BassTractor

Woh??? Pure coincidence, I promise you. Nice car!

Aw! An MS-24 ! 🥰 No, I've changed my mind. It's a 420G ... * 😀 Lusted after it at the time (probably in its rack version), in part guided by my love for the MS-20 and the fun I'd had with the VC-10 vocoder. Yes, please report back. Good to read hands-on experience. *) for those not in the know, a 420G is really a Mark X, Jaguar's very, very expensive model in the sixties.

Cool, @Rich! Tried one in a shop, but don't remember more than that it was attractive, its simple layout belying its width. Can I just ask: Does this thing have full-size keys like the BS2, and does it spawn a sub-octave? At any rate, the Bass Stations were/are attractive synths, and, from reports, Novation seem to have released some classics over the years.

YESSS! Great Halloween success when this thing stood howling and yammering like a set of zombies, and the neighbours' kids axed me: "Are you torturing them?" 😂 Of course I was, and for clarity's sake: I have no idea why it worked so wonderfully. Tried to lag the LFO output in the Envelope Follower, but that (initially) seemed to do nothing, etc. Must read.

bump

BTW, again as to build quality, this one receives favourable remarks ... ... the Behringer Pro-800 not so much - - quite the opposite in fact, one synth guru remarking its bad build is indicative of Behringer's quality the last one to two years.

Thanks, for the comments, folks! For brevity, I (misguidedly?) decided to leave the different Chineses out of this, but the very thought of those languages made me think that probably a listener's response is not only influenced by the intervals per se, but much by what one is used to in that language. As to @Hellzero's comment, I think he's right in that I used the wrong term. For attempted clarity, I wonder both about the total pitch range in a certain culture and about individuals' ranges and intervals. I've always had the feeling that Brits are more welcoming to pitch ranges and intervals than say the Dutch or the Nordics ... and then came this linguist's comment. As to the two examples I mentioned: Here's an example of Northern-Sami, which is one in a North-Western group of Finno-Ugric languages, and this footage starts with the regular use of it. Segment 8 (clickable below the vid), shows the less regular version I mentioned by a journalist named Kaisa Aikio. https://tv.nrk.no/serie/oddasat-tv/sesong/202410/episode/SANY70102924 An Annie Hulley example from the spin-off series Celebrity Yorkshire Auction House (embedding disallowed) : https://www.youtube.com/watch?v=3cYO-qRi3rE I couldn't find a good Series 1 example ("in beautiful North Yorkshire, in the pretty town of Kirkbymoorside ..."), but to my ears, by seaon 5, she seems to have mellowed somewhat (sounding more "reasonable" to my ears) :

Edit: Title should've been "Pitch range in speech ...." I'll leave it so as to show why the posts are what they are. What do you say: Is using a sixth or a seventh in speech, within a word or between two words, "normal" or special or annoying or ... what? Background: "Nordic countries have the widest (?) frequency range in speech", some linguist claimed. I'd always thought it was the Brits, but may of course be totally wrong. Here, we have a newsreader who can well jump a seventh within a word. She's infamous for it, and some people switch off the sound when she comes on. One Annie Hulley doing the voice-over on "The Yorkshire Auction House" jumps a documented sixth at the very least, and it made me wonder: How does that come across in Britland? Is that nice, normal, special, insufferable ... something else? (To me, a cheesehead living in a cold country, it comes across as fake cosey and totally over the top, but then I tend to be the odd one out, and also can't remember such speech from my native Goudaland.) I'm interested in hearing the British perspective on things (based on my old belief that you guys are the frequency range masters). Might well be that's she's the ultimate voice-over reader in your neck of the woods, Idunno. Comments appreciated. It intrigues me.

That's just ignorant and boorish, Dave. 😉 In other news: 101% now, and we can't have that as teacher once told us you can't have more than 100% (I told him he was wrong, but he wouldn't have anything of it). IOW: @Clarky , there's work to be done! 😀 Good job, BC!

Bumpy Rhodes (way to tired to invent something else)

BUMPh

Bumpy

Ped's already explained in the other thread why that isn't being done. Let's just keep this thread highly visible the coming decades. 😉

Bah! You're only commenting to keep this thread on top! 😡

These days, I'll only enter a music shop with the intention to buy, but I do remember the guilty feeling when using up their time when I was only preparing for a future purchase, like gathering info and hands-on experience. Guilt for wanting to buy there! Oversensitive youth! That said, different shops spawn different characters, and I once annoyed a shop-owner very much when not purchasing the OSCar synth I'd tried, and instead buying a Fostex 4-track that I hadn't tried ... I was less experienced back then, and he managed to induce guilt in me. Or I managed.

Well done, @Clarky. Now we need to keep also this thread at the top of General Discussion, by commenting. Clarky, could you please also add the justgiving link to the OP? Makes stuff quicker. Also, can you keep this fundraiser open for a week or more? best, bert

Great stuff, and IME most singers would do that naturally ... .. sadly with the exception of my ex-girlfriend, who had a great voice but who'd sing the 3rd in a VIm just like the 1st in the I chord. Ground my gears, that. 😀

Thanks, Douglas. I should've investigated just a bit before hitting Submit. Very weird system, and to my mind also rather musicality-defying. I'll not spend time on such a system.

Edit: read @Dad3353's reply. My post is wrong. I'll still leave my post here as it contains notions that I think are important. First, it's best to let go of the very idea that one sharp "means" G major. One sharp in the notation means only that: one sharp. It's not a key signature and it could go for a number of different keys, regular ones and weird ones alike, G major being a known one of those. As you say, this is E minor. You then number the chords according to the key it really is in, and in this case Em / C / G / D then become Im, VI, III, VII. In this notation, the numbers show a type of harmonic functionality. Say: traditional music will normally end in a V, I, and you wouldn't wanna write that down as III, VI (which would belie the true functionality).

Doncha think that Alan Holdworth c.s. and those who love 'complicated music' all actually lurve both Count Basie and 'when it swings"? I'd say: Carrie Underwood one day, Count Basie another, John McLaughlin a third, and Iannis Xenakis a fourth. It's all good, and addresses different sensibilities/sensitivities. I hope your experience in that record shop hasn't closed you down for Al DiMeola c.s. My received musical lessons, all of them important at the time, and changing much for me: - "As to phrasing and timing, sing along (in your head or out loud)." - "Support your phrasing through well-chosen fingering, so it flows naturally." - "You're not ready." (he was right, and I needed to hear it) - "This is garbage." (composer about a piece I'd written, and that other composers ill-advisedly had given top marks; he was right, and I needed to hear it) - a composer of extremely 'technical' music confirming my claim that he too overrode "the compositional system" when its results didn't sound musical to his ear. It's all about the ear.

Yeah, originally it was one of the best threads in BC's history, and now it's gone. 😥 I'll sorely miss it.

OK, I'll attempt to address these points. Sorry for the length. If you need to watch a video, it might still be the "near perfect" synth for you. As I've said, the 2600 may just be one of the close-to-ideal learning synths, and everyone from beginner to advanced user can get something out of using it (and the Behringer also adds niceties that lacked on the original). Better learning-synths simply must exist, but then there are these other parameters like price-point, hands-on experience, visuals (sliders vs turning knobs), the layout-induced workflow ... As to your "to get a sound out of an ARP2600": yes, everyone can literally get sound out of it, but most also need to get to know the thing, and need to learn what I called the "panel language". Acquiring knowledge by other means than looking at the panel seems OK to me. The vid that @Cairobill linked to is just part 1 of a whole series exploring several aspects. Not weird that Part 1 should contain that basic stuff. Haven't watched the series yet, but trust the recommendation. As you say, default routings are on the panel. Everyone who buys a 2600 knows this, but they still needs to get acquainted with either beginners stuff or the 2600's finer points, remembering where stuff is, and finding out what the panel language actually means, and why. For example: - Exactly why is the AR -> VCA pot a linear one and the ADSR -> VCA one exponential? Is that just about the pot (why?), or are we in fact talking about linear vs exponential envelopes? One needs to learn what is meant and why, and how it actually works. - Patching with another unit: what voltages are we talking about in the 2600 (high ones!), and can a sequencer's low 5V trigger actually trigger the 2600, and how to solve it if it doesn't. - What the Flying does the Clock Switch graphic mean? Is that an arrow or a circle down there? Hm! - Do the ring modulator's inputs switch or mix? Panel doesn't tell, but what's the logic here? - etc. etc. Me too, I need to get my head around this thing. As to the dedicated LFO, the Behringer version spawns the one from the ARP 3620 keyboard. Nice. I'd agree with a third envelope, but then again, one often likes "more of everything", and personally, I can vividly see me buying a second Blue Marvin. I'd not call the 2600 "limited", but of course "less limited" synths exist in abundance. Personally, I've either used, taught with, owned or still own more advanced synths, and yet lurve this Behringer thing. I hope this wordiness helps for something, especially if someone is on the fence about any 2600 or about the Behringer version specifically. I'd say: at least have a sniff at it.

Ooohw! "We will be exploring both east coast tonal and west coast avant-garde uses of the synthesizer" That looks great, and especially the West coast bit interests me. Though, as indicated earlier I've forgotten more than I've ever learned. 😁 Thanks for pointing at this channel. In the mean time, each half hour I spend with the Behringer version, I get more impressed with it. It sounds soo good, and as said I'm being transported back 50 years. Another aspect I find compelling is how easy it is to dial in stuff. Those pots seem to have very good ranges, and I can see why artists used the thing live. I also get the feeling that, despite its slightly confusing panel layout, it's actually good for teaching and learning, once one gets one's head around the panel, and actually remembers where stuff is and where those 33 pre-wirings are. Me, I'm still searching the panel, which is slow. At any rate: glorious machine. Melurves it.

Aye. Me, I had the Korg keyboard version, and the Odyssey too was about old love. I'd used that too back then, but never owned one. Edit: an unfinished post was suddenly posted; I guess I must've hit a key combination for this to happen. Anyway, I love the sync too, and was happily surprised to see that the Behringer spawns hard sync on the VCOs. As you can see, I hadn't studied the B before buying; to me twas just a 2600 at a price point I could afford, and then I got lotsa positive surprises after buying, like for example the stuff from the 3620 keyboard being on the panel, and the inclusion of both 4012 and 4072 filters. I had no idea. Lurve it, and am so happy I made the plunge. Now to remember where everything is, and exactly what to expect from everything. This time, I think I'll actually read a manual for once, as the original ARP one is lauded universally. I'd read that 50 years ago, but have of course forgotten most of the non-basic stuff.