When I unboxed the 2-XM, I was immediately struck by its size—or lack thereof. In photos, it appeared chunkier, but in person, it’s surprisingly petite for a duophonic analog desktop synth, measuring just 80HP in Eurorack terms. This compact footprint makes it a perfect fit for desktop synth setups and modular rigs. Behringer includes the usual ribbon cable for Eurorack mounting along with a couple of patch cables to get you started patching.
The build (like others in this range of synthesizers) feels solid enough to get the job done, though the tiny potentiometers might not inspire confidence for heavy-handed tweakers. Still, they work and the layout is intuitive, with 67 direct-access controls begging for your hands-on exploration.
Inside the brown cardboard shipping box, I found a personal message from Uli Behringer himself, printed on the packaging. It’s a small touch, but it adds a sense of connection to the brand’s mission of making high-performance gear accessible.
The 2-XM also ships with a 2A power supply, a change up from the 1A supplies used in several other Behringer desktop synths. This beefier power supply likely supports the dual SEM-style voices and extensive patchbay, ensuring stable performance even under heavy modulation.
Sound and Architecture: Creamy, Versatile, and Analog
The heart of the 2-XM lies in its two independent “Synthesizer Expander Modules” (SEMs), each with two VCOs, a multi-mode VCF, two envelope generators, and an LFO. This setup delivers a pure analog signal path, boasting four VCOs, two VCFs, two LFOs, and four envelopes in total. The result is a rich, creamy sound that nails the Oberheim vibe—think pulsating basses, radiant leads, and lush sounds that ooze ’70s warmth. You can switch between polyphonic (two voices), split, or unison modes (stacking all four oscillators for massive monophonic leads), offering impressive versatility for a synth in this price range.
A burning question for synth nerds: are the VCOs discrete SEM-style or chip-based? Pulling the guts out of the skif style enclosure reveals little technically without a much more detailed microscopic technical inspection of the miniature components. For my two-cents, I’d rather be playing it than trying to figure what it is made from. The 2-XM’s filters (low-pass, high-pass, band-pass, and notch) are versatile and musical, with a smooth resonance that avoids harshness - to my old ears, it's a classic Oberheim-style sound -- a softer and gentler filter tone. I’d describe it as “juicy” or “wet” sounding — having just spent a lot of time playing with and tweaking Behringer's Model D, the 2-XM definitely does NOT sound like the D — the 2-XM has its own unique smooth character (sounds like I’m describing fine wine or coffee lol).
The oscillators offer sawtooth and pulse waveforms with adjustable pulse width modulation (PWM), and oscillator sync adds sharp, biting textures perfect for leads and effects. I’ve also been playing with the big brother to the 2-XM, the UB-Xa Desktop which really creates amazing sonic textures and pads — the 2-XM has an excellent sound but it’s not what I’d call great for making pads and lush fills even though it makes more than one note at a time.
A noise generator and two external audio inputs expand the sonic palette, letting you process other sound sources through the 2-XM’s filters. The stereo outputs (unbalanced 6.3mm jacks) are a modern touch, allowing you to pan the two voices for immersive soundscapes. In my tests, the stereo field added a magical depth, especially when paired with a touch of reverb.
Patchbay and Modulation: A Modular Playground
The 2-XM’s 32-point patchbay (14 inputs, 18 outputs) adds versatility and plenty of capability for experimenting to your options, making it a semi-modular dream for Eurorack enthusiasts. You can route CV and Gate signals to control VCOs, VCFs, VCAs, envelopes, and LFOs, or cross-patch the two voices for wild FM and modulation effects. The patchbay’s flexibility transforms the 2-XM into a sonic chameleon, capable of everything from subtle warbles to otherworldly soundscapes. I had a blast patching the LFO to the VCF cutoff while using an external sequencer to trigger the envelopes—it’s a modular playground that invites experimentation.
Portamento, available on both voices, adds expressive pitch glides, and the 16-voice Poly Chain feature lets you stack multiple 2-XMs for up to 32 voices of polyphony. While I didn’t have multiple units to test this, it’s a tantalizing option for those building an Oberheim-inspired mega-synth on a budget. You might want to get one 2-XM to start with and see if you REALLY want to patch and coordinate several together, the UB-Xa Desktop might be a better choice (UB-Xa review coming soon, spoiler alert: it's got the lush Oberheim sound :-). MIDI and USB connectivity, along with MIDI channel and voice priority selection, ensure seamless integration with modern setups.
Warranty, Reliability and Power Supply Warning
Behringer offers a standard one-year warranty on the 2-XM, which is typical for their products. My unit has performed flawlessly out of the box, during testing and just general noodling around with it. In my experience Behringer desktop synths have always retained excellent resale value and returned a healthy amount of their original purchase price when I’ve sold them through Reverb (dot com). Starting with their first Model D back in 2018, I've had excellent reliability from my Behringer synthesizers (and gathered a small flock of them that now live in my studio).
Label your power supplies BOLDLY so you don’t accidentally grab one that is too small, current-wise. The power supplies Behringer uses for the various desktop synth models look similar and they all plug into the same kind of power-supply input-jack but they ARE NOT the same. The 2-XM is one of the most power-hungry of the desktop synth models, if you have several of these skif-shaped instruments, it is very important to use the right power-supply, they're all 12-volt but the mA (current) requirements vary from synth model to model, you've been warned.
The Smaller Sibling to the UB-Xa
As the compact counterpart to Behringer’s UB-Xa (a larger Oberheim OB-Xa clone), the 2-XM feels like a focused, no-frills take on the Oberheim legacy. Where the UB-Xa aims for grandeur, the 2-XM prioritizes hands-on adjustments and modular integration. Its price—significantly lower than boutique SEM clones or vintage units (understatement of the year)—makes it a compelling option for musicians who crave that vintage Oberheim sound without breaking the bank. At $400, it’s a steal for a killer duophonic analog synth with this much power.
Final Thoughts: A Budget Gem with Big Potential
The Behringer 2-XM is a triumph of accessibility and sound design. Its compact size and comprehensive patchbay make it a versatile tool for both modular enthusiasts and desktop producers. While it may not perfectly replicate the organic warmth of a vintage Oberheim SEM, it comes impressively close, delivering fat, creamy tones that shine - this synth's sound stands out boldly (in a good way) when compared to virtual-instrument software emulations. The stereo outputs and extensive CV/Gate options add modern flair and movement to the sound and expand your options dramatically.
For synth lovers seeking a budget-friendly entry into the Oberheim sound without the maintenance worries and hassles, the 2-XM is a no-brainer. It’s not without quirks—those tiny pots might raise eyebrows—but its sonic depth and modular potential make it a standout. Whether you’re building a Eurorack rig or crafting retro-inspired tracks, the 2-XM is poised to become a fan favorite, just like its bigger brother, the UB-Xa. Get ready to patch, tweak, and lose yourself in analog bliss.
I immediately noticed this pricey, later model (above), has the "Tuning" controls arranged like they are on the Behringer 2-XM instead of concentric controls as they were on the 70's versions of SEM.
Notice the concentric controls on the oscillators of the vintage module above.
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| OBERHEIM 8-VOICE SYNTH FROM THE 70'S |
While I think it probably sounded amazing, tuning and tweaking eight dual-oscillator voice modules seems like it would be a daunting task, even if the programmer gave you some assistance.
