“So this is literally my first patch with the Neutron and BeatStep pro, combined with VCV Rack. I was still not so sure how to sync the BeatStep with VCV Rack, so what I’ve done is, I set the same BPM in both VCV Rack and on the BeatStep Pro, and sent the Start trigger via MIDI from the BeatStep to trigger the
“The Seventh Wave
Festival of Electronic Music: Number Six
Sixth Electronic Music Festival comes to Birmingham and once again it includes an all-day free electronic music event featuring talks, demonstrations, interactive sessions, synth manufacturer attendance, a room for attendees to set up and show off their synth gear and a number of free live
This one is via Lorenzo Furlanetto who had the following to say:
“My name’s Lorenzo Furlanetto, an electronic music student in Rome and as such an enthusiast in synths and music technology like all the other readers here. I’m doing my thesis on the current state of Virtual Analog synths compared to their hardware counterparts.
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.
This is the fabled Alesis Ineko effects pedal. Hasn’t been out of the box in a while, time to unleash the Kraken. It’s like the culmination of all the algorithms that appeared in Alesis modfx effects pedal series. It doesn’t look like much, but it is very tweakable and has a few surprises. Like a lo-fi
“It’s day 8 of #jamuary2019 and I have the privilege to give you a sneak peek of #ZOIA by @empress_effects It’s a digital modular in a box. No computer needed to make patches. There are lot’s of modular building blocks in this box, and it’s totally up to you to make it work and sound the way you want it to work. There’s MIDI, CV and expressive pedal input.
Arturia has announced a major update of its new Pigments wavetable/virtual analog software synthesizer. Pigments combines the best of two worlds, featuring hugely powerful, cutting-edge wavetable synthesis alongside Arturia’s award- winning virtual analog technology, and a whole host of powerful modulation capabilities and studio quality effects. Changes in Pigments v1.1 Poly Aftertouch now supported. Added […]
“This was just a test. Since the Minibrute 2’s second VCO is available on the patch bay, I thought I’d try syncing the SQ-1 to the Brute and using it to control VCO2’s pitch, with the synth’s arpeggiator controlling VCO1. Both the sequencer and the arpeggiator are in random mode, and are sending two separate groups of selected notes randomly to each of the
“Pigments just got better. Just a month after its release, our heroic software team have upgraded Pigments to version 1.1. Here’s a few of the new features you’ll find in the update:
Poly Aftertouch now supported
Added a 6dB LPF and HPF slope mode to the Multimode Filter
New master tune control
Turing and Binary random sources now have reset trigger sources
Velocity and Keyboard curve editor in