This 100%. Anybody that looks down on Behringer for ethics and lack of corporate responsibility, etc… at least know there is a positive reaction in that the competition will have to innovate to stay relevant.
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I have been in the Elektron era for 10 years now. Don’t see Behringer replacing those instruments any time soon, and I now own 3 Uli’s, though anything is possible. Just gotta keep an eye on which employees get poached from which companies to predict Behringer’s future directions.
Did someone leave elektron recently 
What do the kids think of Behringer these days, in this present moment? All these crazy imposter, gooey, juicy analog synthesizers they keep churning out like McDonald happy meals? The children are our future, no? I’m thinking Behringer is hot shit on the street.
Ok boomer
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Got him!
It would be an interesting job for psychologists to investigate, why there are Behringer haters at all.
IMO violating intellectual property rights would be an absolute no-go. But if it’s only a “copy” of or “inspired” by something, which is not protected by law, why even care?
How many years Roland didn’t care to make its old machines available for interested musicians? Machines, which had rediculous prices second hand. Decades? There was a lot of “clones” and “wannabe clones” in the market, which demonstrated that there was a business, until Roland decided to go in with their AIRA concept.
Roland deceided “never chasing ghosts”. Fine , but it reminds me of a similar attitude of the former CEO of Gibosn, Mr. Juszkiewicz. He ignored and even hated that the musicians wanted to buy those “old-school” and “legendary” instruments again and again and tried to press “new technology” in their hands. Just for the records, I personally don’t like this kind of paternalism 
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Perhaps it was all those cheap behringer mixers people bought… and we all know what happened to those mixers right? And the speakers, and the fx pedals…
I don’t hate behringer. I just think if you have the manufacturing capability to make synths, make something new and innovative, not copies of old gear. But then, I’m a musician, not a businessman.
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I agree with a lot of what you’re saying… I think most of that special or magical quality is something that humans bestow to something that they have a personal history with, be it as an owner or admirer.
I have a '65 Fender Jazzmaster that I’ve owned for 30 years. From my perspective no other guitar comes close to how it feels and sounds… but I know some of that is down to my own emotional investment in that instrument. However, there is something special about something that still works perfectly well beyond its imagined lifespan.
I had one of them it broke in just a couple weeks. Was really unhappy sent it back to get repaired lasted a couple more weeks completely died, I was young didn’t follow up on it again,
I Always felt ripped off from that experience, refused to buy anything from them again.
I imagine a lot of people had this experience with behringer also
I’ve got a slightly different take on Behringer’s older gear. I know I’m not the only person who cut their teeth on B stuff when starting out. Most of the guys and girls I’ve personally known over the years did the same. Maybe it’s a north western UK thing but years ago there just wasn’t a plethora of companies offering studio equipment at the bottom end of the price range. I sound a bit like a stuck record but the whole gear scene was very different before the advent of the net. If your local music shop/pawn shop/second hand shop didn’t have it you were pretty much relegated to classified ads. B changed that with affordable mixers, compressors, patchbays etc. That were affordable and more importantly readily available. Maybe other brands were doing the same thing but they weren’t available locally if at all.
I think most of us who drive can tell many tales about our first cars; we knew at the time they weren’t Porsche’s or BMWs but they were ours and they liberated us.
Of course even then you knew what you were getting, but the point was we could actually get our hands on this gear for not a lot of money. I’ve still got my old patchbays and my cousin still uses the second hand Eurorack mixer I picked up as my first ‘proper’ mixer over 20 years ago. Their old stuff, copied from others or not, was democratising and opened up a whole side of music that up to that point was limited to Tascam/Fostex portastudios etc.
More power to their elbow I say. There is a market for these synths and I think one or two will go on to be cherished by the next generation for all the reasons I’ve given above. They’ll get the chance to explore synthesis in a more traditional, pared back way which I think is a good thing. I can see the Crave and Neutron falling into that category, the crave if only for its sound quality and price point.
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I agree that we should see more “new” synths, because IMO there seems little progress or motivation to invent new electronic sound creation tools.
Even “new” developments of recent years, like the Waldorf Quantum or the UDO Super 6 are not a quantum leap in synth-technology, if we only consider the sound generation processes.
But why should we have no copies of old gear as well. Just consider “the flute” is supposed to be invented 30.000 years ago and up to now, many musicians and the audience love the sound of a well played flute
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I’m with you … however … had this experience with other brands.
But times change. Many decades in the past Japanese companies only copied electronics, later they became better, and then became leading developers and manufacturers of many electronic products. Nowadays we observe a similar development happing in China
But if a company delivers poor quality and provides bad customer service they should not be surprised, if customers stay away from their products …
Agreed… look at those late 70 Japanese guitars and basses and how well made they were in comparison to some of the Fender and Gibson instruments of the period. Aria Pro II, Tokai, Etc. Not to mention the now highly prized Yamaha models.
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So true … if I for an example compare my 80ies Ibanez Musician guitar with my Fender Signature Strat, the Musician is way ahead at overall built quality.
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Years ago I managed to get hold of a few basses before the prices started to sky rocket. Aria Pro II SB1000, SB900, Westone Thunder 1a and on the guitar front I’ve got a proper Lawsuit era Antoria ES copy. In fairness that’s not the best built of the bunch (super skinny neck and very average pups) but it’s still a nice guitar all the same. I picked up a Yamaha BB1000 last year. Used and abused but it plays and sounds soooo good. It’s often said the original BB is the best P Bass about.
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Just came home from a birthday party thinking about how cool it would be for behringer to clone the Dave Smith evolver. Maybe with more dedicated knobs and even polyphonic.
I have always wanted one cause it has a distinct character.
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I think Behringer needs to start making some clones of Polyphonic synths. If I see another mono synth I’m gonna gag.
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I know mate! I’ve got 5 monosynths, certainly don’t need another one.
I think the analogue monosynth renaissance of a few years ago (Arturia minibrute, novation bass station 2, Moog subphatty, etc) was brilliant. If you own any of those, you really dont need anything else mono-wise.
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