Sequential Prophet VS Manual
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Sequential Prophet VS Manual

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INTERACTIVE MANUAL
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  • Page 1 INTERACTIVE MANUAL sequntial circuits Document version 1.0...
  • Page 2 About this interactive manual Strictly speaking, this manual isn’t “interactive”, its not going to say hello and its not going to make you a cup of tea. I just needed a word to distinguish this version from the other scanned PDF manuals out there.
  • Page 3 Every attempt at accuracy has been made. However, specifications and operations are subject to change without notice. ©1986 by SEQUENTIAL All rights reserved. Printed in U.S.A. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher.

  • Page 5: Table Of Contents

    Contents SECTION 1 - SET-UP PACKING LIST ....................10 HANDLING AND TRANSPORTING ..............10 AMPLIFIER AND SPEAKER CONSIDERATIONS ...........11 CONNECTIONS .....................12 OUTPUT ......................12 FOOT SWITCHES ..................12 MIDI ........................13 LINE VOLTAGE SELECTION AND FUSING ............13 POWER CONNECTION ..................14 POWER ON ....................14 DISPLAY TRIM ....................15 SECTION 2 - PERFORMANCE CONTROLS SELECTING PROGRAMS ................16 MASTER VOLUME ..................16...
  • Page 6 SECTION 3 - PROGRAMMING INTRODUCTION....................21 MEMORY BASICS...................21 Internal Memory ...................21 Cartridge Memory ................22 Model 240 VSRAM Cartridge ............22 Model 241 VSROM Cartridge ............22 PROGRAM EDIT MODE ..................23 STORING PROGRAMS ...................24 Review ....................25 Store .....................25 TRANSFERRING PROGRAMS AND WAVEFORMS ........26 Dump Internal to Cartridge ..............26 Load Internal from Cartridge ..............27 NAMING PROGRAMS..................27 PROGRAM EDIT, REVIEW, AND STORE EXAMPLE ........28...
  • Page 7 SECTION 6 - OSCILLATORS OVERALL SIGNAL FLOW ................43 Figure 6-1: General Block Diagram ............44 OSCILLATOR BASICS..................45 Figure 6-2: Oscillator Frequency Control ..........46 OSCILLATOR MIXER ..................47 Figure 6-3: Oscillator Mixer ..............48 Figure 6-4: Typical Mix Ratios .............. 48 VECTOR SYNTHESIS ..................
  • Page 8 SECTION 9 - LFO GROUP LFO BASICS .....................68 Figure 9-1: LFO Module ................68 LFO SELECT ....................69 SHAPE ......................69 RATE .........................69 SECTION 10 - MODULATION MODULATION BASICS ..................70 SOURCE SELECT and DESTINATION SELECT ..........70 Figure 10-1: Modulation Sources and Destinations ......71 SECTION 11 - VOICE CONTROLS UNISON/DETUNE ....................73 GLIDE .......................73...
  • Page 9 System Exclusive ................104 System Real-Time ................107 Table 14-1: MIDI Parameters .............. 108 SECTION 15 - PROGAM AND WAVEFORM DESCRIPTIONS INTRODUCTION.................... 111 PROPHET VS PROGRAM LIST ..............112 PROGRAM EXPLANATIONS #03 VOLKANIK ................... 114 #49 AMBIENCE .................. 118 #08 STEELDR ..................122 #33 CHIFF ..................

  • Page 10: Section 1 - Set-Up

      SECTION 1 SET-UP This section tells you how to set up the Prophet VS and connect it to other equipment. PACKING LIST With the Prophet VS you should receive the following: Power cord Operation manual Warranty / Warranty card Please detach and return the warranty card.

  • Page 11: Amplifier And Speaker Considerations

    But obviously a synthesizer of this caliber should not be constrained by a weak amplifier and muddy speakers. Consider the equipment to which you are going to connect the Prophet VS. Does it give you adequate tone control? In addition to equalization, it is gener- ally agreed that electronically-generated music is often enhanced by ambience effects (since there is no natural resonance).

  • Page 12: Connections

    CONNECTIONS The following paragraphs describe connections which can be made to the back panel of the Prophet VS. Except for the MIDI jacks, all signal connectors are standard 1/4-inch phone jacks. CAUTION! Switch power off to all equipment in use before disconnecting or connecting any cable.

  • Page 13: Midi

    1. Check that the voltage selector on the back panel matches your power source. Prophet VS's shipped in the U.S., or to Canada or Japan are set to 110V. Prophet VS's shipped to Europe, Australia, or New Zealand are set to 220V.

  • Page 14: Power Connection

      POWER CONNECTION 1. Check that the Prophet VS power switch is set to OFF position. 2. Connect the power cable to the Prophet VS AC IN. 3. Connect the power cable to a properly-grounded three-prong outlet. 4. Plug all other equipment such as effects devices, mixers, amplifiers and recorders into the same outlet.

  • Page 15: Display Trim

    As the VS may be mounted at different angles, it may be necessary to adjust the LCD using a trimmer accessed, through a hole in the back panel. 1. Locate the small hole in the Prophet VS back panel at the top of the "E" in the "SEQUENTIAL" logo.

  • Page 16: Section 2 - Performance Controls

    SECTION 2 PERFORMANCE CONTROLS SELECTING PROGRAMS Set up the Prophet VS as described in Section 1. The Prophet VS is ready to play when power is switched on. When power is switched on, internal sound program 00 is selected automat- ically, as shown in both the liquid-crystal display (LCD) and the light-emitting diode (LED) Program display.

  • Page 17: Master Tune

    HOME   as the other decreases. The Prophet VS can pan its voices to specific or moving positions within the stereo field Check that Balance is centered, or set as desired. Balance is best used to temporarily compensate for stereo position of the output.

  • Page 18: Modes

     Modes The Prophet VS is an eight-voice synthesizer. So, in Single mode you can play and hear up to eight keys at once. In Split mode, you can play four keys on either side, and in Double mode, you can play only four keys, but each key simultaneously plays two programs.

  • Page 19: Wheels

    While this is a good habit to get into, on the Prophet VS it is not strictly necessary. You do not have to check the position of the Pitch wheel, because the springs return it to center position.

  • Page 20: Mod Wheel

    BACK HOME   Mod Wheel As you play the keyboard, use the Mod wheel to control the depth of low- frequency oscillator (LFO 1 and/or LFO 2) modulation, or depth of the chorus. The Mod wheel is also monophonic: it simultaneously increases the modulation level within all voices.

  • Page 21: Section 3 - Programming

    Prophet VS memory system. Internal Memory The Prophet VS has two different kinds of internal memory. If the information can be changed by the player, it is stored in non-volatile random-access mem- ory (RAM). The term "non-volatile" means that the contents of this memory are not lost when power is switched off.

  • Page 22: Cartridge Memory

    BACK HOME   waveform according to the wave number: RAM waves are numbered 00-31, ROM waves are numbered 32- 127. Programs are the set of selected waveforms, synthesizer voice and modu- lation settings, and keyboard configuration (Normal, Split, or Double) which comprise a sound.

  • Page 23: Program Edit Mode

    The Data Entry slider selects values or alphanumeric characters for the parameter at which the cursor is located. One of the best routes into the Prophet VS is to find a factory program you like, and use it as a study example accompanying the sections which follow this one.

  • Page 24: Storing Programs

    BACK HOME   2. Select the desired parameter using the control switches. The switches give you immediate access to any parameter. The display changes as required, and the cursor moves to the correct place in the display, showing the current value of the selected parameter. 3.

  • Page 25: Review

    BACK HOME   Therefore before storing a program it is a good idea to make sure that the internal or cartridge destination program number you have in mind is in fact undesired. To help avoid accidentally erasing valuable programs, the Prophet VS has separate Review and Store functions.

  • Page 26: Transferring Programs And Waveforms

     6. To store, switch Store on. Its LED lights. This prepares the Prophet VS to store the edited program. The display will say "STORE PROGRAM TO" the current destination, internal or cartridge. 7. If you decide you do not want to store the program, this is your chance to exit the procedure by simply switching Store off.

  • Page 27: Load Internal From Cartridge

    BACK HOME   Load Internal from Cartridge To load one hundred programs or thirty-two waveforms from cartridge: 1. Switch Store on. 2. Switch Cartridge off. 3. Adjust the slider so the display reads: COPY ALL PROGS or COPY ALL WAVES TO INT.

  • Page 28: Program Edit, Review, And Store Example

    BACK HOME   PROGRAM EDIT, REVIEW, AND STORE EXAMPLE The following example does not affect any programs in memory. Only the program name is changed, and if desired, the new name can be the same as the original. 1. Select a program. 2.
  • Page 29 BACK HOME   11. Play the keyboard. Also be sure to check the effect of moving the joystick or Mod wheel. 12. If the random program shows little promise, generate other random programs until a better one appears. 13. If desired, edit and store the program. The practice of trying to edit random programs for the best effect will be a great way to learn how to program the VS.

  • Page 30: Section 4 - Keyboard Modes

    BACK HOME   SECTION 4 KEYBOARD MODES SINGLE MODE Normally the keyboard is a unified instrument (such as a piano), allowing you to play up to eight keys at once. The keyboard normally operates in multi- ple-trigger mode: pressing any key triggers a new envelope. If all eight voices are being used, the most recently-played key generally "steals"...
  • Page 31 BACK HOME   To set up Split mode: 1. Select the desired program number for the right side. 2. Switch Split on, as indicated by its LED. The LCD shows the linked program, and split point. The program on the left side is linked to the current selection by the Link Se- lect function (see below).

  • Page 32: Double Mode

    BACK HOME   DOUBLE MODE When Double is on, the current and linked programs are layered in the vertical dimension so that one key simultaneously plays two programs. As with Split mode, voice stealing also occurs after four keys are held. If Unison/Detune is on in both programs, all 32 oscillators can be played by one key.
  • Page 33 BACK HOME   7. Store this edited program. From now on, whenever you select this program, Double mode will automatically be on, with the detuning, delay, and linked program you just selected.

  • Page 34: Section 5 - Arpeggiator

    BACK HOME   SECTION 5 ARPEGGIATOR ARPEGGIATOR BASICS Here is a fully-programmable, multi-featured arpeggiator, which can be used for lots of tricks. The VS arpeggiator differs from most arpeggiators in that it allows you to overdub a second arpeggiation. This feature, combined with an easy method for inserting rests between notes, allows complex note patterns to be created which resemble single-step sequences, yet are of a more spon- taneous nature and tend to be less static.
  • Page 35 BACK HOME   4. Adjust the arpeggiator rate with the slider. The rate is adjustable from 1-99, or can be set to synchronize to MIDI clocks received from external MIDI equipment. If the rate does not go slow enough for your taste, don’t worry. The rate value interracts with the CLOCKS/STEP option (described later in this section).

  • Page 36: On-Off/Rate

    BACK HOME   ON-OFF/RATE This switch prepares the arpeggiator for new notes. When pressed, the previous latched arpeggiation (sequence) is erased, and the LCD shows the current rate. Whenever this main display appears in the LCD, the slider controls the rate from 1-99, or for external clocking. Each program has its own programmed arpeggiator rate.

  • Page 37: Transposing

    BACK HOME   If the current program is different from the one selected before latching the arpeggiator, the sequence may not start, because some of the arpeggiator options are different in the new program. The sequence is still there however, and can be played back with the original program, or one with compatible arpeggiator options.

  • Page 38: Scan

    BACK HOME   Extend Mode Extend adds keys as you play them. To add notes into the sequence, play the desired keys. Allows up to about 120 keys to be remembered in the current arpeggiation sequence. Switching the arpeggiator off cancels the current arpeggiation (unless it is latched manually with Latch/Transpose).

  • Page 39: Repeats

    BACK HOME   Repeats The arpeggiator can play each note up to four times before playing the next note. When the REPEATS option is selected, adjust the displayed value to the desired number of times you want each note to play. For example, a value of 2 makes each note play twice.

  • Page 40: Voicing

    BACK HOME   Voicing This option can be adjusted at any time, and affects playback only. There are two settings: MONO The VS plays arpeggiated notes in the manner of a monophonic synthesizer. One voice only is assigned to each layer of the arpeggiator, and is retriggered at the start of each note.

  • Page 41: Layer

    BACK HOME   Layer This option lets you overdub a second arpeggiation over a latched arpeggiator sequence. 1. Switch On-Off/Rate on, hold some notes, then press Latch/Transpose to latch them into the sequence. 2. Press Arpeggiator Option Select until the LAYER display appears. 3.
  • Page 42 BACK HOME   When clocking the arpeggiator over MIDI, set CLOCKS/STEP to match the 24 clocks per quarter-note rate of the incoming MIDI clock. (See Section 14.) The VS comes from the factory with the required CLOCKS/STEP setting of “6” (corresponding to sixteenth- notes when clocked over MIDI).

  • Page 43: Section 6 - Oscillators

    Figure 6-1 (next page) shows a general block diagram of the overall signal flow in one voice of the Prophet VS. A "voice" is a sound producer, such as a singer in a choir or an instrument in an ensemble. While we often speak in terms of a single voice, it is important to remember that the Prophet VS actually has eight voices—which is why you can play up to eight keys at once.
  • Page 44 However, in the Prophet VS the oscillator module itself is capable of producing new, interesting, and lively timbres. Instead of voltage- controlled oscillators, the Prophet VS uses digitally-generated oscillators which can use any wave- form stored in its memory.This approach allows these oscillators to assume a...

  • Page 45: Oscillator Basics

    And since there are eight voices, the Prophet VS actually contains 32 oscillators in total. The two most important attributes of an oscillator are its frequency and its waveform. In the Prophet VS each oscillator actually has a number of sources of frequency control.
  • Page 46 BACK HOME   Figure 6-2 shows three types of oscillator frequency controls: Figure 6-2 OSCILLATOR FREQUENCY CONTROL The first type raises or lowers the pitch of all oscillators in all voices: for example, Master Tune and the Pitch wheel. The second type of frequency control affects each voice independently.

  • Page 47: Oscillator Mixer

    When two waveforms are combined, a new waveform is created, which will have a timbre all of its own. In the Prophet VS, new timbres can be created by mixing up to four waveshapes together.
  • Page 48 BACK HOME   Figure 6-3 OSCILLATOR MIXER Typical mix ratios are shown in Figure 6-4. Figure 6-4 TYPICAL MIX RATIOS...

  • Page 49: Vector Synthesis

    BACK HOME   In this mixer design, then, each mixture point represents a different timbre resulting from the unique combination of the four source waveshapes. New waveshapes can be created (edited) with the joystick in a similar fashion, then retained in RAM and assigned to any oscillator position (A - D), for remixing into yet more new timbres.

  • Page 50: Oscillator Group Controls

    BACK HOME   If this all sounds too far out, that’s okay: sometimes we don’t really believe it either. But the sounds produced speak for themselves. A model may help: Think of a quadraphonic sound system, with four speakers enclosing a square space.

  • Page 51: Wave

    BACK HOME   3. To select another parameter of the current oscillator, press either Wave#, Coarse Freq, or Fine Freq. 4. To select another oscillator, press Oscillator Select until the desired oscillator (A-D) appears in the top display line, then repeat the last two steps. Stepping through the oscillators with Oscillator Select does not alter the position of the display cursor.

  • Page 52: Mixer Modulation

    BACK HOME   Mixer Modulation The A, B, C, and D mixer amounts always add up to 100, and the mixer can not be modulated beyond these limits. If you want to modulate the A-C or B-D mix ratios with velocity, pressure, key position, or either LFO, remember that positive modulation amounts increase the amount of oscillator C or D, and are more effective when the mixer is emphasizing oscillators A or B (respectively).

  • Page 53: Section 7 - Filter

    BACK HOME   SECTION 7 FILTER This section describes the filter function and filter controls. While in the Prophet-VS emphasis is placed on its unique oscillator section, let's not forget about the filter. Skillful use of the filter module is also very important for making interesting sounds.
  • Page 54 BACK HOME   Figure 7-1 FILTER MODULE...

  • Page 55: Cutoff

    BACK HOME   CUTOFF This parameter adjusts the initial cutoff frequency of the filter, over an eleven- octave range. To adjust filter cutoff: 1. Press Cutoff. The top line of the display shows the cutoff value from 0-99 and the resonance value.

  • Page 56: Resonance

    BACK HOME   When the keyboard modulation source amount is above 55, “overtracking” occurs. That is, higher notes are relatively brighter. Similarly, when the keyboard source amount is below 50, higher notes are relatively duller. For any keyboard scaling, the filter cutoff pivots around the F#3 key. When the keyboard modulation source is set negative, the filter cutoff increases with lower notes, and decreases with higher notes.

  • Page 57: Env Amount

    BACK HOME   (If under these conditions the difference between input and filter frequency becomes very large, low-frequency beating may occur which may be useful or merely obnoxious.) A slightly technical note on filter resonance. Refer to Figure 7-1. As the input signal frequency approaches cutoff frequency, phase shift of the filter output approaches 180 degrees (inversion).

  • Page 58: Section 8 - Envelope Group

    BACK HOME   SECTION 8 ENVELOPE GROUP This section covers adjustment of the mixer, filter, and amplifier envelope generators. ENVELOPE GENERATORS Sounds have beginnings, middles, and ends, and what occurs during each stage may vary widely. For example, the end of an organ sound is as loud as the beginning, but a piano note or snare drum begins at a certain level then quickly falls to zero.

  • Page 59: Mixer Envelope

    BACK HOME   generators are “triggered” into action only when you press a key, the velocity with which you play can be used to actually change key, the velocity with which you play can be used to actually change the effective depth of the filter and amplifier envelopes as well as determine the peak level of either envelope, and the Alternate Release footswitch is used to modify the release settings.

  • Page 60: Effects Of Mix Joystick

    BACK HOME   Normally, when the key is released, the mix point moves from 3 to 4 at rate 4, unless the alternate release footswitch is held, in which case it moves from point 3 to point 4 at rate 4A. In either case, to retain a desired feature of traditional instruments, this final release vector is not linear, but exponential.

  • Page 61: Filter Envelope

    BACK HOME   Obviously, if the joystick is initial positioned for 100% of oscillator C (far right) initially, then the joystick can only increase the mix amounts of oscillators A, B, and D. Another performance application for the joystick is editing one point of the mixer envelope as you play.
  • Page 62 BACK HOME   When key is pressed, envelope begins at level 0, proceeds to point 1 at rate 1, proceeds to point 2 at rate 2, to point 3 at rate 3. These are all linear (same- rate) movements. Provided the key is still held, the envelope will remain at level 3.
  • Page 63 BACK HOME   Figure 8-5 shows the results of looping envlopes. If the loop is off, then the envelope remains at point 3 with level 3 for as long as the key is held. But by using envelope looping, LFO, restrike, and echo effects can be created. In (a) the loop is between points 2 and 3, in forward/backward mode, with two repeats.

  • Page 64: Amplifier

    BACK HOME   AMPLIFIER The filter audio output goes to the voice amplifier. The amplifier determines the loudness of the voice over the note duration. Its output goes to the pan module. Figure 8-6 AMPLIFIER MODULE Each program has a programmed volume which is affected by other parameters: principally, the amplifier envelope generator, which articulates the desired loudness shape, and the modulation sources.

  • Page 65: Envelope Select

    BACK HOME   ENVELOPE SELECT To select the mixer, filter, or amplifier envelope for adjustment, press Envelope Select. The name of the selected envelope and point appear in the top line of the display. In the lower line of the display appears the rate for the selected point, or the loop and repeat selections, depending on which parameter has been selected.

  • Page 66: Rate

    BACK HOME   RATE 1. Press Rate. The LCD shows the current envelope, point, and rate. 2. If necessary, select the desired envelope and point number with the corresponding switches (see above). 3. To select rate 4A, press the ALTERNATE RELEASE footswitch. 4.

  • Page 67: Repeat

    BACK HOME   REPEAT 1. Press Repeat. 2. Select desired envelope. 3. Use slider to select number of loop repetitions, from 1-6, or “C” (continuous).

  • Page 68: Section 9 - Lfo Group

    BACK HOME   SECTION 9 LFO GROUP This section explains the LFO functions and controls. LFO BASICS There are two independent, variable-rate LFOs with selectable waveshapes. The LFO output levels are adjusted by the combination of initial modulation level (set via the Modulation module), the Mod wheel, pressure, and the other LFO.

  • Page 69: Lfo Select

    BACK HOME   The modulation (Mod) wheel is closely related to the LFOs because they are the source of the modulation that the Mod wheel applies. By moving the Mod wheel up and down, you vary the level of the modulation signal from the LFOs to the selected modulation destinations.

  • Page 70: Section 10 - Modulation

    BACK HOME   SECTION 10 MODULATION This section explains use of the modulation control module. MODULATION BASICS The timbral and processing power of the modules in the audio path define the basic sound of a synthesizer. But the synthesizer's expressiveness depends entirely on its modulation resources.
  • Page 71 BACK HOME   2. To adjust the source amount, use the slider. The Mod wheel choices are “OFF” and “ON” - because it is an amount adjustment. LFO 1 and LFO 2 source amounts range from 00-99. All other sources are bipolar (-99 - 0 - +99) 3.
  • Page 72 BACK HOME   4. To toggle the destination on and off, adjust the slider. 5. Repeat for other sources. Destinations receive the total modulation of all applied sources. To start from a specific destination, and change the applicable modulation sources: 1.

  • Page 73: Section 11 - Voice Controls

    BACK HOME   SECTION 11 VOICE CONTROLS UNISON/DETUNE When Unison mode is on, all voices (eight if normal, four if Split or Double mode) play only the lowest key played. This makes a “fat” sound which can be even further enlarged through the detuning option. Unison creates thick sounds because the voices do not actually play simultaneously.

  • Page 74: Voice Pan

    BACK HOME   To adjust Glide: Press Glide. Use the slider. The Glide range is 0-99. Notes glide at a linear, constant rate. The higher the Glide value, the longer it takes to glide from note to note. VOICE PAN The voice output can be positioned anywhere within the stereo field by the Voice Pan control and the modulation sources shown: Figure 11-1...

  • Page 75: Panning Modulation

    BACK HOME   Panning Modulation If you want a piano-type arrangement, you must pan all the voices to the center, then apply keyboard modulation to the pan destination. For Split or Double modes, if you want a hard left/right output, you must pan voices 1-4 to one side and 5-8 to the other.

  • Page 76: Section 12 - Chorus

    BACK HOME   SECTION 12 CHORUS CHORUS BASICS The chorus adds thickness and warmth to the sound. There are two separate chorus circuits, which operate independently on the left or right output channel. The chorus parameters are programmable per program. When the keyboard is in Single mode, the current rate and depth settings affect both choruses.

  • Page 77: Chorus Left

    BACK HOME   Figure 12-1 CHORUS MODULE As shown in Figure 12-1, the Mod wheel can control the chorus depth, while the chorus rate or depth can be modulated by the pressure signal. CHORUS LEFT This switch toggles the left chorus on and off. An LED indicates current state. The LCD shows the settings of the initial Rate and Depth parameters.

  • Page 78: Section 13 - Creating User Waveforms

    VS's operation in Program Edit mode is assumed. INTRODUCTION There are two levels of sound editing on the Prophet VS. The first — Program Edit mode— deals with mixing, filtering and modulating the oscillators and other performance controls. In this mode, the joystick and other mixer controllers adjust the real-time mixture of the four oscillators.

  • Page 79: Edit Waveform Mode

    BACK HOME   Note: Editing a waveform changes the sound of all programs that use that waveform. You must remember that storing a new wave destroys an old wave, and therefore changes any programs that use the number of that old wave. So, before storing a wave it is a good idea to make sure that the NVRAM or RAM cartridge destination number you have in mind isn't crucial for your favorite program.

  • Page 80: Wave# And Harmonic

    BACK HOME   2. Select wave A, B, C, or D with Oscillator Select. 3. Press Wave#. 4. If necessary, select the desired wave numbers for each oscillator with the slider. 5. If desired, adjust each waveform’s ‘harmonic” settings (see below). 6.

  • Page 81: Storing Waveforms

    BACK HOME   8. Select other oscillators with Oscillator Select, then adjust the harmonic settings as desired. 9. Adjust the waveform blend with the joystick. 10. If desired, store the waveform. STORING WAVEFORMS When you are through editing a waveform, you can either store it, or exit Edit Waveform mode.

  • Page 82: Store

    BACK HOME   STORE To store the new waveform switch Edit Waveform on and: 1. To choose a suitable location for the new waveform, use Review (as explained above). 2. If desired, insert RAM cartridge and switch Cartridge on. 3.

  • Page 83: Section 14 - Midi

    It probably goes without saying that the Musical Instrument Digital Interface has found its way onto practically every keyboard synthesizer currently available. The Prophet VS MIDI implementation is extensive and practical. No attempt is made in this manual to explain the workings of MIDI. Instead, specific applications for the VS in a MIDI system are outlined.
  • Page 84 BACK HOME   Any notes played on the master will also be played on the slaves. Playing the slaves, on tine other hand, has no effect on any other instrument in the “chain,” unless their MIDI OUT is connected to another instrument’s MIDI IN. In Figure 14-1, the first slave’s MIDI OUT can drive the master’s MIDI IN.

  • Page 85: Midi Channel

    BACK HOME   MIDI CHANNEL The VS can transmit three channels simultaneously if necessary. These channels are: RIGHT CHANNEL This is the VS equivalent of the base channel. If the keyboard is not split, all notes are sent on the right channel, regardless of the mode. When the keyboard is split, only notes to the right of the split are sent on this channel.
  • Page 86 BACK HOME   MODE 4 In Single keyboard mode, the VS accepts data on eight consecutive channels, beginning from the right channel. Each channel plays one voice of the VS like a monophonic synth. When in Split or Double mode, the left program plays notes received over four consecutive channels starting with the left channel, while the right program plays notes received over four consecutive channels starting with the right channel.

  • Page 87: Multiple Keyboard Operation

    BACK HOME   MULTIPLE-KEYBOARD OPERATION To send notes to a specific instrument in a MIDI chain, make sure that the slave synths are set to different MIDI channels and mode 3, and that the VS’s channels match. The ARP. CHANNEL is adjusted with the MIDI Options Select control (see below).

  • Page 88: Arpeggiating With Midi

    BACK HOME   ARPEGGIATING WITH MIDI The arpeggiator responds to MIDI notes just as it does to notes played on the keyboard. As explained before, the arpeggiator can transmit notes on a separate channel. Of course, MIDI mode and channel numbers interract as usual, but in addition to note messages, MIDI CLOCK, START, and STOP "real-time"...

  • Page 89: Clocking Other Midi Devices

    (sequencer, or whatever) . Notes are accepted over MIDI, so make sure drum events are disabled on the drum machine. (Refer to Sequential's MIDI CONTROL SUMMARY, document number MIDI-5.) When the arpgeggiator is switched off, this transmits a Stop message which automatically will turn off the slave's arpeggiator (sequencer, etc.).

  • Page 90: Midi Programs

    BACK HOME   In Mode 4, received pitch bend information affects only selected voices depending on the channel number. Therefore, if the VS is in Split or Double keyboard mode, the left and right programs can be pitch-controlled separately. Similarly, Mod wheel information is common to all voices in each program.

  • Page 91: Midi Joystick

    BACK HOME   MIDI Joystick When enabled, the VS transmits joystick movement. When one VS is MIDI’d to another, this ability is very useful. If, however, some other synthesizer is being slaved to the VS, the joystick may need to be disabled over MIDI. (Some instruments may use the same control numbers for other purposes.) 1.

  • Page 92: Arpeggiator Channel

    BACK HOME   Arpeggiator Channel The VS can transmit notes played by the arpeggiator on a separate channel from notes played live from the keyboard. This is especially useful after latching the arpeggiator. The VS itself will still play all notes played live or arpeggiated.

  • Page 93: Wave Data Dump

    5. Press Enter. RECEIVING WAVEFORMS FROM MIDI SAMPLERS The Prophet VS accepts the MIDI Sample Dump Standard format (as explained under the next heading), but only 128 12-bit words of wave data are accepted per waveform. If a sample is sent with more data, only the first 128 words are accepted.

  • Page 94: Midi Common Sample Dump Standard

    BACK HOME   MIDI COMMON SAMPLE DUMP STANDARD At the Summer, 1985 convention of the National Association Music Merchants (NAMM), the members of the MIDI Manufacturer's Association (MMA) and Japanese MIDI Standards Committee (JMSC) discussed, among other things, reserving some System Exclusive codes for future expansion of non-real- time data communication between different manufacturers' equipment.
  • Page 95 BACK HOME   In addition, four other messages are used in sample dump communication: Sample Dump Request Cancel Dump Not Acknowledge Acknowledge The data sequence and "handshaking" are as follows. The master either receives a dump request which includes the sample number, or a dump of the current sample is initiated from the front panel.
  • Page 96 Note: The above is a general description of how the common sample dump standard operates. Since the Prophet VS is not a sampler, and only deals with small amounts of wave data, “Acknowledge” and “Not Acknowledge” are not...

  • Page 97: Specification

    BACK HOME   SPECIFICATION Note: All values are in hexadecimal unless otherwise noted. Note: Whenever possible, to save time, the Prophet-VS transmits using running status. This means that if the status byte is unchanged, it is not sent. Channel Byte Description Range...
  • Page 98 BACK HOME   Byte Description Range Examples/notes Note On N = channel number key number 00-7F 24 is key Cl velocity 01-7F Transmit Same as Note Off, except Note On. Receive Same as above. Note that MIDI keys are not confused with local keys. If MIDI receives the same note number as the local keyboard, a second voice is still assigned.
  • Page 99 BACK HOME   Byte Description Range Examples/notes Breath Controller N = channel number breath continuous controller value 00-7F 00 means off. Transmit Not transmitted. Receive Received the same as channel pressure. Foot Pedal N = channel number foot pedal continuous controller value 00-7F 00 means off.
  • Page 100 BACK HOME   Byte Description Range Examples/notes Pan LSB BN N = Channel number Pan LSB continuous controller value (00-7F) Transmit Not transmitted. Receive In Mode 1 and 3, sets pan parameter (still subject to modulation) of each voice to the same value, similar to the way pitch bend affects pitches of all voices.
  • Page 101 BACK HOME   Byte Description Range Examples/notes Alternate Release Footswitch N = channel number hold pedal switch controller (alternate release) value 00-7F 00-3F is off 40-7F is on Transmit and Receive Channel number treated same as with Mod wheel. Operates same as local footswitch.
  • Page 102 BACK HOME   Byte Description Range Examples/notes Parameter Select LSB N = channel number parameter number (00-7F). (For parameter numbers, see Table 14-1.) Transmit If enabled, sent whenever a parameter is changed on the VS. Followed by Parameter Select MSB message, and Data Entry bytes. If the parameter adjusted on the VS is a switch bit (see Table 14-1), then Parameter Select messages must be sent before Data Entry bytes.
  • Page 103 BACK HOME   Byte Description Range Examples/notes Program Number N = channel number Program number (00-63), select cartridge (7E), or select internal (7F). Transmit In Mode 1, the channel number equals the RIGHT CHANNEL value. In Modes 3 or 4 program number for each side is sent on the appropriate base channel. Transmitted with each front panel program select.

  • Page 104: System Exclusive

    Program dump Program number (00-63) , all programs (64), or all waves (7F). End of Exclusive Program Dump System Exclusive Sequential identifier Prophet VS identifier program number (00-63) or all programs (64) data End of Exclusive Wave Dump System Exclusive...
  • Page 105 BACK HOME   Byte Description Range Examples/notes Sample Dump Header (continued) sample format corresponds to twelve bits linear sample period LSbyte 00-7F see table below sample period 00-7F sample period MSbyte 00-7F sample sample period, period, spread out rate, kHz period, ns in hex to 7-bit bytes, LSB first...
  • Page 106 120 bytes of actual sample. (equals 60 words) Each MIDI byte holds seven bits. Therefore two bytes are required to transmit a twelve-bit Prophet VS sample word. Words are sent left-justified, MSbyte first, unused bits reset to 0: Oxxx xxxx Oxxx xxOO.

  • Page 107: System Real-Time

    BACK HOME   System Real-Time Byte Description Range Examples/notes Timing Clock Transmitted every 96th note that the arpeggiator is clocked. MIDI timing clocks are not echoed. Start Sent when the arpeggiator is started from front panel. Does not substitute for an F8 (see above). Stop Sent whenever the arpeggiator is stopped from front panel.
  • Page 108 BACK HOME   TABLE 14-1 MIDI Parameters Parameter Range # of Bits MIDI Parameter Oscillators Wave # A 0-127 Wave # B 0-127 Wave # C 0-127 Wave # D 0-127 Coarse Freq A 0-24 Coarse Freq B 0-24 Coarse Freq C 0-24 Coarse Freq D...
  • Page 109 BACK HOME   TABLE 14-1 MIDI Parameters (continued) Parameter Range # of Bits MIDI Parameter Filter Envelope (Cont) Level 3 0-99 Level 4 0-99 Loop Repeat Mix Envelope Rate 1 0-99 Rate 2 0-99 Rate 3 0-99 Rate 4 0-99 Rate 4 A 0-99...
  • Page 110 BACK HOME   TABLE 14-1 MIDI Parameters (continued) Parameter Range # of Bits MIDI Parameter Arpeggiator Rate 0-99 Mode Scan Octaves Repeats Split Voicing Velocity Layer Modulation LFO 1 Amount 0-99 LFO 2 Amount 0-99 Pressure Amount +/-0-99 Velocity Amount +/-0-99 Keyboard Amount +/-0-99...

  • Page 111: Introduction

    SECTION 15 PROGRAM AND WAVEFORM DESCRIPTIONS INTRODUCTION The Prophet VS presents new possibilities for synthesizer players and programmers alike. The intention of this section is to examine some of these unique capabilities through the factory programs. This document is divided into three sections: 1.

  • Page 112: Prophet Vs Program List

    BACK HOME   PROPHET VS PROGRAM LIST ZENNY1 FILGLASS CHOIR 1 PING PONG PACBELL CARIBEAN VOLK A NIK STRING 1 VS1 SWEEP FEEDBACK ELFIN DIGIMBA ZARG COMPBASS CHIFF 1 STEEL DR TRIAD REVERB SQUARES ORGAN 1 SLOW BELL VOCAL 1...
  • Page 113 BACK HOME   PROPHET VS PROGRAM LIST GASEOSA ARNOUD WEEPY TWANGBA4 FRIPPINO RESBASS WROKROCK ELECDRM2 HARLOOP ORGAN 2 TAKBASS ROVING WOODMETL BELTONE1 ACIDRAIN BLUNTOBJ ZANG ANAGLIDE GLASSHRN BELTONE2 STEW KEY XWANG TAKATTAK CLACY SPACE SAMPHOLD KALIMBA ELYSE PERKEY 1...

  • Page 114: Volkanik

    BACK HOME   VOICE CONTROLS PROPHET VS PROGRAM #03 Unison/ Program Glide VOLKANIK Detune Volume KEYBOARD MODE Split Split Key Link if Double Detune Delay LFO GROUP CHORUS Shape Rate Left Right Rate Depth LFO 1 LFO 2 VOICE PAN...
  • Page 115 BACK HOME   OSCILLATOR GROUP MIX ENVELOPE Oscillator Wave # Freq Point Rate Level Loop Repeat 00.00 0/0/0/100 0<->3 00.00 0/100/0/0 00.00 0/51/49/0 00.00 1/4/81/14 26/30/24/20 FILTER ENVELOPE FILTER GROUP Reso- Point Rate Level Loop Repeat Cutoff nance Amount AMP ENVELOPE Point Rate...
  • Page 116 BACK HOME   VS VOLKANIK (03) This is a fairly awesome stereo sound when played at high volumes and at the low end of the keyboard. Keyboard Mode The keyboard is in Single keyboard mode. And we notice right away that it is also in Unison mode, because only one key can be heard at a time.
  • Page 117 BACK HOME   LFO Group Both LFOs are set for triangle waves, and have almost the same rates (12 and 13). This difference is not accidental: small adjustments like this add motion through low-frequency “beating.” We will want to see how the LFOs are routed through the Modulation module.

  • Page 118: Ambience

    BACK HOME   VOICE CONTROLS PROPHET VS PROGRAM #49 Unison/ Program Glide AMBIENCE Detune Volume KEYBOARD MODE Split Split Key Link # Double Detune Delay LFO GROUP CHORUS Shape Rate Left Right Rate Depth LFO 1 LFO 2 VOICE PAN...
  • Page 119 BACK HOME   OSCILLATOR GROUP MIX ENVELOPE Oscillator Wave # Freq Point Rate Level Loop Repeat 24.00 0/0/17/83 00.00 26/32/24/18 00.00 0/100/0/0 12.00 0/9/91/0 0/0/0/100 FILTER ENVELOPE FILTER GROUP Reso- Point Rate Level Loop Repeat Cutoff nance Amount AMP ENVELOPE Point Rate Level...
  • Page 120 BACK HOME   VS AMBIENCE (49) This patch uses just a few routings to produce a responsive yet quite liquid and airy effect- If it is delayed with respect to another program in Double mode, the notes will tend to sound as if they are returning from a reverberant room.
  • Page 121 BACK HOME   the patch now with this information in mind, and you should be able to more clearly hear the lower pitches fading in. Because of the de-emphasis of the fundamental pitches at the start of the envelope, this program can almost be considered to be already transposed an octave upwards.

  • Page 122: Steeldr

    BACK HOME   VOICE CONTROLS PROPHET VS PROGRAM #08 Unison/ Program Glide STEEL DRUM Detune Volume KEYBOARD MODE Split Split Key Link # Double Detune Delay LFO GROUP CHORUS Shape Rate Left Right Rate Depth LFO 1 LFO 2...
  • Page 123 BACK HOME   OSCILLATOR GROUP MIX ENVELOPE Oscillator Wave # Freq Point Rate Level Loop Repeat 00.00 95/5/0/0 00.00 32/22/19/27 00.00 0/0/28/72 00.14 0/0/20/78 20/22/31/78 FILTER ENVELOPE FILTER GROUP Reso- Point Rate Level Loop Repeat Cutoff nance Amount AMP ENVELOPE Point Rate Level...
  • Page 124 BACK HOME   STEEL DRUM (#l 6) This program makes good use of the mixer envelope to produce a steel drum sound which is consistent across the VS's 5-octave keyboard. Velocity modulation of the oscillator mix adds to the program's realism by controlling the "metallic"...
  • Page 125 BACK HOME   Modulation LFO 1 is set to modulate the pitch of all four oscillators, but as its initial source amount is zero, the extent of its effect is controlled by the modulation wheel. Velocity is set for positive modulation of the filter and amplifier envelope amounts.

  • Page 126: Chiff

    BACK HOME   VOICE CONTROLS PROPHET VS PROGRAM #33 Unison/ Program Glide CHIFF Detune Volume KEYBOARD MODE Split Split Key Link # Double Detune Delay LFO GROUP CHORUS Shape Rate Left Right Rate Depth LFO 1 LFO 2 VOICE PAN...
  • Page 127 BACK HOME   OSCILLATOR GROUP MIX ENVELOPE Oscillator Wave # Freq Point Rate Level Loop Repeat NOISE 99/1/0/0 12.00 4/24/63/9 19.00 0/0/35/65 00.00 0/0/28/72 0/11/89/0 FILTER ENVELOPE FILTER GROUP Reso- Point Rate Level Loop Repeat Cutoff nance Amount AMP ENVELOPE Point Rate Level...
  • Page 128 BACK HOME   CHIFF (#33) This program demonstrates subtle use of noise in the mixer envelope, producing a brief flute-like "chiff" at the sound's beginning. Keyboard Mode The keyboard is in Single mode, but the programmed Split and Double parameters can be activated by simply switching either keyboard mode switch When Double is switched on, program #36 (SLOWBELL) is activated, with a 3-cent detune and no delay between the two programs.
  • Page 129 BACK HOME   Filter As mentioned above, the filter envelope is not responsible for this sound's changes in timbre. Selecting any control in the Filter group, we find that the initial envelope amount is zero. Looking at the modulation grid in the program form, you will find that velocity modulates the filter envelope amount.

  • Page 130: Perkey

    BACK HOME   VOICE CONTROLS PROPHET VS PROGRAM #66 Unison/ Program Glide PERKEY Detune Volume KEYBOARD MODE Split Split Key Link # Double Detune Delay LFO GROUP CHORUS Shape Rate Left Right Rate Depth LFO 1 LFO 2 VOICE PAN...
  • Page 131 BACK HOME   OSCILLATOR GROUP MIX ENVELOPE Oscillator Wave # Freq Point Rate Level Loop Repeat 00.00 0/51/49/0 17.00 0/0/50/50 00.00 91/0/0/9 00.00 64/0/0/36 62/38/0/0 FILTER ENVELOPE FILTER GROUP Reso- Point Rate Level Loop Repeat Cutoff nance Amount AMP ENVELOPE Point Rate Level...
  • Page 132 BACK HOME   PERKEY (#66) This percussive program ends with a metallic "clink" when keys are released. Monitoring in stereo reveals subtle voice panning. Tailoring the sustaining timbre of the sound may be accomplished by changing only one or two parameters in the oscillator group or mixer envelope.
  • Page 133 BACK HOME   Filter Although the filter envelope is set up for a short percussive spike with a sharp, positive-going release, it has no effect. Filter Cutoff is maximum, so the envelope has no effect even though Env Amount is also maximum. Similarly, the minor amount of keyboard modulation applied to the filter cutoff has negligeable effect.

  • Page 134: Is There

    BACK HOME   VOICE CONTROLS PROPHET VS PROGRAM #40 Unison/ Program Glide IS THERE Detune Volume KEYBOARD MODE Split Split Key Link # Double Detune Delay LFO GROUP CHORUS Shape Rate Left Right Rate Depth LFO 1 LFO 2...
  • Page 135 BACK HOME   OSCILLATOR GROUP MIX ENVELOPE Oscillator Wave # Freq Point Rate Level Loop Repeat 24.00 0/1/99/0 12.00 0/0/0/100 00.02 27/21/23/24 00.04 0/100/0/0 100/0/0/0 FILTER ENVELOPE FILTER GROUP Reso- Point Rate Level Loop Repeat Cutoff nance Amount AMP ENVELOPE Point Rate Level...
  • Page 136 BACK HOME   IS THERE (#40) This program combines the punch of mallet percussion with the sustaining tone of a reed instrument, ending with a smooth tone at an octave above concert pitch. Velocity modulation of the mixer envelope provides dynamic timbral control going far beyond the capabilities of analog filters.
  • Page 137 BACK HOME   Filter The filter cutoff is just low enough that it depends on the percussive filter envelope to accentuate the harmonics produced by oscillators B, C, and D. The filter envelope features a quick decay, followed by a rebound before completing its decay to zero.

  • Page 138: Satir

    BACK HOME   VOICE CONTROLS PROPHET VS PROGRAM #44 Unison/ Program Glide SATIR Detune Volume KEYBOARD MODE Split Split Key Link # Double Detune Delay LFO GROUP CHORUS Shape Rate Left Right Rate Depth LFO 1 LFO 2 VOICE PAN...
  • Page 139 BACK HOME   OSCILLATOR GROUP MIX ENVELOPE Oscillator Wave # Freq Point Rate Level Loop Repeat 12.00 0/93/7/0 12.15 11/55/29/5 00.18 25/27/25/33 00.07 59/39/1/1 0/0/55/45 FILTER ENVELOPE FILTER GROUP Reso- Point Rate Level Loop Repeat Cutoff nance Amount AMP ENVELOPE Point Rate Level...
  • Page 140 BACK HOME   SATIR (#44) Depending on how you play it, this program can take on vocal or sitar-like characteristics. Using the Mod wheel adds to the sound's shimmering tone. Keyboard Mode Normally, this program is in Single keyboard mode, its Split and Double mode parameters can be activated by simply selecting either mode.
  • Page 141 BACK HOME   Filter The filter cutoff is just low enough to prevent the sound from being too piercing when played with low key velocity. In the modulation section, velocity is routed to the filter, so that as key velocity increases, so does the envelope amount.

  • Page 142: Filmusic

    BACK HOME   VOICE CONTROLS PROPHET VS PROGRAM #69 Unison/ Program Glide FILMUSIC Detune Volume KEYBOARD MODE Split Split Key Link # Double Detune Delay LFO GROUP CHORUS Shape Rate Left Right Rate Depth LFO 1 LFO 2 VOICE PAN...
  • Page 143 BACK HOME   OSCILLATOR GROUP MIX ENVELOPE Oscillator Wave # Freq Point Rate Level Loop Repeat 00.00 100/0/0/0 0<->3 05.00 27/73/0/0 07.00 0/0/72/28 12.00 31/69/0/0 34/66/0/0 FILTER ENVELOPE FILTER GROUP Reso- Point Rate Level Loop Repeat Cutoff nance Amount AMP ENVELOPE Point Rate...
  • Page 144 BACK HOME   FILMUSIC (#69) This program produces vocal sounds which fade slowly between four pitches, two of which are LFO-modulated for tremolos which fade in and out. Although not necessarily an ideal program for lead lines, it can produce interesting, rich textures with only a few voices.
  • Page 145 BACK HOME   LFO Group Both LFOs run at similar rates —both suitable for tremolo— and although they also have similar modulation source amounts, the Mod wheel is programmed to add to the depth of LFO 2 only. Voice Control All voices are panned center, and no modulation is applied to drive the voices towards either audio output.

  • Page 146: Waveform Descriptions

    6. Play the keyboard to hear the selected waveform. 7. To include specific waveforms in a program, switch Edit Waveform off, then edit the Oscillator Group controls as explained in the Prophet VS operation manual. The following are some of the waveforms included in the VS's internal ROM.
  • Page 147 BACK HOME   VS WAVEFORM DESCRIPTIONS (Cont.) WAVE# NAME COMMENTS Bell partials These waveforms are suitable for bell-like and 125 sounds. Sawtooth 3rd and 5th 3rd and 5th harmonics overpower the funda- mental. Sine Fifths Two sine waves an octave and a fifth apart. Sine 2-Octave Two sine waves two octaves apart.
  • Page 148 BACK HOME  ...

  • Page 149: Section 16 Program Forms

    BACK HOME   SECTION 16 PROGRAM FORMS...
  • Page 150 VOICE CONTROLS PROPHET VS PROGRAM # Unison/ Program Glide Detune Volume KEYBOARD MODE Split Split Key Link # Double Detune Delay LFO GROUP CHORUS Shape Rate Left Right Rate Depth LFO 1 LFO 2 VOICE PAN Voice 1 Voice 2...
  • Page 151 OSCILLATOR GROUP MIX ENVELOPE Oscillator Wave # Freq Point Rate Level Loop Repeat FILTER ENVELOPE FILTER GROUP Reso- Point Rate Level Loop Repeat Cutoff nance Amount LEVEL TIME AMP ENVELOPE Point Rate Level Loop Repeat LEVEL TIME...
  • Page 152 sequntial circuits BACK PAGE!

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