Playing - Behringer Pro-1 Operation Manual

CM100B Revision 1.01 AP099

Playing

At this point (after unpacking) the Pro-1 is probably not ready to play. As a non-preset
synthesiser, the knobs and switches on the control panel have to be set purposefully. Certain
minimum conditions such as mixer volumes, filter cutoff frequency and envelope sustain level
need to be established. You can learn about the controls by reading Section 2. But if you are
like most people, you'll want to try the Pro-1 before studying it. To do this, simply turn to the
Factory Patch section and select a factory patch. Set the Pro-1's controls as closely as
possible to the diagram while playing on an attached keyboard. Note that the Pro-1 has a
Poly/Mono switch that isn't shown on those patch diagrams, it won't matter which setting this
is on when playing one note at a time. Patching is a fine art: be patient. Note that there is
inherent error in the diagrams and some degree of subjective preference as to exactly where
the knobs should be set. For completeness, all control positions are diagrammed even though
some may have no effect (for example, PULSE WIDTH when the pulse wave shape is
switched off.) When oscillator intervals are harmonically related, the FREQUENCY knob(s)
will have to be tuned by ear, usually for a minimum of "beating."
The original Pro-One had MOD and PITCH wheels are at the left of the keyboard. The MOD
wheel set the modulation level. When not in use the wheel is left "down" and no modulation
will occur. When the wheel is advanced fully "up," modulation is maximum. The PITCH wheel
is normally left in its centre-detent position, from which it is possible to simultaneously "bend"
OSC A and OSC B pitch up or down by about a fifth. An integral part of playing is using the
wheels and the module controls (e.g. GLIDE and FILTER ENVELOPE AMOUNT) for
Page 7 of 34