![]() While lacking a dedicated LFO in the primary chassis, its VCOs de-couple from keyboard CV independently to serve as LFOs with upper-frequency limits reaching well into the audible spectrum. ![]() Others prefer the latter design, offering more outlandish, growly tones, particularly when overdriven, despite being notorious for having a higher noise floor. ![]() Opinions vary on this decision since many consider the character of the original ladder filter to be sonically superior, having a thicker tone and more sweet spots. In later revisions (post-1974), ARP substituted the original filter with their 4072 design. While initial exchanges were terse, healthy mutual admiration between Bob and Alan evolved. Inspired initially by Moog’s design, its 24dB/octave filter design (the 4012) was a point of controversy, and ARP came under the scrutiny of Bob Moog himself. In addition, a five-part mixer feeds combined the (normalled) outputs of the VCOs, Ring Modulator and Noise source into its low-pass ladder filter. The ARP 2600 featured three VCOs, each with a trio of normalled inputs for frequency modulation - possibly its most defining aspect. With even just a few patch cables, you could radically alter its behaviour and pallet. Conversely, those curious to explore sound design further could get busy overriding the normalled signal flow via patch cables. The ARP 2600 democratised the most potent aspects of the ARP 2500 with a significantly smaller footprint, lower cost and much easier to use! SITUATION SEMI-NORMALĮlemental to the ARP 2600’s success was its semi-normalised architecture - without any patch cables connected, even musicians inexperienced with synthesis could pull a rich palette of tones out of it. However, it required a thorough knowledge of signal flow to get a sound out of it. Famous for its cameo on ‘Close Encounters of the Third Kind’ (as the means to communicate with the alien visitors), the triple-panel version of the ARP 2500 was a state-of-the-art instrument. While its forefather, the gigantic ARP 2500, might have dwarfed the ARP 2600 in stature and function, it was a distillation of its most functionally valuable modules at a substantially lower expense and complexity. When you consider this is a 50-year-old synth, it’s astonishing that not only the OG versions are still relevant, it’s incredible that they’re still functional! Furthermore, they would have paid a significant sum for it and endured a money pit of servicing to keep it running. When a true Synth-GAS (gear acquisition syndrome) fiend boasts of the finest instruments in their collection, if they’re fortunate enough to have one, it will be among the first to leave their lips in the heat of their synth-flex. Pearlmann’s ARP 2600 rubs shoulders with the most revered of the vintage synth kingdom. Manufactured from 1971 through 1981, the legacy established by Alan R.
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