Behringer PRO-1 Bedienungsanleitung

Behringer Pro-1

Operation Guide

An Alternative Manual

Revision 1.01, December 2021

by Simon Taylor

www.coolcatukes.com

AP099
Revision 1.01
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Introduction To This Guide 
Why This Guide?!4
Conventions & Naming!4
Safety Instructions!4
About the Synthesisers 
The Sequential Circuits Pro-One!4
The Behringer Pro-1!5
Introduction 
Connections!5
Playing!7
Keyboard Controls!8
Front Panel 
Introduction!10
The Voice!10
Mode!11
GATE Indicator!11
RETRIG/NORMAL!11
Normal / REPEAT/EXT!11
DRONE!12
POLY / MONO!12
Arpeggiator!12
Sequencer!13
Oscillator A!14
Frequency Knob!14
Octave Rotary Switch!14
Sawtooth Shape Switch!14
Pulse Shape Switch!14
PULSE WIDTH Knob!14
SYNC Switch!14
Oscillator B!15
Triangle Shape Switch!15
NORMAL-LO FREQ Switch!15
OFF-KYBD Switch:!15
Glide!15
Rate Knob!15
Auto/Normal Switch!15
Mixer!16
OSC A & OSC B Knobs!16
Noise/Ext Knob!16
Filter!16
Cutoff Knob!16
Resonance Knob!16
Envelope Amount Knob!17
Keyboard Amount Knob!17
Attack Knob!17
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Decay Knob!17
Sustain Knob!18
Release Knob!18
Ampliﬁer!18
LFO!18
Frequency Knob!18
Wave Shape Switches!18
Modulation!18
FIL ENV, OSC B, & LFO AMOUNT Knobs!19
FIL ENV, OSC B, & LFO ROUTE Switches!19
OSC A FREQ, OSC A PW, OSC B FREQ, OSC B PW, & Filter Switches!19
Top Panel 
Introduction!20
Connections!20
MOD WH CV <!20
OSC CV (CV In) <!20
GATE/CLK (Gate Clock In) <!20
LFO CV <!21
LFO OUT >!21
KYBD CV > (Cv Out)!21
GATE > (Gate Out)!21
EXT < (Audio In)!21
MIXER >!21
CUTOFF CV <!21
RESO CV <!21
FILTER ENV >!21
AMP ENV >!21
PHONES >!22
AUDIO OUT >!22
Top Panel Electrical Reference!22
Back Panel 
Connections!23
In Case Of Difﬁculty 
Routine Maintenance 
Introduction!24
Cleaning!24
Appendices & Reference 
Selected Bibliography!25
Acknowledgements!25
Physical Speciﬁcations!25
Glossary / Notes!25
Product Links!26
Revisions To This Guide!26
Factory Patches!27
Panel Blanks!34
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Introduction To This Guide

Why This Guide?

The Behringer Pro-1 is a great synthesiser, but is delivered with little documentation. The

original Pro-One that the synthesiser is based on had a more detailed explanation, so in

learning how to use the Pro-1, the author was using this manual. This document is an effort to

consolidate that information and add other relevant information in one concise and clear

guide.

Information here is provided without warranty or liability. Please forward any suggestions or

corrections by email to [email protected].

Conventions & Naming

This guide is transcribed and adapted from the original Sequential Circuits Pro-One Manual.

It has been adapted to cover both the Behringer Pro-1 clone.

The original Pro-One synthesiser had a keyboard. Where “keyboard” is mentioned, then

MIDI input is normally implied for the Behringer Pro-1. This MIDI input may be from a Digital

Audio Workstation (DAW) such as Logic Pro or directly from a MIDI keyboard controller.

The synthesisers are referred to as Pro-One or Pro-1 where they are mentioned speciﬁcally.

Safety Instructions

For statutory information & safety instructions refer to the Quick Start Guide supplied by the

manufacturer with the Pro-1.

About the Synthesisers

The Sequential Circuits Pro-One

The Pro-One was a monophonic (one-voice) keyboard synthesiser, now out of production. Its

principal sound sources are two voltage-controlled oscillators (VCOs), referred to as OSC A

and OSC B. OSC A, OSC B, and a white noise source can be mixed into the resonant low-

pass ﬁlter (VCF). The ﬁlter modiﬁes the voice timbre under control of its four-stage envelope

generator. The ﬁlter may also serve as a sound source. This stage is followed by a voltage-

controlled ampliﬁer (VCA), which shapes the voice amplitude also under control of a four-

stage envelope generator. The keyboard provides frequency control voltage (KYBD CV) for

the oscillators and ﬁlter, and generates a GATE which controls the envelope generators.

In addition to this basic voice, the Pro-One has extensive modulation provisions. Three

modulation sources are available: the ﬁlter envelope generator (FILT ENV), OSC B, and a

separate low-frequency oscillator (LFO). Each can be mixed and routed for either DIRECT or

WHEEL-controlled modulation of ﬁve destinations: OSC A frequency (FREQ), OSC A pulse-

width (PW), OSC B FREQ, OSC B PW, and ﬁlter frequency (FILTER).

This complement of analogue synthesiser modules and the routings provided for their

interconnection have been well-proven in the Pro-One's ancestors, the Prophet-5 and

Prophet-10 polyphonic synthesisers. Besides allowing the synthesist to play up to ﬁve or ten

notes at one time, these two instruments contain microcomputers which program all the

control settings comprising a sound. The Pro-One is neither preset nor programmable: you

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always "patch" the precise sound you want with the knobs and switches on the control panel.

But the Pro-One voice itself is identical to a single Prophet voice, so it is capable of as much

range and expression.

Possessing the Prophet's sound and all standard monophonic synthesiser features, the Pro-

One's own microcomputer makes possible innovations unheard of on a low cost synthesiser; a

40-note sequencer, an arpeggiator, keyboard modes such as single- or multiple- triggering,

and the unique automatic glide feature. An audio input with preampliﬁer and automatic

GATE generator allows synthesiser processing of low-level inputs such as a microphone or

electric guitar. The audio output can drive a monophonic or stereo ampliﬁer, or stereo

headphones.

The Behringer Pro-1

The Behringer Pro-1 is essentially the same as the original Pro-One, but without the keyboard.

Generally controlled directly by a MIDI keyboard, or from (or via) a computer connected by

USB or MIDI interface.

Introduction

Follow the guide in the Behringer user instructions to connected the Pro-1 to your computer or

MIDI keyboard.

The Pro-1 synthesiser offers extraordinary capabilities for spontaneous control of pitch,

timbre, and loudness. To exploit these capabilities fully, learn as much as you can about it

with this guide and the books listed in the Appendix. Additional references can be obtained

from the more extensive bibliographies contained in the sources listed. Thus prepared, you

will no doubt create many interesting sounds. Be advised that the best patches tend to

disappear if not documented. Panel blanks for this purpose are provided at the back of this

guide.

Remember that the Pro-1 is a sophisticated instrument. It should be handled with as much care

as you would give a violin. Shock or vibration can damage the switches and knobs. If you

expect to transport the Pro-1 regularly, we recommend that you invest in a professional

"ﬂight" case for it. These are made by several manufacturers and should be carried by your

music dealer.

Connections

The Pro-1 is supplied with an external mains adaptor which converts the mains voltage to 12

volts. This is not fused nor earthed. Check that the adaptor is suitable for your mains supply

before use. Only use the recommended Behringer adapter.

This is an excellent time to think about your ampliﬁer and speaker system. By converting the

synthesiser's electrical output to the potent vibrations you hear, your sound system becomes

part of the instrument. Of course you can use anything you like. But if your speakers are

muddy and weak, so will be your sound. Using your home stereo will generally give you

good high-frequency range, but if you go this route be careful. The Pro-One has much more

dynamic range than the typical stereo source. It can generate powerful transients which can

damage component speakers if the volume is set too high. Therefore, you might consider

using ampliﬁers and speakers speciﬁcally designed for electronic instruments.

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The AUDIO OUT is a standard stereo phone jack, but it accepts a stereo or mono plug. For

single-channel use with instrument ampliﬁers, a mono cable with mono plugs at both ends

should sufﬁce. For playing through both channels of a stereo ampliﬁer, you will probably

need a stereo cable with a stereo phone plug at one end and two phono plugs at the other.

These will connect to the ampliﬁer AUX or TAPE inputs. (To protect speakers, it is customary

to switch off the ampliﬁer when making these connections.)

A 6.35mm line out is also provided at the rear panel, this is more typically used to connect

audio interfaces, PA systems etc.

Stereo headphones can be plugged directly into the AUDIO OUT jack. The headphones

should have a minimum impedance of 600 Ohms.

When power and audio output connections have been made, ﬁrst switch Pro-1 power on with

back panel switch sited next to the DC input jack socket, then switch ampliﬁer power on. If

you think the Pro-1 may not be operating, see the section titled “In Case Of Difﬁculty” in this

guide.

For other back panel connections, see the appropriate section later in this guide.

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Playing

At this point (after unpacking) the Pro-1 is probably not ready to play. As a non-preset

synthesiser, the knobs and switches on the control panel have to be set purposefully. Certain

minimum conditions such as mixer volumes, ﬁlter cutoff frequency and envelope sustain level

need to be established. You can learn about the controls by reading Section 2. But if you are

like most people, you'll want to try the Pro-1 before studying it. To do this, simply turn to the

Factory Patch section and select a factory patch. Set the Pro-1's controls as closely as

possible to the diagram while playing on an attached keyboard. Note that the Pro-1 has a

Poly/Mono switch that isn’t shown on those patch diagrams, it won’t matter which setting this

is on when playing one note at a time. Patching is a ﬁne art: be patient. Note that there is

inherent error in the diagrams and some degree of subjective preference as to exactly where

the knobs should be set. For completeness, all control positions are diagrammed even though

some may have no effect (for example, PULSE WIDTH when the pulse wave shape is

switched off.) When oscillator intervals are harmonically related, the FREQUENCY knob(s)

will have to be tuned by ear, usually for a minimum of “beating."

The original Pro-One had MOD and PITCH wheels are at the left of the keyboard. The MOD

wheel set the modulation level. When not in use the wheel is left "down" and no modulation

will occur. When the wheel is advanced fully "up," modulation is maximum. The PITCH wheel

is normally left in its centre-detent position, from which it is possible to simultaneously "bend"

OSC A and OSC B pitch up or down by about a ﬁfth. An integral part of playing is using the

wheels and the module controls (e.g. GLIDE and FILTER ENVELOPE AMOUNT) for

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expression through dynamic and timbral variations. Some MIDI keyboard

have these wheels, their effect will be the same as the original Pro-One.

The Pro-1 front panel differs with the addition of a MIDI IN socket and

synthesiser patch connections to allow connection between sections of the

synthesiser or other devices. There is also a POLY/MONO with in the MODE

section. Apart from that, the two synthesisers are identical on the top panel.

The diagrams don't indicate VOLUME and TUNE knob settings because these

are set as required. VOLUME, of course, sets the audio output level to the

ampliﬁer or headphones. For optimum signal-to-noise ratio, the Pro- 1's

VOLUME knob should be set as high as possible (without overdriving your

ampliﬁer or speakers, of course). MASTER TUNE simultaneously adjusts OSC

A and OSC B pitch over a four-semitone range. It is used to easily tune the

Pro- 1 to another instrument, such as a piano. Once set, MASTER TUNE is

not usually adjusted during performance. If no other instrument is in use, the

MASTER TUNE knob should be centred.

Other methods of controlling the Pro-1 are possible via the top panel. For more information,

see the top Panel section.

Keyboard Controls

You can't play chords on a Pro-1 for the same reason you can't play chords on a clarinet or

trumpet: they are all monophonic instruments. So you will most often be playing solo lines on

the keyboard. But you have some options as to how the keys are played, and when you can

play more than one key. These are the keyboard controls, with which you can experiment on

almost any patch. The keyboard controls include the arpeggiator and sequencer, which are

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keyboard "memory" devices of great utility in performance. And by freeing both hands from

the keyboard, these tools aid in your learning how to patch.

To understand the keyboard controls you ﬁrst need to know that inside the Pro- 1 a GATE

signal is produced when a key is received over MIDI or from the sequencer, which controls

the envelope generators. The initial appearance of the GATE "triggers" the envelope

generators to-proceed through their ATTACK and DECAY periods. After the ATTACK and

DECAY periods set for each envelope generator have elapsed, it will produce a steady

control voltage (CV) at the level set by the SUSTAIN knob for as long as the GATE is present.

When the GATE goes off, indicating the key has been released, the envelope generator

output voltage decays to zero at a rate set by the RELEASE knob. (For more information, the

Filter section.)

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Front Panel

Introduction

This section explains the "modules" outlined on the front panel. The front panel is divided into

"voice" and "modulation" sections. The basic voice is discussed ﬁrst, then modulation. Signal

ﬂow, the alternatives of each switch, and ranges of each knob are described.

The Voice

As an analogue voltage-controlled synthesiser voice, the Pro-One can be understood at its

most general level in terms of three functions: audio waveshape generation, modiﬁcation, and

control.

The diagram shows the voice signal ﬂow. As mentioned above (About the Pro-One), OSC A

and OSC B are the principal sound generators. They are supplemented by the NOISE source

(for unpitched sounds such as "surf") or an external audio input which bypasses the NOISE

source. (To learn how to use the external audio input, see the Top Panel section).

The MIXER is a modiﬁer. It sets OSC A, OSC B, and NOISE (or EXT audio) levels and

combines them into one signal which enters the FILTER. The FILTER also functions normally as

a modiﬁer, by cutting off the high-frequency components of input audio signals. However, by

feeding a sufﬁcient amount of FILTER output back to its input with the RESONANCE control,

the FILTER will become a pitch generator at its CUTOFF frequency.

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