I’ve spent a lot of time with the Korg ARP 2600 M Synthesizer and tested the broader ARP 2600 family to really understand what this semi-modular classic gives you in the studio and on the desk. Right from the first patch I made, it felt like playing with a piece of synthesis history rather than just another keyboard instrument. The ARP 2600 lineage comes from one of the most influential designs in analog sound, and Korg’s efforts to revive its essence have given me a real feel for what made the original legendary under Dennis Colin and Alan Pearlman back in the 1970s.
The unit I have is the smaller M version, which faithfully reproduces the original analogue circuitry of the full-size machine in a more compact and portable form. It’s semi-modular, meaning you don’t need to patch every connection to start making sound; however it really comes alive when you start using external patch cables to reroute and modulate signal paths the way vintage synth designers intended. It feels immediate and organic, with the three voltage-controlled oscillators offering thick, classic analog tones and the dual filter options giving you both that old-school warmth and bite. The design includes a noise generator, ring modulation and sample & hold for a wide sonic palette, and there’s even a true spring reverb that adds an unmistakably lush and analog space to patches that digital reverbs rarely capture as naturally. The semi-modular architecture means it’s educational as well as expressive, and every tweak feels hands-on and satisfying. It integrates respectfully with modular gear thanks to standard CV/Gate and USB/MIDI connections that aren’t an afterthought but genuine expansions of the original concept.
In terms of specifications, the ARP 2600M has three VCOs that can double as LFOs, switchable classic ARP filters, a built-in VCA, noise source, ring modulator and sample-and-hold plus built-in mini speakers that make it easy to hear ideas without external monitors. It also has USB and traditional MIDI inputs, 3.5 mm output jacks and a stereo headphone output. It’s capable of duophonic operation under certain conditions, and the patch panel opens up deep modulation and routing possibilities once you start experimenting.
The sonic character is unmistakably classic. The ARP 2600 M captures that signature analog growl and smoothness that made the original a studio staple on records, soundtracks and TV themes. Patches change character dramatically with subtle tweaks, and the interplay between oscillators and filters gives life to everything from deep basses to evolving ambient textures. The rubbery feel of sliders and the simple, uncluttered layout make it rewarding to explore without digital menus or hidden parameters, and that tactile interaction is part of why I keep coming back to it. Sample & hold, modulation paths and the spring reverb contribute to sound design depth that feels expressive and musically useful, whether for electronic, experimental or hybrid organic music.
It’s not perfect for everyone. The envelope options are limited compared to some modern synthesizers, and there’s no dedicated LFO on the M unless you patch one of the VCOs into that role manually. The sliders are a bit narrow and the smaller footprint means you don’t get the full keyboard experience without an external controller. Those issues aside, part of the joy is in learning and coaxing behaviour out of the synth that feels alive rather than pre-programmed.
Price is one of the first things that jumps out at you. The ARP 2600 M I’ve been using is available new around £1,199–£1,760, depending on retailer and stock status at any given moment, and limited edition or B-stock examples show slightly different listings. This means you can get genuine ARP-styled analog semi-modular sound for a price that, while not cheap, is far more accessible than the full-size units. The original full-size remake, represented online as ARP 2600 FS Analog Synthesizer, was originally announced around $3,899 (about £3,500) new when first released and in limited runs, and continued limited restocks have seen new retail listings in the ballpark of £5,000+. Used examples on the second-hand market regularly exceed £7,000–£8,000 and sometimes significantly more, reflecting rarity and demand for the authentic format. Vintage originals or well-restored models often push pricing even higher, sometimes into £8,000–£12,000+ territory for the most collectible pieces.
For me personally, owning and playing the ARP 2600 has deepened my understanding of subtractive synthesis and given me a palette that’s both historical and highly musical. It’s not a casual buy, even the smaller units are a commitment but if you want to explore classic analog semi-modular synthesis with real character and depth, the Korg ARP 2600 (especially in its M form) delivers an experience that feels timeless and inspiring.
The unit I have is the smaller M version, which faithfully reproduces the original analogue circuitry of the full-size machine in a more compact and portable form. It’s semi-modular, meaning you don’t need to patch every connection to start making sound; however it really comes alive when you start using external patch cables to reroute and modulate signal paths the way vintage synth designers intended. It feels immediate and organic, with the three voltage-controlled oscillators offering thick, classic analog tones and the dual filter options giving you both that old-school warmth and bite. The design includes a noise generator, ring modulation and sample & hold for a wide sonic palette, and there’s even a true spring reverb that adds an unmistakably lush and analog space to patches that digital reverbs rarely capture as naturally. The semi-modular architecture means it’s educational as well as expressive, and every tweak feels hands-on and satisfying. It integrates respectfully with modular gear thanks to standard CV/Gate and USB/MIDI connections that aren’t an afterthought but genuine expansions of the original concept.
In terms of specifications, the ARP 2600M has three VCOs that can double as LFOs, switchable classic ARP filters, a built-in VCA, noise source, ring modulator and sample-and-hold plus built-in mini speakers that make it easy to hear ideas without external monitors. It also has USB and traditional MIDI inputs, 3.5 mm output jacks and a stereo headphone output. It’s capable of duophonic operation under certain conditions, and the patch panel opens up deep modulation and routing possibilities once you start experimenting.
The sonic character is unmistakably classic. The ARP 2600 M captures that signature analog growl and smoothness that made the original a studio staple on records, soundtracks and TV themes. Patches change character dramatically with subtle tweaks, and the interplay between oscillators and filters gives life to everything from deep basses to evolving ambient textures. The rubbery feel of sliders and the simple, uncluttered layout make it rewarding to explore without digital menus or hidden parameters, and that tactile interaction is part of why I keep coming back to it. Sample & hold, modulation paths and the spring reverb contribute to sound design depth that feels expressive and musically useful, whether for electronic, experimental or hybrid organic music.
It’s not perfect for everyone. The envelope options are limited compared to some modern synthesizers, and there’s no dedicated LFO on the M unless you patch one of the VCOs into that role manually. The sliders are a bit narrow and the smaller footprint means you don’t get the full keyboard experience without an external controller. Those issues aside, part of the joy is in learning and coaxing behaviour out of the synth that feels alive rather than pre-programmed.
Price is one of the first things that jumps out at you. The ARP 2600 M I’ve been using is available new around £1,199–£1,760, depending on retailer and stock status at any given moment, and limited edition or B-stock examples show slightly different listings. This means you can get genuine ARP-styled analog semi-modular sound for a price that, while not cheap, is far more accessible than the full-size units. The original full-size remake, represented online as ARP 2600 FS Analog Synthesizer, was originally announced around $3,899 (about £3,500) new when first released and in limited runs, and continued limited restocks have seen new retail listings in the ballpark of £5,000+. Used examples on the second-hand market regularly exceed £7,000–£8,000 and sometimes significantly more, reflecting rarity and demand for the authentic format. Vintage originals or well-restored models often push pricing even higher, sometimes into £8,000–£12,000+ territory for the most collectible pieces.
For me personally, owning and playing the ARP 2600 has deepened my understanding of subtractive synthesis and given me a palette that’s both historical and highly musical. It’s not a casual buy, even the smaller units are a commitment but if you want to explore classic analog semi-modular synthesis with real character and depth, the Korg ARP 2600 (especially in its M form) delivers an experience that feels timeless and inspiring.
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KHOROS RECORDS LTD