about this document:
this is an unofficially annotated version of the original manual's chapter 13, operational summary, which was itself written in 1986 by stanley junglieb. 
(at least, that's what it says in my copy!)
& so the bulk of the copyright is still with him &/or whomever owns the rights to SCI's considerable legacy; this document exists without their consent & may disappear at any moment if they so request!

I'm not trying to improve on stanley's work here, but these machines are still in use some twenty-odd years after they were made, & many current users have never seen the full operational manual. 

even if it were easily available, the full manual is quite a big read, & so in the name of instant gratification, short-cuts & reminders, stanley appended the original chapter 13. 
however, it's missing some of the basic information that one could be assumed to have picked up from reading the main manual even just once. 

also here are some explanations & tips from my own years of using the two versions of the sampler.

my additions to the text are [like this].  also, I have tried to tidy up the layout a little bit, & put some bold text in where it helped clarify things. 
some places I've [done both] where an extra-special useful-thing-to-know needed additional emphasis (no pun intended!).

I have also trawled my own copy of the big manual, & various appendices, for extra information that isn't in the original chapter 13, & in some cases isn't in the original manual either. 

for instance, I have hand-written notes next to the arpeggiator section in the main manual that already takes up ten times as much room as the arpeggiator section in chapter 13. 
I bring you the important bits from both.

I welcome any suggestions for additions & changes to this document, & I'm happy to answer any reasonable questions about my own use of the 2000/2002 machines, but please don't start cutting this up without asking, or pasting bits of it all over the web. point people at it by all means, but leave it as it is.
thanks.

by the way, I'm duncan. I play in a band called "radio massacre international" & we've used the 2000 & the 2002 many times in the studio & on stage, only retiring it from the latter when we started to need to worry about the weight of our gear & needed something horrible, modern & compact instead.

about the machine's architecture:
I wish someone had told me this at the outset, or that there was a picture in the manual. instead it took me months of playing on the 2002 before I grasped something fairly rudimentary, & which turns out is essential to productive use of the machine: 
the machine is fundamentally split into two. 

so.... the largest block of memory available for sampling is one half of the total memory in the machine. understanding this is important when it comes to the business of "mapping" samples onto a keyboard range; efficient use of the two halves of the memory is important, but getting the best from the machine also means exploiting this design in such ways as creating bitimbral patches, pseudo stereo instruments & so on. this has led me down the route of creating a lot of bitimbral presets for my machine, & so I will apologise here if some of my methods seem skewed towards this particular approach to programming.

there are 16 locations for samples. I know, it seems tiny next to an emu or an akai, but think of this as a keyboard instrument & it makes sense- each sample is like an oscillator waveform, rather than a recording of another instrument. that's how I think of it. there are 8 locations in each half of the memory- it's important to bear this in mind when you begin constructing a new preset.

the single best bit of advice I had when I first got this machine & started making my own sample discs, was to record spoken words into it. I don't remember if this was from tim wallhead (who worked in argent's keyboards in london back in the day) or if I read it in this manual somewhere. possibly both, maybe neither. 
anyway, while you are pottering about trying to fathom the business of mapping samples, it is a good idea.

fwiw, my first proper sampled instrument that I made myself was of an upright piano in the bedroom where I first lived in london. 
I think I got about six usable notes out of the thing, but the overtones from the out-of-tune notes that I didn't sample made the samples sound better somehow, & it taught me a lot about sampling. I still use this "instrument" occasionally when I want the exact opposite of a big steinway for a particular effect.

anyway.

the machine is 8-voice polyphonic, but there are many variables in the way presets are constructed that can reduce this dramatically. it was designed in 1984, remember.

whether you connect the machine in mono or stereo, note that the "balance" control on these machines works by voltage control & is just a linear pot, not a proper log/reverse log audio blend control. so from time to time, one side might disappear & you'll need to adjust it. in any case, it never sits exactly in the middle. 

if you have a stereo hook-up & the machine is playing a preset with "dynamic allocation" on, you will hear the sounds jumping left & right. after the novelty wears off, you'll want to switch this off or listen in mono. slight level changes in mono are because of the balance control again. I tend to forget this because most of my discs are of bitimbral patches where the two instruments are on different midi channels & use the left & right outputs independently.

some machines have more memory than others. this needn't affect your enjoyment- I've had both sizes of machine, & had to learn how to programme discs so that they were useful in either of them, just like the factory discs were. 
so long as you aren't trying to use the sampler to make recordings based on stolen bits of other people's recordings, but rather treat it as an instrument, this will be fine. remember to think of it as like a prophet-5 only with sample-playback instead of oscillators. it's really rather good at this.

to find out how much audio you can jam into each side, delete all the samples from the machine ("delete samples", "AL", "execute") then select any sample location & edit it's size; if it goes to 128, you have a standard machine. 
congratulations, you're normal. 
if it goes to +56, that means 256 & your machine has twice as much ram. congratulations, you're normal too.

at the default sampling rate (31kHz), this means either 4 seconds or 8 seconds per side, 8 or 16 seconds total. more on this later.

the audio processing, once the sample has been played out of memory into the audio domain, is all analogue- just like a late p5 or any analogue polysynth with curtis chips in it.

the samples are 12-bit, & the discs are proprietary, so you can't load wavs in or out of the machine directly. some users have managed midi-sample-dump action with (e.g.) soundforge, but I found this rather time-consuming. once you have your samples in the machine, & backed up on disc, most of the operations needn't involve too many time-consuming sample transfers anyway.

some machines have v4 software; this was supplied as a replacement rom either on it's own or with the separate-outs kit. as well as supporting a third "dynamic allocation" mode ("forced output", it introduced crossfade looping & dramatically improved the machine's sustain/release loop performance. there were a couple of tiny bug-fixes.

ok. here we go.

PROPHET 2000 MANUAL SECTION 13

OPERATION SUMMARY

WARNING! Always switch off power to all equipment in use before connecting or disconnecting anything.

DISKS
CAUTION! To avoid damage to disk drive, always transport Prophet 2000/2 with head protector inserted.

Write Protect  		To protect disk, slide tab to open protection window.

Autoload 		          To autoload, insert desired disk, then switch power on.

Messages		To exit the above, press any switch other than EXECUTE. To override, press EXECUTE.

Display	Meaning
Er	         Load or Compare error. To continue loading, press EXECUTE. To stop loading, press any other switch.
[you can force an erroring disc to complete loading by pressing "execute" again each time you see "er". you may be able to mend a damaged sample by careful editing afterwards. tips on this follow in the section about "append sample" later. it's worth noting that the surface of the disc can be gently cleaned by dry-air, such as one would use to clean a camera, & that sometimes just reseating the disc in the drive can be enough to clear it of small surface contaminants. try this before giving up on a disc- after all, the drive didn't do it, so it's probably just dust that's got in there, unless you are in the habit of opening floppies up & poking around at the written surfaces.... :-)  I have around 300 discs here, & I think (in 17 years of using the 2002, including gigs) I've had to chuck maybe ten discs in all.]
Pd 	         Protected disk. 
nb 	         Not blank. 
nd 	         No disk. 
nF 	         Not formatted. 
IF  	         Invalid format. 
nS  	         Not saved [you'll see this when a disc is formatted but blank, & you try to load from or verify against it.]

Load	
         1. 	Insert disk into drive.
	2.	Check that PRESET is on.
	3.	Switch LOAD on.
	4.	Use PARAMETER VALUE knob or INCIDEC to set desired option:
		L  Load entire disk. 
		LA Load disk half A to memory half A.
		Lb Load disk half B to memory half B.
		-LA Load disk half A to memory half B.
		-Lb Load disk half B to memory half A. 
		int Load internal wavetable sounds presets.
	5.	Press EXECUTE.

Load One Sound		
                             I.	Switch PRESET off.
			2.	Select SOUND NUMBER and adjust value to '1destination."
			3.	Insert disk containing sound to be loaded.
			4.	Select LOAD ONE SOUND and adjust value to sources sound.
			5.	Press EXECUTE. ("nr" means no room in memory.)

[you'll tend to use this function when compiling samples from several source discs, or if you've been editing a sample & want to "undo" your changes.]

Format		
                    I. 	Disk will be erased. Remove write protection (close window).
		2.	Insert disk into drive.
		3.	Check that PRESET is on.
		4.	Switch SAVE on.
		5.	Use PARAMETER VALUE knob or INC/DEC to set option to "Fd", format disk.	         6.	Press EXECUTE.

Save		
                   1.	Disk must be formatted and not write protected (protection).
		2.	Check that PRESET is on.
		3.	Switch SAVE on.
		4.	Set desked option:
		S   Save complete disk.
		SA  Save memory half A to disk half A.
		Sb  Save memory half B to disk half B.
[time-savers; sometimes you will have made changes to one half but not the other, & this cuts the disc operations time in half, besides reducing wear on the disc & drive]
		-SA Save memory half B to disk half A.
		-Sb  Save memory half A to disk half B.
[I've used this to quickly make "pseudo-stereo"  discs where an artificial chorussy stereo effect is achieved by having the two halves of the machine lay the same sound, similar to "stack" but stereo.]
		5.	Press EXECUTE.
		6.	if  desired,  write-protect and  compare  disk.  (Strongly recommended.)

Compare

	1.	Check that PRESET is on.
	2.	Press SAVE.
	3.	Set desired option:
		C   Compare entire disk with entire memory. 
		CA  Compare memory half A whh disk half A. 
		Cb  Compare memory half B with disk half B.
		-CA Compare disk half A to memory half B. 
                  -Cb Compare disk half B to memory half A.
[see notes above about time-saving, wear&tear & so on]
	4.	Press EXECUTE.
		
                    Display: Er  = 	Compare error. To continue comparing, press EXECUTE.
			To stop comparing, press any other switch.

[besides disc faults, you may see "compare errors" when you have changed something since your last "save" operation; if you have only been editing in one half of the machine, you should get into the habit of saving & comparing only that half, to save time.]

(Disc) Copy	
          1. 	If desired, save current presets.
	2.	Load entire master to be copied into Prophet 2000/2.
	3.	Save and compare entire memory for desired number of copies.
[you can, of course, copy half a disc by combining the partial load/save/compare ops from above.]

Control Data Only	
                             I.	Select desired save, compare, or load function.
			2.	Start transfer by pressing EXECUTE, then immediately hold down PRESET.
			3.      Hold down PRESET until data transfer to or from disk is completed, then release.

[this whole part is in bolder type because it's a real time-saver. if you're happy with your samples & you're only editing preset/map data, then you only need to save/compare or load the "control" data & not the samples. in fact, you're doing the drive & the disc a big favour if you remember this, besides saving tons of time. once you're happy with all your edits, save the control data one last time, then do a full compare. if this errors, & you're sure that what's in the machine is what you want, do a complete save & compare. 

always keep spare formatted discs handy, so you can keep "work in progress" copies or different versions of what you are working on. label them. keep notes. 
keep discs with raw sample data on them separately, & use them as source discs for building presets; this saves wearing out- or having accidents with!- the discs with your important samples on while you are experimenting with preset building.]

PERFORMANCE PARAMETERS

[certain performance parameters can be "programmed" into a preset so that they come on when the preset is selected, instead of having to be armed as a separate operation. these include the arpeggiator, the stack & some of the midi behaviour, e.g.  transmit &/or receive of pitch & mod wheels & preset selection itself. worth remembering if the sampler stops responding to something over midi. the performance parameters are programmed into a preset by selecting the mode ("number of voices" for stack, "mode" for the arpeggiator, & pressing execute. 

similarly, the midi behaviour can be programmed within a preset by "executing" against the following in the "midi/options" list: 1-4 are transmit parameters, so p2000 only, while 5-8 are receive parameters for both versions, & they are mod wheel, pitch wheel, preset number & channel pressure in that order.]

General Editing
1.	Select desired preset.
2.	Switch PRESET off. [bottom left of switch matrix- this then arms the other four rows of the matrix as editable parameters of the chosen preset.]
3.	Select desired parameter using matrix switches.
4.	Using PARAMETER VALUE knob or INC/DEC, adjust parameter value as desired.
[note this, & note it well- row 3 adjustments made when the "+" is on tend to be global for a map, while those made with it off tend to be specific to a sample.]
5.	if desired, select and adjust other parameters.
6.	if desired, select other presets and adjust current parameter.
7.	To restore original, unedited preset, switch PRESET on, reload disk, then re-select preset number.
[see the note above about restoring just the "control data". save time by copying the preset you want to experiment with to an unused preset first, so you have a "backup" copy already in the machine.]
8.	To permanently record an edited preset, switch PRESET on, then save to disk (all, or just half of memory).

Copy Preset    		
                            1. 	With PRESET on, press desired destination preset number.
			2.	Switch PRESET off.
                     	3.     Select COPY/APPEND and set to desired preset source to be copied. ("1P" - "12P")
                            4.     Press EXECUTE.
         
Master Tune	
                           1. Select MASTER TUNE and adjust to desired number of cents sharp or flat relative to A-440.
		         2. For A-440 reference, toggle EXECUTE.
[a tip of the hat to the minimoog- I never had much use for this in the context of master tuning, but it can be useful for individual samples- see later.]

         
         
Pitch Wheel	
                 Select PITCH WHEEL RANGE and adjust to desired maximum range in semitones.

Mod WheeI/LFO 	
                         1. Select and vary LFO RATE. If LFO RATE is "dC", then MOD wheel exerts direct control over selected destinations.
         	                2. Switch on and off VIBRATO, FILTER, and AMP destinations.
		      3. Select and adjust INITIAL AMOUNT and VELOCITY AMOUNT.
[incoming "channel pressure" (monophonic aftertouch) is mapped to this function as well. in fact, controllers 1 (mod wheel), 2 (breath) 3 (channel pressure) & 4 are all treated the same way.]        
         
Stack Mode	
                        1. To operate, must either be switched or programmed on.
         	               2. NUMBER OF VOICES (per key): I (normal 8-voice polyphonic), 2, 4, and 8 (Unison). (Program on: EXECUTE ="+")
     		      3. DELAY 0-127.
		     4. DETUNE 0-127.
[this will eat up your polyphony- unless you are a huge fan of the way the prophet does this effect, external effects are probably the better way to go]

         
Arpeggiator  	
                        1. To operate, must either be switched or programmed on.
                        2. ARPEGGIATOR MODE:
                           Ud  Up/Down.
                           UP  Up only.
                           dn  Down only.
                           As  Assignment.
                           rA  Random.
                        (Program on: EXECUTE = "+")
                      3. To play arpeggiator, hold desired keys.
                      4. To latch arpeggiator, press AUX footswitch.
                      5. To instantly change latching, hold new assignment or chord, then press AUX footswitch.
                      6. NUMBER OF OCTAVES 1-3.
                      7. REPEATS PER KEY I - 16, and random.
                      8. RATE:
                           Mi  MIDI Clock Input
                           1   Minimum rate.
                           100 Default.
                           255 Maximum rate. (For values above 199, "+" = "2".)
                      9. TRANSPOSE:
                           nL  Normal.
                           AL  AutoLatch.
                           ET  Extend.
                     10.     SPLIT POINT:
                           "Off", normal or inverted (".") modes.
                           Play desired key to be split point.
                           Press EXECUTE.

[in "assign" mode, the arpeggiator will remember somewhere around 90 notes (in my big manual, I've written "I counted over 80 once", but I'm pretty sure it was 96 when I actually needed to use this) in the order that they are played. so you can use it as a basic monophonic sequencer. 
I sometimes map a silent key* at the bottom end of the keyboard so as to be able to insert "rests" into this sequence, or into any arpeggio. it's tricky to synchronise the arpeggiator with other midi devices using the external clocking, but if the prophet is running on it's internal clock & you slave your external sequencer to it, it's possible to capture & later edit arpeggiated performances. this is particularly seductive!

in "split" mode, it's possible to set the arpeggiator up so that it's always running & is only heard when you play above (or below) the selected "split" key. 
this is handy if you want the arpeggiator to be always running in time with an external clock & to surprise everyone by coming on "automatically" when you select a preset where the split point is somewhere in the middle of your keyboard. 
when you want it to go off again, though, you'll have to set up ALL of the other presets so that the split point is well out of the way. this isn't enough, though- if the arpeggiator had some notes latched when you switched presets, it will carry on running. 
so, assuming you don't want this, all the other presets need to have the arpeggiator mode set to "non-latching" ("normal"- see above). only this combination will shut the arpeggiator up for any given preset, while it's still actually running.
*doesn't have to be an empty memory location- use "relative mix" to turn a sample down in a map.]

KEYBOARD MODES AND MAPPING
Eight-Voice Modes        
                         LO  Left map only.
                         rO        Right map only.
                         SP        Split mode. (Adjust SPLIT POINT.)
                         ME        Merge. Interleaves left and right maps.
                         US        Velocity switch. (Adjust VELOCITY THRESHOLD.)

[you will typically use these modes when the instrument is in midi mode 1 (omni) or 3 (standard midi single channel). the full polyphony is available to the preset provided that "dynamic allocation" is switched on (see below). however, using only one map at a time means that only half of the memory is being used, & so the more attractive map selections in this mode are those that use two maps & some method of switching between them. 

merge requires a degree of forward-planning in placing samples in the best memory locations. for instance, a piano sound will tend to have longer samples at the lower end of the keyboard. in order to make best use of the total memory available, these will have to be placed alternately in "left" & "right" memory locations & addressed by a "merge" keyboard mode that plays from the left & right maps alternately as one moves up the keyboard.  otherwise, you'll use up all of your left-side memory with two long low notes & meanwhile you'll run out of sample locations for the high notes in the right-side of the machine, before the right-side memory is all used.

you're more likely use "split" in the conventional sense of having two different instruments available, rather than to map a single instrument using all of the memory. 
here again, it's important to plan the location of the samples if you want the "left"  & "right" instruments to come from separate left & right outputs into your mixer or recorder; you can switch "dynamic allocation" off  to achieve this, & each instrument will be four-voice polyphonic.

velocity switching between two instruments (quiet & loud versions of the same thing, for instance) is a hard switch, not a crossfade. typically, you'd put the quiet sample in location 1 & the loud counterpart in location 9. 
but see below- the four-voice case is different.]

Four-Voice Modes         
                         LA       Layer.
                         PC       Positional Crossfade. (Adjust SPLIT POINT.)
                         UC       Velocity Crossfade.
                         MC       Mod wheel Crossfade.

[in four-voice mode, polyphony is cut to four. obviously. both "left" & "right" maps are sounding at once.
layer mode plays both maps all the time across the full width of the keyboard maps. I tend to put the two maps on different midi channels to achieve bitimbrality, but you might want to use this to create a pseudo stereo effect by switching dynamic allocation off & playing the same map (or maps that have subtle differences) in both sides of the machine.
the other three modes are reasonably self-explanatory. the mod-wheel crossfade is quite useful so long as you can live without the mod-wheel for modulation!
these modes will interact to some degree with the map balance parameter (see below).]

Velocity Threshold  
                         For Velocity Switch:
                         0   No sensitivity. Default.
                         127   Maximum positive sensitivity. Brings up right map.
         
Split Point            
                          Select SPLIT POINT, play desired key to be split point. Press EXECUTE.
         
Transpose                
                         -12 to +12 semitones. To cancel transposition, set to 0.

Dynamic Allocation       
                         On  More efficient use of voices.
                         Off Strict left/right assignment.

[so... why would you ever want to switch "dynamic allocation" off? with the "split" mode above, or with any keyboard mode that plays two distinct instrument sounds, you might want to keep them on separate audio channels for mixing & so on. the only way to do this is switch "dynamic allocation" off, so that the left map uses the machine's left-side voice channels, & the right map uses the machine's right-side voice channels. each will be 4-voice polyphonic. full polyphony can only be had if "dynamic allocation" is on, but both maps will then be heard randomly through both outputs as the voices are allocated.]

Maps and Keyboard Mode Disable
                     To turn off current mapping and keyboard mode:
                     1. Select SOUND NUMBER.
                     2. Press EXECUTE. (Decimal point lights.)
                        Note:     To hear current mapping and keyboard mode, when SOUND
                        NUMBER is selected decimal point must be off. To hear sounds
                        without mapping, when SOUND NUMBER is selected decimal
                        point must be on.

[this is the most-used function when you are auditioning individual samples loaded in the machine; you will be able to assess their potential for inclusion in a keyboard map- how big are they? how well looped are they? can they be trimmed further or looped better? how far can they be transposed up & down? is the sample rate appropriate? what can be done to them with the analogue controls in row 3 of the matrix? I tend to make a note of the root note & how far a sample can be stretched using this function, then plan the layout of the keyboard map. if there's too much overlap between two samples, I'll delete one of them & stretch the other to fill up the gap. this machine teaches you to use the available memory very carefully....
after an "er"-plagued load from disc, use this mode to determine which samples, if any, are damaged.] 

[this next section is more-or-less a recap of the important tasks, in order, to be performed when building a collection of samples into a map & then a preset. so really it's a list/reminder of what the buttons do without the actual tutorial part. I'll try to fill in some of the gaps.] 
         
Select Maps and Map Balance
         1. With PRESET on, select desired preset number.
[if you're starting from scratch, this will be "1"]
         2. Switch PRESET off.
         3. Select SOUND NUMBER. (If necessary, enable maps and keyboard
            mode.
[you may wonder why... why select the sound number & then immediately go & select something else? it's a good habit to get into- if the machine isn't showing you anything especially useful in it's tiny display, it may as well be showing you the number of the sample currently playing.]
         4. Select SELECT MAPS.
         5. Set map number for left side.
[probably also "1"]
         6. To adjust map number for other side, press EXECUTE and adjust
            value.
[this is going to depend on what keyboard mode you are in, & whether you are trying to create one giant keyboard map by interleaving (merge) or whatever.]
         7. Adjust map balance using BALANCE knob.
[somewhere near the middle!]

Clearing All Sounds from a Map
         Note:     This Clear function resets all global patch scalings to zero.
                     1. Select desired sound and map numbers.
                     2. Select BUILD KEYBOARD MAP.
                     3. Use PARAMETER VALUE or INC/DEC to select "CL" (clear).
                     4. Press EXECUTE.

[keen observers will notice that this has moved up from the bottom of this section; if you are programming a map from scratch, you don't want it to have leftovers from earlier in there, or for any of the global row 3 stuff to be confusing the issue. this clears it all out. so it's the first thing you need to do when building a new map.]

Build Keyboard Map
                    1. Load instrument with desired sounds, or take samples.
[just like that, eh? well, let's assume you have already created, edited & saved some raw samples, or you've found some on a disc.... sampling tutorial comes later.} 
                    2.  Select map number and the first sound number.
[well, if we're really starting from scratch, these will both be "1". remember to clear the map. after you get to step 5 the first time, you come back to this step & select the next sound to go into this map. you work up from the bottom of the keyboard range. it's entirely possible for a single map to use just one sound, or all eight, from the half of the machine's memory it's in.]
                    3.  Select BUILD KEYBOARD MAP. This displays root key name.
                           You may see:
                         --    You can't map a sample which doesn't yet exist.
                         nA    Not allowed. This error occurs if you have set a map
                               number in a different half than the sound number, for
                               example, if you set SOUND NUMBER to 1, and MAP
                               NUMBER to 9. Go back and change one of these to put
                               both on desired memory half.
                    4.  Set "root" key:
                           a) To select octave, use PARAMETER VALUE knob.
                           b) To select semitone, use INC/DEC.
[remember the "maps & keyboard mode disable" above? this is where you need to know where your sample "belongs" on the keyboard & how far it can be stretched. this little table shows you how far above & below it's sampled pitch a sample can be transposed by the 1984 technology in these instruments. note that it's different for different sample rates- I always use 16kHz for this reason, & the fact that the sample has little or no energy above 7kHz has never bothered me. most real instruments don't either, & the ones that do still sound ok coming out of my old 2002!
so here, you are selecting the centre of a sample's active range in this particular keyboard map. selecting the octave gets you in the ball-park, but the inc/dec fine-tuning is what gets your sampled note to land on the right key within that octave. no good having a sampled A landing on a D-flat. the sample will automatically play downwards as far as the left end of it's range (see the table), C0 or the high note set for the next lowest sample in the map, whichever of the three is the higher.
                    5. Press key to be high key in range.
                          Sample            Low      High    Total
                          Rate                 Keys     Keys    Range
                          16 kHz               18       24          43
                          31 kHz               18       12          31
                          42 kHz                23       7           31
[I usually keep playing up the keyboard until the note starts to sound chipmunky-daft-timbre, then back off a few semitones & press "execute". that's that note mapped.
this simple two-push system of note-mapping means that if you change your mind about how chipmunky a note sounds, especially when you've mapped another sample above it & heard the split, you can quickly change the split point by reselecting the lower sample of the two & re-entering it's highest note. the sample above it will automatically be remapped to fill the gap, but without moving off it's own root note.
don't despair if you can't get the split to sound right- so long as the tuning's more or less ok, there are still things we can do to improve matters.]
	            6. To hear map, select MAP NUMBER and play it.
[you'll have to keep dropping in & out of "build keyboard map" to hear the splits, & you'll want to do this as you go along, at least until you gain confidence. the things that will be obvious during such checks are the fine-tuning of the samples, the root notes of the samples, which you will occasionally get wrong, & the timbral changes as you go from the highest transposition of one sample to the lowest of the next.

as you get used to punching around the various adjustments, you will start to make little tweaks to the row 3 (analogue) parameters as you go along. I have found that the filter settings are the most useful for fixing the timbral changes. in particular, you can use the fact that there are settings for each sample in a map, & global settings for the whole map as well. lifting the resonance slightly has the effect of cutting the low frequencies, which is useful as a sample nears the bottom of it's usable range, but tends not to be so obvious higher up. backing off a sample's filter-keyboard-tracking will dull it down just enough to make it match the low end of the next sample up, while the global keyboard tracking can smooth out the bumps. just remember that when the "+" is on, you are editing the map's parameter & not the sample's.
see the following section for details.]
	            7. Repeat this procedure for each sound to be mapped.

Global Patch Scaling
                      The global patch values are used to scale initial sound values by a
                      percentage from 0 to 200%:
                     1.    Select any sound number in desired half.
                     2.    Choose desired maps under SELECT MAPS.
                     3.    Select MAP NUMBER and adjust to desired map number.
                     4.    Press EXECUTE.
                            The decimal point lights. Under these conditions, selecting
                            REVERSE SAMPLE, VELOCITY SAMPLE START POINT, or
                            any parameter in ANALOG row will scale those parameters
                            for all sounds in current map:
                            -127     0% scaling.
                            0        100% scaling. (Default. No change.)
                            +127     200% scaling.
[N.B. the global scaling for the map is more than capable of cancelling out any row 3 settings made for the individual samples; it's possible to get away with seemingly impossible timbral variations by expoiting this interaction, but it's also possible to get into a right mess. if in doubt, clear the map & start again. hopefully after a few goes at this, you'll begin to remember to write down the root & high note settings for each sample in the map you are trying to build. I have sheets of paper still with lists of samples, their sizes, root notes & top notes.....
it's also important to remember that the non-global row 3 settings stay with the sample,  i.e. they are global themselves in the sense that if that sample appears in another map, the same settings will follow it. this means if you make changes to a sound's analogue settings for one map, you could mess up another map you spent ages on. that's why there are "global" settings for each map aswell, really. but this interaction thing is still very useful anyway.]
                            In case of REVERSE SAMPLE (which is an on/off switch, not a
                            value), a zero or a positive value leaves REVERSE SAMPLE as
                            it is set for each sample. A negative value toggles the setting
                            to opposite of its individual value.
                     5.   When done with global scaling, while any analog parameter is
                            selected, you can press EXECUTE to switch decimal point off.
                            Note:     Until you switch global mode off, affected patch
                            parameters will operate globally, rather than on current sound
                            number.

Relative Mix        
         1. Select desired map number.
         2. Select RELATIVE MIX.
         3. While playing in desired sound range, use PARAMETER VALUE
            knob or INC/DEC to adjust volume of range, 0 - 127.

[even in a cleared map, sometimes you won't hear a sample while you are trying to place it in the map. check this adjustment. it is also a very useful way to balance loud & quiet samples without having to re-record them or normalise them externally. one of the tiny bugs fixed in v4 was that samples in sound number 8 were inaudible during map editing. I can't remember if this was why.]

Map Copy
         1. The desired destination must be selected on either side of
            SELECT MAPS.
[he means that there are always two maps visible in "select maps", though they might both be the same one.... the one you want to copy to must be one of them.....]
         2. Select MAP NUMBER and also set to desired destination.
[...& now select the one you want to copy to.]
         3. Select COPY/APPEND and set to desired map source to be
            copied. ("1M" - "GM") You are only allowed to select a map
            number in same half as destination (for example, within numbers
            1-8 or 9-G).
         4. Press EXECUTE. 
 [I use this as a quick way to copy a whole "instrument" & then make some fundamental adjustment to it for use in a different preset. if I wanted to use it how it was, of course, I'd just use the same map in both presets. this is for when you've carefully built, say, a double-bass & now you need to have the whole thing an octave lower to use as part of a split preset with a piano above it. or something.]

Removing One Sound from a Map
                     1. Select desired sound and map numbers.
                     2. Select BUILD KEYBOARD MAP.
                     3. Use PARAMETER VALUE or INC/DEC to select "OF" (off).
                     4. Press EXECUTE.
[I usually start from scratch, but it depends what you're doing.... you might want to consider leaving the sound number where it is in a map, & replacing the sample that corresponds to that sound number, if what you're after is replacing a sound. or you might have made a map & decided that one of the samples is superfluous. when you remove it using this method, the gap "heals up" by dint of the next highest sample being transposed down further than it was. again, this does not affect it's root note. sometimes, this will leave a little hole in the map, which you can fix by adjusting the next lowest sample to have a higher top note, or you can map a new sample into the gap.

SAMPLING
        Basic Sample 

                     1.     Switch PRESET off.
                     2.     Select DELETE.
                     3.     Adjust value to sample number 1 (leaves maps alone), half A, or All
                             (either of which deletes maps as well as samples).
[what is being decided here is whether or not you empty the entire machine or just the sample memory or just one sample location. as you gain experience, you will need to know how to do any of these & when each is appropriate. here, the assumption is that you are starting from scratch. personally, I don't see the need to delete maps when there's an explicit "clear maps" operation you need to do anyway later on, & there's no memory-gain.]
                     4.    Press EXECUTE.
                     5.    Select SOUND NUMBER and set it to 1.
                     6.    While SOUND NUMBER is selected, press EXECUTE, lighting
                            decimal point.
                     7.    Select SIZE and set according to expected length:
                            Sample Time      Number of Blocks
                           1/2 sec	                    16
                           I		                    32
                           2		                    64
                           4    	                            128
[this, of course, is at the default sample rate of 31kHz. & it  is perfectly possibly to choose any number from 1 to 128 or "+56" (256), depending how much memory remains. 
you might want to insert an extra step before step 7 here, & visit the rate parameter. unless you are really experienced, it's probably not a good idea to mix rates within a map.]
                     8.    Press EXECUTE.
                     9.    Select RECORD SAMPLE.
                     10. Play sample source into Prophet 2000/2, observe levels, and adjust
                            to prevent clipping (indicated by four vertical LEDs).
                     11. Lower PARAMETER VALUE knob until "+" lights, then raise it
                            just until "+" goes off. (For manual control, set to minimum.)
                     12. Press EXECUTE. Recording threshold detector is now "armed."
                           (Or, starts manual recording.)
                     13. Play  sample  source.  Prophet  2000/2  starts  recording
                            automatically. During sampling, "S" is displayed. When sampling is 
                            done, "SP" appears.    
                     14. Select SOUND NUMBER and play keyboard
[make sure the "+" is on, so you can hear the sample's whole natural range & identify it's root note & chipmunkiness. you don't want the current map's settings to interfere with this quick check/audition.]
                     15. To re-record, select RECORD SAMPLE, press EXECUTE. Go!
[I usually have the source material on a 1/4" machine for ease of access. I suppose it depends what you are sampling, but 1/4" worked best for me & imparts a nice saturated quality to the sound before it even gets to the sampler, as well as making it easy to resample the sound at any time.
at this point, with one or two satisfactory samples in the machine, & before any trimming or mapping or anything, you may want to save the raw samples onto a disc & keep it somewhere safe, labelled as a source disc. 
what works for me is working up one sample at a time & not doing any saving until I have filled the memory as efficiently as I can. I start with the low notes. I sample them at the lowest sample rate & trim them (next sections), then loop the sustain &/or release stages, then recover the memory from the unused bits of the sample. when I've done two samples, I have a quick go at mapping them, so I know as soon as possible whether I have to find room for more samples in between these two, or change either of them for different notes, closer together or further apart.... you get the idea. when I have a number of decent source samples, & the memory is cleaned up, & maybe there's the beginnings of a map made out of them, I'll save that as a source & continue working with the same samples & map(s), but with a fresh disc ready for when I finish. if I mess up one of the samples I can reload it ("load one sound") from my (write-protected!) source disc. 

                     16. To ensure sample is tuned to A-440, use TUNE SAMPLE.

[better still, keep something handy, like a guitar or piano or another instrument that won't drift out of tune too easily, & use this as a tuning reference. it's very easy to lose track of pitch, even if you are a seasoned player, when you start finding a B-sample sitting under F-sharp, & you start to do things to it's tuning using functions like this. avoid retuning within the sampler if you can. apart from anything else, tuning against A-440 isn't going to help unless it's an A you've sampled & you want it to be an A when you've finished. almost never, is how often that happens. again, someone at SCI must've been fond of the minimoog.
it is, however, important that your samples are in tune with each other, & you can use the tune-sample function to make the odd tiny microtonal tweak. again, avoid this if at all possible, as it can get messy.]

Playback Start and End
                     1.    Select desired sound number.
                     2.    Select START or END.
                            Note:     To hear start and end adjustments, play key repeatedly.
                     3.    Use PARAMETER VALUE knob for coarse adjustment, by memory
                            block. (Cannot cross loop points.)
                     4.    To adjust START or END point to a positive-slope zero-crossing,
                             use INC/DEC.
         
Recover Memory
                       Note:  RECOVER MEMORY is not reversible. It will shorten
                       (truncate) sample in memory to only that segment defined
                        between current playback START and END points.
                     1.    Select RECOVER MEMORY and adjust to sound number of sample
                            to be relieved of unused memory.
                     2.    Press EXECUTE.

[this is where you win back the memory used up by the sampler having started recording before your noise &/or carried on for a bit afterwards. this is inevitable when you have to set the size in advance & by trial&error, & of course it ends up being on the big side.
here's a tip- if you only have a few blocks left & you need to fit in one more tiny high note sample to finish your map convincingly, play the sample in from something you can varispeed, & keep trying it at higher speeds until it fits the remaining memory. then......]

Tune Sample
                      Note:  The sample tuning that you set here can be transposed by
                      octaves and semitones when using BUILD KEYBOARD MAP. (Any
                      fine-tuning adjustments are retained.)
                    1.     Select desired sound number.
                    2.     Select TUNE SAMPLE.
                    3.    To switch internal A-440 reference on and off, press EXECUTE.
                            (If using an external keyboard, hold down the desired key and
                             press EXECUTE.)
                   4.     To adjust level of sample relative to A-440 reference, use
                            VOLUME knob.
                   5.     To select root key at which you want sample to play at its original
                            rate, use PARAMETER VALUE knob only.
                   6.     To fine-tune sample, use INC/DEC.
                      Note:  To hear fine-tune adjustment, hit key repeatedly.
                      Note:  In TUNE SAMPLE, each time you select a different root
                      key with PARAMETER VALUE knob, INC/DEC fine-tuning            
                      automatically resets for no offset.

[sigh. this is one of the few things on the 2000/2002 that I found genuinely frustrating. I think this must do something like resample the sound you are working on, but I can't figure out how. anyway, you can go round in circles with the interaction between changing the root note here & what it does to your maps. & forget about the A-440 reference. 

the fine-tune is useful if, during the building of a map, you discover a microtonal error that wasn't apparent when you made the samples. you'll get this with pianos & some instruments that intonate weirdly or have different temperaments depending on the context in which they are played. you might be sampling a violin or something..... 
anyway. don't change the root note here. don't go down that route (see what I did there?). & use this fine-tuning as a last resort. it's better to have all your samples in tune with each other & with another instrument before you sample them. 
the first time you are repeatedly playing a note in this mode, & jabbing the inc/dec buttons, & the sound suddenly leaps five semitones flat just as you're about to call it in, then you will remember what I've said here.]
         
Sustain Start and Sustain End
                     I.     Select desired sound number.
                     2.    If necessary, disable maps. (Press EXECUTE to light decimal
                            point.)
                     3.    Play desired key.
[quick visit to row 3 is advised here, to make sure you've actually got a sustain happening- turn the amp & filter env sustain controls up or you won't hear any looping.]
                     4.    Select SUSTAIN START or SUSTAIN END.
                     5.    To switch sustain loop on and off, press EXECUTE. (MODE must
                            be forward.)
                     6.    Use PARAMETER VALUE knob for coarse adjustment, by memory
                            block.
                     7.    To adjust SUSTAIN START or SUSTAIN END point to a positive-
                            slope zero crossing, use INC/DEC.
                     8.    To move word-by-word through SUSTAIN START point, hold down
                             switch below it (PRESETS 10) while using INC and DEC.
                     9.    To move word-by-word through SUSTAIN END point, hold down
                            switch below it (PRESETS 11) while using INC and DEC.

[if you have the v4 software, which you can quickly determine by going to "dynamic allocation" & looking for the "FO" forced-outputs option, then there is another stage here which will perform the crossfade loop. this is a destructive operation, which lends my earlier resampling theory some credence..... you do all the work you can on the zero-corssing points, as outlined above, then select "loop mode". you will see "Fo" or "Bf" depending how your loops are set up. the crossfading will happen to the last loop you were tweaking, either sustain or release. if the release loop is in forwards/backwards mode, the sustain loop is disabled anyway. now press "exe" & watch in amazement as the machine does thousands of calculations before returning control to you. the first time you hear a crossfaded loop is likely to be a shock- in my experience, it either nails it right away or screws it up beyond all belief.]
         
Release Start and Release End
                     1.    Select desired sound number.
                     2.     If necessary, disable maps. (Press EXECUTE to light decimal
                             point.)
                     3.    Play desired key.
                     4.    To use release loop as sustain loop (for backward/forward mode),
                            switch sustain loop off.
[what happens here is possibly unique to this sampler. I don't recall seeing this anywhere else, but I may be wrong. in any case, it works for some sounds but not others. again, make a quick trip to row 3 to see that you have some actual sustain & release happening on this sound, or you won't feel the benefit. the forward/reverse loop is especially useful when there isn't much of the sample to get hold of, & separate sustain & release loops would be impracticable, e.g they'd have to overlap or something. the forward/backward loop functions as a sustain loop while you are in the sustain phase, & does exactly what it says.  at the end of the loop, it sets off back again to the beginning of the loop, then starts off forward again. 
without the crossfading, the sudden shift in timbre may be unacceptable, but it depends how naked the sound ends up being in your eventual orchestration or mix. when the key is released, the looping continues as the envelopes close up. unless they are set to a release time of higher than 60. which is infinite. don't do this, put weights on your keys instead.
fwiw, in the full manual, there are over 9 pages of text & a full-page diagram accompanying them to describe how sample looping works in this machine. this doesn't include the crossfading part, & manages to obfuscate the various issues in a way most uncharacteristic of the rest of the publication. so play with it, would be my advice.]

                     5.    Select RELEASE START or RELEASE END.
                     6.    To switch release loop on and off, press EXECUTE.
                     7.    To select backward/forward mode, select MODE and adjust value
                            to "bF". (Sustain loop must be off.)
                     8.   Use PARAMETER VALUE knob for coarse adjustment, by memory
                           block.
                     9.   To adjust RELEASE START or RELEASE END point to a zero-
                           crossing  (forward)  or  zero-slope  (backward/forward),  use
                           INC/DEC.
                     10. To move word-by-word through RELEASE START point, hold
                           down switch below it (PRESETS 12) while using INC and DEC.
                     11. To move word-by-word through RELEASE END point, hold down
                           switch below it (ARP ON/OFF) while using INC and DEC.
                     12. Set envelope generator release times.
         
Combine Samples
                     1.    Select SOUND NUMBER and set to number of sample which will
                             become combined sample.
                     2.    Select COMBINE SAMPLES and set to number of sample to be
                            mixed with current sample.
                     3.    Press EXECUTE. This displays mix value.
                     4.    To mix samples, play keyboard while adjusting BALANCE knob.
                     5.    To record mixture as current sample, press EXECUTE.

[never successfully used this function- even samples very closely related tend to produce unmusical overtones when combined this way. I wouldn't rule it out for creating new timbres though. :-)]

         
Copy/Append          
                     1.      Select SOUND NUMBER and set to desired destination.
                     2.      Select COPY/APPEND and set to desired source.
                     3.      Press EXECUTE.

[again, perhaps others would get more use out of this in the context of sound-creation. I've tended to use this mainly for rescuing damaged samples- if a disc read error leaves you with some precious sample having a huge click in the middle of it, & there's not too much of it missing, & you have no other course of action, then: 
load the bad sample into two locations in an otherwise empty machine.
trim back the end of one to get rid of the click. make sure you use "inc/dec" to set the sample's end at a zero crossing point.
trim back the start of the other copy to beyond the click, same sort of thing.
then use "append" to stitch the bits together.
with a bit of trial&error, you may be able to recover something usable. save it onto another disc.
now load the entire "problem" disc & delete the bad sample. replace the disc with your "another" disc & "load-one-sound" the repaired sample into it's rightful location.
check the presets that use it.
save the whole machine onto your "another disc" & chuck the original, or keep it for emergencies.

Reverse Sample
         
         1.   Select SOUND NUMBER and set to desired (current) sample.
         2.   Select REVERSE SAMPLE.
         3.   Use PARAMETER VALUE knob or INC/DEC to switch between
                forward mode, FO, or reverse mode, rE.
              In reverse, loops trade places.

[whatever decision you make here, it can be undone on a map-by-map basis, & generally that's the better place to reverse a sample anyway. not used this much. see "global patch scaling". if you happen to press "exe" while in this mode, the "+" comes on & all the samples in the current map get reversed. so watch out for that.]
         
Velocity Sample Start Point
         1.    If necessary, select desired sound number.
         2.    Select VELOCITY SAMPLE START POINT
         3.    To switch VELOCITY SAMPLE START POINT on and off, press
                EXECUTE.
         4.    Use PARAMETER VALUE knob for coarse and INC/DEC for fine
                adjustment.

[ahem... less useful than you would think, but it's a great idea & amazing to see it in such an early sampler. basically you can use this to shave a bit of attack off a note so that when you play harder (or quieter, depending which way you send this adjustment), some of the sound's natural attack is removed & it starts more abruptly. used carefully, it can make the sound a little less "sampled" by introducing velocity-dependent variations in an unexpected & sonically obvious place. you might even deliberately engineer things so that your sample has some preamble that you switch on & off using this function.]

ANALOG PARAMETERS
[the row 3 stuff]

             Note:     Remember that presets are constructed from maps, which
             are selections of sounds. Therefore if you change a sound, you
             ultimately change all presets that use that sound.

[so it's important to remember that the non-global row 3 settings stay with the sample.  if you play with the settings here for one sample, the settings will follow that sample into whatever other maps it appears in, & so you can mess up other maps you spent ages making. that said, with the sound's own settings & the map "global" settings, there's plenty of scope.]
  
             Note:     Analog parameters can be controlled individually for each
             sound, or globally, for map. Global scaling is discussed in Section
             5. To toggle individual or global adjustment, press EXECUTE.

[while you are NOT in global mode, it's a good idea to leave row 3 disabled, by reselecting the top left button of the matrix so that the sound-number is displayed. only select row 3 when you are sure what you're doing & want to edit an analogue parameter either of a sound or of the whole map. here's why: when you are editing the analogue parameters using the row 3 functions & you're NOT in global edit mode, the sound you are editing is determined by which keys you are playing. so it's very easy to be playing up & down the keyboard & adjusting the cutoff of (say) sound number 3, & accidentally stray across the split into sound 2's territory, or sound 4's territory, & if you are moving the value knob or pushing "inc/dec" at that moment, you will transfer the current value onto sound 2 (or 4) instead of sound 3.
another tip, if I may- when you've mapped your sounds, & are truly settled on their root notes, ranges & so on, put some little marks on your keyboard so that you know where sound 1 finishes & sound 2 starts, & so on. then you can make the individual analogue tweaks with more confidence.]

Filter         

Cutoff                         0	Minimum cutoff.
                                   127	Maximum cutoff.
Resonance               0    	No resonance.
                                   90    	Approximate onset of oscillation.
                                  127    Maximum resonance.
         
Keyboard Track       0	No keyboard tracking.
                                   31	.5:1 undertracking (higher notes get duller).
                                   63	1:1 tracking (timbre doesn't change).
                                  127	2:1 overtracking (higher notes get brighter).
         
Envelope Amount   +127	Maximum positive envelope.
                                   0	No envelope applied (default).
                                    -127	Maximum negative envelope.
         
Envelope Generators
Attack                        0    Instantaneous.
                                  64    Maximum.
Decay                      1    Minimum.
                                  64    Maximum.
                                  in    Infinite decay.
Sustain                    OF    Sustain off. (ADR)
                                  0    Minimum sustain.
                                 127    Maximum (peak level).
Release                  Same as DECAY.
         
Velocity
 Attack Rate            -127    Maximum negative velocity. When set negative, faster
                                   velocity lengthens attack/decay time.
                                    0    Attack rate not affected by velocity (default).
                                 +127    Maximum positive velocity. When set positive, playing
                                   slower lengthens attack and decay time and playing
                                   faster shortens it.
                                   (Also affects decay time.)
 Release Rate       -127    Maximum negative velocity. When set negative, faster
                                  velocity lengthens release time.
                                    0    Release rate not affected by velocity (default).
                                  +127    Maximum positive velocity. When set positive, playing
                                   slower lengthens release time and playing faster shortens it.

Filter Peak               -127    Maximum negative velocity sensitivity. Playing faster
                                    makes sound duller.
                                    0    No velocity effect (default).
                                  +127    Maximum positive velocity sensitivity. Playing faster
                                    makes sound brighter.
            
Amplifier Peak        -127	Maximum negative velocity sensitivity.
                                    0	No velocity effect on loudness (default).
                                 +127	Maximum positive velocity sensitivity.

MIDI
Modes
                               
   Mode 0               Transmits and receives no channel messages, only System
                                Exclusive and System Real-time messages.
   Mode 1               Transmits on selected channel only. Receives all messages on any
                                channel.
   Mode 3A            Transmits messages exactly like Mode I. Receives same messages
                                as Mode 1, except on base channel only.
   Mode 3B             Transmits/receives left map in selected left MIDI channel.
                                Transmits/receives right map in selected right MIDI channel. All
                                modulation is recognized in left channel only. Right channel
                               ignores MIDI modulation. However, modulation affects all voices
                               (just like wheels). Preset number selections recognized in left
                               channel only.
   Mode 4               All transmission is disabled. Receives only note events. Channel
                                number is equal to number of sound to be played.
   Mode 1.            (Voice Expansion)
                             Transmits same type of messages as Mode I. In expansion mode,
                             no note messages are transmitted until all eight internal voices
                             become occupied. Then, instead of internally "stealing" voices,
                             needed notes are "requested" over MIDI OUT. Local modulation is
                              transmitted as usual. Receives any channel. Unless modulation
                              receive option is disabled, any received modulations are always
                              re-transmitted (echoed).
   Mode 3.A          Transmits exactly like Mode I Expansion. Receives base channel,
                              similarly to Mode 3. Any MIDI received outside of base channel is
                              not re-transmitted.
   Mode 3.B           Similar to Mode 3B. Notes expanding left map appear in left
                             channel. Notes expanding right map appear in right channel. Local
                             modulation is transmitted as usual. Unless modulation receive
                             option is disabled, only modulations received in base channel are
                             re-transmitted. Notes received in left channel play only left map
                             of current preset. Notes received in right channel play only right
                             map. All modulation is recognized in left channel only. Right
                            channel ignores MIDI modulation. However, modulation affects all
                            voices (just like wheels). Preset number selections are recognized
                            in left channel only.
   Mode 4.           Similar to Mode 4, with channelized expansion. Only MIDI IN can
                            be expanded upon. Receives only note events. Channel number is
                            equal to number of sample to be played. Wheels are disabled.

 Channel      
                      Sets left or right channels from I - 16.
                     1. Select MIDI CHANNEL.
                     2. Use PARAMETER VALUE knob or INC/DEC to select desired
                        base channel number.
                     3. To select side being adjusted, press EXECUTE.
                              Display                           Meaning
                        -1 through -16           Base or left MIDI channel.
                        +1 through +16        Right MIDI channel. (Mode 3B only.)
Options
Transmit/Receive
                      To toggle transmit and receive options on or off, use EXECUTE.
                        Display    Meaning
                        Transmit
                          1    MOD wheel transmit.
                          2    PITCH wheel transmit.
                          3    Preset number transmit.
                          4    Pressure transmit (from MOD wheel).
                          Receive
                          5    MOD wheel receive.
                          6    PITCH wheel receive.
                          7    Preset number receive.
                          8    Pressure receive (as MOD wheel).
         
Dumps           When following dump options are selected, pressing EXECUTE will
                        send data described out MIDI:
                        Note:     For increased speed, and error correction, use two cables
                        when dumping samples. All sample dumps are recorded to slave's
                        current SOUND NUMBER and RATE. After rate conversion, it
                        may be necessary to retune sample (using TUNE SAMPLE).
                        dl  Dump sound (sample plus parameters and maps).
                        d2  Dump map analog scalings.
                        d3  Dump  preset  (keyboard  mode,  map selections, performance).
                        While dumping, a "d" is displayed. While receiving, an "r" is
                        displayed.
         
Baud Rate    To change baud rate, select "bA". To switch to high-speed mode,
                         press EXECUTE, which will light "+" sign:
                          bA  Standard baud rate.
                          +bA Double speed.

Arpeggiator Clock Out
                      Switching arpeggiator on transmits a Start message. ARPEGGIATOR
                      RATE controls speed. MIDI clocks are sent at a rate corresponding to
                      96th notes, or six clocks per sixteenth note. Switching arpeggiator off
                      transmits a Stop message. If MIDI Clock In is enabled, MIDI System
                      Real-Time input is echoed.
         
Arpeggiator Clock In
                      To select external MIDI clock input, select ARPEGGIATOR RATE
                      and set to "Mi". Notes are played as sixteenths. If a MIDI Stop
                      message is received, this turns off notes but leaves arpeggiator on so
                      it can be restarted.