it aligns with most of arguments about BProd. “make it cuz they cant have it”
I dont think everyone can have access to everything. that just me tho. keep in mind, im coming from a position where I cant really have anything. so im not coming from a POV of wealth, and I still feel this way.
adding: ill tell you, aspiring to something can be good. having a goal to reach something is good. when I got my MNM after saving and saving, it was so much more rewarding. when I was 12 and wanted good golf clubs, so I could stop using the ladies clubs that were given to me…holy shit was I stoked after werking SO HARD to save up for “a real set”. its rewarding.
but thats a completely different topic vs. stealing IP with no recognition.
If you cant afford it then you always have the VST versions of these synths, which are pretty much as good as the hardware. And a lot lot cheaper. So i dont think affordability is relevant. But i can afford the real deal stuff but i still like a bargain. Who doesn’t?
I’m always surprised when people argue that Behringer enabled them to own this or that classic piece of hardware…no they didn‘t.
You bought a Boog Model B, so that’s enabled you to own a Boog. That‘s as much a Moog Model D as my „EL Distressor UAD plugin“ is an actual Empirical Labs Distressor.
I also find the “we’ll they’re cheap and they make it affordable for everyone who couldn’t afford one” argument quite lazy. They’re cheap alright, but at what cost? Forget their other business practices, the threat of their predatory redesigns and IP appropriations are a form of exploitation and should make actual creators think twice how and if the research, experimentation and creation of high quality products is worth it…and in the same motion it could drive the prices of original products higher still, out of fear that margins will erode faster than they would if Behringer weren’t there jacking other people’s IP.
What they do is not illegal, so enjoy your Bopy Bats, but please also don’t rationalise that Behringer is in some form the democratising force in the synth & music making world — they were, once upon a time with their super cheap n shitty own designs…what they do now is exploitative and and profit driven, not people driven, and ultimately it will harm genuine open innovation & exploration in the space
You mean reissues of classics by the companies that actually designed, made and distributed the originals that their reissues and miniature versions are based on?
I don’t know, you tell me, is there a difference in copying a chapter from your own book and publishing it on your blog as your own vs copying someone else’s chapter from their book and posting that on your blog as your own?
Oh I thought it was the reissuing of old gear that was limiting the innovation, not the whole IP thing. Fair enough, that’s your opinion, but it really doesn’t bother me when we are talking about huge corporations. If we were talking about Behringer ripping off Erica Synths or Soma Labs current products then I’d agree.
While Moog and DSI/Sequential are indeed global successes, I wouldn’t exactly call any of them “huge global corporations”. Of those brands discussed here thus far, probably Behringer is the hugest corporation of them all. Consider whom you are giving your money to if that sort of stuff matters to you.
Fair point but that’s an endless rabbit hole. Amazon, Apple, Nike, Starbucks…. The list goes on of companies we all indulge who have incredibly unsavoury practices to their name.
I don t think that the prices practiced by all known companies of synth making are right. They are inflated for many years now.
So I welcome Behringer. I do. Who doesn’t like what they make are free to buy the other products.
I owned for example everything Moog have done for the last years… none of them sound better than Behringer Moog D.
Just my 2 cents.
Peace!
I’m sure Monark sounds just as good as a Model B, and that costs a fraction of a Boog.
I get it, but just saying “they’re cheaper, hurray” ignores WHY they are cheaper yet just as desirable.
You don’t buy a Boog because you love the Boog sound, you buy a Boog because they PROMISE you, by name, design and circuitry jacking, that you are buying a Moog at the price of a Boog. It’s not Behringer’s genius design you buy, it’s their value-for-money proposition for someone else’s genius design that you buy. And that someone else’s genius design they use not because they cut a deal with them to democratise things, no, they do it on the basis of their own brazenness & shamelessness, is all.
I get why people do it, as I said earlier in the thread, to me it’s entirely unattractive though.
dude…you can do what you will with your own IP ha ha ha…damn!
thats the craziest argument in this whole thing. “Roland is making cheaper versions of their own gear…therefore, so can B?”
no, that is just no good.
for me, and as I am nobody in the grand scheme of things so who cares, all it would take would be something as simple as B noting somewhere with the products something like “in the spirit of [said company] we bring you [said product]. a faithful recreation of [said product]…a tribute” or some marketing BS that acknowledges the creators.
THATS IT…id lay down my weapons and it would be over. but the impression I get is that its starting to become an FU to the industry.
If all the synth companies are using China for the most part, than it should never be brought up to disparage one company or another full stop.
If the moral implications of doing business in China are an underlying issue for one than it is for all of them. If we are to remain intellectually consistent there is no grey area here.
Failure to acknowledge this just exposes ones inatel bias in the discussion at large.
Only produced from 1981 to 1984, the Roland TB-303 was a tremendous commercial flop as a replacement for the bass guitar, however it soon found its place as one of the most-loved synthesizers for what became known as Electronic Dance Music (EDM). An ultra-affordable and faithful homage to the iconic synthesizer that spawned house music…
2600 Blue Marvin
…in 1971, Alan R. Pearlman and Dennis Colin sought to create a more portable version of their huge ARP 2500 modular synth which they could market more towards musicians. Out of this concept came the ARP 2600 semi-modular synthesizer which became an instant hit and was quickly adopted by lots of renowned musicians including Edgar Winter, Pete Townshend, Herbie Hancock and Jean-Michel Jarre, to name a few. Soon after the first models were released, ARP made a bright blue version of Model 2600 called the “Blue Marvin”, named after ARP CFO Marvin Cohen.
They have a little description like that for all of their clones.
