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Behringer and the ARP 2500


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The 2600 was supposedly going to be released in...April, I think it was. Superbooth in Berlin. Three months ago, tomorrow.

 

You guessed it...crickets chirping.

 

Yes, I know there's Covid 19 and trade wars with China and this and that, but the thing is that the lockdown stuff didn't really begin in earnest until just before the 2600 was due to be released. If there was really that much still to be done right at the last friggin' moment, then the product wasn't ready for release and they shouldn't have set the date. And if there was, say, a week or two or three's worth of work to do, then surely the intervening three months would have sufficed to get the job done, even at half-staff levels to allow for social distancing. Or work from home. Or whatever.

 

And the Model D took, like, forever to get out on the streets, and that was after it was actually, for sure, truly released. (That said, the Model D is a lot of fun. I've got two and love 'em, but the bottom line is that the rollout was botched.)

 

In short, I'm not going to get real excited over a vaporware 2500 that won't materialize for another year...or two...or three...

 

Grey

I'm not interested in someone's ability to program. I'm interested in their ability to compose and play.

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I did see that earlier. They have released so many teaser images of products that have not come to market I am weary of them. That being said, when the products do get to market they have been pretty good the last few years. I am very happy with my Odyssey, well built, sounds great, excellent consumer price point.
:nopity:
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As far as Behringer Eurorack synths are concerned, I'm much more interested in their System 55 clones than this. And... months after their announcements they have yet to see the light of day. I'm well past holding my breath on Behringer stuff anymore.
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I like the looks of the 2500 more than the 2600, which for me was ruined visually by the LED-lit sliders.

 

Paolo, (hopefully) the colored sliders are controlled by a knob on the back of the unit. They can be turned off (hopefully), if thats what you prefer. That's how it is on my Odyssey, can't imagine they wouldn't do the same for the 2600. Time will tell

:nopity:
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I like the looks of the 2500 more than the 2600, which for me was ruined visually by the LED-lit sliders.

 

Paolo, (hopefully) the colored sliders are controlled by a knob on the back of the unit. They can be turned off (hopefully), if thats what you prefer. That's how it is on my Odyssey, can't imagine they wouldn't do the same for the 2600. Time will tell

 

You might be right.

 

I still like the 2500 more - separate modules instead of one big module and a look that kind of reminds me of Buchla/Serge even though it's a different synthesis family.

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Having spent a year working on a real 2500, I would never want one in my studio, no matter who made it. They were horrible machines, just horrible, and didn't have a sound that made them stand out in a good way even when they worked right, which was rarely. The toothed-rail sliders for connections were disastrous for crosstalk, leading to all kinds of instabilities and rotten sound.

 

For those of you who point out that a modern 2500 would have the option of a digital patching system that would have all of the advantages of the old one but none of the audio issues or lack of repeatability... all I can do is nod and smile... and look over my shoulder at my Arturia MatrixBrute.

Dr. Mike Metlay (PhD in nuclear physics, golly gosh) :D

Musician, Author, Editor, Educator, Impresario, Online Radio Guy, Cut-Rate Polymath, and Kindly Pedant

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People are knocking Behringer's track record on releases?

 

Seriously?

 

They"ve been churning out so many models I"ve lost track of the stuff that is actually, physically out there...

 

Here"s a list from the notoriously well-connected (as in, personally informed by Uli, given private factory tours, and secret demos of unreleased products to tease) amazona.de:

 

https://www.amazona.de/status-behringer-synthesizer-news-tests-uebersicht-2020/

 

The first list is the announced or teased products and the estimated âpercent complete'. The second is the actual released products. (One error stands out to me: the Dimension D clone hasn"t been removed from the âunreleased' list, despite already being on the âshipping' list. I"m also not sure why the Dim-D is on the âsynth' list, seeing as it"s a rack chorus. The Klark compressors ought to be there too, by that yardstick. No matter.)

 

That"s pretty mind-boggling to me.

 

The 2600 clone has been demoed in nearly-complete state at the beginning of this year. I cannot imagine Covid leaving Behringer's development and manufacturing facilities unscathed, so delays on release schedules for this year seem obvious.

"The Angels of Libra are in the European vanguard of the [retro soul] movement" (Bill Buckley, Soul and Jazz and Funk)

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Behringer has the same problem that I do. They talk too much. They are too forthcoming with plans and thought information. They would be better off if they didn"t communicate so much so people wouldn"t get disappointed so much. I like the odyssey but my issue is the same with all mono synths. Rig space is a premium so I find it more effective to go with an analog poly and run it in mono/unison modes for my mono voices. Plus I really like to solo on 61+ keys. When I shred ..... I want to shred.

"It doesn't have to be difficult to be cool" - Mitch Towne

 

"A great musician can bring tears to your eyes!!!

So can a auto Mechanic." - Stokes Hunt

 

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Having spent a year working on a real 2500, I would never want one in my studio, no matter who made it. They were horrible machines, just horrible, and didn't have a sound that made them stand out in a good way even when they worked right, which was rarely. The toothed-rail sliders for connections were disastrous for crosstalk, leading to all kinds of instabilities and rotten sound.

For those of you who point out that a modern 2500 would have the option of a digital patching system that would have all of the advantages of the old one but none of the audio issues or lack of repeatability... all I can do is nod and smile... and look over my shoulder at my Arturia MatrixBrute.

 

No self-respecting Synthesist Our Age has less than 10 tales of gear they acquired that had been a Grail, but which turned out to be a colossal white elephant. You're not fully seasoned as a modern man until you've thrown some piece of rotten tech into the street overhand. I refer you to the fiery case of Wakeman vs. Mellotron.

 "You seem pretty calm about all that."
 "Well, inside, I'm screaming.
    ~ "The Lazarus Project"

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No self-respecting Synthesist Our Age has less than 10 tales of gear they acquired that had been a Grail, but which turned out to be a colossal white elephant. You're not fully seasoned as a modern man until you've thrown some piece of rotten tech into the street overhand. I refer you to the fiery case of Wakeman vs. Mellotron.

 

 

Or Moe vs. Prophet 10.

Moe

---

 

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No self-respecting Synthesist Our Age has less than 10 tales of gear they acquired that had been a Grail, but which turned out to be a colossal white elephant. You're not fully seasoned as a modern man until you've thrown some piece of rotten tech into the street overhand. I refer you to the fiery case of Wakeman vs. Mellotron.

 

 

Or Moe vs. Prophet 10.

 

I recently read an interview with Rick Wakeman where he agrees with you on this

:nopity:
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I don"t think Moe has ever been big on Sequential. I recall he doesn"t like the 08.

"It doesn't have to be difficult to be cool" - Mitch Towne

 

"A great musician can bring tears to your eyes!!!

So can a auto Mechanic." - Stokes Hunt

 

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I don"t think Moe has ever been big on Sequential. I recall he doesn"t like the 08.

 

Prophet 5 rev 2 == yum.

I had a buddy with a Prophet T8 which I liked OK.

I've played the P6 and feel it has a lot of the flavor of the originals.

The Pro 2/3 demos sound great although I haven't been in front of one.

 

Generally, I don't enjoy his instruments that get the Curtis filter chips. Having been first exposed to SSM, I'm hard to please. SSM filters, the 2040 and 2044 chips in particular, have a great and musical wide range. They don't require a lot of cranked resonance to be full of character. The Curtis chips just sound kind of generic by comparison to me. The P6 and Pro 2/3 have the old SSM filter topology although implemented with discrete components which is probably why I like them.

Moe

---

 

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