Oberheim OB 12 User manual

OB 12
MANUALE OPERATIVO
OPERATING MANUAL
VISCOUNT
JOINT VENTURE
Oberheim
SynthesizerZ-Domain

OB 12
Z-Domain Synthesizer
CONTENTS
1. IMPORTANTS NOTES ........................................................................................................ 125
1.1 NOTES ABOUT OB-12................................................................................................125
1.2 NOTES ABOUT THE MANUAL ................................................................................... 125
2. MAIN CHARACTERISTICS .................................................................................................126
3. CONTROLS AND CONNECTORS......................................................................................127
3.1 THE FRONT PANEL .................................................................................................... 127
3.2 THE CONTROL CENTER SECTION...........................................................................129
3.3 THE REAR PANEL ...................................................................................................... 130
4. CONNECTIONS...................................................................................................................131
4.1 SPEAKERS AND MONITORS.....................................................................................131
4.2 MIXING CONSOLE...................................................................................................... 132
4.3 MIDI UNITS ..................................................................................................................132
5. HOW TO BE OB-12 IS ORGANISED ................................................................................. 133
5.1 MAIN STRUCTURE ..................................................................................................... 133
5.2 PROGRAM, TIMBRE AND SYSTEM...........................................................................135
5.3 THE AUTOMATION SECTION .................................................................................... 138
6. PLAYING THE PROGRAMS AND TIMBRES ..................................................................... 143
6.1 PLAY PROGRAM.........................................................................................................143
6.2 PLAY TIMBRE.............................................................................................................. 145
7. USING THE PANEL............................................................................................................. 146
7.1 SETTING THE FIRST WAVEFORM (OSC.1).............................................................. 146
7.2 SETTING THE SECOND WAVEFORM (OSC.2).........................................................148
7.3 MODIFYING THE PARAMETERS COMMON TO OSC.1 AND OSC.2 (OSC.COMMON) . 150
7.4 MODIFIYNG THE TIMBRE (FILTERS) ........................................................................ 152
7.5 VOLUME CONTROL (AMPLIFIER) .............................................................................155
7.6 MODULATION THE SOUND CYCLICALLY (LFO1) .................................................... 156
7.7 MODULATING THE SOUND WITH THE [MODULATION] WHEEL (LFO2) ...............157
7.8 SETTING THE KEYBOARD (KEYBOARD).................................................................158
7.9 ADDING EFFECTS TO THE SOUND (EFFECTS)...................................................... 160
7.10 EQUALIZING THE SOUND (EQUALIZER) ............................................................... 161
7.11 REGULATING THE GENERAL VOLUME (VOLUME) ...............................................162
7.12 USING THE [PITCH] AND [MOULATION] WHEELS................................................. 162
7.13 ENABLING THE VELOCITY AND AFTERTOUCH.................................................... 163
7.14 USING THE RIBBON CONTROLLER .......................................................................163
8. EDIT TIMBRE ......................................................................................................................164
8.1 EDIT OSCILLATOR 1................................................................................................... 165
8.2 EDIT OSCILLATOR 2................................................................................................... 168
8.3 EDIT OSCILLATOR COMMON.................................................................................... 171
8.4 EDIT FILTERS.............................................................................................................. 173
8.5 EDIT AMPLIFIER .........................................................................................................179
8.6 EDIT LFO1 ...................................................................................................................181
8.7 EDIT LFO 2 .................................................................................................................. 183
8.8 EDIT KEYBOARD MODE............................................................................................. 184
123

OB 12 Z-Domain Synthesizer
8.9 EDIT CONTROLLERS .................................................................................................186
8.10 WRITE TIMBRE .........................................................................................................191
9. EDIT PROGRAM ................................................................................................................. 192
9.1 EDIT PART SETTINGS................................................................................................193
9.2 BUS SETTINGS ...........................................................................................................194
9.3 EDIT EFFECTS ............................................................................................................194
9.4 EDIT EQUALIZER........................................................................................................ 199
9.5 LINKS ........................................................................................................................... 200
9.6 FOOT CONTROL SETUP............................................................................................ 201
9.7 ARPEGGIO SETTINGS ...............................................................................................204
9.8 PHRASE RECORDER .................................................................................................207
9.9 AUTO - MANUAL MORPH ........................................................................................... 213
9.10 KEYBOARD TRANSPOSE ........................................................................................214
9.11 MOTION RECORDER................................................................................................215
9.12 WRITE PROGRAM .................................................................................................... 221
10. EDIT SYSTEM ...................................................................................................................222
10.1 MIDI COMMON ..........................................................................................................222
10.2 MIDI CONTROLS....................................................................................................... 225
10.3 MIDI SYNC ................................................................................................................. 228
10.4 BULK DUMP............................................................................................................... 231
10.5 FOOT CONTROL SETUP.......................................................................................... 232
10.6 DIGITAL OUTPUT SETTINGS................................................................................... 234
10.7 GLOBAL SETUP ........................................................................................................ 235
10.8 TOOLS ....................................................................................................................... 236
11. APPENDIX ......................................................................................................................... 239
11.1 SOFTWARE INSTALLATION .....................................................................................239
11.2 ERROR MESSAGES..................................................................................................240
11.3 MIDI ............................................................................................................................ 241
11.4 BLOCK DIAGRAM...................................................................................................... 243
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OB 12
Z-Domain Synthesizer
1. IMPORTANT NOTES
1.1 NOTES ABOUT OB-12
1.2 NOTES ABOUT the MANUAL
125
LOOKING AFTER THE PRODUCT
•Do not apply excessive force to the structures and controls (knobs, switches).
•Protect the instrument from stresses both in transit and in use. The instrument should be
transported in its original packaging or equivalent wrapping.
•Do not place the OB-12 close to sources of heat, in damp or dusty places or in the vicinity of
strong magnetic fields.
•When possible, do not place the instrument close to units which produce strong interference
such as radios, TV sets, monitors, etc...
•Do not insert foreign bodies or liquids of any kind inside the equipment.
•For cleaning, use only a soft cloth or compressed air; never use detergents, solvents or
alcohol.
•Do not expose the instrument to direct sunlight.
•Do not hit the display or apply excessive force to it.
CONNECTING TO THE ELECTRICAL MAINS
•To avoid the risk of electric shock, do not make the connections with wet hands.
•Make sure that the mains voltage is as indicated on the lower panel.
CONNECTING TO OTHER INSTRUMENTS
•Always use good quality screened cables. When disconnecting cables from sockets, always
take hold of the connector and not the cable itself; when coiling them, do not allow knots or
twists to form.
•Beforemaking theconnectionsensure thattheother units(especiallyamplification anddiffusion
systems) you are about to connect are switched off. This will prevent noisy or even hazardous
signal peaks.
•Take good care of this manual.
•Read all the information provided in this manual carefully. You will avoid wasting time and will
obtain the best performance from your instrument.
•Codes or numbers in square brackets ([]) refer to the names of buttons, sliders or trimmers on
the instrument panel.
For example, [RATE] means the RATE trimmer.
•Illustrations and display pages are for information only and may differ from those actually
shown on the LCD.

OB 12 Z-Domain Synthesizer
2. MAIN CHARACTERISTIC
126
REAL-TIME CONTROL EFFECTIVENESS
The OB-12 is a synthesizer designed to be fully controllable in real time, the main feature of the
famous analog synthesizers. And the huge advantage this provides is a user-friendliness which
was perhaps being lost with the latest digital synthesizers, with programming procedures too
complex for many people to attempt. However, this does not mean the OB-12 offers limited
potential. You will realise this as you read this manual and use the instrument.
Aswell as givingan“analog feeling”, theOB-12, also usesthemost sophisticated digitaltechnology
for signal generation and processing.
We said “analog feeling”, because the OB-12 is the natural evolution of the analog synthesizers
which have shaped the history of music. Although not perfect (limited storage capacity, unstable
tuning and limited polyphony) due to their analog nature itself, these synthesizers were controlled
by means of a vast number of knobs which made them extremely easy to use.
Withtheadventofdigitalsynthesizers,thiseaseofusehas beenlost somewhat,as allthe generation
controls have been shifted into software programming pages.
The OB-12 has been developed to combine this user-friendliness with the best sound generation
and processing technologies. The front panel is subdivided into various sections, containing the
controls dedicated to the various blocks of the generation chain.
TOTAL MEMORISATION
The OB-12 offers the user 256 Programs, all modifiable and memorisable. Each Program can
contain up to 4 parts (so that you can divide the keyboard into 4 zones), each with a different
timbre. In addition to this, the instrument also offers 256 Timbres, also totally modifiable and
memorisable.
AUTOMATION
The OB-12 offers automated systems for the most widely varying functions. For example, you
can make use of a completely configurable arpeggio and a Phrase Recorder in which you can
memorise musical phrases ready for recall by pressing a keyboard key.
You can also use a Motion Recorder in which you can memorise specific motions of the panel
controls, which can all be repeated at the touch of a button, and a Morphing function, enabling
you to trasform a sound to another and to listen to all the continuous variations as you do so.
CONTROLS
As well as the usual trimmers and buttons for control of sound generation, the OB-12 allows you
to use [PITCH] and [MODULATION] wheels for real-time control of the tuning of the timbres (the
first)and the depth ofmodulation by the LFO2, the Morph ortheparameters assigned toAftertouch
(the second).
What’s more, there is also a Ribbon Controller; after assigning the various generation parameters
to this controller, you can then control them by just running a finger over its surface.

OB 12
Z-Domain Synthesizer
3. CONTROLS and CONNECTORS
3.1 The FRONT PANEL
127
1. LFO 1 section
Thissection of the frontpanelcontains the controls relatingtothe LFO 1 (LowFrequencyOscillator
1). The LFO 1 is the first low frequency oscillator in the generation chain, capable of generating
a waveform which modulates the sound cyclically.
2. OSCILLATOR COMMON section
Here you will find the controls for the common settings of the OSCILLATOR 1 and OSCILLATOR
2 sections. These controls allow you to set the envelope of the oscillators and their balancing
(since they are able to generate two different waveforms) to control the tuning of the sound.
3. OSCILLATOR 1 section
These controls allow you to set the characteristics of the first oscillator for generation of the first
basic waveform (which however, will already be complex) of the sound you are about to create.
4. OSC 1 PARAM (Oscillator 1 Parameter) section
This section describes the functions of the [WAVE CTRL] control knob in the OSCILLATOR 1
section.
5. OSCILLATOR 2 section
As for the OSC 1 section, here you can set the characteristics of the second waveform which is
the basis of the sound generated by the second oscillator.
6. FILTERS section
This section contains the controls relating to the characteristics (envelope, cut-off frequency and
resonance, to name the most significant) of the filter, i.e. the combination of FILTER 1 and FILTER
2, by means of which you can modify the brightness of the sound over time.
7. AMPLIFIER section
Here you can set the characteristics of the amplifier used to regulate the level of the sound over
time.

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128
1. LFO 2 section
This section contains the controls relating to the settings of the second low frequency oscillator,
controllable by means of the wheel on the left of the keyboard, marked [MODULATION].
2. KEYBOARD section
Here you can adjust a number of parameters relating to the keyboard, including the performance
mode, enabling of the Portamento or Unison status and transposition of the oscillators by octaves.
10. EFFECTS section
Here you can enable and set the level of a parameter (assigned by means of the programming
pages) of the four effects offered by the OB-12, i.e. Overdrive, Chorus, Delay and Reverb.
11. ARPEGGIO section
Here you can activate and set the basic characteristics of the function used to arpeggio chords or
single notes being played on the keyboard.
12. PHRASE section
This section allows you to enable and set the PHRASE RECORDER system, used to record a
musical phrase and repeat it (or play phrases already memorised) at the touch of a keyboard key.
13. CONTROL CENTER section
This section contains all the commands for display operations, for assignment of parts to the
keyboardand fortheMOTION andMORPHfunctions. Seepoint3.2 –CONTROLCENTER Section
for further information.
14. EQUALIZER section
This section allows equalisation of the sound using an equaliser which can be configured as
graphic or parametric.
15. VOLUME section
This section contains the [MASTER VOLUME] slider for control of the instrument’s overall volume.
16. [PITCH] and [MODULATION] wheels
You can usethe [PITCH] wheel tomake various continuousadjustments
to the tuning in a sharp or flat direction. The [MODULATION] wheel, on
the other hand, can be used to set the quantity of signal from the LFO
2 to be used to modulate the sound, to carry out manual MORPH
procedures, and to check the parameters assigned to the Aftertouch.
17. WHEEL MODE section
This section contains the controls for setting the functions of the
[MODULATION] wheel.
18. KEYBOARD SENSE section
Contains the controls for enabling the Velocity and the Aftertouch.
19. Ribbon Controller
This device allows you to control various parameters by just moving a finger along its surface.

OB 12
Z-Domain Synthesizer
20. Display
Backlit liquid crystal display of 240 x 64 pixels for displaying the names of the Programs and
Timbres, and all the functions relating to programming of the OB-12. Thanks to this generously
sized display, all operations will be easier and learning about the programming parameters will be
more intuitive with the aid of specific bitmap or calculated graphic references.
21. KEYBOARD MODE AND PART SELECT section
In this section, you can set the procedure for assigning Parts to the keyboard. Using the [SPLIT]
button the Parts active in the Program will play in separate sections of the keyboard (defined by
the keyboard range assigned to them), while with the [LAYER] button the active Parts can be
played along the entire keyboard. The [SINGLE] button enables only the Part whose LED
associated to one of the [PART] buttons is illuminated.
The [PART1] - [PART2] - [PART3] - [PART4] buttons allow you to activate the part of your choice
(when playing in SINGLE mode) and display and/or edit the timbre associated to it.
22. Buttons for display operations
This group of buttons includes an [ESC] key for exiting from the video page or the function
currently shown on the display. Four buttons [F1] - [F2] - [F3] - [F4] are provided for selecting
pages in addition to the one displayed at that moment, and for enabling any functions shown on
the display in line with the button concerned. There is also a [DISP HOLD] (Display Hold) button
used when the Swapping function is active; this function allows immediate display of a video
page relating to a parameter which has been modified using the relative control on the panel, and
the Display Hold button allows the new page to be kept on the screen, preventing the return to
the previous video page.
23. MODE & SET-UP section
You can usethe[PROGRAM] - [TIMBRE]-[SYSTEM] buttons toselectthe operating environments
of the same names. The [PANEL SCAN] button allows you to set the programming parameters in
accordance with the values assumed by the controls on the panel when the button is pressed.
The [EFFECTS] key recalls the menu for connection of the effects and the [WRITE] key enables
the procedures for saving Programs or Timbres, depending on the operating environment active.
N.B.: Modificationsmade to thefieldspresentin the SYSTEMenvironmentare saved automatically.
3.2 The CONTROL CENTER SECTION
129

OB 12 Z-Domain Synthesizer
3.3 The REAR PANEL
130
24. Rotary encoder and [CURSOR] keys
Therotary dynamic Encoder allows youtoselect the Program or Timbre of your choice,toincrease
or decrease the value of the parameter currently selected or to position the cursor on the chosen
field in the option selection menu (e.g. in the Edit Program Menu). The [CURSOR] keys provide
the same cursor positioning function.
25. Number keypad
Number keypad for entering the values of parameters or for typing the names of Programs and
Timbres during saving operations. You will press the [ENTER] button to confirm settings made or
to start procedures when the system prompts this. There is also a [BANK] button for selecting the
Program or Timbre memory bank, and + and – signs for entering number values where negative
and positive values are present.
26. AUTOMATION section
This section actually contains two different functions. The first relates to the Morph, meaning the
possibility of passing from one Program or Timbre to another in a programmable period of time or
using the [MODULATION] wheel, while the second relates to the Motion, or two memory locations
in which all the movements carried out on the panel controls over a given period of time can be
recorded. You can use [AUTO] and [MANUAL] buttons to recall the automatic or manual Morph
functions, while the [ENABLE] key allows you to start the procedure concerned.
The [LOC1] and [LOC2] can be used to recall one of the two Motion Locations, while the [REC]
key enables recording of the movements of the panel controls.
27. [POWER] switch
Switch used for turning the OB-12 on and off.
28. [AC INPUT] connector
Connect the power supply lead provided with the instrument to this connector.
29. MIDI connectors
Connect the MIDI units you wish to use together with the OB-12 to these connectors.
The MIDI [OUT] connector sends the MIDI messages generated by the OB-12, while the MIDI
[THRU] connector sends the MIDI codes received by the MIDI [IN] port, i.e the input port for MIDI
messages generated by a remote MIDI unit.
30. PEDALS connector
Connect the leads from remote pedals to which you have assigned functions by means of the

OB 12
Z-Domain Synthesizer
4. CONNECTIONS
4.1 SPEAKERS and MONITORS
131
internal programming parameters to these connectors. Connect expression pedals to the [EXP.1]
(Expression 1) and [EXP.2] (Expression 2) connectors, and footswitch pedals to the [SWITCH1]
and [SWITCH2] ports.
31. [DIGITAL OUTPUT] connector
You can use this socket to collect the digital signal generated by the OB-12 in order to connect
the instrument to DATs, digital mixers, CD mastering units, etc..
32. AUX OUT connectors
Extra connectors from which the analog signal generated by the OB-12 can be collected.
33. MAIN OUT connectors
Main connectors from which the analog stereophonic signal produced by the OB-12 can be
collected. If you are using a monophonic unit for amplifying or recording the signal, connect the
[L/MONO] connector only.
34. PHONES connector
You can connect a set of headphones to this connector in order to monitor the sound of the OB-
12 without the aid of amplified monitors. The signal will still be present at the [MAIN] and [AUX]
outputs.
The output signal at the MAIN OUT [L/
MONO] and [R], AUX OUT [1] and [2]
connectors is not amplified. In order to
listen to the sound produced by the OB-
12,you will havetoconnect the connectors
to remote amplifiers or to amplified
speakers/monitors. It is also advisable
always to use a stereophonic system, to
allow you to appreciate the sound and
effects generated by the OB-12 to the full.
In addition, the instrument offers the
considerable advantages of the BUS
SETTINGS function in the PROGRAM
environment, allowing each single part of
a Program to be assigned to each
individual output, thus assuring
spectacular acoustic effects. For example,
if each of the four Parts of a Program
contains a different timbre and each single part is assigned to each single output, you will be able
to listen to each timbre by means of a different diffuser or monitor.
You will also be able to address the signal present on the MAIN OUT outputs to amplified diffusers,
and to listen to the signal present on the AUX OUT outputs by means of a monitor. Instead of the
monitor, you can also listentoyour sound on headphones, by taking the signalfromthe[PHONES]
connector.

OB 12 Z-Domain Synthesizer
4.2 MIXING CONSOLE
4.3 MIDI UNITS
132
Connecting the OB-12 to a mixing console will allow you
to obtain excellent advantages, with the possibility of
using four outputs. For example, you can address the
MAIN OUT connectors to two channels (or to one stereo
channel) and the AUX OUT connectors to two different
channels, so that the signals on the outputs can be
processed differently. This solution is especially useful
when, for example, you wish to process the individual
Parts of a Program differently from each other.
The OB-12 can be MIDI-connected to Master
Keyboards, Sequencers, another synthesizer, or a
Personal Computer MIDI interface, thus allowing the
useof the mostsophisticated musical softwares(writing
of scores, saving and editing of musical patterns, real
time controls by PC of the OB-12 internal parameters,
etc.).

OB 12
Z-Domain Synthesizer
5. HOW TO BE OB-12 IS ORGANISED
5.1 MAIN STRUCTURE
133
Essentially, the OB-12 consists of five main sections:
CONTROL SECTION
The control section consists of the velocity and Aftertouch
sensitive 49-key keyboard and the controls on the panel.
Ifthe OB-12ispiloted byaMaster Keyboard(orby another
MIDI controller), the
control section is also assumed by
the connected MIDI devices.
Whenever you press a keyboard key or a button (for
example) on the control panel, a message is sent to the
sound generation section , or to the sequencer section in
case of use of the Phrase Recorder and/or the Motion
Recorder.
SOUND GENERATION SECTION
This section of the OB-12 generates the sound you
program using the panel controls or the display. The data
received from the
control section, from the sequencer
section
in case of playback of Phrases or Motions, or from
the [MIDI IN] port in case of connected MIDI units, inform
the
sound generation section of how and when it is to
produce the sounds, and on what time-scale.
The OB-12 has maximum polyphony of 12 notes, meaning that it is able to produce a maximum
of 12 notes simultaneously. If the
control section sends data for a larger number of notes, the last
notesreceived by the
soundgeneration section will take priority, whilethe first oneswillbe gradually
deactivated as subsequent notes are received. Remember this during your performances.
EFFECTS SECTION
You can use this section to add four effects (which can all be used indiscriminately) to the signal
sentby the
sound generation section .These effects,all typicalofthe soundofthe bestsynthesizers,
are Overdrive (to add distortion), Chorus (to add space to the sound), Delay (echoes or delays on
the original sound) and Reverb (reverberation of the sound).
EQUALIZER SECTION
This section allows you to make use of a totally programmable equalizer. The main feature of the
OB-12 equalizer is that it can be configured in parametric or graphic mode. Using the graphic
equalizer, you can regulate the high and low frequencies and medium frequency bands which
can be set with the trigger frequency, band width and enhancement/attenuation value of your
choice. The graphic equalizer allows you to work on five preset frequency bands.
SEQUENCER SECTION
This section allows you to record a keyboard performance (Phrase Recorder) or the movements
carried out on the panel controls (Motion Recorder) in the form of MIDI data. During playback, the
sequencer section will send the MIDI data to the sound generation section , which will generate
the sounds. The MIDI data can also be sent during playback to remote MIDI units, by means of
the [MIDI OUT] connector, allowing the sound to be generated by means of these units.

OB 12 Z-Domain Synthesizer
134
HOW DOES THE OB-12 PRODUCE THE SOUND?
In theory a sound (whether an imitation of an acoustic instrument or a completely new, “surreal”
sound) can be generated with the aid of just three fundamental circuits:
- an oscillator: to generate the basic waveform and control its pitch
- a filter: to control the character of the sound
- an amplifier: to control the volume
In order to render the signal produced by these three components variable over time, envelope
generators are used: they specify how the signal is to change over time.
We will therefore have one envelope dedicated to the oscillator, to determine how the pitch will
change over time, one envelope dedicated to the filter, to determine how the brightness will
change over time, and one envelope dedicated to the amplifier to regulate the volume over time.
At a later point, when we discuss editing of a timber (section 8), we will describe the various
sections of a synthesizer in greater detail.
When generating sound, the OB-12 emulates the subtractive synthesis technique, without a
doubt the most widely used in the old but still effective analog synthesizers.
With this type of synthesis, the timbre is created by generating a waveform with a high harmonics
content, which is then filtered to attenuate the unwanted harmonics. The resulting sound is sent
to the amplifier in order to control its width. These filtering and amplification processes will provide
the sound required.

OB 12
Z-Domain Synthesizer
5.2 PROGRAM, TIMBRE and SYSTEM
135
The internal memory is mainly subdivided into four large sections:
1. the memory section reserved for the PROGRAMS (and thus the PROGRAM operating
environment)
2. the memory section reserved for the TIMBRES (TIMBRE operating environment)
3. the memory section reserved for the SYSTEM UTILITIES (SYSTEM operating environment)
4. the AUTOMATION section, comprising the ARPEGGIO, PHRASE RECORDER and MOTION
RECORDER functions.
We will now take a detailed look at the first three sections.
THE PROGRAMS
The OB-12 contains 256 Programs, 128 in bank A and 128 in bank B, completely programmable
and all memorisable.
A Program can be set with up to four Parts containing one Timbre each, and offers the possibility
of configuration with four different timbres. Naturally, this example is purely guideline, since it is
not always necessary to set a Program with four parts and thus with four different timbres.
As well as containing the Timbres, the Program also allows the addition of effects and equalization
of the sound generated by the timbres, regulation and performance of arpeggios, configuration
of the outputs, and other useful functions which we will be looking at later.
Refer to section 9 of this manual for all necessary information about the Programs. In addition,
section 7 describes the panel controls of the sections associated to the Programs (Effects,
Arpeggio, Phrase Recorder and Equalizer).
You can access the PROGRAM operating environment (which is also preselected when the
instrument is switched on) by pressing the [PROGRAM] button in the MODE&SET-UP section of
the central panel. Once the selection has been made, the LED of the key illuminates and the
following video page appears in confirmation:
THE TIMBRES
A Timbre is the basis of the sound you produce using the Program. However, while you cannot
play a Program unless it contains at least one Timbre, the Timbre itself can be played on its own,
regardless of the Program settings, by enabling the Timbre operating environment.
The OB-12 memory contains 256 Timbres, 128 in bank A and 128 in bank B. The internal structure
of the Timbre is essentially as shown below:
As the diagram in the next page shows, this generation chain consists of four main components:
-OSC.1 and OSC.2: which generate the two waveforms (which as we will see, can be the
result of three signals for each oscillator);
-FILTERS: programmable combination of two filters which attenuate the unwanted harmonics
of the signals produced by the oscillators, and thus control the brightness of the sound;
-AMPLIFIER: which controls the level of the signal leaving the filters:
and then by a further five sections which control the four main ones:

OB 12 Z-Domain Synthesizer
136
-OSC ENV: which acts on the oscillators and establishes their behaviour over time, and thus
defines how the pitch will change over time;
-FILTER ENV: which sets how the filters will behave over time and thus how the character of
the sound will change over time;
-AMP ENV: which regulates the behaviour of the amplifier and thus determines how the volume
will change over time;
-LFO1: low frequency oscillator used to modulate the signal (when required) on the four main
components;
-LFO2: like LFO1 but controllable using the [MODULATION] wheel.
In the Timbre operating environment, the user can set up the keyboard modes and pitch, and the
dynamic (Velocity) and Aftertouch controls.
Section 7 of the manual illustrates all the panel controls relating to the Timbre settings. Section 8
contains all the display settings relating to the Timbre operating environment.
To access this operating environment, press the [TIMBRE] key in the MODE&SET-UP section of
the central panel. Once the selection has been made, the LED of the key illuminates and the
following video page appears in confirmation:
THE SYSTEM
The SYSTEM operating environment allows the user to make use of all the utility functions which
are not essential for the purposes of the generation and diffusion of the sound, but which allow
configuration of the whole system (and therefore not of the individual Programs or Timbres) to
individual requirements.
These utilities include all settings on the MIDI (mode, filters, MIDI Program Map, assignment of
Control Changes to the controls, synchronisation, data Bulk Dump), assignment of functions to
the pedals, setup of the digital output, display contrast, swapping, etc.
Refertosection 10 of the manual forallinformation concerning the System operating environment.

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Z-Domain Synthesizer
137
To access this operating environment, press the [SYSTEM] button in the MODE&SET-UP section
of the central panel. Once the selection has been made, the LED of the key illuminates and the
following video page appears in confirmation:
THE DISPLAY SWAPPING FUNCTION
As we will see below, the OB-12 has a huge number of parameters and controls on the front
panel, used to generate the type of sound desired. It may often occur that when the Play Program
video page is displayed (i.e. not the Program editing video pages) the user wishes to modify a
given control on the panel, and check the value associated to it, without switching from the
Program to the Timbre operating environment for the purpose. At other times, it may useful to
display a timbre editing page immediately by just moving a control on the panel, without having to
carry out the entire display procedure to obtain display of the video page concerned.
The DISPLAY SWAPPING function allows the user to display a given menu page by just changing
the position of a control whose parameter is present in the video page. This means that the video
page can be displayed momentarily (to check the value of the parameter whose panel control is
being used) or the user can “freeze” it and then move around the menus relating to the video
page displayed by simply pressing the [DISP HOLD] (Display Hold) button in the Control Center
section of the front panel.
The OB-12 also allows the user to set the Display Swapping function to his own requirements, in
order to obtain the best from this important, useful function.
After pressing the [SYSTEM] button, select option 7-GLOBAL SETUP. The display will show:
now select the SWAPPING folder to access the function set-up:

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5.3 The AUTOMATION SECTION
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which contains the following settings:
•ACTS ON PROGRAM: use this parameter to enable the function in Play Program mode (but
not in Edit Program mode).
•FREEZE TIME: here you can set the time for which the video page is to remain on the display
beforethe display againshowsthe video pagepresent before theSwap(provided the DISPLAY
HOLD is not active).
•POT. LINK MODE
(PotentiometerLinkMode) :specifies whetherthe userwishes tosettheparameter
immediately with the value assumed by the control on the panel (by selecting HOOK) or to
wait until the control assumes the value shown on the display (by selecting VALUE) and then
proceed to modify the parameter.
Refer to point 10.7 for further information about setting the function.
The term AUTOMATION refers to the section in the OB-12 which allows the performance of
automatic operations triggered using the special controls on the front panel. As well as controlling
the start of the automation, this section allows the user to set and personalise it both using the
display and by means of the panel controls.
The AUTOMATION section is subdivided into two large categories:
-the NOTE automation functions;
-the GENERATION automation functions.
The note automation functions include the ARPEGGIO and PHRASE RECORDER functions,
while those relating to generation are the MOTION RECORDER and MORPH functions.
We will now take a detailed look at these four functions.
ARPEGGIO
By means of this function, the OB-12 allows you to perform arpeggios by just playing a note or a
chord on the keyboard. You can set the mode, time and playing pattern of the arpeggio, the
range in octaves and the synchronisation with a remote MIDI unit. The ARPEGGIO function
belongs to the Automation memory section, but it is correlated to the Program environment, so it
is possible to have one type of arpeggio for each program.
Refer to point 9.6 – Arpeggio Settings for further information about this function.
The front panel section dedicated to the arpeggio comprise the following controls:
•[TEMPO]: this trimmer regulates the metronome tempo for performance of the arpeggio. The
range of values is from 25 BPM (Beats Per Minute) with the trimmer turned completely to the
left to 250 BPM (trimmer turned completely to the right).

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•[TAP TEMPO]: this button allows you to set the
metronome tempo of the arpeggio by pressing the
buttonitself. TheLEDon thebutton displaysthecurrent
metronome tempo, and if the key is pressed twice, the
OB-12 will calculate the time between one press and
the next in order to set the arpeggio tempo. If a remote
MIDI CLOCK source is connected the value of this
parameter will be that specified by the MIDI message.
Any manual settings will be ignored.
•[HOLD]:thisbutton allowstheuser toenablethe HOLD
function, by means of which the OB-12 will perform
the arpeggio even after the keyboard keys have been
released. With the function disabled, when the
keyboard keys are released the arpeggio will cease.
The button LED displays the status of the function in
accordance with the following rule:
- LED on: function active
- LED off: function disabled
With the function active, if another note or another chord is played after the one on which the
instrument is playing the arpeggio, the new notes will replace the ones on which the arpeggio
was previously based.
•[ON/OFF]: button for enabling or disabling the Arpeggio function. The button LED displays
the status of the function in accordance with the following rule:
- LED on: function active
- LED off: function disabled
If this button is pressed for at least two seconds, the Arpeggio setting video page will be
displayed.
•[MODE]: this button allows selection of the arpeggio mode. The settings available are:
- UP: the arpeggio is performed cyclically from the lowest to the highest note.
- DOWN: the arpeggio is performed cyclically from the highest to the lowest note.
-UP & DOWN(UP and DOWN LEDs on): the arpeggio is performed cyclically from the lowest
to the highest note and vice-versa.

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- RANDOM (RND): the arpeggio notes are played at random.
•[RANGE]: this button allows you to set the range in octaves of the arpeggio. The ranges
available are:
-+1: arpeggio range two octaves.
-+2: arpeggio range three octaves.
-+3: arpeggio range four octaves.
-no LED on: the range of the arpeggio is limited to the notes played. If just one note is
played, no arpeggio will be performed; the note itself will simply be repeated.
THE PHRASE RECORDER
The PHRASE RECORDER is another automated function. Using this function, once a keyboard
key (pilot key) is pressed, the OB-12 performs a musical phrase recorded previously, continuing
to play it in a loop until the key concerned is released (provided the HOLD function is not active).
The OB-12 allows recording of up to four Sets of musical phrases, each with maximum capacity
of 16000 notes and minimum resolution of 96 t.p.q.n.
The MIDI data relating to the Phrase being played will be transmitted on the MIDI [OUT] port
(except for any filters enabled for the note messages).
Point 9.7 describes all the display procedures relating to this function.
N.B.: The ARPEGGIO and PHRASE RECORDER automation functions are mutually exclusive,
so if the Arpeggio is active and the Phrase Recorder is selected the former is disabled, and vice-
versa.
The panel section dedicated to the Phrase Recorder comprise the following controls:
•[TEMPO]:thistrimmer allows youto regulate themetronome tempo
for performance of the arpeggio. The range of values is from 25
BPM (Beats Per Minute) with the trimmer turned completely to the
left to 250 BPM, with the trimmer turned completely to the right.
•[TAP TEMPO]: as for the Arpeggio, this button allows you to set
the metronome tempo for performance of the musical sequence.
The LED on the button displays the current metronome tempo,
and if the key is pressed twice, the OB-12 will calculate the time
between one press and the next in order to set the tempo for
performanceof themusicalphrase. Ifa remoteMIDICLOCK source
is connected the value of this parameter will be that specified by
the MIDI message. Any manual settings will be ignored.