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
16
Oscillators
Sequential
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 Oscil-
lators 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. With a specic waveshape selected, turn the shape mod knob and listen
to how the timbre of the waveshape changes. Note that when using
shape mod with the pulse wave, it’s possible to make the pulse width so
narrow that the sound “disappears.”
6. Be aware that on Oscillator 3, when super saw is selected as the wave-
shape (refer to the display to see the name of the waveshape), shape
mod controls the detuning of the Super Saw wave.
7. Turn up the level of Oscillator 2 in the Mixer and experiment with
setting each oscillator to a different waveshape. Experiment with the
pitch knob on the oscillators and notice how slightly detuning the oscil-
lators in relation to each other creates movement and thickness in their
combined sound. Try tuning one oscillator to a interval such as a third,
a fth, or a sixth.
8. Experiment with the octave knob on the oscillators and notice how
setting each oscillator to different octave inuences their combined
sound. This is especially true when using all three oscillators together.
9. Choose one of the three lter types and rotate the lter’s cutoff and
resonance knobs to see how this affects the sound of the oscillators.
10. With Oscillator 1 and 2 on, press the sync button on Oscillator 1, and
set it’s octave to 5. Then rotate the pitch knob on Oscillator 1 while
you hold a note. This is the classic hard sync sound that you’ve prob-
ably heard before. Instead of rotating the pitch knob by hand, you can
use the modulation matrix to route an envelope to Oscillator 1 to sweep
the oscillator’s pitch and create this effect each time you play a note.
You’ll learn more about the mod matrix in “Modulation” on page 46.