BassTractor

🙂 We understood. 🙂 As to my Behringer Model D, there was a known issue with it, which was easily taken care of with a new wall wart and a firmware update. In case someone owns one or is on the fence: the weird declining click-like sounds in the Sustain phase, for nearly every second note, vanish with an update to v 1.1.2, so let that aspect not hinder you. Now I've heard the Model 15 and Model D together, I'm even more impressed with the Model 15 than I was a few weeks ago. Its tone is sooo sweet and luvverly that it brings me back to models like the Moog 35. The third oscillator, against my expectations, isn't missed at all on this one - given that the thing has so much to offer elsewhere on the panel. Also, from limited experience, it seems to me as if it's more stable than the Model D. I can't remember having had to retune at all, which is much needed on the D - - annoyingly so. This is in stable room temperature and both synths placed side-to-side on a table. I've always loved the Minimoog to bits, but am shaking my head in disbelief over the Model 15.

These things happen, and no apology needed. Yeah, the Behringer was mentioned earlier in this thread, when we compared a potentially £300 Lego to a £169 Behringer. I guess you thought that was a joke (or didn't see it), but it was the actual price at the time. I got mine for slightly less even, at 1/26th of the Norse price of a real Minimoog. I feel the Lego is cool as f, but for that money two Behringers give more sound. The Behringer hate must be strong in this one for me to opt for the Lego. BTW, there exists a synth manufacturer who uses lotsa construction set parts. Say a knob is actually a cog. Forgot the name and the details. Cool as the proverbial.

I guess Lego are fully aware of how these things work, BUT since they could be bothered to post it, maybe they are indeed willing to put it out - provided most parts are standard and don't require new molds to be made. Maybe every part must be standard; I don't know how expensive molds are these days. If they do, then I gather only massive sales will see another model later - - though I think the model pool is very tiny indeed. As to the "homage", I didn't understand your post. Did you mean the Behringer Model D or a possible future homage that is more its own thing?

Absurd, and smells not like Tesco's official let's-drive-our-customers-away policy, but more like youthful staff having a larf. Me, I'd be happy with a Barilla substitute for Garofalo, but would be willing to make lotsa noise when 3XL is changed into S. Is this system designed so you can deny taking the nonsense without making lotsa noise? In case: do they then fetch it, or do you need to go to a shop?

Not good enough. We wanna read everything about this Ergo guy. Seems like quite the character. 😁

Reportedly, and also from my own experience, Music Man are extremely particular about parts. I think you're probably best off contacting them directly. They'll likely ask you to send the part to them before they'll send out another. I hope I'm wrong, and that my case was the odd one out (took a year before I received a fitting pot for my NOS Bongo).

Compare that to the Behringer Model D at £169. 🙂 (Though admittedly the latter is only a scale model. 😀 )

Much saddened by this. Sam clearly was a very decent human. I believe her contribution to NHS as well as BC will be remembered. May she rest in peace. Thank you, Steve, for caring enough.

This thread brings back memories of the StingRay being introduced (how time flies) with lots of tech speak and calculations. This was supposed to show us exactly how and why the StingRay position made sense. Corporate mumbo jumbo? Dunno, but the sound was convincing enough.

No idea. I've never been knowledgeable in this, and also have forgotten more than I ever knew. I've tried to have thoughts about this, and thought that maybe Hz/V is more easy to get right in the upper octaves. However, I do not know this, and it might be bollocks. At any rate, it seems limiting if all you have got to work with are limited voltage ranges - e.g. that V/Oct might give a broader frequency range without the use of expensive circuitry. I do remember interconnecting my Kawai 100F with my MS-20, which gave that going down a half tone on one keyboard meant the other synth went up, but then with either a quarter tone or a whole tone - depending on which keyboard one played. Also, we had this interconnecting trick (do really not remember the specifics), whereby the MS-20 patch bay and the mod wheel together made interconnecting a "doddle" of sorts. You'd have to turn the mod wheel very carefully to a fixed position to get this right, and you lost normal use of the mod wheel. Ghastly, but still had a certain charm. I vaguely remember having seen your circuit-in-jack-plug solution somewhere, but haven't used it myself. Yeah, it seems a shame that standardisation hasn't occurred morely betterly.

Don't know yet (have not had the time), but have seen 1V/Oct, 5V triggers (the 2600 reportedly being the odd one out (10V IMS) even though it should normally work from 6V and up), and CV ranges from -2.5V to 2.5V (but I think I somewhere also saw -5V to 5V without me remembering the product that relates to). One day I hope to find everything out for the units I have (or might buy later). Right now stuff goes on in my life that keeps me from doing that. I don't know to what degree stuff has been standardised lately, but Eurorack is reported as being non-standardised. I know zilch about Eurorack.

Thanks, @pfretrock. Really helpful. Without knowing too much about this stuff, I think we may be seeing similar design quirks in the Behringer 2600 inputs. Half-related only, and I've yet to write down the factual details, an opamp might be in order also to send sequences to the 2600, as it reportedly demands high voltages - - though reportedly not as high ones as the ARP 2600.

Aye, and I can find them a bit more easily. Don't like rummaging.

Seems they might be going bankrupt in Holland now. Before, Bax in Holland had a good name, and all the criticism I saw was about their UK branch. Unknown to me how and why. Reportedly, also Bax Holland's name has gone down the drain recently. Today (Saturday) one or more of their Dutch shops were closed, and the firm filed for "postponement of payment" or something like that, which normally is a step towards bankruptcy. Dunno the finer details.

Yeah, many fair points, I think, and I agree about the MS-20 patch bay. As said in the 2600 thread, we tend to often want a module we don't have. With for example my poor-man's solution, one does have the extra VCAs and EGs, and gets those at a cost within reach, e.g. 1200 quid in total for the mentioned four synths. In Eurorack, I feel one hyperbolically needs a degree in modules to be able to find the cheap modules that do what one wants, and then still has to invest in the cabinets. But yeah, really attractive with separate modules these days. Back in the days when we could buy a 2600 or MS-20, the alternatives like Buchla, Moog and Synton cost a leg and a rib. Off the top of my head I can't remember much else. BTW, I worked with all three brands, and did find the patching quite tedious back then; things have certainly changed. Then there's the bread-and-butter sounds: quickly dialled in on a semi-modular, whereas on a modular, one needs to either patch or keep patches. Keith Emerson famously had parts of his Moog set up as separate synths - IMS one of those resembled a Minimoog.