1: Like its other classic synth emulations, Arturia's ARP 2600 V adds modern conveniences such as MIDI, polyphony, and effects. The original ARP 2600 was a direct competitor to the Minimoog. Like its rival, it served up searing leads, thundering basses, and all manner of special effects. Its design was semimodular, with prewired connections that enabled it to create a variety of sounds without patch cables.
To create more complex sounds, you could use patch cables to redirect any output to any input in the style of a modular synth. ARP 2600 V runs on Mac OS X 10.2 and above, and on Windows 98SE, 2000, and XP. It requires at minimum a 1 GHz processor and 256 MB of RAM. I tested ARP 2600 V in standalone mode running on the Open Labs neKo 64 2 GHz dual-Opteron workstation, and as a DXi plug-in within Sonar 4 on a Toshiba Tecra 2 GHz Centrino notebook. ARP 2600 V behaved well on both. Looks Like One As with its other virtual vintage synths, Arturia has modeled ARP 2600 V's user interface on that of the original. I sometimes wish that soft-synth manufacturers would be more imaginative than emulative in creating their user interfaces (as in the case of Arturia's CS-80 V, which is difficult to read).
Fortunately, the 2600 V's interface is functional and legible. The ability to trace the virtual patch cables makes the emulated interface a particularly good idea, especially in an educational setting. As on the original 2600, all of the normaled connections are labeled.
Clicking-and-dragging from any output to any valid input creates a patch cable to illustrate the connection. When you click on an output connector using your right mouse button (Shift + click on a Mac), a pop-up Connect menu displays a list of all valid patch destinations. Right-clicking on a connector also lets you remove a connection. You can drag a connection from one destination to another; unfortunately, the same is not true of a source. If you change your mind about the source, you must remove the connection and start a new one from the preferred source — a minor annoyance in an otherwise well-thought-out implementation.
Holding down the Control button while clicking on one of the many sliders (virtual potentiometers) allows you to assign a MIDI Control Change message to automate that slider's parameter, either by typing the value or by using a Learn mode that detects the controller number when you move a physical MIDI control. Such controller assignments are global, rather than patch-specific. For finer control over any slider, right-click (Shift + click on a Mac) on a slider and drag.
A 2600 has only a handful of knobs, and in typical Arturia fashion, you can set a preference to operate them in either Linear or Circular mode. Linear operation is usually simpler, but Circular mode has a built-in graded resolution — dragging in a larger circle yields inherently finer resolution than a smaller circle because of the greater number of pixels involved. 2: ARP 2600 V includes software versions of the classic ARP sequencer and keyboard. When all three sections are shown, the window is too tall for most displays, but you can scroll it by dragging any noncontrol area of the window. With the sequencer, synthesizer, and keyboard displayed together, the window is 1,180 pixels high, making it awkward on all but the largest displays (see Fig. You can display the synthesizer, the sequencer, and the keyboard either individually or simultaneously.
It's annoying that Arturia chose to bypass normal Windows functions such as scrollbars and the Maximize function. Once you get used to grabbing the gear with the mouse and dragging it up and down, though, it's not too bad. You can choose from three different skins for your 2600 V. The first skin features the look of the Blue Meanie, the earliest ARP 2600 produced. The second is the more common dark gray with white labels, and the third resembles the final model — dark gray with bright orange-brown labels that provide increased visibility on a typical computer monitor. Sounds Like One I took ARP 2600 V to the Audio Playground Synthesizer Museum to compare it with its namesake.
The poor old ARP was feeling its age, so the comparisons were limited. The biggest obstacle was that the original keyboard could not communicate properly with the synthesizer. It was unclear whether the problem was with the keyboard or the synth, but I had no better luck with a contemporary keyboard and a MIDI-to-CV converter. Still, I was able to compare the oscillators and the filter. The basic waveforms of the 2600 V stacked up well against those of the original 2600. The sawtooth of 2600 V was brighter than the original's.
Additionally, 2600 V's pulse (set as close to symmetrical as possible) was a bit richer than that of the original, which had a more nasal quality. The original synth's filter was difficult to control because of a sticky potentiometer, but as I swept the cutoff on both of them, their general characteristics and ranges were similar. The filter's resonance, however, sounded noticeably different. Arturia's version exhibited a rich complexity that was interesting in its own right but qualitatively different than the original. The 2600's filter self-oscillated more quickly and more dramatically than its virtual cousin. The similarities were generally remarkable. Arturia has done an excellent job of capturing the character of the classic 2600.
Any residual temptation toward sonic hair-splitting evaporated with the realization that I didn't have to spray anything on 2600 V's sliders to get them to operate smoothly. In practice, it's easy to coax rich sounds from ARP 2600 V. It has bite, warmth, and sizzle, and plenty of options for shaping the sound as you go. Better than One Arturia added some features that go above and beyond simple emulation. For starters, bundling the keyboard and the sequencer was a nice touch. The keyboard has controls such as pitch-bend range, portamento parameters, global tuning, and a virtual pitch knob like the one that the vintage synth had.
Arturia Arp 2600 V3 Sequencer Problem
More importantly, you can choose monophonic, polyphonic, or unison operation, and there's a dedicated knob for unison detuning. You choose the number of voices from the toolbar at the top of the window, which is an odd placement. It is in plain sight, but it wasn't where I expected to find it, which is next to the mono/poly/unison switch. A polyphonic ARP 2600 is a real treat to play. One of the classic patches from ARP's patch book was called Monster Organ, but you couldn't play chords on the original. Arturia's version lets you play as many as 32 notes of any patch.
For my money, though, it's 2600 V's Unison mode that really kicks it up a notch (see ). You can stack and detune as many as ten voices for supersize solo synths and bigger, badder basses. The 2600 allowed you to use VCO 2 as an LFO, but 2600 V's keyboard adds a dedicated LFO. That lets you use all three oscillators while still being able to apply LFO effects such as vibrato. The sequencer is addictive, and because it can sync to your DAW's tempo, it's also very useful.
It can be configured as a 16-step monophonic sequencer or as two parallel 8-step sequencers. Its most obvious use — to sequence pitches — is its less interesting function; it was more exciting to map its output to filter cutoff to create a rhythmically shifting timbre (see ). You can easily mix and match the two functions by taking a pitch-quantized output to the oscillators and an unquantized output to the filter. Unlike more-modern step sequencers, the virtual 1601 doesn't allow you to store multiple patterns and map out a song with them. If your CPU doesn't experience problems when running multiple instances of 2600 V, however, you could have different patterns in each and switch between them. The ARP 2600 had two built-in speakers, which obviously aren't useful in a virtual instrument.
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Controls for a chorus and a delay are cleverly hidden behind the 2600 V's left speaker grille. The chorus features simple rate, depth, and wet/dry mix controls, but the delay is a bit more involved. In addition to wet/dry mix, it offers separate left and right controls for delay time and feedback, and it can sync to your DAW's tempo. The effects add useful qualities to 2600 V, and are well exploited in the included presets. Behind the right-speaker grille is an innovative tracking generator that you can use to create complex modulation sources.
The tracking generator holds four user-created curves (per preset) that you can use individually or in combination to modulate any component with a control input. The graphic editor is simple in design, yet it provides powerful tools for drawing sinusoid, parabolic, square, or freehand curves (see Fig. It even has a noise tool to prevent the modulation curve from being too perfect.
After you've adequately tweaked the curve, you can set, automate, or sync its frequency to MIDI Clock and smooth it to soften its effect. The four curves can be used independently to modify various parameters, or you can patch them through the voltage processor to combine them into a single complex modulation curve. 3: The tracking generator lets you draw as many as four independent curves to use as modulation sources within 2600 V's architecture.
In addition to the 4-pole (24 dB-per-octave) lowpass filter that is characteristic of the vintage 2600, the virtual 2600 features 2-pole (12 dB-per-octave) lowpass, highpass, bandpass, and notch filters modeled after those found in the 2600's predecessor, the ARP 2500 modular (see ). Gotta Have One So what's not to like about Arturia's virtual 2600? Aside from nit-picking about the interface (you can't zoom in on any given module for serious tweaking) and a slight difference in the filter's resonance (at least compared with the real unit available to me), I didn't find much to dislike. The documentation left me with mixed feelings. On one hand, it's hard to argue with more than 90 pages of paper repeated in three languages.
On the other hand, the manual's translation into English is spotty, and there are some typos that can be frustrating. Arturia deserves kudos for chapter 6, “The Basics of Subtractive Synthesis,” and for chapter 7, “A Few Elements of Sound Design,” which are well-thought-out tutorials about creating sounds with ARP 2600 V. Brickbats, however, are in order for incomplete and occasionally scattered descriptions of elements such as the keyboard and the tracking generator. If you can find a vintage ARP 2600 in good condition and can afford to spend some money on the various retrofits, upgrades, and tweaks that are available, knock yourself out.
You'll have a great instrument, but you still won't have presets, unison, polyphony, and total recall within your DAW. For the rest of us, Arturia has brought the best of the past and present together in a cool instrument that upholds the tradition of its namesake while living up to the demands of contemporary production. Brian Smithers is Course Director of Audio Workstations at Full Sail Real World Education in Winter Park, Florida. Special thanks to Joseph Rivers and the Audio Playground Synthesizer Museum. PRODUCT SUMMARY ARTURIA ARP 2600 V 1.0 software synthesizer $310 OVERALL RATING 1 THROUGH 5: 4 PROS: Sounds like a real ARP 2600. Broad plug-in format compatibility.
Standalone mode. Useful nonemulative features, including presets, delay, chorus, unison mode, and 32-note polyphony. Naruto ultimate ninja storm 2 pc indowebster. Innovative tracking generator provides custom modulation curves. CONS: Manual suffers from incompleteness and mediocre translation. Graphical user interface is too tall for most monitors. MANUFACTURER Arturia.
New: A brand-new, unused, unopened, undamaged item in its original packaging (where packaging is applicable). Packaging should be the same as what is found in a retail store, unless the item is handmade or was packaged by the manufacturer in non-retail packaging, such as an unprinted box or plastic bag. See the seller's listing for full details. Type: Virtual Instrument Model: Arturia ARP2600 V Platform: Universal MPN: Arturia ARP2600 V Brand: Arturia Country/Region of Manufacture: Unknown UPC: Does not apply.
Description The ARP 2600 is one of the finest analog synthesizers ever made. Celebrated by the most respected musicians over the last thirty years, it is capable of creating amazing sounds, heard in numerous popular tunes from Herbie Hancock to Stevie Wonder. With its sound palette varying from heavy drum n’ bass stabs to angular arpeggiated electro bass lines, whatever your chosen genre, the 2600 is a truly versatile sound creation tool, which still finds a good place in today’s music. A LITTLE BIT OF HISTORY Alan R.
Pearlman, whose initials would form the name of ARP Instruments, became interested in instruments for electronic music as early as 1948, when he was a student at the Worcester Polytechnic Institute. This was a means for him to associate his two passions: electronic music and the piano. In 1969, he created ARP Instruments (originally called Tonus Inc.) with David Friend and Lewis G. The company, based in Newton Highlands (Massachusetts, USA), conceived electronic products, but also and above all else a large modular synthesizer, the ARP 2500. The machine used a matrix which connected the different sections of the synthesizer, instead of the traditional cables found in the Moog Modulars. The ARP 2500 found success in American universities.
The growth of ARP instruments was fast and in 1972 the ARP 2600, probably the most legendary of the entire range, was unveiled. This semi-modular synthesizer, conceived with an educational goal, was to become hugely successful after a shaky start. The ARP 2600 was notably used by Stevie Wonder, Joe Zawinul (Weather Report), Tony Banks (Genesis), Jean-Michel Jarre, Herbie Hancock ARP was the market leader in synthesizers during the 70’s with around 40% of the market share.
In ten years, three versions of the ARP 2600 were commercialized: The first version was called “Blue meanie” because of its steely blue finish. The “blue meanie” was quickly replaced by a second version, with a grey background finish and white silk screening (1972). This was to be more popular. In 1978 ARP decided to change the graphic chart for all of its machines: a black background color with orange silk screening was introduced.
The ARP2600 benefited from its third and last version. With the ARP2600 V, Arturia brings this powerfull analog synthesizer back to life. In addition to the original functions, MIDI control, polyphony, and the ability to create, save and recall presets are all provided.
But that’s not all: behind the speakers panels are hidden innovative features that take the initial design of the ARP 2600 to a new level. Four revolutionary tracking generators add sound design possibilites that have never been seen before. Additional effects are also provided and along with the original ARP sequencer, they form an exciting new virtual synthesizer. ARP2600V If you are at the beginning of your learning curve, you will be enjoy getting started with the hundreds of presets provided, or if you are an experienced sound designer, the ARP2600 V will allow you to immediately add new dimensions to your music. Sound MAP: Explore hundreds of sounds using our revolutionary Sound MAP. Locate areas you like and pick a sound that will stimulate your creativity.
Morph sounds on the MAP by clicking anywhere you like. Add filters to make your search easier, or get back to the traditional list of presets, by sound-designer or by type. Be creative, be funky, be a sound-traveller.
'So how closely does the 2600 V reproduce the flavour of the original?. So while I can't attest to how truly authentic at waveform level Arturia's True Analog Emulation methodology is, I can definitely say that the 2600 V does seem to very successfully capture much of that specific Arp 'flavour' in terms of oscillator and filter 'punchiness. If you're fairly synth-savvy, or if you already know your way around the original Arp 2600, then with its flexible semi-modular approach as well a new extended modulation routings, the 2600 is recommended for a wide array of classic analog sounds both as an instrument and as source of wild sound effects.' Grooves Magazine.
'At a glance at the back of any Arturia box reveals that these developers are serious. The stellar line-up of electronic musicians whose photos appear on the cartons is like a synthesist hall of fame, and they're not just there to endorse the instruments - they're also responsible for the presets. Some of the best patches come from Arturia themselves. Not for the first time, Jean-Michel Blanchet proves himself to be one of the best programmers in the business with his tumbling sequences, blistering leads and smooth pads. if you've ever coveted the original ARP 2600, picking this up is a no-brain. If you've never heard of the original, you still might find the 2600 V to be an excellent way to ease into modular synthesis. It's another winner from Arturia.'
Computer Music. 'Thanks to the Arturia 2600 V and Way our Ware TimewARP2600 virtual synths, not only is the 2600 sound available again in an inexpensive and easy-to-find package, but the Arturia version features a recreation of the 1601 sequencer. As an ARP 2600 reproduction, Arturia's 2600 V comes tantalizingly close. as a modular synth with a built-in analog sequencer, the 2600 V positively rocks!
It's got that definitive Arturian warmth with oodles of modulation options and is perfect complement to a rig that already has a few more traditional virtual synths.
Arturia has been doing amazing work in the business of providing computer-based musicians analog emulations of classic synths (like the and ). Now they have brought us the king of classic modular synthesizers with the ARP 2600V.
Using their own TAE (True Analog Emulation) technology they have recreated the look and sound of an along with the famous and an ARP keyboard for an absolute monster package of awesome analog sounds for around $249! And it supports all major plug-in and stand-alone formats for Macintosh and Windows computers (VSTi, DXi, RTAS, HTDM, Audio Units, DirectX, ASIO, CoreAudio). Click image to enlarge At first glance the interface looks almost exactly like a real ARP 2600. Editing and creating your sounds would be done as if you were sitting in front of the real thing.
The obvious changes can be found hidden away behind the faux speaker grilles - the addition of Chorus and Delay effects and an array of four tracking generators for creating custom, tempo-synced LFOs. Actually put the ARP 2600V up against a real 2600 and you'll notice many more differences between the two. The three VCO's can now be switched to operate as LFO's, and MIDI sync switches can be found around the sample-and-hold, LFO and sequencer sections.
The original's single lowpass filter is replaced by a multi-mode filter with plenty of options. There is a 24 dB lowpass modeled after the 1st generation of ARP synthesizers (known as the 4012 filter). There is a 24 dB low pass modeled after the 2nd generation (known as the 4072 filter). And there is a 12 dB multimode from the ARP with high, low, band pass and notch filtering. They all sound ARP-like, are resonant and can self-oscillate.
As for the sound, well it sounds amazing! It is definitely ARP-like, but is nowhere near as authentic as. But it still sounds amazingly warm and rich as a virtual analog modular synthesizer. It ships with over 400 presets created by various artists covering everything from throbbing basses to rhythmic textures and pad sweeps. Creating your own sounds is challenging, but worth it. If you can program the real thing, you'll feel right at home patching up sounds in the 2600V. Otherwise, this plug-in is a great teaching tool for newbies to modular synthesis.
The virtual patch cords will wiggle out of the way of your mouse as you move around the interface making the 2600V feel like it's alive! And the 16-step analog sequencer is pure old-school and really the easiest way to create your own simple sequences and arpeggio patterns.
Those who know the history of the 2600 know it's been through many revisions. Pictured above are alternative 'skins' for the interface to replicate the blue and grey 'meanies' and the orange-on-black paint schemes, but there are no sonic differences. No matter which skin you choose, you'll have probably the most versatile and powerful modular synthesizer with sparkling sound quality (96kHz, 64-bit) ready to bring your music to life! It may not sound as authentic as the TimewARP 2600, but it's still a brilliant soft-synth with its own classic sound and dazzlingly nostalgic interface! Related Forum Topics.