I have it positioned on my side so that I either turn or roll the chair to play it, or else do one-handed. The angled panel makes one-handed reachovers work and view a lot more comfortably. The hinge is a very low-fuss design, and the action looks like stainless steel, so it’s a good long term decision even if it’s disproportionally expensive.
I also have visibility issues on other modules where the vertical knobs actually block your view of information. I guess it doesn’t matter once you have the box memorized, but still. Take my Hydrasynth: I love the knobs, and I love lit indicators that automatically adjust, but I can’t see half the damn indications because the big knobs I love block the view from about 10:00 to 2:00. If there were a Hydrasynth SE option (the next ASM product that @Jukka dreams of), then stickers schmickers: I think I’d spend the stupid money to get a flip-up panel and sell off my HSK and HSD to cover it.
Help! My Pro-3’s volume control is controlling all other modules on my mioXL MIDI hub. I only want the Pro-3 to send MIDI notes (including the sequencer and arpeggiator). I don’t find a relevant global setting because “MIDI Control Enable” only affects input. I’m using USB MIDI, and I want the Pro-3 to also receive notes from my other keyboard. My current solution is to have the hub filter all control messages coming from the Pro-3. Is there something I can do on the Pro-3? I’ve never had a synth override others’ volume like this.
I don’t have a Pro3 but, according to page 97 of its manual, there is a MIDI Param Send global setting which can be set to “Off”, which should probably achieve what you want.
Interesting. There is no material method other than MIDI for transmitting messages between units, so perhaps there is a bug in the Pro3’s MIDI Param Send implementation.
The most likely message being sent is CC 7 (“Volume”); perhaps you can look at what MIDI messages are being sent from the front panel for each of the various options for MIDI Param Send?
Also, in my experience, Sequential is always responsive to questions from owners.
Yes, MIDI Monitor says the Pro-3’s volume knob is sending “Channel Volume (coarse),” so that’s CC 7. I guess it’s time for another support ticket.
Another thing is that the upper right of the patch display says “EXT”, but I don’t think that was always there. I can’t find anything about that in the manual.
I had the same thing happen the other day. I was using my pro3 keyboard to control an opsix. I turned down the volume of the pro 3 and the opsix turned down as well. Master volume definitely sends midi messages.
You mean it was a sudden development rather than like that all along? I’ve posted at Sequential forums, and I’ll follow up with a support ticket in a few days if it’s not solved.
The dimensions on the site are: * 27″ L x 14.6″ W x 5.07″ H (68.6 cm x 37 cm x 12.8 cm)
The keys section is roughly 6.5" of that 14.6" width, so considering the 5" overall height I’m guessing roughly 13" tall when upright. Let’s see if someone who actually has one can show how wrong my maths are.
While waiting for more knowledgable folk, I made what I believe to be a scale replica with hot dogs. Looks to me to be about 14 hot dogs tall. That’s stacked like Lincoln Logs, obviously.
I’ve been curious about the pro 3 in regards to the SEM filter and it having and audio-in on the synth. Anyone put there analog poly’s through the SEM and felt they were getting the Oberhiem experience polyphonically?
I want to get an OB-6, but having multiple filters is really where it’s at, as much as the oscillators are important I’d say the filter really gives you the most in character.
It would still be similar to paraphonic. On a poly synth, there is a filter, envelope, oscillators, etc. per voice. So you would be running the whole signal through just one filter on the Pro 3. That’s not to say that you couldn’t get some cool sounds running some audio in, and I bet it would sound good, but I don’t think it would be a replacement for an OB-6.
As per the oscillators on the OB-6, they are different enough from the Pro 3 oscillators. The OB-6 uses the SEM oscillators, and they are definitely a part of that sound. Very nice.
J3PO’s sequencer video is helping pull my GAS away from competing products towards the Pro 3. At the end he demos using the sequencer to play drum sounds from wavetables.
I finally bought it after that last round of his videos. It was the sequencer that made the difference for me more than the patch morphing. It does sound much better live than in videos. I guess that’s no surprise, but I perceive a bigger difference than usual in this case.
