Cherry Audio says that this $25 ARP-style vintage synth plugin is “the finest 2600 emulation ever created”
Could the CA2600 give you all the ARP you need?
The past year has already seen hardware reboots by Korg and Behringer, and now Cherry Audio has put a new software spin on the legendary ARP 2600 synth with the release of the CA2600 plugin.
Promising to model every aspect of the original and shipping with more than 300 presets, this can operate in monophonic and duophonic voice modes. There are some features that take it beyond the original, too - ‘semi-normalled’ patch cabling and integrated effects, for example.
For a true-hands experience, everything is laid out in front of you with no hidden menus or windows.
CA2600 is available now in VST/AU/AAX and standalone formats for $25 (regular price $39). There’s also a 30-day demo, and you can find out more on the Cherry Audio website.
Cherry Audio CA2600 specs
- Every aspect precisely modelled in exacting detail
- Over 300 presets
- Monophonic and duophonic voice modes
- Vintage-correct multi-mode filter with 12db and 24db slope
- Integrated, fully CV-controllable distortion, reverb, and delay with sync
- Sidechain audio input for external signal processing
- Flexible CV Routing
- Multiple voice assign modes
- Advanced patch cabling with unlimited mults per jack, “quick patch” for rapid multiple destination routing, and click and drag movement of multiple connections
- Additional LFO with six waveforms and tempo sync
- Voltage Processors section with additional VCA and 1/2-step quantizer
- Selectable blue, gray, or black/orange color schemes
- Full MIDI control
- Full DAW automation for all controls
Get the MusicRadar Newsletter
Want all the hottest music and gear news, reviews, deals, features and more, direct to your inbox? Sign up here.
I’m the Deputy Editor of MusicRadar, having worked on the site since its launch in 2007. I previously spent eight years working on our sister magazine, Computer Music. I’ve been playing the piano, gigging in bands and failing to finish tracks at home for more than 30 years, 24 of which I’ve also spent writing about music and the ever-changing technology used to make it.