ARP 2600 V · Armon.ai

How it works

Semi-modular: modules and voltages

The 2600 is a set of separate modules (oscillators, filter, amplifier, envelopes, noise, ring modulator, sample & hold, voltage mixer) already connected to each other in a typical path. Each module communicates through electrical voltages: audio signals (which you hear) and control voltages (CV, which move parameters).

The pre-wired path

Keyboard → pitch of the three VCOs; VCOs + noise + ring mod → filter mixer → low-pass filter → VCA controlled by the envelopes → spring reverb → output. The sliders above each input are attenuators: they decide how much of that signal gets in.

Patching

Plugging a cable into an input replaces the internal connection with another source: for example, the sample & hold output into the filter frequency produces random values at each clock pulse; the output of a slow oscillator into the frequency of another creates vibrato; an audio oscillator into the frequency of another does FM.

Special modules

Ring modulator: multiplies two signals, producing the sum and difference of the frequencies (metallic timbres, bells, robotic voices).
Sample & hold: “photographs” a signal (often noise) at every clock beat and holds that value.
Envelope follower: turns the volume of an external signal into a voltage.
Voltage processor: mixes, inverts and slows down (lag) voltages.

Character and tone

Timbre

Bright, precise and “lab-like”: very stable oscillators, a 24 dB low-pass filter (4012/4072) with a resonance that sings and self-oscillates, an excellent ring modulator and lots of utility modules. Compared to a Moog it is more open and sharp, less “fat”.

Where it sits in the spectrum

Very present between 500 Hz and 5 kHz: the leads cut through the mix. The basses are solid but less round than a Moog ladder; the noise and ring mod cover the whole spectrum for effects.

Strengths

Semi-modular: it plays right away thanks to the pre-wired connections, but every input can be re-patched.
Three oscillators, ring mod, S&H with internal clock, voltage processor (mixer, inverter, lag), envelope follower: a small modular in a suitcase.
In the Arturia version: multimode filter (12 dB modes of the ARP 2500), 1601 sequencer, dedicated LFO, tracking generator, polyphony, chorus and delay.

Limitations

Slider-and-cable interface: less immediate than a knob-based synth for “keyboard” sounds.
Simple envelopes (ADSR + AR); no memories on the original.

Comparisons

vs Minimoog: the Moog is warmer and more immediate; the 2600 more flexible and bright.
vs MS-20: both semi-modular; the MS-20 is dirtier and more aggressive, the 2600 cleaner and more complete.
vs Modular V: the modular offers more modules, the 2600 has a pre-wired structure that makes it faster.

Architecture

Original (ARP 2600, 1971–1981)

Semi-modular with slider-and-jack panel, built-in speakers; 3604 and then 3620 keyboard (duophonic, with LFO for vibrato and portamento).
VCO 1 (sawtooth, square), VCO 2 (triangle, sine, saw, pulse with PWM), VCO 3 (saw, pulse with PWM); range from LF (sub-audio) to audio.
Resonant 24 dB/octave low-pass filter: 4012 in the early versions (derived from the Moog ladder), then 4072.
ADSR and AR envelopes, VCA with linear/exponential inputs, noise with variable color, ring modulator, sample & hold with internal clock, voltage processor (mixer/inverter, lag), envelope follower and preamplifier, spring reverb, output mixer with pan.

Signal path (pre-wired)

VCO 1/2/3 + Noise + Ring Mod → VCF mixer → VCF → VCA (ADSR, AR) → mixer/reverb → L/R output.

What Arturia adds (ARP 2600 V3, V Collection 9)

Multimode filter: LP 24 dB (2600) plus LP 12, HP 12, BP 12 and Notch from the ARP 2500 modules, with Notch Frequency/fc control (turns the notch into shelving filters).
Polyphony up to 32 voices, mono/unison/poly modes with Unison Detune, legato/retrig triggers.
ARP 1601 sequencer (2×8 or 16 steps, quantizer, gate bus).
Dedicated LFO (speed, delay, vibrato, MIDI sync, 4 waveforms) so you don't have to sacrifice a VCO.
Tracking generator (4 drawable curves to reshape modulations), Electronic switch, CV outputs from pitch bend, mod wheel, velocity, aftertouch, tracking x1/x4.
Stereo Chorus and Delay in addition to the original reverb; MIDI learn and presets.

The controls, one by one

VCO 1

Range: Octaves ±4 plus the LF position (low frequency, to use it as an LFO).
Initial Frequency: Pitch in semitones, ±2 octaves.
Fine Tune: Fine tuning ±1 semitone.
Saw / Square outputs: Audio outputs of the sawtooth and square wave (usable together).
Sync: Oscillator sync with the others (selector in the manual: with 2, 3 or both).
FM: KYBD CV: How much it follows the keyboard: slider all the way up = equal-tempered pitch.
FM: S/H: Modulation from the sample & hold (random notes).
FM: ADSR: Pitch envelope from the ADSR.
FM: VCO 2 Sin: FM from the sine of VCO 2 (vibrato if VCO 2 is in LF, audio FM if in the audible range).

VCO 2

Range / Initial Frequency / Fine Tune: Same as VCO 1.
Triangle / Sine / Saw / Square outputs: Four simultaneous waveforms.
Pulse Width: Pulse width (acts on more waveforms in the Arturia versions).
FM: KYBD CV / ADSR / S/H / VCO 1 Square: Pre-wired modulation inputs with amount sliders.
PWM: Noise: Pulse width modulation from noise ('dirty' pulse).

VCO 3

Range / Initial Frequency / Fine Tune: Same as VCO 1.
Saw / Square outputs: Audio outputs.
Pulse Width: Pulse width.
FM: KYBD CV / Noise / ADSR / VCO 2 Sin: Pre-wired frequency modulations.
PWM: VCO 2 Triangle: PWM from the triangle of VCO 2 (with VCO 2 in LF = slow PWM).

VCF

Initial Filter Frequency: Cutoff from 10 Hz to 10 kHz.
Fine Tune: Fine adjustment of the cutoff.
Resonance: Resonance up to self-oscillation.
Notch Frequency / fc: Ratio between notch frequency and cutoff: turns the notch into low or high shelving filters.
Type: LP 24 (2600), LP 12, HP 12, BP 12, Notch (2500 modes).
Audio mixer: Ring Mod / VCO 1 Square / VCO 2 Square / VCO 3 Saw / Noise: Pre-wired audio input sliders to the filter: the 2600's mixer.
Control: KYBD CV / VCO 2 Sin / ADSR: Pre-wired cutoff modulations: key tracking (up = full tracking), LFO/FM from the sine, envelope. The maximum direct modulation reaches ±9 octaves.
Output: Filter audio output.

Envelopes

ADSR: Attack / Decay / Sustain / Release: 4-stage envelope.
AR: Attack / Release: Simplified envelope (usually on the VCA).
Trigger: Gate / Trig out: Gate outputs (active as long as you hold the key) and trigger outputs (short pulse).
S/H gate (switch): Envelopes triggered by the keyboard or by the sample & hold clock (rhythmic repeats).
Trigg input: External trigger input.

VCA

Initial Gain: Base gain (at zero the VCA opens only with the envelopes; raised, it makes a drone sound).
Audio: VCF / Ring Mod: Pre-wired audio inputs with levels.
Control: AR / ADSR: Pre-wired control inputs with levels: choose which envelope shapes the volume.

Noise Generator

White / Low Freq: Noise color from white to increasingly dark (low-pass filter).
Noise volume: Noise level.
Output: Noise output.

Voltage Processor (mixer / inverter / lag)

8 inputs + 4 volumes: Mixes pairs of audio signals or CVs.
4 Mix (switch): Adds a pair of inputs to the one above.
4 Inverters: Inverts the signal (a positive envelope becomes negative).
4 Lags: Smooths the signal (a square becomes similar to a triangle; portamento on CV).
4 outputs: Processor outputs.

Sample & Hold

Level: S&H output level.
Rate: Internal clock speed.
Input (pre-wired to Noise): Signal to be sampled.
Out / Int Clock out / Ext Clock in: Output, internal clock output, external clock (e.g. a VCO).
MIDI sync: Clock synced to the host tempo.

Electronic Switch

Input A / B, output C: Alternates two signals at the clock speed (pre-wired to the S&H clock).
Ext clock In: External clock.

Envelope Follower and Preamp

Pre-Amp (gain): Amplifies the external input; lower = more accurate tracking of the variations.
Level: Amount of the generated envelope.
Output / Gate out: Voltage that follows the volume and gate to trigger envelopes.

Ring Modulator

Input VCO 1 Saw / VCO 2 Sin: Two pre-wired inputs (replaceable with cables).
Output: Sum and difference of the frequencies: metallic sounds, bells, robotic voices.

Tracking Generator (behind the grid at the bottom right)

4 audio inputs / 4 modulation inputs / 4 outputs: Four processors that reshape a signal according to a curve.
4 Smooth: Smoothness of the curve.
Curve viewer + Edit (pencil, line, curve, sine, square, noise, eraser tools, undo/redo): Curve drawing: complex envelopes or custom LFOs.

Reverb and effects

Reverb: Level L / Level R, Output L / R, Dry input L / R: Stereo spring reverb and outputs.
Chorus: Rate, Depth, Dry/Wet: Added chorus (opens from the left speaker grille).
Delay: Time Left / Right, FeedB Left / Right, Dry/Wet, Midi Sync: Stereo delay with independent times and feedback and sync.

CV Control (outputs)

Pitch bend / Mod Wheel / Velocity / After Touch: CV outputs of the MIDI controls, to be patched where needed (e.g. velocity → VCF).
KYBD CV x1 / x4: Normal and amplified keyboard tracking.

Keyboard interface (Model 3620)

Portamento + footswitch: Glide between notes, can be activated by pedal.
KBD Latch: Hold pedal.
Modes: Monophonic, unison, polyphonic.
Unison detune: Detuning between voices in unison.
Trigger modes: Legato or retrig of the envelopes.
Pitch Bend: Bend range on the three VCOs.
Global tune: Global tuning of the three oscillators.

LFO

LFO speed: Speed.
LFO delay: Delay before the LFO takes effect.
Vibrato depth: Pre-wired vibrato on both VCOs.
MIDI sync: Sync to the tempo.
Triangle / Square / Saw / Sine outputs + External Vibrato in: Four patchable waveforms and an input for an external vibrato source.

ARP 1601 Sequencer

16 faders (2×8): Voltage/pitch value for each step; two lines of 8 or one of 16.
Gate bus 1/2/3 (switch per step) + bus inputs: Which gate bus each step belongs to (accents, rests, different triggers).
Position / Clocked gate out: Position inputs and clock output with gate.
Skip / Off / Reset steps + Step: Skipping steps or returning to the first; manual advance.
Reset (jack) / Start (jack) + Trig/Gate: Forced return to step 1, start from trigger or gate.
Start/Stop (button, jack, pedal): Start and stop.
Clock Freq / Clock out / Clock FM + FM input: Clock speed, its output and modulation.
Pulse width + PWM input: Clock gate width and its modulation.
Quantizer: Quantized outputs A/B, CV input, Quantized inputs A/B, Sequencer outputs A/B: Outputs quantized to semitones or continuous (±4 octaves); reference CV input (usually the KYBD CV, to transpose).

Bottom bar

Maximum Polyphony: From 1 to 32 voices.
MIDI Channel: Receive channel.

Sound design tips

Patching method

Always start from the pre-wired path: raise only the sliders you need (one VCO into the filter mixer, ADSR or AR on the VCA) and add one element at a time. A 2600 with all the sliders up is noisy and confusing.
Remember that a cable in an input replaces the internal connection: if a sound stops working after a patch, check which normalization you have broken.

Filter

ADSR → VCF vs Initial Frequency: for a bass or a lead keep the initial frequency low and the ADSR slider at medium; if the sound stays open, lower Initial Frequency first.
KYBD CV on the filter: all the way up = the filter follows the notes exactly (necessary to play the self-oscillating filter as an in-tune sine wave); halfway for natural leads.
LP 24 for classic basses and leads; LP 12 for brass and more open sounds; HP 12 to take weight off pads and sequences; Notch with resonance for manual phasing.

Envelopes and timing

Use AR for the VCA and ADSR for the filter: two different shapes with no additional patching (or vice versa for pads).
Envelopes triggered by the S&H clock: automatic rhythms; sync the clock (MIDI sync) to keep them in time.
Release and tempo: for sequences at 120 BPM, AR release 80–200 ms; beyond 500 ms the notes overlap.

Oscillators and frequencies

Three VCOs at the octave and the fifth = organ/brass sounds; slight detuning (Fine Tune) for thickness. In the low register keep detuning minimal.
The ring mod produces many high frequencies: filtering afterward (LP 12 or 24 at 2–4 kHz) makes it musical; in the mix, watch 2–6 kHz.
The “Low Freq” (dark) noise is ideal for wind and rumble, the white one for hi-hats and breaths.

Modulation

S&H from noise → VCO or VCF: the classic “computer” effect; increase the voltage processor Lag to make it smooth.
A VCO in LF as a modulator is more “alive” than the dedicated LFO; but use the LFO if you need three audio oscillators.
Audio FM (VCO 2 Sin → VCO 1): small amounts for grit, large amounts for bells and noises.

Velocity, glide, polyphony

Patch VELOCITY (CV Control) to VCF or VCA for dynamics: the original 2600 is not sensitive.
Short portamento (30–80 ms) in mono for expressive leads.
In polyphony many patches with S&H and LFO become chaotic: consider mono or unison.

Common mistakes

VCA Initial Gain raised: continuous drone.
VCO KYBD CV sliders not at maximum: oscillators not in tune on the keyboard.
High resonance with many inputs in the filter mixer: saturation and whistles.

Presets to recreate

Sharp ARP lead

Lead · 1970s jazz-fusion

Bright monophonic lead from 1970s fusion: two slightly detuned square waves in the 24 dB low-pass with a bit of resonance.

Oscillators: VCO 1 Range 8', Fine Tune 0; VCO 2 Range 8', Fine Tune +6 cents, Pulse Width 40%; VCO 3 not used; VCO KYBD CV sliders all the way up.
Mixer: VCF inputs VCO 1 Square 70%, VCO 2 Square 60%, VCO 3 Saw 0, Noise 0.
Filter: VCF Type LP 24, Initial Filter Frequency 1.2 kHz, Resonance 40%, Control KYBD CV 50%, ADSR 45%.
Filter envelope: ADSR Attack 10 ms, Decay 500 ms, Sustain 60%, Release 300 ms.
Amplitude envelope: VCA Control AR 100%; AR Attack 5 ms, Release 250 ms.
LFO and modulation: VCO 3 in LF at 5.5 Hz patched to FM of VCO 1 and 2 with the amount controlled by the mod wheel (vibrato on demand).
Voice and glide: keyboard in mono, legato trigger; Portamento 50 ms.
Effects: stereo Delay 1/8 (Dry/Wet 20%) → light spring Reverb (Dry/Wet 15%).

Robotic ring-mod voice

FX · Star Wars (1977), voice of R2-D2

Talking droid effect: ring modulator, resonant band-pass and sample & hold. Ben Burtt uses an ARP 2600, mixed with his own voice, to create the voice of R2-D2; this patch takes up the principle with the 2600 V.

Oscillators: VCO 1 Range 8' (Saw to the ring modulator); VCO 2 Range 4' (Sine to the ring modulator); VCO 3 not used.
Mixer: VCF inputs Ring Mod 80%, all the others at 0.
Filter: Type BP 12, Initial Filter Frequency 1.5 kHz, Resonance 50%, Control ADSR 30%.
Filter envelope: ADSR Attack 0 ms, Decay 200 ms, Sustain 40%, Release 150 ms; S/H gate ON to retrigger the envelopes at every S&H step.
Amplitude envelope: VCA Control AR 100%, AR Attack 0 ms, Release 200 ms.
LFO and modulation: S&H with input from the Noise, Rate 10 Hz, Output → FM of VCO 2 (slider 30%).
Voice and glide: mono, Portamento 20 ms.
Effects: spring Reverb (Dry/Wet 30%).

Sequenced 2600 bass

Bass / Sequence · Electro, French electronic music

Pulsing bass driven by the sequencer, with the filter closing again at every step.

Oscillators: VCO 1 Range 16', Saw; VCO 2 Range 16', Square, Fine Tune +4 cents; VCO 3 Range 16', Saw.
Mixer: VCF inputs VCO 1 Square 60%, VCO 2 Square 60%, VCO 3 Saw 50%, Noise 0.
Filter: Type LP 24, Initial Filter Frequency 300 Hz, Resonance 30%, Control ADSR 55%, KYBD CV 30%.
Filter envelope: ADSR Attack 0 ms, Decay 180 ms, Sustain 10%, Release 100 ms.
Amplitude envelope: VCA Control ADSR 100%, AR 0.
LFO and modulation: 8-step sequencer, quantized output to KYBD CV of the three VCOs, gate at every step to the envelopes, clock synced at 1/16.
Voice and glide: mono, Portamento 0.
Effects: dotted 1/8 Delay (Dry/Wet 15%).

FM bells

Keys / FX · Soundtracks, ambient

Bells and metallic timbres with audio FM from the sine of VCO 2 to VCO 1.

Oscillators: VCO 1 Range 8' (carrier); VCO 2 Range 8' with Initial Frequency +7 semitones and Fine Tune +15 cents; FM VCO 2 Sin slider on VCO 1 at 40%.
Mixer: VCF inputs only VCO 1 Square 80%, all the others at 0.
Filter: Type LP 12, Initial Filter Frequency 5 kHz, Resonance 0, Control KYBD CV 100%.
Filter envelope: ADSR → FM of VCO 1 at 5% for a brighter attack; ADSR Attack 0 ms, Decay 2.5 s, Sustain 0%, Release 2 s.
Amplitude envelope: VCA Control ADSR 100%.
LFO and modulation: no LFO.
Voice and glide: 4-voice polyphony of the Arturia version, Portamento 0.
Effects: light Chorus (Dry/Wet 15%) → stereo Delay 1/4 (Dry/Wet 15%) → spring Reverb (Dry/Wet 25%).

Evolving S&H drone

Drone / Texture · Experimental ambient, soundtracks

Continuous texture that changes by itself: the VCA stays open and the smoothed sample & hold moves the resonant filter.

Oscillators: VCO 1 Range 16'; VCO 2 Range 8'; VCO 3 Range 8' with Initial Frequency +7 semitones; Fine Tune +3 and -3 cents on VCO 2 and 3.
Mixer: VCF inputs VCO 1 Square 45%, VCO 2 Square 40%, VCO 3 Saw 45%, Noise (Low Freq) 15%.
Filter: Type LP 12, Initial Filter Frequency 800 Hz, Resonance 55%.
Filter envelope: patch S&H Output → Voltage Processor Lag (high) → VCF control input.
Amplitude envelope: VCA Initial Gain 60% (continuous drone), envelopes not used.
LFO and modulation: S&H Rate 0.7 Hz; VCO 3 in LF patched to the PWM of VCO 2 for slow movement.
Voice and glide: mono, Portamento 0.
Effects: spring Reverb at maximum (Dry/Wet 50%) → long 1/2 Delay (Dry/Wet 25%).

Thriller — syncopated funk bass

Bass · Michael Jackson — Thriller (1982)

The syncopated eighth-note synth bass that drives Thriller. Long attributed to a Minimoog, on the original it is an ARP 2600, as programmer Anthony Marinelli has shown; here with the ARP 2600 V. In the track, the verse pads are a Jupiter-8 and a CS-80 layered, the drums a LinnDrum LM-1.

Oscillators: VCO 3 Range 16', Saw (main wave); VCO 2 Range 16', Square with Pulse Width 50%, Fine Tune +4 cents; VCO 1 not used.
Mixer: VCF inputs VCO 3 Saw 70%, VCO 2 Square 50%, VCO 1 Square 0, Noise 0.
Filter: Type LP 24, Initial Filter Frequency 400 Hz, Resonance 25%, Control ADSR 65%, KYBD CV 30%.
Filter envelope: ADSR Attack 0 ms, Decay 200 ms, Sustain 25%, Release 70 ms.
Amplitude envelope: VCA Control AR 100%, AR Attack 0 ms, Release 50 ms.
LFO and modulation: none.
Voice and glide: mono with retrigger, Portamento 0; staccato eighth notes at constant dynamics.
Effects: no internal effects; in the mix high-pass at 35 Hz and 2:1–3:1 compression.

Head Hunters-style ARP funk bass

Bass · 1970s jazz-funk

Synthetic funk bass with the quack of a resonant filter. The bass line of Chameleon (Head Hunters, 1973) is played by Herbie Hancock on an ARP Odyssey, which also plays one of the solos; the Odyssey is not in the V Collection, so here it is rebuilt with the ARP 2600 V, from the same manufacturer.

Oscillators: VCO 3 Range 8', Saw; VCO 2 Range 16', Square with Pulse Width 50%, Fine Tune +3 cents; VCO 1 not used.
Mixer: VCF inputs VCO 3 Saw 70%, VCO 2 Square 60%, VCO 1 Square 0, Noise 0.
Filter: Type LP 24, Initial Filter Frequency 30% of travel (about 400 Hz), Resonance 40%, Control ADSR 60%, KYBD CV 40%.
Filter envelope: ADSR Attack 0 ms, Decay 250 ms, Sustain 35%, Release 100 ms.
Amplitude envelope: VCA Control AR 100%, AR Attack 0 ms, Release 80 ms.
LFO and modulation: none.
Voice and glide: mono, Portamento 0 or at minimum; play staccato accenting the syncopations.
Effects: soft overdrive after the synth; on top, a funk comping with the Clavinet V.

In genres and records

Sound design for film: Ben Burtt uses an ARP 2600, together with his own voice, for the voice of R2-D2 in Star Wars and for the Ark of the Covenant effects in Raiders of the Lost Ark.
Jazz-fusion and funk: Joe Zawinul (Weather Report) and Herbie Hancock among the first users. Leads, basses, effects.
Rock and prog: Edgar Winter is the first prominent user, with the keyboard connected by a long cable so he could wear it on a strap; Pete Townshend (The Who), Tony Banks (Genesis, from A Trick of the Tail to ...And Then There Were Three...), Rick Wakeman, Patrick Moraz.
Soul and pop: Stevie Wonder has a unit with braille labels; on Michael Jackson's Thriller an ARP 2600 plays several sounds on the track, bass included.
French electronic music: Jean-Michel Jarre.
Post-punk, synthpop and industrial: Joy Division, Depeche Mode, Vince Clarke, Front Line Assembly; Flood uses it on Nine Inch Nails' The Becoming.
Techno, electro, big beat: Orbital, Underworld, 808 State, Meat Beat Manifesto, Hardfloor, The Chemical Brothers, The Crystal Method, BT. Sequences, S&H, drones.
Experimental ambient and IDM: generative patches and textures.
Video game and trailer music: effects, glitch, impacts.