via this auction
"This is the Original M5 with the black & orange colour scheme, as used for the later version ARP 2600.
Note that whilst it looks like a later model Rev.3 ARP2600, the M5's sound is both Moog and Oberheim inspired.
[Update: note the lawsuit mentioned below never happened. There was contention over the filter but it never got to that. via Wikipedia: "Early versions contained an imitation of Robert Moog's 4-pole 'ladder' VCF, later the subject of a threatened (though ultimately nonexistent) lawsuit"Also the epoxy covered modules were likely more for performance reasons. Not sure if it was to stabilize temperature and to isolate the modules. See the comments at the bottom of this post for more.]
The original ARP 2600 (Blue Meanie model) that many/most claim sounds best of the 2600's, stole the Moog filter design of course, hence epoxy sealed units, lawsuit, 4072 ARP filter redesign, etc... Plus, the M5 actually dwarfs the 2600 in overall height + size. This M5 is one of around 90 (I think) of the original versions that were hand made between 2005/6, so only 14-15 years old compared with over 40 for a 2600.
It has great build quality courtesy of Ken McBeth. No tiny slider tops or mini jack sockets to fiddle with... On a practical note you can get multiple (man sized) finger tips between the slider tops for patching/mixing/modulation purposes. A joy to play with as you can easily see all patch points, sources, destinations, signal flow, etc.
As regards stability & tuning, many older analogue synths had & still do have problems with these factors. This M5 tunes very accurately and holds tune throughout every session, nor is this dependent on whether it's hot or not - inside or out, as was the downside of many old analogue synths, though it's appreciated some do like such instability... I prefer to start off with known stability & increase detuning/instability if/when needed. There is even a stability pot on Osc#3 for dialing in that effect when required, except it's under your control and not at the mercy of other elements...
IMO the M5 is sonically much more powerful and versatile than the 2600, based on the dual filter type design alone.
It has BOTH a Moog based and classic transistor ladder 24dB/Oct filter for VCF1, PLUS an Oberheim based State Variable 12dB/Oct filter for VCF2.
As well as dual VCF's, I often used the CV controlled Stereo + Pan Amp with integrated Spring Reverb for Stereo/Spring FX of one or other VCF, or even a VCF MIX, such that I had 4 audio stems per patch for mixing. A glimpse of the huge flexibility on offer here & that's only on the output audio... Oh & you can take direct oscillator outputs for external or additional internal processing also.
There's no end to cross patching, mixing audio & CV signals & yet it's easy to see & keep track of what's going where.
There are more modulation & audio paths possible than I care to mention.1000's. It's a monstrous modulation playground really...
That said, as it's semi-modular, loads of basic & typical connections are already made (normalled) such that you can get hundreds of variations per patch with just sliders & pots before you have to even reach for a patch lead/cord, so immediate results are super easy. However, it certainly encourages experimentation once you're feeling more adventurous.
It has a total of 70 sliders which makes it easier to see the settings at distance for many of the functions, as well as allowing for easier patch mixing as one might do or have done on a classic analogue mixing desk. It could be a great educational tool in that regard, or else any synth fan could simply get lost in the possibilities and enjoy the sonic adventures...
Note there was no user manual for this synth, so it is assumed you are not a beginner to analogue synthesis & CV control. However, there is one now available online in print format from an eBay seller in the US. That would be very much worthwhile & offers up much detail on specific M5 patches & also on the differences re. ARP2600 in both layout & features.
As well as using as 2 separate mono synths, the M5 has per Oscillator CV, allowing you to play 3 note polyphonic chords with the right CV/Gate multiples set-up and opens up another whole area that mono only synths can’t access... In a mono set-up you can of course easily detune to play ‘fixed’ chords shapes from one note in any case and is great fun to experiment with this alone.
The fine sliders have musical intervals marked for guidance making this synth easier to sound musical/tonal when required.
Or you could flip all the OSC-CV (labelled 'KBD') to -1V, and hear what reverse keyboard playing would sound like...
As pictures shows this is a huge synth, far bigger than the ARP2600 at 3/4 of a metre high and wide. As well as all those those sliders, it has 23 rotary/switchable pots and over 100 ¼" jack sockets...
It has an external amplifier input so you can route audio in here from another synth, eurorack system, line level source or even microphone. I've had an SM58 dynamic mic direct through this & routed into the Ring modulator for the classic Dalek effect, then onto the VCFs & VCAs for further tone shaping/mangling...
Basic features/functions are as follows;
Oscillators - 3 VCOs + 1 Noise Generator w_White/Pink Mix. Sawtooth, Square w/ PWM, Triangle and Sine wave forms.
VCF - 2 VCFs 12 dB/oct (Low/Band/High Pass, Notch Oberheim type) and 24 dB/oct (low-pass Moog/ARP type)
VCA - 4 VCAs and 2 ADSR Envelope Generators, 2 Audio Mixers plus 5 Input CV Mixer.
LFO - 2 LFOs with Rising Ramp, Falling Ramp, Triangle and Rectangular waveforms. Includes 2 x Sample & Hold plus Lag functions.
Effects - 1 Ring Mod, 1 Spring Reverb with CV Stereo Panning.
Though as you can imagine the combinations are almost endless with what you have here above considering the cross modulation possibilities as mentioned. I planned to buy as a synth for life but a change of circumstances now requires funding.
Note also that this listing is for the synth only, as pictured.
You will need some sort of analogue CV/Gate output to control the Oscillators & trigger the Envelopes."
"The original ARP 2600 (Blue Meanie model) that many/most claim sounds best of the 2600's, stole the Moog filter design of course, hence epoxy sealed units, lawsuit, 4072 ARP filter redesign, etc..."
ReplyDeleteIt's too bad these false statements keep getting repeated.
There was NO lawsuit. Moog stole ARPs 2 voice KBD patent and used it on their 952 keyboards, and due to this fact both companies agreed to leave each other alone.
Submodules were NOT epoxy sealed to hide anything. They were sealed for environment and technical performance reasons. Encapsulation of hybrid circuits was common at the time in the industry Alan Pearlman and Dennis Colin -the designers of the ARP2600- worked in before Tonus/ARP was created. The ARP2500 1006 module has a *very obvious* moog ladder filter laid out on its wide open PCB. Easily seen and on the market more than a year before the 2600 4012 moog-style LPF submodule existed.
Please stop spreading false information.
Besides, the M5 is indeed a very nice synth, and does not need any comparisons to assert its worth. Except to point out as you did that while it looks like ARP, it is only a visual simularity.
Thanks for catching that. Post updated.
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