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.
Table of Contents 1 Introduction 1.1 The birth of ARP Instruments and the ARP2600 1.2 A better emulation thanks to TAE® 1.2.1 Aliasing-free oscillators 1.2.2 A better reproduction of analog oscillator waveforms 1.2.3 A better reproduction of analog filters 1.2.4 Ring modulator 2 Installation 2.1 2.2 3 Windows installation (Win9x, Me, 2000, XP) Mac OS X installation Quick start 3.1 3.1.1 3.2 3.3 3.4 3.4.1 3.4.2 3.5 3.5.1 3.5.2 3.
5.1.7 Voltage processor (Mixer / inverter / lag generator) 5.1.8 Sample and Hold generator 5.1.9 The”electronic switch” module (Electronic switch) 5.1.10 Envelope follower 5.1.11 Ring modulator 5.1.12 “Tracking” generator 5.1.13 Reverberation 5.1.14 Chorus and delay effects 5.1.15 Control voltages (CV control) 5.2 Keyboard interface (Model 3620) 5.3 Low frequency oscillator (LFO) 5.4 The ARP sequencer 6 The basics of subtractive synthesis 55 6.1 The three main elements 6.1.1 The oscillator or VCO 6.1.
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 Polytechnic 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.
they presented the Omni, which would become one of ARPs biggest successes. The instrument allowed 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 development 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.
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 waveform (notably for saw tooth, triangular and square waveforms). TAE allows the reproduction of this capacitor discharge.
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.
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.
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.
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.
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.
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.
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.
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 directed through the low-pass filter after an intermediary mixer, and then on to the output amplifier.
Change the brightness of the sound To clearly hear the effect produced by the ADSR envelope on the filter cut-off frequency, increase 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.
Increase the “Attack time” for this envelope so that the volume of the sound progressively increases. 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 extension of the possibilities of synthesis and playing. It is situated under the “Synth” section.
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 connexions between the sequencer and synthesizer The “Clock Out” sequencer output is directed to the “Gate” input on the ADSR envelope module. The sequencer “Quantized A Out” output is directed to input “KBD CV” of the “VCO 1” module. Start the sequencer by clicking on the “Start” button. This “turns” in a loop and you will hear the repetition of the melody. click on the “Start” button You can change the settings of the 16 linear potentiometers to create an other melody.
Set the 16 linear potentiometers 3.4.2 The LFO On the original ARP 2600, oscillator2 could be set to low frequency position (“LF” position in the range) for use in LFO mode. Although practical, this solution prevented us from using 3 oscillators simultaneously and a slow modulation on the filter cut-off frequency for example.
Modulate the filter frequency (“Cutoff Frequency”) with the LFO 3.5 The effects The effects section lets you add a Stereo Delay and Chorus to your sound on top of the reverberation which is already present in the original instrument. The two effects can be found in the place of the left speaker grid on the synthesizer. To open it, click on the “open Effects” button under this grid.
3.5.1 Chorus Chorus is used to copy your sound, and slightly detune the copy, to give it more depth and the Chorus “ON/OFF” button in the effects section, on the right of the toolbar. Set the Chorus “Dry/Wet” potentiometer to balance the “raw” sound and the one returning from the effect. Next turn the Chorus “Rate” potentiometer to set the speed of the oscillations. Finally set the depth of the chorus using the “Depth” potentiometer. the chorus effect settings 3.5.
You can then record movements from your MIDI controller on your MIDI sequencer or simply play live. MIDI assign for “Cutoff frequency” potentiometer Attention ! The MIDI assign settings are only saved when you quit the ARP2600 V application – be it standalone or plug-in. To save the settings that we have seen in this chapter, click on the “Save” button in the toolbar.
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4 The interface 4.1 Using the presets The presets memorize the ARP2600 V sounds. A preset contains all of the inter-module connections and the different controller information necessary for the recreation of an identical sound. In the ARP2600 V, presets are classed in “banks” and “sub-banks”. Each bank contains a certain number of sub-banks, which determine a type of sound: sub-bank “basses”, sub-bank “sound effects”, etc. Each sub-bank contains a certain number of presets.
Once a preset has been changed (modification of a controller or connection), an asterisk appears next to its name in the tool bar. In the “BANK” dropdown menu, the “All” option allows you to open a sub-list with all of the subbanks available in all of the banks. This gives you access directly to all of the presets of a given type, for example all of the basses, no matter which bank they are in. This function is particularly useful to quickly see all of the presets of the same type. the “All” option 4.1.
“Save” button on the toolbar If you want to save your preset under a different preset name, click on the “Save As” button in the toolbar. A drop-down menu will appear allowing the choice of either an existing preset (in this case, the preset contents will be replaced by the current setting), or to save your preset as a new preset (in this case, click on “New Preset…” in the sub-bank of your choice).
Current preset bank export button in the toolbar Select the type of export that you wish to perform (bank, sub-bank or preset) from the list and a window will appear prompting you to choose a destination folder and a name for the file you are about to export. 4.2 Use of controllers 4.2.1 Vertical linear potentiometers The ARP 2600V mainly uses linear potentiometers. To change the value of a vertical potentiometer, click on it and move it vertically to the desired value. linear potentiometer 4.2.
In circular mode, click on the knob and turn around it in order to change the value of the controller. The circular mode gives high precision in the manipulation of controls: The further the mouse goes from the knob, the higher the precision of the setting. The linear mode is often more simple to use than rotation. But at the same time it cam be less precise (the precision is limited by the number of vertical pixels on the screen from which the mouse movements are evaluated).
4.3.1 Audio and modulation connections The audio connections can be used, for example, to route the audio output of a wave form from an oscillator to the audio input of the filter or VCA mixer. In the same manner, the modulation connections allow you to route the output of a LFO or envelope generator to an oscillator PWM or the VCA modulation input.
point in the “Connect to” menu to create a connection. It is also possible to delete the curent connection by choosing the “Remove connection” option. Remark: Each modulation input can only receive one connection, but each output connector can be connected to any number of inputs. This allows us to use one modulation signal on several synthesis settings. Right click for input/output connection menu (or Shift + click) 4.3.
the need to use a VCA which would normally be necessary to set the amplitude of the modulation signal. When the modulation input connector is connected, click on one of the edges of the jack’s hex nut and drag the mouse up or down to change the depth of modulation: Setting the quantity of modulation By right clicking (or Shift + click) instead of the left click, you will obtain a more precise setting.
4.3.6 MIDI control Most of the knobs, sliders and switches on the ARP2600 V can be manipulated with external MIDI controllers. Before anything else, make sure that the MIDI device that you wish to use is correctly connected to the computer, and that the sequencer or the ARP2600 V application is correctly configured to receive MIDI events coming from the device. Every instance of the ARP2600 V receives MIDI events transmitted on a given channel.
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5 The modules The ARP2600 V can be separated into 3 parts: from top to bottom, the first is a cabinet dedicated to sound programming and effects, the second concerns the ARP sequencer and the playing mode configuration interface with the keyboard and LFO, and finally the third contains the keyboard. 5.1 Sound programming cabinet 5.1.1 Description The programming section groups all modules which can be used to program sounds.
5.1.2 The Oscillators (Oscillators - VCO) There are three oscillators in the ARP2600. The oscillators permit the management of the base frequency and tone of the ARP 2600. It also manages the impulse width of the wave forms. These changes can either be made with linear potentiometers, or thanks to modulation inputs which can be connected to the output of any module (envelope, low frequency oscillator - LFO -, modulation wheel…).
Audio outputs : Connection jacks for 4 wave form outputs: triangle, sine, saw-tooth and square Impulse width : Impulse width for “Sawtooth”, “Square”, “Triangle” wave forms FM Inputs : connection jack for frequency modulation inputs • Key follow • ADSR Env • Sample and hold • Square oscillator 1 • Noise : pre-cabled for manual setting of the key follow (KYBD CV) : pre-cabled for the manual setting of modulation by ADSR envelope : pre-cabled for the manual setting of modulation by sample and hold (S/H out)
the use of the synthesizer. For example: the frequency of oscillator 1 can be modulated, from the left to the right, by the key follow, the sample and hold, the ADSR envelope and the oscillator 2 sine. In low frequency position (LF), the oscillators perform modulation using the lower CPU power compared to the other positions. To set the modulation rate, use the linear potentiometer situated above the corresponding jack. You can also connect another source of modulation to each input.
Sine 5.1.3 The Filter (Filter - VCF) The ARP2600 V possesses a multimode filter module (the original had only one resonant low pass mode). It is possible to choose a filter type among the five offered: a low pass 24 dB (identical to that found on the ARP2600), a low pass, a high pass, a band-pass and a notch 12 dB of the same kind as the one found on the ARP 2500 modulars. The change of type is done by setting the selector situated on the right of the filter module.
• • Key follow (KYBD CV) Oscillator3 sine (VCO3 Sin) • ADSR Env : Pre-cabled for the manual setting of the key follow :pre-cabled for the manual setting of the modulation by sine wave form of oscillator2 : re-cabled for the manual setting of the modulation by ADSR envelope. For a conventional key follow setting (in relation to the scale) place the potentiometer completely to the top. It possesses a cut-off frequency setting and a resonance setting.
The high pass filter • The band pass filter (BP 12) The band pass filter is a combination of the low pass and high pass: It eliminates the frequencies on each side of the cut-off frequency. The band pass filter • The notch filter (Notch) The notch filter coupe is the opposite of the band pass filter. It eliminates the frequency band situated on both sides of the cut-off frequency. The resonance can be used to accentuate the “hollow” of this frequency band.
5.1.4 The envelopes Two in number, the modulation envelopes allow the evolution of the sound in relation to the time. The first envelope (ADSR) possesses four temporal periods which are performed sequentially: the Attack time, Decay time, Sustain voltage and the Release time. When the trigger input moves to active state (triggering of a note), the envelope performs the sequences “Attack” followed by “Decay” and remains in the “hold” state (Sustain) as long as the input trigger remains active.
5.1.4.2 AR Attack (Attack time) : Sets the attack time Release (Release time) : Sets the release time 5.1.4.3 Trigger modes Trigg input (S/H gate) : Input connection for an external trigger signal (pre-cabled to the Sample and Hold clock) “Gate” output type (Gate) : Output connection for a “gate” type signal: for every note played on the keyboard, the signal remains active as long as the note is held down.
Modulation inputs (Control) : Modulation input connection jacks (pre-cabled on the AR and ADSR envelopes). 5.1.6 Noise Generator The noise generator generates white noise or colored noise. It possesses a low pass filter to dampen high pitched frequencies. the noise generator Low pass frequency (white / Low Freq) : Sets the cut-off frequency of the low pass filter. Noise volume : Sets the noise volume. Noise generator output (Noise generator output) : Noise out connection jack. 5.1.
4 signal outputs (output) : Audio or modulation signal output connection jacks 4 “Mix” switches : This switch allows you to merge one or several inputs pairs into the one above. 4 “volume” potentiometer : potentiometer to set the volume of 2 input signals (A and B for example) 5.1.8 Sample and Hold generator This module lets you sample the signal connected as input. The source can be external (source of trigger connected to the input) or pre-cabled to the noise generator.
the electronic switch An example: Connect the output of the square wave form of oscillator 1 to input A and the sine output of oscillator 2 to input B. Place these two oscillators to low frequency position (LF) so as to slow the oscillation speed. Set the frequency potentiometers for the two oscillators to 0.3 Hz. Connect output C of the interrupter to one of the filter modulation inputs.
The envelope follower An example: Try for example to insert an audio signal coming from a drum loop sample to the input of the envelope follower. Connect the output of the envelope follower to one of the filter modulation inputs. Increase the modulation rate for the amp (VCA). Do the same for the envelope follow level. The VCA volume will modulate the volume of the VCA with the envelope of the drum loop audio sample.
5.1.12 “Tracking” generator This very original module was added to modify the course of a modulation thanks to four curves which can be edited in real-time by the user. It can also be used as source of modulation to create envelope forms or complex LFO waves. the tracking generator’s main interface • Main interface: 4 audio inputs : Audio input signal connection jacks. 4 modulation inputs : modulation input signal connection jacks 4 audio outputs : Audio signal input connection jacks.
Sine tool : Tool for drawing a sinusoid. Square tool : Tool for drawing a square signal. Noise tool : Tool for adding noise to an existing signal. Eraser tool : Tool for erasing an existing signal. Undo / Redo : To undo or redo a drawn signal. A few tips for using it: To create an exponential curve: Firstly click on the editing screen to place the starting curve for the curve. Drag (without releasing) to draw the curve. Click and drag up or down to set the amplitude.
The chorus effect Delay has two potentiometers, “Time Left” and “Time Right”, respectively for setting the time for the left channel, and the right channel. The two potentiometers, “FeedB Left” and “FeedB Right” respectively set the channel return gain for left and right channels. Finally the “Dry/Wet” potentiometer sets the ratio between the original and modified signals.
5.2 Keyboard interface (Model 3620) The keyboard interface contains all of the parameters necessary for playing on a keyboard: the monophonic or polyphonic playing modes, the portamento, the LFO (mainly used for vibrato), keyboard triggering modes, etc... the keyboard interface Portamento trigger input pedal (portamento footswitch) : Output connection jack for portamento trigger control with a pedal. Sustain trigger input pedal (KBd Latch) : input connection jack for Hold trigger control with a pedal.
the LFO Low frequency oscillator speed (LFO speed) : Sets the clock speed for the low frequency oscillator. Low frequency oscillator delay (LFO delay) : Sets the delay of the low frequency oscillator action. Vibrato depth (vibrato depth) MIDI synchronization (MIDI sync) : Sets the depth of the vibrato. : The “Midi Sync” selector switch lets you synchronize the low frequency oscillator clock with the MIDI tempo. Triangle output (LFO triangle) form.
• Sequence step management, setting and management of the 16 sequencer steps 16 sequencer steps and bus 2x 8 output levels (1 ... 16 faders) : Sets the modulation or tuning level for sequence steps.
PW input (PWM) • : Jack input for the modulation of the impulse width of the signal. Setting the sequencer input / outputs (quantizer) the sequencer input / outputs Quantized outputs A and B (Quantized outputs A/B) : Output jacks A and B for the quantization of the step signals in semi tones.
6 The basics of subtractive synthesis Of all forms of sound synthesis, subtractive synthesis is one of the oldest and still certainly one of the most employed today. It is this method that was developed toward the end of the 60’s on analog synthesizers like the ARP, Moog, Oberheim, Yamaha, Buchla, Sequential Circuits (Prophet series), Roland, Korg (MS and PS series) and many others.
56 • The square possesses a more “hollow” sound that the saw tooth (it only contains odd harmonics) but none the less, its rich sound (notably in low frequencies) can be used for sub-bass sounds that will come out well in the mix (the square oscillator is often set an octave below that of the saw tooth), wood sounds (clarinet, if the square signal is a little filtered), etc.… • The triangle can be considered like a very filtered (and soft) square signal.
The sinusoid is the purest of all. It is a single harmonic and produced a very “damped” sound. It can be used to reinforce the low frequencies of a bass sound or as a frequency modulator in order to create harmonics that don’t exist in the original waveforms. PWM (Pulse Width Modulation) is a setting that allows you to modify the waveform cycle (or wave length). This can be done manually with the help of a knob “PW” or by modulation (with an envelope or LFO).
In the above image, oscillator2 is synchronized with the first and tuned to twice its frequency. The resulting waveform is unique in that it cannot be created by standard synthesis techniques such as layering or filtering. A frequency modulation (FM) can be created between 2 oscillators by connecting the audio output from a first sinusoidal oscillator to the modulation input of a second oscillator. On the ARP2600 V, if you turn the modulation rate ring, you will obtain a sound richer in harmonics.
the ARP2600 V noise module 6.1.2 The filter or VCF The audio signal generated by an oscillator (the waveform) is next generally directed to a filter module (Voltage Controlled Filter). It is this module that we use to control the sound by filtering (by subtraction, which explains the name given to this type of synthesis) the harmonics situated around a cut-off frequency. It can be considered to be a sophisticated equalizer that reduces, depending on the case, the high or low frequencies of a sound.
pass through unchanged. Depending on the setting we will hear the sound becoming more or less “brilliant”, more or less “dampened”. This is the type of filtering that you will find more often than not on synthesizers that use subtractive synthesis. It can be found on most of the recent analog and digital synthesizers.
• The band-reject (band-reject filter or notch) eliminates the frequencies inside a band of frequencies. This filter is above all else interesting when we want to vary this band of frequencies (with the “frequency” on the ARP2600 V filters or the modulation of an LFO on this same parameter). You will thus obtain a sound close to a “phasing” effect. These four types of filtering are often used on analog synthesizers. A second setting to compliment the cut-off frequency: the resonance.
With a high resonance level, the filter will begin to produce a sound close to a sine waveform. At this stage, the use of a key follow is very important as you can create a melody by tuning the cutoff frequency of the filter along with the frequency of the oscillators. 6.1.
If you don’t have a keyboard, you can play on the ARP2600 V virtual keyboard. the virtual keyboard of the ARP2600 V 6.2.2 The envelope generator. The envelope generator, connected to the amplifier, is used to “sculpt” the form of a sound during a cycle, which begins when we press a note on the keyboard, and ends when we release.
The ARP 2600 V also offers a second simplified envelope (Attack, Release). The envelope generator can also be used to modulate other settings, like the filter cut-off frequency or the frequency of an oscillator for example. 6.2.3 The low frequency oscillator. The LFO (Low Frequency Oscillator) possesses, among other things, the same characteristics as the classic audio-frequency oscillator but does not produce frequencies higher than 20 Hz.
VCA modulated by a LFO 6.2.4 The ring modulator The ring modulator is a module which multiplies two signals (generally two oscillators) so as to generate non-harmonic frequential components. We can thus easily obtain metallic sounds. the ring modulator of the ARP2600 V 6.2.5 Sample and hold The sample and hold module lets us sample the signal connected as input. The values for modulation are taken at every trigger signal connected as input.
The famous sound of R2D2 in Star Wars was created with the sample and hold module on the ARP2600! the sample and hold module of the ARP2600 V Now to finish, the scheme of a full synthesizer containing: • • • • • • • • • 66 3 oscillators (VCO) 1 noise module 1 ring modulator 1 sample and hold 2 mixers (mix of the 3 VCO, noise and ring modulator towards the filter and the VCA) 1 filter (VCF) 1 amplifier (VCA, can be placed in stereo space with the pan potentiometers) 1 envelope ADSR 1 envelope AR ARTURIA
7 A few elements of sound design Here is a series of five examples designed to guide you through the creation of a sound and a sequence. They are classed in order of difficulty and organized into two parts: • • 7.1 The first part will give you an introduction to sound synthesis.
raise the “VCO1” potentiometer on the filter module To give it more life, still on the same module, raise the “ADSR” potentiometer corresponding to the envelope of the same name. raise the “ADSR” potentiometer Lower the filter cut-off frequency (“Initial Filter Frequency”) potentiometer almost completely so as to really hear the effect produced by the envelope on the filter. Lower the filter cut-off frequency Lower fully the Sustain potentiometer on the ADSR envelope and lower the Decay a bit as well.
lower the Decay potentiometer Now raise the volume of “VCO2” on the VCF mixer (“VCO2”). You will hear the 2 oscillators play in unison. raise the volume of VCO2 Lightly detune the second oscillator (“VCO2”). The sound becomes more lively and “fatter” ! Lightly detune the second oscillator Set the VCO2 an octave lower: set the “Range” octave selector to “16’”. set the “Range” octave selector to “16’” Finally, lightly raise the filter resonance.
raise the filter resonance Save this sound as “bass1”, you can reuse it later on. For this, click on the “Save_as” button and choose the option “new bank” (at the bottom of the menu). Provide a new name to the bank (your initials for example), the sub-bank (“basses” for example) and to the new preset (“Bass1” for example). 7.2 Polyphonic patch with cabling Let’s reuse the sound “bass1” as it will be useful to us for the next preset.
Still on the same mixer, raise the volume of oscillator3 to complete the base tone. You will hear a sound composed of three oscillators. raise the volume of oscillator3 Let’s apply a variation to the filter cut-off frequency with the LFO. For this, connect the sinus wave form of the “LFO” module (on the left of the “ARP sequencer”) to the “control VCO2 sin” modulation input on the VCF. Raise the volume potentiometer for this modulation. The filter cut-off frequency will vary in a cyclic manner.
If it has a tendency to “disappear” too much (you don’t hear any more sound), gently raise the cut-off frequency potentiometer. Set the LFO oscillation speed with the “LFO Speed” potentiometer. For this type of sound choose a slow speed (around 0.10 Hz). set the LFO oscillation speed Raise the Attack time (“A” around 2000 ms) and the Release (“R” around 750ms) of the AR envelope. At last, raise fully the Decay time (“D”) of the ADSR envelope. These types of envelopes go better with accompaniment sounds.
polyphonic mode At this stage, you can also enrich your chords by dedicating a third oscillator to sevenths (“+7 semi-tones”) - or fifths (“+5 semi-tones”). set the third oscillator to sevenths If you wish to bring more space to your sound, add a delay or chorus effect to it. For this, click on the “Chorus” or “Delay” buttons situated on the toolbar, open the grid on the left of the synthesizer. This holds the settings for these 2 effects.
Let’s again use the “bass1” sound as template for the following preset: • • • • two oscillators (VCO1 and 2) a low pass filter (VCF) an amplifier (VCA) the tracking generator connected to the filter We will first see how to create a “complex LFO” modulation type on the filter cut-off frequency with the help of the tracking generator. On the tracking generator module (situated on the bottom right of the synthesizer section), click on the “open tracking” button under this grid to open it.
Next click on the “edit” button for this tracking line. A secondary window appears. It will allow you to graphically draw the wave form that will modulate the cut-off frequency. click on the “edit” button It is composed of three parts: on the left, the selection of the 4 tracking lines, in the middle, the interface for drawing the wave form, and above, the choice of drawing tools. By default, the “pencil” tool is selected. Start by drawing a freehand curve. The form is not important.
If you wish to modify your curve, return to the editing screen to make changes. The modification is directly taken into account as soon as you click on the edit screen. Nothing stops you from creating several types of curves (freehand, curve, sinus, square, noise…) on a single line. To do this just use the appropriate tool. You can combine the four tracking lines for a single modulation input. For this, Connect the four tracking generator outputs to the “voltage processor” 1, 2, 3 and 4 inputs.
connect the “Quantized output A” of the sequencer to the KBD CV input oscillator1 Play a note on your keyboard (C4 for example). The sequencer starts and you will hear a series of 16 notes of identical pitch, this is normal. Set each of these 16 potentiometers representing 16 sequence steps to a different value. This will be the melody played in a loop. 16 sequence steps to a different value You can stop the sequencer by clicking on the “Start/Stop” button.
2 independent sequences of 8 steps To play the 16 (or 8) steps randomly, switch the “sequential / random” selector switch to the right (“random”) To play the steps randomly 7.5 Patch using the sequencer to create a modulation sequence Let’s look at creating a sequence of modulation on the filter cut-off frequency. This will be very useful, notably for special effects such as a “techno” sequence.
Connect the sequencer B output to the second modulation input of the filter... ...and raise the modulation potentiometer Play a note on your keyboard to start the sequencer. Change the positions of the 16 potentiometers representing 16 steps in the sequence. You can hear the variations on the opening of the filter cut-off frequency. This creates an automatic wah wah effect. It is also possible to simultaneously create a melodic sequence on the eight first steps and a modulation sequence on the last eight.
These different examples were of varying difficulty. We hope that they will have helped you get to know some of the possibilities offered by the ARP2600V. But don’t hesitate in making your own attempts at programming; this is the best way to progress and find a certain originality.
8 Using the ARP2600 V in different modes 8.1 Stand-alone The ARP2600 V application can be used as an instrument independent of a sequencer (stand alone mode). It allows you to open one or several instruments, and to play with a master MIDI keyboard. Attention! The ARP2600 V application is only available for Windows 2000/ XP and Mac OS X 8.1.1 Launching the application To launch the ARP2600 V application from Windows, go to Start > Arturia > ARP2600 V and choose ARP2600 V .
The Macintosh preferences window • • • • • Protocol (Windows only): Select the audio protocol that you want to use. If you have ASIO drivers for your sound card, it is highly recommended that you use them instead of DirectX protocol; the ASIO drivers provide a higher performance rate in relation to the DirectX driver. Driver: Select the driver corresponding to the sound card that you want to use. Sample rate: Here choose a sample frequency among those offered by your sound card.
8.1.3.3 Configuration of the octave The octave allows you to transpose the notes of your keyboard by one or several octaves. This function is interesting if your keyboard doesn’t cover the octave in which you wish to play or if you have activated the keyboard zone option. 8.1.3.4 Configuration of the audio input and output The two last parts of the toolbar are used to select the audio channel on which you wish to play this instrument, and the one that will provide audio data.
8.2.2 Using the instrument in VST mode Opening the ARP2600 V VST plug-in is done like any other VST plug-in; please consult the user manual of the host sequencer for more information. For Cubase SX, open the menu “Devices / VST Instruments”, and choose ARP2600 V in the rack: Opening the ARP2600 V in Cubase SX on PC 8.2.
8.2.5 Automation Automation works with the ARP2600 V as like any other VST plug-in (refer to the VST sequencer documentation for more information on the automation of plug-ins). Preset changing (and therefore cable changing) cannot be automated. 8.3 Pro Tools™ 8.3.1 Installation During the initial installation, select Install as a RTAS/HTDM plug-in. Then, when you are asked, indicate the folder in which the other RTAS and HTDM plug-ins are placed.
• • • TDM systems: the ARP2600 V must be loaded on an audio stereo track. Opening it as a HTDM plug-in is done through the TDM sub menu, as a HTDM plug-in is used exactly like a TDM plug-in. Other systems: the ARP2600 V can be loaded on a mono audio track (which becomes stereo after the insertion) or stereo. You can play the ARP2600 V with the mouse or the virtual keyboard. 8.3.
8.3.6 Automation under Pro Tools Automation functions with the ARP2600 V like any RTAS/HTDM plug-in (refer to the Pro Tools documentation for more details on plug-in automation). Preset changes (and thus cable movements) cannot be automated. 8.4 DXi™ The ARP2600 V is compatible with the DXi protocol, and so can be used notably with Sonar, but also with any other sequencer that accepts DXi instruments. 8.4.
Connecting a MIDI track to the ARP2600 V The events played on a MIDI keyboard are then transmitted by your Sonar to the ARP2600 V. It is of course possible to record these MIDI events, and use all of the Sonar MIDI editing possibilities. 8.4.4 Saving presets When the session is recorded, the state of the ARP2600 V is recorded as is, even if the programming does not correspond to any preset.
Adding an instrument in Logic Audio 8.5.2.2 Adding an effect In the mixing table slice you wish to add an effect to, click on “Effect” to get the effects list, and then select “Stereo -> Audio Instruments -> Arturia -> ARP2600 V Efx”. Adding an effect in Logic Audio Since version 7, Logic has an AU Manager. To launch it, click on “Preferences -> Start Logic AU Manager”.
Starting Logic’s AU Manager This manager lets you see the list of available plugins, test their compatibility with Logic, and activate or deactivate them. If one of your plugins is creating problems in Logic, check that it has passed the compatibility test and that it is enabled. The AU Manager 8.5.3 Using the plugin in Digital Performer 8.5.3.1 Adding an instrument Clic on the menu item “Project -> Add Track -> Instrument Track -> ARP 2600 V”.
Loading a new instrument Once you have added this instrument, you can redirect a midi track toward it. In the connections menu of the midi track, select the instrument as well as the midi channel. sélection du canal MIDI 8.5.3.2 Adding an effect You can insert the ARP2600 V Efx effect on an audio track or another instrument track. To do that, just click on the effect menu of the corresponding mixing table slice, and select “Arturia -> ARP2600V Efx”.
Selecting the AR2600 V Efx 92 ARTURIA – ARP2600 V – USER’S MANUAL
ARTURIA ARP2600 V - LICENSE AGREEMENT Grant of License In consideration of payment of the Licensee fee, which is a portion of the price you paid, Arturia, as Licensor, grants to you, the Licensee, a nonexclusive right to use this copy of the ARP2600 V program (hereinafter the “SOFTWARE”) on a single computer. All rights not expressly granted to Licensee are reserved to Arturia. Software Ownership As the Licensee you own the disks on which the SOFTWARE is recorded or fixed.
