User Manual ARP 2600 V - Kraft Music
USER MANUALARTURIA – ARP 2600 V – USER MANUAL1
DirectionFrédéric BrunKevin MolcardDevelopmentStefano D'AngeloSamuel LimierBaptiste AubryGermain MarzinCorentin ComteMathieu NocentiBaptiste Le GoffPierre PfisterPierre-Lin LaneyrieBenjamin RenardValentin LepetitDesignGlen DarceySebastien RochardYannick BonnefoyGreg VezonMorgan Perrier,Sound DesignJean-Baptiste ArthusJean-Michel BlanchetManualJason ValaxSpecial ThanksAlejandro CajicaSergio MartinezDenis EfendicShaba Martinez,Ruary GalbraithMiguel MorenoDennis HurwitzDaniel SabanClif JohnstonCarlos Tejeda,KoshdukaiScot Todd-CoateJoop van der Linden ARTURIA S.A. – 1999-2016 – All rights reserved.11 Chemin de la Dhuy38240 MeylanFRANCEhttp://www.arturia.comARTURIA – ARP 2600 V – USER MANUAL2
Table of Contents1INTRODUCTION . 61.1The birth of ARP Instruments and the ARP2600 . 61.2Arturia’s secret ingredient: TAE . 821.2.1Aliasing-free oscillators . 81.2.2A better reproduction of analog oscillator waveforms . 91.2.3Direct Filter Circuit Modeling . 10ACTIVATION AND FIRST START . 122.1Register and Activate . 122.2Initial setup . 1232.2.1Audio and MIDI settings: Windows . 122.2.2Audio and MIDI settings: Mac OS X . 152.2.3Using ARP 2600 V in plug-in mode . 15USER INTERFACE . 173.1The virtual keyboard . 173.2Toolbar . 173.33.2.1Save Preset . 173.2.2Save Preset As . 183.2.3Import preset . 183.2.4Export preset . 193.2.5Resize window options. 193.2.6Audio settings . 203.2.7Preset browser overview . 203.2.8MIDI Learn assignment . 213.2.8.1Assigning / unassigning controls . 223.2.8.2Min / Max value sliders . 233.2.8.3Relative control option . 233.2.8.4Reserved MIDI CC numbers . 243.2.9MIDI controller configuration . 243.2.10The lower toolbar . 253.2.10.1Current control value . 253.2.10.2Midi Channel Setting . 263.2.10.3Panic button and CPU meter . 263.2.10.4Maximum Polyphony . 26The Preset Browser . 273.3.1Searching presets . 273.3.2Using tags as a filter . 283.3.3The Preset Info section . 293.3.4Preset selection: other methods . 303.3.4.13.3.5Selecting a preset by its Type . 31Playlists. 313.3.5.1Add a playlist . 31ARTURIA – ARP 2600 V – USER MANUAL3
3.3.5.2Add a preset . 323.3.5.3Re-order the presets . 323.3.5.4Remove a preset . 333.3.5.5Delete a playlist. 333.4Overview of the 3 sections of the ARP2600 V . 343.5Overview of the Synthesizer section . 353.5.1The Synthesizer. 353.5.2The effects . 363.5.2.1Chorus . 363.5.2.2Delay. 373.5.13.14“Tracking” generator . 37Overview of the Sequencer / LFO / General settings section . 383.1.1The ARP sequencer . 383.1.2The LFO . 40THE MODULES . 424.1Sound programming cabinet . 424.1.1Description . 424.1.2The Oscillators (VCO) . 434.1.2.1Oscillator 1 . 444.1.2.2Oscillator 2 . 444.1.2.3Oscillator 3 . 454.1.3The Filter (VCF) . 474.1.3.14.1.45The filter types:. 49The envelopes . 504.1.4.1ADSR . 514.1.4.2AR . 514.1.4.3Trigger modes. 514.1.5Output amplifiers (Voltage Control Amplifier - VCA) . 524.1.6Noise Generator . 524.1.7Voltage processor (Mixer / inverter / lag generator) . 534.1.8Sample and Hold generator . 544.1.9The “electronic switch” module (Electronic switch) . 544.1.10Envelope follower . 554.1.11Ring modulator . 564.1.12“Tracking” generator . 574.1.12.1Main interface: . 574.1.12.2Edit interface . 584.1.13Reverberation. 584.1.14Chorus and delay effects . 594.1.15Control voltages (CV control) . 604.2Keyboard interface (Model 3620) . 614.3Low frequency oscillator (LFO) . 614.4The ARP sequencer . 62THE BASICS OF SUBTRACTIVE SYNTHESIS. 66ARTURIA – ARP 2600 V – USER MANUAL4
5.15.267The three main elements . 665.1.1The oscillator or VCO . 665.1.2The filter or VCF . 715.1.3The amplifier or VCA . 75Complementary modules . 755.2.1The keyboard . 755.2.2The envelope generators . 765.2.3The low frequency oscillator . 785.2.4The ring modulator . 795.2.5Sample and hold . 80A FEW ELEMENTS OF SOUND DESIGN . 826.1Simple patch without cabling . 826.2Polyphonic patch with cabling . 866.3Special effects patch with the help of the tracking generator . 906.4Patch using the sequencer to create a melody . 936.5Patch using the sequencer to create a modulation sequence . 95END USER LICENSE AGREEMENT. 98ARTURIA – ARP 2600 V – USER MANUAL5
1INTRODUCTIONArturia would like to thank you for purchasing our synthesizer model: the ARP 2600V. We are confident it will prove to be an extremely valuable addition to your musicproduction studio. If you’ve purchased our products before, you know we prideourselves in faithfully recreating the sound and feel of the original instruments, downto the smallest detail. ARP 2600 V is no exception to this rule.And if this is the first of our products you have owned, you are in for a treat! Thesynthesizer upon which this model is based was the absolute pinnacle of analogsynthesizer technology at the time, light-years ahead of the competition.1.1The birth of ARP Instruments and the ARP2600Alan R. Pearlman, whose initials would form the name of ARP Instruments, becameinterested in instruments for electronic music as early as 1948, when he was astudent at the Worcester Polytechnic Institute. This was a means for him to associatehis two passions: electronic music and the piano.It was by commercializing the amplifier models for the NASA Gemini and Apolloprograms that he would start his career. Around 1968 he started seriously imaginingthe possibility of building electronic instruments – after hearing a recording of“Switched-on Bach,” according to legend.In 1969, Alan R. Pearlman, David Friend and Lewis G. Pollock created ARPInstruments (originally called Tonus Inc.). The company, based in Newton Highlands(Massachusetts, USA), conceived electronic products, but also and above all elsea large modular synthesizer, the ARP 2500. The machine used a matrix whichconnected the different sections of the synthesizer, instead of the traditional cablesfound in its competitor’s modular system. The ARP 2500 found success in Americanuniversities.The growth of ARP instruments was fast and in 1972 the ARP 2600, probably the mostlegendary of the entire range, was unveiled. This semi-modular synthesizer,conceived with an educational goal, was to become hugely successful after ashaky start. The ARP 2600 was notably used by Stevie Wonder, Joe Zawinul(Weather Report), Tony Banks (Genesis), Jean-Michel Jarre, Herbie Hancock. ARPwas the market leader in synthesizers during the 70’s with around 40% of the marketshare.In ten years, three versions of the ARP 2600 were commercialized: The first versionwas called “Blue meanie” because of its steely blue finish. The “blue meanie” wasquickly replaced by a second version, with a grey background finish and white silkscreening (1972). This was to be more popular. In 1978 ARP decided to change thegraphic chart for all of its machines: a black background color with orange silkscreening was introduced. The ARP2600 benefited from its third and last version.ARTURIA – ARP 2600 V – USER MANUAL6
The great rival of ARP was the Bob Moog’s company. The competition betweenthe two manufacturers can easily be seen when we observe the machines: TheARP, for example, has linear potentiometers, while its competitor has rotating pitchbend and modulation wheels.A well-known episode of this competition was the 24 dB/octave filter, the 4012,used by the ARP. This was a replica of the famous filter made by its competitor. In1973, this one threatened ARP with legal action and the firm decided to changethe circuits on its filter. The 4072 was born and took the place of the 4012. Thispossessed a calibration error in the high frequencies – the maximum cut-offfrequency was less than 11 kHz instead of the 16 kHz promised in the press. Luckilythe repair for users was fast and not much of a burden. On the first ARP 2600’s, the4012 filter was still used (this was the case for the “Blue meanie” and on the firstexamples of the “grey and white”) while the models that followed offered the 4072.The ARP synthesizers possess very stable oscillators, more reliable than the onesequipping Bob Moog's synthesizers, what he admitted himself. On the other hand,ARP for a long time dipped the electronic circuits for filtering in resin to avoidindustrial piracy. this made for major problems when trying to perform a repair.In 1972, ARP launched the Odyssey, which would be in direct competition with theBob Moog’s monosynth released one year earlier. The same year, the Pro-Soloist, apreset instrument, was also unveiled.In 1976, ARP released a small 16 step sequencer in the form of 2 independent 8 stepsequences. This became famous and is still very sought after (it is emulated in theARP2600 V.) The same year they presented the Omni, which would become oneof ARPs biggest successes. The instrument allowed the combination of twopolyphonic violin sounds – a great innovation for the company – and 2monophonic bass sounds.In 1976, ARP released a small 16-step sequencer in the form of two independent 8step sequences. This became famous and is still very sought after (it is emulated inthe ARP2600 V.) The same year they presented the Omni, which would becomeone of ARPs biggest successes. The instrument allowed the combination of twopolyphonic violin sounds – a great innovation for the company – and twomonophonic bass sounds.But in 1981, ARP was finally bought out by CBS. The following year, CBS with part ofthe ARP development team would produce the Chroma, a programmablepolyphonic synthesizer, and in 1984 the Chroma Polaris, a simplified and MIDIcapable version of the Chroma.ARTURIA – ARP 2600 V – USER MANUAL7
1.2Arturia’s secret ingredient: TAE TAE (True Analog Emulation) is Arturia's outstanding technology dedicated to thedigital reproduction of the analog circuits used in vintage synthesizers.TAE ’s software algorithms result in spot-on emulation of analog hardware. This iswhy ARP 2600 V offers an unparalleled quality of sound, as do all of Arturia’s virtualsynthesizers.TAE combines three major advances in the domain of synthesis:1.2.1Aliasing-free oscillatorsStandard digital synthesizers produce aliasing in high frequencies, especially whenusing Pulse Width Modulation (PWM) or Frequency Modulation (FM).TAE enables the generation of oscillators which are completely free of aliasing inall contexts (PWM, FM ), and at no extra CPU cost.AliasingLinear frequency spectrum of a current well-known software synthesizerLinear frequency spectrum of an oscillator modeled with TAE ARTURIA – ARP 2600 V – USER MANUAL8
1.2.2A better reproduction of analog oscillator waveformsThe waveforms produced by the oscillators in analog synthesizers are affected bythe presence of a capacitor in the circuits. The discharge of a capacitor results ina slight ‘bend’ in the original waveform (most notably for sawtooth, triangular andsquare waveforms). TAE reproduces the result of this capacitor discharge insoftware.Below is the analysis of a waveform from one of the five original instruments Arturia’ssoftware emulates, followed by one made by TAE . They are both equallydeformed by the low-pass and high-pass filtering.Temporal representation of the “sawtooth” waveform of a hardware synthesizerTemporal representation of a “sawtooth” waveform reproduced by TAE ARTURIA – ARP 2600 V – USER MANUAL9
What’s more, the hardware analog oscillators were unstable. In fact, theirwaveforms vary slightly from one period to another. If we add to this the fact thatthe starting point for each period (in Trigger mode) can vary with the temperatureand other environmental conditions, we see why vintage synthesizers have such atypical sound.TAE reproduces the instability of oscillators, resulting in a fatter and “bigger” sound.1.2.3Direct Filter Circuit ModelingDue to advances in computer processing power, TAE can now employ direct filtermodeling techniques to achieve unprecedented accuracy in the emulation of ahardware synthesizer’s filter. By modeling the operation of the individual hardwarecomponents of the filter circuit, the warm nuances synonymous with analog soundsare recreated.The following graph shows a single example of direct circuit modeling in action.The peaks represent the generation of harmonics at multiples of the resonantfrequency when a particular filter is in self oscillation mode. These harmonics arecharacteristic of hardware synthesizer filters and are due to the non-linear behaviorinherent to their analog circuitry. Anomalies such as these add to the richness andwarmth of the sound produced by the filter.But you’ll notice there are two lines on the graph: Those are the superimposedfrequency domain plots for both one of Arturia's virtual instruments and thehardware filter being emulated. They are practically indistinguishable, both on thegraph and to the human ear. The direct recreation of this analog circuitry causesthe same characteristics of the sound to be present, thus giving the user a trulyanalog sound.ARTURIA – ARP 2600 V – USER MANUAL10
Comparison of harmonics generated by the filter circuits in self-oscillationof TAE and a hardware synthesizerSo here’s the bottom line: when you bring together a bunch of music lovers whoalso have a deep understanding of the characteristics of electronic circuits, youwind up with Arturia. And Arturia now offers you our most impressive software modelyet, the ARP 2600 V.We take great satisfaction in knowing this great synthesizer will help you explorepreviously unknown musical territory.ARTURIA – ARP 2600 V – USER MANUAL11
2ACTIVATION AND FIRST START2.1Register and ActivateARP 2600 V works on computers equipped with Windows 7 or later and MacOS X 10.8 or later. You can use the stand-alone version or use ARP 2600 V as anAudio Units, AAX, VST2 or VST3 instrument.Once ARP 2600 V has been installed, the next step is to register the software.The registration process will require you to enter the serial number and theunlock code you received with the product.In order to proceed, go to this web page and follow the instructions:http://www.arturia.com/registerNote: If you don’t have an Arturia account yet, you will need to create one.The process is quick, but it does require that you can access your email addressduring the registration process.Once you have acquired an Arturia account you will be able to register theproduct.2.2Initial setup2.2.1Audio and MIDI settings: WindowsAt the top left of the ARP 2600 V application is a pull-down menu. It containsvarious setup options. Initially you will need to go to the menu and choose theAudio Settings option to get sound and MIDI flowing in and out.ARTURIA – ARP 2600 V – USER MANUAL12
ARP 2600 V main menuYou will then see the Audio MIDI settings window. This works in the same wayon both Windows and Mac OS X, although the names of the devices availableto you will depend on the hardware you are using.ARTURIA – ARP 2600 V – USER MANUAL13
Audio and MIDI settings windowStarting from the top you have the following options: Device lets you choose which audio driver you want to use to routesound out of the instrument. This might be your computer’s own driverlike Windows Audio, or an ASIO driver. The name of your hardwareinterface may appear in this field. Output Channels lets you select which of the available outputs will beused to route audio out. If you only have two outputs, only two willappear as options. If you have more than two you can select a specificpair of outputs. The Buffer Size menu lets you select the size of the audio buffer yourcomputer uses to calculate sound. A smaller buffer means lower latencybetween pressing a key and hearing the note. A larger buffer means alower CPU load as the computer has more time to think, but can resultin a small latency. Find the optimum buffer size for your system. A fast,modern computer should easily be able to operate at 256 or 128 samplebuffer size without creating pops or clicks in the sound. If you are gettingclicks, try raising the buffer a little. The latency is displayed on the righthand side of this menu. The Sample Rate menu lets you set the sample rate at which audio issent out of the instrument. The options here will depend on the capabilityof your audio interface hardware though even most computers’ ownhardware can operate at up to 48kHz which is perfectly fine. Highersample rates use more CPU power so unless you have a good reason toARTURIA – ARP 2600 V – USER MANUAL14
go up to 96kHz, then 44.1k or 48k is usually fine. The Show Control Panelbutton will jump to the system control panel for whatever audio deviceis selected. Play Test Tone helps you to troubleshoot audio issues by confirmingwhether sound can be heard through the correct device. Your connected MIDI devices will appear in the MIDI Devices area. Clickthe check box to accept MIDI from the device you want to use to triggerthe instrument. In standalone mode, ARP 2600 V listens for all MIDIchannels so there’s no need to specify a channel. You can specify morethan one MIDI device at once.2.2.2Audio and MIDI settings: Mac OS XThe process is very similar to initial setup for Windows and the menu is accessedin the same way. The difference is that OS X uses CoreAudio to handle audiorouting and the audio device selection is made in the second dropdownmenu. Apart from that, the options work the same way as described in theWindows section.2.2.3Using ARP 2600 V in plug-in modeARP 2600 V comes in VST, AU and AAX plug-in formats for use in all major DAWsoftware such as Cubase, Logic, Pro Tools and so on. You can load it as a plugin instrument and its interface and settings work the same way as in standalonemode, with a couple of differences.ARTURIA – ARP 2600 V – USER MANUAL15
You can automate numerous parameters using your DAW’s automationsystem. You can use more than one instance of ARP 2600 V in a DAW project. Instandalone mode you can only use one at once. You can route ARP 2600 V
ARTURIA – ARP 2600 V – USER MANUAL 7 The great rival of ARP was the Bob Moog’s company. The competition between the two manufacturers can easily be seen when we observe the machines: The ARP, for example, has linear potentiometers, while its competitor has
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Arp 2600 Manufactured by ARP Instruments, Inc., the Arp 2600 was one of the most successful synthesizers to come out of the 1970s. They were ideal for players new to the synth world, and allowed patches to be changed via switches or 1/8" audio cables. The list of
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