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Sequential PRO 3, User Manual

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143

Pro 3 User’s Guide

Appendix F: MIDI Implementation

NRPN

Param Name

160

Env3Unused1

161

Env4Unused1

162

EnvFilterUnused2

163

EnvVCAUnused2

164

Env3Unused2

165

Env4Unused2

166

Env3Dest

167

Env4Dest

168

Mod1Source

169

Mod2Source

170

Mod3Source

171

Mod4Source

172

Mod5Source

173

Mod6Source

174

Mod7Source

175

Mod8Source

176

Mod9Source

177

Mod10Source

178

Mod11Source

179

Mod12Source

180

Mod13Source

181

Mod14Source

182

Mod15Source

183

Mod16Source

184

Mod17Source

185

Mod18Source

186

Mod19Source

187

Mod20Source

188

Mod21Source

189

Mod22Source

190

Mod23Source

191

Mod24Source

192

Mod25Source

193

Mod26Source

194

Mod27Source

195

Mod28Source

NRPN

Param Name

196

Mod29Source

197

Mod30Source

198

Mod31Source

199

Mod32Source

200

Mod1Amt

201

Mod2Amt

202

Mod3Amt

203

Mod4Amt

204

Mod5Amt

205

Mod6Amt

206

Mod7Amt

207

Mod8Amt

208

Mod9Amt

209

Mod10Amt

210

Mod11Amt

211

Mod12Amt

212

Mod13Amt

213

Mod14Amt

214

Mod15Amt

215

Mod16Amt

216

Mod17Amt

217

Mod18Amt

218

Mod19Amt

219

Mod20Amt

220

Mod21Amt

221

Mod22Amt

222

Mod23Amt

223

Mod24Amt

224

Mod25Amt

225

Mod26Amt

226

Mod27Amt

227

Mod28Amt

228

Mod29Amt

229

Mod30Amt

230

Mod31Amt

231

Mod32Amt

NRPN

Param Name

232

Mod1AmtMSB

233

Mod2AmtMSB

234

Mod3AmtMSB

235

Mod4AmtMSB

236

Mod5AmtMSB

237

Mod6AmtMSB

238

Mod7AmtMSB

239

Mod8AmtMSB

240

Mod9AmtMSB

241

Mod10AmtMSB

242

Mod11AmtMSB

243

Mod12AmtMSB

244

Mod13AmtMSB

245

Mod14AmtMSB

246

Mod15AmtMSB

247

Mod16AmtMSB

248

Mod17AmtMSB

249

Mod18AmtMSB

250

Mod19AmtMSB

251

Mod20AmtMSB

252

Mod21AmtMSB

253

Mod22AmtMSB

254

Mod23AmtMSB

255

Mod24AmtMSB

256

Mod25AmtMSB

257

Mod26AmtMSB

258

Mod27AmtMSB

259

Mod28AmtMSB

260

Mod29AmtMSB

261

Mod30AmtMSB

262

Mod31AmtMSB

263

Mod32AmtMSB

264

Mod1Dest

265

Mod2Dest

266

Mod3Dest

267

Mod4Dest

Summary of Contents for PRO 3

Page 1: ...Multi filter Mono Paraphonic Synthesizer PRO 3 ...

Page 2: ......

Page 3: ...User s Guide Version 1 0 January 2020 Sequential LLC 1527 Stockton Street 3rd Floor San Francisco CA 94133 USA 2020 Sequential LLC www sequential com PRO 3 ...

Page 4: ... received including interference that may cause undesired operation This Class B digital apparatus meets all requirements of the Canadian Interference Causing Equipment Regulations Cet appareil numerique de la classe B respecte toutes les exigences du Reglement sur le materiel brouilleur du Canada For pluggable equipment the socket outlet shall be installed near the equipment and shall be easily a...

Page 5: ... Program to its Original State 8 Creating a Program from Scratch 9 Saving a Program 10 Canceling Save 11 Comparing Before You Save 11 Using Paraphonic Mode 12 Exploring the Pro 3 in Greater Depth 13 Chapter 2 Pro 3 Controls 14 Oscillators 15 Exploring Oscillator 3 17 Oscillator Parameters Front Panel 18 Additional Oscillator Parameters Display Menus 19 TAB 1 Osc Tuning 19 TAB 2 Osc Shape 20 TAB 3 ...

Page 6: ...ront Panel 37 Additional Amplifier Parameters Display Menus 38 TAB 1 VCA 38 TAB 4 VCA Env Amount 38 Auxiliary Envelopes 39 Auxiliary Envelope Parameters Front Panel 40 Additional Auxiliary Envelope Parameters Display Menus 41 TAB 1 Aux 1 Destination 41 TAB 3 Aux 1 Env Amount 41 Low Frequency Oscillators 42 LFO Parameters Front Panel 43 Additional LFO Parameters Display Menus 44 TAB 1 LFO Shape 44 ...

Page 7: ...e Sequence 65 Muting a Sequence Track 66 Creating An Extended Sequence 66 Paraphonic Sequencing 67 Adding Rests Ties and Velocity 68 Editing Duration 72 Adding Ratcheting 72 Editing Other Elements of a Sequence 73 Setting or Changing the Destination of a Track 74 Recording Additional Sequencer Tracks for Modulation 75 Using Slew 76 Turning off the Sequencer s Notes Track 76 Sequencer Parameters Fr...

Page 8: ...er 3 Programming the Pro 3 104 Synthesis 101 Synth Bass 104 Creating Synth Brass 107 Turning Synth Brass into a Paraphonic String Pad 108 Creating a Hard Sync Lead 110 A Final Word 111 Chapter 4 Using the Pro 3 with External Devices 112 Processing External Audio 112 Filtering External Audio Using the Envelope Follower 113 Syncing the Sequencer with an External MIDI Device 115 Using Pro 3 s CV Outs...

Page 9: ...cting Technical Support 124 Warranty Repair 125 Appendix D Calibrating the Pro 3 126 Calibrating the VCOs and Filters 126 Calibrating the Pitch and Mod Wheels 126 Resetting the Global Parameters 126 Importing Programs and Banks 128 Appendix E Alternative Tunings 130 Appendix F MIDI Implementation 134 MIDI Messages 136 NRPN Messages 140 Control NRPN Data 147 SysEx Messages 147 Packed Data Format 15...

Page 10: ...drew McGowan Joanne McGowan Julio Ortiz Denise Smith TracyWadley and MarkWilcox THE PRO 3 SOUND DESIGNTEAM Rory Dow Peter Dyer GLASYS Mike Hiegemann Tim Koon Tobias Menguser Drew Neumann Bob Oxley Francis Preve Lorenz Rhode Robert Rich Matia Simovich Huston Singletary James Terris Mitch Thomas and Taiho Yamada Special thanks to Kurt Kurasaki Drew Neumann and Robert Rich for wavetables ...

Page 11: ... that started with the classic Sequential Circuits Pro One pack as much power as possible into a compact footprint and make it sound awesome In this case that power comes in threes three oscillators three filters three LFOs plus our most powerful sequencer yet And there s plenty of modulation over thirty two slots worth in fact Our formula seems to have worked The Pro 3 doesn t just sound good it ...

Page 12: ......

Page 13: ...CH Headphones Up TRANSPOSE Down PITCH MASTER VOLUME DISTORTION SHAPE SHOW EFFECTS PARAM 1 PARAM 2 PARAM 3 MIX EFFECT TYPE EFFECT 1 EFFECT 2 ON OFF SHAPE MOD SYNC BPM DIVIDE SWING VELOCITY ATTACK DECAY SUSTAIN RELEASE AMOUNT ATTACK DECAY SUSTAIN RELEASE AUX ENV AMOUNT VELOCITY ATTACK DECAY SUSTAIN RELEASE AMOUNT AMOUNT GRUNGE TUNING PITCH SHAPE SHAPE MOD SYNC AMOUNT GLIDE RATE GLIDE HOLD PITCH SHAP...

Page 14: ...equire additional drivers when used with Mac OS or Windows See Using USB on page 4 for more information 4 MIDI In Out 1 Thru Out 2 Standard 5 pin MIDI DIN connectors for communicating with MIDI equipped devices 5 Footswitch Accepts a momentary normally open or normally closed footswitch to control sustain or to latch the Arpeggiator on when keys are held Alternatively an audio signal connected to ...

Page 15: ...ks output a 5V signal for interfacing with modular synthesizers They can be configured for 1 volt per octave operation for gear that recognize that standard 9 Gate Out Standard 3 5 mm connector This jack outputs a 10 volt on off signal to switch a note on off in external Sequencers and other devices that support this type of connectivity 10 Audio In Unbalanced inch audio input The Pro 3 accepts ex...

Page 16: ... can be used at the same time and transmit the same data Under Mac OS Pro 3 will appear as a MIDI port when connected via USB and can be configured using the Mac s Audio MIDI Setup utility typically found in Applications Utilities Under Windows the first time the Pro 3 is connected via USB the Found new hardware alert appears and it is automatically installed as Pro 3 In Windows if you unplug the ...

Page 17: ...n up the volume on your amp mixer powered speakers 6 Turn up the volume on the Pro 3 7 Use the bank and program knobs to scroll through the factory sounds You can also use Soft Knob 1 and Soft Knob 2 as well as inc and dec buttons to scroll through the sounds in the currently selected bank P1 Pro 3 Lead U1 Turn to scroll through User and Factory banks Turn to scroll through programs 1 128 in each ...

Page 18: ...as osc slop and wave reset in Tab 2 You can select and edit these additional param eters using the four Soft Knobs and Soft Buttons located above and below the display The Soft Knobs are for dialing in values The Soft Buttons select between various menu tabs soft knob 1 parameter 1 soft knob 2 parameter 2 soft knob 3 parameter 3 soft knob 4 parameter 4 soft button 1 menu tab 1 soft button 2 menu t...

Page 19: ...them to user banks U1 U4 Banks of non rewritable permanent sounds are included so that they are always available to be used as is or as templates for new sounds of your own It s easy to design a new sound by tweaking an existing one U1 PRO 3 LEAD P1 Turn to scroll through User and Factory banks Turn to scroll through programs 1 128 in each bank BANK PROGRAM Bank and Program controls Selecting Prog...

Page 20: ... different modes that determine how the synth reacts when you edit its parameters with a pot For details see page 98 Comparing an Edited Program to its Original State When editing a program it s often useful to compare its edited state to its original state to evaluate your edits To compare an edited program to a saved version 1 Edit a program then press the compare button 2 Play the keyboard to h...

Page 21: ...sc Params Paraphonic Press the Show button and turn any knob to see its current setting without changing it Using the Show button to display a parameter value Creating a Program from Scratch An existing program can be very useful as a jumping off point for new sounds But it s also useful and educational to create a new sound from scratch The Pro 3 makes this easy by providing a basic preset that y...

Page 22: ...ese intermediate versions often make good jumping off points for new sounds To save a program to the same preset location 1 Press the write button Its LED begins blinking 2 Enter a name for the program using the appropriate Soft Knobs and Soft Button See the illustration that follows for their functions 3 Press the write button again Its LED stops blinking and the program is saved To save a progra...

Page 23: ...al button The write LED stops flashing and saving is canceled You can return to editing if you want Comparing Before You Save Before saving a program to a new location it s a good idea to listen to the program in the target location to make sure you really want to overwrite it To evaluate a program before you overwrite it 1 Get ready to save by pressing the write button It starts flashing 2 Press ...

Page 24: ...up Using Paraphonic Mode The Pro 3 was designed primarily as a monophonic instrument But we added a 3 voice paraphonic playback mode for extra performance power In this mode the three oscillators can be triggered independently each with its own amplifier envelope However the filter and its envelope are shared between the three oscillators This gives you the ability to play chords of up to 3 notes ...

Page 25: ... a few things that will help you tailor it to your needs The better you know it the more you ll get out of it First read Global Settings on page 96 There are many useful settings and functions found in the Global menu that will affect the overall behavior of your Pro 3 including tuning MIDI connections calibration and more In particular read about Pot Modes and determine which works best for you w...

Page 26: ...arameters not found on the front panel such as external input level gate threshold and more You can select and edit these additional parameters using the four Soft Knobs and Soft Buttons located above and below the display The Soft Knobs are detented encoders for dialing in values The Soft Buttons select between various menu tabs soft knob 1 parameter 1 soft knob 2 parameter 2 soft knob 3 paramete...

Page 27: ... vary the pulse width of these waveshapes using the shape mod param eter This allows for a variety of different waveshapes and timbres Shape Mod value 0 Shape Mod value 254 Oscillator pulse width pulse wave Oscillator 3 because it s digital generates not only triangle sawtooth super saw and pulse waves but also complex wavetable derived wave shapes PITCH SHAPE SHAPE MOD SYNC PITCH SHAPE SHAPE MOD ...

Page 28: ...he 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 fifth or a sixth 8 Experiment with the octave knob on the oscillators and notice ho...

Page 29: ...atrix to control shape mod you can sweep through the selected table s 16 waves to create timbres that shift and evolve in interesting ways To listen to Oscillator 3 1 Press the global button Use Soft Knob 1 to navigate to the basic program command then press Soft Button 1 write now 2 In the basic program only Oscillator 1 is audible The levels of Oscilla tors 2 and 3 are set to zero in the Mixer b...

Page 30: ...uces triangle sawtooth super saw and pulse waves plus 32 wavetables containing 16 waves each Octave Sets the base frequency of an oscillator over a 5 octave range The global master coarse and master fine settings affect the pitch of the oscillators See Global Settings on page 119 for more information Pitch 700 699 Fine tune control with a range of 7 semitones a major 5th up or down The 12 o clock ...

Page 31: ... that it can be used for modulation Since Oscillator 3 is a wavetable oscillator the variety of waveshapes it produces is far greater than LFOs 1 3 and it can be used to create many interesting modulation effects Additional Oscillator Parameters Display Menus Additional oscillator parameters are accessible through the menus in the main display To see these menus adjust any control in oscillators s...

Page 32: ... desirable It adds a bit of randomness to the attack that can make it sound more organic When wave reset is on the wave is always reset to zero the start of its cycle when a note is triggered Osc Slop 0 127 Adds random detuning to add or enhance the natural pitch drift of the chosen oscillator Vintage analog synthesizers all had a certain amount of natural pitch drift which added to the warmth of ...

Page 33: ...ra tor and an external input when connected to the rear panel input of the Pro 3 You must turn up at least one of these sources in order to make sound with the Pro 3 Alternatively when using Low pass 1 or Low pass 2 you can make the filter generate its own sine wave by turning up resonance all the way so that it self oscillates The State Variable filter doesn t self oscillate Rather than limit the...

Page 34: ...l 0 127 Sets the output level of oscillator 1 Osc 2 Level 0 127 Sets the output level of oscillator 2 Osc 3 Level 0 127 Sets the output level of oscillator 3 Ext Audio 0 127 Sets the output level of an external signal connected to the audio in jack on the rear panel of the Pro 3 Noise 0 127 Sets the output level of the noise generator ...

Page 35: ... Gate Thresh 0 127 Sets the threshold above which external input signals will trigger the Pro 3 s Triggering from an external audio input allows you to drive the Pro 3 s Sequencer steps with guitars drum machines and other devices TAB 3 Ext in Env INPUT ATTACK Input Attack InputRelease INPUT RELEASE 0 0 Ext In Env Mixer LPF Misc Ext In Input Attack 0 15 Sets the attack speed of the envelope follow...

Page 36: ...The State Variable filter cannot self oscillate Another characteristic of the State Variable filter is that increasing the amount of resonance does not decrease the amount of low frequencies bass On Low pass 1 and Low pass 2 increasing the amount of reso nance de emphasizes low frequencies The bp and state controls apply only to the State Variable filter The differences between these filters can b...

Page 37: ...f knob Notice how it cuts the high frequencies as you rotate counter clockwise making the sound of the oscillator less bright If you turn the cutoff knob fully counter clockwise you ll filter out all frequencies and hear nothing 4 Return the cutoff knob to its halfway position hold down a note again then turn the resonance knob about halfway up 5 Rotate the filter s cutoff knob again and listen to...

Page 38: ... the sound less bright 5 Turn the filter s state knob to notch and rotate the cutoff knob again Listen to the effect as the filter cuts a band of frequencies centered around the cutoff frequency 6 Now turn the filter s state knob to hp high pass and rotate the cutoff knob again Listen to the effect as the filter removes the low frequen cies from the sound 7 Now press the bp band pass button and ro...

Page 39: ...ing High levels of resonance can sometimes cause the Pro 3 outputs to clip To remedy this reduce oscillator levels in the Mixer or reduce the Amp Envelope s amount parameter State LP Notch HP BP This knob selects the State Variable filter s mode of operation It transitions smoothly from low pass to notch to high pass operation allowing a blending of these modes Band pass operation is selected with...

Page 40: ...above zero means that the higher the note played on the keyboard the more the filter opens This is useful for adding brightness to a sound as higher notes are played which is typically how acoustic instruments behave When set to zero keyboard filter tracking is off meaning that filter frequency is unaffected by playing higher or lower notes on the keyboard When set to 127 the filter will track in ...

Page 41: ...pass filter resonance Sustain 0 127 Sets the filter cutoff frequency for the sustained portion of the sound The sound will stay at this filter frequency for as long as a note is held on the keyboard Release 0 127 Sets the release time of the envelope This controls how quickly the filter closes after a note is released The description of envelope behavior just given is true when the amount param et...

Page 42: ...On Off On Off Allows key velocity to influence filter cutoff frequency If on the harder you play the more the filter will open and the brighter the sound will be If off key velocity will not affect the filter This control allows for more touch sensitive sounds Delay 0 127 Sets a delay between the time the envelope is triggered and when the Attack and subsequent stages occur Loop Off On When on the...

Page 43: ...e 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 filter envelope is design...

Page 44: ...tage 8 Now experiment with the Filter Envelope s attack knob Notice how the attack becomes faster or slower 9 Now hold down a note and experiment with the Filter Envelope s sustain knob This controls how wide the filter stays open while you hold down a key on the keyboard 10 The Filter Envelope s release parameter acts in conjunction with the Amplifier Envelope so to hear its effect first set the ...

Page 45: ...127 Sets the filter cutoff frequency for the sustained portion of the sound The sound will stay at this filter frequency for as long as a note is held on the keyboard Release 0 127 Sets the release time of the envelope This controls how quickly the filter closes after a note is released Velocity On Off On Off Allows key velocity to influence filter cutoff frequency If on the harder you play the mo...

Page 46: ... panel TAB4 Env Amount Amt 25 Amount Delay Vel On Off Env Loop Vel On Loop Off Del 0 ADSR Env Amt Filter Misc Filter Delay 0 127 Sets a delay between the time the envelope is triggered note on and when the attack portion actually begins Loop Off On When on the Delay Attack and Decay segments of the envelope repeat Sustain still affects the level at which the Decay segment ends but instead of susta...

Page 47: ...hen end immediately when the note was released Again that s not very interesting sonically and it s not typi cally how instruments behave in the real world To give you a real world example the main difference between the sound of the wind and the sound of a snare drum is that they have very different volume envelopes Otherwise they are essentially both white noise Wind has a relatively slow attack...

Page 48: ...the Ampli fier Envelope s sustain to zero Notice how it changes the sound so that the sound no longer sustains even if you hold down the key The only sound you hear is the decay portion of the sound 5 Now with sustain still set to zero repeatedly strike a note on the keyboard as you turn the Amplifier Envelope s decay knob clockwise and counterclockwise Notice how it changes the sound as the note ...

Page 49: ...nvelope The higher the setting the louder the sustained portion of the sound will be The sound will stay at this level for as long as a note is held on the keyboard Release 0 127 Sets the release time of the envelope This controls how quickly a sound dies out after a note is released Env Amount 0 127 Sets the amount of modulation from the Enve lope to the VCA In most cases you will probably want t...

Page 50: ...e knob the volume parameter in this menu sets the volume of an individual program This is useful for ensuring that your sounds have roughly the same volume from program to program TAB 4 VCA Env Amount Amt 127 Amount Delay Vel On Off Env Loop Vel Off Loop Off Del 0 VCA ADSR VCAEnvAmt FX VCA Delay 0 127 Sets a delay between the time the envelope is triggered note on and when the attack portion actua...

Page 51: ... ways to make creative use of the Auxiliary Envelopes Route an Auxiliary Envelope to one of the oscillators coarse freq parameter to create the classic pitch blip effect used in many synth lead sounds Route an Auxiliary Envelope to the filter s cutoff parameter in addi tion to the standard Filter Envelope to create a more complex filter envelope shape Route an Auxiliary Envelope to one or more of ...

Page 52: ...om the attack level to the level set with the sustain control The higher the setting the longer the decay Sustain 0 127 Sets the sustain level of the envelope It will stay at this level for as long as a note is held on the keyboard Release 0 127 Sets the release time of the envelope This controls how quickly the value transitions to zero after a note is released on the keyboard Amount 127 127 Sets...

Page 53: ...ns on page 120 for a list of possible destinations You can quickly assign an aux envelope to a destination by holding the aux env button and turning a knob on the front panel The currently selected aux envelope will be assigned to the touched parameter TAB 3 Aux 1 Env Amount Amount Delay Vel On Off Env Repeat Aux1EnvAmt VCAENVAMT Aux 1 ADSR Aux 1 Dest AMT 127 Vel Off Rept Off Del 0 Velocity On Off...

Page 54: ... below the range of human hearing although these can actually extend into the audio range if set to their maximum frequency The LFOs are typically used for periodic modulation such as vibrato periodic pitch modulation and tremolo periodic amplitude modula tion They can also be used as modulation sources for any of the many modulatable parameters in the Pro 3 The LFOs produce a variety of waveshape...

Page 55: ...e running or synced to the Arpeggiator Sequencer or MIDI clock for tempo synced effects such as filter 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 S...

Page 56: ...resting when using Oscillator 3 wavetables Route the LFO s triangle wave to the time parameter of the stereo delay and use a slow freq and low amount setting to create a chorus effect Any LFO can be routed to any destination or multiple destinations using the modulation matrix See page 120 for a list of destinations Additional LFO Parameters Display Menus Additional LFO parameters are accessible t...

Page 57: ...portamento for control voltages For example if you apply a high slew rate value to the LFO s pulse wave its sharp edges will be smoothed and it will become more like a sine wave The same is true when applied to the s h random LFO waveshape the abrupt changes will be smoothed Phase 0 127 Use Phase to offset the LFO waveshape s start point For Phase to have any noticeable effect wave reset must also...

Page 58: ... you want to use as a destination the filter cutoff for example Set the amount using the LFO amount knobs Be aware that not all front panel controls can be used as a modulation destinations Modulation Although the overall sonic character of the Pro 3 is determined by its oscillators and filters much of its power to make truly unique sounds comes from creative use of modulation Modulation is the pr...

Page 59: ... destinations to choose from See page 119 for a complete list There are also 32 freely assignable modulation paths mod slots 1 32 as well as 5 addi tional dedicated mod sources including LFO 1 3 and Auxiliary Envelope 1 and 2 This gives you a large number of sound shaping options AMOUNT SOURCE DESTINATION MODULATION The Modulation section There are shortcuts for routing modulation to various front...

Page 60: ...rranges the modulation list by modulation source LFOs are grouped together envelopes are grouped together and so on Sort Dest Arranges the modulation list by modulation destination Oscillator parameters are grouped together effects parameters are grouped together and so on Modulation Examples Here are several modulation scenarios that illustrate how to use the modula tion matrix The examples provi...

Page 61: ...ce button Use Soft Knob 1 to scroll to Mod Slot 1 if it s not already displayed 2 Use Soft Knob 2 to scroll through the various mod sources and choose slider 3 Use Soft Knob 4 to scroll through the various mod destinations and choose cutoff 4 Hold down a note on the keyboard or press the hold button and play a note on the keyboard and move a finger up and down the Touch slider 5 Use Soft Knob 3 to...

Page 62: ... wheel for even better results Route velocity to distortion to overdrive a synth lead sound the harder you play Tune Oscillator 3 to a perfect 5th 7 semitones and set its mixer level to 0 Then create a mod path to control Osc 3 level with the Mod wheel or Touch slider so you can add it to the mix in live performance Finally add distortion to the sound and you can create a convincing guitar with co...

Page 63: ...brigade emulation Chorus vintage chorus Flanger vintage through zero flanger Phaser vintage 6 stage phaser HP Filter high pass filter Ring Mod ring modulation Rotating Speaker vintage rotating speaker emulation Super Plate Reverb plate reverb with variable time tone and early reflections Available on Effect 2 only For best results run the flanger and high pass filter 100 wet set the mix parameter ...

Page 64: ...adjust the mix knob again to optimize the amount of the effect Full left is completely dry Full right is completely wet a 100 processed signal 6 To sync a delay to the Arpeggiator or Sequencer enable its sync param eter and adjust the time parameter Parameter 1 as needed Effects Parameters Front Panel Effect 1 Turns effect 1 on or off Effect 2 Turns effect 2 on or off Effect Type stereo delay bbd ...

Page 65: ...at would be greater than 1 second When that happens the delay time is divided by 2 until it no longer exceeds the 1 second limit For example if the BPM is set to 60 and Delay Time Parameter 1 is set to Half the expected delay time would be 2 seconds The actual delay time will be 1 second i e 2 seconds divided by 2 Parameter 1 Variable depending on the effect This knob adjusts parameter 1 for the c...

Page 66: ...the individual notes held You can adjust the playback mode up down up down random assign the octave range 1 2 or 3 the number of repeats per note and the tempo The Arpeggiator usually works best on sounds with a fast attack While you hold down a chord pressing any additional notes will add those notes to the arpeggio You can change chords and notes and the arpeggio will continue to play as long as...

Page 67: ...ime The parameter changes will be recorded and included in the sequence BPM DIVIDE SWING ARPEGGIATOR 10 11 12 13 14 15 16 assign 6 assign 7 assign 8 CV out 1 CV out 2 CV out 3 CV out 4 MODE RESET DIRECTION fwd Normal Gated Trigger rev fwd rev random Press to enable the Arpeggiator The Arpeggiator To use the Arpeggiator 1 Press the Arpeggiator on off button to turn it on 2 Hold down one or more not...

Page 68: ...this mode pressing the Sustain pedal once causes the Arpeggiator to hold the sequence even when you release the notes on the keyboard Pressing it again stops the Arpeggiator arp hold mom With the Arpeggiator running in this mode pressing and holding the Sustain pedal causes the Arpeggiator to sustain even when you release the notes on the keyboard for as long as you hold down the pedal Releasing t...

Page 69: ...ct midi arp notes 2 Turn Soft Knob 3 to select on To control an external MIDI device 1 Connect the MIDI or USB output of the Pro 3 to the MIDI or USB input of the external device depending on which type of connection the external device requires 2 On the Pro 3 press the global button then use Soft Knob 1 to select midi out select 3 Use the Soft Knob 3 knob to select midi or usb or midi usb depend ...

Page 70: ...lowest to highest note Down Plays from highest to lowest note Up Down Plays from lowest to highest and back to lowest Random Plays notes in random order Assign Plays notes in the order the keys were pressed Octave Range 1 2 3 Set to 1 only the held notes are arpeggiated Set to 2 the held notes and the notes one octave above them arpeggiate Set to 3 the held notes and the notes one and two octaves ...

Page 71: ...PM rate affects the LFO frequency and or delay effect When syncing to an exter nal MIDI clock source the BPM setting has no effect Divide Selects a basic note value relative to the BPM See the table below Name Tempo Timing Division Half BPM 2 Half note Quarter BPM Quarter note 8th BPM x 2 Eighth note 8 Trip BPM x 3 Eighth note triplets 16th BPM x 4 Sixteenth note 16 Trip BPM x 6 Sixteenth note tri...

Page 72: ...ate sequences of variable length and add rests ties per step ratcheting and adjust duration and velocity Each Sequencer track can be routed to a different modulation destination using the mod matrix and each step in a sequence can be set to a different value to modulate that destination All factory programs have a sequence associated with them Recall a program and press the Sequencer s play button...

Page 73: ...ltage input BPM DIVIDE SWING TAP TEMPO ARPEGGIATOR VALUE 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 TRACKS SLEW SEQ LOCK CUE PGM TRACK SEL notes vel duration ratchet cutoff assign 1 assign 2 assign 3 assign 4 assign 5 assign 6 assign 7 assign 8 CV out 1 CV out 2 CV out 3 CV out 4 A B C D SEQUENCE RECORD PLAY MODE RESET DIRECTION fwd Normal Gated Trigger rev fwd rev random The Sequencer Play Source Res...

Page 74: ...f then on again and replay the notes correctly 5 If you want to record fewer than 16 steps play only the notes you want If you play more than 16 notes steps the Sequencer will ignore the additional notes 6 When you ve finished press the play button to hear your sequence A white LED indicates the current step A red LED indicates a note has been recorded on that step 7 Use the bpm divide or tap temp...

Page 75: ...ite button twice Recording Phrases Sequences A B C or D The Pro 3 can record up to four independent phrases sequences per program You can select among these by pressing the A B C or D sequence buttons on the front panel During real time playback you can switch between these on the fly You can also chain them together for sequences longer than 16 steps See Creating An Extended Sequence on page 66 f...

Page 76: ...3 are reserved for note related functions but tracks 4 16 can be freely assigned Be aware of where and when the sequence loops back around to its beginning since the Sequencer continues to record and possibly over write any parameter changes you make as it repeats To sequence parameter changes in real time 1 Start playback of an existing sequence by pressing the play button 2 As the sequence plays...

Page 77: ...he step LED with the same number as the track you want to paste the copied track onto Copying and Pasting an Entire Sequence You can also copy and paste an entire sequence between sequences A B C and D This duplicates all data on all tracks To copy and paste an entire sequence 1 Press and hold the track sel button and press Soft Button 2 copy track 2 Continue to hold down the track sel button and ...

Page 78: ...track is muted 4 To toggle off muting repeat steps 2 and 3 Creating An Extended Sequence If want to create a sequence that s longer than 16 notes steps you can do so by putting the Sequencer in extended mode This chains the individual phrases sequences A B C D together Since each of the four individual phrases sequences has a maximum of 16 steps you can create a sequence of up to 64 steps in total...

Page 79: ...urrent step location When you cross over into the next 16 step sequence A B C D the appropri ate LED will light up 6 When you re done press play to listen to the sequence 7 To save the sequence save the program by pressing the write button twice Paraphonic Sequencing The Pro 3 can play and sequence 3 note chords when operating in para phonic mode In this mode track 1 is routed to Oscillator 1 trac...

Page 80: ...play again 7 To save the sequence save the program by pressing the write button twice Adding Rests Ties and Velocity When recording note sequences using the keyboard the Sequencer assigns each note that you play along with its velocity to successive steps in the sequence However you may want to add rests ties and additional velocity changes for greater rhythmic variation Adding Rests Rests turn of...

Page 81: ...indicates a rest Unlit LEDs indicate rests or steps with no notes recorded To add rests to an existing sequence using the sequence editor 1 To show the track in the display hold down the track sel button and press the step LED with the same number as the track you want to edit step 1 track 1 and so on 2 Release the track sel button The track appears in the display 3 On the front panel toggle off t...

Page 82: ...that step LED button the LED will be red 3 With that step LED button still held down press the step LED button where you want the tie to end That series of steps is now tied and the note sustain for that duration 4 Release the buttons 5 Continue playing notes as desired to complete the sequence 6 When you re done press play Your sequence plays back To stop play back press play again Notes Velocity...

Page 83: ...uence 1 To show the notes track in the display hold down the track sel button and press step LED 1 notes vel Note that if the sequence is para phonic tracks 2 and 3 are also note tracks 2 Release the track sel button The notes track appears in the display 3 Press Soft Button 1 velocity to display the velocity parameter for the track 4 Turn Soft Knob 1 step to scroll to the desired step 5 Turn Soft...

Page 84: ...values create staccato effects Higher values create legato effects 6 Repeat steps 4 and 5 as desired Adding Ratcheting Ratcheting adds tuplet effects by repeating a note trigger multiple times on the same step You can choose from 1 to 8 repetitions per step You may need to adjust envelope settings and a step s duration parameter to hear each repetition depending on the sequence To add ratcheting t...

Page 85: ...on The track appears in the display To edit notes 1 Make sure track 1 initnote is displayed Then use Soft Knob 1 step to scroll to the step you want to edit 2 Use Soft Knob 3 note to change the note C0 G10 3 To re save the sequence save the program by pressing the write button twice To edit a note s velocity 1 Make sure track 1 initnote is displayed Then use Soft Knob 1 step to scroll to the step ...

Page 86: ...B C and D have 16 tracks Tracks 1 3 are reserved for note related functions Tracks 4 16 can be freely assigned To set or change the destination of a sequence track 1 Show the desired sequence and track in the display by pressing the sequence button to select the sequence you want A B C or D then holding down the track sel button and press the step LED with the corresponding track number you want t...

Page 87: ...k 4 1 Press and hold the track sel button then press Sequencer step LED 4 Alternatively turn Soft Knob 1 select track to select track 4 2 While continuing to hold down the track select button turn Soft Knob 4 dest to select cutoff 3 Release the track select button 4 Turn Soft Knob 1 to go to the desired step in the sequence 5 Turn Soft Knob 3 val to set a value 6 Repeat steps 4 and 5 for each step...

Page 88: ... design Sequencer track 1 always controls oscillator frequency meaning that it is effectively hard wired for recording notes However you may want to use the Sequencer to control other parameters without having it trigger notes By doing so you can freely play notes on the keyboard while the Sequencer controls other non note parameters such as filter cutoff effect amount oscillator shape mod and so ...

Page 89: ... On Off Enabling seq lock switch keeps the current sequence active while you change programs In this way you can continue to run the same sequence while recalling different sound programs If you save a program while using Seq Lock it will save the sequence to that program and overwrite an existing sequence on that program Slew On Off Turning on slew creates a smooth transition between the successi...

Page 90: ...more obvious the effect Additional Sequencer Parameters Display Menus Additional Sequencer parameters are found in the menus in the main display To see these press the record button on the front panel Play Source Restart SynctoTrk1 ParaSeq PARA SEQ RESTART Seq Modes BPM Arp Seq Param SYNC TO TRK1 PLAY SOURCE Keyboard On Off The Sequencer Parameters menu Play Source Keyboard Ext In CV 1 CV 2 CV3 CV...

Page 91: ...ress the front panel para phonic button Cue Program Cue Program provides a way to seamlessly switch to another program while the Sequencer continues to play the active sequence The program will change in perfect sync with the last step of the sequence The sequence then continues to play using the new cued program This also provides a simple way to copy a sequence from one program to another if you...

Page 92: ...can also use Tuned Feedback as a tone generator In classic Karplus Strong synthesis a short excitation waveform white noise is generated and fed back into a delay line The output of the delay line is fed into the filter The filter characteristics determine the harmonic structure of the decaying tone To use Tuned Feedback for Karplus Strong synthesis 1 In the Mixer set all oscillator levels to zero...

Page 93: ...of feedback As the amount goes up the feedback will eventually oscillate at the frequency set with the tuning parameter Medium levels of feedback add depth and movement to the sound Tuning 0 48 Sets the base frequency of the feedback loop It steps in semitones from C0 to C4 0 48 for a four octave range The exact frequency is influenced by factors such as filter cutoff frequency and the number of p...

Page 94: ...same volume from program to program VOLUME Volume 127 VCA ADSR VCA VCA Env Amt FX Setting Program Volume in the Amp Envelope menu To set the volume of an individual program 1 Choose a program 2 Move any of the amp envelope controls on the front panel 3 In the display menu press Soft Button 1 4 Turn Soft Knob 1 volume to adjust the volume level as desired 5 Press the write button twice to save the ...

Page 95: ...ranspose controls Hold When hold is on any notes played will continue to play until hold is turned off When used in conjunction with the Arpeggiator notes are latched on If hold is on and at least one key continuously held down any new notes played are added to the arpeggio The Hold button Glide Glide causes the pitch of a note to glide up or down from the pitch of the previously played note Glide...

Page 96: ...n time The glide rate is fixed This is the default glide mode Fixed Rate A The same as Fixed Rate but glide is only applied when playing legato That is glide only occurs when a note is held until the next note is played This effectively allows glide to be turned on and off from the keyboard Fixed Time Glide is set to a fixed time regardless of the interval between notes Fixed Time A The same as Fi...

Page 97: ...Choosing a Glide mode To set the Glide Amount separately for each oscillator 1 Press the glide button 2 Play a series of notes up and down the keyboard while you turn Soft Knobs 1 3 to adjust the amount of glide for individual oscillators Glide Rate Osc 2 Glide Osc 1 Glide Osc 3 Glide OSC 3 GLIDE OSC 1 GLIDE 14 14 OSC 2 GLIDE KeyModes Glide Pitch Wheel GLIDE MODE 14 Fixed Rate Glide parameters ...

Page 98: ...e upward range is 12 semitones 1 octave The downward range is 24 semitones 2 octaves Many musicians use a range of 2 semitones a whole step since this is the bend range of many acoustic instruments For guitar whammy bar effects you many wish to set a wider range To set the pitch bend range 1 Press the misc params button and press Soft Button 3 Pitch wheel Button 3 2 Use Soft Knob 1 range up to set...

Page 99: ...ough the various mod sources and choose Mod wheel 3 Use the Soft Knob 4 to scroll through the various mod destinations and choose a parameter such as cutoff 4 Hold down a note on the keyboard or press the hold button and play a note on the keyboard and turn the Mod wheel 5 Use the Soft Knob 3 to set the modulation amount to your preference Higher amount settings add greater modulation the further ...

Page 100: ... the assigned modulation destinations only while it s being touched But when latch is on the Touch slider holds the value from the position at which it was last touched TOUCH The Touch slider Use the mod matrix to assign modulation destinations to the slider You can route multiple modulation destinations to the slider To display the modulation matrix press the source or destination buttons in the ...

Page 101: ...ey after the key is already down The greater the pressure applied the more modulation is applied The Pro 3 provides monophonic or channel aftertouch which means that applying pressure to any key within a paraphonic chord will apply modulation to all notes currently held The modulation section lets you choose the amount of modulation applied using aftertouch and also which parameters are modulated ...

Page 102: ... settings add greater modulation the harder you press a key A negative amount setting will apply modulation in the negative direc tion The Pro 3 provides four different aftertouch pressure response settings The default setting provides a linear response To choose a different response curve use the aftertouch curve parameter in the global menu Distortion The Pro 3 features analog distortion which c...

Page 103: ...urrent List and Set Turn Soft Knob 4 to select the Set 1 10 Use Soft Knob 3 to select the List 1 4 Use Soft Knob 2 to select a bank Use Soft Knob 1 to select a program The Play List Menu To create a Play List 1 Press the Play List button 2 Turn Soft Knob 4 to select set 1 3 Turn Soft Knob 3 to select list 1 4 Press Soft Button 1 to select the first position in the list 5 Use Soft Knob 1 program an...

Page 104: ... want Play Lists simply point to stored Factory or User programs Editing and saving a program changes that program in memory and as a result in any Play Lists in which it appears If you need a program to behave differently in different situations save multiple copies of the program edited and named appropriately for each situa tion To export Play Lists as MIDI SysEx data use dump playlists command...

Page 105: ...ameters menu Key Mode Gate Source Reterigger Scale RETRIGGER Off Keyboard Last GATE SOURCE Use Global SCALE KeyModes Glide Pitch Wheel KEY MODE Key Modes Tab Key Mode sometimes called note priority determines what note has priority when more than one note is played on the keyboard or via MIDI Low note Priority is most common in vintage synths and is often used for playing trills by holding a note ...

Page 106: ...at triggers the Pro 3 s envelopes Keyboard Selects normal envelope triggering using the Pro 3 keyboard Ext Audio Selects envelope triggering using an external audio source connected to the audio in connector on the rear of the Pro 3 Scale By default the Pro 3 is set to standard chromatic western tuning Addi tionally it supports 64 additional alternative tunings These range from Indonesian Gamelan ...

Page 107: ...ate A The same as FixRate but glide is only applied when playing legato That is glide only occurs when a note is held until the next note is played This effectively allows glide to be turned on and off from the keyboard FixTime Glide is set to a fixed time regardless of the interval between notes FixTime A The same as FixTime but glide only occurs when playing legato Pitch Wheel Tab You can set a ...

Page 108: ...rameter turn Soft Knob 3 or press Soft Button 1 as necessary Here are descriptions of all of the global menu parameters 1 Master Coarse Tune 12 12 Master Transpose control a setting of 0 is the equivalent of concert pitch This control steps in semitones one octave up 12 or down 12 2 Master Fine Tunet 50 50 Master Fine Tune control 0 centered Steps in cents as much as a quarter tone up 50 or down 5...

Page 109: ...le CCs are limited to a range of 128 8 MIDI Param Receive Off CC NRPN Sets the method by which parameter changes are received via MIDI As with transmission NRPNs are the preferred method 9 MIDI Control Enable Off On When On the synth will respond to MIDI controllers including Pitch Wheel Mod Wheel Pedal Breath Volume and Expression 10 MIDI Sysex Enable On Off Sets whether MIDI System Exclusive dat...

Page 110: ...ula tion effectively making each of the outputs a mono output 19 Pot Mode Relative Passthru Jump The rotary controls on the Pro 3 s front panel are a mixture of endless rotary encoders and potentiom eters or pots The pots are identifiable by their lined knobs and limited amount of travel There are three pot modes to determine how the synth reacts when the programmable parameters are edited Master ...

Page 111: ... sustain pedal operation Selecting arp hold and pressing the sustain pedal causes the Arpeggiator to hold the current arpeggio as if you had pressed the hold button on the front panel Select ing hold mom causes the Arpeggiator to sustain even when you release the notes on the keyboard for as long as you hold down the pedal Releasing the Sustain pedal stops the Arpeggiator 22 Pedal Polarity Normal ...

Page 112: ...ive tunings can be enabled globally here or on a per sound basis by using the scale parameter in the key modes tab of the misc params menu 28 CV 1 In Offset 127 128 Allows adjustment of the DC offset of control voltage input 1 The Pro 3 is flexible when it comes to Control Voltages and it can be configured to accurately interact with virtually all Eurorack modules The Pro 3 s CV inputs and outputs...

Page 113: ... 128 Allows adjustment of the input scale of control voltage input 2 34 CV 3 In Scale 127 128 Allows adjustment of the input scale of control voltage input 3 35 CV 4 In Scale 127 128 Allows adjustment of the input scale of control voltage input 4 36 CV 1 Out Offset 127 128 Allows adjustment of the DC offset of control voltage output 1 37 CV 2 Out Offset 127 128 Allows adjustment of the DC offset o...

Page 114: ...ose down and latch buttons simultaneously 46 Calibrate Wheels Calibrates the Pitch and Mod wheels 47 Calibrate VCO s Filters Calibrates the voltage controlled oscilla tors and filters You shouldn t need to do this under most circumstances since the oscillators and filters are calibrated at the factory and generally don t require re calibration or re tuning 48 Reset Globals Sets the global paramete...

Page 115: ...Cable on page 97 Dumped banks will load back into the same loca tion in memory when imported back into the synth via MIDI 52 Dump Playlists Transmits all Play Lists in SysEx format via the selected MIDI port See MIDI Sysex Cable on page 97 You may want to do this in order to archive Play Lists or transfer them to another Pro 3 that has the same set of User Programs ...

Page 116: ... some basic concepts Making sounds you ve never heard before can be very rewarding Synthesis 101 Synth Bass Some of the best synth bass sounds consist of a single oscillator a bit of filter resonance the right envelope and not much else So start with the Basic Program and go from there Short Version To create a classic synth bass 1 Press the global button 2 Use Soft Knob 1 to navigate to basic pro...

Page 117: ...y of harmonics This gives you a lot to work with in terms of a raw sound that you can filter and modulate The pulse square wave is a good starting point too but sounds differ ent than the sawtooth because of its different harmonic content The sawtooth has even numbered harmonics and the square wave has odd numbered harmonics Google this if you want to learn more The sine wave has no harmonics It s...

Page 118: ...et the filter resonance to a value of 100 This is going to give the synth bass its funky zap 6 Play a note and listen to the sound At this point you won t hear anything because you ve mostly closed the filter You ll need to open the filter using the filter envelope so you don t have to turn the cutoff knob by hand Now you ll use the filter envelope to control the filter sweep To adjust the filter ...

Page 119: ... the Pro 3 the oscillators the filters 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 e...

Page 120: ...cy knob This will auto assign the modulation destination to the envelope 10 Set the auxiliary amount to 35 and decay to 20 11 Play some notes in the upper range of the keyboard Classic synth brass 12 Experiment with different auxiliary envelope amount and decay settings to fine tune the pitch blip effect Turning Synth Brass into a Paraphonic String Pad It s a simple matter to turn the previous syn...

Page 121: ...cts section press the effect 1 button 2 Turn the effect type knob and choose chorus 3 Set mix to 62 then set parameter 1 depth to 131 parameter 2 rate to 40 and parameter 3 lpf cutoff to 127 4 Play some chords Classic string machine For a retro 70 s era string synth let s add the phaser 5 Press press the effect 2 button 6 Turn the effect type knob and choose phaser 7 Set mix to 64 then set paramet...

Page 122: ...oscillators to sawtooth 5 On Oscillator 1 enable the sync 1 button See page 19 for an expla nation of hard sync 6 Set Oscillator 1 s octave to 1 This will allow for a wide range of pitch modulation in step 9 7 In the aux envelope section select envelope 1 8 In the display press Soft Button 1 aux 1 dest and use Soft Knob 1 to choose osc 1 coarse freq as the destination This routes envelope 1 to mod...

Page 123: ... time to 100 parameter 2 tone to 138 and parameter 3 predelay to 12 7 Play some notes Perfect hard sync lead A Final Word The examples given in this chapter are fairly basic but they give you some idea of the power of synthesis Imagine what you can create by using these as starting points then modulating the filters oscillators and even effects with LFOs Auxiliary Envelopes the Sequencer and other...

Page 124: ...ontinuous oscillator drone set the level of all oscillators to zero in the Mixer To process external audio 1 Connect an instrument or audio signal to the audio in jack on the rear of the Pro 3 and turn up the instrument to a suitable level 2 Press the hold button then play a key on the keyboard This holds the VCA open 3 To avoid continuous oscillator drone set the level of all oscillators to zero ...

Page 125: ...he ext in env tab Display these parameters by turning the ext audio knob in the Mixer 99 INPUT GAIN 80 INPUT LEVEL 25 IN GATE THRESH Ext In Env Input Level Input Gain In Gat Thresh Mixer Ext In 99 INPUT RELEASE 80 INPUT ATTACK Input Attack Input Release Mixer Ext In Ext In Env To avoid continuous oscillator drone set the output level of all Pro 3 oscillators to zero To filter external audio with t...

Page 126: ...toff parameter 13 Play the external audio source 14 Turn up the ext audio knob in the Mixer section of the Pro 3 If you need to further boost the signal adjust input level and input gain When you adjust the ext audio knob in the mixer these controls appear in the display 15 Set the in gate thresh to 100 You can adjust this later if necessary 16 As the external audio source continues to play show t...

Page 127: ...di clock cable in to either midi or usb depending on your setup 5 Press the Arpeggiator button twice to display the Sequencer parameters in the display the second button press turns off the Arpeggiator 6 Press Soft Button 2 to select the seq params menu 7 Press the play button on the Sequencer 8 Start MIDI playback on the external device The Pro 3 Sequencer will start and stop playback in response...

Page 128: ...of a modular synth 1 Using a 3 5 mm patch cable connect the Pro 3 s CV Out 1 to the appropriate CV In on the modular synth s oscillator module The modular synth s input should support a 1 volt per octave signal 2 On the Pro 3 press the source button in the modulation section 3 Using Soft Knob 1 choose an available mod slot 4 Using Soft Knob 2 select note number number as the mod source 5 Using Sof...

Page 129: ...3 is flexible when it comes to Control Voltages and it can be configured to accurately interact with virtually all Eurorack modules The Pro 3 s CV outputs have a range of 0 to 10v Since the range is 0 10v Middle C is sent from the CV output at 5v This allows the CV out to track over a 10 octave range from 0 to 10v There is no standard input voltage range for Eurorack modules Some modules and exter...

Page 130: ... out as the destination Then set the modulation amount to 127 This will set the CV 1 output to scale at 1v octave when a note is played 2 Press the global button and set cv 1 out offset to 64 The offset of 64 will apply a 5v offset to the CV 3 An external oscillator with a 5v range will now track at the same octave as the Pro 3 s internal oscillators General guidelines a cv out offset value of 16 ...

Page 131: ...chbend Mod Wheel Slider Pressure Breath Foot Pedal Expression Pedal Velocity Note Number Random DC Audio Out Audio In Env Follow Peak Hold CV In 1 CV In 2 CV In 3 CV In 4 Seq Track 1 Seq Track 2 Seq Track 3 Seq Track 4 Seq Track 5 Seq Track 6 Seq Track 7 Seq Track 8 Seq Track 9 Seq Track 10 Seq Track 11 Seq Track 12 Seq Track 13 Seq Track 14 Seq Track 15 Seq Track 16 ...

Page 132: ...se Osc 1 Fine Freq Osc 2 Fine Freq Osc 3 Fine Freq Osc All Fine Freq Osc 1 Shape Osc 2 Shape Osc 1 Shape Mod Osc 2 Shape Mod Osc 3 Shape Mod Osc 1 Slop Osc 2 Slop Osc 3 Slop Osc All Slop Osc 1 Level Osc 2 Level Osc 3 Level Noise Ext Audio Level Drive Cutoff Resonance SV LP N HP SV Norm BP Feedback Amount Feedback Tune Env Aux 1 Decay Env Aux 2 Decay Env All Decay Env Filter Release Env VCA Release...

Page 133: ...e Chn 1 MIDI 2 Note Chn 2 MIDI 2 Note Chn 3 MIDI 2 Note Chn 4 MIDI 2 Note Chn 5 MIDI 2 Note Chn 6 MIDI 2 Note Chn 7 MIDI 2 Note Chn 8 MIDI 2 Note Chn 9 MIDI 2 Note Chn 10 MIDI 2 Note Chn 11 MIDI 2 Note Chn 12 MIDI 2 Note Chn 13 MIDI 2 Note Chn 14 MIDI 2 Note Chn 15 MIDI 2 Note Chn 16 MIDI 1 CC Chn 1 MIDI 1 CC Chn 2 MIDI 1 CC Chn 3 MIDI 1 CC Chn 4 MIDI 1 CC Chn 5 MIDI 1 CC Chn 6 MIDI 1 CC Chn 7 MID...

Page 134: ...r or arpeggiator has stopped running Check the midi clock mode setting in global to ensure the Pro 3 is set to master or off Or if set to slave or slave thru or slave no s s make sure the Pro 3 is receiving MIDI clock If some of the programs sound different than usual In the Global menu check scale alt tuning and make sure it s set to equal temperament Also check the Mod wheel position The Mod whe...

Page 135: ...Exclusive data is not transmitted received Make sure that the midi sysex cable setting in the global menu is set to usb or midi depending on which you are using to transmit or receive MIDI messages If the Pro 3 plays out of tune Check the master coarse and master fine parameter in the global menu to make sure they are both set to 0 You may need to recalibrate the oscillators See Calibrating the VC...

Page 136: ...obals then press Soft Button 1 reset now Globals are reset You can now can play the Pro 3 again Contacting Technical Support If you are still having a problem with the Pro 3 contact Technical Support at support sequential com Please include the purchase date of your Pro 3 its serial number and the operating system version Press the global button to see this at the bottom of the main display If you...

Page 137: ...t course of action for getting your Pro 3 repaired For your own protection as well as ours please do not return any product to Sequential without a return authorization RA number To issue an RA number Technical Support needs Your name Your return address Your email address A phone number where you can be reached Your Pro 3 s serial number The date of purchase and where purchased If you need to ret...

Page 138: ...his 4 When finished the front panel controls will return to normal and you can play the Pro 3 again Calibrating the Pitch and Mod Wheels To calibrate the Pitch and Mod wheels 1 Press the global button 2 Use the Soft Knob 1 to select calibrate wheels then follow the instructions in the display 3 When finished press the global button again to exit the global menu You can now can play the Pro 3 again...

Page 139: ...IOX for Windows To export a program or bank as a SysEx file over USB 1 Connect your synthesizer to a computer using a USB cable 2 Open your MIDI librarian software SysEx Librarian etc and config ure it to receive SysEx messages 3 Press the global button on the Pro 3 4 Use the Soft Knob 1 to select midi sysex cable then use the Soft Knob 3 knob to choose usb 5 Use the Soft Knob 1 to select dump cur...

Page 140: ... prog dump bank or dump all banks depending on which of these you would like to do 5 Press Soft Button 1 dump now The program or bank is exported to the other Pro 3 Dumped programs will load back into the same bank and program location in memory when received by the Pro 3 via MIDI Importing Programs and Banks You can use a MIDI librarian application such as such as SysEx Librar ian for Macintosh o...

Page 141: ...ges to your Pro 3 5 In the MIDI librarian open the programs and or banks you want to send 6 Transmit the programs The Pro 3 should load them They will replace any existing programs in those same memory locations on the synth Programs will load back into the same bank and program locations from which they were originally exported ...

Page 142: ...alternative tunings Descriptions for tunings 18 64 can be found on the Pro 3 Support page of Sequential s website 1 12 Tone Equal Temperament non erasable The default Western tuning based on the twelfth root of two 2 Harmonic Series MIDI notes 36 95 reflect harmonics 2 through 60 based on the funda mental of A 27 5 Hz The low C on a standard 5 octave keyboard acts as the root note 55Hz and the har...

Page 143: ...le octave The tuning works well for monophonic melo dies against fifth drones but has a very narrow palate of good chords to choose from C 1 1 261 625 Hz 1 1 256 243 9 8 32 27 81 64 4 3 729 512 3 2 128 81 27 16 16 9 243 128 9 Just Intonation in A with 7 Limit Tritone at D A rather vanilla 5 limit small interval JI except for a single 7 5 tritone at D which offers some nice possibilities for rotati...

Page 144: ...eative way to incorporate the inevitable line hum into his scale Bb B 1 1 60 Hz 1 1 1 1 9 8 7 6 5 4 4 3 11 8 3 2 3 2 7 4 7 4 15 8 14 Yamaha Just Major C When Yamaha decided to put preset microtunings into their FM synth product line they selected this and the following tuning as representative just intonations As such they became the de facto introduction to JI for many people Just Major gives pre...

Page 145: ... organs to perform glissando like passages G 1 1 392 Hz MIDI note 67 1 1 81 80 33 32 21 20 16 15 12 11 11 10 10 9 9 8 8 7 7 6 32 27 6 5 11 9 5 4 14 11 9 7 21 16 4 3 27 20 11 8 7 5 10 7 16 11 40 27 3 2 32 21 14 9 11 7 8 5 18 11 5 3 27 16 12 7 7 4 16 9 9 5 20 11 11 6 15 8 40 21 64 33 160 81 17 Arabic 12 Tone A 12 tone approximation of an Arabic scale which appears in some elec tronic keyboards desig...

Page 146: ...ent Slave Thru MIDI Clock is received and passed to MIDI Out Slave No S S no start and stop Receives MIDI Clock but does not respond to MIDI Start or Stop command When set to slave or slave thru if no MIDI clock is present at the selected input the arpeggiator and sequencer will not function MIDI Clock Cable In MIDI USB Sets the port MIDI or USB by which MIDI clock signals are received MIDI Clock ...

Page 147: ...will send MIDI Program Change messages MIDI Prog Receive Off On When set to On the synth will respond to MIDI Program Change messages MIDI SysEx Cable MIDI USB When set to MIDI it will receive and transmit MIDI SysEx messages using the MIDI ports cables When set to USB it will receive and transmit MIDI SysEx messages using the USB port cable MIDI SysEx messages are used when sending and receiving ...

Page 148: ...nel number 0 to 15 MIDI channel 1 16 Ignored if MIDI channel set to ALL 0vvvvvvv Value Received Controller Messages Status Second Third Description 1011 nnnn 0000 0001 0vvvvvvv Mod Wheel directly assignable controller 1011 nnnn 0000 0100 0vvvvvvv Foot Controller directly assignable controller 1011 nnnn 0000 0111 0vvvvvvv Volume Combined with Master Volume and Program Volume 1011 nnnn 0100 1010 0vv...

Page 149: ...el number 0 to 15 MIDI channel 1 16 Ignored if MIDI channel set to ALL 0vvvvvvv Value Transmitted Controller Messages Status Second Third Description 1011 nnnn 0000 0001 0vvvvvvv Mod Wheel 1011 nnnn 0000 0010 0vvvvvvv Breath Controller When assigned to Pedal CV 1011 nnnn 0000 0100 0vvvvvvv Foot Controller When assigned to Pedal CV 1011 nnnn 0000 1101 0vvvvvvv Expression When assigned to Pedal CV 1...

Page 150: ...Fine 33 Filter Cutoff 34 Filter Resonance 35 Filter Keyboard Tracking Amount 36 Filter Drive 37 Filter Type 38 Data Entry LSB 39 Unassigned 40 VCA Env Amount 41 VCA Env Velocity On Off 42 VCA Env Delay 43 VCA Env Attack 44 VCA Env Decay 45 VCA Env Sustain 46 VCA Env Release 47 Filter Env Amount 48 Filter Env Velocity On Off 49 Filter Env Delay 50 Filter Env Attack 51 Filter Env Decay 52 Filter Env...

Page 151: ...s Comp 103 State Variable Filter Mode LP Notch HP 104 State Variable Filter Normal Bandpass 105 LFO 1 Freq 106 LFO 1 Amount 107 LFO 1 Shape 108 LFO 1 Sync On Off 109 LFO 2 Frequency 110 LFO 2 Amount 111 LFO 2 Shape 112 LFO 2 Sync On Off 113 LFO 3 Frequency 114 LFO 3 Amount 115 LFO 3 Shape 116 LFO 3 Sync On Off 117 Unassigned 118 Unassigned 119 Unassigned 120 All Sound Off CC Param 121 Reset Contro...

Page 152: ...B 0010 0110 NRPN parameter value LSB CC 0vvv vvvv Parameter value LSB The parameter number can be found in the two tables below one for global parameters and the other for program parameters The parameter numbers and the parameter values are broken into two 7 bit bytes for MIDI transmission the LSB has the seven least significant bits and the MSB has the seven most significant bits though in most ...

Page 153: ...ters 0 352 Subsequent param eters can be found on the Pro 3 Support page of the Sequential website NRPN Param Name 0 Osc1Octave 1 Osc2Octave 2 Osc3Octave 3 Osc1FreqFine 4 Osc2FreqFine 5 Osc3FreqFine 6 Osc1FreqFineMSB 7 Osc2FreqFineMSB 8 Osc3FreqFineMSB 9 Osc1Shape 10 Osc2Shape 11 Osc3Shape 12 Osc1ShapeMod 13 Osc2ShapeMod 14 Osc3ShapeMod 15 Osc1Slop 16 Osc2Slop NRPN Param Name 17 Osc3Slop 18 Osc1Gl...

Page 154: ...ync 102 LFO1Dest 103 LFO2Dest 104 LFO3Dest 105 LFO1FreqSync 106 LFO2FreqSync 107 LFO3FreqSync 108 LFO1Slew 109 LFO2Slew 110 LFO3Slew 111 LFO1NoteReset 112 LFO2NoteReset 113 LFO3NoteReset 114 LFO1Phase 115 LFO2Phase 116 LFO3Phase 117 LFO1Unused0 118 LFO2Unused0 119 LFO3Unused0 120 LFO1Unused1 121 LFO2Unused1 122 LFO3Unused1 123 LFO1Unused2 124 LFO2Unused2 125 LFO3Unused2 NRPN Param Name 126 EnvFilt...

Page 155: ...od3Amt 203 Mod4Amt 204 Mod5Amt 205 Mod6Amt 206 Mod7Amt 207 Mod8Amt 208 Mod9Amt 209 Mod10Amt 210 Mod11Amt 211 Mod12Amt 212 Mod13Amt 213 Mod14Amt 214 Mod15Amt 215 Mod16Amt 216 Mod17Amt 217 Mod18Amt 218 Mod19Amt 219 Mod20Amt 220 Mod21Amt 221 Mod22Amt 222 Mod23Amt 223 Mod24Amt 224 Mod25Amt 225 Mod26Amt 226 Mod27Amt 227 Mod28Amt 228 Mod29Amt 229 Mod30Amt 230 Mod31Amt 231 Mod32Amt NRPN Param Name 232 Mo...

Page 156: ...etrig 301 GateSource 302 Swing 303 Scale NRPN Param Name 304 Unused0 305 Unused1 306 Unused2 307 Unused3 308 Unused4 309 Unused5 310 Unused6 311 Unused7 312 Unused8 313 Unused9 314 Unused10 315 Unused11 316 Unused12 317 Unused13 318 Unused14 319 Unused15 320 SoundVersion 321 Name 20 characters 322 Name1 323 Name2 324 Name3 325 Name4 326 Name5 327 Name6 328 Name7 329 Name8 330 Name9 331 Name10 332 ...

Page 157: ...reo Mono Stereo 0 Stereo 1 Mono 4110 0 2 Pot Mode 0 Relative 1 PassThru 2 Jump NRPN Range Description 4111 0 3 Seq Pedal Mode 0 normal 1 trigger 2 gate 3 trigger gate 4112 0 1 MIDI Arp Notes 0 Off 1 On 4113 0 7 Velocity Curve 4114 0 3 Pressure Curve 4115 0 64 Scale Alt Tunings 4116 0 1 MIDI Program Send 0 Off 1 On 4117 0 1 MIDI Program Receive 0 Off 1 On 4118 0 1 Screen Saver 0 Off 1 On 4119 0 4 P...

Page 158: ...n Offset 4130 0 255 CV2 In Offset 4131 0 255 CV3 In Offset 4132 0 255 CV4 In Offset 4133 0 255 CV1 In Offset 4134 0 255 CV2 In Offset 4135 0 255 CV3 In Offset 4136 0 255 CV4 In Offset 4137 0 255 CV1 Out Offset 4138 0 255 CV2 Out Offset 4139 0 255 CV3 Out Offset 4140 0 255 CV4 Out Offset ...

Page 159: ... unless MIDI Channel ALL always responds if 0vvvvvvv 0111 1111 0000 0110 Inquiry Message 0000 0001 Inquiry Request 1111 0111 End of Exclusive EOX The Pro 3 responds with Status Description 1111 0000 System Exclusive SysEx 0111 1110 Non realtime message 0vvv vvvv If MIDI Channel ALL 0vvvvvvv 0111 1111 Otherwise 0vvvvvvv Channel Number 0 15 0000 0110 Inquiry Message 0000 0010 Inquiry Reply 0000 0001...

Page 160: ...s Description 1111 0000 System Exclusive SysEx 0000 0001 DSI ID 0011 0001 Pro 3 ID 0000 0110 Request Program Edit Buffer Transmit 1111 0111 End of Exclusive EOX The Pro 3 will respond by sending out the current program edit buffer in the format described below in Program Edit Buffer Data Dump Request Global Parameter Dump Status Description 1111 0000 System Exclusive SysEx 0000 0001 DSI ID 0011 00...

Page 161: ...ked MS bit format 1111 0111 End of Exclusive EOX Program Edit Buffer Data Dump Status Description 1111 0000 System Exclusive SysEx 0000 0001 DSI ID 0011 0001 Pro 3 ID 0000 0011 Edit Buffer Data 0vvv vvvv 4096 bytes expanded to 4690 MIDI bytes in packed MS bit format 1111 0111 End of Exclusive EOX Playlist Data Dump Value Description 1111 0000 System Exclusive SysEx 0000 0001 DSI ID 0011 0001 Pro 3...

Page 162: ... Globals Packed Data Format Data is packed in 8 byte packets with the MS bit stripped from 7 param eter bytes and packed into an eighth byte which is sent at the start of the 8 byte packet Example Input Data Packed MIDI data 1 A7 A6 A5 A4 A3 A2 A1 A0 1 00 G7 F7 E7 D7 C7 B7 A7 2 B7 B6 B5 B4 B3 B2 B1 B0 2 00 A6 A5 A4 A3 A2 A1 A0 3 C7 C6 C5 C4 C3 C2 C1 C0 3 00 B6 B5 B4 B3 B2 B1 B0 4 D7 D6 D5 D4 D3 D2...

Page 163: ...151 Pro 3 User s Guide Appendix F MIDI Implementation ...

Page 164: ...152 Appendix F MIDI Implementation Sequential ...

Page 165: ...153 Pro 3 User s Guide Appendix F MIDI Implementation ...

Page 166: ...154 Appendix F MIDI Implementation Sequential ...

Page 167: ...155 Pro 3 User s Guide Appendix F MIDI Implementation ...

Page 168: ...Sequential LLC 1527 Stockton Street 3rd Floor San Francisco CA 94133 USA 2020 Sequential LLC www sequential com DSI 10444 ...

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