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Arturia ARP2600V

1. Freq potentiometer which is on the left of the tracking generator CURVE EDITOR OO MN Drawing a freehand curve gt If you wish to modify your curve return to the editing screen to make changes The modification is directly taken into account as soon as you click on the edit screen Nothing stops you from creating several types of curves freehand curve sinus Square noise on a single line To do this just use the appropriate tool You can combine the four tracking lines for a single modulation input For this Connect the four tracking generator outputs to the voltage processor 1 2 3 and 4 inputs ARTURIA ARP2600 USER S MANUAL 83 ai a Oe CONTRO Ya r l Hapi a 2 pa GA lG vc Ey E or hid bed vcolRoisdirs a RP a Ka in freq midisu rcc 1 A A as Smooth out edit Te 2 s AA EE T yo smocn Le 4 m a h 5 gt at ea mW G ee odi eet ee SE a eS wn o gt in ce c b pe mE 0 F aj EA s rs x m smeh J edit 8 i n iny g N 0 0 Connect the 4 tracking generator outputs to the voltage processor inputs modin in A ep opi LVL RATE electro Switch gt Place the link A B selector switch to the right to link the two lines of mix to the output of the first Lini 3 rI Proc Link E sda cto bF Place the link A B selector switch to the right Of course the more tracking lines you combine and sen
2. O of hac in freq midisync D A B O smooth out edit or Ee Connect the Quantized output A of the sequencer to Je KBD CV input A Play a note on your keyboard C4 for example The sequencer starts and you will hear a series of 16 notes of identical pitch this is normal Set each of these 16 potentiometers representing 16 sequence steps to a different value This will be the melody played in a loop 16 sequence steps to a different value You can stop the sequencer by clicking on the Start Stop button Stop the sequencer by clicking on the Start Stop button gt It is possible to obtain a sequence of 16 steps like the one you have just created by using 2 independent 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 2 independent sequences of 8 steps ARTURIA ARP2600 USER S MANUAL 85 To play the 16 or 8 steps randomly switch the sequential random selector switch to the right random sequencial Mirandom 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 d
3. erating system and a 64 bit digital audio workstation you should use 64 bit version of the plug in for Windows ARTURIA ARP2600 USER S MANUAL 89 Usually on 32 bit Windows all 32 bit programs are installed in C Program Files How ever on 64 bit Windows you can find the 64 bit programs in C Program Files and the 32 bit programs in C Program Files x86 Mac users don t have to bother with this because the same plug in file contains both the 32 bit and the 64 bit versions and the host automatically chooses the better one 8 7 Use in Cubase Nuendo VST 8 7 1 Instrument use in VST mode The opening of the ARP2600 V VST plug in is the same as opening all other VST plug ins Please consult the instruction manual of your host sequencer for more specific in formation Under Cubase Nuendo create a new Instrument track and choose ARP2600 V in the rack Cubase File Edit Project Audio MIDI Scores Media Transport Devices Wind eoo okof arun ie eono e gh gt Add Audio Track Add Instrument Track Add MIDI Track EB Add Track Using Track Preset m lt Add Arranger Track 4 Add FX Channel Track Add Folder Track 4 Add Group Channel Track xz Add Marker Track 0 Add Ruler Track Add Signature Track K Add Tempo Track JTL Add Transpose Track TI Add Video Track Show All Used Automation Hide All Automation Cubase 6 Project
4. Min Max 4 3 6 6 Tricks 4 4 The filter amplifier envelope control points have two parameters Level and Time If Learn mode is ON clicking on control point provides access to the assignment of the Level parameter shift clicking on control point provides access to assignment of the Time parameter The sound map The sound map is an innovative preset explorer which offers an easy and funky way to locate and choose a preset on a map area to simplify the preset management and to quickly find the appropriate sounds The sound map also offers brand new interface for creating new sounds thanks to a morphing feature between four presets The Sound Map offers three views The MAP main interface the sound map classifies the presets thanks to statistic methods in order to organize the sounds on a map from their own audio characteristics The LIST presets list this page offers a more classical interface to classify the presets using lists and filters to find the desired sound The COMPASS morphing interface this page allows creating new sounds in real time thanks to a morphing result with up to 4 presets gt TO open the main Sound Map interface click on the SOUND MAP button located on the tool bar A new window appears over the ARP2600 V main interface SOUND MAP Open the main Sound Map interface gt To open the preset list page click on the LIST button on the top right of the sound map interface 34 A
5. Switches or jacks then slide the mouse towards the top or the bottom without releasing FREQUENCY i X Slide the mouse towards the top or bottom Click on one of the three shortcuts e and situated on the toolbar to quickly move from one section to another e The Cw SYNTHESIZER section brings you to the synthesizer BOTTOM e The SEQUENCER and KEYBOARD section brings you to the sequencer e The 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 waveforms triangle sinusoid saw tooth square and rectangle and which manage the pitch frequency of the sound e A noise module e A ring modulator e A sample hold module e A mixer acting on the signals coming from the oscillators noise module and ring modulator e 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 th
6. WS ADSR 2 Elec switch Env Follow time feedk diuz i Connected to Sine External Ea ae Keyboard a ce Mixer Saw Noise Square Triangle Remove connections Bypass default connection _ SEQUENCER MODEL 1601 SCL OSC2 OSC3 Processor Reverb Ring Mod Sample Hold Sequencer Tracking YCA YCF eM a a Te alee ee A et te a le A a A a e 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 connection 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 before trying to select a cable see 1 4 4 3 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 100 directly at connector level and thus avoid the need to use
7. 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 Once a preset has been changed modification of a controller or connection an asterisk appears next to its name in the tool bar ARTURIA ARP2600 USER S MANUAL 23 In the BANK dropdown menu the AII option allows you to open a sub list with all of the sub banks available in all of the banks This gives you access directly to all of the presets of a given type for example all of the basses no matter which bank they are in This function is particularly useful to quickly see all of the presets of the same type 2600_Patch_Book C Engel C Pitman CE_Two_Mermaids CP_BacknNYC CP _ Pong CP_Ravi CP_anotherwobbler T E INIT OSC F v D Diaz b D CP athinsi R i 30 fe S CP_connyplank G Darcey gt e Pus CP _drazik L JM_Blanchet k ie CP _feedlead gt y CP flightnite f d CP_groundcrawl N Ubukata gt cP hollow Ruff_Jam N y CP_honkbuss k Lamb_Neptunes gt G new_V2 _J Thompson CP_Ifo new_V2 _K Lamb gt CP_ravioli new_V2 _N Ubukata r CP_thindijital new_V2 _R Lyons gt Ge om Py i DD a new_V2 _T Conrardy b FE new_V2 _T Odakana g Maes gA FA DD E g Default0 DD_Vintage74Ld Robert uea 4 OD_Xpresslead Templates gt IPP Big_Stereo_Notch Distorded All A 6 A Basi
8. before the signal is directed to the speakers ARTURIA ARP2600 USER S MANUAL 69 GLOBAL VOLUME AUDIO LIN EXPs ej ej ee goor The ARP 2600V amplifier In conclusion here is a scheme that may help you to understand the composition of a basic sound OSCILLATOR FILTER AMPLIFIER 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 without life and without end In fact the oscillator delivers a continuous signal the audio output of a waveform of a fixed pitch The only means of stopping this sound that quickly becomes unsupportable is by lowering the filter cut off frequency so that it becomes more and more thick until it disappears 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 In the 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 If you
9. chorus needed to reproduce a sound To get to know the different sounds contained in the ARP2600 V we will use the preset Bassi 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 Choose the SUB BANK Basses and select JMB _Simple1 among the PRESETS 2600 Patch_Book e C Engel r C Pitman b D Diaz gt MEAE INIT OSC FREQUENCY Factory gt aes f oe 4 36 E G Darcey gt TEIM aan K Shulze d EFX d JMB_Bass_SubOsc K Ujiie b Leads b JMB _Birdland N Ubukata b Pads b JMB _Finger_Jazz Ruff_Jam b Sequences gt JMB_HPF_Bass k Lamb_Neptunes b he ene JMB_LPShI_Bass Ji Sin puls JMB_SH_Sync_Bss V2 J Th gt Ply a a pas JMB_Simple1 b N i RPR JMB _Simple2 new_V2 _N Ubukata gt Select the preset JMB Simple The ARP2600 V ships with more than 400 presets that will help you to get to know the sounds of the synthesizer A bank named Templates offers a selection of template presets for beginnin
10. gate trig xe awe CONTRO oe An CONTRC oe PWM yA CONTRO Hr Pwr Pe rer One LIH EXPs AUDIO GATE TRIG pe a pts Fa Ey pOsA bg Be PE Wi KRP EE fey i d engl ro bs ka TE hey 5i AA a ka KRP kH E HOISE GENERATOR VOLTAGE PROCESSORS mod in nA Mi AVE Y ul 0 0 ul 0 0 m 0 0 internal clock wu To begin choose the preset Temp Blank in the Template Temp_Synth bank You will notice 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 USER S MANUAL l9 INIT FILTER FREQUENCY 10 100 LHZ 10kHZ FINE TUNE aviCH FREQUENCY ARS s A Amount Audio In2 Filter S 9 7359 VCOIVCO H KED VCO 1 lt cv 2 SU SL a4 n Raise the VCOI1 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 ARS te i sC ECCECE VCO VCO HIKED 1 e SU SL a4 Raise the ADSR potentiometer gt Lower the filter cut off frequency Initial Filter Frequency potentiometer almost completely so as to really hear the effect pro
11. removes current configuration from list e The second section contains the list of existing configurations o The checked one is the currently selected MIDI map o Click on a configuration to load it 4 3 6 2 Assigning MIDI Controls In order to start assigning MIDI controls click the Midi Learn button left part The button remains highlighted to indicate that the learn mode is ON Click on a knob or button in the GUI to open the MIDI assignment popup ARTURIA ARP2600 USER S MANUAL 31 MIDI Control Setup Plug in parameter Assigned 3 name or not Learning Smooth Tracking Min Max ar ap aa Control Use NRPN f number Control 43 mim aka L RATE electro Switch MIDI assignation popup e Learn assignment The fastest and easiest way to assign a control is to move the fader knob or button for it to be recognized by ARP2600 V e Manual assignment It is also possible to change the assigned MIDI control number by clicking on Control xx and select a specific value e Support for NRPN In addition to MIDI Control Change messages NRPN messages are now supported either send NRPN MIDI control messages to ARP2600 V or check NRPN then manually select LSB and MSB numbers MIDI Control Setup Learning AttackTime Env1 Min Max Assigned Use NRPN HJE hpi MSB 0 LSB 0 CLEAR me _ MIDI assignation popup NRPN activated e Remove assignment Assignments can be rem
12. the modulation wheel for example The ARP2600 V potentiometer will start to move at the same time You can then record movements from your MIDI controller on your MIDI sequencer or simply play live INIT FILTER FREQUENCY 1r 100 IkHZ 10kH2 TIME TIME VOLT TIME FE ne ee GLOBAL VOLUME SLP 24 FINE TUF MIDI Control Setup RESON NCE l Learning Coarse Tune Filter Min Max NOTCH FPRT UENCY aes a ASSIGNED CLEAR RJE tp M Use NRPN aka aka Pa 1 e em Control 1 MIDI assign for Cutoff frequency potentiometer To save the settings that we have seen in this chapter click on the Save button in the toolbar 22 The MIDI assign settings are only saved when you quit the ARP2600 V application be it standalone or plug in ARTURIA ARP2600 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 containin
13. 2 ACTIVATION amp FIRST START ARP 2600 V works on computers equipped with Windows 7 or 8 and Mac OS X 10 7 or later You can use the stand alone version or use ARP 2600 V as an Audio Units AAX VST2 or VST3 instrument Nea 9 Audio Units 2 1 Register amp Activate Once the ARP 2600 V has been installed the next step is to register the software in order to obtain the activation code that will enable you to use it The registration process will require you to enter the serial number and the unlock code you received with the product In order to proceed go to this web page and follow the instructions http www arturia com register Note If you don t have an Arturia account yet you will need to create one The process is quick but it does require that you can access your e mail address during the registra tion process Once you have acquired an Arturia account you will be able to register the product ARTURIA ARP2600 USER S MANUAL 9 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 synthesize
14. 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 electronic 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 On In 1976 ARP released a small 16 step sequencer in the form of 2 independent 8 step sequences This became famous and is still very sought after it is emulated in the ARP2600 V The same year they presented the Omni which would become one of ARPs biggest successes The instrument allowed the combination of two polyphonic violin sounds a great innovation for the company an
15. For each assignment a minimum range value and a maximum range value can be set This allows you to limit how much the controller will affect the parameter on ARP2600 V e The assigned parameter will have the configured minimum value when the controller will be at its lowest position e The assigned parameter will only reach the configured maximum value when the controller will be at its highest position e You can invert Negative Slope the Min and Max so that parameter will have minimum value when control has the highest value and parameter will have maximum value when control has the lowest value Output para meter values M MAX z Input Ze control MIN 2 values DEFAULT Output para Output para meter values meter values pe amp MAX MIN 7 Pe os Input oe Input control control MIN values MAX values POSITIVE SLOPE NEGATIVE SLOPE parameter_value MIN MAX MIN control_value ARTURIA ARP2600 USER S MANUAL 33 4 3 6 5 Multiple Assigned Parameters It is possible to assign multiple parameters to a single control This allows you to change many parameters with one fader or knob Activate Learn mode select a parameter GUI control Tweak control to assign it optionally setup minimum and maximum Select a second parameter And tweak the same control Deactivate Learn mode Tweaking assigned control should modify both parameters with regards to assignation setup
16. Increase the resonance value Change the attack length of this envelope Attack time so that the brightness increases faster or slower when the note is sent A D 5 R TIME TIME VOLT TIME Change the attack length of the ADSR envelope Inthe same manner change the value for the decay and the brightness will increase faster or slower while you hold the note on the keyboard A D 5 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 Increase the Attack time for this envelope so that the volume of the sound progressively increases ARTURIA ARP2600 USER S MANUAL 15 A monual R TIME Start out TIME n keyboord Ne GATE TRIG Increase the Attack time of the AR envelope 3 4 The sequencer The SEQ section gives you access to the sequencer as well as different functions allowing an extension of the possibilities of synthesis and playing It is situated under the Synth section It contains a sequencer identical to the 16 step ARP model 1601 sequencer a module for play settings and a low frequency oscillator LFO which was added as a complement to oscillator2 which was often used as LFO 3 4 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
17. 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 button on the toolbar ARTURIA ARP2600 USER S MANUAL 25 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 Horizontal 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 cli
18. Theremin Vx 13 Cello Section 14 Cowboy Harmo 15 _ClassicARP 16_Elect Harp 17 Licorice Stuck 18 Bass Brum 19 Trombone 20_Fiute Other Other Other Other Other Other Other Other Other Other Other Other Other Other Other Other Other Other Other Other 2600 Patch _Book 2600 Patch _Book 2600_Patch_Book 2600_Patch_Book 2600 Patch _Book 2600_Patch_Book 2600_Patch_Book 2600 Patch _Book 2600 Patch_Book 2600 Patch _Book 2600 Patch _Book 2600 Patch_Book 2600 _ Patch_Book 2600 Patch_Book 2600_Patch_Book 2600 Patch _Book 2600 Patch _Book 2600 Patch _Book 2600 Patch _Book 2600_Patch_Book m Other m Pad m Bass m Lead m EFX m FM m Brass m Percussive m Sequence ORE m Guitar m Keyboard 21_O0Okie Guit r Other 2600_Patch_Book Preset list interface All those data are classified by alphabetical order gt To select a preset simply browse the list and click on the name of a desired preset You can inverse the order from A to Z or from Z to A by clicking on the column title an ascendant or descendant arrow shows you the order type Instrument Author Bass C Dunc n C Dunca n C Duncan C Duncan C Duncan C Duncan C Duncan C Duncan C Duncan C Duncan C Duncan C Duncan C Duncan Inverse the order of the instrument types 4 4 4 The COMPASS morphing interface The Morphing page is an independent module allowing you to quickly create some new sounds tha
19. USER S MANUAL 65 _ T p F One Period Oscillator 1 E Fi Fi J J Oscillator 2 f f avd i iV i HAFA f synchronized In the above image oscillator2 is synchronized with the first and tuned to twice its frequency The resulting waveform is unique in that it cannot be created by standard synthesis techniques such as layering or filtering A frequency modulation FM can be created between 2 oscillators by connecting the audio output from a first sinusoidal oscillator to the modulation input of a second oscillator On the ARP2600 V if you turn the modulation rate ring you will obtain a sound richer in harmonics If you introduce a square or saw tooth signal the result can be quickly distorted but interesting for inharmonic sonorities 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 66 ARTU
20. Untitled1 OC 0 SE oe Ar Ee ee Imi SIRI we f i i f A L 20 d A Add Instrument Track istrument _Add Track_ Y No VST Instrument Drum Groove Agent ONE Synth b Analog Laboratory ARP2600 V2 CS 80V2 CS 80V2 10 voices HALionOne Jupiter 8V2 Maschine minimoog V Moog Modular V 2 Pianoteq 4 VST Pianoteq VST Prophet V2 Spark r 90 ARTURIA ARP2600 USER S MANUAL 8 7 2 Rescan the plug in directory in Cubase If the ARP2600 V does not appear in the list of VST plug ins you can perform a rescan of the plug in directory 8 7 3 Saving of presets When the session project is saved the ARP2600 V is saved in its last mode of opera tion with all modifications intact For instance if you were working on a P1 preset in which you had modified parameters without saving them as a separate preset within the plug in itself the next time you open the project ARP2600 V will load the P1 preset plus the modifications you made previously The drop down menu in which the VST sequencer allows you to save a new preset is of course usable with the ARP2600 V However it is highly advised to use the ARP2600 V internal menu the presets saved in this way are usable in any other mode standalone or with other sequencers they can be exported and exchanged more easily and they will remain compatible with the ARP2600 V future versions 8 8 Using in Pro Tools RTA
21. 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 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 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 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 12 ARTURIA ARP2600 USER S MANUAL amplitude HAMA WT sound signal amplitude time modulator signal LFO amplitude A allt vo We AE 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 generate non harmonic frequential components We can thus easily obtain metallic sounds The ring modulat
22. 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 the Licensee in this case All programs and accompanying materials are provided as is 8 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 business 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 the Licensee in this case This warranty gives the Licensee specific legal rights and the Licensee may also have other rights which vary from state to state ARTURIA ARP2600 USER S MANUAL 97
23. ie py Rp Eg 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 oscillator with 2 controllers first the RANGE selector which determines 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 ARTURIA ARP2600 USER S MANUAL 63 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 Arrplitucde Hannocic number 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 Hannon number 10 20 30 40 Frequercy Amplitude Hameric
24. input right Dry right input connection jack Dry input left Dry input Left Dry left input connection jack 5 1 14Chorus and delay effects Chorus has three potentiometers Rate Depth and Dry Wet which allow us to respectively set the speed the depth and the relation between the original and modified Signals The chorus effect Delay has two potentiometers Time Left and Time Right respectively for setting the time for the left channel and the right channel The two potentiometers FeedB Left and FeedB Right respectively set the channel return gain for left and right channels Finally the Dry Wet potentiometer sets the ratio between the original and modified Signals 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 15Control voltages CV control These modulation outputs allow us to control the synthesizer parameters with the real time controllers of your MIDI keyboard 58 ARTURIA ARP2600 USER S MANUAL KEYE CV OUT bend The CV controls Pitch bend wheel Pitch bend Output connection jack for the control of modulation of three oscillators with the pitch bend wheel Modulation wheel Mod Wheel Output connection jack for modulation control with the help of the modulation wheel Velocity Velocity Output connection jack for velocity control After Touch Ou
25. number 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 64 ARTURIA ARP2600 USER S MANUAL Amplitude Hamoric number Frequency The sinusoid is the purest of all It is a single harmonic and produced a very damped sound It can be used to reinforce the low frequencies of a bass sound or as a frequency modulator in order to create harmonics that don t exist in the original waveforms sine amplitude amplitude over time PWM Pulse Width Modulation is a setting that allows you to modify the waveform cycle or wave length This can be done manually with the help of a knob PW or by modulation with an envelope or LFO This pulse width variation translates to a spectrum modification resembling a waveform change frequency l gt 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 oscillatori 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
26. 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 Sets the amount level of the envelope follower 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 ARTURIA ARP2600 USER S MANUAL 99 The ring modulator 2 Audio inputs Audio input connection jacks pre cabled to the oscillator1 VCO1 Saw VCO2 Sin sawtooth and oscillator 2 sine outputs Output Output Ring modulator output connection jacks 5 1 12 Tracking generator This very original module was added to modify the course of a modulation thanks to four curves which can be edited in real time by the user It can also be used as source of modulation to create envelope forms or complex LFO waves freq midi suc DGO E smooth out edit e B E edit el Olg The tracking generator s main interface e Main interface 4 audio inputs Audio input signal connection jacks 4 modulation inputs Modulation input signal connection jacks 4 audio outputs Audio signal input connection jacks 4 Smooth Sets the smoothness of th
27. 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 4 3 1 Audio and modulation connections The audio connections can be used for example to route the audio output of a waveform from an oscillator to the audio input of the filter or VCA mixer In the same manner the modulation connections allow you to route the output of a LFO or envelope generator to an oscillator PWM or the VCA modulation input 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 example e The audio output and input connectors and the modulation out connectors are represented differently in the graphical interface ARTURIA ARP2600 USER S MANUAL 2 Audio input connector e Additional modulation input connectors can be found on the tracking module located 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 de
28. square waveform oscillatori is active and the signal is directed through the low pass filter after an intermediary mixer and then on to the output amplifier 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 seteeneens gt modulation Signal audio gt output L UE Sth MIXER filter vcF MIXER gt REVERB gt PAN 7h CA LIR audio al L A A gt output R envelope envelope ADSR AR 7 The routing taken by the sound of preset 1_Osc Start by reducing the low pass filter cut off frequency LPF This will dampen the sound For this set the linear Initial Cutoff frequency potentiometer for fine tuning use the Fine tune potentiometer Notice that the filter cut off frequency is modulated by an ADSR envelope Attack Decay hold Sustain and Release 14 ARTURIA ARP2600 USER S MANUAL INIT FILTER FREQUENCY 10 100 1kk 10kH2 FINE TUNA RESO LCE ruTCH FREQUENCY Change the brightness of the sound To clearly hear the effect produced by the ADSR envelope on the filter cut off frequency increase the resonance value This will amplify the filtering effect on the sound and it will begin to whistle INIT FILTER FREQUENCY 10 100 Ik 10kH2 FINE TUNE RESO iCE NOTCh P ouency
29. the KYBD CV e Sample and hold pre cabled for the manual setting of the modulation by sample and hold S H out ADSR Env pre cabled for the manual setting of the modulation by ADSR envelope ADSR Oscillator 2 Sin pre cabled for the manual setting of the modulation by sine waveform of oscillator 2 VCO2 Sin 5 1 2 2 Oscillator 2 Range Frequency Fine tuning Audio outputs Impulse width FM Inputs General tuning of the oscillator by octaves Up or down 4 octaves and low frequencies Tuning by semi tone Initial Oscillator Frequency Up or down 2 octaves Fine tune up or down by up to a semi tone Connection jacks for 4 waveform outputs triangle sine saw tooth and square Impulse width for Sawtooth Square Triangle waveforms Connection jack for frequency modulation inputs e Key follow pre cabled for manual setting of the key follow KYBD CV ADSR Env pre cabled for the manual setting of modulation by ADSR envelope Sample and hold pre cabled for the manual setting of modulation by sample and hold S H out Square oscillator 1 pre cabled for the manual setting of modulation by the square waveform of oscillatori VCO1 square Noise pre cabled for the manual setting of modulation of the impulse width of the square by the noise PWM _ noise out 5 1 2 3 Oscillator 3 Range Frequency Fine tuning Audio output General tuning of the oscillator by octaves Up or down 4 oct
30. 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 i Hz 20 00 40 00 80 00 160 0 3200 640 0 1280 2560 S120 10240 These four types of filtering are often used on analog synthesizers 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 remaining 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 amplified and the sound begins to whistle at the cut off frequency Amplitude Frequency Frequency Q resonance With a high resonance level the filter will begin to produce a sound close to a sine waveform At this stage the use of a key follow is very important as you can create a melody by tuning the 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
31. to save the sound that you have created To choose another destination for the sound click on the Save as icon and choose the location For example select new in the choice of bank Two new banks sub banks and a preset are immediately created The names new bank new sub bank and new preset appear in their respective displays Click on each of these displays to rename the 3 parts new_V2 _J Thompson new_V2 _K Lamb new_V2 _N Ubukata new_V2 _R Lyons new_V2 _T Conrardy new_V2 _ T Odakana Default Robert Templates T Y Yo Yo Yo rT rr P 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 Ay 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 12 ARTURIA ARP2600 USER S MANUAL 3 2 The 3 sections of the ARP2600 V The ARP 2600V offers three main sections separated into flight cases From top to bottom The synthesizer the sequencer LFO general settings and keyboard To access the different parts of the ARP2600 there are two simple methods Click on a part of the synthesizer that des not have any controllers potentiometers
32. uin Hz 20 00 40 00 380 00 1600 3200 640 1280 2560 45120 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 added to increase the possibilities for sound creation on the ARP 2600 V 2 5 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 ih i Hz 20 00 4 00 380 00 1600 3200 6400 1280 2560 5120 10240 The high pass filter fr ru dS 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 ARTURIA ARP2600 USER S MANUAL 49 Hz 20 00 4 00 380 00 1600 3200 64 0 1280 2560 45120 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 situated on both sides of the cut off frequency The resonance can be used to accentuate the hollow of this frequency band wh FPN Hz 20 00 4 00 80 00 1600 3200 6400 1280 2560 5120 102
33. 40 The notch filter Ay if you raise the resonance too high the result of the filtering will no longer be heard as the frequency band will be too big to allow efficient filtering 5 1 4 The envelopes Two in number the modulation envelopes allow the evolution of the sound in relation to the time The first envelope ADSR possesses four temporal periods which are performed sequentially the Attack time Decay time Sustain voltage and the Release time When the trigger input moves to active state triggering of a note the envelope performs the sequences Attack followed by Decay and remains in the hold state Sustain as long as the input trigger remains active When it goes to the inactive state release of the note the envelope performs the fall sequence Release 50 ARTURIA ARP2600 USER S MANUAL A D 5 R TIME TIME VOLT TIME anual R TIME Start out TIME keyboord eee GATE TRIG a r ADSR and AR envelopes settings 5 1 4 1 ADSR Attack Sets the attack time Attack time Decay Sets the decay time Decay time Hold Sets the level of the hold Sustain Voltage Release Sets the release time Release time Output Envelope output signal Output 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 Input connection for an external trigger signal pre cabled to S H gate t
34. Ascending Delay gt SS SS SS Se SS SS S Point f Open Library Gate Time Clip Length Score Mi gt Advanced Quantization gt No Output On the channel of the mixer corresponding to the selected track click on the button I O to list the available plug ins then select AU Instruments gt Arturia gt ARP2600 V2 gt Stereo v lopfgeist Sculpture Modeling Synth Test Oscillator Ultrabeat Drum Synth gt gt gt gt gt gt gt gt gt gt gt gt gt gt gt gt gt Le gt QJIOIOOS 8 10 Using in Ableton Live AU and VST From the plug ins tab simply double click on the ARP2600 V2 VST or AU icon or drag and drop the plug in into a MIDI track ARTURIA ARP2600 USER S MANUAL 93 oaaS If necessary you can perform a rescan of the plug in directory in the Preferences File Folder tab press the Scan button or press Scan while holding the Alt key for a full rescan 94 ARTURIA ARP2600 USER S MANUAL ARP2600V END USER LICENSE AGREEMENT 1 General 1 1 In consideration of payment of the Licensee fee which is a portion of the price you paid Arturia as Licensor grants to you hereinafter termed Licensee a nonexclusive right for the use of software including related media documentation for example program descriptions manuals and other documents and materials manufactured b
35. CE RAEES P PUL JIDTH P PULSE OTH TCH FREQUENCY SE wi 4048 PREAMPLIFIERL y Eie 16 s sey Sow sey triong Sow sey triong Sow i K K An d l u H 7 x u ai VCF tonual R TIME tort out TIME JO z 2 Pwr GCCOICO SOc CICO ee follelelel 56 sys Yo T i j j j ji j a S Aau A DR O DS OA OA DB p UG Se ED 5 4 VE Zen I E ane 4 yee ea KAE LIN z S Bemis a A cls i ease DSR YCF CA s 5 AUDIO LIN EXPs AUDIO AMPLE HOLD internal oyu y note nat gote gate ETA i ge be GUANTIZED QUANTIZED toee GAR SEQUENCER MODEL 1601 BA eg ate la a y at o GATE BU On i f f i i ai a faba apna a B E E E E E 2 2 2 2 2 2 E GA VOICE DETUNE cY input E I a E Ae LFO LFO 4m F aTO SPEED DELAY Wi tH reset midi g lo off mod in N The connections between the sequencer and synthesizer Sequencial MM jrandom The Clock Out sequencer output is directed to the Gate input on the ADSR envelope module The sequencer Quantized A Out output is directed to input KBD CV of the VCO 1 module Start the sequencer by clicking on the Start button This turns in a loop and you will hear the repetition of the melody Or out Step Start onis trig Mi sate R 0 n g reset Click on the Start button You can change the settings of the 16 li
36. ER 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 today It is this method that was developed toward the end of the 60 s on analog synthesizers like the ARP Moog Oberheim Yamaha Buchla Sequential Circuits Prophet series Roland Korg MS and PS series and many others This concept of synthesis is still used on most current digital synthesizers complementing sample reading or wave tables which progressively 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 synthesis 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 INIT OSC FREG UENCY INIT OSC FREQUENCY INIT OSC FREG UENCY ze V Bi W 2 ze 1 es gt gt 35 FINE TUNE FINE TUNE OSCILLAT NCRO ee wi 4 Ane PULSE JTH off Ke e e a Sow oP out PWM Pwr ale Vela alle Velet IET OO fa rad a E el pall al bs Rp Eg ka ed fa rad el pall
37. RIA ARP2600 USER S MANUAL HOISE GENERATOR white Dink Pe e i freq The ARP2600 V noise module 6 1 2 The filter or VCF The audio signal generated by an oscillator the waveform is next generally directed to a filter module Voltage Controlled Filter It is this module that we use to control the sound by filtering by subtraction which explains the name given to this type of synthesis the harmonics situated around a cut off frequency It can be considered to be a sophisticated equalizer that reduces depending on the case the high or low frequencies of a sound The removal of undesirable frequencies at the cut off frequency is not done suddenly but progressively 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 10 100 TkH2 10 42 FINE TUNE vco VCO DISI KED CO in nin a4 SEN CY ROSA am 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 PA W 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 properties e The low pass filter LPF progressively removes high frequencies above the assigned frequency limit
38. RTURIA ARP2600 USER S MANUAL Pa ee Open the List interface gt To open the preset morphing page click on the COMPASS button Open the Morphing interface gt To return back on the main sound map interface click on the MAP button Return back on the map interface 4 4 1 The MAP main interface The sound map interface shows a map where are shared out all the presets of the ARP2600 V organized for their types of sound and their own audio characteristics The Map interface The types of presets are represented by different geometrical characters and colors for an easy way to locate them ARTURIA ARP2600 USER S MANUAL 35 Y Bass sounds Brass sounds EFX sounds m FM sounds Guitar sounds E Keyboard sounds Lead sounds m Pad sounds El Percussive sounds V Sequence sounds A Strings sounds Others sounds gt To select and to listen a preset directly click on one of the icons anywhere you want on the map area The icon is now highlighted in red If you hold a few seconds on the selected preset a popup appears and indicates the name of the preset Sc_Procession Select a preset You can create new presets thanks to an exclusive real time morphing feature gt Click between a group of presets and hold the left button of the mouse on this point Four red arrows drawing a cross appear linking the group of f
39. RTURIA ARP2600 USER S MANUAL gathGQngagyancer quantizer GARP SEQUENCER MODEL 1601 OCO 1 tiot ed IA to Joys 0 pore t oat owe ous a 5 cV pE hel 1 2 i ba a ee ae a oe e o a oe _ _ _ _ _ _ _ q _ _ _ _ _ _ _ i Setqeomre step manager start stop oscillator e Sequence step management setting and management of the 16 sequencer steps SARIP SEQUENCER MODEL 1601 2x8 output levels Sets the modulation or tuning level for sequence steps 1 16 faders Bus 1 2 and 3 Trigger selector switch for steps by bus 1 2 or 3 switches Gate bus 1 2 3 Bus inputs 1 2 and 3 Input jacks for bus 1 2 0r3 inputs Gate bus 1 2 3 Position Position input jacks Sequencer clock output Sequencer clock output jack Clocked gate out e Sequencer oscillator The sequencer oscillator Skip return Selector switch for skipping steps or returning to step 1 Skip Off reset Steps 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 Input jack to start the sequencer with a trig or gate ARTURIA ARP2600 USER S MANUAL 61 Jack Start Trig or Gate trig gate Start stop Start Stop Start stop jack Start Stop jack Start stop pedal Start Stop ped
40. S 8 8 1 Opening of the plug in Access to the ARP2600 V plug in is like all other plug ins in Pro Tools via a new In strument Track creation Duplicate Split into Mono Make Inactive Delete Write MIDI Real Time Properties Input Only Monitoring XK Scroll to Track XSF E Clear All Clip Indicators CC Create Click Track GROUPS ARTURIA ARP2600 USER S MANUAL 91 Bars Beats 1 f 17 25 33 41 4s Min Secs 200 0 10 0 30 0 40 z 1 00 1 10 1 20 1 30 Timecode 00 00 00 00 00 00 30 00 00 01 30 Samples 0 Tempo Meter Markers i L INSTRUMENT INSERTS AE f no insert multichannel plug in EQ multi mono plug in Dynamics Pitch Shift i o Reverb Delay Modulation Harmonic Dither Sound Field instrument Other Ableton Live stereo Analog Laboratory stereo ARP2600 V2 stereo Avid Marketplace Boom stereo Brass 2 stereo Lam ha A 2 2 2 2 2 G CS 80V2 stereo The ARP2600 V must be loaded on an instrument stereo track We can now make ARP2600 V sound by playing with the mouse on the virtual keyboard 8 8 2 Saving the presets When the session is saved the status of ARP2600 V is saved as it is even if its pro gramming does not correspond to the preset For example if you are working on a preset P1 in which you have modified the parameters without saving them in the plug in itself the next time you open the session the ARP2600 V will load the P1 preset plu
41. Technology is a plug in standard created by Steinberg It allows you to integrate software audio synthesizers and effect plug ins with audio DAWs and host software VST is supported by a large number of audio applications like Cubase Nuendo Wavelab FL Studio Audacity Samplitude Sonar Audition Live etc The VST interface was updated to version 2 in 1999 One of the additions was the abil ity for plug ins to receive MIDI data This allowed for the introduction of VSTi Virtual Studio Technology Instrument format plug ins 8 3 VST 3 VST3 is a new update of VST audio plugins protocol It was updated in 2008 This has improved performance over previous versions of VST and has many new features as well Cubase 6 and Nuendo 5 are using this new protocol With VST3 on Windows users do not have to choose a folder path to install the plug in The installer will put VST3 files automatically into the appropriate directory on your hard drive 8 4 RTAS RTAS short for Real Time AudioSuite is an audio plug in developed by Digidesign AV ID technology for their Pro Tools systems 8 5 AU AU for Audio Units is a plug in protocol developed by Apple Computer It used by Apple applications such as GarageBand Soundtrack Pro Logic Express Logic Audio Final Cut Pro Mainstage Ardour Ableton Live REAPER and Digital Performer 8 6 64 bit compatibility The ARP2600 V is optimized for both 32 bit and 64 bit modes If you have a 64 bit op
42. UAL 7 A FEW ELEMENTS OF SOUND DESIGN Here is a series of five examples designed to guide you through the creation of a sound and a sequence They are classed in order of difficulty and organized into two parts e The 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 e two oscillators VCO1 and 2 e a low pass filter VCF e an amplifier VCA e the ADSR envelope connected to the filter You will thus obtain a basic patch for subtractive synthesis Figure 1 shows the different potentiometer positions INIT vier FREG RUENCY INIT OSC FREQUENCY INIT OSC FREQUENCY INIT FILTER FREQUENCY A D 5 E GLOBAL UOLUME LEFT RIGHT 2 17 2 2f A W 2 z ou ou 0 3 3 0 230 oS 03 3 0 30 10 100 KHZ 10kH2 TIME TIME VOLT TIME FINE TUNE FINE TUNE FINE TUNE FINE TUNE OSCILLA SYNCRO O Sew 90 O Sem 30 RESC NCE m ne i Ke z dii a pols NOT FREQUENCY a 3 o 3 3 Olin FREQGU PREAMPLIFIER HI A e f ze i gt E ise pS ras 32 pow a u u uly 32 LF pes ge eL ARTE keyboard
43. USER S MANUAL ARTURIA YOUR EXPERIENCE YOUR SOUND Programming Robert Bocquier v2 0 Emilie de Fouch cour v2 0 Vincent Travaglini v2 0 Nicolas Bronnec Sylvain Gubian Xavier Oudin Cedric Rossi Graphics Morgan Perrier v2 0 Yannick Bonnefoy Manual Robert Bocquier v2 0 Antoine Back v2 0 Jean Michel Blanchet Yuji Sano Tom Healy Mitsuru Sakaue Xavier Oudin Cedric Rossi Kentaro Wakui Sound Designers Jean Michel Blanchet Celmar Engel Klaus Schulze Ruff amp Jam Kevin Lamb from Neptunes Chris Pitman Silvere Letellier v2 0 Noritaka 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 2014 All rights reserved 30 Chemin du Vieux Ch ne 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 agreement 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 witho
44. 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 modin in A in ne z Mr 4 76 Fo e F D 2s da r mount AM 1 2 Volt Proc 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 ARTURIA ARP2600 USER S MANUAL 29 ay if you click on the centre of the connector you will select the cable end to change the connection To access the modulation setting make sure you click on the nut In the same way if you right click or Shift click on the centre of the connector you will reach the connection menu instead of the precise modulation quantity setting 4 3 4 Separate the cables Visualizing the existing connections between different modules is very useful when creating a patch on the ARP2600 V 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 activate 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 forget to deactivate this mode when you want to sel
45. aise the volume of the LFO modulation If it has a tendency to disappear too much you don t hear any more sound gently raise the cut off frequency potentiometer Set the LFO oscillation speed with the LFO Speed potentiometer For this type of sound choose a slow speed around 0 10 Hz ARTURIA ARP2600 USER S MANUAL 19 Set the LFO oscillation speed Raise the Attack time A around 2000 ms and the Release R around 750ms of the AR envelope At last raise fully the Decay time D of the ADSR envelope These types of envelopes go better with accompaniment sounds A D 5 R TIME TIME VOLT TIME A manual R TIME Stort out TIME Attack Enveloppe2 2000 00 mS iniiai i ep oe e ojej gt GATE TRIG te ver RING The envelopes settings Set the playing mode selector situated on the left of the LFO module to Poly polyphonic position so as to be able to play chords Then choose the number of polyphonic voices by clicking on the voices button situated on the toolbar For exemple choose 6 voices GLOBAL VOICE TUNE DETUNE i LFO gt Da Mode mono ho d Polyphonic mode At this stage you can also enrich your chords by dedicating a third oscillator to sevenths 7 semi tones or fifths 5 semi tones 80 ARTURIA ARP2600 USER S MANUAL INIT OSC FREQUENCY INIT FILTER FREQUENCY a Me e os os 3 20 Fin
46. al Clock frequency Clock Freq Clock frequency output Clock out Clock FM FM FM input Clock FM Impulse modulation Pulse width PW input PWM Signal Selector switch for choice of trig or gate starting the sequencer Button for manual starting stopping of the sequencer Input jack for sequencer start stop Pedal to start and stop the sequencer Sets the sequencer clock speed Input jack for the sequencer clock output Sets the modulation rate for the clock frequency Jack input for the modulation of the clock frequency initially connected to the gate input Sets the rate of modulation for the signal impulse width Jack input for the modulation of the impulse width of the e Setting the sequencer input outputs quantizer Quantized Quantized outputs A B CV input CV input Quantized inputs A Quantized inputs A B Non quantized outputs A and B Output Sequencer outputs A B 62 outputs A and B Input QUANTIZED QUANTIZED out amp input A inp T keas AJ Outputs The sequencer input outputs S and Output jacks A and B for the quantization of the step signals in semi tones Jack inputs manage the reference voltage for the sequencer generally connected to CV keyboard control Kybd CV output jacks A and B for the quantization Signal jacks A and B non continuous values to 4 octaves quantized ARTURIA ARP2600 US
47. aves and low frequencies 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 ARTURIA ARP2600 USER S MANUAL 45 waveforms Impulse width Impulse width of the Square signal FM Inputs Frequency modulation input connection jacks e Key follow KYBD CV pre cabled for the manual setting of the key follow Noise Noise pre cabled for the manual setting of the modulation by the noise ADSR Env pre cabled for the manual setting of the modulation by ADSR envelope Sine oscillator 2 VCO1 sin pre cabled for the manual setting of the modulation by the sine waveform of oscillator 2 Triangle oscillator2 pre cabled for the manual setting of the modulation of the impulse width of the square by the oscillator2 triangle Pulse width modulation _ VCO2 Triangle 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 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 The impulse width applied to the sawtooth triangle and
48. c Inst gt New bank G_Adv_Inst d Odyssey_Lead x C_Sound Effect P Pat synth_Guitar Delete bank new_V2 _K Lamb Basses satisfaction L R cL R wet freq EFX 7 SoftLead Leads gt Tarkus 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 controllers 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 clicking 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 24 ARTURIA ARP2600 USER S MANUAL 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 do
49. cking or Shift Click on the concerned knob Knob In circular mode click on the knob and turn around it in order to change the value of the controller The circular mode gives high precision in the manipulation of controls The further the mouse goes from the knob the higher the precision of the setting The linear mode is often more simple to use than rotation But at the same time it cam be less precise the precision is limited by the number of vertical pixels on the screen from which the mouse movements are evaluated It is possible to attain a higher level of precision by right clicking or shift click on the potentiometer you want to control 26 ARTURIA ARP2600 USER S MANUAL 4 2 4 The selectors The selectors the filter mode selector for example are manipulated like vertical potentiometers by dragging with the mouse The filter Modes selector 4 2 5 Switches The ARP2600 V has several types of switches Simply click on these switches to change their state MIDI sync on off switch 4 2 6 Pitch Bend The pitch bend knob is used to change the pitch of the oscillators Just click on the knob and move the mouse up or down to change the pitch of your sound 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 possibilities for
50. d 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 they presented the Omni which would become one of ARPs biggest successes The instrument allowed the combination of two polyphonic violin sounds a great innovation for the company and two monophonic bass sounds But in 1981 ARP was finally bought out by CBS The following year CBS with part of the ARP development team would produce the Chroma a programmable polyphonic synthesizer and in 1984 the Chroma Polaris a simplified and MIDI capable version of the Chroma 1 2 A better emulation thanks to TAE TAE True Analog Emulation is a new technology dedicated to the digital reproduction of analog circuits used in vintage synthesizers When implemented in software code TAE s algorithms guarantee authentic emulation of hardware specifications This is why your ARP2600 V offers an unparalleled quality of sound In detail TAE combines four major advances in the domain of synthesis 1 2 1 Aliasing free oscillators Standard digital synthesizers produce aliasing in high frequencies and also when using Pulse Width Modulation or FM TAE allows the production of totally aliasing free oscillators in all contexts PWM FM and at no extra CPU cost Mic ing 20627 22000 Linear frequency spec
51. d 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 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 bassi preset It presents the ideal sound for a melodic sequence 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 So that your sequence is tuned by following the semi tones connect the Quantized output A on the sequencer to the input oscillatori key follow VCO1 gt CV KBD 84 ARTURIA ARP2600 USER S MANUAL PULSE TH iCH FREQUENCY Tver jel 4 i UL TIME ogg TIME OCO AR pe triong Sow keyboard FM A INTROL PWM FM CONTROL Pwr AUDIO ada ONTRO oe isis AUDIO LIH EXP4 AUDIO COCICCCOCICCCCOC Reke ole oo olo GATE TRIG in Sct ala Ee yy od RSSI aid be oe ky 5 H ma vc vcr veape ey RP kH GATE ma Di SAMPLE HOLD electro 1 Oo el ie 9 m Switch gt Smog edit 0 gr r S Y ou fe edit
52. don t have a keyboard you can play on the ARP2600 V virtual keyboard 70 ARTURIA ARP2600 USER S MANUAL The virtual keyboard of the ARP2600 V 6 2 2 The envelope generator The envelope generator connected to the amplifier is used to sculpt the form of a sound during a cycle which begins when we press a note on the keyboard and ends when we release A D 5 R TIME TIME VOLT TIME A manua R TIME Stort out TIME keyboord een GATE TRIG S H ATE 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 USER S MANUAL 71 Level Sustain i leweli Time ___ H __ F Attack Decay Rebase time time time mone 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 frequency or the frequency of an oscillator for example 6 2 3 The low frequency oscillator The LFO Low Frequency Oscillator possesses among other things the same
53. duced by the envelope on the filter INIT FILTER FREQUENCY 10 100 KHZ 10kH2 ELP zy TEE rine Me we 12 BP 12 NOTCH eviCH FREQUENCY Lower the filter cut off frequency 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 4 D 5 R TIME TIME VOLT TIME Lower the Decay potentiometer 76 ARTURIA ARP2600 USER S MANUAL gt Now raise the volume of VCO2 on the VCF mixer VCO2 You will hear the 2 ARS s oscillators play in unison COPOCOOEE YCOIVCoO J KED VCO 1 2 cy 2 TULL SL aa n Raise the volume of VCO2 Lightly detune the second oscillator VCO2 The sound becomes more lively and fatter INIT OSC FREQUENCY Sin pulse PWM Lightly detune the second oscillator Set the VCO2 an octave lower set the Range octave selector to 16 INIT OSC FREQUENCY triong Sow coz Sin pulse Set the Range octave selector to 16 Finally lightly raise the filter resonance This will give you a typical 70 s bass sound INIT FILTER FREQUENCY 10 100 KHZ 10kH2 FINE TUNE RELANCE NOTus Prreauency Raise the filter resonance Save this sound as bass1i 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 n
54. e Sine 5 1 3 The Filter VCF The ARP2600 V possesses a multimode filter module the original had only one resonant low pass mode It is possible to choose a filter type among the five offered a low pass 24 dB identical to that found on the ARP2600 a low pass a high pass a band pass and a notch 12 dB of the same kind as the one found on the ARP 2500 modulars The change of type is done by setting the selector situated on the right of the filter module ARTURIA ARP2600 USER S MANUAL AT INIT FILTER FREQUENCY 10 100 TkH2 10 42 FINE TUNE aviCH FREQUENCY AD SOOO zr Dal MoD nn A CV IF s 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 Sets the filter cut off frequency tuned between 10 Hz Initial Filter Frequency and 10 KHz Fine tuning Fine tuning of the filter cut off frequency Fine tune Resonance Sets the filter resonance Notch frequency fc Sets the frequency of the notch divided by the filter cut Notch Frequency fc off frequency Filter type selector Type of filter LP 2600 and 2500 HP BP and notch Types Audio output Filter audio output connection jacks Output Audio input Filter input connection jacks initially connected to the Audio ring modulator to the oscillators and 2 square oscillator3 sawtooth and noise Modulation inputs F
55. e ARP2600V2 But don t hesitate in making your own attempts at programming this is the best way to progress and find certain originality ARTURIA ARP2600 USER S MANUAL 87 8 MODES OF OPERATION 8 1 Standalone The ARP2600 V can be used as an instrument independently from a sequencer soft ware Standalone mode This allows you launch the application as a single instrument and to play it using an external MIDI keyboard 8 1 1 Launch the application To launch the ARP2600 V2 application e on Windows go to the menu Start gt Programs gt Arturia gt ARP2600 V and choose ARP2600 V e on Macintosh open the finder gt Applications gt Arturia and double click on the ARP2600 V2 application icon 8 1 2 Configuration of the instrument Click on the Settings button on the ARP 2600 toolbar It will show the following Au dio MIDI Settings dialog box aA Audio Settings output Built in Output Test 4 gt input Built in Microphone Show advanced settings active midi inputs The Laborator ITY 88 ARTURIA ARP2600 USER S MANUAL In this option menu you can e Set the audio output port e Choose the audio interface e Choose memory buffer size smaller size will increase the load on the CPU but will reduce latency and reciprocally e Choose sample rate between 44100 Hz and 96000 Hz e Choose one or several active MIDI input port s 8 2 VST 2 VST Virtual Studio
56. e Tun 10 100 IkHZ 10kH2 Coarse Tune Osc3 10 Siw 90 7 semi tones 4 PULSE ITH Bs NOTCH rexEGQUENCY Mh LF Set the third oscillator to sevenths triong Sow gt If you wish to bring more space to your sound add a delay or chorus effect to it For this click on the Chorus or Delay buttons situated on the toolbar open the grid on the left of the synthesizer This holds the settings for these 2 effects If you use delay you can synchronize it with the MIDI tempo of your host sequencer a midi gt SS eee ee r Dy eee ee rote depth drys time feedk druy wet L R L R wet The Chorus and Delay settings gt 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 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 original Let s again use the bass1 sound as template for the following preset e two oscillators VCO1 and 2 e alow pass filter VCF e an amplifier VCA e the tracking generator connected to the filter We will first see how to create a complex LFO modulation type on the filter cut off frequency with the help of the tracking generator On the tracking generato
57. e changes can either be made with linear potentiometers or thanks to modulation inputs which can be connected to the output of any module envelope low frequency oscillator LFO modulation wheel MIXER amplifier gt oC ppe aoe Kk A A audio output L audio output R PAN L R The oscillators can also be tuned and modulated separately with the potentiometers and a range selector These oscillators supply up to 4 waveforms that can be used simultaneously These 3 oscillators tuned separately and providing mixed waveforms quickly give us very rich sounds The tone can also be easily modified with modulation inputs 44 INIT OSC FREQUENCY INIT OSC FREQUENCY INIT OSC FREQUENCY FINE I UNE OSCILLAT NCRO PWM Pwr A E e A COCO pan A COPD P Pec Pose Le ou pose aces E feen fos cou CV j out 7 CY out PY ur cv Pal nny A The 3 oscillators settings ARTURIA ARP2600 USER S MANUAL 5 1 2 1 Oscillator 1 Range Frequency Fine tuning Audio outputs Sync FM Inputs General tuning of the oscillator by octaves Up or down 4 octaves and low frequencies Tuning by semi tone Initial Oscillator Frequency Up or down 2 octaves Fine tune up or down by up to a semi tone Output sawtooth amp square waveform connection jacks Synchronization of oscillator1 with 2 3 or 2 and 3 Frequency modulation input connection jacks e Key follow pre cabled for the manual setting of
58. e filter and its direction towards the stereo output e Two envelopes ADSR and AR modulating the low pass filters and amplifier ARTURIA ARP2600 USER S MANUAL 13 3 oscillators filter envelopes output amplifier a audio NIT cas FREQU FER INIT OSC FREQUENCY INIT OSC FREQUENCY INIT FILTER FREQUENCY AIAGA A P a iy Bs A D R GLOBAL VOLUME LEFT RIGHT B Y Bx kw Bo yw aii ia TIME TIME VOLT TIME ae output LIR FINE TUNE FINE TUNE FINE TUNE FINE TUNE audio input preamplifier SEED a a O Sim 30 on Sum 90 RESOI jCE k 1 3 3 L y pO oft Ka g NOTCH FREQUENL 32 ng Sow 3D Sow N ou Si Sin pulse Sin pulse el envelope w wr A follower reverb i ring modulator rm ee FM_CONTRO oe Or co CO PUM ar wey CONTRO COC ECE AA a ONTRO pe es Paj AU y GA vco g ea Ei ka TR i pa Raai K Eg E i veape pe oa E gp Ha ka GA vcr i vce veal out output A amplifier i midi in re idi Syn D Smooth out edit nc lt gt ia edit l s s s clock 0 B tracking chorus and ink OC ie O lel PPa N mi generator Fl edit w delay noise generator voltage processor sampie and hola 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
59. e tracking curve 4 Edit Button for opening the tracking curve edit mode e Edit interface 56 ARTURIA ARP2600 USER S MANUAL Tools selection 00 azasoeaee tracking line selection 2 oja Curve editor Curve editing screen Screen for real time curve editing Drawing tool Tool for drawing a freehand curve Line tool Tool for drawing a straight line Curve tool Tool for drawing an exponential curve Sine tool Tool for drawing a sinusoid Square tool Tool for drawing a square signal Noise tool Tool for adding noise to an existing signal Eraser tool Tool for erasing an existing signal Undo Redo To undo or redo a drawn signal A few tips for using it To create an exponential curve Firstly click on the editing screen to place the starting curve for the curve gt Drag without releasing to draw the curve Click and drag up or down to set the amplitude Click once again to validate this curve 5 1 13 Reverberation This module lets us add reverberation to the sound The reverb module ARTURIA ARP2600 USER S MANUAL 57 Right effect level Level Sets the output level for the right reverberation Left effect level Level Sets the output level for the left reverberation Right output Output R Right output connection jack with or without reverberation Left output Output L Left output connection jack with or without reverberation Dry input right Dry
60. ect 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 P footSwitch footSwitch out kbd latch keyboard controlers virtual keyboard 30 ARTURIA ARP2600 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 configured to receive MIDI events coming from the device 4 3 6 1 Learn Menu A new button and menu have been introduced in ARP2600 V The button and menu pro vide access to MIDI assign functionalities The left part of the button activates the MIDI learn mode while the right part small down arrow opens the control management menu New Config Save Config As X Delete Current Config v Analog Experience Keyboards New Config Learn Menu Learn Mode Button The Learn Menu is composed of 2 sections e First section provides o New Config creates a new controller set o Save Config As saves current configuration to a new one o Delete Current Config
61. ew name to the bank your initials for example the sub bank basses for example and to the new preset Bass1 for example ARTURIA ARP2600 USER S MANUAL ot 7 2 Polyphonic patch with cabling Let s reuse the sound bass1 as it will be useful to us for the next preset We will see how to surpass the limits of the pre cabled internal connections between the modules don t need cables Thanks to this method you will discover the richness of the ARP2600V2 This preset contains e three oscillators VCO1 2 and 3 e alow pass filter VCF e an amplifier VCA e the ADSR envelope connected to the filter e the AR envelope connected to the amplifier e a LFO connected to the filter Drag a cable from the saw tooth output on oscillatori 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 Iki GEC FoES INEY INIT TEC PRESS I MEY INi SEC CSET ALY oth W W r mee M Fist ear af W 30 l 2e 03 O35 3 0 30 Ty N hoe o al ioe yes ie 0 a Direct the Saw output to the VCOI 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 waveform on VCO1 If you need to be convinced disconnect the cable click on the mixer audio input to disconnect the cab
62. f oscillator 1 to input A and the sine output of oscillator 2 to input B Place these two oscillators to low frequency position LF so as to slow the oscillation speed Set the frequency potentiometers for the two oscillators to 0 3 Hz gt Connect output C of the interrupter to one of the filter modulation inputs 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 54 ARTURIA ARP2600 USER S MANUAL Selector switch C Selector switch C connection jacks between signals A and B External clock input External clock connection jacks pre cabled to the Sample Ext clock In 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 TO x PREAMPLIFIER H S out The preamplifier ENVELOPE FOLLOWER The envelope follower An example Try for example to insert an audio signal coming from a drum loop sample to the input of the envelope follower gt Connect the output of the envelope follower to one of the filter modulation inputs Increase the modulation rate for the amp VCA gt Do the
63. g 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 toolbar 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 the preset has been chosen you can play the new sound from your MIDI keyboard or sequencer v KL_Dancing Filter KL_Drum_Filter_1 KL_Ethnic_Organ New preset Delete preset KL_Dancing_ Filter 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 presets 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 pD next to the bank name A drop down menu appears with the choice of the main banks that are available
64. g 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 AII 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 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 ARTURIA ARP2600 USER S MANUAL 11 INIT FILTER FREQUENCY 10 100 1kb 10kH2 FINE TUNA RESOI 4 4CE whe TCH FREQUENCY Change the brightness of the sound In the same manner you can change the range of oscillator 1 by setting the Range selector to one of the values expressed in steps LF low frequencies 32 2 octaves 16 1 octave 8 standard tuning and 4 1 octave INIT OSC FREQUENCY FINE TUNE OSCILLAT SYNCRO US I I off kz Sow r E lvco1 oa W Squore Setting the range of oscillator By performing these first settings you have already modified the preset JMB_Simple1 You will now see how
65. he Sample and Hold clock Gate output type Output connection for a gate type signal for every note Gate played on the keyboard the signal remains active as long as the note is held down Trigger output type Output connection for a trigger type signal each note played trig by the keyboard presents a sustain time reduced to the minimum Switch trigger by S H gate Selection of the choice of envelope trigger AR and Sample and Hold ADSR by the keyboard or Sample and Hold clock This clock function reactivates the envelopes at every clock cycle ARTURIA ARP2600 USER S MANUAL 51 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 VOLUME AUDIO LIH EXP j oj LIN The VCA settings This module is very simple it contains Gain Sets the general synthesizer volume Initial Gain Audio input Audio input connection jack pre cabled to the filter and Audio VCF ring mod ring mod audio outputs Modulation inputs Modulation input connection jacks pre cabled on the AR Control 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 HOISE GENERATOR The noise generator Low pass frequency Sets the cut off frequency of the low
66. he playing mode configuration interface with the keyboard and LFO and finally the third contains the keyboard 5 1 Sound programming cabinet 5 1 1 Description The programming section groups all modules which can be used to program sounds 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 e 3 oscillators which can also be used as modulation sources VCO e 1 multimode filter VCF e 1 amplifier VCA e 2 envelopes dedicated to modulations e 1 noise generator e 1 ring modulator e 1 envelope follower e 1 sample and hold e 2 mixers on the filter and the VCA e 1 electronic switch e A tracking generator module e 5 mixer lag module e 2 effects chorus delay ARTURIA ARP2600 USER S MANUAL 43 audio Signal modulation Signal oscillator VCO1 N YO Z A OA oaciliator VCO N we Ree Y L besame a N A b 7 noise i e ring modulator gt filter VCF mN 94 envelope envelope ADSR AR S H 5 1 2 The Oscillators VCO There are three oscillators in the ARP2600 The oscillators permit the management of the base frequency and tone of the ARP 2600 It also manages the impulse width of the waveforms Thes
67. ilter frequency modulation input connection jacks Sono e 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 waveform of oscillator2 ADSR Env re cabled for the manual setting of the modulation by ADSR envelope 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 potentiometer 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 48 ARTURIA ARP2600 USER S MANUAL Only the cut off frequency can be dynamically modulated by one of the 3 modulation inputs For a conventional key follow setting in relation to the scale place the potentiometer completely to the top 5 1 3 1 The filter types 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 VYY
68. irectly to the next step Connect the sequencer B output to the second modulation input acting on the filter cut off frequency ADSR Raise the potentiometer of the same name to increase the depth of this modulation Ss ae a TIME sart Fa TIME al ae eae or i F iy AUDIO j OO ol oi ATE TRIG El ae S H aA vcr ar Lu vcr vea ltiel SAMPLE HOLD in freq midisync A B B O Smooth out LVL RATE ao Smoc ternal Sa Connect the sequencer B output to the second modulation input of the filter 86 ARTURIA ARP2600 USER S MANUAL EETA and raise the modulation potentiometer Play a note on your keyboard to start the sequencer Change the positions of the 16 potentiometers representing 16 steps in the sequence You can hear the variations on the opening of the filter cut off frequency This creates an automatic wah wah effect Itis 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 waveform width for oscillator square waveform etc These different examples were of varying difficulty We hope that they will have helped you get to know some of the possibilities offered by th
69. ith or exchanged for vouchers or coupons Furthermore as an owner of a NFR Product you are not entitled to any vouchers that ship with the standard version of the Product 2 4 Any Products labelled or otherwise provided to you as an Educational version grants the Licensee a non exclusive right to use the Product in perpetuity The Product shall only be used by students or those working in educational institutions This definition includes students faculty staff and administration attending and or working at an educational institutional facility private public schools colleges Universities and similar These Products must not be used for commercial purposes and must not be resold or transferred The Licensee can activate the Product on up to five computers as long as only one installation is used at any given time The Licensee must register the Product to Arturia to get access to client support and to activate his Product An internet connection is required to register and activate the Product either on the computer on which the Product is installed either on another device able to exchange files with the computer on which the Product is installed These Products are exempt from upgrade or crossgrade offers and cannot be purchased with or exchanged for vouchers or coupons Furthermore as an owner of an educational Product you are not entitled to any vouchers that ship with the Standard version of the Product 2 5 Any Products
70. ition to the EULA The provided samples instruments and presets can be used for commercial or non 96 ARTURIA ARP2600 USER S MANUAL commercial music and audio Productions without the prior permission from Arturia under the terms of this Agreement The usage of this Product in particular samples instruments and presets for the creation of a sound library or as a sound library for any kind of synthesizer virtual instrument sample library sample based Product or other musical instrument is strictly prohibited Individual samples sound sets or audio loops may not be distributed commercially or otherwise standalone Furthermore these samples sound sets or audio may not be repackaged in whole or in part as audio samples sound libraries or sound effects 6 Data Protection Arturia attaches great importance to compliance with legislation on data protection The User data collected are used exclusively for performing its contractual obligations No data is passed on to third parties Further information can be obtained from our Privacy Policy at www arturia com privacy 7 Limited Warranty Arturia warrants that the physical media on which the software is provided is free from defects in materials and workmanship under normal use for a period of thirty 30 days from the date of purchase The Licensee s invoice shall be evidence of the date of purchase Any implied warranties on the software are limited to thirty 30 days
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72. le You thus move from a saw tooth to a square signal Reconnect the saw tooth to continue with this preset Do the same with oscillator2 direct the saw tooth waveform to the VCO2 input on the VCF mixer Still on the same mixer raise the volume of oscillator3 to complete the base tone You will hear a sound composed of three oscillators 18 ARTURIA ARP2600 USER S MANUAL INIT OSC FREQUENCY INIT OSC FREQUENCY INIT FILTER FREQUENCY Sek Hl A tee eee SOLS i B 3 0 30 10 100 LHZ 1OkHZ2 FINE TUNE FINE TUNE FINE TUNE 10 cum 90 10 Sem 30 RESC NCE 4 PULSE OTH 4 PULSE OTH js Ey NOTun FREQUENCY triang Sow PWM EC EET E FM TY lt Sas BER Ea BA hi Ea ekes ER wy ead To Mi head m Key E Ka ea ed kH Ea Raise 2E ae A ee X Let s apply a variation to the filter cut off frequency with the LFO For this connect the sinus waveform of the LFO module on the left of the ARP sequencer to the control VCO2 sin modulation input on the VCF Raise the volume potentiometer for this modulation The filter cut off frequency will vary in a cyclic manner Sin pulse Sin pulse PWM PWM TIME su co on FM CC iL PWM je ci ON iL SS oe a Ey kY ea eal EE i KRP Ey Eg paa EN a LO VCO a Ey ea eal i kH ALE HOISE GENERATOR OLTAGE PROCESSO modin in a Mi AVE m E m E m E tei OH O O O internal clock wu SEQUENCER MODEL 1601 R
73. 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 sequencer outputs bus manager SEQUENCER MODEL 1601 global controlers Start stop manager 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 gt SEQUENCER MODEL 1601 The two lines of faders and selector switches 16 ARTURIA ARP2600 USER S MANUAL 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 Let s take a simple melodic sequence for example Load the preset Template Temp_SEQ 1x16_sSequencer You will notice that the connections between the sequencer and synthesizer are already done ARTURIA ARP2600 USER S MANUAL 17 A aed FS ol INIT OSC FREQUENCY INIT OSC FREQUENCY INIT OSC FREQUENCY INIT FILTER FREQUENCY A D 5 R GLOEAL UOLUME e 17 2 gt f 2 a E oe a 20 30 OS OF 3 0 30 0S 0 3 F 0 30 10 10 1kHZ TOkHZ TIME TIME VOLT TIME on o oOo I 3 j W FINE TUNE FINE TUNE FINE TUNE FINE TUNE n nox J A OSCILLA SYNCRO on soe 30 on Sule 30 PESO 4 4
74. mories SEE Select a snap memory To save a preset on a snap memory Select a preset on the sound map main interface gt Hold the Shift key and select one of the four snap memory button The snap memory button is now highlighted in red Repeat the same actions if you wish to save presets on the three other snap memories When all memories already contain a saved preset you can replace them with other presets Select another preset anywhere on the Sound Map interface click on any of the 4 Snapshot buttons while pressing the Ctrl key 4 4 3 The LIST preset manager The list preset manager offers a more classical way to explore the presets using a list interface in which the presets are classified and filtered in order to simplify preset management gt To open the list interface click on the LIST button located on the toolbar of the Sound Map aw t ae mug a tin 2 Click on the LIST button The list preset interface is very simple you can see four columns showing from left to right The preset names The instrument type The name of the sound designers A reminder of the presets added to a snap memory ARTURIA ARP2600 USER S MANUAL 39 Sound MAP Name Instrument Author 01 Marimba Roll O2_ frumpt FrHm oO 03_Trucker Bass 04 OctaBass 05 Wonder_Clavinet 06_StringSweet 07_Tubular Chimes 08 Violin 09_English Hrn 10_Fanfare Trumpt 11_Monster Organ 12
75. near potentiometers to create an other melody 18 ARTURIA ARP2600 USER S MANUAL 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 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 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 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 fashion to the rhythm of
76. nfiguration of the instrument VST 2 VST 3 RTAS AU 64 bit compatibility Use in Cubase Nuendo VST 1 Instrument use in VST mode 2 Rescan the plug in directory in Cubase 3 Saving of presets Using in Pro Tools RTAS 1 Opening of the plug in 2 Saving the presets 3 Automation under Pro Tools Using in Logic Mac OS X AU Using in Ableton Live AU and VST ARP2600V END USER LICENSE AGREEMENT 1 INTRODUCTION 1 1 The birth of ARP Instruments and the ARP2600 Alan R Pearlman whose initials would form the name of ARP Instruments became interested in instruments for electronic music as early as 1948 when he was a student at the Worcester Polytechnic Institute This was a means for him to associate his two passions electronic music and the piano It was by commercializing the amplifier models for the NASA Gemini and Apollo programs that he would start his career Around 1968 he started seriously imagining the possibility of building electronic 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 electronic products but also and above all else a large modular synthesizer the ARP 2500 The machine used a matrix which connected the different sections of the synthesizer instead of the traditional cables fo
77. nks to a real time morphing from the four selected presets saved on the snap memories The four presets are placed on the four cardinal points of the compass 40 ARTURIA ARP2600 USER S MANUAL Sound MAP kik k e Snap 2 05 Wonder_Clavinet Snap 1 CP_Diving Ss Snap 4 RL_Crossmod1l m Percussive m Sequence m Strings Snap 3 m Guitar RNJ_FA LING m Keyboard The Morphing interface gt To open the Morphing page click on the COMPASS button situated on the toolbar of the Sound map To create a new morphed sound from those presets Click anywhere on the centre of the compass area four red arrows appear converging to the group of presets gt Hold the left button of your mouse and drag the convergence point until having the good sound The green arrow shows you the starting point of your motion ARTURIA ARP2600 USER S MANUAL 41 gt 42 aa Sound MAP Se e e Snap 2 05 Wonder_Clavinet Snap 1 CP_Diving Snap 4 RL Crossmod1 m Percussive m Sequence m Strings Snap 3 m Guitar RNJ_ FALLING m Keyboard m Create a new sound If you wish you can save it on a User bank of the ARP2600 V memory ARTURIA ARP2600 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 t
78. oard 30 4 3 6 MIDI control 31 4 4 The sound map 34 4 4 1 The MAP main interface 35 4 4 2 The Sound Map overview 37 4 4 3 The LIST preset manager 39 4 4 4 The COMPASS morphing interface 40 5 The modules 43 5 1 Sound programming cabinet 43 5 1 1 Description 43 5 1 2 The Oscillators VCO 44 5 1 3 The Filter VCF 47 en U1 U1 UI OMNAUA The envelopes Output amplifiers Voltage Control Amplifier VCA Noise Generator Voltage processor Mixer inverter lag generator Sample and Hold generator The electronic switch module Electronic switch 10 Envelope follower 11 Ring modulator 12 Tracking generator 13 Reverberation 14 Chorus and delay effects 15 Control voltages CV control Keyboard interface Model 3620 Low frequency oscillator LFO The ARP sequencer 6 The basics of subtractive synthesis sdy al ae 7 The three main elements 1 The oscillator or VCO 2 The filter or VCF 3 The amplifier or VCA Complementary modules 1 The keyboard 2 The envelope generator 3 The low frequency oscillator 4 The ring modulator 5 Sample and hold few elements of sound design Simple patch without cabling Polyphonic patch with cabling Special effects patch with the help of the tracking generator Patch using the sequencer to create a melody Patch using the sequencer to create a modulation sequence 8 Modes of operation TE ciy 8 10 Standalone 1 Launch the application 2 Co
79. 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 result the TAE technology is based on the analysis of the analog circuits to be reproduced and converts 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 20 A 0 ee oe Response curve of the 12 dB low pass ha fiter of the original 20 NS ARP2600 SI d 40 ka i hl Response curve of the 12 dB low pass filter of the ARP2600 60 V Response curve of the 12 dB low pass filter of the original ARP2600 and the ARP2600 V 1 2 4 Ring modulator The ARP2600 V includes a ring modulator just like the original ARP2600 The ring modulator allows the application of a waveform a sinusoid to another in order to transform it The result is a more brilliant sound distorted and enriched in harmonics As a result of this increase in the number of harmonics standard ring modulation algorithms create an audible aliasing To avoid this unwanted effect TAE includes a module for the dynamic control of the amplitude with aliasing correction which removes every trace of aliasing in the signal coming from the ring modulator Sine wave Amplitude control module Input VCA with aliasing correc tion
80. or of the ARP2600 V 6 2 5 Sample and hold The sample and hold module lets us sample the signal connected as input The values for modulation are taken at every trigger signal connected as input This module is notably interesting for creating random modulations by sampling the noise Signal ARTURIA ARP2600 USER S MANUAL T3 It is also possible to use it for more rhythmic cyclic modulations by connecting a square or saw tooth waveform coming from a VCO to the sample and hold input The famous sound of R2D2 in Star Wars was created with the sample and hold module on the ARP2600 SAMPLE HOLD RATE electro internal clock uu The sample and hold module of the ARP2600 V Now to finish the scheme of a full synthesizer containing e 3 oscillators VCO e 1 noise module e 1 ring modulator e 1 sample and hold e 2 mixers mix of the 3 VCO noise and ring modulator towards the filter and the VCA e 1 filter VCF e 1 amplifier VCA can be placed in stereo space with the pan potentiometers e 1 ADSR envelope e 1 AR envelope _ aUdi Signal modulation Signal osciiator VCO3 MIXER noise j gt oscillator VCO1 ly audio N output L Y ae gt filter VCF MIXER REVERB gt PAN VCA L R y audio Sadie seveesbeeeee ef A A A output R f I i r envelope envelope AR E cant iy ds ADSR ring modulator 74 ARTURIA ARP2600 USER S MAN
81. 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 LFO LFO VIBRATO SPEED DELAY DEPTH on midi Sync oO off mod in The LFO Low frequency oscillator Sets the clock speed for the low frequency oscillator speed LFO speed Low frequency oscillator Sets the delay of the low frequency oscillator action delay LFO delay Vibrato depth vibrato depth Sets the depth of the vibrato MIDI synchronization The Midi Sync selector switch lets you synchronize MIDI sync the low frequency oscillator clock with the MIDI tempo Triangle output LFO triangle Audio output of the LFO triangle waveform Square output LFO Square Audio output of the LFO square waveform Sawtooth output LFO Saw Audio output of the LFO sawtooth waveform Sine output LFO Sine Audio output of the LFO sinusoid waveform External vibrato input Audio input for external LFO source LFO External Vibrato in 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 synthesizer parameters a sequence line applied to the opening of the frequency of a filter can be very effective for example 60 A
82. our presets 36 ARTURIA ARP2600 USER S MANUAL By Morphing between a group of presets i You can now drag your mouse between those presets The green arrow shows you the starting point of your motion When you release the left mouse button you can play the resulted sound and if you wish you can save it on an ARP2600 V user bank this way it is very easy to quickly get some new and exciting sounds without programming anything on the synthesizer interface 4 4 2 The Sound Map overview On the top right of the Sound Map main interface you can see an overview of this map You can use the map overview for navigating into the map and to zoom in or out inside of the map area The map overview interface To navigate into the map click inside of the red square and drag it on the map area to view other sections of the Sound map To zoom in the view on the sound map click on the Zoom slider under the overview window and drag it on the right to increase the size of the map To zoom out the view on the sound map click on the Zoom slider and drag it on the left to decrease the size of the map The zoom slider ARTURIA ARP2600 USER S MANUAL 3 Ay You can also use the ZOOM or ZOOM buttons under the slider to increase or decrease the map size step by step by factor 1 Click on the FIT ZOOM button allows resizing the map to its global size The FIT ZOOM button 4 4 2 1 The instr
83. oved by clicking the Clear button The message Unassigned will then be displayed Continue selecting the parameters you want to map to create a complete configuration 4 3 6 3 Manages Configurations New in ARP2600 V the possibility to maintain multiple configurations e Default configuration By default ARP2600 V loads the configuration for Arturia Analog Experience keyboards e Select one configuration A configuration is loaded by clicking the corresponding entry in bottom part of Learn menu 32 ARTURIA ARP2600 USER S MANUAL e Create a new configuration A new configuration can be created by clicking on the Learn menu New Config entry This will open a popup enter the name you want to call your configuration and click on the SAVE button A new entry for your configuration now exists in the list of available configurations You may now fill in this initially empty configuration by performing the assignment opera tions described in the previous section e Copy a configuration It is possible to copy a configuration by loading it and then clicking on Save Config As A popup opens enter the name of your configuration A new entry for your configuration now exists in the list of available configurations e Remove a configuration It is possible to remove a configuration by first loading it and then clicking on Delete Current Config 4 3 6 4 Minimum and Maximum Ranges
84. pass filter White Low Freq Noise volume Sets the noise volume Noise generator output Noise out connection jack Noise generator output 52 ARTURIA ARP2600 USER S MANUAL 5 1 7 Voltage processor Mixer inverter lag generator The voltage processor allows you to mix up to 8 inputs audio or modulation to one or several outputs It also allows you to invert the input signal a positive going modulation an envelope for example will thus become negative A lag generator allows you to smooth an input signal For example the square signal from a LFO approximates a triangle the more we raise the potentiometer value increasing the lag time VOLTAGE PROCESSORS modin in A in amp Mi 4 B OO a e 0 0 2 5 mm inv OLOA Ww inv e o ht o ii inv OC z0 oid The voltage processor 8 signal inputs input Audio or modulation signal input connection jacks 4 balance mix Sets the balance between the two input signals 4 inverters inverter Inverts the input signal 4 lag generators Smoothes the input signal 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 potentiometers 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
85. r and who wish to become familiar with the fundamentals in this domain Standalone ARP2600 V2 V x Fichier Aide Midi in All Chan ll Range 0 Tal rT Octave 0 al In C Media PCI Audio Out C Media PCI Audio Ea x Toolbar i gt p h 21 We mai Poly Skin Ee nN uP Bomom au 7 alida Aan i P INIT OSC FREQUENCY INIT OSC FREQUENCY INIT OSC FREQUENCY INIT FILTER FREQUENCY A D 5 R GLOBAL VOLUME eh O tl tet 2f Y if 2 Ef l 2 OF OF O 30 03 0 3 SF 30 03 3 0 30 10 30 TkH2 10kH2 TIME TIME VOLT TIME LEFT RIGHT out Dut FINF TUNE FINE INE FINE TNE FINE TUNE OSCILLATOR SYNC XO oF 90 oe oF 90 RESONANCE f 7 ye TE j mu om a ee a eal NOTCH EQUENCY tring Sow fi ele Synthesizer W Mix A E 9 ie m a int ofa e vas 4 e A E a HOC Er Xe 9 Hoa naea LFO Global Sequencer JE JEE JE JS ae ge an A el ee ee ee rans ortamen footswitch foots wite bd latch Virtual Keyboard Overview of the ARP 2600V 3 1 Using presets The use of presets is one of the biggest improvements of the ARP2600 V compared to the original In fact the latter was unable to save sounds 10 ARTURIA ARP2600 USER S MANUAL In the ARP2600 V a preset contains all of the parameter settings of the synthesizer including the synthesizer and different real time controllers eg velocity aftertouch pitch bend as well as the effects delay
86. r 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 ARTURIA ARP2600 USER S MANUAL 81 Open the tracking grid keyboord gatestrig gt or LIN EXP i in freq midi Sync 1 Yer electro 3 O of er internal clock wu then connect the output of the first tracking line to the filter modulation input Raise the potentiometer above the modulation input jack This is the modulation rate The modulation rate gt Next click on the edit button for this tracking line A secondary window appears It will allow you to graphically draw the waveform that will modulate the cut off frequency Click on the edit button 82 ARTURIA ARP2600 USER S MANUAL It is composed of three parts on the left the selection of the 4 tracking lines in the middle the interface for drawing the waveform and above the choice of drawing tools Tools selection CURVE EDITOR __ OO gawo nym E tracking line o e Curve editor By default the pencil tool is selected Start by drawing a freehand curve The form is not important Once this is done play a note to hear the result of this modulation You can set the oscillation speed with the
87. s the modifications you made to it The Librarian Menu of Pro Tools can be used with the ARP2600 V like with all other plug ins Nevertheless it is highly recommended to use the internal ARP2600 V menu with the presets saved like this they are usable no matter which mode is chosen standalone or other sequencer and they can be exported exchanged more easily and will stay compatible with future versions of the ARP2600 V 8 8 3 Automation under Pro Tools The automation function with ARP2600 V functions like with all RTAS HTDM plug ins check the Pro Tools documentation for more details on plug in automations 8 9 Using in Logic Mac OS X AU Make sure the plug in has been tested OK in the Logic Audio Units Manager To launch it click on the menu Preferences gt Start Logic AU Manager Create a new Software Instrument track 92 ARTURIA ARP2600 USER S MANUAL Grab File Edit Capture Window Help gt i OO Untitled Arrange a ie 5 Cs sf i i O 4 i J as ee i EJ el New Tracks Lef z E Inspector Preferences Settings Auto Zoom Automation Flex Set Locators Repeat Sect aae rt C Munti PERIE Bounce Regions Bounce Colors Notes Lists Media ru te Le edit Track Region Type Audio Snap Smart i Drag Overlap R Quantize off 3840 Software Instrument ee Q Swing y AL E O External MIDI d TB gt Global Tracks 5 Transposition Output g
88. scribed later on in this chapter y in 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 PWM FM CONTROL FM CONTROL PWM ICICICICICICICIC 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 input 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 point in the Connect to menu to create a connection It is also possible to delete the current connection by choosing the Remove connection option Remark Each modulation input can only receive one connection but each output connector can be connected to any number of inputs This allows us to use one modulation signal on several synthesis settings 28 ARTURIA ARP2600 USER S MANUAL NOISE GENERATOR O m Sinc a ee A A iS Sa white R Connect ADSR 1
89. 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 waveform output of an oscillator for example ARTURIA ARP2600 USER S MANUAL 53 Level Level Rate Rate External Input Noise gen Sample and Hold output Internal clock output Int Clock out External clock input Ext Clock in MIDI Synchronization MIDI sync SAMPLE HOLD electro Switch internal clock wu The sample and hold settings Sets the Sample amp Hold modulation level Sets the Sample amp Hold clock speed Audio or modulation external signal input connection jack pre cabled to the noise module Sample and Hold output connection jack Sample and Hold internal clock output connection jack External clock input connection jack 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 An example electro The electronic switch gt Connect the output of the square waveform o
90. square waveforms of oscillators 2 and 3 can be modified with the pulse width potentiometer Oscillator 1 possesses two audio outputs for the sawtooth and square waveforms These can be used simultaneously The second and third oscillators possess four outputs for the sawtooth sine triangle and square The 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 2600V2 This is to simplify the use of the synthesizer For example the frequency of oscillator 1 can be modulated from the left to the right by the key follow the sample and hold the ADSR envelope and the oscillator 2 sine In low frequency position LF the oscillators perform modulation using the lower CPU power compared to the other positions To set the modulation rate use the linear potentiometer situated above the corresponding jack 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 waveforms used by ARP 2600V oscillators 46 ARTURIA ARP2600 USER S MANUAL Sawtooth Square Triangle Nav
91. the LFO ARTURIA ARP2600 USER S MANUAL 19 vco E E EES See o e me PWM Pwm O Or CONTRO ala EAF INTRO en r er P Pa r CO oP J INTRO OD 7 CV out A C out Ril ore kR GEN ADS O T AMPLE HOLD OLTAGE PROCESSORS modin in A op z S Ti os D in mox no SE 6 2 3 L Y 19 11 12 E 14 1S 16 Modulate the fi ter eqns C Cutoff F requency with the LFO 3 5 The effects The effects section lets you add a Stereo Delay and Chorus to your sound on top of the reverberation which is already present in the original instrument The two effects can be found in the place of the left speaker grid on the synthesizer To open it click on the open button under this grid rote deptt time feedk wet L R L R wei k Open the effects grid 3 5 1 Chorus Chorus is used to copy your sound and slightly detune the copy to give it more depth and the Chorus ON OFF button in the effects section on the right of the toolbar Set the Chorus Dry Wet potentiometer to balance the raw sound and the one returning from the effect Next turn the Chorus Rate potentiometer to set the speed of the oscillations Finally set the depth of the chorus using the Depth potentiometer 20 ARTURIA ARP2600 USER S MANUAL rote depth K wet The chorus effect settings 3 5 2 Delay Delay brings a stereo echo effect to bring more space to your so
92. the cut off frequency and allows the sound below the cut off to pass ARTURIA ARP2600 USER S MANUAL 67 through unchanged Depending on the setting we will hear the sound becoming more or less brilliant more or less dampened This is the type of filtering that you will find more often than not on synthesizers that use subtractive synthesis It can be found on most of the recent analog and digital synthesizers Hz 20 00 4 00 3000 1600 320 0 O 1280 2560 5120 10240 Spectrum of a noise signal proceed with a low pass filter e 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 wat Ii J rh T H Hz 20 oo 64 oo S000 CBD zz 61280 24560 S170 10z 40 e The band pass band pass filter or BPF eliminates the frequencies situated on either 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 Hz 20 a E a000 160 0 3270 0 640 0 1280 z560 120 1 4 68 ARTURIA ARP2600 USER S MANUAL 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
93. tput connection jack for After Touch control Key follow outputs x1 and x4 Output connection jacks for key follow x1 tempered KYBD CV output key follow and x4 5 2 Keyboard interface Model 3620 The keyboard interface contains all of the parameters necessary for playing on a keyboard the monophonic or polyphonic playing modes the portamento the LFO mainly used for vibrato keyboard triggering modes etc KEYE CV OUT transpose range portamento footswitch footSwitch out kbd latch The keyboard interface Portamento trigger input pedal Output connection jack for portamento trigger portamento footswitch control with a pedal Sustain trigger input pedal Input connection jack for Hold trigger control KBd Latch with a pedal Play mode selector Modes Selection of keyboard play mode monophonic unison polyphonic WT Detune polyphonic voices Sets the detuning of the voices in unison Unison detune mode Select trigger modes Selects trigger mode for keyboard notes Trigger modes legato retrig Pitch Bend Simultaneously sets the frequency of the three oscillators Global tuning Global tune Simultaneously set the global tuning of the three oscillators ARTURIA ARP2600 USER S MANUAL 59 5 3 Low frequency oscillator LFO The use or a low frequency oscillator as source of modulation is quite common It allows us to make the tone of a sound evolve gently or to create a vibrato
94. trum of an existing well known software synthesizer 54 j 20627 22000 F 60 dB at 6 034 Hz pes Linear frequency spectrum of the ARP2600 V oscillator made with TAE 1 2 2 A better reproduction of analog oscillator waveforms The waveforms produced by the oscillators in analog synthesizers are marked by the presence of a capacitor in the circuits The discharge of the capacitor results in a light bend in the original waveform notably for saw tooth triangular and square waveforms TAE allows the reproduction of this capacitor discharge 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 filtering v 5 o 5 o 5 o 5 o 5 o 5 o 5 0 5 a Temporal representation of a saw tooth waveform of the original ARP2600 u ot N oN im o aN 5 S o 5 o 5 o 5 o 5 o 5 T emporal representation of an ARP2600 V saw tooth waveform reproduced by TAE What s more the original analog oscillators were unstable In fact their waveform varied Slightly from one period to another If we add to this the fact that the starting point for each period in Trigger mode can vary with the temperature and other environmental conditions N we find one of the characteristics that contributed to the typical sound of vintage synthesizers TAE reproduces the instability
95. ument type filter window On the right of the map main interface an instrument type filter window allows you to choose which type of preset you want to see or to hide on the map By default all types of presets are selected m Other m Pad m Bass m Lead m EFX m FM m Brass m Percussive m Sequence m Strings m Guitar m Keyboard m The instrument type filter To select an individual or a group of instrument types First click on the All button on the bottom of the type filter window this will hide all the instrument types from the sound map ALL The ALL button Then select the type s you want to see by clicking on the corresponding square box es A nock appears on the selected box es and the type s of presets appears on the map interface ad ass mp Hide Show Pad Presets oN Lead a Show pad presets This is a good way to simplify and to refine the preset search 38 ARTURIA ARP2600 USER S MANUAL gt If you click again on the All button all types of presets will be displayed on the map 4 4 2 2 Preset snap shot memories You can select up to four presets anywhere on the map interface and save them on up to four snap shot memories You will be able to use those four presets on the COMPASS view to create new sounds by morphing feature see below for more details on this feature Of course you can save any kind of type of presets on these four snap me
96. und It possesses independent settings for the speed and number of repetitions for the left and right sides It is also possible to create a large number of rhythmic combinations between the repetitions The delay speed can also be synchronized with the MIDI tempo Let s keep the preset JMB_Simple1 and see how to use the effects on this sound Activate the Delay button on the toolbar The effect becomes active Set the Delay Dry Wet potentiometer so as to balance the raw sound with the one coming from the delay 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 It is also possible to set the number of repetitions for each side Feedb Right and Feedb Left r midi m Syne DELAY mlS ay time feedk dr L R L R wet The Delay effect settings ARTURIA ARP2600 USER S MANUAL 21 3 6 Real time controllers and MIDI assign Like its brilliant ancestor the ARP2600 V is particularly adapted to real time playing One of the main improvements when compared to the original is that we can assign any potentiometer on the ARP2600 V to an external MIDI controller For example gt gt Click on MIDI Learn button of the toolbar Click on the Initial Cutoff frequency potentiometer of the filter A MIDI assign dialog appears Move the MIDI controller of your choice
97. und 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 Wonder 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 second 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 version The great rival of ARP was Moog Music The competition between the two manufacturers can easily be seen when we observe the machines The ARP for example has linear potentiometers while the Moog has rotating pitch bend and modulation wheels A well known episode of this competition was the 24 dB octave filter the 4012 used by the ARP This was a replica of the famous Moog filter In 1973 Moog threatened
98. up to five computers as long as only one installation is used at any given time The Licensee must register the Product to Arturia to get access to client support and to activate his Product An internet connection is required to register and activate the Product either on the computer on which the Product is installed either on another device able to exchange files with the computer on which the Product is installed Owning a license of the Products entitles the Licensee to get access to the future updates of this Product 2 3 Any Products provided to you as NFR Not For Resale version grants the Licensee a non exclusive right to use the Product for a limited period of time The Product shall only be used for demonstration testing and evaluation purposes NFR Products must not be used for commercial purposes and must not be resold or transferred The Licensee can activate the Product on up to five computers as long as only one installation is used at any given time The Licensee must register the ARTURIA ARP2600 USER S MANUAL 95 Product to Arturia to get access to client support and to activate his Product An internet connection is required to register and activate the Product either on the computer on which the Product is installed either on another device able to exchange files with the computer on which the Product is installed NFR Products are exempt from update upgrade or crossgrade offers and cannot be purchased w
99. ut 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 November 2014 edition Table of Contents 1 Introduction 5 1 1 The birth of ARP Instruments and the ARP2600 5 1 2 A better emulation thanks to TAE 6 1 2 1 Aliasing free oscillators 6 1 2 2 A better reproduction of analog oscillator waveforms 7 1 2 3 A better reproduction of analog filters 8 1 2 4 Ring modulator 8 2 ACTIVATION amp FIRST START 9 2 1 Register amp Activate 9 3 Quick start 10 3 1 Using presets 10 3 1 1 Now modify a preset 11 3 2 The 3 sections of the ARP2600 V 13 3 3 Overview of the Synthesizer 13 3 4 The sequencer 16 3 4 1 The ARP sequencer 16 3 4 2 The LFO 19 3 5 The effects 20 3 5 1 Chorus 20 3 5 2 Delay 21 3 6 Real time controllers and MIDI assign 22 4 The interface 23 4 1 Using the presets 23 4 1 1 Choice of bank sub bank preset 23 4 1 2 Creation of a bank sub bank preset 24 4 1 3 Saving a user preset 24 4 1 4 Importation Exportation of a preset bank 25 4 2 Use of controllers 26 4 2 1 Vertical linear potentiometers 26 4 2 2 Horizontal linear potentiometers 26 4 2 3 Knobs 26 4 2 4 The selectors 2 4 2 5 Switches 27 4 2 6 Pitch Bend 2 4 3 Using cables 27 4 3 1 Audio and modulation connections 27 4 3 2 Modifying a connection 29 4 3 3 Setting the level of modulation 29 4 3 4 Separate the cables 30 4 3 5 Virtual keyb
100. wn 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 button will not replace the current factory setting but will automatically open the Save As function 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 new_V2 _J Thompson new_V2 _K Lamb new_V2 _N Ubukata new_V2 _R Lyons new_V2 _T Conrardy Robert Templates New bank VENCY INIT OSC FREQUENCY INIT OSC FREQUE te ef W sf tel O Oe fs Se 30 FINE b Y v v y Y r Yy 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 presets click on the preset bank import button in the toolbar 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
101. y Arturia SA Product s All intellectual property rights in the software belong to Arturia SA hereinafter Arturia 1 2 The following editions of the Product are available Demo Standard EDU and NFR Whilst each edition equips the User with the same software the editions vary as regards both the scope of functions activated in the Product and the rights of use granted under this EULA 1 3 By installing the software on your computer you agree to these terms and conditions If you do not approve these terms and conditions you must not install this software 1 4 If you do not approve these terms and conditions please return the complete Product including all written matter packaging and similar material to the dealer from whom it was originally bought within 14 fourteen days after the day of purchase For purchases from the Arturia Online Store please contact Arturia on the internet website www arturia com support askforhelp purchase 1 4 Arturia reserves all rights not expressly granted in the EULA 2 Right of use 2 1 The Product is protected by copyright The Licensee may not lease loan or sub license the software The Licensee is not authorized to modify the software 2 2 Owning any product provided to the Licensee as Standard version grants the Licensee a non exclusive right to use the Product in perpetuity including commercial purposes The Licensee can activate the Product on

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