Dave Smith Instruments Pro 2 Manual de usuario descargar pdf (Pagina 6)

simple, and sequencing things such as

filter sweeps is a doddle: just twist the

parameter’s knob while the sequence is

running. (You can also determine values

on a step‑by‑step basis if you prefer.)

Once you’ve programmed your patches

and recorded their sequences, you can

even build songs using Cue to switch

between them, whereby the current

patch/sequence is completed before the

next is initiated. Unfortunately, I have to

point out a serious oversight: you can’t

send triggers or gates directly from the

sequencer. I think that DSI will have to

add this if the Pro 2 is going to justify the

company’s claim that it’s “a natural choice

for the centre of your [analogue] studio or

live setup”.

Finally, we come to the arpeggiator,

which offers Up, Down, Up/Down, Note

Order, and Random modes that can be

driven over a one‑, two‑ or three‑octave

range, with each step playing up to

a maximum of four instances per note.

There’s also a Latch, which works together

with the Hold function to provide a further

selection of useful results, and everything

can be sync’ed to the synth’s internal

clock or MIDI Clock. Just be aware that

the arpeggiator doesn’t transmit the

generated notes via MIDI.

In Use

When I first received the Pro 2, I found

that Filter 1 tracked correctly but Filter

2 didn’t so, before proceeding further,

I ran the calibration routines to ensure

that everything was at ‘factory spec’.

I also downloaded and installed the

latest OS. While I was waiting, I studied

the Pro 2’s specification a bit more

carefully, and started to speculate about

the conversations that might have led

to its creation. I imagined a room full

of engineers, each trying to outdo the

previous...

“Well, it’s got to have at least

four types of filter,” someone might

have suggested.

“Four oscillators and a sub‑oscillator,”

someone else piped up.

“And four LFOs,” suggested the next.

“And five contour generators”,

added another.

“And scores of modulation

destinations and a huge sequencer!”

“And at least three feedback

loops and four distortion stages. Let’s face

it, our customers would be lost without

at least three feedback loops and four

distortion stages.”

And so it continued late

into the night until the design

brief included everything that

they felt we might want from

a flagship monosynth. The

result was not only a powerful

synthesizer, but a rather

beautiful one too. From the

sleek walnut case and steel

chassis, to the fabulously

precise OLED screen, to the

almost universally wobble‑free

pots and encoders, everything

screams ‘Program me!’.

Given that the Pro 2 also

offers dual pressure‑ and

position‑sensitive ribbon

controllers (which means

that you have six degrees

of performance control

under your left hand in

addition to the 44‑note,

semi‑weighted, velocity‑ and

pressure‑sensitive keyboard

under your right) it also commands, ‘and,

while you’re at it, play me too!’ With

four velocity curves and four levels of

aftertouch sensitivity to choose from, plus

three modes of key assignment as well as

single‑ and multi‑triggering, I have little

choice but to do so.

In truth, there are so many nice

touches to the Pro 2 that it’s impossible

to discuss them all here. Nevertheless, it’s

not a difficult synth to use; if you want to

twiddle knobs and press buttons to see

what ensues, it allows you to do so. But

if you want to use it to its fullest, you’re

going to have to put in a bit of work,

especially since turning a knob or pressing

a button will often reveal additional

on‑screen parameters. Happily, the menu

structure is very shallow, so nobody but

the most hardened analogue nutter

should have a problem with this.

So, what of the sound? With

remarkably little aliasing (unless you ask

The Moog Sub 37 is probably the closest

competition for the Pro 2, and this also builds

upon the reputation of a revered ancestor

while stretching its sonic and performance

capabilities way beyond what was possible

in the 1970s and 1980s. Both are excellent

synths with great strengths, and both will

appeal widely. The Sub 37 is more immediate

and has bucketfuls of that classic Moog

sound, while the Pro 2 is much more flexible

and can be integrated into an analogue

studio in ways that the Moog can’t. Both are

top-quality instruments, and I recommend

that you win the lottery and buy both.

Alternatives

Although the Pro 2 offers 792 patches,

half are factory sounds that can be edited

but not overwritten. This means that you

have 396 memories for your own creations.

It’s still a generous number, but I’ve never

understood why manufacturers do this. It

also offers four playlists, each with 16 slots.

These allow you to place your sounds in

a desired order (which is a boon on stage)

without having to reorder them in the

patch memory.

Memories

Don’t be put off by the Pro 2’s OLED screen, its

menu structure is very shallow.

ON TEST

DAVE SMITH INSTRUMENTS PRO 2

106

January 2015 / www.soundonsound.com

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