Learn everything about the Behringer 2600 here: th-cam.com/play/PLlJvIUzIwQ79naxyNxNQnNEj_KcmHp5D5.html Get started with the Behringer 2500 Eurorack System: th-cam.com/play/PLlJvIUzIwQ7-c3uoCt82TRo2a_IZmYjCJ.html ARP 2600 and Behringer 2600 Videos: th-cam.com/play/PLlJvIUzIwQ7-i8ycRAQNnYcPmADP9quhE.html Happy patching! Ralph
I was a bit confused about the need for gate and trigger so I have been experimenting with my Behringer and looking up the circuit diagram in the ARP 2600 service manual. Here is what I've discovered. The AR generator just needs the gate which can be applied where you plugged it in but the ADSR needs the Gate and Trigger. On your original ARP 2600 you only have those 2 inputs but the Behringer adds another gate input above the AR routed to the ADSR. This means that you can use the 2 independently if you supply a gate for the AR in the lower gate socket and a trigger and a gate in the upper socket for the ADSR. I hope that is correct and makes sense as it should open up more possibilities if so :)
Hi Matthew, that's exactly what I have been planning for another video. Invoking the ADSR and AR independently from each other. But even if you send the Gate to the Gate-In of the ADSR you need the trigger. In my tests the AR needs the trigger as well to pass the Gate on to the ADSR. Greetings, Ralph
I’ve been driving myself completely mad trying to solve why the gate inputs didn’t seem to be working properly, and had boxed the unit up to send it back when I found this video. We’ll have to investigate further now. But how do you play a different rhythm on the ADSR from the one you are playing on the AR? Will the gate on the ADSR as expected once there is a trigger going into the AR trigger input? It’s very baffling... I I’m hoping that I can come up with a configuration where I can have completely different unrelated rhythms twinkling both envelopes. I’ve had different rhythms on both envelopes, but only when the AR is, say, constant 16th notes and the ADSR is intermittent. And that only worked by putting a steady 16th note gate into the S&H clock input socket to the AR, and the intermittent gate into the ADSR. As soon as I tried to make the gate going into the AR envelope a more interesting pattern (ie: with rests on some gate steps), the ADSR would stop playing during the rests as well
Great video! Only feedback I'd give is mention that you have a splitter (mult) going from the gate out on the keystep to achieve triggering the gate in and trigger in. I ran to my keystep looking for a second gate out option until I saw the second example with the mult confirming my suspicions. Arp is going to be my first step into the semi modular world so this is all pretty new. Those nuances will help us newbies out a ton! Otherwise these Arp videos are so great packed with gems, please keep them coming!
Hello Charles! You are right, I should have mentioned this! I thought it was just obvious! You can see the signal distributor in the part when the Barp and ARP are being sequenced together. But I should also think from a beginners perceptive. Thanks again for your feedback! It's highly appreciated! Greetings, Ralph
@@RalphBaumgartl thanks Ralph, I think these videos catered towards beginners so that will go a long way! I was able to see it as you mentioned but your confirmation will help others reading this thread who may overlook it. Again, love the videos and looking forward to more of them. Would love to see something about ways to use the ring mod as well as FM at some point too! 🤗
CV connections are monophonic. The Arturia Keystep will trigger notes and gates through the 1v/oct and Gate CV outputs in an order determined by note priority settings in the Keystep (Low Note, High Note, or Last Note). To get the Keystep to play different VCOs for a second note, you can use the KEYBOARD section (lower left) setting the VOICE MODE switch to “DUO,” the TRIG MODE switch to “MULT,” and taking the UPPER VOICE CV output into a separate output. To separate the gates for true duophony with a single Keystep, I believe one needs a MIDI-to-CV converter, like a cv.OCD, where one can map chord and cycle modes or keyboard ranges for separate notes and associated separate gates. These, in turn, could be patched separately into the 2600 with one note using the AR envelope generator with help from the RING MOD in DC mode being used as a VCA, and another using the ADSR. However, for the same price as a cv.OCD, one could get another Keystep. The Korg SQ-1 sequencer is an affordable way to create two CV voices for the Behringer 2600, albeit 8 steps in two rows.
Thanks for sharing your ideas. Perhaps one day I might make a video about poly chaining my three B2600s and my ARP 2600, thereby creating true 4 voice polyphony :-)
@@RalphBaumgartl That will be fun. I recommend using external software for controlling voice allocation modes, such as the Sysex that can be loaded onto the cv.OCD and configured on a Webpage.
@@geerhoar Thanks for the recommendation. So far I was planning to use a Logic Pro plugin for the voice allocation but I will definitely take a look at your procedure as well.
@@geerhoar That's my plan, on my Midi Interface I have 5 Midi Outputs. Three separate outputs (separate midi channels) will go to my three B2600 respectively. Another Output (channel) will go to the Keystep which will act as a Midi interface to the ARP 2600. The voice allocation will be handled by a plugin within Logic Pro to which I connect a Roland A-49 keyboard.
@@RalphBaumgartl I hope that those who have given you a hard time over your accent can find Kraftwerk or Alphaville some day. There’s a tremendous history of German synth greats. Thank you again.
Hi Ralph. Thank you for another excellent and very helpful video. I also really appreciate that you publish your videos in (perfect) English, as my knowledge of German is embarrassingly bad. Vielen Dank!
Thank you 🙏 That's very kind of you to say. As a non native speaker I am always striving to speak as clearly as possible when explaining synth technical stuff. Have a great day, Ralph
this is an interesting way to add variation to a sequence. But just speaking about adsr/ar, you can drive the 2600 with just one Gate cable ! Just plug your gate into the "sh/clock" socket just below the AR module and push the sliding button to the bottom. Instead of SH Clock, this will your gate that will drive both ADSR and AR (like one in SH/Clock mode). It seems to be simpler (when you don't want to play with fancy gate/trigger variations).
Hi Oliver, I already made a tutorial about the very procedure you are pointing out. Here's the video th-cam.com/video/St4bx1Vz3mE/w-d-xo.html The tutorial about the Gate In / Trig In connection I have made afterwards in order to show my viewers further options and possibilities. Thank you for watching and commenting! Ralph
Thanks a lot for this video! I've just received my Barp 2600 today and I lost the 2 last hours trying to find what's going wrong with those enveloppes when i used an external cv/gate sequencer! I was close to return back the 2600 to the shop...
Love this series ❤. Small bites of memorable information that I can use with my Blue Marvin. I had not learned about the Gate AND Trigger needing to be pulsed simultaneously before. (A frustrating issue.). The previous episode (Sequencer Interfacing) told me undocumented “features” about the VCA and Mixer. I am wondering why you don’t bring the control voltages through the “keyboard section” (below VCO1, on the Behringer 2600 synths), avoiding “Multiple” use (sometimes). As to the Audio/LFO switch on the VCOs, I DO use Keyboard CV with LFO on, for vibrato that tracks the keyboard, as a violinist does. (I plan to get a Eurorack Behringer 2600 VCO for this purpose.)
That's the beauty of a (semi) modular Synth. Anything is possible! Controlling the LFO with Keyboard CV to get more Vibrato nuances is just one of those endless possibilities. Greetings, Ralph
Do you have a video or can you make one which covers using adsr and ar as dedicated vca/filter/mod envelopes the envelopes? I’m confused on the envelopes normals relationship and how to separate them and use them for dedicated reasons. Appreciate any insight or further videos you have on this subject
Hello Charles, perhaps you want to watch my beginner tutorial. It includes basic information about the envelopes. Nevertheless I will be making more videos covering all sections of the 2600. th-cam.com/video/CfezQunKlAE/w-d-xo.html
Had my 2600 a day. I can't quite get my head round how you set the ADSR for the filter (ie to have it close the filter after key triggered) and the amplitude being controlled by ADSR. Do they share the ADSR? (First day overwhelm!) I thought I knew synthesis until this thing.
No worries, the more you dabble with the 2600 the more the Synth reveals itself to you 😉 Please bear in mind that the pre-wiring of the ADSR to the VCA connection has an exponential curve. If you want a more linear behavior, then plug the ADSR output into the AR jack of the VCA. Greetings, Ralph
@@RalphBaumgartl Thanks Ralph. I'm starting to understand the principles more now, but that's a great tip! Very surprised that the mod wheel has no control on the 2600. What an oversight not to provide a control output to patch with.
I’m using an ARP Solus with a Korg ARP 2600m and my Solus keyboard works with just the gate into the S&H Gate input with the switch down, but when I put the switch up and plug the Solus’ Gate to the other gate input and the Solus’ trigger to the trigger input, I get nothing
Possibly the the Trigger/Gate signal needs to be boosted a bit to make it work. I have made two tutorials about this issue. Kindly try the methods as explained in my videos. Personally I have connected several of my analog Synths to the 2600 via CV/Gate/Trigger and always managed to make it work. th-cam.com/video/-kO1BLgpBE8/w-d-xo.html th-cam.com/video/FOMxUmWtEyM/w-d-xo.html Greetings, Ralph
Very informative video thanks, keep up the great work. Is there a reason why the gate in below the ASDR does not trigger the ADSR on the Behringer 2600 e.g. using an output of a square LFO? On the Arturia 2600 VST plugin this works fine and I would speculate that it works on your original ARP 2600. Maybe its a hardware or firmware bug on my device? I bought the device specifically to reproduce the synth sounds on The Who's Won't Get Fooled Again synth which is using an external organ into the preamp with a triangle LFO controlling the filter and a square wave controlling the pulsating on/off effect into the ADSR. It's easy to reproduce this using the VST plugin but nothing I've tried will work effectively on the Behringer 2600. I've managed to get a basic on/off effect but not anywhere close to plugin. It would be great if you could do a video on reproducing this innovative synth sound and compare the reproduction across both synths.
Hello and thanks for watching. Also on the ARP 2600 you have to use a Gate IN and a Trig IN simultaneously when utilizing the Gate IN's of the ADSR/AR section. No Trig IN signal is necessary when using the S&H Gate IN. I haven't tried to replicate the "Won't get fooled again" organ sound yet. I will do that one day ;-) Perhaps also try to use the Voltage Processor on the B2600 to dabble with the sound. Here's my VP tutorial th-cam.com/video/5pkO7Yiffac/w-d-xo.html
@@RalphBaumgartl Late to the CV/gate party but…you need to multiply the gate out of the Keystep first? I understand the multiple at the 2600 for each oscillator but how do you double the gate from the Keystep? Thanks for your help..
Actually I'm running gate out from an SQ-1 into the gate OR trigger in and the AR will work. Only for both AR and ADSR to work both gate and trigger in need to receive a signal. The gate in on the ADSR is a mystery to me as sending a gate signal to it doesn't do anything.
Yes, the Gate routing for the ADSR and AR is a bit confusing. Try to google the original ARP 2600 manual (not the patch book). That manual is very elaborate and detailed and sheds some light on the unique routing of the 2600. Try to find the PDF, it's a good reference you can return to when you get lost. Greetings, Ralph
@@RalphBaumgartl wow, I didn't have to spend for cables. For some reason I found 7 , some long some short. Ralph, I got lucky here I the states. Sweet water had it for 536.00 for a total of 590.00 dollars. That's the cheapest synth I ever bought . My goodness, I hope this is not a dream because I always wanted the 2600. Martin Gore and Vince Clarke in their interviews mentions them.. now I get to make my own drum kits. Arp2600 kick is the just can't get enough kick. I love it
@@markchristopher2signal2 Glad you found the cables 😃 Another great song performed on the 2600 is Elton John's "Funeral for a Friend". Check it out! Greetings, Ralph
@@RalphBaumgartl I did listen to it as I was working out.. I like it. Ralph, I wish the Behringer staff would create a clone of the Arp Sequencer. The sequencer I have is RENOISE which is very nice but I want those analog type sequencing
arriving this Sat for me. I've always wanted this since the 90s when I got sooo in to Depeche Mode and Erasure.. Every interview they mentioned ARp 2600.
There are so many tricks for the semi-modular 2600 Synth, that it's impossible to put them all in one video. Moreover I am also constantly discovering new tricks 😉
@@RalphBaumgartlAre you sure your 2600 is not defective? Mine works with a gate from a WMD metron plugged into the AR gate in only. I cant get the trig in to do anything, even after boosting a gate level through the 2600 preamp. Tried gates as short as 15ms.
@@michaelschulze295 i am talking about the original ARP 2600 NOT the Behringer 2600!!! I have the Behringer 2600 black/orange, Blue Marvin and Gray Meanie. On all three Synths the Gate and Trig Inputs are working properly.
You can easily hear the difference between the two. Not a bad thing. Sure an Arp would be cool, given the cash, it has a thicker bass. But that’s easy to fix at the mixer and almost nobody uses a synth without effects anyway. Personally I’m just waiting for availability to improve and I’ll add the BARP. It’s just a great versatile synth that just begs for arps and seqs and also is great for leads and weirdness.
Ralph Baumgartl Exactly! Great Sound Graphic Visual layout intelligently thought out and most of all sliders. Add patch cables to reroute signals and .... magic!
Ralph Baumgartl That’s also why I want a Buchla Easel, you can easily see your idea. I have both as VST and a couple dozen real synths including a BARP Odyssey, AP had a knack f this.
@@hednodsflyingoscillatorcir9827 I once dabbled with a Buchla Easel for a few minutes at a Synth meeting. Not long enough to wrap my head around that concept of synthesis 😉
![CAMPปลิ้น | EP.83[2/2] ประสบการณ์ขนหัวลุกจากตำนานวงการผี!](http://i.ytimg.com/vi/T_kFecQw7Ds/mqdefault.jpg)
Learn everything about the Behringer 2600 here:
th-cam.com/play/PLlJvIUzIwQ79naxyNxNQnNEj_KcmHp5D5.html
Get started with the Behringer 2500 Eurorack System:
th-cam.com/play/PLlJvIUzIwQ7-c3uoCt82TRo2a_IZmYjCJ.html
ARP 2600 and Behringer 2600 Videos:
th-cam.com/play/PLlJvIUzIwQ7-i8ycRAQNnYcPmADP9quhE.html
Happy patching! Ralph
I was a bit confused about the need for gate and trigger so I have been experimenting with my Behringer and looking up the circuit diagram in the ARP 2600 service manual. Here is what I've discovered. The AR generator just needs the gate which can be applied where you plugged it in but the ADSR needs the Gate and Trigger. On your original ARP 2600 you only have those 2 inputs but the Behringer adds another gate input above the AR routed to the ADSR. This means that you can use the 2 independently if you supply a gate for the AR in the lower gate socket and a trigger and a gate in the upper socket for the ADSR. I hope that is correct and makes sense as it should open up more possibilities if so :)
Hi Matthew, that's exactly what I have been planning for another video. Invoking the ADSR and AR independently from each other. But even if you send the Gate to the Gate-In of the ADSR you need the trigger. In my tests the AR needs the trigger as well to pass the Gate on to the ADSR. Greetings, Ralph
I’ve been driving myself completely mad trying to solve why the gate inputs didn’t seem to be working properly, and had boxed the unit up to send it back when I found this video. We’ll have to investigate further now. But how do you play a different rhythm on the ADSR from the one you are playing on the AR? Will the gate on the ADSR as expected once there is a trigger going into the AR trigger input? It’s very baffling... I I’m hoping that I can come up with a configuration where I can have completely different unrelated rhythms twinkling both envelopes. I’ve had different rhythms on both envelopes, but only when the AR is, say, constant 16th notes and the ADSR is intermittent. And that only worked by putting a steady 16th note gate into the S&H clock input socket to the AR, and the intermittent gate into the ADSR. As soon as I tried to make the gate going into the AR envelope a more interesting pattern (ie: with rests on some gate steps), the ADSR would stop playing during the rests as well
The Arturia Keystep: definitely my favourite sequencer. Thanks for another lovely tutorial, Ralph.
Thank you Stephen! I have just recorded another quick tip for the 2600. Hope it'll go online tomorrow....Greetings, Ralph
Great video! Only feedback I'd give is mention that you have a splitter (mult) going from the gate out on the keystep to achieve triggering the gate in and trigger in. I ran to my keystep looking for a second gate out option until I saw the second example with the mult confirming my suspicions. Arp is going to be my first step into the semi modular world so this is all pretty new. Those nuances will help us newbies out a ton! Otherwise these Arp videos are so great packed with gems, please keep them coming!
Hello Charles! You are right, I should have mentioned this! I thought it was just obvious! You can see the signal distributor in the part when the Barp and ARP are being sequenced together. But I should also think from a beginners perceptive. Thanks again for your feedback! It's highly appreciated! Greetings, Ralph
@@RalphBaumgartl thanks Ralph, I think these videos catered towards beginners so that will go a long way! I was able to see it as you mentioned but your confirmation will help others reading this thread who may overlook it. Again, love the videos and looking forward to more of them. Would love to see something about ways to use the ring mod as well as FM at some point too! 🤗
@@TheMachinesWon Thank you Charles, I always welcome topic proposals for my videos.
@@RalphBaumgartl 🙌🏼🙏🏼🙏🏼
Its quite a deep curve , don't get disheartened when it arrives. Magic awaits
As a french person, i like my 2600 tutorials in english with a slight german accent, for clarity/. Thanks.
Thank you very much 🙏 I don't receive often a nice compliment about my German accent 😉
Thanks a lot, as many I suppose I was trying the gate in just below the adsr to trigger it.
Hi Axel, glad to know that my video could clarify this.
Cool technique. Thanks for sharing your knowledge. This really takes the static rhythm of the sequence to a more complex, interesting place.
Thank you George! I am glad you got something out of my video. Cheers, Ralph
CV connections are monophonic. The Arturia Keystep will trigger notes and gates through the 1v/oct and Gate CV outputs in an order determined by note priority settings in the Keystep (Low Note, High Note, or Last Note). To get the Keystep to play different VCOs for a second note, you can use the KEYBOARD section (lower left) setting the VOICE MODE switch to “DUO,” the TRIG MODE switch to “MULT,” and taking the UPPER VOICE CV output into a separate output. To separate the gates for true duophony with a single Keystep, I believe one needs a MIDI-to-CV converter, like a cv.OCD, where one can map chord and cycle modes or keyboard ranges for separate notes and associated separate gates. These, in turn, could be patched separately into the 2600 with one note using the AR envelope generator with help from the RING MOD in DC mode being used as a VCA, and another using the ADSR. However, for the same price as a cv.OCD, one could get another Keystep. The Korg SQ-1 sequencer is an affordable way to create two CV voices for the Behringer 2600, albeit 8 steps in two rows.
Thanks for sharing your ideas. Perhaps one day I might make a video about poly chaining my three B2600s and my ARP 2600, thereby creating true 4 voice polyphony :-)
@@RalphBaumgartl That will be fun. I recommend using external software for controlling voice allocation modes, such as the Sysex that can be loaded onto the cv.OCD and configured on a Webpage.
@@geerhoar Thanks for the recommendation. So far I was planning to use a Logic Pro plugin for the voice allocation but I will definitely take a look at your procedure as well.
@@RalphBaumgartl MIDI-to-CV conversion gives additional patching options, provided the synths have the CV inputs.
@@geerhoar That's my plan, on my Midi Interface I have 5 Midi Outputs. Three separate outputs (separate midi channels) will go to my three B2600 respectively. Another Output (channel) will go to the Keystep which will act as a Midi interface to the ARP 2600. The voice allocation will be handled by a plugin within Logic Pro to which I connect a Roland A-49 keyboard.
You’re the best Ralph. Always enjoy your videos. Very informative and your accent rocks
That's a very nice compliment 🙏 we Germans are often ridiculed for our accent 😉 Thanks for watching my videos!
@@RalphBaumgartl I hope that those who have given you a hard time over your accent can find Kraftwerk or Alphaville some day. There’s a tremendous history of German synth greats. Thank you again.
@@ZealotSmurf Since I am not an English native speaker, I just embrace my German accent 😃 Thanks for your support 🙏
Ralph these are great videos. I have a Behringer 2600 and watch these videos all the time. Keep them coming 👍
Thanks for watching my videos and for your support! Have a good week! Ralph
Thanks for watching my videos and for your support! Have a good week! Ralph
Hi Ralph. Thank you for another excellent and very helpful video. I also really appreciate that you publish your videos in (perfect) English, as my knowledge of German is embarrassingly bad. Vielen Dank!
Thank you 🙏 That's very kind of you to say. As a non native speaker I am always striving to speak as clearly as possible when explaining synth technical stuff. Have a great day, Ralph
this is an interesting way to add variation to a sequence. But just speaking about adsr/ar, you can drive the 2600 with just one Gate cable ! Just plug your gate into the "sh/clock" socket just below the AR module and push the sliding button to the bottom. Instead of SH Clock, this will your gate that will drive both ADSR and AR (like one in SH/Clock mode). It seems to be simpler (when you don't want to play with fancy gate/trigger variations).
Hi Oliver, I already made a tutorial about the very procedure you are pointing out. Here's the video th-cam.com/video/St4bx1Vz3mE/w-d-xo.html
The tutorial about the Gate In / Trig In connection I have made afterwards in order to show my viewers further options and possibilities. Thank you for watching and commenting! Ralph
@@RalphBaumgartl I missed this video, sorry .. But using the gate and trig is a good trick !
Thanks a lot for this video! I've just received my Barp 2600 today and I lost the 2 last hours trying to find what's going wrong with those enveloppes when i used an external cv/gate sequencer! I was close to return back the 2600 to the shop...
Glad my video was helpful. Mostly there's nothing wrong with the 2600. It's just the learning curve. Happy patching!
The man right here ! Always love your videos my friend
Gosh Todd, my good friend! That was a fast comment! I've just hit the publish button 😉 Greetings from Germany, Ralph
Love this series ❤. Small bites of memorable information that I can use with my Blue Marvin. I had not learned about the Gate AND Trigger needing to be pulsed simultaneously before. (A frustrating issue.). The previous episode (Sequencer Interfacing) told me undocumented “features” about the VCA and Mixer. I am wondering why you don’t bring the control voltages through the “keyboard section” (below VCO1, on the Behringer 2600 synths), avoiding “Multiple” use (sometimes). As to the Audio/LFO switch on the VCOs, I DO use Keyboard CV with LFO on, for vibrato that tracks the keyboard, as a violinist does. (I plan to get a Eurorack Behringer 2600 VCO for this purpose.)
That's the beauty of a (semi) modular Synth. Anything is possible! Controlling the LFO with Keyboard CV to get more Vibrato nuances is just one of those endless possibilities. Greetings, Ralph
Hi Ralph! Every time I'm in doubt you come with the answer!
How would be the best way to achieve amplitud modulation with the LFO?
Just use the LFO to modulate the VCA! Greetings, Ralph
@@RalphBaumgartl danke Ralph!
Do you have a video or can you make one which covers using adsr and ar as dedicated vca/filter/mod envelopes the envelopes? I’m confused on the envelopes normals relationship and how to separate them and use them for dedicated reasons. Appreciate any insight or further videos you have on this subject
Hello Charles, perhaps you want to watch my beginner tutorial. It includes basic information about the envelopes. Nevertheless I will be making more videos covering all sections of the 2600.
th-cam.com/video/CfezQunKlAE/w-d-xo.html
Had my 2600 a day.
I can't quite get my head round how you set the ADSR for the filter (ie to have it close the filter after key triggered) and the amplitude being controlled by ADSR.
Do they share the ADSR? (First day overwhelm!)
I thought I knew synthesis until this thing.
No worries, the more you dabble with the 2600 the more the Synth reveals itself to you 😉 Please bear in mind that the pre-wiring of the ADSR to the VCA connection has an exponential curve. If you want a more linear behavior, then plug the ADSR output into the AR jack of the VCA. Greetings, Ralph
@@RalphBaumgartl Thanks Ralph. I'm starting to understand the principles more now, but that's a great tip!
Very surprised that the mod wheel has no control on the 2600.
What an oversight not to provide a control output to patch with.
@@LFOVCF depending on the controller you can patch some modulation wheel behavior....
I’m using an ARP Solus with a Korg ARP 2600m and my Solus keyboard works with just the gate into the S&H Gate input with the switch down, but when I put the switch up and plug the Solus’ Gate to the other gate input and the Solus’ trigger to the trigger input, I get nothing
Possibly the the Trigger/Gate signal needs to be boosted a bit to make it work. I have made two tutorials about this issue. Kindly try the methods as explained in my videos. Personally I have connected several of my analog Synths to the 2600 via CV/Gate/Trigger and always managed to make it work.
th-cam.com/video/-kO1BLgpBE8/w-d-xo.html
th-cam.com/video/FOMxUmWtEyM/w-d-xo.html
Greetings, Ralph
Very informative video thanks, keep up the great work. Is there a reason why the gate in below the ASDR does not trigger the ADSR on the Behringer 2600 e.g. using an output of a square LFO? On the Arturia 2600 VST plugin this works fine and I would speculate that it works on your original ARP 2600. Maybe its a hardware or firmware bug on my device? I bought the device specifically to reproduce the synth sounds on The Who's Won't Get Fooled Again synth which is using an external organ into the preamp with a triangle LFO controlling the filter and a square wave controlling the pulsating on/off effect into the ADSR. It's easy to reproduce this using the VST plugin but nothing I've tried will work effectively on the Behringer 2600. I've managed to get a basic on/off effect but not anywhere close to plugin. It would be great if you could do a video on reproducing this innovative synth sound and compare the reproduction across both synths.
Hello and thanks for watching. Also on the ARP 2600 you have to use a Gate IN and a Trig IN simultaneously when utilizing the Gate IN's of the ADSR/AR section. No Trig IN signal is necessary when using the S&H Gate IN. I haven't tried to replicate the "Won't get fooled again" organ sound yet. I will do that one day ;-) Perhaps also try to use the Voltage Processor on the B2600 to dabble with the sound. Here's my VP tutorial th-cam.com/video/5pkO7Yiffac/w-d-xo.html
from the keystep pro you split the gate signal? cause there's no trigger out
Yes, I am using a multiplier to split the gate signal. A gate also includes a trigger signal.
@@RalphBaumgartl Late to the CV/gate party but…you need to multiply the gate out of the Keystep first? I understand the multiple at the 2600 for each oscillator but how do you double the gate from the Keystep? Thanks for your help..
How come when I turn on the 2600 with I hear the oscillators on before add any Adsr? I can hear the Oscs playing in between notes
Kindly watch this tutorial here
th-cam.com/video/vQx88p4dutc/w-d-xo.html
Actually I'm running gate out from an SQ-1 into the gate OR trigger in and the AR will work. Only for both AR and ADSR to work both gate and trigger in need to receive a signal.
The gate in on the ADSR is a mystery to me as sending a gate signal to it doesn't do anything.
Yes, the Gate routing for the ADSR and AR is a bit confusing. Try to google the original ARP 2600 manual (not the patch book). That manual is very elaborate and detailed and sheds some light on the unique routing of the 2600. Try to find the PDF, it's a good reference you can return to when you get lost. Greetings, Ralph
Ralph, it s should be arriving this Friday. Btw, how long are the patch cables I should get? 5 of the 1foot is good? That's enough?
Hello Mark, get 6 cables around 90 cm long and another 6 cables around 30 cm long. That's a good start....
@@RalphBaumgartl wow, I didn't have to spend for cables. For some reason I found 7 , some long some short. Ralph, I got lucky here I the states. Sweet water had it for 536.00 for a total of 590.00 dollars. That's the cheapest synth I ever bought . My goodness, I hope this is not a dream because I always wanted the 2600. Martin Gore and Vince Clarke in their interviews mentions them.. now I get to make my own drum kits. Arp2600 kick is the just can't get enough kick. I love it
@@markchristopher2signal2 Glad you found the cables 😃 Another great song performed on the 2600 is Elton John's "Funeral for a Friend". Check it out! Greetings, Ralph
@@RalphBaumgartl I did listen to it as I was working out.. I like it. Ralph, I wish the Behringer staff would create a clone of the Arp Sequencer. The sequencer I have is RENOISE which is very nice but I want those analog type sequencing
arriving this Sat for me. I've always wanted this since the 90s when I got sooo in to Depeche Mode and Erasure.. Every interview they mentioned ARp 2600.
Hallo Ralph, can you make a Video where All the functions and some Trick will be explained? Because nobody Else did before!
There are so many tricks for the semi-modular 2600 Synth, that it's impossible to put them all in one video. Moreover I am also constantly discovering new tricks 😉
What's the difference between trigger in and gate in?
Trigger In just requires a signal spike whereas a Gate In also requires a signal plateau.
@@RalphBaumgartlAre you sure your 2600 is not defective? Mine works with a gate from a WMD metron plugged into the AR gate in only. I cant get the trig in to do anything, even after boosting a gate level through the 2600 preamp. Tried gates as short as 15ms.
@@michaelschulze295 it seems that on some ARP 2600 production series its Gate and Trig Out only and on some series it works as input and output.
@@RalphBaumgartl Thanks for your reply! This sounds like a defect to me. Emailing Eli about it now :)
@@michaelschulze295 i am talking about the original ARP 2600 NOT the Behringer 2600!!! I have the Behringer 2600 black/orange, Blue Marvin and Gray Meanie. On all three Synths the Gate and Trig Inputs are working properly.
You can easily hear the difference between the two. Not a bad thing.
Sure an Arp would be cool, given the cash, it has a thicker bass. But that’s easy to fix at the mixer and almost nobody uses a synth without effects anyway. Personally I’m just waiting for availability to improve and I’ll add the BARP.
It’s just a great versatile synth that just begs for arps and seqs and also is great for leads and weirdness.
In my personal opinion the 2600 is one of the best Synths to learn subtractive Synthesis. Have a nice weekend, Ralph
Ralph Baumgartl
Exactly!
Great Sound
Graphic Visual layout intelligently thought out and most of all sliders.
Add patch cables to reroute signals and .... magic!
@@hednodsflyingoscillatorcir9827 I personally also believe that sliders give you a better visual feedback of what you are doing on your Synth!
Ralph Baumgartl
That’s also why I want a Buchla Easel, you can easily see your idea.
I have both as VST and a couple dozen real synths including a BARP Odyssey, AP had a knack f this.
@@hednodsflyingoscillatorcir9827 I once dabbled with a Buchla Easel for a few minutes at a Synth meeting. Not long enough to wrap my head around that concept of synthesis 😉