![]() ![]() ![]() 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. Thanks again to frankperri.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. Just let me know and give me a mention if you post your version anywhere. Here you can download my midi file and patch sheets if you want to have a go and make your own version. Otherwise, they’re relatively pointless and aren’t meant to be creative statements in and of themselves. A way to challenge my ear, a way to find out the limits of my limited gear, and a way to try to get into the head of musicians/producers I admire. The kick and toms are Pro-One.įor the record, I don’t view these re-creations as “covers” or creative projects. ![]() The snare, clap (heavy reverb), and hi-hat (heavy flanging) are all 808. I’ve decided to record my versions at concert pitch (A440) for the sake of keeping things standard. Note that, as with “Only You,” the original recording is actually pitched a bit sharp. Everything was sequenced in Cubase, and the Pro-One sounds were recorded one at a time via a Kenton Pro Solo MIDI/CV interface. The kick is the same patch from the Vince Clarke magazine article that I used on “Only You.” All the other sounds I programmed from scratch. My starting point for this was four patches posted at which I modified to get closer to the original sounds. The original actually has a fair amount of ARP 2600 in it, which means that the sounds in my version are a bit hit-and-miss, but I was able to get reasonably close with most of the sounds. Here’s what Hicks has to say about the custom patches:īy special request, here’s another Yaz track re-created w/ the Sequential Circuits Pro-One synth. This video demonstrates and documents Pea Hicks‘ Sequential Circuits Pro-One synth patches, inspired by the work of Vince Clarke on Yazoo’s Don’t Go. ![]()
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