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FM VERDICT

9.2

The Pro 3 is far more than

a simple monosynth. It’s a

powerhouse of sound design

with its own unique voice

and endless possibilities

OSCILLATIONS : The digital oscillator

can also act as an LFO for complex

and detailed modulation, using its 16

wavetable shapes, with shape mod

INS & OUTS : With CV ins and outs

the Pro 3 makes a great control centre

for your other gear, including Eurorack

modular setups

MODULATION : With over 170

destinations in the mod matrix as well

as 32 sources, on top of the usual

wheel and velocity type options

HEAVYWEIGHT: The SE version is

cased in beautiful walnut, with a three

position tilting control surface and

weighs in at a reassuring 27lbs

with a mixer section catering to

blending between the ﬁ ve signals.

The VCOs really come alive with

modulation and that is as true

here as anywhere. There are three

LFOs with various waveshapes,

including a sample and hold, that

range from almost stopped to just

into audio range. As with the Rev2

you can choose one and set the

destination by simply adjusting the

corresponding knob and setting an

amount. Simple, fast and keeps

the creative juices ﬂ owing. There

is also a very comprehensive mod

matrix, which is equally intuitive

and the OLED screen helps keep

everything in check with its

immediate feedback and simple

navigation. 32 custom slots are

available alongside the preset

sources ranging from mod and

pitch wheel to aftertouch.

On to the ﬁ lter then. Or, more

accurately the ﬁ lters, as there are

three, each giving a nod to ﬂ avours

of the past, with cutoff controlled

by the giant central encoder. First

up is a Prophet 6 style 4-pole low

pass, next a Moog(ish) ladder with

self-oscillating resonance, then an

Oberheim style SEM 2-pole, with

variable low and high pass (so

notch). These aren’t mixable but

they all sound great. They don’t

sound exactly like the originals but

they deﬁ nitely come close. The Pro

3 has nostalgic elements with

lovely analogue warmth, but with

added spice that raises it above

the status of throwback or clone. It

has a voice all of its own.

On to the envelope generators,

of which there are four, loopable

ADSR type, one ﬁ xed for the VCA,

one ﬁ xed for ﬁ lter and two freely

assignable. These envelopes cover

a lot of ground, from the snappy to

the oh so slow, great for evolving

ambient patches, which brings us

back to the sound sources.

The Pro 3 might be seen as a

monosynth but it is a three-voice

paraphonic synth making this a

versatile beast. The way it cycles

through the voices makes it easy

to get complex and creative with

arpeggios and sequences, in

tandem with different octave

settings per voice.

Stunning sequencer

The sequencer could easily be a

product in its own right. Four

tracks at 16 steps (yes they can be

chained for 64 steps) alone would

be good but here there is so much

more, from swing to programme

change mode, so the notes keep

playing as you swap patches. Best

yet is mod sequencing. Hit play,

then hold record and turn a

control. The sequencer records

that data, which is even editable

after the fact. So simple to use but

massively useful and fun too.

For me, the Pro 3 is all about

the tone and the experience. It

does pretty and subtle well but

where it shines most is when you

add a little grit, which can be in

three ways. The ﬁ lter has a pretty

standard drive control and it

sounds good but there is a

standalone distortion section,

offering everything from a little dirt

to screaming saturation. Not

content with that, there is also a

grunge section and here you can

lay on thick layers of harmonically

rich drive.

The Pro 3 is far more than a

simple monosynth, or even

paraphonic synth. The abilities of

each section combine to make this

a true powerhouse of sound

design. The tone has elements of

what’s gone before but it is its own

beast. The drive sections are

outstanding and the mod matrix,

in tandem with the fabulous

sequencer, make this one of the

most versatile synths out there.

OSCILLATIONS :

The digital oscillator