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Pro Behringer!
- Thread starter olds_cool63
- Start date
I'm sure he already knows that it's not practical or feasible to build high-tech digital gear from discrete components.
Companies were going off-shore long before Behringer.
If you want to keep American's employed, don't buy any assembly-line made products. No more Boss, Digitech, etc. Stick with the hand-made stuff where you can actually talk/write to the guy making pedal.
I know the guy that made my Nocturne Dyno brain pedal. I chatted with Paul Cochrane when I place the order for a TIM pedal. When the money becomes available, I will have a chat with the Red Witch and Strymon folks.
I want hard evidence of this statement. Im not asking for rhetoric, finger-wagging, or theories. I would just like to see evidence that one brand is to blame for most musical gear being made off-shore.
Apparently you are not familiar with the Line 6 Bass Pod Pro
Are you inferring that Behringer stole the idea of using a DSP to process an audio signal with multiple possible modulations from Line 6, in a rack-mountable product?
Shouldn't that be "most equipment". You really can't pin all that on Behringer.
No.............
I AM saying that Behringer took a Line 6 Bass Pod Pro (and the non rackable Pod), and reverse engineered them into the V-amps
Reverse-engineering is a legally-protected right of competitors. If you can prove they stole the actual firmware code that is the programming, then Line6 could have, and Behringer would have been sued for copyright infringement -- because software can be copyrighted.
Mimicing physical design is not a sin, it is an acknowledgement of what works. Here are some examples:
A Kenmore Washer and Dryer:
Invalid Link Removed
A Sears Washer and Dryer:
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Surely, one of them must be sued out of existence for daring to mimic the other's physical interface.
Your rack-mount examples are dubious. For anyone to be properly rack-mountable, all of their fronts must look like that, or they aren't very rack-mountable. Did you happen to notice the way Behringer's knobs work? That little LED thing that shows the current setting? That, in the business world, is that they call a value-added feature. You take what your competitor has done, and do them one better.
So...what kind of guitars do you own? Anything non-fender or non-gibson?
A Kenmore Washer and Dryer:
Invalid Link Removed
A Sears Washer and Dryer:
Invalid Link Removed
Surely, one of them must be sued out of existence for daring to mimic the other's physical interface.
Your rack-mount examples are dubious. For anyone to be properly rack-mountable, all of their fronts must look like that, or they aren't very rack-mountable. Did you happen to notice the way Behringer's knobs work? That little LED thing that shows the current setting? That, in the business world, is that they call a value-added feature. You take what your competitor has done, and do them one better.
So...what kind of guitars do you own? Anything non-fender or non-gibson?
I have a BX4210A combo, and I absolutely love it! Great tone, super-great price, and so far, nary a problem with it.
The only thing I don't really care for on Behringer bass amps is the 'shape' control. It does a good job of what it does, but it needs a control alongside it that allows you to control how effective the shape function is; how much it's applied. Something like the filter 'intensity' control on an analog synth, if you're familiar with that. It's just applied way too much.
I also am not fond of the 'ultrabass' sub-octave dealie. The only time I'd ever even think about using it might be on a fretless solo way up on the neck. Otherwise, it's of no use to me at all. It does track very well, though, I gotta give it that much credit.
Beyond those two features that I find fairly useless in my playing, I find the amp very much right up my alley. When I played a fretless thru it at the store is what really sold me on it. Those aluminum 10's gave me exactly the bridge-pickup punch I like from my fretless. I never plug the tweeter in, though...those aluminum cones give me all the highs I want, so I just leave the tweeter unplugged all the time. I'm glad the connections to it are on the back panel where I can choose to use it or not.
The only thing I don't really care for on Behringer bass amps is the 'shape' control. It does a good job of what it does, but it needs a control alongside it that allows you to control how effective the shape function is; how much it's applied. Something like the filter 'intensity' control on an analog synth, if you're familiar with that. It's just applied way too much.
I also am not fond of the 'ultrabass' sub-octave dealie. The only time I'd ever even think about using it might be on a fretless solo way up on the neck. Otherwise, it's of no use to me at all. It does track very well, though, I gotta give it that much credit.
Beyond those two features that I find fairly useless in my playing, I find the amp very much right up my alley. When I played a fretless thru it at the store is what really sold me on it. Those aluminum 10's gave me exactly the bridge-pickup punch I like from my fretless. I never plug the tweeter in, though...those aluminum cones give me all the highs I want, so I just leave the tweeter unplugged all the time. I'm glad the connections to it are on the back panel where I can choose to use it or not.
Give me a break with the back peddling..........
YOU are the one who put out the challenge as to who did Behringer copy with the V-amp because you apparently had NO CLUE about the Line 6 units.
Then, when it is pointed out to you, you call it "dubious"
Give me a break
I had one of this exact model. It was my first amp and i was pretty happy with it. only problem was it went out on me pretty quick. For recording/personal reasons it's awesome, playing any sort of live playing i would pass on it. but then again you've stated that's what you're gonna do so i'm simply agreeing with ya 
Yeah..............
NO copying going on here, right
Agreed, but
What may be worth noting here is that there are features + functionality, unique to the Behringer V-AMP products, that set them apart from the Line 6 POD products. IMHO these differences are what makes me favor the V-AMP line over the POD line.
I own products from both sides, as well as others, and I choose to use each as my needs dictate.
What I find interesting is that the Bass V-AMP line has not changed at all since 2003 and is still in production, where as the POD family gets an overhaul every few years, not addressing things I personally find lacking. Most recently, it appears that Line 6 have now abandoned bass players altogether with their POD HD line.
I enjoy amp modeling products and know they are not for everyone, but I recognize which ones excel IMHO and factor this into my decision to use a product or not. In this case, I actually own the products in question and I can speak to their faults or merits based on my actual experiences with them.
Cheers!
Nope! I agree that's wrong. Everyone rips everyone off. That's the way of the world these days. Just ask any lawyer looking to make a buck.
I guess we should all hate Gibson/Epihone for making a Strat copy??? How about every other bass maker that makes a Jazz clone? Guess we should all dump on the Camaro since the Mustang was the first pony car while we're at it!
Sorry...I'm too intelligent for all that!
Not looking for trouble, but AFAIK didn't Fender allow the 'likeness' of their guitar designs to be made by anyone, provided they don't use the exact specs/designs (e.g. different headstock shape), use no fender decals and/or try to pass it off as a genuine Fender? If that's the case, it's really apples and oranges.
I come from the perspective of the computer world. There, competition is fierce for what are, essentially, identical products. Thus, I have little sympathy for electronic music products that try and create their own special rules.
A Logitech keyboard looks like a Microsoft keyboard, looks like an LG keyboard. Thank God for that standardization. I don't want different. I dreaded the day when ergonomic keyboards invaded my company. One laptop looks like the next. Next desktop looks like the next. Power button, USB ports, all generally located in the same place from maker to maker. All of these makers compete on factors like quality of the final product, without boo-hooing that someone else is cheaper. I buy Logitech keyboard because I trust them. They are cheaper than the equivalent MS keyboards, and higher quality than the LG and other brands.
I see what I consider a big problem in the music world. Folks seem to think that music stuff is somehow different. In the end, it is an electronics product. There are only so many ways to correctly do flanging, for example. Some products add features, some stay basic. How many compressors are based on the Orange design, but simply using better components?
At the end of this day, the people set on hating anything not Fender, Gibson or Boss will continue to think that way.
A Logitech keyboard looks like a Microsoft keyboard, looks like an LG keyboard. Thank God for that standardization. I don't want different. I dreaded the day when ergonomic keyboards invaded my company. One laptop looks like the next. Next desktop looks like the next. Power button, USB ports, all generally located in the same place from maker to maker. All of these makers compete on factors like quality of the final product, without boo-hooing that someone else is cheaper. I buy Logitech keyboard because I trust them. They are cheaper than the equivalent MS keyboards, and higher quality than the LG and other brands.
I see what I consider a big problem in the music world. Folks seem to think that music stuff is somehow different. In the end, it is an electronics product. There are only so many ways to correctly do flanging, for example. Some products add features, some stay basic. How many compressors are based on the Orange design, but simply using better components?
At the end of this day, the people set on hating anything not Fender, Gibson or Boss will continue to think that way.
