ARP 2600
The ARP 2600 is a subtractive synthesizer first produced by ARP Instruments, Inc in 1971.
History[edit]
Developed by a design team headed by ARP namesake Alan R. Pearlman and engineer Dennis Colin, the ARP 2600 was introduced in 1971 as the successor to ARP's first instrument, the ARP 2500, at a retail price of US$2600.[1]
Unlike fully modular synthesizers, which often required modules to be purchased individually and wired by the user, the 2600 was semi-modular with a fixed selection of basic synthesizer components internally pre-wired. It sported clear text labels and front panel screen printed graphics indicating the function of different sections of controls, and the signal flow between them.[2] The 2600 was thus ideal for musicians new to synthesis, due to its ability to be operated without patch cords, while still offering greater flexibility to sound designers who were comfortable using them. On its initial release it was heavily marketed to high schools and universities.
Features and architecture[edit]
The ARP 2600 features three VCOs, a 4-pole (24 dB/octave) low-pass filter, a VCA, a ring modulator, sample and hold, a white/pink noise generator, microphone preamp, spring reverb, two envelope generators, and a four-octave keyboard.[3]
In 1973, Tom Oberheim, who was an ARP dealer, produced a kit that converted the keyboard into a duo-phonic keyboard capable of triggering two different oscillators simultaneously. The following year, ARP adopted this improvement and introduced the Model 3620 duo-phonic keyboard, which also included delayed vibrato as well as single and multiple triggering functionality.[3][1]
All versions of the ARP 2600 produced through 1976 utilized ARP’s Model 4012 filter, which was an imitation of Robert Moog's 4-pole "ladder" VCF, which became the subject of a patent dispute eventually settled out of court,[4] and was replaced by an ARP filter design, the Model 4072.
Impact[edit]
The first significant user of the 2600 was Edgar Winter, who connected the keyboard controller of the 2600 to the main unit via a long extension cord, allowing him to wear the synth around his neck like a keytar. Stevie Wonder was an early adopter of the 2600 who had the control panel instructions labelled in Braille. Other early notable users included Pete Townshend, Joe Zawinul, and Herbie Hancock.[1]
The sound designer Ben Burtt used an ARP 2600, combined with his own voice, to create the voice of R2-D2 in the Star Wars films.[6] Burtt also used the 2600 to create the sound effects of the Ark of the Covenant in Raiders of the Lost Ark.
An ARP 2600 was used to record the bassline for Madonna's 1984 hit "Borderline" and the 1983 Michael Jackson single "Thriller".[7]
ARP 2600P v1.0 (1971) or v2.0 (1971-72) with 3604P keyboard, after the 2600 Blue-Marvin (1971) and the 2600C Gray Meanie (1971).
ARP 2600P v3.0 (1972–74) or v4.0 (1974) with
3620 duophonic keyboard (1974-?), new G-clef logo.
ARP 2600P v3.0 (1972–74) or v4.0 (1974) panel details
ARP 2601 v2.0 (1977–80) or v3.0 (1980, last 100 or so) black-on-orange model
