Prophet V2 5 EN PDF

ARTURIA Prophet-V 2.
5 USERS MANUAL 1
U US SE ER R S S M MA AN NU UA AL L

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ARTURIA Prophet-V 2.5 USERS MANUAL 2
PROGRAMMING:
Robert Bocquier (v2.0)
Thomas i!i"e#t (v2.$)
Emi!ie %e &ouch'cour (v2.0)
(i#ce#t Trava"!i#i (v2.0)
&abrice Bour"eois
)ea#*Miche! B!a#chet
Nico!as Bro##ec
+avi# Bur,e
-avier .u%i#

MANUAL:
)ea#*Miche! B!a#chet (&re#ch versio#)
A#toi#e Bac, (&re#ch versio#)
Tomo/a &u,uchi ()a0a#ese versio#)
1ousto# 1a/#es (E#"!ish versio#)

DESIGN:
2a##ic, Bo##e3o/ (Beauti3u!scree#)
Mic,ae! Acoca

4 ARTUR5A S.A. * 677782066 * A!! ri"hts reserve%.
9: ;hemi# %e Ma!acher
<=290 Me/!a#
&RAN;E
htt0>??@@@.arturia.com

5#3ormatio# co#tai#e% i# this ma#ua! is subAect to cha#"e @ithout #otice a#% %oes #ot re0rese#t a commitme#t
o# the 0art o3 Arturia. The so3t@are %escribe% i# this ma#ua! is 0rovi%e% u#%er the terms o3 a !ice#se
a"reeme#t or #o#8%isc!osure a"reeme#t. The so3t@are !ice#se a"reeme#t s0eci3ies the terms a#% co#%itio#s 3or
its !a@3u! use. No 0art o3 this ma#ua! ma/ be 0ro%uce% or tra#smitte% i# a#/ 3orm or b/ a#/ 0ur0ose other
tha# 0urchasers 0erso#a! use: @ithout the eB0ress @ritte# 0ermissio# o3 ARTUR5A S.A.
The mar,s CDro0hetE a#% CSeque#tia! ;ircuitsE are 0ro0ert/ o3 2amaha ;or0oratio#. The Dro0het $ i#ter3ace is
a!so o@#e% b/ 2amaha ;or0oratio#: the %esi"# a#% mo%e! bei#" re"istere% tra%emar,s.
A!! other 0ro%ucts: !o"os or com0a#/ #ames quote% i# this ma#ua! are tra%emar,s or re"istere% tra%emar,s o3
their res0ective o@#ers.
T Th ha an nk k y yo ou u f fo or r p pu ur rc ch ha as s n n! ! " "h h# # A AR RT TU UR RI IA A$ $s s P PR RO OP P% %E ET T& &' '2 2. .5 5( (

5# this 0ac,a"e /ou @i!! 3i#%>
This 0a0er ma#ua! 3or the Dro0het8(2.$
.#e ;8R.M co#tai#i#" the Dro0het8(2.$ i#sta!!er 3or MA; .S- a#% Fi#%o@s
-D?(ista?G
The Re"istratio# ;ar%

;are3u!!/ store /our car%H

5# or%er to be ab!e to use the so3t@are: /ou have to re"ister /our 0ro%uct. B/
re"isteri#": /ou i%e#ti3/ /ourse!3 as the !e"itimate o@#er a#% @i!! be sure to receive the
!atest #e@s a#% u0%ates 3or /our 0ro%uct. A3ter re"istratio#: /ou @i!! receive a user 5
a#% 0ass@or% i# or%er to access a 0rotecte% area o# our site. 5t a!so 0uts /ou o# our
user #oti3icatio# !ist: so that /ou ca# be the 3irst to ,#o@ @he# there are u0%ates or #e@
0ro%uct o33ers.

T Ta a) )* *# # o of f c co on n" "# #n n" "s s

1 INTRODUCTION........................................................................................................................................ 7
1.1 PROPHET HISTORY .................................................................................................................................. 7
1.2 TAE..................................................................................................................................................... 8
1.2.1 Aliasing-free oscillators.................................................................................................................. 9
1.2.2 A better reproduction of analog oscillator waveforms ................................................................... 9
1.2.3 Direct Filter Circuit Modeling...................................................................................................... 11
2 INSTALLATION........................................................................................................................................ 12
2.1 WINDOWS INSTALLATION (XP/VISTA/7) ............................................................................................. 12
2.2 MAC OS X INSTALLATION.................................................................................................................... 14
3 AUTHORIZATION ................................................................................................................................... 16
4 QUICK START .......................................................................................................................................... 22
4.1 USING PRESETS...................................................................................................................................... 22
4.1.1 Selecting presets ........................................................................................................................... 22
4.1.2 Editing presets .............................................................................................................................. 23
4.2 THREE INTERFACES IN THE PROPHET-V2.5 ........................................................................................... 25
4.3 BRIEF TOUR OF THE PROPHET 5 ......................................................................................................... 25
4.3.1 Prophet VS and the concept of Vector Synthesis (VS) .................................................................. 28
4.3.2 Quickly create evolving pad sounds with the Prophet VS: ........................................................... 29
4.4 THE HYBRID INTERFACE ....................................................................................................................... 36
4.5 THE EFFECTS SECTION .......................................................................................................................... 38
4.5.1 Chorus .......................................................................................................................................... 38
4.5.2 The Delay...................................................................................................................................... 39
4.6 REAL TIME CONTROLLERS AND ASSIGNING THEM TO MIDI .................................................................. 40
5 PRINCIPAL ELEMENTS OF THE INTERFACE................................................................................. 41
5.1 TOOL BAR ............................................................................................................................................. 41
5.2 USING PRESETS ..................................................................................................................................... 41
5.2.1 Choice of a bank, sub-bank, preset ............................................................................................... 41
5.2.2 Creation of a bank, sub-bank, preset ............................................................................................ 43
5.2.3 Saving a user preset ...................................................................................................................... 44
5.2.4 Import/ Export of a bank of presets .............................................................................................. 44
5.3 THE SOUND MAP.................................................................................................................................... 46
5.3.1 The MAP main interface............................................................................................................... 47
5.3.2 The Sound Map overview.............................................................................................................. 49
5.3.2.1 The instrument type filter window............................................................................................................ 50
5.3.2.2 Preset snapshot memories ......................................................................................................................... 51
5.3.3 The LIST preset manager.............................................................................................................. 51
5.3.4 The COMPASS morphing interface .............................................................................................. 53
5.4 USE OF CONTROLLERS ........................................................................................................................... 54
5.4.1 Knobs ............................................................................................................................................ 54
5.4.2 Switches ........................................................................................................................................ 55
5.4.3 Pitch Bend and Modulation wheel ................................................................................................ 55
5.4.4 Virtual keyboard ........................................................................................................................... 56
5.4.5 Selection screens........................................................................................................................... 56
5.4.6 LCD Screen................................................................................................................................... 57
5.4.7 MIDI control ................................................................................................................................. 57
5.4.7.1 Learn Menu............................................................................................................................................... 58
5.4.7.2 Assigning MIDI Controls.......................................................................................................................... 58
5.4.7.3 Manages Configurations ........................................................................................................................... 59
5.4.7.4 Minimum and Maximum Ranges.............................................................................................................. 60
5.4.7.5 Multiple Assigned Parameters .................................................................................................................. 60
5.4.7.6 Tricks ........................................................................................................................................................ 61
5.4.8 The Preferences Screen ................................................................................................................ 61
6 THE MODULES......................................................................................................................................... 62
6.1 PROPHET 5............................................................................................................................................. 62
6.1.1 Oscillators..................................................................................................................................... 63
6.1.1.1 Oscillator A............................................................................................................................................... 63
6.1.1.2 Oscillator B............................................................................................................................................... 63
6.1.2 Mixer............................................................................................................................................. 64
6.1.3 Filter ............................................................................................................................................. 65
6.1.4 Amplifier ....................................................................................................................................... 66
6.1.5 Envelopes...................................................................................................................................... 66
6.1.6 LFO............................................................................................................................................... 67
6.1.7 Wheel Mod.................................................................................................................................... 67
6.1.8 Poly Mod....................................................................................................................................... 67
6.1.9 Section modes for the keyboard .................................................................................................... 68
6.1.10 General Parameters section ......................................................................................................... 69
6.1.11 The Wheels.................................................................................................................................... 69
6.2 PROPHET VS.......................................................................................................................................... 70
6.2.1 Oscillators..................................................................................................................................... 70
6.2.2 Mixer Joystick............................................................................................................................... 71
6.2.3 Mixer Envelope............................................................................................................................. 72
6.2.4 Types of Filters ............................................................................................................................. 72
6.2.5 Filter Envelope ............................................................................................................................. 74
6.2.6 Amplifier/Pan................................................................................................................................ 75
6.2.7 Amplifier Envelope ....................................................................................................................... 75
6.2.8 Low Frequency Oscillator (LFO) ................................................................................................. 76
6.2.9 Modulation Matrix........................................................................................................................ 77
6.2.10 Chorus and Delay Effects ............................................................................................................. 78
6.2.10.1 The Chorus ........................................................................................................................................... 79
6.2.10.2 The Delay ............................................................................................................................................. 79
6.2.11 Playing controls............................................................................................................................ 80
6.2.12 Wheels........................................................................................................................................... 80
6.3 PROPHET HYBRID .............................................................................................................................. 81
6.3.1 Audio Connection Matrix.............................................................................................................. 81
6.3.1.1 Types of oscillators ................................................................................................................................... 81
6.3.1.2 Connection of the two types of filters: ...................................................................................................... 82
6.3.1.3 Connection of noise of the Prophet 5 to the filters .................................................................................... 82
6.3.1.4 Audio Output connection to the Prophet 5 and VS filters ......................................................................... 83
6.3.2 Modulation Matrix........................................................................................................................ 83
7 THE BASICS OF SUBTRACTIVE SYNTHESIS................................................................................... 85
7.1 THE THREE MAIN ELEMENTS........................................................................................................ 85
7.1.1 The Oscillator or VCO.................................................................................................................. 85
7.1.2 The Mixer...................................................................................................................................... 89
7.1.3 The filter or VCF .......................................................................................................................... 90
7.1.4 The amplifier or VCA.................................................................................................................... 93
7.2 OTHER MODULES................................................................................................................................... 93
7.2.1 The keyboard ................................................................................................................................ 93
7.2.2 The envelope generator ................................................................................................................ 94
7.2.3 The low frequency oscillator......................................................................................................... 95
7.3 COMPLEMENTS TO WAVETABLE SYNTHESIS ......................................................................................... 96
7.4 MODULES OF PROPHET-V2.5................................................................................................................. 96
8 A FEW ELEMENTS OF SOUND DESIGN ............................................................................................ 98
8.1 BRASS PRESET WITH THE PROPHET 5..................................................................................................... 98
8.2 PAD SOUND WITH THE FREQUENCY MODULATION USING THE PROPHET 5............................................. 99
8.3 BASIC PRESET WITH THE PROPHET VS (SWEET PAD) .......................................................................... 103
8.4 PRESET USING THE MODULATION MATRIX AND THE DYNAMIC MIXING................................................ 109
8.4.1 Choose the placement of the five points defining the path of the joystick................................... 109
8.4.2 Mixer envelope............................................................................................................................ 110
8.4.3 Modulation Matrix...................................................................................................................... 111
8.4.4 Playing mode in Unison.............................................................................................................. 112
8.5 PRESET USING THE PROPHET 5 AND THE PROPHET VS......................................................................... 113
8.5.1 Audio Matrix............................................................................................................................... 113
8.5.2 Editing sound on the Prophet VS................................................................................................ 114
9 MODES OF OPERATION...................................................................................................................... 118
9.1 STAND-ALONE..................................................................................................................................... 118
9.1.1 Launching the Stand-alone application...................................................................................... 118
9.1.2 Configuration: the Tool Bar ....................................................................................................... 118
9.1.2.1 Configuring Audio and MIDI ................................................................................................................. 118
9.1.2.2 Configuring Knob Mode......................................................................................................................... 119
9.1.2.3 Panic ....................................................................................................................................................... 119
9.1.2.4 Information on rate of processor use....................................................................................................... 119
9.2 VST..................................................................................................................................................... 119
9.2.1 Installation.................................................................................................................................. 119
9.2.2 Instrument use in the VST mode.................................................................................................. 119
9.3 AUDIO UNIT (MAC OSX ONLY)........................................................................................................... 121
9.3.1 Installation.................................................................................................................................. 121
9.3.2 Use in Logic Audio ..................................................................................................................... 121
9.3.3 Use in Digital Performer ............................................................................................................ 122
9.4 PRO TOOLS.......................................................................................................................................... 122
9.4.1 Installation.................................................................................................................................. 122
9.4.2 Utilization of the plug-in............................................................................................................. 122

+ In"ro,uc"on
+.+ Proph#" %s"ory
Proph#" 5
C5# 67G= Seque#tia! ;ircuits co#siste% o3 ave Smith: 3ormer Moo" c!i#icia# )oh# Bo@e#:
a#% busi#ess@oma# Barb &airhurst. The/ @ere a se!383u#%e% out3it that starte% out i# the
co#3i#es o3 SmithIs Sa# )ose: ;a!i3or#ia: "ara"e se!!i#" a %i"ita! seque#cer a#% a "e#eric
s/#th 0ro"rammer. 5t @as that /ear at the @i#ter NAMM (Natio#a! Associatio# o3 Music
Mercha#ts) sho@ that the/ i#tro%uce% their Dro0het8$: @hich @as eBact!/ the ,i#% o3
i#strume#t: @ith eBact!/ the ,i#% o3 sou#% a#% 3eatures that musicia#s #ee%e%.E
(Excerpted with permission from the book Vintage Synthesizers by Mark Vail, Copyright Miller Freeman, nc!
escribe% at the time as C$ Mi#imoo"s i# o#e boBE the Dro0het $ !itera!!/ sto!e the sho@
as the 3irst commercia!!/ avai!ab!e a#% viab!e 0o!/0ho#ic s/#thesiJer. This com0ariso# to
the Mi#imoo" 0robab!/ came about more 3rom its 0h/sica! a00eara#ce tha# it %i% 3rom
its structure (@hich @as c!oser to that o3 the ARD).
The Dro0het8$ roc,ete% SmithIs "ara"e o0eratio# to stu##i#" hei"hts. .ver the #eBt 3ive
or siB /ears: Seque#tia! ;ircuits (@ho eve#tua!!/ Aust shorte#e% their #ame to
Seque#tia!) @ou!% become the !ar"est America# ma#u3acturer o3 S/#ths.
The Dro0het $ co#tai#e% 3ive i#%ivi%ua! voices. &or its 0ri#ci0a! sou#% sources each voice
co#tai#e% t@o (;.s (vo!ta"e co#tro!!e% osci!!ators): .S; A a#% .S; B: a#% a @hite #oise
source @hich cou!% be miBe% i#to a reso#a#t !o@80ass (;& (vo!ta"e co#tro!!e% 3i!ter). The
3i!ter mo%i3ie% the voice timbre u#%er co#tro! o3 its 3our8sta"e e#ve!o0e "e#erator. The
3i!ter cou!% a!so be %rive# to reso#a#ce a#% cou!% serve as a sou#% source. &o!!o@i#"
each 3i!ter @as a (;A (vo!ta"e co#tro!!e% am0!i3ier): co#tro!!e% b/ a 3our8sta"e e#ve!o0e
"e#erator: @hich sha0e% the voice am0!itu%e. Su00!eme#ti#" the basic voices @as
0o!/0ho#ic mo%u!atio# (D.L28M.) si"#a! routi#"s @ithi# each voice that a!!o@e% .S; B
a#% the 3i!ter e#ve!o0e "e#erator to 3u#ctio# as mo%u!atio# sources a00!ie% to .S; A
3reque#c/? 0u!se @i%th: or the 3i!ter 3reque#c/. &i#a!!/: there @as a si#"!e L&. (!o@8
3reque#c/ osci!!ator) a#% a 0i#, #oise source @hich cou!% be miBe% i# to mo%u!ate a!! 3ive
voices: as a%Auste% b/ the M. @hee!. The ,e/boar% @as a $ octave Dratt8Rei% #ote
o#?#ote o33 a33air @ith #o touch res0o#se.
CThe Dro0het8$ sustai#e% siB revisio#s (or revs). Rev 6 @as the ori"i#a! %esi"#. Rev 2
@as a re3i#eme#t o3 the ori"i#a! %esi"# a#% !ar"e!/ tra#s0are#t. Rev <: ho@ever: @as a
vast!/ %i33ere#t s/#thesiJer tha# Revs 6 a#% 2. 5#tro%uce% to Rev < @ere #e@ vo!ta"e
co#tro!!e% 5;Is (;EM): a# im0rove% A;: A;: a#% a %i33ere#t co#tro! vo!ta"e %istributio#
scheme. More so0histicate% e%iti#" a#% tu#i#" routi#es @ere %esi"#e%: a#% to im0rove
serviceabi!it/: voice trimmers @ere re%uce% 3rom =0 to 9$. Some be!ieve that the Rev <
s/#thesiJers are s!i"ht!/ i#3erior (so#ica!!/) to their 0re%ecessors b/ revea!i#" a#
abse#ce i# the !o@er 3reque#cies. Fhi!e this ma/ be true: the maAorit/ o3 the Rev <
s/#thesiJers are 3ar more o0eratio#a!!/ stab!e tha# their Rev 6 a#% Rev 2 cou#ter0arts.E
(Co"rtesy Matt #assett!
53 there @as a si#"!e 3eature that %e3i#e% the Dro0het sou#%: it @as the 0o!/8mo%
sectio#: @hich e#ab!e% /ou to use the 3i!ter e#ve!o0e a#% osc 2 to mo%u!ate the
3reque#c/ o3 osc 6: the 0u!se8@i%th o3 osc 6 a#%?or the 3i!ter cuto33 3reque#c/. These
mo%u!atio# routi#"s: combi#e% @ith osc 6Is s/#c 3u#ctio#: 0ro%uce% the tra%emar, (a#%
at o#e time ho0e!ess!/ overuse%) osci!!ator s@ee0i#" s/#c sou#%: usua!!/ variatio#s o#
@hat @as ori"i#a!!/ 3actor/ 0reset <<.
The ori"i#a! 0rice 3or a Dro0het $ @as i# bet@ee# K<:77$ a#% K9:97$. Eve#tua!!/ a rac,
mou#te% co#versio# o3 a user8su00!ie% Dro0het8$ @as avai!ab!e 3rom Stu%io E!ectro#ics.
Later: there @as eve# the re!ease o3 the Dro0het 60 @hich is esse#tia!!/ t@o Dro0het $
circuits stac,e% to"ether 3or 60 voices s0a##i#" t@o ,e/boar% ma#ua!s.
The Dro0het $ has bee# #otab!/ use% b/ Lra3t@er,: ura# ura#: No oubt: e0eche
Mo%e: (i#ce ;!ar,e: Ta!,i#" 1ea%s: +e#esis: +ar/ Numa#: Thomas o!b/: Ne@ .r%er:
Dro%i"/: 5N-S: The ;ars: Dhi! ;o!!i#s: Richar% Barbieri: : )ea#8Miche! )arre: Stee!/ a#:
Litaro: Leve! 92: Deter +abrie!: the Eur/thmics: Det Sho0 Bo/s: 3i!mma,er?com0oser
)oh# ;ar0e#ter a#% ma#/ more.

Proph#" 'S
The Dro0het (S @as ma%e b/ Seque#tia! ;ircuits 5#c. bet@ee# 67=M a#% 67=G. 5t @as a#
i##ovatio# i# the se#se that it @as o#e o3 the 3irst Isam0!e a#% s/#thesisI s/#thesiJers.
At the same time: it @as the 3irst s/#thesiJer to bri#" t@o8%ime#sio#a! cross83a%i#"
bet@ee# @ave3orms i#to the mai#stream. This i#teresti#" co#ce0t became ,#o@# as
vector s/#thesis.
The Dro0het (S @as 0rimari!/ the i#ve#tio# o3 three 0eo0!e 8 ;hris Me/er: )osh )e33e:
a#% To#/ ea#. ;hris Me/er came u0 @ith the basic a!"orithm o3 cross83a%i#" bet@ee# 9
osci!!ators (i# esse#ce: a 28%ime#sio#a! 3a%e bet@ee# timbres) a#% ru##i#" that throu"h
the usua! (;&?(;A chai#. 5t @as a# eBte#sio# o3 the i#strume#ts !i,e the DD+ a#%
&air!i"ht that cou!% sca# i# o#e %ime#sio# a!o#" a tab!e o3 @ave sha0es or bet@ee# t@o
%i33ere#t @ave sha0es.
A#other 0ecu!iarit/ that co#tribute% to the success o3 this i#strume#t @as its mo%u!atio#
matriB. This a!!o@e% it to !ar"e!/ sur0ass the !imitatio#s o3 c!assic mo%u!atio# (the
e#ve!o0es attache% to the 3i!ter a#% the am0!i3ier: 3or eBam0!e) b/ o33eri#" co##ectio#
3rom a!! the mo%u!atio# sources avai!ab!e i# the machi#e (e#ve!o0es: L&.: etc..) to a#/
mo%i3iab!e 0arameter o#e mi"ht choose (osci!!ator 3reque#cies: 3i!ter cut8o33: am0!i3iers:
0a#oramic: etcN).
The e#ve!o0es @ere a!so #e@ to the sce#e because the/ @ere #ot structure% !i,e the
usua! ASR e#ve!o0es. The/ @ere ma%e u0 o3 $ 0oi#ts (3rom 0 * i#itia! !eve! * to 9 *
corres0o#%i#" to the Re!ease). Each o3 these 0oi#ts @as associate% to a 0arameter !eve!
a#% timeO a !oo0 3u#ctio# cou!% eve# be a%%e% bet@ee# t@o 0oi#ts. These s0ecia!
3eatures a!!o@e% 3or mo%u!atio#s st/!es a !ot more com0!eB a#% creative tha# those o3
the c!assic ASR e#ve!o0es.
5# 67=G: Seque#tia! @as so!% to 2amaha: @ho i#tro%uce% their vector8s/#thesis base%
S222 i# 6770. .ther vector s/#thesiJers @ere a!so to 3o!!o@ i# !ater /ears: but the
Dro0het (S @as the# a#% is sti!! to%a/ a sou"ht a3ter i#strume#t %ue to its i#cre%ib!e
ra#"e o3 sou#%s. 2ou @i!! hear it i# recor%i#"s b/ Bria# E#o: Tre#t ReJ#or: A0o!!o 990:
e0eche Mo%e: (i#ce ;!ar,e: Lra3t@er,: Erasure a#% 3i!mma,er?com0oser )oh#
;ar0e#ter: amo#" others.
+.2 TAE-
TAE
P
: True A#a!o" Emu!atio#: is ArturiaIs outsta#%i#" tech#o!o"/ %e%icate% to the %i"ita!
re0ro%uctio# o3 a#a!o" circuits use% i# vi#ta"e s/#thesiJers.
Fhe# im0!eme#te% i# so3t@are co%e: TAE
P
s a!"orithms "uara#tee authe#tic emu!atio#
o3 har%@are s0eci3icatio#s. This is @h/ the Dro0het8(2.$ o33ers a# u#0ara!!e!e% qua!it/ o3
sou#%.
TAE
P
combi#es 3our maAor a%va#ces i# the %omai# o3 s/#thesis>
+.2.+ A*asn!&fr## osc**a"ors
Sta#%ar% %i"ita! s/#thesiJers 0ro%uce a!iasi#" i# hi"h 3reque#cies: a#% a!so @he# usi#"
Du!se Fi%th Mo%u!atio# or &M.
TAE
P
a!!o@s the 0ro%uctio# o3 tota!!/ a!iasi#"83ree osci!!ators i# a!! co#teBts (DFM: &MN):
a#% at #o eBtra ;DU cost.

Linear frequency spectrum of an existing well-known software synthesizer

Linear frequency spectrum of the Prophet-V2.5 oscillator made with TAE
+.2.2 A )#""#r r#pro,uc"on of ana*o! osc**a"or .a/#for0s
The @ave3orms 0ro%uce% b/ the osci!!ators i# a#a!o" s/#thesiJers are mar,e% b/ the
0rese#ce o3 a ca0acitor i# the circuits. The %ischar"e o3 the ca0acitor resu!ts i# a !i"ht
be#% i# the ori"i#a! @ave3orm (#otab!/ 3or sa@ tooth: tria#"u!ar a#% square @ave3orms).
TAE
P
a!!o@s the re0ro%uctio# o3 this ca0acitor %ischar"e. This is the a#a!/sis o3 a
@ave3orm 3rom the ori"i#a! Dro0het $: a#% that o3 the Dro0het8(2.$. The/ are both
equa!!/ %e3orme% b/ the Dro0het8(2.$ !o@80ass a#% hi"hQ0ass 3i!teri#".
Aliasing

Temporal representation of a saw tooth waveform of the original Prophet 5

Temporal representation of a Prophet-V2.5 saw tooth waveform reproduced by TAE
Fhats more: the ori"i#a! a#a!o" osci!!ators @ere u#stab!e. 5# 3act: their @ave3orm varie%
s!i"ht!/ 3rom o#e 0erio% to a#other. 53 @e a%% to this the 3act that the starti#" 0oi#t 3or
each 0erio% (i# Tri""er mo%e) ca# var/ @ith the tem0erature a#% other e#viro#me#ta!
co#%itio#s: @e 3i#% o#e o3 the characteristics that co#tribute% to the t/0ica! sou#% o3
vi#ta"e s/#thesiJers.
TAE
P
re0ro%uces the i#stabi!it/ o3 osci!!ators: bri#"i#" a 3atter a#% Cbi""erE sou#%.
+.2.1 Dr#c" 2*"#r 3rcu" Mo,#*n!
ue to a%va#ces i# com0uter 0rocessi#" 0o@er: the Dro0het8(2.$ ca# #o@ em0!o/ %irect
3i!ter mo%e!i#" tech#iques to achieve u#0rece%e#te% accurac/ i# the emu!atio# o3 the
ori"i#a!Is a#a!o" 9 0o!e !o@ 0ass 3i!ter. B/ mo%e!i#" the o0eratio# o3 the i#%ivi%ua!
har%@are com0o#e#ts o3 the 3i!ter circuit: the @arm #ua#ces s/#o#/mous @ith the
ori"i#a!Is a#a!o" sou#%s are recreate%. This "ra0h is a 3reque#c/ %omai# 0!ot as Aust a
si#"!e eBam0!e o3 %irect circuit mo%e!i#" i# actio#O it sho@s the "e#eratio# o3 harmo#ics
at mu!ti0!es o3 the reso#a#t 3reque#c/ @he# the 3i!ter is i# se!3 osci!!atio# mo%e: 3or both
the virtua! (b!ue) a#% ori"i#a! (re%). These harmo#ics are characteristic o3 the Dro0het
$Is 3i!ter a#% are %ue to the #o#8!i#ear behavior i#here#t i# its a#a!o" circuitr/. The
harmo#ics "e#erate% a%% to the rich#ess a#% @armth o3 the sou#% 0ro%uce% b/ the
3i!ter. As a resu!t o3 the %irect recreatio# o3 the a#a!o" circuitr/ i# the Dro0het8(2.$: the
same characteristics o3 the sou#% are 0rese#t: thus "ivi#" the user a tru!/ a#a!o" sou#%.

Comparison of Harmonics generated by the filter circuits of the Prophet-V2.5 and Prophet 5 when in self oscillation
2 Ins"a**a"on
2.+ 4n,o.s ns"a**a"on 56P7'ISTA789
5#sert the ;8R.M i#to the %rive. EB0!ore the co#te#ts o3 the ;8R.M: %oub!e c!ic, o#
the ico# #ame% Prophet-V2 Setup.exe.
At the 3irst ste0 o3 the i#sta!!atio#: choose the %esti#atio# 3o!%er 3or the Dro0het8(2.$
i#sta!!atio#. B/ %e3au!t: it @i!! be i#sta!!e% i# this !ocatio#>
C:\Program Files\Arturia\Prophet-V2
2ou ca# cha#"e the %esti#atio# @ith the Bro@se butto#.
53 /ou o@# the Dro0het8( 6 versio#: the# both versio#s @i!! coeBist 0eace3u!!/ o# /ou
com0uter. So#"s ma%e usi#" the 3irst versio# @i!! sti!! ca!! this versio#.

Choose the installation folder
Dro0het8(2.$ @i!! be i#sta!!e% as a sta#%a!o#e a00!icatio#. The 3o!!o@i#" sta"e @i!! !et /ou
choose to i#sta!! Dro0het8(2.$ as a 0!u"8i#. To %o this: choose the 0rotoco!(s) that /ou
@ish to use ((ST or RTAS). &or more i#3ormatio# o# these 0rotoco!s: "o to ;ha0ter 7.

Choice of protocols
&or the (ST 0rotoco!: /ou must choose a# i#sta!!atio# 3o!%er i# or%er 3or the host
a00!icatio# to use Dro0het8(2.$ as a 0!u"8i#. 53 /ou %o #ot ,#o@ ho@ to ma,e this
choice: "o to ;ha0ter =.

Choice of VST plug-in installation folder
The i#sta!!atio# 0ro"ram #o@ has e#ou"h i#3ormatio# to com0!ete the i#sta!!atio#. Fhe#
the i#sta!!atio# 0rocess is com0!ete%: 0!ease 0rocee% to authoriJatio# ste0 (;ha0ter <).
2.2 MA3 OS 6 ns"a**a"on
5#sert the ;8R.M i#to the %rive. EB0!ore the co#te#t o3 the ;8R.M: the# %oub!e8c!ic,
o# the ico# #ame% Dro0het8(2 Setu0 Mac.
&o!!o@ these ste0s>
rea% a#% acce0t the E#% User Lice#se A"reeme#t:
se!ect a %esti#atio#.
Fhe# 0rom0te%: e#ter the a%mi#istrator #ame a#% 0ass@or% o3 /our com0uter i# the
authe#ticatio# @i#%o@.

Authentication window
The Dro0het8(2.$ @i!! #eBt be i#sta!!e% as a sta#%a!o#e a00!icatio#: but a!so as (ST: AU
a#% RTAS 0!u"8i#s.
The i#sta!!atio# 0ro"ram #o@ has e#ou"h i#3ormatio# to com0!ete the i#sta!!atio#. Fhe#
the i#sta!!atio# 0rocess is com0!ete%: 0!ease 0rocee% to authoriJatio# ste0 (;ha0ter <).

1 Au"hor:a"on
No@ /our Dro0het8(2.$ has bee# i#sta!!e%: /ou #o@ have to authoriJe the s/#thesiJer.
$#% this doesn&t apply to owners of the pre'io"s 'ersion, who may "se the software right
now "sing their (S#)e*icenser hardware dongle+
;o#trar/ to 6.B versio#s that use% the USB8eLice#ser 0rotectio# scheme: the Dro0het8
(2.$ uses the CSo3t8eLice#serE virtua! %o#"!e so!utio# b/ %e3au!t. Avoi%i#" the use o3 a
USB 0ort: this s/stem a!!o@s usi#" the s/#thesiJer o# o#e machi#e @hich must be
co##ecte% to the 5#ter#et %uri#" the authoriJatio# 0rocess.

,o transfer yo"r license on another comp"ter, or simply "se -rophet)V.+/ on se'eral comp"ters (one instance
at a time!, yo" will need%
0 to "se one (S#)e*icenser hardware dongle (sold separately, also "sed by many other software editors!1
0 in the e*icenser Control Center, to drag)and)drop yo"r license from Soft)e*icenser to (S#)e*icenser+
,his transfer, re2"iring a 'alid nternet connection, can be done both ways%
0 from Soft)e*icenser to (S#)e*icenser1
0 from (S#)e*icenser to Soft)e*icenser+
-lease check the e*icenser doc"mentation installed on yo"r comp"ter for any f"rther technical detail+

The 3irst ste0 is to re"ister /our so3t@are i# or%er to obtai# the activatio# co%e that @i!!
e#ab!e /ou to actua!!/ use the so3t@are.
2ou shou!% have ha#%/ the !ice#se seria! #umber o3 Dro0het8(2.$ a#% the u#!oc, co%e
(these are i#te"ra! 0art o3 the so3t@are a#% are 0ri#te% o# a sma!! 0!astic car%)

;o##ect /our com0uter to the 5#ter#et: a#% "o to this @eb 0a"e>
http://www.arturia.com/login
53 /ou %o#t have a#/ Arturia accou#t /et: 0!ease create o#e #o@>

This will drive you to this form:

53 /ou a!rea%/ have a# accou#t sett!e%: sim0!/ !o" i#>

.#ce /ou are !o""e% i#to /our accou#t: /ou ca# re"ister /our Dro0het8(2.$ a#% request
/our activatio# co%e.
+o to the CM/ Re"istere% Dro%uctsE sectio# o3 /our accou#t a#% c!ic, o# the CA%%E
butto#>

5# the 3orm that a00ears: se!ect CDro0het8(E i# the %ro0 %o@# me#u: a#% ,e/ i# /our
s/#thesiJer seria! #umber a#% u#!oc, co%e (as @ritte# o# the re"istratio# car%)>

1ere comes the co#3irmatio# scree#>

A#% 3i#a!!/ there is a scree# 3rom @hich /ou ca# co0/ the #Lc#ns#r ac"/a"on co,#.
The ver/ same i#3ormatio# is se#t to /ou b/ emai! as a bac,u0.

No@ that /ou have retrieve% the activatio# co%e: !au#ch the eLice#ser ;o#tro! ;e#ter.
This a00!icatio# has bee# automatica!!/ i#sta!!e% o# /our com0uter a!o#" the Dro0het8
(2.$: it is accessib!e there>
Fi#%o@s> Start R Dro"rams R eLice#ser R eLice#ser ;o#tro! ;e#ter
Mac .S -> &i#%er R A00!icatio#s R eLice#ser ;o#tro! ;e#ter

,he here"nder screenshots ha'e been taken "nder a Mac 3S 4 r"nning comp"ter1 howe'er the process is
strictly identical "nder a 5indows 4-6Vista67 r"nning machine, same f"nctions apply, only the graphical "ser
interface differs, and possibly also the lang"age "sed+ ,hese little details sho"ld not pre'ent yo" from
"nderstanding the f"ll process+

5# the eLice#ser ;o#tro! ;e#ter mai# @i#%o@ /ou shou!% see a CSeLE virtua! %o#"!e
i#sta!!e% o#to /our com0uter.

The eLicenser Control Center main window, showing an empty Soft-eLicenser.
5# the eLice#ser ;o#tro! ;e#ter me#u: c!ic, o# the CE#ter Activatio# ;o%eE butto#: a#%
e#ter the co%e @he# 0rom0te%. Sim0!/ 0aste i# the <28%i"it co%e /ouve Aust co0ie%
3rom /our accou#t o# the ARTUR5A @ebsite>

Enter the activation code
The eLice#ser ;o#tro! ;e#ter is #o@ rea%/ to %o@#!oa% the so3t@are !ice#se that @i!!
a!!o@ /ou to use Dro0het8(2.$. ;!ic, o# Start: the 0ro"ress bar shou!% a#ime u#ti!
%o@#!oa% com0!etio#. A 0o0u0 @i#%o@ @i!! co#3irm com0!etio#: Aust c!ic, C;!oseE.

No@ the mai# eLice#ser ;o#tro! ;e#ter @i#%o@ shou!% sho@ /our Dro0het8(2.$ !ice#se
i#sta!!e% a#% activate%.

License is installed and activated
5ts #o@ time to !au#ch Dro0het8(2.$.
; <uck S"ar"
This cha0ter @i!! 3ami!iariJe /ou @ith the "e#era! 0ri#ci0!es o3 the Dro0het8(2.$ a#% ho@
it @or,s. 5# this cha0ter /ou @i!! 3i#% basic eBam0!es o3 the %i33ere#t i#ter3aces o3 the
s/#thesiJer mea#t 3or 3irst time users. A 0recise a#% %etai!e% %escri0tio# o3 a!! the
0arameters a#% co#tro!!ers visib!e o# the scree# @i!! be "ive# i# the 3o!!o@i#" cha0ters.
;ha0ter G: CA &e@ E!eme#ts o3 Sou#% esi"#:E is 0articu!ar!/ use3u! 3or those @ho have
#ot /et @or,e% @ith a subtractive s/#thesiJer a#% @ho @ish to acquire a basic

Complete View of the Prophet-V2.5
;.+ Usn! pr#s#"s
;.+.+ S#*#c"n! pr#s#"s
Li,e o# the ori"i#a! the Dro0het $ a#% the Dro0het (S: the 0resets a!!o@ /ou to save a!!
the s/#thesis 0arameters as @e!! as the 0!a/er setti#"s (CU#iso#E mo%e o# the Dro0het $
or Mi%i co#3i"uratio# o# the Dro0het (S).
5# the Dro0het8(2.$: a 0reset co#tai#s a!! the 0arameter setti#"s o3 the s/#thesiJer a#%
various rea!8time co#tro!!ers (eB> ve!ocit/: a3tertouch: 0itch8be#%) as @e!! as the e33ects
(%e!a/: chorus) #ecessar/ to re0ro%uce the sou#%.
To become more 3ami!iar @ith the various sou#%s o33ere% i# the Dro0het8(2.$: @e are
"oi#" to se!ect the 0reset C2<8.r"a#FithResE i# the ba#, C&actSDro$? 26to2=E.
To %o this: c!ic, o# the !e3tmost se!ectio# scree# butto# (this scree# re0rese#ts the
#ame o3 the ba#, bei#" use%). B/ c!ic,i#": /ou @i!! see the %ro0 %o@# me#u
i#%icati#" the avai!ab!e ba#,s a00ear. ;hoose the ba#, C&actSDro$E (the #ame o3
the 0reset is chec,e%).
Fhe# the me#u is o0e#: the sub me#us are accessib!e. These subme#us @i!! a!!o@
/ou to access the CSUB BANLE a#% the CDRESETSE o3 a sou#% %esi"#er i# a si#"!e
c!ic,.
;hoose the CSUB BANLE C26to2=E the# se!ect C2<8.r"a#FithResE amo#" the
CDRESETSE. This sou#% is a ver/ sim0!e or"a# !i,e 0!a/e% @ith the Dro0het $
emu!atio#.

Select the preset
The Dro0het8(2.$ is %e!ivere% @ith 900 0resets that a!!o@ /ou to become acquai#te% @ith
the sou#%s o3 the s/#thesiJer. A ba#, #ame% CTem0!atesE o33ers a se!ectio# o3 0resets
"ivi#" the 0ossibi!it/ to use a tem0!ate to be"i# 0ro"rammi#" a sou#%. (The sou#%
C6S.scE: 3or eBam0!e: is 0rese#te% @ith> a# osci!!ator co##ecte% to the !o@ 0ass 3i!ter:
this si"#a! the# bei#" route% to the (;A).
t is also possible to 'iew all the presets corresponding to a type of s"b)bank by choosing the 89**: option in
the bank+ For example, to see the ensemble of #ass presets, click 89**: in the selection of the bank then on
8-ads:+
;.+.2 E,"n! pr#s#"s
To e%it a 0reset: @e are "oi#" to start rea!!/ sim0!/.
E%it the bri"ht#ess o3 the sou#% @ith a C;UT.&&E ,#ob o3 the 3i!ter. To %o this: tur#
the ,#ob to the ri"ht or the !e3t. The timbre o3 the sou#% @i!! become more or !ess
bri"ht. ;ha#"e the ,#ob to /our !i,i#".

Change the brightness of the sound
5# the same @a/: /ou ca# i#crease the ra#"e o3 the osci!!ator A b/ a# octave b/
tur#i#" C&reque#c/E ,#ob to the ri"ht. ;hoose the T62 va!ue.

Setting the Range of the oscillator (Frequency)
B/ ma,i#" Aust a 3e@ mo%i3icatio#s: /ou have a!rea%/ e%ite% the 0reset. 2ou @i!! #o@ be
ab!e to save the sou#% that /ou Aust create%.
To choose a#other %esti#atio# 3or the sou#%: sim0!/ c!ic, the CSave AsE ico# the#
choose its !ocatio#. &or eBam0!e: se!ect C#e@ ba#,E amo#" the choices. Ne@ ba#,
a#% sub ba#, !ocatio#s are imme%iate!/ create% a!o#" @ith the #e@ 0reset. The
#ames C#e@ ba#,E: C#e@ sub ba#,E a#% C#e@ 0resetsE a00ear i# their 0ers0ective
0!aces.
;!ic, o# each o3 the #ames to re#ame them as /ou @ish i# the three sectio#s.

Save a preset
To save a CUserE 0reset: c!ic, o# the CSaveE ico# i# the too!s bar> the #e@ setti#"s
@i!! be save% i# the 0reset curre#t!/ se!ecte% @ithout cha#"i#" the #ame (i3 the
0reset bei#" e%ite% is 0art o3 the 3actor/ 0resets: the 3actor/ setti#"s @i!! #ot be
%e!ete%).
9ttention; t is important to realize that changing the name of a preset does not create a new one; 3nly the
name of the preset being edited will be modified+
;.2 Thr## In"#rfac#s n "h# Proph#"&'2.5
The Dro0het8(2.$ o33ers three 0ri#ci0a! i#ter3aces>
5# the 3irst i#ter3ace: the Dro0het $: /ou ca# 3i#% a!! the 3eatures o3 the ori"i#a! Dro0het
$. The seco#% i#ter3ace is the Dro0het (S i#ter3ace> as @ith the 3irst i#ter3ace: /ou @i!!
3i#% a!! the 3eatures o3 the ori"i#a! s/#thesiJer. The thir% i#ter3ace is s0ecia! because it
o33ers both s/#thesiJers i# a si#"!e i#ter3ace stac,e% o#e o# to0 o3 the other.
To access the %i33ere#t i#ter3aces>
;!ic, o#e o3 the three shortcut butto#s CDro0het $E : CDro0het (SE: or C1/bri%E
!ocate% i# the too! bar>
The CDro0het $E shortcut "ives /ou access to Aust the Dro0het $ s/#thesiJer.
The CDro0het (SE shortcut "ives /ou access to the Aust the Dro0het (S.
The C1/bri%E shortcut "ives /ou access to both s/#thesiJers at the same time.
;.1 =r#f Tour of "h# >Proph#" 5?
The Dro0het $ i#ter3ace co#sists o3 $9 s/#thesis 0arameters as @e!! as 0reset se!ectio#
butto#s that a!!o@ /ou to quic,!/ 3i#% 99 0resets that @ere 3ou#% o# the ori"i#a!
machi#e. Fith the ,#obs a#% s@itches associate% to these 0arameters: /ou @i!! be ab!e
to create a# i#3i#ite #umber o3 sou#%s.
These 0arameters are %istribute% as 3o!!o@s>
2 osci!!ators ((;.) that %e!ivers the base au%io si"#a! @ith various @ave 3orms
(tria#"!e: sa@ tooth: a#% square) a#% that a!!o@ /ou to co#tro! the 0itch o3 the
sou#% (3reque#c/).
A miBer @hich 0ermits /ou to miB the si"#a!s comi#" 3rom the osci!!ators a#%
3rom the @hite #oise mo%u!e.
6 !o@ 0ass 3i!ter @ith 29 %B?octave s!o0e.
6 am0!i3ier ((;A) that am0!i3ies the out0ut si"#a! o3 the 3i!ter i# or%er to %irect it
to the stereo out0ut.
T@o e#ve!o0es (ASR) mo%u!ati#" the !o@ 0ass 3i!ter a#% the am0!i3ier.

Prophet 5 synthesis Parameters
1ere @e @i!! brie3!/ see ho@ to create a 0o!/0ho#ic sou#% @ith the Dro0het $>
5# or%er to u#%ersta#% the 0ri#ci0a! 0ro"rammi#" o3 the Dro0het8(2.$: @e @i!! start
@ith a ver/ sim0!e sou#%. Se!ect the 0reset C6S.scE i# the sub ba#, CTem0!ate?
Tem0SS/#thE. The s/#thesis structure o3 the sou#% is re!ative!/ sim0!e> the square
@ave 3orm o3 the osci!!ator 6 is active a#% the si"#a! is %irecte% throu"h the !o@
0ass 3i!ter @hi!e 0assi#" b/ a# i#terme%iate miBer: the# i# the out0ut o3 the
am0!i3ier. A# ASR e#ve!o0e mo%u!ates the cut8o33 3reque#c/ o3 the 3i!ter a#% a
seco#% ASR e#ve!o0e mo%u!ates the vo!ume o3 the am0!i3ier.
&i#a!!/: the 3o!!o@i#" s/#o0sis resumes our eBam0!e sou#% creatio#>

The sound path of a preset 1_Osc
Be"i# b/ !o@eri#" the cut 3reque#c/ o3 the !o@ 0ass 3i!ter. This @i!! s!o@!/ !o@er the
sou#%.
&or this: set the C;uto33E ,#ob. (&or a# eBact setti#": ri"ht8c!ic, @ith the mouse i#
D; or shi3tTc!ic, i# Mac)
Note that the cut8o33 3reque#c/ is mo%u!ate% b/ a# ASR e#ve!o0e (attac,: %eca/:
sustai#: a#% re!ease).

Lower the filter cut-off frequency
To better hear the e33ect that the ASR e#ve!o0e has o# the cut 3reque#c/ o3 the
3i!ter: i#crease the reso#a#ce va!ue. This @i!! am0!i3/ the cut8o33 0oi#t o3 the
3i!teri#" e33ect a#% the sou#% @i!! be"i# to @hist!e: a!so ,#o@# as se!38osci!!atio#:
a#% is a# im0orta#t 3eature i# a#a!o" 3i!ter emu!atio#.

Increase the resonance value
;ha#"e the attac, time o3 this e#ve!o0e so that the bri"ht#ess o3 the sou#% @i!!
i#crease as /ou 0ress each #ote.

Decrease the attack width
5# the same @a/: cha#"e the %eca/ time va!ue. This too @i!! %imi#ish rather ra0i%!/
as /ou ho!% the #ote o# the ,e/boar%.

The decay time parameter of the filter envelope
No@: !ets test a short mo%i3icatio# i# the seco#% CASRE e#ve!o0e e%iti#" the
am0!i3icatio#.
5#crease the attac, time o3 this e#ve!o0e so that the sou#% vo!ume i#creases
0ro"ressive!/.

Increase the Attack time of the Amplifier Envelope
o#t 3or"et to save /our @or,.
;.1.+ Proph#" 'S an, "h# conc#p" of '#c"or Syn"h#ss 5'S9
Fith the CDro0het (SE sectio#: /ou have access to a @ave8tab!e s/#thesiJer @hich o33ers
severa! %iverse 3u#ctio#s eBte#%i#" the 0!a/i#" a#% s/#thesis 0ossibi!ities. The 3u#ctio#s
i# this sectio# are a!! i%e#tica! to the m/thic s/#thesiJer o3 the =0s.
The Dro0het (S i#ter3ace ca# be accesse% b/ c!ic,i#" o# the ico# CDro0het (SE: @hich
o0e#s the (S i#ter3ace a!o#e. B/ c!ic,i#" C1/bri%E /ou @i!! be ab!e to use both
s/#thesiJers at the same time. 2ou ca# a!so se!ect a#/ o3 these mo%es b/ starti#" @ith
o#e o3 three ba#, se!ectio#s> CDro$E: C1/bri%E: a#% CDro(SE: res0ective!/ i# the ba#,
se!ectio# me#u. &or #o@ @e @i!! @or, i# Dro0het (S mo%e.
The Darameters o3 the Dro0het (S are as 3o!!o@s>
9 osci!!ators that are chose# i# a ba#, o3 7M @ave83orm sam0!es.
A miBer to miB the si"#a!s comi#" 3rom the 9 osci!!ators.
A mu!ti8mo%e reso#a#t 3i!ter @ith 29 %B?octave s!o0e.
T@o L&.s a!!o@i#" $ @ave83orms
6 (;A am0!i3ier
Three $ 0oi#t e#ve!o0es 3or mo%u!ati#" the miBer: the 3i!ter a#% the am0!i3ier. A
!oo0 3u#ctio# is avai!ab!e o# each o3 the e#ve!o0es.
Mo%u!atio# MatriB

Prophet VS synthesis Parameters
Fave8tab!e s/#thesis o33ers so#ic 0ossibi!ities that have bee# !itt!e eB0!ore% i# a so3t@are
3ormat. 5t 0ermits /ou to create sou#%s that are ver/ %i33ere#t 3rom the c!assic a#a!o"ic
s/#thesiJer %ue to a ba#, o3 7M sam0!es. The Dro0het (S ca# use u0 to 9 osci!!ators
simu!ta#eous!/. These osci!!ators ca# be miBe% i# rea! time @ith a Ao/stic, or $ 0oi#t
e#ve!o0e. The Dro0het (S ca# create stro#"!/ evo!vi#" sou#%s that are both i#%e0e#%e#t
3rom a#% com0!eme#tar/ to those that /ou @ou!% create @ith the Dro0het $.

The Prophet VS oscillators and the mixing joystick
;.1.2 <uck*y cr#a"# #/o*/n! pa, soun,s ."h "h# Proph#" 'S:
;!ic, o# the CDro(SE ico# to !oa% the Dro0het (S i#ter3ace

Click on the Pro.VS icon
Be"i# b/ choosi#" a %i33ere#t @ave83orm 3or each o3 the 9 osci!!ators. To %o this:
c!ic, o# the se!ectio# scree# 3ou#% o# each o3 the osci!!ators the# scro!! the mouse
u0 or %o@# to choose a @ave 3orm. 2ou ca# a!so scro!! %o@# more 0recise!/ b/
ri"ht c!ic,i#" @ith the mouse (or Cshi3t?c!ic,E o# Mac)

Choosing a different wave-form
.#ce the @ave83orms are chose#: 0ro"ressive!/ move the Ao/stic, bet@ee# 3our
0oi#ts (A: B: ;: a#% ). 2ou ca# hear the timbre cha#"es i# the sou#% i# rea!8time.

Move the joystick
Lets see ho@ to a00!/ a# e#ve!o0e to automate the moveme#ts o3 the Ao/stic,.
Start b/ c!ic,i#" o# the CE#ve!o0esE o0tio# i# the L; scree# 3ou#% o# the ri"ht8
ha#% si%e o3 the Dro0het (S. The#: c!ic, o# the CM5-ERE o0tio# to o0e# the e%iti#"
i#ter3ace o3 the miBer a#% its e#ve!o0e.

Click on the Envelopes option

Click on the MIXER option
Be3ore e%iti#" the 3our times o3 the miBi#" e#ve!o0e o3 the osci!!ators: be"i# b/ 0!aci#"
the $ 0ositio#s that the Ao/stic, @i!! move to at the mome#t o3 automatio# (0oi#ts 0: 6:
2: <: a#% 9)>
D!ace the Ao/stic, at 0oi#t CAE corres0o#%i#" to the A osci!!ator. This co#stitutes the
starti#" 0oi#t 3or the automatio#: ca!!e% 0ositio# C0E. Doi#t CAE shou!% be at the 600
va!ue: a#% the other 0oi#ts (B: ;: a#% ) shou!% be at the 0 va!ue.

Place the joystick at point A
5# the same @a/: 0!ace the Ao/stic, to the C6E 0ositio#. To %o this: move it to 0oi#t
CBE corres0o#%i#" to the B osci!!ator. Doi#t CBE shou!% be at the 600 va!ue: a#% the
other 0oi#ts (A: ;: a#% ) shou!% be at the 0 va!ue.

Place the joystick to the 1 position
NeBt: move the Ao/stic, to the 0ositio# C2E. Move it to 0oi#t C;E corres0o#%i#" to
the ; osci!!ator. Doi#t C;E shou!% be at the 600 va!ue: a#% the other 0oi#ts (A: B:
a#% ) shou!% be at the 0 va!ue.

Move the joystick to the position 2
No@ 0!ace the Ao/stic, at its thir% 0ositio# (0ositio# C<E). Move it to 0oi#t CE
corres0o#%i#" to the osci!!ator. 2ou shou!% have a va!ue o3 600 3or 0oi#t CE: a#%
a va!ue o3 C0E 3or 0oi#ts CAE: CBE: a#% C;E.

Place the joystick at its position3
&i#a!!/: 0!ace the Ao/stic, i# its 0ositio# C9E. Move it: 3or eBam0!e: to the ce#tra!
0oi#t corres0o#%i#" to the miB o3 the 9 osci!!ators.

Place the joystick in its position 4
The 3o!!o@i#" sectio# eB0!ai#s the setti#"s corres0o#%i#" to the 3our 0arameters o3 the
miBi#" e#ve!o0e o3 the 9 osci!!ators>
;!ic, o# the C.&&?.NE 0a#e! 3ou#% above the ,#ob e#ve!o0es to 0ut it i# the C.NE
0ositio#. This activates the e#ve!o0e o# the miBer.

Click on the OFF/ON panel
Tur# the C6E ,#ob to co#tro! the time bet@ee# the C0E 0oi#t a#% the C6E 0oi#t.
;hoose a va!ue arou#% <000 ms: 3or eBam0!eO 3or more 0recisio#: use the ri"ht
c!ic, @ith the mouse or CShi3t?;!ic,E o# Mac.

Turn the 1 knob
Tur# the C2E ,#ob to co#tro! the time bet@ee# the C6E a#% the C2E 0oi#ts. ;hoose:
3or eBam0!e: a va!ue arou#% 6$00 ms.

Turn the 2 knob
Tur# the C<E ,#ob o3 the e#ve!o0e to co#tro! the time bet@ee# the C2E 0oi#t a#% the
C<E 0oi#t. ;hoose a va!ue arou#% 2000ms 3or eBam0!e.

Turn the 3 knob
Tur# the C9E ,#ob to co#tro! the time bet@ee# the C<E0oi#t a#% the C9E 0oi#t.
;hoose a va!ue arou#% =00 ms. This 0ath o3 the Ao/stic, @i!! #ot be ta,i#" i#to
accou#t u#ti! a3ter the #ote re!ease.

Turn the 4 knob
Fhe# /ou 0!a/ a #ote: /ou ca# hear the e33ect that the automatio# has o# the miBi#" o3
the 3our osci!!ators.
5t is a!so 0ossib!e to a%% a !oo0 bet@ee# the C0E 0oi#t a#% the C<E 0oi#t a#% to choose
the #umber o3 re0etitio#s bet@ee# the %i33ere#t 0oi#ts.
To %o this: c!ic, o# the Jo#e CLoo0E to choose the t/0e o3 !oo0 a#% the Jo#e
Cre0eatE to choose the #umber o3 re0etitio#s.

Click on the zone Loop

Choose the type of loop and the zone repeat
;om0!ete e%iti#" o3 the 0reset b/ setti#" the cuto33 3i!ter: the am0!itu%e e#ve!o0e: a#% a
mo%u!ati#" the cut 3reque#c/ o3 the 3i!ter b/ a# L&..
Tur# the cut 3reque#c/ ,#ob o3 the 3i!ter: C;UT.&&E. ;hoose a va!ue that "ives the
amou#t o3 bri"ht#ess i# the sou#% that /ou @ou!% !i,e.

Turn the cut frequency knob
Drocee% to the setti#"s o3 the am0!itu%e e#ve!o0e>
B/ c!ic,i#" o# the CE#ve!o0esE butto# o# the scree# o# the ri"ht o3 the Dro0het (S.
;hoose the o0tio# CAm0E to ma,e the e#ve!o0e a00ear.

Click on the Envelopes button
Leave the C0E 0oi#t at its i#itia! 0ositio# (it corres0o#%s to the i#itia! !eve! o3 the
vo!ume). Move the C6E 0oi#t to the ri"ht corres0o#%i#" to the attac, time. Move
this same 0oi#t to@ar%s the to0 to obtai# the attac, !eve! (vo!ume).

Move the 1 point to the right corresponding to the attack time
Stretch the re!ease time o3 the #ote b/ movi#" the 0oi#t C9E to the ri"ht. (Use: 3or
eBam0!e: a va!ue o3 6$00 ms)

Stretch the release time of the note by moving the point 4
To e#%: a%% a mo%u!atio# o3 the 3i!ter cut 3reque#c/ b/ o#e o3 the t@o L&.s o3 the
Dro0het (S.
;!ic, o# the CMo%u!atio#sE butto# o# the ri"ht8ha#% scree# o3 the Dro0het (S to
ma,e the mo%u!atio# matriB a00ear.

Click on the Modulations button
;!ic, o# the mo%u!atio# 0oi#t c!i,i#" the L&.6 source a#% the C;uto33E %esti#atio#
o3 the 3i!ter.

Click on the modulation point liking the LFO1 source and the Cutoff
To the ri"ht o3 the matriB "ri!!: /ou ca# 3i#% a setti#" 3or the mo%u!atio# rate 3or
each source. Set it as /ou !i,e b/ c!ic,i#" a#% ho!%i#" o# the amou#t 0a#e! the#:
scro!!i#" u0 or %o@# @ith /our mouse. A# e#% setti#" is a!so avai!ab!e b/ ri"ht8
c!ic,i#" (or Cshi3t?c!ic,E o# Mac)

Click and holding on the amount panel
,he en'elopes for the filter and the amplit"de are a"tomatically connected to the mod"les that are a'ailable to
them+ ,h"s, it is not necessary to change to the mod"lation matrix to acti'ate them+ <owe'er, the mod"lation
matrix will be indispensable for all other types of connections as well as for the settings for the amo"nt of
mod"lation+
;.; Th# %y)r, In"#rfac#
The 1/bri% i#ter3ace o33ers a combi#atio# o3 the t@o s/#thesiJers stac,e% o#e o# to0 o3
the other. 5t 0ermits /ou to create a !ar"e variet/ o3 sou#%s #ever be3ore hear% tha#,s
to the miB o3 subtractive s/#thesis o3 the Dro0het $ a#% the @ave8tab!e s/#thesis o3 the
Dro0het (S.
To 3ami!iariJe /ou @ith ho@ the sou#% @or,s: !ets start be o0e#i#" the 1/bri% i#ter3ace.
;!ic, o# the butto# e#tit!e% 1/bri% i# the too! bar.
;hoose the 0reset CDro0het $?Da%?&u!!SDa%E i# the !ist o3 0resets.
No@: to e#rich the sou#%: a%% a 3ourth osci!!ator. .0e# the au%io co##ectio# matriB
b/ c!ic,i#" o# the o0tio# CAu%ioE situate% o# the scree# /ou 3i#% at the ri"ht8ha#%
sectio# o3 the Dro0het (S i#ter3ace.

Open the audio connection matrix
This matriB a!!o@s /ou to se!ect a#% co##ect to the osci!!ators: route the au%io si"#a! to
the Dro$ or Dro(S 3i!ters: route the sou#% o3 the Dro0het $ i# o#e o3 the t@o 3i!ters: etc.
;!ic, i# the L; vie@er to se!ect the ; osci!!ator a#% choose the o0tio# C.sc (S ;E.

Select the C oscillator and choose the option Osc VS C
Li"ht!/ %etu#e it i# re!atio# to the ; osci!!ator a!rea%/ i# 0!ace b/ s!i"ht!/ i#creasi#"
the C&5NEE ,#ob. This @i!! a%% a bit o3 !i3e to the sou#%.

Detune it in relation to the C oscillator
53 /ou @ish to: /ou ca# a!so cha#"e the @ave83orm o3 this osci!!ator.

Change the wave-form of this oscillator
Caref"l; 3nly fo"r oscillator so"rces are a'ailable in the 8<ybrid: interface+ ,his means that it will not be
possible to acti'ate the fo"r oscillators of the -rophet VS if one of the oscillators of the -rophet / is acti'e+

;ha#"e the timbre o3 /our sou#% b/ cha#"i#" the t/0e o3 3i!ter o3 the Dro0het (S.
;!ic, o# the 3i!ter vie@er a#% choose the CBa#% 0assE 3i!ter.

Change the type of filter of the Prophet VS
A%% a cuto33 mo%u!atio# o3 the 3i!ter @ith the L&.6 o3 the Dro0het (S. To %o this:
o0e# the mo%u!atio# matriB b/ c!ic,i#" o# the o0tio# CM.ULAT5.NE accessib!e o#
the ri"ht o3 the Dro0het (S i#ter3ace.
;!ic, o# the bu!!et situate% at the i#tersectio# o3 the source CL&.6E (horiJo#ta! !i#e)
a#% the %esti#atio# C;uto33E (vertica! !i#e).
Set the mo%u!atio# rate @ith the 0a#e! 3ou#% to the ri"ht o3 the horiJo#ta! !i#e
L&.6. ;!ic, a#% ho!% the va!ue sho@# the# scro!! /our mouse u0 or %o@# to either
i#crease or %ecrease the va!ue. &or more 0recisio#: ri"ht c!ic, @ith /our mouse
(shi3t?c!ic, o# MA;). 5t is a!so 0ossib!e to %oub!e c!ic, o# the va!ue to mo%i3/ it @ith
a #umeric ,e/0a%.
Set the s0ee% o3 the L&.6 to /our co#ve#ie#ce b/ tur#i#" the CRATEE ,#ob (a
s!o@er setti#" @i!! be a00ro0riate 3or this t/0e o3 sou#%).

Set the speed of the LFO1
;.5 Th# Eff#c"s S#c"on
The e33ects sectio# a!!o@s /ou to a%% the stereo %e!a/ a#% the chorus to /our sou#%.
To o0e# it: 0ush o# the CE33ectsE butto# 3ou#% o# the too! bar: i# the u00er ri"ht8ha#%
cor#er o3 the Dro0het (S i#ter3ace.

Push the open Effects button
;.5.+ 3horus
The ;horus 0ermits /ou to %oub!e a#% %etu#e /our sou#% i# or%er to ma,e it %ee0er a#%
!ive!ier. Three t/0es o3 stereo chorus are avai!ab!e: 3rom the sim0!est to the %e#sest.
Activate the .N?.&& butto# o3 the ;horus i# the e33ects sectio# 3ou#% i# the ri"ht8
ha#% sectio# o3 the too! bar.

Activate the ON/OFF button of the Chorus
Set the Cr/?FetE ,#ob o3 the chorus i# or%er to ba!a#ce the Cra@E sou#% a#% the
retur# o3 the e33ect.

Set the Dry/Wet knob of the chorus
Tur# the CRateE ,#ob o3 the ;horus to set the s0ee% o3 the osci!!atio#s.

Turn the Rate knob of the Chorus
&i#a!!/: set the %e0th o3 the chorus b/ tur#i#" the Ce0thE ,#ob.

Set the depth of the chorus
2ou have the choice bet@ee# three t/0es o3 chorus > ;horus 6: 2: a#% <. These three
st/!es o3 chorus var/ 3rom the sim0!est * a#% !ess char"e o# /our ;DU * to sou#%s more
0ro#ou#ce% 3or various %e8tu#i#" e33ects.

Chorus types
;.5.2 Th# D#*ay
The %e!a/ carries a stereo echo e33ect that "ives s0ace to /our sou#%. 5t ho!%s
i#%e0e#%e#t setti#"s 3or the s0ee% a#% #umber o3 the re0etitio#s 3rom !e3t to ri"ht. 5t is
there3ore 0ossib!e to create a !ar"e #umber o3 rh/thmic combi#atio#s bet@ee# the
re0etitio#s. The s0ee% o3 the %e!a/ ca# a!so be s/#chro#iJe% to M55 tem0o.
Ta,e: 3or eBam0!e: the 0reset C&u!!SDa%E a#% /ou @i!! see ho@ to use the sou#% e33ects>
Activate the Ce!a/E butto# o# the too! bar. The e33ect is activate%.
Set the Cr/?FetE ,#ob o3 the e!a/ i# or%er to ba!a#ce the Cra@E sou#% o3 the
bass a#% o3 the %e!a/.
Tur# the t@o CTimeE ,#obs to set the s0ee% o3 the re0etitio#s> Time Ri"ht a#% Time
Le3t.

Turn the two Time knobs
5t is a!so 0ossib!e to set the #umber o3 re0etitio#s 3or each si%e (C&ee%b. Ri"htE a#%
C&ee%b. Le3tE)
;.@ R#a* "0# 3on"ro**#rs an, ass!nn! "h#0 "o MIDI
The Dro0het8(2.$ is 0articu!ar!/ a%a0te% to 0!a/i#" i# rea! time. .#e o3 the "reatest
evo!utio#s com0are% to the ori"i#a! is the abi!it/ to assi"# a#/ ,#ob 0arameter o3 the
Dro0het8(2.$ /ou @ish to a# eBter#a! M55 co#tro!!er.
&or eBam0!e>
;!ic, o# CM55 Lear#E butto# o3 the too!bar
;!ic, o# the C;uto33E ,#ob i# the 3i!ter. The %ia!o"ue boB 3or assi"#i#" M55
co#tro!!ers @i!! a00ear.
Move the M55 co#tro!!er o3 /our choice (the mo%u!atio# @hee! 3or eBam0!e). The
,#ob o3 the Dro0het8(2.$ @i!! be assi"#e% to that co#tro!!er a#% move i# time @ith
it.
NeBt: /ou ca# automate the moveme#ts o3 /our M55 co#tro!!er i# /our M55
seque#cer or sim0!/ ma,e it evo!ve i# rea! time @he# /ou are 0!a/i#" !ive.

Assigning Midi to the Cutoff frequency parameter
To save the setti#"s that /ou have Aust ma%e %uri#" this cha0ter: c!ic, the butto# CSaveE
3ou#% o# the too! bar.
The Dro0het8(2.$ 0rovi%es a #e@ t/0e o3 co#tro!> the NRDN mo%e. Fith this mo%e /ou
@i!! be ab!e to a33ect a #ear!/ i#3i#ite #umber o3 co#tro!s. To %o this: co#3i"ure /our M55
co#tro!!i#" %evice to se#% NRDN messa"es (some co#tro!!ers %o #ot o33er this mo%e:
;hec, /our s0eci3ic co#tro!!ers o@#er ma#ua!) a#% c!ic, to %is0!a/ the M55 assi"# %ia!o"
boB. The Dro0het8(2.$ @i!! imme%iate!/ reco"#iJe NRDN messa"es b/ tic,i#" the UUse
NRDN boB (see above). 53 /ou have %i33icu!t/ @ith the NRDN setu0: 0!ease co#tact the
tech#ica! su00ort o3 /our M55 %evice.
5 Prncpa* E*#0#n"s of "h# In"#rfac#
5.+ Too* =ar
The too! bar co#sists o3 a# e#semb!e o3 esse#tia! ico#s 3or the Dro0het8(2.$ or"a#iJe%
3rom !e3t to ri"ht a!!o@i#" /ou to>
Save /our 0resets
Access %ro0 me#us o33eri#" choices o3 ba#,s?sub8ba#,s a#% 0resets.
5m0orti#" a#% eB0orti#" o3 0resets
M55 activit/ !i"ht
;hoice o3 M55 cha##e!s> A!!: 6 to 6M
The #umber o3 0o!/0ho#ic voices
D!a/i#" Mo%es> Do!/?Mo#o Lo@ (i# the co#teBt o3 a !e"ato bet@ee# t@o #otes:
!o@ #ote "ets 0riorit/) Mo#o hi"h ( i# the co#teBt o3 a !e"ato bet@ee# t@o
#otes: hi"h #ote "ets the 0riorit/) a#% Mo#o !ast (i# the co#teBt o3 a !e"ato
bet@ee# t@o #otes: !ast #ote 0!a/e% "ets the 0riorit/)
S/#thesiJer choice> Dro0het $? Dro0het (S? 1/bri%
Activatio# o3 ;horus a#% e!a/ e33ects
E%iti#" o3 e33ects
EBam0!e> to !oa% a s0eci3ic s/#thesiJer i#ter3ace: c!ic, o# the butto#s CDR.D1ET $E:
CDR.D1ET (SE or C1/bri%E.

Tool Bar
5.2 Usn! Pr#s#"s
Dresets a!!o@ /ou to save s0eci3ic sou#%s o# the Dro0het8(2.$. A 0reset co#tai#s a!! the
setti#"s i#3ormatio# o3 the %i33ere#t co#tro!!ers #ecessar/ to re0ro%uce a sou#%. 5# the
so3t@are: the 0resets are c!asse% i# the Cba#,sE a#% Csub8ba#,sE. The ori"i#a! ba#,s or
3actor/ 0resets 0rese#t a 3i!i#" o3 sou#%s a!!o@i#" /ou to 3i#% a 0reset base% o# the
s/#thesiJer chose#> CDro0het $E: CDro0het (SE et C1/bri%E. Each ba#, ho!%s a certai#
#umber o3 sub8ba#,s %etermi#i#" the "e#era! t/0e o3 sou#%> bass: so#ic e33ects: etc.
Each sub8ba#, ho!%s a #umber o3 0resets.
The Dro0het8(2.$ is shi00e% @ith severa! C3actor/E ba#,s. But it is 0ossib!e to create #e@
CuserE ba#,s o3 sou#%s: each co#tai#i#" a #umber o3 sub8ba#,s a#% 0resets. &or
securit/: the C3actor/E ba#,s ca##ot be %irect!/ mo%i3ie%. 5t is #o#ethe!ess 0ossib!e to
create a sou#% base% o# a 3actor/ 0reset b/ savi#" it as a CuserE 0reset.
5.2.+ 3hoc# of a )ankA su)&)ankA pr#s#"
The ba#,: sub8ba#, a#% 0reset i# use b/ the Dro0het8(2.$ are 0erma#e#t!/ %is0!a/e% i#
the s/#thesiJer too! bar.

Display of current bank, sub-bank and preset
To choose a 0reset i# the curre#t sub8ba#,: c!ic, o# the butto# #eBt to the 0reset
3ie!%: a#% a %ro08%o@# me#u a00ears @ith a !ist o3 the 0resets o3 the same sub8ba#,.
2ou ca# choose a#other 0reset b/ se!ecti#" the corres0o#%i#" !i#e i# the %ro08%o@#
me#u. As soo# as the 0reset has bee# chose#: /ou ca# 0!a/ the #e@ sou#% o# /our M55
,e/boar% or 3rom /our seque#cer.

Choice of a preset in the same sub-bank
To choose a 0reset i# the same mai# ba#,: but a %i33ere#t sub8ba#,: c!ic, o# the
butto# #eBt to the sub8ba#, 3ie!%: a#% a %ro08%o@# me#u a00ears @ith a !ist o3 the sub8
ba#,s co#tai#e% i# the same mai# ba#,. Each sub8ba#, !iste% i# the me#u a!!o@s /ou to
o0e# a sub8me#u co#tai#i#" its 0resets. A c!ic, o# a 0reset a!!o@s /ou to %irect!/ choose
a 0reset i# the #e@ sub8ba#,.

Choice of a preset in another sub-bank
To choose a 0reset i# a#other mai# ba#,: c!ic, o# the butto# #eBt to the ba#, 3ie!%. A
%ro0%o@# me#u a00ears @ith a !ist o3 the mai# ba#,s avai!ab!e @ith the sub8ba#,s
corres0o#%i#" to the sub8ba#,s %e3i#e% i# each mai# ba#, a#% to the 0resets co#tai#e%
i# each sub8ba#,. 2ou ca# thus 3ree!/ choose a 0reset b/ c!ic,i#" o# its #ame.

Choice of a preset in another main bank
5# the CBANLE %ro08%o@# me#u: the CA!!E o0tio# a!!o@s /ou to o0e# a sub8!ist @ith a!! o3
the sub8ba#,s avai!ab!e i# a!! o3 the ba#,s. This "ives /ou access %irect!/ to a!! o3 the
0resets o3 a "ive# t/0e: 3or eBam0!e a!! o3 the basses: #o matter @hich ba#, the/ are i#.
This 3u#ctio# is 0articu!ar!/ use3u! to quic,!/ see a!! o3 the 0resets o3 the same t/0e.

Choice of preset regardless of bank
Fhe# a 0reset has bee# mo%i3ie% a# asteris, a00ears #eBt to its #ame i# the too! bar.
5.2.2 3r#a"on of a )ankA su)&)ankA pr#s#"
To create a #e@ ba#,: c!ic, o# the butto# #eBt to the ba#, 3ie!%. The %ro08%o@# me#u
%is0!a/s the #ames o3 a!! o3 the eBisti#" ba#,s o3 sou#%s: a#% a !i#e ca!!e% CNe@ ba#,NE.
;!ic, o# CNe@ ba#,NE to create a #e@ ba#, o3 sou#%s. 2ou ca# the# cha#"e the #ame o3
this ba#, b/ c!ic,i#" o# its #ame i# the too! bar a#% e#teri#" the #e@ #ame.
To create a #e@ sub8ba#,: Aust c!ic, o# the butto# #eBt to the sub8ba#, 3ie!%: a#%
se!ect CNe@ subba#,NE. 2ou ca# a!so cha#"e the #ame o3 the #e@ sub8ba#,.
&i#a!!/: to create a #e@ 0reset: c!ic, o# the butto# #eBt to the 0reset 3ie!%: a#% se!ect
CNe@ 0resetNE. The #e@ 0reset is create%: recor%i#" the curre#t setti#"s o3 the Dro0het8
(2.$. 2ou ca# thus @or, o# the setti#"s o3 a sou#%: a#% save the sou#% a"ai# @ith the
same 0reset #ame b/ c!ic,i#" o# the save butto# (see the 3o!!o@i#" 0ara"ra0h). 2ou ca#
a!so cha#"e the tit!e o3 the #e@ 0reset b/ c!ic,i#" o# its #ame.
5.2.1 Sa/n! a us#r pr#s#"
To save /our setti#" mo%i3icatio#s i# the curre#t 0reset: c!ic, o# the CSaveE butto# i# the
too! bar o3 the Dro0het8(2.$.

Save button in the tool bar
53 /ou @a#t to save /our setti#"s u#%er a#other 0reset #ame: c!ic, o# the CSave AsE
butto# i# the too! bar. A %ro08%o@# me#u a00ears a#% !ets /ou choose a# eBisti#"
0reset (i# this case: the co#te#ts o3 the eBisti#" 0reset @i!! be re0!ace% @ith the curre#t
setti#"s): or to save /our setti#"s as a #e@ 0reset (i# this case: c!ic, o# CNe@ 0resetNE
i# the sub8ba#, o3 /our choice).

Save As button and save menu in the tool bar
Fhe# /ou are @or,i#" 3rom a 3actor/ 0reset: @hich ca##ot be %e!ete%: c!ic,i#" o# the
CSaveE butto# @i!! #ot re0!ace the curre#t 3actor/ 0reset: but @i!! i#stea% automatica!!/
o0e# the CSave AsE me#u to save the curre#t setti#"s as a user 0reset.
5.2.; I0por"7 EBpor" of a )ank of pr#s#"s
5t is 0ossib!e to im0ort #e@ ba#,s o3 0resets co#ceive% 3or the Dro0het8(2.$. To im0ort a
#e@ ba#, o3 0resets: c!ic, o# the 0reset ba#, im0ort butto# o# the too! bar>

Preset bank import button on the tool bar
Fhe# /ou c!ic, o# this butto#: a @i#%o@ @i!! a00ear a!!o@i#" /ou to choose the 0reset
ba#, 3i!e 3or the Dro0het8(2.$ (.0roba#, eBte#sio#). ;hoose the 3i!e that /ou @a#t to
im0ort: a#% c!ic, o# C.0e#E. The #e@ ba#, o3 0resets @i!! automatica!!/ a00ear amo#"
the avai!ab!e ba#,s.
The Dro0het8(2.$ equa!!/ o33ers the o0tio# to eB0ort /our o@# sou#%s to save them: to
use them o# a#other machi#e: or to ma,e them avai!ab!e to other users.
5t is 0ossib!e to eB0ort a 0reset: a sub8ba#,: or a com0!ete ba#,.
To eB0ort the curre#t ba#,: sub8ba#,: or 0reset: c!ic, o# 0reset ba#, eB0ort butto# i#
the too! bar o3 the 0ro"ram>

Current preset bank export button in the tool bar
Se!ect the t/0e o3 eB0ort that /ou @a#t to 0er3orm (ba#,: sub8ba#, or 0reset) a#% a
@i#%o@ @i!! a00ear: "ivi#" /ou access to a choice o3 %esti#atio# 3o!%er a#% 3i!e #ame 3or
the ba#, that /ou are eB0orti#".
5.1 Th# soun, 0ap
The sou#% ma0 is a# i##ovative 0reset eB0!orer @hich o33ers a# eas/ a#% 3u#,/ @a/ to
!ocate a#% choose a 0reset o# a ma0 area to sim0!i3/ the 0reset ma#a"eme#t a#% to
quic,!/ 3i#% the a00ro0riate sou#%s.
The sou#% ma0 a!so o33ers bra#% #e@ i#ter3ace 3or creati#" #e@ sou#%s tha#,s to a
mor0hi#" 3eature bet@ee# 3our 0resets.

The Sou#% Ma0 o33ers three vie@s>
The MAP mai# i#ter3ace> the sou#% ma0 c!assi3ies the 0resets tha#,s to statistica!
metho%s i# or%er to or"a#iJe the sou#%s o# a ma0 3rom their o@# au%io characteristics.
The LIST 0resets !ist> this 0a"e o33ers a more c!assica! i#ter3ace to c!assi3/ the 0resets
usi#" !ists a#% 3i!ters to 3i#% the %esire% sou#%.
The COMPASS mor0hi#" i#ter3ace> this 0a"e a!!o@s creati#" #e@ sou#%s i# rea! time
tha#,s to a mor0hi#" resu!t @ith u0 to 9 0resets.

To o0e# the mai# Sou#% Ma0 i#ter3ace: c!ic, o# the S.UN MAD butto# !ocate% o#
the too! bar. A #e@ @i#%o@ a00ears over the Dro0het8(2.$ mai# i#ter3ace.

Open the main Sound Map interface
To o0e# the 0reset !ist 0a"e: c!ic, o# the L5ST butto#: o# the to0 ri"ht o3 the sou#%
ma0 i#ter3ace

Open the List interface
To o0e# the 0reset mor0hi#" 0a"e: c!ic, o# the ;.MDASS butto#.

Open the Morphing interface
To retur# bac, o# the mai# sou#% ma0 i#ter3ace: c!ic, o# the MAD butto#

Return back on the map interface
5.1.+ Th# MAP 0an n"#rfac#
The sou#% ma0 i#ter3ace sho@s a ma0 @here are share% out a!! the 0resets o3 the
Dro0het8(2.$ or"a#iJe% 3or their t/0es o3 sou#% a#% their o@# au%io characteristics.

The Map interface
The t/0es o3 0resets are re0rese#te% b/ %i33ere#t "eometrica! characters a#% co!ors 3or
a# eas/ @a/ to !ocate them>

Bass sounds

Brass sounds

EFX sounds

FM sounds

Guitar sounds

Keyboard sounds

Lead sounds

ad sounds

er!ussive sounds

"e#uen!e sounds

"trin$s sounds

%thers sounds

To se!ect a#% to !iste# a 0reset: %irect!/ c!ic, o# o#e o3 the ico#s: a#/@here /ou
@a#t o# the ma0 area. The ico# is #o@ hi"h!i"hte% i# re%. 53 /ou ho!% a 3e@ seco#%s
o# the se!ecte% 0reset: a 0o0u0 a00ears a#% i#%icates the #ame o3 the 0reset.

Select a preset
2ou ca# create #e@ 0resets tha#,s to a# eBc!usive rea! time mor0hi#" 3eature>
;!ic, bet@ee# a "rou0 o3 0resets a#% ho!% the !e3t butto# o3 the mouse o# this
0oi#t. &our re% arro@s %ra@i#" a cross a00ear !i#,i#" the "rou0 o3 3our 0resets.

Morphing between a group of presets
2ou ca# #o@ %ra" /our mouse bet@ee# those 0resets. The "ree# arro@ sho@s /ou
the starti#" 0oi#t o3 /our motio#.
Fhe# /ou re!ease the !e3t mouse butto#: /ou ca# 0!a/ the resu!te% sou#% a#%: i3
/ou @ish: /ou ca# save it o# a# Dro0het8(2.$ user ba#,.
B/ this @a/ it is ver/ eas/ to quic,!/ "et some #e@ a#% eBciti#" sou#%s @ithout
0ro"rammi#" a#/thi#" o# the s/#thesiJer i#ter3ace.
5.1.2 Th# Soun, Map o/#r/#.
.# the to0 ri"ht o3 the Sou#% Ma0 mai# i#ter3ace: /ou ca# see a# overvie@ o3 this ma0.
2ou ca# use the ma0 overvie@ 3or #avi"ati#" i#to the ma0 a#% to Joom i# or out i#si%e
o3 the ma0 area.

The map overview interface
To #avi"ate i#to the ma0: c!ic, i#si%e o3 the re% square a#% %ra" it o# the ma0 area
to vie@ other sectio#s o3 the Sou#% ma0.
To Joom i# the vie@ o# the sou#% ma0: c!ic, o# the Voom s!i%er: u#%er the
overvie@ @i#%o@: a#% %ra" it o# the ri"ht to i#crease the siJe o3 the ma0.
To Joom out the vie@ o# the sou#% ma0: c!ic, o# the Voom s!i%er: a#% %ra" it o#
the !e3t to %ecrease the siJe o3 the ma0.

The zoom slider
=o" can also "se the 8>33M ?: or 8>33M ): b"ttons, "nder the slider, to increase or decrease the map size
step by step (by a factor of @!+

;!ic, o# the &5T V..M butto# a!!o@s resiJi#" the ma0 to its "!oba! siJe.

The FIT ZOOM button
/+A+.+@ ,he instr"ment type filter window
.# the ri"ht o3 the ma0 mai# i#ter3ace: a# i#strume#t t/0e 3i!ter @i#%o@ a!!o@s /ou to
choose @hich t/0e o3 0reset /ou @a#t to see (or to hi%e) o# the ma0. B/ %e3au!t: a!!
t/0es o3 0resets are se!ecte%.

The instrument type filter
To se!ect a# i#%ivi%ua! or a "rou0 o3 i#strume#t t/0es>

&irst c!ic, o# the A!! butto#: o# the bottom o3 the t/0e 3i!ter @i#%o@> this @i!! hi%e
a!! the i#strume#t t/0es 3rom the sou#% ma0.

The ALL button
The#: se!ect the t/0e(s) /ou @a#t to see b/ c!ic,i#" o# the corres0o#%i#" square
boB(es). A #oc, a00ears o# the se!ecte% boB(es) a#% the t/0e(s) o3 0resets a00ears
o# the ma0 i#ter3ace.

Show pad presets
This is a "oo% @a/ to sim0!i3/ a#% to re3i#e the 0reset search.
53 /ou c!ic, a"ai# o# the A!! butto#: a!! t/0es o3 0resets @i!! be %is0!a/e% o# the
ma0.
/+A+.+. -reset snapshot memories
2ou ca# se!ect u0 to 3our 0resets: a#/@here o# the ma0 i#ter3ace: a#% save them o# u0
to 3our s#a0shot memories. 2ou @i!! be ab!e to use those 3our 0resets o# the C3M-9SS
vie@ to create #e@ sou#%s b/ mor0hi#" 3eature (see be!o@ 3or more %etai!s o# this
3eature).
.3 course: /ou ca# save a#/ ,i#% o3 t/0e o3 0resets o# these 3our s#a0 memories.

Select a snap memory
To save a 0reset o# a s#a0 memor/>
Se!ect a 0reset o# the sou#% ma0 mai# i#ter3ace.
1o!% the WShi3tX ,e/ a#% se!ect o#e o3 the 3our s#a0 memor/ butto#. The s#a0
memor/ butto# is #o@ hi"h!i"hte% i# re%.
Re0eat the same actio#s i3 /ou @ish to save 0resets o# the three other s#a0
memories.
Fhe# a!! memories a!rea%/ co#tai# a save% 0reset: /ou ca# re0!ace them @ith
other 0resets.
Se!ect a#other 0reset a#/@here o# the Sou#% Ma0 i#ter3ace: c!ic, o# a#/ o3 the 9
s#a0shot butto#s @hi!e 0ressi#" the W;tr!X ,e/.
5.1.1 Th# LIST pr#s#" 0ana!#r
The !ist 0reset ma#a"er o33ers a more c!assica! @a/ to eB0!ore the 0resets usi#" a !ist
i#ter3ace i# @hich the 0resets are c!assi3ie% a#% 3i!tere% i# or%er to sim0!i3/ 0reset
ma#a"eme#t.
To o0e# the !ist i#ter3ace: c!ic, o# the L5ST butto# !ocate% o# the too!bar o3 the
Sou#% Ma0.

Click on the LIST button
The !ist 0reset i#ter3ace is ver/ sim0!eO /ou ca# see 3our co!um#s sho@i#": 3rom !e3t to
ri"ht>
The 0reset #ames
The i#strume#t t/0e
The #ame o3 the sou#% %esi"#ers
A remi#%er o3 the 0resets a%%e% to a s#a0 memor/

Preset list interface
A!! those %ata are c!assi3ie% b/ a!0habetica! or%er.
To se!ect a 0reset: sim0!/ bro@se the !ist a#% c!ic, o# the #ame o3 a %esire% 0reset.
2ou ca# reverse the or%er (3rom A to V or 3rom V to A) b/ c!ic,i#" o# the co!um#
tit!e> a# asce#%a#t or %esce#%a#t arro@ sho@s /ou the or%er t/0e.

Inverse the order of the instrument types
5.1.; Th# 3OMPASS 0orphn! n"#rfac#
The Mor0hi#" 0a"e is a# i#%e0e#%e#t mo%u!e a!!o@i#" /ou to quic,!/ create some #e@
sou#%s tha#,s to a rea! time mor0hi#" 3rom the 3our se!ecte% 0resets save% o# the s#a0
memories.
The 3our 0resets are 0!ace% o# the 3our car%i#a! 0oi#ts o3 the com0ass.

The Morphing interface
To o0e# the Mor0hi#" 0a"e: c!ic, o# the ;.MDASS butto#: !ocate% o# the too!bar o3
the Sou#% ma0.
To create a #e@ mor0he% sou#% 3rom those 0resets>
;!ic, a#/@here o# the ce#tre o3 the com0ass area (3our re% arro@s a00ear
co#ver"i#" to the "rou0 o3 0resets)
1o!% the !e3t butto# o3 /our mouse a#% %ra" the co#ver"e#ce 0oi#t u#ti! /ou have
3ou#% the ri"ht sou#%. The "ree# arro@ sho@s /ou the starti#" 0oi#t o3 /our
motio#.

Create a new sound
53 /ou @ish: /ou ca# save it o# a User ba#, o3 the Dro0het8(2.$ memor/.
5.; Us# of con"ro**#rs
5.;.+ Cno)s
+e#era!!/ seque#cers a!!o@ severa! ,#ob co#tro! mo%es.
The %e3au!t mo%e o3 co#tro! 3or ,#obs @ith the mouse is the circu!ar mo%e> c!ic, o# the
,#ob a#% tur# arou#% it i# or%er to cha#"e the va!ue o3 the co#tro!!er. The circu!ar mo%e
"ives hi"h 0recisio# i# the ma#i0u!atio# o3 co#tro!s> The 3urther the mouse "oes 3rom
the ,#ob: the hi"her the 0recisio# o3 the setti#".

Knobs
5# !i#ear mo%e: the ,#ob ca# be set o#!/ b/ vertica!!/ movi#" the mouse: #ot "oi#"
arou#% it. Li,e the s!i%ers: it is 0ossib!e to obtai# a hi"her 0recisio# b/ ri"ht c!ic,i#" or
Shi3tT;!ic, o# the ,#ob co#cer#e%.
The !i#ear mo%e ca# sometimes be sim0!er to use tha# the circu!ar mo%e: a!thou"h @e
ca# !ose i# 0recisio# (the 0recisio# is !imite% b/ the #umber o3 vertica! 0iBe!s o# the
scree# o# @hich the mouse moveme#ts are bei#" eva!uate%). Moveme#t to !i#ear mo%e
is avai!ab!e i# the o0tio#s o3 /our seque#cer. 5# ;ubase
tm
: 3or eBam0!e: this choice ca#
be 3ou#% via the CE%it?Dre3ere#cesE me#u: a#% is 3ou#% i# the C+e#era!E tab o3 the
@i#%o@.
5.;.2 S."ch#s
There are severa! t/0es o3 s@itches o# the Dro0het8(2.$. ;ertai# o#es
activate?%eactivate a 0arameter (activatio# o3 a @ave3orm o# the Dro0het $ 3or
eBam0!e). A re% !e% i#%icator o# the s@itch sho@s that the 0arameter is active.
.thers 0rese#t a choice bet@ee# 0arameter o3 the same t/0e (t/0e o3 re!ease o3 the
+!i%e > C.&&E: C.NE: CLE+AT. .NE: 3or eBam0!e). These %o #ot have a !e% i#%icator.
2ou must sim0!/ c!ic, the s@itch to cha#"e its state.

Switches
5.;.1 P"ch =#n, an, Mo,u*a"on .h##*
The Ditch be#% co#tro!s the 3reque#c/?0itch o3 the s/#thesiJer osci!!ators. Sim0!/ c!ic, o#
the @hee! @hi!e 0!a/i#" a #ote o# the master ,e/boar% or i# a seque#cer: the# move the
mouse vertica!!/ to mo%i3/ the 0itch. The @hee! comes bac, to its i#itia! 0ositio# at the
re!ease o3 the #ote.

Pitch Bend Wheel
The mo%u!atio# @hee! sets the mo%u!atio# rate o3 the Dro0het $s L&. or the co##ectio#s
ma%e o# the mo%u!atio# matriB o3 the Dro0het (S or 1/bri%.
The ma#i0u!atio# o3 this @hee! is as eas/ as the 0itch be#%O the o#!/ %i33ere#ce is that
the mo%u!atio# @hee! %oes #ot come bac, i#to its i#itia! 0ositio#.

Modulation Wheel
5.;.; 'r"ua* k#y)oar,
The ,e/boar% !ets /ou !iste# to the s/#thesiJer sou#%s @ithout the #ee% 3or a# eBter#a!
master M55 ,e/boar%: a#% @ithout 0ro"rammi#" a me!o%/ i# the seque#cer. )ust c!ic,
o# a virtua! ,e/ to hear the corres0o#%i#" sou#%.

Click on a virtual key to hear the corresponding sound
5.;.5 S#*#c"on scr##ns
There are certai# se!ectio# scree#s that a00ear i# the Dro0het (S (choice o3 @ave3orms
3or the osci!!ators or the L&. 3or eBam0!e). These are 3ou#% o# the tit!e bar o3 each
mo%u!e (C.S;5LLAT.RSE: C&5LTERE: 3or eBam0!e).
To cha#"e the se!ectio# bei#" use%: severa! t/0es o3 ma#i0u!atio#s eBist 3o!!o@i#" the
co#teBt o3 the scree#>
Drop 0#nu off#rn! a nu0)#r of choc#s (T/0es o3 3i!ters: @ave3orms o3 L&. 6
a#% 2: #umber o3 0o!/0ho#ic voices)> c!ic, o# the scree#. The me#u a00ears
a!!o@i#" /ou to se!ect the 0arameter @ishe%.

Screen for choosing filter types
Drop 0#nu off#rn! a *ar!# ran!# of choc#s (choice o3 @ave 3orms 3or the
osci!!ators)> c!ic, o# the scree# the# move the mouse to mo%i3/ /our choice (the
s0ectrum o3 the curre#t @ave3orms a00ears to "ive /ou a# i%ea o3 the sou#%s
0ro%uce%)

Screen for choosing the waveforms of the oscillators
In"#rrup"#r Pan#*> .# the miBer e#ve!o0e: c!ic, o# the i#terru0ter 0a#e! to
activate (.N) or %eactivate (.&&) the e#ve!o0e.

Interrupter Panel of the mixer envelope
5.;.@ L3D Scr##n
The L; scree#: 3ou#% to the ri"ht o3 the Dro0het (S i#ter3ace: "ives access to "ra0hic
e%itio# o3 the three e#ve!o0es: the mo%u!atio# matriB: 0!a/i#" mo%e (Dro0het (S o#!/):
a#% the e33ects. &or 1/bri% mo%e the scree# a!so "ives access to au%io routi#" se!ectio#.
To choose the i#ter3ace to e%it: c!ic, o# o#e o3 the butto#s 3ou#% at the to0 o3 the L;
scree# (CEN(EL.DEE 3or eBam0!e). The CEN(EL.DEE e%iti#" scree# a!so has 2 shortcuts
outsi%e o3 the L; scree#. These shortcuts are !ocate% i# the 3i!ter a#% am0!i3ier
e#ve!o0e a#% "ive access %irect!/ to the L; e#ve!o0e e%iti#" scree# o3 the t@o
e#ve!o0es.

The LCD screen
5.;.8 MIDI con"ro*
Most o3 the ,#obs: s!i%ers a#% s@itches o# the Dro0het8(2.$ ca# be ma#i0u!ate% @ith
eBter#a! M55 co#tro!!ers. Be3ore a#/thi#" e!se: ma,e sure that the M55 %evice that /ou
@ish to use is correct!/ co##ecte% to the com0uter: a#% that the seque#cer or the
Dro0het8(2.$ a00!icatio# is correct!/ co#3i"ure% to receive M55 eve#ts comi#" 3rom the
%evice.
/+B+7+@ *earn Men"
A #e@ butto# a#% me#u have bee# i#tro%uce% i# Dro0het8(2.$. The butto# a#% me#u
0rovi%e access to M55 assi"# 3u#ctio#a!ities.
The !e3t 0art o3 the butto# activates the M55 !ear# mo%e: @hi!e the ri"ht 0art (sma!!
%o@# arro@) o0e#s the co#tro! ma#a"eme#t me#u.

Learn Menu

Learn Mode Button

The CLear#E Me#u is com0ose% o3 2 sectio#s>
&irst sectio# 0rovi%es>
o CNe@ ;o#3i"E creates a #e@ co#tro!!er set
o CSave ;o#3i" AsE saves curre#t co#3i"uratio# to a #e@ o#e
o Ce!ete ;urre#t ;o#3i"E removes curre#t co#3i"uratio# 3rom !ist
The seco#% sectio# co#tai#s the !ist o3 eBisti#" co#3i"uratio#s>
o The chec,e% o#e is the curre#t!/ se!ecte% M55 ma0
o ;!ic, o# a co#3i"uratio# to !oa% it
/+B+7+. 9ssigning MC Controls
5# or%er to start assi"#i#" M55 co#tro!s: c!ic, the CMi%i Lear#E butto# (!e3t 0art). The
butto# remai#s hi"h!i"hte% to i#%icate that the C!ear# mo%eE is .N.

;!ic, o# a ,#ob or butto# i# the +U5 to o0e# the M55 assi"#me#t 0o0u0.

MIDI assignation popup
Plug-in parameter name
Control
number
Assigned
or not

Lear# assi"#me#t
The 3astest a#% easiest @a/ to assi"# a co#tro! is to move the 3a%er: ,#ob or butto# 3or it
to be reco"#iJe% b/ Dro0het8(2.$.

Ma#ua! assi"#me#t
5t is a!so 0ossib!e to cha#"e the assi"#e% M55 co#tro! #umber b/ c!ic,i#" o# ;o#tro!YBB
a#% se!ect a s0eci3ic va!ue.

Su00ort 3or NRDN
5# a%%itio# to M55 ;o#tro! ;ha#"e messa"es: NRDN messa"es are #o@ su00orte%>
either se#% NRDN M55 co#tro! messa"es to Dro0het8(2.$: or chec, NRDN: the# ma#ua!!/
se!ect LSBY a#% MSBY #umbers>

MIDI assignation popup, NRPN activated

Remove assi"#me#t
Assi"#me#ts ca# be remove% b/ c!ic,i#" the C;!earE butto#. The messa"e CU#assi"#e%E
@i!! the# be %is0!a/e%.

;o#ti#ue se!ecti#" the 0arameters /ou @a#t to ma0 to create a com0!ete co#3i"uratio#.
/+B+7+A Manages Config"rations
Ne@ i# Dro0het8(2.$> the 0ossibi!it/ to mai#tai# mu!ti0!e co#3i"uratio#s.

e3au!t co#3i"uratio#
B/ %e3au!t: Dro0het8(2.$ !oa%s the co#3i"uratio# 3or Arturia A#a!o" EB0erie#ce
,e/boar%s.
Se!ect o#e co#3i"uratio#
A co#3i"uratio# is !oa%e% b/ c!ic,i#" the corres0o#%i#" e#tr/ i# bottom 0art o3 CLear#
me#uE.
;reate a #e@ co#3i"uratio#
A #e@ co#3i"uratio# ca# be create% b/ c!ic,i#" o# the CLear# me#uE: CNe@ ;o#3i"E e#tr/.
This @i!! o0e# a 0o0u0> e#ter the #ame /ou @a#t to ca!! /our co#3i"uratio# a#% c!ic, o#
the CSA(EE butto#. A #e@ e#tr/ 3or /our co#3i"uratio# #o@ eBists i# the !ist o3 avai!ab!e
co#3i"uratio#s.
2ou ma/ #o@ 3i!! i# this i#itia!!/ em0t/ co#3i"uratio# b/ 0er3ormi#" the assi"#me#t
o0eratio#s %escribe% i# the 0revious sectio#.
;o0/ a co#3i"uratio#
5t is 0ossib!e to co0/ a co#3i"uratio# b/ !oa%i#" it a#% the# c!ic,i#" o# CSave ;o#3i" AsE.
A 0o0u0 o0e#s> e#ter the #ame o3 /our co#3i"uratio#. A #e@ e#tr/ 3or /our co#3i"uratio#
#o@ eBists i# the !ist o3 avai!ab!e co#3i"uratio#s.
Remove a co#3i"uratio#
5t is 0ossib!e to remove a co#3i"uratio# b/ 3irst !oa%i#" it a#% the# c!ic,i#" o# Ce!ete
;urre#t ;o#3i"E.
/+B+7+B Minim"m and Maxim"m Danges
&or each assi"#me#t: a mi#imum ra#"e va!ue a#% a maBimum ra#"e va!ue ca# be set.
This a!!o@s /ou to !imit ho@ much the co#tro!!er @i!! a33ect the 0arameter o# Dro0het8
(2.$.
The assi"#e% 0arameter @i!! have the co#3i"ure% mi#imum va!ue @he# the
co#tro!!er @i!! be at its !o@est 0ositio#
The assi"#e% 0arameter @i!! o#!/ reach the co#3i"ure% maBimum va!ue @he# the
co#tro!!er @i!! be at its hi"hest 0ositio#
2ou ca# i#vert (Ne"ative S!o0e) the Mi# a#% MaB so that 0arameter @i!! have
mi#imum va!ue @he# co#tro! has the hi"hest va!ue: a#% 0arameter @i!! have
maBimum va!ue @he# co#tro! has the !o@est va!ue

parameter0'al"e E M$ ? (M94 F M$! G control0'al"e
/+B+7+/ M"ltiple 9ssigned -arameters
5t is 0ossib!e to assi"# mu!ti0!e 0arameters to a si#"!e co#tro!. This a!!o@s /ou to cha#"e
ma#/ 0arameters @ith o#e 3a%er or ,#ob.
Input
control
values
MAX
MIN
POSITIVE SLOPE
Output
parameter
values
Input
control
values
MAX
MIN
NEGATIVE SLOPE
Output
parameter
values
Input
control
values
MAX
MIN
DEFAULT
Output
parameter
values
Activate Lear# mo%e: se!ect a 0arameter (+U5 co#tro!)
T@ea, co#tro! to assi"# it (o0tio#a!!/ setu0 mi#imum a#% maBimum)
Se!ect a seco#% 0arameter
A#% t@ea, the same co#tro!
eactivate Lear# mo%e
T@ea,i#" assi"#e% co#tro! shou!% mo%i3/ both 0arameters @ith re"ar%s to assi"#atio#
setu0 (Mi#: MaB).
/+B+7+H ,ricks
The 3i!ter?am0!i3ier e#ve!o0e co#tro! 0oi#ts have t@o 0arameters> Leve! a#% Time.
53 Lear# mo%e is .N: c!ic,i#" o# co#tro! 0oi#t 0rovi%es access to the assi"#me#t
o3 the Leve! 0arameter: shi3tTc!ic,i#" o# co#tro! 0oi#t 0rovi%es access to
assi"#me#t o3 the Time 0arameter.
5.;.D Th# Pr#f#r#nc#s Scr##n
.# this scree# /ou ca#>
Rea% the versio# o3 the so3t@are
Rea% the cre%its
Activate or %eactivate the a#imatio#s @he# s@itchi#" bet@ee# 0!a/i#" mo%es
2ou ca# a!so activate or %eactivate the 0o0 u0 i#%icatio#s @he# scro!!i#" over or
se!ecti#" a 0arameter. CSho@ co#tro! 0o0u0 @he#E>
Mouse ;!ic,s o# ;o#tro!
Mouse Rests o# ;o#tro!

To o0e# this @i#%o@ c!ic, o# the 0!aque o3 the CDR.D1ET (E 3ou#% Aust above the virtua!
,e/boar%. To c!ose this @i#%o@: sim0!/ re8c!ic, o# the same 0!aque.

@ Th# Mo,u*#s
The Dro0het8(2.$ is com0ose% o3 three 0arts> the Dro0het $ i#ter3ace: the Dro0het (S:
a#% a combi#atio# o3 the t@o ca!!e% 1/bri%.
The Dro0het $ uses a c!assic subtractive s/#thesis structure @hi!e the Dro0het (S
em0!o/s a !ess use% s/#thesis tech#ique ca!!e% @ave8tab!e or vector s/#thesis. These
t@o t/0es o3 s/#thesis meet i# the Dro0het8(2.$: "ivi#" /ou the cha#ce to create sou#%s
that are both rich a#% ori"i#a!.
@.+ Proph#" 5
The Dro0het $ i#ter3ace ta,es o# a!! o3 the 0arameters a#% characteristics o3 the ori"i#a!
s/#thesiJer. The i#ter3ace is so much !i,e the ori"i#a! that o#!/ 0!a/i#" 3u#ctio#s i#
mo#o0ho#ic mo%e (LE+AT.) a#% the sustai# o3 a #ote (1.L) @ere a%%e%. 2ou @i!!
eve# 3i#% a 0reset ba#, @hich o33ers the 90 3actor/ 0resets o3 the ori"i#a! machi#e
(these ca##ot be %e!ete%).

Prophet 5
The DR.D1ET $ co#sists o3>
2 osci!!ators (C.S;5LLAT.RS A a#% BE) i# @hich the seco#% ca# equa!!/ be use%
as a source o3 mo%u!atio#
6 miBer 3or the vo!ume o3 the 2 osci!!ators a#% the @hite #oise mo%u!e
6 !o@ 0ass reso#a#t 3i!ter 29%B?oct
6 am0!i3ier
2 e#ve!o0es %e%icate% to 3i!ter mo%u!atio#s a#% am0!itu%e
6 L&. (!o@ 3reque#c/ osci!!ator)
6 0o!/0ho#ic mo%u!atio# sectio# (Do!/ M.) %e%icate% to hi"h 3reque#c/
mo%u!atio# (&M)
6 mo#o0ho#ic mo%u!atio# sectio# (F1EEL M.) %e%icate% to the L&.
@.+.+ Osc**a"ors
There are t@o osci!!ators.
The osci!!ator co#tro!s the basic 3reque#cies a#% timbres o3 the Dro0het $ @ith the
3reque#c/ setti#"s: choice o3 @ave83orm: a#% the 0u!se @i%th associate% to the square
@ave83orm. These setti#"s are ma%e either @ith various ,#obs (static setti#"s) or b/ the
mea#s o3 the mo%u!atio# sectio#s. These ca# be activate% i# the F1EEL8M.
(mo#o0ho#ic mo%u!atio# b/ the L&.) or the D.L2 M. (0o!/0ho#ic mo%u!atio# b/ the
3reque#c/ o3 osci!!ator B or the out0ut o3 the 3i!ter e#ve!o0e).
The osci!!ators ca# be tu#e% a#% e%ite% se0arate!/. The/ su00!/ u0 to 2 @ave 3orms o#
osci!!ator A a#% < o# osci!!ator B. These @ave83orms ca# be use% simu!ta#eous!/.
Fhether tu#e% se0arate!/ or @he# usi#" severa! miBe% @ave83orms: the t@o osci!!ators
a!!o@ /ou to quic,!/ obtai# !ar"e variet/ o3 sou#%s.

Two Oscillators
H+@+@+@ 3scillator 9
2RE< Tu#i#" ,#ob b/ semito#e (5#itia! .sci!!ator &reque#c/): o# a00roBimate!/
t@o octaves
S%APE Se!ectio# butto#s o3 the t@o @ave 3orms>
Sa@ tooth
Square
P4 L#ob @hich sets the 0u!se @i%th o3 the square si"#a!
SEN3 Butto# @hich activates the s/#chro#iJatio# o3 the A a#% B osci!!ators

H+@+@+. 3scillator #
2RE< Tu#i#" ,#ob 3or semito#es o# a00roBimate!/ t@o octaves
2INE &i#e tu#i#" ,#ob o# a00roBimate!/ 6 semito#e
S%APE Se!ectio# butto#s o3 three @ave83orms>
Sa@ tooth
Tria#"!e
Square
P4 L#ob setti#" the 0u!se @i%th si"#a!s 3or the sa@: square: a#% tria#"!e
@ave83orms
C=D ;o##ectio# butto#s activati#" the ,e/boar%

$otice% by t"rning on the 8*3 FDEI: b"tton, the oscillator # will ask less C-( power of yo"r comp"ter+ 9
weaker oscillation fre2"ency will allow yo" to "se it as an *F3 for mod"lating oscillator 9 or the filter in the
8-3*= M3C: section+

1ere are the re0rese#tatio#s o3 the %i33ere#t @ave83orms use% b/ the osci!!ators o3
the Dro0het $>

Saw tooth

Square

Triangle
@.+.2 MB#r
The miBer a!!o@s /ou to set a#% miB the vo!ume o3 osci!!ators A a#% B as @e!! as the
vo!ume o3 the @hite #oise mo%u!e.
The @hite #oise mo%u!e bri#"s a# i#teresti#" attribute to sou#% 0ro%uctio#. 5t is #otab!/
use3u! to create breath e33ects (i# a 3!ute sou#% 3or eBam0!e) or 3or s0ecia! e33ects as i#
the sou#% o3 @i#%.
OS3 A (o!ume setti#" 3or osci!!ator A
OS3 = (o!ume setti#" 3or osci!!ator B
NOISE (o!ume setti#" 3or the @hite #oise

Mixer
@.+.1 2*"#r
The Dro0het $ emu!atio# 0ossesses a !o@ 0ass 3i!ter mo%u!e i%e#tica! to that o3 the
ori"i#a! Dro0het $. 2ou!! 3i#% a!! the so#ic characteristics that ma%e the ori"i#a! the
Cmust haveE o3 a#a!o"ue s/#thesisH

Filter settings
3UTO22 Setti#" 3or the 3i!ter cut 3reque#c/: tu#e% 3rom 60 1J to 2$ L1J
RESO Setti#" 3or the 3i!ter reso#a#ce
C=D Ma#ua! setti#" 3or the ,e/boar% 3o!!o@i#"
EN' AMT Ma#ua! setti#" 3or the amou#t o3 mo%u!atio# b/ the 3i!ter e#ve!o0e.
Notice: ,o set the con'entional keyboard following (in relation to the tempered scale! place the knob at its
middle 'al"e (@+JJ!+

The 3i!ter 0ossesses its o@# ASR e#ve!o0e (see 3o!!o@i#" cha0ter) to e%it its cut8o33
3reque#c/. 1o@ever: these ca# a!so be mo%u!ate% b/ the L&. (sectio# CF1EEL8M.E 3or
C@ha @haE t/0e e33ects): or b/ osci!!ator B (sectio# CD.L2 M.E 3or mo%u!atio# e33ects i#
hi"h 3reque#cies or s0ecia! e33ects).

Lo@ 0ass 3i!ter 29%B?octave s!o0e
The Dro0het $ em0!o/s a !o@ 0ass 29%B 3i!ter. 5t e!imi#ates the 3reque#cies 3ou#% above
the cut8o33 3reque#c/.
The reso#a#ce am0!i3ies the 3reque#cies c!ose to the cut8o33 3reque#c/. The amou#t o3
reso#a#ce is a!tere% b/ a%Austi#" the reso#a#ce ,#ob. Fhe# /ou tur# the ,#ob to the
ri"ht: the 3i!ter becomes more se!ectiveO the 3reque#cies 3ou#% arou#% the cut8o33
3reque#c/ @i!! be am0!i3ie% a#% the sou#% be"i#s to @hist!e.

Attention! For more precision when setting the c"t)off fre2"ency of the filter or the resonance rate, right click
on -C or C,D* ? Click on M9C+ ,his can be "sef"l when yo" wish to set the le'el of the c"t)off fre2"ency+

Low pass resonant filter
@.+.; A0p*f#r
The am0!i3ier is the !ast ste0 i# sou#% creatio#. 5t a!!o@s /ou to set the "e#era! vo!ume
o3 the Dro0het $.

Amplifier
'OLUME +e#era! vo!ume co#tro! o3 the s/#thesiJer
@.+.5 En/#*op#s
The t@o ASR e#ve!o0es a!!o@ /ou to %eve!o0 o#e or severa! time 3u#ctio# 0arameters.
2ou @i!! 3i#% t@o e#ve!o0es o# the Dro0het $> o#e co#tro!!i#" the cut8o33 3reque#c/ o3 the
3i!ter (as @e!! as the 3reque#c/ o3 osci!!ator B) a#% the other co#tro!s the vo!ume
am0!itu%e.
The ASR e#ve!o0e is com0ose% o3 3our successive seque#tia! 0erio%s> Attac, time:
eca/ time: Sustai# vo!ta"e: a#% the re!ease time. Fhe# /ou se#% the si"#a! 3or the
#ote (b/ 0ressi#" the ,e/ o# the ,e/boar%) the e#ve!o0e be"i#s the seque#ce be"i##i#"
@ith CAttac,E: the# Ceca/E: a#% sta/s i# the CSustai#E as !o#" as the #ote is active.
Fhe# the #ote is re!ease% the e#ve!o0e 3i#ishes @ith the CRe!easeE 0arameter.

ADSR envelope of the filter
ATTA3C Setti#" co#tro!!i#" the attac, time
DE3AE Setti#" co#tro!!i#" the %eca/ time
SUSTAIN Setti#" co#tro!!i#" the sustai#
RELEASE Setti#" co#tro!!i#" the re!ease
@.+.@ L2O
The !o@ 3reque#c/ osci!!ator (L&.) is use% as a mo%u!atio# source. 5t a!!o@s /ou to
create variatio#s i# a sou#% 0arameter i# a c/c!ica! ma##er to "e#erate e33ects such as a
vibrato e33ect (@he# the L&. mo%u!ates the osci!!ator 3reque#c/) or C@ah@ahE e33ect
(@he# it mo%u!ates the cut8o33 3reque#c/).

RATE Setti#" 0arameter 3or L&. 3reque#c/
S%APE ;o##ectio# butto#s 3or the au%io out0ut o3 the three @ave 3orms>
Sa@ tooth
Tria#"!e
Square

LFO
@.+.8 4h##* Mo,
This sectio# o33ers the #ecessar/ co##ectio#s to se!ect the 0arameters e%ite% b/ the L&..
A ,#ob is a!so 0rese#t to miB the vo!ume o3 the L&. out0ut a#% the 0i#, #oise
mo%u!ator. 2ou ca# thus miB the t@o si"#a!s to a%% a ra#%om e33ect to /our mo%u!atio#.

L2O7 NOISE MiBi#" ,#ob o3 the L&. a#% 0i#, #oise
DESTINATION Se!ectio# butto#s %etermi#i#" the %esti#atio#s o3 L&. mo%u!atio#>
&reque#c/ o3 osci!!ator A (C&REZ AE)
&reque#c/ o3 osci!!ator B (C&REZ BE)
Square% @i%th o3 osci!!ator A (CDF AE)
Square% @i%th o3 osci!!ator B (CDF BE)
&reque#c/ o3 cut8o33 3i!ter (C&5LTERE)

Destination Connection
@.+.D Po*y Mo,
This sectio# o33ers the #ecessar/ co##ectio# 3or hi"h 3reque#c/ mo%u!atio#s (&M).
These mo%u!atio#s are ma%e b/ 0o!/0ho#ica!!/ 0!a/e% mo%u!es> osci!!ator B a#% the
e#ve!o0e o3 the 3i!ter.
Fith CDo!/ Mo%E /ou ca# mo%u!ate the 3reque#c/ a#% the 0u!se @i%th o3 osci!!ator A as
@e!! as the cut8o33 3reque#c/ o3 the 3i!ter. This a!!o@s /ou to create meta!!ic sou#%s:
simi!ar to be!! sou#%s: or ver/ 0articu!ar s0ecia! e33ects (#otab!/ b/ mo%u!ati#" the cut8
o33 3reque#c/ o3 osci!!ator B).
Notice! f yo" "se oscillator # as a mod"lation so"rce, yo" can apply a mod"lation in which the speed will be
proportional to the note played on the keyboard+ ,his gi'es yo" some interesting effects when oscillator # will
be "sed in the lower fre2"encies (*3 FDEI!+
SOUR3E
AMOUNT
Setti#" 3or the mo%u!atio# rate o3>
The 3i!ter e#ve!o0e(C&5LT EN(E)
.sci!!ator B (C.S; BE)
DESTINATION Se!ectio# butto#s 3or mo%u!atio# %esti#atio#s>
&reque#c/ o3 osci!!ator A (C&REZ AE)
Square% @i%th o3 osci!!ator A (CDF AE)
;ut8o33 3i!ter 3reque#c/ (C&5LTERE)

The FM polyphonic modulation section
@.+.F S#c"on 0o,#s for "h# k#y)oar,
This sectio# a!!o@s /ou to>
To %eactivate the #ote re!ease (CRELEASEE). Fhe# a ,e/ o# the ,e/boar% is
re!ease%: the sou#% is imme%iate!/ i#terru0te% a#% %oes #ot 3o!!o@ the re!ease
0hase that is 0ro"ramme%.
To re!ease the ho!% co#ti#ui#" the #ote (C1.LE). Eve# @he# the ,e/ o# the
,e/boar% is re!ease%: the sou#% is mai#tai#e%.
To activate the CLE+AT.E 0!a/i#" mo%e. 5# this case: the e#ve!o0es are #ot
re!ease% @he# /ou !i#, t@o #otes b/ 0!a/i#" them o# /our ,e/boar%.
To activate a#% set the C+L5EE mo%e. This 0ermits /ou to 0ro"ressive!/ cha#"e
the osci!!ator 3reque#c/ @he# a #e@ #ote is activate%. This 3u#ctio# imitates the
"!issa#%o o3 vio!i#s: 3or eBam0!e.

RELEASE ;o##ectio# butto# 3or the re!ease
%OLD ;o##ectio# butto# 3or ho!%i#" a #ote
LEGATO ;o##ectio# butto# 3or the Le"ato mo%e (u#ique!/ avai!ab!e i#
mo#o0ho#ic mo%e).
= RANGE Set the ra#"e o3 the 0itch be#% @hee!
GLIDE Setti#" 3or the "!i%e time
G*,# Mo,#s The various mo%es 3or the "!i%e (C.&&? .N? LE+AT.E)

Playing Mode section
C9DEF(*; 3nly the 'ol"me en'elope will be taken into acco"nt by the <3*C f"nction+ ,his permits yo" to
make the so"nd 8li'ely: while keeping the en'elope a'ailable
@.+.+G G#n#ra* Para0#"#rs s#c"on
Amo#" the 0arameters /ou @i!! 3i#%> the "e#era! vo!ume: the "e#era! tu#i#" o3 the
DR.D1ET $: the activatio# o3 the A990: a#% the 0arameters be!o#"i#" to 0!a/i#" i#
u#iso#.

General Parameters
TUNE Setti#" 3or the "e#era! tu#i#" o3 the s/#thesiJer
A ;;G Butto# re!easi#" the A at 9901J
UNISON Se!ectio# butto# 3or CUN5S.NE mo%e
DETUNE Setti#" 3or %etu#i#" the voices o3 0o!/0ho#/
Notice! ,he det"ning knob for polyphonic 'oices is 'ery "sef"l for det"ning the notes in 8(nison: mode+ ,his
spreads the effect of the so"nd (a bit like the chor"s does!+ 5hen 8($S3$: mode is inacti'e, this parameter
gi'es a bit of instability to t"ning of the oscillators (an instability that was typical in older hardware synths!+
@.+.++ Th# 4h##*s
The @hee!s 3ou#% o# the si%e o3 the virtua! ,e/boar%: "ive /ou co#tro! o3 the 3reque#c/
o3 the osci!!ators (CD5T;1E) or the mo%u!atio# rate o3 the L&. (CM.E).
PIT3% Fhee! co#tro!!i#" the 0itch o3 the 3our osci!!ators
MOD Fhee! co#tro!!i#" mo%u!atio#

Wheels
9ttention; $one of the mod"lation made by the *F3 will be a"dible if the Mod 5heel is positioned at J (at the
bottom!+ 9lso notice that the position of the wheel is stored in a preset+
@.2 Proph#" 'S
The Dro0het (S bri#"s /ou a u#ique sou#% that has the stre#"th to sta#% o# its o@#: but
at the same time is com0!eme#tar/ to that o3 the Dro0het $.
The Dro0het (S uses vector or @ave tab!e s/#thesis 3or sou#% "e#eratio#. This a!!o@s 3or
a @i%e variet/ o3 varie% timbres to be 0ro%uce%: %ue to the 7M user se!ectab!e @ave
3orms that ca# be chose# as a# osci!!ator. The miBi#" mo%e 3or the osci!!ators is a!so
quite u#ique i# that it moves bet@ee# 3our 0oi#ts re0rese#ti#" the maBima! "ai# o3 the
3our osci!!ators 0rese#t i# the s/#thesiJer.

Prophet VS
The DR.D1ET (S is ma%e u0 o3>
9 osci!!ators (C.S;5LLAT.RS A: B: ; et E) usi#" @ave tab!e s/#thesis
6 miBer a#% sou#% e#ve!o0e 3or automatio# moveme#ts o3 the Ao/stic, 3or the
vo!ume o3 the 3our osci!!ators
6 mu!timo%e reso#a#t 3i!ter
6 am0!i3ier
$ 0oi#t e#ve!o0es %e%icate% to mo%u!atio#s o3 the 3i!ter a#% am0!itu%e
L&. (!o@ 3reque#c/ osci!!ator)
6 mo%u!atio# matriB
E33ects sectio# 3or chorus a#% %e!a/s
@.2.+ Osc**a"ors
There are 3our osci!!ators.
The osci!!ator a!!o@s /ou to co#tro! the 3reque#c/ (the tu#i#") a#% the basic timbres o3
the Dro0het (S. The %i33ere#ce bet@ee# the (S a#% the Dro0het $ is that the osci!!ators
o3 the (S use sam0!e @ave 3orms 3rom %iverse sources> acoustic i#strume#ts: voice: a#%
assorte% sou#% e33ects. These @ave 3orms "ive /ou access to a sou#% 0a!ette much
"reater tha# that o3 most a#a!o" s/#thesiJers.
To choose a @ave83orm: c!ic, o# the butto# 3ou#% o# the tit!e bar o3 the osci!!ator (the
"ra0hics o3 the @ave83orm bei#" use% a00ear to the ri"ht) the# s!i%e the mouse u0 or
%o@# to vie@ the various @ave83orms.

2RE< Tu#i#" ,#ob b/ semito#es o# t@o octaves
2INE Tu#i#" ,#ob 3or 3i#e tu#i#" (o#e about a semito#e)
S%APE Se!ectio# scree# 3or @ave83orms

Oscillators

Choice of Wave-forms
@.2.2 MB#r Hoys"ck
The miBer !ets /ou miB the 3our osci!!ators i# or%er to e#rich a#% %eve!o0 the sou#%. This
miB is %o#e @ith a Ao/stic, movi#" bet@ee# 3our 0oi#ts (A: B: ;: a#% ) re0rese#ti#" the
maBimum vo!ume o3 each o3 the osci!!ators.
Hoys"ck The Ao/stic, miBes the 3our osci!!ators i# rea! time

The Mixer
oub!e c!ic,i#" o# the Ao/stic, @i!! reset it to the ce#ter 0ositio#.
@.2.1 MB#r En/#*op#
The miB ca# a!so be %/#amica!!/ automate% b/ a# e#ve!o0e %e3i#i#" 3our 0erio%s: each
o3 @hich corres0o#%s to a 0ositio# to @hich the Ao/stic, ca# be 0ro"ramme%.
To activate this e#ve!o0e: 0ush the CE#ve!o0esE butto# i# the ri"ht8ha#% 0art o3 the
s/#thesiJer: the# se!ect CMiBerE.
The miBer e#ve!o0e is com0ose% o3 3our e%itab!e 0oi#ts: #umbere% 6: 2: <: a#% 9: the
0oi#t 0 bei#" co#si%ere% as a starti#" 0oi#t 3or the Ao/stic,.
To 0ositio# the 3our 0oi#ts: c!ic, o# the ce#ter o3 the Ao/stic, (the va!ue C9E is i#%icate%
at 3irst) a#% s!i%e the mouse. &rom there: the o#!/ mo%i3iab!e 0arameters are the
%uratio#s o3 the moveme#ts o3 the Ao/stic, bet@ee# each 0oi#t.
The setti#"s are create% b/ tur#i#" o#e o3 the 3our ,#obs situate% i# the CEN(EL.DEE
Jo#e: above the Ao/stic,. The corres0o#%i#" va!ue a00ears i# o#e o3 the 3our 3ie!%s 3ou#%
to the ri"ht o3 the 0a"e CEN(EL.DE? M5-ERE. 2ou ca# equa!!/ c!ic, o# the #umber a#%
s!i%e the mouse u0 or %o@#.
EN'ELOPE The e#ve!o0e automates the moveme#ts o3 the Ao/stic, %esi"#ati#" a
time to each o3 the 3our moveme#ts (0oi#ts 0 to 9) a#% %uri#" the !e#"th
o3 a #ote.
LOOP The L..D 3u#ctio# a00!ies a !oo0 bet@ee# to 0oi#ts o3 the e#ve!o0e
(.&&: 0R<O 6R<O 2R< or 0[R<O 6[R<O 2[R<). Fhe# the ,e/ is
re!ease%: the !oo0 is i#terru0te% a#% the moveme#t c/c!e o3 the Ao/stic,
is 3i#ishe%.
REPEAT The CREDEATE 3u#ctio# re0eats the moveme#t c/c!e o3 the Ao/stic, (.&&:
%e 6 to M a#% i#%e3i#ite!/ * ;8)

Envelope of the Mixer
@.2.; Typ#s of 2*"#rs
The 3i!ter o3 the DR.D1ET (S o33ers a Cmu!timo%eE 3i!ter. 2ou @i!! 3i#% the !o@ 0ass 3i!ter
29%B?octave s!o0e o3 the ori"i#a! Dro0het (S but a!so a hi"h 0ass 3i!ter: ba#% 0ass: a#%
CNotchE.
2ILT EN' Ma#ua! setti#" 3or the amou#t o3 mo%u!atio# b/ the 3i!ter e#ve!o0e.
3UTO22 &reque#c/ setti#" o3 the cuto33 3i!ter: tu#i#" at 60 1J to 2$ ,1J
RESO L#ob setti#" the 3i!ter reso#a#ce

Filter Module
Lo@ Dass &i!ter 29%B ?octave s!o0e (LD &i!ter)
The !o@ 0ass 3i!ter 29 %B #ative to the Dro0het (S. 5t e!imi#ates the 3reque#cies 3ou#%
above the cut8o33 3reque#c/.

Low Pass Resonant Filter
The other 3our mo%es o3 3i!tratio# %i% #ot eBist o# the ori"i#a! Dro0het (S but the/ are
0rese#t o# a #umber o3 other %i"ita! a#% a#a!o" s/#thesiJers. The/ a!! use a s!o0e o3 62
%B?octave. These mo%es @ere a%%e% to i#crease the so#ic 0ossibi!ities o3 the DR.D1ET
(.

1i"h Dass &i!ter (1D &i!ter)
The hi"h80ass 3i!ter acts s/mmetrica!!/ to that o3 the !o@ 0ass 3i!ter. 5t e!imi#ates
3reque#cies be!o@ the cut8o33 3reque#c/.

High Pass Resonant Filter
Ba#% Dass &i!ter (BD &i!ter)
The ba#% 0ass 3i!ter is the combi#atio# o3 a 62 %B?octave !o@ 0ass 3i!ter a#% a hi"h 0ass
3i!ter> it e!imi#ates the 3reque#cies 3ou#% o# either si%e o3 the cut8o33 3reque#c/. Use it to
ma,e a certai# ba#% o3 3reque#cies that /ou @ish to em0hasiJe a00ear. This @i!! ma,e
the sou#% more C0i#che%E.

Band Pass Filter
Notch
The CNotchE is o00osite to that o3 the 0ass ba#% 3i!ter. 5t e!imi#ates the 3reque#cies
i#si%e a ba#% o3 3reque#cies.
The reso#a#ce a!!o@s /ou to acce#tuate the sa" o3 a ba#% o3 3reque#cies.

The Filter notch
9ttention; Setting the resonance of the notch filter to a large amo"nt ca"ses the effect of the notch filtering to
be cancelled+
@.2.5 2*"#r En/#*op#
The 3i!ter e#ve!o0e ca# be accesse% b/ the CE%itE o0tio# 3ou#% i# the CE#ve!o0eE Jo#e
u#%er the 3i!ter mo%u!e.
The "ra0hic e%iti#" a00ears o# the L; scree# 3ou#% to the ri"ht o3 the DR.D1ET (S.
The 3i!ter e#ve!o0e is com0ose% o3 $ 0oi#ts ra#"i#" 3rom 0 (i#itia! !eve!) to 9 (e#% o3 the
re!ease).
A si#"!e 0arameter is o33ere% 3or 0oi#t 0 (Leve!). Doi#ts 6 to 9 a!!o@ /ou to set the
CLeve!E a#% the CTimeE bet@ee# t@o 0oi#ts set 3rom 0.00 to 60000ms.
E%iti#" this e#ve!o0e ca# be %o#e "ra0hica!!/ b/ c!ic,i#" o# o#e o3 the 0oi#ts (0 to 9)
a#% the# s!i%i#" the mouse vertica!!/ (Leve!) or horiJo#ta!!/ (Time).
The CEN(EL.DEE 0a"e ca# be accesse% b/ a tab 3ou#% o# the ri"ht o3 the Dro0het (S.
.#ce /ou have accesse% this 0a"e: c!ic, o# the C&5LTERE o0tio#.
5 pon" 2ILTER The e#ve!o0e mo%u!ates the cut8o33 3reque#c/ b/ a!!ocati#" a Leve!
a#% Time to each o3 the $ 0oi#ts o3 the active e#ve!o0es %uri#" the
ho!% (0oi#ts 0 to <) a#% the #ote re!ease (0oi#t 9).
LOOP The Loo0 3u#ctio# a!!o@s /ou to %e3i#e a se"me#t 3ou#% bet@ee#
t@o 0oi#ts o3 the e#ve!o0e @hich is mea#t to be re0eate% (.&&:
0R< > 6R< O 2R< or 0[R< O 6[R< O 2[R<).
REPEAT
The Re0eat 3u#ctio# re0eats the !oo0 a certai# #umber o3 times
(.&&: %e 6 to M a#% i#%e3i#ite!/ * ;8)

Filter Envelope
@.2.@ A0p*f#r7Pan
The Am0!i3ier?Da# co#tro!s the "e#era! vo!ume o3 the Dro0het (S.
A 0a#oramic ,#ob a!!o@s /ou to set the stereo0ho#ic 0!aceme#t o3 a voice (o#e voice
equiva!e#t to a #ote 0!a/e%). To choose o# o3 active voices: c!ic, o# the se!ectio# scree#
3ou#% to the ri"ht o3 the #ame C(oiceE.
'OLUME Setti#" 3or the vo!ume o3 the DR.D1ET (S out0ut si"#a!
PAN Da#oramic setti#" o3 the se!ecte% voice
'OI3E Se!ectio# scree# 3or the voice

Amplifier
@.2.8 A0p*f#r En/#*op#
The am0!itu%e e#ve!o0e ca# be e%ite% b/ the CE%itE butto# 3ou#% i# the E#ve!o0e Jo#e
3ou#% u#%er the Am0!i3ier mo%u!e.
The e%iti#" "ra0hics a00ear o# the L; scree# 3ou#% to the ri"ht o3 the Dro0het (S.
The am0!itu%e e#ve!o0e is a!so com0ose% o3 $ 0oi#ts but the 3ourth (the re!ease) has
o#!/ the Time 0arameter set 3rom 0.00 to 60000ms (the Leve! remai#i#" i# a#/ case at
Jero).
.#!/ the Leve! 0arameter ca# be set o# the 0 0oi#t. The 0oi#ts 6 to < set the Leve! a#%
the Time bet@ee# t@o 0oi#ts set 3rom 0.00 to 60000ms. The 9 0oi#t ca# o#!/ be set b/
the CTimeE 0arameter.
The CE#ve!o0eE 0a"e ca# be accesse% b/ a tab 3ou#% o# the ri"ht8ha#% si%e o3 the
DR.D1ET (S i#ter3ace. .#ce /ou have o0e#e% the CE#ve!o0eE tab: choose the CAm0!i3ierE
o0tio#.
AMPLI2IER This e#ve!o0e mo%u!ates the cut8o33 3reque#c/ b/ a!!ocati#" the CLeve!E
a#% the CTimeE to each o3 the $ active 0oi#ts o3 the e#ve!o0e %uri#" the
i#terva! bet@ee# 0oi#ts 0 a#% < a#% the re!ease o3 the #ote (0oi#t 9)
LOOP The !oo0 3u#ctio# a!!o@s /ou to %e3i#e a !oo0 bet@ee# t@o o3 the
e#ve!o0e 0oi#ts (.&&: 0R< > 6R< O 2R< or 0[R< O 6[R< O 2[R<).
REPEAT The re0eat 3u#ctio# re0eats the !oo0 a certai# #umber o3 times (.&&: %e
6 to M a#% i#%e3i#ite!/ * ;8).

Amplification Envelope
@.2.D Lo. 2r#Iu#ncy Osc**a"or 5L2O9
The t@o L&.s are o3te# use% as mo%u!atio#s sources. The/ a!!o@ /ou to %eve!o0 o#e or
severa! 0arameters c/c!ica!!/.
The co##ectio#s 3or the L&.s to the 0arameters that the/ mo%u!ate are ma%e o# the
mo%u!atio# matriB 3ou#% o# the L; scree# (ri"ht8ha#% si%e o3 Dro0het (S). Se!ect the
mo%u!atio# tab.

RATE L#ob setti#" the L&. rate
4A'E Scree# 3or choosi#" the $ @ave 3orms>
Tria#"!e
Square
Sa@ Tooth
5#verse% Sa@ tooth
Ra#%om

The LFOs
@.2.F Mo,u*a"on Ma"rB
The mo%u!atio# matriB a!!o@s /ou to co##ect the %i33ere#t mo%u!atio# sources (L&.:
E#ve!o0esN) to the s/#thesis 0arameters (;uto33: &reque#c/: DFN) o3 the Dro0het (S.
The CMo%u!atio#E 0a"e is accessib!e b/ c!ic,i#" o# the tab 3ou#% i# the scree# o# the
ri"ht ha#% si%e o3 the Dro0het (S. 5t a!!o@s /ou to set>

The S.UR;ES vertica!!/ are>
L&.6
L&.2
DRESSURE
(EL.;5T2
LE2B.AR
&5LT EN(EL.DE
AMDL EN(EL.DE
M.ULAT5.N F1EEL
).2ST5;L -
).2ST5;L 2

The EST5NAT5.NS (horiJo#ta!!/) are>
&REZ (S .S; A
&REZ (S .S; B
&REZ (S .S; ;
&REZ (S .S;
M5- A?;
MiB B?
;UT.&&
&5LT EN(EL.DDE
L&.6 RATE
L&.6 AM.UNT
L&.2 RATE
L&.2 AM.UNT
(S (.LUME
AMDL EN(EL.DDE
DAN.RAM5;

Mo%u!atio# co##ectio#s are ma%e b/ c!ic,i#" o# the @hite 0oi#ts 0!ace% at the
i#tersectio#s bet@ee# a source a#% a %esti#atio#. A# ora#"e i#sert a00ears i# their 0!ace
@he# the co##ectio# is ma%e.

Matrix Modulation

Click on the white points to add a modulation connection
@.2.+G 3horus an, D#*ay Eff#c"s
The Dro0het8(2.$ o33ers t@o a%%itio#a! e33ects> a chorus a#% stereo %e!a/ that 0ermit
/ou to a%% co!or a#% s0ace to /our sou#%.
The e33ects ca# be accesse% b/ c!ic,i#" o# the CE&&E;TSE tab 3ou#% i# the ri"ht ha#%
sectio# o3 the Proph#" 'S. The ca# be activate% or %eactivate% b/ c!ic,i#" o# the
C;horusE or Ce!a/E butto#s 3ou#% i# the too! bar.

H+.+@J+@ ,he Chor"s
The chorus mo%u!e has three ,#obs> CRateE: Ce0thE: a#% Cr/?FetE @hich sets the
s0ee%: %e0th a#% re!atio# bet@ee# the si"#a! o3 ori"i# a#% the si"#a! mo%i3ie%.
Three se!ectio# butto#s a!!o@ /ou to choose a variatio# o3 chorus t/0es: 3rom sim0!est to
the %e#sest: i# the CE#semb!eE st/!e that is o3te# 0rese#t o# a#a!o" machi#es.

RATE Setti#" ,#ob 3or the chorus 3reque#c/
DEPT% Setti#" 3or the mo%u!atio# o3 %e0th
DRE74ET Ba!a#ce bet@ee# the sou#% @ith a#% @ithout e33ect
TEPE Se!ectio# butto#s 3or the three t/0es o3 chorus

The chorus
H+.+@J+. ,he Celay
The e!a/ mo%u!e has>
T@o ,#obs: CTime Le3tE a#% CTime Ri"htE to set the %uratio# o3 the re0etitio# o#
the !e3t a#% ri"ht cha##e!s.
T@o ,#obs: C&ee%B Le3tE a#% C&ee%B Ri"htE to set the "ai# a#% retur# o# the
!e3t a#% ri"ht cha##e!s
Cr/?FetE ,#ob to set the re!atio# bet@ee# the si"#a! o3 ori"i# a#% the mo%i3ie%
si"#a!
The CS/#cE i#terru0ter s/#chro#iJes the %e!a/ retur# time o# the host tem0o
a00!icatio# i# M55
T0# L7R Setti#" 3or re0etitio# time o3 the Le3t (L) a#% Ri"ht (R)
2##,)ack L7R Setti#" 3or the #umber o3 re0etitio#s 3or the Le3t (L) a#% (Ri"ht)
si%es
DRE74ET Ba!a#ce bet@ee# the sou#% @ith a#% @ithout e33ects
SEN3 Se!ectio# butto# to s/#chro#iJe M55 tem0o

The delay
@.2.++ P*ayn! con"ro*s
This 0a"e "ives access to "!oba! setti#"s o3 the Dro0het (S ("e#era! vo!ume: "e#era!
tu#i#": "!i%e: u#iso#N). 2ou ca# access it o# the scree# to the ri"ht o3 the s/#thesiJer b/
c!ic,i#" o# the CD!a/ M.ESE tab.
The C+L5EE mo%e 0ro"ressive!/ cha#"es the osci!!ator 3reque#cies each time a #e@ #ote
is activate%.
'OLUME Setti#" 3or the "e#era! vo!ume o3 the Dro0het (S
TUNE Setti#" 3or the "e#era! tu#i#" o3 the s/#thesiJer
UNISON Starts Cu#iso#E mo%e
'. DETUNE Setti#" to %etu#e the 0o!/0ho#ic voices
%OLD Butto# to start the ho!% mo%e
LEGATO A!!o@s o#e to 0!a/ i# a !e"ato st/!e (ca# be activate% o#!/ i# the
mo#o0ho#ic 0!a/i#" mo%e)
GLIDE Setti#" 3or the "!i%e time
G*,# Mo,#s Dositio#s 3or the "!i%e mo%e
.&&
.N
LE+AT. * This is active o#!/ i# mo#o0ho#ic 0!a/i#" mo%e

Playing Modes
@.2.+2 4h##*s
PIT3% ;o#tro! @hee! 3or the 0itch o3 the 3our osci!!ators
MOD ;o#tro! @hee! 3or mo%u!atio#
Demember, no mod"lation will be a"dible with a mod"lation wheel if this is not connected to a destination in
the mod"lation matrix+ <owe'er, the position of the wheel is kept in the memory of the preset+
@.1 Proph#" >%y)r,?
This i#ter3ace uses both s/#thesiJers at the same time i# or%er to create %iverse a#%
u#hear% sou#%s. 5t ca# be o0e#e% b/ c!ic,i#" o# the C1/bri%E butto# 3ou#% o# the too!
bar.
2ou @i!! 3i#% a!! the 0arameters i#c!u%e% o# both o3 the s/#thesiJers a#% %escribe% i# the
0ara"ra0hs be!o@.
5# this cha0ter: @e @i!! co#ce#trate 0rimari!/ o# the a%%itio#a! 0arameters. These are
3ou#% o# the L; scree# 3ou#% to the ri"ht o3 the Dro0het (S i#ter3ace.

Hybrid interface
@.1.+ Au,o 3onn#c"on Ma"rB
The au%io co##ectio# matriB: as its #ame i#%icates: routes the sou#% si"#a! bet@ee#
%i33ere#t mo%u!es o3 the t@o s/#thesiJers (osci!!ators to the 3i!ters: 3i!ters to the au%io
out0ut).
The %i33ere#t co##ectio#s are ma%e b/ c!ic,i#" o# the @hite 0oi#ts 0!ace% at the
i#tersectio#s bet@ee# a source a#% a %esti#atio#. A ora#"e i#sert a00ears at these
0oi#ts @he# the cha##e!s are co##ecte%.
H+A+@+@ ,ypes of oscillators
To se!ect the osci!!ators: c!ic, o# the 0a#e! corres0o#%i#" to o#e o3 the 3our sources * A:
B: ;: a#% * to ma,e the me#u o33eri#" osci!!ator choices a00ear.
The %i33ere#t CSourcesE avai!ab!e>
SOUR3E A: C.S;. A (SE or C.S;. A D$E
SOUR3E =: C.S;. B (SE or C.S;. B D$E
SOUR3E 3: C.S;. ; (SE or #othi#" (CN.NEE)
SOUR3E D: C.S;. (SE or #othi#" (CN.NEE)
Demember that it is not possible to connect more than B oscillators sim"ltaneo"sly+

Connection to the Oscillator to source A
H+A+@+. Connection of the two types of filters%
The out0ut sources o3 osci!!ators A: B: ;: a#% ca# be co##ecte% to the t@o avai!ab!e
3i!ters. Three co##ectio#s @i!! be 0ossib!e>
S.UR;ES A: B: ; a#% to &5LTER (S
S.UR;ES A: B: ; a#% to &5LTER $
S.UR;ES A: B: ; a#% to &5LTER (S seria! co##ectio# to that o3 &5LTER $

Serial Connection of the filter Pro VS to the filter Pro 5
H+A+@+A Connection of noise of the -rophet / to the filters
The #oise mo%u!e o3 the Dro0het $ ca# be route% to the Dro0het (S 3i!ter: the Dro0het $
3i!ter: or to the t@o seria! co##ectio#s.

Noise Module connection to the Pro VS filter
H+A+@+B 9"dio 3"tp"t connection to the -rophet / and VS filters
These co##ectio#s ca# be use% @ithout a# active osci!!ator (@ith o#!/ auto 3i!ters
osci!!ati#" as a so#ic source: 3or eBam0!e: "e#erati#" a si#usoi%a! @ave 3orm). 5t is
0ossib!e to co##ect the 3i!ters o3 the t@o s/#thesiJers to"ether or the t@o i# a series.
@.1.2 Mo,u*a"on Ma"rB
;o#trar/ to the mo%u!atio# matriB o3 the Dro0het (S that @e have 0revious!/ see#: here
a!! the i#%ivi%ua! co##ectio#s o3 the Dro0het $ @i!! be equa!!/ avai!ab!e a#% co##ectab!e
to the 0arameters o3 the Dro0het (S.
This a!!o@s /ou to a%% mo%u!atio# sources theoretica!!/ i#accessib!e @ith the Dro0het $
@he# it is a!o#e such as the ve!ocit/: a3ter8touch: or #umerous other sources o3
mo%u!atio# 0rese#t o# the Dro0het (SH

1ere is a com0!ete !ist o3 sources a#% mo%u!atio# %esti#atio#s 0rese#t i# this matriB>
The S.UR;ES (vertica!!/) are>
L&.6 (Dro (S)
L&.2 (Dro (S)
DRESSURE (Dro (S)
(EL.;5T2 (Dro (S)
LE2B.AR (Dro (S)
&5LT EN(EL.DE (Dro (S)
AMDL EN(EL.DE (Dro (S)
M.ULAT5.N F1EEL (Dro (S)
).2ST5;L - (Dro (S)
).2ST5;L 2 (Dro (S)
L&. DR.D1ET $
&5LT EN( DR.D1ET $
AMDL EN( DR.D1ET $

The EST5NAT5.NS (horiJo#ta!!/) are>
&REZ (S .S; A (Dro (S)
&REZ (S .S; B (Dro (S)
&REZ (S .S; ; (Dro (S)
&REZ (S .S; (Dro (S)
;UT.&& (Dro (S)
&5LT EN(EL.DDE (Dro (S)
L&.6 RATE (Dro (S)
L&.6 AM.UNT (Dro (S)
L&.2 RATE (Dro (S)
L&.2 AM.UNT (Dro (S)
(S (.LUME (Dro (S)
AMDL EN(EL.DDE (Dro (S)
DAN.RAM5; (Dro (S)
&REZ DR. $ .S; A
&REZ DR. $ .S; B
(.L DR. $ .S; A
(.L DR. $ .S; B
DF A DR.D1ET $
DF B DR.D1ET $
N.5SE DR.D1ET $
;UT.&& DR.D1ET $
(.LUME DR.D1ET $
Caref"l; 5hen yo" pass from one synthesizer to another F from the 8<ybrid: to -rophet / alone for example F
the settings of the a"dio connection matrix will change radically; =o" will no longer hear the -rophet VS
beca"se its a"dio connection will be a"tomatically c"t+ <owe'er, it will be reacti'ated when yo" pass from the
-rophet / alone to the 8/ ?VS:+
5hen it ret"rns, yo" will find the parameters of the -rophet VS that yo" left still intact in the <ybrid nterface+

The modulation Matrix of the Hybrid interface
8 Th# )ascs of su)"rac"/# syn"h#ss
Subtractive s/#thesis a00eare% at the e#% o3 the 67M0s: "ivi#" birth to the 3irst a#a!o"
s/#thesiJers> Moo": Seque#tia! ;ircuits (the Dro0het Series): ARD: EMS: .berheim:
Ro!a#% (S1 or )u0iter series): 2amaha (;S series) a#% Lor" (MS a#% DS series). uri#"
the 67=0s: the 0ure!/ a#a!o" a%%itive s/#thesis mo%e! o3 the 3irst ,e/boar%s @as
0ro"ressive!/ re0!ace% b/ @ave tab!e osci!!ators (Dro0het (S) or sam0!e base%
i#strume#ts.
As a# o@#er o3 the Dro0het8(2.$: /ou #o@ have access to a s/#thesiJer @ith imme#se
so#ic "e#eratio# 0ossibi!ities: @here subtractive s/#thesis is cou0!e% @ith the a#a!o"
osci!!ators o3 the Dro0het $ a#% the @ave tab!e sou#%s o3 the Dro0het (S.

T%E =ASI3S
.3 a!! the 3orms o3 au%io s/#thesis: subtractive is o#e o3 the o!%est: a#% to this %a/: the
most 3reque#t!/ em0!o/e% b/ sou#% %esi"#ers a#% musicia#s a!i,e. This is %ue to the
sim0!icit/ @ith @hich com0!eB sou#%s ca# be create%: over the more u#@ie!%/ 3orms o3
s/#thesis tech#iques: such as a%%itive or "ra#u!ar: to #ame but t@o. As a basic overvie@
to subtractive s/#thesis: o#e ma/ co#si%er a#/ sou#% create% either i# #ature or o# /our
s/#thesiJer o3 choice: as co#sisti#" o3 a #umber o3 si#e @aves: or harmo#ics "rou0e%
to"ether. 5# subtractive s/#thesis: @e start @ith a harmo#ica!!/ rich sou#% such as a sa@
@ave: a#% throu"h 3i!teri#": @e remove the si#e @aves (or harmo#ics) that @e %o #ot
@a#t. This as /ou ca# ima"i#e is a !ot more com0!eB tha# tur#i#" a 3i!ter co#tro! ,#obH
8.+ T%E T%REE MAIN ELEMENTS
8.+.+ Th# Osc**a"or or '3O
The osci!!ator or (;. ('o*"a!# 3on"ro**#, Osc**a"or) is the starti#" mo%u!e (@ith the
#oise mo%u!e @hich is o3te# c!asse% amo#" the osci!!ators) 3or the creatio# o3 a sou#% o#
a# a#a!o" s/stem.
5t @i!! "e#erate the i#itia! sou#% si"#a!. Fe ca# thi#, o3 the osci!!ator !i,e a vio!i# stri#"
that o#ce stro,e% or 0!uc,e%: vibrates to create its sou#%.

Oscillator Section on the Prophet 5

Oscillator Section on the Prophet VS
The mai# osci!!ator setti#"s are>
Th# p"ch %etermi#e% b/ the osci!!atio# 3reque#c/. 2ou ca# set the 3reque#c/ o3
the osci!!ator @ith 2 co#tro!!ers>
The tu#i#" 0arameter (C&REZUEN;2E) a!!o@s /ou to tu#e the osci!!ator b/ semi8
to#es o# ra#"e o3 $ octaves.
The 3i#e tu#i#" 0arameter (C&5NEE) 3i#e!/ tu#es the osci!!ator u0@ar%s b/ a
semi8to#e. This 0arameter "ives a bit more !i3e to /our sou#% @he# /ou use
severa! osci!!ators simu!ta#eous!/: %ue to %i33ere#ce i# 3reque#cies bet@ee# the
osci!!ators.
Th# .a/#for0 @hich %etermi#es the harmo#ic rich#ess o3 the au%io si"#a!. .#
the Dro0het8(2.$: M @ave3orms are avai!ab!e>
The sa@ tooth 0rese#ts the richest au%io si"#a! o3 the < @ave3orms (it co#tai#s
a!! o3 the harmo#ics at %ecreasi#" vo!ume !eve!s i# hi"h 3reque#cies). 5ts sou#%
is i%ea! 3or brass sou#%s: 0ercussive bass sou#%s or rich accom0a#ime#ts.

The square 0ossesses a more Cho!!o@E sou#% that the sa@ tooth (it o#!/
co#tai#s o%% harmo#ics) but #o#e the !ess: its rich sou#% (#otab!/ i# !o@
3reque#cies) ca# be use% 3or sub8bass sou#%s that @i!! come out @e!! i# the miB
(the square osci!!ator is o3te# set a# octave be!o@ that o3 the sa@ tooth): @oo%
sou#%s (c!ari#et: i3 the square si"#a! is a !itt!e 3i!tere%): etc.N

The tria#"!e ca# be co#si%ere% !i,e a ver/ 3i!tere% (a#% so3t) square si"#a!. 5t is
ver/ !o@ i# harmo#ics (o%% o#!/) a#% @i!! be ver/ use3u! 3or creati#" sub
basses: 3!ute sou#%s: etc.N

Triangle
P4M (Pu!se 4i%th Mo%u!atio#) is a setti#" that a!!o@s /ou to mo%i3/ the @ave3orm
c/c!e (or @ave !e#"th). This ca# be %o#e ma#ua!!/ @ith the he!0 o3 a ,#ob CP4E or b/
mo%u!atio# (@ith a# e#ve!o0e or L&.). This 0u!se @i%th variatio# tra#s!ates to a
s0ectrum mo%i3icatio#: resemb!i#" a @ave3orm cha#"e.

Waveforms of the PROPHET 5

An example of a PROPHET VS waveform
The synchron:a"on o3 a# osci!!ator @ith a#other creates more com0!eB @ave3orms. 53
3or eBam0!e: /ou s/#chro#iJe osci!!ator2 @ith osci!!ator6: osci!!ator2 @i!! restart a #e@
0erio% ever/ time the 3irst osci!!ator com0!etes its 0erio%: eve# i3 osci!!ator2 has #ot 3u!!/
com0!ete% its curre#t c/c!e (this si"#i3ies that it is #ot tu#e% to the same to#a!it/H) The
more /ou tu#e osci!!ator2 u0@ar%s: the more /ou @i!! e#cou#ter com0osite @ave3orms.

5# the above ima"e: osci!!ator2 is s/#chro#iJe% @ith the 3irst a#% tu#e% to @ith %oub!e
the to#a!it/. The resu!ti#" @ave3orm is u#ique i# that it ca##ot be create% b/ sta#%ar%
s/#thesis tech#iques such as !a/eri#" or 3i!teri#".
2r#Iu#ncy 0o,u*a"on (2M) ca# be create% bet@ee# 2 osci!!ators b/ co##ecti#" the
au%io out0ut 3rom a 3irst si#usoi%a! osci!!ator to the mo%u!atio# i#0ut o3 a seco#%
osci!!ator. .# the Dro0het8(2.$: i3 /ou tur# the mo%u!atio# rate ri#": /ou @i!! obtai# a
sou#% richer i# harmo#ics. 53 /ou i#tro%uce a square or sa@tooth si"#a!: the resu!t ca#
be quic,!/ %istorte%N but i#teresti#" 3or e#harmo#ic so#orities !i,e be!! sou#%s or s0ecia!
e33ects 3or eBam0!e.

The Noise Mo%u!e
The #oise si"#a! s0ectrum has a!! 3reque#cies at a# equa! vo!ume !eve!: o3te# re3erre% to
as C@hite #oiseE. &or this reaso#: the #oise mo%u!e is use% to create %i33ere#t #oises !i,e
the imitatio# o3 @i#% or s0ecia! e33ects. Fhite #oise is the richest o3 #oises. Di#, #oise is
a!so re"u!ar!/ 0rese#t o# s/#thesiJers. 5t is !ess rich i# the hi"h 3reque#cies tha# @hite
#oise.
A!so #ote that the au%io out0ut o3 #oise ca# a!so be use% as a mo%u!atio# si"#a!
(es0ecia!!/ @he# stro#"!/ 3i!tere%) to create ra#%om c/c!ic variatio#s.
.# har%8@ire% s/#thesiJers: the #oise mo%u!e is either i#te"rate% i#to the osci!!ator (its
au%io out0ut bei#" 0!ace% to com0!ime#t the @ave3orm out0uts): or @ithi# the miBer
%irecti#" the si"#a!s to@ar%s the 3i!ter.
n the -rophet / section, yo" will find the noise generator among the 'ol"me settings of the 8mixer:+

The Prophet 5 noise generator
8.+.2 Th# MB#r
The au%io si"#a! "e#erate% b/ a# osci!!ator (the @ave3orm) is "e#era!!/ %irecte% to@ar%s
a 3i!ter mo%u!e ('o*"a!# 3on"ro**#, 2*"#r).
The Dro0het8(2.$ co#tai#s t@o t/0es o3 miBers>
The MiBer o3 the Dro0het $> /ou ca# i#%ivi%ua!!/ set the vo!ume o3 both
osci!!ator A a#% B a#% o3 the #oise "e#erator. The miBer %oes#t have a
mo%u!atio# i#0ut so the setti#"s are %o#e ma#ua!!/.

The Mixer of the Prophet 5
The MiBer o3 the Dro0het (S> as i# the Dro0het $: this miBer sets the vo!ume o3
the 3our osci!!ators o3 the Dro0het (S. The miB is %o#e @ith a Ao/stic, @hich
moves bet@ee# 3our 0oi#ts @ithi# a %iamo#% sha0e. Each 0oi#t (A: B: ; or )
corres0o#%s to the maBimum vo!ume o3 each osci!!ator. The Dro0het (S miBer
ca# a!so be automate% b/ a 3our 0arameter e#ve!o0e (see cha0. 9 CMo%u!es?
MiBer E#ve!o0eE) or b/ other mo%u!atio# sources @hich ca# be co##ecte% i# the
mo%u!atio# matriB (see cha0. 9 CMo%u!atio# MatriBE).

The Mixer of the Prophet VS and its envelope
8.+.1 Th# f*"#r or '32
The au%io si"#a! "e#erate% b/ a# osci!!ator (the @ave3orm) is #eBt "e#era!!/ %irecte% to
a 3i!ter mo%u!e or (;& ('o*"a!# 3on"ro**#, 2*"#r). 5t is this mo%u!e that @e use to
co#tro! the sou#% b/ 3i!teri#" (b/ removi#" or subtracti#" certai# 3reque#cies: @hich
eB0!ai#s the #ame "ive# to this t/0e o3 s/#thesis) the harmo#ics situate% arou#% a cut8
o33 3reque#c/. 5t ca# be co#si%ere% to be a so0histicate% equa!iJer that re%uces:
%e0e#%i#" o# the 3i!ter t/0e: the hi"h or !o@ 3reque#cies o3 a sou#%.
The remova! o3 u#%esirab!e 3reque#cies at the cut8o33 3reque#c/ is #ot %o#e su%%e#!/ but
0ro"ressive!/: %e0e#%i#" o# the 3i!teri#" s!o0e. This 3i!teri#" s!o0e is eB0resse% i#
%ecibe!s 0er octave (or %B?.ct). The 3i!ters use% i# c!assic a#a!o" s/#thesiJers have 29
%B?.ct or 62 %B?.ct s!o0es.
The Dro0het8(2.$ o33ers severa! t/0es o3 s!o0e>

The removal of undesirable frequencies at the cut-off frequency
.# the Dro0het $ a#% (S: /ou have access to a t/0e o3 3i!teri#" @ith a 29 %B?.ct s!o0e.
Lets have a !oo, at some o3 its 0ro0erties>

The !o@80ass 3i!ter (LD&)
The !o@80ass 3i!ter (LD&) 0ro"ressive!/ removes hi"h 3reque#cies above the assi"#e%
3reque#c/ !imit (the cut8o33 3reque#c/) a#% a!!o@s the sou#% be!o@ the cut8o33 to 0ass
throu"h u#cha#"e%. e0e#%i#" o# the setti#" @e @i!! hear the sou#% becomi#" more or
!ess Cbri!!ia#tE: more or !ess C%am0e#e%E.
This is the t/0e o3 3i!teri#" that /ou @i!! 3i#% more o3te# tha# #ot o# s/#thesiJers that
use subtractive s/#thesis. 5t ca# be 3ou#% o# most o3 the rece#t a#a!o" a#% %i"ita!
s/#thesiJers.

Low Pass Filter
The Dro0het (S 0ro0oses other t/0es o3 com0!eme#tar/ 3i!teri#">

1i"h Dass &i!ter (1D &i!ter)
The hi"h80ass 3i!ter acts s/mmetrica!!/ to that o3 the !o@ 0ass 3i!ter. 5t e!imi#ates
3reque#cies be!o@ the cut8o33 3reque#c/.

High Pass Resonant Filter
Ba#% Dass &i!ter (BD &i!ter)
The ba#% 0ass 3i!ter is the combi#atio# o3 a !o@ 0ass 3i!ter a#% a hi"h 0ass 3i!ter> it
e!imi#ates the 3reque#cies 3ou#% o# either si%e o3 the cut8o33 3reque#c/. Use it to ma,e a
certai# ba#% o3 3reque#cies that /ou @ish to em0hasiJe a00ear. This @i!! ma,e the sou#%
more C0i#che%E.

Band Pass Filter
Notch &i!ter
The CNotchE is o00osite to that o3 the 0ass ba#% 3i!ter. 5t e!imi#ates the 3reque#cies
i#si%e a ba#% o3 3reque#cies.
The reso#a#ce a!!o@s /ou to acce#tuate the sa" o3 a ba#% o3 3reque#cies.

The Filter notch
A seco#% setti#" to com0!ime#t the cut8o33 3reque#c/> the reso#a#ce (/ou @i!! a!so 3i#% it
ca!!e% Cem0hasisE or CZE * 3or Zua!it/ o3 3i!teri#").
The reso#a#ce am0!i3ies 3reque#cies c!ose to the cut8o33 3reque#c/. The other
3reque#cies remai#i#" are either u#cha#"e% (be!o@ the cut8o33 3reque#c/) or re%uce%
(above the cut8o33 3reque#c/).
.# the Dro0het8(2.$: /ou ca# i#crease the rate o3 reso#a#ce throu"h the Cem0hasisE
,#ob.
Fhe# /ou i#crease the reso#a#ce: the 3i!ter becomes more se!ective: the cut8o33
3reque#c/ is am0!i3ie%: a#% the sou#% be"i#s to C@hist!eE.

The resonance amplifies frequencies close to the cut-off frequency
Fith a hi"h reso#a#ce !eve!: the 3i!ter @i!! be"i# to 0ro%uce a sou#% c!ose to a si#e
@ave3orm. At this sta"e: the use o3 a ,e/ 3o!!o@ is ver/ im0orta#t as /ou ca# create a
me!o%/ b/ tu#i#" the cut8o33 3reque#c/ o3 the 3i!ter @ith the 3reque#c/ o3 the osci!!ators.

The filter settings of the Prophet 5
8.+.; Th# a0p*f#r or '3A
The am0!i3ier ('o*"a!# 3on"ro**#, A0p*f#r) receives the au%io si"#a! comi#" 3rom
the 3i!ter (or %irect!/ 3rom the osci!!ator i3 it is #ot bei#" 3i!tere%) to be a%Auste% be3ore
the vo!ume is se#t to the s0ea,ers.

The Prophet 5 VCA
5# co#c!usio#: here is a %ia"ram that shou!% he!0 /ou to u#%ersta#% the com0ositio# o3 a
basic sou#%>

8.2 O"h#r 0o,u*#s
8.2.+ Th# k#y)oar,
53 @e sto0 here: the sou#% that /ou @i!! obtai# @i!! be u#i3orm: @ithout !i3e a#% @ithout
a# e#%HH The osci!!ator %e!ivers a sou#% si"#a! (the au%io out0ut o3 a @ave3orm) o3 a
3iBe% 0itch i# a co#ti#uous ma##er. 5# the %ia"ram above: the o#!/ @a/ to sto0 this
quic,!/ u#0!easa#t sou#% is to !o@er the 3i!ter cut8o33 3reque#c/ so that it becomes more
a#% more %am0 u#ti! it 3i#a!!/ %isa00earsO or sim0!er /et: !o@er the vo!ume o3 the
am0!i3ierH
To start a#% sto0 the sou#%: a#% this at the to#e that @e require: @e use a
,e/boar% that is co##ecte% both to the (;A throu"h a "ate a#% to the 3reque#c/ o3
the osci!!ators. This @i!! C0!a/E the sou#% as soo# as a ,e/ is 0resse%: a#% mute it
@he# re!ease%. .3 course: this co##ectio# is ma%e throu"h M55 (it re0!aces the
C"ateE t/0e o3 co##ectio#s o# a#a!o" s/#thesiJers: @hich tri""er the #ote @he# a
,e/ is 0resse% a#% sto0 it @he# re!ease%).
Seco#%!/: 3or the #otes to tu#e correct!/ to the #otes o3 the ,e/boar%: /ou must
a00!/ a ,e/boar% 3o!!o@i#" mo%u!atio# (re0!aci#" the 6vo!t?octave co#tro! 0rese#t
o# most a#a!o"ic s/#thesiJers).
f yo" do not "se a MC keyboard, yo" can also play on the 'irt"al keyboard of the -rophet)V.+/, b"t yo"r
se2"encer will not record those actions, it is for a"ditioning presets and programming only+
8.2.2 Th# #n/#*op# !#n#ra"or
The e#ve!o0e "e#erator: co##ecte% to the am0!i3ier: is use% to Cscu!0tE the vo!ume o3 the
sou#% @he# @e 0ress a ,e/ o# the ,e/boar% a#% e#%s a3ter the #ote is re!ease%.
The most commo# mo%u!es %eve!o0e% use 9 setti#"s that @e ca# var/>
The Attac, is the sou#% that the sou#% @i!! ta,e to reach its maBimum vo!ume
o#ce @e have 0resse% a ,e/ o# the ,e/boar%.
The Deca/ (3a!!) is the time that the sou#% @i!! ta,e to %imi#ish a3ter the attac,
0ortio# is com0!ete.
The Sustai# (ho!%) is the maBimum vo!ume !eve! that the sou#% @i!! reach a3ter
the %eca/ is com0!ete.
The Re!ease is the time that the sou#% @i!! ta,e to %imi#ish o#ce the ,e/ has
bee# re!ease%.

The ADSR Envelope
Both e#ve!o0es o3 the Dro0het (S co#tai# $ 0oi#ts #umbere% 0 to 9. The 0 corres0o#%s
to the i#itia! !eve! o3 the 0arameter associate% to the e#ve!o0e. The Re!ease corres0o#%s
to 0oi#t 9. Doi#ts 6 throu"h 9 co#tai# t@o 0arameters (3i!ter e#ve!o0e o#!/)> the LE(EL
a#% the RATE. Doi#t 0 o#!/ has the LE(EL 0arameter.

ADSR envelope of the Prophet 5

The Prophet VS envelope
8.2.1 Th# *o. fr#Iu#ncy osc**a"or
The L&. (*ow Fre2"ency 3scillator F or *F3 on the -rophet)V.+/! 0ossesses more or !ess
the same characteristics o3 the c!assic osci!!ator but it o#!/ 0ro%uces 3reque#cies !o@er
tha# 20 1J. 5# other @or%s: /ou @o#t hear the 0itch o3 its sou#%.
5t @i!! create a c/c!ic mo%u!atio# o# the setti#" to @hich it is co##ecte%.
&or eBam0!e>
53 the si#e @ave3orm o3 a# L&. mo%u!ates the vo!ume o3 a# am0!i3ier: the sou#%
@i!! i#crease i# vo!ume the# %isa00ear i# a var/i#" ma##er 3o!!o@i#" the s0ee%
(the 3reque#c/) o3 this L&.. This @i!! 0ro%uce a tremo!o e33ect.
A si#e @ave3orm o# a# L&. mo%u!ati#" the 3reque#c/ o3 a# osci!!ator @ou!%
0ro%uce a vibrato e33ect.
Fith a# L&. si#usoi% @ave mo%u!ati#" the cut8o33 3reque#c/ o3 a !i"ht!/
reso#a#t !o@80ass 3i!ter: /ou @i!! obtai# a C@ah @ahE e33ect.

The LFO in tremolo mode

The LFO module of the Prophet 5
,he original -rophet / co"ld also "se the second oscillator for low fre2"encies (8*3FDEI: position! to mod"late
the fre2"ency of oscillator 9 or the c"toff fre2"ency of the filter, which we ha'e also pro'ided+
,he connections of these mod"lations are a'ailable in the 8-3*= M3C: mod"le+
8.1 3o0p*#0#n"s "o 4a/#"a)*# Syn"h#ss
Fave tab!e s/#thesis 3u#ctio#s o# the same 0ri#ci0!es as subtractive s/#thesis. The
%i33ere#ce resi%es i# the t/0e o3 osci!!ators use%> the Dro0het (S usi#" so#ic sam0!es
save% a#% stoc,e% i# memor/: a#% the o!%er s/#thesiJers usi#" "e#erators o3 the sa@
tooth: si#e: a#% square @ave% 3orm. These sam0!es o3 the (S @ere save% 3rom %i33ere#t
acoustic (i#strume#ts: voice) or e!ectro#ic (#oise: ato#a! sou#%s: basic @ave 3orms)
sources a#% a!!o@ /ou to e#rich the so#ic 0a!!et o33ere% i# the Dro0het $ @hi!e remai#i#"
com0!eme#tar/.
8.; Mo,u*#s of Proph#"&'2.5
The esse#tia! e!eme#ts o3 the Dro0het8(2.$ co#sist o3>
M osci!!ators (t@o 3or the Dro0het $ a#% 3our 3or the Dro0het (S)
6 #oise mo%u!e
6 miBer (miBi#" the 9 osci!!ators a#% the #oise mo%u!e to the 3i!ters o3 the
Dro0het $ a#% (S)
2 3i!ters (o#e !o@80ass 3or the Dro0het $ a#% o#e mu!timo%e 3or the Dro0het (S)
2 out0ut am0!i3iers ((;A)
9 e#ve!o0es (t@o 3or the Dro0het $ a#% t@o 3or the Dro0het (S)
< L&. (o#e 3or the Dro0het $ a#% t@o 3ro the Dro0het (S)
Mo%u!atio# MatriB (Dro0het (S)
D A 2#. E*#0#n"s of Soun, D#s!n
1ere are $ eBam0!es mea#t to "ui%e /ou @ith /our sou#% %esi"# i# the DR.D1ET (.
These sou#%s are c!asse% 3rom the sim0!est to the most com0!eB: a#% are or"a#iJe% i#
three 0arts>
The &irst sectio# @i!! he!0 /ou u#%ersta#% the s/#thesis o3 the DR.DE1T $. B/
starti#" @ith a basic 0reset /ou @i!! %eve!o0 a 0o!/0ho#ic brass sou#%. The#:
/ou @i!! %iscover ho@ to %eve!o0 richer timbres (severa! osci!!ator sources: 3i!ter:
am0!i3ier: e#ve!o0es: com0!eB mo%u!atio#sN) @ith be!! sou#%s.
5# the Seco#% sectio# @e @i!! eB0!ore the @ave8tab!e s/#thesis o3 the DR.D1ET
(S. 1ere: as @ith the DR.D1ET $: /ou @i!! be"i# @ith a basic 0reset. 5# this
eBam0!e: the secrets o3 the mo%u!atio# matriB a#% miBi#" the osci!!ators @i!! be
revea!e%.
The thir% sectio# a!!o@s /ou to create a rich a#% evo!vi#" sou#% 3rom the
associatio# bet@ee# the t@o s/#thesiJers.
D.+ =rass Pr#s#" ."h "h# Proph#" 5
To be"i#: @e @i!! !ear# ho@ to 0ro"ram a basic 0o!/0ho#ic sou#%. 5t is com0ose% o3 3our
0rimar/ e!eme#ts>
t@o osci!!ators ((;.6 et 2)
o#e !o@ 0ass 3i!ter ((;&)
ASR e#ve!o0e co##ecte% to the 3i!ter
ASR e#ve!o0e co##ecte% to the am0!i3ier
Thus: /ou @i!! have a basic 0reset o33eri#" brass sou#%s.
&i"ure 6 sho@s /ou the 0ositio# o3 the %i33ere#t ,#obs>

Primary elements
To be"i#: choose the 0reset CTem0? B!a#,E i# the ba#, CDro0het $E? CTem0SS/#thE.
As /ou ma/ have #otice%: #o sou#% ca# be hear% @he# /ou 0!a/ a #ote. o#It
@orr/: this is #orma!H .#!/ the vo!ume am0!i3ier is o0e#.
;!ic, o# the butto# o3 osci!!ator A. This re0rese#ts the sa@ tooth @ave83orm o3
osci!!ator A. Fhe# /ou ho!% a #ote: the sou#% a00ears stro#" a#% bri"ht.

Click the saw tooth button of oscillator A
o the same thi#" @ith the (5#sert Sa@ butto# ima"e) butto# o3 osci!!ator B.
2ou ca# a!so !i"ht!/ %etu#e osci!!ator A to attai# a bi""er a#% !ive!ier sou#%

Lightly detune oscillator 2
Lo@er the cut8o33 3reque#c/ o3 the 3i!ter (C&reque#c/E ,#ob) b/ tur#i#" the ,#ob to
the ce#ter va!ue (use a va!ue arou#% 200.00). This @i!! ma,e the sou#% so3ter a#%
a!!o@ /ou to better hear the e33ect that the e#ve!o0e has o# the 3i!ter.
.# the ASR e#ve!o0e 3ou#% be!o@ the 3i!ter: i#crease the attac, time to about
C90msE. Lo@er the eca/ va!ue to about 200ms a#% the sustai# to arou#% 0.2$.
The %uratio# becomes shorter.

Settings of the filter envelope
Sa'e the so"nd "nder the name 8brass@:+ =o" can re"se it later+
,o do that, click on the 8Sa'e as: b"tton then choose the option 8new bank: (at the bottom of the men"!+ Ki'e
a name to the bank (for example 8brass:! then to the preset (8brass@:!+ =o" can also simply add a new preset
in the c"rrent 8-ro/: bank and s"b)bank 8#rass:+ ,hen L"st rename yo"r preset "sing the option 8$ew -reset:+
D.2 Pa, soun, ."h "h# 2r#Iu#ncy Mo,u*a"on usn! "h# Proph#" 5
Lets ta,e the Cbrass6E sou#% that @e Aust ma%e to ma,e the #eBt 0reset.
FeIre "oi#" to see ho@ to sur0ass the 0ro"rammi#" !imitatio#s o3 the c!assic Dro0het $
(those @ith @hich @e Aust create% the Cbrass6E 0reset) b/ usi#" the CDo!/ mo%u!atio#E
sectio# a#% the L&..
This 0reset co#sists o3>
2 osci!!ators (the seco#% bei#" i# !o@ 3reque#cies)
Le miBer
The !o@ 0ass reso#ati#" 3i!ter
The ASR e#ve!o0e co##ecte% to the 3i!ter
The AR e#ve!o0e co##ecte% to the am0!i3ier
The L&. co##ecte% to the 0u!se @i%th o3 the square @ave 3orm o3 osci!!ator A.
The 3reque#c/ o3 osci!!ator B mo%u!ati#" the cuto33 3reque#c/
The chorus e33ect
Drocee% to the miBer !ocate% bet@ee# the osci!!ators a#% the 3i!ter sectio#s: a#%
!o@er the vo!ume o3 osci!!ator B com0!ete!/ b/ tur#i#" the !eve! ,#ob 3u!!/ a#ti8
c!oc,@ise. .sci!!ator B @i!! be use% i# !o@ 3reque#c/ mo%e to mo%u!ate the cuto33
3reque#c/ o3 the 3i!ter: a#% @e %o #ot @a#t it to 0ro%uce a sou#% throu"h the au%io
miBer.

Lower the volume of oscillator B on the mixer
.# osci!!ator A: choose the square @ave 3orm.
;hoose the same 3orm 3or osci!!ator B
;!ic, o# the CL. &REZE butto# i# or%er to 0!ace osci!!ator B i# the !o@ 3reque#c/
0ositio#.

Click on the LO FREQ button
No@: o# the 3i!ter: i#crease the cut o33 3reque#c/ to about M00.00. The sou#%
becomes bri"hter.

Increase the cut off frequency
5#crease the reso#a#ce o3 the same 3i!ter (choose a va!ue arou#% <.$0). This @i!!
cause the 3i!ter to reso#ate a!most to the 0oi#t o3 auto8osci!!atio#.

Increase the resonance filter
5# the CDo!/ Mo%E mo%u!e 3ou#% to the !e3t o3 the i#ter3ace o3 the Dro0het $:
mo%u!ate the 3i!terIs cut o33 3reque#c/ throu"h the 3reque#c/ o3 osci!!ator B. To %o
this: c!ic, o# the butto# C&5LTE. 5#crease the C.S; BE ,#ob (to arou#% .<0) i# or%er
to set the !eve! o3 this mo%u!atio#. The cut o33 3reque#c/ o3 the 3i!ter a%Austs i# a
c/c!ica! ma##er %ue to the 3reque#c/ o3 osci!!ator B.

Settings of the Poly Mod
=o"&ll notice that the oscillation fre2"ency 'aries following the note played+ ,his is d"e to the fact the fre2"ency
of oscillator # follows the keyboard+ ,he lower the note played the slower the oscillation (and in'ersely, the
sharper the note the faster the oscillation!+ f yo" do not wish to ha'e this 'ariation, deacti'ate the keyboard
following by clicking on the b"tton 8M#C:+

Deactivate the keyboard following
A00!/ a mo%u!atio# to the square @i%th o3 osci!!ator A throu"h the L&.. To %o this:
c!ic, o# the DFA butto# 3ou#% i# the CF1EEL8M.E sectio# i# the bottom !e3t ha#%
si%e o3 the i#ter3ace (Aust above the virtua! ,e/boar%).

Activate the PWA button
;hoose a tria#"u!ar @ave83orm o# the L&.
5#crease the virtua! mo%u!atio# @hee! o3 the Dro0het $ to set the mo%u!atio# rate
(arou#% 0.$0).
Set the s0ee% o3 the mo%u!atio# @ith the CRATEE ,#ob o3 the L&.. ;hoose a va!ue
arou#% <.001J.

LFO Settings
53 /ou @ish to "ive s0ace to /our sou#%: a%% a chorus e33ect. To %o this: c!ic, o# the
butto# C;horusE the# CE33ect E%itE both 3ou#% i# the uti!it/ bar. This co#tai#s the setti#"s
o3 the t@o e33ects.

Click on the button Chorus then Effect Edit
;hoose the CE&&E;TSE butto# to e%it the chorus
Set the Cr/?FetE ,#ob o3 the chorus i# or%er to ba!a#ce the Cr/E sou#% a#% the
retur# e33ect.

Set the Dry/Wet knob of the chorus
NeBt tur# the CRateE ,#ob o3 the chorus to set the s0ee% o3 the osci!!atio#s.
&i#a!!/: set the Ce0thE o3 the chorus.
2ou have the choice bet@ee# three t/0es o3 chorus> ;horus 6: 2: a#% <. These
three variatio#s "ive the chorus a ra#"e bet@ee# the sim0!est * a#% !ess
%ema#%i#" o# /our ;DU * to the most 0ro#ou#ce% 3or stro#"er %etu#i#" e33ects.

Chorus Settings
2ou ca# #o@ save /our 0reset so that /ou ca# use it !ater.
D.1 =asc Pr#s#" ."h "h# Proph#" 'S 5S.##" Pa,9
5# this eBam0!e /ou @i!! %iscover the basics o3 sou#% 0ro"rammi#" o# the Dro0het (S.
This sectio# is thus a# i#itiatio# to @ave8tab!e s/#thesis * the obAective bei#" to create a
0a% sou#% usi#" the %i33ere#t timbres o3 the 9 osci!!ators.
.0e# the Dro0het (S i#ter3ace b/ c!ic,i#" o# the CDR. (SE butto# 3ou#% i# the
uti!it/ bar.

Open the Prophet VS interface
;hoose the Dreset CDro(S?Tem0!ates?9S.scSSa@E as a starti#" 0oi#t.

This Dreset co#stitutes>
9 osci!!ators usi#" the No << @ave 3orm 8sa@ tooth
6 !o@ 0ass 3i!ter
6 am0!i3ier
The e#ve!o0e associate% to the 3i!ter
The e#ve!o0e associate% to the am0!i3ier
The miB Ao/stic, o3 the osci!!ator vo!ume

To start: @eIre "oi#" to se!ect a %i33ere#t @ave83orm 3or each osci!!ator.
;hoose @ave 3orm No <$ C(S6E 3or osci!!ator A. ;hoose @ave 3orm #\<7 C(S <=E 3or
osci!!ator B a#% #\M< 3or osci!!ator ;. &i#a!!/: ,ee0 the @ave 3orm #\ << CSa@E 3or
osci!!ator . 2ou ca# brie3!/ revie@ the %i33ere#t @ave 3orms to "ive /ourse!3 a# i%ea
o3 the %i33ere#ces bet@ee# the sou#%s the/ 0ro%uce.

Wave form choices of the four oscillators
5# or%er to better hear the %i33ere#ce bet@ee# the timbres 0ro%uce%: /ou ca# move
the Ao/stic, bet@ee# 0oi#ts A: B: ;: a#% . This @i!! "ive /ou a "oo% 0erce0tio# o3
the rich#ess o3 @ave tab!e s/#thesis.

Move the joystick between points A, B, C, and D
Lo@er the va!ue o3 the 3i!terIs cuto33 3reque#c/. D!ace it i# the ce#tra! 0ositio# at
arou#% C9$E.

Lower the value of the filter's cutoff frequency to 45
Most of the 'al"es and en'elope points of the -rophet VS range from J to NN+ 9 few of the 'al"es are
8do"bled: with the 'al"es indicated in <ertz (fre2"ency parameters! or in milliseconds (time parameters of the
en'elope!+
5#crease the 3i!ter reso#a#ce to about G0 i# or%er to a%% a bit o3 bri"ht#ess to the
sou#%.

The filter settings
Lets !oo, at the setti#"s o3 the e#ve!o0es. These setti#"s @i!! bri#" the sou#% o3 /our
0reset to !i3e b/ mo%i3/i#" the cuto33 3reque#c/ o3 the 3i!ter a#% the vo!ume o3 the
am0!i3ier.
To e%it the 3i!ter e#ve!o0e: c!ic, o# the CE5TE butto# 3ou#% Aust u#%er#eath it. The
e%iti#" i#ter3ace a00ears o# the L; scree# at the ri"ht ha#% si%e o3 the scree#O
/ou a!so have access to this i#ter3ace b/ c!ic,i#" %irect!/ o# the me#u CEN(EL.DEE?
C&5LTERE i# the same scree#.

Click on the EDIT button

Click on the menu ENVELOPE / FILTER
E%iti#" the 3i!ter e#ve!o0e>
5#crease the LE(EL o3 0oi#t C0E to a va!ue arou#% 22O this @i!! be the i#itia! LE(EL
setti#".

Increase the LEVEL of point 0
A%Aust the setti#"s associate% to 0oi#t C6E> 5#crease the LE(EL to about G0 a#% set
the RATE to about 6900ms. The cuto33 3reque#c/ @i!! so3t!/ evo!ve creati#" a
bri"hter sou#% a3ter three seco#%s. The 0hase bet@ee# 0oi#ts C0E a#% C6E
corres0o#%s to the ATTA;L o3 the ASR e#ve!o0e.

Adjust the settings associated to point 1

Set 0oi#t C2E b/ i#creasi#" the LE(EL to a va!ue arou#% G0 a#% the RATE to about
<00ms. This 0hase corres0o#%s to the E;A2 0erio% o3 the ASR e#ve!o0e.

Set point 2
Set 0oi#t C<E b/ i#creasi#" the LE(EL to G0 a#% the RATE to about <000ms. Doi#ts
2 a#% < corres0o#% to the !eve! o3 stabi!iJatio# o3 the cuto33 3reque#c/ %uri#" the
time a #ote is he!%. This is ca!!e% the SUSTA5N o3 the ASR e#ve!o0.

Set point 3

&i#a!!/: a%Aust the setti#"s to 0oi#t C9E> 0!ace the LE(EL to 0 a#% the RATE to about
<000ms. The cuto33 3reque#c/ is "oi#" to 3a!! 0ro"ressive!/ to about 0 at the #ot
re!ease. The 0hase bet@ee# 0oi#ts C<E a#% C9E is ca!!e% the RELEASE o# the ASR
e#ve!o0e.

Set point 4
No@: !ets @or, @ith the am0!itu%e e#ve!o0e>

Click on the menu ENVELOPE / AMPLIFIER
Doi#t C0E must be set at the maBimum i#itia! !eve! ((a!ue ] 77) to have a
maBimum vo!ume at the be"i##i#" o3 the #ote.

Set the point 0
Set 0oi#t C6E at the maBimum !eve! a#% a RATE at 0. The attac, o3 the #ote @i!! be
ver/ short.

Set point 1
e3i#e the va!ues associate% to 0oi#ts 2 a#% <> !eve! ] 77 a#% rate ] 6000 ms.
This corres0o#%s to a maBimum Sustai# !eve! 3or the %uratio# o3 the #ote.

Define the values associated to points 2 and 3
&i#a!!/: a%Aust the setti#" o3 0oi#t 9> the LE(EL remai#s at the 0 va!ue. Set the
RATE to about 6<00ms. The sou#% vo!ume is "oi#" to 3a!! 0ro"ressive!/ at the #ote
re!ease.

Adjust the setting of point 4
To "ive more stereo s0ace to /our sou#%: it is 0ossib!e to set a 0a#oramic va!ue to each
o3 the #otes 0!a/e%.
;!ic, o# the C(.5;EE 0a#e! (3ou#% to the ri"ht the CAMDL5&5ERE tit!e) to se!ect the
0o!/0ho#ic voice 6. Set the CDANE ,#ob o# 0. This voice @i!! be 0!ace% to the
eBtreme !e3t.

The settings of the voice 1
;hoose the seco#% voice a#% set it to 77. This @i!! be 0!ace% to the eBtreme ri"ht.

The settings of the voice 2
Set the other three voices at /our co#ve#ie#ce b/ re0eati#" the same ste0s.
B/ %oi#" this: /our sou#% @i!! have a !ot o3 stereo s0ace @ithout usi#" as ma#/ e33ects
a#% save /ou some ;DU char"eH
D.; Pr#s#" usn! "h# 0o,u*a"on 0a"rB an, "h# ,yna0c 0Bn!
The 3o!!o@i#" eBam0!e @i!! 0ermit /ou to 3ami!iariJe /ourse!3 @ith usi#" the mo%u!atio#
matriB a#% miBi#" the 9 osci!!ators. 2ou @i!! create a 0o@er3u! mo#o0ho#ic !ea% 0reset
@ith a ,i#% o3 =0s s0irit.

;hoose the CDro(S?Tem0!ates?9S0scSSa@E as the starti#" 0oi#t o3 /our #e@ sou#%.
;hoose #e@ @ave83orms 3or the 3our osci!!ators>
;hoose @ave 3orm #umber <7 (C(S<=E) 3or osci!!ator A: @ave 3orm 90 ()u#, 67) 3or
B: @ave 3orm <M (C(S2$E) 3or ;: a#% @ave 3orm <9 (CSquareE) 3or osci!!ator .
Set the 3reque#c/ ,#ob o3 osci!!ator A o# CT62 semi8to#sE. This osci!!ator @i!! 0!a/
a# octave hi"her tha# the other <.
Leave the cuto33 3reque#c/ o# its maBimum 0ositio# a#% the sou#% @i!! be bri"hter.
No@ @e @i!! revie@ the e#ve!o0es>
Fe are "oi#" to mo%i3/ 0oi#t 9 o3 the &5LTER a#% AMDL5TUE e#ve!o0es @ithout
touchi#" the other 3our 0oi#ts.
&or the 3i!ter e#ve!o0e: choose a RATE setti#" arou#% $000ms. The 3i!ter cuto33
3reque#c/ @i!! cease rea!!/ so3t!/ at the re!ease o3 the #ote.
&or the am0!itu%e e#ve!o0e: choose a RATE arou#% 2$00ms. This @i!! be the
Cre!ease 0erio%.
MiBi#" the 3our osci!!ators ha00e#s i# t@o ste0s>
;hoose the 0ositio# o3 the $ 0oi#ts co#stituti#" the 0ath the Ao/stic, @i!! 3o!!o@>
3rom 0 *the be"i##i#" o3 the #ote * to 9 * 3i#a! 0oi#t o3 the moveme#t a#% re!ease
o3 the #ote.
Setti#" o3 the 3our moveme#t times bet@ee# the %i33ere#t 0oi#ts o3 the miBer
e#ve!o0e.
D.;.+ 3hoos# "h# p*ac#0#n" of "h# f/# pon"s ,#fnn! "h# pa"h of "h#
Joys"ck
To e%it the $ 0oi#ts o3 the miBer as @e!! as its e#ve!o0e: c!ic, o# the butto# CEN(EL.DEE
3ou#% o# the L; scree#: the# o# the CM5-ERE o0tio#.
Fhe# /ou be"i#: the 3ive 0oi#ts @i!! be i# the %iamo#% sha0e% s0ace @here the
miBi#" ta,es 0!ace> c!ic, o# the ce#tra! 0oi#t a#% move it i# the 0ositio# %esire%.
2ou ca# vie@ the miBe% va!ues o3 the 3our osci!!ators i# the boBes corres0o#%i#" to
the 3our a#"!es> A: B: ; a#% (@hich are 3ou#% to the bottom ri"ht o3 the scree#).
5# this eBam0!e: @e su""est the 3o!!o@i#" 0ositio#s>
Doi#t 0 (.sc A] 26^: .sc B] $$^: .sc ;] 6G^: .sc ] M^)
Doi#t 6 (.sc A] $0^: .sc B] <0^: .sc ;] G^: .sc ] 62^)
Doi#t 2 (.sc A] 7^: .sc B] 9<^: .sc ;] <=^: .sc ] =^)
Doi#t < (.sc A] 62^: .sc B] 6M^: .sc ;] <7^: .sc ] <0^)
Doi#t 9 (.sc A] 2<^: .sc B] 2=^: .sc ;] 2$^: .sc ] 22^)

Positioning of the four points of the mixer
D.;.2 MB#r #n/#*op#
This e#ve!o0e is com0!ete!/ #e@ si#ce it o#!/ sho@s the %uratio# setti#" o3 each 0hase o3
the miB.
Each o3 the 3our ,#obs 3ou#% u#%er the Ao/stic, is use% to set the rate at @hich the
Ao/stic, @i!! "o 3rom o#e 0oi#t to a#other i# the miB>
&rom 0 to 6 (L#ob 6)
&rom 6 to 2 (L#ob 2)
&rom 2 to < (L#ob <)
&rom < to 9 (L#ob 9)

Setti#" the L#obs>
&or the 3irst: choose 6000ms.
&or the seco#%: $00ms
&or the thir%: =00ms
&or the 3ourth: 6000ms

Setting the Knobs of the mixers envelope

Final setting of the mixers envelope
n order to hear the effect that the en'elope has on the mix when yo" play a note, click on the 3$ b"tton
fo"nd in the en'elope+
No@: @e @i!! %e3i#e the L..D mo%e o3 the miB e#ve!o0e.
The L..D 3u#ctio# a00!ies a !oo0 bet@ee# 2 0oi#ts o3 the e#ve!o0e either re0eati#" the
!oo0 i# o#e %irectio# (2 to <) or i# both %irectio#s (2 to < the# < to 2). This o0tio# a!!o@s
/ou to create a c/c!ica! variatio# o3 the miB bet@ee# the osci!!ators a bit !i,e a# L&.
@ou!% %o it.
0]R<
6]R<
2]R<
.r
0[]R<
6[]R<
2[]R<
5# this eBam0!e: se!ect the mo%e C0[R<E i# the L..D tab 3ou#% i# the L; scree#.
Re0eat the !oo0 b/ c!ic,i#" i# the REDEAT tab a#% choosi#" the ; o0tio# (i#3i#ite
!oo0)

The loop settings
D.;.1 Mo,u*a"on Ma"rB
5# this sectio# @e @i!! see ho@ to use the mo%u!atio# matriB. 5t is @ith this matriB that
the %i33ere#t mo%u!atio#s to e#rich /our sou#% ca# be 0ro"ramme%.
.0e# the mo%u!atio# matriB 3ou#% o# the L; scree# to the ri"ht o3 the Dro0het (S
i#ter3ace. ;!ic, o# the CM.ULAT5.NE o0tio# to o0e# the matriB.

Open the Modulation Matrix
;hoose the source o3 the L&.6 o# the A: B: ; a#% osci!!ator 3reque#cies b/
c!ic,i#" o# the 0oi#ts 3ormi#" the i#tersectio# bet@ee# the source (CL&.6E) a#% the
3our %esti#atio#s (C&REZ A: &REZ B &REZ ; a#% &REZ E). A# ora#"e 0oi#t a00ears
to co#3irm the co##ectio#.

Select the Modulation Points
Set the mo%u!atio# rate i# the AM.UNT 0a#e! corres0o#%i#" to this 3irst horiJo#ta!
!i#e. ;!ic, i# the 0a#e! a#% scro!! the mouse u0 3or the mi#imum va!ue (0).

Set the modulation rate in the AMOUNT panel
;o##ect the mo%u!atio# @hee! (source CM. F1EELE) to the mo%u!atio# rate o3 the
L&.6 (%esti#atio# CL&.6 AMNTE). This a!!o@s /ou to ma,e the L&. activit/ a00ear
0ro"ressive!/ b/ i#creasi#" the mo%u!atio# @hee!. Set the rate o3 this mo%u!atio#
at $0.

The modulation wheel settings
The ,e/boar% 3o!!o@i#" (source CLE2BE) is a!rea%/ co##ecte% to the &5LTER cuto33
3reque#c/. Thus: the sou#% @i!! become bri"hter a#% bri"hter: eve#tua!!/ ma,i#" it
shar0. ecrease the cuto33 3reque#c/ to ha!3 o3 the ,#ob va!ue.
D.;.; P*ayn! 0o,# n Unson
To "ive more i#te#sit/ to /our sou#%: @e @i!! a00!/ the mo#o0ho#ic 0!a/i#" mo%e
CUN5S.NE. This a!!o@s /ou to 0!a/ a!! the 0o!/0ho#ic voices o# a si#"!e #ote.
2ou @i!! have: 3or eBam0!e: a sou#% havi#" u0 to 20 osci!!ators Cstac,e%E o# a si#"!e
#ote: i3 /ou use $ voice 0o!/0ho#/H
.0e# the choice @i#%o@ o3 the CDLA2 M.EE b/ c!ic,i#" o# the butto# !ocate% o#
the L; scree#.

Open Play mode
;!ic, o# the CUN5S.NE butto# to activate this mo%e (tur#s @hite u0o# activatio#)
etu#e the %i33ere#t voices to "ive C3at#essE to /our sou#%. This ma#i0u!atio# @i!!
0ro%uce a# e33ect simi!ar to that o3 a chorusH &or this: tur# the C(. ETUNEE ,#ob to
=0.

Settings of Unison Mode
At this 0oi#t: /ou ca# a!so "ive stereo s0ace to this 0reset b/ 0!aci#" each o3 the
0o!/0ho#ic voices to the ri"ht a#% tha# to the !e3t: i# a# a!ter#ati#" 0atter#.
;!ic, o# the C(.5;EE 0a#e! (3ou#% to the ri"ht o3 the #ame CAMDL5&5ERE) to se!ect
the 0o!/0ho#ic voice 6. Set the CDANE ,#ob o# 0. This voice @i!! be 0!ace% to the
eBtreme !e3t.
;hoose the seco#% voice a#% set it at 77. This @i!! be 0!ace% to the eBtreme ri"ht.
Set the other voices as /ou !i,e them b/ %oi#" the same thi#".

B/ %oi#" this: /ou @i!! have a !ot o3 stereo s0ace @ithout usi#" as much e33ectH
D.5 Pr#s#" usn! "h# Proph#" 5 an, "h# Proph#" 'S
The "oa! o3 this !ast sectio# is to 3ami!iariJe /ourse!3 @ith sou#% creatio# usi#" both the
Dro0het $ a#% Dro0het (S i# 1/bri% mo%e.
Ta,e 6.2 3or eBam0!e (Da% sou#% @ith &M o# the Dro0het $). 2ou @i!! use this as a base
3or the 3o!!o@i#" 0reset.
.0e# the C1/bri%E i#ter3ace to have both s/#thesiJers o#e o# to0 o3 the other.

Open the Hybrid interface
D.5.+ Au,o Ma"rB
The au%io matriB activates or %eactivates the au%io mo%u!e out0uts o3 the t@o
s/#thesiJers (osci!!ators: 3i!ters: #oise o3 the Dro0het $N).
5t is o# this 0a"e that /ou ca# co##ect the 3i!ters o3 the both Dro0hets either i# a series
or i# 0ara!!e!. 5# %oi#" so: /ou @i!! %iscover the !ar"e %i33ere#ce i# sou#% bet@ee# the
t@o.
&or this eBam0!e: /ou @i!! co##ect the au%io 0aths o3 the t@o 3i!ters i# a series. To
%o this: c!ic, o# the s@itch 3ou#% at the i#terce0tio# o3 the miBer source out0ut o3
the t@o osci!!ators (CS.UR;E M5-ERE) a#% o3 the (S 3i!ter (C&5LTER (SE). The
s@itch @i!! re!ease a#% become ora#"e to co#3irm the co##ectio#.

Connection of the two filters
Activate osci!!ators ; a#% o3 the Dro0het (S i# sources ; a#% o3 the miBer. ;!ic,
i# the corres0o#%i#" 0a#e!s a#% choose C.S; ; (SE 3or the ; source a#% C.S;
(SE 3or source .

Activate oscillators C and D of the Prophet VS in the mixer
$otice; t is not possible to connect more than B oscillators sim"ltaneo"sly+ For example, yo" can only "se .
oscillators of the -rophet VS if the . oscillators of the -rophet / are already acti'e+
D!a/ a #ote o# /our ,e/boar%O /ou ca# hear the t@o s/#thesiJers simu!ta#eous!/.
D.5.2 E,"n! soun, on "h# Proph#" 'S
The sou#% o3 the Dro0het $ remai#s u#cha#"e% o# this 0reset so @e @i!! "o o# %irect!/ to
e%iti#" the Dro0het (S>
Be"i# b/ cha#"i#" the t/0e o3 3i!ter. ;hoose the BAN DASS to better com0!eme#t
the !o@ 0ass 3i!ter o3 the Dro0het $.
Li"ht!/ %ecrease the cuto33 3reque#c/ o3 the 3i!ter to about <$ i# or%er to have a
!ess a""ressive sou#%.
;om0!ete!/ %ecrease the reso#a#ce (tur# the ,#ob to the eBtreme !e3t 8 0)

Filter Settings
;ha#"e the @ave 3orm o3 osci!!ator ; (C0$$ hito06E) a#% (C0M2 s/#be!! <6E).

Wave forms of oscillator C and D
E%iti#" the &5LTER a#% the AMDL5&5ER>
To e%it the 3i!ter e#ve!o0e: c!ic, o# the CE5TE butto# 3ou#% i# the "ra0hic re0rese#tatio#
o3 the e#ve!o0e.
Doi#t C0E must be set o# the maBimum i#itia! !eve! (va!ue ] 77) to have the
maBimum va!ue at the be"i##i#" o3 the #ote.
Set Doi#t C6E at a LE(EL o3 77 a#% a RATE o3 0. The attac, o3 this #ote @i!! be rea!!/
short o# the 3i!ter.
Set 0oi#t C2E at a LE(EL arou#% 9= a#% a RATE re!ative!/ short (699). The cuto33
3reque#c/ 3a!!s ra0i%!/ to@ar% the i#terme%iate 0oi#t.
Set 0oi#t C<E @ith a LE(EL a bit !o@er (about <0) a#% a RATE a bit !o#"er (9G7).
The cuto33 3reque#c/ 3a!!s a"ai# to@ar%s the i#terme%iate 0oi#t be3ore comi#" to
the CSUSTA5NE 0hase.
&i#a!!/: set 0oi#t C9E @ith a !eve! s!i"ht!/ hi"her tha# be3ore (M<) a#% a RATE a bit
!o#"er (M00). The cuto33 3reque#c/ @i!! i#crease s!o@!/ at the re!ease o3 the #ote.

Settings of the Filter envelope
No@ @e!! set the am0!i3ier e#ve!o0e>
Doi#t C0E must be set o# the maBimum i#itia! !eve! (va!ue ] 77) to have the
maBimum va!ue at the be"i##i#" o3 the #ote.
Set Doi#t C6E at a LE(EL o3 77 a#% a RATE o3 0. The attac, o3 this #ote @i!! be rea!!/
short o# the 3i!ter.
Ma,e the same a%Austme#ts to 0oi#t C2E as /ou %i% to 0oi#t C6E.
The setti#"s o3 0oi#t C<E @i!! %e3i#e both the eca/ 0hase a#% the sustai#> set the
LE(EL to arou#% M0 a#% the 3a!! time to about 6$00 ms (@hich is re!ative!/ !o#").
&i#a!!/: set 0oi#t C9E> the LE(EL @i!! remai# at 0 a#% /ou @i!! set the RATE to about
6$00ms. The sou#% vo!ume @i!! 3a!! 0ro"ressive!/ at the re!ease o3 the #ote.

Settings of the Amplifier envelope
At this 0oi#t: the Dro0het (S @i!! !oa% the attac, o3 /our sou#%: @ith a timbre c!ose to
the sou#% o3 a sitar. The Cbo%/E o3 the sou#% is com0ose% 0ri#ci0a!!/ o3 the Dro0het $
@hich carries a!! the @armth a#% rou#%#ess o3 a#a!o".
2ou #o@ have a# eBam0!e o3 @hat these t@o s/#thesiJers ca# %o @he# combi#e%
to"etherH
53 /ou @ish to "ive s0ace to /our sou#%: a%% a %e!a/ e33ect. To %o this: c!ic, o# the
CELA2E butto# 3ou#% i# the uti!it/ bar to activate it a#% o0e# the CE&&E;TSE b/ c!ic,i#"
o# the butto# 3ou#% i# the L; scree#.
The e!a/ "ives a t/0e o3 stereo echo @hich a%%s s0ace to /our sou#%.
5t has i#%e0e#%e#t setti#"s 3or the s0ee% a#% the #umber o3 re0etitio#s o# the ri"ht a#%
!e3t si%e. 5t is thus 0ossib!e to create a !ar"e ra#"e o3 rh/thmic combi#atio#s bet@ee#
the re0etitio#s. The s0ee% o3 the e!a/ ca# a!so be s/#chro#iJe% @ith the M55 tem0o.
;hoose the CE&&E;TSE o0tio# to e%it the %e!a/.

Choose the EFFECTS option
A%Aust the Cr/?FetE setti#" o3 the e!a/ i# or%er to ba!a#ce the #oise sou#% o3 the
bass a#% the %e!a/.
NeBt: tur# the 2 CS0ee%E ,#obs to set the s0ee% o3 the re0etitio#s o# the ri"ht
(Time Ri"ht) a#% !e3t (Time Le3t).
5t is a!so 0ossib!e to set the #umber o3 re0etitio#s 3or each si%e (C&ee%b. Ri"htE a#%
C&ee%b. Le3tE).

Delay Effect
These %iverse so#ic eBam0!es: as /ou ma/ have #otice%: 0rese#t ver/ %i33ere#t !eve!s o3
%i33icu!t/. Fe ho0e that the/ 0ermit /ou to %iscover a 0ortio# o3 the 0ossibi!ities that the
Dro0het8(2.$ o33er. o#t hesitate to eB0erime#t o# /our o@#O it is i# this @a/ that /ou
@i!! ma,e the most 0ro"ressio# a#% that /ou @i!! create the most ori"i#a! o3 sou#%s.
F Mo,#s of Op#ra"on
F.+ S"an,&a*on#
The Sta#%8A!o#e a00!icatio# a!!o@s the use o3 the Dro0het8(2.$ outsi%e o3 a#/ host
a00!icatio#. 2ou ca# o0e# o#e i#strume#t: a#% 0!a/ %irect!/ @ith the he!0 o3 a master
M55 ,e/boar% or eBter#a! seque#cer o# a se0arate com0uter.
F.+.+ Launchn! "h# S"an,&a*on# app*ca"on
To !au#ch the Sta#%8a!o#e a00!icatio# o# /our D;: "o i#to the Start me#u8RDro"rams8
RArturia8R Dro0het8(2 a#% choose Dro0het8(2.
.# a Maci#tosh: o0e# the 3o!%er ? A00!icatio#s? Arturia Dro0het8(2 ? a#% %oub!e c!ic, o#
the a00!icatio# ico# Dro0het8(2.
F.+.2 3onf!ura"on: "h# Too* =ar
The i#strume#t has a me#u?too! bar a!!o@i#" the setti#" o3 M55 eve#t i#0ut routi#":
a#% the out0ut o3 the sou#%.

The tool bar
N+@+.+@ Config"ring 9"dio and MC
;!ic,i#" o# the CSetti#"sE butto# sho@s this %ia!o" boB>

The settings window
1ere /ou ca#>
Set the au%io out0ut 0ort
;hoose o#e: or severa!: active mi%i i#0ut 0ort(s)
N+@+.+. Config"ring Mnob Mode
This combo boB sets ho@ the ,#obs res0o#% to mouse moveme#ts> either i# C;ircu!arE
mo%e (/ou have to tur# arou#% them @ith the mouse) or i# easier CLi#earE mo%e
(movi#" the mouse vertica!!/ rotates the ,#obs).
N+@+.+A -anic
There are times @he# the so3t@are ca# #ot receive a M55 #ote o33 messa"e 3rom a
co#tro!!er. The DAN5; butto# @i!! se#% a M55 messa"e to the i#strume#t to cut o33 a!!
#otes that have#t sto00e%.
;!ic, o# the CDa#icE butto# to so!ve this 0rob!em.
N+@+.+B nformation on rate of processor "se
The 0rocessor usa"e "au"e !ets /ou mo#itor the 0rocessor 0o@er %e%icate% to sou#%
s/#thesis i# rea! time. This "au"e is %irect!/ visib!e i# the i#strume#t too! bar.
9ttention% this information only corresponds to the processor load dedicated to so"nd synthesis1 it is therefore
inferior to the global system load+
F.2 'ST
F.2.+ Ins"a**a"on
U#%er Fi#%o@s
uri#" i#sta!!atio#: se!ect the boB [[(STRR amo#" the 0ro0ose% 3ormat choices o3
0!u"8i#s. The i#sta!!er @i!! automatica!!/ %etect the (ST 3o!%er o3 the i#strume#ts use% b/
;ubase. 5# the case o3 a#other com0atib!e (ST seque#cer: such as Lo"ic Au%io: /ou @i!!
have to ma#ua!!/ co0/ the 0!u"8i# 3i!e i# the a00ro0riate 3o!%er. 2ou @i!! be ab!e to 3i#%
this 3i!e a3ter the i#sta!!atio# i# the 3o!%er ;>_Dro"ram_&i!es_Arturia_Dro0het (_. The 3i!e is
ca!!e% Dro0het8(2.%!!
U#%er Mac .S-
The (ST 0!u"8i# is automatica!!/ i#sta!!e% i# the 3o!%er o3 the s/stem corres0o#%i#" to
the (ST i#strume#ts> ?Librar/?Au%io?D!u"85#s?(ST?. The (ST 0!u"8i# @i!! be usab!e b/ a!!
/our (ST host a00!icatio#s.
F.2.2 Ins"ru0#n" us# n "h# 'ST 0o,#
The o0e#i#" o3 (ST Dro0het8(2.$ 0!u"8i#s is the same as o0e#i#" a!! other (ST 0!u"8i#s.
D!ease co#su!t the i#structio# ma#ua! o3 /our host seque#cer 3or more s0eci3ic
i#3ormatio#. U#%er ;ubase S-: o0e# the me#u ? (ST 5#strume#ts: a#% choose Dro0het8
(2 i# the rac,

Prophet 5 opening in Cubase SX3
;o##ectio# to a M55 trac,
So that Dro0het8(2.$ ca# 0!a/ i#3ormatio# comi#" 3rom a M55 trac,: /ou have to
choose a M55 trac, a#% se!ect Dro0het8(2.$ as M55 [[out0utRR o3 this trac,. See the
0icture be!o@ 3or more %etai! o# ho@ this is accom0!ishe%.

Connection of a MIDI track to Prophet-V2.5
The eve#ts 0!a/e% o# a M55 ,e/boar% are recor%e% b/ /our host seque#cer: a#% #o@
/ou ca# use the M55 e%iti#" 0ossibi!ities o3 the seque#cer to co#tro! a#/ 0arameter @ith
Dro0het8(2.$.

Savi#" o3 0resets
Fhe# the sessio#?0roAect is save%: Dro0het8(2.$ is save% i# its !ast mo%e o3 o0eratio#:
@ith a!! mo%i3icatio#s i#tact. &or i#sta#ce: i3 /ou @ere @or,i#" o# a CD6E 0reset i# @hich
/ou have mo%i3ie% 0arameters (@ithout savi#" them as a se0arate voice i# the 0!u"8i#
itse!3): at the #eBt o0e#i#" o3 the 0iece: Dro0het8(2.$ @i!! !oa% the CD6E 0reset a#% the
mo%i3icatio#s.
The %ro08%o@# me#u @hich the (ST seque#cer a!!o@s /ou to save a #e@ voice is o3
course usab!e @ith Dro0het8(2.$. 1o@ever: it is hi"h!/ a%vise% to use the Dro0het8(2.$
i#ter#a! me#u> the 0resets save% i# this @a/ are usab!e i# a#/ other mo%e (sta#%a!o#e
or other seque#cer): the/ ca# be eB0orte% a#% eBcha#"e% more easi!/: a#% the/ @i!!
remai# com0atib!e @ith the 3uture Dro0het8(2.$ versio#s.

Automatio#
The automatio# @or,s the same @ith Dro0het8(2.$ as @ith a#/ (ST 0!u"8i# (3or more
%etai! about automatio#: re3er to the (ST seque#cer %ocume#tatio#).
F.1 Au,o Un" 5Mac OS6 on*y9
F.1.+ Ins"a**a"on
The Au%io U#it 0!u"8i# is automatica!!/ i#sta!!e% i# the 3o!%er reserve% 3or this 0ur0ose:
i# ?Librar/?Au%io?D!u"85#s?;om0o#e#ts?
F.1.2 Us# n Lo!c Au,o
Se!ect a# i#strume#t trac,. .# the s!ice o3 the miBer corres0o#%i#" to the se!ecte% trac,:
c!ic, o# the butto# [[5?.RR to obtai# the !ist o3 0!u"8i#s: the# se!ect [[Stereo 8R AU
5#strume#ts 8R Arturia Dro0het8(2

Prophet-V2.5 opening in Logic
Si#ce versio# G: there has bee# a# Au%io U#it 0!u"8i# ma#a"er i# Lo"ic. To !au#ch it:
c!ic, o# the me#u [[Dre3ere#ces 8R Start Lo"ic AU Ma#a"erRR

Launching of the Audio Unit manager of Logic
This Ma#a"er a!!o@s us to see the !ist o3 the avai!ab!e 0!u"8i#s: to test their com0atibi!it/
@ith Lo"ic: a#% to activate or %e8activate them.
53 it ha00e#s that o#e o3 the Arturia 0!u"8i#s 0oses a 0rob!em i# Lo"ic: start b/ chec,i#"
that this 0!u"8i# has 0asse% the com0atibi!it/ test: a#% that it is actua!!/ se!ecte% 3or use.
F.1.1 Us# n D!"a* P#rfor0#r
To a%% a# i#strume#t: choose the me#u[[DroAect 8R A%% Trac, 8R 5#strume#t Trac, 8R
Dro0het (E
.0e#i#" o3 Dro0het8(2.$ i# the i"ita! Der3ormer
.#ce /ou have a%%e% this i#strume#t: its 0ossib!e to assi"# a M55 trac, to it. 5# the
co##ectio# me#u o3 the M55 trac,: se!ect the i#strume#t a#% the M55 cha##e! that /ou
@a#t to use.
;o##ectio# 3rom a M55 trac, to Dro0het (
F.; Pro Too*s
F.;.+ Ins"a**a"on
.# Mac .S-: the 0!u"8i# is %irect!/ i#sta!!e% i# the 3o!%er reserve% 3or the Dro Too!s 0!u"8
i#s: i# ?Librar/?A00!icatio# Su00ort?i"i%esi"#?D!u"85#s?
.# Fi#%o@s: at the time o3 the i#sta!!atio# 0roce%ure: se!ect the RTAS 0!u"8i# amo#"
the 0ro0ose% choices o3 0!u"8i#s. The#: @he# the s/stem as,s: i#%icate the 3o!%er i#
@hich the other RTAS 0!u"8i#s are !ocate%.
Usua!!/: its access 0ath is>
;>_Dro"ram &i!es_;ommo# &i!es_i"i%esi"#_AE_D!u"85#s_
F.;.2 U"*:a"on of "h# p*u!&n
.0e#i#" o3 the 0!u"8i#
Access to the Dro0het8(2.$ 0!u"8i# is !i,e a!! other 0!u"8i#s: via a# au%io trac, i#sert>

Opening the Prophet-V2.5 in Pro Tool
Dro0het8(2.$ must be !oa%e% o# a# au%io stereo trac,. Fe ca# #o@ ma,e Dro0het8(2.$
sou#%s b/ 0!a/i#" @ith the mouse o# the virtua! ,e/boar%.
;o##ectio# to a M55 cha##e!
So that Dro0het8(2.$ ca# 0!a/ the i#3ormatio# comi#" 3rom a M55 trac,: /ou have to
associate it to a M55 cha##e! via the a00ro0riate me#u. (See the Dro Too!s me#u 3or
more i#3ormatio# o# 0!u"8i# co##ectio#).

Connecting a MIDI track to Prophet V
Savi#" the 0resets
Fhe# the sessio# is save%: the status o3 Dro0het8(2.$ is save% as it is: eve# i3 its
0ro"rammi#" %oes #ot corres0o#% to the 0reset. &or eBam0!e: i3 /ou are @or,i#" o# a
0reset [[D6RR i# @hich /ou have mo%i3ie% the 0arameters (@ithout savi#" them i# the
0!u"8i# itse!3): the #eBt time /ou o0e# the sessio#: Dro0het8(2.$ @i!! char"e the
[[D6RR 0reset 0!us the mo%i3icatio#s.
The [[Libraria# Me#uRR o3 Dro Too!s is ab!e to be use% @ith Dro0het8(2.$ !i,e @ith a!!
other 0!u"8i#s. Neverthe!ess it is hi"h!/ recomme#%e% to use the i#ter#a! Dro0het8(2.$
me#u> @ith the 0resets save% !i,e this: the/ are usab!e #o matter @hich mo%e
(sta#%a!o#e or other seque#cer): a#% the/ ca# be eB0orte%: eBcha#"e% more easi!/: a#%
@i!! sta/ com0atib!e @ith the 3uture versio#s o3 Dro0het8(2.$.
Automatio# u#%er Dro Too!s
The automatio# 3u#ctio# @ith Dro0het8(2.$ !i,e @ith a!! RTAS?1TM 0!u"8i#s (ma,e
re3ere#ce to the Dro Too!s %ocume#tatio# 3or more %etai!s o# the 0!u"8i# automatio#s).
Prophet-V2.5
END USER LICENSE AGREEMENT

5# co#si%eratio# o3 0a/me#t o3 the Lice#see 3ee: @hich is a 0ortio# o3 the 0rice /ou 0ai%:
Arturia: as Lice#sor: "ra#ts to /ou (herei#a3ter terme% CLice#seeE) a #o#eBc!usive ri"ht
to use this co0/ o3 the Dro0het8(2.$ 0ro"ram (herei#a3ter the CS.&TFAREE).

A!! i#te!!ectua! 0ro0ert/ ri"hts i# the so3t@are be!o#" to Arturia SA (herei#a3ter>
CArturiaE). Arturia 0ermits /ou o#!/ to co0/: %o@#!oa%: i#sta!! a#% use the so3t@are i#
accor%a#ce @ith the terms a#% co#%itio#s o3 this A"reeme#t.
The 0ro%uct co#tai#s 0ro%uct activatio# 3or 0rotectio# a"ai#st u#!a@3u! co0/i#". This
s/stem is ,#o@# as eLice#ser a#% 0ermits a 0erma#e#t use o3 the so3t@are o#!/ a3ter
the activatio# 0rocess has bee# tota!!/ com0!ete%. The so3t@are ca# be use% o#!/
to"ether @ith the eLice#ser %o#"!e (%o#"!e) a#%?or the So3t8eLice#serO the .EM so3t@are
ca# be use% o#!/ 3o!!o@i#" re"istratio#.
5#ter#et access is require% 3or the activatio# 0rocess. The terms a#% co#%itio#s 3or use
o3 the so3t@are b/ /ou: the e#% user a00ear be!o@. B/ i#sta!!i#" the so3t@are o# /our
com0uter /ou a"ree to these terms a#% co#%itio#s. D!ease rea% the 3o!!o@i#" teBt
care3u!!/ i# its e#tiret/. 53 /ou %o #ot a00rove these terms a#% co#%itio#s: /ou must #ot
i#sta!! this so3t@are. 5# this eve#t "ive the 0ro%uct bac, to @here /ou have 0urchase% it
(i#c!u%i#" a!! @ritte# materia!: the com0!ete u#%ama"e% 0ac,i#" as @e!! as the e#c!ose%
har%@are) imme%iate!/ but at the !atest @ithi# <0 %a/s i# retur# 3or a re3u#% o3 the
0urchase 0rice.

+. Sof".ar# O.n#rshp
Arturia sha!! retai# 3u!! a#% com0!ete tit!e to the S.&TFARE recor%e% o# the e#c!ose%
%is,s a#% a!! subseque#t co0ies o3 the S.&TFARE: re"ar%!ess o3 the me%ia or 3orm o# or
i# @hich the ori"i#a! %is,s or co0ies ma/ eBist. The Lice#se is #ot a sa!e o3 the ori"i#a!
S.&TFARE.

2. Gran" of Lc#ns#
Arturia "ra#ts /ou a #o#8eBc!usive !ice#se 3or the use o3 the so3t@are accor%i#" to
the terms a#% co#%itio#s o3 this A"reeme#t. 2ou ma/ #ot !ease: !oa# or sub!ice#se
the so3t@are.
53 the so3t@are is 0rotecte% b/ the eLice#ser %o#"!e a!o#e: /ou ma/ i#sta!! a !ice#se
3or the so3t@are o# o#e or at most < com0uters @hich are i# /our 0ossessio#. The
so3t@are ma/ be use% o#!/ o# o#e o3 the com0uters at the same time b/ usi#" the
Arturia ,e/.
53 the so3t@are is 0rotecte% b/ the So3t eLice#ser (a!o#e or to"ether @ith the Arturia
,e/) or has bee# so!% to the 3irst e#% user to"ether @ith other so3t@are a#%?or
har%@are (herei#a3ter> C.EM so3t@areE): /ou ma/ i#sta!! a#% use a !ice#se 3or the
so3t@are o#!/ o# o#e com0uter @hich is i# /our 0ossessio#. Durchasi#" a eLice#ser
%o#"!e ma,es it easi!/ 0ossib!e to use the so3t@are o# three com0uters i3 #ee%s
occur.
The use o3 the so3t@are @ithi# a #et@or, is i!!e"a! @here there is the 0ossibi!it/ o3 a
co#tem0ora#eous mu!ti0!e use o3 the 0ro"ram.
2ou are e#tit!e% to 0re0are a bac,u0 co0/ o3 the so3t@are @hich @i!! #ot be use% 3or
0ur0oses other tha# stora"e 0ur0oses.
2ou sha!! have #o 3urther ri"ht or i#terest to use the so3t@are other tha# the !imite%
ri"hts as s0eci3ie% i# this A"reeme#t. Arturia reserves a!! ri"hts #ot eB0ress!/
"ra#te%.
1. Ac"/a"on of "h# Sof".ar#
Arturia ma/ use a com0u!sor/ activatio# o3 the so3t@are a#% a com0u!sor/
re"istratio# o3 the .EM so3t@are 3or !ice#se co#tro! to 0rotect the so3t@are a"ai#st
u#!a@3u! co0/i#". 53 /ou %o #ot acce0t the terms a#% co#%itio#s o3 this A"reeme#t:
the so3t@are @i!! #ot @or,.
5# such a case the 0ro%uct i#c!u%i#" the so3t@are ma/ o#!/ be retur#e% @ithi# <0
%a/s 3o!!o@i#" acquisitio# o3 the 0ro%uct. U0o# retur# a c!aim accor%i#" to ` 66 sha!!
#ot a00!/.

;. Suppor"A Up!ra,#s an, Up,a"#s af"#r Pro,uc" R#!s"ra"on
2ou ca# o#!/ receive su00ort: u0"ra%es a#% u0%ates 3o!!o@i#" the 0erso#a! 0ro%uct
re"istratio#. Su00ort is 0rovi%e% o#!/ 3or the curre#t versio# a#% 3or the 0revious
versio# %uri#" o#e /ear a3ter 0ub!icatio# o3 the #e@ versio#. Arturia ca# mo%i3/ a#%
0art!/ or com0!ete!/ a%Aust the #ature o3 the su00ort (hot!i#e: 3orum o# the @ebsite
etc.): u0"ra%es a#% u0%ates at a#/ time.
The 0ro%uct re"istratio# is 0ossib!e %uri#" the activatio# 0rocess or at a#/ time !ater
throu"h the 5#ter#et. 5# such a 0rocess /ou are as,e% to a"ree to the stora"e a#%
use o3 /our 0erso#a! %ata (#ame: a%%ress: co#tact: emai!8a%%ress: a#% !ice#se %ata)
3or the 0ur0oses s0eci3ie% above. Arturia ma/ a!so 3or@ar% these %ata to e#"a"e%
thir% 0arties: i# 0articu!ar %istributors: 3or su00ort 0ur0oses a#% 3or the veri3icatio# o3
the u0"ra%e or u0%ate ri"ht.

5. Lc#ns# 0o,u*# 5#Lc#ns#r C#y an,7or Sof" #Lc#ns#r9
Arturia uses a har%@are %evice co##ecte% throu"h the USB co##ectio# o3 a
com0uter: the CeLice#ser %o#"!eE a#%?or a 0rotectio# scheme: the CSo3t eLice#serE
3or !ice#se co#tro! (har%@are a#%?or virtua! %o#"!e). The eLice#ser %o#"!e a#%?or So3t
eLice#ser 0erma#e#t!/ saves the !ice#se i#3ormatio# a#% re"u!ates access to the
so3t@are. 53 a eLice#ser %o#"!e is require% 3or the use o3 the so3t@are: the# the
eLice#ser %o#"!e must be co##ecte% 0h/sica!!/ to the com0uter throu"h the USB
i#ter3ace.
&or the activatio# o3 the so3t@are: u0%ates or u0"ra%es o3 the so3t@are the com0uter
@hich is co##ecte% to the Arturia ,e/ a#%?or usi#" the So3t eLice#ser or usi#" the
.EM so3t@are must be co##ecte% to the server o3 S5A eLice#ser throu"h the 5#ter#et.
53 the 0ro%uct @as %e!ivere% @ith the eLice#ser %o#"!e: the !ice#se i#3ormatio# @as
a!rea%/ tra#s3erre% to the eLice#ser %o#"!e. 53 the 0ro%uct @as %e!ivere% @ith a
0ro%uct car% (@ithout the eLice#ser %o#"!e): the activatio# co%es o3 the e#c!ose%
0ro%uct car% must be e#tere% ma#ua!!/ b/ the user u0o# i#sta!!atio# a#% the !ice#se
i#3ormatio# must be eBcha#"e% @ith the server o3 S5A eLice#ser.
5# the eve#t o3 .EM so3t@are: the activatio# co%es @i!! be se#% to a# emai!8a%%ress
submitte% b/ /ou %uri#" a re"istratio# a#% must be e#tere% ma#ua!!/ b/ the user
u0o# i#sta!!atio# a#% the !ice#se i#3ormatio# must be eBcha#"e% @ith the server o3
S5A eLice#ser.
The rei#sta!!atio# o3 the so3t@are 8 o# the same or a#other com0uter 8 is 0ermitte%
o#!/ i# case the a!rea%/ i#sta!!e% so3t@are ca##ot be use% a#/ more (e.". 3o!!o@i#"
%ei#sta!!atio#). 53 the so3t@are %oes #ot use a# eLice#ser %o#"!e: the #e@ activatio#
co%es ma/ be obtai#e% 3rom the users o#!i#e accou#t 3or su00ort create% %uri#" the
0erso#a! 0ro%uct re"istratio#. &urther: the activatio# co%es must be e#tere%
ma#ua!!/ b/ the user u0o# i#sta!!atio# a#% the !ice#se i#3ormatio# must be
eBcha#"e% @ith the server o3 S5A Stei#ber". Arturia ma/ require 3or the 0rovisio# o3
3urther activatio# co%es e.". /our 0roo3 o3 0urchase (i#voice: recei0t) a#% a si"#e%
assura#ce b/ 3aB or !etter stati#" /our #ame: a%%ress a#% that the a!rea%/ i#sta!!e%
so3t@are ca##ot be use% a#/ more.
2ou ca# a!so use a#other com0uter other tha# the o#e o# @hich the so3t@are is to be
i#sta!!e% 3or the activatio# a#% tra#s3er o3 !ice#se %ata to the eLice#ser %o#"!e: i3 the
so3t@are is usi#" a# eLice#ser %o#"!e. 1o@ever: i# such a case a corres0o#%i#"
access so3t@are (eLice#ser ;o#tro! ;e#ter: CeL;E) must be i#sta!!e% o# the com0uter
co##ecte% to the 5#ter#et: @hich is subAect to a se0arate !ice#si#" a"reeme#t.

@. D#f#c" an, *oss of "h# #Lc#ns#r ,on!*#
5# the case o3 a %e3ect or %ama"e to the eLice#ser %o#"!e Arturia or a thir% 0art/
e#"a"e% b/ Arturia @i!! chec, the eLice#ser %o#"!e. 5# the case o3 a !e"itimate
c!aim the eLice#ser %o#"!e a#% the !ice#ses i#c!u%e% sha!! be re0!ace% i# retur#
3or a ha#%!i#" 3ee. The !ice#ses @i!! o#!/ be re0!ace% 0rovi%e% that the/ are
!ice#ses issue% b/ Arturia. &urther c!aims a"ai#st Arturia are eBc!u%e%.
Arturia assumes #o !iabi!it/ or ob!i"atio# i3 the eLice#ser %o#"!e is mis!ai% as a
resu!t o3 !oss: the3t or other@ise. Arturia reserves the ri"ht to b!oc, the !ice#ses
save% o# the eLice#ser %o#"!e u0o# bei#" #oti3ie% b/ the re"istere% user o3 the
!oss. The !ice#ses save% o# the eLice#ser %o#"!e ca##ot be re0!ace%.

8. No Un)un,*n!
The so3t@are usua!!/ co#tai#s a variet/ o3 %i33ere#t 3i!es @hich i# its co#3i"uratio#
e#sure the com0!ete 3u#ctio#a!it/ o3 the so3t@are. The so3t@are ma/ be use% as o#e
0ro%uct o#!/. 5t is #ot require% that /ou use or i#sta!! a!! com0o#e#ts o3 the so3t@are.
2ou must #ot arra#"e com0o#e#ts o3 the so3t@are i# a #e@ @a/ a#% %eve!o0 a
mo%i3ie% versio# o3 the so3t@are or a #e@ 0ro%uct as a resu!t. The co#3i"uratio# o3
the so3t@are ma/ #ot be mo%i3ie% 3or the 0ur0ose o3 %istributio#: assi"#me#t or
resa!e.
2ou ma/ a!so #ot se!! the eLice#ser %o#"!e se0arate!/ as a !ice#seO the usa"e ri"hts
a!@a/s remai# @ith the so3t@are: i# 0articu!ar @ith the ori"i#a! so3t@are %ata carrier
(e.". ;).

D. Ass!n0#n" of R!h"s
2ou ma/ assi"# a!! /our ri"hts to use the so3t@are to a#other 0erso# subAect to the
co#%itio#s that (a) /ou assi"# to this other 0erso# (i) this A"reeme#t a#% (ii) the
so3t@are or har%@are 0rovi%e% @ith the so3t@are: 0ac,e% or 0rei#sta!!e% thereo#:
i#c!u%i#" a!! co0ies: u0"ra%es: u0%ates: bac,u0 co0ies a#% 0revious versio#s: @hich
"ra#te% a ri"ht to a# u0%ate or u0"ra%e o# this so3t@are: (b) /ou %o #ot retai#
u0"ra%es: u0%ates: bac,u0 co0ies u#% 0revious versio#s o3 this so3t@are a#% (c) the
reci0ie#t acce0ts the terms a#% co#%itio#s o3 this A"reeme#t as @e!! as other
re"u!atio#s 0ursua#t to @hich /ou acquire% a va!i% so3t@are !ice#se.
A retur# o3 the 0ro%uct %ue to a 3ai!ure to acce0t the terms a#% co#%itio#s o3 this
A"reeme#t: e.". the 0ro%uct activatio#: sha!! #ot be 0ossib!e 3o!!o@i#" the
assi"#me#t o3 ri"hts.

F. Up!ra,#s an, Up,a"#s
2ou must have a va!i% !ice#se 3or the 0revious or more i#3erior versio# o3 the
so3t@are i# or%er to be a!!o@e% to use a# u0"ra%e or u0%ate 3or the so3t@are. U0o#
tra#s3erri#" this 0revious or more i#3erior versio# o3 the so3t@are to thir% 0arties the
ri"ht to use the u0"ra%e or u0%ate o3 the so3t@are sha!! eB0ire.
The acquisitio# o3 a# u0"ra%e or u0%ate %oes #ot i# itse!3 co#3er a#/ ri"ht to use the
so3t@are.
The ri"ht o3 su00ort 3or the 0revious or i#3erior versio# o3 the so3t@are eB0ires u0o#
the i#sta!!atio# o3 a# u0"ra%e or u0%ate.

+G. L0"#, 4arran"y
Arturia @arra#ts that the %is,s o# @hich the so3t@are is 3ur#ishe% to be 3ree 3rom %e3ects
i# materia!s a#% @or,ma#shi0 u#%er #orma! use 3or a 0erio% o3 thirt/ (<0) %a/s 3rom the
%ate o3 0urchase. 2our recei0t sha!! be evi%e#ce o3 the %ate o3 0urchase. A#/ im0!ie%
@arra#ties o# the so3t@are are !imite% to thirt/ (<0) %a/s 3rom the %ate o3 0urchase.
Some states %o #ot a!!o@ !imitatio#s o# %uratio# o3 a# im0!ie% @arra#t/: so the above
!imitatio# ma/ #ot a00!/ to /ou. A!! 0ro"rams a#% accom0a#/i#" materia!s are 0rovi%e%
Cas isE @ithout @arra#t/ o3 a#/ ,i#%. The com0!ete ris, as to the qua!it/ a#%
0er3orma#ce o3 the 0ro"rams is @ith /ou. Shou!% the 0ro"ram 0rove %e3ective: /ou
assume the e#tire cost o3 a!! #ecessar/ servici#": re0air or correctio#.

++. R#0#,#s
ArturiaIs e#tire !iabi!it/ a#% /our eBc!usive reme%/ sha!! be at ArturiaIs o0tio# either (a)
retur# o3 the 0urchase 0rice or (b) re0!aceme#t o3 the %is, that %oes #ot meet the
Limite% Farra#t/ a#% @hich is retur#e% to Arturia @ith a co0/ o3 /our recei0t. This
!imite% Farra#t/ is voi% i3 3ai!ure o3 the so3t@are has resu!te% 3rom acci%e#t: abuse:
mo%i3icatio#: or misa00!icatio#. A#/ re0!aceme#t so3t@are @i!! be @arra#te% 3or the
remai#%er o3 the ori"i#a! @arra#t/ 0erio% or thirt/ (<0) %a/s: @hichever is !o#"er.

+2. No o"h#r 4arran"#s
The above @arra#ties are i# !ieu o3 a!! other @arra#ties: eB0resse% or im0!ie%: i#c!u%i#"
but #ot !imite% to: the im0!ie% @arra#ties o3 mercha#tabi!it/ a#% 3it#ess 3or a 0articu!ar
0ur0ose. No ora! or @ritte# i#3ormatio# or a%vice "ive# b/ Arturia: its %ea!ers:
%istributors: a"e#ts or em0!o/ees sha!! create a @arra#t/ or i# a#/ @a/ i#crease the
sco0e o3 this !imite% @arra#t/.

+1. No La)*"y for 3ons#Iu#n"a* Da0a!#s
Neither Arturia #or a#/o#e e!se i#vo!ve% i# the creatio#: 0ro%uctio#: or %e!iver/ o3 this
0ro%uct sha!! be !iab!e 3or a#/ %irect: i#%irect: co#seque#tia!: or i#ci%e#ta! %ama"es
arisi#" out o3 the use o3: or i#abi!it/ to use this 0ro%uct (i#c!u%i#" @ithout !imitatio#:
%ama"es 3or !oss o3 busi#ess 0ro3its: busi#ess i#terru0tio#: !oss o3 busi#ess i#3ormatio#
a#% the !i,e) eve# i3 Arturia @as 0revious!/ a%vise% o3 the 0ossibi!it/ o3 such %ama"es.
Some states %o #ot a!!o@ !imitatio#s o# the !e#"th o3 a# im0!ie% @arra#t/ or the
eBc!usio# or !imitatio# o3 i#ci%e#ta! or co#seque#tia! %ama"es: so the above !imitatio# or
eBc!usio#s ma/ #ot a00!/ to /ou. This @arra#t/ "ives /ou s0eci3ic !e"a! ri"hts: a#% /ou
ma/ a!so have other ri"hts @hich var/ 3rom state to state.

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