Behringer 2600 Semi-Modular Analog Synthesizer — popust 23%

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Few synthesizers are as celebrated as the original 2600, and now Behringer has brought the venerable semi-modular workhorse to the masses in an affordable 8U rackmountable format. Teeming with vintage vibe and old-school analog flair, the Behringer 2600 leans into its normalled signal path and patch-point architecture to provide intrepid synthesists with a powerful sound creation platform. Whether you’re chasing classic synth sounds or concocting future-facing musical manifestations, the Behringer 2600 arms you with a wealth of audio design tools, including three beefy VCOs, a multimode VCF, mountains of modulation, and inexhaustible routing options. With 78 faders and switches, 93 patch points, and Eurorack compatibility, the Behringer 2600 has challenged synthesists to tap out its creative potential. So far, we can’t! Totally authentic and absolutely absorbing, the Behringer 2600 is a sonic wonderland for analog aficionados and modular marauders alike! Authentic re-creation of a synth legend Behringer dug in deep to meticulously replicate the original unit’s analog circuitry, and it shows. From its vintage-style voltage-controlled oscillators, filters, and amplifier to the modular patch-point architecture and normalled signal paths, which allow for incredible sound-design flexibility, the Behringer 2600 gives old-school-synth enthusiasts a truly authentic vintage semi-modular experience. Plus, it’s completely compatible with modern Eurorack setups, supplying an unreal launchpad for next-level sonic manipulation. Patch-point architecture promotes sonic exploration In the early days of modular synthesis, systems were massive, wall-filling monstrosities, typically relegated for use in academic facilities or recording studios. So, when the 2600 hit the scene in 1971, it presented artists with a way to bring the awesome power of synths to the stage. Moreover, it served up a normalled signal-path for players who wanted to access sounds quickly without having to physically patch together the modules using patch cables. With its semi-modular design, the Behringer 2600 sounds spectacular just using the hard-wired pathways. But, if you want to start getting experimental, just break out your trusty patch cables and see where serendipity takes you! Packed with three swaggering VCOs Outfitted with three VCOs, the Behringer 2600 boasts the signature girthsome tone of its predecessor, which lends itself to brutal bass sounds, gritty leads, and crystalline plucks. VCO1 features independent sawtooth and pulse wave outputs. While VCO2 and VCO3 furnish independent outputs for triangle, sawtooth, sine, and pulse wave (with pulse width modulation), as well as oscillator sync. Additionally, you can set all three oscillators to low-frequency mode for use as LFOs to modulate the 2600’s myriad parameters, and they have numerous CV inputs for frequency modulation via LFO, sample & hold, ADSR envelope, and more. A tale of two filter circuits The Behringer 2600 comes with not one, but two selectable lowpass voltage-controlled filter circuits: the 4012 and 4072. Though these are both four-pole resonant filters, they have some significant sonic differences. Featured on all of the 2600 revisions up to 1976, including the 2601 Rev 1, the 4012 filter has a similar disposition to a certain legendary ladder filter. Chock-full of growling attitude with a greasy resonance, it’s an absolute monster. Introduced on the 2601 Rev 2 in 1977 — the unit from which the Behringer 2600 gets its eye-catching black and orange aesthetic — the 4072 is a more laid-back variant. It features a lower maximum cutoff frequency than the 4012 (11kHz versus 16kHz) with a smooth resonance, ideal for more refined bass patches and swells. And, like all of the 2600’s modules, the VCF’s parameters are controllable by hand or CV control through its corresponding inputs.