MATRIXSYNTH

ARP 2500 (working on rhythms)

Published on Mar 19, 2015 eva bowan

"a little jam/shaping a rhythm on ARP 2500 at WORM Rotterdam during my artist residency there in March 2015"

Published on Feb 21, 2016 Mike Olson

"On February 19th 2016, I spent the better part of an afternoon at the University of Minnesota in Minneapolis, exploring the legendary ARP 2500 modular synthesizer. This was the first time I had ever used this instrument. I recorded a bunch of material to take back to my studio to use in a new composition. This is a short video of me generating some of that material."

ARP 2500 Modular Synth

Published on Oct 23, 2007 David Morley

"I was checking the ARP 2500, so decided to video whilst noodling.
Will make something better later...
AMAZING synth. Funky, fat, flexible."

ARP 2500 Modular and TR-808

Published on Sep 6, 2008 David Morley

"Just a small jam on the 2500 with the 808 triggering it and mixed in."

4 hours into testing

4 hours into testing from DeltaDeltaDelta on Vimeo.

"arp 2500. after some repairs. some fiddling and some old scanned manual reading."

wind farm with sounds of the arp 2500

wind farm with sounds of the arp 2500 from Tara Rodgers on Vimeo.

"Aerial view of wind farms north of England, with sounds of a restored ARP 2500. Sound + video from October 2014."

Shipping News - demo showing the ARP 2500

Shipping News - demo showing the ARP 2500 from David Morley on Vimeo.

"Here is a demo of the ARP 2500 modular I made. No other instrument was used.

My objective was to show off the range of the instrument in a musical context.

Please visit http://www.davidmorley.com and check out my other works and a better quality version of 'Shipping News'

My music is published by Bug Music in London http://www.bugmusic.com

The video was something I knocked up in iMovie just in Sequencing was performed with the ARP sequencers.

Multitracked in Logic 8. Mixed on my D&R Orion desk. Reverb came from my EMT 246 and an Eventide H3000 was used for delay."

Koutsomichalis - 2500, ordine geometrico demonstrata: substantia prior est natura suis affectionibus

Koutsomichalis - 2500, ordine geometrico demonstrata: substantia prior est natura suis affectionibus (excerpt) from MarinosK on Vimeo.

Subwoofers required

http://marinoskoutsomichalis.com/arp-2500/

Roger Powell "Cosmic Furnace" (1973 synthesizer album)

Published on Apr 23, 2017 Cosmic Pickle

ROGER POWELL "Cosmic Furnace" (1973)
This is synthesist Roger Powell's first solo album, originally on LP in 1973, here taken from the 2005 CD re-issue, which is currently out of print.

Roger Powell worked during this period for the ARP synthesizer company and after as a programmer for the Apple computer company for a number of years (1997 to 2009) . More recently he works at Electronic Arts as a Senior Producer on emerging music technologies.

In between he played with Todd Rundgren's Utopia group, from the mid 1970's to the mid 1980's.

Roger Powell: ARP Synthesizers, Electric Clavichord, Electric & Acoustic Pianos

All tracks composed by R. Powell-

1)"Ictus: Primordial Pulse"(0:00)
2)"Lumia: Dance Of The Nebulae"(4:55)
3)"Fourneau Cosmique: The Alchemical Furnace Of Cleopatra"(10:01)
4)"Hermetic Enigma: The Fixed Volatile"(17:38)
5)"Queene Enfineska: Serenity Of The Lion In Summer"(23:23)
6)"Tensegrity: A Dymaxion Triptych"(26:44)

S&H Explorations for Bb Clarinet and ARP 2600 Synthesizer

Published on Nov 11, 2013 Ronald Pellegrino

"Since 1967 I've worked with a lot of different sound and light synthesizers. Whenever I get a new instrument my MO is, early on in the exploratory stage, to challenge myself to do a piece with it. As director of the Oberlin College Conservatory of Music Electronic Music Studios I added the ARP 2600 to the facility in 1971 around the same time Larry McDonald, the faculty clarinetist, asked me to compose a piece for him. At the time of Larry's commission I was exploring the Sample and Hold function, thus the first part of the title, S&H Explorations. This is an excerpt of that piece (the final two thirds).

Larry and I performed this piece numerous times at museums, cultural centers and universities from Ohio to Connecticut. I also gave performances with top clarinetists in San Francisco, Los Angeles, Phoenix, Dallas and New York City. It generated a lot of gigs so at the time I thought of it as my "money piece". Other composers definitely liked it; I was part of a composer's gathering where Luciano Berio was conducting a master class and this was only piece he wanted to talk about to the chagrin of the other composers. It was composed so only I could do the synthesizer part; talk about painting a piece into a corner.

The clarinet part is traditionally notated in great detail. Larry is an outstanding musician, nevertheless to get what I wanted to hear I often had to sing the music to him and the same was true of the other fine musicians who performed it. For me those experiences highlighted once more the inadequacies of traditional notational systems and I was well on my way to setting them aside to focus on the development of my personal raga system and real time composition for the rest of my musical life. I count myself as being very fortunate for having taken that road. It's infinitely more exciting and more productive for me personally and for any artists who have worked with me."