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.
2.0 FEATURES:
- Syncrosoft copy protection
- A revolutionary preset navigation system called SoundMap
- Lower CPU utilization on Mac OSX
- Better Audio Unit compatibility (Digital Performer most notably)
- Ability to use NRPN midi messages for automation
- Better handling of control surfaces while changing preset
- Fresh batch of presets made by a selection of top sound designers
- MIDI RPN "pitch bend range" message is now recognized
- Presets adapted to respond to modulation wheel
- Numerous bug fixes.
MAIN FEATURES:
- All the parameters of the original ARP 2600
- Original ARP Sequencer model 1601
- 4 revolutionary tracking generators
- Added effects: chorus and delay
- More than 400 presets, made by professionals
- No aliasing from 0.1 Hz to 16 kHz
- 96 kHz and up to 64 bits floating point
- More than 400 presets, made by professionals
- Playable through a MIDI keyboard
- 3 voltage-controlled oscillators. The second oscillator can modulate either the first two oscillators or the filter.
- Low pass resonant filter
- 1 LFO which can be synchronised on the tempo of the host sequencer
- 1 Sample and Hold
- Env 1: ADSR; Env 2: AR ; 1 Envelope Follower
- 1 Ring modulator
- A Tracker / interactive LFO exclusive module allowing to create new kinds of modulations in real time.
- ARP2500 multimode 12 db filter including the very special notch / low shell filter combination
- Possibility to synchronise Osc2 on Osc1
- Updated voltage processors that you can now use either as inverters, mixers or lag processors.
- Keyboard following management
- Polyphony from 2 to 32 voices with Unison possibilities
- Absolutely pure and top quality sound, just like the original ARP 2600 sound
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. Pollock. 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 possibilities that have never been seen before. Additional effects are also provided and along with the original ARP sequencer, they form an exciting virtual synthesizer.
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 Arturia’s 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-traveler.
True Analog Emulation
TAE is "True Analog Emulation" - Arturia's exclusive technology which accurately reproduces, tone, waveshape, tuning and other detailed characteristics of an analog synthesizer.
What are the main characteristics and advantages of the TAE technology ?
Better reproduction of analog oscillators
TAE recreates the characteristics of analog oscillators in amazing detail. The transparency and clarity of Arturia’s analog synthesizer emulations give the musician a freedom to be inspired by classic sounds or explore new textures with the expectation that previous limitations of digital oscillators will not interrupt the creative flow.
Better reproduction of analog filters
Filters are a major element in substractive sound synthesis. It is important to reproduce the exact characteristics of analog filters in the digital domain, as well as the individual characteristics of classics instruments that give them each their characteristic sound.
Implementation of soft clipping
Soft clipping can give the sound more punch and deeper basses, together with limiting the amplitude of the sound. It is another important point that gives analog synthesis its sound and "attitude".
Better Reproduction of Analog Oscillators
TAE oscillators are very similar to their analog counterparts for several important reasons.
One of the main reasons is that they are "free", i.e. they are not sampled or wavetable based - or generated from a 0-point when a note is played. Each waveform generated dynamically, allowing the waveform to be in constant adaptation regarding sampling "cutting" and quantization, avoiding one of the major "tell-tale" signs of digital waveform generation and provides a certain level of "liveness" found in the classic analog synthesizers of the past.
Standard digital synthesizers produce aliasing in high frequencies, and also when using Pulse Width Modulation or Frequency Modulation. TAE allows the production of oscillators that are totally aliasing-free in all contexts (PWM, FM,…), at no extra CPU cost.
Also, all of Arturia’s oscillators are highly optimized for the particular working frequency. That means that you can play with an instrument exactly as if you played a real analog synthesizer. Again, the waveforms are not presampled and or regenerated with digital perfection, allowing each note to have a life of its own.
In addition, original analog oscillators were unstable. Actually, their wave shape was always slightly different from one period to another. It is also true that due to analog hardware sensitivity, new period trigger times varied with the temperature and other environmental conditions.
TAE allows the simulation of the oscillator's instability, helping to create warmer and fatter sound.
Original analog oscillators used condensers' unloading to produce common wave shapes (saw tooth, triangle, square). This means that wave forms were slightly curved or distorted in other ways that are considered highly desirable in a musical context. TAE allows the reproduction of condenser's unload in order to give you the original analog sound.
Because TAE oscillators are "free" and "alive", when you play a simple chords with raw oscillators, you don't have a digital impression of "fog" or a "blocked" sound, but you have a pleasant feeling of transparency and clarity.
PWM
With TAE, you can even produce complex PWM sounds with unprecedented quality and, of course, free of any aliasing. This is true for all the TAE waveforms (square, triangle, saw…). This produces sounds which are unique on the market, because PWM is very difficult to achieve on certain waveforms like triangle or saw/ramp. Arturia brings you new levels of reality in a virtual analog synthesizer, so that you can achieve new levels of creativity in your music.
Better Reproduction of Analog with Direct Filter Circuit Modeling
TAE® produces the characteristics of the analog filters in the digital domain.
Let’s take the Prophet V for example. Due to advances in computer processing power, the Prophet V can now employ direct filter modeling techniques to achieve unprecedented accuracy in the emulation of the original's analog 4 pole low pass filter. By modeling the operation of the individual hardware components of the filter circuit, the warm nuances synonymous with the original's analog sounds are recreated. The harmonics generated add to the richness and warmth of the sound produced by the filter. As a result of the direct recreation of the analog circuitry in the Prophet V, the same characteristics of the sound are present, thus giving the user a truly analog sound.
Implementation of soft clipping
In analog synthesizers, the resonant filter uses a current limiting function, preventing the signal from being too loud (soft clipping).
TAE allows the reproduction of this current limiting function, making the sound more natural. It also allows filters to enter self-oscillation like original hardware synthesizers do.
Also, soft clipping can be a kind of saturation effect, but with a very particular shape. Common shapes can't give good results compared to analog soft clipping which is very particular to output amplification stages of analog synthetisers, and is a critical component to "the analog sound".
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