Operation Manual
Operation Manual Version 1.0 May 2013 Dave Smith Instruments 1527 Stockton Street, 2nd Floor San Francisco, CA 94133 USA ©2013 Dave Smith Instruments www.davesmithinstruments.
This device complies with Part 15 of the FCC Rules. Operation is subject to the following two conditions: (1) This device may not cause harmful interference and (2) this device must accept any interference received, including interference that may cause undesired operation. This Class B digital apparatus meets all requirements of the Canadian Interference-Causing Equipment Regulations. Cet appareil numerique de la classe B respecte toutes les exigences du Reglement sur le materiel brouilleur du Canada.
Table of Contents Thank You . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . vii Overview. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1 Getting Started. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Using the Display and “Soft” Controls. . . . . . . . . . . . . . . . . . . . . . . . . . Using Show and Revert Param . . . . . . . . . . . . . . . . . . .
Distortion. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34 Unison . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35 Glide. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36 Hold. . . . . . . . . . . . . . . . . . . . . . . . . .
Credits and Acknowledgements For Sound Design: Alessandro Cortini Richard Devine Rory Dow Peter Dyer Tim Koon Kurt Kurasaki Jamie Lidell Tim Mantle (Psalm37) Phil Peskett Lorenz Rhode Matia Simovich James Terris Mitch Thomas Mark Wilcox Taiho Yamada Special thanks also to: Ken Eddleman, Jeff Pence, Robert Rich, and Riley Smith And to the DSI crew: Bob Coover, Carson Day, Chris Hector, Tony Karavidas, Mark Kono, Andrew McGowan, Joanne McGowan, and Tracy Wadley Prophet 12 Operation Manual v
vi Dave Smith Instruments
Thank You I’ve been designing synthesizers for 35 years now, starting with the Prophet-5 in 1978. Often times over the years, people have asked which instrument is my favorite. I’ve never been able to answer that question; it’s like picking your favorite child.
viii Thank You Dave Smith Instruments
Overview This is a brief overview of the Prophet 12’s capabilities and its operation. More in-depth information about specific parameters can be found in the reference section of the manual. However, don’t let a lack of familiarity with either the instrument or synthesis prevent you from turning knobs and pressing buttons. That’s what they’re there for! You won’t break anything and you can always get back to where you started, even if you have no idea what you’re doing.
sounds, one in layer A and one in layer B. Layers are used to facilitate split and stacked programs. A split program maps the layer A sound to a key zone on the left side of the split point and the layer B sound to the right. Six voices are allocated to each key zone. A stacked program maps both layers A and B to the entire keyboard, with six voices allocated to each layer. So, when Stack A + B is on, the maximum polyphony is six. (At least two voices play with each keystroke.
Using Show and Revert Param Editing a program’s parameters causes the value for that parameter to be displayed. But what if you want to see the value without editing it? Show allows a parameter to be displayed without actually changing it. Simply press and hold Show, and turn a knob or press a switch to display the current setting. Or press Show to turn it on and review multiple parameter settings before turning Show off again. Tip: Hold Show and move the pitch wheel to see the bend range settings.
D. Edit Char (soft knob 4)—Choose a character. E. Copy Name A > B (soft key 1)—Copy the layer A name to layer B. F. Insert Char (soft key 2)—Insert a character before the selected character. G. Delete Char (soft key 3)—Delete the selected character. H. Layer A/B (soft key 4)—Switch between the layer A and layer B name. Saving a program overwrites a previously saved program. While Write is blinking, Compare lets you “audition” the saved program in the bank and program location you have selected.
Prophet 12 Operation Manual 5 SUB OSC OSC 4 OSC 3 OSC 2 OSC 1 SUB OSC LEVEL OSC 4 LEVEL OSC 3 LEVEL OSC 2 LEVEL OSC 1 LEVEL OSC MIX CHARACTER GIRTH DRIVE HACK LPF HPF FEEDBACK LOOP Modulation routing omitted for clarity AIR FDBK TUNE PROPHET 12 VOICE ARCHITECTURE DECI FEEDBACK LEVEL VCA PAN DELAY 3 PAN PAN DELAY 2 DELAY 4 PAN DELAY 1 PAN R L R L R L R L R L
Connections 100-240 VAC 50-60 Hz 30 Watts AC Power Inlet—Accepts a standard, grounded IEC power cord. Oper- ates over a range of 100 to 240 volts and 50 to 60 Hz. USB Sustain Pedal 1 Pedal 2 MIDI In MIDI Out MIDI Thru USB—For bidirectional MIDI communication with a computer. The Prophet 12 is a Class Compliant USB device and does not require additional drivers when used with Mac OS or Windows. See Using USB on page 47 for more information.
USB Sustain Pedal 1 Pedal 2 MIDI In MIDI Out B Outputs MIDI Thru Right Left B Outputs Right Left Main / A Outputs Right Left Headphones Main / A Outputs Right Left Headphones MIDI In, Out, and Thru—Standard 5-pin MIDI DIN connectors. Main/A Outputs and B Outputs—Unbalanced, ¼″ audio outputs. The Main outputs are a mix of a program’s A and B layers. When plugs are inserted into the B outputs, only layer A is available from the Main outputs and layer B is routed to the B outputs.
Global Settings Press Global to set those parameters, such as Master Tune and MIDI Channel, which affect all programs globally. 1. Master Coarse Tune: -12…+12—Master Transpose control, 0 is centered. Steps in semitones as much as one octave up (+12) or down (-12). 2. Master Fine Tune: -50…+50—Master Fine Tune control; 0 centered. Steps in cents as much as a quarter-tone up (+50) or down (-50). 3. MIDI Channel: All, 1…16—Selects which MIDI channel to send and receive data, 1 to 16.
6. MIDI Param Receive: Off, CC NRPN—Sets the method by which parameter changes are received via MIDI. As with transmission, NRPNs are the preferred method. 7. MIDI Control Enable: Off, On—When On, the synth will respond to MIDI controllers, including Pitch Wheel, Mod Wheel, Pedal, Breath, Volume, and Expression. 8. MIDI Sysex Enable: Off, On—When On, the synth will respond to received MIDI SysEx messages, and will transmit them, when prompted, to the MIDI Out. See Sysex Messages on page 82 for details.
For example, the Resonance parameter has a value range of 0 to 127. Let’s say the physical position of the Resonance pot is the equivalent of a value of 100. If you switch to a program that has a stored Resonance setting of 63 and turn the pot all the way up, it will only go to 90. To get to the maximum value of 127, you first have to turn down until the value is at the other extreme and the pot is at the limit of its travel (in this case, 0 and fully counter-clockwise, respectively).
18. Aftertouch Curve: Curve 1, Curve 2, Curve 3, Curve 4—Sets one of four pressure curves for the keyboard to adjust the aftertouch to your playing style. 19. Velocity Curve: Curve 1, Curve 2, Curve 3, Curve 4—Sets one of the four velocity curves for the keyboard to adjust the velocity response to your playing style. 20. Basic Patch—Press Write Now (soft key 1) to load a basic, template program into the edit buffer. Use Write to permanently save any changes to memory. 21.
Oscillators The Prophet 12 has four oscillators for each of its twelve voices. The oscillators are capable of generating the “classic” analog wave shapes— sine, triangle, sawtooth, square—as well as more complex shapes and different types of noise. Use the four oscillator buttons to select an oscillator for editing. The mysterious ring that connects the buttons is not a life preserver.
When Triangle is the selected shape, the width of the wave is changed, similar to Pulse and Sawtooth, adding harmonics and getting more thin sounding when turned in either direction from 0. With Sine as the selected shape, values less than 0 gradually add another sine an octave higher than the base pitch. Values greater than 0 cause the sine wave to gradually be clipped, adding harmonics and sounding somewhat distorted.
Note: The global Master Tune settings affect the pitch of all oscilla- tors. See Global Settings on page 8 for more information. Fine: -50…+50—Fine tune control with a range of a quartertone up or down. Zero is centered. Steps are in cents (50 cents = 1/2 semitone). Key Follow: Off, On—When Key Follow is on, the oscillator tracks the keyboard or note data received via MIDI. When off, the oscillator plays at its base frequency setting, though the pitch may be affected by modulation from other sources.
Slave Osc Master Osc 1 2 3 4 2 3 4 1 The effect of Sync is much more easily heard than explained. Here’s a simple example of how to use Sync. 1. Load the Basic Patch from the Global menu. Oscillator 1 and 2 Shape is set to sawtooth and oscillators 3 and 4 are off. 2. Turn oscillator 2 Output Level to 0. Only oscillator 1 should be audible. 3. Turn oscillator 1 Sync on. 4. Now turn oscillator 1 Pitch while playing the keyboard. The harmonic content changes, but not the fundamental pitch.
the oscillator select buttons show the modulator/carrier relationship between the oscillators, as does the following table. Carrier Modulator Oscillator 1 Oscillator 2 Oscillator 3 Oscillator 4 Oscillator 2 Oscillator 3 Oscillator 4 Oscillator 1 Turning up FM for oscillator 1 causes it to be modulated by oscillator 2, turning up FM for oscillator 2 causes it to be modulated by oscillator 3, and so on. Note: The indicated order of modulation is really just a handy short- cut.
Character The Character controls affect the sonic character of the mixed output of the oscillators. The effect may or may not be subtle and may be dependent upon the frequency and harmonic content of the audio being processed. For example, Girth boosts and enhances low frequencies, so the effect upon high frequency content is minimal. Girth: 0…127—A low shelf filter to boost low frequencies, with some extra harmonic modification at higher settings.
Low-Pass Filter The Prophet 12 features one analog resonant low-pass filter per voice. The filter is switchable between 2- and 4-pole modes and has a dedicated five-stage (delay/attack/decay/sustain/release) envelope generator, capable of looping the delay, attack, and decay segments. There are also controls for modulating the filter cutoff with the keyboard and envelope amount with keyboard velocity. 4-Pole—Selects the filter configuration. When lighted, the filter is in 4-pole mode.
Delay: 0...127—Sets a delay between the time the envelope is gated on and when the Attack segment actually begins. Attack: 0...127—Sets the attack time of the envelope. Decay: 0...127—Sets the decay time of the envelope. Sustain: 0...127—Sets the sustain level of the envelope. Amplitude Release Sustain Decay Attack Delay Release: 0...127—Sets the release time of the envelope. Time DADSR Envelope Repeat: Off, On—When on, the Delay, Attack, and Decay segments of the envelope repeat.
On Off A B C A: The gate generated by pressing, holding, and then releasing a key. B: Corresponding DADSR envelope behavior with Delay on and Repeat off. C: Behavior of the same envelope with Repeat on.
High-Pass Filter After each voice’s low-pass filter, the signal passes through a 2-pole, resonant analog high-pass filter. There is also a control for modulating the filter cutoff with the keyboard. Frequency: 0...127—Sets the high-pass filter’s cutoff frequency. Frequencies below the cutoff are attenuated at a slope of 12 dB per octave. Frequencies above the cutoff pass through the filter unaffected, hence the name “high-pass.” Resonance: 0...
Voltage Controlled Amplifier After passing through the filter stages, the signal goes into an analog voltage controlled amplifier or VCA. The VCA has a dedicated, fivestage envelope generator. (See Low-Pass Filter on page 18 for an illustrated example of an envelope generator.) There is a control for modulating the envelope amount using keyboard velocity, as well as a control for left/right spread of the voices in the stereo field. Envelope Amount: 0...
Delay: 0...127—Sets a delay between the time the envelope is gated on and when the Attack segment actually begins. Attack: 0...127—Sets the attack time of the envelope. Decay: 0...127—Sets the decay time of the envelope. Sustain: 0...127—Sets the sustain level of the envelope. Release: 0...127—Sets the release time of the envelope. Repeat: Off, On—When on, the Delay, Attack, and Decay segments of the envelope repeat.
Feedback The analog output of the VCA is input to a tuned delay, whose output is mixed with the oscillators and input to the character effects. Each voice has its own tuned delay. Feedback Amount: -127...0...127—Sets the level of feedback. As the level goes up, the feedback will eventually oscillate at the set Tuning. Medium levels of feedback add depth and movement to the sound. Negative values invert the signal producing different results than positive values.
Delay The Prophet 12 has a stereo, four-tap digital delay per voice. It can be used for simple delays or, in conjunction with modulation and short delay times, flanging and chorus effects. Simple reverbs can be built using different delay times and settings on the level and feedback of all four delays. The delay time can be synced to the arpeggiator and various modulation sources can be routed to delay panning.
Note: The maximum delay time is 1 second. The combination of longer synced delay times with slower tempos can result in delay times that would be greater than 1 second. When that happens, the delay time is divided by 2 until it no longer exceeds the 1 second limit. For example, if the BPM is set to 60 and Delay Time is set to Half, the expected delay time would be 2 seconds. The actual delay time will be 1 second (2 seconds divided by 2). Amount: 0...127—Sets the level of the delayed signal.
For chorus, start with a value around 53 (17.164 milliseconds). For ping-pong effects, use a square LFO routed to Delay Pan. Some amount of DC routed to Delay Pan (in the modulation matrix) will place the ping-pong in the desired position in the stereo field. Both the LFO and the Delay must have Sync on, and the LFO should also have Wave Reset on, to keep everything in sync.
Low Frequency Oscillators The Prophet 12 has four low frequency oscillators (LFOs) per voice. The LFOs can be free-running, reset by keystrokes, or synced to the arpeggiator and MIDI clock. Press any of the four LFO buttons to choose an LFO for editing. Press and briefly hold any of the LFO buttons to light all the LFO buttons and display a single parameter for all LFOs.
Destination—The parameter being modulated by the LFO. See Modulation Destinations on page 50 for a list of possible destinations. Sync: Off, On—When on, Frequency displays note values that sync precisely with the arpeggiator and delay.
The effect of the Slew Rate control is most obviously heard on Pulse and Random, shapes that normally change state virtually instantaneously. As Slew Rate increases, those changes are drawn out, elongated, and the result is a sort of smoothing effect. Wave Reset: Off, On—When off, the LFO is free running. When on, the LFO is re-started each time a new note is played. Wave Reset is set independently for each LFO. Note: Use Phase to offset the start point when Wave Reset is on.
Auxiliary Envelopes The Prophet 12 has four, five-stage envelope generators. Two of them are dedicated to the low-pass filter and VCA, but the other two can be routed to any of the modulation destinations. Note: Actually, any of the envelopes can be routed to any destina- tion—or multiple destinations—using the modulation matrix. See Modulation on page 32 for more information. See Low-Pass Filter on page 18 for an illustrated example of an envelope generator.
Modulation The Prophet 12 has eight fixed-source modulation paths and a 16 x 2 modulation matrix where the mod sources and destinations are completely user configurable. There are 26 modulation sources and 97 destinations. For complete lists of all the sources and destinations, see page 49 and page 50. To display the mod routings, press either of the Assign Mod buttons in the Modulation section.
2. Choose a source by turning its knob or pressing its button, or my using a controller (pitch wheel, mod wheel, or touch slider). The Modulation screen is displayed and that source is assigned to the first available mod slot. Release Assign Mod Source. 3. Press and hold Assign Mod Destination. 4. Choose a destination by turning its knob or pressing its button. That destination is assigned to the mod slot. Release Assign Mod Destination. 5.
Distortion The Prophet 12’s stereo analog distortion is actually two stereo distortions, one for layer A and another for layer B, so that split and stacked sounds can have different distortion settings per layer. Distortion: 0…127—Sets the distortion amount for the current layer.
Unison When Unison is on, the Prophet 12 plays like a monophonic synthesizer. That is, only one note can be played at a time. Turn Unison on to display the three parameters that control how the voices and keyboard will respond. Note: Unison can be on in Layer A and off in Layer B, or vice versa. Mode: 1 Voice, All Voices—Set to 1 Voice, only one of the twelve voices plays. Use this setting to emulate a typical monophonic synthesizer.
Glide Glide or portamento is a feature that has been present on synthesizers since at least the early ‘70s. (Earlier modular synthesizers could achieve the same effect through the use of a lag processor.) In monophonic synthesizers (or the Prophet 12 when Unison is on), it simply causes the pitch of a note to glide up or down from the pitch of the previously played note.
Hold When Hold is on, any played notes will continue to play until Hold is turned off. If more than twelve notes are played, voices will be stolen from the earlier held notes in order to play the new notes. When used in conjunction with the arpeggiator’s Arp Auto Latch function, arpeggiated notes are latched on and replaced by any new note(s) struck.
Arpeggiator The Prophet 12 has a flexible and full-featured arpeggiator that can be synced to the LFOs, delay, and external MIDI clock. Particularly complex arpeggios can be created using split and stack with different arpeggiator settings for layers A and B. Arpeggiator—Turns the Arpeggiator on and off. BPM: 30…250—Sets the tempo for the arpeggiator in BPM (beats per minute). Tap Tempo flashes on the beat. Also affects the LFO frequency and delay time when Sync is turned on for an LFO or delay tap.
Arp Mode Behavior Up Plays from lowest to highest note Down Plays from highest to lowest note Up + Down Plays from lowest to highest and back to lowest Assign Plays notes in the order the keys were pressed Random Plays notes randomly Octave Range: 1 Octave, 2 Octaves, 3 Octaves—Set to 1 Octave, only the keyed notes are arpeggiated. Set to 2 Octaves, the keyed notes and the notes one octave above them arpeggiate.
Master Volume/Voice Volume Volume of a program is determined by a combination of the Master Volume, Voice Volume, and Pedal/MIDI volume (if used). If any of the three are off, there will be no output. Voice Volume is set in the Vol/Dist tab of the VCA screens. Voice Volume is programmable to balance the level between programs. Note: The volume settings in the Layers screen are Voice Volume. See Layers, Split, and Stack on page 43 for more information.
Pitch and Modulation Wheels The Prophet 12 has a spring loaded pitch wheel and a modulation (mod) wheel. The pitch wheel range can be set separately for bending up and down. To set the pitch bend range: 1. Hold Show and move the pitch wheel. The Wheel/Glide screen is displayed. 2. Use Range Up (soft knob 2) to set the pitch bend up range. Range Up can be set in semitones from Off to 1 Octave. 3. Use Range Down (soft knob 3) to set the pitch bend down range.
Touch Sliders The Prophet 12 has two position- and pressure-sensitive touch sliders. That is, each of the sliders serves as two modulation sources, the values of which are determined by finger position and finger pressure. Those sources appear in the modulation matrix as Slider 1 Position, Slider 2 position, Slider 1 Pressure, and Slider 2 Pressure. See Modulation on page 32 for more information.
Layers, Split, and Stack Each of the Prophet 12’s programs contains two layers, layer A and layer B. Each layer can contain a complete, distinctly different sound from the other layer. In a sense, each program is really two programs. This helps to facilitate split and stacked (layered) key mapping. When a program is recalled from memory and neither Split A | B nor Stack A + B are on, the sound that is loaded is the sound in layer A. To play and edit layer B, turn on Edit Layer B.
I A. Program/Layer (soft knob 1): Choose any program and layer (A or B) in the current bank. B. Bank (soft knob 2): Choose a bank (User = U1, U2, U3, or U4; Factory = F1, F2, F3, or F4). C. Layer Vol (soft knob 3): Sets the program volume for the selected layer. D. Split Point (soft knob 4): Sets the split point for the current program. E. The current layers and their names. F. Copy A -> B (soft key 1): Copies the sound and name from layer A to layer B. G.
Play List Play List enables programs to be organized into lists for quick and easy recall. There are four play lists, each capable of holding up to forty programs in ten sets of four. With Play List on: • The Bank Select buttons choose play lists 1 through 4 • The Program Select keypad chooses sets 1 through 9 and 0 • Soft keys 1 through 4 choose the four programs in the current set Electron Pian MiCasa Chica Analogical St Moderna Pian To create a play list: 1. Turn Play List on. 2.
After editing a program in play list mode, simply press the lit Bank Select button to return to the current list/set/program screen. To save edits made to a program while in play list mode, turn Play List off and press Write. After the write completes, turn Play List on to return to the previous list/set/program screen. Important: Play lists are just references, pointers to the stored Factory and User programs.
Using USB The Prophet 12’s USB 2.0 port enables bidirectional MIDI communication with a computer. A MIDI interface and MIDI cables are not necessary, just a USB cable. The Prophet 12 is a Class Compliant USB device. That means it does not require any additional drivers to be installed to communicate with a Mac or Windows computer. The Prophet 12 transmits and receives MIDI data via USB, but does not transmit audio.
48 Play List Dave Smith Instruments
Appendix A: Modulation Sources Off Osc 1 Osc 2 Osc 3 Osc 4 LFO 1 LFO 2 LFO 3 LFO 4 Lowpass Env VCA Env Env 3 Env 4 Pitchbend Mod Wheel Slider 1 Position Slider 2 Position Slider 1 Pressure Slider 2 Pressure Aftertouch CC#2: Breath CC#4: Foot Pedal CC#11: Expression Velocity Note Number Random DC Prophet 12 Operation Manual Appendix A: Modulation Sources 49
Appendix B: Modulation Destinations Off Osc 1 Freq Osc 2 Freq Osc 3 Freq Osc 4 Freq Osc All Freq Osc 1 Level Osc 2 Level Osc 3 Level Osc 4 Level Osc 1 Shape Mod Osc 2 Shape Mod Osc 3 Shape Mod Osc 4 Shape Mod Sub Osc Level Osc 1 FM Osc 2 FM Osc 3 FM Osc 4 FM Osc All FM Osc 1 AM Osc 2 AM Osc 3 AM Osc 4 AM Osc All AM Air Girth Hack Decimate Drive 50 Appendix B: Modulation Destinations LPF Cutoff LPF Resonance HPF Cutoff HPF Resonance VCA Pan Pan Spread Feedback Amount Feedback Tuning Delay 1 Amount Delay 2
LFO 2 Amount LFO 3 Amount LFO 4 Amount LPF Env Amount Amp Env Amount Env 3 Amount Env 4 Amount LPF Env Attack Amp Env Attack Env 3 Attack Env 4 Attack All Env Attack LPF Env Decay Amp Env Decay Env 3 Decay Env 4 Decay All Env Decay LPF Env Release Amp Env Release Env 3 Release Env 4 Release All Env Release Mod 1 Amount Mod 2 Amount Mod 3 Amount Mod 4 Amount Mod 5 Amount Mod 6 Amount Mod 7 Amount Mod 8 Amount Mod 9 Amount Mod 10 Amount Mod 11 Amount Mod 12 Amount Prophet 12 Operation Manual Mod 13 Amount Mo
Appendix C: Delay Times Value Time (msec) 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 52 Value Time (msec) 0.9556 1.0124 1.0726 1.1364 1.2039 1.2755 1.3514 1.4317 1.5169 1.6071 1.7026 1.8039 1.9111 2.0248 2.1452 2.2727 2.4079 2.5511 2.7027 2.8635 3.0337 3.2141 3.4052 3.6077 3.8223 4.0495 4.2903 4.5455 4.8157 5.1021 Appendix C: Delay Times 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 5.4055 5.7269 6.0675 6.4282 6.8105 7.
Value Time (msec) 90 91 92 93 94 95 96 97 98 99 100 101 102 103 104 105 106 107 108 109 110 111 112 113 114 115 116 117 118 119 120 121 150.4602 155.6089 160.7576 165.9064 171.0551 176.2038 181.3525 186.5013 191.6500 196.7987 201.9474 207.0962 212.2449 217.3936 222.5424 227.6911 232.8398 237.9885 243.1373 248.2860 253.4347 258.5834 263.7322 268.8809 274.0296 279.1783 284.3271 289.4758 294.6245 299.7732 304.9220 310.
Value Time (msec) 186 187 188 189 190 191 192 193 194 195 196 197 198 199 200 201 202 203 204 205 206 207 208 209 210 211 212 213 214 215 216 217 54 644.7379 649.8866 655.0353 660.1841 665.3328 670.4815 675.6303 680.7790 685.9277 691.0764 696.2252 701.3739 706.5226 711.6713 716.8201 721.9688 727.1175 732.2662 737.4150 742.5637 747.7124 752.8611 758.0099 763.1586 768.3073 773.4560 778.6048 783.7535 788.9022 794.0510 799.1997 804.
Appendix D: MIDI Implementation Prophet 12 receives MIDI data according to the mode controls under Global. In addition, there is interaction between some of the Program parameters that determine the overall response of Prophet 12 to MIDI data. Following are the Global parameters that affect response to MIDI: MIDI Channel: ALL, 1…16 — Selects the MIDI channel to send and receive data, 1 to 16. All receives on any channel.
received MIDI SysEx messages, and will transmit them, when prompted, to the MIDI Out. MIDI Out Select: Off, MIDI, USB, MIDI+USB—Selects the output to use for MIDI transmissions. MIDI Messages System Real-Time Messages Status Description 1111 1000 MIDI Timing Clock Received Channel Messages Status Second Third Description 1000 nnnn 0kkkkkkk 0vvvvvvv Note Off. Velocity is ignored 1001 nnnn 0kkkkkkk 0vvvvvvv Note On.
Status Second Third Description 1011 nnnn 7 0vvvvvvv Volume: Combined with Master Volume and Voice Volume 1011 nnnn 74 0vvvvvvv Brightness: Added to low-pass filter cutoff frequency 1011 nnnn 11 0vvvvvvv Expression Controller: directly assignable controller 1011 nnnn 32 0vvvvvvv Bank Select: 0 - 3 select user banks 1 - 4; 4 - 7 select factory banks 1 - 4; others ignored 1011 nnnn 64 0vvvvvvv Damper pedal: Holds envelopes in Sustain if 0100 0000 or higher 1011 nnnn 123 0vvvvvvv All
Transmitted Controller Messages Status Second Third Description 1011 nnnn 0000 0001 0vvvvvvv Mod Wheel 1011 nnnn 0000 0010 0vvvvvvv Breath Controller: When assigned to Pedal 1 or Pedal 2 1011 nnnn 0000 0100 0vvvvvvv Foot Controller: When assigned to Pedal 1 or Pedal 2 1011 nnnn 0000 0111 0vvvvvvv Volume: When assigned to Pedal 1 or Pedal 2 1011 nnnn 0100 1010 0vvvvvvv Brightness: When assigned to Pedal 1 or Pedal 2 1011 nnnn 0000 1101 0vvvvvvv Expression: When assigned to Pedal 1
CC# Param CC# Param 21 Delay 1 Feedback 59 Arpeggiator Mode 23 Delay 2 Time 60 Arpeggiaor Range 24 Delay 2 Sync 61 Arp Auto Latch On/Off 25 Delay 2 Amount 62 Arp Clock Divide 26 Delay 2 Feedback 63 Arp Repeats 28 Delay 3 Time 64 Pedal 2 29 Delay 3 Sync 65 Glide On/Off 30 Delay 3 Amount 67 Osc 1 Pitch 31 Delay 3 Feedback 68 Osc 1 Fine Tune 32 Bank Select 69 Osc 1 Level 33 Delay 4 Time 70 Osc 1 Shape 34 Delay 4 Sync 71 Osc 1 Shape Mod 35 Delay 4 Amount 72 O
CC# Param 94 Osc 4 FM 95 Osc 4 AM 96 Data Inc 97 Data Dec 98 NRPN LSB 99 NRPN MSB 100 RPN LSB 101 RPN MSB 102 LPF Frequency 103 LPF Resonance 104 LPF Key Amount 105 LPF 2/4 Pole 106 HPF Frequency 107 HPF Resonance 108 HPF Key Amount 109 Girth 110 Air 111 Hack 112 Decimate 113 Drive 114 Feedback Amount 115 Feedback Tuning 116 Unison On/Off 117 Unison Detune 118 Unison Mode 119 Unison Key Assign 60 Appendix D: MIDI Implementation Dave Smith Instruments
NRPN Messages The Non-Registered Parameter Number (NRPN) MIDI messages are used to transmit and receive both global and program parameters. They are transmitted when MIDI Parameter Send is set to NRPN in Global, and received when MIDI Parameter Receive is set to NRPN in Global. The messages are handled in standard MIDI format using the NRPN CC commands in running status byte format. Below is the format used for transmitting a NRPN parameter.
Received NRPN Messages Status Second Third Description 1011 nnnn 0110 0011 0vvvvvvv NRPN parameter number MSB CC 1011 nnnn 0110 0010 0vvvvvvv NRPN parameter number LSB CC 1011 nnnn 0000 0110 0vvvvvvv NRPN parameter value MSB CC 1011 nnnn 0010 0110 0vvvvvvv NRPN parameter value LSB CC 1011 nnnn 0110 0000 0xxxxxxx NRPN parameter value Increment 1011 nnnn 0110 0001 0xxxxxxx NRPN parameter value Decrement 1011 nnnn 0010 0101 0111111 RPN parameter number MSB CC - Reset NRPN paramet
NRPN Range Description 1030 0-2 MIDI Param Receive† 0 = NRPN 1 = CC 2= Off 1031 0-1 MIDI Control Enable 0 = Off 1 = On 1032 0-1 MIDI SysEx Enable 0 = Off 1 = On 1033 0-2 MIDI SysEx Cable 0 = None 1= MIDI Port 2 = USB 1034 0-3 MIDI Out Select 0 = Off 1 = MIDI 2 = USB 3 = MIDI+USB 1035 0-1 Local Control* 0 = Off 1 = On 1036 0-1 Mono/Stereo 0 = Stereo 1 = Mono 1037 0-2 Pot Mode 0 = Relative 1= PassThru 2 = Jump 1038 0-1 Sustain Footswitch 0 = normally open 1= normally closed 1039
NRPN Range Description 1043 0-3 Aftertouch Curve 1044 0-3 Velocity Curve *Controller received, but not transmitted. †Controller transmitted, but ignored when received. Program Parameter Data The following table lists Prophet 12’s program parameters.
NRPN Layer A NRPN Layer B Value Description 5 517 0-11 Osc 1 Wave Left 0 = Tines 1 = Mellow 2 = Church 3 = Muted 4 = Nasal 5 = Boing 6 = Gothic 7 = Ahhh 8 = Shrill 9 = Ohhhh 10= Buzzzz 11 = Meh 6 518 0-11 Osc 1 Wave Right (see Osc 1 Wave Left) 7 519 0-255 Osc 1 FM 8 520 0-255 Osc 1 AM 9 521 0-127 Osc 1 Slop 10 522 0-127 Osc 1 Glide Amount 11 523 0-1 Osc 1 Sync 0 = Off 1 = On 12 524 0-1 Osc 1 Key Follow 0 = Off 1 = On 13 525 0-1 Osc 1 Wave Reset 0 = Off 1 = On 18 530
NRPN Layer A NRPN Layer B 28 540 0-127 Osc 2 Glide Amount 29 541 0-1 Osc 2 Sync 0 = Off 1 = On 30 542 0-1 Osc 2 Key Follow 0 = Off 1 = On 31 543 0-1 Osc 2 Wave Reset 0 = Off 1 = On 36 548 0-120 Osc 3 Pitch 37 549 0-100 Osc 3 Fine Tune 38 550 0-127 Osc 3 Level 39 551 0-19 Osc 3 Shape (see Osc 1 Shape) 40 552 0-127 Osc 3 Shape Mod 41 553 0-11 Osc 3 Wave Left (see Osc 1 Wave Left) 42 554 0-11 Osc 3 Wave Right (see Osc 1 Wave Left) 43 555 0-255 Osc 3 FM 44 556
NRPN Layer A NRPN Layer B Value Description 60 572 0-11 Osc 4 Wave Right (see Osc 1 Wave Left) 61 573 0-255 Osc 4 FM 62 574 0-255 Osc 4 AM 63 575 0-127 Osc 4 Slop 64 576 0-127 Osc 4 Glide Amount 65 577 0-1 Osc 4 Sync 0 = Off 1 = On 66 578 0-1 Osc 4 Key Follow 0 = Off 1 = On 67 579 0-1 Osc 4 Wave Reset 0 = Off 1 = On 72 584 0-127 Osc 1 Sub Octave 73 585 0-3 Glide Mode 0 = FixRate 1= FixRate A 2 = FixTime 3 = FixTime A 74 586 0-1 Glide 0 = Off 1 = On 75 587 0-1
NRPN Layer A NRPN Layer B 94 606 0-127 HPF Frequency 95 607 0-127 HPF Resonance 96 608 0-127 HPF Key Amount 97 609 0-254 Feedback Amount 0 to 126 = -127 to -1 127 = 0 128 to 254 = 1 to 127 98 610 0-48 Feedback Tuning 99 611 0-127 Voice Volume 100 612 0-127 Pan Spread 101 613 0-127 Distortion Amount 103 615 0-127 VCA Envelope Amt 104 616 0-127 Velocity to VCA Env Amt 105 617 0-127 VCA Env Delay 106 618 0-127 VCA Env Attack 107 619 0-127 VCA Env Decay 108
NRPN Layer A NRPN Layer B Value Description 126 638 0-127 Velocity to Env 3 Amt 0 to 126 = -127 to -1 127 = 0 128 to 254 = 1 to 127 127 639 0-127 Envelope 3 Delay 128 640 0-127 Envelope 3 Attack 129 641 0-127 Envelope 3 Decay 130 642 0-127 Envelope 3 Sustain 131 643 0-127 Envelope 3 Release 132 644 0-1 Envelope 3 Repeat 0 = Off 1= On 133 645 0-97 Envelope 3 Destination (see table of modulation destinations and values) 136 648 0-254 Envelope 4 Amt 0 to 126 = -127 to -1 1
NRPN Layer A NRPN Layer B 148 660 0-15 LFO 1 Sync Setting 0 = 32nd triplet 1 = 32nd 2 = 16th triplet 3 = 16th 4 = 8th triplet 5 = 8th 6 = quarter triplet 7 = 1 quarter 8 = dotted quarter 9 = half 10 = 3 quarters 11 = 4 quarters 12 = 6 quarters 13 = 8 quarters 14 = 16 quarters 15 = 32 quarters 149 661 0-1 LFO 1 Sync 0 = Off 1 = On 150 662 0-7 LFO 1 Shape 0 = triangle 1 = reverse sawtooth 2 = sawtooth 3= square 4 = pulse 1 5 = pulse 2 6 = pulse 3 7 = random 151 663 0-127 LFO 1 Amount 152 66
NRPN Layer A NRPN Layer B Value Description 159 671 0-1 LFO 2 Sync 0 = Off 1 = On 160 672 0-7 LFO 2 Shape (see LFO 1 Shape) 161 673 0-127 LFO 2 Amount 162 674 0-127 LFO 2 Slew Rate 163 675 0-127 LFO 2 Phase 164 676 0-1 LFO 2 Wave Reset 0 = Off 1 = On 165 677 0-97 LFO 2 Destination (see table of modulation destinations and values) 167 679 0-255 LFO 3 Frequency 168 680 0-15 LFO 3 Sync Setting (see LFO 1 Sync Setting) 169 681 0-1 LFO 3 Sync 0 = Off 1 = On 170 682 0-
NRPN Layer A NRPN Layer B 184 696 0-1 LFO 4 Wave Reset 0 = Off 1 = On 185 697 0-97 LFO 4 Destination (see list of modulation destinations and values) 187 699 0-255 Delay 1 Time 188 700 0-11 Delay 1 Sync Setting 0 = 64th 1 = 32nd 2 = dotted 32nd 3 = 16th 4 = dotted 16th 5 = 8th 6 = dotted 8th 7 = quarter 8 = dotted quarter 9 = half 10 = dotted half 11 = whole 189 701 0-1 Delay 1 Sync 0 = Off 1 = On 190 702 0-127 Delay 1 Amount 191 703 0-127 Delay 1 Feedback 195 707 0-255 Dela
NRPN Layer A NRPN Layer B Value Description 207 719 0-127 Delay 3 Feedback 211 723 0-255 Delay 4 Time 212 724 0-11 Delay 4 Sync Setting (see Delay 1 Sync Setting) 213 725 0-1 Delay 4 Sync 0 = Off 1 = On 214 726 0-127 Delay 4 Amount 215 727 0-127 Delay 4 Feedback 219 731 0-26 Mod 1 Source (see table of modulation sources and values) 220 732 0-254 Mod 1 Amount 0 to 126 = -127 to -1 127 = 0 128 to 254 = 1 to 127 221 733 0-97 Mod 1 Destination (see table of modulation desti
NRPN Layer A NRPN Layer B 232 744 0-254 Mod 4 Amount 0 to 126 = -127 to -1 127 = 0 128 to 254 = 1 to 127 233 745 0-97 Mod 4 Destination (see table of modulation destinations and values) 235 747 0-26 Mod 5 Source (see table of modulation sources and values) 236 748 0-254 Mod 5 Amount 0 to 126 = -127 to -1 127 = 0 128 to 254 = 1 to 127 237 749 0-97 Mod 5 Destination (see table of modulation destinations and values) 239 751 0-26 Mod 6 Source (see table of modulation sources and values)
NRPN Layer A NRPN Layer B Value Description 251 763 0-26 Mod 9 Source (see table of modulation sources and values) 252 764 0-254 Mod 9 Amount 0 to 126 = -127 to -1 127 = 0 128 to 254 = 1 to 127 253 765 0-97 Mod 9 Destination (see table of modulation destinations and values) 255 767 0-26 Mod 10 Source (see table of modulation sources and values) 256 768 0-254 Mod 10 Amount 0 to 126 = -127 to -1 127 = 0 128 to 254 = 1 to 127 257 769 0-97 Mod 10 Destination (see table of modulation de
NRPN Layer A NRPN Layer B 269 781 0-97 Mod 13 Destination (see table of modulation destinations and values) 271 783 0-26 Mod 14 Source (see table of modulation sources and values) 272 784 0-254 Mod 14 Amount 0 to 126 = -127 to -1 127 = 0 128 to 254 = 1 to 127 273 785 0-97 Mod 14 Destination (see table of modulation destinations and values) 275 787 0-26 Mod 15 Source (see table of modulation sources and values) 276 788 0-254 Mod 15 Amount 0 to 126 = -127 to -1 127 = 0 128 to 254 = 1
NRPN Layer A NRPN Layer B 286 798 287 Value Description 0-5 Unison Key Assign 0 = low note 1 = low retrig 2 = high note 3 = high retrig 4 = last note 5 = last retrig X 0-127 Split Point 288 X 0-2 A/B Mode 0 = normal 1 = split on 2 = stack on 289 801 0-1 Arpeggiator 0 = Off 1= On 290 802 0-4 Arpeggiator Mode 0 = Up 1 = Down 2 = Up + Down 3 = Assign 4 = Random 291 803 0-2 Arpeggiator Range 0 = 1 Octave 1 = 2 Octaves 2 = 3 Octaves 292 804 0-10 Arp Clock Divide 0 = half 1 = quarter
NRPN Layer A NRPN Layer B Value Description 294 806 0-1 Arp Auto Latch 0 = Off 1 = On 288 800 30-250 BPM 480 992 Name Character 1 481 993 Name Character 2 482 994 Name Character 3 483 995 Name Character 4 484 996 Name Character 5 485 997 Name Character 6 486 998 Name Character 7 487 999 Name Character 8 488 1000 Name Character 9 489 1001 Name Character 10 490 1002 Name Character 11 491 1003 Name Character 12 492 1004 Name Character 13 493 1005 Name Charact
ASCII 74 75 76 77 78 79 80 81 82 83 84 85 Character J K L M N O P Q R S T U ASCII 86 87 88 89 90 91 93 94 95 96 97 98 Character V W X Y Z [ ] ^ _ ` a b ASCII 99 100 101 102 103 104 105 106 107 108 109 110 Character ASCII c 111 Character ASCII o d e f g h i j k l m n 112 113 114 115 116 117 118 119 120 121 122 p q r s t u v w x y z 123 125 Character { } The following tables list the values used with the program parameters to
Mod Destination Value Mod Destination Mod Destination Value HPF Resonance Value 33 Off 0 VCA 34 Osc 1 Freq 1 Pan 35 Osc 2 Freq 2 Pan Spread 36 Osc 3 Freq 3 Feedback Amount 37 Osc 4 Freq 4 Feedback Tuning 38 Osc All Freq 5 Delay 1 Amount 39 Osc 1 Level 6 Delay 2 Amount 40 Osc 2 Level 7 Delay 3 Amount 41 Osc 3 Level 8 Delay 4 Amount 42 Osc 4 Level 9 Delay 1 Time 43 Osc 1 Shape Mod 10 Delay 2 Time 44 Osc 2 Shape Mod 11 Delay 3 Time 45 Osc 3 Shape Mod 12
Mod Destination Value LPF Env Attack 67 Amp Env Attack 68 Env 3 Attack 69 Env 4 Attack 70 All Env Attack 71 LPF Env Decay 72 Amp Env Decay 73 Env 3 Decay 74 Env 4 Decay 75 All Env Decay 76 LPF Env Release 77 Amp Env Release 78 Env 3 Release 79 Env 4 Release 80 All Env Release 81 Mod 1 Amount 82 Mod 2 Amount 83 Mod 3 Amount 84 Mod 4 Amount 85 Mod 5 Amount 86 Mod 6 Amount 87 Mod 7 Amount 88 Mod 8 Amount 89 Mod 9 Amount 90 Mod 10 Amount 91 Mod 11 Amount 92
Sysex Messages Universal System Exclusive Message (Device Inquiry) Status Description 1111 0000 System Exclusive (SysEx) 0111 1110 Non-realtime message 0vvv vvvv If MIDI channel is set to 1 - 16, 0vvvvvvv must match (unless MIDI Channel = ALL); always responds if 0vvvvvvv = 0111 1111.
Request Program Dump Status Description 1111 0000 System Exclusive (SysEx) 0000 0001 DSI ID 0010 1010 Prophet 12 ID 0000 0101 Request Program Transmit 0000 00vv Bank Number, 0 - 7 0vvv vvvv Program Number, 0 - 127 1111 0111 End of Exclusive (EOX) The Prophet 12 will respond by sending out the Program Data in the format described below in Program Data Dump.
Program Data Dump Status Description 1111 0000 System Exclusive (SysEx) 0000 0001 DSI ID 0010 1010 Prophet 12 ID 0000 0010 Program Data 0000 00vv Bank Number: 0 - 7 0vvv vvvv Program Number: 0 - 98 0vvv vvvv 1024 bytes expanded to 1171 MIDI bytes in “packed MS bit” format 1111 0111 End of Exclusive (EOX) Program Edit Buffer Data Dump Status Description 1111 0000 System Exclusive (SysEx) 0000 0001 DSI ID 0010 1010 Prophet 12 ID 0000 0011 Edit Buffer Data 0vvv vvvv 1024 bytes expa
Packed Data Format Data is packed in 8 byte “packets”, with the MS bit stripped from 7 parameter bytes, and packed into an eighth byte, which is sent at the start of the 8 byte packet.
Appendix E: Support Troubleshooting Here are a few suggestions for resolving problems that may occur. The arpeggiator has stopped running. Check the Clock settings in the Global menu to ensure the Prophet 12 is set to Master or, if set to Slave, make sure the Prophet 12 is receiving MIDI clock. Some of the programs sound different than before. Check the Mod Wheel position. The Mod Wheel can do a lot more than just add vibrato.
MIDI System Exclusive data is not be transmitted/received. Check the SysEx settings in the Global menu. The Prophet 12 plays out of tune. Check Master Coarse Tune and Master Fine Tune in the Global menu. If that seems correct, run Calibrate Wheels in the Global menu. The touch sliders don’t go full range. Run Calibrate Sliders in the Global Menu. Only voices 7 through 12 make sound; the LEDs for voices 1 through 6 light up, but those voices are silent.
www.davesmithinstruments.com to establish the date of purchase. (This is not a requirement for warranty service, but it will help expedite the process.) Please contact support@davesmithinstruments.com to determine the best course of action for getting your Prophet 12 repaired. For your own protection, as well as ours, please do not return any product to Dave Smith Instruments without a return authorization (RA) number.
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