ARP 2600: Droids, Blips, Drones & more

Ultrasonic-rich SFX and Source Material crafted on the legendary Synth that voiced Pop Culture's most famous Droids.

The legendary Synth that brought beloved Droids to Life.

The all-time classic ARP 2600 was a synthesizer that was an immediate hit with musicians and sound designers when it was released in 1971. Most famously, it's the very synth that sound designer Ben Burtt used to give R2D2 his unmistakeable voice.

Semi-modular in nature and with many handy features like voltage modifiers, lag control, ring modulation, a comprehensive noise generator, sample & hold, and 3 independent oscillators, it comes equipped with more features than you'll find in many of today's analog synthesizers.

Thanks to the Alan R. Pearlman Foundation and the non-profit studio The Record Co. I was able to access an original, mint condition ARP 2600 that is beautifully maintained and lock myself in a studio with it to capture nearly 7 hours worth of raw sound design material.

Putting the 2600's immense sound design potential to use, I created this library to help you give robots a voice, create otherworldly ambiances, score computers with the obligatory "bleep bloops", and craft larger than life weapons with a distinct retro SciFi flair.

I also captured the physical, mechanical sounds of patching cords and moving faders on the synth using a pair of LOM Uši Pro. These sounds are included in a dedicated subfolder.

Infinitely tweakable Source Material with plenty of ultrasonic Content.

The resulting sounds range from droid chatter at various root pitches, impacts, drones, noise, and lots of other sonic source that begs to be pitch-shifted and mangled. In fact, the ARP 2600's pristine analog circuitry and my high-end recording chain capturing it at 192 kHz means that most of the final material features high-frequency content ranging up to nearly 90 kHz!

This means that you can pitch-shift most of these sounds down by up to 2 octaves and uncover new harmonic content along the way. By recording at 32 Bit with the ultra low-noise Zoom F6 and Rheingold Music cables, these recordings are extremely clean and hold up well to intense processing.

While highly abstract in nature, these sounds are a great basis for building:

  • Futuristic Weapons
  • Retro SciFi Spaceship Sounds
  • Droid and Robot Vocals
  • Anime Sound Effects
  • Otherworldly Ambiences
  • Drones
  • Wavetable Synth Patches
  • and more.
WARNING: This sound effects library contains audio files with lots of high-frequency content outside the range of human hearing that can cause hearing damage when played back at excessive volume for long periods of time.
ARP and the treble clef logo are registered trademarks of KORG Inc. and BØLT is in no way affiliated with the company. This is not an officially endorsed ARP or KORG product.

Library Specs

Categories: Abstract, Designed Sounds

Total number of Files: 217

Total number of Sound Effects: 400+

Total Duration: 50+ min

Metadata: UCS file naming, SoundMiner, Soundly, BWF

Recording Specs: 24 Bit / 192 kHz for the majority of files. 96 kHz for files with less ultrasonic content

Channel Formats: Mono, Stereo

File Format: WAV

Size: 1.9 GB

Gear used: Genuine ARP 2600 Model 3620 (1974), LOM Uši Pro Mics, Zoom F6, Rheingold Music Cables, Radial Pro D2 DI Box

Processing: Level adjustment, crossfades, spectral noise reduction for recordings using built-in spring reverb.

License Type: Single-User, royalty-free.
Multi-user licensing available on A Sound Effect.

View File List

About me

Hi there! My name is Chris and I'm a sound designer and audio mixing & mastering engineer based in scenic mountain region of Berkshire County, Massachusetts. While my background has been performing and recording music, it was the process of creating my first ever musical sample pack, Low'n'Slow, that truly made me fall in love with sound design in 2019.

Since then, I've started designing sound effects for video games, sampled rare synthesizers and drum machines, turned field recordings into contemporary hip hop drum kits, and created loops for fellow producers to use. During the course of the pandemic, I realized creating sounds for film and games was something I really wanted to pursue and while working towards that goal, I also started creating sound libraries for fellow sound professionals, video editors, and multimedia artists.

I strive to provide uncompromising, meticulously captured high-quality audio assets at an affordable price and help creatives at all stages of their career find the right colors for their sonic palette. My Blog also provides insight into my process, and my gear page highlights what equipment I use to create these libraries.