Behringer’s Moog Taurus synth emulation lives, but the price has gone up and it’s missing one of the original’s most notable features

Almost exactly a year ago, Behringer announced the Toro - a budget emulation of the Moog Taurus Revision 1 bass synth. The good news is that we now have a proper demo to look at and listen to; the bad news is that the Toro is going to cost significantly more than originally planned.

Behringer had said that it hoped to bring the Toro to market for $199, but that projected price has now risen to $349. This means that, while it’s still pretty affordable - particularly in comparison to Moog’s own Taurus III, which was released in 2010 and cost a couple of grand - the Toro is on longer the bargain basement synth you might have been hoping for.

The sound, though, seems right on the money. This is a pure analogue instrument with two oscillators, a low-pass ladder filter and two envelopes, plus four quick-access preset buttons. Although it’s primarily a bass synth, the Toro has a five-octave range, while connectivity includes MIDI, USB and CV. There’s Eurorack compatibility, too. 

What you don’t get are the original Taurus’s trademark foot pedals. These made the synth a firm favourite with prog bands such as Genesis, Yes, Pink Floyd and Rush (Geddy Lee is a particularly notable Taurus player).

In truth, a lot of Behringer’s potential Toro customers won’t miss them - foot-controlled bass synths have niche appeal, and you can always plug in a set of MIDI pedals - but their absence certainly represents a big point of difference in comparison to Moog’s original.

Check out the video above to find out what Toro is all about. A release date has yet to be confirmed.

Behringer Toro bass synth

(Image credit: Behringer)
Ben Rogerson

I’m the Deputy Editor of MusicRadar, having worked on the site since its launch in 2007. I previously spent eight years working on our sister magazine, Computer Music. I’ve been playing the piano, gigging in bands and failing to finish tracks at home for more than 30 years, 24 of which I’ve also spent writing about music and the ever-changing technology used to make it. 

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