The Dave Smith Instruments Pro 2 is a synthesizer that has earned a dedicated following among sound designers, electronic musicians, and live performers. Released in 2013, the Pro 2 was the first mono synthesizer from the company since the legendary Pro-One of the 1980s. It is far from a simple retro recreation; the Pro 2 is a powerful hybrid instrument that fuses a classic analog signal path with modern digital control and versatility. Its unique sound character — simultaneously warm and precise, vintage and forward-looking — has made it a staple in studios and on stages worldwide. This article explores the architecture, sound, and creative potential of the Pro 2, revealing why it remains one of the most respected monosynths ever built.

The Legacy of Dave Smith Instruments (Now Sequential)

Founded by Dave Smith, a pioneer in the synthesizer industry, the company formerly known as Dave Smith Instruments (now Sequential) has been at the forefront of synthesizer innovation since the late 1970s. Smith was instrumental in the development of the Prophet-5, the world’s first fully programmable polyphonic synthesizer. This legacy of pushing boundaries continues with the Pro 2. The instrument represents a synthesis of Smith’s experience with both analog circuitry and digital control, drawing on decades of design knowledge. It is a synth that respects the past but is unafraid to explore new sonic territories. For a detailed overview from the manufacturer, you can visit the Sequential Pro 2 page.

Hybrid Architecture: Digital Oscillators Meet Analog Filter

The Pro 2 is often described as a hybrid synthesizer because it combines digital oscillators with an analog filter and amplifier signal path. This hybrid design is key to its distinctive sound. The digital oscillators provide incredible waveform flexibility — far beyond what traditional analog oscillators can achieve — while the analog filter section adds the warmth, character, and saturation that only a true analog circuit can deliver. This marriage of technologies allows the Pro 2 to produce sounds that are both pristine and gritty, clean and chaotic. The result is a sonic palette that spans from pure, digital sheen to gnarled, overdriven analog growl.

Oscillator Features at a Glance

  • Two digital oscillators per voice with 32 selectable waveforms each, including sawtooth, square, pulse (with variable width), triangle, sine, white/pink noise, and wavetables.
  • Wavetable capability with 32 preset wavetables and the ability to load custom ones via the computer editor.
  • Sub-oscillator providing one octave below (sine or square) for added low-end weight.
  • FM and ring modulation between oscillators for metallic and inharmonic tones.
  • Hard sync for classic tearing leads.

These oscillators are exceptionally stable and precise, yet they can be modulated to sound as lively and unpredictable as any analog source. The real magic happens when these precise digital signals pass through the analog filter. The filter imparts a natural compression and harmonic saturation that can glue the sound together or push it into distortion, depending on the settings.

The Sound Character: Analog Warmth Meets Digital Precision

What truly sets the Pro 2 apart is its ability to combine the best attributes of both analog and digital. The sound is not merely "digital" or "analog" — it is a third entity. Attacking basslines have the snap and weight of a classic analog synth, but with a clarity and precision in the high frequencies that is typically digital. Pads and atmospheric sounds can be lush and warm due to the analog filter, yet they also possess a shimmer and detail from the digital oscillators that allows them to sit beautifully in a mix. This unique character makes the Pro 2 exceptionally versatile: it can convincingly emulate vintage synths, produce modern EDM leads, and create entirely new textures that defy categorization.

Warmth in the Low End

The analog low-pass filter, a 4-pole (24 dB/octave) design inspired by the classic Prophet-5 filter (but with additional resonance options), provides a rich, creamy low end that is highly musical. When you push the resonance, the filter self-oscillates with a smooth, controllable howl. This makes the Pro 2 a go-to instrument for basses and sub-bass lines. The filter’s drive circuit adds further harmonic complexity, allowing you to dial in everything from gentle saturation to all-out overdrive. The 2-pole (12 dB/octave) mode offers a gentler roll-off, perfect for warmer, more open tones.

Precision in the Highs

Conversely, the digital oscillators allow for high-frequency content that is clean and piercing without being brittle. This makes the Pro 2 excellent for shimmering leads, sophisticated arpeggios, and complex sound effects. The ability to precisely tune and modulate waveforms gives sound designers the tools to create sounds that feel both electronic and organic. The sub-oscillator can add heft without muddiness, and the noise source is perfect for breathy textures.

Paraphonic Mode: Chords with Character

Although primarily a monosynth, the Pro 2 includes a paraphonic mode that allows up to four notes to be played simultaneously, sharing a single filter and amplifier envelope. This produces a unique sound — each note retains its own oscillator pitch and waveform, but the filter and amplitude envelope apply to all notes together. Paraphonic chords have a slightly "organ-like" or "string machine" quality, especially with slow attack or release settings. This mode is excellent for lush pads, brooding drones, and vintage-style textures that differ from fully polyphonic synths.

Deep Dive into Oscillators and Waveforms

Each of the two main oscillators offers an immense range of possibilities. The waveform selection includes the usual suspects plus a set of wavetables that are particularly powerful. Wavetables contain 32 distinct single-cycle waveforms, and you can morph between them manually or via modulation. This is a feature often associated with digital synths like the Waldorf Wave or the PPG, but here it is married to an analog filter. The Pro 2 also has a dedicated noise source (white and pink) and a sub-oscillator, further enriching the sound layer.

Using Wavetables for Evolving Tones

By modulating the wavetable position with an envelope or LFO, you can create sounds that evolve over time. A simple pad can start thin and become lush, or a bass can change from a clean sine to a gritty saw. This capability makes the Pro 2 an excellent tool for creating long, evolving soundscapes that never feel static. The wavetables themselves can be edited and loaded via the software librarian, giving you access to custom wavetables — an infinite playground for sound design.

FM and Ring Modulation

Oscillator sync and ring modulation are available, allowing for complex metallic and bell-like tones. The sync function is classic hard sync, producing the familiar tearing sound when the slave oscillator is modulated. Ring modulation, when mixed with the oscillators, adds inharmonic overtones perfect for percussion and eerie effects. Experiment with using a fast LFO on the ring modulation depth to create tremolo-like textures.

The Analog Filter Section: Heart of the Beast

The filter is arguably the most important component in defining the Pro 2's sound. It is a 4-pole (24 dB/octave) low-pass filter based on the classic Curtis CEM chips used in the Prophet-5 and many other vintage synths. However, Sequential added several modern enhancements. The filter can be switched between 2-pole (12 dB/octave) and 4-pole slopes, giving you control over the sharpness of the cutoff. Additionally, there is a dedicated drive circuit that applies pre-filter gain, saturating the sound before it hits the filter. This drive is smooth and musical, and it reacts differently depending on the waveform and amplitude. Pushing the drive high can create overdriven lead sounds reminiscent of vintage instruments like the Minimoog, but with the Pro 2’s unique clarity and definition.

Filter Modulation Sources

Modulation of the filter is key to expressive sound design. The Pro 2 offers three ADSR envelopes that can be assigned to the filter cutoff, as well as two LFOs with multiple waveforms. The filter can also be modulated by velocity, keyboard tracking, aftertouch, and the modulation wheel. The ability to independently control the envelope amount and the key tracking means you can dial in exactly how the filter responds to your playing. This makes the Pro 2 incredibly responsive and dynamic — a major advantage for live performance. Use keyboard tracking to keep the low end tight while opening the highs, or reverse tracking for a "wah" effect on high notes.

For a deeper understanding of the filter’s capabilities, the Pro 2 manual provides detailed diagrams and modulation routing tables.

Modulation Matrix: The Key to Movement

The Pro 2 features a powerful modulation matrix that is rare in mono synths — and even many poly synths. You have four assignable modulation slots, each with selectable source and destination. Sources include the two LFOs, three envelopes, velocity, pressure (aftertouch), mod wheel, pitch wheel, and more. Destinations include oscillator pitch, pulse width, wavetable position, filter cutoff, filter resonance, LFO rate, and many others. Because of this matrix, you can create complex, interconnected modulations that bring your patches to life.

Creative Modulation Routing Examples

  • LFO 1 (slow) modulating filter cutoff, while LFO 2 (fast) modulates LFO 1 rate — creates rhythmic filter movement that speeds up and slows down.
  • Envelope 3 modulated by keyboard tracking, routed to wavetable position — each note triggers a different waveform slice.
  • Velocity modulating both filter envelope amount and oscillator pulse width — adds dynamic tone changes per note.
  • Mod wheel controlling crossfade between two waveforms (by modulating oscillator mix or wavetable position).

The modulation matrix is also routable to the sequencer, which opens up even more possibilities for generative and pattern-based sound design.

The 16-Track Analog Sequencer

One of the most beloved features of the Pro 2 is its built-in analog sequencer. It has 16 tracks and can sequence notes, gates, and modulation simultaneously. The sequencer can be used to create complex rhythmic patterns, but it is also a powerful tool for sound design. You can use the sequencer to step through waveform changes, filter cutoff values, or any modulation destination. This transforms the Pro 2 into a generative sound machine, capable of producing evolving sequences that are both musical and unpredictable. The sequencer also has a "random" mode that can inject controlled randomness, perfect for experimental patches. Additionally, each step can have its own gate length and velocity, enabling intricate programming.

Sound Design Techniques with the Pro 2

To exploit the Pro 2’s full potential, you need to understand its unique architecture. Here are some techniques that highlight its strengths:

Dual Oscillator Detuning for Massive Leads

Set both oscillators to saw waves, detune them slightly (a few cents), and route them through the filter with moderate resonance and a touch of drive. Use the sub-oscillator to add a sine wave one octave below for weight. The result is a fat, detuned lead sound that cuts through a mix. Experiment with different waveform combinations — for example, one saw and one square with PWM.

Wavetable Morphing for Texture

Choose a wavetable, assign the mod wheel to control wavetable position, and play slow chords (or single notes with long envelope releases). As you move the mod wheel, the sound morphs through different waveforms. This is fantastic for pad sounds and ambient backgrounds. You can also automate the mod wheel in your DAW for evolving textures over time.

Using the Sequencer for Arpeggios and Basslines

Program a simple bassline into the sequencer, then use the modulation matrix to trigger filter changes on each step (routing sequencer track to filter cutoff). Add swing and velocity variation to humanize the timing. The sequencer can be sync’d to external MIDI clock, making it a powerful tool for live electronic music. For evolving arpeggios, use a second sequencer track to modulate wavetable position or pulse width.

Aggressive Sync Bass

Use oscillator sync: set oscillator two to sync to oscillator one. Use a saw wave for the master and a square for the slave. Modulate the slave’s pitch with an envelope that has a quick attack and decay. The result is a classic sync bass sound that cuts through any mix. Drive the filter hard and add a touch of filter resonance for extra screech. For more advanced techniques, many online communities share patches and tutorials. A good resource is the Gearslutz Pro 2 tips and tricks thread.

Percussion with Noise and Envelopes

Use white noise as the sound source (oscillator set to noise). Create a short attack and decay envelope on the filter (with no sustain). Modulate filter cutoff with velocity. Add a second oscillator with a sine wave tuned to a low pitch for a kick-like thud. Layer with noise for a snare. The drive circuit can add grit to the noise, making it sound more aggressive.

The Pro 2 in Modern Music Production

The Pro 2 has found its way into a wide range of musical genres. In electronic music — from techno to ambient to dubstep — its ability to produce both smooth basses and screeching leads makes it a versatile workhorse. Producers like Trent Reznor (Nine Inch Nails), Richard Barbieri (Porcupine Tree), and Hans Zimmer have been known to use Sequential instruments. The Pro 2’s hybrid nature allows it to sit beautifully in a mix alongside both virtual instruments and other analog hardware. Its compact size and robust build make it a favorite for touring musicians.

Studio Integration

In the studio, the Pro 2 can be the centerpiece of a sound design session. Its CV and gate outputs (including two assignable CV outputs) allow it to control modular synthesizers, opening up an entire world of external patching. The USB and MIDI connectivity make it easy to integrate into a DAW as a controller or as a sound module. Many producers use the Pro 2 as a monosynth, but the paraphonic mode can be used for layered textures or chords (with common filter and envelope). The CV outs can also be used to modulate external gear, making the Pro 2 a powerful control hub for a hybrid setup.

Live Performance Workflow

For live performances, the Pro 2 is a dream. The front panel is laid out logically, with every major function accessible via a knob or switch. The built-in sequencer and arpeggiator can run independently, freeing your hands to tweak parameters. Aftertouch and velocity sensitivity add expressive control. The Pro 2’s sound is powerful enough to fill a stage without additional processing, though it also responds well to external effects. Many performers use the sequencer to run basslines or arpeggios while playing leads manually over the top. The combination of one-voice clarity and thick modulation makes it a great centerpiece for a live electronic act.

Comparison to Other Synthesizers

While the Pro 2 is unique, it’s helpful to understand how it fits alongside other Sequential synths. Compared to the Prophet-6 (which uses all-analog oscillators and a discrete filter), the Pro 2 offers more oscillator flexibility and a deeper modulation matrix, but the Prophet-6 has a warmer, more vintage character. The Pro 3 is the successor to the Pro 2, adding a third oscillator, a Steiner-Parker filter, and more modulation sources — but the Pro 2 remains a powerful, distinct instrument with its own sound, particularly its signature digital/analog hybrid texture and the 16-track sequencer.

Conclusion

The Dave Smith Instruments Pro 2 is far more than just a mono synthesizer update of a classic design. Its hybrid architecture — pairing the flexibility of digital oscillators with the warmth of an analog filter — creates a sound that is both timeless and innovative. Whether you are a seasoned sound designer seeking new textures, a live performer needing a reliable and expressive instrument, or a producer looking for that perfect bass sound, the Pro 2 delivers. Its comprehensive modulation matrix, powerful sequencer, and high-quality construction make it a lasting investment. The Pro 2 stands as one of the finest examples of blending the best of analog and digital technologies — a synth that will continue to inspire for years to come.

If you’re interested in hearing the Pro 2 in action, check out sound demos on the Sound On Sound review.