Should Behringer Make An Analog Drum Machine?

Behringer-iX16-ipad-mixer-backBehringer CEO Uli Behringer is teasing the possibility of his company making a new analog drum machine:

“With the tremendous success of the DeepMind 12, we are now repeatedly getting asked to design and produce an analog drum machine.

We would love to hear your opinion and invite you to share your ideas and dream features with us.

Many thanks!

Uli”

Leave a comment and share your thoughts on the possibility of a Behringer analog drum machine.

Is an analog drum machine what you’d like to see them make next? And if so, what features would you like to see it have?

102 thoughts on “Should Behringer Make An Analog Drum Machine?”

  2. Can’t help but chuckle over Uli boasting of the “tremendous success” of a product that doesn’t exist yet. Tremendous buzz, perhaps!

    …and the answer is, sure, why not? Go ahead, make a drum machine! If it’s good I might even buy one. Everyone likes choice.

    Duh.

    1. the article says at the end

      “Is an analog drum machine what you’d like to see them make next? And if so, what features would you like to see it have?”

  3. Would be nice: like an Arturia Drumbrute, but then that you can store the control parameters such as detune, pitch, decay, snappy, etc in a patch and that they are remote controllable via Midi. :0 :0 :0 so many nice products these days…. we are spoiled 🙂

    3. I would appreciate much more depth, more like Elektron and tempest or even some of the software drum synth vsts like Tremor or Microtonic. Another cheap analog drum machine is not something I want to make tracks with. We have those already. Sure someone can make slight adjustments to a layout and sound style and call it new analog drum machine.
      Good basic sounds but options that pushed to the next level is what I want.

      I agree I want good ANALOG feel and sound but that doesn’t mean I just want to make retro stuff purely or be locked into that workflow. A good user interface with deep control. Something that can also be portable so I can program some stuff on the go maybe in a power saving limited basic mode. Put a rechargeable laptop battery in there. Even if it is a couple hours of mobile play I would like to bring something into nature and program some beats outside on a nice day.

  4. I saw that the deepmind have a fan, i’d considered to buy it but that’s a deal-breaker for me.
    If behringer make a drum machine, fanless would be great.

    1. I’d imagine the heat build-up in the DM12 would affect its longevity. You can’t always get what you want. But I get it. I have a K2500RS that has a pretty loud fan, and a K2661 without a fan. Totally makes a big difference in a studio.

  5. You have a photo of a digital menu, for discussion about an analogue drum machine…. I think that says it all.

    If it has a digital menu I won’t touch it. That goes for the Deepmind as well….

    Nothing to do with being a behringer snob, I have an. Old school modular obsessed friend who thinks this synth will be the second coming. But over complexity doesn’t make me “just want to play”, good layout does.

    Which is why I bought a prophet 6

    1. How could you imagine manipulating digital parameters without it having any digital user interface? At the moment the most advanced drum synths have some menu diving too – Tempest and Analog Rytm.
      Yep, now there comes DrumBrute too, but it is something really ordinary. For some serious sound design (which there’s never enough of) only hardware controls probably can’t handle it without some menu diving etc.

      1. You know this thread is about an ANALOGUE drum machine right? And there are plenty of ways to use digital memory and effects without menu diving. Even the volcas have parameter recording without menus.

        And if you think you can’t do complex sound design on a physical interface, then you’re just not very experienced with what’s out there. Jupiter 8 prophet 6 these are prime examples of great interface and complex sound design options.

      1. The prophet 12 is a digital synth only its filters and some effects are analogue, everything else is digital. This thread is about an analogue drum machine

        1. If you issues with menu diving, I certainly understand, however if you take exception with LCD screens as a general rule, that is just plain stupid. I would rather have a screen than working in the blind. I would certainly prefer a knob per function or near that ratio with a screen to see parameter values and as much visual information as possible.

        2. ATTENTION EVERYONE. GARAK WANTS TO MAKE SURE THAT EVERYBODY KNOWS THIS THREAD IS ABOUT AN ANALOG DRUM MACHINE. HE WOULD APPRECIATE IT IF YOU TAKE YOUR DIGITAL TALK BACK TO THE MATRIX.

    3. It would be a shame to limit a feature set just because someone doesn’t like looking at a display. There are options for knobby analog drum machines. There are almost no options for drum machines with DAW-like rhythmic capabilities in the sequencer.

  7. 1. built in effects including reverb, comp, delay, drive (classic bucket would be nice even f its dsp)
    2. parameter locking
    3. velocity voices (open env, filter , pitch etc)
    4.TR style programming – 16 lit switches or pads
    5.LCD display with roland style 707 grid as an option for pattern overview
    6. stereo output (main)
    7. time signatures not locked to 4/4
    8. LCD display – not tiny (elektron) 4:4 or 16:9 shape with ability for graphics (like deep mind 12)
    9. USB audio multi outs
    10. poly rhythm capable – per drum adjustable last step
    11. per voice track play options loop, reverse, ping pong, random
    12. voice stacking for a pad (voice count drops of course) with velocity switching/fade over.
    13. cover the usual kit types to a degree but also ‘go whacky”
    14. pattern length user definable including 3 bar, 5bar and 99bar.
    15. copy and append patterns (pattern bars from 1 + pattern 2 and either overwrite or extend) – see yamaha rx5
    16. any sound on any pad
    17. option to place 1 drum sound on all pads and edit each ala parameter lock- then play in to record that.- see yamaha rx5
    18. FADERS for volume not knobs
    19. song mode – typical old school list see korg ddd1 and yamaha rx5
    20. live session record – records your manual pattern changes and fader movements in to a song
    21. bass synth voice (why not)

    2. You just describes something the size of a mixing desk! Stereo out means a pan knob per sound – to me a waste of space as if you have individual outs you can do it with a separate mixer if live or in teh box.

      Faders for volume also waste of space on a drum machine. There would be less space for other parameters.

      If you want any sound on any pad it would be less intuitive to use as the controls would not be labeled or the layout designed per sound. A bit like using a plug out for Roland.

      Other than that I tend to agree with you,

  8. not another cheapo 70s/80s type of dm
    more like dsi tempest, elektron, jomox etc
    analog/sampling hybrid
    fx per instrument
    PROPER BD

  9. analog groovebox – analog drums, analog synth parts, sampler with analog filters… lots of knobs and buttons and faders – and oh yeh, put those 4 DSP effects engines in there too

    2. The hit-maker from Roland named mc-303, has at least 20 years old and it’s about time to give to the masses a fully analog realistically priced 21st century groovebox.
      IMHO the current options in the market are limited regarding features OR too expensive.

  10. Yes!!! But make it something interesting like the Elektron RYTM.
    Personally I think Analogue path with Digital control is the best thing since sliced bread.
    If it’s a 1:1 tr808 style (aka DrumBrute) I won’t be interested. If it has a robust sequencer and lots of somewhat hidden features under the hood count me in. Can’t wait to touch the Deepmind!!

    1. That’s a good idea – not just go for analog but also the good kind of digital. Maybe something like an SP-1200/DMX inspired sampler section with a useable interface and selectable bitrate/sample rate – staying away from pristine reproduction. That’s been on my want-list for a long time.

    2. This. I have Rytm and love it, but if you could sample with it directly… oh my, that would be sweet. Rytm sample management is horror.

  14. Agree! Something like analog Rytm.

    -sampling
    -good pads
    -morphing between kits in a way that is metaphorically like pornamento between notes
    -those killer DM 12 effects
    -have it also be excellent at chords basses and synths
    -don’t have to say this but yes automation too
    – randomizer making sounds and or patterns get weird in no time
    – Good analog overdrive and compressor at the end of chain
    – option to switch the sampling rate to 12 or 8 bit.
    -built in natural sounding mic
    – the ability to pull the rhythmic transients out of a performance and put new sounds in their place. Like someone could beatbox, play drums or whatever into the built in mic and then this drum machine would “listen” and play something similar with that same human timing but synthesize the sounds by making a kit.
    – so the mic can also listen to sounds and then the synth engines imitate those sounds to a certain extent. With some slight randomization going on.
    -analog filters people love those

  17. Id like to see a very advanced drum machine with digital sampling capabilities and physical modeling. Why just limit a drum machine to analog? seems a bit daft.

  20. The screen on DM12 and the mock up drum synth look hideous. They look like a Triton from ’98, but at least the Triton was touch screen. Reminds me of some lower end M-audio controllers.

  21. 1) Ability to load samples
    2) Analog filters. Analog filters and some analog filters.
    3) Lots of knobs. Digital control and display good but keep menu diving to an absolute minimum.
    4) Lots of outs
    5) Make it sound raw. Not pristine.
    6) Good envelopes to shape sound.
    7) Make sure the kick is really good ( I sold my tempest because I just couldn’t get the kick to hit)
    8) Hands on control for each sound – see Vermona DRM MK 3. Makes drum programming fun and easily adjustable on the fly.
    9) Good sequencer. See Elektron.

      1. I want analog also but I agree fully in that we want not a plain boring analog but something NEW with a lot of digital stuff / control. I don’t care about how the sound is made I just want it to sound cool fresh. A lot of options and depth.

        Elektron has analog machines but does really interesting stuff. I think this could be built upon further and give us everything in one box!! That would be my dream.

  22. Only if they can do good sound design. The 606/808/909 became classics because the sound design is head and shoulders above other analogue drum machines. The truth is that most analogue drum machines have poor sounds, which is why few people used non-Roland DMs when analogue drum machines were the only thing available. Maybe the designers think it is enough that the sound generation is analogue and then skipped on putting the hard work into creating good sounds? Those Roland boxes are classics for a reason and any new drum machine that wants to have any longevity needs to include new sounds that are equally as useable. Of course you can sell a bunch of units in the meantime and it will be a success from a business point of view, but I’d suggest aiming higher and creating a machine that will become a sound that you hear on many records in the future.

  24. Focus on making the sequencer powerful/flexible,
    capable of producing grooves that most
    drum machines cannot.

    1. Patterns can have 1-16 beats.

    2. Tracks within that Pattern can have shorter
    numbers of steps to loop at different points.

    3. Any beat on any part can be subdivided by 1-16 steps–
    INDEPENDENTLY, so Part 1, can be 8th notes with a
    septuplet on beat 4, Part 2 can be all triplet 8ths, with 16ths on beat 3.

    4. Patterns can be chained together into a song

    5. Tempo can be controlled “globally” by the Song Tempo,
    or a Tempo can be saved with each Pattern so that
    tempo can change as a song is played.
    Alternatively, a Song can have tempo change events.

  25. Random hit, velocity and shuffle are paramount to any sequencer. Nothing will sound organic without it.

    Parameters that go from mild to wild – go overboard with the thresholds of parameters – pitch from extreme low to super high etc.. this leaves room for exploration especially if envelopes and looping functions are present.

    Samples onboard and ability to load samples and mangle them like the Rytm or the volcanic sample

    Solid, interesting and DIFFERENT sounds. We don’t need another 808 kick or another 909 hat. We want interesting, different sounds that can be explored and pushed to different territories right in the box.

    Ability to set tempo of each track independently but within a multiple of two of the original would be great – so kick and share can be master tempo, but hats or toms can be half tempo. You could also just give us more than a 16 step sequence to get around this. 32 or 64 is nice.

    A crude and noisy analog compressor (pref each track) or on master along with 4 or more effects to allocate as we choose. With the compressor, I say noisy and I think of the 106’s chorus – heaps of character.

    Think outside the box and give us something new.

    And as someone said above – RAW as opposed to prettty. Unpredictable as opposed to critically controllable

  27. I like this challenge. Heres my idea;
    Kick-sub;
    Kick Sharp;
    Tom (Hi to low);
    Snare tight;
    Snare loose;
    Hihat open;
    Hihat closed;
    Ride;
    Cymbal;
    Extra Perc.
    All parts are tunable between 1+ and 1- octave, have sustain control, Have release control, Have transient control, Volume control, and FX send.

    FX are per channel rather than whole machine but can be switched to whole output. (its annoying to have a great drum machine but not able to bypass the FX for the snare or other parts. Having fx control per pad renders a far more interesting result.

    The FX section should have:
    delay with programmable length repeat time and cut-off
    Reverb with room choices and programmable depth, nearness, and hi +lo pass filters>
    Distortion with amount, distortion choice of foldback, overdrive and crush
    Wahwah/tremolo, again with depth control and amount.

    Pattern programming should be 8/16/32/64/128 beats and with the option of having 3/4 4/4 6/8 etc to help compose in other timings.
    Program sequencing should have a song mode (300 bar maximum length) That way the machine can accompany live performance instead of having to be baby sat.

    All drum parts should be able to be patched out independently via clock + trig ports.
    Midi in/out
    Clock in and out
    Trig in and out
    Samples can be loaded to the perc extra pad with ADSR + volume controls and send to FX.

    VST Control UI that plugs into a channel on the DAW. (for programming and tweeking etc.

    Adjustable velocity pads (can adjust the sensitivity of the pads-some machines don’t allow this so for live performance can be a pain in the fingers)

    For live performance:
    Multi trigger upto 1/64 (a bit like what beatstep pro has)
    Live quantizer – to help keep beats straight and on point when being manually played.
    Live shuffler – the opposite of quantizer
    Tempo is tempo but should have a ceiling of upto 560BPM

    Lastly for now anyway:
    A Blur mode – an idea where a knob is dedicated to extending the tails and lowering attacks of all parts so that a blur can be attained and then slowly turned out and back in as and when desired.

    1. I forgot to mention a few things: first filtering.
      LP HP BP all at 12db and 24db option with a programmable ADSR
      Again with either per pad routing or whole track routing.
      The filter + FX should also have recordable automation.
      A big editor LCD why are so many modern machines have such tiny (if any) LCD panels? I want to see it not squint at it.
      Back lit knobs and sliders and good contrasted fonts for the knob/slide/pad tags.
      …
      Judging from what I have wrote this unit would be big, I feel that would not matter because a serious user/programmer would love to have that much control in hand and live performances would be incredible that would produce amazing electronic drum solos instead of being just a rhythm machine.

      1. I wouldn’t mind if it had a lot of awesome crazy stuff in the menus as long as there is a good VST editor and iPad app for digging deeper than main panel stuff. I agree we need something with a TON of options but with a simple fun interface. I want depth please please please!!! 🙂

  28. Yes they should build it for sure. But, unlike most, please don’t use ‘fixed’ hat, snare, cymbal etc sounds. Instead have sample banks that can handle this stuff and analog for the rest.
    So maybe 6 analog parts and 4 user-sample parts would be perfect.

  30. I’d like to see a more high end featured instrument that competes with the Prophet 12. Something with at leat split/layer capability, five octave keybed, a 10 key pad to access programs directly. Maybe some more filter types and a sub osc. That would be killer.

    1. This is not about the Deepmind 12, which cannot be compared to the prophet 12 anyway, but its is about a possible analog drumsynth. Guess you replied in the wrong section (also happened to me once).

  31. YES – have convincing 909 snare/rim…and NEW analog sounds not just rehashes of classics. And take it FAR in tweakability to get FUTURE analog sounds, just like you did with the Deepmind 12.

  32. no. instead make a workstation w/
    – internal sounds (va okay)
    – built-in mpc/asq10- sequencer and
    – 61 keys!
    there is no such product on the market. akai (inmusic) made one big mistake so far by not coming up with a workstation that has a mpc onboard. they had their chance with the alesis fusion but they screwed it up badly.

    1. There are already so many machines (synths and drumboxes, analog and digital) that have that already. Why would you want another one?

  34. I think a drum machine/sampler is a great idea. Make it exactly like the Akai MPC 2000XL but better and you will hit a home run

  38. I’m looking forward to the DM12, so let’s have a drum machine as well. A featured sequencer and staying away from those 80’s sounds and you can’t go wrong. And at least 20 teaser videos.

  39. They should hire The Zaq Audio dude and make BCR-3000 with Zaquencer 2.
    (Should have done that even before DM12)

    It is incredible, that Zaq Audio made possible the best hardware sequencer out of cheap midi controller firmware.

  40. NO!
    There’s much of those already.
    DrumBrute! Arturia for president (rather than Trump or Clinton)

    If any, I like Charlie’s remark best: Think outside the box.

  41. Simple, Big Punchy Sound, Loud Outputs, Killer Swing, Individual Outs.

    That’s it. If it’s analogue, sampling, has digital or analogue FX or none… all of that is secondary.

    For a live box give me drive per channel into the master, analogue stereo filtering on the master and individual sends to a cheap ass digital reverb and delay.

    It should punch, crunch and pound speakers. If it doesn’t do that then what’s the point of it.

  42. Create an electribe killer. Analog groove box with all the added extras: wi-fi/sd memory card storage/seperate outs/VR interface/sequence motion record…dream machine.

  45. Uli, I want a loop station that is basically a series of loop stations with tempo. 6 or 8 individual audio ins and outs. Each instrument is on its own looper.

    The looper has a tempo/midi clock and when I press record, it doesn’t start recording until the loop restarts.

    If you could send midi clock/tempo data back to each of the individual instruments, you’d be a god!

    Would help me realize my dream of a one-man, computer-less synth show.

  46. Yes, absolutely they should make a drum machine. I really like what they have done with this poly and if they keep the drum machine very simple, less complexity than tempest or elektron but a little bit more than the typical tr or volca – , thinking intelligent song mode that allows you to loop parts for a number of counts like an old mpc , along with this great sounding analog core sounds, I think it would be a hot item,, maybe include some eurorack I.o. And keep it cheap like 500 or less. This would be a good comparison to the matrix brute or mfb boxes, well done! Now if only moog would do it.

  49. Fully velocity responsive.

    Parameters that can be modulated by velocity.

    All voices with the same circuit design, nothing specialized. Let me make sounds.

    Probability per step in the sequencer.

    Touch screen. Update the software with new kinds of sequencers that don’t follow the TR style.

  50. Two independent samplers with ability to fine tune a layer with starting points, separate envelopes, some fx’s and so on to make interesting and fresh sounds. Pretty much the concept of D16 Punchbox in analog reality would be amazing.

  54. -Really good Analog sounds but the ability to really go far outside of normal everyday stuff.
    -Sampling (recording and sample drag / drop in)
    -VST editor and iPad editor
    -Parameter Morphing (4 way morph with an XY pad would be dope)
    -Mod Matrix
    -Each drum can be keytracked and played independently and ability to record those pitches in the pattern
    -Battery power with optional mobile/ portable mode for like a battery saver function
    -A lot of good effects that can be step sequenced and routed to any parameter(distortion/saturations/buffer/stretch/granular/delay/verb/Gate / stutter effect / phaser/fange/Chorus/ tape stop/many types of filters)
    -Parameter locking
    -Harmonic tuner
    -Layering (layering samples per analog voice or even stacking voices)
    -Poly rhythms
    -Arpegiator for making back up bass lines and stuff
    -Lots of LFOs and Envelopes
    -Audio in (for recording samples or using on board effects for external gear)

    Simple but also easy to dig deep real deep (please)

    If so please use all the best ideas from
    Elektron and Tempest.
    Also please take away ideas from these VSTs:
    Microtonic, Tremor, Kick 2, BreakTweaker, Glitch 2

    1. I made the above comment before looking at any other comments strangely a lot of what I said others are wanting. Not another plain boring drum machine like what Arturia just came out with. There are a lot of good things on it and it sounds good but we want something Next level, creative, and new, sound designy. Still want basic stuff like Accents and what not but really cool digital controls and effects and ways of manipulating beyond what is normal realm.

  56. Connections > midi in, out, through, USB, CV / modular friendly, separate outs per drum and main left right plus head phones. Audio in port. Bluetooth or wifi option for ipad would be welcomed also.

    -drum/cymbal chocking and rolls
    -Swing (maybe different types like in Tremor VST)
    -Slop / Humanize / random timing functions maybe modeled off of actual performances of lazy/smooth/or jump the gun drummers
    -I want to have the option play my drum machine like a synth
    -Lofi Microphone built in

  58. I would like the ancient living room vibe of the AceTone FR-1 with modern rolls and backwards fun like the EMX1 and TR8. Maybe I can sample into the Rytm? Also, Kraftwerk. Those sounds.

  59. Assignable outs, tracks to load samples, straight forward sequencing without menu diving, and prioritize making the kick sound good.

  60. I would love to see something like an improved Elektron Machinedrum, meaning:
    – analog filters/distortion
    – better fx (at least modulation fx – reverb, delay…)
    – step lenght per-track (polyrithmic)
    – individual outs via usb (although analog outs would be nice of course… just trying to be reasonable 😛

    sampling capabilities would be more than welcome, at least for short hits in good quality and a painless upload method.
    other than those points mentioned, I really like the sound sculpting options of the MD… I don’t have one, but I’ve played quite a lot with them 🙂

  62. Basics that are left behind nowadays in so called “instruments” and some more
    1. OS/host platform agnostic for any software
    2. Full CC/NRPN/Sysex implementation for all parameters, patches, banks, firmware updates, sequencer data incl. parameter changes
    3. USB 2.0 MIDI and audio class compliant. No custom OS drivers.
    4. External pad inputs alike Nord Pad.
    5. internal 110-240V auto-switch power supply.
    6. Individual outs, but configurable what sound goes to what channel (for those who want stereo only) e.g a D-Sub connector to save space on the chassis.
    7. External audio in
    8. Balanced outputs
    9. DIN MIDI I/O (can be 3.5mm)
    10. MIDI Time Code (MTC),
    11. MIDI Machine Control (MMC)
    12. Pad MIDI note number configurable.
    13. Sound assignable per MIDI channel.
    14. 960 PPQN
    15 Why not a analog/digital hybrid ?

  64. My favorite drum synth is the Jomox mBase 11. Though it is essentially a kick drum only synth, the easy to access parameters and depth of parameters for the single voice is something that puts this little box way ahead of many other devices. I use it as the kick for my electribe, sending the kick drum midi note to it. I would like to see maybe a 8 instrument/voice drum machine with focus on the ability to manipulate each voice dramatically. Not just the limited parameters on so many but to sculpt your own sound. My beef with many analog drum machines out now is they are one trick ponies for the most part. Also a robust step sequencer with plenty of room to save patterns, settings, voice parameters, link patterns into songs AND an assignable bank of effects that can be assigned to one voice or the whole mix. (also stereo output) and ability to modulate, pan and EQ the voices to create a robust mix without the need for outboard processing…Basically take the composing, performance, sequencing and mixing functionality of the Electribe SX1 and make it a analog… individual outs and CV all the MIDI control stuff mentioned above…but what makes something really musical is it’s ability to adapt to the tastes and desires of who ever is using it. From warm deep house, bangy techno to glitchy electro and minimal wierdness…full control of voice synthesis makes me shiver…so robust it could be sold as a modular module or stand alone box

  65. Whatever drum machine you make the snare and kick need to have proper body to them. Weak snares and kicks let down products. Personally I’d like to see something somewhere between the Korg Volca sample and the Drumbrute but with a lithium rechargeable battery!! Make it happen guys. 😉

  66. They cna make what they like. The real question is: “Should I buy it?” And the answer to that is: “HELL NO!”

  67. I recently bought (and returned) the Behringer Motor 61. Buggiest piece of crap I’ve owned. And that thing wasn’t cheap.

  68. -Total recall on patches and fast preset switching, manual -time signature adjustments along with bar length adjustments
    -Lofi microphone built in for quick sampling
    -Really good bit crush and sample reduction DSP (like chip crusher vst)
    -really good humanize for timing and velocity randomness
    -good velocity pads and controls, option to turn of velocity also

    Good sampling, analog grooves synth ????

  70. Another analogue drum machine would be nice, but Arturia look to have done this well.(I’ll get over the omission of a cowbell). I like the TR programming interface, preferably with a few extras such as probability.
    I’d be excited about a sound engine inspired by the Korg ER1 and the Teenage Engineering Rhythm, the odd fx per voice and definitely individual outs.

  71. When it comes to analogue, the sound is THE most important thing, no matter how many features, functions, effects, controls or interfacing a drum machine has. I have tried (owned or used) all the current crop of analogue machines (except the drumbrute) and with a few exceptions like the e-licktronic clones and maybe Jomox, they all fall short in this area when compared to the classics like 808, 909 or even the 606 in terms of weight, ‘authority’ and synergy of the sound. I know these are subjective terms but put a 909 next to a Rytm or Tempest and the qualitative difference is obvious, no matter that the new machines can do so much ‘more’. Behringer need to get this right before anything else. Also individual outs on standard 1/4″ jacks please, this trend to multi-outs on USB only and mini audio outs is ridiculous.

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