For those of you who still have not grabbed some modular stuff but want in on the sounds Izotope has released a Sound Library called Modular for Iris. Iris is on my list of interesting plug-ins to get when I have the chance. This library has 600 samples and 300 patches for $34 USD.
“From the vintage classic, the ARP 2600, to modern Cartesian sequencing, the Modular sound library stems from a wide range of both musical and chaotic sources. Start experimenting and you’ll find that any Modular patch could inspire your next track, from pulsing tones to lush effects to glitchy rhythmic syncopations to fat bass sounds.” – izotope.com
For more info: izotope.com/products/audio/iris
This entry was written by modular, plug-ins, sounds, synthesizer and tagged Arp 2600, Iris, izotope, modular, plug-in, synthesizer. Leave a comment or view the discussion at the permalink and follow any comments with the RSS feed for this post.
If you watch synth demos on Youtube you have no doubt come across some by Rezfilter. He demos a lot of stuff for our mutual friend Tom Carpenter. Tom as yo may know is the man behind Analogue Solutions. An interesting note about Tom is that even though he can make any synth he wants he also buys them all. Talk about a synth lover! In this video Rez pairs an Oberkorn analogue sequencer with an ARP 2600. What maybe also very interesting to synthpop lovers is that all these demos are leading somewhere. Tom has been preparing some music releases. I’m not supposed to tell you this but I have heard some of the music and let’s say if your a fan of early Depeche Mode you are in for a treat.
“Here’s a demo song featuring a soundscape entirely from the ARP 2600 (x 2)! All sounds, fx and drum patterns in the track were sequenced exclusively via the Oberkorn MK3 by Analogue Solutions.” – rezfilter
For more info: facebook.com/ASUKLTD
This entry was written by synthesizer and tagged Analogue Solutions, Arp 2600, Oberkorn, rezfilter, Tom Carpenter. Leave a comment or view the discussion at the permalink and follow any comments with the RSS feed for this post.
Portishead is one of the bands I really love because they sound like Portishead. Nothing else really sounds like they do and to top it off they sound great. Dark, romantic and painful. Right up my alley. The cherry on top is they use a lot of real analog synths. Band member Adrian Utley shows us some of what they have in the video above.
“Portishead are a band formed in 1991 in Bristol, England. The band is named after the nearby town of the same name, 13 km (8 mi) west of Bristol. Portishead consists of Geoff Barrow, Beth Gibbons, and Adrian Utley, while sometimes citing a fourth member, Dave McDonald, an engineer on Dummy and Portishead.” – Wikipedia
For more info: wikipedia.org/wiki/Adrian_Utley
This entry was written by hardware, synthesizer and tagged Adrian Utley, Arp 2600, Korg 700, Oberheim, Portishead, Recording Studio, synthesizer. Leave a comment or view the discussion at the permalink and follow any comments with the RSS feed for this post.
I love the ARP 2600 synthesizer. The mighty Macbeth M5 was a new incarnation (there were differences I know). Software-wise the closest you can get is the TimewARP 2600 from Way Out Ware. To play and hear one in person is to want one.
“The ARP 2600 is a semi-modular analog subtractive audio synthesizer, designed by Alan R. Pearlman (and Dennis Colin), and manufactured by his company, ARP Instruments, Inc. Unlike other modular systems of the time, which required modules to be purchased individually and wired by the user, the 2600 was semi-modular with a fixed selection of basic synthesizer components internally pre-wired. The 2600 was thus ideal for musicians new to synthesis due to its ability to be operated either with or without patchcords, and was, upon its initial release, heavily marketed to high schools, universities, and other educational facilities.” – Wikipedia
photo credit: Ethan Hein
I had the pleasure of using a Macbeth Studio System’s M5. Some people compare it to an ARP 2600. It does have a similar layout although I personally found the sound to be also Moog-ish. Have you used one? What are your thoughts?
I have checked out the M5 a couple of times now. I first saw it at MusikMesse in Frankfurt a couple of years ago, and after getting to play with it unfettered, I had the pleasure of meeting it’s creator Ken Macbeth. I found the instrument to be built of very high quality and the sound quality was exceptional, however, I felt the filter was not very similar to that of the ARP 2600. People may compare it to the 2600, and as far as the layout goes, it is somewhat similar making it easy for me to navigate, however, the sounds that the M5 produces are all it’s own IMHO.
I really like it.
I am looking forward to seeing the M5 and Ken again at the NAMM show.
What makes the TimewARP 2600 different from the Arturia ARP2600 V?
I believe that the TimewARP 2600 sounds much more like a real ARP 2600 than any other virtual synth on the market. This belief has been confirmed by many very notable users of ARP 2600s. Our emulation is sample accurate in all respects and models the original circuits of the ARP 2600 where ever possible. One area that TimewARP 2600 stands apart from other products is in the area of audio frequency modulation. You can take any audio source on the TimewARP 2600 and route it to an CV input and get the behavior that you would expect if you were to do that on a real ARP 2600 across the full frequency range of the component. I have not seen this in other virtual instruments. This feature is how many famous ARP 2600 sounds are created.
Will there be more features added to the TimewARP 2600? A sequencer for example?
I would love to expand the TimewARP 2600 to include a sequencer, however, I can’t say when that will be. We recently added a couple of small additions to the TimewARP 2600 including a “Master Volume” control and offset controls to the MIDI beat synch feature. As time permits, and market allows, we will continue to enhance the TimewARP 2600.
Let’s talk about kikAXXE. It’s a synth, drum machine and sequencer which sounds super yet it’s priced quite low. Was there a lot of special discussion of it’s price? I am surprised by it honestly.
We did not compromise on sound quality in KikAXXE. Our goal was to produce a cost friendly electronic music environment that was fun. We left out a few features in order to justify the price, but all in all I believe KikAXXE delivers the goods. Our hope is that by providing KikAXXE at such an attractive price, that it will open the door to a wider audience of users and allow more people to discover what analog synthesis is all about. At the same time, we have many pros excited about KikAXXE too.
The thing that has to be clear is that KikAXXE is inexpensive, but still sounds awesome and can produce very useable results quickly and easily.
Are you still in contact with Alan R. Pearlman? I know he has endorsed the timewARP 2600. Did you send him kikAXXE?
I try to stay in touch with Alan as often as I can. He has been very supportive of Way Out Ware, and we really appreciate that. He has told me that he believes in what we are doing regarding brining analog synthesis to a wider audience, and making it affordable. He said that he had considered producing a computer based synthesizer when ARP was still around, but the computers of the time were not powerful enough to get the job done. I believe that he feels that WOW products are bringing his legacy to a new generation of users.
Besides your own products have there been other audio software emulations have impressed you? (more…)
This entry was written by interviews, plug-ins, sounds, synthesizer and tagged Alan R. Pearlman, Arp, Arp 2600, Jim Heintz, Ken Macbeth, KikAXXE, M-Audio, sequencer, timewARP 2600, Way Out Ware. Leave a comment or view the discussion at the permalink and follow any comments with the RSS feed for this post.