EMU Proteus 1

Proteus operation manual 3

CONTENTS

INTRODUCTION 3Proteus System ....................................................................................................................... 6

CONNECTION INSTRUCTIONS 7Basic Setup .............................................................................................................................. 7Performance Setup ................................................................................................................ 8Studio Setup ........................................................................................................................... 9

BASIC OPERATION 13Selecting Presets ................................................................................................................... 14Selecting MIDI Channels,Volume and Pan ..................................................................... 14Multi-Timbral Operation .................................................................................................... 15Master Menu Functions ...................................................................................................... 16About the Proteus ................................................................................................................ 24

PROGRAMMING BASICS 27Modulation ........................................................................................................................... 28Proteus Modulation Sources .............................................................................................. 29Envelope Generators ........................................................................................................... 30Low Frequency Oscillators ................................................................................................. 31MidiPatch .............................................................................................................................. 32Keyboard and Velocity Modulation ................................................................................. 33Key Number ......................................................................................................................... 34Velocity Curves .................................................................................................................... 34Realtime Modulation .......................................................................................................... 35MIDI Realtime Controls ...................................................................................................... 36Stereo Mix Outputs ............................................................................................................. 38

EDIT MENU 41Enabling the Edit Menu ...................................................................................................... 41

Edit Menu FunctionsPreset Name and Keyboard Character Charts ................................................................ 42Mix Output ........................................................................................................................... 43Primary Instrument ............................................................................................................. 43Secondary Instrument ......................................................................................................... 43Key Range ............................................................................................................................. 43Primary Key Range ............................................................................................................. 44Secondary Key Range ......................................................................................................... 45Volume .................................................................................................................................. 45Pan ......................................................................................................................................... 45Coarse Tuning ...................................................................................................................... 46Fine Tuning........................................................................................................................... 46Chorus ................................................................................................................................... 46Delay ...................................................................................................................................... 46Solo Mode ............................................................................................................................. 47

Proteus operation manual4

CONTENTS

Sound Start ........................................................................................................................... 47Reverse Sound ...................................................................................................................... 47Alternate Envelope On/Off ............................................................................................... 48Primary Alternate Envelope Parameters ......................................................................... 48Secondary Alternate Envelope Parameters ..................................................................... 48Crossfade Mode ................................................................................................................... 49Crossfade Direction ............................................................................................................. 50Crossfade Balance ................................................................................................................ 50Crossfade Amount ............................................................................................................... 51Cross-Switch Point .............................................................................................................. 51LFO - Shape and Amount ................................................................................................... 51LFO - Rate and Variation .................................................................................................... 52Auxiliary Envelope .............................................................................................................. 53Keyboard and Velocity Modulation Control ................................................................... 54Realtime Modulation Control ............................................................................................ 55Footswitch Control .............................................................................................................. 56MIDI Controller Amount ................................................................................................... 56Pressure Amount .................................................................................................................. 56Pitch Bend Range ................................................................................................................. 57Velocity Curve ..................................................................................................................... 57Keyboard Center .................................................................................................................. 58Keyboard Tuning ................................................................................................................. 58Preset Links .......................................................................................................................... 59Save Preset ............................................................................................................................ 60

PROGRAMMING PROTEUS 63Linking Presets ..................................................................................................................... 63Editing Presets ..................................................................................................................... 64Proteus Synthesis ................................................................................................................. 66Using Proteus with a Sequencer ........................................................................................ 68Using the 32 Channels ........................................................................................................ 70Using External Processing .................................................................................................. 71Proteus Patch Sheet ............................................................................................................. 72

REFERENCE SECTION 73Proteus/1 Factory Presets .................................................................................................. 74Proteus/1 Instrument Listing ............................................................................................ 76Proteus/1 Plus 2 Orchestral Presets ................................................................................. 86Proteus/1 Plus 2 Orchestral Instrument Listing ............................................................. 88Proteus/2 Factory Presets .................................................................................................. 92Proteus/2 Instrument Listing ............................................................................................ 94Proteus/3 Factory Presets ................................................................................................ 104Proteus/3 Instrument Listing .......................................................................................... 106LFO, Delay and Envelope Times ..................................................................................... 116Technical Specifications .................................................................................................... 117MIDI Specifications ........................................................................................................... 118

INDEX WARRANTY


INTRODUCTION

Introduction



POWER MASTER EDIT DATA VOLUMEC01 Vol127 Pan+0000 Preset Name

CURSORENTER

INTRODUCTION

Introduction

What is PROTEUS?Proteus is a musical instrument whose sounds are based on actual digitalrecordings of "real" instruments. In this way the Proteus is very similar toa sampling instrument. With the Proteus, we have done the sampling foryou and loaded it with some of the cleanest 16 bit sounds ever sampled.

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

But this is only the beginning. Proteus gives you the ability to literallytake these sounds apart and reassemble them into an almost limitlessnumber of entirely new sounds, combining parts of one sound withanother or with any of a selection of digital waveforms also stored onROM. For example, the attack of a flute can be faded out as a vibe tone isfaded in, giving you a completely new sound! The monophonic and truestereo 16 bit samples are arranged into 192 preset locations, 64 of whichare user-programmable.

Proteus also features 32 voice polyphony allowing you to take fulladvantage of its layering capabilities (up to 8 sounds on each key) and itsability to respond multi-timbrally to all 16 MIDI channels makes it ideallysuited for multitrack sequencing and composing using a MIDI se-quencer.

Other features include 3 stereo outputs for individually processingsounds (also configurable as 6 polyphonic submixes with fully program-mable panning), integral sends and returns to allow the addition ofexternal effects units without the need for a separate mixer, user defin-able alternate tuning, and of course, an extensive MIDI implementation.


I N S T R U M E N T

I N S T R U M E N T

PRESETPRIMARY

SECONDARY

Proteus is organized as shown in the diagram below.

THE PROTEUS SYSTEM

PRESETPRIMARY

SECONDARY

LINK 1

PRESETPRIMARY

SECONDARY

PRESETPRIMARY

SECONDARY

PRESETPRIMARY

SECONDARY

LINK 2

LINK 3

Proteus system

The Preset is a complete set of all program parameters for a completeProteus sound. There are 192 preset locations in the Proteus.Presets 0-63 are unalterable factory presets, presets 64-127 are userpresets which can be changed, and presets 128-191 are unalterablefactory presets.

Each preset consists of one or more instruments. An instrument is acomplete set of samples or a digital waveform which covers the entirekeyboard range. An instrument can be assigned to each of the Primary andSecondary layers of the preset.

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

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


Setup #1 BASIC SETUP

CONNECTION INSTRUCTIONS

Connection Instructions - Basic Setup

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

Outputs - Proteus is a high quality, stereo audio device. In order toreproduce its wide dynamic range and frequency response, use a highquality amplification and speaker system such as a keyboard amplifier orhome stereo system. A stereo setup is highly desirable because of theadded realism of stereophonic sound. Headphones can be used if anamplifier and speaker system is not available. Plug stereo headphonesinto the Left Main output jack. The Right Main output jack serves as amono output when the left jack is not plugged in.

If Proteus does notseem to be respondingcorrectly, make surethat both Proteus andyour MIDI Controllerare set to the sameMIDI channel.

SUB 2 SUB 1 MAININ OUT THRU L L LR

STEREOMONOMIDI OUTPUTS POWER

RR

MIDI Controller(MIDI Keyboard, Sequencer, etc.)

MIDI OutUse the Left Main Output

for Stereophones

Mixer

Amp

Speakers

Aux. orTape In

Male RCA plugto

Male Phono plug

Home StereoSystem

ToMain Outs

Home StudioSystem

This diagram shows a typical equipment setup for the Proteus.




RRS

ub 2

Out

puts

Sub

1 O

utpu

ts

Mai

n O

utpu

ts

MIDI Out

MIDI Controller(MIDI Keyboard, Sequencer, etc.) Computer

MIDI InMIDI In

AdditionalMIDI

Devices

MIDI Switcher

MIDI Out

Out In

Out

OutInIn

Connection Instructions - Studio Setup

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

MIDI Out - The MIDI Out jack is normally used to transmit program datato a computer or other device.

Outputs - Proteus has three sets of programmable stereo outputs; Main,Sub 1, and Sub 2. Specific Proteus instruments can be routed to one ofthese stereo pairs in order to be further processed or mixed separately.

Setup #2 STUDIO SETUP




RR

Sub OutputReturn(To Main Output)

Tip Ring

To Effect From Effect

SEND/RETURN CABLES

Sen

d/R

etur

n

Effect Device

Sen

d/R

etur

n

Effect Device

Mai

n O

utpu

ts

AdditionalMIDI

Devices

MIDI Controller(MIDI Keyboard, Sequencer, etc.)

MIDI OutMIDI In

Connection Instructions- Performance Setup

Setup #3 PERFORMANCE SETUP

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

MIDI Thru - The MIDI Thru jack is used to connect additional MIDIdevices onto the MIDI chain. MIDI Thru transmits an exact copy of themessages received at the MIDI In jack.

Outputs - Each of the Sub 1 and Sub 2 output jacks on the Proteus arestereo jacks. The tip of each jack (accessed when a standard phone plug isinserted) connects to the left or right output of that group.


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

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

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

Power Up!

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

Proteus automatically switches itself for 110 or 220 Volt operation.

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

Tip

Ring

Tip

Ring

Tip

Ring

Tip

Ring

Tip Tip

Ring

SUB 2 SUB 1 MAIN

R L R L R L

R Bus

L Bus

Proteus Output Section

11Proteus operation manual

BASIC OPERATION

Basic Operation

12 Proteus operation manual


BASIC OPERATION

Main Controls

MAIN CONTROLS

Power Switch - Switches AC power to the Proteus ON and OFF.

MIDI Activity LED - Indicates that MIDI data is being received.

Master Menu Select Button - The Master menu contains parametersthat affect the entire machine, not just certain presets. An illuminated LEDabove the button indicates that you are in the Master menu.

Edit Menu Select Button - The Edit menu is used when you want tochange parameters of a preset. An illuminated LED above the buttonindicates that you are in the Edit menu.

Enter Button - The Enter button is used to initiate a particular operationwithin the Proteus. The red LED above the enter button flashes to let youknow that the Proteus is waiting for your response.

Cursor Control - This button moves the cursor to the next parameteron the display. (The cursor is a little flashing line underneath one of theparameters in the display.) Press the cursor control repeatedly until thecursor is underneath the desired parameter. The cursor can also be movedbidirectionally using the data entry control while the cursor select buttonis being held down (i.e. Press and hold the cursor button and turn the dataentry knob).

Data Entry Control - The data entry control is a stepped, variablecontrol which is used to change parameter values. The control incrementsor decrements the current value one unit with each click.

Volume Control - This is the master volume control for all audiooutputs. Note: For maximum dynamic range, set this control at full level.

CURSORCONTROL

ENTERBUTTON

POWER MASTER EDIT DATA VOLUMEC01 Vol127 Pan+0000 Preset Name

POWERSWITCH

MASTER MENUSELECT

EDIT MENUSELECT

DATA ENTRYCONTROL

VOLUMECONTROL

DISPLAY

MIDIACTIVITY

CURSORENTER


BASIC OPERATION

Preset Selection

MIDI CHANNEL SELECTIONPress the cursor key repeatedly until the cursor is underneath the channelnumber. (The cursor is a little flashing line underneath one of theparameters in the display.) Rotate the data entry control to select MIDIchannel 01-16. As the channel is changed, the display will change to showthe preset, volume and pan associated with the displayed channel.

C01 Vol127 Pan+0000 Preset Name

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

C01 Vol127 Pan+0 ÷ MIDI Channel Parameters000 Preset Name ÷ Preset Information

CHANNEL VOLUMEPress the cursor key repeatedly until the cursor is underneath the volumevalue. Rotate the data entry control to select volume 00-127. (This is thesame parameter as MIDI volume control #7, and changes made overMIDI will be shown in the display.)

CHANNEL PANPress the cursor key repeatedly until the cursor is underneath the panvalue. Rotate the data entry control to select pan values -7 to +7 or “P”.When “P” is selected, the pan value specified in the preset is selected. Anyother value will override the pan parameter in the preset. (This is the sameparameter as MIDI pan control #10, and changes made over MIDI will beshown in the display.)

If your Proteus is notresponding properly orplays the wrong preset,make sure that Proteusand your MIDI control-ler are set to the sameMIDI channel and thatthe MIDI Volume isturned up.

For more informationabout MIDI, see MIDIRealtime Controls onpage 36.

Channel Pan shouldnormally be set to "P"unless realtime controlof panning is desired.This will allow the pansettings programmedfor each preset to beused.


BASIC OPERATION

Multi-Timbral Operation

MULTI-TIMBRAL OPERATIONMulti-timbral operation means that the Proteus can play more than onesound at the same time. To access multiple presets on different MIDIchannels simultaneously, follow these instructions:

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

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

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

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

Channel 01Volume

Pan

Channel 02Volume

Pan

Channel 03Volume

Pan

Channel 16Volume

Pan

PRESET

PRESET

PRESET

PRESET

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


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

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

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

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

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

MASTER MENU FUNCTIONS

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

MASTER TUNE+63

MASTER MENU

Master Menu


MASTER MENU

Transpose

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

TRANSPOSE+12 semitones

GLOBAL BENDThis function sets the range of the pitch wheel only when it is routed tocontrol pitch. The maximum pitch bend range is ± 12 semitones. Thisfunction only affects presets which have their individual pitch bend rangeset to global.

GLOBAL BEND+- 12 semitones

GLOBAL VELOCITY CURVEIncoming velocity data can be modified by a velocity curve in order toprovide different types of dynamics in response to your playing or tobetter adapt to a MIDI controller. This function allows you to select oneof the four velocity curves or leave the velocity data unaltered (off). Globalvelocity curve only affects presets which have their individual velocitycurve set to global. For more information on the velocity curves, see page57.

GLOBAL VEL CURVE4


MIX OUTPUTThis function allows you override the output assignments made in eachpreset and instead assign the outputs according to MIDI channel. Thisalso allows you to change the output assignment of the factory presets.For each of the 16 MIDI channels, you can select the Main, Sub 1, or Sub2 outputs, or "P". When "P" is selected, the output assignment selected inthe preset is used. If no plugs are inserted into the sub outputs, the audiowill be automatically directed to the main outputs.

MIX OUTPUTchannel 01:P

MIDI MODEThis function selects one of the four MIDI modes and the MIDI systemexclusive ID number.

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

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

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

Mono mode - Proteus responds to data on any combination of MIDIchannels but plays each channel monophonically. If a new note on achannel is played before the last note is released, the envelopes will notbe retriggered (legato). Mono mode is particularly useful with alternatecontrollers such as MIDI guitars, etc.

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

MIDI MODE IDOmni 00

MASTER MENU

Mix Output

Warning: Presetswill not be transferredbetween two Proteus'unless the ID numbersof both units match.


MASTER MENU

MIDI Mode Change

MIDI MODE CHANGEThis function selects whether or not MIDI mode change commands areaccepted or ignored when received over MIDI (see MIDI Mode).

MIDI MODE CHANGEDisabled

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

MIDI OVERFLOWOff

MIDI ENABLEWhen in MIDI Multi mode, this function lets you turn each MIDI channelOn or Off. This is useful when you have other MIDI devices connected anddo not want the Proteus to respond to the MIDI channels reserved for theother devices. MIDI Enable only operates in Multi Mode.

MIDI ENABLEchannel:01 On

PRESET CHANGEThis function lets the Proteus utilize or ignore incoming MIDI presetchange commands for each channel. Note that MIDI can only selectpresets 000-127. Presets 128-191 can either be selected manually or overMIDI using the mapping function "MIDI PROGRAM PRESET".

PRESET CHANGEchannel:01 On


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

CONTROLLER #A:01 B:02

Next Screen:

CONTROLLER #C:03 D:04

MIDI FOOTSWITCH ASSIGNLike the MIDI Controllers, 3 MIDI footswitches can be assigned to MIDIfootswitch numbers. Footswitches can be assigned numbers from 64-79.Destinations for the footswitch controllers are programmed in the Editmenu.

FOOTSWITCH #1:64 2:65 3:66

MASTER MENU

MIDI Controller Assign

Some of the standardMIDI switch numbersare listed below.

64 - Sustain Switch(on/off)

65 - Portamento Switch(on/off)

66 - Sostenuto (chordhold, on/off)

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

Some of the standardMIDI Controller num-bers are listed below.

1 - Modulation Wheel orLever

2 - Breath Controller3 - Pressure: Rev 1 DX74 - Foot Pedal5 - Portamento Time6 - Data Entry7 - Volume8 - Balance9 - Undefined

10 - Pan


MASTER MENU

MIDI Footswitch Assign

SelectedProgram

MappedProgram

0 1 2 3 4 5 6 7 8 9

0

1

2

3

4

5

6

7

8

9

10

11

12

00 01 02 03 04 05 06 07 08 09

30 31 32 33 34 35 36 37 38 39

40 41 42 43 44 45 46 47 48 49

50 51 52 53 54 55 56 57 58 59

60 61 62 63 64 65 66 67 68 69

70 71 72 73 74 75 76 77 78 79

80 81 82 83 84 85 86 87 88 89

90 91 92 93 94 95 96 97 98 99

100 101 102 103 104 105 106 107 108 109

110 111 112 113 114 115 116 117 118 119

120 121 122 123 124 125 126 127

44 191 50 01 15 88 151 78 99 88

34 73 106 55 43 75 120 121 18012

This chart shows how MIDI preset changes can be re-mapped. In this example, program changes10-29 have been re-mapped. All other programs will be selected normally.

MIDI PROGRAM PRESETIncoming MIDI program changes can be “mapped” to call a differentnumbered preset. This is a handy feature when you want a specific presetnumber sent from the master synth to be linked with a specific preset onthe Proteus. Simply selecting a preset on the master synth will automati-cally call up the proper Proteus preset. Any of the presets in the Proteuscan be mapped to any incoming MIDI program change number. Thisfeature also allows you to call up the presets 128-383, which are notnormally accessable over MIDI.

MIDI PROG>PRESET 000 > 000


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

Master Settings: Transmits all parameters in the Master menu excepttuning table, program/preset map and viewing angle.

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

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

SEND MIDI DATA000 Stereo Piano

USER KEY TUNINGIn addition to standard twelve tone equal temperament, the Proteuscontains four additional preset tuning tables (Just C, Vallotti, 19 tone, andGamelan) and one user definable tuning. User Key Tuning allows you toalter the parameters of the user definable tuning stored in memory. Theinitial frequency of every key can be individually tuned, facilitating thecreation of microtonal scales. Using the cursor key and the data entrycontrol, select the key name, the MIDI key number and the fine tuning.The key name is variable from C-2 to G8. MIDI key number is variablefrom 0 to 127. The fine tuning is variable from 00 to 63 in increments of1/64 of a semitone (approx. 1.56 cents). For each preset, the specifictuning table is selected in the Edit menu.

USER KEY TUNINGKey:C1 036.00

MASTER MENU

Send Preset Data

Application:The user key tuningcan be used to tuneindividual percussioninstruments.

To Record MIDI Datainto a Sequencer:1. Setup sequencer toreceive system exclusivedata.

2. Place sequencer intorecord mode, then SendPreset Data.

To Receive MIDI Datafrom a Sequencer:1. Simply play back thesequence into Proteus.

The Preset, Volume,and Pan information forall 16 channels is in-cluded when the Mastersettings are transmittedor received.

Warning: Whentransferring SysEx datafrom one Proteus to an-other, the ID numbers ofboth units must match.


MASTER MENU

User Key Tuning

VIEWING ANGLEThis function allows you to change the viewing angle of the display so thatit may be easily read from either above or below. The angle is adjustablefrom +7 to -8. Positive values will make the display easier to read whenviewed from above. Negative values make the display easier to read frombelow.

VIEWING ANGLE+7

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

DEMO SEQUENCEStart Sequence

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

= Standard 5 Octave Keyboard Range

Proteus Keyboard RangeMIDIKey #

KeyName

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


Memory

10100101001010100101001010101010010101001010

Digital/AnalogConverter

1011001

Amplifier

Basic Sampling System

Analog/DigitalConverter

10110011011001

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

0V

3V

-3V

about PROTEUS

Proteus, unlike most synthesizers, utilizes digital recordings of realinstruments for the basis of its sound. This is similar to a tape recorderexcept that in the Proteus, the sounds are permanently recorded ondigital memory chips.

To perform this modern miracle, sounds and instrument waveforms arefirst sampled into the Emulator III, our top of the line, 16 bit stereo digitalsampler. After the sounds and waveforms have been truncated, loopedand processed, they are “masked” into the Proteus ROM (Read OnlyMemory) chips.

Conceptually, the sampling process is very simple, as shown in the BasicSampling System diagram. As a sound wave strikes the diaphragm of amicrophone, a corresponding voltage is generated. To sample the sound,the voltage level is repeatedly measured at a very high rate and thevoltage measurements are stored in memory. To play the sound back, thenumbers are read back out of memory, converted back into voltages, thenamplified and fed to a speaker which converts the voltage back into soundwaves. Of course, playing back 32 channels at different pitches tends tocomplicate matters, but this is basically how it works. In Proteus, we haveleft out the Analog/Digital converter stage since the sounds are alreadysampled for you.

About Proteus

PROGRAMMING BASICS

25Proteus operation manual Programming Basics

PROGRAMMING BASICS

PROGRAMMING BASICS


PROGRAMMING BASICS


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

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

One way to create a keyboard split is assign an instrument to a specificrange and then link it to other presets which fill in the empty keys. Usinga combination of 4 linked presets and the primary and secondary instru-ment ranges, up to 8 keyboard splits can be produced. If linked presetsoverlap on the same keyboard range, the presets will be doubled orstacked.

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

General Information

PROGRAMMING BASICS

PRESET #1

PRESET #2

LINK

LAYERING TWO PRESETS

Key Range

PRESET #1

PRESET #2Key Range

Key Range

LINK

CREATING A SPLIT KEYBOARD

PROGRAMMING BASICS

28 Proteus operation manualModulation

Proteus has an extensive modulation implementation using two multi-wave LFO’s (Low Frequency Oscillators), two envelope generators andthe ability to respond to multiple MIDI controllers. You can simultane-ously route any combination of these control sources to multiple destina-tions.

MODULATIONModulation means to dynamically change a parameter, whether it be thevolume (amplitude modulation), the pitch (frequency modulation), orwhatever. Turning the volume control on your home stereo rapidly backand forth would be an example of amplitude modulation. To modulatesomething we need a modulation source and a modulation destination.The source is your hand turning the knob, and the destination is thevolume control. If we had a device that would automatically turn thevolume control, we would also call that device a modulation source. TheProteus is designed so that for each of the variable parameters, such as thevolume, there is an initial setting which can be changed by a modulationsource. Therefore in the case of volume, we have an initial volume and wecan change or modulate that volume with a modulation source. Twomain types of modulation sources on the Proteus are Envelope Generatorsand Low Frequency Oscillators. In the example above, an envelope genera-tor could be routed to automatically turn the volume control as pro-grammed by the envelope. Or, a low frequency oscillator could be routedto automatically turn the volume control up and down in a repeatingfashion.

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

PROGRAMMING BASICS

29Proteus operation manual Modulation Sources

MODULATION SOURCESThe Proteus uses three kinds of modulation sources.

KEYBOARD and VELOCITY MODULATIONValues which are generated at the start of a note and do not change duringthe note.

Keyboard Key - Which key is pressed.

Key Velocity - How hard the key is pressed.

REALTIME MODULATIONValues which can be continuously changed during the entire duration ofthe sound.

Pitch Wheel - A synthesizer pitch bend wheel.

Miscellaneous Controllers (4) - Any type of MIDI controller data.

Keyboard Pressure (mono aftertouch) - Key pressure applied after thekey is initially pressed.

Polyphonic Key Pressure - Pressure from a controller capable ofgenerating polyphonic pressure data.

Low Frequency Oscillators (2) - Generate repeating waves.

Envelope Generators (2) - Generate a programmable “contour” whichchanges over time when a key is pressed.

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

PROGRAMMING BASICS


level

time

keydown

A H D

S

R

keyreleased

D

Envelope Generators

ENVELOPE GENERATORSAn envelope can be described as a “contour” which can be used to shapethe sound in some way over time. Each channel of the Proteus containstwo envelope generators. One of the envelope generators, the AlternateVolume Envelope, controls the volume of the primary or secondaryinstrument and has 5 stages, Attack, Hold, Decay, Sustain, and Release.The other envelope, the Auxiliary Envelope, can be routed to any realtimecontrol destination and is a general purpose envelope. The AuxiliaryEnvelope has 6 stages: Delay, Attack, Hold, Decay, Sustain, and Release.The Envelope parameters can be described as follows:

Delay - The time between when a key is played and when the attackphase begins.

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

Hold - The time the envelope will stay at the peak level before startingthe decay phase.

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

Sustain - The level at which the envelope remains as long as a key isheld down.

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

Percussion

Organ

String

Plucked

The generalizedenvelope shapesof a few types ofsounds are shownabove.

PROGRAMMING BASICS


level

keydown

keyreleased

A H R

time

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

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

Triangle

Square

Sine

Sawtooth

Random

AHDSRS and LFOs

PROGRAMMING BASICS


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

Inverted Sawtooth

Negative Amount

+-

Sawtooth

MIDIPATCHConnecting a modulation source to a destination is called a patch.Proteus lets you connect the modulation sources in almost any possibleway to the modulation destinations. You can even modulate othermodulators. Each patch also has an amount parameter which determines“how much” modulation is applied to the destination. The modulationamount can be positive or negative and will either add or subtract fromthe initial value. Keyboard and velocity sources can be simultaneouslypatched to any 6 of the 33 destinations for each preset. Realtime modula-tion sources can be simultaneously patched to any 8 of the 24 destinationsfor each preset.

Sources

LFO 1LFO 2

Aux EnvWheel

PressureMIDIetc.

Destinations

PitchX-FadeLevel

LFO Amt.LFO Rate

Attacketc.

ModulationSource Destination

Amount +/-

LFO 1 PrimaryLevel

+-

Modulation "Patching"

PROGRAMMING BASICS


Modulation Sources:Key Number and KeyVelocity

Destinations: Off,Pitch, Primary Pitch,Secondary Pitch,Volume,Primary Volume,Secondary Volume,Attack,Primary Attack,Secondary Attack,Decay,Primary Decay,Secondary Decay,Release,Primary Release,Secondary Release,Crossfade, LFO 1Amount, LFO 1 Rate,LFO 2 Amount,LFO 2 Rate, AuxiliaryEnvelope Amount,Auxiliary EnvelopeAttack, AuxiliaryEnvelope Decay,Auxiliary EnvelopeRelease, SampleStart, Primary SampleStart, SecondarySample Start, Pan,Primary Pan,Secondary Pan, Tone,Primary Tone,Secondary Tone

Modulation Chart

KEYBOARD and VELOCITY MODULATIONThe Keyboard and Velocity Modulation diagram shows the possiblerouting of Key Number (which key is pressed), and Velocity (how hardthe key is pressed). These modulation sources can control any of thedestinations indicated by the small arrows. A modulation source cancontrol up to six destinations or one destination can be controlled by upto six modulation sources. The possible modulation routings are com-pletely flexible as shown in the example above.

LFO 1

Amount Freq.

LFO 2

Amount Freq.

AuxiliaryDAHDSR

AmtAtk Dec Rel

Pan

R

L

R

L

Atk Dec Rel

Level

Level

VolumeAHDSR

Atk Dec Rel

DCA

DCA Pan

VolumeAHDSR

VELOCITY

VELOCITYCURVE

KEY NUMBER

KEYBOARDCENTER

Keyboard and Velocity Modulation Sources

X-Fade

PrimaryInstrument

PitchSample

Start

Tone

SecondaryInstrument

PitchSample

Start

Tone

PROGRAMMING BASICS

34 Proteus operation manualKey Number

Curve 1

Curve 3

Curve 2

Curve 4

KEY NUMBERThe Key Number is affected by the Keyboard Center parameter whichcan be set to any key from A-1 to C7. The keyboard center establishes areference point for keyboard modulation; keys above this point will havea positive value, while keys below it will be negative. For example, if wewished to change the volume of an instrument using key number and thekey center were set to middle C, the instrument would get progressivelylouder above middle C and progressively softer below middle C.

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

KEY CENTER

+

-

0

-

+

0

20

40

60

80

100

120

140

0 10 20 30 40 50 60 70 80 90 100

0

20

40

60

80

100

120

140

0 10 20 30 40 50 60 70 80 90 100

0

20

40

60

80

100

120

140

0 10 20 30 40 50 60 70 80 90 100

0

20

40

60

80

100

120

140

0 10 20 30 40 50 60 70 80 90 100

PROGRAMMING BASICS


LFO 1

Amount Freq.

LFO 2

Amount Freq.

AuxiliaryEnvelope(DAHDSR)

AmtAtk Dec Rel

PrimaryInstrument

Pitch

SecondaryInstrument

Pitch

Pan

R

L

R

L

X-Fade

Atk Dec Rel

Level

Level

VolumeAHDSR

Atk Dec Rel

DCA

DCA Pan

VolumeAHDSR

LFO 2AUXILIARYENVELOPELFO 1

MIDICONTROLLER

A/B/C/D

POLYPRESSURE

MONOPRESSUREPITCH WHEEL

Realtime Modulation Sources

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

Destinations: Off,Pitch, Primary Pitch,Secondary Pitch,Volume,Primary Volume,Secondary Volume,Attack,Primary Attack,Secondary Attack,Decay,Primary Decay,Secondary Decay,Release,Primary Release,Secondary Release,Crossfade, LFO 1Amount, LFO 1 Rate,LFO 2 Amount,LFO 2 Rate, AuxiliaryEnvelope Amount,Auxiliary EnvelopeAttack, AuxiliaryEnvelope Decay,Auxiliary EnvelopeRelease

Realtime Modulation

REALTIME MODULATIONIn addition to keyboard and velocity modulation, Proteus has multiplerealtime modulation sources. Realtime modulation sources are parame-ters which vary over time. The velocity and keyboard modulations, incomparison, are set at the key depression. The realtime modulationsources can control any of the destinations except Sample Start, Tone andPan as indicated by the small arrows. A modulation source can control upto eight destinations or one destination can be controlled by up to eightmodulation sources. The possible modulation routings are completelyflexible as shown in the example above.

PROGRAMMING BASICS

36 Proteus operation manualMIDI Realtime Controllers

Common realtime controllers such as the pitch wheel, volume, pan andpressure are pre-programmed to their proper destinations. Your key-board may have other realtime controls such as a control pedal or dataslider which can also be programmed to control most of the parameterson Proteus.

The Proteus is equipped with a sophisticated MidiPatch™ system, whichallows you to route any continuous controller to any realtime modulationdestination. The MidiPatch system is also very easy to use. First, youmust know which controller numbers your keyboard can transmit.

MIDI REALTIME CONTROLSThe MIDI realtime controllers may seem confusing at first, but they arereally very simple to understand. You probably already know that thereare 16 MIDI channels that can be used. Each of the 16 MIDI channels usesbasically 3 types of messages; note on/off, program changes, and continuouscontroller messages.Your MIDI keyboard, in addition to telling Proteuswhich note was played, may also send realtime control information, whichsimply means occuring in real time or live. (You may be using a MIDIdevice other than a keyboard, but for simplicity's sake we'll presume thatyou're using a keyboard.) Realtime control sources include such things aspitch wheels or levers, modulation wheels or levers, control pedals,aftertouch, etc. and are used to add more expression or control. YourMIDI keyboard sends out realtime controller information on separatechannels called continuous controller channels. There is a set of 32 continu-ous controller channels for each of the 16 MIDI channels. Some of thecontroller channels, such as pitch wheel, volume, and pan have beenstandardized. For example, volume is usually sent on continuous control-ler channel #7.

NoteOn/Off

ContinuousControllers

MIDIChannel 1

ProgramChange

NoteOn/Off


MIDIChannel 2

ProgramChange

NoteOn/Off


MIDIChannel 16

ProgramChange

NoteOn/Off


MIDIChannel 3

ProgramChange

MIDI wind controllersmay work better if youassign one of the MIDIA, B, C, D controllers tocontrol volume. This willallow the MIDI volumeto be added to thecurrent volume.

PROGRAMMING BASICS


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

01 - Modulation Wheel A02 - Breath Controller B04 - Foot Pedal C06 - Data Entry D

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

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

MIDI Realtime Controllers

Standard MIDI Controller Numbers: 1- Modulation Wheel 2- Breath Controller 3- Pressure Rev 1 DX7 4- Foot Pedal 5- Portamento Time 6- Data Entry 7- Volume 8- Balance 9- Undefined10- Pan

0123

31

MIDI

ControllerC

Control Destinations

PitchPrimary Pitch onlySecondary Pitch onlyVolumePrimary Volume onlySecondary Volume onlyAttackPrimary Attack onlySecondary Attack onlyDecayPrimary Decay onlySecondary Decay onlyReleasePrimary Release onlySecondary Release onlyCrossfadeLFO 1 RateLFO 1 AmountLFO 2 RateLFO 2 AmountAuxiliary Envelope AmountAuxiliary Envelope AttackAuxiliary Envelope DecayAuxiliary Envelope Release

+-

MasterMenu

EditMenu

A

B

C

D

0123

31

MIDI

ControllerA

0123

31

MIDI

ControllerB

0123

31

MIDI

ControllerD

MIDI

Amount

+-

+-

+-

PROGRAMMING BASICS

38 Proteus operation manualStereo Mix Outputs

STEREO MIX OUTPUTSProteus has three sets of polyphonic stereo outputs (Main, Sub 1, Sub 2).The channels used by a particular preset may be directed to appear at anyone of these three stereo outputs. This feature is useful for signal process-ing (EQ, reverb, etc.) of individual sounds prior to final mixdown.By panning a preset completely left or right, it can be routed to a singleoutput jack.

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

Main

Sub 1

Sub 2

Preset01

Preset22

Preset12

Preset127

MIXOUTPUT

Preset18

Preset120

L

R

L

R

L

R

etc.

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

EDIT MENU

39Proteus operation manual Edit Menu

EDIT MENU

EDIT MENU


EDIT MENU


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

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

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

To enable the Edit menu: Press the Edit key, lighting the LED. Thecurrent screen will be the one most recently selected since powering upthe machine. The cursor will appear underneath the first character of thescreen heading on line one.

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

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

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

Proteus Programming

EDIT MENU

EDIT MENU


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Edit Menu Functions

EDIT MENU FUNCTIONS

PRESET NAMEPreset Name allows you to name each of the user presets with a name ofup to 12 characters. Position the cursor under the character location anduse the data entry control to change the character. The keyboard can alsobe used to select characters. The charts below show the keyboardcharacter assignment.

PRESET NAME000 Untitled

EDIT MENU

43Proteus operation manual Mix Output

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

MIX OUTPUTMain

PRIMARY INSTRUMENTThis function allows you to select which of the available instrumentsounds (or none) will be placed on the primary layer of the current userpreset.

INSTRUMENT priI002 Piano Pad

SECONDARY INSTRUMENTThis function allows you to select which of the available instrumentsounds (or none) will be placed on the secondary layer of the current userpreset.

INSTRUMENT secI001 Piano

KEY RANGEKey range sets the keyboard range of both primary and secondaryinstruments. This sets the keyboard range for the entire preset and willfurther limit the primary and secondary keyboard ranges. The key rangecan be set anywhere from C-2 to G8.

KEY RANGEC-2 -> G8

Simply changing theinstrument creates anew sound whileretaining all otherparameters of thepreset.

EDIT MENU


Pri Instr.

Sec Instr.

Key Range

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

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

Primary InstrumentKey Range

Key RangeSecondary Instrument

Key Range

PRIMARY KEY RANGEKey range sets the keyboard range of the primary instrument. This isuseful for creating positional crossfades and keyboard splits between theprimary and secondary layers. The key range can be set anywhere fromC-2 to G8.

KEY RANGE priC-2 -> G8

EDIT MENU


SECONDARY KEY RANGEKey range sets the keyboard range of the secondary instrument. The keyrange can be set anywhere from C-2 to G8.

KEY RANGE secC-2 -> G8

VOLUMEVolume sets the amplitude of the primary and secondary instruments.This function also allows you to compensate for the relative volumedifferences between instruments.

VOLUMEpri:127 sec:64

PANPan allows you to independently set the initial pan position of the primaryand secondary instruments. A value of -7 pans the instrument hard leftand a value of +7 pans the instrument hard right. This pan setting is onlyvalid if “P”, for preset pan, is selected in the main display.

PANpri:-7 sec:+7

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

= Standard 5 Octave Keyboard Range

Proteus Keyboard RangeMIDIKey #

KeyName

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

Key Range

EDIT MENU


COARSE TUNINGThis function allows you to change the tuning of the primary andsecondary instruments in semitone intervals. The coarse tuning range is-36 to +36 semitones. A coarse tuning setting of "00" would indicate thatthe instrument is tuned to concert pitch (A=440 Hz).

TUNING coarsepri:+00 sec:+00

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

TUNING finepri:+00 sec:+00

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

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

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

DELAYpri:000 sec:000

Coarse Tuning

Proteus/1 Proteus/2 and above

EDIT MENU

47Proteus operation manual Solo Mode

SOLO MODESolo mode provides the playing action of a monophonic instrument withsingle triggering and last-note priority. This mode does not allow you toplay a chord. Solo mode will not retrigger the envelope generators if anew note is played while another is being held. This allows a legatoplaying technique to be used. Solo mode also provides more realisticeffects when working with guitar and wind controllers.

SOLO MODEpri:Off sec:On

SOUND STARTThis function allows you to set where a sample begins playing when youhit a key. A setting of 000 plays a sound from the beginning, higher valuesmove the sample start point toward the end of the sound.

SOUND STARTpri:000 sec:000

REVERSE SOUNDWhen reverse sound is turned On, the instrument will be played back-wards. When an instrument is reversed, any loops in the sound will beignored, which means that the sound will not sustain indefinitely.

REVERSE SOUNDpri:Off sec:On

EDIT MENU


ALTERNATE ENVELOPE ON/OFFEach instrument has its own factory preset AHDSR volume envelopewhich is normally employed. If a programmable volume envelope isdesired, the alternate envelope is used.

ALT ENVELOPEpri:Off sec:On

PRIMARY ALTERNATE ENVELOPE PARAMETERSThis function allows you to adjust the alternate volume envelope parame-ters for the primary instrument. The parameters are Attack time, Holdtime, Decay time, Sustain level, Release time and are adjustable from 00to 99.

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

SECONDARY ALTERNATE ENVELOPE PARAMETERSThis function allows you to adjust the alternate volume envelope parame-ters for the secondary instrument. The parameters are Attack time, Holdtime, Decay time, Sustain level, Release time and are adjustable from 00to 99.

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

DCA

Atk Dec Rel

NormalEnvelope

Atk Dec Rel

AlternateEnvelope

Alternate Envelope

EDIT MENU


PrimaryInstrument

Key Range

Key Range

SecondaryInstrument

Crossfade Range

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

Crossfade Mode

CROSSFADE MODEThis function determines which of the following crossfade modes will beselected: Off, Crossfade, or Cross-Switch.

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

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

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

XFADE MODEOff

EDIT MENU


CROSSFADE DIRECTIONThis function determines the polarity of the crossfade or cross-switch.

The direction is either primary secondary, or secondary primary.

XFADE DIRECTIONPri -> Sec

CROSSFADE BALANCEThe crossfade balance parameter determines the initial balance betweenthe primary and secondary layers. Any modulation is subsequentlyadded to this value. Crossfade balance is variable between 000 and 127.

XFADE BALANCE064

Crossfade Direction

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

PrimaryOnly

CROSSFADEAMOUNT

40

SecondaryOnly

EqualAmount

128640 32 96

CROSSFADEBALANCE

32

INPUT

CROSSFADE

12 52

PRIMARYAMOUNT

SECONDARYAMOUNT

Velocity,Mod. Wheel,Footpedal,

etc.

A Crossfade Balancesetting of 000 would beappropriate with asource such as amodulation wheel orfootpedal which onlychange the value in apositive direction.

EDIT MENU

51Proteus operation manual Crossfade Amount

CROSSFADE AMOUNTThe crossfade amount parameter determines the range over whichcrossfading will occur. Crossfade amount is variable from 000 to 255. Thelarger the value, the more modulation will be required to effect a completecrossfade.

XFADE AMOUNT128

CROSS-SWITCH POINTThe cross-switch point parameter determines the point at which cross-switching will occur when key position or velocity is controlling cross-switch.

SWITCH POINT064 c#2

LFO 1 - SHAPE and AMOUNTThis screen controls the waveshape and amount of Low FrequencyOscillator 1. The LFO can be used to produce vibrato (when routed topitch), or tremolo (when routed to volume). The five LFO waveshapesare: Triangle, Sine, Square, Sawtooth, and Random. The amount can bevaried from -128 to +127. Negative values will produce inverted wave-shapes.

LFO1 SHAPE AMT Rand +127

Triangle

Square

Sine

Sawtooth

Random

Velocity Key

EDIT MENU

52 Proteus operation manualLFO 1

LFO 1 - RATE, DELAY and VARIATIONThis screen controls the rate, delay and variation of LFO 1.

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

LFO Delay: sets the amount of time between hitting a key and the onsetof modulation. This can be used to simulate an effect often used byacoustic instrument players, where the vibrato is brought in only after theinitial note pitch has been established. The delay range is variable from 0to 13 seconds (000-127).

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

LFO1 RT DLY VAR 000 000 000

LFO 2 - SHAPE and AMOUNTLFO 2 is functionally identical to LFO 1.

LFO 2 - RATE, DELAY and VARIATIONLFO 2 is functionally identical to LFO 1.

time

keydown

Delay

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

EDIT MENU


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

Delay

level

time

keydown

Attack

Hold

Decay

Sustain

Release

keyreleased

Auxiliary Envelope

AUXILIARY ENVELOPEThis is a supplementary, utility envelope that can be routed to anyrealtime control destination. The auxiliary envelope parameters are:Envelope Amount, Delay, Attack Time, Hold Time, Decay Time, SustainLevel, and Release Time. The delay time is variable from 0 to 13 seconds(000-127). The envelope amount is variable from -128 to +127. Negativevalues will produce inverted envelopes.

AUX ENV AMT DLY +127 000

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

EDIT MENU


KEY/VELOCITY CTL1 V>Attack -064

ModulationSource

ModulationDestination

ModulationAmount

PatchNumber

KYBD/ Velocity.Modulation

KEYBOARD and VELOCITY MODULATION CONTROLThese functions allow you to route keyboard and velocity information toany of the modulation destinations on the Proteus. Up to 6 simultaneouspaths or “patches” may be programmed. For each modulation patch,there is a source (keyboard or velocity), and a corresponding amountparameter which is variable from -128 to +127. Place the cursor under theappropriate parameter and change the patch number, modulationsource, modulation destination, or the amount using the data entrycontrol. If a parameter is not labeled either primary or secondary, itaffects both.

AuxiliaryDAHDSR

AmtAtk Dec Rel

LFO 1

Amount Freq.

LFO 2

Amount Freq.

Modulation Destinations

Pan

R

L

R

L

Level

Level

VolumeAHDSR

Atk Dec Rel

DCA

DCA Pan

Atk Dec Rel

VolumeAHDSR

X-Fade

PrimaryInstrument

PitchSample

Start

Tone

SecondaryInstrument

PitchSample

Start

Tone

VELOCITY

VELOCITYCURVE

KEY NUMBER

KEYBOARDCENTER

Keyboard and Velocity Modulation Sources

Modulation Sources:Key Number and KeyVelocity

Destinations: Off,Pitch, Primary Pitch,Secondary Pitch,Volume, PrimaryVolume, SecondaryVolume, Attack,Primary Attack,Secondary Attack,Decay, PrimaryDecay, SecondaryDecay, Release,Primary Release,Secondary Release,Crossfade, LFO 1Amount, LFO 1 Rate,LFO 2 Amount, LFO 2Rate, AuxiliaryEnvelope Amount,Auxiliary EnvelopeAttack, AuxiliaryEnvelope Decay,Auxiliary EnvelopeRelease, SampleStart, Primary SampleStart, SecondarySample Start, Pan,Primary Pan,Secondary Pan, Tone,Primary Tone,Secondary Tone

When ModulatingEnvelope Attack,Decay, or ReleaseTimes:

Positive amounts ofmodulation increasethe time.

Negative amounts ofmodulation decreasethe time.

EDIT MENU


Modulation Sources:Pitch Wheel, MIDIControl A, MIDIControl B, MIDIControl C, MIDIControl D, MonoPressure, PolyphonicPressure, LFO 1, LFO2, Auxiliary Envelope

Destinations: Off,Pitch, Primary Pitch,Secondary Pitch,Volume, PrimaryVolume, SecondaryVolume, Attack,Primary Attack,Secondary Attack,Decay, PrimaryDecay, SecondaryDecay, Release,Primary Release,Secondary Release,Crossfade, LFO 1Amount, LFO 1 Rate,LFO 2 Amount, LFO 2Rate, AuxiliaryEnvelope Amount,Auxiliary EnvelopeAttack, AuxiliaryEnvelope Decay,Auxiliary EnvelopeRelease

Realtime Modulation

REALTIME MODULATION CONTROLThese functions allow you to route realtime controllers to any of themodulation destinations on Proteus except Tone, Sample Start and Pan.Up to 8 simultaneous patches may be programmed. For each modulationpatch, there is a source and a destination parameter. Place the cursorunder the appropriate parameter and change the patch number, modu-lation source or modulation destination using the data entry control. Ifa parameter is not labeled either primary or secondary, it affects both.

REALTIME CTL1 LFO1 ->Pitch

ModulationSource

ModulationDestination

PatchNumber

LFO 1

Amount Freq.

LFO 2

Amount Freq.

AuxiliaryDAHDSR

AmtAtk Dec Rel

Pan

R

L

R

L

Level

Level

VolumeAHDSR

Atk Dec Rel

DCA

DCA Pan

Atk Dec Rel

VolumeAHDSR

Realtime Modulation Sources

X-Fade

PrimaryInstrument

Pitch

Modulation Destinations

LFO 2AUXILIARYENVELOPELFO 1

MIDICONTROLLER

A/B/C/D

POLYPRESSURE

MONOPRESSUREPITCH WHEEL

SecondaryInstrument

Pitch

EDIT MENU

56 Proteus operation manualFootswitch Control

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

FOOTSWITCH CTL1 -> Sustain

MIDI CONTROLLER AMOUNTThis function allows you to specify an amount parameter (variable from-128 to +127) for each of the MIDI controllers.

CONTROLLER AMTA:+127 B:-090

CONTROLLER AMTC:+127 D:-090

PRESSURE AMOUNTThis function allows you to specify an amount parameter for mono orpoly keyboard pressure data. The pressure amount is variable from -128to +127.

PRESSURE AMOUNT+127

EDIT MENU

57Proteus operation manual Pitch Bend Range

Curve 1 Curve 2

Curve 3 Curve 4

PITCH BEND RANGEThis function allows you to specify the pitch wheel range for the currentpreset or it can be set to be controlled globally (set in the Master menu).Pitch bend range is only applied when the pitch wheel is used to controlpitch.

PITCH BEND RANGE+- 12 semitones

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

VELOCITY CURVEGlobal

0

20

40

60

80

100

120

140

0 10 20 30 40 50 60 70 80 90 100

0

20

40

60

80

100

120

140

0 10 20 30 40 50 60 70 80 90 100

0

20

40

60

80

100

120

140

0 10 20 30 40 50 60 70 80 90 100

0

20

40

60

80

100

120

140

0 10 20 30 40 50 60 70 80 90 100

EDIT MENU

58 Proteus operation manualKeyboard Center

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

KEYBOARD CENTERc#3

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

Equal tuning (12 tone equal temperment)Standard Western tuningJust C tuning (just intonation)Based on small interval ratios; sweet and pure; non-beating intervalsVallotti tuning (Vallotti and Young non-equal temperment)Similar to 12 tone equal temperment; for a given scale, each key has adifferent character19 Tone tuning (19 tone equal temperment)19 notes per octave; difficult to play but works well with a sequencerGamelan (Javanese) tuning (5 tone Slendro and 7 tone Pelog)Pelog-white keys; Slendro-black keys; exotic tunings of Gamelan flavorUser tuning which is defined in the Master menu.

KEY CENTER

+

-

0

-

+

EDIT MENU


PRESET #1

PRESET #2Key Range

Key Range

LINK

CREATING A SPLIT KEYBOARD

PRESET #1

PRESET #2

LINK

LAYERING TWO PRESETS

Key Range

Preset Links

PRESET LINKSPresets may be linked to other presets in order to create layering orkeyboard splits. The current preset can be linked with up to three otherpresets. Each linked preset can be assigned to a specific range in order toeasily create keyboard splits. The modulation parameters specified ineach preset remain in effect for each preset in the link.

LINK 1 c#1->f#4000 Preset Name

LINK 2 c#1->f#4191 Preset Name

LINK 3Off

EDIT MENU


SAVE PRESETChanges made to a preset in the Edit menu are not made permanent untilthe preset is Saved. To save a preset, move the cursor to the bottom line andselect the location for the new preset with the data entry control. The EnterLED will be flashing. Pressing the Enter switch will confirm the opera-tion. Any user preset (64-127) may be selected using the data entrycontrol. Writing to a user preset erases the existing preset in that location.Make sure that the destination preset does not contain information thatyou wanted to keep.

SAVE PRESET to064 Preset Name

To Save a Preset:

1. Select the new location2. Press Enter

Save Preset


PROGRAMMING PROTEUS

Programming Proteus


63Proteus operation manual Linking Presets

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

LINKING PRESETSLinking presets is a quick and easy way to create new sounds by “layeringpresets” and also to “split” the keyboard into sections containing differ-ent sounds.

LAYERING TWO PRESETS1) Select the first preset you wish to layer.

2) Press the Edit button.

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

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

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

CREATE A SPLIT KEYBOARD USING LINKS1) Follow steps 1 through 4 above.

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

3) Save the preset.

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

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

6) Save the preset.

PROGRAMMING PROTEUS

64 Proteus operation manualEditing Presets

PROGRAMMING PROTEUS

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

CHANGING THE INSTRUMENTThis is probably the easiest way to modify existing presets. Scroll throughthe Edit menu functions until you come to:

INSTRUMENT priIXXX Instr Name

Move the cursor down to the bottom line (using the cursor button) andchange the primary instrument with the data entry control. Play thekeyboard as you scroll through the various instruments. When you findan interesting instrument, move the cursor back up to the first line andselect:

INSTRUMENT secIXXX Instr Name

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

CHANGING THE TUNING OF AN INSTRUMENTScroll through the Edit menu functions until you come to:

TUNING coarsepri:+00 sec:+00

65Proteus operation manual Editing Presets

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

CHORUSThis is an easy one. With the cursor on the top line of the display, turn thedata control until you find CHORUS. Chorus can be turned on or off foreach of the primary and secondary instruments. Chorus works by dou-bling the instruments and detuning them slightly. Try it.

CHORUSpri:Off sec:Off

REVERSING THE SOUNDA simple concept. The instrument sounds can be played in reverse. Thiswill normally make an instrument sound quite a bit different. It alsovirtually doubles the number of raw instruments you have to work with,and it’s fun.

REVERSE SOUNDpri:Off sec:Off

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

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

PROGRAMMING PROTEUS

66 Proteus operation manualProteus Synthesis

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

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

PROGRAMMING PROTEUS

The envelope generators controlling the DCAs (digitally controlled am-plifiers) can be used to fade between two instruments (primary andsecondary) during the course of a note. This powerful technique allowsyou to combine elements of different instruments together to formcompletely new sounds. New sounds that are totally natural, becausethey are based on natural sounds. Proteus also contains many digitallygenerated waveforms that can be combined with other digital waves orwith sampled instruments in order to change the character of the sound,perhaps to add a digital “edge” or add more bottom. In addition to theenvelope generators, parameters such as Delay, Sample Start, andCrossfade allow you to further control the blend of primary and secon-dary instruments.

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

Instrument

Pri

Sec

FadeArea

FadeArea

Shaped with DCA Added Together toform Resultant Sound

PROTEUS SYNTHESIS

67Proteus operation manual Programming Examples

PROGRAMMING PROTEUS

ANOTHER EXAMPLEAs another example, we'll use the attack portion of the Soft Flute and thesustain portion of the Tenor Sax as raw material. This time we will use theDelay and Sample Start parameters as well as the Alternate Envelopes toblend the two instruments. The attack portion of the secondary instru-ment is removed using the sample start parameter and then delayedslightly so it will sound only after the flute attack portion begins to decay.

Primary Secondary

Volume: 45

Chorus: On

Pan: +2

Instrument: El. Guitar

A H D S R05 05 27 88 44

Pan: -2

Tuning: +12Tuning: +00

Volume: 88

Chorus: Off

Instrument: Oct. 7 All

Alt Envelope: On Alt Envelope: On

A H D S R00 00 51 00 36

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

Primary Secondary

Volume: 109

Fine Tuning: +05

Delay: 000

Instrument: Tenor Sax

A H D S R06 00 38 85 40

Delay: 002

Tuning: +12Tuning: +12

Volume: 83

Fine Tuning: +00

Instrument: Soft Flute

Alt Envelope: On Alt Envelope: On

A H D S R04 02 16 00 16

Sound Start: 000 Sound Start: 040


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

USING PROTEUS WITH A SEQUENCERWe thought you’d never ask. Proteus was designed from its conceptionwith multi-timbral sequencing in mind. Just take a look at the mainscreen.


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


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

MIDI MODE IDMulti 00

Sequencing Proteus

PROGRAMMING PROTEUS


PROGRAMMING PROTEUS

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

MORE ADVANCED SEQUENCING

PRE-SEQUENCE SETUPSuppose that you want to have your sequencer set up everything for youbefore the start of the song. Good idea. This will make the Proteus setupprocedure automatic and prevent the wrong presets from playing.

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

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

INITIAL SETUPIn the Master menu:

1) Turn ON Multi-Mode

2) Turn ON Preset Change enable for each channel.

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

PRESET, VOLUME and PAN SETUPProgram your MIDI sequencer to transmit the following informationbefore the song starts.

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

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

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

Advanced Sequencing

The Preset, Volume,and Pan information forall 16 channels is in-cluded when the Mastersettings are transmittedor received.

70 Proteus operation manualUsing the 32 Channels

PROGRAMMING PROTEUS

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

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

USING THE 32 CHANNELSAs stated earlier, Proteus has 32 independent audio channels which areutilized dynamically. With 32 channels and 192 presets, you have auniverse of sonic textures at your disposal. But you have probablynoticed that many of the best sounding presets in Proteus are linked withother presets or have chorus applied to them in order to make them soundlarger. While this is fine when the preset is played solo, you may begin torun out of channels when Proteus is played multi-timbrally. Linking andchorusing cause twice as many channels to be used by the preset. Learnto "budget" your output channels for maximum efficiency.

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

INSTRUMENT DEFINITIONIf your sequence has a instrumental section using numerous chords, itmay be advantageous to use a basic preset without links or chorus. Apreset will sound much different alone than when combined with anensemble. Try to resist the temptation to make every sound as fat aspossible or you can wind up with “MIDI Soup”; a huge, stifling soundwith every possible audio frequency filled. A solo saxophone in a bandisn't chorused and it sounds great. Each voice in your composition shouldhave it’s own identity. Save the monster sounds for solos or dramaticeffects.

The followingProteus/1 presetsuse only one outputchannel:

5. Acoustic Guitar14. Rock Drums 120. Velocity Falls25. Special FX 130. Latin Drums31. Wind Chimes35. Baritone Sax36. Solo Trumpet46. Latin Percussion48. Grand Piano53. Solo Trombone124. Tremolo Vibe127. Barber Pole160. Low Grand161. Bright Piano162. Xpressive String163. String Vel.-> Atk.164. Choir165. Dark Choir167. Alto Sax168. Tenor Sax170. French Horn171. Trombone 2172. Trom./Trumpet173. Guitar Mutes174. Electric Guitar176. Rock Bass177. Flint Bass178. Bass Synth 2179. Harmonics180. Marimba181. Vibes Wheel182. Percussives183. Rock Drums 2184. Rock Drums 3185. Snares/Drums186. Kick Drums187. Cymbals188. Tom Toms189. Conga Trans.190. Block Trans.

71Proteus operation manual External Processing

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

SUB 2 SUB 1 MAINL L LR

STEREOMONOOUTPUTS

RR

RingTip

Fuzzman

Fuzz Box

RingTip RingTip

StereoReverb Unit

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

PROGRAMMING PROTEUS

72 Proteus operation manualPatch Sheet

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

Sec VOLUME

Pri PAN

Pri COARSE TUNE

Sec COARSE TUNE

Pri CHORUS

Pri DELAY

Sec DELAY

Pri SOLO

Pri SOUND START

Sec SOUND START

Pri REVERSE

Sec ALT. ENVELOPE

MIX OUTPUT

PRI INSTRUMENT

SEC INSTRUMENT

KEY RANGE

Pri KEY RANGE

Sec KEY RANGE

Pri VOLUME

Sec PAN

Pri FINE TUNE

Sec FINE TUNE

Sec CHORUS

Sec SOLO

Sec REVERSE

Pri ALT. ENVELOPE

1 -

3 -

2 -

LINK 1

LINK 2

LINK 3

KYBD TUNING

VEL. CURVE

KYBD CENTER

CONTROLLER D

PRESSURE AMT.

4 -

6 -

5 -

7 -

8 -

CONTROLLER A

CONTROLLER B

CONTROLLER C

3

2

1

P-BEND RANGE

FOOTSWITCH CONTROL

CONTROLLER AMOUNT

REALTIME MOD. CONTROL

1 >

2 >

3 >

4 >

5 >

6 >

KEY/VELOCITY CONTROL

Pri ATTACK

Pri HOLD

Pri DECAY

Pri SUSTAIN

Pri RELEASE

Sec ATTACK

Sec HOLD

Sec DECAY

Sec SUSTAIN

Sec RELEASE

XFADE DIRECTION

XFADE MODE FD Xsw

XFADE BALANCE

XFADE AMOUNT

SWITCH POINT

LFO 1 SHAPE

LFO 1 AMOUNT

LFO 1 RATE

LFO 1 DELAY

LFO 1 VARIATION

LFO 2 SHAPE

LFO 2 AMOUNT

LFO 2 RATE

LFO 2 DELAY

LFO 2 VARIATION

AUX ENV AMOUNT

AUX ENV DELAY

AUX ENV-ATTACK

AUX ENV-HOLD

AUX ENV-DECAY

AUX ENV-RELEASE

AUX ENV-SUSTAIN

PROTEUS Patch Sheet

73Proteus operation manual Reference

REFERENCE SECTION


PROTEUS/1 FACTORY PRESETS

Factory Presets

Bold Type ... indicates a User Preset.Number in Parenthesis = XR Preset Number* ................... indicates that the preset is linked to another preset.** ................. indicates that the two adjacent presets are linked.

KEYBOARDS0. (256) Stereo Piano9. (265) B3 Mod->Leslie16. (272) Heaven18. (274) Electric Piano32. (288) Harpsikord39. (295) String Bass/Piano *48. (304) Grand Piano66. (66) Space Clavier69. (69) Ball Game80. (80) Vibrant Piano *96. (96) Piano Drama99. (99) Reedy Keys112. (112) Winston Grand122. (122) Mr. Minister128. (320) Piano & Synth *144. (336) Saloon Piano160. (352) Low Grand161. (353) Bright Piano

STRINGS1. (257) Hall Strings33. (289) String Orchestra49. (305) Flange String65. (65) Isham Strings *90. (90) Synth String100. (100) String Swell110. (110) Hall 2 Strings **111. (111) Hall 2 Link **113. (113) STRings129. (321) String Chamber132. (324) New Orchestra *151. (343) Orchestra Hit162. (354) Xpressive String163. (355) String Vel. ->Atk.

VOICES2. (258) InChoirIrie34. (290) Human Voices58. (314) Octave Choir66. (66) WeAteFlangers116. (116) Vibes/Choir *145. (337) Crystal Choir *146. (338) Herbal Verbal164. (356) Choir165. (357) Dark Choir

BRASS3. (259) Big City Brass19. (275) French Horn Sect.20. (276) Velocity Falls36. (292) Solo Trumpet52. (308) Miles Solos53. (309) Solo Trombone68. (68) Hard Trumpet83. (83) Orchestral Brass84. (84) Low Octave Bones91. (91) Space Trumpet123. (123) Bone Face131. (323) Trumpet Combo132. (324) New Orchestra *147. (339) Section Falls148. (340) Section Horns *170. (362) French Horn171. (363) Trombone 2172. (364) Tromb./Trumpet

REEDS/FLUTES4. (260) Stereo Sax17. (273) Verb Flute35. (291) Baritone Sax115. (115) Uboe130. (322) Breathy Flute132. (324) New Orchestra *166. (358) Soprano Reed167. (359) Alto Sax168. (360) Tenor Sax169. (361) Synth. Clarinet

PLUCKED5. (261) Acou. Guitar6. (262) Modern Guitar21. (277) Stereo Mutes37. (293) 12 String *38. (294) Modern Harp47. (303) SpaceBkwdGuitar54. (310) Xpr. El. Guitar59. (315) Gitano70. (70) Clean Stratocaster97. (97) Punctuate107. (107) BanJovi118. (118) Rock Gitaro125. (125) Dulcimer133. (325) Ster. Acou. Guitar134. (326) Shamisen173. (365) Guitar Mutes174. (366) Electric Guitar175. (367) Ster. El. Guitar179. (371) Harmonics

SYNTHESIZER8. MiniMoog Bass10. (266) Phantazia11. (267) Zound Trax26. (282) Har. Synth27. (283) Beyond FM40. (296) Mythical Pad41. (297) PianoBell43. (299) Empyrean50. (306) White Veil51. (307) Dark World55. (311) Space Bass Pad56. (312) Dune57. (313) RB’s Wine64. (64) FM Style Piano *66. (66) WeAteFlangers67. (67) Space Clavier73. (73) Space Horn74. (74) Blue Ice75. (75) Embered Tines81. (81) Emperor *82. (82) NoiseFree LA *85. (85) Synthibell

The RAM presetsmay be modified or re-placed as you desire,but the ROM presetsare stored perma-nently in the Proteus.

0-255

256-383

PROTEUS XR

RAM

ROM

Presets

0-63

64-127

128-191

PROTEUS

ROM

RAM

ROM

Presets



Factory Presets

Bold Type ... indicates a User Preset.Number in Parenthesis = XR Preset Number* ................... indicates that the preset is linked to another preset.** ................. indicates that the two adjacent presets are linked.

SYNTHESIZER86. (86) Space Steel89. (89) Squarish Lead90. (90) Synth String91. (91) Space Trumpet98. (98) Lunar Window101. (101) Jingle Pad102. (102) Solo Lead104. (104) Bass & Synth *105. (105) Gillectro106. (106) Pop Pad114. (114) Sharp Edge117. (117) Solo Synth 3121. (121) Bed Tine128. (320) Piano & Synth *136. (328) Rock Attitude137. (329) Tocatta Seven138. (330) Pop Art139. (331) Mini Solo140. (332) Airimba149. (341) Hollow Solo152. (344) Keys Please155. (347) Crazy Man156. (348) Clock Chimes178. (370) Bass Synth. 2

BASS7. (263) Thunder Bass8. (264) MiniMoog Bass22. (278) Stone Bass & Har.23. (279) Slap/Pop Bass24. (280) Rap Bass39. (295) String Bass/Piano *55. (311) Space Bass Pad71. (71) Noze Bass/Pad72. (72) Wide Neck *103. (103) Buzzy Frets104. (104) Bass & Synth *109. (109) Slippery Bass135. (327) Stone Slap Bass150. (342) Fat Boy Bass176. (368) Rock Bass177. (369) Flint Bass

178. (370) Bass Synth. 2179. (371) Harmonics

TUNEDPERCUSSION12. (268) Vibe n Me13. (269) Tiki Threat44. (300) Glockenspiel45. (301) Wide Marimba61. (317) Medicine Drum76. (76) Odd Vibes77. (77) Bright Steel *92. (92) Metal Throat93. (93) Light Mallet94. (94) Congablock108. (108) Malletumba116. (116) Vibes/Choir *124. (124) Tremolo Vibe126. (126) Block Head140. (332) Airimba141. (333) Steel Drums157. (349) Vibe & Marimba180. (372) Marimba181. (373) Vibes Whl-Mod.189. (381) Conga Trans.190. (382) Block Trans.

PERCUSSION14. (270) Rock Drums 130. (286) Latin Drums46. (302) Latin Percussion61. (317) Medicine Drum62. (318) Radical Drum142. (334) Modern Drums153. (345) Metal Toys158. (350) Ster. Slap Drum182. (374) Percussives183. (375) Rock Drums 2184. (376) Rock Drums 3185. (377) Snares/Drums186. (378) Kick Drums187. (379) Cymbals188. (380) Tom Toms

WORLD28. (284) Kyoto Forest29. (285) Balinesia42. (298) Noh Way! *60. (316) Thai Bath House78. (78) Native Power *134. (326) Shamisen

SOUND EFFECTS15. (271) Metal Vapor25. (281) Special FX 131. (287) Wind Chimes63. (319) Mtlphone Arp. 979. (79) Insects87. (87) Jet Boom **88. (88) Jet Boom **95. (95) Hold & Sample119. (119) Animal 1 **120. (120) Animal **127. (127) Barber Pole143. (335) Space Texture153. (345) Metal Toys154. (346) Weather156. (348) Clock Chimes159. (351) Flying Module

191. (383) Default Patch


SAMPLED SOUNDS1. Piano ........................................................................... 9 foot Grand Piano2. Piano Pad .......................... Piano with slow attack and sustained loop3. Loose Piano .......................................................... Old style Grand Piano4. Tight Piano...................................... Contemporary 9 foot Grand Piano5. Strings .............. String section with Basses, Cellos, Violas and Violins6. Long Strings...................... String section with long attack and release7. Slow Strings ................. Section Strings with longer attack and release8. Dark Strings ..................................... Section Strings with a darker tone9. Voices.................................................................................... Female Choir10. Slow Voices ................... Female Choir with longer attack and release11. Dark Choir ........................................ Female Choir with a darker tone12. Synth Flute ......................................... Genuine Flute with a short loop13. Soft Flute ..................................................................... Slow attack Flute14. Alto Sax ....................................................................................... Alto Sax15. Tenor Sax.................................................................................. Tenor Sax16. Baritone Sax ......................................................................... Baritone Sax17. Dark Sax .................................................. Tenor sax with a darker tone18. Soft Trumpet .......................................................... Soft blown Trumpet19. Dark Soft Trumpet ............. Soft blown Trumpet with a darker tone20. Hard Trumpet ..................................................... Hard blown Trumpet21. Dark Hard Trumpet ......... Hard blown Trumpet with a darker tone22. Horn Falls ................................................. Descending pitch Trumpets23. Trombone 1 .............................................................................. Trombone24. Trombone 2 ............................................................................. Trombone25. French Horn....................................................................... French Horn26. Brass 1 .................................... Combination Trombone/Soft Trumpet27. Brass 2 .................................. Combination Trombone/Hard Trumpet28. Brass 3 ........ Combination Trombone/Soft Trumpet/Hard Trumpet29. Trombone/Sax ................................ Combination Trombone and Sax30. Guitar Mute .............................................. Palm muted Electric Guitar31. Electric Guitar............................. Clean, Humbucking Electric Guitar32. Acoustic Guitar ........................................ Steel String Acoustic Guitar33. Rock Bass ...................................................... Carbon Fiber Bass Guitar34. Stone Bass .................................... Rare, Aluminum Neck Bass Guitar35. Flint Bass ..................................... Bass Guitar with altered harmonics36. Funk Slap .............................. Lower two Bass Guitar strings slapped37. Funk Pop ..... Popped Bass Guitar strings (combine with Funk Slap)38. Harmonics ......................................................... Bass Guitar Harmonics39. Rock/Harmonics ....... Combination Rock Bass and Bass Harmonics

PROTEUS INSTRUMENTS

Sampled Sounds


40. Stone/Harmonics .. Combination Alum. Neck Bass and Harmonics41. Nose Bass ................................................ Chunky, Popped Bass Guitar42. Bass Synth 1 ......................... Classic, Analog Synthesizer Bass Sound43. Bass Synth 2 ..................................................... Digital Bass Synthesizer44. Synth Pad .................................................. Fat, Digital Synthesizer pad45. Medium Envelope Pad ..... Digital Synth pad with altered envelope46. Long Envelope Pad. Digital Synth pad with long attack and release47. Dark Synth .............................. Digital Synthesizer with a darker tone48. Percussive Organ .......................... Classic, Tone Wheel Organ sound49. Marimba ..................................................................................... Marimba50. Vibraphone ........................................................................... Vibraphone51. All Percussion (balanced levels) ........52. All Percussion (unbalanced levels) ...53. Standard Percussion Setup 1 ..............54. Standard Percussion Setup 2 ..............55. Standard Percussion Setup 3 ..............56. Kicks ......................................................57. Snares.....................................................58. Toms ......................................................59. Cymbals ................................................60. Latin Drums..........................................61. Latin Percussion ...................................62. Agogo Bell .............................................63. Woodblock ............................................64. Conga.....................................................65. Timbale ..................................................66. Ride Cymbal .........................................67. Percussion FX1 .....................................68. Percussion FX2 .....................................69. Metal ....................... Percussive, Metallic, Analog Synthesizer Sound

See thePercussionInstrument LocationDiagramson the following pages.

PROTEUS/1 INSTRUMENTS

Sampled Sounds


HARMONIC WAVEFORMS70. Oct 1 (Sine)71. Oct 2 All72. Oct 3 All73. Oct 4 All74. Oct 5 All75. Oct 6 All76. Oct 7 All77. Oct 2 Odd78. Oct 3 Odd79. Oct 4 Odd80. Oct 5 Odd81. Oct 6 Odd82. Oct 7 Odd83. Oct 2 Even84. Oct 3 Even85. Oct 4 Even86. Oct 5 Even87. Oct 6 Even88. Oct 7 Even89. Low Odds90. Low Evens91. Four Octaves

Starting from the first octave (fundamental), theharmonic waveforms contain the harmonics (odd,even, or all) present in each octave. In each succes-sive octave the number of harmonics doubles. Bycombining (pri/sec or link) the harmonic wave-forms in various amounts (volume), and transpos-ing them (coarse/fine tuning), a vast range of tim-bres may be produced.

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

1 2 3 4 5 6 7 8 9 10 15 1617 3118

1 2 3 4 5

Harmonic

Octave

Frequency (log)

Lev

el


Proteus/1 Harmonic Waveforms

79Proteus operation manual Proteus/1 Waveforms


SINGLE CYCLE WAVEFORMS92. Synth Cycle 193. Synth Cycle 294. Synth Cycle 395. Synth Cycle 496. Fundamental Gone 197. Fundamental Gone 298. Bite Cycle99. Buzzy Cycle 1100. Metalphone 1101. Metalphone 2102. Metalphone 3103. Metalphone 4104. Duck Cycle 1105. Duck Cycle 2106. Duck Cycle 3107. Wind Cycle 1108. Wind Cycle 2109. Wind Cycle 3110. Wind Cycle 4111. Organ Cycle 1112. Organ Cycle 2

MULTI-CYCLE WAVEFORMS113. Noise114. Stray Voice 1115. Stray Voice 2116. Stray Voice 3117. Stray Voice 4118. Synth String 1119. Synth String 2120. Animals121. Reed122. Pluck 1123. Pluck 2124. Mallet 1125. Mallet 2

The multi-cycle cycle waveforms areshort sections of sampled sounds.

These single cycle waveforms wereeither synthesized or taken from ac-tual sampled sounds. They werechosen for their diversity and inter-esting qualities.


Gui

ro D

own

Gui

ro U

p

Con

ga O

pen

Sla

pC

onga

Tim

bale

Rim

shot

Tim

bale

Str

ike

Sna

re 3

Kic

k 3

Sna

re 2

Kic

k 2

10"

Tom

Tom

10"

Tom

Tom

10"

Tom

Tom

14"

Tom

Tom

14"

Tom

Tom

Rev

erb

Sna

re 1

Rev

erb

Kic

k 1

14"

Tom

Tom

Rev

erb

Clic

k

Clo

sed

HiH

at 1

Big

HiH

at

Clo

sed

HiH

at 2

Ope

n H

iHat

2

Rid

e C

ymba

lR

ude

Cra

sh

Ago

go B

ell

Fin

ger

Sna

p

Woo

d B

lock

Mar

acas

Cab

asa

Ago

go B

ell

Ros

ewoo

d C

lave

s

Ele

ctro

Cym

bal

Con

ga C

lose

d S

lap

Gui

ro U

p

Ago

go B

ell

Tim

bale

Rim

shot

Tim

bale

Str

ike

Sna

re 3

Kic

k 3

Sna

re 2

Kic

k 2

10"

Tom

Tom

10"

Tom

Tom

10"

Tom

Tom

14"

Tom

Tom

14"

Tom

Tom

Rev

erb

Sna

re 1

Rev

erb

Kic

k 1

14"

Tom

Tom

Ele

ctro

Cym

bal

Rev

erb

Clic

k

Clo

sed

HiH

at 1

Big

HiH

at

Clo

sed

HiH

at 2

Ope

n H

iHat

2

Rid

e C

ymba

lR

ude

Cra

sh

Ago

go B

ell

Fin

ger

Sna

p

Ago

go B

ell

Standard 1

MIDIKey #

36 48 60 72 84 96

Instrument 53

Rev

erb

Kic

k 1

Kic

k 2

Kic

k 3

Rev

erb

Sna

re 1

Sna

re 2

Sna

re 3

Rev

erb

Clic

kC

lose

d H

iHat

1

Big

HiH

atC

lose

d H

iHat

2O

pen

HiH

at 2

Rid

e C

ymba

lR

ude

Cra

shE

lect

ro C

ymba

lF

inge

r S

nap

Low

Ele

ctro

Cym

bal

Tim

bale

Str

ike

Con

gaC

onga

Ope

n S

lap

Woo

d B

lock

Mar

acas

Cab

asa

Ago

go B

ell

14"

Tom

Tom

10"

Tom

Tom

Tim

bale

Rim

shot

Tim

bale

Rim

shot

Con

ga C

lose

d S

lap

Ros

ewoo

d C

lave

s

Gui

ro D

own

Gui

ro U

p

MIDIKey #

36 48 60 72 84 96

All PercussionInstruments 51, 52

All + Standard 1

PROTEUS/1PERCUSSION INSTRUMENT LOCATIONS


Gui

ro D

own

Gui

ro U

p

Con

ga O

pen

Sla

pC

onga

Tim

bale

Rim

shot

Tim

bale

Str

ike

Sna

re 2

Kic

k 2

Rev

erb

Sna

re 1

Rev

erb

Kic

k 1

10"

Tom

Tom

10"

Tom

Tom

10"

Tom

Tom

14"

Tom

Tom

14"

Tom

Tom

Sna

re 3

Kic

k 3

14"

Tom

Tom

Rev

erb

Clic

k

Clo

sed

HiH

at 2

Ope

n H

iHat

2

Clo

sed

HiH

at 1

Big

HiH

at

Rid

e C

ymba

lR

ude

Cra

sh

Ele

ctro

Cym

bal

Fin

ger

Sna

p

Woo

d B

lock

Mar

acas

Cab

asa

Ago

go B

ell

Ros

ewoo

d C

lave

s

Hi E

lect

ro C

ymba

l

Con

ga C

lose

d S

lap

Gui

ro U

p

Ele

ctro

Cym

bal

Tim

bale

Rim

shot

Tim

bale

Str

ike

Sna

re 2

Kic

k 2

Rev

erb

Sna

re 1

Rev

erb

Kic

k 1

10"

Tom

Tom

10"

Tom

Tom

10"

Tom

Tom

14"

Tom

Tom

14"

Tom

Tom

Sna

re 3

Kic

k 3

14"

Tom

Tom

Ele

ctro

Cym

bal

Rev

erb

Clic

k

Clo

sed

HiH

at 2

Ope

n H

iHat

2

Clo

sed

HiH

at 1

Big

HiH

at

Rid

e C

ymba

lR

ude

Cra

sh

Ele

ctro

Cym

bal

Fin

ger

Sna

p

Ele

ctro

Cym

bal

Standard 3

MIDIKey #

36 48 60 72 84 96

Instrument 55

Gui

ro D

own

Gui

ro U

p

Con

ga O

pen

Sla

pC

onga

Tim

bale

Rim

shot

Tim

bale

Str

ike

Sna

re 3

Kic

k 3

Rev

erb

Sna

re 1

Rev

erb

Kic

k 1

10"

Tom

Tom

10"

Tom

Tom

10"

Tom

Tom

14"

Tom

Tom

14"

Tom

Tom

Sna

re 2

Kic

k 2

14"

Tom

Tom

Rev

erb

Clic

k

Clo

sed

HiH

at 2

Ope

n H

iHat

2

Clo

sed

HiH

at 1

Big

HiH

at

Rid

e C

ymba

lR

ude

Cra

sh

Ele

ctro

Cym

bal

Fin

ger

Sna

p

Woo

d B

lock

Mar

acas

Cab

asa

Ago

go B

ell

Ros

ewoo

d C

lave

s

Ele

ctro

Cym

bal

Con

ga C

lose

d S

lap

Gui

ro U

p

Ele

ctro

Cym

bal

Tim

bale

Rim

shot

Tim

bale

Str

ike

Sna

re 3

Kic

k 3

Rev

erb

Sna

re 1

Rev

erb

Kic

k 1

10"

Tom

Tom

10"

Tom

Tom

10"

Tom

Tom

14"

Tom

Tom

14"

Tom

Tom

Sna

re 2

Kic

k 2

14"

Tom

Tom

Ele

ctro

Cym

bal

Rev

erb

Clic

k

Clo

sed

HiH

at 2

Ope

n H

iHat

2

Clo

sed

HiH

at 1

Big

HiH

at

Rid

e C

ymba

lR

ude

Cra

sh

Ele

ctro

Cym

bal

Fin

ger

Sna

p

Ele

ctro

Cym

bal

Standard 2

MIDIKey #

36 48 60 72 84 96

Instrument 54

Standard percussion setups 1, 2, and 3 are compatible with the Alesis HR16,Korg M1, Dr. T's "Dr. Drum" patterns as well as other devices and programs.

Standard 2 + 3

PROTEUS/1PERCUSSION INSTR UMENT LOCATIONS


Toms

14" Tom Tom

10" Tom Tom

MIDIKey #

36 48 60 72 84 96

Instrument 58

Snares

Reverb Snare 1 Snare 2

Snare 3

MIDIKey #

36 48 60 72 84 96

Instrument 57

Kicks

Reverb Kick 1

Kick 2

Kick 3

MIDIKey #

36 48 60 72 84 96

Instrument 56

Kicks, Snares, Toms



Latin Percussion

Guiro Down

Claves

Electro Cymbal Agogo Bell

WoodBlockGuiro UpCabasaMaracas

MIDIKey #

36 48 60 72 84 96

Instrument 61

Cymbals

Closed HiHat 1

Big HiHat Closed HiHat 2 Open HiHat 2

Ride Cymbal Rude Crash

MIDIKey #

36 48 60 72 84 96

Instrument 59

Instrument 60Latin Drums

Tim

bale

Rim

shot

Tim

bale

Str

ike

Tim

bale

Rim

shot

Tim

bale

Str

ike

Con

ga O

pen

Sla

pC

onga

Ope

n S

lap

Con

gaC

onga

Con

ga O

pen

Sla

p

Con

ga

Con

ga O

pen

Sla

pC

onga

Ope

n S

lap

Con

gaC

onga

Con

ga O

pen

Sla

p

Con

ga C

lose

d S

lap

Con

ga C

lose

d S

lap

Con

ga C

lose

d S

lap

Con

ga C

lose

d S

lap

Con

ga C

lose

d S

lap

Con

ga C

lose

d S

lap

Con

ga C

lose

d S

lap

Con

ga C

lose

d S

lap

Con

ga C

lose

d S

lap

Con

ga C

lose

d S

lap

Con

ga O

pen

Sla

pC

onga

Con

gaC

onga

Con

ga O

pen

Sla

p

Tim

bale

Str

ike

Tim

bale

Str

ike

Tim

bale

Rim

shot

Tim

bale

Str

ike

Tim

bale

Str

ike

Tim

bale

Rim

shot

Con

ga C

lose

d S

lap

Tim

bale

Str

ike

Tim

bale

Rim

shot

Tim

bale

Rim

shot

Tim

bale

Str

ike

Tim

bale

Rim

shot

Tim

bale

Rim

shot

Tim

bale

Str

ike

TimbaleRimshot

Timbale Strike

MIDIKey #

36 48 60 72 84 96

Cymbals + Latin


84 Proteus operation manualFX, Agogo, Conga, Ride

Percussion FX 2

Conga Open Slap

Ride Cymbal

Big HiHat

MIDIKey #

36 48 60 72 84 96

Instrument 68

Percussion FX 1

ReverbSnare 1

ReverbClick

RudeCrash

GuiroUp

CongaOpen Slap

FingerSnap

BigHiHat

ElectroCymbal

RideCymbal

OpenHiHat

2

MIDIKey #

36 48 60 72 84 96

Instrument 67


Agogo Bell, Conga, Ride CymbalInstruments 62, 64, 66

Agogo BellCongaRide Cymbal

MIDIKey #

36 48 60 72 84 96


PROTEUS/1 Plus 2PRESETS and INSTRUMENTS


ORCHESTRALROM PRESETS

STRINGS384. Solo Cello385. Solo Viola386. Solo Violin387. Quartet388. Solo Chamber389. StrHarmonic391. Gamba Musik392. Cellophane393. Vienna Dream394. RoomOfStrings395. Legato Str396. Concerto397. Power Cello398. Devil Dance399. Just Violin400. Violin&Viola401. BassoViolino402. Celli Viola403. String Stuff*404. Pizz Basses405. Pizz Celli406. Pizz Violas407. Pizz Violins408. Pizzicato 1409. Pizzicato 2410. Bowed () Pitz412. 3 Octave Pix*413. Paper Pizza414. Synth-N-Pitz420. PizzBass 8vb421. PizzVlns 8va474. Harpsomatic475. Harpsicato

va ................ indicates that the preset is shifted an octave up.vb ................ indicates that the preset is shifted an octave down.* ................... indicates that the preset is linked to another preset.S .................. Synthesized - the preset was created in Proteus, not sampled.

Proteus/1 Plus 2 Orchestral Presets

ENSEMBLES390. Quintoctave417. Violin&Oboe418. Oboe/Strings422. Strgs/Winds423. Pizz/Piccolo424. Divertimento425. Pluck d'Bois426. Clarinola435. Flute/Oboe436. Clar/Bassoon446. Piano Winds499. SawBass/Lead*511. Piano Pizz

PERCUSSION455. Timpani456. Tam Tam457. Tubular Bells458. Timba Mallet459. Deep Drum460. Bell Ensemble461. Warm Mallet464. Mongol Man465. Timp w/Tone466. Gamelan Vibe

WOODWINDS427. Piccolodeeyo428. Oboe429. English Horn430. Clarinet431. Verb Clarinet432. Bass Clarinet433. Bassoon434. ContrBassoon437. Chamber Wind438. Section Winds439. Wind Stack*440. Double Reeds441. Krummhorns S442. Asian Reed S444. Myth Maker445. Egyptian Reed S447. BassClar 8vb448. Cntrbsn 8vb449. Clarinet/Bb450. Clarinet/A451. BassClar/Bb452. Eng.Horn/F

BRASS443. Fusion Horn453. Harmon Mute454. Harmony Room


va ................ indicates that the preset is shifted an octave up.vb ................ indicates that the preset is shifted an octave down.* ................... indicates that the preset is linked to another preset.S .................. Synthesized - the preset was created in Proteus, not sampled.

KEYBOARD419. Piano Trio467. Notre Dame468. Carousel S469. Requiem470. Chapel Organ S471. Sepulcher473. Harpsikord 2 S474. Harpsomatic476. Lurch Pluck479. Deep Pad482. Phaedra488. Tarkus Twin490. Sympathetic492. Glitter God493. Tinker Bell494. Bronze Pad495. ShimmerWays496. Link2Shimmer*497. Analog Pad502. Square One503. Square Link*504. Nice Night505. Prophet Lead*506. Prophet Link507. Mystery Scene508. ElectricLady509. AnalogueMood510. Kosmos Keys

TEXTURES462. Magic Bells472. Pipe Dream477. Whistl'n Joe478. Winter Signs489. Wrong Room498. Electrovocal

SOUND EFFECTS480. Cyberspace481. Grim Reaper483. Darn Saucers485. Space Cowboy486. Infinite One491. Boat Haus500. Psychlotron501. Vampirical

BASS411. Jazz Bass S415. PizzMoogBass416. Amplify Bass463. Sub It484. Kool Bass487. Turbo Bass

ORCHESTRAL ROM PRESETS

Proteus/1 Plus 2 Orchestral Presets


Plus INSTRUMENTS

Proteus/1 Plus 2 Orchestral Instruments

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

Quartets 1-4 havebeen designed so thatthey can be layeredwithout having theindividual instrumentsoverlap each other.This gives you a muchricher sound than youwould get by simplylayering the sameinstruments on top ofeach other.

ORCHESTRAL SAMPLED SOUNDS126. Solo Cello ............................ Bowed, Solo Cello with natural vibrato127. Solo Viola ............................ Bowed, Solo Viola with natural vibrato128. Solo Violin ......................... Bowed, Solo Violin with natural vibrato129. Gambambo ........................................... Cello, Violin with no vibrato130. Quartet 1 ................................................................. Celli, Viola, Violin131. Quartet 2 ..................................................... Bass, Celli, Violas, Violins132. Quartet 3 ................................................................. Celli, Viola, Violin133. Quartet 4 ............................................................................. Celli, Violin134. Pizz Basses ......................................................... Bass section, plucked135. Pizz Celli ............................................................. Celli section, plucked136. Pizz Violas ......................................................... Viola section, plucked137. Pizz Violin ........................................................ Violin section, plucked138. Pizzicombo................................ Pizzicato Bass, Celli, Violas, Violins139. Bass Clarinet .................................................. Sustained Bass Clarinet140. Clarinet .................................................................... Sustained Clarinet141. Bass Clarinet/Clarinet .......... Bass Clarinet and Clarinet split at C3142. Contra Bassoon ........................................................... Contra Bassoon143. Bassoon...................................................................................... Bassoon144. English Horn .............................. English Horn with natural vibrato145. Oboe ............................................................ Oboe with natural vibrato146. Woodwinds ........... Contra Bassoon, Bassoon, English Horn, Oboe147. Harmon Mute ...................................... Solo Trumpet, Harmon Mute148. Tubular Bell ................................................... Orchestral Tubular Bell149. Timpani ...................................................................................... Timpani150. Timpani/Tubular Bell ...................Timpani/Tubular Bell split at C2151. Tamborine ................................................................... Brass Tamborine152. Tam Tam .................................................................................. Tam Tam153. Percussion 3 .................................................... See Percussion 3 Chart154. Special Effects ............................................. See Special Effects Chart155. Oboe noVib ........................................................ Oboe with no vibrato156. Upright Pizz ............ Pizzicato Bass transposed across entire range


Plus INSTRUMENTS

DIGITAL WAVEFORMS157. Sine Wave158. Triangle Wave159. Square Wave160. Pulse 33%161. Pulse 25%162. Pulse 10%163. Sawtooth164. Sawtooth Odd Gone165. Ramp166. Ramp Even Only167. Violin Essence168. Buzzoon169. Brassy Wave170. Reedy Buzz171. Growl Wave172. HarpsiWave173. Fuzzy Gruzz174. Power 5ths175. Filtered Saw176. Ice Bell177. Bronze Age178. Iron Plate179. Aluminum

180. Lead Beam181. Steel Extract182. Winter Glass183. Town Bell Wash184. Orchestral Bells185. Tubular SE186. Soft Bell Wave187. Swirly188. Tack Attack189. Shimmer Wave190. Moog Lead191. B3 SE192. Mild Tone193. Piper194. Ah Wave195. Vocal Wave196. Fuzzy Clav197. Electrhode198. Whine 1199. Whine 2200. Metal Drone201. Silver Race202. Metal Attack203. Filter Bass

TimpaniTam Tam Tubular Bell Brass Tambourine Tubular Bell

MIDIKey #

36 48 60 72 84 96

MIDIKey #

36 48 60 72 84 96

Timpani

Tam Tam Brass Tamborine

Proteus/1 Plus 2 Orchestral Instruments



PROTEUS/2 PRESETS and INSTRUMENTS



Proteus/2 Factory Presets

Bold Type ... indicates a User Preset.* ................... indicates that the preset is linked to another preset.** ................. indicates that the two adjacent presets are linked.† .................. the keyboard range is limited to the actual range of the instrument.E .................. Ersatz; the instrument was created in Proteus, not sampled.

STRINGS0. Solo Cello †1. Solo Viola †2. Solo Violin †3. Quartet4. Solo Chamber5. Arco Basses †6. Arco Celli †7. Arco Violas †8. Arco Violins †9. Marcato 110. Marcato 211. Legato Str12. Concerto13. Pizz Basses †14. Pizz Celli †15. Pizz Violas †16. Pizz Violins †17. Pizzicato 118. Pizzicato 219. Trem Strings20. Tremulus60. Harp74. Exotic Harp96. Vienna Dream99. RoomOfStrings109. String Thing132. Koto E136. Soft Harp139. Classic Gtr E141. StrHarmonic E142. Cellophane143. Gamba Musik

WOODWINDS24. Flute †25. Piccolo †26. Oboe †27. English Horn †28. Clarinet †29. Bass Clarinet †30. Bassoon †31. Contrbassoon †32. Chamber Winds33. Section Winds85. Piccolodeeyo131. Recorder E135. Asian Reed E154. Krummhorns E156. Soft Flute157. Hi Wind Solo158. Verb Clarinet159. PiccoloPeace160. Flute/Oboe161. Clar./Flute162. Clar/Bassoon163. Double Reeds164. Bassoon/Horn165. Alto Flute184. Clarinet/Bb †185. Clarinet/A †186. BassClar/Bb †187. EngHorn/F †

ENSEMBLES21. Strgs/Flutes22. Resting Pad23. Divertimento34. Epilogue35. Wind Stack49. BrassStrings61. Harpstrings84. Gently Now *107. Pizz/Piccolo144. Quintoctave

ENSEMBLES145. Basses&Vios146. Violin&Celli147. ArcoViolins148. Arco Duet149. Str Section150. Arco Strings151. In The Pit152. <<InThePit<<153. Rotary Chmbr166. WindEnsemble **167. DblReeds/Hrn **

BRASS36. French Horn 1 †37. French Horn 2 †38. Section Horns39. Trumpet 1 †40. Trumpet 2 †41. Two Trumpets42. Harmon Mute †43. Trombone 1 †44. Trombone 2 †45. Tuba †46. Back Brass47. Bright Brass48. Chamber Brass168. Verb Horn169. Xprsv Cornet170. Bone&Trumpet171. Bone&Tuba172. Trombones173. Sfz Brass174. Horn Vel+Wh188. FrenchHorn/F †189. Trumpet/Bb †190. Trumpet/D †

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

0-255

256-383

PROTEUS XR

RAM

ROM

Presets

0-63

64-127

128-191

PROTEUS

ROM

RAM

ROM

Presets




Bold Type ... indicates a User Preset.* ................... indicates that the preset is linked to another preset.** ................. indicates that the two adjacent presets are linked.E .................. Ersatz - the instrument was created in Proteus, not sampled.

PERCUSSION50. Timpani51. Gong/Cymbal52. Bass/Snare +53. Temple Block54. Xylophone55. Glockenspiel56. Celesta57. Tubular Bells58. Percussion 159. Percussion 260. Harp70. Marimbala77. Vibraphone E83. Early Perc102. Sub It!104. CloudChamber138. Grandfather140. Temple Bell E175. Afroblocks E176. Timba Mallet177. Timp w/Tone178. Bass Drum179. TimpLowBlock180. Deep Drum181. Triangle182. Big Log E183. Gamelan E

TEXTURES64. Winter Signs80. Sombre Winds81. Space Cowboy82. The Machine90. Wrong Room93. Electrovocal97. Vertigo Pad103. Psychlotron108. Vampirical113. <*>114. Sardonicus116. Lo Wind Inst127. Ascending

SOUND EFFECTS66. Portamento/F68. Cyberspace71. Grim Reaper75. Darn Saucers78. Astral Flute86. Infinite One100. Magic Bells E110. Galapagos118. Wind Chimes E119. Boat Haus125. Whistl'n Joe133. Dream Garden138. Grandfather

BASS69. PizzMoogBass79. Kool Bass88. Turbo Bass94. Fat Boy Tuba121. Story Bass134. Amplify Bass137. Jazz Bass E155. C.Bsn/Dbl Bs E

191. Default

KEYBOARD62. Harpsikord E63. Notre Dame65. Deep Pad67. Bell Ensemble72. Tinker Bell73. Carousel E76. Bronze Pad87. ShimmerWays *89. Requiem91. Analog Pad92. Chapel Organ95. SawBass/Lead98. Tarkus Twin101. Reginatron105. Sepulcher106. Lurch Pluck111. Square One **112. Square Link **115. Master Tron117. Sympathetic120. Glitter God122. Nice Night123. Prophet Lead **124. Prophet Link **126. Link2Shimmer *128. Harpsomatic129. Phaedra130. Cimbalon E



Proteus/2 Instruments

SAMPLED SOUNDS1. Arco Basses ................................................. Bowed, 3 piece Bass section2. Arco Celli .................................................... Bowed, 4 piece Celli section3. Arco Violas .............................................. Bowed, 10 piece Viola section4. Arco Violin ............................................. Bowed, 16 piece Violin section5. Dark Basses ........................................... Bass section with a darker tone6. Dark Celli .............................................. Celli section with a darker tone7. Dark Violas .......................................... Viola section with a darker tone8. Dark Violin ........................................ Violin section with a darker tone9. Low Tremolo ................................................... Tremolande Bass section10. High Tremolo ............................................. Tremolande Violin section11. Tremolande ......................................... Tremolande Basses and Violins12. Strings 1 ........................................... Section Bass, Celli, Violas, Violins13. Strings 2 ........................................... Section Bass, Celli, Violas, Violins14. Strings 3 ........................................... Section Bass, Celli, Violas, Violins15. Solo Cello .............................. Bowed, Solo Cello with natural vibrato16. Solo Viola .............................. Bowed, Solo Cello with natural vibrato17. Solo Violin ............................. Bowed, Solo Cello with natural vibrato18. Quartet 1 ................................................................... Cello, Viola, Violin19. Quartet 2 .......................................................... Bass, Cello, Viola, Violin20. Quartet 3 ................................................................... Cello, Viola, Violin21. Quartet 4 .............................................................................. Cello, Violin22. Gambambo .............................................. Cello, Violin with no vibrato23. Pizz Basses ............................................................ Bass section, plucked24. Pizz Celli ............................................................... Celli section, plucked25. Pizz Violas ........................................................... Viola section, plucked26. Pizz Violin ........................................................... Violin section, plucked27. Pizzicombo.................................. Pizzicato Bass, Celli, Violas, Violins28. Flute w/Vib ......................................... Solo Flute with natural vibrato29. Flute noVib ............................................. Darker Flute with no vibrato30. Alt. Flute........................................................ Flute with natural vibrato31. Piccolo ............................................................................................ Piccolo32. Bass Clarinet ..................................................... Sustained Bass Clarinet33. Clarinet ....................................................................... Sustained Clarinet34. Bass Clarinet/Clarinet ............ Bass Clarinet and Clarinet split at C335. Contra Bassoon ............................................................. Contra Bassoon36. Bassoon......................................................................................... Bassoon37. English Horn ................................. English Horn with natural vibrato38. Oboe w/Vib ................................................. Oboe with natural vibrato39. Oboe noVib .......................................................... Oboe with no vibrato40. Alt. Oboe ............................................ Different Oboe with no vibrato


41. Woodwinds .............. Contra Bassoon, Bassoon, English Horn, Oboe42. Hi Trombone ............................................................................ Trombone43. Lo Trombone ............................................. Slightly different Trombone44. mf Trumpet .................................................... Solo Trumpet, MF attack45. ff Trumpet ................................................... Solo Trumpet, Forte attack46. Harmon Mute ......................................... Solo Trumpet, Harmon Mute47. mf French Horn ...................................... Solo French Horn, MF attack48. ff French Horn ..................................... Solo French Horn, Forte attack49. Tuba .................................................................................................... Tuba50. ff Brass ............................................ Trombone, French Horn, Trumpet51. mf Brass ................................................... Tuba, French Horn, Trumpet52. Harp .................................................................................... Concert Harp53. Xylophone ............................................................................... Xylophone54. Celesta ........................................................................................... Celesta55. Triangle ........................................................................................ Triangle56. Bass Drum ............................................................................... Bass Drum57. Snare Drum + ............................................... See Snare Drum + Chart58. Piatti ................................................................................................... Piatti59. Temple Block ...................................................................... Temple Block60. Glockenspiel ....................................................................... Glockenspiel61. Percussion 1 ...................................................... See Percussion 1 Chart62. Percussion 2 ...................................................... See Percussion 2 Chart63. Low Percussion 2 ............... Same as Percussion 2, but at lower pitch64. High Percussion 2 ............. Same as Percussion 2, but at higher pitch65. Tubular Bell ....................................................... Orchestral Tubular Bell66. Timpani ........................................................................................ Timpani67. Timpani/Tubular Bell ..................... Timpani/Tubular Bell split at C268. Tambourine .......................................................................... Tambourine69. Tam Tam .................................................................................... Tam Tam70. Percussion 3 ...................................................... See Percussion 3 Chart71. Special Effects ............................................... See Special Effects Chart





1 2 3 4 5 6 7 8 9 10 15 1617 3118

1 2 3 4 5

Harmonic

Octave

Frequency (log)

Lev

el

OCTAVE-5 ODD

1719

2123

2527

2931


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

These are the same waveforms that are inthe Proteus/1 and are very useful, eitherto accent certain harmonics in thesampled sounds, or combined with otherwaveforms for synthesized and additivetimbres.




DIGITAL WAVEFORMS94. Sine Wave95. Triangle Wave96. Square Wave97. Pulse 33%98. Pulse 25%99. Pulse 10%100. Sawtooth101. Sawtooth Odd Gone102. Ramp103. Ramp Even Only104. Violin Essence105. Buzzoon106. Brassy Wave107. Reedy Buzz108. Growl Wave109. HarpsiWave110. Fuzzy Gruzz111. Power 5ths112. Filtered Saw113. Ice Bell114. Bronze Age115. Iron Plate116. Aluminum117. Lead Beam118. Steel Extract

119. Winter Glass120. Town Bell Wash121. Orchestral Bells122. Tubular SE123. Soft Bell Wave124. Swirly125. Tack Attack126. Shimmer Wave127. Moog Lead128. B3 SE129. Mild Tone130. Piper131. Ah Wave132. Vocal Wave133. Fuzzy Clav134. Electrhode135. Whine 1136. Whine 2137. Metal Drone138. Silver Race139. Metal Attack140. Filter Bass141. Upright Pizz142. Nylon Pluck 1143. Nylon Pluck 2144. Plucked Bass

Proteus/2 Waveforms


PROTEUS/2INSTRUMENT LOCATIONS

Strings 1

Arco Basses Arco Celli Arco Violas Arco Violins

MIDIKey #

36 48 60 72 84 96

Instrument 12

Arco Violas Arco ViolinsArco Celli

Strings 2

MIDIKey #

36 48 60 72 84 96

Instrument 13

Arco ViolinsArco Celli

Strings 3

MIDIKey #

36 48 60 72 84 96

Instrument 14

Arco Violas Arco Violas

Strings 1, 2 and 3


Arco ViolinArco Cello

Quartet 3

MIDIKey #

36 48 60 72 84 96

Instrument 20

Arco Viola

Arco CelloArco Cello

Quartet 2

MIDIKey #

36 48 60 72 84 96

Instrument 19

Arco Viola Arco Viola Arco Violins

Arco ViolinArco Cello

Quartet 1

MIDIKey #

36 48 60 72 84 96

Instrument 18

ArcoViola


Quartets 1, 2 and 3


Percussion 1

MIDIKey #

36 48 60 72 84 96

Instrument 61

Temple Block XylophoneTriangle

Percussion 3

MIDIKey #

36 48 60 72 84 96

Instrument 70

Timpani

Tam Tam Brass Tamborine

RimShot

BassDrum

Percussion 2

MIDIKey #

36 48 60 72 84 96

Instrument 62

SnareDrum

RimClick

SnareRoll

TempleBlock

Xylophone

Piatti Piatti Triangle


Percussion 1, 2 and 3


English HornContraBassoon

Woodwinds

MIDIKey #

36 48 60 72 84 96

Instrument 41

Bassoon Oboe

Pizzicato ViolasPizzicato Basses

Pizzicombo

MIDIKey #

36 48 60 72 84 96

Instrument 27

Pizzicato Celli Pizzicato Violins

Special Effects

TimpaniTam Tam Tubular Bell Brass Tambourine Tubular Bell

MIDIKey #

36 48 60 72 84 96

Instrument 71

(Transpositions)

Pizz., Woodwinds, FX




PROTEUS/3 PRESETS and INSTRUMENTS




TRUMPETS/HORNS2. Desert Dawn11. Shofars14. Didjeridu 191. Heralds137. Trombone (329)138. Trumpet (330)139. French Horn (331)161. Didjeridu 2 (353)

STRINGS/PLUCKED0. Troubadour3. Blue Grass6. Koto10. Irish Harp12. Psaltery13. Fragrant Tar16. Dulcimer20. Nylon Guitar23. Lotus Land24. AmbiJewsHarp26. Oud E30. Pizzicatos33. Mod Sitars34. Mbira E36. Cimbalom E40. Harp Tones43. Shamisen E46. Tamburas60. Santur E66. Er-Hu80. Star of Siam86. Yesir Rebab106. Bass Mbira E128. Stereo Harp (320)149. Likembeleo (341)154. Harpluck 5th (346)156. Nylon Pad (348)162. Juicy Slap (354)171. Ravoozle (363)173. Camelot (365)175. Banjo (367)177. Juicy Pizz (369)185. Berimbau E (377)

0-255

256-383

PROTEUS XR

RAM

ROM

Presets

0-63

64-127

128-191

PROTEUS

ROM

RAM

ROM

Presets

ROM

06364

127

256319320383 ROM

128191192255

USER

USER

USER

USER

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

PERCUSSION8. Percussion 118. Percussion 228. Bata Drums48. Udu Tones58. Pitchin' Perc140. Stereo Bata (332)147. World Drums (339)151. Repique (343)163. Gongs (355)165. Plexi Delay (357)178. Udu Grande (370)179. Drum Stacks (371)186. Log/Shaker (378)189. Panned Perc (381)

TUNEDPERCUSSION32. Temple Gong38. Baya Suwuk52. Sake Bell54. Brite Bonang63. Shinto67. Miya Daiko75. Tabla Tarang85. Saronkembe88. Bali Bells T89. Stereo Shake92. Bender Bells94. Flautaland107. Heavy Tibet113. Afro Mallets118. Sandrum122. Balafon124. Vodun Drums130. The Temple (322)134. Punch Ocarina (326)136. Stereo Steel (328)160. Titse Drum (352)169. Timpani E (361)172. Syndrums T (364)174. Chimes E, T (366)188. Gamelan T (380)

FLUTES5. Ney Flute15. Pan Flute35. Shakuhachi45. Ocarina Solo55. Suling T61. Fifths Ney65. Flautissimo79. Whistling100. Uduhachi131. Herbal Ney (323)141. Chiff Flute (333)148. Stereo Siku (340)153. FluteTransform (345)159. Rhythm Flutes (351)164. Gamelan Flute T (356)170. ShakuWhistle (362)187. Pennywhistle (379)

REEDS1. Accordion17. Bagpipe21. Mizmars25. Shenai31. Mod Harmonica41. Paris Musette E51. Fsw->Bagpipe97. Clarinet E129. Chanter Pipes (321)180. Dali Drone (372)

KEYBOARDS27. Harmonium E, T41. Paris Musette E71. Europa I76. Elec. Piano E77. Eurostructur129. Chanter Pipes (321)150. Electro Tine E (342)180. Dali Drone (372)

Bold Type ..... indicates a User Preset.(XXX) ............ indicates the preset number for a Proteus XR.** ................... indicates that the adjacent presets are linked.E .................... Ersatz; the instrument was created in Proteus, not sampled.T .................... Tuning; the instrument uses an alternate tuning table.

Proteus operation manual 105Proteus/3 Factory Presets

SYNTHESIZERS19. Hanoi Drone37. Hybrid Winds42. Nu Age49. Jade Spring57. Psaltines64. Dream I68. So Dark73. Whambambu82. Analogue I83. Silk & Spice90. Arctic Vista96. Air Gamelan98. Krafter Bass99. Resokeys104. Orgon110. Deep Synth112. Rubber Band127. Balithang131. Herbal Ney (323)181. Gonggnod Mod (373)

SYNTHETIC BLENDS22. Back in Bowl!44. Syn Kalimba50. Hybrid Pluck62. Ethnocentric69. Breathing72. Dream II78. Spanish Ney80. Star of Siam87. Sukiyaki94. Flautaland108. Bali Reeds117. Automan Empire119. Ice Bella121. Sundareem123. Groan Drone153. Flute Transform (345)158. Tarmon Down (350)166. Air Guitar (358)182. Lotus Moon (374)183. Neydashofar (375)190. Zendo (382)


ENSEMBLES7. East Indian53. Celtic Split142. Akhmirs Tent (334)144. Raga (336)

BASS56. Pizz Bass70. Reso Bass81. Basov Chorus98. Krafter Bass125. Bass

191. Default (383)

SYNTH PADS39. Peter's Pad47. Dulcet Bow59. Mizmarized71. Europa I77. Eurostructur95. On Land101. Brass Pad102. Requiem105. Dream III107. Heavy Tibet109. Asiatic Drone111. Xanax114. Europa II116. New Jerusalem120. Good Breath143. Big Theme (335)146. Ersatz Ahs (338)152. Lhasa (344)155. Netherworld (347)167. Ben Hur (359)

WEIRD/SOUND FX4. Spirit Catch9. Waterphone T29. Deep Sea Life T74. Forboding84. Disembodied89. Stereo Shake93. Brook Babble103. Metal Cutter115. Fried Eggs126. Jungle Book132. SpiriSprite ** (324)133. SpiriSprite ** (325)135. Vast Sea (327)145. Reverse Drums (337)157. Big Noise (349)168. Spacethang (360)176. Gorgon (368)184. Catch Rhythm (376)

Bold Type ..... indicates a User Preset.(XXX) ............ indicates the preset number for a Proteus XR.** ................... indicates that the adjacent presets are linked.E .................... Ersatz; the instrument was created in Proteus, not sampled.T .................... Tuning; the instrument uses an alternate tuning table.




SAMPLED SOUNDS

AFRICA53. Udu Drum............ Combination - See Udu Drum Chart56. Wood Drum ......... Combination - See Wood Drum Chart75. Buzz/Likembe .... Combination - Likembe Buzz, Likembe76. Likembe ................ African Sansa or “thumb piano”77. Likembe Buzz ...... African Sansa with buzz89. Udu Tone ............. African Clay Pot with Open Side Hole90. Udu Release ......... African Clay Pot - hand released from side hole91. Udu Finger ........... African Clay Pot - ring tapping on side92. Udu Slap............... African Clay Pot - slapping on side117. Rosewood Bass .... African Tonal Drum118. Rosewood Tick .... African Tonal Drum119. Rosewood Harm. African Tonal Drum - harmonic120. Rosewood Finger African Tonal Drum121. Tanzanian Shaker Wooden Shaker from Tanzania

AUSTRALIA4. Down Under ........ Combination - See Down Under Chart37. Roarer/Catcher ... Combination Bull Roarer/Spirit Catcher38. Bull Roarer ........... Australian Aerophone - wood plate and cord40. Didjeridu .............. Combination - A, B & C Didjeridus41. Didjeridu A .......... Tubular Australian Trumpet - looped pattern42. Didjeridu B........... Australian Trumpet - looped tone43. Didjeridu C .......... Australian Trumpet - single complex event116. Clapper Stick ....... Australian Flat Wood Clapper

EUROPE1. Renaissance .......... Combination - See Renaissance Chart5. Troubadour .......... French Nylon String Folk Harp7. Dulcimer............... Steel String Hammered Dulcimer11. Guitar .................... Nylon String Classical Guitar17. Pizz Bass ............... Plucked Double Bass19. Accordion............. Modern Keyboard Accordion - looped20. Harmonica ........... Harmonica Tone - looped21. Vib. Harmonica ... Harmonica Tone with Vibrato - looped25. Ocarina ................. Clay Ocarina44. Jews Harp............. Combination - A, B, C, & D Jews Harps

Proteus operation manual 107Proteus/3 Instruments


EUROPE (cont)45. Jews Harp A ........ Metal Jews Harp - playing style A46. Jews Harp B ......... Metal Jews Harp - playing style B47. Jews Harp C ......... Metal Jews Harp - playing style C48. Jews Harp D ........ Metal Jews Harp - playing style D49. Trombone ............. Trombone50. French Horn......... French Horn51. Trumpet................ Trumpet74. Castanet ................ Spanish Castanets

INDO-ASIAN2. East Indian ........... Combination - See East Indian Chart12. Sitar ....................... Indian Sitar13. Tamburas ............. Indian Tamburas18. Tam/Sitar ............. Combination - Tambura/Sitar23. Shanai ................... Indian Double Reed Shawm-1 semi rise55. The Tabla .............. Combination - See Tabla Chart72. Wood Block.......... Chinese Wood Block100. Baya Tone............. Indian Low Tabla - tone, slightly rising pitch101. Baya Slap .............. Indian Low Tabla - slap102. Baya Hit ................ Indian Low Tabla - sharp hit103. Tabla Tone ........... Indian High Tabla - tone104. Tabla Mute A ....... Indian High Tabla - dull mute105. Tabla Mute B ....... Indian High Tabla - strong mute106. Tabla Mute C ....... Indian High Tabla - high pitched mute107. Tabla Open........... Indian High Tabla - slightly tonal mute108. China Gong .......... Chinese Brass Gong109. Nepal Cymbal ..... Nepalese Brass Cymbal110. Tibetan Bowl ........ Highly Resonant Brass Bowl

INDONESIA57. Gamelan ............... Combination - Kenong, Bonang, Saron58. Bonang Kenong ... Combination - Bonang, Kenong59. Kenong Bonang ... Combination - Kenong, Bonang60. Seribu Pulau ........ Combination - Tibeten Bowl, Saron, Bonang112. Bonang .................. Small Javanese Bronze Tuned Gong - Gamelan113. Kenong ................. Medium Javanese Bronze Gong - Gamelan114. Saron ..................... Javanese “Xylophone” - Gamelan115. Suwuk Gong ........ Large Shallow Javanese Gong - Gamelan




INDONESIA (cont)122. Hula Stick ............. Bamboo Shaker from the Pacific Islands123. Log Drum ............. Pitched Indonesian Wooden Drum

IRELAND6. Irish Harp ............. Steel String Folk Harp24. Penny Whistle ..... Irish Tin Whistle

JAPAN8. Koto....................... Japanese 13-string Zither30. Shakuhachi .......... Japanese End-blown Bamboo Flute

MIDDLE EAST10. Hi Tar .................... Iranian Lute14. Psaltry ................... Middle Eastern Bowed Psaltry22. Mizmars ............... Middle Eastern Double Reed Shawms26. Shofar A................ Hebrew Ceremonial Ram’s Horn27. Shofar B ................ Hebrew Ceremonial Horn - 1 semitone rise/fall28. Shofars .................. Combination - Shofar A/Shofar B31. Ney Flute .............. Side Blown Wooden Flute52. Mid East Drum .... Combination - See Mid. Eastern Drum Chart80. Deff Slap ............... Egyptian Frame Drum81. Deff Mute ............. Egyptian Frame Drum - muted82. Bendir ................... Middle Eastern 16" Gut Snare Drum83. Req Open.............. Middle Eastern Tambourine84. Req Slap ................ Middle Eastern Tambourine - slapped111. Crotales ................ Small Egyptian Pitched Cymbals

SCOTLAND32. Bagpipe Drone .... Scottish Highland Drone Pipe33. Chanter A ............. Scottish Highland Bagpipe - dbl. reed chanter34. Chanter B ............. Scottish Highland Bagpipe - dbl. reed chanter35. Drone/ChanterA Combination Drone/Chanter A36. Drone/ChanterB . Combination Drone/Chanter B




SOUTH AMERICA29. Siku ....................... South American End-blown Flute61. Surdo Drum ......... Combination - Surdo Open/Surdo Mute62. Maracas ................ Combination - Maraca A/B/C/D78. Surdo Open.......... Large South American Bass Drum79. Surdo Mute .......... Muted South American Bass Drum85. Maraca A .............. Latin American Gourd Maraca- shake86. Maraca B............... Latin American Gourd Maraca- shake87. Maraca C .............. Latin American Gourd Maraca- mute88 . Maraca D .............. Latin American Gourd Maraca- short mute99. Crickets ................. Brazilian Wooden Blown Rattle

USA3. Folk America ....... Combination - See Folk America Chart9. Banjo ..................... American Five String Banjo15. Waterphone 1 ...... Bowed Water Vessel - complex attack16. Waterphone 2 ...... Bowed Water Vessel - simple attack39. Spirit Catcher ....... Aerophone - rubber band on wooden “kite”63. Plexitones ............. Combination - Plexitone styles.68. Snare Drum.......... Standard Double-headed Side Drum69. Kick Drum ........... Double-headed Bass Drum70. Hi-Hat Closed ..... Hi-hat Cymbal Closing71. Hi-Hat Open ........ Hi-hat Cymbal Open124. Plexi-Tone ............ Six-foot Plexiglass Tube125. Plexi-Slap A ......... Six-foot Plexiglass Tube126. Plexi-Slap B .......... Six-foot Plexiglass Tube127. Plexi-Slap C.......... Six-foot Plexiglass Tube

WEST INDIES54. Bata Drums .......... Combination - See Bata Drum Chart73. Steel Drum ........... Steel Drum from Trinidad - Second Pan93. Bata Ipu Tone ...... Cuban, Conical Drum - tone94. Bata Ipu Slap........ Cuban, Conical Drum - slapped edge95. Bata Enu Tone ..... Cuban, Conical Drum - tone96. Bata Hi Tone ........ Cuban, Conical Drum - tone97. Bata Hi Mute........ Cuban, Conical Drum - head slightly muted98. Bata Hi Slap ......... Cuban, Conical Drum - slapped edge


COMBINATION64. Traps ..................... Combination - See Traps Chart65. All Percussion 1... Combination - See All Percussion 1 Chart66. All Percussion 1P Same as All Percussion 1 with panning67. All Percussion 2... Combination - See All Percussion 2 Chart


SINGLE CYCLE WAVEFORMS150. Synth Cycle 1151. Synth Cycle 2152. Synth Cycle 3153. Synth Cycle 4154. Fundamental Gone 1155. Fundamental Gone 2156. Bite Cycle157. Buzzy Cycle 1



The Harmonic Waveforms are extremely useful.They can be used to add specific harmonics tosampled sounds, or be combined with otherwaveforms to create synthesized and additivetextures.

1 2 3 4 5 6 7 8 9 10 15 1617 3118

1 2 3 4 5

Harmonic

Octave

Frequency (log)

Lev

el

OCTAVE-5 ODD

1719

2123

2527

2931

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



Proteus/3 Digital Waveforms

SINGLE CYCLE WAVEFORMS (cont)158. Metalphone 1159. Metalphone 2160. Metalphone 3161. Metalphone 4162. Duck Cycle 1163. Duck Cycle 2164. Duck Cycle 3165. Wind Cycle 1166. Wind Cycle 2167. Wind Cycle 3168. Wind Cycle 4169. Organ Cycle 1170. Organ Cycle 2

DIGITAL WAVEFORMS171. Noise172. Dark Noise173. Triangle174. Square175. Sawtooth176. Sawtooth Odd Gone177. Ramp178. Ramp Even Only179. Violin Essence180. Buzzoon181. Brassy Wave182. Reedy Buzz183. Growl Wave184. HarpsiWave185. Fuzzy Gruzz186. Power 5ths187. Filtered Saw188. Ice Bell189. Bronze Age190. Iron Plate191. Aluminum192. Lead Beam193. Steel Extract194. Winter Glass

CONTRIVEDINSTRUMENTS195. Asian Gongs 1196. Asian Gongs 2197. Suwak Wave198. Savannah Land199. Swamp Thing200. Bugs 1201. Bugs 2202. Bugs 3203. Bugs 4204. Bugs 5205. Bugs 6206. Crickets207. Woodpecker 1208. Woodpecker 2209. Frogz210. Tribe 1211. Tribe 2



Instrument 3Folk America Je

ws

Har

p D

Dulcimer

MIDIKey #

Jew

s H

arp

A

36 48 60 72 84 96

Banjo

Jew

s H

arp

B

Jew

s H

arp

C

Harmonica

Instrument 1Renaissance

Cas

tane

t

Crotales

MIDIKey #

Woo

d B

lock

Mar

aca

AM

arac

a B

Mar

aca

CM

arac

a D

36 48 60 72 84 96

Troubadour Harp Ocarina

Instrument 2East Indian B

aya

Ton

e

Tamburas

MIDIKey #

Cric

kets

36 48 60 72 84 96

Accordion

Sitar

Bay

a H

itB

aya

Sla

pT

abla

Ton

eT

abla

Mut

e A

Tab

la M

ute

BT

abla

Mut

e C

Tab

la O

pen

Cla

pper

Stic

k

Renaissance, East Indian, Folk America


Instrument 4Down Under

Bull Roarer

MIDIKey #

Cla

pper

Stic

k

36 48 60 72 84 96

Spirit Catcher

Didjeridu A

Didjeridu B

Didjeridu C

Instrument 52Middle Eastern Drum

Deff Slap

MIDIKey #

36 48 60 72 84 96

Deff Mute

Bendir

Req Open

Req Slap

Instrument 53Udu Drum

Udu Tone

MIDIKey #

36 48 60 72 84 96

Udu Release

Udu Finger

Udu Slap


Down Under, Middle Eastern Drum, Udu Drum

Proteus operation manual114 Bata, Tabla, Wood Drum


Instrument 56Wood Drum

Rosewood Bass

MIDIKey #

36 48 60 72 84 96

Rosewood Tick

Rosewood Harmonic

Rosewood Finger

Bat

a H

i Ton

eB

ata

Hi M

Ute

Bat

a H

i Sla

pB

ata

Hi S

lap

Bat

a Ip

u T

one

Bat

a E

nu T

one

Bat

a Ip

u T

one

Instrument 54Bata Drums

Bat

a Ip

u T

one

MIDIKey #

Bat

a Ip

u T

one

Bat

a Ip

u S

lap

Bat

a Ip

u S

lap

36 48 60 72 84 96

Bat

a H

i Ton

eB

ata

Hi M

ute

Bat

a H

i Sla

p

Bat

a Ip

u S

lap

Bat

a E

nu T

one

Bat

a H

i Mut

eB

ata

Hi S

lap

Bat

a H

i Sla

p

Bat

a Ip

u S

lap

Bat

a E

nu T

one

Bat

a H

i Ton

eB

ata

Hi M

ute

Bat

a H

i Sla

pB

ata

Hi S

lap

Bat

a Ip

u T

one

Bat

a E

nu T

one

Bat

a Ip

u T

one

Bat

a Ip

u S

lap

Bat

a E

nu T

one

Bat

a H

i Ton

eB

ata

Hi T

one

Bat

a H

i Sla

pB

ata

Hi S

lap

Bat

a H

i Mut

eB

ata

Hi S

lap

Bat

a H

i Sla

pB

ata

Ipu

Ton

eB

ata

Ipu

Sla

pB

ata

Enu

Ton

e

Bat

a Ip

u T

one

Bat

a Ip

u S

lap

Bat

a H

i Ton

eB

ata

Hi T

one

Bat

a H

i Mut

eB

ata

Hi S

lap

Bat

a H

i Mut

eB

ata

Hi S

lap

Bat

a H

i Sla

p

Bat

a Ip

u S

lap

Bat

a E

nu T

one

Bat

a H

i Mut

eB

ata

Hi S

lap

Bat

a H

i Sla

pB

ata

Ipu

Ton

e

Bat

a Ip

u T

one

Bat

a Ip

u S

lap

Bat

a H

i Ton

eB

ata

Hi M

ute

Bat

a H

i Sla

p

Bat

a E

nu T

one

Instrument 55The Tabla

Bay

a T

one

MIDIKey #

36 48 60 72 84 96

Bay

a S

lap

Bay

a H

it

Tab

la M

ute

AT

abla

Ton

e

Tab

la M

ute

BT

abla

Mut

e C

Tab

la O

pen

Bay

a S

lap

Bay

a T

one

Bay

a H

it

Tab

la M

ute

AT

abla

Mut

e B

Tab

la M

ute

CT

abla

Ope

n

Tab

la T

one

All Instruments in The Tabla areplayed back at their original pitch.


Hul

a S

tick

Ple

xi-S

lap

AP

lexi

-Sla

p C

Like

mbe

Buz

zS

urdo

Ope

n

Tan

zani

an S

hake

r

Cla

pper

Stic

k

Instrument 67All Percussion 2

Chi

na G

ong

MIDIKey #

Nep

al C

ymba

lT

ibet

en B

owl

Ste

el D

rum

36 48 60 72 84 96

Ple

xi-T

one

Ple

xi-S

lap

BLi

kem

be

Sur

do M

ute

Def

f Mut

e

Req

Sla

pH

i-hat

Clo

sed

Kic

k D

rum

Def

f Sla

pB

endi

rR

eq O

pen

Hi-h

at O

pen

Sna

re D

rum

Cas

tane

t

Mar

aca

AM

arac

a C

Woo

d B

lock

Mar

aca

BM

arac

a D

Udu

Ton

eU

du R

elea

seU

du S

lap

Bat

a Ip

u S

lap

Udu

Fin

ger

Bat

a Ip

u T

one

Bat

a E

nu T

one

Bat

a H

i Ton

eB

ata

Hi S

lap

Bay

a T

one

Bat

a H

i Mut

eC

ricke

ts

Bay

a H

itB

aya

Sla

pT

abla

Ton

eT

abla

Mut

e B

Tab

la M

ute

AT

abla

Mut

e C

Tab

la O

pen

Ros

ewoo

d T

ick

Ros

ewoo

d F

inge

r

Ken

ong

Suw

uk G

ong

Log

Dru

mLo

g D

rum

Ros

ewoo

d B

ass

Ros

ewoo

d H

arm

onic

Bon

ang

Sar

onLo

g D

rum

Cro

tale

Sur

do O

pen

Sur

do O

pen

Sur

do O

pen

Sur

do O

pen

Sur

do O

pen

Tab

la O

pen

Tab

la M

ute

A

Instrument 65All Percussion 1

Kic

k D

rum

MIDIKey #

Cla

pper

Stic

kS

nare

Dru

mW

ood

Blo

ck

36 48 60 72 84 96

Hi-h

at C

lose

dH

i-hat

Ope

nR

osew

ood

Tic

k

Nep

al C

ymba

lN

epal

Cym

bal

Nep

al C

ymba

lN

epal

Cym

bal

Nep

al C

ymba

l

Sur

do M

ute

Ben

dir

Def

f Sla

pD

eff M

ute

Req

Ope

nR

eq S

lap

Mar

aca

AM

arac

a B

Udu

Ton

eU

du R

elea

seU

du F

inge

rU

du S

lap

Mar

aca

CM

arac

a D

Tan

zani

an S

hake

r

Bat

a Ip

u T

one

Bat

a Ip

u S

lap

Bat

a E

nu T

one

Bat

a H

i Ton

eB

ata

Hi M

ute

Bat

a H

i Sla

p

Tan

zani

an S

hake

rT

anza

nian

Sha

ker

Tan

zani

an S

hake

rB

aya

Ton

eB

aya

Sla

pB

aya

Hit

Hul

a S

tick

Hul

a S

tick

Tab

la T

one

Tab

la M

ute

BT

abla

Mut

e C

Ros

ewoo

d B

ass

Ros

ewoo

d T

ick

Ros

ewoo

d H

arm

Ros

ewoo

d F

inge

r

Hul

a S

tick

Hul

a S

tick

Cas

tane

tC

asta

net

Cas

tane

t

Sur

do O

pen

Instrument 64Traps

Kick Drum

MIDIKey #

36 48 60 72 84 96

Snare Drum

Closed Hi-hat

Open Hi-hat

Traps, All Percussion 1 + 2



LFO, DELAY and ENVELOPE TIMES

Envelope Times

DECAYTime (sec)

60

99807570

504030201050

Knob

5

4018129

31.5.75.4

.25.125

0

HOLDTime (sec)

60

99807570

504030201050

Knob

2.3

6.54.23.53.2

1.751.3.8.4.25.125

0

RELEASETime (sec)

50

99807560

403020151050

Knob

4

6020159

2.21.2.6.4

.25.125

0

ALTERNATEATTACK

Time (sec)

50

99807560

403020151050

Knob

4

6020159

2.21.2.6.4

.25.125

0

DELAYTime (sec)

75

1271009680

64403220105

000Knob

3.5

137

6.24.2

2.51.51.6.25.125

0

AUXILIARYATTACK

Time (sec)

50

99887560

403020151050

Knob

5.25

13699239

2.751.5.8.5

.25.125

0

LFO RATESRate (Hz)

40

127806050

30252015105

000Knob

3.3

2516107

2.21.81.33.8.6.1

.052 Delay time applies to both instrument delayand envelope delay.

The alternate and auxiliary envelopeparameters are identical except for theattack times.

Proteus operation manual 117Specifications

TECHNICAL SPECIFICATIONS

Audio Channels: 32Audio Outputs: 6Submix Inputs: 4Max. Output Level: +4 dB into 600ΩOutput Impedance: 100ΩMIDI: In, Out, ThruData Encoding: 16 bit LinearSample Playback Rate: 39kHzSignal to Noise: >90 dBDynamic Range: >90 dBFrequency Response: 20Hz-18kHzTHD +N: <.05%IMD: <.05%

Power Requirements: 25 wattsOperating Temperature: 110°F Max.Dimensions: H: 1.75" W: 19" L: 8.5"

Weight: Proteus/1 ............. 4lb, 7oz (2 Kg)Proteus/1 Plus 2 . 4lb, 7oz (2 Kg)Proteus/2 ............. 4lb, 7oz (2 Kg) or 4lb, 12.5 oz (2.173Kg)Proteus/3 ............. 4lb, 7oz (2 Kg)


MIDI SPECIFICATIONS

MIDI Specifications

RECEIVED CHANNEL COMMANDSChannels number (n) = 0-15. Message bytes are represented in hex. Allother numbers are decimal.

Command Message Comments

Note Off 8n kk vv release velocity is ignored

Note Off 9n kk vv velocity 0 = note off

Key Pressure An kk pp

Program Change Cn pp

Channel Pressure Dn pp

Pitch Wheel En ll mm l = lsb, m = msb

Realtime Controller Bn cc vv cc = 00-31

Footswitch Bn cc vv cc = 64-79, vv ≥ 64 = on

Volume Bn 07 vv

Pan Bn 0A vv 0 = hard left, 127 = hard right

Reset All Controllers Bn 79 00 ignored in omni mode

All Notes Off Bn 7B 00 ignored in omni mode

Omni Mode Bn 7D 00 forces all notes & controls off

Mono Mode Bn 7E 00 forces all notes & controls off

Poly Mode Bn 7F 00 forces all notes & controls off

Proteus operation manual 119MIDI Specifications

MIDI SPECIFICATIONS

RECEIVED SYSTEM COMMANDSFor system exclusive commands, the following format is used:

F0 system exclusive status byte18 E-mu ID byte04 product ID bytedd device ID bytecc command byte... data bytes (256 bytes/preset)F7 EOX

Two MIDI bytes (lsb, msb) are required for each 14 bit data word. Bits 0-6 are sent first, followed by bits 7-13 in the next MIDI byte. All data wordsare signed 2's complement values with sign-extension out to the mostsignificant bit (bit 13). This convention applies to all data words, regard-less of the parameter's value range.


Preset Data Request F0 18 04 dd 00 ll mm F7 ll = preset # lsb, mm =preset # msb

7F 7F = all user presets 7E 7F = all factory presets

Preset Data F0 18 04 dd 01 ll mm ... ... cs F7cs = checksum = sum of all data bytes

Parameter Value F0 18 04 dd 02 pl pm F7Request pl = parameter # lsb pm = msb

Parameter Value F0 18 04 dd 03 pl pm vl vm F7vl = value lsb vm = msb

Tuning Table Request F0 18 04 dd 04 F7

Tuning Table F0 18 04 dd 05 ... ... F7

Program Map Request F0 18 04 dd 06 F7

Program Map Data F0 18 04 dd 07 ... ... F7

Proteus operation manual120 MIDI Specifications

MIDI SPECIFICATIONS

TRANSMITTED SYSTEM COMMANDS


Preset Data F0 18 04 dd 01 ll mm ... ... CS F7cs = checksum = sum of all data bytes

Parameter Value F0 18 04 dd 03 pl pm vl vm F7

pl = parameter # lsb pm = msb vl = value lsb vm = msb

Tuning Table F0 18 04 dd 05 ... ... F7 TT data = 256 bytes

Program Map Data F0 18 04 dd 07 ... ... F7

Parameter EditingPreset and setup parameters may be edited individually using systemexclusive commands. The preset being edited is the active preset (thepreset which is assigned to the received channel). The value of a givenparameter may be changed by sending a parameter value command. Thevalue of a parameter may be read by sending a parameter value request, towhich the machine will respond by sending back the parameter value.

Preset data may also be transmitted or received in a single block (onecomplete preset) using system exclusive commands. A preset data requestmay be issued by a host computer, to which the machine will respondsending the data block for the requested preset. Conversely, the computermay send new preset data which will replace the specified preset cur-rently in the machine. Additionally, a front panel command will transmitone or all user presets for backup onto an external sequencer. Thesepresets may be restored by simply playing back the sequence into themachine.

Alternate TuningThe "user tuning table" allows any key to be tuned to an arbitrary pitchover an 8 octave range. If selected in the preset, an alternate tuning maybe achieved by modifying the tuning values from the front panel ordownloading a new table into the machine. The table consists of 128words, corresponding to the MIDI key range, kept in non-volatile mem-ory. Each word is a pitch value expressed in 1/64 semitones, offset fromkey number 0 (c-2). Therefore, for equal temperament, each entry in thetable would be equal to its key number times 64.


Preset Data FormatPreset data is transmitted and received using the following format: Thestandard system exclusive header (described below) is followed by thepreset number (lsb, msb), a 14 bit word for each preset parameter (lsb,msb) starting at parameter #0 and continuing upward, a one-byte check-sum, and the end-of-exclusive byte (F7). The checksum is the modulo 128sum of all the parameter value bytes; that is, all of the data bytes followingthe preset number and before the checksum.

PRESET PARAMETERS

Parameter Number Parameter Name0-11 preset name (12 ascii characters)12-14 link 1-315-18 low key 0-319-22 high key 0-323 pri instrument24 pri sample start offset25 pri tuning (coarse)26 pri tuning (fine)27 pri volume28 pri pan29 pri delay30 pri low key31 pri high key32 pri alt attack33 pri alt hold34 pri alt decay35 pri alt sustain36 pri alt release37 pri alt envelope on38 pri solo mode39 pri chorus40 pri reverse sound41 sec instrument42 sec sample start offset43 sec tuning (coarse)44 sec tuning (fine)45 sec volume46 sec pan

MIDI SPECIFICATIONS

MIDI Specifications


Parameter Number Parameter Name47 sec delay48 sec low key49 sec high key50 sec alt attack51 sec alt hold52 sec alt decay53 sec alt sustain54 sec alt release55 sec alt envelope on56 sec solo mode57 sec chorus58 sec reverse sound59 crossfade mode60 crossfade direction61 crossfade balance62 crossfade amount63 switch point64 LFO 1 shape65 LFO 1 frequency66 LFO 1 delay67 LFO 1 variation68 LFO 1 amount69 LFO 2 shape70 LFO 2 frequency71 LFO 2 delay72 LFO 2 variation73 LFO 2 amount74 aux delay75 aux attack76 aux hold77 aux decay78 aux sustain79 aux release80 aux amount81-86 key/vel source 1-687-92 key/vel dest 1-693-98 key/vel amount 1-699-106 realtime source 1-8107-114 realtime dest 1-8

MIDI SPECIFICATIONS

PRESET PARAMETERS (cont)

MIDI Specifications


MIDI SPECIFICATIONS

MIDI Specifications

Parameter Number Parameter Name115-117 footswitch dest 1-3118-121 controller amount A-D122 pressure amount123 pitch bend range124 velocity curve125 keyboard center126 submix127 keyboard tuning

GLOBAL/SETUP PARAMETERS

Parameter Number Parameter Name

256 MIDI basic channel257 MIDI volume258 MIDI pan259 current preset260 master tune261 transpose262 global pitch bend range263 global velocity curve264 MIDI mode265 MIDI overflow266-269 controller A-D numbers270-272 footswitch 1-3 numbers273 mode change enable274 device ID number

384-399 MIDI channel enable400-415 MIDI program change enable416-431 mix out (per MIDI channel)512-639 MIDI program/preset map

Program MappingMIDI program changes will normally correspond to internal presetnumbers 0-127. However, the user may "re-map" any MIDI programnumber, assigning it to an arbitrary internal preset. This feature allowsany of the internal presets to be selected from a MIDI keyboard controller.

PRESET PARAMETERS (cont)


MIDI SPECIFICATIONS

MIDI Specifications

PROTEUS XRSeveral commands have been added to support external control of theProteus XR.

Preset Data RequestProteus presets are organized into banks. Each bank consists of 64 presets.Proteus XR has six banks of presets (0-383), while the standard Proteusonly has the first three (0-191). Banks may be requested using the presetrequest command and the appropriate preset code listed below.

Bank Preset Range Requested Preset # MIDI Message

0 0-63 1024 (0x400) F0 18 04 dd 00 00 08 F71 64-127 1025 (0x401) F0 18 04 dd 00 01 08 F72 128-191 1026 (0x402) F0 18 04 dd 00 02 08 F73 192-255 1027 (0x403) F0 18 04 dd 00 03 08 F74 256-319 1028 (0x404) F0 18 04 dd 00 04 08 F75 320-383 1029 (0x405) F0 18 04 dd 00 05 08 F76 384-447 1030 (0x406) F0 18 04 dd 00 06 08 F70-3 0-255 -3 F0 18 04 dd 00 7D 7F F74-5 256-383 -4 F0 18 04 dd 00 7C 7F F7

The original commands for requesting user presets (-1:64-127) and factorypresets (-2:0-63) are still supported to retain compatibility with existingsoftware.

Master Settings RequestA new command has been added which requests the master settings as agroup. The master settings request is: F0 18 04 dd 08 F7.Proteus will respond by sending the master settings as a string ofparameter changes. This is identical to the data that is sent when theprocedure is initiated from the front panel.

Version RequestA new command has been added to allow identification of machine typeand software revision.The version request command is: F0 18 04 dd 0A F7.Proteus will respond to this command with the version data:F0 18 04 dd 0B vv r1 r2 r3 F7where vv = version code (0=standard Proteus, 1 = XR)r1, r2, r3 = software revision # in ascii (decimal point between r1& r2)

Prot./1 Xpander only -XR only -XR only -


PROTEUS/2, PROTEUS/3 and PROTEUS EXPANSION SETSRevision 4 3-4-92

Please note changes to “Instrument List” command and the addition ofvariable chorus.

SOUND SETSA Proteus sound set consists of 4 Megabytes of sample data (soundROMs), plus additional instrument data in the program ROMs. Proteusmay contain one or two complete sound sets. Each sound set has a uniqueID number; the “Pop/Rock” sound set in Proteus/1 is sound set #0.Proteus/2 contains sound sets #1 and #2. It is desirable to be able tosupport “mix-and-match” configurations, and be able to successfullytransfer presets from one configuration to another. For example, it shouldbe possible to exchange presets between a Proteus/2 and an expandedProteus/1 if the instruments come from common sound sets.

In order to achieve this compatibility between different Proteus configu-rations, it is necessary to include the sound set number as part of theinstrument number when exchanging data. The instrument number (asexpressed over MIDI) now contains two fields: bits 8-12 specify the soundset (0-31) and bits 0-7 specify the instrument within the sound set (0-255).Since Proteus/1 contains sound set #0, compatibility with existing prod-ucts is maintained.

Instrument bit fields:12 8 7 0<—sound set—> <———instrument #———>

(5 bits) (8 bits)

Within any given sound set, the first instrument is #1, and #0 selects“None”.

MIDI Specifications

ADDENDUM TO MIDI SPECIFICATION


EXPANDED PRESETSAn expanded Proteus/1 will contain additional factory presets in ROM.The additional presets can be uploaded using the “preset/bank request”command. The new presets will be in bank #3 (0x403) for non-XR, andbank #6 (0x406) for XR versions.

PRODUCT IDThe product ID code is the same for all configurations.

CONFIGURATION MESSAGEA new MIDI command has been added to identify the sound sets in agiven Proteus. The configuration request command is:

F0 18 04 dd 0C F7

Proteus will respond to this command with the configuration message:

F0 18 04 dd 0D pl pm s1 l1 m1 s2 l2 m2 F7

where pl and pm are the lsb and msb of the total number of presets, s1 ands2 are the ID numbers of the sound sets contained in this unit, andn1=l1,m1 and n2=l2,m2 represent the lsb and msb of the number ofinstruments in each sound set. If no expansion set is present, s2 will be 7Fand n2 will be zero. If the Proteus contains firmware earlier than version2.10, no response will be given, and one can assume sound set #0.

The current configurations are as follows:

Product Sound Set(s)

Proteus/1 0Proteus/2 1, 2Proteus/1 + Orchestral 0, 2Proteus/1 + Invision 0, 3Proteus/3 4


MIDI Specifications

Proteus operation manual 127MIDI Specifications


INSTRUMENT LISTA new MIDI command has been added to allow external software toupload the instrument list as an array of ascii strings. The instrumentlist request command is:

F0 18 04 dd 0E F7

Proteus will respond to this command with the instrument listmessage:

F0 18 04 dd 0F (14 bytes per instrument) ... ... F7

The instruments are transmitted in the same order they appear to theuser on Proteus. Note that a given instrument’s position in this listmay be different from its actual number within the sound set.

instrument entry: il im (11 ascii bytes) 00

Each instrument entry in the list consists of the actual instrumentnumber (as defined in “Sound Sets” above) in lsb, msb format, fol-lowed by the instrument name (11 ascii characters plus a zero termina-tor) for a total of 14 (decimal) bytes. The first instrument is #1 asdisplayed on Proteus. The total number of instrument names is equalto (n1+n2) in the configuration message above. Proteus firmwareearlier than version 2.10 will not respond to this command.

PRESET LISTA new MIDI command has been added to allow external software toupload all preset names as an array of ascii strings. The preset listrequest command is:

F0 18 04 dd 12 F7

Proteus will respond to this command with the preset list message:

F0 18 04 dd 13 (13 bytes per preset) ... ... F7

Each preset name is 12 ascii characters, plus a zero terminator, for a totalof 13 (decimal) bytes. The first preset is #0. The total number of presetnames is equal to pp in the configuration message above. Proteus firm-ware earlier than version 2.10 will not respond to this command.


VARIABLE CHORUSProteus firmware starting with version 2.10 features a variable chorusdepth. The range of values is now 0 (Off) through 15, with a value of 7corresponding to 1 (On) in Proteus/1. The MIDI parameter number isunchanged.

BULK TUNING DUMPProteus/3 and above can now receive MIDI Tuning Standard dumps inaddition to its own SysEx tuning table dumps. Proteus will only transmitin it's own SysEx tuning format. The MIDI Tuning Standard is as follows:

F0 7E dd 08 01 tt <tuning name (16 ascii)> … F7

dd= device ID tt= tuning prog # (ignored) tuning name = (ignored)

… = data (xx yy zz) frequency data for one note repeated 128xxx yy zz = 0xxxxxxx 0abcdefg 0hijklmn

xxxxxxx = semitone abcdefghijklmn = fraction of semitone in .0061 centunits. Examples: Middle C = 3C 00 00 A440 = 45 00 00

TRANSFER OF PRESETS FROM PROTEUS MODULESTO THE MASTER PERFORMANCE SYSTEMPresets may be transferred from the Proteus sound module to the MasterPerformance System using the Send MIDI Data function in the Mastermenu if the two units have the same sound sets. Parameters on the MasterPerformance System (such as effects) which do not exist on the Proteusmodules, will be set to a default value. Presets will be placed into thematching location on the Master Performance System and will overwritepresets currently residing there. If there is no RAM location on the MasterPerformance System corresponding to that of Proteus, then the preset willsimply not be received. For example, when transferring the RAM bank ofpresets 64-127 from Proteus to the Master Performance System, onlypresets 100-127 will be received, since locations 64-99 do not exist in RAMon the Master Performance System. Presets 64-99 must first be movedabove location 99 in order to be transferred. A computer based preseteditor/librarian helps immeasurably in this operation and is highlyrecommended. If the Proteus contains sound sets (Orchestral, World,InVision) which are not contained in the Master Performance System, thepreset will transfer but the instrument will be set to 000 (off).


MIDI Specifications

Proteus only receivesthe MIDI Standard Bulktuning dumps. For moreinformation on the MIDITuning Standard andBank Select format,contact the Interna-tional MIDI Association.

Proteus operation manual 129Index

INDEX

Aaftertouch See pressurealternate envelope 48

See also envelope generatorattack 30auxiliary envelope 53

See also envelope generator

Cchorus 46, 65connections 7-9contour

See envelope generatorcontrols 13crossfade mode 49-51cursor 13

Ddecay 30delay

envelope generator delay 30instrument delay 46time chart 110

demo sequence 23

Eedit menu 41envelope generator

description 30alternate envelope 48auxiliary envelope 53time chart 116

external processing 9,10, 71

Ffootswitches 21, 29, 56

Gglobal controls

global pitch bend 17global velocity curve 17

Hheadphones 7hold 30

IID number, MIDI 18instrument 6, 43-45

instrument listProteus/1 76-79Proteus/1 Plus 2 88-89Proteus/2 94-97Proteus/3 106-111

inputs 7-9intonation See keyboard tuning

Kkey number 34key number chart 23, 42key range 43-45key velocity 29

velocity modulation 33, 54keyboard center 34, 58keyboard tuning See master tune

Llayer 6, 27, 44, 59LFO

definition 31programming 51-52, 54-55time chart 116

link 59

Mmapping, presets

See MIDI program->presetmaster menu 16master tune 16MIDIMIDI channel selection 14MIDI enable 19MIDI footswitch 21, 29, 56MIDI in 7-9MIDI key number chart 19MIDI mode 14MIDI mode change 15MIDI out 5-9MIDI overflow 19MIDI panning control 14, 45MIDI preset change 19MIDI program-> preset 21-22MIDI specifications 118-128MIDI thru 7-9MIDI realtime controllers 36-37

amounts 56modulation assignment 55controller numbers 20


INDEX

M (cont.)MIDI system exclusives 119-128

ID number 18MIDI volume control 14, 45mix outputs 7-10, 38, 43, 71modulation

description 28keyboard and velocity chart 33, 54footswitch 21, 29, 56realtime modulation chart 35, 55sources 29

mono See MIDI modesmulti-timbral operation 15, 18, 68

Oomni See MIDI modesoutputs 7-9

Ppan 14

MIDI control of pan 14, 45patch 32

patch sheet 72perc. instr. charts 80-84, 89, 98-101,

112-115pitch bend range 17, 57poly See MIDI modespower requirements 10

See also Precautions sectionpressure

mono 29, 35, 55, 56polyphonic 29, 35, 55, 56

primary 6, 43-45Proteus Synthesis 66preset 6

listing Proteus/1 74-75listing Proteus/1 Plus 2 86-87listing Proteus/2 92-93listing Proteus/3 104-105naming 34recording into a sequencer 22saving presets 60selection 14preset change via MIDI 19, 69

Rrandom wave 31, 51realtime modulation 35, 55release 30reverse sound 47, 65ripoff 70

Ssampling, basic decription 24sampled sound listing 76saving, presets 60sawtooth wave 31, 51secondary 6, 43-45sequencer

external sequencer setup 68-70Proteus demo sequences 23recording presets into 22

sine wave 31, 51, 78solo mode 47sound start 47, 54, 67specifications

MIDI 118-128technical 117

split keyboard 27, 44, 59square wave 31, 51submix

inputs/outputs 7-10, 38, 43, 71send/return cables 9, 71

sustain 30switch point 51

Ttranspose 17triangle wave 31, 51tuning

alternate tuning 22-23, 58-59master tune 16instrument tuning 46

Uuser key tuning 22-23, 58-59

Vvelocity curves 17, 34, 57viewing angle 23volume

volume control 13channel volume 14MIDI volume control 14, 45

Wwaveforms

instrument 78-79, 89, 96-97, 110-111

LFO 31, 51

EMU Proteus 1

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