Behringer MODEL D: build a kit

4 drum sounds this box makes on its own, in the order to build them.

Record each hit with the sampler, recorder, or DAW you use.

This block draws on the MODEL D User Manual, p.34; its values are starting points.

Everything else about the Behringer MODEL D

1KICK 1Kick with the filter contour patched onto the pitch
kick · hard
Routing — FILT CONT into OSC 1V/OCT is the whole trick: the filter envelope becomes a pitch envelope, and the filter decay time is the only thing shaping it
- FILT CONTOSC 1V/OCT
  supplies the pitch drop. FILT CONT puts out 0 to +4 V (p.34) and OSC 1V/OCT is a volt per octave, so the full contour is four octaves — nothing on this box attenuates a patch cable, and FILTER DECAY TIME is what keeps the sweep short
CONTROLLERS
- TUNE0st(-2…2 st)
  Moves OSC 1, 2 and 3 together (p.8). p.12 calls the marks semitones "as a general guide"
- GLIDE0(0…10)
  Portamento between notes; off fully anticlockwise (p.8)
OSCILLATOR BANK
- OSC 1 RANGE32'(LO, 32', 16', 8', 4', 2')
  Six overlapping ranges across 0.1 Hz to 20 kHz (p.34); LO puts it below audio
- OSC 1 WAVEFORMtriangular(triangular, triangular/saw, saw, square, wide pulse, narrow pulse)
- OSC 2 RANGE32'(LO, 32', 16', 8', 4', 2')
- OSC 2 FREQUENCY0st(-7…7 st)
  Offset from OSC 1 within the selected range; p.12 calls the marks semitones "as a general guide"
- OSC 2 WAVEFORMtriangular(triangular, triangular/saw, saw, square, wide pulse, narrow pulse)
- OSC 3 RANGE32'(LO, 32', 16', 8', 4', 2')
- OSC 3 CONTROLon(on, off)
  On, so OSC 3 follows the keyboard and TUNE moves it with the other two (p.8, p.9)
OSCILLATOR BANK
- OSC 3 FREQUENCY0st(-7…7 st)
  Offset from OSC 1, and the only pitch control OSC 3 answers to besides TUNE. p.12 calls the marks semitones "as a general guide"
- OSC 3 WAVEFORMtriangular(triangular, reverse saw, saw, square, wide pulse, narrow pulse)
MIXER
- OSC 1on(on, off)
- OSC 1 VOLUME10(0…10)
- OSC 2off(on, off)
- OSC 3off(on, off)
- NOISEoff(on, off)
- EXT INon(on, off)
  Leave EXT empty — the output feeds back
- EXT IN VOLUME3(0…10)
  Nothing patched at EXT, so this is the output fed back into the mixer — "extra phat bass or extra crunch" (p.12)
OUTPUT
- MAIN VOLUME7(0…10)
  The feedback level depends on this knob as well as on EXT IN VOLUME (p.12)
- OSCILLATOR MODULATIONoff(on, off)
MODIFIERS
- FILTER MODULATIONoff(on, off)
- FILTER MODElow pass(low pass, high pass)
  24 dB per octave either way (p.34)
- CUTOFF FREQUENCY-1(-4…4)
  The one knob on this panel marked -4 to +4. p.15’s calibration table prints a 5 here, which is not on the scale
- FILTER EMPHASIS3(0…10)
  Resonance — a level boost at the cutoff frequency (p.10)
- AMOUNT OF CONTOUR4(0…10)
  How far the filter contour shifts the cutoff (p.10)
- KEYBOARD CONTROL 1off(on, off)
  A third of maximum tracking on its own, and with switch 2 the maximum (p.10)
- KEYBOARD CONTROL 2off(on, off)
  Two thirds of maximum tracking on its own, and with switch 1 the maximum (p.10)
- FILTER ATTACK1ms(1…10000 ms)
  p.34 gives the travel as 1 ms to 10 s; the knob is silkscreened 10/200/600 M-SEC then 1/5/10 SEC
- FILTER DECAY TIME55ms(4…35000 ms)
  p.34 gives the travel as "4 ms to >35 s" — an open top end, so this range is its stated floor; the knob is silkscreened only as far as 10 SEC
- FILTER SUSTAIN0(0…10)
  The cutoff the contour holds after attack and decay (p.10)
- FILTER DECAYoff(on, off)
  The switch, not the knob: on, the cutoff takes the decay time to fall after a note is released (p.10)
LOUDNESS CONTOUR
- LOUDNESS ATTACK1ms(1…10000 ms)
  p.34 gives the travel as 1 ms to 10 s; the knob is silkscreened 10/200/600 M-SEC then 1/5/10 SEC
- LOUDNESS DECAY TIME220ms(4…35000 ms)
  p.34 gives the travel as "4 ms to >35 s" — an open top end, so this range is its stated floor; the knob is silkscreened only as far as 10 SEC
- LOUDNESS SUSTAIN0(0…10)
  The level the contour holds after attack and decay (p.10)
MODIFIERS
- LOUD DECAYoff(on, off)
  The switch, not the knob: off, the note stops the moment it is released (p.10)
Record one hit with your recorder as KICK 1.
2METALLIC 1OSC 3 at audio rate modulating the other two
metallic · bright
Routing — No cables. OSC 3 in the 2-foot range with CONTROL off runs at a fixed frequency against two that track, so the sidebands move with the note and the timbre goes inharmonic
CONTROLLERS
- TUNE0st(-2…2 st)
  Moves OSC 1, 2 and 3 together (p.8). p.12 calls the marks semitones "as a general guide"
- GLIDE0(0…10)
  Portamento between notes; off fully anticlockwise (p.8)
OSCILLATOR BANK
- OSC 1 RANGE8'(LO, 32', 16', 8', 4', 2')
  Six overlapping ranges across 0.1 Hz to 20 kHz (p.34); LO puts it below audio
- OSC 1 WAVEFORMtriangular(triangular, triangular/saw, saw, square, wide pulse, narrow pulse)
- OSC 2 RANGE8'(LO, 32', 16', 8', 4', 2')
- OSC 2 FREQUENCY0.2st(-7…7 st)
  Offset from OSC 1 within the selected range; p.12 calls the marks semitones "as a general guide"
- OSC 2 WAVEFORMtriangular(triangular, triangular/saw, saw, square, wide pulse, narrow pulse)
- OSC 3 RANGE2'(LO, 32', 16', 8', 4', 2')
- OSC 3 CONTROLoff(on, off)
  Off, so the keyboard, pitch wheel, mod wheel and TUNE all leave OSC 3 where it is (p.8, p.9)
OSCILLATOR BANK
- OSC 3 FREQUENCY3st(-7…7 st)
  A free-running position: with CONTROL off nothing else moves this oscillator. p.12 calls the marks semitones "as a general guide"
- OSC 3 WAVEFORMsquare(triangular, reverse saw, saw, square, wide pulse, narrow pulse)
MIXER
- OSC 1on(on, off)
- OSC 1 VOLUME9(0…10)
- OSC 2on(on, off)
- OSC 2 VOLUME7(0…10)
- OSC 3off(on, off)
- NOISEoff(on, off)
- EXT INoff(on, off)
  No feedback path into the mixer (p.12)
CONTROLLERS
- OSC 3 / FILTER EGOSC 3(OSC 3, filter EG)
  What sits at the anticlockwise end of MOD MIX (p.13)
- NOISE (MOD SRC) / LFOLFO(noise or external mod source, LFO)
  What sits at the clockwise end of MOD MIX (p.13)
- MOD MIX0% travel(0…100 % travel)
  p.34 gives this knob only as a blend between the two switch positions, with words where 0 and 10 sit on its neighbours — so percent of travel. 0% is fully toward the left switch
- MOD DEPTH6(0…10)
  How much of the mix is applied; a MIDI mod wheel moves it too (p.8)
- LFO WAVEFORMtriangular(triangular, square)
  Silkscreened as two glyphs rather than as words
- LFO RATE0(0…10)
  0.05 Hz to 200 Hz across the travel, and up to 300 Hz with a voltage at LFO CV (p.34)
- OSCILLATOR MODULATIONon(on, off)
  On, the modulation mix moves all three oscillators (p.8)
MODIFIERS
- FILTER MODULATIONoff(on, off)
  On, the modulation mix moves the cutoff (p.10)
- FILTER MODElow pass(low pass, high pass)
  24 dB per octave either way (p.34)
- CUTOFF FREQUENCY2(-4…4)
  The one knob on this panel marked -4 to +4. p.15’s calibration table prints a 5 here, which is not on the scale
- FILTER EMPHASIS4(0…10)
  Resonance — a level boost at the cutoff frequency (p.10)
- AMOUNT OF CONTOUR4(0…10)
  How far the filter contour shifts the cutoff (p.10)
- KEYBOARD CONTROL 1on(on, off)
  A third of maximum tracking on its own, and with switch 2 the maximum (p.10)
- KEYBOARD CONTROL 2on(on, off)
  Two thirds of maximum tracking on its own, and with switch 1 the maximum (p.10)
- FILTER ATTACK1ms(1…10000 ms)
  p.34 gives the travel as 1 ms to 10 s; the knob is silkscreened 10/200/600 M-SEC then 1/5/10 SEC
- FILTER DECAY TIME300ms(4…35000 ms)
  p.34 gives the travel as "4 ms to >35 s" — an open top end, so this range is its stated floor; the knob is silkscreened only as far as 10 SEC
- FILTER SUSTAIN2(0…10)
  The cutoff the contour holds after attack and decay (p.10)
- FILTER DECAYon(on, off)
  The switch, not the knob: on, the cutoff takes the decay time to fall after a note is released (p.10)
LOUDNESS CONTOUR
- LOUDNESS ATTACK1ms(1…10000 ms)
  p.34 gives the travel as 1 ms to 10 s; the knob is silkscreened 10/200/600 M-SEC then 1/5/10 SEC
- LOUDNESS DECAY TIME400ms(4…35000 ms)
  p.34 gives the travel as "4 ms to >35 s" — an open top end, so this range is its stated floor; the knob is silkscreened only as far as 10 SEC
- LOUDNESS SUSTAIN3(0…10)
  The level the contour holds after attack and decay (p.10)
MODIFIERS
- LOUD DECAYon(on, off)
  The switch, not the knob: off, the note stops the moment it is released (p.10)
Record one hit with your recorder as METALLIC 1.
3NOISE 1White noise alone, high-pass and resonant
noise · dirty
Routing — No cables. Every oscillator switched out, so the noise generator is the only thing in the mixer
CONTROLLERS
- TUNE0st(-2…2 st)
  Moves OSC 1, 2 and 3 together (p.8). p.12 calls the marks semitones "as a general guide"
- GLIDE0(0…10)
  Portamento between notes; off fully anticlockwise (p.8)
OSCILLATOR BANK
- OSC 1 RANGE8'(LO, 32', 16', 8', 4', 2')
  Six overlapping ranges across 0.1 Hz to 20 kHz (p.34); LO puts it below audio
- OSC 1 WAVEFORMsaw(triangular, triangular/saw, saw, square, wide pulse, narrow pulse)
- OSC 2 RANGE8'(LO, 32', 16', 8', 4', 2')
- OSC 2 FREQUENCY0st(-7…7 st)
  Offset from OSC 1 within the selected range; p.12 calls the marks semitones "as a general guide"
- OSC 2 WAVEFORMsaw(triangular, triangular/saw, saw, square, wide pulse, narrow pulse)
- OSC 3 RANGE8'(LO, 32', 16', 8', 4', 2')
- OSC 3 CONTROLon(on, off)
  On, so OSC 3 follows the keyboard and TUNE moves it with the other two (p.8, p.9)
OSCILLATOR BANK
- OSC 3 FREQUENCY0st(-7…7 st)
  Offset from OSC 1, and the only pitch control OSC 3 answers to besides TUNE. p.12 calls the marks semitones "as a general guide"
- OSC 3 WAVEFORMsaw(triangular, reverse saw, saw, square, wide pulse, narrow pulse)
MIXER
- OSC 1off(on, off)
- OSC 2off(on, off)
- OSC 3off(on, off)
- NOISEon(on, off)
- NOISE VOLUME9(0…10)
- WHITE / PINKwhite(pink, white)
  Pink tilts the noise toward the low end; white is flat
- EXT INon(on, off)
  Leave EXT empty — the output feeds back
- EXT IN VOLUME4(0…10)
  Nothing patched at EXT, so this is the output fed back into the mixer — "extra phat bass or extra crunch" (p.12)
OUTPUT
- MAIN VOLUME7(0…10)
  The feedback level depends on this knob as well as on EXT IN VOLUME (p.12)
- OSCILLATOR MODULATIONoff(on, off)
MODIFIERS
- FILTER MODULATIONoff(on, off)
- FILTER MODEhigh pass(low pass, high pass)
  24 dB per octave either way (p.34)
- CUTOFF FREQUENCY1(-4…4)
  The one knob on this panel marked -4 to +4. p.15’s calibration table prints a 5 here, which is not on the scale
- FILTER EMPHASIS6(0…10)
  Resonance — a level boost at the cutoff frequency (p.10)
- AMOUNT OF CONTOUR3(0…10)
  How far the filter contour shifts the cutoff (p.10)
- KEYBOARD CONTROL 1off(on, off)
  A third of maximum tracking on its own, and with switch 2 the maximum (p.10)
- KEYBOARD CONTROL 2off(on, off)
  Two thirds of maximum tracking on its own, and with switch 1 the maximum (p.10)
- FILTER ATTACK1ms(1…10000 ms)
  p.34 gives the travel as 1 ms to 10 s; the knob is silkscreened 10/200/600 M-SEC then 1/5/10 SEC
- FILTER DECAY TIME140ms(4…35000 ms)
  p.34 gives the travel as "4 ms to >35 s" — an open top end, so this range is its stated floor; the knob is silkscreened only as far as 10 SEC
- FILTER SUSTAIN0(0…10)
  The cutoff the contour holds after attack and decay (p.10)
- FILTER DECAYoff(on, off)
  The switch, not the knob: on, the cutoff takes the decay time to fall after a note is released (p.10)
LOUDNESS CONTOUR
- LOUDNESS ATTACK1ms(1…10000 ms)
  p.34 gives the travel as 1 ms to 10 s; the knob is silkscreened 10/200/600 M-SEC then 1/5/10 SEC
- LOUDNESS DECAY TIME180ms(4…35000 ms)
  p.34 gives the travel as "4 ms to >35 s" — an open top end, so this range is its stated floor; the knob is silkscreened only as far as 10 SEC
- LOUDNESS SUSTAIN0(0…10)
  The level the contour holds after attack and decay (p.10)
MODIFIERS
- LOUD DECAYoff(on, off)
  The switch, not the knob: off, the note stops the moment it is released (p.10)
Record one hit with your recorder as NOISE 1.
4IMPACT 1Noise and low oscillators hit at once, contour onto the cutoff
impact · hard
Routing — LOUD CONT into CUT CV adds the loudness contour to the cutoff on top of AMOUNT OF CONTOUR, so the two envelopes shape the filter together
- LOUD CONTCUT CV
  supplies a second envelope to the cutoff. LOUD CONT puts out 0 to +4.6 V and CUT CV takes 0 to +5 V (p.34), so the whole contour lands inside what the input accepts
CONTROLLERS
- TUNE0st(-2…2 st)
  Moves OSC 1, 2 and 3 together (p.8). p.12 calls the marks semitones "as a general guide"
- GLIDE0(0…10)
  Portamento between notes; off fully anticlockwise (p.8)
OSCILLATOR BANK
- OSC 1 RANGE32'(LO, 32', 16', 8', 4', 2')
  Six overlapping ranges across 0.1 Hz to 20 kHz (p.34); LO puts it below audio
- OSC 1 WAVEFORMsaw(triangular, triangular/saw, saw, square, wide pulse, narrow pulse)
- OSC 2 RANGE32'(LO, 32', 16', 8', 4', 2')
- OSC 2 FREQUENCY0.7st(-7…7 st)
  Offset from OSC 1 within the selected range; p.12 calls the marks semitones "as a general guide"
- OSC 2 WAVEFORMsaw(triangular, triangular/saw, saw, square, wide pulse, narrow pulse)
- OSC 3 RANGE16'(LO, 32', 16', 8', 4', 2')
- OSC 3 CONTROLon(on, off)
  On, so OSC 3 follows the keyboard and TUNE moves it with the other two (p.8, p.9)
OSCILLATOR BANK
- OSC 3 FREQUENCY-0.6st(-7…7 st)
  Offset from OSC 1, and the only pitch control OSC 3 answers to besides TUNE. p.12 calls the marks semitones "as a general guide"
- OSC 3 WAVEFORMsaw(triangular, reverse saw, saw, square, wide pulse, narrow pulse)
MIXER
- OSC 1on(on, off)
- OSC 1 VOLUME9(0…10)
- OSC 2on(on, off)
- OSC 2 VOLUME8(0…10)
- OSC 3on(on, off)
- OSC 3 VOLUME6(0…10)
- NOISEon(on, off)
- NOISE VOLUME7(0…10)
- WHITE / PINKwhite(pink, white)
  Pink tilts the noise toward the low end; white is flat
- EXT INon(on, off)
  Leave EXT empty — the output feeds back
- EXT IN VOLUME6(0…10)
  Nothing patched at EXT, so this is the output fed back into the mixer — "extra phat bass or extra crunch" (p.12)
OUTPUT
- MAIN VOLUME8(0…10)
  The feedback level depends on this knob as well as on EXT IN VOLUME (p.12)
- OSCILLATOR MODULATIONoff(on, off)
MODIFIERS
- FILTER MODULATIONoff(on, off)
- FILTER MODElow pass(low pass, high pass)
  24 dB per octave either way (p.34)
- CUTOFF FREQUENCY1(-4…4)
  The one knob on this panel marked -4 to +4. p.15’s calibration table prints a 5 here, which is not on the scale
- FILTER EMPHASIS4(0…10)
  Resonance — a level boost at the cutoff frequency (p.10)
- AMOUNT OF CONTOUR6(0…10)
  How far the filter contour shifts the cutoff (p.10)
- KEYBOARD CONTROL 1off(on, off)
  A third of maximum tracking on its own, and with switch 2 the maximum (p.10)
- KEYBOARD CONTROL 2off(on, off)
  Two thirds of maximum tracking on its own, and with switch 1 the maximum (p.10)
- FILTER ATTACK1ms(1…10000 ms)
  p.34 gives the travel as 1 ms to 10 s; the knob is silkscreened 10/200/600 M-SEC then 1/5/10 SEC
- FILTER DECAY TIME700ms(4…35000 ms)
  p.34 gives the travel as "4 ms to >35 s" — an open top end, so this range is its stated floor; the knob is silkscreened only as far as 10 SEC
- FILTER SUSTAIN0(0…10)
  The cutoff the contour holds after attack and decay (p.10)
- FILTER DECAYoff(on, off)
  The switch, not the knob: on, the cutoff takes the decay time to fall after a note is released (p.10)
LOUDNESS CONTOUR
- LOUDNESS ATTACK1ms(1…10000 ms)
  p.34 gives the travel as 1 ms to 10 s; the knob is silkscreened 10/200/600 M-SEC then 1/5/10 SEC
- LOUDNESS DECAY TIME900ms(4…35000 ms)
  p.34 gives the travel as "4 ms to >35 s" — an open top end, so this range is its stated floor; the knob is silkscreened only as far as 10 SEC
- LOUDNESS SUSTAIN0(0…10)
  The level the contour holds after attack and decay (p.10)
MODIFIERS
- LOUD DECAYoff(on, off)
  The switch, not the knob: off, the note stops the moment it is released (p.10)
Record one hit with your recorder as IMPACT 1.

Not in this kit

Bring snare, clap, rim, tom, closed hat, open hat and ride from another box or a sample library.

1KICK 1Kick with the filter contour patched onto the pitch

2METALLIC 1OSC 3 at audio rate modulating the other two

3NOISE 1White noise alone, high-pass and resonant

4IMPACT 1Noise and low oscillators hit at once, contour onto the cutoff