"The Pro One is something that P bought before we started the album 'Business Casual.' This is the bass sound on 'Don't Turn the Lights On' and on 'Hot Mess' as well. What's cool about this is that contrary to the Prodigy, this is MIDI so we can program. What P actually did for 'Hot Mess' was he programmed a line in MIDI and then did the glide manually and then re-recorded it with the glide in it... I actually found it hard to deal with the filter because the synth has a phase. The oscillators are not really in sync. When oscillators get too in phase you lose some of the width of the sound and the depth. When they're out and not apart they sound off key and not in tune. So what we did is that we let it run for the length of the song and we chose the parts where we found them aligned and it sounded great. You could sync it but you lose all the clarity, it's horrible - I hate that. You need the right balance of cheating and the human element of these synths, which is a little imperfect but you want to cheat it to contain it and make it sound more modern. Also, for the aficionados, this is totally not a typical Pro One case. They're black usually. This is custom built with parts from a Prophet 5. So it's like a mini Prophet 5, kind of. It's still the Pro One just with a different casing."more
"The Pro-One is one of those instruments, they're like a woman. You can't understand them, there's like 1,000 knobs, and it cries every time you touch it," she said as the temperamental Pro-One faltered on a song." "I'm proud to be a girl! And I'm proud to play an instrument that behaves like an [effing] woman every show!" - Emily Haines Then after ordering the audience to tell the Pro-One they loved it, in unison, Metric launched into "Poster of a Girl."more
During Legowelt's Studio Tour for Future Music Magazine, at 0:16 Legowelt says, "This here is a Sequential Circuits Pro One, it's a pretty well known synthesizer. I got it in the 90's... I think 1994. I traded it for an [Akai VX90](http://equipboard.com/items/akai-vx90) synthesizer module, with a Spanish flamenco guitarist."more
This is a very tight, sharp and versatile synth – I had a Sequential Pro-One for years, but to my ears this synth does early-80s Vince Clarke-type sounds better than a Pro-One, despite the fact that the Pro-One is what Vince was mainly using. Like the Jupiter-4, it has an LFO that goes into audio rate, which helps to make the synth a lot more versatile than you might expectmore
Manufactured: 1981-1985 Type: Monophonic Analogue synthesizer Gear info: As you can see it comes from the same period and genre as the Roland SH-101 and Moog Prodigy. A very fat sounding synth with arpeggiator and a simple sequencer. It has a good modulation section, some say it's the best thing about the synth. It is remarkably stable in tune once it has warmed up after about 15 minutes. Shouldn't be a problem finding a Pro-One, it's one of the most common monosynths. Used: Liam has used this one in live sets. If you have got the Electronic Punks video you can spot this one easily.more
Crappy keys suffering from double or triple triggering but soundwise it could be the only machine you ever need because it delivers any basic sound in outstanding quality. Fast envelopes, a strong filter which opens up to the highest highs and resonates over the entire audio spectrum, very flexible modulations, sync, fm (with a character similar to my ARP2600) and lots of other goodies. Vince Clarke was right to choose it as one of his favorite machines.
My second synthesizer and the real deal. This is the synth that taught me synthesis and it changed my life forever. The Pro one made my first synth (The Moog Opus 3) sound like crap by comparison. It had a rich feature set and an intuitive interface. It also had a lot of external interface options, a sequencer, auto repeat, and extensive modulation sources. The only drawback was its cheap plastic construction. The original price tag was $645 in 1981.