Oberheim TEO-5 Desktop

• Analog Synthesizer
• Desktop version
• Classic Oberheim sound
• 5-voice polyphonic
• 2 analogue oscillators with PWM
• Cross-modulation
• Hardsync
• Suboscillator
• Noise generator
• 12db State Variable Filter (SEM)
• Polyphonic portamento
• 2 LFOs (1 global, 1 per voice)
• 2 DADSR envelopes
• 2 effect processors (multi & reverb)
• Analog Distortion
• Modulation matrix
• Arpeggiator
• Polyphonic step sequencer
• 256 Factory sounds
• 256 User sounds
• Unison and chord variations
• Panel mode
• Stereo output
• Headphone output
• Pedal inputs for expression & footswitch
• MIDI In, Out, Thru
• USB MIDI

Proven Oberheim components in a new guise

Two analog oscillators with the waveforms triangle, sawtooth and square with PWM form the basic framework from which the TEO 5 Desktop creates its sounds. Hardsync can be switched between the two tone generators and cross-modulation (Thru-Zero FM) can be controlled from VCO 2 to 1. In the mixer, the sound generation is supplemented by a sub-oscillator with a square waveform that follows the pitch of oscillator 1 and a noise generator. In the tradition of old or poly synths, the signal sources can be switched on and fine-tuned via the menu. The beautiful basic sound is processed with one of the most popular filters since synthesizers were invented: the SEM filter, also known as the 12db state variable filter. In addition to the creamy sound, this filter is characterized by the ability to fade continuously from lowpass to notch to highpass characteristics or to work with the switchable Bandpass. Some intermediate stages around the notch position are simply a dream and come across particularly organically.

Modulations for lively sounds

At first glance, the two LFOs appear to be identical, but they have different ranges of action. The global LFO can be applied to the entire Patch, the voice LFO is active per voice. It is conceivable, for example, that the Global-LFO is used for vibrato effects and the second one modulates the filter at a slow frequency and Wave-Reset. Two ADSR envelopes are hardwired to the filter and VCA, but can also be assigned to other destinations. The control times of the envelopes range from crisp and percussive to floating and ambient. Additional sources and destinations are linked together in the modulation matrix. This allows you to create far more complex sounds than the control panel would suggest. Modulate the pulse width of oscillator 2 with aftertouch, vary the Filter-Decay per note with a random parameter or dose the cross modulation with the pitch played - this and more is hidden under "MOD".

Effects

The sounds are given the finishing touches by the two digital effect blocks. The first can be configured with Stereo Delay, BBD Delay, Tape Delay, Chorus, Flanger, Phaser, Ring Modulator, Rotary Speaker, LoFi or Highpass Filter, while the second effect block is designed purely as a reverb. The final link in the signal path is an equally analog distortion unit, which transforms even the most subtle of tones into a real powerhouse.

Playing aids & memory

As a classic playing aid, the extensively editable arpeggiator is of course a must and a polyphonic step sequencer with up to 64 steps per Patch is also on board. Each of the 256 User and Factory sounds offer access to a sea of sounds and also provide inspiration for new sounds. Panel mode is available as an option for the stored sounds; when this is activated, the TEO-5 Desktop sounds as it is set at the time. The dub techno faction and 1-finger chord fans will be delighted with the option of saving their own chord pattern for each Patch.

New OS with Polychain option!

The latest OS adds the Polychain option for the Take 5 / TEO 5. This makes it possible to double the number of voices from 5 to 10 with an additional Take 5 / TEO 5 desktop! This benefits everyone who loves the sound of this synthesiser but needs more voices than the existing 5.

In addition, the arpeggiator now features 10 new arpeggiator patterns, including creative modes such as Spiral and Leapfrog, as well as the Whiplash arpeggiator timing mode, which dynamically adjusts the note values to the number of keys pressed. Violet Noise has been added to the sound generation.