an aspect of the Pro 2 (and the mono evolver before it) i loved was the tuned feedback combined with the 4 independent delay lines… the karplus is strong with this synth
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i am sorry
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Agreed! The only thing that bummed me out is that you can’t get full wet on the delay. Still very powerful.
As I already have FX busses for my gear, I find the open-ended delays to be way more interesting than a few generic FX algorithms.
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You’ll still have open modulation slots. channel 1-16 are part of the fixed modulation not the assignable modulation. same as the Envelopes LFOs etc. there’s a destination value but then you can also assign to another location with the mod matrix. it’s easier to see on the menu. the 16x2 thing is you can set the sequencer to 16 steps with 16 Modulation channels or you can have 32 step sequence with 8 modulation channel (basically sacrificing some of the modulation memory for more note memory in the sequencer though in function it just feels like adding another page to your sequence in elektron terms. In paraphonic seq mode channel 1-4 are used for each oscillator. You can also mute the output of the pitch channel to make a Korg Motion Sequence-esque sequncer instead of a pitch seq.
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if i ever got another one i’d like to do that mod where u pull out the keys and frame up eurorack rails, fill it with erbe-verbs and klank myself into the abyss
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Something else I just found while dickin around tonight. If you route an envelope output to one of its parameters you create a variable exponential response on that curve with positive values. Much easier to dial in a plucky tight sound now.
For example
Mod 6: amp env-> amp env decay :64 then increase the decay parameter to a longer value to compensate for the snappier decay. Route it to the release to dial in a sound with identical release / decay
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I had previously thought the Pro 3 was the only one of the two with these sequencer tricks. Happy to discover Pro 2 has them since OS 1.4 
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Okay, got my Pro 2 a day early and now I can see what some of you mean by not running out of modulation slots.
I made a pretty wild sequence that, aside from the fixed slots, only used 4 of the 16 free mod slots (sliders, a bonus 5th LFO destination, after touch), and the result was quite complex and the sound was very compelling.
This thing is quite deep.
Really enjoying using the third and fourth oscillators at higher registers, and employing the OSC split routing to band pass them with the SEM/OB-6 filter, very harmonically rich.
And the boost on Filter 1 is incredibly gratifying. I really appreciate all the spaces you have to sculpt the tone. From filter boost to the character fx, to the delay filters.
Ran it through the Blackhole pedal and was in heaven about 20 minutes after opening the box. 
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If you want to get the p5 filter to sound more like the origials turn up the drive in the character section of the osc to like 8-15. That’ll put a more saturated wave form into the filter so the resonance has more to chew on and get those pro1 tearing sweeps
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Thanks for the tip, it’s a great sounding filter indeed.
And I don’t want to get too off subject here but my only experience with the other DSI synths is the “curtis” filter and it’s been several years.
Can you comment on how the filter in the P12 and Rev 2 compares to Filter 1 on the Pro 2?
I’ve had all three + a couple evolvers and the pro two filter filter 1 is closer to the P6 as far as I know. The filter in the P08, P12, and REV 2 I believe are pretty close to the same one that was in the evolvers.
Also, I found both filters on the Pro 2 to have more range and felixbility than that Curtis filter on the P08, P12, and Evolver line. The digital nastyness of the evo is tough to recreate elsewhere but I think the Pro 2 may be dsi/sequential closest thing to a perfect synth.
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P12 supposedly is “thinner” than the pro2 version Rev2 uses the same vcf as the prophet 8 which doesn’t sound bad by any means. I have mostly experience with my pro2 and a friends prophet6 I think the man difference is the bulkier vcos on the p6 but pumping up the drive a little helps add that midrange phatt that people associate with analog. The pro2 can get really huge sounding if you abuse the character section right. From the init it’s closer to a prophet VS I think. Those wave table voices are so 80s it’s the best 
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Okay, you’re bringing back memories of various DSI filter conversations, and perhaps a GS thread or two. Cheers.
Well, here’s the sequence+patch I made pretty quickly with just the 4 mod slots. Only 2 tracks in the sequencer (pitch and filter cutoff)
Valhalla supermassive + shimmer reverb coming in after the first minute, as I plugged the Blackhole pedal back into the OT.
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The sliders are making this synth+seq combo very playable.
Using them for PWM and to bring up a 4th super wave OSC as a variation live.
Switching the sequencer from ping pong mode to random mode live as well, with some Filter 2 HPF for effect (and bonus low end).
Drums are just a few loop things from OT. Some quick compression and reverb in Live afterward.
Rather pleased with the amount of low end it produces, without even using the Girth character parameter, and how close the Pro 2 just sounds like a record by default.
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Pardon my leaning on folks like @bwo , @astricii , @tomfs and others, but the Sequential forum is not quite helpful, or even that active.
So here’s my challenge: Sequencer MIDI output.
I’ve started from a basic program.
I’ve reset globals.
I have the MIDI out set to MIDI (not USB).
Channels are fine, my Typhon responds to MIDI from the Pro 2 keyboard.
My understanding is that I need to use the Mod matrix to assign Track 1 as a source and SeqOut1 Channel whatever as a destination. That’s all well in good, except all of the SeqOut1 and SeqOut2 destinations in the mod matrix are greyed out on my Pro 2.
How do I get around these destinations being greyed out?
There’s mention of it about 5 times on the Sequential forum and none of the replies address the issue.
There is talk about making sure all steps have velocities above zero. I’ve done that as well.
I’m stumped, and any assistance is greatly appreciated.
Did you try assigning it on the sequencer it self as the track destination? I haven’t really tried using its sequencer for external stuff.
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I did, and it shows up fine there (if I copy track 1 to track 2) however when I go back to the MOD matrix, it’s still greyed out, and no notes are leaving the sequencer via MIDI.
Okay, I figured it out, thanks for your time @astricii
This was never explained very well, there is certainly a specific order in doing this.
- Lay your notes on Track 1.
- Copy and paste Track 1 to another track.
- Set mod source as that new track.
- Set mod destination to Seq Out (choose your appropriate output# and channel#), Out1Ch2, for instance. Use either the sequencer or the mod matrix for this, and ignore it being greyed out.
- Now you have to manually go in and raise the velocity on the individual steps of the new track, since when track 1 was copied to another track, the velocity data was not copied.
Convoluted but it works, over DIN MIDI and/or USB.
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Yeah its a bit convoluted but the Pro 3 is also like this from what I have heard, first track is locked to the internal oscillators (in paramode first 4 are locked to oscillators). Another minor annoyance is if you are sequencing external CV notes it doesn’t tell you the actual note values and instead numeric values, which sort of makes sense because you can have your CV offset set up however you like and they don’t assume you are working with eurorack so the note values would depend on other factors, but it would have been nice if they had decided to a bit more of a standard starting point on the CV stuff or something though.
I suppose it never bothered me too much though as usually am taking advantage of that first track to sequence the Pro2 and then using an elektron sequencer to transpose the pro2 sequencer. You can also use the mod matrix to get other stuff to track with the keys in different ways also.
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