Arturia Prophet V User manual

ARTURIA –Prophet V –USER MANUAL 1
USER MANUAL

ARTURIA –Prophet V –USER MANUAL 2
Direction
Frédéric Brun Kevin Molcard
Development
Stefano D'Angelo
Baptiste Aubry
Corentin Comte
Baptiste Le Goff
Pierre-Lin Laneyrie
Valentin Lepetit
Samuel Limier
Germain Marzin
Mathieu Nocenti
Pierre Pfister
Benjamin Renard
Design
Glen Darcey
Yannick Bonnefoy
Morgan Perrier,
Sebastien Rochard
Greg Vezon
Sound Design
Glen Darcey
Goeff Downes
Clay Duncan
Clay Duncan
Celmar Engel
Boele Gerkes
Victor Morello
Chris Pittman
Klaus Peter Rausch
Klaus Schulze
Katsunori Ujiie
Manual
Jason Valax
Special Thanks
Alejandro Cajica
Denis Efendic
Ruary Galbraith
Dennis Hurwitz
Clif Johnston
Koshdukai
Joop van der Linden
Sergio Martinez
Shaba Martinez,
Miguel Moreno
Daniel Saban
Carlos Tejeda,
Scot Todd-Coate
© ARTURIA S.A. –1999-2016 –All rights reserved.
11 Chemin de la Dhuy
38240 Meylan
FRANCE
http://www.arturia.com

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Table of Contents
1INTRODUCTION ................................................................................................................. 7
1.1 Prophet History ........................................................................................................................................ 7
1.1.1 Prophet 5 .......................................................................................................................................... 7
1.1.2 Prophet VS ........................................................................................................................................ 8
1.2 Arturia’s secret ingredient: TAE®.......................................................................................................... 9
1.2.1 Aliasing-free oscillators ..................................................................................................................... 9
1.2.2 A better reproduction of analog oscillator waveforms................................................................. 10
1.2.3 Direct Filter Circuit Modeling .......................................................................................................... 11
2ACTIVATION AND FIRST START ......................................................................................13
2.1 Register and Activate.......................................................................................................................... 13
2.2 Initial setup............................................................................................................................................. 13
2.2.1 Audio and MIDI settings: Windows................................................................................................. 13
2.2.2 Audio and MIDI settings: Mac OS X ............................................................................................... 15
2.2.3 Using Prophet V in plug-in mode ................................................................................................... 16
3USER INTERFACE .............................................................................................................. 17
3.1 The virtual keyboard ............................................................................................................................ 17
3.2 Toolbar.................................................................................................................................................... 17
3.2.1 Save Preset ..................................................................................................................................... 17
3.2.2 Save Preset As… ............................................................................................................................. 18
3.2.3 Import preset .................................................................................................................................. 18
3.2.4 Export preset................................................................................................................................... 18
3.2.5 Export bank..................................................................................................................................... 18
3.2.6 Resize window options ................................................................................................................... 19
3.2.7 Audio settings ................................................................................................................................. 19
3.2.8 Preset browser overview ................................................................................................................ 19
3.2.9 Switching between Prophet 5, Prophet VS and Hybrid................................................................. 20
3.2.10 MIDI Learn assignment ................................................................................................................... 20
3.2.10.1 Assigning / unassigning controls.......................................................................................................................... 21
3.2.10.2 Min / Max value sliders .......................................................................................................................................... 21
3.2.10.3 Relative control option.......................................................................................................................................... 22
3.2.10.4 Reserved MIDI CC numbers .................................................................................................................................22
3.2.11 MIDI controller configuration.......................................................................................................... 23
3.2.12 The lower toolbar............................................................................................................................ 23
3.2.12.1 Current control value ............................................................................................................................................ 23
3.2.12.2 Midi Channel Setting ............................................................................................................................................. 24
3.2.12.3 Panic button and CPU meter .............................................................................................................................. 24
3.2.12.4 Sustain mode .......................................................................................................................................................... 24
3.2.12.5 Play mode............................................................................................................................................................... 25
3.2.12.6 Maximum Polyphony............................................................................................................................................. 25
3.3 The Preset Browser................................................................................................................................ 26
3.3.1 Searching presets ........................................................................................................................... 26

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3.3.2 Using tags as a filter........................................................................................................................ 26
3.3.3 The Preset Info section.................................................................................................................... 27
3.3.4 Preset selection: other methods..................................................................................................... 28
3.3.4.1 Selecting a preset by its Type .............................................................................................................................. 30
3.3.5 Playlists ............................................................................................................................................ 30
3.3.5.1 Add a playlist.......................................................................................................................................................... 30
3.3.5.2 Add a preset........................................................................................................................................................... 30
3.3.5.3 Re-order the presets .............................................................................................................................................. 31
3.3.5.4 Remove a preset ................................................................................................................................................... 31
3.3.5.5 Delete a playlist...................................................................................................................................................... 31
3.4 Overview of the modules ................................................................................................................... 31
3.4.1 Brief Tour of the “Prophet 5”........................................................................................................... 32
3.4.2 Prophet VS and the concept of Vector Synthesis (VS) ................................................................. 32
3.4.3 The Hybrid Interface ....................................................................................................................... 33
3.4.4 The Effects Section.......................................................................................................................... 34
3.4.4.1 Chorus...................................................................................................................................................................... 34
3.4.4.2 The Delay................................................................................................................................................................. 35
4THE MODULES IN DETAILS .............................................................................................. 36
4.1 Prophet 5................................................................................................................................................ 36
4.1.1 Oscillators........................................................................................................................................ 37
4.1.1.1 Oscillator A.............................................................................................................................................................. 37
4.1.1.2 Oscillator B .............................................................................................................................................................. 37
4.1.2 Mixer................................................................................................................................................ 39
4.1.3 Filter................................................................................................................................................. 39
4.1.3.1 Low pass filter 24dB/octave slope....................................................................................................................... 40
4.1.4 Amplifier.......................................................................................................................................... 40
4.1.5 Envelopes ....................................................................................................................................... 41
4.1.6 LFO .................................................................................................................................................. 41
4.1.7 Wheel Mod ..................................................................................................................................... 42
4.1.8 Poly Mod......................................................................................................................................... 42
4.1.9 Section modes for the keyboard ................................................................................................... 43
4.1.10 General Parameters section .......................................................................................................... 44
4.1.11 The Wheels...................................................................................................................................... 44
4.2 Prophet VS ............................................................................................................................................. 45
4.2.1 Oscillators........................................................................................................................................ 45
4.2.2 Mixer Joystick.................................................................................................................................. 46
4.2.3 Mixer Envelope ............................................................................................................................... 47
4.2.4 Types of Filters ................................................................................................................................. 48
4.2.4.1 Low Pass Filter 24dB /octave slope (LP Filter)..................................................................................................... 48
4.2.4.2 High Pass Filter (HP Filter)....................................................................................................................................... 49
4.2.4.3 Band Pass Filter (BP Filter)...................................................................................................................................... 49
4.2.4.4 Notch ....................................................................................................................................................................... 50
4.2.5 Filter Envelope ................................................................................................................................ 50
4.2.6 Amplifier/Pan.................................................................................................................................. 51

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4.2.7 Amplifier Envelope ......................................................................................................................... 52
4.2.8 Low Frequency Oscillator (LFO) ..................................................................................................... 53
4.2.9 Modulation Matrix .......................................................................................................................... 54
4.2.10 Chorus and Delay Effects............................................................................................................... 55
4.2.10.1 The Chorus .............................................................................................................................................................. 55
4.2.10.2 The Delay................................................................................................................................................................. 56
4.2.11 Playing controls .............................................................................................................................. 56
4.2.12 Wheels ............................................................................................................................................ 57
4.3 Prophet “Hybrid” .................................................................................................................................. 57
4.3.1 Audio Connection Matrix............................................................................................................... 58
4.3.1.1 Types of oscillators ................................................................................................................................................. 58
4.3.1.2 Connection of the two types of filters: ............................................................................................................... 59
4.3.1.3 Connection of noise of the Prophet 5 to the filters........................................................................................... 59
4.3.1.4 Audio Output connection to the Prophet 5 and VS filters .............................................................................. 59
4.3.2 Modulation Matrix .......................................................................................................................... 60
5THE BASICS OF SUBTRACTIVE SYNTHESIS ..................................................................... 62
5.1 THE BASICS ............................................................................................................................................. 62
5.2 THE THREE MAIN ELEMENTS.................................................................................................................. 62
5.2.1 The Oscillator or VCO ..................................................................................................................... 62
5.2.2 The Noise Module ........................................................................................................................... 66
5.2.3 The Mixer......................................................................................................................................... 67
5.2.4 The filter or VCF............................................................................................................................... 68
5.2.4.1 The low-pass filter (LPF).......................................................................................................................................... 68
5.2.4.2 High Pass Filter (HP Filter)....................................................................................................................................... 69
5.2.4.3 Band Pass Filter (BP Filter)...................................................................................................................................... 69
5.2.4.4 Notch Filter .............................................................................................................................................................. 70
5.2.5 The amplifier or VCA....................................................................................................................... 71
5.3 Other modules ...................................................................................................................................... 72
5.3.1 The keyboard.................................................................................................................................. 72
5.3.2 The envelope generator ................................................................................................................ 72
5.3.3 The low frequency oscillator .......................................................................................................... 74
5.4 Complements to Wavetable Synthesis............................................................................................ 75
5.5 Modules of Prophet V.......................................................................................................................... 75
6A FEW ELEMENTS OF SOUND DESIGN ......................................................................... 76
6.1 Brass Preset with the Prophet 5.......................................................................................................... 76
6.2 Pad sound with the Frequency Modulation using the Prophet 5 ............................................... 78
6.3 Basic Preset with the Prophet VS (Sweet Pad) ............................................................................... 81
6.4 Preset using the modulation matrix and the dynamic mixing..................................................... 88
6.4.1 Choose the placement of the five points defining the path of the joystick ................................ 89
6.4.2 Mixer envelope............................................................................................................................... 90
6.4.3 Modulation Matrix .......................................................................................................................... 90
6.4.4 Playing mode in Unison .................................................................................................................. 92
6.5 Preset using the Prophet 5 and the Prophet VS ............................................................................. 93

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6.5.1 Audio Matrix.................................................................................................................................... 93
6.5.2 Editing sound on the Prophet VS.................................................................................................... 94
7END USER LICENSE AGREEMENT ..................................................................................99

ARTURIA –Prophet V –USER MANUAL 7
1INTRODUCTION
Arturia would like to thank you for purchasing our synthesizer model: the Prophet V.
We are confident it will prove to be an extremely valuable addition to your music
production studio. If you’ve purchased our products before, you know we pride
ourselves in faithfully recreating the sound and feel of the original instruments, down
to the smallest detail. Prophet V is no exception to this rule.
And if this is the first of our products you have owned, you are in for a treat! The
synthesizer upon which this model is based was the absolute pinnacle of analog
synthesizer technology at the time, light-years ahead of the competition.
1.1 Prophet History
1.1.1 Prophet 5
“In 1978 Sequential Circuits consisted of Dave Smith, former Moog clinician John
Bowen, and businesswoman Barb Fairhurst. They were a self-funded outfit that
started out in the confines of Smith's San Jose, California, garage selling a digital
sequencer and a generic synth programmer. It was that year at the winter NAMM
(National Association of Music Merchants) show that they introduced their Prophet-
5, which was exactly the kind of instrument, with exactly the kind of sound and
features that musicians needed.”
(Excerpted with permission from the book Vintage Synthesizers by Mark Vail,
Copyright Miller Freeman, Inc)
Described at the time as “5 Minimoogs in one box” the Prophet 5 literally stole the
show as the first commercially available and viable polyphonic synthesizer. This
comparison to the Minimoog probably came about more from its physical
appearance than it did from its structure (which was closer to that of the ARP).
The Prophet-5 rocketed Smith's garage operation to stunning heights. Over the next
five or six years, Sequential Circuits (who eventually just shortened their name to
Sequential) would become the largest American manufacturer of Synths.
The Prophet 5 contained five individual voices. For its principal sound sources each
voice contained two VCOs (voltage controlled oscillators), OSC A and OSC B, and
a white noise source which could be mixed into a resonant low-pass VCF (voltage
controlled filter). The filter modified the voice timbre under control of its four-stage
envelope generator. The filter could also be driven to resonance and could serve
as a sound source. Following each filter was a VCA (voltage controlled amplifier),
controlled by a four-stage envelope generator, which shaped the voice
amplitude. Supplementing the basic voices was polyphonic modulation (POLY-
MOD) signal routings within each voice that allowed OSC B and the filter envelope
generator to function as modulation sources applied to OSC A frequency/ pulse
width, or the filter frequency. Finally, there was a single LFO (low-frequency

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oscillator) and a pink noise source which could be mixed in to modulate all five
voices, as adjusted by the MOD wheel. The keyboard was a 5 octave Pratt-Reid
note on/note off affair with no touch response.
“The Prophet-5 sustained six revisions (or revs). Rev 1 was the original design. Rev 2
was a refinement of the original design and largely transparent. Rev 3, however,
was a vastly different synthesizer than Revs 1 and 2. Introduced to Rev 3 were new
voltage controlled IC's (CEM), an improved ADC, DAC, and a different control
voltage distribution scheme. More sophisticated editing and tuning routines were
designed, and to improve serviceability, voice trimmers were reduced from 80 to
45. Some believe that the Rev 3 synthesizers are slightly inferior (sonically) to their
predecessors by revealing an absence in the lower frequencies. While this may be
true, the majority of the Rev 3 synthesizers are far more operationally stable than
their Rev 1 and Rev 2 counterparts.”
(Courtesy Matt Bassett)
If there was a single feature that defined the Prophet sound, it was the poly-mod
section, which enabled you to use the filter envelope and osc 2 to modulate the
frequency of osc 1, the pulse-width of osc 1 and/or the filter cutoff frequency. These
modulation routings, combined with osc 1's sync function, produced the trademark
(and at one time hopelessly overused) oscillator sweeping sync sound, usually
variations on what was originally factory preset 33.
The original price for a Prophet 5 was in between $3,995 and $4,495. Eventually a
rack mounted conversion of a user-supplied Prophet-5 was available from Studio
Electronics. Later, there was even the release of the Prophet 10 which is essentially
two Prophet 5 circuits stacked together for 10 voices spanning two keyboard
manuals.
The Prophet 5 has been notably used by Kraftwerk, Duran Duran, No Doubt,
Depeche Mode, Vince Clarke, Talking Heads, Genesis, Gary Numan, Thomas
Dolby, New Order, Prodigy, INXS, The Cars, Phil Collins, Richard Barbieri, , Jean-
Michel Jarre, Steely Dan, Kitaro, Level 42, Peter Gabriel, the Eurythmics, Pet Shop
Boys, filmmaker/composer John Carpenter and many more.
1.1.2 Prophet VS
The Prophet VS was made by Sequential Circuits Inc. between 1986 and 1987. It
was an innovation in the sense that it was one of the first 'sample and synthesis'
synthesizers. At the same time, it was the first synthesizer to bring two-dimensional
cross-fading between waveforms into the mainstream. This interesting concept
became known as vector synthesis.
The Prophet VS was primarily the invention of three people - Chris Meyer, Josh Jeffe,
and Tony Dean. Chris Meyer came up with the basic algorithm of cross-fading
between 4 oscillators (in essence, a 2-dimensional fade between timbres) and
running that through the usual VCF/VCA chain. It was an extension of the
instruments like the PPG and Fairlight that could scan in one dimension along a
table of wave shapes or between two different wave shapes.

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Another peculiarity that contributed to the success of this instrument was its
modulation matrix. This allowed it to largely surpass the limitations of classic
modulation (the envelopes attached to the filter and the amplifier, for example)
by offering connection from all the modulation sources available in the machine
(envelopes, LFO, etc..) to any modifiable parameter one might choose (oscillator
frequencies, filter cut-off, amplifiers, panoramic, etc…).
The envelopes were also new to the scene because they were not structured like
the usual ADSR envelopes. They were made up of 5 points (from 0 –initial level –to
4 –corresponding to the Release). Each of these points was associated to a
parameter level and time; a loop function could even be added between two
points. These special features allowed for modulations styles a lot more complex
and creative than those of the classic ADSR envelopes.
In 1987, Sequential was sold to Yamaha, who introduced their vector-synthesis
based SY22 in 1990. Other vector synthesizers were also to follow in later years, but
the Prophet VS was then and is still today a sought after instrument due to its
incredible range of sounds. You will hear it in recordings by Brian Eno, Trent Reznor,
Apollo 440, Depeche Mode, Vince Clarke, Kraftwerk, Erasure and
filmmaker/composer John Carpenter, among others.
Look for these products and more at tomoberheim.com.
1.2 Arturia’s secret ingredient: TAE®
TAE®(True Analog Emulation) is Arturia's outstanding technology dedicated to the
digital reproduction of the analog circuits used in vintage synthesizers.
TAE®’s software algorithms result in spot-on emulation of analog hardware. This is
why Prophet V offers an unparalleled quality of sound, as do all of Arturia’s virtual
synthesizers.
TAE®combines three major advances in the domain of synthesis:
1.2.1 Aliasing-free oscillators
Standard digital synthesizers produce aliasing in high frequencies, especially when
using Pulse Width Modulation (PWM) or Frequency Modulation (FM).
TAE®enables the generation of oscillators which are completely free of aliasing in
all contexts (PWM, FM…), and at no extra CPU cost.

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Linear frequency spectrum of a current well-known software synthesizer
Linear frequency spectrum of an oscillator modeled with TAE®
1.2.2 A better reproduction of analog oscillator waveforms
The waveforms produced by the oscillators in analog synthesizers are affected by
the presence of a capacitor in the circuits. The discharge of a capacitor results in
a slight ‘bend’ in the original waveform (most notably for sawtooth, triangular and
square waveforms). TAE®reproduces the result of this capacitor discharge in
software.
Below is the analysis of a waveform from one of the five original instruments Arturia’s
software emulates, followed by one made by TAE®. They are both equally
deformed by the low-pass and high-pass filtering.
Aliasing

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Temporal representation of the “sawtooth” waveform of a hardware synthesizer
Temporal representation of a “sawtooth” waveform reproduced by TAE®
What’s more, the hardware analog oscillators were unstable. In fact, their
waveforms vary slightly from one period to another. If we add to this the fact that
the starting point for each period (in Trigger mode) can vary with the temperature
and other environmental conditions, we see why vintage synthesizers have such a
typical sound.
TAE®reproduces the instability of oscillators, resulting in a fatter and “bigger” sound.
1.2.3 Direct Filter Circuit Modeling
Due to advances in computer processing power, TAE® can now employ direct filter
modeling techniques to achieve unprecedented accuracy in the emulation of a
hardware synthesizer’s filter. By modeling the operation of the individual hardware

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components of the filter circuit, the warm nuances synonymous with analog sounds
are recreated.
The following graph shows a single example of direct circuit modeling in action.
The peaks represent the generation of harmonics at multiples of the resonant
frequency when a particular filter is in self oscillation mode. These harmonics are
characteristic of hardware synthesizer filters and are due to the non-linear behavior
inherent to their analog circuitry. Anomalies such as these add to the richness and
warmth of the sound produced by the filter.
But you’ll notice there are two lines on the graph: Those are the superimposed
frequency domain plots for both one of Arturia's virtual instruments and the
hardware filter being emulated. They are practically indistinguishable, both on the
graph and to the human ear. The direct recreation of this analog circuitry causes
the same characteristics of the sound to be present, thus giving the user a truly
analog sound.
Comparison of harmonics generated by the filter circuits in self-oscillation
of TAE®and a hardware synthesizer
So here’s the bottom line: when you bring together a bunch of music lovers who
also have a deep understanding of the characteristics of electronic circuits, you
wind up with Arturia. And Arturia now offers you our most impressive software model
yet, the Prophet V.
We take great satisfaction in knowing this great synthesizer will help you explore
previously unknown musical territory.

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2ACTIVATION AND FIRST START
2.1 Register and Activate
Prophet V works on computers equipped with Windows 7 or later and Mac OS X
10.8 or later. You can use the stand-alone version or use Prophet V as an Audio
Units, AAX, VST2 or VST3 instrument.
Once Prophet V has been installed, the next step is to register the software.
The registration process will require you to enter the serial number and the unlock
code you received with the product.
In order to proceed, go to this web page and follow the instructions:
http://www.arturia.com/register
Note: If you don’t have an Arturia account yet, you will need to create one. The
process is quick, but it does require that you can access your email address during
the registration process.
Once you have acquired an Arturia account you will be able to register the
product.
2.2 Initial setup
2.2.1 Audio and MIDI settings: Windows
At the top left of the Prophet V application is a pull-down menu. It contains various
setup options. Initially you will need to go to the menu and choose the Audio
Settings option to get sound and MIDI flowing in and out.

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Prophet V main menu
You will then see the Audio MIDI settings window. This works in the same way on
both Windows and Mac OS X, although the names of the devices available to you
will depend on the hardware you are using.
Audio and MIDI settings window
Starting from the top you have the following options:

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Device lets you choose which audio driver you want to use to route sound
out of the instrument. This might be your computer’s own driver like Windows
Audio, or an ASIO driver. The name of your hardware interface may appear
in this field.
Output Channels lets you select which of the available outputs will be used
to route audio out. If you only have two outputs, only two will appear as
options. If you have more than two you can select a specific pair of outputs.
The Buffer Size menu lets you select the size of the audio buffer your computer
uses to calculate sound. A smaller buffer means lower latency between
pressing a key and hearing the note. A larger buffer means a lower CPU load
as the computer has more time to think, but can result in a small latency. Find
the optimum buffer size for your system. A fast, modern computer should
easily be able to operate at 256 or 128 sample buffer size without creating
pops or clicks in the sound. If you are getting clicks, try raising the buffer a
little. The latency is displayed on the right hand side of this menu.
The Sample Rate menu lets you set the sample rate at which audio is sent out
of the instrument. The options here will depend on the capability of your
audio interface hardware though even most computers’ own hardware can
operate at up to 48kHz which is perfectly fine. Higher sample rates use more
CPU power so unless you have a good reason to go up to 96kHz, then 44.1k
or 48k is usually fine. The Show Control Panel button will jump to the system
control panel for whatever audio device is selected.
Play Test Tone helps you to troubleshoot audio issues by confirming whether
sound can be heard through the correct device.
Your connected MIDI devices will appear in the MIDI Devices area. Click the
check box to accept MIDI from the device you want to use to trigger the
instrument. In standalone mode, Prophet V listens for all MIDI channels so
there’s no need to specify a channel. You can specify more than one MIDI
device at once.
2.2.2 Audio and MIDI settings: Mac OS X
The process is very similar to initial setup for Windows and the menu is accessed in
the same way. The difference is that OS X uses CoreAudio to handle audio routing
and the audio device selection is made in the second dropdown menu. Apart from
that, the options work the same way as described in the Windows section.

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2.2.3 Using Prophet V in plug-in mode
Prophet V comes in VST, AU and AAX plug-in formats for use in all major DAW
software such as Cubase, Logic, Pro Tools and so on. You can load it as a plug-in
instrument and its interface and settings work the same way as in standalone
mode, with a couple of differences.
You can automate numerous parameters using your DAW’s automation
system.
You can use more than one instance of Prophet V in a DAW project. In
standalone mode you can only use one at once.
You can route Prophet V’s audio outputs more creatively inside your DAW
using the DAW’s own audio routing system.

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3USER INTERFACE
In this chapter we will give an overview of the features available to you with
Prophet V. As with every Arturia product, we have gone to great lengths to make
the use of this software instrument as simple and as much fun as possible, while also
striving to make sure you never run out of new things to do with it as your knowledge
expands. After reading this chapter you should be ready to delve as deeply into
the workings of Prophet V as you would like.
3.1 The virtual keyboard
The virtual keyboard lets you play a sound without connecting an external MIDI
device; just click a key to hear the active Voice. Drag the cursor across the keys to
hear a glissando.
The Prophet V virtual keyboard
3.2 Toolbar
The toolbar that runs along the top edge of the instrument both in standalone and
plug-in mode provides access to many useful features. Let’s look at them in detail.
The first seven of these options can be found by clicking on the Prophet V section
at the very top left hand corner of the instrument window.
3.2.1 Save Preset
The first option lets you save a preset. If you select this, you are presented with a
window where you can enter information about the preset. In addition to naming
it you can enter the author name, select a bank and type and select some tags
that describe the sound. This information can be read by the preset browser and is
useful for searching the preset banks later. You can also enter freeform text
comments in the Comments field, which is handy for providing a more detailed
description.

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The Save Preset window
3.2.2 Save Preset As…
This works in the same way as the Save command, but lets you save a copy of the
preset instead of saving over the original. It’s useful for creating variations on
patches but still keeping individual copies of each one.
3.2.3 Import preset
This command lets you import a preset file, which can be either a single preset or
an entire bank of presets. Both types are stored in the .prox format.
After selecting this option, the default path to these files will appear in the window,
but you can navigate to whichever folder you are using.
3.2.4 Export preset
You can export and share a single preset using this command. The default path to
these files will appear in the window, but you can create a folder at another
location if you like.
3.2.5 Export bank
This option can be used to export an entire bank of sounds from the instrument,
which is useful for backing up or sharing presets.

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3.2.6 Resize window options
The Prophet V window can be resized from 60% to 200% of its original size without
any visual artifacts. On a smaller screen such as a laptop you might want to reduce
the interface size so it doesn’t dominate the display. On a larger screen or a second
monitor you can increase the size to get a better view of the controls. The controls
work the same at any zoom level but the smaller ones can be harder to see at the
smaller magnification values.
The Resize Window menu
3.2.7 Audio settings
Here you manage the way the instrument transmits sound and receives MIDI. See
section 2.2 of the manual for full details on this.
3.2.8 Preset browser overview
The Preset browser is invoked by clicking the toolbar button that has four vertical
lines. See section 3.3 of the manual for full details on this. The Filter, name field and
left / right arrows in the toolbar all assist with preset selection.

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The Preset Browser
3.2.9 Switching between Prophet 5, Prophet VS and Hybrid
The Prophet V2V is composed of three parts: the Prophet 5 interface, the Prophet
VS interface, and a combination of the two called Hybrid. You can switch between
them by using the button in the right of the upper toolbar.
3.2.10 MIDI Learn assignment
The MIDI plug icon at the far right side of the toolbar places the instrument into MIDI
learn mode. Parameters that can be assigned to MIDI controls will be shown in
purple, and the idea is that you map physical buttons, knobs, faders or pedals from
hardware MIDI controllers to specific destinations inside the instrument. A typical
example might be to map a real expression pedal to the virtual volume pedal, or
buttons on a controller to the effect switches so you can change the sound from
your hardware keyboard.