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Behringer has a new synth
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amit
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PostPosted: Sat Jul 30, 2016 5:50 pm    Post subject: Reply with quote

Labor is cheap but not free, and the Labor factor affects both products,
Their ROI (return of investment) is quite good with v/a / digital as over all cost comes down quite a bit. The thing to note here is the "mass production volume" that drives the prices quite low. I know this seems absurd, that technically advanced electronics costs much less than the vintage counterparts.

With Chips, you can have millions of components inside for a very low cost, however in discrete you have to account for each component that builds the system,however cheap that might be.
This also brings many more points of failures etc, so they also account for those much more in the cost. But you can never discount the factor of profit margin, They seek real profit in the premium segment, they expect people to dish out that lot of cash for it as opposed to a digital which they sell in volume mainly to counter competition and market segment.

Same is true with valve/tube Guitar Amplifiers. Any decent tube amp will set you back at least $800-1000, however a digital emulation having 30 amps and good load could cost $100-$200).
There was a time when you would avoid products mad in china, but now days their overall quality has improved a lot, especially with big players.

Behringer is getting into a lot of things lately: Acquiring Bugera Amps, Tannoy , TC elec...
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spaceman3
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PostPosted: Sat Jul 30, 2016 8:02 pm    Post subject: Reply with quote

Analogue synths are also expensive cause they are old tech that is bieng manufactured less and less.
That stuff is getting harder to get.
Are analogue synths reliable?
No.
Years from now most digital synths will still be going strong, but most analogues will be broken down, unless you can aford the expensive upkeep.
Plus expense goes a little to hype.
There is no magic componet in analogue synths that makes them better
than digital synths.
I would bet dollars to doughnuts, if a poll were taken of every synth player in the world.
Not everyone would agree the moog has the best universaly excepted bass sound or whatever sound.
There would be different analogue,and digital preferences across the board. (pun intended). Laughing
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aron
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PostPosted: Sat Jul 30, 2016 11:24 pm    Post subject: Reply with quote

If you look at the failures of most analog synths, the sheer number of electrolytic and tantalum capacitors are the problem. That is why these keyboards are breaking down and having problems. Along with that.... trim pots.
Digital keyboards have electrolytic capacitors in the power supply and these go bad just like analog synths.
Some older analog synths have hard to find obsolete parts. Like my MicroMoog power supply voltage regulator.
If they can solve the electrolytic problem - use mostly film etc... that part is probably taken care of. Make the power supply easily changed or worked on, that's another.
People, plug your analogs in every so many months and leave them on for a while - do not put them in storage turned off for years.... that's how many of mine broke.
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Jan1
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PostPosted: Sun Jul 31, 2016 9:52 am    Post subject: Reply with quote

I have to say that I truly appreciate the way Behringer's CEO, Uli Behringer, interacts with everyone and requests feedback on what people would like to see.
Usually the product specialists and demonstrators are the ones hired for that job, but here the head of the company is involved and it shows his commitment to making this new synth division work.
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EXer
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PostPosted: Sun Jul 31, 2016 10:08 am    Post subject: Reply with quote

Kevin Nolan wrote:
it is far more difficult even today to design a stable analogue synth than a VA.

Nowadays analog VCOs are digitally controlled (even if they are not DCOs stricto sensu): they receive their control voltages from a microcontroller which checks and locks their frequency.

E.g.
- the oscillators of a Moog Phatty could not be accurately tuned to (editable) alternate scales without being digitally controlled
- DSI instruments have so stable (i.e. digitally controlled) VCOs that a 'slop' parameter is needed to emulate the typical old analog drift!
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Kevin Nolan
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PostPosted: Sun Jul 31, 2016 6:16 pm    Post subject: Reply with quote

EXer wrote:
Kevin Nolan wrote:
it is far more difficult even today to design a stable analogue synth than a VA.

Nowadays analog VCOs are digitally controlled (even if they are not DCOs stricto sensu): they receive their control voltages from a microcontroller which checks and locks their frequency.

E.g.
- the oscillators of a Moog Phatty could not be accurately tuned to (editable) alternate scales without being digitally controlled
- DSI instruments have so stable (i.e. digitally controlled) VCOs that a 'slop' parameter is needed to emulate the typical old analog drift!



Sure. That's my point. Analogue discrete components requiring supporting stabilising circuits.

Not trying to debate here - it is the case that analogue circuits need a significant amount of stability design.

In any case - back on subject - I find it quite extraordinary that a synth as small as the Phat12 or whatever it is called has 12 voices made of discrete components. It will be intriguing to learn its price.

Despite the 4-octave keyboard and the effects (unecessary in my opinion) I am very, very excited by this instrument because the original Juno and JP range, with their DCO / VCF combination was SO distinctive and strong and Behringer seem to be moving this along into the 21st century with no holes barred, but also because, if low cost, are setting a new price-performance bar and this will really put it up to the others.

If this had had a 5-octave keyboard I feel we would have been looking at the true successor to the Jupiter 8. I really mean that. This instrument is SO "Roland" - but with 12 voices, 2 DCO's per voice, 3 EGs - and - 12 x 2 LFOs from what I can determine. It really is a "true" polyphonic synthesizer. Just a damn pity it's only a 4 octave keyboard.

If this is successful, Brhringer will have essentially swept Roland aside with regard to true-blue synthesis, in my opinion. And as a company making this Roland-esque start in synthesis and their sheer size, it heralds an intriguing future, with Roland surely needing to look over their shoulders from here on in.

Roland have missed a big trick. The user base has been crying out for Juno and Jupiter successors and Roland just couldn't allow themselves to respond to that call because they saw such releases as a backward step, with Boutique about all they could muster; and all the while there WAS a forward looking future for Juno - and Behringer have just taken it from Roland and are delivering the equivalent to the the Sub37 for the polyphonic synth - a smart, capable, exciting and forward thinking 'take' on an established classic. I really hope this delivers and that Behringer are successful with it. For me it is everything that Korg and even DSI have been aspiring to, but smarter.
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SanderXpander
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PostPosted: Sun Jul 31, 2016 7:11 pm    Post subject: Reply with quote

I'll be interested to hear the DCOs. There's a definite difference between the DCOs in my JX10 and Alpha Juno 2 and the VCOs in my Voyager and Micro, all other obvious differences aside. I didn't really like the Prophet 08 either when it came out, it's DCO too I think? How about the newer Prophet 6? I like that one a lot.
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jimknopf
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PostPosted: Sun Jul 31, 2016 7:30 pm    Post subject: Reply with quote

I don't know enough about the technical details of DCOs vs VCOsm and everything in between (stabilising VCOs with digital tools).

But to me, like to Sander, from those synths I know, those with VCOs have been the definitely better sounding (to my ears) so far. They just tend to deliver a somewhat much more organic, less sterile sound in connection with filter settings.

Anyways, there's no reason why there shouldn't be an exception to that rule while everthing is developing. To me the technical aspects are of limited importance, as long as my ears say "Yes!".

We will be able to have a good listen to the new synth soon, and since there is enough analog stuff to deal with already, we won't feel bored even for a second in the meantime. Smile
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Broadwave
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PostPosted: Mon Aug 01, 2016 10:58 am    Post subject: Reply with quote

It looks like Behringer are also considering a desktop unit Smile


https://www.gearslutz.com/board/12048757-post2894.html


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Kevin Nolan
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PostPosted: Mon Aug 01, 2016 12:25 pm    Post subject: Reply with quote

jimknopf wrote:
I don't know enough about the technical details of DCOs vs VCOsm and everything in between (stabilising VCOs with digital tools).

But to me, like to Sander, from those synths I know, those with VCOs have been the definitely better sounding (to my ears) so far. They just tend to deliver a somewhat much more organic, less sterile sound in connection with filter settings.

Anyways, there's no reason why there shouldn't be an exception to that rule while everthing is developing. To me the technical aspects are of limited importance, as long as my ears say "Yes!".

We will be able to have a good listen to the new synth soon, and since there is enough analog stuff to deal with already, we won't feel bored even for a second in the meantime. Smile


Fully accept your point. But I'll add - the DCO / VCF combination has a separate character all of its own - because of the stability of the oscillators; then passing through excellent voltage controller filters. It's a quite similar "recipe" to both the Emulator 2 and the PPG 2.2 / 2.3 - digital oscillator sources passed through analogue filters - it's got its own character, separate to VCO/VCF or all digital systems.

the Juno106 was the first synthesizer I bought new, and, in trying to emulate the big sounds of the likes of Tomita and others, thoroughly explored every nook-and-cranny of the J106. What was revealed to me is what is so loved by so many others - a strong, warm sounds that's very flexible.

In particular, the Juno106, despite only having 1 oscillator per voice, offers some unique sound design possibilities not possible on a totally voltage controlled system - because the 106 uses DCO's. Those sounds are choral type sounds, and rich overtone fender-rhodes / bell / chime type sounds. How? By combining various DCO settings with the self resonance of the filter, and then carefully sculpting that sound by the vary stable possibilities of PW or PWM from the DCO, by introducing various subtle amounts of suboscillator, white noise, HPF, Filter keyboard tracking and positive or negative filter envelope amounts. All of those can affect the stability and richness of the over-tone relationship established between the DCO and the VCF Resonance - and it's extraordinary. You can produce Fender-Rhodes type sounds that have a mouth-watering gluttery-bell like attack, or gargantuan Tomita-esque choral type sounds when passed through the J106 chorus and through a good reverb.

The Juno 106 is capable of far greater sound design than it is given credit for or than appears seemingly the case from its innocent looking control panel - simply because of the ultra-stability relationship that can be established between the DCO and VCF Resonance, influenced by the myriad of other parameters I mention, when sculpted in a nuanced way.

I've tried to reproduce these types of sounds on dozens of other kinds of synthesizers from the Poly 6 and MonoPoly to Yamaha analogue synths, the NL2, the JD800 and various synth engines on the OASYS, as well as a host of others synths and plugins - and it's just not possible (for me). If you go to the download section of this forum and download my AL-1 programs you'll find a few programs in there titled "Origins" where I tried to emulate the choral type sounds that are so vast on the Juno106, but sound like nothing of the kind on AL-1 - the attempt was exasperating - I spent hour upon hour tweaking all manner of parameter son the AL-1 and simply could not achieve the results so possible with the DCO/VFC combination of the Juno106.

So the Juno106, when stretched, can very much enter "PPG" territory - and I'm convinced it's the DCO/VCF combination. It might not be as "old-school" as the likes of a Minimoog or Prophet 5 - but it has a unique character seemingly just not possible on pure analogue systems, nor on pure digital systems of VA's, and is why it's a combination so loved the world over by Juno-Alpha, JX8P, MKS70 owners.

So this synthesizer will appeal to a sizeable existing, legacy market; and I urge anyone interested in a good, solid, flexible polysynth to check this out.

I have always wanted a 2nd oscillator on a Juno106 - and the DeepMind12 offers that, and then some.
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SanderXpander
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PostPosted: Mon Aug 01, 2016 3:19 pm    Post subject: Reply with quote

Fair points, and I was definitely planning on checking out the Behringer!
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amit
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PostPosted: Tue Aug 02, 2016 1:37 pm    Post subject: Reply with quote

been considering a minilogue, hope this hits the market soon enough too , can only buy one ;(
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jeremykeys
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PostPosted: Wed Aug 03, 2016 12:01 am    Post subject: Reply with quote

I know straight out that this is just nit picking but I wish they had chosen rotary pots instead of sliders. That for me was one of the main reasons that I went with a Korg Polysix instead of a Juno 106 if I have my names right.

It's just a thing that I prefer. I know it's silly but it is what it is.

Still, the desk top might be ideal. It gets rid of the 4 octave keyboard that I'm not really into. I can use one of my other synths as a controller.

Jermykeys, picking nits again!
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Jan1
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PostPosted: Sun Aug 07, 2016 11:44 am    Post subject: Reply with quote

There's a new clip demonstrating the DCO's.

According to Uli Behringer,
- All sounds are from the DeepMind12, except drums
- Dry sound with no processing
- No effects

The clip focuses on the saw and pulse wave for DCO 1 and the square wave for DCO2, but don't forget to pay attention to the accompanying sounds which are quite good.

In a message on GS Uli mentioned that one large retailer already placed an order for 30,000 units, a staggering number, and that he is renegotiating component prices because of the overwhelming demand.
It makes me believe that the price of this synth may be under $1000 since I would never order anything in the order of 30,000 units if the synthesizer had a hefty pricetag.
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Sharp
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PostPosted: Sun Aug 07, 2016 5:19 pm    Post subject: Reply with quote

Jan1 wrote:

In a message on GS Uli mentioned that one large retailer already placed an order for 30,000 units, a staggering number, and that he is renegotiating component prices because of the overwhelming demand.
.


Wow. That's a pretty big order. Sounds like something only www.thomann.de would be able to afford.

Regards
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