTO (the UNISON
button on PAGE 2) AND EQUAL TIME PORTAMENTO CANNOT BE ON AT
THE SAME TIML When this mode is active, the glide time
between any note is independant of the interval between the
notes, e.g. it will take the same time to glide from CO ~o Cl
1
as it would from CO to C6. The glide time is controlled by

the portamento rate knob. The range of the glide time is
smaller than with the regular portamento mode.
3) EXPONENTIAL PORTAMENTO
This mode is turned on from PAGE 2 with the OSC 2 FULL switch
and is stored in the patch. BEND PORTAMENTO AND EXPONENTIAL
PORTAMENTO CANNOT BE ON AT THE SAME TIME. EQUAL TIME LINEAR
PORTAMENTO AND EXPONENTIAL PORTAMENTO CANNOT BE ON AT THE
SAME TIME. This mode is essentially identical to the equal
time portamento but the "shape 11 of the glide is exponential
insteaa of linear. This means that the pitch will glide
slower and slower as it gets closer to the destination note.
This kind of portamento was used on the Oberheim Modular 2,4
& 8 voice synthesizers.
4)
INVERT LFO FREQUENCY MODULATION ON VCO l
This mode is turned on from PAGE 2 with the SYNC switch and
is stored in the patch. With this mode on, the LFO
modulation of VCO l's frequency is out of phase by 180 .
degrees (phase opposition) with respect to the LFO frequency
modulation on VCO 2 ar,d the VCF.
5)
INVERT LFO PULSE WIDTH MODULATION ON VCO 1
This mode is turned on from PAGE 2 with the F-ENV switch and
is stored in the patch. With this mode on, the LFO
_modulation of VCO l's pulse width is out of phase by 180
degrees (phase opposition) with respect to the LFO pulse
width modulation on VCO 2 and the VOLUME MOD.
6)
VCF TRACKED BY THE PITCH BEND LEVER
When VCF TRACK is on, the pitch bend lev 7r controls the VCF
frequency. In SPLIT or DOUBLE the VCF will only track the
bend lever if it is assigned to it with the UPPER and LOWER
buttons in the bend box.
7)
REVERSABLE PITCH BENO LEVER
It is now possible to reverse the direction of the pitch bend

lever. To do so, hold down the UPPER and AMOUNT buttons
on. To return the pitch bend to normal operation, repeat the
procedure. This setting is not stored with the pate~ but
will remain in its current mode even when the power 1s turned
off. When it leaves the factory the 08-8 is set for the
regular direction (the right one!).
2
I
I
I
I
I
REVERSABLE MODULATION LEVER

Same as for the pitch lever but you must use LOWER and DSC 2
ONLY ( above and below the modulation lever) while you turn on
the power.
As with any piece of equipment, the more you know about it,
the better you will be able to use it. So experiment! You
won't discover all of the capabilities of your new PAGE 2
controllers unless you do.
There are also a few features of the 08-8 that have existed
in earlier software versions, but have not been explained in
the owner's manual. The following features are on all 08-8s
having software version A6 or above. Under normal operation
of the 08-8, these features would never be used, but they can
be very useful if the unusual situation arises in which the
08-8 is not functioning properly.
l)
TAPE STORAGE OF CALIBRATIONS
The 08-8 has a number of calibrations that are stored in its

computer memory. Most of these are envelope time
calibrations that are set at the factory so that the envelope
generators in the OB-8 will be matched from voice to voice
~nd between the upper and lower voices. These calibrations
are unique to each OB-8 and are stored on tape automatically
each time you save your programs. If for some reason your
08-8 gets out of calibration (due to memory drop), the
dalibrations on tape can be loaded back into the 08-8 by
holding down all six buttons in the FILTER section (DSC l ON,
DSC 2 HALF, DSC 2 FULL, NOISE, 4 POLE, and TRACK), then
pressing PLAY and then playing in the tape (MEMORY PROTECT
must be off in order to play in a cassette). The
calibrations should only be loaded in if the 08-8 has lost
its programs, or the envelope generators do not seem to be
operating properly. It is important that these calibrations
are loaded in only from a tape made from the same 08-8,
otherwise the wrong calibrations will be loaded in.
2) MASTER RESET
If for some reason (memory drop, for example), the 08-8 seems
to be functioning improperly (i.e. four voices out of tune
with the other four, envelope generators are unmatched,
transpose won't work), it is possible to reset the computer
inside the 08-8 by pressing all 8 PROGRAM buttons and the
3
I
I
I
I
I
SPLIT button at the same time (use your elbow), WHILE MEMORY
PROTECT IS OFF. The reason we made this a difficult
procedure is so that it cannot be done accidentally, since
all the envelope calibrations will be reset to zero. To then
reload the envelope calibrations, follow the procedure listed
above. When this reset is done, the envelopes should be
matched closely enough for normal operation, but to match
them more accurately, the calibrations must be loaded in from
tape. If the reset is done with memory protect on, all of
the 08-8 functions EXCEPT the envelope calibrations will be
reset. This can be useful when it is desired to reset the
arpeggiator transpositions, bend amount, bend direction,
split transpositions, etc. without affecting any of the
calibrations.
NOTE: These functions have been provided as a last resort
when there seems to be no other way to correct a problem of
envelope matching or transpositions not functioning. Since
the consequences of these operations are not user
repairable, contact your authorized service center or
Oberheim Customer Service to determine whether or not these
actions should be taken to solve a particular problem.
Using the 06-8 MIDI Interface
Page 1
USING THE 08-8 MIDI INTERFACE

HIDI
MIDI
is an acronym for "'-isical Instrument Digital Interface.

It
a serial computer interface which enables synthesizers and
CC"llputers to communicate.
MIDI was designed to be a universal
computer interface through which synthesizers and computers could
communicate regardless of manufacturer.
Any synthesizer or
computer having a HID! interface will connect to an 06-8.
is
MIDI CONNECTORS
MIDI CONNECTORS are located on the rear panel of the 08-8 or, on
the left end bell of an 08-8 with a MIDI retrofit.
The MIDI IN
connector receives MIDI information.
The MIDI OUT connector
transmits
MIDI information from the synthesizer.
Keyboard
information,
patch changes, and bend lever/modulation lever
changes generated on an 08-8 will be sent to the HID! OUi
connector.
The HIDI THRU connector is used to pass MIDI
information which was generated by another synthesizer/ ccmJter.
Information played on an OB-8 is not available at it's own HID!
THRU connector.
BASIC CONNECTION
The simplest application is to cor.nect 2 OB-B's together.
Th~
Master OB-8 will be referred to as Synthesizer A and will, for the
following demonstrations, be the cont.oller. The second GB-8 will
be referred to as Synthesizer B or the Slave, e.nd 1,,1::.J.l be
controlled by the Master 08-8.
We will use this configuration to
explain HIDI operation and associated controls.
NOTE: WHEN CONNECTING COMPUTER BASED PRODUCTS TOGETHER, HAKE SUR~
POWER IS Off ON BOTH UNITS.
Using-a cable with 5 pin male DIN connectors on each eno, cunneci.
MIDI OUT on the master 08-8 to MIDI IN on the Slave 08-8. Turn
power on and press auto tune. Notes played o~ the Mester OB-8
will also be played by the Slave 08-8.
::.t"mll
II OB-8
Olf1" DI rtfllJ '
CUT:.~ n1W!
--MIDI i
I, I OB-8
!
[o]ijf1!l!llll!!llll!illll!llllim1 I :l!!!ll~l l l!ni!l!~IIIHll l l!i
11.ASTER-SYNTH A
SLAVE-SYNTli B
MIDI
(Figure
I.)
Oberheim Elect:;-onics, Inc., Los .l.nge~es, C.J.. 90064 U9
pin 950029
Page 2
Using the 06-8 MIDI Interface
MIDI SWITCHES ANO fUNCTIONS

All MIDI SWITCHES are located in the PAGE 2 feature of the OB-8.
Enter PAGE 2 by rapidly pressing the PAGE 2 switch twice. The Led
for the PAGE 2 switch will light signifying that you are in PAGE
2. Host of the MIDI related switches are located in the programmer
section.
(figure 2.)
PROGRAM ENABLE I DISABLE - SWITCH "A" (Page 2)
This switch enables end disables two patch related functions: patch
select, end patch data transfer. When the 08-8 is powered up these
functions ere disabled.
S~LECTING PATCHES - In PAGE 2 on both OB-S's, press the A switch.
The A Led will light, indicating the ability to transmit/receive
Selecting a patch program in PAGE 1 on the
program information.
Hester 08-8 will select the same patch program on the Slave 08-8.
(EXCLUDING SPLITS & DOUBLES).
PATCH TRANSMIT - "WRITE/RESET" SWITCH (Page 2)
The program enable switch also allows you to transfer patches
(NOTE: Memory Protect
frDl!I the Hester OB-8 to the Slave 08-8.
must be off on the Slave 08-8.) In PAGE 1 on the Master 08-8,
select patch D-1. Now, enter Page 2 end press the WRITE button on
the Master 08-8. After a short delay, the WRITE Led will light,
indicating that the program Patch D-1 hes been transferred from
the memory of the Hester OB-8 to memory location D-1 in the Slave
OB-8. To play this patch on the Slave 08-8, you must return to
PAGE 1 and re-select Patch D-1, or select a different patch an the
Mester OB-8 then select D-1. Now both OB-S's will play Patch D-1.
PITCH BEND AND MODULATION LEVER ENABLE I DISABLE -- "B" SWITCH (Page 2)
When the OB-8 is powered an, the pitch bend and modulation levers
ere not sent or received over MIDI (disabled). They must be enabled
on both units each time power is turned an.
The Bled will
In PAGE 2 on both OB-B's, press the B switch.
light, indicating the ability to transmit and receive pitch
When the Slave 08-8 receives pitch
bend/mo,julstion information.
bend/modulation information, it uses that information based on the
settings on it's own Performance/Modulation Panel. In other
words, if the slave machine is set to bend a semi-tone, it will
bend at that interval regardless of the bend setting of the maste~
machine.
Oberheim Electronics, Inc., Los ~ngeles, CA. 90064 USA
p/n 950029
Using the 08-8 MIDI Interfa ce

OMNI MODE ON I Off The power
Page 3
"C" SWITCH (Page 2)
up or default conditi on is OMNI MODE on,
C Led lit.
When 01NI MODE is on, the 08-8 receive s on ALL MIDI channel
s and
transmi ts all data on Basic Channel N only.
When 01NI MODE is off, the 08-8 receive s on MIDI Basic Channel
N
only. When 01NI MODE is off in the transm itting 08-8, it
transmi t on two MIDI channel s. Notes above the split-p oint will
are sent
on Baaic Channel N. Notes below split-p oint ere sent on the
Basic
Channel plus one. Example: When power is turned on the Basic
Channel is always channel 1. After OMNI MODE is turned OFF,
the
upper half of keyboard is sent on channel 1, and the lower
is
sent
on channel 2. If the Basic Channel is changed to channel 5,
the
upper will be channel 5 and the lower will be channel 6.
Ch. 6
SLAVE
SLAVE
(Figure 3.)
MIDI BASIC CHANNEL SELECT / DISPLAY - "D" SWITCH (Page 2)
The power up or default MIDI Basic Channel is channel 1. To
change
the Basic Channel , PRESS & HOLD the D switch. The O Led
the l led
will light, indicat ing that the Basic Channel is channel
select 5, the 5 led will light, indicat ing that the Basic1.- If you
Channel is
now channel 5.
NOTE: Do not attempt to change MIDI channel s while notes are
.
This may cause a note to get "stuck" ON. If this happensplaying
, try the
DSX RE-ENABLE I TURN OFF MIDI NOTES switch (see next section
switch in & out of cassett e mode or power OFF/ON to reset. ) or
DSX RE-ENABLE / TURN OFF MIDI NOTES -- "TRACK" SWITCH (Page
2)
The hardware design of the 08-8 does not allow MIDI IN and
the DSX
COMPUTER INTERFACE to be used at the same time without
possibl e
HID! errors. The 08-8 receive s informa tion from the DSX sequenc
er
thru the 40 pin connect or on the rear panel of the OB-8.
~ny time
MIDI IN informa tion is detecte d by the OB-8, the DSX interfac
~ is
DISABLED and the DSX RE-ENABLE Led will light. While the
ENABLE Led is on, the DS-X cannot play the 06-8. Pressin g DSX ~ERE-ENABLE switch causes the Led to go out and re-enab the DSX
les the
paralle l interfa ce.
NOTE: The Yamaha synthes izers have a MIDI option called "active
They are ALWAYS transm itting MIDI date even if no notes are sense".
being
played. Connect ing a DX-7 to MIDI IN on an OB-8 will not
allow
you to use the DSX. The 08-B will continu ally detect MIDI
informa tion end will keep the paralle l interfa ce disable d.
Oberheim ~lectro nics, Inc., Los ~ngeles , CA. 90064 US~
p/n 950029
Page 4
Using the OB-8 MIDI Interface

OTHER CONNECTION CONflCURATIONS
MASTER
<=> SLAVE
BY adding another MIDI cable, it is possible to use either OB-8 to
control the other.

Connect MIDI OUT on the Slave to MIDI IN on
the Master.
Now either OB-8 can be the Master or the Slave.
Information received at the MIDI IN connectors is NOT available at
the MIDI ClJT connector of the same synthesizer.
This prevents an
endless loop situation from occurring which would be the MIDI
version of acoustical feedback.
CUT IN Tl1RU
MIDI
QUTINil'.RI.II
MIDI
OB-8
1 illHlillllll~lll!llll:llli!!lm
(Figure 4.)
SIMPLE CHAIN
It is possible to connect synthesizers together in a configuration
known as a CHAIN.
This allows one synthesizer to control many
synthesizers. Connect them as follows:
SYNTH
SYNTH
SYNTH
OOP1119_...
OUT IN Tl'A1J
MIDI
OB-8
1 mm:1111mnm11mm1111m
MASTER
A MIDI OUT
B MIDI THRU
C HID! THRU
"""'91
_...
SYNTH
SYNTH
SYNTH
CUTIN111RI.J
MIDI IN
C MIDI IN
D MIDI IN
OUT DI Tl1RU
MIDI
OB-8
1
to
to
to
MIDI
OB-8
m111u1m11m1mmmmm1
SLAVE
SLAVE
OB -8
OUT L"I Tl1Rll
MIDI
I O ~lllllilli!IIIHIIIIIIIIUIIIIIIIII
SLAVE
(Figure 5.)
If synthesizers B, C and D are in OMNI mode or are all on the same
MIDI channel as synthesizer .~. synthesizer A will control all
synthesizers.
Oberheim Electronics, Inc., Los Angeles, CA. 90064 USA
p/n 950029
Page 5
Using the OB-8 MIDI Interface
USING MIDI WITH THE DSX

The sequencing power of the DSX can be used with ANY synthesizer
having a MIDI interface. With a DSX sequencer playing the Master
OB-8, any synthesizer connected to the MIDI OUT connector of the
Also, you
Master OB-8 will DOUBLE the notes played by the 08-B.
can use the {]3-8 to merely pass the DSX information to the MIDI
be
OUT connector causing any synthesizer with MIDI IN to
controlled by the DSX.
:::wvrm
-ocr
CUTIHT!"AIJ
i"!IDI
I
OB-8
IC !lllln!HUl!il!IIHIHUUiHIIIII
Xpander
CUT Ill ntlU
MIDI
IXpander
(Figure 6.)
Oberheim Electronics is excited about the future of MIDI and plans
to include MIDI on future products. With MIDI on your OB-8 you
now have a very special connection to future musical developments.
Oberheim Electronics, Inc., Los Angeles, CA. 90064 USA
~/n 950029
Pagel
OB-8 MIDI Implementation
08-8 MIDI IMPLEMENTATION

TRANSMITTED~.=. CHANNEL .YQ1f MESSAGES
Status
Data Bytes
Description
1000 xxxx
Okkk kkkk
Ovvv vvvv
Note off. (See notes no. 1-2.)

Ovvv vvvv:note off velocity: always OOH.
1001 xxxx
Okkk kkkk
Ovvv vvvv
Note on. (see notes no. 1-2.)

Ovvv vvvv:40H
1011 xxxx
Occc cccc
Ovvv vvvv
Control Change. (if enabled).

Occc cccc:Control number (01:mod lever).
Ovvv vvvv = control velue.(range 0-lEH).
1100 xxxx
Onnn nnnn
Program select. (if enabled).

Onnn nnnn :0 through 77H.
1110 xxxx
Ovvv vvvv
Ovvv vvvv
Pitch Bend change LSB (see note 3).

Pitch Bend change MSB
TRANSMITTED DATA.=.~ MESSAGES
1111 0000
lOH
Oddd dddd
OlH
Occc cccc
data
r7H
System Exclusive. Oberheim I.D. no.

Device number. oa-s = OlH
Conwnend Byte 1: Program date dump follows.
Commend Byte 2: Program number.
Program data. (see note 4)
End of System Exclusive Status Byte.
RECOGNIZED RECEIVE~.:: CHANNEL VOICE MESSAGES

St~tus
Data Bytes
Description
1000 xxxx
Okkk kkkk
Ovvv vvvv
Note off. (See notes no. 1-2.)

Ovvv vvvv:note off velocity: ignored
1001 xxxx
Okkk kkkk
Ovvv vvvv

Ovvv vvvv:O: Note Off.
Dvvv vvvv not=D, velocity ignored.
1011 xxxx
Occc cccc
Ovvv vvvv

Occc cccc:Control number (01:mod lever).
Ovvv vvvv = control value.(0-lEH)
1100 xxxx
Onnn nnnn

Onnn nnnn :0 through 77H
1110 xxxx
Ovvv vvvv
Ovvv vvvv

Oberheim Electronics, Inc.
p/n 950028
Page 2
08-B MIDI Implementation
RECOGNIZED RECEIVE
.=. SYSTEM MESSAGES
1111 0000
lOH
Oddd dddd
OlH
Occc cccc
data
f7H
System Exclusive. Oberheim I.O. no.

Device nunber : te-B = OlH
Command Byte l : Program data dump follows.
Command Byte 2 Program Number
data (see note 4 for data format)
1111 0000
lOH
Oddd dddd
OOH
Occc cccc
F'7H
System Exclusive. Oberheim I.O. no.

Device number. 08-8 = OlH
Command Byte l Program data dump Request.
System Common Message: Tune Request
1111 0110
NOTES:
1. xxxx
Basic Channel nunber minus 1. i.e. 0000 is CH.l. and 0001 is C~.2.
range: CH.1-8.
2. kkk kkkk
= note
number. Range 24H-60H
J. Sensitivity of the pitch bender is selected in the receiver. Center

position (no pitch change) is 2000H, which is transmitted ExH-OOH-40H.
Maximum transmitted value is 7F'40H. (The 6"lsb's are not looked at by the
OB-B).
4.
lllERHEIM OB-8 PROGRAM BIT MAP

Sent es 4 bit nibbles, right justified, LS nibble sent first.
: BIT 7: BIT 6: BIT 5: BIT 4: BIT J: BIT 2: BIT l : BIT O:
_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ a _ _ _ _ _ _ __
BYTE 0
VCf REL
(6 BITS)
LF'O WAVE
2
BYTE 1
VCA REL
!-------:UNISON :
(6 BITS)
0
BYTE 2
VCF' OCY
(6 BITS)
:FILTER : OSC 2 :
F'M
FH
BYTE 3
ILCA DCY
(6 BITS)
:DSC 2 WAVEFORM :
1
D
BYTE 4
VCF' ATK
(6 BITS)
:OSC l WAVEFORM :
1
0
BYTE 5
VCA ATK
(6 BITS)
: OSC 2: DSC l :
PWM
PWM
Oberhei~ Electronics, Inc.
p/n 950028
OB-8 MIDI Implementation
BYTE 6
Page 3
VCF SUS
(6 BITS)
: NOISE :4 POLE :
----------------------------------
------------------BYTE 7
VCA SUS
(6 BITS)
: osc 2: osc 2:
ON
BYTE 8
VCF MOO
(6
BITS)
BYTE 9
VCF RES
(6
BITS)
: OSC l : TRACK:
ON
VCO l PW
(6
: VCOl
PWl
I
BYTE 10 :
HALF :
BITS)
180
VCA
180
: F-ENV :
MOD
BYTE 11 :
LFO FREQ
(6
BITS)
BYTE 12 :
FM AHNT
(6
BITS)
SYNC : OSC l :
FM
4
---------------------------------------BYTE
(6 BITS)
13 :
PWH AHNT
BYTE
14 :
PORT AMT
VC02 DETUNE
(6
BifS)
BYTE 16 :
vcF FREQ
(6
BITS)
VC02 FREQ
(6 BITS)
BYTE 15 :
SYTE 17 :
VOLUME
3
VCO 2 PW
5
4
3
(6 BITS)
BYTE 18 :
VCOl FREQ
BITS)
: SPARE : LEGATO:
: PORT. :
BYTE 19 :
RETRIG POINT (6 BITS)
:RETRIG LFO WAVE:

2
1
(6
--------------------------------------------------------4
PEDAL 5USTAIN(6 BITS)
BYTE 20 :
:-------: PORT
: BEND
BYTE 21 :
FM
VIB RAISE(6 BITS)
LFO :FM DLY :

: TRACK :INVERT.:
BYTE 22 :
PWH VIB RAISE(6 BITS)
PORT : PORT :
: QUANT : MATCH :
BYTE 23 :
FH
VIB DELAY(6 BITS)
Oberheim ~lectronics, Inc.
!BO ':
p/n 950028
90 ' :
Page 4
08-8 HIDI Implementation
BYTE 24 :
PWH VIB DELAY(6 BITS)
:PWM DL Y:
BYTE 25 :
VOICE DETUNE (6 BITS)
: EXPO : CONST.:
: PORT. : PORT. :
BYTE 26 :
BEND AMOUNT
: Lf'ORATE: f'"M
: DELAY : QUA~T :
(6 BITS)
PWH
:INVERT.: QUANT :
HOOE
The 08-8 defaults to OHNI ON upon power up. If the OB-8 is e receiver,
it will receive on ell channels. If the OB-8 is the transmitter, it will
transmit on one channel. (selectable)
The OB-8 may also be operated in OHNI Of'f' mode. If the 08-8 is a
receiver, it will now receive ONLY on the selected Basic Channel. If the 088 is used as transmitter, it will now transmit the upper half of the
keyboard on the Basic Channel, end the lower half will be transmitted on the
Basic Channel+ 1. Pitch bend, progam select, etc. will be transmitted on
both channels. The Channel Split Point is the same as the regular Split
Point. (default is middle C.) THIS MODE IS INDEPENDENT OF' SPLIT MODE.
The 08-8 is always in POLY MOOE.
p/n 950028
08-S MIDI Implementation
Page 5
FRONT PANEL SELECTABLE FUNCTIONS (ON PAGE TWO Of FRONT PANEL)

NOTE: functions must be enabled on source ANO destination machines to work.
Switch
A
function
Enable/Disable program change and program dump.
Power-On default: disabled.
Enable/Disable Pitch bend and modulation controls.

Default: disabled.
OMNI ON/Off. Toggle OMNI status. Power-On default is OMNI ON

(led is lit.) (see MOOE)
Channel display/select. Press and hold down D button to display

or select the Basic Channel.
WRITE
Dump current STORED program to MIDI. NOTE: SWITCH "A", "PROGRAM

ENABLE", MUST BE ENABLED FOR A DUMP TO OCCUR.
TRACK
Sequencer Re-Enable I Turn off MIDI Notes.

IMPORTANT: The 08-8 cannot RECEIVE MIDI info and be run by the
DSX sequencer simultaneously (due to hardware design.) So, to
prevent MIDI data errors, the sequencer is DISABLED upon
receiving any data fran MIDI IN. This condition is displayed by
the TRACK led on page 2. When you no longer wish to use the OBS as e receiver, and you went to use the OSX, disconnect MIDI IN
and press the TRt.CK button. The led will go out, the sequencer
will work normally, and any notes turned on by MIDI will be
turned off.
Power-On default: TRACK light off, Sequencer Enabled.
p/n 950028
-08-8 Revisi on 85 Softwa re

Operat ion Guide
8/15/8 4
improve
' TtJis rev is ion of 08-8 so ft ware ( version B5) has been made to
MIDI
new
some
add
to
as
well
as
DSX,
the
the 6be-rat ion of the 08-8 with
es,
featur
g
existin
's
08-8
the
of
ation
explan
ete
featd~e .s .. for a ,compl
83 Softwa re
pleeie ~fer to the 08-8 Owner' s Manual and the 08-8 Revisio n
press
08-8,
en
of
number
Operat ic~ Guide. To verify the softwa re version
(the
pressed
is
it
time
second
the
down
the PAGE 2 button . twice and hold it
press
,
button
2
PAGE
the
down
holding
While
PAG[ 2 led should nO\it be liJ:).
PROGRAMMER
end hold the SYNC tiutcton? .While holdin g both switch es down, the
in the
led
8
the
If
leds will display the 08-8's softwa re version number.
re
softwa
the
lit,
now
ere
GROUP section and the 5 led in the PROGRAM section
well
as
83,
version
of
es
featur
the
of
version is 85~ Tbis versio n has all
es the follow ing NEW FEATURES:
MIDI
1, The Sustai n Footsw itch on the 08-8 has now been added to the
through
er
togeth
ted
connec
are
08-8a
interfa ce. Thfs 171eans that when two
MIDI OUT) will
MIDI, the Sustai n Foots. 'litch on th MASTER OB-8 ( the one using
IN). This
MIDI
usino
one
(the
08-8
SLAVE
the
on
n
Sustai
also contro l the
reciev e
and
it
feature can also be us~d by other synthe sizers that transm
Sustain Footsw itc;h inform ation on MIDI.
cer, the
2. When en 08-8 with MIDI is connec ted to a DSX Digita l Sequen
through
DSX
the
by
MIDI output of the 08-8 will send out the notes played
to play the
the MIDI output . This allows additio nal synthe sizers with MIDI
85 (snd
version
with
Now
DSX.
the
from
same thing that the 08-8 is playing
l
contro
DSX
the
have
to
le
possib
is
it
,
above)
a DSX w5.th version 3.00 or
.
DENTLY
INDEPEN
OUT
MIDI
OB-8's
the
to
ted
conr.ec
sizer
the 08-8 AND a synthe
00
3.
N
REVISIO
"DSX
(see
By assigni ng the DSX 's CV output s to the 08-8 MIDI
to the
INSTRUCTIONS"), the DSX will send whatev er the DSX 's CVs are playing are
08-8
the
that
notes
The
it.
g
OB-B's MIDI OUT withou t the 08-8 playin
sizers can
playing will NOT be sent to the MIDI OUT, so that the two synthe
is
feature
this
when
that
means
also
This
y.
ndentl
play comple tely indepe
sent
be
will
notes
no
used, and the DSX is not playin g anythin g on the CVs,
08-8.
to the 08-8 's MIDI OUT regard less of what is being played on the
to
3. The overal l speed of operat ion on the 08-8 has been increas ed
ed
incress
in
allow the DSX to communicate with the 08-8 faster , resulti ng
accurac y of the timing of notes played by the DSX.
The range of vibrato lever has been changed for better
4.
compe tability .
- ,.,
~,.. .... .-._, ....
I
I
I
I
I
I
I
I
08-8 MIDI IMPLEMENTATION VERSION B-5

TRANSMITTED D.l\TA - CHANNEL VOICE MESSAGES
Status
Data Bytes
Description
1000 xxxx
Okkk kkkk
Ovvv vvvv
Note off, (See notes no. 1-2.)

Ovvv vvvv = note off velocity: always 40H.
1001 xxxx
Okkk kkkk
Ovvv vvvv

Ovvv vvvv : 40H
1011 xxxx
Occc cccc
Ovvv vOOO

Occc cccc = Control number (01:mod lever),
Ovvv vOOO = control value.(ranqe 0-78H. Lowest
3 bits are ignored).
1011 xxxx
Occc cccc
Ovvv vvvv
Control Chanae. (if enabled).

Occc cccc = Control number (40H = Sustain
footswitch)
Ovvv vvvv = control value.CO= off. 7fH = on.)
llOO xxxx
Onnn nnnn

Onnn nnnn ~ 0 through 77H.
1110 xxxx
Ovvv vvvv
Ovvv vvvv

TRANSMITTED DATA - SYSTEM MESSAGES
llll 0000
System Exclusive. Oberheim I.D. no.

Device number. 08-8 = OlH
Command Byte l : Program data dump follows ..
Command Byte 2: Program number.
Program data. (see note 4)
lOH
Oddd dddd
OlH
Occc cccc
data
F7H
, __
T -
, ___ , __
r~
onnt:t, 11c!I
I
I
I
I
I
I
I
OB-8 MIDI Implem entation Version B-5
Page 2
August 15,1984
RECOGNIZED RECEIVE DATA - CHANNEL VOICE MESSAGES

Status
Data Bytes
Descrip tion
1000 xxxx
Okkk(kkkk
Ovvv vvvv
Note off. ( See notes no. 1-2.)

Ovvv vvvv = note off velocit y: ignored
1001 xxxx
Okkk kkkk
Ovvv vvvv

Ovvv vvvv = 0: Note Off.
Ovvv vvvv not= 0, velocit y ignored .
1011 xxxx
Occc cccc
Ovvv vOOO
Control Change. (if enabled ).

Occc cccc =Control number (01:mod lever).
Ovvv vOOO = control value.(0 -78H. Lower 3 bits
are ignored .)
llOO xxxx
Onnn nnnn
Program select. (if enabled ).

Onnn nnnn = 0 through 77H
lllO xxxx
Ovvv vvvv
Ovvv vvvv

RECOGNIZED RE.CEIVE DATA - CHANNEL MODE MESSAGES

1011 xxxx
0111 lOll
0000 0000
cccc cccc = 123 (78H) : All notes off.

vvvv vvvv = 0. The DB-8 turns off all notes that
were turned on by MIDI.
lOll xxxx
0111 llOO
0000 0000
cccc cccc: 124 (7CH) : OMNI mode off.

vvvv vvvv =a.Th e 08-8 turns OMNI mode off and
turns off all notes that were turned on by MIDI.
Olll llOl
cccc cccc = 125 (7DH) : OMNI mode on.

vvvv vvvv = 0. The OB-8 turns OMNI mode on and
turns off all notes that were turned on by MIDI.
1011 xxxx
0000 0000
1011 xxxx
0111 lllO
0000 0000
cccc
vvvv
this
OMNI
were
cccc: 126 (7EH) : MONO mode on.

vvvv = 0. The 08-8 has no MONO mode. When
command is receive d t~e OB-8 switche s to
on I POLY mode and turns off all notes that
turned on by MIDI.
1011 xxxx
0111 llll
0000 0000
cccc
vvvv
mode
were
cccc = 127 (7FH) : POLY mode on.

vvvv = 0. The 08-8 is always in POLY so no
change occurs. All notes are turned off that
turned on by MIDI.
OhPrhPim flertro nirs. Inc.
Inc
~nnpl~~ .
rA. 9006A USA
r,/n
95nn,a
08-8 MIDI Implementation Version 8-5
August 15,1984
Page 3
RECOGNIZED RECEIVE DATA - SYSTEM MESSAGES

1111 0000
lOH
Oddd dddd
OlH
Occc cccc
data
F7H
System Exclusive Oberheim I.D. no.

Device number: 08-8 = OlH
Command Byte l : Program data dump follows.
data (see note 4 for data format)
1111 0000
lDH
Oddd dddd
OOH
Occc cccc
System Exclusive Oberheim I.D. no.

Device number . 08-8 = OlH
Command Byte l Program data dump Request.
F7H
1111 0110
System Common Message: Tune Request
I
I
I
I
I
I
08-8 MIDI Impleme ntation Version B-5
Page 4
August 15,1984
NOTES:
1. xxxx
Basic Channel number minus 1. i.e. 0000 is CH.I. and 0001 is CH.2.
range : CH.1-8.
2. kkk kkkk
= note
number. Range 24H-60H
3. Sensitiv ity of the pitch bender is selected in the receiver . Center

position (no pitch change) is 2000H, which is transmit ted ExH-OOH-40H.
Maximum transmit ted value is 7F40H. (The 6 lsb's are not looked at by the
08-8).
4.
OBERHEIM 08-8 PROGRAM BIT MAP :

Sent es 4 bit nibbles, right justified , LS nibble sent first.
BIT 7: BIT 6: BIT 5: BIT 4: BIT 3: BIT 2: BIT l : BIT O:
:--------------------------------------(6------------------------------LFO WAVE
BITS)
VCF REL
BYTE 0
!------:UNISON :
BYTE l
VCA REL
(6 BITS)
BYTE 2
VCF DCY
(6
BITS)
:FILTER : OSC 2:
FM
FM
BYTE 3
VCA DCY
(6 BITS)
:OSC 2 WAVEFORM:
0
1
BYTE 4
YCF ATK
(6 BITS)
:OSC l WAVEFORM :
BYTE 5
VCA ATK
(6 BITS)
: OSC 2: DSC l :
PWM
PWM
BYTE 6
VCF SUS
(6 BITS)
: NOISE :4 POLE :
BYTE 7
VCA SUS
(6 BITS)
: DSC 2: OSC 2:
HALF :
ON
BYTE 8
VCF MOO
(6 BITS)
: OSC l : TRACK :
ON
BYTE 9
VCF RES
(6
: VCOl
PWl
BITS)
!
180
: F-NV
180
BYTE 10 :
VCO l PW
(6
BITS)
VCA
MOD
BYTE 11 :
LFO FREQ
(6
BITS)
SYNC : DSC l :
FM
Oberheim Electron ics. Inc.
Los Anoeles. CA. 90064 USA
p/n 950034
I
I
I
I
I
I
I
c,
"
,,
08-8 MIDI Implemen tation Version 8-5
(6 BITS)
FM AMNT
BYTE 12 :
Page 5
August 15,1984
-------- -------- -------~------- -------- -------- -------(6 BITS)

PWM AMNT
BYTE 13 :
VOLUME
3
BYTE 14 :
PORT AMT
(6 BITS)
BYTE 15 :
VC02 DETUNE
(6 BITS)
BYTE 16 :
VCf FREQ
(6 BITS)
BYTE 17 :
VC02 FREQ
(6
BYTE 18 :
VCOl FREQ
(6
BITS)
: SPARE : LEGATO:
: PORT. :
BYTE 19 :
RETRIG POINT (6 BITS)
:RETRIG LfO WAVE:
VCO 2 PW
BITS)
--------------------------------.
-----------------------PEDAL SUSTAIN(6 BITS)
BYTE 20 :
:------ : PORT
: BEND
BYTE 21 :
FM
VIB RAISE(6 BITS)
: LFO :FM DLY :

: TRACK :INVERT.:
BYTE 22 :
PWM VIB RAISE(6 BITS)
PORT : PORT :
: QUANT : MATCH :
BYTE 23 :
FM
BYTE 24 :
PWM VIB DELAY(6 BITS)
: PWM DL Y: PWM
:INVERT.: QUANT :
BYTE 25 :
VOICE DETUNE (6 BITS)
: EXPO : CONST.:
: PORT. : PORT. :
BYTE 26 :
BEND AMOUNT
(6 BITS)
:LFORATE: FM
: DELAY : QUANT :
180
VIB DELAY(6 BITS)
I!
I .
r,
l.
. L
,-,
__ L - -
--
"----1--
,-.J\
_ !_
C,Cf""ln'"?t,
90
I
I
I
I
I
I
I
I
08-8 MIDI Implementation Version 8-5
August 15,1984
Page 6
The nB-8 defaults to OMNI ON upon power up. If the 08-8 is a receiver,
it will receive on ell channels. If the OB-8 is the transmitter, it will
transmit on one channel. (selectable)
The 08-8 may also be operated in OMNI OFF mode. If the OB-8 is a
receiver, it will now receive ONLY on the selected Basic Channel. If the 088 is used as transmitter, it will now transmit the upper half of the
keyboard on the Basic Channel, and the lower half will be transmitted on the
Basic Channel+ 1. Pitch bend, progam select, etc. will be transmitted on
both channels. The Channel Split Point is the same as the regular Split
Point. (default is middle C.) THIS MODE IS INDEPENDENT OF SPLIT MODE.
The 08-8 is always in POLY MODE.
FRONT PANEL SELECTABLE FUNCTIONS (ON PAGE TWO OF FRONT PANEL)
NOTE: Functions must be enabled on source ANO destination machines to work.
A
Function
Enable/Disable program change and program dump.
Power-On default: disabled.
Enable/Disable Pitch bend and modulation controls,

Default: disabled.
OMNI ON/OFF. Toggle OMNI status. Power-On default is OMNI ON

(l~d is lit.) (see MODES)
Channel display/select. Press and hold down D button to display

or select the Basic Channel,
WRITE
Dump current STORED program to MIDI. NOTE: SWITCH "A", "PROGR.!\M

ENABLE", MUST BE ENABLED FOR A DUMP TO OCCUR.
TRACK
Sequencer Re-Enable I Turn off MIDI Notes.
Switch
IMPORTANT: The 08-8 cannot RECEIVE MIDI info end be run by the
DSX sequencer simultaneously (due to hardware design.) So, to
prevent MIDI data errors, the sequencer is DISABLED upon
receiving any data from MIDI IN. This condition is displayed by
the TRACK led on page 2. When you no longer wish to use the 088 as a receiver, and you want to use the DSX, disconnect MIDI IN
and press the TRACK button. The led will go out, the sequencer
will work normally, and any notes turned on by MIDI will be
turned off.
Power-On default: TRACK light off, Sequencer Enabled.
OherhPim Elertronirs. Jnr.
Lns An~pJps, CA. 90064 l~A

Oberheim OB-8 Owners Manual 2nd Edition

Încărcat de

Informații document

Drepturi de autor

Formate disponibile

Partajați acest document

Partajați sau inserați document

Opțiuni de partajare

Vi se pare util acest document?

Este necorespunzător acest conținut?

Drepturi de autor:

Formate disponibile

Oberheim OB-8 Owners Manual 2nd Edition

Încărcat de

Drepturi de autor:

Formate disponibile

OWNER'S MANUAL

Second Edition August 1983

OBERHEIM ELECTRONICS, INC.

(C) 1983 Oberheim Electronics , Inc.

Oberheim 08-8 Ow ner 's Manual

Saf ety Ins tru ctio ns

Oberheim 08-8 Owner's Manual

Table Of Con ten ts

4. SPLITS AND OOUBLES. . .

... ... ...

Oberheim 08-8 Ow ne r's

Ta ble Of Co nte nts

Oberheim 08-8 Owner's Manual

Table Of Cont ents

3-1: Programmer Cont rols ..... ..... ..... ;... ....

Oberheim 08-8 Owne r's Manual

Table Of Conte nts

Oberheim 06-8 Owner's Manual

Intr odu ctio n

Oberheim 08-8 Ow ner' s Manual

Set ting Qe.

Fir st, make sure the 115 /230 Vol tage

Mas ter Tune

Oberheim 08-8 Own er's Manual

Using The Programmer

Rec allin g Patc h Programs

Modifying Patc h Programs

Oberheim 08-8 Owner's Manual

Using The Programmer

Creat ing New Sounds

Oberheim 08-8 Ow ner 's Manual

Spl its And Doubles

The OB-S's normal con figu rati

Spl it And Double Fun ctio ns

F'ig. 4-1 : Keyboard Con tro ls

When thi s but ton is pre sse d, the

When thi s swi tch is pre sse d the

The Lower Program can be edi ted

The Upper Program can be edi ted

Oberheim 08-8 Owner's Manual

Spli ts And Doubles

------------------- ----------------------The Lower Voices are ---refe renc ed to the lowe st

"C" on the keyboard (CO). Tran spos ition s

DOUBLE (hol d) There are twel ve DOUBLE PROG

The Lower voic es can be detu ned shar p or flat

Table 4-1: Keyboard Con trol Fun~ tions

Modifying Spli ts And Doubles

Oberheim 08-8 Owner's Manual

Splits And Doubles

Setting The Split Point

Setting Lower And~ Transpo sitions

Setting The Balance Between Lower And~

Detuning The Lower Voices

Table 4-2: Split and Double Reset Values

Oberheim 08-8 Owner 's Manual

Splits And Doubles

Split And Double Programs

Recall ing Split And Double Programs

Oberheim 08-8 Owner's Manual

Splits And Doubles

Modifying Split And Double Programs

Writing Split And Double Programs

Whatever Patche s, Transp osition s, Split Point, Balance , and Lower

Oberheim 08-8 Owner's Manual