![]() The aftertouch response is spot-on and can be customised, plus there are velocity curves to suit different playing styles (velocity affects the filter and amp independently). ![]() One of my favourite features on my P6 (and OB-6) is the 4-octave keybed - it's one of nicest feeling synth-action keybeds and is perfectly balanced for every style of playing. The case/chassis is all metal, the dials feel sturdy, the patch select switches click reassuringly and, although the smaller selector switches have some give, they are solid. A similar vintage font is featured, along with familiar black preset selector buttons with red LEDs and the whole thing looks very future/retro, though the striped design is harder on the eyes than the elegant P6's front panel and several functions are labelled above the dials which makes them harder to read at certain angles. The OB-6 looks great and with its blue-line-adorned front panel and chunky knobs (which all transmit/ receive MIDI CCs) it's throwing back to the design of the classic OB-Xa and OB-8. ![]() ![]() No doubt this has helped to keep production/R&D costs down without compromising the signal path quality, which is a great thing for audiophiles and cost conscious folks alike - not that the OB-6 is cheap though, at around £2,250 currently. The OB-6 synthesizer essentially uses the same chassis, effects engine and basic design as the Prophet-6, but Oberheim has popped in SEM-based voice cards, added to his much-loved SEM-based 'state variable' filter (aka Filter 2 on DSI's Pro 2 synth).
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