I am definitely looking forward to seeing what you reveal once you receive the Behringer Model D, especially since I've been considering getting a new Moog Minimoog Model D reissue (once I sell a piece of gear to acquire the funds). I have a Matriarch as well. Mine is the Dark Edition. Anyway, it would be very interesting if you compare the Behringer Model D side by side with the Matriarch. I bought the Behringer Poly D a while back but didn't like it because of some design decisions made with the Poly D that deviate from the Minimoog regarding sound. I recently traded my Poly D to help fund the Matriarch. However, the Behringer Model D desktop module is supposedly closer to the Minimoog than the Poly-D sonically. I do like the physical form-factor of the Poly D better though (because it actually looks more like a Minimoog, because of the tiltable control panel with a keyboard attached in a wood chassis). Of course, the real Minimoog looks, feels, and sounds MUCH better then the Poly D. So yeah, I want to hear the Behringer Model D compared against a Moog synth, particularly the Matriarch.
For someone with what you already have this will be an interesting comparison, but having it end up in actual/regular/preferred use seems a long shot. Still, never say never... Behringer pricing is a result of 4 things - economy of scale, labor cost, economy of BOM, and product margin. There is a LARGE price difference when purchasing 2 million vs. 20,000 resistors. Labor cost at their factory is much less than in EU or US. (Longterm implications of being in China vs. Mexico are not encouraging however) Many would be surprised how little BOM difference there is on the voice and control components between Behringer and others; that part of the build is NOT where they save. They spend as little as possible in places where others spend more - there is a certain "aesthetic" expectation spending $3500 for a 6 voice 4 octave monotimbral synth after all. Additionally making an ever broadening range of synths allows use of common components where possible. (Same housing, keybed, chips, control routines, etc.) Margin is MUCH smaller not simply by making up the difference in volume which, if the only factor, would need to be higher. Music Tribe makes a lot of money across a broad range of products. The "clone" synths are passion projects. Whether that passion is to show "look what we can do" or an actual love of the synths is at best a speculative guess on our part. In the end each still has to be in the black, but not by as much as one would normally expect.
Never mind dude, I buy something cheap and it sounds like pure funk, I can do all my funky, jazz and hiphop stuff. I don't need a huge machine to make the best sounds, the important thing is that it's small and very manageable, I don't want a minimoog that weighs like my grandmother's coffin. Actually this version is in the standard quality of the modular eurorack, even the eurorack modules of more expensive brands are of poorer quality. This bad boy has metal encoders, not plastic, and the casing is also metal, all of which looks great for its desktop format. I have a waldorf pulse 2 and the module is made of metal, but it slips a lot because it is not heavy enough so that it does not slip with the cables. the model D has a good weight to avoid those things, it is much more correct than my waldorf pulse 2. This format is the same used by the moog mother 32 and DFAM, they are heavy and not easy to move when they have the desktop module casing. I really like the quality, it is not premium, but its quality is quite acceptable and it is designed to last many years in a modular eurorack and that convinces me a lot to buy it and have it. The poly D keyboard is a rare minimoog, but I don't like shitty keys, so I prefer the module with hard materials without keys or wheels to break and to be able to use it with my studilogic with high-end Fatar T9 keys. Some second-hand things if they are from close people are better to buy cheaper, but unknown individuals are not trustworthy. It also happened to me with a prophet 6 that I bought in 2018 that arrived broken every time after buying a new one in the store. They gave me another one and they solved the problem, with that I am only saying that new things can be worse if they are defective from the factory and it does not matter if they are from large or small brands. I am very happy for this synth.
Dude, I'm sorry to hear you are copping vitriol over all this. I'd personally like to see the rancor dropped by both sides of the Moog, other barands/Behringer divide. It's just pointless and not worth being mean or angry about. I have a Behr model D, I love it. It's a great little synth. It's not a Moog, but it's cheap and cheerful, sounds good, and if nothing else was a cool way to learn the workflow of the Moog it's based on.
I look forward to your experience with the Behringer. I think you'll be pleasantly surprised.
I am definitely looking forward to seeing what you reveal once you receive the Behringer Model D, especially since I've been considering getting a new Moog Minimoog Model D reissue (once I sell a piece of gear to acquire the funds). I have a Matriarch as well. Mine is the Dark Edition.
Anyway, it would be very interesting if you compare the Behringer Model D side by side with the Matriarch. I bought the Behringer Poly D a while back but didn't like it because of some design decisions made with the Poly D that deviate from the Minimoog regarding sound. I recently traded my Poly D to help fund the Matriarch. However, the Behringer Model D desktop module is supposedly closer to the Minimoog than the Poly-D sonically. I do like the physical form-factor of the Poly D better though (because it actually looks more like a Minimoog, because of the tiltable control panel with a keyboard attached in a wood chassis). Of course, the real Minimoog looks, feels, and sounds MUCH better then the Poly D.
So yeah, I want to hear the Behringer Model D compared against a Moog synth, particularly the Matriarch.
For someone with what you already have this will be an interesting comparison, but having it end up in actual/regular/preferred use seems a long shot. Still, never say never... Behringer pricing is a result of 4 things - economy of scale, labor cost, economy of BOM, and product margin. There is a LARGE price difference when purchasing 2 million vs. 20,000 resistors. Labor cost at their factory is much less than in EU or US. (Longterm implications of being in China vs. Mexico are not encouraging however) Many would be surprised how little BOM difference there is on the voice and control components between Behringer and others; that part of the build is NOT where they save. They spend as little as possible in places where others spend more - there is a certain "aesthetic" expectation spending $3500 for a 6 voice 4 octave monotimbral synth after all. Additionally making an ever broadening range of synths allows use of common components where possible. (Same housing, keybed, chips, control routines, etc.) Margin is MUCH smaller not simply by making up the difference in volume which, if the only factor, would need to be higher. Music Tribe makes a lot of money across a broad range of products. The "clone" synths are passion projects. Whether that passion is to show "look what we can do" or an actual love of the synths is at best a speculative guess on our part. In the end each still has to be in the black, but not by as much as one would normally expect.
Never mind dude, I buy something cheap and it sounds like pure funk, I can do all my funky, jazz and hiphop stuff.
I don't need a huge machine to make the best sounds, the important thing is that it's small and very manageable, I don't want a minimoog that weighs like my grandmother's coffin.
Actually this version is in the standard quality of the modular eurorack, even the eurorack modules of more expensive brands are of poorer quality.
This bad boy has metal encoders, not plastic, and the casing is also metal, all of which looks great for its desktop format.
I have a waldorf pulse 2 and the module is made of metal, but it slips a lot because it is not heavy enough so that it does not slip with the cables.
the model D has a good weight to avoid those things, it is much more correct than my waldorf pulse 2.
This format is the same used by the moog mother 32 and DFAM, they are heavy and not easy to move when they have the desktop module casing.
I really like the quality, it is not premium, but its quality is quite acceptable and it is designed to last many years in a modular eurorack and that convinces me a lot to buy it and have it.
The poly D keyboard is a rare minimoog, but I don't like shitty keys, so I prefer the module with hard materials without keys or wheels to break and to be able to use it with my studilogic with high-end Fatar T9 keys.
Some second-hand things if they are from close people are better to buy cheaper, but unknown individuals are not trustworthy.
It also happened to me with a prophet 6 that I bought in 2018 that arrived broken every time after buying a new one in the store.
They gave me another one and they solved the problem, with that I am only saying that new things can be worse if they are defective from the factory and it does not matter if they are from large or small brands.
I am very happy for this synth.
Dude, I'm sorry to hear you are copping vitriol over all this. I'd personally like to see the rancor dropped by both sides of the Moog, other barands/Behringer divide. It's just pointless and not worth being mean or angry about.
I have a Behr model D, I love it. It's a great little synth. It's not a Moog, but it's cheap and cheerful, sounds good, and if nothing else was a cool way to learn the workflow of the Moog it's based on.
lol
hang in there, jeffe!
🤙🏼