New P12 module analog goodness

[psionic11]

Hi all,

I've joined you all as a new Prophet 12 fan!  I'm primarily a bassist influenced by Geddy, Flea, and Stu Zender, but I'm developing my keyboard and synths skills in parallel.  For a good while now I've been wanting an analog synth for my creative and gigging needs.  I've yet to fully embrace the DAW and soft synths approach (only have Reaper and OP-X), and for the longest time I was set on getting an Andromeda or the Tetra.  After some research and GAS and portability needs, I've settled on the P12m to round out my Kronos6 and Integra 7 and MIDI controller/foot pedal gigging rig.

My first synth was a Juno 106 back in '85 (so close to getting the Six Trak but went for the Roland instead), and in the 90s I gigged with a Korg DW8000.  I had to sell those, but I got back into synths in 2009 with the Alesis Fusion 6 and 8 and a Micron. I was hoping to use the P12m as my analog go-to for the power synth 80s stuff, like EVH 1984/5150, Rush Signals to HYF, Kansas/Asia/Boston/Journey/Steve Miller, Billy Idol, The Cars, Night Ranger, Whitesnake, Simple Minds, Thompson Twins, etc.

I like the flexibility of the P12m, approaching it almost as a virtual synth with all its various modulation and OSC types.  I was a bit underwhelmed at first with the lack of the Curtis filter's ability to easily push out full, round bottom bass.  Using Audio IN, I've done some direct comparisons with the raw oscillators and filters of the Minitaur, P12m, Kronos, and Micron.  The Moog of course was the most direct and "phat", but the Kronos and the Micron were no slouches.  Despite its toyish look, I'm really re-appreciating the Micron's 19 filter types, dual filter routings, zone-able 8-voice MIDI multi mode configs, and flexible mod routings.  I really dig its filters, from the squelchy and bass-friendly TB303, the lush OB 2pole, the smooth Moog 4pole ladder, the various comb and vocal formants, and even the ARP's over-driven 4pole... all lend unique creative possibilities whether from internal, sweepable OSC waveshapes or from external audio IN sources.  The Micron sounds fat, expressive, and flexible.

I'm growing to appreciate the Curtis filter's unique, upper mid range resonance qualities.  The P12m's OSC types and left/center/right wave-shaping customizations, and of course the FM capabilities, promise to make the P12m a very strong tool in my arsenal.  I scour the forums for info, but I also hope a direct approach will spur further conversation and practical tips...  Glad to be a part of the community and hope to be a good contributor.

-- Andrew

[psionic11]

Hi all,

I've joined you all as a new Prophet 12 fan!  I'm primarily a bassist influenced by Geddy, Flea, and Stu Zender, but I'm developing my keyboard and synths skills in parallel.  For a good while now I've been wanting an analog synth for my creative and gigging needs.  I've yet to fully embrace the DAW and soft synths approach (only have Reaper and OP-X), and for the longest time I was set on getting an Andromeda or the Tetra.  After some research and GAS and portability needs, I've settled on the P12m to round out my Kronos6 and Integra 7 and MIDI controller/foot pedal gigging rig.

My first synth was a Juno 106 back in '85 (so close to getting the Six Trak but went for the Roland instead), and in the 90s I gigged with a Korg DW8000.  I had to sell those, but I got back into synths in 2009 with the Alesis Fusion 6 and 8 and a Micron. I was hoping to use the P12m as my analog go-to for the power synth 80s stuff, like EVH 1984/5150, Rush Signals to HYF, Kansas/Asia/Boston/Journey/Steve Miller, Billy Idol, The Cars, Night Ranger, Whitesnake, Simple Minds, Thompson Twins, etc.

I like the flexibility of the P12m, approaching it almost as a virtual synth with all its various modulation and OSC types.  I was a bit underwhelmed at first with the lack of the Curtis filter's ability to easily push out full, round bottom bass.  Using Audio IN, I've done some direct comparisons with the raw oscillators and filters of the Minitaur, P12m, Kronos, and Micron.  The Moog of course was the most direct and "phat", but the Kronos and the Micron were no slouches.  Despite its toyish look, I'm really re-appreciating the Micron's 19 filter types, dual filter routings, zone-able 8-voice MIDI multi mode configs, and flexible mod routings.  I really dig its filters, from the squelchy and bass-friendly TB303, the lush OB 2pole, the smooth Moog 4pole ladder, the various comb and vocal formants, and even the ARP's over-driven 4pole... all lend unique creative possibilities whether from internal, sweepable OSC waveshapes or from external audio IN sources.  The Micron sounds fat, expressive, and flexible.

I'm growing to appreciate the Curtis filter's unique, upper mid range resonance qualities.  The P12m's OSC types and left/center/right wave-shaping customizations, and of course the FM capabilities, promise to make the P12m a very strong tool in my arsenal.  I scour the forums for info, but I also hope a direct approach will spur further conversation and practical tips...  Glad to be a part of the community and hope to be a good contributor.

-- Andrew

With all that lengthy background info, I do ask you long time P12 synthesists this -- is there some way to make the envelopes not re-trigger after every note when playing legato?  I'm not keen on using the P12m primarily as a pad machine, and I'm more focused on eking out live expressive capabilities as a lead machine.  With re-triggering on every new note, the P12m delivers a plonk plonk type of feel that is not overly expressive.  Any tips?

[AdamPloof]

I'm pretty sure that when using the P12 without unison mode engaged it should behave as you're wanting -- at least that's what it sounds like to my ears. If you're in unison mode then make sure that you've selected either Low Note, High Note or Last Note under key assign. If you're using any of the Retrig modes then the envelopes will always restart regardless of whether you're playing legato or not. Hopefully that helps.

[jdt9517]

TMK, the P-12 does not have a legato mode for the envelopes .  The P-08 and the Pro 2 are the same.  Part of the art of adjusting the ADSR is to obtain a smooth performance.   If it is sounding clunky, try slowing down the attack a little bit.   Also, a little bit of reverb goes a long way to smoothing out the gaps.