... This is the story of Tangerine Dream’s Ricochet.... The array of electronic equipment used by Tangerine Dream on that tour was formidable indeed. For its time it looked nothing short of a futuristic world controlled by machines. For the die hard rig fanatics, an approximate list of the machines used by the three members of the group at the Coventry Cathedral show included:

Two ARP 2600s were used on Hogwash, on Solid for "Sad Go Round" and "Joker's Grave", on Crosscut Saw for "Fulfillment", "Live A Little Lady" and "Eleventh Hour", and on The Two Sides Of Tony (T.S.) McPhee for "The Hunt", as listed in those albums' respective liner notes. It is also mentioned in a November 1974 Beat Instrumental interview (where it is also pictured), a March 1976 Beat Instrumental interview, McPhee's review of the ARP Avatar in the May 1978 issue of Beat Instrumental, and the WWA press kit for Solid.

Hogwash liner notes

A.R.P. 2600 Synthesizer

Photos from the 1973 Kendal Pop Festival (August 26, 1973): Derek Copeland, John Dennis (#1, #2)

Beat Instrumental, December 1973, "The Loneliness of the Long Distance Groundhog" by Anonymous, pg. 22 (pictured)

The Two Sides Of Tony (T.S.) McPhee liner notes

Two ARP 2600s

Solid liner notes

SAD GO ROUND [...] Vocals, Guitars & Synthesizers ; T.S.

[...]

JOKER'S GRAVE [...] Vocals, Guitars & Synthesizer ; T.S.

Solid back cover

Instruments used :

Gibson S.G, Fender Stratocaster, Yamaha Acoustic, Zemaitis Bass, Ludwig Drums, ARP 2600 Synthesizer, Mellotron

WWA press kit for Solid (1974), profile for McPhee

INSTRUMENTS: Gibson SG, Fender Stratocaster, Zemaitis, Yamaha, Harmony Acoustics, H/H Amplification, ARP 2600 synthesizer and EMS Sequencer

Crosscut Saw back cover

TS. plays ARP 2600 Synthesizer on "Eleventh Hour", "Fulfilment" & "Live A Little Lady".

Beat Instrumental, November 1974, "Home Studios: Tony McPhee" by Del Robinson, pg. 28-29 (pictured)

Tony's also very interested in electronic music: 'I want to build an electronic music studio', and he enthusiastically demonstrated some gear in his present set-up. It includes a couple of ARP2600 synthesisers, a rhythm sequencer ('I found this unit invaluable'), and frequency shifter, a Compact piano and a Mellotron.

'I'm a guitarist, not a keyboards player,' commented Tony modestly. 'Though I find I'm really beginning to get into synthesisers now. They're very creative instruments and it's very much up to the individual musician what he gets out of them. I prefer the ARPs - not everyone can get along with EMS units. I know people have criticised the ARP because you have to patch across it, but I don't find this a problem.'

Beat Instrumental, March 1976, "Tony McPhee: The Hogs Return" by Chris Simmons, pg. 25

Like Tony, Dave is a capable musician on other instruments besides guitar - electric violin and mandolin, and these will be gradually integrated into the act when the time is right. The combination of these and McPhee's mellotron and ARP synthesizer will certainly give an added dimension to the band's music.

Beat Instrumental, May 1978, "Instrument Review 6: ARP Avatar Guitar Synthesizer" by Tony McPhee, pg. 31

When I got my first synthesizer, an ARP 2600, about six years ago, I soon realised my keyboard playing was just about adequate even though it was a monophonic instrument, in other words – one-handed. Delving into the workings of the machine, I knew that I must try to find a way of working the synth from a guitar fretboard, but this proved not to be an easy task. A synthesizer requires three voltages: pitch; trigger 3nd gate, although on some the trigger voltage is taken from the leading edge of the gate voltage, which is a square wave

At the time there was a machine made by EMS called a pitch -to -voltage converter which should have done the trick; you just plugged an instrument into it, it scanned the pitch of the note you were playing, and it gave out the correct voltages to operate the synth. Unfortunately the guitar note is so rich in harmonics and transients that the converter flew about all over the place trying to find something steady to latch on to. So, somewhat disillusioned by what I thought would be the answer, I looked for another way.

[...]

Another little goodie that isn't present on my 2600 is a high pass filter. [...]

The only frustration I found was that there were a couple of little things I wanted to try which weren't possible because the thing is totally pre-patched, and I suppose I'm used to using patch cords on the 2600.

So to summarize:

The synthesizer proper is what you would expect from ARP – nice clean graphic controls as on the 2600 and Odyssey, but maybe those nylon sliders are a bit too easy to break off, as has happened on my 2600 a couple of times. But for that matter the whole thing should be treated with care.

In the Native Instruments Blog, Drumcell is shown using an ARP 2600 synthesizer, prominently featured in the studio's setup.

"Selecting sounds is something that is very instinctive. I've been getting into the Waldorf Wave again recently. I've borrowed Björk's before and I've been using it again since we made Vespertine and I've been getting into designing some more sounds on that. I do still do a lot of pure sound‑design sessions where I'll put a day aside and work for an hour or two on the ARP 2600 or on the VCS3 with the tape running continuously."

Anthony Marinelli frequently uses his two Tonus ARP 2600's, one being custom-modded, in his recording studio, as shown in his "ARP 2600 Custom Mods" video on his YouTube channel. He also used the 2600 on recording some songs on the album, "Thriller" by Michael Jackson, such as the bass sound on the title track, although it's disputed whether the bass he used is a 2600 or a Jupiter-8.

This image posted to Underworld's Instagram page shows Smith's ARP 2600.

Tara pictured on stage with Arp 2600.

Among the synths used on the album are an ARP 2600, a Yamaha CS60 and — delivered to Tarbox Road only weeks before the record's completion — the new Korg Microsampler. Needless to say, perhaps, all were treated and manipulated in various ways. "Of course,” Fridmann laughs. "You hear a sound and you're like, 'That's a great sound — can we get it a little better? Yeah, guess we're gonna have to do something weird to it…'

At 3:34, an Arp 2600 can be seen to the right.

Among the gear in this picture is a System 100, an Arp 2600, and an Arp Sequencer.

Behind Mark’s writing computer is the infamous Wall of Synths Museum. The wall has undergone a recent transformation, and Mark has jumped oscillator first back into the world of analogue. He just took ownership of a new Buchla, a Verbos, a CMS, a CMS repaired Arp 2600, a Roger Arrick Dot Com system, and a few other modules as well. It’s truly a synth geek’s heaven, and growing every week!

In a Vanity Fair video titled "Stranger Things Composers Break Down the Show's Music," Kyle Dixon is seen using the ARP 2600 synthesizer at the 6:46 mark.