Most of the"big names" in music I believe are mostly or all software and have been in the last couple of decades or so. The Sounds Of The Decade are Massive and Serum and whatnot, sequenced by FL Studio or Ableton, or maybe Omnisphere in Logic for the film score guys. (OK, so Behringer's cloned an 808, that's pretty big sound in hip hop these days, now can Behringer's sequencer do that "trap cymbal roll" that's popular in hip hop, and also easiest done in something like FL-Studio where you just mash a bunch of 1/32nd notes together in the piano roll? Probably not as easily at all. ) Those that can't afford the software ride the piracy wave (we've also seen some DJs that *can* afford the software ride the piracy wave too. )
Behringer is riding nostalgia and while placing a nice solid dent on overinflated vintage collector markets is in my opinion a good thing, don't pretend that Behringer is aiming for the DJ or hip hop markets that dominate US and European charts. They are aiming for the middle age folks who remember when acid dominated the charts like 20 to 25 years ago and TB-303s were outrageous prices. Maybe picking up a few indie hipsters here and there, the crowd that were using Microkorg and Moog Little Phattys live a decade ago, and other genres (eg some of the chillwave stuff or 1980s nostalgic) that loved the old analog synth sound. Those actually making chart music are too busy pitch-shifting vocal samples in their DAW to care about this TBH.
CDM seems to be just Peter Kirn's blog and he's written multiple articles about Behringer -- *not all of them unfavorable*. It is not surprising that the Behinger OverPuffery Mob online (which, if I were to truly start a conspiracy theory, I would question some of them on what their salary at Behringer is) is trying to turn the stupid shitty trolling Uli's company did into some tribal class warfare bullshit for some reason.