Sequential PRO 3 User Manual
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Sequential PRO 3 User Manual

Multi-filter mono/paraphonic synthesizer
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PRO 3
Multi-filter Mono/Paraphonic Synthesizer

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  • Page 1 PRO 3 Multi-filter Mono/Paraphonic Synthesizer...
  • Page 3 PRO 3 User’s Guide Version 1.0 January, 2020 Sequential LLC 1527 Stockton Street, 3rd Floor San Francisco, CA 94133 ©2020 Sequential LLC www.sequential.com...
  • Page 4 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 accessible. For Technical Support, email: support@sequential.com...

  • Page 5: Table Of Contents

    Exploring the Pro 3 in Greater Depth . . . . . . . . . . . . . . . . .
  • Page 6 Mixer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 Mixer Parameters (Front Panel) .
  • Page 7 Arpeggiator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54 Arpeggiator “Momentary Sustain”...
  • Page 8 Using Pro 3’s CV Outs to Control a Modular Synth ....116 More About Pro 3’s CV Outputs ....... . 117...
  • Page 9 Appendix D: Calibrating the Pro 3 . . . . . . . . . . . . . . . . .
  • Page 10 Tony Karavidas, Mark Kono, Justin Labrecque, Andy Lambert, Michelle Marshall, Andrew McGowan, Joanne McGowan, Julio Ortiz, Denise Smith, Tracy Wadley, and Mark Wilcox. THE PRO 3 SOUND DESIGN TEAM 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.

  • Page 11: A Few Words Of Thanks

    Sequential is trying to outdo ourselves with each new instrument. In many ways the Pro 3 is the evolution of a concept that started with the classic Sequential Circuits Pro-One — pack as much power as possible into a compact footprint and make it sound awesome.

  • Page 13: Chapter 1: Getting Started

    Chapter 1: Getting Started The Pro 3 is a hybrid synthesizer in the best sense of the word. It combines the warmth and punch of two analog, voltage-controlled oscil- lators and three types of classic analog filters with the versatility of a third, digital wavetable oscillator and an array of digital effects.

  • Page 14: Rear Panel Connections

    Rear Panel Connections The rear panel of the Pro 3 has connectors for power, USB, MIDI, audio, and pedals. This rocker switch controls power on and off to the 1 . Power On/Off— Pro 3. Accepts a standard, grounded IEC power 2 .
  • Page 15 Sequencers and other devices that support this type of connectivity. Unbalanced, ¼ inch audio input. The Pro 3 accepts exter- 10 . Audio In— nal audio signals for processing through this connector. Input level can be adjusted using the knob in the Mixer section.

  • Page 16: Using Usb

    Manager under “Sound, video, and game controllers” — and clicking OK. If Pro 3 is no longer listed in the Device Manager, turn off the Pro 3 then turn it back on again while it is connected via USB. It should be detected on power up.

  • Page 17: Setting Up The Pro 3

    Pro 3. 2. If you have an expression pedal, connect it to the jack on the pedal back of the Pro 3. If you have a sustain pedal, connect it to the foot jack. switch 3. Turn on the Pro 3.

  • Page 18: Using The Main Display

    Using the Main Display The most frequently used controls on the Pro 3 are on its front panel. But there are many additional controls (as well as numeric display of values) visible in its main display. For example, adjusting a knob or switch in the...

  • Page 19: Sound Banks

    Sound Banks The Pro 3 contains a total of 1024 programs. Banks U1-U4 are user banks that can be overwritten. Banks F1-F4 are factory banks that are permanent. As shipped, user banks U1-U4 are identical to permanent factory banks F1-F4. Each bank has 128 programs (multiplied by 4 banks = 512 programs each).

  • Page 20: Editing Programs

    Editing Programs Because the majority of the sound-shaping controls of the Pro 3 appear on its front panel, editing an existing program is simple: turn a knob and listen to its effect. Keep turning knobs and pressing buttons. If you like what you’ve created, save the program by pressing the button twice.

  • Page 21: Creating A Program From Scratch

    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 you can quickly recall at any time. This preset is very simple, with a single oscillator as its basis.

  • Page 22: Saving A Program

    Chapter 3 provides a selection of simple sound design tutorials. It’s designed to give you a basic working knowledge of how to use the Pro 3 to make your own sounds. See “Chapter 3: Programming the Pro 3” on page 104.

  • Page 23: Canceling Save

    4. If you don’t want to overwrite that location, use the Bank and Program knobs to select other possible locations to audition. Pro 3 User’s Guide Saving a Program...

  • Page 24: Using Paraphonic Mode

    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...

  • Page 25: Exploring The Pro 3 In Greater Depth

    Also, in “Rear Panel Connections” on page 2 read about the various connectors on the back of your Pro 3 and how you can use its various pedal, audio, MIDI, and USB inputs and outputs.

  • Page 26: Chapter 2: Pro 3 Controls

    Chapter 2: Pro 3 Controls This chapter explains all of the controls on the Pro 3, section by section. As explained in Chapter 1, the most frequently used Pro 3 controls are located on its front panel, with additional controls (as well as numeric display of values) visible in its main display.

  • Page 27: Oscillators

    Oscillators Oscillators generate the raw building blocks of the Pro 3’s sound by producing waveforms, each of which has its own sound character based on its harmonic content. The Pro 3 has two analog, voltage-controlled oscillators and one digital wavetable oscillator.
  • Page 28 Oscillator 1 to sweep the oscillator’s pitch and create this effect each time you play a note. You’ll learn more about the mod matrix in “Modulation” on page 46. Oscillators Sequential...

  • Page 29: Exploring Oscillator 3

    Pro 3 interpolates between them. If you select one of the 32 wavetables, you can then select a specific static wave. Or, if you use an LFO or the modulation matrix to control , you can sweep through the selected table’s 16 waves to create...

  • Page 30: Oscillator Parameters (Front Panel)

    (detuning) of the Super Saw. shape mod Applying waveshape modulation using an LFO or other modulation source in the mod matrix is a great way to add movement to a sound. Oscillators Sequential...

  • Page 31: Additional Oscillator Parameters (Display Menus)

    When on, the oscillator tracks the keyboard or note Key Follow: Off, On— data received via MIDI. When off, the oscillator plays at its base frequency setting, though its pitch may be affected by modulation from other sources. Pro 3 User’s Guide Oscillators...

  • Page 32: Tab 2 Osc Shape

    Wave Reset: Off, On— shape Reset is off, the Pro 3 oscillators are free running. That is, the oscillators are running whether a note is being gated on or not. When the amplifier envelope is set for a fast attack, this can cause a soft, but detectable, pop or click at the beginning of a note because the note might be gated on at a point in the wave’s cycle other than a zero crossing.

  • Page 33: Tab 4 - Osc Misc

    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 all the way so that it self-oscillates.

  • Page 34: Mixer Parameters (Front Panel)

    Osc 3 Level: 0...127 —Sets the output level of an external signal connected Ext Audio: 0...127 to the jack on the rear panel of the Pro 3. audio in —Sets the output level of the noise generator. Noise: 0...127 Mixer...

  • Page 35: Additional Mixer Parameters (Display Menu)

    LPF Misc —Boosts the input level of any signal connected to Input Gain: 0...127 connector on the rear panel of the Pro 3. This is useful for audio in increasing the gain of low-level output devices such as guitars. —Sets the threshold above which external In Gate Thresh: 0...127...

  • Page 36: Filters

    Filters The Pro 3 has three different filters, each of which has its own unique character: • is a 4-pole, 24 db-per-octave resonant filter pass pole ota based on the Sequential Prophet-6 filter. It can self-oscillate (generate a sine wave) when is set to its maximum.
  • Page 37 In the previous example, you controlled the filter cutoff by hand. In most cases, you will use the Filter Envelope to do this. To learn more about the Filter Envelope see page 31. Pro 3 User’s Guide Filters...
  • Page 38 This is one of the reasons that the State-Variable filter is so versatile. Modulating the state-variable filter’s operating mode with an envelope or LFO can create many unique and interesting sounds. Set the modulation source to the destination to sv lp Filters Sequential...

  • Page 39: Filter Parameters (Front Panel)

    Low-Pass 2 to self-oscillate and generate its own pitch. The State- variable filter does not self oscillate at the maximum resonance setting. 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 parameter.

  • Page 40: Additional Filter Parameters (Display Menus)

    Ladder Res Comp: On, Off amount of resonance decreases the amount of bass response. This param- eter compensates for this by boosting bass frequencies as resonance is increased on Low-Pass 2 Filter. This parameter is on by default. Filters Sequential...

  • Page 41: Tab 3 - Adsr

    The cutoff frequency setting may limit the effect of the envelope on the filter. For example, in low-pass filter mode , if is at its highest setting, a positive envelope cutoff amount will have no effect on the filter since the filter is already completely open. Pro 3 User’s Guide Filters...

  • Page 42: Tab 4 - Env Amt

    Delay, Attack, and Decay loop until the note is turned off. The Release segment begins when the note is released, just as it does when Repeat is off. Filters Sequential...
  • Page 43 Filter Envelope The Pro 3 filter 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 filter- ing control with these stages.
  • Page 44 Filter Envelope controlling how the filter opens and closes and the Amplifier Envelope controlling how the Amplifier controls the overall volume shape of the sounds you create. To learn more about the Amplifier Envelope, see page 35. Filters Sequential...

  • Page 45: Envelope Parameters (Front Panel)

    Higher amounts more dramatically affect the cutoff frequency. This control is bipolar. Positive settings produce standard behavior. Negative settings invert the envelope. Pro 3 User’s Guide Filters...

  • Page 46: Additional Filter Envelope Parameters (Display Menus)

    Delay, Attack, and Decay loop until the key is released. The Release segment begins when the key is released, just as it does when Repeat is off. Filters Sequential...

  • Page 47: Amplifier Envelope

    But again, they are both fundamentally white noise. VELOCITY ATTACK DECAY SUSTAIN RELEASE AMOUNT VELOCITY ATTACK DECAY SUSTAIN RELEASE AMOUNT ENVELOPES Amplifier Envelope delay time note on note off A typical 5-stage, DADSR envelope Pro 3 User’s Guide Amplifier Envelope...
  • Page 48 8. Continue experimenting with various Amplifier Envelope settings while you also adjust the Filter Envelope to hear how these two controls interact. You will understand how powerful the envelopes are and how essential they are to designing sounds. Amplifier Envelope Sequential...

  • Page 49: Amplifier Envelope Parameters (Front Panel)

    —Allows key velocity to influence volume. Velocity On/Off: On, Off If on, the harder you play, the louder sound will be. If off, key velocity will not affect the volume. This control allows for more touch-sensitive sounds. Pro 3 User’s Guide Amplifier Envelope...

  • Page 50: Additional Amplifier Parameters (Display Menus)

    VCA ADSR VCA Env Amt —Sets the volume of the currently active program. Volume: 0...127 Although the master output level of the Pro 3 is controlled by the front- panel knob, the parameter in this menu sets the master volume volume volume of an individual program.

  • Page 51: Auxiliary Envelopes

    (Noise should be set to zero level in the Mixer.) Actually, any of the Pro 3’s envelopes can be routed to any destination (or multiple destinations) using the modulation matrix. See “Modulation” on page 47 for more information.

  • Page 52: Auxiliary Envelope Parameters (Front Panel)

    —Sets the amount of modulation from the envelope Amount: -127...127 to the selected modulation destination. Higher amounts more dramati- cally affect the destination. This control is bipolar. Positive settings produce standard behavior. Negative settings invert the envelope. Auxiliary Envelopes Sequential...

  • Page 53: Additional Auxiliary Envelope Parameters (Display Menus)

    If off, key velocity will not affect the amount of modulation from the Auxiliary Envelope. —Sets a delay between the time the envelope is triggered Delay: 0...127 (note on) and when the attack portion actually begins. Pro 3 User’s Guide Auxiliary Envelopes...

  • Page 54: Low Frequency Oscillators

    The LFOs produce a variety of waveshapes, including triangle, sawtooth, reverse sawtooth, square, and (sample & hold/random). Though & most often used for low-frequency modulation, the Pro 3 LFOs can actually function at speeds that extend into the audible range for extreme effects. FREQUENCY AMOUNT...

  • Page 55: Lfo Parameters (Front Panel)

    —Routes the selected LFO to one of the many Destination: Various 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. Pro 3 User’s Guide Low Frequency Oscillators...

  • Page 56: Additional Lfo Parameters (Display Menus)

    Shape: Triangle, Sawtooth, Reverse Sawtooth, Square, Random button sets the waveshape of the selected LFO. Sets the frequency of the selected LFO from a slow .022Hz Frequency: to a fast 500Hz. This is affected by the (clock sync) parameter, sync when on. Low Frequency Oscillators Sequential...

  • Page 57: Tab 2 - Lfo Control

    —When off, the LFO is free running. When on, Wave Reset: Off, On independently for each LFO. This is useful if you want to ensure that the full waveshape is applied each time you strike a key. Pro 3 User’s Guide Low Frequency Oscillators...

  • Page 58: Tab 3 - Lfo Dest

    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 process of routing one parameter (used as a control voltage) to another parameter in order to change the way the targeted parameter behaves.
  • Page 59 (filter cutoff, for example). Set the amount with the knob while referring to the display. Be aware that not all amount front-panel controls can be used as a modulation sources/destinations. Pro 3 User’s Guide Modulation...

  • Page 60: Modulation Parameters (Front Panel)

    0. (You will control the destination osc all freq amount amount with the Mod wheel.) 2. In the section, press the button. Use s 1 to modulation source scroll to Mod Slot 1 if it’s not already displayed. Modulation Sequential...
  • Page 61 Touch slider. as the modulation source instead of the Touch slider in the pressure previous example to open the filter (positive ) or close the filter (negative amount ) with pressure. amount Pro 3 User’s Guide Modulation...

  • Page 62: Effects

    “guitar-with-controllable-feedback” effect. Effects You can add two digital effects to any Pro 3 program. Not all sounds need effects to make them interesting, but adding a touch of delay or reverb can add a sense depth, just as adding chorus, flanging, or phasing can add movement.
  • Page 63 • 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 parameter to 127). Pro 3 User’s Guide Effects...

  • Page 64: Effects Parameters (Front Panel)

    —Sets the balance between the processed (wet) signal Mix: 0...127 and unprocessed (dry) signal. Full left is completely dry. Full right is completely wet. Effects Sequential...
  • Page 65 Parameter 3: —This knob adjusts Variable, depending on the effect parameter 3 for the chosen effect. Each effect has three adjustable parameters, which differ depending on the effect. Pro 3 User’s Guide Effects...

  • Page 66: Arpeggiator

    (and instead start a new arpeggio each time you change notes), turn arp relatch in the Arpeggiator. To do this, press the Arpeggiator’s button and turn Soft Knob 3 to turn arp relatch on in the display. Arpeggiator Sequential...
  • Page 67 5. To synchronize a delay effect to the Arpeggiator, enable Effect 1 or Effect 2, choose a delay, then turn on in the delay’s parameter page in the sync display. Adjust the delay’s parameter as desired. time Pro 3 User’s Guide Arpeggiator...

  • Page 68: Arpeggiator "Momentary Sustain" Mode

    Arpeggiator “Momentary Sustain” Mode The Pro 3 allows you to use the sustain pedal to turn the Arpeggiator’s Hold function on and off and perform other Arpeggiator-related func- tions. To access this feature, use the setting in the footswitch function menu.

  • Page 69: Midi Note Output From The Arpeggiator

    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.

  • Page 70: Arpeggiator Parameters (Display Menus)

    When is on, played notes are held on and arpeg- arp relatch giated, but additional played notes will restart the arpeggio with the new notes. Arpeggiator Sequential...

  • Page 71: Clock Parameters

    32 Trip BPM x 12 Thirty-second note triplets 64th BPM x 16 Sixty-fourth note Pressing the button 4 times sets the tempo. The Tap Tempo— tap tempo LED flashes at the BPM rate you set. Pro 3 User’s Guide Arpeggiator...

  • Page 72: Sequencer

    The Pro 3 Sequencer is like its analog precursors but more powerful. The Pro 3 Sequencer has 16 tracks and 4 linkable 16-step phrases (A,B,C,D) for creating repeating patterns of notes, or 3-note chords in paraphonic mode.
  • Page 73 The Sequencer Parameters menu (press the a button to display) rpeggiator Step: A1 Track: 1 Note C5 Vel: 80 Notes Velocity Velocity Duration Ratchet Seq A The sequence editor (press the button to display) track sel Pro 3 User’s Guide Sequencer...

  • Page 74: Programming The Sequencer

    LED for the desired step. You can then play a note and the Sequencer will update the sequence to use that note and the velocity at which you played it. You can also edit any other parameter for that step while you’re at that step location. Sequencer Sequential...

  • Page 75: Recording Phrases/Sequences A,B,C, Or D

    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 buttons on the front panel. During real-time playback you can sequence switch between these on the fly.

  • Page 76: Sequencing Parameter Changes In Real-Time

    3. As long as you continue to hold down the button during play- record back you can continue to adjust that parameter or additional param- eters. Each parameter is assigned to one of the available tracks, 4-16. Sequencer Sequential...

  • Page 77: Copying A Sequence From One Track To Another

    D sequence button, depending on which you want to paste the copied track onto. The Cue Program and Seq Lock features provide a simple way to copy a sequence from one program to another. See “Cue Program” on page 79 for more details. Pro 3 User’s Guide Sequencer...

  • Page 78: Muting A Sequence Track

    64 steps in total. Seq Mode Seq Length Restart Para Seq Set this parameter to “Extended” to create Extended 32 Steps a sequence longer than 16 steps SEQ MODE SEQ LENGTH Seq Param Seq Modes Enabling extended sequence mode Sequencer Sequential...

  • Page 79: Paraphonic Sequencing

    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, track 2 to Oscillator 2, and track 3 to Oscillator 3.

  • Page 80: Adding Rests, Ties, And Velocity

    LED/button. The step becomes a rest. 3. If you want to add several rests in a row, press the step LED/button where you want the rest to end. 4. Continue playing notes as desired to complete the sequence. Sequencer Sequential...
  • Page 81 (*) in the display. 4. Repeat for any additional steps/rests. 5. To listen to the sequence, press play steps 2-3 have rests Step: A1 Track 1 Note: C5 Vel: 66 Notes Velocity Velocity Duration Ratchet Seq: A Pro 3 User’s Guide Sequencer...
  • Page 82 1-3 Step: A1 Track 1 Note: C5 Vel: 66 Notes Velocity Velocity Duration Ratchet Seq: A LEDs are dimmed on steps that are tied. Envelope setting and the Sequencer’s parameter may affect how tied duration notes sustain. Sequencer Sequential...
  • Page 83 A velocity greater than zero must be set for a MIDI note-on message to be sent. If the velocity for a given step is set to zero, only a MIDI note-off message will be sent for that step. Pro 3 User’s Guide Sequencer...

  • Page 84: Editing Duration

    4. Turn Soft Knob 1 ( ) to scroll to the desired step. step 5. Turn Soft Knob 4 ( ) to edit the ratchet value of the selected step. rcht 6. Repeat steps 4 and 5 as desired. Sequencer Sequential...

  • Page 85: Editing Other Elements Of A Sequence

    A quick way to edit a step when playback is stopped is to press and hold the step LED for the desired step. You can then edit any parameter for that step while you’re at that step location. Pro 3 User’s Guide Sequencer...

  • Page 86: Setting Or Changing The Destination Of A Track

    Tracks 4-16 can be freely assigned. A quick way to set the destination of a Sequencer track is to hold down the track button and turn the front-panel knob for the parameter you want to route to that select track. Sequencer Sequential...

  • Page 87: Recording Additional Sequencer Tracks For Modulation

    1 when track 1 plays step 1 by enabling 1 in the menu (pres the a eggiator button to display this menu). sync to track seq params Pro 3 User’s Guide Sequencer...

  • Page 88: Using Slew

    ) to set it to notes 3. Press the front panel button and select mode gated 4. Play a series of notes on the keyboard. You’ll hear the sequenced parameters change as you play the notes. Sequencer Sequential...

  • Page 89: Sequencer Parameters (Front Panel)

    BPM (beats per minute). When Sync is turned on for an LFO or Delay, the BPM rate affects its LFO frequency or delay time. When syncing to an external MIDI clock source, the BPM setting has no effect. Pro 3 User’s Guide Sequencer...

  • Page 90: Additional Sequencer Parameters (Display Menus)

    When set to , an audio signal connected ext in to the jack on the back of the Pro 3 will control playback. When audio in set to cv 1, cv2, cv 3, cv 4, playback is controlled by a control voltage signal connected to the matching control voltage input jack on the back of the Pro 3.

  • Page 91: Cue Program

    5. When track 1 of the Sequencer reaches its final step, the cued program will load and and the sequence will continue to play seamlessly. 6. If you want to copy the sequence to the cued program (and overwrite its original sequence) press the button twice. write Pro 3 User’s Guide Cue Program...

  • Page 92: Tuned Feedback

    3. Set the amount of Aux Envelope 1 to 127. 4. Set the aux envelope 1 ADSR values to the following: attack: 0, decay: 45, sustain: 0, release: 16. 5. Set the Feedback amount parameter to 66. Tuned Feedback Sequential...

  • Page 93: Feedback Parameters

    When on, this enables extreme feedback at higher Grunge: On, Off— levels. It has no effect at lower levels of feedback. Pro 3 User’s Guide Tuned Feedback...

  • Page 94: Master Volume/Program Volume

    ) to adjust the volume level as desired. volume 5. Press the button twice to save the program. write MIDI volume can also influence the overall volume of the Pro 3 if you are controlling it from an external MIDI source. Master Volume/Program Volume Sequential...

  • Page 95: Transpose

    Glide is turned on and off using the glide switch, but the must also be set. If the button is on, but rate glide rate set to 0, glide has no effect. Glide can be set individually for each oscillator. Pro 3 User’s Guide Transpose...

  • Page 96: Glide Modes

    To select a Glide Mode: 1. Press the button. glide 2. In the display menu, use Soft Knob 1 to choose the desired Glide Mode. 3. Play a series of notes up and down the keyboard to hear the effect. Glide Sequential...
  • Page 97 Knobs 1-3 to adjust the amount of glide for individual oscillators. Glide Rate Osc 1 Glide Osc 2 Glide Osc 3 Glide Fixed Rate GLIDE MODE OSC 1 GLIDE OSC 2 GLIDE OSC 3 GLIDE Key Modes Glide Pitch Wheel Glide parameters Pro 3 User’s Guide Glide...

  • Page 98: Pitch And Mod Wheels

    Pitch and Mod Wheels The Pro 3 has a spring-loaded Pitch wheel and a Mod wheel. You can use these controls to enhance live performance by bending notes and adding modulation in real time as you play. PITCH The Pitch and Modulation wheels...

  • Page 99: Modulation Wheel

    Edit Mod 1 Source Amount Destination Mod 1 Slider Cuto Osc1 Shape Mod 2 LFO 2t Drive Mod 3 Aftertouch Mod 4 Mod Wheel LFO1 Amt Slot Sort Sort Source Sort Dest Pro 3 User’s Guide Pitch and Mod Wheels...

  • Page 100: Touch Slider

    Touch slider The Pro 3 has a position-sensitive Touch slider. Like the Pitch and Mod wheels, you can use this slider to enhance live performance by adding modulation in real time as you play. The slider serves as a modulation source, the value of which is deter- mined by finger position.

  • Page 101: Adding Aftertouch

    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.

  • Page 102: Distortion

    Distortion The Pro 3 features analog distortion which can be used to add warmth, harmonic complexity, and an aggressive edge to sounds. The character of the distortion is affected by the harmonic content of a program. Sounds with more high-end will sound different than sounds with fewer harmon- ics.

  • Page 103: Play List

    7. Use Soft Knob 1 ( ) and Soft Knob 2 ( ) to choose the program bank program that you want. 8. Press Soft Button 3 to select the third position in the list. Pro 3 User’s Guide Play List...
  • Page 104 2. Turn Soft Knob 4 to select the Set you want (1-10). 3. Turn Soft Knob 3 to select the List you want (1-4). 4. Use Soft Buttons 1-4 to choose the program you want within the currently selected Set and List. Play List Sequential...

  • Page 105: Miscellaneous Parameters

    • High (note) and High Retrigger are similar to the low note settings, except that the highest note is given priority. • Last (note) and Last Retrigger give priority to the last note played. Pro 3 User’s Guide Miscellaneous Parameters...

  • Page 106: Gate Source

    Selects envelope triggering using an external audio Ext 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 tunings to even more esoteric modes.

  • Page 107: Glide Tab

    Pitch Wheel upward. Twelve semi- tones equals 1 octave. (In the p tab) Selects Range Down: Off, 1...24 Semitones— itch wheel the range in semitones when bending the Pitch Wheel downward. Twenty-four semitones equals 2 octaves. Pro 3 User’s Guide Miscellaneous Parameters...

  • Page 108: Global Settings

    MIDI settings, Pitch and Mod wheel calibration, and more. You can use the button to set the program that appears when you global power on the Pro 3. Simply use the knobs to find the program you bank program want, then press the button twice.
  • Page 109 13 . MIDI Program Send: Off, On— MIDI Program Change and other SysEx messages to the MIDI Out. When On, the synth will respond 14 . MIDI Program Receive: Off, On— to received MIDI Program Change and other SysEx messages. Pro 3 User’s Guide Global Settings...
  • Page 110 When on (the default), 17 . Local Control: All Off, Key/Wheels Off, On— the keyboard and front panel controls directly affect the Pro 3. When off, the controls are transmitted via MIDI but do not directly affect the “local” synth (that is, the Pro 3). When...
  • Page 111 0-1019 (fully closed to fully open). With selected, lpf half an expression pedal connected to the jack will control filter cutoff filter frequency within half of its range (fully closed to half open). Pro 3 User’s Guide Global Settings...
  • Page 112 Eurorack modules. The Pro 3’s CV inputs and 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.
  • Page 113 The Pro 3’s oscillators can both drive and be driven by control voltages. Because the electronics in any device are rarely perfect, CV In and Out scaling allows you to make slight adjustments so that the Pro 3 and any connected CV devices are in tune with each other.
  • Page 114 43 . CV 4 Out Scale: -127…+128— of control voltage output 4. The Pro 3 display has a built-in screen saver 44 . Screen Saver: On, Off— that puts it to sleep when not in use. This features is designed to prolong the life of the display and we recommend using it.
  • Page 115 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. Pro 3 User’s Guide...

  • Page 116: Chapter 3: Programming The Pro 3

    The Pro 3 can produce a vast spectrum of sounds. While the factory programs give you some idea of its scope, if you only make use of its presets, you’re not really using the Pro 3 to its full potential. The real excitement is in creating sounds that are uniquely your own.
  • Page 117 1. In the section, the Sawtooth waveform is selected by oscillators default. Play and hold a note, then turn the knob to step through shape the various waveshapes. 2. Select the sawtooth waveshape. Pro 3 User’s Guide Synthesis 101: Synth Bass...
  • Page 118 4. Repeatedly strike a note on the keyboard as you turn the Filter Enve- lope’s knob clockwise and counterclockwise. Notice how it decay changes the sound as the note decays faster or slower. 106 Synthesis 101: Synth Bass Sequential...

  • Page 119: Creating Synth Brass

    Now you know how to create a simple synth bass program using the most essential synthesizer components of 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.

  • Page 120: Turning Synth Brass Into A Paraphonic String Pad

    800 and to 122. filter cutoff resonance 2. In the section, set the to 12. filter envelope env amount 3. Set filter envelope to 59, to 75, to 67, and attack decay sustain release to 71. 108 Creating Synth Brass Sequential...
  • Page 121 ) to 179, parameter 2 ( ) to depth rate 15, and parameter 3 ( ) to 255. feedback 8. Play some chords. Retro string machine! For even more dramatic phas- ing, set to 127. Pro 3 User’s Guide Creating Synth Brass...

  • Page 122: Creating A Hard-Sync Lead

    10. Play some notes. Classic hard-sync lead! 11. Experiment with Aux Envelope 1’s Attack, Decay, Sustain, and Release settings to better understand how these affect the shape of pitch modu- lation routed to Oscillator 1. 110 Creating a Hard-Sync Lead Sequential...

  • Page 123: A Final Word

    We wish you many enjoyable hours of experimentation! Pro 3 User’s Guide Creating a Hard-Sync Lead...

  • Page 124: Chapter 4: Using The Pro 3 With External Devices

    Processing External Audio The Pro 3 makes a great effects processor. The example below shows you how connect external audio to the Pro 3 and process it in real time by tweaking knobs and controls. To hear an external audio signal, you need to gate the amplifier and filter open.

  • Page 125: Filtering External Audio Using The Envelope Follower

    Connect an expression pedal to the Pro 3 and route it to a parameter such as filter cutoff in the mod matrix for more real-time processing control over the audio input. Filtering External Audio Using the Envelope Follower The Pro 3’s envelope follower makes it easy to process external audio with an “auto-wah”...
  • Page 126 18. Adjust any other parameters such as distortion and delay to tailor the sound. Connect an expression pedal to the Pro 3 and route it to filter cutoff in the mod matrix for more real-time control over the wah effect.

  • Page 127: Syncing The Sequencer With An External Midi Device

    Syncing the Sequencer with an External MIDI Device It’s possible to sync the Pro 3’s Sequencer to an external MIDI device such as a Tempest drum machine or digital audio workstation using MIDI clock. To sync a sequence to an external MIDI clock: 1.

  • Page 128: Using Pro 3'S Cv Outs To Control A Modular Synth

    Sequencer tracks, the touch slider, the mod wheel, and so on, to the modular synth. In this way you can use the Pro 3 as the central controller for a larger modular system. 116 Chapter 4: Using the Pro 3 with External Devices...

  • Page 129: More About Pro 3'S Cv Outputs

    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.
  • Page 130 Pro 3 to compensate for the voltage difference internally. To configure the Pro 3 to control an external oscillator that has a 5v input range: 1. In Mod Slot 1, choose as the source and choose note number as the destination.

  • Page 131: Appendix A: Modulation Sources

    Seq Track 16 Breath Foot Pedal Expression Pedal Velocity Note Number Random Audio Out Audio In Env Follow Peak Hold CV In 1 CV In 2 CV In 3 CV In 4 Pro 3 User’s Guide Appendix A: Modulation Sources...

  • Page 132: Appendix B: Modulation Destinations

    Env Aux 1 Attack Mod 18 Amount SV LP-N-HP Env Aux 2 Attack Mod 19 Amount SV Norm-BP Env All Attack Mod 20 Amount Feedback Amount Env Filter Decay Mod 21 Amount Feedback Tune Env VCA Decay 120 Appendix B: Modulation Destinations Sequential...
  • Page 133 MIDI 1 CC Chn 14 MIDI 1 Note Chn 13 MIDI 1 CC Chn 15 MIDI 1 Note Chn 14 MIDI 1 CC Chn 16 MIDI 1 Note Chn 15 MIDI 2 CC Chn 1 Pro 3 User’s Guide Appendix B:Modulation Destinations...

  • Page 134: Appendix C: Troubleshooting And Support

    If there is a ground hum in the audio output: • USB can cause ground loops, so try to resolve any grounding issues between the computer (if connected) and the Pro 3. Or use MIDI, which is opto-isolated. 122 Appendix C: Troubleshooting and Support...
  • Page 135 (MIDI and USB cables) and see if the problem persists. You can also monitor the MIDI traffic with MIDI Monitor (Mac OS) or MIDI-OX (Windows) to see if the Pro 3 is being overrun with duplicate messages. If the Pro 3 doesn’t seem to respond to its controls: •...

  • Page 136: Resetting The Global Parameters

    1 to select , then press Soft Button 1 reset globals ). Globals are reset. You can now can play the Pro 3 again. reset now Contacting Technical Support If you are still having a problem with the Pro 3, contact Technical Support at support@sequential.com.

  • Page 137: Warranty Repair

    Warranty Repair Sequential warrants that the Pro 3 will be free from defects in materials and/or workmanship for 1 year from the date of purchase. Please register your product online at www.sequential.com to establish the date of purchase. (This is not a requirement for warranty service, but it will help expedite the process.)

  • Page 138: Appendix D: Calibrating The Pro 3

    Appendix D: Calibrating the Pro 3 Because the Pro 3 is calibrated at the factory, controls such as the Pitch and Mod wheels, Touch Slider, and analog filters shouldn’t require re-calibration. But if you experience unexpected behavior with these controls, you can use the calibration function to tune them occasionally.
  • Page 139 ). The program or bank is exported dump now Dumped programs will load back into the same bank and program location in memory when received by the Pro 3 via MIDI. Pro 3 User’s Guide Appendix D: Calibrating the Pro 3...

  • Page 140: Importing Programs And Banks

    To send a program or bank to another Pro 3 as a SysEx file over MIDI: 1. Connect two Pro 3 synthesizers together using MIDI cables and the jacks on their rear panels. midi in and midi out 2.
  • Page 141 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.

  • Page 142: Appendix E: Alternative Tunings

    Gamelan tunings. If you want, you can replace these with other tunings that you can find on the Internet. These must be in SysEx format. You can download them into the Pro 3 using SysEx Librarian for Mac or MIDI-OX for Windows.
  • Page 143 Some of the intervals are very close together, offering several choices for the same nominal chords. A=1/1 (440 Hz) 1/1 9/8 8/7 7/6 9/7 21/16 4/3 3/2 32/21 12/7 7/4 63/32 Pro 3 User’s Guide Appendix E: Alternative Tunings...
  • Page 144 Similar to Yamaha’s preset Just Major, the Just Minor gives preferential treatment to minor thirds on the sharps, and has a good fifth relative to the second. C= 1/1 (261.625) 1/1 25/24 10/9 6/5 5/4 4/3 45/32 3/2 8/5 5/3 16/9 15/8 132 Appendix E: Alternative Tunings Sequential...
  • Page 145 65 = Cents +498 66 = Cents +649 67 = Cents +702 68 = Cents +853 69 = Cents +906 70 = Cents +996 71 = Cents +1057 72 = Cents +1200 Pro 3 User’s Guide Appendix E: Alternative Tunings...

  • Page 146: Appendix F: Midi Implementation

    Appendix F: MIDI Implementation The Pro 3 receives MIDI data according to the settings you have chosen . In addition, there is interaction between some of the program globals parameters that determine the overall response of Pro 3 to MIDI data.
  • Page 147 Sets the port MIDI Out Select: Off, MIDI 1, MIDI 2, USB, MIDI ALL, All— by which MIDI data will be transmitted. Pro 3 User’s Guide Appendix F: MIDI Implementation...

  • Page 148: Midi Messages

    0100 0000 0vvvvvvv or higher All Notes Off: Clear all MIDI notes 1011 nnnn 0111 1011 0vvvvvvv Reset All Controllers: Clears all MIDI controllers to 0, 1011 nnnn 0111 1001 0vvvvvvv MIDI volume to maximum 136 Appendix F: MIDI Implementation Sequential...
  • Page 149 Damper pedal: Sends 0 if off, 0111 1111 when 1011 nnnn 0000 0111 0vvvvvvv Volume knob See sections that follow for additional Continuous Controller (CC) and Non-Registered Parameter Number (NRPN) messages transmitted. Pro 3 User’s Guide Appendix F: MIDI Implementation...
  • Page 150 Additional Continuous Controllers Transmitted/Received The following table details how MIDI Continuous Controllers (CCs) are mapped to Pro 3 controls. They are transmitted when MIDI Param Send is set to CC, and recognized/received when MIDI Param Receive is set to CC.
  • Page 151 LFO 2 Frequency LFO 2 Amount LFO 2 Shape LFO 2 Sync On/Off LFO 3 Frequency LFO 3 Amount LFO 3 Shape LFO 3 Sync On/Off Unassigned Unassigned Unassigned All Sound Off Pro 3 User’s Guide Appendix F: MIDI Implementation...

  • Page 152: Nrpn Messages

    Increment and Decrement commands, which some controllers utilize. Finally, it responds to one RPN (Registered Parameter Number) command, the RPN/NRPN Reset command, which can be handy for resetting the currently selected parameter to a known state. 140 Appendix F: MIDI Implementation Sequential...
  • Page 153 (when both MSB and LSB received) Program Parameter Data The following table lists Pro 3 program parameters 0-352. Subsequent param- eters can be found on the Pro 3 Support page of the Sequential website. Param Name NRPN Param Name...
  • Page 154 Env3Sus FX1Unused1 LFO2Phase Env4Sus FX2OnOff LFO3Phase EnvFilterRel FX2Select LFO1Unused0 EnvVCARel FX2Mix LFO2Unused0 Env3Rel FX2Param1 LFO3Unused0 Env4Rel FX2Param2 LFO1Unused1 EnvFilterRepeat FX2Param3 LFO2Unused1 EnvVCARepeat FX2Sync LFO3Unused1 Env3Repeat FX2SyncRate LFO1Unused2 Env4Repeat FX2Unused0 LFO2Unused2 EnvFilterUnused1 FX2Unused1 LFO3Unused2 EnvVCAUnused1 142 Appendix F: MIDI Implementation Sequential...
  • Page 155 Mod26AmtMSB Mod18Source Mod23Amt Mod27AmtMSB Mod19Source Mod24Amt Mod28AmtMSB Mod20Source Mod25Amt Mod29AmtMSB Mod21Source Mod26Amt Mod30AmtMSB Mod22Source Mod27Amt Mod31AmtMSB Mod23Source Mod28Amt Mod32AmtMSB Mod24Source Mod29Amt Mod1Dest Mod25Source Mod30Amt Mod2Dest Mod26Source Mod31Amt Mod3Dest Mod27Source Mod32Amt Mod4Dest Mod28Source Pro 3 User’s Guide Appendix F: MIDI Implementation...
  • Page 156 Mod23Dest Name1 Mod24Dest Name2 Mod25Dest Name3 Mod26Dest Name4 Mod27Dest Name5 Mod28Dest Name6 Mod29Dest Name7 Mod30Dest Name8 Mod31Dest Name9 Mod32Dest Name10 Name11 Volume Name12 Name13 KeyMode Name14 Retrig Name15 GateSource Name16 Swing Name17 Scale Name18 144 Appendix F: MIDI Implementation Sequential...
  • Page 157 0 = Stereo 4126 0-255 CV1 In Scale 1 = Mono 4127 0-255 4110 Pot Mode CV3 In Scale 0 = Relative 1= PassThru 4128 0-255 CV4 In Scale 2 = Jump Pro 3 User’s Guide Appendix F: MIDI Implementation...
  • Page 158 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 146 Appendix F: MIDI Implementation Sequential...

  • Page 159: Control Nrpn Data

    Control NRPN Data The following table lists the Pro 3’s control NRPN data. It is received and transmitted but not saved as part of a program. NRPN Value Description 4188 Seq Play/Stop SysEx Messages Universal System Exclusive Message (Device Inquiry)
  • Page 160 Program Number, 0 - 127 0vvv vvvv End of Exclusive (EOX) 1111 0111 The Pro 3 will respond by sending out the program data in the format described below in Program Data Dump. Request Program Edit Buffer Dump Status Description...
  • Page 161 Description System Exclusive (SysEx) 1111 0000 DSI ID 0000 0001 Pro 3 ID 0011 0001 Playlist Dump 0101 1100 320 bytes for playlist data 0vvv vvvv End of Exclusive (EOX) 1111 0000 Pro 3 User’s Guide Appendix F: MIDI Implementation...

  • Page 162: Packed Data Format

    Global Parameters Data Dump Value Description System Exclusive (SysEx) 1111 0000 DSI ID 0000 0001 Pro 3 ID 0011 0001 Main Parameter Data 0000 1111 50 nibbles (LS then MS) for 25 Global parameters 0vvv vvvv End of Exclusive (EOX) 1111 0111 The Global Parameters Data Dump is not recognized when received.
  • Page 163 Pro 3 User’s Guide Appendix F: MIDI Implementation...
  • Page 164 152 Appendix F: MIDI Implementation Sequential...
  • Page 165 Pro 3 User’s Guide Appendix F: MIDI Implementation...
  • Page 166 154 Appendix F: MIDI Implementation Sequential...
  • Page 167 Pro 3 User’s Guide Appendix F: MIDI Implementation...
  • Page 168 Sequential LLC 1527 Stockton Street, 3rd Floor San Francisco, CA 94133 ©2020 Sequential LLC www.sequential.com DSI-10444...

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