What is this oscillator on the panel’s left? Does that make a noise?Īll that’s happened here is that Behringer has stuck with the original Moog terminology. The tempo control, then? Nope, also absent. The first thing you’ll want to see on most sequencers is the Start/Stop button, but you won’t find one here. For anyone who began using synthesizers after the ’70s, that could be momentarily confusing. The Behringer 960 is labeled with Moog’s original nomenclature. It arrives “naked” with just a connection cable, though Behringer is starting to offer a range of suitable Eurorack cabinets, too. It offers all the original 960’s flexibility with only minor changes in panel layout to accommodate the smaller Eurorack format. After a short time, though, sequencer users started experimenting with alternative applications.īehringer’s 960 welcomes this process. Perhaps inevitably, the 960 fell into a certain role. That’s because it could handle all sorts of parameters-filter cutoff, modulation level, and so on-rather than just notes.
Moog developed the device as rather open-ended, calling it a Sequential Controller rather than a sequencer. Single or dual 960s drive along the pounding bass patterns of Tangerine Dream’s Rubycon, Klaus Schulze’s Body Love, and other seminal albums. Others such as Keith Emerson, Klaus Schulze, and Tangerine Dream absolutely leaped upon the device. On the pioneering Switched On Bach, Wendy Carlos made little use of the sequencer. They automatically connected one after another in order, playing notes in an entirely robotic manner.
In its earliest days, an analog sequencer consisted of a short, simple row of variable resistors standing in for keys on a keyboard. It later appeared in 1969 as an option for the Synthesizer 1p and subsequent modular systems. introduced the 960 Sequential Controller in 1967 as part of the Moog Synthesizer IIc modular. Behringer’s love affair with classic synths now focuses on the Moog modular system.
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