Big or small, talk to many music gear makers, and you’ll find they’re in the business largely for love. But it’s still amazing just how many gear makers choose to go it alone. They build equipment in their flats and garages, hand-packing their creations and shipping it to a world of fellow musicians. Koma Electronik is just one of those in the worldwide scene of boutique hardware makers. We’re especially fond of their interfaces and the company of musicians they keep. So, following up on the video that showed what it’s like getting a demo in a van from Koma, complete with champagne, here’s a more serious look at their process. Kristin Trethewey went to their studio to take a look around, and offers this profile – along with, in its entirety, a conversation she had about what it means to be in this business.

The young Berlin-based pedal producers combine effects and technology in sleek, black-and-white cases, with analog Control Voltage I/O. Inspired by the resurgent interest in modular synthesis, their effects combine multiple effects, as in the Gate/Gelay BD101 and the Filter/Sequencer, FT201.

One feature common to KOMA Elektronik is a patch bay that’s accessible on the face of the unit. This allows the user to directly input and output signals, playing with the possibility to generate new sounds easily. Ed.: Models like the Moogerfooger have similar ins and outs, but tucked away on the back of the unit, not on the top where they’re easier to get at. And, of course, lots of modular equipment has these sorts of ports, but not necessarily on a stomp-style effect. An infrared motion sensing system gives musicians the freedom to bypass the knobs, and control the sound with a hand, foot or any other object.

In 2010, the founders, Wouter Jaspers and Christian Zollner, took a pause from musical pursuits to work full-time on making KOMA a reality. Zollner, originally from Linz, Austria, studied social work at school, but consistently played in bands and had an inclination towards building modular gear. He still gets in a show or two with his band, Regolith. And somehow he also fits in an experimental online MIT course for circuits and electronics.

From age 17, Jaspers was dedicated to music. Although he also didn’t study anything related to music – instead working in Dutch and social science — he viewed his formal education as a means to expand his mind rather than his CV. He jumped into forming a record label, Vatican Analog, where he released his own records as well the work of as a growing community of other Dutch “anti-musicians”. This past-time became a full-time profession, taking Jaspers all over the world touring under his own name and different aliases. (Check out his music on SoundCloud.) In 2010, after five years of constant movement and music making, Jaspers decided to switch gears and focus on setting up a base. Soon after he met Zollner, the two decided to work together, and have been happily married to KOMA Elektronik ever since.

KOMA Elektronik’s mandate is to make “pedals for serious players,” but they also want to build a music community. They emphasize that this means more than receiving user feedback about their products. By hosting events and workshops, they seek to connect to a growing scene, playing along with musicians using KOMA pedals. They’ve moved to a larger and cleaner workspace in Berlin’s Neukölln neighberhood – a big step up from their previous home, living and working in a cramped, unfinished apartment. Bringing musicians to the space gives it a special, backstage kind of feeling. Here you could talk not only about gear, but also about music and travelling, common topics regardless of their various musical backgrounds.

This week the whole team made it to Musikmesse in Frankfurt am Main, the world’s largest music show. However, they skipped the booths. KOMA does things a bit differently, and as a young start-up, they often need to find creative solutions. This year they pimped out a rental car, dubbing it the “KOMA cab,” and offering free tours around the Musikmesse convention center. They followed up the tours with a big bash on March 22 at Silbergold. Celebrating their one-year anniversary, fellow KOMA friends Serena-Maneesh, Kaap De Goede Hoop and O Tannenbaum DJs played through the night, bringing a Berlin-style party to the generally-sleepy, buttoned-down Frankfurt trade show scene.

In the coming months, you can expect to see more growth from the small company. Aside from an expanding product line, they have further plans to substantiate their ties to both the Berlin and international music scene. In May they will travel to Poland to present workshops at the Asymmetry Festival.

Ed.: Indeed – the gear is great, but I look forward not only looking closer at that but also getting to know the Koma crew’s musical friends. After all, that’s what all this is about – and it’s the communities that form around all these makers, all you folks we’ve built relationships over the years, that’s why we keep doing it. Enjoy the weekend; go hear and play some live music, wherever you are. I know I will. -PK

Kristin has an extended interview she did for us with the Koma guys, on SoundCloud. (Some audio issue toward the end, but quite listenable.)

More photos inside the Neukölln studio. (All photographs: Kristin Trethewey.)

Koma’s stuff is good. Really good. So good, you might even want to watch a hands-on video where I’m juggling a camera in one hand and a glass of champagne in the other. Their stompable, playable analog effects show well even in the back of a van circling Musikmesse.

How I came to see this hardware in the van is a story in itself. The trade show gig works like this: you pay an enormous amount of money for some sort of trade membership, then an enormous amount of money for a booth, an enormous amount of money to staff that booth in the form of hotels and travel, and then an enormous amount of money for obscure charges like wireless Internet that doesn’t work right and union staff to unpack your gear and so on. Exact details may vary, but you get the idea. For an independent maker, it often just doesn’t make sense.

Berlin-based Koma Electronik had another idea. “Carpet-bagging,” the term for using your badge to sell your product without a booth, is a strict no-no at these trade shows. But the trade show can’t tell you what you can or can’t do outside the convention. So, at Musikmesse, Koma promised demos in their “limousine” or “Koma Cab” – really a rented van outfitted with an amp for live demos of their gear. Since they’d saved some money, they could even offer free champagne and caviar. The system was easy: call them up, and they picked you up for a ride and some music.

Here, we get an in-depth look at two Koma effects, the FT201 filter/sequencer and BD101 gate/delay. On first glance, these may remind you of the superb Moog Music Moogerfoogers. But in usability and sound, the Koma boxes are very much their own beasts. I always loved on Star Trek: The Next Generation when someone would bark “disable safety protocols.” That’s the feeling of the sound here, whether controlled with your fingers, your feet, control voltage, or distance sensors – all appealing to modular synth lovers, computer users, and guitarists alike. In particular, the gate/delay is capable of some far-out effects, so if you’re bored with me and Koma’s Wouter Jaspers (come on, why?), uh, skip ahead a bit for some really wild sounds after a couple of minutes in the second video (below, bottom).

Kristin Trethewey has a separate look at the Koma crew for CDM, but for now, enjoy the videos.

Part one, above, shows the filter; the delay is below. We ask readers: which song fits this scenario better, Dragonette “Black Limousine,” or Ladytron “Back of the Van”?

http://www.koma-elektronik.com/ft201/

http://www.koma-elektronik.com/bd101/

AmpliTube 2 arrives today with new effects, recording, bounce to audio, export/import, practice tools, and in-app purchase of extra stomp modules. I’ve been playing with a pre-release version for the last few days. Combined with an audio interface like IK Multimedia’s own iRig, AmpliTube 2 turns your iPhone or iPod touch into a handheld, pocket-able workstation.

But let’s step back for a moment and consider what that means. What would you want a device to do for your music if that device fit in the palm of your hand?

Last week, I raised the question of physical size, inspired by a great quote by Sasha Frere-Jones – there regarding listening, not creation, but just as apt. The message was, in short, size matters. An iPhone is not an amp. But an amp – a big box designed for the purpose of making lots of sound – is not an ideal practice tool. So, one of the clear advantages of something like AmpliTube is the ability to plug in a personal listening device and just practice, complete with effects and amp sounds, without disturbing others. AmpliTube 2 accordingly adds news practice tools, by importing sounds and allowing you to adjust speed of playback, ideal for learning tracks.

But AmpliTube isn’t just for guitarists wanting a pocket-sized practice amp. With AmpliTube’s beefed-up recording capabilities and effects, it becomes a handheld recording sketchpad, not only for guitarists but anyone wanting to record, well, anything. That has two advantages. It’s mobile, so you can record in a practice studio without opening up a whole laptop. But more subtly, it can be a tool better-suited to sketching ideas and building the raw materials of a track than a full-blown DAW is.

Think of it this way: you’re fiddling with a synth, or playing a quick guitar line, or making sounds with a toy you got off of eBay. Sure, you could immediately open your DAW, but then you’re in the mindset of a tool designed to build finished tracks. For play and exploration, staying away from the computer, and using something scaled to your hand that you can carry anywhere, can be a big boon to performance. As we saw with Moog’s Filtatron earlier this month, having a tool that not only records audio but adds some creative effects enroute can be a whole lot of fun. Now, you can add AmpliTube to the same category.

Producers long ago discovered the advantage of the bounce: it commits you to making a sound that you can’t touch. With all that audio apps can do, that can be critical.

Many readers have complained that iPhone apps and the like win big on novelty, but don’t fit into their workflow. That means subtle additions – easy bouncing of tracks, easy syncing of files to and from a computer – are absolutely essential.

I also think feel like MusicRadar is asking the wrong questions:
Can you record a full song with AmpliTube 2 for iPhone? [MusicRadar]

My answer, personally: who cares? If we constantly compare iOS apps to their desktop counterparts, we can easily miss the point of both. To me, it’s more fair to ask, how is recording a song on an iPhone different than doing it on a computer? I hope to have some quick videos of AmpliTube and Filtatron in the next couple of weeks, but I find them terrific tools for capturing ingredients for later productions, and as companions to other mobile devices. Kudos to the blog Palm Sounds. Before the iPhone was even announced, that author appreciated the advantage of making things smaller, for creativity and practicality, appreciated that they’re not a different animal, not simply a replacement for existing tools.

AmpliTube is just one of many tools competing in this space, but with some of the potential of handhelds in mind, here’s a tour of what’s new in AmpliTube 2.

Record: A free, included one-track recorder tracks input, with or without effects, to audio. You can also add effects afterward. A paid-add-on (US$9.99/EUR7.99) will boost the recorder to multi-track functionality, as pictured here, and adds a master effects section with reverb, EQ, and compression. But there’s something nice about the simplicity of the one-track version, too.

“Re-amping” also means you could bring some raw field recordings or audio snippets and experiment with adding effects while on the go. (Better get some closed earphones if you’re doing this on your morning commute, huh?)

Bounce audio: Export recordings and mixes as WAV files or (for emailing) MP3s. That should resolve complaints about the fidelity of the output on Apple’s mobiles.

File sharing, import/export: You can import songs directly from your iTunes library, or use file sharing or wifi, making it easy to grab a song for practice later – or, for producers, perhaps as a way to sketch new ideas atop existing tracks.

…and practice features: Once you’ve imported, as you can see in the controls behind the dialog above, you can practice with the track. “SpeedTrainer” slows or speeds playback without impacting pitch.

New effects, stomps: Compressor, Reverb, Parametric EQ, Graphic EQ and Limiter are all available as in-app purchases. With all the versions, including the free ones, IK say they’ve improved the sound quality of the gear and ported DSP code from their Mac and Windows software, AmpliTube 3 and T-RackS 3. You certainly get top-grade effects, I’ll say that.

Presets/snapshots: You can now name presets. That means calling up favorite combinations is easy, particularly with AmpliTube’s grid-style preset layout, pictured here.

In-app add-ons, purchases: Taking advantage of a feature afforded them by Apple, IK now sell additional add-ons. Before that turns you off, the stock versions do include plenty of effects. What’s nice here is, you can pick out what you need. We could be looking at the future of audio software in general, though this does illustrate an ongoing complaint I hear from some users about iOS: they want to be able to mix and match effects from different vendors, just as they can on PCs with technologies like VST and ReWire. So far, that isn’t possible on iOS, though developers are investigating the issue. I have to wonder, at the same time, though, whether some of those restrictions aren’t creatively useful.

And the rest… This version also features 50 song slots for import and a setup panel with input and output controls. That adds to the existing features of AmpliTube for iOS:

• Tuner, metronome.
• 3 simultaneous stomp slots, plus an amp with effects, cabinet, and mic settings.
• Low-latency playback.

There are three versions; even the free version is fairly capable. (The free version also includes add-on support, so if you just want the four-track recorder, you can even add it to the free release.)

AmpliTube: 11 stompboxes, 5 amps + cabinets, 2 microphones $19.99/€15.99.
AmpliTube LE: 5 stompboxes, 1 amp + cabinet, 2 microphones $2.99/€2.39.
AmpliTube FREE: 3 stompboxes, 1 amp + cabinet, 2 microphones, free

Additional stomps are US$2.99/EUR2.39 each.

Stay tuned for some video; let us know your impressions if this is something you use.

AmpliTube 2 for iPhone

AmpliTube iRig (which, incidentally, attaches to the audio jack, not the Dock Connector – meaning you could use this and a MIDI adapter at the same time)

Effect pedals on CDM? Heck, yes. Electro-Harmonix may have just stolen the show in Nashville with the Freeze pedal alone. Continuing our coverage with Nashville locals and musicians Tony and Jeremy, we have some hands-on videos, images, and impressions of the gear on offer. Don’t miss yesterday’s story on how the trade show helps Nashville recover from flooding. They offered a sobering picture of the state of the show, as well, but that didn’t stop them from finding good stuff to share. -Ed.

Summer NAMM was never the size of its winter counterpart. We were still surprised by the poor manufacturer turnout at the June 18th – 20th convention in Nashville, TN. Absent were heavy hitters like Roland and Korg and innovators like Moog, ZVex, and Dave Smith. Luckily, those that did attend brought some pretty cool new gear. Here are our impressions:

TC-Helicon VoiceLive Touch

The VoiceLive Touch puts the famous TC-Helicon harmonization technology and effects in a unique, stand-mountable package, with the addition of performance-oriented looping. The unit feels very rugged, locking onto the stand to give the performer all of the controls at the right height. The interface is a simple array of touch “buttons” for access to the different DSP units with display duties being handled by a simple LED matrix display. Parameters are accessed and manipulated by a touch slider below the display. The VoiceLive Touch seems designed for quick access to presets in the middle of a gig rather than for delicate parameter tweaking. For ease of use during a set, the vocal harmonizer/looper looks like a winner. TC-Helicon says that while preset management over USB is the name of the game for the time being, a software editor could be in the cards down the road. In the first video, TC-Helicon rep Laura Davidson gives CDM a hands on look at the device. In the second video, a singer-songwriter demonstrates one of the harmonization presets. – JD

Previously on CDM: a preview of the device

Numark Mixtrack DJ USB Controller

The Mixtrack is a solid little device, preset for controlling Traktor for $150. For that price, this looks like an amazing little controller – touch sensitive platters for playback control matched with the full range of DJ-mixer style playback, pitch bend, EQ, and looping controls, many of which are illuminated. It’s class-compliant USB and operates as a simple MIDI controller, so it should work out of the box with any application with a fairly minimal amount of mapping and setup. The Mixtrack supports Mac and Windows with possible future Linux support, “if the customer demand is there.” Ed.: actually, since it’s class-compliant, it will already work on Linux. It’s plastic, but it feels quite solid to lift. The encoders have a nice size and grip, with a just a touch of resistance when turning: you don’t feel like you’re going to pull the encoder off of the front panel when adjusting the EQ. I don’t think the crossfader is going to win any awards when put against a DJ battle-style mixer, but it seems like it will do the job without any complaints, especially considering the price of the unit. While the unit is obviously very portable, it may be just a bit outsized for most laptop bags; but that goes with almost every portable controller out there that isn’t named “micro”. In the video, Numark rep Eric McGregor gives CDM an in-depth look. -JD

Alesis MultiMix8 USB FX

The Multimix8 is another iteration of small mixer/USB interface device from Alesis – 8 channels, 4 with microphone preamps, a high-impedance instrument input on channel 2, and 2 pairs of stereo line inputs. Built-in preset effects with individual sends on each channel, all mixed to a class-compliant 2-channel 16/44.1 bidirectional USB audio interface. Alesis is apparently taking user feedback from their original MultiMix8 USB to improve panel layout and knob spacing, dropping 24/96 support and reducing the power consumption. We were quoted $149 street price, which is only around $10 or so off the predecessor’s street price. -JD

Beat Kangz Beat Thang

A personal highlight for me was finally getting the chance to meet Aja and the Nashville-based Beat Kangz crew. I was impressed with their end-user friendly approach to the marketplace, valuing user feedback on their products. News to me is that Beat Thang Virtual is getting an AudioUnit version within the next two weeks, with VST coming soon after. I think that getting that product integrated with existing DAWs is going to do a lot for them. Of course, the one everyone is waiting for is the Beat Thang Beat Machine. It was there in all of its prototype glory, although Aja said that the first shipment of test units at full production spec were going to be in their hands soon, with some small tweaks to the hardware (particularly with the feel of the pads) ready to go through a final beta test phase. If their goal is to make the ultimate beat production device, I think they stand a really good chance of delivering. The prototype box is solid as a rock, intuitive interface and spec’d out to be an MPC killer. At $1000, it’s hard not to be interested in this box if you do any kind of rhythmic production. In the first video Aja shows Create Digital Music the Beat Thang Virtual. In video two, Aja shows us the Beat Thang Beat Machine. – JD

Akai SynthStation25

What may be the first of its kind, Akai has released a hardware accessory for their SynthStation iPhone software. Unveiled at Winter NAMM, the controller is simplicity itself – It’s an iPhone dock with 25-key keyboard, mod and pitch bend wheels, Octave and Program buttons and 4 buttons for accessing the voices in the SynthStation application itself. Couple this with headphone and RCA outputs and USB interface for MIDI, and Akai is offering a package to give actual musical performance control to their iPhone app. The relative merits of the controller or even the use of iPhones for performance and composition aside, Akai is making a strong move here by being the first to market with such a device. Given the sales of SynthStation in the iTunes store, Akai is betting that there are a significant number of people out there that would want to have an extended musical experience with their app and that those people are going to pony up around $100-$150 for a dedicated hardware controller for it. The release date has slipped on this device at least once already, but they seem to be pushing for July at this point. Interestingly, Akai is going to make their API available to third party developers, wishing to allow opening up the SynthStation25 to other iPhone applications. – JD

Electro-Harmonix Freeze

Shipping in late June, The Electro-Harmonix Freeze sample-and-hold pedal may be my favorite effect unit at Summer NAMM. The concept is deceptively simple: press down on the footswitch and the unit sustains what you just played. Let go and the sustaining stops. In the meantime, you can layer over the frozen part with additional notes. See the video below for a great demonstration. The Freeze seems perfect for experimental music and non-guitar instruments. Homebrew modifications are inevitable.

EH showed off other new products, including the Germanium 4 Big Muff Pi distortion/overdrive (so named because of its 4 germanium transistors), the Neo Clone (smaller version of the Small Clone analog chorus), and tiny Headphone Amp. In the video below, Larry with EH gave CDM a demonstration of these effects as well as the Ring-Thing Ring Modulator. Ed.: Or, as they describe it, to be semantic, a “single sideband modulator.” The unique thing about the Ring-Thing is that you can tune it from an incoming signal and avoid the unwieldy dissonance that come from most ring mods. Of course, unwieldy dissonance is a ring mod’s main charm. But should you want it to sound more musical, you have that option. – TY

Pigtronix Keymaster

Guitar-pedal bad-boys Pigtronix debuted an innovate universal signal router at Summer NAMM called the Keymaster Re-Amp Effects Mixer. Unlike most loopers, the Keymaster has a plethora of input/output options, including xlr and 1/4” in/outs and two pedal-level effects loops. You can run the loops in series or parallel with the option to mix the two loops in parallel mode. The beauty of this pedal is the limitless ways you can use it. Power two amps at once, instantly switch between two amps on the fly, switch between two effects chains, blend two effects chains, put two instruments in the two return jacks and mix them together to a single amp, and any routing you can dream up.

In the video below, Pigtronix founder Dave Koltai gives CDM an in-depth tour of the Keymaster. The second video shows Dave Koltai sampling a variety of Pigtronix’s other innovated pedals, including the Mothership Analog Synthesizer, Philosopher King polyphonic amplitude synthesizer, EP2 Envelop Phaser, and the Echolocution. Great sounds! – TY

Glasstones

Mark Payung’s fledgling Glasstones guitar company isn’t a household name. . . yet. But that may change if the final Glasstones guitars sound as good at the prototype did at Summer NAMM. The secret of the guitar’s long sustain is a patented glass compound that the nut, frets, and fretboard are made of. Supposedly, the highly-dense material better transmits the vibrations of the strings into the wood. Mark excitedly took us over to his friends’ 3rd Power Amplification booth to let us hear the Glasstones prototype guitar through an American Dream amplifier. The American Dream amp features some innovations of its own, including a triangular speaker chamber and switchable output between 22 and 10 watts. Channel one is voiced to sound like a ‘62 brownface Deluxe; channel two, a ‘65 blackface Deluxe.

Of course, it’s always hard to tell what guitars and amps truly sound like unless you’re playing them with your own gear; but this combination under the ideal conditions of the show floor sounded fantastic. (Watch the video below to hear for yourself.) Time will tell if the Glasstones guitar is a game-changing innovation or a fly-by-night novelty. If I were forced to choose, I’d bet on the former. – TY

Tony Youngblood (story, photos) resides in Nashville, TN and hosts the experimental improv music podcast Theatre Intangible. [@tonyyoungblood, Twitter]

Jeremy Dickens (additional reporting, photos) is a native Nashvillian musician, engineer, sound designer and and producer with works on dPulse Recordings, Sony Digital and his own Discrepancy Recordings imprint. [@logickal, Twitter]

Want follow-up coverage of any of this gear? What strikes your fancy? Let us know in comments.

In pointing out Behringer’s clone of Apple’s homepage, I may have left some things unclear. I was honestly surprised to find a number of people rushing to Behringer’s defense. I wasn’t trying to score cheap and easy points against the brand, but while venting frustration, I may have underestimated the response of people who own Behringer gear. If you do, and it’s working for you, as always – that’s a good thing.

The conversation got me excited, and I stepped into the comment fray. I shouldn’t have in this case, and unless asked to, I’ll stay out of this conversation. I enjoy being involved in those threads, but there are times when I should keep my writing to this space and let you have at it in the space below – the one labeled “comments.”

I think the reason Behringer inflames some people boils down to two things. Those people may have been burned by gear that proved not to be a bargain, or offended by a history of gear designs copied from recognizable models, or both. The former, of course, can happen with any vendor, but it does illustrate that saving money doesn’t always save time or money. Caveat Emptor is therefore true with any vendor. The latter is really the sticking point. Here’s a loose timeline of the cases in question:

Behringer and Mackie: In 1997, Mackie sued not only Behringer but distributor Samson and retailer Sam Ash. Mackie claimed that Behringer mixers were intended as exact copies of Mackie mixers – not only of external look and feel, but circuit design and individual components. In 1999, Behringer and Samson claimed a decision by the US Copyright Office “vindicated” the company. That supposed vindication is fairly empty, however. The US Copyright Office didn’t say that Behringer’s circuit designs were original. Instead, they said that the circuit board designs weren’t covered by the US Copyright Office. That has more to do with peculiarities of US intellectual property law than it does a vindication of Behringer.

Behringer and Roland/BOSS: In 2005, Roland sued Behringer for duplicating the look and feel of its guitar pedals. The blog Music Thing had a nice visual of just what this looked like. In this case, there was no claim about underlying circuit design, but the look and feel or “trade dress” is covered legally. Again, Behringer was not exactly vindicated. The two companies reached a settlement. The terms remained confidential, but Behringer did modify the look of its pedals.

Behringer and Line 6: What’s more disturbing to me is that, after reaching a legal settlement with Roland, Behringer simply moved on to a different vendor. In 2007, Behringer introduced a new line of pedals copying Line 6 instead of BOSS. Again, Music Thing’s Tom Whitwell did a visual comparison. Less extreme, but demonstrating Behringer continues to try to steal Line 6 market share by looking like Line 6, even the prize for the web design competition (the V-AMP) is intended to clone Line 6′s POD.

These are not the only cases of Behringer products that are designed to look like someone else’s products. As noted in comments, even the screenshot of the Behringer website is of monitors intended to look like those from KRK. Part of why I’m taking up the Behringer stories is that Music Thing isn’t around to do it any more, but here are some of Tom’s best hits:

In 2006, Behringer again copied Mackie, answering Mackie’s ONYX with mixers-plus-digital-I/O called the XENYX. (They copied the look and feel of older Mackie mixers rather than newer ones, but this was also clearly intended to look like Mackie’s product.)

Some amount of cloning, of course, should be forgiven – it’s expected practice for software emulations to mimic the look and feel of classic analog gear, so I can’t really fault Behringer for that. (That said, of course, I still think there’s far too much of that, and far too little original thinking about how to lay out controls and design interfaces.) The difference between cloning a classic product and a currently-shipping product is that making something look like something else that you can buy new suggests you want to create confusion. There are laws around that – “trade dress” – but more importantly to me is the question of whether it’s ethical.

Please, if, in comments, you want to fill out this timeline or offer more details of each case, on either side, I’m happy to hear it.

Apple and Behringer: In the case of the Apple site, while I wish websites in general would stop cloning Apple’s design – good as it may be – Behringer crossed a line by copying product pages, the color weight, gradient values, pixel weights, and radius of the Apple site. My small images in the story didn’t do that justice. This is not about the “cult of Apple.” Let me make myself plain: please, stop making sites look like the Apple site. Behringer’s case I think was worse than most, but I’d be happy if other sites flirted less with some of the particulars of Apple’s designs. Apple’s solution is not always the “best” design solution. There are others.

(Side note: the basics of Apple’s current website design really have been tremendously influential – so much so that it’s easy to overlook how much of this is derived from Apple. The earliest version of the current look dates from around 1997. But you can be influenced by a design and make it your own, rather than copying every detail or copying every detail poorly. To pretend otherwise would be to say design doesn’t matter, and I can’t do that.)

Let’s consider the larger issues:

Cheap can be great. One thing I won’t do is discriminate against musicians because what they’re using is cheap. “Ghetto fabulous” I believe is the proper term. Far from that, I hope on CDM we can find every opportunity to champion finding ways of doing cool stuff with cheap things. However…

Cheaper doesn’t always save you money. Because value is important, because you’re on a budget, you don’t want to throw your money away. Assume for a moment the allegations that Behringer cloned Mackie’s mixers down to individual circuits and components were true. That still doesn’t cover issues like manufacturing quality assurance or support. Larger than any one vendor – Behringer or otherwise – we urgently need to consider value. We can’t afford disposable gear. Our musical electronics are made out of toxic materials, and they impact the environment as they’re made, shipped, and disposed. And we need them to last for our music, too. I’m certainly guilty of having made this mistake, but it’s something that – as a community – we can all do better. Again, perhaps you have a good relationship with Behringer gear, which is great.

Copying is good; plagiarism, not so much. There’s a huge benefit to making copies and improving on them. A certain amount of copying is part of design. There is a difference, however, if the copy is intended to create confusion, to substitute for something else dishonestly. It’s the difference between Kia competing with the Honda Accord, as mentioned in comments, and someone making a car that looks exactly like an Accord called the Monda Schmaccord, and steals the design of its drivetrain. Likewise, in music, sampling can be a beautiful thing. Taking someone else’s work and trying to pass it off as your own is something different.

I believe it’s essential to draw these lines. It’s only going to get tougher from here. If you think these isolated Behringer cases were bad, brace yourselves: an army of music technology cloning companies is waiting in the wings.

My plea to Behringer: kick your copying habit, if you can. I could forgive you if you didn’t keep doing it over and over again. That suggests to me, and many others, that it’s malicious, that you hope consumers won’t notice and will buy your cheaper version because, cosmetically, it looks the same as something else. If it really is different, and if it really is better, then that only makes this more of a tragedy.

I’m going to leave the Behringer discussion at this point, having provided some of the historical background. But I certainly won’t let go of these other issues. And the uprising of Behringer support says to me that CDM and I do need to spend more time talking about affordable gear, affordable software, and — not necessarily because it’s “cheap” or “free” — free and open source hardware and software. I welcome your suggestions.

We hope to have some more on the FreqBox soon; let us know if you’ve gotten one yourself and how it’s working out for you.

Previously: NAMM: Moog Music moogerfooger FreqBox Meant to be Heard, Not Seen?