Sequential Pro-One Synthesizer
MODEL 100
5/M 1 and up
Manual Ne, CH 1006
PRO-OME SYNTHESIZER
OPERATION MANUAL
by Stanley Jungleib
www. ftg.co.uk
About the Pro-Onc
The Pro-One is a monophonic (one-voice) keyboard synthesizer. Its principal sound
sources are two voltage-controlled oscillators (VCOs), referred to as OSC A and OSC
В. OSC A, OSC В, and a white noise source can be mixed into the resonant low-pass
filter (CF). The filter modifies the voice timbre under control of its four-stage
envelope generator, The filter may also serve as a sound source. This stage is followed
by a voltage-controlled amplifier (VCA), which shapes the voice amplitude also under
control of a four-stage envelope generator, The keyboard provides Irequency control
voltage (KYBD CV) for the oscillators and filter, and gencrates a GATE which controls
the envelope generators,
In addition to this basic voice, the Pro-One has extensive modulation provisions. Three
modulation sources are available: the filter envelope generator (FILT ENV), OSC B,
and a separate low-frequency oscillator (LFO). Each can be mixed and routed for
either DIRECT or WHEEL-controlled modulation of five destinations: OSC A frequen-
cy (FREQ), OSC A pulse-width (PW), OSC B FREQ, OSC B FW, and filter frequency
(FILTER).
This complement of analog svnthesizer modules and the routings provided for their
interconnection have been well-proven in the Pro-One's ancestors, the Prophat-5 and
Prophet-10 polyphonic synthesizers, Besides allowing the synthesist to play up to five
or ten notes at one time, these two Instruments contain microcomputers which
program all the control settings comprising a sound. The Pro-One is neither preset nor
programmable: you always "patch" the precise sound vou want with the knobs and
switches on the control panel. But the Pro-One veice itself is identical to a single
Prophet voice, so it is capable of as much range and expression.
Possessing the Prophet's sound and all standard monophonic synthesizer features, the
Pro-One's own microcomputer makes possible innovations unheard of on a low-cost
synthesizer; a 90-поте sequencer, an arpeggiator, keyboard modes such as single- or
multiple- triggering, and thé unique automatic glide feature. An audio input with
preamplifier and automatic GATE generator allows synthesizer processing of low-level
inputs such as a microphone or electric guitar. The audio output can drive a
monophonic or stereo amplifier, or stereo headphones, Of special interest to computer
enthuslasts, the Pro-One readily interfaces for control by an external microcomputer.
This manual contains all the information you'll need to fully explore this outstanding
instrument.
ii
SECTION 2
FRONT PANEL
2-0 INTRODUCTION
This section explains the "modules" outlined on the front panel. The front panel is
divided inte "voice" and "modulation" sections. The basic voice is discussed first, then
modulation. Signal flow, the alternatives of each switch, and ranges of each knob are
described,
Z=1 THE VOICE
As an analog voltage-controlled synthesizer voice, the Pro-One can be understood at
its most general level in terms of three functions: audio waweshape generation,
modification, and control.
Figure 2-0 diagrams voice signal flew. As mentioned above (About the Pro-One), OSC
A and O5C B are the principal sound generators. They are supplemented by the NOISE
source (for unpitched sounds such as "surf") or an external audio input which bypasses
the NOISE source. (To learn how to use the external audio input, see paragraph 3-1.)
The MIXER is a modifier. It sets OSC A, OSC B, and NOISE (or EXT audio) levels and
combines them into one signal which enters the FILTER. The FILTER also functions
normally as a modifier, by cutting off the high-frequency components of input audio
signals. However, by feeding a sufficient amount of FILTER output back to its input
with the RESONANCE control, the FILTER will become a pitch generator at its
CUTOFF frequency.
The AMPLIFIER stage is also a modifier because it raises or lowers the signal level
from the FILTER to the external power amplifier and speaker. The AMPLIFIER 15
controlled by ¡ts own envelope generator and the YOLUME control, which attenuates
the generator's control voltage output, reducing the overall output level,
ОБС А, OSC B, the FILTER, AMPLIFIER, and envelope generators are all voltage-
controlled, Mechanical devices such as the keyboard, switches, knobs and wheels form
one group of controllers. The other group Is electronic, consisting of the LEO, GC В,
and FILT ENV modulation sources. The term "modulation" refers to a periodic or
consistent (as opposed to random) aural change which is interesting or musically
useful. Modulation is created with electronic controllers when It ls mot possible to
adjust a mechanical controller with the required speed or precision. Electronic
cantrollers free the hands for other uses.
The keyboard is the most conspicuous controller. It issues a CV which increases as you
play upwards from CD to C3. This keyboard control voltage (KYBD CV) always
CM100C 1/82 2-1
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contrals OSC A's frequency, and controls OSC B frequency Lf the OSC B KYBD switch
is on, The KYBD CY also controls the FILTER CUTOFF frequency to the extent the
FILTER KEYBOARD AMOUNT knob is advanced, The TRIGGER/GATE produced by
the keyboard controls the envelope generators, which in turn control the FILTER
cutoff frequency and AMPLIFIER gain.
A few controllers also produce GATEs or TRIGUERS which contral the envelope
génerators. For example, when the MODE Is switched to REPEAT, the LFO gates the
envelopes.
The oscillator FREQUENCY and filter CUTOFF kmobs are controllers which set initial
frequency over à continuous range. The oscillator OCTAVE switches are controllers
which transpose by exact octaves. The envelope ADSE knobs are also, in actuality,
control valtage sources.
2-7 OSCILLATOR A
OSCILLATOR A
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A
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1 / 9 | 1
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OCTAVE
| EBEGUENEY PULSE WIDTH NE
Figure 2-1
OSC A iz an audis frequency source always under control of the keyboard,
FREQUENCY knob: Adjusts initial frequency continuously over a one-octave range.
OCTAVE rotary switch: Transposes initial frequency over a four-octave range.
SAWTOOTH SHAPE switch: Enables full-level waveshape containing all harmonics.
This unmodified shape is often described as "brassy."
PULSE SHAPE switch: Enables full-level wavweshape whose harmonic content depends
on setting of PULSE WIDTH knob.
If neither waveshape switch is on, OSC A will have no output to the MIXER. I! both
Waveihape sWitehes aré ón, the sawtooth and pulse are mixed at full Level and supplied
as OSC A's output to the MIXER.
PULSE WIDTH knob: Adjusts the harmenic content of the pulse wave by setting pulse
wave duty cycle from 0 to 100%. A 50% duty-cycle pulse, also called a square wave,
can be obtained by setting the knob to 5, then carefully adjusting for the dropout of
the second harmonic (the first octave overtone). At the extreme knob settings the
pulses may “thin out" until they degenerate to do; resulting in no output signal. This
lemab has no effeet an the sawtooth wave.
CMICOC 1/82 2-3
SYNC switch: Forces OSC A to follow OSC B in hard synchronization. Intermediate
FREQUENCY settings will produce unusual timbres at the next lower harmonic of OSC
B. When a wide-width pulse is selected for OSC A In sync with OSC B, and OSC Bs
frequency is set much higher than OSC A, the signal from OSC À may degenerate to
de since the pulse is not given a chance to discharge before being re-synced.
2-3 OSCILLATOR B
OSCILLATOR B
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0 10 — EHAPE
OCTAVE
FREQUENCY FULSE WIDTH
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MORMAL OFF
ai
A
Figure 2-2
OSC Bis similar to OSC À, except that in addition to being a Keyboard-controlled
audio frequency source, it can also be à low-frequency, modulation source with or
without keyboard control. The identically named controle function as described under
OSC A, In addition:
TEIANGLE SHAPE switch: Enables waveshape which 15 centered at ground 50.85 Not to
offset modulation destination. When used in the audio range, this shape provides little
harmonic energy.
MORMAL-LO FREQ switch: Extends OC B range to sub-audio frequencies,
OFF-K.YBD switche Allows keyboard control ar independent aperation.
When O5C B Is used as an audio source, usually LO FREQ is switched to NORMAL and
EYBD is switched on.
ra CMIDOS 1/82
2-4 GLIDE
а 19 NORMAL
НАТЕ
—
Figure 2-3
The GLIDE module is à "lag processor." It sets the rate of change for the KYBD CV.
When set to zero, the KYBD CV instantly steps between notes. As the GLIDE knob is
advanced, the KYBD CV does not step quickly between the notes, but begins instead to
"slow!" between them.
RATE knob: Determines the rate of glide (portamento) between notes.
NORMAL-AUTO switch: In NORMAL, Glide operates in the traditional manner. In
AUTO, the keyboard will glide only when a new key is hit with the previous key still
held. This enables complex, "tuned" pitch bending with one hand.
2-5 MIXER
NOISEFEXT
Figure 2-4
| ОБС А ал ОЗС В knobs: Set the level of oscillator Input to the FILTER.
MOISE/EXT knob: Sets the white noise level input to the FILTER, Noise is an
unpitched source useful for effects such as surf, wind or cymbals. When the back-panel
external audio input 15 used, noise 15 bypassed and this knob sets the level of external
signal input to the FILTER.
To get any sound out of the Pro-One, at least one of these three knobs must be turned
up (unless the filter is being used as a pitch source).
CM100C 1/82 2-5
2-6 FILTER
f FILTER —
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AMOUNT AMOUNT
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e ATTACK DECAY SUSTAIN RELEASE
Figure 2-5
The FILTER module contains controls for the filter itself and for its envelope
generator,
CUTOFF knob: Sets cutoff frequency for the 247 dbjoctave (U-pole) low-pass filter. It
is rather like a tone control. Cutoff is the frequency below which all elements of a
signal are let through. The higher-frequency components of the signal (i.e. all those
above the cutoff frequency) are suppressed. The higher the knob is set, the higher the
irequencies that are allowed through the filter.
RESONANCE knob: Determines the amount of filter resonance. As the setting is
increased from 0 to approximately 7 the amount of resonance (emphasis," "regenera-
tion," or "Q") applied to those signal components at the cutoff frequency will increase,
The components far below the cutoff frequency will be less audible relative to the
frequencies being resonated. As the setting is increased beyond 7, the filter breaks
into oscillation and will act as a sine-wave audio source whose pitch is determined by
the cutoff frequency.
. ENYELOPE AMOUNT knob: Sers amount (not the shape) of ADSR filter envelope CV
controlling the filter cutoff frequency. The filter envelope generator is discussed
below.
KEYBOARD AMOUNT kncbk: Determines the amount of KYBD CV controlling the
filter cutoff frequency. When set between 7 and В, the filter cutoff frequency is
maintained at a constant point relative to the notes played on the keyboard, creating
consistent tone. When set to 10, notes played higher on the keyboard will have less of
their overtones suppressed than those played on the lower and of the keyboard, As a
result, the higher notes will have a brighter timbre. When reduced or off, notes played
higher on the keyboard will have more of their overtones suppressed than noted played
lower. As a result the higher notes will have a duller timbre,
2-6 CMIOOC 1/87
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LENGTH OF TIME THAT THE KEY IS HELD DOWN
Figure 2-6
ENVELOPE
The filter envelope generator contours timbre by controlling the filter cutoff
frequency. The entire contour pattern is initiated when a key Is struck, producing a
GATE. The initial appearance of the GATE "triggers" the envelope generators to
proceed through their ATTACK and DECAY periods. After the ATTACK and DECAY
periods set for each envelope generator have elapsed, It will produce a steady control
voltage (CV) at the level set by the SUSTAIN knob for as long as the GATE 15 present.
When the key is released, the GATE goes off and the envelope generator output
voltage drops to zero at a rate set by the RELEASE kneb.
ATTACK knob: Varies time for envelope to increase from zero to maximum, from 2
milliseconds to more than é seconds,
DECAY knob: Varies time for envelope to decrease from maximum to SUSTAIN level,
from ? milliseconds to more than é seconds,
SUSTAIN knob: Varies level from zero to maximum. Remember, this is a level control,
not a time control, (SUSTAIN time is the period between the end of the DECAY and
when the key is released.)
If SUSTAIN is set at maximum then the DECAY knob setting is irrelevant.
RELEASE knob: Varies time for envelope to decrease from sustain level to zero, from
2 milliseconds to more than & seconds. If the key Is released before either the
ATTACK or DECAY periods have elapsed, this knob controls the time taken for the
output to drop to zero from its level when the key was released,
If the ATTACK and DECAY periods have elapsed and SUSTAIN is set to 0, the
RELEASE knob setting is irrelevant.
CMIDOC 1/82 2-7
2-7 AMPLIFIER
FIER
AMPLIFI ~
a 10
ATTACK SUSTAIN RELEASE
Fipure 2-7
The ATTACK, DECAY, SUSTAIN, and RELEASE knobs in this module shape the
envelope applied to the final YCA in the same manner as the corresponding controls in
the FILTER module.
Unless the SUSTAIN knob is somewhat advanced, nothing will be heard after the
ATTACK and DECAY pericds have elapsed.
2-3 MODULATION
A synthesizer's expressiveness stands on its modulation facilities. The Pro-One has
three modulation sources which are fully mixable and routable over simultaneous
WHEEL-centrolled or DIRECT paths to five destinations in the voice itself.
Two of the three modulation sources (filter envelope generator and OSC B) were
described above, The third source is the LFO.
LFO/CLOCK “
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SHAPE
О 10
FREQUENCY
Figure 2-8
FREQUENCY knob: Varies LFO range from approximately .1 to 30 Hz.
Waveshape switches: Function identically to OSC B.
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CMI100C 1/82
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| AMGURT ACUTE | °'8
| LEO FILTER
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Figure 2-10
MODULATION
FIL. ENVY, OC By, and LFO AMOUNT knobs; Determine the amount of modulation
mixed into the WHEEL or DIRECT paths by the adjacent ROUTE switches.
FIL ENV, O5C B, and LFO ROUTE switches: Assign the modulation sources to elther
the WHEEL or DIRECT paths. Each source routed DIRECT Is mixed and applied
directly ta the selected destination, while those routed WHEEL are mixed then sent to
the MOD wheel which determines the depth of modulation.
OSC A FREQ, OSC A PW, OSC В FREQ, OSC B PW, and FILTER switches; Select the
WHEEL or DIRECT modulation path {or neither) for each destination,
Z=| CMIOOC 1/87
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