Dave Smith Instruments Pro 2 Manuel d'utilisateur télécharger pdf (Page 3)

you add drive, drive and yet more drive...

well, if you like to listen to synths scream,

this is one way to make them do it.

You can now pass the analogue

signal unmolested to the final output,

which comprises a fourth overdrive and

a master volume control. Happily, even

at maximum distortion and level, the

Pro 2 doesn’t suffer from the oscillator

leakage that made its way to the outputs

of the Prophet 12, and the signal/noise

ratio is remarkable given the number

of gain/overdrive

stages available. But

if you’re willing to

allow the digital side

of the Pro 2 to do

its thing, the Delay

section — which sits

between the amplifier

and the output

section — offers four,

sync’able delay lines. The legends on the

control panel imply that three of these

are digital, whereas the fourth (by use of

the name BBD) is analogue. In fact, all

are digital, although DSI claims that the

fourth has been programmed to emulate

an analogue delay. The manual states that

the maximum delay time is 1s, but that’s

wrong; the maximum for the BBD effect is

1.5s, and there’s an additional Long/Short

parameter in this to help you to create

modulation effects such as chorusing and

flanging. Inevitably, the results lack the

deep whoosh of an analogue stompbox

a different one for the body of the sound.

The only obvious limitation is that you

can’t push Filter 2 into self‑oscillation.

That’s a shame, but not a problem.

The next stage in the signal path is an

output boost that can drive, overdrive, or

even distort the filtered signal before it’s

passed to the audio amplifier. This also

has a dedicated contour generator that, at

first, appears to echo that of the Prophet

12. But, while the velocity‑sensitive,

looped HADSR structure is retained,

there’s a huge difference: where the

polysynth has a Pan parameter that allows

you to spread its 12 voices across the

stereo soundstage, the monosynth has

another distortion circuit that can add yet

another level of overdrive to your sound.

Interestingly, the tunable feedback loop

following the amplifier — which takes the

analogue signal, converts it to digital,

and then injects it back into the Character

effects section — is also different from

before. When ringing, it will track the

keyboard for another octave, and it has

a cleaner and more defined sound. But if

Each filter has a dedicated contour

generator to control its cutoff frequency.

From the control panel, you can treat each

as a bipolar ADSR, but the menus provide

access to a delay before the onset of the

Attack (making each contour a five‑stage

HADSR), plus velocity sensitivity for the

contour amount. Naturally, the contour

rates can be modulated, and there’s

also a Repeat mode that loops the HAD

stages. In short, there’s a huge amount of

flexibility here.

Turning to the

filters themselves, you

could describe these

with no little accuracy

as ‘Prophet‑y’ (Filter

1) and ‘Oberheim‑y’

(Filter 2) and, if you

send a simple signal

through one or the

other in isolation, that

gives you a reasonable idea of what to

expect. However, the real flexibility lies

in the simultaneous use of both. Imagine

passing one waveform through Filter 1

with one combination of cutoff frequency,

resonance, key‑tracking, contour and

modulation parameters, and passing

a second through Filter 2 with a different

profile and a different set of parameters;

you can obtain two very different sounds,

and the possibilities for layering and

otherwise combining them are huge. You

can even create D50‑style ‘SAS’ patches

with one timbre for the attack phase and

In addition to its quarter‑inch stereo audio

outputs and the associated headphone output,

the Pro 2 offers an Audio In that accepts a wide

range of signals and injects them into the

internal signal path via the oscillator mixer.

You can also derive control signals from the

external signal using the associated Gate

extractor and Envelope Follower. But if no

cable is plugged into this socket, its Level and

Gain controls determine the amount of final

output signal that’s internally fed back into the

mixer, emulating an old Minimoog trick used to

thicken the sound or cause screaming chaos.

Inputs for a footswitch and expression pedal

are also provided and, sandwiched between these

and the audio I/O, you’ll find no fewer than four

CV Ins and four CV Outs as well as a Gate Out,

all on 3.5mm sockets. I would have preferred

these to be quarter‑inch too, but DSI appears to

be looking toward the Eurorack market here, as

evidenced by its own DSM01 filter module.

Digital control is provided by a bi‑directional,

class‑compliant USB port (MIDI only, not

audio) and three five‑pin DIN MIDI sockets

labelled In, Out and Thru/Out2, the action

of the last of which is defined by a Global

parameter. As you would expect, the Pro 2 offers

extensive MIDI capabilities, and the largest

section of the manual (nearly 40 pages!) is

dedicated to NRPNs which, as well as mapping

all the controls, include such things as the

values in each of the steps in each of the tracks

in a sequence.

Finally, there’s an IEC socket for the synth’s

internal, universal (50/60Hz, 100‑240V AC)

power supply.

Round The Back

“I’m not going to delve into the clichés

regarding screaming leads and thunderous

basses, or all the other hackneyed phrases

used to describe monosynths, because it’s

capable of so much more than that.”

ON TEST

DAVE SMITH INSTRUMENTS PRO 2

102

January 2015 / www.soundonsound.com

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Dave Smith Instruments Pro 2 Manuel d'utilisateur Page 3

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