E-Mu Ultra Proteus User Manual

UltraProteus

FI434 Rev. A

Manual - Riley Smith

E-mu World Headquarters E-mu Systems, Inc. U.S.A. P.O. Box 660015 Scotts Valley, CA USA 95067–0015 Telephone: 408-438-1921 Fax: 408-438-8612

Important Notice: In order to obtain warranty service on your UltraProteus unit, the serial number sticker must be intact and you must have a sales receipt or other proof of purchase. If there is no serial number sticker on UltraProteus, please contact E-mu Systems at once.

This product is covered under one or more of the following U. S. patents: 3,969,682; 3,986,423; 4,404,529; 4,506,579; 4,699,038; 4,987,600; 5,013,105; 5,072,645; 5,111,727 and foreign patents and/or pending patents. UltraProteus is a registered trademark of E-mu Systems, Inc.

Europe, Africa, Middle East E-mu Systems, Ltd. Suite 6, Adam Ferguson House Eskmills Industrial Park Musselburgh, East Lothian Scotland, EH21 7PQ Telephone: 44-31-653-6556 Fax: 44-31-665-0473

PRINTED AND MADE IN THE USA

IMPORTANT SAFETY INSTRUCTIONS

Use in countries other than the U.S.A. may require the use of a different line cord or attachment plug, or both. To reduce the risk of fire or electric shock, refer servicing to qualified service personnel. To reduce risk of fire or electric shock do not expose this product to rain or moisture.

WARNING: READ THIS FIRST!

GROUNDING INSTRUCTIONS

This product must be grounded. If it should malfunction or break down, grounding provides a path of least resistance for electric current, reducing the risk of electric shock. This product is equipped with a cord having an equipment-grounding conductor and a grounding plug. The plug must be plugged into an appropriate outlet properly installed and grounded in accordance with all local codes and ordinances.

DANGER

Improper connection of equipment grounding conductor can result in the risk of electric shock. Check with a qualified electrician or service personnel if you are in doubt as to whether the product is properly grounded. Do not modify the plug provided with this product — if it will not fit the outlet, have a proper outlet installed by a qualified technician.

CAUTION

If the UltraProteus (model number 9053), is rack mounted, a standard 19-inch open frame rack must be used.

USER-MAINTENANCE INSTRUCTIONS

1. UltraProteus should be kept clean and dust free. Periodically wipe the unit with a clean, lint free cloth. Do not use solvents or cleaners.

2. There are no user lubrication or adjustment requirements.

In this document, whenever the word “UltraProteus” is mentioned, we are referring to the UltraProteus Synthesizer by E-mu Systems, Inc.

This symbol is intended to alert the user to the presence of important operating and maintenance (servicing) instructions in the literature accompanying the appliance.

3. Refer all other servicing to qualified service personnel.

INSTRUCTIONS PERTAINING TO A RISK OF FIRE, ELECTRIC SHOCK, OR INJURY TO PERSONS

WARNING; When using electric products, basic precautions should always be followed, including the following:

1. Read all instructions before using UltraProteus.

2. To reduce the risk of injury, close supervision is necessary when UltraProteus is used near children.

3. Do not use UltraProteus near water — for example near a bathtub, washbowl, kitchen sink, in a wet basement, on a wet bar, or near or in a swimming pool.

4. UltraProteus should be situated so that its location or position does not interfere with its proper ventilation.

This symbol is intended to alert the user to the presence of uninsulated dangerous voltage within the product's enclosure that may be of sufficient magnitude to constitute a risk of electric shock to persons.

SAVE THESE INSTRUCTIONS

5. UltraProteus should be located away from heat sources such as radiators, heat registers, fireplaces, stoves, or ovens.

6. UltraProteus should only be connected to a power supply of the type described in the operating instructions and as marked on the product.

7. This product, in combination with an amplifier, headphones, and speakers, may be capable of producing sound levels that could cause full or partial hearing loss or damaged equipment. Do not operate for long periods of time at high volume levels or at a level that is uncomfortable. Additionally, care must be taken when programming any of the filters contained herein using extreme operating parameters. This action could also produce signals which result in unacceptable high sound levels as noted previously. If you experience any hearing loss or ringing of the ears consult your physician.

8. UltraProteus may be equipped with a polarized line plug (one blade wider that the other). This is a safety feature. If you are unable to insert this plug into the outlet, do not defeat the safety purpose of the plug. Contact an electrician to replace your obsolete outlet.

9. The power supply cord of UltraProteus should be unplugged from the outlet when left unused for a long period of time.

10. Care should be taken so that objects do not fall and liquids are not spilled

into the enclosure of UltraProteus through openings.

11. The product should be serviced by qualified service personnel when:

A. The power supply cord has been damaged; or

B. Objects have fallen on, or liquid has been spilled into the product; or

C. The product has been exposed to rain; or

D. The product does not appear to operate normally or exhibits a

marked change in performance; or

E. The product has been dropped or the enclosure damaged.

12. All servicing should be referred to qualified service personnel.

SAVE THESE INSTRUCTIONS

INTRODUCTION & BASIC SETUP 1

Introduction .................................................................................................................... 3

Getting Started ................................................................................................................ 4

Connection Instructions .................................................................................................... 5

Background - About Sampling.......................................................................................... 9

TABLE OF CONTENTS

BASIC OPERATION

Main Controls ................................................................................................................ 12

Selecting MIDI Channels................................................................................................. 14

Selecting Presets/Hyperpresets ...................................................................................... 14

Adjusting Volume & Pan Position .................................................................................... 14

Memory Card ................................................................................................................ 15

Midimap Selection ......................................................................................................... 15

Multi-Timbral Operation................................................................................................. 16

Playing the Demo Sequences ......................................................................................... 16

Master Menu ................................................................................................................. 17

Enabling the Master Menu ............................................................................................. 19

Master Tune .................................................................................................................. 19

Transpose...................................................................................................................... 19

User Key Tuning ............................................................................................................ 20

Global Bend .................................................................................................................. 20

Global Velocity Curve ..................................................................................................... 20

MIDI Mode .................................................................................................................... 22

MIDI Mode Change ........................................................................................................ 22

MIDI Program Change Map............................................................................................ 23

MIDI Controller Assign ................................................................................................... 24

MIDI Footswitch Control ................................................................................................. 24

Send MIDI Data ............................................................................................................. 24

Sysex Packet Delay ....................................................................................................... 25

Proteus Sysex................................................................................................................ 26

Auto Select .................................................................................................................... 26

Compare Mode .............................................................................................................. 26

Viewing Angle ............................................................................................................... 26

Midimap Menu .............................................................................................................. 27

The Midimap ................................................................................................................. 29

Enabling the Midimap Menu........................................................................................... 30

Midimap Select .............................................................................................................. 30

Midimap Name.............................................................................................................. 31

Program to Channel Assign ............................................................................................ 31

Volume, Pan & Output Mix ............................................................................................ 31

iii

TABLE OF CONTENTS

MIDIMAP MENU (cont)

MIDI Enables ................................................................................................................. 33

Bank Select ................................................................................................................... 33

Program Map Select ...................................................................................................... 34

FX A.............................................................................................................................. 34

FX B.............................................................................................................................. 35

FX Amount .................................................................................................................... 35

FX Output Select ............................................................................................................ 36

Save Midimap ............................................................................................................... 36

EFFECTS SECTION

Where are the Effects? ................................................................................................... 39

Effects Output Routing ................................................................................................... 40

UltraProteus Effects Bus Architecture .............................................................................. 40

Effect Programming Instructions..................................................................................... 41

Reverb .......................................................................................................................... 42

Stereo Flanger ............................................................................................................... 46

Stereo Phaser ................................................................................................................ 48

Stereo Chorus ................................................................................................................ 49

Stereo Delay ................................................................................................................. 50

Stereo Cross Delay......................................................................................................... 51

Stereo Echo ................................................................................................................... 52

“B” Effects .................................................................................................................... 53

Stereo Fuzz ................................................................................................................... 54

Ring Modulator ............................................................................................................. 55

HYPERPRESET MENU

The Hyperpreset ............................................................................................................ 59

Enabling the Hyperpreset Menu ..................................................................................... 59

Hyperpreset Name ........................................................................................................ 60

Preset to Zone Assignment ............................................................................................. 60

Zone Volume and Pan.................................................................................................... 61

Zone Key Range ............................................................................................................ 61

Zone Velocity Range ...................................................................................................... 62

Zone Velocity Offset ...................................................................................................... 63

Zone Transpose ............................................................................................................. 63

Zone Pitch Tune............................................................................................................. 63

Hyperpreset Portamento Mode....................................................................................... 64

Free-Run Function Generator ......................................................................................... 64

Save Hyperpreset .......................................................................................................... 66

TABLE OF CONTENTS

PRESET PROGRAMMING

Starting to Program ....................................................................................................... 69

Modulation.................................................................................................................... 70

Modulation Sources ....................................................................................................... 71

Footswitch Modulation ................................................................................................... 72

Midipatch ...................................................................................................................... 72

Envelope Generators...................................................................................................... 73

Low Frequency Oscillators .............................................................................................. 75

Function Generators ...................................................................................................... 76

Filter Modulation ........................................................................................................... 84

Parametric Filters .......................................................................................................... 87

The UltraProteus Filter ................................................................................................... 88

The Z-Plane Filter .......................................................................................................... 89

Another View ................................................................................................................. 92

UltraProteus Signal Flow ................................................................................................ 93

Note-On Modulation Control........................................................................................... 94

Realtime Modulation Control .......................................................................................... 95

Key Number .................................................................................................................. 96

Velocity Curves .............................................................................................................. 96

MIDI Realtime Controls .................................................................................................. 97

PRESET MENU

Enabling the Preset Menu ............................................................................................ 101

Preset Name ............................................................................................................... 102

Primary Instrument ..................................................................................................... 102

Secondary Instrument.................................................................................................. 102

Volume ....................................................................................................................... 103

Pan ............................................................................................................................. 103

Key Range .................................................................................................................. 103

Primary Key Range ..................................................................................................... 104

Secondary Key Range .................................................................................................. 104

Transpose.................................................................................................................... 105

Coarse Pitch Tuning ..................................................................................................... 105

Fine Pitch Tuning ......................................................................................................... 105

Alternate Envelope On/Off .......................................................................................... 105

Primary Alternate Envelope Parameters ....................................................................... 106

Secondary Alternate Envelope Parameters .................................................................... 106

Double + Detune......................................................................................................... 106

Sound Delay................................................................................................................ 107

Sound Start ................................................................................................................. 107

TABLE OF CONTENTS

PRESET MENU (cont)

Sound Reverse ............................................................................................................ 107

Nontranspose .............................................................................................................. 108

Loop Enable ................................................................................................................ 108

Loop Offset ................................................................................................................. 108

Solo Mode ................................................................................................................... 109

Solo Mode Priority ....................................................................................................... 110

Portamento Rate ......................................................................................................... 110

Portamento Shape ....................................................................................................... 110

Portamento Mode ........................................................................................................ 111

Crossfade Mode ........................................................................................................... 111

Crossfade Direction ...................................................................................................... 112

Crossfade Balance and Amount .................................................................................... 112

Cross-switch Point ........................................................................................................ 113

Primary Filter Type ...................................................................................................... 113

Secondary Filter Type .................................................................................................. 113

Filter Level .................................................................................................................. 113

Morph Offset ............................................................................................................... 114

Filter Frequency Tracking ............................................................................................. 114

Filter Transform 2........................................................................................................ 115

Filter Reverse .............................................................................................................. 116

Auxiliary Envelope ...................................................................................................... 116

LFO 1 & 2 - Shape & Amount ....................................................................................... 117

LFO 1 & 2 - Rate, Delay & Variation ............................................................................. 117

Function Generator 1 and 2 ......................................................................................... 118

Note-On Modulation Control......................................................................................... 122

Realtime Modulation Control ........................................................................................ 123

Footswitch Control ....................................................................................................... 124

Pitch Bend Range ........................................................................................................ 124

Pressure Amount ......................................................................................................... 124

MIDI Controller Amount ............................................................................................... 124

Velocity Curve ............................................................................................................. 125

Keyboard Center ......................................................................................................... 126

Keyboard Tuning ......................................................................................................... 126

Mix Select ................................................................................................................... 127

Save Preset ................................................................................................................. 127

TABLE OF CONTENTS

COPY MENU

Enabling the Copy Menu .............................................................................................. 131

Copy Preset ................................................................................................................. 131

Copy Layer.................................................................................................................. 132

Copy Filter .................................................................................................................. 132

Copy LFO .................................................................................................................... 132

Copy Function Generator ............................................................................................. 133

Copy Auxiliary Envelope .............................................................................................. 133

Copy Note-On Control .................................................................................................. 133

Copy Realtime Control ................................................................................................. 133

Copy Hyperpreset ........................................................................................................ 134

Copy Zone................................................................................................................... 134

Copy Free-Run Function Generator ............................................................................... 134

Copy Midimap ............................................................................................................. 134

Copy Channel .............................................................................................................. 135

Copy Effects ................................................................................................................ 135

Copy Program Change Map.......................................................................................... 135

Copy Bank .................................................................................................................. 136

129

STEP-BY-STEP

Forward ...................................................................................................................... 139

Editing Presets............................................................................................................. 139

Starting From Scratch .................................................................................................. 140

The Instrument ............................................................................................................ 140

Volume ....................................................................................................................... 141

Pan ............................................................................................................................. 141

Transpose.................................................................................................................... 141

Coarse Tuning ............................................................................................................. 142

Fine Tuning ................................................................................................................. 142

Alternate Volume Envelope .......................................................................................... 143

Anatomy of an Envelope.............................................................................................. 144

Sound Delay................................................................................................................ 145

Sound Start ................................................................................................................. 145

Application: Sound Splicing .......................................................................................... 146

Time to Save?.............................................................................................................. 147

LFO Modulation ........................................................................................................... 147

Modulating Modulators ................................................................................................ 150

The UltraProteus Filter ................................................................................................. 151

Just Do It .................................................................................................................... 152

Filter Filosophy............................................................................................................ 154

137

vii

TABLE OF CONTENTS

STEP-BY-STEP (cont)

Morphology ................................................................................................................ 157

Using UltraProteus with a Sequencer ............................................................................ 158

More Advanced Sequencing ......................................................................................... 159

REFERENCE SECTION

Factory RAM Presets - Bank 0 ...................................................................................... 162

Factory ROM Presets - Bank 1 ...................................................................................... 163

Instrument Listing........................................................................................................ 164

B3 Wave Diagrams ...................................................................................................... 171

Instrument Locations ................................................................................................... 172

Percussion Instrument Locations ................................................................................... 173

Z-Plane Filter Descriptions............................................................................................ 178

Loop Offset Sample Locations....................................................................................... 235

Function Generator Curves ........................................................................................... 239

Function Generator, LFO & Envelope Specifications ....................................................... 247

Technical Specifications ................................................................................................ 248

MIDI Implementation Chart.......................................................................................... 249

MIDI Specifications ...................................................................................................... 250

SysEx Tutorial ............................................................................................................. 277

INDEX

WARRANTY

161

281

285

viii

UltraProteus INTRO/BASIC SETUP

Chapter 1: Basic Setup 1

UltraProteus Operation Manual2

PHONES

VOLUME

UltraProteus

C01 VOL127 PAN=P 195 Star Ship

HYPERPRESETMIDIMAP COPY

DEMO

CURSOR

HOME/ENTER

POWER

DATA

MIDI

PRESETMASTER

UltraProteus

UltraProteus is a new type of music synthesizer which upholds the legendary Proteus tradition of crystal-clear sounds while significantly furthering the evolution of electronic sound synthesis.

Many electronic instruments today involve the technology of sampling, where sounds are digitally recorded and played back at different pitches. Sampling has the advantage of highly accurate and realistic sound. One disadvantage of sampling is that once the sounds are recorded, it is difficult to change them in any significant way.

INTRODUCTION

THIS SYMBOL APPEARS THOUGHOUT THE MANUAL TO HIGHLIGHT ADDITIONAL INFORMATION RELATING TO THE OPERATION OF ULTRAPROTEUS.

UltraProteus incorporates the E-mu Z-Plane filter, which has the ability to smoothly change its function over time. This ultra-powerful device can accurately simulate the resonance of musical instruments, the human voice or create entirely new timbres. The Z-Plane filter is composed of up to eight complex filters for unprecedented control over subtle aspects of the sound.

UltraProteus contains sixteen megabytes of Pop, Rock, Orchestral and World samples from the Proteus family of instruments. In addition, it includes hot

™

new drum sounds, new waveforms, and the Proformance

stereo grand piano. This amazing array of sounds can be combined or spliced, modulated and then shaped through one of 288 Z-Plane filters. Sampled sounds can be re-shaped and expressively controlled, allowing you to articulate the subtle nuances of complex instruments.

The 16 bit sound samples are arranged into 256 preset locations, 128 of which are user-programmable. 128 user-programmable Hyperpresets allow ultraflexible keyboard mapping of presets. The optional memory card lets you create an expandable library of your favorite presets and hyperpresets.

UltraProteus features two studio-quality effects processors with 28 different effects to choose from. Hyperpresets allow you to have up to 32 different sounds on the keyboard at one time in any desired arrangement. Sounds can be placed side by side or layered with velocity control. The ability to respond multitimbrally to all 16 MIDI channels makes UltraProteus ideally suited for multitrack sequencing and composing using a MIDI sequencer.

THIS SYMBOL APPEARS THOUGHOUT THE MANUAL TO WARN YOU OF POTENTIALLY CONFUSING OPERATING PROCEDURES.

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.

Chapter 1: Basic Setup 3

INSTRUMENT

PRESET

PRIMARY

SECONDARY

GETTING STARTED

• RAM PRESETS CAN BE MOVED, ERASED OR MODIFIED AS DESIRED.

• ROM PRESETS CANNOT BE MOVED OR ALTERED UNLESS THEY ARE FIRST COPIED TO A RAM LOCATION.

In its most basic form, UltraProteus is organized as shown in the diagram below. Complete acoustic instrument samples and electronically created sounds are used as raw material to form Presets.

The Preset is a complete set of all program functions and combinations for a complete UltraProteus sound. Each preset consists of one or two 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 of the preset are essentially two instruments with complete modulation controls. The memory is organized into banks of 128 programmable RAM presets, unalterable ROM presets and Hyperpresets.

Bank Contents

RAM Presets

ROM Presets

RAM Hyperpresets

Card Presets

Card Hyperpresets

• HYPERPRESETS ARE GROUPS OF PRESETS ARRANGED ON THE KEYBOARD TO FORM SPLITS OR LAYERS.

• MEMORY CARD - ALLOWS YOU TO EASILY LOAD AND SAVE ADDITIONAL PRESETS AND HYPERPRESETS.

A Hyperpreset is a combination of up to sixteen presets arranged either side by side on the keyboard (to create a keyboard split) or on top of each other (to create a denser sound). Each preset in a hyperpreset is assigned to a keyboard Zone, with an associated key range, volume, pan, tuning and transpose setting. In addition, each zone can be assigned to a velocity range so that different presets can play depending on the key velocity. There are 128 Hyperpreset locations available to store your own custom keyboard setups.

- Layer -

Presets Assigned

to the same

Keyboard Range

(3 Zones)

Preset Preset Preset

(Zone) (Zone)

Preset

- Keyboard Split -

Presets Placed

Adjacent to Each Other

(Zone)

Preset

UltraProteus Operation Manual4

100-250VAC 50/60 Hz ~

Aux. or Tape In

MIDI Controller

(MIDI Keyboard, Sequencer, etc.)

Control

Pedal

E-MU SYSTEMS, INC.

Scotts Valley, California U.S.A.

WARNING: TO REDUCE THE RISK OF FIRE

OR ELECTRIC SHOCK, DO NOT EXPOSE THIS PRODUCT TO RAIN OR MOISTURE.

Male RCA plug

Male Phono Plug

MIDI Out

MIDI

Main Outs

CONNECTION INSTRUCTIONS

SETUP #1 BASIC SETUP

The Headphone

Output is located

on the Front Panel

OUTPUTS

THRUOUTIN

R - SUB2 - L R - SUB1 - L R - MAIN - L

Mixer

Amp

MONO STEREO

Main Outs to Mixer In

THE HEADPHONE OUTPUT MONITORS THE MAIN OUTPUTS ONLY. THE SUBMIX OUTPUTS DO NOT FEED INTO THE HEADPHONE OUTPUT.

IF ULTRAPROTEUS DOES NOT SEEM TO BE RESPONDING CORRECTLY, MAKE SURE THAT BOTH ULTRAPROTEUS AND YOUR MIDI CONTROLLER ARE SET TO THE SAME MIDI CHANNEL.

Speakers

Home Stereo

System

Home Studio

System

MIDI In

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

Audio Outputs

UltraProteus 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 headphone jack located on the left side of the front panel. The Right Main output jack serves as a mono output when the Left Main plug is not plugged in. The Left Main output jack serves as a stereo output when the Right Main plug is not plugged in.

MOST ULTRAPROTEUS FACTORY PRESETS ARE PROGRAMMED TO RESPOND TO PEDAL CONTROL.

SET YOUR KEYBOARD TO TRANSMIT PEDAL ON CONTROLLER #4, OR SEE “MIDI REALTIME CONTROLLERS” IN THIS MANUAL FOR ADDITIONAL INFORMATION.

Chapter 1: Basic Setup 5

CONNECTION INSTRUCTIONS

SETUP #2 STUDIO SETUP

MANY OF THE ULTRAPROTEUS FACTORY PRESETS HAVE BEEN PROGRAMMED TO USE A FOOT PEDAL CONTROLLER. TO USE THIS EXCITING FEATURE, SET YOUR MIDI CONTROLLER TO TRANSMIT THE FOOTPEDAL ON CONTINUOUS CONTROLLER NUMBER 4. (This is the default

value, which can be be changed to any controller number.)

MIDI Controller

(MIDI Keyboard, Sequencer, etc.)

MIDI Out

E-MU SYSTEMS, INC.

Scotts Valley, California U.S.A.

WARNING: TO REDUCE THE RISK OF FIRE

100-250VAC 50/60 Hz ~

OR ELECTRIC SHOCK, DO NOT EXPOSE THIS PRODUCT TO RAIN OR MOISTURE.

MIDI

Out

MIDI Switcher

Out In

MIDI

OutInIn

THRUOUTIN

MIDI

Computer

Out

Additional

MIDI

Devices

MIDI In

OUTPUTS

R - SUB2 - L R - SUB1 - L R - MAIN - L

Effects-Only

MONO STEREO

Dry-Only

Main Outputs

MIDI In

In this setup, UltraProteus 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 MIDI System Exclusive data to a computer or other device.

Audio Outputs

UltraProteus has three sets of programmable stereo outputs; Main, Sub 1, and Sub 2. Sub 1 is a non-effects output, Sub 2 is an effects-only output. Specific UltraProteus presets (or MIDI channels) can be routed to one of these stereo pairs in order to be further processed or mixed separately.

UltraProteus Operation Manual6

CONNECTION INSTRUCTIONS

MIDI Controller

(MIDI Keyboard, Sequencer, etc.)

MIDI Out

E-MU SYSTEMS, INC.

Scotts Valley, California U.S.A.

WARNING: TO REDUCE THE RISK OF FIRE

100-250VAC 50/60 Hz ~

OR ELECTRIC SHOCK, DO NOT EXPOSE THIS PRODUCT TO RAIN OR MOISTURE.

Sub Output Return

(To Main Output)

SETUP #3 PERFORMANCE SETUP

Additional

MIDI

Devices

MIDI In

MIDI

THRUOUTIN

Sub Outs 1 = NO Internal Effects Sub Outs 2 = From Internal Effects

OUTPUTS

R - SUB2 - L R - SUB1 - L R - MAIN - L

Send

Effect Device

MONO STEREO

Send/Return

Main Outs to Mixer In

Tip Ring

To Effect From Effect

SEND/RETURN CABLE

Signal is sent out on tip of plug and

returned to main outputs via ring of plug.

MIDI In

UltraProteus is controlled by MIDI messages received at the MIDI In connector. Connect the MIDI In of UltraProteus 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.

Audio Outputs

Each of the Sub 1 and Sub 2 output jacks on the UltraProteus are stereo jacks. The tip of each jack (accessed when a standard phone plug is inserted) is the left or right output of that group. If a stereo plug is inserted, the Ring of the stereo plug serves as a signal Return which sums into the Main outputs. The Sub 1 outputs bypass the internal effects. Sub 2 are the outputs of the internal effects.

Chapter 1: Basic Setup 7

CONNECTIONS

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 UltraProteus presets 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.

UltraProteus Output Section

L Bus

R Bus

Tip

RL RL RL

Ring

Tip

Ring

Tip

Ring

Tip

Ring

Tip Tip

Ring

SUB 2 SUB 1 MAIN

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

POWER UP!

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

UltraProteus automatically switches itself for 110 or 220 Volt operation.

UltraProteus Operation Manual8

ABOUT SAMPLING

UltraProteus utilizes digital recording of acoustic sounds for the basis of each Instrument. This is similar to a tape recorder except that inside the UltraProteus, the sounds are permanently recorded on digital memory chips.

Sound 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 permanently encoded into the UltraProteus 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 over time and the corresponding data values are stored in memory. To play the sound back, the numbers are read back out of memory, modified by the Z-plane filter, 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.

BACKGROUND

Analog/Digital Converter

1011001

Basic Sampling System

UltraProteus

Memory

10100101001 01010010100 10101010100 10101001010

-3V

Z-Plane Filter Amplifier

Digital/Analog Converter

1011001

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

Chapter 1: Basic Setup 9

UltraProteus Operation Manual10

UltraProteus BASIC OPERATION

11Chapter 2: Basic Operation

MAIN CONTROLS

VOLUME

CONTROL

DISPLAY

PHONES

HEADPHONE

JACK

VOLUME

UltraProteus

CARD

SLOT

C01 VOL127 PAN=P

021 Real:Z Piano

Volume Control

This is the master volume control for all audio outputs. Note: For maximum dynamic range, set this control at full level.

Card Slot

The card slot accepts RAM and ROM cards containing additional presets, hyperpresets and midimaps.

Master Menu Select Button

The Master menu contains global parameters which affect the entire machine. The LED to the left of the button indicates that you are in the Master menu.

THE COMPARE FEATURE MUST BE TURNED ON IN THE MASTER MENU.

12 UltraProteus Operation Manual

Midimap Menu Select Button

A Midimap is a set of parameters used to configure UltraProteus to other MIDI gear such as a sequencer or keyboard setup. The 16 Midimaps contain digital effects setting as well as assignments of presets/hyperpresets to MIDI channels. An LED to the left of the button indicates that you are working in the Midimap menu.

Preset Menu Select Button

The Preset menu is used when you want to create or modify a preset. The LED to the left of the button indicates that you are working in the Preset menu. To Compare an edited preset with the unedited version, simply exit Preset Edit mode. The stored preset will be heard whenever the main screen is selected. Changing the preset will erase the edited version.

Hyperpreset Menu Select Button

The Hyperpreset menu is used to place presets at certain locations on the keyboard to create custom keyboard layouts. The LED to the left of the button indicates that you are working in the Hyperpreset menu.

MAIN CONTROLS

MASTER

MIDIMAP

PRESET

PRESETMASTER

HYPERMIDIMAP COPY

DEMO

HYPER-

PRESET

COPY

BUTTON

CURSOR

CONTROLS

CURSOR

HOME/ENTER

BUTTON

DATA ENTRY

CONTROL

DATA

POWER

MIDI

ACTIVITY

LED

POWER

SWITCH

Demo Sequence Select

UltraProteus contains two play-only sequences to demonstrate the range of sounds. Press and hold the Midimap and the Hyperpreset buttons simultaneously to select the Demo Sequence selection screen.

YOU MUST HOLD THE MIDIMAP AND HYPERPRESET BUTTONS FOR APPROXIMATELY TWO SECONDS TO START THE DEMO SEQUENCES.

Cursor Control

These buttons move the cursor to the next parameter on the display in a clockwise or counter-clockwise direction. (The cursor is the little flashing line underneath one of the parameters in the display.) Press either cursor control button repeatedly until the cursor is underneath the desired parameter.

Copy Button

The copy menu allows you to copy selected groups of parameters between Presets, Hyperpresets, and Midimaps.

Home/Enter Button

The Home/Enter button is used to confirm a particular operation or to return the cursor the “Home” position in the upper left corner (main screen-lower left). The LED flashes to indicate that UltraProteus is waiting for your response.

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. This control incorporates acceleration (values advance faster if the control is turned quickly).

Power Switch

Switches AC power to UltraProteus On and Off.

THE CURSOR CAN ALSO BE MOVED BIDIRECTIONALLY USING THE DATA ENTRY CONTROL WHILE THE RIGHT CURSOR BUTTON IS HELD DOWN. (I.E. PRESS AND HOLD THE CURSOR BUTTON AND TURN THE DATA ENTRY KNOB.)

MIDI Activity LED

Indicates that MIDI data is being received.

13Chapter 2: Basic Operation

BASIC OPERATION

MIDI Channel

Program No.

Volume

Stereo Position

Program Name

Bank No.

IF ULTRAPROTEUS IS NOT RESPONDING PROPERLY OR PLAYS THE WRONG PRESET, MAKE SURE THAT BOTH ULTRAPROTEUS AND YOUR MIDI CONTROLLER ARE SET TO THE SAME MIDI CHANNEL AND THAT THE MIDI VOLUME IS TURNED UP.

FOR MORE INFORMATION ABOUT MIDI, SEE MIDI REALTIME CONTROLS ON PAGE 97.

Bank Contents

RAM Presets

ROM Presets

RAM Hyperpresets

Card Presets

Card Hyperpresets

MIDI CHANNEL SELECTION

Press the cursor key repeatedly until the cursor is underneath the channel number. (The cursor is the 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 the preset/hyperpreset, volume and pan associated with the displayed channel.

C01 VOL127 PAN=P

000 Preset Name

PRESET/HYPERPRESET (PROGRAM) SELECTION

Press the cursor key repeatedly (or press Home/Enter) until the cursor is underneath the program number. A Program is a Preset or a Hyperpreset. As the data entry control is rotated, the program number and name will change. The displayed program will be assigned to the displayed MIDI channel. Programs are arranged into banks of 128, as shown in the diagram at left. Banks can be selected independently of the program number by pressing the Home/ Enter button while turning the data entry knob.

C01 VOL127 PAN=P

000 Program Name

÷ MIDI Channel Parameters ÷ Preset/Hyperpreset Name

CHANNEL PAN SHOULD NORMALLY BE SET TO “P” UNLESS REALTIME CONTROL OF PANNING IS DESIRED. IF PAN IS SET TO “0”, STEREO EFFECTS CREATED IN THE PRESET WILL BE LOST.

14 UltraProteus Operation Manual

CHANNEL VOLUME

Press the cursor key repeatedly until the cursor is underneath the volume value. Rotate the data entry control to select volume 000-127. (This is the same parameter as MIDI volume control #7, and changes made over MIDI will be shown in the display.)

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.)

BASIC OPERATION

MEMORY CARD

The memory card is a convenient method of saving and transferring presets and hyperpresets. Insert the card firmly into the slot on the front panel with the label facing up. Press the eject button to release the card. A RAM card stores 128 presets, 128 hyperpresets and 16 midimaps. RAM cards may be Write-Protected by moving the little switch on the end of the card. If a memory card is NOT inserted, the display reads “ --noCard-- ” for banks 3 & 4 and the list of selectable midimaps shrinks to 16.

MIDIMAP SELECTION

A Midimap is a set of parameters which can be used as a pre-sequence setup, storing the program and other parameters for each MIDI channel or it could be used as an “Effects Preset”, since each Midimap stores a complete effects setup. There are 16 Midimaps in UltraProteus and an additional 16 Midimaps can be stored on a memory card.

To Select a Midimap

Press the Midimap key, lighting the LED. The current screen will be the one most recently selected since powering up UltraProteus. The first screen in the menu is Midimap Select. Move the cursor to the lower line and use the data entry control to select one of the 16 Midimaps. The Home/Enter LED will be flashing. Press the Home/Enter key to load the new Midimap.

RAM CARDS CAN BE USED TO STORE YOUR OWN PRESETS, HYPERPRESETS AND MIDIMAPS.

ROM CARDS CONTAIN PRE-RECORDED PRESETS, HYPERPRESETS AND MIDIMAPS. YOU CANNOT SAVE DATA TO A ROM CARD.

RAM CARDS NEED TO BE INITIALIZED BEFORE THEY ARE FIRST USED. THEY DISPLAY WILL PROMPT YOU TO INITIALIZE A BLANK CARD.

MIDIMAP SELECT M00 -defMIDIMap-

MIDIMAP

16 Channels

MIDI CHANNEL 1

PROGRAM

VOLUME

PAN

MIDI

ENABLES

BANK

SELECT

Simply scrolling through the list DOES NOT change the Midimap. You must move the cursor down to line two and press Enter. Try out the different

Midimaps and notice that the effects change with each one.

MIX

SELECT

Main

Sub 1

FX A

FX B

EFFECT

THE “CURRENT MIDIMAP” IS REMEMBERED ON POWERDOWN, EVEN THOUGH YOU MAY NOT HAVE SAVED IT. THIS EFFECTIVELY GIVES YOU A TOTAL OF 17 INTERNAL MIDIMAPS.

15Chapter 2: Basic Operation

BASIC OPERATION

MULTI-TIMBRAL OPERATION

Multi-timbral operation means that the UltraProteus 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 22).

2. Decide which MIDI channels you wish the UltraProteus to receive, and turn “All Messages” Off for the MIDI channels that you DO NOT want UltraProteus to receive using the MIDI Enables in the Midimap menu (page 33). Turning “All Messages Off” turns that channel Off.

If you do not turn any channels Off, UltraProteus will receive all 16 MIDI channels simultaneously!

3. Select the desired preset or hyperpreset for each of the MIDI channels you wish the UltraProteus to receive using the Preset/Hyperpreset -> MIDI Channel selection screen in the Midimap menu (page 31).

4. Save the Midimap using the last screen in the Midimap menu.

5. UltraProteus will now respond multi-timbrally on the MIDI channels you have specified.

6. The effects can be programmed and each MIDI channel assigned to an effects bus if so desired. The volume and pan position can be adjusted for each MIDI channel in the Midimap Volume and Pan screen. Remember to SAVE the Midimap or all of your work will be LOST when you select another Midimap.

PLAYING THE DEMO SEQUENCES

UltraProteus contains a play-only sequencer with 2 different sequences to give you an idea of what is possible using this amazing instrument. Press and hold both the Midimap and Hyper buttons. The sequence will start momentarily. Press the Enter button to stop the sequence. Press the right cursor button to advance to the next sequence. Sequences will cycle automatically.

16 UltraProteus Operation Manual

DEMO 1 2 ENTER=Stop >=Nxt

UltraProteus MASTER MENU

18 UltraProteus Operation Manual

The Master menu contains functions that affect the overall operation of UltraProteus. 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 button, lighting the LED. The current screen will be the one most recently selected since powering up UltraProteus. The Cursor will appear underneath the first character of the screen heading on line one.

To select a new screen

Press the Home/Enter button or press the Cursor key repeatedly until the cursor is underneath the screen title heading. Rotate the data entry control to select another screen.

To modify a parameter

Press the Cursor button repeatedly (or hold the right 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.

MASTER MENU

To return to the main screen

Press the Master button, turning off the LED.

MASTER MENU FUNCTIONS

Master Tune

Master Tune adjusts the overall tuning of all presets so that UltraProteus can be tuned to other instruments. The master tuning range is ± 1 semitone in 1/64th semitone increments. A master tune setting of “+00” would indicate that the UltraProteus is perfectly tuned to concert pitch (A=440 Hz).

MASTER TUNE +63

Transpose

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

TRANSPOSE +12 semitones

19Chapter 3: Master Menu

MASTER MENU

APPLICATION: THE USER KEY TUNING CAN BE USED TO TUNE INDIVIDUAL PERCUSSION INSTRUMENTS.

IT IS POSSIBLE TO TUNE THE PITCH UP SO HIGH THAT THE RANGE OF ULTRAPROTEUS' PITCH SHIFTER IS EXCEEDED. IF THE PITCH WILL NOT GO ANY HIGHER, TRY USING THE TRANSPOSE CONTROL INSTEAD OF COARSE TUNING.

User Key Tuning

In addition to standard twelve tone equal temperament, UltraProteus 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. Coarse Tuning (which also happens to be the 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 Preset menu.

USER KEY TUNING

Key Name

Key:C1 036-00

Fine Tuning

Coarse Tuning

Global Bend

This function sets the range of the pitch wheel controller only when Pitch Wheel 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.

IN ORDER FOR THE PITCH WHEEL TO CONTROL PITCH, IT MUST BE ROUTED TO THIS DESTINATION IN THE REALTIME MODULATION CONTROL SCREEN.

ALSO: THE AMOUNT PARAMETER IN THE MODULATION SCREEN WILL HAVE NO EFFECT WHEN THE PITCH WHEEL IS USED TO CONTROL PITCH.

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 eight global velocity curves or leave the velocity data unaltered (off). Global velocity curve only affects presets which have their individual velocity curve set to global.

GLOBAL VEL CURVE 8

20 UltraProteus Operation Manual

GLOBAL VELOCITY CURVES

MASTER MENU

120

100

Result Velocity

Curve 1

Played Velocity

120

100

Result Velocity

Played Velocity

120

100

Result Velocity

100

120

Curve 2

120

100

Played Velocity

120

100

Curve 3

100

120

Result Velocity

Curve 4

120

100

Played Velocity

120

100

Result Velocity

Played Velocity

120

100

Result Velocity

Played Velocity

120

100

Curve 5

100

120

Result Velocity

Curve 6

100

120

Played Velocity

120

100

Curve 7

120

100

Result Velocity

Curve 8

120

100

Played Velocity

21Chapter 3: Master Menu

MASTER MENU

MONO MODE FUNCTIONS THE SAME WAY AS SOLO “WIND” MODE.

MIDI Mode

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

Omni mode

UltraProteus responds to note information on all MIDI channels and plays the preset currently displayed in the main screen.

Poly mode

UltraProteus only responds to note information received on the currently selected MIDI channel (the “basic channel”, displayed on the main screen) and plays that channel’s associated preset.

Multi mode

UltraProteus responds to data on any combination of MIDI channels and plays the specific preset associated with each of the MIDI channels.

Mono mode

UltraProteus 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. Mono mode is particularly useful with alternate controllers such as MIDI guitars, etc.

Device ID

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

WARNING: MIDI SYSEX DATA WILL NOT BE TRANSFERRED BETWEEN TWO ULTRAPROTEUS UNITS UNLESS THE ID NUMBERS OF BOTH UNITS MATCH.

MIDI MODE ID Omni 00

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

22 UltraProteus Operation Manual

MIDI Program Change Map

Incoming MIDI program changes can be remapped to a different numbered preset. This is a handy feature when you want a specific MIDI program number sent from the master synth to be linked with a specific preset or hyperpreset on UltraProteus. For example, the Program Change Map could be set to call up preset 12 whenever UltraProteus receives program change number 26. Any preset or hyperpreset in UltraProteus can be mapped to any incoming MIDI program change number. There are four separate Program Change Maps available. This feature also allows you to call up presets in any bank, which are not accessible through a standard MIDI program change. Note: The Program Map only operates if it is selected in the Midimap and if the Bank Select function in the Midimap is set to bank 0.

PROG CHG MAP #1 026 > 012

MASTER MENU

THE BANK SELECT FUNCTION IS LOCATED IN THE MIDIMAP MENU.

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 78 320 88

Selected Program

34 73 106 55 43 75 120 121 511

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

100

110 111 112 113 114 115 116 117 118 119

110 120

120 121 122 123 124 125 126 127

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.

23Chapter 3: Master Menu

MASTER MENU

A FEW OF THE STANDARDIZED MIDI CONTROLLER NUMBERS ARE LISTED BELOW.

1 - MODULATION WHEEL OR

LEVER 2 - BREATH CONTROLLER 3 - AFTERTOUCH: REV 1 DX7 4 - FOOT PEDAL 5 - PORTAMENTO TIME 6 - DATA ENTRY 7 - VOLUME 8 - BALANCE 9 - UNDEFINED 10 - PAN 11 - EXPRESSION

MIDI Controller Assign

UltraProteus 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 UltraProteus. What effect the controller will have is programmed separately for each preset. The UltraProteus MIDI controllers are each assigned a letter, A-D. Each controller letter can be assigned to a MIDI realtime controller from 00-31. 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# ABCD 01 02 03 04

MIDI Footswitch Control

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 Preset menu.

A FEW OF THE STANDARDIZED MIDI SWITCH NUMBERS ARE LISTED BELOW.

64 - SUSTAIN SWITCH (ON/OFF) 65 - PORTAMENTO (ON/OFF) 66 - SOSTENUTO (ON/OFF) 67 - SOFT PEDAL (ON/OFF) 69 - HOLD PEDAL 2 (ON/OFF)

WARNING: WHEN TRANSFERRING SYSEX DATA FROM ONE ULTRAPROTEUS TO ANOTHER, THE ID NUMBERS OF BOTH UNITS MUST MATCH.

FOOTSW CTL# 123 64 65 66

Send MIDI Data

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

SEND MIDI DATA RAM Presets

The Enter LED will be flashing. Press the Enter button to confirm the operation. To receive MIDI data, simply send the MIDI data into UltraProteus from another UltraProteus or your sequencer. The choices are listed on the following page:

24 UltraProteus Operation Manual

MASTER MENU

RAM Presets............................................ Transmits all the user RAM presets.

ROM Presets ...................................... Transmits all the factory ROM presets.

Card Presets ...................................... Transmits all the memory card presets.

RAM Hypers .................................. Transmits all the user RAM hyperpresets.

Card Hypers............................ Transmits all the memory card hyperpresets.

RAM MIDI Maps......................................... Transmits all the user MIDI maps.

Card MIDI Maps ........................Transmits all the memory card MIDI maps.

Program Change Maps..................Transmits all the program change maps.

Master Settings .....................Transmits all parameters in the Master menu

except tuning table, program change map & viewing angle.

The “scratch” Midimap is also transmitted.

Tuning Table ......................................... Transmits only the user tuning table.

All RAM Data.................... Transmits all the user RAM data in the machine.

Individual Program ..... Transmits only the specified preset or hyperpreset.

Individual Midimap ............................ Transmits only the specified midimap.

TO RECORD MIDI DATA INTO A SEQUENCER:

1. SETUP SEQUENCER TO RECEIVE SYSTEM EXCLUSIVE DATA.

2. PLACE SEQUENCER INTO RECORD MODE, THEN SEND MIDI DATA.

TO RECEIVE MIDI DATA FROM A SEQUENCER:

1. SIMPLY PLAY BACK THE SEQUENCE INTO ULTRAPROTEUS.

WARNING: SEND DATA FROM YOUR SEQUENCER AS YOU WOULD A REGULAR SEQUENCE. SENDING DATA IN ONE HUGE CHUNK MAY CLOG THE ULTRAPROTEUS INPUT BUFFER.

Individual Program Change Map ......Transmits the specified program map.

When Individual Programs, Midimaps or Program Change Maps are received via SysEx, they are placed in their proper locations.

Sysex Packet Delay

Errors can sometimes occur when transferring Sysex data from UltraProteus to a computer because the computer cannot process and store the incoming data fast enough. This function allows you to change the amount of delay between MIDI Sysex data packets so that the input buffer of your computer does not overflow. The default speed is 300 delay units. A setting of “000” allows full speed MIDI Sysex. If you are having data transmission errors, increase the delay until the problem disappears.

SYSEX PKT DELAY 300

A MIDIMAP RECEIVED BY ULTRAPROTEUS DOES NOT CHANGE THE “SCRATCH” MIDIMAP UNLESS IT IS CURRENTLY SELECTED. YOU MUST SELECT THE MIDIMAP FOR IT TO BE ACTIVE. SEE PAGE 159.

THE INDIVIDUAL MIDIMAPS AND PROGRAM CHANGE MAPS ARE LOCATED AFTER THE INDIVIDUAL PROGRAMS (KEEP SCROLLING).

TURN “KEYBOARD THRU” MODE OFF ON YOUR SEQUENCER WHEN TRANSFERRING SYSEX DATA OR A MIDI FEEDBACK LOOP MAY RESULT.

25Chapter 3: Master Menu

MASTER MENU

Proteus Sysex

When this function is turned On, Proteus presets can be transferred over MIDI into UltraProteus. It also allows the use of Proteus patch editing programs. Instrument numbers will be translated into UltraProteus equivalents. Parameters which are unique to UltraProteus will, of course, NOT be transferred. This function defaults to Off to avoid unplanned conflicts with Proteus Sysex transfers.

PROTEUS SYSEX Off

Auto Select

When editing a parameter which involves the keyboard, such as a zone range, the parameter can be automatically selected simply by playing the keyboard. This is a handy feature for “power programmers”, but can sometimes be confusing. Therefore, Auto-Select can be turned On or Off. Auto-Select affects the following parameters: User Key Tuning, Zone Select, Key Range, Midimap, Preset & Hyperpreset Naming, Cross-switch Point, Keyboard Center.

IF ULTRAPROTEUS DOES NOT RESPOND TO EXTERNAL PRESET EDITORS, TURN THE COMPARE FUNCTION OFF.

AUTO-SELECT Off

Compare

This function turns the Compare feature (accessed by pressing the Preset button when editing) On or Off. If Compare is turned On, changes made via MIDI SysEx will not be heard except when the Preset menu is enabled.

COMPARE On

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

26 UltraProteus Operation Manual

UltraProteus MIDIMAP MENU

27Chapter 4: Midimap Menu

28 UltraProteus Operation Manual

THE MIDIMAP

A Midimap is a group of parameters which you might associate with a specific sequence or song. You can also use the Midimaps as “Effects Presets” for your favorite effects setups. The Midimap contains all the pre-sequence setup information, such as the program (preset or hyperpreset) for each MIDI channel, effects settings, etc. There are 16 Midimaps in UltraProteus and an additional 16 can be stored on a memory card.

MIDIMAP

16 Channels

MIDI CHANNEL 1

MIDIMAP MENU

PROGRAM

VOLUME

PAN

MIDI

ENABLES

BANK

SELECT

MIX

SELECT

Main

Sub 1

FX A

FX B

EFFECT

A M O

Midimaps are often used with UltraProteus connected to an external sequencer in MULTI mode. Multi mode allows UltraProteus to receive MIDI data on all 16 channels simultaneously. UltraProteus can store 16 different Midimaps. The two digital effects processors are also part of the Midimap.

MIDI Map

MIDI Map Name

Program Volume Pan Mix Select MIDI Enables Bank Select

12 Characters

for 16 MIDI Channels for 16 MIDI Channels for 16 MIDI Channels for 16 MIDI Channels for 16 MIDI Channels for 16 MIDI Channels

MIDIMAPS CAN ALSO BE CHANGED USING A SYSEX PARAMETER CHANGE COMMAND. SEE PAGE 159.

Program Change Map Effect A Effect B Effect Amount Effect Output Select

Off, 1-4 Effect Select & Parameters Effect Select & Parameters Wet/Dry Mix, A->B Amount Main, Sub 1, Sub 2

29Chapter 4: Midimap Menu

MIDIMAP MENU

SELECTING A NEW MIDIMAP WILL OVERWRITE THE “CURRENT” OR “SCRATCH” MIDIMAP.

To enable the Midimap menu

Press the Midimap button, lighting the LED. The current screen will be the one most recently selected since powering up UltraProteus. The cursor will appear underneath the first character of the screen heading on line one.

To select a Midimap

Press the Home/Enter button or press the cursor key repeatedly until the cursor is underneath the screen title heading. The first screen in the list is “Midimap Select”. Move the cursor to the lower line of the display and use the data entry control to select the desired Midimap. The Home/Enter LED will be flashing. Press Home/Enter to load the Midimap.

To select a new screen

Press the Home/Enter button or press the cursor key repeatedly until the cursor is underneath the screen title heading. Rotate the data entry control to select another screen.

To modify a parameter

Press the cursor button 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 Program Select mode

Press the Midimap button, turning off the LED.

MIDIMAP MENU FUNCTIONS

Midimap Select

This is where you select one of the 16 Midimaps. You can use the Midimaps to setup a particular sequence or song. Position the cursor under the Midimap number and use the data entry control to select the Midimap. The Home/Enter LED will be flashing. You MUST press Enter to load the Midimap.

MIDIMAP SELECT M00 Cool FX

30 UltraProteus Operation Manual

Midimap Name

This function allows you to name each of the 16 Midimaps with a name of up to 12 characters. Position the cursor underneath the character location and use the data entry control to change the character. The keyboard can also be used to select characters.

This screen displays the current Midimap. The Midimap Select screen is the last screen in the menu.

MIDIMAP NAME M15 New Song

Preset/Hyper to MIDI Channel Assign

This function allows you to assign a preset or hyperpreset (program) to each MIDI channel for the currently selected Midimap.

Position the cursor under the channel number and use the data entry control to change the MIDI channel. Position the cursor under the program number and use the data entry control to change the program assigned to each MIDI channel.

MIDIMAP MENU

THE AUTO-SELECT FEATURE IN THE MASTER MENU MUST BE TURNED ON IN ORDER TO USE THE KEYBOARD FOR NAMING MIDIMAPS.

Preset/Hyperpreset No.

Assigned to MIDI Channel

PRESET/HYPER C01

061 Space Wash

MIDI Channel

Volume, Pan & Output Mix

This function sets the Volume, Pan Position and Output Mix for each MIDI channel in the selected Midimap. Volume allows you to adjust the relative volume between programs. Pan allows you to position each program in the stereo field. The Volume control acts as an attenuator on the program volume. It cannot increase the volume past the setting programmed in the program.

▼ The Pan control Overrides the pan value programmed in the program.

Volume

for MIDI Channel

Stereo Pan Position

for MIDI Channel

VOL PAN MIX C01 127 =P FxA

MIDI Channel Output Mix Select

for MIDI Channel

THE MIDI CHANNEL SHOWN IN THE RIGHT SIDE OF THE SCREEN IS NOT THE MIDI BASIC CHANNEL, ONLY THE ONE BEING EDITED IN THE MIDIMAP.

CHANNEL PAN SHOULD NORMALLY BE SET TO “P” UNLESS REALTIME CONTROL OF PANNING IS DESIRED. IF PAN IS SET TO “0”, STEREO EFFECTS CREATED IN THE PRESET WILL BE LOST.

31Chapter 4: Midimap Menu

MIDIMAP MENU

The Output Mix allows you to selectively route the program through one of the effects processors or direct it to a pair of output jacks (for each of the 16 MIDI channels). An additional selection called Preset or “P”, allows the selection to be made in the preset (Mix Output). Thus effects and outputs can be selected according to MIDI channel or by preset.

Position the cursor under the channel number and use the data entry control to change the MIDI channel. Position the cursor under the volume, pan or mix and use the data entry control to change the value. The volume and pan values are the same ones shown in the main screen.

The diagram below shows the function of Output Mix Select.

PLEASE NOTE THAT THE SUB 2 OUTPUT IS AN “EFFECTS ONLY” OUTPUT.

MIDI Channel 1

MIDI Channel 2

MIDI Channel 3

MIDI Channel 16

Preset = FXA

Mix

Select

S U B

F X A

Output

Select

OUTPUT SECTION

& EFFECTS PROCESSORS

S U B 1

FXA

S U B 2

The Output Mix Select (for each MIDI channel) selects which bus in the Output Section will be used.

32 UltraProteus Operation Manual

F X B

FXB

MIDI Enables

The MIDI enables allow you to enable or filter out specific MIDI messages on a per-channel basis. MIDI messages that can be filtered include:

MIDIMAP MENU

All Messages Program Change Bank Select Volume Control Pan Control

The “All Messages” filter is useful when you have other MIDI devices connected and do not want UltraProteus to respond to the MIDI channels reserved for other devices. Messages will be passed when On and filtered out when turned Off.

(turns channel off)

(controller #7)

(controller #10)

Pitch Wheel Mono Pressure Key Pressure Controllers A-D Footswitches 1-3

MIDI ENABLES C01 AllMessages On

Bank Select

The MIDI specification only allows for 128 presets per MIDI channel. This function selects which bank of 128 presets will be used for incoming MIDI program change commands. Banks can be set for each MIDI channel. This function allows you to access all presets and hyperpresets in UltraProteus without using a MIDI Bank Select command.

THE CHANNEL PAN CONTROL CAN BE DISABLED TO PREVENT INCOMING MIDI MESSAGES FROM ALTERING STEREO EFFECTS PROGRAMMED IN THE PRESETS.

BANK SELECT C01 0

MIDI Chan. Bank# Type

Channel 1 Bank 0 RAM Presets Channel 2 Bank 2 RAM Hyperpresets Channel 3 Bank 1 ROM Presets

Channel 16 Bank 0 RAM Presets

33Chapter 4: Midimap Menu

MIDIMAP MENU

THE PROGRAM CHANGE MAPS ARE LOCATED IN THE MASTER MENU.

Program Map Select

There are four Program Maps in UltraProteus. Program Maps allow incoming MIDI program changes to be translated into another number. For example, a program map could be set up so that program number 12 is selected whenever program change number 26 is received at the MIDI in port. The Program Map Select function allows you to select one of the four Program Maps to be used in the currently selected Midimap or turn the Program Map function Off. Note: The Program Map only operates if it is turned On and the Bank Select function is set to bank 0.

PROG CHG MAP Off

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 78 320 88

Mapped

Program

Selected Program

34 73 106 55 43 75 120 121 511

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

100

110 111 112 113 114 115 116 117 118 119

110 120

120 121 122 123 124 125 126 127

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

FX A

This function allows you to select which effect is active on Effect Processor A. Processor A effects include several types of reverb as well as other effects such as delays, chorus, flanger, and phase shifter. Each effect has one or more adjustable parameters which are accessed by moving the cursor to the lower line. See the Effects section for detailed information on these functions.

34 UltraProteus Operation Manual

FXA: Room Decay Time 100

FX B

This function allows you to select which effect is active on Effect Processor B. Processor B effects include echo, delay, chorus, phase shifter, distortion and ring modulator. Each effect has one or more adjustable parameters which are accessed by moving the cursor to the lower line. See the Effects section for detailed information on these functions.

FXB:StereoFlange LFO Rate 050

FX Amount

This function allows you to adjust the ratio of dry (unprocessed) to wet (processed) signal coming out of the effect processor. A setting of 100% indicates that all of the signal is being processed by the effect. The B->A parameter allows you to adjust the amount of effect B which will be fed through the A effect. If B->A is set to one value above 100%, the word “Only” is displayed and the B amount changes to Off. This disconnects effect B from the main outputs and routes ALL of effect B through effect A.

MIDIMAP MENU

FX AMOUNT A:50% B->A:0% B:75%

EFFECTS AMOUNT

sum

FXA

B ➞ A

Amount

FXB

IF THE B->A AMOUNT IS SET TO “ONLY”, NO SOUND WILL RESULT IF “NO EFFECT” IS SELECTED FOR EFFECT A

sum

Wet/Dry Mix

sum

Wet/Dry Mix

35Chapter 4: Midimap Menu

MIDIMAP MENU

FX Output Select

This function selects which pair of output jacks each effect processor will be routed. This is shown in the diagram on page 32 by the 3-way switches after each effect processor.

FX OUTPUT SELECT A:Main B:Sub 1

Save Midimap

Changes made to a Midimap are not made permanent until the Midimap is Saved. To save a Midimap, move the cursor to the bottom line and select one of the 16 locations with the data entry control. The Enter LED will be flashing. Pressing the Home/Enter switch will confirm the operation. Writing to a Midimap location erases the existing Midimap in that location. Make sure that the location does not contain information you want to keep.

Save MIDIMAP to M00 -defMIDIMap-

36 UltraProteus Operation Manual

UltraProteus EFFECTS SECTION

37Chapter 5: Effects Section

38 UltraProteus Operation Manual

Where are the Effects?

The effects in UltraProteus are separate from the preset. This is similar to an external effects unit except that the signal path is kept in the digital domain to maintain excellent sound quality.

MIDIMAP

FX SETTINGS

Effect

Preset

The Effects section in UltraProteus is located external to the preset in the Midimap menu.

Effect

EFFECTS SECTION

The effects section is located within the Midimap. There are 16 Midimaps (and 16 more on a memory card) which store different effects setups. You could think of a Midimap as an Effects Preset (although they store other parameters as well).

MIDIMAP 00

16 MIDI Channels

MIDI

Channel

Main Sub1 A B Preset

FX SETTINGS

Effect

For each of the 16 MIDI channels, you may select: Effect A, Effect B, the Main Outputs (with no effect), the Sub 1 Output (with no effect), or you may choose to use the Mix Select programmed as part of the preset. Therefore you can select effects routings by MIDI channel or by preset. The choice is up to you.

39Chapter 5: Effects Section

EFFECTS SECTION

EFFECTS OUTPUT ROUTING

The diagram below shows how the effects section is integrated into the output jack routing scheme. The mix bus can be selected either by the preset or by MIDI channel. When “Preset” is selected, the MIX SELECT programmed in the preset is used.

MIDI Channel 1

MIDI Channel 2

MIDI Channel 3

MIDI Channel 16

Preset = FXA

Mix

Select

S U B

F X A

F X B

Output

Select

OUTPUT SECTION

& EFFECTS PROCESSORS

S U B 1

FXA

S U B 2

FXB

ULTRAPROTEUS EFFECT BUS ARCHITECTURE

The two stereo effect processors on UltraProteus are designated as A and B effects. “A” effects contain Reverb and other effects. The “B” effects do not include Reverbs, but include a host of other great effects which are listed on page 53.

Each effect has its own set of control parameters which are appropriate to that particular effect. For both the A and B effects there is an amount parameter which determines the relative mix of the processed and unprocessed signals (wet/dry mix). The output of the B effect can also be routed back through processor A. In addition, the stereo submix outputs (Sub 1) can be used to externally process selected presets.

40 UltraProteus Operation Manual

TO PROGRAM AN EFFECT:

1) Press the MIDIMAP button lighting the LED.

2) Slowly turn the data entry knob clockwise until you find the screen shown below. Select one of the effect processors in the Mix Selection. This selects the input to the effect processors.

EFFECTS SECTION

VOL PAN MIX C01 127 =P FXA

3) Set the FX Amount for the A or B effect. This adjusts the ratio of effected to

un-effected signal. B->A allows you to route the output of effect B through effect A (set the MIX to effect B).

FX AMOUNT A:50% B->A:0% B:50%

EFFECTS AMOUNT

sum

FXA

B ➞ A

FXB

Wet/Dry Mix

sum

Wet/Dry Mix

sum

Amount

THE DIAGRAM ON THE PREVIOUS PAGE ILLUSTRATES THE FUNCTION OF MIX SELECT.

SETTING THE B->A PERCENTAGE TO MAXIMUM SELECTS “ONLY” WHICH DISCONNECTS EFFECT B FROM THE MAIN OUTPUTS AND ROUTES ALL OF THE SIGNAL THROUGH EFFECT A.

IF THE B->A AMOUNT IS SET TO “ONLY”, NO SOUND WILL RESULT IF “NO EFFECT” IS SELECTED FOR EFFECT A

4) Select the desired Effect and program the appropriate parameters.

FXA:Echo L Delay Time 255

5) Set the FX Output if you want to use the Sub 1 or Sub 2 outputs.

41Chapter 5: Effects Section

EFFECTS SECTION

A EFFECTS

Room Warm Room Small Rooms 1 & 2 Halls 1, 2 & 3 Chambers 1 & 2 Plates 1 & 2 Early Reflections 1-4 Reverse Early Refl.

B EFFECTS

Fuzz Fuzz Lite Stereo Flange Phaser Stereo Chorus Delay Cross Delay

Ring Modulator Rain & Shimmer Stereo Flange Phaser Stereo Chorus Delay Cross Delay Echo

REVERB

Reverberation is a simulation of a natural space such as a room or hall. The reverb effects in UltraProteus simulate various halls, chambers, rooms and reverberation plates. In addition, there are several other reverb effects such as Early Reflections and Rain. There is only one adjustable parameter on the reverbs - Decay Time. Decay time is the length of time that it takes for the reflected sound from the walls of the room to die away. In general, the larger the room, the longer the decay time.

The diagram below breaks down the reverberated sound into its component parts. After an initial pre-delay period, the echoes from the closest walls or ceiling are heard. These first echoes or the early reflection cluster, vary greatly depending on the type of room. Roughly 20 milliseconds after the reflection cluster, the actual reverberation begins and decays according to the time set by the decay time parameter.

AMPLITUDE

Pre Delay

42 UltraProteus Operation Manual

Cluster

Floor, Wall &. Ceiling Reflections

ReverbReflex

TIME

Decay Time

Thousands of Very Complex Reflections

Room programs simulate small rooms with high frequency absorption caused by drapes and furniture.

Plates simulate plate type reverbs with their tight, dense early reflections and sharp reverb build-up.

Chambers simulate medium sized rooms with hard reflective surfaces.

Hall programs recreate the open, spacious ambience of large concert halls.

Early Reflection programs consist of the reflection cluster only without the

reverb decay. These effects are similar to a multiple tap delay line and have a single adjustable parameter - Ambience.

The special reverbs Rain & Shimmer are variations of the early reflection programs and consist of a dense group of short echoes followed by longer echoes.

FXA:Hall 1 Decay Time: 165

EFFECTS SECTION

Place the cursor underneath the reverb name and use the data entry control to change the type of reverb. Moving the cursor to the lower line allows you to change the decay time of the reverb. The decay times of the reverb programs range from 10-255. The ambience control of the Early Reflection programs range from 0-100.

Room

A bright, medium sized room. The apparent source position is fairly close to the listener. Suitable for use with 100% wet mix setting for adding ambience.

Warm Room

This reverb is similar to “Room” with more high frequency absorption, slightly larger size and a more distant source position.

Small Room 1

This reverb is also to “Room” with shorter initial reflections, shorter decay times and higher reflection density, due to the reduced room size. The apparent source position is closer to the listener.

Small Room 2

This reverb is a variation of “Small Room 1” with greater high frequency damping and a more distant source position.

Hall 1

Hall 1 is a large, highly reverberant space with auditorium-like acoustics. Like all the Hall programs, “Hall 1” exhibits a warm, distant ambience with slow reflection density buildup. With the decay parameter set to maximum, “infinite” reverberation effects can be obtained. Adjustment of wet-dry mix can be used to

position the listener from the “front row” (≈25%) to “back of the balcony” (≈100%).

43Chapter 5: Effects Section

EFFECTS SECTION

Hall 2

This reverb is similar to “Hall 1”, but harder and brighter, with more pronounced slap echoes that come from parallel reflecting surfaces in the room. Hall 2 also exhibits a pronounced reverb “bloom” or late-reflection buildup. A 50% wet mix creates the optimum “close” distance adjustment.

Hall 3

Hall 3 is similar to “Hall 2”, but with larger scale stadium-like acoustics. Hall 3 is warmer than Hall 2 (more high frequency damping) and does not display the obvious early reflections and slap echoes. It also exhibits a distinct predelay of approximately 100 milliseconds and a pronounced late reflection buildup both of which contribute to the impression of a large space. Wet mix values of 10% to 50% are most appropriate, although a setting of 100% produces an effective cave simulation.

Chamber 1

A simulation of a bright, medium-sized chamber reverb or recital hall with hard walls. Early reflections are very prominent, with high reflection density. Moderately long decays are possible at the maximum decay setting.

Chamber 2

Similar to “Chamber 1” but with a much warmer sound. The wet mix adjustment provides an effective control over the apparent source location from close (10%) to very distant (100%).

Plate 1

Simulates a plate reverb unit. Gives a tight, bright, slightly metallic sound. Reflection buildup is very rapid, with high density. Early reflections are minimized.

Plate 2

An effect similar to Plate 1, but slightly warmer with less density.

44 UltraProteus Operation Manual

EARLY REFLECTION GROUP

All Early Reflection programs have a single Ambience parameter which adds diffusion to the individual reflections. Lower ambience settings cause reflections to become more discrete, simulating harder reflecting surfaces. The early reflection programs are simulations of increasingly large acoustic spaces, from a small studio (Early Refl 1) to a large room like a sound stage (Early Refl 4). The wet mix control acts effectively as source distance control. In general, lower mix amounts are more effective as the room size increases.

Early Reflection 1

Early Reflection 2

Early Reflection 3

Early Reflection 4

Reverse Early Reflection

More of a special effect than an acoustic simulation, Reverse ER contains a set of exponentially increasing delay taps, creating a kind of “zip” sound at low Ambience settings. At maximum ambience and lower wet mix values, the sound is more authentically acoustic, with a long, delayed reflection “bloom”. The effect is similar to a large but well damped parking garage.

EFFECTS SECTION

SPECIAL REVERBS

These special reverbs all have a single Decay Time parameter.

Rain

Similar to a repeating delay, but with complex spatial and filtering effects occurring across the stereo panorama. The effect on percussive sounds might be likened to a bucket of marbles raining down on a galvanized steel roof.

Shimmer

Distantly related to the Rain effect, Shimmer causes input signals to be progressively diffused in time and space across the stereo panorama. The spatial diffusion is accompanied by a flanging effect. The program is highly responsive to left or right-panned inputs. A stunning special effect with percussive sounds, and especially through headphones.

45Chapter 5: Effects Section

EFFECTS SECTION

Stereo Flanger

A flanger consists of a short audio delay line whose output is mixed together with the original signal. Mixing the delayed and original signals together results in multiple frequency cancellations creating a comb filter effect as shown in the diagram below. Since the flanger is a type of filter, it works best with harmonically rich sounds such as strings.

AMPLITUDE (dB)

FREQUENCY (log)

The flanging effect was originally created using two tape recorders playing identical recordings. By exactly synchronizing the two decks and then slowing the speed of one by grasping the tape reel flanges, the flanging effect was born.

The flanger in the UltraProteus is a stereo device consisting of two separate delay lines controlled by a single set of controls. The block diagram of the flanger is shown below.

R Input

Feedback

Amount

L Input

Delay

0-6.5 mS

Delay

0-6.5 mS

R Output

L Output

46 UltraProteus Operation Manual

Minimum

Delay

LFO

Rate

LFO Depth

LFO

A Minimum Delay control serves to tune the flanger. In other words, it adjusts the placement of the comb filter notches. The initial delay is variable from 26 microseconds to 6.5 milliseconds.

FXA:StereoFlange Min Delay 100

A Low Frequency Oscillator (LFO) varies this initial delay setting, changing the frequency of the notches and adding animation to the sound. The LFO Rate controls the rate of change and the LFO Depth controls how much the delay is changed by the LFO. The LFO adds to the initial delay time so that with LFO Depth set to 255 the maximum delay time is 13 milliseconds.

FXA:StereoFlange LFO Rate 038

EFFECTS SECTION

FXA:StereoFlange LFO Depth 150

The Feedback control sends some of the delayed signal through the delay line again. When positive feedback is used (values +1 to +127), the comb filter notches are deepened; when negative feedback is used (values -1 to -127) resonant peaks are formed between the notches which increase with the amount of negative feedback.

FXA:StereoFlange Feedback -127

47Chapter 5: Effects Section

EFFECTS SECTION

Stereo Phaser

The stereo phaser is an effect similar to the flanger although much more subtle. The phaser creates a swirly animation when used with harmonically rich sounds such as strings and voices. It can also be used like a chorus to thicken-up a thin sound.

R Input

Feedback

Amount

L Input

Minimum

Freq.

LFO

Rate

Phase

Shifter

Phase

Shifter

LFO

R Output

L Output

LFO Depth

FXA:Phaser LFO Rate 060

FXA:Phaser Min Freq 015

48 UltraProteus Operation Manual

FXA:Phaser LFO Depth 100

FXA:Phaser Feedback 064

Stereo Chorus

The function of a chorus device is to thicken the sound or to make one voice sound like many. The way the effect is achieved is by mixing one or more delayed versions of the signal in with the original. The delay times used are too short to be perceived as a an echo, but long enough so that comb filtering does not occur. In addition, the delay time is varied to simulate the random differences which occur when multiple instruments are playing together. A slight amount of feedback improves the effect by creating multiple images of the sound as it recirculates again and again. The delay times are slightly different for each channel and the LFO phase is inverted on the right channel to help contribute to the overall chorus effect. The LFO Rate and Depth settings are critical to achieving a realistic effect with faster LFO Rates generally requiring less LFO Amount and vice-versa.

The stereo chorus in the UltraProteus is very similar to the stereo flanger except that the delay time is longer. The delay times for the stereo chorus range from 13 milliseconds to 52 milliseconds, compared with the 26 microsecond to 6.5 millisecond range of the flanger.

EFFECTS SECTION

R Input

Feedback

Amount

L Input

Minimum

Delay

LFO

Rate

Chorus simulates the effect of multiple instruments playing by creating multiple copies of the sound using a varying delay time and feedback.

Delay

13-52 mS

Delay

13-52 mS

LFO

R Output

L Output

LFO Depth

49Chapter 5: Effects Section

EFFECTS SECTION

FXA:StereoChorus LFO Rate 050

FXA:StereoChorus LFO Depth 050

FXA:StereoChorus Min Delay 036

FXA:StereoChorus Feedback +100

Delay

The delay line is a stereo effect which can be used for doubling, echoes or fixed formant comb filtering with completely independent delay time and tap levels for the left and right sides. The delay is shown in the diagram below.

Right

Delay

Right Tap Level

R Input

Feedback

Amount

L Input

The Delay Time parameter is independently variable from 0 to 209 milliseconds for both the left and right channels. The Tap Level parameters control the amount of signal from the left and right delays as well as how much signal from each is supplied to the feedback control. Feedback controls how many echoes are produced. A setting of 0 produces only one echo. The delay line is incredibly

Left

Delay

Left Tap Level

R Output

L Output

50 UltraProteus Operation Manual

stable even with large amounts of feedback. This quality allows the delay line to be used as a resonator, where it acts as a kind of oscillator when excited by an input signal. Infinite delay effects are also possible without the risk of runaway. The stereo delay can function as two independent delay lines by panning the primary and secondary instruments to the extreme left and right.

EFFECTS SECTION

FXA:Delay L DelayTime 060

FXA:Delay L Tap Level 120

FXA:Delay R DelayTime 120

FXA:Delay R Tap Level 120

FXA:Delay Feedback 255

Cross Delay

Cross Delay is identical to the normal delay line except that the output paths and the feedback paths cross over to the opposite channel in order to produce a ping-pong type of effect when reproduced in stereo. Delay time is adjustable from 0 to 209 milliseconds. The Cross Delay is shown in the diagram below.

R Input

Feedback

Amount

L Input

Right

Delay

Left

Delay

Right Tap Level

R Output

L Output

Left Tap Level

51Chapter 5: Effects Section

EFFECTS SECTION

Echo

The Echo produces echoes up to 400 milliseconds in length (twice that of the Delay and Cross Delay effects). The feedback path is independent of the output level and contains a low pass filter which simulates an analog tape echo. The left and right signals are kept completely independent throughout the effect and have separate controls except the feedback amount control which affects both channels.

R Input

Feedback

Amount

L Input

Right

Delay

Left

Delay

Low

Pass

Low

Pass

Right Tap Level

R Output

L Output

Left Tap Level

FXA:Echo L DelayTime 120

FXA:Echo L Tap Level 127

52 UltraProteus Operation Manual

FXA:Echo R DelayTime 100

FXA:Echo R Tap Level 127

FXA:Echo Feedback 100

B EFFECTS

The B effects include Stereo Flanger, Stereo Chorus, Phaser, Fuzz, Ring Modulator, Delay, Cross Delay and Fuzz Lite. Some of the B effects such as the Fuzz and the Ring Modulator are a bit bizarre (you won't want to use them on every sound), but can be used to create some truly amazing effects. The B effects can additionally be routed through the A effect as shown in the diagram below. Simple effects such as Fuzz can take on a completely new character when routed through the Reverb.

EFFECTS AMOUNT

sum

FXA

Wet/Dry Mix

EFFECTS SECTION

B ➞ A

Amount

FXB

sum

Wet/Dry Mix

Stereo Delay B

The B Delay is identical to the delay line in the A effect group except that the maximum delay time is 104 milliseconds (instead of 209 milliseconds). This delay is useful for short echoes, slapback and doubling effects, as well as for fixed formant comb filtering. Like Stereo Delay A, the feedback parameter is extremely stable even with high amounts, making it useful as a resonator for “infinite” delays.

Stereo Cross Delay B

The B Cross Delay is identical to the cross delay line in the A effect group except that the maximum delay time is 104 milliseconds (instead of 209 ms). This delay is useful for short ping-pong echoes, stereo slapback and doubling effects.

53Chapter 5: Effects Section

EFFECTS SECTION

STEREO FUZZ

The Stereo Fuzz introduces a controlled distortion to any signal passing through it. Distortion creates harmonics by clipping the top of the wave when it exceeds a certain level. Sine waves are transformed into square waves and complex waves take on noise-like qualities. There are two types of fuzz in UltraProteus: Fuzz and Fuzz Lite.

Fuzz

This Fuzz is probably the grungiest fuzz you have ever heard. Two filters, one at the input and one at the output of the fuzz, allow you to control the amount and type of harmonics added to the sound. The Input Filter controls the amount of harmonics produced by the fuzz and the Output Filter removes harmonics at the output, smoothing the sound. Higher values allow more harmonics to pass. The level of the input sound greatly affects the amount of fuzz, so that UltraProteus' envelopes can now control harmonic content as well as the volume. Output Volume sets the output level of the fuzz. There are two complete fuzz effects, controlled by the same set of controls as shown in the diagram below.

L Input

Input Filter

(LowPass) (LowPass)

Input Filter

(LowPass) (LowPass)

Fuzz

Output

Filter

Output

Filter

Output

Volume

Output

Volume

R OutputR Input

L Output

Two independent sounds can be processed by panning primary and secondary to opposite sides, or a single sound can be routed through both sides. If a single sound is panned slightly off center, the fuzz will act slightly differently on each side because of the difference in level.

Fuzz Lite

This is a more restrained type of fuzz utilizing “soft-clipping”. As the level increases, the waveform through Fuzz Lite becomes somewhat squared. As signal level is increased further, it transforms into a square wave. There is no Output Volume control on Fuzz Lite.

Fuzz

Experiment with the way the input and output filters work on the sound. Fuzz is a specialized effect, not for every situation, but another powerful tool in your arsenal.

54 UltraProteus Operation Manual

Lite

Ring Modulator

A Ring Modulator is a device which takes two signals and multiplies them together into one resultant signal containing only the sum and difference frequencies of the two input waves. The original frequencies are not output! However, every harmonic of each signal multiplies every other, according to its amplitude. As a result, ring modulators tend to generate a lot of non-harmonic frequencies which can sound very bell-like or out of tune.

Left

(pri)

200 Hz

AMPLITUDE

200

FREQUENCY (Hz)

EFFECTS SECTION

Right

(sec)

800 Hz

AMPLITUDE

800

FREQUENCY (Hz)

Result

600 &

1000 Hz

This diagram shows the result of Ring Modulating two sine waves with frequencies of 200 Hz and 800 Hz. Only the Sum and Difference frequencies of 1000 Hz and 600 Hz will result.

AMPLITUDE

200 600 800 1000

FREQUENCY (Hz)

55Chapter 5: Effects Section

EFFECTS SECTION

R Output

L Output

Ring

Modulator

Pan

Pri

DCA

Pan

Sec

DCA

There are no controls on the ring modulator as shown by the block diagram below. The left and right outputs are simply multiplied together to form a monophonic output.

Ring

Modulator

R Input

L Input

By routing the preset (or MIDI channel) to effect B and panning to opposite sides (shown below), two different waves can be ring modulated. Ring modulation works well with simple waves such as sine waves and the harmonic waveforms. Also, try complex waves modulated with sine waves. (Play chords!) Complex waveforms tend to sound rather noise-like.

R Output

L Output

Pan the primary and secondary instruments to left and right in the pan screen, then move to the Effect B screen and select Ring Modulator. There are no parameters to adjust in this effect so the lower line of the display reads: None.

56 UltraProteus Operation Manual

FXB:RingModulate None ---

UltraProteus HYPERPRESET MENU

57Chapter 6: Hyperpreset Menu

58 UltraProteus Operation Manual

THE HYPERPRESET

A Hyperpreset is a group of one to sixteen presets which have been assigned to areas of the keyboard in order to have more than one sound available at once. Presets are assigned to ranges of the keyboard called Zones and may include 1key or all 128 keys. Zones may be placed adjacent to each other (to create a split keyboard) or may overlap (to create fat, layered sounds). Each zone has its own volume, pan, transpose, tuning and velocity range.

(3 Zones) (Zone) (Zone) (Zone)

Preset

Presets Placed

Preset- Layer -

Presets Assigned

to the same

Keyboard Range

Preset Preset Preset

Preset

- Keyboard Split -

Adjacent to Each Other

HYPERPRESET MENU

AN ADDITIONAL 128 HYPERPRESETS CAN BE STORED ON A MEMORY CARD.

Up to sixteen presets can be assigned to the keyboard in any desired arrangement

To enable the Hyperpreset menu

Press the Hyper button, lighting the LED. The current screen will be the one most recently selected since powering up UltraProteus. The Hyperpreset to be edited will be the LAST one selected or edited. The cursor will appear underneath the first character of the screen heading on line one.

To select a new screen

Press the Home/Enter button or press a cursor button repeatedly until the cursor is underneath the screen title heading. Rotate the data entry

control to select another screen.

To modify a parameter

Press the Cursor button repeatedly (or hold the right cursor button while turning the data entry control) until the cursor is underneath the parameter value. Rotate the data entry control to change the value.

To compare an edited Hyperpreset with the unedited original

Press the Hyper button, turning off the LED. The unedited Hyper is now active. Changing the Hyperpreset number will erase the edit. To hear the edited hyperpreset again, press the Hyper button, lighting the LED.

IN ORDER TO HEAR THE HYPERPRESET AS YOU EDIT IT, YOU MUST HAVE IT ASSIGNED TO A MIDI CHANNEL IN THE MAIN SCREEN.

COMPARE MODE MUST BE TURNED ON IN THE MASTER MENU FOR THE COMPARE FEATURE TO WORK.

To return to the main screen

Press the Hyper button, turning off the LED.

59Chapter 6: Hyperpreset Menu

HYPERPRESET MENU

HYPERPRESET MENU FUNCTIONS

Hyperpreset Name

Hyperpreset Name allows you to name each of the 128 hyperpresets 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 chart below shows the keyboard character

assignments.

HYPERPRESET NAME

000 Bass/Lead

IF THE AUTO-SELECT FUNCTION (IN THE MASTER MENU) IS TURNED ON, ZONES WILL BE SELECTED AS THE KEYBOARD IS PLAYED. IN THE CASE OF OVERLAPPING ZONES, THE LOWEST ZONE NUMBER WILL BE SELECTED. VELOCITY WILL SELECT THE ZONE IF VELOCITY SWITCHING HAS BEEN PROGRAMMED.

(

l a n k

)

;=@

GIL

SUX

[

_ad

]

kmp

wy|

}

{

Preset to Zone Assignment

This function allows you to select the preset which will be assigned to each of the sixteen keyboard zones. Position the cursor under the zone number and use the data entry control to change the zone number. Position the cursor under the preset number and use the data entry control to change the preset associated with each zone. Any preset can be assigned to a zone. Set the preset number of unused zones to Off (located below preset 000).

PRESET Z01

003 Multi/Split

60 UltraProteus Operation Manual

Zone Volume and Pan

This function sets the Volume and Pan position for each zone. Volume allows you to adjust the relative volume between presets and pan allows you to change the position of each zone in the stereo field. The Volume control acts as an attenuator on the preset volume. It cannot increase the volume past the setting programmed in the preset. The Pan control adds algebraically to the pan value programmed in the preset. Therefore if the preset pan setting is -7, (full left) a hyperpreset pan setting of +14 would move the sound to (+7) the extreme right side of the stereo field.

Position the cursor under the zone number and use the data entry control to change the zone number. Position the cursor under the volume or pan number and use the data entry control to change the value for each zone.

VOLUME PAN Z01 127 +00

HYPERPRESET MENU

Zone Key Range

Key range sets the keyboard range associated with each of the sixteen possible zones. The key range of each zone can be set anywhere from key C-2 to G8.

UltraProteus Keyboard Range

MIDI Key #

Key

Name

By placing the key ranges next to each other on the keyboard, multiple instruments can be accessed simultaneously. This is called “splitting” the keyboard because the keyboard is literally split up into different sections each containing a different sound.

If multiple presets are placed on the same range of the keyboard, they will all be played simultaneously. This is called “layering” since multiple presets are layered on top of one another. This results in a very dense, “fat” sound.

0 12 24 36 48 60 72 84 96 108 120 127

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

= Standard 5 Octave Keyboard Range

KEY RANGE Z01 C-2 -> G8

61Chapter 6: Hyperpreset Menu

HYPERPRESET MENU

Key Range

Zone 1

Zone 2

Preset #1

Preset #2

LAYERING TWO PRESETS

Zone #1

Key Range

Zone #2

Key Range

CREATING A SPLIT KEYBOARD

Zone Velocity Range

Each zone can be given its own velocity range so that different presets will be selected according to the keyboard velocity. Imagine two presets assigned to the same keyboard range. If one preset were assigned the velocity range 000 to 64, and the other to velocity range 65 to 127, key velocities below 65 would select the first preset and key velocities 65 and above would select the second preset. Because there are sixteen possible zones, presets can be layered 16 deep!

High Velocities Play this Preset

Low Velocities Play this Preset

Zone Velocity Range allows you to select different preset layers according to key velocity.

62 UltraProteus Operation Manual

VEL RANGE Z01 low:000 hi:127

Preset

(Velocity Range 065-127)

(Velocity Range 001-064)

Zone Velocity Offset

This function works in conjunction with the Zone Velocity Range feature and adds a programmable offset value to the velocity value applied to the preset. The velocity offset is variable for each zone from -126 to +126.

Suppose that a preset is assigned a velocity range of 000-026 (see previous screen). If the preset was programmed with velocity to volume or tone, the low velocity range will make the preset soft and muted. By offsetting the velocity value to the preset by +100, the preset will receive velocity values of 100-126 instead of 000-026 and the preset will sound normal again.

VEL OFFSET Z01 +000

Zone Transpose

The key of each zone can be transposed in half-step intervals. The range of the

transpose function is ±36 semitones (three octaves up or down). Transpose

shifts the relative position of the keyboard in relation to middle C rather than actually changing the tuning of the zone.

HYPERPRESET MENU

TRANSPOSE Z01 +36

Zone Pitch Tune

The tuning of each zone can be adjusted in coarse and fine increments. The coarse tuning adjustment tunes the zone in semitone increments. This is different from the transpose function in that the sounds are actually retuned, rather than having the relative key position changed. This control can produce radical timbre shifts in the sampled sounds. The range of the coarse tuning

control is ±36 semitones (±3 octaves). The fine tuning control changes the

pitch in 1/64 semitone increments (approx. 1.56 cents). The fine tuning range is

±1 semitone.

PITCH TUNE Z01 crse+36 fine+64

IF THE AUTO-SELECT FUNCTION (IN THE MASTER MENU) IS TURNED ON, ZONES WILL BE SELECTED AS THE KEYBOARD IS PLAYED.

63Chapter 6: Hyperpreset Menu

HYPERPRESET MENU

Hyperpreset Portamento Mode

This function sets the number of notes that will be affected by portamento for all presets in a hyperpreset which have portamento turned On. It works exactly the same as preset portamento mode, but controls the mode for the hyperpreset.

If the Portamento Mode is set to two keys and a three-note chord is played, only two of the notes will glide. Notes will glide from the previous note or notes played. By setting the number of keys to match the number of notes in your chords, smooth glides between those chords can be accomplished without having notes glide in from random starting points. The number of keys can be set from mono to five-note polyphonic.

PORTAMENTO MODE Poly 2 keys

THE FUNCTION GENERATOR SHAPES ARE DIAGRAMMED ON PAGE 239 OF THIS MANUAL.

Free-Run Function Generator

The function generator is another kind of modulation source which is much more programmable than an envelope generator or an LFO (although it can function as either). The function generator can be used when you want the type of complex control that a normal AHDSR envelope cannot provide. See the Function Generator description in the Preset Programming section for complete details.

Segment Number

Value/Shape

Parameter

T2 T3

FREE-RUN FG S1 Level +127

Function Generators contain up to eight segments, each with a level, time, shape, and conditional jump parameter. The Free-Run FG is a kind of “Master” controller which can control all presets contained in a hyperpreset.

64 UltraProteus Operation Manual

Hyperpresets contain a slightly different version of the function generator called a Free-Running Function Generator or Free-Run FG. There is one Free-Run FG per hyperpreset (effectively one per MIDI channel). What the Free-Run FG actually controls is programmed in the preset itself.

The Free-Run FG differs from the other FGs in two fundamental ways. There is one Free-Run FG per Hyperpreset which can modulate any presets in the hyper which have the Free-Run FG assigned. This differs from the 2 function generators in the preset which are completely independent from note to note. Because the Free-Run FG is like a global modulation source, it can be used when you want to modulate multiple sounds in the same way. The Free-Run FG is

only active when playing a Hyperpreset.

When Presets are Selected,

the Free-Run

Function Generator has No Effect

Function Generator ONLY works

The Free-Run

in a Hyperpreset.

HYPERPRESET MENU

••• SEE THE PROGRAMMING BASICS SECTION OF THIS MANUAL FOR ADDITIONAL INFORMATION ON THE FUNCTION GENERATORS.

Preset 1

Morph

Free-Run

Preset 2

Volume

Free-Run

Preset 1

Morph

Free-Run

Hyperpreset

Preset 2

Volume

Free-Run

Hyperpreset

The Free-Run Function Generator only works in a Hyperpreset, even though the modulation routing is made in the preset.

For example, you could program the Free-Run FG to be an LFO and modulate the pitch. All the voices in all presets in that hyperpreset with Free-Run FG assigned would modulate up and down in unison.The Free-Run FG begins the instant the hyperpreset is selected and continues to run until stopped by its programming or when another hyperpreset is selected. If the Free-Run FG

is not programmed to loop, it simply runs to the last segment and stops! Because it continually runs (if so programmed) and is not

started at the beginning of a note like the preset function generators, it is called “free-running”.

65Chapter 6: Hyperpreset Menu

HYPERPRESET MENU

The functions of the Free-Run FG are almost identical to the preset FG's except that the conditional jumps are more limited. The conditional jumps are listed below.

Never................................. Never jumps. Always goes on to next segment.

Always End ...................... Always jumps at the end of the current segment.

Note On End ....................Jumps at the end of the segment if the note is still on.

Note On Imm. .................. Jumps immediately if the note is still on.

Note Off End .................... Jumps at the end of the segment if the note is off.

Note Off Imm. ................. Jumps immediately if the note is off.

Footsw. 1-3 End .............. Jumps at the end of the segment if the selected

Footswitch is pressed.

Footsw. 1-3 Imm. ........... Jumps immediately if the selected Footswitch is

pressed.

Save Hyperpreset

Changes made to a hyperpreset are NOT made permanent until the hyperpreset is Saved. To save a hyperpreset, move the cursor to the bottom line and select the location for the new hyperpreset with the data entry control. The Enter LED will be flashing. Pressing the Enter switch will confirm the operation. Any of the hyperpreset locations may be selected. Saving to a hyper erases the existing hyper in that location. Make sure that the destination does not contain information you want to keep.

SAVE HYPER to...

000 SynBass/Lead

66 UltraProteus Operation Manual

PRESET PROGRAMMING

UltraProteus PRESET PROGRAMMING

67Chapter 7: Preset Programming

PRESET PROGRAMMING

68 UltraProteus Operation Manual

This chapter explains how preset sounds are constructed in UltraProteus. It also contains important background information on the various programming aspects of the instrument.

If you are new to synthesizers and electronic music, you may need more background information than this manual provides. There are many books dedicated to synthesizer basics and MIDI available through your local music dealer. Magazines such as available at most newstands, contain current information on the subject, as well as valuable programming tips.

Your initial involvement with UltraProteus 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, the filter brightness, or the attack time. You may also want to make your own custom presets using complex modulation routings. There are 128

user locations (000°-127°) available to store your own creations or edited

factory presets.

Keyboard and Electronic Musician, which are

PRESET PROGRAMMING

Editing Presets

It’s easy to create new presets by using the Preset Edit menu to modify existing presets. This is really the best way of getting aquainted with UltraProteus. If you don't like the results, simply change the preset momentarily and you'll be back to the original sound. Changes are not made permanent until you SAVE a preset. Therefore, you can experiment all you want with Presets, Hyperpresets or Midimaps without worrying about losing a sound.

The Copy menu is another way to edit presets. Elements of a preset can be quickly copied to another to create a new hybrid preset.

We encourage you to actually try out the different functions as you read about them. Hearing what a control actually does will remove a lot of the mystery associated with it. The chapter entitled “Step-By-Step” walks you through many of the basic programming functions. Read this chapter first, however, since it contains important information that you need to know.

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

69Chapter 7: Preset Programming

PRESET PROGRAMMING

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.

UltraProteus 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. Positive modulation Adds to the initial amount. Negative modulation Subtracts from the initial amount.

The main modulation sources on UltraProteus are Envelope Generators, Func- tion Generators and Low Frequency Oscillators. In the example above, an envelope generator 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.

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

70 UltraProteus Operation Manual

MODULATION SOURCES

UltraProteus uses three kinds of modulation sources.

NOTE-ON MODULATION CONTROL

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

Keyboard Key

Which key is pressed.

Key Velocity

How fast the key is pressed.

Pitch Wheel, Control A-B-C-D, Mono Pressure, Free-Run Func. Generator

These are variable controls which are measured only once at Note-On time.

REALTIME MODULATION CONTROL

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

PRESET PROGRAMMING

Pitch Wheel

A synthesizer pitch bend wheel.

Miscellaneous Controllers (A-B-C-D)

Any type of MIDI continuous controller data.

Keyboard Pressure (mono aftertouch)

Key Pressure applied after the key is initially pressed.

Polyphonic Key Pressure

Key Pressure from a controller capable of generating polyphonic pressure data.

Low Frequency Oscillators (2 per preset)

Generate repeating waves.

Envelope Generators (3 per preset)

Generate a programmable “contour” which changes over time when a key is pressed.

Function Generators (2 per preset)

Generate complex programmable shapes which begin when a key is pressed.

SEE THE END OF THIS CHAPTER FOR MORE INFORMATION ON MIDI CONTROLLERS A-B-C-D.

Free-Running Function Generators (1 per hyperpreset)

Generate complex programmable shapes which begin whenever a hyperpreset is selected.

71Chapter 7: Preset Programming

PRESET PROGRAMMING

FOOTSWITCH MODULATION

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

In addition, the footswitches can be used to execute conditional jumps in any of the function generators.

MIDIPATCH

Connecting a modulation Source to a Destination is called a Patch. UltraProteus 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.

In order to create a modulation patch, you must connect a modulation Source to a modulation Destination using either the Note-On, Realtime or Footswitch Control screens. Think of it like connecting a cord. You must connect both ends of the cord for the cord to work. There are 10 Note-On connections and 10 Realtime connections per preset.

Amount +/-

Modulation

Source

LFO 1

Destination

Primary

Volume

Sources

LFO 1 LFO 2

Aux Env

Wheel

Pressure

MIDI

etc.

Destinations

Pitch X-Fade Volume

LFO Amt.

Filter Fc

Attack

etc.

72 UltraProteus Operation Manual

ENVELOPE GENERATORS

An envelope can be described as a “contour” which can be used to shape the sound in some way over time. There are two different envelope generators on UltraProteus. The Alternate Volume Envelope generator controls the volume of the primary or secondary instrument over time and has 5 stages: Attack, Hold, Decay, Sustain, and Release. There is also an Auxiliary Envelope generator which is a general purpose envelope and can be routed to any realtime control destination. The Auxiliary Envelope has an additional delay stage before the attack. The time of each stage can be adjusted to create myriad envelope shapes, which in turn shape the sound over time.

•␣ The way the volume of a sound changes over time determines how we perceive that sound. For example, a bell struck with a hammer is instantly at full volume, then slowly dies away. A bowed violin sound fades in more slowly and dies away slowly. Using the Alternate Volume Envelope, you can simulate different types of instrument volume envelopes by programming them appropriately. By routing the Auxiliary Envelope to control the pitch (realtime control screen) you can easily hear the shape of the envelopes you are creating.

PRESET PROGRAMMING

SHORTENING THE RELEASE TIMES OF THE ALTERNATE ENVELOPE CAN ALLEVIATE CHANNEL “RIPOFF” PROBLEMS. ULTRAPROTEUS EXAMINES THE ALTERNATE ENVELOPE TO DETERMINE IF A CHANNEL CAN BE REUSED.

The envelope generator parameters can be described as follows. Refer to the diagrams on the following page.

Delay

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

Attack

The rate at which the envelope will 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 rate at which the envelope will 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 rate at which the envelope will fall to the zero level after the key is released.

Piano

Organ

Strings

Percussion

THE GENERALIZED ENVELOPE SHAPES OF A FEW TYPES OF SOUNDS ARE SHOWN ABOVE.

73Chapter 7: Preset Programming

PRESET PROGRAMMING

AUXILIARY ENVELOPE GENERATOR

level

time

key down

l a y

t t

D e c a y

Sustain

released

key

e l

e a s e

1) When a key is pressed, the envelope generator waits for the specified Delay time, then begins to increase at the Attack rate.

2) At full level, it waits for the specified Hold time before gliding down at the Decay rate, coming to rest at the Sustain level.

3) The envelope remains at the Sustain level until the key is released, then it glides back down to zero at the programmed Release rate.

level

When the key is released, the Release phase immediately begins.

74 UltraProteus Operation Manual

time

key down

AHR

key released

LOW FREQUENCY OSCILLATORS (LFOs)

A Low Frequency Oscillator or LFO is simply a wave which repeats at a slow rate. The UltraProteus 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.

PRESET PROGRAMMING

Triangle

Sine

Square

Sawtooth

Random

Like the Auxiliary Envelope, the LFOs can be routed to control any realtime functions such as Pitch, Filter, Panning, or Volume. A common use for the LFO

is to control the pitch of the sound (LFO ➡ Pitch). This effect is called vibrato

and is an important performance parameter. Many presets use this routing with the modulation wheel controlling “how much” LFO modulation is applied. Another common effect, Tremolo, is created by controlling the volume of a

sound (LFO ➡ Volume) with the LFO.

Another use for the LFOs might be to add a slight bit of animation to the sound by routing the LFO to control the filter. In this example, the LFO amount would be set low, for a subtle effect.

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.

Sawtooth

Negative Amount

Inverted Sawtooth

75Chapter 7: Preset Programming

PRESET PROGRAMMING

Segment Number

Function Generator

1 or 2

FUNC GEN F1S1 Level +127

Parameter

Value/Shape

FUNCTION GENERATOR

The Function Generator is another kind of modulation source which is much more programmable than an envelope generator or an LFO although it can function as either. The function generator can be used when you want the type of complex control that a normal AHDSR envelope cannot handle. Refer to the diagram below.

T2 T3

The function generator can have up to eight segments, each with a Level and a Time parameter. The level parameter can be either positive or negative. Each

segment of the function generator can also have a different Shape. There are 63 different shapes to choose from, many of which have unusual shapes or are random in nature.

FUNC GEN F1S1 Shape Linear

THE FUNCTION GENERATOR SHAPES ARE DIAGRAMMED IN THE REFERENCE SECTION OF THIS MANUAL.

ROUTING THE FUNCTION GENERATOR TO CONTROL PITCH MAKES IT EASY TO HEAR WHAT YOU ARE DOING.

Chaos

Linear

The function generator also has the ability to jump from one segment to another based on certain programmable conditions. For example, the function generator could be programmed to jump back to segment 5 if the key is held, but jump to segment 8 whenever the key is released.

Jump if

Note On

Jump if

Note Off

76 UltraProteus Operation Manual

The jumps are called Conditional Jumps because they only jump if a certain condition is met. For example, the function generator can be programmed to jump to another segment only if the key is still being held. Otherwise it will continue on to the next segment. Each of the eight segments can have a conditional jump to any segment (including itself).

Conditional Jumps can be programmed to jump to the destination segment immediately or they can wait until the end of the current segment before jumping. The possible conditional jumps are as follows:

Never............................ Never jumps. Always goes on to next segment.

Always End ................. Always jumps at the end of the current segment.

Note On End ............... Jumps at the end of the segment if the note is still on.

Note On Immed. ......... Jumps immediately if the note is still on.

Note Off End ............... Jumps at the end of the segment if the note is off.

Note Off Immed. ........ Jumps immediately if the note is off.

PRESET PROGRAMMING

A CONDITIONAL JUMP ALWAYS GOES TO THE BEGINNING OF THE DESTINATION SEGMENT.

LFO 1 or 2 End .......... Jumps at the end of the segment if the value of the

selected LFO is equal or greater than the conditional value.

Footsw. 1-3 End ......... Jumps at the end of the segment if the selected Foot-

switch is pressed.

Footsw. 1-3 Immed.... Jumps immediately if the selected Footswitch is pressed.

Velocity End ................ Jumps at the end of the segment if the velocity value is

greater than a positive conditional value or less than a negative conditional value. See below.

Key End ....................... Jumps at the end of the segment if the note value is

greater than a positive conditional value or less than a negative conditional value. See below.

FUNC GEN F1S1 CondValue +064

When the value is Positive, a jump occurs if the velocity or key number is Greater than value shown.

REMEMBER TO TURN UP THE LFO AMOUNT WHEN USING LFOS AS CONDITIONALS.

FUNC GEN F1S1 CondValue -064

When the value is Negative, a jump occurs if the velocity or key number is Less than value shown (ignoring the sign).

77Chapter 7: Preset Programming

PRESET PROGRAMMING

DRAWING YOUR FUNCTION GENERATOR IDEAS ON PAPER FIRST WILL SIMPLIFY THE PROGRAMMING PROCESS.

WHEN ONE SEGMENT JUMPS TO ANOTHER AT A DIFFERENT LEVEL, A SMOOTH TRANSITION IS MADE BETWEEN THE TWO. THE TIME TO THE END OF THE DESTINATION SEGMENT REMAINS AS SPECIFIED.

In the example below, a standard ADSR envelope generator has been programmed. Segments 5-8 have been set to zero since they are not used. In addition, all conditional jumps for segments 5-8 have been set to “Never ”.

If Note Off

Jump to 4 at End of Segment

If Note On Immediately Jump to 3

If Note Off Immediately Jump to 4

5678

The “Note Off End” conditional at segment 1 will cause a jump to the beginning of segment 4 if the note has been released. Because of the “End”, it will always finish its cycle first. Segment 2 is set for “Note Off Immediate” and will immediately jump to the beginning of segment 4 if the note is released. Segment 3 is set for a “Note On Immediate” jump which causes it to constantly jump back to the beginning of its cycle unless the note is released.

Programming the function generators can get a little complicated. For this reason it is suggested that you draw out your ideas on paper beforehand. Remember that you always jump to the beginning of a segment.

A conditional jump could be programmed to skip a group of segments based on the key velocity. In the example below, segments 2 and 3 would only be played if the velocity value were 84 or above. Velocity values below 84 would cause the function generator to jump to segment 4.

Jump to Segment 4

if Velocity is less than 84

78 UltraProteus Operation Manual

In the example below the function generator becomes a complex LFO through the use of an “Always End” jump which always forces a jump back to segment 1 from the end of segment 5. Thus the function generator constantly repeats forming a low frequency oscillator.

Always Jump to 1 at End of Segment

PRESET PROGRAMMING

FUNCTION GENERATOR DELTA & RANDOM LEVEL

There are 3 additional options in the function generator level screen, Delta Level (level change), Random, and Random Delta (random change). To access the Delta Level parameter, turn the level value of a function generator one unit past

+127. The delta (∆) symbol appears in the value field.

FUNC GEN F1S1

Level ∆-127

Delta Level causes the level to change by the specified amount instead of

going to an absolute level value. If Level 1 was set to +127 and Level 2 was ∆-

027, then the resulting level 2 value would be +100 (127-27=100).

The ∆ Level parameter can be quite useful when looping segments. In the example below, segment 3 has a level of ∆ -016 and loops back to itself as long as

the key is held. Because the level is a change rather than an absolute amount, the level decreases by -16 each time the segment loops.

127 112

96 80 64 48 32 16

112

-016

080

If Note On

Jump to 3

000

79Chapter 7: Preset Programming

PRESET PROGRAMMING

A slightly more complex example could use non-linear segment shapes or multiple segments in the loop. In the example below, the function generator decays with a zig-zag pattern when the note is released.

+127

127 112

96 80 64 48 32 16

To access the Random parameter, turn the level value of a function generator

one unit past ∆ +127. The random (r) symbol appears in the value field.

+32

-32

If Note Off

Jump to 2

-32

Etc.

000

FUNC GEN F1S1 Level r-127

A random level allows the function generator to go to a random value which does not exceed the random level specified. If a random level of +48 were programmed, the level could go to any value between 0 and +48. If a value of 48 were programmed, the level could go to any value between 0 and -48. The random level parameter then, is a limit on the degree of randomness and is useful for creating smooth, random curves. Smooth random curves can be used synthesize natural sounds by slightly changing the timbre of a sound in a nonconsistent manner. In the example below, the function generator will follow a

random course within the limits of ±48.

ALWAYS END MEANS ALWAYS JUMP AT THE END OF THE SEGMENT.

80 UltraProteus Operation Manual

+48

-48

48 32 16

-16

-32

-48

+48

Always Jump at End

-48

Etc.

To access the Random Delta parameter, turn the level value of a function

generator one unit past r +127. The random delta (r ∆) symbol appears in the

value field.

FUNC GEN F1S1

Level r∆-127

A Random Delta level allows the function generator to change by a random amount which does not exceed the random change specified. If a random delta of +16 were programmed, the level could change by any value between 0 and +16. If a value of -16 were programmed, the level could change by any value between 0 and -16.

PRESET PROGRAMMING

+16

-16

-32

-48

-64

In the example above, the random delta values are set to +16 and -16 and segment 2 always loops back to segment 1. Note that the level may exceed the

values of ± 16 as long as the amount of change in one segment does not exceed

these values. The example above shows a smooth random generator whose rate

of change is limited to ±16.

-16

Always Jump at End

Meandering

Random

Control

Etc.

FREE-RUNNING FUNCTION GENERATOR

Hyperpresets contain a slightly different version of the function generator called a Free-Running Function Generator or Free-Run FG. The Free-Run FG is only active when a Hyperpreset is in use, even though its destination is programmed in the preset itself. The Free-Run FG differs from the other FGs in two fundamental ways.

There is one Free-Run FG per Hyperpreset which can modulate any presets in the Hyperpreset which have the Free-Run FG assigned. This differs from the 2 function generators in the preset which are completely independent from note to note. Because the Free-Run FG is like a global modulation source, it can be used when you want to modulate multiple sounds in the same way.

81Chapter 7: Preset Programming

PRESET PROGRAMMING

If the Free-Run FG were to be programmed as an LFO and to modulate the pitch, all the voices in all presets in that hyperpreset with the Free-Run FG assigned to pitch would modulate up and down in unison.

FREE-RUN FUNCTION GENERATOR

HYPERPRESET

Preset Preset Preset Preset

MIDI

CHANNEL

Free-Run

Func Gen

There is one Free-Run Function Generator per MIDI channel which can affect any or all presets in a Hyperpreset. The Free-Run Function Generator begins running the instant the Hyperpreset is selected.

VERSUS

PRESET FUNCTION GENERATORS

UltraProteus

Voice

Preset

Function

Generator

UltraProteus

Voice

Preset

Function

Generator

UltraProteus

Voice

Preset

Function

Generator

UltraProteus

Voice

Preset

Function

Generator

2 independent FG's per voice.

Function Generators start at Note-On time & are not synced with each other.

There are two Function Generators per Preset which start at the time a note is pressed.

82 UltraProteus Operation Manual

PRESET PROGRAMMING

When Presets are Selected,

the Free-Run

Function Generator has No Effect

Preset 1

Morph

Free-Run

Preset 2

Volume

Free-Run

Function Generator ONLY works

The Free-Run

in a Hyperpreset.

Hyperpreset

Preset 1

Morph

Free-Run

Preset 2

Volume

Free-Run

Hyperpreset

The Free-Run Function Generator only works in a Hyperpreset, even though the modulation routing is made in the preset.

The Free-Run FG begins the instant the Hyperpreset is selected and continues to run until stopped by its programming or when another Hyperpreset is selected. If the Free-Run FG is not programmed to loop, it simply runs to the last segment and stops! Because it continually runs (if so programmed) and is not started at the beginning of a note like the preset function generators, it is called “free-running”.

The functions of the Free-Run FG are almost identical to the preset FG's except that the conditional jumps are more limited. The conditional jumps are listed below.

Never...............................Never jumps. Always goes on to next segment.

Always End .................... Always jump at the end of the current segment.

Note On End ..................Jumps at the end of the segment if the note is still on.

Note On Imm. ................ Jumps immediately if the note is still on.

Note Off End .................. Jumps at the end of the segment if the note is off.

Note Off Imm. ...............Jumps immediately if the note is off.

Footsw. 1-3 End ............Jumps at the end of the segment if the selected Foot-

switch is pressed.

Footsw. 1-3 Imm. .........Jumps immediately if the selected Footswitch is

pressed.

83Chapter 7: Preset Programming

PRESET PROGRAMMING

83Chapter 7: Preset Programming

PRESET PROGRAMMING

FILTER MODULATION

The block diagram of a single channel is shown below.

Instrument

Tone

The Tone filter is a simple low-pass tone control which can be used to darken the tone of an instrument. The Z-Plane filter is an ultra-powerful synthesizer filter which can dramatically alter the sound of an instrument.

To understand how a filter works we need to understand what makes up a sound wave. A sine wave is the simplest form of sound wave. Any waveform except a sine wave can be analyzed as a mix of sine waves at specific frequencies and amplitudes.

Z-Plane

Filter

DCA

Pan

Any waveform can be analyzed as a mixture of sine waves.

One way to represent complex waveforms is to use a chart with frequency on one axis and amplitude on the other. Each vertical line of the chart represents one sine wave at a specific amplitude and frequency.

100

Amplitude

40 80 160 360 720 1440 2880

...

Frequency

84 UltraProteus Operation Manual

WHAT IS A FILTER?

Most of the instruments in UltraProteus are complex waves containing many sine waves of various amplitudes and frequencies. A filter is a device which

allows us to remove certain components of a sound depending on its frequency. For example, a Low Pass Filter lets the low frequencies pass and

removes only the high frequencies.

100

Cutoff Frequency

PRESET PROGRAMMING

Amplitude

Output of Filter

40 80 160 360 720 1440 2880

Low Pass

Filter

...

Frequency

A filter that lets only the high frequencies pass is called a High Pass Filter.

100

Amplitude

Initial Frequency

Filter Output

High Pass

Filter

40 80 160 360 720 1440 2880

...

Frequency

A filter which only lets a certain band of frequencies pass is called a Bandpass Filter.

100

Center Frequency

Filter

Output

Band Pass

Filter

Amplitude

40 80 160 360 720 1440 2880

Frequency

...

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A Notch Filter is just the opposite of a bandpass filter and is used to eliminate a narrow band of frequencies.

Another control found on traditional filters is called Q or resonance. A lowpass filter with a high Q would emphasize the frequencies around the cutoff frequency. The chart below shows how different amounts of Q affect the low pass filter response. In terms of sound, frequencies around the cutoff will tend to “ring” with high Q settings. If the filter is slowly swept back and forth, with a high Q, various overtones will be “picked out” of the sound and amplified as the resonant peak sweeps over them. Bells and gongs are real world examples of sounds which have a high Q.

Low Q Med Q High Q

Amplitude

Frequency

Another characteristic of a filter is the number of poles it contains. Traditional synthesizer filters were usually either 2-pole or 4-pole filters. The number of poles in a filter describes the steepness of its slope. The more poles, the steeper the filter's slope and the stronger the filtering action. The tone controls on your home stereo are probably one-pole or two-pole filters. Parametric equalizers are usually either two-pole or three-pole filters. In terms of vintage synthesizers, Moog and ARP synthesizer filters used 4-pole filters, Oberheim synthesizers were famous for their 2-pole filter sound.

Amplitude

4-pole

Lowpass

2-pole Lowpass

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Frequency

Using a filter, we now have a way to control the harmonic content of a sampled sound. As it turns out, even a simple low pass filter can simulate the response of many natural sounds.

For example, when a piano string is struck by its hammer, there are initially a lot of high frequencies present. If the same note is played softer, there will be fewer of the high frequencies generated by the string. We can simulate this effect by routing the velocity of the keyboard to control the amount of high frequencies that the low pass filter lets through. The result is expressive, natural control over the sound.

If an envelope generator is used to control the cutoff frequency of a low pass filter, the frequency content can be varied dynamically over the course of the note. This can add animation to the sound as well as simulate the response of many natural instruments.

PARAMETRIC FILTERS

A more complex type of filter is called a parametric filter. A parametric filter gives you control over three basic parameters of the filter. The three parameters are: Frequency, Bandwidth, and Boost/Cut. The Frequency parameter allows you to select a range of frequencies to be boosted or cut, the Bandwidth parameter allows you to select the width of the range, and the Boost/Cut parameter either boosts or cuts the frequencies within the selected band by a specified amount. Frequencies not included in the selected band are left unaltered. This is different from a band pass filter which attenuates (reduces) frequencies outside the selected band.

PRESET PROGRAMMING

+18 dB

Freq.

Boost

Parametric

Filter

0 dB

Amplitude

Bandwidth

Cut

-18 dB

Frequency

The parametric filter is quite flexible. Any range of frequencies can be either amplified or attenuated. Often times, several parametric sections are cascaded (placed one after another) in order to create complex filter response curves.

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If four parametric filter sections were cascaded, it would be possible to create the following complex filter response.

4 Parametric Equalizers

dB Magnitude

-5

500 10,000 15,000

Linear Frequency - Hertz

20,000

Many natural instruments have complex resonances which are based on their soundboard or tube size. The resonance shown above would be impossible to create using a normal synthesizer filter.

THE ULTRAPROTEUS FILTER

The UltraProteus filter is actually much more complex than the four parametric sections described above. As an example of its power, the diagram below shows one of the possible ways that the UltraProteus filter can be configured. This amount of filtering is unprecedented in all of electronic music history. (Especially when you consider that we are only talking about one of the 32 channels.)

6 Parametric Equalizer Sections1 Low Pass

Section

In Out

Fc Q Fc

Gain

Right away you can see that we now have 20 different parameters to control. Ah, there's the catch. How can all these parameters be effectively controlled? 20 envelope generators? We don't think so.

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Consider, as an example, the human vocal tract, which is a type of complex filter or resonator. There are dozens of different muscles controlling the shape of the vocal tract. When speaking, however, we don't think of the muscles, we just remember how it feels to form the vowels. A vowel is really a configuration of many muscles, but we consider it a single object. In changing from one vowel to another, we don't need to consider the frequencies of the resonant peaks! You remember the shape of your mouth for each sound and interpolate between them.

THE Z-PLANE FILTER

In a simple UltraProteus filter, we would start with two complex filters and interpolate between them using a single parameter. Refer to the diagram below.

Morph

B Filter

PRESET PROGRAMMING

Amplitude

A Filter

Morph

Frequency

The UltraProteus Z-plane filter has the unique ability to change its function over time.

Filters A and B represent two different complex filters. By changing a single parameter, the Morph, many complex filter parameters can now be changed simultaneously. Following along the Morph axis you can see that the filter response smoothly interpolates between the two filters. This is the essence of the Z-plane filter. Through the use of interpolation, many complex parameters are condensed down into one manageable entity.

This Z-Plane filter sweep can be controlled by an envelope or function generator, an LFO, modulation wheels or pedals, keyboard velocity, key pressure, etc. In fact, any of the modulation sources can control the Z-Plane filter.

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Because creating the complex filtering is difficult and very time consuming, we have created hundreds of filters and installed them permanently in ROM for your use. You simply select and use the filters in a manner similar to choosing an instrument. Because there are so many types of filters to choose from, the number of possible permutations is staggering. For example, you could play a guitar sound through a vocal tract filter and create a talking guitar sound. Or you could have an acoustic guitar whose body shape changes as you play.

In the current example, two complex filters were created and the Morph parameter was used to interpolate between them. This is the simplest way to visualize a UltraProteus filter

Morph

SEE THE STEP-BY-STEP CHAPTER FOR MORE INFORMATION ON THE Z-PLANE FILTERS.

The next logical extension of this two filter model would be to add yet another filter pair. The diagram below shows an example using four filters. Now we have two parameters that can be controlled.

Morph

(Envelope, Wheel, LFO, etc.)

Frequency Tracking

(Set at Note-On Time)

The diagram above, adds a Frequency Tracking parameter which varies the frequency of the filter. If we had set the frequency tracking and morph parameters as shown in the diagram above, the dot would represent the resulting filter position: a mixture of all four, but closest in nature to the left rear filter.

In the UltraProteus filter there is only one parameter that can be continuously varied in realtime and that is the Morph parameter. Other filter parameters, such as Frequency Tracking, can only be changed at note-on time.

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