SonicProjects OP-X PRO-II v1.2.5 CE-V.R® Oberheim’s range of 1970s and ’80s analogue synths are rightly considered classics, but they’ve been almost completely ignored by software developers. It’s somewhat baffling that you can take your pick from dozens of Minimoog emulations but SonicProjects’ OP-X is the only major Oberheim clone on the market. “OP-X Pro II strikes a great balance between staying faithful while throwing in a few updated features.” OP-X is primarily based on the Oberheim OB-X, but what makes it more interesting is that it’s not just a straight clone. The latest version offers a number of updated features that make it a match for any vintage emulation. Synth architecture Released in 1979, the Oberheim OB-X built on the success of the SEM and its polyphonic stable-mates, eventually spawning the updated OB-Xa and OB-8.

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SonicProjects’ OP-X plug-ins are based on the OB-X, but with a number of updates which bring it crashing into the 21st century. Pro II offers far too many subtle tweaks to the OB-X formula to go into detail here, but the filter section is a perfect demonstration of SonicProjects’ forward-thinking approach. The OB-X’s 12dB/oct low-pass filter offered a big, fat sound quite distinct to the likes of Moog or ARP, but Pro II makes things even more versatile with the addition of the state-variable features of the SEM’s VCF, a 24dB/oct mode and a switchable self-oscillation mode. This kind of attention to detail pays dividends when it comes to the synth’s sonic capabilities. Just like the original synths that inspired it, OP-X Pro II is capable of producing a wide range of sounds, but excels at pads, warm strings and bass. In addition to all the classic sounds that you’d expect to find hiding in the presets, OP-X also performs surprisingly good impressions of a number of other synths, from the Roland Jupiter-8 which inspired its invertible filter envelopes to the Sequential Circuits Prophet-5, which offered up a variety of filter modulation options.

Later Oberheim synths were based on Curtis chips, but the OB-X famously featured discrete components in every part of the signal path. In theory, each of its voice cards were identical, but the manufacturing tolerances of discrete components invariably meant that minute differences existed between each voice. OP-X’s separate voice design (SVD) features capture that analogue spirit in ingenious fashion, offering virtual trimpots to adjust voice tuning, envelope decay and release time and portamento rate. The trimpots are a fascinating and genuinely useful feature, allowing you to move from perfectly even calibration to extreme variations between each of the synth’s voices.