Poll: If Behringer Makes A Synth, What Should They Make?

behringer-ub-1-synthesizer

Many people think of Behringer primarily as a maker of ‘clones’ of popular music gear, or more recently, for creating some innovative mixer and monitor lines.

But, before Behringer was even a company, founder Uli Behringer got his start by building his own keyboard, the UB-1 synthesizer (above), when he was 16.

Now, it looks like Behringer could soon be making synthesizers again. 

Earlier today, the company posed this question on their Facebook page:

“Question. If you would want us to make a synthesizer, how should it look like? Hard or software? Analog or digital? 49 or 61 keys? Shoot…”

What do you think? Weigh in, with the polls below – and then leave a comment and tell Behringer what they need to do if they want to get your synth business!

 

 

 

 

 

Note: Behringer’s considering becoming a new option for synth buyers, so consider this an opportunity to tell them what they need to do to win your business. Keep your comments constructive – off topic comments will be deleted.

178 thoughts on “Poll: If Behringer Makes A Synth, What Should They Make?

  1. lots of knobs and sliders. with the fondness for hands-on these days, its incredible companies put out keyboards with like 8 knobs and sliders. hell, if they’re gonna clone something, how about cloning the interface of an JD-800 and mix it with the sound engine of say, an access virus?

    who wouldnt want that?

  2. How about a nice hands-on fm synth?

    There’s a gap in the market for an fm synth with plenty of hands on control/editable parameters without menu diving or software. There are already loads of subtractive analog and analog modeled synths being made.

    1. Yeah it’s all about knob per function and good sound design, whether it’s analog or digital is less important, a combination would allow for the broadest audience.

      And don’t give me faders that will fir in 5 years time. I buy synths for life.

  3. Admin: Comment deleted per note in article: “Tell them what they need to do to win your business. Keep your comments constructive – off topic comments will be deleted.”

    Let them know what you’re looking for in the way of build quality (ie., make the body of steel, use Neutrik jacks, etc!)

  4. * really nice feeling semi-weighted 61-key keyboard with great velocity response
    * acoustic & physical modeling
    * analog modeling
    * FM synthesis (stole from above, but it’s a good idea)
    * flash storage/ROM for samples, with ample factory samples & ample user sample space
    * polyphonic aftertouch
    * yes, include some kind of X-touch programmable control surface
    * 4 CC pedal inputs, 4 pedal switch inputs
    * fully flexible mod matrix to assign anything to anything

  5. Definitelly a hardware synth module (maybe with some lite keyboard with 25 mini keys, but thats not nesessary) and with software vst plugin to control parameters (but not a counterpart: just something to easy automate all stuffs and manage plugin library and utility stuffs)

  6. 3 VCO’s per voice + 2 digital waveforms (wavetable, VA etc)
    8+ voice polyphony
    Knob/Slider/Button per function with patch memory
    intuitive mod matrix with plenty of routings
    LP/HP/BP analog filters
    Good quality potentiometers and/or encoders, don’t make the mistake of installing faulty encoders. ><
    Add wood = respect
    Think Alesis andromeda with added digital oscillator section

  7. May as well be that guy who leaves a comment dissing Behringher, even though I love my Bugera V22 amp and most of the Behringer stuff I ever bought. Boo Behringer! Etc

  8. Listen. No one is going to spend money, or at least not much money, on a Behringer synth. UNLESS they do it right. All analog is absolutely necessary. If Behringer just creates a new digital or even virtual analog synth it will not sell. The market is full of them and they are good and affordable. Entering that market is no different than entering any other market. The place where price innovation is needed is in the analog market, and that is the market that is growing rapidly right now. Introducing a digital synth means nothing. The market is demanding more analog equipment, with midi capability. There is tons of room for growth there. Even I have personally considered getting into manufacturing.

    On another note: MAKE A STEP SEQUENCER. everyone wants one and no one is making them. Those idiots at KORG with their volca series, I’d pay twice at much just for a step sequencer with memory, you don’t even need to include the synth part!

    1. I like the sequencer idea. Something with maybe 8 tracks, pattern memory, cv and midi outs. And much more affordable than say the Cirklon or Europa.

  9. No one has ever heard the UB-1 Synthesizer.
    There has only ever been one or two low-res photos distributed of it.

    I’d love to hear it, see real photos.

  10. They should make a range of eurorack modules that are affordable and mass marketable, like they have done with their midi controller line. Hybrid Analogue/Digital, with their own range of racks that can be controlled via DAW easily and cheaply, rather than having to use Expert Sleeper overpriced stuff. The reason everyone doesn’t have a modular is because for some peculiar reason the other big players haven’t done their own lines of modules in euro-rack format, which is stupid – it keeps the price high. I’m sure if they released a solid line of euro-rack modules and good cases, they would be onto a winner. And yes, I will accept any position of employment in such a department that they are offering 😉

  11. I would love to see them working on a synth like the andromeda a6… Analog, tons of modulation-possibilities, polyphonic, and a very, very good keyboard… Less menus, more pots….!!! And please: Significant materials… If they make a real analog-monster, i will buy it for sure….

    1. “Call up Aphex Twin and have him design it, I will buy one”
      BEHRINGER IF YOU ARE READING THIS DO WHAT THIS PERSON JUST SAID!

      it would be the most credible and surreal thing you could possibly do.

  12. I’d like to see something in the style of a ‘korg electribe sampler’ with a 37 X-key style keybed bolted on in front of those pads but with real pitch and mod wheels added. And multi-outputs for routing out drums, sampling and synth into their own channel (min 8 mono outputs). And maybe make the synth engine a wavetable/sample synth loaded from SD memory, in the style of Serum. That would make a small, light and affordable poly-after touch thing that would be a workhorse for most needs, lifting a huge load from much routine ITB work.

  13. i will buy the shit out of a behringer analog, and then proceed to beat the shit out of it as well

    win win

    behringer analog 2015

  14. An affordable version of the Modulus.002. Aliasing free digital Oscillators cable of dynamic synthesis of waveforms with waveshaping and PWM, FM, PD and how about some wavetables. Ran through analog filters and VCAs. Make it polyphonic and it will sell like synth hotcakes.

  15. doesn’t behringer have ties to creative and thus emu and ensoniq? i’d love to see stuff like emu modular updated with ensoniq sampler and effects and emu sampler and effects. 🙂 regardless it’d earn them major points if behringer used some of their clout to release this tech from limbo.

    i’d also like to see clones of korg sq-10 and yamaha’s cs line to maybe light a fire under them. 😉

  16. This one’s a bit out there but what the heck.

    How about a cross between a K5000 and a Prophet VS with a fully modular routing matrix?
    – “Sampling Additive” tone generators that can analyze an incoming stereo audio signal (or wav file) for a certain amount of time and re-synthesize it with maybe as many as 64-128 harmonics plus band limited noise each with their own envelope.
    – The ability to use 4 (or more?) of these analyzed wavetables in a vector synthesis environment where the individual sources are not simply being faded between but having their core parameters morphed between. Perhaps with the ability to set up groups to define which harmonics morph and what sort of curve they morph over.
    – The end result going through a standard analog subtractive structure with two stereo multimode filters that can be run in series or parallel (in either order!).
    – Wrap it all up in a big (audio rate) routing matrix as few limitations as possible:
    — Each wavetable output or maybe even harmonic groups as sources AND destinations
    — Filter inputs and outpus
    — “CV” processors (please) like slew, quantize/map, sample and hold, math/logic functions
    — Each mod routing depth modulatable by 2 sources
    — Effects i/o and parameters

    Oh… and since I’ve clearly got a winner on my hands here (in some parallel universe) why not add 4-8 DC coupled ins and outs that operate at proper +/- 5v and scale at 1v/octave.

    What’s that? You say they’ll never do it?

    Well a guy can dream.

    1. resynthesis on a hardware synth with analog filters would be off the chains.

      how about full access to a Bandlimited waveforms for the OSCs (ala U-HE Bazille) for barebones “analog” and FM. plus the option to have WAVETABLE, RESYNTHESIS with USER WAVES. into a multimode VCF. maybe OTA cascade for the largest sweet spot.

      j

      0=0

  17. The technological sweet spot was ’83 – ’86. Thats when DCO/VCF 6 voice with midi synths were made which today are the undisputed jewels of electronic music production.

  18. I commented on the Behringer Facebook. My suggestion would be something that takes the design philosophy of Aira System-1, or VariOS, and opens it up to allow for community development of synth engines. That would, even it it wasn’t a VST host as such, make for a potentially greater user engagement than the more closed systems already available. There would have to be trade-offs, as there always are, but a platform approach that couples a hands-on performance-capable synth with assignable controllers with extensible software for deep sound design could have its place both on stage and in studios….

    1. I find this true, just enough for a lead or chord prog, but compact enough to travel with – just stay away from those minikeys.

  19. my dream hardware synth would be a system that is “virtually” modular.
    – The signal paths could be whatever you want like a physical modular would have but done virtually, the purpose would be to be able to store and recal patches and allow for polyphony.
    – Six or more oscillators with multiple oscillator types to choose from.
    – Four or more filter slots with multiple filter types
    – Multiple LFOs, EGs
    – A variety of signal processors such as ring modulators, inverters, phase shifters, and other types of “modules” often found on modulars.
    – A great arp and sequencer, possibly more than one of each.
    – Complete “knob per fiction” for all of it. Yes, this would probably make it look a lot like the Schmidt but, that is what I would want!
    – A software plugin to control it from a DAW
    – Digital audio out over USB and Thunderbolt.
    – Support for an HD monitor and/or a tablet for the patching.

    In short, a monster modular but with polyphony and patch storage and recall with full integration with a DAW.

  20. It should be CopperLan compatible to benefit from networking, high-resolution messages and user-friendly connectivity that’s in tune with 21st century technology.

  21. No keys. What would be amazing, and really unique in the market would be a modern take on 4 operator FM with lots of knobs and with a great sounding filter built in (analog or digital just good sounding). That would really stand out in the market.

  22. if berhinger could clone the korg dss1 (larger screen with more knobs and same spec hard syncro dco+vcf/vcf , huge unison mode , great double delay , in 25/46/61 kb ) …

  23. I’ see on the future Behringer many knobs and sliders (for VCA and VCF), without hidden menus. Patch saving possibility. May be at least 2 slots (one for lead/pads and one for sequences)
    3 VCO-s + 1 SubOSC, + noise, 2 multimode filters with the possibility to route them in serial or parallel mode, 3 LFO-s, Ring mod,
    Arpeggiator and step sequencer. steel or aluminium body and a must have – wooden cheeks for elegancy

    And a thing that lacks most of the synths … I’d like to have at least 2 little LEDs that illuminates the front panel so that you can see the buttons on a dark stage too.

  24. If they can produce a reliable product with knob per function, a clear interface which is easy to understand and a chassis that’s solid. Then all they need is some decent sound designers to make something that sounds good – I suggest nord or moog as some great examples of great sound design.

  25. Oh no! Do you really all want a 5.000 Euro synthesizer???

    I’d like one for less than 1.500 Euros. 6 or more VCOs with several mono/poly modes like 1×6,2×3,3×2 and 6×1. Add a nice LP Filter and a resonator! Plus 3 EGs and 3 LFOs. No memory! maybe some analog effects, such as chorus, delay and/or spring reverb. Plus, we’ll need an upfront panel design, not the typical flat desgn! And then you’re in 70’s synth heaven! This could even be less that 1000 Euros…

    1. I’d suggest that behringer couldn’t be trusted to use quality components in euro rack modules, which would be an utter nightmare for trying to identify where a problem is in a signal chain.

  26. I’d suggest 6 DCOs with some fancy tricks – wavetables plus maybe some way to easily transfer short wavs from a computer – into analog filters and envelopes, with as many knobs as is practically possible. I’d make each individual osc/filter/amp output pannable to a stereo output bus and include a stereo version of the Vintage Time Machine for sweetening. And if Behringer wanted a related product I’d love a sturdily built hardware stereo analog filter box with LFO and audio triggered envelope for live mashing the whole mix output of my rig.

  27. Wow – yeah some the spec lists here would push the cost of this thing waaaaaaaay out of my range!

    Only one thing I can think of that hasn’t been mentioned; please make a rack/tabletop version as well as the keyed version – I don’t do keys – no sale there if it’s keys only.

  28. Please make a remake of Yamaha CS80.
    It must have polyphonic keyboard.
    It was the keyboard that made that instrument special.
    I’m using an Ensoniq SQ80 with poly after touch and Aturia cs80i software after selling Yamaha cs years in 80s.come on Yamaha are not doing it.

  29. OK, I want to see a wave table/additive/phase distortion hybrid synth with real analogue filters and a huge modulation matrix (could be touch screen). If they don’t make it, I bloody well will!

    1. A 16 years old boy makes a synth, then later, over a 25 year span, he sets up a music company growing it into the 14th largest music product firm in the world – so in what way, in this small deluded world, does that make him and his company unqualified to perform such a simple task of making a synth – their biggest problems are over-qualification and being over-resources to have a clear vision.

  30. ~ I don’t think they should be going down the clone route but maybe dare to be a bit different ~ Hybrid Analogue/Digital is probably the way forward ~ , I would like to see sum small groov boxes to add to my setup like the volca series ~ but obviously different ~ with different concepts but with affordable pricing ~

  31. Behringer , you need to make a cheap and easy synthesizer , which will in visual appearance to resemble the old analog keyboards . You do not need to put on it too much control cliders or pots . Something like Arturija Player , but twice cheaper version.

  32. Something battery operated. A monotribe done properly with no noise floor, two parts though, with analog drums that ate tweakable that don’t sound like a cr78. 400 dollars SOLD!

  33. Waldorf Wave copy or Alesis Andromeda copy … no need to reinvent anything 😉 just make it for reasonable/affordable price

    1. to make a mini-Andromeda, a tip for Behringer: the Akai vx90 or ax60 is good simple poly VCO with auto-tune button. Ax60 is also good example of using inexpensive sliders to minimize cost of knob-per-function (like volcas’ smaller knobs)

  34. What I would wish for is:

    Polysynth no doubt.

    Fm or Analog, either suits me as long as it’ll have character, and sound fat n’ warm.
    (if analog cv’s is a must)

    One knob per funktion -or as close to this as possible.

    Patch memory with visual feedback on knobs (and sliders), along the lines of Korg R3.

    Controllable via plugin.

    Priced below 1k euro.

    Now…Get to work;-)

    Imho Behringer’s mic preamps leave a lot to be desired, but in regards to stuff like headphone amps, patchbays, linemixers, midicontrollers, monitorcontrollers etc. this company (again imo) makes value for money unlike any other.

  35. Whatever they do, I think it should have a character of its own, that’s what makes a great synth. Analog signal path is the way to go, and IMO the world is lacking of 6 voices poly analog synths… But, really, the most important thing to me is character. Good VCO or DCO and a great filter with character, not another ladder or TB filter clone. 🙂

  36. A 4 or 6 voice analogue poly for under £300. Something similar to the Volca series would be preferable i.e. small and compact but with more voices.

    1. agreed, a big VCO poly is one of the only things NOT currently on the market, and is also most closely associated with classic unattainable sounds e.g. Jupiter 8, Prophet 5.

      2 VCOs per voice, with at least 5 voices! or 1 per voice and make it cheap enough to buy two units and run them double.

      The volca and Bass Station (tho BS2 is dco) both showed huge market potential upon release for both their appeal to ‘vintage’ sounds and most importantly AFFORDABILITY.

  37. IMHO. I think Behringer should take on board that the most interesting recent synth products have a modular emphasis and also allowed DIY interfaces of a hybrid nature. Eg arduino euro rack modules, moog werstat. So a modular product frame work might be a good entry and allow buyers to build up but initially provide a basic synth plus dig effects and mixer.behringer have a good product manufacture capability

  38. Behringer has the money to make lots of products. Because lots of people are using their products although lots of people seem to deny that in public.

    If Behringer wants to come with a analogue synth, they have my blessing. And I’m sure I will not be the only one.

  39. A knob per function FM synth would be totally unique in todays market. I’d buy one and I think a lot of other people would as well.

  40. Modular/Analog synths are getting almost too common and there are already so many companies building these types of synths and doing it well at a very large range of price points.

  41. another idea.

    Call fellow Berlin synth enthusiasts U-he and put DIVA + Bazille’s FM options in a piece of hardware.
    37 keys
    full controls.
    patch compatible.

    j

    0=0

    1. Wouldn’t it be more productive, and more cost effective, to give give xfer a call for this – I’d seriously consider losing a limp for Serum in a hardware box.

  42. They should make a 6 voice analog/digital hybrid. Call it the Hera 601 and make its color scheme look like a photo negative of a Roland Jupiter.

  43. whatever it is, give it lots of patch memory.
    memory is so cheap now.

    make sure parameter quantization is very smooth

    peace

  44. Behringer produces a line of products they call “Eurorack”, which currently has nothing to do with the modular synthesizer format of the same name.

    If Behringer produced a line of inexpensive Eurorack-format powered-cases, they would instantly be the top brand in synthesizers (before even producing one oscillator).

    1. I was going to say the same, I’d rather see behringer making inexpensive cases for such gear than making a modular synth where so many elements could go wrong.

      That said, if behringer makes a decent synth which turns out to be reliable, I think this will boost their sales all round and improve their reputation for reliable hardware.

  45. If Uli built a synth at the age of 16, then he clearly had/has a passion for synthesizers. So my advice is follow or rekindle that dream and show us what you’ve got. Don’t remake a design from 20 or 30 years ago, blow us away with the best elements from the legendary poly synths and the latest technology.
    6 voices should be fine, but with the option of using each voice as a mono synth with separate outs for at least two of them. Full automation on all knob movement is a must. Patch storage buttons that are to the right and just above the keyboard so they can be played like keys. When patch button is pressed, the envelopes don’t reset, like on my OBXa and DW8000. Include wave tables in the osc section. Variable state filter, band pass is more usefull than hi pass. Obviously full integration with DAW and/or iPad apps, and make it easy to upgrade via USB or tape in like the monotribe does. Phase distortion (cz101) synthesis would be a real treat too if it were easier to program than the original. A CZ esque synth would be easy to make and would require fewer expensive parts so it would keep costs down. Just don’t settle for a clone but make something worthy of applause.

    What about making an app that lets you draw your own waveforms for the oscillator section of the hardware synth for iOS devices and android? Or a 3d motion detector that did the same? Not a D beam but a wave shaping circuit/ program.

    1. Amen, dream the dream, don’t design by council. I think the survey clearly shows the best selling preference, but I’d rather see some great sound engineers supported in making their dreams come true. Obviously in the end it has to meet a budget, but any good company should encourage r&d creativity if they want to make a successful creative tool for others.

      Dream the dream!

  46. I know mr Behringer sometimes reads peoples opinions and I really hope he also comes to see our posts here too.
    Besides the functionality I also wish it didn’t look cheap or weird or ugly. When I make music I get inspiration based on where I am and with what I work with and what I see.

    1. Yeah, the look is important. Less is more. That Beat Thang for instance is way over the top, it might please one line of customers but put off another. So something subtle sleek an doesn’t feel like a plastic toy will appeal to a broader base than super neon dj, or faux vintage (actually I’d love faux vintage but I imagine I’m in the minority).

  47. As someone who doesn’t own a hardware synth, I’d like something that gave me a wide variety of tones and sounds good for a decent price. I am a fan of Behringer and I really like how functional and feature-rich they make their products, and it would be awesome to see that same philosophy brought into a hardware synth. I don’t care how the sound is generated (analog v digital v hybrid) as long as it sounds good on stage.

  48. Behringer produces good, affordable kit. Synthesisers are, in general, pretty expensive. People can be pretty snobby about behringer, so they’d probably have a bit of a hard task targetting the high end of the market. Therefore, I reckon that going for the low budget market’s the key. something cheap and versitile. I’d go with digital, or hybrid at most; Analog’s cool, but probably isn’t best if you want to pack a lot into a cheap package. likewise having one knob per function, and other such stuff. I’d prefer scrolling through a few decently thought out menus on a synth that’s cost me £500.
    I’ve been hoping behringer would make the move into synthesisers for a while. I’ve used a fair bit of their kit, and it always seems good value for what you get. If they can do the same with synths, that’d be brilliant.

  49. digital technology is cheap and plentiful. Very few people can afford an analogue poly synth. If Korg can make an MS20 for five hundred quid, surely a poysynth can be made for a similar cost or not much more?

  50. I would like to see a groovebox style analog that can be used as a module (maybe allow patching like the microbrute) – doesn’t need to be full poly – but more than one voice – 2 or 3 note poly –

  51. Like several other companies, Behringer’s manufacturing has gone offshore and the build quality went downhill. Considering the history of synths in general, its not THAT hard to come up with a clever design that offers several high points, but if the knobs are shoddy, F it. I’ve turned away from far more gear than I might have bought because when I laid hands to it, it went CLACKITY-CLACK. A shoddy build craters even the finest technical design. If they want to have a successful run, they need to build the damned thing from the keyboard and UI *inwards*, not tack the controls on as an afterthought. The majority of the desired features people name are good ones. Just put a higher-end Fatar action in it if you want it to FEEL like an instrument.Don’t screw up the pivot of the keys where you can’t grab more complex chords at the BASE, a very common playing gesture. Roland seems to have booted it there recently and the $#@! King Korg likewise.

  52. I understand Behringer aim at the more entry-level end of the market, but don’t price it too cheap. Use slightly higher grade components to ensure good sound quality and reliability. People won’t mind paying a little extra if they are confident the product will still work 5-10 years down the line.

    Furthermore, in order to entice people to a whole new mid-priced synth, aim to incorporate something other synths in the price-range don’t. Not by trying to do too much, but rather by being innovative and different from what’s on the market. Sometimes less in more. Don’t get bogged down in too many features. Make something fairly simple, but to a high standard.

  53. Contact Sonic|Core, make a joint venture with them and/or buy the company to take it at big multinational level, as they products/technology deserves.
    They are German too! A lot better than Universal Audio UAD plugins.

  54. I would love an FM synth with knobs on and an analog signal path. FM, analog filters, compression and saturation…. The Rozzbox gave it a go but it just wasn’t a commercial product but something like that…

  55. FM would be my first choice or poly analog for mono pricing as that would be difficult to turn down, built in looper and an all metal case, plenty of faders and no wobbly knobs would be great too. Just no more £100 groove boxes or mid priced mono synths please. Oh and don’t forget audio inputs and graphic representation of envelopes (I’ve no idea why I like that so much). If you’re going to clone anything make it something rare from a company that has disappeared. I started this post thinking of Behringer but I’m ending it thinking of Santa.

  56. An analogue mono would be fine. Look at the features a MiniBrute has then double up would be a good starting point. Or an updated OSCar. Don’t worry about memories or interfaces with DAWs, a simple output jack is all you need. How about an optional analogue sequencer with a few rows of controls for VCO and VCF and other modulation.

    Obviously interesting filter and modulation, looping ADSRs, wave folding, proper sync, through zero oscillators for FM, ring mod. 3 or 4 octave, wheels and a ribbon controller.

    A modern design please.

    Thanks!!

    1. mono-synths are already a very competetive repetitive market, e.g. a saturated market. Analog Polys are the ‘blue ocean’ to be explored right now in synth if you asked me.

  57. Sorry, I meant to add that an analogue poly will cost quite a bit and I want all the money spend on knobs. PD is OK (I have a CZ5000 and Bazile) but not really worth losing a extra VCO or something for.

  58. I would like to see someone make a synth that is meant to make samples and export them via usb. The synth should be analog in approach with digital control for mapping midi to knobs and buttons. The synth should be capable of making drum sounds for sampling. A good idea would be to make a modular synth series. The main product in that line being a synth keyboard with a built in sequencer and sampler that comes with an empty “modular rack” that can be filled with accessory modules that one can buy separate. If magnetic circuitry were used to connect the modules to the main keyboard, a hot-swap like approach could be used similar to korg bits. The modules could be made for years for a platform that would be quite useful in stage or studio. Again the main keyboard should have a built in sequencer and sampler and an empty modular rack ready for Oscillators, LFOs, Filters, and Envelopes. Other purpose built modules could be used like an arpeggiator module, an expansion rack, a PCM card slot for loading digital waveforms. Of course a mixer will have to be implemented. As a bear keyboard this thing would have a built in sequencer with drum/ loop sampler so a multichannel audio mixer is needed. A single audio channel could be assigned to the synth voice and a 4 to 16 channel mixer could be assigned to the drum/sampler.
    A 32 key keyboard with a row of 16 knobs above a row of 16 pads should be all that is needed for the main synth control. A slanted back design with an empty modular rack/cavity would sit nicely behind and above the main keyboard and sampler/mixer knobs and pads. Some small modular patch points could be included with keyboard that can handle the keyboard cv output and sequencer cv output separately. Other than that a dedicated synth output and dedicated sampler output/s, midi in/out/thru, and USB are all needed to make this a truly useful synth.

  59. I have trouble finding something good for performing on stage. The NEXT patch and PREVIOUS patch buttons should be well lit, along with the master volume, easily available to the left hand, NOT (or as well as) in the middle of the panel somewhere near the display. I would also LOVE to see an ability to string patches together in series in order to make a “song” and be able to move through songs with Up/Down buttons or similar. Basically, a performance tool. Another REALLY wanted item is a dedicated UP/DOWN pedal with 3 or 4 chunky foot buttons for moving through the patch series for a song (and on to the next/previous song) without having to fiddle with buttons. The FCB1010 is just too much for this simple function. Thanks for the opportunity to comment 🙂

  60. Try to borrow ideas rather than products, i.e, Korg’s clever design department, or at least, Arturia’s use of an established synth designer, YuSynth, to make new and cool analogues.
    I’d like to see a 6-8 voice analogue poly, an FM groovebox, and a hybrid FM/PD polysynth with an analogue filter while you’re asking.

  61. It would be the most cost-effective for Behringer to expand on the Juno 106 clone they had partially developed a few years ago, the “Phat 108”. But instead of releasing it as a straight-forward Juno 106 clone, expand on the design a little with a second (or even third) oscillator for each voice, dedicated envelopes for the filter and VCA, modifications to the filter design to allow greater versatility (such as pole selection), and either a wavefolding circuit or amplitude/ring modulation circuit to be separately mixed in to the audio path. I think people would LOVE that.

  62. oh, nooo, pleeease! there are more than enough synths out there! behringer should copy my favourite tool of all times — the sequencer of the fantom g INCLUDING THE PHRASE LIST!!! — and put it in a hardware box. i would purchase that thing in minute. btw: sequencer of fa06/08 is rubbish imho.

  63. clone one of the Korg ps3100/3200/3300 line! They had a unique idea, sounded great, and made economical use of components by being a large-scale paraphonic (divide down) synth instead of having discrete components for every voice.

    FULL polyphony offered by divide down synthesis is something no other company comes close to at all on the market today, and with an auto-tune function on the VCOs, would really give a huge possibility for analog lushness in composition and just pure fun, without being quite as circuit-heavy as an Andromeda/Jupiter/Prophet reinvention.

    1. If somebody is ever going to make a replica of the Korg ps3100/ps3200/ps3300, please update the damn adsr section!! Really, why did they use a tri-state switch instead of a knob for the decay? And also please make it possible to disable the adsr modulation of the filter.
      The ps3100 is a great synth and it also sounds really good (like the ps3200 and the ps3300 I suppose), but for me that adsr really kills everything.

      1. a little button to choose whether or not re-trigger the envelope when hitting an already-sounding note would also help the problems divide-down had.

        – – – aside from the ‘synth’ side of it, how about nice wiggly keys and knobs like the qunexus / quneo? everyone was excited about the quns but KMI have for whatever twisted reason proven to be completely reluctant to develop the line further like they have admitted they are getting TONS of demnad for (bigger keys, full length keybeds). the keyboard interface of the near-future could be something looking like the current controllers with buttons knobs and sliders, but that all have actual wiggle and 3d touch to them like the quns. THAT would be amazing to see and play, and truly new. (not unlike the buzz over the Linnstrument as well, clearly the market wants fun wiggly new 3d touching to be part of their control options and have little to sate this desire with at this point)

  64. Something like the Roland Aplha Juno 2 but with full knobs/sliders and a software patch editor would be perfect. Give us some funky wave shapes to play with like that synth and you’ll have a lot of happy pad designers.

  65. This can only be a good thing, their a company that I can’t fault for sheer quality and functionality at a very good price point. I can only image a synth from them would be a quality product. It will be interesting to see what way they go with this. They could enter the euro rack market with standard models in a £60-80 price range this is something that a larger company could really exploit, the majority of euro rack manufacturers are small and obviously their overheads don’t always allow for an accessible price range.
    A quality analogue poly synth with keyboard is something that has yet to be put out, again, at an accessible price. Again there is the chance that they could for the poly synth, what arturia did with the mini brute for the mono synth market. If we look at a mono synth it’s a safe and obvious choice and I’m sure it wouldn’t disappoint.
    Any route they go with this I will be anticipating the results.

  66. We’re talking about Behringer here, right? So whatever we want, it’ll be a cheap, poorly-made rip-off of somebody else’s product, probably putting the originator out of business. You’d like to see Behringer destroy Moog?

    Uli Behringer is an unprincipled crook. Don’t buy his plagiarized crap.

      1. They’d have killed Mackie with their ripped-off digital mixer incorporating a direct clone of Mackie’s software if vigilant Mackie engineers hadn’t demonstrated in court that the Behringer ROM contained a Mackie copyright message that Behringer didn’t even bother to remove. Uli Behringer just shrugged his shoulders and paid the massive fine. Behringer are big enough to undercut other manufacturers and pay the fines because they reverse-engineer their products rather than pay research and development costs. Boss pedals, Tech 21 SansAmp, Mackie mixers – you name it, they steal it. Same technology, cheap, tacky manufacture = big profits.

        1. What nonsense are you posting here Mirlitron.
          Behringer won all lawsuits against Mackie and also never paid any money (Wikipedia). Behringer copied Mackie’s digital mixer? Which one? You claim they copied ROM software? What is your proof?
          You should not post untrue statements as this is cheap and unethical.
          If you don’t like their products, don’t buy their products but stop posting rubbish.

  67. And ideally I would like to see something new. Something like a Buchla music easle but with both dual vco’s a digital wave table osc and dual multi mode filter. A paraphonic mode and nice semi weighted waterfall key action. Why not push out the boat and do something new.

  68. I’d love to see something totaly new not a clone (the original will always do the job better)
    The top for me will be an analog key or module (poly or para) but with digital controls to keep the thing actual and user friendly with the DAW.
    But please, use ONLY quality components (not like your others products). Affordable price is cool of course but keep in mind that there is a serious concurence in this sector. Good luck with this project.

  69. Just had a look at the votes. Who would want a polyphonic synth with only 49 keys?? I still have two hands.. last time I counted them. IMHO 49 is the minimum for monophonic synths. 61 keys is the minimum for poly ones. If not, the number of keys do not count at all and it might as well be a module.

  70. Lets be real, if Berhinger makes something that is intended to be cheap, yet sounds secial, unique(kinda like the Volcas) then I´m all in. But I wouldn´t buy a 12 voice hybrid synth from behringer over any offering from Dave Smithm, Virus, etc…

  71. In summary :
    plenty of knobs,pads and sequencer daw
    aftertouch and decent fatar kb (25 to 61)
    mutli synthesis capabilities fm/analog/additive a mix of d50 dx7 and dss1
    real vcf and vca
    audio and midi over usb
    cvgate for last modular hype ..
    an powerfull workstation kruz pc3le + alesis fusion + yamaha cs6x/ex5 + vsynth + korg oasys for the price of a casio xwp1
    xmas arrive not too late this year !

    berhinger can continue to target 80’s or 70’s nostalgics (and draw patents in the public domaini )or be the avant garde with a modern project …

    1. Give it a 64 step sequencer, arpreggiator, multiple gate/CV out. Give it a cross fader, give it 8 faders, 4band eq each channel.

      Basically a better Octatrack/Rytm, but half the price. Try reproducing the Pro 2s sequencer but better.

    2. Hie thee to Roland, whom I believe have the copyright. The only significant other is the proximity sensing of the Alesis Airsynth, AirFX and Photon X25 keyboard.

  72. Behringer should do what they do best and reissue the Roland Jupiter 8. A no brainer especially since Roland is too clueless to do it.

    1. Reissue the Andromeda first, please. For that I would sell a kidney. Also to have my Neuron back. And a Technos Acxel.

  73. Hi Behringer! I would love a polyphonic synthesizer with two digital oscillators that can play PCM waves, VA waves, also play back samples from an SD card or maybe a USB flash drive. I think being able to record the samples from within the unit itself would be truly fantastic and would invite the users to get very creative, also it would be a very attractive feature since very little keyboards can do that. If you could add a FM or PD oscillator model that works with macros without adding much to the price of the unit, that would totally rock. For me the oscillators do not have to be super high end, maybe some models could be very lo-fi to keep the price down, I think that will add to the distinctive character of the unit and make it very interesting like all these open source/DIY synths. Now lets add a very creamy and smooth 24dB VCF and a VCA, both controlled digitally with software modulators. Add two ADSR envelopes, three LFOs with delay that are fast enough, and a 8X8 modulation matrix. Don’t forget to include a gate mode for the VCA, that could free the VCA’s envelope to allow more flexibility. It would need a 5 pin DIN MIDI interface with at least IN and OUT, also USB MIDI, but please don’t let it have jittery MIDI, it is very unpleasant. I would like a 49 full size key synth action keyboard with velocity, this to keep the cost down and to make it more portable. A Korg style pitch bend/modulation joystick and please go knob per function as much as possible! Use potentiometers for most of it, but for the menus use detented rotary encoders please. I would like it to be have a slick modern appearance like the OP-1, maybe make it black, white or grey. Also use a neutral/serious typography. I don’t care at all if it is made out of “cheap” plastic and have an external PSU, if that brings the cost down it is ok with me. About the price I don’t really know. I don’t like it at all, when lowering the production costs means negatively affecting the people who work on manufacturing the product. I would pay around 1000 USD, if that is to little money, remove the non essential features until it fits the price. Thanks for listening and good luck! 🙂

  74. Might be out of line here, but i think that there’s a void that could be filled with a hardware granular synth. Something like Drone-e maybe? User loadable samples are a must, and preferably lots of physical controls.

    also……maybe something “like” a Nord modular?

  75. do a duo release – hybrid analog poly synth AND a hardware drum machine along the same lines as the classic tr’s!!!!!! now THAT would be a killer game changer!!!!!!!!!!

  76. make a versatile 2 operator fm mono synth with lfos and distortion. make it have great midi control and advanced control surface/knob per function

  77. Great move Behringer. The company has completely reinvented itself over the past years and they churn out really good products. Look at the X32 which is the best selling digital console in the market. I absolutely believe they can make a great synthesizer. Keep it coming…

  78. …..a rackmodule…as.flat as possible….two true analog solo voices somewhere between microbrute and a minitaur….combined with a chord/pad machine, pcm based with analog multifilter….four virtual analog drumvoices……and four virtual analog voices with an arp/motive/morph engine combined with some freaky fx…..each engine with it’s own pair of stereo outs….
    we don’t need another studio machine…we need perfomrance gear….something to feed with external midi and easy to handle knobs…..
    and please don’t try to copy roland classics or try to mess with dave smith….
    in case of doubts….just built the virus killer…..and have a look on the new electribes first….

  79. 6 oscillator, able to load wav samples. usb bus powered synth. (Built in audio interface) Free vst software editor. (Extremely rough idea)

  80. Digital control, but full analogue signal path please. I don’t want converters messing with the signal before it gets to my own soundcard. Make it like the new moog range. They have the right idea 🙂

  81. awesome. behringer can do it and if they can do a polysynth under usd 1000 I am in. they make great products and always been happy with their products. go behringer go.

  82. Hardware is dead. Be the first to make a sophisticated software synthesizer operating behind the panels of a modular hardware synthesizer. Make something like uhe’s Zebra synthesizer but give it a hardware interface with knob/slider controls assigned over MIDI to their software counterparts. Someone is already doing this on a custom basis. Behringer could set a whole new trend by making a production model thereby capturing the best of both the software and hardware world along with the best of analog and digital sound generation.

    DO IT.

    Please!

    1. Hardware is dead? Then all those classic synths trading hands for high prices on eBay and Craig’s List and VSE are being bought for scrap? Whoda thunkit?

      1. HA, seriously. We’re in the golden age of hardware synths, and sales have never been better, so I have no where a comment like “hardware is dead” would even come from.

        BUT, imagine an analogue rack-mounted synth with digital controls, with bluetooth/Wifi capability so you can control it from an IPad/tablet like the XR series of mixers. If you are anything like me, I’m rapidly running out of stand space for live performance, but the idea of virtual control over great hardware that’s 10 feet away gets me all tingly.

  83. Behringer makes affordable stuff, so if you’re gonna do that, make it a very simple synthesizer that does a few things well, and then do what makes cheap stuff fun – make it so you can mod it, hack it, glitch it, overdrive it, starve it, etc.. Don’t make it opaque. Mark the PCBs like Korg did on the monotron. There’s a place for incredible sounding synthesizers with infinite editing and legions of knobs, but that place is at least $1000 above a Behringer price point, so at least make something that people can have fun taking risks with.

  84. Do what Roland is doing and incorperate software plug-ins with the hardware synth, add a built in sampler(up to 192k @ 48), drums, and fxs from some of the top companies such as Waves, SoundToys, ik multimedia, blue cat audio, softube, and much more. It should also have MIDI in,out and through, and have a bolt in USB port so users can share patches. It should also have a step sequencer, arp. and drum pads like machine.

  85. Build a Moog Little Phatty clone and price it under $400! You’ll have to beat the customers off with a stick!!! 😀

  86. If the big B where to make a synthy instrument, it should probably be in their sweetspot: low cost factory made stuff with easy to source cheap parts and previously tested standards. I’m thinking of a sample player via SD card/usb key reader with basic ADSR, Filter, one or two LFOs and an effects processor. Simple system of presets and perhaps a simple way to make splits. 25, 49 and 61 key versions. 49 and 61 can have 16 pads. Make the operation of assigning a sample to a pad duuuuuuumb easy (scroll, select, tap a pad, make music).

    $149/$199/$249 list.

    Bonuses:
    * instafun/appeal if you can sample directly into the instrument.
    * Making it double as a USB audio/midi interface also seems like it would be in their wheel house.
    * read soundfonts directly from the card
    * 16 part multi-timbral with 4 outputs

    I’d love a Jupiter 8 clone for $200 but Behringer would need to prove itself with a few synth products first before I gave them even $200. Hope they follow Korg and keep it simple.

  87. Leave just lots of stuff out that safes money by :
    No keys.
    Plastic
    Small

    Think lots of people are not waiting for another 1k synth like the prophet.

    Make it polyphonic, there not so much payable analog polyphonic synths out there.

    All the companies reissue or release mono synths

    Midi:
    Filter, Velocity, AMP, etc

  88. Jupiter 8 please. copy it identical in look and circuit. add midi. done. the prices of 10K + lately for one must be the biggest indication of the desire for this synth to be remade. start with this synth Behringer and kick-start your synth business off to a huge start and success

  89. Dear Behringer,

    Whatever you build, please DO INCLUDE patch memory & manager!

    Polyphonic for sure.

    Digital controllers that controls analog gear

    And please – do not do the same *mistake* as Korg did with their MS20 – please include midi CC ability to control hardware, cutoff, reso, attacke etc.

    You see, there is a market for ANALOG, MULTITIMBRAL, full Midi CC CONTROLLED synthesizers. For professional STUDIO use as a workhorse machines. But unfortunately, current only 1 machine qualifies for that today.

    Thanks.

  90. I’d say: something that’s intentionally a little lo-fi and performance oriented that doesn’t try to do it all. A mix of the Jupiter-4 (for that bass sound, and its random arpeggiator function), a bit of VP330 (strings and vocoding/processing), mic and instrument inputs for processing, a really good Clone Theory-style chorus-ensemble effect, and a Lexicon PCM-41 reverb with usable presets.

  91. Yeah Uli, make an exact clone of the Waldorf Wave but priced at 1500 USD but do not use any cheap parts like in your mixers.

  92. Definitely they should make something both Hardware based and Analog….the market for an affordable poly has not yet been taken, a faithful polysix or juno106 type emulation with a great price would sell like hotcakes , what can be difficult about it, the R&D was done 20-30 years ago, all schematics are easily obtainable….if they can do a Mackie desk at 20% the price, surely a juno106 could be $500!!

  93. Jupiter-8 in exact sound with fully analog VCOs (No DCOs), plus all parameter features of the original plus more!
    • MIDI CCs extensively as possible
    • Multitimbral configurable in monophonic and/or polyphonic MIDI channel assignments for up to 8 monophonic voices and MIDI Channels (or polyphonic/6-voices per one channel + monophonic/1 voice per two channels)
    • External stereo input
    • MIDI In/Out/Thru
    • Multi-FX (delay, chorus, reverb, and EQ)
    • Compact size: 49 keys and substitute knobs instead of sliders
    • Velocity keyboard
    • SD Memory card slot for limitless patch storage

  94. It would be nice to see Behringer try to put their own stamp on what an analog synth should be, rather than them just rehashing the same old stuff. Could be very interesting.

    Maybe they take the modularity of their x32 console and apply this to a synth. Very flexible, semi or fully modular routing… maybe tackle the question that electron, NI, DSI have been working on: How should a synth be played? Innovative sequencers… the ability to utilize all those parameters musically… I’d love to see a behringer table-top synth/sequencer combo that does the whole parameter lock thing and incorporates more effects… like an analog four/virus TI mashup.

  95. Based on Behringer’s track record what I would expect would be a digital synth using the same or similar body to their MIDI controllers. I think it would be smart if they have the multiFX from their Xenyx mixers thrown in. It will have its own built in synth engine but will work as a MIDI controller and maybe as an audio interface with a single mic input. I guess I’m basically prediction the Novation X-Station’s second coming in Behringer form. Prices starting at $299 for a 25-key, $399 for the 49-key and $499 for the 61-key.

    I’d love to see them do something different than the standard VA oscillators, but I doubt that would happen. A hardware granular synth would be amazing to see, but I’m not holding my breath. Spectral Synthesis similar to Iris would also be awesome, but again I doubt Behringer will bring it to us. Even some neat simple sampling features could be cool. Load samples from Bluetooth, SD, USB, or even a shitty internal microphone. Lofi and grungy is the direction I think they should go.

    I think it would be cool if they used their newly acquired motorized fader technology in some interesting way, but I doubt this will happen. It would be really cool to have a set of faders that snapped into position depending on what you’re doing. As you switch envelopes for example. Perhaps it could also be used to automate parameters and create envelopes more complex than the standard ADSR. It would need a clever modulation routing system to really make this work in a useful way. Each fader could be assigned as a modulation source and you just hold down a button to record an automation pass, similar to the Motion Record system in the Korg Electribes.

    Guess we’ll have to wait and see…

  96. Ring and cross mod!!
    With it’s own EG, like the venerable CS-40M…great for massive tiger roars and insane whip snaps!

  97. As far as making something new….why? The market is already saturated with crappy plastic keyboards with drum pads and sliders all over them. More metal and wood for me, please. OSCar, Octave Cat, Octave Kitten, Polivoks. It might be cool to make it rackmountable with the user option of installing it into a case with keys kinda like a minimoog. The only thing I would want from the digital realm is MIDI and patch editing. Keep that crap out of the signal path. NO MINI KEYS! That is really the deal breaker for me on the Korg. Too bad because their version is otherwise perfectly executed. Do they save an extra $5 a unit? Or is it that they don’t want to kill the value of the vintage units?

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