Whilst monophonic, its voice
architecture was impressive with two audio oscillators (with sub-octave),
a noise generator, four low frequency oscilators, multi-mode resonant
filters (lowpass/bandpass/highpass and notch reject) and three multi-stage
envelopes.
The seven effects included distortion, wah, dual parametric EQ,
chorus/flanger+delay or reverb and to round it off, there was an
arpeggiator with five preset patterns and five user patterns.
However, with all this to keep track of, even the five virtual
encoders below the 40 x 2 LCD didn't make programming that easy
especially when you delved into the other types of synthesis on
offer - this was a deep instrument to say the least. However, it
sounded great and in a world awash with 'me-too' polyphonic workstations,
this diminuitive synth put lead and bass lines back on the map with
many comparing it with a MiniMoog in its ability to cut it in a
mix.
The Prophecy (despite its rather high price of £1,200) was
an instant success with the likes of The Orb, Jan Hammer, Depeche
Mode, Orbital, The Prodigy, Apollo 440, Radio Head, 808 State, the
Pet Shop Boys and lots more and is still a staple component in many
people's rigs today.
It also has the honour of being the first in a long line of modelled
synths from Nord, Novation and Access and, of course, the many software
equivalents and in many respects, the Prophecy is to modelled synths
what the MiniMoog was to analogue synths - a seminally influential
product.
Hollow Sun friend, Roberto Puricelli, has multi-sampled and looped
some sounds from his own Prophecy for exclusive use here in Nostalgia.
Of course, given the plethora of real-time control that was available
on the Prophecy, these samples are just a 'snapshot' of the fluid
lead and bass lines you could potentially create on the original
and are arguably not an absolutely true representation but they
are damned fine sounds in their own right nonetheless and I am extremely
grateful to Rob for the hard work that has gone into creating and
supplying them. |
