Exploration1 | 2600 Blue Marvin - Berlin School Arpeggio скачать в хорошем качестве

Exploration1 | 2600 Blue Marvin - Berlin School Arpeggio

DAWless Setup: Behringer 2600 Blue Marvin, Strymon TimeLine, Arturia KeyStep 37 I finally received my Behring 2600 Blue Marvin! I had to wait close to six months for it to finally arrive. With all the international shipping delays I wasn't really surprised, but it was painful waiting for it while so many videos have been put out from folks in other parts of the world who already received one. This is my first attempt at using a synthesizer to play something like what people call 'Berlin School' music. I shouldn't call this exploration music at this point, but when speaking of a genre, I don't know what else to call it even if it's just a part of what would typically be a song or performance. This is also my first post of what I'm calling an 'Exploration'. Basically I wanted to title posts where I'm learning a new instrument, technique, effect, etc. in some way that would help me classify them outside of an attempt at a track or live jam. In this case, my goal was to learn how to create a Berlin School like arpeggio using the classic 2600 sounds and the right delay. As always, I LEARNED A LOT from working through this exercise. Not only on how to get the delay right, but also getting my first sounds out of the 2600 Blue Marvin. I'm old enough to remember when some of the greatest 2600 sounds hit the record shops, radio, and theaters. I saw the first Star Wars movie in the theater and freaked out when I learned all the sound effects came from the same instrument Jean-Michel Jarre, Pete Townsend, and Edgar Winter used to create some of my favorite music. I've always dreamed of owning one (and a Korg MS-20) but knew I could never afford to buy one. As much as people disparage Behringer today, I'm grateful they reproduced such a fine instrument and sell it at a price I can afford after all these years. I consider myself blessed. A Korg reproduction I was looking at recently was selling for $6000.00!!! The first thing I had to learn was how to get any sound out of an ARP 2600 at all. It turned out to be much more difficult to do on my own than I expected. Ultimately I found that my mistake was not thoroughly reading the labels on the patch panel and following the circuit path to the mixer section. Second, I didn't really understand how to use the filter section correctly. There is some uniqueness to how the AR (attack / release) works vs. the ADSR (attack / decay / sustain / release). Mainly the fact that the ADSR has an exponential circuit path vs. the AR being linear. Once I patched it the way I wanted it to work, I was off and running. I also found that the spring reverb (which is a real mechanical one on the Behringer Blue Marvin) was initially VERY noisy. Not in the way that others describe, meaning that if you hit the synthesizer hard enough you can hear the springs rattle; but rather there was an exponentially increasing distortion it created that caused a sort of clacking noise. Almost like have the attack and release too short. It's hard to describe the noise as spring reverbs are naturally noisy. In this case, I found that the root cause was the fact that the ARP 2600 is a mono synthesizer and if you plug it into the mixer as a stereo pair R/L and pan each to the far side it caused the majority of the background noise. My fix is to pan the two channels slightly left and right, almost like narrowing a ping-pong delay. This fixed it right up and I absolutely LOVE the sound now! As you can see from the video, I have about 3/4 reverb added and get a nice warm chorus from the spring reverb as I add release to the filter section. Finally, I find that it works best when I keep a pitch tuner attached to the headphone jack on the Behringer 2600 Blue Marvin so I can quickly tune the oscillators to whatever notes I want to start with. This keeps everything in check and easy on the ears for the most part. I learned from using the Model-D that three oscillators isn't usually necessary to get that fat sound, but I do like adding it in and mixing up the sound design by using ADSR back into one to get a completely different sound out of it. You can see how I use it in this exploration. Learning how to get those sweet Berlin school arpeggios turns out to be all about the delay. Using dotted eighth note delay with the arpeggio is what keeps the delayed notes halfway between the ones you're playing. That's the basics of it. There's a lot of tweaking the feedback, time, and wet/dry mix to get it just right for your taste but that's the key to getting close to what Jarre and Tangerine Dream did. I hope this helps someone else find pleasure in playing around with them too! I can get lost for hours just playing around with sound design and how it affects the arpeggiated notes. It's amazing how many unique sounds you can get out of the ARP 2600 and it's ironic how lovely arps (arpeggios) can be using this instrument and the right delay! #slim_pkns #DAWless #Behringer2600