I haven't seen yet any content such rich and detailed with awesome examples. I am blown away. Thank you sir. I was going to buy the hardware but you helped me change my mind. I will go with the vst first. I will buy your material soon.
Great job! I've learned a lot on mixing orchestral and synth sound, especially to not only counterbalance natural sounds with artificial, but also to enhance natural instruments. I'll definitely use more my 2600 in that way (I use to do some with my Roland SH2000, since some patches - flute, clarinet, bass, oboe, .. - sound incredibly natural). Thank you David!
Great video. Very informative, thank you. I enjoyed the take away of using a (very capable) monosynth to build layers to enhance and supplement other acoustic instruments. I have the Arturia 2600 but from an exploration perspective dialling things in with the mouse isn't much fun, so I didn't use it too much. I got the Behringer (grey version, better filter caps and a real (but different, darker sounding) spring reverb) and have really been enjoying that. It's mostly like the original 2600 but with the LFO, portamento and bits that were on some of the 2600 keyboards but not all. I like that they've made the oscilators a bit more flexible and two of them have PWM. Again, it's not 100% faithful to the original but makes it more flexible. I made a nice custom wooden case to put it in, with a slim slide out drawer for patch cable storage under the unit. Only Behringer synth I own and I don't plan on getting any others, but couldn't resist a hardware 2600 that was accessible. Anyway - thank you for sharing your presentation, and workflow tips :)
39:54 The strings from the 2600 in use case #3 are amazing. Sounds like gently detuned 3-VCO Saw-Pulse-Pusle. The blip at the attack creates the bow hitting the strings effect. How did you accomplish this?
Thank you! If I remember correctly, I used the AR for the general attack and release on one VCO and the ADSR to create the sharper attack effect - shorter decay, longer sustain and release from the other VCO's.
I found your video interesting until I reached 56.07. I am not sure at all about this part of your presentation. What do you mean by a "real" ARP 2600? Do you mean the "original"? Even the picture doesn't show an "original" ARP 2600, because that was the Blue Marvin of which only a few were made. There were various versions of the 2600 made during the time it was in production by ARP in the 70s, including the later version featuring the newer filter (after agreeing to stop using the Moog patent ladder filter). The Korg FS version of the 2600 from 2020 is identical to the 1973 version with the only difference that you can switch between the two filter types and the inclusion of MIDI. Electronically, the entire audio path is from an electronic viewpoint indistinguishable from the 1973 version. Even the Behringer, although it looks different (and has some additional features) is an exact replica in electronic terms. There is now of course also the much more affordable Korg ARP 2600M (2022) which is again an exact replica in terms of electronics albeit using modern circuit design techniques to reduce the overall size. There is as much difference in sound between individual 2600s that were made by ARP in the 70s as there is between those and modern replicas including the Korg ARP 2600M. So from an authenticity of audio point of view, it makes virtually no difference which 2600 you use. So other than for novelty, collector, nostalgia or snobbery reasons, I cannot see any technical reason why a "real" ARP 2600 would be better than any of the excellent current version of this instrument. Word of warning to those who insist they want a "real" ARP 2600. It will cost you a fortune to keep it going!
I think David is well aware of the history and design and sound changes of the different 2600 versions, lol - by real I'm guessing he's referring to what we'd all think of as a real 2600 - one made by ARP before they went out of business.
I haven't seen yet any content such rich and detailed with awesome examples. I am blown away. Thank you sir. I was going to buy the hardware but you helped me change my mind. I will go with the vst first. I will buy your material soon.
Brilliant. Especially the Bond examples! Wonderful!
Great masterclass, thank you for this!
Thanks, good lesson!
Thanks David!
Thank YOU for watching and checking it out! I truly appreciate it!
Great job! I've learned a lot on mixing orchestral and synth sound, especially to not only counterbalance natural sounds with artificial, but also to enhance natural instruments. I'll definitely use more my 2600 in that way (I use to do some with my Roland SH2000, since some patches - flute, clarinet, bass, oboe, .. - sound incredibly natural). Thank you David!
Hi Francois! Thank you for the kind words and I am so glad you found it helpful. Sounds like you are doing some great work! Cheers!
Great video. Very informative, thank you. I enjoyed the take away of using a (very capable) monosynth to build layers to enhance and supplement other acoustic instruments. I have the Arturia 2600 but from an exploration perspective dialling things in with the mouse isn't much fun, so I didn't use it too much. I got the Behringer (grey version, better filter caps and a real (but different, darker sounding) spring reverb) and have really been enjoying that. It's mostly like the original 2600 but with the LFO, portamento and bits that were on some of the 2600 keyboards but not all. I like that they've made the oscilators a bit more flexible and two of them have PWM. Again, it's not 100% faithful to the original but makes it more flexible. I made a nice custom wooden case to put it in, with a slim slide out drawer for patch cable storage under the unit. Only Behringer synth I own and I don't plan on getting any others, but couldn't resist a hardware 2600 that was accessible. Anyway - thank you for sharing your presentation, and workflow tips :)
Awesome !
39:54 The strings from the 2600 in use case #3 are amazing. Sounds like gently detuned 3-VCO Saw-Pulse-Pusle. The blip at the attack creates the bow hitting the strings effect. How did you accomplish this?
Thank you! If I remember correctly, I used the AR for the general attack and release on one VCO and the ADSR to create the sharper attack effect - shorter decay, longer sustain and release from the other VCO's.
I was thinking the same, it's a very nice sound. Using both envelopes to shape different parts of the sound is a great idea.@@davidfrederickmusic
school is in session
I found your video interesting until I reached 56.07. I am not sure at all about this part of your presentation. What do you mean by a "real" ARP 2600? Do you mean the "original"? Even the picture doesn't show an "original" ARP 2600, because that was the Blue Marvin of which only a few were made. There were various versions of the 2600 made during the time it was in production by ARP in the 70s, including the later version featuring the newer filter (after agreeing to stop using the Moog patent ladder filter). The Korg FS version of the 2600 from 2020 is identical to the 1973 version with the only difference that you can switch between the two filter types and the inclusion of MIDI. Electronically, the entire audio path is from an electronic viewpoint indistinguishable from the 1973 version. Even the Behringer, although it looks different (and has some additional features) is an exact replica in electronic terms. There is now of course also the much more affordable Korg ARP 2600M (2022) which is again an exact replica in terms of electronics albeit using modern circuit design techniques to reduce the overall size.
There is as much difference in sound between individual 2600s that were made by ARP in the 70s as there is between those and modern replicas including the Korg ARP 2600M. So from an authenticity of audio point of view, it makes virtually no difference which 2600 you use. So other than for novelty, collector, nostalgia or snobbery reasons, I cannot see any technical reason why a "real" ARP 2600 would be better than any of the excellent current version of this instrument.
Word of warning to those who insist they want a "real" ARP 2600. It will cost you a fortune to keep it going!
I think David is well aware of the history and design and sound changes of the different 2600 versions, lol - by real I'm guessing he's referring to what we'd all think of as a real 2600 - one made by ARP before they went out of business.
Arturia arp2600 sounds not the same as the real one it is vst crap