User Manual
Table Of Contents
- A Few Words of Thanks
- Chapter 1: Getting Started
- Rear Panel Connections
- Setting Up the Pro 3
- Using the Main Display
- Sound Banks
- Editing Programs
- Saving a Program
- Using Paraphonic Mode
- Exploring the Pro 3 in Greater Depth
- Chapter 2: Pro 3 Controls
- Oscillators
- Mixer
- Filters
- Amplifier Envelope
- Auxiliary Envelopes
- Low Frequency Oscillators
- Modulation
- Effects
- Arpeggiator
- Sequencer
- Normal, Gated, and Trigger Modes
- Programming the Sequencer
- Recording Phrases/Sequences A,B,C, or D.
- Sequencing Parameter Changes in Real-Time
- Copying a Sequence from One Track to Another
- Copying and Pasting an Entire Sequence
- Muting a Sequence Track
- Creating An Extended Sequence
- Paraphonic Sequencing
- Adding Rests, Ties, and Velocity
- Editing Duration
- Adding Ratcheting
- Editing Other Elements of a Sequence
- Setting or Changing the Destination of a Track
- Recording Additional Sequencer Tracks for Modulation
- Using Slew
- Turning off the Sequencer’s “Notes” Track
- Sequencer Parameters (Front Panel)
- Additional Sequencer Parameters (Display Menus)
- Cue Program
- Tuned Feedback
- Master Volume/Program Volume
- Transpose
- Hold
- Glide
- Pitch and Mod Wheels
- Touch slider
- Adding Aftertouch
- Distortion
- Play List
- Miscellaneous Parameters
- Global Settings
- Chapter 3: Programming the Pro 3
- Synthesis 101: Synth Bass
- Creating Synth Brass
- Creating a Hard-Sync Lead
- Chapter 4: Using the Pro 3 with External Devices
- Appendix A: Modulation Sources
- Appendix B: Modulation Destinations
- Appendix C: Troubleshooting and Support
- Appendix D: Calibrating the Pro 3
- Appendix E: Alternative Tunings
- Appendix F: MIDI Implementation
- Bookmark 1
- Bookmark 1
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Global Settings
Sequential
15. MIDI Arp Notes: Off, On—When On, the synth’s Arpeggiator outputs
MIDI note numbers. You can use this feature to drive other MIDI-
equipped 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. When
off, the controls are transmitted via MIDI but do not directly affect the
“local” synth (that is, the Pro 3). When key/wheels off is selected the
front controls are enabled (so that you can edit them) but the keyboard
and Pitch/Mod wheels are off. This is primarily useful for avoiding MIDI
data loops that can occur with some external Sequencers.
18. Mono/Stereo: Stereo, Mono—The Pro 3 defaults to stereo operation.
When set to Mono, this parameter defeats all pan settings and modula-
tion, effectively making each of the outputs a mono output.
19. Pot Mode:
Relative, Passthru, Jump—The rotary controls on the Pro
3’s front
panel are a mixture of “endless” rotary encoders and potentiom-
eters or “pots.” The pots are identiable by their lined knobs and limited
amount of travel. There are three pot modes to determine how the synth
reacts when the programmable parameters are edited. (Master volume is
not programmable, so these modes don’t apply.)
When set to relative, changes are relative to the stored setting. In Rela-
tive mode, the full value range is not available until either the minimum
or maximum value and the respective lower or upper limit of the pot’s
travel is reached.
For example, the Resonance parameter has a value range of 0 to 254.
Let’s say the physical position of the Resonance pot is the equivalent of
a value of 200. If you switch to a program that has a stored Resonance
setting of 63 and turn the pot all the way up, it will only go to 117. To get
to the maximum value of 255, you rst have to turn down until the value is
at the other extreme and the pot is at the limit of its travel (in this case, 0
and fully counter-clockwise, respectively).