Although finding the perfect balance between gate triggering and audio levels can be a challenge, the Pro 1’s overall flexibility compensates for this minor limitation. Additionally, the external input doubles as a gate threshold control, allowing external sounds to trigger the Pro 1’s envelope generators. This opens up exciting opportunities for integrating external sounds and adding a layer of dynamic control through the filter cutoff. It also serves as the external input level control for the Pro 1’s filter and envelope sections. While some may miss the option for pink noise, the versatility offered by the noise volume control extends beyond adjusting noise levels. The Pro 1 incorporates a mixer section that enables users to balance the levels of oscillators A and B, as well as a white noise source. The Pro 1 strikes a fine balance between flexibility and ease of use, opening up a world of possibilities for captivating modulation-driven sounds. The modulation amount from any source can be precisely controlled using a dedicated knob. This matrix allows users to route modulation sources such as the LFO, filter envelope, and oscillator B to various destinations. While an LFO speed indicator would have been beneficial, the Pro 1 compensates with a flexible modulation matrix. These waveforms can be combined simultaneously, offering a multitude of composite waveshapes for experimentation. ![]() The Pro 1 boasts a dedicated low-frequency oscillator (LFO) with sawtooth, triangle, and square waveshapes. The LFO and Its Versatile Modulation Capabilities This advancement, made possible by microprocessor-controlled keyboard scanning pioneered in the Prophet 5, facilitates more fluid and versatile performances. While earlier monosynths required releasing all keys to retrigger envelopes, the Pro 1 fires envelopes with every new keypress, even when other keys are still held down. Another noteworthy enhancement is the normal/retrig switch, revolutionizing keyboard triggering. This feature adds a layer of expressiveness and value to the Pro 1. A unique touch comes in the form of a switch that triggers the portamento effect when playing legato-style, allowing for seamless slides from one note to the next. The Pro 1 features a portamento function that adds smooth transitions between notes, controlled by a dedicated knob. ![]() This versatility expands the Pro 1’s sonic palette, offering a range of possibilities to explore. Oscillator B doubles as a second LFO, often employed to introduce a sub-octave to complement the primary oscillator’s sound. The Pro 1 also offers oscillator sync, enabling captivating sync-sweeps and aggressive lead sounds. Each oscillator can be independently tuned across four octaves, providing musical intervals that can be tailored to your desired tone. Additionally, Oscillator B introduces a triangle wave, ideal for beefing up the low-end frequencies. What sets it apart is the ability to combine these waves, generating captivating composite waveshapes that defy conventional expectations. Oscillators and Unique Composite WaveshapesĪt the heart of the Pro 1 lie its oscillators, capable of producing sawtooth and square/pulse waveshapes. While expecting it to precisely mimic a Minimoog or TB303 would miss the point, the Pro 1 excels at delivering earth-shaking bass and ear-splitting shrieks while retaining its individuality. However, the Pro 1 possesses its distinct personality and sound. Some may label it as a “poor man’s Minimoog,” owing to its architecture that draws inspiration from the iconic Moog synthesizer. The Sequential Circuits Pro One can be seen as a sibling to the Prophet 5, sharing many of its sound creation abilities. However, the Pro 1 managed to carve its own path by offering musicians an affordable gateway to the renowned “Prophet sound” without requiring them to part ways with their drummer’s car. One might question the need for another monosynth amidst the demand for polyphony. At that time, the market was captivated by the allure of affordable polyphonic synthesizers, largely due to the success of the Prophet 5. In the early 1980s, Sequential Circuits, renowned for their revolutionary Prophet 5 polyphonic synthesizer, introduced the Pro 1 to the world. So, let’s embark on a journey to unravel the wonders of the Sequential Circuits Pro One. Its timeless allure is not limited to my admiration alone esteemed musicians such as Mark Kelly of Marillion and Vince Clarke of Erasure have also embraced the Pro 1, with Vince Clarke even crafting the bass drum for Yazoo’s “Only You” on this very instrument. ![]() As an avid enthusiast of vintage synthesizers, I can attest to the Pro 1’s enduring appeal and its rightful place among the classiest monosynths in the second-hand market. Discovering hidden gems in the world of music production is always a delight, and one such gem is the Sequential Circuits Pro One.
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