The Sequential Circuits Prophet-5 was a 5-voice analog polyphonic synthesizer introduced in 1978, one of the earliest to have full programmability of sounds. It was used by Phil Collins, Peter Gabriel and Tony Banks, plus Larry Fast (PG).
Phil Collins' Prophet-5[]
The Prophet-5 was Phil's go-to synthesizer in his early solo career for writing and recording.
It first came in handy when he began writing and demoing songs at his Old Croft home in 1979 following the split with his wife; it was these home recordings that later formed the basis of the Face Value album. Many of the songs from that album (as well as its follow-up, Hello, I Must Be Going) had been written and based around preset sounds from the Prophet, most notably "In The Air Tonight", which uses a string-like pad.
In most cases, the Prophet-5 parts Phil played on the records were retained from the demos. "In The Air Tonight" in particular, as he and engineer Hugh Padgham felt they could not quite recapture the feel of the demo when attempting to re-record it. Eventually Phil would get two Prophets.
However, in 1984, Phil had switched over to the Yamaha DX7 by the time of No Jacket Required - as he wasn't much of a synth programmer himself, he did not use the Prophet at all on the album. For live performances, he continued to play the Prophet on songs he had written with it from his previous two albums.
References[]
- Classic Tracks: Phil Collins' In The Air Tonight on mixonline.com
- Genesis Information Magazine, Winter 1984/1985
- FEATURES: ICON PUTS A FACE TO PHIL COLLIN’S ‘FACE VALUE’
Tony Banks' Prophet-5[]
Tony Banks acquired a Prophet-5 rev 2 in the late 1970s. He used it the studio on Duke (1980) and Abacab (1981), as well as having played it live on tour for both albums.
"Who Dunnit" (from Abacab) involved 'abusing' the Prophet-5, where Tony stepped through different sounds stored on the synth while playing the main tune. Initially, on the Abacab tour, he had both a Prophet-5 to play "Who Dunnit") and a Prophet-10 for other songs, before he changed over completely to the Prophet-10 on the Genesis album.
Tony Banks' quotes on the Prophet-5[]
"The Prophet 5 had a real roundness to its sound and was, as far as I was concerned, the first polysynth that sounded really musical. So I used one for recording our album "Abacab" in 1981. The Prophet 10 was just an extension of that. For example, the track "Man on the Corner" has two tracks of P5 that were recorded separately in the studio. These were factory voices, simply because Phil wrote the track on an un-reprogrammed Prophet 5, and I was able to reproduce it live using the Prophet 10 by allocating the different patches to the two keyboards." (from a Gordon Reid interview)
Actually, there was a fifth [keyboard I had] - a Prophet 5 - on the other side of the stage, and I used this for playing "Who Done It". This was a tune written around torturing the Prophet by stepping through the programs while playing the riff to the song. This did some very strange things, producing some unpleasant sounds and even changing key, but I liked it. Furthermore, it was consistent, so I could reproduce the effect live. It sounded like I was playing many more instruments than just the single Prophet 5.
References[]
- various
- Genesis 2007 reissue interviews
- The Prophet 5 and Prophet 10 on Gordon Reid website (see Tony Banks interview)
Peter Gabriel's Prophet-5[]
The Prophet-5 was known as Peter Gabriel's "old workhorse" synth. He first played the synth on the Scratch tour in 1978. The Prophet-5 remained one of his primary keyboards from Melt (1980) through to Us (1992) albums and tours. It often sat on top of a Yamaha CP-70 (and later a Yamaha CP-80) on tour.
Notably, the Prophet features as the cheap organ sound on "Sledgehammer", and the synth lead line on "Games Without Frontiers" (which Peter played himself).
References[]
Larry Fast's Prophet-5[]
Larry Fast had been one of the early adopters of the Prophet-5. He first played the Prophet-5 the Peter Gabriel 2 (a.k.a. Scratch) tour in 1978, and remained as a key component of his keyboard work with Peter Gabriel, both live and in the studio.
He used a Rev 1 Prophet-5 from 1978 to 1982. He also had a Rev 3, which he used a little during the making of PG4 and on tour for a few months in 1983.
Having worked with multiple Moog synths in the past, Larry would always program patches from scratch on the Prophet since its memory wasn't particularly reliable (especially the cassette interface).