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
Creating Synth Brass
Be aware that the Filter Envelope and Amplier Envelope work in
conjunction, with the Filter Envelope controlling how the lter opens and
closes and the Amplier Envelope controlling the overall volume shape.
To learn more about the Amplier Envelope, see page 35
5. The Filter Envelope’s release parameter acts in conjunction with the
Amplier Envelope. In other words, you can’t hear a long release on
the lter envelope if the amplier envelope is short! So to hear the lter
envelope’s release parameter in action, rst set the Amp Envelope’s
release value to 75.
6. Now repeatedly strike a note on the keyboard as you turn the Filter
Envelope’s release knob clockwise and counterclockwise. Notice how
the note fades out faster or slower as you change the release value.
Now you know how to create a simple synth bass program using the
most essential synthesizer components of the Pro 3: the oscillators, the
lters, and the envelopes. Using just these three things you can create an
enormous variety of sounds. Keep experimenting with them and if you
like what you’ve created, save the programs in one of the user banks.
(See “Saving a Program” on page 10.)
Creating Synth Brass
Here’s another easy-to-construct sound: synth brass, with a classic “pitch
blip” effect on the attack. In this example you’ll learn how to detune the
super saw wave, and how to use an auxiliary envelope to modulate the
pitch of oscillator 2 to simulate an aggressively blown horn effect.
To create synth brass:
1. Press the global button.
2. Use Soft Knob 1 to navigate to basic program and press Soft Button 1
(write now). As a shortcut, hold down the front-panel transpose down
button and press the hold button.
3. In the mixer, turn up Oscillator 2 to 127. (Osc 1 is already at 127.)
4. In the oscillators section, set both oscillators to the sawtooth wave and
osc 2 pitch to -5 to detune and thicken them.
5. In the display press Soft Button 2 to select the oscillator shape menu
then use Soft Knob 4 to set osc slop to 10 to add extra oscillator drift.