section has been
replaced by an even
more powerful architecture
that consists of a self‑oscillating
24dB/oct low‑pass filter and a 12dB/
oct, resonant but not self‑oscillating,
state‑variable (LP/BR/HP/BP) filter that
can be patched in series or in parallel.
Actually, that’s not quite right. At the
two extremes of the routing parameter
you’ll find pure ‘in series’ and pure ‘in
parallel’, but you can dial in any value you
fancy between these, blending the signal
filtered by both devices in series with the
signals processed by Filter 1 alone and by
Filter 2 alone. In addition, you can direct
just oscillators 1 & 2 to Filter 1, and just
oscillators 3 & 4 to Filter 2. These are not
trivial tricks.
while
Hack and
Decimation
reduce their word
length and sample rate
before conversion to the
analogue signals that will be fed
to the filters. The fifth effect is Drive,
which allows you to create anything
ranging from a gentle overdrive to (with
appropriate Hacking and Decimation) the
sounds of alien hordes invading.
Next, the Prophet 12’s powerful filter
Superwave
in each of
the four oscillator
slots) you can generate all
manner of sounds ranging from
the delightfully subtle to extravagant
layers of wibbly mayhem. Add oscillator
sync, FM and AM of each oscillator
into the equation, and a vast range of
chorused, sync’ed and modulated (and
simultaneously chorused, sync’ed and
modulated) sounds are possible. Now
add Osc1’s sine wave sub‑oscillator,
noise modulation, and multiple types of
portamento that you can apply to each
oscillator individually, and it’s clear that
the Pro 2 is far more than a modern
hybrid pretending to be a traditional
analogue monosynth.
Lying between the oscillator mixer and
the filters, there are five waveshaping
effects derived from the Prophet 12.
Girth and Air accentuate the low and high
frequencies (respectively) of the sounds,
Photos: Richard Ecclestone
Although primarily a monosynth, the Pro 2
echoes instruments such as the Korg Mono/
Poly which, back in 1981, allowed you to play
up to four single‑oscillator notes through
its single VCF/VCA signal path. Happily,
the Pro 2 is much more flexible than that,
because the amplitude of each note can be
shaped individually by the amplifier contour
generator, and the tone of each can be shaped
individually using tools such as waveshaping
and sync. I programmed all manner of
analogue piano and Clavi‑style patches as well
as some luscious pads, ensembles, analogue
choirs and spacey organs using a combination
of dynamic waveshaping, modulation and
delay, and I suspect that few (if any) listeners
would realise that they emanated from
a paraphonic synth rather than a true poly.
Nonetheless, I have three minor complaints
in this area, although all are operational, not
sonic. Firstly, I can’t understand why the
waveform selector can’t adjust the waves for all
four oscillators simultaneously in paraphonic
mode. Secondly, there’s no ‘All Oscillators
Shape Mod’ parameter in the modulation
matrix. Thirdly, there’s no way to sequence
four‑part compositions in paraphonic mode.
Counter‑intuitively, you can record and play
four‑part compositions in monophonic mode
by turning off Key Follow for oscillators 2, 3
and 4 and then assigning three other tracks
to control their pitches. But when I tried
this, the results didn’t justify the effort. DSI
told me that they’re considering paraphonic
sequencing for a future update, so I think that
I’ll wait for that.
Paraphonic Mode
101
www.soundonsound.com / January 2015
(104 paginas)
(47 paginas)
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