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Average rating:
4.8 out of 5
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I love the 2600 a LOT - in fact, I own two. For the price - around $4,000+, it is a LOT of modular power (6 osc, two S/H, etc) compared to Doepfer, Moog, Serge, Buchla, etc.
The main problem is that people judge it by the SPEAKER sound. Turn them off and listen to the real output! Even patch an output EARLIER in the chain (after VCA, before mixer) and hear it get better still... The mods for decoupling the filter and increased filter range are good and clarify the sound a lot.
I have played MANY (around 40-50) 2600's in my life. I honelsty can say the latest ones (orange panel) are far stronger, meatier and clearer than the early ones. I know "older is better" but this was true also for Odysseys (older ones are much weaker and softer sounding) so maybe there is an ARP exception to that adage.
BrianK
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The ARP 2600 is a synth to buy!! Every sound is 100% useable. They al say that it's not a synth to make basslines,but it is!!!!! from basslines to strange sounds from lead sounds to effects,i enjoy it till i turn it off.
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I pretty much run everything through my 2600�s filter. Sometimes to create dramatic modulations to an external source that would otherwise have been ordinary , or just subtle treatments that add character , and make it sound oooold. There�s a certain magic to the 2600 in that sense , I mean I�ve worked with other filter treatment gadgets/synths and they all do more or less the same thing , but a sound that travels through the mysterious innards of the ARP becomes....interesting and organic , sort of like the sound quality in a 60�s-70�s film. And as a synthesizer in itself , you just gotta love the ARP sound. I started out with Axxes , then went to the Odyssey , and finally got hold of a grey meanie 2600.
They don�t come cheap these days , but trust me they�re worth it no matter what style of music you�re into. The 2600 begs you to do experimental stuff with it , but you can also patch up a classic lead/bass/whathaveyou in no time. Or without patchcords for that matter since it�s semimodular. Like any modular of this size you can surprise yourself every day with a new sound and a new dimension that you didn�t know about before. Modulate everything with anything to get sounds that vibrate and live. I have yet to hear any virtual (like the Nordmod) sound like this. To my ears they�re just flat and clinical , but I won�t go there...
My only gripes would be the sometimes clicking filter in high resonant positions , and also the envelopes are a bit...well , I could have used two ADSR�s instead of one of them being just an AR , but that�s ARP for you.
The older 2600�s with the 4012 filter are supposed to sound beefier than the later ones. I myself have never tried out the newer ones , so I can�t be the judge of that. I�m just happy I got a 4012 one...except for the fact that its modules are epoxied.
The 2600 is the ultimate modular to start out with , as it�s so logically laid out both visually and technically. As someone pointed out , there�s the Devarahi book with the 2600 section. However , he doesn�t actually dig too deep into its possibilites. A nice book it is though. Make sure you get the manuals and patchbook if you want to fully understand what�s going on. I had a constantly frowned forehead before I got some copies from the netking of manuals-Mark Glinsky. Having the 1v/oct makes it easy to expand the 2600 with whatever you feel the need for as time goes by. Doepfers , MOTM modules or older systems like the Roland 100m. Anyway , make no mistake , this is one of the true classics in both sound and flexibility.
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If I'm correct Trnet Reznor Also used the 2600 for the main bassline in "Head Like A Hole" mmm....... yummy phat ;)
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The 2600 is really a serious machine, I borrowed one for about a year and it was really hard to return it to the owner. I especially liked to fm the filter with a high sine wave and add a decaying envelope. It's really the best filter fm I've ever come across including serge and buchla!
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