PRO 3 Multi-filter Mono/Paraphonic Synthesizer
PRO 3 User’s Guide Version 1.0 January, 2020 Sequential LLC 1527 Stockton Street, 3rd Floor San Francisco, CA 94133 USA ©2020 Sequential LLC www.sequential.
Tested to Comply With FCC Standards FOR HOME OR OFFICE USE This device complies with Part 15 of the FCC Rules. Operation is subject to the following two conditions: (1) This device may not cause harmful interference and (2) this device must accept any interference received, including interference that may cause undesired operation. This Class B digital apparatus meets all requirements of the Canadian Interference-Causing Equipment Regulations.
Table of Contents A Few Words of Thanks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xi Chapter 1: Getting Started . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 Rear Panel Connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 Using USB. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Mixer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 Mixer Parameters (Front Panel) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 Additional Mixer Parameters (Display Menu). . . . . . . . . . . . . . . . . . . . . . . . 23 TAB 2 - Ext in. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 TAB 3 - Ext in Env . . . . . . . . . . . . . . . .
Arpeggiator. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54 Arpeggiator “Momentary Sustain” Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . 56 MIDI Note Output from the Arpeggiator. . . . . . . . . . . . . . . . . . . . . . . . . . . . 57 Arpeggiator Parameters (Display Menus) . . . . . . . . . . . . . . . . . . . . . . . . . . 58 Clock Parameters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Pitch and Mod Wheels. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86 Pitch Wheel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86 Modulation Wheel. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87 Touch slider . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88 Adding Aftertouch .
Appendix A: Modulation Sources . . . . . . . . . . . . . . . . . . . . . . 119 Appendix B: Modulation Destinations. . . . . . . . . . . . . . . . . . . 120 Appendix C: Troubleshooting and Support . . . . . . . . . . . . . . 122 Troubleshooting. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122 Resetting the Global Parameters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
THE SEQUENTIAL CREW Art Arellano, Gerry Bassermann, Fabien Cesari, Bob Coover, Carson Day, Chris Hector, Tony Karavidas, Mark Kono, Justin Labrecque, Andy Lambert, Michelle Marshall, Andrew McGowan, Joanne McGowan, Julio Ortiz, Denise Smith, Tracy Wadley, and Mark Wilcox.
A Few Words of Thanks Thank you for purchasing the Pro 3, our latest effort to make the world’s greatest monosynth. That’s a bold statement, but it’s true. Our biggest pleasure here at Sequential is trying to outdo ourselves with each new instrument. In many ways the Pro 3 is the evolution of a concept that started with the classic Sequential Circuits Pro-One — pack as much power as possible into a compact footprint and make it sound awesome.
Chapter 1: Getting Started The Pro 3 is a hybrid synthesizer in the best sense of the word. It combines the warmth and punch of two analog, voltage-controlled oscillators and three types of classic analog filters with the versatility of a third, digital wavetable oscillator and an array of digital effects.
1 2 3 4 Rear Panel Connections The rear panel of the Pro 3 has connectors for power, USB, MIDI, audio, and pedals. 1. Power On/Off—This rocker switch controls power on and off to the Pro 3. 2. AC Power Connector—Accepts a standard, grounded IEC power cord. Operates over a range of 100 to 240 volts and 50 to 60 Hz. 3. USB—For bidirectional MIDI communication with a computer. The Pro 3 is a Class Compliant USB device and does not require additional drivers when used with Mac OS or Windows.
4 5 6 7 8 9 10 11 6. Pedal—Accepts a standard expression pedal that has a variable resis- tor on a TRS (tip-ring-sleeve) ¼ inch phone plug. Once connected, you can use the modulation matrix to route the pedal to control a variety of things such as volume or filter cutoff frequency to add expressiveness to live performance. 7. Control Voltage Ins 1-4—Standard 3.5 mm connectors. These jacks accept a +/-5V signal for interfacing with modular synthesizers.
Using USB The Pro 3’s USB 2.0 port enables bidirectional MIDI communication with a computer. A MIDI interface and MIDI cables are not necessary, just a USB cable. The Pro 3 is a Class Compliant USB device. That means it does not require any additional drivers to be installed to communicate with a Mac or Windows computer. The Pro 3 transmits and receives MIDI data via USB, but does not transmit audio.
Setting Up the Pro 3 Here’s how to get your Pro 3 up and running: Getting Started: 1. Plug the power cable into the AC power connector on the back panel of the Pro 3. 2. If you have an expression pedal, connect it to the pedal jack on the back of the Pro 3. If you have a sustain pedal, connect it to the footswitch jack. 3. Turn on the Pro 3. 4. Connect the left and right audio outputs on the back of the Pro 3 to your amp/mixer/powered speakers using unbalanced, ¼ inch audio cables.
Using the Main Display The most frequently used controls on the Pro 3 are on its front panel. But there are many additional controls (as well as numeric display of values) visible in its main display. For example, adjusting a knob or switch in the oscillators section reveals the tuning, shape, and level menus in the display. The display also reveals parameters not found on the front panel such as osc slop and wave reset (in Tab 2).
Sound Banks The Pro 3 contains a total of 1024 programs. Banks U1-U4 are user banks that can be overwritten. Banks F1-F4 are factory banks that are permanent. As shipped, user banks U1-U4 are identical to permanent factory banks F1-F4. Each bank has 128 programs (multiplied by 4 banks = 512 programs each). You can edit the programs of either bank, but you can only save them to user banks U1-U4.
Editing Programs Because the majority of the sound-shaping controls of the Pro 3 appear on its front panel, editing an existing program is simple: turn a knob and listen to its effect. Keep turning knobs and pressing buttons. If you like what you’ve created, save the program by pressing the write button twice. (See “Saving a Program” on page 10 for more options when you save.
It’s also useful to be able to check the value of a parameter for reference. Normally, to make a parameter value appear in the display, you have to turn the parameter’s knob — which will change the parameter value. But there is a way to do this without changing the value: To check the value of a parameter without changing it: 1. Press the show button. 2. Turn any parameter knob. The value appears in the display. 3. To return to normal operation, press the show button again to disable it.
You can also recall the Basic Program by simultaneously pressing the transand the touch slider’s latch button. pose down Chapter 3 provides a selection of simple sound design tutorials. It’s designed to give you a basic working knowledge of how to use the Pro 3 to make your own sounds. See “Chapter 3: Programming the Pro 3” on page 104. Saving a Program If you’ve created a sound that you like, you’ll probably want to save it. Saving a program overwrites a previously saved program.
select bank select program select character edit character Write Compare Write Bank Write Prog Writing to Bank:1 Program:1 Select Char Edit Char A: S uper Bass Hit ‘Write’ to Save Prog Global Insert Char Delete Char Key Assign Play List insert character delete character Saving a Program Canceling Save Sometimes you may want to cancel saving a program before you commit. To cancel the save process before you commit: • If the write button LED is flashing, press the global button.
5. Once you have found a location to overwrite, press the compare button again to turn it off. (Programs can’t be written while in compare mode.) 6. The write button is still flashing and ready to save. Press write and the sound is saved. 7. Alternatively, if you want to cancel saving and continue editing, press the global button. Saving is canceled. You can use the global button to set the program that appears when you power on the Pro 3.
To enable paraphonic playback: 1. Press the paraphonic button. 2. Turn up the levels of all three oscillators in the mixer. 3. Play some chords. 4. Adjust the Octave and oscillator waveshapes as necessary. With clever programming you can create complex sounds that work well in paraphonic mode. Add a bit of pulse width modulation or chorused delay to create interesting string and pad sounds.
Chapter 2: Pro 3 Controls This chapter explains all of the controls on the Pro 3, section by section. As explained in Chapter 1, the most frequently used Pro 3 controls are located on its front panel, with additional controls (as well as numeric display of values) visible in its main display. Adjusting a knob or switch in the Mixer section reveals the three oscillator level parameters and noise level parameter in the display.
Oscillators Oscillators generate the raw building blocks of the Pro 3’s sound by producing waveforms, each of which has its own sound character based on its harmonic content. The Pro 3 has two analog, voltage-controlled oscillators and one digital wavetable oscillator. Oscillators 1 and 2 generate triangle, sawtooth, and pulse waves. You can vary the “pulse width” of these waveshapes using the shape mod parameter. This allows for a variety of different waveshapes and timbres.
To listen to the oscillators: 1. Press the global button. 2. Use Soft Knob 1 to navigate to the basic program command, then press Soft Button 1 (write now). 3. In the basic program, only Oscillator 1 is audible. (The levels of Oscillators 2 and 3 are set to zero by default.) 4. Hold down a note on the keyboard and in the oscillators section, turn the shape knob left and right to hear the waveshape change from triangle to sawtooth to pulse. (Sawtooth is selected by default in the basic program.) 5.
Exploring Oscillator 3 Because Oscillator 3 is a digital wavetable oscillator, it generates a variety of waveshapes. In addition to the standard, static waveshapes of sine, sawtooth, super saw, and pulse waves, it provides 32 wavetables, each with 16 different waves within that table. Once you select one of the 32 wavetables with the shape knob, you can then select a wave within the wavetable using the shape mod knob.
To use an LFO to sweep through the waves in a wavetable: 1. Use the shape knob on Oscillator 3 to select one of the 32 wavetables. 2. In the lfo section, press the lfo 3 button, then the destination button. 3. In the display, choose osc 3 shapemod as the destination. 4. Hold down a note on the keyboard and listen as you set the frequency and amount of LFO 3 modulation as desired. Higher frequency settings sweep through the wavetable faster.
Sync: Off, On—Turns on oscillator hard sync. When an oscillator is hard synced, its wave cycle is slaved to another oscillator’s wave cycle and is forced to reset each time the master oscillator’s wave cycle restarts. This causes the slaved oscillator to create harmonically complex waveforms — particularly when the slave oscillator’s pitch is set higher than the master oscillator’s pitch. See page 110 to learn how to set up a classic oscillator hard sync sound.
TAB 2 Osc Shape Shape Shape Mod -1 Wave Reset Osc Slop 0 5 SHAPE SHAPE MOD WAVE RESET OSC SLOP Osc1 Tuning Osc1 Shape Osc1 Level Osc1 Misc Wave Reset: Off, On—(In the osc1 shape tab in the display) When Wave Reset is off, the Pro 3 oscillators are free running. That is, the oscillators are running whether a note is being gated on or not.
TAB 4 - Osc Misc Glide Rate 0 GLIDE RATE Osc1 Tuning Osc1 Shape Osc1 Level Osc1 Misc Glide Rate: 0...127—Sets the oscillator glide (portamento) amount. Glide causes the pitch of a note to glide smoothly up or down from the pitch of the previously played note. It can be set independently for each oscillator. Low values are shorter/faster. The glide switch must be on to hear t he effect of glide rate. For a detailed explanation, see “Glide” on page 83.
OSC 1 LEVEL EXT AUDIO OSC 2 LEVEL NOISE OSC 3 LEVEL MIXER The Mixer section Mixer Parameters (Front Panel) Osc 1 Level: 0...127—Sets the output level of oscillator 1. Osc 2 Level: 0...127—Sets the output level of oscillator 2. Osc 3 Level: 0...127—Sets the output level of oscillator 3. Ext Audio: 0...127—Sets the output level of an external signal connected to the audio in jack on the rear panel of the Pro 3. Noise: 0...127—Sets the output level of the noise generator.
Additional Mixer Parameters (Display Menu) Additional Mixer parameters are accessible through the menus in the main display. To see these menus, adjust any control in mixer section of the front panel. The parameters explained below do not appear on the front panel. TAB 2 - Ext in Input Level 0 Input Gain 127 In Gate Thresh 0 INPUT LEVEL INPUT GAIN IN GATE THRESH Mixer Ext In Ext In Env LPF Misc Input Gain: 0...
Filters The Pro 3 has three different filters, each of which has its own unique character: • low-pass 1 - 4-pole ota is a 4-pole, 24 db-per-octave resonant filter based on the Sequential Prophet-6 filter. It can self-oscillate (generate a sine wave) when resonance is set to its maximum. • low-pass 2 - 4-pole ladder • state-variable - 2-pole ota is a classic 4-pole, 24 db-per-octave resonant transistor ladder filter.
NOTCH LP DRIVE STATE HP CUTOFF BP RESONANCE 4-Pole OTA 4-Pole Ladder 2-Pole OTA LOW-PASS 1 LOW-PASS 2 STATE-VARIABLE FILTER Press one of these buttons to select the filter type To hear the effect of the filter: 1. Recall the Basic Program by pressing the global button and using Soft Knob 1 to navigate to the basic program command, then press Soft Button 1 (write now). 2. Press the low-pass 1 button to select this filter. 3. Hold down a note and rotate the filter’s cutoff knob.
Exploring the State-Variable Filter As its name suggests, the State-Variable filter can change its operational mode/state from low-pass, to notch, to high-pass, with a separate bandpass mode that you can activate using the bp (band-pass) button. This makes the State-Variable filter very versatile. Exploring the State-Variable filter: 1. Press the global button and use Soft Knob 1 to navigate to the basic program command, then press Soft Button 1 (write now). 2.
Filter Parameters (Front Panel) Filter Type Buttons: Low-Pass 1, Low-Pass 2, State-Variable—These select the filter type. Low-Pass 1 is a 4-pole, 24 db per-octave resonant filter based on the Sequential Prophet-6. Low-Pass 2 is a classic 4-pole, 24 db per-octave ladder filter. State-Variable is a 2-pole, 12 db per-octave filter based on the Sequential OB-6, with low-pass, notch, high-pass, and band-pass modes. Drive: 0...
Additional Filter Parameters (Display Menus) Additional Filter parameters are accessible through the menus in the main display. To see these menus, adjust any of controls in filter section of the front panel. The parameters explained below are the ones that don’t already appear on the front panel. TAB 2 - Filter Misc LP-Notch-BP BdPass-Notch Key>LPF FRQ 28 0 Env Amt LP-NOTCH-HP BDPASS-NOTCH KEY>LPF FREQ LADDER RES COMP Filter Filter Misc ADSR Env Amt Key>LPF Freq: 0...
TAB 3 - ADSR Attack Decay Sustain Release A:25 D:36 S:52 R:44 Filter Filter Misc ADSR Env Amt Attack: 0...127—Sets the attack time of the envelope. The higher the setting, the slower the attack time and the longer it takes for the filter to open from the level set with the filter cutoff knob to the level set by the filter envelope amount. Percussive sounds typically have sharp (short) attacks. Decay: 0...127—Sets the decay time of the envelope.
TAB 4 - Env Amt Amount Vel On/Off Delay Env Loop Amt:+25 Vel:On Del:0 Loop:Off Filter Filter Misc ADSR Env Amt Amount: -127...127—Sets the amount of modulation from the filter envelope to the filter’s cutoff frequency. Any setting above zero means that each time you strike a key, the filter envelope controls how the filter opens and closes. Higher amounts more dramatically affect the cutoff frequency. This control is bipolar. Positive settings produce standard behavior.
Filter Envelope The Pro 3 filter has a dedicated, 5-stage envelope generator (attack, decay, sustain, release, plus delay). The Filter Envelope is used to shape the harmonic characteristics of a synthesized sound by giving you filtering control with these stages. This is one of the most important aspects of a synthesized sound. Without an envelope, the filters would be static and unchanging. They would stay open or closed by a fixed amount that wouldn’t change over the duration of a sound.
To hear the effect of the Filter Envelope: 1. Press the global button and use Soft Knob 1 to navigate to the basic program command, then press Soft Button 1 (write now). 2. Press the low-pass 1 button to select this filter type. 3. Hold down a note and rotate the filter’s cutoff knob to set it to a value of 40 (refer to the main display to see its numeric value). 4. Play a note. At this point you may not hear anything because you’ve closed the filter significantly. 5.
Envelope Parameters (Front Panel) Attack: 0...127—Sets the attack time of the envelope. The higher the setting, the slower the attack time and the longer it takes for the filter to open from the level set with the filter cutoff knob to the level set by the filter envelope amount. Percussive sounds typically have sharp (short) attacks. Decay: 0...127—Sets the decay time of the envelope.
Additional Filter Envelope Parameters (Display Menus) Additional Filter parameters are accessible through the menus in the main display. To see these menus, adjust any of the filter envelope controls in the envelopes section of front panel. The envelope parameters are in menu Tab 3 and Tab 4. The parameters explained below are the ones that don’t appear on the front panel. TAB4 - Env Amount Amount Vel On/Off Delay Env Loop Amt:+25 Vel:On Del:0 Loop:Off Filter Filter Misc ADSR Env Amt Delay: 0..
Amplifier Envelope After passing through the filters, a synthesized sound goes into an amplifier, which controls its overall volume. The amplifier has a dedicated, 5-stage envelope generator (attack, decay, sustain, release, plus delay) which is used to shape the volume characteristics of a sound over time by giving you control over these stages. Along with the filter envelope, this is one of the most important aspects of a synthesized sound.
As noted previously, the Amplifier Envelope often works in conjunction with the Filter Envelope, with the Filter Envelope controlling how the filter opens and closes and the Amplifier Envelope controlling how the Amplifier controls the overall volume shape of the sounds you create. To hear the effect of the Amplifier Envelope: 1. Press the global button and use Soft Knob 1 to navigate to the basic program command, then press Soft Button 1 (write now). 2.
Amplifier Envelope Parameters (Front Panel) Attack: 0...127—Sets the attack time of the envelope. The higher the setting, the slower the attack time and the longer it takes for a sound to reach its full volume. Pads typically have softer (longer) attacks. Percussive sounds have sharper (shorter) attacks. Decay: 0...127—Sets the decay time of the envelope. After a sound reaches its full volume at its attack stage, decay controls how quickly the sound transitions to the level set with the sustain control.
Additional Amplifier Parameters (Display Menus) Additional Amplifier Envelope parameters are accessible through the menus in the main display. To see these menus, adjust any of the controls in amp portion of the envelopes section of the front panel. The parameters explained below are the ones that don’t appear on the front panel. TAB 1 - VCA Attack 127 VOLUME VCA FX VCA ADSR VCA Env Amt Volume: 0...127—Sets the volume of the currently active program.
Auxiliary Envelopes The Pro 3 has two additional 5-stage envelope generators (attack, decay, sustain, release, plus delay). They are useful for creating modulation that varies over time according to the shape of the envelope. Routing an envelope to an oscillator’s frequency, for example, causes the oscillator’s pitch to rise and fall according to the contour of the envelope. As with all of the Pro 3’s envelopes, there are controls for modulating the envelope amount using keyboard velocity.
Auxiliary Envelope Parameters (Front Panel) 1/2 Buttons: Selects either Auxiliary Envelope 1 or Auxiliary Envelope 2 for editing. Velocity: On/Off—This button enables keyboard velocity to modulate the Envelope Amount. Attack: 0...127—Sets the attack time of the envelope. The higher the setting, the slower the attack time. Decay: 0...127—Sets the decay time of the envelope. This controls how quickly the value transitions from the attack level to the level set with the sustain control.
Additional Auxiliary Envelope Parameters (Display Menus) Additional Envelope parameters are accessible through the menus in the main display. To see these menus, adjust any of the controls in aux env section of the front panel. The parameters explained below are the ones that don’t appear on the front panel.
Loop: Off, On—When on, the Delay, Attack, and Decay segments of the envelope repeat. Sustain still affects the level at which the Decay segment ends, but instead of sustaining at a fixed level while a key is held down, Delay, Attack, and Decay loop until the key is released. (The Release segment begins when the key is released, just as it does when Repeat is off.
Triangle and Sample & Hold waves are bipolar. That is, their waveshape is positive for half of their cycle and negative for the other half. In the case of the triangle wave, this makes it possible to generate a vibrato that goes alternately sharp and flat in equal amounts on either side of a center frequency. Random, also known as “sample and hold,” generates a series of random values, each held for the duration of one cycle. The square wave, sawtooth, and reverse sawtooth generate only positive values.
There are many ways to make creative use of the LFOs: • Route the LFO to the coarse freq parameter of the oscillators to create vibrato (triangle wave) or random pitches (s&h/random wave). • Route the LFO’s triangle wave to the filter’s cutoff parameter and use a medium freq and amount setting to create a wah-wah effect, or use a slow freq setting and low amount setting to create subtle harmonic movement.
Sync: When on, the LFO synchronizes with the master clock, which controls the Arpeggiator, Sequencer, and certain effects. Amount: Sets the amount of LFO modulation routed to the selected destination. Setting an amount here applies the selected modulation continuously. You can also use the modulation matrix to route an LFO to additional destinations and use a different modulation amount.
TAB 3 - LFO Dest Destination Osc All Freq DESTINATION LFO Shape LFO Control LFO Dest Destination: Routes the selected LFO to one of the many modulatable destinations within the synthesizer. You can also use the modulation matrix to route an LFO to additional destinations. There is a shortcut for routing an LFO to a front-panel destination (provided that the destination is a valid destination).
The concept is simple: 1. Choose a source. 2. Choose a destination. 3. Set an amount. The amount can either be positive or negative. You already understand and apply the concept of modulation whenever you use the filter envelope to control the filter’s cutoff frequency. In this case, the modulation source is the filter envelope (or more precisely, any of its controls, such as attack, decay, sustain, or release). The modulation destination is the filter’s cutoff frequency.
Modulation Parameters (Front Panel) Source: Selects a modulation source. The are 34 different modulation sources. See page 119 for a complete list. Destination: Selects a modulation destination. The are 88 different modulation destinations. See page 120 for a complete list. Amount Sets the modulation amount. Modulation can be either positive or negative. Additional Mod Matrix Parameters (Display Menu) Additional mod matrix parameters are accessible through the menus in the main display.
3. Use Soft Knob 2 to scroll through the various mod sources and choose Mod wheel (As a shortcut you can hold down the source button and move the Mod wheel.) 4. Use Soft Knob 3 to set the amount to 30. 5. Use Soft Knob 4 to scroll through the various mod destinations and choose lfo1 amt. 6. Hold down a note on the keyboard and turn the Mod wheel. You should hear vibrato. Use pressure as the modulation source instead of the Mod wheel in the previous example to add vibrato with key pressure/aftertouch.
Other modulation ideas: • To create the classic “attack pitch blip” effect in many synth brass sounds, choose a good three-oscillator synth brass sound then route Aux Envelope 1 to osc 2 coarse freq and set Aux Envelope 1 to Attack: 0, Decay: 30, Sustain: 0, and Release: 0 with an amount of 18. • Route an LFO to pan to create an auto-panning effect. Panning width is controlled by the modulation amount. Panning speed is controlled by the LFO frequency.
EFFECTS EFFECT 1 EFFECT TYPE MIX PARAM 3 SHOW EFFECTS PARAM 1 PARAM 2 EFFECT 2 ON/OFF The Effects section Effects: • Stereo Delay - classic digital delay • BBD Delay - vintage bucket-brigade emulation • Chorus - vintage chorus • Flanger - vintage through-zero flanger • Phaser - vintage 6-stage phaser • HP Filter - high-pass filter.
To use Effects: 1. Press the effect 1 button to turn on effect 1. 1. Press Soft Button 2 (fx1 params) in the display to select effect 1 for editing. 2. Turn the effect type knob to choose an effect. 3. Turn the mix knob to blend in a good amount of the processed signal. You’ll want to be able to clearly hear the effect when you tweak its settings. You can dial it down afterward. 4. Use the param 1, param 2, and param 3 knobs to adjust the effect’s parameters to your taste.
Sync (in the main display): On, Off—When a delay effect is chosen, this enables syncing of the timed delay repeats (feedback) to the Arpeggiator, Sequencer, or MIDI clock.
Effect Type Param 1 Param 2 Param 3 stereo delay delay time feedback amount low-pass filter cutoff BBD delay delay time feedback amount low-pass filter cutoff chorus depth rate low-pass filter cutoff flanger depth rate feedback phaser depth rate feedback high-pass filter frequency resonance ring mod frequency track shape rotating speaker drive speed mic distance super plate reverb time tone pre-delay To recreate a classic time-shifting effect on the stereo or BBD delay
Set the tempo of the Arpeggiator with the tap tempo or bpm and divide controls. To use tap tempo, tap this button 4 times to set the tempo. You can also sync the Arpeggiator to external MIDI clock, or even an external audio signal. The Arpeggiator can run concurrently with the Sequencer for arpeggiated patterns with sequenced parameter automation. To do this, turn on the Arpeggiator and set the Sequencer mode to trigger. The Sequencer will step with each Arpeggiator step.
Arpeggiator “Momentary Sustain” Mode The Pro 3 allows you to use the sustain pedal to turn the Arpeggiator’s Hold function on and off and perform other Arpeggiator-related functions. To access this feature, use the footswitch function setting in the global menu. There are three modes to choose from: • sustain - With the Arpeggiator running in this mode, pressing and holding the Sustain pedal sustains the notes, as the Sustain pedal normally would.
MIDI Note Output from the Arpeggiator The Arpeggiator outputs MIDI note messages. Any notes that you hold on the keyboard will be arpeggiated according to the current settings of the Arpeggiator and output over MIDI as MIDI notes. You can use this feature to drive other MIDI-equipped devices such as synthesizers and drum machines. To access this feature, use the midi arp notes setting in the global menu. To enable MIDI Note output from the Arpeggiator: 1.
Arpeggiator Parameters (Display Menus) Arpeggiator parameters are accessible through the menus in the main display. To see these menus, adjust any of the controls in Arpeggiator section of the front panel. Front Panel Arpeggiator On/Off Button—This button turns the Arpeg- giator on and off.
Repeats: 1, 2, 3 —Set to 1, each note in the arpeggio plays once. Set to 2, each note in the arpeggio plays twice. Set to 3, each note in the arpeggio plays three times. Clock Parameters BPM: 30…250—Sets the tempo for the Arpeggiator in BPM (beats per minute). The tap tempo LED flashes at the BPM rate. When sync is enabled on the low-frequency oscillator, or enabled in the Effects section, the BPM rate affects the LFO frequency and/or delay effect.
Sequencer The original Sequencers in modular synthesizers were used as a modulation source. They produced a series of control voltage events at timed intervals that could be used to change the value of a synth parameter in discrete steps. Sequences could be routed to oscillator frequency to produce a series of pitched notes, to filter frequency to produce stepped filtering effects, and so on. The Pro 3 Sequencer is like its analog precursors but more powerful.
• Keyboard trigger. Repeatedly pressing a key on keyboard advances the sequence one step each time you press a key. • The Arpeggiator. Selecting trigger mode, then turning on the Arpeggiator and holding down a chord on the keyboard runs the sequence while notes are held. In this case, sequenced Note tracks are ignored and only parameter automation tracks are played. This is useful for adding sequenced filter sweeps or other modulation to an arpeggio. • External input trigger.
Programming the Sequencer By default, Track 1 of the Sequencer controls oscillator frequency, meaning that it’s hard-wired for recording notes. Beyond that, any Sequencer track can be routed to any modulation destination. A typical scenario might have other tracks routed to filter cutoff, filter resonance, noise level for drum-like accents, and so on. To program a monophonic note sequence: 1. Select a program with a relatively sharp attack and short release. 2. Press the record button.
To transpose a sequence up or down during playback: 1. Press the play button to hear the sequence. 2. Press a note on the keyboard above or below middle C. The sequence is transposed to that key. (Middle C plays the sequence as recorded.) For greater range, use the Transpose Up or Transpose Down buttons. 3. During playback, if you want to restart a sequence from step 1, press the reset button. To record over an existing note sequence: 1. Press the record button. 2. Play different notes on the keyboard.
Sequencing Parameter Changes in Real-Time The Sequencer makes it easy to record parameter changes in real-time as part of any of the four phrases/sequences, A,B,C, and D. To do this, start playback, then hold down the Sequencer’s record button and adjust front-panel controls such as filter cutoff, noise level, envelope settings, or other parameters. As the sequence plays, the Sequencer records the changes to the parameter and incorporates them into the sequence.
Copying a Sequence from One Track to Another Sometimes it’s useful to copy a sequence from one track to another, particularly when tracks are used for parameter modulation. To copy one track to another: 1. Press the sequence button to select the sequence you want ( A, B,C, or D). 2. Press and hold the track sel button and press Soft Button 2 (copy track). 3. Continue to hold down the track sel button and press the step LED with the same number as the track you want to copy (step 1 = track 1, etc.). 4.
Muting a Sequence Track Sometimes it’s useful to mute a track to ignore the sequence data recorded on it. To mute a Sequencer track: 1. Press the sequence button to select the sequence you want ( A, B,C, or D). 2. Press and hold the track sel button and press the step LED with the same number as the track you want to mute (step 1 = track 1, etc.). 3. Press Soft Button 4 (mute) to set it to on. The track is muted. 4. To toggle off muting, repeat steps 2 and 3.
To program an extended monophonic note sequence: 1. Show the Sequencer mode menu by pressing the Arpeggiator button. If necessary, press the button again to turn off the Arpeggiator 2. Press Soft Button 3 (seq modes) to select the Sequencer mode menu. 3. Turn Soft Knob 1 and choose extended. 4. Turn Soft Knob 2 and choose the length of the sequence. The maximum length is 64 steps. 5. Press the record button and play the desired notes on the keyboard.
To record a paraphonic sequence: 1. Set all three oscillators to the same level in the mixer. You will probably want to set them to the same octave as well. 2. Press the paraphonic button to enable paraphonic mode. The Sequencer menu appears in the display. 3. Press Soft Button 2 to select the seq params menu. 4. Turn Soft Knob 4 (para seq) and choose on. Paraphonic sequencing is now enabled. 5. Press the record button and play a series of notes and chords on the keyboard. You can play up to 3-note chords.
5. When you’re done, press play. Your sequence plays back. To stop playback, press play again. 6. To resave the sequence, save the program by pressing the write button twice. A quick way to add a rest to an already-recorded sequence is to toggle off the front-panel LED/button for that step. The step/button can be toggled on again if you want.
LEDs are off on steps that are rests. Adding Ties Ties allow you to increase the duration of a note in a sequence (i.e. the number of steps that it’s held). You can add ties as you record a sequence in real time, or you can add them after you’ve finished recording To add ties in real time as you record: 1. Press the record button and play a series of notes. 2. When you reach a step where you want to add a tie, play the note on the keyboard, then press and hold that step LED/button (the LED will be red).
To add ties to an existing sequence: 1. To show the track in the display, hold down the track sel button and press the step LED with the same number as the track you want to edit (step 1 = track 1, and so on). 2. Release the track sel button. The track appears in the display. 3. On the front panel, press and continue to hold the LED button for the step where the tie will start. 4. Press the LED button for the step where the tie will end. 5. Release the buttons. 6.
Editing Duration You can use the Sequencer editor to edit the gate duration of notes after you’ve recorded them. This is useful for creating staccato or legato effects. To edit duration on an existing sequence: 1. To show the notes track in the display, hold down the track sel button and press step LED 1 (notes/vel). Note that if the sequence is paraphonic, tracks 2 and 3 are also note tracks. 2. Release the track sel button. The track appears in the display. 3.
Editing Other Elements of a Sequence You can edit other aspects of a sequence as well, including note values and per-step modulation amounts for any tracks used to modulate synth parameters such as filter cutoff, and so on. This is convenient for fixing mistakes, modifying a sequence, or adding and refining elements of a sequence. To use the sequence editor: 1. Press the sequence button to select the sequence you want to edit: A, B,C, or D. 2.
To edit a track used for modulation: 1. Press the sequence button to select the sequence you want to edit: A, B,C, or D. 2. To show the desired track in the display, hold down the track sel button and press the step LED with the same number as the track you want to edit. 3. Use Soft Knob 1 (step) to scroll to the step you want to edit. 4. Turn Soft Knob 3 (val) to enter a value, 1-127. Most values range from -127 to +127. 5. To save the sequence, save the program by pressing the write button twice.
Recording Additional Sequencer Tracks for Modulation Tracks 4-16 can be freely assigned to any modulation destination. You can either start the Sequencer running and record the modulation values in real time by turning parameter knobs (in which case the Sequencer automatically assigns a track to the edited parameter) or you can input values step by step with the Sequencer stopped. Here’s how to sequence filter cutoff modulation step-by-step. To modulate filter cutoff frequency using Sequencer Track 4: 1.
Using Slew Slew creates a smooth transition between successive, discrete control voltage levels. You can use slew to create glide effects between note values, a smooth filter cutoff sweep, and so on, depending on the parameter being sequenced. To add slew to a sequence track: 1.
Sequencer Parameters (Front Panel) Track Select: Pressing the button displays the sequence editor. Pressing and holding this button displays various commands for setting track destination, copying a sequence, turning notes on or off, and muting a track. Pressing and holding this button and pressing a step LED selects the corresponding track number and displays it in the sequence editor. Sequence: A, B,C, D—These buttons select the active sequence.
Divide: Sets the note value for each Sequencer/Arpeggiator step relative to the BPM. divide works with both internal and external clock sources. The following table lists the divide values.
Sync to Track 1: On, Off—When on, restarts all tracks to step 1 when track 1 plays step 1. When off, all tracks play for their respective step lengths. Restart: On, Off—When the Sequencer is in gated mode, turning this parameter on restarts the sequence from step one each time you play a note on the keyboard. If this parameter is off, each time you play on a note on the keyboard, the sequence will begin from the most recent point in the sequence. Para Seq: On, Off—Enables paraphonic sequencing.
Tuned Feedback Tuned feedback is a method of processing audio using a delay line with tunable feedback. By varying the amount and tuning parameters you can use it to create a variety of effects, some subtle, and some industrial-grade nasty, especially if you turn on grunge. TUNED FEEDBACK GRUNGE AMOUNT TUNING The Tuned Feedback controls Using Tuned Feedback to Perform “Karplus-Srong” Synthesis You can also use Tuned Feedback as a tone generator.
6. Set the Feedback tuning parameter to 12 7. Set the Filter Envelope’s attack and decay parameters to shape the envelope of the generated sound. 8. Experiment with the Feedback Amount parameter and the ADSR parameters of Aux Envelope 1 to shape the harmonic content of the generated sound. Feedback Parameters Amount: -127...+127—Sets the level of feedback. As the amount goes up, the feedback will eventually oscillate at the frequency set with the tuning parameter.
Master Volume/Program Volume The master output level of the Pro 3 is controlled by the front-panel master volume knob. In addition, the volume of an individual program can be set with the volume parameter in the vca menu. This is useful for ensuring that your sounds have roughly the same volume from program to program. Volume 127 VOLUME VCA FX VCA ADSR VCA Env Amt Setting Program Volume in the Amp Envelope menu To set the volume of an individual program: 1. Choose a program. 2.
Transpose The up and down buttons in the transpose section transpose the keyboard up or down in octaves. The LED indicates the current keyboard transposition state. Transposing the keyboard also changes the MIDI note numbers of the keys so that MIDI notes sent are also transposed. Transpose settings are global and are not saved with individual programs. The Transpose controls Hold When hold is on, any notes played will continue to play until hold is turned off.
Press to enable Glide The Glide button To use Glide: 1. Press the glide button to turn Glide on. 2. Play a series of notes up and down the keyboard while you turn the glide amount knob to adjust the amount of glide. Glide Modes There are four modes that determine how glide behaves: Fixed Rate: The time to transition between notes varies with the interval between the notes; the greater the interval, the longer the transition time. The glide rate is fixed. This is the default glide mode.
Glide Rate Choose a Glide mode here Fixed Rate Osc 1 Glide Osc 2 Glide 14 14 GLIDE MODE OSC 1 GLIDE OSC 2 GLIDE Key Modes Glide Pitch Wheel Osc 3 Glide 14 OSC 3 GLIDE Choosing a Glide mode To set the Glide Amount separately for each oscillator: 1. Press the glide button. 2. Play a series of notes up and down the keyboard while you turn Soft Knobs 1-3 to adjust the amount of glide for individual oscillators.
Pitch and Mod Wheels The Pro 3 has a spring-loaded Pitch wheel and a Mod wheel. You can use these controls to enhance live performance by bending notes and adding modulation in real time as you play. PITCH MOD The Pitch and Modulation wheels Pitch Wheel You can set a range in semitones for the Pitch wheel, depending on your playing preference. The upward range is 12 semitones (1 octave). The downward range is 24 semitones (2 octaves).
Modulation Wheel The Mod wheel controls the amount of modulation for any program that uses it as a modulation source. This allows you to “perform” modulation in real time by moving the wheel. This is a great way to add expressiveness to a sound or performance by using it to control vibrato, filter effects, and potentially a lot more. To choose a modulation destination for the Mod wheel: 1. In the modulation section, press the source button.
Touch slider The Pro 3 has a position-sensitive Touch slider. Like the Pitch and Mod wheels, you can use this slider to enhance live performance by adding modulation in real time as you play. The slider serves as a modulation source, the value of which is determined by finger position. The Touch slider appears in the modulation matrix as slider. (See page 120 for a list of mod destinations.) Normally, the slider affects the assigned modulation destinations only while it’s being touched.
To assign the slider to a modulation destination: 1. On the front panel modulation section, press and hold the source button. 2. Touch the slider. The mod matrix appears in the display and slider is assigned to an available modulation slot. 3. Turn Soft Knob 4 (destination) to choose a modulation destination. 4. Turn Soft Knob 3 (amount) to choose the maximum amount of modulation applied when you move your finger to the top range of the slider. 5.
To choose aftertouch (pressure) as a source for modulation: 1. In the modulation section, press the source button. Use the Soft Knob 1 to scroll to Mod Slot 1 if it’s not already displayed. 2. Use the Soft Knob 2 (source) to scroll through the various mod sources and choose pressure. 3. Use the Soft Knob 4 (destination) to scroll through the various mod destinations and choose a parameter (such as cutoff). 4. Hold down a note on the keyboard. Then, press harder. 5.
Play List The Play List enables you to organize programs into lists for quick recall. This feature is particularly useful for live performance where you may want to have specific groups of programs at your fingertips. Here’s how the Play List works: • There are 10 sets. • Each set contains 4 Lists. • Each list contains 4 programs.
9. Use Soft Knob 1 (program) and Soft Knob 2 (bank) to choose the program that you want. 10. Press Soft Button 4 to select the forth position in the list. 11. Use Soft Knob 1 (program) and Soft Knob 2 (bank) to choose the program that you want. 12. Now that you have set up List 1. Repeat as desired to set up List 2, List 3, and List 4, if you want. 13. The Lists that you have just created all reside in Set 1.
Miscellaneous Parameters Pressing the misc params button displays the miscellaneous parameters menu. Here you’ll find settings for Key Modes, Gate Source, Alternate Tunings, Glide, and the Pitch Wheel. To use the misc params menu: 1. Press the misc params button. 2. Use Soft Buttons 1-3 to select the desired menu. 3. Use Soft Knobs 1-4 to set a selected parameter. Press to see the Misc Parameters menu Revert Write Show Compare Misc.
Key Mode: Low Note, High Note, Last Note—(In the key modes tab) Selects the key priority when more than one key is played simultaneously. low note, high note and last note are monophonic playback modes that give priority to the lowest, highest, or last note played, as their names imply. Retrigger: On, Off—(In the key modes tab) Determines whether or not the envelopes are retriggered if a note is held while additional notes are played.
Glide Tab As explained previously, Glide causes the pitch of a note to glide up or down from the pitch of the previously played note. Glide is turned on and off using the glide switch, but the rate must also be set. If the glide button is on, but rate is set to 0, glide has no effect. Glide can be set individually for each oscillator.
Global Settings The global menu is where you’ll find settings that apply to the synthesizer as a whole — in other words, settings that apply to the overall behavior of the synth. These include such things as master tuning, keyboard velocity curves, MIDI settings, Pitch and Mod wheel calibration, and more. You can use the global button to set the program that appears when you power on the Pro 3. Simply use the bank and program knobs to find the program you want, then press the global button twice.
In slave and slave thru modes, if no MIDI clock is present at the selected input, the Arpeggiator and Sequencer will not function. 5. MIDI Clock Cable In: MIDI Port, USB—Sets the port (MIDI or USB) by which MIDI clock is received. 6. MIDI Clock Cable Out: MIDI 1, MIDI 2, USB, MIDI ALL, ALL—Sets the port by which MIDI clock is sent. 7.
15. MIDI Arp Notes: Off, On—When On, the synth’s Arpeggiator outputs MIDI note numbers. You can use this feature to drive other MIDIequipped devices such as synthesizers and drum machines. 16. Arp Beat Sync: Off, Quantize—When set to quantize, Arpeggiator note playback occurs only on the beat, regardless of when you press a key on the keyboard. 17. Local Control: All Off, Key/Wheels Off, On—When on (the default), the keyboard and front panel controls directly affect the Pro 3.
In passthru mode, turning the pot has no effect until after the edited value equals the preset value (that is, until the edited value “passes through” the stored value). mode uses an absolute value based upon the position of the pot when edited: turn a pot and the value jumps immediately from the stored value to the edited value. jump 20. Footswitch Polarity: Normal, Reversed—There are two types of momentary footswitches, normally open and normally closed.
24. Aftertouch Enable: On, Off—Selects whether aftertouch (key pres- sure) is enabled or disabled. If disabled, the Pro 3 will neither respond to nor transmit aftertouch/key pressure data. 25. Aftertouch Curve: Curve 1, Curve 2, Curve 3, Curve 4—Sets one of four pressure curves for the keyboard to adjust the aftertouch to your playing style. 26. Velocity Curve: Curve 1... Curve 8—Sets one of the eight velocity curves for the keyboard to adjust the velocity response to your playing style. 27.
30. CV 3 In Offset: -127…+128—Allows adjustment of the DC offset of control voltage input 3. 31. CV 4 In Offset: -127…+128—Allows adjustment of the DC offset of control voltage input 4. 32. CV 1 In Scale: -127…+128—Allows adjustment of the input scale of control voltage input 1. The Pro 3’s oscillators can both drive and be driven by control voltages.
42. CV 3 Out Scale: -127…+128—Allows adjustment of the output scale of control voltage output 3. 43. CV 4 Out Scale: -127…+128—Allows adjustment of the output scale of control voltage output 4. 44. Screen Saver: On, Off—The Pro 3 display has a built-in screen saver that puts it to sleep when not in use. This features is designed to prolong the life of the display and we recommend using it. If, however, you want to disable this feature you can do so by setting it to off. 45.
51. Dump All User Banks—Transmits all four User Banks and Play Lists in SysEx format via the selected MIDI port. (See MIDI Sysex Cable on page 97.) Dumped banks will load back into the same location in memory when imported back into the synth via MIDI. 52. Dump Playlists—Transmits all Play Lists in SysEx format via the selected MIDI port. (See MIDI Sysex Cable on page 97.) You may want to do this in order to archive Play Lists or transfer them to another Pro 3 that has the same set of User Programs.
Chapter 3: Programming the Pro 3 The Pro 3 can produce a vast spectrum of sounds. While the factory programs give you some idea of its scope, if you only make use of its presets, you’re not really using the Pro 3 to its full potential. The real excitement is in creating sounds that are uniquely your own. This chapter provides some brief tutorials. While there isn’t enough space here to cover how to use every Pro 3 function, the examples will help you get familiar with some basic concepts.
Long Version with Explanations Here’s a more detailed version that provides insight into the process. You’ll start with the Basic Program, then learn how to choose an appropriate oscillator waveshape, how to use the filter, how to use the envelopes, and how to use Unison to fatten things up. In the Basic Program, only Oscillator 1 is audible. Its waveshape is set to sawtooth and its level is 127 in the mixer. (Oscillator 2 and Oscillator 3 levels are set to zero.) To start with the Basic Program: 1.
Next, you’ll use the filter to shape the raw sound of the sawtooth wave. To adjust the filter: 1. Press and hold down a key and turn the filter’s cutoff knob. Notice how it cuts the high frequencies as you rotate counter-clockwise, making the sound of the oscillator less bright. If you turn the cutoff knob fully counterclockwise you’ll filter out all frequencies and hear nothing. 2. Return the cutoff knob to its halfway position, play and hold a note again then turn the resonance knob about halfway up.
Be aware that the Filter Envelope and Amplifier Envelope work in conjunction, with the Filter Envelope controlling how the filter opens and closes and the Amplifier Envelope controlling the overall volume shape. To learn more about the Amplifier Envelope, see page 35 5. The Filter Envelope’s release parameter acts in conjunction with the Amplifier Envelope.
6. In the filter section, set cutoff to 26, resonance to 15, and drive to 100. 7. In the filter envelope section, set the amount to 105, the attack to 17, decay to 64, sustain to 50, and release to 90. 8. Enable touch sensitivity by pressing and enabling the velocity button. 9. In the auxiliary envelope section, select envelope 1 and set its destination to osc 2 coarse freq. This routes envelope 1 to modify Osc 2 pitch according to its ADSR (attack, decay, sustain, release) settings.
4. Set amplifier envelope attack to 66, decay to 62, sustain to 124, and release to 80. 5. Play some chords. You’ve now got a good basic string pad. Adding Effects to the String Pad You can enhance the string pad adding an effect such as chorus and phasing for a retro feel. To add effects to the string pad: 1. In the effects section, press the effect 1 button. 2. Turn the effect type knob and choose chorus. 3.
Creating a Hard-Sync Lead Here’s another classic sound: a hard-sync lead. A famous example of this is “Let’s Go” by the Cars (performed on a Prophet-5). In this example you’ll learn how to hard-sync the oscillators, pitch-modulate one of them with an auxiliary envelope, then add effects. To create a hard-sync lead: 1. Press the global button. 2. Use Soft Knob 1 to navigate to basic program and press Soft Button 1 (write now).
Adding Effects to the Lead You can enhance the sync lead by adding some delay and reverb. To add effects: 1. In the effects section, press the effect 1 button. 2. Turn the effect type knob and select delay stereo. 3. Set mix to 30, then set parameter 1 (time) to 135, parameter 2 (feedback) to 20, and parameter 3 (lpf) to 100. 4. In the effects section, press the effect 2 button. 5. Turn the effect type knob and select super plate. 6.
Chapter 4: Using the Pro 3 with External Devices This chapter explains how to use the Pro 3 to process external audio, how to synchronize the Pro 3’s Sequencer to an external MIDI device, and how to use the Pro 3 with a modular synthesizer. Processing External Audio The Pro 3 makes a great effects processor. The example below shows you how connect external audio to the Pro 3 and process it in real time by tweaking knobs and controls.
Connect an expression pedal to the Pro 3 and route it to a parameter such as filter cutoff in the mod matrix for more real-time processing control over the audio input. Filtering External Audio Using the Envelope Follower The Pro 3’s envelope follower makes it easy to process external audio with an “auto-wah” type effect. Add a little distortion and delay and this is a very expressive effect. The Envelope Follower has controls for attack and release in the ext in env tab.
4. Turn the sustain knob on the amplifier envelope to 127. 5. Turn the sustain knob on the filter envelope to 127. 6. Press the source button in the Modulation section. 7. With Soft Knob 2 (source) choose env follow as the source. 8. With Soft Knob 4 (destination) choose env vca amt as the destination. 9. With Soft Knob 1 (edit mod) choose a second available mod slot. 10. With Soft Knob 2 (source) choose env follow as the source. 11. With Soft Knob 4 (destination) choose cutoff as the destination. 12.
Syncing the Sequencer with an External MIDI Device It’s possible to sync the Pro 3’s Sequencer to an external MIDI device such as a Tempest drum machine or digital audio workstation using MIDI clock. To sync a sequence to an external MIDI clock: 1. Connect the external MIDI device’s MIDI Out to the MIDI In of the Pro 3. 2. Set the external MIDI device to MIDI Clock Master. 3. On the Pro 3, press the global button and select midi clock mode (menu item 4). Then set midi clock mode to slave. 4.
Using Pro 3’s CV Outs to Control a Modular Synth The Pro 3 can interface with modular synthesizers through its four control voltage inputs and outputs. This makes it possible to use the Pro 3 as the central hub of a modular system. For example, you could play the modular synth’s oscillators from the Pro 3 keyboard. You could also use the Pro 3’s Sequencer to modulate the external modular synth’s filters.
If pitch tracking between the Pro 3’s keyboard and the external oscillator module isn’t perfect, you may need to scale the Pro 3’s CV output. To scale the Pro 3’s CV Out: 1. Play the note A = 440 on the Pro 3 keyboard. 2. Tune the external modular oscillator to the same pitch. 3. Play different octaves to check for pitch consistency across the key range. 4.
There are a couple ways to correct for this offset: • Use an external attenuator. • Alternatively, apply a negative offset to the desired CV output using the cv out offset parameter in the global menu. This will allow the Pro 3 to compensate for the voltage difference internally. To configure the Pro 3 to control an external oscillator that has a 5v input range: 1. In Mod Slot 1, choose note number as the source and choose cv 1 out as the destination. Then set the modulation amount to 127.
Appendix A: Modulation Sources Off Osc 1 Osc 2 Osc 3 Noise LFO 1 LFO 2 LFO 3 Env LPF Env VCA Env Aux 1 Env Aux 2 Pitchbend Mod Wheel Slider Pressure Breath Foot Pedal Expression Pedal Velocity Note Number Random DC Audio Out Audio In Env Follow Peak Hold CV In 1 CV In 2 CV In 3 CV In 4 Pro 3 User’s Guide Seq Track 1 Seq Track 2 Seq Track 3 Seq Track 4 Seq Track 5 Seq Track 6 Seq Track 7 Seq Track 8 Seq Track 9 Seq Track 10 Seq Track 11 Seq Track 12 Seq Track 13 Seq Track 14 Seq Track 15 Seq Track 16 Appen
Appendix B: Modulation Destinations Off Osc 1 Coarse Freq Osc 2 Coarse Freq Osc 3 Coarse Freq Osc All Coarse Osc 1 Fine Freq Osc 2 Fine Freq Osc 3 Fine Freq Osc All Fine Freq Osc 1 Shape Osc 2 Shape Osc 1 Shape Mod Osc 2 Shape Mod Osc 3 Shape Mod Osc 1 Slop Osc 2 Slop Osc 3 Slop Osc All Slop Osc 1 Level Osc 2 Level Osc 3 Level Noise Ext Audio Level Drive Cutoff Resonance SV LP-N-HP SV Norm-BP Feedback Amount Feedback Tune Distortion Panning FX 1 Mix FX 2 Mix FX 1 Param 1 FX 2 Param 1 FX 1 Param 2 FX 2 Para
Mod 22 Amount Mod 23 Amount Mod 24 Amount Mod 25 Amount Mod 26 Amount Mod 27 Amount Mod 28 Amount Mod 29 Amount Mod 30 Amount Mod 31 Amount Mod 32 Amount CV 1 Out CV 2 Out CV 3 Out CV 4 Out CV 1 Trig Out CV 2 Trig Out CV 3 Trig Out CV 4 Trig Out MIDI 1 Note Chn 1 MIDI 1 Note Chn 2 MIDI 1 Note Chn 3 MIDI 1 Note Chn 4 MIDI 1 Note Chn 5 MIDI 1 Note Chn 6 MIDI 1 Note Chn 7 MIDI 1 Note Chn 8 MIDI 1 Note Chn 9 MIDI 1 Note Chn 10 MIDI 1 Note Chn 11 MIDI 1 Note Chn 12 MIDI 1 Note Chn 13 MIDI 1 Note Chn 14 MIDI 1 No
Appendix C: Troubleshooting and Support Troubleshooting If you’re experiencing problems or unexpected behavior from your Pro 3, here are a few typical scenarios and their solutions: If the Pro 3 isn’t producing sound:. 1. Recall the Basic Program by holding the Transpose down button and pressing the latch button. 2.
If the Pro 3 is behaving erratically: • This is almost always caused by a MIDI feedback loop. Make sure that any MIDI Thru functionality is turned off on the MIDI interface/hardware or in the MIDI software application. Disconnect all Pro 3 MIDI connections (MIDI and USB cables) and see if the problem persists. You can also monitor the MIDI traffic with MIDI Monitor (Mac OS) or MIDI-OX (Windows) to see if the Pro 3 is being overrun with duplicate messages.
Resetting the Global Parameters If you’re trying to track down a problem, it’s sometimes a good idea to reset the Global parameters to their defaults. This is a quick way to make sure that the Pro 3 returns to its factory settings. To reset all Global parameters to their default settings: 1. Press the global button. 2. Use the Soft Knob 1 to select reset globals, then press Soft Button 1 (reset now). Globals are reset. You can now can play the Pro 3 again.
Warranty Repair Sequential warrants that the Pro 3 will be free from defects in materials and/or workmanship for 1 year from the date of purchase. Please register your product online at www.sequential.com to establish the date of purchase. (This is not a requirement for warranty service, but it will help expedite the process.) Please contact support@sequential.com to determine the best course of action for getting your Pro 3 repaired.
Appendix D: Calibrating the Pro 3 Because the Pro 3 is calibrated at the factory, controls such as the Pitch and Mod wheels, Touch Slider, and analog filters shouldn’t require re-calibration. But if you experience unexpected behavior with these controls, you can use the calibration function to tune them occasionally. Calibrating the VCOs and Filters To calibrate the VCOs and filters: 1. Press the global button. 2.
Appendix E: Exporting and Importing Programs and Banks You can use the dump current program, dump current bank, and dump all user banks commands in the global menu to transmit the current program, bank, or all banks in SysEx format via the selected MIDI port. This allows you to save your programs so that you can share or archive them. You will need a computer and software application such as SysEx Librarian for Macintosh, or MIDIOX for Windows. To export a program or bank as a SysEx file over USB: 1.
Programs can also be dumped directly from one Pro 3 to another using the MIDI DIN jack, if the midi sysex cable parameter is set to midi in the global menu. To send a program or bank to another Pro 3 as a SysEx file over MIDI: 1. Connect two Pro 3 synthesizers together using MIDI cables and the midi in and midi out jacks on their rear panels. 2. On both synthesizers, press the global button and use Soft Knob 1 to select midi sysex cable, then use Soft Knob 3 to choose midi. 3.
4. Open your MIDI librarian software and configure it to send SysEx messages to your Pro 3. 5. In the MIDI librarian, open the programs and/or banks you want to send. 6. Transmit the programs. The Pro 3 should load them. They will replace any existing programs in those same memory locations on the synth. Programs will load back into the same bank and program locations from which they were originally exported.
Appendix E: Alternative Tunings By default, the Pro 3 is set to standard, chromatic western tuning. Additionally, it supports up to 64 additional alternative tunings, which you can access using the scale parameter in the global menu (to apply a tuning globally) and also the misc params menu (to apply a tuning to a specific program). These 64 alternative tunings range from Equal temperament to Indonesian Gamelan tunings. If you want, you can replace these with other tunings that you can find on the Internet.
5. 1/4 Tone Equal Temperament 24 notes per octave, equally spaced 24root2 intervals. Mexican composer Julian Carillo used this for custom-built pianos in the early 20th century. 6. 19 Tone Equal Temperament 19 notes per octave (19root2) offering better thirds than 12 ET, a better overall compromise if you can figure out the keyboard patterns. 7.
12. Other Music 7-Limit Black Keys in C Created by the group Other Music for their homemade gamelan, this offers a wide range of interesting chords and modes. C=1/1 (261.625 Hz) 1/1 15/14 9/8 7/6 5/4 4/3 7/5 3/2 14/9 5/3 7/4 15/8 13. Dan Schmidt Pelog/Slendro Created for the Berkeley Gamelan group, this tuning fits an Indonesianstyle heptatonic Pelog on the white keys and pentatonic Slendro on the black keys, with B and Bb acting as 1/1 for their respective modes.
16. Harry Partch 11-Limit 43 Note Just Intonation One of the pioneers of modern microtonal composition, Partch built a unique orchestra with this tuning during the first half of the 20th century, to perform his own compositions. The large number of intervals in this very dense scale offers a full vocabulary of expressive chords and complex key changes. The narrow spacing also allows fixedpitched instruments like marimbas and organs to perform glissando-like passages.
Appendix F: MIDI Implementation The Pro 3 receives MIDI data according to the settings you have chosen in globals. In addition, there is interaction between some of the program parameters that determine the overall response of Pro 3 to MIDI data. These are the globals parameters that affect response to MIDI: MIDI Channel: All, 1…16—Selects which MIDI channel to send and receive data, 1 to 16. All receives on all 16 channels.
MIDI Param Receive: Off, CC, NRPN—Sets the method by which parameter changes are received via MIDI. As with transmission, NRPNs are the preferred method. MIDI Control Enable: Off, On—When set to On, the synth will respond to MIDI controllers, including pitch wheel, mod wheel, pedal, and volume. MIDI Prog Send: Off, On—When set to On, the synth will send MIDI Program Change messages. MIDI Prog Receive: Off, On—When set to On, the synth will respond to MIDI Program Change messages.
MIDI Messages System Real-Time Messages Status Description 1111 1000 MIDI Timing Clock Received Channel Messages Status Second Third Description 1000 nnnn 0kkkkkkk 0vvvvvvv Note Off. Velocity is ignored 1001 nnnn 0kkkkkkk 0vvvvvvv Note On.
See subsequent sections for additional Continuous Controller (CC) and Non-Registered Parameter Number (NRPN) messages received. Transmitted Channel Messages Status Second Third Description 1000 nnnn 0kkkkkkk 0000000 Note Off. 1001 nnnn 0kkkkkkk 0vvvvvvv Note On.
Additional Continuous Controllers Transmitted/Received The following table details how MIDI Continuous Controllers (CCs) are mapped to Pro 3 controls. They are transmitted when MIDI Param Send is set to CC, and recognized/received when MIDI Param Receive is set to CC. CC# Param CC# 0 Bank Select Course 31 1 Mod Wheel 32 2 Breath Controller 33 3 BPM 34 4 Foot Controller 35 5 Glide Mode (Portamento Time) 6 7 Param CC# Param FX 2 Sync Rate 62 Clock Divide Bank Select Fine 63 Arp.
Param CC# Param 90 Feedback Tuning 121 Reset Controllers 91 Distortion Amount 122 Local Control On/Off 92 Grunge On/Off 123 All Notes Off 93 Ext. In Env. Follower Attack 124 Omni Mode Off 94 Ext. In Env. Follower Release 125 Omni Mode On 126 Mono Mode On 95 Ext.
NRPN Messages The Non-Registered Parameter Number (NRPN) MIDI messages are used to transmit and receive both global and program parameters. They are transmitted when MIDI Parameter Send is set to NRPN in globals, and received when MIDI Parameter Receive is set to NRPN in globals. The messages are handled in standard MIDI format using the NRPN CC commands in running status byte format. Below is the format used for transmitting a NRPN parameter.
Received NRPN Messages Status Second Third Description 1011 nnnn 0110 0011 0vvvvvvv NRPN parameter number MSB CC 1011 nnnn 0110 0010 0vvvvvvv NRPN parameter number LSB CC 1011 nnnn 0000 0110 0vvvvvvv NRPN parameter value MSB CC 1011 nnnn 0010 0110 0vvvvvvv NRPN parameter value LSB CC 1011 nnnn 0110 0000 0xxxxxxx NRPN parameter value Increment 1011 nnnn 0110 0001 0xxxxxxx NRPN parameter value Decrement 1011 nnnn 0010 0101 0111111 RPN parameter number MSB CC - Reset NRPN paramet
NRPN Param Name NRPN Param Name NRPN Param Name 54 FilterResonance 90 LFO1Freq 126 EnvFilterAmt 55 FilterDrive // 50 91 LFO2Freq 127 EnvVCAAmt 56 FilterKeyAmt 92 LFO3Freq 128 Env3Amt 57 FilterSelect 93 LFO1Amt 129 Env4Amt 58 SemLPNotchHP 94 LFO2Amt 130 59 SemNormBP 95 LFO3Amt EnvFilterVelocityOnOff 60 LadderBoost 96 LFO1Shape 131 61 FiltersUnused1 EnvVCAVelocityOnOff 97 LFO2Shape 62 FiltersUnused2 132 98 LFO3Shape EnvEnv3VelocityOnOff 63 VoiceVolume
NRPN Param Name NRPN Param Name NRPN Param Name 160 Env3Unused1 196 Mod29Source 232 Mod1AmtMSB 161 Env4Unused1 197 Mod30Source 233 Mod2AmtMSB 162 EnvFilterUnused2 198 Mod31Source 234 Mod3AmtMSB 163 EnvVCAUnused2 199 Mod32Source 235 Mod4AmtMSB 164 Env3Unused2 200 Mod1Amt 236 Mod5AmtMSB 165 Env4Unused2 201 Mod2Amt 237 Mod6AmtMSB 166 Env3Dest 202 Mod3Amt 238 Mod7AmtMSB 167 Env4Dest 203 Mod4Amt 239 Mod8AmtMSB 168 Mod1Source 204 Mod5Amt 240 Mod9AmtMSB 1
NRPN Param Name NRPN Param Name NRPN Param Name 268 Mod5Dest 304 Unused0 340 Name19 269 Mod6Dest 305 Unused1 341 EditorByte 270 Mod7Dest 306 Unused2 342 EditorUnused1 271 Mod8Dest 307 Unused3 343 EditorUnused2 272 Mod9Dest 308 Unused4 344 DummyModSource 273 Mod10Dest 309 Unused5 345 DummyModDest 274 Mod11Dest 310 Unused6 346 Slider1Mode 275 Mod12Dest 311 Unused7 347 ArpOnOff 276 Mod13Dest 312 Unused8 348 ArpMode 277 Mod14Dest 313 Unused9 349 A
Global Parameter Data The table shows the global data sent and received on global parameter dumps, and corresponding NRPN number when sent/received individually.
NRPN Range Description 4129 0-255 CV1 In Offset 4130 0-255 CV2 In Offset 4131 0-255 CV3 In Offset 4132 0-255 CV4 In Offset 4133 0-255 CV1 In Offset 4134 0-255 CV2 In Offset 4135 0-255 CV3 In Offset 4136 0-255 CV4 In Offset 4137 0-255 CV1 Out Offset 4138 0-255 CV2 Out Offset 4139 0-255 CV3 Out Offset 4140 0-255 CV4 Out Offset 146 Appendix F: MIDI Implementation Sequential
Control NRPN Data The following table lists the Pro 3’s control NRPN data. It is received and transmitted but not saved as part of a program. NRPN 4188 Value Description 0-1 Seq Play/Stop SysEx Messages Universal System Exclusive Message (Device Inquiry) Status Description 1111 0000 System Exclusive (SysEx) 0111 1110 Non-realtime message 0vvv vvvv If MIDI channel is set to 1 - 16, 0vvvvvvv must match (unless MIDI Channel = ALL); always responds if 0vvvvvvv = 0111 1111.
Request Program Dump Status Description 1111 0000 System Exclusive (SysEx) 0000 0001 DSI ID 0011 0001 Pro 3 ID 0000 0101 Request Program Transmit 0000 00vv Bank Number, 0 - 7 0vvv vvvv Program Number, 0 - 127 1111 0111 End of Exclusive (EOX) The Pro 3 will respond by sending out the program data in the format described below in Program Data Dump.
Program Data Dump Status Description 1111 0000 System Exclusive (SysEx) 0000 0001 DSI ID 0011 0001 Pro 3 ID 0000 0010 Program Data 0000 00vv Bank Number: 0 - 9 0vvv vvvv Program Number: 0 - 99 0vvv vvvv 4096 bytes expanded to 4690 MIDI bytes in “packed MS bit” format 1111 0111 End of Exclusive (EOX) Program Edit Buffer Data Dump Status Description 1111 0000 System Exclusive (SysEx) 0000 0001 DSI ID 0011 0001 Pro 3 ID 0000 0011 Edit Buffer Data 0vvv vvvv 4096 bytes expanded to 46
Global Parameters Data Dump Value Description 1111 0000 System Exclusive (SysEx) 0000 0001 DSI ID 0011 0001 Pro 3 ID 0000 1111 Main Parameter Data 0vvv vvvv 50 nibbles (LS then MS) for 25 Global parameters 1111 0111 End of Exclusive (EOX) The Global Parameters Data Dump is not recognized when received. It is only transmitted when requested. NRPN messages are used to change Globals.
Pro 3 User’s Guide Appendix F: MIDI Implementation 151
152 Appendix F: MIDI Implementation Sequential
Pro 3 User’s Guide Appendix F: MIDI Implementation 153
154 Appendix F: MIDI Implementation Sequential
Pro 3 User’s Guide Appendix F: MIDI Implementation 155
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