Proteus VX User Manual

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Page 1

E-MU Systems 1

Page 2

Operation Manual

Software Version: 2.0.1 - PTSB4

E-MU World Headquarters

E-MU Systems

1500 Green Hills Road

Scotts Valley, CA 95066

USA

Asia Pacific, Africa, Middle East

Creative Technology Ltd

31 International Business Park

Creative Resource. Singapore 609921

SINGAPORE

2 Proteus VX Operation Manual

Europe

Creative Labs

Ballycoolin Business Park

Blanchardstown

Dublin 15

IRELAND

E-MU Japan

Creative Media K K

Kanda Eight Bldg., 3F

4-6-7 Soto-Kanda

Chiyoda-ku, Tokyo 101-0021

JAPAN

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Table of Contents

1 - Introduction & Installation ....................................... 9

Introduction ......................................................................................................................... 9

Proteus VX ..........................................................................................................................9

Before you Begin… .........................................................................................................9

Notes, Tips and Warnings ...........................................................................................10

System Requirements ......................................................................................................... 10

Software Installation ..........................................................................................................10

Programs installed .......................................................................................................10

Optimizing Your Computer for Proteus VX .................................................................11

Setting up Cubase LE4 and Proteus XVSTi ...................................................................... 11

Running Proteus VX VSTi from Cubase LE4 ................................................................... 13

On Your Own ..................................................................................................................16

Troubleshooting Checklist .............................................................................................17

No MIDI Keyboard Control? ......................................................................................17

No Audio? .....................................................................................................................17

Setting up the Preferences ................................................................................................. 18

Audio Preferences ..............................................................................................................19

Audio Setup .....................................................................................................................19

Use Optimal Buffer Size ..............................................................................................19

Buffer Size .....................................................................................................................19

Sample Rate ..................................................................................................................19

CPU Cap .......................................................................................................................19

Headroom/Boost .........................................................................................................20

Ultra-High Precision Interpolation Button ...............................................................20

VST Output Buses .........................................................................................................20

MIDI .................................................................................................................................20

MIDI Inputs ..................................................................................................................21

MIDI Response .............................................................................................................21

Controllers .......................................................................................................................22

Other Settings ..................................................................................................................23

Appearance Settings in Windows ..................................................................................24

Proteus VX Question & Answer ........................................................................................ 25

2 - Guided Tours .......................................................... 27

Exploring the Tree .............................................................................................................. 27

Multisetup Page .................................................................................................................. 28

Changing Presets (from Single View) ...........................................................................29

Channel 1-16 View .........................................................................................................30

Changing Presets (from the 1-16 view) ........................................................................30

Adjusting the Controllers ...............................................................................................31

Create Your Own Custom Bank ....................................................................................... 32

Save and Save As .............................................................................................................33

Proteus VX Bank Structure ..............................................................................................33

The Librarian ...................................................................................................................... 34

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3 - Multisetup / Global Controls ................................... 37

The Multisetup .................................................................................................................... 37

Changing Presets (from Single View) ...........................................................................38

16 Channel View .............................................................................................................39

Saving your Multisetup ...................................................................................................39

The Current MIDI Channel .........................................................................................40

MIDI Channel ..............................................................................................................40

Preset Assignment ........................................................................................................40

Channel Volume ..........................................................................................................40

Channel Pan .................................................................................................................40

Output Assignment ......................................................................................................40

Output View Button .....................................................................................................41

Aux FX View Buttons ....................................................................................................41

Aux Send On/Off .........................................................................................................41

Preset FX Enables .........................................................................................................41

Select Effect ...................................................................................................................41

TwistaLoop Override ...................................................................................................41

Global Controls .................................................................................................................. 42

Master Volume Control & VU Meter ..........................................................................42

Tempo Control .............................................................................................................42

Master Tune ..................................................................................................................42

Master Transpose .........................................................................................................42

Limiter ...........................................................................................................................42

Aux Outputs ..................................................................................................................43

Filter Override ..............................................................................................................44

Filter Descriptions ...........................................................................................................44

Filter Types ....................................................................................................................44

MIDI Controllers & Scribble Strips ............................................................................46

Preroll RAM Used .........................................................................................................46

CPU Meter ....................................................................................................................47

Number of Samples Playing .......................................................................................47

Current Channel ..........................................................................................................47

Working with Multisetups ................................................................................................. 48

Saving FX & Multisetups ..............................................................................................48

VSTi Multisetups ...........................................................................................................48

4 - Preset Editor .......................................................... 51

Preset Globals ..................................................................................................................... 52

Transpose & Volume .......................................................................................................52

Initial Controllers A-P .....................................................................................................52

Capture MIDI Controllers ..............................................................................................53

TwistaLoop Lock To Tempo ...........................................................................................53

Initial Tempo ...................................................................................................................53

Tuning Tables ..................................................................................................................54

Preset Modulators ...........................................................................................................56

Templates .........................................................................................................................56

Channel Lag 1 & 2 Rate ...............................................................................................57

Poly Key Timer .............................................................................................................57

Channel Ramp .............................................................................................................58

Preset PatchCords ........................................................................................................58

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5 - Effects .................................................................... 59

Overview ............................................................................................................................. 59

Programming Effects .......................................................................................................... 60

Adding an Aux Effect in the Multisetup ........................................................................60

Adding an Effect to a Preset ............................................................................................61

Block Diagram of the Effects Routing ........................................................................62

FX Routing .......................................................................................................................... 63

Block Diagram of the Effects Screens .........................................................................63

Effects Overhead ..........................................................................................................64

Typical Effects Usage ....................................................................................................64

VSTi Bus Outputs .........................................................................................................64

Main Output Window ....................................................................................................... 65

Main Output Window .................................................................................................65

Proteus X Composer FX Template .................................................................................... 66

Aux FX Screen ..................................................................................................................... 67

Aux Effects .....................................................................................................................67

Preset FX Screen .................................................................................................................. 68

Preset Effects .................................................................................................................68

Preset FX Modulation Parameters .................................................................................69

Creating, Deleting & Reordering Templates .................................................................70

Effects Listing ...................................................................................................................... 72

Effects Descriptions ............................................................................................................ 72

Background: Reverb .....................................................................................................72

Reverb ...............................................................................................................................73

Early Reflections Reverb .................................................................................................73

Reverb Lite (mono) .........................................................................................................74

Chorus ..............................................................................................................................75

Background: Chorus ....................................................................................................75

Chorus / Delay ................................................................................................................76

Compressor .....................................................................................................................77

Basic Controls ...............................................................................................................77

Delay ................................................................................................................................79

Background: Delay .......................................................................................................79

Discrete stereo ..............................................................................................................79

Ping Pong, stereo ..........................................................................................................80

Ping Pong, mono L->R .................................................................................................80

Delay (BPM) ....................................................................................................................82

Early Reflections ..............................................................................................................83

1-Band Para EQ ...............................................................................................................83

4-Band EQ ........................................................................................................................84

Flanger ..............................................................................................................................85

Growl ................................................................................................................................86

Limiter ..............................................................................................................................87

Phaser ...............................................................................................................................88

Pitch Shifter (mono) .......................................................................................................89

Ring Modulator ...............................................................................................................90

SP12-ulator ......................................................................................................................91

Tremulator BPM ..............................................................................................................92

Tube ..................................................................................................................................94

Twin ..................................................................................................................................95

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6 - Controls ................................................................. 97

The Toolbars ....................................................................................................................... 97

Viewing and Hiding the Toolbars ..................................................................................98

Drag & Drop ....................................................................................................................... 98

Changing Settings ..............................................................................................................98

Entering Numeric Values ................................................................................................98

View Menu .......................................................................................................................... 99

Main Display View ....................................................................................................... 100

Tree View ....................................................................................................................... 100

Tree Navigation using the Keyboard .......................................................................... 101

Cursor Keys ................................................................................................................ 101

Find Items .................................................................................................................. 101

Refresh (F5) .................................................................................................................. 101

Context Sensitive Menus ............................................................................................. 101

Undo/Redo ................................................................................................................... 101

7 - Synthesizer Basics ................................................ 103

Editing Presets .................................................................................................................. 103

Modulation ....................................................................................................................... 104

Modulation Sources ..................................................................................................... 104

Keyboard Key ............................................................................................................. 104

Key Velocity ............................................................................................................... 104

Release Velocity ......................................................................................................... 104

Gate ............................................................................................................................ 104

Key Glide .................................................................................................................... 104

Pitch and Mod Wheels ............................................................................................. 104

Keyboard Pressure (mono aftertouch) ................................................................... 105

Pedal ........................................................................................................................... 105

Miscellaneous Controllers A -P ................................................................................ 105

Low Frequency Oscillators (2 per voice) ................................................................ 105

Envelope Generators (3 per voice) .......................................................................... 105

Function Generators (3 per voice) .......................................................................... 105

Noise & Random Generators ................................................................................... 105

T-switch and Footswitches ....................................................................................... 105

Modulation Cords ........................................................................................................ 105

Envelope Generators ........................................................................................................ 106

Retriggering ................................................................................................................ 106

Complete Mode ......................................................................................................... 106

Low Frequency Oscillators (LFOs) ................................................................................. 107

Random Sources .............................................................................................................. 108

Clock Modulation ............................................................................................................ 108

Syncing an LFO to the Clock .................................................................................... 108

Function Generators ........................................................................................................ 109

Modulation Destinations ................................................................................................ 110

Modulation Processors .................................................................................................... 111

Dynamic Filters ................................................................................................................112

What is a Filter? ......................................................................................................... 112

Parametric Filters ....................................................................................................... 115

The Z-Plane Filter ......................................................................................................... 116

MIDI Channels & Real-time Controls ............................................................................ 117

MIDI Program Change Commands ............................................................................... 119

MIDI Bank Select Commands ..................................................................................... 119

Background: Bank Select Commands ..................................................................... 119

MIDI Modes ...................................................................................................................... 119

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8 - Appendix ............................................................. 121

Keyboard Shortcuts .......................................................................................................... 121

Right Click Shortcuts ....................................................................................................... 121

Toolbar Functions ............................................................................................................ 122

MIDI Implementation Chart .......................................................................................... 123

MIDI Implementation Chart (part 2 - Controllers) ............................................... 124

Special Notes: ............................................................................................................ 127

Controller Functions .................................................................................................... 128

Index ........................................................................ 129

E-MU Systems 7

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8 Proteus VX Operation Manual

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1 - Introduction & Installation

Introduction

The Proteus VX is a professional desktop sound module based on the Proteus sound modules and Emulator samplers. The engineers and designers at E-MU Systems have brought their years of experience and expertise together to create the most comprehensive and flexible software instrument ever.

Proteus VX uses the renowned Emulator 4 Ultra/Proteus 2000 synthesis architecture as its synthesis engine. Although not all the modules are user-programmable in the VX version, they are working behind-the-scenes to provide you with truly awe-inspiring sound.

Proteus VX

Proteus VX allows quick and easy creation of multitimbral setups on up to 16 different MIDI channels. The Proteus VX sound engine contains the following features:

1 - Introduction & Installation

Introduction

• 24-bit playback

• Up to 192 kHz sample rate

• 32-bit floating point internal processing

• Drag and drop preset selection

• Phase Locked Stereo signal path

• Ultra High Precision Pitch Interpolation (user selectable)

• High Voice Polyphony (system dependent)

• Real-time controllers for all important control points

• 54 different filter types including multi-pole resonant filters, phasers, flangers, vocal filters and multi-parameter morphing filters.

Note: The following features are not user-programmable in Proteus VX.

• Extremely powerful voice and sample zones can be crossfaded by position, velocity or real-time controller up to 128 layers deep.

• Three multi-stage envelopes, three 64-stage function generators, two lag processors and two multi-wave LFO’s per voice.

• Super-flexible PatchCord modulation matrix allows any modulation source to be connected to any destination.

Before you Begin…

You should have a good working knowledge of your computer’s operating system. For example, you should know how to use the mouse, standard menus and commands. You should also know how to cut, copy, paste, open and close files.

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1 - Introduction & Installation System Requirements

Notes, Tips and Warnings

Items of special interest are presented in this document as notes, tips and warnings.

Notes provide additional information related to the topic being discussed. Often,



notes describe the interaction between the topic and some other aspect of the system.

 Tips describe applications for the topic under discussion.



War n ings are especially important, since they help you avoid activities that can cause damage to your files, your computer or yourself.

System Requirements

To use Proteus VX you will need at least:

• Pentium III 1GHz or equivalent CPU (P4, 2 GHz or faster recommended)

• 512 MB RAM (1 GB DDR or greater recommended)

• Windows XP or Windows Vista

• (optional) A VST host application capable of running VST instruments (VSTi)

Software Installation

Programs installed

• Proteus VX standalone application

• Proteus VX VSTi application (virtual instrument used in a host sequencer application)

• Proteus X Composer Sound Bank

1. Insert the CD or DVD labeled E-MU Audio Production Tools into your CD-ROM drive.

2. If Windows AutoPlay mode is enabled for your CD-ROM drive, the CD starts running automatically. If not, from your Windows desktop, click Start->Run and type d:\setup.exe (replace d:\ with the drive letter of your CD-ROM drive).

3. The installation splash screen appears. Check the box labelled, Install Proteus VX and click OK.

4. Follow the instructions on the screen.

The Proteus VX applications have been installed inside “Program Files/Creative Professional/ProteusVX.”

5. Look for any “ReadMe” files in the Proteus VX folder or in the Start menu and read these before continuing. The readme files may contain important last minute information that didn’t make it into this manual.

6. Remove the E-MU Audio Production Tools disk from the CD-ROM drive.

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Setting up Cubase LE4 and Proteus XVSTi

Optimizing Your Computer for Proteus VX

Windows: The following suggestions can help you configure your windows machine for optimal performance. Since systems vary, we recommend that you note the original settings of any system parameters you alter so that you can restore them in the event that unexpected problems occur as you seek to optimize your system for Proteus VX:

• Seriously consider dedicating a computer as your audio workstation. This computer can be optimized for best audio performance.

1 - Introduction & Installation

• If possible, avoid assigning slower devices to the IDE controller used by your audio drive.

• Get the fastest hard disk drive you can afford. Many drives now offer an 8MB 16MB data buffer, which can also improve performance.

• Defragment your hard drive often.

• Perform a “clean” install of your operating system with only the minimum components and programs installed.

• Use the System Restore feature of Windows XP or other restoration programs such

™

as “Norton Ghost”

to make backups of your system for easy recovery and system

maintenance.

Setting up Cubase LE4 and Proteus XVSTi

Proteus VX VSTi is a VSTi (Virtual Studio Technology instrument) which means that it “lives” inside of a VST “host”application such as Cubase LE. These instructions pertain to Cubase LE 4 since it is supplied in the “E-MU Audio Production Tools” software bundle. This information can be applied to other applications as well.

1. Open Cubase LE 4 from the Start menu. An ASIO multimedia driver test dialog box will pop up to ask if you want to run the ASIO test. Choose No, because you won’t be using the driver anyway.

2. Select New Project from the File menu.

3. Select Empty and click OK.

4. A Select Directory pop-up dialog box will appear. Choose a location on your hard disk where you want to store your audio files, then click OK.

5. The Cubase LE 4 Project window appears.

 Proteus VX is a

“Lite” version of our standalone Proteus X2 and Emulator X2 products. Proteus VX allows basic preset and effects programming.

Proteus X2 provides extensive synthesizer preset programming.

Emulator X2 contains all features of Proteus X2 and adds intelligent sampling and a host of powerful sample editing features.

TIP . . .

If you have two or more hard disks, it’s better to store audio files on a disk that isn’t running your OS.

6. Select Device Setup… from the Devices menu.

Step 10:

VST

Audio

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1 - Introduction & Installation Setting up Cubase LE4 and Proteus XVSTi

7. Select VST Audio System from the left pane.

8. Select the ASIO Driver. Choose your E-MU interface from the list. Choose:

E-MU ASIO (0404, 1212, 1820, 1616 Digital Audio Systems), ASIO E-MU 0404|USB, ASIO E-MU 0202|USB, or ASIO E-MU TRACKER Pre|USB.

9. A pop up dialog box asks you if you want to keep or switch the ASIO driver. Select Switch.

Buffer Latency Setting

10. Click on the name of your E-MU interface that appears immediately below VST Audio System in the Devices pane. Refer to the following screen.

Step 11 Control

Panel

Step 10

VST

Audio

WARNING!

DO NOT select the “ASIO Multimedia Driver” or the “ASIO Direct X Full Duplex Driver.”

11. Click the Control Panel button. The pop-up dialog box shown at right appears.

12. Set the ASIO Buffer Latency as low as your computer will allow and click OK. (10ms is a good starting point.) A low latency setting is important to assure fast response when using virtual instruments and to minimize delay when monitoring through Cubase. If you hear crackles or other audio problems, try increasing the Buffer Size.

13. Close the Device Setup screen by clicking OK.

Setting up a New Project

14. Select New Project from File menu in Cubase LE

4. A pop-up Template selection dialog box appears. Select Empty, then click OK.

15. Another pop-up dialog box appears asking you to select the directory in which your audio files will be stored. Choose a location to store your audio files and click OK.

NOTE

E-MU 0202 Control Panel is shown at left. The Bit Depth field does not appear with 0404PCI, 1212, 1820 or 1616.

WARNING!

If the Cubase LE 4 application crashes for any reason, it is recommended that you re-boot the computer.

16. Select Project Setup (Shift +S) from the Project menu. This is where you set the Sample Rate and Record Format (bit depth), among other things. Set the Record Format to 24 Bit and the Sample Rate to 44.100 kHz.

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Running Proteus VX VSTi from Cubase LE4

Optional - Add Additional Input Busses

If you are using an audio interface that has more than two inputs (0404 USB, 0404, 1212, 1616, 1820), the following instructions will allow you to select these extra inputs to feed your audio tracks.

17. Select VST Connections (F4) from the Devices menu.

Step

1 - Introduction & Installation

Step

PatchMix Inputs

18. Select the Inputs Tab, revealing the window shown above.

19. Click the Add Bus button. The pop-up dialog box shown at right appears.

20. Select the number of mono or stereo input busses you want, then click OK.

21. Additional mono or stereo busses appear in the list. Note that the actual PatchMix input label appears in the Device Port field.

22. Close the window by clicking the close box. The inputs you added will now be available for selection in the Track Input field of the Inspector pane.

Running Proteus VX VSTi from Cubase LE

These instructions explain how to start Proteus VX from within Cubase LE 4. If you have a MIDI keyboard, you should connect it now using the setup diagrams and instructions that came with your E-MU Audio Interface. Without a keyboard, you will only be able to play one note at a time using the mini keyboard on Proteus VX.

You’ll need a MIDI interface and a MIDI keyboard (or other MIDI input device) for this tutorial. Please refer to the Proteus VX manual for the complete set of instructions (located under the Help menu item).

TIP . . .

You can also Rename your Input Busses here to avoid confusion when assigning Inputs to tracks.

Make the Connections

1. Connect the MIDI out of your MIDI keyboard to the MIDI input of your MIDI interface.

2. From the Project menu, select Add Track, Instrument.

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1 - Introduction & Installation Running Proteus VX VSTi from Cubase LE4

3. A pop-up dialog box appears asking you to select a VST Instrument. Select Proteus VX. Select a Count of 1. Click OK.

After a short delay, the Cubase Project Window should now look more or less like the one below with one or more Audio tracks and one Instrument track:

NOTE

Selecting a Count of 2 or more, instantiates multiple copies of Proteus VX, which results in very inefficient usage of your CPU. (See the note on page 16

NOTE #2

If you have Proteus X or Emulator X, you can select these in place of Proteus VX.

Instrument

Track

The Inspector

Open VX & Load a Bank

4. Since Proteus VX uses samples as the basis of its sound, you need to load a bank of samples before it can be played. The Edit Instrument button, located in the Inspector section of the window, allows you to edit the virtual instrument.

Edit Instrument Button

5. Click the Edit Instrument button. The Proteus VX main window appears.

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MIDI Channel SelectionPreset Inc/Dec Keys

MIDI Channel

1 - Introduction & Installation

Running Proteus VX VSTi from Cubase LE4

6. Now we can load the Proteus X Composer bank. Select Proteus X Composer from the File menu. The bank is installed here: “Program Files\Creative Professional\EMU Sound Central\Proteus X Composer.” Loading takes a few seconds.

7. Change the Preset using the Inc/Dec keys. You also have to select a preset before you can hear anything. There are 1024 different presets (sounds) in this huge bank.

8. Bring up the mini keyboard by clicking the icon on Proteus VX and play a few notes. You should be hearing sound.

• If the sound volume is very low, you can decrease the Headroom of Proteus VX.

(Options, Preferences, Headroom/Boost) Keep in mind that with less headroom, the Proteus VX will be more prone to clipping when multiple channels are played.

9. Play your MIDI controller and verify that it plays Proteus VX. If not, check to make sure your MIDI keyboard is set to the same MIDI channel number as Proteus VX (probably channel 1).

10. Try out the MIDI Controller knobs on your MIDI keyboard. In order for these to work, the continuous controller numbers of your keyboard knobs must match those on Proteus VX. (Options, Preferences, Controllers tab).

11. Feel free to play around for awhile and don’t worry about losing anything. Nothing is made permanent until you Save the bank, so have fun.

To Record a MIDI Track

TIP . . .

Increase the headroom setting (more positive) to increase the volume and decrease the amount of available headroom.

12. Make sure the Record Enable button on the MIDI track is on (it should be on by default).

Record Enable

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1 - Introduction & Installation Running Proteus VX VSTi from Cubase LE4

13. Click Record on the Cubase LE Transport control and start playing your MIDI

controller.

Record

14. Press Stop when you’re finished recording the first track.

15. Press the Go To Start button.

16. Press Play on the Cubase Transport to play back your track.

To Record a MIDI Track on another MIDI Channel

NOTE: Proteus VX VSTi can play back up to 16 MIDI tracks at once, however, the LE version of Cubase 4 only supports a single MIDI channel per VSTi. You could load another instance of the Proteus VX for each channel, but this is a very inefficient usage of your CPU resources and is NOT recommended. The full version of Cubase 4 does support multiple MIDI channels on a single VSTi.

Program Changes

Cubase LE 4 allows you to insert MIDI Program Change messages in the MIDI sequence. (Key Editor, List Editor, Insert Program Change) This trick makes it possible to use more than one Proteus VX preset in a song.

On Your Own

Feel free to play around for awhile and don’t worry about losing anything. Nothing is made permanent until you Save the bank, so have fun. When you’re ready, look over the rest of this manual. If you want a tour of the Proteus VX, be sure and check out Chapter 2 - Guided Tours.

Proteus VX Main Window

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Running Proteus VX VSTi from Cubase LE4

Troubleshooting Checklist

No MIDI Keyboard Control?

• Is the MIDI Track input set to the proper MIDI port?

• Does the MIDI indicator on Cubase SE light up when you play?

• Check the Cubase LE “Devices” menu

No Audio?

• Do you see activity on the Main Mix meters of Proteus VX when you play the mini keyboard?

• Is your audio device selected in the Proteus VX Preferences?

1 - Introduction & Installation

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1 - Introduction & Installation Setting up the Preferences

Setting up the Preferences

The preferences dialog box contains a variety of important controls used to configure Proteus VX for your audio hardware and to customize the controls to suit the way you work.

 To Access the Preferences Dialog Box

1. Select Preferences from the Options dialog box. The following screen appears.

2. The preferences dialog box is divided into four main groups. Click on the tab heading to select one of the four sets of controls.

Audio

MIDI

Controllers

Other

Audio Hardware Setup & Pitch Shift Algorithm selection, number of VST Output buses.

Receive/Ignore Program Changes, Internal/External Tempo Source select, Velocity Response Curve, Volume Curve, Volume Sensitivity

This section allows you to set up the MIDI Continuous Controllers you want the Proteus VX to receive.

Clear clip indicators after 10 seconds

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Audio Preferences

1 - Introduction & Installation

Audio Preferences

Audio Setup

These controls let you set audio quality parameters related to Proteus VX and your sound card.

Use Optimal Buffer Size

When this box is checked, the Proteus VX will choose the best buffer size based on the ASIO Buffer Latency setting (located in the ASIO control panel). You should normally leave this feature enabled for best audio performance. In certain rare cases you may want to manually set the buffer length to improve MIDI or synth performance.

Buffer Size

This control sets the number of sample periods between updates of the synthesizer parameters. The buffer size can be adjusted according to the speed of your computer’s CPU. A faster CPU can handle a lower buffer size. The default buffer size changes with the latency setting when “Optimal Buffer Size”is checked.

Sample Rate

This control displays the output sample rate of the Proteus VX, and will always match the sample rate of your sound card. The default setting is 44.1kHz.

CPU Cap

This important control sets the percentage of CPU resources that will be used by Proteus VX and consequently the maximum number of samples that can be played at the same time. Depending on the design of the preset, a single Proteus VX voice may contain multiple samples which play simultaneously. The maximum setting is 80% CPU usage. If you hear notes being “stolen” in your sequence or as you play the keyboard, or if the disk meter readout at the bottom of the window goes into the red, increase the value of this control. If you have other applications running, you may want to reduce the setting of this control to free up more CPU for them.

 Warning: Sounds

with long release times will exhibit “voice stealing” more than short percussive sounds.

 Tip: When running

multiple VSTi’s, distribute the CPU Cap among the VSTi’s. Example: If one VSTi does not glitch at 60%, set the CPU Cap of two VSTi’s so they add up to 60%.

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1 - Introduction & Installation Audio Preferences

Headroom/Boost

Headroom is the amount of dynamic range remaining before clipping occurs.

The amount of headroom is adjustable from 12 dB to -30 dB in 1 dB increments. A headroom setting of 12dB provides the hottest output level, (and the highest signal to noise ratio) but may produce “clipping” if too many notes are played at once. The default headroom setting is -7 dB, which maintains an excellent signal to noise ratio while keeping a reasonable amount of headroom in reserve. If you hear the signal clipping or breaking up, decrease the headroom value. In practice, you can think of this control as adjusting the control range of the Master Volume control.

Ultra-High Precision Interpolation Button

This button allows you to select between E-MU’s ultra-high precision pitch shifting algorithm or a lower quality pitch shifting scheme which uses fewer CPU resources.

If you are using presets with a sample placed on every key, as is the case on many banks, you can switch high precision off to free up CPU with no penalty in audio quality. No pitch shifting is occurring anyway. High quality pitch interpolation is only needed when you are playing presets which have a few samples mapped across the entire keyboard. In this case, the Proteus VX shifts the pitch of the available samples to fill in the keyboard.

VST Output Buses

This setting allows you to add additional VST buses (stereo pairs). Proteus VX channel outputs can be assigned to VST buses in the Multisetup, Output field. These outputs are sent to the VST Mixer in your recording application. You must restart the VSTi for the changes to take effect.

Unlike some VSTi’s, Proteus VX is multitimbral, able to play up to 16 MIDI channels at once. It’s far more CPU-efficient to have multiple MIDI channels playing on one instance of Proteus, rather than have multiple VSTi’s running. Using VST Output buses, you can route each MIDI channel to a separate bus in Cubase.

 Note: The “Audio

Type” and “ASIO Control Panel” parameters cannot be edited in Proteus VX. They will always appear “greyed-out”.

MIDI

This group of preferences allows you to set up the MIDI inputs, adjust the master MIDI volume and velocity curves.

 Note: The

“Intelliedit” feature is not applicable to Proteus VX. The field will always appear “greyed-out”.

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MIDI Inputs

Receive Program Changes

This check box selects whether or not MIDI Program Change messages from your MIDI controller or sequencer will be received or ignored by the Proteus VX. Place an X in the check box to receive program changes.

External Tempo Source

This check box selects between internal tempo clock or MIDI clock as the tempo source. The Proteus VX uses a global master tempo for Tempo-based Envelopes, Tempo-based LFOs, and clock modulation. When this check box is selected, MIDI clock will be used for the global tempo and the tempo control in the Multisetup window will be disabled.

Preset Tempo Channel

The tempo of Proteus VX can be specified in the preset so that selecting a preset on a specific MIDI channel changes the tempo. This option selects the MIDI channel whose preset will be used for Tempo Control. This feature allows the proper tempo to be set when a Tempo-based or Twistaloop preset is selected.

For example, suppose you have this field set to channel 1 and the preset on MIDI channel 1 has its Tempo Control set to 122.22 BPM. When the bank is loaded, the Tempo will be set to 122.22 BPM. If you change the preset on channel 1, the tempo will change to follow the “Initial Tempo” setting in the new preset. (See page 53

1 - Introduction & Installation

Audio Preferences

 Important!

If External Tempo Source is set to external, the tempo control in the Voice Editor will be “greyed-out” and nonfunctional.

If the preset on the Preset Tempo channel has its Tempo Control set to “Off”, (or if this option is set to “Off”) no tempo change occurs when the preset is selected.

MIDI Response

These controls allow you to customize the MIDI response of the Proteus VX to match your MIDI Controller or other instruments.

Vel ocity Cur v e

Incoming velocity values can be scaled by one of 24 curves to better adapt to your playing style or MIDI controller. Selecting “linear” leaves the velocity data unaltered. The shape of the selected curve is displayed in the window. Select the curve that feels best with your MIDI keyboard.

Vol ume Curve

This is an adjustment to help match MIDI controller #7 volume response to other manufacturers’ equipment. Three curves are provided: Linear, Inverse Square or Logarithmic. The action of this control is displayed in the window.

Volume Sensitivity

This control allows you to modify the response curve for MIDI continuous controller #7 (Volume). This allows you to match the Proteus VX’s response to other manufacturers’ equipment. Low numbers compress the volume control range, raising the volume level at lower controller #7 values.

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1 - Introduction & Installation Audio Preferences

Controllers

This is where you set up which MIDI Continuous Controllers the Proteus VX will receive. Match these controls to the MIDI continuous controller numbers that your keyboard or sequencer transmits. What the controllers actually do is pre-programmed in each preset.

As you can see, MIDI Continuous Controller numbers are assigned to letters (A-P) or labels (Pitch, Mod, Pressure, Pedal, etc.) in this screen. When a preset is programmed, these letter or name labels are assigned to control various parameters such as filter frequency or attack time.

The name labels such as pitch and mod wheels are so commonly used that they have their own assigned name, but these can also be freely assigned in any way you choose.

If you’re just getting started, it’s probably best to use the default settings. Press the “Use Default” button to restore the default settings which are shown above.

22 Proteus VX Operation Manual

Page 23

Other Settings

1 - Introduction & Installation

Audio Preferences

Startup

• Load last bank - This feature automatically loads the last bank you had loaded

whenever you start the Proteus VX application.

Interface

• Select preset on active channel when editing in Multimode - When checked,

selecting a preset for editing in the Tree selects that preset on the active channel in the multisetup. This is what you want if you’re editing a preset and playing a MIDI keyboard.

If you’re playing back a multi-timbral sequence and want to make a quick edit to a preset, you might want this feature Off so as not to alter your multisetup.

• Clear clip indicators after 10 seconds - This feature automatically clears the

main output meter clip indicators. If this function is set to Off, the clip indicators will stay on until you manually click on them.

• Expand tree items when selected - If this option is checked, selecting presets

from the Tree will automatically open the selected preset for editing. When unchecked, selecting presets from the Tree will select the preset for playing, but not open it for editing.

• Knob Tracking - This control allows the rotary knobs to be manipulated with

either Rotary, Horizontal, or Vertical motion. The setting affects all rotary controls.

Undo

• History size - The maximum number of stored undo steps.

• Clear history when saving - Clears all undo history when you save a bank. If

you have this box unchecked, you can undo even when you save and re-open a bank.

• Clear now - Clears the undo history immediately.

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1 - Introduction & Installation Audio Preferences

Appearance Settings in Windows

Adjusting the “Performance Options” in Windows will make the Preference buttons much easier to read and increase the smoothness when dragging windows around on the screen.

 To Improve the Appearance Settings:

1. Open the Windows Control Panel. (Start, Settings, Control Panel)

2. Select System.

3. Select the Advanced Settings tab.

4. Select Settings in the Performance section

5. Under Visual Effects, select Adjust for Best Performance.

6. Click OK.

24 Proteus VX Operation Manual

Page 25

Proteus VX Question & Answer

 The Controller knobs on my keyboard don’t work with Proteus VX

A The controller numbers sent by your MIDI keyboard must match the controller

numbers that Proteus VX is receiving. See “

on page 117. Also see “Controllers”on page 22 to change the MIDI controllers

that Proteus VX receives.

 There is a huge delay when I play Proteus VX from a MIDI keyboard

A Lower the ASIO Buffer Latency setting on your host application. An ASIO Buffer

setting of 10ms or below will be acceptable for most players.

 Parts are cutting out in my sequence

A#1: You may be exceeding the capacity of your computer’s CPU. When multi-

tracking using VSTi’s and VST effects, it might be a good idea to “Render” or “Freeze” the tracks to free up CPU resources.

A#2: You might try increasing the CPU Cap parameter in the Preferences menu

page 19). This setting controls the amount of CPU resources that Proteus VX is

( allowed to use.

A#3: Turning Ultra High Interpolation Off in the Preferences menu frees up

CPU resources at the expense of audio quality. Use your ears to decide.

A#4: Are you running multiple instances of Proteus VX? Don’t. Proteus VX was

designed to be run as a single instance using multiple MIDI channels. Running more than one instance of VX is extremely wasteful of your CPU resources.

MIDI Channels & Real-time Controls”

1 - Introduction & Installation

Proteus VX Question & Answer

 Can I play SoundFonts with the Proteus VX?

A No, but the full versions of Proteus X2 (and Emulator X2) include a File Converter

program which converts SoundFonts to the Emulator format used by Proteus VX.

 Can I play General MIDI files using the Proteus VX?

A No, but the full versions of Proteus X2 (and Emulator X2) include a General MIDI

bank. This bank will load into Proteus VX.

 Can I send different MIDI channels to separate outputs?

A Yes. T h e VST Output Bus setting (page 20

), lets you add additional VST buses. After additional buses are created, Proteus VX channel outputs can be assigned to VST buses in the Multisetup, Output field.

 How do I find out the number of samples used per note?

A Play a single note on the keyboard and look at the “Samples Playing” display at

the bottom of the window. Please refer to the diagram on page 28

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1 - Introduction & Installation Proteus VX Question & Answer

26 Proteus VX Operation Manual

Page 27

2 - Guided Tours

Exploring the Tree

In this section you’ll learn how to navigate around Proteus VX using the Tree. Don’t worry if you don’t know what everything does just yet. All the details will be explained later on.

1. With the Proteus VX application running, a bank is loaded by selecting Open from the File menu. Click on the Presets Folder in the Tree and a screen, similar to the one shown below, appears.

Toolbars

Bank

2 - Guided Tours

Exploring the Tree

Presets

Folder

Presets

Multisetup

Folder

The

Tre e

Sampler/System/Library Tabs

List View

The Tree is the section shown on the left of the screen. There are three tabs at the bottom of the Tree labeled Sampler, System and Library.

Sampler

Allows you to see the contents of the current Proteus VX bank.

This tab gives you access to your entire computer system: PC, hard disks,

System

CD-ROM drives, network, etc. Presets and Multisetups can be browsed, then Merged into the current Bank. Load Emulator IV banks from

this tab.

 E4/E3 CDs use a

proprietary format and can only be read using SCSI/ATAPI drives. They cannot be read using firewire and USB drives.

The Library shows you all Emulator X and Proteus VX related files,

Library

wherever they may be located on hard disks, CD-ROM or network. Presets and Multisetups can be browsed in the Library, then Merged into the current Bank.

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2 - Guided Tours Multisetup Page

Multisetup Page

The Multisetup is the top level of the Proteus VX hierarchy and is the place where you choose presets and assign them to each of the MIDI channels.

A multisetup assigns a preset, volume, pan position and output routing to each of the 16 MIDI channels. Multisetups can be saved and recalled for use with a particular song or sequence so that all the MIDI channels play the proper preset.

Click on the Proteus VX icon to display the Multisetup page.

There are two views in the Multisetup page. The Multisetup View buttons change the current view. The Single channel view is shown below.

• Single................ Displays the preset for the currently selected MIDI channel.

• Channels 1-16.. Displays the preset, volume and pan for MIDI channels 1-16.

See page 37

for a complete description of the Multisetup screen.

Single Channel View

Single-Multi

Click Here

View

Tabs

MIDI Mode Select

Aux FX Display

Tab s

Master Vol ume

MIDI Controllers

Preroll

RAM Used

28 Proteus VX Operation Manual

CPU & Disk

Usage Meters

Samples

Playing

Current

Channel

Page 29

Changing Presets (from Single View)

Single View is the default view when you first run Proteus VX. This view is convenient for performing live or when you’re only playing one preset at a time. All the main parameters for the selected MIDI channel are displayed in Single View and a convenient Category mode allows you to quickly select presets in a certain category. A closeup of the current channel settings is shown below.

Single View Close-up

2 - Guided Tours

Multisetup Page

 Note that Single View

only changes the display and does not affect the currently selected MIDI mode (i.e. Omni, Poly or Multi).

Select All or Select

by Category Preset Inc/Dec

Select/View Preset Number

Preset Name

Channel Volume

Main Output

Select

 To Select Presets by Number

Select

Channel 1-16 View

Press the Multisetup View 1-16 button to view channels 1-16 at the same time. This page view is particularly useful when sequencing as you can see 16 MIDI channels at once. Note that the Output Display button is now active. See also “

3 - Multisetup /

Global Controls” on page 37.

Channel 1-16 View

Click Here

Current

Channel

Continuous Controllers

MIDI

Activity

Preset Select

Multisetup

View

Tab s

Channel

Volume

Channel

Pan

Output Display

Tab

MIDI Mode Select

Aux FX Display

Tabs

Main

Output

Routing

Aux Send Enable

Preset FX Enables

Master Tempo

Master Volume

Channel Tune

& Transpose

Aux Output Select

Preroll

RAM Used

CPU & Disk Use Meters

Samples

Playing

Current

Channel

Filter

Override

Limiter

Changing Presets (from the 1-16 view)

Play your MIDI keyboard and note that one of the MIDI activity LEDs comes on. This is the channel on which your MIDI keyboard is transmitting. If you don’t see MIDI activity, check your MIDI connection and make sure MIDI is set up properly in the Preferences menu. See page 20

 To Audition and Select Presets

1. Click once on the Preset Select button on the channel used by your MIDI keyboard. The complete list of all presets in the bank appears.

2. Click once on a preset to audition it. Play your keyboard to hear it.

3. Try out a few more presets. When you find one you like, double-click on it to select it and return to the Multisetup screen.

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2 - Guided Tours

Multisetup Page

4. Change the current channel by clicking on the number to the left of the preset. The number you selected turns yellow.

5. Play the small keyboard at the bottom of the screen. Notice that the MIDI Activity LED of the current preset now plays along with whatever sound is selected for that channel. (Your MIDI keyboard still plays on the channel to which it is set.)

6. Change the channel on your MIDI keyboard then play it. The Proteus now plays the preset on that channel.

 Selecting Presets from the Tree

1. When you click on a preset in the tree, you have just selected it for the current MIDI channel. This action also calls the Preset Global page.

2. To go back to the Multisetup page click the back arrow or click on the Proteus VX icon at the top of the tree.

 Changing the Current MIDI Channel

1. The Current MIDI Channel is simply the MIDI channel you are currently working with.

2. To change the current MIDI channel, click on the channel number in the Multisetup page. The selected channel number turns yellow. Note also that the channel number at the bottom of the window changes to reflect the current channel.

 Selecting “None” in

the Preset field, disables the MIDI Channel.

Adjusting the Controllers

Each preset has a set of 16 continuous controllers which are used to adjust and control the sound as you play. Your MIDI keyboard may have several knobs or sliders that are transmitted over MIDI. These can be used to control the Proteus VX if you match the CC numbers your MIDI keyboard transmits to the same CC numbers on the Proteus VX. These global settings are located under Options, Preferences, Controllers. See page 22

See page 128

 To Modify the Sound using the Controllers

1. Play your MIDI keyboard as you adjust the controller knobs on the screen. Notice that the sound changes. If the sound doesn’t change, make sure the current preset (red number) is the same one that your keyboard is playing.

2. If you have controller knobs on your MIDI keyboard and have set up the Controllers (Options, Preferences, Controllers) to match your keyboard, you can use these knobs to modify the sound. Notice that the on-screen knob follows the movement of the hardware knob.

3. Try changing the filter type. Click on the selector to the right of the filter name and select one of the 53 different filter types.

4. Adjust the Tone and Presence controls while playing the keyboard to hear your changes.

5. Change the Volume and Pan controls for the MIDI channel you are using. These settings can be adjusted remotely using MIDI controller #7 (volume) and controller #10 (pan).

6. If you want to save the changes, you must set the Initial Controller Amounts in the Preset Globals page to match the settings you made in the Multisetup page, then save the bank.

and page 117 for additional information about MIDI controllers.

to see a chart of the Proteus VX MIDI controller functions.

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2 - Guided Tours Create Your Own Custom Bank

Create Your Own Custom Bank

It’s easy to create your own custom sound banks by simply “dragging and dropping” the presets you want onto the Proteus VX icon in the tree.

 To Create a New Custom Bank

Locate the Presets on your Computer

1. Select New from the File menu. This creates a new empty bank. (You can also merge presets into an existing bank if you wish.)

2. Select the System Tab. The Desktop icon will appear in the tree.

3. Locate the presets you wish to include in your new bank. These will be located in the “Creative Professional” folder located in “Program Files”.

Click to

Open

 Many other great

banks of sounds are available from E-MU Systems. Please visit our web page at:

http://www.emu.com

Click to

Open

System Tab

Audition the Presets

4. After you have located the Presets folder, click on the Proteus VX icon in the Tree to view the Multisetup page.

5. Find a preset in the Tree or List View and Right-click over it. A pop-up menu appears with two options, A

6. Select Audition (or press “A” on your computer keyboard). Notice that the preset name is now flashing in the Multisetup screen.

7. Play your MIDI keyboard to audition the preset from the hard disk.

8. Right-click again and select S keyboard). The preset name stops flashing in the Multisetup screen.

9. Continue auditioning until you find a preset you like.

udition and Merge.

top Audition (or press “S” on your computer

 Tip: You can als o

audition presets from the library.

Merge the Preset

10. When you have found a preset you want to include, Right-click over it in the Tree or List View and select M

erge from the menu (or press “M” on your computer

 The List View allows

you to select multiple presets to merge.

keyboard). The preset is added to the current bank.

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Page 33

Another Method of Merging Presets

11. Simply click (left mouse button) and drag the preset over the Proteus VX icon at the top of the tree. The cursor changes to a plus sign as you pass over the icon. Release the mouse button and a pop-up progress bar will inform you that the preset is being loaded.

12. If you change your mind and don’t want to merge the preset after all, choose Undo from the Edit menu to un-merge the preset.

Continue to Create the Bank

13. Continue to add presets to your new bank.

14. Save the bank when you are satisfied.

 Alternate Method using the Librarian to find Presets

1. Select the Library Tab instead of the System Tab in step 3 above.

2. If you haven’t done so already, Update the Library.

3. Choose presets from the Library, then drag and drop them on top of the Proteus VX icon at the top of the tree.

Save and Save As

When you choose “Save” or “Save As” from the file menu, the entire bank (except for the samples) is re-written to the hard disk. Since presets don’t take up much memory, this operation is fast.

Be sure to rename your bank when using Save As… to save an edited bank, otherwise you may overwrite data you wanted to keep.

2 - Guided Tours

Create Your Own Custom Bank

Proteus VX Bank Structure

Banks are comprised of two distinct entities which need to be kept in the same folder on your computer hard disk. The SamplePool contains the raw sample data used. The Bank file contains all the voice, preset and multisample data that makes up the Proteus VX bank.

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2 - Guided Tours The Librarian

The Librarian

As your sound library grows so does the problem of managing all your banks and presets. As you’ve probably already discovered, a single bank can contain literally hundreds of presets.

The Library is accessed by clicking the Library tab at the bottom of the Tree. To use the librarian, you first “Update” from the File menu. This creates a searchable database of all your presets and banks which can be quickly searched.

You can select which drives you wish to add to the catalog or manually “Add Locations” to narrow down the selection range to speed the update process. The Add Location button also allows you to specify network drives to catalog. Only the selected targets are overwritten with new data when the update process is performed. Unselected targets remain as they were. The “Clear Library” button erases the entire library so you can start from scratch.

 Using the Librarian

Catalog your Disks

1. Select Update from the File menu. A popup dialog box appears asking you to select the disks you wish to catalog.

Update

Updates the Library with the selected items, leaving non-checked targets intact.

 Cool Tip: Categorize

multiple Presets:

1. Go to the Tree

2. Click the Presets folder.

3. Select multiple presets.

4. Right-click and choose category.

5. Select category.

Clear Library

Add Location

Erases Library database.

Allows you to manually select targets to speed update time or select network drives to catalog.

2. Select any disk drives that contain the banks and presets that were included when you installed the Proteus VX application. Using the Add Location button, you can select network drives to add to the Library catalog. The Add Location button also allows you to select specific folders or locations for cataloging.

3. Click the Update button to begin cataloging. The display will read: “Updating”. This process may take a few minutes depending on how many files need to be cataloged.

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Page 35

Find your Files

4. Select the Library tab at the bottom of the Tree. All Proteus VX Banks and Presets can now be accessed here. This can take a few seconds, especially with large banks.

5. Click on the Presets folder to view all the presets on your hard disks.

6. Select a Category of presets using the Filter by Category option.

7. Browse through the Bank, and Preset folders to find the sounds you want.

8. Right-click on a Preset to Audition the Preset from disk. You must play the keyboard while Auditioning to hear presets.

Load your Files

9. To add a file to the bank, Left-click and Drag the desired object in the Library over the Proteus VX icon at the top of the tree and release the mouse button. The file is added to the bank.

10. Or… Select the object you want from the Library and Right-click. Then select Merge to merge the object into the current bank.

2 - Guided Tours

The Librarian

Tip: You can add

Category tags to your own presets by Right-clicking on them.

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2 - Guided Tours The Librarian

36 Proteus VX Operation Manual

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3 - Multisetup / Global Controls

The Multisetup

The Multisetup is the top level of the Proteus VX hierarchy and is the place where you choose and assign presets to each of the MIDI channels.

 To Select the Current Multisetup:

1. Click on the Proteus VX icon at the top of the Tree. The current multisetup appears.

2. The Single Mode view is shown below. This view is convenient for performing live or when you’re only playing one preset at a time.

Single Channel View

3 - Multisetup / Global Controls

The Multisetup

 The MIDI Controller

settings and Filter Override are not stored with the Multisetup. These settings are stored with each Preset.

Click Here

Channel

Pan

Channel

Volume

FXA, FXB,

Aux Output

Enables

Main

Output

Select

MIDI

Controllers

Preset Select

Multisetup

View

Tabs

Select All or

by Category

Select

Changing Presets (from Single View)

Single View Close-up

 Note that Single View

only changes the display and does not affect the currently selected MIDI mode (i.e. Omni, Poly or Multi).

Select All or Select by Category

Preset

Inc/Dec

Select/View

Preset

Number

Preset

Name

Channel

Volume

Main Output Select

 To Select Presets by Number

Select Category

FXA/FXB Enables

Select/View MIDI Channel

Aux Output Enable

MIDI Channel Inc/Dec

Bank/ Program Display

Selected Category

Channel Pan

1. Click on the Preset Increment/Decrement buttons to move up or down the presets by number.

2. Highlight the Preset Number field and type in the desired preset number.

 To Select Presets by Category

1. Click on the Select Category button. The pop-up dialog box at right appears.

2. Select the desired preset category, then press OK.

3. Choose Select By Category from the Single view screen above.

4. Use the Increment or Decrement buttons to select presets. Note that only presets of the selected category are selected.

 The Bank/Program

Display shows the Bank and Program number you would use to select the preset from a sequencer.

 You can also use the

up/down arrow keys on your computer keyboard to inc/dec presets when the preset number field has the cursor.

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 Changing the Current MIDI Channel

16 Channel View

Press the 1-16 Multisetup View button to view 16 channels at once. This mode is useful for sequencing or when playing multiple MIDI channels.

Channel 1-16 View

3 - Multisetup / Global Controls

The Multisetup

Click Here

Current

Channel

MIDI

Controllers

MIDI

Activity

Preset Select

Single-Multi

View

Tabs

Channel

Volume

Channel

Pan

Output Display

Tab

MIDI Mode Select

Aux FX Display

Tabs

Main Output Routing

Aux Send Enables

Preset FX Enables

Master Tempo

Master Volume

Master Tune & Transpose

Aux Output Select

Definable

Labels

Preroll RAM Used

CPU & Disk Use Meters

No. of Samples Playing

Current Channel

Filter Override

Limiter

Saving your Multisetup

The current Multisetup is automatically saved when you save your Project in the recording application (Cubase, Sonar, etc.).

• Simply set up the Multisetup the way you want it, or select one from the Tree or List View, then Save your project. The Multisetup will be saved along with your song.

• You can also save multisetups with the bank of sounds. See page 48.

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3 - Multisetup / Global Controls The Multisetup

The Current MIDI Channel

Change the current channel by clicking anywhere on the desired horizontal channel strip. The yellow indicator displays the currently selected channel number. The MIDI Controllers change to show the settings of the currently selected MIDI channel.

 To Select a Preset:

1. Click on the Preset Select button for the desired MIDI channel. The Select Preset dialog box appears.

2. Click on the presets in the list to audition them. Presets can be viewed by large icon, small icon, by list, or by detailed list. Presets can also be sorted by name, ID, bank/program number, or category when in Detail View mode.

3. To choose a preset, select it and press OK, or double-click on the preset in the list.

 To Select a Preset from the Tree or List View:

1. Set the Current Channel by clicking anywhere on a horizontal channel strip in the Multisetup window.The channel number turns yellow, indicating that this is the current channel.

2. Choose the preset you want in the tree or list view and Right-Click on its preset icon.

3. Choose Select on Current Channel. The preset is now selected for that channel.

4. You can also select a preset for the current channel by simply clicking the preset’s keyboard icon from the tree or list view.

MIDI Channel

Each channel only responds to MIDI data on its particular channel. Use the small keyboard at the bottom of the window to audition presets on the currently selected channel. Select the current channel by clicking anywhere on the desired channel strip. The yellow indicator displays the currently selected channel number.

Preset Assignment

Assign presets to MIDI channels by clicking on the selector button to the right of the preset field. A pop-up dialog box appears with the list of presets in the bank. Select a preset, then click OK to select.

Channel Volume

This control sets the relative volume of the MIDI channel. This is equivalent to MIDI controller #7 (channel volume) and changes made over MIDI will be shown here.

Channel Pan

This control sets the stereo position of the MIDI channel. This is equivalent to MIDI controller #10 (channel pan) and changes made over MIDI will be shown here.

Output Assignment

This control selects the Main Output assignment for the MIDI channel. 100% of the stereo output signal is sent to the selected output bus.

The number of outputs available in this field depends on the number of stereo channels you have allocated. By default, you’ll only have Bus 1.

• Add VST Output Buses in the Proteus VX Preferences to increase the number of available outputs.

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Output View Button

This button allows you to view the Aux Send On/Off, Main Output Routing, and Preset FXA/FXB Bypass buttons when not in Single Mode. (The button is disabled in Single mode.)

You may want to bypass the Preset Effects on certain channels in order to free up CPU power or to hear the presets dry.

Aux FX View Buttons

The buttons above the TV display select which of the three possible Aux Effect is currently displayed. Note: The Output View button is disabled in Single mode.

Aux Send On/Off

These buttons enable (blue) or disable (grey) the inputs to the Aux Sends for each MIDI channel. These buttons also enable/disable the Aux Outputs for each channel. See page 43.

These buttons disable the Aux Sends whether the Aux FX are being used or not. Please refer to the diagram on page 62 path.

The Main Output is unaffected by these buttons.

to see the exact location of this switch in the signal

Aux Effect View Buttons

3 - Multisetup / Global Controls

The Multisetup

 The Output View

button is only available when the 1-16 view is selected. In Single mode you can only control the current channel.

Output View

Button

Aux Send

Preset FX

Enable Buttons

Main Output

Routing

On/Off

Preset FX Enables

These two rows of buttons marked FXA and FXB, enable or disable the preset effects for each MIDI channel. These work differently than the Aux Send On/Off buttons in that they bypass the effects instead of turning them on or off. These buttons are useful to bypass any preset effects which may have been programmed in the preset.

Please refer to Chapter “5 - Effects” on page 59

for detailed information about the

output and effects routing.

Select Effect

Click on the Effect Select icon at the top right corner of the Effects TV screen. A list of available effects drops down. See “Adding an Aux Effect in the Multisetup” on

page 60 for complete details on how to add aux effects.

TwistaLoop Override

This three-way switch determines if the beat looping features are locked to Master Tempo. The three modes are as follows:

• On: . . . . . . Beats on the channel are locked to the Global

Master Tempo. This control overrides the “Sync To Master Clock” setting in the preset.

• Off: . . . . . Beats on the channel are NOT locked to the Global Master Tempo. This

control overrides the “Sync To Master Clock” setting in the preset.

• Not Set: . . The “Sync To Master Clock” button in the Preset Globals page determines whether or not the Beats are locked to the Global Master Tempo.

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3 - Multisetup / Global Controls Global Controls

Global Controls

Master Volume Control & VU Meter

This is the master volume control for the Proteus VX. This slider controls the output volume of all MIDI channels.The range of this control can be adjusted using the Headroom/Boost control in the Preferences dialog box. See page 20.

The VU meter indicates the overall output level of the Proteus VX Main Outputs. It serves as a handy indicator to show clipping or to troubleshoot audio output problems.

Tempo Cont ro l

This control and associated display sets the master tempo when the Proteus is chosen as the tempo source. Proteus VX contains a global master clock which is used for Tempo-based Envelopes, the Twistaloop features, Tempo-based LFOs, and clock modulation.

IMPORTANT: “External Tempo Source” in the MIDI Preferences dialog must be OFF for this control to operate.

When “External Tempo Source” in the preferences dialog box is On, and an external MIDI device or application is generating MIDI clock, the Proteus VX tempo will lock to the MIDI clock tempo.

Master Tune

Master Tune adjusts the overall tuning of all presets so you can tune Proteus VX to other instruments. The master tuning range is ±1 semitone in one cent steps (1/100th of a semitone). A master tune setting of 0¢ indicates that the Proteus VX is precisely tuned to concert pitch (A=440 Hz).

Master Transpose

The master transpose parameter transposes the key of all presets in semitone intervals. The transpose range is ±12 semitones (1 octave).

Limiter

When playing the Proteus VX you may sometimes hear digital clipping. This clipping occurs in the digital hardware and is not caused by the Proteus VX, which uses high resolution floating point processing and has tremendous internal headroom.

To avoid the clipping, you could always lower the volume controls, but there’s a better way. The Limiter monitors the signal ahead of the output stage and automatically turns down the volume before clipping can occur.

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 To Use the Limiter

1. Press the Enable button, illuminating the button.

2. Set the Release knob to about 30% to start. Release controls how fast the limiter turns the volume back up after reducing it to avoid the clipping peaks.

3. Increase the release time if you hear obvious volume changes (pumping). Reduce the release time for percussive playing.

Aux Outputs

These three output assignments assign the Aux Sends to buses going to the Host application. The Aux Output Assignment section of the Multisetup allows you to assign each of the three Aux Sends to a separate Bus to the Host Application if you so desire.

Important: You must select the number of available buses in the Proteus VX Preferences menu before they become available.

Proteus VX Aux Bus Routing

3 - Multisetup / Global Controls

Global Controls

 See Chapter

“5 - Effects” on page 59

for complete descriptions of the effects routing.

Main Out

PRESET

IDI real-time Controllers & Scribble Strips

Off

S/PDIF Out

Aux Out

Assignment

MULTI

(only visible in 1-16 view)

Filter Override

Preroll RAM CPU Meter Number of Samples Current Channel

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3 - Multisetup / Global Controls Global Controls

Filter Override

The filter type of the first voice in the preset (on the currently selected channel) is shown in this display. If you change the filter type in this field, ALL the voices in the preset will change to the filter type you select. When the display reads, - Not Set - the filters programmed in each voice will be used. The filters may be set differently for each voice.

You can choose from 55 different filter types or choose “No Filter”, which bypasses the filter section.

The frequency response curve of the filter is accurately shown in the display. Frequency is shown on the horizontal axis, with amplitude on the vertical axis.

You will notice an increase in voice count when the filters are bypassed as the filters steal cycles from your computer’s CPU. 12th order filters use more CPU and therefore decrease the maximum voice count.

Filter Descriptions

Filter Name Order Type Description

2-pole Lowpass 02 LPF Typical OB type low-pass filter with a shallow

12 dB/octave slope.

4-pole Lowpass 04 LPF 4-pole low-pass filter, the standard filter on

classic analog synths. 24 dB/octave rolloff.

6-pole Lowpass 06 LPF 6-pole low-pass filter which has a steeper

slope than a 4-pole low-pass filter. 36 dB/

octave rolloff! 2-pole Highpass 02 HPF 2-pole high-pass filter. 12 dB/octave slope. 4-pole

Highpass 2-pole

Bandpass 4-pole

Bandpass Contrary

Band pass

SweptEQ 1 octave

Swept EQ 2->1 octave

Swept EQ 3->1octave

Phaser 1 06 PHA Recreates a comb filter effect typical of phase

04 HPF Classic 4-pole high-pass filter. Cutoff sweep

progressively cuts 4th Order High-pass.

02 BPF Band-pass filter with 6 dB/octave rolloff on

either side of the passband and Q control.

04 BPF Band-pass filter with 12 dB/octave rolloff on

either side of the passband and Q control.

06 BPF A novel band-pass filter where the frequency

peaks and dips midway in the frequency

range.

06 EQ+ Parametric filter with 24 dB of boost or cut

and a one octave bandwidth.

06 EQ+ Parametric filter with 24 dB of boost or cut.

The bandwidth of the filter is two octaves

wide at the low end of the audio spectrum,

gradually changing to one octave wide at the

upper end.

06 EQ+ Parametric filter with 24 dB of boost or cut.

The bandwidth of the filter is three octaves

wide at the low end of the audio spectrum,

gradually changing to one octave wide at the

upper end.

shifters. Frequency moves position of notches.

Q varies the depth of the notches.

Filter Types

BPF Band-pass filter

EQ+ EQ boost filter

EQ- EQ cut filter

FLG Flanger filter

HPF High-pass filter

LPF Low-pass filter

PHA Phaser filter

PROG Programmable

REZ Highly Resonant

SFX Special Effect

VOW Vow el / form ant

WOW Wah-Wah pedal

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Filter Name Order Type Description

Phaser 2 06 PHA Comb filter with slightly different notch

frequency moving the frequency of notches.

Q varies the depth of the notches. FlangerLite 06 FLG Contains three notches. Frequency moves

frequency and spacing of notches.

Q increases flanging depth. Vocal

Aah-Ay-Eeh

06 VOW Vowel formant filter which sweeps from “Ah”

sound, through “Ay” sound to “Ee” sound at

maximum frequency setting. Q varies the

apparent size of the mouth cavity. Vocal Ooh-Aah 06 VOW Vowel formant filter which sweeps from “Oo”

sound, through “Oh” sound to “Ah” sound at

maximum frequency setting. Q varies the

apparent size of mouth cavity. Dual EQ Morph 06 PROG As programmed in the Voice Dual EQ +

06 PROG As programmed in the Voice

Lowpass Morph Dual EQ Morph

06 PROG As programmed in the Voice

+ Expression Peak/Shelf

06 PROG As programmed in the Voice

Morph Morph Designer 2 - 12 PROG As programmed in the Voice Ace of Bass 12 EQ+ Bass-boost to bass-cut morph MegaSweepz 12 LPF “Loud” LPF with a hard Q. Tweeters beware! EarlyRizer 12 LPF Classic analog sweeping with hot Q and

Low-end. Millennium 12 LPF Aggressive low-pass filter. Q gives you a variety

of spiky tonal peaks. MeatyGizmo 12 REZ Filter inverts at mid-Q. KlubKlassik 12 LPF Responsive low-pass filter sweep with a wide

spectrum of Q sounds BassBox-303 12 LPF Pumped up lows with TB-like squelchy Q

factor. FuzziFace 12 DST Nasty clipped distortion. Q functions as

mid-frequency tone control. DeadRinger 12 REZ Permanent “Ringy” Q response.

Many Q variations. TB-OrNot-TB 12 EQ+ Great Bassline “Processor.” Ooh-To-Eee 12 VOW Oooh to Eeee formant morph. BolandBass 12 EQ+ Constant bass boost with mid-tone Q control. MultiQVox 12 VOW Multi-Formant, Map Q To velocity. TalkingHedz 12 VOW “Oui” morphing filter. Q adds peaks. ZoomPeaks 12 REZ High resonance nasal filter. DJAlkaline 12 EQ+ Band accentuating filter, Q shifts “ring”

frequency.

3 - Multisetup / Global Controls

Global Controls

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3 - Multisetup / Global Controls Global Controls

Filter Name Order Type Description

BassTracer 12 EQ+ Low Q boosts bass. Try sawtooth or square

waveform with Q set to 115. RogueHertz 12 EQ+ Bass with mid-range boost and smooth Q.

Sweep cutoff with Q at 127. RazorBlades 12 EQ- Cuts a series of frequency bands.

Q selects different bands. RadioCraze 12 EQ- Band limited for a cheap radio-like EQ Eeh-To-Aah 12 VOW “E” to “Ah” formant movement. Q accentuates

“peakiness.” UbuOrator 12 VOW Aah-Uuh vowel with no Q. Raise Q for throaty

vocals. DeepBouche 12 VOW French vowels! “Ou-Est” vowel at low Q. FreakShifta 12 PHA Phasey movement. Try major 6 interval and

maximum Q. CruzPusher 12 PHA Accentuates harmonics at high Q. Try it with a

sawtooth LFO. AngelzHairz 12 FLG Smooth sweep flanger. Good with vox waves.

e.g. I094, Q =60 DreamWeava 12 FLG Directional Flanger. Poles shift down at low Q

and up at high Q. AcidRavage 12 REZ Great analog Q response. Wide tonal range.

Try it with a sawtooth LFO. BassOMatic 12 REZ Low boost for basslines. Q goes to distortion

at the maximum level. LucifersQ 12 REZ Violent mid Q filter! Take care with Q values

40-90. ToothComb 12 REZ Highly resonant harmonic peaks shift in

unison. Try mid Q. EarBender 12 WAH Midway between wah & vowel. Strong

mid-boost. Nasty at high Q settings. KlangKling 12 SFX Ringing Flange filter. Q “tunes” the ring

frequency.

MIDI Controllers & Scribble Strips

Sixteen real-time MIDI Controllers are available to control the preset on the currently selected channel. These controllers are connected to MIDI sources as assigned in the Preferences dialog box (page 22

) and changes made over MIDI will be reflected here.

The scribble strip names and the initial settings of the controller knobs are user programmable in the Preset Globals window. See page 52

Preroll RAM Used

This display shows how much of your computer’s RAM is being used by pre-roll sound data (samples). See page 18

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CPU Meter

This display shows how much of your computer’s CPU power is being used by the Proteus VX.

Number of Samples Playing

This display shows you how many samples are currently being played. The maximum number of samples that can be played depends on a variety of factors such as: HD speed, RAM memory speed and CPU speed. See “Audio Setup” on page 19 information about performance.

for more

Current Channel

This displays the currently selected MIDI channel. Change the current channel by clicking anywhere on the desired channel strip.

3 - Multisetup / Global Controls

Global Controls

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3 - Multisetup / Global Controls Working with Multisetups

Working with Multisetups

A Multisetup is a “snapshot” of the current Proteus VX settings. Multisetups store the preset, volume, pan position, and output bus routings for 16 MIDI channels along with the Global Tempo and the three Aux Send destinations.

Saving FX & Multisetups

It is important to realize what data is stored in a multisetup when saving banks. In addition to Volume, Pan, and Preset choices for each channel, the FX Aux 1, Aux 2, and Aux 3 are stored with the multisetup. The send level for each preset to each Aux bus is stored in the preset data. Remember to save the bank whenever you have made

changes that you want to keep.

VSTi Multisetups

A multisetup for your VSTi is stored in your Cubase project and will be loaded when the project is opened. This multisetup overrides whatever default multisetup may have been saved if the bank was opened in Proteus VX standalone mode. If you wish to store extra multisetups you may do by using the Multisetup menu on the toolbar.

 To Save the Current Multisetup

1. Set up all the multisetup parameters the way you want them.

2. Select Save from the Multisetup window on the toolbar.

3. Choose a name and number for the multisetup. Changing the number allows you to place the Multisetup anywhere you want in the list.

4. Press OK to save the Multisetup.

5. Save the Bank, otherwise nothing will be saved.

 To Restore a Multisetup

1. Open the multisetup folder in the Tree. Any multisetups contained in the bank will be listed below the folder.

2. Left-click on the desired multisetup icon in the Tree or and drag it over the Proteus VX icon above the Tree. This multisetup will be restored.

3. Alternate Method - Right-click over the Multisetup icon in the Tree and choose Load.

 To Export the Multisetup as a New Bank

This feature lets you save only the presets and samples you need as a new bank.

1. Set up all the multisetup parameters the way you want them.

2. Select Export from the Multisetup window on the toolbar. The popup “Save As” dialog box appears prompting you for the save location.

3. Choose the location for your new bank and click Save to save the bank, or click Cancel to cancel the operation.

 To Rename a Multisetup

1. Open the multisetup folder in the Tree. Any multisetups contained in the bank will be listed below the folder.

2. Right-click on the desired multisetup icon in the Tree (or list view), then select Rename from the pop-up menu.

3. Type in a new name for the multisetup.

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 To Delete a Multisetup

1. Open the multisetup folder in the Tree. Any multisetups contained in the bank will be listed below the folder.

2. Right-click on the desired multisetup icon in the Tree (or list view), then select Delete from the pop-up menu.

3. The Multisetup will be deleted.

 To Duplicate a Multisetup

1. Open the multisetup folder in the Tree. Any multisetups contained in the bank will be listed below the folder.

2. Right-click on the desired multisetup icon in the tree, then select Duplicate from the pop-up menu.

3. The Multisetup will be duplicated renamed “Copy of…XX” and placed in the first empty Multisetup location.

 To Rearrange the Order of Multisetups

1. Click once on the multisetup folder in the tree. The list of multisetups appears.

2. Select Details View from the view options in the toolbar and change the ID number.

3. If you try to save a Multisetup with a number that is already used, a popup dialog box will appear asking you if you want to use the next available ID number or enter a new ID.

3 - Multisetup / Global Controls

Working with Multisetups

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3 - Multisetup / Global Controls Working with Multisetups

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4 - Preset Editor

The Preset Editor allows you to edit the tuning, keyboard tuning table, initial controller amounts, preset level effects and the preset patchcords.

All the Preset Editor parameters are saved when you save the bank.

 To Select a Preset for Editing:

1. Choose the preset you want in the tree and Left-Click on its preset icon.

2. The Preset Editor page appears

 Alternate Selection Method:

1. Simply double-click on the preset name in the Multisetup View (either in Single or Multi view).

 To Edit a Preset:

1. Adjust the Initial Controller Amounts and note their effect on the sound. These are the main synthesizer control parameters and can produce dramatic changes in the sound.

4 - Preset Editor

Controllers K & L are normally used to control the global effects amounts.

Controllers M-P are usually connected to various controls on the Preset FX.

2. Next try changing the Preset FX and the parameters associated with each effect.

3. The Preset Cords can also be edited. These cords are quite useful for controlling the Preset FX via MIDI controllers. The available FX parameters depend on which Preset FX you have selected.

4. The Volume, Transpose and the Tuning Table can be edited and saved. Try out some of the different tuning tables.

•The Poly Timer and Channel Ramp are NOT used in any of the Proteus VX Composer presets and so these controls have no effect on the sound.

•The Channel Lags are used on several of the organ presets. Look at the Preset Cord routings to find out which ones.

 Adding Preset Effects

uses CPU cycles. If a preset is used by multiple MIDI channels and you add Preset FX, the CPU penalty is multiplied for each channel that uses the preset.

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4 - Preset Editor Preset Globals

Preset Globals

These parameters affect the entire preset and are saved with the bank.

Transpose & Volume

Transpose works by shifting the keyboard position. The actual samples are not retuned. In other words, if you have the same sound on each key, such as a piano, the piano will change key when you transpose. On the other hand, if you have a different drum assigned to each key, changing transpose will shift the position of the drums on the keyboard.

The volume control allows you to adjust the volume for the entire preset. This control is variable from -96 dB (off) to +10 dB.

Initial Controllers A-P

These set the initial value of MIDI controllers A-P for the preset. As soon as a MIDI controller is moved, it jumps immediately from this initial setting to the new setting of the control. The controllers A-P are assigned to MIDI continuous controller numbers in the Preferences dialog box.

Controllers A-P can be adjusted via MIDI or by turning the controller knob in the Multisetup.

The Label fields to the left of the initial controller knobs are user definable. These labels or “Scribble Strips” also appear in the Multisetup screen to show the function of the real-time controller knobs.

MIDI Channels & Real-time Controls” on page 117 for additional information

See “ about Controllers A-P.

 Changing the initial

controller settings is an easy way to customize a preset. Simply change the knobs and save the bank.

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Capture MIDI Controllers

You can capture the state of all your MIDI input device’s MIDI controllers, and place the settings in the Initial Controllers section of the Preset. Essentially, this allows you to capture the Multisetup’s MIDI controller state, and store it in the preset.

 To Capture MIDI Controllers

1. Make any desired changes to any MIDI controllers on your MIDI input device, or in the Multisetup window.

2. Go to the Preset Globals window for the preset you want to apply your current MIDI state.

3. From the Preset menu, select Capture MIDI Controllers.

4. Notice that the initial controllers now reflect the state of your MIDI controllers. To keep these settings, you can save the Preset.

TwistaLoop Lock To Tempo

This control locks all analyzed beats in the preset to the global master tempo. When this function is on, all beats in the preset will lock to the master tempo unless “TwistaLoop Override” (page 41 is turned off.

)

4 - Preset Editor

Preset Globals

This button works in combination with “TwistaLoop Override.” When TwistaLoop Override is “Not Set,” this button determines whether beats sync to the master tempo for the preset. When TwistaLoop Override is set to On or Off for the MIDI channel, this button has no effect. These two controls allow you to set the state of “Sync to Master Clock” by MIDI channel (TwistaLoop Override) or by Preset (this button).

Initial Tempo

This feature allows the master tempo to be programmed from presets that use tempo-based envelopes, LFOs or TwistaLoop.

The Initial Tempo works in combination with the “Preset Tempo Channel” option in the Preferences menu, which allows one specific MIDI channel to control the master tempo.

When the Initial Tempo is set to a tempo on the defined Preset Tempo Channel, the master tempo will follow this tempo setting when the preset is selected.

 To Set the Master Tempo from a Preset:

1. Turn Preset Tempo Channel on and set it to the desired MIDI control channel. (Options, Preferences, MIDI) “External Tempo Source” must be turned off.

2. Set the Initial Tempo (Preset Globals) to the desired tempo.

3. Turn on TwistaLoop - Lock To Tempo (Preset Globals) if you are using Twist- aLoop.

4. Select the preset on the assigned preset tempo channel.

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4 - Preset Editor Preset Globals

Tuning Tables

In addition to the standard equally divided octave tuning, Proteus VX contains fifteen factory-programmed tuning tables. The Keyboard Tuning parameter selects which tuning is used by the current preset.

The factory keyboard tuning tables are described in the following table.

Tuning Tables Description

Equal Temperament

Just C

Vallotti

19-Tone

Gamelan

Just C2

Just C-minor

Just C3

Werkmeister III

Kirnberger

Scarlatti

Repeating Octave

al-Farabi 12

22-Tone

24-Tone

36-Tone

Standard Western tuning 12 equally spaced notes per octave.

Just intonation. Based on small interval ratios. Sweet and pure, non-beating intervals.

Valotti & Young non-equal temperament. Similar to 12 tone equal temperament. Each key has a different character for a given scale.

19 tone equal temperament. 19 notes per octave. Difficult to play, but works well with a sequencer.

5 tone Slendro and 7 tone Pelog. (Javanese.) Pelog are white keys, Slendro are black keys. Exotic tunings of Gamelan flavor.

Allows you to play the following chords in the key of C: C, E, F, G, A, B, C#m, D#m, Em, F#m, G#m, Am, Bm

Allows you to play the following chords in the key of C: C, E, F, G, A, B, Em, Am, Bm, C#m, D#m, G#m

Allows you to play the following chords in the key of C: C, D, F, Bb, C#m, Dm, Em, F#m, G#m, Am

A “well” temperament developed in the 17th century. Although you can play in all keys, each key sounds slightly different.

Another well temperament developed by Johann Philipp Kirnberger where no pitch is more than 12 cents off from equal temperament.

A variant of Meantone tuning which was used from the 15th to 18th centuries.

Middle C octave is repeated up and down the keyboard. Link with a preset in equal temperament to form unusual inversions up and down the keyboard.

A twelve-note reduction of an Arabic/Middle Eastern tuning system. The following scales are useful:

Diatonic: C Eb G G# A A# B c Zalzal: C Eb Gb G# A A# B c Persian: C Eb F G# A A# B c

22 tone equal temperament. Good for minor harmonies.

24 tone equal temperament. These notes are quarter steps apart.

26 tone equal temperament. Difficult to play, but even better for minor harmonies.

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The Just C Tuning Tables

Well Tempered and Just were standard keyboard tunings up until the 20th-century when the current “equal tempered” scale became prevalent. In an equal tempered scale, the octave is equally divided into 12 parts. In Just or Well Tempered scales, the 12 notes are separately tuned to produce pure chords. However, in Just tunings you are limited to playing certain chords and if you play the wrong chord it may sound terrible!

Tuning tables can be changed as you play using a program change (create several presets with the same sound and different tuning tables) or using a continuous controller (link 2 presets and crossfade between them using a controller).

The Just C2, Just C min, Just C3 Tuning Tables

Fully explaining the mysteries of just intonation is beyond the scope of this manual, but the subject is covered exhaustively in Hermann Helmholtz’s On the Sensations of Tone, available at most libraries and bookstores.

The four just intonation tables are called Just C2, Just C3, and Just C Minor. Try playing in the key of C/Cm using each table. You’ll quickly discover both the wonders and the frustrations of just intonation! In Just C, for example, you’ll find that the chords C, Em, F, G, and Am sound beautiful. If you hold one of these chords, you’ll hear no “beating”. After playing for a few minutes, switch back to Equal Temperament for a rude awakening!

4 - Preset Editor

Preset Globals

At this point you might wonder why anyone would use Equal Temperament to begin with. For the answer to that question, play a D, Dmi, or Bb chord! The intervallic ratios that make the C & G chords sound so pure make the D chord sound horribly out of tune. That's why we had to include Just C3. In this tuning, D, Dmi and Bb sound in tune, but the G chord will sound wrong.

Each of the 4 tables allows you to play a different group of common chords in just intonation. Sadly, there is no single 12 note tuning that will allow all of the common chords to be in tune, and of course that's why they invented the equal temperament tuning system that we use today.

Just C

Play these chords: C, E, F, G, A, Cm, C#m, Em, F#m,

Gm, Am

Just C2

Play these chords:

C, E, F, G, A, B, C#m, D#m, Em, G#m, Am, Bm

Just C minor

Play these chords: C, D

, D, Eb, G, Ab, Cm, Em, Fm, Gm

Just C3

Play these chords: C, D, F, B

, C#m, Dm, Em, F#m, G#m, Am

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4 - Preset Editor Preset Globals

Preset Modulators

The Preset Modulators are special class of modulation sources in that they originate at the Preset Level, but their output is used in the Voice PatchCords. These are the preset modulation sources.

Note: The Poly Ramp and Channel Ramp are advanced programming functions which are not used in any of the Proteus VX Composer presets and therefore will have no effect if you adjust them. The Channel Lags are used on several of the organ presets. Look for the Preset Cord routing to find out which ones.

Preset Modulator

Preset FX Controls Control Preset FX parameters such as delay time, reverb decay,

Post-FX Aux Sends Used to control effects amounts.

Channel Lags 1 & 2 “Leslie” speaker effects. Switch slowly increases/decreases LFO

Poly Ramp (Timer) Controlling key-up layer volume based on the time a key is held. Channel Ramp Ramps on First Note only. Used for “Hammond” style organ

Typical Uses

etc.

speed.

percussion.

Templates

For each different module in the Preset Globals window, you can save a library of your favorite settings. These Templates make it easy to create your own customized voices and presets. Templates are saved as an XML file within the Proteus VX application directory so they’re always available for use

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Channel Lag 1 & 2 Rate

Like the Layer Lag processors, the Channel Lag slows down rapid changes in the input signal. The output “lags” behind the input at a pre-programmed rate.

Unlike the layer level lag processors, the Channel Lags 1 & 2 take effect as soon as the preset is selected. In contrast, the Voice level lag processors begin acting only after a keyboard key has been depressed. The Channel Lag also has a Lag Amount input which controls the lag time. Positive lag amounts increase the lag time. A MIDI controller is commonly used to control lag amount.

The Channel Lags could be used to slowly increase or decrease the speed of an LFO which in turn controls some other effect, perhaps left/right panning, pitch, or the filter. When a MIDI footswitch is used as the input, the lag acts to slow down the instantaneous change of the switch. The slowly changing output value can then be routed using a patchcord to crossfade between voices or change the speed of an LFO.

Channel

Lag

ex. footswitch

4 - Preset Editor

Preset Globals

Lag Amount

(+ value = longer)

Poly Key Timer

This processor starts a timer which begins counting down whenever a key is pressed and stops when the key is released. The value of this timer can be used on any voices assigned to the key after the key release. The Poly Key Timer is a special modulation source controlled by the key and not the voice.

Poly Key Timer can be used to control the volume of a Release Layer in order to reduce its volume the longer a key is held. This control is commonly used on grand piano presets to lower the pedal damper volume the longer the keys are held.

Release layer voice becomes softer the longer the key

Release

Layer Voice

Amp

is held.

Poly Release

Trigger

Amp Vol

Poly Key

Timer

Preset Global

Note-On - Poly Key Timer begins counting down. Note-Off - Poly Key Timer stops counting and outputs value.

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4 - Preset Editor Preset Globals

Channel Ramp

This processor generates a single negative going slope whenever the first key is depressed on the MIDI channel. This preset level processor was originally designed to simulate the percussion key click on Hammond organs, but you may find other uses.

The Channel Ramp instantly resets when all notes have been released and the next first key on the MIDI channel is pressed. The value of the ramp rate sets the increment. Large values produce fast ramps and small values produce slow ramps.

To use the Channel Ramp as a first-note decay envelope, patch the Channel Ramp out to Amp Volume and set the Amp Envelope for a fast attack and 100% sustain and short release.

decrease

1st Note

Played

Channel Ramp

time

Preset PatchCords

Preset PatchCords give you real-time control of the Preset Modulators. There are 8 Preset PatchCords per preset with a source, a destination and an amount control. The amount can be set from -100 to +100.

Modulation Sources Modulation Destinations

Off Off Pitch Wheel Channel Lag 1 In Mod Wheel (Modulation Wheel) Channel Lag 1 Amount Pressure (Channel Pressure) Channel Lag 2 In Pedal Channel Lag 2 Amount MIDI Volume (Controller 7) Channel Ramp Rate MIDI Pan (Controller 10) Post-FX Main Send Expression (Controller 11) Post-FX Aux 1 Send MIDI A-P Post-FX Aux 2 Send Footswitch 1 Post-FX Aux 3 Send Flip-Flop Footswitch 1 (F’switch 1 FF) FX A Mod 1 Footswitch 2 FX A Mod 2 Flip-Flop Footswitch 2 (F’switch 2 FF) FX A Mod 3 Thumbswitch FX A Mod 4 Flip-Flop Thumbswitch (T’switch FF) FX B Mod 1 DC Offset FX B Mod 2 Channel Lag 1 & 2 FX B Mod 3 Channel Ramp FX B Mod 4

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5 - Effects

Overview

In addition to the hardware-based effects of PatchMix DSP, Proteus VX offers software effects processors and a powerful effects routing scheme. The E-MU engineers have created a complete collection of top quality effects using 32-bit floating point precision for pristine sound quality. In addition, the effects algorithms have been designed for low CPU usage.

The Proteus VX effect routing architecture is extremely flexible. Effects can be included as part of the preset or multisetup or both. Preset FX and Aux FX both use the same effects algorithms.

• Multisetup (Aux) Effects are designed to be used for your main effects such as

reverb or delay. Aux effects can be applied to any or all of the 16 MIDI channels.

• Preset Effects are used when you want an effect to be included as part of a

certain preset. For example, you might want to add chorus to a string pad or distortion to a guitar sound.

5 - Effects Overview

Aux Effects in Sidechain

Amounts

From

Voices

Each effect has a number of user-adjustable parameters and a wet/dry mix control. See page 22 real-time.

to learn how to use controllers to modulate various effects parameters in

MAIN

Aux 1 Effect

Hos

Preset Effects in Series

Wet/Dry

From

Voices

Wet/Dry

FXA FXB

Amounts

Main

Aux 1

Aux 2

Aux 3

Aux FX

or Hos

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5 - Effects Programming Effects

Programming Effects

Adding an Aux Effect in the Multisetup

Some banks (Proteus X Composer, for example) are already programmed to use Proteus VX soft effects. These instructions explain how to add Aux Effects to a

Proteus VX bank which does not already have soft effects programmed.

The Aux Effects are designed to be used as sidechain effects applied on all presets in the bank. See the diagram on page 62

 How to Add an Aux Effect

1. Select the Multisetup Page by clicking the Proteus VX icon at the top of the tree.

2. Locate the Aux Outputs section in the lower right part of the window and make sure all the Aux Outputs are set to Bus 1 as shown below. (This is done so all the

outputs go to the same place.)

for a complete description of the effects routing.

Proteus VX icon

3. Click on the Aux 1 button at the top right of the screen if it’s not already selected. The Aux 1 effect appears in the TV screen.

4. Click on the Effect Select Icon at the top right corner of the Effects TV screen. A list of available effects drops down.

Effect Select icon

5. Select one of the Effects from the list.

6. Turn up the FXA knob in the MIDI controllers section to hear the effect. (FXA is located on Controller N.)

7. Change the effect parameters to suit your own taste, or change the entire effect for that matter. Keep in mind that the changes you make will affect ALL the presets in the bank.

8. Save the bank if you want to keep your changes.

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 How to Temporarily Disable the Aux Effects

5 - Effects

Programming Effects

You might want to turn off the Aux effects to free up CPU or just to hear the dry mix.

1. Select the Multisetup Page by clicking the Proteus VX icon at the top of the tree.

2. Click on the 01-16 Button to select Multi-view mode.

Aux Enables

3. Click on the OUTS button near the top right part of the screen. The screen shown at the right appears.

4. The row of buttons marked AUX disable the Aux outputs for each channel.

5. Turn the buttons off (grey) for the channels on which you don’t want effects.

Adding an Effect to a Preset

Suppose you have a nice string sound, but you want to make it really thick and lush. The obvious solution is to add a chorus. Since you only want the chorus to affect the string sound, you’ll use a preset effect.

 How to Add a Preset Effect

1. Select the preset you want in the tree by clicking on the keyboard icon. The Preset

Global page appears.

2. Click on the Effect Select Icon at the top right corner of the Effects TV screen. A list of available effects drops down.

3. Select Chorus (or whatever effect you wish) from the list. The Effect name is now listed above the TV screen and the effect parameters are shown in the TV screen.

4. Play the keyboard. You should now hear the selected effect as part of your sound. If you don’t hear effects, make sure the FXA & FXB enable buttons are on for the MIDI channel you are using. See page 62.

5. Adjust the Wet/Dry mix to control the effect amount.

6. Adjust the effect parameters until you find the sound you want or select a Template.

7. Save the bank if you want to keep your changes.

 The Aux buttons turn

all three Aux buses On or Off.

 Caution: If a preset

with effects is used on more than one MIDI channel, the CPU penalty multiplies each time the preset is used.

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5 - Effects Programming Effects

 How to Temporarily Disable a Preset Effect

1. Select the Multisetup Page by clicking the Proteus VX icon at the top of the tree.

2. Click on the 01-16 Button to select Multi-view mode.

3. Click on the OUTS button on the top left of

FX Enables

the screen. The screen shown at the right appears:

4. The two rows of buttons marked FXA and FXB enable or disable the preset effects for each channel.

5. Turn the buttons off (grey) for the channels you are using if you don’t want to use the effects.

Block Diagram of the Effects Routing

PRESET

Post FX

Sends

Main

SAMPLES

VOICES

Two effects can be assigned per Preset. Three effects can be assigned per Multisetup.

FX A

FX B

Aux 1

Aux 2

Aux 3

MULTI

On/Off

Aux 1

Aux 2

Aux 3

BUS 1

BUS 19

BUS 1

BUS 19

BUS 1

BUS 19

BUS 1

BUS 19

BUS 2

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FX Routing

Make sure that you are thoroughly familiar with the architecture of Proteus VX, before delving into the effects section and it will make a lot more sense. Study the effect routing diagrams below and the preceding page. The effects architecture of the Proteus VX is very flexible and allows for a variety of different signal routing schemes.

5 - Effects

FX Routing

Block Diagram of the Effects Screens

Preset Effects A & B On/Off

Aux Effect View

Main Output Bus Select

Aux Output Bus Select

Aux Out

Assignment

Aux Output On/Off

Main Out

Off

S/PDIF Out

MULTI

(only visible in 1-16 view)

PRESET

This diagram shows the effects routing using the actual Proteus VX screens in the Preset and Multisetup. The Main output and the Aux 1 outputs are both routed to the Main Output and will be combined in the Host application.

Preset - Main Output

Preset - Aux Outputs 1-3

Multi - Effects A & B On/Off

Multi - Aux Effect View

Multi - Main Output Bus

Adjusts the amount of Preset Effect signal that will be sent to the Main Output.

Adjusts the amount of Preset Effect signal that will be sent to the Aux 1-3 buses.

These buttons enable or disable the Preset A & B effects for each MIDI channel.

These buttons let you see the Main output screen or the Aux 1-3 effect screens.

This field allows you to select the channel pair for the Main Output. (Bus outputs appear in the list only after they have been created in Proteus VX Preferences.)

Multi - Aux Output On/Off

This button turns the Aux outputs on or off for each MIDI channel. In the factory presets, this button effectively enables or disables the global effects.

Multi - Aux Output Bus

This field allows you to select the channel pair for Aux Outputs 1-3. (VSTi Bus outputs appear in the list only after they have been created in Proteus VX Preferences.)

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5 - Effects FX Routing

You can place effects in two places:

• Multisetup - - - - - - -Effects placed in the Multisetup (Aux 1, Aux 2 or Aux 3)

can be used by all Presets in the Bank.

• Preset - - - - - - - - - - - Effects placed in the Preset (FXA or FXB) are used by one

specific Preset.

Effects Overhead

Each effect you select, whether it is located in a Preset or in the Multisetup, uses a percentage of your computer’s CPU. Extensive use of effects in every preset can easily bog down your computer. Effects begin running (and using CPU) as soon as they are selected.

Typical Effects Usage

Because the software effects use precious CPU resources, you will generally use Aux effects in the Multisetup for your main effects, since these can be shared by all presets in the bank. You can still use Preset Effects as needed, keeping in mind that the more software effects you use, the fewer CPU resources will be available for polyphony, recording and other tasks.

VSTi Bus Outputs

Bus outputs (Bus 1-19) appear in the list only after they have been created in the Proteus VX Preferences dialog.

 If a Preset containing

an effect is used by more than one MIDI channel, more CPU resources are used.

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Main Output Window

The Main Output window is accessed by clicking the Outs button. (This option is not available in “Single” mode.) This one window allows you to set the Host Application Bus routing of the Main Output, enable the Preset Effects, and enable the Aux Outputs for each MIDI channel. This window is extremely handy for turning all your effects on or off.

The Preset Effect On/Off buttons are used to temporarily disable the selected A or B effect while passing the signal. These controls allow you to hear each preset with or without effects or to turn off all Preset Effects in order to gauge the CPU load incurred by the Preset Effects.

The Aux Output On/Off buttons work differently than the Preset Effect On/Off buttons and completely turn off the three Aux Sends for the selected channel. When using the factory presets, the Aux Output buttons are used to enable or disable the Aux Effects (because all outputs are connected to Bus 1. If you were using the Aux buses to send signals to other Buses, the Aux button could be used to turn these outputs on or off.

5 - Effects

Main Output Window

Main Output

Window

Preset

Effects

On/Off

Output

View

Aux1-3

Select

Main Output

Routing

Aux Output On/Off

Output View

Selects the Main Output Window. (Note: This button is disabled in “Single” mode.)

Aux 1-3 Select

Preset Effects On/Off

Select between Aux 1, Aux 2, or Aux 3 FX in the TV view.

Turns the Preset A or B effects On or Off for each MIDI channel and passes the signal through.

Main Output Routing

Aux Output On/Off

E-MU Systems 65

Selects the Bus number for the Main Output. See tip -->

Turns the Aux Outputs On or Off for the selected channel. This turns all three Aux Outputs Off, rather than bypassing the effects. (Functions as an FX Bypass when the Proteus X Composer bank is used. See page 66.

)

 The number of VSTi

buses must be defined in the Proteus VX Preferences before they appear in this list.

Page 66

5 - Effects Proteus X Composer FX Template

Proteus X Composer FX Template

This is the effects architecture we have chosen to use for the Proteus VX Composer bank. Preset effects and global effects can be used simultaneously and you can use Cubase LE or PatchMix DSP hardware effects by simply changing the Aux Output routing.

The main effects are located in the Multisetup so that they can be shared by all presets. This is the standard sidechain effects routing scheme found on all mixing boards. Aux 1 = Reverb and Aux 2 = BPM Delay. MIDI controller K controls Reverb amount and MIDI controller L controls Delay amount through the Preset PatchCords.

PRESET

Post FX

SAMPLES

VOICES

FX A

FX B

Sends

Main

Aux 1

On/Off

Reverb

Aux 1

Aux Outputs

Bus 1

Aux 2

Aux 3

BPM

Delay

Off

Aux 3

Not

MIDI

Controllers

Used

MULTI

(Preset Cords)

MIDI Controllers M, N, O, and P control various parameters of the Preset FX. You can change the destinations of these controls using the Preset PatchCords.

Preset FX Modulation Parameters” on page 69.

See “

Bus 1

Controllers K & L

Control Aux FX Amounts

Aux 1 = Reverb Aux 2 = Delay

Controllers M-P

Control Preset Effect Parameters

(These are custom programmed for each preset.)

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Aux FX Screen

All effects have a wet/dry mix parameter to control the ratio of effected-to-plain signal, which is stored with the FX preset. The effect parameters vary with the type of effect.

Generally, when using the Aux Effects, the wet/dry mix in the effect should be set to 100% wet since the Aux Send amount controls how much effect will be applied.

5 - Effects

Aux FX Screen

Aux Effects

Wet/Dry Mix

Control

Effect

Parameters

Output

View

Aux1-3

Select

Effects List

Effect

Bypass

Effects List

Aux 1-3 Select

Output View

Wet/Dry Mix Control

Effect Bypass

Effect Parameters

Click on the Effects List icon to show the list of effects.

Select between Aux 1, Aux 2, or Aux3 FX in the TV view.

Selects the Main Output Window. See Main Output

Window. (Note: This button is disabled in “Single” mode.)

Adjusts the ratio of effected signal to un-effected signal.

When this button is selected (Red), the effect is completely bypassed, allowing you to hear only the uneffected signal.

Each effect has its own set of user adjustable controls.

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5 - Effects Preset FX Screen

Preset FX Screen

All effects have a wet/dry mix parameter to control the ratio of effect-to-plain signal, which is stored with the FX preset. Each effect has its own set of control parameters. Turn up the Wet/Dry mix to hear more effect while you adjust the parameters, then turn the amount down to the desired effect amount.

Preset Effects

Effect

Parameters

Wet/Dry Mix

Control

FXA / FXB

Select

Effects List

Post FX

Send Amounts

Effects List

FXA / FXB Select

Wet/Dry Mix Control

Post FX Send Amounts

Click on the Effects List icon to show the list of effects.

Select between FXA or FXB in the TV view.

Adjusts the ratio of effected signal to un-effected signal.

Adjusts the amount of preset effect signal that will be sent to the Main and Aux Outputs.

Effect Parameters

 To Get to the Preset FX Screen

Each effect has its own set of controls.

1. Select the preset you want in the tree by clicking on the keyboard icon. The

Preset Global page appears.

2. Click on the Effect Select Icon at the top right corner of the Effects TV screen. A list of available effects drops down.

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 To Swap FXA and FXB

Effects can sound very different depending on their order in the chain. Here is a simple way to swap FXA and FXB.

5 - Effects

Preset FX Screen

1. Choose S

wap Effects from the Preset pull-down menu.

2. The two effects will exchange positions.

Preset FX Modulation Parameters

Certain parameters in each Preset Effect can be controlled from the Preset Cords. Some effects (such as BPM delay) allow four controllable parameters, while other effects (such as Early Reflections) have only one controllable parameter. If an effect uses less than four parameters, the idle cords are listed as (unused). See below.

The Preset Cord value ADDS to the setting made in the Preset FX screen. For example, if the Wet/Dry Mix were set to 0% and you patched a MIDI Controller to Wet/Dry Mix with an amount of +100, the MIDI Controller would have a full range of control over Wet/Dry Mix. To invert the control, simply set the initial Wet/Dry Mix to 100% and set the Cord amount to -100.

 How to Connect MIDI Controllers to FX Parameters

1. Select the preset you want in the tree by clicking on the keyboard icon. The Preset Global page appears.

2. Assign FXA or FXB in the Preset FX screen.

3. Select the Destination field from the Preset Cords section. A list of all possible Preset Cord destinations appears.

4. The effect modulation parameters are at the bottom of the list. Select the parameter you wish to control.

5. Select the Modulation Source you wish to use.

6. Set the Cord Amount.

7. In the screen above MIDI Controller K is controlling the Reverb Decay Time.

See MIDI Channels & Real-time Controls

to learn how MIDI

controllers work in the Proteus VX.

See page 22

to learn how to assign MIDI controller numbers to the Proteus’s A-P

reference letters.

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5 - Effects Preset FX Screen

Creating, Deleting & Reordering Templates

You can save a library of your favorite effects as Templates. Templates are saved with the Proteus VX application so they’re always available for use.

 To Create an Effect Template

1. Set the controls as desired for a particular effect.

2. Right-click with the mouse anywhere inside the TV screen border. A pop-up menu appears.

3. Select S The following popup dialog box appears.

OR…

ave Effects Template or press “S” while the popup dialog box is visible.

1. Select E

ffects Templates or press “E” from the Multisetup, Preset or Voice menus.

A pop-up list of Templates appears.

2. Select S

ave Effects Template or press “S” while the popup dialog box is visible.

The following popup dialog box appears.

3. Type in a name for your Template and click OK. The Template is saved with the editor program, ready to use when you open any bank.

 To Recall a Template

1. Right-click with the mouse anywhere inside the module border. A pop-up menu of Templates appears.

2. Select the desired Template from the list. The Template will be selected.

OR…

1. Select E

ffects Templates or press “E” from the Multisetup, Preset or Voice menus.

A pop-up list of Templates appears.

2. Select the Template you want and click OK.

 To Rename o r Delete a Te m p l at e

1. Right-click with the mouse anywhere inside the module border.

2. Select O

70 Proteus VX Operation Manual

rganize Templates. The following menu appears.

Page 71

3. Click Delete to permanently remove the Template.

4. Click Rename, then type in the new name to rename the Template.

5. Click OK to close the dialog box.

5 - Effects

Preset FX Screen

 To Change the Order of the Templates

1. Right-click with the mouse anywhere inside the module border.

2. Select Organize Templates. The menu shown above appears.

3. Click Move Up to move the Template one space up in the list.

4. Click Move Down to move the Template one space down in the list.

5. Click OK to close the dialog box.

 To Explore Templates Folders

1. From the Organize Templates dialog box, click Explore.

2. Explore the templates on your computer.

3. Proteus VX stores your templates in the following folder:

\Program Files\Creative Professional\Emulator X Family\Templates\

When you click Explore, you are taken to this directory. From here, you can copy or restore existing templates for backup purposes. You can also modify the .xml files with an XML editor.

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5 - Effects Effects Listing

Effects Listing

Reverb Delay (mono) Phaser

Early Reflections Reverb Early Reflections Pitch Shifter (mono)

Reverb Lite (mono) EQ - 1Band Parametric Ring Modulator

Chorus EQ - 4 Band SP12-ulator

Chorus / Delay (mono) Flanger Tremulator BPM

Compressor Flanger (BPM) Tube

Delay Growl Twin (mono)

Delay (BPM) Limiter

Effects Descriptions

Background: Reverb

This information applies to all the reverb algorithms.

Reverberation is a simulation of a natural space such as a room or hall. Pre-delay is the time before the reflections from the closest walls are heard. This parameter gives our ears important clues about the size of a room. As you might imagine, large halls have a longer pre-delay than small rooms.

Decay Time defines the time it takes for the reflected sound from the room to decay or die away. The diagram below shows a generalized reverberation envelope.

Initial Sound

Reverberation

Pre-Delay

After a short pre-delay period, the echoes from the closest walls or ceiling are heard. The pattern of these first echoes, or Early Reflections, vary greatly depending on the type of room. Some time after the early reflection cluster ends, the actual Reverber- ation (a dense cloud of complex wall reflections) begins and decays according to the time set by the Decay parameter.

Diffusion is the amount of scattering and density of the reverberation cloud. Rooms with many complex surfaces have more diffusion than bare rooms.

High frequency energy tends to fade away first as a sound is dissipated in a room. The High Frequency Damping parameter adjusts the time it takes for the high frequency energy to die away and thus changes the characteristics of the room. Rooms with smooth, hard surfaces are more reflective and have less high frequency damping. Rooms filled with sound absorbing materials, such as curtains or people, have more high frequency damping.

Early Reflections

Time

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Reverb

The Reverb is a medium load reverb, designed to simulate various types of rooms, halls and plates.

Parameter Description

Decay Sets the decay time of the entire effect.

Diffusion Sets the amount of scattering of the reverb cloud. Note that

high diffusion settings will increase the overall decay time.

Room Size Changes the spacing of the reverb stages to simulate rooms of

various shapes and sizes.

Early Reflections Sets the volume of the initial wall reflections.

Pre-Delay Sets the amount of time before any reflected sound is heard.

Range:1millisecond to 200 milliseconds

High Freq. Damping Sets the rate at which high frequencies die away.

Low Freq. Damping Sets the rate at which low frequencies die away.

5 - Effects

Effects Descriptions

Stereo Mode Independent - In this mode, the left and right sides function

as completely separate reverb units. Figure Eight - This mode incorporates criss-cross feedback in which the left channel feeds the right and vice-versa. Matrix - This mode utilizes multiple feedback paths to create a spacious, natural sound.

Modulation Parameters

• Wet/Dry Mix

•Decay

• Diffusion

Early Reflections Reverb

The Early Reflections algorithm is the most resource-intensive reverb model and has the most adjustable parameters. This reverb is designed to simulate various halls, rooms and reverberation plates. See also “

Parameter Description

Pre-Delay Sets the amount of time before any reflected sound is heard.

Early Reflection Mode

Selects the pattern of the early reflections. Select between: Hall 1, Hall 2, Hall 3, Room, Spiral, Multitap, 6 tap, 12 tap, 12 tap rising, or up & down.

Early Reflection Room Size

Early Reflection L/R Spacing

Scales the spacing of the early reflections to simulate rooms of different sizes.

Scales the spacing of left side reflections versus the right side, to create a more interesting stereo image.

Background: Reverb” on page 72.

 When using the

Figure Eight or Matrix modes, pan position will be less focused and the stereo image will be somewhat blurred.

Early Reflection / Tail Balanc e

Allows you to balance the relative volumes of the early reflections and the reverberation cloud. 0% to 100%

HF Damping High Frequency Damping cuts the High Frequency content to

simulate soft, absorbent surfaces such as draperies, wood or people.

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5 - Effects Effects Descriptions

Parameter Description

LF Damping Low Frequency Damping cuts the Low Frequency content to

simulate hard, reflective surfaces such as tiles or stone.

Tail Decay Sets the decay time of the reverberation cloud. (RT60)

Tail Diffusion Sets the amount of scattering of the reverb cloud. At low settings,

discrete echoes are heard. At high settings a diffuse wash of sound is heard. High diffusion settings will increase the overall decay time.

Tail Room Size Changes the spread of the reverberation cloud echoes,

simulating rooms of various sizes and shapes.

Tail Stereo Mode Independent - In this mode, the left and right sides function as

completely separate reverb units. Figure Eight - This mode incorporates criss-cross feedback in which the left channel feeds the right and vice-versa. Matrix - This mode utilizes multiple feedback paths to create a spacious, natural sound.

Modulation Parameters

• Wet/Dry Mix

•Decay

• Diffusion

Reverb Lite (mono)

The Reverb Lite is a monophonic, slimmed down version of the Big Reverb. This effect only uses about 3/4 of the DSP resources of the Big Reverb, (and is smaller than even the Chorus effect) making it the perfect choice when you’re running low on CPU horsepower. See also “

Parameter Description

Pre-Delay Sets the amount of time before any reflected sound is heard.

Decay Sets the overall decay time of the reverberation effect.

Diffusion Sets the density of the echoes and scattering of the reverb cloud.

Background: Reverb” on page 72.

At low settings discrete echoes will be heard, At high settings a dense wash of sound is produced. Note: High diffusion settings will increase the overall decay time.

 When using the

Figure Eight or Matrix modes, pan position will be less focused and the stereo image will be somewhat blurred.

Room Size Changes the spacing between the reverb stages to simulate

rooms of various shapes and sizes.

HF Damping High Frequency Damping sets the rate at which low frequencies

die away. A setting of zero results in no damping.

Pan This parameter sets the position of the reverberant sound in the

stereo field, in order to change the apparent source position.

Modulation Parameters

• Wet/Dry Mix

•Decay

•Pan

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Chorus

Background: Chorus

An audio delay in the range of 15-20 milliseconds is too short to be an echo, but is perceived by the ear as a distinctly separate sound. If we now vary the delay time in this range, an effect called chorus is created, which gives the illusion of multiple sound sources. A slight amount of feedback serves to increase the effect. Inverted feedback percentages add negative feedback which can change the tone of the chorus. A very slow LFO rate is usually best for a realistic effect, but a faster LFO rate can also be useful with minimal LFO depth (.2).

This effect is a true-stereo chorus with independent delay lines for the left and right channels. The left and right modulation waveforms are always 180° out of phase, so that left channel delay is increasing while the right channel delay is decreasing and vice-versa. This creates a richer and more animated chorus sound.

Parameter Description

Initial Delay Sets the length of the delay. Range: 10ms to 50ms.

5 - Effects

Effects Descriptions

Modulation Depth

Modulation Rate

Feedback Sets the polarity and amount of delayed signal that will be recirculated

LFO Waveform Selectable between Sine or Triangle wave.

Sets how much the LFO affects the delay time. Increases the animation and amount of the chorus effect. Range: 0% to 100%

Sets the frequency of the low frequency oscillator. Range:.01Hz to 15Hz

through the delay lines. Range: -99% to +99%

Modulation Parameters

• Wet/Dry Mix

• Rate (LFO)

• Feedback

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5 - Effects Effects Descriptions

Chorus / Delay

This effect is a combination Chorus and Delay because the signal can be delayed up to a full second (1000ms). Slightly modulating the delay time in the 15-20ms range produces the familiar chorus effect. See “

When a longer delay is modulated, a kind of gliding pitch shift effect is produced. Vibrato effects can be easily created by adjusting the modulation rate and modulation depth parameters. When feedback is introduced to a long modulated delay, the sound tends to get scrambled up in unpredictable ways which might be just the thing to create that “swarming bees” effect you’ve been looking for.

Setting the feedback percentage in the negative range, inverts the feedback signal. Negative feedback has the effect of deepening the cancellation notches which are created when using short delays with feedback.

Background: Chorus” on page 75.

Feedback

 Very short delay times

combined with a high feedback amount can be used to create monotone robotic-sounding effects.

L In

L Out

Delay

R In

R Out

Panning

LFO

Initial

Delay

Parameter Description

Initial Delay Sets the length of the delay line. Range: 10ms to 1000ms.

Modulation Depth

Modulation Rate

Feedback Sets the polarity and amount of delayed signal that will be recirculated

Pan This parameter moves the delayed sound left or right. This moves the

LFO -> Pan Sets the amount of panning that will occur at the Modulation Rate

Sets how much the LFO affects the delay time. Increases the amount of chorus effect and pitch shift animation. Range: 0% to 100%

Sets the frequency of the low frequency oscillator. Range: .01Hz to 15Hz

through the delay line. Range: -99% to +99%

apparent sound source left or right. Range: -99% to +99%

Range: -99% to +99%

Modulation Parameters

• Wet/Dry Mix

• Rate (LFO)

• Feedback

•Pan

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Compressor

In its simplest form, an audio compressor is just an automatic gain control. When the volume gets too loud, the compressor automatically turns it down. Compressors are useful in musical applications because they smooth out dynamic volume changes and provide a louder average signal level.

5 - Effects

Effects Descriptions

0dB

-30dB

-80dB

Since the compressor turns down the gain of the signal, you might wonder how can it make the signal level stronger. An Output Gain control allows you to boost the output gain of the compressor in order to make up for the gain reduction. The overall level is higher and only turned down when the signal level gets too loud. The level at which the volume gets turned down is called the Threshold, which just happens to be the most important control on the compressor.

Threshold: -30dB

Ratio

Signal Level

1:1

1.5:1

2:1

10:1

Basic Controls

The three main controls of a compressor are the Ratio control, the Threshold control and the Output Gain control.

Signal path = Stereo

VCA

Level

Control

Threshold

Ratio

Attack

Release

Output Gain

If the signal falls below the Threshold, no processing will take place. Signals exceeding the Threshold will have gain reduction applied as set by the ratio control. This important control allows you to dial in the range of amplitudes you want to tame. For example, if you’re trying to trim off just the loudest peaks, set the threshold high so that compression only occurs during these peaks. One of the biggest mistakes in

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5 - Effects Effects Descriptions

using a compressor is having the threshold set too low. This adds noise as the compressor will always be reducing the volume.

The Ratio control determines how strongly the compressor will affect the signal. The higher the ratio, the more reduction will be applied. If the ratio is high enough, (10:1) the signal will effectively be prevented from getting any louder. In this situation, the compressor will be acting as a Limiter, placing an upper limit on the signal level. In general, ratios from 2:1 to 6:1 are considered compression and higher ratios above 10:1 are considered limiting.

The Output Gain control amplifies the signal after it has been compressed to bring it back up in volume. If you don’t increase the gain, the compressed signal will be much lower in volume.

Two other important controls are Attack and Release. Attack controls how quickly the gain is turned down after the signal exceeds the threshold. Release controls how fast the gain is returned to its normal setting after the signal has fallen below the threshold again. An attack setting of about 10 milliseconds will delay the onset of compression long enough to preserve the attack transients in guitar, bass or drums while allowing the sustain portion of the sound to be compressed. Longer release times are generally used to reduce the so called “pumping” effect as the compressor turns on and off. Don’t make the release time too long, however, or the compressor won’t have time to recover for the next pluck or hit. In general, the attack and release controls are used to smooth out the action of the compressor, but they can also be used to create special effects.

Parameter Description

Threshold Threshold sets the “trigger” level for compression. Signal levels above

the threshold will be brought down in volume. Range: -50dB to +6dB

Ratio Sets the ratio of input signal level to output signal level, or “how much”

compression will be applied. Range: 0.20:1 to 10:1

Output Gain Amplifies the signal after it has been compressed to bring up the

volume. Range: -24dB to +12dB

Attack TIme Controls how quickly the gain is turned down after the signal exceeds

the threshold. Range: 1 ms to 200 ms.

Release Time Controls how fast the gain is returned to its normal setting after the

signal has fallen below the threshold. Range: 0.2 second to 1.0 second

Modulation Parameters

•None

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Delay

Background: Delay

A delay line makes a copy of the incoming audio, holds it in memory, then plays it back after a predetermined time.

Long delays produce echoes, short delays can be used for doubling or slapback effects. Very short delays can be used to produce resonant flanging and comb filter effects or create monotone robotic-sounding effects (Hint: use feedback). Stereo signals are summed together before entering a mono delay.

A feedback path recirculates the delayed audio back around through the delay line. When creating echo effects, the feedback controls how many echoes will be produced. With short delay settings, the feedback control acts as a resonance control, increasing the amount of comb filtering produced by the delay line. See “

A Tone control in the feedback path cuts some of the high frequency energy each time the audio goes through the delay line. This simulates the natural absorption of high frequencies in a room and can also be used to simulate tape-based echo units.

The Wet/Dry mix controls how loud the echoes are in relation to the original signal.

This Delay is a true stereo delay line with completely independent left and right channels right channels. This delay line features four different modes, which affect how the signals are routed and cross coupled.

Flanger” on page 85.

5 - Effects

Effects Descriptions

Discrete stereo

Use this mode when you want to preserve the stereo image of the delayed signals. You can also create panning effects by setting one delay long and the other short.

Delay Mode:

R Delay Time

Discrete stereo

The left and right channels are kept totally separate.

Right

Left

Damp

Right Delay

Righ

Out

FeedbackHF Damping

Left Out

Left

Delay

L Delay Time

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5 - Effects

Effects Descriptions

Ping Pong, stereo

This mode cross-couples the output of the left and right delay into the input of the opposite channel. This mode works best with true stereo program material or with completely different sounds on either channel.

Delay Mode:

R Delay Time

Ping Pong, stereo

Right Delay

Righ

Out

Feedback

Left

Out

The output of the left and right channels are fed into the opposite channel.

Right

Left

Damp

HF Damp

Damp

Left

Delay

L Delay Time

Ping Pong, mono L->R

This mode creates echoes which bounce back and forth from left to right using either a mono or stereo source. This is the classic ping-pong echo effect.

Delay Mode:

Ping Pong, mono L->R

The input is summed to mono, then fed into the left channel. The output of the left channel is cross-coupled into the right channel. The right channel output is cross-coupled into the left channel input.

L In

R In

R Delay Time

Damp

HF Damp

Damp

Right

Delay

Righ

Out

Feedback

Left

Out

Left

Delay

L Delay Time

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Parameter Description

Left Delay Time Sets the length of the delay for the left channel in milliseconds.

Range: .01 millisecond to 2000 milliseconds

(.01ms. minimum increment between settings)

Right Delay Time Sets the length of the delay for the right channel in milliseconds.

Range: .01 millisecond to 2000 milliseconds

(.01ms. minimum increment between settings)

Mode Changes the signal routing of the delay. The four modes are:

Discrete stereo - signal paths remain completely separate. Ping Pong, stereo - The feedback paths feed the opposite

channel. Ping Pong, mono L->R - The effected signal is summed to

mono, then fed down the left channel whose feedback path feeds the right channel. The right channel feedback path feeds the left channel.

Ping Pong, mono R->L - This is the same as the previous algorithm except that the L-R channels are reversed.

Feedback Sets the amount of delayed signal that will be recirculated through

both delay lines. Range: 0% to 100%

HF Damping High Frequency Damping cuts the high frequency content in the

feedback paths. This causes the echoes to decay naturally away.

5 - Effects

Effects Descriptions

Modulation Parameters

• Wet/Dry Mix

• Feedback

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5 - Effects

Effects Descriptions

Delay (BPM)

The BPM Delay is similar to the Stereo Delay except that the delay time is synchronized to the master (MIDI) clock in note divisions. This allows you to easily set up synchronized echoes to your beats. Because the left and right channels are completely independent, you can set up different synchro-sonic patterns on each side. The four modes are the same as the stereo delay.

Delay Mode:

R Delay Division

Discrete stereo

Right Delay

Righ

Out

The left and right channels are kept totally separate.

Right

Damp

 See page 79 for full

descriptions and diagrams.

Feedback

Left

Out

Left

HF Damp

Damp

Left

Delay

L Delay Division

Parameter Description

Left Delay Division

Right Delay Division

Mode Changes the signal routing of the delay. The four modes are:

Feedback Sets the amount of delayed signal that will be recirculated through

HF Damping High Frequency Damping cuts the high frequency content in the

Sets the length of the delay for the left channel in milliseconds. Range: 4/1 note to 1/64 dotted-note

Sets the length of the delay for the right channel in milliseconds. Range: 4/1 note to 1/64 dotted-note

Discrete stereo - signal paths remain completely separate. Ping Pong, stereo - The feedback paths feed the opposite channel. Ping Pong, mono L->R - The effected signal is summed to mono,

then fed down the left channel whose feedback path feeds the right channel. The right channel feedback path feeds the left channel.

Ping Pong, mono R->L - This is the same as the previous algorithm except that the L-R channels are reversed.

both delay lines. Range: 0% to 100%

feedback paths. This causes the echoes to decay naturally away

Modulation Parameters

• Wet/Dry Mix

• Left Delay Division (Changes the division by a power of 2, up or down.)

• Right Delay Division (Changes the division by a power of 2, up or down.)

• Feedback

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Early Reflections

Early reflections are the initial echoes that you hear when listening to sound in an indoor space. The echoes are staggered because they are reflected off surfaces which are at various distances from your ear. Normally this effect would be part of a reverb algorithm, but we decided to include it as a separate effect because it creates useful and interesting sounds.

Parameter Description

E.R. Mode Selects the pattern of the early reflections. Select between:

Hall 1, Hall 2, Hall 3, Room, Spiral, Multitap, 6 tap, 12 tap, 12 tap rising, up & down.

Room Size Changes the spacing of the early reflections characteristics of

various room sizes and shapes.

L/R Offset Scales the spacing of left side reflections versus the right side, to

create a more interesting stereo image. Range: -50% to +50%

Modulation Parameters

• Wet/Dry Mix

5 - Effects

Effects Descriptions

1-Band Para EQ

+15dB

Boost

Width

Gain

Cut

-15dB

Center

Frequency

Parameter Description

Gain Sets the amount of cut (-) or boost (+) of the selected frequency

band. Range: -24dB to +15dB

Center Frequency Sets the range of frequencies to be cut or boosted with the Gain

control. Range: 40Hz to 16kHz

Bandwidth Sets the width of the frequency range for the Center Frequency

band that will be cut or boosted by the Gain control. Range: .01 octave to 2 octaves

This single band parametric equalizer is useful when you just want to boost or cut a single range of frequencies. For example, if you just want to brighten up the lead vocal a bit, you might choose this EQ. This EQ offers up to +15dB boost and -24dB of cut.

Modulation Parameters

•Gain

• Frequency

•Bandwidth

E-MU Systems 83

 Tip - EQ becomes a

powerful performance tool when the modulation parameters are patched to MIDI Controllers.

Page 84

5 - Effects Effects Descriptions

4-Band EQ

This 4-band equalizer provides two shelving filters at the high and low ends of the frequency range and two fully parametric bands in the center. Up to +15 dB of boost and -24dB of cut is provided for each band.

Low-Shelf

Boost

Gain

Cut

Low Mid

Band

Corner

Frequency

Width

Center

Frequency

High Mid

Band

Width

Center

Frequency

High-Shelf

Corner

Frequency

 Note: The Wet/Dry

Mix control on an equalizer should normally be set to 100% wet or unpredictable results may occur.

Parameter Description

High Gain Sets the amount of cut (-) or boost (+) of the high frequency shelf.

Range: -24dB to +15dB

High Frequency

High Mid Gain Sets the amount of cut (-) or boost (+) of the High Mid Frequency

High Mid Frequency

High Mid Bandwidth

Low Mid Gain Sets the amount of cut (-) or boost (+) of the Mid 1 Frequency

Low Mid Center Freq.

Low Mid Bandwidth

Low Gain Sets the amount of cut (-) or boost (+) of the low frequency shelf.

Low Frequency

Sets the corner frequency where the signal begins getting cut or boosted with the High Gain control. Range: 4kHz to 16kHz

band. Range: -24dB to +15dB

Sets the range of frequencies to be cut or boosted with the High Mid Gain control. Range: 1kHz to 8kHz

Sets the width of the frequency range for the High Mid Center Frequency band that will be cut or boosted by the High Mid Gain control. Range: .01 octave to 2 octaves

band. Range: -24dB to +15dB

Sets the range of frequencies to be cut or boosted with the Mid 1 Gain control. Range: 200Hz to 3kHz

Sets the width of the frequency range for the Low Mid Center Frequency band that will be cut or boosted by the Low Mid Gain control. Range: .01 octave to 2 octaves

Range: -24dB to +15dB

Sets the corner frequency where the signal begins getting cut or boosted with the Low Gain control. Range: 40Hz to 800Hz

 Tip: When using a

MIDI controller to change the EQ gain, a value of 77 = 0dB.

Modulation Parameters

•High Gain

• High Mid Gain

•Low Mid Gain

•Low Gain

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Flanger

A flanger is a very short delay line whose output is mixed back together with the original sound. Mixing the original and delayed signals results in multiple frequency cancellations known as a comb filter. Since the flanger is a type of filter, it works best with harmonically rich sounds.

5 - Effects

Effects Descriptions

 In order to hear a rich

flanging effect, the original signal must be mixed in with the flanged signal. This can be accomplished using the Wet/Dry Mix control or with the Main Send (when using Aux effects).

A low frequency oscillator is included to slowly change the delay time. This creates a rich, sweeping effect as the notches move up and down across the frequency range. The amount of feedback deepens the notches, intensifying the effect. You can invert the feedback signal by choosing a negative feedback value. Inverting the feedback signal creates peaks in the notch filter and deepens the effect.

Parameter Description

Initial Delay Sets the initial delay of the flanger in .01 millisecond increments.

This parameter allows you to “tune” the flanger to a specific frequency range. Range: .01ms to 4ms

Depth Sets how much the LFO affects the delay time. Increases the

animation and amount of the flanging effect. Range 05 to 100%

Rate Sets the speed of the low frequency oscillator which modulates the

delay time of the flanger. Range: .01 Hz to 20Hz

Feedback Controls how much signal is recirculated through the delay line

and increases resonance. Negative values can produce intense flanging with some signals. Range 0% to 100%

Through Zero On - Adds a short delay to the original signal to simulate the

classic “through-zero” flanger sound, which was originally created using two tape recorders.

On (out of phase) - Inverts the phase (180°) and adds a delay to the original signal producing additional phase cancellation.

If the feedback control is set to zero, complete cancellation occurs when the flanger goes through zero

Modulation Parameters

• Wet/Dry Mix

•Depth (Mod)

• Rate (Mod)

• Feedback

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5 - Effects Effects Descriptions

Growl

This is a new kind of self-modulation effect created especially for the Proteus VX. Growl excels at turning simple sounds into musically complex and interesting ones. Depending on the input wave and control settings, Growl can impart a horn-like quality, a warm tube distortion, or a harsh rasp.

Growl is easy to use. Just turn up the depth control and wet/dry mix, then adjust the Initial control until you find the right amount of “growl”. Then, back off the other controls and a fine tune all the other controls to taste. It’s Grrrreat!

Parameter Description

Initial This control “Tunes” the effect to a specific frequency range.

Range: .01ms to 15ms

Depth Sets how much self modulation is applied. Range 0% to 100%

Color Controls the tonal color of the effect. Range: -99% to +99%

Pre-Filter Anti-aliasing filter. Turn this filter up if you hear aliasing at high-

frequencies.

Modulation Parameters

• Wet/Dry Mix

•Depth

• Color

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Limiter

The Limiter sets a “maximum level” on the audio. Beyond this Threshold, any increase in gain is effectively prevented or limited, hence the name. A limiter works like a compressor with a very high ratio setting.

The limiter is particularly useful for taming the highly resonant peaks that can be produced by the Z-plane filters. Set a fast attack time to suppress transients and use the Release control to reduce “pumping” effects.

0dB

5 - Effects

Effects Descriptions

-10dB

Threshold: -10dB

Signals above the

Threshold level are

prevented from

getting any louder.

-80dB

The Output Gain control amplifies the signal after it has been limited to bring it back up in volume. If you don’t increase the gain, the signal may be lower in volume.

Two other controls are Attack and Release. Attack controls how quickly the gain is turned down after the signal exceeds the threshold. Release controls how fast the gain is returned to its normal setting after the signal has fallen below the threshold again. Longer release times are generally used to reduce the so called “pumping” effect as the compressor turns on and off. Don’t make the release time too long, however, or the compressor won’t have time to recover for the next pluck or hit. In general, the attack and release controls are used to smooth out the action of the limiter, but they can also be used to create special effects.

Parameter Description

Threshold Threshold sets the “trigger” level for limiting. Signal levels above the

threshold will be brought down in volume. Range: -50dB to +20dB

Output Gain Amplifies the signal after it has been compressed to bring up the

volume. Range: -24dB to +12dB

Attack TIme Controls how quickly the gain is turned down after the signal exceeds

the threshold. Range: 1 ms to 200 ms.

Release Time Controls how fast the gain is returned to its normal setting after the

signal has fallen below the threshold. Range: 0.2 second to 1 second

Modulation Parameters

•None

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5 - Effects Effects Descriptions

Phaser

A Phaser (or phase shifter) produces a fixed number of peaks and notches in the audio spectrum which can be swept up and down in frequency with a low frequency oscillator (LFO). This creates a swirly, ethereal sound with harmonically rich sound sources of a type of pitch shift with simpler sounds. The phase shifter was invented in the 1970’s and the characteristic sound of this device evokes emotions of that musical era.

Feedback

Phaser

(stereo)

Signal path = Stereo

Out

Depth

LFO

Rate

L/R

Stages

Phase

Parameter Description

Depth Controls how much the Center Frequency is swept by the LFO.

Range: 0% to 100%

Rate Controls the sweep rate of the Low Frequency Oscillator.

Range: .01Hz to 20Hz

Feedback Increases the depth of the notches and height of the peaks.

Inverted values invert the feedback polarity. Range: -100% to +100%.

Stages Selects between: 3, 6, 9, or 12 phase shift stages and thus the

number of peaks and notches in the frequency response.

LFO L/R Phase Offsets the LFO between the left and right phaser channels.

(0°, 90°, or 180°). This adds animation to the sound.

Modulation Parameters

• Wet/Dry Mix

• Depth (Modulation)

• Rate (Modulation)

• Feedback

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Pitch Shifter (mono)

The pitch shifter (also known as a “harmonizer”) shifts the pitch of the input up or down while preserving the time between events. (Unlike speeding up or slowing down a tape recorder or pitch shifting across the Proteus VX keyboard.) The range of the pitch shifter is -36 semitones down to +24 semitones up in .01 semitone increments.

Small amounts of pitch shifting makes an effective type of chorus. Semitone shifts work especially well on the human voice for harmonization and for special effects. With the Feedback control turned up, the pitch shifted (and slightly delayed) signal will be recirculated through the pitch shifter and re-shifted further up or down.

Feedback

5 - Effects

Effects Descriptions

L In

L Out

Pitch

R In

Parameter Description

Pitch Shift This control selects the pitch shift interval.

Range: -36 semitones to +24 semitones

Feedback Controls how much signal is recirculated through the pitch shifter.

Range 0% to 100%

Pan This parameter moves the pitch shifted sound left or right. This

moves the apparent sound source left or right.

Modulation Parameters

• Wet/Dry Mix

•Pitch

• Feedback

•Pan

Shifter

R Ou

Pan

Pitch Shift

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5 - Effects Effects Descriptions

Ring Modulator

A ring modulator takes two signals and multiplies them together to produce an output signal containing only the sum and difference frequencies of the two input waves. The original frequencies are not output. If complex waveforms are used, every harmonic of each signal multiplies every other according to its amplitude. Because ring modulation is a linear process, these new sum and difference frequencies are displaced from their normal exponential harmonic relationship. As a result, ring modulators tend to create clangorous, bell-like timbres.

In this ring modulator, each side of the stereo input source is multiplied by an internal sine wave oscillator. The internal oscillator can remain at a fixed pitch or it can be modulated by an envelope follower.

The envelope follower sweeps the pitch of the modulating oscillator up or down based on the amplitude of the input signal. Try adjusting the Proteus VX attack and decay controls (amp) to hear the effect of the envelope follower. The envelope follower can sweep the modulating oscillator in either the positive or negative direction by setting the value positive or negative.

Input 1

200 Hz

AMPLITUDE

200

FREQUENCY (Hz)

Input 2

800 Hz

AMPLITUDE

800

FREQUENCY (Hz)

Result

600 &

1000 Hz

his diagram shows the result of Ring Modulating two sine waves with frequencies of 200 Hz

800 Hz. Only the Sum and Difference frequencies of 600 Hz and 1000 Hz will be output.

Parameter Description

Frequency This control sets the frequency of the modulation waveform

Range: 0 Hz to 5000 Hz

Envelope Follower Controls how much the amplitude envelope sweeps the

modulating oscillator. Range: -10x to +10x

AMPLITUDE

200 600 800 1000

FREQUENCY (Hz)

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5 - Effects

Effects Descriptions

R OutR In

Ring

L In

L Out

Modulator

Modulating

Oscillator

Envelope

Follower

Modulation Parameters

• Wet/Dry Mix

• Frequency

• Envelope Amount

SP12-ulator

The E-MU SP-12 Sampling Drum Machine was the most advanced beat box of its day and remains a classic. The SP-12 used a gritty, “drop-sample” pitch shifting technique which contributed to its distinctive sound. The SP12-ulator effect pays homage to the venerable SP-12, and allows you to mangle sounds as your forefathers did many years ago.

Freq.

Signal path = Stereo

SP12-ulator

Freq.

Depth

Resolution

Parameter Description

Frequency This parameter controls the number of samples that will be

“dropped.” Range: 0 - 100

Depth This parameter controls the intensity of the resultant distortion.

Range: 0% to 100%

Resolution The SP-12 is a 12-bit drum machine. The SP12-ulator allows you to

reduce the bit depth to 12-bits, or all the way down to 1-bit resolution if you must. Range: Hi-Res (32 bit), 12-bit to 1-bit

Modulation Parameters

• Wet/Dry Mix

• Frequency

•Depth

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5 - Effects

Effects Descriptions

Tremulator BPM

Tremolo is amplitude modulation and is also a standard guitar amp effect. The Tremulator BPM is more like a tremolo on steroids! In addition to the standard rate and amount controls, the Tremulator lets you beat-sync the tremolo speed to the song tempo, has eight different modulation waveforms with adjustable lag, lets you autopan the stereo signal in several ways, and even includes a sweepable lowpass filter with five modes.

Stereo

Mode

TremFilter

Note

Lag

LFO

Lag

PhaseSync

Wave

Duration

Parameter Description

Wet/Dry Controls the intensity (depth) of the tremolo effect.

Range: 0% to 100%

LFO Note Duration The speed of the LFO is locked to a note division of the master

tempo. Range: 4/1 note to 1/64 dotted-note

LFO Waveshape Selects between the following modulation waveforms:

Sine, Triangle, Half Sine, Sawtooth Up, Sawtooth Down, Square, Pulse 25, Pulse 75

Lag Sets the slew rate of the LFO output. This is normally used to

round the corners of the square waves, but can create interesting effects with the other waveforms as well. Range: 0% to 100%

L/R Phase Offsets the LFO phase between the left and right channels.

(0°, 90°, 180°, 270°).

0° - Both the left and right channels are the same. 180° - Creates a back and forth, “ping-pong” effect. 90°/270° - Creates a rotating effect.

Mode Six different modes are available:



Tremolo - Tremolo amplitude modulation only



Tremolo + Filter 1 - Tremolo & 2-pole filter sweep, no Q



Tremolo + Filter 2 - Tremolo & 2-pole filter sweep, Mid Q



Filter 3 - 2-pole filter sweep, Low Q



Filter 4 - 2-pole filter sweep, Mid Q



Filter 5 - 2-pole filter sweep, High Q

Note: The initial filter frequency is set lower as the Q is increased.

Sync (LFO Phase) Re-syncs the LFO (to the peak of the wave) whenever this button

is pressed or whenever the sync modulation input goes from zero to a positive value. You could connect a footswitch.

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Tre mula tor Wa v efo r ms

5 - Effects

Effects Descriptions

Triangle

Sawtooth

Sine

Square

Down

Modulation Parameters

• Wet/Dry Mix

• Rate (LFO Note Duration)

• Waveshape

•Sync

Half Sine

Pulse

Sawtooth

Pulse

E-MU Systems 93

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5 - Effects

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Effects Descriptions

Tube

The Tube is a tube amplifier simulator based on “soft clipping”. An overdriven tube amplifier sounds good because it generates even harmonic distortion products. This digital tube gently rounds the waveform in a smooth, controlled manner much like a real vacuum tube. Set the amount of distortion using the Gain control, then adjust the tone using the Treble and Bias controls. The Compression control smooths out volume changes and the Output Level control sets the final volume of the effect.

Lowpass

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Filter

Signal path = Stereo

Gain

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Presence

Output

Level

Out

Bias

Compression

Parameter Description

Gain This parameter controls the overdrive amount on the “tube” and

thus, the amount of distortion generated. Range: 0.25 - 50.00

Output Level This parameter sets the output volume level and has no effect on

the tone.

Presence This control sets the lowpass filter frequency at the output of the

“tube”.

Compression Tubes have a certain amount of natural “soft” compression. This

controls how much compression is applied.

Bias Bias controls at what point in the waveform clipping begins.

Modulation Parameters

• Wet/Dry Mix

•Gain

•Output Level

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Twin

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The Twin utilizes two “tube” stages to simulate the overdrive response of a guitar amplifier. Separate gain controls allow you to precisely control the amount of soft clipping from each “tube” stage. A three-band tone control between the two stages and a presence control after the 2nd stage allow you to precisely contour the overdrive frequencies. Set the amount of distortion using the Volume and 2nd Stage Gain controls, then adjust the tone using the Treble, Mid and Bass controls. The Compression control smooths out the timbrel changes and the Output Level control sets the final volume of the effect.

5 - Effects

Effects Descriptions

Presence

Filter

Presence

Master

Volume

Out

Pan

Volume

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Compression

Controls

Bass

Tone

Mid

Treble

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2nd

Stage Gain

Parameter Description

Volume This parameter controls the overdrive amount on the 1st “tube”

and thus the amount of distortion generated.

Master Volume This parameter sets the output volume level and has no effect on

the tone.

Treble Allows you to adjust the high frequency content between the two

“tubes”.

Mid Allows you to adjust the mid frequency content between the two

“tubes”.

Bass Allows you to adjust the low frequency content between the two

“tubes”.

2nd Stage Gain This parameter controls the overdrive amount on the 2nd “tube”

and thus, the amount of distortion generated.

Presence Allows you to adjust the mid frequency content at the output of

the 2nd “tube”.

Pan Sets the left/right pan position of the processed sound.

Range: -100% to +100%

Compression Tubes have a certain amount of natural “soft” compression. This

controls how much compression is applied by both tubes.

Modulation Parameters

• Wet/Dry Mix

•Gains 1 & 2

•Master Volume

•Pan

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5 - Effects Effects Descriptions

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6 - Controls

This chapter describes how to operate the controls of the Proteus VX. There are certain tips and tricks to learn in becoming a power user, and a good number of them are in this chapter.

The Toolbars

The toolbars are located just beneath the menu bar at the top of the window and one more at the very bottom of the window (the status toolbar). The toolbars provide handy single-click buttons for the most common operations. By holding the mouse pointer over the tool, a label will appear revealing the purpose of each tool.

The Status Toolbar is always located at the very bottom of the window and provides context sensitive information, such as the current MIDI channel, preset name & number, as well as the number of samples currently playing.

6 - Controls

The Toolbars

Menu Toolbars

Menu Bar

Toolbar

Handle

Status Toolbar

Pre-Roll Samples

in RAM

CPU Usage

Standard Tools

Disk Usage

Number of

Samples Playing

Display Modes Help

Mini Keyboard

Current

MIDI Channel

Preset Name

& Number

MIDI Modes

Upgrade

Information

Current Voice

& KYBD Range

E-MU Systems 97

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6 - Controls Drag & Drop

Viewing and Hiding the Toolbars

Select Toolbars from the View menu to call up the Show/Hide Toolbar menu. Check the boxes of the toolbars you wish to view. “Flat Toolbars” changes the look of the toolbars.

Drag & Drop

You can use simple “Drag & Drop” operations for many Proteus VX functions. For example, to copy a voice to another preset, simply left-click on the voice icon, then drag it on top of another preset and release the mouse. Page 122 of the drag & drop functions.

provides a complete listing

Changing Settings

Entering Numeric Values

Numeric values are displayed in alphanumeric readouts with either an associated control knob or an up/down button adjoining the display.

 Numeric values can be changed by:

• Tu r n ing th e k nob (if there is one).

• Pressing the Up/Down keys when the cursor is over a field.

• Typing the desired value into the field.

 Move the Cursor from the Keyboard

•Press the Tab key to move the cursor to the next field.

•Press Shift+Tab to move the cursor to the previous field.

 Select the Knob or Slider and then:

•Use the Left/Right keys to increment or decrement the value by 1.

•Use the Page Up & Page Down keys increment or decrement by 10.

•Use the Wheel on a wheel-type mouse to increment or decrement the value.

•Press the Home key to turn the control all the way down.

•Press the End key to turn the control all the way up.

•Press the 5 key in the numeric keypad to center the control. (Num Lock must be off)

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View Menu

The View Menu gives you a grand overview of your presets and multisetups. When the “Details” view is selected, the ID Number, Bank-Program Number, and Category is shown for each preset or multisetup. In Details View, lists can be sorted by clicking on the column header.

The View menu is extremely handy when creating new banks since it allows you to select multiple presets at a time to delete or to merge into a new bank. (Hint: Drop them onto the Proteus VX icon.) The View menu also makes it easy to edit the category of multiple presets.

Show Object

Numbers

Large Icons List

Help

6 - Controls View Menu

Hide Object

Numbers

Show Bank/Prog No.

Toolbar View Selection

Small Icons Details

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6 - Controls View Menu

Main Display View

When in the Preset or Multisetup Tree, clicking on the preset folder shows all the presets in the bank in the large window. The View Menu provides several display options for presets and multisetups. The view options are listed below:

Large Icons

Small Icons Displays small icons (shown above) useful for large banks

List Displays Presets in a list view format (in numerical order)

Details

Displays large icons useful for smaller banks

Displays the ID Number, Bank-Program Number, and Category. Clicking on the Category button at the top of each column sorts the list by that category.

Sort Buttons

Tree View

The Preset or Multisetup Tree items can also be viewed in several ways. The View Menu provides several display options for the tree. The view options are listed below:

Show/Hide Object Numbers

Show Bank & Program Numbers

100 Proteus VX Operation Manual

Displays or hides the object number for the Preset or Multisetup.

Presets can be displayed in the tree with Object numbers (P003) or with Bank and Program numbers (002:003).