Figure 5-2: Basic layout of Prophesy preset pages

Adjusting parameters

The six controls grouped directly below the display are used to edit the displayed parameter values for each page. All display pages are configured so that each parameter can be adjusted by the control that is located directly beneath it.

CHORUS LVL1 O N -2.0

PAN1 LEFT

DLY1 DEPTH1 RATE50 25

Figure 5-3: Each displayed parameter can be adjusted by the control located directly below it.

Instant access controls

When a preset is recalled and the preset title page is displayed, the six controls below the display can be used to instantly access the gain, basic EQ and master volume parameters for the current preset (Figure 5-4). Turning any of these controls when viewing the preset title page will immediately display the first preamp page providing instant access to some of the most commonly-edited parameters.

GAIN 8.0

BASS 5.5

MID 3.6

TREB 7.5

PRES 6.0

MASTER 6.0
Figure 5-4: Turning any of the six controls above when viewing a preset title will instantly recall the first preamp page, allowing for instant editing of these common parameters.

Prophesy effects

Each Prophesy preset can have up to eight effects assigned to it. Of these eight, there are four that are always automatically assigned to every preset these are compression, wah, tremolo and reverb. The table on the following page lists all of the effects that can be assigned to a Prophesy preset.

PROPHESY EFFECTS

Effect Pre/Post Preamp Pre Pre Post Post User Defined User Defined User Defined User Defined User Defined User Defined User Defined Assignment Automatic Automatic Automatic Automatic User Assignable User Assignable User Assignable User Assignable User Assignable User Assignable User Assignable
Although some effects are automatically assigned to each preset, they do not necessarily have to be active in the signal path (i.e., they can be switched in or out at any time).
Compressor Wah Tremolo Reverb Phaser 4-voice Chorus Ducker Delay Pitch Shift Flanger Rotary Effect Loop

Effect Configuration

Of the eight possible effects per preset, three are configured as pre-effects (located before the gain section in the signal path) while the remaining five are post-effects (located after the gain section), as shown in Figure 5-5 below.
Figure 5-5: Simplified Prophesy effect configuration
You can think of the pre-effects like the stomp-boxes that you would normally connect between the guitar and the input of an amplifier (before any gain is applied to the signal) effects like phasers, wah pedals and compressors. Post-effects are those that you would run through the effects loop of the amp (after gain has been applied to the signal)these include the higher-end processing units which provide effects such as reverb, delay and chorus. However, you are free to assign any available effects to any of the user-assignable locations designated in Figure 5-5.

Assigning Effects to a Preset
The user-assignable Pre Effect and Post Effect pages each begin with a simple page which displays the effect currently assigned to the respective location, as shown in Figure 5-6. The unit will display "EMPTY" if no effect has been assigned to the location, as shown in Figure 5-7.

POST EFFECT 1 CHORUS

Figure 5-6: Post Effect 1 status/assign page with the Chorus effect assigned

POST EFFECT 1 EMPTY

Figure 5-7: Post Effect 1 status/assign page with no effect assigned
1 To assign an effect to a preset, first select the location where the effect is to be executed in the signal path (Pre effect, Post Effect 1, Post Effect 2 or Post Effect 3) using the PAGE control.

POST EFFECT 2 EMPTY

Continued
It is not necessary to store changes made to a particular page before accessing another page of the same preset, as all changes remain in memory until another preset is recalled. However, it is important to note that any changes made to a preset will be lost if another preset is recalled before those changes are stored.
2 The display should look like Figure 5-6 if an effect has already been assigned to the selected location, or like Figure 5-7 if one has not. The control labeled "GAIN" can be used to scroll through all of the available effects that can be assigned.

POST EFFECT 2 CHORUS

3 Once an effect has been selected, use the PAGE control to access the next page, which will be the first page of the selected effect. The effect can be switched in or out of the signal path via the its button located to right of the display. If an effect does not have its own button (such as Chorus), it can be switched in or out via the first parameter of the first page for the effect.
CHORUS LVL1 PAN1 DLY1 DEPTH1 RATE1 ON 0.25
Note that the modified preset must be stored in order for the changes that have been made to be activated the next time the preset is recalled. This is described in the following section.

Saving your changes

A modified preset must be stored in order for the changes that have been made to be activated the next time the preset is recalled.

The HUSH circuit is located after the A/D converter in the signal chain to reduce any noise generated from the guitar and the A/D converter. This ensures a quiet input signal to the preamp section. Because the preamp section of the Prophesy is digital, it is virtually noise-free (even in the high-gain mode). Therefore, a quiet input signal to the preamp will result in a quiet output signal.

HS UH O N

H-THRES -44dB

GLBOFFSET -3dB

HUSH page parameters
PARAMETER HUSH DESCRIPTION The HUSH parameter determines whether the HUSH circuit is active for the current preset. (Off, On) The HUSH THRESHOLD parameter determines the level at which downward expansion begins. For example, if the HUSH THRESHOLD was set at -20dB and the input signal dropped below -20dB, downward expansion would begin. (-90dB to -27dB) The GLOBAL OFFSET parameter allows you to globally (all presets) adjust the HUSH expander threshold. This means that if this parameter is altered from 0dB to +3dB, the expander threshold will become 3dB higher for all presets. This feature is useful when switching from a quiet guitar with passive electronics to a noisier guitar with active electronics, as the guitar with active electronics would require a higher threshold level in all presets. (-10dB to +30dB)

HUSH THRESH

GLB OFFSET

Application Notes: HUSH

You may find that the HUSH is not even needed for tones created with the Clean American voicing or the Texas Blues voicing when using a low gain setting. As you move into a higher gain Texas Blues setting or the Vintage British and Mega Drive voicings, the gain rises and so does the noise floor. The higher the Gain parameter of these voicings is set, the more noise you'll hear. Before turning on the HUSH and adjusting the HUSH threshold, make sure you have the preamp gain and EQ settings the way you want them for that preset, then engage the HUSH. To properly set the HUSH THRESHOLD: Set the Threshold level so that your signal remains open during the quietest notes or decay's that you'll be playing, yet shuts down tight when you mute your strings. Using different guitars: It is also important to note that if you switch guitars during a performance and those guitars have a different output level, you should quickly use the INPUT LEVEL control on the face of the unit to set a proper input level for each guitar. This will allow your preset HUSH Threshold settings to work the same for all guitars. You may also use the GLOBAL OFFSET to fine tune the HUSH Threshold settings for all presets.

RUN STAT

Preamp Page 3: Pre EQ
The PRE EQ pages allow you to shape the tone prior to the distortion stage. Considerable tone variations can be achieved by modifying these pre-distort EQ parameters.

PRELF + 1.5

PRELFF 101Hz
P E F PREMFF -> B RM W + 7.0 1414Hz 1.7

BRIGHT OFF

Preamp Page 3 parameters (cont'd)
PARAMETER PRELF DESCRIPTION The PRE LOW FREQUENCY level parameter allows you to cut or boost the low frequencies from -15dB to +12dB prior to the distortion stage. This EQ section is a shelving-type. (-15.0 to +12.0) The PRE LOW FREQUENCY FREQUENCY parameter allows you to select a frequency band with an upper frequency between 63Hz and 500Hz to be cut or boosted by the pre-LF LEVEL parameter. The PRE MID FREQUENCY level parameter allows you to cut or boost the mid-band frequencies from -15dB to +12dB prior to the distortion stage. The PRE MID FREQUENCY FREQUENCY parameter allows you to select a mid-band center frequency between 63Hz and 8kHz to be cut or boosted via the Pre Mid Frequency level parameter. The BANDWIDTH parameter determines how wide or narrow the bandwidth of the selected mid-band frequency is (in octaves). A small bandwidth only boosts or cuts frequencies close to the center frequency, while a large bandwidth affects the level of frequencies up to two octaves from the center frequency. (0.1 to 2.5) The BRIGHT parameter is displayed only when Channel 1 (Clean American) is active, and allows you to add extra brightness to the clean channel when switched on.

PRELFF

PREMFF

BRIGHT

Application Notes: Pre EQ
Since the PRE EQ affects the way your guitar signal sounds before it enters the preamp stage, its effect is most useful to influence the way the way high gain distortion tones will respond. The more gain you use, the more distortion you get, which can decrease your pick attack. Boosting mid-range frequencies with a medium bandwidth and dipping some bass can bring back the attack of your pluck. Another example of using the PRE EQ would be to create a stomp box overdrive effect by cranking up the mid frequency level and using a very wide bandwidth while reducing the low frequency. Another cool effect is to crank up the Pre Low Frequency Level with a Frequency setting of around 155Hz this will produce a fuzz pedal tone if using with high gain.

Preamp Page 4: Post EQ

The Post EQ page allows you shape the tone after it has passed through the distortion stage. These post-distortion EQ parameters have a more pronounced effect on the overall tone than the pre-distortion parameters.

PEQ1 14.0

PEQ1F 125Hz

P QB E1W 0.8

P QB E2W 1.3

- 5.5 1297Hz

Preamp Page 4 parameters
PARAMETER PEQ1 DESCRIPTION The POST EQ 1 level parameter allows you to cut or boost a user-selected frequency 15dB after the distortion stage. The POST EQ 1 Frequency parameter allows you to select a center frequency between 63Hz and 8kHz to be cut or boosted. The POST EQ 1 BandWidth parameter determines how wide or narrow the bandwidth of the selected Post EQ 1 frequency is (in octaves). A small (narrow) bandwidth only boosts or cuts frequencies close to the center frequency, while a large (wide) bandwidth affects the level of frequencies up to two octaves from the center frequency. Beyond the 2.5 setting, you may also select "SHELF". The PEQ1BW "SHELF" setting will shelve the frequencies below the center frequency. (0.1 to 2.5, Shelf) PEQ2 The POST EQ 2 level parameter allows you to cut or boost a user-selected frequency 15dB after the distortion stage. The POST EQ 2 Frequency parameter allows you to select a center frequency between 63Hz and 8kHz to be cut or boosted. The POST EQ 2 BandWidth parameter determines how wide or narrow the bandwidth of the selected Post EQ 1 frequency is (in octaves). A small (narrow) bandwidth only boosts or cuts frequencies close to the center frequency, while a large (wide) bandwidth affects the level of frequencies up to two octaves from the center frequency. Beyond the 2.5 setting, you may also select "SHELF". The PEQ2BW "SHELF" setting will shelve the frequencies above the center frequency. (0.1 to 2.5, Shelf)

PEQ1BW

PEQ2BW

Preamp Page 5: Global EQ

The Global EQ page allows you to shape the tone at the output of the Prophesy for all presets. This feature is useful, for example, if you are playing in a venue which provides acoustics that would require readjustment of the EQ parameters of all the Prophesy presets (such as needing less bass or more highs). The Global EQ parameters allow for quickly increasing or decreasing two user-selectable frequencies for all the presets simultaneously when necessary.

GQ E1 + 2.0

GEQ1F 500Hz

G QB E1W 1.0

GQ E2 GEQ2F G Q B E2W - 2.0 3084Hz 1.0

Preamp Page 5 parameters

PARAMETER GEQ1 DESCRIPTION The GLOBAL EQ 1 level parameter allows you to cut or boost a user-selected frequency 15dB at the output of the Prophesy for all presets. The GLOBAL EQ 1 Frequency parameter allows you to select a center frequency between 63Hz and 8kHz to be cut or boosted.

GEQ1BW

The GLOBAL EQ 1 BandWidth parameter determines how wide or narrow the bandwidth of the selected Global EQ 1 frequency is (in octaves). A small (narrow) bandwidth only boosts or cuts frequencies close to the center frequency, while a large (wide) bandwidth affects the level of frequencies up to two octaves from the center frequency. Beyond the 2.5 setting, you may also select "SHELF". The GEQ1BW "SHELF" setting will shelve the frequencies below the center frequency. (0.1 to 2.5, Shelf)

SLOWSP

FASTSP ACCEL

ROTBAL

Application Notes: Rotary
The Rotary effect included in the Prophesy has been designed to provide the most realistic simulation of an actual rotary speaker as possible. However, the nature of the rotary effect requires a significantly higher amount of processor power than any of the other effects included in the Prophesy in order to implement it without sacrificing the quality of the effect. As a result of this, it is important to note that using all three modulation effects (rotary, flanger, chorus) and the phaser effect simultaneously can result in an overload of the Prophesy's internal processorcausing a significant hum and loss of sound quality. For this reason, it is recommended that simultaneous usage of all three modulation effects is avoided to greatly reduce the chances of this condition occurring.

PHASER Page

Phase shifting involves splitting the input signal into two signals, then shifting the phase of different frequencies of one signal and mixing it back with the original signal.

Phaser Page

PHASER> DEPTH 55

RATE 143

RS N EO 25

STAGES 4

Phaser page parameters
PARAMETER DEPTH DESCRIPTION The DEPTH parameter determines the modulation depth of the phase shift effect. Higher parameter settings result in the sweep of the filtering effect occurring over a wider frequency range. (0 to 100) The RATE parameter determines the speed at which the phase shifted signal is modulated. (0 to 253) The RESONANCE parameter adds feedback to the Phaser so that it has a more pronounced effect. (0 to 100) The STAGES parameter determines how many stages of phase shift are to be active. A parameter setting of 4 produces a result similar to a vintage Phase 90, while a setting of 6 emulates other phaser pedals. (4, 6)

RESONANCE

STAGES

PITCH SHIFT Pages

Pitch Shifting is used to change the pitch of the input signal to produce a harmony note based on the input signal. The Prophesy allows for 2 harmony voices to be defined for each preset. Each harmony voice can be of any fixed intervalup to one octave above the input signal to two octaves belowand is selected in 20-cent increments. Fine adjustment can be made in one cent (1/ 100th semitone) increments.
Pitch Shift Page 1: Voice 1
PSHIFT> PITCH 1 FINE 1 LEVEL 1 PAN 1 79>R +500 +12 +2.5
Pitch Shift Page 1 and 2 parameters
PARAMETER PITCH 1 and 2 DESCRIPTION The PITCH parameter selects what harmony note the Prophesy will produce based on the input note. The value displayed for this parameter represents the number of cents that the signal will be shifted (adjustable in 20-cent increments). Each 100 cents (or five 20-cent steps) above or below 0 represents the number of half-steps the shifted signal will be from the input signal. This parameter is adjustable from -2400 to +1200, where -2400 = two octaves below the input signal, 0 = unison and +1200 = one octave above the input signal. Refer to the table below to determine the cent value for each fixed interval. FINE 1 and 2 The FINE parameter allows for adjustment in 1-cent steps for fine adjustment of the harmony note. (-20 to +20) The LEVEL parameter determines the volume of the pitch shifted signal relative to the other signals. (Off, -42.0 to +6.0) The PAN parameter allows you to pan the shifted signal to the left or right channel. (Left to Right)

LEVEL 1 and 2

PAN 1 and 2

Pitch Shift Intervals

PITCH PARAMETER +1200 +1100 +1000 +900 +800 +700 +600 +500 +400 +300 +200 +-100 -200 -300 -400 -500 -600 -700 -800 -900 -1000 -1100 -1200 -1300 -1400 -1500 -1600 -1700 -1800 -1900 -2000 -2100 -2200 -2300 -2400 CORRESPONDING INTERVAL (RELATIVE TO INPUT NOTE) 1 Octave Major 7th minor 7th Major 6th minor 6th perfect 5th diminished 5th perfect 4th Major 3rd minor 3rd Major 2nd minor 2nd unison Major 7th minor 7th Major 6th minor 6th perfect 5th diminished 5th perfect 4th Major 3rd minor 3rd Major 2nd minor 2nd 1 octave 1 octave plus a Major 7th 1 octave plus a minor 7th 1 octave plus a Major 6th 1 octave plus a minor 6th 1 octave plus a perfect 5th 1 octave plus a diminished 5th 1 octave plus a perfect 4th 1 octave plus a Major 3rd 1 octave plus a minor 3rd 1 octave plus a Major 2nd 1 octave plus a minor 2nd 2 octaves Above input note " " " " " " " " " " " Equal to input note Below input note " " " " " " " " " " " " " " " " " " " " " " " "
There are 5 steps of the parameter adjust control between each of the intervals shown above (each step equals 20 cents). This allows for smooth pitch changes when an expression controller is assigned to the PITCH parameter to change the pitch by remote means.

DUCKER/DELAY Pages

Delay is a repeat of the guitar signal, which will repeat at the time the user sets (typically expressed in milliseconds) after the original guitar signal. The Prophesy provides several parameters to adjust the characteristics of the delay effect. About Ducking The Delay effect also has a built-in Ducker function. The word "ducking" is another way to say that you're turning down the volume level of the delay (or "attenuating" the delay). When using the ducker, the volume of the delay would be attenuated, or "ducked" while playing so that it was quieter than your original played notes and, therefore, would not compete with your played notes. When you stop playing, the ducker will release and the volume level would then come back to full volume and echo out nice and loud. The Ducker effect does this for you automatically! This is a great effect for soloing. When the ducker is adjusted correctly, you can have the delay mixed just right behind your played notes and have nice loud and long trail-offs when you stop playing.
Delay Page 1: Delay Time, Level

MT UE PE R

SPILOVR LEVEL OFF 0.0

PN A 75>R

D-TIME 1 R G N EE 116 +3.5

Delay Page 1 parameters

PARAMETER MUTE DESCRIPTION The MUTE parameter allows for muting of the Delay section at its input (PRE), its output (POST) or both pre and post (BOTH). (The MUTE function is actually switching the Delay IN and OUT just like you would with the Delay button on the front panel. It can be accessed with a MIDI pedal by sending the Prophesy a MIDI control number of your choice and assigning that same MIDI control number to the DELAY-IO parameter in any of the Prophesy's eight Controller Assignments. See "Controller Assignments" in Section 7 for more information.) When using the MUTE "PRE" setting, the Delay IN/OUT function will start and stop the guitar signal before it enters the delay effect. This will produce the following results: When you switch the delay "OUT" while you're playing, the guitar signal will be stopped from entering the delay effect at its input and the last few notes you were playing will trail off until there is no more delayed signal. When switching the delay "IN", signal will begin to enter the delay effect and will then start to be delayed from the exact point at which you turn the delay on.

Delay Page 1 parameters (cont'd)
PARAMETER DESCRIPTION When using the MUTE "POST" setting, the Delay IN/OUT function will start and stop the guitar signal at the delay effect's output. This will produce the following results: When you switch the delay "OUT" while you're playing, the delayed signal will suddenly be chopped off and will no longer be heard. The delay effect's input, however, is still receiving signal. So, when you switch the Delay "IN" while playing, any licks you were playing will already be echoing and will then be heard. When using the MUTE "BOTH" setting, the Delay IN/OUT function will start and stop the guitar signal at the delay effect's input and output. This will produce the following results: When you switch the delay "OUT" while you're playing, the delayed signal will suddenly be chopped off and will no longer be heard. When switching the delay "IN", the signal will begin to enter the delay effect and will then start to be delayed from the exact point at which you turn the delay on. SPILOVR The SPILOVR parameter determines whether delays from the current preset will "spill over" into the next preset when it is recalled. If this parameter is set to "OFF", delays from the current preset will be immediately cut off when another preset is recalled. When this parameter is set to "ON", it enables the current delay to "spill over" to the next preset. However, note that in order for the spillover to work, the Delay effect must be assigned to any of the effect assignments in the next preset that you switch to. Also, the Delay SPILOVR parameter must be stored as "ON" in that next preset. You do NOT have to have the delay stored as "ON" in the next preset unless you want to. For example, this can create a very smooth transition from a very long lead solo delay into a nice short rhythm delay, where the long delay trails out as the new shorter delay has already begun. If Delay has not been assigned in the next preset that you switch to, the spillover will not work.(Off, On) LEVEL The LEVEL parameter determines the overall level of the delayed signal at the output relative to the direct signal and other effect signals. (Off, -42.0 to +6dB) The PAN parameter allows for the delayed signal to be panned to the left or right channel. (Left to Right) The DELAY TIME parameter determines the length of time (in milliseconds) after the input signal that the delayed signal will begin. (0 to 988) The REGENERATION parameter determines the number of times that the delayed signal will repeat itself. This is achieved by feeding the delayed output back into the input. Higher parameter settings will result in more repeats. The displayed value represents the attenuation (in dB) that the regeneration signal is subjected to at each repeat. (Off, -42.0 to +6dB)

Reverb Types

The Prophesy provides the following types of reverb:
The Plate reverb type simulates an artificial method of producing reverberation, popular in the early years of recording, which involved using a fairly large, but very thin, metal plate suspended at its four corners by steel wires under tension. This metal plate becomes excited by a driver unit (similar to a dynamic speaker without the diaphragm) and the resulting reverberation is picked up by contact microphones. The Prophesy offers two Plate reverb types which reflect the most common plate characteristics. This type of reverb is often used on drum and vocal tracks. Room reverb effects simulate various rooms of different sizes and surfaces. For example, a room which is made up of primarily hardened surfaces (such as tile or hard wood) will generate reflections containing much more high frequency information than one which is made up of softer surfaces (such as thick carpeting). The Room reverb effects provided by the Prophesy can generate virtually any imaginable room setting via highly efficient and adjustable reverb parameters. Hall reverb simulates the reverberation characteristics of a very large room with a high ceiling. Reflections in a hall are much longer than a typical room, as the length of time it takes for the sound waves to travel from one surface to the next is greatly increased. Stadium reverb simulates the characteristics of a large stadium or arena and should be used with large amounts of predelay and high frequency damping. Dual reverb is unique in that it allows for the left and right channels to be processed independently of one another. For example, the predelay for the left channel can be set at 100mS while the Predelay for the right channel can be set at 200mS. This results in reverb output from the left channel 100mS before reverb is output from the right channel.

Reverb Page 1:

R-PAN L<29

R-DEC 30

HD P FM 88

L-FRQ 17

REVTYPE HALL A

Reverb Page 1 parameters

PARAMETER NAME R-PAN DESCRIPTION The REVERB PAN parameter allows you to pan the direct input signal to the reverb section to the left or rightthus allowing for only the left or right channel to be reverberated when used with the Dual reverb type, or, for one channel to be reverberated to a greater degree than the other. It is adjustable from LEFT (0) to RIGHT (100), where 1-49 appear between LEFT and CENTER, and 51-99 appear between CENTER and RIGHT. The REVERB DECAY parameter specifies the length of time that the reverb signal will sound before it has completely "died out". Note that the maximum length of this decay will vary dependent upon the reverb type currently active. (0 to 99) The HIGH FREQUENCY DAMPING parameter is used to control the decay rate of high frequency information in the reverb signal. Higher parameter settings will result in a faster decay of high frequency information. (0 to 99) The LOW FREQUENCY parameter determines the amount of low frequency information in the reverb signal. Higher levels of this parameter add more low end. (0 to 99) The REVERB TYPE parameter determines the active reverb type. The following types are available: Plate A, Plate B, Room A, Room B, Hall A, Hall B, Stadium and Dual.

MIC POS

REACTANCE

MIXER Pages

The Mixer parameters are included in all presets. However, the parameter values stored in these pages pertain only to the currently-recalled preset. This internal digital mixer occupies five pages, and allows you to control the signal levels pertaining to each preset's effect configuration.
Mixer Page 1: Pre Effect Mix Levels

(PRE MIX) 57>E

(PRE EFX OUT) - 3.0

(EFFECT USED) PHASER

Mixer Page 1 parameters
PARAMETER PRE MIX DESCRIPTION The PRE MIX parameter determines the direct/effect mix from the Pre Effect block. (100% Direct to 100% Effect) The EFX OUTPUT parameter determines the overall level that is output from the Pre Effect block. Note that this parameter acts like an overall volume control, and affects the signal level for the remainder of the signal path. Please refer to the Block Diagram shown at the end of Section 5 for a visual indication of how this parameter is used in the signal path. (Off, -42.0 to +6.0) The EFFECT USED parameter indicates the effect that is currently assigned to the Pre Effect location, if any. (Not adjustable)

PRE EFX OUT

EFFECT USED
Mixer Page 2: Post Effect 1 Mix Levels

(PST1 EFX 1 OUT) + 1.5

(EFFECT USED) DUCKERDELAY

Mixer Page 2 parameters

PARAMETER PST1 EFX 1 OUT DESCRIPTION The PST1 EFX 1 OUTPUT parameter determines the output level of the effect that is assigned to Post Effect 1. The EFFECT USED parameter displays the name of the effect that is currently assigned to the Post Effect 1 location.
Mixer Page 3: Post Effect 2 Mix Levels
(PST2-IN MIX) (EFX 2 OUT) D<40 -13.0

(EFFECT USED) AS DR

Mixer Page 3 parameters
PARAMETER PST2-IN MIX DESCRIPTION The PST2-IN MIX parameter determines how much of the signal applied to the Post Effect 2 effect is direct signal, and how much is effect signal. (100% Direct to 100% Effect) The EFX 2 OUTPUT parameter determines the output level of the effect that is assigned to Post Effect 2. (Off, -42.0 to +6.0) The EFFECT USED parameter displays the name of the effect that is currently assigned to the Post Effect 2 location. (Not adjustable)

Setting up MIDI Program Changes
MIDI program changes allow for different MIDI program numbers to be assigned to Prophesy preset numbers. For example, MIDI program #58 can be mapped to Prophesy preset #33. Then, when program #58 is selected from a MIDI transmitting device (such as a Rocktron All Access foot controller), preset #33 will be recalled on the Prophesy. The preset/program change mapping is shipped from Rocktron at a one-to-one correspondence (i.e., MIDI program #1 is mapped to Prophesy preset #1, 2 to 2, etc.). The Prophesy can be set to execute program changes as sent from a controller (ON), map incoming program changes to different Prophesy presets (MAP), or ignore all incoming program changes (OFF) Note that the default setting for the Prophesy MIDI transmit channel is OFF in all presets, therefore no MIDI commands are sent from the Prophesy when a preset is recalled unless it is configured by the user.
1 Use the PAGE control to access the second MIDI page, shown below.

PRGCHG RECV RECALL OFF

2 Use the control labeled GAIN to turn the MIDI mapping status to MAP.
PRGCHG RECV RECALL MP A 1 1
The PRG CHG parameter can be set to any of the following options to control incoming MIDI program change commands: OFF: ON: MAP: Does not execute incoming MIDI program changes Executes program changes exactly as received Map incoming program change commands to specified Prophesy presets
3 Use the control labeled BASS to select the MIDI program change number to be assigned to a selected preset.
PRGCHG RECV RECALL MP A 58 1
4 Use the control labeled MID to select the preset that the specified incoming MIDI program change will be mapped to.
PRGCHG RECV RECALL MP A 58 33
5 Store the new settings as described under the subheading entitled Storing modified presets earlier in this section.
Repeat steps 2-5 for as many program changes as desired.

Setting MIDI Channels

The Prophesy can receive MIDI commands from other MIDI transmitting devices. In order for this function to operate properly, the Prophesy's MIDI receive channel must be set to correspond to the MIDI channel that the other devices are transmitting MIDI messages on. This section discusses how to set the MIDI receive channel.

1 Use the PAGE control to access the first MIDI page, which looks like the page below.

MIDI RX TX 1 1

REMOTE TITLE REMID OFF OFF 0
2 Use the control labeled GAIN to select the MIDI channel on which the Prophesy will receive MIDI commands from other devices. Channels 1-16, OMNI (receive on all channels), or OFF (do not receive MIDI commands) may be selected. Note that this number must match the channel that the MIDI transmitter is sending MIDI commands on.

MIDI RX TX OMNI 1

3 Use the control labeled MID to set the MIDI channel on which the Prophesy will transmit controller information to a Rocktron All Access footswitch. Note that this parameter only needs to be set when using the Prophesy with an All Access, as the Prophesy does not transmit MIDI program changes to any other devices.

MIDI RX TX OMNI 4

4 Store the new settings as described under the subheading entitled Storing modified presets earlier in this section.
Remote control from All Access
The Rocktron All Access MIDI footswitch can be configured to act as a dedicated remote control for the Prophesy allowing direct access to specific Prophesy features and parameters from the footswitch at any time.
1 Connecting the units: To use an All Access footswitch as a dedicated remote, connect the MIDI OUT of the All Access to the MIDI IN jack of the Prophesy using a 7-pin MIDI, as shown below:
2 Configure the Prophesy for remote access: Use the PAGE control to access the first MIDI page, which looks like the page below.
3 Use the control labeled "MID" to enable Remote mode operation.
REMOTE TITLE REMID O N OFF 0
4 If the Prophesy preset titles are to be displayed by the All Access, use the "TREBLE" control to set the TITLE parameter to "ON", enabling title transfers from the Prophesy to the All Access.
REMOTE TITLE REMID O N O N 0
5 Configure the All Access to control the Prophesy: Set the Operating Mode to "REMOTE".

Editing the All Access

Please refer to the All Access manual for detailed information on editing the All Access.
6 Set the Bank Size to "10". 7 Reinitialize only the controller information for the instant access switches and pedals using the All Access controller restore code number "231". 8 If the preset titles from the Prophesy are to be displayed on the All Access automatically, set the Remote Title Number to match the "REM ID" parameter value on the Prophesy.
Dumping and Loading Prophesy Data
Any or all of the Prophesy presets can be dumped to a sequencer or another Prophesy via system exclusive messages. The information exchanged when performing a MIDI dump or load consists of parameter values, title characters and controller assignment/ limit information. When dumping a single preset into another Prophesy, the dumped preset can be loaded into any preset location on the receiving unit.

To reload user data from a sequencer
1 Connect a standard MIDI cable from the MIDI OUT of the transmitting sequencer to the MIDI IN of the receiving Prophesy, as shown below.
Do not allow a looping connection from the MIDI OUT/THRU of the receiving Prophesy back to the MIDI IN of the transmitting sequencer when performing a preset dump. Only use the connections shown at right when dumping data from one Prophesy to another. When dumping data to and from the Prophesy, always perform the dump in real time sequence mode. This will ensure that data loaded back into the Prophesy is not sent faster than the Prophesy can receive it. Also, make sure that the sequencer's MIDI filter is configured to accept SYSX information.
2 Play back the data stored on the sequencer. The Prophesy will automatically begin storing the information as it is sent from the sequencer, and will display the data strings as it is storing them. After all the data has been loaded, the Prophesy will display "LOAD COMPLETE".
PRESET UTILITY LOAD COMPLETE
Restoring original factory presets
The Prophesy allows you to return user-modified presets to their original condition as shipped from the factory. You can restore the entire Prophesy memory (all presets) or restore a single preset to any preset location.
Restoring a single factory preset
1 Use the PRESET control to recall the preset to be restored.
2 Use the PAGE control to access the PRESET UTILITY page, shown below.
3 Use the GAIN control to select the option titled "PRESET RESTORE".
Completing the Preset Restore procedure will permanently erase the current preset and replace it with the original factory preset.
PRESET UTILITY PRESET RESTORE
4 Press the STORE button to restore the current preset to its original factory condition. The Prophesy will briefly display "RESTORED" when the process is complete.

PRESET UTILITY RESTORED

Restoring all factory presets
1 From any preset, use the PAGE control to access the PRESET UTILITY page, shown below.
2 Use the GAIN control to select the option titled "FACT REINIT".
PRESET UTILITY FACT REINIT
Completing the Factory Reinitialization procedure will permanently erase all Prophesy presets and replace them with the original factory presets.

Purchase a Rocktron Prophesy II between December 20th, 2010 and February 28th, 2011 and receive a Rocktron MIDI Xchange Foot Controller and a Rocktron RMM900BK MIDI Cable FREE! A $183.00 Value!
Grab onto one of the world's foremost guitar preamps: The Rocktron Prophesy II! The depth is truly amazing and the control is top notch. This outstanding DSP processor provides the ultimate control over your tone and effects. The Rocktron MIDI Xchange controls Rocktron products as well as other MIDI switchable products. 2 expression ports allow you to plug in Rocktron HEX expression/volume controllers. Now, when you purchase any new Prophesy II from a U.S. Authorized Rocktron Dealer between December 20 , 2010 and February th 28 , 2011, youre eligible to receive a Rocktron MIDI Xchange Foot Controller and a Rocktron RMM900BK MIDI Cable - a $183.00 value - FREE! To receive your Rocktron MIDI Xchange Foot Controller and a Rocktrorn RMM900BK MIDI Cable via postal mail, follow these steps: 1) Purchase a new, qualifying product (see terms and conditions for details) from an Authorized Rocktron Dealer in the United th th States between December 20 , 2010 and February 28 , 2011. Remove the ORIGIONAL UPC CODE from the product box (this is easiest if you just cut the cardboard instead of trying to peel the sticker off). See the UPC CODE example below. Photocopies of the UPC CODE do not qualify. SAMPLE UPC CODE:
Mail your UPC CODE and a copy of your receipt to:
ATTN: Rocktron Prophesy II Promo Rocktron 2813 Wilber Ave.
Battle Creek, MI 49037 Submissions must be postmarked no later than March 31st, 2011. You will receive your Rocktron MIDI Exchange and Rocktron RMM900BK MIDI Cable within 6 weeks from the date we receive your hard-copy submission at Rocktron.
Terms and Conditions Redemption is available via postal mail only. Must be purchased as new from an Authorized Rocktron Dealer in the United States. Purchases from online auction are not eligible. Mail-in rebate is not available to customers who have purchased their Prophesy II at any store that provides the Rocktron MIDI Exchange and Rocktron RMM900BK MIDI Cable for free at time of purchase. Qualifying purchases for this promotion include ONLY Rocktron Prophesy II. Other Rocktron preamps (including but not limited to Blue Thunder, Gainiac 2 and Voodu Valve) are NOT eligible. Rocktron does not allow product substitutions, deletions, additions or other modifications to this offer, regardless of information you learn from other sources. Limit ONE Rocktron MIDI Exchange and Rocktron RMM900BK MIDI Cable per product, customer, receipt, household, family or address. This offer cannot be combined with any other offer unless specified in writing by Rocktron. Rocktron is not responsible for misinformation about this promotion that may have received from other sources. The offer is available to all Rocktron customers with mailing addresses in the United States. Purchases made in, or for delivery in, other countries, are not eligible. Rocktron is not responsible for lost, late, damaged, illegible, or postage due submission, or e-mails from us that are blocked by your spam filter. Your rights to this offer cannot be assigned or transferred and this offer is void where taxed, restricted or prohibited by law. All submbitted materials become Rocktrons property and will not be returned.
If you have questions or concerns please e-mail us at sales@rocktron.com. No phone calls please. Please allow up to 6 weeks for delivery.