Operation Manual Version 1.0 July 2014 Dave Smith Instruments 1527 Stockton Street, 2nd Floor San Francisco, CA 94133 USA ©2014 Dave Smith Instruments www.davesmithinstruments.
This device complies with Part 15 of the FCC Rules. Operation is subject to the following two conditions: (1) This device may not cause harmful interference and (2) this device must accept any interference received, including interference that may cause undesired operation. This Class B digital apparatus meets all requirements of the Canadian Interference-Causing Equipment Regulations. Cet appareil numerique de la classe B respecte toutes les exigences du Reglement sur le materiel brouilleur du Canada.
Table of Contents Thank You . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . vii Getting Started. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 Sound Banks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Using the Display. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Arpeggiator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46 Sequencer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49 Programming the Sequencer. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50 Adding Rests, Ties, and Velocity . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53 Sequencer Parameters. . . . . . . . . . . . . . . . . .
Appendix D: MIDI Implementation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85 MIDI Messages. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86 NRPN Messages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91 Sysex Messages. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132 Packed Data Format. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Credits and Acknowledgements Sound Design Rory Dow Peter Dyer Keith Hillebrandt Kurt Kurasaki Kevin Lamb Peter M. Mahr Tim Mantle Cord Mueller Drew Neumann Bob Oxley Robert Rich Matia Simovich James Terris Taiho Yamada The DSI Crew Ashley Bellouin, Bob Coover, Carson Day, Chris Hector, Tony Karavidas, Mark Kono, Andrew McGowan, Joanne McGowan, Tracy Wadley, and Mark Wilcox.
Thank You No doubt about it: It’s an exciting time to be a synth geek. You only have to look around you to realize that we’re experiencing a renaissance of sorts for synthesizers. From stompboxes to modulars, synths are here in a very big way. With the current demand for all things analog, I’ve been asked many times if I would ever consider reissuing the Pro-One monosynth. My response has always been the same: “You’ve got to keep moving forward.
Getting Started The Pro 2 is a monophonic synthesizer with the added capability of paraphonic operation. This means that while it was designed primarily with single-note operation in mind, you can actually play up to four notes simultaneously if you enable this feature. The Pro 2 uses a combination of digital and analog audio electronics to generate its sounds, making it a hybrid synthesizer. This allows us to design a tremendous amount of power and versatility into a very compact instrument.
To choose a program: 1. Turn the Bank Select knob to choose a bank (“U” indicates a User bank; “F” indicates Factory). 2. Turn the Program Select knob to choose a program number. 3. Play the keyboard to audition the sound. If you tweak any knobs or switches, the display will switch to a parameter display screen. You can always continue choosing programs with the program select knob.
Using Show, Compare, and Revert Parameter Any time you turn a front panel knob or press a switch, the value of that parameter will appear in the OLED display. Often you will want to inspect the value of a parameter without actually turning a knob (which changes the parameter value). To show a parameter value without changing it: 1. Hold down the Show button and turn a knob or press a switch. The current value of the parameter appears in the display. 2.
Creating a Program from Scratch Many sound designers use an existing program as a jumping off point for new sounds. But it’s often equally useful to create a new sound from scratch. The Pro 2 makes this easy by providing a “Basic Program” in its Global menu. This preset is very simple, with a single oscillator as its basis, and has only basic modulation routings set up. To use the Basic Program: 1. Press the global button. 2. Turn soft knob 1 to menu item 31: “Basic Program.” 3.
select bank select program select character edit character press to save Write Write Bank Write Prog Writing to Bank:1 Program:41 Hit ‘Write’ to Save Prog Insert Char Select Char Edit Char Compare A: B asic Sound Delete Char Key Assign Global Program insert character delete character Sometimes you may want to cancel saving a program before you commit. To cancel the save process before you commit: • Press the program button. You can return to editing if you want.
To enable 4-voice paraphonic playback: 1. Press the misc params button. 2. Press soft key 1 to select the key modes tab. 3. Turn soft knob 4 (key assign) to paraphonic. 4. Play some chords. With clever programming you can create some very rich sounds that work well in paraphonic mode. Add a bit of pulse width modulation or chorused delay and surprisingly lush string and pad sounds are easily within reach.
Pro 2 Operation Manual Getting Started 7
Connections MIDI In 100-240 VAC 50-60 Hz 30 Watts 1 2 1. AC Power Connector—Accepts a standard, grounded IEC power cord. Operates over a range of 100 to 240 volts and 50 to 60 Hz. 2. USB—For bidirectional MIDI communication with a computer. The Pro 2 is a Class Compliant USB device and does not require additional drivers when used with Mac OS or Windows. See Using USB on page 72 for more information. 3. MIDI In, Out, and Thru/Out 2—Standard 5-pin MIDI DIN connectors.
MIDI In MIDI Out USB MIDI Thru/ Out 2 Audio Out Footswitch Pedal CV In 1 2 3 4 5 2 3 4 1 6 CV Out 2 3 Audio In 4 Right Left Headphones Gate Out 7 8 9 10 6. Control Voltage Ins and Outs 1-4—Standard ⅛ inch TS connectors. These jacks input and output a scalable 1-volt-per-octave signal for interfacing with modular synthesizers and other gear that recognize this standard. 7. Gate Out—Standard ⅛ inch TS connector.
Global Settings Press the global button to set parameters such as Master Tune and MIDI Channel that affect all programs globally. 1. Master Coarse Tune: -12…+12—Master Transpose control, 0 is centered. Steps in semitones up to one octave up (+12) or down (-12). 2. Master Fine Tune: -50…+50—Master Fine Tune control; 0 centered. Steps in cents as much as a quarter-tone up (+50) or down (-50). 3. MIDI Channel: All, 1…16—Selects which MIDI channel to send and receive data, 1 to 16.
8. MIDI Control Enable: Off, On—When On, the synth will respond to MIDI controllers, including Pitch Wheel, Mod Wheel, Pedal, Breath, Volume, and Expression. 9. MIDI Sysex Enable: Off, On—When On, the synth will respond to received MIDI SysEx messages, and will transmit them, when prompted, to the MIDI Out. See Sysex Messages on page 132 for details. 10. MIDI Sysex Cable: None, MIDI Port, USB—Sets the port, MIDI or USB, by which System Exclusive data will be transmitted and received. 11.
For example, the Resonance parameter has a value range of 0 to 127. Let’s say the physical position of the Resonance pot is the equivalent of a value of 100. If you switch to a program that has a stored Resonance setting of 63 and turn the pot all the way up, it will only go to 90. To get to the maximum value of 127, you first have to turn down until the value is at the other extreme and the pot is at the limit of its travel (in this case, 0 and fully counter-clockwise, respectively).
21. Aftertouch Curve: Curve 1, Curve 2, Curve 3, Curve 4—Sets one of four pressure curves for the keyboard to adjust the aftertouch to your playing style. 22. Velocity Curve:—Curve 1, Curve 2, Curve 3, Curve 4—Sets one of the four velocity curves for the keyboard to adjust the velocity response to your playing style. 23. CV 1 In Scale: -127…+128—Allows adjustment of the input scale of control voltage input 1. The Pro 2’s oscillators can both drive and be driven by control voltages.
32. Calibrate Sliders—Press Start Cal (soft key 1) and follow the onscreen instructions to calibrate the sliders. 33. Calibrate Wheels—Press Start Cal (soft key 1) and follow the onscreen instructions to calibrate the wheels. 34. Autotune Filters—Press Start Tuning (soft key 1) and follow the onscreen instructions to tune filters 1 and 2. The sliders, wheels, and filters are calibrated at the factory and under normal circumstances should not require re-calibration or re-tuning. 35.
Oscillators Oscillators provide the raw building blocks of a synthesizer’s sound by producing waveforms, each of which has its own inherent sound character based on its harmonic content. The Pro 2 has four oscillators (plus a sub oscillator for oscillator 1). These are capable of generating classic analog waveforms (sine, triangle, sawtooth, square) as well as more complex wavetable-derived wave shapes, different types of noise, and super waves, which are stacked, detuned versions of the wave shapes.
Pitch C2 Fine Tune O Wave Reset Key Follow PITCH FINE TUNE WAVE RESET KEY FOLLOW Osc Shape Osc Tuning Osc Mods Osc Level FM Amount AM Amount Glide Osc Slop FM AMOUNT 5 AM AMOUNT O 20 GLIDE OSC SLOP Osc Shape Osc Tuning Osc Mods Osc Level Level Sync 100 LEVEL Osc Shape 0 SYNC Osc Tuning Osc Mods Osc Level Pitch: C 0…C 10—Sets the base oscillator frequency over a 10-octave range, from 8 Hz to 8KHz, stepping in semitones.
Shape Mod/Pulse Width: -64…0…63—Causes the wave shape to be altered. How it changes depends upon the selected shape. A setting of 0 is the default, unaffected shape. When Sawtooth is the selected shape, Shape Mod/Pulse Width controls the symmetry of the wave, similar to pulse width on the Pulse wave. Shape Mod/Pulse Width affeccts the pulse width or duty cycle of the Pulse wave.
Shape Mod/Pulse Width also works when noise is the selected shape. With a Shape Mod value of 0, the displayed noise type is what is heard. Values less than 0 gradually cause it to change to a second noise type. Values greater than 64 cause it to change to a third noise type. The left and right noise sources are fixed. Try it. It’s much easier to hear than to explain! The display also provides a visual indication of the change.
Threshold: 0…127—(In the ext input tab in the OLED display) Sets the threshold above which external input signals will trigger the Pro 2’s Gate and envelope follower. Triggering these from an external input allows you to drive the Pro 2’s envelopes, sequencer steps, and more with guitars, drum machines and so on. Oscillator 1 Sub Octave: 0…127—(In the sub osc tab) Controls the level of a sine wave oscillator pitched one octave below oscillator 1.
Oscillator 1 Oscillator 2 Oscillator 1 synced to Oscillator 2 The following table shows how the oscillators are paired. Master Slave controls Osc Osc 2 1 3 2 4 3 1 4 The effect of Sync is much more easily heard than explained. Here’s a simple example of how to use Sync. 1. Load the Basic Program from the Global menu. Oscillator 1 Shape is set to sawtooth and oscillators 2, 3, and 4 are off. 2. With oscillator 1 selected, press the sync button to turn oscillator 1 sync on. 3.
The Oscillator 1 Sub Octave does not sync to oscillator 2. To sync oscillator 1 and have a sub octave that plays in tune with oscillator 2, use one of the other oscillators as a sub. Wave Reset: Off, On—(In the osc tuning tab in the OLED display) When Wave Reset is off, the Pro 2’s oscillators are free running, which is typically how analog synths behave. That is, the oscillators are running whether a note is being gated on or not.
The indicated order of modulation is really just a handy shortcut. In fact, you can route any oscillator to another using the modulation matrix. See Modulation on page 44 for more information. Amplitude Modulation (AM): 0…127—(In the osc mods tab in the OLED display) As with FM, AM uses the oscillators as carrier/modulator pairs. But with AM, the modulator modulates the carrier’s amplitude, not its frequency. As with FM, any oscillator routing combination can be configured using the modulation matrix.
Character The Character controls affect the sonic character of the mixed output of the oscillators. The effect is dependent upon the frequency and harmonic content of the audio being processed. For example, Girth boosts and enhances low frequencies, so the effect upon high frequency content is minimal. To access the Character controls, press the character button in the Oscillator section.
Filter 1 & 2 Filters take the basic, raw sound of the oscillators and subtract frequencies, changing the harmonic content and thereby the character of the sound. This change can be varied over time using a filter envelope to produce more dynamic, animated timbres. The Pro 2’s two-filter architecture allows for a wide range of sonic possibilities and is one of its most exciting features. Filter 1 is a 4-pole, 24 dB per-octave, analog resonant low-pass filter.
Ser/Par Mix Filter Route Notch/BP Freq: 164 Res: 41 N/BP: 0 LP/HP: 0 Freq: 34 Res: 89 Filter Route F1 Freq 120 Filter 1 Resonance O Filter 2 Boost 0 F1 FREQ RESONANCE BOOST Filter Route Filter 1 Filter 2 F2 Freq Resonance LP <-> HP 120 LP <-> HP 41 0 F2 FREQ RESONANCE LP <-> HP Filter Route Filter 1 Filter 2 KEY> F1 Freq 0 KEY > F1 FREQ Key> F2 Freq 0 KEY > F2 FREQ Enable—Enables the chosen filter. Pressing both buttons at the same time enables both filters.
Resonance: 0...127—Emphasizes a narrow band of frequencies around the cutoff frequency. On Filter 1, high levels of resonance can cause the filter to self oscillate. Filter 2 does not self oscillate at the maximum resonance setting. Filter Mode: LP, Notch, HP, BP—This knob selects Filter 2’s mode of operation. It transitions smoothly from low-pass to notch to high-pass operation, allowing a blending of these modes. Band-pass operation is selected with the BP switch.
Filter Envelopes 1 & 2 Each of the Pro 2’s two filters has its own dedicated, five-stage envelope generator. A filter envelope is used to shape how a sound’s timbre or harmonic content changes over time during its attack, decay, sustain, and release stages. The Pro 2’s filter envelopes provide additional controls for looping the envelope and for modulating the envelope amount using keyboard velocity.
Delay: 0...127— (In the F1amt and F2 amt tabs of the display) Sets a delay between the time the envelope is gated on and when the Attack segment actually begins. Attack: 0...127—Sets the attack time of the envelope. Decay: 0...127—Sets the decay time of the envelope. Sustain: 0...127—Sets the sustain level of the envelope. Amplitude Release Sustain Decay Attack Delay Release: 0...127—Sets the release time of the envelope.
A: The gate generated by pressing, holding, and then releasing a key (or through use of the sequencer or arpeggiator). B: Corresponding DADSR envelope behavior with Delay on and Repeat off. C: Behavior of the same envelope with Repeat on. Amount: -127...127—(In the tab in the display) Sets the amount of modulation from the filter envelope to the filter frequency. The modulation amount can be positive or negative, allowing for inverted envelope control.
Amplifier Envelope After passing through the filters and their envelopes, the signal goes into an analog voltage controlled amplifier or VCA. The VCA has a dedicated, five-stage envelope generator. The Amplifier Envelope is used to shape the volume characteristics of a sound over time by giving you control over its attack, decay, sustain, and release stages. The Pro 2’s envelope generators provide additional controls for looping the envelope and for modulating the envelope amount using keyboard velocity.
Delay: 0...127—(In the tab of the display) Sets a delay between the time the envelope is gated on and when the Attack segment actually begins. vca env amount Attack: 0...127—Sets the attack time of the envelope. Decay: 0...127—Sets the decay time of the envelope. Sustain: 0...127—Sets the sustain level of the envelope. Amplitude Release Sustain Decay Attack Delay Release: 0...127—Sets the release time of the envelope. Time DADSR Envelope Volume: 0...
To create a program in which velocity controls the VCA, turn VCA envelope down and turn velocity amount up. To achieve the best results, it may be necessary to set an initial level using Envelope Amount. Just remember that once Envelope Amount is set to the maximum, no modulation from velocity—or any other source—will cause it to go higher than that. amount Env Repeat: Off, On—(In the vca env amount tab of the display) When on, the Delay, Attack, and Decay segments of the envelope repeat.
Auxiliary Envelopes 4 & 5 The Pro 2 has two additional five-stage envelope generators. They are useful for creating modulation that varies over time according to the shape of the envelope. Routing an envelope to an oscillator’s frequency, for example, causes the oscillator’s pitch to rise and fall according to the contour of the envelope. As with all of the Pro 2’s envelopes, there are controls for looping the envelope and for modulating the envelope amount using keyboard velocity.
Delay 0 Env Repeat DELAY ENV REPEAT Aux Dest Aux ADSR Amount Vel Amt 127 6 AMOUNT VEL AMT Aux Env Amt Destination—(In the aux dest tab of the display) Selects the parameter to be modulated by the envelope. See Modulation Destinations on page 79 for a list of possible destinations. Delay: 0...127—(In the aux env amt tab of the display) Sets a delay between the time the envelope is gated on and when the Attack portion actually begins. Attack: 0...
To create a program in which velocity controls modulation amount, turn aux down and turn velocity amount up. envelope amount Feedback Feedback sends the analog output of the VCA to a tuned delay, whose output is mixed with the oscillators and input to the character effects. By using varying degrees of feedback you can produce a range of effects ranging from slightly metallic to downright nasty. Feedback Amt Tuning FEEDBACK Feedback Amount: -127...0...127—Sets the level of feedback.
Delay The Pro 2 has four digital delays with panning. Delays 1-3 are standard digital multi-tap delays. Delay 4 emulates an analog, bucket-brigade device (BBD) delay. Each of the delays can be used for simple delays or, with modulation and short delay times, flanging and chorus effects. Simple reverbs can also be created using different delay times, levels, and feedback amounts on each of the delays. Use each delay’s low-pass or high-pass filter to simulate tape echoes.
The outputs of the delays are mixed back in with the Pro 2’s left and right channels, so the primary audio path from the filters forward is entirely analog. Delay Time: 0...255—Sets the delay time for the selected tap, from a minimum of 0.9556 milliseconds to a maximum of 1 second. For a complete list of the available delay times, see Delay Times on page 82 Amount: 0...127—Sets the level of the delayed signal. At 0, the delay is off. Feedback: 0...
LP Freq: 0…127—(In the tab in the display) Sets the cutoff frequency of the low-pass filter in the feedback path. A low-pass setting of 127 results in no filtering. Use the low-pass filter to create natural-sounding echoes and analog tape echo effects. delay filter HP Freq: 0…127—(In the delay filter tab in the display) Sets the cutoff frequency of the high-pass filter in the feedback path. A high-pass filter setting of 127 equals maximum filtering.
For best results when creating reverb effects, use a short buffer length and shorter delay times with Delay 4. Flanging and Chorus The delay time can be modulated to produce flanging and chorus effects. The main difference between the two is that flanging uses feedback and chorus does not, and chorus typically uses a longer delay time (though, with modulation, the range of delay times for each effect may actually overlap a bit). For flanging, a Time value of 31 (4.
Low Frequency Oscillators LFOs are special-purpose oscillators that produce frequencies below the range of human hearing. LFOs are typically used for periodic modulation or changes in sound such as vibrato (periodic pitch modulation) and tremolo (periodic volume modulation). The Pro 2 provides four LFOs that produce a variety of waveshapes. Although they’re classified as low-frequency modulation devices, they can actually function at speeds that extend into the audible range for extreme modulation effects.
Shape Slew Rate Wave Reset Phase Triangle SLEW RATE WAVE RESET PHASE LFO Shape LFO Control LFO Dest 40 6 Destination Osc All Freq DESTINATION LFO Shape LFO Control LFO Dest Frequency: 0...127—Sets the frequency of LFO modulation routed to the selected destination. See also “Sync.” Amount: 0...127—Sets the amount of LFO modulation routed to the selected destination. Destination—Selects the parameter to be modulated by the LFO.
Sync: Off, On—When on, Frequency displays note values that sync precisely with the arpeggiator, sequencer, and delay. Displayed Value Cycle Duration 32nd Trip 32nd 16th Trip 16th 8th Trip 8th Qrtr Trip 1 Qrtr Qrtr Dot 1/2 Note 3 Qrtr 4 Qrtr 6 Qrtr 8 Qrtr 16 Qrtr 32 Qrtr 1/12 of 1 beat 1/8 of 1 beat 1/6 of 1 beat 1/4 of 1 beat 1/3 of 1 beat 1/2 of 1 beat 1 1/3 beats 1 beat 1 1/2 beats 2 beats 3 beats 4 beats 6 beats 8 beats 16 beats 32 beats Slew Rate: 0...
Phase: 0...127—(In the tab in the display) Used in conjunction with Wave Reset, Phase sets the initial phase, from 0 to 360 degrees, at which the LFO wave shape starts when keyed on. Each step represents 2.8125°, so a value of 32 equals 90°, 64 equals 180°, and so on. lfo control Use Phase to offset the start point when Wave Reset is on. For Phase to have any noticeable effect, Wave Reset must also be turned on for that LFO.
Modulation Although the sonic character of the Pro 2 is largely determined by its oscillators and filters, its power to make truly unique sounds comes from its extensive modulation capabilities. The Pro 2 has 25 fixed-source modulation paths and 16 user-configurable paths with over 50 different modulation sources and over 140 different destinations. This makes the Pro 2’s modulation matrix as powerful as many modular synths. For a complete list of modulation sources and destinations, see page 78.
Edit Mod #: (Soft knob 1 in the display) Selects a modulation slot. Source: (Soft knob 2 in the display) Selects a modulation source. Amount: (Soft knob 3 in the display) Sets the amount of modulation from the source to the destination. Amount can be set over a range of -127 to 127. Destination: (Soft knob 4 in the display) Selects the modulation destination. Sort Slot: (Soft key 1 in the display) Sorts all mod slots in numerical order.
Arpeggiator The Pro 2 has a flexible and full-featured arpeggiator that can be synced to the LFOs, delays, or external MIDI clock. To access the arpeggiator functions, press the arpeggiator switch. The arpeggiator is activated and its parameters appear in the OLED display. Hold down one or more notes on the keyboard and the arpeggiator plays them according to the settings specified in the display.
Octave Range: 1 Octave, 2 Octaves, 3 Octaves—Set to 1 Octave, only the keyed notes are arpeggiated. Set to 2 Octaves, the keyed notes and the notes one octave above them arpeggiate. Set to 3 Octaves, the keyed notes and the notes one and two octaves above them arpeggiate. Arp Auto Latch: Off, On—Works in conjunction with hold. When hold and arpeggiator are on and arp auto latch is off, played notes are held on and arpeggiated, with additional played notes added to the held notes and the arpeggio.
Clock Divide: See table—Sets the note value for each arpeggiator step relative to the BPM. Clock divide works with both internal and external clock sources. The following table lists the clock divide values.
Sequencer For many musicians, the term sequencer has become synonymous with MIDI sequencer—a software application for recording and playing back MIDI performance data. But sequencers were around long before MIDI. The original sequencers in modular synths were used as a modulation source. They produced a series of control voltage events at timed intervals that could be used to change the value of a synth parameter in discrete steps.
Programming the Sequencer Rather than describe all of the sequencer’s parameters up front, it’s more useful and a lot more fun to simply walk through how to program a basic sequence. You can read about the various parameters afterward. By default, Track 1 of the sequencer always controls oscillator frequency, meaning that it’s effectively hard-wired for recording notes. Beyond that, any sequencer track can be routed to any modulation destination.
speed. Use the bpm, clock divide, or tap tempo controls to adjust sequencer playback To transpose a sequence up or down, hold down a note on the keyboard above or below middle C. Middle C plays the sequence as recorded. For greater range, use the Transpose Up or Transpose Down buttons. To record over an existing note sequence: 1. Make sure the sequencer button is on. 2. If a sequence is running, press play/stop to stop it. 3. Press the record button. 4. Play different notes on the keyboard.
At this point you can either start the sequencer running and record the modulation values in real time or input the values step by step with the sequencer stopped. Holding down the track select button then pressing a numbered sequencer step LED (1-16) is a quick way to select a sequencer track for editing. Additionally, holding down the track select button then turning a front-panel parameter knob is a quick way to select a parameter to sequence. To sequence Filter 1 cutoff in real time: 1.
By default, sequencer tracks 2-16 conform to the length of sequencer track 1. To record a track of greater or lesser length, reset the track’s sequence length by holding down the numbered sequencer step LED equal to the desired length of the sequence and pressing the reset button. For a 12-step sequence, for example, hold down step LED #12 and press reset. If you are working with a 32-step sequence, use the steps 1-16 and steps 17-32 buttons to toggle between the two sets of steps.
3. Repeat for any additional steps/rests. 4. To listen to the sequence, make sure the sequencer button is on, then press play/stop. If you are working with a 32-step sequence, use the steps 1-16 and steps 17-32 buttons to toggle between the two sets of steps.
To add ties to an existing sequence using the sequence editor: 1. Hold down the track select button and press the step LED with the same number as the track you want to edit. Release the track select button. 2. Press and continue to hold the LED button for the step where the tie will start. 3. Turn soft knob 4 (tie) and keep rotating to set the length (in steps) of the tie. 4.
Adding Velocity When you use the keyboard to record note sequences in real time, the sequencer records note velocity along with the note values. It’s easy, however, to edit the existing values to add more dynamics, or if you’re creating a sequence in step mode, add them as you go. To edit velocity on an existing sequence: 1. Hold down the track select button and press the step LED with the same number as the track you want to edit. Release the track select button. 2.
Depending upon the BPM and Clock Divide settings, the slew rate can actually exceed the time the envelopes are gated on, causing a step in the affected sequence to not reach its set value. For example, if Slew is applied to note values or oscillator frequency, high Slew values may cause a step to sound flat or sharp. If that’s not what you want, simply reduce the Slew value. BPM: 30…250—Sets the tempo for the sequencer and arpeggiator in BPM (beats per minute). The tap tempo LED flashes at the BPM rate.
Step LEDs 1-16: These LEDs have a multiple purposes. First, they indicate the current sequencer step during playback. Second, by toggling an LED off, you can designate that step as a rest. When you hold down track select and press a numbered step button, they allow you to select the numerically corresponding sequencer track and show it in the display’s sequence editor.
Play Mode: Normal, Step, Play Once—(In the seq tab in the display) Selects how the sequencer reacts when triggered. In normal mode, when the sequencer is triggered, the sequence will play continuously until manually stopped. In step mode, the sequencer will advance step-by-step with each new trigger it receives. In play once mode, the sequencer will play the sequence through, one time only, when triggered.
Master Volume/Voice Volume The master output level of the Pro 2 is controlled by the front-panel volume knob. However, the volume of an individual program is set in the vol/dist tab of the VCA screen. To access this screen, turn the front-panel distortion knob. The program volume control is particularly useful for ensuring that your sounds have roughly the same volume from program to program.
Distortion The Pro 2 features stereo analog distortion which can be used to add warmth, harmonic complexity, and even an aggressive edge to sounds. The character of the distortion is affected by the harmonic content of a program. Sounds with more high-end will sound different than sounds with fewer harmonics. To add distortion, use the front-panel distortion knob or the vol/dist tab of the VCA screen. (To access this screen, turn any knob in the front-panel amplifier envelope section.
Glide Glide or portamento causes the pitch of a note to glide up or down from the pitch of the previously played note. When played paraphonically, glide is disabled. Glide is turned on and off using the glide switch, but the glide amount must also be set in the Oscillators section. If the glide button is on, but glide amount is set to 0 for all oscillators, glide has no effect. Glide amount can be set to a different value for each of the oscillators.
In addition to Glide Amount, there are four Glide modes—FixRate, FixRate A, FixTime, and FixTime A—that determine how Glide behaves. Turn Glide on to display and change the modes. FixRate: The time to transition between notes varies with the interval between the notes; the greater the interval, the longer the transition time. The glide rate is fixed. FixRate A: The same as FixRate, but glide is only applied when playing legato. That is, glide only occurs when a note is held until the next note is played.
Pitch and Modulation Wheels The Pro 2 has a spring loaded pitch wheel and a modulation wheel. You can use these controls to enhance live performance by bending notes and adding modulation in real time as you play. The pitch wheel range can be set separately for bending up and down using the range up and range down parameters. Pitch Mod Range Up Range Down 2 semitones 2 semitones RANGE UP RANGE DOWN Key Modes Pitch Wheel To set the pitch bend range: 1. Press misc params button. 2.
Assigning the Mod Wheel The mod wheel is a modulation source and can be assigned to a modulation destination just like any other mod source. The difference is that you can perform the modulation in real time by moving the mod wheel. This is a great way to add expressiveness to a program. Many programs use the mod wheel to add vibrato to a sound. In fact the Basic Program is set up this way.
Touch Sliders The Pro 2 has two position- and pressure-sensitive touch sliders. Like the pitch and mod wheels, you can use these sliders to enhance live performance by adding modulation in real time as you play. Each slider serves as two modulation sources, the values of which are determined by finger position and finger pressure. Those sources appear in the modulation matrix as Slider 1 Position, Slider 2 position, Slider 1 Pressure, and Slider 2 Pressure. (See Modulation on page 44.
Use the mod matrix to assign modulation destinations to the sliders. You can route multiple modulation destinations to a slider. To display the modulation matrix, press the assign source or assign dest buttons in the Modulation section. Modulations slots and routings appear in the OLED display.
Play List Play List enables programs to be organized into lists for quick and easy recall. This feature is particularly useful for live performance where it’s nice to have specific groups of programs at your fingertips. There are four play lists: Set 1, Set 2, Set 3, and Set 4. Each can hold and recall up to 16 programs using the 16 sequencer step buttons. P1 U1 Pro 2 Hollow Bass Set 1 Set 2 Set 3 Set 4 Play lists simply point to stored Factory or User programs.
To recall programs from a play list: 1. Press the cue/play list button. 2. Press soft key 1, 2, 3, or 4 to select the desired Set (1-4). 3. Press a sequencer step button (1-16) to choose the program associated with that step button. Cue Cue lets you continuously run the sequencer while you switch from program to program. The sequence and sound associated with each program will play until it reaches its end, then change to the next program (and the sequence associated with it).
Misc Parameters The misc parameters button allows you to access controls for a number of essential functions. These include glide mode, retrigger on/off, gate source, key assignment, and pitch wheel bend range.
Retrigger: On, Off—(In the key modes tab) Determines whether or not the envelopes are retriggered if a note is held while additional notes are played. Gate Source: Keyboard, Ext Audio, CV 1, CV 2, CV 3, CV 4—(In the key modes tab) Selects the source that triggers the Pro 2’s envelopes. Key Assign: Low Note, High Note, Last Note, Paraphonic—(In the key tab) Selects the key priority when more than one key is played simultaneously. Choosing paraphonic allows you to play chords of up to 4 notes at a time.
Using USB The Pro 2’s USB 2.0 port enables bidirectional MIDI communication with a computer. A MIDI interface and MIDI cables are not necessary, just a USB cable. The Pro 2 is a Class Compliant USB device. That means it does not require any additional drivers to be installed to communicate with a Mac or Windows computer. The Pro 2 transmits and receives MIDI data via USB, but does not transmit audio.
A Few Tutorials The Pro 2 is a very deep instrument with virtually endless sonic possibilities. Though step-by-step tutorials for all of its capabilities are outside the scope of this manual, this chapter provides a few short tutorials to help you explore some key features. Processing External Audio The Pro 2 makes a great effects processor. The example below shows you how connect external audio to the Pro 2 and process it in real time by tweaking knobs and controls.
Filtering External Audio Using the Envelope Follower The Pro 2’s envelope follower makes it easy to process external audio with an “auto-wah” type effect. Add a little distortion and delay and this is a very expressive effect. The Envelope Follower has controls for attack and release in the sub osc tab. Access these parameters by turning the osc 1 sub octave knob on the front panel.
10. Adjust threshold until the audio begins to trigger the envelopes. 11. Adjust the envelope follower’s attack and release if desired. (Access these parameters in the display by turning the osc 1 sub octave knob on the front panel.) 12. Adjust the font panel filter cutoff and resonance parameters as desired. 13. Adjust any other parameters such as distortion and delay to tailor the sound.
Using the Pro 2’s CV Outs to Control a Modular Synth The Pro 2 can easily interface with modular synths through its four control voltage inputs and outputs. This makes it possible to use the Pro 2 as the central hub of a modular system. For example, you could play the modular synth’s oscillators from the Pro 2 keyboard. You could also use the Pro 2’s sequencer to modulate the external synth’s filters.
If pitch tracking between the Pro 2’s keyboard and the external oscillator module isn’t perfect, you may need to scale the Pro 2’s CV output. To scale the Pro 2’s CV Out: 1. Play the note A = 440 on the Pro 2 keyboard. 2. Tune the external modular oscillator to the same pitch. 3. Play different octaves to check for pitch consistency across the key range. 4.
Appendix A: Modulation Sources Off Osc 1 Osc 2 Osc 3 Osc 4 LFO 1 LFO 2 LFO 3 LFO 4 F1 Env F2 Env VCA Env Env 4 Env 5 Pitchbend Mod Wheel Slider 1 Position Slider 2 Position Slider 1 Pressure Slider 2 Pressure Aftertouch CC#2: Breath CC#4: Foot Pedal CC#11: Expression Velocity Note Number Random DC Audio Out * Ext Audio In 78 Appendix A: Modulation Sources Envelope Follower Peak Hold CV Input 1 CV Input 2 CV Input 3 CV Input 1 Seq Track 1 Seq Track 2 Seq Track 3 Seq Track 4 Seq Track 5 Seq Track 6 Seq Tra
Appendix B: Modulation Destinations Off Osc 1 Freq Osc 2 Freq Osc 3 Freq Osc 4 Freq Osc All Freq Osc 1 Level Osc 2 Level Osc 3 Level Osc 4 Level Osc 1 Shape Mod Osc 2 Shape Mod Osc 3 Shape Mod Osc 4 Shape Mod Sub Osc Level Osc 1 FM Osc 2 FM Osc 3 FM Osc 4 FM Osc All FM Osc 1 AM Osc 2 AM Osc 3 AM Osc 4 AM Osc All AM Osc All Slop Air Girth Hack Decimate Pro 2 Operation Manual Drive F1 Cutoff F1 Resonance F2 Cutoff F2 Resonance F2 LP-Notch-HP F2 Normal-BP Filter Out Mix Serial-Parallel VCA Pan Distortion Fee
LFO 1 Freq LFO 2 Freq LFO 3 Freq LFO 4 Freq LFO 1 Amount LFO 2 Amount LFO 3 Amount LFO 4 Amount F1 Env Amount F2 Env Amount Amp Env Amount Env 4 Amount Env 5 Amount F1 Env Attack F2 Env Attack Amp Env Attack Env 4 Attack Env 5 Attack All Env Attack F1 Env Decay F2 Env Decay Amp Env Decay Env 4 Decay Env 5 Decay All Env Decay F1 Env Release F2 Env Release Amp Env Release Env 4 Release Env 5 Release All Env Release Mod 1 Amount Mod 2 Amount Mod 3 Amount 80 Appendix B:Modulation Destinations Mod 4 Amount Mod
Seq Out 2 Ch 2 Seq Out 2 Ch 3 Seq Out 2 Ch 4 Seq Out 2 Ch 5 Seq Out 2 Ch 6 Seq Out 2 Ch 7 Seq Out 2 Ch 8 Seq Out 2 Ch 9 Seq Out 2 Ch 10 Seq Out 2 Ch 11 Seq Out 2 Ch 12 Seq Out 2 Ch 13 Seq Out 2 Ch 14 Seq Out 2 Ch 15 Seq Out 2 Ch 16 Pro 2 Operation Manual Appendix B:Modulation Destinations 81
Appendix C: Delay Times (Delays 1-3) Value Time (msec) 0+ 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 82 0.9556 1.0124 1.0726 1.1364 1.2039 1.2755 1.3514 1.4317 1.5169 1.6071 1.7026 1.8039 1.9111 2.0248 2.1452 2.2727 2.4079 2.5511 2.7027 2.8635 3.0337 3.2141 3.4052 3.6077 3.8223 4.0495 4.2903 4.5455 4.8157 Value Time (msec) 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 5.1021 5.4055 5.7269 6.0675 6.4282 6.8105 7.2155 7.6445 8.
Value Time (msec) 87 88 89 90 91 92 93 94 95 96 97 98 99 100 101 102 103 104 105 106 107 108 109 110 111 112 113 114 115 116 117 118 135.0140 140.1627 145.3115 150.4602 155.6089 160.7576 165.9064 171.0551 176.2038 181.3525 186.5013 191.6500 196.7987 201.9474 207.0962 212.2449 217.3936 222.5424 227.6911 232.8398 237.9885 243.1373 248.2860 253.4347 258.5834 263.7322 268.8809 274.0296 279.1783 284.3271 289.4758 294.
Value Time (msec) 183 184 185 186 187 188 189 190 191 192 193 194 195 196 197 198 199 200 201 202 203 204 205 206 207 208 209 210 211 212 213 214 84 629.2917 634.4404 639.5892 644.7379 649.8866 655.0353 660.1841 665.3328 670.4815 675.6303 680.7790 685.9277 691.0764 696.2252 701.3739 706.5226 711.6713 716.8201 721.9688 727.1175 732.2662 737.4150 742.5637 747.7124 752.8611 758.0099 763.1586 768.3073 773.4560 778.6048 783.7535 788.
Appendix D: MIDI Implementation Pro 2 receives MIDI data according to the mode controls under Global. In addition, there is interaction between some of the Program parameters that determine the overall response of Pro 2 to MIDI data. Following are the Global parameters that affect response to MIDI: MIDI Channel: ALL, 1…16 — Selects the MIDI channel to send and receive data, 1 to 16. All receives on any channel.
MIDI Messages System Real-Time Messages Status Description 1111 1000 MIDI Timing Clock Received Channel Messages Status Second Third Description 1000 nnnn 0kkkkkkk 0vvvvvvv Note Off. Velocity is ignored 1001 nnnn 0kkkkkkk 0vvvvvvv Note On.
Status Second Third Description 1011 nnnn 32 0vvvvvvv Bank Select: 0 - 3 select user banks 1 - 4; 4 - 7 select factory banks 1 - 4; others ignored 1011 nnnn 64 0vvvvvvv Damper pedal: Holds envelopes in Sustain if 0100 0000 or higher 1011 nnnn 123 0vvvvvvv All Notes Off: Clear all MIDI notes 1011 nnnn 121 0vvvvvvv Reset All Controllers: Clears all MIDI controllers to 0, MIDI volume to maximum See sections below for additional Continuous Controller (CC) and Nonregistered Parameter Number (
1011 nnnn 0100 1010 0vvvvvvv Brightness: When assigned to Pedal 1 or Pedal 2 1011 nnnn 0000 1101 0vvvvvvv Expression: When assigned to Pedal 1 or Pedal 2 1011 nnnn 0010 0000 0vvvvvvv Bank Select: 0 - 7 1011 nnnn 0100 0000 0vvvvvvv Damper pedal: Sends 0 if off, 0111 1111 when on 1011 nnnn 0000 0111 0vvvvvvv Volume knob See sections below for additional Continuous Controller (CC) and Nonregistered Parameter Number (NRPN) messages transmitted.
CC# Param CC# Param 33 Delay 4 Time 65 Glide On/Off 34 Delay 4 Sync 67 Osc 1 Pitch 35 Delay 4 Amount 68 Osc 1 Fine Tune 36 Delay 4 Feedback 69 Osc 1 Level 38 Data Entry LSB 70 Osc 1 Shape 39 Program Volume 71 Osc 1 Shape Mod 40 VCA Envelope Amt 72 Osc 1 FM 41 Velocity to VCA Env Amt 73 Osc 1 AM 42 VCA Env Delay 74 Brightness 43 VCA Env Attack 75 Osc 2 Pitch 44 VCA Env Decay 76 Osc 2 Fine Tune 45 VCA Env Sustain 77 Osc 2 Level 46 VCA Env Release 78 Osc 2 S
CC# Param 97 Data Dec 98 NRPN LSB 99 NRPN MSB 100 RPN LSB 101 RPN MSB 102 LPF Frequency 103 LPF Resonance 104 LPF Key Amount 106 SVF Frequency 107 SVF Resonance 108 SVF Key Amount 109 Girth 110 Air 111 Hack 112 Decimate 113 Drive 114 Feedback Amount 115 Feedback Tuning 90 Appendix D: MIDI Implementation Dave Smith Instruments
NRPN Messages The Non-Registered Parameter Number (NRPN) MIDI messages are used to transmit and receive both global and program parameters. They are transmitted when MIDI Parameter Send is set to NRPN in Global, and received when MIDI Parameter Receive is set to NRPN in Global. The messages are handled in standard MIDI format using the NRPN CC commands in running status byte format. Below is the format used for transmitting a NRPN parameter.
Received NRPN Messages Status Second Third Description 1011 nnnn 0110 0011 0vvvvvvv NRPN parameter number MSB CC 1011 nnnn 0110 0010 0vvvvvvv NRPN parameter number LSB CC 1011 nnnn 0000 0110 0vvvvvvv NRPN parameter value MSB CC 1011 nnnn 0010 0110 0vvvvvvv NRPN parameter value LSB CC 1011 nnnn 0110 0000 0xxxxxxx NRPN parameter value Increment 1011 nnnn 0110 0001 0xxxxxxx NRPN parameter value Decrement 1011 nnnn 0010 0101 0111111 RPN parameter number MSB CC - Reset NRPN paramet
NRPN Range Description 1030 0-2 MIDI Param Receive† 0 = NRPN 1 = CC 2= Off 1031 0-1 MIDI Control Enable 0 = Off 1 = On 1032 0-1 MIDI SysEx Enable 0 = Off 1 = On 1033 0-2 MIDI SysEx Cable 0 = None 1= MIDI Port 2 = USB 1034 0-3 MIDI Out Select 0 = Off 1 = MIDI 2 = USB 3 = MIDI+USB 1035 0-1 Local Control* 0 = Off 1 = On 1036 0-1 Mono/Stereo 0 = Stereo 1 = Mono 1037 0-2 Pot Mode 0 = Relative 1= PassThru 2 = Jump 1038 0-1 Sustain Footswitch 0 = normally open 1= normally closed 1039
NRPN Range Description 1040 0-5 Pedal 1 Function 0 = Breath Control 1 = Foot Controller 2 = Expression 3 = Master Volume 4 = Filter 1 & 2 Frequency, full range 5 = Filter 1 & 2 Frequency, half range 1041 0-1 Pedal Polarity 0 = Normal 1 = Reverse 1042 0-1 Aftertouch Enable 0 = Off 1 = On 1043 0-3 Aftertouch Curve 1044 0-3 Velocity Curve 1045 0-1 MIDI Thru/Out 2 0 = Thru 1 = Out 2 *Controller received, but not transmitted. †Controller transmitted, but ignored when received.
Program Parameter Data The following table lists Pro 2’s program parameters.
NRPN 96 Value Description 5 0-11 Osc 1 Wave Left 0 = Tines 1 = Mellow 2 = Church 3 = Muted 4 = Nasal 5 = Boing 6 = Gothic 7 = Ahhh 8 = Shrill 9 = Ohhhh 10= Buzzzz 11 = Meh 6 0-11 Osc 1 Wave Right (see Osc 1 Wave Left) 7 0-255 Osc 1 FM 8 0-255 Osc 1 AM 9 0-127 Osc 1 Slop 10 0-127 Osc 1 Glide Amount 11 0-1 Osc 1 Sync 0 = Off 1 = On 12 0-1 Osc 1 Key Follow 0 = Off 1 = On 13 0-1 Osc 1 Wave Reset 0 = Off 1 = On 18 0-120 Osc 2 Pitch 19 0-100 Osc 2 Fine Tune 20 0-127 Osc 2 Lev
NRPN Value Description 29 0-1 Osc 2 Sync 0 = Off 1 = On 30 0-1 Osc 2 Key Follow 0 = Off 1 = On 31 0-1 Osc 2 Wave Reset 0 = Off 1 = On 36 0-120 Osc 3 Pitch 37 0-100 Osc 3 Fine Tune 38 0-127 Osc 3 Level 39 0-19 Osc 3 Shape (see Osc 1 Shape) 40 0-127 Osc 3 Shape Mod 41 0-11 Osc 3 Wave Left (see Osc 1 Wave Left) 42 0-11 Osc 3 Wave Right (see Osc 1 Wave Left) 43 0-255 Osc 3 FM 44 0-255 Osc 3 AM 45 0-127 Osc 3 Slop 46 0-127 Osc 3 Glide Amount 47 0-1 Osc 3 Sync 0 = Off
NRPN 98 Value Description 61 0-255 Osc 4 FM 62 0-255 Osc 4 AM 63 0-127 Osc 4 Slop 64 0-127 Osc 4 Glide Amount 65 0-1 Osc 4 Sync 0 = Off 1 = On 66 0-1 Osc 4 Key Follow 0 = Off 1 = On 67 0-1 Osc 4 Wave Reset 0 = Off 1 = On 72 0-127 Osc 1 Sub Octave 73 0-3 Glide Mode 0 = FixRate 1= FixRate A 2 = FixTime 3 = FixTime A 74 0-1 Glide 0 = Off 1 = On 75 0-12 Pitchbend Range Up 76 0-24 Pitchbend Range Down 80 0-127 Air 81 0-127 Girth 82 0-127 Hack 83 0-127 Decimate 8
NRPN Value Description 97 0-127 Filter 2 Mode 0 = Low-Pass 63 = Notch 127 = High-Pass 98 0-127 Normal to Band-Pass (continuously variable) 0 = Normal State-Variable (LP, N, HP) 127 = Band-Pass 99 0-3 Filter Selection 0 = Filter 1 enabled 1 = Filter 2 enabled 2 = Filter 1 & 2 enabled 3 = Split Oscillators on 100 0-127 Filter Routing, Serial to Parallel 0 = Fully Serial, F1 into F2 127 = Fully Parallel 105 0-254 Feedback Amount 0 to 126 = -127 to -1 127 = 0 128 to 254 = 1 to 127 106 0-48 Fe
NRPN Value Description 125 0-127 Filter 1 Env Attack 126 0-127 Filter 1 Env Decay 127 0-127 Filter 1 Env Sustain 128 0-127 Filter 1 Env Release 129 0-1 Filter 1 Env Repeat 0 = Off 1= On 133 0-254 Filter 2 Envelope Amt 0 to 126 = -127 to -1 127 = 0 128 to 254 = 1 to 127 134 0-127 Velocity to Filter 2 Env Amt 135 0-127 Filter 2 Env Delay 136 0-127 Filter 2 Env Attack 137 0-127 Filter 2 Env Decay 138 0-127 Filter 2 Env Sustain 139 0-127 Filter 2 Env Release 140 0-1 Filte
NRPN Value Description 155 0-254 Envelope 5 Amt 0 to 126 = -127 to -1 127 = 0 128 to 254 = 1 to 127 156 0-127 Velocity to Env 5 Amt 157 0-127 Envelope 5 Delay 158 0-127 Envelope 5 Attack 159 0-127 Envelope 5 Decay 160 0-127 Envelope 5 Sustain 161 0-127 Envelope 5 Release 162 0-1 Envelope 5 Repeat 0 = Off 1= On 163 0-142 Envelope 5 Destination (see table of modulation destinations and values) 166 0-255 LFO 1 Frequency 167 0-15 LFO 1 Sync Setting 0 = 32nd triplet 1 = 32nd 2 =
NRPN Value Description 169 0-7 LFO 1 Shape 0 = triangle 1 = reverse sawtooth 2 = sawtooth 3= square 4 = pulse 1 5 = pulse 2 6 = pulse 3 7 = random 170 0-127 LFO 1 Amount 171 0-127 LFO 1 Slew Rate 172 0-127 LFO 1 Phase 173 0-1 LFO 1 Wave Reset 0 = Off 1 = On 174 0-142 LFO 1 Destination (see table of modulation destinations and values) 176 0-255 LFO 2 Frequency 177 0-15 LFO 2 Sync Setting (see LFO 1 Sync Setting) 178 0-1 LFO 2 Sync 0 = Off 1 = On 179 0-7 LFO 2 Shape (see LFO 1 S
NRPN Value Description 191 0-127 LFO 3 Slew Rate 192 0-127 LFO 3 Phase 193 0-1 LFO 3 Wave Reset 0 = Off 1 = On 194 0-142 LFO 3 Destination (see table of modulation destinations and values) 196 0-255 LFO 4 Frequency 197 0-15 LFO 4 Sync Setting (see LFO 1 Sync setting) 198 0-1 LFO 4 Sync 0 = Off 1 = On 199 0-7 LFO 4 Shape (see LFO 1 Shape) 200 0-127 LFO 4 Amount 201 0-127 LFO 4 Slew Rate 202 0-127 LFO 4 Phase 203 0-1 LFO 4 Wave Reset 0 = Off 1 = On 204 0-142 LFO 4 Desti
NRPN Value Description 209 0-127 Delay 1 Amount 210 0-127 Delay 1 Feedback 211 0-127 Delay 1 Lowpass Filter 212 0-127 Delay 1 Highpass Filter 213 0-127 Delay 1 Pan 216 0-255 Delay 2 Time 217 0-11 Delay 2 Sync Setting (see Delay 1 Sync Setting) 218 0-1 Delay 2 Sync 0 = Off 1 = On 219 0-127 Delay 2 Amount 220 0-127 Delay 2 Feedback 221 0-127 Delay 2 Lowpass Filter 222 0-127 Delay 2 Highpass Filter 223 0-127 Delay 2 Pan 226 0-255 Delay 3 Time 227 0-11 Delay 3 Sync
NRPN Value Description 244 0-1 Delay 4 Buffer Size 0 = Small 1 = Large 246 0-51 Mod 1 Source (see table of modulation sources and values) 247 0-254 Mod 1 Amount 0 to 126 = -127 to -1 127 = 0 128 to 254 = 1 to 127 248 0-142 Mod 1 Destination (see table of modulation destinations and values) 250 0-51 Mod 2 Source (see table of modulation sources and values) 251 0-254 Mod 2 Amount 0 to 126 = -127 to -1 127 = 0 128 to 254 = 1 to 127 252 0-142 Mod 2 Destination (see table of modulation dest
NRPN Value Description 263 0-254 Mod 5 Amount 0 to 126 = -127 to -1 127 = 0 128 to 254 = 1 to 127 264 0-142 Mod 5 Destination (see table of modulation destinations and values) 266 0-51 Mod 6 Source (see table of modulation sources and values) 267 0-254 Mod 6 Amount 0 to 126 = -127 to -1 127 = 0 128 to 254 = 1 to 127 268 0-142 Mod 6 Destination (see table of modulation destinations and values) 270 0-51 Mod 7 Source (see table of modulation sources and values) 271 0-254 Mod 7 Amount 0 to
NRPN Value Description 282 0-51 Mod 10 Source (see table of modulation sources and values) 283 0-254 Mod 10 Amount 0 to 126 = -127 to -1 127 = 0 128 to 254 = 1 to 127 284 0-142 Mod 10 Destination (see table of modulation destinations and values) 286 0-51 Mod 11 Source (see table of modulation sources and values) 287 0-254 Mod 11 Amount 0 to 126 = -127 to -1 127 = 0 128 to 254 = 1 to 127 288 0-142 Mod 11 Destination (see table of modulation destinations and values) 290 0-51 Mod 12 Sourc
NRPN Value Description 300 0-142 Mod 14 Destination (see table of modulation destinations and values) 302 0-51 Mod 15 Source (see table of modulation sources and values) 303 0-254 Mod 15 Amount 0 to 126 = -127 to -1 127 = 0 128 to 254 = 1 to 127 304 0-142 Mod 15 Destination (see table of modulation destinations and values) 306 0-51 Mod 16 Source (see table of modulation sources and values) 307 0-254 Mod 16 Amount 0 to 126 = -127 to -1 127 = 0 128 to 254 = 1 to 127 308 0-142 Mod 16 Dest
NRPN Value Description 320 0-1 Arpeggiator 0 = Off 1 = On 321 0-4 Arpeggiator Mode 0 = Up 1 = Down 2 = Up/Down 3 = Assign 4 = Random 322 0-2 Arpeggiator Range 0 = 1 Octave 1 = 2 Octaves 2 = 3 Octaves 323 0-10 Arp Clock Divide 0 = half 1 = quarter 2 = eighth 3 = eighth, half swing 4 = eighth, full swing 5 = eighth triplet 6 = sixteenth 7 = sixteenth, half swing 8 = sixteenth, full swing 9 = sixteenth triplet 10 = thirty-second 324 0-3 Arpeggiator Repeats 325 0-1 Arpeggiator Auto Latch 0 =
NRPN Value Description 327 30-250 BPM 328 0-1 Sequence Length 0 = 16 steps 1 = 32 steps 329 0-2 Sequence Play Mode 0 = Normal 1 = Step 2 = Play Once 331 0-1 Sequencer 0 = Off 1= On 332 0-6 Sequencer Play Source 0 = Sequencer 1 = Keyboard 2 = External Audio In 3 = CV In 1 4 = CV In 2 5 = CV In 3 6 = CV In 4 333 0-1 Sequencer Envelope Retrigger 0 = Off 1 = On 335 0-1 Sequencer Restart 0 = Off 1= On 341 0-142 Track 2 Destination 342 0-142 Track 3 Destination 343 0-142 Track 4 Des
NRPN Value Description 354 0-142 Track 15 Destination 355 0-142 Track 16 Destination 356 1-33 Track 1 Reset “Default” resets for 16- and 32-step sequences are 17 and 33, respectively.
NRPN Value Description 386 0-127 Track 1, Step 15 Slew 387 0-127 Track 1, Step 16 Slew 388 0-127 Track 1, Step 17 Slew 389 0-127 Track 1, Step 18 Slew 390 0-127 Track 1, Step 19 Slew 391 0-127 Track 1, Step 20 Slew 392 0-127 Track 1, Step 21 Slew 393 0-127 Track 1, Step 22 Slew 394 0-127 Track 1, Step 23 Slew 395 0-127 Track 1, Step 24 Slew 396 0-127 Track 1, Step 25 Slew 397 0-127 Track 1, Step 26 Slew 398 0-127 Track 1, Step 27 Slew 399 0-127 Track 1, Step 28 Sle
NRPN Value Description 496 0-127 Name Character 17 497 0-127 Name Character 18 498 0-127 Name Character 19 499 0-127 Name Character 20 512 0-255 Track 1, Step 1 Value 513 0-255 Track 1, Step 2 Value 514 0-255 Track 1, Step 3 Value 515 0-255 Track 1, Step 4 Value 516 0-255 Track 1, Step 5 Value 517 0-255 Track 1, Step 6 Value 518 0-255 Track 1, Step 7 Value 519 0-255 Track 1, Step 8 Value 520 0-255 Track 1, Step 9 Value 521 0-255 Track 1, Step 10 Value 522 0-255
NRPN Value Description 542 0-255 Track 2, Step 15 Value 543 0-255 Track 2, Step 16 Value 544 0-255 Track 3, Step 1 Value 545 0-255 Track 3, Step 2 Value 546 0-255 Track 3, Step 3 Value 547 0-255 Track 3, Step 4 Value 548 0-255 Track 3, Step 5 Value 549 0-255 Track 3, Step 6 Value 550 0-255 Track 3, Step 7 Value 551 0-255 Track 3, Step 8 Value 552 0-255 Track 3, Step 9 Value 553 0-255 Track 3, Step 10 Value 554 0-255 Track 3, Step 11 Value 555 0-255 Track 3, Step 12
NRPN Value Description 575 0-255 Track 4, Step 16 Value 576 0-255 Track 5, Step 1 Value 577 0-255 Track 5, Step 2 Value 578 0-255 Track 5, Step 3 Value 579 0-255 Track 5, Step 4 Value 580 0-255 Track 5, Step 5 Value 581 0-255 Track 5, Step 6 Value 582 0-255 Track 5, Step 7 Value 583 0-255 Track 5, Step 8 Value 584 0-255 Track 5, Step 9 Value 585 0-255 Track 5, Step 10 Value 586 0-255 Track 5, Step 11 Value 587 0-255 Track 5, Step 12 Value 588 0-255 Track 5, Step 13
NRPN Value Description 609 0-255 Track 7, Step 2 Value 610 0-255 Track 7, Step 3 Value 611 0-255 Track 7, Step 4 Value 612 0-255 Track 7, Step 5 Value 613 0-255 Track 7, Step 6 Value 614 0-255 Track 7, Step 7 Value 615 0-255 Track 7, Step 8 Value 616 0-255 Track 7, Step 9 Value 617 0-255 Track 7, Step 10 Value 618 0-255 Track 7, Step 11 Value 619 0-255 Track 7, Step 12 Value 620 0-255 Track 7, Step 13 Value 621 0-255 Track 7, Step 14 Value 622 0-255 Track 7, Step 1
NRPN Value Description 643 0-255 Track 1, Step 20/Track 9, Step 4 644 0-255 Track 1, Step 21/Track 9, Step 5 645 0-255 Track 1, Step 22/Track 9, Step 6 646 0-255 Track 1, Step 23/Track 9, Step 7 647 0-255 Track 1, Step 24/Track 9, Step 8 648 0-255 Track 1, Step 25/Track 9, Step 9 649 0-255 Track 1, Step 26/Track 9, Step 10 650 0-255 Track 1, Step 27/Track 9, Step 11 651 0-255 Track 1, Step 28/Track 9, Step 12 652 0-255 Track 1, Step 29/Track 9, Step 13 653 0-255 Track 1, St
NRPN Value Description 677 0-255 Track 3, Step 22/Track 11, Step 6 678 0-255 Track 3, Step 23/Track 11, Step 7 679 0-255 Track 3, Step 24/Track 11, Step 8 680 0-255 Track 3, Step 25/Track 11, Step 9 681 0-255 Track 3, Step 26/Track 11, Step 10 682 0-255 Track 3, Step 27/Track 11, Step 11 683 0-255 Track 3, Step 28/Track 11, Step 12 684 0-255 Track 3, Step 29/Track 11, Step 13 685 0-255 Track 3, Step 30/Track 11, Step 14 686 0-255 Track 3, Step 31/Track 11, Step 15 687 0-255
NRPN Value Description 711 0-255 Track 5, Step 24/Track 13, Step 8 712 0-255 Track 5, Step 25/Track 13, Step 9 713 0-255 Track 5, Step 26/Track 13, Step 10 714 0-255 Track 5, Step 27/Track 13, Step 11 715 0-255 Track 5, Step 28/Track 13, Step 12 716 0-255 Track 5, Step 29/Track 13, Step 13 717 0-255 Track 5, Step 30/Track 13, Step 14 718 0-255 Track 5, Step 31/Track 13, Step 15 719 0-255 Track 5, Step 32/Track 13, Step 16 720 0-255 Track 6, Step 17/Track 14, Step 1 721 0-255
NRPN Value Description 743 0-255 Track 7, Step 24/Track 15, Step 8 744 0-255 Track 7, Step 25/Track 15, Step 9 745 0-255 Track 7, Step 26/Track 15, Step 10 746 0-255 Track 7, Step 27/Track 15, Step 11 747 0-255 Track 7, Step 28/Track 15, Step 12 748 0-255 Track 7, Step 29/Track 15, Step 13 749 0-255 Track 7, Step 30/Track 15, Step 14 750 0-255 Track 7, Step 31/Track 15, Step 15 751 0-255 Track 7, Step 32/Track 15, Step 16 752 0-255 Track 8, Step 17/Track 16, Step 1 753 0-255
NRPN Value Description 775 0, 128 Track 1, Step 8 Tie* 776 0, 128 Track 1, Step 9 Tie* 777 0, 128 Track 1, Step 10 Tie* 778 0, 128 Track 1, Step 11 Tie* 779 0, 128 Track 1, Step 12 Tie* 780 0, 128 Track 1, Step 13 Tie* 781 0, 128 Track 1, Step 14 Tie* 782 0, 128 Track 1, Step 15 Tie* 783 0, 128 Track 1, Step 16 Tie* 784 0-255 Track 2, Step 1 Slew/Tie† 785 0-255 Track 2, Step 2 Slew/Tie† 786 0-255 Track 2, Step 3 Slew/Tie† 787 0-255 Track 2, Step 1 Slew/Tie† 788 0-25
NRPN Value Description 809 0-255 Track 3, Step 9 Slew/Tie† 810 0-255 Track 3, Step 10 Slew/Tie† 811 0-255 Track 3, Step 11 Slew/Tie† 812 0-255 Track 3, Step 12 Slew/Tie† 813 0-255 Track 3, Step 13 Slew/Tie† 814 0-255 Track 3, Step 14 Slew/Tie† 815 0-255 Track 3, Step 15 Slew/Tie† 816 0-255 Track 4, Step 1 Slew/Tie† 817 0-255 Track 4, Step 2 Slew/Tie† 818 0-255 Track 4, Step 3 Slew/Tie† 819 0-255 Track 4, Step 1 Slew/Tie† 820 0-255 Track 4, Step 4 Slew/Tie† 821 0-255 T
NRPN Value Description 843 0-255 Track 5, Step 11 Slew/Tie† 844 0-255 Track 5, Step 12 Slew/Tie† 845 0-255 Track 5, Step 13 Slew/Tie† 846 0-255 Track 5, Step 14 Slew/Tie† 847 0-255 Track 5, Step 15 Slew/Tie† 848 0-255 Track 6, Step 1 Slew/Tie† 849 0-255 Track 6, Step 2 Slew/Tie† 850 0-255 Track 6, Step 3 Slew/Tie† 851 0-255 Track 6, Step 1 Slew/Tie† 852 0-255 Track 6, Step 4 Slew/Tie† 853 0-255 Track 6, Step 5 Slew/Tie† 854 0-255 Track 6, Step 6 Slew/Tie† 855 0-255 Tr
NRPN Value Description 877 0-255 Track 7, Step 13 Slew/Tie† 878 0-255 Track 7, Step 14 Slew/Tie† 879 0-255 Track 7, Step 15 Slew/Tie† 880 0-255 Track 8, Step 1 Slew/Tie† 881 0-255 Track 8, Step 2 Slew/Tie† 882 0-255 Track 8, Step 3 Slew/Tie† 883 0-255 Track 8, Step 1 Slew/Tie† 884 0-255 Track 8, Step 4 Slew/Tie† 885 0-255 Track 8, Step 5 Slew/Tie† 886 0-255 Track 8, Step 6 Slew/Tie† 887 0-255 Track 8, Step 7 Slew/Tie† 888 0-255 Track 8, Step 8 Slew/Tie† 889 0-255 Trac
NRPN Value Description 911 0-255 Track 1, Step 32/Track 9, Step 16 Slew/Tie† 912 0-255 Track 2, Step 17/Track 10, Step 1 Slew/Tie† 913 0-255 Track 2, Step 18/Track 10, Step 2 Slew/Tie† 914 0-255 Track 2, Step 19/Track 10, Step 3 Slew/Tie† 915 0-255 Track 2, Step 20/Track 10, Step 4 Slew/Tie† 916 0-255 Track 2, Step 21/Track 10, Step 5 Slew/Tie† 917 0-255 Track 2, Step 22/Track 10, Step 6 Slew/Tie† 918 0-255 Track 2, Step 23/Track 10, Step 7 Slew/Tie† 919 0-255 Track 2, Step 24/Tr
NRPN Value Description 945 0-255 Track 4, Step 18/Track 12, Step 2 Slew/Tie† 946 0-255 Track 4, Step 19/Track 12, Step 3 Slew/Tie† 947 0-255 Track 4, Step 20/Track 12, Step 4 Slew/Tie† 948 0-255 Track 4, Step 21/Track 12, Step 5 Slew/Tie† 949 0-255 Track 4, Step 22/Track 12, Step 6 Slew/Tie† 950 0-255 Track 4, Step 23/Track 12, Step 7 Slew/Tie† 951 0-255 Track 4, Step 24/Track 12, Step 8 Slew/Tie† 952 0-255 Track 4, Step 25/Track 12, Step 9 Slew/Tie† 953 0-255 Track 4, Step 26/Tr
NRPN Value Description 979 0-255 Track 6, Step 20/Track 14, Step 4 Slew/Tie† 980 0-255 Track 6, Step 21/Track 14, Step 5 Slew/Tie† 981 0-255 Track 6, Step 22/Track 14, Step 6 Slew/Tie† 982 0-255 Track 6, Step 23/Track 14, Step 7 Slew/Tie† 983 0-255 Track 6, Step 24/Track 14, Step 8 Slew/Tie† 984 0-255 Track 6, Step 25/Track 14, Step 9 Slew/Tie† 985 0-255 Track 6, Step 26/Track 14, Step 10 Slew/Tie† 986 0-255 Track 6, Step 27/Track 14, Step 11 Slew/Tie† 987 0-255 Track 6, Step 28/
NRPN Value Description 1013 0-255 Track 8, Step 22/Track 16, Step 6 Slew/Tie† 1014 0-255 Track 8, Step 23/Track 16, Step 7 Slew/Tie† 1015 0-255 Track 8, Step 24/Track 16, Step 8 Slew/Tie† 1016 0-255 Track 8, Step 25/Track 16, Step 9 Slew/Tie† 1017 0-255 Track 8, Step 26/Track 16, Step 10 Slew/Tie† 1018 0-255 Track 8, Step 27/Track 16, Step 11 Slew/Tie† 1019 0-255 Track 8, Step 28/Track 16, Step 12 Slew/Tie† 1020 0-255 Track 8, Step 29/Track 16, Step 13 Slew/Tie† 1021 0-255 Track
The following tables list the values used with the program parameters to specify modulation sources and destinations.
Mod Destination Value Mod Destination Value Off 0 F2 Resonance 34 Osc 1 Freq 1 VCA 35 Osc 2 Freq 2 Pan 36 Osc 3 Freq 3 Distortion 37 Osc 4 Freq 4 Feedback Amount 38 Osc All Freq 5 Feedback Tuning 39 Osc 1 Level 6 Delay 1 Amount 40 Osc 2 Level 7 Delay 2 Amount 41 Osc 3 Level 8 Delay 3 Amount 42 Osc 4 Level 9 Delay 4 Amount 43 Osc 1 Shape Mod 10 Delay 1 Time 44 Osc 2 Shape Mod 11 Delay 2 Time 45 Osc 3 Shape Mod 12 Delay 3 Time 46 Osc 4 Shape Mod 13 Del
Mod Destination Value Mod Destination Value Env 5 Amount 68 Mod 16 Amount 102 F1 Env Attack 69 Ext CV Out 1 103 F2 Env Attack 70 Ext CV Out 2 104 Amp Env Attack 71 Ext CV Out 3 105 Env 4 Attack 72 Ext CV Out 4 106 Env 5 Attack 73 Seq Out 1 Ch 1 107 All Env Attack 74 Seq Out 1 Ch 2 108 F1 Env Decay 75 Seq Out 1 Ch 3 109 F2 Env Decay 76 Seq Out 1 Ch 4 110 Amp Env Decay 77 Seq Out 1 Ch 5 111 Env 4 Decay 78 Seq Out 1 Ch 6 112 Env 5 Decay 79 Seq Out 1 Ch 7 113
Mod Destination Value Seq Out 2 Ch 14 136 Seq Out 2 Ch 15 137 Seq Out 2 Ch 16 138 Sysex Messages Universal System Exclusive Message (Device Inquiry) Status Description 1111 0000 System Exclusive (SysEx) 0111 1110 Non-realtime message 0vvv vvvv If MIDI channel is set to 1 - 16, 0vvvvvvv must match (unless MIDI Channel = ALL); always responds if 0vvvvvvv = 0111 1111.
Request Program Dump Status Description 1111 0000 System Exclusive (SysEx) 0000 0001 DSI ID 0010 1100 Pro 2 ID 0000 0101 Request Program Transmit 0000 00vv Bank Number, 0 - 7 0vvv vvvv Program Number, 0 - 98 1111 0111 End of Exclusive (EOX) The Pro 2 will respond by sending out the Program Data in the format described below in Program Data Dump.
Program Data Dump Status Description 1111 0000 System Exclusive (SysEx) 0000 0001 DSI ID 0010 1100 Pro 2 ID 0000 0010 Program Data 0000 00vv Bank Number: 0 - 7 0vvv vvvv Program Number: 0 - 98 0vvv vvvv 1024 bytes expanded to 1171 MIDI bytes in “packed MS bit” format 1111 0111 End of Exclusive (EOX) Program Edit Buffer Data Dump Status Description 1111 0000 System Exclusive (SysEx) 0000 0001 DSI ID 0010 1100 Pro 2 ID 0000 0011 Edit Buffer Data 0vvv vvvv 1024 bytes expanded to 11
Packed Data Format Data is packed in 8 byte “packets”, with the MS bit stripped from 7 parameter bytes, and packed into an eighth byte, which is sent at the start of the 8 byte packet.
Appendix E: Support Troubleshooting Here are a few suggestions for resolving problems that may occur. The sequencer or arpeggiator has stopped running. Check the Clock settings in the Global menu to ensure the Pro 2 is set to Master or, if set to Slave, make sure the Pro 2 is receiving MIDI clock. Some of the programs sound different than before. Check the Mod Wheel position. The Mod Wheel can do a lot more than just add vibrato.
The Pro 2 plays out of tune. Check Master Coarse Tune and Master Fine Tune in the Global menu. If that seems correct, run Calibrate Wheels in the Global menu. The touch sliders don’t go full range. Run Calibrate Sliders in the Global Menu. A filter sounds strange or out of tune. Run Autotune Filters in the Global menu. It is not necessary to run any of the calibration routines on a regular basis. You should only run it if you are experiencing problems.
Warranty Repair Dave Smith Instruments warrants that the Pro 2 will be free from defects in materials and/or workmanship for 1 year from the date of purchase. Please register your product online at www.davesmithinstruments.com to establish the date of purchase. (This is not a requirement for warranty service, but it will help expedite the process.) Please contact support@davesmithinstruments.com to determine the best course of action for getting your Pro 2 repaired.
Pro 2 Operation Manual Appendix E: Support 139
140 Appendix E: Support Dave Smith Instruments
Dave Smith Instruments 1527 Stockton Street, 2nd Floor San Francisco, CA 94133 USA www.DaveSmithInstruments.