Name: David Baron
Nationality: American
Occupation: Producer, songwriter, composer, arranger
Recent release: David Baron 's The ARP 2500 LP is out November 17th 2023 via Here & Now.

Tool of Creation: ARP 2500
Type of Tool: Monophonic analog modular synthesizer
Designed by: ARP Instruments, Inc.
Country of origin: America
Years produced: 1970-1981

If you enjoyed this interview with David Baron about the ARP 2500 and would like to stay up to date with his music, visit his official homepage. He is also on Instagram, Facebook.  



What was your first encounter with the ARP 2500?

I first saw a ARP 2500 in a Synthesizer Museum in the UK. I thought it was stunning.

Just like any other piece of equipment, the ARP 2500 has a rich history. Are you interested in it? And if so, what are some of the key points from this history for you personally?

I am interested in the history of the ARP2500. I have spent a lot of time talking with Dina Pearlman (the daughter of Alan Robert Pearlman).

The creation of the instrument was evolutionary. The Moog Modular paved the way and in many ways ARP built on what Moog started. The ARP 2500 was expensive so it mostly went to Universities and a few successful musicians (Pete Townshend, David Hentschel).

It does not have a catalog of “ARP Records” like the Moog nor a champion like Morton Subotonick did with the Buchla. I am looking for any gems recorded on the ARP 2500. I am always looking for more ARP history.

What, to you, are some of the most interesting recordings made with the ARP 2500?

There are very few examples of ARP 2500 music compared to Moog and Buchla.  The saxophone type sound on David Bowie “Suffragette City” is ARP 2500.



It was used by Jerry Goldsmith for the creation of the “Logan’s Run” Soundtrack.



Eliane Radigue is probably the most prolific ARP 2500 composer. Her music is slow moving drone and the ARP works perfectly for that since it is tuning stable and has wonderful knobs that allow for very fine adjustments.



I love the ARP on Elton John’s “Funeral for a Friend” and “Rocket Man”. It is good to hear the ARP in all contexts.



What interests you about the ARP 2500 in terms of it contributing to your creative ideals?

The instrument has an identifiable sound of its own. The sound plus the workflow has made it part of my daily workflow. I create my own music but also work producing records for other people.

I love the vibe of the instrument. It adds something magical to any production. The low end is very powerful.

What are some of the stand-out features from your point of view?

Sound is first and foremost. It does not sound like any other synthesizer. It has an amazing multi-mode filter that apparently a lot of future synthesizers based their design on.

The patching is very quick (as its done on sliding matrix panels). You can send a source to several destinations very quickly. Frequency modulation sounds really dramatic.

There are so many good individual things but it's great because of the the sum of its parts.

Prior to using it for the first time, how did you acquaint yourself with the ARP 2500? Will you usually consult a manual before starting to work with a new device – and what was that like for the ARP 2500?

I had already  had a lot of experience on modular gear including Buchla, Moog, and EMS. The manual is very good and hand illustrated!

The Album cover designed by Dina Pearlman-Ifil  was derived from an old ARP 2500 Brochure originally designed by Margaret Shepherd in 1970. Margaret also did the illustrations.

Manuals were very different in those days because they attempted to explain the basics of electronic music. It literally starts with pictures of tuning forks modulating air into sine waves … you work your way up to the ARP.

Tell me a bit about the interface of the ARP 2500 – what does playing it feel like, what do you enjoy about it, compared to some of your other instruments?

I love the feel of the knobs and sliders. I am so familiar with the system that it feels a bit like playing the piano. I never have to guess where something is. I know where it is and can predict its outcome. Any instrument that you spend a lot of time with can release rewards that you won’t get by just passing by.

The patching is very quick. You slide an output to a slider and an input to the same row and voila, you have a patch!

I have a basic system that I use - sources on early numbers, modulators are later numbers, and processing on the lower matrix.

How would you describe the sonic potential of the ARP 2500?

Rich and clear. It is a very deep sound. It penetrates in a direct way.  You can make very beautiful sounds quickly.

I like introducing instability into patches which gives it a depth similar to an acoustic instrument. It has a cinematic palette. It sounds like music of the future as designed in 1970.

In the light of picking your tools, how would you describe your views on topics like originality and innovation versus perfection and timelessness in music?

Originality is always important. A composer has to have their own voice.  Listeners need some familiar elements to hold on to so surprises / new sounds work in context.

I do not believe in perfection in music. I think of music as a photographic snapshot: a picture of the emotion / time / equipment / capabilities of the time. You take the snapshot, then you move on.

Timelessness in music is a lofty goal. Nobody knows what will last. My assumption is that the music itself reached enough of a critical listening mass that it filters upward. I do not think anybody should set out to make something timeless. Make music of quality you personally love.

Are you interested in a “music of the future” or “continuing a tradition”?

The music of the future is coming no matter what. Humans build on the vocabulary they know. The constant referencing of each other’s music with innovations and tweaks will grow new branches.

We are still built on the tree of what came before us. I believe in both the music of the future and the continuing of a tradition.

In which way does the ARP 2500 influence musical results and what kind of compositions does it encourage / foster?

It is fundamentally monophonic so most compositions are created one voice at a time (my system can do a maximum of about four voices simultaneously). Tone color and expression are paramount.

It encourages layered compositions. One layer could be fundamentally rhythmic, another containing some harmonic material, another could be a melody / fragment. You have to think like you’re writing for a chamber group.

The sound leads to the final result. I think it creates fairly rich cinematic sound.

More generally, how do you see the relationship between your instruments and the music you make?

Instruments are everything in the creation of music. If you play a Hammond B3 on a song - you not only access the sound but also the weight of the history of the B3 in popular music.

[Read our feature on the Hammond organ]

A Steinway Grand is going to give you a very different emotional reaction than a messed up upright that is way out of tune, yet charming. They’re all paints to be used on the canvas. What brushes you use - how you use the paints - that’s all up to you.

Some see instruments and equipment as far less important than actual creativity, others feel they go hand in hand. What's your take on that?

The instrument used for creation of a piece is intrinsically involved in the creation of a composition.

The harpsichord is not able to play as dynamically or sustained as a piano. The piano emerged as a technical marvel. All of a sudden keyboard performers / composers had access to all sorts of colors and sounds that were not possible with just the harpsichord.

The final creative output is deeply connected to the capability of the instruments / equipment involved.

Could you describe working with the ARP 2500 on the basis of a piece, live performance or album that's particularly dear to you, please?

I like taking a basic musical idea that I might have on piano and figuring out how to map it to the ARP 2500. It becomes a bit about orchestration but also performance: you need to perform the ARP 2500. Moving knobs, modulating as you record.

You can make the instrument come to life only through interacting with it.

How does the ARP 2500 interact with some of the other tools in your studio?

It is right next to my main mix position. I use it in conjunction with processing. I have a EMT 240 plate reverberation that I use a lot as a processing element. I also have a Roland Space Echo that adds dimension.

I tend to use less dynamic compression as I like the dynamic range. I rarely use outboard eq as I prefer to try to get as much of the sound on the ARP itself.

Are there other artists working with the ARP 2500 whose work you find inspiring? What do you appreciate about their take on it?

I would love to know of more ARP 2500 music. There is so little of it. I put together a playlist and couldn’t find much. If you know of any: send it to me.

The most is Eliane Radigue and I find her music very beautiful. It is more glacial drone. Slow moving and changing but stunning. It feels otherworldly. She has patience, discipline, and a dedication to the instrument that is unparalleled.