SOUND ON SOUND

[Arpangel]

I predict a spate of Internet postings about disappearing reverb! :mrgreen:

It's probably just a phase they're going through ;)


Martin

Maybe, but I'm not in love.
As for the reverb, it has to be a real spring, how on earth can you bash the cabinet and get all sorts of strange boings, or pluck the springs, this is such a cheap skate design.
And built in speakers should in every synth, I’m not jesting, they are so useful, especially when your not that great, and in bed, no messy leads or amps to worry about.

[Zukan]

I predict a spate of Internet postings about disappearing reverb! :mrgreen:

It's probably just a phase they're going through ;)


Martin

[The Elf]

I predict a spate of Internet postings about disappearing reverb! :mrgreen:

It's probably just a phase they're going through

:lol:

[Hugh Robjohns]

Behringer are loosing me (lost me?) by the second.

I think Behringer has had to sit down as their heads are spinning from all the love/hate and must buy/will never buy cycling you do around their products! :lol:

[Arpangel]

Behringer are loosing me (lost me?) by the second.

I think Behringer has had to sit down as their heads are spinning from all the love/hate and must buy/will never buy cycling you do around their products! :lol:

I’ll tell you what Behringer stuff I own.

Pair of Truth monitors.
Mono Micro Mix.
Composer compressor.
UMC1820 interface.

The reason I never buy their stuff now is that my enthusiasm has gone by the time it’s released, my allocated cash has been spent on something else, and the fact that I can’t really square myself with owning anything "fake" stops me from finally opening my wallet. I’d rather not have, or save up for the real thing.

PS.

This may seem a bit extreme, but screening out copies, of anything, and just buying things for what they are, not copies of anything, may increase our chances of making more original music.p, the more things are copped, the more sounds, approaches, are watered down.

[blinddrew]

This may seem a bit extreme, but screening out copies, of anything, and just buying things for what they are, not copies of anything, may increase our chances of making more original music.p, the more things are copped, the more sounds, approaches, are watered down.

I kinda see where you're coming from, but by that logic my Epiphone Les Paul would be less inspiring as an instrument than my PRS semi-hollow. And I'm afraid that just doesn't stack up for me. And all pianos are basically copies and variants of the first pianoforte aren't they?

[The Elf]

I'm all for clones and copies, as long as it is done ethically. Truth be told that if it wasn't for my commitment to some supporting purchases for this 2600 (I didn't want to let people down - especially in these difficult times) I would have held off for a while, but that's another story...

Giving people a chance to work with this iconic gear that they've long dreamed of is as inspiring as any newly-designed piece of gear. And given that the great unwashed now have a chance to use and abuse some of these previously 'price of a house' pieces of musical equipment, it is more likely to result in ground-breaking music than it ever did while it was sitting in the basement stores of millionaires and collectors.

As ever, it seems, I'm happy to tread the middle ground here. I love new ideas, such as the fabulous Hydrasynth, and I equally love old ideas, such as the mighty 2600. I can see the good in (and make good musical use of) both. And, quite frankly, I fail to see a down side!

[Hugh Robjohns]

...screening out copies, of anything, and just buying things for what they are, not copies of anything, may increase our chances of making more original music.

I don't agree. Original music comes from original musical ideas, and as the Elf says, affordable copies of products long out of production can definitely provide the inspiration and incentive for some to come up with new musical ideas and directions.

The issue for me, and I suspect many others, is not the re-introduction and updating of old classics, it's whether those products are 'ethical'. I won't support or condone products that trample on another manufacturer's IP and current product range.

That said, I suspect that Behringer's development of so many classic synths has acted as a spur to other manufacturers to rethink their own plans...

[Arpangel]

...screening out copies, of anything, and just buying things for what they are, not copies of anything, may increase our chances of making more original music.

I don't agree. Original music comes from original musical ideas, and as the Elf says, affordable copies of products long out of production can definitely provide the inspiration and incentive for some to come up with new musical ideas and directions.

The issue for me, and I suspect many others, is not the re-introduction and updating of old classics, it's whether those products are 'ethical'. I won't support or condone products that trample on another manufacturer's IP and current product range.

That said, I suspect that Behringer's development of so many classic synths has acted as a spur to other manufacturers to rethink their own plans...

I think the popularity of these reissues speaks for itself.
Although, I think that providing you have the ability in the first place, it doesn’t really matter what you get, and I still think, if that’s the case, you’ll see the creative potential in anything, I’m just reiterating what you’ve said Hugh, in a way.