Sequential Circuits Prophet VS

OS 1.2. While this synth does have only one data slider, t's not that hard to use. Yes, a synth like this with a separate knob for every function would be total bliss, but it does have a lot of buttons, and you get used to this editing system pretty quickly. I plan on buying a Novation Remote SL as a controller for this, but I'm not sure I'll be able to get them to talk to each other. (I'm fine with the front panel controls, but an external controller would extend this synth's lifespan.) The manual is fantastic--plain English, all the information you need sensibly laid out, easy to understand but not over-simplified. If only Roland would write manuals like this!

I had the original factory presets restored in mine so I could hear them and keep them for historical interest. Some of them are incredible (e.g. the FILSTRING/CARLOS layer) and some of them are hopelessly dated and cheesy (e.g. the imitations of a DX7 imitating a Rhodes). Once I got them archived, I started programming my own sounds. Be prepared to lose sleep if you program one of these. You'll lose track of the hours.

8-voice polyphony. Pressure sensitivity works on mine because I have the rack version. The specs have been listed plenty of times in these reviews. I would add that the modulation matrix has some less-than-ideal limitations (e.g. the mod wheel can only control chorus depth or LFO amount), and I wish there were a third LFO--three LFOs are great to have on any synth, and the VS has the vector stuff as additional destinations for an LFO, so another one would be great. There are other features missing (FM, sync, ring mod...) but who cares? The vector features are almost unique, and the sound possibilies are mind-boggling.

Wow. This synth has what I think is the best sound quality of any synth ever made. Harsh and brash digital waveforms tamed (or not) by tubby and fuzzy real analog filters. Mmmm. It can grind, snarl, and wail, or it can whisper, hum, and purr. For example, the VS is all over many Nine Inch Nails records, but also David Sylvian's Gone to Earth. How's that for versatility?

My VS rack has a few minor issues. The biggest one is that some of the buttons register twice when you press them once. Mostly this is a minor irritation, but when saving a program I've edited, it can be a major problem. For example, I recently edited a sound and attempted to store it in location 84, but the 8 registered twice when I hit it, so the sound got stored in location 88. I lost the sound that was formerly in location 88, which is not one I wanted to lose. I have since figured out which keys are most likely to do this, 8 and 4 on my synth, and I stopped using memory locations 88 and 44. I never really know if some other button will start doing this, so saving sounds is a little nerve-racking. I have to be very diligent about backing up everything. The screen is dim, but Dave at Wine Country says the replacement screens are not much brighter. Otherwise, it's great. I would never gig with it, though--sample its sounds for gigs!

Support is via Wine Country now. I only recently got my VS rack (after wanting one for about 15 years), and it had a few minor issues, so I sent it to Wine Country. They took quite a long time to fix it, but Dave Sesnak there was very helpful, honest, and friendly. My VS still has a few little issues, but it is a bit of an elderly creature. See my comments under reliability.

I also own an Alesis Micron, a Roland V-synth XT, and a Waldorf Q, and I play them from a Yamaha S90. If I had to produce records with only one synth, the features of the Q would be hard to do without. I would dearly miss the VS's waveforms, vectors, and filters, though. Kind of like living in the Alps and having to choose between a Ducati cafe racer and a 4-wheel-drive Subaru--no question that the Ducati is the finer machine, but you can't really haul firewood up icy roads on it. What I love about it is the sound quality--crunching, grinding, gutteral, silky, glittering bliss. Compared to that, its shortcomings don't matter. The only thing I hate is that it's irreplaceable and I don't own a dozen of them. It lacks many features of current synths like the V-synth, but it doesn't make sense to ding it for that so I give it a 10.

If the VS were stolen, I'd be crushed. It's a total luxury to have it, and it never leaves my house. If I were gigging more regularly, I'd buy a Wavestation, since the differences onstage would probably be lost amid the band's guitars and the audience's beers. For me, the Prophet VS is a treasured museum piece that I actually get to use. I emailed Dave Smith once about adding vectors to the Evolver (I'd pay more than the Evolver's price for such a synth), but he said he's only interested in making new synths, not re-making old ones. Fair enough, but that means the VS is condemned to extinction, which is a shame. While it's still functioning, I'm guarding mine with my life.

i have 3 VS keyboards, coincidentally one each of software revs 1.0, 1.1, and 1.2. as far as ease of use goes, they are pretty much identical. that is, unless you put random patch generation in the ease of use category...

this is a late 80s synth with digital parameter access and one data slider. it's a tragedy that a wonderful synth like the VS has this programming system, but the problem is largely alleviated by the existence of the wonderful Spaztech 2400 editing program for MacOS 9, and the VS adaptation for the admittedly now unsupported Emagic SoundDiver editor system.

having said that, when you have fooled with the VS for a while, the programming system doesn't slow you down that much. the designers thought about the common editing paths and implemented them as quick-access functions.

the manual is great.

the presets show how versatile the synth engine is, but this machine is deeeeep.... only the mountain can teach you how to climb.

to recap the obvious stuff -- the VS is 8 note polyphonic, and bitimbral via two MIDI channels (tx & rx channel are split in OS 1.1 and above).

the MIDI implementation is extensive, though the synth came out before NRPNs and implements a little-endian NRPN scheme for parameter access which some MIDI editors might have a problem with. i needed a software fix for my Knobby before it would talk to the VS.

built-in FX is limited to chorus. nice enough, but it is noisy. often, oscillator detuning is enough and you don't need chorus.

no sequencer, but the arpeggiator is extensive.

RAM/ROM card options, and dump via MIDI SysEx.

The VS is my favourite synth. Weird thing is that I knew it would be right when I read the MT review in 1986, but I didn't play one until 1990 or so and didn't own one till 1998. Despite my huge expectations it has not disappointed in any way. it was my only synth for a long time.

In fact the biggest problem for me is that you can't detune the oscillators flat if they are all the way down the coarse frequency range. So if you need some detune for body, and your sound has to be in that range, then your patch will be ever so slightly sharp. I do this all the time, so I run the synth at -3 cents globally to make up for it and hope for the best. Now THAT is a design problem.

Now for the good points. This synth can flat-out do anything synthy. Of course everything has the Curtis filter character to it, but if we didn't like that then we shouldn't be on AH ;-)

- 4 oscillators with solid sine/saw/square makes for some huge sounding "conventional" analogue patches. two LFOs, two ADDSRs, good mod matrix, etc.

- complex waves, so you can do vox and bell sounds etc without having Ken's modular. you can make FM-sounding stuff too. it does the DX7 slap bass without the FM noise (disclaimer: I love my DX7), and does a lot of mean Rhodes sounds and stuff as well.

- vectors. if you don't use the vector stuff, then yes, that ESQ will serve just fine. vectors are what makes this synth special. want a bit of digital crust at the attack stage of that moogy bass? want to swirl into digital territory in that sawtooth pad? want to make PWM by crossfading between 10% and 90% square waves in TWO dimensions? more tinkle to your Rhodes patch?

- make your own waveforms. cheap trick - dial up any 4 waves you fancy, twirl the joystick until you get a sound you like, then hit store. then dial up that waveform on all four oscillators, detune, instant weird pad.

I've not spent much time with a Wavestation but the time I have spent with one convinced me that neither synth is a replacement for the other. The VS is bigger and bolder and has more analogue synth character. The WS is softier and swirlier and has more digital synth character. IMHO.

As for the rompler comment, well, despite the fact that the VS is technically a rompler, its samples are single cycle waves so it behaves more like a synth with complex wave generation. No long piano samples or owt like that. If you call the VS a rompler, then so are most VAs. Romplers sound like samplers, IMHO, and they're good at that stuff (eg I used the studio's Kurzweil K2500X yesterday for piano & strings because it does that stuff better than anything else I have), but the VS always sounds like a synth, again IMHO.

And if you want some examples of VS programming outside pad territory, I suggest listening to NiN. This thing can be NASTY.

And if you can't program it, make millions from ambient albums just by hitting the random function. Either that or some gnarly industrial klank, it's hard to tell with the random function!

i played approximately 200 shows with my gig VS before encountering any problems. the thing was as solid as you could ask for. of course, i was lucky. it finally wigged out on me at a show in cleveland, ohio, in subzero temperatures (though strangely, it survived minneapolis and chicago, etc). the tuning went haywire and one of the outputs was crackly. fortunately i'd taken a backup along for the ride and it has proven to be solid since. and my tech has yet to find anything wrong with the gig one! i since decided that the gig VS developed stage fright and it became my bedroom VS, whereas the previous bedroom VS is now the gig backup. so, to sum up, my experience has been that VSes are generally solid but keep on top of the physical build situation, ensure screws are tightened etc, and it should be OK.

the aftertouch is all shot on mine, of course. i recently talked to dave smith about it and he said that they retrofitted aftertouch to a keyboard never designed for it, and hence the problems. shame - when played from an external controller with aftertouch, the VS is a different synth altogether...

sequential went out of business after producing the VS, it was their last synth and the studio 440 sampler produced shortly thereafter did for the company (IIRC). support these days is via wine country who have decent stocks of most things but they do (somewhat understandably) charge the earth.

i'm in contact with chris meyer and dave smith, both of whom are sterling chaps and provide any help they can. which mostly takes the form of historical anecdotes, these days :-)

if anyone just as much as looked at any of my Prophet VSes the wrong way, i would eviscerate them with a blunt spoon. i love my Prophets with a passion unrivalled since records began. nothing else i've encountered can provide the range of sound these guys can do, and all with gorgeous hairy analogue filtering. that's the secret. it sounds alive, unlike the digital vector or wavetable synths, which always seem a bit sterile to me. i can replace a wavestation or microwave with software, but not a VS. it has a ballsy and beautiful character all of its own.

newest software version. Presets sounds great, some cheesy, some unusable, but mostly decent presets. I have three rom cards, they come in handy to start on new patches with. (if necessary)

Editing patches is not hard, but does require a bit of work, and time to spend. As has been mentioned there is only the one data slider.

The manual is useful, it has everything you need to know and makes it much easier to figure the thing out.

Effects are chorus, and it sounds OK. Something about it though tells me to stay away from using it because this synth sounds better without it. The arpeggiator is great but, it is kind of unpredictable.

This synth in my opinion it really great for programming unusuall sounds. If you can think of it, you can probably make it on this synth. What I would love to do though is figure out how to get that sample dump standard thing working. It is too tempting but it does not work...

you could use this synth for any kind of music but please, do us all a favor and keep it at home.

Not really that warm sounding though.

Not really, its an accident waiting to happen.

not really, wine country sequential, but they cant really help I think? Somebody should do something to preserve these synths, a mod kit or something so they dont become extinct.

It is the best sounding synth. A classic. I would not buy another if something happened to it. Maybe the rack version if I had the cash to spare.

I dont like thinking that sooner or later its going to need a part that cannot be replaced.

If you are willing to spend the time it can do any sound you want pretty much. (and it is not over complicated.)

I often think the next time I use it its never going to turn on again so savor it while you can.

This is really the only real gripe I have with the VS. And 80% of the problem is the on stupid data slider used to changes the value of every parameter. And the slider its self doesn't seem to be balanced out real well. The first inch changes the value by say 80 increments, and the last inch changes it 20.

Besides that, the only real trouble you'll have at first is trying to figure out what cool sounds you can make with the unusual tools you have. Its a pretty unorthodox approach to synthesizer programming, and takes some practice to realize what impact what those tools will do to the sound and how to use it to your advantage.

This is what really makes this a unique instrument. This is in every sense a hybrid synthesizer. Its basically set up like any subtractive synth under the hood. You have your Oscillator section, a filer, 3 envelopes, 2 LFO's etc., but puts a unique spin on everything. The core of the VS is the wave mix envelope. It lets to automate cross fading between 4 different sounds. The mix envelope has the basic features of any envelope. You set the change point levels and the change rate to automate the mix. But all three envelopes have a looping option to lengthen the sound, and make everything more interesting.

I think the lack of features is what makes this such a great sounding instrument. It disciplines you to make the best out of what you have with out using an insanely complicated modulation matrix, or an endless array of effects. But gives you enough to make it very creative. You have to come up with some tricks to make this great sounding synth shine.

The only downfall is the modulation matrix. Like I said, I don't think this should have a matrix to rival the Virus, but every time I dial in a new sound I wish I could modulate a few more parameters. Such as the filter resonance. But all in all, a very small flaw.

Another cool feature is the Unison mode. What it does is moves all eight voices of polyphony to a single key and detunes them to make the sound much more full. This is ideal for the evolving pads that will only require one key being held down for a long time. But you do lose all polyphony with this on.

As others have said, this is what really sets this synth apart from the rest. If you put some thought into what you're programming, you can make this sound amazing! And it has the widest range of sounds I've ever heard from a non sample based synthesizer. You can make unique leads that cut through the mix, or evolving lush pads that that invoke emotion. It can sound lofi or very organic. Or both at the same time.

What you are given to make your sounds are 127 wavetable wave forms 32 of which can be changed. The sounds them selves don't sound that interesting on their own, like any synth. But they can be filtered and and modulated enough to make the VS sound amazing. And because the you have a great sounding low pass filter, you are able to get both gritty buzzing sounds as well as smooth soft tones.

Compared to contemporary synths, this is pretty simplistic. You don't have a huge LCD to worry about. No hard drive break or make noise. No having boot up from a floppy disk. Not even a fan to worry about. And being 20 years old, the only thing I have a problem with is the chorus and after touch.

While this seems like a very solid piece of gear, I wouldn't take it on the road. Some gear you can tell is built with giging in mind. But this seems like it was built for the studio only. Its big and heavy and gets very hot after being on for a few minutes. You can feel the board flex under your fingers when you press the buttons, and the joystick (which is next to impossible to replace) sticks out like a sore thumb. Keep it at home. If you need the sounds on the road. Sample it.

Seeing how Sequential doesn't exist anymore, I don't have much to say about them. But If you need anything for the VS, Wine Country is will be there to help. If you have any questions, need any parts or manuals, or need a major repair done, this is where you should turn. And I could be more pleased with them. I was initially going to buy my VS off them, but they wanted a little more than I could spend at the time for one. So I went the eBay route, and lucked out with a near mint condition VS for less, but I wouldn't recommend doing that. Any gear you buy from Wine Country is looked over and fixed up, and sold with a limited warranty.

And keep in mind that some of the people at WC use to work for Sequential back in the day. So I can't imagine anyone would have more experience than them.

Overall, this is one of the best synthesizers ever made. It was made at the high point of sound design right before sampling really took off. It makes me wish people still put as much effort into making gear sound really cool and not just how many features it has. If you want something that has a very unique, distinct sound and is inspiring to use, the Prophet VS is a great option. Also keep in mind that its pretty much guaranteed return investment. As time goes by, they will only go up in value.

Well all in all it's pretty simple and straight forward, the mod matrix being the biggest pain, primarily because you can only go forward in terms page turning, which can get on your nerves every now and then. Everything is pretty much laid out in front of you although your using a single slider for all the editing. I can just imagine this thing with a knob where most buttons functions are. Could be easier but all in all it's pretty well laid out, and very easy considering everythings done via a single slider.

Vector/subtractive/ some additive synthesis and an anlog low-pass. When talking synthesis types people seem to forget about vector for some reason, I don't know why. Keys feel decent. LCD is small but I don't care really. Features like most vintage synths are somewhat slim. The LFO's only have rate and shape, no delay/fade, contour or anything spifftacular like that. The modulation matrix is a dissapointment in that everything is fixed and non negotiable. For example you can only use the modwheel for the 2 LFO's and Chorus depth, and they are either on or off, 0 to maximum, and it's like this more or less for everything. If you set the velocity for 35 for the filter envelope ( non for cut-off) it will have to be the same for the amp env or panning. This is the thing I like least about the synth. These are really just the negative things I never heard mentioned in regards to the VS so I thouht I'd share them. Keys feel decent. LCD is small but I don't care really. The random patch generator is the most useful and musical one I've used this side of FM7,(which is good for different reasons) and really helps as a starting point at times. It also has a pretty good arp (although you can't store specific arp setting in a patch), an excellent filter, 127 very wonderful sounding wave forms, great envelopes, excellent chorusing, etc. But I really wish the mod matrix was better.

This is where it definately gets a 10, no question in my mind. Just beautiful and very unique. A wavestation treads similar ground and is an excellent synth in it's own rite but it's not quite there. From the reviews I expected more on my first experience with it, but it really grew on me quickly. The filter, the waveforms, vector synthesis, and somehow pleasing aliasing ( that I wish there was a parameter to emphasize) make this just about my favorite synthesizer. some times I get a bit tired of low-pass filtering waveforms and think it would benfit geatly from a high or band-pass filter. All in all though to me it sounds like what I always thought a synth could sound like. It can sound Crisp, lush, meatllic, deep, organic, strange, wonderful, I even programmed a couple a cheapy sounds that sound damn cool. Throw on some decent reverb and or delay and it gets even better. I don't think it's a synth for everyone though, some may read the reviews and think " good lord," and end up not even liking it. It really is one of a kind and it's probably the synth i'd most like to see an updated version released, the second being the original microwave and the third being the FS1-R.

Seems reasonably reliable. The case is all metal but slightly flimsy, theres a mod that can fix this at http://members.aon.at/virtual-music/zonen_e/e_products_sci.htm. It can heat up quite a bit right of the fuse but this is normal apparently and isn't really a problem. I'm told it's much more reliable than most vintage analogs but it does have it's problems with after touch and the LCD going dim.

Wine Country Sequential can be very helpful and courteous. I asked them a couple questions and they got back to me very quickly and really knew they're stuff. If you have any questions or need reapirs or anything these are the guys you want to talk to.

I'd try to get another if anything happened to it, but is expensive so i don't if i'd be able to. Prices can fluxate. Definately worth the money I paid. I've been playing for about 5 years roughly, and have owned or used K2500, Virus B, Novation Nova, FS1-R, microwave 1 and XT, micro-q, AN-1X, CS6X, EX5R, MKS-80, Alesis A6, etc. I didn't compare it to anything really, i was considering the Nord Modular but this came along so... Really helps with my music, it just... I don't know, works for me. It would be amazing with knobs, the filter of the Xpander, and a better mod matrix but it's already a superb synth. 10 overall.

OS Version used: 1.02. This synth was designed to become a serious contender to the throne that the DX7 conquered itself in the middle eighties. Therefore it has the editing interface the DX7 put into vogue back then. Think of a single data value slider which is shared among all functions of the synth. Personally, being used to the open interface of old analogs, it doesn't strike me the least bit attractive. Programming is not entirely as tedious as on the DX7 as there's a button for every major function which upon pressing puts the function into editing mode. That accounts for the 3HE on the rack version (because it's pretty much an empty box inside). This is the only reason it doesn't make me give it a fingers down. Editing is made a lot easier by the use of PC editors. I've found 2 PC editors for the VS which is incredible actually for an instrument of which only around 2500 units were ever built. These editors also prove their usefulness in storing your programmed patches. As the VS can only hold up to 30 programs in its rather small RAM (remember this is a mid eighties machine and RAM didn't come cheap then) these applications can be lifesavers. It should not be forgotten you're dealing with RAM here whose contents die out the minute the backup battery runs empty.
The presets imho fall into 2 extremes: either absolutely breathtaking or instantly discardible. The waveform #33 (saw wave) on which a couple of presets are built is every bit as legendary as the DX7's preset take on the Rhodes electric piano. It also has a cheesy preset accordeon-like sound if anyone's interested.
The operating manual was a great piece of prose to read. The VS is a complicated piece of gear which deserves such a good manual. If only all gear manuals were as comprehensive as this one... It's written by two technicians who are clearly musicians as well and who know their trade. It's well worth to track it down if you own the synth and you haven't the manual already. It can be found throughout the net in .pdf format which makes it readible on a computer of virtually any platform. The manual is very north american in some ways: in one chapter it advises you to send the guarantee card back but to hold on to rest of the package, being the synth, the power cord and the manual. You just gotta love that.

For day and age it was released, very nice. The VS has 8 voice and can be made bitimbral in a split mode which halves the polyphony to 4 for each program. Four digital oscillators per voice (which stay in tune unlike the analog ones in the Prophet 5) which totals a whopping 32 (impressive in the mid-eighties). And what makes this synth very, very interesting and gives it a character of its own are the analog curtis filters. Now you have a synth on your hands which excels at both digital FM sounds and classic analog sounds. Though the plus which makes this an instant classic is when you combine them together to make clear esotherical soundscapes with a rough egde to them. The MIDI implementation is very good to say the least for a synth of this age but it is needed to put the powerful features to use, which of course becomes more apparent when you use the rack version. You can store up to 100 program on optional RAM cartridges. These cartrigdes look halfway like Atari 2600 game cartridges, very eighties indeed. You don't want to insert and extract it out too much as it wears the copper strips off the cartridge. These cartidges have a lifesaving write lock and can still be obtained through Winecountry (at a Franklin dollar note a piece though, ouch!)

To me it is the best synth ever. Period. It's also a unique instrument as its hybrid architecture can't be matched by a contemporary hybrid as the PPG Wave. The filters and vector synthesis really make the difference. And the modern day analog/digital hybrid Poly Evolver made by one of the designers of Prophet VS (Dave Smith) can't match the warmth and at times the grungieness of the sounds you get straight out the box. To me it's an essential piece in my setup to get lively, organic, filmic and otherworldly sounds. It's a constant source of inspiration when I use it and I couldn't live without it. To add to the sonic marvel you can set the pan position of a voice by the LFO or the velocity, etc. etc. which spreads the sound up in a dynamic way you could never do by the best of mixing consoles. No wonder this baby has been a favourite among film score producers.
The unit has a chorus effect (adaptable via MIDI) which thickens the sound up quite nicely and is quiet enough to use in a mix. And this is the only effect it has on board. The instrument benefits greatly from a proper Lexicon PCM-80 or 91 reverb and a matching delay.
One thing it won't do unless you put a great effort of programming into it are earth shattering basses. If you want a vintage hands on and affordable analog bass out of the box, there are other horses say like a Korg MS20 or a Roland SH1 or SH09 who do the trick.

Well, it should be made clear that anyone's that gigs a piece of electronic heritage of almost 20 years old like the VS without a backup has got nerves of steel (that includes you Trent!). I can only speak for my own VS Rack and I must say it's built like a tank, rocksolid. It's a 3HE 19" rack, full metal jacket. Never had a problem with it and it even has its original display. It's wearing out a little bit but the backlit still works. It does have some details which shows its achilles heels right on the first look. For starters the power button on the rack version is located at the back side of the unit. The genius who thought that out should get a kane beating. Now if the unit is rackmounted it has to stay on indefinitely. Great way to shorten the lifespan of the instrument. Or you can get the typical musician's hernia by switching it on and off in an awkward position all the time. Also, the data slider is not sunk in like on contemporary synths like the DX7 which makes it rather vulnerable. The small vector joystick is actually as vulnerable as it gets as it sticks out of the panel and it seems to be made of chromified zync. Not the most robust combination indeed. It's wise to shield the joystick off with half a rubber ball with a whole in the middle when you're not using the synth. The bottom line is that it is an aging instrument and some parts are known to have a limited life span of around 10 years. As these instruments are at least 18 years old (in 2004) it's wise to hold on to spare parts to protect your investment. Some of these parts were unfortunately custom built for appliance in the VS so they're as rare as the synth itself if not more. Specifically, three parts you should really hunt down to keep a spare for yourself are the Curtis CEM5510 and CEM5530 sample and hold IC's. It's also wise to keep a spare data slider as well. This slider doesn't feel at all like it's made for 100,000 movements like most mid and high range consoles are, for instance. Unfortunately you can practically forget the prospect of getting a spare joystick.
To round off, my experience is that the rack version is made to last and I've had no problems to this date with the unit.

Inexistant as the manufacturer went out of business 17 years ago. There's an alternative though. I've had very good experiences with Winecountry. They carry a lot of spares which are commercially available and they're the best in the market if you want to buy a refurbished VS or if you want your faulty one repaired. One drawback though. They're located in San Jose, California, so if your operation is in the eastcoast of the US or in Europe you have to send the unit halfway around the world to get it fixed.

I love it to death, as simply as that. The only thing I hate about it is that the unit is 70 years old in synth years which means it's got 10 years left provided it's a female synth. I'd replace it immediately if it breathed its last breath or was stolen. To me and my music it's as important as my liver function. It's just too bad it didn't incorparate the ring modulator of the Prophet 5 though. That certainly would have done damage.

The Prophet VS is not particularly easy to use, but of course ease of use is not the reason one purchases a Prophet VS. It has the old "select&slide" editing that was so prevalent back in the 1980s because it was less expensive than scanning a knob for every function. This problem is ameliorated somewhat on the VS by the fact that there are buttons for all of the major functions. So you hit a button (which lights up) and then you modify the value with the slider. The joystick is nifty to look at but actually only comes into play when setting the oscillator balance at each mix envelope point (or dynamically during play). The LCD display is pitifully small for such a complex synth and the backlights have a tendency to burn out after a few years.

8 voice polyphonic or 4 voice in dual/split mode. Built in chorus that can thicken up the sound a bit. It can accept either ROM or RAM cartridges. It has a very thorough MIDI implementation through which you can even add new waveforms (very small ones of course). The Prophet VS keyboard versions are velocity and pressure (mono only) sensitive, but very few Prophet VS units have working pressure sensors. They will of course receive MIDI pressure data which can be routed via the modulation matrix to a variety of destinations.

The programming possibilities for this instrument are quite complex. The wavetables, mix envelope, modulation matrix, and looping envelopes allow you to create sounds that you won't hear anywhere else. If you're not interested in programming sounds then you shouldn't purchase a VS -- get a Wavestation or equivalent instead. The factory sounds for the VS are mostly weak.

This synthesizer sounds like no other. It wheedles, it wheezes, it zonks and it zoodles. It flambangos and forbles, freeps and framboodles. It can generate your typical Prophet V analog synth patch, but it can also generate those sort of PPG Wave sounds that the Fixx used to use to great effect. Its buzzes with quantization noise at the low end, but of course you can filter that out with the LPF. But why would you want to? The quantization noise is part of the character of the VS. The 1-10 rating for this category doesn't do the VS justice. It is in a league of its own.

VSes are either reliable or they are not. Some of them have a voracious appetite for an expensive (and unavailable) custom analog multiplexing chip. An emulator circuit for this part does exist, so if you're handy with a soldering iron you can make one of these VSes usable again. If not, well you're out of luck. The LCD backlights frequently burn out (there is a fix for this as well), as do the keyboard pressure sensors (no fix that I know of). The mechanical design for the keyboard unit is poor -- it flexes easily which can damage the internals. The rack units are considered more reliable but they are often twice the price of the keyboard as far fewer of them (900) were produced than the keyboard versions (2500 or so). The shiny silver joysticks are easily broken off and are also unavailable.

The bottom line is that the VS is an antique instrument and should be treated accordingly. Most people interested in the VS will be purchasing one for their studio, not for live use.

Sequential Circuits went out of business in 1988 or so, so this doesn't really apply.

I have owned both a VS keyboard and rack and used them on tons of recordings. It is one of my "desert island" synthesizers and I would be terribly discouraged if I were to have to part with it. There really is nothing else like it and anyone who has ever owned one will tell you just how special it is. If you'd like to hear a VS in action, head on over to www.x-eleven.org and click on the "audio" tab. Many of these songs feature the VS, but "burn it up" and "passion '94" are awash in it.

Relatively easy to program... though it is limited to a data entry slider...nasty! Very rewarding when things go right. Push Enter and programme 2 simultaniously and it sets up a random edit. Sooo cool. Acts as a starting point for you own ideas. Sometimes the sounds are so good you save straight to memory. The manual is typical Sequential...very, very long!

Great features in every way except effects....limited to sterio chorus. Several envelopes and 2 LFOs. Lush, analogue, Curtis chip filter. Easy to make it sound like a prophet 5. A high end synth in editing features as you would expect. Wonderful arpeggiator. Just everything really. You will never get bored.

The best sounds ever. Lush pads, cutting leads, crazy effects...it does it all. You just can't believe some sounds..they are so good. The pads especially are so soulful. A swirling, swooshing lushness that reduces you to tears...and I mean tears! Very organic and developing. The sounds obviously change over time owing to its synthesist method. Hold down a key and thirty seconds later somthing new is developing!

Built like a tank. The aftertouch packs up quite quickly. I got mine working again. The method they devised to activate the aftertouch was cheap and naff. What were they thinking of! Shame on you Sequential! The case is full steel and very heavy. It flexes when you pick it up. Can't do the boards much good. This synth, as with other classics, belongs in a studio.

Wine Country seem quite obliging, though they are too far away for me to deal with. As difficult/easy to repair as the next synth. I've known several owners who've never had any problems.

The best synth ever. As simple as that. I've owned over 40 different synths including just about all of the high-enders and this is the best. I couldn't live without it. It's inspirational. You will never get bored of it. Just about every review you will read will say the same. Always powerful sounding, it's a unique piece of kit. This synth is not dressed up in hype like most old synths. Miles better than a prophet 5. I owned one of those for 10 yrs so I should know. Miles better than groaning old analogues in general. It can sound like anything! I paid #730 for mine, though I've known others who have paid double that. You can't hang around when one comes up for sale..they go quickly. They're also as rare as hen's teeth! Definitely buy one if you see one for sale. You will not be disappointed. The keyboard is much better value than the rack. All of your mates will be jealous of you for owning such a charasmatic and wonderful sounding piece of kit!

It's not the easiest synth to use. I agree with one of the other reviews
once you figure out the wavetable editing functions it can create some really great sounds.
It's not the easiest thing in the world though.

It does have a few built in effect, chorus and an arpeggiator (if you consider that
an effect). Both are pretty easy to dial in a sound you want.
It does have pressure sensitive keys which feel really nice. Like I said before
it's not the easiest synth to figure out, but once you start to get
the hang of it, it's great. Then again, I'm basically an idiot when it comes to synthesis
but give me a break, I started out as a guitar player and now I'm teaching myself about synths :)

The VS has, I believe 99 sound patches built in. When you scroll through them,
at first it sound like about 10 different sounds which are just assigned to all these different
numbers. This is where the editing really becomes important. There are a few
presets which are useful, but I find that I had to edit most of them to put out a sound that
I wanted to use for anything. Once you start editing though, the thing
is a beauty.

I've had mine about a year and never had one problem. I use it almost every
day. I wouldn't gig with it though, these are too rare these days.

Out of business, so I imaging they won't offer a lot of support.

Software Version 1.2
Presets sound great. Editing patches take some time to understand the whole "Vector Sythesis" process. Once you're familiar with it's programming, some awesome synth sounds can be created. Manual is complex but not difficult. Again, it takes time to learn the synth.

8-Voice polyphony. The keyboard action is great!, definitely the best I've felt on any synthesizer. Slot for memory cartrige gives you 100 more sounds. MIDI good, does the job when using an external sequencer.

In my opinion, THE BEST sounding synthesizer! It's a shame Sequential failed after creating such a great synth. I've used this synth for some time in a regular retro/dance band. There is not one synth sound I could not find or create on this machine for the 70's & 80's disco/dance music we performed. I'll say this, I have not heard a better sounding analog string sound yet that compares to this synth! It runs circles around my Prophet 600, Kurzweil, Nord-Lead, etc. etc. etc.!

Very reliable except for one thing. If you perform under a hot stage or out in the hot sun, the thing goes haywire! It runs hot as it is & does not like additional heat! Keep it cool at shows. The pressure sensitivity in the keyboard can act up too. The synth needs to be on a flat surface. It does not like the Ultimate support type stands! Mine has had a constant modulation going when placed on this type of stand. The fix for this is, again, a flat surface or just shut off the pressure modulation in the patch. The thing is all metal & built like a tank. I have a VS rackmount for a back-up but nothing beats the beauty of using the keyboard live. It's like any other old synth. If you want to use it live, you have to be prepared for anything. Since there is no other synth that sounds as good as the P-VS, I'll take my chances live!

Wine Country is the only support. They were a great help when my power supply failed. I had the synth back within 1 1/2 weeks. (That's Illinois to California & back) I purchased the keyboard from them in 1995 also.

I recently sold my VS Keyboard & got a Nord-Lead 2. I still have the VS rackmount & refuse to part with it (unless I can trade it for a keyboard again). I like the rack but nothing looks & feels as good as the VS keyboard. Using a Kurzweil K-2000, Nord-Lead 2, and VS rack, the majority of my sounds are from the VS. I really miss my keyboard but I still have the "Classic VS" sounds in my rack. As I said before, one of the best synths to date!

(V.3 I think)
Practically all the presets are usuable several times over (in fact it's hard not to overuse some of them). Dynamically they range from "sorry you'll need a new pair of speakers" to "those angels are quiet today". Some of the "vector shifting" effects move not only the sound but the earth and several brain cells as well. Editing is quite straightforward, despite only one slider but at least there is a dedicated button for each parameter so you can quickly move from one to another. A patch editor would be very nice though, especially for the envelopes for those of us dum-dums who like looking at pictures rather than numbers. The manual is excellent and I don't think could be more comprehensive if it tried.

Keyboard action is basically smooth but can be a shade on the clunky side at times. Recent problems for me have included one of the weights inside a black key coming loose and actually jamming it, making it unplayable (had to happen in the middle of a gig didn't it?). MIDI Specs are very good, I like being able to send different channels for upper and lower splits when they're used. The programmable arpegiator is brilliant - have fooled some people into thinking it was a sequencer a couple of times!

As mentioned before, patches are excellent and never hard to find many very usable ones. This axe would sit very nicely in most rigs regardless of style (when you consider that it's appearances range from NIN to twonks like Yanni!). Lack of onborad effects haven't bothered me. Keyboard is playable but lately, it's been impossible to have the key pressure work without damn near pushing the keybord thru the floor. Used to work like a dream though. (Should get it serviced one day!)

It is probably the most reliable keyboard in my rig. I have not stopped gigging with it since I got it and it has in fact, on two occasions, been a backup to two other keyboards that went down during a show!

Two words - Wine Country.

It's worth far more than what I paid - I know how lucky I was there. If it were stolen, I'd probably have an embolism. I've been playing for over 15 yrs, other gear includes Roland Juno 60, SH-3A, Korg Poly 800ii, Ensoniq ASR10, ESQ1, SQR Plus, Alesis HR16, Simmons SDS9, Rhodes 73 Mk 2, EMS VCS3, Alesis Quadraverb, etc, etc. The Prophet is a very sturdy keyboard (which probably explains it's weight - that thing and the ASR in my triple keys case ... keeps me fit!). I chose it initially because it had the name "Prophet" on it (!) but after about two minutes listening, I knew I had to have it. Many of it's sounds have been the direct inspiration for quite a few pieces. And of course, it looks very sexy atop a double or triple rig!

Very easy to program. Excellent presets, but that's not half the story. Just listen to any Nine Inch Nails record. Trent has this keyboard screaming on nearly every song. Manual is well-written.

8 voice polphony here with pressure sense and aftertouch. Plays great. Action reminds me of a D-50. The chorus section is effective, but kinda noisy. Modulation routings are fairly extensive, although I wish there were independent volume controls for each occilator. VS also includes sine, saw, and square, so you can easily make this thing sound analog.

Okay people. If you need to buy ONE keyboard, this is IT!! The sound is unreal for any type of music. Factory patches can be heard on Kenny Login's "Danger Zone" (intro bass sound), Prince's "You got the look" (opening pad). Trent Reznor took this instrument to new heights on "Closer", "Mr. Self Destruct", "Into the Void" (phat lead bass sound!), "That's what I get" (pure VS intro) and "Ringfinger" at 4:06 the VS takes over on bass and should now have a familiar sound to you all. I LOVE this keyboard.

Mine heats up quite a bit, but other than that it's been solid.

Winecountry is great.

I've seen these go for over $2,000 now. I bought mine back in '92 when demand was not so high. I'll never part with it. Also, the damn thing looks very cool. Go out and rent that Phil Collins live video from the early 90's. You get some terrific footage of the VS from his camera crew.

The VS is extremely simple to use. The only thing I would have to complain about is that it has basically one data slider for inputting parameter changes. This is pretty common for the period this synth was built. It seems that synth manufacturers were "streamlining" there products in the late 80's. Look at the Korg Poly 800's, SCI 6 tracks, etc, etc. Little did they know, they were on the brink of "retro-feaver", and knobs were about to come back into "vogue". In any event, this machine's amazing sound more than makes up for this little problem. I feel something like a Peavey 1600x midi controler would really "open this machine right up". That would give it 16 knobs (sliders) to help carve out your tones in realtime. It is extremely easy to understand and master.

Compared to today's mega-synths, with hundred-note-polyphony, massive FX units built in, and 1000 presets, this beast dosen't look that impressive, however, neither does any of the classic machines being snatched up so greedily today (Prophet 5's, MiniMoogs, MS-20's, PPG's, etc). The VS most definitely falls into the "classic category" of the above mentioned synths... IE, It offers a sound NOT obtainable with anything available new, and therefore keeps it's value, and demand. One special feature, is the VS's extremely excellent arpeggiator. Its syncable to midi clock, and offers many options. Very cool. You can store 100 patches on ram carts if you can find them (and if you can, expect to pay big $$$ for them). It is far more wise to use some sort of computer based patch librarian. Unysin works excellent with the VS. This machines main feature is it's amazing and unique sound character.

Amazing! This synth produces sounds not obtainable anywhere else. I have heard that the Waldorf Microwave get close, but I don't find this to be the case. I've compared it side-by-side with the Wave. The VS seems far warmer. Its got a rich, somewhat grainy, "hi-fi-low-fi" sound to it. Lots of digital aliasing, so some weirdness (good) in the high-end at times. Sounds like a PPG, D-50, Matrix 12, Synergy, Prophet 5 all wrapped up into one machine. Very digital, but with never before heard warmth for a digital machine. Like a digital-Prophet 5. Can't do basses very well, but the pads are second to none. The VS is ofter compared to the Wavestation's and TG-33's, however, it is far superior to either of these. I owned a wavestation for a while, and it wasn't even in the same league. The wavestation sounds similar in many ways to other synths around, like Trinity's, O1-W's, and others, where-as, nothing sounds like the VS. It is my favorite synthesizer. The sampled waves are 12-bit, so it sounds kinda "plasticy". Definitely a synth, that sounds like a synth (as opposed to PCM based "real-instruments"). Can make ethereal, synthetic sound beds far better than a guitar, or piano. If you want that, get a sampler. A couple of prime examples where the VS can be heard, would be David Sylvian's "Gone To Earth", Nik Kershaw (almost anything), and too many techno acts to mention here, most notably, it is very recognizable through-out Basic Channel / Chain Reaction records (extremely heavily at that). It has a very distinctive tonality, and is easily picked out by someone familiar with it, but many are not since it is fairly rare (good thing for us VS users). An amazing instrument! Also... most of the Miami Vice television show (mid 80's) had tons of VS running through it, as did most of the TV and Films from that time period. Lush filmic strings. A little reverb, and your all set.

Extremely reliable. Built like a tank. No plastic here, full-metal-jacket. Heavy too.

Wine Country Sequential is excellent.

If your interested in the sounds that this thing can make, there is no substitute! Wonderfull unique in this day and age of sound alike, physical-modeling garbage. In the realm of the Waldorf Wave (but better), PPG, Fairlight, and Synergy. A genuine, bone fide classic!