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ARP2600 V

1. Curve editor Screen for real time curve editing Tool for drawing a freehand curve Line tool Tool for drawing a straight line Curve tool Tool for drawing an exponential curve 48 ARTURIA ARP2600 V USER S MANUAL Sine tool Square tool Noise tool Eraser tool Undo Redo A few tips for using it Tool for drawing a sinusoid Tool for drawing a square signal Tool for adding noise to an existing signal Tool for erasing an existing signal To undo or redo a drawn signal gt To create an exponential curve Firstly click on the editing screen to place the starting curve for the curve gt Drag without releasing to draw the curve gt Click and drag up or down to set the amplitude gt Click once again to validate this curve 5 1 13 Reverberation This module lets us add reverberation to the sound Right effect level Level Left effect level Level Right output Output R Left output Output L Dry input right Dry input right Dry input left Dry input Left 5 1 14 Chorus and delay effects the reverb module Sets the output level for the right reverberation Sets the output level for the left reverberation Right output connection jack with or without re verberation Left output connection jack with or without re verberation Dry right input connection jack Dry left input connection jack Chorus has three potentiometers Rate
2. 1 Introduction The birth of ARP Instruments and the ARP2600 A better emulation thanks to TAE 1 Aliasing free oscillators 2 A better reproduction of analog oscillator waveforms 3 A better reproduction of analog filters 4 Ring modulator 2 Installation 2 1 Windows installation Win9x Me 2000 XP 2 2 Mac OS X installation 3 Quick start Using presets 1 1 Now modify a preset The 3 sections of the ARP2600 V Overview of the Synthesizer The sequencer 1 The ARP sequencer 2 The LFO The effects 1 Chorus 2 Delay Real time controllers and MIDI assign 4 The interface Using the presets 1 Choice of bank sub bank preset 2 Creation of a bank sub bank preset 3 Saving a user preset 4 Importation Exportation of a preset bank Use of controllers 4 2 1 Vertical linear potentiometers 4 2 2 Horizontal linear potentiometers 4 2 3 Knobs 4 2 4 The selectors 4 2 5 Switches 4 2 6 Pitch Bend 4 3 Using cables 1 Audio and modulation connections 2 Modifying a connection 3 Setting the level of modulation 4 Separate the cables 5 Virtual keyboard 6 MIDI control 5 The modules Sound programming cabinet 1 Description 2 The Oscillators Oscillators VCO 3 The Filter Filter VCF 4 The envelopes 5 Output amplifiers Voltage Control Amplifier VCA 6 Noise Generator o COCOON DOW Ul Ui 5 1 7 Voltage processor Mixer inverter lag generator 44 5 1 8 Sample a
3. C Program Filess SteinberasVstpluai Directories E c Program Files Steinberg Cancel g V stplugins El Drives C R seau Choice of installation folder for SVT plug in The installation program now has enough information to finish the procedure In a few seconds you will be using the ARP2600 V 2 2 Mac OS X installation Insert the CD ROM into the drive Explore the contents of the CD ROM and double click on the icon named ARP2600V Setup Mac Enter your administrator name and password in the authentication window The ARP2600 V will firstly be installed as a stand alone program By default all the protocols VST RTAS HTDM will be directly installed on you computer For more information on these protocols please see Chapter 7 The ARP2600 V will be installed in your applications folder You can also define a different drive and installation folder Next have your license number ready and enter it along with your name and family name in the user information window The installation program now has enough information to finish the proce dure In a few seconds you will be using the ARP2600 V O00 Install ARP2600 V Install Software amp LI gt i Register Introduction gister License License Select Destin Installation Hennan Installing Last name Finish Ur Cancel oC gt E Go Back Continue Enter yo
4. Je Ww p the New preset option 4 1 4 Importation Exportation of a preset bank It is possible to import new preset banks created for the ARP2600 V To import a new bank of pre sets click on the preset bank import button in the toolbar E Preset bank import button on the toolbar When you click on this button a dialog appears allowing the choice of ARP2600 V preset bank files AMB file type on PC AMpB file type on Mac Choose the file that you want to import and click on Open The new preset bank will automatically appear in the available banks The ARP2600 V also offers the option to export your own sound banks to save them use them on another machine or share them with other users It is possible to export a preset a sub bank or a complete bank To export a bank sub bank or current preset click on the export preset bank but ton on the toolbar ARTURIA ARP2600 V USER S MANUAL 27 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 2 Horizon
5. Depth and Dry Wet which allow us to respectively set the speed the depth and the relation between the original and modified signals ARTURIA ARP2600 V USER S MANUAL 49 rate depth dru wet 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 potenti ometer sets the ratio between the original and modified signals midi m 2 Sunc DELAY 4 4 i f Le feedk drys L R wet The delay effect The Midi Sync selector switch allows us to synchronize the return time for the delay to the tempo of the host application 5 1 15 Control voltages CV control These modulation outputs allow us to control the synthesizer parameters with the real time control lers of your MIDI keyboard KEYECV OUT pitch mod bend wheel xI xu velocity after touch the CV controls Pitch bend wheel Pitch bend Output connection jack for the control of modu lation 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 co
6. 70 s It was added to the ARP2600 V to increase the possibilities for creating melodies and sounds The next two examples show how to use the ARP sequencer to create a melody and a sequence of modulation of a synthesis parameter For these 2 examples return to the bass1 preset It presents the ideal sound for a melodic se quence or for applying a modulation sequence to the filter cut off frequency The CV input is connected directly to the key follow which allows is to trigger a sequence tuned to the note played The sequencer will automatically start when you play a note gt So that your sequence is tuned by following the semi tones connect the Quantized output A on the sequencer to the input oscillator1 key follow VCO1 gt CV KBD 76 ARTURIA ARP2600 V USER S MANUAL meitH FREQUENCY tring Sow a E out E LL D ou of Li keyboard on GATE TRIG PUM Pwr a a ect eedme in freq midisync D O B O smooth out O er 1 SEQUENCER MODEL 1601 connect the Quantized output A of the sequencer to the KBD CV input oscillator1 gt 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 gt 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 gt You can
7. MANUAL 67 INIT FILTER FREQUENCY raise the VCO1 potentiometer on the filter module gt To give it more life still on the same module raise the ADSR potentiometer corresponding to the envelope of the same name AUDIO ome run fn n AAA tv rd raise the ADSR potentiometer gt 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 INIT FILTER FREQUENCY 10 100 Lower the filter cut off frequency gt Lower fully the Sustain potentiometer on the ADSR envelope and lower the Decay a bit as well set a value aroud 100ms The duration of the sound becomes shorter 68 ARTURIA ARP2600 V USER S MANUAL TIME TIME VOLT TIME lower the Decay potentiometer gt Now raise the volume of VCO2 on the VCF mixer VCO2 You will hear the 2 oscillators play in unison Wel Y el e sl ois DD raise the volume of VCO2 gt Lightly detune the second oscillator VCO2 The sound becomes more lively and fatter Lightly detune the second oscillator gt Set the VCO2 an octave lower set the Range octave selector to 16 triang Sow OC d Sin pulse set the Range octave selector to 16 gt Finally lightly raise the filter resonance This will give you a typical 70 s bass sound ARTURI
8. Save as icon and choose the loca tion For example select new in the choice of bank Two new banks sub banks and a preset are immediately created The names new bank new sub bank and new preset appear in their respective displays gt Click on each of these displays to rename the 3 parts Midi all JM Blanchet gt New bank Saving a preset To save a user preset Users click on the Save icon in the toolbar The new settings will be saved in the current preset without changing the name but if the selected preset is one of the factory presets the factory setting will not be overwritten Attention It is important to specify that changing the name of a preset does not create a new one Only the name of the current preset will be changed ARTURIA ARP2600 V USER S MANUAL 13 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 gt 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 D 1k 1OkH2 E TUNE Oi WAGE FREQUENCY X a Slide the mouse towards the top or bottom gt Click on one of the
9. 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 situ ated on the right of the filter module INIT FILTER FREQUENCY 10 100 TkH2 10 42 FINE TUNE COPECO CES i5 MN RON E Es Ed t ap MOD Jl rie M CV IPOS ein The filter settings As with the oscillators the filter possesses audio connections a mixer and internal modulation inputs allowing the simplification of its use Frequency Initial Filter Frequency Sets the filter cut off frequency tuned between 10 Hz and 10 KHz Fine tuning Fine tune Fine tuning of the filter cut off frequency Resonance Sets the filter resonance Notch frequency fc Notch Frequency fc Sets the frequency of the notch divided by the filter cut off frequency Filter type selector Types Type of filter LP 2600 and 2500 HP BP and notch Audio output Output Filter audio output connection jacks Audio input Audio Filter input connection jacks initially connected to the ring modulator to the oscillators1 and 2 square oscillator3 sawtooth and noise Modulation inputs Control Filter frequency modulation input connection jacks ARTURIA ARP2600 V USER S MANUAL 39 Key follow KYBD CV Pre cabled for the manual setting of the key follow Oscillator3 sine VCO3 Sin pre cabled for the manual setting of the modulation by sine wave form
10. 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 gt 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 Then connect the output of the first tracking line out to the VCO2 Sin modulation input of the filter O er O er O of then connect the output of the first tracking line to the filter modulation input gt Raise the potentiometer above the modulation input jack This is the modulation rate the modulation rate 74 ARTURIA ARP2600 V USER S MANUAL gt 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 Smooth out edit PS click on the edit button gt 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 Tools selection CURVE EDITOR 00 2 E3 DJ C2 3 RJ R3 tracking line selection G a Curve editor gt By default the pencil tool is selected Start by drawing a freehand curve The form is not important
11. and at no extra CPU cost 42 dB at 8 705 Hz 405 2778 4151 5524 6897 8270 3643 11016 12389 Linear frequency spectrum of an existing well known software synthesizer Aliasing 17 881 19254 20627 22000 6 ARTURIA ARP2600 V USER S MANUAL 8270 3643 11016 12369 13 762 15135 16508 8 19254 Linear frequency spectrum of the ARP2600 V oscillator made with TAE 1 2 2 A better reproduction of analog oscillator waveforms The waveforms produced by the oscillators in analog synthesizers are marked by the presence of a capacitor in the circuits The discharge of the capacitor results in a light bend in the original wave form notably for saw tooth triangular and square waveforms TAE allows the reproduction of this capacitor discharge Underneath is the analysis of a waveform from the original ARP2600 and that of the ARP2600 V They are both equally deformed by the ARP2600 V low pass and high pass filter ing NES ie Temporal representation of a saw tooth waveform of the original ARP2600 Temporal representation of an ARP2600 V saw tooth waveform reproduced by TAE ARTURIA ARP2600 V USER S MANUAL 7 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
12. frequency modulation inputs FM Control and Pulse Width Modulation allow the control of these parameters thanks to the outputs of other modules an envelope a LFO for example They are all pre cabled to a defined module in advance by the developer of the ARP 2600V This is to simplify ARTURIA ARP2600 V USER S MANUAL 37 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 gt To set the modulation rate use the linear potentiometer situated above the corresponding jack gt You can also connect another source of modulation to each input This considerably widens the possibilities for sound creation For a conventional key follow setting in relation to the scale place the potentiometer completely to the top Here are graphical representations of the different wave forms used by ARP 2600V oscillators Sawtooth Square Triangle 38 ARTURIA ARP2600 V USER S MANUAL 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
13. in any sequencer notably making user exchanges easier e They are compatible with the different versions of the ARP2600 V that will appear with its evolution 86 ARTURIA ARP2600 V USER S MANUAL 8 3 6 Automation under Pro Tools Automation functions with the ARP2600 V like any RTAS HTDM plug in refer to the Pro Tools docu mentation 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 1 Installation During the installation check the DXi box among the list of protocols that you wish to activate for the ARP2600 V on your computer then simply follow the on screen instructions until the installation is complete Once the installation has finished the ARP2600 V can be used as a DXi instrument 8 4 2 Opening the instrument SONAR 2 0 In the Insert menu open the DXi Synth sub menu and choose the ARP2600 V Insert Transport Go Track Tools Options Window He Bank Patch Change Meter Key Change P w Tempo Change Time Measures Marker Fil Series of Controllers Series of Tempos Dxi Synth Arturia Modular System Cyclone DreamStation Dxi2 ReWire Device Audio Track VST gt MIDI Track Opening the DXi instrum
14. octaves Up or down 4 octaves and low frequen cies Frequency Tuning by semi tone Initial Oscillator Frequency Up or down 2 octaves Fine tuning Fine tune up or down by up to a semi tone 36 ARTURIA ARP2600 V USER S MANUAL 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 e Key follow e ADSR Env e Sample and hold e Square oscillator 1 e Noise 5 1 2 3 Oscillator 3 General tuning of the oscillator by octaves Up or down 4 octaves and low fre Range Frequency Fine tuning Audio output Impulse width FM Inputs quencies 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 pre cabled for the manual setting of modulation by the square wave form of oscillator1 VCO1 square pre cabled for the manual setting of modulation of the impulse width of the square by the noise PWM _ noise out Tuning by semi tone Initial Oscillator Frequency Up or down 2 octaves Fine tune on up or down by up to a semi tone Audio output connection jacks for the sawtooth and square wave forms Impulse width of the Square signal Frequency modula
15. of oscillator2 ADSR Env 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 com pletely to the top It possesses a cut off frequency setting and a resonance setting A setting separated from the notch filter frequency Notch frequency divided by the initial filter cut off frequency has been added This very particular parameter present on the module of the ARP2500 transforms the notch filter to a low shell or high shell filter As for all other modulation inputs once connected its amplitude is set by raising the linear poten tiometer With a right click we obtain a higher level of precision Receiving a modulation coming directly from the output of a generator envelope oscillator sequencer the maximum amplitude of modulation of 9 octaves Only the cut off frequency can be dynamically modulated by one of the 3 modulation inputs 5 1 3 1 The filter types e 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 UA n QU m He 20 00 40 00 80 00 1600 3200 640 0 1280 2560 5120 10240 The low pass filter The four other filtering modes didn t exist on the original ARP2600 but existed on the ARP2500 modular systems They all use a filtering slope at 12 dB octave These modes were
16. of template presets for beginning the programming of a sound the sound 1_Osc for example comes with an oscillator directed to the low pass filter and then routed towards the VCA It is also possible to visualize the entirety of the presets corresponding to a type of sub bank by selecting the option All in the bank For example to see all of the bass presets click on All in the bank selection and then on Bass 3 1 1 Now modify a preset For this we will start with a very simple manipulation gt Modify the brightness of the sound JMB_Simple1 with the linear Initial Cutoff Frequency potentiometer of the filter Raise or lower the potentiometer and notice the sound become more or less bright Set this potentiometer to a pleasing value 12 ARTURIA ARP2600 V USER S MANUAL RESOl CE ul TCH FREQUENCY I Change the brightness of the sound gt 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 l FINE TUNE OSCILLAT SVNCRO m 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 gt To choose another destination for the sound click on the
17. sequencer Change the positions of the 16 potenti ometers 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 gt 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 gt 2 8 interrupter to 2 8 The sequencer will only play half of the sequence It is of course possible to connect any other ARP parameter to the sequencer like the amplifier volume VCA for example the change of wave form width for oscillator square wave form etc ARTURIA ARP2600 V USER S MANUAL 79 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 at tempts at programming this is the best way to progress and find a certain originality 80 ARTURIA ARP2600 V USER S MANUAL 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 applicat
18. 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 Clock FM FM Sets the modulation rate for the clock frequency FM input Clock FM Jack input for the modulation of the clock frequency ini tially connected to the gate input Impulse modulation Pulse width Sets the rate of modulation for the signal impulse width ARTURIA ARP2600 V USER S MANUAL 53 PW input PWM Jack input for the modulation of the impulse width of the signal e 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 quanti zation of the step signals in semi tones CV input CV input Jack inputs manage the reference voltage for the sequencer generally connected to CV keyboard control Kybd CV output Quantized inputs A and B Quantized inputs A B Input jacks A and B for the signal quantization Non quantized outputs A and B Sequencer outputs A B Output jacks A and B non quantized continuous values to 4 octaves 54 ARTURIA ARP2600 V USER S MANUAL 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
19. stop the sequencer by clicking on the Start Stop button stop the sequencer by clicking on the Start Stop button It is possible to obtain a sequence of 16 steps like the one you have just created by using 2 inde pendent sequences of 8 steps For an 8 step sequence place the 1 16 gt 2 8 selector switch to 2 8 The sequencer will only play half of the sequence ARTURIA ARP2600 V USER S MANUAL 77 2 independent sequences of 8 steps To play the 16 or 8 steps randomly switch the sequential random selector switch to the right random Sequencial ENirondom 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 gt Connect the sequencer B output to the second modulation input acting on the filter cut off fre quency ADSR Raise the potentiometer of the same name to increase the depth of this modula tion 78 ARTURIA ARP2600 V USER S MANUAL I R out TIME Li keyboard ee GATE TRIG A manual TIME Stort in freq midisyc D B B O Smooth out and raise the modulation potentiometer gt Play a note on your keyboard to start the
20. the Save button in the toolbar ARTURIA ARP2600 V USER S MANUAL 23 24 ARTURIA ARP2600 V USER S MANUAL 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 The ARP2600 V comes with several factory sound banks It is possible to create new user sound banks each containing an arbitrary number of sub banks and presets For security the factory settings are not directly modifiable It is however possible to modify a sound based on a factory preset and to record it to a user bank 4 1 1 Choice of bank sub bank preset The banks sub banks and presets being currently used are always displayed in the synthesizer tool bar BANK SUB b d w display of bank sub bank and preset being used To choose a preset in the current sub bank click on the button on the left of the current preset a drop down menu appears with a list of presets from the same sub bank You can choose another preset in the menu by selecting the corresponding line Once
21. wave form output of an oscillator for example SAMPLE HOLD LVL RATE electro Switch i internal clock wu the sample and hold settings Level Level Sets the Sample amp Hold modulation level Rate Rate Sets the Sample amp Hold clock speed External Input Noise gen Audio or modulation external signal input connection jack pre cabled to the noise module Sample and Hold output Sample and Hold output connection jack Internal clock output Int Clock out Sample and Hold internal clock output connection jack External clock input Ext Clock in External clock input connection jack MIDI Synchronization MIDI sync Selector switch for the synchronization of the clock to a MIDI sequencer 5 1 9 The electronic switch module Electronic switch The Electronic switch module allows you to alternate the two sources connected to inputs A and B depending on the speed of the clock connected pre cabled to the Sample and Hold clock to create a composite source of modulation ARTURIA ARP2600 V USER S MANUAL 45 electro Switch the electronic switch An example gt Connect the output of the square wave form of oscillator 1 to input A and the sine output of oscillator 2 to input B gt 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 gt Connect output C of the inte
22. which removes every trace of aliasing in the signal coming from the ring modulator Sine wave form Amplitude control module VCA Input gt P with aliasing correction Output 8 ARTURIA ARP2600 V USER S MANUAL 2 Installation 2 4 Windows installation Win9x Me 2000 XP gt Insert the CD ROM into the drive Explore the contents of the CD ROM and double click on the icon named ARP2600V Setup PC exe First you will need to define an installation folder for the program By default it will be installed in C Program Files Arturia ARP2600V You can change this location with the Browse button Next have your license number ready and enter it along with your first and last name in the user information window User Information Licence number First name LAST NAME Cancel DK User information window The ARP 2600V will firstly be installed as a stand alone program The following step will give you the choice of configuring it as a plug in as well You will be asked to define the protocol s that you use VST RTAS HTDM DXI For more information on these protocols please see Chapter 7 For the VST and RTAS protocols you will be asked to choose an installation folder so that the host application may use it as a plug in If you are not sure how to make this choice please see Chapter 7 ARTURIA ARP2600 V USER S MANUAL 9 ST Plugins directory E 2n xj Path
23. A ARP2600 V USER S MANUAL 69 INIT FILTER FREQUENCY 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 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 ARP2600V This preset contains three oscillators VCO1 2 and 3 a low pass filter VCF an amplifier VCA the ADSR envelope connected to the filter the AR envelope connected to the amplifier e a LFO connected to the filter gt Drag a cable from the saw tooth output on oscillator1 to an audio input of the filter mixer For this click on the VCO1 Saw output and direct the mouse to the VCO1 square audio input on the VCF mixer INIT OSC FREQUENCY OSC INIT FILTER FREQUENCY 10 100 KHZ 10kH2 FINE TUNE FINE TUNE FINE TUNE os YNCRO Sun 90 PULSE WIDTH E un FREQUENCY triang Sow Sin pulse PWM PN mee e Memes e e EEO e gt R Ya eee is EP LES PEREA EV out tv out iis s
24. ARP2600 V USER S MANUAL point in the Connect to menu to create a connection It is also possible to delete the curent con nection 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 sev eral synthesis settings de e ND ADSR1 m ADSR2 Elec switch Env Follow Connected to Sine External AS E BAS is Keyboard LFO Mixer oe Noise SEQUENCER MODEL 1601 OSC1 aa agaaa OSC2 osc3 Processor Reverb Ring Mod Sample Hold Sequencer Tracking VCA YCF Remove connections Bypass default connection time feedk drys l C aa aa a d freq o c eek oe UA ED d Saw Square Triangle b b b b b b b b b b b b b 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 The cable will appear in a lighter color to indicate that it is selected Then simply press the DEL key to delete the connectio
25. DM standards 85 8 3 3 Opening the instrument 85 8 3 4 Connection to a MIDI node 86 8 3 5 Saving presets 86 8 3 6 Automation under Pro Tools 87 8 4 DXi 87 8 4 1 Installation 87 8 4 2 Opening the instrument SONAR 2 0 87 8 4 3 Connection to a MIDI track 87 8 4 4 Saving presets 88 8 4 5 Automation 88 8 5 Audio Unit 88 8 5 1 Installation 88 8 5 2 Using the plugin in Logic Audio 88 8 5 3 Using the plugin in Digital Performer 90 1 Introduction 1 1 The birth of ARP Instruments and the ARP2600 Alan R Pearlman whose initials would form the name of ARP Instruments became interested in instruments for electronic music as early as 1948 when he was a student at the Worcester Poly technic Institute This was a means for him to associate his two passions electronic music and the piano It was by commercializing the amplifier models for the NASA Gemini and Apollo programs that he would start his career Around 1968 he started seriously imagining the possibility of building elec tronic instruments after hearing a recording of Switched on Bach according to legend In 1969 Alan R Pearlman David Friend and Lewis G Pollock created ARP Instruments originally called Tonus Inc The company based in Newton Highlands Massachusetts USA conceived elec tronic products but also and above all else a large modular synthesizer the ARP 2500 The machine used a matrix which connected the different sections of the synthesizer
26. I configuration To save a configuration just select File gt Save or File gt Save as to save the configuration under a new name Attention if saving a configuration in the ARP2600 V application saves the sound settings of the instrument this has nothing to do with the saving of the presets of the instrument itself cf 4 1 3 Saving a user preset The saving in the application does not imply the saving of the current preset 8 2 VST 8 2 1 Installation 8 2 1 1 For Windows e During the installation check the VST option among the choice of plug in formats offered The installer will automatically detect the VST instruments folder used by your version of Cubase In the case of another VST compatible sequencer like Logic Audio for example you might need to manually copy the plug in file to the appro priate folder You can find this file after the installation in the folder C Program Files Arturia ARP2600 V VSTPlugin The file is called ARP2600 V dll 8 2 1 2 For Mac OS X During the installation check the VST option among the choice of plug in formats offered The VST plug in will be automatically installed in the system folder corresponding to the VST instru ments and can be used by VST applications of the type host ARTURIA ARP2600 V USER S MANUAL 83 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 us
27. 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 PWM e eee eco cete eeu E 0 ou ni NOISE GENERATOR white modin in A SEQUENCER MODEL 1601 2 8 B 8 8B 8 8 8B 88888 8 88 raise the volume of the LFO modulation ARTURIA ARP2600 V USER S MANUAL 71 gt If it has a tendency to disappear too much you don t hear any more sound gently raise the cut off frequency potentiometer gt 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 gt Raise the Attack time A around 2000 ms and the Release R around 750ms of the AR en velope At last raise fully the Decay time D of the ADSR envelope These types of envelopes go better with accompaniment sounds TIME TIME VOLT TIME ADSR J l R out TIME I f manual TIME Start Attack Enveloppe2 2000 00 mS INS AUDIO GATE TRIG The envelopes settings gt 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 Then choose the number of polyphonic voices by click ing on the voices but
28. LFO module situated on the Keyboard control module of the All mode you can keep the third oscillator as base sound and obtain an additional source of modulation for one of the 13 available destinations It is also possible to synchronize the clock speed of the LFO to that of the MIDI sequencer by clicking on the MIDI sync interrupter Apply two additional types of modulation to the preset 1_Osc gt For example the LFO is pre cabled to obtain a vibrato simultaneous frequency modulation of the two oscillators Simply raise the linear potentiometer Vibrato Depth situated on the LFO module to create this effect Raise the Vibrato Depth potentiometer gt Another example would be to click on the LFO triangle output and direct the cable to the VCO2 sin modulation input of the filter module Raise the potentiometer above it Lower the cut off frequency to hear the result more clearly The brightness of the sound will vary in a cyclic fash ion to the rhythm of the LFO 20 ARTURIA ARP2600 V USER S MANUAL AGE ioio M CONTRO M CONTRO PWM ONTRO Puri e eUmee emere ec c COCO ec LVL RATE electro Switch HOIS out ain zs uwis 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 reverbera tion which is already present in the original instrume
29. 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 CURVE EDITOR nn cg a g 3 drawing a freehand curve ARTURIA ARP2600 V USER S MANUAL 75 gt If you wish to modify your curve return to the editing screen to make changes The modifica tion 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 gt 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 modin in ej ct Smooth out 7 NE um Oe fo e ODO a s OC x clock BL n w Connect the 4 tracking generator outputs to the voltage processor inputs gt 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 gt Of course the more tracking lines you combine and send to the same destination the more difficult it becomes to master and hear 7 4 Patch using the sequencer to create a melody The ARP sequencer model 1601 was one of the most frequently used sequencers of its time the
30. PLIFIER gt LOUD SPEAKERS audio signal 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 with out life and without end In fact the oscillator delivers a continuous signal the audio output of a wave form of a fixed pitch The only means of stopping this sound that quickly becomes unsupport able is by lowering the filter cut off frequency so that it becomes more and more thick until it dis appears or more simply to lower the volume of the amplifier e To trigger and stop this sound at the tone that we want we use a keyboard which will be connected to the oscillator This will play as soon as a key is pressed and will mute it as soon as released Of course this connection is made through MIDI it replaces the gate type connection of analog synthesizers which triggers the sound when the key is pressed and stops when released e Inthe second case so that the sound is correctly tuned with the keyboard notes we need to apply a key follow modulation replacing the 1Volt octave control present on most analog synthesizers 62 ARTURIA ARP2600 V USER S MANUAL 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 du
31. RP2600 V USER S MANUAL Ampliude Amplitude Ti Hamoric number 10 20 30 40 Frequency gt 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 or der to create harmonics that don t exist in the original waveforms sine amplitude amplitude 202 time fre quency 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 enve lope or LFO This pulse width variation translates to a spectrum modification resembling a wave form change triang Saw o n Sin pulse PWM The ARP2600 V waveforms on the oscillator2 The synchronization of an oscillator with another creates more complex waveforms If for example you synchronize oscillator2 with oscillator1 oscillator2 will restart a new period every time the first oscillator completes a period even if oscillator2 has not completed a complete period this signifies that it is not tuned to the same tonality The more you tune oscillator2 upwards the more you will encounter composite waveforms ARTURIA ARP2600 V USER S MANUAL 57 te One Period Oscillator 1 Oscillator 2 synchronized In the above image oscillator2 is synchronized with the first and tuned to twice its frequency
32. 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 If you introduce a square or saw tooth signal the result can be quickly distorted but interesting for inharmonic so norities like bell sounds or special effects for example FM Amplitude Amplitude Harmonic number 1 2 3 4 5 6 7 8 Frequency The noise module The noise signal spectrum has all frequencies at an equal volume level often referred to as white noise For this reason the noise module is used to create different noises like the imitation of wind or special effects White noise is the richest of noises Pink noise is also regularly present on synthesizers It is less rich in the high frequencies than white noise Also note that the audio output of noise can also be used as a modulation signal especially when strongly filtered to create random cyclic variations 58 ARTURIA ARP2600 V USER S MANUAL HOISE GENERATOR white 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 Fil
33. USER S MANUAL ARP2600 V Programming Nicolas Bronnec Sylvain Gubian Xavier Oudin Cedric Rossi Graphics Yannick Bonnefoy Manual Jean Michel Blanchet Fr d ric Brun Yuji Sano Tom Healy Mitsuru Sakaue Xavier Oudin Cedric Rossi Kentaro Wakui Sound Designers Jean Michel Blanchet Celmar Engel Klaus Schulze Ruff amp Jam Kevin Lamb from Neptunes Chis Pitman Norikata Ubukata Darrell Diaz Glen Darcy Katsunori Ujiie Pietro Caramelli Very special thanks to Celmar Engel Mark Vail Alan R Perlman Wally Badarou Chad from Neptunes Thanks to John Leimseder Matt Lupo Ron Kuper Mephistoff Ellys Pietro Caramelli and the numerous beta testers ARTURIA SA 1999 2004 All rights reserved 4 Chemin de Malacher 38240 Meylan FRANCE http www arturia com Information contained in this manual is subject to change without notice and does not represent a commitment on the part of Arturia The software described in this manual is provided under the terms of a license agree ment or non disclosure agreement The software license agreement specifies the terms and conditions for its lawful use No part of this manual may be produced or transmitted in any form or by any purpose other than purchaser s personal use without the express written permission of ARTURIA S A Other products logos or company names quoted in this manual are trademarks or registered trademarks of their respective owners Table of Contents
34. a sound it can be used to create a cyclic modulation on the parameter on which it is connected On the ARP2600 V the LFO module is situated on the left of the sequencer the LFO module of the ARP2600 V For example gt If you connect an LFO to the modulation input of an amplifier the sound volume will increase and decrease in an alternate manner depending on the speed the frequency of this LFO This will create a tremolo effect gt To produce a vibrato effect simply connect the sinusoid output of an LFO to the modulation input of an oscillator The frequency of this oscillator will thus be modulated up and then down gt Finally try to connect an LFO output to the modulation input of a lightly resonant low pass filter and you will obtain a wah wah effect 64 ARTURIA ARP2600 V USER S MANUAL amplitude VAI TTT sound signal amplitude time modulator signal LFO amplitude time modulated signal 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 gen erate 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 modula tion are taken at every trigger signal connected as input This module is notably interesting for creating rando
35. added to in crease the possibilities for sound creation on the ARP 2600V e The low pass 12dB octave LP 12 The low pass 12 dB filter is works in the same manner as the 24 dB oct on the the ARP2600 It will just give you a slightly different result due to the fact that its filtering slope is not as fast e The high pass HP 12 The high pass filter is the opposite of the low pass filter It eliminates the frequencies above the cut off frequency 40 ARTURIA ARP2600 V USER S MANUAL i if Y vu Hz 20 00 40 00 80 00 1600 3200 640 0 1280 2560 5120 10240 RFT A The high pass filter e 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 Hz 20 00 40 00 80 00 1600 3200 6400 1280 2560 5120 10240 The band pass filter e The notch filter Notch The notch filter coupe is the opposite of the band pass filter It eliminates the frequency band situ ated on both sides of the cut off frequency The resonance can be used to accentuate the hollow of this frequency band Attention 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 l j w PAPA Hz 20 00 40 00 80 00 1600 3200 640 0 1280 2560 5120 10240 The notch filter ARTURIA ARP2600 V USER S MANUAL 41 5 1 4 The envelop
36. ate reverse engineer decompile disassemble or create derivative works based on the SOFTWARE or it s accompanying printed or written materials Transfer Restrictions Licensee shall not assign rent lease sell sublicense or otherwise transfer the SOFTWARE to another party without prior written consent of Arturia Any party authorized by Arturia to receive the SOFTWARE must agree to be bound by the terms and conditions of this Agreement LIMITED WARRANTY AND DISCLAIMER Limited Warranty Arturia warrants that the disks on which the SOFTWARE is furnished to be free from defects in materials and workmanship under normal use for a period of thirty 30 days from the date of purchase Your receipt shall be evidence of the date of purchase Any implied warranties on the SOFTWARE are limited to thirty 30 days from the date of purchase Some states do not allow limitations on duration of an implied warranty so the above limitation may not apply to you All programs and accompanying materials are provided as is without war ranty of any kind The complete risk as to the quality and performance of the programs is with you Should the program prove defective you assume the entire cost of all necessary servicing repair or correction Remedies Arturia s entire liability and your exclusive remedy shall be at Arturia s option either a return of the purchase price or b replacement of the disk that does not meet the Limited Warranty and which is r
37. ch 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 Arturia shall retain full and complete title to the SOFTWARE recorded on the enclosed disks and all subsequent copies of the SOFTWARE regardless of the media or form on or in which the original disks or copies may exist This License is not a sale of the original SOFTWARE Copyright Restrictions This SOFTWARE and the accompanying printed or written materials are copyrighted Unauthorized copying of the SOFTWARE including those instances where the SOFTWARE has been modified merged or included with other Software or of the printed or written materials for any reason is expressly forbidden Licensee may be held liable for copyright infringement which results from such unauthorized copying Restrictions on Use Licensee may physically transfer the SOFTWARE from one computer to another provided that the SOFTWARE is used on only one computer at any one time Licensee may not electronically transfer the SOFTWARE to multi ple computers over a network system Licensee may not distribute copies of the SOFTWARE or accompanying materials to others Licensee may not modify adapt transl
38. cking on its name 4 1 3 Saving a user preset To save your current settings under the current preset click on the Save button on the ARP2600 V toolbar 26 ARTURIA ARP2600 V USER S MANUAL ia 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 Save As menu on the toolbar gt When you are working on a factory preset which cannot be erased clicking on the Save but ton will not replace the current factory setting but will automatically open the Save As func tion to save the current setting as a user preset Click on the New bank option The three LED displays indicate New you can click on each of these displays to give it a name or save your setting as a new preset in this case click on New preset in the sub bank of your choice pam ENUTEM ee Basses WW Templates eads Tests id Pads Sequences JMB_Big_Lead JMB Folow Lead JMB Lead2 JMB Lead Fusion JMB Lead HShl JMB Lead LShl JMB Lead Phazer JMB Lead Trackg JMB Rhythm Ld v via v bank New subbank
39. ckly see all of the presets of the same type mE aa es Fa Fc AES TestFact BANK w b vY JM Blanchet FINE TUNE Templates so OX Sus 90 PESC NCE un FREQUENCY Eo H 4 T E FOLLOWER AES Fusion Lead Sequences AES Lead2 Delete bank JM Blanchet test JMB Big Lead Basses JMB Folow Lead Temp Synth JMB Lead2 Temp Effects JMB Lead Fusion Temp SEQ JMB Lead HShl New bank RUDIO FM CONTRO FM CONTRO cl 0 OICCCOICCO oc be ess Ham Tracking JMB Lead LShl JMB Lead Phazer JMB Lead Trackg JMB Rhythm Ld pro N 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 In the drop down menu select New bank to create a new bank of sounds You can then change the name of this bank by clicking on its name in the toolbar and typing the new name To create a new sub bank again just click on the button on the left of the current sub bank and select New sub bank You can also change the name of the new sub bank Finally to create a new preset click on the button on the left of the name of the current preset and select New preset The new preset is created using the current ARP2600 V settings con trollers and connections You can then work on the settings of the sound and save it by clicking on the save button see the next paragraph You can also change the new preset name by cli
40. cy potentiometer for fine tuning use the Fine tune potentiometer Notice that the filter cut off frequency is modulated by an ADSR envelope Attack Decay hold Sustain and Release ARTURIA ARP2600 V USER S MANUAL 15 INIT FILTER FREQUENCY 10 100 Tkh 10kH2 I FINE TUNE RESON 133 dutCH FREQUENCY Change the brightness of the sound gt To clearly hear the effect produced by the ADSR envelope on the filter cut off frequency in crease the resonance value This will amplify the filtering effect on the sound and it will begin to whistle INIT FILTER FREQUENCY increase the resonance value gt Change the attack length of this envelope Attack time so that the brightness increases faster or slower when the note is sent D R TIME TIME VOLT TIME Change the attack length of the ADSR envelope gt In the same manner change the value for the decay and the brightness will increase faster or slower while you hold the note on the keyboard D R TIME TIME VOLT TIME The Decay time parameter on the filter envelope Now let s perform a short modification on the second envelope the AR envelope 16 ARTURIA ARP2600 V USER S MANUAL gt Increase the Attack time for this envelope so that the volume of the sound progressively in creases amp manual R TIME Stort out TIME Increase the Attack time of the AR envelope 3 4 The sequence
41. d allows you to edit them 8 5 Audio Unit 8 5 1 Installation Audio Unit plugins are automatically installed in Library Audio Plug Ins Component 8 5 2 Using the plugin in Logic Audio 8 5 2 1 Adding an instrument Select an instrument track On corresponding the mixing table slice clic on the I O button to get the plugins list and select Stereo AU Instruments Arturia ARP 2600 V 88 ARTURIA ARP2600 V USER S MANUAL MIDI Click No plug in Mono Stereo AU Instruments Multi Channel Logic gt Arturia P minimoog V Moog Modular V 2 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 gt Audio Instruments gt Arturia gt ARP2600 V Efx No plug in Mono AU Instruments Multi Channel gt Logic gt minimoog V Moog Modular V 2 Adding an effect in Logic Audio Since version 7 Logic has an AU Manager To launch it click on Preferences gt Start Logic AU Man ager ARTURIA ARP2600 V USER S MANUAL 89 KYA CEARTA File Edit Audio Options Windows 1 Help About Logic Pro Untitled Preferences x Global Audio Services MIDI Hide Logic Pro 7 0 1pr827 H Display Hide Others X36H Score 3eP Show All Video Automation Quit Logic Pro 7 0 1p
42. each period in Trigger mode can vary with the temperature and other environmental conditions we find one of the characteristics that contributed to the typical sound of vintage synthesizers TAE reproduces the instability of oscillators bringing a fatter and bigger sound 1 2 3 A better reproduction of analog filters TAE allows more precise emulation of analog filters than standard digital filters To obtain this re sult the TAE technology is based on the analysis of the analog circuits to be reproduced and con verts them into algorithms that faithfully mimic the characteristics of the original filters The curve underneath shows the comparison of the original ARP2600 filter and that of the ARP2600 V Response curve of the 12 dB low pass filter of the original ARP2600 Response curve of the 12 dB low pass filter of the ARP2600 V Response curve of the 12 dB low pass filter of the original ARP2600 V and the ARP2600 V 1 2 4 Ring modulator The ARP2600 V includes a ring modulator just like the original ARP2600 The ring modulator allows the application of a waveform a sinusoid to another in order to transform it The result is a more brilliant sound distorted and enriched in harmonics As a result of this increase in the number of harmonics standard ring modulation algorithms create an audible aliasing To avoid this unwanted effect TAE includes a module for the dynamic control of the amplitude with aliasing correction
43. ecise 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 At the same time the cables can sometimes hide access to some of the settings available on the modules So as not to be hindered in your manipulations it can be useful to acti vate the Move away cables mode In this mode the cables will automatically avoid the mouse pointer leaving you with a clearer view to checking or modifying potentiometer values Don t for get to deactivate this mode when you want to select a cable with the mouse Deactivate the separate the cables mode 4 3 5 Virtual keyboard The keyboard lets you listen to the synthesizer sounds without the need for an external master MIDI keyboard and without programming a melody in the sequencer Just click on a virtual key to hear the corresponding sound keyboard controlers virtual keyboard 32 ARTURIA ARP2600 V USER S MANUAL 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 con figured to receive MIDI events coming from the device Every instance of the ARP2600 V receives MIDI events transmitted on a given channel Thi
44. en CV J sen ROSA ef Sa nin Aa SEN J cv ROSA nh PWM direct the Saw output to the VCO1 square audio input on the VCF mixer gt Still on this mixer lower the VCO2 volume You will notice the change of tone resulting from the change of wave form on VCO1 If you need to be convinced disconnect the cable click on the mixer audio input to disconnect the cable You thus move from a saw tooth to a square sig nal Reconnect the saw tooth to continue with this preset gt Do the same with oscillator2 direct the saw tooth wave form to the VCO2 input on the VCF mixer 70 ARTURIA ARP2600 V USER S MANUAL gt Still on the same mixer raise the volume of oscillator3 to complete the base tone You will hear a sound composed of three oscillators INIT OSC FREQUENCY INIT OSC FREQUENCY INIT FILTER FREQUENCY Be CM M cet p Y Y E 03 0 3 3 0 30 03 OF 3 0 30 10 100 KHZ 10kH2 I I FINE TUNE FINE TUNE FINE TUNE I 10 Sua 90 10 Su 90 RESC NCE le PULSE ITH 4 PULSE OTH ee Bie 32 NOTun FREQUENCY triang Sow ka triang Sow LF VCO3 A Sin pulse PWM PWM FM CONTROL FM CONTROL X S qa ayer a ej O ej ej e ej A e f h f b a KED 5 H VCO Rois ken ois veo veol vco ke EV out Lin GEN EV seN RosR V rin RA aay cv ADSR raise the volume of oscillator3 gt Let s apply a variation to the filter cut off frequency with the
45. ent e The Synth Rack then appears To make the ARP2600 V graphical interface appear double click on its name in the Synth Rack window 8 4 3 Connection to a MIDI track So that the ARP2600 V can play the information coming from a MIDI track you must choose a MIDI track and select the ARP2600 V as the MIDI output for this track using the menu in Sonar which is used for this ARTURIA ARP2600 V USER S MANUAL 87 4 lt gt MIDI2 101 TEs None oio 1 MPU 401 Tg 1 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 For example if you were working on preset P1 on which you had modified the parameters without having saved them under the name P2 the next time the song is opened the ARP2600 V will load preset P1 with the modifications 8 4 5 Automation Automation with Sonar functions simply by the reception and recording of Control Change type MIDI messages You can configure the ARP2600 V MIDI message reception just as you do in standalone mode The sequencer takes care of recording the continuous control transmitted to the ARP2600 V an
46. er man ual of the host sequencer for more information For Cubase SX open the menu Devices VST In struments and choose ARP2600 V in the rack 000101 01 000 J Fichier Edition Projet Audio MIDI Partitions Biblioth que Transport P riph riques Fen tre Aide T Madii Y paa op po OT P o z E 2 Opening the ARP2600 V in Cubase SX on PC 8 2 3 Connection to a MIDI track So that the ARP2600 V can play the information coming from a MIDI track you must choose a MIDI track and select the ARP2600 V as the MIDI output for this track using the menu in Cubase which is used for this Cubase SX Demo Fichier Edition Projet Audio MIDI Partitions Biblioth que Transport P riph riques Fen tre Aide Projet Cubase SX Demo Sans Titre eia TEE ME Lei eres MIDI 04 out ee map MPU 401 Mappeur MIDI Microsoft Synth SW table de sons G5 Mic Synth Ese Be sons eS Me Le AIA JU 1 Pe eee xs MD 10 Lo Connection of a MIDI track to the ARP2600 V The events played on a MIDI keyboard are then transmitted by your sequencer to the ARP2600 V It is of course possible to record these MIDI events and use all of the sequencer s MIDI editing possi bilities 8 2 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 pre
47. es 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 De cay and remains in the hold state Sustain as long as the input trigger remains active When it goes to the inactive state release of the note the envelope performs the fall sequence Re lease A TIME TIME VOLT TIME 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 42 ARTURIA ARP2600 V USER S MANUAL 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 sig nal for every note played on the keyboard the signal remains active as long as the note is held down Trigger output type trig Output connection for a trigger
48. et s take a simple melodic sequence for example gt Load the preset Template Temp_SEQ 1x16_sequencer You will notice that the connexions between the sequencer and synthesizer are already done 18 ARTURIA ARP2600 V USER S MANUAL A 8 1 TIME TIME VOLT TIME J FINE TUNE FINE TUNE OSCILLA SYNCRO PESO ACE E OTH mvTCH FREQUENCY triung Sow electro Switch EARP MODEL 2600 SYNTHESIZER A m9 c Troas C tac 7 inuu internal v ncial Mil Jrondom the connexions between the sequencer and synthesizer gt The Clock Out sequencer output is directed to the Gate input on the ADSR envelope mod ule gt The sequencer Quantized A Out output is directed to input KBD CV of the VCO 1 module gt 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 gt You can change the settings of the 16 linear potentiometers to create an other melody ARTURIA ARP2600 V USER S MANUAL 19 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 Thanks to the
49. ets the amount level of the envelope fol lower Gate out gate out Trigger signal output connection jacks 5 1 11 Ring modulator The ring modulator is a module which allows you to multiply two signals in order to generate non harmonic frequency components It is useful for creating metallic sounds RUDIO 9j oc vco 1 2 A the ring modulator 2 Audio inputs VCO1 Saw VCO2 Sin Audio input connection jacks pre cabled to the oscillator sawtooth and oscillator 2 sine outputs Output Output Ring modulator output connection jacks ARTURIA ARP2600 V USER S MANUAL 47 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 in freq pa 1 midisyre OGE M smooth out edit e3 edit Iz edit 1 E the tracking generator s main interface e Nain interface 4 audio inputs 4 modulation inputs 4 audio outputs 4 Smooth 4 Edit e Edit interface Audio input signal connection jacks modulation input signal connection jacks Audio signal input connection jacks Sets the smoothness of the tracking curve Button for opening the tracking curve edit mode Tools selection CUR VE EDITOR OO tracking line selection al a Curve editing screen Drawing tool
50. eturned to Arturia with a copy of your receipt This limited Warranty is void if failure of the SOFTWARE has resulted from acci dent abuse modification or misapplication Any replacement software will be warranted for the remainder of the original warranty period or thirty 30 days whichever is longer No other Warranties The above warranties are in lieu of all other warranties expressed or implied including but not limited to the implied warranties of merchantability and fitness for a particular purpose No oral or written information or advice given by Arturia its dealers distributors agents or employees shall create a warranty or in any way increase the scope of this limited warranty No Liability for Consequential Damages Neither Arturia nor anyone else involved in the creation production or delivery of this product shall be liable for any direct indirect consequential or incidental damages arising out of the use of or inability to use this product including without limitation damages for loss of business profits business interruption loss of busi ness information and the like even if Arturia was previously advised of the possibility of such damages Some states do not allow limitations on the length of an implied warranty or the exclusion or limitation of incidental or consequential damages so the above limitation or exclusions may not apply to you This warranty gives you specific legal rights and you may also have other r
51. first part will give you an introduction to sound synthesis For this you will start with the most simple patch make a VCO oscillator ring in a VCA amp going through the filter and finish by programming of a richer sound several sources of VCO VCF filter VCA envelopes e The second will take you through every aspect of the sequencer 7 1 Simple patch without cabling To begin we will look at programming an elementary monophonic sound It will be composed of four modules two oscillators VCO1 and 2 a low pass filter VCF an amplifier VCA the ADSR envelope connected to the filter You will thus obtain a basic patch for subtractive synthesis Figure 1 shows the different potentiometer positions R GLOBAL VOLUME TIME TIME VOLT TIME A manual THe Start out TINE lu keyboard v C AUDIO LIN eEXP AUDIO eh ahellelelelellelele GATE TRIG modin ip A m NOISE on lere internal clock uuu To begin choose the preset Temp Blank in the Template Temp Synth bank You will no tice that no sound is heard when you play a note Don t worry this is normal Only the volume of the VCA amplifier mixer the VCF filter output and the ADSR envelope input of the VCA are open gt On the filter module raise the vertical VCO1 potentiometer This is the volume of the first oscillator When you hold down a note the sound seems continuous and flat ARTURIA ARP2600 V USER S
52. h 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 gt For this click on the button above the BANK LCD display indicating Factory this screen presents the name of the current bank By clicking here you will see a menu appear containing the list of available banks Choose the bank JM_Blanchet the bank name is checked When this menu is open sub menus can be accessed in the fashion of a drop down menu This system lets us access the SUB BANK and PRESETS for a sound designer with a single click gt Choose the SUB BANK Basses and select JMB_bass1 among the PRESETS a a 077U77UV 7I ET SS 3 7777770770 SSSA a a j ee Se oe CO AES gt NCY INI INIT FILTER FREQUENCY TestFact B 10 100 KHZ lOkH2 TIME TIME VOLT TIME et JMB Bassi Templates Leads Tests Pads Sequences New preset eae FOLLOWER New bank i Delete preset JMB Simple1 New subbank A manua R TIME Start out TIME Delete sub bank Basses Delete bank JM Blanchet Select the preset JMB_bass1 The ARP2600 V ships with more than 300 presets that will help you to get to know the sounds of the synthesizer A bank named User Temp offers a selection
53. he opening of the frequency of a filter can be very effective for example gate manager quantizer GARP SEQUENCER MODEL 1601 Soe be ele TE YET TUS at Ue ie step manager start stop oscillator 52 ARTURIA ARP2600 V USER S MANUAL e Sequence step management setting and management of the 16 sequencer steps S ARD SEQUENCER MODEL 1601 Be ee See TR e ee Pe 16 sequencer _ iffe n steps and bus 2x 8 output levels 1 16 faders Sets the modulation or tuning level for sequence steps Bus 1 2 and 3 switches Gate bus 1 2 3 Trigger selector switch for steps by bus 1 20r 3 Bus inputs1 2 and 3 inputs Gate bus 1 2 3 Input jacks for bus 1 2 or 3 Position Position input jacks Sequencer clock output Clocked gate out Sequencer clock output jack e Sequencer oscillator the sequencer oscillator Skip return Skip Off reset Steps Selector switch for skipping steps or returning to step 1 Skip steps Step Button for manual choice of steps Return input Reset Input jack for a forced return to step 1 Start input trig or gate jack Start Input jack to start the sequencer with a trig or gate 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
54. ights which vary from state to state ARTURIA ARP2600 V USER S MANUAL 93
55. ines the fundamental frequency it is expressed in feet Low 32 16 8 4 2 the highest number 32 brings the deepest tone inversely the smallest number 2 brings the highest tone Secondly the detune setting FREQUENCY lets you tune the oscillator more precisely gt The waveform which determines the harmonic richness of the audio signal On the ARP2600 V four waveforms are available e 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 ARTURIA ARP2600 V USER S MANUAL 55 Amplituda Amplitude Time Harnocic number 10 a 30 40 Frequency e 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 Amplitude Harmonic number 10 2 30 40 Frquoncy Amplitude Hameric number 10 20 3 40 Frequency e The triangle can be considered like a very filtered and soft square signal It is very low in harmonics odd only and will be very useful for creating sub basses flute sounds etc 56 ARTURIA A
56. instead of the traditional cables found in the Moog Modulars The ARP 2500 found success in American universities The growth of ARP instruments was fast and in 1972 the ARP 2600 probably the most legendary of the entire range was unveiled This semi modular synthesizer conceived with an educational goal was to become hugely successful after a shaky start The ARP 2600 was notably used by Stevie Won der Joe Zawinul Weather Report Tony Banks Genesis Jean Michel Jarre Herbie Hancock ARP was the market leader in synthesizers during the 70 s with around 40 of the market share In ten years three versions of the ARP 2600 were commercialized The first version was called Blue meanie because of its steely blue finish The blue meanie was quickly replaced by a sec ond version with a grey background finish and white silk screening 1972 This was to be more popular In 1978 ARP decided to change the graphic chart for all of its machines a black background color with orange silk screening was introduced The ARP2600 benefited from its third and last ver sion The great rival of ARP was Moog Music The competition between the two manufacturers can easily be seen when we observe the machines The ARP for example has linear potentiometers while the Moog has rotating pitch bend and modulation wheels A well known episode of this competition was the 24 dB octave filter the 4012 used by the ARP This was a replica of the famo
57. ion from Windows go to Start Arturia ARP2600 V and choose ARP2600 V On Macintosh open the installation folder and double click on the ARP2600 V application icon You can also double click on a saved document in order to open the corresponding configuration in the ARP2600 V application 8 1 2 Setting preferences The preferences window allows you to set the global preferences in the ARP2600 V application These settings are automatically saved To display the preferences window go to the File gt Preferences menu on Windows and ARP2600 V Preferences on Mac Configuration x Audio protocol Direct X X Audio driver Creative Sound Blaster PC Sample rate 44100 Audio latency 50 ms Knob control type acier The preferences window ARTURIA ARP2600 V USER S MANUAL 81 e Configuration Audio driver Built in audio controll Sample rate 44100 H Audio latency 5 ms egg Knob control type Linear r The Macintosh preferences window e 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 in stead of DirectX protocol the ASIO drivers provide a higher performance rate in re lation to the DirectX driver e Driver Select the driver corresponding to the sound card that you want to use e Sample rate Here choose a sample frequency among th
58. it the keyboard zone by setting the lowest and highest note to be applied to this instrument 82 ARTURIA ARP2600 V USER S MANUAL 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 func tion 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 If the selected soundcard has several audio outputs respectively audio inputs you will find those available in this list Just choose the pair of outputs or inputs that you desire 8 1 4 Information on the level of processor use The processor usage gauge allows you to control the level of processor consumed by the sound syn thesis in real time On Windows this gauge is directly visible in the instrument tool bar On Mac you can display it by choosing Window gt Cpu in the application menu or from the shortcut 38 L Attention this information only comprises the processor load corresponding to the sound synthesis it is therefore less than the global system load 8 1 5 Saving an instrument Saving allows you to save the state of an instrument that is to say its sound settings as well as the audio and MID
59. itch 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 The knob goes back to the center position when the mouse is released transpose The pitch bend knob 4 3 Using cables The connection of different modules Oscillators Filter VCA to one another broadens the possi bilities for sound design The ARP2600 V owes its extraordinary possibilities for creation in a large part to the wide range of connections possible On the original ARP 2600 all of the connections were done by two types of cables ARTURIA ARP2600 V USER S MANUAL 29 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 connec tions allow you to route the output of a LFO or envelope generator to an oscillator PWM or the VCA modulation input These audio and modulation signals are perfectly compatible with each other the only difference being that the audio signals are audible of you connect them directly to the VCA while the modulation signals are generally not audible as the frequency is too low for the human ear Modulation signals are generally used to program slow variations on certain synthesis settings like the filter cut off frequency for exa
60. ite MIDI Movie Operations Setups Display Windows amp 4 Sam2315 testvide testvide Audio 1 vocdr Ip 2 MIDI 1 e 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 ex actly like a TDM plug in e Other systems the ARP2600 V can be loaded on a mono audio track which becomes stereo after the insertion or stereo e You can play the ARP2600 V with the mouse or the virtual keyboard 8 3 4 Connection to a MIDI node So that the ARP2600 V can play the information coming from a MIDI track we must associate it with the MIDI node of the latter through the appropriate menu We can also control the ARP2600 V through a command keyboard see the Pro Tools manual for the connection of this type of device 8 3 5 Saving presets Once the session is saved the state of the ARP2600 V is saved as it is even if the programming does not correspond to any preset For example if you had been working on a preset P for which you had modified parameters without having saved them under the name P the next time the song is opened the ARP2600 V will load preset P with the modifications The Librarian Menu of Pro Tools can of course be used with the ARP2600 V like any other plug in Nevertheless it is recommended that you prioritize the internal menu of the ARP2600 V and this for several reasons e The saved presets can be used
61. l modules which can be used to program sounds It is also in this screen where the different patches needed in the programming of a sound are made It is sometimes necessary to connect a module in the programming section to a module located in the sequencer section The sound programming section contains 3 oscillators which can also be used as sources of modulation VCO 1 multimode filter VCF 1 amplifier VCA 2 envelopes dedicated to modulations 1 noise generator 1 ring modulator 1 envelope follower 1 sample and hold 2 mixers on the filter and the VCA 1 electronic switch A tracking generator module 5 mixer lag module 2 effects chorus delay audio Signal gt modulation Signal oscillator VCO1 ls audio S filter VCF MIXER amplifier gt PAN output L x zt Pe oscillator VCO2 pid audio N A A output R o a al 78 c e o 7 TIT m z x lt m e envelope envelope ADSR AR RERO DOSES ee S H ring modulator ARTURIA ARP2600 V USER S MANUAL 35 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 poten tiometers or thanks to modulation inputs which can be connected to the output of any module en velope low frequency oscillato
62. lay gt Next turn the two Delay Speed potentiometers to set the rate of echo repetitions for the right side Time Right and left side Time Left gt It is also possible to set the number of repetitions for each side Feedb Right and Feedb Left T time feedk X L R L R wet The Delay effect settings 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 Here s an example of assigning gt Click on the Initial Cutoff frequency potentiometer of the filter while keeping the Ctrl button held down A MIDI assign dialog appears gt Click on Learn and then move the MIDI controller of your choice the modulation wheel for example The ARP2600 V potentiometer will start to move at the same time 22 ARTURIA ARP2600 V USER S MANUAL gt You can then record movements from your MIDI controller on your MIDI sequencer or simply play live GLOBAI D R TIME TIME VOLT TIME Coarse Tune Filter X Active Control 5 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
63. m modulations by sampling the noise signal It is also possible to use it for more rhythmic cyclic modulations by connecting a square or saw tooth wave form coming from a VCO to the sample and hold input ARTURIA ARP2600 V USER S MANUAL 65 The famous sound of R2D2 in Star Wars was created with the sample and hold module on the ARP2600 SAMPLE HOLD LVL RATE electro Switch internal clock wu the sample and hold module of the ARP2600 V Now to finish the scheme of a full synthesizer containing 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 gt audio Signal gt modulation Signal perar VCO1 w A filter VCF MIXER REVERB gt PAN output L oscillator VCO2 _ VCA L R audio bai om NR RR EN a output R audio v 4 oscillator VCO3 N 7 RO Ies L S H envelope envelope 2 ADSR AR ring modulator e RBee eee ARTURIA ARP2600 V USER S MANUAL OQ O 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 se quence They are classed in order of difficulty and organized into two parts e The
64. mple e The audio output and input connectors and the modulation out connectors are rep resented differently in the graphical interface Audio input connector e Additional modulation input connectors can be found on the tracking module lo cated under the grid of the right loud speaker They are graphically distinguished from the other connectors as they include an additional function the modulation level setting described later on in this chapter Modulation input connector To connect the output of a module to the input of another module click on the output and while holding the mouse button depressed drag the mouse to the input connector of the second module When you pass over a connector on which the current cable can be placed the connector will light up In this case when you release the mouse button the connection will be created between the selected input and output triong Sow VCO2 ou Sin pulse PWM PWM FM CONTROL FM CONTROL j e ie ei ei ei ei ei Creation of a new connection by drag and drop Another way is to right click on Mac click while holding down the shift key on the input or output of a module In this case a menu appears with a list of possible connection points for this in put output It can happen that the input output will already be connected to certain modules in this case the connection points already in use will appear in this menu Simply choose a connection 30 ARTURIA
65. n Remark You will have trouble selecting a cable if the Move away cables option is active In this mode the cables automatically avoid the mouse pointer To avoid this deactivate this option be fore trying to select a cable see 1 4 4 3 that it is selected Then simply press the DEL key to delete the connection 4 3 3 Setting the level of modulation As explained above the modulation input connectors have an interesting property they allow the setting of the level of modulation from 100 to 10026 directly at connector level and thus avoid ARTURIA ARP2600 V USER S MANUAL 31 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 VOLTAGE PROCESSORS mogin in A in B Mr B IX Zz n9 ej s mount AM 1 2 Volt Proc fe 0 4750 Setting the quantity of modulation By right clicking or Shift click instead of the left click you will obtain a more precise setting Attention 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 pr
66. n two ways As a RTAS plug in Real Time Audio Suite All of the Pro Tools systems are compatible with this standard the audio treatment is realized entirely by the central unit and does not require any specific extension card TDM system type On the TDM systems the RTAS plug ins can only be loaded on an audio track before the TDM plug ins They can only be loaded on an Aux Input or a Master Fader As a HTDM plug in Host Time Division Multiplexing Only the TDM systems with at least one extension card under Mac OS X can use these plug ins refer to Digidesign for the future HTDM compatibility with Windows The latter work exactly like TDM plug ins no limitations in the insertion positions etc with the difference that in this case the heart of the treatment is realized by the central unit and not by the extension cards The advantage of this standard is the subtlety of TDM and this loading at least the DSP of the cards Recap of the compatibilities Mac OSX Windows XP TDM System RTAS and HTDM RTAS stereo in stereo out stereo in stereo out Other Systems RTAS mono in stereo out and RTAS mono in stereo out and Pro Tools LE Free stereo in stereo out stereo in stereo out 8 3 3 Opening the instrument Access to the ARP2600 V plug in is done like any other plug in through for example an audio track insert ARTURIA ARP2600 V USER S MANUAL 85 ProTools File Edit Audiosu
67. nd Hold generator 45 5 1 9 The electronic switch module Electronic switch 45 5 1 10 Envelope follower 46 5 1 11 Ring modulator 47 5 1 12 Tracking generator 48 5 1 13 Reverberation 49 5 1 14 Chorus and delay effects 49 5 1 15 Control voltages CV control 50 5 2 Keyboard interface Model 3620 51 5 3 Low frequency oscillator LFO 51 5 4 The ARP sequencer 52 6 The basics of subtractive synthesis 55 6 1 The three main elements 55 6 1 1 The oscillator or VCO 55 6 1 2 The filter or VCF 59 6 1 3 The amplifier or VCA 62 6 2 Complementary modules 62 6 2 1 The keyboard 62 6 2 2 The envelope generator 63 6 2 3 The low frequency oscillator 64 6 2 4 The ring modulator 65 6 2 5 Sample and hold 65 7 A few elements of sound design 67 7 1 Simple patch without cabling 67 7 2 Polyphonic patch with cabling 70 7 3 Special effects patch with the help of the tracking generator 73 7 4 Patch using the sequencer to create a melody 76 7 5 Patch using the sequencer to create a modulation sequence 78 8 Using the ARP2600 V in different modes 81 8 1 Stand alone 81 8 1 1 Launching the application 81 8 1 2 Setting preferences 81 8 1 3 The control bar 82 8 1 4 Information on the level of processor use 83 8 1 5 Saving an instrument 83 8 2 VST 83 8 2 1 Installation 83 8 2 2 Using the instrument in VST mode 84 8 2 3 Connection to a MIDI track 84 8 2 4 Saving presets 84 8 2 5 Automation 85 8 3 Pro Tools 85 8 3 1 Installation 85 8 3 2 The RTAS and HT
68. ng that you will find more often than not on synthesizers that use subtrac tive synthesis It can be found on most of the recent analog and digital synthesizers vy int ty He 20 00 40 00 380 00 1600 320 0 1280 2560 5120 10240 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 sound will thus become thinner It is very useful for removing redundant low frequencies 15 m ll m He 20 00 40 00 0 00 1600 320 0 640 0 1280 2560 6120 10240 The band pass band pass filter or BPF eliminates the frequencies situated on ei ther side of the cut off frequency Use it to make a certain band of frequencies that you wish to emphasize appear This will make the sound more pinched ARTURIA ARP2600 V USER S MANUAL mn wl E Ha 20 00 40 00 0 00 1600 3200 6400 1280 2560 5120 10240 e 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 Y il n P Hz 20 00 40 00 0 00 1600 3200 6400 1280 2560 5120 10240 These four types of filtering are often used on analog synthesi
69. nt 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 rotedeptt u7 time feedk ET DS panel a k Open the effects grid ARTURIA ARP2600 V USER S MANUAL 21 3 5 1 Chorus Chorus is used to copy your sound and slightly detune the copy to give it more depth and the Cho rus ON OFF button in the effects section on the right of the toolbar gt Set the Chorus Dry Wet potentiometer to balance the raw sound and the one returning from the effect gt Next turn the Chorus Rate potentiometer to set the speed of the oscillations gt Finally set the depth of the chorus using the Depth potentiometer CHORUS f I A rate depth dr wel 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 gt Activate the Delay button on the toolbar The effect becomes active gt Set the Delay Dry Wet potentiometer so as to balance the raw sound with the one coming from the de
70. ntrol Key follow outputs x1 and x 4 KYBD CV output Output connection jacks for key follow x 1 tem pered key follow and x 4 50 ARTURIA ARP2600 V USER S MANUAL 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 key board triggering modes etc KEVECV OUT transpose range portamento pitch bend velocity off mod wheel after touch max porta mento min footswitch footswitch out kbd latch the keyboard interface Portamento trigger input pedal portamento footswitch Output connection jack for portamento Sustain trigger input pedal KBd Latch Play mode selector Modes Detune polyphonic voices Unison detune Select trigger modes Trigger modes Pitch Bend Global tuning Global tune 5 3 Low frequency oscillator LFO trigger control with a pedal input connection jack for Hold trigger control with a pedal Selection of keyboard play mode monophonic unison polyphonic Sets the detuning of the voices in uni son mode Selects trigger mode for keyboard notes legato retrig Simultaneously sets the frequency of the three oscillators Simultaneously set the global tuning of the three oscillators The use or a low frequency oscillator as source of modulation is
71. ose offered by your sound card e Latency Here you can set the optimal audio latency in relation to the performance of your sound card and your system Attention a latency set too low may cause oc casional jumps clicks or pops in the sound e Potentiometer mode Here choose the instrument potentiometer control mode 8 1 3 The control bar Each instrument has a control bar setting the routing of MIDI events as input and sound as output P o tee octaves H m v out 5B Audigy Audio E8 EEA The Windows control bar Midi Au Chan 1 CH CAN B Cu H OSplit 3 127 amp 0 f Built in Audio 1 2 WS Built in Audio 1 2 i The Macintosh control bar 8 1 3 1 Configuration of MIDI routing The first section of the tool bar is for selecting the MIDI input that will be applied to the instru ment Choose the MIDI port to which the keyboard that you are using to control the instrument is con nected and the channel that you wish to use You can choose to respond to one or all of the chan nels of this MIDI port by selecting All in the MIDI channel choice 8 1 3 2 Configuration of the keyboard zone The keyboard zone allows you to use only a section of the keyboard to control the instrument In this manner you can play several instruments on the same keyboard each instrument responding to a different zone To activate this function check the zone option in the tool bar You can then lim
72. 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 ARTURIA ARP2600 V USER S MANUAL 51 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 Sets the depth of the vibrato MIDI synchronization MIDI sync The Midi Sync selector switch lets you synchronize the low frequency oscillator clock with the MIDI tempo Triangle output LFO triangle Audio output of the LFO triangle wave form Square output LFO Square Audio output of the LFO square wave form Sawtooth output LFO Saw Audio output of the LFO sawtooth wave form Sine output LFO Sine Audio output of the LFO sinusoid wave form External vibrato input LFO External Vibrato in Audio input for external LFO source 5 4 The ARP sequencer This module was born of the original ARP sequencer model 1601 18 It was one of the most widely used sequencers in the 70 s and early 80 s With this module you will create melodic sequences or step by step variations applied to synthe sizer parameters a sequence line applied to t
73. r The SEQ section gives you access to the sequencer as well as different functions allowing an ex tension of the possibilities of synthesis and playing It is situated under the Synth section It con tains a sequencer identical to the 16 step ARP model 1601 sequencer a module for play settings and a low frequency oscillator LFO which was added as a complement to oscillator2 which was often used as LFO 3 4 1 The ARP sequencer The ARP sequencer greatly increases the possibilities for sound and melodic creation It allows you to create two simultaneous 8 step melodic lines or one 16 step line by putting two 8 step lines in a series It is also possible to modulate any parameter of synthesis through one of the two se quencer outputs bus manager ARP SEQUENCER MODEL 1601 global controlers Start stop manager oscillator quantizer The ARP sequencer The ARP sequencer contains 3 parts From left to right e The two lines of faders and selector switches situated at the top give access to the tuning of the 16 steps as well as management of their triggering gates ARTURIA ARP2600 V USER S MANUAL 17 SEQUENCER MODEL 1601 The two lines of faders and selector switches e The oscillator sets the speed of the sequencer as well as the start and stop set the oscillator speed e The Quantizer quantifies the values for the 16 steps by semi tone the quantizer section L
74. r LFO modulation wheel The oscillators can also be tuned and modulated separately with the potentiometers and a range selector These oscillators supply up to 4 wave forms that can be used simultaneously These 3 oscillators tuned separately and providing mixed wave forms quickly give us very rich sounds The tone can also be easily modified with modulation inputs FINE TUNE FINE TUNE FINE TUNE OSCILLAT yNCRO m 5 30 d PULSE OTH off K2 i OC CO LF ej ite Square PWM BLEAIEEEOACIERFOE Gane The 3 oscillators settings 5 1 2 1 Oscillator 1 Range General tuning of the oscillator by octaves Up or down 4 octaves and low fre quencies Frequency Tuning by semi tone Initial Oscillator Frequency Up or down 2 octaves Fine tuning Fine tune up or down by up to a semi tone Audio outputs Output sawtooth amp square wave form connection jacks Sync Synchronization of oscillator1 with 2 3 or 2 and 3 FM Inputs Frequency modulation input connection jacks e Key follow pre cabled for the manual setting of the KYBD CV e Sample and hold pre cabled for the manual setting of the modula tion by sample and hold S H out e ADSR Env pre cabled for the manual setting of the modula tion by ADSR envelope ADSR e Oscillator 2 Sin pre cabled for the manual setting of the modula tion by sine wave form of oscillator 2 VCO2 Sin 5 1 2 2 Oscillator 2 Range General tuning of the oscillator by
75. r827 Q Initialize All Except Key Commands Start Logic Setup Assistant Start Logic AU Manager Control Surfaces Key Commands CoreAudio instrumenti Starting Logic s AU Manager This manager lets you see the list of available plugins test their compatibility with Logic and acti vate 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 Cancel 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 gt Add Track gt Instrument Track gt ARP 2600 V 90 ARTURIA ARP2600 V USER S MANUAL Project Studio Setup Windows Add Track Help Region Audio Midi Track 136M Add Similar Tracks Mono Audio Track 136A Duplicate Tracks D Stereo Audio Track TES Delete Tracks Surround gt Modify Conductor Track Aux Track Instrument Track Track Groups ee Modify Track Groups ARP2600 V stereo 1 minimoog V stereo Moog Modular V 2 stereo Sequences Markers TARE WKE 0 1 Chunks C Apple DLSMusicDevice stereo m Tracks OT Unassigned 1 mi Sequence Editor sS Automatic Mixing Board M H mi Effects OF 1 1 1 Graphic Editor Notation Editor Loading a new instrument Once you have added this instrument yo
76. reat innovation for the company and 2 monophonic bass sounds In 1976 ARP released a small 16 step sequencer in the form of two independent 8 step sequences This became famous and is still very sought after it is emulated in the ARP2600 V The same year ARTURIA ARP2600 V USER S MANUAL 5 they presented the Omni which would become one of ARPs biggest successes The instrument al lowed the combination of two polyphonic violin sounds a great innovation for the company and two monophonic bass sounds But in 1981 ARP was finally bought out by CBS The following year CBS with part of the ARP devel opment team would produce the Chroma a programmable polyphonic synthesizer and in 1984 the Chroma Polaris a simplified and MIDI capable version of the Chroma 1 2 A better emulation thanks to TAE TAE True Analog Emulation is a new technology dedicated to the digital reproduction of analog circuits used in vintage synthesizers When implemented in software code TAE s algorithms guarantee authentic emulation of hardware specifications This is why your ARP2600 V offers an unparalleled quality of sound In detail TAE combines four major advances in the domain of synthesis 1 2 1 Aliasing free oscillators Standard digital synthesizers produce aliasing in high frequencies and also when using Pulse Width Modulation or FM TAE allows the production of totally aliasing free oscillators in all contexts PWM FM
77. ring a cycle which begins when we press a note on the keyboard and ends when we release R TIME TIME VOLT TIME amp manual R TIME Start out TIME AR 2 keyboard ess GRTE TRIG I iso gts the envelope module The most common envelope modules use 4 settings that we can vary e The Attack is the time that the sound will take to reach its maximum volume once the key has been pressed on the keyboard e The Decay is the time that the sound will take to decline after the key is played e The Sustain is the maximum level of volume that the sound will reach when a key is pressed e The Release is the decline time after the key has been released ARTURIA ARP2600 V USER S MANUAL 63 Level Sustain level Time r gt E F Attack Decay Rekase time lime time 1 qu LIILLLIILIL Key Down Key Up 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 fre quency 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 In other terms you won t hear the sound if you connect the audio output of an LFO in an amplifier Not being used to produce
78. rrupter to one of the filter modulation inputs gt Set the Sample and Hold clock speed potentiometer towards the bottom to clearly hear the alternation between the two modulations Inputs A B Audio or modulation signal input connection jacks 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 x PREAMPLIFIER di out the preamplifier 46 ARTURIA ARP2600 V USER S MANUAL ENVELOPE FOLLOWER The envelope follower An example gt Try for example to insert an audio signal coming from a drum loop sample to the input of the envelope follower gt Connect the output of the envelope follower to one of the filter modulation inputs gt Increase the modulation rate for the amp VCA gt 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 Audio input Pre Amp Envelope follower audio input connection jack Output Output output jack fo the audio signal Level Level S
79. rs filter envelopes output amplifier Ses audio me tHe vote 0 E output L R FINE TUNE audio input preamplifier j x m NOTCH FREGUENL envelope follower reverb ring modulator arama ane ale rtm p mx AUDIO xP a X hese Er es rre output amplifier Noise tracking T jul chorus and eo d n V VT W m generator delay rotedepttg i i Synthesis parameters Let s look at quickly creating an evolving lead sound gt 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 oscillator is active and the signal is di rected through the low pass filter after an intermediary mixer and then on to the output ampli fier An ADSR envelope modulates the filter cut off frequency and a second envelope AR modulates the volume of the amplifier The following block diagram recaps the architecture of the creation of the sound audio Signal M 3 modulation Signal audio 7 output L oscilator VCO1 MIXER filter vcF MIXER REVERB PAN A CA LIR gt audio A output R IU envelope envelope ADSR AR The routing taken by the sound of preset 1_Osc gt Start by reducing the low pass filter cut off frequency LPF This will dampen the sound For this set the linear Initial Cutoff frequen
80. s reception channel is defined in a global manner for the synthesizer either in your sequencer or in the stand alone ARP2600 V application On the reception channel the ARP2600 V can receive up to 120 dif ferent MIDI controls It is possible to choose a reception control for each knob For this click on the knob that you wish to control while holding down the Control key A configuration window appears and will allow you to choose a MIDI control number You can also click on the Learn button and move one of your physical MIDI controllers In this case the control number will be detected and configured automatically To deactivate the MIDI control of a knob simply uncheck the Active option in the MIDI control window INIT FILTER FREQUENCY GLOBA A 10 100 KHZ 10kH2 TIME TIME VOLT TIME Bur eu LP l2 MIDI Control Setup FINE TUNE Coarse Tune Filter x Active Control 5 meitH FREQUENCY MIDI confieuration of a knob ARTURIA ARP2600 V USER S MANUAL 33 34 ARTURIA ARP2600 V USER S MANUAL 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 con figuration 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 al
81. set For example if you were working on preset P1 on which you had modified the parameters without having saved them under the name P2 the next time the song is opened the ARP2600 V will load preset P1 with the modifications The drop down menu offered by the VST sequencer to save plug in settings can of course be used with the ARP2600 V Nevertheless it is strongly recommended that you use the internal ARP2600 V menu the presets saved in this manner can be used in any other mode standalone or other se quencer and can be exported as a distinct and separate file 84 ARTURIA ARP2600 V USER S MANUAL 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 pla ced Generally the path is for Mac OSX System Folder DAE Folder Plug Ins for Windows C Program Files Common Files Digidesign DAE Plug Ins If your system can or cannot use the HTDM plug ins or not see the next section the installation is the same 8 3 2 The RTAS and HTDM standards The ARP2600 V can function with the audio Digidesign Audio Engine DAE i
82. tal linear potentiometers To move these potentiometers click on it and slide to the right or left to reach the desired value horizontal potentiometer 4 2 3 Knobs You can find some knobs among the global settings by exemple The default mode of control for knobs with the mouse is the linear mode the knob can be set only by vertically moving the mouse It is possible to obtain a higher precision by right clicking or Shift Click on the knob concerned a knob 28 ARTURIA ARP2600 V USER S MANUAL 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 pre cise the precision is limited by the number of vertical pixels on the screen from which the mouse movements are evaluated It is possible to attain a higher level of precision by right clicking or shift click on the potentiometer you want to control 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 sw
83. ter 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 de pending on the case the high or low frequencies of a sound The removal of undesirable frequencies at the cut off frequency is not done suddenly but progres sively depending on the filtering slope This filtering slope is expressed in decibels per octave or dB Oct The filters used in classic analog synthesizers have 24 dB Oct or 12 dB Oct slopes INIT FILTER FREQUENCY FINE TUNE RES ANCE meitH FREQUENCY MRS Veolvco d keo co UN 2 tv z TLAN A the ARP2600 V filter module The ARP 2600 V offers two types of slope 24 and 12 dB Oct slopes amplitude amplitude CF amplitude frequency NL UL rough signal low pass filter filtred signal CF Cutoff Frequency On the ARP2600 V you have access to four types of filtering Let s have a look at some of his prop erties e The low pass filter LPF progressively removes high frequencies above the assigned frequency limit the cut off frequency and allows the sound below the cut off to ARTURIA ARP2600 V USER S MANUAL 59 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 filteri
84. the preset has been chosen you can play the new sound from your MIDI keyboard or sequencer LTEM v JMB Bass Reso JMB Bass SubOsc JMB Birdland eS e MIDI 1 New preset Delete preset JMB_Bass_Reso TT Ee choice of preset in the same sub bank To choose a preset in the same main bank but in a different sub bank click on the button on the left of the current sub bank a drop down menu will appear with the list of sub banks contained in the same main bank Each sub bank in the menu allows you to open a sub menu containing its pre sets A click on a preset lets you directly choose a preset in the new sub bank To choose a preset in another main bank click on the button m A drop down menu appears with the choice of the main banks that are available and the sub lists corresponding to the sub banks defined in each main bank and the presets contained in each sub bank You can now freely choose a preset by clicking on its name ARTURIA ARP2600 V USER S MANUAL 25 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 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 qui
85. three shortcuts Las and situated on the toolbar to quickly move from one section to another e The SYNTHESIZER section brings you to the synthesizer e The SEQUENCER and KEYBOARD section brings you to the sequencer E e The L ALL section brings you all the interface of the ARP2600 V If you are in the All section you can resize the window by clicking on the 2 arrows situated on the right of the 3 sections shortcuts 3 3 Overview of the Synthesizer The SYNTH section contains 73 synthesis parameters as well as jack inputs and outputs that you can connect to one another with virtual cables The potentiometers or switches associated to these parameters will help you to create an infinite variety of sounds These parameters are made up of e Three oscillators VCO which release the audio signal through wave forms triangle sinusoid saw tooth square and rectangle and which manage the pitch frequency of the sound A noise module A ring modulator A sample hold module A mixer acting on the signals coming from the oscillators noise module and ring modulator A low pass resonant 24 dB filter and multimode 12 dB LP HP BP and notch e An amplifier VCA allowing the amplification of the signal coming from the filter and its direction towards the stereo output e Two envelopes ADSR and AR modulating the low pass filters and amplifier 14 ARTURIA ARP2600 V USER S MANUAL 3 oscillato
86. tion input connection jacks e Key follow KYBD CV e Noise Noise e ADSR Env e Sine oscillator 2 VCO1 sin etriangle oscillator2 pre cabled for the manual setting of the key follow pre cabled for the manual setting of the modula tion by the noise pre cabled for the manual setting of the modula tion by ADSR envelope pre cabled for the manual setting of the modula tion by the sine wave form of oscillator 2 pre cabled for the manual setting of the modula tion of the impulse width of the square by the oscil lator2 triangle Pulse width modulation _ VCO2 Tri angle gt The general tuning of the 3 oscillators is done with the VCO Initial frequency potentiometer by one octave per semi tone gt For fine tuning set the Fine tune potentiometer to one semi tone gt Depending on the position of the Range selector switch the range is of 4 octaves It is also possible to set it to low frequency position LF for low frequency You will no longer hear any sound but can now use it as LFO source of modulation gt The impulse width applied to the sawtooth triangle and square wave forms of oscillators 2 and 3 can be modified with the pulse width potentiometer Oscillator 1 possesses two audio outputs for the sawtooth and square wave forms These can be used simultaneously The second and third oscillators possess four outputs for the sawtooth sine triangle and square The
87. today It is this method that was developed toward the end of the 60 s on ana log synthesizers like the ARP Moog Oberheim Yamaha Buchla Sequential Circuits Prophet se ries Roland Korg MS and PS series and many others This concept of synthesis is still used on most current digital synthesizers complementing sample reading or wave tables which progres sively replaced the analog oscillators of the first synthesizers in the 80 s The ARP2600 or even your own ARP2600 V are among the best illustrations of the enormous possibilities of subtractive synthe sis 6 1 The three main elements 6 1 1 The oscillator or VCO The oscillator Voltage Controlled Oscillator is the starting module with the noise module which is often classed among the oscillators for the creation of a sound on an analog system It will generate the initial sound signal We can think of the oscillator like a violin string that once stroked or plucked vibrates to create its sound FINE TUNE OSCILLAT YNCRO uu oem off Ke triang Sow LF ye e OO vco1 ox coska Square Sin pul JM PWM Pwr Ov oe oor en FM Ve c E ES EN TES E P MR EE E MR EN AN EV out CV j out Al rn CV GEN Fil ary A The oscillator settings on the ARP2600 V The main oscillator settings are gt The pitch is determined by the oscillation frequency You can set the frequency of the oscilla tor with 2 controllers first the RANGE selector which determ
88. ton situated on the toolbar For exemple choose 6 voices 72 ARTURIA ARP2600 V USER S MANUAL polyphonic mode gt At this stage you can also enrich your chords by dedicating a third oscillator to sevenths 7 semi tones or fifths 5 semi tones INIT FILTER FREQUENCY 10 100 TkH2 10kH2 Coarse Tune Osc3 E semi tones rREQUENCY 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 syn thesizer This holds the settings for these 2 effects If you use delay you can synchronize it with the MIDI tempo of your host sequencer CHORUS MH e DELAY P ir gt rate depth drys time feedk dru uet LR L R wet the Chorus and Delay settings Don t forget to save your new sound as like the previous it will be useful as a template for other more complicated sounds 7 3 Special effects patch with the help of the tracking generator gt With this example you will discover a few of the many possibilities for modulation with the tracking generator LFO This module is one of the major additions to the ARP2600 V compared to the origi nal ARTURIA ARP2600 V USER S MANUAL 73 Let s again use the bass1 sound as template for the following preset two oscillators VCO1
89. type signal each note played by the keyboard presents a sustain time reduced to the minimum Switch trigger by Sample and Hold clock S H gate Selection of the choice of envelope trigger AR and ADSR by the keyboard or Sample and Hold clock This function reactivates the envelopes at every clock cycle 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 GLOBAL UOLUME NN AUDIO du EXP Tela 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 ARTURIA ARP2600 V USER S MANUAL 43 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 NOISE GENERATOR white mox 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 7 Voltage processor Mixer inverter lag generator The voltage processor allows you to mix up to 8 inp
90. u can redirect a midi track toward it In the connections menu of the midi track select the instrument as well as the midi channel ARP2600 V 1 IAC Driver gt New Device Group v ARP2600 V 1 4 ARP2600 V 1 5 ARP2600 V 1 6 ARP2600 V 1 7 ARP2600 V 1 8 ARP2600 V 1 9 ARP2600 V 1 10 ARP2600 V 1 11 ARP2600 V 1 12 ARP2600 V 1 13 ARP2600 V 1 14 ARP2600 V 1 15 ARP2600 V 1 16 Mix Mode Off Bi s lection 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 gt ARP2600V Efx ARTURIA ARP2600 V USER S MANUAL 91 None AutoPan stereo Buffy stereo Calibration stereo Chorus stereo DC Notch stereo Delay stereo Dynamics stereo Echo stereo eVerb stereo Flanger stereo Invert Phase stereo MS Decoder stereo Multimode Filter stereo MW Compressor stereo MW Gate stereo MW Limiter stereo Phaser stereo Plate stereo PreAmp 1 stereo Quan Jr stereo Reverb stereo Ring Modulator stereo Tremolo stereo Trigger stereo Trim stereo Apple Moog Modular V 2 Fx stereo Selecting the AR2600 V Efx ARTURIA ARP2600 V USER S MANUAL ARTURIA ARP2600 V LICENSE AGREEMENT Grant of License In consideration of payment of the Licensee fee whi
91. ur license number then your first and last name 10 ARTURIA ARP2600 V USER S MANUAL 3 Quick start This chapter will help you to familiarize yourself with the general basics of using the ARP2600 V A summary of the different parts of the synthesizer will be presented to you as we guide you through your first use of the program You will find a detailed and precise description of all settings and controllers in the following chapters Chapter 7 A few elements of sound design is highly recommended for users who have never worked with a subtractive synthesizer and who wish to become familiar with the fundamentals in this domain stand alone Fie Hep Midi All C Chan Arw Bend o h27 octaven cd nf Out SB Audigy Audio ES v BEN toolbar Ha i ES EEUU 2 BESS TO U5 e BE EB EE je je ADSR vca elim vcoi vcoaES vco Ier synthesizer fea e EOS oped VE ke0 au s LEV out Rowse se LFO global sequencer virtual keyboard Overview of the ARP 2600V ARTURIA ARP2600 V USER S MANUAL 11 3 4 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 pitc
92. us Moog filter In 1973 Moog threatened ARP with legal action and the firm decided to change the circuits on its filter The 4072 was born and took the place of the 4012 This possessed a calibration error in the high frequencies the maximum cut off frequency was less than 11 kHz instead of the 16 kHz promised in the press Luckily the repair for users was fast and not much of a burden On the first ARP 2600 s the 4012 filter was still used this was the case for the Blue meanie and on the first examples of the grey and white while the models that followed offered the 4072 The ARP synthesizers possess very stable oscillators more reliable than the Moog synthesizers a fact admitted by Robert Moog himself On the other hand ARP for a long time dipped the elec tronic circuits for filtering in resin to avoid industrial piracy this made for major problems when trying to perform a repair In 1972 ARP launched the Odyssey which would be in direct competition with Moog Music and their Minimoog released one year earlier The same year the Pro Soloist a preset instrument was also unveiled In 1976 ARP released a small 16 step sequencer in the form of 2 independent 8 step sequences This became famous and is still very sought after it is emulated in the ARP2600 V The same year they presented the Omni which would become one of ARPs biggest successes The instrument al lowed the combination of two polyphonic violin sounds a g
93. uts 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 VOLTAGE PROCESSORS mod in in A Mi ave 1 W Link OC m eL er O C NEUE the voltage processor 8 signal inputs input 4 balance mix 4 inverters inverter 4 lag generators Audio or modulation signal input connection jacks Sets the balance between the two input signals Inverts the input signal Smoothes the input signal 44 ARTURIA ARP2600 V USER S MANUAL 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 This module allows you to create random modulations by sampling the noise signal for example You can also connect an external clock source to pilot the sample and hold speed the
94. zers A second setting to compliment the cut off frequency the resonance you will also find it called emphasis or Q for Quality of filtering The resonance amplifies frequencies close to the cut off frequency The other frequencies remain ing are either unchanged below the cut off frequency or reduced above the cut off frequency On the ARP2600 V you can increase the rate of resonance through the resonance potentiometer When you increase the resonance the filter becomes more selective the cut off frequency is am plified and the sound begins to whistle at the cut off frequency Amplitude 4 Q resonance ARTURIA ARP2600 V USER S MANUAL 61 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 cut off frequency of the filter along with the frequency of the oscillators 6 1 3 The amplifier or VCA The amplifier Voltage Controlled Amplifier is charged with receiving the audio signal coming from the filter or directly the one from the oscillator if it is not filtered to adjust its volume with a potentiometer before the signal is directed to the speakers GLOBAL VOLUME AUDIO LIN eEXP RING LIN ps the ARP 2600V amplifier In conclusion here is a scheme that may help you to understand the composition of a basic sound OSCILLATOR FILTER AM

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