Sequential Pro 3

The Lounge Other Gear
#380

Yes, I think this is what you want? Hold ‘Track Select’, then on the screen look for ‘Erase Track’ and select the track you wish to erase (A/B/C/D). That defaults/resets the sequence for the selected track.

Sorry that you seem to have some misgivings about the synth. Like many things I guess it’s just a personal preference, but I’d give it some time. I’ve owned and had opportunity to use a lot of hardware synths and the Pro 3 is among my favorites. I love the immediacy and how easy it is to setup modulations. As for build quality, I think it’s great? I wasn’t expecting all wood/metal for the price, everything feels solid and high quality. To me, plastic and wobbly knobs/sliders was just about everything in the late 90’s – this feels nothing like that. And above all… it just sounds amazing.

Hope you get along better with it or return it within your window to do so.

2 Likes
#381

Thanks, I sent it back. I’m like that, if it doesn’t click with me, it’s a very bad sign.

2 Likes
#382

You did the right thing, if it’s not clicking, better to move on.

By contrast I’ve had mostly the opposite experience with the Pro 3. I love the thing.

I’ve never had a Sequential / DSI synth - and finding simple things like “compare” and “revert” makes me wonder why they are not standard on all synths. Compare let’s you hear the original patch or your edits at a touch of a button, and revert let’s you undo any or all edits.

The sequencer does do lengths per track, you hold a step, then press reset to set the length for that track.

Agree that the basic program (init patch) should clear the sequencer, and having the first 3 tracks for notes linked together takes some getting used to.

Overall the sequencer rocks IMO. Very immediate, and deep. I love tweaking and tuning sequences, and it reminds me of Elektron gear where it’s so tightly integrated.
Driving the Pro 3 sequencer with the DT works great too.

Does’t feel cheap to me at all, in fact the controls/keys/knobs feel great, and I like that it’s fairly light weight.

Modulation is a stand out feature. Making patches is so much fun for me now. It was clumsy at first because it was very different, and felt like there were too many overlapping ways to do the same thing. Now however, I can map and explore at will. Things like holding source and tapping a note to cycle between velocity, pressure and note, then hold destination and map to say effects mix, make it very fast to try things.

Of course the biggest thing for me is the sound. I just can’t get that girthy dirty bass out of my other gear, and it makes me smile every time. So much so, that I overlook things like the strange order of the effect knobs :slight_smile:

5 Likes
#383

I’m picking up a REV 2 this week (16 voice). What made you go for the Pro 3 out of curiosity?

#384

I was mainly interested in the paraphony. But it’s only good for pre-set patches. For live use, in the mood of Mono/Poly, it’s a no-go, since the digital oscillator is very different (in sound and in use) from the 2 others. I just don’t get it. Why a paraphonic mode if the oscillators are different ?
I personally LOVE the REV2, and if you allow me an advice, go straight to the Gated sequencer. Multiple modulation tracks, with different lengths : endless modulated sounds, I love them so much !!

#385

Thanks for the tip.

#386

I am thinking a lot about buying rev2. What is gated sequencer? Triggering modulation with each key press?

1 Like
#387

Its a simplified version i think

#388

It’s a four track sequencer. Each track can be any length up to 16 steps, and has a target parameter to sequence.
It can either step to the next step at each key press, or run as long as keys are pressed (with reset or not).
What is particularly awesome (and weird) with it is when you use it on poly patches, because, there is one of these sequencers for each voice. What I love to do is to set a basic pitch sequence (with mainly octaves and fifths), so that each voice has its own little “melody”. When you play chords (without striking the notes together) it can produce some marvelous arpeggio-like complex melodies.

2 Likes
#389

Wow! That sounds great !

#390

I’m pretty sure Pro3 let’s you have different length per track you just need to hold the step you want as an end point and then hit the reset button… I think it might just be another thing they forgot to put in the manual :thinking: I do that sort of thing on the Pro2 all the time.

2 Likes
#391

Yes, stated by @sl1200mk2 a few posts back !

#392

Here’s a quick jam I did with the “Old Saw” patch

Best regards,

Gino

7 Likes
#393

I’ll repeat this question here as the Official Pro 3 forum is pretty dead (great people there, just dated forum software IMO).

On the Pro 3 when I map noise to panning, I get a result I’m not expecting.
I hear the noise as if it’s being mixed in as audio, and don’t hear much of an affect on the stereo field.

I was expecting to hear a louder signal in the right channel and quieter signal in the left (If the samples in the noise vary in amplitude).

I think of noise as a very fast random LFO, and maybe that’s the problem :slight_smile:
I want to use it to “warble” things up a bit, but don’t want to hear the noise directly.

Put another way, if you pan hard left and right at 440Hz will you hear an A?

Best regards,

Gino

#394

I’m not sure why u get noise, I have noticed with a lot of synths if I use noise as a modulation source I do get noise sounds, nfi why, I would like to know well.

Noise is a random subset of frequencies at the sample rate, or all frequencies given enough time, so maybe its just an artifact of it being really fast or several frequencies? Sample & Hold can be helpful to rein it in but I don’t know if the Pro3 has that.

Could you maybe route an lfo to pan in slot 1, then noise in slot 2 modulating the LFO rate or slot 1 amount. It looks like there is a random modulation source on the Pro3 as well, that might be better as a single value vs all values.

1 Like
#395

Panning at audio rate is basically a form or AM synthesis, so you are hearing the sum and the difference of the modulation along with the carrier, so you will hear noise if you modulate with noise. You wont hear the exact pitch of what you put in but instead you will hear sidebands based on the ratio between you modulator and carrier.

If you slow noise down enough you essentially get a sample and hold lfo, use one of those on pan for your desired results. You can add a little slew if you dont want it to sound jumpy.

One handy thing for a synth with out extra noise oscillators is if you have a S&H lfo turn its rate up and modulate either the filter or amplitude and you will get different flavors of noise added to your sound.

7 Likes
#396

Are Sequential synths made in the US?

#397

Unless that particular modulation routing is broken (which wouldn’t surprise me), as per every other DSI/Sequential synth, you should absolutely hear a perceivable stereo effect by mapping noise to panning.

To be sure, I just checked here on my Tempest, and it works as expected. It’s not a subtle effect either; so, if it’s working properly, you should definitely notice a widening of the stereo field (and a lot of added noise of course).

Cheers!

P.S. This is assuming that you’re actually monitoring in stereo. :wink:

1 Like
#398

Thanks for the responses on noise, that helped me a lot!

One thing I wanted to mention is that routing audio to the Pro 3 is awesome!
Since I have a dedicated audio interface for the Pro 3, it allowed me to send audio to it from any track in my DAW. I put the Digitakt audio through it, and was lost for hours.
I don’t have an analog heat, but adding analog distortion and filter drive from the Pro 3 to even the most basic drum patterns added some real spice. Also the onboard sequencer can be used to tweak anything rhythmically including effect parameters… it reminded me that an Elektron effects box with their best in class sequencer could be very interesting :thinking:

Best regards,

Gino

#399

This became the main thing I use my Pro 2 for

1 Like