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Some synths fill a gap in the mix. The OB-X fills the room.
OB-WAN is the big one of the five, and the one to load when a part needs to sound expensive. Every knob and switch laid out the way the original had it, inside Ableton Live, with Serum 2 doing the work underneath.
WHAT IT SOUNDS LIKE
Two oscillators with independent waveform switching, cross modulation, unison with real detune spread, and a filter voiced for the kind of wide, faintly impolite sweep the OB-X is known for. Where the Juno is polite and the Prophet is precise, this one leans on size: fifths, stacked unison, and sweeps that keep opening up long after you expected them to stop.
If you have ever tried to make a pad sound properly enormous and ended up layering four of them, this is the shortcut.
WHAT'S IN IT
The OB-WAN Max for Live device, with a compact panel for the Live device chain and a full-size faceplate that opens in its own window.
57 sounds as Ableton .adv files, plus an Init patch — weighted towards what people actually buy an OB-X for. "BigUniSweep", "OB8 5th Swell", "Love4Fifths", "LFO Reese", "4Eva Choir" and "Trouble BaSS", alongside the brass, choral and string material that sat underneath a lot of early-eighties records.
57 native Serum 2 presets, so the sounds come with you into any DAW, with no Ableton and no Max for Live.
The custom wavetable and noise sample, the full MIDI CC allocation list, an optional OXI E16 scene and instrument map, an illustrated installation PDF and the licence.
HANDS-ON CONTROL
Every control answers to ordinary MIDI CC with no MIDI Learn to set up first — plug a controller in and the panel moves. Standard allocations where they make sense: CC74 cutoff, CC71 resonance, CC7 volume, CC5 glide. Notes, pitch bend and sustain pass straight through.
Some synths fill a gap in the mix. The OB-X fills the room.
OB-WAN is the big one of the five, and the one to load when a part needs to sound expensive. Every knob and switch laid out the way the original had it, inside Ableton Live, with Serum 2 doing the work underneath.
WHAT IT SOUNDS LIKE
Two oscillators with independent waveform switching, cross modulation, unison with real detune spread, and a filter voiced for the kind of wide, faintly impolite sweep the OB-X is known for. Where the Juno is polite and the Prophet is precise, this one leans on size: fifths, stacked unison, and sweeps that keep opening up long after you expected them to stop.
If you have ever tried to make a pad sound properly enormous and ended up layering four of them, this is the shortcut.
WHAT'S IN IT
The OB-WAN Max for Live device, with a compact panel for the Live device chain and a full-size faceplate that opens in its own window.
57 sounds as Ableton .adv files, plus an Init patch — weighted towards what people actually buy an OB-X for. "BigUniSweep", "OB8 5th Swell", "Love4Fifths", "LFO Reese", "4Eva Choir" and "Trouble BaSS", alongside the brass, choral and string material that sat underneath a lot of early-eighties records.
57 native Serum 2 presets, so the sounds come with you into any DAW, with no Ableton and no Max for Live.
The custom wavetable and noise sample, the full MIDI CC allocation list, an optional OXI E16 scene and instrument map, an illustrated installation PDF and the licence.
HANDS-ON CONTROL
Every control answers to ordinary MIDI CC with no MIDI Learn to set up first — plug a controller in and the panel moves. Standard allocations where they make sense: CC74 cutoff, CC71 resonance, CC7 volume, CC5 glide. Notes, pitch bend and sustain pass straight through.
