“Tom Sawyer” Legendary Synth Intro 

Clean and perfectly maintained.

Same, but I've kind of given up on still wanting the real thing. Not unless I'm suddenly rich, or finding myself making all kinds of money with my synths. It was my dream to have an OB-X series instrument since the 80s, but with soft synths today, it isn't really necessary. I nearly bought an OB-8 in the mid 90s. The main thing stopping me was it was too wide with the hard case to fit in my car's trunk. Around that PC soft synths were just starting to hit the market (before VSTs). I played with the OB-8 for hours, and even sampled some sound as wav files into my laptop which had a line-in on the sound card. I've played this song in my past bands, and for the past couple years I've been invited many times to join a Rush tribute band. I'm playing in a Cars tribute with one of the members, and just last night the guy that has been inviting me came by practice who I haven't seen in years. Soft synth recreations of this patch come "ridiculously" close. Maybe not 100%, but 90-95% there and certainly every bit as usable for playing the song in a band situation as I do. Even Rush hasn't used a real Oberheim in many decades. If I were someone like them, I would though. They have the resources to buy expensive gear, to lug it to shows & practices, store it, and maintain it. Most of us don't and it's simply not worth it to most of us when "all factors" are considered to owning a synth like like this, or a collection of them. There is also a pretty high failure rate. Even with the new OB-X8, I've seen people complaining of failures after spending 5 grand on one. Would you risk that at shows? To me, not unless we were making serious money. Next to no one would pick up on the difference between the VST of this patch and the real thing, except a few synth experts that probably wouldn't be attending our shows anyway. The two key people at Oberheim (Tom Oberheim) were both involved in making an Oberheim Eight Voice VST last year and even say it's pretty spot on. I only wish they made an OB-X VST, but another company makes a pretty good one. The "fun factor" of owning a real one however would be the biggest justification. Certainly would be more fun than a VST clone. I sold my vintage 1973 ARP for the same reasons I never bought an OB-X. My ARP VST clone sounds great! No more dragging it to gigs, repairs, worrying it about it get damaged, taking up room, etc. The sounds is really close. Not 100% but probably 90-95% depending on the patch, but in a live band, good luck figuring out which is the original and which is the VST. I A/B tested them side by side before deciding to sell my original. Someone like Anthony might be able to tell, but there wouldn't be many that could, and the sounds serve the songs just as well. If I went back & fourth with the original vs the VST at a show, I highly doubt anyone in the audience or even the band members would pick up on which one was the original. But in a studio situation where your working for people like Micheal Jackson and making million dollar records, the difference of 5-10% would be enough to justify. I doubt too many people reading here are making platinum records. The VST option is also great for band rehearsal. I carry my laptop to band practice/s, have extra MIDI controller keyboards setup with extra stands and wires, bring my MODX in it's back pack, and I'm setup and ready to go in about 5 mins or so. As I'm walking up 3 flights of stairs in one band, it's pretty easy to deal with. Imagine trying to bring an OB-X each time to practice and other synths?

Honestly guys. The ONLY people who care about gear and brand names are musicians in the game. Your audience will never give a shit unless they're also a musician. But they will stop caring about brands instantly if you play the hell out of your instruments and put on a great show or have an amazing recording. 99% of your laymen audience will never be able to tell the difference between the original first 100 serial numbers, a Reissue from today, a VST, a behringer clone. They'll never know. The most important thing is THEY WILL NEVER CARE ABOUT BRANDS LIKE MUSICIANS DO! Play what moves YOU and sounds good to YOU!

​@@anotheryoutube4635agreed 💯👍

@@anotheryoutube4635 Yeah, but Oberheim though.

@@yes0genesis Play what moves YOU and sounds good to YOU!

Wonderful!

Omg, that would be amazing!

They sampled it live. Ged actually sometimes did it with his hand instead of the pedals on exit stage left for example.

With a Juno you had to play the octaves to ballpark it✌️

It was my studio go-to for OB sounds, at least until the OB-X8 was released.

That’s not true. You’d hear the high end of the Taurus even when the filter hits the sub low. The Taurus pedals were used to control the oberheim, but it isn’t the sound.

Yeah that's a great sound

I believe a Roland Dimension-D was a common studio effect for the CP-70 back in the day. But considering Phil may have had his CP-70 because Genesis bandmate Tony Banks regularly used one (and frequently with a Boss CE-1 chorus stomp box), I wonder if Phil used the Boss as well? It sounds great on my CP...

Hi! I think Is a Yamaha CS30

They were secretive and did everything in house at Klingklang. Karl Bartos’ book has some good tidbits, like for example Spacelab on Man Machine was 100% Moog for synths: PolyMoog and Minimoog. They also used the ARP Odyssey, Vako Orchestron, and earlier on the Farfisa.