12复音半模块化虚拟模拟合成器 Sonic Projects OP-X PRO-3 v1.0.3 Regged [WiN, MacOSX]

Team R2R | 03 November 2025 | WiN: 23.2 MB | MAC: 50.9 MB

该合成器具备以下功能：

• 12 个独立复音，分别搭载于可单独调音的复音板上
• 全新设计的逻辑化结构界面
• 优化的音频质量，同时保留广受欢迎的经典音色特质
• 10 种滤波器类型，支持无缝渐变切换
• 5 个包络器（4 个复音包络，1 个单音包络）
• 4 个低频振荡器（3 个全局低频振荡器，1 个每复音低频振荡器，共 12 个）
• 调制矩阵，提供 5 个插槽（2 个复音插槽，3 个单音插槽）
• 采样保持（Sample & Hold）与采样颤音（Sampled Vibrato）功能
• 硬接线式按键跟踪，用于脉冲宽度调制
• 2 个振荡器，提供锯齿波（Sawtooth）、方波（Pulse）、正弦波（Sine）与三角波（Triangle）四种波形
• 数字控制振荡器（DCO）或压控振荡器（VCO）工作模式，支持无缝混合切换
• 同步（Sync）、交叉调制（X-Mod）、环形调制（Ringmod）与正弦波调频（Sine-FM）功能
• 可直接访问 12 个复音板及关联单元
• 乐曲开始时可重置复音板
• 混响效果与可同步延迟效果（支持标准、三拍、附点三种延迟类型）
• 调制单元（含合唱、镶边、移相、合奏效果），源自《弦乐合成器》（Stringer）
• 全新音色库浏览器，支持搜索、收藏与标签分类功能
• 琶音器，提供 32 种模式与全新的常亮数字显示屏
• 预置和弦（Preset Chords）、和弦保持（Chord Hold）、8 步音序器（8-Step Sequencer）功能
• 可通过踏板切换的免手动保持（Hands-Free Hold）模式
• 同音叠加（Unison）功能，支持最高音、最低音、最后音优先三种模式
• MIDI 学习（MIDI Learn）功能，现支持单个源控制多个目标参数
• 相对值或获取值 CC 控制处理，实现无跳变操作
• 滑音（Pitchbend）音程与模式可分别设置上下滑动参数
• 调制轮（Modwheel）模式可单独设置
• 滑音轮与调制轮可完全脱离绑定，用于矩阵映射
• 逻辑化重构界面，无隐藏功能
• 可切换界面尺寸，提供经实践验证的实用尺寸选项
• 蓝色与深色两种皮肤切换选项
• 包含 475 种 20 世纪 80 年代经典音色的字母序音色库
• 包含 3000 个顶级音色预设，估值达 600 美元

OP-X PRO-3 is a 12-voice semi-modular virtual analog synth based on OP-X PRO-II which includes all sounds and features of OP-X PRO-II and fullfills virtually all requests and wishes from users collected over the recent years.
Due to its massive features and flexibility OP-X PRO-3 is able to emulate the typical sounds of almost ANY analog synth of the late 70s and 80s including OB-X, Matrix-12, Jupiter-8, Prophet-5 and even Minimoog.

The synth offers:

12 independent voices on separate tunable voice-boards.
A newly arranged logically structured interface.
Improved audio quality preserving the beloved character.
10 filter types with seamless morphing.
5 envelopes (4 poly, 1 mono).
4 LFOs (3 global, 1 per-voice, so x12).
Modulation Matrix offering 5 slots (2 poly, 3 mono).
Sample & hold and sampled vibrato.
Hard-wired key tracking for pulse width modulation.
2 Oscillators offering Sawtooth, Pulse, Sine and Triangle.
DCO or VCO behaviour seamlessly blendable.
Sync, X-Mod, Ringmod and Sine-FM.
An inside access to the 12 voice boards and linked units.
Voice-boards resettable on song start.
Reverb and syncable Delay (normal, triolic, dotted).
Modulation unit (Chorus, Flanger, Phaser, Ensemble) adopted from Stringer
A new patch browser offering search, favourites and tagging.
Arpeggiator offering 32 modes and a new always on digital display.
Preset Chords, Chord Hold, 8-Step Sequencer.
Switchable off hands-free hold by pedal.
Unison offering last, lowest and highest note priority.
MIDI Learn now offering one source to multiple destinations.
Relative or fetched CC processing for jump-free operation.
Pitchbend interval and mode separatly settable for up/down.
Modwheel modes separatly settable.
Pitchwheel and Modwheel fully detachable for Matrix mapping.
Logically restructured interface and no hidden features.
Switchable GUI size offering reality proven sizes.
Blue and dark skin re-skinning option.
Includes an alphabetic library of 475 famous 80s sounds.
Includes 3’000 first class patches with an estimated value of $600.

The same as its precedessors did since 2006 the synth engine of OP-X PRO-3 exactly clones the inner working of real voltage controlled polyphonic analog synths of the late 70s and 80s in every tiny detail.

This includes that each voice is a completely independend mono-synth sitting on a separate circuit board or in a separate circuit section on a common board and features tuning trimpots to wipe-out the differences caused by device tolerances which usually was done by a technician prior to shipping.

For the user the synths usually offered an autotune function which sent an offset voltage to the voice boards to flatten differences which again could arise caused by warm-up drift and thermal shifting of the trimpots and devices. Early synths only offered this for oscillater pitch, but later synths like Matrix-12 also for filters and other parameters.

This is offered too in OP-X PRO-3 and the same as in the originals you usually manage the tuning only uning the atotune unit and not by tweaking trimpots everytime which would be cubersome, but with the advantage that you can go forth and back (so tune and detune again) and even can tune or detune seamlessly, so seamlessly blend between the tuned and detuned state.

The detuned state (so no autotune offset voltage applied) the same as in the originals is represented by the settings of the trimpots on the boards. In freshly soldered state these all are in 12 o’clock setting since all come in the same setting from the factory. So other than one would suppose 12 o’clock doesn’t mean tuned.

For tuning the boards the service technician then had to tweak the trimpots out of their original factory state until the voices sounded even, usually comparing to a reference voice. So after this tuning procedure the trimpots then had various settings.

The great thing in OP-X PRO-3 is that you can save such a base setting with the patch. Which means it can be diferent for each patch which of course wasn’t possible in the originals. Normally the implemented standard detuning (12’oclock state of the trimpots) is perfectly usable (it was cloned from an actual synth) and the only thing to do is to use autotune to switch or blend between the detuned and tuned state. But if you like you can edit this base detuning state to your liking by tweaking the trimpots.

This all makes OP-X PRO-3 act exactly the same as real voltage controlled polyphonic analog synths in every tiny detail but with the flexibility and recall options which the digital domain offers. Which probably was a dream in the old days.