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
Low Frequency Oscillators
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 alter-
nately sharp and at 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. In the case of the square wave, this makes it possible to generate
natural-sounding trills.
Square Sample & HoldSawtooth Reverse
Sawtooth
Triangle
0
LFO waveshapes
The LFOs can be free-running or synced to the Arpeggiator, Sequencer, or
MIDI clock for tempo-synced effects such as lter sweeps, tremolo, and so on.
LFO Parameters (Front Panel)
Frequency: 0...150—Sets the frequency of the selected LFO from a
slow .022Hz to a fast 500Hz. This is affected by the clk sync (clock
sync) parameter as explained below.
Amount: 0...127—Sets the amount of LFO modulation routed to the
selected destination. Setting an amount here applies the selected modula-
tion continuously. You can also use the modulation matrix to route an
LFO to additional destinations and use a different modulation amount if
you want.
Shape: Triangle, Sawtooth, Reverse Sawtooth, Square, S&H—This
button sets the waveshape of the selected LFO.
Destination: Various—Routes the selected LFO to one of the many
modulation destinations within the synthesizer. These appear in the
display. You can also use the modulation matrix to route an LFO to addi-
tional destinations.