BassTractor

This thread brings back memories of the StingRay being introduced (how time flies) with lots of tech speak and calculations. This was supposed to show us exactly how and why the StingRay position made sense. Corporate mumbo jumbo? Dunno, but the sound was convincing enough.

No idea. I've never been knowledgeable in this, and also have forgotten more than I ever knew. I've tried to have thoughts about this, and thought that maybe Hz/V is more easy to get right in the upper octaves. However, I do not know this, and it might be bollocks. At any rate, it seems limiting if all you have got to work with are limited voltage ranges - e.g. that V/Oct might give a broader frequency range without the use of expensive circuitry. I do remember interconnecting my Kawai 100F with my MS-20, which gave that going down a half tone on one keyboard meant the other synth went up, but then with either a quarter tone or a whole tone - depending on which keyboard one played. Also, we had this interconnecting trick (do really not remember the specifics), whereby the MS-20 patch bay and the mod wheel together made interconnecting a "doddle" of sorts. You'd have to turn the mod wheel very carefully to a fixed position to get this right, and you lost normal use of the mod wheel. Ghastly, but still had a certain charm. I vaguely remember having seen your circuit-in-jack-plug solution somewhere, but haven't used it myself. Yeah, it seems a shame that standardisation hasn't occurred morely betterly.

Don't know yet (have not had the time), but have seen 1V/Oct, 5V triggers (the 2600 reportedly being the odd one out (10V IMS) even though it should normally work from 6V and up), and CV ranges from -2.5V to 2.5V (but I think I somewhere also saw -5V to 5V without me remembering the product that relates to). One day I hope to find everything out for the units I have (or might buy later). Right now stuff goes on in my life that keeps me from doing that. I don't know to what degree stuff has been standardised lately, but Eurorack is reported as being non-standardised. I know zilch about Eurorack.

Thanks, @pfretrock. Really helpful. Without knowing too much about this stuff, I think we may be seeing similar design quirks in the Behringer 2600 inputs. Half-related only, and I've yet to write down the factual details, an opamp might be in order also to send sequences to the 2600, as it reportedly demands high voltages - - though reportedly not as high ones as the ARP 2600.

Aye, and I can find them a bit more easily. Don't like rummaging.

Seems they might be going bankrupt in Holland now. Before, Bax in Holland had a good name, and all the criticism I saw was about their UK branch. Unknown to me how and why. Reportedly, also Bax Holland's name has gone down the drain recently. Today (Saturday) one or more of their Dutch shops were closed, and the firm filed for "postponement of payment" or something like that, which normally is a step towards bankruptcy. Dunno the finer details.

Yeah, many fair points, I think, and I agree about the MS-20 patch bay. As said in the 2600 thread, we tend to often want a module we don't have. With for example my poor-man's solution, one does have the extra VCAs and EGs, and gets those at a cost within reach, e.g. 1200 quid in total for the mentioned four synths. In Eurorack, I feel one hyperbolically needs a degree in modules to be able to find the cheap modules that do what one wants, and then still has to invest in the cabinets. But yeah, really attractive with separate modules these days. Back in the days when we could buy a 2600 or MS-20, the alternatives like Buchla, Moog and Synton cost a leg and a rib. Off the top of my head I can't remember much else. BTW, I worked with all three brands, and did find the patching quite tedious back then; things have certainly changed. Then there's the bread-and-butter sounds: quickly dialled in on a semi-modular, whereas on a modular, one needs to either patch or keep patches. Keith Emerson famously had parts of his Moog set up as separate synths - IMS one of those resembled a Minimoog.

Thanks. I think I will. The 2600 is well-regarded too. IMS every reviewer raves about it, and reportedly it has decent build quality. Personally, I have the Model D for "that sound" and its superfast dialling, the Model 15 for some extra bits and the sequencing and arpeggiating, and two 2600s for all the tinkering that my brain can muster. If money was no concern, I'd get more modern Eurorack modules, as it's unbelievable what some of those offer. Though: I fear the rabbit hole.

Yeah, one has to keep a clear mind, or else it's easy to get dragged in. Have you considered semi-modular, like the 2600 and others as a compromise of sorts? For me personally, after having spent virtually no time on tinkering for decades, these knobs and cables offer a welcome return to it, as I've loved tinkering since the early 70s. As to going modular, I decided against it - not for tinkering reasons but for pecuniary ones. Just the price of Eurorack cabinets alone! Yeah, some of Behringer's offerings seem stellar in that regard, and for example the Model D and the 2600 also offer more than the originals.

Thanks for all of that, RatM ! Bugger about the build quality. IIRC, Moog was once known for build quality, but then again, I've not handled any since the early '80s or even followed developments in the market. The Behringer OTOH is part of a series you may know well, which seems to share fairly good builds (reportedly except the Pro-800), but, as said in another thread, with surface-mount patch points rather than panel-mount ones. Reports on recent developments re Behringer synth build quality vary somewhat, some saying the last two years have been worse again. 😕 I think I'll need some time to get to grips with the patch panel too, as it's not always immediately clear exactly what is meant with the labelling. Don't imagine it's difficult once given some time, but do expect to need to remember quite some details. Same with the 2600, where one superficially might think one knows what to expect from a patch point, and then there's this tiny detail that makes it work differently. Hadn't heard of the Sirin, but it's not on my radar - my "70s monophonic analogueness" cravings having been met with the synths I bought this year. A DFaM or Edge might suddenly see my desktop. I've never used or owned a thing like those, and have no idea what to expect of them, so a visit to YT is probably in order. I'm not wary of repeating patterns, but they do need to develop over time, just like TD and others made them do. Thanks again! bert

Thanks, RatM ! The more I read, the more I think they're practically interchangeable, which makes me wonder whether that's even legal. Problematic. I also saw the old Realistic MG-1 being mentioned as their source synth, but feel that's stretching it. But yeah, it did have colours. 🙂 I trust you have a great synth in the GM. Are you satisfied with it? I do know you've mentioned it, but forgot how you're getting along with it. Yeah, the Model 15 is tiny and very handy. With that, it of course also comes with that Eurorack drawback of "two-knobs-per-finger". I'll probably get used to it. The tiny space also means label abbreviations, but again I trust one gets used to it.

Just got it a few days ago, and already love it to bits. From what I hear and read, it has the VCOs and VCF from Moog System clones (Behringer 900 series), and thus, this thing sounds just a smidgen less deep and phat than a Minimoog. Can't compare with my Behringer Model D yet, as these things are in different countries. Now, what I "miss" from the Minimoog as I remember it, is muchly compensated by the extensive patch panel (48 points) and the arpeggiator and 256-step sequencer (and probably other bits too). The "Karn Evil 9" department: Had a blast putting its synth outro into the sequencer and, without me even doing my best, the 2 VCOs plus sub-octave sounded very much like that iconic sequence. Few knobs, but not simple. Fast dialling, like with a Minimoog, and then you get the patch panel too. Melurve.

... and there was me thinking Cameo were nothing to spend time on ... (that was based on their mid-'70s output) ... and then this. Thanks for posting!

Saw the same scam both in Norway and The Netherlands, and what struck me was the comments section: lotsa fake comments from fake accounts, and say half of the names were English sounding whilst half sounded Norse or Dutch, but the names were a bit off. Obviously a scam ran from abroad, and its designers have a rough idea of foreign-to-them names, but not quite. That said, the fake people were very happy with their speakers, as they so eloquently put to three words, so I reckon it's all good. 😁

Will do, @Steve Browning. Thanks.

I appreciate that you don't remember the details; most wouldn't, and only a few would. Personally, in this case I'd remember some details, but probably not all. Still, I guess I must've worded my post poorly, so I'll try to reword: A BC owner told BC readers about his experiences as a member of the audience at the name person's stand-up gig. That name person somehow learned about this and started threatening BC with a court case. Owners told us the very existence of BC was under threat. Trying to be in BC's corner, I asked my questions, and, instead of answering the questions, that person tried and partially succeeded in making me look like the bad person. Some people on BC thanked me profusely; others started the blaming and the namecalling. Since, every now and then someone refers to me as a bully or as the one who "has hounded off" said person. I've kept silent after BC owners asked me to. I think there was no "hounding off", and if there was a bully, it was not me. Instead, I think I was someone attempting to help BC remain in existence, by asking three simple questions. The relevance of something said at a stand-up performance exists (solely?) in that the story was told on BC by one of its owners, and the name person then threatened to drag BC to court. I think there was no subject matter of people trying to treat said person badly over his reported racial stereotyping or over musical choices he may have made. I at least have not seen such treating him badly. On the contrary, I saw people submissively treat him like someone on another, higher, level. The subject matter as far as I could see it was only his threatening BC with a court case.

I've kept silent until now, but no more. That person threatened BC with a court case, thus essentially threatening the very existence of BC. This was after one of BC's owners had reported about that person's use of racial stereotyping during a stand-up performance of his. In response, I asked that person three questions - - questions that were easy to answer. Also: they were attemptedly (probably failedly) designed such that they might bring some clarity in a court case - should that person decide to go forward and drag BC to court. That person decided to not answer those three questions (my guess is he's smart enough to have understood the implications of his answering them), and singled me out as the terrible person. Seemingly, you along some others lapped it up. Me, I'm not impressed.

No, I think the more fair comparison for popular songs would be with his late string quartets. 😉

Coz if my dansband and C&W circles knew I secretly love Penderecki, Stockhausen and Xenakis, they'd come after me! 😉

I'd guess such a project yields too little for Lego as to expected spin-off, so I don't expect them to offer the product. That said, under the "ya never know" slogan, I've done the support thing.

Ha! I actually contemplated telling the story of my former girlfriend, who picked up the bass and as her first song played ... exactly that ... 😱 Mind you, she already was an accomplished musician, nearly getting the job as second flautist in the Concertgebouw Orchestra. Since I'm here anyway, some days ago I mentioned "Games Without Frontiers" as my first song. That was before I tried to become a bass player. A buddy of mine had gone on for 15 years about how he should be playing a musical instrument, but "now" it was too late to start. Fed up with this nonsense, I taught myself said song and when this buddy visited me, I pushed the bass onto his lap and said upon him that he wasn't gonna leave the premises before being able to play the song. He abided, and some years later became the bass player in a local band. ... the irony being that I myself still can't play the bass. 😀

Games Without Frontiers - Peter Gabriel

In response to what @tauzero said, from my own line of work some decades ago: - the factory builds a fibreglass kayak at a certain cost and adds 14% to reach a selling price. - importer adds 17% to the in-price. - shop adds 35%, hoping the costs remain at 25% so the income is 10% (or just 7.4% of the selling price, which equals to 5.9% of the price-including-VAT) Other numbers for other (normally cheaper) products, other lines of trade, etc. etc.

- Ordered last Monday evening for a Friday evening delivery (according to Thomann site). - Dispatched Wednesday. - DHL said delivery was to be Thursday evening, but then I got a delay message from them. - Item delivered Friday morning (this being in The Netherlands). That's three and a half days within the EU. I'd guess you could add two or three days for the UK.

@SamIAm was logged in to BC five days or so ago, so she may be read-only now. At the very least she'll now be notified about this thread. I hope she's well and doing OK. b