#behringer swing

[house-of-tyrest]

trying to get back into the swing of things + new girl, anatolia behringer

[nhanhshopaudio]

Transrotor giới thiệu dòng tay cần tham chiếu mới của hãng mang tên TRA 9

TRA 9 là dòng tay cần (tonearm) thế hệ mới của thương hiệu mâm đĩa than ultra hi-end Transrotor (Đức), được thiết kế theo tiêu chuẩn dành cho những hệ thống âm thanh analog ở tầm tham chiếu. Keyboard Controllers Behringer SWING Transrotor TRA 9 là sản phẩm đầu bảng trong dòng tay cần Series 9″ (9 inch) của hãng mâm đĩa than đến từ Đức Transrotor. Hoàn cảnh ra đời của tonearm TRA 9 cũng rất đặc…

[quietnahas]

Behringer firepower fca610 power

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Youre ready to go live on your PC or Mac right out of the box! You also get more than 100 virtual instruments and 50 FX plug-ins, turning your computer into a complete home-based or mobile recording studio.

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Reliable Windows XP, Windows Vista, Windows 7 drivers and Mac OS X support ensure ultra-low latency operation.īecause youll want to take full advantage of your computer's recording, editing and podcasting potential, weve put together a massive software download at that includes Audacity (the most popular open source audio editor), Podifier, Juice, Podnova and Golden Ear (a great selection of podcasting software). The two headphones jacks are conveniently located on the front panel, with a dedicated volume control.īoth FIREPOWER FCA1616 and FCA610 interfaces feature state-of-the-art, high-resolution 24-bit A/D-D/A converters, supporting up to a 96 kHz sampling rate. Outputs accept both balanced and unbalanced 1/4" connections. Inputs are balanced 1/4" jacks that accept a wide range of line-level devices. On the rear panels of the FCA1616 and FCA610, youll find ports for FireWire and USB 2.0. The half-rack-space FCA610 stows easily in your travel kit. All standard I/O formats are supported including analog and S/PDIF (both coaxial and optical). Built-in MIDI I/O allows you to connect keyboards and other outboard MIDI hardware.

#Behringer firepower fca610 power portable

The portable FCA610 can receive power from your computer's 6-pin FireWire bus or via the included external power supply. Now you can record and play back your masterpiece through a pair of active studio monitors or listen in the privacy of your favorite headphones.ĭue to its small size and low-latency operation, 6 In / 10 Out architecture, plus 2 highly-acclaimed MIDAS designed mic preamps, the FCA610 is a dream come true for traveling musicians who record and edit on their laptops. When you connect line-level devices, such as synthesizers or the outputs of an audio mixer to an FCA1616 or FCA610, internal 24-bit A/D (Analog to Digital) converters swing into action, turning the audio signal into digital data. The FCA Series allows you to converse with your computer in a language it understands digital. Hook up to the BEHRINGER FCA Series and instantly turn your computer into a powerful recording/editing workstation. Both interfaces support Windows XP/Vista/7 plus Mac OS X and provide onboard phantom power for use with studio-grade condenser microphones. These handy interfaces feature state-of-the-art MIDAS designed mic preamps, legendary the world over for their pristine clarity and high-headroom sonic performance, plus our 24-Bit/96 kHz A/D-D/A converters will really respect your input. Conceived and designed by BEHRINGER GermanyįIREPOWER AUDIO USB/FireWire audio interfaces are the ideal way to stream audio to and from your PC or Mac computer.High-quality components and exceptionally rugged construction ensure long life.Standard port for Kensington security lock.Free audio recording, editing and podcasting software plus 150 instrument/effect plug-ins downloadable at.Powered via external power supply (included) or 6-pin FireWire bus.Status and signal presence indication for all analog and digital I/O.Smooth cross-fading between inputs and DAW playback signals while your record sessions.Level control of your stereo or 7.1 active speaker system with a single knob turn.2 powerful Headphone outputs with individual Volume control, Mono and Source signal select.Direct Monitoring and Main Volume control with near-zero latency.Ultra-flexible connectivity via analog and S/PDIF I/O ports (coaxial and optical).Streams 6 inputs / 10 outputs plus 1x MIDI I/O with ultra-low latency to your computer, supporting Mac OS X and Windows XP or higher.

#Behringer firepower fca610 power pro

Compatible with popular recording software including Avid Pro Tools, Ableton Live, Steinberg Cubase, etc.

Multi-channel audio and MIDI operation via FireWire or USB2.0.

2 state-of-the-art MIDAS designed mic preamplifiers, with phantom power, individual Pad, Low Cut and Hi-Z.

Audiophile audio interface with 24-Bit/96 kHz resolution for virtually any digital recording/mixing environment.

Recorders, Classroom & Plastic InstrumentsĪudiophile 6 In/10 Out, 24-Bit/96 kHz FireWire/USB Audio/MIDI Interface with MIDAS Preamplifiers.

[nemosynth]

Axel Hartmann - 2020/11/24

原文；

https://www.facebook.com/axel.hartmann.982/posts/3863852883649161

以下、例によって、Nemo 版の超訳です。

　　　　　♬　　　　　♬　　　　　♬

Behringer が、Arturia Keystep をぶっきらぼうにコピーしたことに対し、色んな人が投稿しているよね。私はどう考えているだろうとか、私はどんな気持ちでいるだろうとか、Facebook の中のいろんなウェブページに投稿されている。それらに対し、そして事の真相を伝えるべく、声を上げなければいけないと思った。だから、言うね。

Arturia と私自身、すなわち私の会社 design box 社とは、長きわたって楽器や、シンセサイザーや、コントローラーや、インターフェイスやなんかを開発しデザインしてきた。工業デザイナーとして、私は主に製品の美的側面を担当してきた。Arturia から出ているほとんどのハードウェア機種についても、担当してきた。そしてそのすべてにおいて、Arturia は私の成果を買ってくれている − つまり私は、自分の手元にデザインをキープしたまま顧客にライセンス提供するなんて、全くしたことが無い。Arturia はつねに対価を払ってくれるし、その帰結として、彼らは私の仕事の成果を所有している。ちなみに、それら成果は、常に彼ら社内のスペシャリストたちのチームとともに、深く協同で作業したからこそ、得られたものだ。

Arturia と私自身は、もう長年のつきあいになる。だからこそ、私たちは革新的な機種をつくりたいという、深い気持ちを分かちあっているのだ。だからこそ、こんな協力関係から生み出されたデザインを、他の誰かにシェアするなんて、私にできるわけがない。そもそも法的に禁じられているし、第一、私の個人的な矜持が許さない。よって、それを破るような噂話は、すべてフェイク。すなわち、会社としての Behringer も、あるいは Uli 彼自身も、決してそんなたぐいの依頼を持って、私のもとへ近づいてきたためしが無い。そして私もまた、そんなことができるわけがない  − 自分が持ってもいないものを、どうやってライセンスするというのかな。

個人的に、私は悲しい。そして、私が Arturia のために生み出した、Arturia とともに生み出した、Frederic Brun 社長のもとにつどった人々と共に生み出した、あるひとつのデザイン、その厳然たるコピーに対し、憤りを覚える。ここにいる人々は、たくさんの努力と、多大な労力とを営々と積み重ねて、一つのブランドを築き上げ、そのブランドに属するあらゆるものを築き上げてきた。そんな苦労をすることなく楽して横取りするなんて、シンプルに考えて、正しくないよね（しかもこれは何も Arturia に限った話ではない。尊敬できるすべてのブランドについて、言えること。しかもよりにもよって、その最も成功している製品がコピーされてしまう、そんな運命に出会うたびに、言えることだね）。

私には（Uli も含めて）Behringer が、理解できない - しかも彼にはでっかい企業があって、そこには強大な開発部門がいくつもあるというのに。さらに彼は、私たちの業界の中でも最高で、最もリスペクトされていて、かつ革新的な会社の数々を、簡単に次々と買収していったというのに。でもそんな買収された会社の人たちが、あんなコピー商品を見たら、どう思うだろうね。この会社で働きたいと思えるような、そんな価値観を感じいってもらえるのかな。ただただ悲しい。そして、彼らがそんな行動に出てしまったことが、私には理解できない（そしてどうやら多くの人々が、同じく理解できないでいるらしいね）。

[ultrastacion]

Behringer recibe críticas por “copiar” el diseño del Arturia Keystep

Behringer recibe críticas por “copiar” el diseño del Arturia Keystep

La compañía alemana Behringer lanzó su nuevo controlador Swing y se convirtió en blanco de fuertes críticas.

Behringer volvió a recibir críticas, esta vez por la fuerte similitud que presenta su nuevo producto Swing con el diseño del Arturia KeyStep. El controlador MIDI de Behringer tiene un factor de forma idéntico al KeyStep, con botones, perillas, interruptores e incluso las salidas, todos en…

[cyberloops]

Sorry for the radio silence for so long. I forgot to post that I was doing NaNoWrimo again this year, so I didn’t really have the time or energy to keep futzing with my setup for pretty much the entire month of November. All I really did was finally rearrange a few things once I got some longer MIDI and sound cables and a USB MIDI host (hiding under the edge of the desk, so you can’t se it) that allows me to use my USB MIDI keyboard to control some things, so I don’t have to do all of the playing of the Circuit Tracks and the Behringer Crave right there on the square pads of the Circuit. I still do a little bit, but I have options. And I can use the knobs on the keyboard to tweak something on one of the instruments that I’m not actively using on the Circuit, so that’s handy too. The MIDI host was a lot cheaper than trying to get an expensive MIDI keyboard to replace the perfectly good USB one that I bought like ten years ago to use with a DAW.

I’d been having SO much trouble getting this dang camera to work, but I think I finally got it now. And this spare laptop has about 3 times the processing power of my little old 10 year old laptop that I was trying to record on before. I still decided to go easy on it, and just record the straight audio and video with no visual border around it. In future jam sessions, I may just stream like this (if this laptop is even up for streaming and recording at the same time! I haven’t tried it yet) and then edit it to add a visual border, and to make the sound and video match up. There’s a tiny delay between the two, which is really obvious in some of the sections where I’m playing fast or staccato.

But hey, I’m getting back into the swing of doing music again... after a month of trying to write an entire freaking novel. (I’m actually pretty proud of how much I managed to do. This is the first year that I not only wrote every day, but wrote over the 1,667 word minimum every day. My lowest day was literally only 5 words over, and I never went over 4 thousand words a day. But I churned out about 68 thousand words and got halfway through the plot of this novel in 30 days.)

I’ll try to get back into the habit of doing a jam session at least every weekend, and if I can keep a regular schedule, I’ll probably stream it as well.

[inbasements]

LNS & DJ Sotofett - Sputters

The Roland TR-606, often compared to its brother and sister the ubiquitous 808 and 909, is the lesser celebrated rhythm box behind some of our favourite Electro and Acid trips. 

Compared to other legendary Roland machines, the 606 is just not as revered. It somehow doesn’t seem to grab the imagination of the raving public in the same way. So much so that it was stated that LNS at one point wanted to sell her machine. So why is this piece of gear so overlooked? 

Simply put, not everything can be the favourite, just like the countless hits that came of out Detroit’s Motown, came many other hits that were never to be. Fast forward only t0 be discovered and cherished decades later in the UK via cargo ships that were transporting coal, and soon to be dubbed Northern Soul. Cult Classic, not best-seller.

Which lends a fun analogy, regarding the TR-606 which alongside the TB-303 were originally invented to provide singers with a bass and drum backdrop, were quickly shelved to make way for sample based drums and real bass lines. Their mechanical charms, which did not appeal to many, soon was repurposed and blazed the way for the automated sounds of early UK Acid House. 

While Sputters is not exactly a tribute album to the 606, it does feature heavily, and its celebration alongside other classic tropes is a central aspect of the album. With its innovation this is by and large a tribute to ever expanding Electro sound world. Looking back to go forward, which means the classic production, machines, and execution, have been brought with care up to the 2021s to delivery something new and push further while nodding to the timeless and robust ways of the previous decades. 

With Roland and Behringer recreating all sorts of affordable hardware that at one point, shaped the genre. Sequenced electronic music has never been more accessible to make. This is a great thing, and healthy for the culture, however with a glut of music in the style of Acid, Electro and Techno, one must look further to create music with a sense of purpose. And while the music might become easier to make, this purpose paradoxically can become more difficult to achieve, The gaps of originality forever being mined and sowed up by anyone quick enough to identify them. 

 LNS and DJ Sotofett happily manage to squeeze life between the 16 steps of a somewhat over-saturated market. A small hoop we love to see producers jump through in this game, innovation within limitations, pushed to the corners to create fresh new music. This I believe is somewhat achieved by their enthusiasm for fusion, which you can hear often in their DJ sets also. 

Electro can be tiredly purist at times, however when you remember that all music is informed, borrowed and mixed with other styles and cultures, you might obtain the key that unlocks the gate outta Dullsville. 

For example, the single El Dubbing, features recognizable tropes of the Electro sound world, but with the mixing techniques of Dub Reggae, creating a lovely push and pull between the dry and tight trademarks of Electro and the lush flowing echoes of Dub mixing. Furthermore, as mentioned previously, the sound palette is not the instantly reached for 808. Everything is familiar, but not as it seems. This immediately introduces freshness where other producers may have not looked, hiding in plain sight. 

The effect that switching from the 808 with its impeccable reputation for electronic rhythms, is hard to avoid. because it has effortlessly set the standard. But embracing the somewhat underrated tones of the 606 can be of great advantage over the usual, because it is a lot less embraced as the rhythmic backbone of the Electro, Techno and Acid genres. A simple but effective twist. 

While the 606 is often compared to, and sometimes looked over due to the legendary status of its 808 and 909 counterparts, its appeal as an instrument is displayed greatly on this album. It really suits the duo as the machine of choice, delightfully non-purist, but focused. Unbending to the pressure of having “the right gear” carving out their sound whether it be from an underappreciated drum box, or underappreciated cheap and easily accessible records in their DJ sets, often that other DJs might skip over in favour of the more expensive choice cuts. 

Highlights include, of course The 606 (track), with its mind bending breakdown and reprisal, Synchronic Bass Blort, and Sputtering with its head down militant electroid swing.

[midib0t]

If Armando crashed Jimmy Jam and Terry Lewis' New Edition sessions.

Boss DR-660 - Drums Roland JX-3P - X-Mod Roland SE-02 - Bass Behringer TD-3 - Acid Roland Juno-DS - Everything else Squarp Pyramid - Sequencer Alesis Quadraverb - Reverb Mackie 1220i - Mixer

Yes its New Jack Swing ploughing head-on into an Acid lead - don't judge me for it

follow @MidiB0t https://twitter.com/MidiB0t

[nhanhshopaudio]

Loa không dây đa năng Klipsch The Three

Dù là một sản phẩm âm thanh hi-tech nhỏ gọn và hiện đại nhưng mẫu loa không dây mới nhất The Three của Klipsch lại được thiết kế theo phong cách đậm chất vintage của dòng loa cổ điển Heritage. Nó cũng được những tính năng hữu ích cho phép người dùng có thêm nhiều tùy chọn sử dụng hơn. Keyboard Controllers Behringer SWING The Three là thành viên mới nhất trong dòng loa Heritage Wireless, nơi mà…

[loaddt322]

Behringer Fca1616 Driver Download Mac

Behringer FCA610 Firepower FCA610 USB/FireWire Audio Interface Behringer Firepower FCA610 Audiophile 6 In/10 Out, 24 Bit/96kHz FireWire/USB Audio/MIDI Interface with MIDAS Preamplifiers. Firepower Audio USB/FireWire audio interfaces are the ideal way to stream audio to and from your PC or Mac computer. These handy interfaces feature state-of-the-art Xenyx mic preamps, legendary the world over for their pristine clarity and high-headroom sonic performance, plus our 24 Bit/96kHz A/D-D/A converters will really respect your input. Both interfaces support Windows XP/Vista/7 plus Mac OS X and provide onboard phantom power for use with studio-grade condenser microphones. Hook up to the Behringer FCA Series and instantly turn your computer into a powerful recording/editing workstation. The FCA Series allows you to converse with your computer in a language it understands.. digital. When you connect line-level devices, such as synthesizers or the outputs of an audio mixer to an FCA1616 or FCA610, internal 24 bit A/D (Analog to Digital) converters swing into action, turning the audio signal into digital data. Now you can record and play back your masterpiece through a pair of active studio monitors or listen in the privacy of your favourite headphones. Due to its small size and low-latency operation, 6 In / 10 Out architecture, plus 2 highly-acclaimed MIDAS designed mic preamps, the FCA610 is a dream come true for travelling musicians who record and edit on their laptops. The portable FCA610 can receive power from your computer's 6-pin FireWire bus or via the included external power supply. Built-in MIDI I/O allows you to connect keyboards and other outboard MIDI hardware. All standard I/O formats are supported including analog and S/PDIF (both coaxial and optical). The half-rack-space FCA610 stows easily in your travel kit. On the rear panels of the FCA1616 and FCA610, you'll find ports for FireWire and USB 2.0. Inputs are balanced 1/4' jacks that accept a wide range of line-level devices. Outputs accept both balanced and unbalanced 1/4' connections. The two headphones jacks are conveniently located on the front panel, with a dedicated volume control. Crusader kings 2020. Both Firepower FCA1616 and FCA610 interfaces feature state-of-the-art, high-resolution 24 bit A/D-D/A converters, supporting up to a 96kHz sampling rate. Reliable Windows XP, Windows Vista, Windows 7 drivers and Mac OS X support ensure ultra-low latency operation. Because you'll want to take full advantage of your computer's recording, editing and podcasting potential, we've put together a massive software download at www.Behringer.com that includes Audacity (the most popular open source audio editor), Podifier, Juice, Podnova and Golden Ear (a great selection of podcasting software). You're ready to go live on your PC or Mac right out of the box! You also get more than 100 virtual instruments and 50 FX plug-ins, turning your computer into a complete home-based or mobile recording studio.

Both Firepower FCA1616 and FCA610 interfaces feature state-of-the-art, high-resolution 24 bit A/D-D/A converters, supporting up to a 96kHz sampling rate. Reliable Windows XP, Windows Vista, Windows 7 drivers and Mac OS X support ensure ultra-low latency operation.

Behringer FCA610 Firepower Midi Interface 3.2 out of 5 stars 36 22,804.00. Panjiva helps you find, evaluate and contact buyers of int erface. The Behringer UCA202 provides 2 analog inputs and outputs. The Behringer FCA1616 and other products you use every day were certainly offered in the manual set.

View and Download Behringer UMC404HD quick start manual online. U-Phoria series USB AudioInterface with Mic Preamplifier. UMC404HD accessories pdf manual download. Also for: Um2, Umc204hd, Umc202hd, Umc22. https://loaddt322.tumblr.com/post/653719965321576448/symfony-session. Visual c++ redistributable for visual studio 2010. Apr 05, 2020 Behringer FCA1616 (firewire) (OS and version not specified) Behringer U-PHONO UFO202 on Windows 10, WDM (Frame 2.5 ms / Buffers 1/1, 20 ms) and ASIO4ALL (buffers minimum, 16.3 ms), JamKazam Build 1.20 - '1.0.3657' Behringer U-PHORIA UM2 macOS Catalina 10.15.4, connected via a Thunderbolt/USB dongle, using Core Audio. Works reliably with a 2ms.

Audiophile audio interface with 24 Bit/96kHz resolution for virtually any digital recording/mixing environment

2 state-of-the-art MIDAS designed mic preamplifiers, with phantom power, individual Pad, Low Cut and Hi-Z

Multi-channel audio and MIDI operation via FireWire or USB2.0

Compatible with popular recording software including Avid Pro Tools, Ableton Live, Steinberg Cubase, etc.

Streams 6 inputs / 10 outputs plus 1x MIDI I/O with ultra-low latency to your computer, supporting Mac OS X and Windows XP or higher

Ultra-flexible connectivity via analog and S/PDIF I/O ports (coaxial and optical)

Direct Monitoring and Main Volume control with 'near-zero' latency

2 powerful Headphone outputs with individual Volume control, Mono and Source signal select

Level control of your stereo or 7.1 active speaker system with a single knob turn

Smooth cross-fading between inputs and DAW playback signals while your record sessions

Status and signal presence indication for all analog and digital I/O

Powered via external power supply (included) or 6 pin FireWire bus

Free audio recording, editing and podcasting software plus 150 instrument/effect plug-ins downloadable at www.Behringer.com

Standard port for Kensington security lock

High-quality components and exceptionally rugged construction ensure long life

Conceived and designed by Behringer Germany

Driver Download For Windows 10

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[parkerbombshell]

Just Another Menace Sunday #912 w/ Squeeze

New Shows Sundays *Now Available For Playback Listen on: 1 pm PT/4 pm ET on Bombshell Radio, Toronto, Ontario http://www.bombshellradio.com "Just Another Menace Sunday" radio thing. Hour 1: A Conversation (from the The Hotel Cafe) and tasty Musical Sandwich™ with Livingston Taylor! Hour 2: New Melodic Rock 'n Roll from: Erica Nockalls, Matt Behringer (Velvet's cover!) The Bots, Angel Olsen (Men Without Hats cover!). Stand Up and Say No, Shannon Lay, Parcels, Ane Brun, Dry Cleaning, Amyl & The Sniffers, The FM's, Jungle, Mini Trees! Repeats Wednesday 3am-5am and 11am-1pm EST  and Fridays 6pm-8pm EST  This Week – Episode #912 AN ARCHIVAL CONVERSATION WITH SQUEEZE & THEIR MUSICAL SANDWICH!(08/22/2021)   Theme Song Just Another Menace Sunday Theme (Dennis The Menace) - Mighty Six Ninety Hour 1AN ARCHIVAL CONVERSATION WITH SQUEEZE & THEIR MUSICAL SANDWICH! OPENING SONG: Cradle To The Grave – Squeeze THE SQUEEZE MUSICAL SANDWICH OPENING BREAD: Nirvana – Squeeze Hey Girl Don’t Bother Me – The Tams Little Boy In Corduroy – Donovan The Genitalia Of A Fool – Cornell Hurd Band What Is Love For? – Justin Curry Snap, Crackle & Pop – Squeeze Dick A Dum Dum – Des ‘O Connor Black Country Rock – David Bowie Paranoid – Black Sabbath Take Me I’m Yours – Squeeze Another Nail In My Heart – Squeeze Black Coffee In Bed – Squeeze Cool For Cats – Squeeze CLOSING BREAD: Happy Days – Squeeze Hour 2NEW MELODIC ROCK AND ROLL OPENING SONG: Suicide Is Murder – Aimee Mann (Superego) Save Me – Aimee Mann (Superego) If You Ever Leave I’m Coming With You – The Wombats (AWAL) Swinging At Shadows – The Cribs (Sonic Brew/PIAS) How Lonely Are You – Ducks Ltd. (Carpark) Disappearing Girl – The Aquadolls (Enci) Peach – Future Islands (4AD) Bitter Taste – Billy Idol (BFI/BMG) Carpe Diem – Afflecks Palace (Spirit Of Spike Island) I Might Get Lost – Old Town Crier (Self Release) Gift Horse – Zelma Stone (Self Release) Real Thing – Bleach Lab (Self Release) Walking At A Downtown Pace – Parquet Courts (Rough Trade) CLOSING SONG: Throw It All Away – The Clockworks (It’s Creation Baby) Read the full article

[cyberloops]

Getting back into the swing of doing Friday screenside jam sessions... just with the new equipment instead of on my computer. I only used three synths for this one, but linked them together so that playing one would also trigger another for more layered, interesting sounds.

The Yamaha CS Reface did the more bell/pluck type sounds, and I recorded a very quick descending arpeggio loop before I hit record. I also decided to set the LFO to pitch to add a wavering old-record quality to it. The Modal Skulpt was set to the more string-like sound, and I kept the Behringer MS-1 doing the more classical additive/subtractive synth solo.

As for the cross-talk between them, I ran a MIDI out from the Skulpt to the CS, so that when I played the strings it would trigger the bell sound at before the string swell really came in, and I ran a MIDI out from the MS-1 to  the Skulpt, to add some string swell after that was triggered. It did make things a little complicated, I meant to start with the MS-1 volume all the way down to zero so I could use it to play the Skulpt, but you can hear in the first little opening bit that I accidentally turned the volume up when I was fiddling around before I hit record, so that first little ad libbed line had both instruments.

Like most of my screenside jam sessions, you can hear any little mistakes, or any times when my improv didn’t quite work mixed in here... but that’s the fun of a jam session. Some things work. Some don’t.

Thankfully I did figure out why I was only able to record in mono instead of stereo... and that reason is that sometimes I’m an idiot. I forgot that the fancy-ass sound driver that most programs use requires you to set up each new device, so I was just recording with the basic-ass windows drivers. Which for some reason were just taking the left channel and doubling it as both left and right. D’oh. Now I know.

Who knows, maybe as my mental health seems to be slowly improving, I might just get back onto a regular posting/creating schedule.

[kalabutmano]

Behringer VS Arturia or David against Goliath!

Today i decided to talk about a controversial event that happened last year.
It opened an important debate between the manufacturer of the music industry which still continue today. I'm talking about the virtual battle between the German giant Behringer and the French company Arturia.
The 22nd november, Behringer announces the release of a brand new product, a midi controller called "swing". People started to comment this new device and have a sensation of "dejà vu". And yeah people were right, the midi keyboard looks exactly like an other popular product  the "keystep" by Arturia.
The CEO of the French company confirm on social network that this "swing" is a 100% copy of their product. On his post we see the beringer's keyboard with a sarcastic comment: "seriously?". 
The craziness of twitter begin and all the specialized medias talked about this. But to quite understand what's going on here, i need to go back on a process that started many years before and particularly on the Behringer strategy which did a very aggressive marketing these last years.
I remember in 2015, at this time Behringer was famous only for small gears and very affordable products. 
Everyone was surprised when they annouce that they bought the prestigious "Midas" company, first step of their big strategy. The strength of Behringer and it charismatic CEO (Uli) has that they were able to smell before others, the desire of an entire generation of electronic musician to come back at the hardware uses.
So, the German company, already big enough used flaws inside the patent system, to copy a dozens of legendary synthesizers. The Roland SH101 became the MS1, The TR 808, the RD-8 and the Moog model D, the poly D. And at the half of the price of the vintage models!! Of course during this period voices rises to criticized Behringer’s project, the fact that they create nothing and just steal the work of others pioneers companies.
Some  Activists also denounce the entire economic model behind these cheap productions.
But the company is unstoppable with a very efficient storytelling: "making accessible for everyone the best machines ever."
 If i have to be honest it is true that the company have filled a gap in the market. The old brands have gives new versions too different than the originals and didn't convinced. So, naturally the Berhinger’s models are become an enormous success. Now back to the battle. With this background, maybe you ask yourself after years of copy why this particular case has made debates inside the industry?
The answer is simple, it's because this time the company has choose to copy an already cheap and contemporary product.
Berhinger can not hide anymore its appetite behind a dream of a child that can not afford the synths of his dreams. 
No, we have here a typical example of a big capitalistic company that made his fortune with an agressive marketing, stolen ideas, products assembled in countries with the average income is the lowest and in buying rivals creative companies. In my opinion we don't know the long term consequences of this kind of mutation inside the industry. For sure Behringer can only become more powerful and still buying more companies (The last week they bought Aston).
The fact that a company like Behringer become more powerful than SSL or Midas in music industry should be alarm us on the kind of project we want for our society. As answered Uli (behringer CEO) to Arturia "Competition is a fact." But which competition will remains if they bought everything else…

https://www.gearnews.com/arturia-takes-a-swing-at-behringer/

[dischilln]

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Getting back to the grind. Work had me struggling for a little bit. Now getting back to the swing of things. Let's GO!!!! Kettlebells from HELL!!! What a way to start the week!!! I hope I didn't overdo it. . . . . . #kettlebellworkout #kettlebell #kettlebellswings #kettlebellworkouts #kettlebells #healthy #healthylifestyle #healthyliving #healthyyou #healthyhabits #ableton #abletonlive #abletonlive10 #abletonproducer #abletonproducers #music #musician #musicproducer #musicislife #MusicLover #ssdkmusic #keyboardplayer #producer #studio #behringer (at Stockton, California) https://www.instagram.com/p/CD_pYuAjACP/?igshid=1es7psr0v5qfp

[nhanhshopaudio]

Keyboard Controllers Behringer SWING

Keyboard Controllers Behringer SWING

Tính năng nổi bật  32 phím kích thước nhỏ gọn cho tốc độ nhanh và chức năng sau khi chạm  Bộ phối âm 64 bước có phức điệu 8 nốt với phần còn lại, cà vạt và mục nhập nốt legato  Chế độ chơi hợp âm với tối đa 16 nốt cho các vòng lặp mở rộng và các mẫu chơi dài Bàn phím bộ điều khiển MIDI USB 32 phím với các chế độ giải trình tự đa âm, hợp âm và phối âm 64 bước Thông tin giao hàng Chiều…