Behringer 2-XM: Everything You Need to Know About the New Oberheim Two-Voice Clone
It’s no secret that Behringer loves reviving iconic synths from the golden age of analog, but the 2-XM might be one of their most ambitious recreations yet. Modeled after the Oberheim Two-Voice — a 1970s classic that helped define the lush, drifting sound of early analog polyphony — the 2-XM brings that same tone and architecture to a much wider audience. With dual SEM-based voices, full analog circuitry, and modern MIDI and CV control, it delivers a rare mix of vintage character and present-day usability. For synth heads, the Oberheim Two-Voice is the kind of instrument that’s more myth than machine: expensive, elusive, and a little temperamental. Behringer’s take cuts through all of that. It’s compact, affordable, and Eurorack-friendly — but still raw and hands-on in all the right ways. Whether you're a longtime Oberheim fan or just analog-curious, the 2-XM offers a compelling entry point into one of the most revered sound worlds in synthesizer history.
Behringer 2-XM: Everything You Need to Know About the Oberheim Two-Voice Clone
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Behringer 2-XM: What Is It All About?
The Behringer 2-XM is a fully analog, semi-modular desktop synthesizer that recreates the architecture of the classic Oberheim Two-Voice from the 1970s. Each voice is based on a faithful clone of the legendary SEM (Synthesizer Expander Module), complete with its distinctive multimode filter and rich, musical character. It offers two discrete analog voices that can be layered, split, or used independently — giving you a surprising amount of flexibility in such a compact format.
Unlike the original, the 2-XM brings modern I/O into the mix. You get MIDI In, USB-MIDI, and extensive CV/Gate control, making it an easy fit in both DAW-based and Eurorack setups. And while there’s no patch memory or screen — true to the old-school vibe — you do get hands-on control of every parameter, just like the synth pioneers of the 70s.
It’s currently available for pre-order at a street price around $250 USD, positioning it as one of the most affordable ways to get authentic Oberheim-style tones without scouring the vintage market or spending several thousand dollars on a reissue. For analog purists and modular-curious producers alike, this is Behringer doing what they do best: resurrecting elusive gear and making it accessible to a much wider audience.
What Makes the 2-XM Special (and How It Stacks Up to the Original)
The 2-XM is built around a pair of cloned Oberheim SEM (Synthesizer Expander Module) circuits, staying remarkably true to the original’s design. You get two discrete analog voices, each with its own filter, VCOs, and envelopes, giving you the classic Two-Voice experience in a modern package. The SEM filter in particular — a state-variable design capable of lowpass, highpass, bandpass, and notch — is one of the key reasons this synth sounds so big and organic. Whether you’re after drifting detuned pads or sharp, resonant leads, the 2-XM nails that wide, vintage character.
Functionally, Behringer’s approach is minimal but smart. There’s no screen, no patch memory, and no menu diving — just immediate, hands-on control. This sticks to the spirit of the original, but adds quality-of-life upgrades where it counts. The 2-XM includes MIDI In, USB-MIDI, and a wide range of CV and Gate options, which means you can sync it with modern setups or integrate it seamlessly into a Eurorack system. It's also smaller and more desk-friendly than the hulking originals, while still offering enough panel space to invite real-time tweaking.
What you're not getting is a polyphonic synth in the modern sense, or the kind of digital convenience that many newer synths offer. But that’s also kind of the point. The 2-XM recreates the raw analog experience of the 70s without the headaches that come with vintage gear — no unstable tuning, no hunting for replacement parts, and no $5K price tag. It’s a synth for people who want character and immediacy over presets and polish — and in that regard, it’s one of Behringer’s most authentic reissues yet.
A Brief History of the Oberheim Two-Voice
Released in 1975, the Oberheim Two-Voice was one of the earliest polyphonic analog synthesizers available to the public — even though calling it “polyphonic” was a bit of a stretch. It combined two discrete SEM (Synthesizer Expander Module) units with a shared keyboard and rudimentary sequencer, giving users a powerful and flexible setup for the time. What made it special wasn’t just the ability to play two notes at once, but the way each SEM had its own VCOs, envelopes, and filters. This resulted in a wide, detuned sound that could shift from smooth and cinematic to gritty and aggressive with ease.
The Two-Voice became a cult favorite among synth pioneers, and its influence can still be heard in records today. Artists like Jean-Michel Jarre, Vangelis, and Joe Zawinul (of Weather Report) were early adopters, drawn to the rich filters and spacious modulation capabilities. It was also part of the setup at Skywalker Sound, where it contributed to film scores in the late '70s and early '80s. Despite its relatively low production numbers, the Two-Voice helped define the early Oberheim sound — one that still holds up nearly fifty years later.
Alternatives to the Behringer 2-XM
If you want the Oberheim sound straight from the source, the most obvious alternative is the Tom Oberheim Two-Voice Pro. This modern reissue sticks incredibly close to the original’s design — even down to the quirks — and adds features like a digital sequencer and velocity-sensitive keyboard. But at around $4,000 USD, it’s in a completely different league price-wise. It’s a collector’s dream and a beautiful instrument, but not exactly the most accessible choice unless you’re deep into analog synthesis or on a studio gear binge.
For something more compact and flexible, the Studio Electronics SE-02 (developed with Roland) is a solid option. While not a direct clone of the SEM, it’s a fully analog monosynth with preset memory, step sequencing, and a sound that can get surprisingly close in the midrange character. It’s got a tighter form factor, a bit of menu diving, and more of a modern twist, but it still leans analog in tone and feel. Plus, it fits in a backpack and plays well with MIDI setups out of the box.
Then there are synths like the Arturia MiniBrute 2S or Moog Mother-32, which are semi-modular, analog, and Eurorack-compatible — ideal for people who want hands-on patching and vintage-style tones without being locked into one specific heritage sound. These won’t give you the SEM filter, but they do offer a different kind of grit and flexibility. If you’re drawn to the Behringer 2-XM because of its modular roots or raw analog vibe, any of these could scratch a similar itch in a slightly different flavor.
If you're already looking within Behringer’s catalog, there are a few analog alternatives worth checking out. The Model D is a solid choice for fat, vintage-style monosynth sounds, especially if you lean toward basses and leads with Moog-like weight. The K-2, based on the Korg MS-20, brings a more aggressive, squelchy filter character that’s great for raw and dirty textures. And if you’re into modulation and patching, the Neutron offers a semi-modular playground with dual oscillators and a more modern, flexible sound palette. None of them offer dual-voice SEM architecture, but they each deliver their own flavor of affordable analog character.
Final Thoughts: Who Is the 2-XM For?
The Behringer 2-XM isn’t a mass-market crowd-pleaser — it’s a synth made for people who really care about analog sound. If you’re into vintage tone, minimalist interfaces, and the tactile joy of hands-on control, this one hits all the right notes. It’s especially appealing if you’ve always been curious about Oberheim’s legacy, but couldn’t justify the cost of an original Two-Voice or the modern reissue. For the price, there’s nothing else out there that captures this specific sound and architecture so faithfully. Whether you're into Berlin school sequences, cinematic drones, or just love dual-voice analog for layering patches, the 2-XM delivers something rare and distinctive.
That said, it’s not for everyone. If you need patch memory, deep modulation matrices, or polyphonic pads, you’ll likely find the 2-XM too limited. It asks you to meet it on its own terms — no screens, no menus, no undo buttons. But for the right kind of synth user, that’s the charm. This is a machine for slowing down, experimenting, and getting lost in sound. And if that’s your vibe, the 2-XM might just become the grumpy old synth uncle you never knew you needed.
Disclosure: This post contains affiliate links. If you buy something through these links, I may earn a commission at no extra cost to you. As an Amazon Associate, I earn from qualifying purchases.