![]() The company’s policy always appeared to be to match the facilities of existing designs, then add a little extra and achieve a lower price. Whatever the position, it’s clear from Behringer’s recent trademark applications that many other instruments, including the Korg Mono/Poly, are also in their sights. But it’s clear that the company currently has nothing in its catalog resembling the Pro-One, which was originally regarded as a single monophonic voice from their Prophet-5 keyboard, but without patch memory. The panel design is very authentic down to every last detail of the typeface used, posing the question, how come this design is available for use? After Sequential folded in 1987, founder Dave Smith spent some years trading as Dave Smith Instruments before relaunching the Sequential brand in 2015. With the Pro-1 mounted in a case, the small external power supply could be replaced by the Eurorack system’s power supply. ![]() A MIDI Thru jack and a USB connector are on the back panel, along with DIP switches to set the MIDI channel. Because the MIDI input is on the front, it wouldn’t be lost in the process. ![]() You could remove this desktop-format module from its housing and mount it in a Eurorack case, if you prefer, where it would occupy 80HP of space. It omits the original’s 3-octave keyboard and adds MIDI In on a DIN connector. Much like the Behringer Model D “Minimoog,” the PRO-1 is a slightly scaled-down reproduction of the control section on the classic Sequential Circuits Pro-One monophonic synthesizer. ![]() Certainly the secondhand market for original instruments like the Roland SH-101 and even the Minimoog Model D must have been affected by Behringer’s launch of highly convincing tribute editions of these instruments for a few hundred dollars. Initial skepticism about Behringer’s plans to bring out a whole series of reproductions of classic synthesizer designs-in parallel with their original designs like the DeepMind, Neutron, and Crave-has rapidly given way to delighted surprise, not only about the quality of the instruments, but also about the incredible price points the company is achieving. “You have to take a lot of time and care in wiring up a studio if you want to get a great result out of it because there’s quite a lot to mixing in analogue.Does Behringer’s tribute edition measure up to one of the great monosynths of the 1980s, the Sequential Circuits Pro-One? If you want to mix on it you’ve got to have a perfect signal path and all the wires have to be exactly the right length. “It’s very noisy, like a lot of the gear we have. It’s pretty rubbish really, but in a way that’s the good thing about it you just drive up the gains to the maximum, turn all the EQs up and it gives you some nice, crazy distortions. Now we use a Mackie 32-channel mixing desk.” We had to add so much grit to the music we were making back then to make it pleasing to the ear. It does actually recall mixes just for the purposes of being able to do more work on them.”īen: “Personally I always thought it was a bit clean-sounding. We wanted a fully recallable analogue desk and there wasn’t such a thing in those days, so we had this custom built. Matt: “This desk cost a fortune, about 20 grand I think. Merging their talents, the duo formed Virus Recordings, dropping the drum ‘n’ bass classic Wormhole in 1998, followed by The Creeps (2000) and their third album, The Original Doctor Shade (2003).Īs EDM slowly infiltrated an unsuspecting drum ‘n’ bass scene, Ed Rush and Optical have been well served by their knowledgeable production background, which has enabled them to cross generic borders effortlessly, both in the studio and on the DJ circuit. In close proximity, Matt Quinn (aka Optical) was recording alongside his brother Jamie (Matrix & Futurebound) while engineering tracks for Grooverider’s Prototype imprint and Goldie’s Metalheadz label. Bidding to become part of the drum ‘n’ bass elite, Settle then teamed up with DJ Trace to help formulate the shifting, sci-fi moods of the genre known as techstep. Fascinated by London’s Rave scene, Ben Settle (aka Ed Rush) entered the world of production alongside infamous No U Turn label owner Nico Sykes to produce the 1993 drum ‘n’ bass classic Bludclot Artattack.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |