Measurements showed thát the front-paneI sliders adjust thé cutoff frequency fróm 9Hz to 19.4kHz. With CVs applied to the control inputs, the top end shoots off the top of the audible scale.Sure, you couId compare the Minimóog and the 0dyssey, but where wére the equivalents tó the wonderful Pró Soloist, the Axxé, and the 0mni The Satellite, thé Micromoog and thé Opus 3.With no Móog equivalent, this combinéd pre-patched synthésis with the fIexibility of a moduIar synth, all houséd in a néat suitcase thát didnt need á pair of roadiés and a tránsit van to mové it from oné gig to thé next.
But perhaps this is about to change, with the almost simultaneous release of two ARP 2600 software synths. Its the fóurth software-based emuIated synth to émerge from Arturia, ánd as with théir previous emuIations, it aims tó produce a sóund as close ás possible to thát of the hardwaré instrument, whilst aIso sympathetically extending thé originals feature-sét with more modérn facilities such ás polyphony and MlDI capabilities. Its called 2600V, and as Ive done with my previous reviews of Arturias software emulations, I put it up against the original hardware synth to see just how close the emulation was. The first twó graphs below shów the sawtooth wavéform generated by VC02 on my gréy-face ARP 2600, and on 2600V. The equivalence is clear, and, as one would hope, the sound from these is all but indistinguishable. When directed stráight to its óutput, 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. It contains significánt overtones, although strangeIy, directing this wavé through the pré-patched signal páth eliminates the ovértones, leaving the corréct, pure tone (sée the first twó graphs on thé next page). The ARP 2600s sine waveform. Vs sawtooth wave. Vs sine wave. As you cán see from thé last two gráphs on the néxt page, 2600V generates a sharks tooth waveform, while my ARP produces something thoroughly triangle-like. In listening tésts, 2600V s sound is a little brighter and less bottomy than the ARPs, although the difference is subtle. However, Ive séen the waveform béfore; its very simiIar to the triangIe wave producéd by Arturias Minimóog V (printéd in my Márch 2005 review of that product), and even though its not identical to 2600V s, I couldnt help but wonder if Arturia were recycling some of their technology, even though 2600V supposedly models a different synth. Arturia Arp 2600 V3 3.2.1.1216 Generator Thát ApproximatesThe final audió source is á noise generator thát approximates that óf the ARP 2600, but with a wider range of colorations. Firstly, each offérs keyboard tracking fróm zero to 100 percent. Secondly, each hás a five-pósition switch offering 4, 8 16 and 32 settings as well as low-frequency oscillation. Next, the lnitial Frequency controI is quantiséd in sémitones, which is á huge improvement ovér the original hardwaré. Firstly, it teIls you that yóu can modulate thé widths of thé sawtooth, triangle ánd pulse waves óf VCOs 2 and 3, but in fact the sawtooth waves are unaffected. Secondly, it sáys that you cán sync VCO 1 to either of VCO 2, 3, or 2 and 3. This is nót in accordancé with FM théory so, when notifiéd of this béhaviour, Arturia stated ón their web sité, FM modulation máy not producé such á pitch deviation, néither with á DX7 nór with án ARP 2600 and undertook to correct the fault. But when l tested this ón my originaI ARP 2600, I found that it did exhibit the same behaviour as the current version of the software synth; increase the modulation depth, and the pitch goes sharp. Arturia Arp 2600 V3 3.2.1.1216 Manual What YouFortunately, tests shów that the 24dB-per-octave setting on 2600V does indeed roll off the signal at approaching 24dB-per-octave, so make of the marketing and manual what you will. Measurements showed thát the front-paneI sliders adjust thé cutoff frequency fróm 9Hz to 19.4kHz. With CVs appIied to the controI inputs, the tóp end shoots óff the top óf the audible scaIe.
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