Happily, 2600V 's pulse waves sound reasonably accurate whether static or modulated although, as on other software synths I've used, its square waves are too 'pure' they're recreations of a near-perfect square wave rather than the imperfect, not quite 50-percent waves of a real analogue. However, I've seen the waveform before it's very similar to the triangle wave produced by Arturia's Minimoog V (printed in my March 2005 review of that product), and even though it's not identical to 2600V 's, I couldn't help but wonder if Arturia were recycling some of their technology, even though 2600V supposedly models a different synth. In listening tests, 2600V 's sound is a little brighter and less 'bottomy' than the ARP's, although the difference is subtle. As you can see from the last two graphs on the next page, 2600V generates a 'shark's tooth' waveform, while my ARP produces something thoroughly triangle-like. It contains significant overtones, although strangely, directing this wave through the pre-patched signal path eliminates the overtones, leaving the correct, pure tone (see the first two graphs on the next page). When directed straight to its output, 2600V 's sine is brighter than that of my ARP 2600 - and how can one sine wave be brighter than another? Patching the output to an oscilloscope revealed all - the sine wave on 2600V is not a sine wave at all. The authenticity started to wobble when I inspected the sine waves (see the last two graphs on this page). The equivalence is clear, and, as one would hope, the sound from these is all but indistinguishable. The first two graphs below show the sawtooth waveform generated by VCO2 on my grey-face ARP 2600, and on 2600V. I began by evaluating the primary modules in the signal path: the VCOs, VCF, VCA, the output section, and the envelope generators that control them. It's called 2600V, and as I've done with my previous reviews of Arturia's software emulations, I put it up against the original hardware synth to see just how close the emulation was. It's the fourth software-based emulated synth to emerge from Arturia, and as with their previous emulations, it aims to produce a sound as close as possible to that of the hardware instrument, whilst also sympathetically extending the original's feature-set with more modern facilities such as polyphony and MIDI capabilities. This month, we'll look at the first of these. But perhaps this is about to change, with the almost simultaneous release of two ARP 2600 software synths. Nevertheless, the bias toward Moog survives to this day, as demonstrated by the host of digital imitations of the Minimoog. With no Moog equivalent, this combined pre-patched synthesis with the flexibility of a modular synth, all housed in a neat suitcase that didn't need a pair of roadies and a transit van to move it from one gig to the next. Sure, you could compare the Minimoog and the Odyssey, but where were the equivalents to the wonderful Pro Soloist, the Axxe, and the Omni? The Satellite, the Micromoog and the Opus 3.? Give me a break. But apart from this and the original Taurus pedals, Moog's record was never better than patchy. We see how it fares up against the original. You can even email your friends your latest preset from your iPad.Arturia's 2600V at its maximum 1156-pixel height, with the 1601 sequencer emulation and keyboard visible.Ĭompleting the quartet of vintage synth emulations they began with Moog Modular V, Arturia's latest plug-in aims to reproduce the sound of the greatest semi-modular of them all, ARP's 2600. If you're an SEM V user you can share your patches between the desktop and iPad versions of the SEM software via iTunes. Or start with a basic patch, build something and save your creations to the My Presets folder. You can load any of the hundreds of presets by simply pressing Load and choosing the sound designer or category that you want. We've also included a Hold function for long ambient patches and dialing in your sound over an arpeggio. Use Zoom mode to customize the width of each key to fit your fingers and playing style. Set your key and choose from 26 scales, including Major, Minor, Pentatonic, Lydian and more. Pressing the gear icon on the panel above the keyboard will reveal the keyboard controls. We have added our own touches and included the level controls for the chorus and delay as well as a poly switch to allow for polyphonic sounds. It offers three oscillators, an arpeggiator, two LFOs, a recreation of the classic Oberheim® multi-mode filter and the ADS envelopes. The main mode is the screen Oberheim® fans recognize instantly it is the classic front panel of the SEM, with some extra goodies.
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