Read This First: Important Safety Instructions
PROTEUS FX OPERATION MANUAL © 1994 E-MU SYSTEMS, INC. ALL RIGHTS RESERVED • FI433 REV. B MANUAL - RILEY SMITH IMPORTANT NOTICE: IN ORDER TO OBTAIN WARRANTY SERVICE ON YOUR PROTEUS FX UNIT, THE SERIAL NUMBER STICKER MUST BE INTACT AND YOU MUST HAVE A SALES RECEIPT OR OTHER PROOF OF PURCHASE. IF THERE IS NO SERIAL NUMBER STICKER ON PROTEUS FX, PLEASE CONTACT E-MU SYSTEMS AT ONCE. THIS PRODUCT IS COVERED UNDER ONE OR MORE OF THE FOLLOWING U. S.
Read This First: Important Safety Instructions Use in countries other than the U.S.A. may require the use of a different line cord or attachment plug, or both. To reduce the risk of fire or electric shock, refer servicing to qualified service personnel. To reduce risk of fire or electric shock do not expose this product to rain or moisture. INSTRUCTIONS PERTAINING TO A RISK OF FIRE, ELECTRIC SHOCK, OR INJURY TO PERSONS DANGER 1. Read all instructions before using Proteus FX.
experience any hearing loss or ringing of the ears consult your physician. 8. Proteus FX may be equipped with a polarized line plug (one blade wider that the other). This is a safety feature. If you are unable to insert this plug into the outlet, do not defeat the safety purpose of the plug. Contact an electrician to replace your obsolete outlet. 9. The power supply cord of Proteus FX should be unplugged from the outlet when left unused for a long period of time. 10.
Contents Section 1 Section 2 Section 3 7 Introduction/Connection Instructions 9 Introduction 10 Basic organization 11 Basic setup 12 Studio setup 13 Performance setup 14 Power up 14 About proteus FX 15 Basic Operation 17 Main controls 18 Selecting presets 18 Selecting MIDI channels, volume & pan 19 Multi-timbral operation 20 Playing the demo sequences 21 Master Menu 23 Enabling the master menu 24 FX mix select 24 Effect A 24 Effect B 25 Effects amount 25 Master t
PROTEUS FX OPERATION MANUAL Master Menu Section 4 Section 5 4 26 MIDI mode change 26 MIDI overflow 27 MIDI enable 27 Bank/Preset change 28 MIDI controller assign 29 MIDI footswitch assign 29 Program -> preset map 30 Send MIDI data 30 User key tuning 30 Viewing angle 31 Effects Section 33 Effects bus architecture 34 Effects output routing 34 Effect programming 35 Reverb 38 Stereo chorus 39 Stereo flanger 41 Stereo phaser 42 Delay 43 Cross delay 44 Echo 46 Stere
PROTEUS FX OPERATION MANUAL Section 6 57 Keyboard & velocity modulation 58 Key number 58 Velocity curve 59 Realtime modulation 60 MIDI realtime controls 63 Edit Menu 65 Enabling the edit menu 66 Preset name 66 Primary instrument 66 Secondary instrument 66 Key range 67 Primary key range 67 Secondary key range 68 Volume 68 Pan 68 Coarse tuning 68 Fine tuning 68 Chorus 69 Delay 69 Solo mode 69 Sound start 69 Reverse sound 70 Alternate envelope on/off 70 Primary
PROTEUS FX OPERATION MANUAL Edit Menu Section 7 Section 8 Index Warranty 6 73 Auxiliary envelope 74 Keyboard & velocity modulation control 75 Realtime modulation control 76 Footswitch control 76 MIDI control amount 76 Pressure amount 76 Pitch bend range 76 Velocity range 76 Keyboard center 77 Keyboard tuning 77 Preset links 77 Save preset 79 Step-by-Step 81 Linking presets 82 Editing presets 83 Proteus synthesis 85 Using Proteus FX with a sequencer 87 Reference Secti
Proteus FX INTRODUCTION 7
INTRO - CONNECTION INSTRUCTIONS 8
INTRO - CONNECTION INSTRUCTIONS 1 Introduction PROTEUS FX Proteus FX is a musical instrument whose sounds are based on actual digital recordings of “real” instruments. In this way, Proteus FX is very similar to a sampling instrument. With the Proteus FX, we have done the sampling for you and loaded it with a collection of the cleanest 16 bit sounds ever sampled.
INTRO - CONNECTION INSTRUCTIONS Basic Organization Proteus FX is organized as shown in the diagram below. The Preset is a complete set of all program parameters for a complete Proteus FX sound. The preset memory is organized into two banks of 128 user RAM presets (banks 0-1) and two banks of unalterable ROM presets (banks 2-3).
INTRO - CONNECTION INSTRUCTIONS Basic Setup MIDI In - Proteus FX is controlled by MIDI messages received at the MIDI In connector. Connect the MIDI In of the Proteus FX to the MIDI Out connector of a MIDI controller such as a MIDI keyboard, MIDI wind controller, or MIDI guitar controller. Outputs - Proteus FX is a high quality, stereo audio device.
INTRO - CONNECTION INSTRUCTIONS Studio Setup MIDI In - In this setup, Proteus FX is controlled by MIDI messages received at the MIDI In connector which have been routed by a MIDI switcher. The MIDI switcher allows any MIDI controller such as a MIDI keyboard, MIDI wind controller, or a computer to be easily connected. MIDI Out - The MIDI Out jack is normally used to transmit program data to a computer or other device.
INTRO - CONNECTION INSTRUCTIONS Performance Setup MIDI In - Proteus FX is controlled by MIDI messages received at the MIDI In connector. Connect MIDI In of the Proteus FX to MIDI Out of a MIDI controller such as a MIDI keyboard, MIDI wind controller, or MIDI guitar controller. MIDI Thru - MIDI Thru transmits an exact copy of the messages received at the MIDI In jack and is used to connect additional MIDI devices onto the MIDI chain.
INTRO - CONNECTION INSTRUCTIONS POWER UP! Before applying power, make sure that you have received the correct AC adapter for your part of the world (110V or 220V). Always connect the AC adapter to the Proteus before plugging it into the wall. The power switch is located on the right side of the front panel. The Proteus FX and its MIDI controller may be turned on in any order. When power is applied, the liquid crystal display will light, indicating that the Proteus FX is operating.
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BASIC OPERATION 2 Main Controls Power Switch Switches AC power to the Proteus FX On and Off. MIDI Activity LED Indicates that MIDI data is being received. Master Menu Select Button The Master menu contains parameters that affect the entire machine, not just certain presets. The Effects screens are also located in the Master menu. An illuminated LED to the left of the button indicates that you are in the Master menu.
BASIC OPERATION IF YOUR PROTEUS IS NOT RESPONDING PROPERLY OR PLAYS THE WRONG PRESET, MAKE SURE THAT PROTEUS AND YOUR MIDI CONTROLLER ARE SET TO THE SAME MIDI CHANNEL AND THAT THE MIDI VOLUME IS TURNED UP. FOR MORE INFORMATION ABOUT MIDI, SEE MIDI REALTIME CONTROLS ON PAGE 60. MIDI CHANNEL SELECTION CHANNEL VOLUME Press the cursor key repeatedly until the cursor is underneath the channel number. (The cursor is a little flashing line underneath one of the parameters in the display.
BASIC OPERATION Each of the 16 MIDI channels can be assigned to play a specific preset in Proteus FX. MULTI-TIMBRAL OPERATION Multi-timbral operation means that Proteus FX can play more than one sound at the same time. To access multiple presets on different MIDI channels simultaneously, follow these instructions: 1. Set the MIDI mode to MULTI-Mode, using the MIDI mode function in the Master menu (page 26). 4. Proteus FX will now respond multitimbrally on the MIDI channels you have specified.
BASIC OPERATION PLAYING THE DEMO SEQUENCES Proteus FX contains a play-only sequencer in order to give you an idea of what is possible using this amazing machine. Press and hold both the Master button and the Edit button. The sequence will start in a moment. Press the Enter button to stop the sequence. Press the right cursor button to toggle between the sequences. Press the left cursor button to start the current sequence again. Proteus FX contains 2 sequences.
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MASTER MENU 3 The Master Menu The Master menu contains functions that affect the overall operation of Proteus FX. For example, changing the Master Tune will change the tuning of all the presets, not just the one currently displayed. The Master Menu contains the two digital effects processors, since they are programmed globally for all presets. TO ENABLE THE MASTER MENU Press the Master key, lighting the LED. The current screen will be the one most recently selected since powering up Proteus FX.
MASTER MENU FX MIX SELECT EFFECT A This function selects which bus in the output section will be used for each MIDI channel. You can route each MIDI channel through the FxA or FxB processors or directly to the Main outputs (no effects). An additional selection called Preset (Prst), allows the selection to be made in the preset (FX Mix Select). Thus effects can be selected according to MIDI channel or by preset.
MASTER MENU MASTER TUNE Master Tune adjusts the overall tuning of all presets so that Proteus FX 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 Proteus FX is perfectly tuned to concert pitch (A=440 Hz). MASTER TUNE +63 TRANSPOSE FX AMOUNT TO USE THE B->A ONLY ROUTING FEATURE, THE FX MIX SELECT MUST BE SET TO “B”.
MASTER MENU GLOBAL VELOCITY CURVE WARNING! WHEN TRANSFERRING SYSEX DATA FROM ONE PROTEUS FX TO ANOTHER, THE ID NUMBERS OF BOTH UNITS MUST MATCH. UNLESS YOU ARE USING MULTIPLE PROTEUS UNITS IT IS BEST TO LEAVE THE ID NUMBER SET TO 00. Incoming velocity data can be modified by a velocity curve in order to provide different types of dynamics in response to your playing or to better adapt to a MIDI controller.
MASTER MENU . MIDI ENABLE When in MIDI Multi mode, this function lets you turn each MIDI channel On or Off. This is useful when you have other MIDI devices connected and do not want Proteus FX to respond to the MIDI channels reserved for the other devices. MIDI Enable only operates in Multi Mode. MIDI ENABLE channel:01 On BANK/PRESET CHANGE This function allows Proteus FX to utilize or ignore incoming MIDI program change commands for each channel.
MASTER MENU SOME OF THE STANDARD MIDI CONTROLLER NUMBERS ARE LISTED BELOW: 1 MODULATION WHEEL OR LEVER 2 BREATH CONTROLLER 3 PRESSURE: REV 1 DX7 4 FOOT PEDAL 5 PORTAMENTO TIME 6 DATA ENTRY 7 VOLUME 8 BALANCE 9 UNDEFINED 10 PAN MIDI CONTROLLER ASSIGN Proteus FX allows you to assign up to four realtime control sources from your MIDI controller. These control sources could be modulation wheels, data sliders or whatever. In this screen, you set up which controllers will be received by Proteus FX.
MASTER MENU This chart shows how MIDI preset changes can be re-mapped. In this example, program changes 10-29 have been re-mapped. All other programs will be selected normally. MIDI FOOTSWITCH ASSIGN IF THE PROGRAM -> PRESET MAP DOES NOT SEEM TO WORK, MAKE SURE THAT THE BANK/ PRESET CHANGE FUNCTION IS SET TO “MAP” (PAGE 27). Like the MIDI Controllers, 3 MIDI footswitches can be assigned to MIDI footswitch numbers. Footswitches can be assigned numbers from 64-79.
MASTER MENU APPLICATION: THE USER KEY TUNING CAN BE USED TO TUNE INDIVIDUAL PERCUSSION INSTRUMENTS. SEND MIDI DATA This function transmits MIDI System Exclusive data to the MIDI Out port. MIDI data can either be sent to a computer/ sequencer or to another Proteus FX. Using the cursor key and the data entry control, select the type of MIDI data you wish to transmit. The choices are: Effect Settings Transmits all the current effects parameters except mix select (for the 16 MIDI channels).
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EFFECTS SECTION 4 Effects Section The two effect processors are programmed globally for the entire machine. EFFECTS BUS ARCHITECTURE Two separate digital effects processors are included in the Proteus FX. The “A” effect processor includes several types of Reverberation, which is an electronic simulation of a natural space such as a room or hall, as well as Delays, Echoes, Chorusing, Phaser and Flanging effects.
EFFECTS SECTION EFFECTS CAN BE STORED AS PART OF A SEQUENCE BY USING “SEND EFFECTS” IN THE MASTER MENU. EFFECTS OUTPUT ROUTING EDITED EFFECTS PARAMETERS ARE NOT REMEMBERED WHEN A NEW EFFECT IS SELECTED. The diagram above shows how the effects section is integrated into the output jack routing scheme. The mix bus can be selected either by the preset or by MIDI channel. When “Preset” is selected, the FX MIX SELECT programmed in the preset is used.
EFFECTS SECTION A EFFECTS B EFFECTS WARM ROOM STEREO FLANGE ROOM SMALL ROOMS 1 & 2 HALLS 1, 2 & 3 CHAMBERS 1 & 2 PLATES 1 & 2 EARLY REFLECTIONS 1-4 REVERSE EARLY REFLECTIONS RAIN & SHIMMER STEREO CHORUS PHASER DELAY CROSS DELAY FUZZ FUZZ LITE RING MODULATOR STEREO CHORUS STEREO FLANGE PHASER ECHO DELAY CROSS DELAY REVERB Reverberation is a simulation of a natural space such as a room or hall. The reverb effects in Proteus FX simulate various halls, chambers, rooms and reverberation plates.
EFFECTS SECTION Room programs simulate small rooms with high frequency absorption caused by drapes and furniture. Plates simulate plate type reverbs with their tight, dense early reflections and sharp reverb build-up. Chambers simulate medium sized rooms with hard reflective surfaces. Hall programs recreate the open, spacious ambience of large concert halls. Early Reflection programs consist of the reflection cluster only without the reverb decay.
EFFECTS SECTION Hall 3 Hall 3 is similar to “Hall 2”, but with larger scale stadium-like acoustics. Hall 3 is warmer than Hall 2 (more high frequency damping) and does not display the obvious early reflections and slap echoes. It also exhibits a distinct predelay of approximately 100 milliseconds and a pronounced late reflection buildup both of which contribute to the impression of a large space.
EFFECTS SECTION SPECIAL REVERBS STEREO CHORUS These special reverbs all have a single Decay Time parameter. The function of a chorus device is to thicken the sound or to make one voice sound like many. The way the effect is achieved is by mixing one or more delayed versions of the signal in with the original. The delay times used are too short to be perceived as an echo, but long enough so that comb filtering does not occur.
EFFECTS SECTION The stereo chorus in the Proteus FX is very similar to the stereo flanger except that the delay time is longer. The delay times for the stereo chorus range from 13 milliseconds to 52 milliseconds, compared with the 26 microsecond to 6.5 millisecond range of the flanger. FXA:StereoChorus LFO Rate 050 FXA:StereoChorus LFO Depth 050 FXA:StereoChorus Min Delay 036 STEREO FLANGER A flanger consists of a short audio delay line whose output is mixed together with the original signal.
EFFECTS SECTION STEREO FLANGER A Minimum Delay control serves to tune the flanger. In other words, it adjusts the placement of the comb filter notches. The initial delay is variable from 26 microseconds to 6.5 milliseconds. FXA:StereoFlange Min Delay 100 A Low Frequency Oscillator (LFO) varies this initial delay setting, changing the frequency of the notches and adding animation to the sound. The LFO Rate controls the rate of change and the LFO Depth controls how much the delay is changed by the LFO.
EFFECTS SECTION STEREO PHASER The stereo phaser is an effect similar to the flanger although much more subtle. The phaser creates a swirly animation when used with harmonically rich sounds such as strings and voices. It can also be used like a chorus to thicken-up a thin sound. Use the Minimum Frequency control to “tune” the resonant frequencies of the peaks and notches to the sound. The LFO Depth controls the amount of animation that the effect will add.
EFFECTS SECTION STEREO DELAY DELAY The delay line is a stereo effect which can be used for doubling, echoes or fixed formant comb filtering with completely independent delay time and tap levels for the left and right sides. The delay is shown in the diagram below. The Delay Time parameter is independently variable from 0 to 209 milliseconds for both the left and right channels.
EFFECTS SECTION CROSS DELAY Cross Delay is identical to the normal delay line except that the output paths and the feedback paths cross over to the opposite channel in order to produce a ping-pong type of effect when reproduced in stereo. Delay time is adjustable from 0 to 209 milliseconds. The Cross Delay is shown in the diagram below.
EFFECTS SECTION ECHO The Echo produces echoes up to 400 milliseconds in length (twice that of the Delay and Cross Delay effects). The feedback path is independent of the output level and utilizes a high frequency damping (low pass filter) control which can simulate traditional analog tape echo. Because the left and right delay controls are completely independent (0-400 mS) they be adjusted to create very interesting stereo echo effects.
EFFECTS SECTION B EFFECTS STEREO CROSS DELAY B The B effects include Stereo Flanger, Stereo Chorus, Phaser, Fuzz, Ring Modulator, Delay, Cross Delay and Fuzz Lite. Some of the B effects such as the Fuzz and the Ring Modulator are a bit bizarre (you won’t want to use them on every sound), but can be used to create some truly amazing effects. The B effects can additionally be routed through the A effect as shown in the diagram below.
EFFECTS SECTION STEREO FUZZ The Stereo Fuzz introduces a controlled distortion to any signal passing through it. Distortion creates harmonics by clipping the top of the wave when it exceeds a certain level. Sine waves are transformed into square waves and complex waves take on noise-like qualities. There are two types of fuzz in Proteus FX: Fuzz and Fuzz Lite. FUZZ This Fuzz is probably the “grungiest” fuzz you have ever heard.
EFFECTS SECTION RING MODULATOR A Ring Modulator is a device which takes two signals and multiplies them together into one resultant signal containing only the sum and difference frequencies of the two input waves. The original frequencies are not output! However, every harmonic of each signal multiplies every other, according to its amplitude. As a result, ring modulators tend to generate a lot of non-harmonic frequencies which can sound very bell-like or out of tune.
EFFECTS SECTION By routing the preset (or MIDI channel) to effect B and panning to opposite sides (shown below), two different waves can be ring modulated. Ring modulation works well with simple waves such as sine waves and the harmonic waveforms. Also, try complex waves modulated with sine waves. (Play chords!) Complex waveforms tend to sound rather noise-like. Pan the primary and secondary instruments to left and right in the pan screen and then move to the Effect B screen and select Ring Modulator.
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PRESET PROGRAMMING 5 Preset Programming 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 layer. Your initial involvement with Proteus FX will most likely consist of using the existing presets and selecting MIDI channels. While the factory presets are very good, there are probably some things you would like to change, perhaps the LFO speed, or the attack time.
PRESET PROGRAMMING Proteus FX has an extensive modulation architecture using two multi-wave LFO’s (Low Frequency Oscillators), two envelope generators and the ability to respond to multiple MIDI controllers. You may simultaneously route any combination of these control sources to multiple destinations. Turning the volume control back and forth on your home stereo is an example of amplitude modulation.
PRESET PROGRAMMING MODULATION SOURCES Proteus FX uses three kinds of modulation sources. KEYBOARD & VELOCITY MODULATION FOOTSWITCH MODULATION Values which are generated at the start of a note and do not change during the note. Changes a parameter when one of three MIDI footswitches are pressed.
PRESET PROGRAMMING ENVELOPE GENERATORS THE GENERALIZED ENVELOPE SHAPES OF A FEW TYPES OF SOUNDS ARE SHOWN BELOW. An envelope can be described as a “contour” which can be used to shape the sound in some way over time. Proteus FX contains two different kinds of envelope generators. One of the envelope generators, the Alternate Volume Envelope, controls the volume of the primary or secondary instrument and has 5 stages, Attack, Hold, Decay, Sustain, and Release.
PRESET PROGRAMMING 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. Proteus FX has two multi-wave LFOs for each of its 32 channels. The LFO waveforms are: Triangle, Sine, Square, Sawtooth, and Random, which is a random “sample and hold” type of wave. By examining the diagram of the LFO waveforms, you can see how the LFO will affect a modulation destination.
PRESET PROGRAMMING When the amount of an LFO is a negative value, the LFO shape will be inverted. For example, inverting the sawtooth wave produces a wave that smoothly increases, then instantly resets down. MIDIPATCH Connecting a modulation source to a destination is called a patch. Proteus FX lets you connect the modulation sources in almost any possible way to the modulation destinations. You can even modulate other modulators.
PRESET PROGRAMMING MODULATION SOURCES: KEY NUMBER KEY VELOCITY DESTINATIONS: PITCH, PRIMARY PITCH, SECONDARY PITCH, VOLUME, PRIMARY VOLUME, SECONDARY VOLUME, ATTACK, PRIMARY ATTACK, SECONDARY ATTACK, DECAY, PRIMARY DECAY, SECONDARY DECAY, RELEASE, PRIMARY RELEASE, SECONDARY RELEASE, CROSSFADE, LFO 1 AMOUNT, LFO 1 RATE, LFO 2 AMOUNT, LFO 2 RATE, AUX. ENVELOPE AMOUNT, AUX. ENVELOPE ATTACK, AUX. ENVELOPE DECAY, AUX.
PRESET PROGRAMMING KEYS ABOVE THE KEYBOARD CENTER POINT WILL HAVE A POSITIVE EFFECT. KEYS BELOW THE KEYBOARD CENTER WILL HAVE A NEGATIVE EFFECT. KEY NUMBER The Key Number is affected by the Keyboard Center parameter which can be set to any key from C-2 to G8. The keyboard center establishes a reference point for keyboard modulation; keys above this point will have a positive value, while keys below it will be negative.
PRESET PROGRAMMING 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: PITCH, PRIMARY PITCH, SECONDARY PITCH, VOLUME, PRIMARY VOLUME, SECONDARY VOLUME, ATTACK, PRIMARY ATTACK, SECONDARY ATTACK, DECAY, PRIMARY DECAY, SECONDARY DECAY, RELEASE, PRIMARY RELEASE, SECONDARY RELEASE, CROSSFADE, LFO 1 AMOUNT, LFO 1 RATE, LFO 2 AMOUNT, LFO 2 RATE, AUX. ENVELOPE AMOUNT, AUX.
PRESET PROGRAMMING MIDI REALTIME CONTROLS MIDI WIND CONTROLLERS MAY WORK BETTER IF YOU ASSIGN ONE OF THE MIDI A, B, C, D CONTROLLERS TO CONTROL VOLUME. THIS WILL ALLOW THE MIDI VOLUME TO BE ADDED TO THE CURRENT VOLUME. The MIDI realtime controllers may seem confusing at first, but they are really very simple to understand. You probably already know that there are 16 MIDI channels that can be used.
PRESET PROGRAMMING 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- UNDEFINED 10- PAN As an example, imagine you are using a master keyboard which has pitch and modulation wheels, a breath controller, a data slider and a foot pedal, all of which transmit their values over MIDI.
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EDIT MENU 6 The Edit Menu 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. The Edit menu contains functions that can be modified by the user and then saved as preset information in one of the user presets. For example, the LFO speed or other parameter can be edited, then the preset can be saved to a user location (Banks 0 and 1).
EDIT MENU Edit Menu Functions PRESET NAME SECONDARY INSTRUMENT Preset Name allows you to name each of the user presets with a name of up to 12 characters. Position the cursor under the character location and use the data entry control to change the character. The keyboard can also be used to select characters. The chart above shows the keyboard character assignment.
EDIT MENU ENTIRE PRESETS CAN BE LINKED TO FORM SPLIT OR LAYERED PRESETS. SEE THE LINK FUNCTION AT THE END OF THIS CHAPTER. PRIMARY KEY RANGE SECONDARY KEY RANGE Key range sets the keyboard range of the primary instrument. This is useful for creating positional crossfades and keyboard splits between the primary and secondary layers. The key range can be set anywhere from C-2 to G8. Key range sets the keyboard range of the secondary instrument. The key range can be set anywhere from C-2 to G8.
EDIT MENU VOLUME COARSE TUNING Volume sets the amplitude of the primary and secondary instruments. This function also allows you to compensate for the relative volume differences between instruments. This function allows you to change the tuning of the primary and secondary instruments in semitone intervals. The coarse tuning range is -36 to +36 semitones. A coarse tuning setting of “00” would indicate that the instrument is tuned to concert pitch (A=440 Hz).
EDIT MENU DELAY SOUND START Delay varies the time between the arrival of a MIDI Note On message and the onset of a note. The delay time is adjustable from 0 to 14 seconds (000-127). This function allows you to set where a sample begins playing when you hit a key. A setting of 000 plays a sound from the beginning, higher values move the sample start point toward the end of the sound.
EDIT MENU The Alternate Volume Envelope dynamically controls the final output and can completely change the character of a sound. ALTERNATE ENVELOPE ON/OFF CROSSFADE MODE Each instrument has its own factory preset AHDSR volume envelope which is used if this parameter is set to Off. Turn Alternate Volume Envelope On to use the user-programmable alternate envelope instead. This function determines which of the following crossfade modes will be selected: Off, Crossfade, or Cross-Switch.
EDIT MENU TO USE THE KEYBOARD FOR CROSSFADE, SET THE CROSSFADE BALANCE TO 64 AND THE KEY CENTER TO THE SPLIT POINT. By overlapping the primary and secondary instruments, you can crossfade or cross-switch between the layers. SEE ALSO CROSS-SWITCH POINT ON THE FOLLOWING PAGE. The crossfade and cross-switch functions MUST be connected to a controller in either the Key/Velocity or Realtime Modulation screens.
EDIT MENU TO ENABLE THE CROSSSWITCH FUNCTION, YOU MUST ASSIGN CROSSFADE TO A MODULATION SOURCE IN THE REALTIME OR KEY/VELOCITY SCREENS. Velocity CROSS-SWITCH POINT The cross-switch point parameter determines the point at which cross-switching will occur when key position or velocity is controlling cross-switch. SWITCH POINT 064 (E3) Key LFO 1 - SHAPE AND AMOUNT FOR MORE INFORMATION ON THE LFOS, SEE THE PRESET PROGRAMMING CHAPTER OF THIS MANUAL.
EDIT MENU Delayed LFO - The LFO wave begins after the specified delay time has elapsed. FOR MORE INFORMATION ON THE ENVELOPES, SEE THE PRESET PROGRAMMING CHAPTER OF THIS MANUAL. AUXILIARY ENVELOPE This is a supplementary, utility envelope that can be routed to any realtime control destination. The auxiliary envelope parameters are: Envelope Amount, Delay, Attack Time, Hold Time, Decay Time, Sustain Level, and Release Time. The delay time is variable from 0 to 13 seconds (000-127).
EDIT MENU MODULATION SOURCES: KEY NUMBER KEY VELOCITY DESTINATIONS: PITCH, PRIMARY PITCH, SECONDARY PITCH, VOLUME, PRIMARY VOLUME, SECONDARY VOLUME, ATTACK, PRIMARY ATTACK, SECONDARY ATTACK, DECAY, PRIMARY DECAY, SECONDARY DECAY, RELEASE, PRIMARY RELEASE, SECONDARY RELEASE, CROSSFADE, LFO 1 AMOUNT, LFO 1 RATE, LFO 2 AMOUNT, LFO 2 RATE, AUX. ENVELOPE AMOUNT, AUX. ENVELOPE ATTACK, AUX. ENVELOPE DECAY, AUX.
EDIT MENU MODULATION SOURCES: PITCH WHEEL, MIDI CONTROL A, MIDI CONTROL B, MIDI CONTROL C, MIDI CONTROL D, MONO PRESSURE, POLYPHONIC PRESSURE, LFO 1, LFO 2, AUXILIARY ENVELOPE DESTINATIONS: PITCH, PRIMARY PITCH, SECONDARY PITCH, VOLUME, PRIMARY VOLUME, SECONDARY VOLUME, ATTACK, PRIMARY ATTACK, SECONDARY ATTACK, DECAY, PRIMARY DECAY, SECONDARY DECAY, RELEASE, PRIMARY RELEASE, SECONDARY RELEASE, CROSSFADE, LFO 1 AMOUNT, LFO 1 RATE, LFO 2 AMOUNT, LFO 2 RATE, AUX. ENVELOPE AMOUNT, AUX. ENVELOPE ATTACK, AUX.
EDIT MENU FOOTSWITCH CONTROL PRESSURE AMOUNT This function allows you route the 3 footswitch controllers to any of the footswitch destinations. The footswitches can be routed to switch: Sustain (pri/sec/ both), Alternate Volume Envelope (pri/ sec/both), Alternate Volume Release (pri/ sec/both), or Cross-switch between the primary and secondary instruments. This function allows you to specify an amount parameter for mono or poly keyboard pressure data (aftertouch).
EDIT MENU Choose the velocity curve that works best for your playing style and your MIDI controller. Above the Keyboard Center point, key values will be positive; below the Keyboard Center, key values will be negative.
EDIT MENU KEYBOARD TUNING PRESET LINKS In addition to the standard equally divided octave tuning, Proteus FX contains four other types of scale tuning and one user-definable tuning. This function selects which tuning will be used in the current preset. The available tunings are: Presets may be linked to other presets in order to create layering or keyboard splits. The current preset can be linked with up to three other presets.
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STEP-BY-STEP 7 Step-By-Step This section is an introduction to the Edit menu, explains the concept of Proteus Synthesis, and contains specific programming examples and tips. LINKING PRESETS Linking presets is a quick and easy way to create new sounds by “layering presets” and also to “split” the keyboard into sections containing different sounds. LAYERING TWO PRESETS 1) 2) 3) 4) 5) Select the first preset you wish to layer. Press the Edit button.
STEP-BY-STEP EDITING PRESETS The easiest way to make a preset is to edit an existing preset. This is also an excellent way of becoming familiar with Proteus FX. If you don’t like what you hear, simply change the preset and Proteus FX reverts back to the original sound. Changes are not made permanent until you Save them using the “SAVE PRESET” function, which is the last screen in the Edit menu. Let’s experiment and modify a few parameters of an existing preset.
STEP-BY-STEP REVERSING THE SOUND PROTEUS SYNTHESIS A simple concept. The instrument sounds can be played in reverse. This will normally make an instrument sound quite a bit different. It also virtually doubles the number of raw instruments you have to work with, and it’s fun. Oh, no! Not another form of synthesis to learn. Relax. It’s easy. Proteus Synthesis is actually just a form of additive synthesis.
STEP-BY-STEP AN EXAMPLE As an example, let’s combine the electric guitar and a synthesized waveform to create a new instrument. Refer to the Edit menu parameters in the chart below. The Electric Guitar is the basic sound and is augmented by a chorused, synthesized wave which adds a digital sheen. Note that the guitar has a slower attack, which completely changes its character. Basically, the attack of the guitar has been replaced by the synthesized wave.
STEP-BY-STEP USING PROTEUS FX WITH A SEQUENCER We thought you’d never ask. Proteus FX was designed from its conception with multi-timbral sequencing in mind. Just take a look at the main screen. C01 Vol127 Pan+0 0 000 Preset Name The preset for each MIDI channel is selected from the main screen. Press the cursor button to move the cursor up so that it is underneath the channel number.
STEP-BY-STEP Now your song will play perfectly every time using the proper presets, volumes and pan positions. In addition, presets, volumes and pan positions (or anything else for that matter) can be adjusted in realtime during the song. Note: If the wrong presets are being selected, check the MIDI Program -> Preset Map. To carry the pre-sequence setup even further, you can even include preset data for each preset used in the sequence. See page 27 for details.
Proteus FX REFERENCE SECTION 87
REFERENCE SECTION RAM Presets Keyboards Chromatic Percussion Organs Guitars Bass Strings Bank 0 0. kbd:GrandPno 1. kbd:Heaven 2. kbd:TinePno* 3. kbd:7ftGrand 4. kbd:ElGrand1 5. kbd:Roadz 1 6. kbd:Tine EP 7. kbd:Claved 8. prc:Marimba 9. prc:Vibe>Mod 10. prc:TimbaMal 11. prc:Javanese 12. prc:Celeste 13. prc:Trinidad 14. prc:Carillon 15. prc:Glock 16. org:VintgeB3 17. org:That B3 18. org:Be Vocal 19. org:Rock #2 20. org:3rd Perc 21. org:PureTone 22. org:Synthgan 23. org:Tarkus 24. gtr:EcoStrat 25.
REFERENCE SECTION RAM Presets Keyboards Chromatic Percussion Organs Guitars Bass Strings Bank 1 0. kbd:BritePno 1. kbd:Dark Pno 2. kbd:PnoSyn * 3. kbd:ElGrand2 4. kbd:Dramatic 5. kbd:MedElPno 6. kbd:Harpsicd 7. kbd:Pizziano 8. prc:Islander 9. prc:OddVibes 10. prc:Tamblock 11. prc:Airimba 12. prc:Xylofony 13. prc:Submerge 14. prc:Maletoid 15. prc:CosmoBel 16. org:DrawBarz 17. org:Mod>Lesl 18. org:Clickety 19. org:Chorus 20. org:TheOther 21. org:Smoothy* 22. org:Reedy5th 23. org:Church 24.
REFERENCE SECTION ROM Presets Bank 2 Keyboards 0. kbd:VryGrand 1. kbd:RoadHaus 2. kbd:DigPiano 3. kbd:Grandios 4. kbd:RoadzStr 5. kbd:Roadz 2 6. kbd:NoseClav 7. kbd:Clavinet Chromatic 8. prc:Mod Vibe Percussion 9. prc:Marimba2 10. prc:MusicBox 11. prc:Vibrafon 12. prc:Bellafon 13. prc:Blok Hed 14. prc:TubeBels 15. prc:Cylybels 16. org:Cathedra Organs 17. org:AnotherB 18. org:B Again 19. org:WarmTone 20. org:Notre 21. org:Accordia 22. org:MouthHrp 23. org:Obordian 24. gtr:Guitaras Guitars 25.
REFERENCE SECTION ROM Presets Bank 3 Keyboards 0. kbd:IceHeven 1. kbd:PnoWinds 2. kbd:PnoForte 3. kbd:Pad/Pno 4. kbd:Big Comp 5. kbd:Pianorg 6. kbd:Wurli EP 7. kbd:Mute Pno Chromatic 8. prc:Equinox Percussion 9. prc:Waterway 10. prc:Disonant 11. prc:Of China 12. prc:Omens 13. prc:VibroPad 14. prc:Shining 15. prc:BelleAir 16. org:ToTheBar Organs 17. org:Tocatta7 18. org:5ths Bar 19. org:Kalimgan 20. org:Reedz 21. org:Doner 22. org:Fisamon 23. org:& Bass 24. gtr:PlukFair Guitars 25. gtr:Warped 26.
REFERENCE SECTION Rock/Pop Instruments 92 1. Piano ..................................................................................................... 9 foot Grand Piano 2. Piano Pad ........................................................ Piano with slow attack and sustained loop 3. Loose Piano ..................................................................................... Old style Grand Piano 4. Tight Piano ..................................................................
REFERENCE SECTION Rock/Pop Instruments 44. Synth Pad ............................................................................. Fat, Digital Synthesizer Pad 45. Medium Envelope Pad ...................................... Digital Synth pad with altered envelope 46. Long Envelope Pad ................................ Digital Synth pad with long attack and release 47. Dark Synth .......................................................... Digital Synthesizer with a darker tone 48. Percussive Organ ...........
REFERENCE SECTION Waveforms HARMONIC WAVEFORMS 70. 71. 72. 73. 74. 75. 76. 77. 78. 79. 80. 81. 82. 83. 84. 85. 86. 87. 88. 89. 90. 91. Oct 1 (Sine) Oct 2 All Oct 3 All Oct 4 All Oct 5 All Oct 6 All Oct 7 All Oct 2 Odd Oct 3 Odd Oct 4 Odd Oct 5 Odd Oct 6 Odd Oct 7 Odd Oct 2 Even Oct 3 Even Oct 4 Even Oct 5 Even Oct 6 Even Oct 7 Even Low Odds Low Evens Four Octaves Starting from the first octave (fundamental), the harmonic waveforms contain the harmonics (odd, even, or all) present in each octave.
REFERENCE SECTION Waveforms SINGLE CYCLE WAVEFORMS 92. 93. 94. 95. 96. 97. 98. 99. 100. 101. 102. 103. 104. 105. 106. 107. 108. 109. 110. 111. 112.
REFERENCE SECTION Orchestral Instruments 96 126. 127. 128. 129. 130. 131. 132. 133. 134. 135. 136. 137. 138. 139. 140. 141. 142. 143. 144. 145. 146. 147. 148. 149. 150. 151. 152. 153. 154. 155. 156. Solo Cello ......................................................... Bowed, Solo Cello with natural vibrato Solo Viola ......................................................... Bowed, Solo Viola with natural vibrato Solo Violin ......................................................
REFERENCE SECTION Waveforms DIGITAL WAVEFORMS 157. Sine Wave 158. Triangle Wave 159. Square Wave 160. Pulse 33% 161. Pulse 25% 162. Pulse 10% 163. Sawtooth 164. Sawtooth Odd Gone 165. Ramp 166. Ramp Even Only 167. Violin Essence 168. Buzzoon 169. Brassy Wave 170. Reedy Buzz 171. Growl Wave 172. HarpsiWave 173. Fuzzy Gruzz 174. Power 5ths 175. Filtered Saw 176. Ice Bell 177. Bronze Age 178. Iron Plate 179. Aluminum 180. Lead Beam 181. Steel Extract 182. Winter Glass 183. Town Bell Wash 184.
REFERENCE SECTION Percussion Instrument Locations 98
REFERENCE SECTION Percussion Instrument Locations 99
REFERENCE SECTION Percussion Instrument Locations 100
REFERENCE SECTION Percussion Instrument Locations 101
REFERENCE SECTION Percussion Instrument Locations 102
REFERENCE SECTION Instrument Locations 103
REFERENCE SECTION Technical Specifications Audio Channels ............................................. 32 Max. Output Level .................. +4 dB into 600Ω Output Impedance ................................... 100Ω MIDI ............................................ In, Out, Thru Data Encoding ............................... 16 bit linear Sample Playback Rate ............................ 39 kHz Signal to Noise: ......................................>90 dB Dynamic Range ....................................
REFERENCE SECTION MIDI Implementaion Chart GENERAL INFORMATION FOR PROTEUS FX • Product ID is 04. • Device ID is [00-0F] (0-15 decimal). • Since MIDI data bytes cannot be greater than [7F] (127 decimal), the data values are “nibble-ized” to a 14-bit signed 2's complement format. • There is only one edit buffer which is for the current preset (the preset shown in the display). Only one preset at a time can be edited via SysEx commands and changing the current preset erases the edit buffer.
REFERENCE SECTION MIDI Specification Bank 0 = 000-127 - bb=00 Bank 1 = 128-255 - bb=01 Bank 2 = 256-383 - bb=02 RECEIVED CHANNEL COMMANDS Channels number (n) = 0-15. Message bytes are represented in hex. All other numbers are decimal.
REFERENCE SECTION MIDI Specification RECEIVED SYSTEM COMMANDS For system exclusive commands the following format is used: F0 system exclusive status byte 18 E-mu ID byte 04 product ID byte dd device ID byte cc 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.
REFERENCE SECTION MIDI Specification TRANSMITTED SYSTEM COMMANDS Command Message Preset Data F0 18 04 dd 01 ll mm ... ... cs F7 cs = 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 ... ...
REFERENCE SECTION MIDI Specification PRESET PARAMETERS Parameter Number Parameter Name Parameter Number Parameter Name 0-11 ---------- preset name (12 ascii chars) 46 -------------------------------------- sec pan 12-14 --------------------------------- link 1-3 47 ------------------------------------ sec delay 15-18 ----------------------------- low key 0-3 48 --------------------------------- sec low key 19-22 --------------------------- high key 0-3 49 --------------------------------sec hig
REFERENCE SECTION MIDI Specification PRESET PARAMETERS Parameter Number Parameter Name GLOBAL/SETUP PARAMETERS Parameter Number Parameter Name 73 ----------------------------- LFO 2 amount 256 ---------------------- MIDI basic channel 74 ----------------------------------- aux delay 257 ----------------------------- MIDI volume 75 ---------------------------------- aux attack 258 ---------------------------------- MIDI pan 76 ------------------------------------ aux hold 259 -------------------
REFERENCE SECTION MIDI Specification NOTE 1 - PROGRAM MAPPING MIDI program changes will normally correspond to internal preset numbers 0127. However, the user may “re-map” any MIDI program number, assigning it to an arbitrary internal preset. This feature allows any of the internal presets to be selected from a MIDI keyboard controller. Example: Suppose we want to change the instrument to I130 Quartet 1. 1) 387 + 130 = 517 (387 + Instr. No.
REFERENCE SECTION MIDI Specification • To go the other way (convert 14-bit signed 2’s complement to a signed real number) raw Value = (msb*128) + lsb (gives you the unsigned raw value) if raw Value ≥ 8192 (8192 = 2^13) then signed Value = raw value - 16384 (16384 = 2^14) NOTE 4 -CONFIGURATION REQUEST This MIDI command is used to identify the sound sets in a given Proteus FX.
REFERENCE SECTION MIDI Specification NOTE 6 - PRESET DATA REQUEST Proteus FX presets are organized into groups of 64 presets for the purpose of bulk preset dumps. There are 8 groups of 64 presets (0-511). Each group may be requested using the preset request command and the appropriate preset code listed below.
REFERENCE SECTION MIDI Specification NOTE 9 PER CHANNEL BUS ASSIGNMENTS (Global Parameters 416-431) 0 - Main 1 - FxA 2 - FxB 3 - From Preset NOTE 10 - SYSEX EFFECTS CONTROL Parameter values transmitted via MIDI SysEx can be used to control all aspects of the Proteus FX effects processors.
REFERENCE SECTION MIDI Specification EFFECTS CONTROLLER MESSAGES 0x5C (92) B->A Feed % Adjusts the B->A mix amount Parameter Value Room ................................................. 1 WarmRoom ....................................... 2 Plate 1 ................................................ 3 Plate 2 ................................................ 4 Chamber 1 ......................................... 5 Chamber 2 ......................................... 6 Hall 1 ....................................
REFERENCE SECTION MIDI Specification CHANNEL BANK SELECT MESSAGES The following standard MIDI controllers will be mapped to MIDI Bank Select: 0x00 (0) Bank Select MSB 0x20 (32) Bank Select LSB After a valid Bank Select message has been received, any subsequent program changes on that channel will occur within the selected bank. Partial or invalid bank select messages on a channel will not affect the bank selected for that channel.
REFERENCE SECTION Index A A Effects List 35 A-D Controllers 28 AC Adapter 14 AC Connection 14 Alternate Volume Envelope 70 Attack 54 Effect Bus Architecture 33 Effect Programming 35 Effect Settings, sending 30 Effect Output Routing 34 Enter Button 17 Envelope Generators 54 F B B Effects 45 B->A 25 Bank/Preset Change 27 Basic Setup 11 C Chambers 36 Changing the Instrument 82 Changing the Tuning 82 Channel Pan 18 Channel Volume 18 Chorus 38, 68, 82 Coarse Tuning 68 Continuous Controller 60 Cross Delay 43
REFERENCE SECTION Index L Layering 81 LFO See Low Frequency Oscillator LFO Delay 72 LFO Rate 72 LFO Variation 72 Linking Presets 10, 81 Low Frequency Oscillator 40, 55, 72 M Map, Program->Preset 29 Master Menu 17, 23 Master Settings, sending 29 Master Tune 25 Microtonal Scales 30 MIDI Activity LED 17 MIDI Channel Selection 18 MIDI Controller Amount 76 MIDI Controller Assign 28 MIDI Enable 27 MIDI Footswitch Assign 29 MIDI Implementaion Chart 105 MIDI In 11 MIDI Messages 60 MIDI Mode 26 MIDI Mode Change 2
REFERENCE SECTION Index T Technical Specifications 104 Transmit MIDI Data 30 Transpose 25 Tuning Table, sending 30 U User Key Tuning 30 User Presets, sending 30 User Presets 10 User Tuning 78 V Vallotti Tuning 78 Velocity Curve 76 Velocity Curve 58 Viewing Angle 30 Volume 68 Volume Control 17 19-Tone Tuning 78 119
REFERENCE SECTION Warranty Please read this warranty, as it gives you specific legal rights. Length of Warranty This warranty covers all defects in materials and workmanship for a period of one year from the date of purchase by the original owner, provided that the Warranty Registration Card is filled out and returned to E-mu Systems within 14 days from the date of purchase.
