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https://www.smartbombdesign.com/a-recollection-of-the-ob-6-10-years-on/
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"Sometime not long after that, Dave, Tom, and Roger Linn were going to Sweetwater Music for an appearance of some sort. Joanne (DSI’s General Manager and my spouse) and I were in Dave’s office at the end of a workday talking about nothing in particular just before he and the others were due to be flown to Indiana on Sweetwater’s jet. So I said, “Why don’t you ask Tom about making an Oberheim version of the Prophet-6?” He asked what I had in mind, so I said, “We already did the SEM filter in the Pro 2, so Tony could make voice cards with that filter and we could change the panel layout and graphics to be more Oberheim-y.” Dave talked to Tom on the plane and that’s how the OB-6 got started."
"Tom’s wish list was short. He didn’t want the Prophet-6’s analog distortion. And he wanted the OB-Xa’s blue lines. (After the OB-6’s release, I was amused when some people compared the OB-6 to the OB-Xa or OB-8—based, I suppose, on the graphic design—and declared that they sounded very much the same. They don’t. I wouldn’t even say it’s close.)"
"The OB-6 main board
is the Prophet-6 main board (which also meant that the analog distortion would be present, even if it was not accessible from the front panel)."
"The OB-6 sounds nothing like the Prophet-6."
"The shape of the OB-6’s envelopes are based on the SEM and are significantly different from the Prophet-6."
"When sound designer Drew Neumann got his preproduction OB-6, one of his first questions was, “Where’s the distortion?” It was added as a “hidden” feature. To this day, I regret that it does not have a dedicated panel control."
"Anyway, my point was that, if not for Joanne pestering Dave about making another instrument with/for Tom, and Dave’s affection for Joanne, there might not be an OB-X8."
