NAMM: What's on the Behringer photocopier for 2007?

A huge pile of new super cheap effects pedals from Behringer today, mostly pretty standard-looking, but could the Chorus Space C be a pedal version of the legendary Roland Dimension D? It claims to be an 'Analog 3-Dimensional Sound Effects Pedal', although that doesn't mean it's actually analogue circuitry. Interestingly, they have a new range, adding to their Boss clones and Electro Harmonix clones, they now have MXR clones - Spot the difference: A or B, X or Y? Behringer seem doing be doing very well - as this jobs page reveals.
UPDATE: Behringer's 'Chorus Space C' is, of course, a 'tribute' to the rare and long discontinued Boss Dimension C, which was a stompbox version of the Dimension D... If it's really analog, it will be quite interesting!


Comments:
note that on the behringer jobs page all the job openings in the r&d department are related to photocopying. so true.
 
oh duh, doctored. sorry for spoiling the joke...
 
Hehe I love behringer! ^_^

I'm actually genuinely excited about some of these, the Chorus Space thing does look intreguing, a pedal with no knobs!?! @_@ that can't be right.

Also speaking as a noisician, the new distortions look promisingly 'extreme'..

I'm hopeing they'll run out of 'normal' pedals to copy and start bootlegging (sorry, "designing to compete head to head with leading products") things like the Buzz Box and the Meat Box! :)
 
The behringer hate parade marches on....
 
if that was a component for component copy of the dimension d then they would actually be doing the world a favour, and i'd considering buying my first bit of behringer gear. well, apart from the behringer patchbay (i still put everything through the neve patchbay for mastering, mind).
 
It's a Copy of the Boss Dimension C
Pedal. DC-2 clone if you will...
 
ahem, Behringer ISO 9001 Photocopier.

ISO 9001 -- Where Quality means little more than accurate defect tracking!
 
also since they've started on MXR stuff I'm hoping for a Blue Box clone!
 
blame it on all other brands who owned the real thing but where "too busy" to see that their discontinued produtcs were still in demand...
 
i cant wait to see what they do with the metasonix pedals
 
No mention yet of the slow gear clone?? Or the faux VB-2? Hate on Behringer all you want, but props to them for trying - I'm anxious to hear reviews, biased or not. Definitely on board for a couple of these now.
 
I love Behringers weasel ways. As someone looking for new ways to warp some sounds their products are easy to afford, and I would rather spend a hundred on three pedals, then on one. I'm not looking for technically precise copies of other peoples sound, I want to play with sound rhythm and noises.

I just wish they'd replicate some drum machines and some old school toy keyboard samplers like the Casio SKs or Yamaha VSS series.
Hey, I'd even be happy with a cracklebox or a stylophone rip off, or a theremin! (HINT HINT!!!)
 
the slow gear will definately be going on my board.
 
I'm all for it, if they sound good.

Guyatone already did a slow gear clone a few years back (slow volume) but I'm excited to have behringer take the bottom out of the vintage boss market.

A spectrum clone? I've never even seen one of these....
 
It's bizarre to see people excited about Behringer cloning famous products. I suppose it is somewhat cool to be able to buy modern recreations of classic pedals, but they should at least work out a licensing agreement before offering a ripoff product.
 
I don't understand why people dis Behringer for cloning desirable and oft overpriced classic gear.

I rarely see wisecracking headlines about what schematics Doepfer and Analogue Solutions have on their copiers, or what virtual recreations of classic instruments Arturia, Creamware, and G-Music are selling.
 
Lets get this straight: this is NOT a copy of Dimension-D. This is a copy of Dimension-C, a stomp box with some resemblance to venerable Dimension-D, but thats all. Dimension C was a stomp-box knock-off of Dimension-D, (a two U rack unit tall) serious studio effect. Dimension C sounded way more pronounced, "brittle, chorus-like, with emphasis on higher regions of aural perception", if one is to put it in somewhat understandable terms. My preference was Dimesion-D, my brothers was Dimension-C, mostly due to the cost of these damded (and praiseworthy units). The stomp-box Dimension-C had four push-buttons exactly like Behringers copy has, so the mystery ends here. I know Dimension-C was a rare commodity, but I thought at least somebody would be aware of it's existance.
 
Lets get this straight: this is NOT a copy of Dimension-D. This is a copy of Dimension-C, a stomp box with some resemblance to venerable Dimension-D, but thats all. Dimension C was a stomp-box knock-off of Dimension-D, (a two U rack unit tall) serious studio effect. Dimension C sounded way more pronounced, "brittle, chorus-like, with emphasis on higher regions of aural perception", if one is to put it in somewhat understandable terms. My preference was Dimesion-D, my brothers was Dimension-C, mostly due to the cost of these damded (and praiseworthy units). The stomp-box Dimension-C had four push-buttons exactly like Behringers copy has, so the mystery ends here. I know Dimension-C was a rare commodity, but I thought at least somebody would be aware of it's existance.
 
Ooops, sorry. tbone had me there, except it's actually not a copy of DC-2. Dimension-C was the the first thing to come out after Dimension-D. Then again, maybe the truth will never be unveiled for us mortals... (Just join the heavenly chorus...)
 
It seems I just can't help myself, but here I go: The reason why Dimension-D sounded like nothing else preceding it and nothing after it, is because of it's so-called bucket-brigade transistors (hope I got that right). These transistors were among most powerful of that period. Roland went to extreme lengths to try out it's concepts of psycho-acoustic designs on these rare and expensive pieces of technology, and Dimension-D was their (quite expensive) flagship to prove their design abilities. Dimension-D soon became the "secret weapon" upon which studios relied when they wanted a track in the mix to really stand out. Mostly it was applied to vocals. However, it was soon embraced by keyboardists and guitarists (such as myself) as well. The most known of Dimension-D afficionados would propably be Gary Moore... However, it's life was cut short (not Moore's but C's) because of extreme cost to produce it. The next thing to arrive at the scene was of course Dimension-C, the stomp-box (Roland never lets any R&D to go to waste). As I said and have witnessed, Dimension-C has some resemblence to it's older brother, but they really have a sound wholly to their own. Dimension-C does not have even a modicum of the awsome processing power of Dimension-D, but then again Dimension-C does not sound like an ordinary chorus in the least. It has a sheen that is pretty much impossible to reproduce by any other means (just believe me on this). If Behringers copy manages to capture even a smidgeon of that original magic I say go for it, as much I dislike their company. These were truly magical units and I still have two of each and you'll have to pry them from my cold festering dead hands before you get your mitts on them (you daggum young whippersnappers). And thus, the lecture ends. Good night, I love you all, and hope to see you again next year... (queu in applause)
 
It seems I just can't help myself, but here I go: The reason why Dimension-D sounded like nothing else preceding it and nothing after it, is because of it's so-called bucket-brigade transistors (hope I got that right). These transistors were among most powerful of that period. Roland went to extreme lengths to try out it's concepts of psycho-acoustic designs on these rare and expensive pieces of technology, and Dimension-D was their (quite expensive) flagship to prove their design abilities. Dimension-D soon became the "secret weapon" upon which studios relied when they wanted a track in the mix to really stand out. Mostly it was applied to vocals. However, it was soon embraced by keyboardists and guitarists (such as myself) as well. The most known of Dimension-D afficionados would propably be Gary Moore... However, it's life was cut short (not Moore's but C's) because of extreme cost to produce it. The next thing to arrive at the scene was of course Dimension-C, the stomp-box (Roland never lets any R&D to go to waste). As I said and have witnessed, Dimension-C has some resemblence to it's older brother, but they really have a sound wholly to their own. Dimension-C does not have even a modicum of the awsome processing power of Dimension-D, but then again Dimension-C does not sound like an ordinary chorus in the least. It has a sheen that is pretty much impossible to reproduce by any other means (just believe me on this). If Behringers copy manages to capture even a smidgeon of that original magic I say go for it, as much I dislike their company. These were truly magical units and I still have two of each and you'll have to pry them from my cold festering dead hands before you get your mitts on them (you daggum young whippersnappers). And thus, the lecture ends. Good night, I love you all, and hope to see you again next year... (queu in applause)
 
And... sorry for the double-posts. Still can't understand how that happened, must be too old for this shit...
 
So, where can us daggum young whippersnappers hear these mythical Boss machines in the wild? Any track recommendations?
 
Well, in case of Dimension-D the problem is if you can actually hear it on a track, it's not doing it's job right. As a psycho-acoustic device it is designed to to fool your brain into thinking it hears more "air" and "breadth", both very elusive terms hard to define. It does this by a series of intricate delays, not modulation, meaning it is not a chorus device. Sad to say but the only way to recognise it is to have experience with it yourself. As far as Dimension-C goes its's not strictly a chorus either, as stated before, just a cheaper version of D. At some point or another Andy Summers, Robert Fripp, Pat Metheny etc. used them but it's practically impossible to say on which tracks. These boxes are about feeling the effect, not hearing it. The same could be said for psycho-acoustic processors by BBE. There's something in the sound you feel and hear, but you can't actually pinpoint it. In the end the players and sound-engineers themselves are the only one's that could tell.
 
Hmmm.
 
Artbut, go learn electronics and history, then come back.
 
If Behringer would clone an MXR pitch shitfter (analogue) I'd forgive them for being so lame.
 
Anonymous: on your comment to artbrut. His take on this is actually the way it is. If you think you know better, why not share your vast wisdom with the rest of us. Please. A post saying nothing more than "I know better but don't really bother to discuss this in any actual terms", is precious time wasted.
 
Behringer does have 1 fantastic benefit... its cheaper than the other gear out there, and even though they produce clones -- they're affordable clones.

I'm in Kuala Lumpur - a standard stompbox is 4 times the price here than it is in Europe or in America.

So mercy on the photocopier jokes - cos there'd be a WHOLE bunch of us who wouldn't be able to pretend to be Slash otherwise! :D
 
I think the main beef that people have with Behringer isn't just that they clone stuff like this, which is great. It's that they clone existing technology as well, stuff that's probably patented or trademarked. The whole Roland/BOSS thing was one such case, and I'm sure the company has been a thorn on Mackie's side. Also I've heard various accounts of shoddy workmanship when it came to their bass equipment. It's because of this specifically that I tend to be wary about their stuff, but that isn't to say I wouldn't buy any of it. I've just had no need to buy any for now. I hear that their mixers and studio equipment work well enough and a damn good deal for the money. When the company I work for had a voiceover studio a lot of the equipment was Behringer. If you want to buy their stuff and save a few bucks then more power to you. To those who don't, more power to you, too. But all that matters to most people is what's made from the equipment, not what equipment was used to make it.

Am I the only one who is irritated by Anonymous comments? You lose a lot of respect and validity if you have to hide behind an internet mask.
 
The Dim D was a dual 1024 BBD delay using stereo phase cancellation techniques.

It also boosts the dry signal bass while filtering the delayed mix.
Listen to just one of the stereo outputs by itself to hear what's going on.

It does not use "so-called bucket-brigade transistors."

This post is anonymous.
If someone is provably correct, it doesn't matter if they post anonymously.
You see many personal credits in a dictionary?
 
Bucket brigade chips (yes, they're IC's) consist of many transistors in a streamlined package
 
I wish they called it "Dimension-B"[ehringer].
 
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