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
Filters
Filter Envelope
The Pro 3 lter has a dedicated, 5-stage envelope generator (attack,
decay, sustain, release, plus delay). The Filter Envelope is used to shape
the harmonic characteristics of a synthesized sound by giving you lter-
ing control with these stages.
This is one of the most important aspects of a synthesized sound. Without
an envelope, the lters would be static and unchanging. They would stay
open or closed by a xed amount that wouldn’t change over the duration
of a sound. That’s not very expressive or interesting to listen to — and
it’s not how most real-world instruments behave.
In general, sounds produced by an acoustic instrument are brighter at
their beginning (the attack stage) and grow mellower as they die out (the
decay and release stages). In other words, their harmonic content changes
over time. This is exactly what the lter envelope is designed to emulate.
VELOCITY ATTACK DECAY SUSTAIN RELEASE AMOUNT
ATTACK DECAY SUSTAIN RELEASEAUX ENV AMOUNT
VELOCITY ATTACK DECAY SUSTAIN RELEASE AMOUNT
1 2
ENVELOPES
AMP
FILTER
AUX
Filter Envelope
attack
decay
sustain
release
amplitude
time
note offnote on
delay
A typical 5-stage DADSR envelope