Korg

PATCH POINTS: Let you override the
default signal routings and access
additional features
SPRING REVERB: A similar authentic
lo-fi spring reverb to the original. Give
the case a knock and hear it twang!
FILTER: The 2600M provides access
to both the 4012 and 4072 fi lter
types found on the original 2600
SIDE PANEL: Adds both MIDI and
USB connectivity, and acts as a host
for external USB keys or controllers
FM VERDICT
8.8
N either the most expensive,
nor cheapest, take on this
classic, but for capturing the
allure of the original it ticks
the most important boxes
was noticeably purer-sounding than
both the Antonus, an Arturia
software emulation or even the
synth’s own VCO-2 output, which all
have some even harmonics added to
the odd-only mixture of a truer
square wave. This was noticeable,
but may simply be related to the
VCO duty-cycle calibration. Other
than these points, it was surprising
how close one could get the various
comparison synths to respond on
simple patches. As I found when
comparing an original Prophet-5 to a
recent reissue unit, the addition of
some very low-level distortion (in that
case from a Neve 542 Tape
Emulator) can often be enough to
provide the last piece of ‘authentic
vintage magic’ to the puzzle.
So where does Korg’s new ARP
2600 M fi t into the current synth
landscape? For those who want a
very capable synth that can rustle up
an array of more conventional
analogue musical tones – but at the
same time providing the fl exibility for
further exploration – it ticks many
boxes. It would also serve as an ideal
springboard to modular synthesis, or
even as an excellent complement to
an existing rig.
ARP’s old rival Moog have the
semi-modular Matriarch which sits in
a very similar price bracket and
offers benefi ts such as an additional
VCO, dedicated LFOs, dual fi lters
and a built-in keyboard. However it
lacks the envelope follower, lag
processor and a few other elements
on the 2600. Arturia’s MatrixBrute
– again in the same price band –
offers a decent complement of
socket connectivity alongside a
programmable patching system that
facilitates full patch recall.
For those who missed out on the
full-size Korg 2600, the Antonus
represents a more imposing presence
and one that claims to have the
sound and control range of a ’70s
classic-era 2600. However, its larger
size, robust case and ability to be
driven harder than the Korg, come at
a signifi cant uplift in price (though
still well under that of a refurbished
original). Notwithstanding any sonic
differences, the Antonus (like the
original and TTSH, its DIY
progenitor) employs through-hole
components, which makes for much
easier maintenance or modifi cation
in the longer term.
We cannot, of course, also ignore
the elephant in the room when it
comes to recent recreations/
reimaginings of classic synths –
Behringer. At around £500, their
rack-mount 2600 Gray Meanie loses
the loudspeakers but gains some
useful additional features. There will
always be quality concerns when
price is squeezed so much (such as
the lack of chassis support for the
sockets) – and reputation counts for
a lot when shelling out hundreds or
thousands on a synth – but only time
will be the judge on this front.
There are also many plugin takes
on the 2600, including TimewARP
2600 and versions from Arturia and
Cherry Audio.
Ultimately, direct comparison of
so many competing versions can be
fruitless as they often feature
different parameter ranges or
improved features. However, given
Korg’s pedigree and the fact that
they teamed-up with ARP co-founder
David Friend to produce their
version, you’d expect to be in a
relatively safe pair of hands. What’s
perhaps more important though is
how the 2600M sounds – and the
answer is ‘very good’.
PATCH POINTS:
Let you override the
default signal routings and access
SPRING REVERB:
A similar authentic
lo-fi spring reverb to the original. Give
FILTER:
The 2600M provides access
to both the 4012 and 4072 fi lter
SIDE PANEL:
Adds both MIDI and
USB connectivity, and acts as a host
Korg ARP 2600 M | Reviews
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