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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Pro 3 User’s Guide
Global Settings
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).
jump 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.
20. Footswitch Polarity: Normal, Reversed—There are two types of
momentary footswitches, normally open and normally closed. Either
type can be used with the Sustain switch input. This setting allows you
to accommodate both models in case yours behaves in a way that is
the opposite of what you expect due to its polarity. (Sustain is on until
the footswitch is pressed and then it turns off, which is the opposite of
the expected behavior.) Connect your pedal and choose the appropriate
setting based on its behavior.
21. Footswitch Function: Sustain, Arp Hold, Arp Hold Mom—Sets the
function for the Sustain pedal input the rear of the synthesizer. Select-
ing sustain chooses normal sustain pedal operation. Selecting arp hold
and pressing the sustain pedal causes the Arpeggiator to hold the current
arpeggio as if you had pressed the hold button on the front panel. Select-
ing hold mom causes the Arpeggiator to sustain (even when you release
the notes on the keyboard) for as long as you hold down the pedal.
Releasing the Sustain pedal stops the Arpeggiator.
22. Pedal Polarity: Normal, Reversed—There are two types of pedals,
normally open and normally closed. Either type can be used with the
Sustain switch input. This setting allows you to accommodate both
models in case yours behaves in a way that is the opposite of what you
expect due to its polarity. Connect your pedal and choose the appropriate
setting based on its behavior.
23. Pedal Function: LPF Full, LPF Half—When you use an expression
pedal connected to the pedal jack to control lter cutoff, this sets the
range of modulation sent. With lpf full selected, an expression pedal
connected to the filter jack will control lter cutoff frequency within its
full range of 0-1019 (fully closed to fully open). With lpf half selected,
an expression pedal connected to the filter jack will control lter cutoff
frequency within half of its range (fully closed to half open).