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On September 7, Sequential updated the synth’s architecture to add Stack and Split modes, and released an optional voice expansion card for the Prophet 5. All of this would be powerful enough but it’s clear that Sequential has no intention to rest on the laurels of what is already a powerful feature set.

Of course, you can use the power of Oscillator B in all kinds of ways and, again, as the dial to choose between this and Filter Envelope as the modulation source is a rotary dial, all kinds of interplay can be created. If keyboard tracking is then set to Half or Full, each of these LFO modulation sources will feature its own, different frequency.

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The manual explains it best switch Oscillator B into ‘Low Frequency’ mode and you effectively create five voices to act as independent LFOs to be applied to the notes you play. It does this by turning Oscillator B or the Filter Envelope as the modulation source.

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Poly Mod is Prophet-speak for offering five independent ‘voices’ of modulation to Oscillator A’s frequency or pulse width, or the Filter Cutoff frequency. The result can range from subtle vibrato to sonic mayhem, and things get even more interesting when you introduce Poly(phonic) Mod(ulation). Potential modulation targets include the frequency and pulse width of Oscillators A and B and filter cutoff frequency. For example, you can blend LFO and noise generators as modulation sources and apply them to a sound. The Prophet 5’s modulation options were powerful back in 1978, and they remain so now. As the Prophet signal path remains free from internal effects, this is not nearly as radical as it seems at first, but it’s a bit of a surprise given the number of voices. The only eyebrow-raiser comes at the output stage the main audio output – faithful to the original – is mono only. CV and Gate In and Out make the Prophet a perfect front end to a modular synth system.

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The most 21st-century additions appear on the rear panel, with USB connectivity for software updates and MIDI I/O as an alternative to the 5-pin MIDI ports (also provided).

These buttons can affect both options simultaneously, just one, or neither and their inclusion – a first for the Prophet 5/10 – significantly increase playability. The design masterstroke is that the Vintage function is a dial rather than a switch, allowing you to find sweet spots between revisions.įilter and Amp Envelope functions are familiar, but new Velocity and Aftertouch buttons route between Filter/Amp (Velocity) and Filter/LFO (Aftertouch).

This pairs nicely with another new feature, a Vintage dial, which progressively moves between the super-stable tuning of the Rev4’s oscillators to the increasingly unpredictable pitch-tracking of Revs 3, 2 and 1. The Rev4 offers its first new trick here, providing a toggle switch to move between the Filter behaviour of Rev1/2 or Rev 3 versions of the Prophet.

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The Mixer section blends the volume of the oscillators and a separate white noise generator before the summed signal passes to the Filter section. At the same time, you can switch oscillator B to become a low-frequency modulation source if you prefer, with an option to decouple it from pitch input variation from the Keyboard, for use as a fixed-frequency modulator, for instance. Oscillator A can be hard-synced to Oscillator B. There are two oscillators per voice, with Oscillators A and B both offering sawtooth and variable-width pulse waves, and Oscillator B also providing a triangle wave.