In-depth Feature:
Arturia 2600V
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Installing
Installation is relatively straightforward although a last minute update means that the CD holds a .dmg file, which must be mounted to reach the installer, a Read Me file is included to explain this change from the manuals instructions. Authorization is via the included serial number, so there is no need to connect to the Internet before you can start. Registering your purchase gains access to upgrades and additional presets.
The Synth comes with over 400 presets by various sound designers including Kevin Lamb, who is currently programming for Chad Hugo from the Neptunes. Also included are the presets from the original 2600 patch book.
Nitty Gritty
he ARP 2600 V is divided into three main sections, the Synth, the Sequencer and the Keyboard, with the addition of two Arturia extras, the Tracking generator and a Chorus/Delay effects unit, more on these later.
The Synth
2600V main synth section |
The Synth itself is made up of different modules, these include: 3 VCO's, a noise generator, a ring modulator, 24db low-pass and 12db multimode filters, a sample and hold module, 2 envelopes (one ADSR and one AR), a VCA, a simple reverb and the two new Arturia additions.
Control is via sliders and switches rather than knobs, and for anything other than basic signal flow virtual cables are used to route both audio and modulation signals. These connectors are labelled differently for each type and choosing a signal output will cause all possible inputs to be highlighted.
For those who have used the Gforce Oddity (or the real thing), the layout should be reasonably familiar. The signal flow is as expected, from VCO to mixer then VCF to VCA with the LFOs and envelopes sculpting the signal en route. The presets include some basic templates, which the manual explains in a simple and easy to follow language.
The VCO's have a 4-octave range and all output sawtooth and square waves. Oscillators 2 and 3 have the addition of sine and triangle waves and also output PWM; all three can be used in LF mode as modulators rather than sound generators, a dedicated LFO has been included and is found on the sequencer section. Another update from the original is the ability to sync oscillator 2 to oscillator 1. Inputs to the oscillators are provided for control signal from other modules.
The VCF has a multimode filter (the original had only the 24db low-pass), this features five filter types, 24db low-pass, 12db low-pass, 12db high-pass, 12db band-pass and a notch filter of the kind found on the ARP 2500. The VCF has both audio and control inputs. The frequency range is from 10khz right down to 10hz, which allows some very fat bass tones.
The envelopes can be patched to any modulation input, so although the ADSR is hard-wired to the VCO's and VCF, this can be over patched very easily.
The VCA enables mix of the VCF and Ring Mod signals, which can then be passed through the Reverb module before output.
The Noise generator outputs low frequency, pink or white noise, this is great for creating percussion sounds but can be used to rough up sounds if connected as a modulation source. The Sample and Hold module works with the Noise generator to create random modulation. This module can be synced to midi.
The Voltage processor acts as an audio or control signal mixer, allowing up to 8 signals to be mixed together and/or inverted.
The Tracking Generator is, as mentioned, a new addition to the 2600. This module can be used either to create LFO waves or modify an incoming control signal. These incoming signals can be from either modulation or audio sources and waves can be edited via a comprehensive curve editor. Up to 4 waves can be generated here and applied to any control input.
Finally, the Chorus/Delay module has control for chorus depth and rate and delay time and feedback; both sections have a dry/wet mix control and the delay can be synced to midi. This module comes last in the chain and is not otherwise patchable.
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