Behringer VC340 Vocoder

FM VERDICT
9.4
For a fraction of the cost of
the original, you get a killer
vocoder, string and choir
machine that’s compact,
well-built and authentic
BUILD QUALITY: …is like a tank.
Solid wood end panels with a full
metal case and chassis, along with
very nice feeling dials and switchgear
KEYBED: Behringer’s own 3-octave
velocity-sensitive keyboard uses the
same keybed tech as found in the
DeepMind 12 and upcoming Odyssey
ENSEMBLE EFFECT: Found on most
string machines from yesteryear and
uses a multi-stage BBD-based chorus
design for that swirling sound
ANALOGUE SIGNAL PATH: There’s
no mistaking that this is an analogue
machine – with that magic tone we all
seek in classic analogue gear
but it’s by no means essential,
especially as Behringer are trying to
stay faithful to the original tried and
tested design. Like the human voice
and string sections,the vocoder can
also be assigned to different parts of
the keyboard according to if the
lower/upper switches are engaged
and the position of the high/low
switch. This means you can have
vocoder on its own at the top or
bottom of the keyboard, or layered
with the synth sections or just
strings/human voice at the lower split
point and vocoder at the high end.
It’s a pretty fl exible system and if you
connect a 5-octave keyboard over
MIDI you can really explore the full
note range. The well-written manual
explains things further: “The
keyboard split has two positions
marked High and Low on the top
panel, and this depends upon the
setting of the High/Low octave
switch. Any Upper switches On will
allow the keys above the split to play.
Any Lower switches On will allow the
keys below the split to play.”
Effect-wise there’s no reverb or
delay present as per the original
(again, I hope they make an
advanced version at some point) but
we do have a rather splendid stereo
ensemble effect which uses bucket
brigade chips for that lush
multi-chorused sound, hard to
replicate out of the analogue
domain. This sounds super-authentic
too (I’d pay for just this effect in its
own pedal!) and it works great on all
three sections, bringing the sounds
to life and adding movement and
interest. Although I don’t own an
original VP-330 myself, I have used
one many times and I very much
agree with a well-respected fellow
player/engineering friend of mine (a
VP-330/SVC-550 owner) that the
VC340 nails the sound of the
originals to the point where he is now
considering selling his RS-09 string
machine and his VP-330 – high
praise indeed! However, even if you
don’t have access to the originals to
compare it to, there’s no doubt that
this thing sounds on the money
(much as Behringer’s Model D and
the upcoming Odyssey also faithfully
recreate the sonics of the originals).
Moving on to the human voice
section, this is that classic choir-like/
humanoid sound that is instantly
recognisable once you’ve heard it!
There are three male settings, each
at a different pitch and a female
setting too, which doubles the 4’
male setting but with a more
female-like tone. For warm, swirly,
analogue, choir-ness then look no
further! In this section and the string
section you’ll also fi nd an amp attack
slider for fading in the sounds and
there’s a shared release slider which
also affects the tail of the vocoder’s
release envelope. Even though it’s
basic, it’s very easy indeed to dial in
a great sound.
Finally in the string section,
you’ll fi nd a tone (brightness) slider
plus upper/lower switches like the
vocoder section. This classic
simplicity is very endearing –
because the basic sound is so warm
and the panel nicely intuitive, you
can just get lost in that ’70s
psychedelic vibe!
Essentially you are getting three
classics in one. A tried and tested
vocoder, classic string ensemble
sounds and unique choirs/human
voice. Use them separately, together
or split across the keyboard and it’s
hard to not be inspired. As a gigging
vocoder, this will really come into its
own as you can also cover strings
and choirs while simultaneously
vocoding, without the need for other
keyboards to cover these duties (and
I’m all about versatility from my gear
these days.) Obviously, if you don’t
rate your own playing skills (and
Herbie Hancock’s not your next door
neighbour!) you can easily fi re MIDI
note info into the VC340 via the DIN
MIDI connectors or the USB port –
integration is defi nitely a big step up
from the vocoders of the ’70s!
Let’s also not forget the stereo
outputs and the pitch shift controls
that the left-hand controller provides.
Really, this is a nicely complete
package that sounds classic but is
built to last and works well in the
compact modern studio. I applaud
Behringer for making what
customers have been asking the
original manufacturers to make for
years – it’s no small job to do this
and nail the sound at the same time
either; digital recreations, while
decent, always seem to lack that last
20% of sonic quality/human-ness
that I always fi nd with real analogue.
Make no mistake: this is the real
deal and I’m genuinely excited about
what might be coming in the future
from the Behringer labs!
BUILD QUALITY:
…is like a tank.
Solid wood end panels with a full
metal case and chassis, along with
very nice feeling dials and switchgear
KEYBED:
Behringer’s own 3-octave
velocity-sensitive keyboard uses the
same keybed tech as found in the
DeepMind 12 and upcoming Odyssey
ENSEMBLE EFFECT
:
Found on most
string machines from yesteryear and
uses a multi-stage BBD-based chorus
design for that swirling sound
ANALOGUE SIGNAL PATH
:
There’s
no mistaking that this is an analogue
machine – with that magic tone we all
seek in classic analogue gear
switch. This means you can have
vocoder on its own at the top or
bottom of the keyboard, or layered
with the synth sections or just
strings/human voice at the lower split
point and vocoder at the high end.
It’s a pretty fl exible system and if you
connect a 5-octave keyboard over
MIDI you can really explore the full
note range. The well-written manual
explains things further: “The
keyboard split has two positions
marked High and Low on the top
panel, and this depends upon the
setting of the High/Low octave
switch. Any Upper switches On will
allow the keys above the split to play.
Any Lower switches On will allow the
keys below the split to play.”
Effect-wise there’s no reverb or
delay present as per the original
(again, I hope they make an
advanced version at some point) but
we do have a rather splendid stereo
ensemble effect which uses bucket
brigade chips for that lush
multi-chorused sound, hard to
replicate out of the analogue
domain. This sounds super-authentic
too (I’d pay for just this effect in its
own pedal!) and it works great on all
setting too, which doubles the 4’
or split across the keyboard and it’s
years – it’s no small job to do this
BUILD QUALITY:
…is like a tank.
KEYBED:
Behringer’s own 3-octave
ENSEMBLE EFFECT
:
Found on most
ANALOGUE SIGNAL PATH
:
There’s
especially as Behringer are trying to
stay faithful to the original tried and
tested design. Like the human voice
and string sections,the vocoder can
also be assigned to different parts of
lower/upper switches are engaged
bottom of the keyboard, or layered
strings/human voice at the lower split
point and vocoder at the high end.
It’s a pretty fl exible system and if you
connect a 5-octave keyboard over
MIDI you can really explore the full
note range. The well-written manual
panel, and this depends upon the
switch. Any Upper switches On will
allow the keys above the split to play.
Behringer Vocoder VC340 | Reviews
81
FMU348.rev_behringer.indd 81 8/7/19 3:28 PM