John is right. As been said here before, the filter is 90% of the
sound of traditional synthesis.
<RAMBLE>
Remember that the 2600 is semi-modular and not modular at all. In
being so, this gave ARP the flexibility to normalize almost everything.
And this is pretty clearly denoted by the panel graphics. This also
lends more immediacy the the instrument compared to truly modular
synths.
This normalization helps get people into a "nice" sounding fairly
standard patch very quickly. Just look at how many patch cords you
would have used if you didn't have the normalization. On the other
hand, normalization also tends to stifle creativity and true
understanding of what you are creating.
Some of the parts are getting difficult to acquire and it seems that
Phil Cirocco has essentially removed himself from the ARP repair and
mod business he was once so well known for.
There are one or two things the 2600 has available that you cannot
currently reproduce on the MOTM. The one that comes readily to mind is
the current lack of an envelope follower in the MOTM line-up. (HINT,
HINT Paul) Having a headphone amp, built-in powered speakers and an
analog keyboard immediately available is also nice and makes the 2600
more approachable INITIALLY compared to MOTM. Although when
performing, I always run the signal direct and by-pass the speakers
entirely--they really do not do the 2600 the justice it deserves.
Once you get your MOTM system, you will probably loose the desire to
process the 2600 through your MOTM; you will probably want to use just
the MOTM IMO.
Another big difference is sliders vs. knobs. It seems trivial at
first, but it does affect how you use the instrument.
</RAMBLE>
--Shemp
> The characteristic sound of the Arp2600 is mostly the filter.
> > I wonder, what is so typical of the 2600's sound (which I
> > love)? Is it the filter? The oscillators?
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