Let’s get synced up, Pro-1 style

1

While the Pro-1 excels at low-end sounds like bass and kick, it’s no slouch in the lead department either. Let’s use the Pro-1’s oscillator sync feature to create a ripping sync patch. We’ll use the Mod Matrix and handy routing from the filter envelope.

2

For this patch, we use both oscs set to sawtooth waves. Turn the sync switch on; now the Osc A pitch is controlled by the frequency of Osc B. Ensure the lo freq switch is still set to Off and the Keyboard functionality for Osc B is turned on.

3

We want this lead sound to have movement, so we’ll increase the glide amount to around 2-3. Setting the Auto switch to on means that when more than one note is held down, the Pro-1 will employ legato to slide into the second note.

4

In the filter section, set cutoff to 7, resonance to 0, and keyboard and env to 7.5. We want the filter open to let upper harmonics through. Filter envelope settings are important. Attack should be at 2.5, decay at 6, sustain to 7, and release to 8.

5

Now, we’ll use the modulation matrix to route the filter envelope to the frequency of Oscillator A. Select ‘Direct’ for the filter envelope routing, and then do the same for the Osc A frequency destination. Use the amount knob to control how much of that ‘syncing’ sound you want.

6

Experiment with both different amounts in the modulation matrix and different filter envelope shapes. Both will have drastic effects on the timbral complexity of your sound. You can add even more movement by applying the LFO to the filter cutoff amount.