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The Arturia team had the opportunity to meet Octave One over the Amsterdam Dance Event 2015 and request information from them relating to usage of BeatStep Pro. The interview was shot at Sugar Factory along with the live performance for the MelkWeg Club.
BeatStep Pro might be more powerful previously. It will become the maximum companion to your live or studio sessions. This firmware update adds more features, more possibilities. Click to uncover the new features!
We are proud to announce the award winning recreation with the Oberheim SEM, iSEM, may be the first iPad game to benefit at a full compatibility with Audio Unit Extension. This allows iSEM being launched directly within an Audio Unit host, like Garage Band, offering on the iPad the identical comfort and workflow much like a computer-based home studio!
We have the first as well as the last synthesizers put together by Sequential CircuitsР± and brought these to you in a easy-to-use software instrument format.
The standalone version would sometimes crash at startup on Mac OS X 10.11 El Capitan
53372: Pro Tools version is recognized properly on Mac OS X 10.4
The standalone version would sometimes crash at startup on Mac OS X 10.11 El Capitan
53372: Pro Tools version has become recognized properly on Mac OS X 10.4
Support for Mac OSX 10.7 Lion
Support for Mac OSX 10.7 Lion
Release Notes - Prophet-V2.0 New Features Р‘Sound MapР‘ graphical preset browser added Switch to Soft eLicenser software protection no dongle required RPN Р‘pitch bend rangeР‘ message is recognized NRPN midi controls can be used automation Some pres
Release Notes - Prophet-V2.0 New Features Р‘Sound MapР‘ graphical preset browser added Switch to Soft eLicenser software protection no dongle required RPN Р‘pitch bend rangeР‘ message has become recognized NRPN midi controls can be used as automation Some pres
In the bradenton area, you'll be able to download preset banks for being used along with your Arturia product. These presets have already been made by talented sound designers and musicians. With their help, once you are ready to increase your knowledge and use from the instrument.
Access the file by simply clicking a preset bank.
The file downloaded is really a zipped file. Unzip it employing a tool like Winzip PC or Stuffit Mac.
Once unzipped, import the preset file in your product with the Import icon inside toolbar.
In case of trouble while installing a preset bank, please make reference to our tech support.
Sota Fujimori is usually a staff composer for your Konami Corporation in Japan.
12 in years past, He attended the Berklee College of Music majoring in musical synthesis. And now, he does produce a lot more than 180 songs per year at Konami. He is additionally a synthesizer expert in Japanese tech-culture, and regularly does interviews about various new and vintage synthesizers.
He owns at the least 50 hardware synthesizers, and each and every major software synthesizer which can be released.
Jean-Michel Blanchet is one in the two founding members from the Trance group Jaцa. In 2000 after having a decade of live concerts, he joined Arturia as art director and full-time sound designer, bringing his thorough experience towards the creation of new items.
Copyright б Arturia Tous droits rцservцs.
American singer-songwriter, composer, and record producer. As both a vocalist and multi-instrumentalist, Reznor has led the commercial rock project Nine Inch Nails since 1988
American keyboardist and composer, who has been an original member from the rock/pop band Toto.
We have the FIRST plus the LAST synthesizers Pcreated by Sequential Circuits- and brought these to you within an easy to work with software instrument format. As with all other soft synths produced by Arturia, we create for you replicas from the Prophet-5 and Prophet VS both visually and sonically. Using the PROPHET V will likely be second nature with the connoisseurs. And in the event you are a novice to these synths, the sole thing you will miss by without having the hardware versions could be the workout from transporting these phones the studio. Finally, ever since the PROPHET V is made with Arturia-s TAE technology, it is possible to be sure you'll not quit sound quality.
Three synthesizers a single: Prophet 5, Prophet VS, Prophet Hybrid
Support for Mac OSX 10.7 Lion
The virtual emulation offered inside the Prophet V is undoubtedly an exact replica on the original instrument and uses precisely the same subtractive synthesis model. Subtractive synthesis refers for the filtering of sounds in the specific strategies order to build harmonically rich waveforms and new timbres. Our reproduction of Subtractive synthesis with TAE guarantees the sound quality in the instrument.
The Prophet V carries all with the original parameters, as well as the 40 original presets with the Prophet 5. The potentiometers or switches associated to the telltale 54 parameters will permit you to build an infinite various sounds which are native towards the original synthesizer.
The Prophet VS uses wave table or vector oscillators. In this style of synthesis, the oscillator waveforms are digitally stored within a table how the user can freely select, based on the texture with the sound that's needed. With the VS it is possible to recreate that classic 80-s wave table synthesis sound as part of your computer.
There are 96 digitally sampled waveform types when you need it. Use up to 4 oscillators simultaneously and mix them in real time by sweeping the joystick or perhaps the 5 point envelope. The Prophet VS brings that you simply unique sound which includes the strength to face on its own, but on the same time is complementary to that in the Prophet 5.
1 multi mode filter LP, HP, BP, Notch
In Hybrid mode we feel we have brought something special. One in the things which might be so great about creating a new synthesizer could be the unexpected things that you are able to discover by using it, those delightful moments in musical creation whenever you stumble upon a solid that you weren-t searching for. Hybrid mode comes with a combination from the Prophet 5 and Prophet VS stacked one on top with the other. Thus a wholly new sound palette to blend and blend will likely be at your disposal: the analogue subtractive synthesizer within the Prophet 5 AND the digital wave-table or vector synthesizer from the Prophet VS.
The audio matrix allows one to activate or deactivate the audio module outputs from the two synthesizers oscillators, filters, sound on the Prophet. You can connect the filters inside a series to get a unique mix with the two synthesizers or it is possible to connect the filters in parallel for any fatter sound. This gives a huge difference of sound between both the solutions.
The modulation matrix in the Prophet Hybrid allows one to add modulation inputs impossible to feature with the PROPHET 5 alone. The velocity, after touch, or numerous other modulation sources presented about the VS that could now be used around the PROPHET 5.
Explore countless sounds using our revolutionary Sound MAP. Locate areas you prefer and pick a solid that will stimulate your creativity. Morph sounds for the MAP by clicking anywhere that suits you. Add filters for making your search easier, or get back for the traditional listing of presets, by sound-designer or by type. Be creative, be funky, be a solid-traveller.
Mac OS X: 10.6 or more, Intel only
Works in Standalone, AAX Pro Tools 11, VST 2.4 VST 3, 32 64 bit, RTAS and AU 32 64 bit formats
PC/Windows: 2 GB RAM; 2 GHz CPU
Mac Intel only: 2 GB RAM; 2 GHz CPU
Arturia emulate both classic Prophet 5 as well as the lesser-known Prophet VS synthesizers of their latest software instrument. Arturias
In the joy of classic hardware synthesizer emulation, Arturia have been ahead with the game. They were the first ones to recreate the
The SCI Prophet 5, is, to my taste, without the question, by far the most lovely analogue polysynth available, and guess what happens? I m only some of the
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Arturia emulate the classic Prophet 5 plus the lesser-known Prophet VS synthesizers within their latest software instrument.
Arturias previous soft synths the Minimoog V, Moog Modular V, ARP 2600V, and CS80V are already generally well-received by reviewers and players alike, so Prophet V joins a respected group of recreations of vintage instruments. However, it differs from Arturias earlier products, because doing so emulates probably none, but two vintage classics: the Prophet 5 from 1978, along with the hybrid analogue/digital Prophet VS from 1986.
Arturias literature states they modelled their Prophet 5 emulation around the Rev 2 and Rev 3 models in the original synth, hence the best instrument to compare and contrast would certainly be a Rev 3 Prophet 5 or maybe a Prophet 10, which, in case you ignore a number of enhancements, is simply pair of Rev 3s in wolfs clothing. As luck would have it, I just happen to employ a Prophet 10 handy!
Opening the filters fully on both synths using the cut-off-frequency knob and also the filter envelope, defeating any modulation, and choosing sawtooth wave on Oscillator A on the soft synth plus the Upper synth of my Prophet 10, I played middle C on both, and likely to hear an all-but-identical sound. To my surprise, I didnt. The original synth was noticeably brighter, the soft synth sounding somewhat softer than an original, as well as the difference have also been clearly visible with an oscilloscope. The square waves and triangle waves were closer on the originals, but all three in the soft synths waves sounded less bright than others generated by my Prophet 10.
The noise generator in my Prophet 10, while affected by the cyclic thump that bedevils early Prophets, sounds whiter than that in the soft synth, plus a spectrum analyser confirms this, showing how the soft synths white noise spectrum exhibits a marked fall-off above 5kHz, winding up almost 20dB down at 20kHz. This is similar to placing a 10dB/octave low-pass filter through the output! If these answers are a consequence with the filter emulation, as an alternative to any significant differences within the spectra in the noise generators themselves, some may explain the cyclic waveforms insufficient brightness when compared together with the originals.
Analysis on the range of filter cut-off frequencies might be more encouraging. The soft synth carries a lowest cut-off frequency of 10Hz, a maximum when controlled with the cut-off frequency knob alone of 8.47kHz, then when used at 44.1kHz a maximum when pushed towards the limit using CVs of 20.5kHz. This compares well using the Prophet 10, which carries a minimum of 10Hz, a maximum when controlled from the cut-off frequency knob of 8.55kHz, and also a maximum when pushed on the limit using CVs well, I have no idea. The last I saw, it had crashed with the Nyquist limit of my analyser and was heading upward toward 30kHz without pausing for breath.
Also good news could be the way in which you may play the self-oscillating filter. The filters both in synths produce precisely the same, haunting sound, and track the laptop keyboard so accurately that it is possible to play them just like you would the oscillators. By the way, rather then offering a Keyboard tracking on/off switch, the soft synth gives a knob to vary it from zero to completely. No, it's just not original, nevertheless its a well-chosen enhancement.
Moving on, I measured the easiest transients that the 2 synths can generate, which revealed some stunning results. The original synth was greater than reasonable with the standards on the time, which has a fastest VCA Attack close to 1ms, and also a fastest VCA Decay of around 9ms. Nevertheless, Prophet V blows these figures away, which has a complete AD cycle of merely a millisecond or possibly even longer. This makes it very snappy indeed.
On another hand, my measurements in the maximum stage times says, in contrast on the Prophet 10s times during approximately 25s, 50s, and 40s Attack, Decay and Release respectively, the Prophet Vs times during 8s, 11s, and 12s preclude many with the long sweeps and gentle effects that you just might otherwise wish to coax as a result. This is particularly disappointing, because Arturia have inside past as an example, on 2600V extended the absolute maximum envelope times to produce such effects possible.
Next, I tested the transient response from the filter envelope. The Attack is incredibly quick again, approximately 1ms, but I was surprised to find the tail extends for merely a quarter of any second. Whats more, the bump toward the end with the tail isn't unique to this particular particular click; it appears to be on these. As a consequence, sounds that begin that has a filter click possess a slight squelch. Its not a big problem, nevertheless its worth flagging.
As may be noted often before, the blend of a flexible LFO, many destinations inside the Mono-Mod section, as well as the memorably named Poly-Mod made the Prophet 5 particularly flexible. Prophet V recreates every one of these, but adds MIDI synchronisation in the LFO, and replaces the LFO amount knob by having an LFO/Noise control that determines precisely LFO and/or pink noise that comprises the modulation signal from the Mono-Mod section. Again, these are typically well-chosen enhancements who do nothing to detract on the character with the original.
Its notoriously challenging to recreate analogue FM over a digital synth, considering that the vagaries of analogue oscillators are amplified when used in in this way. The differences between my Prophet 10 and Prophet V have become noticeable. For example, when raising the amplitude of Oscillator Bs triangle wave when used because Poly-Mod source for Oscillator A, the overriding effect in Prophet V is in the pitch dropping, whereas on an original its from the pitch rising. When while using the sawtooth or square waves because modulator, both the synths offer a similar experience, but fully clockwise for the soft synth is the same as around the 11:30 position sawtooth or 1:30 square on the first, and so the genuine Prophet provides a wider array of effects. Theres and a bug here. Switch off each of the waveforms on Oscillator B, plus the FM effect should disappear. It doesnt, along with a seemingly random amount is applied to Oscillator A.
Before leaving the voice structure in the Prophet 5 emulation, I should note how the soft synth retains important facilities including oscillator sync, glide, the making on/off switch, and unison. To this, it adds new ones for instance single triggering and legato-only glide in unison mode. It also allows you to definitely determine the pitch-bend range which the main synths couldn't and to specify some detune in Unison mode likewise. These are all sensible additions, the blend of which turns Prophet V in a stonkingly good monosynth. Whats more, whereas an original synths use last-note priority when played polyphonically and high-note priority in Unison mode, Prophet V offers Reset, Circular, Low, High, and Last note-priority options both in modes, which allows you to definitely tailor it on your favourite gameplay.
I compared some in the original Prophet 5 patches put in place on one manual of my Prophet 10 using the factory sound bank given Prophet V. I started together with the classic Brass and Strings settings from patch locations 11 and 12. To start with, these sounded millions of miles away on the respective patches around the soft synth, but by adjusting the parameters for the Prophet 10 to complement Prophet V, or the opposite way round, I could get both the instruments to your point that even though they were not identical it would are actually churlish to deny which the soft synth was emulating the initial.
Greater differences arose when building brighter sounds, and others with bright, percussive transients. This is when the softer sound of Prophet V became more evident. So, for instance, the hammer attacks of electric pianos were slightly softer on Prophet V, as were heavily modulated and synced sounds.
I also tested for things like zipper noise, and found which the filter quantisation was very like that in the original but, when swept quickly, it offered a smoother response for filter blips and splats. In other tests, trying out fine control with the pulse width with all the Shift factor to adjust the soft synth in smaller steps demonstrated how the quantisation on the soft synth is usually far finer than on the initial, and that is definitely in Prophet Vs favour.
One problem, however, was very apparent. Many in the big sounds inside factory patches distorted nastily. Curing this entailed no over reducing the level inside Mixer and/or perhaps the Master Volume control, so I sooo want to know whether this was a result of my setup or careless programming.
Theres plenty of mystique all around the Prophet VS, however it is a simple synthesizer by modern standards, considering that the concept of placing four digitally generated waveforms on the cardinal points of the compass and mixing them employing a joystick or envelope generator has now become basic fare. Other than this, the VSs signal path is analogue, with all of its eight voices according to Curtis filters and VCAs, articulated by two dedicated envelope generators and modulated by two LFOs.
So, what made the Prophet VS special? As always, the answer would be the sound. The VS incorporates a depth which includes rarely been equalled and in accordance with some never surpassed. However, the construction, expense, and unintuitive interface prevented it to become world-beater.
Prophet Vs Prophet VS emulation includes the 96 ROM waveforms found in locations 32 to 127 inside the original. The VS also allowed you to build and store 32 user waveforms in locations zero to 31, nevertheless the soft synth isn't going to offer this. Setting up my very own Prophet VS and making use of this as both a solid source and also the MIDI controller for Prophet V, I compared the waveforms, both audibly and with all the signal analyser. Starting with wave 32, the sine wave, I build a simple patch without filtering, modulation, or effects, and heard both instruments. The sounds were distinctive. The real Prophet VS demonstrated lots of harmonic and enharmonic contamination, plus aliasing at high frequencies. Prophet V would not do so, as well as output was much more detailed a mathematically pure sine wave. Whether you look at the soft synth as closer for the ideal, or perhaps inaccurate reproduction on the original is, obviously, reliant on taste.
The sounds from the other simple waves were somewhat better one another, however the differences were always clear. For example, the sawtooth wave on the first VS is bolder and brassier versus the slightly muted version for the soft synth, plus the square wave can be brighter. The softness in Prophet V continued to disclose itself as I tested numerous waveforms, and yes it didnt appear to become a question of EQ; the soft synths waves did actually contain a different balance of harmonics when compared together with the originals. Another interesting quirk revealed itself through these tests wave 75 Vocal 1 is inverted about the Prophet Vs emulation.
Unlike the first, which merely offered a control button to select oscillator A, B, C, or D, the soft synth shows all four simultaneously on-screen, using the wave number and coarse and fine frequencies permanently visible for each and every. This is much clearer than on the initial, as would be the method for balancing the oscillators and creating vector envelopes: follow on on Envelope inside Modulation section then select Mixer, whereupon you may pull the vector points into position to make dynamic effects considerably more quickly and easily than was possible on the main.
As before, the reason with the consistent insufficient top end within the soft synth again revealed itself when I tested the filter section. As usual, I set the resonance to maximum and swept the cut-off frequency to discover the filters range. The Prophet VSs filter features a cut-off frequency well above 20kHz, with lots of artifacts within the pass band. No wonder the first synth incorporates a deep and complicated sound! In marked contrast, the absolute maximum frequency of self-oscillation obtainable from Prophet V in VS mode is only a little over 5kHz. This is at the setting of 71; raise the cut-off frequency to 72 as well as the self-oscillation disappears. Strangely, this doesnt mean the maximum cut-off frequency is simply 5kHz, for the reason that filter actually opens to almost 20kHz. Clearly, the filter software program is buggy, and to visit your doctor.
Unlike the first, Prophet Vs VS mode also provides high-pass, band-pass, and band-reject modes. These dont always operate as you may expect. For example, past a cut-off setting of 80, the high-pass filter begins re-introducing some on the low frequencies its meant to get removing. The efficacy with the band-reject filter also deteriorates markedly between settings of 74 and 78, together with the rejection band becoming wider and shallower as you improve the value. Most noticeable of the, however, would be the problems while using band-pass filter, revealed by passing white noise throughout the filter in band-pass mode using the resonance set to maximum. Remember, the filter wont self-oscillate at high frequencies, and so the noise allows someone to hear whats happening. Increasing the cut-off frequency beyond a price of 81 introduces many strange, low-frequency artifacts. Surely Arturia couldnt have the filter so wrong?
As it takes place, they didnt. When I first used Prophet V, I conducted my tests using the Volume control set between half and full. But when checking the outcomes, I performed the tests at a variety of Volumes, and also at low Volumes the majority with the inappropriate filter responses disappeared. Clearly, that visit for the doctor is urgent.
Unusually, the Prophet VS had no amplifier section as a result, while using amplitude, pan, and envelope controls spread over the Voice Control and Envelope Group sections. In an improvement on the initial, Arturia have placed these in a very single section using a helpful graphic display on the envelope itself.
Prophet VS envelopes theres one each for that filter plus the amplifier are five-stage affairs with six looping modes and eight options for that number of times the loop occurs. The Prophet V recreates these almost precisely, accurately emulating the quickest Point 0 to Point 1 transient of 11ms and slowest stage points during the 40s. Almost. Arturia have missed a trick: a fastest transient of 11ms makes the Prophet VS an incredibly sluggish synth, and experienced programmers know a trick that produces a much faster transient lasting just 2.5ms, but this setting offers a transient of 22ms on Prophet V.
The modulation matrix within the Prophet VS was another area where it exceeded the bounds of traditional analogue synthesis. Prophet V takes video step further, offering an extra modulation source the amplitude envelope with no fewer than nine additional destinations that are included with individual pitch modulations for Oscillators A, B, C, and D. Strangely, additionally, it loses one destination, the chorus depth, but should you count the amount of routes available, the VS offers 28, while Prophet V gives a whopping 82, so theres ample potential for creating expressive sounds or off-the-wall effects, because you choose.
Nonetheless, you'll find areas where Prophet V falls short in the original VS specification. Two of they are significant. Firstly, there isnt any arpeggiator. Secondly, Prophet V has lost the VSs Double mode, which provided split and layer capabilities, with user-controlled detune and programmable delay from the onset with the linked patch. These facilities enabled the VS to produce huge, complex noises that rivalled much bigger, heavier polysynths, so their absence from Prophet V is often a great shame.
Most soft-synths look similar for the originals, even though the Prophet 5 emulation in Prophet V seems as if a Prophet 5, the emulation from the VS will not copy an original design exactly, which can be a good thing in my view. Too many companies think they can stick a reasonably picture onto some standard digital play blocks, and this peoples eyes will fool them into hearing the things they see. It must took guts to update the Prophet VSs cp and, even though the change of design may be described as a little disappointing for that purist, its clearer and simpler to program that the initial.
So, how exactly does the sound on the soft synth compare for the original? To test this, I again started by comparing the factory patches with Arturias factory patch bank. The nice chaps who contribute towards the Analogue Heaven synth forum informed me where to discover the SysEx file I necessary to re-program my VS, and after having a few moments downloading and uploading, I was wanting to go.
The effects were unequivocal. Prophet V just isn't as bright and inside a way that could appeal with a players but not others it will not exhibit the aliasing that characterised the VSs sound. This may morph it into a better synth within an objective sense, but it just isn't true for the original, so youll ought to decide if this is very important to you. The soft synth also lacks some on the punch with the original VS. This may be partly, because the easiest transient is simply too slow, but I feel that it goes deeper than this. No matter how we program the soft synth, it lacks something when compared with the initial. Dont do not understand it still sounds great, and Im sure that you will be happy from it. But it is just not as good as the main.
If you could have used any Arturia soft synths, youll recognize how the company organises patch libraries and goes about offering chorus and delay, basic MIDI facilities, and MIDI synchronisation of timed parameters. Youll also learn how to determine the volume of voices, keying priorities, and so forth, so Ill decline more about these. Furthermore, Prophet V shares its siblings power to learn MIDI controllers inside a quick and intuitive manner so, in case you have an appropriate hardware controller, it may spring alive for real-time programming and tweaking inside a way that can forever be impossible on the initial.
The effects are basic. The chorus offers controls for rate, depth, wet/dry mix, and three options of complexity. The delay comprises independent delay lines to the left and right channels, with delay a serious amounts of feedback control for each and every, including a global wet/dry mix. But the depth from the chorus is resolute not only through the Depth control, but also with the Rate, that's wrong. Likewise, the Delay isn't going to work correctly if your Time is determined to its maximum. If the feedback is anything in addition to maximum, there is no delayed signal. If its at maximum, the delayed signal isnt delayed, and doesnt pass with the feedback loop. This is basic issues that should are already caught in Quality Control.
Arturia are justifiably pleased with Prophet Vs Hybrid mode, possibly at first sight it appears to offer a large amount, combining the Prophet 5 along with the Prophet VS to build a mega-synth of great capability. You only ought to look on the enhanced modulation matrix which now includes sources and destinations from both synths to acquire a feel for that range of possibilities that offers. In particular, this allows that you route velocity and aftertouch to nine destinations from the Prophet 5 architecture, turning the soft synth right into a bastard child of an Prophet 5 as well as a Prophet T8. For some players, this will likely alone justify the price tag on Prophet V.
But whenever you delve deeper, all isn't quite as it appears. Rather than permit you to combine the 2 main synthesizers freely, or perhaps, as from the Korg Legacy bundle, assign both synthesizers in the Combi mode, Arturia give you a patching diagram that allows one to select the nature from the oscillators employed in slots A, B, C, and D, after which to determine the method that you route them along either or both in the 5s signal path plus the VSs signal path. This means you cant develop a software Prophet 10, or emulate the Double split and layer mode on the first VS, which is often a great shame. But despite its limitations, Hybrid mode is really a powerful architecture. Lets face it the capability to pass the Prophet 5s oscillators along two separate signal paths, one which has a multi-mode filter, is not being dismissed lightly.
It would are actually easy to describe Prophet V, throw in a very handful of eulogies regarding how it sounds identical towards the original synths, and vanish. But Prophet V is just not identical to its inspirations; its a superb imitation that supplies a number of well-chosen enhancements as well as an equal variety of errors that should happen to be sorted out. So, think about those differences in sound? Do they matter? I suspect they dont. Even if they certainly, history implies that there will probably be an update in a very few months that may sort out many from the problems. Therefore, a much better question is: Is it a great synthesizer?
The answer to the present depends, into a extent, within the power from the computer which youre running it. Prophet V is hungrier when compared to a NYPD cop who hasnt were built with a doughnut for that whole morning. With only a half dozen notes played, it fully taxes a nominal amount specification machine, but when you have processing chance to spare, it can be excellent method of obtaining warm polyphonic pads, brittle PPG-esque timbres, complex hybrid sounds, and huge monosynth leads and basses.
To conclude, there have recently been numerous soft synths purporting to emulate the Prophet 5, and I were not impressed by any of them. Arturia are inventing something closer to your original than any one of these, and I am certain that Prophet V continue to improve. Furthermore, by creating this strange marriage with the Prophet 5 with one of my all-time favourite synthesizers, the Prophet VS, this company have shown the imagination necessary to take their offering way beyond that relating to their competition.
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Arturia emulate the classic Prophet 5 along with the lesser-known Prophet VS synthesizers into their latest software instrument.
Arturia s previous soft synths the Minimoog V, Moog Modular V, ARP 2600V, and CS80V have already been generally well-received by reviewers and players alike, so Prophet V joins a respected class of recreations of vintage instruments. However, it differs from Arturia s earlier products, because doing so emulates it's unlikely that any, but two vintage classics: the Prophet 5 from 1978, and also the hybrid analogue/digital Prophet VS from 1986.
Arturia s literature states how they modelled their Prophet 5 emulation for the Rev 2 and Rev 3 models in the original synth, therefore the best instrument to compare would be described as a Rev 3 Prophet 5 or maybe a Prophet 10, which, should you ignore a number of enhancements, merely pair of Rev 3s in wolfs clothing. As luck would have it, I just happen to use a Prophet 10 handy!
Opening the filters fully on both synths using both cut-off-frequency knob along with the filter envelope, defeating any modulation, and choosing sawtooth wave on Oscillator A on the soft synth along with the Upper synth of my Prophet 10, I played middle C on both, and supposed to hear an all-but-identical sound. To my surprise, I didnt. The original synth was noticeably brighter, the soft synth sounding somewhat softer than the main, as well as the difference have also been clearly visible with an oscilloscope. The square waves and triangle waves were closer on the originals, but all three in the soft synths waves sounded less bright than others generated by my Prophet 10.
The noise generator in this little Prophet 10, while experiencing the cyclic thump that bedevils early Prophets, sounds whiter than that from the soft synth, along with a spectrum analyser confirms this, showing which the soft synths white noise spectrum exhibits a marked fall-off above 5kHz, dealing almost 20dB down at 20kHz. This is the same as placing a 10dB/octave low-pass filter along the output! If these answers are a consequence with the filter emulation, as opposed to any significant differences from the spectra with the noise generators themselves, some may explain the cyclic waveforms deficiency of brightness when compared while using originals.
Analysis with the range of filter cut-off frequencies is much more encouraging. The soft synth includes a lowest cut-off frequency of 10Hz, a maximum when controlled from the cut-off frequency knob alone of 8.47kHz, and once used at 44.1kHz a maximum when pushed on the limit using CVs of 20.5kHz. This compares well using the Prophet 10, which carries a minimum of 10Hz, a maximum when controlled through the cut-off frequency knob of 8.55kHz, plus a maximum when pushed on the limit using CVs well, I don't realize. The last I saw, it had crashed over the Nyquist limit of my analyser and was heading upward toward 30kHz without pausing for breath.
Also good news will be the way in which you'll be able to play the self-oscillating filter. The filters both in synths produce the identical, haunting sound, and track the laptop keyboard so accurately that it is possible to play them in the same way you would the oscillators. By the way, rather then offering a Keyboard tracking on/off switch, the soft synth gives a knob to vary it from zero to one hundred pc. No, it isn't original, nevertheless its a well-chosen enhancement.
Moving on, I measured the quickest transients that both the synths can generate, which revealed some stunning results. The original synth was greater than reasonable through the standards on the time, having a fastest VCA Attack of about 1ms, and also a fastest VCA Decay of around 9ms. Nevertheless, Prophet V blows these figures away, having a complete AD cycle of only a millisecond possibly even. This makes it very snappy indeed.
On one other hand, my measurements with the maximum stage times said that, in contrast for the Prophet 10s points in the approximately 25s, 50s, and 40s Attack, Decay and Release respectively, the Prophet V s times during 8s, 11s, and 12s preclude many in the long sweeps and gentle effects that you simply might otherwise anticipate to coax from this. This is particularly disappointing, because Arturia have inside past by way of example, on 2600V extended the utmost envelope times to generate such effects possible.
Next, I tested the transient response from the filter envelope. The Attack is very quick again, approximately 1ms, but I was surprised to find how the tail extends for merely a quarter of your second. Whats more, the bump toward the end from the tail is just not unique to the particular click; it seems like on these people. As a consequence, sounds that begin that has a filter click use a slight squelch. Its not a massive problem, nevertheless its worth flagging.
As continues to be noted frequently before, the mixture of a flexible LFO, a lot of destinations inside Mono-Mod section, along with the memorably named Poly-Mod made the Prophet 5 particularly flexible. Prophet V recreates every one of these, but adds MIDI synchronisation in the LFO, and replaces the LFO amount knob by having an LFO/Noise control that determines exactely LFO and/or pink noise that comprises the modulation signal inside the Mono-Mod section. Again, these are typically well-chosen enhancements which do nothing to detract from your character from the original.
Its notoriously tricky to recreate analogue FM on the digital synth, for the reason that vagaries of analogue oscillators are amplified when they're used in in this way. The differences between my Prophet 10 and Prophet V are extremely noticeable. For example, when improving the amplitude of Oscillator Bs triangle wave when used because Poly-Mod source for Oscillator A, the overriding effect in Prophet V is on the pitch dropping, whereas on the main its on the pitch rising. When utilizing the sawtooth or square waves because the modulator, the 2 main synths offer a similar experience, but fully clockwise for the soft synth is equal to around the 11:30 position sawtooth or 1:30 square on the main, and so the genuine Prophet provides a wider selection of effects. Theres additionally a bug here. Switch off every one of the waveforms on Oscillator B, and also the FM effect should disappear. It doesnt, as well as a seemingly random amount is applied to Oscillator A.
Before leaving the voice structure in the Prophet 5 emulation, I should note how the soft synth retains important facilities for instance oscillator sync, glide, the production on/off switch, and unison. To this, it adds new ones like single triggering and legato-only glide in unison mode. It also allows that you determine the pitch-bend range which the main synths cannot and to specify some detune in Unison mode likewise. These are all sensible additions, the blend of which turns Prophet V to a stonkingly good monosynth. Whats more, whereas the first synths use last-note priority when played polyphonically and high-note priority in Unison mode, Prophet V offers Reset, Circular, Low, High, and Last note-priority options in the modes, which allows someone to tailor it for the favourite gameplay.
I compared some with the original Prophet 5 patches create on one manual of my Prophet 10 while using factory sound bank furnished with Prophet V. I started while using classic Brass and Strings settings from patch locations 11 and 12. To start with, these sounded hundreds of miles away on the respective patches within the soft synth, but by adjusting the parameters about the Prophet 10 to complement Prophet V, or the other way round, I could get the 2 main instruments towards the point that even though they were not identical it would have already been churlish to deny which the soft synth was emulating the first.
Greater differences arose when making brighter sounds, the ones with bright, percussive transients. This is when the softer sound of Prophet V became more evident. So, by way of example, the hammer attacks of electric pianos were slightly softer on Prophet V, as were heavily modulated and synced sounds.
I also tested for things like zipper noise, and found the filter quantisation was nearly the same as that from the original but, when swept quickly, it offered a smoother response for filter blips and splats. In other tests, tinkering with fine control with the pulse width utilizing the Shift answer to adjust the soft synth in smaller steps demonstrated how the quantisation with the soft synth is usually far finer than on the main, which can be definitely in Prophet V s favour.
One problem, however, was very apparent. Many in the big sounds inside factory patches distorted nastily. Curing this entailed no in excess of reducing the level inside Mixer and/or Master Volume control, so I want to know whether this was as a result of my setup or careless programming.
Theres plenty of mystique all around the Prophet VS, nevertheless its a simple synthesizer by modern standards, as the concept of placing four digitally generated waveforms in the cardinal points of any compass and mixing them utilizing a joystick or envelope generator has now become basic fare. Other than this, the VSs signal path is analogue, with all of its eight voices dependant on Curtis filters and VCAs, articulated by two dedicated envelope generators and modulated by two LFOs.
So, what made the Prophet VS special? As always, the answer may be the sound. The VS incorporates a depth which has rarely been equalled and in accordance with some never surpassed. However, the quality, expense, and unintuitive interface prevented it being a world-beater.
Prophet V s Prophet VS emulation includes the 96 ROM waveforms incorporated into locations 32 to 127 inside original. The VS also allowed you to generate and store 32 user waveforms in locations zero to 31, however the soft synth isn't going to offer this. Setting up my Prophet VS and ultizing this as both an audio source and also the MIDI controller for Prophet V, I compared the waveforms, both audibly and utilizing the signal analyser. Starting with wave 32, the sine wave, I create a simple patch without having filtering, modulation, or effects, and heard both instruments. The sounds were distinctive. The real Prophet VS demonstrated lots of harmonic and enharmonic contamination, plus aliasing at high frequencies. Prophet V wouldn't do so, and its particular output was much much better a mathematically pure sine wave. Whether you observe the soft synth as closer for the ideal, or perhaps an inaccurate reproduction on the original is, certainly, reliant on taste.
The sounds from the other simple waves were somewhat much better one another, even though differences were always clear. For example, the sawtooth wave on the first VS is bolder and brassier compared to the slightly muted version within the soft synth, as well as the square wave can also be brighter. The softness in Prophet V continued to show itself as I tested many waveforms, and it also didnt appear to become a question of EQ; the soft synths waves appeared to contain a different balance of harmonics when compared while using originals. Another interesting quirk revealed itself throughout these tests wave 75 Vocal 1 is inverted for the Prophet V s emulation.
Unlike an original, which merely offered submit to select oscillator A, B, C, or D, the soft synth shows all four simultaneously on the watch's screen, with all the wave number and coarse and fine frequencies permanently visible for each and every. This is much clearer than on the main, as would be the method for balancing the oscillators and creating vector envelopes: press on Envelope from the Modulation section after which select Mixer, whereupon you'll be able to pull the vector points into position to generate dynamic effects a lot more quickly and easily than was possible on the main.
As before, the reason for that consistent insufficient top end inside soft synth again revealed itself when I tested the filter section. As usual, I set the resonance to maximum and swept the cut-off frequency to get the filters range. The Prophet VSs filter includes a cut-off frequency well above 20kHz, with plenty of artifacts inside pass band. No wonder an original synth carries a deep and sophisticated sound! In marked contrast, the most frequency of self-oscillation obtainable from Prophet V in VS mode is only a little over 5kHz. This is in a setting of 71; enhance the cut-off frequency to 72 and also the self-oscillation disappears. Strangely, this doesnt mean which the maximum cut-off frequency is only 5kHz, for the reason that filter actually opens to just about 20kHz. Clearly, the filter software packages are buggy, and requirements to visit the physician.
Unlike the main, Prophet V s VS mode now offers high-pass, band-pass, and band-reject modes. These dont always operate as you may expect. For example, past a cut-off setting of 80, the high-pass filter begins re-introducing some in the low frequencies its meant to become removing. The efficacy with the band-reject filter also deteriorates markedly between settings of 74 and 78, with all the rejection band becoming wider and shallower as you raise the value. Most noticeable of, however, are definitely the problems using the band-pass filter, revealed by passing white noise throughout the filter in band-pass mode with all the resonance set to maximum. Remember, the filter wont self-oscillate at high frequencies, therefore, the noise allows that you hear whats happening. Increasing the cut-off frequency beyond something of 81 introduces several strange, low-frequency artifacts. Surely Arturia couldnt get the filter so wrong?
As it occurs, they didnt. When I first used Prophet V, I conducted my tests using the Volume control set between half and full. But when checking the effects, I performed the tests at a choice of Volumes, as well as low Volumes the majority with the inappropriate filter responses disappeared. Clearly, that visit to your doctor is urgent.
Unusually, the Prophet VS had no amplifier section so, together with the amplitude, pan, and envelope controls spread throughout the Voice Control and Envelope Group sections. In an improvement on an original, Arturia have placed these in the single section using a helpful graphic display with the envelope itself.
Prophet VS envelopes theres one each with the filter along with the amplifier are five-stage affairs with six looping modes and eight options with the number of times the loop occurs. The Prophet V recreates these almost precisely, accurately emulating the easiest Point 0 to Point 1 transient of 11ms and slowest stage points during the 40s. Almost. Arturia have missed a trick: a fastest transient of 11ms makes the Prophet VS an extremely sluggish synth, and experienced programmers know a trick that produces a much faster transient lasting just 2.5ms, but this setting offers a transient of 22ms on Prophet V.
The modulation matrix around the Prophet VS was another area where it exceeded the bounds of traditional analogue synthesis. Prophet V takes vid step further, offering yet another modulation source the amplitude envelope with out fewer than nine additional destinations including individual pitch modulations for Oscillators A, B, C, and D. Strangely, in addition, it loses one destination, the chorus depth, but when you count how many routes available, the VS offers 28, while Prophet V gives a whopping 82, so theres ample potential to put creating expressive sounds or off-the-wall effects, when you choose.
Nonetheless, you will find areas through which Prophet V falls short in the original VS specification. Two of they are significant. Firstly, there is no arpeggiator. Secondly, Prophet V has lost the VSs Double mode, which provided split and layer capabilities, with user-controlled detune and programmable delay from the onset in the linked patch. These facilities enabled the VS to produce huge, complex noises that rivalled bigger, heavier polysynths, so their absence from Prophet V can be a great shame.
Most soft-synths look similar on the originals, and even though the Prophet 5 emulation in Prophet V appears to be a Prophet 5, the emulation in the VS will not copy the main design exactly, which is really a good thing i think. Too many companies think how they can stick a reasonably picture onto some standard digital play blocks, knowning that peoples eyes will fool them into hearing what you see. It must have got guts to update the Prophet VSs cpanel and, as you move the change of design may be described as a little disappointing for your purist, its clearer and much easier to program that the main.
So, how exactly does the sound with the soft synth compare on the original? To test this, I again started by comparing the factory patches with Arturia s factory patch bank. The nice chaps who contribute to your Analogue Heaven synth forum said where to have the SysEx file I necessary to re-program my VS, and from a few moments downloading and uploading, I was prepared to go.
The effects were unequivocal. Prophet V will not be as bright and inside a way that may appeal into a players but not others it won't exhibit the aliasing that characterised the VSs sound. This may morph it into a better synth within an objective sense, but it isn't true to your original, so youll ought to decide if this will be relevant to you. The soft synth also lacks some from the punch with the original VS. This may be partially, because the quickest transient is simply too slow, but I believe that it goes deeper than this. No matter how we program the soft synth, it lacks something when compared with the first. Dont do not understand it still sounds excellent, and Im sure you will be happy by it. But it isn't as good as the initial.
If you've used another Arturia soft synths, youll learn how the company organises patch libraries and goes about offering chorus and delay, basic MIDI facilities, and MIDI synchronisation of timed parameters. Youll also discover how to determine the amount of voices, keying priorities, etc, so Ill refuse more about these. Furthermore, Prophet V shares its siblings capability to learn MIDI controllers in a very quick and intuitive manner so, in the event you have the right hardware controller, it could possibly spring one's for real-time programming and tweaking inside a way which will forever be impossible on the initial.
The effects are basic. The chorus offers controls for rate, depth, wet/dry mix, and three options of complexity. The delay comprises independent delay lines for your left and right channels, with delay some time to feedback control for every single, and also a global wet/dry mix. But the depth with the chorus is set not only because of the Depth control, but also from the Rate, that's wrong. Likewise, the Delay doesn't work correctly when the Time is determined to its maximum. If the feedback is anything in addition to maximum, theres not any delayed signal. If its at maximum, the delayed signal isnt delayed, and doesnt pass with the feedback loop. This is basic stuffs that should are actually caught in Quality Control.
Arturia are justifiably satisfied with Prophet V s Hybrid mode, at first sight it appears to offer a whole lot, combining the Prophet 5 along with the Prophet VS to make a mega-synth of great capability. You only must look in the enhanced modulation matrix which now includes sources and destinations from both synths to have a feel to the range of possibilities that offers. In particular, this allows you to definitely route velocity and aftertouch to nine destinations inside the Prophet 5 architecture, turning the soft synth in a bastard child of your Prophet 5 along with a Prophet T8. For some players, this will likely alone justify the price tag on Prophet V.
But whenever you delve deeper, all is just not quite as it appears to be. Rather than permit you to combine the 2 main synthesizers freely, or perhaps, as inside the Korg Legacy bundle, assign both synthesizers within a Combi mode, Arturia offer a patching diagram that allows you to definitely select the nature in the oscillators found in slots A, B, C, and D, and to determine the method that you route them along either or both with the 5s signal path as well as the VSs signal path. This means you cant build a software Prophet 10, or emulate the Double split and layer mode on an original VS, which is usually a great shame. But despite its limitations, Hybrid mode is usually a powerful architecture. Lets face it the capability to pass the Prophet 5s oscillators along two separate signal paths, one which has a multi-mode filter, is not to become dismissed lightly.
It would are actually easy to describe Prophet V, throw in a very handful of eulogies regarding how it sounds identical towards the original synths, and disappear. But Prophet V is just not identical to its inspirations; its a superb imitation that comes with a number of well-chosen enhancements as well as an equal quantity of errors that should have already been sorted out. So, how about those differences in sound? Do they matter? I suspect that they can dont. Even if they actually, history implies that there will probably be an update within a few months that could sort out many in the problems. Therefore, a much better question is: Is it a fantastic synthesizer?
The answer to the depends, into a extent, around the power in the computer which youre running it. Prophet V is hungrier compared to a NYPD cop who hasnt a doughnut for that whole morning. With simply a half dozen notes played, it fully taxes a baseline specification machine, but should you have processing capacity to spare, now you have an excellent supply of warm polyphonic pads, brittle PPG-esque timbres, complex hybrid sounds, and huge monosynth leads and basses.
To conclude, there have recently been numerous soft synths purporting to emulate the Prophet 5, and I haven't been impressed by any of them. Arturia are creating something closer for the original than some of these, and I am certain that Prophet V continues to improve. Furthermore, by creating this strange marriage from the Prophet 5 with one of my all-time favourite synthesizers, the Prophet VS, the corporation have shown the imagination necessary to take their offering way beyond that relating to their competition.
The Heavenly Prophecy presents 200 extraordinary sounds on your Arturia Prophet V. This soundset takes the Prophet 5 plus the Prophet VS to new extremes!
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Arturia has gotten the FIRST and LAST synthesizers produced by Sequential Circuits and brought those to you in the easy to work with software format. As with all other soft-synths produced by Arturia, we provide you with a replica from the Prophet 5 and VS both visually and sonically. Using the PROPHET V will probably be second nature for the old-pros, of course, if youre new to your synthesizers, the one thing youll miss by without needing the hardware versions would be the workout from transporting these to the studio. Since the PROPHET V is made with Arturias TAEР’ technology, it is possible to be sure you wont stop trying sound quality. Click here to read a little more about the improvements weve stated in TAEР’ especially to the PROPHET V.
There are three interfaces within the Prophet V: Prophet 5, Prophet VS, and Hybrid mode.
Arturia has had the FIRST and LAST synthesizers manufactured by Sequential Circuits and brought these to you in a easy make use of software format. As with all other soft-synths manufactured by Arturia, we give you a replica in the Prophet 5 and VS both visually and sonically. Using the PROPHET V are going to be second nature for those old-pros, if youre new towards the synthesizers, the sole thing youll miss by without having the hardware versions will be the workout from transporting those to the studio. Since the PROPHET V was created with Arturias TAEР’ technology, it is possible to be sure you wont stop trying sound quality. Click here to read more to do with the improvements weve created in TAEР’ especially for your PROPHET V.
There are three interfaces inside Prophet V: Prophet 5, Prophet VS, and Hybrid mode.
The Prophet 5 and Prophet VS emulations have all of the goodies in the originals 5 voice polyphony, white noise modulators, dynamic waveform crossfading with joystick, etc. You can even import any existing preset banks from the initial synthesizers in a very format called SysEx sound data. This data was one from the truly unique attributes in the original synthesizers given it allowed musicians just to save their presets for one in the first times ever. With Arturias Prophet V, we have now respected this spirit by allowing you to definitely use the presets youve already created from the original synthesizer while playing the synthesizer to use software counterpart.
Support for Mac OSX 10.7 Lion
A revolutionary preset navigation system called SoundMap V 2.0
New e-licenser old Syncrosoft copy protection V 2.0
MIDI RPN pitch bend range message has become recognized V 2.0
Ability make use of NRPN midi messages for automation V 2.0
Fresh batch of presets produced by a selection of top sound designers V 2.0
Presets now reply to modulation wheel V 2.0
Double visit joystick resets to center position V 2.0
Lower CPU utilization on Mac OSX V 2.0
Windows 7/Snow Leopard officially supported V 2.0
Vista/Windows 7 compatibility not requires UAC deactivation V 2.0
VST 2.4 support, enabling Cubase 4 compatibility on Mac Intel
Correction of various bugs including the cracks some would experience whenever using several instances from the Prophet V within their sequencer.
Support for Mac OSX 10.7 Lion
A revolutionary preset navigation system called SoundMap V 2.0
New e-licenser old Syncrosoft copy protection V 2.0
MIDI RPN pitch bend range message is actually recognized V 2.0
Ability to work with NRPN midi messages for automation V 2.0
Fresh batch of presets created by a selection of top sound designers V 2.0
Presets now react to modulation wheel V 2.0
Double select joystick resets to center position V 2.0
Lower CPU utilization on Mac OSX V 2.0
Windows 7/Snow Leopard officially supported V 2.0
Vista/Windows 7 compatibility not requires UAC deactivation V 2.0
VST 2.4 support, enabling Cubase 4 compatibility on Mac Intel
Correction of bugs for example the cracks some would experience when utilizing several instances on the Prophet V into their sequencer.
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