(Mark Vail / Bob Moog in “ARP 2600 Most Popular Modular Synth” in: Vintage Synthesizers, page 124) They gave us credibility among retailers, and exposed our instruments to all the musicians in New York.” The turning point was when Sam Ash decided to take on the 2600, late in 1971. For most musicians of that time, the instrument was hard to use. We tried to sell the 2600 in hi-fi outlets as well as music stores. Powell (who left ARP to become a synthesist with Todd Rundgren ) recalls, “David and I travelled all over the place in a red Chevy van. David Friend and Roger Powell toured the United States, putting on demos and talking to musicians and dealers. “… the key to promoting the 2600 was to show musicians and retailers what could be done with the instrument. These new, weird and strange instruments necessitated Bob Moog and other company representatives travelling straight through the USA to gain popularity for their instruments among the general public). (In the early 1970s, music shops often had very little interest in synthesizers. The instrument’s target group was “schools” and “synthesizer beginners” … Pearlman believed that especially schools with small or medium-sized music departments would be the main market for the ARP 2600. It was intended to be an “educational instrument” – hence the clear layout, the graphics on the front panel and the self-sufficient concept (with loudspeakers and spring reverb). The ARP 2600 was presented for the first time in the autumn of 1970 as the successor to the huge studio-system 2500. These considerations are all the more important since KORG has just released the “new” ARP Odyssey, and the “new” ARP 2600 … and since the booming Eurorack modular market has reached a remarkable peak. What about the original ARP Odyssey, and the new 2600? What about the TTSH (Two Thousand Six Hundred) 2600-clone or a small Eurorack’s modular system with the possibilities of an ARP 2600? Wouldn’t these instruments be great-sounding, cost-effective substitutes for the “Holy Grail of Analog”? Finally we’ll debate about whether an ARP 2600 is worth its currently astronomically high price or not, leading to the question of whether other instruments might serve as adequate substitutes. However, one ARP 2600 is by no means like another ARP 2600 …īesides taking a closer look at the different ARP 2600 versions, we will also discuss their individual musical strengths. Only a few synthesizers exude this sense of exclusivity and magic, only a few instruments generate such a desire for doing spontaneous musical performance and sound design. The mission of the ARP Foundation is to celebrate Pearlman by making his inventions publicly accessible, and inspiring future generations to imagine and create.The ARP 2600 has fascinated the electronic music world for 50 years. Pearlman Foundation was created by Dina Pearlman, Alan Pearlman’s daughter, to honor the legacy of her father. Arp Instruments built a legacy as a great leader in the growth and development of the electronic musical market.įounded in 2019, the Alan R. One of Pearlman’s key skills was that he was able to build oscillators that stayed in tune and even developed a cordless patching technique using a matrix of switches. Pearlman created the ARP 2500 in 1970 and then the classic ARP Odyssey and ARP 2600. After leaving NASA, Pearlman Established ARP as an outlet for the creation of instruments known for their sound quality. Pearlman was nicknamed “ARP” as a kid growing up in New York City, so it seemed the perfect name for a company he co-founded when he was later designing electronic musical instruments. Speakers turn automatically off when using headphonesĪlan R. Normalized voltage: The threshold of the trigger signal required to activate the ADSR through the S/H GATE JACK has become 5V, making it much easier to use in combination with other gear such as volcas or Eurorack modules Pitch-bend, Modulation and Portamento ON/OFF can be controlled through MIDI CC messages (USB/DIN MIDI) Two types of filters from two versions of the original ARP 2600(4012 type, 4072 type DIN MIDI IN added Resized: The new size makes it easier to visualize your patch and also allows you to use shorter patch cables Plug and play: Connect any class compliant MIDI controller such as a KORG microKeys, nanokeys or SQ-64 to one of the ARP 2600 M’s USB ports (USB-A and USB-B) and automatically get full control of your instrument! The new ARP 2600 M is not only faithful to the original, it also includes an array of added features that will make it even easier to use:
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