ARP Instruments, Inc. was a
Lexington, Massachusetts[1] manufacturer of electronic musical instruments, founded by
Alan Robert Pearlman[2][3][a] in 1969. It created a popular and commercially successful range of synthesizers throughout the 1970s before declaring bankruptcy in 1981. The company earned a reputation for producing excellent sounding, innovative instruments and was granted several patents for the technology it developed.
"The electronic instrument's value is chiefly as a novelty. With greater attention on the part of the engineer to the needs of the musician, the day may not be too remote when the electronic instrument may take its place ... as a versatile, powerful, and expressive instrument."[4]
Beginnings
Following 21 years of experience in electronic engineering and entrepreneurship, Pearlman founded the company in 1969 with $100,000 of personal funds and a matching amount from investors, with fellow engineering graduate David Friend on board from the beginning as the co-founder of the company.[5] The company derived its name from Pearlman's initials, and existed briefly as the ARP Instrument Division of Tonus, Inc.[6][7] Their first instrument, the
ARP 2500, was released the following year.[4]
Success
The
ARP 2600 began production in 1971. As an engineer, Pearlman had little understanding of the music industry or its potential audience. He felt the best market for synthesizers would be music departments at schools and universities, and designed the instrument to be easy to use for this reason.[8] David Friend and musician
Roger Powell toured the US demonstrating the 2600 to various musicians and dealers, and it quickly became a popular instrument.[9] The first significant user of the 2600 was
Edgar Winter, who connected the keyboard controller of the 2600 to the main unit via a long extension cord, allowing him to wear the synth around his neck like a
keytar.
Stevie Wonder was an early adopter of the 2600, who had the control panel instructions labelled in
Braille.[10]
Throughout the 1970s, ARP was the main competitor to
Moog Music and eventually surpassed Moog to become the world's leading manufacturer of electronic musical instruments.[11] Performers found that ARP synthesizers were better at staying in tune than Moogs owing to superior oscillator design. The 2500 used a matrix-signal switching system instead of patch cords on a Moog, which led to some performers complaining about
crosstalk between signal paths. The 2600 on the other hand, used hardwired ("normaled") signal paths that could be modified with switch settings, or completely overridden using patch cords. [12]
There were two main camps among synthesizer musicians — the
Minimoog players and the
ARP Odyssey/
ARP 2600 players — with most proponents dedicated to their choice, although some players decided to pick and choose between the two for specific effect, as well as many who dabbled with products produced by other manufacturers. Notably, the 2500 was featured in the hit movie Close Encounters of the Third Kind;[13] ARP's Vice President of Engineering,
Phillip Dodds, was sent to install the unit on the movie set and was subsequently cast as Jean Claude, the musician who played the now famous 5-note sequence on the huge synthesizer in an attempt to communicate with the alien mothership.[14]
The
Odyssey was released in 1972. It was designed as a cut-down version of the 2600 for touring musicians, competing with the
Minimoog, and contained a three-octave keyboard. Later versions featured a pressure-pad operated pitch control system.[15]
The best selling ARP synthesizer was the
Omni, released in 1975. It was a fully polyphonic keyboard that used top-octave divide-down oscillators that had been used on
electronic organs, and competed with the
Polymoog.[15] In 1977, the company peaked financially with $7 million sales.[16] The
Quadra was released the following year, and contained a number of synthesizer modules combined and controlled by a
microprocessor.[16]
Decline
The demise of ARP Instruments stemmed from financial difficulties following development of the
ARP Avatar,[17] a synthesizer module virtually identical to the
ARP Odyssey without a keyboard and intended to be played by a solid body electric guitar via a specially-mounted hexaphonic
guitar pickup whose signals were then processed through discrete pitch-to-voltage converters.[18]
Although an excellent, groundbreaking instrument by all accounts, the Avatar failed to sell well. ARP Instruments was never able to recoup the research and development costs associated with the Avatar project[19] and after several more attempts to produce successful instruments such as the
ARP Quadra, ARP 16-Voice & 4-Voice Pianos, and the ARP Solus, the company finally declared bankruptcy in May 1981.[20]
During the liquidation process, the company's assets and the rights to the manufacture of the 4-Voice Piano and also the prototype
ARP Chroma – the company's most sophisticated instrument design to date – were sold to CBS Musical Instruments for $350,000.[21] The project was completed at CBS R&D, and the renamed
Rhodes Chroma was produced from 1982 to late 1983. The instrument has a flexible voice architecture, 16-note polyphony, weighted, wooden keyboard action with 256 velocity levels, a single slider parameter editing system (subsequently implemented on the
Yamaha DX7); and the inclusion of a proprietary
digital interface system that predated
MIDI.[22] It was controlled internally by an
Intel80186 microprocessor.[23]
Aftermath
In 2015, almost three and a half decades after it closed its doors, the company's second flagship instrument, the
ARP Odyssey, was brought back into production by
Korg, working in collaboration with David Friend, Alan Pearlman's co-founder at ARP.[5] In 2019, German manufacturer Behringer released their own version of the instrument, the Behringer Odyssey.
In 2013, Swedish DIY Synthesizer designer
The Human Comparator released a DIY remake of the ARP 2600, dubbed the
TTSH ("Two-Thousand Six Hundred"). Korg released a limited-edition revival of the ARP 2600 called the 2600 FS in 2019, with the instrument officially shipping in early 2020. Behringer likewise designed a modernized rack-mountable version of its own, the "Behringer 2600", which became available in early 2021.
Both the ARP 2600 and Arp Odyssey have been professionally recreated as virtual instruments. GForce Software and Arturia have modeled the 2600, while GForce and Korg offer virtual versions of the Odyssey, the latter officially endorsed by David Friend.[24][25][26]
The freeware synthesizer emulator Bristol features software versions of the ARP 2600, ARP Odyssey, ARP Axxe, and ARP Solina String Machine.[27]
Todd Terje uses an
ARP Odyssey, an ARP Sequencer and an
ARP 2600 in most of his productions. He used the 2600 exclusively for his It's The Arps EP from 2012, which contains his biggest hit to date,
Inspector Norse.[67][68]
Eberhard Höhn (1979). Elektronische Musik: Klangfarben, Klangentwicklung, Klangspiele. Hueber-Holzmann. p. 120. ARP: Amerikanischer Synthesizerhersteller, benannt nach dem Begründer Alan Richard PEARLMAN. (German: "ARP: American synthesizer manufacturer, named after founder Alan Richard PEARLMAN.")
^Vocalist/keyboardist,
Mark Mothersbaugh reported that the instrument broke down in such a way that it created an entirely new sound which would have been otherwise impossible to achieve. The "broken down" Odyssey is apparently featured in the Duty Now for the Future song, "Pink Pussycat".
^Kylee Swenson Gordon, ed. (2012). Electronic Musician Presents the Recording Secrets Behind 50 Great Albums. Backbeat Books. p. 184.
ISBN978-1-476-82136-8.
^
"ARP Sequencer". Music Trades. Vol. 124. Music Trades Corporation. May 1976. p. 31. 3 FOR THE SHOW 1. ARP Sequencer The long-awaited ARP live performance sequencer is here. Loaded with elegant features, the sequencer interfaces with the ARP Axxe, Odyssey and 2600 synthesizers. ... MUSIC TRADES. MAY. 1976 31.
^Down Beat. Vol. 43. Maher Publications. 1976. p. 3. The new ARP Sequencer adds rich new textures to your music while it frees both hands for playing keyboards. Just patch the ARP Sequencer into an Axxe, ...{{
cite magazine}}: Missing or empty |title= (
help)
^Jackson, Blair (2006). Grateful Dead Gear – The Band's Instruments, Sound Systems, and Recording Sessions, From 1965 to 1995. Backbeat Books. p. 190.
ISBN0-87930-893-1.