Sequential Prophet VS User manual

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INTERACTIVE MANUAL
Document version 1.0

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Document version 1.0 20th October 2015

PROPHET VS
DIGITAL VECTOR SYNTHESIZER
OPERATION MANUAL
by Stanley Jungleib and Rick Davies
Every attempt at accuracy has been made. However, specications and operations are subject to change
without notice.
©1986 by SEQUENTIAL All rights reserved. Printed in U.S.A.
No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or
by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written
permission of the publisher. Whoops! I did it anyway.

4

5
SECTION 1 - SET-UP
PACKING LIST ...............................................................................................10
HANDLING AND TRANSPORTING................................................................10
AMPLIFIER AND SPEAKER CONSIDERATIONS ...........................................11
CONNECTIONS .............................................................................................12
OUTPUT .........................................................................................................12
FOOT SWITCHES ..........................................................................................12
MIDI................................................................................................................13
LINE VOLTAGE SELECTION AND FUSING....................................................13
POWER CONNECTION..................................................................................14
POWER ON ....................................................................................................14
DISPLAY TRIM ...............................................................................................15
SECTION 2 - PERFORMANCE CONTROLS
SELECTING PROGRAMS ..............................................................................16
MASTER VOLUME .........................................................................................16
BALANCE.......................................................................................................16
MASTER TUNE ..............................................................................................17
KEYBOARD....................................................................................................17
Modes..................................................................................................18
Position................................................................................................18
Velocity ................................................................................................18
Pressure...............................................................................................18
WHEELS.........................................................................................................19
Pitch Wheel and Pitch Wheel Range...................................................19
Mod Wheel ..........................................................................................20
WAVEFORM MIX JOYSTICK..........................................................................20
CHORUS LEFT/RIGHT...................................................................................20
ALTERNATE RELEASE FOOTSWITCH...........................................................20
AUX FOOTSWITCH........................................................................................20
Contents

6
SECTION 3 - PROGRAMMING
INTRODUCTION..............................................................................................21
MEMORY BASICS...........................................................................................21
Internal Memory ...................................................................................21
Cartridge Memory ................................................................................22
Model 240 VSRAM Cartridge ............................................................22
Model 241 VSROM Cartridge............................................................22
PROGRAM EDIT MODE..................................................................................23
STORING PROGRAMS ...................................................................................24
Review..................................................................................................25
Store .....................................................................................................25
TRANSFERRING PROGRAMS AND WAVEFORMS .......................................26
Dump Internal to Cartridge...................................................................26
Load Internal from Cartridge ................................................................27
NAMING PROGRAMS.....................................................................................27
PROGRAM EDIT, REVIEW, AND STORE EXAMPLE ......................................28
RANDOM PROGRAM CREATION...................................................................28
SECTION 4 - KEYBOARD MODES
SINGLE MODE ................................................................................................30
LINKING PROGRAMS.....................................................................................30
SPLIT MODE ...................................................................................................30
DOUBLE MODE ..............................................................................................32
SECTION 5 - ARPEGGIATOR
ARPEGGIATOR BASICS .................................................................................34
ON-OFF/RATE.................................................................................................36
LATCH/TRANSPOSE.......................................................................................36
Transposing ..........................................................................................37
ARPEGGIATOR OPTION SELECT...................................................................37
Arpeggiator Modes...............................................................................37
Scan .....................................................................................................38
Octaves ................................................................................................39
Repeats ................................................................................................39
Split ......................................................................................................39
Voicing..................................................................................................40
Velocity .................................................................................................40
Layer.....................................................................................................41
Rests ....................................................................................................41
Clocks/Step..........................................................................................41

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SECTION 6 - OSCILLATORS
OVERALL SIGNAL FLOW ............................................................................... 43
Figure 6-1: General Block Diagram...................................................... 44
OSCILLATOR BASICS..................................................................................... 45
Figure 6-2: Oscillator Frequency Control ............................................. 46
OSCILLATOR MIXER....................................................................................... 47
Figure 6-3: Oscillator Mixer .................................................................. 48
Figure 6-4: Typical Mix Ratios .............................................................. 48
VECTOR SYNTHESIS ..................................................................................... 49
OSCILLATOR GROUP CONTROLS ................................................................ 50
Select.................................................................................................... 50
Wave #.................................................................................................. 51
Coarse Freq and Fine Freq................................................................... 51
Mixer Modulation.................................................................................. 52
THE BASIC VS PATCH .................................................................................... 52
SECTION 7 - FILTER
FILTER BASICS ............................................................................................... 53
Figure 7-1: Filter Module ...................................................................... 54
CUTOFF .......................................................................................................... 55
RESONANCE .................................................................................................. 56
ENV AMOUNT................................................................................................. 57
SECTION 8 - ENVELOPE GROUP
ENVELOPE GENERATORS ............................................................................. 58
MIXER ENVELOPE .......................................................................................... 59
Figure 8-1: Mixer Envelope .................................................................. 59
Eects of Mix Joystick .................................................................................... 60
Figure 8-2: Eects of Mix Joystick....................................................... 60
FILTER ENVELOPE.......................................................................................... 61
Figure 8-3: Filter/Amplier Envelope .................................................... 61
Figure 8-4: Envelope Examples............................................................ 62
Figure 8-5: Envelope Loop Examples .................................................. 63
AMPLIFIER ...................................................................................................... 64
Figure 8-6: Amplier Module................................................................ 64
ENVELOPE SELECT........................................................................................ 65
BASIC MIXER ENVELOPE .............................................................................. 65
POINT.............................................................................................................. 65
RATE................................................................................................................ 66
LEVEL.............................................................................................................. 66
LOOP............................................................................................................... 66
REPEAT ........................................................................................................... 67

8
SECTION 9 - LFO GROUP
LFO BASICS.....................................................................................................68
Figure 9-1: LFO Module ........................................................................68
LFO SELECT ....................................................................................................69
SHAPE..............................................................................................................69
RATE.................................................................................................................69
SECTION 10 - MODULATION
MODULATION BASICS ....................................................................................70
SOURCE SELECT and DESTINATION SELECT...............................................70
Figure 10-1: Modulation Sources and Destinations..............................71
SECTION 11 - VOICE CONTROLS
UNISON/DETUNE ............................................................................................73
GLIDE ...............................................................................................................73
VOICE PAN.......................................................................................................74
Figure 11-1: Pan Module.......................................................................74
Panning Modulation ..............................................................................75
PROGRAM VOLUME .......................................................................................75
SECTION 12 - CHORUS
CHORUS BASICS ............................................................................................76
Figure 12-1: Chorus Module .................................................................77
CHORUS LEFT.................................................................................................77
CHORUS RIGHT ..............................................................................................77
RATE/DEPTH....................................................................................................77
SECTION 13 - CREATING USER WAVEFORMS
INTRODUCTION...............................................................................................78
EDIT WAVEFORM MODE.................................................................................79
Editing Waveforms ................................................................................79
Wave# and Harmonic ............................................................................80
STORING WAVEFORMS ..................................................................................81
Review...................................................................................................81
Store ......................................................................................................82

9
SECTION 14 - MIDI
OVERVIEW ...................................................................................................... 83
BASIC CONNECTIONS................................................................................... 83
Figure 14-1: Basic MIDI Connections .................................................. 83
MIDI CHANNEL............................................................................................... 85
MIDI MODE ..................................................................................................... 85
Figure 14-2: Mode 4 Channel Ranges ................................................. 86
MULTIPLE KEYBOARD OPERATION.............................................................. 87
Figure 14-3 Multi-Channel Operation................................................... 87
ARPEGGIATING WITH MIDI............................................................................ 88
Clocking the VS with MIDI Drum Machines ......................................... 88
Clocking Other MIDI Devices ............................................................... 89
MIDI OPTIONS ................................................................................................ 89
Receive Mode....................................................................................... 89
MIDI Wheels ......................................................................................... 89
MIDI Programs ..................................................................................... 90
MIDI Pressure ....................................................................................... 90
MIDI Joystick........................................................................................ 91
MIDI Parameters................................................................................... 91
Arpeggiator Channel ............................................................................ 92
Overow ............................................................................................... 92
Program Dump ..................................................................................... 92
Wave Data Dump ................................................................................. 93
RECEIVING WAVEFORMS FROM MIDI SAMPLERS ...................................... 93
MIDI COMMON SAMPLE DUMP STANDARD ................................................ 94
SPECIFICATION .............................................................................................. 97
Channel ................................................................................................ 97
System Exclusive ............................................................................... 104
System Real-Time .............................................................................. 107
Table 14-1: MIDI Parameters.............................................................. 108
SECTION 15 - PROGAM AND WAVEFORM DESCRIPTIONS
INTRODUCTION............................................................................................ 111
PROPHET VS PROGRAM LIST..................................................................... 112
PROGRAM EXPLANATIONS
#03 VOLKANIK ................................................................................... 114
#49 AMBIENCE .................................................................................. 118
#08 STEELDR..................................................................................... 122
#33 CHIFF .......................................................................................... 126
#66 PERKEY....................................................................................... 130
#40 IS THERE..................................................................................... 134
#44 SATIR........................................................................................... 138
#69 FILMUSIC .................................................................................... 142
WAVEFORM DESCRIPTIONS ....................................................................... 146
SECTION 16 PROGRAM FORMS
PROGRAM FORMS ...................................................................................... 149

10
SECTION 1
SET-UP
This section tells you how to set up the Prophet VS and connect it to other
equipment.
PACKING LIST
With the Prophet VS you should receive the following:
Power cord Operation manual Warranty / Warranty card
Please detach and return the warranty card. (You can keep the rest of the
stu.)
HANDLING AND TRANSPORTING
The Prophet VS contains state-of-the-art digital and analog circuitry, and
several physical performance controllers. As with any other high- tech
instrument, the Prophet VS should be treated with as much care as you would
provide an acoustic instrument. Shock or vibration can damage the keyboard,
joystick, or other controls, and can loosen connectors or socketed integrated
circuits. Avoid extremes of temperature and humidity.
Caution: Be especially careful of the joystick, since the way it protrudes makes
it rather vulnerable.
During use, the Prophet VS should be placed on a level surface, with all feet
evenly supported. No liabilities are assumed for unorthodox mounting or
inadequate support.
If you expect to transport the Prophet VS even occasionally it is imperative to
invest in a professional “road” or “ight” case for it. Cases are made by several
manufacturers and should be carried by your music dealer. If you prefer to
build your own, there are rms that sell case hardware. If you can’t nd a case,
please contact the Sequential Customer Service Department.
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AMPLIFIER AND SPEAKER CONSIDERATIONS
This is an excellent time to think about your amplier and speaker system.
By converting the Prophet VS' electrical output into the potent vibrations you
hear, the sound system becomes part of the instrument. Of course you can
use anything you like or can aord. But obviously a synthesizer of this caliber
should not be constrained by a weak amplier and muddy speakers.
Consider the equipment to which you are going to connect the Prophet VS.
Does it give you adequate tone control? In addition to equalization, it is gener-
ally agreed that electronically-generated music is often enhanced by ambience
eects (since there is no natural resonance). If you don't already have one,
strongly consider getting a good digital delay line (DDL) or reverb. You won't
regret it.
For detailed, clear sound and to prevent clipping of the highly dynamic output
from the Prophet VS, extraordinary amounts of amplier headroom are need-
ed. It is not dicult to justify committing a stereo amp of at least 200 watts per
channel to a small-band performance. This may sound like a lot of power, but
keep in mind that a keyboard is generally required to produce cleaner sound
than a guitar, for example. As a practical matter, when the guitarist distorts, it
is expected. But when the synthesist distorts it usually attracts nasty looks.
Monitoring the Prophet VS in stereo is strongly recommended. While a mono
amp will suce, a stereo conguration will be able to take advantage of the
Prophet VS's separate left and right outputs, including the extensive voice
positioning and panning features, and will also be able to project the shifting
images created by the internal delay features and chorus, or by external delay
units or spatial modiers.
Speakers ought to be capable of handling the full amplier power over the full
audio range (20 Hz to 20 kHz) without distorting.
CAUTION! If it is not practical to use ampliers and speakers specically
designed for electronic instruments, or if volume must be kept low, using your
stereo system will generally give good high-frequency response. But if you
choose this method, be careful. Continuous playing of synthesizer sounds can
cause component ampliers to overheat. Furthermore, the dynamic range of
the Prophet VS places component speakers at some risk, because of power-
ful bass notes and transients which will damage them if the volume is set too
high.
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12
CONNECTIONS
The following paragraphs describe connections which can be made to the
back panel of the Prophet VS. Except for the MIDI jacks, all signal connectors
are standard 1/4-inch phone jacks.
CAUTION! Switch power o to all equipment in use before disconnecting or
connecting any cable.
OUTPUT
Note: Stereo monitoring is strongly recommended.
1. To drive a monophonic amp, use the RIGHT/MONO jack only.
2. To drive a stereophonic preamp or amp, use both outputs.
3. To drive headphones or a stereo cable, connect them to LEFT/PHONES.
(Be sure nothing is plugged into RIGHT/MONO.)
The Prophet VS has a very exible output system. The LEFT/PHONES jack is
a tip-ring-sleeve (TRS) type. The tip is always connected to the left channel. If
RIGHT/MONO is disconnected, the ring of LEFT/PHONES is the right channel.
If RIGHT/MONO is connected, the ring is disconnected.
The RIGHT/MONO jack is a tip-sleeve (TS) type. If LEFT/PHONES is discon-
nected, the RIGHT/MONO tip is a monophonic mix of both channels. If LEFT/
PHONES is connected, the tip is the right channel only.
The impedance of the headphones or preamp/amp which are connected basi-
cally doesn’t matter. The audio output drivers can handle virtually any load and
are protected against shorts.
FOOTSWITCHES
4. Connect footswitch (not included) to the ALTERNATE RELEASE footswitch
jack.
The footswitch should be of the type that is normally open, and is
pressed to momentarily close. Sequential Model 839 is suitable.
This footswitch can be progammed to operate like a “sustain” pedal
on a piano. (Actually, it switches back and forth between two release
values.)
5. If a second footswitch is available, connect it to the AUX footswitch jack. The
AUX footswitch duplicates the function of the Arpeggiator Latch/Transpose
switch. (Again, see the main text.)
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MIDI
1. Connect the MIDI OUT jack to the MIDI input of the slave synthesizer, or other
MIDI device.
2. Connect the MIDI IN jack to the MIDI output of the other MIDI device. (When
dumping samples, this is optional but improves the dump speed and provides
error correction. For more information, see Section 8.)
3. Connect the MIDI OUT/THRU jack to the MIDI input of the other MIDI
equipment.
If the OUT/THRU switch is in the THRU position, the data output is identical to
the data appearing at the MIDI IN jack. If the switch is in the OUT position, the
data output is identical to the data appearing at the MIDI OUT jack.
All MIDI operations, including clock input and output, are explained in
Section 8.
LINE VOLTAGE SELECTION AND FUSING
CAUTION! Before connecting the power cord or switching power on, check
the line voltage selector as described below. Never switch the voltage selector
while power is connected.
1. Check that the voltage selector on the back panel matches your power source.
Prophet VS's shipped in the U.S., or to Canada or Japan are set to 110V.
Prophet VS's shipped to Europe, Australia, or New Zealand are set to 220V.
2. If the selected voltage does not match your line voltage, switch it.
WARNING! CHANGING THE VOLTAGE SELECTOR MAY REQUIRE THE
USE OF A DIFFERENT LINE CORD OR ATTACHMENT PLUG, OR BOTH. TO
REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK, REFER SERVICING TO
QUALIFIED PERSONNEL.
3. If you switched the voltage selector, change the fuse:
Voltage Fuse Rating
110V 1/2A (500 mA)
220V 1/4A (250 mA)
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POWER CONNECTION
1. Check that the Prophet VS power switch is set to OFF position.
2. Connect the power cable to the Prophet VS AC IN.
3. Connect the power cable to a properly-grounded three-prong outlet.
4. Plug all other equipment such as eects devices, mixers, ampliers and
recorders into the same outlet.
WARNING! Do not overload. When in doubt, consult an electrician. The
Prophet VS comes with a three-prong power plug to ensure safe grounding
with other equipment. The ground prong is connected directly to the metal
chassis. Because of this AC ground, a "ground loop" will often be created
when an audio cable is connected between the Prophet VS and its amplier.
As a result, low-level hum may occur. The hum level will depend on exactly
how the synthesizer and amplier are connected to the AC. Defeating the AC
ground with a two-prong adapter will usually defeat the hum but this practice
can set up a shock hazard between the units. For minimal hum, use the same
AC outlet for the Prophet VS and its amplier, and all associated equipment.
This should reduce the hum to an acceptable level. To prevent potentially lethal
shocks, it is up to you to check the power and ground interconnections of the
Prophet VS and all other instruments and equipment in use. Sequential is not
responsible for any equipment failure due to incorrect AC power connections,
and is not liable for any personal injury due to electrical shocks as a result of
unsafe grounding practices. As you probably know, many older buildings and
clubs are notorious for their poor quality AC wiring. We therefore urge you to
use one of the several "ground-checking" devices available on the market to
verify AC connections.
POWER ON
1. Set up as described above.
2. Switch Prophet VS POWER switch to ON.
After a moment or two, the following appears in the liquid- crystal display
(LCD):
PROPHET VS
Sequential r(software level)
for three seconds, then:
PROPHET VS
I NT# 00 (name)
CAUTION! Before playing any key, rst check that Master Volume is reduced
to minimum. This may keep you from accidentally blowing out speakers (or
your ears).
3. Switch power on to your preamp or mixer, if used, then switch amplier power
on. Switching the equipment on in this order prevents loud pops.
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DISPLAY TRIM
Due to the nature of LCDs, this display can only be read clearly from certain
angles. As the VS may be mounted at dierent angles, it may be necessary to
adjust the LCD using a trimmer accessed, through a hole in the back panel.
1. Locate the small hole in the Prophet VS back panel at the top of the "E" in the
"SEQUENTIAL" logo.
2. Using a small screwdriver, adjust the potentiometer within this hole until the
display gives the best contrast for the current mounting angle.
Be careful not to push too hard with the screwdriver, or the potentiometer may
be pushed back too far, and made inaccessible.
3. Look at the display from several angles to make sure the adjustment is
suitable.
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SECTION 2
PERFORMANCE CONTROLS
SELECTING PROGRAMS
Set up the Prophet VS as described in Section 1. The Prophet VS is ready to
play when power is switched on.
When power is switched on, internal sound program 00 is selected automat-
ically, as shown in both the liquid-crystal display (LCD) and the light-emitting
diode (LED) Program display. To select a dierent program, simply press two
PROGRAM SELECT digits (00-99).
To select a cartridge program, insert a cartridge and switch Cartridge on: then
enter the desired two digits. (If a cartridge is not in place, Cartridge will not go
on.)
Note: The Prophet VS is basically intended to be heard in stereo.
Note: If the VS is not used for more than ve minutes, the LCD back-lighting
shuts itself o. It will reappear when you let the VS know you are back.
MASTER VOLUME
While playing the keyboard, gradually raise Master Volume to maximum while
lowering the monitor system volume to a comfortable level.
For best signal-to-noise performance, set Master Volume as high as possible
without overloading the inputs of the monitor system. Master Volume is best
used for a temporary reduction of level.
BALANCE
The Prophet VS has two audio output channels: left and right. As Balance is
turned to either end of its travel, the volume of one output channel increases
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17
as the other decreases. The Prophet VS can pan its voices to specic or
moving positions within the stereo eld
Check that Balance is centered, or set as desired.
Balance is best used to temporarily compensate for stereo position of the
output. Within each program there are several controls or modulators that
aect the voice loudness (including Program Volume, velocity, or pressure),
and these should be used for actually mixing levels in the Prophet VS. (For
example, it is better to balance Split or Double mode programs using Program
Volume.)
MASTER TUNE
This is perhaps the most basic performance parameter. To match the Prophet
VS's tuning to other ensemble instruments such as an acoustic piano, Master
Tune simultaneously adjusts the playback pitch of all voices over a limited
range. Master tuning can also compensate for tape speed variations.
Note: Master Tune is a non-programmable control and aects all programs
in the VS. The Master Tune adjustment is held in nonvolatile memory while
power is o. Therefore when power is switched on, Master Tune will be set to
however you last set it, so you don't need to worry about it each time power is
switched on.
To adjust master tuning:
1. Press Master Tune.
This is found under PITCH, on the far right.
The display shows the current master tuning oset from A- 4^0, from -99 to
+99 cents. (A cent equals 1/100 of a semitone.)
2. Play a key and use the slider to adjust the value.
By the way, since the Prophet VS uses digital oscillators, they do not drift.
3. To clear the "MASTER TUNE" display, select a program (or any parameter).
KEYBOARD
The keyboard ranges ve octaves (61-note: Cl - C6), and is touch- sensitive
both to key attack speed (velocity) and after-touch (pressure). Depending on
the specic selected program, the keyboard may switch between Single, Split,
and Double modes, as described in Section 3.
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Modes
The Prophet VS is an eight-voice synthesizer. So, in Single mode you can play
and hear up to eight keys at once. In Split mode, you can play four keys on
either side, and in Double mode, you can play only four keys, but each key
simultaneously plays two programs. An exception to these normal conditions:
if Unison is on, only one key can be played at a time, but this key can play all
eight voices.
Percussion and eects programs sometimes use the keyboard primarily as
a triggering device. So it is possible that the keyboard will not be set up for
normal polyphonic playing at all.
Position
Of course the position of the key played determines the voice pitch. But it may
be less obvious that the key position is also used as a modulation source that
can control the oscillator mixture or voice pan position. (This is in addition to
its traditional control over lter cuto tracking.) The key position can have a
positive or negative inuence over these parameters (except for pitch). For
example, as you play ascending scales on the keyboard, the sounds produced
can move either from left to right, or from right to left in the stereo image.
Velocity
Velocity-sensitive analog processing allows the oscillator harmonic structure
to be intimately controlled by your keyboard technique. Be sure to try various
attack velocities (in other words, "key-down" speeds) in dierent areas of the
keyboard. The eect of velocity can change drastically. The graph on the front
panel shows the possible destinations for velocity. It can modulate the oscilla-
tor mixture, lter or amplier envelope depth, and the voice pan position within
the stereo eld (great for many eects).
Velocity modulation is called polyphonic, because up to eight dierent key ve-
locities can separately and independently modulate the eight individual voices.
Pressure
Like velocity, pressure is a modulation source which can be routed to >
any destination, and its eect, too, depends upon the selected program. The
graph on the front panel shows the destinations for pressure, which includes
individual oscillator frequencies, the oscillator mixture, lter cuto, LFO rate
and amount (modulation depth), amplier level, chorus rate and depth, or
voice pan position.
Pressure can be programmed to operate either positively or negatively (for
example, either raising or lowering the oscillator pitch). Pressure modulation is
called monophonic, because there is only one pressure signal from the key-
board, which provides the same control eect on all the voices that are being
played by the keys currently held.
Note: For more information on modulation, please see Section 10.
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WHEELS
The wheels are performance devices which need to be practiced and mas-
tered, just like the keyboard. The Pitch wheel is on the left: the Mod wheel is
on the right.
Pitch Wheel and Pitch Wheel Range
The Pitch wheel allows you to play notes "between" the keys. This wheel is
double-sprung to automatically return to center. Near the center detent, you
may notice a "deadband" of insensitivity to make it easier for you to bend
"into" the note.
If you have played other synthesizers, you may already be in the habit of
checking the wheel positions each time you play. While this is a good habit
to get into, on the Prophet VS it is not strictly necessary. You do not have to
check the position of the Pitch wheel, because the springs return it to center
position.
Note: During "power-up," do not move the Pitch wheel. When the
computer is switched on, it assumes that the Pitch wheel is centered,
and takes the current position as the center pitch reference. So if you
move the Pitch wheel during power-up, you will be telling the computer
to take one of those o-center positions as center pitch, and everything
will therefore be detuned until you turn power o and then back on.
The Pitch wheel is monophonic. That is, it aects all the voices uniformly.
Except for latched arpeggiator notes, all voices are simultaneously pitch-bent
by the same interval.
Pitch Wheel Range adjusts the interval that will be played when the Pitch
wheel is rotated fully up or down. You can adjust the maximum range of the
Pitch wheel in one-semitone steps. The feel of the wheel is largely a matter
of personal taste. The wheel may bend notes up or down by as much as a
perfect fth (covering a range of fteen semitones). A narrower range gives
greater physical control over the bend. In other words, if you set the range
to the most "outside" bend you want to make, then you don't have to worry
about overshooting it.
Note: Like Master Tune, the Pitch Wheel Range adjustment is held
in non-volatile memory while power is o. Therefore when power is
switched on, Pitch Wheel Range will be however you last set it, so you
don't need to worry about it each time power is switched on.
To adjust the pitch wheel range:
1. Select Pitch Wheel Range parameter.
The display shows the current range in semitones, from one semitone
to a perfect fth.
2. To adjust the value, use the Data Entry slider.
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Mod Wheel
As you play the keyboard, use the Mod wheel to control the depth of low-
frequency oscillator (LFO 1 and/or LFO 2) modulation, or depth of the
chorus. The Mod wheel is also monophonic: it simultaneously increases the
modulation level within all voices.
The Mod wheel is not spring-loaded and does not have a detent. If the Mod
wheel is unused, or if it is used and left fully down, minimum modulation
occurs.
For more information, see Section 9, which covers the LFOs, and Section 10,
which covers the modulation system.
WAVEFORM MIX JOYSTICK
During performance you can use the joystick to modulate the mixture of the
four oscillators in the current program. This enables you to spontaneously
and dynamically modulate the timbre by reshaping complex waveforms
or introducing detunings. This real-time modulation occurs in addition to
the programmed action of the mixer envelope generator and other mixture
modulators.
Explore the eect of fast or slow movement throughout the joystick range.
CHORUS LEFT/RIGHT
The stereo chorus circuit (analog delay line) enriches the sound and can be
switched on and o independently for either output channel. This is handy for
stereo eects, as well as Split or Double modes where you might not want
both programs to be chorused.
ALTERNATE RELEASE FOOTSWITCH
The ALTERNATE RELEASE footswitch is usually programmed to simulate the
action of a piano’s sustain pedal. It does this by switching between two rate
values for the envelope generator release stages (rates k and kA). When the
footswitch is disconnected or up, releasing a key engages the original (and
usually shorter) rate 4. When the footswitch is connected and held down,
this selects the alternate release value 4A (for all three envelope generators),
which is usually programmed to be noticeably slower (longer) than the original
release rate.
AUX FOOTSWITCH
The AUX footswitch is used exclusively for real-time control over the
arpeggiator. If the footswitch is pressed while arpeggiating, notes are latched
into a “sequence” which can be recalled for playback later.
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