The world of synth clones can be perplexing, whether you’re new to synths or adding your third Eurorack. The contrasts between Behringer’s synth clones are best enjoyed side by side, which is exactly what you’ll find in this guide. Behringer has been creating a spate of analogue synths that are clones (or models) of classics. They’ve done an excellent job at preserving the sound of classic synths, including the original glitches.
Behringer DEEPMIND 12 True Analog 12-Voice Polyphonic Synthesizer
- Demo 12-voice Analog Synthesizer
The classic synthesiser sounds on your favourite progressive rock, pop, and jazz fusion recordings from the 1970s and 1980s will go down in music history forever. Behringer set out to create the ultimate analogue polysynth with the DeepMind 12, a 12-voice beast capable of delivering any vintage synth sound you’ve ever heard – or imagined. The Behringer DeepMind 12 is a value-packed axe with serious synthesis firepower, including two digitally controlled analogue oscillators and two LFOs per voice, three envelopes, a noise generator, unison mode with a handy detune fader, an extensive 8-bus modulation matrix, a 32-step sequencer, four digital FX engines, built-in Wi-Fi, a silky aftertouch-enabled keybed, and more.
The Behringer DeepMind 12 is one of the best sounding and most versatile polysynths, whether you’re creating killer bass lines, magnificent, celestial pads, or snarling, in-your-face leads. This synthesizer features Behringer’s most advanced technology and can be used as a midi controller. It’s simple to re-create classic synth magic or explore new musical frontiers thanks to the analogue VCFs, dual VCAs, sequencer and arpeggiator, and 12-voice design. The adjustable-resonance, dual-slope-selectable 12/24dB VCFs per voice sound fantastic.
Behringer’s DeepMind 12 provides you the control you need for your soundscaping adventures with four effects engines, twin oscillators and LFOs per voice, three ADSR envelopes, eight-channel modulation matrix, integrated 32-step sequencer, and LCD display with encoder, navigation buttons, and sliders. Furthermore, the DeepMind 12’s built-in USB, MIDI, and Wi-Fi allow you to control it remotely from your Mac, PC, or iPad, allowing you to create a workflow that suits your needs.
Behringer specified four simultaneous effects engines with over 33 TC Electronic, Midas, and Klark Teknik algorithms in the DeepMind 12. Studio-quality reverb, chorus, flanger, phaser, delay, multiband distortion, and more are all available and ready to use. These effects, which have been meticulously modelled after legendary hardware processors and fine-tuned to perfection, run on DeepMind 12’s low-latency operating system, allowing for flexible routing and constant performance without the need for cables.
DeepMind 12 contains five great reverb models — Hall, Ambient, Rich Plate, Room, and Rich Chamber — from the Lexicon 480L, a benchmark digital reverb device, in addition to the impeccable TC Electronic reverbs. These models capture every element of the analogue and digital circuit paths, including the unit’s gain-stepping AD/DA converters, thanks to Behringer’s True Physical Modeling. Vintage Reverb, based on the legendary EMT250 plate, adds a bright, shimmering atmosphere to your tunes that won’t overpower or muddy them – perfect for voices and snare drum. This is the Best Behringer Synthesizer in 2022.
Behringer POLY D Analog 4-Voice Polyphonic Synthesizer with 37 Full-Size Keys
- 37-key Analog 4-Voice Paraphonic Synthesizer with Full-size Keys
- Classic Ladder Filter
- 32-step Sequencer
You can quickly and simply create practically any monophonic — or polyphonic — analogue synth sound with the Behringer Poly D. The all-analog signal route is made up of four fully analogue triangle/square wave VCOs, as well as authentic VCO, VCF, VCA, and ladder filter designs (the original had three). Playing a Poly D is like launching your own musical time machine, allowing you to journey back in time – or create the future!
With its matched transistors and JFETs, ultra-high-precision 0.1 percent thin film resistors, and polyphenylene sulphide capacitors, Behringer faithfully recreated the original D-type circuitry in the Poly D. The Poly D’s ultra-flexible sound-shaping capabilities range from ultra-fat basses and blazing lead tones, stunning effects, classic prog rock organ sounds, all the way to the warped sounds of your darkest musical dreams, thanks to this scrupulous attention to detail.
You can use the Poly D in one of three modes: monophonic, polyphonic, or unison. Mono has all of the qualities of a traditional monosynth, such as the original D, but with fatter and more expressive bass lines, blazing solos, and swoopy portamentos. When you set the switch to Poly, you can play up to four-note chords to create luscious chord harmonies and pads that give your music soul and depth. Unison Mode adds harmonic depth to your sound by layering all four voices of the Poly D on top of each other for a fuller sound. Behringer includes two popular circuits from the 1980s to further enhance your tone: a J60-modeled BBD Stereo analogue Chorus and a DS1-modeled analogue Distortion (overdrive).
The Poly D features four very adaptable Voltage Controlled Oscillators (VCOs) that give an astounding range of five waveforms for shaping your hit sounds. Triangular, triangular/saw; saw, square, wide pulse, and narrow pulse waves are available for oscillators 1, 2, and 3; triangular, reverse saw, saw, square, wide pulse, and narrow pulse waves are available for OSC 4. Furthermore, the four VCOs can be adjusted over a six-octave range (LO, 32′, 16′, 8′, 4′, and 2′). This remarkable adaptability provides you with everything you need to be your most creative self.
The legendary, very adaptable 24dB Ladder Filter is at the heart of the Poly D’s sound. Cutoff Frequency, Emphasis, and Contour are all fully adjustable in Behringer’s rendition of this famed vintage design, allowing you to fine-tune your sound to luscious, juicy perfection. The Filter Mode switch on the Poly D can be changed to either low-pass or high-pass operation to pick the operating range of your choice. You can also change the cutoff frequency over time by using the Attack, Decay, and Sustain settings.
Poly D contains a staggering 84 controls, all of which are laid out in a conventional, extremely intuitive arrangement that provides delight to music-making and a smile to your face. In addition to the fourth oscillator, Behringer added aftertouch, BBD Stereo analogue Chorus, analogue Distortion, an arpeggiator, and a 32-step Sequencer to the Poly D, which the original D lacked. MIDI In, Out, and Thru over USB/MIDI and DIN; After Pressure (aftertouch) and Velocity outputs with dedicated volume controls; internal and external V-Trig I/O; and external Loudness, Filter, OSC, and modulation source outputs are just a few of the features. This is the Best Behringer Synth in 2022.
- 37-key Duophonic Analog Synthesizer with Dual VCOs
- 3-way Multi-Mode VCF
- 32-Step Sequencer
The ARP Odyssey, an ARP duophonic space-age synth from the 1970s, was used in the studios and on stage by early pioneers including Kraftwerk, Jean-Michel Jarre, and the BBC Radiophonic Workshop. It was equally at home with ABBA and ELO, and it drew a sizable following from jazz greats like Herbie Hancock and Chick Corea.
The Odyssey is totally analogue signal path, with an internal arpeggiator and sequencer, MIDI through MIDI I/O and USB, a multi-effects section, and three filter types with overdrive from Behringer. It’s a full-fledged homage to the ARP Odyssey, and it succeeds on many levels as a fully working duophonic synthesiser with excellent build quality.
Behringer NEUTRON Paraphonic Analog and Semi-Modular Synthesizer
- 80HP Eurack-sized Analog Monosynth Module with 2 Oscillats
- Filter Amp Envelopes
- Lowpass/Highpass VCF
The Behringer Neutron semi-modular analogue synthesiser appears to have no end to the sound fun you may have with it. This standalone/Eurorack duophonic synthesiser provides blazing leads that will tear the paint off club walls and enormous basses that will blow them down, thanks to a pair of punchy morphable-waveform oscillators and ample modulation capabilities. Neutron has you covered with everything from stunning cosmic pads to blippy extraterrestrials. CV (control voltage) is the way to go for sound expression, and the Neutron gives you full access to it. You may create your own fully unique distinctive sounds and stand out from the crowd with its large patchbay.
This behringer synth is a semi-modular synthesizer, which means it has a normalised signal path that produces sound without the need for patching. But when you’re ready to get serious and roll up your sleeves, start flinging patches and let your imagination run wild. While most semi-modular synthesisers have some patchability, Neutron’s 56-point patchbay rivals several completely modular synthesisers in terms of flexibility. In essence, you’re rewiring the synth’s signal channels, bypassing the manufacturer’s selections with patch cords that connect to patch points on the instrument or to other devices externally.
Neutron is an all-analog beast designed by Behringer hardware synths and the propellerheads at Midas in England; even the integrated delay is a BBD (Bucket Brigade Device). The voltage-controlled oscillators are powered by the reissued Curtis CEM3340 chip, which was first used in synthesisers from the 1970s such the OBXa, OBSx, OB8, SH101, Jupiter6, and Prophet5. Incredibly illustrious company. This is one of the Best Behringer Synthesizers in 2022.
Behringer 2600 GRAY MEANIE Special Edition Semi-Modular Analog Synthesizer
- amazing analog synthesizer with triple vco design allows for insanely fat music creation
- authentic reproduction of ultra-rare arp grey meanie circuitry from the ‘70s with specially selected opamps and transistors transistors
- semi-modular architecture requires no patching for immediate performance
Few synthesizers are as well-known as the original 2600, and Behringer has now made the semi-modular workhorse available to the public in an 8U rackmountable model. The Behringer 2600 Gray Meanie, based on an ultra-rare early 2600 analog synth with a dark grey fit, draws on its normal signal path and patch-point design to give intrepid synthesists a powerful sound production platform. The Behringer 2600 Gray Meanie provides a plethora of audio creation tools, including three muscular VCOs, a multimode VCF, mountains of modulation, and infinite routing options, whether you’re chasing traditional synth sounds or concocting future-facing creative manifestations. The Behringer 2600 Gray Meanie and Behringer 2600 Blue Marvin are a sonic wonderland for analogue aficionados and modular marauders alike, with 78 faders and switches, 93 patch points, and Eurorack compatibility.
Behringer went to great lengths to accurately duplicate the analogue circuitry of the original machine, and it shows. The Behringer 2600 Meanie provides a fully authentic vintage semi-modular experience, from its vintage-style voltage-controlled oscillators, filters, and amplifier to the modular patch-point architecture and normalled signal routes (which allow for amazing sound-design versatility). It’s also fully compatible with newer Eurorack configurations, providing an incredible launchpad for cutting-edge sonic manipulation.
Systems were gigantic, wall-filling monstrosities in the early days of modular synthesis, and were often confined to use in academic facilities or recording studios. When 2600 debuted in 1971, it gave musicians a method to bring the incredible power of synthesizers to the stage. It also provided a normalised signal path for gamers who wanted to fast access sounds without having to physically patch the modules together using patch cables. The Behringer 2600 Meanie sounds fantastic only utilising the hardwired routes, thanks to its semi-modular construction. If you want to start experimenting, simply pull out your favourite patch wires and see where serendipity takes you!
Behringer TD-3-SR Analog Bass Line Synthesizer
- Demo TD-3 Analog Bass Synth
The Behringer TD-3 analog synthesizer and sequencer, which dates back to the dawn of electronic music, create the pulsating rhythms and greasy bass sounds that have defined electro-funk, acid, techno, and house for the past 30 years. With an all-analog signal line, a 16-step sequencer, transistor wave-shaping circuitry, a built-in arpeggiator, and a 4-pole resonant lowpass filter that drips with character, the TD-3 is a genuine reproduction of its classic ancestor. There was no stopping the funk when techno and house producers got their hands on the TD-3. The TD-3 is a retro-style groove machine resurrected for contemporary producers and sound designers that you’re sure to love. Grimy, squelching, and unapologetic, the TD-3 is a retro-style groove machine reincarnated for contemporary producers and sound designers that you’re sure to adore.
The characteristic growl and punch of the Behringer TD-3 begin with an original analog VCO. To establish the foundation for your synth bass creations, choose between a biting, aggressive sawtooth or a brilliant, resonant square wave. Then, using the TD-3’s four-pole resonant VCF, twist and deform them till they bark, squawk, and shriek. Hit the drive switch for utter dystopic synth pandemonium, and watch your listeners’ faces melt.
It’s a piece of cake to program the TD-3’s onboard 16-step, 7-track sequencer. Create patterns in Step mode or Keyboard mode, then play and record them in real-time. You can save up to 250 user patterns for quick recall. For dynamic performances, add programmed accents and slides to your sequences and modify them using the TD-3’s 11 controllers and 28 switches. Use the integrated arpeggiator to create complex, developing melodies and alien effects for even more soundscaping bliss.
Behringer MODEL D Legendary Analogue Synthesizer
The Behringer D is a Eurorack-sized replication of the original analogue monosynth. The Behringer D provides an universe of creative creativity at your fingertips, from big pulsating basses to searing leads to celestial pads. Put a patch from the Main Out to the Ext In, turn up the Ext In Volume till it reaches overdrive, then play a note and twist the filter cutoff.
Behringer’s addition of an overdrive circuit, which you can patch in and control via the Ext In jack and volume slider in the Mixer section, adds to the D’s meaty, punchy sound. However, analogue synthesis isn’t all about exploding leads and gurgling basses. This synth can also produce eerily accurate acoustic instrument simulations, such as woodwinds, brass, and strings. The heart of this synth is the Behringer D’s iconic VCF, which is an essential component of subtractive synthesis. Behringer has done an excellent job with the D’s filter: it’s smooth and melodious, with a good bite when you put in some resonance. The Behringer D employs a variety of musical possibilities, ranging from aggressive to peaceful.
To put it bluntly, the Behringer D has sultry visuals. Its tiny, Eurorack-sized chassis is accented with wooden end cheeks and sports old-school synth knobularity that’s impossible to put down. The continuous pots have a terrific feel to them as well: they’re smooth and substantial, with just the right amount of resistance. Tactile feedback is also provided by the detented rotaries and rocker switches. Three voltage-controlled oscillators unleash monstrous aural might, while the classic control set allows for endless real-time tweaking. There’s also a lot of CV connectivity enabling semi-modular flexibility and legacy gear compatibility. This little gem of a synth from Behringer has all the fundamentals (and then some) crammed into it. The Behringer D is a fantastic deal. Get one and start making some music!
Behringer CRAVE Analog Synthesizer Analog Semi-Modular Synthesizer with 3340 VCO
- Analog synthesizer with legendary Prophet 5* VCO design allows for insanely fat music creation
- Pure analog signal path based on authentic VCO, VCF and VCA designs
- Super-rich oscillator with pulse and sawtooth wave outputs for ultimate sounds
The Behringer Crave semi-modular analog synthesizer combines features from some of the most sought-after analog synthesizers ever produced to give tremendous sound creative potential in a compact module configuration. Crave’s sound is built around a VCO modeled after the Prophet synthesizer and a four-pole (24dB) lowpass filter modelled after the classic Moog sound. A 32-step sequencer is pre-installed and includes 64 onboard storage slots for your sequences. You may also connect additional Crave modules together for up to 16-voice polyphony if you need more synth voices. Check out the Behringer Crave semi-modular analog synthesizer module if you’re looking for new ways to work with vintage synth sounds.
Michael Jackson, Madonna, Dr. Dre, and Radiohead used old synths from the 1970s in some of their most successful and iconic music from the 1980s and 1990s. The Behringer Crave includes a 3340 voltage-controlled oscillator with pulse and sawtooth waveform outputs, as well as voltage-controlled filters and amplifiers, just like the original desktop version synths it’s based on. You can spread the two waveforms up to an octave apart using the tuning range, and you can choose between narrow, square, or pulse width modulation with the Shape switch.
The Crave synth module is a single-voice analogue synth featuring vibrant oscillators, a pleasantly thick filter, external audio input, and a plethora of patch locations. With Poly Chain mode’s compatibility for up to 16 voices, you can keep adding modules to your rig to expand its musical potential. To add another synth voice, simply link each Crave module to the Poly Chain output of the preceding module.
Frequently Asked Questions
Why are Behringer synths so cheap?
Large amounts of complexity could be packed into tiny, low-energy, low-heat packages thanks to the drive to make bigger, more complex, and more powerful instruments, especially in the late 1980s and early 1990s, when computers and large-scale-integration of silicon chips allowed huge amounts of complexity to be packed into tiny, low-energy, low-heat packages. But we didn’t always want a better brush; we just wanted the ones we already had and liked to be more affordable.
Some companies attempted to bring cutting-edge technology to market at a lower cost, such as Sinclair’s rubber-keyed microcomputers and EDP’s membrane-keyboard Wasp, which could easily have been the 1970s equivalent of Kickstarter projects that explode into delayed reality, but keeping everything in-house and local drove up costs.
Continuing with the Sinclair metaphor, Sir Clive had some success as well, but the mentality remained the same… They sought to build thousand-pound PCs for £399 with meaningless sacrifices, even when it was profitable. They were bought out by Amstrad, which, like Behringer, excelled at obtaining the largest-scale production and the most consumer-friendly package at the lowest street price.
Behringer’s size and success have allowed them to purchase some inventive companies in recent years – T.C. Electronic, Klark Teknik, Tannoy, Midas… you get the idea. CoolAudio, a manufacturer of audio ICs that includes, critically, recreations of legendary synthesiser chips from the ‘golden age of analogue,’ is one of such companies. The lack of a more cheap brush was seen by Behringer as a market need. These ancient synths are revered and admired for their simplicity and sounds; why waste money trying to remake the wheel?
Even with cracks in the basic casing and wear on the printed keyboard, an EDP Wasp – which cost new in 1981 – can fetch up to these days. The SH-101, previously an inexpensive monosynth you’d find unloved in secondhand shops, can now be found with dirty faders and wear (more if it’s an unusual colour), and the TB-303 synth initially intended as an electronic bass accompaniment. That’s a horrible value if money equals sound. It’s not even close to the capabilities of a modern synth, let alone the monster Arturia Matrixbrute or Moog Voyager you could get for the same money (with change left over).