amazing. i've had my 2600 for a couple of years now and i never thought to really explore the duo modes. until now! really good video. clear explanations, nice demos. thank you
another impressive _"college level"_ video... even though I doubt I'll ever use _any_ of the duophonic modes, it's just interesting to see the quality of your videos and the uber in-depth information... THANKS!
Trying to figure out what Portamento's pitch routing was doing in Mode 2 about broke my brain. Seems like every patch point on this synth is a rabbit hole ... I hope you at least try playing with Mode's 2 and 3. Even if you're just playing single note melody lines they can add some character to the sound.
this is a great documentation video. The Behringer 2600 lacks documentation, but this fills in a lot about the upper voice, Duo, and how the B2600 reacts to keyboard input. Thank you so much.
Thanks for all your effort documenting the results of your experimentation, brilliant is all I can say. I now have mode 3 permanently set up, love the extra effects when I want them. Makes it so much more interesting and even more enjoyable than it already was!
Thank you for this. I have been disappointed in the duophonic mode when playing. My Korg Odyssey module doesn’t seem to have the same problem. I am looking forward to trying your 2nd and 3rd modes.
I just tried this today and it works great! Thanks again. Back in the seventies, I owned an Arp 2600. A year or 2 later, they came out with the duophonic version. I drove to the Arp factory (from south western Ontario) and had mine upgraded with the newer keyboard. I remember I loved having the 2 notes as well as the extra lfo. I can’t recall ever having the problem that the Behringer has with mode 1. Can anyone with an original Arp confirm this or is my memory fuzzy after all these years.?
Glad it works! (Reading your comment I had this momentary panic: what if I just did this whole tutorial about something that only works on my 2600?!?! lol.) I don't personally know anyone with an ARP 2600, so I hope they will eventually find this video and want to comment here. I can't imagine the ARP had a Mode 2 but it wouldn't surprise me that it worked the same as Mode 3 does. The only real difference between modes 1 and 3 is that 3 listens for both MIDI NOTE ON and MIDI NOTE OFF events. The old ARP keyboard could certainly have been paying attention to "key down" and "key up" events.
How about covering the also strange gate/trigger behaviors, how to use both envelopes, and other ways to approach polyphony with MIDI and/or CV combinations and external hardware, preferably DAWless?
The amount of time and effort that goes into making these compared to the "return on investment" they've delivered has pretty much killed my appetite for more. I started a part 3 on the tutorials quite a while ago, focusing on the 3 oscillators. You'd think that would be fairly simple to put together, but when I started looking at the many ways one oscillator can modify the sound of another through FM (including the surprising effect you get plugging the output of one oscillator into the *output* of another), it was clearly going to need a lot of time to explain things... I may at some point get back to working on that, but it's low on the list of things I'm currently interested in spending time on.
You're welcome. I spend that time with the hope these videos will get some more beautiful music into the world ... I hope it makes that easier for you to do.
@@24x7arts your video is spot on, i just got back into electronic music after a stint on bass guitar and a 2600 arrived home a few days ago. I hope to spread good music and it will also be thanks to you.
I "stumbled" on it by accident and then spent who knows how many hours experimenting with it just so I could figure out what was actually going on. As far as I'm aware, these extra "modes" are not documented anywhere.
Thanks for this explanations, I will try that out my 2600... I am never interested for this mode cause if I want poly I take my poly synths..But finally for some special things can once be used why not...
@@24x7arts great thanks, I can send midi out with my sequencer so this should work, only thing i was wondering was do you know the specific limitations with midi and cv/gate when using the synth?
I'm not sure what you're asking. A big difference between MIDI and CV (as far as duophonic modes are concerned) is that the CV cable can only carry one signal (voltage) while the MIDI signal is polyphonic. When you hold down multiple notes on a MIDI connected keyboard, the 2600 can get the pitch of all the notes from the MIDI message. With CV, you'd need a cable for each note and some place on the 2600 to plug each of those cables into (not to mention a cable for each note on/off message).
@@24x7artsThanks, but i meant more in terms of what are the advantages of one (midi or cv) to the other in terms of the information sent. for example velocity data, pitch bends. Things like that. from what i have read it seems there is a slight difference in what each one sends. thanks for the info though, still interesting to know. I actually do plan on sending 3 different cv patch cables to each VCO's individual pitch input and seeing what kind of chords I can come up with.
The main difference between the two is that MIDI is digital and control voltage (CV) is analog. MIDI values for things like pitch, velocity and aftertouch are represented by integers (0, 1, 2, ... 127). CV signals are voltages, typically between -10 and +10 volts (but often 0 to +5, -5 to +5, or 0 to +1, depending on what the voltage is controlling). Where a MIDI value can for example, be 1 or 2, it can't be 1.25 or 1.814. CVs between 1 and 2, on the other hand, can be 1.257352 or 1.90123 etc., again for example. That means CVs can be more accurate. However, it's the person who is listening to the resultant sound(s) that really matters, and you'd be hard pressed to tell the difference between, say, MIDI velocity values of 63 and 64, or CV values of 5v and 4.89v.
dude, it made me laugh so hard when you demonstrated the patch for method 2. That is just so backwards. I want a 2600 so bad. I might sell my ms-20 mini and volca keys for to afford one. I really like the ms-20, but the form factor is too big and the patch bay is too limited for my taste. I might get a k-2 in the future to replace it.
Thanks my journey with the 2600 has been a fun one and keeps gettig better with time,new possibilities on the horizon
Incredibly helpful video, thank you *so* much
You're very welcome!
amazing. i've had my 2600 for a couple of years now and i never thought to really explore the duo modes. until now! really good video. clear explanations, nice demos. thank you
another impressive _"college level"_ video... even though I doubt I'll ever use _any_ of the duophonic modes, it's just interesting to see the quality of your videos and the uber in-depth information... THANKS!
Trying to figure out what Portamento's pitch routing was doing in Mode 2 about broke my brain. Seems like every patch point on this synth is a rabbit hole ... I hope you at least try playing with Mode's 2 and 3. Even if you're just playing single note melody lines they can add some character to the sound.
@@24x7arts yeah? ok, then... I _will!_ you've convinced me! 👍
this is a great documentation video. The Behringer 2600 lacks documentation, but this fills in a lot about the upper voice, Duo, and how the B2600 reacts to keyboard input. Thank you so much.
Glad it was helpful! Thanks for taking the time to comment.
really appreciate this video. I would have never figured out smooth duophonic without it. thank you!
Glad I could help!
Thanks for all your effort documenting the results of your experimentation, brilliant is all I can say. I now have mode 3 permanently set up, love the extra effects when I want them. Makes it so much more interesting and even more enjoyable than it already was!
You're welcome. Glad to be of help.
Now, that's what I call an explanation.
Without a single spoken word!
Sweet video :) Beautifully made. Thanks
Thank you for this. I have been disappointed in the duophonic mode when playing. My Korg Odyssey module doesn’t seem to have the same problem. I am looking forward to trying your 2nd and 3rd modes.
You're very welcome!
I just tried this today and it works great! Thanks again. Back in the seventies, I owned an Arp 2600. A year or 2 later, they came out with the duophonic version. I drove to the Arp factory (from south western Ontario) and had mine upgraded with the newer keyboard. I remember I loved having the 2 notes as well as the extra lfo. I can’t recall ever having the problem that the Behringer has with mode 1. Can anyone with an original Arp confirm this or is my memory fuzzy after all these years.?
Glad it works! (Reading your comment I had this momentary panic: what if I just did this whole tutorial about something that only works on my 2600?!?! lol.) I don't personally know anyone with an ARP 2600, so I hope they will eventually find this video and want to comment here. I can't imagine the ARP had a Mode 2 but it wouldn't surprise me that it worked the same as Mode 3 does. The only real difference between modes 1 and 3 is that 3 listens for both MIDI NOTE ON and MIDI NOTE OFF events. The old ARP keyboard could certainly have been paying attention to "key down" and "key up" events.
How about covering the also strange gate/trigger behaviors, how to use both envelopes, and other ways to approach polyphony with MIDI and/or CV combinations and external hardware, preferably DAWless?
The amount of time and effort that goes into making these compared to the "return on investment" they've delivered has pretty much killed my appetite for more. I started a part 3 on the tutorials quite a while ago, focusing on the 3 oscillators. You'd think that would be fairly simple to put together, but when I started looking at the many ways one oscillator can modify the sound of another through FM (including the surprising effect you get plugging the output of one oscillator into the *output* of another), it was clearly going to need a lot of time to explain things... I may at some point get back to working on that, but it's low on the list of things I'm currently interested in spending time on.
great job! many thanks for your super-clear video!!!
Glad it was helpful!
A new impressive video ... Thank you very much for the time you spent for us.
You're welcome. I spend that time with the hope these videos will get some more beautiful music into the world ... I hope it makes that easier for you to do.
@@24x7arts your video is spot on, i just got back into electronic music after a stint on bass guitar and a 2600 arrived home a few days ago. I hope to spread good music and it will also be thanks to you.
Really glad to hear this, Guillaume.
Thank you sooooooo much for this
You're welcome.
amazing thank you soo much
You're welcome!
Very impressed ! How did you get to know that ? Solely by experimenting or did you get access to service documentation ?
I "stumbled" on it by accident and then spent who knows how many hours experimenting with it just so I could figure out what was actually going on. As far as I'm aware, these extra "modes" are not documented anywhere.
Thanks for this explanations, I will try that out my 2600... I am never interested for this mode cause if I want poly I take my poly synths..But finally for some special things can once be used why not...
Glad it was helpful!
Hi, thank you for the informative video. Does this only work with midi and not with CV/gate? Thanks
It only works with MIDI.
@@24x7arts great thanks, I can send midi out with my sequencer so this should work, only thing i was wondering was do you know the specific limitations with midi and cv/gate when using the synth?
I'm not sure what you're asking. A big difference between MIDI and CV (as far as duophonic modes are concerned) is that the CV cable can only carry one signal (voltage) while the MIDI signal is polyphonic. When you hold down multiple notes on a MIDI connected keyboard, the 2600 can get the pitch of all the notes from the MIDI message. With CV, you'd need a cable for each note and some place on the 2600 to plug each of those cables into (not to mention a cable for each note on/off message).
@@24x7artsThanks, but i meant more in terms of what are the advantages of one (midi or cv) to the other in terms of the information sent. for example velocity data, pitch bends. Things like that. from what i have read it seems there is a slight difference in what each one sends. thanks for the info though, still interesting to know. I actually do plan on sending 3 different cv patch cables to each VCO's individual pitch input and seeing what kind of chords I can come up with.
The main difference between the two is that MIDI is digital and control voltage (CV) is analog. MIDI values for things like pitch, velocity and aftertouch are represented by integers (0, 1, 2, ... 127). CV signals are voltages, typically between -10 and +10 volts (but often 0 to +5, -5 to +5, or 0 to +1, depending on what the voltage is controlling). Where a MIDI value can for example, be 1 or 2, it can't be 1.25 or 1.814. CVs between 1 and 2, on the other hand, can be 1.257352 or 1.90123 etc., again for example. That means CVs can be more accurate. However, it's the person who is listening to the resultant sound(s) that really matters, and you'd be hard pressed to tell the difference between, say, MIDI velocity values of 63 and 64, or CV values of 5v and 4.89v.
dude, it made me laugh so hard when you demonstrated the patch for method 2. That is just so backwards. I want a 2600 so bad. I might sell my ms-20 mini and volca keys for to afford one. I really like the ms-20, but the form factor is too big and the patch bay is too limited for my taste. I might get a k-2 in the future to replace it.
Yeah, that one is a little counterintuitive ...
The text is too small to read on mobile devices sir.
So sorry. And thanks for letting me know. I'll be sure to use a larger font next time.