Synthesizers/Keyboard Synthesizers & Modular Synthesizers

Take 5 & Oberheim TEO-5 Updated With Poly-Chain Support + More


Sequential and Oberheim have announced free updates for their Take 5 and TEO-5 synthesizers, adding Poly Chain support, which lets you connect two instruments to get 10 voices of polyphony.

Both companies are part of part of the Focusrite family of brands. The two synths are based on a shared foundation and have received similar updates.

Here’s what’s new with the Sequential Take 5:

  • Poly Chain allows two Take 5s to be linked for a fully integrated 10-voice instrument. This means players can perform bigger chords and more complex arrangements without worrying about voice stealing. All front-panel controls are mirrored from one unit to the other for seamless sound tweaking, as if they were a single, expanded synth.
  • The arpeggiator gets a boost with 10 new play modes,1 designed to inspire fresh rhythmic and melodic ideas. The patterns go beyond simple up-and-down motion, using virtual “playheads” to weave intricate note paths.
  • Another new feature is Whiplash, a new timing mode that keeps each arpeggiator cycle the same length, regardless of how many notes you hold.
  • Finally, the update also adds violet noise, which emphasizes high frequencies while reducing low-end content. This opens up new possibilities for sound design, from smooth and shimmering textures to airy percussive layers.


New with the Oberheim TEO-5:

  • Poly Chain enables two TEO-5 units to be linked for a fully synchronized 10-voice Oberheim experience. This allows for complex chords and lush textures, and all panel controls are mirrored across both units for consistent sound and performance.
  • Additionally, the arpeggiator now includes 10 new play modes that go far beyond traditional patterns. Modes like Spiral and Leapfrog introduce new rhythm and melody, creating parts that twist, turn, and evolve in ways that spark creativity.
  • Also new is Whiplash, a timing mode that keeps each arpeggiator cycle the same length no matter how many keys you hold. This means the note values shift dynamically, producing rhythmic tension and release that stays in-step with the overall bar-length of your composition.
  • To round out the update, violet noise joins the sonic palette. With its emphasis on high frequencies and reduced low-end content, violet noise is ideal for creating smooth shimmering textures, airy effects, and unique percussive elements.


Both updates are available now:

Restoring A Very Broken Fairlight CMI IIx Synth Workstation


The latest episode of 100 Things I Do details their epic journey to restore a ‘very broken’ Fairlight CMI IIx synth workstation.

The Fairlight CMI II was introduced in 1982 and – while limited by today’s standards – represented the state of the art in sampling synthesis and sequencing at the time.

If you want to see the full journey of repairing this rare instrument, watch the playlist below:

 

Oberheim OB-1 Retro Synth Review


Synthesist Alex Ball – in his latest video – offers a retro synth review of the rare Oberheim OB-1 synthesizer.

Originally introduced in 1977, the Oberheim OB-1 built on the design of the classic SEM, but is also considered to be the first programmable synthesizer.

While it’s pretty limited by modern standards, it still sounds fantastic, and Ball demonstrates in his video.

Topics covered:

0:00 Intro Jam

1:26 The OB-1

1:54 Brief History

3:07 A justifiable rant

4:36 SEM vs OB-1 VCOs

7:21 SEM vs OB-1 VCF

11:18 Other notes

11:35 Makeshift Four Voice

13:44 OB-1 Plug-in

15:11 Outro Jam

16:21 I did warn you

Watch the video and share your thoughts on the Oberheim OB-1 in the comments!