USER’S MANUAL
Programming: Robert Bocquier (v2.0) Emilie de Fouchécour (v2.0) Vincent Travaglini (v2.0) Nicolas Bronnec Sylvain Gubian Xavier Oudin Cedric Rossi Graphics: Morgan Perrier (v2.0) Yannick Bonnefoy Manual: Robert Bocquier (v2.0) Antoine Back (v2.0) Jean-Michel Blanchet 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 Chris Pitman Silvère Letellier (v2.
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 ACTIVATION & FIRST START 2.1 Register & Activate 3 Quick start 3.1 Using presets 3.1.1 Now modify a preset 3.2 The 3 sections of the ARP2600 V 3.
5.1.4 The envelopes 5.1.5 Output amplifiers (Voltage Control Amplifier - VCA) 5.1.6 Noise Generator 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.
1 1.1 INTRODUCTION 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.
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 allowed 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.
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.
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.
2 ACTIVATION & FIRST START ARP 2600 V works on computers equipped with Windows 7 or 8 and Mac OS X 10.7 or later. You can use the stand-alone version or use ARP 2600 V as an Audio Units, AAX, VST2 or VST3 instrument. 2.1 Register & Activate Once the ARP 2600 V has been installed, the next step is to register the software in order to obtain the activation code that will enable you to use it.
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.
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.
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 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 waveform 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” 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. It contains 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.
• 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 connections 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” button under this grid. Open the effects grid 3.5.
The chorus effect settings 3.5.2 Delay Delay brings a stereo echo effect to bring more space to your sound. It possesses independent settings for the speed and number of repetitions for the left and right sides. It is also possible to create a large number of rhythmic combinations between the repetitions. The delay speed can also be synchronized with the MIDI tempo. Let’s keep the preset “JMB_Simple1” and see how to use the effects on this sound: ! Activate the “Delay” button on the toolbar.
3.6 Real-time controllers and MIDI assign Like its brilliant ancestor, the ARP2600 V is particularly adapted to real-time playing. One of the main improvements when compared to the original is that we can assign any potentiometer on the ARP2600 V to an external MIDI controller. For example: ! Click on “MIDI Learn” button of the toolbar ! Click on the “Initial Cutoff frequency” potentiometer of the filter. A MIDI assign dialog appears.
4 4.1 THE INTERFACE 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: subbank “basses”, sub-bank “sound effects”, etc. Each sub-bank contains a certain number of presets.
In the “BANK” dropdown menu, the “All” option allows you to open a sub-list with all of the sub-banks 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 4.1.2 Creation of a bank, sub-bank, preset To create a new bank of sounds, click on the button on the left of the current bank.
“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 subbank 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.
4.2.4 The selectors: The selectors (the filter mode selector for example) are manipulated like vertical potentiometers by dragging with the mouse). The filter “Modes” selector 4.2.5 Switches The ARP2600 V has several types of switches. Simply click on these switches to change their state. MIDI sync on/off switch 4.2.6 Pitch Bend The pitch bend knob is used to change the pitch of the oscillators. Just click on the knob and move the mouse up or down to change the pitch of your sound.
Audio input connector • Additional modulation input connectors can be found on the tracking module located under the grid of the right loud speaker.
Right click for input/output connection menu (or Shift + click) 4.3.2 Modifying a connection To disconnect a cable from an input connector, and reconnect it to another, click on the end of the cable and hold the mouse button down. You can now use the mouse to drag the cable to another input and release the button. To delete a connection, you can right click and use the menu (or Shift + click). It is also possible to click on the cable to be removed to select it.
If you click on the centre of the connector, you will select the cable end to change the connection. To access the modulation setting, make sure you click on the nut. In the same way, if you right click (or Shift + click) on the centre of the connector, you will reach the connection menu instead of the precise modulation quantity setting. 4.3.4 Separate the cables Visualizing the existing connections between different modules is very useful when creating a patch on the ARP2600 V.
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. 4.3.6.1 Learn Menu A new button and menu have been introduced in ARP2600 V. The button and menu provide access to MIDI assign functionalities.
Plug-in parameter name Assigned or not Control number MIDI assignation popup • Learn assignment The fastest and easiest way to assign a control is to move the fader, knob or button for it to be recognized by ARP2600 V. • Manual assignment It is also possible to change the assigned MIDI control number by clicking on Control#xx and select a specific value.
• Create a new configuration A new configuration can be created by clicking on the “Learn menu”, “New Config” entry. This will open a popup: enter the name you want to call your configuration and click on the “SAVE” button. A new entry for your configuration now exists in the list of available configurations. You may now fill in this initially empty configuration by performing the assignment operations described in the previous section.
4.3.6.5 Multiple Assigned Parameters It is possible to assign multiple parameters to a single control. This allows you to change many parameters with one fader or knob. • Activate “Learn” mode, select a parameter (GUI control) • Tweak control to assign it (optionally setup minimum and maximum) • Select a second parameter • And tweak the same control • Deactivate “Learn” mode Tweaking assigned control should modify both parameters with regards to assignation setup (Min, Max). 4.3.6.6 Tricks • 4.
Open the List interface ! To open the preset morphing page, click on the COMPASS button. Open the Morphing interface ! To return back on the main sound map interface, click on the MAP button Return back on the map interface 4.4.1 The MAP main interface The sound map interface shows a map where are shared out all the presets of the ARP2600 V organized for their types of sound and their own audio characteristics.
“Bass” sounds “Brass” sounds “EFX” sounds “FM” sounds “Guitar” sounds “Keyboard” sounds “Lead” sounds “Pad” sounds “Percussive” sounds “Sequence” sounds “Strings” sounds “Others” sounds ! To select and to listen a preset, directly click on one of the icons, anywhere you want on the map area. The icon is now highlighted in red. If you hold a few seconds on the selected preset, a popup appears and indicates the name of the preset.
Morphing between a group of presets ! You can now drag your mouse between those presets. The green arrow shows you the starting point of your motion. ! When you release the left mouse button, you can play the resulted sound and, if you wish, you can save it on an ARP2600 V user bank. By this way it is very easy to quickly get some new and exciting sounds without programming anything on the synthesizer interface. 4.4.
You can also use the “ZOOM +” or “ZOOM -” buttons, under the slider, to increase or decrease the map size step by step (by factor 1). ! Click on the FIT ZOOM button allows resizing the map to its global size. The FIT ZOOM button 4.4.2.1 The instrument type filter window On the right of the map main interface, an instrument type filter window allows you to choose which type of preset you want to see (or to hide) on the map. By default, all types of presets are selected.
! If you click again on the All button, all types of presets will be displayed on the map. 4.4.2.2 Preset snap shot memories You can select up to four presets, anywhere on the map interface, and save them on up to four snap shot memories. You will be able to use those four presets on the COMPASS view to create new sounds by morphing feature (see below for more details on this feature). Of course, you can save any kind of type of presets on these four snap memories.
Preset list interface All those data are classified by alphabetical order. ! To select a preset, simply browse the list and click on the name of a desired preset. ! You can inverse the order (from A to Z or from Z to A) by clicking on the column title: an ascendant or descendant arrow shows you the order type. Inverse the order of the instrument types 4.4.
The Morphing interface ! To open the Morphing page, click on the COMPASS button, situated on the toolbar of the Sound map. To create a new morphed sound from those presets: ! Click anywhere on the centre of the compass area (four red arrows appear converging to the group of presets) ! Hold the left button of your mouse and drag the convergence point until having the good sound. The green arrow shows you the starting point of your motion.
Create a new sound ! 42 If you wish, you can save it on a User bank of the ARP2600 V memory.
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 (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 waveforms. 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…).
5.1.2.1 Oscillator 1 Range General tuning of the oscillator by octaves. Up or down 4 octaves and low frequencies Frequency Fine tuning Tuning by semi-tone (Initial Oscillator Frequency).
waveforms Impulse width Impulse width of the “Square” signal FM Inputs Frequency modulation input connection jacks: • Key follow (KYBD CV): pre-cabled for the manual setting of the key follow • Noise (Noise): pre-cabled for the manual setting of the modulation by the noise • ADSR Env: pre-cabled for the manual setting of the modulation by ADSR envelope • Sine oscillator 2 (VCO1 sin): pre-cabled for the manual setting of the modulation by the sine waveform of oscillator 2 • Triangle oscillator2:
Sawtooth Square Triangle Sine 5.1.3 The 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.
The filter settings As with the oscillators, the filter possesses audio connections (a mixer) and internal modulation inputs allowing the simplification of its use.
Only the cut-off frequency can be dynamically modulated by one of the 3 modulation inputs. For a conventional key follow setting (in relation to the scale) place the potentiometer completely to the top. 5.1.3.1 The filter types: • The low pass 24dB / oct Low pass (LP 24) The low pass 24dB filter is typical of the ARP2600. It eliminates the frequencies situated below the pivotal frequency (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. The notch filter if you raise the resonance too high, the result of the filtering will no longer be heard as the frequency band will be too big to allow efficient filtering. 5.1.
ADSR and AR envelopes settings 5.1.4.1 ADSR Attack (Attack time) Sets the attack time Decay (Decay time) Sets the decay time Hold (Sustain Voltage) Sets the level of the hold Release (Release time) Sets the release time Output (Output) Envelope output signal 5.1.4.2 AR Attack (Attack time) Sets the attack time Release (Release time) Sets the release time 5.1.4.
5.1.5 Output amplifiers (Voltage Control Amplifier - VCA) The amplifier is the last step in the conception of a preset. It sets the general volume of the sound. The VCA settings This module is very simple; it contains: Gain (Initial Gain) Sets the general synthesizer volume Audio input (Audio VCF / ring mod) Audio input connection jack (pre-cabled to the filter and ring mod audio outputs). Modulation inputs (Control) Modulation input connection jacks (pre-cabled on the AR and ADSR envelopes). 5.1.
5.1.7 Voltage processor (Mixer / inverter / lag generator) The voltage processor allows you to mix up to 8 inputs (audio or modulation) to one (or several) outputs. It also allows you to invert the input signal – a positive-going modulation (an envelope for example) will thus become negative. A lag generator allows you to smooth an input signal. For example, the square signal from a LFO approximates a triangle the more we raise the potentiometer value, increasing the lag time.
The sample and hold settings Level (Level) Sets the Sample & Hold modulation level. Rate (Rate) Sets the Sample & Hold clock speed. External Input (“Noise gen”) Audio or modulation external signal input connection jack.
Selector switch (C) Selector switch C connection jacks between signals A and B External clock input (Ext clock In) External; clock connection jacks (pre-cabled to the Sample and Hold clock) 5.1.10 Envelope follower The envelope follower allows the generation of a modulation from an external (or internal) source of audio signal. The (Pre amp.) volume parameter sets the fineness of the envelope follow. The lower it is, the more closely the variations of the input signal will be followed.
The ring modulator 2 Audio inputs (VCO1 Saw / VCO2 Sin) Audio input connection jacks (pre-cabled to the oscillator1 sawtooth and oscillator 2 sine outputs). Output (Output) Ring modulator output connection jacks 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.
Curve editing screen Screen for real-time curve editing. Drawing tool Tool for drawing a freehand curve. Line tool Tool for drawing a straight line. Curve tool Tool for drawing an exponential curve. 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.
Right effect level (Level) Sets the output level for the right reverberation Left effect level (Level) Sets the output level for the left reverberation Right output (Output R) Right output connection reverberation) Left output (Output L) Left output connection reverberation) Dry input right (Dry input right) Dry right input connection jack Dry input left (Dry input Left) Dry left input connection jack jack jack (with or without (with or without 5.1.
The CV controls Pitch bend wheel (Pitch bend) Output connection jack for the control of modulation of three oscillators with the pitch bend wheel. Modulation wheel (Mod Wheel) Output connection jack for modulation control with the help of the modulation wheel. Velocity (Velocity) Output connection jack for velocity control. After Touch Output connection jack for After Touch control.
5.3 Low frequency oscillator (LFO) The use or a low frequency oscillator as source of modulation is quite common. It allows us to make the tone of a sound evolve gently or to create a vibrato or tremolo effect. Even though three oscillators can be used at very low frequencies, there is a specific module for this, allowing you to dedicate the oscillators to generation in the audible domain. The LFO Low frequency speed (LFO speed) oscillator Sets the clock speed for the low frequency oscillator.
16 sequencer steps and bus management • Sequence step management, setting and management of the 16 sequencer steps 2x8 output levels (1 ... 16 faders) Sets the modulation or tuning level for sequence steps.
(Jack Start) signal. Trig or Gate (trig / gate) Selector switch for choice of trig or gate (starting the sequencer). Start / stop (Start / Stop) Button for manual starting / stopping of the sequencer. Start / stop jack (Start / Stop jack) Input jack for sequencer start / stop. Start / stop pedal (Start / Stop pedal) Pedal to start and stop the sequencer. Clock frequency (Clock Freq) Sets the sequencer clock speed Clock frequency output (Clock out) Input jack for the sequencer clock output.
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.
• The saw tooth presents the richest audio signal of the four waveforms (it contains all of the harmonics at decreasing volume levels in high frequencies). Its sound is ideal for brass sounds, percussive bass sounds or rich accompaniments.
! 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.
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. Spectrum of a noise signal proceed with a low-pass filter • The high-pass (high-pass filter or HPF), as opposed to the low-pass, eliminates low frequencies and only allows high frequencies past.
• 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.
The ARP 2600V amplifier In conclusion, here is a scheme that may help you to understand the composition of a basic sound: 6.2 Complementary modules 6.2.1 The keyboard If we hold down a key at this stage, the sound you will get from the speaker will be uniform, without life and without end! In fact, the oscillator delivers a continuous signal (the audio output of a waveform) of a fixed pitch.
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 envelope module The most common envelope modules use 4 settings that we can vary: • • • • The Attack is the time that the sound will take to reach its maximum volume once the key has been pressed on the keyboard.
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.
It is also possible to use it for more rhythmic cyclic modulations by connecting a square or saw-tooth waveform coming from a VCO to the sample and hold input.
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.
! 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.
7.2 Polyphonic patch with cabling Let’s reuse the sound “bass1” as it will be useful to us for the next preset. We will see how to surpass the limits of the pre-cabled (internal connections between the modules don’t need cables). Thanks to this method, you will discover the richness of the ARP2600V2.
Raise the volume of oscillator3 ! Let’s apply a variation to the filter cut-off frequency with the LFO. For this, connect the sinus waveform 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.
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. The envelopes settings ! Set the playing mode selector situated on the left of the LFO module to “Poly” (polyphonic) position so as to be able to play chords.
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. If you use delay, you can synchronize it with the MIDI tempo of your host sequencer.
Open the tracking grid... ... then, connect the output of the first tracking line to the filter modulation input ! Raise the potentiometer above the modulation input jack. This is the modulation rate. The modulation rate ! Next click on the “edit” button for this tracking line. A secondary window appears. It will allow you to graphically draw the waveform that will modulate the cut-off frequency.
! It is composed of three parts: on the left, the selection of the 4 tracking lines, in the middle, the interface for drawing the waveform, 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. Once this is done, play a note to hear the result of this modulation. You can set the oscillation speed with the “Freq” potentiometer which is on the left of the tracking generator.
Connect the 4 tracking generator outputs to the “voltage processor” inputs ! Place the “link A/B” selector switch to the right to link the two lines of mix to the output of the first. Place the “link A/B” selector switch to the right ! Of course, the more tracking lines you combine and send to the same destination, the more difficult it becomes to master and hear. 7.
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.
! 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. Reuse the previous example as a template for this exercise (if you have not created it, go directly to the next step).
...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. For this, set the “1/16 > 2/8” interrupter to 2/8.
8 MODES OF OPERATION 8.1 Standalone The ARP2600 V can be used as an instrument independently from a sequencer software (Standalone mode). This allows you launch the application as a single instrument, and to play it using an external MIDI keyboard. 8.1.1 Launch the application To launch the ARP2600 V2 application, • on Windows, go to the menu Start > Programs > Arturia > ARP2600 V , and choose “ARP2600 V ”.
In this option menu you can: • Set the audio output port • Choose the audio interface • Choose memory buffer size (smaller size will increase the load on the CPU but will reduce latency, and reciprocally) • Choose sample rate between 44100 Hz and 96000 Hz • Choose one or several active MIDI input port(s) 8.2 VST 2 VST (Virtual Studio Technology) is a plug-in standard created by Steinberg. It allows you to integrate software audio synthesizers and effect plug-ins with audio DAWs and host software.
Usually on 32-bit Windows, all 32-bit programs are installed in C:\Program Files. However on 64-bit Windows, you can find the 64-bit programs in C:\Program Files\ and the 32-bit programs in C:\Program Files (x86)\. Mac users don´t have to bother with this, because the same plug-in file contains both the 32-bit and the 64-bit versions, and the host automatically chooses the better one. 8.7 Use in Cubase/Nuendo (VST) 8.7.
8.7.2 Rescan the plug-in directory in Cubase If the ARP2600 V does not appear in the list of VST plug-ins, you can perform a “rescan” of the plug-in directory. 8.7.3 Saving of presets When the session/project is saved, the ARP2600 V is saved in its last mode of operation, with all modifications intact.
The ARP2600 V must be loaded on an instrument stereo track. We can now make ARP2600 V sound by playing with the mouse on the virtual keyboard. 8.8.2 Saving the presets When the session is saved, the status of ARP2600 V is saved as it is, even if its programming does not correspond to the preset.
On the channel of the mixer corresponding to the selected track, click on the button “I/O” to list the available plug-ins, then select “AU Instruments > Arturia > ARP2600 V2 > Stereo”. 8.
If necessary, you can perform a rescan of the plug-in directory in the Preferences, “File Folder” tab: press the “Scan” button, or press “Scan” while holding the [Alt] key for a full rescan.
ARP2600V END USER LICENSE AGREEMENT 1. General 1.1 In consideration of payment of the Licensee fee, which is a portion of the price you paid, Arturia, as Licensor, grants to you (hereinafter termed “Licensee”) a nonexclusive right for the use of software including related media, documentation (for example program descriptions, manuals) and other documents and materials manufactured by Arturia SA ("Product(s)"). All intellectual property rights in the software belong to Arturia SA (hereinafter: “Arturia”).
Product to Arturia to get access to client support, and to activate his Product. (An internet connection is required to register and activate the Product, either on the computer on which the Product is installed, either on another device able to exchange files with the computer on which the Product is installed). NFR Products are exempt from update, upgrade or crossgrade offers, and cannot be purchased with or exchanged for vouchers or coupons.
commercial music and audio Productions without the prior permission from Arturia under the terms of this Agreement. The usage of this Product (in particular samples, instruments and presets) for the creation of a sound library or as a sound library for any kind of synthesizer, virtual instrument, sample library, sample-based Product or other musical instrument is strictly prohibited. Individual samples, sound sets or audio loops may not be distributed (commercially or otherwise) standalone.
