ARP-2600:STUDIO上有关ARP-2600的文档-源码

# ARP 2600 Documentation for the ARP 2600 at the [Frank-Ratchye STUDIO for Creative Inquiry](http://studioforcreativeinquiry.org), CMU. [R. Luke DuBois](https://github.com/rev3rend), March 2016. [Jet Townsend](https://github.com/functionalprototype), edits as needed, maintenance log  ### Introduction The [ARP 2600](https://en.wikipedia.org/wiki/ARP_2600) is a 'semi-modular' [analog synthesizer](https://en.wikipedia.org/wiki/Analog_synthesizer) designed by Dennis Colin and [Alan Robert Pearlman](https://en.wikipedia.org/wiki/Alan_R._Pearlman) - [A.R.P.](https://en.wikipedia.org/wiki/ARP_Instruments) himself - and commercially released in 1971. It was one of the first synthesizers extensively marketed for education, with a retail price of below $3,500. It is considered one of the canonical synthesizers of its day, so a 'mint' (or fully-restored) ARP 2600 can easily fetch $10,000 or more today. The ARP 2600 shows up in a lot of strange places... the synth was integral to the sound of artists ranging from [Jean Michel Jarre](https://en.wikipedia.org/wiki/Jean_Michel_Jarre) to [Joy Division](https://en.wikipedia.org/wiki/Joy_Division). It's also well-known in the sound effects community because of its built-in envelope follower; sound designer [Ben Burtt](https://en.wikipedia.org/wiki/Ben_Burtt) used this to great effect in making the 'voice' of [R2-D2](https://en.wikipedia.org/wiki/R2-D2) in the Star Wars movies. The ARP 2600 at the Studio is serial number 13029, making it an ARP 2600P 1.0 manufactured by Tonus Inc. in 1971. [This guide to the ARP2600](http://www.vintagesynth.com/arp/arp.php) shows the various models of ARP 2600 and the differences in electronics and construction. #### Documentation Original ARP 2600 owner's manual [here](http://guitarfool.com/ARP2600/Arp%202600%20Owners%20Manual.pdf) Complete ARP 2600 Service Manual (119 pgs) [here](https://github.com/CreativeInquiry/ARP-2600/blob/master/ARP-2600-Service-Manual-Complete-119pgs.pdf) Complete ARP 2600-2606 Service Manual (53 pgs) [here](https://github.com/CreativeInquiry/ARP-2600/blob/master/ARP-200-2606-Service-Manual-Complete-53pgs.pdf) ARP 2600 Wiring Harness [here](https://github.com/CreativeInquiry/ARP-2600/blob/master/ARP-2600-Harness-Wiring.jpg) #### Important: ARP 2600 Cables Are Not 1/8" Audio Standard The ARP synthesizers are built with Switchcraft(r) [Tini-Jax(r)](http://www.switchcraft.com/Category.aspx?Parent=60) sockets instead of standard 1/8" audio sockets. The Tini-Jax connector is .141" in diameter, larger than a 1/8" jack (.125") or a contemporary 3.5mm jack (.138"). Contemporary plugs will work in a Tini-Jax socket but feel a bit loose even after the plug is fully inserted. Because a Tini-Jax plug can destroy a 3.5mm or 1/8" socket we are not making vintage correct patch cables using Tini-Jax for the ARP 2600. So far (11 August, 2019) we have not found **any** Tini-Jax cables in the STUDIO. If you are working with other vintage analog synths in the STUDIO and bring in your own cables, verify with calipers whether or not you have Tini-Jax patch cables or 1/8" cables. ### The Basics The ARP 2600 is: - **Semi-modular** : unlike pure modular synthesizers (like the [Buchla](https://en.wikipedia.org/wiki/Buchla_Electronic_Musical_Instruments), [Serge](https://en.wikipedia.org/wiki/Serge_synthesizer), and [Moog](https://en.wikipedia.org/wiki/Moog_synthesizer) synthesizers), the ARP 2600 has a *default internal wiring* between the individual modules (similar to [patchbay 'normalization'](https://en.wikipedia.org/wiki/Patch_panel#Normalization) in a recording studio) so that you could bring it home, plug it in, turn it on, and get sound out of the built-in speakers without any additional work. The patch points on the front of the synthesizer then *override* these internal connections by breaking the internal connection, allowing you to customize how the modules are routed from one to another to make new sounds. - [**Monophonic / monotimbral**](https://en.wikipedia.org/wiki/Polyphony_and_monophony_in_instruments#Monophonic) : the ARP 2600, by default, is meant to be played with a keyboard controller, one note at a time, with each note making the same kind of 'sound,' or timbre. However, with a little bit of work, you can re-patch an ARP to leverage the four sound sources independently of one another to create more than one sound at a time. - **Voltage-based** : like most modular synthesizers of the day, the ARP uses voltage for both transmitting [analog audio signals](https://en.wikipedia.org/wiki/Analog_signal) (e.g. the sound coming from the oscillators) and [control voltage](https://en.wikipedia.org/wiki/CV/Gate) to modify parameters of the synthesizer. These signals are *both* carried over [Switchcraft(R) Tini-D-Jax(R) brand audio jacks](https://en.wikipedia.org/wiki/Phone_connector_(audio)). This allows you to treat audio signals as control voltage when using the synthesizer so that, for example, an oscillator can be used to 'sweep' the cutoff frequency of a filter. The downside of this is that *you can accidentally patch a control voltage line into the signal path to the speakers*, which can damage both the speakers and your ears. - **Subtractive** : the ARP 2600 makes sound based on the principles of [*subtractive synthesis*](https://en.wikipedia.org/wiki/Subtractive_synthesis) - the oscillators create waveforms rich in harmonic content which are then shaped by the filters and amplifiers. This is in contrast to [*additive* synthesizers](https://en.wikipedia.org/wiki/Additive_synthesis) where simple waveforms (e.g. sine waves) are combined to make complex tones. Subtractive synthesis, along with a default (keyboard-oriented) wiring pathway, is part of what makes the ARP 2600 a classic [*"East Coast"*](https://reverb.com/news/the-basics-of-east-coast-and-west-coast-synthesis) synthesizer. - **Multiple source / single destination** : many modules on the ARP can mix (add together) signals from a number of inputs without requiring an additional mixer module, but generally have only one patch point for the module's output. This goes for control voltage as well, so that you can often modulate a parameter of the synthesizer with more than one source at once. This is different from, e.g. a Buchla synthesizer, where separate mixer modules must be used to combine several oscillators through a single filter, or Serge synthesizers, where [banana jacks](https://en.wikipedia.org/wiki/Banana_connector) can be stacked to send a module's output to several places at once. ### The Interface The ARP 2600 has 14 or so modules, along with a keyboard, built-in speakers, and some other bits and pieces to make it easier to wire into an external sound system. Larger modules are arrayed along a top row on the main panel, with some smaller modules fitted into a bottom row between the speakers. The keyboard has some controls as well. Controls on the ARP consist mostly of [slide potentiometers](https://en.wikipedia.org/wiki/Potentiometer) (sliders), along with a couple of knobs and a toggle switch or two. Small trim pots are arrayed under rubber protective caps; these are used to fine tune the synthesizer. *The most important thing to know about the ARP out is the default wiring between the modules*. These are indicated by friendly diagrams under the patch points and sliders, e.g.:  This slider lets you mix in a signal to a module (this particular slider is from the ARP filter, but this user interface is consistent across the synth). Where it gets this signal from depends on *whether or not a cable is patched into the jack* below the slider. If no cable exists, the synth's default wiring is used, and the symbol below the jack tells you the default source. In