basically for me this encapsulates what people should know about Behringer’s business practices:
B: “hey we wanna make something cool, wanna help?”
RWI: “yes. but I want to be paid fairly, and I want the product to be nice.”
B: “screw all that noise.”
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Consider it this way: a huge artist samples your music for what will inevitably be a massive hit. They offer you pennies relative to how much they’re going to take in for it.
That’s ok to you?
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If it means I get something instead of nothing, sure.
And 15.000$ is not pennies…
bit of a distinction, no?
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Compared to what they’ll probably bring in from it, it is. I feel the idea we should be ok with a cheap handout cheapens the work itself.
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15.000$ for a small manuefacturer is a good boost for the business especially when the flipside is 0$…
Like he wrote, nothing compared to what they’d bring in from a normal licensing fee.
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What licences are you guys talking about ? That was never on offer ? It was clearly just a one of offer…
"The licensing of the Devil Fish design, name and reputation was to be by royalty arrangement, identical to the standard book publishing model for hardbacks:
“Hardback edition: 10% of the retail price on the first 5,000
copies; 12.5% for the next 5,000 copies sold, then 15% for
all further copies sold.”
I was keen to proceed, since Behringer could produce a good instrument, en-masse, and sell it globally, at a price far below what we can do from home - and so bring Devil Fishes into the hands of tens of thousands of musicians.
However, Uli was unable to accept these commercial terms. It emerged that he expected me to help with the design, endorse their product, and effectively license his company to produce it, and any variations, without limit, without royalties and in perpetuity, for a one-off payment of USD$15k.
I rejected his offer for a number of reasons - not least because USD$15k would be a small fraction of what we would have earned with the royalty arrangement…"
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No patent it’s free for all ain’t it ? It’s not my doing it’s how it is…
Yes…inspired by the warehouse scene in reservoir dogs…
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My point is the law doesn’t provide thorough enough protection to small creatives in the face of insatiable capitalists. Indeed, these bad actors even use the law to legally appropriate small creatives work as their own and profit from it without just compensation.
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Further proof, as if it were needed, that Behringer have a total lack of basic decency and respect for anothers efforts.
Not surprised and probably plenty more to come, but surely now is the time for the likes of sonicstate et al to call them out for this behaviour. Even if some of the synth buying public won’t.
I look forward to ridiculing all the bad acid that people make with their tacky Behringer copies, you know exactly the kind of generic, derivative boring stuff people who have no artistic respect are going to “produce” 
Summary
This was a joke, hence the smiley, I don’t have the time nor inclination or motivation to ridicule anyone’s music except my own. But fuck Behringer anyway.
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Guaranteed #Bshaming will become a thing.
And youre right: the influencers should stop covering their products. It doesn’t have to be an explicit stance. Just act like it doesn’t exist.
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#landfillacid
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I am sorry, but no, it is not. I owned a small company with 2 employees for some years, and with 15.000$ we wouldn’t have survived a single month…
But at the same time, what he descibes as his advancements, sounded quite unrealistic in that context too.
Sure 15.000$ is better than nothing, but thats not how business works. If you look for a job, you don’t take the 1$ job, because thats better than nothing, don’t you?
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So if someone said to you, you can lose most of your income or have a small percentage of what I’m going to make by copying exactly what you do but undercutting you, you’d take the crumbs?
Or can’t you see it like that when it doesn’t actually apply to you personally?
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But will the Devil Fish guy actually loose any money? He still only does mods for the Tb-303?
here ya go 
I’m not going to undermine what devilfish has done for the 303, but it is still a product out of reach for most musicians. First you need a $2000 303, then spend more money on the mod. If you are lucky enough to get one. And that only gives functions that is pretty similar to what other synths have had for a long time.
What about the Avalon Bassline. Isnt that a sort of mod’ed 303?
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