Kewl

Oi Behringer! Lovin' your work! But what we need is some modern modules like a decent midi to cv converter, step sequencer etc.

@@WibblyWobblyBob boy do I have a surprise for you

@@WibblyWobblyBob There’s the 182 step sequencer at 17:25, and Behringer also released the Moog 960 sequencer…

@@cheek1m0nkey thank you. I ended up getting the Crave to give me a quantised step sequencer plus more tonal options. I have added a wave folder, ring modulation and more filters and vcas since my previous comment.

"Here we see the VCO in it's natural habitat, being oscillated by an LFO...."

Now that is one hell of a compliment. Apt too!

@2:45 The Roland quote ending with "of all time." I thought the same thing!

@@station2station544 LOL

"Undoubtedly the greatest synth on the planet...."

Thanks a lot Alex, I really appreciate it. And I must admit, your site was the one place I kept coming back to when I needed info about the original 100m modules :)

@@TimShoebridge Ah glad my obsession helped. I was going to say that I was enjoying that the historical information was accurate. Haha. One of the many amazing things about the 100m is the 184 Polyphonic 4CV keyboard. What a simple but genius idea! I was lucky to get one that arrived in the original box. Surprised there's not more modern equivalents given how useful it is and how many polyphonic avenues it opens with modular synths.

@@AlexBallMusic Interesting, i own a KeystepPro controlling 12U of eurorack but looking for something less buggy. Then i wonder, what features makes the Polyphonic 4cv a specific beast ?

@@vincentprimault4380 The 4CV is very hard to find now. I was lucky. Firstly it has full sized keys, then it's five octaves and finally the switches, buttons and bender are all nice and chunky. So it's very human. Then it fires out four CVs and four gates and it has both 1/4" and 1/2" connectors for each voice. Then there's four modes - Unison 1 where all four are triggered from a note. Unison 2 where it cycles the voices. Then Poly 1 where it always assigns CV/gate 1 to the first note and so on and Poly 2 where it's constantly cycling. Then there's a clockable arpeggiator with numerous modes. So basically it's solid and chunky and very literal. No setup, no menus etc. The only problem is that it can only do volts per octave. The Arturia can at least have different scaling and triggers per voice. The Keystep also has an arpeggiator and sequencers of course, so it is still very nifty.

@@AlexBallMusic Yeah this entire world just became like a sunken but still somehow vivid city when the DX7, D-50, M1 et al was all we ever got to know about synthesizers in the early midi days - at least until we (finally!) found a Really cool magazine or book. Perhaps that's why my generation has worn out our Vintage synthesizers book - SO much information in there which was hidden away during so many years. I remember asking every musician about synths all the time - all I ever knew about vintage was my dad's Switched on Bach record with that scary old huge Moog on the album cover - but all of a sudden the sunken city rised again and whoa - in seconds we got to find out how cool machines were built in the old ages. Fantastic gear! I first saw the 4CV (mind you the Renault was always quite common hehe) at a friend's house a few years ago and just thought the design was amazing. In some ways it's a shame I didn't know more before say 1995-96 when I first started surfing and building my Synthesite - The synthesizer timeline, which was my first web site. Built as I got to find out more and more each time I used Altavista. I did it because internet finally taught me the mysteries about every single synthesizer ever made. The hidden years... ;-) A mystical tale - and I somehow always knew in the back of my head that I had missed out about it. Even so, I had a Roland SH-2 and Juno-60 in like 1994 and thought they sounded really cool but I had no idea really how to interface them with my Atari lol. Even a TB-303 and MR-10 in 1991. There was literally NO information and I just enjoyed / sampled these boxes but didn't know what to Really do with them. I so much wish that someone had told me to absolutely keep these vintage boxes as the gates to an information paradise would soon to be opened. In fact the original manufacturer themselves would have an attitude of wanting us to forget about their past as "We design the future"; just a few years from the D-50 were out of their stock they would even refer to that one as "oh that is old you know and now you can try our new XP-60". But the D-50 had always been my dream synth so... and at least it has midi, so I could always use it haha. So that class of vintage was familiar to me at all times, having known them since day one so to speak. The D-50 never leaves my house, period! So I really guess that all music stores selling their gear somehow was influenced by that vibe of older synthesizers being something they nearly wouldn't ever trade in or even talk about. I can really picture the dude wanting to trade in his Arp Odyssey as part payment to that shiny new S-10 just to be told sorry, that one is too old. MAN! I surely read Mark Vail's columns in Keyboard Magazine but I just remembered how it felt before internet for me as I has been a teenager when the CZ-101 came out. Of course I saw quite a few analog synths over those years but they were always a mystery you know not surrounded a single bit by the magic that was to come; rather "oh that's just some old ones"... nobody over here in Sweden would ever say like Stop! You have to try our classic synths! It was always about the next big thing. #tricked by the synthesizer industry I miss my SH-2 today - a trade for a Voice Processor - was it VP-70? ...so I am actually seriously greatful to Behringer bringing all of this back. Away from the vintage selling overpricing bastards and away from the ignorant future vibes as well in one fat resonant sweep. I hope I have learned by now to keep every bit of older gear as it will always be as great as it ever was. I love my digital machines too and I currently have a K1 on my working bench... I mean TV table... which is about to get a battery replacement. And people are shying away from old digital synths as well these days so that's exactly the same fashion wave now having the world forget about / be ignorant about the 1987 to 1997 era similar to the 1972 to 1982 era being forgotten already in like 1986... phew. The Kawai K1... it's SO lovely! ;-) It was actually the K1 that brought me here, as I went hmm... what if I add a filter, maybe a phaser and a delay...

I agree--music is terrific! Would love to see a follow-up on how you created it! (and yes-great pics, honest review, clear voice, superb quality overall). It'd be nice to know how you bring in the drums, how you sequence the different series of notes, etc--to put it all together (yes-I know that's a lot and you've given a LOT here already which is VERY much appreciated). The final tune is particularly cool!

totally agree

One of the few synth channels showcasing real musicality rather than endless bleeps and bloops. Great stuff!

@@DroneKid01 almost every synth video I watch has one person that says "man you make real music not just bleeps and blops"

Man. Seems like there's been none, just a bunch of trash 'first-look' videos that say very little.

only 8HP away form some proper good randomized unquantized fart sounds.

Lmao I didn’t know they could make music with all these chords either!! Lol

This is exactly true. You can get the real old module for like $7000... sorry, just increased to $8100... or hey; a Behringer version for a tenth of this!!! Is the brand label the important thing or the sound? ;-)

Hear, hear! Loved it