Pro 3, firmware OS.. requests.. improvements.. incoming :-)

[Polydata]

Envelope latch, this would be extremely useful when looping envelopes

[creativespiral]

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

[creativespiral]

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. 

[Moho]

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.

[creativespiral]

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.   

[Wavtekt]

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

[Sacred Synthesis]

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.

[Polydata]

Sequencer rhythm slop/humanizing would be awesome

[creativespiral]

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.   

[alexpen]

I would really nice to have a "knob" representation of current values, similar to Prophet 12.

[alexpen]

Osc All ShapeMod

+++

I'm missing this quite often.

[alexpen]

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.

[Lsimy]

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 !!

[guyaguy]

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

[Lsimy]

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.

[chysn]

I'd like to be able to assign one of the CV Ins to be a gate input.

[colanderman]

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.

[colanderman]

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.)

[Quatschmacher]

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.

[colanderman]

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.)