MIKE: Hey. This is Mike from Agency of Spirits.

The Oberheim OB-Mx. I believe that’s -- Before that was actually called the OB-Mx, I believe Trent Reznor actually got -- I don't know if it was he got a sneak preview on it or what it was but he got a hold of one and he used it I think it was on -- I don’t thing it was Broken. I think it was the next one after that but I mean that is a monster. If you want to make bass sounds, it’s -- It was only I think it’s got cards in it for each channel or I mean for each voice rather, and like I think I got two or four cards in that one but I think it really doesn’t work. That’s the problem with the old stuff like that but it’s just the bass sounds on that were amazing.

Front Line Assembly is another one that actually used this, and you can hear it on a lot of their albums like the bass sound I hear at every -- I mean they’re like, “Oh, I can make that sound,” but it’s not like a common thing but it’s got a very beefy analog sound, and it’s just like one of the oldest. Basically a combination between an Oberheim and a Moog.

Like I said, most of my stuff I use the digital, like the stuff that’s actually -- not digital but rather the software based stuff because there’s just so much stuff in Pro Tools, it’s just I mean they keep cranking out more and more and more. It’s so efficient and the sounds that you can get out of that stuff. I mean a lot of the new -- you know, they simulate these sounds or there’s just a lot out there and it’s just like I kind of find my way, you know, like even like my sampler, I don’t use my sampler anymore because I have a sampler around there.

Basically all these boxes do is play sounds, and, you know, like a lot of these digital things like most of these are digital.

PATRICK OGLE: So, these are just [INDISCERNIBLE]?

MIKE: Yeah. They play, you know, basically prerecorded waveforms and then you can edit them and stuff like that. I mean there it’s all in the computer. I mean it’s the same thing, and in fact I have a package that doesn’t work because I had a little issue with the -- what you call dongle like little key plugin but it’s basically a Korg Wavestation and a bunch of other Korg products and they’re basically the same sounds. It’s the same thing. It’s just on the computer versus actually in the keyboard.

Like the Oberheim, for example, I mean you can see it’s like you got all the knobs and buttons right there so you don’t have to go in page after page in. A lot of the sounds on there, you know, they’re very tweakable but it’s mainly bass type sounds that it’s useful for, but the downside with all the analog stuff is it tends to drift and like if you’d be playing a sound and all of the sudden it drifts out of tune and you’re like -- so you have to tune it up every time you turn it on. But over time, the batteries die down in there so it kind of fell by the way side and can’t even read the display anymore half the time and it does like the patches that were saved are gone. They’re still great for what they were, and then a lot of them have been updated and they’ve been, you know, and they have the MIDI packages built into them, and that’s kind of what this is. It bridges that gap because it is an analog synth and they built in -- Yeah, this one is already built that way. It was an analog synth they built with the MIDI and it was just a very powerful piece and it’s like very expandable. Like I said, for it you have to install voice cards on it, and if you install eight voices on that thing and you start playing bass notes, you’re going to be playing with like the brown note, you know, that kind of thing. It’s just like it’s just amazing how much power that thing has but it’s hard to track down parts for it anymore so it’s like and then I guess Oberheim doesn’t exist anymore, at least in the incarnation that I knew it is. It was a casualty of Gibson, if I’m not mistaken.

PATRICK OGLE: [LAUGHING]