Sequential Circuits Prophet-5 is an all time classic instrument of great historical value. No other synthesizer influenced the polyphonic analog keyboard market in such a powerful way. No other synthesizer became standard among top synth players in such a brief time. No other instrument was introduced to the market after less then one year of development. No other polyphonic analog keyboard was in production for such a long period - 8 years! Let's call it a great "Halleluja" from the late 70ies/early 80ies.

But what about today? Is the Prophet-5 still a classic? Whilst Roland Jupiter-8, Elka Synthex, Moog Memorymoog, Rhodes Chroma, Oberheim OB-X and other top instruments are getting really rare, the Prophet-5 still is available in relatively huge quantities. Maybe it is less popular? I don't believe so, but certainly the "Halleluja" from the late 70ies/early 80ies is somewhat less dominating today. Before discussing the current instrument's value, let's have a short look at its history, its features and - as usual - its musical strengths.

1978
was a busy year in the world of electronic and music. Atari (did you know the logo symbolizes the famous greek mountain "Olymp"?) introduced its first computer with colour monitor and four voice sound. Anni-Frid "Frida" Lyngstad and Benny Andersson, members of the Swedish pop group ABBA, got married. Neil Diamond and Barbara Streisand's "You Don't Bring Me Flowers" became Hit Nr. 1 in the USA. Stevie Wonder received the 5^th American Music Award. And well... Dave Smith introduced the Prophet-5, the "worlds leading polyphonic [analog] synthesizer"...

In some way the Prophet still is a leading polyphonic analog synthesizer. Audio wise there is no competition to it, even today. No other (polyphonic) analog keyboard has such a crystal-clear, aggressive, powerful sound. But let's discuss this later...

In synth history the Sequential Circuits Prophet-5 was a milestone, as you might know. The following paragraph comes from Synthchap (Dave Bellamy), thanks for the great information on this site!

• The Prophet-5 was a milestone partly because it was a true 'voice-assignable' synthesizer; each of the 5 voices had 2 oscillators and these 5 pairs were all equivalent and essentially 'independent'. Each note played on the keyboard was assigned to one of these voices. Each voice had its own filter with its own ADSR (Attack-Decay-Sustain-Release) envelope, and an amplifier with its own ADSR envelope, which meant both the timbre and loudness could be contoured independently. The circuitry was developed by Dave Rossum's team at Solid State Microtechnologies (SSM) whose leader later founded EMU Systems, and the SSM2040 filter circuit has become renowned among synthesizer fans for its beautiful "so right" sound, which was essential to the Prophet's sonic versatility and appeal as a great-sounding instrument. Essentially, the Prophet was like 5 monophonic synthesizers in a single box, akin to 5 Minimoogs or 5 ARP Odysseys, but not actually the same.
  
  
• Unlike monosynths, a true polysynth needs computer control, and was known as a digital-analog(ue) hybrid. Instead of the controls directly affecting the analogue synthesizer voices, most controls were set up to input 'data' to a microcomputer which had 3 main functions:
  
  1. To scan the keyboard for inputs and to assign a voice to each note played. The computer is needed to handle several simultaneous inputs from the keyboard and to control several sets of voice controls independently according to the programmed parameters in the 'patch', unlike a monosynth, which essentially has one input (a simple voltage from the keyboard whose value is defined by the key pressed - like a simple potentiometer) directly controlling one voice.
  
  2. To store the program settings.
  
  3. To tune the oscillators.

In its production span from 1977/78 until 1985 (!) approx. 7200 Prophet-5 saw the light of day. If you're interested in any details about the 3 main 'revisions' and some sub-categories, please visit the following sites:

• http://members.aol.com/Synthchap/prophet5.html
• http://users.telenet.be/prophet-5/ (Prophet-5 Tribute Site)

Features

Each voice of the Prophet-5 offers

• 2 VCOs (saw, pulse, sine), Osc Sync, VCO2 can be switched to "LO FREQ" mode (second LFO)
• VCF with own ADSR, keyboard tracking (ON/OFF)
• VCA with own ADSR

Further you find

• a polymodulation section
• a general LFO (saw, pulse, sine)
• flexible routing options of the modulation wheel
• unisono mode
• glide (only effects in unisono)
• tune button (calibrating all VCOs)
• A=440 Hz button ("electronic tuning fork")
• cassette interface (3.x versions)
• 40 programs (most of the Prophet-5) or 120 programs (Rev 3.3)
• connections: mono out (!), CV/GATE IN controlling one voice, CV/GATE OUT, FILTER- and VCA control IN, release pedal, CASSETTE IN/OUT, connections for Remote Keyboard and MIDI (only on late versions)

Prophet-5 compared to Roland Jupiter-8, Elka Synthex and Oberheim OB-X
As you see, features of the Prophet are rather "standard". To figure out what's special about the "worlds leading polyphonic [analog] synthesizer" we have to compare the instrument with some of its competitors.

• Prophet-5 and Jupiter-8: Regarding brass- and string-sounds, each of both classics is a perfect instrument. Bass sounds are more aggressive on the Prophet-5. Nevertheless the Jupiter-8 does a very good job, too - especially with doubled sounds in stereo mode. FX sounds are crazier on the Prophet-5, thanks to poly modulation section, noise modulation and 1-2 LFOs. There are not that many modulation options on the Jupiter-8, but still it's a quite good machine. Crossmodulation, 2 LFOs, noise... not bad. Be aware most Roland synthesizers are very solid instruments, but hardly crazy ones. (In my opinion SH-5, SH-7, Jupiter-6 and MKS-80 are the most outstanding prewired modulation synths of the analog Roland aera).
  
  But there's one great plus that puts the Jupiter-8 among the Prophet: musical performance. Stereo outputs, layer/split sounds, a vast arpeggiator, great controller section to the very left... Far better than the two single wheels of the Prophet.
  
  
• Prophet-5 and Elka Synthex: Prophet-5 Rev. 3.3 and Synthex were somewhat like competitors in the early 1980ies, until production run of both synths ended in 1985. Although Yamaha's DX-7 already defined the new "digital aera" in 1983, Elka Synthex' concept was strictly analog. But still it features DCOs, so don't even think of comparing its basic sound with the Prophet-5. While the second one is an aggressive, sometimes uncontrollable analog beast, the great Synthex offers rather "clean" (digital?) sounds which have a beauty in their own. And well, there is one speciality, that comes only with the Synthex: its gorgeous, unbeatable true stereo modus (better than on any Jupiter, Oberheim etc synth). Regarding bright pads, strings, etc the Elka Synthex might be above the Prophet-5. But on the other hand there's an analog charme coming with the Sequential that matches perfectly with all those great brass/string/leadsounds. So, technical wise the Synthex' stereo mode is unique, whilst the raw power of the more analog sounding Prophet often might fulfill musical needs in a more suitable way. Sometimes Elka is better, sometimes Sequential, depends on the musical texture...
  
  Talking about modulation sounds, we need to admit the Synthex is not the most interesting polyphonic synthesizer. It won't stand against the Prophet-5, no way...
  
  
• Prophet-5 and Oberheim OB-X: today the OB-X seems less appealing to many musicians than other classic polysynths. The OB-8 might be more interesting, it comes with great modulation possibilities, an arpeggiator and MIDI - OB-X has none of them. Another reason could be unreliability - voice cards on some OB-X instruments seem to have problems (although my OB-X works fine, I can't complain). However, in 1978 OB-X and Prophet-5 were the two top american polysynths (sure, the Polymoog was there, too). Both are great instruments, I personally even prefer the Oberheim. Power is quite similar on both synths, you feel each single VCO... Stereo is great on the OB-X, as you're able to adjust single voices in stereo panorama. That makes soli, pads etc very "natural" and interesting to listen to. In that point the Prophet-5 is somewhat stuck with its single mono out...
  
  Talking about sounds is a question of personal taste. In my opinion strings are better on the Oberheim. They offer a certain "warmth" (plus the above mentioned stereo image) that can hardly be beaten. Although the Prophet-5 has a beautiful filter and a very clear/powerful audio signal, some warmth is missing. However, this is a personal point of view, I agree.

There are arguments pro and contra the Prophet-5. Most reasonable aspect to form your own opinion should be quality of sound. And it's extraordinary good, to sum up. I discovered this particular instrument to have a very, very serious, true analog sound. No other polyphonic analog synthesizer has such a "sonical depth", such a soft/mad/clean/aggressive (simply "flexible") tone colour. Plus, sound is of highest quality throughout the whole audio range. This is among the most characteristic signs of the genious Prophet-5.

High Fidelity - a "polyphonic ARP-2600"
You might know the term HIFI, a derivative word from "High Fidelity". Used as a trademark and quality sign for records since the 70ies, I personally use it for certain synthesizers as well. Only few keyboards feature HIFI sound. One of them is the all-time-classic ARP-2600. Tone colour, power of sound and overall sonical impression is equally perfect at both ends of the audio range - and in between too, of course. Prophet-5 behaves similar. Unlike other synthesizers that have their specific strength in a certain audio range (e.g. only in the bass area, whereas in the mid field they loose power and behave different), the Sequential Circuits Prophet-5 has a true HIFI audio signal. That's why I'd call it "polyphonic ARP-2600". Sure, IF there was one polyphonic analog coming close to the semimodular 2600, it's the great Rhodes Chroma (who wonders...). But soundwise ARP-2600 and Prophet-5 are somehow similar.

HIFI sound of the Prophet surprises even more, as there is one lonely mono-output, no sort of stereo manipulation (no double/layer sounds, no positioning of voices in stereo panorama). One monophonic output from an instrument that easily blows you away...

Musical strengths of the Prophet-5
Strings, brasses, leads, basses, fx-sounds - whatever you need: the whole analog sound palette is at your disposal... Ah yes, don't forget those huge sync sounds. They are screaming, wonderful...

Performance
In my opinion this is the week point. There are little performance options on the Prophet-5. I believe musical performance often is more important than any professional, powerful basic sound. If you're used to the luxury of Roland's performance section, of any Roland/Oberheim arpeggiator, of the very inspiring multitrack sequencer on an Elka Synthex, then you might feel lost on the Prophet-5. Two single Minimoog-like wheels, that's it. Not even an octave up/down switch, nothing. Some additional tools would have made the Prophet-5 nearly perfect...

Prophet-5 today
To sum up, the Prophet-5 can be categorized as polyphonic analog synthesizer with outstanding audio features that misses some useful (and sometimes necessary) performance tools. I'd suggest this instrument to those, who look for the "best" in pure terms of polyphonic analog sound quality, who concentrate on "High Fidelity".

If you're looking for a great polyphonic analog synthesizer for good sounds AND performance features though, you might be happier with a Roland Jupiter-6/8, Oberheim OB-Xa/8, Elka Synthex or Moog Memorymoog.

Further information, pictures, sounds of the Prophet-5:
Prophet-5 Tribute Site (Thanks to Jean Luc Picard for this great site)