KORG’s proprietary CMT technology faithfully reproduces the distinctive waveforms and filters, the custom LFO and envelope shapes, the many subtle nonlinearities, even the behavior of the patch panel – unlike any other 2600 software instrument. Thanks to this obsessive attention to detail, you can open the original ARP 2600 Patch Book (available as a free PDF on KORG’s website), hook up each of the 100 patches on screen, and they will sound just like an authentic ARP 2600 – something that no other 2600 plug-in can do.

Bringing the 2600 into the modern age
Preserving the fantastic sound quality, incredible flexibility, and quirky attitude of the original was only the beginning. To truly honor the legacy of this legendary instrument, we asked ourselves: if ARP redesigned the 2600 today, what would it be like? In response we made many improvements, including adding a second filter, a drive section, new modulation sources, extensive MIDI control, a sophisticated sequencer, up to 16-voice polyphony, and much more – all while keeping the spirit of the original ARP 2600 design.

Beauty in the details
Our engineers spent considerable time understanding every detail of the original and modern schematics, poring over the original 2600 manuals, testing with oscilloscopes, and most importantly listening.The original AR and ADSR envelopes, for example, might seem simple – but it took a lot of time and tweaking to get them just right. The oscillator waveforms are correct, including the slight imperfections that add a unique brightness (especially for the triangle and sine). We modeled both of the original VCF modules, the 4012 and the 4072, with a switch to select between them. We included all of the many saturation points on the original hardware, with subtle distortions that bring life to the sound. Extensive anti-aliasing techniques spread throughout the different modules let us deliver truly premium audio quality. KORG’s Component Modeling Technology (CMT) includes variations between analog components, just as you’d find with multiple hardware 2600s, to deliver natural richness when playing polyphonically.

Outside the patch panel, there are 20-odd Trim Pots to select between behaviors of different 2600 vintages, dial in calibration details such as square wave width and triangle wave symmetry (just like the original hardware), and more.

Preserving and expanding the 2600 spirit
Even more than most vintage synths, the 2600 has a character all its own. To begin with, no two sections are alike; each has its own purpose (often more than one) and capabilities to match. Each of the three VCOs has different features.The two envelopes work very differently. There are many hidden quirks, such as different ranges for identical-looking control inputs, phase inversions, and unusual waveforms. It’s a carefully considered instrument, but it also feels like a collection of bespoke modules. The differences guide the eye, and also simply make it fun to play around with. There’s a constant sense of discovery, of “wow, I can make it do that, too!”

When adding all of the new capabilities, we were determined to preserve the spirit of the original instrument. So, we resisted the modern urge to unify and standardize. Each of the VCOs is still different. When we added an envelope and an LFO, we made sure that they were different from the originals, enabling new sounds instead of just “more.” When we added a second filter, we made it entirely different from the main VCF. Each new feature speaks with its own voice. All of the additions have sensible normalled connections, incorporating the new LFO, envelope, and sequencer.

We also kept all of the controls of the original instrument, and even with all of the additions, we preserved the basic layout. If you’re familiar with the old 2600, or KORG’s new 2600 FS and 2600 M, you’ll feel right at home – but with even more to play with. .

Whats new in this version
ARP 2600 v1.0.2 Release Notes
Improved synchronization between Arpeggiator, Motion Sequencer, and LFO.
In the Librarian, the currently selected Category and Collection filters are shown - and can be cleared - even if they do not exist for the current object type.
Filters for Effect Preset browsers now stay in sync between mini and full effects editors.
Improvements to initial selection of the active Set List.
The "Buy" button in the demo version now leads to the correct URL.
Previously, creating a modulation routing to ADSR/AR and AUX ENV Gate Source or Manual Start caused a crash. This has now been fixed.

EP-1 v1.0.2 Release Notes
In the Librarian, the currently selected Category and Collection filters are shown - and can be cleared - even if they do not exist for the current object type.
Filters for Effect Preset browsers now stay in sync between mini and full effects editors.
Improvements to initial selection of the active Set List.
The "Buy" button in the demo version now leads to the correct URL.
Previously, when a Performance was loaded, if FX3 contained a non-reverb Effect Type, it was changed to a Reverb Type and turned off. If the Performance was then saved, the previous settings for FX3 would be lost. This has now been fixed.

VOX Super Continental v1.0.2 Release Notes
In the Librarian, the currently selected Category and Collection filters are shown - and can be cleared - even if they do not exist for the current object type.
Filters for Effect Preset browsers now stay in sync between mini and full effects editors.
Improvements to initial selection of the active Set List.
The "Buy" button in the demo version now leads to the correct URL.

System Requirements
- OS: macOS 11 Big Sur or higher (latest update)

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