the Innovation is the low price based on the bill of material and being transparent with the customer.
all other company’s do their pricing on maximum profit and market expectations, regardless of the inner circuits and that’s in my opinion a no no
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where?
Here it is 570 euro
agree. I hoped they would go on doing their own thing, cause the Neutron really sounds great, unique and has tons of patch points. Would have been much more exciting
I am pretty sure they will, but right now they are trying to deliver what the market wants.
Just look at the community response. Everyone and their grandmother is waiting in anticipation for the Behringer TR-909, the Jupiter-8 and the CS-80 clones.
And right now people are screaming for Behringer to launch those Eurorack modules and cases!
Bottomline is, that Behringer is just prioritizing what the market wants and capitalizing on it. Can’t blame them.
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Can I use octa midi LFOs to control midi cc on either the crave or neutron? One LFO per machine kind of irks me…
@GirTheRobot I am afraid someone else has to chime in and answer that, since I am still pretty new when it comes to Modular. I am still struggling myself to send the correct CV/Gate to my Crave from my new Analog Four Mk2. 
I am actually going to try myself via regular Midi and see what midi CC I can send from a track on Analog Four to the Crave.
Yea I wonder about the actual demand, I’m sure the Model D and 808 have done quite well for them and then the deepmind and the neutron have done well. But I feel more like behringer is playing the crowd to a degree and trying to make it seem like they are bringing everyone what they want (I personally think they at least used to do a bit of astroturfing but seems they might have a group of fans that basically do this for them also at this point). While a large quiet group look over and think why would I fill my studio with gear with no midi cc or patch saving. One or two pieces sure but who has time for a studio full of behringer stuff. That said there are plenty of pros who like the behringer stuff and plenty who dislike it.
I honestly I think if they were all just sound a likes and not trying to bite the looks of the synths they are copying we wouldn’t be having this conversation, infact if they didn’t make them look a likes they probably wouldn’t sell as well but behringer could bring them to market even cheaper.
As far as Roland dropping the ball, I wouldn’t say that there boutiques still sell really well have modern features one expects, sound great, priced mostly pretty ok. Roland investing in digital long term is pretty smart imo.
@bwo Are you serious? The Behringer RD-8 is on position 1 at Thomann’s best selling list, followed by the TD-3 on 2nd place.
Come on now. People have been begging Roland for years to release true “analog” re-releases of the TR-808, TR-909, TB-303, JUNO-106 and Jupiter 8.
It’s a constant discussion on forums and youtube video comment fields for years.
We can jump high and low. We can agree to disagree. The demand is there and always has been.
Why do you think a 2nd hand Jupiter 8 goes for 10.000+ dollars or TR-808/909 go for anywhere between 1500 and 3500 dollars on the 2nd hand market?
Even JUNO-106’s still go for over 2000 dollars and lets not begin about getting hold of a Yamaha CS-80.
And honestly, unless you have very deep pockets and don’t mind throwing money into an endless black hole, one should stay far away from this old analog stuff.
If Behringer manages to bring out a true recreation of a Jupiter-8, the internet will explode and we already know a CS-80 recreation is in the works, since they are currently working on a polyphonic aftertouch keyboard in their lab:
This is actually also really exciting, since other Synth makers might be able to source these future Polyphonic aftertouch keybeds from Behringer and incorporate them in exiting new synths.
Would be fantastic to see Polyphonic aftertouch becoming mainstream and appearing in more products.
I tried out the ASM Hydrasynth and the Polyphonic aftertouch is quite an experience on itself.
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I mean the biggest market by far is VSTs and DAW so yeah by any margin people begging for any hardware are a noisy minority.
Never said they didn’t sell, or it was a bad thing they are making this stuff but I have to imagine between pro one, wasp, sh101, model d, odyssey they are starting to have diminishing returns, same will happen when more classic drummachines are out. If the CS80 comes out and is 2,000 I wonder how the market will be, decent I suspect but it’s still a bit unknown, I suppose how well the PolyD does might be a hint at how big a more expensive synth from them might do.
I’m struggling with modular ideas myself haha.
I looked it up though and the neutron doesn’t accept midi cc other than pitch and stuff like that.
As for the comment from @bwo asking "who wants to fill up their studio with a bunch of synths without patch memory and midi cc " I think the sales speak for themselves…
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So a medium to small amount 
Or at least as indicated by reverbs yearly sales review https://reverb.com/news/best-selling-synths-and-drum-machines-of-2019
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If people think patch management and saving is difficult or at least bothersome on the Behringer devices, than I can’t even imagine what dealing with modular is like (at least for any moderate sized setup). With the Behringer boxes I just record/sample the sound and if I’m really enamored with it I’ll snap a photo of it with my phone. It’s really far less burdensome than I had thought and in some ways it’s kind of liberating not dealing with tons of presets. I’m forced to be in the moment creating something and not just scrolling through presets looking for a starting point.
But I totally get my amateur studio needs aren’t the same as everyone else’s and especially with things like touring or even just one off shows. That stuff presents a lot of challenges.
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@bwo You do know the RD-8 only really started shipping in 2020 right? Same for the TD-3. Only very few to no units were available in end 2019.
So no kidding it doesn’t show up high in the 2019 sales list. I am actually suprised it even made it on the 2019 list at all. Which means drum machine sales were at an all time low accross the board.
We have to wait till end this year to see how these truly perform in the sales over a whole year.
What is much more interesting in that 2019 reverb list, is how popular the JUNO-106 is in Vintage sales. It’s still number 1!
I dont get why the 60 is almost 1k more than the 106
Fewer available? Prices are fluctuating a lot with the JUNO-106.
Here in Europe you are hard pressed to find one in good condition under 2000 euros. There are a lot of issues with the JUNO-106. So if someone is selling one cheap, most likely it will need servicing.
not sure where you are but stateside new prices are 650 and 250. used M32’s are 4-450. I think the value drop is primarily because Moog sold a TON of them.
@chiasticon Northern Europe. Moog Mother 32 has always been 750-800 here. 
Just divide by ten to convert into Euro. So over here people are struggling selling it and loosing a lot of money on 2nd hand market.
And Moog releasing the Grandmother for 900 bucks didn’t help either. Much better synth and better bang for your buck if you want to get an affordable Moog. Two oscillators. Insane filter. Spring reverb! Semi Modular. Arp. Sequencer. Etc.
but the neutron and the crave can act as a midi to cv converter via the assign out + a direct midi gate out and the modulation possibility’s are quiet extended because you can midi clock sync nearly all mod sources and even offset the LFO to different values. it’s no design flaw that the LFO knob is a big one, if you realize how great you can modulate the mod source for instant chaos.
Behringer are making these things affordable for young Johnny and Susie. The teen crowd still getting gifts from Grandma, maybe cutting grass for a summer, working a part time job and such.
I applaud Behringer for listening to their customers. I’m convinced they will release in phases regarding electronic music instruments, this wave of clones being a precursor for their innovative releases to come.
Smart as heck. Grab the low hanging fruit first.
yeah. I saw this too. Stay classy, Behringer.
I don’t normally want to get dragged into this type of thing - but this, on top of the whole thing with Robin Whittle (Devilfish) leaves a very very bad taste in the mouth.
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