E-Mu Proteus User Manual

Proteus operation manual

INTRODUCTION 3

Proteus System ....................................................................................................................... 6

CONNECTION INSTRUCTIONS 7

Basic Setup .............................................................................................................................. 7

Performance Setup ................................................................................................................ 8

Studio Setup ........................................................................................................................... 9

BASIC OPERATION 13

Selecting Presets ................................................................................................................... 14

Selecting MIDI Channels,Volume and Pan ..................................................................... 14

Multi-Timbral Operation .................................................................................................... 15

Master Menu Functions ...................................................................................................... 16

About the Proteus ................................................................................................................ 24

CONTENTS

PROGRAMMING BASICS 27

Modulation ........................................................................................................................... 28

Proteus Modulation Sources .............................................................................................. 29

Envelope Generators ........................................................................................................... 30

Low Frequency Oscillators ................................................................................................. 31

MidiPatch .............................................................................................................................. 32

Keyboard and Velocity Modulation ................................................................................. 33

Key Number ......................................................................................................................... 34

Velocity Curves .................................................................................................................... 34

Realtime Modulation .......................................................................................................... 35

MIDI Realtime Controls...................................................................................................... 36

Stereo Mix Outputs ............................................................................................................. 38

EDIT MENU 41

Enabling the Edit Menu ...................................................................................................... 41

Edit Menu Functions

Preset Name and Keyboard Character Charts ................................................................ 42

Mix Output ........................................................................................................................... 43

Primary Instrument ............................................................................................................. 43

Secondary Instrument ......................................................................................................... 43

Key Range ............................................................................................................................. 43

Primary Key Range ............................................................................................................. 44

Secondary Key Range ......................................................................................................... 45

Volume .................................................................................................................................. 45

Pan ......................................................................................................................................... 45

Coarse Tuning ...................................................................................................................... 46

Fine Tuning........................................................................................................................... 46

Chorus ................................................................................................................................... 46

Delay ...................................................................................................................................... 46

Solo Mode ............................................................................................................................. 47

CONTENTS

Proteus operation manual

Sound Start ........................................................................................................................... 47

Reverse Sound ...................................................................................................................... 47

Alternate Envelope On/Off ............................................................................................... 48

Primary Alternate Envelope Parameters ......................................................................... 48

Secondary Alternate Envelope Parameters ..................................................................... 48

Crossfade Mode ................................................................................................................... 49

Crossfade Direction ............................................................................................................. 50

Crossfade Balance ................................................................................................................ 50

Crossfade Amount............................................................................................................... 51

Cross-Switch Point .............................................................................................................. 51

LFO - Shape and Amount................................................................................................... 51

LFO - Rate and Variation .................................................................................................... 52

Auxiliary Envelope.............................................................................................................. 53

Keyboard and Velocity Modulation Control ................................................................... 54

Realtime Modulation Control ............................................................................................ 55

Footswitch Control .............................................................................................................. 56

MIDI Controller Amount ................................................................................................... 56

Pressure Amount .................................................................................................................. 56

Pitch Bend Range ................................................................................................................. 57

Velocity Curve ..................................................................................................................... 57

Keyboard Center .................................................................................................................. 58

Keyboard Tuning ................................................................................................................. 58

Preset Links .......................................................................................................................... 59

Save Preset ............................................................................................................................ 60

PROGRAMMING PROTEUS 63

Linking Presets ..................................................................................................................... 63

Editing Presets ..................................................................................................................... 64

Proteus Synthesis ................................................................................................................. 66

Using Proteus with a Sequencer ........................................................................................ 68

Using the 32 Channels ........................................................................................................ 70

Using External Processing .................................................................................................. 71

Proteus Patch Sheet ............................................................................................................. 72

REFERENCE SECTION 73

Proteus/1 Factory Presets .................................................................................................. 74

Proteus/1 Instrument Listing ............................................................................................ 76

Proteus/1 Plus 2 Orchestral Presets ................................................................................. 86

Proteus/1 Plus 2 Orchestral Instrument Listing ............................................................. 88

Proteus/2 Factory Presets .................................................................................................. 92

Proteus/2 Instrument Listing ............................................................................................ 94

Proteus/3 Factory Presets ................................................................................................ 104

Proteus/3 Instrument Listing .......................................................................................... 106

LFO, Delay and Envelope Times ..................................................................................... 116

Technical Specifications .................................................................................................... 117

MIDI Specifications ........................................................................................................... 118

INDEX WARRANTY

Proteus operation manual

Introduction

INTRODUCTION

Proteus operation manual

Introduction

INTRODUCTION

POWER

What is

MASTER EDIT DATA VOLUME

C01 Vol127 Pan+0 000 Preset Name

PROTEUS?

CURSORENTER

Proteus is a musical instrument whose sounds are based on actual digital recordings of "real" instruments. In this way the Proteus is very similar to a sampling instrument. With the Proteus, we have done the sampling for you and loaded it with some of the cleanest 16 bit sounds ever sampled.

Proteus begins with sound. Four megabytes (internally expandable to 8 megabytes) of the highest quality 16 bit samples selected from the Emulator III sound library and stored in ROMs for instant access. Everything you need to play and compose in a wide range of contemporary styles. You simply plug in and play.

But this is only the beginning. Proteus gives you the ability to literally take these sounds apart and reassemble them into an almost limitless number of entirely new sounds, combining parts of one sound with another or with any of a selection of digital waveforms also stored on ROM. For example, the attack of a flute can be faded out as a vibe tone is faded in, giving you a completely new sound! The monophonic and true stereo 16 bit samples are arranged into 192 preset locations, 64 of which are user-programmable.

Proteus also features 32 voice polyphony allowing you to take full advantage of its layering capabilities (up to 8 sounds on each key) and its ability to respond multi-timbrally to all 16 MIDI channels makes it ideally suited for multitrack sequencing and composing using a MIDI sequencer.

Other features include 3 stereo outputs for individually processing sounds (also configurable as 6 polyphonic submixes with fully programmable panning), integral sends and returns to allow the addition of external effects units without the need for a separate mixer, user definable alternate tuning, and of course, an extensive MIDI implementation.

Proteus system

Proteus operation manual

THE

PROTEUS

Proteus is organized as shown in the diagram below.

The Preset is a complete set of all program parameters for a complete Proteus sound. There are 192 preset locations in the Proteus.

Presets 0-63 are unalterable factory presets, presets 64-127 are user presets which can be changed, and presets 128-191 are unalterable factory presets.

SYSTEM

INSTRUMENT

PRIMARY

PRESET

SECONDARY

INSTRUMENT

Each preset consists of one or more instruments. An instrument is a complete set of samples or a digital waveform which covers the entire keyboard range. An instrument can be assigned to each of the Primary and Secondary layers of the preset.

The primary and secondary layers are essentially two complete sounds stacked or placed adjacent to each other, and can be switched or crossfaded together in various ways.

Up to four presets can be Linked in order to have more than one preset on the keyboard at a time. The linked presets may overlap each other for layered sounds or be adjacent to each other to create keyboard "splits".

PRESET

PRIMARY

SECONDARY

PRESET

LINK 1

PRIMARY

SECONDARY

PRESET

LINK 2

PRIMARY

SECONDARY

LINK 3

PRESET

PRIMARY

SECONDARY

Proteus operation manual

Connection Instructions - Basic Setup

CONNECTION INSTRUCTIONS

MIDI Controller

(MIDI Keyboard, Sequencer, etc.)

MIDI Out

MIDI

IN OUT THRU

Male RCA plug

Male Phono plug

Aux. or Tape In

SUB 2

Main Outs

Use the Left Main Output

OUTPUTS POWER

SUB 1

LLLR

STEREOMONO

MAIN

Mixer

Amp

Setup #1 BASIC SETUP

for Stereophones

If Proteus does not seem to be responding correctly, make sure that both Proteus and your MIDI Controller are set to the same MIDI channel.

Speakers

Home Stereo

System

Home Studio

System

This diagram shows a typical equipment setup for the Proteus.

MIDI In

- Proteus is controlled by MIDI messages received at the MIDI In connector. Connect the MIDI In of the Proteus to the MIDI Out connector of a MIDI controller such as a MIDI keyboard, MIDI wind controller, or MIDI guitar controller.

Outputs

- Proteus is a high quality, stereo audio device. In order to reproduce its wide dynamic range and frequency response, use a high quality amplification and speaker system such as a keyboard amplifier or home stereo system. A stereo setup is highly desirable because of the added realism of stereophonic sound. Headphones can be used if an amplifier and speaker system is not available. Plug stereo headphones into the Left Main output jack. The Right Main output jack serves as a mono output when the left jack is not plugged in.

Connection Instructions - Studio Setup

Setup #2 STUDIO SETUP

MIDI Controller

(MIDI Keyboard, Sequencer, etc.)

MIDI Out

Proteus operation manual

Computer

Additional

MIDI

MIDI Out

OutInIn

MIDI In

Devices

MIDI In

MIDI Switcher

Out In

MIDI

IN OUT THRU

Out

OUTPUTS POWER

SUB 2

SUB 1

LLLR

Sub 2 Outputs

STEREOMONO

MAIN

Sub 1 Outputs

Main Outputs

MIDI In

- In this setup, Proteus is controlled by MIDI messages received at the MIDI In connector which have been routed by a MIDI switcher. The MIDI switcher allows any MIDI controller such as a MIDI keyboard, MIDI wind controller, or a computer to be easily connected.

MIDI Out

- The MIDI Out jack is normally used to transmit program data

to a computer or other device.

Outputs

- Proteus has three sets of programmable stereo outputs; Main,

Sub 1, and Sub 2. Specific Proteus instruments can be routed to one of these stereo pairs in order to be further processed or mixed separately.

Proteus operation manual

MIDI Controller

(MIDI Keyboard, Sequencer, etc.)

MIDI Out

Connection Instructions- Performance Setup

Setup #3 PERFORMANCE SETUP

Additional

MIDI

Devices

MIDI In

MIDI

IN OUT THRU

Sub Output Return

(To Main Output)

Tip Ring

To Effect From Effect

SEND/RETURN CABLES

SUB 2

LLLR

Send/Return

Effect Device

OUTPUTS POWER

SUB 1

Effect Device

STEREOMONO

MAIN

Send/Return

Main Outputs

MIDI In

- Proteus is controlled by MIDI messages received at the MIDI In

connector. Connect the MIDI In of Proteus to the MIDI Out connector of a MIDI controller such as a MIDI keyboard, MIDI wind controller, or MIDI guitar controller.

MIDI Thru

- The MIDI Thru jack is used to connect additional MIDI

devices onto the MIDI chain. MIDI Thru transmits an exact copy of the messages received at the MIDI In jack.

Outputs

- Each of the Sub 1 and Sub 2 output jacks on the Proteus are

stereo jacks. The tip of each jack (accessed when a standard phone plug is inserted) connects to the left or right output of that group.

Power Up!

Proteus operation manual

If a stereo plug is inserted, the Ring of the stereo plug serves as a signal Return which sums into the Main outputs.

Therefore, the Sub 1 and Sub 2 jacks can serve as effect sends and returns in order to further process selected instruments and then return them to the main mix.

The diagram shows the Sub 1 and Sub 2 jacks being used as send/returns in order to further process selected Proteus instruments without using the effects bus on the mixing board. In a pinch, the effect returns could also be used to sum additional instruments into the main outputs of the Proteus.

Proteus Output Section

L Bus

R Bus

Tip

RL RL RL

The Sub 1 and Sub 2 jacks can be used as effect returns to the Main Outputs.

Tip

Ring

SUB 2 SUB 1 MAIN

Ring

Tip

Ring

Tip

Tip Tip

Ring

POWER UP!

The power switch is located on the left side of the front panel. The Proteus and its MIDI controller may be turned on in any order. When power is applied, the liquid crystal display will light, indicating that the Proteus is operating. You may have noticed that there is no 110/220 Volt power selector switch on the Proteus.

Proteus automatically switches itself for 110 or 220 Volt operation.

Proteus operation manual

Basic Operation

BASIC OPERATION

Proteus operation manual

MAIN CONTROLS

Main Controls

BASIC OPERATION

MIDI

ACTIVITY

POWER

POWER SWITCH

MASTER MENU

SELECT

■

Power Switch

■

MIDI Activity LED

■

Master Menu Select Button

EDIT MENU

SELECT

MASTER EDIT DATA VOLUME

- Switches AC power to the Proteus ON and OFF.

- Indicates that MIDI data is being received.

C01 Vol127 Pan+0 000 Preset Name

DISPLAY

ENTER

BUTTON

- The Master menu contains parameters

CURSOR

CONTROL

CURSORENTER

DATA ENTRY

CONTROL

VOLUME

CONTROL

that affect the entire machine, not just certain presets. An illuminated LED above the button indicates that you are in the Master menu.

■

Edit Menu Select Button

- The Edit menu is used when you want to

change parameters of a preset. An illuminated LED above the button indicates that you are in the Edit menu.

■

Enter Button

- The Enter button is used to initiate a particular operation

within the Proteus. The red LED above the enter button flashes to let you know that the Proteus is waiting for your response.

■

Cursor Control

- This button moves the cursor to the next parameter

on the display. (The cursor is a little flashing line underneath one of the parameters in the display.) Press the cursor control repeatedly until the cursor is underneath the desired parameter. The cursor can also be moved bidirectionally using the data entry control while the cursor select button is being held down (i.e. Press and hold the cursor button and turn the data entry knob).

■

Data Entry Control

- The data entry control is a stepped, variable

control which is used to change parameter values. The control increments or decrements the current value one unit with each click.

■

Volume Control

- This is the master volume control for all audio

outputs. Note: For maximum dynamic range, set this control at full level.

Preset Selection

BASIC OPERATION

MIDI CHANNEL SELECTION

Press the cursor key repeatedly until the cursor is underneath the channel number. (The cursor is a little flashing line underneath one of the parameters in the display.) Rotate the data entry control to select MIDI channel 01-16. As the channel is changed, the display will change to show

■

If your Proteus is not responding properly or plays the wrong preset, make sure that Proteus and your MIDI controller are set to the same MIDI channel and that the MIDI Volume is turned up.

the preset, volume and pan associated with the displayed channel.

1 Vol127 Pan+0

000 Preset Name

Proteus operation manual

For more information about MIDI, see MIDI Realtime Controls on page 36.

PRESET SELECTION

Press the cursor key repeatedly until the cursor is underneath the preset number. (The cursor is a little flashing line underneath one of the parameters in the display.) As the data entry control is rotated, the preset number and name will change. The displayed preset will be assigned to the displayed MIDI channel. Preset numbers range from 000 to 191 on a standard Proteus or from 000 to 383 on the Proteus XR.

C01 Vol127 Pan+0 00

0 Preset Name ÷ Preset Information

÷ MIDI Channel Parameters

CHANNEL VOLUME

Press the cursor key repeatedly until the cursor is underneath the volume value. Rotate the data entry control to select volume 00-127. (This is the same parameter as MIDI volume control #7, and changes made over MIDI will be shown in the display.)

■

Channel Pan should normally be set to "P" unless realtime control of panning is desired. This will allow the pan settings programmed for each preset to be used.

CHANNEL PAN

Press the cursor key repeatedly until the cursor is underneath the pan value. Rotate the data entry control to select pan values -7 to +7 or “P”. When “P” is selected, the pan value specified in the preset is selected. Any other value will override the pan parameter in the preset. (This is the same parameter as MIDI pan control #10, and changes made over MIDI will be shown in the display.)

Proteus operation manual

Multi-Timbral Operation

BASIC OPERATION

MULTI-TIMBRAL OPERATION

Multi-timbral operation means that the Proteus can play more than one sound at the same time. To access multiple presets on different MIDI channels simultaneously, follow these instructions:

1. Set the MIDI mode to MULTI-Mode, using the MIDI mode function in the Master menu (page 18).

2. Decide which MIDI channels you wish the Proteus to receive, and turn all other channels OFF using the MIDI Enable function in the Master menu (page 19). Up to 16 channels can be selected simultaneously!

3. Select the desired preset for each of the MIDI channels you wish the Proteus to receive using the MIDI Channel/Preset selection screen (see previous instructions).

4. Proteus will now respond multi-timbrally on the MIDI channels you have specified. The volume and pan position parameters can be adjusted over MIDI (for each MIDI channel) or using the Cursor and Data Entry control in the MIDI Channel/Preset selection screen.

Channel 01

Channel 02

Channel 03

Volume

Pan

Volume

Pan

Volume

Pan

PRESET

Channel 16

Each of the 16 MIDI channels can be assigned to play a specific preset in Proteus.

Volume

Pan

PRESET

Master Menu

MASTER MENU

The Master menu contains functions that affect the overall operation of the Proteus. For example, changing the Master Tune will change the tuning of all the presets, not just the one currently displayed.

To enable the Master menu: Press the Master key, lighting the LED. The current screen will be the one most recently selected since powering up the Proteus. The cursor will appear underneath the first character of the screen heading on line one.

To select a new screen: Press the cursor key repeatedly (or hold the cursor key while turning the data entry control) until the cursor is underneath the screen title heading. Rotate the data entry control to select another screen.

Proteus operation manual

To modify a parameter: Press the cursor key repeatedly (or hold the cursor key while turning the data entry control) until the cursor is underneath the parameter value. Rotate the data entry control to change the value.

To return to Preset Select mode: Press the Master key, turning off the LED.

MASTER MENU FUNCTIONS

MASTER TUNE

Master Tune adjusts the overall tuning of all presets so that the Proteus ± 1 semitone in 1/64th semitone increments. A master tune setting of "00" would indicate that the Proteus is perfectly tuned to concert pitch (A=440 Hz).

can be tuned to other instruments. The master tuning range is

MASTER TUNE +63

Proteus operation manual

TRANSPOSE

This function transposes the key of the Proteus in half-step intervals. The transpose range is ± 12 semitones or one octave.

TRANSPOSE +12 semitones

GLOBAL BEND

This function sets the range of the pitch wheel only when it is routed to control pitch. The maximum pitch bend range is ± 12 semitones. This function only affects presets which have their individual pitch bend range set to global.

Transpose

MASTER MENU

GLOBAL BEND +- 12 semitones

GLOBAL VELOCITY CURVE

Incoming velocity data can be modified by a velocity curve in order to provide different types of dynamics in response to your playing or to better adapt to a MIDI controller. This function allows you to select one of the four velocity curves or leave the velocity data unaltered (off). Global velocity curve only affects presets which have their individual velocity curve set to global. For more information on the velocity curves, see page

57.

GLOBAL VEL CURVE 4

Mix Output

MASTER MENU

Proteus operation manual

MIX OUTPUT

This function allows you override the output assignments made in each preset and instead assign the outputs according to MIDI channel. This also allows you to change the output assignment of the factory presets. For each of the 16 MIDI channels, you can select the Main, Sub 1, or Sub 2 outputs, or "P". When "P" is selected, the output assignment selected in the preset is used. If no plugs are inserted into the sub outputs, the audio will be automatically directed to the main outputs.

MIX OUTPUT channel 01:P

▼

Warning: Presets will not be transferred between two Proteus' unless the ID numbers of both units match.

MIDI MODE

This function selects one of the four MIDI modes and the MIDI system exclusive ID number.

■ Omni mode - Proteus responds to note information on all MIDI channels and plays the preset currently displayed in the main screen.

■ Poly mode - Proteus only responds to note information received on the currently selected MIDI channel (on the preset selection screen) and plays that channel’s associated preset.

■ Multi mode - Proteus responds to data on any combination of MIDI channels and plays the specific preset associated with each of the MIDI channels.

■ Mono mode - Proteus responds to data on any combination of MIDI channels but plays each channel monophonically. If a new note on a channel is played before the last note is released, the envelopes will not be retriggered (legato). Mono mode is particularly useful with alternate controllers such as MIDI guitars, etc.

■ ID number - This function allows an external programming unit to distinguish between multiple Proteus units. In the case of multiple Proteus units, each Proteus should have a different ID number.

MIDI MODE ID Omni 00

Proteus operation manual

MIDI Mode Change

MIDI MODE CHANGE

This function selects whether or not MIDI mode change commands are accepted or ignored when received over MIDI (see MIDI Mode).

MIDI MODE CHANGE Disabled

MIDI OVERFLOW

When on, if you play more notes than the Proteus has channels (32), the additional note data will be directed out the MIDI Out port to a second Proteus or other MIDI device. MIDI Overflow can be turned On or Off.

MASTER MENU

MIDI OVERFLOW Off

MIDI ENABLE

When in MIDI Multi mode, this function lets you turn each MIDI channel On or Off. This is useful when you have other MIDI devices connected and do not want the Proteus to respond to the MIDI channels reserved for the other devices. MIDI Enable only operates in Multi Mode.

MIDI ENABLE channel:01 On

PRESET CHANGE

This function lets the Proteus utilize or ignore incoming MIDI preset change commands for each channel. Note that MIDI can only select presets 000-127. Presets 128-191 can either be selected manually or over MIDI using the mapping function "MIDI PROGRAM ➙ PRESET".

PRESET CHANGE channel:01 On

MIDI Controller Assign

MASTER MENU

Some of the standard MIDI Controller numbers are listed below.

1 - Modulation Wheel or

Lever 2 - Breath Controller 3 - Pressure: Rev 1 DX7 4 - Foot Pedal 5 - Portamento Time 6 - Data Entry 7 - Volume 8 - Balance 9 - Undefined

10 - Pan

Proteus operation manual

MIDI CONTROLLER ASSIGN

The Proteus allows you to assign up to four realtime control sources from your MIDI controller. These control sources could be modulation wheels, data sliders or whatever. In this screen, you set up which controllers will be received by the Proteus. What effect the controller will have is programmed separately for each preset. The Proteus MIDI controllers are each assigned a letter, A-D. Each controller letter can be assigned to a MIDI realtime controller from 01-31. Note: If controller numbers 7 or 10 are selected, they will override the standard MIDI volume and pan control routings. For more information, see MIDI Realtime Controls in the Programming Basics section.

CONTROLLER # A:01 B:02

Next Screen:

CONTROLLER # C:03 D:04

Some of the standard MIDI switch numbers are listed below.

64 - Sustain Switch

(on/off)

65 - Portamento Switch

(on/off)

66 - Sostenuto (chord

hold, on/off) 67 - Soft Pedal (on/off) 69 - Hold Pedal 2 (on/off)

MIDI FOOTSWITCH ASSIGN

Like the MIDI Controllers, 3 MIDI footswitches can be assigned to MIDI footswitch numbers. Footswitches can be assigned numbers from 64-79. Destinations for the footswitch controllers are programmed in the Edit menu.

FOOTSWITCH # 1:64 2:65 3:66

Proteus operation manual

Selected Program

0 1 2 3 4 5 6 7 8 9

00 01 02 03 04 05 06 07 08 09

44 191 50 01 15 88 151 78 99 88

34 73 106 55 43 75 120 121 180

30 31 32 33 34 35 36 37 38 39

40 41 42 43 44 45 46 47 48 49

50 51 52 53 54 55 56 57 58 59

60 61 62 63 64 65 66 67 68 69

70 71 72 73 74 75 76 77 78 79

80 81 82 83 84 85 86 87 88 89

90 91 92 93 94 95 96 97 98 99

100 101 102 103 104 105 106 107 108 109

110 111 112 113 114 115 116 117 118 119

120 121 122 123 124 125 126 127

MIDI Footswitch Assign

MASTER MENU

Mapped

Program

This chart shows how MIDI preset changes can be re-mapped. In this example, program changes 10-29 have been re-mapped. All other programs will be selected normally.

MIDI PROGRAM ➔PRESET

Incoming MIDI program changes can be “mapped” to call a different numbered preset. This is a handy feature when you want a specific preset number sent from the master synth to be linked with a specific preset on the Proteus. Simply selecting a preset on the master synth will automatically call up the proper Proteus preset. Any of the presets in the Proteus can be mapped to any incoming MIDI program change number. This feature also allows you to call up the presets 128-383, which are not normally accessable over MIDI.

MIDI PROG>PRESET 000 > 000

Send Preset Data

MASTER MENU

To Record MIDI Data into a Sequencer:

1. Setup sequencer to receive system exclusive data.

2. Place sequencer into record mode, then Send Preset Data.

To Receive MIDI Data from a Sequencer:

1. Simply play back the sequence into Proteus.

Proteus operation manual

SEND MIDI DATA

This function will send MIDI System Exclusive data to the MIDI Out port of the Proteus. The MIDI data can either be sent to a computer/sequencer or to another Proteus. Using the cursor key and the data entry control, select the type of MIDI data you wish to transmit. The choices are:

Master Settings: Transmits all parameters in the Master menu except

tuning table, program/preset map and viewing angle.

Program/ Preset Map: Transmits only the program/preset map. Tuning Table: Transmits only the user tuning table. Factory Presets: Transmits all the factory presets. User Presets: Transmits all the user presets. Any Individual Preset: Transmits only the selected preset.

■

The Preset, Volume, and Pan information for all 16 channels is included when the Master settings are transmitted or received.

▼

Warning: When transferring SysEx data from one Proteus to another, the ID numbers of both units must match.

Application:

The user key tuning can be used to tune individual percussion instruments.

The Enter LED will be flashing. Press the Enter button to confirm the operation. To receive MIDI data, simply send the MIDI data into Proteus from another Proteus or your sequencer.

SEND MIDI DATA 000 Stereo Piano

USER KEY TUNING

In addition to standard twelve tone equal temperament, the Proteus contains four additional preset tuning tables (Just C, Vallotti, 19 tone, and Gamelan) and one user definable tuning. User Key Tuning allows you to alter the parameters of the user definable tuning stored in memory. The initial frequency of every key can be individually tuned, facilitating the creation of microtonal scales. Using the cursor key and the data entry control, select the key name, the MIDI key number and the fine tuning. The key name is variable from C-2 to G8. MIDI key number is variable from 0 to 127. The fine tuning is variable from 00 to 63 in increments of 1/64 of a semitone (approx. 1.56 cents). For each preset, the specific tuning table is selected in the Edit menu.

USER KEY TUNING Key:C1 036.00

Proteus operation manual

MIDI Key #

Key

Name

0 1224364860728496108120127

C-2 C-1 C0 C1 C2 C3 C4 C5 C6 C7 C8

Proteus Keyboard Range

= Standard 5 Octave Keyboard Range

User Key Tuning

MASTER MENU

VIEWING ANGLE

This function allows you to change the viewing angle of the display so that it may be easily read from either above or below. The angle is adjustable from +7 to -8. Positive values will make the display easier to read when viewed from above. Negative values make the display easier to read from below.

VIEWING ANGLE +7

DEMO SEQUENCE

Proteus contains a play-only sequencer in order to give you an idea of what is possible using this amazing machine. Press the cursor switch to move the cursor to the bottom line of the display. The Enter LED will begin flashing. Press the Enter switch to start the sequence. The Enter LED will be lit and the bottom line of the display will change to "Stop". Pressing the Enter button again will stop the sequence.

DEMO SEQUENCE Start Sequence

About Proteus

Proteus operation manual

about

PROTEUS

Proteus, unlike most synthesizers, utilizes digital recordings of real instruments for the basis of its sound. This is similar to a tape recorder except that in the Proteus, the sounds are permanently recorded on digital memory chips.

To perform this modern miracle, sounds and instrument waveforms are first sampled into the Emulator III, our top of the line, 16 bit stereo digital sampler. After the sounds and waveforms have been truncated, looped and processed, they are “masked” into the Proteus ROM (Read Only Memory) chips.

Conceptually, the sampling process is very simple, as shown in the Basic Sampling System diagram. As a sound wave strikes the diaphragm of a microphone, a corresponding voltage is generated. To sample the sound, the voltage level is repeatedly measured at a very high rate and the voltage measurements are stored in memory. To play the sound back, the numbers are read back out of memory, converted back into voltages, then amplified and fed to a speaker which converts the voltage back into sound waves. Of course, playing back 32 channels at different pitches tends to complicate matters, but this is basically how it works. In Proteus, we have left out the Analog/Digital converter stage since the sounds are already sampled for you.

Analog/Digital Converter

1011001

Basic Sampling System

Memory

10100101001 01010010100 10101010100 10101001010

-3V

Digital/Analog Converter

1011001

-1V -2V3V-1V-2V3V1V

Amplifier

Proteus operation manual Programming Basics

PROGRAMMING BASICS

Proteus operation manual

General Information

PROGRAMMING BASICS

Your initial involvement with the Proteus will most likely consist of using the existing presets and selecting MIDI channels. While the factory presets are very good, there are probably some things you would like to change, perhaps the LFO speed, or the attack time. You may also want to make your own custom presets using complex modulation routings. Entirely new sounds can be created by combining the attack portion of one sound with the body of another sound or by combining the digital waveforms with sampled sounds. There are 64 user locations (64-127) available to store your own creations or edited factory presets. Best of all, it’s easy to edit or create new presets using the edit menu.

Presets can be made up of both a primary and secondary instrument. Presets can also be “linked” with up to 3 additional presets to create layering or splits.

One way to create a keyboard split is assign an instrument to a specific range and then link it to other presets which fill in the empty keys. Using a combination of 4 linked presets and the primary and secondary instrument ranges, up to 8 keyboard splits can be produced. If linked presets overlap on the same keyboard range, the presets will be doubled or stacked.

LINK

PRESET #1

Key Range

PRESET #2

Key Range

CREATING A SPLIT KEYBOARD

Key Range

PRESET #1

LINK

PRESET #2

LAYERING TWO PRESETS

These diagrams show how keyboard splits and layers can be created by linking presets. Remember that each preset can consist of both a primary and secondary instrument.

PROGRAMMING BASICS

Proteus has an extensive modulation implementation using two multiwave LFO’s (Low Frequency Oscillators), two envelope generators and the ability to respond to multiple MIDI controllers. You can simultaneously route any combination of these control sources to multiple destinations.

MODULATION

Modulation means to dynamically change a parameter, whether it be the volume (amplitude modulation), the pitch (frequency modulation), or whatever. Turning the volume control on your home stereo rapidly back and forth would be an example of amplitude modulation. To modulate something we need a modulation source and a modulation destination. The source is your hand turning the knob, and the destination is the volume control. If we had a device that would automatically turn the volume control, we would also call that device a modulation source. The Proteus is designed so that for each of the variable parameters, such as the volume, there is an initial setting which can be changed by a modulation source. Therefore in the case of volume, we have an initial volume and we can change or modulate that volume with a modulation source. Two main types of modulation sources on the Proteus are Envelope Generators and Low Frequency Oscillators. In the example above, an envelope genera- tor could be routed to automatically turn the volume control as programmed by the envelope. Or, a low frequency oscillator could be routed to automatically turn the volume control up and down in a repeating fashion.

Proteus operation manualModulation

Turning the volume control back and forth on your home stereo is an example of Amplitude Modulation.

Proteus operation manual Modulation Sources

PROGRAMMING BASICS

MODULATION SOURCES

The Proteus uses three kinds of modulation sources.

KEYBOARD and VELOCITY MODULATION

■

Values which are generated at the start of a note and do not change during the note.

Keyboard Key

Key Velocity

■

REALTIME MODULATION

Values which can be continuously changed during the entire duration of the sound.

Pitch Wheel

Miscellaneous Controllers (4)

Keyboard Pressure (mono aftertouch)

key is initially pressed.

Polyphonic Key Pressure

generating polyphonic pressure data.

Low Frequency Oscillators (2)

- Which key is pressed.

- How hard the key is pressed.

- A synthesizer pitch bend wheel.

- Any type of MIDI controller data.

- Key pressure applied after the

- Pressure from a controller capable of

- Generate repeating waves.

Envelope Generators (2)

changes over time when a key is pressed.

■

FOOTSWITCH MODULATION

Changes a parameter when one of the three footswitches are pressed. The footswitches can be programmed to switch: Sustain (pri/sec/both), Alternate Volume Envelope (pri/sec/both), Alternate Volume Release (pri/sec/both), or Cross-Switch between the primary and secondary instruments.

- Generate a programmable “contour” which

Envelope Generators

PROGRAMMING BASICS

ENVELOPE GENERATORS

An envelope can be described as a “contour” which can be used to shape the sound in some way over time. Each channel of the Proteus contains two envelope generators. One of the envelope generators, the Alternate Volume Envelope, controls the volume of the primary or secondary instrument and has 5 stages, Attack, Hold, Decay, Sustain, and Release.

Percussion

The other envelope, the Auxiliary Envelope, can be routed to any realtime control destination and is a general purpose envelope. The Auxiliary Envelope has 6 stages: Delay, Attack, Hold, Decay, Sustain, and Release. The Envelope parameters can be described as follows:

Proteus operation manual

Organ

String

Plucked

■

The generalized envelope shapes of a few types of sounds are shown above.

■ Delay - The time between when a key is played and when the attack phase begins.

■ Attack - The time it takes to go from zero to the peak (full) level.

■ Hold - The time the envelope will stay at the peak level before starting

the decay phase.

■ Decay - The time it takes the envelope to go from the peak level to the sustain level.

■ Sustain - The level at which the envelope remains as long as a key is held down.

■ Release - The time it takes the envelope to fall to the zero level after the key is released.

level

time

key down

key released

Proteus operation manual

level

time

AHR

AHDSRS and LFOs

PROGRAMMING BASICS

key down

If the key is released during the Hold (H) phase, the Release (R) phase begins.

key released

LOW FREQUENCY OSCILLATORS (LFOs)

A Low Frequency Oscillator is simply a wave which repeats at a slow rate. The Proteus has two multi-wave LFOs for each of its 32 channels. The LFO waveforms are: Triangle, Sine, Square, Sawtooth, and Random, which is a random “sample and hold” type of wave. By examining the diagram of the LFO waveforms, you can see how the LFO will affect a modulation destination. Suppose we are modulating the pitch of an instrument. The sine wave looks smooth, and will smoothly change the pitch. The square wave changes abruptly, and will abruptly change the pitch from one pitch to another. The sawtooth wave smoothly decreases, then abruptly changes back up. The sound’s pitch will follow the same course. Controlling the pitch of an instrument is an easy way to hear the effects of the LFO waves.

Triangle

Sine

Square

Sawtooth

Random

Modulation "Patching"

PROGRAMMING BASICS

When the amount of an LFO is a negative value, the LFO shape will be inverted. For example, inverting the sawtooth wave produces a wave that smoothly increases, then instantly resets down.

Proteus operation manual

Negative Amount

Sawtooth

Inverted Sawtooth

MIDIPATCH

Connecting a modulation source to a destination is called a patch. Proteus lets you connect the modulation sources in almost any possible way to the modulation destinations. You can even modulate other modulators. Each patch also has an amount parameter which determines “how much” modulation is applied to the destination. The modulation amount can be positive or negative and will either add or subtract from the initial value. Keyboard and velocity sources can be simultaneously patched to any 6 of the 33 destinations for each preset. Realtime modulation sources can be simultaneously patched to any 8 of the 24 destinations for each preset.

Amount +/-

Modulation

Source Destination

LFO 1

Primary

Level

Sources

LFO 1 LFO 2

Aux Env

Wheel

Pressure

MIDI

etc.

Destinations

Pitch

X-Fade

Level LFO Amt. LFO Rate

Attack

etc.

Proteus operation manual

Modulation Chart

PROGRAMMING BASICS

Primary

Instrument

Pitch

Secondary Instrument

Pitch

LFO 1

Amount Freq.

Sample

Start

Sample

Start

LFO 2

Amount Freq.

KEYBOARD

CENTER

KEY NUMBER

Tone

X-Fade

DCA Pan

Volume AHDSR

Atk Dec Rel

Level

DCA

Level

Volume AHDSR

Atk Dec Rel

VELOCITY

CURVE

Pan

VELOCITY

Auxiliary

DAHDSR

AmtAtk Dec Rel

Keyboard and Velocity Modulation Sources

KEYBOARD and VELOCITY MODULATION

The Keyboard and Velocity Modulation diagram shows the possible routing of Key Number (which key is pressed), and Velocity (how hard the key is pressed). These modulation sources can control any of the destinations indicated by the small arrows. A modulation source can control up to six destinations or one destination can be controlled by up to six modulation sources. The possible modulation routings are completely flexible as shown in the example above.

Modulation Sources:

Key Number and Key Velocity

Destinations:

Pitch, Primary Pitch, Secondary Pitch, Volume, Primary Volume, Secondary Volume, Attack, Primary Attack, Secondary Attack, Decay, Primary Decay, Secondary Decay, Release, Primary Release, Secondary Release, Crossfade, LFO 1 Amount, LFO 1 Rate, LFO 2 Amount, LFO 2 Rate, Auxiliary Envelope Amount, Auxiliary Envelope Attack, Auxiliary Envelope Decay, Auxiliary Envelope Release, Sample Start, Primary Sample Start, Secondary Sample Start, Pan, Primary Pan, Secondary Pan, Tone, Primary Tone, Secondary Tone

Off,

PROGRAMMING BASICS

KEY NUMBER

The Key Number is affected by the Keyboard Center parameter which can be set to any key from A-1 to C7. The keyboard center establishes a reference point for keyboard modulation; keys above this point will have a positive value, while keys below it will be negative. For example, if we wished to change the volume of an instrument using key number and the key center were set to middle C, the instrument would get progressively louder above middle C and progressively softer below middle C.

KEY CENTER

Proteus operation manualKey Number

VELOCITY CURVES

Incoming velocity values can be scaled by one of the four velocity curves in order to match your playing style or better adapt to the MIDI controller. Experiment with the four curves to find the one that works best for your style and MIDI controller.

140

120

100

0 102030405060708090100

Curve 1

140

120

100

0 102030405060708090100

Curve 2

Curve 3

140

120

100

0 102030405060708090100

Curve 4

140

120

100

0 102030405060708090100

Proteus operation manual

Realtime Modulation

PROGRAMMING BASICS

AmtAtk Dec Rel

AUXILIARY ENVELOPE

PITCH WHEEL

Primary

Instrument

Pitch

Secondary Instrument

Pitch

LFO 1

Amount Freq.

MONO

PRESSURE

X-Fade

LFO 2

Amount Freq.

POLY

PRESSURE

DCA Pan

Level

DCA

Level

MIDI

CONTROLLER

A/B/C/D

Volume AHDSR

Atk Dec Rel

Volume AHDSR

Atk Dec Rel

LFO 1

Pan

LFO 2

Auxiliary

Envelope

(DAHDSR)

Realtime Modulation Sources

REALTIME MODULATION

In addition to keyboard and velocity modulation, Proteus has multiple realtime modulation sources. Realtime modulation sources are parameters which vary over time. The velocity and keyboard modulations, in comparison, are set at the key depression. The realtime modulation sources can control any of the destinations except Sample Start, Tone and Pan as indicated by the small arrows. A modulation source can control up to eight destinations or one destination can be controlled by up to eight modulation sources. The possible modulation routings are completely flexible as shown in the example above.

Modulation Sources:

Pitch Wheel, MIDI Control A, MIDI Control B, MIDI Control C, MIDI Control D, Mono Pressure, Polyphonic Pressure, LFO 1, LFO 2, Auxiliary Envelope

Destinations:

Off, Pitch, Primary Pitch, Secondary Pitch, Volume, Primary Volume, Secondary Volume, Attack, Primary Attack, Secondary Attack, Decay, Primary Decay, Secondary Decay, Release, Primary Release, Secondary Release, Crossfade, LFO 1 Amount, LFO 1 Rate, LFO 2 Amount, LFO 2 Rate, Auxiliary Envelope Amount, Auxiliary Envelope Attack, Auxiliary Envelope Decay, Auxiliary Envelope Release

PROGRAMMING BASICS

MIDI REALTIME CONTROLS

The MIDI realtime controllers may seem confusing at first, but they are really very simple to understand. You probably already know that there are 16 MIDI channels that can be used. Each of the 16 MIDI channels uses basically 3 types of messages; note on/off, program changes, and continuous controller messages.Your MIDI keyboard, in addition to telling Proteus which note was played, may also send realtime control information, which simply means occuring in real time or live. (You may be using a MIDI device other than a keyboard, but for simplicity's sake we'll presume that you're using a keyboard.) Realtime control sources include such things as pitch wheels or levers, modulation wheels or levers, control pedals,

MIDI wind controllers may work better if you assign one of the MIDI A, B, C, D controllers to control volume. This will allow the MIDI volume to be added to the current volume.

aftertouch, etc. and are used to add more expression or control. Your MIDI keyboard sends out realtime controller information on separate channels called continuous controller channels. There is a set of 32 continuous controller channels for each of the 16 MIDI channels. Some of the controller channels, such as pitch wheel, volume, and pan have been standardized. For example, volume is usually sent on continuous controller channel #7.

Proteus operation manualMIDI Realtime Controllers

MIDI

Channel 1

Note

On/Off

Program

Change

Continuous

Controllers

MIDI

Channel 2

Note

On/Off

Program

Change

Continuous Controllers

MIDI

Channel 3

Note

On/Off

Program

Change

Continuous

Controllers

MIDI

Channel 16

Note

On/Off

Program

Change

Continuous

Controllers

Common realtime controllers such as the pitch wheel, volume, pan and pressure are pre-programmed to their proper destinations. Your keyboard may have other realtime controls such as a control pedal or data slider which can also be programmed to control most of the parameters on Proteus.

The Proteus is equipped with a sophisticated MidiPatch

™ system, which

allows you to route any continuous controller to any realtime modulation destination. The MidiPatch system is also very easy to use. First, you must know which controller numbers your keyboard can transmit.

Proteus operation manual

MIDI Realtime Controllers

PROGRAMMING BASICS

Let's say for instance, that you are using a Yamaha DX7 as your master keyboard. The DX has pitch and mod. wheels, a breath controller, a data slider and a foot pedal, all of which transmit their values over MIDI. The standard MIDI controller numbers for the controls are listed below (the pitch wheel has a dedicated controller, PWH). First, we would go to the Master menu, MIDI Controller Assign and define the 4 MIDI controllers that we wish to use. Assign each controller number to one of the letters A-B-C-D.

01 - Modulation Wheel A 02 - Breath Controller B 04 - Foot Pedal C 06 - Data Entry D

To complete the connections for a particular preset, go to the Edit menu, Realtime Control, and route the MIDI A, B, C, D to the desired destinations. These could be patched to any 4 destinations or even to the same destination. The MIDI Controller Amount menu, (in the Edit menu) allows you to scale the amounts of each of the controllers by a positive or negative value. The signal flow is shown in the diagram below.

Standard MIDI Controller Numbers:

1- Modulation Wheel 2- Breath Controller

Pressure Rev 1 DX7

3 4- Foot Pedal 5- Portamento Time 6- Data Entry 7- Volume 8- Balance 9- Undefined 10- Pan

MIDI

Master Menu

0 1

MIDI

2 3

Controller

0 1

MIDI

2 3

Controller

0 1

MIDI

2 3

Controller

0 1

MIDI

2 3

Controller

Edit Menu

Amount

Control Destinations

Pitch Primary Pitch only

Secondary Pitch only Volume Primary Volume only Secondary Volume only Attack Primary Attack only Secondary Attack only Decay Primary Decay only Secondary Decay only Release Primary Release only Secondary Release only Crossfade LFO 1 Rate LFO 1 Amount LFO 2 Rate LFO 2 Amount Auxiliary Envelope Amount Auxiliary Envelope Attack Auxiliary Envelope Decay Auxiliary Envelope Release

The MIDI controllers A-B-C-D must have both a source (0-31), and a control destination assigned.

PROGRAMMING BASICS

STEREO MIX OUTPUTS

Proteus has three sets of polyphonic stereo outputs (Main, Sub 1, Sub 2). The channels used by a particular preset may be directed to appear at any one of these three stereo outputs. This feature is useful for signal processing (EQ, reverb, etc.) of individual sounds prior to final mixdown. By panning a preset completely left or right, it can be routed to a single output jack.

Note: All presets will be automatically routed to the Main outputs unless plugs are inserted into the Sub 1 or Sub 2 outputs.

Proteus operation manualStereo Mix Outputs

MIX

OUTPUT

Preset

127

Preset

120

etc.

Each preset can be routed to one (and only one) set of stereo outputs.

Main

Sub 1

Sub 2

Proteus operation manual Edit Menu

EDIT MENU

Proteus operation manual

The edit menu contains functions that can be modified by the user and then saved as preset information in one of the user presets. For example, the LFO speed or other parameter can be edited, then the preset can be saved to a user location (64-127 on standard Proteus, 0-255 on Proteus XR).

While the Edit menu is activated, incoming MIDI preset changes are ignored. This is a quick and easy way to temporarily turn MIDI Preset Change OFF.

WARNING: Changes made in the Edit menu will be forever lost unless the preset is "saved" using the Save Preset function (page 60) before changing the preset.

Proteus Programming

EDIT MENU

To enable the Edit menu: Press the Edit key, lighting the LED. The

current screen will be the one most recently selected since powering up the machine. The cursor will appear underneath the first character of the screen heading on line one.

To select a new screen: Press the parameter key repeatedly (or hold the parameter key while turning the data entry control) until the cursor is underneath the screen heading. Rotate the data entry control to select the screen.

To modify a parameter: Press the parameter key repeatedly (or hold the parameter key while turning the data entry control) until the cursor is underneath the screen heading. Rotate the data entry control to change the value.

To return to Preset Select mode: Press the Edit button, turning off the LED.

C C# D D# E F F# G G# A A# B Pitch

Octave No.

-1

"!#$%&

blank

'()*+,-./012

3456789 : ; < >=

?@AB CDE FGH I J

KLMNOPQRSTUV

WX YZ [ ¥ ]^_`ab

cdefghi jklmn

opqr s tuvwxyz

{|}

-2

Edit Menu Functions

EDIT MENU

Proteus operation manual

EDIT MENU FUNCTIONS

PRESET NAME

Preset Name allows you to name each of the user presets with a name of up to 12 characters. Position the cursor under the character location and use the data entry control to change the character. The keyboard can also be used to select characters. The charts below show the keyboard character assignment.

PRESET NAME 000 Untitled

(

" a n k

)

;=@

GIL

SUX

]

[

C3C2 C4 C5 C6C1C0C-1

_ad

kmp

wy|

}

{

Proteus operation manual Mix Output

EDIT MENU

MIX OUTPUT

This function allows you to direct the channels used by a particular preset to appear at one of these three stereo outputs (Main, Sub 1, Sub 2).

MIX OUTPUT Main

PRIMARY INSTRUMENT

This function allows you to select which of the available instrument sounds (or none) will be placed on the primary layer of the current user preset.

Simply changing the instrument creates a

INSTRUMENT pri I002 Piano Pad

new sound while retaining all other parameters of the preset.

SECONDARY INSTRUMENT

This function allows you to select which of the available instrument sounds (or none) will be placed on the secondary layer of the current user preset.

INSTRUMENT sec I001 Piano

KEY RANGE

Key range sets the keyboard range of both primary and secondary instruments. This sets the keyboard range for the entire preset and will further limit the primary and secondary keyboard ranges. The key range can be set anywhere from C-2 to G8.

KEY RANGE C-2 -> G8

Pri Instr.

Sec Instr.

Key Range

Primary Instrument

Key Range

Secondary Instrument

Key Range

EDIT MENU

Proteus operation manual

PRIMARY KEY RANGE

Key range sets the keyboard range of the primary instrument. This is useful for creating positional crossfades and keyboard splits between the primary and secondary layers. The key range can be set anywhere from C-2 to G8.

KEY RANGE pri C-2 -> G8

This diagram shows how a "split" keyboard can be programmed using the primary and secondary instruments.

This diagram shows how instruments can be layered or "stacked" using the primary and secondary instruments.

Proteus operation manual

Proteus Keyboard Range

MIDI Key #

Key

Name

0 1224364860728496108120127

C-2 C-1 C0 C1 C2 C3 C4 C5 C6 C7 C8

= Standard 5 Octave Keyboard Range

SECONDARY KEY RANGE

Key range sets the keyboard range of the secondary instrument. The key range can be set anywhere from C-2 to G8.

Key Range

EDIT MENU

KEY RANGE sec C-2 -> G8

VOLUME

Volume sets the amplitude of the primary and secondary instruments. This function also allows you to compensate for the relative volume differences between instruments.

VOLUME pri:127 sec:64

PAN

Pan allows you to independently set the initial pan position of the primary and secondary instruments. A value of -7 pans the instrument hard left and a value of +7 pans the instrument hard right. This pan setting is only valid if “P”, for preset pan, is selected in the main display.

PAN pri:-7 sec:+7

Coarse Tuning

EDIT MENU

Proteus operation manual

COARSE TUNING

This function allows you to change the tuning of the primary and secondary instruments in semitone intervals. The coarse tuning range is

-36 to +36 semitones. A coarse tuning setting of "00" would indicate that the instrument is tuned to concert pitch (A=440 Hz).

TUNING coarse pri:+00 sec:+00

FINE TUNING

This function allows you to change the tuning of the primary and secondary instruments in 1/64 semitone intervals (approx. 1.56 cents). The fine tuning range is ± 1 semitone.

TUNING fine pri:+00 sec:+00

CHORUS

Chorus “thickens” the sound by doubling the sound and then detuning it. Proteus/1 chorus can be only be turned On or Off. Proteus/2 and above allow you select the chorus amount from a range of 1 to 15. When Chorus is on, the number of channels used by an instrument will be doubled.

Proteus/1 Proteus/2 and above

CHORUS CHORUS pri:On sec:Off pri:Off sec:07

DELAY

Delay varies the time between when a MIDI Note On message is received and the onset of a note. The delay time is adjustable from 0 to 13 seconds (000-127).

DELAY pri:000 sec:000

Proteus operation manual Solo Mode

EDIT MENU

SOLO MODE

Solo mode provides the playing action of a monophonic instrument with single triggering and last-note priority. This mode does not allow you to play a chord. Solo mode will not retrigger the envelope generators if a new note is played while another is being held. This allows a legato playing technique to be used. Solo mode also provides more realistic effects when working with guitar and wind controllers.

SOLO MODE pri:Off sec:On

SOUND START

This function allows you to set where a sample begins playing when you hit a key. A setting of 000 plays a sound from the beginning, higher values move the sample start point toward the end of the sound.

SOUND START pri:000 sec:000

REVERSE SOUND

When reverse sound is turned On, the instrument will be played backwards. When an instrument is reversed, any loops in the sound will be ignored, which means that the sound will not sustain indefinitely.

REVERSE SOUND pri:Off sec:On

Alternate Envelope

EDIT MENU

Proteus operation manual

DCA

Normal

Envelope

Atk Dec Rel

Alternate Envelope

Atk Dec Rel

ALTERNATE ENVELOPE ON/OFF

Each instrument has its own factory preset AHDSR volume envelope which is normally employed. If a programmable volume envelope is desired, the alternate envelope is used.

ALT ENVELOPE pri:Off sec:On

PRIMARY ALTERNATE ENVELOPE PARAMETERS

This function allows you to adjust the alternate volume envelope parameters for the primary instrument. The parameters are Attack time, Hold time, Decay time, Sustain level, Release time and are adjustable from 00 to 99.

P: A H D S R 00 00 00 99 16

SECONDARY ALTERNATE ENVELOPE PARAMETERS

This function allows you to adjust the alternate volume envelope parameters for the secondary instrument. The parameters are Attack time, Hold time, Decay time, Sustain level, Release time and are adjustable from 00 to 99.

S: A H D S R 00 00 00 99 16

Proteus operation manual

CROSSFADE MODE

This function determines which of the following crossfade modes will be selected: Off, Crossfade, or Cross-Switch.

Off: When “off” is selected, none of the crossfade parameters will have any effect.

Crossfade: When “crossfade” is selected, a control input is used to fade between the primary and secondary. Any modulation source may be used as an input (velocity, wheel, etc.)

Cross-switch: When “cross-switch” mode is selected, the switched layer is selected if the input crosses a certain threshold or if a footswitch controlling cross-switch is activated. The switch occurs only at the start of the note; no further switching takes place while the key is held down. If key position or velocity is routed to cross-switch, the threshold is the switch point. Realtime controllers do not have any effect when routed to cross-switch. For more information, see Cross-Switch Point on page 51.

Crossfade Mode

EDIT MENU

XFADE MODE Off

Primary

Instrument

Key Range

Crossfade Range

By overlapping the primary and secondary instruments, you can crossfade or cross-switch between the two layers.

Secondary Instrument

Key Range

Crossfade Direction

EDIT MENU

Proteus operation manual

CROSSFADE DIRECTION

This function determines the polarity of the crossfade or cross-switch.

The direction is either primary ➝ secondary, or secondary ➝ primary.

XFADE DIRECTION Pri -> Sec

CROSSFADE BALANCE

The crossfade balance parameter determines the initial balance between the primary and secondary layers. Any modulation is subsequently

added to this value. Crossfade balance is variable between 000 and 127.

■

A Crossfade Balance

setting of 000 would be appropriate with a source such as a modulation wheel or footpedal which only change the value in a positive direction.

INPUT

Velocity,

Mod. Wheel,

Footpedal,

etc.

XFADE BALANCE 064

PRIMARY

AMOUNT

CROSSFADE

BALANCE

Primary

Only

Equal

Amount

12 52

CROSSFADE

AMOUNT

Secondary

Only

SECONDARY

AMOUNT

12864032 96

Crossfading between Primary and Secondary instruments will occur between the values of 12 and 52. Above and below these points, the output will be completely Primary or Secondary.

Proteus operation manual Crossfade Amount

EDIT MENU

CROSSFADE AMOUNT

The crossfade amount parameter determines the range over which crossfading will occur. Crossfade amount is variable from 000 to 255. The larger the value, the more modulation will be required to effect a complete crossfade.

XFADE AMOUNT 128

CROSS-SWITCH POINT

The cross-switch point parameter determines the point at which crossswitching will occur when key position or velocity is controlling crossswitch.

SWITCH POINT

Velocity

064 c#2

Key

LFO 1 - SHAPE and AMOUNT

This screen controls the waveshape and amount of Low Frequency Oscillator 1. The LFO can be used to produce vibrato (when routed to pitch), or tremolo (when routed to volume). The five LFO waveshapes are: Triangle, Sine, Square, Sawtooth, and Random. The amount can be varied from -128 to +127. Negative values will produce inverted waveshapes.

LFO1 SHAPE AMT Rand +127

Triangle

Sine

Sawtooth

Random

Square

EDIT MENU

Proteus operation manualLFO 1

LFO 1 - RATE, DELAY and VARIATION

This screen controls the rate, delay and variation of LFO 1.

■ LFO Rate: varies the LFO speed from 0.052 Hz to 25 Hz (000-127).

■ LFO Delay: sets the amount of time between hitting a key and the onset

of modulation. This can be used to simulate an effect often used by acoustic instrument players, where the vibrato is brought in only after the initial note pitch has been established. The delay range is variable from 0 to 13 seconds (000-127).

time

Delay

key

down

The LFO wave begins after the specified delay time has elapsed.

■ LFO Variation: sets the amount of random variation of an LFO each time a key is pressed. This function is useful for ensemble effects, where each note played has a slightly different modulation rate. The higher the number, the greater the note to note variation in LFO rate. LFO variation is variable from 000-127.

LFO1 RT DLY VAR 000 000 000

LFO 2 - SHAPE and AMOUNT

LFO 2 is functionally identical to LFO 1.

LFO 2 - RATE, DELAY and VARIATION

LFO 2 is functionally identical to LFO 1.

Proteus operation manual

AUXILIARY ENVELOPE

This is a supplementary, utility envelope that can be routed to any realtime control destination. The auxiliary envelope parameters are: Envelope Amount, Delay, Attack Time, Hold Time, Decay Time, Sustain Level, and Release Time. The delay time is variable from 0 to 13 seconds (000-127). The envelope amount is variable from -128 to +127. Negative values will produce inverted envelopes.

AUX ENV AMT DLY +127 000

Auxiliary Envelope

EDIT MENU

level

time

l a y

key down

A: A H D S R 00 00 00 99 20

t a c k

H o

e c a y

Sustain

R e

l e a s e

key

released

This diagram shows the six stages of the Auxiliary Envelope Generator.

Auxiliary DAHDSR

AmtAtk Dec Rel

LFO 1

Amount Freq.

LFO 2

Amount Freq.

Modulation Destinations

Pan

Level

Volume AHDSR

Atk Dec Rel

DCA

DCA Pan

Atk Dec Rel

Volume AHDSR

X-Fade

Primary

Instrument

Pitch

Sample

Start

Tone

Secondary

Instrument

Pitch

Sample

Start

Tone

VELOCITY

CURVE

KEY NUMBER

KEYBOARD

CENTER

Keyboard and Velocity Modulation Sources

KYBD/ Velocity.Modulation

EDIT MENU

Proteus operation manual

Modulation Sources:

Key Number and Key Velocity

Destinations:

When Modulating Envelope Attack, Decay, or Release Times:

KEYBOARD and VELOCITY MODULATION CONTROL

These functions allow you to route keyboard and velocity information to any of the modulation destinations on the Proteus. Up to 6 simultaneous paths or “patches” may be programmed. For each modulation patch, there is a source (keyboard or velocity), and a corresponding amount parameter which is variable from -128 to +127. Place the cursor under the

appropriate parameter and change the patch number, modulation source, modulation destination, or the amount using the data entry control. If a parameter is not labeled either primary or secondary, it

affects both.

KEY/VELOCITY CTL 1 V>Attack -064

Modulation

Destination

Modulation

Source

Modulation

Amount

Number

Patch

Positive amounts of modulation increase the time.

Negative amounts of modulation decrease the time.

Proteus operation manual

Realtime Modulation

REALTIME MODULATION CONTROL

These functions allow you to route realtime controllers to any of the modulation destinations on Proteus except Tone, Sample Start and Pan. Up to 8 simultaneous patches may be programmed. For each modulation patch, there is a source and a destination parameter. Place the cursor

under the appropriate parameter and change the patch number, modulation source or modulation destination using the data entry control. If

a parameter is not labeled either primary or secondary, it affects both.

REALTIME CTL 1 LFO1 ->Pitch

EDIT MENU

Modulation Sources:

Pitch Wheel, MIDI Control A, MIDI Control B, MIDI Control C, MIDI Control D, Mono Pressure, Polyphonic Pressure, LFO 1, LFO 2, Auxiliary Envelope

LFO 1

Amount Freq.

LFO 2

Amount Freq.

Auxiliary DAHDSR

AmtAtk Dec Rel

Patch

Number

Modulation Destination

Modulation

Source

Primary

Instrument

Pitch

X-Fade

Secondary Instrument

Pitch

Modulation Destinations

DCA Pan

Volume AHDSR

Atk Dec Rel

Level

DCA

Volume

Level

AHDSR

Atk Dec Rel

Pan

Destinations:

Pitch, Primary Pitch, Secondary Pitch, Volume, Primary Volume, Secondary Volume, Attack, Primary Attack, Secondary Attack, Decay, Primary

Decay, Secondary Decay, Release,

Primary Release, Secondary Release, Crossfade, LFO 1 Amount, LFO 1 Rate, LFO 2 Amount, LFO 2 Rate, Auxiliary

Envelope Amount, Auxiliary Envelope Attack, Auxiliary

Envelope Decay, Auxiliary Envelope Release

Off,

PITCH WHEEL

MONO

PRESSURE

POLY

PRESSURE

MIDI

CONTROLLER

A/B/C/D

LFO 1

Realtime Modulation Sources

LFO 2

AUXILIARY ENVELOPE

EDIT MENU

Proteus operation manualFootswitch Control

FOOTSWITCH CONTROL

This function allows you route the 3 footswitch controllers (1, 2 or 3) to any of the footswitch destinations. The footswitches can be routed to switch: Sustain (pri/sec/both), alternate volume envelope (pri/sec/ both), alternate volume release (pri/sec/both), or cross-switch between the primary and secondary instruments.

FOOTSWITCH CTL 1 -> Sustain

MIDI CONTROLLER AMOUNT

This function allows you to specify an amount parameter (variable from

-128 to +127) for each of the MIDI controllers.

CONTROLLER AMT A:+127 B:-090

CONTROLLER AMT C:+127 D:-090

PRESSURE AMOUNT

This function allows you to specify an amount parameter for mono or poly keyboard pressure data. The pressure amount is variable from -128 to +127.

PRESSURE AMOUNT +127

Proteus operation manual Pitch Bend Range

EDIT MENU

PITCH BEND RANGE

This function allows you to specify the pitch wheel range for the current preset or it can be set to be controlled globally (set in the Master menu). Pitch bend range is only applied when the pitch wheel is used to control pitch.

PITCH BEND RANGE +- 12 semitones

VELOCITY CURVE

Incoming velocity data can be modified by a velocity curve in order to provide different types of dynamics in response to your playing or better adapt to the MIDI controller. This function allows you to select one of the four velocity curves or leave the velocity data unaltered (off). In addition, the velocity curve can be set to "Global", which means that the global velocity curve (programmed in the Master menu) is used.

VELOCITY CURVE Global

140

120

100

0 102030405060708090100

Curve 1 Curve 2

140

120

100

0 102030405060708090100

Curve 3 Curve 4

140

120

100

0 102030405060708090100

140

120

100

0 102030405060708090100

EDIT MENU

Proteus operation manualKeyboard Center

KEYBOARD CENTER

The Keyboard Center parameter establishes a reference point for keyboard modulation. Keys above this point will have a positive value and keys below it will be negative. The keyboard center can be set to any key within the range A-1 to C7.

KEYBOARD CENTER c#3

KEY CENTER

KEYBOARD TUNING

In addition to the standard equally divided octave tuning, Proteus contains three other types of scale tuning and one user-definable tuning. This function selects which tuning will be used in the current preset. The choices of keyboard tunings are:

Equal tuning (12 tone equal temperment) Standard Western tuning Just C tuning (just intonation) Based on small interval ratios; sweet and pure; non-beating intervals Vallotti tuning (Vallotti and Young non-equal temperment) Similar to 12 tone equal temperment; for a given scale, each key has a different character 19 Tone tuning (19 tone equal temperment) 19 notes per octave; difficult to play but works well with a sequencer Gamelan (Javanese) tuning (5 tone Slendro and 7 tone Pelog) Pelog-white keys; Slendro-black keys; exotic tunings of Gamelan flavor User tuning which is defined in the Master menu.

Proteus operation manual

PRESET LINKS

Presets may be linked to other presets in order to create layering or keyboard splits. The current preset can be linked with up to three other presets. Each linked preset can be assigned to a specific range in order to easily create keyboard splits. The modulation parameters specified in each preset remain in effect for each preset in the link.

LINK 1 c#1->f#4 000 Preset Name

Preset Links

EDIT MENU

LINK 2 c#1->f#4 191 Preset Name

LINK 3 Off

LINK

PRESET #1

Key Range

CREATING A SPLIT KEYBOARD

PRESET #2

Key Range

LINK

Key Range

PRESET #1

PRESET #2

LAYERING TWO PRESETS

Save Preset

EDIT MENU

Proteus operation manual

SAVE PRESET

Changes made to a preset in the Edit menu are not made permanent until the preset is Saved. To save a preset, move the cursor to the bottom line and select the location for the new preset with the data entry control. The Enter LED will be flashing. Pressing the Enter switch will confirm the operation. Any user preset (64-127) may be selected using the data entry control. Writing to a user preset erases the existing preset in that location. Make sure that the destination preset does not contain information that you wanted to keep.

SAVE PRESET to 064 Preset Name

To Save a Preset:

1. Select the new location

2. Press Enter

Proteus operation manual

Programming Proteus

PROGRAMMING PROTEUS

Proteus operation manual

Proteus operation manual Linking Presets

PROGRAMMING PROTEUS

This section is an introduction to the Edit menu, explains the concept of Proteus Synthesis, and contains specific programming examples and tips.

LINKING PRESETS

Linking presets is a quick and easy way to create new sounds by “layering presets” and also to “split” the keyboard into sections containing different sounds.

LAYERING TWO PRESETS

1) Select the first preset you wish to layer.

2) Press the Edit button.

3) Use the data entry control to move through the screens until you find one of the “LINK” screens.

4) Move the cursor to the second line of the display, then select the preset that you want to be linked with this preset. You may want to play the keyboard as you scroll through the various presets in order to hear the results.

5) If you want the link to be a permanent part of the preset, be sure to “SAVE PRESET”.

CREATE A SPLIT KEYBOARD USING LINKS

1) Follow steps 1 through 4 above.

2) Now set the range of the linked preset while still in the LINK menu.

3) Save the preset.

4) Now go back to the first preset, press the Edit button and use the data entry control to move through the screens to KEY RANGE.

5) Set the range of this preset so that it fills the remaining range of your keyboard.

6) Save the preset.

PROGRAMMING PROTEUS

EDITING PRESETS

The easiest way to make a preset is to edit an existing preset. This is also an excellent way of becoming familiar with Proteus. If you don’t like what you hear, simply change the preset and Proteus reverts back to the original sound. Changes are not made permanent until you Save them using the “SAVE PRESET” function, which is the last screen in the Edit menu. Let’s experiment and modify a few parameters of an existing preset. We’ll start with functions that have an obvious effect on the sound like Instrument select, Coarse Tuning, Chorus, and Reverse Sound. First, choose a preset that strikes your fancy and press the Edit button.

CHANGING THE INSTRUMENT

This is probably the easiest way to modify existing presets. Scroll through the Edit menu functions until you come to:

Proteus operation manualEditing Presets

INSTRUMENT pri IXXX Instr Name

Move the cursor down to the bottom line (using the cursor button) and change the primary instrument with the data entry control. Play the keyboard as you scroll through the various instruments. When you find an interesting instrument, move the cursor back up to the first line and select:

INSTRUMENT sec IXXX Instr Name

Repeat the process for the secondary instrument. Find an instrument that sounds good when combined with the first one you selected. You can probably see that with all these great instruments to work with, you really can’t go wrong. Now let’s play with the tuning.

CHANGING THE TUNING OF AN INSTRUMENT

Scroll through the Edit menu functions until you come to:

TUNING coarse pri:+00 sec:+00

Proteus operation manual Editing Presets

PROGRAMMING PROTEUS

If the numbers are “00” as in the example above, it means that the instruments are tuned to concert pitch (A=440 Hz). Each whole number in coarse tuning represents a semitone interval. To tune one or both of the instruments up an octave, move the cursor to the number (using the cursor button) and set the number to +12 using the data entry control. Try tuning one of the instruments to a perfect fifth above the other. Simply set the coarse tuning to +7.

CHORUS

This is an easy one. With the cursor on the top line of the display, turn the data control until you find CHORUS. Chorus can be turned on or off for each of the primary and secondary instruments. Chorus works by doubling the instruments and detuning them slightly. Try it.

CHORUS pri:Off sec:Off

REVERSING THE SOUND

A simple concept. The instrument sounds can be played in reverse. This will normally make an instrument sound quite a bit different. It also virtually doubles the number of raw instruments you have to work with, and it’s fun.

REVERSE SOUND pri:Off sec:Off

You’re probably getting the idea by now. Remember not to change presets or the preset will return to normal. If you want to save your creation, select the last screen in the Edit menu and select a destination preset location for your masterpiece, then press Enter. That’s it.

The previous examples were offered solely to pique your curiosity. By all means, go ahead and experiment with any of the other functions. Some of the best sounds have been discovered by accident. If it sounds good ... Do it!

PROGRAMMING PROTEUS

PROTEUS SYNTHESIS

Oh, no! Not another form of synthesis to learn. Relax. It’s easy.

Proteus Synthesis is actually just a form of additive synthesis. Only, instead of building a sound from simple sine waves, Proteus starts with complete sampled sounds or complex waveforms and combines all or part of these together to form a new sound. The process is illustrated below.

Proteus operation manualProteus Synthesis

PROTEUS SYNTHESIS

Instrument

Pri

Sec

Fade Area

Portions of two sounds are dynamically crossfaded in order to produce a new sound containing elements of both.

Shaped with DCA Added Together to

form Resultant Sound

Fade Area

The envelope generators controlling the DCAs (digitally controlled amplifiers) can be used to fade between two instruments (primary and secondary) during the course of a note. This powerful technique allows you to combine elements of different instruments together to form completely new sounds. New sounds that are totally natural, because they are based on natural sounds. Proteus also contains many digitally generated waveforms that can be combined with other digital waves or with sampled instruments in order to change the character of the sound, perhaps to add a digital “edge” or add more bottom. In addition to the envelope generators, parameters such as Delay, Sample Start, and Crossfade allow you to further control the blend of primary and secondary instruments.

Proteus operation manual Programming Examples

PROGRAMMING PROTEUS

As an example, let's combine the electric guitar and a synthesized waveform to create a new instrument. Refer to the Edit menu parameters in the chart below. The Electric Guitar is the basic sound and is augmented by a chorused, synthesized wave which adds a digital sheen. Note that the guitar has a slower attack, which completely changes its character. Basically, the attack of the guitar has been replaced by the synthesized wave. In addition, the guitar is tuned up one octave and the two sounds have been panned to different positions in the stereo field.

Primary Secondary

Instrument: Oct. 7 All Alt Envelope: On Alt Envelope: On

A H D S R 00 00 51 00 36

Volume: 45

Chorus: On

Pan: +2

Instrument: El. Guitar

A H D S R

05 05 27 88 44

Volume: 88

Chorus: Off

Tuning: +12Tuning: +00

Pan: -2

ANOTHER EXAMPLE

As another example, we'll use the attack portion of the Soft Flute and the sustain portion of the Tenor Sax as raw material. This time we will use the Delay and Sample Start parameters as well as the Alternate Envelopes to blend the two instruments. The attack portion of the secondary instrument is removed using the sample start parameter and then delayed slightly so it will sound only after the flute attack portion begins to decay.

Primary Secondary

Instrument: Soft Flute Alt Envelope: On Alt Envelope: On

A H D S R

04 02 16 00 16

Volume: 109

Fine Tuning: +05

Delay: 000

Sound Start: 000 Sound Start: 040

Instrument: Tenor Sax

A H D S R

06 00 38 85 40

Volume: 83

Fine Tuning: +00

Tuning: +12Tuning: +12

Delay: 002

Sequencing Proteus

PROGRAMMING PROTEUS

The alternate envelopes are used to "fine tune" the splice. Furthermore, the flute attack has been detuned a bit sharp so the composite sound will start sharp and fall into correct pitch. Continue your experiments using this example, but changing the primary and secondary instruments. When you have found a good combination, "fine tune" the delay, sample start, volume and envelope parameters. Feel free to play with the modu-

lation parameters as well.

USING PROTEUS WITH A SEQUENCER

We thought you’d never ask. Proteus was designed from its conception with multi-timbral sequencing in mind. Just take a look at the main screen.

Proteus operation manual

C01 Vol127 Pan+0 000 Preset Name

The preset for each MIDI channel is selected from the main screen. Press the cursor button to move the cursor up so that it is underneath the channel number.

C01 Vol127 Pan+0 000 Preset Name

Turn the data entry control and you will see that every MIDI channel has a preset assigned to it. Just select a preset for each of the MIDI channels. It’s simple! In order to respond to multiple MIDI channels, Proteus must be in Multi-Mode. Multi-Mode is selected in the Master menu. Press the Master menu button and use the data entry control to scroll through the screens until you find MIDI MODE.

MIDI MODE ID Multi 00

Proteus operation manual

Advanced Sequencing

PROGRAMMING PROTEUS

Move the cursor down to the second line and change the mode to Multi as shown. Proteus will now respond to multiple MIDI channels.

MORE ADVANCED SEQUENCING

PRE-SEQUENCE SETUP

Suppose that you want to have your sequencer set up everything for you before the start of the song. Good idea. This will make the Proteus setup procedure automatic and prevent the wrong presets from playing.

The basic idea of a pre-sequence setup is to send out MIDI information just before the start of the song. This MIDI information will select all the proper presets, adjust the mix, and pan positions of each preset.

Note: Proteus setup information should be transmitted from the sequencer before the song actually starts, perhaps during a lead-in measure or countdown. DO NOT send setup information just before the first beat of the song or MIDI timing errors could result.

INITIAL SETUP

In the Master menu:

1) Turn ON Multi-Mode

2) Turn ON Preset Change enable for each channel.

3) Turn OFF MIDI Enable on MIDI channels that are to be used for other synthesizers.

PRESET, VOLUME and PAN SETUP

Program your MIDI sequencer to transmit the following information before the song starts.

1) Select the proper presets for each MIDI channel used on Proteus.

■

The Preset, Volume, and Pan information for all 16 channels is included when the Master settings are transmitted or received.

2) Send MIDI volume information (controller #7) for each MIDI channel used on Proteus.

3) Send MIDI pan information (controller #10) for each MIDI channel used on Proteus.

PROGRAMMING PROTEUS

Now your song will play perfectly every time using the proper presets, volumes and pan positions. In addition, presets, volumes and pan positions (or anything else for that matter) can be adjusted in realtime during the song. Note: If the wrong presets are being selected, check the MIDI Program -> Preset map.

The following Proteus/1 presets use only one output channel:

5. Acoustic Guitar

14. Rock Drums 1

20. Velocity Falls

25. Special FX 1

30. Latin Drums

31. Wind Chimes

35. Baritone Sax

36. Solo Trumpet

46. Latin Percussion

48. Grand Piano

53. Solo Trombone

124. Tremolo Vibe

127. Barber Pole

160. Low Grand

161. Bright Piano

162. Xpressive String

163. String Vel.-> Atk.

164. Choir

165. Dark Choir

167. Alto Sax

168. Tenor Sax

170. French Horn

171. Trombone 2

172. Trom./Trumpet

173. Guitar Mutes

174. Electric Guitar

176. Rock Bass

177. Flint Bass

178. Bass Synth 2

179. Harmonics

180. Marimba

181. Vibes Wheel

182. Percussives

183. Rock Drums 2

184. Rock Drums 3

185. Snares/Drums

186. Kick Drums

187. Cymbals

188. Tom Toms

189. Conga Trans.

190. Block Trans.

To carry the pre-sequence setup even further, you can even include preset data for each preset used in the sequence. See page 22 for details.

USING THE 32 CHANNELS

As stated earlier, Proteus has 32 independent audio channels which are utilized dynamically. With 32 channels and 192 presets, you have a universe of sonic textures at your disposal. But you have probably noticed that many of the best sounding presets in Proteus are linked with other presets or have chorus applied to them in order to make them sound larger. While this is fine when the preset is played solo, you may begin to run out of channels when Proteus is played multi-timbrally. Linking and chorusing cause twice as many channels to be used by the preset. Learn to "budget" your output channels for maximum efficiency.

CHANNEL RIPOFF

When Proteus uses up all its 32 channels and needs more, it steals a channel from the key that has been held the longest. This is commonly known as “channel ripoff”. You will most commonly encounter this “ripoff” when using Proteus in multi-timbral mode. Since Proteus dynamically allocates channels as needed, to eliminate ripoff you must either, play fewer notes, use simpler sounds, turn off doubling (pri/sec, chorus, or linked presets), or use MIDI overflow to another Proteus.

INSTRUMENT DEFINITION

If your sequence has a instrumental section using numerous chords, it may be advantageous to use a basic preset without links or chorus. A preset will sound much different alone than when combined with an ensemble. Try to resist the temptation to make every sound as fat as possible or you can wind up with “MIDI Soup”; a huge, stifling sound with every possible audio frequency filled. A solo saxophone in a band isn't chorused and it sounds great. Each voice in your composition should have it’s own identity. Save the monster sounds for solos or dramatic effects.

Proteus operation manualUsing the 32 Channels

Proteus operation manual External Processing

PROGRAMMING PROTEUS

USING EXTERNAL PROCESSING

Don't be afraid to use external processing on specific sounds if you feel the urge. The submix sends and returns on Proteus are there for a reason. In many instances a bit of reverb or EQ will be just the thing an instrument needs to give it a distinct identity. Incidentally, an external fuzz box can work wonders on the clean electric guitar sound. If you think about it, adding distortion to a clean guitar sound is much closer to the way an electric guitar is normally processed. By dedicating one of your old fuzz boxes to a submix out/in, you can have programmable distortion for use on guitars, organs, or whatever.

SUB 2

Fuzzman

OUTPUTS

SUB 1

LLLR

RingTip

RingTip RingTip

STEREOMONO

MAIN

Stereo

Fuzz Box

Using the programmable outputs and returns, specific presets can be routed through your favorite effects without using up precious mixer channels.

Reverb Unit

This patch sheet may be photocopied and used to keep written records of your favorite Proteus sounds.

PROTEUS Patch Sheet

Proteus operation manualPatch Sheet

KEY/VELOCITY CONTROL

MIX OUTPUT

PRI INSTRUMENT

SEC INSTRUMENT

KEY RANGE

Pri KEY RANGE

Sec KEY RANGE

Pri VOLUME

Sec VOLUME

Pri PAN

Sec PAN

Pri COARSE TUNE

Sec COARSE TUNE

Pri FINE TUNE

Sec FINE TUNE

Pri CHORUS

Sec CHORUS

Pri DELAY

Sec DELAY

Pri SOLO

Sec SOLO

Pri SOUND START

Sec SOUND START

Pri REVERSE

Sec REVERSE

Pri ATTACK

Pri HOLD

Pri DECAY

Pri SUSTAIN

Pri RELEASE

Sec ATTACK

Sec HOLD

Sec DECAY

Sec SUSTAIN

Sec RELEASE

XFADE MODE

XFADE DIRECTION

XFADE BALANCE

XFADE AMOUNT

SWITCH POINT

LFO 1 SHAPE

LFO 1 AMOUNT

LFO 1 RATE

LFO 1 DELAY

LFO 1 VARIATION

LFO 2 SHAPE

LFO 2 AMOUNT

LFO 2 RATE

LFO 2 DELAY

LFO 2 VARIATION

AUX ENV AMOUNT

AUX ENV DELAY

AUX ENV-ATTACK

AUX ENV-HOLD

AUX ENV-DECAY

FD Xsw

1 >

2 >

3 >

4 >

5 >

6 >

REALTIME MOD. CONTROL

1 -

2 -

3 -

4 -

5 -

6 -

7 -

8 -

FOOTSWITCH CONTROL

CONTROLLER AMOUNT

CONTROLLER A

CONTROLLER B

CONTROLLER C

CONTROLLER D

PRESSURE AMT.

P-BEND RANGE

VEL. CURVE

KYBD CENTER

KYBD TUNING

LINK 1

Pri ALT. ENVELOPE

Sec ALT. ENVELOPE

AUX ENV-SUSTAIN

AUX ENV-RELEASE

LINK 2

LINK 3

Proteus operation manual Reference

REFERENCE SECTION

Factory Presets

PROTEUS/1 FACTORY PRESETS

Proteus operation manual

PROTEUS

Presets

0-63

64-127

128-191

PROTEUS XR

0-255

256-383

■

The RAM presets

may be modified or replaced as you desire, but the ROM presets are stored permanently in the Proteus.

ROM

RAM

ROM

Presets

RAM

ROM

KEYBOARDS

0. (256) Stereo Piano

9. (265) B3 Mod->Leslie

16. (272) Heaven

18. (274) Electric Piano

32. (288) Harpsikord

39. (295) String Bass/Piano *

48. (304) Grand Piano

66. (66) Space Clavier

69. (69) Ball Game

80. (80) Vibrant Piano *

96. (96) Piano Drama

99. (99) Reedy Keys

112. (112) Winston Grand

122. (122) Mr. Minister

128. (320) Piano & Synth *

144. (336) Saloon Piano

160. (352) Low Grand

161. (353) Bright Piano

STRINGS

1. (257) Hall Strings

33. (289) String Orchestra

49. (305) Flange String

65. (65) Isham Strings *

90. (90) Synth String

100. (100) String Swell

110. (110) Hall 2 Strings **

111. (111) Hall 2 Link **

113. (113) STRings

129. (321) String Chamber

132. (324) New Orchestra *

151. (343) Orchestra Hit

162. (354) Xpressive String

163. (355) String Vel. ->Atk.

VOICES

2. (258) InChoirIrie

34. (290) Human Voices

58. (314) Octave Choir

66. (66) WeAteFlangers

116. (116) Vibes/Choir *

145. (337) Crystal Choir *

146. (338) Herbal Verbal

164. (356) Choir

165. (357) Dark Choir

BRASS

3. (259) Big City Brass

19. (275) French Horn Sect.

20. (276) Velocity Falls

36. (292) Solo Trumpet

52. (308) Miles Solos

53. (309) Solo Trombone

68. (68) Hard Trumpet

83. (83) Orchestral Brass

84. (84) Low Octave Bones

91. (91) Space Trumpet

123. (123) Bone Face

131. (323) Trumpet Combo

132. (324) New Orchestra *

147. (339) Section Falls

148. (340) Section Horns *

170. (362) French Horn

171. (363) Trombone 2

172. (364) Tromb./Trumpet

REEDS/FLUTES

4. (260) Stereo Sax

17. (273) Verb Flute

35. (291) Baritone Sax

115. (115) Uboe

130. (322) Breathy Flute

132. (324) New Orchestra *

166. (358) Soprano Reed

167. (359) Alto Sax

168. (360) Tenor Sax

169. (361) Synth. Clarinet

PLUCKED

5. (261) Acou. Guitar

6. (262) Modern Guitar

21. (277) Stereo Mutes

37. (293) 12 String *

38. (294) Modern Harp

47. (303) SpaceBkwdGuitar

54. (310) Xpr. El. Guitar

59. (315) Gitano

70. (70) Clean Stratocaster

97. (97) Punctuate

107. (107) BanJovi

118. (118) Rock Gitaro

125. (125) Dulcimer

133. (325) Ster. Acou. Guitar

134. (326) Shamisen

173. (365) Guitar Mutes

174. (366) Electric Guitar

175. (367) Ster. El. Guitar

179. (371) Harmonics

SYNTHESIZER

8. MiniMoog Bass

10. (266) Phantazia

11. (267) Zound Trax

26. (282) Har. Synth

27. (283) Beyond FM

40. (296) Mythical Pad

41. (297) PianoBell

43. (299) Empyrean

50. (306) White Veil

51. (307) Dark World

55. (311) Space Bass Pad

56. (312) Dune

57. (313) RB’s Wine

64. (64) FM Style Piano *

66. (66) WeAteFlangers

67. (67) Space Clavier

73. (73) Space Horn

74. (74) Blue Ice

75. (75) Embered Tines

81. (81) Emperor *

82. (82) NoiseFree LA *

85. (85) Synthibell

Bold Type ... indicates a User Preset. Number in Parenthesis = XR Preset Number

* ................... indicates that the preset is linked to another preset.

** ................. indicates that the two adjacent presets are linked.

Proteus operation manual

Factory Presets

PROTEUS/1 FACTORY PRESETS

SYNTHESIZER

86. (86) Space Steel

89. (89) Squarish Lead

90. (90) Synth String

91. (91) Space Trumpet

98. (98) Lunar Window

101. (101) Jingle Pad

102. (102) Solo Lead

104. (104) Bass & Synth *

105. (105) Gillectro

106. (106) Pop Pad

114. (114) Sharp Edge

117. (117) Solo Synth 3

121. (121) Bed Tine

128. (320) Piano & Synth *

136. (328) Rock Attitude

137. (329) Tocatta Seven

138. (330) Pop Art

139. (331) Mini Solo

140. (332) Airimba

149. (341) Hollow Solo

152. (344) Keys Please

155. (347) Crazy Man

156. (348) Clock Chimes

178. (370) Bass Synth. 2

BASS

7. (263) Thunder Bass

8. (264) MiniMoog Bass

22. (278) Stone Bass & Har.

23. (279) Slap/Pop Bass

24. (280) Rap Bass

39. (295) String Bass/Piano *

55. (311) Space Bass Pad

71. (71) Noze Bass/Pad

72. (72) Wide Neck *

103. (103) Buzzy Frets

104. (104) Bass & Synth *

109. (109) Slippery Bass

135. (327) Stone Slap Bass

150. (342) Fat Boy Bass

176. (368) Rock Bass

177. (369) Flint Bass

178. (370) Bass Synth. 2

179. (371) Harmonics

TUNED PERCUSSION

12. (268) Vibe n Me

13. (269) Tiki Threat

44. (300) Glockenspiel

45. (301) Wide Marimba

61. (317) Medicine Drum

76. (76) Odd Vibes

77. (77) Bright Steel *

92. (92) Metal Throat

93. (93) Light Mallet

94. (94) Congablock

108. (108) Malletumba

116. (116) Vibes/Choir *

124. (124) Tremolo Vibe

126. (126) Block Head

140. (332) Airimba

141. (333) Steel Drums

157. (349) Vibe & Marimba

180. (372) Marimba

181. (373) Vibes Whl-Mod.

189. (381) Conga Trans.

190. (382) Block Trans.

PERCUSSION

14. (270) Rock Drums 1

30. (286) Latin Drums

46. (302) Latin Percussion

61. (317) Medicine Drum

62. (318) Radical Drum

142. (334) Modern Drums

153. (345) Metal Toys

158. (350) Ster. Slap Drum

182. (374) Percussives

183. (375) Rock Drums 2

184. (376) Rock Drums 3

185. (377) Snares/Drums

186. (378) Kick Drums

187. (379) Cymbals

188. (380) Tom Toms

WORLD

28. (284) Kyoto Forest

29. (285) Balinesia

42. (298) Noh Way! *

60. (316) Thai Bath House

78. (78) Native Power *

134. (326) Shamisen

SOUND EFFECTS

15. (271) Metal Vapor

25. (281) Special FX 1

31. (287) Wind Chimes

63. (319) Mtlphone Arp. 9

79. (79) Insects

87. (87) Jet Boom **

88. (88) Jet Boom **

95. (95) Hold & Sample

119. (119) Animal 1 **

120. (120) Animal **

127. (127) Barber Pole

143. (335) Space Texture

153. (345) Metal Toys

154. (346) Weather

156. (348) Clock Chimes

159. (351) Flying Module

191. (383) Default Patch

Bold Type ... indicates a User Preset. Number in Parenthesis = XR Preset Number

* ................... indicates that the preset is linked to another preset.

** ................. indicates that the two adjacent presets are linked.

Sampled Sounds

PROTEUS INSTRUMENTS

SAMPLED SOUNDS

1. Piano ........................................................................... 9 foot Grand Piano

2. Piano Pad .......................... Piano with slow attack and sustained loop

3. Loose Piano.......................................................... Old style Grand Piano

4. Tight Piano...................................... Contemporary 9 foot Grand Piano

5. Strings .............. String section with Basses, Cellos, Violas and Violins

6. Long Strings...................... String section with long attack and release

7. Slow Strings ................. Section Strings with longer attack and release

8. Dark Strings ..................................... Section Strings with a darker tone

9. Voices.................................................................................... Female Choir

10. Slow Voices ................... Female Choir with longer attack and release

11. Dark Choir ........................................ Female Choir with a darker tone

12. Synth Flute ......................................... Genuine Flute with a short loop

13. Soft Flute ..................................................................... Slow attack Flute

14. Alto Sax ....................................................................................... Alto Sax

15. Tenor Sax.................................................................................. Tenor Sax

16. Baritone Sax ......................................................................... Baritone Sax

17. Dark Sax .................................................. Tenor sax with a darker tone

18. Soft Trumpet.......................................................... Soft blown Trumpet

19. Dark Soft Trumpet ............. Soft blown Trumpet with a darker tone

20. Hard Trumpet ..................................................... Hard blown Trumpet

21. Dark Hard Trumpet ......... Hard blown Trumpet with a darker tone

22. Horn Falls ................................................. Descending pitch Trumpets

23. Trombone 1 .............................................................................. Trombone

24. Trombone 2 ............................................................................. Trombone

25. French Horn....................................................................... French Horn

26. Brass 1 .................................... Combination Trombone/Soft Trumpet

27. Brass 2 .................................. Combination Trombone/Hard Trumpet

28. Brass 3 ........ Combination Trombone/Soft Trumpet/Hard Trumpet

29. Trombone/Sax ................................ Combination Trombone and Sax

30. Guitar Mute .............................................. Palm muted Electric Guitar

31. Electric Guitar............................. Clean, Humbucking Electric Guitar

32. Acoustic Guitar ........................................ Steel String Acoustic Guitar

33. Rock Bass ...................................................... Carbon Fiber Bass Guitar

34. Stone Bass .................................... Rare, Aluminum Neck Bass Guitar

35. Flint Bass ..................................... Bass Guitar with altered harmonics

36. Funk Slap .............................. Lower two Bass Guitar strings slapped

37. Funk Pop ..... Popped Bass Guitar strings (combine with Funk Slap)

38. Harmonics......................................................... Bass Guitar Harmonics

39. Rock/Harmonics ....... Combination Rock Bass and Bass Harmonics

Proteus operation manual

Sampled Sounds

PROTEUS/1 INSTRUMENTS

40. Stone/Harmonics .. Combination Alum. Neck Bass and Harmonics

41. Nose Bass ................................................ Chunky, Popped Bass Guitar

42. Bass Synth 1 ......................... Classic, Analog Synthesizer Bass Sound

43. Bass Synth 2 ..................................................... Digital Bass Synthesizer

44. Synth Pad .................................................. Fat, Digital Synthesizer pad

45. Medium Envelope Pad ..... Digital Synth pad with altered envelope

46. Long Envelope Pad. Digital Synth pad with long attack and release

47. Dark Synth .............................. Digital Synthesizer with a darker tone

48. Percussive Organ .......................... Classic, Tone Wheel Organ sound

49. Marimba ..................................................................................... Marimba

50. Vibraphone ........................................................................... Vibraphone

51. All Percussion (balanced levels) ........

52. All Percussion (unbalanced levels) ...

53. Standard Percussion Setup 1..............

54. Standard Percussion Setup 2..............

55. Standard Percussion Setup 3..............

56. Kicks ......................................................

57. Snares.....................................................

58. Toms ......................................................

59. Cymbals ................................................

60. Latin Drums..........................................

61. Latin Percussion ...................................

62. Agogo Bell.............................................

63. Woodblock ............................................

64. Conga.....................................................

65. Timbale ..................................................

66. Ride Cymbal .........................................

67. Percussion FX1 .....................................

68. Percussion FX2 .....................................

69. Metal ....................... Percussive, Metallic, Analog Synthesizer Sound

See the

Percussion Instrument Location Diagrams

on the following pages.

Proteus/1 Harmonic Waveforms

PROTEUS/1 INSTRUMENTS

HARMONIC WAVEFORMS

70. Oct 1 (Sine)

71. Oct 2 All

72. Oct 3 All

73. Oct 4 All

74. Oct 5 All

75. Oct 6 All

76. Oct 7 All

77. Oct 2 Odd

78. Oct 3 Odd

79. Oct 4 Odd

80. Oct 5 Odd

81. Oct 6 Odd

82. Oct 7 Odd

83. Oct 2 Even

84. Oct 3 Even

85. Oct 4 Even

86. Oct 5 Even

87. Oct 6 Even

88. Oct 7 Even

89. Low Odds

90. Low Evens

91. Four Octaves

Proteus operation manual

Starting from the first octave (fundamental), the harmonic waveforms contain the harmonics (odd, even, or all) present in each octave. In each successive octave the number of harmonics doubles. By combining (pri/sec or link) the harmonic waveforms in various amounts (volume), and transposing them (coarse/fine tuning), a vast range of timbres may be produced.

Frequency (log)

Level

Harmonic

Octave

The Harmonic Waveforms have been designed so that almost any harmonic combination may be assembled.

12345678910 151617 3118

12 3 4 5

Proteus operation manual Proteus/1 Waveforms

PROTEUS/1 INSTRUMENTS

SINGLE CYCLE WAVEFORMS

92. Synth Cycle 1

93. Synth Cycle 2

94. Synth Cycle 3

95. Synth Cycle 4

96. Fundamental Gone 1

97. Fundamental Gone 2

98. Bite Cycle

99. Buzzy Cycle 1

100. Metalphone 1

101. Metalphone 2

102. Metalphone 3

103. Metalphone 4

104. Duck Cycle 1

105. Duck Cycle 2

106. Duck Cycle 3

107. Wind Cycle 1

108. Wind Cycle 2

109. Wind Cycle 3

110. Wind Cycle 4

111. Organ Cycle 1

112. Organ Cycle 2

These single cycle waveforms were either synthesized or taken from actual sampled sounds. They were chosen for their diversity and interesting qualities.

MULTI-CYCLE WAVEFORMS

113. Noise

114. Stray Voice 1

115. Stray Voice 2

116. Stray Voice 3

117. Stray Voice 4

118. Synth String 1

119. Synth String 2

120. Animals

121. Reed

122. Pluck 1

123. Pluck 2

124. Mallet 1

125. Mallet 2

The multi-cycle cycle waveforms are short sections of sampled sounds.

All + Standard 1

PROTEUS/1 PERCUSSION INSTRUMENT LOCATIONS

14" Tom Tom

Proteus operation manual

MIDI Key #

36 48 60 72 84 96

Kick 2

Kick 3

Snare 2

Reverb Kick 1

Reverb Snare 1

Snare 3

Reverb Click

Closed HiHat 1

Big HiHat

Ride Cymbal

Open HiHat 2

Closed HiHat 2

Rude Crash

Finger Snap

Electro Cymbal

Low Electro Cymbal

10" Tom Tom

Timbale Strike

Conga

Wood Block

Timbale Rimshot

Conga Open Slap

Conga Closed Slap

Cabasa

Maracas

Guiro Up

Agogo Bell

Guiro Down

Rosewood Claves

All Percussion

Instruments 51, 52

Reverb Click

Closed HiHat 1

Big HiHat

Finger Snap

Agogo Bell

Closed HiHat 2

Ride Cymbal

Rude Crash

Open HiHat 2

Wood Block

Agogo Bell

Rosewood Claves

Maracas

Cabasa

Agogo Bell

Reverb Click

Closed HiHat 1

Finger Snap

Big HiHat

Agogo Bell

Closed HiHat 2

Ride Cymbal

Rude Crash

Open HiHat 2

Agogo Bell

MIDI Key #

36 48 60 72 84 96

Kick 3

Kick 2

Snare 2

10" Tom Tom

Electro Cymbal

Snare 3

Timbale Strike

14" Tom Tom

Reverb Kick 1

Reverb Snare 1

Kick 2

10" Tom Tom

Electro Cymbal

Kick 3

Snare 2

Conga

Snare 3

Timbale Strike

Timbale Rimshot

Guiro Up

Guiro Down

Reverb Kick 1

Conga Open Slap

Conga Closed Slap

10" Tom Tom

14" Tom Tom

Reverb Snare 1

Standard 1

Instrument 53

Timbale Rimshot

Proteus operation manual

Standard 2 + 3

PROTEUS/1

PERCUSSION INSTR UMENT LOCA TIONS

MIDI Key #

Reverb Click

Closed HiHat 2

Open HiHat 2

Finger Snap

36 48 60 72 84 96

Kick 2

Snare 2

10" Tom Tom

14" Tom Tom

Ride Cymbal

Rude Crash

Electro Cymbal

10" Tom Tom

Reverb Kick 1

Electro Cymbal

Closed HiHat 1

Big HiHat

Wood Block

Kick 3

Snare 3

Timbale Strike

Reverb Snare 1

Timbale Rimshot

Maracas

Rosewood Claves

Conga

Guiro Down

Conga Open Slap

Conga Closed Slap

Cabasa

Agogo Bell

Guiro Up

Reverb Click

Finger Snap

Kick 2

Snare 2

14" Tom Tom

Closed HiHat 2

Open HiHat 2

Rude Crash

Electro Cymbal

10" Tom Tom

14" Tom Tom

Electro Cymbal

Closed HiHat 1

Big HiHat

Ride Cymbal

Kick 3

Snare 3

Reverb Kick 1

Reverb Snare 1

Electro Cymbal

Timbale Strike

Standard 2

Instrument 54

Reverb Click

Closed HiHat 2

Open HiHat 2

Finger Snap

Electro Cymbal

Closed HiHat 1

Ride Cymbal

Rude Crash

Big HiHat

Wood Block

Electro Cymbal

Maracas

Cabasa

Rosewood Claves

Agogo Bell

Reverb Click

Closed HiHat 2

Finger Snap

Open HiHat 2

Ride Cymbal

Rude Crash

Electro Cymbal

Closed HiHat 1

Big HiHat

Electro Cymbal

Timbale Rimshot

MIDI Key #

36 48 60 72 84 96

Kick 3

Snare 3

14" Tom Tom

10" Tom Tom

14" Tom Tom

Kick 2

Snare 2

Reverb Kick 1

Hi Electro Cymbal

Timbale Strike

Reverb Snare 1

Conga

Timbale Rimshot

Conga Open Slap

Conga Closed Slap

Kick 3

Guiro Up

Guiro Down

Snare 3

14" Tom Tom

10" Tom Tom

Electro Cymbal

Standard 3

Instrument 55

Standard percussion setups 1, 2, and 3 are compatible with the Alesis HR16,

Korg M1, Dr. T's "Dr. Drum" patterns as well as other devices and programs.

Kick 2

Snare 2

Reverb Kick 1

Timbale Strike

Reverb Snare 1

Timbale Rimshot

Kicks, Snares, Toms

PROTEUS/1 PERCUSSION INSTR UMENT LOCA TIONS

Kick 2

Proteus operation manual

MIDI Key #

36 48 60 72 84 96

Reverb Kick 1

Kick 3

Kicks

Instrument 56

Snare 3

36 48 60 72 84 96

Reverb Snare 1

Snare 2

Snares

Instrument 57

MIDI Key #

14" Tom Tom

36 48 60 72 84 96

10" Tom Tom

Toms

Instrument 58

Proteus operation manual

PERCUSSION INSTR UMENT LOCA TIONS

Big HiHat Closed HiHat 2 Open HiHat 2

Cymbals + Latin

PROTEUS/1

MIDI Key #

36 48 60 72 84 96

Closed HiHat 1

Ride Cymbal Rude Crash

Cymbals

Instrument 59

Timbale Strike

36 48 60 72 84 96

Conga Closed Slap

Conga

Conga Open Slap

Conga Closed Slap

Conga

Conga Closed Slap

Conga

Conga Open Slap

Conga Closed Slap

Conga

Conga Open Slap

Timbale Strike

Timbale Rimshot

Timbale Strike

Timbale Rimshot

Timbale Strike

Timbale Rimshot

Timbale Strike

Timbale Rimshot

Timbale Strike

Timbale Rimshot

MIDI Key #

Latin Drums

Instrument 60

Guiro UpCabasaMaracas

36 48 60 72 84 96

Guiro Down

Wood Block

Claves

Electro Cymbal Agogo Bell

Latin Percussion

Instrument 61

FX, Agogo, Conga, Ride

PROTEUS/1 PERCUSSION INSTR UMENT LOCA TIONS

Open HiHat

Ride

Cymbal

Electro

Cymbal

Finger

Snap

Proteus operation manual

Big

HiHat

MIDI Key #

36 48 60 72 84 96

Reverb

Snare 1

Reverb

Click

Rude

Crash

Guiro

Conga

Open Slap

Percussion FX 1

Instrument 67

Ride Cymbal

36 48 60 72 84 96

Conga Open Slap

Big HiHat

Percussion FX 2

Instrument 68

MIDI Key #

Agogo Bell Conga Ride Cymbal

36 48 60 72 84 96

Agogo Bell, Conga, Ride Cymbal

Instruments 62, 64, 66

Proteus operation manual

PROTEUS/1

Plus

PRESETS and INSTRUMENTS

Plus

Proteus/1

2 Orchestral Presets

ORCHESTRAL ROM PRESETS

Proteus operation manual

STRINGS

384. Solo Cello

385. Solo Viola

386. Solo Violin

387. Quartet

388. Solo Chamber

389. StrHarmonic

391. Gamba Musik

392. Cellophane

393. Vienna Dream

394. RoomOfStrings

395. Legato Str

396. Concerto

397. Power Cello

398. Devil Dance

399. Just Violin

400. Violin&Viola

401. BassoViolino

402. Celli Viola

403. String Stuff

404. Pizz Basses

405. Pizz Celli

406. Pizz Violas

407. Pizz Violins

408. Pizzicato 1

409. Pizzicato 2

410. Bowed () Pitz

412. 3 Octave Pix

413. Paper Pizza

414. Synth-N-Pitz

420. PizzBass 8vb

421. PizzVlns 8va

474. Harpsomatic

475. Harpsicato

WOODWINDS

427. Piccolodeeyo

428. Oboe

429. English Horn

430. Clarinet

431. Verb Clarinet

432. Bass Clarinet

433. Bassoon

434. ContrBassoon

437. Chamber Wind

438. Section Winds

439. Wind Stack

440. Double Reeds

441. Krummhorns

442. Asian Reed

444. Myth Maker

445. Egyptian Reed

447. BassClar 8vb

448. Cntrbsn 8vb

449. Clarinet/Bb

450. Clarinet/A

451. BassClar/Bb

452. Eng.Horn/F

BRASS

443. Fusion Horn

453. Harmon Mute

454. Harmony Room

ENSEMBLES

390. Quintoctave

417. Violin&Oboe

418. Oboe/Strings

422. Strgs/Winds

423. Pizz/Piccolo

424. Divertimento

425. Pluck d'Bois

426. Clarinola

435. Flute/Oboe

436. Clar/Bassoon

446. Piano Winds

499. SawBass/Lead

511. Piano Pizz

PERCUSSION

455. Timpani

456. Tam Tam

457. Tubular Bells

458. Timba Mallet

459. Deep Drum

460. Bell Ensemble

461. Warm Mallet

464. Mongol Man

465. Timp w/Tone

466. Gamelan Vibe

va ................

vb ................

* ................... indicates that the preset is linked to another preset.

S .................. Synthesized - the preset was created in Proteus, not sampled.

indicates that the preset is shifted an octave up. indicates that the preset is shifted an octave down.

Proteus operation manual

Proteus/1

Plus

2 Orchestral Presets

ORCHESTRAL ROM PRESETS

KEYBOARD

419. Piano Trio

467. Notre Dame

468. Carousel

469. Requiem

470. Chapel Organ

471. Sepulcher

473. Harpsikord 2

474. Harpsomatic

476. Lurch Pluck

479. Deep Pad

482. Phaedra

488. Tarkus Twin

490. Sympathetic

492. Glitter God

493. Tinker Bell

494. Bronze Pad

495. ShimmerWays

496. Link2Shimmer

497. Analog Pad

502. Square One

503. Square Link

504. Nice Night

505. Prophet Lead

506. Prophet Link

507. Mystery Scene

508. ElectricLady

509. AnalogueMood

510. Kosmos Keys

TEXTURES

462. Magic Bells

472. Pipe Dream

477. Whistl'n Joe

478. Winter Signs

489. Wrong Room

498. Electrovocal

SOUND EFFECTS

480. Cyberspace

481. Grim Reaper

483. Darn Saucers

485. Space Cowboy

486. Infinite One

491. Boat Haus

500. Psychlotron

501. Vampirical

BASS

411. Jazz Bass

415. PizzMoogBass

416. Amplify Bass

463. Sub It

484. Kool Bass

487. Turbo Bass

va ................

vb ................

* ................... indicates that the preset is linked to another preset.

S .................. Synthesized - the preset was created in Proteus, not sampled.

indicates that the preset is shifted an octave up. indicates that the preset is shifted an octave down.

Proteus/1

Plus

2 Orchestral Instruments

Proteus operation manual

Plus

■

been designed so that they can be layered without having the individual instruments overlap each other. This gives you a much richer sound than you would get by simply layering the same instruments on top of each other.

INSTRUMENTS

Quartets 1-4 have

Your Proteus/1 Plus Orchestral contains a full 8 Megabytes of true 16-bit Pop/Rock and Orchestral samples. In addition, because you purchased the Plus Orchestral, you get an extra 128 ROM presets. To make room for the additional presets, the Demo Sequence has been deleted. The new instruments and presets have been added on to the end of the Proteus/ 1 lists.

ORCHESTRAL SAMPLED SOUNDS

126. Solo Cello ............................ Bowed, Solo Cello with natural vibrato

127. Solo Viola ............................ Bowed, Solo Viola with natural vibrato

128. Solo Violin......................... Bowed, Solo Violin with natural vibrato

129. Gambambo ........................................... Cello, Violin with no vibrato

130. Quartet 1 ................................................................. Celli, Viola, Violin

131. Quartet 2 ..................................................... Bass, Celli, Violas, Violins

132. Quartet 3 ................................................................. Celli, Viola, Violin

133. Quartet 4 ............................................................................. Celli, Violin

134. Pizz Basses ......................................................... Bass section, plucked

135. Pizz Celli ............................................................. Celli section, plucked

136. Pizz Violas .........................................................Viola section, plucked

137. Pizz Violin ........................................................ Violin section, plucked

138. Pizzicombo................................ Pizzicato Bass, Celli, Violas, Violins

139. Bass Clarinet .................................................. Sustained Bass Clarinet

140. Clarinet .................................................................... Sustained Clarinet

141. Bass Clarinet/Clarinet .......... Bass Clarinet and Clarinet split at C3

142. Contra Bassoon ........................................................... Contra Bassoon

143. Bassoon...................................................................................... Bassoon

144. English Horn .............................. English Horn with natural vibrato

145. Oboe ............................................................ Oboe with natural vibrato

146. Woodwinds ........... Contra Bassoon, Bassoon, English Horn, Oboe

147. Harmon Mute ...................................... Solo Trumpet, Harmon Mute

148. Tubular Bell ................................................... Orchestral Tubular Bell

149. Timpani ...................................................................................... Timpani

150. Timpani/Tubular Bell ...................Timpani/Tubular Bell split at C2

151. Tamborine ................................................................... Brass Tamborine

152. Tam Tam .................................................................................. Tam Tam

153. Percussion 3 .................................................... See Percussion 3 Chart

154. Special Effects ............................................. See Special Effects Chart

155. Oboe noVib ........................................................ Oboe with no vibrato

156. Upright Pizz ............ Pizzicato Bass transposed across entire range

Proteus operation manual

Proteus/1

Plus

2 Orchestral Instruments

DIGITAL WAVEFORMS

157. Sine Wave

158. Triangle Wave

159. Square Wave

160. Pulse 33%

161. Pulse 25%

162. Pulse 10%

163. Sawtooth

164. Sawtooth Odd Gone

165. Ramp

166. Ramp Even Only

167. Violin Essence

168. Buzzoon

169. Brassy Wave

170. Reedy Buzz

171. Growl Wave

172. HarpsiWave

173. Fuzzy Gruzz

174. Power 5ths

175. Filtered Saw

176. Ice Bell

177. Bronze Age

178. Iron Plate

179. Aluminum

180. Lead Beam

181. Steel Extract

182. Winter Glass

183. Town Bell Wash

184. Orchestral Bells

185. Tubular SE

186. Soft Bell Wave

187. Swirly

188. Tack Attack

189. Shimmer Wave

190. Moog Lead

191. B3 SE

192. Mild Tone

193. Piper

194. Ah Wave

195. Vocal Wave

196. Fuzzy Clav

197. Electrhode

198. Whine 1

199. Whine 2

200. Metal Drone

201. Silver Race

202. Metal Attack

203. Filter Bass

Plus

INSTRUMENTS

MIDI Key #

36 48 60 72 84 96

Tam Tam

36 48 60 72 84 96

Tubular Bell

Brass Tambourine

Tam Tam Brass Tamborine

Timpani

Tubular Bell

Proteus operation manual

PROTEUS/2 PRESETS and INSTRUMENTS

Proteus/2 Factory Presets

PROTEUS/2 FACTORY PRESETS

Proteus operation manual

PROTEUS

Presets

0-63

64-127

128-191

ROM

RAM

ROM

PROTEUS XR

Presets

0-255

256-383

■

On the Proteus XR, ROM presets 256-319 are duplicated in the first 64 RAM locations.

RAM

ROM

STRINGS

0. Solo Cello †

1. Solo Viola †

2. Solo Violin †

3. Quartet

4. Solo Chamber

5. Arco Basses †

6. Arco Celli †

7. Arco Violas †

8. Arco Violins †

9. Marcato 1

10. Marcato 2

11. Legato Str

12. Concerto

13. Pizz Basses †

14. Pizz Celli †

15. Pizz Violas †

16. Pizz Violins †

17. Pizzicato 1

18. Pizzicato 2

19. Trem Strings

20. Tremulus

60. Harp

74. Exotic Harp

96. Vienna Dream

99. RoomOfStrings

109. String Thing

132. Koto

136. Soft Harp

139. Classic Gtr

141. StrHarmonic

142. Cellophane

143. Gamba Musik

WOODWINDS

24. Flute †

25. Piccolo †

26. Oboe †

27. English Horn †

28. Clarinet †

29. Bass Clarinet †

30. Bassoon †

31. Contrbassoon †

32. Chamber Winds

33. Section Winds

85. Piccolodeeyo

131. Recorder

135. Asian Reed

154. Krummhorns

156. Soft Flute

157. Hi Wind Solo

158. Verb Clarinet

159. PiccoloPeace

160. Flute/Oboe

161. Clar./Flute

162. Clar/Bassoon

163. Double Reeds

164. Bassoon/Horn

165. Alto Flute

184. Clarinet/Bb †

185. Clarinet/A †

186. BassClar/Bb †

187. EngHorn/F †

ENSEMBLES

145. Basses&Vios

146. Violin&Celli

147. ArcoViolins

148. Arco Duet

149. Str Section

150. Arco Strings

151. In The Pit

152. <<InThePit<<

153. Rotary Chmbr

166. WindEnsemble **

167. DblReeds/Hrn **

BRASS

36. French Horn 1 †

37. French Horn 2 †

38. Section Horns

39. Trumpet 1 †

40. Trumpet 2 †

41. Two Trumpets

42. Harmon Mute †

43. Trombone 1 †

44. Trombone 2 †

45. Tuba †

46. Back Brass

47. Bright Brass

48. Chamber Brass

168. Verb Horn

169. Xprsv Cornet

170. Bone&Trumpet

ENSEMBLES

21. Strgs/Flutes

22. Resting Pad

23. Divertimento

34. Epilogue

35. Wind Stack

49. BrassStrings

171. Bone&Tuba

172. Trombones

173. Sfz Brass

174. Horn Vel+Wh

188. FrenchHorn/F †

189. Trumpet/Bb †

190. Trumpet/D †

61. Harpstrings

84. Gently Now *

107. Pizz/Piccolo

144. Quintoctave

Bold Type ... indicates a User Preset.

* ...................

** .................

† ..................

E .................. Ersatz; the instrument was created in Proteus, not sampled.

indicates that the preset is linked to another preset. indicates that the two adjacent presets are linked. the keyboard range is limited to the actual range of the instrument.

Proteus operation manual

Proteus/2 Factory Presets

PROTEUS/2 FACTORY PRESETS

PERCUSSION

50. Timpani

51. Gong/Cymbal

52. Bass/Snare +

53. Temple Block

54. Xylophone

55. Glockenspiel

56. Celesta

57. Tubular Bells

58. Percussion 1

59. Percussion 2

60. Harp

70. Marimbala

77. Vibraphone

83. Early Perc

102. Sub It!

104. CloudChamber

138. Grandfather

140. Temple Bell

175. Afroblocks

176. Timba Mallet

177. Timp w/Tone

178. Bass Drum

179. TimpLowBlock

180. Deep Drum

181. Triangle

182. Big Log

183. Gamelan

KEYBOARD

62. Harpsikord

63. Notre Dame

65. Deep Pad

67. Bell Ensemble

72. Tinker Bell

73. Carousel

76. Bronze Pad

87. ShimmerWays *

89. Requiem

91. Analog Pad

92. Chapel Organ

95. SawBass/Lead

98. Tarkus Twin

101. Reginatron

105. Sepulcher

106. Lurch Pluck

111. Square One **

112. Square Link **

115. Master Tron

117. Sympathetic

120. Glitter God

122. Nice Night

123. Prophet Lead **

124. Prophet Link **

126. Link2Shimmer *

128. Harpsomatic

129. Phaedra

130. Cimbalon

TEXTURES

64. Winter Signs

80. Sombre Winds

81. Space Cowboy

82. The Machine

90. Wrong Room

93. Electrovocal

97. Vertigo Pad

103. Psychlotron

108. Vampirical

113. <*>

114. Sardonicus

116. Lo Wind Inst

127. Ascending

SOUND EFFECTS

66. Portamento/F

68. Cyberspace

71. Grim Reaper

75. Darn Saucers

78. Astral Flute

86. Infinite One

100. Magic Bells

110. Galapagos

118. Wind Chimes

119. Boat Haus

125. Whistl'n Joe

133. Dream Garden

138. Grandfather

BASS

69. PizzMoogBass

79. Kool Bass

88. Turbo Bass

94. Fat Boy Tuba

121. Story Bass

134. Amplify Bass

137. Jazz Bass

155. C.Bsn/Dbl Bs

191. Default

Bold Type ... indicates a User Preset.

* ................... indicates that the preset is linked to another preset.

** ................. indicates that the two adjacent presets are linked.

E .................. Ersatz - the instrument was created in Proteus, not sampled.

Proteus/2 Instruments

PROTEUS/2 INSTRUMENTS

SAMPLED SOUNDS

1. Arco Basses ................................................. Bowed, 3 piece Bass section

2. Arco Celli .................................................... Bowed, 4 piece Celli section

3. Arco Violas .............................................. Bowed, 10 piece Viola section

4. Arco Violin............................................. Bowed, 16 piece Violin section

5. Dark Basses ........................................... Bass section with a darker tone

6. Dark Celli .............................................. Celli section with a darker tone

7. Dark Violas .......................................... Viola section with a darker tone

8. Dark Violin ........................................ Violin section with a darker tone

9. Low Tremolo ................................................... Tremolande Bass section

10. High Tremolo ............................................. Tremolande Violin section

11. Tremolande......................................... Tremolande Basses and Violins

12. Strings 1 ........................................... Section Bass, Celli, Violas, Violins

13. Strings 2 ........................................... Section Bass, Celli, Violas, Violins

14. Strings 3 ........................................... Section Bass, Celli, Violas, Violins

15. Solo Cello .............................. Bowed, Solo Cello with natural vibrato

16. Solo Viola .............................. Bowed, Solo Cello with natural vibrato

17. Solo Violin............................. Bowed, Solo Cello with natural vibrato

18. Quartet 1 ................................................................... Cello, Viola, Violin

19. Quartet 2 .......................................................... Bass, Cello, Viola, Violin

20. Quartet 3 ................................................................... Cello, Viola, Violin

21. Quartet 4 .............................................................................. Cello, Violin

22. Gambambo .............................................. Cello, Violin with no vibrato

23. Pizz Basses ............................................................ Bass section, plucked

24. Pizz Celli ............................................................... Celli section, plucked

25. Pizz Violas ........................................................... Viola section, plucked

26. Pizz Violin ...........................................................Violin section, plucked

27. Pizzicombo.................................. Pizzicato Bass, Celli, Violas, Violins

28. Flute w/Vib ......................................... Solo Flute with natural vibrato

29. Flute noVib ............................................. Darker Flute with no vibrato

30. Alt. Flute........................................................ Flute with natural vibrato

31. Piccolo ............................................................................................ Piccolo

32. Bass Clarinet ..................................................... Sustained Bass Clarinet

33. Clarinet ....................................................................... Sustained Clarinet

34. Bass Clarinet/Clarinet ............ Bass Clarinet and Clarinet split at C3

35. Contra Bassoon ............................................................. Contra Bassoon

36. Bassoon......................................................................................... Bassoon

37. English Horn ................................. English Horn with natural vibrato

38. Oboe w/Vib ................................................. Oboe with natural vibrato

39. Oboe noVib .......................................................... Oboe with no vibrato

40. Alt. Oboe ............................................ Different Oboe with no vibrato

Proteus operation manual

Proteus/2 Instruments

PROTEUS/2 INSTRUMENTS

41. Woodwinds .............. Contra Bassoon, Bassoon, English Horn, Oboe

42. Hi Trombone ............................................................................ Trombone

43. Lo Trombone ............................................. Slightly different Trombone

44. mf Trumpet .................................................... Solo Trumpet, MF attack

45. ff Trumpet ................................................... Solo Trumpet, Forte attack

46. Harmon Mute ......................................... Solo Trumpet, Harmon Mute

47. mf French Horn ...................................... Solo French Horn, MF attack

48. ff French Horn ..................................... Solo French Horn, Forte attack

49. Tuba .................................................................................................... Tuba

50. ff Brass ............................................ Trombone, French Horn, Trumpet

51. mf Brass ................................................... Tuba, French Horn, Trumpet

52. Harp .................................................................................... Concert Harp

53. Xylophone ............................................................................... Xylophone

54. Celesta ........................................................................................... Celesta

55. Triangle ........................................................................................ Triangle

56. Bass Drum ............................................................................... Bass Drum

57. Snare Drum + ............................................... See Snare Drum + Chart

58. Piatti ................................................................................................... Piatti

59. Temple Block ...................................................................... Temple Block

60. Glockenspiel ....................................................................... Glockenspiel

61. Percussion 1 ...................................................... See Percussion 1 Chart

62. Percussion 2 ...................................................... See Percussion 2 Chart

63. Low Percussion 2 ............... Same as Percussion 2, but at lower pitch

64. High Percussion 2 ............. Same as Percussion 2, but at higher pitch

65. Tubular Bell ....................................................... Orchestral Tubular Bell

66. Timpani ........................................................................................ Timpani

67. Timpani/Tubular Bell ..................... Timpani/Tubular Bell split at C2

68. Tambourine .......................................................................... Tambourine

69. Tam Tam .................................................................................... Tam Tam

70. Percussion 3 ...................................................... See Percussion 3 Chart

71. Special Effects ............................................... See Special Effects Chart

Proteus/2 Harmonic Waveforms

PROTEUS/2 INSTRUMENTS

HARMONIC WAVEFORMS

72. Oct 1 (Sine)

73. Oct 2 All

74. Oct 3 All

75. Oct 4 All

76. Oct 5 All

77. Oct 6 All

78. Oct 7 All

79. Oct 2 Odd

80. Oct 3 Odd

81. Oct 4 Odd

82. Oct 5 Odd

83. Oct 6 Odd

84. Oct 7 Odd

85. Oct 2 Even

86. Oct 3 Even

87. Oct 4 Even

88. Oct 5 Even

89. Oct 6 Even

90. Oct 7 Even

91. Low Odds

92. Low Evens

93. Four Octaves

Proteus operation manual

These are the same waveforms that are in the Proteus/1 and are very useful, either to accent certain harmonics in the sampled sounds, or combined with other waveforms for synthesized and additive timbres.

Frequency (log)

OCTAVE-5 ODD

Level

Harmonic

Octave

As an example, this chart shows the harmonics present in the Octave 5 Odd waveform.

12345678910 151617 3118

12 3 4 5

Proteus operation manual

DIGITAL WAVEFORMS

94. Sine Wave

95. Triangle Wave

96. Square Wave

97. Pulse 33%

98. Pulse 25%

99. Pulse 10%

100. Sawtooth

101. Sawtooth Odd Gone

102. Ramp

103. Ramp Even Only

104. Violin Essence

105. Buzzoon

106. Brassy Wave

107. Reedy Buzz

108. Growl Wave

109. HarpsiWave

110. Fuzzy Gruzz

111. Power 5ths

112. Filtered Saw

113. Ice Bell

114. Bronze Age

115. Iron Plate

116. Aluminum

117. Lead Beam

118. Steel Extract

PROTEUS/2 INSTRUMENTS

119. Winter Glass

120. Town Bell Wash

121. Orchestral Bells

122. Tubular SE

123. Soft Bell Wave

124. Swirly

125. Tack Attack

126. Shimmer Wave

127. Moog Lead

128. B3 SE

129. Mild Tone

130. Piper

131. Ah Wave

132. Vocal Wave

133. Fuzzy Clav

134. Electrhode

135. Whine 1

136. Whine 2

137. Metal Drone

138. Silver Race

139. Metal Attack

140. Filter Bass

141. Upright Pizz

142. Nylon Pluck 1

143. Nylon Pluck 2

144. Plucked Bass

Proteus/2 Waveforms

Strings 1, 2 and 3

PROTEUS/2 INSTRUMENT LOCATIONS

Proteus operation manual

MIDI Key #

36 48 60 72 84 96

Arco Basses

Arco Celli

Arco Violas

Arco Violins

Strings 1

Instrument 12

36 48 60 72 84 96

Arco Violas

Arco ViolinsArco Celli

Strings 2

Instrument 13

MIDI Key #

36 48 60 72 84 96

Arco Violas Arco Violas

Arco ViolinsArco Celli

Strings 3

Instrument 14

E-Mu Proteus User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual