Creamware Pro12 ASB #16346

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�Is there a difference between the Prophet VTM and the Pro-12 ASB�? You can bet there is. The one has been out of production for years; the other was made available just in November 2005. The one has five voices; the other one has twelve.That�s it? Well, there are actually a few more differences. The Pro-12 ASB comes with sophisticated velocity functions � including attack and release velocity. With refined channel-pressure features. With a versatile unisono mode. And finally with a newly attached FX section. At the same time, it eliminates the fewweaknesses of the original � for example, the keyboard amount can at last be set in the filter section. And the filter envelope operates negatively as well now.The sound? Well, the sound� Sorry, but we couldn�t do anything about it � it�s still the same. Sharp leads, clanging filter FM, swirling sync sounds on a sonic-speed harmonic roller coaster, pumping bass beats making you spin, fluffy pads � the Pro-12 ASB has it all inside. Just like the original. THAT couldn�t be made better.After all, some things are timeless. For that reasons, the front panels of the Prophet VTM and the Pro-12 ASB look as alike as two peas in a pod: One function, one knob! That�s the way it�s got to be. Forget about your computer. In fact, however, there is a drawback: You can�t tweak the knobs and hold your ears at the same time. So use it at your own risk!Just as with the original, the structure of the Pro-12 ASB is plain and simple: There are no gigabytes of samples, just one single filter. But that filter produces the unbeatable sound of the analog legend made in Silicon Valley in the late seventies. On the menu: Two oscillators with saw and square waves plus variable pulse width. Including hard sync whenever you like. One mixer. One LFO. The organic filter with the officially approved cult factor of the original. Two lively envelopes. The Poly Mod section where you can abuse oscillator B or the filter envelope for making havoc of oscillator A, oscillator B, or the filter. Enough? Definitely enough to whoop it up. Rest assured.For those who want to dive deeper into sound editing, there is a remote software for looking under the instrument�s hood. Chorus, flanger, and stereo delay make up a nice effective three-course meal. The channel pressure acts upon parameters such as the pulse width, filter, pitch (individual setting for oscillators A and B), and LFO rate; the unisono mode groups two to ten voices with variable detuning; and the LFO with retrigger functionality and adjustable phase almost behaves like a third envelope generator. All settings can be stored and can thus be accessed at any time without the use of a computer. Naturally, all knob movements are output via MIDI.We say: Laptops are for office users. Modern musicians use real instruments. Synthesis Type : Analog Synthesis Technology : Virtual Circuit Modelling Number of Voices : 12 Sampling Rate : 44.1 kHz (internal oversampling) Resolution : 32 bit Audio Paths Analog Outputs : 2 x 1/4 inch (6,3mm) unbalanced Analog Inputs : 2 x 1/4 inch (6,3mm) unbalanced MIDI : In, Out, Thru USB : Full Speed USB rev 1.1 Power Input : 12V AC/DC, <20 W