Behringer D vs Minimoog Model D Shootout

This video, via Jareth Lackey (synthpro), pits the new Behringer D synthesizer against a vintage Minimoog Model D synth.

Here’s what Lackey has to say about the comparison:

This is a demo of the Behringer model D. I am a beta tester for this unit and I go over some of my first impressions as far as build quality, features, tone quality, and even a direct comparison to a real vintage minimoog model D from 1972, (The Real Test).

Note: this vintage minimoog has the rev 2 oscillators, (not the oscillator using the thermally regulated voltage to exponential current converter UA726) and all other boards are original as well.

This Behringer Model D has left a great first impression with myself but I leave you guys to be the judge. There will be another video covering the noise source as well as the EG controlling the pitch, forgot to cover that in this video.

Check it out and let us how you think they compare!

143 thoughts on “Behringer D vs Minimoog Model D Shootout

    1. Yeah I agree. I am impressed with the sound. I am a hater. I’d have to hear it in person to see if it has that certain something. I’m playing with an old school voyager tomorrow.

    1. It’s a slavish copy of a classic Moog, built in a massive Chinese factory using cheap semi-skilled workers. There’s not much to love except the price.

      1. Im sorry, but who exactly are you to denigrate workers from a country abroad on the manufacturing of electronic equipment?

      2. That lame and lazy ass description could apply to most of the things you wear, eat, drink anf fuck with, just to name a few.. So what exactly is your point?

        1. My point is that there are companies like Moog, DSI, Pittsburgh Modular, Dreadbox, KOMA, Doepfer and dozens of other original manufacturers that are worth supporting and nurturing. Behringer is simply copying someone else’s work and making it cheaply offshore.

          1. By mistake I gave a thumbs up to your comment, sorry about that.
            But what is coping someones product about 50 years after initial release?
            Don’t you have anything else to do than post stupid opinions which are quite irrelevant?

            1. A race to the bottom will put many boutique manufacturers out of business. And some of the companies that get forced out of business in the rush to $299 Moogs and $199 TR-808/909 clones would have been the true innovators of the next decade.

              In the short term, we’ll have the excitement of cheap synthesizers. But it will come at the cost of innovation and European and American engineering, design and manufacturing. We risk gutting yet another industry.

              So, yeah. I’m going to stand up and loudly proclaim that I don’t want to witness the collapse of vibrant eurorack manufacturers. I don’t want to see brilliant companies like Moog and DSI close their doors simply because they hire “expensive” workers.

              I’m old enough to remember TVs, cameras and computers made in Europe (oh, the excitement of a “Made in West Germany” label). At the rate we’re going, our kids will have nothing to look forward to but low paid service jobs at McDonalds or selling brilliantly designed and engineered devices made halfway around the world by someone else.

              1. “At the rate we’re going, our kids will have nothing to look forward to but low paid service jobs at McDonalds or selling brilliantly designed and engineered devices made halfway around the world by someone else.”

                And all because of Behringer !!! Damn you ULI!!!

                1. btw Moog uses china manufactures

                  Quote from Dave Smith:
                  “In the music industry, almost everything is in China pretty much… Even Moog has started to build their products in China, which is too bad. “

                  1. building is assembling. get parts all over the world and make it a product somewhere in USA. This is ok.
                    All those parts, on the other hand, are engineered and sometimes designed by mostly people, from lets say UK, Japan, USA, EU, if this matters for some of the commentators.

                  2. When I bought my Minimoog Voyager around 2008, Moog was not even using Chinese components. In fact, The main PCB was made and stuffed in Asheville, NC. However, they started using Chinese components in order to make the Little Phatty more affordable. The fact that these companies are now building their products in China proves Frodo’s point. Of course, I’ve been lucky enough to be able to afford around 20 vintage synths ie a Prophet-5, Prophet-600, OB-Xa, Oberheim Matrix-6, ARP Odyssey Model 2800, ARP Quadra, ARP 2600, ARP Pro-DGX & Pro-Soloist, ARP Solus, ARP Omni-1 & 2, ARP Explorer, ARP Solus, Jupiter-8, MultiMoog Moog Modular, Buchla 200 Series Modular, etc. Thus, I can understand why so many people are happy to be able to afford a machine that can make vintage sounds. I can see both sides of the coin. While the Behringer may sound like a Minimoog, the experience of playing a Behringer will never compete with playing a real Model D.

              2. Big commercial companies tend not to innovate. Their main purpose is to make profit. Innovations do come from universities and their spin off little companies. Nothing wrong with that. Happens all the time in the IT industry. Does not withheld start ups!

                And everyone is free to purchase those synths he or she likes. Nothing wrong with that either.

              3. Why don’t you find more clouds to yell at?

                This Behringer clone isn’t preventing me from buying an MFB Dominion Club, nor is it preventing me from buying anything Eurorack related. Obviously not the same thing, but my point is that I’m going to buy what I’m going to buy. Your logic is suggesting that just because something is cheap and (arguably) a rip of someone else’s design, that I’m only purchasing the more affordable option.

                Give me more fucking credit than that.

              4. It’s not race to the bottom. It’s logical evolution of technology which makes old stuff kind of cheaper and meanwhile leads to more advanced mixture of technology consisting of old and new possibilities. Much more complex instruments can be made nowadays. If you are angry or disappointed that Minimoog (as a fairly primitive instrument) doesn’t cost that much anymore you can always buy Knifonium. I’d be happy to have one too, and Behringer most likely won’t be copying one anytime soon.

              5. I’m not going to buy a more expensive product because they’re made in the US. I’ll buy the reasonably priced product. I buy Fender Japanese guitars, Swedish Keyboards, Chinese synths and mixers.However, I purchase plethora of US made equipment too – because the brands are simply superior – Strymon, Electro-Harmonix, AnalogMan. I use Lollar pickups which are made in the US, but if they were made elsewhere who cares? Go Behringer for stepping up their game and producing incredible products. Sorry, but an economy should be global and not fed off patriotism.

          2. I completely agree with you. At least I know moog staff get a living wage. They also innovate, the stable oscillators they make now still sound amazing while other companies have tried making DCOs sound good but keep ending up with stuff that is comparatively soulless. That invention comes from giving people the time to experiment and hone their craft. It’s the R and D that keeps the industry moving forward. I know behringer want to do this too. But mean while they’re literally copying someone else’s hard work for a few bucks in their pocket . I can’t support that kind of profiteering.

            1. So let me get this straight, any and every piece of music made using a DCO is soulless? You might want to reconsider that. What about fully digital synths like the DX7? Soulless? Doesn’t seem like a valid argument. You do realise a DCO is still an analogue oscillator right? The digital part simply controls the pitch of the oscillator. You’ll find plenty of digital elements inside a any modern Moog synthesiser. The Sub 37 for example uses digital LFOs and ADSRs as its modulation sources.

          3. That you include Doepfer in your list is ironic. Before Eurorak became really big and the whole analog renaissance happened in earnest, Doepfer was known for stealing designs and producing cheap, poorly built modules and systems. And guess what: The very form factor that people used to lament about and the low price plus great availability probably did more for the analog synth (and soft synth) industry than any of the more elaborate products by other companies. Boutique by its very definition is not for everyone. And not everyone can afford expensive equipment. Perhaps with government subsidies for manufacturers and universal basic income. Stop complaining about the people voting with their wallets and start thinking about who puts the money into said wallets.

      3. Actually Behringers factory is pretty much 80% automated by machines and computers. Also whatever device your typing this one more than likely is made in China.

  1. Had to stop watching because the camera made me woozy.
    The voice sounds familiar like ” This is my brother Daryl and this is my other brother Daryl”.
    So the question is: Seven of these or one Moog? I still want the Moog. The real comparison will take place when the Roland SE hits the streets. One thing in the D’s favor is the knobs are not so tiny.

    1. You should not feel bad about it.
      The so called Re-issue is also a clone.
      Moog Music went under (after Bob sold it), but the rights to the company name was sold on, eventually bougth back by Bob Moog and his new company, but there was no original company left to re-issue anything, just a name. Bob did nog buy back his copmany just a name.
      And with the Model D in public domain even when Bob Moog bought back the right to the Moog Music company name. There is no one that can clame to have any stronger rights, to call their an original or re-issue. And Bob Moog past several of years before the so called Re-issue, so it could not even get the stamp of approval of one of the man behind the original.

  2. Yep…”Tiny knobs.” Some think size doesn’t matter but we know it’s worth thousands. And, guys, if you speak with an “exotic” foreign accent, you best stick to low-brow comedy.

    (Sorry but some comments have made me woozy.)

  3. I had two model D’s at the same time for 10 years, if I dialed in the same patch on both synths going into the same mixer with identical eq settings, each one had a slightly different tonal character. I’m assuming this won’t be the case with these Behringers. Its been 29 years now since I sold off those D’s, and for me to buy the Moog D reissue for $3500.00 would have been nuts as I sold my originals for $150.00 each in 88′ (low end of the going rate then) This little Behringer clone is MUCH more justifiable.. So I pre-ordered the ‘D’ last month and have a nice little space for it right next to my Voyager and Mother 96. Kudo’s Behringer.

    1. Keep in mind the davaluation of money, and the growing and richer middle class. 150 then is much much more than 150 today.
      But yes the 3500 price tag, feels like a rip-off.

      Also, don’t be fooled by Moog music branding, on the Moog Music model D, so called re-issue.
      It is a clone as well.
      Moog did not buy back his company, only the rights to the name, so Moog Music today, is only the same as Moog Music back then by name. A new company cant really re-issue anything, they don’t hold the rihts to. And for a long time, no one has held the rights to the Model D, as the patents are in the public domain.

      1. So even if Bob Moog himself “only buys back the name” of his own company he started, you don’t consider it the “Real” Moog. Lol. What in the world.

  4. To my ears the D sound amazing like the model. But … correct me when i´m wrong… when it comes to lowend.. the D sucks it – compared to this model D in the video.

      1. @Sandanglokta: I’d like to hear a demo of your statement since I think it is not as simple as that. One typical thing for the older analogs like the moog (never had one) or the Jupiter 8 (had one), but also for moog moderns like the minitaur or the M-32 is that even when using only a single oscillator and without the filter it sounds typically ‘fat’. By which I mean to say even a single oscillator gives an unstable sound in a pleasant way: there are constant instabilities in phase, amplitude, harmonics due to instabilities like temperature, power supply etc resulting in a rich sound that otherwise can only be obtained by applying effects like chorus, flanging, reverb etc, all in a very subtle way.
        I don’t believe you can achieve that effect by simply applying a single band +4db bass EQ. With the Korg MS20, years back, I accidently found I could achieve this effect by using an old valve radio for amplifier (did’nt have anything else available then).

  5. Hell yeah, $300 Minimoog. I’m in. If I was rich, I’d buy the Moog because it’s a piece of art. The behringer is pretty lame looking but who gives a sh$t about looks in audio gear.
    I had too much cheap behringer gear die on me back in the day that I swore off the company…..then I needed a cheap digital mixer so I got an X32. I was impressed. Then I played the Deepmind…… slightly more impressed. Now this? I’m a believer. I’ve read ULi is a nightmare to work for but he must be doing something right.

  6. I’m hearing so many classic sounds, i never heard exactly the same way on my Voyager. Strange for me, stranger even for Moog. Behringer is doing a very good job on this one.
    The Deepmind is ouperfperforming many other synths and the “D” may just be the first of a classic series. I don’t want to criticize Behringer.They combine different knowledges with astonishing results. Maybe Moogs staff is welcome to their team.

    1. Yeah I know what you mean, I have a Voyager too, but it has some tricks my original’s never had, different synths for sure, thats why I welcome the Behringer ‘D’ as an addition to the Voyager.

    1. I just picked up a Radias from Craiglist. I bought it as a rack-mounted replacement for my microKORG, mostly to have a decent VA engine on hand for trancey sounds. Turns out it holds its own against all my other synths and has become my go-to instrument for developing new patches.

      Similar to this video, I’ve been having fun matching sounds back-and-forth between it and my P’08.

      If you’re into synths with (almost) too many mod paths, I highly recommend picking one up if you can find one.

  7. From this video the Moog sounds richer,more highs and lows, but nobody would probably hear any difference in a mix.
    As for the build quality,time will tell if a Berinhger last as long as a Moog but I doubt it.
    Good job for the price anyway,Berhinger.

  8. Yes it’s very similar but it’s a Chinese copy, it’s IP THEFT, you know the’ve had guys directly compare them back and forth until they are virtually identical – whatever way you look at it this is a Chinese rip off of an American Classic and from my perspective anyone who buys one of these is stealing from Moog, a great American company.

    1. The same goes for the Arturia Minimoog, The Legend, all Kontakt sample libraries……

      If one can’t afford a Mercedes Benz, he would have to go for a Hyundai. A Korean rip off of a German Classic. They stole from Mercedes, a great German company, the idea of putting a gasoline engine on a 4-wheel chassis with a stearing wheel and a roof plus doors……..

      1. Indeed, the same could be said of pretty much all analog subtractive synthesizers – the signal path and modulation sources are really all Minimoog-based, when you think about it.

        So are pitch bend and modulation wheels, and 1V/octave CV connectivity.

    2. @Simon Harris: It not stealing, and it is not IP theft. Behringer is in no way attempting to hide the fact they are producing a clone here. Copyrights, typically on the filter, have expired.
      You probably do not realize, or temporarily forget, how many other companies have made Moog clones and Moog filter copies over the past ten years. Nothing new here.
      What do you think Doepfer is doing? They are notorious for picking up any creative ideas from the do-it-yourself synth community and commercially exploiting those themselves (and some other modular companies have joined in this way of working).
      I can understand that some people have second thoughts about this, and good to say so, but I think your reaction is somewhat harsh.
      I would be inclined to remark that Moog has also been stealing many years from musicians by using their success and name to keep in the high price segment.

    3. I think this is a good example of IP working as it should. Usually by the time the patents expire and we are all free to build on it the invention is considered obsolete, but in this case we can now all benefit as others innovate from here.

      This is the second part of the patent deal… the inventor gets an exclusive monopoly for a limited time and after that society benefits from free use of the invention. It’s supposed to encourage invention and then give the invention to us all in the end. Before we had this inventors would keep things secret and the inventions would die with them… less progress for us all.

    4. “I think I’ll steal that design that’s no longer under patent, is in the public domain and has been replicated over time by countless synth designers both Analogue and digital” (cue big evil laugh HAA HAA HAAAA!

  9. My only complaint is the funny ‘D’ logo, put something better or nothing! Otherwise it sounds very nice and probably I’d take it over Roland.

    1. yeah lol i think when i get mine, i will just paint over it with a black permanent marker or something, it’s ugly as hell as it is indeed…

  10. Listen to 21:00 min at the video on good speaker… the moog has a wight at the bassfrequency which sounds super fat… when the behringer is missing it … it sounds good but it is missing a lot deepend there… else for that price its a good synth. (And no – I am not a Behringer hater)

    1. yeah, because the guy didn’t turn the LP filter down enough to match the setting on a mini. if you had watched more carefully you’d noticed there are moments when D totally matches the mini’s bass without any problem. this just isn’t perfectly matched knob position comparison at times

  11. Why does everybody so desperately need a Minimoog or something that sounds like it in their life? It’s the most mainstream and conservative synthesizer concept out there and a 100% guarantee your music sounds like everybody else’s. There are way more interesting options out there for the price point of both the D and the Model D.

    1. Your music will sound like every one else- not necessarily- it’s not what you’ve got but how you use what you’ve got

      1. That’s very true. Although after 45 years it’s definitely difficult to do something unheard of on the Model D.

    2. so i can buy a moog and sound exactly like parliament, garry numan, kraftwerk, new order, dr dre, moroder, pink floyd, rush, prince, …?!


    3. Yeah and why would you use drums, piano or guitar ? Those instruments are so mainstream, all music using them all sound the same…

      1. I actually dislike these three instruments a lot and avoid them whenever I can. But I guess it’s a question of taste.

    4. Totally agree with you! In my opinion the sound of the minimoog was surpassed in the 70s by both Roland and Yamaha (not to mention ARP). The single VCO SH-series synths and the CS-series monosynths are pure magic!

      Nothing wrong with the MiniMoog, but it’s historicall significance seems to overshadow the fact that it doesn’t sound more exciting than anything else (IMO).

      1. It does sound more exciting to my ears. More oranic and alive than anything else I have tried. And it’s playability, performance wise it stands out above other brands when used in a band. It kind of blends in like another accoustic instrument. Other synths just cut trough with there more synthethic sound with a few exceptions like the Roland Promars etc. At least that is how I see it. In electronc music indeed those SH/CS/TB/TR are pure magic. The mini doesn’t belong there.

        1. I’m pretty sure they kept up with the latest technology of their time as well and didn’t stick with old instruments out of sentimentality.

      1. Ok, I’ll rephrase: Not everybody is desperately in need of the Minimoog sound, just a bunch of people looking for a classic sound. This doesn’t mean there isn’t people looking for new sounds. It doesn’t even mean that the same people looking for the Minimoog sound are not looking for new sounds also.

    5. To be honest, the most mainstream and conservative synthesizer concept out there would probably be the TB-303 and it’s horde of clones.

      1. Probably true.
        The Model Ds in the world had to a large extent been in the hands or collectors and rich muscicians that don’t take them out to play enough.
        If it had been possible to make cheap Model D clones in the 90s and 00s, the Model D would probably have been up there with the TB-303.
        But now the D will se a resurge, but on the other hand, a lot of people that get the Behringer and or the Roland, will also get other new Syths, so it won’t be the new TB-303.

  12. There is no way, honestly, to complain of this product.
    All the other words are from:
    – already Minimoog owners, often professionals (did you ever think that, for few bucks, you can have now more instances to pair with your vintage?);
    – some posh/hipster synth-collectors in the style of: a-minimoog-will-never-sound-like-a-minimoog, that spent K$£€ and now are in the risk of loosing their status (did you ever think that, for few bucks, you can have a sidecar to touch and use, and finally you can leave your rare & precious vintage under the plexiglass coffin forever?);
    – people that never met a real minimoog and they have a Holy Grail syndrome in their heads.
    – old-time Behringer haters (Good bless you)
    – Roland and all the copied brands (they are the only in right to hate)

    1. If Boss/Roland could, they would have put a sales ban on Behringer products, so they were probably not close enough copies.
      And they did not do anything like that, this time. The Model D patents have been in public domain for quite some time. No copying going on here. So it would be unfair of them to hate on the D.

  13. Does this mean Behringer could come out with a Memorymoog clone for a great price too?

    How about a three-way shootout with these two synths and the new Roland SE-02?

    1. I think it’s been established that the SE-02, despite its front panel, intentionally sounds somewhat different from a Minimoog.

      What amazes me is that I couldn’t find any direct comparisons between the Mini and the SE-1 / SE-1X, the original Minimoog clones! (Admittedly I don’t look very hard)

      1. By the way, studio electronics made exact copies of the minimoog in rack encolsure for years. They started putting original minimoogs in rack boxes and than started to produce also exact clones of the boards themselves. They started their buisness this way, and are a very respected company. Also, they continued until today to give us excellent semi-cloned gear (atcx with cloned filter cartridges for ex.) as well al synths redesigned but based on vintage projects for the “cores” as oscillators, vca or filters.
        For me, in a positive way, Studio electronics is “the original clone company”, and now they are partners of Roland. But the hate goes to the infamous german company, of course.

        1. It get even more interesting, when considering that the Moog Music Model D re-issue is also a clone.
          Moog music went under, and the rights to the name was sold on, that is was Bob Moog bought back, not the actual company. So there is no original Moog Music around, to claim to have re-issued anything. And no patent holder since it is in public domain, to claim re-issuing either.

          But I do think Behringer could have done a better design job. The Inpisred by original look, makes it look cheaper than it had to.
          I don’t think a lot of people will see the Behringer D and think it has anything to do with that other synth they have seen (the Model D original or so called Re-issue). And everyone that is a bit more in to synths, will probably already know what it is based on, even if the design was less inspired by the original.

  14. For someone like myself who plays with recording artists, it’s nice to have access to that sonic legacy at a highly authentic level. I think Jareth brought up a great point that has been overlooked in the comments: even owners of original or reissue Minis might want to get one of the clones to take to gigs or on the road, and leave the precious studio piece at home.

    Another thought: if this can be eurorack mounted, it might be a nice fit to either a Mother 32 and/or that Waldorf KB37. Could be cool.

    1. It will probably not last as long.
      However, since the original was very expensive, people took more care of it, and reapiring synths, was something that people sometimes did, even before they had to keep the limited stock of still existing originals alive.
      How did the originals last in general before their fist failure (that in today world would most likely be a trip to the bin, instead of the repairshop)?

    1. yep, a lot of “buy it now”, they are trying to sell at the best price now before the “flood”.
      What I love of Behringer in the synth market is the attempt to kill the absurd market of the vintage. 4k for an old wooden mono synth is always crazy. Even if they sound good.
      Synth for the masses <3
      I own a lot of vintage synths but all bought before the sad advent of internet and ebay:
      when you could buy a Juno 60 for 300€, a Crumar DS2 for 150€, a Minimoog for 300€, a Oberheim DMX for 100€, and so on.
      Because that is it: old & fragile synths.
      Go Behringer go! <3

      1. “Originally I wanted a 1929 Rolly Royce Phantom, but that new Dacia Sandero is sweeter than sugar!”

        Won’t happen 😀 Prices for vintage synths will not drop a dime because of low-end synths like the D.

  15. When you mix this thing with other instruments for a song and aren’t playing a Bass solo that has no mastering done to it, do any of the nuonces actually get heard? If I’m playing a lead over a bad, that weird little harmonic that one produces different over the other gets lost in the mix, completely un noticed. I think for a playing and solo experience it might matter but for shows and songs it doesn’t.

    1. The same has been true for software and many VAs for years.
      If you listen to music and not the sounds, it won’t matter in a mix.
      Although I can admit I’m guilty of sometimes listening to sounds more than the songs, people that do so should not be once audience if one wants to make music. But for people that want to make synth demos, well go ahead.

  16. The Moog seems to be slightly louder and does sound a bit weightier on some settings, but it’s nothing that you would not hi-pass in a mix anyway and for most of this comparison video I think they are damn-near identical. Behringer have basically nailed it – I’m buying one.

    1. I thought the same, but it might be that be didn’t equalize volume levels on his mixer. and it seems like something that can be easily fixed with a little bass boost on the EQ.

  17. No comment on the synth. Just wanted to say that anybody complaining about the vintage synth market doesn’t understand supply and demand and this is honestly only going to drive the price of actual Moogs up.

    1. “this is honestly only going to drive the price of actual Moogs up.” < Incorrect, it will drive the prices down. Why paying more for "out of tune", less features, less maintain? 😀

      1. That hasn’t stopped vintage synth enthusiast so far. Same can be said for a lot of similar markets. The Moog might (and this is doubtful) drop in value some for a bit but originals and the reissue are only going to climb simply because they’re the “real deal”. The Behringer might be absolutely wonderful and will scratch that Model D itch for a lot of people but some will still lust after the Moog, and then you have to acknowledge the collectors who aren’t even going to consider the Behringer for completely different reasons. Any instrument is also the sum of its parts and the Behringer D will never be the Moog. It’ll always be its own thing and that’s alright. This is not me insulting the synth or the people who want to buy it. The Model D is debatably the most iconic synthesizer ever made and no matter how nice an alternative may be people will still pay premiums for it. If we want to compare good synths that won’t go out of tune, have very healthy feature sets, and require practically no maintenance almost any digital synth should be worth more than yesterday’s analogs. “Logic” isn’t a factor here. What I’m trying to say is Behringer people shouldn’t concern yourselves with what impact it’ll have on the Moog market because it’ll most likely have none. You won’t be sticking one to the “elitist/exclusive” Moog camp. They’re just synths. Be satisfied will your machine.

        Disclaimer: I do not own a Model D nor do I plan on buying one or this clone. I don’t own any Moog products.

  18. I must admit wasn’t expecting it to sound this good. Behringer seems to have put a lot of effort into this
    Roland has competition !!

    1. I remember this happening with Alesis back in the day ….. their reputation and quality wasn’t that great (remember their 16 channel plastic mixer lol). Then they got into synths and that all changed for the better.

      1. Who ho @Rick Emerson,
        I’m still using the Alesis 1622 (off topic) after 30 years without major problems and would opt for a second one to extend the number of channels. It is rugged, small footprint and road worthy. So counting these years and the enjoyment I still have with that mixer you are right: L.O.L 😉

  19. By the way, studio electronics made exact copies of the minimoog in rack encolsure for years. In origin putting original minimoogs in rack boxes and than started to produce also exact clones of the boards themselves. They started their buisness this way, and are a very respected company. Also, they continued until today to give us excellent semi-cloned gear (atcx with cloned filter cartridges for ex.) as well as synths redesigned but based on vintage projects for the “cores” as oscillators, vca or filters.
    For me, in a positive way, Studio electronics is “the original clone company”, and now they are partners of Roland. But the hate goes to the infamous german company, of course.
    For me the minimoog have to be considered as an Instrument, and not just “one possible incarnation of a subtractive synth”;
    I mean, as a rhodes piano, as a violin, it’s unique, no matter you can sample or emulate with other instruments. So, considering the aging of the original instruments, I’m grateful that people take good care of the originals, as well as somebody have enough energy to produce new ones, original producers or not.
    Rhodes or mini cannot survive just as sampled presets in korg/yamaha/ roland workstations. I remember everybody, that was the exact scenario in mid ’90.
    Still grateful to bob moog or H Rhodes for the invention, and no contraddiction for me.

      1. According to the people working at moog, the manufacturing has been a limited rerun ending sooner than expected due to running out of components.

        Not sure why they would have an unspoken agenda of pulling the plug of an instrument they’re proud of, if that’s what you’re implying.

        1. Simple question:
          Why should Moog produce a keyboard, which most end-users cannot afford anyway.

          Proud or not… if your not selling your product, then business wont matter in the end.

    1. Have no idea why Moog did that, but looking around various sites and shops, including Moog I get the following impression:
      For some reason people still want a vintage minimoog model D, not a new one (no clue why that would be). Moog is competing with itself looking at the M-32 and the phatty sub37 as well as some of the older phatties, that have at least the benefit of programmability.
      In addition to that there is, of course, also the happy and colorful blinking list of clones.

  20. Another point worth considering is that at this price, it will interesting to see what kinds of mods or bending people do to it..

  21. One thing the original and reissues have is that they’ll probably be repairable forever so the investment isn’t really wasted even if a cheap clone exists. I don’t think any of the parts are rare (full disclosure: I’m not an electronics expert so could be talking out of my butt).

    The clones are great for regular folks who may want the sounds to play with but aren’t Moogophiles, don’t have tons of cash, don’t want another full size synth, or simply know they’d never be able to play an original well enough to justify the premium expense.

    I honestly don’t understand the irrational anger some have here.

    1. “One thing the original and reissues have is that they’ll probably be repairable forever so the investment isn’t really wasted even if a cheap clone exists.”

      Not exactly… the reissues used old new stock, which was parts that had been forgotten in some cases, but more commonly were put aside to facilitate repair of those originals. The reissues, which compulsively tracked down every last old new stock part that was available anywhere, totally and completely depleted the entire global supply of old new stock repair parts, meaning there are no longer any repair parts for either the reissues or the originals now. This means when they break they break and that’s it. It’s over.

      A much better and more respectful approach would have been to use electronically identical new parts in SMD format, such as Behringer used. The Behringer machines are repairable because replacement parts for them will be available for decades more. Replacement parts for original and reissue don’t exist and never will.

      The simple fact is that if you want a machine you can keep running for decades from now, the reissues and the originals are a terrible dead end, and the Behringers are the ones to seek out. They are far more valuable at this point if your goal is an instrument that will still be working in ten years.

      1. Utter nonsense.

        Minimoogs have been repaired for 40 years. Do you really think these reissues depleted all the minimoog parts in the world? The whole planet?? There are repair guys all over the world with supplies of new and used parts, hence Minimoogs continuing to work to this day.

        As for mass produced cheap synths using smt. 10 years of life would be impressive.

  22. One thing, even though I like this thing… They won’t be £300 or 300 euros. There will be tax. And Uli hasn’t made any promises on the price. The Sweetwater ad was an attempt to distract from the Roland SE 02 promotion going on. I am guessing, more like 400. But nothing is agreed yet!

  23. Hey Guys stop complaining and arguing Its a synth isn’t it ? its got a good price right ?
    it sounds and looks like a moog right ? just put a frigin moog sticker on it and you wont even know the difference .., who cares… Its a Synthesizer make music with it…

  24. Haven’t looked yet at this video and decided not to: If 50+ minutes are needed for a comparison between these synth engines there must be something wrong. Imagine how many classic hits (ELP, Manfred Mann, Rick Wakeman) with this synth engine could have a part in a 50 minute playlist

  25. Everyone can knock behringer all they want. This sort of thing has been going on for ages and I don’t believe it will ever stop.

    No one seems to be noticing the extreme jump in comments/discussions on these behringer articles vs every other article on here.

    If anything behringer is stoking the fire under a lot of asses.

    Made in USA, made in china, made in outer space. It really doesn’t matter Things need to get made people.

    10-15years ago you wouldn’t have bought a Kia. Nowadays it’s a pretty decent car.

    Behringer is just giving everyone a glimpse at the man behind the curtain….your $3000+ mini moog doesn’t have to cost you $3000+

    If Moog were to release an exact copy of the model d under a different company name people would still complain.

    Maybe they will finally kill off the seemingly never ending pissing contest of who can make a better modern clone. In hopes manufacturers both big time as well as botique to stop rehashing the past with a crazy price tag. Maybe leading to a whole new approach/point of view.

    They came out swinging and I applaude there effort.

  26. The magic of the minimoog is mainly in the hands of the musician who plays it.
    A Moog on it’s own is just a cheap unstable low frequency generator overdriven with 15dB at bass frequencies and ridiculously overpriced. It’s nothing like an LHC particle detector.
    “There is no magic ingredient.” – Kung Fu Panda I

  27. Looking at the little Amazon ad at the bottom of the page “Moog Minimoog Model D $3499”, LOL! I have no sympathy for Moog on the slightest, selling this in limited numbers at rediculous markup has made them rich, lethargic and totally ignorant of the lower end market.

  28. I was dubious about the Model D until I heard it in this video. Now its on my list ‘to buy’ (at some point – its a pretty long list).

    Good one Behringer!

  29. Sorry to see nobody’s really commenting on what was actually presented in this video. Just forget about USA vs. China, old vs. new, cheap vs. expensive and all that shit. Put your headphones on, close your eyes and just LISTEN for a while…. Am I the only one who hears the difference? From the very first sounds of the oscillators (13:48) both sound very different to me. The first difference is the attack. Much punchier on the old one and more sweeping, like with the filter on the new one, coming out with a slight “queee..” at the beginning. The same effect is noticeable on all types of waves. Are both synths set up the same way?
    The next thing is the “richness” of the sound (yeah… I know… but still…). The old box sounds better to me, the sound is fuller, has more low end and crispness to it. The new one doesn’t sound bad at all, it’s very good, but when I hear them 1:1 next to each other I prefer older oscillators. I must say I would certainly miss the difference in the mix and I’m not going to argue about the price/value or other aspects. I’m just saying I CAN hear the difference. And this video was about that. Wasn’t it?

    1. Paul,
      I have the same impression about attack difference. It’s very easy to hear. I wonder …is it not set properly by tester or it’s something which must be corrected?

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