All fairly standard fare so far
but the more esoteric modules also supplied included a fully programmable
sample and hold voltage processor, a slew limiter, inverters and
signal/voltage mixers, a bi-directional voltage switcher, a voltage
processor/DC generator, a ring modulator, an input pre-amp, an envelope
follower and a spring reverb - it even had two speakers making it
totally self-contained. Because of this, the 2600 was quite popular
with US schools and universities as a teaching aid for the principles
of sound - in fact, ARP were keen to promote it as an educational
tool and it was partly designed with that in mind. Ironically, the
units that did go into education mostly resided in the physics labs
rather than the music department!
The keyboard shown above was initially
optional when the 2600 was first released. However, ARP released
an upgraded keyboard later on that was duo-phonic (you could, at
a push, play two notes at a time... but only just!) and had a simple
LFO for vibrato.
There were several things that set the 2600 apart from
its Moog rivals : the oscillators were considerably
more stable than Moog's (which could wander out of tune if the studio
door was opened and room temperature changed!). Each 'module' also
had a mixer at its inputs (the Moog relied on separate mixer modules
that needed to be patched in) thereby greatly reducing patch cord
tangle. ARP chose sliders over knobs because they thought that sliders
were far better for 'seeing' the sound (much like a graphic equaliser
is good for 'seeing' an EQ shape). For the facilities on offer,
the 2600 was quite compact and cost-effective (compared with a Moog
modular). However.....
The 2600 lacked oscillator sync, one of the envelope
generators was only a simple attack/release type (Moog's were all
ADSR) and there was only a lowpass filter (the Moog modulars also
offered highpass). The keyboard's pitchbend knob was not good -
a rotary control with a dead area at 12-o-clock - which could not
compete with Moog's pitchbend and modwheel (although this was a
limitation all ARP synths suffered).
It was also not a truly 'modular' synthesiser. A modular
synthesiser by definition allows you to add modules as required
- the 2600 was a 'WYSIWYG' modular with no option to add or replace
modules. It interfaced well with external gear and other synths,
however, so this wasn't a huge limitation.
That the 2600 sounded good is undisputed. It was not
as 'powerful' a sound as the Moog but was still full sounding. It
enjoyed enormous success and was endorsed by Stevie Wonder who pioneered
its use in his early seminal albums. Other famous users include
Joe Zawinul (Weather Report), Herbie Hancock, Pete Townsend (The
Who), Tony Banks (Genesis) and of course, the most well known users
of all..... Hollow Sun!!!
Yes - I had one and I loved it! As well as 'stock' sounds,
it was capable of some truly bizarre sounds and effects if some
adventurous patching was applied. It was also capable of great subtlety
- I remember creating a sublime gong sound using its ring modulator
that was thoroughly realistic. I also worked on the soundrack for
a TV program and created seagull sounds which, combined with stereo
multitrack layers of various colours of 2600 noise sweeps to simulate
surf, created a very convincing seascape that totally fooled the
program producers!
In 1986, however, due to a highly embarrasing financial
situation here at the studio, very reluctantly, I had to sell it
along with other analogue equipment. With the decline of analogue
synths, I had bought it for a mere £350 and I hung on to it
for as long as possible during the DX7 onslaught but in the end,
no-one was interested in analogue sounds and it just wasn't being
used - people didn't really even want samples of it! Sad but true
and in these enlightened times, quite unbelievable. I sold it to
an enthusiast/collector for a good price.
However, before it went, I managed to grab a few samples
from it which I managed to unearth. Unfortunately, only one floppy
disk survives, a collection of synth basses which are offered here.
Please remember that the only currency at the time for
sample storage and distribution was the floppy disk so I had to
work within a 1.3Mb limit. As a result, the sounds are small. However,
they are good and fruity and, despite their age, are very contemporary
and useful in any number of today's musical genres. |