[The Sequential Circuits Pro-One Annotated Manual]
[Annotations in bold square brackets by jet.]
[Scanned from a photocopy of the original. Original format retained wherever possible.]
[Modified or replaced graphics noted as such.]
This section contains 20 patches for the Pro-One ranging from instrumental imitations to sound effects. All sounds are created by setting the Pro-One'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. There is no single, ideal trumpet or bass patch, for example, because the synthesized sound must usually be heard in a musical context of rhythm, melody and harmony. The notes played, their speed, your technique, the voicings of ensemble instruments or soloists, even the acoustical characteristics of the room all influence the perception of many of the knob-set parameters such as pulse-width, envelope settings (ATTACK, DECAY, SUSTAIN, RELEASE), and filter cutoff. The art of patching is the ability to make music with the Pro-One. It takes practice.
Thanks to Kevin Kent for assisting with these patches.
CM 100B 5/81
Try auto-glide. Try adding OSC B's sawtooth--raise MIX OSC B. Advancing MOD wheel glves vibrato. Adjust LFO AMOUNT.
Adjust FILTER RESONANCE and KEYBOARD AMOUNT. MODULATION OSC B AMOUNT sets level of frequency modulation to OSC A.
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 1950 s sci-fi film sound. Advance FILTER ENVELOPE AMOUNT.
Adjust FILTER DECAY, MIX OSC A and MIX OSC B, OSC A PULSE WIDTH, MODULATION FILTER ENVELOPE AMOUNT. Try the SEQUENCER.
Adjust FILTER ATTACK. It is controlling the sync sweep. Notice there is a little white noise.
Trim PULSE \\'lDTHs 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. Try ARPEEGIATE at fast LFO/CLOCK setting. [Yes, they mispelled "arpeggiate" in the manual.]
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.
First hold one key, a second, then add a third or fourth. Latch the arpeggiator or record sequence. Adjust LFO/CLOCK FREQUENCY. Adjust OSC B FREQUENCY, which is secondary LFO. Adjust AMPLIFIER ATTACK and DECAY.
.Adjust OSC A PULSE WIDTH for square wave by listening for disappearance of the octave overtone.
Uses LFO as an envelope generator. (LFO is reset by keyboard trigger when ARPEGGIATE is switched on.)
Tune OSC A 1 octave below OSC B.
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.
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. Change FILTER ENVELOPE AMOUNT and RESONANCE.