![]() Later, the 2600 would sport a different filter, adding yet another variable to please and perturb modern collectors. ![]() Moog got wind of the similarity and soon put a stop to it. Its oscillators were rich and precise, while its filter could hold its own with Moog's famous 24dB model - and for good reason, as it turned out, for the ARP 4012 filter design was pretty much a 1:1 copy! With both ADSR and AR envelopes and a built-in reverb tank, the 2600 was beautifully outfitted, even by today's standards. For instance, though all three debuting synths provided noise generators, the 2600 offered sample-and-hold circuitry, making it terrific for space-age bleeps and bloops. The new ARP instrument trumped the competition in other ways, too. ARP knew this, and its advertisements took pot shots at the competition. There was a distinct difference here, though, in that the 2600's oscillators were relatively stable in pitch - something that Moog and EMS simply couldn't match. Like the other soon-to-be-classics on show, the 2600 offered three oscillators with various typical waveforms on tap. The 2600 came down in the middle: there was a fixed path under the hood, but the signal could be rerouted by plugging cables into the vast array of 1/8" jacks that peppered the instrument's front panel. EMS used a pin matrix to make patch connections, while Moog eschewed patchability entirely for a fixed signal path. Each manufacturer took a different approach to the question of patching on its new portable powerhouses.
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