USER MANUAL ARTURIA – Prophet V – USER MANUAL 1
Direction Frédéric Brun Kevin Molcard Development Stefano D'Angelo Baptiste Aubry Corentin Comte Baptiste Le Goff Pierre-Lin Laneyrie Valentin Lepetit Samuel Limier Germain Marzin Mathieu Nocenti Pierre Pfister Benjamin Renard Design Glen Darcey Yannick Bonnefoy Morgan Perrier, Sebastien Rochard Greg Vezon Sound Design Glen Darcey Goeff Downes Clay Duncan Clay Duncan Celmar Engel Boele Gerkes Victor Morello Chris Pittman Klaus Peter Rausch Klaus Schulze Katsunori Ujiie Manual Jason Valax Special Tha
Table of Contents 1 INTRODUCTION ................................................................................................................. 7 1.1 1.2 2 Prophet History ........................................................................................................................................ 7 1.1.1 Prophet 5 .......................................................................................................................................... 7 1.1.2 Prophet VS .................
3.3.2 Using tags as a filter ........................................................................................................................ 26 3.3.3 The Preset Info section .................................................................................................................... 27 3.3.4 Preset selection: other methods..................................................................................................... 28 3.3.4.1 3.3.5 3.4 4 Selecting a preset by its Type ......
4.3 4.2.7 Amplifier Envelope ......................................................................................................................... 52 4.2.8 Low Frequency Oscillator (LFO) ..................................................................................................... 53 4.2.9 Modulation Matrix .......................................................................................................................... 54 4.2.10 Chorus and Delay Effects ..........................
7 6.5.1 Audio Matrix.................................................................................................................................... 93 6.5.2 Editing sound on the Prophet VS.................................................................................................... 94 END USER LICENSE AGREEMENT ..................................................................................
1 INTRODUCTION Arturia would like to thank you for purchasing our synthesizer model: the Prophet V. We are confident it will prove to be an extremely valuable addition to your music production studio. If you’ve purchased our products before, you know we pride ourselves in faithfully recreating the sound and feel of the original instruments, down to the smallest detail. Prophet V is no exception to this rule.
oscillator) and a pink noise source which could be mixed in to modulate all five voices, as adjusted by the MOD wheel. The keyboard was a 5 octave Pratt-Reid note on/note off affair with no touch response. “The Prophet-5 sustained six revisions (or revs). Rev 1 was the original design. Rev 2 was a refinement of the original design and largely transparent. Rev 3, however, was a vastly different synthesizer than Revs 1 and 2.
Another peculiarity that contributed to the success of this instrument was its modulation matrix. This allowed it to largely surpass the limitations of classic modulation (the envelopes attached to the filter and the amplifier, for example) by offering connection from all the modulation sources available in the machine (envelopes, LFO, etc..) to any modifiable parameter one might choose (oscillator frequencies, filter cut-off, amplifiers, panoramic, etc…).
Aliasing Linear frequency spectrum of a current well-known software synthesizer Linear frequency spectrum of an oscillator modeled with TAE ® 1.2.2 A better reproduction of analog oscillator waveforms The waveforms produced by the oscillators in analog synthesizers are affected by the presence of a capacitor in the circuits. The discharge of a capacitor results in a slight ‘bend’ in the original waveform (most notably for sawtooth, triangular and square waveforms).
Temporal representation of the “sawtooth” waveform of a hardware synthesizer Temporal representation of a “sawtooth” waveform reproduced by TAE ® What’s more, the hardware analog oscillators were unstable. In fact, their waveforms vary slightly from one period to another. If we add to this the fact that the starting point for each period (in Trigger mode) can vary with the temperature and other environmental conditions, we see why vintage synthesizers have such a typical sound.
components of the filter circuit, the warm nuances synonymous with analog sounds are recreated. The following graph shows a single example of direct circuit modeling in action. The peaks represent the generation of harmonics at multiples of the resonant frequency when a particular filter is in self oscillation mode. These harmonics are characteristic of hardware synthesizer filters and are due to the non-linear behavior inherent to their analog circuitry.
2 ACTIVATION AND FIRST START 2.1 Register and Activate Prophet V works on computers equipped with Windows 7 or later and Mac OS X 10.8 or later. You can use the stand-alone version or use Prophet V as an Audio Units, AAX, VST2 or VST3 instrument. Once Prophet V has been installed, the next step is to register the software. The registration process will require you to enter the serial number and the unlock code you received with the product.
Prophet V main menu You will then see the Audio MIDI settings window. This works in the same way on both Windows and Mac OS X, although the names of the devices available to you will depend on the hardware you are using.
Device lets you choose which audio driver you want to use to route sound out of the instrument. This might be your computer’s own driver like Windows Audio, or an ASIO driver. The name of your hardware interface may appear in this field. Output Channels lets you select which of the available outputs will be used to route audio out. If you only have two outputs, only two will appear as options. If you have more than two you can select a specific pair of outputs.
2.2.3 Using Prophet V in plug-in mode Prophet V comes in VST, AU and AAX plug-in formats for use in all major DAW software such as Cubase, Logic, Pro Tools and so on. You can load it as a plug-in instrument and its interface and settings work the same way as in standalone mode, with a couple of differences. You can automate numerous parameters using your DAW’s automation system. You can use more than one instance of Prophet V in a DAW project. In standalone mode you can only use one at once.
3 USER INTERFACE In this chapter we will give an overview of the features available to you with Prophet V. As with every Arturia product, we have gone to great lengths to make the use of this software instrument as simple and as much fun as possible, while also striving to make sure you never run out of new things to do with it as your knowledge expands. After reading this chapter you should be ready to delve as deeply into the workings of Prophet V as you would like. 3.
The Save Preset window 3.2.2 Save Preset As… This works in the same way as the Save command, but lets you save a copy of the preset instead of saving over the original. It’s useful for creating variations on patches but still keeping individual copies of each one. 3.2.3 Import preset This command lets you import a preset file, which can be either a single preset or an entire bank of presets. Both types are stored in the .prox format.
3.2.6 Resize window options The Prophet V window can be resized from 60% to 200% of its original size without any visual artifacts. On a smaller screen such as a laptop you might want to reduce the interface size so it doesn’t dominate the display. On a larger screen or a second monitor you can increase the size to get a better view of the controls. The controls work the same at any zoom level but the smaller ones can be harder to see at the smaller magnification values. The Resize Window menu 3.2.
The Preset Browser 3.2.9 Switching between Prophet 5, Prophet VS and Hybrid The Prophet V2V is composed of three parts: the Prophet 5 interface, the Prophet VS interface, and a combination of the two called Hybrid. You can switch between them by using the button in the right of the upper toolbar. 3.2.10 MIDI Learn assignment The MIDI plug icon at the far right side of the toolbar places the instrument into MIDI learn mode.
MIDI Learn mode 3.2.10.1 Assigning / unassigning controls If you click on a purple area you’ll put that control into learning mode. Move a physical knob or fader and the target goes red, indicating that a link has been made between the hardware control and the software parameter. There’s a popup window that displays which two things are being linked and a button to unassign the two from each other. Filter cutoff knob selected and assigned 3.2.10.
In the case of switches which only have two positions (on or off), those would normally be assigned to buttons on your controller. But it is possible to toggle those with a fader or other control if you like. 3.2.10.3 Relative control option The final option in this window is a button labelled “Is Relative”.
3.2.11 MIDI controller configuration There’s a small arrow at the far right hand side of the toolbar that deals with MIDI controller configurations. This allows you to manage the different sets of MIDI maps you may have set up for controlling the instrument’s parameters from MIDI hardware. You can copy the current MIDI assignment setup or delete it, import a configuration file or export the currently active one.
3.2.12.2 Midi Channel Setting At the right hand side of the lower toolbar are three small windows. The first one on the left indicates the current MIDI Channel setting. Click on it and it will expand to show the full range of values you can select (All, 1-16). 3.2.12.3 Panic button and CPU meter The Panic button can be pressed to reset all MIDI signals in the event of stuck notes or other issues. The Panic button is also MIDI-assignable.
3.2.12.5 Play mode The play mode allows to select how the available voices are allocated to new notes and which already used voices can be reallocated to new notes that are played. 3.2.12.6 Maximum Polyphony By clicking this button, you will be able to adjust the upper limit for the number of voices played the Prophet V. It can be set from 1 to 32. Having lower setting will result in less CPU being used.
3.3 The Preset Browser The preset browser is how you search, load and manage sounds in Prophet V. It has a couple of different views but they all access the same banks of presets. To access the search view, click on the browser button (the icon looks a bit like books on a library shelf). The Preset Browser button 3.3.1 Searching presets The Search screen has a number of sections.
You can use multiple search fields to perform narrower searches. So by entering a text search and also specifying type, bank and characteristics options you could see only the presets that match those exact criteria. Deselect any tag in any area to remove that criteria and widen the search without having to go back and start again. Using “Ctrl + click” (Windows) or “Cmd + click” (Mac) will allow you to select multiple elements in the same area.
Click Edit and then make the desired changes, either by typing in one of the fields or by using a pull-down menu to change the Bank or Type. You can even add new Characteristics by clicking the + sign at the end of that list. Click Save when you are done. 3.3.4 Preset selection: other methods The pull-down menu to the right of the Search menu provides a different way to select presets.
Filter results may differ based on Search criteria Selecting the All Types option in the pull-down menu will bypass the Search criteria and show the entire list of presets. The Categories below the line also ignore the Search criteria and display the presets based on their Type.
3.3.4.1 Selecting a preset by its Type Clicking on the name field in the center of the toolbar will show you a list of all available presets. The list will also take into account any selections you have made in the Search field. So if you have pre-selected a Characteristic such as “Funky” this shortcut menu will only show you presets that match that tag.
Click and drag from the Search Results list onto one of the playlists To view the contents of a playlist, click on the playlist name. 3.3.5.3 Re-order the presets Presets may be reorganized within a playlist. For example, to move a preset from slot 2 to slot 4, drag and drop the preset to the desired location. This will move the preset into the new location. 3.3.5.4 Remove a preset To delete a preset from a playlist, click the x at the end of the preset row. Click the X to remove a preset from a playlist 3.
The “Prophet VS” shortcut gives you access to the just the Prophet VS. The “Hybrid” shortcut gives you access to both synthesizers at the same time. 3.4.1 Brief Tour of the “Prophet 5” The Prophet 5 interface consists of 54 synthesis parameters as well as preset selection buttons that allow you to quickly find 44 presets that were found on the original machine. With the knobs and switches associated to these parameters, you will be able to create an infinite number of sounds.
1 VCA amplifier Three 5 point envelopes for modulating the mixer, the filter and the amplifier. A loop function is available on each of the envelopes. Modulation Matrix Prophet VS synthesis Parameters Wave-table synthesis offers sonic possibilities that have been little explored in a software format. It permits you to create sounds that are very different from the classic analogic synthesizer due to a bank of 96 samples. The Prophet VS can use up to 4 oscillators simultaneously.
3.4.4 The Effects Section The effects section allows you to add the stereo delay and the chorus to your sound. The location of the effect section varies according to the interface mode in which you are. In Prophet 5 mode, it is displayed as an external module above the synthesizer. In Prophet VS and Hybrid mode it can be displayed in the screen part by clicking on the Audio/Effect tab. The Prophet VS / Hybrid effect tab 3.4.4.
Finally, set the depth of the chorus by turning the “Depth” knob. You have the choice between three types of chorus : Chorus 1, 2, and 3. These three styles of chorus vary from the simplest – and less charge on your CPU – to sounds more pronounced for various de-tuning effects. 3.4.4.2 The Delay Prophet 5 Delay section The delay carries a stereo echo effect that gives space to your sound. It holds independent settings for the speed and number of the repetitions from left to right.
4 THE MODULES IN DETAILS The Prophet V2V is composed of three parts: the Prophet 5 interface, the Prophet VS, and a combination of the two called Hybrid. The Prophet 5 uses a classic subtractive synthesis structure while the Prophet VS employs a less used synthesis technique called wave-table or vector synthesis. These two types of synthesis meet in the Prophet V2V, giving you the chance to create sounds that are both rich and original. 4.
1 LFO (low frequency oscillator) 1 polyphonic modulation section (Poly MOD) dedicated to high frequency modulation (FM) 1 monophonic modulation section (WHEEL MOD) dedicated to the LFO 4.1.1 Oscillators There are two oscillators. The oscillator controls the basic frequencies and timbres of the Prophet 5 with the frequency settings, choice of waveform, and the pulse width associated to the square waveform.
PW: Knob setting the pulse width signals for the saw, square, and triangle waveforms KBD: Connection buttons activating the keyboard Notice: by turning on the “LO FREQ” button, the oscillator B will ask less CPU power of your computer. A weaker oscillation frequency will allow you to use it as an LFO for modulating oscillator A or the filter in the “POLY MOD” section.
4.1.2 Mixer The mixer allows you to set and mix the volume of oscillators A and B as well as the volume of the white noise module. The white noise module brings an interesting attribute to sound production. It is notably useful to create breath effects (in a flute sound for example) or for special effects as in the sound of wind. OSC A: Volume setting for oscillator A OSC B: Volume setting for oscillator B NOISE: Volume setting for the white noise Mixer 4.1.
The filter possesses its own ADSR envelope (see following chapter) to edit its cut-off frequency. However, these can also be modulated by the LFO (section “WHEELMOD” for “wha wha” type effects), or by oscillator B (section “POLY MOD” for modulation effects in high frequencies or special effects). 4.1.3.1 Low pass filter 24dB/octave slope The Prophet 5 employs a low pass 24dB filter. It eliminates the frequencies found above the cut-off frequency.
4.1.5 Envelopes The two ADSR envelopes allow you to develop one or several time function parameters. You will find two envelopes on the Prophet 5: one controlling the cut-off frequency of the filter (as well as the frequency of oscillator B) and the other controls the volume amplitude. The ADSR envelope is composed of four successive sequential periods: Attack time, Decay time, Sustain voltage, and the release time.
4.1.7 Wheel Mod This section offers the necessary connections to select the parameters edited by the LFO. A knob is also present to mix the volume of the LFO output and the pink noise modulator. You can thus mix the two signals to add a random effect to your modulation.
• Cut-off filter frequency (“FILTER”) The FM polyphonic modulation section 4.1.9 Section modes for the keyboard This section allows you to: • • • • To deactivate the note release (“RELEASE”). When a key on the keyboard is released, the sound is immediately interrupted and does not follow the release phase that is programmed. To release the hold continuing the note (“HOLD”). Even when the key on the keyboard is released, the sound is maintained. To activate the “LEGATO” playing mode.
4.1.10 General Parameters section Among the parameters you will find: the general volume, the general tuning of the PROPHET 5, the activation of the A440, and the parameters belonging to playing in unison.
4.2 Prophet VS The Prophet VS brings you a unique sound that has the strength to stand on its own, but at the same time is complementary to that of the Prophet 5. The Prophet VS uses vector or wave table synthesis for sound generation. This allows for a wide variety of varied timbres to be produced, due to the 96 user selectable wave forms that can be chosen as an oscillator.
To choose a waveform, click on the button found on the title bar of the oscillator (the graphics of the waveform being used appear to the right) then slide the mouse up or down to view the various waveforms. FREQ: Tuning knob by semitones on two octaves FINE: Tuning knob for fine tuning (one about a semitone) SHAPE (Three digits LCD): Select the waveforms of the oscillators. Waveforms of the oscillators can also be selected in the Wavetable section in the screen display. Oscillators Wavetable section 4.2.
Joystick: The joystick mixes the four oscillators in real time The Mixer Double clicking on the joystick will reset it to the center position. 4.2.3 Mixer Envelope The mix can also be dynamically automated by an envelope defining four periods, each of which corresponds to a position to which the joystick can be programmed. To activate this envelope, push the “Envelopes” button in the right-hand part of the synthesizer, then select “Mixer”.
Envelope of the Mixer 4.2.4 Types of Filters The filter of the Prophet VS offers a “multimode” filter. You will find the low pass filter 24dB/octave slope of the original Prophet VS but also a high pass filter, band pass, and “Notch”. FILT ENV: Manual setting for the amount of modulation by the filter envelope. CUTOFF: Frequency setting of the cutoff filter, tuning at 10 Hz to 25 kHz RESO: Knob setting the filter resonance Filter Module 4.2.4.
Low Pass Resonant Filter The other four modes of filtration did not exist on the original Prophet VS but they are present on a number of other digital and analog synthesizers. They all use a slope of 12 dB/octave. These modes were added to increase the sonic possibilities of the Prophet V. 4.2.4.2 High Pass Filter (HP Filter) The high-pass filter acts symmetrically to that of the low pass filter. It eliminates frequencies below the cut-off frequency. High Pass Resonant Filter 4.2.4.
Band Pass Filter 4.2.4.4 Notch The “Notch” is opposite to that of the pass band filter. It eliminates the frequencies inside a band of frequencies. The resonance allows you to accentuate the sag of a band of frequencies. The Filter notch Attention! Setting the resonance of the notch filter to a large amount causes the effect of the notch filtering to be cancelled. 4.2.5 Filter Envelope The filter envelope can be accessed by the “Edit” option found in the “Envelope” zone under the filter module.
Editing this envelope can be done graphically by clicking on one of the points (0 to 4) and then sliding the mouse vertically (Level) or horizontally (Time). The “ENVELOPE” page can be accessed by a tab found on the right of the Prophet VS. Once you have accessed this page, click on the “FILTER” option. 5 point FILTER: The envelope modulates the cut-off frequency by allocating a Level and Time to each of the 5 points of the active envelopes during the hold (points 0 to 3) and the note release (point 4).
VOLUM E Amplifier 4.2.7 Amplifier Envelope The amplitude envelope can be edited by the “Edit” button found in the Envelope zone found under the Amplifier module. The editing graphics appear on the LCD screen found to the right of the Prophet VS. The amplitude envelope is also composed of 5 points but the fourth (the release) has only the Time parameter set from 0.00 to 10000ms (the Level remaining in any case at zero). Only the Level parameter can be set on the 0 point.
Amplification Envelope 4.2.8 Low Frequency Oscillator (LFO) The two LFOs are often used as modulations sources. They allow you to develop one or several parameters cyclically. The connections for the LFOs to the parameters that they modulate are made on the modulation matrix found on the LCD screen (right-hand side of Prophet VS). Select the modulation tab.
4.2.9 Modulation Matrix The modulation matrix allows you to connect the different modulation sources (LFO, Envelopes…) to the synthesis parameters (Cutoff, Frequency, PW…) of the Prophet VS. The “Modulation” page is accessible by clicking on the tab found in the screen on the right hand side of the Prophet VS.
Matrix Modulation 4.2.10 Chorus and Delay Effects The Prophet V2V offers two additional effects: a chorus and stereo delay that permit you to add color and space to your sound. The effects can be accessed by clicking on the “EFFECTS” tab found in the right hand section of the Prophet VS. The can be activated or deactivated by clicking on the “Chorus” or “Delay” buttons. 4.2.10.
4.2.10.2 The Delay The Delay module has: • • • • Two knobs, “Time Left” and “Time Right” to set the duration of the repetition on the left and right channels.
GLIDE: Setting for the glide time Glide Modes: Positions for the glide mode: OFF, ON, LEGATO ON (This is active only in monophonic playing mode) Playing Modes 4.2.12 Wheels PITCH: Control wheel for the pitch of the four oscillators MOD: Control wheel for modulation Remember, no modulation will be audible with a modulation wheel if this is not connected to a destination in the modulation matrix. However, the position of the wheel is kept in the memory of the preset. 4.
Hybrid interface 4.3.1 Audio Connection Matrix The audio connection matrix, as its name indicates, routes the sound signal between different modules of the two synthesizers (oscillators to the filters, filters to the audio output). The different connections are made by clicking on the white points placed at the intersections between a source and a destination. 4.3.1.
The different “Sources” available: • • • • SOURCE A: “OSC. A VS” or “OSC. A P5” SOURCE B: “OSC. B VS” or “OSC. B P5” SOURCE C: “OSC. C VS” or nothing (“NONE”) SOURCE D: “OSC. D VS” or nothing (“NONE”) Remember that it is not possible to connect more than 4 oscillators simultaneously. 4.3.1.2 Connection of the two types of filters: The output sources of oscillators A, B, C, and D can be connected to the two available filters.
4.3.2 Modulation Matrix Contrary to the modulation matrix of the Prophet VS that we have previously seen, here all the individual connections of the Prophet 5 will be equally available and connectable to the parameters of the Prophet VS.
• • • NOISE PROPHET 5 CUTOFF PROPHET 5 VOLUME PROPHET 5 Careful! When you pass from one synthesizer to another – from the “Hybrid” to Prophet 5 alone for example – the settings of the audio connection matrix will change radically! You will no longer hear the Prophet VS because its audio connection will be automatically cut. However, it will be reactivated when you pass from the Prophet 5 alone to the “5 +VS”.
5 THE BASICS OF SUBTRACTIVE SYNTHESIS Subtractive synthesis appeared at the end of the 1960’s, giving birth to the first analog synthesizers: Moog, Sequential Circuits (the Prophet Series), ARP, EMS, Oberheim, Roland (SH or Jupiter series), Yamaha (CS series) and Korg (MS and PS series). During the 1980’s, the purely analog additive synthesis model of the first keyboards was progressively replaced by wave table oscillators (Prophet VS) or sample based instruments.
Oscillator Section on the Prophet 5 Oscillator Section on the Prophet VS The main oscillator settings are: • The pitch determined by the oscillation frequency. You can set the frequency of the oscillator with 2 controllers: The tuning parameter (“FREQUENCY”) allows you to tune the oscillator by semitones on range of 5 octaves. The fine tuning parameter (“FINE”) finely tunes the oscillator upwards by a semitone.
The square possesses a more “hollow” sound that the saw tooth (it only contains odd harmonics) but none the less, its rich sound (notably in low frequencies) can be used for sub-bass sounds that will come out well in the mix (the square oscillator is often set an octave below that of the saw tooth), wood sounds (clarinet, if the square signal is a little filtered), etc.… The triangle can be considered like a very filtered (and soft) square signal.
Triangle PWM (Pulse Width Modulation) is a setting that allows you to modify the waveform cycle (or wave length). This can be done manually with the help of a knob “PW” or by modulation (with an envelope or LFO). This pulse width variation translates to a spectrum modification, resembling a waveform change. Waveforms of the PROPHET 5 An example of a Prophet VS waveform The synchronization of an oscillator with another creates more complex waveforms.
In the above image, oscillator2 is synchronized with the first and tuned to with double the tonality. The resulting waveform is unique in that it cannot be created by standard synthesis techniques such as layering or filtering. Frequency modulation (FM) can be created between 2 oscillators by connecting the audio output from a first sinusoidal oscillator to the modulation input of a second oscillator. On the Prophet V2V, if you turn the modulation rate ring, you will obtain a sound richer in harmonics.
of noises. Pink noise is also regularly present on synthesizers. It is less rich in the high frequencies than white noise. Also note that the audio output of noise can also be used as a modulation signal (especially when strongly filtered) to create random cyclic variations. On hard-wired synthesizers, the noise module is either integrated into the oscillator (its audio output being placed to compliment the waveform outputs), or within the mixer directing the signals towards the filter.
The Mixer of the Prophet VS and its envelope 5.2.4 The filter or VCF The audio signal generated by an oscillator (the waveform) is next generally directed to a filter module or VCF (Voltage Controlled Filter). It is this module that we use to control the sound by filtering (by removing or subtracting certain frequencies, which explains the name given to this type of synthesis) the harmonics situated around a cut-off frequency.
This is the type of filtering that you will find more often than not on synthesizers that use subtractive synthesis. It can be found on most of the recent analog and digital synthesizers. Low Pass Filter The Prophet VS proposes other types of complementary filtering: 5.2.4.2 High Pass Filter (HP Filter) The high-pass filter acts symmetrically to that of the low pass filter. It eliminates frequencies below the cut-off frequency. High Pass Resonant Filter 5.2.4.
Band Pass Filter 5.2.4.4 Notch Filter The “Notch” is opposite to that of the pass band filter. It eliminates the frequencies inside a band of frequencies. The resonance allows you to accentuate the sag of a band of frequencies. The Filter notch A second setting to compliment the cut-off frequency: the resonance (you will also find it called “emphasis” or “Q” – for Quality of filtering). The resonance amplifies frequencies close to the cut-off frequency.
The resonance amplifies frequencies close to the cut-off frequency With a high resonance level, the filter will begin to produce a sound close to a sine waveform. At this stage, the use of a key follow is very important as you can create a melody by tuning the cut-off frequency of the filter with the frequency of the oscillators. The filter settings of the Prophet 5 5.2.
5.3 Other modules 5.3.1 The keyboard If we stop here, the sound that you will obtain will be uniform, without life and without an end!! The oscillator delivers a sound signal (the audio output of a waveform) of a fixed pitch in a continuous manner.
The ADSR Envelope Both envelopes of the Prophet VS contain 5 points numbered 0 to 4. The 0 corresponds to the initial level of the parameter associated to the envelope. The Release corresponds to point 4. Points 1 through 4 contain two parameters (filter envelope only): the LEVEL and the RATE. Point 0 only has the LEVEL parameter.
5.3.3 The low frequency oscillator The LFO (Low Frequency Oscillator – or LFO on the Prophet V2V) possesses more or less the same characteristics of the classic oscillator but it only produces frequencies lower than 20 Hz. In other words, you won’t hear the pitch of its sound. It will create a cyclic modulation on the setting to which it is connected.
The original Prophet 5 could also use the second oscillator for low frequencies (“LOFREQ” position) to modulate the frequency of oscillator A or the cutoff frequency of the filter, which we have also provided. The connections of these modulations are available in the “POLY MOD” module. 5.4 Complements to Wavetable Synthesis Wave table synthesis functions on the same principles as subtractive synthesis.
6 A FEW ELEMENTS OF SOUND DESIGN Here are 5 examples meant to guide you with your sound design in the Prophet V. These sounds are classed from the simplest to the most complex, and are organized in three parts: The First section will help you understand the synthesis of the Prophet 5. By starting with a basic preset you will develop a polyphonic brass sound.
Click the “saw tooth button” of oscillator A Do the same thing with the (Insert Saw button image) button of oscillator B. You can also lightly detune oscillator A to attain a bigger and livelier sound Lightly detune oscillator 2 Lower the cut-off frequency of the filter (“Frequency” knob) by turning the knob to the center value (use a value around 200.00). This will make the sound softer and allow you to better hear the effect that the envelope has on the filter.
6.2 Pad sound with the Frequency Modulation using the Prophet 5 Let’s take the “brass1” sound that we just made to make the next preset. We're going to see how to surpass the programming limitations of the classic Prophet 5 (those with which we just created the “brass1” preset) by using the “Poly modulation” section and the LFO.
Now, on the filter, increase the cut off frequency to about 600.00. The sound becomes brighter. Increase the cut off frequency Increase the resonance of the same filter (choose a value around 3.50). This will cause the filter to resonate almost to the point of auto-oscillation. Increase the resonance filter In the “Poly Mod” module found to the left of the interface of the Prophet 5, modulate the filter's cut off frequency through the frequency of oscillator B. To do this, click on the button “FILT”.
Deactivate the keyboard following Apply a modulation to the square width of oscillator A through the LFO. To do this, click on the PWA button found in the “WHEEL-MOD” section in the bottom left hand side of the interface (just above the virtual keyboard). Activate the PWA button Choose a triangular waveform on the LFO Increase the virtual modulation wheel of the Prophet 5 to set the modulation rate (around 0.50). Set the speed of the modulation with the “RATE” knob of the LFO. Choose a value around 3.00Hz.
The Chorus effect Choose the “EFFECTS” button to edit the chorus Set the “Dry/Wet” knob of the chorus in order to balance the “Dry” sound and the return effect. Set the “Dry/Wet” knob of the chorus Next turn the “Rate” knob of the chorus to set the speed of the oscillations. Finally, set the “Depth” of the chorus. You have the choice between three types of chorus: Chorus 1, 2, and 3.
Open the Prophet VS interface Choose the Preset “Pro VS 4 Osc” from the bank “Templates” as a starting point. This Preset constitutes: • • • • • • 4 oscillators using the No 33 wave form -saw tooth 1 low pass filter 1 amplifier The envelope associated to the filter The envelope associated to the amplifier The mix joystick of the oscillator volume To start, we're going to select a different waveform for each oscillator. Choose wave form No 35 “VS1” for oscillator A.
Move the joystick between points A, B, C, and D Lower the value of the filter's cutoff frequency. Place it in the central position at around “45”. Lower the value of the filter's cutoff frequency to 45 Most of the values and envelope points of the Prophet VS range from 0 to 99. A few of the values are “doubled” with the values indicated in Hertz (frequency parameters) or in milliseconds (time parameters of the envelope).
Click on the menu “ENVELOPE” / “FILTER” Editing the filter envelope: Increase the LEVEL of point “0” to a value around 22; this will be the initial LEVEL setting. Increase the LEVEL of point “0” Adjust the settings associated to point “1”: Increase the LEVEL to about 70 and set the RATE to about 1400ms. The cutoff frequency will softly evolve creating a brighter sound after three seconds. The phase between points “0” and “1” corresponds to the ATTACK of the ADSR envelope.
Adjust the settings associated to point “1” Set point “2” by increasing the LEVEL to a value around 70 and the RATE to about 300ms. This phase corresponds to the DECAY period of the ADSR envelope. Set point “2” Set point “3” by increasing the LEVEL to 70 and the RATE to about 3000ms. Points 2 and 3 correspond to the level of stabilization of the cutoff frequency during the time a note is held. This is called the SUSTAIN of the ADSR envelop.
Finally, adjust the settings to point “4”: place the LEVEL to 0 and the RATE to about 3000ms. The cutoff frequency is going to fall progressively to about 0 at the not release. The phase between points “3” and “4” is called the RELEASE on the ADSR envelope. Set point “4” Now, let’s work with the amplitude envelope: Click on the Amplifier Envelope tab Point “0” must be set at the maximum initial level (Value = 1) to have a maximum volume at the beginning of the note.
Set point “1” at the maximum level and a RATE as close as possible to 0. The attack of the note will be very short. Set point “1” Define the values associated to points 2 and 3: level = 1 and rate = 1000 ms. This corresponds to a maximum Sustain level for the duration of the note. Define the values associated to points 2 and 3 Finally, adjust the setting of point 4: the LEVEL remains at the 0 value. Set the RATE to about 1300ms. The sound volume is going to fall progressively at the note release.
To give more stereo space to your sound, it is possible to set a panoramic value to each of the notes played. Click on the “VOICE” panel (found to the right the “AMPLIFIER” title) to select the polyphonic voice 1. Set the “PAN” knob on 0. This voice will be placed to the extreme left. VOLUME The settings of the voice 1 Choose the second voice and set it to 99. This will be placed to the extreme right.
Now we will review the envelopes: We are going to modify point 4 of the FILTER and AMPLITUDE envelopes without touching the other four points. For the filter envelope, choose a RATE setting around 5000ms. The filter cutoff frequency will cease really softly at the release of the note. For the amplitude envelope, choose a RATE around 2500ms. This will be the “release’ period.
6.4.2 Mixer envelope This envelope is completely new since it only shows the duration setting of each phase of the mix. Each of the four boxes found at the right of the joystick is used to set the rate at which the joystick will go from one point to another in the mix: • • • • From 0 to 1 (Knob 1) From 1 to 2 (Knob 2) From 2 to 3 (Knob 3) From 3 to 4 (Knob 4) Setting the rates: • • • • For the first, choose 1000ms.
Click on the modulation tab in the screen display to open the matrix. Open the Modulation Matrix Choose the source of the LFO1 on the A, B, C and D oscillator frequencies by clicking on the points forming the intersection between the source (“LFO1”) and the four destinations (“FREQ A, FREQ B FREQ C and FREQ D”). An orange point appears to confirm the connection. Select the Modulation Points Set the modulation rate in the AMOUNT panel corresponding to this first horizontal line.
The modulation wheel settings The keyboard following (source “KEYBD”) is already connected to the FILTER cutoff frequency. Thus, the sound will become brighter and brighter, eventually making it sharp. Decrease the cutoff frequency to half of the knob value. 6.4.4 Playing mode in Unison To give more intensity to your sound, we will apply the monophonic playing mode “UNISON”. This allows you to play all the polyphonic voices on a single note.
At this point, you can also give stereo space to this preset by placing each of the polyphonic voices to the right and then to the left, in an alternating pattern. Click on the “VOICE” panel (found to the right of the name “AMPLIFIER”) to select the polyphonic voice 1. Set the “PAN” knob on 0. This voice will be placed to the extreme left. Choose the second voice and set it at 99. This will be placed to the extreme right. Set the other voices as you like them by doing the same thing.
Connection of the two filters Activate oscillators C and D of the Prophet VS in sources C and D of the mixer. Click in the corresponding panels and choose “OSC C VS” for the C source and “OSC D VS” for source D. Activate oscillators C and D of the Prophet VS in the mixer Notice! It is not possible to connect more than 4 oscillators simultaneously. For example, you can only use 2 oscillators of the Prophet VS if the 2 oscillators of the Prophet 5 are already active.
Lightly decrease the cutoff frequency of the filter to about 35 in order to have a less aggressive sound. Completely decrease the resonance (turn the knob to the extreme left - 0) Filter Settings Change the wave form of oscillator C (“055 hitop1”) and D (“062 synbell 31”). Wave forms of oscillator C and D Editing the FILTER and the AMPLIFIER: To edit the filter envelope, click on the “EDIT” button found in the graphic representation of the envelope.
Finally, set point “4” with a level slightly higher than before (0.63) and a RATE a bit longer (600). The cutoff frequency will increase slowly at the release of the note. Settings of the Filter envelope Now we’ll set the amplifier envelope: Point “0” must be set on the maximum initial level (value = 1) to have the maximum value at the beginning of the note. Set Point “1” at a LEVEL of 1 and a RATE of 0. The attack of this note will be really short on the filter.
You now have an example of what these two synthesizers can do when combined together! If you wish to give space to your sound, add a delay effect. To do this, click on the “DELAY” button found in the utility bar to activate it and open the “EFFECTS” by clicking on the button found in the LCD screen. The Delay gives a type of stereo echo which adds space to your sound. It has independent settings for the speed and the number of repetitions on the right and left side.
These diverse sonic examples, as you may have noticed, present very different levels of difficulty. We hope that they permit you to discover a portion of the possibilities that the Prophet V2V offer. Don’t hesitate to experiment on your own; it is in this way that you will make the most progression and that you will create the most original of sounds.
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