@@famousarmystudio that’s kind of an interesting thing, because the distress or is a great example of a company choosing to chase classic sounds using new and innovative designs, while defining themselves uniquely, rather than simply trying to make a box that looks and sounds like something else. If that paragraph makes sense. Haha Anyway, I can’t imagine anybody but Behringer attempting to knock off the Distressor though. That’d be fun.

There will never be a Dehringer. Dave would most definitely sue.

@@PeterJensen7 not to mention Dave is a great example of somebody who recognized that NOT looking like anything or anybody else, set his stuff apart.

Still waiting on the BOscar here

@@ItsMetabtw 100%. Thanks for watching and the comment! -Marty

unmatched price/value ratio? Have you ever heard of a l a p t o p ?

A. Thanks for the view and the comment! B. Are we going apples to apples here? Or apples to Phillip’s head screw? I’d enjoy seeing you put your thought process here in written form?

Apples to Lenovos haha. Well, you know, one can mix an album on a laptop. So really, an unfair comparison. But as far as compression and 'vibe' goes, I never compared a plugin to the real thing, but I would assume the price/value ratio should be better on the plugin. Unless the 7 grand thing is more than ten times better than a plugin? Anyways, my initial comment was quite troll-y to begin with.

lol. I love troll-y. A hobby of mine so no offense taken. I agree, to a point. And understand completely. I HAVE compared cheap hardware to plugins, in controlled and blind testing and found that people can to a very high degree always tell the two from each other. It’s something about energy or depth or something… but it’s there and people hear it…. The tricky part is, will that extra 2% make enough difference in a track to justify the cost of obtaining it?! Frankly, in most commercial cases at this point in time, I’d say no. Speed, workflow, endless channels of it…. If you’re in this to make stuff sound good on somebody else’s dime… probably not… But, then again… if you understand what you want from that plug in, a budget hardware piece in the early tracking stages can make a huge difference, and not cost anything but committing to the sound there and then. (Again back to modern commercial- for hire productions, endless options are a plus not a negative. I can’t believe UAD, for example hasn’t built a hardware controller for their plugs yet… make it look old and vibey… give you the visceral experience of outboard …. Like Softube does.. to the degree it can.. My guess is it’d be cost prohibitive to do it right… when such a gigantic segment of the market is bedroom studio guys. Anyway, thanks for engaging and discussing. Excellent points. Marty

@@JackNance22 It has to come from the market… enough people asking for THAT… and it’ll happen. That’s my goal really if anything… get people to think about how silly the cosmetic stuff is. It was NEVER a consideration in the past, beyond a paint color.. Stuff was built to be the best it could be, be easy to fix, and as cheap in the cosmetics as could be gotten away with. Now, we pay tons of extra money to imitate that stuff.

Thanks so much! Hopefully enough people start talking about this that the companies will shift back the other direction. Thanks for watching and the nice comment!! -Marty

@@SHUTUPANDRECORD I shared it on the Behringer Facebook page for you 😅

@@Projacked1 lol. Oh no. Now warm and Behringer will be after me. Hahahah. Thanks!

@@KenFoxmusic yeah me too. I’ve had nothing but good luck over nearly 30 years of owning B stuff. Thanks for the view and the comment! Marty

@@jeremythornton433 right. Which is why I’m so hung up on the cosmetics tax. If you will. Thanks for watching and commenting! -Marty

Hahahahahaha When I steal this idea, remember you're the one who typed it and put it in a KZfaq comment for everybody to see...

@@SHUTUPANDRECORD You should definitely do it.

Plugins, meet your successor: printouts!

@@skillzmcgavern now I have to do it.

@@keenra yes yes and yes. Thats exactly right. Thanks For the view and the comment. ! Marty

@@gertlungmaskin1210 it doesn’t exist. They say so themselves. It MIGHT come to be, if enough people show the right interest in it.

@@__3028 let’s hope so. I’m more of the impression it’s the number of tube circuits that make it so complicated/costly to build or re-design. I hope I am soooo wrong though. I’m fine with that! Ha. Thanks for the view and the comment! -Marty

@@hanzvolt yep. Series 1. I love them. Absolute steal of a find on Reverb last year. I have to keep reminding myself the last thing I need is an old Neotek board… but man, I really would love one!

@@SHUTUPANDRECORD HAha!! I know they are Neoteks... Ive got similar ones🤣 i had to drive 6 hours but only paid 800 for the pair. 💪 yes LOVE them!

@@hanzvolt I had a beautiful 16 track Neotek console that I got in the late 90's. Unfortunately it ended up getting stolen. It had a rich sweet sound with super smooth eq's.

@@Chaos-Dynamics definitely will do, thanks for the heads up. -Marty

@@RealHomeRecording haha. You’ve taken the concept of “costume” to the next level! But you KNOW there’s plenty of big name guys with racks full of stuff that only gets turned on when clients are there… because they’re using plugs… because it’s 1000000x faster and if you’re good, you’re good. The clients can’t tell. Haha. Thanks for watching and the comment! -Marty

​@@SHUTUPANDRECORDno doubt about it! Great topic

@@RealHomeRecording thanks. From a longtime fan of your channel!

@@skillzmcgavern awesome! Do it!

Pedals are the gateway drug. Next comes 500 series kits, and before you know it, you're hooked.

@@sparella eventually you end up hoarding vintage microphone clips and debating which xlr cable brand smells better.

@@SHUTUPANDRECORD There is no debate. Mogami cables taste the best.

@@DarthPreamplet’s hope so. It’s the difference between a solid state preamp/eq and an all tube (with totally obsolete tube in original design) that is what causes the doubt for me. I’d live with compromises/veering away from all tube if it sounded/behaved like the real thing… at that point it’s just come down to price vs. performance as far as if it’s something I’d personally drop that much coin on. And I really don’t see the base Behringer customer (or even Warm Audio) market dropping that much on a mono compressor. But I’m not doing anything but hoping they can pull it off.

@@SHUTUPANDRECORDYes that is true! Solid state is easier to pull off, and the Fairchild is esoteric to say the least. The gap between plugin and hardware is already quite small with some of the products available - wonder whether we will be having the same discussion in even 5 years? Perhaps its companies like Warm and Behringer that will actually keep the analog world and legacy alive? Ethan’s not but it is a distinct possibility?

@@DarthPreamp man. Dont tell anybody, but I can’t believe somebody hasn’t made something along the lines of the old Focusrite liquid pre…. But with whatever sort of plugins you like… outboard “analog” -style control of internal software… a glorified controller.. totally unnecessary but…………. Fun and cool and allowing for a totally credible analog experience… except the processing is all digital… or even better, a hybrid. Sort of ala mcdsp but it’s done by Behringer so it’s $500 or whatever… My spitballin’ idea.

@@Soso-km8er you’re correct that they can manufacture bespoke knobs cheaper than most other companies… and they are the company that SHOULD be making stuff look real but be cheap and affordable to almost any budget… A company like Warm, should NOT spend that extra cost for cosmetics because extrapolated over the number of units they’re going sell.. that cost could be passed onto the customers… and by the time you go through the market ups of “a few cents” here and there … it translates into real savings and an entirely new bracket of bang for the buck. Fractions and a nickel here or there absolutely add up, and anybody telling you “nah it’s a nominal amount, not a big deal”… WANTS those nickels of yours.

@@SHUTUPANDRECORD I have the greatest respect for Warm-Audio - I think that if that would have been a viable business strategy they would have done it. To me it would be like with Behringer Composers (2100, 2600 etc.). In my opinion these are not bad units if you know what you’re doing but these days the sell for less than a doorstop because looks do matter.

@@Soso-km8er Warm started out on the right path. They currently are victims of the trend of cosmetics over price point. Had a great interaction with a very high level Warm executive who didn’t want to admit Behringer was beating them at the game they sort of started… but actions spoke louder than words. Behringer has put them in no man’s land… and if you simply use data readily available on reverb for example… Behringer’s la2a knockoff holds a higher percentage of its investment value than Warm’s… not to say it sounds better, or whatever… but the literal best bang for the buck is empirically… B word. It is what it is. Which is why WHEN Warm gets back to making uniquely styled (not copycat) units that sound awesome but don’t have a cosmetic costume tax attached to the list price.. it’ll be back on top. Instead of chasing B word.

@@SHUTUPANDRECORD I agree it’s getting more and more tough for Warm and other companies to compete with what is more or less a Chinese toy maker - I don’t mean that in a bad way but a KT-76 does sound different than my vintage F and not in a good way. I do not have any idea on how to compete with Behringer other than being massively better at the same price ;-) or working closely with the audience.

@@Soso-km8er my advice is recognize the trend of moving AWAY from cosmetic clones… go back to and develop a brand look that offers the best balance of quality and economics… keep making the 1176 et al inspired gear… but beat B word and others by NOT worrying about looks… offer new/better features (and obviously quality), stripped down no frills (by design)… sell the idea that the savings Olin cosmetic dress up is passed directly thru to the customer. I think the second hand market values would stay closer to initial purchase prices (in a weird way, like Audioscape’s prices stay rock solid)… even though they do fall into the cosmetics as a feature-side of things… you find those in “real” racks of people making “real” records because they are better in every way than warm. Including the way they look, even versus Warm’s costume cosmetic stuff. The Distressor is a perfect example of a piece that defined itself by its own look, and NOW is ubiquitous… and iconic in its own right. Warm started there with the Orange stuff (but I realize it was love/hate for people)…. Warm needs to OUTSOURCE their looks, because at all points it’s partly been to blame for mid attention from real pros. I’ve veered into opinion here, but hey… we’re just having fun talking the budget gear manufacturing business/marketing. Ha. Thanks by the way for watching and for commenting on stuff. Much appreciated. -Marty

@@BojanBojovic thanks for the view and the interesting questions…! 1. no idea if they have anything at all. Just betting they’re trying. Everybody else has one. 2. Hey could very well be cool… and my main suggestion is that if they are, and cost much less if they’re NOT vintage cosplay cosmetics.. that makes it wayyyyyyy cooler and more desirable. 3. The same way building neve and api and universal audio circuits isn’t. Not to mention how many other Fairchild repro’s currently available. (For a LOT more money!!) -Marty

@@JeremiahHartmanPhotography I really think half of this Fairchild thing is Behringer pushing Warm, who I firmly believe is at a crossroads in regards to NOT being the cheap but quality alternative to high end clone/repros… The dilemma is that I still think people who think like we do are a minority of the market that buys the cheaper analog gear. But hoping the pendulum is starting to swing back the other way…! Thanks for watching and the comment. Much appreciated! Marty

@@SHUTUPANDRECORD Oh i totally think Behringer is trolling Warm LOL Yeah it's kinda like Harbor Freight going from inexpensive tools that work...but for so good and so long...to trying to become a mid to high level tool company. We are kind of in a weird place in the Audio Recording timeline...The initial plug-in craze is dying down and people are wanting to get into hardware or have hybrid setups. I think there's a place for cheap inexpensive outboard gear for people to learn on..but there definitely needs to be a "pro-sumer" tier for people like us that arent a full blown studio with hundred's of thousands of dollars in gear...but do it at home professionally or semipro. I def appreciate what you're doing on here. There needs to be resources for people to go to that arent paid infulencer advertising channels. I have a music YT for my DJ sets that Im thinking about throwing in prodcuer/gear tip videos on as well so people dont get burnt and understand WHY a pultec does what it does..and WHAT can be used instead that actually works and get's close to it on a budget. Also, I see channels basicly advertising for companies saying you "HAVE" to get this gear to get "THAT" sound...totally leaving out that piece of gear only has "THAT" sound when recording to tape! LOL

@@PeterJensen7The weight and size of required components, (and Heat)involved in a true to original design Fairchild copy are of course the point… Bringing up FMR, I stressed “that mentality”… but will happily go further and clarify I didn’t expect sombody to build a FC in a FMR enclosure. lol At some point, some gear manufacturers lost the plot (and started making a lot of $ tbf)… or maybe it’s not they that deserve the ultimate blame for the imbalance of looks to quality … The people that walk through the frozen aisle in the grocery store and look at a cardboard box with a picture of an incredibly tasty looking pizza on the front expecting that to be in the box… are the equivalent customers here. But let me go further, most of the people don’t buy it to eat, they buy it to have in the background of their Insta pics…. Haha. I may just be hungry. Thanks again for the comment and view! -Marty

@@davidasher22 it is interesting isn’t it? My purely gut feeling is that KT has taken a beating as it’s fallen from respected old days to cheap knock offs of today… while Behringer has had a ton of success cloning synths… I think Uli is taking a shot at giving B new life taking over Warm’s territory (NOT by using quality name brand parts in his stuff), by offering circuits that compete with the low end dress up gear market, and looks that drive this end of stuff. Note how the post announcing the Behrchild uses a phrase like “we’ve put out some high end pieces”… Which of course is not quite true. They’ve put out some stuff that looks like higher end pieces. But it is interesting no doubt. This sort of nerdy stuff is sort of half the fun for me. It’s fun to see the chess battles in the business/marketing side of all the gear world.

Yeah, pretty much every brand in Music Tribe used to be a top tier brand but I don't know a single pro that chooses a single one of those brands first anymore. Midas is a joke. TC and KT are looked at closer to a Presonus or similar brand now. Not "High End" My guess is only Churches with aggressive Sweetwater Reps are buying Turbo Sound these days. The Reputation is spent.

@@kniferideaudio yep. The one that hurts for me personally is Midas.

Because all that crap was shit !

@@SHUTUPANDRECORD Same here.

Amen.

Boom!

Well said @kniferideaudio5145 👏

As someone who just bought a used Distressor I approve this message 😂💯

@@steveennever9905 haha. thanks for watching and the comment! -Marty

@@lamasteve6905 I’m not sure if this is a rhetorical question or something you are specifically asking me? My position is anybody who can build a true to the original circuit design for $1500 should do it. I don’t believe it can be done, and I really don’t believe it could be built in the USA at that number. Wish so. But doubts it. Thanks for watching g and the comment! -Marty

@@chicnwafflesband sort of, on some of them. Audioscape nope. Their gear is the perfect example of a company getting the “clone” thing right. The circuits are accurate. The compromises are minimal to none. Highest quality components built in the USA. That’s why you DO find their pieces in the biggest studios getting used everyday by big girls and boys who can buy any piece of gear they want. The rest prove my points… Lindell is one of those who at least tries to a degree to differentiate the looks a bit (and imo suffers sales because of it)… people in this price bracket want their gear to look THE SAME as the expensive “real” stuff… it’s too identifiable as “budget friendly” when it’s got a twist to the look (at these price points… Which of course is WHY you and I have to pay for a company to make cheap plastic knock off knobs to look like vintage Bakelite stuff… and sacrifice quality for cosmetics. Just the idea they get called “re-issue companies” is proof of the success in the well… lie of it all. None of those companies (except AS) are building anything close to an accurate re-issue, of anything. Audioscape gear holds its value in a way Warm or Heritage or Lindell can’t even dream about. Which is a metric that really should be paid attention to if you are interested in true “bang for the buck”. But related directly to this video, there is NOBODY building an actual Fairchild clone for $1500. At $5000+ you’d expect the cosmetics to match because $5k is not budget… $10k is not budget. Lindell, Heritage, etc… spend money on stuff that does not make the gear sound better, they pass this expense along to customers… because a huge segment of the lower end (price, not performance) gear market thinks if it looks like it, it is better. Thanks for the comment, really appreciate the viewpoint. -Marty

@@rillloudmother yep. But it costs everybody else money… in a way.

@@SHUTUPANDRECORD if one refuses to follow the trends, it can cost as little as $0.00.

@@SHUTUPANDRECORD that is nothing new...

@@pongmaster123 “THAT”. But really, the difference in what it takes Behringer to produce bespoke knobs vs. Warm IS significant. This is why Warm is in big trouble and they know it. As a point of interest, how do you know the difference in the cosmetic mark up for B word?

Supply chain is king.

​@@SHUTUPANDRECORD The same principles apply to all consumer products. One doesn't need to know Berry's financials to infer that the cosmetic budget of a project of this nature is a relatively small percentage.

@@jamesguzzo3752 yeah me too. I have used and use lots of b word stuff and dig it. Never mad about it. The thing about a $1500 Fairchild is that exactly that… you CAN’T make that circuit for $1500… so whatever it is you’re buying will just be a thing costumed to look like a Fairchild. So I’m a hard pass there. And yes, agreed… all the features need to be included if somebody does make a Fairchild without the LOOK. But use quality modern, mass-produced off the shelf meters and knobs and spend the money on the power supply and transformers and designs of the circuit itself!

@@SHUTUPANDRECORD one of the features on the "fairchild" plugin is the little set screw control "bias", that basically changes the knee, and that is what I found as the gold on the plugin, looking at this analog unit I've not found that control, on the behringer that may be troubling

@@jamesguzzo3752 I really do think this Behringer is a troll on Warm/ other gear companies. But if they make it, they’ll get it right… sort of. $1500 Behringer Fairchild right. Haha. I have to believe they have the facilities to make every molecule of the components… so if anybody could do an actual Fairchild inspired piece for $1500 it would be the B. 🤷‍♂️

@@62twinturboImpala have you ever? Is there a reason? I have several pieces over the years and have never been been disappointed in the bang for the buck. Some have been just ridiculously good. All of it ugly though. Haha. And Uli is a bit much.

@@SHUTUPANDRECORD sure, I hate their business model of producing low grade copies for a price. This extends to every part of their line. I would prefer to purchase a product of quality. Not clones etc. Money is better spent on products of know grade, quality, performance. Sure price has some consideration, but but I’ve always found that waiting till you can afford what you really need and want vs cheep, (I’ve always considered anything Behringer as cheep) will Always serve me better in the long term. If that’s all one can afford, well there is a place for Behringer, just not in my toolbox.

@@MrMetalpunx and which part of the price doesn’t come down with less money spent on cosmetic buffoonery? Also, thank you for perfectly providing yet another added value to a piece from a company like Audioscape… who build their products in the USA and don’t have to add a tariff into the retail price! Very helpful input indeed. Thanks for the comment and of course the view! Marty

@@SHUTUPANDRECORD lol wow so defensive, money must be really tight. Might be time to spend less on hobbies. Be happy.

@@MrMetalpunx I’m not sure if you posted this on the wrong comment by mistake or what? Or maybe, is English a second language? Sincerely asking. You’ve not been even close to on point here with either of your comments. Let’s start over… what part of me pointing out that an accurate Fairchild clone cannot be made for $1500 do you disagree with? Moving on from there… which part of paying for vintage looking aesthetics adding to the overall cost of any product, by any company is incorrect? Sincerely interested. Not defensive in anyway. What would I be defending? I don’t offer opinion here about this stuff. It’s just laying down basic empirical data to discuss. Cannot wait to discuss with you. Thanks for the engagement. Marty

@@SHUTUPANDRECORD You make no sense all you offered was opinion. I don't think you know what empirical means. if this is too expensive go to software, if you want the real thing buy the real thing, Why can't someone want something in-between?

@@MrMetalpunx man. I’m not sure what part of $1500 to build a Fairchild is confusing?… it’s NOT something in between. It’s something else entirely. Like to start there? This has nothing to do with ME buying anything. How many comments in are we and you still keep misunderstanding that the point is $1500 is NOT TOO MUCH. It’s not enough. At $1500 you’re buying something that LOOKS like a Fairchild but is not. It might still be cool. (Direct quote from video you don’t seem to have watched). If B word built a box that sounded and acted 94.78369% like a Fairchild for $500? (Missing all the dress up cosplay stuff of course)… People will buy them. At $1500 with the chintzy fake Vintage look… people won’t. That’s opinion. Ok. Again, not sure why you need this to be some sort of personal insulting attack session, but do what you gotta I guess. I’m here to have fun talking about the crazy stuff gear companies do to sell stuff. -Marty

@@christopherdunn317 thanks for the view and the comment! As for for me…I have 5 Klarks that slay (3 2A w/different Optos, 2 of the eq stock. I generally have had great luck with B word over the past 30+ years… I just am NOT buying a $1500 Fairchild from them! Haha