PRO-800

The overall loudness knob for the whole synth.

tip: Keep it around 3 o'clock for a healthy signal; the PRO-800's output is strong, so back off if your interface clips.

Nudges the whole synth sharp or flat to match other instruments.

tip: Leave it centered after the auto-tune unless you're tuning to a track that's slightly off concert pitch.

Makes notes smear/slide into each other instead of jumping instantly.

tip: A small amount adds expressive lead slides; max it out with a mono/unison patch for classic sci-fi swoops.

How fast the automatic wobble happens — slow for gentle sweeps, fast for vibrato or buzz.

tip: Slow LFO into the filter gives evolving pads; fast LFO into pitch gives vibrato.

How strong the automatic wobble is right from the start, even without touching the mod wheel.

tip: Set to zero if you want the mod wheel to introduce the effect gradually instead of it being constant.

Decides whether the mod wheel adds smooth wobble, random noise, or a mix of both.

tip: Blend in a touch of noise for gritty, breathy movement on top of vibrato.

Uses the filter's envelope shape to modulate other parts of the sound for dynamic, evolving tones.

tip: Route this to Freq A for classic pitch-envelope 'zap' and metallic effects.

Uses oscillator B to modulate other parameters, creating FM-like clangy and aggressive tones.

tip: Set OSC B to LO FREQ and route it here for slow, deep modulation; keep it in audio range for harsh FM textures.

Tunes the main oscillator up or down.

tip: Keep OSC A as your pitch anchor and detune OSC B against it for width.

Changes the character of the square wave from hollow to thin and nasal.

tip: Only affects the sound when the PULSE waveform is switched on for OSC A.

Tunes the second oscillator up or down, usually against OSC A.

tip: Set it exactly one octave or a fifth above OSC A for classic layered lead and bass tones.

Slightly detunes the second oscillator for thickness and movement.

tip: A tiny detune (just off center) creates the fat, shimmering 'two oscillators beating' sound.

Changes oscillator B's square wave from hollow to thin and reedy.

tip: Only affects the sound when PULSE is enabled for OSC B.

How loud the first oscillator is in the blend.

How loud the second oscillator is in the blend.

tip: Balance A and B evenly for the fattest detuned tones; favor one for a cleaner sound.

Adds hiss/breath to the mix — useful for wind, percussion, and texture.

tip: A touch of noise with a fast filter envelope makes convincing snare and hi-hat sounds.

The main tone/brightness knob — turn down to make it darker and muffled, up to make it brighter.

tip: This is the most-used knob on any synth; automate it or modulate it with the envelope for movement.

Adds a whistling, squelchy edge around the cutoff — the classic acid/squelch sound.

tip: Crank it near maximum and sweep cutoff for screaming resonant sweeps; back off if the low end thins out.

Determines how much the filter automatically opens and closes with each note.

tip: Increase this then shorten the filter DECAY for punchy, plucky attacks.

How quickly the filter opens up when you press a key.

tip: Short attack for plucks; long attack for slow filter swells.

How long the filter takes to fall from its peak to the sustain level.

tip: Pair a high envelope amount with a medium decay for classic filter-sweep basses.

How open the filter stays while you hold a key down.

tip: Set to zero for a percussive, no-sustain filter blip.

How long the filter keeps its shape after you let go of a key.

tip: Longer release smooths the tail of pads and bells.

How quickly the note reaches full volume when you press a key.

tip: Zero for instant, punchy sounds; higher for soft pad fade-ins.

How long the volume takes to drop from the initial peak to the sustain level.

tip: Short decay plus zero sustain makes plucky, staccato notes.

How loud the note stays while you hold the key.

tip: Full sustain for organs and pads; low sustain for plucks and stabs.

How long the note fades out after you release the key.

tip: Longer release adds natural tails; keep it short for tight, controlled sounds.

Turns on a bright, buzzy tone — the classic sound for brass and strings.

tip: You can enable saw and pulse together for a fuller, richer oscillator tone.

Turns on a hollow, woody tone that you can shape with PULSE WIDTH.

tip: Pulse with pulse-width modulation from the LFO gives a lush, chorusy movement.

Locks the two oscillators together, creating tearing, metallic sync tones.

tip: Sweep OSC A FREQUENCY (or modulate it) with sync on for the classic aggressive sync lead sound.

Turns on a bright, buzzy tone for the second oscillator.

Turns on a soft, mellow, flute-like tone — the gentlest of the waveforms.

tip: Great for sub-bass reinforcement or smooth, pure pad layers under a brighter OSC A.

Turns on a hollow, woody tone for the second oscillator.

Turns OSC B into a slow wobble generator instead of a normal-pitch oscillator.

tip: Combine with Poly-Mod OSC B amount for lush, individual per-voice modulation not possible with the single global LFO.

When off, OSC B stays at a fixed pitch no matter which key you play.

tip: Turn off keyboard tracking with LO FREQ on to get a constant-speed modulation regardless of note played.

Makes higher notes automatically brighter so the tone stays consistent across the keyboard.

tip: Use FULL tracking when you want high notes to cut through; use off for a darker, mellower top end.

Piles all the voices onto one note for a huge, fat lead or bass.

tip: Combine unison with slight detune and glide for the ultimate thick mono lead.

Chooses the pattern of the wobble — smooth rise/fall, random jumps, or sharp shapes.

tip: Random-Sine is great for organic, unpredictable movement in pads and drones.

Chooses what your keyboard's mod wheel changes — pitch, tone thickness, or brightness.

tip: Assign the mod wheel to Filter for expressive real-time brightness control while playing.

Chooses what the Poly-Mod sources reshape — the pitch, the tone width, or the brightness.

tip: This is where the PRO-800's signature aggressive, screaming Prophet sounds come from — experiment freely.

Makes what you hear match the physical knob positions right now, ignoring the saved patch.

tip: Press this any time a patch doesn't respond to your knob turns — you're probably in preset mode.

Steps through the groups of saved sounds.

tip: Use BANK together with PRESET to reach any of the 400 memory slots.

Picks a specific saved sound. Power up while holding it to load a clean starting patch.

tip: Holding PRESET during power-on is the fastest way to get a neutral patch to build from.

Stores your edited sound so you can recall it later.

tip: Always write to an empty or unwanted slot so you don't overwrite factory patches you like.

Automatically turns held chords into rippling up/down note patterns.

tip: Hold a chord and adjust the arp parameters to change direction and octave range on the fly.

Records a series of notes and loops them back so you can play along or tweak sound while it runs.

tip: Record a bassline, then use both hands to sweep the filter and resonance for evolving performances.

The setup menu for MIDI, tuning, and other behind-the-scenes options.

tip: This is where you set the MIDI channel to match your keyboard or DAW so notes come through.

The little screen that tells you which sound is selected and what settings you're adjusting.

Glows when the synth is tuning itself, especially right after power-on.

tip: Let it finish before playing; you can also re-run auto-tune if the oscillators drift as the unit warms up.

The main sound output — connect this to your mixer, audio interface, or amp.

tip: Use a proper 1/4" instrument or line cable; this is a strong signal, so use a line input rather than a mic input.

Plug in headphones here for silent monitoring.

tip: Adjust the VOLUME knob carefully — headphone level can get loud quickly.

Connect your MIDI keyboard here to play the synth.

tip: Make sure the keyboard and PRO-800 are set to the same MIDI channel.

Sends out MIDI to record your playing or control other gear.

tip: Enable MIDI CC transmission in the global menu to record your knob tweaks into a DAW.

Chains MIDI on to another synth without a separate splitter.

tip: Use this to daisy-chain a second sound module from the same keyboard.

Connect to your computer with a USB cable to play and control the synth from your DAW.

tip: USB carries MIDI only, not audio — you still need the OUTPUT jack for sound.

Where the power supply plugs in.

tip: Use only the supplied adapter; if you install the unit in a Eurorack case, follow the manual's power guidance.