#Sequential Circuits Pro One

[shugmonkey]

1970s/80s Vintage Sequential Circuits Ads

[benjamindehli]

Cantique de Noël / O Holy Night (Keyboards and Therevox version)

A synthesizer / keyboard version of the Christmas carol Cantique de Noël / O Holy Night by Adolphe Adam. For the vocal melody I used a Therevox ET-4.3. This version is inspired by the recordings and live performances of Bing Crosby, Luciano Pavarotti, Andrea Bocelli, but perhaps most of all Céline Dion (especially the vocal melody). Instruments:

Dehli Musikk 4-track Glockenspiel: Glockenspiel

Dehli Musikk 4-track Music Box: Music Box

Doepfer Dark Energy: Drums and Percussion

Hammond C3: Organ

Hohner Clavinet D6: Clavinet / Baritone Guitar

Korg MS-20: Drums

Korg Polysix: Synth Harp

Logan String Melody II: Synth Strings

Louis Zwicki Pianette: Piano

Mellotron M4000D: Violins, Cello, Flute and Choir

Moog Matriarch: Synth Pad

Roland SH-09: Synth Bass and Drums

Sequential Circuits Pro-One: Synth Brass and Drums

Therevox ET-4.3: Vocals

Yamaha DX7: Tubular Bells

Yamaha L-20D: Harmonium

Amplifiers:

Leslie 122

Tandberg Model 2 T

Vox AC15H1TV

Microphones:

Royer R-121

Sennheiser e 602-II

Shure SM57

Effects:

Alex Franklinos Stereo Transformer Saturator

Chase Bliss Audio & Meris CXM 1978

DIYRE G Bus VCA Compressor

Electro-Harmonix Deluxe Memory Man

Fairfield Circuitry Shallow Water

Fulltone Supa-Trem

Fulltone Tube Tape Echo

Hairball Audio FET/RACK Revision D

Pro Co RAT 2

Roland PA-120 (preamp, EQ and spring reverb)

Roland Dimension D SDD-320

Tape recorder:

Fostex X-28H

Cantique de Noël:

Composed by: Adolphe Adam

Text by: Placide Cappeau

English text by: John Sullivan Dwight

[burlveneer-music]

Ordnance Survey - Turas - music in the orbit of the Ghost Box/Clay Pipe binary sun, incorporating field recordings from ancient burial sites in Ireland

Turas (Journey) is the most ambitious Ordnance Survey record to date. The field recordings used on Turas were captured with both analog and digital devices at passage and wedge tombs across Meath, West Cork, Wicklow, Connemara and Roscommon. To make use of the tombs' acoustics, elements like percussion were recorded in the tombs and through the process of re-amplification (playing pre-recorded material back in the tombs), this 3000 year old reverberation became a major part of the sound world that the listener experience. Turas is an electronically mediated journey that allows these historical sites to become an important collaborative factor in the creative process. Guest collaborators include Roger Doyle (Piano), Garreth Quinn Redmond (Violin), and Billy Mag Fhloinn (Yaybahar.) Recorded and Produced by Neil O'Connor between May 2021 and July 2022 at the National Concert Hall Studios, Ballferriter, Co.Kerry, Willem Twee Studios, Den Bosch, Holland and at historical sites around Ireland. Instruments Piano, Bass, Drums, Shakers, Bells, Tambourine. Synthesizers Moog Voyager, Moog Opus Three, Korg Mono Poly, Roland Juno 60, Roland JX3P, Sequential Circuits Pro One, Sequential Circuits Prophet 4 & 5, EMS VCS3 Modular Synthesizers Make Noise Shared System Plus, Serge System, ARP 2500 Test Equipment Rhode & Schwarz Oscillators x 12, Rhode & Schwarz Octave Filter x 3, Hewlett-Packard 8005A Pulse Generator, Hewlett-Packard 8006A Word Generator, Hewlett-Packard 3722 A Noise Generator, Hewlett-Packard 3310B Function Generator, EG&G Parc Model 193 Multiplier/Divider. Recording Equipment Revox A70, Tascam Model 80, Uher Monitor Report, Sony TC-40, Zoom H4 Garreth Quinn Redmond (Violin) Billy Mag Fhlionn: Yaybahar Roger Doyle (Piano) Artwork & Layout: Gavin O Brien Supported by Final County Council & The Arts Council of Ireland

[trevlad-sounds]

Invisible Waves 33.

18.08.2024

Intro 00:00 Moray Newlands-The meal was cooked before the bell rang 00:24 The Harvard sentences Projection wave machines BeepStreet Sunrizer (software synth)

Chapter 1 02:24

Oberu-Debris 06:33 Cartas de Japón-Faune I 11:05 Cartas de Japón – Live session (La Siesta del Fauno) Sequential Circuits Pro-One (synth) Sequential Circuits Prophet-5 (synth) EMS Synthi AKS (synth) ARP Odyssey (synth) ARP Solina string synthesizer (synth) Yamaha CP-70 (synth) Moog Minimoog Model D (synth) Roland VP-330 (synth) Moog Moogerfooger MF-103 (FX pedal) Moog Modular (synth) ARP 2600 (synth) Roland Juno-60 (synth) Arturia Beatstep Pro (controller) La Siesta del Fauno (studio)

Chapter 2 21:16

Bolbec-Vengeance Tropicale 28:14 Piero Piccioni (composer) Michel Legrand (composer) Nostalgia 77 (band) Aldemaro Romero (composer) Piero Umiliani (composer) cavaquinho (instrument) Mabreuch (band) Fish Factory (Studio)

TOKEE-Альбатрос (Abdicant’s Diomedea Mix) 31:03

Chapter 3 34:42

Ghost Funk Orchestra-Helios 37:30 Eddie Palmieri Esquivel The Lively Ones Dusty Springfield War

Space Dimension Controller-Beyond2 40:43

Chapter 4 44:58

Slow Reels-Heartshaped 50:32 Home Normal Slowcraft Records Morr Music Fluid Audio

[sk1nsh1fter]

U-he Repro-1 vs Pro-One

If you haven’t given a shot to U-He’s software replica of the legendary Pro-One synth, you might want to check it out. To me, this is one of the best, if not the best emulation of a hardware unit up to date. Phenomenal sound.

[stiflingluxury]

Sequential Circuits Pro-One restoration

[thekingofgear]

Can I get Radiohead sounds out of the OB6? Will it be that much different than having an actual prophet 5?

Thom and Jonny messing with Nigel's vintage Sequential Circuits Prophet 5 REV3 during the recording of A Moon Shaped Pool.

As we say in our (slightly out of date) article A Synthesizer To Play Radiohead: "the most significant factor in a subtractive synthesizer’s tone is the tone of its filter: regardless of how many oscillators, waveforms, envelopes, and extra features a synth offers, it will always sound like its filter." That's one reason that many modern synths have added multiple filter circuits to choose from (for example the Sequential Pro-3, Moog One, and Novation Bass Station II).

And it's doubly true if one synth has a 2-pole filter (like the OB6) and the other has a 4-pole filter (like the Prophet-6). If you're a guitarist, you could think of 2-pole as brighter single coils and 4-pole as warmer humbuckers. You can make them sound similar by turning down the filter cutoff on a 2-pole, but the 2-pole will still have a gentler and more "natural" sound.

If you really love Radiohead's polyphonic synth sounds, then you should get a Prophet of some kind (or at least a Prophet emulator like the u-he REPRO-5). The Sequential OB6 is a really great sounding instrument, but with its 2-pole filter it really sounds like an Oberheim, which was the goal of course. The OB6 may share some architecture with the Prophet-6, but the filter really sets them apart.

The Prophet-6 sounds very similar to the Prophet-5 REV3, which has a much cleaner filter than the earlier REV1 and REV2 Prophet-5 synths. Plus the Prophet-6 has a lot more features than any version of the Prophet-5. But the Prophet REV2 and even the Prophet '08 can all sound pretty close with the right settings, especially if you add a bit of EQ and reverb. Some folks will obsess over tiny differences in the sound of these synths in isolation, but that should only tell you how similar all those Prophets sound.

If you want the best of both worlds, for the price of a new OB6 keyboard ($3500 USD) you could get a new OB6 desktop ($2400 USD) and a used Prophet '08 keyboard (~$1000 USD). Plus that would give you an extra octave of keys compared to the OB6 or Prophet-6 keyboards.

But before you take the plunge, why not test the sounds with some plugins? Download the e-he REPRO-5 demo version and the free DiscoDSP OB-XD, and see how you compare the "Prophet" and "Oberheim" sounds. Maybe you'll find that you prefer Oberheim tones after all. You might even be happy with the plugins instead of an expensive piece of hardware.

Thom playing the band's Dave Smith Instruments Prophet '08 during the recording of Ful Stop (nigelgod).

[thoraway125]

Tegan and Sara’s Instruments and etc

Fun fact they used Chocolate Covered Sunflower Seeds for the shaker in ‘Back In Your Head’

Tegan’s stuff

Guitars

Art & Lutherie Ami Cedar (black)

Epiphone Coronet

Fender Acoustic (gloss sunburst)

Fender Stratocaster

Gibson Blues King

Gibson G6128TCG Duo Jet 

Gibson Les Paul (goldtop)

Gibson Les Paul Junior

Gibson Les Paul Studio Gold Series

Gibson Maestro

Gibson Melody Maker Special

Gibson Joan Jett Signature Melody Maker (white, w/Zebra humbucker)

Gibson SG Junior 60’s 

Martin X Series LX1E Little Martin Acoustic

P-90

Martin 00 Acoustics

Seagull Acoustics

Vintage Gibson Melody Maker (natural Mahogany)

Yamaha APX-3M

Pedals- Upper Row: Boss NS-2, OD-3, LS-2, and TU-2. Lower row: Ibanez TS-9, Boss CE-2, MXR M-133 MicroAmp, Boss DD5 and a Zvex Fuzz Factory. 

Boss SD-1, RV-5. TR-2, DD-3, TU-2s

Keyboards

Alesia Micron

Angel AX-25N2 Glockenspiel

MalletKAT

MicroKORG Synthesizer/Vocoder

Clavia Nord Electro 273

Roland Juno-G

Sequential Circuits Prophet- 5

Sequential Circuits 2

Amps

Acme Lulu head into Dr. Z closed back 1/12-inch cab (miked with Heil PR30)

Fender Hot Rod Deluxe Amps

Other

Dunlop Capos

Dunlop Nylon .73mm/.6mm picks

Couch Black Byloos

Gibson Masterbuilt Premium Phosphor Bronze Wound

Gibson Red Lightning Bolt strap

LP Shake-It Shakers

Ultra Feedback Buster

Victorian Strap

Sara’s stuff

Guitars

Art & Lutherie Ami Cedar (black)

Danelectro ’67 Dano Heaven Hawk Series (creme alligator)

Epiphone Les Paul

Fender Jaguar (olympic white finish) 1995

Fender Telecaster (sunburst)

Gibson Blues King

Gibson CJ165 (rosewood)

Gibson ES-335

Gibson Everly Brothers J-180 Acoustic 2005 (Chris Walla’s)

Gibson Les Paul Goldtop

Gibson Les Paul Junior Special P-90 (satin cherry)

Gibson SG Junior 60’s

Gibson SJ-300

Gretsch Duo (jet black)

Gretsch G6131MY Malcolm Young Signature II (the yellow one)

Gretsch Malcolm Young (red)

Martin X Series LX1E Little Martin Acoustic

P-90? idk this might go with ^

Martin 000M Acoustics

Regal RC-1 Duolian Resonator (Nickel Plated Steel or 2003 Polychrome Grey)

Takamine EAN30C

Vintage 1972 Fender Telecaster Thinline (black, w/Wide Range Humbuckers)

Pedals

Boss output selector; Liele input selector; Pro D2 stereo direct box; and Boss overdrive, chorus, reverb, delay and tuner out to amp.  Two DI’s, a dry DI signal. 

Keyboards

Alesia Micron

Angel AX-25N2 Glockenspiel

LP Shake-It Shakers

MalletKAT

MicroKORG Synthesizer/Vocoder

Clavia Nord Electro 273

Roland Juno-G

Sequential Circuits Prophet- 5

Sequential Circuits 2

Amps

Acme Lulu head into Dr. Z closed back 1/12-inch cab (miked with Heil PR30)

Fender Hot Rod Deluxe Amps

Other

mac tower

Protools rack

D'Addario strings

Dunlop Tortex Standard Guitar Picks 0.06mm

Dunlop Acoustic Guitar Capo

Dunlop Capos

G7th 405 Capo

Gibson Masterbuilt Premium Phosphor Bronze Wound

LP Shake-It Shakers

Planet Waves Delrin .61mm picks

Other band members

Edward ‘Ted’ Gowans Guitars

1975 Fender Stratocaster 1965 RI Jazzmaster E1 Moog Fender American Deluxe Tele Fender Jaguar Gibson ES-335 (satin finish) G&L ASAT Gretsch Malcolm Young (red) Martin Acoustics

Pedals Boss tuner, Zvex Super Hard On, Fulltone Fulldrive 2, Mosfet, Ibanez TS-9DX) Boss TU-2, LS-2, MXR Dyna Comp, Ernie Ball volume, Line 6 DL4, Voodoo Lab Pedal Power, Z.Vex Super Hard-On, Line 6 DL4, and vintage chorus and delay 

Keyboards Nord Wave synthesizer

Amp Acme Varsity, AC10 Shaun Huberts Bass

Fender Jazz (natural finish, maple, mother-of-pearl block inlays) Fender Jazz (sunburst finish, tortoise-shell pickguard, rosewood)

Pedals Ampeg SVT Classic rig, SVT-CL bass head with an SVT- 810E bass enclosure. Taurus 3 Bass Pedals

Theremin Etherwave Plus

Amp Amp SVT-CL head into SVT-810E cab and Eden World Tour 800 Head into Eden 410XLT cab

Johnny Andrews Drums a Yamaha Kit

Mics Shure MS91 and Yamaha Subkick (bass), Shure Beta57 (snare top), Neumann KM184 (snare bottom/hi-hat), Shure Beta56 (rack tom), Shure Beta52 (floor tom), two Audio-Technica AT4033s (overhead)

[mamotreco]

Comparing three identical patches on the Waldorf PPG Wave 3.v VST synth plugin and its multiple PPG Wave wavetable emulations (Wave 2.3, Wave 2.2, Wave 2.v) against the older version of the audio plugin, the PPG Wave 2.2v There were three versions of the PPG Wave wavetable synthesizer. The first iteration was the Wave 2 (from 1981) which had 8 oscillators and the CEM 3320 VCF 24db/oct filter chips. It was in good company since the Sequential Circuits Pro One used those too for its analog filters. The next year the Wave 2.2 version came out with 16 oscillators (so two per voice) and a different filter chip to accompany its now beefier 8 voices. Both the 2.2 and 2.3 used the SSM 2044 VCF chip which was also present in the much lauded Octave Plateau Voyetra 8 and the Korg Mono/Poly. The final 2.3 iteration from 1984 increased the oscillator resolution from 8-bit to 12-bit when used in conjunction with a Waveterm A or B music computer unit which allowed for sampling and sequencing very much in the vein of the legendary Fairlight CMI.

[naviarlab]

naviarhaiku329 – Creativity

Creativity, for which springtime light is lit like fire in my mind

Ray consider’s himself more accomplished as a composer than a performer, though he most often plays each part of a composition onto a recorded MIDI track using a keyboard controller. He enjoys making his productions completely “in the box” and finds satisfaction in trying to make sure a trumpet or guitar part sound real even though they are virtual instruments played from a keyboard. While he would like nothing more than to collaborate with “real” instrumentalists in his work, he always wants to know if you think the articulation and sound could be more realistic in any part. Ray played trumpet from elementary school through graduation from high school.

He considers himself fortunate to be a teenager in the birth years of the Sequential Circuits SixTrak (Prophet 610) and the Roland JX-8P. These instruments brought to him the many colors of synthesis and all the possibilities of electronic music. When he discovered MasterTracks Pro for Commodore 64 and realized his SixTrak had one of the very first Musical Instrument Digital Interfaces, his electronic music journey launched in earnest.

What Ray loves most about Naviar Haiku is the freedom to pursue an idea freely to whatever end. Sometimes the poem feels like a soundtrack and other times it evokes jazz, dubstep, rock, or an ambient piece. Sometimes it evens starts as one and ends as another.

Ray participates in the Haiku challenge as Stull.

Seven days to make music in response to the assigned haiku: to participate visit https://www.naviarrecords.com/about/naviar-haiku

Deadline: 29th April 2020

haiku by Raymond Stull http://soundcloud.com/stull

picture by Nathan Lindahl https://unsplash.com/@hip_dinosaur

[benjamindehli]

Blade Runner: Rachel's Song (cover)

A cover version of Rachael's Song / Rachel's Song by Vangelis from the movie Blade Runner. For the lead vocal part I used a Therevox ET-4.3. 

 Instruments:

Korg MS-20: Filter and noise for vocal

Korg Polysix: Synth pad

Logan / Hohner String Melody II: Strings

Mellotron M4000D: Choir and chimes

Moog Minitaur: Bass

Rhodes Mark I Stage Piano: Electric piano

Roland D-50: Chimes

Roland SH-09: Quarter note beeps and noise

Sequential Circuits Pro-One: Brass and lead synth

Suzuki Omnichord OM-84 System Two: Harp

Therevox ET-4.3: Vocal

Yamaha DX7: Chimes

Amplifiers:

Fender Twin Reverb: Rhodes

Tandberg Model 2 T: Therevox

Microphones:

Shure SM57

Royer R-121

Effects:

Hairball Audio FET/RACK Revision D

Roland PA-120 (preamp, EQ and spring reverb)

Roland Dimension D SDD-320

Fulltone Tube Tape Echo

Chase Bliss Audio & Meris CXM 1978

DIYRE G Bus VCA Compressor

Tape recorder:

Fostex X-28H

Music: Rachel's Song from the Blade Runner soundtrack by Vangelis

[liminalliebox]

I'm quite enjoying Behringer's clone of SEQUENTIAL CIRCUITS' iconic PRO-ONE synth from 1981. While I did own the original all-in- one keyboard version, this revamp offers a smaller scale, MIDI capability, and multiple patch points that the original never had. It also maintains the fat analogue sound with various modulation sources, easily read faceplate, arpeggiator, and simple sequencer. Now Behringer might want to consider some form of royalty to the original designers and chip-makers! Is that asking too much?

[jordanssynths]

Another Pro-One Up and Running \🔌 • • • #synth #electronic #keyboard #wave #synthesizer #sequential #proone #music #studio #neon #fix #repair #vintage #retro #cem #setup #circuits #keys (at Connecticut) https://www.instagram.com/p/BwKOKePFkvY/?utm_source=ig_tumblr_share&igshid=o3scxoq42ys0

[the6ftali3n]

Just unboxed my copy of [Daft Punk] "Random Access Memories" Limited Edition Deluxe Box Set of 2500 units.

The Deluxe Box Set Edition is presented in a cloth-bound box (333mm x 333mm / 13” x 13”) stamped with the Random Access Memories logo in gold foil on the cover. All individual contents are separated by vellum dividers printed with a circuit pattern texture inspired by the gloves of the Daft Punk Robots.

Contents (refer to letter in pictures):

(B) A special edition 180 gram double vinyl with gold and silver foil labels. Includes an 8 page saddle stitched booklet containing album artwork, credits and lyric sheets.

(C) A 56 page cloth-bound, hardcover photo book of images from the RAM recording sessions and film shoots, featuring a foreword by Paul Williams.

(D) A special edition 10” collector’s vinyl containing an extended interview with Giorgio Moroder taken from the original session recordings for the song, “Giorgio by Moroder”.

(E) Two sets of Robot helmet design schematics with individual components separated onto 8 layers of unbounded transparencies. Each set is contained in a clear presentation pouch.

(F) A pair of full body Robot design schematic posters (304mm x 608mm / 12” x 24”) printed on heavy weight matte finish poster paper.

(G) A 70mm motion picture film strip containing 5 sequential frames from the “Lose Yourself to Dance” original production dailies, mounted in a heavy weight matte stock with an open back. Each film strip is one of a kind.

(H) A pair of gold and silver plated, metal encased, reusable USB drives containing the following:

Audio:

High-resolution digital audio files (88.2KHz / 24Bit) of the 13 original tracks on RAM plus the high-resolution audio files of the bonus track, Horizon and Daft Punk’s Get Lucky Remix.

Video:

High-definition, Apple Pro Res 422 (1920x1080) video files of: the full length video for “Lose Yourself to Dance”; the original RAM TV campaign spots; the extended Coachella version of the “Get Lucky” promo featuring Pharrell Williams and Nile Rodgers.🤖

[mmasonmusic]

I’ve been posting videos on Instagram reels which work in the under a minute time constraints. I decided to start putting them all on YouTube too. This one is called “Lopsided”. It has a Sequential Circuits Pro One cloned by that notorious German company. It has some of those cheap tiny Korg synth things. It has an electric guitar with active pickups. All the things which everybody uses but we were too afraid to tell people we did. 

[glofi]

(via NiteWind - Awake in NiteWind | LFO Dreams)

You can hear the analog circuitry on this one.  NiteWind is Saul Carrasco and he made this EP using an Akai MPC 1000, Korg Poly-61, Roland Juno-60, and Sequential Circuits Pro-One.

Thanks Stratford Ct. for continuously putting out gold.