Arturia ARP2600 V User manual

USER’S MANUAL
ARP2600 V

Programming:
Nicolas Bronnec
Sylvain Gubian
Xavier Oudin
Cedric Rossi
Graphics:
Yannick Bonnefoy
Manual:
Jean-Michel Blanchet
Frédéric Brun
Yuji Sano
Tom Healy
Mitsuru Sakaue
Xavier Oudin
Cedric Rossi
Kentaro Wakui
Sound Designers:
Jean-Michel Blanchet
Celmar Engel
Klaus Schulze
Ruff & Jam
Kevin Lamb from Neptunes
Chis Pitman
Norikata Ubukata
Darrell Diaz
Glen Darcy
Katsunori Ujiie
Pietro Caramelli
Very special thanks to:
Celmar Engel, Mark Vail, Alan R. Perlman, Wally Badarou, Chad from Neptunes
Thanks to:
John Leimseder, Matt Lupo, Ron Kuper, Mephistoff Ellys, Pietro Caramelli
and the numerous beta testers.
© ARTURIA SA – 1999-2004 – All rights reserved.
4, Chemin de Malacher
38240 Meylan
FRANCE
http://www.arturia.com
Information contained in this manual is subject to change without notice and does not represent a commitment
on the part of Arturia. The software described in this manual is provided under the terms of a license agree-
ment or non-disclosure agreement. The software license agreement specifies the terms and conditions for its
lawful use. No part of this manual may be produced or transmitted in any form or by any purpose other than
purchaser’s personal use, without the express written permission of ARTURIA S.A.
Other products, logos or company names quoted in this manual are trademarks or registered trademarks of
their respective owners.

Table of Contents
1Introduction 5
1.1 The birth of ARP Instruments and the ARP2600 5
1.2 A better emulation thanks to TAE® 6
1.2.1 Aliasing-free oscillators 6
1.2.2 A better reproduction of analog oscillator waveforms 7
1.2.3 A better reproduction of analog filters 8
1.2.4 Ring modulator 8
2Installation 9
2.1 Windows installation (Win9x, Me, 2000, XP) 9
2.2 Mac OS X installation 10
3Quick start 11
3.1 Using presets 12
3.1.1 Now modify a preset 12
3.2 The 3 sections of the ARP2600 V 14
3.3 Overview of the Synthesizer 14
3.4 The sequencer 17
3.4.1 The ARP sequencer 17
3.4.2 The LFO 20
3.5 The effects 21
3.5.1 Chorus 22
3.5.2 Delay 22
3.6 Real-time controllers and MIDI assign 22
4The interface 25
4.1 Using the presets 25
4.1.1 Choice of bank, sub-bank, preset 25
4.1.2 Creation of a bank, sub-bank, preset 26
4.1.3 Saving a user preset 26
4.1.4 Importation / Exportation of a preset bank 27
4.2 Use of controllers 28
4.2.1 Vertical linear potentiometers 28
4.2.2 Horizontal linear potentiometers 28
4.2.3 Knobs 28
4.2.4 The selectors: 29
4.2.5 Switches 29
4.2.6 Pitch Bend 29
4.3 Using cables 29
4.3.1 Audio and modulation connections 30
4.3.2 Modifying a connection 31
4.3.3 Setting the level of modulation 31
4.3.4 Separate the cables 32
4.3.5 Virtual keyboard 32
4.3.6 MIDI control 33
5The modules 35
5.1 Sound programming cabinet 35
5.1.1 Description 35
5.1.2 The Oscillators (Oscillators - VCO) 36
5.1.3 The Filter (Filter - VCF) 39
5.1.4 The envelopes 42
5.1.5 Output amplifiers (Voltage Control Amplifier - VCA) 43
5.1.6 Noise Generator 44

5.1.7 Voltage processor (Mixer / inverter / lag generator) 44
5.1.8 Sample and Hold generator 45
5.1.9 The”electronic switch” module (Electronic switch) 45
5.1.10 Envelope follower 46
5.1.11 Ring modulator 47
5.1.12 “Tracking” generator 48
5.1.13 Reverberation 49
5.1.14 Chorus and delay effects 49
5.1.15 Control voltages (CV control) 50
5.2 Keyboard interface (Model 3620) 51
5.3 Low frequency oscillator (LFO) 51
5.4 The ARP sequencer 52
6The basics of subtractive synthesis 55
6.1 The three main elements 55
6.1.1 The oscillator or VCO 55
6.1.2 The filter or VCF 59
6.1.3 The amplifier or VCA 62
6.2 Complementary modules 62
6.2.1 The keyboard 62
6.2.2 The envelope generator. 63
6.2.3 The low frequency oscillator. 64
6.2.4 The ring modulator 65
6.2.5 Sample and hold 65
7A few elements of sound design 67
7.1 Simple patch without cabling 67
7.2 Polyphonic patch with cabling 70
7.3 Special effects patch with the help of the tracking generator 73
7.4 Patch using the sequencer to create a melody 76
7.5 Patch using the sequencer to create a modulation sequence 78
8Using the ARP2600 V in different modes 81
8.1 Stand-alone 81
8.1.1 Launching the application 81
8.1.2 Setting preferences 81
8.1.3 The control bar 82
8.1.4 Information on the level of processor use 83
8.1.5 Saving an instrument 83
8.2 VST™ 83
8.2.1 Installation 83
8.2.2 Using the instrument in VST mode 84
8.2.3 Connection to a MIDI track 84
8.2.4 Saving presets 84
8.2.5 Automation 85
8.3 Pro Tools™ 85
8.3.1 Installation 85
8.3.2 The RTAS and HTDM standards 85
8.3.3 Opening the instrument 85
8.3.4 Connection to a MIDI node 86
8.3.5 Saving presets 86
8.3.6 Automation under Pro Tools 87
8.4 DXi™ 87
8.4.1 Installation 87
8.4.2 Opening the instrument (SONAR™ 2.0) 87
8.4.3 Connection to a MIDI track 87
8.4.4 Saving presets 88
8.4.5 Automation 88
8.5 Audio Unit 88
8.5.1 Installation 88
8.5.2 Using the plugin in Logic Audio 88
8.5.3 Using the plugin in Digital Performer 90

ARTURIA – ARP2600 V – USER’S MANUAL 5
1 Introduction
1.1 The birth of ARP Instruments and the ARP2600
Alan R. Pearlman, whose initials would form the name of ARP Instruments, became interested in
instruments for electronic music as early as 1948, when he was a student at the Worcester Poly-
technic Institute. This was a means for him to associate his two passions: electronic music and the
piano.
It was by commercializing the amplifier models for the NASA Gemini and Apollo programs that he
would start his career. Around 1968 he started seriously imagining the possibility of building elec-
tronic instruments – after hearing a recording of “Switched-on Bach,” according to legend.
In 1969, Alan R. Pearlman, David Friend and Lewis G. Pollock created ARP Instruments (originally
called Tonus Inc.). The company, based in Newton Highlands (Massachusetts, USA), conceived elec-
tronic products, but also and above all else a large modular synthesizer, the ARP 2500. The machine
used a matrix which connected the different sections of the synthesizer, instead of the traditional
cables found in the Moog Modulars. The ARP 2500 found success in American universities.
The growth of ARP instruments was fast and in 1972 the ARP 2600, probably the most legendary of
the entire range, was unveiled. This semi-modular synthesizer, conceived with an educational goal,
was to become hugely successful after a shaky start. The ARP 2600 was notably used by Stevie Won-
der, Joe Zawinul (Weather Report), Tony Banks (Genesis), Jean-Michel Jarre, Herbie Hancock...
ARP was the market leader in synthesizers during the 70’s with around 40% of the market share.
In ten years, three versions of the ARP 2600 were commercialized: The first version was called
“Blue meanie” because of its steely blue finish. The “blue meanie” was quickly replaced by a sec-
ond version, with a grey background finish and white silk screening (1972). This was to be more
popular. In 1978 ARP decided to change the graphic chart for all of its machines: a black background
color with orange silk screening was introduced. The ARP2600 benefited from its third and last ver-
sion.
The great rival of ARP was Moog Music. The competition between the two manufacturers can easily
be seen when we observe the machines: The ARP, for example, has linear potentiometers, while the
Moog has rotating pitch bend and modulation wheels.
A well known episode of this competition was the 24 dB/octave filter, the 4012, used by the ARP.
This was a replica of the famous Moog filter. In 1973, Moog threatened ARP with legal action and
the firm decided to change the circuits on its filter. The 4072 was born and took the place of the
4012. This possessed a calibration error in the high frequencies – the maximum cut-off frequency
was less than 11 kHz instead of the 16 kHz promised in the press. Luckily the repair for users was
fast and not much of a burden. On the first ARP 2600’s, the 4012 filter was still used (this was the
case for the “Blue meanie” and on the first examples of the “grey and white”) while the models
that followed offered the 4072.
The ARP synthesizers possess very stable oscillators, more reliable than the Moog synthesizers (a
fact admitted by Robert Moog himself). On the other hand, ARP for a long time dipped the elec-
tronic circuits for filtering in resin to avoid industrial piracy... this made for major problems when
trying to perform a repair.
In 1972, ARP launched the Odyssey, which would be in direct competition with Moog Music and their
Minimoog released one year earlier. The same year, the Pro-Soloist, a preset instrument, was also
unveiled.
In 1976, ARP released a small 16 step sequencer in the form of 2 independent 8 step sequences.
This became famous and is still very sought after (it is emulated in the ARP2600 V.) The same year
they presented the Omni, which would become one of ARPs biggest successes. The instrument al-
lowed the combination of two polyphonic violin sounds – a great innovation for the company – and 2
monophonic bass sounds.
In 1976, ARP released a small 16-step sequencer in the form of two independent 8-step sequences.
This became famous and is still very sought after (it is emulated in the ARP2600 V.) The same year

6 ARTURIA – ARP2600 V – USER’S MANUAL
they presented the Omni, which would become one of ARPs biggest successes. The instrument al-
lowed the combination of two polyphonic violin sounds – a great innovation for the company – and
two monophonic bass sounds.
But in 1981, ARP was finally bought out by CBS. The following year, CBS with part of the ARP devel-
opment team would produce the Chroma, a programmable polyphonic synthesizer, and in 1984 the
Chroma Polaris, a simplified and MIDI-capable version of the Chroma.
1.2 A better emulation thanks to TAE®
TAE®- True Analog Emulation - is a new technology dedicated to the digital reproduction of analog
circuits used in vintage synthesizers.
When implemented in software code, TAE’s algorithms guarantee authentic emulation of hardware
specifications. This is why your ARP2600 V offers an unparalleled quality of sound.
In detail, TAE®combines four major advances in the domain of synthesis:
1.2.1 Aliasing-free oscillators
Standard digital synthesizers produce aliasing in high frequencies, and also when using Pulse Width
Modulation or FM.
TAE®allows the production of totally aliasing-free oscillators in all contexts (PWM, FM…), and at no
extra CPU cost.
Linear frequency spectrum of an existing well-known software synthesizer
A
liasing

ARTURIA – ARP2600 V – USER’S MANUAL 7
Linear frequency spectrum of the ARP2600 V oscillator made with TAE
1.2.2 A better reproduction of analog oscillator waveforms
The waveforms produced by the oscillators in analog synthesizers are marked by the presence of a
capacitor in the circuits. The discharge of the capacitor results in a light bend in the original wave-
form (notably for saw tooth, triangular and square waveforms). TAE allows the reproduction of this
capacitor discharge. Underneath is the analysis of a waveform from the original ARP2600, and that
of the ARP2600 V. They are both equally deformed by the ARP2600 V low-pass and high—pass filter-
ing.
Temporal representation of a “saw tooth” waveform of the original ARP2600
Temporal representation of an ARP2600 V “saw tooth” waveform reproduced by TAE

8 ARTURIA – ARP2600 V – USER’S MANUAL
What’s more, the original analog oscillators were unstable. In fact, their waveform varied slightly
from one period to another. If we add to this the fact that the starting point for each period (in
Trigger mode) can vary with the temperature and other environmental conditions, we find one of
the characteristics that contributed to the typical sound of vintage synthesizers.
TAE reproduces the instability of oscillators, bringing a fatter and “bigger” sound.
1.2.3 A better reproduction of analog filters
TAE allows more precise emulation of analog filters than standard digital filters. To obtain this re-
sult, the TAE technology is based on the analysis of the analog circuits to be reproduced, and con-
verts them into algorithms that faithfully mimic the characteristics of the original filters. The curve
underneath shows the comparison of the original ARP2600 filter and that of the ARP2600 V.
Response curve of the 12 dB low-pass filter of the original ARP2600 V and the ARP2600 V
1.2.4 Ring modulator
The ARP2600 V includes a ring modulator, just like the original ARP2600. The ring modulator allows
the application of a waveform (a sinusoid) to another, in order to transform it. The result is a more
brilliant sound, distorted, and enriched in harmonics. As a result of this increase in the number of
harmonics, standard ring modulation algorithms create an audible aliasing. To avoid this unwanted
effect, TAE includes a module for the dynamic control of the amplitude with aliasing correction,
which removes every trace of aliasing in the signal coming from the ring modulator.
Response curve of the 12
dB low-pass filter of the
original ARP2600
Response curve of the 12
dB low-pass filter of the
ARP2600 V
Amplitude control module (VCA)
with aliasing correction
Input Output
Sine wave
form

ARTURIA – ARP2600 V – USER’S MANUAL 9
2 Installation
2.1 Windows installation (Win9x, Me, 2000, XP)
 Insert the CD-ROM into the drive. Explore the contents of the CD-ROM, and double-click on the
icon named “ARP2600V Setup PC.exe”
First you will need to define an installation folder for the program. By default it will be installed in
C:\Program Files\Arturia\ARP2600V. You can change this location with the Browse button.
Next, have your license number ready and enter it along with your first and last name in the user
information window.
User information window
The ARP 2600V will firstly be installed as a stand-alone program. The following step will give you
the choice of configuring it as a plug-in as well. You will be asked to define the protocol(s) that you
use (VST, RTAS, HTDM, DXI). For more information on these protocols please see Chapter 7.
For the VST and RTAS protocols, you will be asked to choose an installation folder so that the host
application may use it as a plug-in. If you are not sure how to make this choice, please see Chapter
7.

10 ARTURIA – ARP2600 V – USER’S MANUAL
Choice of installation folder for SVT plug-in
The installation program now has enough information to finish the procedure. In a few seconds, you
will be using the ARP2600 V.
2.2 Mac OS X installation
Insert the CD-ROM into the drive. Explore the contents of the CD-ROM, and double click on the icon
named “ARP2600V Setup Mac”.
Enter your administrator name and password in the authentication window.
The ARP2600 V will firstly be installed as a stand-alone program. By default, all the protocols (VST,
RTAS, HTDM). will be directly installed on you computer. For more information on these protocols
please see Chapter 7.
The ARP2600 V will be installed in your applications folder. You can also define a different drive and
installation folder.
Next, have your license number ready and enter it along with your name and family name in the
user information window. The installation program now has enough information to finish the proce-
dure. In a few seconds, you will be using the ARP2600 V.
Enter your license number, then your first and last name

ARTURIA – ARP2600 V – USER’S MANUAL 11
3 Quick start
This chapter will help you to familiarize yourself with the general basics of using the ARP2600 V. A
summary of the different parts of the synthesizer will be presented to you as we guide you through
your first use of the program. You will find a detailed and precise description of all settings and
controllers in the following chapters.
Chapter 7, A few elements of sound design, is highly recommended for users who have never
worked with a subtractive synthesizer and who wish to become familiar with the fundamentals in
this domain.
Overview of the ARP 2600V

12 ARTURIA – ARP2600 V – USER’S MANUAL
3.1 Using presets
The use of presets is one of the biggest improvements of the ARP2600 V compared to the original. In
fact, the latter was unable to save sounds!
In the ARP2600 V, a preset contains all of the parameter settings of the synthesizer, including the
synthesizer and different real-time controllers (eg: velocity, aftertouch, pitch-bend) as well as the
effects (delay, chorus) needed to reproduce a sound.
To get to know the different sounds contained in the ARP2600 V, we will use the preset “Bass1”
situated in the “JMBlanchet” / “Basses” bank.
 For this, click on the button above the “BANK” LCD display indicating “Factory” (this screen
presents the name of the current bank). By clicking here you will see a menu appear containing
the list of available banks. Choose the bank “JM_Blanchet” (the bank name is checked) .
When this menu is open, sub menus can be accessed (in the fashion of a drop-down menu). This
system lets us access the “SUB BANK” and “PRESETS” for a sound designer with a single click.
 Choose the “SUB BANK” “Basses” and select “JMB_bass1” among the “PRESETS”.
Select the preset JMB_bass1
The ARP2600 V ships with more than 300 presets that will help you to get to know the sounds of the
synthesizer. A bank named “User / Temp” offers a selection of template presets for beginning the
programming of a sound (the sound “1_Osc”, for example, comes with: an oscillator directed to the
low-pass filter, and then routed towards the VCA).
3.1.1 Now modify a preset
For this, we will start with a very simple manipulation.
 Modify the brightness of the sound “JMB_Simple1” with the linear “Initial Cutoff Frequency”
potentiometer of the filter. Raise or lower the potentiometer and notice the sound become
more or less “bright”. Set this potentiometer to a pleasing value.
It is also possible to visualize the entirety of the presets corresponding to a type of sub bank by
selecting the option “All” in the bank. For example, to see all of the bass presets, click on “All” in
the bank selection and then on “Bass”.

ARTURIA – ARP2600 V – USER’S MANUAL 13
Change the brightness of the sound
 In the same manner, you can change the range of oscillator 1 by setting the “Range” selector to
one of the values expressed in steps: LF = low frequencies, 32’ = -2 octaves, 16’ = -1 octave, 8’
= standard tuning, and 4’ = + 1 octave.
Setting the range of oscillator1
By performing these first settings, you have already modified the preset “JMB_Simple1”. You will
now see how to save the sound that you have created.
 To choose another destination for the sound, click on the “Save as” icon and choose the loca-
tion. For example select “new” in the choice of bank. Two new banks, sub banks and a preset
are immediately created. The names “new bank”, “new sub bank…” and “new preset…” appear
in their respective displays.
 Click on each of these displays to rename the 3 parts.
Saving a preset
To save a user preset (“Users”), click on the “Save” icon in the toolbar: The new settings will be
saved in the current preset without changing the name (but if the selected preset is one of the
“factory” presets, the factory setting will not be overwritten).
Attention! It is important to specify that changing the name of a preset does not create a new one!
Only the name of the current preset will be changed.

14 ARTURIA – ARP2600 V – USER’S MANUAL
3.2 The 3 sections of the ARP2600 V
The ARP 2600V offers three main sections separated into flight cases:
From top to bottom:
The synthesizer, the sequencer / LFO / general settings, and keyboard
To access the different parts of the ARP2600 V there are two simple methods:
 Click on a part of the synthesizer that des not have any controllers (potentiometers, switches..)
or jacks, then slide the mouse towards the top or the bottom without releasing.
Slide the mouse towards the top or bottom
 Click on one of the three shortcuts , and situated on the toolbar to quickly
move from one section to another:
• The (SYNTHESIZER) section brings you to the synthesizer.
• The (SEQUENCER and KEYBOARD) section brings you to the sequencer.
• The (“ALL”) section brings you all the interface of the ARP2600 V
3.3 Overview of the Synthesizer
The “SYNTH” section contains 73 synthesis parameters as well as jack inputs and outputs that you
can connect to one another with virtual cables. The potentiometers or switches associated to these
parameters will help you to create an infinite variety of sounds.
These parameters are made up of:
• Three oscillators (VCO) which release the audio signal through wave forms (triangle,
sinusoid, saw-tooth, square and rectangle) and which manage the pitch (frequency)
of the sound.
• A noise module.
• A ring modulator
• A sample / hold module.
• A mixer acting on the signals coming from the oscillators, noise module and ring
modulator.
• A low-pass resonant 24 dB filter and multimode 12 dB (LP, HP, BP and notch)
• An amplifier (VCA) allowing the amplification of the signal coming from the filter
and its direction towards the stereo output.
• Two envelopes (ADSR and AR) modulating the low–pass filters and amplifier.
If you are in the “All” section, you can resize the window by clicking on the 2 arrows situated on the
right of the 3 sections shortcuts.

ARTURIA – ARP2600 V – USER’S MANUAL 15
Synthesis parameters
Let’s look at quickly creating an evolving lead sound:
 To really understand the programming of the ARP2600 V, let’s use a very simple sound. Select
the preset “1_Osc” in the “Template / Temp_Synth” sub bank. The structure of synthesis for
this sound is relatively simple: the square wave form oscillator1 is active and the signal is di-
rected through the low-pass filter after an intermediary mixer, and then on to the output ampli-
fier. An ADSR envelope modulates the filter cut-off frequency and a second envelope, AR,
modulates the volume of the amplifier.
The following block diagram recaps the architecture of the creation of the sound:
The routing taken by the sound of preset “1_Osc”
 Start by reducing the low-pass filter cut-off frequency (LPF). This will dampen the sound.
For this, set the linear “Initial Cutoff frequency” potentiometer (for fine tuning, use the “Fine
tune” potentiometer).
Notice that the filter cut-off frequency is modulated by an ADSR envelope (Attack, Decay, hold -
Sustain – and Release).

16 ARTURIA – ARP2600 V – USER’S MANUAL
Change the brightness of the sound
 To clearly hear the effect produced by the ADSR envelope on the filter cut-off frequency, in-
crease the resonance value. This will amplify the filtering effect on the sound and it will begin
to “whistle”.
increase the resonance value
 Change the attack length of this envelope (“Attack time”) so that the brightness increases
faster or slower when the note is sent.
Change the attack length of the ADSR envelope
 In the same manner, change the value for the decay, and the brightness will increase faster or
slower while you hold the note on the keyboard.
The “Decay time” parameter on the filter envelope
Now let’s perform a short modification on the second envelope, the “AR” envelope.

ARTURIA – ARP2600 V – USER’S MANUAL 17
 Increase the “Attack time” for this envelope so that the volume of the sound progressively in-
creases.
Increase the “Attack time” of the AR envelope
3.4 The sequencer
The “SEQ” section gives you access to the sequencer as well as different functions allowing an ex-
tension of the possibilities of synthesis and playing. It is situated under the “Synth” section. It con-
tains a sequencer identical to the 16 step ARP (model 1601) sequencer, a module for play settings,
and a low frequency oscillator (LFO) which was added as a complement to oscillator2 which was
often used as LFO.
3.4.1 The ARP sequencer
The ARP sequencer greatly increases the possibilities for sound and melodic creation. It allows you
to create two simultaneous 8-step melodic lines, or one 16-step line (by putting two 8-step lines in
a series). It is also possible to modulate any parameter of synthesis through one of the two se-
quencer outputs.
The ARP sequencer
The ARP sequencer contains 3 parts:
From left to right:
• The two lines of faders and selector switches situated at the top give access to the
tuning of the 16 steps as well as management of their triggering (gates).

18 ARTURIA – ARP2600 V – USER’S MANUAL
The two lines of faders and selector switches
• The oscillator sets the speed of the sequencer as well as the start and stop.
set the oscillator speed
• The “Quantizer” quantifies the values for the 16 steps by semi-tone.
the quantizer section
Let’s take a simple melodic sequence for example:
 Load the preset “Template”/ “Temp_SEQ”/ “1x16_sequencer”
You will notice that the connexions between the sequencer and synthesizer are already done: