SequentialSystems PRO-ONE 100 User manual

PRO-ONE

SYNTHESIZER

OPERATION MANUAL

by

Stanley

Jungleib

MODEL 100

S/N 1 and up

Sequential

Circuits,

Inc.

3051

North

1st

Street

San

Jose,

CA 95134

(408) 946-5240

About

the

Pro-One

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 B. OSC A, OSC B,

and

a

white

noise

source

can

be

mixed

into

the

resonant

low-pass

filter

(VCF).

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

frequency

control

voltage

(K

YBD CV)

for

the

oscillators

and

filter,

and

generates

a GATE which

controls

the

envelope

generators.

In

addition

to

this

basic

voice,

the

Pro-One

has

extensive

modulation

prov1s10ns.

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

frequency

(FREQ), OSC A

pulse-width

(PW), OSC B

FREQ,

OSC B PW,

and

filter

frequency

(FILTER).

This

complement

of

analog

synthesizer

modules and

the

routings

provided

for

their

interconnection

have

been

well-proven

in

the

Pro-One's

ancestors,

the

Prophet-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 you

want

with

the

knobs

and

switches

on

the

control

panel.

But

the

Pro-One

voice

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

40-note

sequencer,

an

arpeggiator,

keyboard

modes

such

as

-

single-

or

multiple-

triggering,

and

the

unique

automatic

glide

feature.

Arr

audio

input

with

preamplifier

and

automatic

GATE

generator

allows

synthesizer

process-

ing 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

enthusiasts,

the

Pro-One

readily

interfaces

for

control

by

an

external

microcomputer.

This

manual

contains

all

the

information

you'll

need

to

fully

enjoy

this

outstanding

instrument.

CMlOO

2/81

3

Table

of

Contents

About

the

Pro-One 3

SECTION 1 BASIC OPERATION

1-0

INTRODUCTION

6

1-1

CONNECTIONS

6

1-2

PLAYING

8

1-3

KEYBOARD

CONTROLS

9

1-4

MODE

10

1-5

ARPEGGIATE

10

1-6

SEQUENCER

11

1-7

IN

CASE

OF

DIFFICULTY

12

SECTION 2 FRONT PANEL

2-0

INTRODUCTION

13

2-1

THE

VOICE

13

2-2

OSCILLATOR

A

15

2-3

OSCILLATOR

B

16

2-4

GLIDE

17

2-5 MIXER

17

2-6

FILTER

18

2-7

AMPLIFIER

20

2-8

MODULATION

20

SECTION 3 BACK PANEL

3-0

INTRODUCTION

23

3-1

AUDIO

IN

23

3-2

FILTER

CV

IN

23

3-3

GATE

OUT

24

3-4

CV

OUT

24

3-5

GATE/CLK

IN

24

3-6

CVIN

24

4

CMlOO

2/81

1

SECTION 4 ROUTINE MAINTENANCE

4-0

INTRODUCTION

25

4-1

CLEANING

25

4-2 USER TRIM

25

4-3

OPENING

28

4-4

FUSE

28

SECTION 5 SERVICE

5-0

INTRODUCTION

29

5-1

REMOVING

PCB

29

5-2

DAC

SCALE

29

5-3 TUNING

30

5-4

AMPLIFIER

BALANCE

33

5-5 KEY

CONTACTS

33

5-6 DIGITAL

INTERFACE

34

5-7

AUTHORIZED

SERVICE

CENTERS

35

SECTION 6 SELECTED BIBLIOGRAPHY

SECTION 7 FACTORY PATCHES

SECTION 8 PANEL BLANKS

y'

CMlOO

2/81 5

l

\

SECTION 1

BASIC OPERATION

1-0 INTRODUCTION

This

section

contains

instructions

for

Pro-One

set-up

and

basic

operation.

After

unpacking,

read

paragraph

1-1

and

connect

the

instrument

as

described.

To

quickly

learn

how

to

use

the

Pro-One,

read

also

paragraph

1-2. This

explains

use

of

the

factory-provided

patch

diagrams

(Section

7).

Additional

performance

information

on

the

keyboard

modes,

triggering,

the

arpeggiator,

and

the

sequencer

follows

(paragraphs

1-3

through

1-6).

The

Pro-One

synthesizer

offers

extraordinary

capabilities

for

spontaneous

control

of

pitch,

timbre,

and

loudness.

To

exploit

these

capabilities

fully,

learn

as

much

as

you

can

about

it

with

this

manual

and

the

books

listed

in

Section

6.

Additional

references

can

be

obtained

from

the

more

extensive

bibliographies

contained

in

the

sources

listed.

Thus

prepared,

you will

no

doubt

create

many

interesting

sounds.

Be

advised

that

the

best

patches

tend

to

disappear

if

not

documented.

Panel

blanks

for

this

purpose

are

provided

at

the

back

of

this

manual.

Remember

the

Pro-One

is a

sophisticated

instrument.

It

should

be

handled

with

as

much

care

as

you would

give

a

violin.

Shock

or

vibration

can

damage

the

keyboard,

wheels,

knobs,

and

can

loosen

socketed

integrated

circuits

(ICs).

If

you

expect

to

transport

the

Pro-One

regularly,

we

recommend

that

you

invest

in a

professional

"flight"

case

for

it.

These

are

made.by

several

manufacturers

and

should

be

carried

by your

music

dealer.

If

you

can't

find

a

case,

please

contact

our

Sales

Department.

1-1 CONNECTIONS

The

Pro-One

has

a

switch

on

its

back

panel

for

selecting

between

a 115-

or

230-Vac

power

source.

Pro-Ones

shipped

in

the

U.S.

and

to

Japan

are

usually

switched

to

115V,

and

those

destined

for

Europe

are

usually

switched

to

230V. WARNING:

Check

this

switch

and

set

to

match

your

line

voltage

before

plugging

the

instrument

in.

Don't

change

this

switch

when

the

line

cord

is

connected.

If

you

do

switch

the

line

voltage

selector,

you will

have

to

change

the

fuse

also.

For

directions,

see

paragraph

4-4.

As

with

most

electronic

equipment,

the

Pro-One

comes

with

a

three-prong

power

plug

to

insure

safe

grounding

with

other

equipment.

The

ground

prong

is

connected

directly

to

the

metal

chassis.

It

is up

to

you

to

check

the

power

and

ground

interconnections

of

the

Pro-One

and

all

other

instruments

and

equipment

you

use

to

prevent

potentially

lethal

shocks.

As you

probably

know,

many

older

buildings

and

clubs

are

notorious

for

their

poor

quality

AC

wiring.

We

therefore

urge

you

to

use

one

of

the

several

"ground-checking"

devices

available

on

the

market

to

verify

AC

connections.

6 CM 100

2/81

Because

of

the

AC ground, a "ground loop" will of

ten

be

created

when

the

audio

cable

is

connected

between

the

Pro-One

and

its

amplifier.

As a

result,

low-level

hum

may

occur.

Defeating

the

AC ground

with

a

two-prong

adapter

will usually

defeat

the

hum

but

this

practice

can

set

up a shock

hazard

between

the

units.

The

hum level will

depend

on how

the

two

units

are

connected

to

the

AC.

For

minimal

hum, use

the

same

AC

outlet

for

the

Pro-One

and

its

amplifier.

This should

reduce

the

hum

to

an

acceptable

level.

In

short,

we

recommend

the

following

steps

when

connecting

the

Pro-One:

1.

Plug

the

Pro-One

into

a

three-prong

outlet.

Don't

defeat

the

AC ground.

2.

Plug

all

other

equipment

such as

amplifiers,

volume pedals, and

effects

devices

into

the

same

outlet.

Don't

overload.

When in

doubt,

consult

an

electrician.

3. Verify all

equipment

grounding

with

a ground

tester.

Sequential

Circuits,

Inc. is

not

responsible

for

any

equipment

failure

due

to

incorrect

AC power

connections,

and

is

not

liable

for

any

personal

injury

due

to

electrical

shocks as a

result

of poor grounding.

This is

an

excellent

time

to

think

about

your

amplifier

and

speaker

system.

By

converting

the

synthesizer's

electrical

output

to

the

potent

vibrations

you

hear,

your sound

system

becomes

part

of

the

instrument.

Of

course

you

can

use

anything

you like.

But

if your

speakers

are

muddy and

weak,

so will

be

your sound. Using

your

home

stereo

will

generally

give you good

high-frequency

range,

but

if you go

this

route

be

careful.

The

Pro-One

has

much

more

dynamic

range

than

the

typical

stereo

source.

It

can

generate

powerful

transients

which

can

damage

component

speakers

if

the

volume

is

set

too

high.

Therefore,

you

might

consider

using

amplifiers

and

speakers

specifically

designed

for

electronic

instruments.

The

AUDIO OUT is a

standard

stereo

phone

jack,

but

it

accepts

a

stereo

or mono

plug.

For

single-channel

use

with

instrument

amplifiers,

a mono

cable

with

mono

plugs

at

both

ends should

suffice.

For

playing

through

both

channels

of a

stereo

amplifier,

you will probably

need

a

stereo

cable

with

a

stereo

phone plug

at

one

end~

and

two

phono plugs

at

the

other.

These

will

connect

to

the

amplifier

AUX,

or

TAPE

inputs.

(To

protect

speakers,

it

is

customary

to

switch

off

the

amplifier

when

making

these

connections.)

Stereo

headphones

can

be

plugged

directly

into

the

AUDIO OUT

jack.

The

headphones should

have

a minimum

impedance

of 600 Ohms.

When power and audio

output

connections

have

been

made,

first

switch

Pro-One

power on

with

back

panel

switch,

then

switch

amplifier

power on.

If

you

think

the

Pro-One

may

not

be

operating,

see

paragraph

1-7.

For

other

back

panel

connections,

see

Section

3.

CMlOO 2/81 7

1-2

PLAYING

At

this

point

(after

unpacking)

the

Pro-One

is

probably

not

ready

to

play. As a

synthesizer,

the

knobs and

switches

on

the

control

panel

have

to

be

set

purposeful-

ly.

Certain

minimum

conditions

such

as

mixer

volumes,

filter

cutoff

frequency

and

envelope

sustain

level

need

to

be

established.

You

can

learn

about

the

controls

by

reading

Section

2.

But

if you

are

like

most

people,

you'll

want

to

play

the

Pro-One

before

studying

it.

To do

this,

simply

turn

to

Section

8 and

select

a

factory

patch.

Set

the

Pro-One's

controls

as

closely

as

possible

to

the

diagram

while playing on

the

keyboard.

Patching

is a

fine

art:

be

patient.

Note

that

there

is

inherent

error

in

the

diagrams

and

some

degree

of

subjective

preference

as

to

exactly

where

the

knobs should be

set.

For

completeness,

all

control

positions

are

diagrammed

even

though

some

may

have

no

effect

(for

example,

PULSE WIDTH when

the

pulse

wave

shape

is

switched

off.)

When

oscillator

intervals

are

harmonically

related,

the

FREQUENCY knob(s) will

have

to

be

tuned

by

ear,

usually

for

a minimum of

"beating."

PITCH

WHEEL

MOD

CO

WHEEL

Figure 1-0

WHEELS

and KEYBOARD

8

BO

Cl

Bl

C2

B2

C3

CMlOO

2/81

The

MOD

and

PITCH

wheels

are

at

the

left

of

the

keyboard,

as

shown in

Figure

1-

0.

The

MOD

wheel

sets

the

modulation

level.

When

not

in

use

the

wheel

is

left

"down"

and

no

modulation

will

occur.

When

the

wheel

is

advanced

fully

"up,"

modulation

is

maximum.

The

PITCH

wheel

is

normally

left

in

its

center-detent

position,

from

which

it

is

possible

to

simultaneously

"bend"

OSC A

and

OSC B

pitch

up or down by

about

a

fifth.

An

integral

part

of

playing

is using

the

wheels

and

the

module

controls

(e.g.

GLIDE

and

FILTER ENVELOPE AMOUNT)

for

expression

through

dynamic

and

timbral

variations.

The

diagrams

don't

indicate

VOLUME

and

MASTER TUNE knob

settings

because

these

are

set

as

required.

VOLUME, of

course,

sets

the

audio

output

level

to

the

amplifier

or

headphones.

For

optimum

signal-to-noise

ratio,

the

Pro-One's

VOLUME knob should

be

set

as

high

as

possible

(without

overdriving

your

amplifier

or

speakers,

of

course).

MASTER TUNE

simultaneously

adjusts

OSC A

and

OSC B

pitch

over

a

four-semitone

range.

It

is used

to

easily

tune

the

Pro-One

to

another

instrument,

such

as

a

piano.

Once

set,

MASTER TUNE is

not

usually

adjusted

during

performance.

If no

other

instrument

is in

use,

the

MASTER TUNE knob

should

be

centered.

Other

methods

of

controlling

the

Pro-One

are

possible

via

the

back

panel.

For

more

information,

see

Section

3.

1-3 KEYBOARD CONTROLS

You

can't

play

chords

on

a

Pro-One

for

the

same

reason

you

can't

play

chords

on a

clarinet

or

trumpet:

they

are

all

monophonic

instruments.

So you will

most

often

be

playing

solo

lines

on

the

keyboard.

But

you

have

some

options

as

to

how

the

keys

are

played,

and

when

you

can

play

more

than

one

key.

These

are

the

keyboard

controls,

with

which

you

can

experiment

on

almost

any

patch.

The

keyboard

controls

include

the

arpeggiator

and

sequencer,

which

are

keyboard

"memory"

devices

of

great

utility

in

performance.

And by

freeing

both

hands

from

the

keyboard,

these

tools

aid

your

learning

how

to

patch.

r

LFO/CLOCK

SEQUENCER

ARPEGGIATE

MODE

·~·

A

/\

rL

SEQ 1 RECORD

UP

RE

TRIG

REPEAT/EXT

ORONE

2

-8

B B B

§OFF

a

§OFF

B B BGATE

1

\'9

0

10

-SHAPE--

SEQ 2

PLAY

UP/DOWN

NORMAL

OFF

FREQUENCY

Figure 1-1

KEYBOARD CONTROLS

CMlOO 2/81 9

To

understand

the

keyboard

controls

you

first

need

to

know

that

inside

the

Pro-One

a

GA

TE signal is

produced

when

a key is

played,

which

controls

the

envelope

generators.

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 is

present.

When

the

GATE goes

off,

indicating

the

key has

been

released,

the

envelope

generator

output

voltage

decays

to

zero

at

a

rate

set

by

the

RELEASE knob. (For

more

information,

see

paragraph

2-6.)

1-4

MODE

The

MODE

module

contains

a GATE

indicator

light-emitting

diode (LED)

to

clarify

operation

in

the

various

keyboard

modes.

And

it

eases

adjustment

of

the

external

audio

input

GATE

generator.

(For

more

information,

see

paragraph

3-1.)

The

NORMAL-RETRIG

switch

selects

the

envelope

generator

triggering

mode.

NORMAL

means

low-note

priority

with

single

triggering.

That

is, if you play

more

than

one

note

at

a

time,

the

lowest

note

on

the

keyboard

will

be

the

one

you will

hear.

Furthermore,

all keys

must

be

completely

released

before

a new GATE

(initiating

new

envelopes)

will be

produced.

When

switched

to

RETRIG

(retriggering

mode) a GATE will

be

produced

whenever

a'

new key is

hit,

regardless

of

its

position on

the

keyboard

or of

the

number

of

keys

simultaneously

held.

In

other

words,

the

last

key

played

will

be

the

one

you

hear.

When

switched

up,

the

NORMAL-REPEAT

/EXT

switch

repeatedly

gates

the

enve-

lope

generators

at

a

rate

set

by

the

LFO/CLOCK

FREQUENCY knob.

Activating

this

switch

also

enables

the

back-panel

GATE/CLK

IN

input.

When

an

external

GATE is plugged

into

this

jack,

the

LFO/CLOCK

is

overridden

and

the

envelopes

will be

gated

by

the

external

GATE/CLK

IN

input.

This signal will

also

clock

(advance)

the

arpeggiator

or

sequencer

(see below).

The

DRONE

switch

simply

forces

the

GATE on, holding

the

envelope

generators

at

their

SUSTAIN

level.

DRONE

overrides

REPEAT.

With REPEAT or DRONE

on,

hitting

keys will

not

retrigger

the

envelope

generators,

but

it

will

change

the

frequency

of

both

oscillators

(providing OSC B KYBD is

switched

up),

and

of

the

FILTER, (providing

the

KEYBOARD AMOUNT knob is

advanced).

1-5 ARPEGGIATE

The

arpeggiator

automatically

sequences

between

any

depressed

keys

either

UP

(ascending only),

or

UP/DOWN (ascending

and

descending)

the

keyboard.

ARPEG-

GIATE

speed

is

set

by

the

LFO/CLOCK

FREQUENCY knob. To

arpeggiate,

select

UP/DOWN

or

UP

and

hold

the

desired

keys.

There

is no

limit

to

the

number

of

keys

which

can

be

arpeggiated.

Set

LFO/CLOCK

FREQUENCY

as

you wish. To

stop

the

arpeggiator,

return

the

direction

switch

to

OFF.

10

CM

100 2/81

SequentialSystems PRO-ONE 100 User manual

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