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![]() Increase the resonance of the filter lowers the volume (that is the filter topology: we can not do anything) The pitch bender is still quite low design: no return to center automatically, just click in the middle. The modulation matrix has two slots: one direct and one that involves the modulation wheel (ModWheel) but can be assayed and stack different modulations eg send two times the envelope on the filter! The filter is non-resonant type and color, but really the resonance rises twice as high as most synths it self oscillates at half the race knob, the cutoff frequency of the filter (cut-off) also rises very high, which in some cases allows him to sound like a HPF or BPF sounds using the Synchro VCO are truly monstrous (the specialty of Pro-5). otherwise remaining in audio frequency it can make FM (linear), the modulating audio filter, kind of Ring-modulation effects. ![]() The second oscillator can be turned into a second LFO (switch Lo-Freq) super complete: wave forms of stackable square with PWM. Unfortunately mine has the keyboard completely unplayable membrane (to be replaced by a type J-wire)įor those who already know the SH-101 digital control part (sequencer, arpeggiator) is the same, it just lacks the slide of sequencer 101Ĭonnectivity: Stereo OUT, CV gate in and out Filter CV in, Audio IN Personally i love it to bits and would keep it over all my digital s unique nature wont appeal to everyone tho, so make sure you have a listen before buying one! Well its vintage, its real analoge, and it sounds like no other synth. The general tone of the synth is extremely musical and is suprisingly forgiving when slightly out of tune due to the large harmonic content. Its very noisy tho (even with the noise osc switched off) but this is normal for a synth of its age (20 years). The sound quality is ridiculously warm and fat, this is an extremely powerful synth. luckily my synth does so this hasnt really bothered me.īuild quality is pretty shabby, nasty plastic mostly - its not a pretty old girl, but they do seem to survive the years so it cant be all bad i guess The keyboard verges on useless so its essential to have a midi conversion. However, its still easy to find sounds that are great.but finding a sound that u have in your head takes practice. I found this pretty hard work to start with coming from a softsynth background, but after a while i got the hang of it. Well theres no presets or anything like that, so you have to program your own patches from scratch. Also got an audio in, which is brilliant for adding analogue warmth or even distortion to digitally produced sounds. This allows you to make many different sorts of sounds with it, but it will still always sound like a pro-one tho, its no chameleon. For a vintage analoge synth this is pretty damn good. ![]() if any of your other keyboards can supply these CVs then you should be able to control your Pro One directly from another keyboard without the need of a MIDI to CV converter.Įmail for options that include MIDI kits and enhancements to your Pro One's on-board sequencer and arpeggiator.Probably the best part of this synth is its modulation matrix, allowing you to assign LFO, Filter Envelope and OSC B to OSC A Freq, OS A PW, OSC B Freq, OSC B PW and filter freq. ![]() The Pro One operations manual states the CV IN requires a 5v GATE and 1 volt/octave CV (0-10v range). ![]() However, if you choose to continue to use a membrane switch keyboard, the rubber keystops are the same for all Pro One keyboard, whether J-wire or membrane switch style. At this time a MIDI to CV converter is the easiest solution to by pass a membrane switch keyboard keyboard and trigger a Pro One. In the past any successful repairs to the troublesome membrane switch contacts were only temporary at best due to the inherent unreliability of the switch design. Although any Pro One can use either a J-wire style or membrane style keyboard, the probability for finding a replacement J-wire keyboard is very unlikely since they only exist in other Pro Ones. ![]()
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