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Hi !
I hope what I'm about to say will not hinder your will to learn modular, but I honestly think this video is a good example of a bad example :-) See, I don't understand the point of this rack, this looks like something one would throw together from modules you already have on hand just to say it's modular stuff rather than a build you would design as your only rack (no beef with Perfect Circuit though, they put out stuff I enjoy as well and are very nice people)...
In such a (very) small cab, I wouldn't even start thinking about integrating the TipTop One and Varigate just to trigger some samples. Since you're not going for a pure Eurorack setup, a small box like the Model Sample from Elektron or something similar will get you there for the same price and with way more functionality. A used Digitakt or an MPC One would be my first choice for sample duties if you can afford it. There also the software part to consider, IMO the Elektron world is slightly better than Akai's, but that's another discussion entirely, just think about it before buying and make sure to inform yourself extensively ;)
Keeping the drums out would allow for your Eurorack setup to be entirely dedicated to improving your existing synth setup. Crazy modulation and analog filtering/waveshaping is what I consider the main advantage Eurorack can offer to an existing synth setup like yours, so if this was for me, I'm not even sure I'd keep the 810 (maybe just get an 860 if you want that JOVE filter sound) and I would rather try to focus on using what the Eurorack format is particularly good at to expand/improve my existing synths. I would think about some nice filter designs the likes of which you only see in modular, say Make Noise QPAS, Xaoc Belgrad, Doespfer's Wasp, etc + fun/playable modulation like the Batumi you have there (I don't know it that much), the Acid Rain Maestro which looks dope, my beloved Noise Engineering Mimetic Digitalis, and of course attenuverters/matrmix mixers/VCAs to go with it. Maybe Marbles, a Turing Machine or an O&C, if space allows for it. I don't know about the MiniBrute that well but depending on its patch bay (the Hydrasynth's looks very limited) you could even think about fun logic and switching modules... But that's just me, what do you feel is missing from what you already have ? What attract you to the Eurorack format and what do you expect from it ? Are you absolutely set on this rack size ? What is your budget ? What is the type of music/sounds you are making ?
Trying to answer those questions might help you see things a bit more clearly, and sharing those thoughts on here will help others help you ;-)
Have a good one,
D.

So my new 512 Vector sequencer arrived today, yay! I love it and can get first oscillator sequenced amazing.

However, when I connect an oscillator to the first pitch 1v/oct connection, I can create a new sequencer fine without a problem linked to the default Part 1. However, I am not able to create a sequence for the second oscillator connected to the pitch 2 and other pitch connections. How would I do this on the 512 Vector? Below is my first attempt

It works great on first pitch connection from the 512 Vector sequencer to the Erica Synths VCO. But when I connect another VCO to the second pitch and other pitch connections, I don't know how to create a sequence for playback.

Eh ... I spoke too soon.

I'm really stumped now. So after that last post, I replaced the 2nd flying bus with a fresh spare one I had, thinking I had it in the bag now -- but when I added my 2nd row of modules back in ... once again, I got the buzzing.

This leads me back to wondering if it's the PSU somehow, and related to a certain amount of power draw. But if so, why on earth does it have no issue running the same exactly modules on one flying busboard, but not another? Unless I have the bad luck of the spare one also being bad somehow? I might have one other, maybe I'll have to try that. It just makes no sense to me.

Thanks Garfield,

Yeah I now have tons to learn and use for long time. Even better, if I have a live jam in the future then I can just pop the sequencer and modules in my 6u Doepfer case and be ready to roll. I really like the Hexinverter Mutant drum modules a lot- snare and high hats sound great and tons of modulation options. My friend brought a Befaco Kickall and that is a fat bass drum.

Hi Sacguy71,

That's great news! :-) Take your sweet time to read the manual of the Five12 - Vector sequencer and after that just enjoy that fantastic sequencer! I hope you enjoy it as much as I do.

Have fun with your new modules and the Vector and kind regards, Garfield.

Hi Troux, All,

How about "Get started with at least a monster case of say 3 * 168 HP" ? ;-)

Most of it has been said already indeed. Perhaps pointing out to the very basics of (modular) synthesizer as well? Like you need at least: 2 oscillators, 1 or 2 filters, VCAs you mentioned already, 2 LFOs, 2 EGs, etcetera. Before even thinking about "sexy looking modules".

If you need that picture that I made of all those functionality stuff, you are welcome to use that link to that picture, no problem.

Good luck with it and I think it's indeed to have one of such posts stickied here in the Racks section. Kind regards, Garfield.

Thanks Garfield,

Well Vector arrived today along with Erica Synths Black Wavetable VCO, Qu-bit Mixology mixer and Erica Synths Black Dual VCF. Hooked these up except for Vector (will do that tonite) and ran sample patch. Amazing sound from the Erica modules and Mixology is a fun 4 channel mixer with mutes, solo and send/pan controls very smooth and super awesome. I am finding that as my system grows, the need for mixers, tools and sequencers is more important than a bunch of the fancy voice modules. I also ordered bunch of longer patch cables to cross patch both larger modular systems. It is easy to use up a dozen mixer connections. The 4ms VCA Matrix helps somewhat.

That's because the search function is too advanced for this world. If you enter something in the search box all posts are hidden that do not contain the search query. I will fix that one day..
-- modulargrid

Oh that makes sense now, yes I was searching about the cat haha. Thanks for clarifying what happened :D

Well, there are two flying busboards attached to the Meanwell. But thank you for directing my attention thataway, because this morning I finally made some progress towards isolating the problem and solving it.

I attached a row of relatively power-hungry modules to just the top busboard and tested it out. Def a bit more ground noise than I'd like, leading me to think a PSU and overall busboard upgrade/reconfiguration may be a priority regardless, but -- no buzzing/interference sound, and generally work-with-able.

When I attached the same set of modules to just the bottom busboard, I did get the interference sound. Strangely it didn't sound quite the same as what I recorded, but was still hugely noticeable in contrast to the first busboard.

So, my thought is to find I fresh flying bus (I think I have one somewhere) and replace that flying bus. Hopefully that will work and if so this setup will be usable enough until I can afford a more complete overhaul.

O.k. that is not directly modular related but chances are someone here also uses an old CR-78 to sneak those Phil Collins vibes into the Eurorack performance.
I tried to sync my CR-78 via Midiclock using various converters but had issues with all of them so I decided to build my own which took WAAYY longer than expected. I call it the Compusync 78.
The Compusync 78 can also be used as a realtime programmer for the CR-78. It looks a bit DIYish because it is, but the result, especially timing and START/STOP behaviour is very good.
So if someone is interested send me a private message since I hand built a small batch of devices I am happy to sell.
Also did a video to showcase the interface with my best presenter skills:

Lots of good ideas there @nickgreenberg, will definitely add some of that in!

Looking for some feedback on adding to a rack build. The initial modules are based on a rack that appeared in this YouTube video:

I recently purchased the ASM Hydrasynth and an Arturia Minibrute...looking to dip my toes into modular and thought getting a Rackbrute 3U that could be used with both the Hydrasynth and Minibrute and incorporating the modules used in the video would be a good start. I've created a rack with the corresponding HP (88) for the Rackbrute and will have 19 HP left to add to. Is there anything critical that I'm missing and/or something I should definitely consider adding to the remaining 19?""

Hello folks!

I think I’ve assembled a fairly nice starter rack here and am hoping someone could take a peak and suggest any additions I’d need to make to maximize its patching options.

There’s no going back now as these modules have either arrived or are on the way via shipping.

Am just curious for some ideas on which 2-3 more modules could be added that would play nicely here.

Have Beatstep pro and a Microfreak as well so sequencing and a playable touch surface are taken care of.

Thanks and have a great day everyone!

Edit: down the road i had an idea to get a sampler (bitbox micro?) to do some drums and more mods/utilities on the bottom rack. Would that work or am I trying to cram too much in there?

EDITED May 13th 2021, 12:13

I got one of those from the first batch arriving in Europe late last year, and absolutely loved it (the closest I ever got to that was an Odissey back in the 90s). But... only a few days after unboxing, the digital part of the synth stopped receiving current from the main board, so to my dismay I had to send it back.
My trust for Behringer's QC has hit rock bottom since, but having said that, the price of that thing is too tempting to ignore. I may get a Gray Meanie when it becomes available again.
Also I got the other one in my pre-modular days, now I can think of a million fun things I'd like to try with both racks interacting.

@troux, good idea. I do tend to see similar feedback in a lot of the "rack feedback" requests.

In addition to the ideas above, how about adding in some of the following:

a) write out your vision for your modular synth. What do you want it to be great at? It's okay if this is vague to begin with, but the clearer the vision, the more coherent the modular design will be (e.g. more fun, more good sounds, less frustration and waste).

b) consider how big a modular case you would likely get. Next, consider a larger case! Ideally, plan to leave 25-50% open space in your first case so you can add additional modules as you learn your needs and interests better.

c) consider your $s budget for modular. Is modular a better option for you versus other music items (e.g. software or hardware synths, grooveboxes, etc.)? While modular is great at many things, it can be an inferior alternative in some situations.

d) plan your first (or next) modular rig. Start by thinking about proportions of modules: a useful guideline (courtesy of JimHowell1970) is "sound sources < sound modifiers < modulation sources < utilities." A rig with good proportions of modules will tend to seem balanced and deep (for its size); a rig with skewed proportions will tend to seem unbalanced and limited (for its size).

e) pick some modules! A balance to keep in mind is "inspiration / working instrument / going slow". Something has led you to modular -- make sure at least some modules embodying that "inspiration" appear in your rig. "Complete working instrument" -- if you buy a hardware or software synth, most of the time it arrives as a fulling working instrument, essentially complete on its own for some musical task. With modular, there is a risk of missing an important module type, and severely limiting the rig so that it is not as much a complete working instrument as a VST or hardware counterpart may be. Consider all the modular functions you need to accomplish your main musical tasks, and include those in your draft rig. Lastly, there is the longstanding advice among modular synthesists to "go slow," namely get modules one or few at a time and learn them very very well before adding new modules. Keeping inspiration in your rig, designing a rig that is a working instrument, and going slow enough to learn your incremental new module are somewhat contrary guidelines -- with some consideration, you can find the balance right for your rig.

f) consider some "no regrets" or "tried and true" modules if you're a beginner. These can include [to insert list from across thread above].

g) use tools like Modular Grid and/or VCVrack to test your rack designs. There is a large modular community and other modular users routinely help each other start or extend their modular journey!

h) dive in, take time to learn and explore your rig, and enjoy!

IMO maybe some of the above is helpful broader advice to include in a primer for new folks. Feel free to keep / toss / update / recombine any of it as you see fit.

Cheers,

Nicholas

: ( I was hoping this might be a new complex oscillator I really NEED!... (j/k)

EDITED May 13th 2021, 00:50

Hi Sacguy71,

Thanks a lot for the interesting details! :-)

Ah-haa! You are getting yourself now a Vector as well, I still love it, great sequencer. It's good that you ordered it together with the expander.

The Dual VCF form Erica Synths is a great filter in my opinion, so I hope you will enjoy that one :-)

Enjoy the new and great stuff and I look forward in hearing and seeing some more interesting stuff from you! Kind regards, Garfield.

For the cat matter: it's even worse now with the dark theme. Now there is a negative cat which in theory should neutralize the regular cat if they ever meet what god forbid hopefully will never happen.
-- modulargrid

SYNTHMAGEDDON!!!!! My god...we'll all be forced to play kazoos if that were to happen!

This has issues. For one thing, you have no VCAs, no filters, no utilities, and nearly half of the build is taken up by effects. So there's not even a typical audio path here, just a single digital oscillator with reverb, delay, or both. And since this is in an 84 hp skiff, you have all of 4 hp into which the rest of that path can be built. Sort of a recipe for disaster, IMHO.

Instead of building in this Niftycase, step on up to a bigger cab...Mantis, Intellijel 7U x 104, that sort of thing. For one thing, you'll have more than twice the panel space that's here. And that then lets you build out a proper setup; these tiny skiff builds pop up way too often on YouTube, and they're a bit of a fraud inasmuch as they're NOT suitable builds for beginning modular users to either build a full system in and/or they force decisions that beginning modular users are really not ready to deal with...such as implementations in confined spaces and knowing what can be removed and what must stay in place. They're fine if you've got an idea for a "mission specific" build...but that's about the extent that they're really good for, and certainly NOT general purpose modular setups.

Why only 4 Rows ?
I have a Case with 6 x 104 TE and 1x 1U .
is it possible to expand the possibilitys?
-- ebotronix

Of course it is. If you spend the pittance needed to get yourself a Unicorn account, you can then start creating HUGE builds, plus you'll then have up to 60 possible racks to work with.

If you've got a second power supply, even if it's underspecced for the time being, try connecting its DC legs to the busses in the new cab after you disconnect the Meanwell that's already there. Then just put in a few modules that appear to be the "usual suspects" here and see if the buzzing continues.

The more this goes on, the more suspicious I'm getting that it might actually be an issue with the filtering on a busboard. By checking these using the older (and obviously functional) P/S, you might be able to eliminate the Meanwell as a source of the noise if the buzzing happens on the other supply.

I like Bitwig.
I didnt like Ableton... that much.

Very happy with my Bitwig Studio v3

Thanks guys :)

So...
There is a background bit of BP filtered noise with random quant modulation from the 2hp RND then messed with in Clouds.
There is a Pip-pip noise which is a pinged filter with an envelope fired at it from an ALM PipSLope with a bit of Pico DSP delay.
I use all 4 parts of the ADDAC103, Bass Drum, Ratcheted kind of high tapping sound, then 2 different tone Toms. Hih-Hats come from the Patching Panda Hatz, Clap comes from the Prok CP, additional persussion from Roland TR09.
There is a filtered Saw wave bass note coming out of the Befaco EvenVCO triggered from the Noise Engineering Bin Seq, other sequecing from the Robaux LL8 and Dni Pro Dot.
Basically I was trying a patch with no Pitch CV.

Thanks Garfield,

I am using the Hertz Donut MK3 to get that speech sound to add texture to the lead and percussion. I love the Stillson Hammer. Super easy to create on the fly with the sliders and encoders. You do have to get used to some of the button combos and abbreviated symbols for quantized scales and sequence patterns but it's not bad. I like to use a forward sequence in a diatonic scale for the lead/pad voices and then a random pattern with another scale for the sub sequences for variety. Changing patterns on the fly is super easy once you get used to it. Now for the percussion, the Metron is super awesome! I still like my Eloquencer the best of my sequencers in my setups. I splurged on a new Vector 512 sequencer with the expander and it should arrive sometime this week along with a new mixer. I find having many sequencers and mixers to create various linked subsequences and submixes amazing way to create a fun complete track or live set. Also have Erica Synths wavetable oscillator and dual VCF on the way and another drum module then good for long time. I do need some more tools like comparator, quantizers, another VCA and so forth. Would love a sampler that can do granular synthesis and looping with cv record and playback to spice things up. Maybe Qu-bit Nebulae, Make Noise Morphagene or Instruo Arbhar? Also a random noise generator for random CV like Frap Tools Sapel or Make Noise Wogglebug would be awesome to add to the mix.

Awesome, thank you!

Btw, do you use the same handle on Youtube? I'd like to check out your stuff too!
-- baltergeist

I have some gigs up as Konstantine via the Copenhagen Powwow group, from a few years back. And probably a concert or two from Basic Electricity in Berlin. I'll see if I can dig up some links with the jazzier stuff and send them over via PM. I also have some older videos up on Instagram.

So an unsteady stream of snare and gongue hits, enhanced by small grains here and there, of said sounds, re-pitched, and extended or shortened?

And am I right to assume you have the setting of Density towards the random side ?
-- ParanormalPatroler

Exactly, yes!

Btw, do you use the same handle on Youtube? I'd like to check out your stuff too!

I'm sure this is something that's come up a few times but I'm looking to build a small case with some room to grow and would love some thoughts and opinions and pointers.

I currently have a beatstep pro, microfreak and an ipad I've been using miRack on (VCV previous to that but the ipad fits a bit better in the tight space I have and is a more tactile experience). Right now, I use that setup for 2 monophonic voices (1 on ipad, 1 on 0-coast), 1 polyphonic voice (microfreak) and effects on one outboard synth (via ipad).

I want to explore using a small modular case to add to what I can do with the 0-Coast and drive generative melodies. (Maybe think Susan Ciani a bit using slightly different techniques to derive notes.) I imagine even if I start there, I'll find lots of other kinds of patches and sounds to explore. I want to intentionally have a smaller rack to provide some friction against gas and fit on a small table that I have to setup all my synth stuff and maybe even keep it portable.

This is what I have in mind so far. The 0-Coast I already have (not mounted) and I plan to get a 4ms pod 48x or 64x.
The modules on the left on the top row would be modules I'd get sooner and the modules on the right would be later on if they are still the modules I'd want to get after exploring the ones on the left.

I'm thinking:
- a 3x MIA for mix, attenuation, and offset duties of random voltages or envelopes/slopes (to basically sculpt melodies in pitch up or down and in scale)
- a 2hp S+H for sample and hold on the signals
- a Disting MK4 for a quantizer and then experimenting with other module types
- potentially a Befaco Rampage Kit for EG/LFO and till I had a clock div, I could trigger it from the bsp to create repeatable melodies etc (thought this over maths to get the 3x MIA to have offset and attenuation on one set of stacked knobs and the rampage kit is cheaper than the maths, plus I think I might get more use out of the sharkfin eg on default instead of using an additional offset on maths to change it to a sharkfin shape)

Later on:
- a time wizard or maybe a tempi for clock divider if I want to develop more rhythmic melodies and start playing with events, or make a sub
- an FX AID XL for some nice sounding modulatable FX in the case
- a micro Plaits to add more texture with individual modes especially on the percussive side or randomizing the mode

I'm not positive if that's the direction I'll go later on. For the more immediate modules I've had a bunch of fun playing with this kind of patch running pitch via midi from my ipad to the 0-Coast but it would be a lot of fun and offer more possibility having it in a case with more instantaneous control over parameters. It by no means needs to be a built out case but I'm having a blast with my 0-Coast and figure this would be enough to dip my toes in and see if I like it and slowly build from there.

I know I don't have any vca's other than in the disting but figured since it was primarily one voice and I have attenuation and offset, no filter and a lpg on the 0-coast, I'd be alright. Happy to be wrong as of course.

Anyway, any thoughts on what I might be missing? Being newer to modular, I'm thinking of a particular patch and don't necessarily have the experience of thinking ahead to what else I might want. I also know I could go with something like a marbles but I love the idea of having control over the parameters as building blocks so I could build other things out of them. And from my playing with marbles, it's maybe too deep for me at the moment.

So an unsteady stream of snare and gongue hits, enhanced by small grains here and there, of said sounds, re-pitched, and extended or shortened?

And am I right to assume you have the setting of Density towards the random side ?

Depending on what I'm doing, however, I will go full-wet with Beads. It really just depends, and I rarely set out with anything specific planned. Those pieces are all improvisation on top of improvisation on top of improvisation.

Ah, gotcha. It is not full-wet on those two. Mix, if I recall correctly, was around midnight. The idea was for Beads to help simulate flams/drags and variation in attack strength. A slightly rightward turn of the pitch attenurandomizer helps with this too.

But is your Bead's mix fully wet or do you allow for the incoming sound to pass through? Checking your bandcamp as well, different direction, but I like it, although I'm more interested in your jazz work.

Hi Para, thank you!

In Free and Monday, I have two Lorre-Mill Double Knot v2s synced and providing clock to a Ciat-Lonbarde Plumbutter 2 via the 'Steam' sequencer. The sequencer then triggers the PB's snare and gongues. The Plumbutter then goes through Beads. The rate of the DK clock is modulated by one envelope on one of the DKs, so that gives things a little variation rhythmically. In Beads, I usually have the size knob around midnight, the feeback somewhere between 2 and 3 o'clock, and then have the attenurandomizers somewhere to the right. I use the reverb here and there. It's all seasoning to taste, though. I rarely use an external trigger for seeding and don't use freeze much. That said, I have barely scratched all that Beads can do.

Hey, if you want some modular sax instead of acoustic, I'd be down to help with the tracks. I like working with physical modeling of brass sounds on the modular and it would fit nicely with the concept.

I really like the recordings. I'd be interested to hear more about how you set up the percussion via Beads. I'm very much into modular jazz (I have some stuff up on YouTube which might fall under this category), so very curious about your percussion in terms of sequencing, and processing etc.

Thank you both! We'll be alright, just need to tighten the belts for a bit. We're in a better position than so many others over the past year or so.

Amazing! But then you also know how your patch might sound IRL, which is super cool to me!
Keep it up

I know about vcv rack and I’m using it since 2 years ago
But im still dreaming for a hardware rack and jut making the connection in my mind

Hey mastermol, if you want to start with modular without a synth on your desk you should check out VCV rack (https://vcvrack.com/) it's a software where you can patch modules. There are some packed with the program and others to add later. If you look for a bit you can find hardware clones, too. These behave just like the hardware version.

cheers

i don't have any moduler system but i like to think about them. so i made this. i don't know if it work. or it sounds good. in my hand it does. if you have the modules and you try this, please let me now how it sounds.
have a good one

Strangely, when I posted my earlier message I couldn't see any posts in this thread besides the first post and one reply.
-- Sarksus

That's because the search function is too advanced for this world. If you enter something in the search box all posts are hidden that do not contain the search query. I will fix that one day..

For the cat matter: it's even worse now with the dark theme. Now there is a negative cat which in theory should neutralize the regular cat if they ever meet what god forbid hopefully will never happen.

https://www.modulargrid.net/e/users/pro_index

Why only 4 Rows ?
I have a Case with 6 x 104 TE and 1x 1U .
is it possible to expand the possibilitys?

They are already in the MU format where they belong ;)

Also as a general update -- still no solution. The connections all seem to yield the appropriate power via multimeter, (I have no oscilloscope). The guy who made the case suggested removing the 5V connection from the PSU and taping it off -- none of my modules use it anyway, and the only way he was able to replicate similar interference on his end with same PSU, was with a slight negative power draw on the 5V rail. So I tried that, but it made no difference. Trying to isolate it to a particular module hasn't been fruitful either -- the sound becomes present regardless of which modules I put in, just once there is "enough" of them to (I presume) create a certain power draw level at which point this buzzing noise starts up. I got a recording of the sound today. It's amplified a bit of course, it's subtle at normal listening levels, but problematic if you try to build patches over it.

https://www.dropbox.com/s/gu3fjwnf91vlgfj/modular_sound.mp3?dl=0

Using the same modules in my Synthrotek case creates no such sound, though it is a smaller case with only 1 row (it's the case this new one was intended to replace).

EDITED May 12th 2021, 05:46

I'll second @cmb_, we're sending good vibes @baltergeist!

What makes you say that the Kungber doesn't have those features "despite the panel markings"? It says it's a linear PSU in the description. Just curious.

Anything available via Amazon PSU-wise that you'd recommend? Or Sweetwater or wherever? I mean the lead time on the one you linked is 38 weeks (!).

Thanks!

EDITED May 12th 2021, 03:58

Sounds cool. Though yeah, I'm in the camp that just takes a pass on anything Behringer. There are so many synths I want to buy that there's no reason for the B not to stay at the bottom of my list. But maybe they'll turn their rep around with time, I heard the Neutron is pretty good too, and not a copy/ripoff of anything specific.

EDITED May 12th 2021, 03:53

Great news about the first takes, bummer about the wife's job but sounds like you are committed to persevere and I look forward to hearing the final project.

Mine's been here for about a week now.

IS it all that and a bag of chips?

OK...let me explain that I've got a LOT of background where I've used versions of the original. When I posted a review on Sweetwater's site, I'd thought that the B.2600 would be the seventh one I'd used. But I was wrong...it's the EIGHTH. Of those, three were Tonus-logo rev.2s, two were G-clef-logo rev.3s, and two were the "Orange" rev.4s. And one of those "Oranges" was only about two years old when I used it (right around the time ARP closed up shop, in fact), but I definitely remember it, how it behaved, sounded, and such.

And shock of shocks, Uli has now given us the synth that, for all intents and purposes, is the REAL, BONAFIDE, NO-FOOLIN' REV.5! Yeah, screw Korg and their vapor2600s...Behringer, with the assistance of Rob Keeble, has knocked this thing out of the park...and the parking lot beyond...and busted out the front window of the Carl's Jr. on the other side of the expressway!

How can I say that? I mean...Uli's pretty much not a nice guy, and buying anything with that ear logo on it STILL makes me cringe. But dammit...

OK, OK...the upshot is that, if you were to compare a NIB Behringer 2600 with a pretty-much-new "Orange", as long as you had the BARP in the x1 time constants on the EGs and the 4072 VCF in use, you would have a very difficult time telling them apart. As in, REALLY difficult. So why are all the purists saying that this doesn't sound like a "real" 2600?

Well, it DOES sound like one...that's not 40-50 years old, with 40-50 years of component deterioration, 40-50 years of use and abuse, 40-50 years of drifting out of factory spec, and so on. And therein is the problem: none of these BARPs are 40-50 years old. These guys are so busy A-B-ing these in their heads that I'm pretty sure that they're comparing the BARP to an old, vintage unit that they've got access to now.

And that's NOT the right thing to compare it to! It's sort of like comparing a 1956 Chevy Bel Air to a 2021 Hyundai Sonata -- yes, they both have four wheels. They both run on gasoline. They have decent interiors. Annnnnnd...that's where things start diverging. Put that Chevy out on the interstate and punch it up to 90...and before long, that thing'll throw a rod or something equally horrible, whereas the Hyundai takes it in stride. This is the problem here, translated into aging electronic components.

For a more in-depth look at this, I'd suggest looking at my review over on Sweetwater's listing for the "Xmas Tree" 2600, which is what I got. The sole flaw...and it's a nitpicky one, but important IMHO...is that Behringer doesn't include any OEM 3.5mm cables or dummy plugs with the synth. The latter are ESPECIALLY important, as what they are are 3.5mm plugs with no connection inside, which lets you break connections such as, say, VCO2's Keyboard CV while keeping VCO1 under CV, then feeding these through the ring mod. But beyond that, I have zero buyer's remorse. It IS what Korg promised...and then didn't/wouldn't deliver on, or plans to deliver on "someday" with a "crippleware" version, neither being ultimately acceptable as long as Uli's version can be obtained for far less and with far greater ease than either.

And again, by no means is this an endorsement of Uli and his behavior. I 100% think the Music Tribe needs to find a way to curb his juvenile antics, as they DO cost them quite a bit of business...to say nothing of doing little to overcome Behringer's rep for IP theft. Instead, if they can shut him up (thorazine is useful), products such as the new 2600 would be more than capable of demonstrating what they're capable of and could well be a way to build a very different and more positive public image. It's that good. No lie.