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Published on Jan 16, 2019 Bill T Miller
“- Bill T Miller of Orgy Of Noise Live in Studio ARP 2600 Synth Improv at WZBC Radio in Newton/Boston on New Year’s Eve December 31, 2018 on Voidstar Productions’ High Voltage Circumcision Show on WZBC. * see/hear more BTM / Orgy Of Noise http://OrgyOfNoise.com
* THANX to DJ Deftly-D, Sheri Hausey, and Guru Bloom !
* Video shot by
Published on Jan 10, 2019 Kris Lennox
“Short tribute in memory of ARP founder Alan Pearlman, who passed only a few days ago.
All best wishes to Dina & the family.
RE the track: chordal accomp laid down on the Rhodes, which I soloed/improv’d over on the Odyssey. Odyssey recording then sync’d with the Rhodes.
Dialing in a soft sound on the Odyssey creates (IMO) one of the finest possible jazz
Published on Jan 8, 2019 Waveshaper Media
“In anticipation of our next episode of WAVESHAPER TV, a previously unseen/unheard interview with synthpop maestro Vince Clarke – from the I Dream Of Wires archive – we’ve decided to make this I Dream Of Wires DVD/iTunes bonus feature available online!
In July 2012, the I Dream Of Wires team visited the Brooklyn studio of one of the most influential
As we remember Alan R. Pearlman and the impact his instruments had on music, here’s a survey of the many places ARP sounds appeared in music culture. It’s a reminder of just how profound electronic music tools can be in their influence – and of the unique age in which we live.
Perhaps now is the perfect time for an ARP revival. With modular synthesis reaching ever-wider audiences, the ARP creations – the 2500, 2600, and Odyssey featured here – represent something special. Listen across these tracks, and you’re struck by the unique colors of those ARP creations across a range of genres. It’s also significant that each of these designs in their own way struck a balance between modularity and accessibility, sound design and playability. That includes making instruments that had modular patching capability but also produced useful sounds at each patch point by default – that is, you don’t have to wire things up just to make something happen. That in turn also reduces cable spaghetti, because the patch connections you make represent the particular decisions you made deviating from the defaults. On the 2500, this involves a matrix (think Battleship games, kids), which is also a compelling design in the age of digital instruments and software.
And lest we get lost in sound design, it’s also worth noting how much these things get played. In the era of Eurorack, it’s easy to think music is just about tweaking … but sometimes it’s just as useful to have a simple, fresh sound and then just wail on it. (Hello, Herbie Hancock.)
It’s easy to forget just how fast musical sound has moved in a couple of generations. An instrument like the piano or violin evolved over centuries. Alan R. Pearlman literally worked on some of the first amplifiers to head into space – the Mercury and Gemini programs that first sent Americans into space and orbit, prior to Apollo’s journey to the moon. And then he joined the unique club of engineers who have remade music – a group that now includes a lot of you. (All of you, in fact, once you pick up these instruments.)
So I say go for it. Play a preset in a software emulation. Try KORG’s remake of the Odyssey. Turn a knob or re-patch something. Make your own sound design – and don’t worry about whether it’s ingenious or ground-breaking, but see what happens when you play it. (Many of my, uh, friends and colleagues are in the business of creating paid presets, but I have the luxury of making some for my own nefarious music production purposes that no one else has to use, so I’m with you!)
David Abravanel puts together this playlist for CDM:
Some notes on this music:
You know, we keep talking about Close Encounters, but the actual sound of the ARP 2500 is very limited. The clip I embedded Monday left out the ARP sound, as did the soundtrack release of John Williams’ score. The appearance is maybe more notable for the appearance of ARP co-founder David Friend at the instrument – about as much Hollywood screen time as any synth manufacturer has ever gotten. Oh, and … don’t we all want that console in our studio? But yes, following this bit, Williams takes over with some instrumental orchestration – gorgeous, but sans-ARP.
So maybe a better example of a major Hollywood composer is Jerry Goldsmith. The irony here is, I think you could probably get away with releasing this now. Freaky. Family Guy reused it (at the end). We’ll never defeat The Corporation; it’s true.
It’s also about time to acknowledge that Stevie Wonder combined Moog and ARP instruments, not just Moog. As our industry looks at greater accessibility, it’s also worth noting that Wonder was able to do so without sight.
What about U2? Well, that’s The Edge’s guitar routed through the ARP 2600 for filter distortion and spring reverb. That’s a trick you can steal, of course – especially easily now that Arturia has an emulation of the 2600.
Expect our collective reader knowledge exceeds anything we can contribute so – let us know what other artists using ARP inspired you, and if you have any notes on these selections.
The post This playlist is full of wonderful ARP music – some might surprise you appeared first on CDM Create Digital Music.
“Wearing my 1977 ARP belt buckle today. Because carrying my Odyssey around all day after all that snow shoveling just isn’t an option. RIP Alan. Respect!”
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RIP Alan R. Pearlman
Be sure to see the ARP label at the bottom of this (and any) post for everything ARP on the site.