Behringer DeepMind 12

The good:

The keybed is great, same keybed as the OB-6. Good feel even though I prefer the stiffer yamaha keybeds. Aftertouch has a controllable range.

Voice calibration is dead easy. VCF tuning may need occasional calibration if you use self-resonance for bell sounds, but this is a quick process.

There's very little menu diving. The most common controls are on the panel, and the most common options are on the first page of the menu. Lots of thought has gone into this and the result is easy to use.

Modulation is easy to set up. Hit mod button, pick mod slot, hold down mod button, nudge the source, nudge the destionation, adjust depth and done.

Envelopes have retrig. No note sequencer, but the arpeggiator is flexible and the control sequencer is useful. Control sequences can't be saved and shared across patches AFAIK, but arpeggio patterns can.

Preset management via the app is okay. Not the best, but far more convenient than faffing about with sysex.

The bad:

The second oscillator doesn't do a saw wave. In practice you can deal with this by using two voices in unison. This means the DM12 is definitely the one to get over the DM6, so you can still have six voice polyphony.

The volume of the patches is a bit all over the place, and you can't store main volume per patch, only VCA volume, which in turn changes the character of the sound. Volume can range 15dB or more between patches. Luckily the front panel volume knob is conveniently placed on the left hand control section.

The sound:

The bass sounds aren't the beefiest, you need to find a sweet spot to get truly nasty bass sounds. However, pads, arps and plucks are easy to make and sound great. Creating patches is a ton of fun and the sounds are inspiring. Most of the built-in patches are a bit naff, but if you know anything about subtractive synthesis it's dead easy to dive in and start building your own library.

The DeepMind has quite an ingenious design. Each voice is quite simple, but it is capable of surprising results. This synth's unique character is shown with the unison modes, which, with "uni voice" as a mod source, go well beyond the usual "thicken the sound" function of most other synths. For example, go to unison-2 or unison-3, set a mid-resonance 2-pole filter and map uni voice to filter frequency for formant-like "dual filter" sounds. For this reason I would definitely recommend against the DeepMind 6: you really want all 12 voices, especially since you need unison-2 just to get two sawtooths.

The osc section is limited. Osc 2's tone mod is quirky but combined with sync can make some interesting sounds. It would be great to have more waveforms on both oscillators but at this price the engineers obviously had to make some careful decisions and I think they've made a very unique, characterful instrument.

The filters sound fantastic at all resonance settings and are very versatile. At high resonance the low end largely disappears and it behaves more like a band-pass filter, which is actually very useful despite any comments of the DeepMind sounding "thin" (if all your synth sounds are "fat" then your mix will be pure mud anyway).

Admittedly, this synth sounds a bit dry with no FX, moreso than other synths. This is where the excellent FX section comes in. It lets you stack four effects with various routing options, some with feedback. You can do four reverbs in series, four band pass filters in parallel, whatever. The reverbs don't reach Strymon territory but sound great. There's no shimmer reverb but you can make one by putting a pitch shifter in the reverb feedback path. The two multi-band distortion/drive effects are also very versatile. Most FX parameters are mappable in the mod matrix, so you can e.g. dump the reverb buffer when playing a new note. In this way, the FX section becomes part of the instrument and not just an extra, and contributes to the synth's unique character and sound.

The DeepMind has lots of little features that leave you wondering why synths three times the price lack. Sostenuto mode. Favourites list. There's a "MIDI soft-thru" mode that relays MIDI messages from MIDI in to MIDI out (in addition to the usual MIDI thru port). This is a great feature not found on many keyboards. It means you can connect a sequencer to MIDI in, and MIDI out to another synth, so the sequencer can sequence both synths and you can play the other synth with the DeepMind's keyboard.

The arp is comprehensive with custom patterns (sadly no ratchet or chance).

The envelopes have fully adjustable curves - even the sustain portion has a "curve" parameter that acts like a second decay or attack after the main attack/decay. The envelopes are loopable, syncable, slewable, delayable and can be phase-distributed across voices. Almost everything is a mod destination, including env shape and curves, pan, porta time, drift, arp gate, FX params and other mod slots. Hold mod and wiggle a slider/press a button to set mod source/dest. It really feels like a lot of attention to detail was put into this synth. Some of these options require you to open a menu to get to them, but it's really not bad at all. Most sound shaping and adjustment can be done with the main sliders on the panel.

Build quality seems great: the case is all metal. I think the whole thing looks fantastic and a bit retro. The screen is packed with useful info and visual representations of envelopes etc. The screen could be a bit faster to update - it looks blurry when scrolling quickly through favourites.

I think my biggest complaint has got to be the keybed. While it's workable, the black keys are much less sensitive to velocity and aftertouch making playing uneven. Seems like there's quite a bit of randomness in the velocity response, even on the same key. Also, the keys sometimes feel a little sticky: sometimes they won't start moving until given enough force, then it unsticks. It's not a lot of force that's needed, but adds to the uneven playing experience. It's definitely usable but if you're all set in the keyboards department, definitely consider the desktop version (DeepMind 12D). Also another octave would be appreciated.

Other criticisms: there are only 8 mod matrix slots (odd, because it's all in software). You'll never have enough. Although do note that many basic mods don't need the mod matrix: LFOs or envs can be routed to PWM, pitch mod or filters, with mod wheel or aftertouch control, without the mod matrix.

Oscillator 2 level, noise and HPF mod destinations are global and not per voice (this is clearly a design trade-off as per-voice control of these would need more circuitry).

There's a high pitched whine in the audio path. This is normally not noticeable on the line out unless you introduce gain (either in the FX section or externally) but you might want to use a noise gate when recording. (Interestingly there's a noise gate in the FX section. I wonder why that's there...) The whining is much more noticeable on the headphone port, however, and can be a bit irritating.

Another minor annoyance: osc 2's tone mod parameter gets modified by the "param drift" option (separate from "osc drift"), which introduces bell-like tones into osc 2 even if you want to just use it as a square sub-oscillator. This limits the usefulness of "param drift".

Overall, great unique synth with lots of details. Definitely a keeper, but not without a few warts. Definitely worth considering the desktop version if you have enough keys.

I did a great deal of research before buying this synth. It needed to be robust enough to use in live gigs and also provide the range of sounds I needed. Having bought a Roland Juno 6 back in 1984 (still working!) the similarity of front panel layout appealed but the Deepmind 12 is SO much more. I will probably no more than scratch the surface of its functionality but having built it into my keyboard rig over the last couple of days I am already able to see huge possibilities.

The sounds are great, the editing is straightforward if you have a modicum of trad synth skills and the manual (downloadable from Behringer - you only get the Quick Start guide in the box) is remarkably user friendly.

The presets are impressive but for my uses are 'of interest only' but the modular section is amazing - being able to modulate everything with everything else is suprisingly flexible. You can almost have two patches either end of the Modulation wheel, which can be very useful in the Live situation.

Patch changing is pretty good although I use a Roland digital piano as the controller - normally just to send patch change info - its display has less to do and is therefore that bit clearer (and closer to my failing eyes!)

The unison modes are great if you love big synth leads - detuning 12 oscillators for a solo will ensure your guitarist is inaudible for the rest of his/her days!

For the price, it's a winner. You're getting at least twice as much bang for your buck than any competitor. It's been designed and built with care, precision and insight. I love this beast and I've only had it four days!

I have purchased it after looking for something affordable and easy to carry. Honestly, I was not expecting it to sound good but I was completely wrong. I was looking at few demos on YouTube and we all know it is not an accurate judgment due to audio conversions but when I saw how close it can sound the Roland Jupiter 8 I could not resist buying it and trying for myself.
Yes I know the Jupiter 8 is different, I have owned many vintage synths and still have few of them but at this price you have nothing to lose. The sound is rich, full of features and easy to program. After using it for two hours I managed to program my own classic sounds. The members in my band are so happy to hear again those classic sounds which i used to play on the Memorymoog and Jupiter 6. Also very close sounds of the Minimoog too.
I am very happy with the Behringer and don't believe what other people say about the poor quality, they simply don't know how program sounds.
The built quality could be improved for example better keys and wheels but it's not bad at all especially at this price point. I would easily replace it with another new one if it gets damaged and recall my sounds immediately, try to do that with a vintage synth.
As usual great service from Thomann, the item arrived well with in few days. Thank you

This synth packs a punch; it is feature-rich, with plenty of effects, modulation, and envelopes.
The filter and amp envelopes sound nice, you can create pleasant sounds, from pads to stabs, modern to vintage. I prefer these envelops to other synths such as the Pro 800 and the Opsix.
Many of the effects are quite nice, although some of the reverbs are sometimes too much, and the chorus is not the best.
The oscillator section is its weak point, as you have only a saw and a square/PWM osc, plus a noise generator. Sure, it is based on the Juno, but still, it could be more straightforward. The saw sound nice, the PWM is not the best sounding. Still, you get nice vintage and modern sounds.
You can create a sine wave with the self-oscillating filter, but will have to calibrate the synth in the day (and it takes a long time).

It's building is sturdy; all metal and wood, the only plastic are the knobs and keys. The panels are real wood, some kind of Asiatic low-cost mahogany with a polyurethane coat. Mine were not 100% flush with the corners. They're easily removable.
The synth is kind of heavy for it's size (49 keys, more than 8kg), but that's expected due to its construction.
Mine after some weeks started to make the dread Deepmind high-pitch noise. At this point, I already have replaced the wooden cheeks and couldn't return it any longer. So, I had to open it, and tighten the screws in the board (that is easily done, the build is straightforward and the upper lid folds).
The keybed has aftertouch, but the keys aren't very good. They are too soft/sensitive, and the amount of regulation you have don't make them that better. Playing the synth through an external controller changes considerably the tone, as the velocity in the Deepmind keys themselves is too high even after calibration.
Finally, the screen. It is ugly and old, but it conveys a superb amount of information. It is my favourite screen among my synths due to that.

This is a quick review on the replacement unit I got from Thomann, given the first one had a very bad Keyboard, faulty Mod Wheel, a nick on one of the side cheeks and some glue underneath the unit [plus sometimes the notes wouldn't trigger]. So, if you happen to get a faulty unit, just contact Thomann and they will send a replacement back to you.

All that aside, I still have to coment on Behringer's first outing on the Synth world. They did a fantastic job with the DeepMind [as a modern take on the classic Juno] by souping it up with an 8 slot Modulation Matrix [with a hell lot of sources and destinations] and a whole plethora of TC Electronic and Klark Teknik's FXs [4 slots for those that you can set in anyway you want] as well as wifi and a nifty [yet not essential] App.

Don't let the fact that it "only" has 2 Oscilators [the first with an ON or Off Sawtooth and a PWM; while the second has PWM and a sub] fool you; because you can definetly sculpt a lot of sounds with those.

Add to that the 2 and 4 Pole Low Pass Filter [and a High Pass with added Boost to the low end], the 3 Envelopes [1 of them being a Mod Envelope], 2 LFOs, Arpeggiator and Mod Sequence and you are presented with A LOT of analog synth for a VERY affordable price.

The Pros:

- All that was said above PLUS it being made of metal.

The Cons:

- IMO the weakest link in the unit is the keybed. It's very light to touch [when compared to the Ultranova I also own, as an example]; they did cut a corner there.
- Although the DM is based on the Juno, it would have been cool if Behringer added an extra Waveform on OSC 2 for some extra variety. You can get a second Sawtooth with some fx trikery, but a Triangle or even a proper Saw would be cool.
- No audio In means no fun getting an external device though the fx of the DeepMind.


All in all, Behringer knocked it out of the park and slapped many nay sayers with a glove.

This synth is like a Juno on steroids, with plenty of polyphony that lets you use unison for everything and a multieffects section with everything you could need to make synth space music.

The sound is 100% analog bliss for real (with commutable voice and parameter drift to make the DCOs drift like old VCOs).
The digital effects sound really great so you don't need external effects at all (and they are part of the modulation matrix, so you can control them with LFOs or with the mod wheel and they get saved with the patch, of course).

I have a Prophet 08 that cost me double than this synth and the Deepmind blows it out of the water, honestly.
The only reason this synth isn't a cult classic is because of snobbism and youtuber's distaste for Behringer as a brand.
The only things I wish it had was for the filter to be a ladder filter instead of a Roland style filter (get a Poly-D for that) and a split keyboard to play two presets at once (it's monotimbral, but you can polychain another Deepmind and play both from the same keyboard in split mode) but other than that, it's honestly a dream poly synth. Not because it has infinite possibilities, no, but because what it does, it does exceptionally well.

And what does it do well?
The Deepmind excels in evolving analog pads, drones and sequences.
It's the perfect synth for old school synth space music.
Of course it can also do pop style sounds, but you would be missing what makes this synth really special: its tight integration with the multieffects.
It's clear this synth was designed with the solo synthesist in mind doing experimental synth ambient music, and the presets reflect that 100%.
Expect weird evolving sounds that fill the complete sound spectrum out of the box.

Someone playing in a band will find the presets "not usable", since they will drown other instruments in the mix. But for a solo synthesist, it's pure bliss.
Again, you can coerce it into a pop synth, but it's not where it shines (get a Prophet for that) because you'll have to turn off the effects and it's where 50% of the magic happens.

You see, this synth may have 2 oscillators per voice, but it's more like 1 and a half or 1 and a sub if you want.
Also, the oscillator wave forms are quite limited, so you will not have all the sonic flexibility of a Prophet from a pure oscillator point of view (quite like a Juno, really).
This means you'll end up using the unison mode for everything, so that you have the equivalent of 3 oscillators per voice (or more) and it sounds big.
Add to that that pads usually have long release times and you will be using all the 12 voices of polyphony very often!
And that's the reason why you don't want to get the Deepmind 6, because you will run out of polyphony very fast!
So really, the 12 voices of polyphony is the sweet spot here, but you can also polychain another Deepmind and double the polyphony if you want (I don't think you'll need it though, unless you want to play two presets at once in a split keyboard config, which you can't do with a single Deepmind).

Next, the software:
It's available for Windows, Mac and iPad (not for android). I use it on Windows.
It's a standalone interface that reflects all the synths parameters on screen and lets you manage, copy, paste and backup all the presets.
The software is really excellent: it lets you see all the patch parameters in a single screen at once with real time feedback of all the sliders and controllers.
It's perfect to analyze how a preset was made and it's very useful to see the effects section in a clear way, as if they were a VST.
The preset manager is a little weird, with its 2 windows with the same content on each side, but you'll get it watching a youtube tutorial on how to use it.
The software is a standalone application, not a VST, so you will not be able to control it from inside your DAW, which is a shame, but there is a third party VST for that on the internet and it's dirt cheap.

The Wifi connection works well and is useful to connect it to the standalone software while you use the USB connection to transfer MIDI to your DAW (this way there is no interference between programs).

Some people have had issues in the past with noisy Deepminds due to assembly line issues (that can be fixed by tightening the screws in the PCBs inside it). That wasn't my case: it's perfectly silent both at the main outputs and headphone output and the use of balanced outputs is really cool to avoid noise interference over long cables or cluttered home studios.
Maybe these assembly issues are part of the past now.
The Deepmind 12 has been in production for nearly 10 years after all, and Behringer has improved its manufacturing a lot in that time! (I have a 2600 Blue Marvin from them and it's flawless)

So, if you like synth space music, you'll love this synth.
And for this price, it's honestly a steal.

Could you do this sounds on a plugin?
Nowadays, probably.
But what will happen the day your favorite brand of plugins closes and you can't activate your them anymore?
Or the day they don't support the latest operating system iteration or require a subscription?
Hardware will never require a subscription from me.

This synth has been on my radar for a long time. The "simple" aspect and the price far below others of renown, of long and respected history, supposed me something below my expectations, but...

...on the other hand, the sounds I heard from him in reviews on the internet, samples of sounds, etc, would turn my head and whet my curiosity. Because what I heard, was the way I was looking for, to contrast with other synthesizers that I have. And there was light!

It's because? Because it was enough to look at your name (DeepMind), and see what really made sense, the interaction of the name with the content.

And as a matter of fact, when I started to play on it, and just the sounds of the factory, I quickly felt a huge suprise of Wow!
Sounds deep, rich, full of senses. With all the controls needed by hand, to play without exploring other settings within the menu.

It is to close the eyes, and to travel. I thought, here is a beautiful medicine for the mind.

Pros: - price
          - sound quality
          - amount of factory sounds available
          - visual
          - main changes of sound at sight
          - feeling of futuristic nostalgia

Cons: - as I had read somewhere, I could refer to the sound of the
             cooling fan on the rear panel as a problem, but in reality, I
thought they were more audible. But as I like to "feel" the
sounds, I usually use a headphone. What still further
attenuates the alleged inconvenience. Not a problem for me
at all!

Conclusion: Wow! A little friend with a big heart, that rejoices the
mind. Supress and total satisfaction.