I’d encourage folks to separate out the issues here – you can dislike Behringer for numerous reasons, but I’m trying to stop my personal distaste of their business model from automatically decrying everything they do as destructive to ‘the community’. Remaking old chips that were designed, and sold commercially, 40 years ago is less of a concern in my mind. More information on the Moog Music website.These are certainly interesting & murky waters! Personally I have much more of an issue with the idea of Behringer selling numerous ‘clones’ which rely heavily on the name & history of the original components / instruments. I haven’t seen a price as yet but I imagine it will be hefty. If you’d like one then you’d probably best get in touch with Moog Music.
There is so much potential in this history.” It’s a privilege to build instruments in this way it lets us reimagine what future tools can be. “Through archival designs, so-called obsolete electronics, and outmoded production processes, we are rediscovering the magic of our past. There’s a great quote from Moog Production Engineer Anna Montoya, which is somehow very poignant in this era of cheap synthesizer clones:
Also the heavy reliance on a keyboard is very interesting, how Bob always pushed towards “classical instrument” rather than “sound making machine”. Watching the video below what strikes me is how different it is to Eurorack – by which I mean (I think) that the size and form factor gives it a very different “feel”.
This is obviously going to be a premium and exclusive product. They are built using the original documentation, art and circuit board files. They are housed into two hand-finished, solid walnut console cabinets. These include ten 901-series oscillators, the 984 matrix mixer and the 905 spring reverb. Each instrument comes with 36 hand-built modules.
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