Prophet-VS V

How it works

Vector synthesis

Each voice contains four digital oscillators (A, B, C, D), each of which loops a single-cycle waveform (from simple saws and sines to complex spectra). The four oscillators are arranged on the four sides of a "diamond": A on the left, C on the right, B at the top, D at the bottom (axes A–C and B–D).

• With the joystick (or with X/Y coordinates) you choose a point in the diamond: at the corners you hear a single oscillator, at any other position a blend of all four in different proportions.
• A movement from one point to another is a vector: the timbre changes along a path.
• The Mix Envelope automates the joystick with up to 5 points over time, each with a position in the diamond; it can stop at a sustain point or loop a section.

The rest of the chain

The blend enters a 4-pole analog low-pass filter (24 dB/octave) with its own envelope, then an amplifier with its own envelope, and finally a chorus. The result combines the variety of digital waves with the warmth of the analog filter: the timbre evolves both through the morphing between waves and through the filter.

Character and tone

Timbre

Digital but warm: 12-bit single-cycle waves with a slightly "raw" character, run through an analog 24 dB low-pass filter and a chorus. It sounds glassy, choral, metallic or soft depending on the waves; the hallmark is the movement between four different timbres.

Where it sits in the frequency spectrum

The digital waves carry a lot of energy in the upper mids (2–8 kHz): it is a sound that "glitters" and sits high in the mix; the analog filter tames it. In the low end it is less full than a pure subtractive analog.

Strengths

• Vector synthesis: continuous blending of 4 oscillators with the joystick or with the 5-point Mix Envelope, even looping: sounds that evolve without touching the filter.
• Huge library in the Arturia version (original waves + hundreds of new ones, sample import).
• Multi-segment and looping envelopes for "living" rhythms and textures.

Limitations

• Each oscillator is a static single-cycle wave: no PWM or sync between oscillators.
• Deep, warm bass is not its ideal territory.
• Programming the vector takes time and listening.

Comparisons

• vs PPG Wave / wavetable: wavetable moves between neighboring waves of a table; here 4 waves, even very different ones, are summed at the same time.
• vs Korg Wavestation: the Wavestation, its direct heir, adds wave sequences; the VS is simpler and more "analog" thanks to the filter.
• vs Prophet-5: same manufacturer, but the VS is digital, cold and shifting; the 5 is analog, warm and direct.

Architecture

Original (Sequential Prophet-VS, 1986)

• 8 voices, bitimbral; 4 digital oscillators per voice with 12-bit single-cycle waves (about 95–127 factory waves, 32 user waves, plus noise).
• Vector-mixing joystick and 5-point Mix Envelope with loop.
• Filter: analog 4-pole resonant low-pass (Curtis CEM chip) with dedicated envelope.
• 5-stage envelopes with loop for filter and amplitude; 2 LFOs; modulation matrix; arpeggiator; built-in chorus.

Signal path (per voice)

Osc A + B + C + D → vector mixer (joystick + Mix Envelope + modulations) → LP 24 dB filter (Filter Env) → VCA (Amp Env) → per-voice pan → chorus → effects.

What Arturia adds (Prophet-VS V, V Collection 9)

• Up to 16 voices, Unison 2–8 voices with Detune, Glide (Notes mode or Original "between voices").
• Waves: 94 originals + about 450 new ones per oscillator (granular, FM, analog, hybrid) + user WAV import (the first 128 samples are used, as a single cycle).
• Filter and amplitude envelopes in three modes: Prophet-VS (original, 5 points, loop 1–7 or infinite), MSEG (up to 16 points, free loop, sync), DADSR; overall Rate 0.1x–10x.
• Mix Envelope with syncable time, Rate multiplier, loop with forward/forward-backward direction.
• 3 Functions (multi-segment generators up to 64 points, 24 presets, Env/LFO/Key Trig, Bipolar, Polyphonic).
• Modulation matrix with 16 slots (two 8×8 pages: 128 source/destination crosspoints).
• Random to randomize 10 groups of parameters, Voice Dispersion (Cutoff, Res, Pan, Amp), per-voice Pan Trimmers.
• Effects: 3 slots (series/parallel) with 16 effects (delay, tape echo, pitch-shift delay, reverb, distortions, bitcrusher, compressors, multiband, chorus, chorus JUN-6, flanger, BL-20, phaser, stereo pan, multi filter, parametric EQ).
• MPE, tempo sync, preset browser with playlists.

The controls, one by one

Oscillator Section

Waveform selector Osc A / B / C / D (arrows)

Chooses the waveform of each oscillator; click the image to open the browser.

Waveform Browser

Wave categories: Original Factory (identical to the hardware), new Arturia waves, User (imported).

Add Sample

Imports a WAV as a wave: the first 128 samples are read (a clean single cycle is best).

Copy (overlapping squares icon)

Copies the wave of one oscillator to another.

Joystick

Vector blend of the 4 oscillators: left corner A, right C, top B, bottom D; every intermediate position is a blend. A–C and B–D axes are MIDI-learnable (perfect for joysticks/XY pads).

Freq (per oscillator)

Coarse pitch in semitones for each oscillator: octave or fifth intervals for 'composite' chords.

Fine (per oscillator)

Fine pitch ±1 semitone with resolution down to a thousandth of a semitone: detuning for beating.

Show All / Hide All

Shows or hides the pitch controls of all oscillators.

Filter

Cutoff

Cutoff of the 24 dB/octave analog low-pass.

Reso

Resonance at the cutoff.

Env. Amt.

How much the Filter Envelope moves the cutoff.

Envelope Group (main panel)

Envelope Select

Switches the display and controls between Mix, Filter and Amp envelope.

Rate

Overall speed at which the selected envelope runs through its stages (syncable in the Advanced panel).

Mix Envelope: vector graph

Up to 5 points in the diamond; drag the points, click to add, right-click to remove; a 'puck' shows the position in real time.

Mix Envelope: Point / X / Y

Point selection and its precise coordinates.

Mix Envelope: Pencil

Jumps to the detailed settings in the Advanced panel.

Mix Envelope: Loop

Repeats a section of the path according to Start/End/Repeat.

Mix Envelope: On/Off

Bypasses the movement: the joystick position remains. With the envelope active, the joystick acts as an offset.

S Point

Sustain point (double-click to assign it): the vector stops there as long as you hold the note.

Filter Envelope: Loop / Pencil

Filter envelope loop (2–7 times or infinite in VS mode, continuous in MSEG) and access to the advanced settings.

Amp Envelope: Loop / Pencil

Same as the filter, but on volume.

LFO Group

Select (LFO 1 / LFO 2)

Chooses which of the two LFOs to edit (destinations are assigned in the matrix).

Shape

Waveform by dragging on the display.

Sync

Hertz or synced (binary, triplets, dotted), independent per LFO.

Rate

Speed or subdivision; the two LEDs show the rhythm of each LFO.

Amp

LFO depth (amplitude).

Arpeggiator

On

Turns on the arpeggiator (replica of the original's).

Sync / Rate

Free or in time; speed or subdivision.

Pattern

Up, Down, Up/Down, Order-as-Played, Random.

Rev

Reverses the order of the last pattern chosen.

Option: Repeat

Repetitions per step.

Option: Octave Range

Octaves of the pattern.

Option: Gate

Note length per step.

Hold (Normal / Extend)

'Hands-free' pedal; with the arpeggio, Extend lets you add notes to the pattern.

Voice Control

Unison

Stacks the voices (2–8 in the Polyphony menu).

Detune

Detuning between voices in unison.

Glide

Portamento time (in Notes mode up to 2 s per octave).

Legato

Glide only on legato notes.

Glide Mode (side panel)

Notes: between notes like modern synths; Original: between voices like the hardware (more unpredictable effects in polyphony).

Spread

Stereo width of the voice distribution (based on the Pan Trimmers).

Tune

Master tuning from 440 to 480 Hz.

Chorus (main panel)

On

Turns on the VS's original chorus.

Rate

Speed in Hz.

Depth

Depth.

Volume, Random, wheels

Volume

Master volume slider.

Random

Adjustable randomization across 10 groups of parameters (Apply to apply).

Pitch / Mod Wheel

Pitch bend and mod wheel (CC1) of the controller.

Voice Dispersion and Pan Trimmers (doors at the top)

1 Factory / 2 Aged / 3 Out of Calibration / Custom

Levels of difference between voices.

Cutoff

Variation of cutoff between voices.

Res.

Variation of resonance between voices.

Pan

Variation of stereo position (on the trimmers).

Amp

Variation of output level between voices.

Pan Trimmers 1–8

Fixed pan of each voice (beyond 8 voices, trimmer 1 also applies to voice 9, and so on); active voice LED.

Advanced: Envelopes → Mixer

On/Off

Bypasses the Mix Envelope.

Vector Display + Modulations

Large copy of the graph; 'Modulations' shows the puck with all the mix's modulations, not just the envelope.

Point / Time / X / Y / S

Selected point, time from the previous point, position in the diamond, sustain.

A / B / C / D

Indicators of each oscillator's share at the selected point.

Tempo Sync + Rate Multiplier

Binary/triplet/dotted synchronization; in free mode the Rate multiplier is a speed in Hz, in sync a multiple or fraction of a bar.

Loop: On/Off, Direction, Start, End, Repeat

Loop between two points, forward or forward-backward (the latter only when not in sync), repetitions 1–7 or infinite; on release it jumps to the end point.

Advanced: Envelopes → Filter / Amp

Mode

Prophet-VS (original), MSEG (up to 16 points), DADSR.

Prophet-VS: Point / Time / Level / Rate

5 points (4 segments), first and last can sit above zero; Rate 0.1x–10x.

Prophet-VS: Loop On/Off, Direction, Start, End (fixed at point 4), Repeat

Loop of the middle section of the envelope.

MSEG: Point / Time / Level, Loop Start/End, Sync

Free-form envelope, continuous loop, ruler in seconds or tempo sync.

DADSR: Delay / Attack / Decay / Sustain / Release / Rate

Classic ADSR with initial delay; only Sustain is an adjustable level.

Advanced: Modulations

On/Off

Bypasses the entire section.

Function 1/2/3: Presets, Copy

24 ready-made shapes; copy of a function to another slot.

Function: Breakpoints (up to 64), Point/Level/Time, curves

Free drawing of complex envelopes or LFOs.

Function: Draw Mode

Free, Steps, Ramp Up, Ramp Down; right-click to erase zones.

Function: Rate + Sync

Free or in-time speed.

Function: Env / LFO / Key Trig

Env = once per note with sustain; LFO = cyclic; Key Trig = cyclic but restarts on every note.

Function: Bipolar / Polyphonic

Positive and negative values; an independent phase per note (only Env and Key Trig).

Modulation Matrix (1–8, 9–16)

8 sources in columns × 8 destinations in rows per page; the cell is the amount (drag, double-click to reset).

Advanced: Effects

Routing / On-Off / Bypass / Selection / Presets / Copy / Dry-Wet

Three slots in series or parallel with 16 effects: time (Delay, Tape Echo, Pitch-Shift Delay, Reverb), distortions (Distortion, Bitcrusher), dynamics (Compressor, Multiband), modulation (Chorus, Chorus JUN-6, Flanger, BL-20 Flanger, Phaser, Stereo Pan), filters (Multi Filter, Param EQ).

Sound design tips

Vector and waves

• Choose complementary waves: a "body" wave (saw, sine, analog-like) and a "color" wave (digital spectra, formants, bells) on opposite axes; moving between the two gives you a readable change. Four waves that are too similar produce no perceptible movement.
• Level balance: some digital waves are much louder or brighter than others: place the Mix Envelope's sustain point where the sound is balanced, and use the extreme points only for attacks or transitions.
• Detuning: 3–10 cents between oscillators on different axes gives beating that changes with the vector, a natural "chorus" effect without a chorus.
• Octave or fifth intervals (Freq) between the oscillators create "composite" organ-like timbres; avoid dissonant intervals on heavily used axes.

Timing

• Mix Envelope vs Amp Envelope: if the mix changes faster than the volume attack, the change can't be heard; for pads, make the vector path last 1–4 s with an amplitude attack of 300–800 ms.
• Tempo-synced loops: sync the Mix Envelope and choose lengths of 1/2 or 1 bar: the texture "pulses" with the track instead of drifting out of phase.
• Release: bright digital waves with long releases fill up the highs: for pads at 100 BPM stay between 1 and 3 s and control it with the filter.

Filter and frequencies

• The analog filter is the quickest way to make harsh digital waves sound "analog": Cutoff at 50–70% with a light Env Amt.
• Digital waves have energy between 3 and 8 kHz: if the sound "stabs", lower the Cutoff before using EQ; a small cut at 3–5 kHz (2–3 dB) helps under a vocal.
• In the low end the VS is thin: below 120 Hz it's better to leave room for another instrument or add a sine-wave oscillator an octave below.

Modulation

• Velocity → X or Y position of the vector: playing hard changes the timbre, not just the volume; it is more expressive than velocity → filter.
• Mod wheel → joystick axis for real-time morphing.
• Functions in Key Trig for rhythms on Cutoff or Amp: it makes static pads "breathe".

Common mistakes

• Mix Envelope on with the joystick moved: the joystick is an offset, and it can push the vector outside the intended zones.
• Imported waves without a clean cycle: clicks and noise; use single-cycle files.
• Glide in Original mode in polyphony: unpredictable portamentos between voices if you don't want them.

Presets to recreate

In genres and records

• Late-'80s rock and pop: the factory VS Choir is front and center on Rush's Hold Your Fire and opens Whitesnake's Here I Go Again (1987 version); Prince is among the documented users.
• Industrial and dark electronic: Trent Reznor (Nine Inch Nails) uses it for digital textures and cold pads.
• Soundtracks: John Carpenter is among the users; Kyle Dixon and Michael Stein use it for pads and effects in the Stranger Things theme.
• Synthpop and electronic: Depeche Mode, Vince Clarke and Erasure, Kraftwerk, Apollo 440; Vangelis and Brian Eno are among the users.
• Ambient, new age, downtempo: pads that change slowly thanks to the Mix Envelope.
• Synthwave and digital retro: the late-'80s color, different from pure analog.
• Trance, progressive and IDM: vector pads and sequences generated by looping envelopes.
• Modern pop, hyperpop and indie electronic: bright digital keys and textures from imported samples.
• Video game and film music: transitions, swells, hybrid timbres.