ARP 2500!

Anything modular synth related that is not format specific.

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JohnLRice

Post by JohnLRice » Sun Aug 28, 2011 11:11 am

Just 2500 by David Morely:

[video][/video]

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Lyonel
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Post by Lyonel » Sun Aug 28, 2011 11:39 am

This one isn't bad too.
Sequencer almost at audio rate at 4mn. 8_)

[video][/video]

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dougcl
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Post by dougcl » Sun Aug 28, 2011 11:57 am

Lyonel wrote:This one isn't bad too.
This video sucked me into modulars. Bastard. :lol:

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DedMousie
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Post by DedMousie » Sun Aug 28, 2011 2:45 pm

My degree is in music composition with an emphasis in electronic music. The lab at the school had a 2500 as the main instrument, a 2600, and a Synthacon with some additional Steiner Parker modules.

<bragging>
It was very quickly determined that I knew more than the professor, as I had more gear at home than the university had, and I ended up nassisting the class and helping other students wrap their head around the way things worked.
</bragging>

From best memory, the 2500 in the lab had:
1004p: Single Oscillator Module
1023: Dual Oscillator Module
1003 Dual Env
1005 ModAmp
1016 Noise/Random
1027 Sequencer
1045 Voice
1047 Multimode Filter
1050 Mix-Sequencer

To be honest, I never got along with the 2500 at all! Main problem being, they're not really built that well. The 2600 is far superior in build quality.

Most of the problems centered around the patch matrix. Jacks and sliders in the matrix were constantly failing and needed continuous maintenance.
The modules, which seemed mostly OK, had connection problems to the matrix and needed to be removed often to have connectors cleaned. Cross-talk in the matrix was pretty bad as well.

Honestly, if we could have thrown the entire cabinet/matrix out, and brought all the connections directly to jacks on the module panels themselves, it might have been a killer synth. Otherwise, it was just a PITA every time you went in there to work on a project as you never knew what part of it would be failing on a particular day.

It wasn't just this particular system, as I had contacts with three other owners at the time and they had the same complaints about their systems.

One thing about the system I did like - the 1047 filter has an interesting "Keyboard Percussion" switch which basically allowed you to 'ring" the filter. Info here: http://www.guitarfool.com/ARP2500/DennisCollinPaper.pdf (it's a PDF) if you're interested. (the math is beyond me - I don't even pretend to be that smart!).

I've always wished somebody would create a clone of this particular filter.
Les Mizzell
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CJ Miller
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Post by CJ Miller » Sun Aug 28, 2011 3:30 pm

I have a little 2500 hands-on experience. They are IMO technically a real PITA. But they are rare and interesting, and warrant discussion. The prices vintage modulars command are mostly not worthwhile to me, I know if I ever found a 2500 I could even remotely afford it would be in nightmare condition. For "that sound" I'd be better off cloning the boards and patching it out with real jacks. But even considering its impracticality, it is a gorgeous instrument. I would even buy it a few boxes of crackers to eat in my bed.

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laserpalace
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Post by laserpalace » Sun Aug 28, 2011 3:52 pm

My admiration for this machine comes from the time spent listening to Eliane Radigues compositions on it. Certainly it's antiquated compared to many modern standards, but the rarity makes it worth commenting on.

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jabeoo1
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Post by jabeoo1 » Sun Aug 28, 2011 4:08 pm

This could have been a good thread if someone hadn't bothered kicking off Jeramy Kyle style.

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CZ Rider
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Post by CZ Rider » Sun Aug 28, 2011 4:14 pm

DedMousie wrote:I've always wished somebody would create a clone of this particular filter.
I never really looked at the specs of the ARP 1047. They are surprisingly similar to the Dennis Colin's aided design of the Aries AR-327 Multimode filter. The Aries is also capable of Q settings of .5 to 512 without self-oscillating. The description from the ARP 2500 literature is almost lifted word for word in the Aries manual. Although probably not a clone, it may be close.
The percussion switch is described as "The keyboard percussion feature permits the filter to be used as a tone source or resonator. By applying a keyboard trigger pulse to the audio input, decaying sinusoids are produced at the bandpass, highpass and lowpass outputs."
I would guess the same could be patched on the Aries AR-327 to get a similar tone? I'll have to try that!

I wouldn't mind owning just one of those 2500 wing cabinets with 5 or 6 modules to get that 2500 tone. Or even build a custom cabinet to eliminate the Cherry switch matrix and use patch cords. Definitely an Aries connection to the 2500/2600. The first prototype Aries modules in their 1975 catalog had some type of pin matrix before they went to the Tini-jax system. Guess the matrix wasn't as reliable as the switchcrafts.

Great links to the 2500 pics and vids! Thanks! :tu:

PS: I play a vintage 1969 modular every day I can, it ain't no collector piece! :bananaguitar:

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rlainhart
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Post by rlainhart » Sun Aug 28, 2011 4:28 pm

It's comments exactly like this led me to ignore this fucking idiot - I just wish that when you block someone, you didn't have to see their comments in quotes either.

Nelson, isn't there some other forum of like-minded antisocial psychopathic half-witted drunken masturbators you can infest, and leave places like this to those who prefer rational discussion?


Kent wrote:
Nelson Baboon wrote:how many of you who are raving about this have actually worked with one?

The only experience I've had with one is very second hand. the person I knew who had one sold it and kept his new buchla.

This whole worship of classic synths just goes too far, I think. Maybe it's really amazing. But really - if you haven't worked with one, why the fuck are you posting this shit?

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Mitchk1989
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Post by Mitchk1989 » Sun Aug 28, 2011 4:58 pm

rlainhart wrote:It's comments exactly like this led me to ignore this fucking idiot - I just wish that when you block someone, you didn't have to see their comments in quotes either.

Nelson, isn't there some other forum of like-minded antisocial psychopathic half-witted drunken masturbators you can infest, and leave places like this to those who prefer rational discussion?
now, IMHO neither of you really contributed THAT much to the discussion, but at least nelson's post was about synthesizers...

There's an arp 2500 filter clone coming from AMsynths I think.
Last edited by Mitchk1989 on Sun Aug 28, 2011 4:59 pm, edited 1 time in total.

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dogoftears
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Post by dogoftears » Sun Aug 28, 2011 4:58 pm

Ive used a 2500 all of once and found it to be an amazing instrument capable of very unique tones. Nelson i think u would be at least somewhat attracted to its sequencer. I believe jack dangers used this one a lot on sub san disc 2. Cevin key has a beautiful system and i believe uses it quite a bit in Download.
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DedMousie
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Post by DedMousie » Sun Aug 28, 2011 5:20 pm

laserpalace wrote:My admiration for this machine comes ...
I think you'd come close in function with one of Phil Cirocco's systems:

http://www.discretesynthesizers.com/dsc/dsc.htm

I've never seen one in person and I don't know anybody that owns one either though. However, you have to admit, they are drop dead gorgeous!
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Post by aumgn » Sun Aug 28, 2011 5:29 pm

on the subject of the 2500 what a beauty , , on the subject of ' antisocial psychopathic half-witted drunken masturbators ' that would make one hell of a euro module / name ..

JohnLRice

Post by JohnLRice » Sun Aug 28, 2011 5:30 pm

DedMousie wrote:
laserpalace wrote:My admiration for this machine comes ...
I think you'd come close in function with one of Phil Cirocco's systems:

http://www.discretesynthesizers.com/dsc/dsc.htm

I've never seen one in person and I don't know anybody that owns one either though. However, you have to admit, they are drop dead gorgeous!
I love Phil's designs! :tu: :hail:

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chromium
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Post by chromium » Sun Aug 28, 2011 5:37 pm

These were inspiring to me, and the audio was created using a 2500:

[video][/video]

[video][/video]

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ersatzplanet
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Post by ersatzplanet » Sun Aug 28, 2011 7:59 pm

The first synthesizer I ever played was a Arp 2500 at Western Washington State Collage (now Western University). I was a art major and the EM class was one of the very few classes you could take at the music department without music being you major or minor. It wasn't long before I was earning 400 level credit for running the lab and teaching the hardware side of the course. I loved that machine. That was back in the early 70's so the machine was brand new and worked flawlessly. There was only crosstalk on the matrix when extremely loud signals were used. Ones you got familiar with the matrix it was VERY fast to set up patches and live performances were easy since you just slid the switch into place to change the patch. The modules were fully buffered and you had basically unlimited multiples. I can see that over the decades that the switches could wear out (much like jacks and banana plugs can get loose over time). I can't say that there were any real unique modules in the rig that are not common now. And the unit did take up a lot of space for the modules count it has. It was a beautiful machine though. Very classic graphics and layout. I worked at the first Synth store in Seattle after graduating and was able to play a lot of the major modular synth of the day (E-mu, Roland, Arp) and the look of the 2500 was my favorite. Such a clean and logical layout.
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Post by negativspace » Sun Aug 28, 2011 8:28 pm

I don't recall any reliability issues with the one at KSU, thankfully... over two semesters + various trips to the lab in subsequent years (I remembered the lock code) it never gave me an issue. I do remember crosstalk, flimsy-feeling sliders and a clunky interface.

They did have the sequencer module, which was my favorite toy. I'd often bring my as many of my x0x machines as I could up to the studio (had a 202, 303, 2 606s, 808 and 909 at that point), clock the modular with the drums' trigger outs, and jam out.

Now that studio is a tuba practice room. There was only one professor who gave a shit and taught synthesis as an overload every semester - and he's retired. Sad.

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Post by noobyscooby » Sun Aug 28, 2011 11:13 pm

DedMousie wrote:</One thing about the system I did like - the 1047 filter has an interesting "Keyboard Percussion" switch which basically allowed you to 'ring" the filter.

Info here: http://www.guitarfool.com/ARP2500/DennisCollinPaper.pdf (it's a PDF) if you're interested. (the math is beyond me - I don't even pretend to be that smart!).

I've always wished somebody would create a clone of this particular filter.
Someone can correct me if I'm wrong but I've read this technology was also employed in the ARP Soloist/Pro Soloist. You have no control over it but I believe it is automatically employed on certain patches and it makes sense on certain ones for sure.

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dougt
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Post by dougt » Mon Aug 29, 2011 1:38 am

My E-mu UAF also has that feature.

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daverj
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Post by daverj » Mon Aug 29, 2011 4:11 pm

CZ Rider wrote: I never really looked at the specs of the ARP 1047. They are surprisingly similar to the Dennis Colin's aided design of the Aries AR-327 Multimode filter.
Not too surprising actually, since as I understand it Dennis Colin designed the 1047 filter as well as most of the other early Arp synth modules (2500, 2600), as well as the Aries 300 series, and I believe even the filter in the SEM.

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