![]() ![]() ![]() I tend to measure by eye 3 times and then cut later after measuring one last time. I believe the saying goes something like “measure twice, cut once”. The CPU upgrade was pop and drop and non destructive but the MIDI part of the project required drilling! I broke this tech project into 2 parts because I had some intense and somewhat stress inducing decisions to make about the second half of this affair. I got the cables I ordered and they worked out just as I had hoped. It’s a powerhouse of sound design with its own unique voice and endless possibilities.So here we go, it’s part 2 of the Sequential Circuits Pro One CPU/MIDI upgrade! I had ordered some parts and was waiting for them to arrive when I left off in the previous tech post here. MusicRadar verdict: The Pro 3 is far more than a simple monosynth. ![]() The drive sections are outstanding and the mod matrix, in tandem with the fabulous sequencer, make this one of the most versatile synths out there. The tone has elements of what’s gone before but it is its own beast. The abilities of each section combine to make this a true powerhouse of sound design. The Pro 3 is far more than a simple monosynth, or even paraphonic synth. Not content with that, there is also a Tuned Feedback section and here you can lay on thick layers of harmonically rich drive to really transform a patch. The filter has a pretty standard drive control and it sounds good but there is a standalone distortion section, offering everything from a little dirt to screaming saturation. ![]() It does pretty and subtle well but where it shines most is when you add a little grit, which can be in three ways. The Arturia MatrixBrute also offers three-voice paraphony and an extensive modulation system but has a more metallic tone overall.įor me, the Pro 3 is all about the tone and the experience. Moog’s Sub 37 has ‘that’ ladder filter sound, plus a great sequencer, though with far less ability than the Pro 3. The way it cycles through the voices makes it easy to get complex and creative with arpeggios and sequences, in tandem with different octave settings per voice. The Pro 3 might be seen as a monosynth but it is a three-voice paraphonic synth making this a versatile beast. These envelopes cover a lot of ground, from the snappy to the oh so slow, great for evolving ambient patches, which brings us back to the sound sources. On to the envelope generators, of which there are four, loopable ADSR type, one fixed for the VCA, one fixed for filter and two freely assignable. First up is a Prophet 6 style 4-pole low pass, next a Moog(ish) ladder with self-oscillating resonance, then an Oberheim style SEM 2-pole, with variable low and high pass (so notch). Or, more accurately the filters, as there are three, each giving a nod to flavours of the past, with cutoff controlled by the giant central encoder. 32 custom slots are available alongside the preset sources ranging from mod and pitch wheel to aftertouch. There is also a very comprehensive mod matrix, which is equally intuitive and the OLED screen helps keep everything in check with its immediate feedback and simple navigation. Either way, all the controls feel well seated and accurate. I don’t dislike this but I think some users might, although I imagine they will ease up after the bedding in period passes. The potentiometers on the other hand feel very firm and take a good twist to move. Rotary encoders (the kind that keep on turning) are easy to adjust, dialling in a setting easily with good, positive, notched response. It’s simple to use but massively useful and fun too The sequencer could easily be a product in its own right. The knobs come in two flavours, none of which feel related to other Sequential synths, with a soft touch rubber feel. The wide OLED screen is crisp and clear, showing menu items contextually, as you adjust certain settings, making its size just right. The Pro 3 is physically notable in some other aspects too. USB is there of course, although it doesn’t offer audio, and there is MIDI in, out and through, plus an audio input.Ī stereo headphone jack is upfront and left and it’s worth spending some time using it, as it really highlights some of the sound design options. The jacks around the back all engage satisfyingly, from the 1/4” dual outputs to the 1/8” CV in and out patch points. ![]()
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