Super cool synth with infinite potential for all sorts of crazy sounds, but the learning curve is steep, so you need patience to truly appreciate this synth.I took a star off because the sliders and switches are comically fragile, I had to turn in my warranty because one of the sliders fell off just from me adjusting the setting normally.

Long story short, I owned the Grey Meanie for a while and really enjoyed it. Sold it, regretted it, decided to save money by getting the original "xmas tree" (digital reverb) unit. Just don't. Aside from the digital reverb not responding to being overdriven like the spring tank does, the two channels are out-of-phase, which means attempting to turn up both L&R reverb channels causes them to cancel each others' wave forms and become inaudible. If you're running the synth to a mono channel, maybe you won't mind, but there are other issues with mine, like LEDs going out and I'm just altogether disappointed in this variant of the synth. I inquired about a return a bit too late due to the LEDs and the shipping costs due to the size of the unit was prohibitive so I decided to just hang on to it, but I think I'll now try my hand at selling it locally as I'd rather put the money towards something that takes up 1/4 of the space with 10X the functionality. It looks kinda cool, though.

The Behringer 2600 seems to have a very close sonic resemblance to its forebear in a small percentage of the space and cost, and, hey—it won't take you years to find one. Interoperability with outboard VC devices and modules is seamless and dramatic. One feature that sets it apart from ARP and KORG units is the LED sliders, which further the goal of a very intuitive interface and provide feedback for things like clock rates. The tones are powerful and the instrument is equally at home as either playable by keyboard, or as part of a generative patch. The only things to be mindful of, are that the volume decreases a lot under regeneration, and I would definitely recommend spending some time online with tutorials to figure out how to get sound from this when you are first getting started. I did, and was up and running within a few short minutes. I have as yet to really scratch the surface of what I can do with my 2600, and that, as well as the aforementioned benefits is why I highly recommend this synth, for either studio or stage.

The 2600 is a great piece of gear. The oscillators are capable of so much. The internal circuits make it easy to get a feel of it. It plays well with external CV gear.

I've had the Behringer 2600 for a couple of months now. I always wanted an Arp2600 but couldn't afford one. Behringer solved that problem. Such an amazing array of sounds can be created with this synth's semi-modular design. It's also very faithful to the original Arp 2600 and has a few added features that the original didn't have. I highly recommend this synth to anyone who loves modular analog synths.

A full featured analog synthesizer based on the legendary ARP 2600, Lots to learn and many features to explore, not "Easy" to use but it seems to do everything. Teamed up with my Poly D via MIDI with excellent results. Complicated, Yes but alot of fun.

I had a problem with this and Sweetwater sprung into action an shipped me out a replacement the next day, Impressive service!

The documentation is a bit weak but there are several YouTube videos, just search ARP, B2600, ralph (Ralph is very knowledgeable and will get you up and running on this semi-complicated piece of equipment.

Buy It!

Well, my malfunctioning 2600 was replaced with a brand new one thanks to Sweetwaters awesome repair manager! I'm one dedicated Sweetwater customer; ))

I've had my B2600 for three years. For the first two years it was a really incredible value. I really loved it! But now I'm having some trouble. The patching jacks on the front panel are failing one after another. Also some of the internal hardwired connections are failing. I've treated this instrument very well, definitely never abused. So I'm sending it back to Sweetwater for repairs. The warranty expired three months ago, so this repair is coming out of my pocket. If the shipping and repairs are above $ I'll just buy a new one. I like the B2600 that much. I hate to say it but if I do have to buy a new one... I could call this my first disposable synth.

I know nothing about modular synth patching, but wanted something totally different than another rompler. A synth with many hands-on controls, and this was perfect.
I already have the Wasp and Cat by Behringer and really like them both, but this monster is on another level. 8 rack spaces of amazing sounds are waiting to be released.
This is a very complex synth, yet I was creating fat analog goodness within minutes by adjust a few sliders. I also purchased some patch cables to start changing wave choice and routing...very fun.
Well worth the purchase price. Watch some online videos...this does so much more than bleeps and bloops.

I'm an old guy, and I've owned all the collectable mono's at some point. I also briefly owned an original 2600, and a Roland System-100, so I'm quite modular-savvy.
If you're considering an entry into the word of Eurorack, I honestly believe the B2600 should be any sensible musicians starting point. For the price, you just can't beat the functionality in one box.
Get a B2600, muck around... then decide where you want to augment and add modules.
There is a bit of a learning curve, and numerous little oddities. But the sounds I've been getting after a few days of ownership tells me this is beyond a keeper...
This is the "from my cold dead hands" synth.

Thanks, Sweetwater, for your great service and pricing. My unit was shipped onwards to me in Nicaragua and will live out its days at the beach....

Around 1974 I bought an ARP Odyssey because I thought the 2600 was beyond my understanding. Love my Oddy, still have it, but this 2600 goes FAR beyond it! Understanding the signal flow is important and there are many great videos available to learn from. My work with my Odyssey taught me that years ago but now the possibilities are wide open with this semi-modular synth. YouTube videos are a frequent visit for more tips and patches.
The first thing I noticed was the clean sound and smooth sliders. With 2 available VCF filters and beautifully lit sliders it is a joy to use. Don't let the low price fool you. You do not need to spend thousands to get the same sounds. MIDI and USB didn't exist 50 years ago and so this integrates easily in my studio. I didn't need 'another keyboard' as I have plenty of controllers. It's smaller size has a great footprint on my desk.
The reverb. Mine is the black and orange and uses the digital reverb as opposed to the spring 'verb. Personally, I don't like spring reverbs so the digital was my choice. Remember, you can always route it to your favorite FX. I love this new synth and the guys at Sweetwater are great. Bottom line… get one from them! Don't wait 50 years!!

The Behringer 2600 delivers exactly what you'd expect. That classic epic 70's sound that can't be matched. No real synths can do what the 2600 can do in one package, but Behringer delivers it at a super affordable price compared to the competition.

NOT for the faint of heart or new to sound design though. Back in the 70's and 80's you often had people who specialized in programming synths, and there's a reason for this. You'll find it in the 2600 for sure. Even if you're used to using standard subtractive synths, you'll often find yourself scratching your head with this synth. Once you master the difficulty curve though, the magic endlessly pours out.

If you need/want that 70's sound or a unique piece for sound design, I can't recommend this piece enough.

I am new to analog (semi)modular synthesis. Finally something like this being affordable I pounced on it. Spent hours just having a blast and not even using patch cords or external hardware attached. Well built, well packaged, & excellent instructions in included manual. This will never be leaving my collection of working gear. Going to fab a case for it soon. Thanks SW!

I've been playing with this synth for a couple of weeks now and I love it more all the time. It has a very sturdy build. It's very large in my space so I had to move some stuff around but that's ok. Works great with a midi controller keyboard (I use an AKAI MPK 225) and I can also use my Beatstep Pro. Regarding using the CV from the Beatstep Pro - learned from folks online that in order for the envelopes to work properly I had to use a stackable cable to send CV to BOTH the gate and trigger input at the bottom of the AR envelope section. Once I did that everything works as expected. The thing I love most about this is that unlike my other semi Modular gear (Moog DFAM, Subharmonicon, Mother32) the 2600 has patch points for pretty much everything so you can control anything you want from anything else. The Moog gear has a lot of patch points but omitted some that I wish they hadn't. I love that there are sooooo many modules packed into this single 2600. If I had to buy all of this stuff separately it would be way out of my range. I have been connecting this to my computer via an Expert Sleepers ES-9. I patch my Moog stuff in as well, then bring everything in to VCV Rack (also Ableton or Bitwig Studio). So now I feel like I have a nice blend of unlimited virtual modules as well as lots of hands on hardware to use at the same time. My next step is I plan to build or buy a stand so that I can tilt the 2600 more vertical to make patching and tweaking easier, and to create more space on my work surface. I highly recommend this synth. Did I mention that the sound is amazing! Also the pitch stays accurate from a very low to very high range, so no complaints there.

The Behringer 2600 has exceeded all my expectations. It's a beautiful sounding and well made synth. Behringer did a great job of replicating the sound of the original 2600. My first two synths were the ARP Odyssey and Korg MS20 so I've been around awhile. It also plays well with my Eurorack Modular system. I love it so much I bought another. Two midied together has a massive sound not unlike the ARP 2500 and the large Moog modular systems. Behringer has a winner here!

I have only good things to say about this synth, it sounds fantastic and after ovning it for over two years now I'm more and more pleased with it. It stays well in tune, and it sounds better and better after more use. I can get that deep sounds with fast attach or endless depth I really hoped for, its so versatile for soundcreation that I always finds sounds that I could not imagine was possible to create. First of all its a synth that fills all my needs for a standalone synth and goes well with all the rest of my gear but is also an inspiering tool to create new music. Quality is just mint, never had any issues with any of my Behringer synth(I have 2 Crave as well). The rest of my synths are Rolands/Korg.

Just spent the last 8 hours reacquainting myself with a dear old friend!! My first and only synth for many years was an ARP 2600P v3 built in 1972. I can say from experience that this B2600 really is exactly the same -without the failing components I was experiencing when I finally sold my old one.
The biggest surprise that I had not read about in any reviews is that they also added all the features from the ARP Model 3620 keyboard which was not available until about 1976. That whole lower left section with duo mode, LFO, VIB DELAY, etc., and the portamento and interval latch jacks on the back are not some modern invention/addition by Behringer! I got to briefly use (but never own) an ARP 2601 v4 from 1977 that had that newer keyboard. Behringer nailed all that functionality too! They really did their homework to give us a chance to have a classic again.
This synth won't be for everyone. It takes time to learn and reproducing an exact setting days later will be extremely difficult. But for someone like me that has missed my old friend for 20 years, it's like a joyful reunion.
Thank you Behringer.

The amount of sounds this unit is capable of is limitless. Excellent build quality and exceedingly reliable.

I'm a complete novice with synths and after looking into the different options this seems the most expansive while remaining relatively simple to use and learn on. It's also one of the most popular synths over time so there is a LOT of information and tutorials out there to learn which was very helpful. Overall can make some great sounds, and the modern USB midi functionality is really helpful, was recognized in cubase immediately and i was able to send midi notes/sequences to it within minutes. (Note, in my photo i 3d printed opaque caps to go on the sliders and give them a nice/softer glow

Every musician wanted one of these when I was growing up - the ARP 2600 was legendary. You heard it all the time on radio hits. Now Behringer gives you the chance to own one for less than a thousand - vintage units are going for 14 times that price! It's easier than you think - just plug it in and start moving sliders, and plug patch cords in! Sounds amazing!

Awesome module. Only wish I could access it's vibrato/LFO modulation over USB/MIDI.

If analog operation with lots of patch points/cords is key to your approach to creating music, but you've never been able to afford an original version of such an instrument, then this clone's for you. It's a dream come true for me as finally I can do what I wanted to do back in the 1970s. Of course I'm a senior citizen now but I'm looking forward to spending the next fifty years with my clones and the 2600 is my favorite.

My 2600 arrived yesterday -- I've been having a blast with it, so far. Once you get the hang of how things are normalled its amazing, how much you can do without patch cables. That said, don't forget to buy some patch cables (unless square waves are your fave!) A mix of 1-ft & 1.5-ft cables seems to work well.

I'm not sufficiently expert to give a meaningful deep dive on the rig's technical features & implementation -- check YouTube for helpful information from Starsky Carr, Tim Shoebridge & others I'm likely forgetting. (I don't believe Loopop has covered this synth, yet.) Everything behaves as expected, so far.

My biggest gripe is, as another reviewer mentions, a change to the color scheme. Specifically, the Halloween orange labels & schematics have been toned down, changed to a duller, orange-ish brown. I actually like it -- I would expect that white-on-orange afforded too little color contrast for some users, myself included. Mainly, the schematic content suffers, in that the brown chosen contrasts poorly with the dark gray case color. This is almost a non-issue, because the schematic symbols themselves are less important than the signal routing -- which is where an issue arises: the directional arrows spelling out the direction of signal flow are hard to read.

At least, to Sweetwater's credit, the color is accurately represented in the product listing on their site. Unfortunately, all of their tutorial content on YouTube was shot using the orange model. Another reviewer suggests this change to be a lapse in quality control. I'm skeptical, as I struggle to believe that such an obvious change in color was simply overlooked. That said, I see no statement coming out of Behringer, explaining an intentional color change. My reason for not being utterly disappointed is the fact that in articles, never does one read of folks ooh-ing and ahh-ing over the 2600's, spiffy character or stylish appearance -- its all about the sound. (Furthermore, of all the 2600 versions, I was least fond of the orange theme.) My only wish is that Behringer would have dreamed bigger. I would love to have baby blue accents/schematic, or even glow-in-the dark -- that would be too pimpy!

I love the woofy, 70's style tone and versatility of the unit, but subtract a star due to the limited MIDI implementation at the time I purchased the unit (10/07/2021)--the unit recognizes only note value, pitch bend, and gate for both the ADSR and AR Envelope Generators. TIPS: For "normal" keyboard operation with the KeyStep, connect a 5-Pin MIDI cable from the KeyStep MIDI Out to the unit's MIDI in, set the REPEAT switch to the middle to "OFF," and the TRIG MODE switch down to the "MULT" setting, and use the AR (Attack Release) Envelope Generator, only, to be able to sustain for as long as you hold down a key--keep the Voltage Controlled Amplifier (VCA) Section's ADSR slider to zero. To avoid droning, set to zero both the VCA Section's INITIAL GAIN slider and the MIXER Section's VCF slider (as these signals are not affected by gates). To have the KeyStep's Mod Wheel control the vibrato, Use the BARP 2600' RING MOD section as a VCA: Set both VCO sliders all the way up and the switch down to "DC," patch the external Keyboard's CV Out to the VCO1 Input, patch the LFO Delayed Output to the RING MOD Section's VCO1 Input, patch the RING MOD Section's output to the EXT VIB Input, and set the LFO Speed and LFO Depth sliders to taste.

This is definitely an excellent addition to any production studio. This device is an excellent bang for your buck. Gives you other features of the original for a fraction of the price ..

In the past I owned an ARP grey meanie but had to sell it due to a few technical problems with it. The Beringer 2600 is very affordable and just much more reliable and just an overall smarter design for modern day music. I love this synth and I highly recommend it if you like experimenting with creating awesome synth sounds besides the fact that it doesn't need to be patched to get great sounds out of it. Thanks Sweetwater for the flexibility to pay it off gradually with no interest for 6 months if paid off by 6 months. That works for a lot of musicians including me.

I've had this a few months now and have started to understand synthesis a lot better. The sounds you already know about, there they are, from all the fave sounds from the bands you grew up with and love. I expect to be continually educated as i am exposed to the myriad possibilities - while also enjoying the superb sounds this produces. No brainer, if you're into synthesis you need this.

Back in the 1970's I used to fantasize of owning an ARP 2600 synth. Now in my old age, analog synthesizers are back in style with many remakes taking place. And now they components are even better. Oscillators are optimal almost instantly and they're not susceptible to slight temperature changes like they used to be. The Behringer 2600 is actually an enhanced version of the 2600, allowing for more flexibility than originally possible and features like MIDI to interface with modern gear. An outstanding enhanced recreation at an incredible price point!

Never played a real 2600 but owned the VST versions, which sound good but not like this. This amazing clone sounds fat and is an incredible powerhouse analog synthesizer. It took a while to get it but worth the wait. Monster Sound, easy to navigate, sliders are very smooth with the right tension. If you can't decide to buy it, just do it! can't believe I even have one at this price point. I highly recommend an 8U Desktop Rack to mount it vertically.

Sweetwater is the best place to buy musical equipment! Chris McCown, Thanks for all you do!

The Behringer 2600 is a monster. The oscillators and filters sound fantastic. You can always tell a great synth when using just one oscillator sounds great. The patching is very flexible – a great addition to my modular gear. I actually prefer the smaller footprint vs. the original size – the sliders are easy to use and it fits nicely in my rack.

Nearly. If I compared this to the original it would seem unfair. Maybe compare this to the ARP!

ARP

Big, solid antique. Repairs are expensive in the hinterlands and often not easy. Are you a synth tech? My techy took 19 years to reconstruct a few units, cannabalizing extra units for parts. Could he spare one? maybe, ere, no....soz bro.

Wah. Well crumbling diodes, transisters resisters, scratchy pots busted leads and decaying boards make antiques recognizable. But the mystic, my my.

2600

Amazingly solid. dead perfect design by a leading German Engineer, designed in Britain and built by well paid workers in a tech city Uli built in China.

The controls and sliders are smooth, offer a decent resistance and the volume knob begs for a closer inspection. Long throw volume anyone? Ports in the rear, massive CV possibilities dozens of inputs and out outs, Clock and trigger? Check.

Midi? Check
Stereo???? Ah yeas, forget gimped mono.

Effects? well, I got some already I enjoy . (Thanks Sweetwtarer)

Mathmatical perfection of development? sure.

Potential? It is up to your skills at programming and your imagination and making IT happen.

Inspiring? I would suggest a long period of experimentation.

Memory? Yep, sure if you remember that turning one control may render your sound into trash, never to be discovered that decade. maybe a reasonable facsimile. Use the sheet and get ready for old school patching. I know folks who never changed settings lest their precious sound fades into the past. REO keyboardist told me that in the park in 1972 in Omaha.

Get a handful of cables, grab a coffee and begin to wander through a realm of rewards as your ability to program suddenly discovers some smooth tones, some bass, some squealing tumbling, soaring singing drone, blip boomy bap whatever turns the wheels.

Country?

Give me time! =) J-K

This is a bit smaller than Korgs offering. (consider it!) But the compact size, expression, build and massive interface

all say quality. Space at a premium? No brainer. I considered getting another unit or two but later, man. Later.

It is amazing to have a smallish studio featuring a classic gear or two, some newer stuff and a sampler and drum machine or three. My Moogs, SQUID sequencer, Q and the rest share a space I call the CV corner. Analog station...I have a few items like a fizmo and several others that are digital. I have additive, FM and resynthesis. My Force is my central ool as well as the 16 trk. digital recorder.

The best thing I ever did was to add a rogue elephant to my orderly digitals, my snarling gritty n slick analogs. This thing slips into sonic areas seldom managed without a classic ARP tone or two. Elastic, flowing sounds, loose , tight, screaming memes and drones that would choke a space monkey! This adds flavor. Use it wisely!

It is smooth as a baby's glutus maximus and flexible as a youtube contortionist.

With a sampler, a drum or groove machine and the 2600 someone might rediscover Depeche Modes secret weapon.

This would be difficult for some new players, interesting to intermediate programmers and a useful adjunct for a pro sound.

Dim the lights on the rear knob if you like. I promise this is the Matrix of Semi modulars for some folk. The space is a wee bit cramped for nig hands I suspect.

After 8 months of waiting for this, I say, THANKS SWEEEEETWATER! Just in time for my 67th birthday party. I last played an ARP2600 in 1984 at Eugene Oregon. Hello Ed McManus and LCC electronic art program! Hello Forest Fang!

Soundcloud has some tunes from the 80s if you care to seek out alien mbc featuring my own composistions. Retrooooo.

PsiKlon signing off.

This may be a nice unit, but as soon as I opened the box I knew it wouldn't work for me. The pictures show the panel in bright orange and white against black. What I got was dark brown on black that can hardly be read! This may be a 5 star unit for its sound etc, but after waiting MONTHS to get this, I think the quality has some big issues. I returned it.

Well I ordered this 2600 about 4 months ago and just got it. Well worth the wait. All's I can say is WOW! This thing is as good or better then the original, the VCO's and the Filters sound fantastic and bring back memories of the ones I owned back in the 70's. I had also bought the mini moog (model D) about a year ago and decided to make a cabinet for them both so now I have 6 VCO's, what a great sound they make. The services I got from Robert and the team at sweetwater was great as always. Thanks again Robert

OK...before I get into this, let me explain. Over some 40 years, I've managed to use rev.2, 3, and 4 ARP 2600s. For instance, I learned analog synthesis on a rev.2 (Tonus logo) with a 3604 keyboard. Made use of all of the subsequent revisions, as well as both the 3604 and 3620 keyboards, plus the 1601 and 1623 sequencers. And for about 25 years, I owned a rev.2 with a 3620 (rev.4 "orange") keyboard, which I would have to say is THE configuration to have, really.

At least, if we're talking an ARP 2600. But we're not...

Instead, the recent ARP 2600 history gave us a "rev.5" that was and is pretty much unobtainium...and then, THIS thing. In all truthfulness, this should be considered as the REAL "rev.5", as that other one shimmered on the horizon like the Fata Morgana...then vanished seemingly as soon as it appeared.

So...what's it like, you ask? Well, first up, it's definitely smaller and lighter than the original. Taking up 8 RU and missing the extra keyboard, this is very much a 21st century take on the ARP version. For one thing, the speakers on the left and right ends are gone. Instead, in place of the left one, we find the entire 3620 module, which gives the synth a dedicated LFO it originally didn't have, keyboard latching, and a number of additional controls that were super-useful on the 3620...and they're just as useful (and welcome!) here. And on the right end, well...they apparently needed a bit more panel space, so this is now where you find the power switch, headphone preamp, and the sample and hold which got shoved over in that direction.

But that's not the only change. Looking at the VCOs, one immediately notices sync switches (sync from VCO 1) on VCOs 2 and 3. Then there's the 4012/4072 switch, which changes the filter type from the original 4012 ladder design to the later 4072. Is there a difference? Yep...and if you're dealing with a sound that includes a lot of high frequency content, you definitely notice the change when flipping this switch. As expected, the 4012 is the "screamer", as the 4072's design actually contains a design error that limits the filter's response above 10 kHz or so. So if you want a mellower sound, keep the VCF in the 4072 mode, and if you want a sound that "cuts", that's easy for the 4012 to pull off. And having used ARP 2600s that have had either the 4012 or the 4072, this filter behavior on the Behringer model is exactly what I was expecting.

The VCOs themselves are precisely as expected, also. Plus the presence of those VCO sync switches (which, I should note, also allow sync when the VCOs are in LFO mode...nice touch!) opens up some new timbral ideas. While the original versions didn't have this, adding sync was a modification that some users had done to their ARPs back in the day, although this is one version of the ARP 2600 that I didn't have the pleasure of encountering way back when, primarily due to this being a custom mod. Having it here on the Behringer is something that'll require a lot more exploration...it's a rather potent change!

Other bits...well, if you remember the "thumpy" character of the ARP's VCA and you dug that for making drum sounds, you'll be pleased that the Behringer also has that DC-coupled signal chain right thru the outputs. But I found that the Behringer version's VCA is actually a lot better-behaved and easily tweaked than its original ARP counterpart, so if you want to avoid the thumps, it's doable. Fact is, this version of the 2600's VCA is...dare I say it?...SUPERIOR to the original in several aspects: way less circuit noise, more friendly as the control sliders actually DON'T have "jumpy" points (original ARP 2600 users will know what this issue is like), it deals with initial gain with quite a bit more smoothness and, again, no "jumpy" behavior.

The envelope generators, again, are a lot more tweakable than the original. You make changes to the parameters, and you can actually tell that things are changing in a rather straightforward manner. Plus, there's yet another old-skool "mod" with them: time base switches on both the AR and ADSR allow you to also apply X2 and X0.5 time constants across all of the time-based EG controls, and while this is OK on the X2 setting, the X0.5 setting really kicks the percussive capabilities into high gear.

Then there's the mixer and reverb section. Mixer, again, is quieter than the original. But the digital reverb is ALSO quiet as a mouse, and this is rather different from the character of the spring reverb in the ARP versions. It's also not as "edgy"; it doesn't seem as if you can overdrive the spring to the degree that the originals would allow. However, lots of ARP 2600 users (myself included) got used to not using the internal reverb in the first place, so I don't consider this to be anywhere near being a dealbreaker with the Behringer.

Another nice thing is the input preamp/envelope follower implementation. Since Behringer jettisoned the speakers, this let them put this submodule in the lower row, plus they changed the preamp's gain control from the original wonky knob to a slider. This might seem like a minor thing, but it actually makes the preamp easier to set up in my opinion. And yes, you still have the X10/X100/X1k gain factors, which again makes this a very useful feature for working with everything from line-level audio to contact mics, and even electrode pickup for biosignals...just like I'm used to, yet again.

Sample and hold, plus the noise generator, all work as expected...no surprises at all. But the addition of LEDs for the A and B outputs of the electronic switch are a welcome alteration, as this is far easier to work with than the ARP 2600's version, which offered no indication of which "leg" of the switch was on or off.

Now, about the only substantial gripe I have with the Behringer 2600 is its lack of 3.5mm patch cables or dummy plugs. Sure, they're easy enough to get, but ARP did include these back in the day. And they're important, given the "semi-modular" nature of the Behringer. Fact is, just like the ARP, you've got loads of interruptible patchpoints everywhere, and having a stash of patchcords to use with this kicks the doors right off the hinge in terms of capability. But if you're wondering what the "dummy plugs" were...well, these were little 3.5mm plugs with an open connection, which you'd normally "park" in the multiple, and they were useful for breaking a signal path to keep that signal from going any further. This was very useful for things such as breaking the CV input for one VCO, so that you could have an oscillator fixed on one frequency while the others are still under CV control. Or you could use them to kill the CV send to the VCF...also rather useful. I'd heard that Behringer didn't include these, so it wasn't a surprise to me...but really, they should've put a few 3.5mm cables and the dummy plugs in with the synth as it came from the factory. This was significant enough that I dinged the Behringer 2600 a half star; those "extras" 100% SHOULD be included with every Behringer 2600 that comes off the line.

Other things that I'd expected to be gripes, though, really didn't materialize. For instance, many users online have noted that the LEDs on the controls are too bright, but I found that setting the LED dimmer (on the back) to a very low setting resulted in a light level that was nowhere near as eye-wrenching as I'd been led to expect. Others had mentioned some various nit-picks such as being able to lock up the clock, etc...however, these aren't "bugs" per se, as the original versions ALSO had these same issues. Fact is, Behringer and Rob Keeble did a great job of reproducing the circuitry behavior of the original.

And, about that...

I've run across several posts on various forums that complained about how this just didn't sound like the ARP 2600 they remembered or, even more vehemently, the ones they currently had. However, one of those rev.4s I used way back when was only 2 years-ish out of the box, and from my extensive recollections, that unit DID sound like the Behringer (provided you use the 4072 VCF and keep the EGs in X1 mode). The problem is, most of these people are trying to compare a box of electronics that's 40-50 years old to one that just came off the production line, and that's not a fair comparison at all. Components deteriorate over time and use, plus a brand new synth of ANY type will sound different from one that's spent a few decades getting bounced around in varying ways and having components aging for that entire time.

Time will tell if the Behringer 2600 will stand up to the physical rigors that vintage ARP 2600s have dealt with over many, many years. But the build quality here seems solid, plus this version has case venting, which can help extend the life of many components as well as help with the overall VCO stability. But on this initial encounter, I've got zero buyer's remorse. As far as I'm concerned, this is the REAL "rev.5" that anyone can (and should!) get.

I was thrilled the 2600 showed up on my doorstep! I've barely scratched the surface of what this little beauty is capable of; but completely impressed with the sounds that I've produced so far. Quality build, responsive sliders, pretty lights... who could ask for more? This thing was well worth the wait and more than worth the cost for those looking to get that authentic 2600 sound on a budget. A huge thank you to Yuval and crew for achieving the seemingly impossible and getting this into my hands!

I've wanted an ARP 2600 since I bought an ARP Odyssey in the mid-1970s. The Odyssey was great, but I was forever wanting to connect its components in ways its hard-wired connections wouldn't allow.

Unfortunately, I couldn't afford a 2600 back then. By the time I could afford one, they'd gone out of production and the prices for vintage units shot through the stratosphere. When Korg reissued the 2600 I jumped at it. Unfortunately, I didn't jump fast enough. They sold out before I could order one.

But then, Behringer released their version of the 2600 and I'm glad I waited. The Behringer is MUCH more affordable than the Korg reissue and has additional functionality: oscillator sync, which I use a lot on the Odyssey, and a lot more control over pulse width. It's also much smaller and lighter than the Korg reissue, as well as being built like a tank. The front panel, sides, and back are all heavy-gage steel. I wouldn't recommend tossing it into the back of the van to take to the gig, but you could probably get away with it.

The original 2600 has a lag processor (portamento), a dedicated LFO, and a few auxiliary functions on its keyboard module. Behringer has included all that on their unit. They had to rearrange the front panel to fit it in, but everything's easy enough to find.

Of course, the most important thing is sound. To put it mildly, this thing is a monster! If you want foundation-shaking bass and ripping leads, this is your synth. But, it does sweet singing sounds just as well. And if you're into exotic electronic sounds, you'd have to spend a fortune on Eurorack modules to match the functionality of this little beast.

At first, I thought the colored LEDs were a cute gimmick, but they make it a lot easier to navigate the complicated control panel. The reverb is digital, but it sounds really good.

The only documentation Behringer supplies is a "Quick Start Guide," which supplies brief descriptions of the modules, but you can download the original owner's manual and patch book by Googling "Arp 2600 Manual".

In short, this is just a dream machine. I've waited for—literally—decades to get one and it's been worth the wait, especially for a brand new instrument with an insanely low price.

Finally received this after a nearly 7 month wait and it doesn't disappoint. The oscillators have depth and bite, the filter sings.... I could go on but there are countless videos to go by. It plays well with my Moog Matriarch and with eurorack modules as well. Build quality isn't bad, wish the sliders were just a bit more robust, but for the price point it's hard to fault.

I've been avidly following Behringer's development of their retro-synths since I bought their 'Model D' MiniMoog-copy synth. If their new ARP-2600 clone is as good as their MiniMoog, then it should be a kickass machine. The addition of full-on midi control, for instance, makes the Model D into a Dream Machine--imagine what it would have been like having a midi capable MiniMoog in the seventies!

Eventually, I'd like to see Behringer clone all the great synths, like Prophet, Korg, Fairlight, Yammy's awesome FM DX series--all at these low prices. Awesomeness!

The operational amplifiers are faster than the original ARP 2600 which gives accuracy, processing is undiminished and more clean, but pre-amps can provide this lack of distortion as dirty when needed as overdrive.