Behringer: A History of Notoriety, both Good and Bad
Behringer is a German company that designs and manufactures a wide range of audio products, including mixers, amplifiers, speakers, and other audio equipment. The company was founded in 1989 by Uli Behringer in Willich, Germany, and has since become one of the largest and most successful audio equipment manufacturers in the world.
In its early years, Behringer focused on producing affordable analog mixers and other audio products for home studios and small venues. These products quickly gained popularity due to their low cost and high quality, and Behringer soon became a well-known name in the audio industry. In the 1990s, Behringer began expanding its product line to include more advanced digital mixers, amplifiers, and other audio equipment. The company also began investing heavily in research and development, hiring top engineers and designers to develop cutting-edge products that would compete with the best in the industry. By the early 2000s, Behringer had established itself as a major player in the audio industry, with a wide range of products that could be found in recording studios, live venues, and homes around the world. The company continued to innovate and expand its product line, introducing new products such as digital signal processors, MIDI controllers, and studio monitors.
However, Behringer's success has not been without controversy. The company has been criticized by some in the industry for producing low-cost knockoffs of popular products from other manufacturers. In some cases, Behringer has been accused of outright copying the designs of other products, leading to legal battles and accusations of intellectual property theft. Here are some of the most notable controversies:
Mackie Mixer Clone: In 2002, Behringer released the Behringer UB1202 mixer, which many in the industry believed was a direct clone of the popular Mackie 1202 mixer. The similarities between the two products were striking, and Mackie accused Behringer of stealing its design. The two companies eventually settled the matter out of court, with Behringer agreeing to pay a settlement to Mackie.
TC Electronic Reverb Clone: In 2015, Behringer released the Behringer DR600 Digital Reverb, which was accused of being a direct clone of the TC Electronic Hall of Fame Reverb pedal. TC Electronic publicly called out Behringer for copying their design, and the two companies engaged in a public feud over the matter. Behringer eventually discontinued the DR600 and released a new, original reverb pedal design.
Oberheim Synthesizer Clone: In 2017, Behringer announced its intention to release a clone of the classic Oberheim OB-Xa synthesizer, called the Behringer UB-Xa. The announcement was met with criticism from many in the industry, including Tom Oberheim himself, who accused Behringer of copying his design without permission. Behringer responded by saying that it had acquired the rights to the design from another company, and that its clone would be an affordable alternative to the expensive original.
Neumann Microphone Clone: In 2019, Behringer announced that it was developing a clone of the legendary Neumann U47 microphone, called the Behringer U47. The announcement was met with widespread criticism, with many accusing Behringer of attempting to profit from another company's design. Behringer defended itself by saying that its clone would be significantly cheaper than the original, and that it would be a high-quality alternative for those who couldn't afford the real thing.
While the company has defended itself by saying that it is providing affordable alternatives to expensive products, many in the industry believe that Behringer's business practices are unethical and damaging to the industry as a whole. Despite these controversies, Behringer has continued to thrive in the audio industry, thanks in large part to its commitment to producing high-quality products at affordable prices. Today, the company offers a wide range of audio products for both amateur and professional users, and continues to push the boundaries of what is possible in the world of audio equipment.