You can also experiment with adjusting keyboard tracking – that’s VCF > Keybd it doesn’t have to be at max. He’s going for subtlety, but extreme effects sound good, too. Try moving the INITIAL FREQ fader around (in conjunction with VCO 2 control of the filter), and you’ll hear lots of different effects. The reason this sounds so different at the last step from Tats is the coarse tuning of VCO 2. The VCF settings – instant frequency modulation of the filter from VCO 2. Of course you can follow this with other renditions of the ARP, too, like the Arturia: Let’s borrow him from KORG and the now-defunct Red Bull Music Academy to have a look at FM and using the resonant filter as an additional oscillator. Our friend Tats did a nice intro to the ARP 2600. It is stupidly easy to get to things like filter modulation and FM with an ARP 2600 – and when the modeling is this good, it’s equally stupidly easy to make those sound good. So what you get is really ideal – the ability to drop an ARP plug-in (or standalone) into any production workflow, including that all-important audio input so you can use the 2600 as an effects processor or an audio input as a control signal. They’ve also nicely updated the original typography for readability while staying true in spirit to the vintage gear. And their display is custom-configurable – zoom levels, patch cable customization, and three attractive color themes (black/orange, gray, and blue). It’s easy on my eyes at 100% zoom, which is a problem with a lot of other software recreations. Almost every control is in its original location – with a handful of sliders moved to vertical positions (pulse width, for instance) to save space, but all easy to locate. It’s like they could have been there from the beginning. Where there are new features, like multiple filter types, distortion and delay, an extra plate reverb, and so on, they fit neatly onto the main panel and they’re implemented in a way that feels idiomatic. So you get everything on one screen, and all the sounds and features of the original are there. What I especially like in the Cherry Audio version is, it’s exceptionally well balanced between original features and additions. CA’s ARP is especially easy on the eyes – and fits on one screen, which is essential in software. That same ease applies to any bleep or bloop you may have in mind. The ARP 2600 makes it uniquely easy to do extreme filter modulation and to patch in signal (like the voice) – all the stuff that made R2D2 speak. So yeah, it is the “R2D2 synth” – but even that is revealing. That’s useful to experts, but – once you know what all those labels mean, nice for synth beginners, too. Tons of features are available normalled (without patching), including fairly exotic modulation – but most options can be patched, too. Faders instead of knobs make it easier to see where parameters are set. The 2600 has a uniquely “flattened” design – there’s just a ton of stuff right there in front of you. The product – Mac/Windows AU, VST, VST3, AAX, and standalone $25 intro price then $39 regularly: Cherry Audio has a killer ARP 2600 recreation – and it costs only US$25 (intro price). This could be the easiest and most inexpensive way to put the epic 1971 semi-modular synth in your rig.
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