Thanks.

you know what, the K-2 is good - even if it's v/hz, not v/oct. mkII is probably nicer, with better white legending and the extras. plus the price. very versatile monosynth.
and i seem to remember you bumped out the Pro-800. i didn't like it at first but love it now.

What about this one:
https://www.thomann.de/gr/behringer_...and_3_tier.htm

This would save you buying the rack ears for the Behringer synths.

The only hurdle there would be if the modules had different lengths. In my case, one of my modules was longer than the other two, and took shorter ears to 'fill up' the rack space.

I like the way a real MS-20 sounds (but not the somewhat lifeless Korg and Arturia software versions I own that came with the Korg Collection and V Collection, respectively). It’s all the legending that turns me off for some reason. I would almost prefer not having it (or not as much of it) because it makes the architecture seem more complicated than it is. It’s just an analog monosynth with an added patch bay for added versatility, after all. And the patch bay was off to the right even on the original, which I prefer.

Regarding the Pro 800, I plan to get a Pro 16 for my keyboard rack if Behringer ever releases the damn thing. So that should cover Prophet 5-style sounds. But for the money, the Pro 800 is a great deal. It can do probably 90% of what a Prophet 10 desktop can do for a fraction of the price.

i don't like the confusing legending either.
even if it's an imperfect copy, it's a functional analog monosynth with HPF w/Peak followed by LPF w/Peak (Reso) so you get a continuously variable HPF/BPF/LPF setup. i can do loop the loop with it with a flanger and noise i fly in space with it and cause sea sickness. if you drink too much and smoke a spliff i can get you talking on the big white telephone to God.

you could make your own with 25x25mm alu extrusion. i bought a couple of pairs though.

That's pretty much my approach and I still haven't got round to racking them. I have a Model D, Pro-1, Kobol and Solina. I'm aiming put them in two of the 3-tier stands, so I need one more 70HP and one more 80HP. I'll probably end up with a Pro 800 and Wasp to fill the gaps. Can't stop myself collecting the buggers.

I almost did this. I literally had one of each Behringer eurorack desktop synth ever released (and I mean every single one of them). Loved each of those synths as each one was a different vibe to use. Plan was to make a massive rack with them (could not choose between the four approaches in the pictures). Ended up boxing them up and selling them all. I use an iPad and Ableton Move nowadays.

You're gonna have a good time with them, but after a certain point, you will come to realize that they're all the same except for the filters and the already normalized patches that give each of them a unique starting flavor.

Not saying not to do it, rock on.

Oh, wanted to share this too. You can fill in the empty space with custom mults (you can find them on etsy).

Thanks for the pics! After seeing the stands with four modules, I almost think a 12U rack is too tall to comfortably work with the top unit while sitting at a desk. I really want to avoid the strain of reaching up. It's bad enough reaching forward all the time with my arm outstretched.

So I think a 3-tier stand (9U) is the way to go:



However, if I could get one made of a pleasing wood with a nice finish, that would be even better. Something like this walnut stand, but three rather than two tiers:



Does anyone know of one?

Go to Etsy and search for Behringer. You will find a bunch. And if you don't find what you're looking for, pick the best quality one you see and send the shop a message for a custom order. There's also a bunch of non-etsy companies too. Almost all the ones that work with wood take custom orders.

I had looked on Etsy before, but didn't click through enough search results pages to find what I was looking for. Too many years using Google.

But here's a 3-tier stand made of walnut that looks nice:

https://www.etsy.com/listing/1837770...3%3A1837770484



It's actually the same seller as the 2-tier stand I posted a picture of above:

https://www.etsy.com/shop/NoizziHardwood

I like this one because it won't take up much space on a desk, depth-wise. I can easily fit a controller keyboard in front of it.

Two of these sitting side-by-side on a matching walnut (or maybe black) desk would look pretty sweet.

yeah looks great, and you just remove plastic fake wood panels on the synths instead of added expense of rack ears.

I made a "placeholder" 3tier stand pretty much like on the previous pictures posted. Installed the synths by removing the wooden end trims and screwing my stand instead of them. Works really nice, but needs to be altered a bit and made a final version out of better wood. For the placeholder I just used birch plywood. You can actually make a stand like that pretty much anywhere with almost no tools. Just draw the form of it on a paper (lay a paper on the table, remove the end pieces of your synths and place them on the paper standing at their stipped ends on a desired configuration), mark the screw holes and transform your design from paper to the wood. Saw the wood to the shape you draw and drill the holes. Check that the drilled holes align with the synths screw holes (this is probably the most difficult part to get 100%) by attaching the synths to the holes. Once you are golden, make another identical piece for other end. Done.

Will also cost you a lot less than purchasing it done by someone else. And you are not restricted to their design choices.

That looks much better than extending the rack ears to fill the extra space on the left and right. Plus, it's useful!

As dumb as this sounds, I was almost thinking of passing on the CAT because it would be the only 70U module in my setup, and look "off" from the rest (which would aggravate my OCD). But this solves that problem.

There is something so "adorable" about the CAT's styling, and I'm a dog person! It's a must-have.

You know, I think you are right about the K-2, especially the mkII version, which looks so much nicer than the original K-2 with its brownish hue and yellowish lettering. Yuck!

The MS-20 / K-2 is more distinctive-sounding than the Model 15. The K-2 filter(s) can really rip your head off. And there is a world of weird and wonderful sounds waiting by using the patch bay.

And a Pro 800 would be more practical than the Pro-1. I know the Pro One (and Pro-1) inside and out. But I would actually use the Pro 800 itself in my songs because it can store patches and it sends and receives SysEx and MIDI CC messages.

So this is what I have now:

CAT
K-2
Kobol Expander
Pro 800
Proton
Syncussion

That will be a kick ass, cool-looking "little" setup with the two walnut stands sitting side-by-side. And it won't break the bank.

Who knows. I might start using these Behringer modules directly in my music (and not just as sample sources). It would be a new way of working for me since all the synths but one that I have owned (starting with a Juno 60) have had patch storage.

the mk1 isn't actually brownish, and the gold legend isn't awful, looks slick, but it isn't the best in low light. the point is more about having the 'mods' extras in the mkII, and yeah, white is better.

i am actually thinking of selling on my old Moog Rogue in favour of a Model D and Model 15, which seems like it would cover it, and give 2 'moog' parts ('functional analog synthesizer'). could get a decent price for it, and it would give a bit of spare cash for another module.

the mk1 isn't actually brownish, and the gold legend isn't awful, looks slick, but it isn't the best in low light. the point is more about having the 'mods' extras in the mkII, and yeah, white is better.

i am actually thinking of selling on my old Moog Rogue in favour of a Model D and Model 15, which seems like it would cover it, and give 2 'moog' parts ('functional analog synthesizer'). could get a decent price for it, and it would give a bit of spare cash for another module.

i can get those sync sounds from the Pro800 as well, and it's nice having patch memory and midiCC.

Behringer also sells unpowered eurorack cases (and power supply) as well if you want to use their eurorack modules in the same format. Which is great because if you only care about a certain filter or feature, you could save a bunch of space.

I guess it all depends if you are trying to have a massive unique multi-timbral setup or if you are just interested in the sonic variety of filters in a smaller space.

Something about the gold legend on the mk1 gives the whole synth an unappealing brownish hue to me (even if the case is black, as you say). While Behringer might not have included every wish list feature on the mkII, they did address the number one issue.

A modular rig would definitely provide more sonic variety, especially for my sampling purposes. But I can't go down that rabbit hole. I swear, "Eurocrack" addiction is the number one reason all recent Depeche Mode albums have been marginal at best. IMO, Martin Gore should get back to writing great songs and stop dicking around with all that stuff. He and Dave Gahan need to set aside their egos and bring Alan Wilder back. Let Wilder design sounds (with a massive modular if that's his thing now) and arrange the songs. Those guys might have one last great "Violator" album in them. Otherwise, why bother?

Sorry for the off-topic rant. But it's hard to see/hear one of my favorite bands limping along for the past 20 years.

This to me seems kinda backwards and missing the point of analog hardware. Deep sampling analog synths just flattens them into a static snapshot. You're freezing something alive into something dead. Spending $2,000 and weeks of time to create something you already have, but less flexible, doesn’t add much value unless you’re specifically chasing analog quirks. And most of those quirks get lost in the sampling process. Also, turning analog monos into a poly sampler may sound cool, but true analog polyphony is not just a stack of samples: it’s about voice interaction, phase relationships, drift, filter movement per voice, etc.

If you were into semi-modular sound design, a Behringer tower of power could be fun. But if you're not really into patching and modulation, this setup feels like a ton of effort just to build a less capable version of the VSTs you already use. Why not just get a great mono/poly and actually play it?

Even today, people don't understand the power of sampling. Listen to Depeche Mode's Black Celebration, Music For The Masses, and Violator albums for a master class in what's possible.

It's not just about sampling a single "static" synth sound and using it unmodified. Rather, it's about creating sounds that are not possible on any single synth, at least not clones of classic synths which lack velocity sensitivity.

Let's say I adjust the filter resonance and cutoff amounts (in opposite directions,) filter envelope decay, the PWM amount, and any number of other synth parameters per "velocity" layer in the sampled instrument I create. I also bring in the CAT, for instance, while lowering the level of the K-2, for example, in each of the four layers I autosample. I specify four round robin samples per note per layer so each note in the final instrument is slightly different when played back. The sampling and looping (including recording round robin samples) is done automatically, thus reducing the time to create such instruments exponentially.

But it doesn't stop there. I then layer the sampled sounds with, for instance, percussive hits and textures (as my own version of "LA Synthesis") and perhaps other synthesis technologies in HALion (VA, FM, Granular, Spectral, etc.) while further processing the composite sound through HALion's filters and FX.

Could I do something similar in Omnisphere? Yeah, sort of. But none of its sampled synth waveforms are as detailed as the multisamples I will be creating, i.e., do not include multiple velocity layers of round robin samples where each layer has been tweaked subtly in creative and interesting ways. And Omnisphere doesn't include as many sampled attack transients of other instruments and textures as you might think. Also, Omnisphere's FM and Granular synthesis is not as advanced as what's available in HALion.

Could I at least create dynamic analog synth patches that respond to velocity in expressive ways (which I can store and recall) on something like the Sequential Pro 3? Yes, of course. But I couldn't play back layered sounds without buying another Pro 3 (or something similar) and I couldn't use the sounds polyphonically.

FYI, I have been sampling synthesizers and other instruments and creating composite sounds in the manner I describe above for nearly 40 years, although much less so in the past 15 years or so as I got more heavily into pure synthesis. But standard analog and hybrid synthesis (including wavetable synths like the Microwave/M) is becoming increasingly boring, while most pure digital stuff sounds like garbage. I'm telling you sampling is where it's at, but not the dumb "sampling" (i.e., theft) that passes for creativity in the Hip Hop world.

I realize sampling isn't fashionable now because people can't see past anything that isn't a mindless software emulation of a 40-year-old analog synth (usually with all the limitations of the original synth, which is silly). While depressing, that failure of imagination opens up opportunities for people to try something different.

I think samplings great. But you can only get out of it what you put into it.. So you need some decent sources. (not that I haven't sampled some hideous sources mind..) "mask it up it'll be alright" kind of thinking..

World's your lobster afterwards.

Probably not for everyone... Some just want to click a preset tweak a filter and film it.
I find great joy in exploring synths... Sound ect.
It's not an activity for spectators though.

I mean computers are great things, but it's all a bit loosey goosey for my reckoning .. Bits of this here bits of that there.. Needle in a haystack.. Like trying to find something you mistakenly threw out in the trash trying to find stuff sometimes.. For me anyway.. In its own device you know where everything is... For me anyways. Always solid.

I feel like you would enjoy wave sequencing. Have you ever given it a try? There are modern ones like the wavestate native plugin and they have a hardware wavestate as well. Looks like there is an older iPad plugin as well.

Fair enough, I respect the creativity and depth you’re putting into this. I’m all for hybrid workflows and combining analog with digital tools to explore unique sonic ground.

That said, there’s still a big difference between deep sampling analog gear and actually playing it. No matter how detailed the velocity layers or round robins, they won’t capture the micro-instabilities, voice interactions, or filter sweeps that make analog synths feel alive, especially polyphonically. It’s not just the sound, it’s how it moves.

DM did brilliant things with early samplers, but that grit came from the limitations of the gear as much as the sounds themselves. HALion’s clean precision is a different vibe entirely. And I don’t think modular is to blame for DM’s recent dip.. it’s more about lost chemistry than synth format. Violator wasn’t iconic just because of specific techniques, but because everything: writing, sound design, arrangement clicked.

On the Pro 3 side, I actually use mine a lot, layering with overdubs and leaning into its paraphony and modulation to create evolving, expressive parts. It’s a hybrid, but very much alive in a way that static sampling just doesn’t capture. Plus, it already gives you recall, velocity mapping, layering, and more, without weeks of setup.

So yeah, your approach is viable, and I get the appeal. But to me, it’s a lot of effort to recreate something dynamic in a static form. If you’re not drawn to the hands-on or modular side of analog, there are other software/hardware paths that might give you that depth without flattening the experience.

No there isn't. You are talking gibberish by mentioning "micro-instabilities" and "voice interactions." If anything, a deeply-sampled analog synth with even four velocity layers and round robin samples per layer can be more expressive, in terms of touch, than the synth itself (and certainly in the case of the Behringer clones, which are not velocity sensitive, just like the originals).

But you are right. You cannot twiddle the knobs on a sampled analog sound in real time while playing the way you can on an analog synth (unless you are using the analog modeling filters of the software sampler which won't sound the same and defeats the purpose). That is indeed a limitation of this approach. But of course, if the sampled sounds are layered with the wide variety of digitally-generated sounds in HALion, those can indeed be modified in real time as part of the composite sound.

Regardless, I also use several other hardware analog and hybrid synths (plus a gazillion plugins,) all of which are velocity-sensitive, send and receive MIDI CC messages, and store patches. This Behringer "Tower of Power" is just for sound design. It will fit on one 24" x 48" table off to my side, almost within arm's reach, and cost the same as a "budget" analog poly from Sequential, et al. Also, I routinely see modular rigs that are twice as big.

If you have difficulty wrapping your head around this, consider it a WAY more affordable "12-VCO, 9-VCF, 6-VCA, semi-modular for people who don't want to invest in a modular."

I think you are getting hung up on the idea that I am trying to replace hardware analog synths with sampled sounds. That is not at all what I am doing. Think of this as my own personal Omnisphere with the option to add any sampled content (however detailed) I want. Or think of it as a Fairlight on steroids.

Yeah, I had a Wavestation Rack way back in the day, replaced that with the Korg Legacy Collection Wavestation plugin, and now own the Wavestate plugin. I haven't spent as much time using the Wavestate as I would like. While super impressive, the factory presets are a little too identifiable for my comfort. I would need to roll my own. But there are only so many hours in the day.

Just to be clear, I’m not “hung up” on anything or struggling to wrap my head around your setup. I fully get what you’re aiming to do: building a custom sample-based instrument that pulls from analog monos, layered creatively, and extended via HALion’s engine. And yeah, compared to modular, it’s definitely a cost-effective path for sonic variety. All good there.

But I still think you’re brushing aside what actually makes analog gear feel alive. “Micro-instabilities” and “voice interaction” aren’t gibberish: they’re what separate something like a Prophet-5 or OB-X8 from a static layered patch. It’s how iconic sounds like Rush’s Tom Sawyer lead were done. If you’re into sound design this stuff matters. Sequential even developed « vintage knob » algorithms to emulate such voice to voice variations. Even on mono synths, subtle inconsistencies in envelopes, drift, filter behavior, and the way parameters respond under your hands make a real difference.. especially when you’re performing or recording with movement in mind.

You’re right that velocity response adds expression, and no argument that multisampling can add more touch dynamics than vintage synths originally allowed. But that kind of expressiveness is still mapped, not generated. That’s totally fine for a particular workflow or production need, but it’s just a different paradigm from working in real time with analog circuits. Not to mention modern analogs now have velocity, AT, MPE etc.

So yeah, not knocking the idea. Just think the romantic “Fairlight on steroids” framing maybe oversells what you actually get out of sampling mono synths, especially when so much of their magic comes from movement, not just tone.