Behringer Pro-1 Operation Manual
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- Quick start manual (21 pages) ,
- Documentation and instructions (49 pages) ,
- Quick start manual (7 pages)
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Summary of Contents for Behringer Pro-1
- Page 1 Behringer Pro-1 Operation Guide An Alternative Manual Revision 1.01, December 2021 by Simon Taylor www.coolcatukes.com...
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Page 2: Table Of Contents
AP099 Revision 1.01 CM100B Introduction To This Guide Why This Guide? Conventions & Naming Safety Instructions About the Synthesisers The Sequential Circuits Pro-One The Behringer Pro-1 Introduction Connections Playing Keyboard Controls Front Panel Introduction The Voice Mode GATE Indicator RETRIG/NORMAL... - Page 3 CM100B Revision 1.01 AP099 Decay Knob Sustain Knob Release Knob Amplifier LFO Frequency Knob Wave Shape Switches Modulation FIL ENV, OSC B, & LFO AMOUNT Knobs FIL ENV, OSC B, & LFO ROUTE Switches OSC A FREQ, OSC A PW, OSC B FREQ, OSC B PW, & Filter Switches Top Panel Introduction Connections...
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Page 4: Introduction To This Guide Why This Guide
Pro-One that the synthesiser is based on had a more detailed explanation, so in learning how to use the Pro-1, the author was using this manual. This document is an effort to consolidate that information and add other relevant information in one concise and clear guide. -
Page 5: The Behringer Pro-1
Generally controlled directly by a MIDI keyboard, or from (or via) a computer connected by USB or MIDI interface. Introduction Follow the guide in the Behringer user instructions to connected the Pro-1 to your computer or MIDI keyboard. The Pro-1 synthesiser offers extraordinary capabilities for spontaneous control of pitch, timbre, and loudness. - Page 6 When power and audio output connections have been made, first switch Pro-1 power on with back panel switch sited next to the DC input jack socket, then switch amplifier power on. If you think the Pro-1 may not be operating, see the section titled “In Case Of Difficulty” in this guide.
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Page 7: Playing
You can learn about the controls by reading Section 2. But if you are like most people, you'll want to try the Pro-1 before studying it. To do this, simply turn to the Factory Patch section and select a factory patch. Set the Pro-1's controls as closely as possible to the diagram while playing on an attached keyboard. -
Page 8: Keyboard Controls
Keyboard Controls You can't play chords on a Pro-1 for the same reason you can't play chords on a clarinet or trumpet: they are all monophonic instruments. So you will most often be playing solo lines on the keyboard. But you have some options as to how the keys are played, and when you can play more than one key. - Page 9 CM100B Revision 1.01 AP099 keyboard "memory" devices of great utility in performance. And by freeing both hands from the keyboard, these tools aid in your learning how to patch. To understand the keyboard controls you first need to know that inside the Pro- 1 a GATE signal is produced when a key is received over MIDI or from the sequencer, which controls the envelope generators.
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Page 10: Front Panel Introduction
AP099 Revision 1.01 CM100B Front Panel Introduction This section explains the "modules" outlined on the front panel. The front panel is divided into "voice" and "modulation" sections. The basic voice is discussed first, then modulation. Signal flow, the alternatives of each switch, and ranges of each knob are described. The Voice As an analogue voltage-controlled synthesiser voice, the Pro-One can be understood at its most general level in terms of three functions: audio waveshape generation, modification, and... -
Page 11: Mode
CM100B Revision 1.01 AP099 The AMPLIFIER stage is also a modifier because it raises or lowers the signal level from the FILTER to the external power amplifier and speaker. The AMPLIFIER is controlled by its own envelope generator and the VOLUME control, which attenuates the generator's control voltage output, reducing the overall output level. -
Page 12: Drone
SEQUENCER memory banks are not affected. The built in Arpeggiator is activated simply by using the ARP switch. The Pro-1 will take any incoming MIDI or Gate signals and apply it to its built-in arpeggiator algorithm. There are... -
Page 13: Sequencer
The Pro-One's 64-note sequencer allows you to record themes, riffs, walking bass lines or the like. All sequenced notes and rests are single-step recorded with the same duration. The Pro-1 sequencer does not record notes of varying duration. No matter how unevenly you record a Pro-1 sequence, it will always play-back with all notes and rests evenly timed. -
Page 14: Oscillator A
AP099 Revision 1.01 CM100B Oscillator A OSC A is an audio frequency source always under control of the MIDI input. Frequency Knob Adjusts initial frequency continuously over a one-octave range. Octave Rotary Switch Transposes initial frequency over a four-octave range. Sawtooth Shape Switch Enables full-level wave shape containing all harmonics. -
Page 15: Oscillator B
CM100B Revision 1.01 AP099 Oscillator B OSC B is similar to OSC A, except that in addition to being a keyboard-controlled audio frequency source, it can also be a low-frequency, modulation source with or without keyboard control. The identically named controls function as described under OSC A. In addition: Triangle Shape Switch Enables wave shape which is centred at ground so as not to offset modulation destination. -
Page 16: Mixer
FILTER. To get any sound out of the Pro-1, at least one of these three knobs must be turned up (unless the filter is being used as a pitch source). -
Page 17: Envelope Amount Knob
CM100B Revision 1.01 AP099 frequency will be less audible relative to the frequencies being resonated. As the setting is increased beyond 7, the filter breaks into oscillation and will act as a sine-wave audio source whose pitch is determined by the cutoff frequency. Envelope Amount Knob Sets amount (not the shape) of ADSR filter envelope CV controlling the filter cutoff frequency. -
Page 18: Sustain Knob
AP099 Revision 1.01 CM100B Sustain Knob Varies level from zero to maximum. Remember, this is a level control, not a time control. (SUSTAIN time is the period between the end of the DECAY and when the key is released.) If SUSTAIN is set at maximum then the DECAY knob setting is irrelevant. Release Knob Varies time for envelope to decrease from sustain level to zero, from 2 milliseconds to more than 6 seconds. -
Page 19: Fil Env, Osc B, & Lfo Amount Knobs
CM100B Revision 1.01 AP099 Two of the three modulation sources (filter envelope generator and OSC B) were described above. The third source is the LFO. Pay attention to the two sections in the Modulation section. FROM & TO. FROM is where the modulation source is take from, i.e. -
Page 20: Top Panel Introduction
6.35mm sockets. These connections can be used to make alternative connections within the synthesiser, or to connect other synthesiser units or modules external to the Pro-1. Connections MOD WH CV <... -
Page 21: Lfo Cv
CM100B Revision 1.01 AP099 LFO CV < LFO rate CV. LFO OUT > LFO out CV. KYBD CV > (Cv Out) This jack makes the [V/octave KYBD CV available for control of external equipment. It basically ranges 0.083V to 3.083V (three octaves), following the keyboard or sequencer. If the sequencer is transposed (see paragraph 1-6), CV OUT can range -1V to 4V. -
Page 22: Phones
AUDIO OUT > Mono 3.5mm output of the Pro-1. This is functionally the same as the 6.35mm OUTPUT socket on the rear of the unit. This is a high impedance line level output and should be connected to a mixer, audio interface or to an amplifier. DO NOT connect it directly to speakers. -
Page 23: Back Panel Connections
Bear in mind that when the Pro-1 is switched off, the mains adaptor is still on and consuming power (albeit small). If not using the Pro-1 for extended periods of time, switch off or unplug at the mains supply. -
Page 24: Routine Maintenance
AP099 Revision 1.01 CM100B Routine Maintenance Introduction This section covers all maintenance which the player can be expected to perform. Cleaning The external metal surfaces and plastic parts can be cleaned with a damp cloth or a foam cleanser such as Servisol (https://amzn.to/3dfNAQE) Don't use alcohol, ammonia, or phosphate-based cleaners. -
Page 25: Appendices & Reference Selected Bibliography
Polyphony Magazine, Box 20305, Oklahoma City, OIC 73156 Acknowledgements Pro-One images and some text from original Pro-One manual by Stanley Jungleib Pro-1 Images Courtesy of Music Tribe IP Ltd Patches provided by Kevin Kent from original Pro-One scanned manual Physical Specifications 12VDC, 8W (~700mA) maximum, 2.1mm Barrel Jack, +ve on centre... -
Page 26: Product Links
AP099 Revision 1.01 CM100B Product Links Manufacturer’s manuals can be found and purchases made via these links. Product Manufacturer Amazon Behringer Pro-1 https://www.behringer.com/product.html? https://amzn.to/3rzhPKV Synthesiser modelCode=P0DRK Behringer CT200 https://www.behringer.com/behringer/ https://amzn.to/3Die3Yp Cable Tester product?modelCode=P0BBR Behringer PSU12- https://www.behringer.com/product.html? https://amzn.to/3oou5vC UK UK Power... -
Page 27: Factory Patches
Revision 1.01 AP099 Factory Patches This section contains 20 patches for the Pro-1 ranging from instrumental imitations to sound effects. All sounds are created by setting the Pro-1's controls as diagrammed, then fine-tuning knob settings to your taste. The diagrams are not meant as absolutes but as examples. The patches should serve as starting points for you to create your own sounds. - Page 28 AP099 Revision 1.01 CM100B Filter as Oscillator Tune the filter with FILTER KEYBOARD AMOUNT while playing octaves. CUTOFF controls overall range. Advance MOD wheel. Vary LFO rate. Try reducing AMPLIFIER SUSTAIN and adjusting DECAY level. NORMAL GLIDE with a rate of 6-7 plus wheelmodulation gives 1950s sci-fi...
- Page 29 CM100B Revision 1.01 AP099 Grunge Guitar Adjust FILTER ATTACK. It is controlling the sync sweep. Notice there is a little white noise. Bass Clav Trim PULSE WlDTHs near 9. Too far clockwise causes pulse to degenerate to dc (no sound). Raise MIXER OSC B and try different OCTAVEs. Adjust DECAY times on both envelopes.
- Page 30 AP099 Revision 1.01 CM100B Percussive Organ Tune OSC A 2 octaves plus a perfect fifth above OSC B. For proper effect, adjust OSC A PULSE WIDTH for square wave by listening for disappearance of the octave overtone. FILTER ENVELOPE AMOUNT adjusts brightness of percussive effect. Mod- wheel provides vibrato.
- Page 31 CM100B Revision 1.01 AP099 Clarinet Adjust OSC A PULSE WIDTH for square wave by listening for disappearance of the octave overtone "Delayed" Envelope Uses LFO as an envelope generator. (LFO is reset by keyboard trigger when ARPEGGIATE is switched on.) Bass Synth Sustain Tune OSC A 1 octave below OSC B.
- Page 32 AP099 Revision 1.01 CM100B Psuedo Ring Mod Bells Dynamo Hold C1, D1, E1, F1, and G1. For variation, switch off OSC B pulse or adjust MODULATION FILTER ENVELOPE AMOUNT. Add keys and latch arpeggiator. Arpeggiating Fifths Tune OSC A a perfect fifth above OSC B. Play chords. The LFO/CLOCK is controlling the ARPEGGIATOR and filter modulation through the filter envelope.
- Page 33 CM100B Revision 1.01 AP099 Plucked String E-Bass Repeat Page...
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Page 34: Panel Blanks
AP099 Revision 1.01 CM100B Panel Blanks These panel blanks are provided for you to record your own patches. Feel free to reproduce them for your own use. Page...
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Questions and answers
Why does the Pitch Bend Wheel Always Bend Up Or Down 12 Semitones? Can It Be Controlled To Just 2 Semitones Up Or Down?
The Behringer Pro-1 pitch bend range is set to 12 semitones by default, as mentioned in the Ctrlr panel documentation. If you want to change it to 2 semitones, you would need to adjust the pitch bend range setting in the synthesizer’s global settings. However, there is no explicit mention in the provided context on how to modify this setting directly on the Pro-1.
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How do you use the White Channel Button on the Rear of the Berihinger Pro 1? What is the Wire for thar looks like a computer connection?