if the pro1 had come out a few years later i'm sure it would have used the 3328 anyway (seeing that it didn't utilize any multimode functions). The CEM3328 is only 20 bucks in that bundle (compared to CEM3320 which is $60-80) because it was the cheaper LPF-only version of the same chip when it came out and an Ensoniq Mirage off of craigslist has like 20 of them. You can get what is pretty much a clone of the filter if you build or have someone build this. while the oscillator, filter and the ADSR in particular are implemented perfectly - without a mod matrix it really wouldn't be a pro-one at all. However, if you’re used to using older analogue synths or using the Pro-1 for sound design, coming to the panel fresh for each session may not be an issue.IMO the the most important part of the pro-one is it's simple but super flexible modulation matrix. We would have paid extra for this feature. Given that there’s no way to save presets, it’s a shame that full MIDI CC implementation isn’t included, as this could have opened up the possibility of saving via SysEx. Sadly though, MIDI implementation is limited, as it only receives note and mod wheel messages. Finally, you have Glide with a normal mode and an auto mode that only glides when you play legato.įor connecting to more modern studio equipment, Pro-1 has both 5-pin MIDI I/O and USB MIDI, which is most welcome. Both are perfectly exceedingly straightforward to use. There’s also a simple arpeggiator with up and up/down modes and a basic sequencer that lets you step record two sequences. This enables you to play two notes simultaneously, but both sharing the same filter and VCA. Mono/Poly lets you switch from the standard monophonic mode to two-note paraphonic mode. Retrig selects whether the envelopes will be retriggered each time you hit a key when playing legato or if the notes will run into each other. You have to be careful not to overdo it, but this can produce a pleasant touch of thickening saturation.Įlsewhere, Drone mode plays a single sustained note and Repeat mode rhythmically triggers the gate with speed controlled by the LFO/clock or an external source. There’s no built-in distortion, but you can do the old trick of feeding the audio output into the external input. The CV I/O also lets you create a bit of extra warmth. Although it’s nowhere near as flexible as Behringer’s semi-modular Neutron synth, it’s a welcome addition on an instrument that otherwise plays it pretty safe in copying the original Sequential Circuits design. The CV connectivity also helps if you’re looking to interface the Pro-1 with other modular gear. This lets you route the filter or amp envelope to resonance or send the LFO to the external input and play its pitch via the keyboard, giving you an additional oscillator. Luckily, Behringer has seen fit to expand upon the original’s sound design capabilities by including six additional CV ins and five outs. And a recent firmware update has made the amp envelope even snappier. The filter has its own ADSR envelope, and there’s a snappy envelope for the amplifier, too. The only downside with this filter design, like many others, is that you lose a lot of low-end as you increase the resonance, so you have to consider this when designing sounds. The filter is characterful and squelchy, and at high resonances, it allows you to easily pick out frequencies, even moving into self-oscillation. The triangle wave on Osc B makes an excellent sub, and if you want a cleaner sine wave, you can use the capable 24dB/octave (4-pole) low-pass filter. Listen to the sound examples below for examples ranging from warm and subby to piercingly bright, resonant and nasal. With facilities such as waveshape blending, oscillator sync and pulse-width control, you can get a decent variety of timbres from the Pro-1. You also have a sync switch on Osc A, and the ability to turn Osc B to low-frequency mode and detach it from the keyboard input to use it as an extra LFO. Both have pulse-width controls, and you can blend the levels using the mixer section, where you can also dial in a noise oscillator or an external input signal. On to the synth specs, and we have dual analogue VCOs with three simultaneous waveforms.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |