ARP Instruments, Inc. existed from 1969 to 1981 and produced some of
the most wonderfully musical synthesizers ever. I've always loved
these instruments, they were clearly built by some very talented and
clever folks.
This is a page of resources and articles on ARP Synthesizers.
I'm also including resources for the ARP/Rhodes Chroma, the
synthesizer ARP was working on as the company went out of business;
they sold the design to Fender/Rhodes, who put it into production.
This collection is not meant to be complete -- only select
technical, historical, and practical resources with closest
historical accuracy are included. (Suggestions are welcome, of
course.)
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ARP Web Resources
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Below, a collection of ARP technical, historical and
support resources on the web.
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ARP Articles
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Below, a bibliography of ARP articles.
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ARP Patents
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Reviews of all the patents I could find associated with
ARP Instruments, Inc.
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Upgrading the Rhodes Chroma Power Supply
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The "Nuclear Powered Chroma", my adventures replacing a
Rhodes Chroma power supply with a modern switching unit.
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Rhodes Chroma Pedalboard
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A nice pedal arrangement for the ARP/Rhodes Chroma.
The ARP Synthesizer-A New Instrument for Musical Composition and
Performance
David Friend
Preprint 742, 39th AES Convention October 12-15 1970
(Copies are available from the
Audio Engineering Society
for a minimal fee.)
A description of some of the philosophy and features of the ARP
2500, including extra-stable wide-range oscillators, matrix
switches replacing patch cords, three-note split keyboards (2-note
main + 1-note bass), multiple function modules (including an
entire synth voice in a module).
An Integrated Guitar Synthesizer for Live Performance
David Friend
Preprint 1289, 58th CAES Convention, November 4-7, 1977
(Copies are available from the
Audio Engineering Society
for a minimal fee.)
A block level description of the ARP Avator with a number of
interesting features. The instrument is monophonic, but they
use a hex-pickup. The hex pickup allows for the hex-fuzz sound
of course, but it also enables more accurate pitch detection as a
multiplex circuit selects only the most recently played string and
noises on other strings do not interfere. Also, the pitch
detection circuit goes through a variable speed shift register to
get extra-accurate conversion at the initial note transient, but
adds a delay as the note progresses to ignore the change in pitch
as the finger and string leave the fret.
The Electrical Design and Musical Applications of an
Unconditionally Stable Combination Voltage Controlled Highpass,
Bandpass, Lowpass, Band Reject Filter/Resonator
Dennis Colin
Preprint 786, 40th
Audio Engineering Society
Convention, April 27-30 1971
Journal of the
Audio Engineering Society
Volume 19, Number 11, December 1971
An analysis and block diagram for the ARP 1047 VCF module on the
ARP2500. This is a basic biquad filter with some nice
features and presented as an alternative to the Moog filter.
Unfortunately schematic details of the voltage controlled stages
are not included.
LP, HP, BP and BR outputs are all available simulatenously.
There is a potentiometer on the notch output to tune the zero
above or below the pole, altering the shape of the resonse curve
greatly. The Q is voltage controllable. Switch
selectable input gain for either a unity gain pass band or a unity
gain peak. A keyboard gate input with a second Q control to
set two separate Q's; one for for key up and one for key
down. Pretty featureful.
The Rise and Fall of ARP Instruments
Craig R. Waters,
Keyboard Magazine,
April 1983
based on the article in
Inc. Magazine,
November 1982
and reprinted in Vintage Synthesizers by Mark Vail.
Great historical account.
Rhodes Chroma: They Synth that Survived ARP's Fall
Mark Vail,
Keyboard Magazine,
October 1993
and reprinted in Vintage Synthesizers by Mark Vail.
An interview with Phil Dodds about the Rhodes Chroma, including a
lot of insights about the design.