No stranger to vintage hardware analog emulation in software, u-he does it again with a virtual incarnation of the Sequential Circuits Pro-One from the 1980s. By Rob Mitchell, May 2017 The Sequential Circuits Pro-One was a monophonic analog synthesizer produced during the early 1980s. It was less expensive than its polyphonic big brother; the Pro-5. Even though it was not as costly as some other higher priced synthesizers, it still had a huge sound which was hard to match. Around 10,000 were built, and it had been used by such artists as Depeche Mode, Prince, New Order, and Soft Cell.

Repro-1 is a software emulation of this hardware synth with many added features. Modeled at the component level, this emulation takes on a new level of realism and character. It went through a long period of time in beta as they fine-tuned its many settings. The people at u-he even setup a poll on the KVR website, and they asked the forum members to vote on which filter sounded the best. All of these efforts culminated in the software emulation known as Repro-1. Some of its features include two oscillators, a noise generator, 4-pole low pass filter, a sequencer, effects, and over 500 presets. That’s enough of its background; now let’s check it out in detail.

Repro-1 is available in 32/64-bit VST2, VST3, AU, and AAX for the Mac. For the PC, it is available in 32/64-bit VST2, VST3, and AAX formats. There is also a VST2 version for Linux available.

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Native Instruments’ NKS is supported as well. For the Mac, you’ll need OS X 10.7 or higher. For the PC, you’ll need Windows 7 or higher. They also recommend a modern CPU. A Tour of the Facilities After you start Repro-1 in your DAW, you’ll see the main display. At the top-left are the tabs to navigate to the other sections of the synth: Tweaks, Sequencer, and Presets.

I will cover the Tweaks and Sequencer sections later, but I just want to take a look at the Presets screen for now. Robert Miles 23am RARE. It has a preset browser with the categories along the left side, the individual presets in the middle, and information about each preset on the right side. Right-clicking on a preset brings up some useful options, such as marking it as a favorite, or as junk. The “Junk” option is for hiding a preset in the list that is displayed.

You can also use the left/right arrows at the top of the display to skim through the presets one by one. Over 500 presets are included, and they definitely have a high level of quality in their design. I spent quite a while just browsing through them, and found many useful ones I’d like to use in my own tracks.

If you “Favorite” a preset, it will place a star next to its name. It’s great to have so many varied presets to use right away, but let’s examine how those sounds are put together in Repro-1. The “Synth” display is what you first see when you start Repro-1. This is where you can make most of the changes to the settings that will be the basis of your own presets.

It is a fairly simple layout, so there aren’t too many mysterious settings to figure out here. Towards the middle of the display are the two oscillators and the LFO. The Filter and Envelopes are on the right side, and some modulation settings are over on the left. Along the bottom, you can switch the view from a keyboard to the effects. For the first oscillator, you have tuning settings for the octave (four octaves), semitone (+/- 12), and fine (+/-20 cents). The waveforms include a sawtooth and pulse.

You can choose either or both of those two waveforms, and the pulse can be adjusted using the pulse width control. The two oscillators can also be hard-synced. The second oscillator has a few more settings available. The tuning and pulse width controls are the same, but it also has triangle waveform that can be enabled. The “LO FREQ” switch will enable a very low frequency mode for the oscillator, so it can then be used as an LFO.

Disabling the “KYBD” switch will turn off the keyboard follow for the oscillator. To the right of the oscillators are the Mixer and Glide settings. You can adjust the levels of the oscillators and the white noise generator from the Mixer. You’re also able to switch from the noise setting to a “Feedback” function, which takes the signal path and feeds it back to the mix. This can give it a dose of extra beefy bass. If you are using resonance in your preset, turning up the Feedback will cut back on the amount of resonance.