This.
I’m not that much interested in classic sounds, I like to dive and tweak parameters and experiment for evolving drones, weird sequences, often more than play keys.
Also the effects section that forces you to be creative, interests me quite a lot.
Got the Hydra Keys for poly purposes, I’ve fun with it, but I would like to add something else to couple with.
BTW Pro3 thread, I don’t want to derail too much 
thanks, thats good advice. it is true, i love it as ive stated many many (probably way too many) times in this forum. but i also love the a4 for different reasons. maybe one day i will sell it for the pro-3. it is very appealing. i hope someday elektron makes an a4 with a synth as nice sounding as the pro-3
interesting that you still use it alongside the ob6, thats good to know.
the Take-5 is analog, only has vcos and has pretty solid fm implementation. it’s actually my favorite aspect of the T5, aside from the core oscillator+filter sound. without it, it wouldn’t be nearly as flexible for timbre sculpting and sound design that i like to explore so much. i wonder how it differs from the pro 3’s implementation. the take-5 has it (osc2) as a source in the mod matrix, so you can fm the filter cutoff or waveshapes, etc. i could see how the pro-3 would be valuable without that exact feature, it just seems like a weird & unfortunate (for me) to change it. i do like the idea of having a wavetable osc for modulating the carrier though
you can do some crazy things with it, especially when combined with osc sync, as demonstrated with my weird broken trumpet patch here: Sequential Take 5 five voice poly - #778 by Encephalitislerthargi
i think thats the best part, that you can combine osc 2 fm of vco 1 with oscillator hard sync, which is pretty powerful
and some more subtle and musical waveshaping, as illustrated in this patch: Sequential Take 5 five voice poly - #769 by Encephalitislerthargi
but i apologize for derailing the thread. should focus more on the pro-3 itself here
The Pro-3 has exponential FM same as the Take 5, and it’s more flexible - every oscillator is available as an exponential FM source and target at the same time. There’s just no button for it since it’s a mod matrix feature for all three oscillators.
oh great. i thought that was the case originally. sweet. that makes this decision much easier, thank you
Both the Pro 2 and Pro 3 excel at those things. It’s just a matter of choosing 4x digital osc vs 2x VCO+wavetable, the different filter sections, effects and UI choices which are all very subjective. I overall prefer the Pro 3 (admittedly still in the honeymoon phase) but really miss the parallel filters of the Pro 2…
To quote James Murphy, “advantages to each”
But anyway, both can get really weird real quick.
Stupid question incoming> is there such a thing as a synth with the power and versatility of the Pro 3, but without the sequencer? I feel I dont need that since I got Elektron gadgetry. Thank you.
the norand mono has an svf and lots of cross mod/audio rate mod abilities but it also has a p lockable sequencer, i think
I spent a bit of time with this technique last night with just the two analog oscillators and I think there’s actually a fairly large and complex range of analog FM sounds possible on the Pro 3. SYNC has even more timbral possibility than it initially appeared to me since you have SHAPE MOD as well. Once you hook up an LFO to the PITCH of the synced oscillator and another to the SHAPE MOD of the syncing oscillator all kind of surprising things start to happen.
Pro 2 you can get some really bizarre interactions going using paraphonic mode + fm from each oscillator, add in glide for smoother results, you just have to be pretty light on the depth if you want it to remain musical. I want to say this is a pretty unique to the Pro 2/3 feature due to the deep modmatrix and having the paraphonic style playback.
Ffs. I’m officially missing the Pro 3 
ok… so I’m past the honeymoon phase, and I have to say that the Pro 3 is my favourite synth I’ve ever owned, and I’d sell everything else before this left my desk. It’s a keeper for life.
The only thing I miss about my Analog Four mk2 is that the Pro 3 doesn’t do acid baselines with the squelch and glides like the A4 can, emulating a 303. Apart from that, definitely recommend!
Looks like Jexus got to this:
Wow, Jexus took the Pro 3 into territory I didn’t even think the Pro 3 could reach. Well done…
Though they were great patches, there was no 303-esque acid there. But thanks for the link nonetheless!
That’s kind of his thing. He has a real talent for programming patches that are not only great sounding but usable. Being a good player helps to demonstrate/ utilize as well.
It’s great to see him do a couple of videos for a synth I already have like the pro3 because I invariably want whatever synth he demos for a little while.
His review is a mixed bag though. Like his Rev2 review, I can’t tell if he loves or hates the synth!
It’s honestly something I wish more reviewers would do. Most of them try to stay objective and focus purely on build quality, features and price.
Jexus is someone who is quite opinionated and doesn’t shy away from being negative about synths if he personally doesn’t like them. His reviews are more akin to film reviews. You won’t always agree 100% but I find it much more insightful than someone just describing the form and functions (though both types of reviews have their place).
Yup, whether you agree with him or not, Jexus’ reviews are always entertaining to read
http://sounds-for-synths.com/sequential_pro3
He is not the type of sound designer to do “me too” stuff, which is probably why he did not pursue 303 acid sounds too much.
i love jexus but damn these patches were pretty generic and uninspiring, especially compared to many of his other patchsets.
the Jexus review did not resonate with me very much. seems he had problems with the UI, whereas i’ve found the Pro-3 to be incredibly intuitive, especially considering how much power is under the hood. different strokes for different folks i guess. i’m not a “sound designer”, i just like fiddling with synths, and this thing sounds great without much effort (imo)
I think everything he said in the review was pretty much correct. The only thing is that some of those issues (if you can call them that) seem to bother him much more than me.
It’s like the review is from the point of what would make this a perfect synth (which is a good review I think).
Where my perspective is that there is no such thing as a perfect synth and that complexity comes with compromises. I accept that, but I have limits to what I’ll put up with.
The part I agree with most is that those small modulations are what really make this synth live and breathe. But when it does it’s amazing!
I really don’t think it’s possible to have such a vast range of sounds and be nothing but sweet spots at the same time.
It’s most likely the ability to go from perfect (read: bland VA) as a baseline, to any number of directions that make it great. When you move away from the baseline it gets very alive. I believe that’s what matters in the end.
There is nothing that makes it too cumbersome in getting to those areas for me. It will always retain its status as an amazing vast instrument that I plan to keep forever
Edit:
Skimmed through those videos.
The first one didn’t have much that did anything for me, fairly bland imo.
The second one seemed to have a little bit more interesting sounds here and there.
It’s more fun making my own sounds anyway.