ARP ODYSSEY

ARP Instruments Wikipedia | Odyssee Wikipedia

It is not any synthesizer. The ARP Odyssey with its interface and modulators really feels like an instrument rather than an electronic machine. The small size is not unimportant for the instrumental use (regular transport). The so-called "discrete design" has the effect that even different synthesizers of the same series sound slightly different (individual). This is also due to the setting of the trimpot inside the instrument (this reflects the musicality of the technician!). Those originals are still very popular today - especially in conjunction with the computer - they are quite strong characters.

For a contemporary sound impression, Roger Powell´s marvelous Odyssey tutorial can be heared here (it´s over 40 minutes!). I´ve found it on the ARP Odyssey Resource Page.

Alternative content

This wonderful tutorial is also a very good introduction to the world of analog electronics! The corresponding patch sheets can also be found on the linked website and I want to recommend this highly entertaining lecture.

The Odyssey MkI (series 2800, built 1972-74) is named Whiteface (upper photo). A 2-pole filter (4023)- similar to the SEM 6dB - gave this model a somewhat different character than his successors.

The surfaces of the Odyssey synthesizer are designed with its 34 sliders and 22 switches remarkably clear - 19 of the switches adjacent to each other! By dividing into VCO1, VCO2, LFO, Envelope and Mixer and the use of sliders instead of potentiometers, the parameter access is faster than other similarly complex synthesizers. Inputs for expression and volume pedals increase the possibilities of sound-shaping and strengthening the instrumental character tremendously.

The MkII (black/golden) exists in several versions (Series 2810-2813, built in 1974-76). The elderly still come with pitch bend wheel, the newer with PPC, the three gum-pads (factory-mod). I´ve heard people saying that the first MKII were black MK I (Whiteface), because they had the same filter (4023). Then a more powerful 4 pole filter, the 4035, came with the Ody. But it was too similar to the Moog filter and, after some trouble and a subsequent agreement with the holder, it wasn´t used anymore.

After that ARP came with its own filter (4075). The filter was used in all the following Odyssey models. Interestingly there was a mistake (which can be easily corrected today), which made the older ARPs with MOOG filters more popular than it´s successor.

There are also several series from the MkIII model (black/orange - from 2820 to 2823). MkIII provides some structural improvements and better space for modifications. The protruding keyboard is a bit unfortunate and pure plastic - a light disadvantage to the old models. With about 3000 units the Odyssey MkIII was built most often.

The ARP Odyssey is represented with its characteristic sound, like the Minimoog, on numerous LP´s of the 70th and 80th. George Duke played the Odyssey in Frank Zappa´s band and ARP was THE jazz synth (Hancock/Zawinul). Patrick Gleeson was a discreet grandmaster of Arp synthesizers (ARP 2600). On the LP´s of Eddie Henderson, Julian Priester and Hancock he is the congenial synthesizer player. In my opinion, he found a phantastic way, how a synthesizer in an electric jazz band can be committed! The first recommendation is the LP "Realization" by Eddie Henderson from 1973! Must hear (!) - Also because of an obsessively playing Herbie Hancock. Also listen to the albums Sextant, Crossings and Mwandishi by H. Hancock. For others, there is still Jethro Tull, The Who and Kraftwerk for ARP Odyssey sound experiences, or - .... - ABBA or Alphaville. - Enough ... A fantastic ARP LP - but with the large modular system, 2500 is "Scorpio" by Paul Bley. THE absolute masterpiece! Partial re-released in a compilation under the name "Paul Bley - Circles". Paul Bley With Scorpio shows what is happening! Unfortunately, nothing has come close to that never - from anyone!

Although there is this pretty patch-form - if the instrument is played every day (yes, it should be rehearsed like other instruments), you do not push the sliders after a patch but pull down all sliders to the bottom and re-position them in seconds. When positioning the switches then a bit more abstract thinking is required. The patch forms are ideal to store sound settings for specific works in the score, the drawer or in a folder on your harddisk.