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The Model 15 from Behringer is a clone of the current keyboard synthesizer Grandmother from the cult manufacturer Moog. In the compact desktop housing, which can be mounted in a 19" rack with optionally available rack ears and can even be installed as an 80HP module in the Eurorack modular system, the Model 15 requires significantly less space than the original with its 32-key keyboard. The layout and all function groups correspond to the massive original in almost all respects, only the inputs and outputs have been moved completely to the right-hand side of the front panel. Behringer has changed and added a few details to the Model 15: the second oscillator can work as a sub-oscillator and the spring reverb effect, which is a real reverb tank in the Grandmother, has been replaced by a good-sounding emulation. Details such as a second Multiple and the ability to complete all patches with short cables are welcome.
Tried and tested sound shaping
The analog sound generation of the Model 15 is based entirely on the American model and adds a few exciting details. The two oscillators each provide triangle, sawtooth, square with PWM and needle pulse waveforms. As an extra in the Model 15, oscillator 2 is able to work with the same waveforms as a sub-oscillator and then runs an octave below the frequency of the first tone generator. In addition, hardsync can be switched between the two oscillators and a noise generator is available in the mixer. White and pink noise are available via the patch field, so you can choose which noise color you want to slightly roughen the smacky bass sounds. The next element in the signal path is a resonant 24dB lowpass filter that goes really low and colors the resonance amazingly similar to the original. The very distinctive sound of the filter is inspiring and therefore makes a special contribution to the overall sound. The signal path is completed by a fast-reacting mono VCA and the charismatic spring reverb effect, which was implemented in module 15 as a good but less divisive-sounding emulation. The "Utilities" section contains an independent and therefore freely usable high-pass filter. The user is free to decide whether to remove the bass range from an oscillator, create a Bandpass placed between the mixer and filter or cut the spectrum of noise sources. The classic modulation sources are an ADSR (Attack / Decay / Sustain / Release) envelope for VCF and VCA as well as an LFO with sine, sawtooth, ramp and square waveforms. The LFO can simultaneously affect the pitch, PWM and Cutoff targets with individually adjustable intensities. Typically for Moog, the maximum intensity of the modulation bus is controlled with the modulation wheel. In the Model 15, this task is performed by the "Modulation" control.
Patch panel
All CV, Gate and audio inputs and outputs can be found on the right-hand side of the control panel, which are strictly separated in the respective function group on the Grandmother. In Model 15, this separation is achieved using color codes and, of course, the division into inputs on the left and outputs on the right. Play the filter with the velocity. Simply patch from Velocity to Cutoff. Need a classic sync sound? Just plug a cable from ENV to OSC 1 CV and activate Hardsync. It takes a little imagination to convert the possibilities offered by the 48 inputs and outputs into sounds, but once you have understood it, the Model 15 is a source of powerful analog sounds across all genres.
Arpeggiator & sequencer
The Model 15 offers two optional functions as playing aids: The arpeggiator has a working range of 1-3 octaves and can play the held notes in the order played, and & down or randomly. The second option is the sequencer with three memory locations, which can be up to 256 steps long and can even be programmed with accent, pause and overlap.
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