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Dave Smith Instruments (DSI) | Pro 2 |
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Description | The Pro 2 is Dave Smith’s flagship mono synth. The Pro 2 shares the same exceptional ergonomics and playability as its 12-voice sibling, the Prophet 12, but carves out distinctly different sonic territory with an all-new dual analog filter architecture, a monster step sequencer, superwaves, digital bucket-brigade delay, and a lot more. Nothing else sounds like it and nothing else performs like it. It raises the bar for monosynths and redefines the word “fat.” A New Classic for a New Generation The Pro 2 is a fusion of classic analog synthesizer design and cutting-edge digital technology. It boasts four high-resolution digital oscillators, plus a sub oscillator. The oscillators produce both classic and complex wave shapes and can frequency and amplitude modulate each other in any operator and modulator configurations you choose for harmonically-rich FM and AM sounds. A set of Character controls adds high and low frequency boost, bit and sample rate reduction, and tape saturation emulation to the Pro 2’s sonic palette. Two New Filters Based on Vintage Designs At the heart of the Pro 2’s gutsy sound is its all-new dual filter design. Filter 1 is a 4-pole low-pass design inspired by the original Prophet-5 filter. Filter 2 is a state-variable design inspired by the Oberheim SEM and can be continuously varied between low-pass, notch, and high-pass operation, with an optional band-pass mode. The two filters function in either serial or parallel, or anywhere in between. Two of the four oscillators can be routed through Filter 1 with the other two routed through Filter 2 for a broad range of tonal possibilities. Advanced Sequencing One of the most exciting features of the Pro 2 is its sequencer—possibly the most powerful step sequencer ever designed for a synth. With up to 32 steps and 16 tracks, it provides real-time input, rests, and variable-length sequences. It also syncs to MIDI clock and external audio input. Sequence tracks can control any parameter in the Pro 2’s extensive modulation matrix. Plays Well with Modulars The Pro 2’s flexible architecture opens the door to not only processing external audio, but also to interfacing with modular synths through its 4 rear-panel control voltage inputs and outputs and a dedicated gate output. Control voltages can be assigned and routed from within the modulation matrix and can run at audio rates for extreme modulation effects. Some of the many parameters that can be sent to the CV outputs include oscillators, LFOs, envelopes, and sequencer tracks, making the Pro 2 a natural choice for the center of your studio or live setup. Delays, Envelopes, LFOs, Arpeggiator, and a Multitude of Modulation The Pro 2’s delay section provides three digital delays with pan, and high-pass and low-pass filtering controls. A fourth delay is a digital bucket-brigade delay (BBD) for analog-style effects. There are four loopable five-stage envelope generators, four syncable LFOs with slew and phase offset, a full-featured arpeggiator, and a sixteen slot modulation matrix with dozens of modulation sources and destinations. Monophonic by Design, Paraphonic by Choice The Pro 2 was designed primarily as a super-powerful monosynth, but it’s also a true, four-voice paraphonic synth that allows you to control each of its four oscillators individually with their own envelope. This makes playing four-note chords not only possible, but very expressive. Package all of this power in a three-and-a-half octave, semi-weighted keyboard with velocity and channel aftertouch, add two backlit pitch and mod wheels and two location and pressure sensitive touch sliders, and you’ve got one of the most feature-rich, awe-inspiring synthesizers ever created. |
| Brand | Dave Smith Instruments (DSI) |
| Model | Pro 2 |
| Device | Synth |
| Type | Keys |
| Engine Type | Digital |
| Engine | DCO |
| Voices (max) | 4 |
| Multitimbral | 4 |
| Oscillators | 4 |
| Sub | 1 |
| LFO | 4 Sample & Hold, Saw Up, Saw Down, Sine, Square, Clocked, Key Sync |
| Noise | Y |
| Engine Detailed | 4 DCO, Pink Noise, Pulse, Pulse Variable, Saw Down, Saw Up, Sine, Square, Sub Oscillator, Super Saw, Triangle, White Noise |
| Filter (VCF) | 2 12dB Slope (2-pole), 24dB Slope (4-pole), Band Pass, High Pass, Low Pass, Notch, Resonance, Serial, Parallel |
| Envelope (VCA) | 5 Delay, Attack, Decay, Sustain, Release, Looping |
| Memory | 396 ROM and RAM |
| Sequencer | 16 steps x 16 tracks or 32 steps x 8 tracks. Supports real-time input, rests, and variable-length sequences. Syncs to MIDI clock and external audio and CV input. Sequences can control not only oscillator pitch but any parameter in the modulation matrix. |
| Arpeggiator | up, down, up+down, random, assign modes. Syncs to MIDI clock and external audio and CV inputs. Re-latching arpeggiation. |
| Keys | 49 |
| Key type | Keys |
| Velocity | Y |
| Aftertouch | Channel |
| Midi | I-O-O/T, USB |
| CV-gate | CV I-O, Gate out |
| Produced: | 2014 |
| Legend: | Obvious | Y: Yes, N: No, N/A: Not Applicable | |
| VCO | Voltage Controlled Oscillator | DCO | Digital Controlled Oscillator |
| LFO | Low Frequency Oscillator | Sub | Sub Oscillator |
| VCF | Voltage Controlled Filter | VCA | Voltage Controlled Amplifier |
| Velocity | As with a piano, the harder you hit a key, the louder the sound, unlike most organs which always produce the same loudness no matter how hard you hit a key. | Aftertouch | Pressing a key after you activated it. Channel Aftertouch, no matter which key, it will send a Channel message. Poly Aftertouch, sends the pressure per key instead of the whole channel. |
| Values for OSC, LFO, Filter, Envelope are per voice unless stated otherwise. | |||
