Behringer is back with a pair of vintage‑inspired instruments designed for creators who love the sound of classic ‘80s hardware but want it in a modern, studio‑friendly package. The new JN‑80 synthesizer and BMX drum machine nod firmly to two of the decade’s most influential instruments — the Roland Juno‑60 and the Oberheim DMX — both of which helped shape new wave, synth‑pop, electro, early hip‑hop, and plenty of contemporary genres still drawing from that palette.
Rather than simple tribute units, these new machines expand on their inspirations with deeper programming, improved performance control, and far more storage than their vintage ancestors. Here’s a closer look at what each brings to the table.
Behringer JN‑80: A Modern Take on the Juno‑60’s Golden Glow
The Juno‑60 earned its place in music history for good reason. Its unmistakable tone sits at the core of essentials like a‑ha’s Take On Me, Cyndi Lauper’s Time After Time, and Eurythmics’ Sweet Dreams. The JN‑80 aims to recreate that unmistakable combination of warm DCOs, resonant filtering, and lush BBD chorus while broadening the sound‑design landscape.
JN‑80 Key Features
- Analog polyphonic synthesizer and reproduction of legendary Juno‑60 from the ‘80s
- Pure analog signal path based on authentic DCO, 3109 VCF and 662 VCA designs
- 8 polyphonic voices with warm, discrete oscillators offering saw, square and PWM waveforms
- Classic 24 dB low‑pass filter with resonance and positive/negative envelope control
- Unison, double or poly modes for stacked VCO leads, massive bass or rich 8‑voice poly sounds
Moving beyond the core architecture, the JN‑80 offers several sound‑shaping tools that extend far past the original unit. A multi‑stage BBD chorus thickens pads and leads with the familiar swirling movement associated with the Juno family. A sub‑oscillator, running an octave below, adds substantial weight for bass patches, while a global noise generator opens up snare‑type textures, sweeps, and atmospheric layers.
The performance‑oriented additions are substantial. A 49‑key semi‑weighted keybed with both velocity and aftertouch offers more expressiveness than the 1980s design ever allowed. A sophisticated arpeggiator delivers manual and external tempo control plus up, down, and up‑down modes, while polyphonic portamento adds glide to both monophonic and poly sounds.
Those who appreciate hands‑on workflow will find a true knob‑per‑function layout, covering LFO, DCO, HPF, VCF, VCA, envelopes and chorus, making patch design fast and intuitive. Modern conveniences — an LCD with encoder, assignable preset recall switches, and 256 user memories with a “compare and match” mode — streamline the experience. Add to that comprehensive MIDI, including NRPN and full CC access, plus CV/pedal inputs for expression or footswitch control.
Taken together, the JN‑80 succeeds in balancing that familiar Juno tone with enough performance control and storage to suit contemporary production workflows.
Behringer BMX: The Crunch and Punch of Early Digital Drums
If the JN‑80 celebrates lush analogue warmth, the BMX leans confidently into early‑digital grit. Inspired by the Oberheim DMX, it channels the unmistakable sound of 8‑ and 12‑bit drum samples, famously heard in tracks like New Order’s Blue Monday, Madonna’s Holiday and Into the Groove, Run‑D.M.C.’s It’s Like That, Phil Collins’ Sussudio, and Mary Jane Girls’ All Night Long.
BMX Key Features
- Authentic 8/12‑bit sampling sound engine for classic early‑digital drum character
- Line input for live recording and storing of your own samples
- Analog circuitry including original‑style low‑pass filters for added warmth
- 8 DACs with variable sample rate and true 8/12‑bit resolution
- 8‑voice architecture with independent level and pan controls per voice
The BMX’s sound engine is supported by a robust sequencing and performance system built for detailed pattern creation and expressive playing. The 64‑step sequencer supports polymeter, step‑repeat, note‑repeat, real‑time triggering, and track mute/solo options — far more flexible than the DMX’s straightforward step workflow. Each of the eight drum voices features its own analog output, giving engineers full freedom to process individual sounds externally.
A dedicated FX bus brings a Wave Designer and dual‑mode analog filter into play, both of which can be assigned per voice. Filter cutoff can be performed and recorded via automation, so evolving rhythmic textures and transitions are easy to create. The 24 velocity‑sensitive pads with aftertouch allow human‑feel grooves and dynamic live input, pushing the platform well past the limitations of early digital boxes.
For project organisation, the BMX stores 256 patterns and 16 songs, and it can import or export pattern data on the fly. Pattern Mode lets users structure patterns into complete songs with custom repeat counts, while Song Mode enables chaining multiple songs together for extended arrangements or live sets. A unique Auto Scroll mode assists with improvisation across all modes.
Connectivity is equally thorough, with MIDI In/Out/Thru, USB, and multiple clocking formats including MIDI, USB, Clock and internal sync. Programming is handled through a high‑visibility 128×64 LCD and a multifunction encoder capable of adjusting tempo, swing, probability, flam, and randomisation settings. The unit rounds out with solid headphone and ¼‑inch main outputs.
Two Complementary Tools for Modern Studios
While the JN‑80 and BMX pay clear tribute to iconic 1980s designs, they’re not confined to retro reproduction. The JN‑80 provides a deeply tactile analogue synth experience that blends vintage tone with modern modulation and recall. The BMX brings early‑digital drums into a far more capable sequencing and performance environment without losing the crunchy bite that defined a decade of production.
For producers exploring synth‑pop, wave, electro, hip‑hop, cinematic scoring, or hybrid electronic setups, these two new Behringer units offer an accessible way to add classic flavour with plenty of modern flexibility.
