The Official Sequential/Oberheim Forum
SEQUENTIAL/DSI => Pro 3 => Topic started by: Jonah66 on September 04, 2020, 01:20:57 PM
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Please post here....
First for me would be, UI overhaul and.....
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Real time recording
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1. More Mod Destinations for real-time Sequence Mangling:
a. Seq Velocity Offset
b. Seq Duration / Step Gate Offset
c. Seq Ratcheting Offset
d. Seq Last Step Offset
The above destinations would allow for doing some really cool sequence mangling / sequence variation via mod wheel, slider, pedal, or other mod sources (lfos, envelopes, etc)
2. More Mod Destinations for other real-time modulation:
e. Glide Time
f. Arp Range
g. Arp Repeats
h. Clock Divide
i. Global BPM Offset
These above mod destinations would further allow more real-time arp beat effects / temporal effects.
3. Sequencer Note Ties / Duration > 100% for allowing gliding between notes
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Please post here....
First for me would be, UI overhaul and.....
UI overhaul. You mean like changing the whole front panel? ;D
I’ve submitted mine to Sequential and got 1 out of 5 so far!
1) SEQUENCER: Ability to tie notes that aren’t the same for a legato effect, for example from a C to a G
2) OSCILLATORS: Ability to apply linear FM from one oscillator to another, especially to the VCOs
3) SEQUENCER: Ability to shift the sequence to the left or right to be able to change the starting step
4) SEQUENCER: Ability to assign glide per step as on 303s and other units--as opposed to global glide
5) OSCILLATORS: Ability to create user wavetables
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I would like to see the sequence patterns(ABC,D) auto follow when playing, although this maybe counter productive for some, a toggle command would be perfect 👍
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Apply osc shape mod to all oscilators at once (i cant find this if its there, eg lfo to all) minor thing can dupicate in matrix anyway
env loop sync to bpm like sub 37,
env reset per note, see above
Big for my needs real time note record, dont need a click track i can sync to drum machine etc
It probably cant be done but i feel like the resonance on the filters could be a bit sharper towards the top it goes from squelchy to screaming without the point were it really bites and you can pick out all the harmonics when you sweep the filter, i also have a P6 and OB6 and they both can do this with ease particualy the OB6
I find adding the filter drive actually exacerbates this further, which suprised me a bit, the ladder filter is probably the worst at this it doesnt behave like a moog ladder, with as Nick Batt would say sing song harmonics
Im thinking the increased resolution on the filter maybe why they behave like this I think its 1024 as opposed to 127 i mapped the filter to my mpc q link over midi and it barely moves!
Be intrested if others experiance this or perhaps mine are calibrated wrong (although ive obviously ran the calibration)
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Please... filter tracking glide.
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Unsure of how useful it may be, but when naming a patch, I enjoyed doing this on my Ion, being able to press a key and have that related to a letter to help expedite the process as opposed to spinning the knob all the way round.
E.g If I press C2 when renaming a patch it automatically changes out to "m" and D2 would correspond to "n"
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+1 for Clock Divide as a mod destination. That would allow for some fun possibilities on the arp and sequencer!
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Make the slew like it is on the Pro 2 so that you can turn it on or off and set the amount for each individual step of a track. This allows you to do much more interesting sequences.
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1. More Mod Destinations for real-time Sequence Mangling:
a. Seq Velocity Offset
b. Seq Duration / Step Gate Offset
c. Seq Ratcheting Offset
d. Seq Last Step Offset
The above destinations would allow for doing some really cool sequence mangling / sequence variation via mod wheel, slider, pedal, or other mod sources (lfos, envelopes, etc)
2. More Mod Destinations for other real-time modulation:
e. Glide Time
f. Arp Range
g. Arp Repeats
h. Clock Divide
i. Global BPM Offset
These above mod destinations would further allow more real-time arp beat effects / temporal effects.
3. Sequencer Note Ties / Duration > 100% for allowing gliding between notes
really nice, indeed!!!!
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I just realized there isn't an LFO delay, seems like a pretty fundamental item to be missing.
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I just realized there isn't an LFO delay, seems like a pretty fundamental item to be missing.
+1
LFO Delay is a really nice function to have direct access to. You can route an Aux Env 3/4 to LFO amount, but would be nice for each LFO to just have a dedicated Delay (or Attack) stage.
It's a feature I use often on DM12. Also, envelope ADR contour shaping would be super awesome.
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Pro 3 / Feature request: Sequence Nudging
« on: October 15, 2020, 02:35:11 AM »
It would be a huge time saver if were able to shift the complete sequence once programmed, to the right or left in step increments.
Maybe by holding down record+REv\FWD :)
Pro 3 / Feature request: Sequencer note probability
« on: October 14, 2020, 09:01:10 PM »
Hi
Would be really great if note probability function would be implemented in the upcoming OS update :)
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Higher pitch ranges for the oscillators vis a softknob. When I FM from the oscillators, I'm always wishing they went a bit higher.
When you move the octave knob, you jump to the menu where a soft knob already controllers the octaves. I'd love if the soft knob at least could go up and down an extra octave or two even if the hard knob can't. Moving the hardknob would just have it jump back to the standard octaves and that would be totally fine.
You can already extend the range with a DC offset but this would be much easier and not waste a mod slot.
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Not sure if possible but I'd love for the external audio input to be a selectable setting in misc params.
I'd like to keep a cable plugged into the ext input but still be able to use the EXT audio knob for feedback without unplugging that cable. On a patch by patch basis.
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Another Arp Mode would be great:
UpDown REPEAT
Similar to the existing UpDown mode, but it repeats the top and bottom note that are held.
Instead of
1-2-3-4_3-2-1-2_3-4-3-2_1-2-3-4
It goes:
1-2-3-4_4-3-2-1_1-2-3-4_4-3-2-1
This gives a good variation for syncopated patterns. You can hold down four notes and get repeating behavior over 16/32/64 beats.
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Another Arp Mode would be great:
UpDown REPEAT
Similar to the existing UpDown mode, but it repeats the top and bottom note that are held.
Instead of
1-2-3-4_3-2-1-2_3-4-3-2_1-2-3-4
It goes:
1-2-3-4_4-3-2-1_1-2-3-4_4-3-2-1
This gives a good variation for syncopated patterns. You can hold down four notes and get repeating behavior over 16/32/64 beats.
This is the only option on the MatrixBrute and people HATE it! ;D
I think it's mostly because there's no other option because it can be put to good use.
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Another Arp Mode would be great:
UpDown REPEAT
Similar to the existing UpDown mode, but it repeats the top and bottom note that are held.
Instead of
1-2-3-4_3-2-1-2_3-4-3-2_1-2-3-4
It goes:
1-2-3-4_4-3-2-1_1-2-3-4_4-3-2-1
This gives a good variation for syncopated patterns. You can hold down four notes and get repeating behavior over 16/32/64 beats.
This is the only option on the MatrixBrute and people HATE it! ;D
I think it's mostly because there's no other option because it can be put to good use.
Yeah, I wouldn't want the current Up/Down replaced... just add another variation. Both options are useful, depending on musical context. The Up/Down Repeat lends itself to more syncopated patterns with even number of notes held.
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bug ? : When i move 2 knob at the same time , it s occur an odd issue to the sync of sequencer track midi note out
Feature : the possibility to choose wich sequenced track are transposed by the keyboard
Example :
sequenced track midi out 2: send note number to a drum rack , i want to transpose only the oscillators sequence of the pro 3 and keep my drum sequence.
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Make the slew like it is on the Pro 2 so that you can turn it on or off and set the amount for each individual step of a track. This allows you to do much more interesting sequences.
+1 slew should be a source that can be added to the mod matrix
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Another mod destination request: how about some paraphonic mode destinations? Paraphonic Current Oscillator (Coarse/Fine/whatever). For instance, I'd like to apply a random fine freq to the oscillator that's being triggered by keypress. At the moment, the Random operator triggers for every keypress, so there's no way to avoid changing all oscillator frequencies at once.
I'll be the first to admit that it's a little special, but it would be pretty cool. It would probably be possible to do via Pro 3 -> analysis of MIDI note stream on computer with Max or similar -> CC -> Pro 3, but it would be a cool addition to the internal matrix.
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Feature Request: Remove (or just extend) the upper limit on Filter Drive, when adding a separate filter drive routing in mod matrix.
It would be nice if we add a modulation of DC > Filter Drive, that could be added to the Filter Drive knob to extend the total amount of filter drive available if using just a single oscillator. (Right now, there appears to just be a hard limit at 128 value, but if it's possible with the circuit, it would be nice to be able to push the drive past a total value of 128 -- if it could be extended with mod matrix routing to go up to a combined value of 192 or 256, that would be awesome) Assuming there's not a hardware limitation to the drive/limiter circuitry.
It wouldn't affect any existing patches, but would allow for really pushing the overdrive harder to achieve similar results to Moog's Multidrive on Subsequent 37, when using a single oscillator. Note: Subsequent 37 extended the max drive amount beyond previous generation Sub 37.
https://youtu.be/fS8syO7u0fY?t=288
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+1
LFO Delay is a really nice function to have direct access to. You can route an Aux Env 3/4 to LFO amount, but would be nice for each LFO to just have a dedicated Delay (or Attack) stage.
It's a feature I use often on DM12. Also, envelope ADR contour shaping would be super awesome.
++ for both
Missing LFO Delay is a pitty, it just makes things so simpler...
And also a curve for sustain on deepmind really simplify things sometimes as well
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There are "All" destinations for most other functions, but not these two... I often find myself wanting to modulate these together with a single source (LFO or Seq Lane), and it's a tedious process to have to route multiple extra slots in mod matrix to target them together... and repeating the procedure if you want to make changes:
New Mod Destinations:
Osc All ShapeMod
Osc All Level
I would think these would be pretty easy to implement, and just be a quality of life upgrade to streamline things when doing sound design.
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For Paraphonic Mode, it would be great to have some control over the voice stealing / osc stealing - (ie: similar to key mode in monophonic)
1. Hold 1 Lowest (currently the only mode? )
2. Hold 2 Lowest
3. Hold 1 Oldest Note
4. Hold 2 Oldest Note
The Hold 2 Oldest notes would keep the two lowest voices/oscillators playing if they are held down. So you could hold down two notes (say a bass root and octave up), and then play a solo/lead part up top, and the two lower notes will keep playing the whole time, even if you accidentally play legato (overlap notes) up top. I often find myself wanting this behavior, and accidentally overlapping a note slightly and losing one of the two lower notes I'm holding. Each new note played will only steal from the one unused oscillator that's available.
With Hold 1 Oldest or Hold 2 Oldest, the behavior would be similar, but instead of prioritizing lowest notes, it would hold whatever the oldest notes are, if they are still held down.
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i'm finding some new bugs lately.
When the arpeggiator is enabled and i save a patch, it will not work properly until i disable and re-enable it.
I also had this strange bug where sometimes the modulation table resets to the saved version. I delete a bunch of modulation routings, and suddenly they are all back. This happens when i'm using the arp combined with the latch mode and edit routings while it is playing.
Envelope modulations and adjustments don't become audible when the arp is running until you disable and re enable it.
When played from the keyboard or via midi, the octave range of the arpeggiator is different? i need to set the octave value to one higher to get the same result when sending midi notes instead of playing the keyboard.
Occasionally the svf filter led blinks rapidly when it's not being used.
Arp bpm sync is still completely unuseable.
I'm hoping for another firmware update in the near future, this synth has so much potential. I don't care so much for new features, except maybe the option to have always retrigering from zero envelopes, and being able to use sequencer lanes as gate outputs.
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Hi all! Brand new here! Have been with my Pro3 since October and really has just been incredibly fun and mesmerizing, but have definitely run into a few bugs that I see people have brought up here. I have been experiencing a few intermittent issues/bugs that I'm wondering if anyone else is experiencing. It seems to freeze the machine from time to time when I send a LFO(s) into high audio rates, and then use that with multiple destinations in the matrix (have repro'd it with different # of destinations, but can't reproduce it consistently). I also have had issues with the first note of any sequence randomly transposing itself to the same interval of the highest octave. This happens after a couple minutes of a sequence running, but again, isn't happening every time I run a sequence for that length of time. The other issue I've been experiencing is when adding a destination to the aux envelope it sometimes applies itself across all patches in that program and needs removed manually per patch, or the unit needs to be turned off and on. Anyone else having these particular issues?
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OK, here's my feature request, something that would save me--and presumably others--quite a bit of time.
You hold Source, then choose a source, then you hold Destination, then choose a destination. You've made a new modulation connection, awesome! But NOW you need to turn up the Amount knob because it defaults to 0. It would be nice if the default Amount for a newly-minted modulation source was non-zero, like maybe 64. I mean... you KNOW it's not going to be 0, right? And it's not always positive, but that's a safe enough bet, as a default. It should be like patching a cable in eurorack: it's probably going to do something.
TLDR: My feature request is that the default Amount for a new modulation connection is 64.
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I like the way the Moog One handles this, the destination parameter’s knob simultaneously functions as the amount control while holding the destination button.
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I like the way the Moog One handles this, the destination parameter’s knob simultaneously functions as the amount control while holding the destination button.
Woah, that’s good.
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It would be spectacular to have the ability to randomize and/or offset the ratcheting amount and location. Example: I have a 64-step sequence that could really be livened up this way, such as by making ratcheting a mod destination, having the ability to connect an LFO and so on and so forth.
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Hi all! Brand new here! Have been with my Pro3 since October and really has just been incredibly fun and mesmerizing, but have definitely run into a few bugs that I see people have brought up here. I have been experiencing a few intermittent issues/bugs that I'm wondering if anyone else is experiencing. It seems to freeze the machine from time to time when I send a LFO(s) into high audio rates, and then use that with multiple destinations in the matrix (have repro'd it with different # of destinations, but can't reproduce it consistently). I also have had issues with the first note of any sequence randomly transposing itself to the same interval of the highest octave. This happens after a couple minutes of a sequence running, but again, isn't happening every time I run a sequence for that length of time. The other issue I've been experiencing is when adding a destination to the aux envelope it sometimes applies itself across all patches in that program and needs removed manually per patch, or the unit needs to be turned off and on. Anyone else having these particular issues?
No but they sound non-minor and worth reporting to Sequential. That Aux Env issue sounds particularly strange.
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I like the way the Moog One handles this, the destination parameter’s knob simultaneously functions as the amount control while holding the destination button.
Yep you lose visibility of the original value of you’re programming a new patch but it’s worth the trade off for the ease.
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It would be spectacular to have the ability to randomize and/or offset the ratcheting amount and location. Example: I have a 64-step sequence that could really be livened up this way, such as by making ratcheting a mod destination, having the ability to connect an LFO and so on and so forth.
+1 for making Seq Ratcheting Offset a mod destination :) Also, Seq Velocity Offset and Seq Duration Offset as mod destinations would be most excellent additions.
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I’d like the output volume (VCA) to be a modulation destination. We can access it for tweaking the loudness of a patch, but I have a use case that does not cover.
If I apply distortion, say by controlling the amount with the slider, doing so has the side effect of increasing the loudness. But without a modulation destination I can compensate with a negative amount I can’t achieve a constant loudness.
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I’d like the output volume (VCA) to be a modulation destination. We can access it for tweaking the loudness of a patch, but I have a use case that does not cover.
If I apply distortion, say by controlling the amount with the slider, doing so has the side effect of increasing the loudness. But without a modulation destination I can compensate with a negative amount I can’t achieve a constant loudness.
That’s the deceptively named VCA Amount
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I like the way the Moog One handles this, the destination parameter’s knob simultaneously functions as the amount control while holding the destination button.
Yep you lose visibility of the original value of you’re programming a new patch but it’s worth the trade off for the ease.
but then you can easily recover that value via the screen I presume and set the knob back to that position, especially if in pass-thru knob mode.
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Dimmable LEDs on the front panel would be great (or did I miss this setting hidden someplace?)
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No but they sound non-minor and worth reporting to Sequential. That Aux Env issue sounds particularly strange.
Thanks! I'll pass this along
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Envelope latch, this would be extremely useful when looping envelopes
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I’d like the output volume (VCA) to be a modulation destination. We can access it for tweaking the loudness of a patch, but I have a use case that does not cover.
If I apply distortion, say by controlling the amount with the slider, doing so has the side effect of increasing the loudness. But without a modulation destination I can compensate with a negative amount I can’t achieve a constant loudness.
Yeah, the only mod destination is the "Envelope VCA Amount"... I have run into this issue before as well.
Some other Seq instruments do have a separate destination for the VCA Volume (akin to the difference between targeting Filter Cutoff directly vs Envelope Filter Amount) It's useful for some scenarios to be able to target the VCA volume directly, and not go through the Env Amount... for drones and tremolo type of effects, as well as some other use cases.
+1 for adding VCA Volume as a Mod Destination
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Found a bug with Clock Sync LFO + Arp:
When you have an Non-Clock Sync'd LFO assigned to anything, and engage the ARP, the LFO behaves as you would expect: a free running LFO (assuming LFO wave reset is off)
However, if you turn on clock sync, then the LFO no longer behaves like a free running LFO... its forced into a wave reset type of behavior (even though wave reset may be set to off)
If you play a Clock Sync'd LFO without the ARP it works as intended (free running without wave reset, but clock sync'd), but as soon as ARP is engaged it is forcing the LFO into wave reset type of behavior.
This causes weird glitches in the sound when using the ARP with LFO for a variety of destinations.
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Found a bug with Clock Sync LFO + Arp:
When you have an Non-Clock Sync'd LFO assigned to anything, and engage the ARP, the LFO behaves as you would expect: a free running LFO (assuming LFO wave reset is off)
However, if you turn on clock sync, then the LFO no longer behaves like a free running LFO... its forced into a wave reset type of behavior (even though wave reset may be set to off)
If you play a Clock Sync'd LFO without the ARP it works as intended (free running without wave reset, but clock sync'd), but as soon as ARP is engaged it is forcing the LFO into wave reset type of behavior.
This causes weird glitches in the sound when using the ARP with LFO for a variety of destinations.
I think thats the bug I reported in July, I found an odd solution to it, IIRC on the sequencer parameter page turn restart off, weird but it works.
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I think thats the bug I reported in July, I found an odd solution to it, IIRC on the sequencer parameter page turn restart off, weird but it works.
Thanks for the note, Moho!... this *partially* solves the issue, and sheds some more light on what's happening. By setting Seq Restart to Off, that does prevent the Clocked LFO from resetting on every arp note, which is better behavior, but it still does reset on every first Arp note on, even though wave reset is off on the LFO, which makes it not free running.
There is definitely some complexity here... I can see from a programming standpoint, this may be a can of worms... the interplay between ARP, Sequencer, and Ext MIDI Input start/stop messages creates an array of possible inputs and sync behaviors.
I think the most holistic solution might be a feature request to add one more On/Off bit associated with each LFO, which would be similar to WAVE RESET -- But instead of determining whether the LFO is reset on a key press, it determines whether the LFO should be reset on the Clock Start event.
So, LFOs would have two different reset options: LFO WAVE RESET (On/Off) and LFO CLOCK RESET (On/Off).
- If Clock Reset is set to ON, it would behave exactly as it does now, with the interplay with Seq Restart as Moho pointed out.
- If Clock Reset is set to OFF, the Clocked LFO would ignore all Clock Start Messages (from ARP/Seq/Ext MIDI), and just be set to a timing that is equivalent of the BPM/Division... it would be free running, unless wave reset is used to sync to new key presses.
.. just thinking out loud... It would be nice to be able to have the ability to have a Clock Sync LFO that is still free running. I have several patches where I map a clocked LFO to Panning, to create 4-8 bar repetitive stereo field motion... but want it to be free running... when it resets, there are artifacts/glitches in the sound.
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My Feature Request:
1. LFO Slew Rate in mod matrix
2. Sequencer per step glide
3. Sequencer direction / offset / reset modulable by CV in or mod matrix
4. Trigger aux envelope with CV in instead of tied in with midi note
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My Feature Request:
1. LFO Slew Rate in mod matrix
2. Sequencer per step glide
3. Sequencer direction / offset / reset modulable by CV in or mod matrix
4. Trigger aux envelope with CV in instead of tied in with midi note
Make sure Sequential knows of your requests. Don't presume they read every forum post, because they don't.
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Sequencer rhythm slop/humanizing would be awesome
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Sequencer rhythm slop/humanizing would be awesome
Sequencer does have "Swing" which loosens the groove... I often set it at 51-52% even when I want a fairly locked in / syncopated groove... higher values of course result in lots of swing.
If we were to get Mod Destinations added for Seq Velocity and Seq Duration offsetting, it would be possible to add in more random variance by routing a random LFO to those sources... that would give some more humanizing variance.
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I would really nice to have a "knob" representation of current values, similar to Prophet 12.
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Osc All ShapeMod
+++
I'm missing this quite often.
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I would really nice to have a "knob" representation of current values, similar to Prophet 12.
Maybe additional explanation regarding this...
- I don't really care about absolute values, but often it is nice to have a general understanding where we are: e.g. 40% or 11 o'clock. Especially for encoders.
- Pro 3 uses different ranges for particular values, e.g. attack vs cutoff.... thus, a "knob" representation would help here as well.
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New guy here with an SE. This may be one of the coolest layouts in this footprint I have ever owned. I'll probably get torn up and down for this request but I'll have a go. Since Osc 3 is indeed digital and really sounds great, would it be possible to have a mode setting to make that one go fullly polyphonic for say 4 notes ? Since this is monotimbral and used to record track by track, it would be great to continue with this single synth when a track calls for more of a fully poly situation.
Just a thought. I wish more and more synths were built and designed as nice as the 3 SE !!
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New guy here with an SE. This may be one of the coolest layouts in this footprint I have ever owned. I'll probably get torn up and down for this request but I'll have a go. Since Osc 3 is indeed digital and really sounds great, would it be possible to have a mode setting to make that one go fullly polyphonic for say 4 notes ? Since this is monotimbral and used to record track by track, it would be great to continue with this single synth when a track calls for more of a fully poly situation.
Just a thought. I wish more and more synths were built and designed as nice as the 3 SE !!
If it were 5 voices of polyphony it would need 15 more filters and 5 more VCAs—not to mention all of the digital controls like mults, LFOS, envelopes, etc.
But I’m guessing some form of poly version of this will come out—sort of like the Pro-2/Prophet 12
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If it were 5 voices of polyphony it would need 15 more filters and 5 more VCAs—not to mention all of the digital controls like mults, LFOS, envelopes, etc.
But I’m guessing some form of poly version of this will come out—sort of like the Pro-2/Prophet 12
I figured as much. I thought maybe it would not have to involve multiples coming from a digital osc but you are right now that I think of it, since the filter, env, etc are analog, there would need to be multiples of everything.
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I'd like to be able to assign one of the CV Ins to be a gate input.
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Please... filter tracking glide.
+1 to this, and pitch bend also. (The mod matrix doesn't heed pitch bend range.) And an option for tuned feedback to track both. (I do like it without tracking sometimes, detuning the oscs vs. the tuned feedback makes nice gnarly sounds.)
I also wish that legato playing would reset the envelopes to the decay stage, rather than staying in sustain. Normally this makes no difference, but when velocity sensitivity is enabled, as-is, the envelopes jump to the new sustain levels, causing clicking. Even if I adjust the velocity curves and play carefully, things like glissandos sound really bad. Resetting to the decay stage allows for a smooth transition between the old and new sustain levels.
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One more wish: release velocity as a mod source. I find this useful to modulate the release envelope of basses.
Using release velocity for envelope velocity sensitivity on a legato note release would be nice too, to simulate pull-off dynamics of a bass guitar. (Currently I think the released-to note's original velocity is simply reused.)
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Please... filter tracking glide.
+1 to this, and pitch bend also. (The mod matrix doesn't heed pitch bend range.) And an option for tuned feedback to track both. (I do like it without tracking sometimes, detuning the oscs vs. the tuned feedback makes nice gnarly sounds.)
I also wish that legato playing would reset the envelopes to the decay stage, rather than staying in sustain. Normally this makes no difference, but when velocity sensitivity is enabled, as-is, the envelopes jump to the new sustain levels, causing clicking. Even if I adjust the velocity curves and play carefully, things like glissandos sound really bad. Resetting to the decay stage allows for a smooth transition between the old and new sustain levels.
Is this last idea even possible? The decay stage is time-based whereas sustain is level-based. Is the idea that velocity would scale to the time point in the decay stage so that maximum velocity would set the envelope to the beginning of the decay stage, middle velocity to the mid-point, minimum velocity to the very end of the decay stage? If this could be implemented it would be pretty cool.
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Resetting to the decay stage allows for a smooth transition between the old and new sustain levels.
Is this last idea even possible? The decay stage is time-based whereas sustain is level-based. Is the idea that velocity would scale to the time point in the decay stage so that maximum velocity would set the envelope to the beginning of the decay stage, middle velocity to the mid-point, minimum velocity to the very end of the decay stage? If this could be implemented it would be pretty cool.
The way I've usually seen (basic) ADSR implemented is, it tracks the stage of the envelope (A, D, S, or R) separately from the envelope level (i.e. 0-100%). Which stage you're in determines only what the "target" level is (attack = 100%, decay/sustain = set by the S knob, release = 0%) and the envelope slope (set by the A, D, and R knobs). The envelope generator always acts to move the current level toward the target level at the selected slope.
So, re-entering the decay stage doesn't change the level per se, it just sets the generator back to a state where it will move the current envelope level toward the sustain value at the decay rate. In the case of my suggested enhancement, the "current" level is the sustain level of the previous note (assuming it reached that stage), resulting in a smooth transition to the sustain level of the new note. No special math is needed, just changing states in a state machine.
(I'm actually a bit surprised the Pro 3 seems to distinguish between decay and sustain stages, as I'm not sure it's strictly necessary for the type of basic ADSR the Pro 3 has. If the current envelope level has reached the sustain level, the decay stage should just leave it unchanged anyway.)
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I'd like to see Wavetable number as a modulation source in order to do some wave sequencing on the sequencer.
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"Saved value" shown when a knob is turned.. Either that or a dot like on the P6..
Don't know if its viable with the architecture of the synth, but the ability to assign sequences to individual oscillators would be neat. Similarly, the ability to assign different filters to individual oscillators (concurrent filters being used) would make it a formidable alternative to a eurorack setup.
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Don't know if its viable with the architecture of the synth, but the ability to assign sequences to individual oscillators would be neat.
Pro 3 does support paraphonic sequencing (tracks 1-3 control oscs 1-3 individually, with independent lengths); page 67 of the manual. Is this different?
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Pro 3 does support paraphonic sequencing (tracks 1-3 control oscs 1-3 individually, with independent lengths); page 67 of the manual. Is this different?
Ah cool, thanks! I'm still trying to get my head around sequences/tracks/destinations.
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I'd like to see FX that don't click and pop >:(
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Some of these may have been mentioned in other threads in the past, but:
Patch Lock:
It would be cool if there was a way to get an Inverse of the Seq Lock function. ie: You dial up a patch / sound you like, and then can press some key combo (ie: Seq Lock + Slew) and it would go into a sort of Patch Lock mode where you can dial through other sequences for that locked patch/sound.
Arpeggio Upgrades:
1. If there's a way to integrate Ratchets into the Arpeggio functionality, would be awesome. I use Arp a lot with Gated/Trigger stepping (more than I use Seq play), and having a way to split the arp notes into ratchets based on step would be great.
2. Add UpDown-RepeatTopBottom as an additional Arp pattern... would round out the other Arp pattern options - is helpful for some rhythmic patterns with even amount of keys held.
Arp and Seq Trigger Probability Per Step:
1. Add some way to set note trigger probability per step in arp and seq modes. 0% - 100% (default)... set a step to 50% and it randomly doesn't play that step half the time. Would be great for more procedural patterns, and could add a lot of interest.
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i would love a dimming feature for all pannel leds
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Sequence transpose as a mod destination
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Just had my SE for 24 hours now and it will take some time to work through all the features this beasty has. The only thing I was spoiled with, was to see the waveform morph on the Piston Honda MK3 and this display seems even much bigger. So i’m curious if that ever will be possible. To see the waveform of oscillator 3 morph in the display? :o
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Another brain wave incoming:
- Make the A/B/C/D part of the sequencer a modulate able destination PLEASE!
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My only request is live recording notes in the sequencer.
In LOVE with The pro 3!
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Live recording!! 8)
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If you guys want live recording, can you give me an example of a synth that does this right?
I get the sense it will have to be like a live looper, but with our limited interface determining which parameters and parts of the workflow are most important will be difficult. You don't have a click track so you have to have an external sound source to sync against, so a lot of things that feel like they should be 'simple' won't be
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If you guys want live recording, can you give me an example of a synth that does this right?
I get the sense it will have to be like a live looper, but with our limited interface determining which parameters and parts of the workflow are most important will be difficult. You don't have a click track so you have to have an external sound source to sync against, so a lot of things that feel like they should be 'simple' won't be
Hey yeah a live looper would be great. Syths that do it really good are Mc 707 Roland, and I also tried the live recording from korg mini Logue xd. Both are good. Thanks for the fast answer! ;)
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If you guys want live recording, can you give me an example of a synth that does this right?
I get the sense it will have to be like a live looper, but with our limited interface determining which parameters and parts of the workflow are most important will be difficult. You don't have a click track so you have to have an external sound source to sync against, so a lot of things that feel like they should be 'simple' won't be
Roland System 8. Arturia Polybrute.
But yes, the lack of a click track would make it pointless unless you can also implement a nudge function as well.
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What I would like to see, and should be fairly easy to implement would be the ability to "arm" the next sequence. Right now when alternating between sequences A,B,C,D it automatically switches over. It be nice to be able to have a mode where for example sequence A is playing and you hit "B" and sequence A runs it's complete length and then B plays afterwards.
A "hands off" song mode would be nice to
"PART "
"SEQUENCE:
"REPEATS"
So example
"PART 1"
"SEQUENCE B"
"REPEATS 2"
"PART 2"
"SEQUENCE A"
"REPEATS 1"
"PART 3"
"SEQUENCE B"
"Repeats 2"
etc but that might be too complicated to implement.
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If there's a way to generate a simple digital click guide (selectable option in menu) while recording, that would be optimal to have... but not required. It would just be dependent on being slave to a drum machine or other master source... but that would be fine. I'm guessing that, like me, many others have their Pro3 permanently slaved to a drum machine, DAW or other clock source anyways.
A couple thoughts on potential implementation:
1. Consider using the Footswitch Pedal Input (or Sustain input) as the "Recoding Activator" for Real Time Recording, when the Realtime Mode is Selected in menu and the sequencer clock is running.
2. Have two recording arm modes (selectable in menu option, or maybe a shortcut with Record button and something to easily switch between the two):
a. Continuous Overdub Mode: As long as the Footswitch is held down, it will continuously Overdub notes, looping around and around for the entire sequence length... each pass could potentially add new notes to the sequence.
b. Punch-In Mode: In this mode, the Footswitch pedal would perform a "punch in" recording mode (ie: Erases/Overwrites whatever notes are currently in the sequence, and replace them with any new notes played in real time. If you held down the footswitch in punch mode, and didn't play anything, it would erase that section... you could, on the fly, press down on foot pedal, and replace the whole sequence live over a measure and then release the punch mode and it would just play the new verse you recorded.
Having both overdub and punch-in modes would be useful in this type of monosynth context... allowing build up of a repeating sequence, and ability to switch up the verse on the fly.
To me, there are many other Feature Requests in this thread that I would prioritize over realtime recording though (more mod destinations, glide in sequencer, probability in seq, more arp patterns, paraphonic note priority modes, etc) ... assuming its going to be a significant project to undertake. For looping with the Pro3 (and other synths), I usually just use a dedicated Looper Unit (like the BOSS RC series units I'm currently using, or a MIDI recording sequencer like MC-707, MPC or Elektron unit) But, yeah, would be cool to have realtime recording as an option.
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Hey the live recording function
Doesnt need a clicking track. I personally always sync externaly to a drum track. The live looping is just more versatile with síncopated patterns like in funk disco or some hose tracks. Gretings and lot of love!
If you guys want live recording, can you give me an example of a synth that does this right?
I get the sense it will have to be like a live looper, but with our limited interface determining which parameters and parts of the workflow are most important will be difficult. You don't have a click track so you have to have an external sound source to sync against, so a lot of things that feel like they should be 'simple' won't be
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If you guys want live recording, can you give me an example of a synth that does this right?
Arturia Polybrute.
+1 on the Polybrute implementation. You can arm it and it will stay armed until you play the first note. The first note initiates recording:
- Play sequence
- Hit record
- Recording start when first note is played
- Recording stops before that step
If it works like this on the Pro 3 then the user can:
1) use an external metronome, drum machine, or other sound source
or
2) use the step lights to see when to start playing. Since recording doesn't start until the first note is pressed, the user can let the sequence play through completely a few times before even starting to record. So a nudge function wouldn't be necessary since the user can just start recording on the first bar. If they start on another bar, that's their fault!
or
3) use the sequence already programmed as the metronome. This method is a bit trickier because it would probably necessitate having an overwrite mode where not playing a note on a step erases the note and an additive mode where notes are added to the sequence but not removed.
Having said all this, I second creativespiral's opinions on other features. Realtime records is definitely a lower priority for me than slew control in the sequencer, etc.
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In the effect section - Delay and BBD Delay: Synchronization function.
Originally the sync cannot exceed 16, is it possible to increase it to 128 or less anyway?
Thank you
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Two quick ones:
1. The ability to hold an aux envelope's destination menu soft button to route modulation would be handy and tie in with the UI language
2. Randomise step values. It'd be nice to use the soft knobs to dial in a range of values, define an offset and choose the number of steps to affect too.
Admittedly I sent no. 2 over to Sequential already, but I'm curious to hear what people think of it. I imagine it'd be a powerful way to generate pseudorandom sequences on the fly
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Still want a legato track to overlap notes in the sequencer.
This for me would be the greatest thing.
Pleeeeeaaassssse
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Or the duration in the sequencer jumps to slide of it goes over the limit
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As a new owner I’m just beginning to explore the synth but here are some first points on my personal wishlist:
- The state of the Slider Latch button should be saved with the respective program (or even generally).
- Saving of a program: It would be very helpful if I could listen to the existing program(s) that I’m going to overwrite when selecting a destination for this new program. I can only see the name of the program.
- A "nice-to-have" would be if the "initial sound" settings could be changed according to personal requirements or taste.
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As a new owner I’m just beginning to explore the synth but here are some first points on my personal wishlist:
- The state of the Slider Latch button should be saved with the respective program (or even generally).
- Saving of a program: It would be very helpful if I could listen to the existing program(s) that I’m going to overwrite when selecting a destination for this new program. I can only see the name of the program.
- A "nice-to-have" would be if the "initial sound" settings could be changed according to personal requirements or taste.
I agree with points 1 and 3.
For point 2, this feature already exists: use the “compare” button as detailed on page 11 of the user manual.
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For point 2, this feature already exists: use the “compare” button as detailed on page 11 of the user manual.
Thanks, I’ll check this!
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Hey would it be possible to give us miliseconds for unsynced delay and predelay of the reverb?
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Forgive me if this is already on this long and cool thread:
I love paraphonic synths and this is the best one I've ever had. There's a feature that was hardwired into my Arp Oddy and Dreadbox Erebus II that I wish was an option here (seems like it would be a firmware thing?)
I wish we had the option of choosing, when three notes are played in paraphonic mode, what defaults as the lowest, middle, and top voice. the way they're just automatically handed out is of course cool and makes for a lot of welcome surprises, but if you're doing something like playing low notes and little two-note pads, it would be great if you could dependably have the lowest note have the same shape and modulations and such. Same for if you're playing a lead line with two notes in the left hand.
I know this would not always work out as you moved around the keyboard, and I think the occasional paraphonic switcheroo would make for welcome weirdness, but being able, as a rule to, say, have two vibrato'd saw waves up top and an osc3 triangle shifted an octave down as your lower note would go a long way.
While we're at it, would be cool if instead of always going in order, the oscillators could be deployed in a random order, including repeating the same one... this would add even another layer of randomness that could further add interest to sequences.
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Forgive me if this is already on this long and cool thread:
I love paraphonic synths and this is the best one I've ever had. There's a feature that was hardwired into my Arp Oddy and Dreadbox Erebus II that I wish was an option here (seems like it would be a firmware thing?)
I wish we had the option of choosing, when three notes are played in paraphonic mode, what defaults as the lowest, middle, and top voice. the way they're just automatically handed out is of course cool and makes for a lot of welcome surprises, but if you're doing something like playing low notes and little two-note pads, it would be great if you could dependably have the lowest note have the same shape and modulations and such. Same for if you're playing a lead line with two notes in the left hand.
I know this would not always work out as you moved around the keyboard, and I think the occasional paraphonic switcheroo would make for welcome weirdness, but being able, as a rule to, say, have two vibrato'd saw waves up top and an osc3 triangle shifted an octave down as your lower note would go a long way.
While we're at it, would be cool if instead of always going in order, the oscillators could be deployed in a random order, including repeating the same one... this would add even another layer of randomness that could further add interest to sequences.
+1 This would be great to have some more control over paraphonic voice/osc allocation... this has been discussed a couple times on the forum. Either through a Key Split type of configuration, Nearest Key priority, or Hold 1, Hold 2, Oldest 1, Oldest 2 priority modes.
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As a new owner I’m just beginning to explore the synth but here are some first points on my personal wishlist:
- The state of the Slider Latch button should be saved with the respective program (or even generally).
- Saving of a program: It would be very helpful if I could listen to the existing program(s) that I’m going to overwrite when selecting a destination for this new program. I can only see the name of the program.
- A "nice-to-have" would be if the "initial sound" settings could be changed according to personal requirements or taste.
I agree with points 1 and 3.
For point 2, this feature already exists: use the “compare” button as detailed on page 11 of the user manual.
The compare feature has evolved a bit and didn't work fully in the earlier versions of the OS. I think it was possible to listen to the stored patches but not see their names. In the latest version you can both see the name and listen to a patch before you choose to replace it.
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Not sure if possible but I'd love for the external audio input to be a selectable setting in misc params.
I'd like to keep a cable plugged into the ext input but still be able to use the EXT audio knob for feedback without unplugging that cable. On a patch by patch basis.
+1, this would be very helpful, please
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Feature Request: Remove (or just extend) the upper limit on Filter Drive, when adding a separate filter drive routing in mod matrix.
It would be nice if we add a modulation of DC > Filter Drive, that could be added to the Filter Drive knob to extend the total amount of filter drive available if using just a single oscillator. (Right now, there appears to just be a hard limit at 128 value, but if it's possible with the circuit, it would be nice to be able to push the drive past a total value of 128 -- if it could be extended with mod matrix routing to go up to a combined value of 192 or 256, that would be awesome) Assuming there's not a hardware limitation to the drive/limiter circuitry.
It wouldn't affect any existing patches, but would allow for really pushing the overdrive harder to achieve similar results to Moog's Multidrive on Subsequent 37, when using a single oscillator. Note: Subsequent 37 extended the max drive amount beyond previous generation Sub 37.
https://youtu.be/fS8syO7u0fY?t=288
+1 great idea
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Add the Tape Delay's from the Take 5 to the FX 8)
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Don't know if this is possible to add at this point but I thought it worth a go.
1. I would be great if the ability to control filter spacing on State Variable and BP filters could be added (potential + - 127 so effectively be able to turn BP in notch) and be able to assign modulation to the filter spacing eg. LFO and Velocity...
(I thought a good way to control this would be to hold the State Variable / BP button and using the state pot to change the spacing)
2. holding both Low Pass filters button activates them in parallel. (or filter routing options in a menu somewhere)
I really love making my synths talk and a great way todo this is by having 2 resonant filters woking in and out of each other.. 8) 8) 8)
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I don't think I've added anything to this post. I've had my Pro 3 for nine months now, and my pet feature requests would be:
(1) A proper CV gate input, assignable to one of the CV ins. This would really round out the Pro 3's suitability as a CV hub.
(2) Switching of the sequence (A/B/C/D) via MIDI. This might be accomplished with an unused controller message.
(3) Sample and Hold. This is one feature from modular that I don't understand why hardwired synths don't have. I think the most elegant way to accomplish it on the Pro 3 would be to use the current S&H LFO shape, but then have an S&H source selection on the LFO Control tab, with Random being the default source.
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Hey was already sending it but I'll try it again. Please ad live recording of notes to the sequencer. That would make the pro 3 a terminator!! Thanks !!!❤️❤️❤️ pro 3❤️❤️❤️.
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Hi new here, and happy owner of the pro 3 since a couple of days, loving it!
Some feature requests:
- slower LFO options (for slow filter opening buildups, 256 bars, why not...)
- more LFO shapes (check erica synths DB01 for inspiration)
- lower gain staging of VCO levels and env amount in the basic program - 127 as a starting point is definitely not the sweet spot of this synth..
- grunge on/off as a mod destination (would work great with aftertouch)
- probabilities and 1/4, 2/3 elektron type conditional triggers
- live recording of sequence (like on korg monologue)
That's it for now, thanks ;D
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Don't now if it's feasible, but mapping an LFO to sequences ABCD would be really cool!
value 1-31=A, 2-63=B, ...
A S&H could randomize the 4 sequences, a faster synced triangle and a slower triangle combined would be more repetitive, but evolve over time, ...
Then map the touch slider to the LFO frequency for a fill?
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Pressure as a mod destination - or a standard slower attack and release on the pressure values..
I find the aftertouch quite 'jumpy', it's discussed here as well. https://forum.sequential.com/index.php/topic,5355.msg52570.html#msg52570
I'ld like to be able to assign an aux envelope to pressure, so it gradually kicks in and out. It would allow for more expressive playing. Now you have to be moderate with the pressure values. With higher amounts in the mod matrix, you get jumps in the sound.
Mapping the aux env to the specific modulations containing 'pressure' as source can help with the attack phase (although the env doesn't work if you apply aftertouch a second time without releasing the key, so not useful for drones), but does not work for the release.
Pot Mode: Relative, Passthru, Jump - a fourth interpolated option.
Only options for live playing are passthru and relative. Both are not very ergonomic...
Passthru is a lot of knob turning. And if you turn back to 1 instead of 0 it doesn't pick up (happens all the time...)
Relative is far from ideal, especially if the pot position and value are very different.
An interpolated option that combines passthru and relative with some clever interpolation would be great.
Ideally it would behave like passthru when values are close and you pass thru.
If values are near, and you turn in the opposite direction, it would behave like relative, but with interpolation. E.g. pot is at 5, value at 0, you turn the pot clockwise, and it interpolates between 5-63. So if you arrive at 12 o'clock position, the values match. Could be exp or log curves as well...
If values are opposite, it kicks in at 12 o'clock and interpolates towards 0 or 127..
This synth is very clever and ergonomic in a lot of aspects, so I think stuff like this should be ironed out to make the process smoother and the result more musical.
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Lots of good ideas here. Can't make any promises but definitely a lot of solid workflow enhancements I'll think about
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Lots of good ideas here. Can't make any promises but definitely a lot of solid workflow enhancements I'll think about
Yes! Thank you
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Have submitted most of these before, though adding a few additional items here.
Summarizing what I see as the biggest potential gains for firmware update:
1. SEQ Mod Destinations
More Mod Destinations for real-time Sequence Mangling:
a. Seq Velocity Offset
b. Seq Duration / Step Gate Offset
c. Seq Ratcheting Offset
d. Seq Last Step Offset
The above destinations would allow for doing some really cool sequence mangling / sequence variation via mod wheel, slider, pedal, or other mod sources (lfos, envelopes, etc) For live control of note sequences, it would allow much more interactivity and variation.
2. Other Mod Destinations
For other real-time modulation:
e. Glide Time
f. Arp Range
g. Arp Repeats
h. Clock Divide
i. Global BPM Offset
j. Osc ShapeMod ALL
k. Osc Level ALL
l. Direct VCA Amount (for drones)
m. LFO Slew Amount
n. Sequencer A|B|C|D switching (switch at cutoff points every 32 digits)
The above mod destinations would allow for more realtime control or sequence control over key parameters. The Osc Shape All and Osc Volume All would be a convenience rather then spending the time and mod slots to route three independent oscs.
3. ARP/SEQ Probability
Adding Probability as a Sequencer and/or Arpeggiator. It would be really cool to be able to set a probability between 0% and 100% (default) for each step in the sequencer. If a RND(100) >= Probability then the step plays, otherwise it skips the step.
4. Seq Step Glide
Ability to set Glides between steps in Sequences... this has been asked by many, and would be very cool.
5. Osc Beat Frequency
Add Osc Beat Frequency option... (like available on Moog Sub 37) - available either in menu, or as mod destination. This is a cool option that combines Key Tracking with Osc Frequency to make it so the beating frequency between two oscillators stays the same between different keys. When it's tuned in, and sync'd to drums, it can be really cool sounding.
It requires a specific exponential key tracking to work over multiple octaves... unfortunately, it can't be done with mod matrix currently... I'm not sure why. I thought it would work with Key Tracking to Osc Freq 2, but seems the key tracking math is not what's required for a multi octave range.
6. New ARP Mode
Add an additional ARP mode option: Up-Down REPEAT
With Up-Down it goes:
1-2-3-4_3-2-1-2_3-4-3-2_1-2-3-4
With Up-Down REPEAT it goes:
1-2-3-4_4-3-2-1_1-2-3-4_4-3-2-1
7. Envelope ADR Contour Shaping
Maybe a long shot: but Envelope ADR contour adjustments would be great for Pro 3 (and all Seq instruments... if you can develop the IP for it and reuse for envelopes on all instruments) Being able to adjust from concave -> linear -> convex for the Attack, Decay and Release makes the envelopes so much more versatile. You can get super snappy sounds when you want em for bass or leads, or long smooth transitions for pads and other sounds.
8. Paraphonic Voice Stealing Control
Add some control for Paraphonic Osc stealing. Either implement: Hold 1 Lowest, Hold 2 Lowest, Hold 1 Oldest, Hold 2 Oldest voice control, or something based on keyboard split points, where you set a key (or two key split points), and Osc 1 will be prioritized for the lowest section, Osc 2 for the middle and Osc 3 for the top. (while still allowing them to be available for any key section if not already reserved/held). The best implementation might have two split points, and a toggle on/off for each of the three oscillators that indicated whether they only will be exclusively used if the key is in their split, or if they will also be available if unused for other key sections.
OSC 1 EXCLUSIVE: True/False
SPLIT KEY 1: C3,
OSC 2 EXCLUSIVE: True/False
SPLIT KEY 2: C4,
OSC 3 EXCLUSIVE: True/False
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I appreciate the list!
The chip issues and hardware supply chain problems have taken all of our time lately so I don't want to give you guys an expectation that I'll be able to work on feature additions like I was able to in the last few years. We are all doing our best to deal with the new challenges and keep things moving. The intention is there (the Pro3 is easily my favorite monosynth we have ever done!) but I gotta find the time.
Have submitted most of these before, though adding a few additional items here.
Summarizing what I see as the biggest potential gains for firmware update:
1. SEQ Mod Destinations
More Mod Destinations for real-time Sequence Mangling:
a. Seq Velocity Offset
b. Seq Duration / Step Gate Offset
c. Seq Ratcheting Offset
d. Seq Last Step Offset
The above destinations would allow for doing some really cool sequence mangling / sequence variation via mod wheel, slider, pedal, or other mod sources (lfos, envelopes, etc) For live control of note sequences, it would allow much more interactivity and variation.
2. Other Mod Destinations
For other real-time modulation:
e. Glide Time
f. Arp Range
g. Arp Repeats
h. Clock Divide
i. Global BPM Offset
j. Osc ShapeMod ALL
k. Osc Level ALL
l. Direct VCA Amount (for drones)
m. LFO Slew Amount
n. Sequencer A|B|C|D switching (switch at cutoff points every 32 digits)
The above mod destinations would allow for more realtime control or sequence control over key parameters. The Osc Shape All and Osc Volume All would be a convenience rather then spending the time and mod slots to route three independent oscs.
3. ARP/SEQ Probability
Adding Probability as a Sequencer and/or Arpeggiator. It would be really cool to be able to set a probability between 0% and 100% (default) for each step in the sequencer. If a RND(100) >= Probability then the step plays, otherwise it skips the step.
4. Seq Step Glide
Ability to set Glides between steps in Sequences... this has been asked by many, and would be very cool.
5. Osc Beat Frequency
Add Osc Beat Frequency option... (like available on Moog Sub 37) - available either in menu, or as mod destination. This is a cool option that combines Key Tracking with Osc Frequency to make it so the beating frequency between two oscillators stays the same between different keys. When it's tuned in, and sync'd to drums, it can be really cool sounding.
It requires a specific exponential key tracking to work over multiple octaves... unfortunately, it can't be done with mod matrix currently... I'm not sure why. I thought it would work with Key Tracking to Osc Freq 2, but seems the key tracking math is not what's required for a multi octave range.
6. New ARP Mode
Add an additional ARP mode option: Up-Down REPEAT
With Up-Down it goes:
1-2-3-4_3-2-1-2_3-4-3-2_1-2-3-4
With Up-Down REPEAT it goes:
1-2-3-4_4-3-2-1_1-2-3-4_4-3-2-1
7. Envelope ADR Contour Shaping
Maybe a long shot: but Envelope ADR contour adjustments would be great for Pro 3 (and all Seq instruments... if you can develop the IP for it and reuse for envelopes on all instruments) Being able to adjust from concave -> linear -> convex for the Attack, Decay and Release makes the envelopes so much more versatile. You can get super snappy sounds when you want em for bass or leads, or long smooth transitions for pads and other sounds.
8. Paraphonic Voice Stealing Control
Add some control for Paraphonic Osc stealing. Either implement: Hold 1 Lowest, Hold 2 Lowest, Hold 1 Oldest, Hold 2 Oldest voice control, or something based on keyboard split points, where you set a key (or two key split points), and Osc 1 will be prioritized for the lowest section, Osc 2 for the middle and Osc 3 for the top. (while still allowing them to be available for any key section if not already reserved/held). The best implementation might have two split points, and a toggle on/off for each of the three oscillators that indicated whether they only will be exclusively used if the key is in their split, or if they will also be available if unused for other key sections.
OSC 1 EXCLUSIVE: True/False
SPLIT KEY 1: C3,
OSC 2 EXCLUSIVE: True/False
SPLIT KEY 2: C4,
OSC 3 EXCLUSIVE: True/False
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Would love the ability to determine the percentage of filter frequency per each oscillator and also the ability to bypass the filter all together. This would give 3 different levels of harmonics per note.
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One thing, that I hope could be fairly easy to implement, is some more parameters to control the noise source. If it is digital (which I assume) I'd like to see some control of colour, like a spectral tilt. I often miss the possibility to use a low frequency noise as a modulator. This was nice on the Pro-2 where you could set the colour of the noise source(s) and that this was also a modulation destination. Great source of nice grainy sounds without fizzyness!
Also a control of noise sparseness, which could be implemented using a simple comparator with an adjustable level. I have only seen this in the modular world but I think it is a nice way to create sounds which sound a bit like vinyl noise with pops and small impulses in them. Would also make for an interesting modulation source.
If the noise source is actually analogue in the Pro-3 this could be implemented as an extra waveform of Osc3. You can use the wavetables for noise-like sounds but they end up sounding rather metallic most of the time.
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Would love the ability to determine the percentage of filter frequency per each oscillator and also the ability to bypass the filter all together. This would give 3 different levels of harmonics per note.
This would only be possible with 3 filters. So unfortunately, it's not possible, as we only have 1.
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7. Envelope ADR Contour Shaping
Maybe a long shot: but Envelope ADR contour adjustments would be great for Pro 3 (and all Seq instruments... if you can develop the IP for it and reuse for envelopes on all instruments) Being able to adjust from concave -> linear -> convex for the Attack, Decay and Release makes the envelopes so much more versatile. You can get super snappy sounds when you want em for bass or leads, or long smooth transitions for pads and other sounds.
This one would be absolutely fantastic.
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Rythmical patterns for the ARP!
Since there are already 16 step buttons that are used to program the SEQ, they could also be used to create rythmical ARP patterns. The rest and tie functions used in the SEQ could also work for the ARP.
This would add a big amount of flexibility.
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Oh aren't you in for a surprise... you can trigger the sequencer with the arp
Rythmical patterns for the ARP!
Since there are already 16 step buttons that are used to program the SEQ, they could also be used to create rythmical ARP patterns. The rest and tie functions used in the SEQ could also work for the ARP.
This would add a big amount of flexibility.
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Oh aren't you in for a surprise... you can trigger the sequencer with the arp
Rythmical patterns for the ARP!
Since there are already 16 step buttons that are used to program the SEQ, they could also be used to create rythmical ARP patterns. The rest and tie functions used in the SEQ could also work for the ARP.
This would add a big amount of flexibility.
Thank you dear friend for your friendly participation. What you suggested, is a.ready clear to me. Indie already like this.
But triggering the ARP from the keyboard, with a single key, just plays back the pre-recorded sequence. It doesn’t changes the note intervals that you have recorded, it just transposes them, according which key you press.
But what I want to achieve - and what I already know from other synthesizers - is to play e.g. 3 notes chord on the keyboard and let the ARP break that chord into single tones played e.g. upwards, but take the rythmic information from the SEQ, including rests, ties and ratchets.
This is something completely different. Gives you way more flexibility. If you ever experienced this on other synthesizers before, you may not understand it in the first place.
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Ahhh... yet another extension I intended to do but had no time for. The sequencer wasn't given as much attention as I would have liked. I'll put that in the mind bank for improvements
You can do something similar if you use LFOs and envelopes on each step, but it definitely isn't easy given the current design choices
Oh aren't you in for a surprise... you can trigger the sequencer with the arp
Rythmical patterns for the ARP!
Since there are already 16 step buttons that are used to program the SEQ, they could also be used to create rythmical ARP patterns. The rest and tie functions used in the SEQ could also work for the ARP.
This would add a big amount of flexibility.
Thank you dear friend for your friendly participation. What you suggested, is a.ready clear to me. Indie already like this.
But triggering the ARP from the keyboard, with a single key, just plays back the pre-recorded sequence. It doesn’t changes the note intervals that you have recorded, it just transposes them, according which key you press.
But what I want to achieve - and what I already know from other synthesizers - is to play e.g. 3 notes chord on the keyboard and let the ARP break that chord into single tones played e.g. upwards, but take the rythmic information from the SEQ, including rests, ties and ratchets.
This is something completely different. Gives you way more flexibility. If you ever experienced this on other synthesizers before, you may not understand it in the first place.
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Would it be possible to add "Glide Rate" and the "Glide" toggle as a modulation destination? This would be so nice for 303 style bass sequences.
Also, how about a key modifier such as holding "play + mode" on the sequencer while pressing "fwd" or "rev" to nudge the sequence timing forward or backwards 1 step (and use this same combination of holding "play" + "mode" while adjusting the sequencer "divide" dial to adjust the nudge step interval).
A key modifier of holding "play + mode" could enable a transpose for the current selected sequence when turning the "note" dial adove the LED screen while "track sel" is active.
I would to find the functionality of a 303 style bass sequencer on the Pro 3. I know that many functions on the Pro 3 are much deeper in many ways, but it's the most basic functions that are the most important, especially for performing live.
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Would love the ability to determine the percentage of filter frequency per each oscillator and also the ability to bypass the filter all together. This would give 3 different levels of harmonics per note.
This would only be possible with 3 filters. So unfortunately, it's not possible, as we only have 1.
Well perhaps the work around is to have the third oscillator be able to bypass the filter entirely.
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Mod source for Morph which is available in the sequencer (not velocity?) unless im missing something and this actually is possible
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Please please please please please could you put:
Start points for the sequencer so we can create interesting loops.. so many times i have some interesting things and I would just like to loop them or start from a different place... it would be such a nifty addition to the sequencer!
Also - slew, im guessing it might have been a design choice, but i will add +1 for the request
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Please please please please please could you put:
Start points for the sequencer so we can create interesting loops.. so many times i have some interesting things and I would just like to loop them or start from a different place... it would be such a nifty addition to the sequencer!
Also - slew, im guessing it might have been a design choice, but i will add +1 for the request
I would love this feature, to be able to maybe push the start point and end point at the same time while pressing reset to define the section that plays. Like how you change the end point.
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Please please please please please could you put:
Start points for the sequencer so we can create interesting loops.. so many times i have some interesting things and I would just like to loop them or start from a different place... it would be such a nifty addition to the sequencer!
Also - slew, im guessing it might have been a design choice, but i will add +1 for the request
I would love this feature, to be able to maybe push the start point and end point at the same time while pressing reset to define the section that plays. Like how you change the end point.
Yeah exactly|!
When making weird complex sequences sometimes there is only one bit that works really well and it is a chore to capture that part when it could be so simple
(+ need slew)
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Please please please please please could you put:
Start points for the sequencer so we can create interesting loops.. so many times i have some interesting things and I would just like to loop them or start from a different place... it would be such a nifty addition to the sequencer!
Also - slew, im guessing it might have been a design choice, but i will add +1 for the request
And add the start & end points as mod destinations...that would be amazing (although admittedly complex to implement I should imagine)! :D
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Hello,
since Pro 3 OS 1.0.2.3 was a new feature introduced, called New Sequencer Double Tap Step Edit Record Mode. My new Pro 3 has the latest OS 1.2.0.4 . Every time I try to use this feature, the entries I made this way, were deleted after pressing the record button in order to leave this mode. Is this a known bug?
Thank you.
Oliver
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7. Envelope ADR Contour Shaping
Maybe a long shot: but Envelope ADR contour adjustments would be great for Pro 3 (and all Seq instruments... if you can develop the IP for it and reuse for envelopes on all instruments) Being able to adjust from concave -> linear -> convex for the Attack, Decay and Release makes the envelopes so much more versatile. You can get super snappy sounds when you want em for bass or leads, or long smooth transitions for pads and other sounds.
Not sure if I missed this or forgot I saw it but, I put this on a list too, and also came up with a way to do it for Decay. Should work for Attack too.
(If you find a better way let me know. This is the shortest version I could think of without using up an Osc or an Aux Env.)
Something like this...
LFO 3 > -80 > Env Filter Dec
Env LPF > -12 > LFO 3 Freq
-- with LFO 3 on Saw, Freq 20, Wave Reset On -- Filter Env A:0 D:76 S:0
Then...
Solved Longer Decay / more than 127 Decay value:
DC > -# > Env Filter Dec
-
7. Envelope ADR Contour Shaping
Maybe a long shot: but Envelope ADR contour adjustments would be great for Pro 3 (and all Seq instruments... if you can develop the IP for it and reuse for envelopes on all instruments) Being able to adjust from concave -> linear -> convex for the Attack, Decay and Release makes the envelopes so much more versatile. You can get super snappy sounds when you want em for bass or leads, or long smooth transitions for pads and other sounds.
Not sure if I missed this or forgot I saw it but, I put this on a list too, and also came up with a way to do it for Decay. Should work for Attack too.
(If you find a better way let me know. This is the shortest version I could think of without using up an Osc or an Aux Env.)
Something like this...
LFO 3 > -80 > Env Filter Dec
Env LPF > -12 > LFO 3 Freq
-- with LFO 3 on Saw, Freq 20, Wave Reset On -- Filter Env A:0 D:76 S:0
Then...
Solved Longer Decay / more than 127 Decay value:
DC > -# > Env Filter Dec
Dude! I found the short version! Just multiply it (by itself!) Even by just a bit!
(Curved Decay!!) - Gotta love this thing!
Env LPF > (+/- 1 to 16+) > Env Filter Dec
Edit: In fact, this is a proof for the need of higher resolution! I need data points in between the ones we have!
And DC (should be called "constant" or DC/constant), should also have both higher resolution and a higher top value. - Sometimes I use 2 DC entries to double the DC value. That must take extra CPU cycles. I should be able to use just one entry for 256, or 512 (or more) offset.
So, it (DC) should be twice as resolute and go twice as high (or more, for both).
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Recursive modulation gets really rough results... you can tame envelopes a bit more if you dedicate an aux envelope and fine tune the timings. But due to the multiple moving parts its a major pain to get good results.. and there are some serious limitations to what you can accomplish.
I wrote up an article a while back with my findings on Recursive Modulation on Pro 3:
https://www.presetpatch.com/article/Recursive-Envelope-Modulation-on-Synthesizers
Having Envelope ADR contour shaping (like on Deepmind or Moog One) makes it infinitely easier, and you can achieve a much wider range of envelope performance... any thing from super snappy percussive curves to elongated linear swells or fades. You can mimic the env performance of a variety of other synths from the past 50 years, and create totally unique sounds as well. Envelopes are really the heart of sound design, so it's a super nice option to have.
I don't really expect to see it on Pro 3, but would definitely like to see this as an option on future Seq instruments. If the envelopes are in the digital realm, its probably a code development / IP investment that can be reused on many instruments.
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Is there a reason Oscillator pan can't be added to the Osc Misc section? Since the Pro 3's output is stereo, it would be nice to have this option...even pan spread.
-
More Wishes: (or questions)
==== Sequencer:
- Can we get a mode with 2x32 step sequences? Instead of just 4x16 or 1x64... Seems reasonable.
- Can we get an sequence arrangement page? So I don't have to keep trying to hit the next button at the right time to make a "song" out of my parts? (Like this...)
A | B | A | B | C | A | B | D | (Repeat on/off?)
4 | 2 | 8 | 2 | 8 | 4 | 2 | 4 |
- Could we have multiple destinations for a Sequencer track?
==== Synth:
- Could the "State" dial be a Band Pass "Width" control, for the State-Variable BP mode?
- Could a Mod value be a multiplier?.. x0.5, x1.1, x1.2 ... instead of just addition?
(I can't remember where I wanted to use that.)
- Q: Why can I modify the Compare file? That seems wrong. That's messed me up a few times.
- Q: Does anybody else get lots of clicking when LFO-modding the Panning parameter?
- Envelope Delay as Mod destination! To offset notes a bit, for "feel". (Mentioned in another post)
- I'd like to have a Pressure curve with more "mid-range". It seems like it almost "switches" to full value. I really want a "slower" curve somehow.
- Envelope Release can make a difference even when it's flat (if decay has not yet finished) but you can't see it in the graph. Can there be a dot/gap before the Release line? (I asked earlier for Delay to be included in the graph display. And for the Envelope graph to flip upside-down when you set it negative.)
Well, that's it for now.
Loading the Add-On Wavetables and Programs just made the Pro3 about 25% cooler!
(And, apparently 25% more expensive! $1999 now!)
- E
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+1 for glide time as a mod destination
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Is there a reason Oscillator pan can't be added to the Osc Misc section? Since the Pro 3's output is stereo, it would be nice to have this option...even pan spread.
The oscillators need to be mixed together before being fed through one filter, so there is no way to pan them individually. If the three filters would have been setup so that they could have been used in parallel, that would have made it possible. But that does not seem to be the case.
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Is there a reason Oscillator pan can't be added to the Osc Misc section? Since the Pro 3's output is stereo, it would be nice to have this option...even pan spread.
The oscillators need to be mixed together before being fed through one filter, so there is no way to pan them individually. If the three filters would have been setup so that they could have been used in parallel, that would have made it possible. But that does not seem to be the case.
I suppose the work around is to have the sequencer pan the signal on a per step basis.
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Current tempo rather than showing EXT or--- would be nice, unless im missing it in the menu somewhere?!?
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More requests?..
The VCA / Amp menu - "Tab menu" should maybe be ...
[(pick "Amp" or "VCA" here - Amp is probably more intuitive for normies, we all know what VCA means )]
| Amp Out | Amp FX | Amp ADSR | Amp Env Amt |
or
| VCA Out | VCA FX | VCA ADSR | VCA Env Amt |
(The important part here was the idea of separating the "Amp FX" from the "output Effects". They are different.)
====
We need a Mod that is +/- # (value)
So it goes above and below (startPoint). These all go either above OR below zero?
====
We need Random2, and Random3 (and 4 and 5?).
When I select Random, for multiple destinations, they are all the same!
====
[Weird tip:
Osc# > +/-# > Panning
= FM in Phased-stereo!? ]
Adding:
====
All values that could be higher resolution, should be. (Whether x2, adding 0.5 1.5.... etc , or 8 ir 10 times higher, adding0.1, 0.2, 0.3... etc
All values that could go x2 or x4 times higher, should be able to go there.
====
Done for now.
Cheers,
- E
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My number 1 request is...
Girth, Air, Hack, Decimate and Drive from Pro2 should be added to the FX in Pro3.
I know in Pro2 they were pre filter, so in Pro3 they would work differently. But I would still find them very useful.
Girth would fatten up bass sounds nicely. Digital bit and rate reduction can sound really great on certain sounds, especially when modulated. Plus the low and high shelf EQ would help to further shape the character of the analog distortion.
They are digital so it is possible to add them (I assume), so PLEASE Sequential! 🙏🏼
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- Can we get an sequence arrangement page? So I don't have to keep trying to hit the next button at the right time to make a "song" out of my parts? (Like this...)
A | B | A | B | C | A | B | D | (Repeat on/off?)
4 | 2 | 8 | 2 | 8 | 4 | 2 | 4 |
I was just realizing we need a silent mode too, to create a break...
Where the Pro wouldn't play anything for a few beats/measures... (Sequence Zero? (0))
| 0 |
| 4 |
[Edit: In fact that makes me think of: Measures.beats
"This many measures *dot* this many beats." (?) ]
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Any body else hearing like ringing / sandy sound after updating the latest os and aplying effects??
Greetings! Overall great update. Having a ton of fun with the synth. keep it roaring with the PRO3.
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I've been asking for this ever since the P12:
Osc ALL level
Osc ALL frequency coarse
Osc ALL frequency fine
Osc ALL shape
etc.
the first one is so simple,
but it's very often that i make a patch that changes when you use the slider, but the level changes a lot, or the timbre because of how osc level is driving into filter and distortion.
In this case i have to use 3 slots to have a level offset. This would save me 2 slots to do other stuff.
Also, if there's any way to make the effects DSP more efficient, it's so frustrating to have a great patch with reverb that ends up crackling once all mod slots are in use because of processing overload.
-
More Wishes: (or questions)
==== Sequencer:
- Can we get a mode with 2x32 step sequences? Instead of just 4x16 or 1x64... Seems reasonable.
- Can we get an sequence arrangement page? So I don't have to keep trying to hit the next button at the right time to make a "song" out of my parts? (Like this...)
A | B | A | B | C | A | B | D | (Repeat on/off?)
4 | 2 | 8 | 2 | 8 | 4 | 2 | 4 |
- Could we have multiple destinations for a Sequencer track?
Yes, swesome sequencer suggestions 👍
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The ability to disable/enable interpolation of the wavetables.
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More could be done with Footswitch functions, beyond sustain and arpeggio hold. For example, it would be handy to assign the footswitch to "Toggle Effect Bypass" or "Advance A/B/C/D Sequence."
My biggest wish is still A/B/C/D selection via MIDI. But I also want to upvote (if that's even a thing here) LoboLives's discrete waveform request above. That one would have a helluva impact.
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- Could we have multiple destinations for a Sequencer track?
Haha. Duh... (Scratch that wish, we already have it.)
We've got "Seq Track #" as a source!
Oops!
...So, uh.... Tip!
- Use "Seq Track 1" (thru 16) as a source in the Matrix!
- E
================================
[Edit:]
Wait, so, here's a place I need a multiplier. Right?
If you set a sequence Track as "Osc # Coarse Freq" to 8, that's one half-step.
[Every 8 is a half step, {96 = 1octave}]
Then, when you multiply that "Mod", it's a step for every "1" of the multiplier.
...right?
and that could work for the WaveTable as well, couldn't it? - Every 8 or 16 value is 'exactly' a wave?
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So, what if you could set how long each step would be?
By 16th, 8th note, quarter note, dotted, ...
It wouldn't take much extra data/space at all. And could make the sequences longer.
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If you have a mono sequence,
and you turn into a para-sequence,
the notes should be duplicated into the new tracks!! :(
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+1 for envelope curve adjustment
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So, I just realized... you can play the sequencer like a keyboard (hit Record twice so it flashes, then press the sequence step buttons).
But my fingers don't work that way. ("Scrunched in" and not feeling at all like a keyboard.)
So now, I want to play the sequence steps from the keyboard!
(Maybe all the lower/bottom 16 white keys? - From the bottom C to the high D?)
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I just saw "Catch Up" mode for the dials on the Iridium!
Please add this?! (The way the dials work on the Pro 3 is crap. [I'm in Jump mode.])
I've lost far too many patches to the menu display switching, and thus changing the wrong parameter. - I think, from the dials "finalizing" their position.
I love the base design and tone of the Pro 3, but the software is not done!
I've never bought a synth that didn't work correctly before.
I really hope Focusrite can fix the software for the Pro 3.
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+1 here on real-time step recording, for me that would be the most useful update.
-
PLEASE: CV input setting that will advance the arpeggiator with a trigger.
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PLEASE: CV input setting that will advance the arpeggiator with a trigger.
Yeah, I'll +1 this as part of a wider effort to improve the Pro 3's CV input capability, including Gate In and Sync In. Sync In could actually double as a path to advancing the arpeggiator, in conjunction with the HOLD button.
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This is a combined question and a feature request.Let's say I hook up 1 external modular oscillator via the cv's and I'd like to now make the Pro 3 work in 4 note paraphonic mode to also count the external osc when I'm playing notes on the keyboard or when arpeggiated sequences are playing and so forth. Is this already possible? If not, could be a neat feature, and ideally it would be extendable up to a good number, idk, 6 or 12 or something (actually, realising now that there's only 4 cv's, so 4 different outs to control the pitch and then sending audio back via the cv ins possibly or a mix of all of them via the audio in?, would yield a total of 3+4 = 7 voice paraphony) (Unless controlling them somehow with midi, but I also see this is starting to sound over complicated) This is probably the first thing I'd do if I was to add a small modular system to the pro 3, that means I can essentially play thicker chords through the filters for pads.
-
End of measure quantization when switching between sequencer phrases. It would be nice hit the Phrase "B" button and just have Sequence A play until the end of it's 16 steps before switching over to B.
-
"Back" button for accidental program/bank changes while editing/creating a sound.
It just happened to me again yesterday, had put together this really nice generative sound from scratch, using all the sequencer tracks, and while editing a sequencer track I accidental turned the bank-change dial .. and there it went.
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I'm using the Pro3 since some months and i'm really happy with the machine but if i have a wish, i would see some more little effects in the machine like something like "sample rate reduction" to make more "lo-fi" sounds...
Frank
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"Back" button for accidental program/bank changes while editing/creating a sound.
It just happened to me again yesterday, had put together this really nice generative sound from scratch, using all the sequencer tracks, and while editing a sequencer track I accidental turned the bank-change dial .. and there it went.
Oh man! I've done that one a few times. It certainly elicits a loud, "Noooo!!".
And you know that file is sitting in the edit buffer in there somewhere. - Hopefully that's an easy interface addition, to get back to the edit buffer...
-
(glances covetously at the Take 5's filter bypass feature...)
-
Hello,
since Pro 3 OS 1.0.2.3 was a new feature introduced, called New Sequencer Double Tap Step Edit Record Mode. My new Pro 3 has the latest OS 1.2.0.4 . Every time I try to use this feature, the entries I made this way, were deleted after pressing the record button in order to leave this mode. Is this a known bug?
Thank you.
Oliver
same experience, can confirm the erase phenomena, not knowing the way around to keep edited values.
-
Please post here....
First for me would be, UI overhaul and.....
Please read my newest post regarding my experience with the cracking issue in two consecutive units....
-
The difference recognized by Sequential about the left-right channel level of the headphone outputs and main outputs up to 2 dB is noticeable and annoying for a premiun synth like Pro 3:
-Is it possible from Global to incorporate an option to adjust these levels?
- Or better, it would be possible to do an automatic adjustment of the L /R balance as part of the calibration procedure. (Sequential has already done this on other synths of the brand)
Thanks
-
The difference recognized by Sequential about the left-right channel level of the headphone outputs and main outputs up to 2 dB is noticeable and annoying for a premiun synth like Pro 3:
-Is it possible from Global to incorporate an option to adjust these levels?
- Or better, it would be possible to do an automatic adjustment of the L /R balance as part of the calibration procedure. (Sequential has already done this on other synths of the brand)
Thanks
I'm kind of going with the fact that this synth is so awesome, that's it's going to have have quirks.
(In fact I wonder about variations per build. - I have a have better one than you! [kidding?] )
:D
-
i wonder if selection of filter type could ever become a modulation destination. That would be amazing for sequences and arps
-
I just realized, listening back to Pink Floyd (Wish You Were Here), that the exact way the glide between the notes worked was very specific, and crucial to the sound of those leads.
That's got to be out of patent by now, and... I want it!
-
Not sure if this feature is technically possible...
Could the Pro 3 self-generate it's own wavetables?
I find the concept very interesting. Would be an amazing feature.
-
The Take5 just got an awesome update guys, lets hope the Pro 3 is next <3
-
I was thinking about it over the weekend.
For me:
1.) Sequencer cue (the ability to arm an upcoming sequence or even create a chain of sequence orders together. So that way the sequencer switches to the next sequence at the end of the current sequence's duration without manually having to time it yourself during playback.
2.) Interpolation of wavetables off/on. This way you can pin point the wavetable you want exactly and it would also be interesting sonically when modulating...almost creating a stepping or rhythmic effect.
3.) Pro 3's oscillator to be able to bypass the filter section. This would be great for some additive or LA synthesis type sounds with multiple harmonics.
3.) Real time record. This could be done similar to the Tempest in which one of the voices is used for the click (or in this case a beep) and then eventually it's stolen once more notes are added. From the Tempest's manual "After recording one or two tracks, a metronome shouldn't be needed once you get a beat going."
-
More could be done with Footswitch functions, beyond sustain and arpeggio hold. For example, it would be handy to assign the footswitch to "Toggle Effect Bypass" or "Advance A/B/C/D Sequence."
My biggest wish is still A/B/C/D selection via MIDI. But I also want to upvote (if that's even a thing here) LoboLives's discrete waveform request above. That one would have a helluva impact.
I would be asking to add "Show Toggle" / "Show Hold" to the footswitch.
-
Save a playing arpeggio to a sequence.
So many great arpeggios randomly made up that would make a great sequence to work with. I know it can be saved sending notes but taking a snapshot right into the sequencer would be much better.
-
Will there be some love for the pro3 ever again?
-
Will there be some love for the pro3 ever again?
I'm hoping so.
I think it's one of the best mono synths ever made.
And I'm still hoping for a serious 2.0 firmware update for it.
-
More ideas....
ADJUSTMENTS:
- Merge FX1 + FX2 type & amount pages together onto a single page. Then following is already present behavior - Pressing SHOW EFFECTS shows this new merged page. Pressing SHOW EFFECTS + EFFECT 1 opens Effect 1 Params menu, similarly for effect 2.
- When going to an INIT patch via the transpose shortcut with SEQ LOCK enabled, the INIT patch should keep the previous sequence instead of defaulting to the default sequence
- When erasing a track, the erased track should be empty without the C0 notes as of now
- Add SWING knob as possible source for patch morphing (obviously it's primary function will not take effect when assigned as morph knob
NEW FUNCTIONS:
- Double pressing SHOW locks the current menu section on screen so that it doesn't jump to other screens when touching controllers. Menu lock is indicated by flashing SHOW button. Navigation between subpages of the menu is possible via the buttons under the screen.
- Holding SOURCE + pressing a key to cycle between keyboard mod sources should work only with the last 37th key. Holding SOURCE + pressing any of the first 36 keys should navigate to the mod slot number 1-36.
- Pressing INC+DEC together to enable / disable patch lock that prevents changing patches via encoders and only allows changing patches via the INC / DEC buttons and / or holding one of those buttons while turning the encoders.
NEW SHORTCUTS:
- Turning MOD AMOUNT while holding SOURCE to cycle between mod sources
- Turning MOD AMOUNT while holding DESTINATION to cycle between mod destinations
- Turning LFO FREQ while holding LFO 1/2/3 to adjust phase *
- Turning LFO AMOUNT while holding LFO 1/2/3 to adjust slew *
(* change order of slew and phase on menu screen to correspond to left / right order of shortcuts above)
- Pressing SEQ LOCK to open the SEQ/ARP menu
- Double pressing MISC PARAMS and / or AMP VELOCITY to cycle between envelope retrigger modes
- Double pressing MOD SOURCE to open SOURCE SORT sub-menu
- Double pressing MOD DESTINATION to open DESTINATION SORT sub-menu
- Repeat pressing LFO1 to cycle through LFO1 sub-menus, same for LFO2 and LFO3
- Pressing TRANSPOSE UP + TRANSPOSE DOWN together to open pitch range menu
A few more to come :)
-
More ideas....
ADJUSTMENTS:
- Merge FX1 + FX2 type & amount pages together onto a single page. Then following is already present behavior - Pressing SHOW EFFECTS shows this new merged page. Pressing SHOW EFFECTS + EFFECT 1 opens Effect 1 Params menu, similarly for effect 2.
- When going to an INIT patch via the transpose shortcut with SEQ LOCK enabled, the INIT patch should keep the previous sequence instead of defaulting to the default sequence
- When erasing a track, the erased track should be empty without the C0 notes as of now
- Add SWING knob as possible source for patch morphing (obviously it's primary function will not take effect when assigned as morph knob
NEW FUNCTIONS:
- Double pressing SHOW locks the current menu section on screen so that it doesn't jump to other screens when touching controllers. Menu lock is indicated by flashing SHOW button. Navigation between subpages of the menu is possible via the buttons under the screen.
- Holding SOURCE + pressing a key to cycle between keyboard mod sources should work only with the last 37th key. Holding SOURCE + pressing any of the first 36 keys should navigate to the mod slot number 1-36.
- Pressing INC+DEC together to enable / disable patch lock that prevents changing patches via encoders and only allows changing patches via the INC / DEC buttons and / or holding one of those buttons while turning the encoders.
NEW SHORTCUTS:
- Turning MOD AMOUNT while holding SOURCE to cycle between mod sources
- Turning MOD AMOUNT while holding DESTINATION to cycle between mod destinations
- Turning LFO FREQ while holding LFO 1/2/3 to adjust phase *
- Turning LFO AMOUNT while holding LFO 1/2/3 to adjust slew *
(* change order of slew and phase on menu screen to correspond to left / right order of shortcuts above)
- Pressing SEQ LOCK to open the SEQ/ARP menu
- Double pressing MISC PARAMS and / or AMP VELOCITY to cycle between envelope retrigger modes
- Double pressing MOD SOURCE to open SOURCE SORT sub-menu
- Double pressing MOD DESTINATION to open DESTINATION SORT sub-menu
- Repeat pressing LFO1 to cycle through LFO1 sub-menus, same for LFO2 and LFO3
- Pressing TRANSPOSE UP + TRANSPOSE DOWN together to open pitch range menu
A few more to come :)
Loving these! Let’s hope someone is beavering away on an updated firmware after Sequentials takeover.
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The main function I really miss is the ability to set a slope / glide between steps in a sequence. Being able to transition between different values would really open up the sequencer, and I believe is on the original Pro 2.
I know it's a heavily requested feature so hoping it's updated. 8)
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The main function I really miss is the ability to set a slope / glide between steps in a sequence. Being able to transition between different values would really open up the sequencer, and I believe is on the original Pro 2.
I know it's a heavily requested feature so hoping it's updated. 8)
It was very useful on the Pro 2, whereas the generic slew applied on all steps on the Pro 3 really isn't useful. It would be a nice improvement for sure.
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1.2.0.7 is out guys, just a small bug fix the notes say, please post your findings and issues here, will update mine after work later today.
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1.2.0.7 is out guys, just a small bug fix the notes say, please post your findings and issues here, will update mine after work later today.
Let me know if you need to reload the alt tunings after the update. If so, I wont bother.
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1.2.0.7 is out guys, just a small bug fix the notes say, please post your findings and issues here, will update mine after work later today.
Let me know if you need to reload the alt tunings after the update. If so, I wont bother.
Hmmm, I don’t use the alt tunings but how would one check for this?
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I just seem to remember needing to reload them when I did an update, as they disappeared. For example, none came up in the alternate tuning section of misc parameters. BTW, any idea what the "small bug" is? Just not a big fan of the whole midi ox-buffer trial and error setting updates process on the sequential stuff. I'm hoping that's one thing Sequential can modernize on to make update life easier.
The alt tunings are fun to circulate thru when you have a sequence playing. Some neat outcomes.
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1.2.0.7 is out guys, just a small bug fix the notes say, please post your findings and issues here, will update mine after work later today.
Where can this be downloaded? The latest listed on the support page is 1.2.0.4.
I am having a bizarre problem with my SE being one step off when played via MIDI at random times; just figured I'd install the latest to see if that exorcizes the demon.
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1.2.0.7 is out guys, just a small bug fix the notes say, please post your findings and issues here, will update mine after work later today.
Where can this be downloaded? The latest listed on the support page is 1.2.0.4.
I am having a bizarre problem with my SE being one step off when played via MIDI at random times; just figured I'd install the latest to see if that exorcizes the demon.
The first pinned post in the pro 3 section here on the forum:
https://forum.sequential.com/index.php?board=40.0
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1.2.0.7 is out guys, just a small bug fix the notes say, please post your findings and issues here, will update mine after work later today.
Where can this be downloaded? The latest listed on the support page is 1.2.0.4.
I am having a bizarre problem with my SE being one step off when played via MIDI at random times; just figured I'd install the latest to see if that exorcizes the demon.
It’s right at the top of the forum pinned posts, I’ve copied the link below.
https://forum.sequential.com/index.php?action=dlattach;topic=5201.0;attach=4895
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^^^^^^ haha beat mea to it!
Anyway, reading back through this thread, it highlights some serious issues for a lot of owners. Also, all of the suggestion are really thoughtful and incredibly inspiring and really appreciate the participation in this thread for the whole community.
I don’t know where the Sequential firmware staff currently stand after the takeover by Focusrite but one would hope the Pro3 is going to receive plenty of firmware updates :fingers crossed: