Oberheim Polyphonic systems, with their distinctive signature cream-colored control panels, were used by such notable artists as Stevie Wonder, Lyle Mays of Pat Metheny Group, Herbie Hancock, Joe Zawinul of Weather Report, Jan Hammer, Geddy Lee of Rush.

[8][9] Following the introduction of the Sequential Circuits Prophet-5 in 1978, Oberheim developed OB-series models, which replaced bulky independent SEMs with internal voice expansion cards which supported digital control of synthesis parameters, and also utilized common cabinetry and power supplies.

The first Oberheim product adorned with the blue horizontal pinstripes on black background color scheme that would become the company's signature look, the OB-Xa streamlined manufacturing and troubleshooting by utilizing Curtis integrated circuits.

[11] OB-series synthesizers and the DMX drum machine became a staple of 1980s new wave, synth-pop and hip hop music, heard on tracks such as Van Halen's "Jump",[12] New Order's Blue Monday, Herbie Hancock's "Rockit", Madonna's "Into the Groove", Prince's "Let's Go Crazy", Phil Collins' "Sussudio", and Stevie Nicks' "Stand Back".

Following the acquisition, Tom Oberheim was creatively still at the helm of the company for a couple of years, before leaving to found Marion Systems.

Viscount developed the Oberheim OB*12 analog modeling synthesizer,[17] the GM-1000 guitar multi-effects unit,[18] the MC series of master keyboards,[19] and the OB32, a virtual tonewheel organ.

As with the OB-6, the OB-X8, which offers features from all of Oberheim Electronics' classic OB-series polysynths-the OB-X, OB-Xa, OB-SX, and OB-8-in a single unit, was designed and built in collaboration with Sequential.

[28] Marcus Ryle and Michel Doidic both worked for Oberheim as instrument designers, and went on to develop several notable products for Alesis, including the ADAT multitrack digital tape recorder, before founding Line 6 together.