Deepmind 12 Review 2021: Top Full Review, Guide

Deepmind 12 Review 2020 Top Full Review, Guide

It is not widely known that Behringer’s first product back in 1977 was a synthesizer. Uli Behringer created the UB-1 synth if he were just 16 years old. Therefore it is not too much of a surprise he has returned to what he sees as his first love. Having said this, it has been nearly 40 years since the launch of the first synth along with. The Behringer team have employed all their business expertise to craft the Deepmind 12.

This Deepmind is an analog, 12-note polyphonic synthesizer. Behringer has gone on the record saying the beginning points for the layout has been the mythical Roland Juno 106 and the nod into this 106 is observable across the device. Keep reading Fidlar’s post for more information about this Deepmind synth.

The Behringer Deepmind 12 Experience Review


  • Unique analog sound
  • Effects
  • Modulation matrix
  • Free editors
  • Manual


  • Factory presets
  • Effects
  • LCD screen
  • Output level


The DeepMind is amazingly nicely constructed. Compared to some lightweight all-plastic layout on the Roland System 8, the all-metal body using wooden side lips provides the DeepMind some weight reduction.

Of all of the synths I have, this is the only one that has lovers. Yes, two lovers! The onboard Shark processor probably wants a lot of cooling, thus justifying all these lovers.

The Behringer Deepmind 12 Experience Review

There’s a menu choice to slow down or even entirely switch off the fans, but I am not sure how great an idea that is. The sound isn’t obtrusive but is undoubtedly perceptible.

With 26 sliders and two dials, this synth has lots of onboard controls, but considering how heavy the synth choices get, you may end up using the information knob and its own four cursor keys a lot. By way of instance, the outcome segment is only reachable via menus but does possess a committed menu change.

There’s an accompanying librarian program that makes broadcasting the ramifications section much simpler. Comparable to this Novation Peak, the Deepmind synth 12 has 12 LED indicators for sex action. Very valuable to know when you’ve made it to the polyphony limit.

The on-screen menu employs the LCD screen, which doesn’t have an excellent resolution. Still, it will not exhibit a good deal of helpful info like LFO shapes, envelope curves, and various parameter values.

Connectivity is standard, with two analog outputs and one headphone out. Out the headset is really on a 1/4 inch jack. You receive Sustain and Pedal/CV inputs in Addition to the Normal USB/5 pin DIN MIDI. The USB link doesn’t do sound.


A lot of the design and execution of this Deepmind synth 12 comes from the Midas group in the united kingdom, which communicates well because they have years of expertise in the higher end of the music market. However, so far as I am aware, this group has not made a synth before, so I anticipated a few quirks and was not disappointed.

Let us begin with the fundamentals. Despite being clarified broadly (and at the by Behringer themselves) because analog’, the Deepmind synth 12 is a mono-timbral 12-voice analog/digital hybrid polysynth using a lightweight but usable 49-note velocity and aftertouch sensitive keyboard.

Each voice contains two DCOs, a switchable 12/24dB/Oct VCF, three independently generated shape generators, two digitally created LFOs, and a modulation matrix. Voices can be piled in various manners from 12-note polyphony into a single-note detuned monstrosity.

After an international high-pass filter, four configurable digital effects units finish the excellent path. Performance controls are confined to the conventional pitch and modulation wheels, even though there are likewise octave up/down switches and multi-mode, polyphonic portamento.

You can find 1024 patch memories in eight different banks of 128 sounds, and you’re able to devote these to 16 classes, four of which may be user-defined for particular projects.

Probably the strangest thing about the Behringer synthesizer 12 is its dimensions. Using a four-octave computer keyboard and a shallow control panel, it is down in the dinky end of this spectrum.

Nevertheless, it seems reassuringly robust, and its keys are full-sized, so that is one hurdle safely removed, and it’s an integrated power supply, so that is another.

Alas, the restricted panel region implies this is no one knob each parameter’ synthesizer, and lots of essential functions are available only through the on-screen menus.

Also, the black 128 x 96 display is way from cutting-edge, and also the way the draft guide could call it big in 2016 escapes me. There was a debate within Behringer about replacing it with a full-color TFT display; however, the business chose to stay with the present apparatus for both price and development time motives.

It does the job. Staying with all the hardware for a minute longer, I was quite bemused when Uli Behringer composed to a range of forums saying, With approx. Four thousand parts, the Behringer synthesizer 12 is among the most complicated synthesizers that have been assembled.

Owing to the discrete design arrangement, it’s significantly more elements than you will probably find in some of the present synthesizers available on the market. This appears to be a remarkable claim. The analog plank from the Behringer dm12 is miniature and filled to the gills with processors.

Is this issue? Not at all, but I find his remarks to be (at best) odd. He also stated the Behringer dm12 would include a three-year guarantee, which can be welcome and generous on a more optimistic note.

Before beginning to critique the synth, I researched its five International menus. The first manages connectivity, enabling users to install MIDI and SysEx because of the five-pin, USB, and Wi-Fi links.

The next comprises the computer keyboard settings: matters like speed and aftertouch curves, a neighborhood on/off, along with the simple octave. Next, come the panel and pedal configurations menus, which provide different pedal manners and, among other items, a range of sustain/gating choices that EDM artists will like.

The next that permits you to ascertain how the physical faders react when you transfer them. Ultimately, the System menu that, maybe above all, provides accessibility to the variety of tuning and calibration routines. So, having put up everything for my liking, it was time to make a few noises.

Sound Resources, Filters & VCAs

This Behringer dm12 menus significance becomes more evident once you flip to the very first of those building blocks of a patch (that Behringer telephone a Program).

On the board, DCO1 offers only on/off switches because of the sawtooth and pulse/PWM waveforms, and faders to control the pitch modulation and PWM thickness.

Sound Resources, Filters & VCAs

That is not much, and its seven additional parameters (such as the footage and the modulation resources ) are tucked away in a menu.

Alongside this, DCO2 provides faders such as pitch, pitch-modulation, and degree. Astonishingly, there are no waveform buttons, either bodily or in the related menu, and it transpires that this oscillator creates a square wave. But a fourth fader permits you to command a book kind of waveshaping, where a pulse wave disrupts every half of this duty cycle; the greater the value, the broader this heartbeat becomes.

Initial tones may vary from metallic, and, as you’re able to govern this parameter, DCO2 proves to be more flexible than you may anticipate. It is also possible to hard sync DCO2 into DCO1 with the customary selection of results, along with the combo of waveshaping and sync, which provides some interesting timbres.

The last sound source is a pink-noise generator using its degree fader. Please take note, however, that there is no mixer around the Deepmind behringer 12; you can place the DCO1 waveforms to be off or on (zero percent or 100% ) and fade DCO2 or sound into the mixture in amounts lying between those boundaries, which will restrict the selection of noises which it is possible to create. What’s more, there’s no external signal input signal, which might be a substantial omission for some prospective users.

The low-pass filter delivers the anticipated frequency and resonance faders, together with added faders for computer keyboard and shape tracking in addition to LFO modulation.

If it sounds quite familiar, I am not surprised as it imitates the Juno show right down to the graphic layout; besides how the shape invert switch is at another place, they’re indistinguishable from any practical perspective.

Still, there are two extra buttons, and all these are far from insignificant improvements. The initial switches involving a 12dB/oct (2-pole) reaction along with also a 24dB/oct (4-pole) answer, and very useful it’s too.

In reality, I soon discovered that I preferred the 12dB/oct manner for many noises. The next requires you to the filter menu to discover extra parameters like speed sensitivity and aftertouch LFO thickness. Behringer asserts a cutoff frequency Selection of 50Hz to 20kHz and, when analyzed, I found that these figures to be nearly spot-on.

As soon as the Deepmind Behringer 12 came, I attempted to program many of my favorite Juno sounds with all the self-oscillating filters as extra oscillators. Still, every filter was out of tune with others, and they monitored at slightly different prices, so I conducted the calibration patterns.

This took some time but, once finished, everything was in song and tracked nicely. But, unlike Roland’s filters, the Behringer’s do not lock into the oscillators’ harmonics; therefore, I could not recreate a few of the spots I desired.

Additionally, as I afterward found, the pruning does not always survive being switched off for a little while then switched on again. Unless that can be a quirk of this pre-production review version (which is possible), that you might end up running those patterns more often than you may anticipate.

The next stage in the signal path for every voice is that the VCA. There would not be much to say about this except that it’s an unanticipated pan parameter that lets you disperse the 12 voices throughout the stereo field.

By default, this is set to zero (mono) so that you might not bear in mind that it is there; however, a bit of width may add interest to many sounds like pads and unique effects.

Observing the VCAs, the listeners are summed to stereo and passed via an international 6dB/oct high-pass filter, which will be just another nod in the Junos’ direction, along with a practical addition on almost any synth.

Boost’s button marked Boost imitates the bass response exhibited by each of the synths from the first Juno collection, which does an excellent job of warming and pruning your sounds.

LFOs & Contours

To the remaining sound oscillators, you will come across a set of indistinguishable LFOs. These provide a selection of seven waveforms that you could pick using their menus, together with faders to control their prices and delay times, along with a menu item to correct their abundance speed if desired.

Being digitally created, they could provide alternatives that would not otherwise be sensible, such as synchronization into (in effect, re-triggering from ) that the arpeggiator clock, also enabling accurate control over the relative stages of the LFOs involving listeners.

What is more, their frequency ranges are uncommonly broad, reaching from approximately 0.05Hz at the base close to 1.28kHz on the very top, and you’re able to make them monitor the keyboard right, meaning you could use you to create AM and FM timbres and the next for standard modulation duties. Given that the sound oscillators are all analog, the consistency of FM tones around the voices is remarkable.

I will not waste space here, strengthening the perceived pros and cons of analog versus digital shapes. It does not bother me one way or another so long as they are eloquent at one end of this scale and languorous at the other. In this aspect, the Behringer synth 12 scores tremendously.

I quantified minimal AD times so brief the VCF and VCA hardly had the time to click, and the most significant attack and release times of 32 minutes.

But instead, then focus on those dimensions, I will highlight the designers on a somewhat different but astute bit of layout; all the D and R phases can choose the kind of an exponential, linear, or logarithmic curve, together with 256 variants from 1 extreme to another, along with the sustain stage provides control over both its beginning and complete degree.

These curves permit you to mimic the features of several classic synths and let you specify shapes that would usually be the province of five-stage shapes, make it feasible to program items like orchestral sounds more correctly than could otherwise be achievable.

I am impressed with the numerous tripping choices you may choose individually for each of those three shape generators. Additionally, while two of those three shapes are attached straight to the VCF and VCA, all three seem as resources in the modulation matrix, while all their rates, curves, and levels look as destinations. This is excellent stuff.

Ah yes, the modulation matrix. This provides eight slots within that your options from 22 sources may govern (with negative or positive polarity) your options out of 130 destinations.

It is where you can do exciting things like shortening the shapes as you play the keyboard for organic noises or make Programs with numerous parameters of pressure-sensitivity for everyone your favorite ARP Pro-Soloist imitations. (What do you mean you do not have favorite Pro-Soloist sounds? Shame on you)

Additionally, there are two modulation resources here which are not visible anywhere else about the synth: MIDI Note Off Velocity, which is actually or put to some predetermined value in the international menus, and MIDI Breath Control, which can be mapped in the expression pedal input. Nothing is stopping you by penalizing thingies, which are themselves regulating different thingies, so the chances are enormous.

The Effects

The final point in the signal path contains four electronic, stereo effects slots, even though you can skip these to keep an all-analog VCO/VCF/VCA/HPF route to the external world should you desire.

There are 33 effects offered and, to use Behringer’s description, the apparatus inspirations of a number of them were products made by companies that currently find themselves inside the Music Group. Some others from elsewhere contain reverbs motivated by the Lexicon PCM70 and 480L, a Roland Dimension D chorus, and a Moog-style filter.

You may opt to pass some or all the signs through these. Even though the 24-bit word span, 48kHz sampling speed, and highest 40-bit calculation resolution are not to the most significant specifications provided by most of the processors and plug-ins, they’re, in my opinion, entirely adequate here.

There are ten distinct impact configurations, ranging from the apparent four in a row’ to all in parallel, and eight other people involving, for example, two with feedback loops.

You will want to use the last of them with caution as it’s simple to send the entire shebang yelling to the nether regions of sonic destruction.

Luckily, the designers expected the worst consequences of the (your speaker cones sticking from the other wall of the studio) and inserted a 30Hz high-pass filter to the loops, which might save you a fair bit of cash if things go awry.

The guide (and, as I afterward found ( the editor), exemplify the consequences calculations in picture form, revealing their parameters at renderings of the first processors. The synth’s display is not able to try it.

Therefore parameters around 12 to get a specified effect have been revealed as marginally square knobs using three-character shorthand names.

Thankfully, many of these parameters are destinations at the modulation matrix, which implies yet more chances. I was happy to discover you could reorder the ramifications inside a specified Program without sacrificing their parameter values, and you can copy them from 1 Program into another.

On the other hand, there aren’t any physical switches to reverse the effects off or on. This is fine from the studio, but you will probably wish to spend controls from the modulation matrix to create this live scenario function.


For your Deepmind12, you’ve got the option for Mac/PC editors, too, for your iPad. Since Behringer is putting editors out for Android as nicely, we might expect an Android editor too.

It is possible to hook them up with Midi/USB or Wi-Fi to get the tablet. Wi-Fi and USB appear to work just fine, but Midi appears to have too little bandwidth to keep up with this GUI and can topple the odd bit causing strange behavior.

The fundamental functions are relatively simple and exhibit the editing choices in one display. The Mac/PC variant must be chosen to fine-tune, whereas the tablet version is a nightmare for OCD peeps that would like to possess the worth only perfect.

The editors allow you to maneuver around stains so that you may organize them in whatever way you prefer. Another purpose would be to combine patches that I did not study any further.

The guide is probably the best-written guide I have read in many decades. It helped me set up the Wi-Fi configurations so that it may find a link with my Wi-Fi router and be edited together with my iPad. Aside from that, I did not want the manual, but when you’re stuck, it is going to be a lifesaver.


The Behringer dm12 isn’t a cheaply developed synth, making the price tag even more remarkable. Together with the DeepMind desktop and 6-voice version only around the corner, there should be a lot of choices for every single situation (studio/live performance/studio with a lot of computer keyboard synths, etc.).

There’s not any doubt that some individuals can not enjoy this synth. I am currently seeing many utilized models on eBay and Reverb at a far lower cost than full price. This isn’t always a terrible thing. It merely suggests that this synth will be anywhere, and you’ll have the ability to receive your hands on one at an affordable price.

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