16 thoughts on “A Complete Guide To The Behringer Monopoly Synthesizer”

1. Awesome guide, not much like this on the web. Hope we get more of this

2. Okay, I’ll start the ball rolling on this one…
   What’s the difference between an ‘unofficial copy’ and a ‘knock-off’?
   And, go!

   1. No difference. They both refer to products spewed out from factories in China in a late stage Capitalist attempt to make a significant profit by duplicating another company’s famous device at a much lower price point by leveraging (a) the lower cost of modern surface mount electronic components and assembly, (b) a large pool of cheap semi-skilled labor for assembly, and (c) the propensity of musical instrument collectors to lust after obsolete 40 year-old instruments.

      1. dude, your GED is showing.

      2. 100%

   2. knockoff = cheap unofficial copy

   3. connotation vs. denotation

3. I’m old enough to have lived through all the 1970s analogue synths, the wonderful unaffordable poly-synths, then the early semi-affordable Junos & KORGs and the birth of digital synths which overcame all their limitations and delivered massive improvements: massive polyphony, excellent tuning, FM, sampling, effects, and huge depths of sound design.

   I find it really odd that people are now returning to (copies of) early 80s tech.

   How many of you also collect antique Nintendo Game & Watch devices? 🙂

   1. Some from the upcoming generation are actually getting into the old Nintendo games part.

      Perhaps people are finally starting to realize that tech development moves way too fast for average people to realistically (and responsibly) keep up with and properly absorb. That might just be a mixture of hope and projection on my part though. All I’m saying is that doubling back seems like a natural human thing to do, at least to me.

      “Old stuff” has been returning for a while now. Whatever that thing is could be a trend or it could find itself in a more “permanent,” niche place. Vinyl records might be used as an example for this.

      For the record, I’ll ask that no one read this comment as me making a defense for Behringer.

   2. It’s perhaps a bit strange. The significant development lately seems to be high quality digital synths, and things like FPGAs are really changing the quality of the sound, so it’s fun to see digital gaining steam once again. People were drawn to the analog revival because of the quality of the analog oscillator, and maybe a yearning for the past. Vintage analog synths are often broken, so a new product with that sound filled a void.

      1. FGPA’s does helps to avoid aliasing and much more versatile but the UDO super-6 or Novation Peak OSC still lacking in the bottom end and thickness compered to some fully analog synths

   3. I play ROMS of Nintendo and Super Nintendo games on my computer just like I play plugins of classic synths on my computer.

   4. Hi Richard, it is about sound… Digital sounds to clean, too perfect. Boring if you wish. Analog has the imperfections and variance that we – the wonderful living beings we are – are able to discern from dry repetition.

      1. With analog the whole can be greater than the sum of its parts and end results can be surprising even for the designer. With digital this can happen too but you mostly get whatever the programmer intentionally put into it.

4. Does anyone know if it recreates the quad-speed LFO hidden feature from the original?

5. Awesome Information – It helps a lot! Many Thanks