The Arp 2600 synthesizer has set a standard against
which all synthesizen are measured. No other instrument
offers the musician such a balanced combination of studio and
live performance options. Creative artists like
Joe Zawinul and Stevie Wonder are just two of the many who have
chosen the 2600 as their synthesizer.
A major reason for its popularity is its openended flexibility.
The 2600 offen an unlimited range of sound
production, modification and processing funaions. On concert stages,
in recording studios and in the music
departments of the world's most prestigious colleges and universities,
the 2600 synthesizer performs
brilliantly year after year.
A look at the control panel, ar "brain"
of the 2600, tells you of its awesome musical power. The instrument
utilizes the block diagram concept of electronic sound creation
similar to that found on Arp's smaller, less
complex variable models. tinear sliden and switches are used throughout
for ease of programming, and to
provide the user with a quick visual record of signal flow.
The 2600 can be operated with or without patchcords.
All of the functions are internally wired and can be
controlled via sliders and switches. Female panel jacks provide
access to every funaion on the 2600, so that
you may override any prewired internal connection.
This gives you complete control of the synthesizer
process, allowing you to choose the raw signal, then
determine the exact sequence of modification and control required
to create just the sound or effect you desire.
New keyboard electronics have recently been added
to the 2600 to expand its live performance capability.
A compact panel to the left of the keyboard offers two-voice dual
memory, a low frequency oscillator for
trills and vibrato, single/multiple trigger selection, vibrato
depth and delay controls, portamento, pitch bend
and an interval latching device that lets you memorize, delete
and call back selected intervals using a
footswitch controller. Through Arp systems interfacing, the 2600
may also be interconnected with other
Arp synthesizers. Headphone jacks, monitor speakers and built-in
reverb are also included.
The 2600 has been carefully designed for the discerning
professional musician, whether composer, performer,
creative audiophile, teacher, student or combination of all. Several
books and perfor mance aids are available to
further enhance the enjoyment of 2600 ownership. The 2600 Owner's
Manual is a text used for electronic music
courses in addition to its use as a practical operational guide.
The 2600 Patch Book is the collected wisdom of
dozens of 2600 owners, featuring 100 control settings for basic
and advanced synthesizer patches. Complete with owner's manual,
integrated travelling case, interval latch foot
switch and patch cords, the Arp 2600 will provide you with years
of exciting musical rewards.
1. VCO 1, 2, 3: Create raw pitch. Sawtooth (brassy), square
(hollow), pulse (reedy), triangle (mellow)
and sine (very mellow) waves available. Pitch control sliders
include: vibrato, trill, sample/hoid and
ADSR control. All oscillators can double as controllers via AUDIO/LF
switch. Pulse width modulation
(available on VCO 2) can produce saxophone sounds, dynamic brass
ensemble effects and other
heavy synthesizer sounds.
2. VCF: Changes timbre by adding, subtracting or emphasizing
harmonics. Various controllers control
VCF by keyboard, VCO 2 rrremolo LFO), ADSR or any other controller
that can be patched into the
control input jacks.
3. ADSR/AR: Envelope generators that control every aspect of articulation.
4. VCA: Used as a voltage-controlled volume control. Essential
to any patch when the performer desires to
have the VCF open in a static mode.
5. Pan: Pan pot locates any two sounds in the stereophonic Image.
6. Reverb: Enhances and adds richness and concert-hall depth to a patch.
7. Internal Speaker: Allows low volume monitoring of patch.
8. S/H: Controls VCOs for random computer like sound, or VCF
for funky effects.
Rate governed by internal clock.
9. Voltage Processors: Functions include sources for positive
or negative voltage (changes pitch of VCOs),
voltage inverters (invert keyboard, envelopes, etc.). Can be used
as audio mixers or attenuators.
10. Noise Generator: Creates sounds of wind, earthquake, surf, steam, bombs, etc.
li. Multiple: Splits signals into four outputs.
12. Ring Modulator: Creates gongs, chimes, or special ethereal sounds.
13. Envelope Follower: Used with external input (mic., guitar).
Produces a voltage proportionate to the
amount of input volume. Good for touch responsive wah-wah.
14. Preamplifier: Boosts low-level external audio signals.
15. Mini "D" Jacks: Allows the performer to override
any prepatched effect.
The List Price in 1980 for the 2600 was $3660 US.
ARP 2600 The ultimate professional-quality portable synthesizer Equally at home in the electronic music studio or on stage, the ARP 2600 provides the incredible new sounds in today's leading rock bands The 2600 is also owned by many of the most prestigious universities and music schools in the world Powerful. dependable, and easy to play. the 2600 can be played without patchcords or modified with patch cords. This arrangement provides maximum speed and convenience for live performance applications, as well as total programming flexibility for teaching, research composition and recording. An pre-wired patch connection(s) can be overridden by simply inserting a patchcord into the appropriate jack on the front pane The ARP 2600 is easily expanded and can be used with the ARP 2500 series. Renowned for its electronic superiority, the oscillators and filters in the 2600 are the most stable and accurate available anywhere Accompanied by the comprehensive, fully illustrated owner s manual, the ARP 2600 is recognized as the finest, most complete portable synthesizer made today FUNCTIONS 3 Voltage Controlled Oscillators 03 Hz to 20 KHz in two ranges Five waveforms include: variable-width pulse. triangle. sine, square, and sawtooth 1 Voltage Controlled Lowpass filter Variable resonance, DC coupled. Doubles as a low distortion sine oscillator. 1 Voltage Controlled Amplifier Exponential and linear control response characteristics 1 Ring Modulator. AC or DC coupled 2 Envelope Generators. 1 Envelope Follower. 1 Random Noise Generator. Output continuously variable from flat to -6db/octave 1 Electronic Switch, bidirectional 1 Sample & Hold with internal clock. 1 General purpose Mixer and Panpot. 1 Voltage Processor with variable lag. 2 Voltage Processors with inverters 1 Reverberation unit. Twin uncorrelated stereo outputs 2 Built-in monitoring amplifiers and speakers, with standard stereo 8-ohm headphone jack. 1 Microphone Preamp with adjustable gain 1 Four-octave keyboard with variable tuning. variable portamento, variable tone interval, and precision memory circuit. DIMENSIONS: Console 32" x 18" x 9x Keyboard 35" x 10" x 6" WEIGHT: 58 Ibs