“Flux 30 - Behringer 2600 FM?” by Friendly Noise

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RockSinCity
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#IOLabsFlux #Behringer2600 #Triggersequencer

Behringer 2600 playlist: https://youtube.com/playlist?list=PLDxv3idGvfbZbSTQKzkg8qn48h5N3Kunw

Flux playlist: https://youtube.com/playlist?list=PLDxv3idGvfbbq37Bb72sAnpI6uR_zQ9H2 

Modules in the patch:
IOLabs Flux, Mutable Instruments Plaits, Intellijel Plonk, Noise Engineering Basimilus Iteritas Alter.

The Behringer 2600 can’t do real FM a la DX7, even if analog FM in audio range is a common thing and it can make very interesting sounds. But, nevertheless, the sounds that I recorded reminded me of FM, so I decided to put that name on the clip. The name could have been “Physical modelling with the B2600?”, because the quality of the percussive sound also reminded me of acoustic percussion at some times.

As an owner of an ARP2600 for about 10 years, I was very impressed with the Behringer version. The sounds in the video have a unique clarity, which I don’t remember from the ARP2600.

The main sound is triggered from Flux channel 1. But there is no sequenced pitch changing. Instead, macro pot 3 and 4 of Flux are assigned to raise the pitch of VCO 1 and 2 up to four octaves independently. That allows for FM-like tones without moving the B2600 sliders, and it was easier to get back to the same sounds again. That would be almost impossible moving the sliders. So, for the most time, the B2600 sounds like a non-pitched percussive instrument... a glass, a bottle, a cow bell, something metallic sometimes...

The aux output of Flux channel 1 clocks the sample and hold section. The S/H output modulates always the filter cutoff to a certain degree to add some acoustic flavour to the tone.
Macro pot 1 controls trigger Density. Macro pot 2 is assigned to Gate length and also curve Value. The powerful Evolve changes Gate length and Density in random mode. At some moments, Density will be zero, meaning that no trigger are generated and Flux will insert rests in the pattern.

During the clip I will change the release time of the ADRS envelope and the time factor to get even more percussive sounds.

Flux’s channel 4 triggers the very basic drum pattern. The main output goes to the bass drum, while the auxiliary outputs trigger snare drum and hi-hat.

The pink cable connected to the VCF input of the mixer is the drum track. I used this input to spare recording tracks. The audio is two tracks directly from the B2600 into the audio interface.

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