User manual
Table Of Contents
- Welcome Back, Old Friend
- Chapter 1: Getting Started
- Rear Panel Connections
- Setting Up the Prophet-5
- Exploring the Prophet-5
- Chapter 2: Prophet-5 Controls
- Global Settings
- Oscillators
- Mixer
- Filter
- Filter Envelope
- Amplifier Envelope
- Low Frequency Oscillator
- Wheel-Mod Controls
- Poly Mod
- Using the Vintage Knob
- Pitch and Mod Wheels
- Adding Aftertouch
- Glide Rate
- Unison
- Master Tune
- The Release Switch
- The Tune Button
- Key Priority Modes
- Chapter 3: Creating Sounds
- Synth Bass
- Creating Synth Brass
- Creating a Hard-Sync Lead
- Chapter 4: Using CVs and Gates
- Appendix A: Troubleshooting and Support
- Appendix B: Calibrating the Prophet-5
- Appendix C: Exporting and Importing Programs/Banks
- Appendix D: Alternative Tunings
- 1. 12-Tone Equal Temperament (non-erasable)
- 2. Harmonic Series
- 3. Carlos Harmonic Twelve Tone
- 4. Meantone Temperament
- 5. 1/4 Tone Equal Temperament
- 6. 19 Tone Equal Temperament
- 7. 31 Tone Equal Temperament
- 8. Pythagorean C
- 9. Just Intonation in A with 7-Limit Tritone at D#
- 10. 3-5 Lattice in A
- 11. 3-7 Lattice in A
- 12. Other Music 7-Limit Black Keys in C
- 13. Dan Schmidt Pelog/Slendro
- 14. Yamaha Just Major C
- 15. Yamaha Just Minor C
- 16. Harry Partch 11-Limit 43 Note Just Intonation
- 1. 12-Tone Equal Temperament (non-erasable)
- Bookmark 1
- Bookmark 1
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Amplier Envelope
Sequential
Amplier Envelope
After passing through the lter, a synthesized sound goes into the
Amplier, which controls its overall volume. The Amplier has a
dedicated, 4-stage envelope generator (attack, decay, sustain, release)
which is used to shape the volume characteristics of a sound over time by
giving you control over these stages. Along with the lter envelope, this
is one of the most important aspects of a synthesized sound.
Without a volume envelope, the volume of a sound wouldn’t change
over the duration of a note. It would begin immediately, remain at its full
volume for its duration of the note, then end immediately when the note
was released. Again, that’s not very interesting sonically and it’s not typi-
cally how instruments behave in the real world.
To give you a real-world example, the main difference between the sound
of the wind and the sound of a snare drum is that they have very different
volume envelopes. Otherwise, they are essentially both white noise.
Wind has a relatively slow attack, a long sustain, and a long decay and
release. A snare drum has a sharp attack, no sustain, and very little decay
or release. But again, they are both fundamentally white noise.
Amplier Envelope controls