sequential-circuits Sequential Circuits Prophet 10 Prophet 10 Synthesizer Operation Manual 92p

tUODEL

1016.1

Manual

No.

Ch11016B

PROPHET-

10

SY

NTHES~~ER

OPERATION MANUAL

by

Tom

Darter

and

POLYPHONIC SEQUENCER

OPERATION MANUAL

by

Stanley Jungleib

W~ne

Country Productions.

Inc.

1572

Park

Ctesl

Coun.

Suite

#505

San

Jose.

Calllornla

95118

USA

Phone

(408)

265-2008

FAX

(4081

2666591

SEQUENTIAL

PflOducf

Spec,aIisls

Stnw

1987

PROPHET-I0 SYNTHESIZER
OPERATION MANUAL

by Tom Darter
Manual No.

CMIOIOA
and
POLYPHONIC SEQUENCER

OPERATION

MANIJAL
by Stanley Jungleib
Manual No. CM

101

50

Manual No. CM1016B

Issued: September, 198

I

~o~~ri~ht@l981 by
SEQUENTIAL CIRCUITS, INC.
All rights reserved. Printed in USA.

The contents of this manual are the property
of

SCI and are not to be copied or reproduced

without our prior written

permission.

-

NOTE. Write Prophet-lO/Polyphonic Sequencer serial number (on back panel) here:
Refer to this

number in all correspondence with the factory.

Please return your warranty card!

Table of Contents

SECTION I GETTING STARTED

1-0 INTRODUCTION
1-1 SET-UP

1-2

TURN-ON AND INITIAL TUNING

1-3

hlASTER OUTPUT CONTROLS

1-4

PRESET SELECTION
1-5 PITCH AND MOD WHEELS
1-6 TRANSPOSE SWITCHES
1-7 VOICE

ASSIGNhlENT

1-8 RETUNING

SECTION

2

BASIC PROCEDURE5

2-0

INTRODUCTION: THE FRONT PANEL 2-

1

2-1 MODES OF OPERATION

2-

1

2-2 RECORDING PROGRAMS

2-2

2-3 KEYBOARD MODES AND UPPER/LOWER PANEL SWITCHES 2-3

SECTION 3THE PATCH CONTROLS

3-0 INTRODUCTION
3 LOICE SIGNAL FLOU
3-2 OSCILLATOR A

3-3 OSCILLATOR B
3-4

hllXER
3-5 FILTER
3-6

4MPLIFIER
3-2 EQUALIZATION
3-8

hlODCILATION

3-9 hllSCELLANEOUS

SECTION 4ACCESSORIE.5 AND THE BACK PANEL

4-0 INTRODUCTION

4

CONTROL VOLTAGE IN--PEDALS I AND 2
4-2

FOOTSWITCHES
4-3 MONOPHONIC SEQUENCER INTERFACE

SECTION

5POLYPHONIC SEQUENCER OPERATION MANUAL

SUB- SECTION I BASIC OPERATION

1-0 INTRODUCTION

1-1

Play~ng the Dernonstrat~on Sequences

1-2 REAL-TIME USE
1-3

PITCH and MOD Wheel Disconnect

1-4

Footsw~tch

1-5 Overflow
1-6 External Clock
1-7

GATEICV OUT

1-8 Trouble?

SUB-SECTION

2

TAPE OPERATION

2-0 INTRODUCTION
2-1 PRECAUTIONS
2-2 SAVE TO

T.4PE

2-3 LOAD FROhl T.4PE

SUB-SECTION 3 MODES OF OPERATION

3-0 INTRODUCTION

3-1 Power-On

3-2 IDLE MODE
3-3 RECORD MODE
3-4

ln~t~allz~ng Sequencer Programs

3-5

Real-T~me Recording

3-6 Single-Step

Record~ng
3-7 PLAYB4CK MODE
3-8 Truncate
3-9 Append
3-10 EDIT

hlODE
3-1 1 Slngle-Step Ed~t
3-12 S~ngle-Srep Event Delete

SUB-SECTION

4

SINGLE-STEP APPLICATIONS

4-0 INTRODUCTION
4-1 DEFINING NOTES

.4S STEPS
4-2 EDITING
4-3 PROGRAM CHANGES

.

SECTION 6SELECTED BIBLIOGRAPHY

SECTION 7THE FACTORY PRESET PROGRAMS

SECTION

8BLANK PATCH DIAGRAMS

GETTING STARTED

14

INTRODUCTION

The Prophet-10 contains two completely programmable polyphonic synthesizer banks, each having five
complete and individual synthesizer "voices." Although each voice

is

keyed independently,

all

five

voices in each polyphonic bank function from the same patch setting, and are therefore homophonous.

However, each of the two 5-voice synthesizer banks can operate on

a

completely different program,
and can be articulated independently via the two keyboard manuals. In other words, two different
programs can be used

at

any one time. One

is

the UPPER program, with one 5-voice synthesizer usually

tied to the upper keyboard, and the other

is

the LOWER program, with the other 5-voice synthesizer

usually

tied to the lower keyboard.

Each synthesizer voice consists of two voltage-controlled oscillators

(VCOs), a white noise source,

a

resonant low-pass voltage-controlled filter (VCF), a voltage-controlled amplifier (VCA), two envelope
generators (one wired to the VCF and one wired to the VCA) and

a

3-band equalizer (EQ). In addition,

there are routings (via the POLY-MOD section) that allow for oscillator

B and the filter envelope

generator

lo lunction as modulation sources which can be applied to the frequency or pulse-width of

oscillator A, or the filter frequency. Finally, each 5-voice synthesizer bank has a single LFO which can be

applied to

all

of

its

voices for various effects. The two LFOs (UPPER and LOWER) can also be combined

(summed) and applied to both polyphonic synthesizers for other effects.

The Prophet also contains a microcomputer, which serves several purposes: it determines which voice

is

assigned to which key, it keeps the voices in tune, and (most importantly) it remembers preset voice

patches

which may be instantly recalled to program the voices. These preset programs are retained by

the microromputer's memory even when the Prophet

is

turned off, thanks to a small battery with

a

10-year life.

-

1-1

SET-UP

To set up the Prophet-10, simply plug the power cord into an AC outlet and connect the instrument to

an amplifier via the AUDIO OUT jacks on the back panel. Both balanced (XLR connector) and

unbalanced

('A"

phone jack) outputs are provided. The MONO jack provides the output of

all

ten

synthesizer voices. The UPPER and LOWER jacks can be used to separate the outputs of the two

polyphonic synthesizer banks for stereo effects.

The fixture for the removable power cord also contains the main AC fuse, facilities for selecting

between

100,120,220, and 240 volts AC line levels, and an AC line filter. Prophet-10s shipped in the USA

will be set

at

120, those shipped to Europe will be set

at

220, and those shipped to Japan will be set at 100.

The fuse used should match the AC setting: A 2-amp slo-blo fuse should be used for 110 and 120-volt

operation, and

a

1-amp slo-blo fuse should be used for 220- and 240-volt operation. (These

specifications are indicated on the power cord fixture.)

As with most electronic equipment, the Prophet comes with a three-prong power plug to insure safe
grounding with other pieces of equipment in use. The ground prong

is

connected to the chassis of the

instrument. It

is

up to you to check the ground connections of the Prophet and all other instruments

and equipment you use, to prevent potentially lethal shocks. As you probably know, many older

bulldings and clubs are not known ior their quality AC wiring, so we urge you to use one of the several

"ground-checking" devices available on the market to verify AC connections.

Because of the AC ground, a "ground loop" will often exist when a cable

is

plugged between the

i

Prophet and an amplifier; as a result, low-level hum will often occur. Defeating the

AC

ground with a

two-prong adapter will usually eliminate the

nolse, but

it

can also set up a shock hazard between the

-

pieces of equipment. The amount of hum

is

dependent on where the two units are connected to AC.

For minimal hum, use the same outlet for both the Prophet and

its

amplifier: with this set-up, the hum
will be low enough below the signal level to be acceptable. The further away from each other the plugs
are connected to AC, the more hum will occur. The quality of wiring in the wall and wall socket will also
affect the amount of hum,

Here

is

a

summary of recommended procedures to follow when setting up the Prophet-10:

1) Plug the Prophet into

a

three-prong cutlet. Don't dcfeat he AC-ground.

2)

Plug all other connected equipment (amplifiers, volume pedals, effects devices, and other
accessories) into the same outlet. (Warning: do not overload. When in doubt, consult an
electrician.)

3)

Verify all equipment grounding with a ground tester.

Sequential Circuits

is

nor responsible for any equipment failure due to incorrect ACconnections, and

is

not liable for any personal injury due to electrical shocks as a resulc of poor grounding.

1-2

TURN-ON AND INITIAL TUNING

The Prophet

is

turned on via the POWER switch on the rear panel. After the instrument

is

turned

on, the front panel will be dark

-

except for the TUNE switch - for approximately 15 seconds

while the computer tunes the oscillators. When tuning

is

complete the front panel will light up
and the BANK-PROGRAM indicator (the digital display) in the PROGRAMMER section of the front
panel will display

"1-1"

for both the UPPER and LOWER programming sections. This indicates that

the Prophet-10

is

ready to play and that

its

voices are programmed according to the settings stored
in those locations in the computer's memory. In addition, the UPPER panel switch in the pro­gramming section will be lit, indicating that the UPPER program

is

displayed on (and connected

to) the front panel patch controls. (Although separate UPPER and LOWER programs can be used

at

any tme, there

is

only one set of front panel controls. Hence, only one of the two programs can

be connected to the front panel controls at

a

time.)

1-3

MASTER OUTPUT CONTROLS

The MASTER VOLUME knob

is

used to adjust the overall volume of the Prophet-lo's output.

The BALANCE knob

is

used to adjust the relative volume of the upper and lower synthesizer banks

The A40 switch activates

3

built-in, crystal-referenced A-440 oscillator which

is

accurate to .1 Hz

in any environment. This reference oscillator

is

enabled by hitting the switch - the LED indicator

in the switch will light. To turn the tone off, hit the switch again. (The

A-440 signal

is

routed
independently to both the upper and lower synthesizer banks. In order to be heard, the pro­grammable VOLUME, MASTER VOLUME, and BALANCE knobs must all be set correctly

-

as

well

as any AMP footpedals.)

The MASTER TUNE knob

is

used to adjust the overall tunlng of the Prophet-lo's output. Tune by

holding down

a

key (e.g. middle A) and match~ng either the A40 reference or an outside pitch

source.

14

PRESET SELECTION

When turned on, the Prophet automatically enters PRESET mode, meaning that

it

is

ready to set
up the synthesizer's voices according to preset patches stored in the memory of the Prophet's
computer. Both the UPPER and LOWER presets are arranged in four banks of eight programs each
(UPPER

=

32 programs, and LOWER

=

32

programs, for a total of

64

programs). These programs
may be selected via the switches in the programmer section on the front panel. The switches
marked BANK SELECT will step through the banks in order, and the two sets of eight switches
marked PROGRAM SELECT (numbered

1

through

8)

allow immediate selection of a particular

program within

a

bank. To choose a program for either the UPPER or LOWER polyphonic

synthesizer bank, step through the banks

unt~l you reach the bank you want, then hit the

PROGRAM SELECT switch for the

exact program you wish. The selected bank will be indicated by
the digital display in the programmer section, and the selected program will be indicated both by
the digital display and by

the LEDs embedded in the PROGRAM SELECT switches. You will be able

to see which program

is

selected for both the UPPER and the LOWER synthesizer bank. The

PANEL select switches will allow you to choose which of these two programs you wish to have

displayed on (and connected to) the front panel patch controls.

Since the Prophet

is

shipped with a full complement of

64

factory programs

it

will be ready to

play

as

soon

as

it

has been turned on and the initial tuning procedure has ended. For information

on these factory-loaded patches, see SECTION

7,

THE FACTORY PRESET PROGRAMS. For

information on MANUAL operation, see SECTION 3, THE PATCH CONTROLS.

1-5

PITCH AND MOD WHEELS

The pitch wheel (PITCH) and modulation wheel (MOD) are located to the left of the upper

keyboard. Normally, both wheels affect

all

voices simultaneously. The PITCH wheel has a center

detent position, from which the pitch may be varied up or down

by

about a 5th. Both wheels can

be "disconnected" from the LOWER program by holding the LOWER TRANSPOSE DOWN switch

and hitting

the LOWER TRANSPOSE UP switch. Repeating this procedure will re-connect the

wheels. This

is

useful when using the poly-sequencer.

The MOD wheel determines, for the most part, the amount of modulation to be routed via the

MON~MOD

settings of a particular program. The total amount of modulation to be routed

is

determined by the sum of the settings of:

1)

the programmable LFO AMOUNT knob in the

MOW-MOD section on the front panel; 2)

the MOD wheel; and 3) the voltage supplied from

PEDAL

1

(if

it

is

programmed to affect the MONO-MOD section). Note that the MOD wheel may
have different results on the upper and lower programs, since the MONO-MOD sections may be
programmed differently. For information on the effects that may be engaged via the MOD wheel
relative to the various factory-programmed patches, see the notes accompanying each patch

diagram in SECTION

7.

1-6

TRANSPOSE SWITCHES

These switches allow instant octave transposition of either UPPER or LOWER programs, within an
overall four-octave range. Each touch of the switch will raise or lower the program

by

an octave.

The relationship between this overall range and the TRANSPOSE switches

is

determined by the
settings of the FREQUENCY knobs in the oscillator sections of the front panel. These knobs also
have

a

four-octave range; and

if,

for instance, both oscillators were set

at

the top of their

frequency range in

a

particular program, the TRANSPOSE UP switch would have no effect (the

TRANSPOSE DOWN switch would in this case have

a

four-octave range). In addition, the

TRANSPOSE switches always operate to the limit of

the~r range.

If

you begin with a program that

has the

osc~llators tuned an octave apart, and continue to hit the TRANSPOSE UP switch, both

oscillators will end up in unison

at

the top of their range.

The computer remembers the number ol times you strike a particular TRANSPOSE switch, even if

it

has ceased to have an effect on the oscillators. Here

is

an example of what this means in actual

use: You begin with both oscillators set two octaves up (with their respective FREQUENCY knobs);

then you hit the TRANSPOSE UP switch five times. The

last

three strokes will no longer transpose

the oscillators, but the computer

is

still

counting, so in order to transpose down again, you will

have to hit the TRANSPOSE DOWN switch three times before anything happens. On the fourth

stroke the oscillators will transpose down an octave.

If the KEYBOARD switch on OSCILLATOR B

is

off, the TRANSPOSE will have no effect on that

oscillator. OSCILLATOR A will always be affected.

If the KEYBOARD switch in the FILTER section of the patch panel

is

lit, the TRANSPOSE switches

will also connect to the CUTOFF FREQUENCY of the

filtet. Since this c>aran,eter has a much

greater range than that of the oscillators

(10

octaves), successive strokes of the TRANSPOSE

switches may continue to alter the CUTOFF setting after the oscillators have reached the limit of

their range.

None

ol the transpose operations performed with the TRANPOSE switches can be recorded

as

part

of

a

program. In order to change octaves permanently, you must adjust the FREQUENCY controls

on the oscillators (and perhaps the CUTOFF control on

the filter).

To return quickly to the original programmed octave after transpositions via the TRANPOSE
switches, simply hit the PROGRAM switch for the program you are playing or change to

a

new
program. (Adjusting either FREQUENCY knobs will also cancel the effects of the TRANSPOSE
switches.)

1-7

VOICE

ASSIGNMENT

The assignment of voices to keys played on the keyboard

is

done by the Prophet's computer. If the same

key

is

struck repeatedly, the computer will continue to assign the same voice. If more than five keys are

held down

at

the same rime on either keyboard in NORMAL keyboard mode, the computer will

reassign the earliest used voices first; for example, playing C,

D,

E,

F,

G,

and A in succession and holding

all

six

keys down will cause

D,

E, F,

G,

and A to be sustained -the C will disappear when theA

is

played.

In other words, the Prophet normally operates on

a

"last-note priority" system: each new note played

is

assigned to the earliest-used voice. In DOUBLE keyboard mode, reassignment will begin

if

more than

five

kys

are held down (total) on both keyboards. In SINGLE and ALTERNATE keyboard modes

reassignment will occur if more than ten keys are held down on both keyboards.

There are two exceptions to this system. First,

if

the UNISON switch

is

on, all five voices are assigned

to'a single key. UNISON assigns priority to the highest key held. This

is

particularly useful in DOUBLE

keyboard mode. (In UNISON mode. the keyboard operates in single trigger fashion: there will not

be

a

new trigger unless there is a space between key depressions.)

The second exception to normal voice assignment is provided for the occasion when

a

voice may
become"unplayable" due to component failure. In such cases, a VOICE DEFEAT allows you to eliminate
the bad voice from the assignment system. The Prophet can then be played normally, with the

remaining voices. The

VOlCE ASSIGNMENT lights allow you to see which voice

is

failing.

To defeat a voice, hold the key currently assigned to

it

with one hand while holding UPPER PROGRAM

SELECT

1

and pressing UPPER PROGRAM SELECT 8 with the other hand. The voice will be defeated,

the corresponding light will go out, and the voice will remain defeated until the Prophet's power

is

switched off.

Defeating a voice in one synthesizer bank will also defeat the corresponding voice in the other bank.
For instance, defeating voice

4

in the UPPER synthesizer will also defeat voice 9 in the LOWER

synthesizer.

If

power is turned olf, then on again - the voice will have to be defeated again

(if

it

is

still

bad).

1-8

RETUNING

Although the computer tunes the oscillators when the Prophet

is

first turned on,

it

may become

necessary

to retune, particularly during the first few minutes of operation since the oscillators need time

to stabilize. After

20

minutes or so the instrument should not have to be retuned very often, unless there

is a radical temperature change in the room.

Hitting the TUNE switch will tell the computer to retune the oscillators. When this

is

done the front

panel will go dark

-

except for the TUNE switch - for approximately

15

seconds, and then will return

to the previous front panel status.

SECTION

2

BASIC PROCEDURES

2-0

INTRODUCTION: THE FRONT PANEL

The Prophet-lo's front panel controls are color-coded to clarify the modes of operation and the funnion

of the computer's memory. All black knobs and switches are programmable; that

is,

their settings can be

recorded into memory and recalled in PRESET mode.

The silver knobs (MASTER VOLUME, BALANCE, and MASTER TUNE) and grey switches (PRESET, A-440,
TUNE, and TRANSPOSE switches, and the entire PROGRAMMER section) are not programmable. The

PITCH and MOD wheels are also not programmable. The RECORD switch

is

orange, so that

it

can easily

be distinguished.

All of the switches except BANK SELECT and TRANSPOSE have LED indicators embedded in them. And,
except for the two sets of

8

PROGRAM SELECTS, PANEL, KEYBOARD MODE, and TUNE,

all

LED

switches are alternate action: one push turns them on, the next push turns them off. For example, the

PRESET switch LED when lit indicates PRESET mode. The LED goes off when the Prophet

is

switched to

MANUAL mode, by pushing the (lit) PRESET

switch.

2-1

MODES OF OPERATION

In PRESET (PRESET switch LED

lit)

the Prophet-lo's synthesizers will be patched according to the

programs stored in the locations indicated on the digital display. In this mode, entire patches can be

changed instantaneously using the BANK SELECT and PROGRAM SELECT switches in the programmer
section.

In addition to PRESET, the Prophet has MANUAL and RECORD modes of operation. In MANUAL mode

a parch can be formed entirely "from scratch." RECORD

is

a

momentary mode for storing or relocating

programs. A "patch" becomes a "program" when recorded. Custom programs can therefore by created

h

two ways:

1)

by recording manually-formed patches or

2)

recording edited programs. (Edited

programs can be recorded into the original location

if

the original program

is

not desired, or into a

new location.)

In MANUAL mode the control panel always indicates the status of the patch under construction. You

can see exactly what signal paths are closed by (lit) switches. The knob settings reflect their actual values.

As you select different programs in PRESET the switch

LEDs

still

indicate how the switches are

programmed. Note that the knobs cannot move with program changes, but stay where they were

last

set. So, in PRESET the knobs do not normally indicate their "current" setting. However

as

soon as you

move a knob to

EDlT a program, that knob converts to MANUAL operation. So only the knobs you
move will actually indicate their current setting: the parameters controlled by unmoved knobs do not
change.

This

EDlT feature of PRESET mode

is

a

powerful tool that allows you to experiment with changes in

programs,

uslng the patch controls. The original program remains unchanged and can be restored

at

any time by s~mply hitting

its

PROGRAM SELECT again.

For example, suppose you like program

3-3

but want to change OSC A pitch and prefer a brighter tone.

In PRESET mode, select BANK

3

-

PROGRAM

3,

adjust OSC A FREQUENCY to the desired pitch and
increase the FILTER CUTOFF to the desired brightness. You can cancel any changes and return to the
original program by hitting PROGRAM SELECT

3.

If you want to permanently change program

3-3

to

your edited version, record

it

in

3-3.

Or,

if

both the original and edited versions are wanted, record the

edited program in

a

new location. Remember that even though two programs (UPPER and LOWER) can

be selected

at

a

time, only the program indicated by the PANEL select switches can be altered via the

front panel patch controls. However, edited changes are remembered when the UPPER and LOWER

PANEL switches are hit. Hence, one can select UPPER and edit the UPPER program, and select LOWER
and edit the LOWER program independently

as

desired. Both programs will play in their edited form,

even if you switch back and forth

a

number of times.

NOTE

-

If a particular patch

is

programmed with the RELEASE switch off bur with a pr,grammed

amplifier envelope RELEASE setting that will have an audible effect, this release can be engazed (while

in PRESET mode) by switching the RELEASE switch on, or using the footswitch. Further modifications
(non-permanent changes) to the preset programs can be brought about through the use of other
accessories which connect to the Prophet via jacks in the back panel. For information on these
possibilities, see SECTION 4 ACCESSORIES. Remember that the RELEASE switch and knob settings may

be different on the upper and lower programs. Hence, the footswitch may have an effect on one

program and not the other depending on the different settings.

2-2

RECORDING PROGRAMS

In general, to record a manually-formed patch or edited program, the RECORD switch

is

pressed on,

then the desired destination BANK and PROGRAM are selected. NOTE

-

To protect existing programs,

RECORD mode can only be entered

if

the back panel RECORD ENABLE/DISABLE switch

is

up

(ENABLE). It

is

suggested that the switch be left in the DISABLE position until the modes of operation

and control tunctions are understood. This will prevent the accidental erasure of the factory preset

programs (Remember also that an accidental erasure

is

not a disaster, since by referring to the diagrams

in SECTION

7

you can always patch a factory program manually, and re-record

it).

The &act RECORD procedure

is

as

follows:

1)

Set

the back panel RECORD ENABLE/DISABLE switch to the ENABLE (up) position

2)

Switch on the orange RECORD switch in the PROGRAMMER SECTION.

9j

Select the desired general location (UPPER or LOWER) by using the PANEL select switches

4) Select the desired bank using the BANK SELECT. (Ignore this step

if

current BANK

is

desired)

5)

At this point you can abort RECORD mode by switching the RECORD switch off. The memory will
not be affected.

6)

Otherwise, pressing any PROGRAM SELECT will cause the patch or edited program to be recorded

at

the corresponding location in the selected bank. NOTE - Make sure to hit the correct PROGRAM

SELECT switch or you may erase a program you wanted to keep.

7)

When a PROGRAM SELECT switch has been hit, the RECORD switch LED will automatically go off
and the Prophet will return to the mode it was in before recording.

8)

After recording a patch

it

is always a good idea to return to PRESET mode and check that the program

-

is

correctly recorded in the desired location.

To move a program from one location to another (edited or not), the procedure

is

as

follows:

1) Select the program to be moved (set PANEL, BANK. PROGRAM)

2)

Edit the program (if desired)

3)

Hit RECORD switch (latches up current program).

4)

Change PANEL

if

necessary (lor moving from UPPER to LOWER or vice-versa)

5)

Select destination BANK

(if

necessary)

6)

Hit desi ed PROGRAhl SEL ICT

7)

This new location now has the old program stored in

it.

In order to play the program,

it

is

necessary

to hit the PROGRAM SELECT

a

second time to "load" the program.

2-3

KEYBOARD MODES AND THE UPPER/LOWER PANEL SWITCHES

The four programmable KEYBOARD MODE switches are an important part of the basic operation of

the

Prophet-10, since they determine the relationship between the two 5-voice polyphonic synthesizers
and the two keyboard manuals. They offer a great range of possibilitiesfor playing the programsstored
in the Prophet's UPPER and LOWER program sections.

NORMAL Mode: The UPPER five voices (connected to the UPPER program) play on the upper
keyboard, while the LOWER five voices (connected to the LOWER program) play on the lower
keyboard.

SINGLE Mode: All ten voices will be assigned and will play their own UPPER or LOWER program.

Usually the UPPER and LOWER programs are set up to be the

same. The notes can be played on either

keyboard in any combination.

DOUBLE Mode: Hitting

a

key (on either keyboard) will engage one voice with the UPPER program and

one voice with the

LOWER program. Only five keys can be played

at

one time (since each key

is

connected to bofh of the 5-voice synthesizer banks).

ALTERNATE Mode: Every new key hit will alternate between the UPPER and LOWER programs.

As can be seen, NORMAL

is

the only mode in which

it

makes a difference which keyboard

is

physically

p?ayed. In the other three modes the keyboards can be used interchangably - together or separated.

So, these switches determine how the Prophet-10 will be played. There

is

also another factor in setting

up the playing

modeof the instrument: thechoiceof program being displayed on the front panel patch

controls. Since the KEYBOARD mode switches are programmable, their status

is

recorded along with

each patch. At any given time, there will be two selected programs (UPPER and LOWER), but the

KEYBOARD mode operation will be determined only by the program that

is

displayed on the front

panel patch controls. Therefore, the

UPPER/LOWER PANEL switches also play a role in determining the

playing configuration on the Prophet. For example, look at programs

U-1-1 and L-1-1 - both are

patches

with a brass sound.

If

U-1-1

is

displayed, the Prophet will operate in NORMAL keyboard mode,

but

if

L-1-1

is

displayed, the Prophet will operate in DOUBLE keyboard mode.

These interrelations can be used to enhance the flexibility of the Prophet-10

as

a live performance

instrument.

SECTION

3

THE PATCH CONTROLS

3-0

INTRODUCTION: THE FRONT PANEL

This section explains the functions of the

~atch controls comprising the "modules" (e.g. VCO, LFO,

VCF, and VCA) outlined on the front panel. The alternatives of each switch and ranges of each knob are

described relative to the overall signal flow of the voices and to the modulation circuitry.

In SECTION

1

and SECTION

2,

we described the basic operation of the Prophet using the factory

programs accessible

through the UPPER and LOWER PROGRAMMER.

It

is

true that the Prophet can
be used exclusively in PRESET mode, in which case the voice and modulation patch controls would
not be used very often. However

it

is

also true that using the instrument in this way would defeat

a

large part of

its

overall purpose, which is to allow synthesists to create and record their own programs
for immediate use. The creation of satisfying custom programs depends entirely on your familiarity with
the controls.

By the way, in describing the controls this section will not attempt to be

a

manual of synthesis

technique. However by referring to the parch diagrams in SECTION

7

while playing through the factory
programs, you will soon grasp some of the sonic possibilities the Prophet makes available. As explained
in SECTION

7,

we particularly encourage you to EDIT the factory programs (see paragraph

2-1,

MODES

Qf

OPERATION). This

is

the best way to gain familiarity with the patch controls.

For more information on synthesis technique, refer

ro the books and magazines listed in SECTION

6.

3-1

VOICE SIGNAL FLOW

The Prophet's audio output results from several stages of signal generation, combination, and

modification. The front panel

is

divided into VOICE and MODULATION sections. (MODULATION

controls are covered in paragraph

3-01. It should be kept in mind that although only one voice

is

depicted on the panel, the voice controls simultaneously patch five voices in parallel. The figure
diagrams signal flow in

a

single voice. Basically, the MIXER sets OSCILLATOR (VCO) A, B and NOISE

levels sent to the FILTER (VCF) and AMPLIFIER (VCA) where, roughly

speaking,the timbre and dynamics

are shaped. The EQUALIZER section further modifies the frequency spectrum. Then the voices of each
5-voice synthesizer bank are combined and their overall level and tuning are set by the VOLUME and
TUNE controls. Finally the two synthesizer banks are combined, and the instrument's overall level and
tuning are set by the MASTER VOLUME, BALANCE, and MASTER TUNE controls.

3-2

OSCILLATOR A

FREQUENCY knob: Controls pitch (oscillator tuning). Stepped (quantized) in semitones over

a

four-octave range. (Exact pitch

is

set with the MASTER TdNE knob.)

NOTE:

-0SC A pitch

is

always under keyboard control.

SAWTOOTH WAVESHAPE

switch:

When on, a sawtooth wave (containing

all

the harmonics)

is

supplied

as

OSC A's output.

PULSE WAVESHAPE

switch:

When on, a pulse wave

is

supplied

as

OSC A's output. Harmoniccontent

is

dependent on the setting of the PULSE WIDTH knob.

NOTES:

-When both the sawtooth and pulse switches are on, sawtooth and pulse waves are mixed at full level

(

-

and supplied

as

OSC A's output.

-When neither waveshape switch

is

on, no signal

is

supplied as OSC A's output.

PULSEWIDTH knob: Sets OSC A pulse width from approximately 1% to

99%.

(Varies harmonic content

of pulse output.)

NOTES:

-The extreme settings of this knob (0 and 10) may cause the OSC A signal to degenerate to DC,
resulting in no output signal (of course, this knob will only have this effect if the pulse waveshape

.

IS

selected).

-An exact square wave (having only odd harmonics) may be obtained by setting this knob to
approximately

5

and adjusting by ear for the drop out of the 2nd harmonic (the octave).

SYNC

switch:

when on, OSC A becomes"hard" synchronized to OSC B, and will therefore tune only

to harmonic frequencies of OSC B.

Intermediate frequency settings will produce unusual waveforms

(and therefore unusual timbres) at the next lower harmonicof OSC

B. To gain an understanding of the

effect of

SYNCing, check the following factory preset programs: 1-4,1-7,3-2, and U-4-3.

NOTES:

-When

a

pulse shape with a wide pulse width

is

selected for OSC A in sync with OSC B, and

if

OSC B's

frequency

is

set much higher than that of OSC A, the signal from OSC A may degenerate into

DC since the pulse

is

not given a chance to discharge before being re-synced.

3-3

OSCILLATOR

B

FREQUENCY knob: Controls pitch (oscillator tuning). Stepped (quantized) in semitones over a four
octave range.

(Exaa

pitch

is

set with the MASTER TUNE knob.)

NOTE:

-If the KEYBOARD switch

is

off, the FREQUENCY knob will have a range of nine octaves.

FlNE knob: Continuously varies pitch over a semitone range (up from the basic pitch setting of the

FREQUENCY knob). This knob is useful for detuning of OSC B relative to OSC A. When no detuning

is

desired, the FlNE knob should be set

at

0.

SAWTOOTH WAVESHAPE switch: When on, a sawtooth wave (containing all harmonics)

is

supplied

as

OSC B's output.

TRIANGLE WAVESHAPE switch: When on,

a

triangle wave (containing only odd harmonics)

is

supplied

as OSC B's output.

PULSE WAVESHAPE switch: When on,

a

pulse wave is supplied

as

OSC B's output (harmonic content

is

dependent on the setting of the PULSE WIDTH knob).

NOTES:

-

Wkn two or three of the waveshape switches are on, the selected waveshapes are mixed

at

full level

and supplied

as

OSC 0's output.

-

When no waveshape switch

is

on, no signal is supplied

as

OSC B's output. However, the overall pitch

range of

a

particular patch may

still

be determined by the FREQUENCY knob retting of OSC 0,

if

OSC

A

is

in SYNC with

it.

POLSE WIDTH knob: Sets OSC B pulse width from approximately 1% to

99%.

(Varies harmonic content

of pulse output.)

NOTES:

-The extreme settings of this knob

(0

and 10) may cause the OSC B signal to degenerate to DC,
resulting in no output signal (of course, this knob will only have this effect if the pulse waveshape
is selected).

-An exact square wave (having only odd harmonics) may be obtained by setting this knob to
approximately

5

and adjusting by ear for the drop out of the 2nd harmonic (the octave).

LO FREQUENCY switch: When on (with the KEYBOARD switch off), OSC B will function as a low
frequency oscillator (LFO), ranging from approximately

.4

Hz (or 2.5 seconds-per-cycle) into low audio

frequencies. This function

is

usually used in conjunction with the POLY-MOD section (see

paragraph

3-8).

KEYBOARD

switch:

When on, the frequency of OSC B

is

controlled by the keyboard. When off, the

frequency of

OSC

B

will not be controlled

by

the

keyboard.

NOTES:

-

If the KEYBOARD switch

is

off and the LO FREQ switch

is

off, OSC B will act

as

a drone in the audio

range. Set the pitch of this drone with the FREQUENCY knob after the KEYBOARD switch

is

turned

off (otherwise you may have to retune).

-The use of OSC

I3

as a modulation source for the POLY-MOD will be discussed in paragraphj-8.

Normally, when OSC B

is

being used

as

an audio signal source, the LO FREQ switch will be off and the

KEYBOARD switch will be

on.tfo4*Eep-eawkalmm-&iag~ams-

/e~a~~ec4oaded-kban!c?)-

3-4

MIXER

OSC

A

knob:

Determines the amount of OSC A's output sent to the filter

OSC B

knob:

Determines the amount of OSC B's output sent to the f~lter.

NOISE

knob:

Determines the amount of white noise (combination of all frequencies) sent to the filter.

.

NOTES:

-These mixer amount knobs are also used to program overall volume of the patch so that when
switching

from one program to another in PRESET mode one program won't be wildly different in

volume than the others.

CUTOFF knob:

The Prophet's filters are 4-pole, 24 dB-per-octave low-pass filters and therefore the
cutoff knob sets the frequency below which all elements of the signal are let through. The higher
frequency components of the signal

(i.e. the frequencies above the cutoff frequency) are suppressed.

The higher the knob

is

set, the more frequencies are allowed through the filter. In general terms, the

CUTOFF knob may be thought of as a tone control.

RESONANCE knob:

As the setting of this knob

is

increased from 0 to approximately

7,

the amount of

resonance ("emphasis", "regeneration", or

"Q")

applied to those signal frequencies at the cutoff

frequency will increase

(as

the resonance increases, the frequencies far below the cutoff frequency will

be less audible relative to

the frequencies being resonated). If the setting

is

increased beyond

7,

the filter

will break into oscillation and will act

as

a

sine wave audio source whose pitch

is

determined by the

cutoff frequency.

ENVELOPE AMOUNT knob:

The filter cutoff frequency may be contoured (shaped) electronically in

a

pattern determined by the settings of the AnACK, DECAY, SUSTAIN. and RELEASE knobs (these are the
controls for the ADSR envelope generator that

is

connected to the filter). The envelope amount knob

determines the amount (but not the shape) of this contouring that

is

applied to the filter's cutoff

frequ&cy.

NOTES on the ENVELOPE GENERATORS:

-The ADSR envelope generators whose controls appear

as

the AnACK, DECAY, SUSTAIN, and

RELEASE knobs in the filter and amplifier

senions generate voltage patterns

that

can be used to

.contour timbre (via the filter's cutoff frequency) and loudness (via the VCA, see paragraph

3-6)

respectively. The voltage patterns generated have four stages (one for each knob)

as

illustrated. The

entire contour pattern

is

initiated when a key

is

depressed and proceeds through the attack and

decay stages

at

rates determined by the settings of those knobs. The sustain level

is

determined by

the setting of the SUSTAIN knob, and

is

maintained

as

long

as

the key

is

held down. When the key

is

released the release stage

is

activated and proceeds at a rate determined by that knob.

-In the FILTER section, the ENVELOPE AMOUNT knob functions as an attenuator on the voltage
patterns from the filter's envelope generator. There

is

no comparable attenuator connected to the

VCA's envelope generator.

ENVELOPE

AMOUNT

(FILTER

ONLY1

TIME

.

.I

:-8

ATTACK TIME

:

DECAY TIME

:

RELEA~E

TlME

-I

LENGTH OF TlME THAT KEY IS HELD DOWN

AlTACK

knob: Determines the length of time

it

takes the envelope generator's contour to go from

0

level

(at

initial key depression) to maximum level.

DECAY

knob: Determines the length of time

it

takes the envelope generator's contour to go from

maximum level to sustain level.

If SUSTAIN

is

set at maximum then the DECAY knob setting

is

irrelevant.

SUSTAIN

knob: Determines the sustain level of the envelope generator's contour. Remember, this

is

a level setting, not a time setting; the sustain time

is

determined by the key being held down.

RELEASE

knob: Determines the length of time

it

takes the envelope generator's contour to drop from

the sustain level to

0

level after the key

is

released. If the key

is

released before the attack and decay

stages of the envelope are complete. the RELEASE knob setting will determine the length of time for the

\

-

contour to drop from its level

at

the time of key release to 0 level. If the sustain

is

set

at

0

and the attack

and decay stages are complete (while the key

is

still

depressed) then the release setting

is

irrelevant.

NOTES:

-The time range on the ATTACK, DECAY, and RELEASE knobs

is

approximately 1 millisecond to

30

seconds. Since the response to the knob

is

exponential, the durations

as

set on these knobs will not

be linear; for example, setting

5

on these knobs gives a period of approximately

'h

second.

-Remember that, for the FILTER only (not the VCA), the overall level of the envelope generator's
contour

is

determined by the ENVELOPE AMOUNT knob.

If

the envelope amount

is

set at 9 then the

.

envelope will have no effect on the filter's cutoff frequency.

KEYBOARD

switch: When on, the control voltage from the keyboard will be applied to the filter's

cutoff frequency (just

as

it

is

normally applied to the frequency of the oscillators). This patch maintains
the cutoff frequency at a constant level relative to the notes played on the keyboard, and therefore
creates

a

consistency of tone color over the entire range of the keyboard. When this switch

is

off, notes
played higher on the keyboard will have more of their overtones suppressed than notes played lower
on the keyboard; as a result, notes played in the higher register of the keyboard will be less bright

in tone color than those notes played in the lower register of the keyboard.

NOTES:

-If the filter RESONANCE

is

set so that the filter

is

in oscillation (i.e, generating a sine wave), then
switching the KEYBOARD switch on will allow the frequency of this sine wave to be controlled from
the keyboard. Unless

a

complex effect

is

desired when playing the filter's sine wave in this way, the

envelope generator setting will normally be set

at

0;

the ENVELOPE AMOUNT knob should also

be set

at

zero in this case (in order to maintain a steady response from voice to voice).

3-6

AMPLIFIER

The

AlTACK, DECAY, SUSTAIN, and RELEASE controls in the amplifier section determine the settings

for the

ampliiier's ADSR envelope generator. For details on the function of these knobs, see the

"NOTES on the ENVELOPE

GENERATOR" and the notes on the AnACK, DECAY, SUSTAIN, and

RELEASE knobs in paragraph

3-5.

3-7

EQUALIZATION

EOUaL12aTION

LOW HID

"10"

.

LOW

knob:

provides cut/boost facil~ties for lower frequency signals.

MID

knob:

provides cul/boost facilities for mid-,ange frequency signals

HIGH

knob:

provides cut/boost facilities for high frequency signals.

3-8

MODULATION

The Prophet provides two distinct modulation systems, MONOphonic-MOD and POLYphonic MOD.
Modulation involves a source and

a

destination; the destination

is

modulated (changed) in a pattern
determined by the source. The MONO-MOD system, diagrammed above, uses a low-frequency
oscillator (LFO) with sawtooth, triangle, and square waves

as

source material. Note that the UPPER

synthesizer bank provides

a

descending sawtooth wave

as

a modulation source, while the LOWER
synthesizer bank has an ascending sawtooth wave. These modulation sources can be routed to the
frequency and pulse-width of OSC

A

(FREQ

A,

PW

A),

the frequency and pulse-width of OSC B (FREQ

6,

PW

B),

the filter's cutoff frequency (FILTER), or any combination thereof.

The amount of modulation directed to these destinations

is

determined by the programmable LFO

AMOUNT knob, the non-programmable MOD wheel, and PEDAL

1

(if

it

is

programmed to control
MONO-MOD). The amounts from these three sources are summed, determining the total amount of
modulation. The FREQUENCY knob in the LFO section determines the LFO frequency (or rate), the
overall range being approximately

.04

Hz (or

25

seconds-per-cycle) to

20

Hz. The SHAPE switches
determine the waveforms used as the LFO portion of the modulation source. (When more than one
waveshape switch

1s

on, the selected waveshapes are mixed at full level.)

The UP-LOW MIX switches allows the UPPER LFO and the LOWER LFO to be

m~xed

(at

full level) and

applied to both the UPPER and LOWER program selected. This

is

useful for performing "double

modulation" effects.

If

you wish to apply one LFO to both UPPER and LOWER, simply program one LFO

as desired, program nothing on the other

LFO (all shape switches off) and program UP-LOW MIX on.

This

is

useful when synchronized modulation

is

desired on both UPPER and LOWER programs.

In the-prophet's unique POLY-MOD section, five LFOs (OSC Bin LO FREQ mode) or five filter envelope

generators-one from each of the five voices in either polyphonic synthesizer bank-can be used

as

modulation sources (see above). Although the modulation routing will be the same for each voice, the
minute differences between the voices (the phase relationships of the oscillators, for instance) will

create modulation effects that will be slightly different from voice to voice and from note to note. This

is

in direct contrast to the WHEEL-MOD section where, since a single modulation source

is

applied

e7pally to all five voices, the modulation effect

is

exactly the same from note to note.

As said above, OSC B and

the filter envelope generator are the possible sources for modulation in the

POLY-MOD section. The amounts of each source are determined by the SOURCE AMOUNT knobs.

The possible destinations are frequency of OSC A (FREQ A), pulse-width of OSC A (PW A), and the

filter's cutoff frequency (FILTER). There will be no modulation via the POLY-MOD section if the
SOURCE AMOUNT knobs are set

at

0

or

if

all destination switches are off.

POLY-MOD with OSC B

as

source

is

useful for creating clangorous sounds such

as

bells, chimes,
percussive sounds, and "ring modulation" type sounds. Various pitch and timbre sweeps may be
obtained using the filter's envelope generator

as

source. The LO FREQ switch on and/or KEYBOARD

switch

off settings in the OSC B module are primarily for use when OSC B

is

used

as

a POLY-MOD

source rather than

a

signal source.

In order to get an idea of some of the modulation possibilities offered by the POLY-MOD section of the
Prophet, study

its

use in some of the factory preset programs.

3-9

MISCELLANEOUS

RELEASE switch: When off, the amplifier and filter release times are approximately

0

(instant release).

(Actually, the release time

is

set at about 2 when the RELEASE switch

is

off, so there won't be an audible

"whack" when the key

is

released - which would be caused

by

the instantaneous closing down

of the VCA).

NOTES:

-This switch must be off to allow for the operation of the RELEASE footswitch (see SECTION

4

ACCESSORIES).

-Remember that this switch

is

separately programmable for UPPER and LOWER programs, €f e n

though only one setting

is

visible. This

is

important relative to the use of the RELEASE footswitch.

DRONE switch: When on, the amplifiers on

all

voices (within the programmed synthesizer bank) will

stay

on for continuous sound once they are engaged via the keyboard.

If

the SUSTAIN in the AMPLIFIER

section

is

set to zero, you will not get a drone effect.

UNISON switch: When on, the Prophet will assign

all

five voices (within the programmed synthesizer

bank) to the highest played note. In other words, in UNISON mode the Prophet becomes

a

very

"fat"

monophonic synthesizer.

GLIDE knob: Effective only in UNISON mode, this knob

determines

the rate of gl~de (portamento)

between notes played on the keyboard.

NOTES:

-Remember that these controls are programmed separately for the UPPER and LOWER synthesizer
banks. Only one program status will be visible, but both will be operative.

-

In UNISON mode the svnthesizer bank will function on a hiah-note prioritv svstem. This

is

useful for

DOUBLE mode

lead-li~e-plus-chord effects. (UPPER

in

UNISON:

LOWER

program not in

UNTSON).

TUNEknob: For detuning one synthesizer bank relative to the other; will vary pitch continuously over

a

semitone range (up from the basic pitch setting of the oscillators].

If

no detl~ning

is

desired, the TUNE

knob should always be set

at

0.

VBLUME knob: For setting the overall level of programs relative to one another within one synthesizer

bank. This will allow for equal volume levels from program to program within

a

given series

of programs.

NOTES:

-If the MIXER, EQUALIZATION, and VOLUME knobs are all set

at

full level, the synthesizer may
distort. There are many levels of volume control on the Prophet-10, and they should be used
judiciously.

PEDAL

1

&

PEDAL

2:

These programmable switches allow for the routing of two external control

volrages to various destinations, (The Prophet-10

is

shipped with two pedals for this purpose, but other

voltage sources may be used

as

well; see SECTION

4,

ACCESSORIES.) PEDAL 1 may be routed to the

FREQUENCY of OSC A (FREQ A), the FREQUENCY of OSC

B

(FREQ

B),

the CUTOFF frequency of the

filter (FILTER), the VCAs (AMP). the MONO-MOD section, or any combination of the above. PEDAL

2

may be routed to the CUTOFF frequency of the filter (FILTER, the VCAs (AMP), or both. The amount of

voltage applied to these sources will be determined by the position of the pedal (or by the

outpur of any

other control-voltage device used).

NOTES:

-Remember once again that the routings for these pedals can be different for the UPPER program and
the LOWER

prlgram: the sar,ie pedal could have an entirely different function, depending on which

keyboard man

~al

you play (and on which keyboard mode you are on). Only one routing will be

displayed, but both the UPPER and LOWER routing will be functional.

-

If you do not plan to connect the pedals to the Prophet-10, it

is

best to program

all

of these switches

off.

If rhe AMP switch

is

engaged for either pedal and no pedal

is

plugged in, the VCAs for (hat

rynthesizer bank will remain closed and no sound will come from (he insrrument.

SECTION

4

ACCESSORIES

AND THE BACK PANEL

44

INTRODUCTION

The Prophet-10

is

shipped from the factory with two foot pedals and two foot switches,

all

of which can
be connected to the instrument via the back panel to provide many different kinds of nuance control
over the output of the synthesizer

bank5 Other interface capabilities are also provided, which may be

used

if

desired to create even more external control.

4-1

CONTROL VOLTAGE IN - PEDALS 1 AND

2

The two voltage pedals shipped with the Prophet are connected to

ir

via the two

'A"

jacks labeled CV IN.
The routings of these two pedals are determined by the programmable switches on the front panel
labeled PEDAL 1 and PEDAL

2

(see SECTION 3, paragraph 3-9). These voltage pedals are the most

common devices for use in this context, but various other devices (such as

a

ribbon controller, and

x/y

joystick controller, or a sample-and-hold module) will also provide for control of various interesting
effects. All voices within

a

given synthesizer bank will be affected equally by the input voltages. Note

that these inputs are

nor calibrated

at

1 v/octave.

The

'2

jack labeled RELEASE allows for footswitch control of the release portion of the filter and

amplifier envelope generators.

It

functions in much the same manner

as

the RELEASE switch on the

front panel. and is only operative when the RELEASE switch

is

off. It then takes the place of the RELEASE

switch: when pushed, the programmed amplifier release time

is

engaged; when not pushed, the

programmed amplifier release time

is

not engaged. In that respect,

ir

is

similar to a piano sustain pedal.

The footswitch for use in this context comes standard with every Prophet-10.

.

The

'A"

jack labeled PROGRAM INCREMENT can be used to step through the programs in a particular
program bank (both UPPER dnd LOWER) while both hands are engaged in other performance activities.
Each time the footswitch

is

depressed, both the UPPER and LOWER programs will increment one

position. This will most often be used to increment from one set of conceptually-linked programs to

another

(e.g., U-1-1 and L-1-1 would increment to U-1-2 and L-1-2), but the increment switch will work

on both program banks regardless of their relative position

(e.g., U-1-3 and L-2-4 would increment to

U-1-4 and L-2-5).

If

the currently selected program

is

an

8,

the increment footswitch will cycle back to 1

(U-1-8 would increment to U-1-1). The increment footswitch will never change banks;

it

will only cycle

through

the eight programs of the selected bank (for both UPPER and LOWER programs). The

footswitch for use in this context comes standard with every Prophet-10.

The

?4"jack labeled SEQUENCER

is

for use in connection with the optional POLYPHONIC SEQUENCER.

It serves the same function

as

the STOP/CONTINUE switch on the sequencer's front panel. Its function

will be described in SECTION

5

POLYPHONIC SEQUENCER.

4-3

MONOPHONIC SEQUENCER INTERFACE

i

The four1/." jacks in the SEQUENCER section of

the

back panel (VOLTAGE IN. GATE IN, VOLTAGE OUT,

-

GATE OUT) are provided to allow for the interfacing of a Sequential Circuits Model 800 digital
sequencer to the Prophet-10. The Prophet, when connected to

a

Model 800, devotes voice 5 of the

UPPER synthesizer bank to the sequencer; the other four voices of the UPPER synthesizer can be played

"live" while the sequencer is controlling voice

5.

NOTE: When a Model 800

IS

connected ro

a

Prophet-10 and

is

therelore controlling voice

5,

the corresponding voice on the LOWCR synthesizer,

voice

10,

will bedisabled Even

if

the keyboard

is

in DOUBLE mode, the sequencer will only play voice

5

-voice 10 will be disabled whenever the Model 800

is

connected to the Prophet-10.

The diagram below shows how the Model 800 should be connected to the Prophet-10. The Model 800
TRIGGER IN and VOLTAGE IN switches should be in the up (1) position; the TRIGGER OUT switch
should be in the

renter

(2)

positi(8n. When reccrdint; a sequence, the Prophet-10 will send each note

played to the sequencer, together with

a

trigger; when playing back a sequence, the Prophet will route

all

input control voltages and gates to the same voice (voice

5).

Trigger In Trigger Out

Voltage

In

1

Voltage Out

SEQUENCER SYNTHESIZER

Trigger Out

4--

--

Gate In

-

Voltage Out

4

C

Voltage In

Thqe four jacks can also be used for other functions: the OUT jacks can be used to control other
synthesizers (most common 1-volt-per-octave synthesizers), while the IN jacks can be used to apply
other controllers (such

as

analog sequencers, sample-and-hold units, guitar synthesizer pitch followers.

etc.) to voice

5

of the Prophet. However, slnce VOLTAGE IN

is

"digitized"

by

the microcomputer to

maintain tuning with the other voices, the external controller will not be able to "glide." Also, the

voltage will only be converted on

a

new gate edge. Both VOLTAGE jacks are exactly 1-volt-per-octave.

The GATE OUT

is

a

+15 volt gate, and GATE IN can be any signal which switches through

at

least

3.5

volts.

NOTE: Any time

a

plug

is

inserted into the GATE IN jack on the Prophet-10, the computer disconnects

voice

5

and voice 10 from the keyboards; the instrument becomes essentially two 4-voice synthesizers,

with voice

5

reserved for the external input (if any) and voice 10 disabled. The monophonic sequencer

interface cannot operate

if

voice 5 or voice 10 has been disabled (see paragraph 7-71.

POLYPHONIC SEQUENCER OPERATION MANUAL

SUBSECTlON 1

BASIC OPERATION

1-0 INTRODUCTION

The Model

1015 Polyphonic Sequencer within the Prophet-10 uses the storage capabili-

ties of

a

second microcomputer system to allow you to directly record and edit your
own instrumentals. It allows ten-voice polyphony, a 2600-note capacity, wide range of
playback speed and of transposition, "multi-track" editing, operation in either Real­Time or Single-Step modes, recordable

synthesiz-r program selections, and permanent

storage of sequences and synthesizer programs on digital cassettes.

You probably already know that when you play the Prophet-10, you are actually
providing "data" to a microcomputer which in turn controls the synthesizer voices. The

basic idea of

real-t~me sequencing is fairly simple. Basically, the Sequencer contains

a

clock, microprocessor, and memory. The clock generates 50 to 500 pulses per second

(Hz) as adjusted by the SPEED knob. To record, every time

a

clock pulse occurs the
microprocessor obtains from the Prophet-10 data signifying what keys are being held on
the Lower keyboard. By comparing each keyboard "sample," the microprocessor
discovers what keys are going on and off. It records in memory the number of the clock
pulse (or, step) at which each event

(a

note going on, or

off,

or a program change)

occurs. For playback, the microprocessor counts elapsed clock pulses and brings each

1

event out of memory as the clock count matches the sequence step numbers. The
microprocessor converts each event from memory into the same type

of

keyboard
sample data which it received and sends it to back to the Prophet. The Prophet's
computer interprets this data just as

if

it were the original "live" data from its own

Lower keyboard.

The Polyphonic Sequencer, then, substitutes for the lower keyboard which is in turn
programmed by the Prophet-10's KEYBOARD MODE controls. If keyboard mode is

NORMAL, the Sequencer

will drive only the Lower five voices programmed by the
current Lower program. The Upper manual can then be used "live." If the mode is
SINGLE (and the Upper and Lower programs are identical), the Sequencer will be able
to play up to ten notes at once.

If

in DOUBLE mode, the Sequencer will simultaneously

drive both the Upper and Lower voices to the five-voice limit. In ALTERNATE mode,

the Sequencer

will alternately assign up to ten notes at once to the Upper and Lower

voices.

Unlike the Prophet, the Sequencer memory does not save its contents when power is
turned off. The digital cassette deck is used for permanently saving the data in the
Sequencer memory and for loading the memory with sequences when power

is

turned on.

It takes less than

a

minute to load a sequence cassette, during which time the Prophet

can be played normally.

This section contains instructions for basic operation. You can play the demonstration

sequences by following para.

I-I. The remainder of the section explains basic Real-

T~me recording, playback, and editing. Read also Sub-section 2, which discusses use

of

the digital cassette deck.

The Sequencer has two main modes of operation: Real-Time and Single-Step. Activities
such as recording, playback, and editing are performed within one of

these

modes. In

Real-Time Mode the Sequencer records as you play on the lower keyboard. The internal

I

-

clock automatically supplies

the

reference timing pulses. In Single-Step Mode, keys are

held for as long as it takes to manually "clock-in" the desired number of timing pulses.

If

your interest is orchestration, you will find Single-Step Mode most useful. But Real­Time operation should first be mastered, since Single-Step Mode calls for patience and
practice using the more extensive control functions. These are

explained

in Sub-section

3,

which details all modes of operation, and Sub-section

4,

whlch gives practical

suggestions for creating sequences in Single-Step Mode.

The Sequencer's power input is controlled by the Prophet's back-panel power switch.

While the Prophet is

in TUNE Mode the Sequencer TRANSPOSE light-emitting diode

(LED) blinks. When tuning is

complf.ted, only the STOP/CONTlNUE LED lights,

indicating the Sequencer's

Idle Mode.

-

1

2

3

4

5

6

SEOUENCE

CASSETTE

ELETE

a

'

SRED'

Figure

1-0

SEQUENCER CONTROL PANEL

u

RECORD

L

TRANSPOSE

1TW1

CONTINUE

You can play the demonstration sequences as explained in the following paragraph or
see para.

1-2

to begin recording and playing back your own sequences. Remember that
unlike the Prophet, the Sequencer memory does not endure while power is off.
Therefore it is a good idea to store your sequences often by saving to tape

(see

Sub-

Section

2).

1-1 Playing The Demonstration Sequences

In addition to the blank data cassettes provided with the Sequencer we have included

a

(write-protected) cassette prerecorded with demonstration sequences created by Tom

Darter.

Before proceeding, you should be aware that whenever you load from tape, the
Prophet's current programs will be replaced by those on the sequence cassette

if

the
Prophet's back-panel RECORD switch is set to ENABLE. In the case of the demonstra­tion cassette, the loaded programs are the original "factory programs."

1. Enable the Prophet's back-panel RECORD switch. (If you do not enable RECORD, the
demonstration sequences will play with your programs--and who knows what that will
sound like?)

-

2.

Open the cassette deck door by pressing the

eject

button.

3.

The magnetic head is located in the bottom

of

the door itself. Choose the "A"

cassette side

(up) and orient cassette so exposed tape faces down. Slide the cassette

into

the slot in the door, and push the door closed.

4. Assuming the Sequencer is in

Idle Mode (that is, only the STOP LED is lit), press the

RECORD switch. It will blink.

5.

Press the LOAD FROM TAPE switch. It I~ghts. The deck automatically rewinds the

tape, then switches itself forward. The tape loading process takes about

55

seconds.

~-

Whendone,the Sequencer returns toldle Mode.

\

6. Check that the SPEED knob is pulled

UJ

and set to

0.

7.

Press SEQUENCE 1 (51) switch. The first sequence, Bach Two-Part Invention No.

8

will start. Adjust SPEED if necessary. The sequence will play through once, then
continue to "loop." This sequence has no Prophet-10 program changes recorded in it, so

yousan select any program during playback.

If

you want

to

let the sequence play

to

the
end and stop, just press SEQUENCE I. To stop the sequence immediately, press
SEQUENCE

I,

then STOP. Practice starting and stopping the sequence these two ways.

8.

Press SEQUENCE 2. (Increase SPEED slightly.) This position contains eight Single-

Step sequences each of which uses different Prophet programs. Note the automatic

program changes. Techniques of sequencing the Mozart 40th Symphony opening (pro-

gram

1-2) and the Bach Partita No. I (program 1-6) are discussed in Sub-Section 4.

9.

Push the SPEED knob down and adjust to "0." Play SEQUENCE

3.

This position

contains several Real-Time sequence ideas.

10. Remove the demonstration cassette when done. Use

a

new cassette for storing your

sequences.

RECORD

Enter Interlock RECORD

Erase

SEQa STOP

-

Record

SEQa Play

S-S Record

SEQa S-S

To

Idle RECORD

-

To Playback CONTINUE

Start loop

Pause/Resume

Transpose On/Off

Enter Interlock

Truncate

Append

Real-Time Edit

S-S Edit

S-S Event Delete

Exit Edit

Stop at End

Stop Now

New Sequence

-

PLAYBACK

SEQa

STOP CONTINUE

TRANSPOSE TRANSPOSE

RECORD

STOP

SEQc

EDIT

Add

vo~ces

STOP S-S/Add voices CONTINUE

STOP(Hold) S-SIDELETE events CONTINUE

EDIT

-

SEQc

SEQc STOP

SEQn

SEQa=Any sequence

SEQc=Current sequence

SEQn=Not current sequence

Figure

1-1

Quick Command Guide

1-2

REAL-TIME

USE

These brief instructions are intended just to get you started using the Sequencer in

Real-Time Mode. Please refer to Figure

1-1 as required.

I. Check that the SPEED knob is pushed down and set to

0. (Pulling the SPEED knob up

selects the low-speed clock range, which is only used for Single-Step sequences.)

2.

Press RECORD, then the SEQUENCE number, and start playing on the Lower

keyboard. Nothing is recorded until you start to play.

3. When done playing

(30

seconds or so should do at first), press the CONTINUE switch

in time with the desired ending and the sequence will play back from the beginning.

4.

If

your sequence was a bass line, for example, you can now "overdub" harmonizing
voices as the sequence loops by .pressing RECORD, then EDIT. Play against what you
have previously recorded. You'll hear the additional

voices during the next sequence

loop.

5.

When done editing, press EDIT. This returns you to normal Playback Mode.

6. To stop the sequence immediately, press the current SEQUENCE switch, then STOP.
If you want to let the sequence play to the end and stop, just press the current
SEQUENCE switch.

-

1-3

PITCH

and

MOD Wheel Disconnect

1

When playing-along with the Sequencer,

it

is necessary to be able to pitch-bend or
modulate the solo line without doing the same thing to the accompanying, sequenced
voices. Therefore the wheels can be disconnected from the Lower manual. To

disconnect, hold the TRANSPOSE LOWER DOWN switch, while pressing the UP switch

once. To reconnect the wheels, repeat this action.

-

1-4

Footswitch

The included footswitch can be connected via the

Yu-inch phone jack on the Prophet's

back panel.

In Real-Time Mode the footswitch functions the same as the STOP/CON-

,TINUE switch. In Single-Step Mode, the footswitch functions as the SINGLE-STEP

switch, leaving the hands free to play.

1-5

Overflow

If more than about 2600 total notes are recorded between the six sequences, all of the
LEDs will blink, indicating that you have reached the Sequencer's memory capacity.
Take the Sequencer out of Record Mode by pressing the STOP or RECORD switch. If in
Edit Mode, press the EDIT switch to exit. Up to the

point of overflow, all of the

information stored in the memory will be saved. You can create more space by
removing notes through Single-Step Event Delete Mode (para. 3-12), or by using

-

Truncate Mode

(see

~ara. 3-8) to delete the endine of anv seauence in that erouo. or bv

"

"

a,

completely eraslng a sequence (see para. 3-3). You won't be able to record any

I

add~tional notes without uslng one of these operations to create more space.

In rare instances it is possible that an overflow indication will result from attempting to
insert too many events at once during Edit Mode, even though the memory is not filled

to capacity.

If

you have been editing-in rapid passages, and an overflow indication

-

occurs, while you are sure you have not recorded more than 2600 notes, you may restore
normal operation by simply going out of EDIT, then back into

EDIT (see para. 3-10).

1-6 External Clock

An external clock source can be connected to the Sequencer through the phone jack on
the front panel. When using an external clock source, you will obviously have to control

the clock speed at the external source--the SPEED knob on the Sequencer panel will not

function. Do not use an external clock speed greater than 400

-

500 pulses per second,

since the Sequencer may lose its mind if you clock it too fast.

In complex installations with many audio and clock cables, hum or digital noise is
sometimes produced by a ground-loop between the EXT CLOCK input and other

instruments. This can usually be fixed by modifying the external clock cable. Detach
the shield from the ground connection on the plug only at one end of the cable.

1-7

CATElCV OUT

If

the Prophet is placed in DOUBLE mode, the Polyphonic Sequencer drives the

Prophet-I0 GATEICV OUT (as would

the

Lower keyboard, normally).

1-8 Trouble?

The Polyphonic Sequencer is a sophisticated instrument which may take a little getting

used to. Before you conclude that

it

is malfunctioning please examine all relevant parts

of this manual to be sure you aren't making an operational error.

Always make switch operations with a specific goal in mind.

If

you press switches

randomly you will eventually destroy the sequence in progress. In addition to making

sure you are pressing the correct switch for the operation you are planning, try to make

all switch actions clean and deliberate. Neither hit the switches too hard nor too slowly.

Otherwise, you could cause the switch contacts to bounce, effectively making two
switch actions, which could have an undesired result.

firing playback and/or editing of extremely complex sequences, switches on the
Prophet-10 or the Sequencer may not work instantaneously. Simply hold

rhe switch until

it takes effect, or turn down the clock speed. If the Sequencer has seemingly stopped in

Playback or Edit Mode, press the current sequence switch, which

w~ll start the sequence

again from the

beginn~ng in Playback Mode.

Although the Sequencer's software has been highly refined and tested, there remains

a

slight possibility that the Sequencer program will "hang-upu--not respond to commands-

-under unusual conditions. To restore normal operation it will be necessary to reset by
switching power off then back on. Unfortunately, any sequences in memory will be lost

(this is

a

good reason to save to tape often). If malfunctions occur repeatedly, under

specific conditions, please contact our Service Department with

a

full description of

the problem.

POLYPHONIC SEQUENCER OPERATION MANUAL

SUBSECTION

2

TAPE OPERATION

2-0

INTRODUCTION

The Sequencer's cassette deck allows you to store sequences and Prophet programs on
compact, digital cassettes. Each cassette side stores one set of six sequences and one
complete file of

64

programs.

2-1 PRECAUTIONS

The Prophet-10 may be played normally while

a

SAVE TO TAPE or LOAD FROM TAPE

routine is in progress, but in either case its TUNE switch is automatically disabled.

Be careful with cassettes. Do not touch the tape itself (with your oily fingers). Don't
leave them in direct sunlight or freeze them overnight in

a

car.

Make sure there is no tape sticking out of the cassette when inserting into machine.

Protect cassettes from the (slight) possibility

of

magnetic transients by removing them

frorn the deck when switching power on and off.

J

To prevent the Sequencer from loading new programs into the Prophet, switch the back­panel RECORD switch to DISABLE.

Save sequences

and/or programs to tape

as

soon as they are complete. After the
Sequencer has verified that the information on the cassette is correct, protect the
material from accidental erasure by removing the tab over the hole in the side opposite
the

one you are protecting (see Figure 2-0).

If you are working on

a

complex sequence, make cassettes of work in progress. It is best
to use two different backup cassettes, alternately saving to one, then the other. This
protects you from mechanical failures.

Rack-up important cassettes by making

a

duplicate and storing it in a safe place.

Duplicates can be created by LOADING the original, then

SAVlNG to the backup.

The Sequencer always records everything that is currently in its memory (including null

sequences) onto the cassette. For example, if you have completed

a

sequence I and

have saved

it,

be sure the memory contains this sequence I before trying to save a

sequence

2.

This means that

if

power has been interrupted, you should reload the

memory from the cassette. Otherwise, if you just turn the Sequencer on, record
sequence 2, then save it on

a

previously-recorded cassette, you'll erase sequence I from

the cassette by saving

a

null sequence over it.

Like any other tape recorder, the head should be cleaned periodically. This will help
insure against errors and losses. Any standard head cleaning kit can be used.

If

for some reason the Sequencer "hangs up" completely and refuses to respond, you

must reset by switching power off then back on. The Sequencer should then work
normally. Remember to make

cassettes

of sequences-in-progress, so that resetting

won't cause you to lose valuable time, labor, and nearly-completed sequences.

2-2

SAVE TO TAPE

This routine normally takes

I

minute

55

seconds. It always stores the Prophet's current

programs.

1.

Check that the Sequencer is in ldle Mode.

2.

Insert the cassette with the s~de to be recorded up.

3.

Press the RECORD switch.

It

blinks.

4.

Press the SAVE TO TAPE switch. If the cassette has been write-protected, the

Sequencer will return to

ldle Mode. Otherwise, the SAVE LED will light. The routine

starts by rewinding the cassette, if necessary. After writing data onto the tape, the

Sequencer verfies the recording by rewinding the tape, then reading it in comparison
with the actual memory contents. During this period, the LOAD FROM TAPE LED will
light. You can abort

the save routine during rewind by pressing STOP. If rewind is done
and writing or verification has started (as indicated by forward tape movement), the
routine can only be aborted by resetting.

5.

If

the recording verifies, the LOAD FROM TAPE LED will go out and the Sequencer

will enter Idle Mode. The sequences and programs have been recorded, and the cassette

may be removed. You may want to write-protect the cassette from accidental erasure

-

by open~ng the slot opposite of the side to be protected (see Figure

2-0).

Write

protection can later be reversed by taping over the slot.

Figure

2-0

WRlTE PROTECT

TO WRlTE PROTECT SIDE A,
REMOVE TAB ON SIDE B.

TO WRITE PROTECT SIDE B,
REMOVE TAB ON

SIDE A.

WRlTE

PROTECT
TABS

-Error Detection-

6.

If

the SAVE TO TAPE LED instead blinks, an error has occured. There is a slight

possibility that a tape can record adequately, yet occasionally fail the verification test.

To recheck verification, press LOAD FROM TAPE.

7.

If

the tape again fails the verfication test, repeat the SAVE operation, from step

-

4.

8.

If

step 7 fails, press STOP to return to Idle Mode, and try from step

-

2

again, using

a

new cassette.

2-3

LOAD FROM TAPE

This rou ine normally

takes

55

seconds.

I. Check that the Prophet's back panel RECORD switch is ENABLED to load programs

from this cassette, or DISABLED, to retain the current programs.

2.

Check that the Sequencer is in ldle Mode.

3.

Insert cassette with side to be loaded up.

4.

Press RECORD.

It

blinks.

5.

Press LOAD FROM TAPE.

It

lights. The routine starts by rewinding the cassette if

necessary.

If

you accidently press LOAD FROM TAPE without having inserted

a

i

cassette, the Sequencer will go to ldle Mode.

If

you realize that this tape

is

blank, you

can abort the load routine while it is rewinding by pressing STOP.

If

rewind is done and
loading has started (as indicated by forward tape movement), the routine can only be
aborted by resetting.

6.

If

the tape loads correctly, the LOAD FROM TAPE LED will go out and the
Sequqncer will enter ldle Mode. The sequences and program information have been
loadea, and the cassette may be removed. If new Prophet programs have been loaded,
the current program will not be changed until you hit its PROGRAM SELECT switch.

--Error

Detection-

7.

If

the LOAD FROM TAPE LED instead blinks, an error has occured. There is a slight

possibility that

a

tape can read erroneously one time, then read correctly the next time.

To check this

possibljty, press LOAD FROM TP-PE.

8.

If

the tape again fails to load, nothing can be done. Perhaps the

cassette

has been

damaged. Press STOP to return

to

ldle Mode.

9.

Try another cassette, from step

-

3.

If

all of a sudden none of your cassettes will load,

this is of course

a

malfunction.

10.

If

the EDIT and LOAD FROM TAPE or the SAVE TO TAPE LEDS blink, the tape is

blank. To clear this indication and proceeTpress STOP.

POLYPHONIC SEQUENCER OPERATION MANUAL

SUBSECTION

3

MODES OF OPERATION

3-0

INTRODUCTION

This section completely describes all operations available on the Sequencer. These are
graphically summarized in Figure

I-I.

3-1 Power-On

Whenever the Prophet is in TUNE Mode the TRANSPOSE LED will blink. Once the
Prophet "comes up," the Sequencer enters ldle Mode.

3-2

IDLE MODE

ldle Mode is indicated when only the

STOP/CONTINUE LED is on. ldle Mode is the
"standby" condition of the Sequencer. The Record or Playback Modes are entered from
Idle Mode as described below. When done recording or playing-back, you'll return to ldle

Mode.

From

Idle Mode, to record or erase a sequence, first press the RECORD switch which

-

1

then blinks, indicating Record Interlock. This is a safety stage preventing the accidental
erasure or other modification of a sequence.

If

you want to return to ldle Mode at this

point without having affected any sequence,

press the RECORD switch. Otherwise,

you'll select the desired SEQUENCE switch, which will light. Instead of blinking, the

RECORD LED will light, indicating Record Mode.

Bes~des recording, the other thing to do from Idle Mode is to playback or edit a

seqence. Press the desired SEQUENCE switch. The SEQUENCE LED will light, the

STOP LED will go off, and Playback Mode will be entered with the sequence playing
from its beginning.

'A

null sequence is one without notes, in other words, an empty SEQUENCE position.

If

a

null sequence is selected for playback, the Sequencer returns to ldle Mode.

3-3

RECORD MODE

Before playback and editing, let's cover the specific ways sequences get recorded in the
first place. Recall that Record Mode is entered from ldle Mode by pressing RECORD,
then the desired SEQUENCE switch. The Sequencer is now ready to record whatever

you play in real-time.

If

a sequence has already been recorded in this position and you now start to play, the
new material will be recorded over the original sequence. So you don't have to erase
sequences before recording. The only reason you might need to erase a sequence would

be to create more room (after an OVERFLOW). To erase a sequence, press RECORD
5-14

CM1015B 9/81

and the SEQUENCE switch to enter Record Mode, then press either STOP or RECORD.

This records

a

null sequence and returns you to Idle Mode.

You now must decide whether you want to record in Real-Time or Single-Step Modes.

Let's first assume that you'll be recording in Real-Time. Check that the SPEED knob is
pushed down and centered

at

"0" on the dial. This position of the clock knob switches

it

to operate from about 50-500 Hz. In other words, if

set

in the middle, the Sequencer

will be clocked about 250 times each second. Sampling the Prophet's lower keyboard

at

this rate gives much better timing accuracy than

if,

for example, the keyboard were

being sampled only

10 times each second, because you have 250 opportunities each

second to turn

a

note on or off, as opposed to 10 of these opportunities.

3-4

Initializing Synthesizer Programs

The Sequencer does not begin to Real-Time record until you actually start playing on
the lower keyboard. This allows you to decide whether you want this sequence to always
start playing with specific Prophet programs. This will very often be the

case.

However, once you initialize a Real-Time sequence with a specific program, it becomes

rather difficult to later change the initial program

numbeds). The Prophet will always

jump to the initial

program(s)

as

the sequence loops through its beginning (without

interrupting the sequence timing). Therefore

slnce program changes can always be

edited-in later (see para. 3-10), it is probably better to leave

a

sequence uninitialized

when first recording in Real-Time Mode. This allows you to hear

it

played-back in

various programs.

If

you do want to initialize a sequence with programs, first select the desired Upper and

LowerK~~~s

if

they are not current, then press the appropriate PROGRAM SELECTS,

)

whether they are current or not.

3-5

Real-Time Recording

Since Real-Time recording only begins the instant you start playing, you can't record
rest5 before the first note. (This can be done in Single-Step Record Mode, however. See

para. 3-6.)

SO now you play away. One thing you'll want to watch out for

is

to never play

more than five keys

at

a

time in Normal or Double Modes nor more than ten keys at

a

time in Single or Alternate Modes.

If

you do, the Sequencer will record all six or seven

or twelve (or up

to

64) keys, but the Prophet may nor be able

to

play them

all

back. In
playback, whenever over five or ten notes appear (again, depending on the Keyboard
Mode), some notes will be prematurely turned

off.

And this "voice stealing" is not easily

predictable.

There is

a

further consideration. This Sequencer is fundamentally identical to the Model

1005 Polyphonic Sequencer for the Prophet-5. Therefore sequences created on the

Prophet-10 can be played on the Prophet-5. Because of the difference in program
storage and keyboard operation, programs or recorded program selections cannot be
compatible between the two instruments. However, the fundamental note timing is
compatible, so if you anticipate using Prophet-10 sequences with

a

Prophet-5, you'll
want to limit these sequences to five simultaneous voices. You will probably want to
also not record program changes in these sequences until you have created

a

cassette

which contains both the Prophet-10 sequences and the appropriate Prophet-5 programs.

If

you want to record a program change while playing, ]us1 select the desired BANK and

PROGRAM. Program changes should be planned with the envelope settings in

mlnd. Let

CM1015B 9/81 5- 15

the last notes of the previous program release completely before switching programs, or

there may be an audible pop

as

the Prophet

is

reprogrammed.

-

If

you plan to change the playback speed of the sequence, keep in mind that the

envelope times are completely independent of playback speed. For example,

if

you
sequence a string program with long attack and release times and then significantly
accelerate it during playback, you'll probably just hear mush because the envelopes

aren't given

a

chance to develop before they're retriggered.

If

no other sequences are recorded, you can record up to about 2600 notes in the current
sequence. (The exact method of calculating note capacity is discussed in para. 3-12.)
Paragraph 1-5 discussed the OVERFLOW condition which will result if you exceed the

2600-note capacity between

all

the sequences. For example,

if

sequences 1 through 5

use a total

of

2500 notes, you will be limited to about 100 notes while recording in

sequence 6.

If

OVERFLOW does occur, all sequences in memory up

to

the point of the

overflow will remain intact.

When you've finished recording, press RECORD to go to

Idle Mode. Or if you wish

immediate playback, press CONTINUE. Since recording does not conclude until you

press one of these switches, try to switch on the exact beat you want the sequence

to

end. On the other hand it is ver easy

to

trim-up the ending of a Real-Time sequence

through

a

Truncate operation

?

see

para. 3-8). It is also possible to extend a Real-Time

sequence using Append (see para. 3-9) but this is somewhat more tricky.

3-6

Single-Step Recording

Now consider Single-Step recording. This mode

is

very similar to Real-Time recording,

the main exception being that instead of using the automatic clock, timing is

-

\

referenced to pulses which you supply through the SINGLE-STEP switch or footswitch.
Since the overall number of clock pulses

of

a

Single-Step sequence is a fraction

of

what

there would be

if

the same sequence were Real-Time recorded, the playback clock

speed will be much slower.

In preparation, pull the SPEED knob up. This selects a clock

ran

e

from 114 Hz to over 50 Hz. When you turn the SPEED knob to the left

of

0, the

8

ST P LED blinks

at

the clock rate. (If the SPEED is too

fast,

the STOP LED will appear

to be

off.)

Press SINGLE-STEP

to

actually put you in Single-Step Record Mode. Rather

than blink, the STOP LED stays lit, indicating that the automatic clock has been

disabled.

To initialize the Single-Step sequence with programs, switch banks

if

necessary. Then

press the desired Upper PROGRAM SELECT and press SINGLE-STEP once, then press

the desired Lower PROGRAM SELECT and press SINGLE-STEP once. This records the
program information but does not

affect

the timing of the sequence.

Normally,

a

PROGRAM SELECT has not been pressed, and the Sequencer records each

SINGLE-STEP switch depression as

a

timing pulse. For visual feedback, the STOP

LED

will blink in concert with the SINGLE-STEP timing pulses. Any keys that are held on the

lower keyboard when you press the SINGLE-STEP switch will be recorded

as

being on

during that timing pulse. When

a

key that was held for at least one step is subsequently

released, the Sequencer records

a

GATE OFF for that note on the next step. This allows

you to control the precise beginning (GATE ON), duration, and ending (GATE OFF)

of

all

notes.

If

no keys are held, a rest is recorded for that step. (This makes it possible

to

record rests

at

the beginning of a sequence.)

Actual use can be illustrated with a few examples. Consider this simple melody:

Figure

FO

You must first find the shortest rhythmic value in the music. It is strongly recommend-

ed that you use

a

minimum of 2 clock steps for this shortest note. In this

case,

then, the

sixteenth-note

is

assigned 2 steps, eighth-notes are 4 steps, and quarter-notes will use

8

steps.

ULIIIIIIIUUIlLlUUUUUlllWWLUUWillllrll

CLOCK STEPS

Figure

F1

-

Since this is not Real-Time recording, you do not have to play the melody in correct
rhythm. You just have to make sure that each key

is

held down before the SINGLE-

)

STEP switch or footswitch is pressed. Figure

3-2

shows the way to record the melody

shown above. The duration of the notes is shown graphically in relation

to

the strokes of

the SINGLE-STEP switch.

LlLllLllllllllllWIUUUU

U

UUUULLU~

CLOCK STEPS

Figure

F2

.

The matter of how many clock pulses or steps to assign to notes in a Single-Step

sequence requires thoughtful consideration of the specific music to be sequenced. This
is discussed in more detail in

Sub-section 4 on Single-Step Applications. However, there

-

I

are two principles to be kept in mind at all times. First, notice in this example that the
quarter-note

G in the third bar was given only 7 clock steps, followed by I step with no

keys pressed. This is because the next note in the melody is also a G.

If

the quarter-note
G were recorded for 8 clock steps, and then followed by the 4 clock steps of the G
e~ghth-note, there would be no GATE OFF recorded for the first G, and therefore no

new attack for the second G. In other words, whenever a note is repeated, it must first
be turned off for at least

1

step so that

it

will be triggered when it goes on again.

Otherwise, the note will sound held, rather than repeated.

The second principle to be remembered arises from the fact that on the very last
recorded step of a sequence, the Sequencer

recorcis a GATE OFF for all notes.

(Otherwise they could drone into the first notes of the next loop.) So if the last note of

a sequence

is

only recorded for one step, it will not be heard at all during playback. To

be heard, the last note must be recorded with a minimum of

2

steps. Therefore

if

the

last note of the sequence also happens to have the shortest rhythmic value, you will

have to use a minimum of

2

steps per note.

While Single-Step recording, you can record program selections in the same way as for
initialization. That is, select the BANK. press the desired PROGRAM SELECT switch
and press SINGLE-STEP once. Whenever the program changes, the Sequencer records

the change without advancing to a new step.

Single-Step recording is concluded in the same way

as

Real-Time recording. To go to

ldle Mode, press RECORD. If you wish immediate playback, press CONTINUE.

>7

PLAYBACK MODE

Playback Mode is entered from ldle by pressing the desired SEQUENCE switch, or from
Record Mode by pressing CONTINUE. In either case, the current sequence starts from
its beginning and repeats itself, or "loops," until stopped (as described below).

If

this
sequence was Real-Time recorded, you would probably use the fast clock setting (knob
down). If Single-Step recorded, you will probably pull the knob up to select the slow
speed range. These aren't rules. In Playback you can use any clock speed you like.

To immediately switch to another sequence, just press the desired new sequence switch.

If

the new sequence is null, the Sequencer returns to ldle Mode. Otherwise, the

Sequencer will loop from the beginning of the new selection.

If you want the current sequence to stop

at

the end of this loop, press its switch at any
time during the loop. To stop the sequence immediately, press its switch, then press
STOP.

The

STOP/CONTINUE switch is used to interrupt a sequence which you will then want

to resume from the same point. Press STOP once to pause. Resume the sequence by

pressing CONTINUE. Or, instead of resuming the current sequence you can start a new
one by pressing

its

select switch.

To change the pitch of a sequence while in Playback Mode, press the TRANSPOSE
switch. Then, by playing a single

key

on the lower keyboard, you can transpose the

entire sequence up or down by an amount equal to the interval between middle C

(C2)

and the

key

played. The range of transposition is of course limited to the nine-octave

range of the Prophet. So the overall range will depend on the oscillator FREQUENCY

settings in the

program(s1. Within Transpose Mode, you can restore the tonic key by

pressing

C2. To exit Transpose Mode, press TRANSPOSE. This also restores the tonic.

If

not in Transpose Mode, keys played on the lower keyboard will be played by the

Prophet and shared with the notes

coming from the Sequencer according to the
synthesizer's regular voice assignment scheme--which is last-note priority. These notes
wlll - not be recorded with the sequence.

In Playback, either Real-Time or Single-St-p sequerces ca7 be shortened or lengthened

through Truncate or Append Modes, while the Edit Mode allows you to "overdub" new

voices for bass, harmony, counterpoint, or melodies (see below). "Tracks" can be added

as

the sequence loops, up to the ten-voice limit of the Prophet. Truncate and Edit are
protected through the Record Interlock. Press RECORD to proceed. To abort the edit,
press RECORD again.

>8

Truncate

The instance of needing to remove an untimely

pause from the end of a Real-Time

sequence was mentioned above. This requires a Truncate operation. As the sequence is

playing (and the RECORD LED

is

blinking), press STOP at the exact end point you

desire. The sequence will be correspondingly shortened and will continue its loop.

>9

Append

If

on the other hand you want to lengthen the sequence, this takes an Append operation.

After Record Interlock is entered, press the current sequence switch when the last

desired event

is

heard. The sequence will be shortened to this point - and the Sequencer

automatically enters Record Mode. As before, the Sequencer will only start to record

the appended material when you start to play. Note that you'll have to play in the same
timing as the original sequence for the appending to be transparent, and that this will

be impossible if you alter the clock SPEED. (It will be worthwhile to have

a

metronome

on hand for this operation.)

qruncate and Append operate similarly with Single-Step sequences. You can either use

the automatic clock at very low speed, or manually clock with the SINGLE-STEP
switch.

3-10 EDlT MODE

Edit Mode is your third choice after activating Record Interlock in Playback Mode.
Press the

EDIT switch.

It

will light, while the RECORD LED will

go

off.

The current sequence will loop throughout Edit Mode. It can be stopped by first moving
to Playback, or by selecting another sequence. The quickest way

to

go directly to Idle is

to

press a null sequence switch.

If the sequence is Real-Time recorded, editing can take place at normal playback speed.

Any keys played on the lower keyboard will be added

to

the sequence. On the next loop,
the notes will be heard as you played them. Program changes are edited-in in the same
way. Select the desired BANK

and/or PROGRAM and the change will be recorded

at

that point. For example, moving from 1-1 to 3-2 will unavoidably record program 2-1 in
the sequence when the BANK

1s first incremented. But if nothing

1s

being played this

momentary program

of

course won't be heard.

For obvious reasons, be careful not

to

to edit-in more than five or ten voices (depending
on the Keyboard Mode) at any point. You'll also want to watch exactly where voices
cross over the same key. If

a

note is held in the sequence then duplicated in the edit,

the latter GATE OFF will be recorded, thus turning off the note (which is supposedly

being held).

Although not recommended, Single-Step sequences

-

can be edited in the same way as

Real-Time sequences by using

a

very slow clock and making sure you key the added

notes just before the clock pulse on which you want them to trigger.

3-1

1

Single-Step Edit

-

)

Single-Step sequences should be edited in Single-Step Edit Mode, where the clock is
manually supplied. (Real-Time sequences can also be edited this way, although many

more steps will have to be manually clocked.) To Single-Step edit, press STOP after

entecing Edit normally. This disables the automatic clock and activates Single-Step Edit

Mode. Step through the sequence with the SINGLE-STEP switch. Add desired keys or

.select the desired PROGRAM before clocking the step to be edited. When finished

editing, press CONTINUE to

ename automatic clock.

3-12 Single-Step Event Delete

.

The removal of voices from a sequence can only be accomplished through a Single-Step
Event Delete operation. Hold the STOP switch

to

enter Single-Step Event Delete Mode.

While holding the STOP switch, pressing the SINGLE-STEP switch will move you

through recorded events.

.

An event is a note going on, going off, or a program change. The Sequencer functions by
timing these events in terms of clock pulses (steps) from the sequence start. It can
record 5239 such events. Since

it

takes two events

to

record a note, the exact maximum

note capacity is 2619.

If

program changes have been recorded, you can calculate the
total note storage by subtracting the number of program changes from 5239, and
dividing the remainder by 2.

To see how Event Delete works, consider how a simple sequence looks in computer
memory.

Event

I

STEP: I Select Lower Program 3-2

Event

2

STEP: 1

Key I15 on

Event 3 STEP:

1

Key 118 on

Event

4

STEP: 1 Key 1/10 on

Event 5 STEP:

6

Key 1/8 off

Event

6

STEP: 10

Key 115 off

Event

7

STEP: I0

Key 1/10 off

Event 8 STEP: 12

STOP

In this sequence, the lowest E, G, and A on the keyboard are played on step

1. Each note

going on is

a

separate event. Notice th2.t Events 1,

;,

3,

and

lr

all oc:cur

at

the same
step. When several notes start at the same step, the Sequencer organizes the event
memory

so

the lowest note is always taken as the first event for that step. At Event

5,

the G

is

released on the sixth step. Events 6 and 7 also occur on the same step. They are

likewise organized with the lower note being assigned to the lower-number event.

It is very important to be clear on the difference between

stees

and - events if you intend

to use Event Delete. In this mode, as you clock the SINGLE-STEP switch you will
advance between events, not steps. So, taking the above example, as you press SINGLE­STEP you'll hear the E

goon (Event

2),

then the G (Event 3), then the A (Event

@),

even

though you recorded them all going on

at

once. Likewise, the E will turn off before the

A as you clock through Events

6

and

7.

To edit, just after you hear the undesired event, press the DELETE switch. This will
remove the event from the sequence. When you delete the event in which an undesired
note goes on, the note will still sound because you have not yet advanced to the event in
which

it

is recorded off. This is normal. You won't hear the note during the - next loop.

Take care not to accidentally delete a note-off event, or the note will drone until

a
second note-off event (for that note) happens to occur. (To cancel one of these "infinite
sustain" notes, edit-in

a

GATE OFF by playing the note on top of itself, and releasing it

at the proper point.)

It is not possible to delete or add clock pulses, except by shortening or lengthening the
sequence itself through

a

Truncate or Append operation.

To exit this mode after deleting, release the STOP switch, then press CONTINUE once.
You will remain in Edit Mode and can go to the next point where Single-Step Editing is

.

required.

POLYPHONIC SEQUENCER OPERATION MANUAL

SINGLE-STEP APPLICATIONS

4-0 INTRODUCTION

When Real-Time recording, the Prophet's sound provides you with the "feedback" you

need to adjust your technique to the current program. Because you can hear the exact

attack and release times involved, you aren't concerned

w~th the number of steps for

each evr nt.

In Single-Step Mode the situation is reversed. Without actually performing, you have to
assign specific numbers of steps for each note. Instead of responding to the actual
envelope timings in use, your technique is realized through the allotment of steps.

Since the art is to anticipate the effect of the programs at normal playback speed and
to orchestrate convincing program changes, it follows that questions of defining notes,

editing voices, and switching programs are of special interest for Single-Step applica-

tions.

&I DEFINING NOTES AS STEPS

To determine how to relate steps to the rhythm of a particular piece, you must examine
the rhythmic values of the entire piece. Below is the beginning of the

Bach Partita No.

1.

-

Praeludium

.

Figure 4-0

Now, the ornamental figure in bar

1

is usually played like this:

Figure

4-1

5-22

5

etc.

Therefore, you will need at least 5 steps for each sixteenth-note. But then how will you
play the thirty-second-notes in bar

2? They must have half the value of the sixteenths,

but they can't last

2K steps. The answer is to give each sixteenth-note 10 steps. Then

everything works out: thirty-second-notes get 5 steps each, and the quintuplet

sixty-

fourths get 2 steps each. (This sequence is recorded on the demonstration cassette, see

para.

1-1.)

It

is advisable to survey the entire music to be Single-Step sequenced for rhythmic

challenges. Take a difficult section and try stepping a few measures in an unused bank.

You may find ornaments or odd meters which have to be provided for. Polyrhythms can
be figured as the least-common multiple, such as 12 steps required to sequence 3 notes
against 4, or 28 steps to sequence 7 against 4.

Unless you plan to manipulate the SPEED knob, you'll have to

muli~ply or divide clock

pulses to chznge tempo. (That is, to accelerate, you'll have to work backwards irom the

fastest passage to find the appropriate number of steps at the beginning.) Ultimately,

by using sufficient numbers of steps it

is

possible to introduce complex rhythms, rubato,

accelerando,

and decelerondo.

It was explained in para.

3-6 that to repeat a note, (that is, to retrigger the envelope

generators) the GATE must first be turned off--so that it can be turned back on. If a
certain note is defined as 2 steps and is to be repeated, the first note would have to be

I

step on, I step off. The second note could then be 2 steps on. But for the first note,
the GATE will only be on 50% of the time. The 50% time that the GATE is off will have
to be accounted for audibly through the envelope release time.

Generally, you

increase the flexibility of the sequence framework by increasing the
number of clock steps. Now suppose a certain note to be repeated is instead based on 4
steps instead of

2.

This gives you some options in release time. The first note can then

be

1

step on, 3 steps off or 2 on, 2 off or 1 on, 3 off. The choice of 75%, 50%, or 25%

duty cycles would depend upon which release sounds appropriate over the

25%, 50%, or

75% GATE OFF period. It is easy to conceive of the flexibility resulting from using 16
steps/note. The range of duty cycles from 1 step on, 15 off to 15 on, I off would be
available. Single-Step Mode contains the facilities for editing-in each of these

duty-

cycle options for each voice in a polyphonic sequence. All orchestration problems can

then be overcome through attention to envelope settings and recorded program changes.

Although there will be numerous exceptions to this policy, it is recommended that for

typical applications, rather than recording a 100% duty cycle for all notes, at least

2

GATE OFF steps be recorded at the end of each note. This allows some room to adjust
envelope times by changing both Upper and Lower programs (each program change is

a

separate event), and helps insure that each new note gets a clean attack.

This idea can be extended to create ensemble effects that would be practically

impossible in Real-Time Record Mode. Here, for example, is

the

beginning of Mozart's

40th Symphony (also included with the demonstration sequences):

Violino

I

I

Violino

II

Viola

Figure

4-2

This passage is for strings alone. To create the different articulations called for in the
orchestration a

stepinote ratio that will allow some choice of duty cycle is required. (In
actual practice, one might add the string voices in Edit Mode, but for discussion we'll
assume all notes are entered in Single-Step Record Mode.)

..This sequence is recorded on the demonstration cassette. The piece

is

very fast, and

playback speed should be adjusted accordingly. It was recorded with

3

steps per eighth-

note. In the violin part, the first E-flat is on for 3 steps (100% duty cycle), to create

legato for the slur into the

D.

Because the D is repeated, the eight-note is 2 on, 1 off

(66%) so the quarter-note will be articulated. The violas were given 1 step on, 2 steps

of?

(33%

duty cycle) to get the detached sound needed for accompaniment. Since basses

naturally have longer release time than the higher strings, they are recorded on for

7

steps, which is just a little longer than an actual quarter-note. These notes will then
seem to release more slowly. These variations in

GATE times create the ensemble

effect of different envelopes being used.

C2

EDITING

It

is generally more efficient to record as many notes as possible the first time through,

rather than

just record one line then overdub the rest in Single-Step Edit Mode. Also,

for this work the footswitch will be much easier to use than the SINGLE-STEP switch.

Single-step sequences are conveniently extended using Append through a technique of

"overlapping" the last note. To save time you would raise the SPEED. Then gradually

reduce SPEED as you hear the ending

approach~ng. Press RECORD. Ready a finger over

the current SEQUENCE switch. Within the last few notes, slow the clock way down, so

you can see each clock pulse indicated by the STOP LED. Hit the current SEQIJENCE

switch

@

-

after the first clock pulse of the last note. Then hit the SINGLE-STEP

switch. You now know the Sequencer is poised one step into the last note.

If

this note

was to be on for

4

steps, you would continue by holding it for 3 steps, then adding the

new material.

One rarely uses Truncate on a Single-Step sequence since wrong notes can be corrected
through Single-Step Edit and Single-Step Event Delete. Remember, there is no way to
insert or remove steps themselves.

C3

PROGRAM CHANGES

Don't overlook the value of switching between programs that have only slight
differences between mixer volumes or filter cutoff for dynamic and timbral expression.
Crescendos and

diminuendos

can be easily accomplishedin thls manner, since ;he basic

program sound doesn't change.

-

1

When switching between vastly different programs the changes must be carefully
coordinated. For example, a string program must be allowed to release to

0

before

switching to a brass program, or the switch will be audible. When faced with such a
situation, it is helpful to create a second (string) program identical to the first, except
with much less release. You then switch to this short-release program on the step just

before the last note (before the change). Since this note will have little release, there

wid1 be minimal conflict with the new (brass) program.

On the other hand, it may not be necessary to

exactly

define each prograrn in use when
the sequence is entered. Instead, the basic program changes can be recorded, then the
programs themselves edited at actual playback speed to produce the desired results.

.

Don't underestimate the number of different programs needed to realize a convincing
orchestration. It may be more efficient to save shorter periods of music with the
required program changes, than to spend a lot of time on a long sequence only to find in
later editing that you don't have enough programs available.

SECTION

6

SELECTED BIBLIOGRAPHY

This abbreviated

list

is

not intended to be complte;

it

is

merely a short compilation of currently available

materials that may prove useful to you in your exploration of synthesis through the

Prophet-10. Should

you wish to explore further, many of the books listed here have extensive bibliographies.

BOOKS ON SYNTHESIS

Appleton,

John; and Perera, Ronald. The Development and Practice of Electronic Music; Prentice-Hall,

Englewood Cliffs,

NJ.

The ARP 2600 Owner's Manual; ARP Instruments, Lexington, MA.

Backus,bhn. The Acousrical Foundations oi Music; W.W. Norton and Company, New York, NY

Deutsch, Herbert Synthesis; Alfred Publishing, Sherman Oaks, CA.

Ernsl, David. The Evolution 01 Eleclron~c Music; Schirmer, New York, NY.

Friqd, David; Pearlman, Alan; and Piggott, Thomas. Learning Music With Synthesizers; Hal Leonard

Publishing, Milwaukee,

WI.

Rhea, Tom. The Minirnoog Owner'.< Manual; Moog Music, Buffalo, NY.

Strange, Allen. Electronic Music; William C. Brown Company, Dubuque,

10.

Wells, Thomas, and Vogel, Eric.

The Technique of Elecrronic Music; Sterling Swift Publishing,

Manchaca,

TX.

MAGAZINES ON SYSNTHESIS

Conlemporary Keyboard, 20605 Lazaneo, Cupertino, CA 95014.

Polyphony, Box 20305, Oklahoma City, OK 73156

SECTION

7

THE FACTORY PRESET PROGRAMS

The Prophet-10

is

shipped from the factory in "ready-to-play" condition with

64

factory preset

programs. These programs are arranged in two sets (UPPER and LOWER) of banks, each bank containing

8

programs. The programs are selected by means of buttons in the UPPER and LOWER programmer

section, and the selected bank and program numbers are indicated by the digital displays in the

programmer section.

In this section of the manual you will find front-panel patch diagrams for

all

of the factory presets

as
programmed into the Prophet's memory. This will of course allow you to recreate a program in the
event that you accidentally erase a particular patch from the memory. However, the main purpose for
the inclusion of these diagrams

is

to provide you with a frame of reference

as

you famil~arize yourself

with the Prophet's capabilities. Knowing how each patch

is

set up may help you to understand the

process of programming in general, and

it

will definitely make

it

easier for you to begin adjusting, fine

tuning, and altering the various preset programs to suit your particular musical needs and tastes.

Along with each patch diagram you will find

a

set of comments and notes concerning various aspects of

each patch. These notes will contain

the following information:

1)

The potential uses of the MONO-MOD section, including:
a)

an explanation of any constant MONO-MOD effect, programmed

via

the LFO AMOUNT knob;

b) a discussion of any potential MONO-MOD effects that can be engaged via the MOD wheel

(including optimum settings for the wheel to create the effects that are programmed in);

C)

a

mention of any programmed connections between PEDAL 1 and the MONO-MOD section

(allowing for control of the modulation amount

via

the pedal).

2)

Special considerations concerning performance on the keyboards (what range to use, whether to
use asustained, chordal approach or a staccato, detached approach, etc.)

to obtain the maximum

effecifrom the program.

3)

An explanation of potentially-active settings, surh as the 5th doubling in the Baroque Horn patch
(Ci-1-I), which can be engaged by switching on a waveform in OSCILLATOR B.

4) A

d~scussion of the programmed choices for the KEYBOARD MODE switches (which de~erm~ne the

connections between each set of programs and the two keyboards).

5)

An indication of certain settings that can be adjusted to alter some aspect of the patch. Th~s

information is provided to help you fine tune the patch to suit your tastes.

6) A mention of the programmed (or potential) routings for PEDAL1 and

PEDAL2. NOTE: PEDAL2

is

not programmed on any of the factory preset programs. In general, PEDAL 2 would function well
routed'to Prophet's VCAs (AMP),

provid~ng volume control; however,

if

either pedal is

programmed in this way and no pedal

is

plugged in the back panel, the VCAs will remain closed and

no sound will get through. Therefore, to avoid possible confusion,

all

factory presets are set up

without this routing. (See paragraphs

3-9

and 4-1 in sections 3 and 4 of this manual.)

Occasionally there

is

also some explanation of how some aspect of the patch works (representative
examples: the discussions included with the U-14 and L-1-6 patch diagrams). These short discussions
should help you understand why

a

particular patch

is

configured the way

it

is,

and should also help you

develop an approach to the creation

ol your own sounds.

In general, the comments and notes are rnost extensive for the patches in bank 1 (UPPER and LOWER),
since they are (for the rnost part) representative instrumental timbres, and are therefore subject to
adjustnients and fine tuning to taste. The notes are more sketchy for the later banks in general
(particularly for the sound-effects patches in bank

4)

since many of those patches are dedicated to

a

specific effect that

is

either not subject to alteration (without changing the basic character

ol

the sound)

or

is

easy to assimilate from a study of the front-panel settings themselves.

As you play through the programmed presets, study the patch diagrams and read the accompanying

notes. They will help you to get

a

quick grasp of some of the capabilities of the Prophet-10. (Remember

to check out the different KEYBOARD MODE possibilities for each set of programs by selecting first the

UPPER and then the LOWER panel select switches. And remember also that only the program
connected to and displayed on the front panel can be altered via the knobs and switches on the
front panel.)

At this point, we would like to offer a special word of acknowledgement and thanks to

John Bowen, who

created most of the facrory preset programs for the Prophet-10.

BANK

1

1

This bank

is

arranged with related sounds in each set of UPPER and LOWER programs. Whenever the

PANEL display

is

UPPER, the programs will be in NORMAL keyboard mode; whenever the PANEL

display

is

LOWER, the programs will be in DOUBLE keyboard mode. Play through all the programs with

the PANEL displaying the UPPER program, so that you can check out

the sound of each program; then

go back and play through BANK

1

with the PANEL displaying the LOWER program. so that you can hear

each set of paired programs operating together in DOUBLE keyboard mode. (Then try various

unmatched pairs of programs in BANK

1

in DOUBLE keyboard mode, in order to find other pairings that

will suit your musical needs.)

(

BANK

2

I

This ba&

is

arranged so that all programs are in DOUBLE keyboard mode. Although all sets of UPPER

and LOWER program pairs are designed

ro be played together (in DOUBLE keyboard mode), most of

them ran also be of some interest when played separately (in NORMAL keyboard mode).

BANK

3

I

This%ank contains a number of different kinds of programs, involving NORMAL, SINGLE, and
ALTERNATE keyboard modes. The ALTERNATE keyboard mode programs are designed to be used

as

sets

of matched UPPER and LOMER program pairs. Both UPPER and LOWER programs

must be patched the

same way in SINGLE mode in order to create

a

full complement of 10 voices; therefore both 3-1 UPPER

and

3-1

LOWER have the same patch. 3-8 UPPER and LOWER have been programmed to provide

a

demonstration of the UP-LOW MIX switch in the MONO-MOD section.

BANK

4

The programs in this bank are, for the most part, more in the nature of sound effects or sonic events

(rather than being instrumental voices); therefore there will be few notes. The best way to gain an

understanding of how the effect

is

created

is

by studying the patch diagrams while playing the patch,

and by listening for changes in the sound that occur

as

you change some aspect of the patch (switching

waveforms, changing modulation amounts and speeds, and so on).

PRESET PROGRAMS

UPPER

LOWER

U.l.1

BAROOUE

HORN

L-1.1

0

A

N

K

2

UPPER

I

I

REPEAT

POLY-FILTER SPACE

SAWTOOTH

DUPE OF

U-1-1

ALIEN

DRONE

l

SWEEP

ARPEGGIATOR

IN

UNISON

ALARMS

I

1

(BAROOUE

I

(PART I)

LANDING

HORN)

TRUMPET1

FLUTE

UPPER

LOWER

SWEEPING

REPEAT SWEEPING DRIPPY SPACE

SPACESHIP

DUPE OF

L-1-6

I

ALIEN

I

DRONEII

1

NOISE

RESONANCE BIRDS ALARMS LANDING

(HARPSI-

REPEAT

1

IPARTII,

CHORD)

I

U-1-2

(HIGH)

STRINGS

I

L-1-2

UPPER

LOWER

(Low)

STRINGS

II

U-3-1

PHASE

SHIFT

EFFECT

L-3-1

PHASE

SHIFT

EFFECT

U.l.8

PERCUSSIVE

ORGAN

L.1-8

U- 1-3

MUTED

CLAV.

L-1-3

ACCORDION

U-2-1

UNISON

GLIDE

L-2-1

UNISON

GLIDE

U-3-3

ALTERNATE

STHS

L.3-3

STHS

U-3-2

ALTERNATE

I

L-3-2

ALTERNATE

I

U-2-2

STRINGS

DOUBLED

L-2-2

STRINGS

DOUBLED

U.1-4

ELECTRONIC

(PERCUSSIVE)

PIANO

I

L-14

ELECTRONIC

PIANO

II

U.2-3

DOUBLE

DELAY

L-2-3

DOUBLE

DELAY

U.2-4

DELAYED

HARMONIC

L-2-4

RELEASE

REPEAT

U-2-5

SYNC

Ill

L-2-5

TRIANGLE-

UNISON

SOUARE WAVE

U-34

ALTERNATE

II

L-3-4

ALTERNATE

II

U.1-5

FLUTES

L-1-5

PlPE ORGAN

FLUTES

U-3.5

MUTED

-

L-3-5

MUTED

U-3-6

PERCUSSIVE

SYNC

L-3-6

BASS

I

SWEEP RESONANCE

U-2.6

PUNCHY

PULSES

L-2-6

CLAV-TYPE

U.1-6

HARPSICHORD

II

L-

1-6

U-3-7

BELLS

L-3.7

STEEL

DRUMS

U-1-7

SYNC

l

L-1-7

U-2-7

ELECTRONIC

ORGAN

L-2-7

ELECTRONIC

ORGAN

U.3-8

UP-LOW
MODULATION
MIX EXAMPLE

L-3-8

UP-LOW

MODULATION
MIX EXAMPLE

U.2-8

PIPE

ORGAN

L-2-8

PIPE

ORGAN

-

L

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O

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r

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r

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I

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mz

-

nA

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zE

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A2

QO

Viol

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A>

Viw

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E_&

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D

L

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D

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.

-

Q

Vi

LY

::

6

Vio

z

I

1-1

-2

(Low)

Strings

II

1-1

-3

Accordion

1-1

-4

Electronic Piano

I1

1-1

-5

Pipe

Organ

Flutes

1-1-5:

Pipe

Organ

Flutes

OSC

A:

up

3

octaves

OSC

8:

up

3

octaves

MONO-MOD

is

set for a vibrato effect, and can be engaged (il

desired) by moving the MOD wheel up slightly

('h

to

'A).

PULSE-WIDTH on both oscillators

is

set

at

5;

this allows switching of

waveforms on OSC

B.

NOTES:

-The wooden "chiff" effect in the initial portion of the tone (a
characteristic of pipe organ attack transients)

is

created mainly by
the settings in the FILTER section. The filter envelope generator
settings (particularly the ATTACK, DECAY, and SUSTAIN), working
in conjunction with the filter CUTOFF, ENVELOPE AMOUNT, and

RESONANCE settings, are critical. (The use of the mellow triangle
waveshape in OSC

B

is

also important to the overall tone color.)

To understand how these settings work together to create the

effect, try altering

them

all

slightly, one

at

a time and in

combination.

U-1-6:

Harpsichord

II

OSC

A:

up

2

oclaves

OSC

B:

up

3

octaves

See thr notes with

1-16:

Harpsichord

1,

pArtlct~larly thr qrrtton

entitled GENESIS

OF

THIS PATCt-1.

1-14:

Harpsichord

I

NOTES

OSC

A:

up

2

octaves

OSC

B:

up

3

octaves

GENESIS OF THIS PATCH: To create the bright, nasal sound of the
thin strings of

a

harpsichord, narrow pulse waves were selected.

The FILTER settings are also important: brightness is insured by

setting the filter CUTOFF fully open. The amplifier envelope

generator

is

set to simulate a plucked strin~ (since, in a harpsichord,

the strings are plucked rather than struck). Even though there

is

no

audible release time on

a

harpsichord, the RELEASE

is

set

at

6

on the
VCA envelope generator so there won't be an avdible "whack"
when the key

is

released (caused by the instantaneous closing down

of the VCA). The oscillators are set

at

two different octaves to

emphasize the brightness of

the harpsichord (and to simulate the

sound of the harpsichord with more than one of

its

stops selected).

-Adjust oscillators

lo a wider pulse-width for a fuller sound

-

For a more nasal sound, increase the amount of filter RESONANCE

-To change overall tone color mix, change MIXER settings for
OSC A and

B.

-Try adding an envelope shape to the FILTER. Envelope generator
settings should be similar to those on the amplifier section; adjust

filter CUTOFF and ENVELOPE AMOUNT to engage the envelope
generator

at

the proper level.

-When in DOUBLE keyboard mode, try transposing the LOWER
program (Harpsichord I) down or up

1

octave.

e

B

-.

MOD wheel can be engaged (if desired) to create a repeating effect
via the MONO-MOD section. Move wheel up approximately

111

(or

more) to engage the effect.

1-1

-7

Slow Sync Sweep

-

1-1

-8

Organ

with

Resonance

1-2-1

Unison

Glide

u

2.

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1-2-3:

Double Delay,

NOTES:

OSC

A:

up

3

octaves

OSC

B:

up

1

octave

The delay effects in these programs are crated by the POLY-MOD
section. In both the UPPER and LOWER programs, the filter envelope
generator

is

being used as the modulation source, routed to PW A;

at

the beginning of each sound, the PULSE-WIDTH of OSC A

is

driven

to 10 and degenerates to DC

-

in other words, no sound

is

generated (by OSC

A)

at

the beginning of each sound. As the

envelope generators progress through their cycles, the

PULSE­WIDTH drops below 10, and OSC A is allowed to sound. The relative
setting of the UPPER and LOWER programs

is

such that the LOWER

OSC

A

enters

as

the first delay, and then UPPER OSC A enters

as

the

second delay. (Both UPPER and LOWER OSC B enter immediately

when

a

key

is

struck, with no delay.)

MONO-MOD

is

set for a chorusing effect in both UPPER and

LOWER programs. Move the

MOD

wheel up to intensify the effect.

-Try UNISON mode. Also try changing the settings of the oscillators
to create 4-note chords with delayed entrances.

1-2-4

Release

Repeat

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L-2-5:

Unison Triangle-Square Wave

OSC

A:

up

1

octave

OSC

B:

up

1

octave

MONO-MOD for both UPPER and LOWER programs

is

set for

a

vibrato-like effect. Move MOD wheel up to intensify the effect. In
addition, PEDAL

1

is

routed to the MONO-MOD of the UPPER

program.

NOTES:

-

If chords are played, the unison patch (L-2-5) will sound with the

top note of the chord. If you are planning to play

a

specific melody
with chordal accompaniment, you must remember to release the
top note of each chord

last

(just slightly) - if the top note

is

released before some other note in the chord, the unison patch
(L-2-5) will jump down to that note momentarily. Working with

these two patches will help you understand how to deal with the
high-note priority of UNISON mode.

1-24

Clav-Type

1-2-7

Electronic Organ

-,

w

w

g

5

-

ww

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u

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6

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._

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5

4

-:

;

0

.-

u

m

f

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c

y

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3

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.

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1-3-1:

Phase Shift Effect

OSC

A:

up

2

octaves

OSC

B:

up

2

octaves

The phase-shift effect

is

created by the combination of MONO-

MOD and POLY-MOD routings to modulate OSC

A;

since OSC

A

is

synced lo OSC

B,

its

overall pitch can't change, but marked changes

in tone color are brought about through the modulation.

NOTES:

-Try switching on additional waveforms of OSC

B

for tonal

variations.

-Remember that in order to edit

this sound completely (in SINGLE
keyboard mode) the editing changes must be carried out (and
re-programmed) with both the UPPER panel and then the LOWER
panel displayed. One simple way to do this would be to make the
changes on one synthesizer bank (UPPER), record those changes,
and then record the entire patch onto the LOWER position.

ST

(PW

ZL

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1-3-5:

Muted

Toy

Piano

OSC

A:

up

3

octaves

OSC

El:

up

3

octaves

Both UPPER and LOWER patches are the same, except thai OSC B

is

switched off in the UPPER program. This will create volume and
tirnbral difference when the programs are played together in either
SINGLE keyboard mode or ALTERNATE keyboard mode.

MONO-MOD

is

set to provide a chorus-like animation of sound for

the UPPER program. Move the MOD wheel up to

intens~fy the effect.

PEDAL

1

is

also routed to MONO-MOD for the UPPER program.

NOTES:

-

PEDAL

1

is

routed to the FILTER cutoff frequency for the LOWER
program (and to MONO-MOD for the UPPER program). The
FILTER routing can be used

ro alter the brightness of tone, and to

provide

a

pseudo-wah effect.

1-34

Bass

. .

.

.

I

i

...

. . .

!

.

.

.

.

:

:

.:-8

.::!

'

.

.

I

....I

-..

r

li

..p

,i

{a

11

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!

. . t .:

:;.;,

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. .

.

.

.

-

i-[1[-1

:.+;

:

,

{

.*;

(

;<;

m.

:

101

-om.

,

Oi

.OiO-

rr!

iOlll

111

1-3-7:

Steel

Drums

OSC

A:

up 2 octaves

OSC

B:

up 3 octaves +a perfect

4th

The sound of this patch

is

created by audio oscillator modulation of

the filter's cutoff frequency (via

the POLY-MOD section). Although

OSC

B

is

not part of the sound source for the patch, the precise pitch
setting is important for the steel drum timbre that results. (Try
adjusting the FREQUENCY knob for OSC

B

over

its

whole range and

l~sten to the resultant sounds.)

MONO-MOD

is

programmed to provide minute swoops in the
pitch, in imitation of the minute pitch changes heard when steel
drums are played. Move MOD wheel up to engage this effect.

NOTES:

-To alter the "metallic overtones," adjust the

FINE tune knob of

OSC

B

and/or the OSC B amount knob in the POLY-MOD

section.

1-34

Up-Low Modulation

Mix

Example

0

1

...

..

.,

..a

i

.

.,,

.,

....

O!

...

I

.:*

:I

"'I

...

..-a

!

...:

1

1-4-1

Alien

1-4-2

Repeat

Drone

II

AW

m

urn

.-

>

:

.k

u

a;-

.

aS

m

m'=u

w

r

u

o

C

I-

%

EO

1-4-3

Sweeping Noise Effect

1-4-4

Sweeping Resonance

1-4-5

Drippy Birds

.:.

:

I)

.

I

.

__:!

,,

O!

...

I

(*:I

'"I

...

I

.:-?::

i

1-4-6

Space

Alarms

I1

U-4-8:

Dupe

of

U-1-1

(Baroque Horn)

1-4-8:

Dupe

of

1-1-6

(Harpsichord

I)

These duplicate presets have been included for several reasons: 1) to leave open pivot points to allow
you to move the factory

presets10 different locations for your particular needs:

2)

to give you space to

store your first programs and live with them for

a

while before storing them in another location (in place
of one of the factory presets); 3) to allow you to practice working with the factory presets in order to fine
tune them to suit your tastes; and

4)

to let you trace the development of certain of the factory preset

sounds (Baroque Horn and Harpsichord I) so that you can begin to work out your own methods for

creating programmed sounds. Let us look

at

thesevarious things one

at

a

time.

It

is

easy to change the positions of the factory presets using either U-4-8 or L-4-8

as

a

pivot point. For

instance, let us

say

that we want to move Sync I from U-1-7 to L-2-5 (so

it

will be paired with Sync II),

Unison Tri./Sq. Wave from L-2-5 to L-1-3 (so

it

will be paired with Muted Clav.), and Accordion from

L-1-3 to U-1-7 (so

it

will be paired with Slow Sync Sweep). Use the following procedure:

1) Put the back panel RECORD

ENABLE/DISABLE switch in the ENABLE position.

2) Switch PRESET mode on.

3) Select

L-2-5 and press the RECORD switch.

4) Select

U-4-8. You have now recorded Unison Tri./Sq. Wave in location U-4-8.

5) Select U-1-7 and press the RECORD switch.

6) Select

L-2-5. You have now recorded Sync I in location L-2-5.

7) Select L-1-3 and press the RECORD switch.

8) Select

U-1-7. You have now recorded Accordion in location U-1-7.

9)

Select

U-4-8

and press the RECORD switch.

10) Select L-1-3. You have now recorded Unison Tri./Sq. Wave in location L-1-3, and have completed
this round of location juggling.

lithe above procedure

is

followed carefully, you will never erase a program accidentally, because each
program that is about to be erased from one location also exists in another location. Of course, you
should be careful to hit the correct BANK and PROGRAM buttons when you are in RECORD mode

-

if

you h~ the wrong button you may erase a program that

is

not duplicated.

It is true that

if

you erase a factory program you can dupl~cate

it

using the patch diagrams provided in

this

hanual; however,

if

you erase one of your own programs, you will have to start again fromscratch

unless you have kept

a

record of your front panel settings for that program. For this reason, we have

provided you with

a

number of blank front panel diagrams

at

the end of this manual, and we

rqommend that you keep a record of your favorite programs.

Before replacing

U-4-8 or L-4-8,

it

might be good to use the duplicate programs to familiarize yourself

with techniques of fine-tuning

a

program. Edit U-4-8 and RECORD those adjustments, then switch back

and forth between

U-1-1 (the original patch) and U-4-8 (the patch

as

you have edited

it).

This will allow

you to make some

very direct comparisons between various settings, and will help you to understand

how to go about adjusting various aspects of

a

patch in order to get the sound you want.

Use

a

similar approach in working with the L-4-8 dupe of the Harpsichord program. Read the notes

accompanying the Harpsichord patch diagram

(L-1-6) particularly those under the head~ng "GENESIS

OF

THIS PATCH." Experiment with some of the critical adjustments on the FILTER; change the PULSE­WIDTH settings of the two oscillators. RECORD some of your alterations on the patch in location L-4-8
and compare them with the original patch

at

location L-1-6 and use L-4-8 tor a new purpose.

By the way, you need not limit yourself to Baroque Horn and Harpsichord sounds when experimenting

-

in this way: any of the factory presets can be duplicated in location U-4-8 or L-4-8 to allow for this kind

of experimental comparison.

SECrlON

8

BLANK

PATCH

DIAGRAMS

UPPER

LOWER

PRESET PROGRAMS

I

1 2 3

UPPER

LOWER

B
A

N

K

2

UPPER

8

LOWER

7 4

UPPER

LOWER

5

6

U-2-8

L-2.8

U-2-7

L-2.7

U-2-1

L-2.1

U-2-3

L-2.3

U-2-2

L-2-2

U-2-4

L-2-4

U-2-5

L-2-5

U-2-6

L-2-6

...

. .

0

i

.

. .

.

.

...

.

.

.

.

--

rr!

iOiOi