Behringer Model D

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Behringer Model D


The 1970s spawned the first truly portable analog synthesizer, and while it was quickly adopted by lots of renowned musical artists.


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The 1970s spawned the first truly portable analog synthesizer, and while it was quickly adopted by lots of renowned musical artists including Jan Hammer, Chick Corea, Rick Wakeman, Jean-Michel Jarre, Isao Tomita and Keith Emerson to name a few, it was somewhat temperamental and very expensive. An ultra-affordable homage to that iconic synthesizer, with all the features of the original and then some, the BEHRINGER MODEL D lets you conjure up virtually any monophonic sound imaginable with incredible finesse and ease. The pure analog signal path is based on authentic VCO, VCF, VCA and ladder filter designs in conjunction with a dedicated and fully analog triangle/ square wave LFO. And when it comes to protection and convenience, the MODEL D can even be mounted in a standard Eurorack, making it ideal for the studio and/or the road. Owning a MODEL D is like having your own personal time machine, enabling you to freely embrace the past – or shape the future!

A Brief History of Analog Synthesis

The modern synthesizer’s evolution began in 1919, when a Russian physicist named Lev Termen (also known as Léon Theremin) invented one of the first electronic musical instruments – the Theremin. It was a simple oscillator that was played by moving the performer’s hand in the vicinity of the instrument’s antenna. An outstanding example of the Theremin’s use can be heard on the Beach Boys iconic smash hit “Good Vibrations”.


In the late 1930s, French musician Georges Jenny invented what he called the Ondioline, a monophonic electronic keyboard capable of generating a wide range of sounds. The keyboard even allowed the player to produce natural-sounding vibrato by depressing a key and using side-to-side finger movements. You can hear the Ondioline on Del Shannon’s “Runaway”.

Storytone Piano

Designed by famous piano manufacturer Story & Clark in association with RCA, the Storytone piano debuted at the 1939 New York World’s Fair. Hailed as the world’s first electric piano, the Storytone is prized by musicians and collectors alike for its realistic piano sound – only 500 or so were ever built.


Finding a high level of acceptance in the 1960s, Harry Chamberlin’s Mellotron was an electro-mechanical keyboard that generated sounds by playing back pre-recorded tape loops. Although tempermental and prone to pitch and mechanical issues, the Mellotron was used extensively by many U.K. artists. Classic tracks from the Moody Blues “Days of Future Passed”, the Beatles “Strawberry Fields Forever”, and the Rolling Stones “She’s a Rainbow” are prime examples.

Arp 2600

Manufactured by ARP Instruments, Inc., the Arp 2600 was one of the most successful synthesizers to come out of the 1970s. They were ideal for players new to the synth world, and allowed patches to be changed via switches or 1/8″ audio cables. The list of recordings and artists that used the venerable Arp 2600 reads like a veritable Who’s Who of rock, pop and jazz, and includes The Who, David Bowie, John Lennon, Depeche Mode, Edgar Winter, Frank Zappa and Herbie Hancock – to name just a few. An Arp 2600 was even used to create the voice of the Star Wars character R2-D2.

  • Legendary analog synthesizer with triple VCO design allows for insanely fat music creation
  • Authentic reproduction of original “D Type” circuitry with matched transistors and JFETs
  • Ultra-high precision 0.1% Thin Film resistors and Polyphenylene Sulphide capacitors
  • Pure analog signal path based on authentic VCO, VCF and VCA designs
  • 5 variable oscillator shapes with variable pulse widths for ultimate sounds
  • Classic 24 dB ladder filter with resonance for legendary sound performance
  • Switchable low/high pass filter mode for enhanced sound creation
  • Dedicated and fully analog triangle/square wave LFO
  • 16-voice Poly Chain allows combining multiple synthesizers for up to 16 voice polyphony
  • Semi-modular design requires no patching for immediate performance
  • Overdrive circuit adds insane spice and edge to your sounds
  • Noise generator dramatically expands waveform generation
  • Complete Eurorack solution – main module can be transferred to a standard Eurorack case
  • 48 controls give you direct and real-time access to all important parameters
  • External audio input for processing external sound sources
  • Low and high level outputs featuring highest signal integrity signal stages
  • Comprehensive MIDI implementation with MIDI channel and Voice Priority selection
  • 3-Year Warranty Program*
  • Designed and engineered in the U.K.
Synthesizer Structure Number of Voices: Monophonic
Type: Analog
VCO: 3 x voltage-controlled oscillators (0.1 Hz to 20 kHz in 6 overlapping ranges)
LFO: 1 x low-frequency oscillator (0.05 Hz to 200 Hz, up to 300 Hz with external CV input)
VCF: 1 x voltage-controlled filter, switchable low-pass or high-pass (24 dB/octave slope)
Envelopes: VCA, VCF
Line Inputs and Outputs High Output: 1/4" / 6.35 mm TS, unbalanced, maximum 0 dBu
High Output Impedance: 1.2 kOhms
Low Output: 1/4" / 6.35 mm TS, unbalanced, 30 dB below high output
Low Output Impedance: 1 kOhms
Headphones: 1/8" / 3.5 mm TRS, unbalanced, maximum -3.5 dBu
Headphones Output Impedance: 8 Ohms
Control Voltage Inputs: 1/8" / 3.5 mm (TS)
Modulation Source: Noise is the modulation source if there is no connection present
Oscillator 1: 1 V per octave
LFO: -5 V to +5 V
External Input Impedance: 1 MOhm
Cutoff Frequency: 0 to +5 V controls the cutoff frequency
Loudness: 0 to +5 V controls the loudness
Filter Contour: +5 V gate input triggers the filter contour
Loudness Contour +5 V gate input triggers the loudness contourOutputs: 1/8" / 3.5 mm (TS)
LFO Triangular Waveform: +/- 2 V
LFO Square Waveform: +/- 2 V
Mixer Output: 0 dBu maximum
Filter Contour: 0 to +4 V
Loudness Contour: 0 to +4.6 V
Main Audio Output: 0 dBu maximum
USB Type: Class-compliant USB 2.0, Type-B
Supported Operating Systems:
Windows XP or higher
macOS 10.6.8 or higher
MIDI Connectors In/Thru: 2 x 5-pin DIN
Controllers Knobs
Tune: -2 to +2
Glide: 0 to 10
Modulation Mix: OSC 3 or filter EG to noise/ext mod source or LFO
Modulation Depth: 0 to 10
LFO Rate: 0 to 10Switches
Modulation Source: OSC 3 or filter EG
Modulation Source: Noise or external modulation source or LFO
LFO Waveform: Triangular or square
Oscillators Knobs Range (OSC 1, 2, and 3): LO, 32', 16', 8', 4', 2' Frequency (OSC 2 and 3): -7 to +7
Waveform (OSC 1 and 2): Triangular, triangular/saw, saw, square, wide pulse, narrow pulse
Waveform (OSC 3): Triangular, reverse saw, saw, square, wide pulse, narrow pulse
Switches: Oscillator modulation on/off
OSC 3 control (by keyboard) on/off
Mixer Section Knobs
Volume (OSC 1, 2, and 3): 0 to 10
Volume (External Input): 0 to 10
Volume (Noise): 0 to 10Switches
OSC 1, 2, and 3: On/off
External Input: On/off
Noise: On/off
Noise Source: Pink or white

LED: Overload

Filter Knobs
Cutoff Frequency: -4 to +4
Filter Emphasis: 0 to 10
Amount of Contour: 0 to 10
Attack: 1 ms to 10 s
Decay: 4 ms to >35 s
Sustain: 0 to 10Switches
Filter Mode: Low-pass/high-pass
Filter Modulation: On/off
Keyboard Control 1: On (1/3) or off
Keyboard Control 2: On (2/3) or off
Filter Decay: On/off
Output Loudness Contour Dynamic Range: 80 dB

Volume: 0 to 10
Headphone Volume: 0 to 10
Amount of Contour: 0 to 10
Attack: 1 ms to 10 s
Decay: 4 ms to >35 s
Sustain: 0 to 10

Main Output: On/off
A-440: On/off
Loudness Decay: On/off

LED: Power

Operating Temperature Range 41 to 104°F / 5 to 40°C
Power External Power Adapter: 12 VDC, 1000 mA
Power Consumption: 7 W maximum
Dimensions (H x W x D) 3.5 x 14.7 x 5.4" / 90.0 x 374.0 x 136.0 mm
Weight 3.7 lb / 1.7 kg


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