I’ve just finished a reinterpretation, for Behringer 2600 synthesizer, of a demo live-performance improvisation I did for my previous (and most recent) Csound piece/instrument, Imago Dei.
The new piece is entitled Imago Dei 2. Both pieces and realizations are at the top of the composition list at my website, www.arthunkins.com.
Recent Compositions by Arthur B. Hunkins Instrumental, vocal, choral, live-performance electronic, and computer works composed since 1990. Includes pieces for MIT Csound and CsoundAV, as well as for Turtle Beach Wavefront sound cards with Samplestore. Religious/spiritual in character and intent, they are free to use for any purpose, and are especially appropriate for meditation and multimedia. www.arthunkins.com |
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In this latest (nostalgic?) endeavor, I harken back decades to the UNCG Electronic Studio, where one of my primary teaching instruments was an ARP 2600 (for which I composed several pieces (last century!)
FWIW I’ve found it much more difficult to go from digital back to analog than the other way around. Duplicating, in any real sense, what’s possible with (the riches of) digital - e.g., Csound, is near impossible with traditional synths - even in my relatively minimalistic style.
The Behringer 2600 result here is indeed a far cry from what it attempts to “recapture”. (It’s probably not entirely worthwhile to even try.) I’ll do more work with the Behringer, but let it fly on its own to a much greater degree from here on.
Art H.
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I like the 2600 realization better. It has a different timbre, less harsh to my ears. There is also a kind of high-end airiness that I associate with analog circuit nonlinearities, for example, a digital click is just a click, whereas an analog click sounds almost like hitting a piece of dry wood – digital “tick” versus analog “tonk.”
It should definitely be possible to emulate this analog sound, perhaps one could start with an appropriate impulse response. I’m not an expert here but I know that DSP experts do things like this to emulate analog circuitry.
@Victor -
Agreed; the 2600 presents a much narrower pallet.
But as Igor Stravinsky claimed, a well-circumscribed pallet can be very positive, leading to thorough and systematic exploration. (He clearly delimited his territory as a matter of course.)
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Here, analog and digital are, from the timbral standpoint, quite different animals indeed. (I was surprised how very different they turned out.) As I think you’d agree, it is far more difficult to emulate digital in analog (as I was attempting), than to emulate analog digitally - though I’m sure the latter is no “piece of cake” either (as you suggest).
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