Behringers ARP 2600 Knockoff Coming Soon For $599

Behringer announced today that their ARP 2600 knockoff will available soon for $599 USD.

The Behringer 2600originally announced in 2017 – essentially copies the ARP 2600; strips away optional elements, like the case, keyboard and speakers; and reduces the synth down to fit in a 6U rack space.

While most of these design changes will mainly impact the synth’s look and user experience, some changes – like replacing the original’s spring reverb with a digital simulation – mean that the ‘BARP 2600’ will sound a little different than the original.

Here’s Behringer’s official intro video for their 2600:


  • 3 VCOs, each with LFO mode, FM inputs, and multiple wave-shape outputs
  • Multi-mode VCF with dedicated low-pass output with additional switched high/notch output
  • Range of modules including ring modulator, lag processor, sample & hold, Schmitt trigger and envelope follower
  • ADSR and AR Envelope generators with switchable time factor
  • Digital spring reverb
  • Noise Generator with continuously variable color
  • 2 dedicated LFOs with pulse and sine wave outputs
  • Switched Post Filter Distortion (PFD) / Inverter option on voltage processor
  • Differential (+/-) input VCA with both linear and exponential control inputs
  • Attenuator, mixer, inverter, slew rate limiter and 4-way multiple
  • External audio input for processing external sound sources
  • 58 Faders and 15 buttons for immediate control
  • 83 Patch cable input / outputs
  • Headphone output with dedicated level control
  • MIDI implementation with MIDI channel and Voice Priority selection
  • 3-Year Warranty Program

Note: Specifications are preliminary, official specs are still to come at the Behringer site.

Pricing and Availability

The Behringer 2600 is coming soon for $599 USD.

129 thoughts on “Behringers ARP 2600 Knockoff Coming Soon For $599

  1. Wow…cheaper than I expected. Cheaper than the $650 Korg arp odyssey module. Pretty good deal for kids looking for a hardware unit.

    1. I”m stoked, this is one of the most interesting semi modulars as long as they can keep the envelope response and filter in the ballpark.

  2. Dear Analog. It is very clear that you have some beef with Behringer, and I truly respect your point of view and opinion. How ever it is kind of rude/vulgar to lead/taint your post with your own personal opinion. It will be very respectable if you keep’em in the comments section (as you have been doing so far). For you it is very clear that Behringer’s 2600 is a knockoff, but for some of us it could be a tribute thing, an affordable downscale instrument, a replica, a clone….

    Hope you can see that this comment intention is not offensive in any way (and if you see it this way, I do apologize), and you post it along with comments in alignment with your point of view.

    Receive a friendly and warm hug

    Your friend and follower of your site.


      1. A knock-off is usually a copy of something that is currently on sale, e.g. knock-off DVDs, knock-off handbag. So it would be reasonably fair to say that this is a knock-off of the Korg 2600, but not so much of the ARP original. Although that we don’t actually know whether it was intended that way. Some care is needed because knock-off often means “counterfeit”, which this isn’t.

        Personally this item would be a lot more attractive to me if it didn’t so aggressively build on the original’s design. There are plenty of synths that copy the internals of other synths, eurorack modules borrow left right and centre, and there were so many nice 303 clones in the 90’s (Novation started that way?).

        This does look like a lot of nice tech for the price. But the sort-of knock-off appearance cheapens this for me.

          1. Hi on the contrary, the meaning of English is up to the people who use it. English is a described language, not a prescribed one. Anyway you can also check wikipedia which says what I wrote. You can also check the Oxford English Dictionary (meaning A(4)).

            1. Hi MrMidi,

              I don’t have access to an Oxford dictionary, but I do have a Websters:

              a copy that sells for less than the original
              broadly : a copy or imitation of someone or something popular

              Obviously words have multiple meanings. Obviously meanings change across time. But also quite clearly, this product is a knockoff. As an individual you can define it however you like, but the rest of us the world won’t be obligated to follow.

              I’m confused as to why it is even a problem for you. It’s a knockoff. Doesn’t necessarily mean it’s a bad knockoff. Although the fact they designed it as a garish christmas tree probably isn’t helping.

    1. It’s not really up to the user to decide if something is a “tribute” or not. “Knockoff” is not really a matter of opinion.

      1. Well when it’s something Synthtopia likes it’s “clone”, “replica” or “tribute” in the headline.

        “Knockoff” is being used because of the derogatory connotations associated with the word.

        It’s basically gear shaming people with less money.

        It’s bad journalism and shows the author up as bitter and cynical imho.

        Bit pot and kettle me accusing anyone else of cynicism but I’m not a journalist

        Present the facts. Be impartial.

        Allow others to form their own opinion based on the facts.

    2. hollywood movie: rockband, starring jennifer aniston and marky mark

      best line: we’re not a covers band we’re a TRIBUTE band!


    3. Calling what it is doesn’t mean you have a “beef”.
      You are mostly a knockoff brand and you always have been (from your analog mixers, studio monitors down to your cable testes and lately most of your synths)
      The only thing this product clone or replicated is the desire to the original.
      It’s another very cheaply made knockoff and it’s O.K for allot it seems.
      I hope I didn’t offend you in anyway

      1. BTW,

        Definition of knockoff:
        a copy that sells for less than the original or a copy or imitation of someone or something popular

        Definition of replica:
        An exact reproduction executed by the original artist

        1. That is not the definition of replica, it has nothing to do with the original artist.
          PS- a a copy that sells for less than the original is a good thing!

          1. A copy that sells for less is a knockoff. Semantics be damned, you just don’t get to rewrite linguistic definitions when they don’t suit your preferred narrative. Korg issued a reproduction and this is a knockoff, which one is your kettle of fish is entirely up to you. That said, linguistically it is what it is.

          2. The part about the “original artiest” did not translate well in this instance but search yourself, This is the definitions you will mostly find. Maybe “replica” is not the right word to use for musical instruments or the definition changed abit. anyway it’s not the point.

            If the “copy” is a “replica” shore, it can be a good thing, but this is knockoff, undoubtedly good for some but we should call it for what it is.

        2. I’m not sure why anyone would think calling this a ‘knockoff’ is controversial.

          Behringer’s synths are clearly knockoffs, but they are pretty well done knockoffs.

          What else would you call them? They’re like the ‘Mr. Pibb’ and ‘Dr. Thunder’ of synths.

  3. I can see how this would appeal to a lot of people, but it doesn’t have any of the sex appeal of Korg’s reissue.

    Apples to oranges, I know, but the Korg ARP 2600 FS is truly a wonder to see and hear. Like the rest of Behringer’s synths, their 2600 looks like it’s designed to be ‘good enough’, rather than something you’d lust after.

    I’ve got enough synths though now that if I get another, I’d rather save for the real thing. If I was starting out, I might see more of the appeal of this sort of thing.

  4. well, hell if sex appeal was cheap everyone would love it and afford it, just like actual “sex” appeal
    But let’s face it that too is expensive also

    Well done Behringer

    Fancy a poly?

  5. That’s an interesting redesign and a real accomplishment with the price if they really are maintaining the entire original analog signal chain and design.

    Looks like *(*! though. The proportions are just not right.

    Still, though, kudos on the effort.

    1. Hmm some of the fanboys are targeting journalists just like the company does. Lest we forget how Behringer treats folks in music tech, an absolute shame.

  6. I have both the Korg and Behringer Odysseys. I prefer the Behringer in terms of slider quality and overall build, and the sound is identical. This 2600 is a no-brainer – all the bling of the TTSH with the reliability of modern manufacturing. If you have budget and space for the retro FS, go for it. I’ll buy this one without hesitation.

    1. I also have them both. The behringer it is much lower quality build. The faders stiff at first but become loose the moor you use them, It’s not a good sign. The case is thin and even flexy compering to the Korg and rattle a little. The korg build is substantially better.
      They don’t sound the same to me, The korg character is much more pronounced especially with sync sounds.

      1. I can’t even begin to explain how wrong your comment is. Hate Behringer all you want, but you just CANNOT argue that’s the korg or arp are built better when they both have plastic cases compared to the Behringer metal case. It’s not even a race when it comes to the build. Behringer crushed korg and the original in this category.

        1. I’m pretty shore you didn’t based your comment on actual use. Did you tried them both side by side? The korg looks and feel on every part like 5 times the price of the behringer
          even the plastic you hate feels much more robust. Metal case is not indication for quality.
          If you seen my studio you would know I don’t hate behringer 🙂

  7. I’ll reserve my opinion until I can hear HD comparisons between the original and the two reissues, and I don’t mean Youtube videos 🙂 Overall though, many “new” analogues lack vibe to my ears. Either thin or pristinely clean,

  8. Korg FS 2600 at $4,000. Antonus 2600 at $4,000. CMS 2607 at $7,000.

    I wonder what makes up the difference in price? Math was never my good subject, but 4,000 is more monies than 600. It can’t all be down to labor costs.

    What else could it be? It is a mystery!

    1. Labour and parts and shipping and tariffs. Labour for hand built electronics in the ‘developed’ countries is far greater. Behringer has the advantage of volume discounts, better lawyers for tariffs etc etc

    2. Two things: size and quality of the hardware.

      The Korg ARP 2600 is first class all the way, and is also huge. Boxed up, one of them basically fills an entire shipping palette. The Behringer 2600 box is probably an eighth as big.

      The Korg ARP 2600 is a big synth on its own, plus it comes with a full-size keyboard, plus each of those have lids, plus it’s got a road case. Everything is sturdy and top-notch.

      The Kong ARP 2600 also tries to match the original so closely that it’s like they restarted the production line. The new Prophet 5 follow the same philosophy – make it solid and classy like an original.

      The Korg ARP 2600 also a little overkill, for a lot of people, with the road case and all. I’m guessing that Kong will do another version that’s just the synth at some point, for a lot less money.

      Behringer acts like they’re cheaper because they don’t mark prices up because they love their customers so much. But we all know – that’s not how manufacturing works, that’s how MARKETING works.

      I’m not bothered by Behringer’s marketing bs, but am bothered by the fact that people fall for it hook, line and sinker. The Behringer 2600 is a synth that was designed to be $600. Any company would have to cut a lot of corners to be able to sell a 2600 at that price.

      Behringer 2600 buyers should expect to get 3-5 years of use out of this before the faders start going bad.

      I’ve had two of their mixers, and from the outside, both of them looked pretty solid. But they were both designed to last just long enough to be out of warranty when they started failing. One ended up in the landfill, the other has two channels that are useless.

      Somewhere, a manufacturing engineer is probably getting paid to pick out the cheapest parts that have a mean lifetime longer than the warranty period.

    3. Music Tribe is not an ethical or likeable company simply because they make inexpensive things. Uli Behringer presents his business model of applying “a small markup” as if it’s revolutionary, but in reality it is simply an (arguably) legal extension of the Shanzhai copycat approach that thousands of Chinese companies use to flood the market with low cost copies of successful products in the hope that consumers will choose the cheap imitation over the real thing.

      This model works really well with vintage synths because many of the companies that built the originals have gone out of business, and most of those that remain are relatively small and cannot afford to fight trademark or trade dress battles against a massive 3000+ employee multinational corporation.

      Flooding the market with cheap copies of monosynths only works in the short term. Some people with hoarding tendencies will purchase one of each, but most customers will pick and choose one or two instruments from their lineup (I bought the Model D).

      Therefore, Phase 2 of the Behringer Master Plan involves releasing more upscale polysynths like their versions of the OB-Xa, Prophet 600 and PPG Wave. This serves two purposes: (1) increased profit margin thanks to a higher price point, and (2) sells another instrument to a relatively small market that is already flooded with monosynths.

      Things get extremely tricky in Phase 3, because the company will be forced to innovate by introducing novel designs that aren’t based on vintage instruments and chipsets. That means expensive R&D and significantly higher marketing effort because they can’t simply say, “Look!!! It’s a $599 BARP 2600! Buy! Buy!”

      1. they’re working on an original poly iirc
        I’m pretty sure they’ll go head to head with DSI price, quality and performance wise and probably have a killer product considering the expertise they sit on .

  9. Another Behringer bomb exploded in the synthesizers area. I am an ardent supporter of this Behringer movement, the revival of old beasts. My only objection is if all of these could have patch memories. I do not know how easy or difficult this is in analog design, but in my opinion this would be a great innovation.

    1. In true analog design, patch memory is not possible. There is absolutely no data to be stored and recalled. Even if there was some way to store patches (motorized faders maybe? 🙂 ) it could potentially sound completely different every time you turn the synth on.

      Semi modular/modular synths add a whole other insane complication to it, as you the user become partially responsible for the way the internal circuits are wired/routed. Short of having a robot that remembers where you had everything plugged in, the best you can do is take pictures or fill out blank diagrams.

      It’s not really that terrible and is kind of the beauty of synths like this. I actually have a few patches committed to my brain for the Behringer Pro-1.

  10. I agree ‘knock off’ seems like a derogatory tone, we don’t use that term with software (UHE Repro 1 is a knock off)
    And this brings a great instrument to the masses, surely that’s what it should be about?

    1. Only hardware can be a knock off of another piece of hardware, software is not the same thing (Repro1 is not a knock off). Knock off has a negative connotation because it sucks in many ways to make a low quality copy of something that is currently on the market. One reason for Behringer products being cheap in addition to generally lower quality parts and mass production is that they have to do a lot less product research since they’re mostly just remaking stuff designed by others. That being said I don’t really think the BARP 2600 is really a knock either off since it is impossible to currently buy a new (K)ARP 2600…

  11. With all these new takes on the 2600, I still cannot get over the fact that nobody has replaced the AR with an ADSR. But then the price would have been $610?

  12. all behri synths looks like you’ve won it from a snacks… i know they try to make it as cheap as possible but come on, so ugly, not a single synth that looks and feel like a quality and professional tool, hire a good designer, put some more cost into the look and parts, charge 20 to 50 euro more, nobody would complain.

    1. Well, maybe not all of them – Deepmind actually looks very good. But e.g. the MS-101 looks like a child toy, while the original (SH-101) looked classy.

          1. Not trying to get into a beef here but (to me) an MS-1 doesn’t “look” different than any similar current synth. It reminds me a lot of my first synth, the Roland SH-1.

        1. Deepmind is 12 voice analog, very complex synth in a very good price but it does feels cheap. The knobs and the faders are flumsy and the keyboard is very low end.
          It looks much better in pictures then in real life.

          I had the ms1 too, It’s not build that good, I don’t know what’s your reference, did you tried a tank lately?

          I agree they could make it all better, But it would cost allot more then additional 50$.
          It seems they use the cheapest parts they can source to make it in the lowest possible price.

        2. Don’t know what MS-1 you where using but “weighs a ton and built like a tank” are not words that come to mind. Its a great techno oriented mono but the BS2 has a better build quality in direct comparison.

          1. I’m referring to the one sitting on my desk. It’s heavy for its size and all of the controls are as good as any I’ve seen on the average synth over the past 40 years. I’ve also had good luck with Behringer mixers over the years. Can’t say as much for their pedals though.

            1. BS2 is digital controlled so it’s not directly compered.
              Behringer clearly cheaped on the controls with the MS1. Maybe you confusing stiff control to quality?
              it’s all fine since the price is very low for a 101 but you get what you payed for.

    2. Behringer’s synth panels are always hideous.

      Find a graphic designer whose head doesn’t explode looking at this or the Behringer D!

  13. ARP Instruments, Inc. went bankrupt over 40 years ago and Behringer have just as much right to make this as Korg did – Just because Korg involved ‘one’ of the old founders of ARP doesn’t gibe them any more (or less) right to clone this Behringer. All of this old stuff that is no longer in production (the company has not even existed for 40 years so who are they knocking off?)

    The fact that B has the size and capacity to get the production costs so low is a god send for many musicians who long for this type of synth…just let people be happy about something good (cool low cost synths) there is enough other stuff to worry about.

  14. That *sips coffee* Is an ugly synth, but yeah as long as it sounds good I’m sure people will buy it. ARP2600 has one of the more unique interfaces in the synth world so it will be cool to see what the masses can do with it.

    I wasn’t happy with how 2/3 of my Behringer Model D’s were not within tunable range of each other, so that was kind of my straw with Behringer, and before I began factoring in their organizational culture/management.

    Hopefully they at least got their QC under wraps.

  15. Owned a used 2600 for 2-3 years back in the early 90’s n then it broke….since all the module circuit boards were
    Encased in some type of plastic it was gonna cost a fortune to fix. Was sad to sell it. At least I got what I paid for it.

    I will get one of these for sure! Sounds good to me. Seen all the videos n I like!!

    Btw I‘ve owned a DeepMind12 since 2017… the sound I get from it! I think it’s build is great! I’ve had no beefs with it! It really pairs well, sound wise, with the Hydrasynth and my Eurorack gear!

  16. All I care about is that I can actually fit a B2600 into my workspace, unlike the Korg FS. Also, not paying 4k for a MONOSYNTH FFS

    The recorded audio file doesnt care what gear you used. Get over yourself.

      1. if you can’t afford decent gear, let’s face it: there are no “listeners” except you and your beleaguered girlfriend

        1. There are a lot of artists these days who have many listeners but vastly reduced revenue to show for it, because so many people now opt to stream and/or steal music instead of buying it. I’ve seen more than one example of artists on boards like Gearslutz who were selling tens of thousands of copies of their releases 20 years ago but are in the “Behringer class” now because music sales have declined so much. And artists who, for the last several months, have had their live performance income dry up as well. But hey, don’t let reality get in the way of cooking up slick, mean-spirited little phrases with which to try and dismiss people. Kind of like this one (which actually does have at least SOME basis in reality): Most of the people buying more expensive synths now probably aren’t even professional musicians…the larger portion of them are mostly likely dentists and lawyers and others making their money in non-artistic fields, most of whom just have fun with the gear and never release anything.

  17. I have an absolutely novel (nay, radical!) idea: if you don’t want to buy a Behringer… don’t buy a Behringer.

    In the meantime, tens of thousands of people will get access to functional copies of legendary synths they had dreamt about (but never thought they could have) for decades, and immerse themselves in the transformative, cathartic, and thoroughly joyous spiritual experience of messing with noise (and occasionally, perhaps even make a few accidental pieces of actual music).

    …and curiously enough, while they are playing with them, none of those people will be worried about whether you call their synths a knockoff, copy, replica, reproduction, clone, or a soap dish.

    As to quality concerns: yeah, a Moog-reissued Minimoog Model D will definitely outlast a Behringer Model D, but for the former’s price you can buy TWELVE (12) of the latter; and if each of those Boogs lasts only for 4 years… you do the math.

    Some people buy synths for investment in the future; others to make music in the present.

    1. You don’t need any of this gear to make music “in the present”, don’t kid yourself you are in it for the right reasons. It is just consumerism over all cost. And let’s not forget you are voting with your wallet the same way you are voting in politics. There are repercussions for all this marvelously cheap gear.

  18. The Behringer 2600 is better than the Korg 2600. Notice in the lower left corner of the Behringer 2600 that there is a separate, dedicated LFO. On the Korg version (and the original from back in the day), you have to switch one of the oscillators to “LF” mode and use that oscillator as an LFO. On the Behringer 2600, you can use all three oscillators and not have to lose one if you want/need an LFO. The Behringer 2600 also allows you to switch any of the three oscillators to LF mode if you want to do that as well.

    1. Re the the extra LFOs… they’re nice to have, but if you’re buying a $4k semi-modular synth, this is almost certainly not the only synth you own. My KARP hasn’t arrived yet, but when it does, it will get plunked down next to my 5U modular with an SEM built into it… which has a total of five oscillators and three LFO’s, any of which can be used as LFOs. I suspect most people buying this thing have a roughly similar situation.

  19. Oh, just go and make music, OK?

    The real question about the B2600 is how it performs as an instrument. The K2600 just screams “I am an instrument! Play me!” The sliders are really what makes for me a far more expressive instrument than Moog and others with knobs. The B2600 is smaller than the K2600, so how does that change how a musician works with the instrument? Of course, rather few people will be able to comment on the difference.

    Yeah, the K2600 is a beast. It takes up a lot of room, and I reorganized my Eurorack system to work with it. And from using it, I really wish Arp’s design had led the UI design of synthesizers. Sliders allow me to “smear” sound instead of “stirring” it. It’s not too difficult to move a few sliders at a time, but it’s not easy to turn a few knobs at a time. Yes, I mean while playing on the keyboard, not while a sequencer plays for you.

  20. My Neutron pots were scratchy in less than a year. My friend’s Mother32 did the same thing. We both play at least an hour every day. These cheap synths are novelties for hobbyists. If you are serious, save your money. Quality modern synths do not route audio directly through a potentiometer.

    1. I own a m-32 for 3y and dfam for 2y, no scratchy pots, but I’ve read some people complain of this too, I guess you may not be that careful with your unit.

    2. is it easy or hard to replace the pots on these things? in the old days it would have been quite easy but now if they’re surface mount it might be really fiddly.

    3. UHHHH. What makes you think that digitizing the position of a rotary encoder or potentiometer and then generating a cv voltage using a microcontroller and DAC to control an analog signal is somehow *better* than running an analog signal through an analog potentiometer?! That makes no sense at all.

      1. Oh ho! I’ve run into this guy before. He’s got a real hang up about stuff that was “Incorrectly designed 50 years ago” before he was born. Dude doesn’t get volume controls.

  21. Oh FFS, enough with the “clone”, “knock-off”, “I’m so upset, it goes against my morals to support a company that rips off others …. blah blah”. Do you use samples of sounds? Yes? Then STFU because it is a knock-off. Do you use a synth with DCO, DCA, or DCF? Yes? Then STFU because it is a digital clone of analog. Do you use any analog synth? Yes? Then STFU because it is pretty much a copy of the earliest analog synths. So your synth has FM? Don’t even get me started down that “proprietary” rabbit hole. STFU. Yes I completely simplified all of this so that I could rant, but get off your high-horses and go somewhere else and complain. Seriously, nobody gives a toss about your moral obligation to support expired patents … etc. If you don’t like Behringer stuff, STFU and go buy something else.

  22. it is ugly as hell with the orange labels clashing with the colored faders. behringer needs better ui designers that’s for sure. but it‘s probably close enough to the og – which i could never afford – for the tenth of the price. whats not to love about that?! i don‘t understand all the fuzz about copies and knockoffs. behringer just makes what everyone is asking for and the big ones didn‘t listen. well done! don‘t like? it don‘t buy it!

    1. Most of this original synth are unknown for most who buys the knockoff (I’m starting to like this word:))
      They are not heroes, They are just very cheap on r&d.

  23. I want one to put on the wall at Xmas. Looka dem purty lights, Maw!

    Bill says his DeepMind is holding up and complimenting his other gear. MTM rightfully points out that you should save your money and buy from the higher-end. Those are the only sensible opposite-ends of the argument. I’m more with MTM, but there’s also something to be said for configuring your cheaper gear in particular and then leaving it there, WITH dust covers all around. Everything lives longer minus dust. If you’re DJing with 8 Volcas, they’ll be pounded into mulch in no time. There’s the line.

  24. First world problems, I lost my job to covid, and am struggling to pay the rent this behringer at the moment is as far out of my grasp as a tish clone/ ripoff/ knockoff two years ago,I’m lucky I have my computer as I can play my arturia rip off as I decided when to start selling 15 odd hardware synths.

    1. I hear you brother…have been without a contract since 2016 and I do wish to work for either Behringer or moot or Erica synths…I do know that we can NOT have EVERYBODY happy, but with certainty I can tell you brother that one of this ‘knockoff” synth will put a big smile in someone’s face =D

      Really hope things go better for you man!


  25. Dear sick of the Behringer argument,
    Please stop, there is room in the marketplace for Behringer. They make and sell products. Yes they are knock offs, yes they are cheap and no one will ever miss the sound of a Behringer. They cater to the market of disposable, of I need it now for nothing, the I just want a taste of the real thing. I have a few of their products. I use em and when they break, I may or may not replace them. I have no problem with using them a s a tool. But when I want to invest in my music and career, I buy the original. When I want quality, assurance and know I own a classic, I buy the real thing. Behringer is a great place to start. Then as you become more successful you’ll find you need or want their products less and less.

    There is room for Behringer.

  26. Instead of getting heated over replica vs knockoff, lets remember when Behringer went after journalists and tried to sue individual members of Geartslutz for not liking their products.

    Dont support this shitty company.

  27. Instead of arguing over replica vs knockoff, lets remember when Behringer made personal attacks against a journalist through their platform, simply for revealing their lawsuit agains individual members of a internet forum for not liking their products.

    I will NEVER support this shitty company.

  28. Remember, you are special and unique….just like everyone else.

    Everything related to the music industry is a “knock-off.” I’ll have two thank you! Looks and sounds badass .

  29. How many guitar companies build “knock-off’s” of the Fender Strat, Gibson Les Paul, Fender Telecaster… answer: ALL OF THEM. No one complains…
    Inexpensive imitations of an expensive vintage analogs synth are democratizing… allowing folks who don’t have the kid of disposable income that allows for the purchase of the real thing… Does it sound exactly the same? No. Do two of the exact vintage Arp 2600’s sound the same? No.
    This is a tired idea, expressed ad nausum, all over the internet…we get it.
    Wanna talk about Behringer’s nasty business practices, ok (oh course, that is blasted to death all over the internet too.) Not interested, don’t buy… why waste any more energy on the topic than that?

    1. I find it very interesting to know more about behringer behind the curtain,
      Especially since they present themselves to be something they are not.

    2. > How many guitar companies build “knock-off’s” of the Fender Strat, Gibson Les Paul, Fender Telecaster… answer: ALL OF THEM. No one complains…

      I wouldn’t be surprised Fender, Gibson etc. did complain at one point, but your point is well taken: Fender and Gibson designs like strat/tele/les paul/sg/explorer/etc. basically became standard templates for all manufacturers and guitarists everywhere rejoiced. Also Fender and Gibson produce cheap/knockoff(?) versions of their high-end guitars under the Squier and Epiphone brands, and they’re actually pretty decent. And third-party versions often sport interesting improvements or variations on the originals as well as a lower price.

      Since clones/knockoffs/etc. are such an important and valued part of the guitar world, it’s a bit surprising to see the amount of backlash against synth clones.

  30. This thread should have been really interesting. Instead it’s just a bunch of whiners whining. Think I’ll check out gearslutz for some actual discussion about the synth.

      1. It’s not like your comment contribute to the “discussion”
        You could just do that,t but you choose to tell it to all of us.

        Whining about synthtopia “whiners” is just another “whining”

        1. What discussion? The endless discussion about Behringer being a disgrace for ripping off long out of production synths? That one? I’d rather discuss the actual synth. Point me in the direction of that discussion if you can find it.

          Whiners gonna whine.

  31. Is Synthtopia biased? With other manufactures we read “reproduced or cloned” classic synths and with Behringer all i read is “knock off”.

    1. The real question is why you’re offended over people calling a spade a spade.

      Most people have figured out already that Behringer specializes making cheap knockoffs of other company’s designs, and that’s not what other companies are doing.

      Korg’s ARP 2600 is essentially re-releasing a new version of the original, with the participation of people from ARP. It’s not a cheap knockoff – it’s pretty expensive and it’s an obsessive-compulsive reissue of the original design.

      Same thing with Dave Smith re-releasing the Prophet-5 – he even calls it a ‘rev 4’ of the original design. You put an old Prophet 5 next to a new one and they’ll look and sound alike.

      Same thing with Moog reintroducing their original modular synths. They’re probably the most extreme, using new old stock parts and manufacturing techniques.

      The closest thing to another mainstream synth maker doing a cheap knockoff of another company’s synth is probably the Korg Volca FM. It will play Yamaha DX7 patches accurately. Even with that, though, Korg created a new synth design – with a different format, different capabilities and different ‘look’ than a Yamaha DX7.

      Saying that Behringer makes knockoffs is just calling a spade a spade.

    2. Isn’t the fact the Behringer synths are cheap knockoffs their main selling point?

      That’s the only reason I bought my Behringer D – it was $400 and sounds like a minimoog.

    3. Behringer discussions usually get heated, and Synthtopia has figured out that choosing certain words will get people fired up even more. They do this all the time, supposedly to generate traffic and make the advertisers on this site happy.

  32. I’m old enough to remember and have used the original ARP 2600. It was a neat synth, but notoriously unreliable. But to be fair, ARP intended for the 2600 to be used in quiet college electronic music labs and not on the road with a rock & roll band.

    I think this BARP 2600 is cool and ideal for the home studio user who’d rather not go down the Eurorack rabbit hole. Trust me that with creative patching the 2600 can do way more than this demo video illustrated, although the demo was OK. The BARP 2600 will probably be more electronically reliable than the original due to its SMD components, just remember that those sliders love to collect water, beer and small debris, so I’d think twice before taking it on the road. But for just $699, this thing is a deal.

    1. Also owned a 2600 .Next to my odyssey it did not really feel like a “musical instrument”
      And without the backing of pro equipment ,it sounded thin and was very unreliable
      The spring reverb was just ok ,but even a guitar amp ( roland chorus 100 ) made a much better job
      At the time I considered it more like a bad ( bulky) copy of the Ems AKS and got rid of it as soon as I could
      I just sold from my odyssey last year (has always been a simple synth to keep working)
      from that time I still own a roland system 101/102

  33. $699? Let’s see how many of these are still working in 10-15 years. I also doubt they’re easily serviceable. Obviously, these are designed to move units with longevity being tabled. And a digital reverb? Oof. The spring tank in the original was one of the things that helped give the 2600 its unique sound. Pass.

    1. Many of the original ARP 2600s were unreliable when they left the Massachusetts factory, and they cost how much? As for being serviceable, you had to literally break into parts of the case on the earlier 2600s in order to facilitate repairs. The critical circuits of the early 2600s were cast in epoxy blocks that were almost impossible to repair. At $599, a digital reverb is a small concession.

  34. Let’s see how many they sell. Then we will see how much attention the buying public pay to the whiners. Can’t help wondering if Behringer was an American business and not European how much less shite would be getting flung at them.

  35. Hard to believe people are complaining about a $599 Arp 2600. Boards over the last year are full of people ‘hoping it comes in under $1,000. Compared to the $3,500 for the FS Korg, this is a drop in the bucket, even if it only captures 90% of the original. I still regret passing on an original 2600 for $995 back in the late 80’s. (Lost an early eBay auction 20 years ago for Styx’s 2600 too)
    I’m definitely not Behringer fanboy, but there are some major misconceptions being bandied about here as fact, on both sides of the argument.
    1. “The Model D is nearly the same as the real Minimoog”. Yes, like a Zipcar is essentially the same as a touring Mercedes limousine because both have an engine, transmission, four wheels, a radio and both can drive from Boston to NYC. Absolutely non comparable. The Model D is a plastic toy, very hard to tune. I’ve owned an original Minimoog back in the day, along with the Micromoog, Source, Prodigy, Rogue, Voyager and have the new Minimoog reissue. I sold the Model D within a month as it is a rickety toy.
    2. Build quality. B guitar pedals ain’t great, agreed, but my mixer from 2001 is still going strong-toss it in a crate for gigs, no case, works every time. The B Odyssey is far sturdier and far better than the Korg. I owned both, did side by side comparisons, but the mini keys and plastic chassis on the Korg eventually made me trade it in. (have had a vintage white face and vintage blk/orange one in the past-finicky beasts). The Broland Sh101 doesn’t quite measure up soundwise to the original (I still have three, was in live rig for 25 years), but in build quality, yes it is built like a tank, far sturdier than the original Roland. It now replaces my elderly 101 in the live rig. As said above about the Model D though, not everything they make is solid.
    3. “They only do knock offs”. Not going to address the picayune semantics of those arguing words as it is silly. But that everyone and his brother tried to knock off the minimoog for over 40 years now puts that argument to bed. Even though the Deepmind was originally intended to be a reboot of the Juno 106, it became something far better in the end. I was so impressed with the D12’s ability to be a great 70’s berlin/space/ambient synth I grabbed another one, a DM6 for short money ($350) as a controller/minirig gig choice. One of the best all around synths created by anyone in a while. I don’t buy two of anything (well the three Sh101’s kind of instantly disproves that, but you get the idea…)
    I do think there are just Behringer haters, and you know what? Let ’em hate. I will be first in line for a 2600, something that many of us have wanted for over thirty years. Two of my friends worked at ARP the summer after 12th grade, and I am still endlessly jealous of them.
    End rant.

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