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Behringer 2600 Blue Marvin
Behringer 2600 Gray Meanie
The ARP 2600 is the holy grail among synthesizers for many. Large and powerful in sound and its dimensions, the instrument has always thrilled listeners and users alike. With the 2600, Behringer has brought back this piece of synthesizer history and shrunk it down to a manageable size.
The instrument, littered with sliders, is more than comprehensively equipped with three analog oscillators, a switchable lowpass filter, mixer, two envelopes, LFO, VCA, reverb, ring modulator, noise generator, sample & hold, voltage processor and envelope follower.
The three analog oscillators provide an impressive sound foundation and can be continuously adjusted over a very wide frequency range. If the first oscillator has to make do with sawtooth and square, the other two additionally deliver sine and triangle. Complex modulations of the tone generators are accomplished in no time at all. In addition, the ring modulator and the noise generator have a crossfadeable character. If you want, you can feed two oscillators with square waveform into the open sample & hold circuit to create analog bitcrush! Once all sound sources are tuned in the mixer, they converge in the lowpass filter. Behringer has integrated both filter generations here that ARP had built in at the time. 4012 corresponds to the classic Moog filter with smooth resonance, 4072 is the typical ARP filter with grainy resonance. The end of the signal chain is the stereo VCA with panorama control and the wonderfully rattling spring reverb effect, which contributes to the vintage sound of the Behringer 2600.
The 2600 Analog Synthesizer as a whole is a guarantor of varied sounds that should appeal to experimental musicians and producers alike. This is not only due to all the tone generating and shaping elements, but also to the flexible possibilities to combine, mix and bend tones and modulations. What can't be done directly, i.e. pulling up a fader, can be modified accordingly via the Voltage Processor. In addition, there is nothing against sending the LFO together with the Sample & Hold through the ring modulator and controlling the filter cutoff with the ring modulated CV.
The Behringer 2600 synthesizer is semi-modular; this means that some connections, for example from the oscillator to the mixer, are internal, but if you need a different signal, this is simply replaced by patching. The same applies to all modulations: if a different control voltage source or a variant of it is needed, additional patch cables are used. Helpful here is also the imprint on each socket, which signal is present there by default.
Thanks to the preamp with envelope follower, you can use the instrument perfectly for processing other sources such as a drum machine. The synthesizer part can be completely integrated: the CV output of the envelope follower opens the VCA and at the same time controls the pitch of the oscillator, which modulates the filter. All this can then still be distributed in the panorama and chase through the spring reverb.
Behringer 2600I wanted to get into modular, but the ££s outlay needed for case, PSU, and all the ancillary stuff, before even getting to oscillators, filters, etc, was off-putting. The 2600 is the ideal solution: It is ridiculously patchable and sounds amazing. It is also much easier to work with than you may think from a casual glance. One of the best buys I've made in years!
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