Michael Wooten


Michael Wooten is a young multi-instrumentalist and composer and a recent Berklee graduate, where he studied under jazz greats such as Tia Fuller, Greg Hopkins, Hal Crook and Terence Blanchard. Originally from Philadelphia, Michael has shared the stage with artists such as Sheila E, Terri Lyne Carrington and Ledisi and has worked on upcoming records with trumpeter Darren Barret and drummer Lenny White. His main focus, however, is his own original music, which while rooted in Philly’s rich musical tradition, draws from a plethora of different influences and experiences.

We recently caught up with Michael between projects to talk with him about about how he’s using his Pro 2.

Michael, what made you choose the Pro 2?

“I first saw the Pro 2 at NAMM 2015. I was really impressed by the sound but I didn’t know all that it was capable of. I began to hear more and more about it online after the convention and became really interested in it. I was still in college at the time and was starting to invest in gear to compliment the type of music that I was writing. I really wanted a synth that was not only versatile but also unique enough to inspire and influence my writing. The Pro 2 seemed like a perfect match.”

How are you using it?

“I use it for everything. I can get something really huge and aggressive and then just as easily make something light and ethereal. And with all of the envelopes, LFOs, the amazing sequencer and the crazy mod matrix, you can get as complex with your sounds as you want. A lot of times I start the writing process at the Pro 2; I’ll design a sound and let the mood it suggests inspire whatever I’m making.”

What’s one of your favorite things about it?

“The complex waveshapes are all really great. They are super usable and all have a really unique character to them. And with the option to merge shapes and also the superwave feature, there are so many possibilities just within the oscillator section alone.”

What does it give you that other synths might not?

“I’ve never had another piece of gear make me reconsider my approach to creating. Sound design and orchestration was always the last step after the composition was already fleshed out. The idea of a single sound being the start of the process is new to me and so far has led to some great stuff.”

Any interesting Pro 2 tricks or techniques you’d like to share?

“I have an old Hohner Pianet T from the late 70’s. I really love the sound I get running it through the Pro 2. It sounds great through the filters and delays. And when you get the mod matrix and envelopes involved, you can get some really cool sounds. I love merging old sounds with new ones and creating unique textures so that one’s always fun.”


Listen to Michael Wooten’s music here.


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