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Proteus 2000 Operation Manual

Proteus 2000

Operations Manual

FI634 Rev. E

E-MU World Headquarters Europe, Africa, Middle East

E-MU Systems, Inc. U.S.A. E-MU Systems, Ltd.

1600 Green Hills Road Suite 6, Adam Ferguson House

Scotts Valley, CA USA Eskmills Industrial Park

95067-0015 Musselburgh, East Lothian

Telephone: 831-438-1921 Scotland, EH21 7PQ

Fax: 831-438-8612 Tel: +44 (0) 131-653-6556

Internet: www.emu.com Fax: +44 (0) 131-665-0473

Important Notice:

In order to obtain warranty service on your Proteus 2000 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 the Proteus 2000, please contact

E-MU Systems at once.

This product is covered under one or more of the following U.S. patents:

4,404,529; 4,506,579; 4,699,038; 4,987,600; 5,013,105; 5,072,645;

5,111,727; 5,144,676; 5,170,367; 5,248,845; 5,303,309; 5,317,104;

5,342,990; 5,430,244 and foreign patents and/or pending patents. Proteus

2000 is a registered trademarks of E-MU Systems, Inc. All other trademarks

belong to their respective companies.

Summary of content (210 pages)

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Proteus 2000 Operations Manual © 1998 E-MU Systems, Inc. All Rights Reserved FI634 Rev. E E-MU World Headquarters E-MU Systems, Inc. U.S.A. 1600 Green Hills Road Scotts Valley, CA USA 95067-0015 Telephone: 831-438-1921 Fax: 831-438-8612 Internet: www.emu.com Europe, Africa, Middle East E-MU Systems, Ltd.
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Table of Contents Table of Contents Introduction ............................................................................. 1 Product Description ............................................................................. 1 Overview ............................................................................................. 2 Important Safety Instructions .................................................. 3 Setup ......................................................................................
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Table of Contents Main Screen ....................................................................................... 26 MIDI Channel Selection ............................................................................ 26 Preset Selection ........................................................................................ 26 Channel Volume ....................................................................................... 27 Channel Pan ............................................................
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Table of Contents Send MIDI System Exclusive Data .............................................................51 User Key Tuning .......................................................................................53 Output Format .........................................................................................53 Base Tempo ..............................................................................................54 Screen Viewing Angle ........................................................
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Table of Contents Tuning ..................................................................................................... 98 Background: Transpose vs. Coarse Tuning ............................................ 98 Amplifier .................................................................................................. 98 Volume Envelope ..................................................................................... 99 Selecting the Mode .........................................................
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Table of Contents Programming Tutorial ......................................................... 131 Editing Presets ................................................................................. 131 Changing the Instrument .......................................................................131 Changing the Tuning of an Instrument ...................................................132 Chorus ...................................................................................................
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Table of Contents Save/Copy Menu ..................................................................157 Saving a Preset ................................................................................. 157 Copying Information........................................................................ 158 Copy Preset ............................................................................................ 158 Copy Layer ..........................................................................................
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Table of Contents viii E-MU Systems
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Introduction Congratulations on your purchase of the E-MU Proteus 2000 – the composer’s dream machine. The power of Proteus 2000 begins with 128 voice polyphony, which means that 128 different instrument lines can be played at once! With all these voices, 16 MIDI channels didn’t seem to be quite enough, so we added another MIDI input jack to allow 32 MIDI channel operation. As long as we were going for the gold, we decided to add the ability to access 128MB of sound memory on user upgradable SIMMs.
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Introduction Overview The patch bay contains a set of arithmetic modifiers, letting you create complex synthesis models. Four front panel real-time controllers give you control over 12 userselectable parameters. The real-time knobs can adjust multiple synthesizer functions at once, allowing complex levels of control. For example, one knob can simultaneously turn up filter cutoff, while detuning one sample, and adjusting the release time of the volume envelope.
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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. Refer all servicing to qualified service personnel. There are no user serviceable parts or adjustments inside the unit. There are no user serviceable parts inside the power supply enclosure. WARNING: To reduce the risk of fire or electric shock, do not expose this product to rain or moisture.
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Important Safety Instructions Overview INSTRUCTIONS PERTAINING TO A RISK OF FIRE, ELECTRIC SHOCK, OR INJURY TO PERSONS READ THESE INSTRUCTIONS: When using electric products, basic precautions should always be adhered to, including the following: 1. 2. This symbol is intended to alert you to the presence of important operating and maintenance (servicing) instructions in the literature accompanying the unit. 3. 4. 5. 6. 7. 8. 9.
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Important Safety Instructions Overview 17. 18. 19. 20. Radio and Television Interference The apparatus shall not be exposed to dripping or splashing. No objects filled with liquids, such as vases, shall be placed on the apparatus. To reduce the risk of injury, close supervision is necessary when using the apparatus near children. The apparatus should be connected only to a power supply of the type described in the operating instructions and marked on the product.
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Wichtige Sicherheitsvorschriften Overview Wichtige Sicherheitsvorschriften In Ländern außerhalb der U.S.A. können andere Kabel oder Stecker notwendig werden. Überlassen Sie die Wartung qualifiziertem Fachpersonal. Im Geräteinnern befinden sich keine Bauteile oder Steuerungen, die vom Anwender gewartet werden können. Das Gleiche gilt für das Netzteilgehäuse. VORSICHT: Um die Gefahr eines Brandes oder Stromschlags zu verringern, sollten Sie das Gerät weder Regen noch Feuchtigkeit aussetzen.
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Wichtige Sicherheitsvorschriften Overview INSTRUKTIONEN ZUM BRANDRISIKO, STROMSCHLAG ODER PERSONENSCHADEN BITTE LESEN: Beim Einsatz elektrischer Geräte sollten folgende Vorsichtsmaßregeln stets beachtet werden: 1. 2. 3. Dieses Symbol weist Sie auf wichtige Bedienungs- und Wartungsanleitungen in den beiliegenden Drucksachen hin. 4. 5. 6. 7. 8. 9. 10. 11. Diese Symbol warnt Sie vor nicht-isolierten gefährlichen Spannungen im Gehäuseinnern.
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Wichtige Sicherheitsvorschriften Overview A. B. C. D. E.
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Consignes de sécurité importantes Overview Consignes de sécurité importantes L’utilisation de l’appareil dans d’autres pays que les États-Unis peut nécessiter l’usage d’un cordon d’alimentation et/ou d’une prise différent(s). Consultez un technicien qualifié pour toute réparation. L’appareil et le dispositif d’alimentation ne contiennent aucune pièce réparable par l’utilisateur. ATTENTION : Afin de réduire les risques d’incendie ou d’électrocution, n’exposez pas cet appareil à la pluie ou à l’humidité.
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Consignes de sécurité importantes Overview CONSIGNES RELATIVES AUX RISQUES D’INCENDIE, D’ÉLECTROCUTION OU DE BLESSURES CORPORELLES LISEZ CES CONSIGNES : Lorsque vous utilisez des appareils électriques, certaines précautions élémentaires doivent toujours être respectées. En voici quelques-unes: 1. 2. 3. Ce symbole attire l’attention de l’utilisateur sur la présence d’instructions d’utilisation et de maintenance importantes dans le mode d’emploi fourni avec l’appareil 4. 5. 6. 7. 8. 9. 10. 11.
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Consignes de sécurité importantes Overview 16. Confiez l’appareil à un technicien qualifié dans chacun des cas suivants : A. Le cordon d’alimentation ou la prise a été endommagé. B. Des corps étrangers ou du liquide se sont introduits dans l’appareil. C. Le Proteus 2000 a été exposé à la pluie ou à l’humidité. D. Le Proteus 2000 est tombé ou a été endommagé d’une manière ou d’une autre. E. Le Proteus 2000 ne fonctionne pas normalement ou présente une baisse sensible de ses performances.
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Consignes de sécurité importantes Overview 12 E-MU Systems
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Setup This section thoroughly describes how to set up your new Proteus 2000 for use. Setup includes unpacking instructions and how to connect the Proteus 2000 cables. Unpacking Carefully remove Proteus 2000 from the packaging material. Take care to save the packing materials in case you need to transport the unit. Check to make sure all components are included and in good condition. If there are missing or damaged components, contact E-MU Systems immediately for replacement or repair.
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Setup Connection Instructions Connection Instructions MIDI Controller (MIDI Keyboard, Sequencer, etc.) REAL TIME The Headphone Output is located on the Front Panel CONTROLLERS ASSIGNABLE KEYS PRESET LEVEL EXIT ENTER SAMPLE PAGE SEQUENCER PRESET SELECT 1 2 3 4 5 6 RETURN 7 8 9 0 .
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Setup Connection Instructions Studio Setup MIDI Controller (MIDI Keyboard, Sequencer, etc.) REAL TIME Computer CONTROLLERS ASSIGNABLE KEYS PRESET LEVEL EXIT ENTER SAMPLE PAGE SEQUENCER PRESET SELECT 1 2 3 4 5 6 RETURN 7 8 9 0 . Computer EMULATOR Additional MIDI Devices MIDI Out MIDI In In MIDI Interface Out In Out Out “A” MIDI channels 1-16 ~ “B” MIDI channels 1-16 B A IN THRU SCOTTS VALLEY CA. U.S.A.
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Setup Connection Instructions Performance Setup MIDI Controller MIDI Controller (MIDI Keyboard, Sequencer) REAL TIME (MIDI Percussion Controller) CONTROLLERS ASSIGNABLE KEYS PRESET LEVEL EXIT ENTER SAMPLE PAGE SEQUENCER PRESET SELECT 1 2 3 4 5 6 RETURN 7 8 9 0 . EMULATOR Additional MIDI Device MIDI In MIDI Out ~ MIDI Out B A Effect Device Main Outs to Mixer In Send/Return Send IN THRU SCOTTS VALLEY CA. U.S.A.
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Setup Connection Instructions If you insert a stereo plug into one of the Sub Outputs, the ring of the plug serves as a signal Return which sums into the Main outputs. Therefore, the Sub 1 and Sub 2 jacks can serve as effect sends and returns in order to further process selected instruments and then return them to the main mix. You can use the Sub 1 and Sub 2 jacks as send/returns in order to further process selected Proteus 2000 presets without using the effects bus on the mixing board.
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Setup Instant Gratification Instant Gratification Playing Demo Sequences This section presents step-by-step instructions for the most fundamental operations to get you up and making sounds quickly. Proteus 2000 has several factory demonstration sequences that let you hear what this incredible machine can do. The actual number of demo sequences depends on which ROM sounds sets are installed. You can play these demo sequences by accessing the Demo Sequence page. DEMO SEQUENCES P2K GonzoPop 1. 2. 3.
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Setup Instant Gratification BankSel 0:00 32:2 2 058 syn: Big Planet 1. 2. 3. 4. Selecting and Quick Editing Presets User To Audition a Preset Select a preset by turning the data entry control while the cursor is anywhere on the lower line. The preset number field (shown above) is the normal position of the cursor and pressing the Enter button will return the cursor to this position. Press the Audition button on the front panel.
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Setup Instant Gratification Each bank of 128 presets is identified by a superscripted Bank Number to the right of the preset number. The bank numbers reset to 0 at the start of each ROM card you have installed. So with the composer ROM installed, the User banks will go from 0-3, then start over from 0-7 for the CMPSR banks. To the right of the preset number and bank is the preset Category name followed by the Preset Name. 1.
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Basic Operations Control Button A-D E-H I-L Volume Control TONE ATTACK DYNAMIC 1 PRESENCE DECAY/RLS DYNAMIC 2 Edit Menu Master Menu SHAPE MOVEMENT FX A IMAGE RATE FX B MASTER Cursor Controls Power Switch EDIT CO 1 A Vo l 1 27 Pan0 1 R CMPSR 022 3 s t r : Ba r oqueQua r t e t VOLUME A/E B/F C/G POWER D/H AUDITION MULTI SAVE/COPY HOME/ENTER MIDI Display Headphone Jack Realtime Control Knobs Front Panel Audition Button Multimode Button Save/ Copy Home/ Enter Data Entry The Prote
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Basic Operations Front Panel Audition Button O See “Bank Select Commands“ on page 82 for more information on selecting banks via MIDI. The Audition button allows you to hear any preset without hooking up a MIDI keyboard. When the Audition button is pressed, the LED next to the button will illuminate and a short “Riff” (programmed as part of the preset) will play. The Riff is latched on and plays continuously until the button is pressed again. Presets can be changed while Audition is latched on.
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Basic Operations Front Panel Controller Modes Home/Enter Button The Home/Enter button is dual purpose. In general, this button acts as the “Home” button. For example, when in an Edit menu, this button snaps the cursor to the page name field of the current screen. When viewing the Preset Select screen (we also call it the main screen), this button snaps the cursor to the preset number field. In these instances, the LED is not used. Some screens and parameter fields use this button as the “Enter” button.
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Basic Operations Front Panel Controller Modes There is an LED next to each of the control knobs which illuminates to indicate that the knob setting has been changed from the value programmed in the preset (when Quick Edit mode is enabled). If the knob position is returned to the original setting, the LED is extinguished.
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Basic Operations Front Panel Controller Modes Deep Edit Mode When in the Master, or Edit menus, you can use the Controller Knobs to edit parameters. Using the Controller Knobs is a faster method for entering data, but the Data Entry Control offers finer precision. 1. To Enable Deep Edit Mode: Press the Master button and use the Data Entry Control to advance to the “Knobs Deep Edit” screen as shown in the following illustration. KNOBS DEEP EDIT disabled 2. 3. 4.
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Basic Operations Main Screen Main Screen The Preset Select screen is Proteus 2000’s default screen (also called the main screen) and is active when you have not selected any of the other button-activated menus. From this screen you can change or examine the Preset, Volume, Pan Position and Preset Location for each of the 32 MIDI channels.
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Basic Operations Main Screen • Select banks independently of the of the preset number by locating the cursor on the Bank field and turning the Data Entry Control. USER COMPOSER Bank Bank Bank 0 128 User Presets 0 128 ROM Presets 4 128 ROM Presets 1 2 128 User Presets 128 User Presets 1 128 ROM Presets 2 128 ROM Presets 5 128 ROM Presets 6 128 ROM Presets 3 128 User Presets 3 128 ROM Presets 7 128 ROM Presets The Bank numbers start at zero for each ROM sound set installed in Proteus 2000.
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Basic Operations Main Screen Channel Pan Channel Pan sets the stereo position of the selected MIDI channel. This control operates like the balance control on your home stereo system. Channel Pan is the same parameter as MIDI pan controller #10, and changes made over MIDI are shown in the display. Pan Position C01A 0322 Vol127 Pan01R User bas: Interference Note: Pan settings in the preset ADD algebraically with the Channel Pan setting.
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Basic Operations Sound Navigator Sound Navigator Preset Category Sound Navigator allows you to search through preset and instrument categories to find the type of sound you’re looking for. Each preset and instrument has a name and a three letter preset category. You can create your own categories in order to group favorite presets. The preset category is assigned in the Edit menu (Preset Name). Instrument categories are fixed.
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Basic Operations Multitimbral Operation Multitimbral Operation Multitimbral operation means that Proteus 2000 can play more than one sound at the same time. Follow these instructions to access multiple presets on different MIDI channels simultaneously. 1. 2. 3. O Save the Multisetup using the instruction provided in Chapter 3:Multisetup. 4. To Set Up Proteus 2000 for Multitimbral Operation Set the MIDI mode to “multi mode,” using the MIDI mode function in the Master menu.
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Multimenu Multisetups The Multimenu button allows you to save and restore Multisetups. A Multisetup is a group of parameters that you might associate with a particular sequence or song. It is like a “snapshot” of the current MIDI channel configuration of the module. There are 128 setups numbered 0-127. All Multisetups are user programmable. A Multisetup includes ALL the following parameters: • Preset/Volume/Pan assignments for each of the 32 MIDI channels.
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Multimenu Multisetups To Modify a Parameter Press either Cursor button repeatedly (or hold down the left or right cursor button while turning the Data Entry Control) until the cursor is below the desired parameter value. Rotate the Data Entry Control to change the value. To Return to the Main Screen Press the Multi button, turning off the LED. Restoring Multisetups Proteus 2000 contains 128 Multisetup locations. These are all User locations which you can use to store your own Multisetups.
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Multimenu Multisetups 3. 4. If you wish to Name your new Multisetup continue on, otherwise skip to step 8. Scroll to the “Setup Name” screen (shown below) using the Data Entry Control. SETUP NAME 020 User Setup 23 5. 6. Press either cursor button to move the cursor to the bottom line of the screen. Scroll to the “Save Multisetup” screen (shown below) using the Data Entry Control. SAVE MULTISETUP to 020 Destination Multisetup 7. 8. 9.
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Multimenu Multitimbral Sequencing Multitimbral Sequencing “Multitimbral” means that Proteus 2000 can play multiple sounds at the same time. For a multitimbral sequence to play back correctly, the proper preset must be selected for each MIDI channel. This could be done by inserting preset changes into each track of your sequence before the sequence starts. Proteus 2000 also provides another way to store this “presequence setup” using the Multisetup menu.
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Master Menu The Master menu contains functions that affect the overall operation of Proteus 2000. For example, changing the Master Tune parameter changes the tuning of all the presets, not just the one currently displayed. To enable the Master menu Press the Master button, lighting the LED. The Master Menu screen displays the menu page most recently selected since powering up Proteus 2000. The cursor appears below the first character of the screen heading on line one.
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Master Menu Defining Master Parameters Defining Master Parameters Transpose/Tune Master setup parameters affect overall performance, range, and global effects. This section describes the Master parameters and how to define them. The Transpose parameter transposes the key of all presets, in semitone intervals. The transpose range is ± 24 semitones. Master Tune adjusts the fine tuning of all presets so that you can tune Proteus 2000 to other instruments.
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Master Menu Defining Master Parameters You can modify incoming velocity data 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. The Master Velocity Curve page lets you select one of thirteen master velocity curves or to leave the data unaltered (linear).
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Master Menu Defining Master Parameters Mix Output The Mix Output parameter allows you to override the routing assignments made in each preset and instead assign the outputs according to MIDI channel. For each of the 32 MIDI channels, you can select Send 1-4, or Preset. When Preset is selected, the output assignment defined in the Preset Edit menu is used. MIX OUTPUT channel 16A: Send2->main Indicates that the dry signal is routed to the Main output jacks.
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Master Menu Defining Master Parameters OUTPUT SECTION & EFFECTS PROCESSORS MIDI Channel 1A FX Sends Preset Send 2 10% MIDI Channel 2A Preset Send 3 0% Send 4 0% MIDI Channel 3A S E N D MIDI Channel 16A 1 FX Sends Send 4 15% S E Chorus M A I N Send 1 0% Send 3 20% MIDI CHANNEL Effect A B➟A Send 2 0% MIDI Channel 1B Hall 1 Send 1 15% Effect B Jack Detect N D 2 S U B 1 MIDI Channel 2B MIDI Channel 3B S E N D 3 MIDI Channel 16B S E MIDI CHANNEL N D Jack Detect S U B 2 4 Sen
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Master Menu Master Effects Master Effects The digital effect processors can be programmed as part of the preset (using the Edit menu) so that effects will change along with the preset. However, there are only two effect processors, and so you cannot have a different effect on each preset when in Multi mode. The Master Effects settings assign the effect processors “globally” for all presets to provide a way to use the effects in Multi mode.
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Master Menu Master Effects Master FXA Algorithm This function selects the type of effect used for the “A” effect. The following effect types are available. MASTER FXA ALGORITHM Room 1 A Effect Types 1. Room 1 23. BBall Court 2. Room 2 Room 3 Hall 1 Hall 2 Plate Delay Panning Delay Multitap 1 Multitap Pan 3 Tap 3 Tap Pan Soft Room Warm Room Perfect Room Tiled Room Hard Plate Warm Hall Spacious Hall Bright Hall Bright Hall Pan Bright Plate 24.
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Master Menu Master Effects FXA Parameters: Decay/HF Damping FxB -> FxA This page lets you define the parameters of the selected Effects algorithm. Use this page to setup the effect decay, high frequency damping amount and to route “B” effects through the “A” effects. See “Effect Parameters” on page 145 for more details. FXA FXA Send Amounts DECAY 040 HFDAMP 096 These parameters set the effects amounts for each of the four stereo effects busses.
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Master Menu Master Effects B Effect Types 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. FXB Parameters: Feedback/LFO Rate Delay Time Chorus 1 Chorus 2 Chorus 3 Chorus 4 Chorus 5 Doubling Slapback Flange 1 Flange 2 Flange 3 Flange 4 Flange 5 Flange 6 Flange 7 Big Chorus Symphonic 18. 19. 20. 21. 22. 23. 24. 25. 26. 27. 28. 29. 30. 31. 32.
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Master Menu MIDI Parameters MIDI Parameters MIDI Mode MIDI parameters control how the Proteus 2000 sends and receives MIDI data. MIDI Mode selects one of the three MIDI modes: Omni, Poly or Multi mode. MIDI MODE omni CHANGE ignored The MIDI Mode Change parameter specifies whether mode changes made through an external MIDI controller are accepted or ignored.
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Master Menu MIDI Parameters MIDI Enable MIDI Enable lets you turn each MIDI channel on and off independently when in Multi mode. This feature is helpful when you have other devices connected to the same MIDI line and do not want the Proteus 2000 unit to respond to the MIDI channels reserved for the other devices. MIDI ENABLE channel 01A: On Because the MIDI Enable function only makes sense if you are in Multi mode, Proteus 2000 disables this feature when in Omni or Poly mode.
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Master Menu MIDI Parameters O Programs and presets are the same thing. “Preset” is the E-MU term for MIDI Program.
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Master Menu MIDI Parameters O Proteus 2000 factory presets have certain synth parameters assigned to each controller letter and so these are “Global” controller assignments. For example, assigning a MIDI controller to “A” in this screen would let you control filter Fc for all the factory presets. See “Front Panel Knob Functions” on page 165.
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Master Menu MIDI Parameters Following are a few of the standardized MIDI Switch numbers. 64 - Sustain Switch (on/off) 67 - Soft Pedal (on/off) 65 - Portamento (on/off) 69 - Hold Pedal 2 (on/off) 66 - Sostenuto (on/off) Tempo Controller This function allows a MIDI controller to change the Master Tempo. The Global Tempo is used for the clock divisor PatchCords, tempo-based envelopes and synced LFOs.
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Master Menu MIDI Parameters Knobs Deep Edit This parameter specifies whether or not the front panel controller knobs can be used to edit parameter values in the Master or Edit menus. This is called “Deep-Editing.” With Knob Deep Edit disabled, the front panel controller knobs retain their function as real-time controllers even when in the Master or Edit modes.
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Master Menu MIDI Parameters Front Panel Knob Calibration This function calibrates the minimum and maximum values for the five front panel knobs. The controls should be calibrated periodically in order to compensate for normal wear and tear on the controls themselves or if the controls behave strangely. Before calibration, it’s usually a good idea to let the unit warm up for about half an hour to ensure you have the maximum range on all the front panel controls. 1.
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Master Menu MIDI Parameters MIDI SysEx Packet Delay Sometimes errors occur if the computer or sequencer to which you are sending MIDI SysEx data is faster or slower than the Proteus 2000. The MIDI SysEx Packet Delay command lets you specify the amount of delay between MIDI SysEx packets so the input buffer of your computer does not overflow, causing an error. The value range is from 0 through 8000 milliseconds. A delay value of zero allows full speed MIDI transfer.
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Master Menu MIDI Parameters _ WARNING: When transferring SysEx data from one Proteus 2000 to another, the ID numbers of both units must match. Bank 0 User Presets Transmits all the user defined presets in Bank 0. Bank 1 User Presets Transmits all the user defined presets in Bank 1. Bank 2 User Presets Transmits all the user defined presets in Bank 2. Bank 3 User Presets Transmits all the user defined presets in Bank 3. Any Individual Preset Transmits only the selected preset.
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Master Menu MIDI Parameters User Key Tuning O The user key tuning can be used to tune individual percussion instruments. Output Format User Key Tuning lets you create and modify 12 user definable tuning tables. The initial frequency of every key can be individually tuned, facilitating the creation of alternate or microtonal scales. Using the cursor keys and the Data Entry Control, select the user table number, the key name, the coarse tuning and the fine tuning. The key name is variable from C-2 to G8.
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Master Menu MIDI Parameters Base Tempo Proteus 2000 contains an internal master clock which can be used to: synchronize the LFOs when in Tempo-based mode, control the times of Tempo-based envelopes or used as a modulation source in the PatchCords section. There are two tempo values shown in the display. • Base Tempo - The base tempo is the value to which the MIDI controller specified in the Tempo Controller screen will be applied. (See “Tempo Controller” on page 48.
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Programming Basics This chapter explains how Proteus 2000 sounds are constructed and contains important background information on how to create your own custom presets. Your initial involvement with Proteus 2000 will most likely be using the existing presets and selecting MIDI channels. While the factory presets are very good, there are some things you will probably want to change eventually, perhaps the LFO speed, the filter frequency or the attack time.
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Programming Basics Modulation Modulation To modulate means to dynamically change a parameter, whether it be the volume (amplitude modulation), the pitch (frequency modulation), and so on. Turning the volume control on your home stereo rapidly back and forth is an example of amplitude modulation. To modulate something we need a modulation source and a modulation destination. In this case, the source is your hand turning the knob, and the destination is the volume control.
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Programming Basics Modulation Sources Modulation Sources Modulation sources include Envelope Generators, Performance Controllers and Low Frequency Oscillators. In the previous example, an envelope generator was routed to automatically turn the volume control as programmed by the envelope, or, a low frequency oscillator could be routed to turn the volume control up and down in a repeating fashion. The following is a list of the modulation sources used in Proteus 2000. Keyboard Key Which key is pressed.
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Programming Basics Modulation PatchCords Random Sources Random modulation sources can be used when you want the timbre of the sound to be “animated” in a random or non-consistent manner. • Key Random 1 & 2 generate different random values for each layer which do not change during the note. • The White & Pink Noise Generators produce varying random values. Both white and pink noise sources are low frequency noise designed for control purposes.
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Programming Basics Envelope Generators Envelope Generators _ An envelope can be described as a “contour” which is used to shape the sound over time in a pre-programmed manner. There are three envelope generators per layer and all of them are the rate/level type. This is how the rate/level (time based) envelopes work: When a key is pressed, envelope starts from zero and moves toward the Attack 1 Level at the Attack 1 Rate.
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Programming Basics Envelope Generators Tempo-based Envelopes Tempo-based envelopes are based on Time which is controlled by the Master Tempo (located in the Master menu). The Master Tempo rate scales the time of the Tempo-based envelope segments. The Master Tempo can also be set to use an external MIDI clock so that the envelope times can be synchronized to external sequencer or arpeggiator tempo changes.
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Programming Basics Low Frequency Oscillators (LFOs) Low Frequency Oscillators (LFOs) A Low Frequency Oscillator or LFO is simply a wave which repeats at a slow rate. The Proteus 2000 has two multi-wave LFOs for each channel. The LFO waveforms are shown in the following illustration. Random Triangle Sawtooth Sine Squ are 33% Pulse 2 5 % Pu lse 1 6 % Pu lse 12% Pulse LFO Tricks & Tips: • The Random LFO wave is truly random and is different for each voice and layer.
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Programming Basics Clock Modulation You might use the LFOs to add a slight bit of animation to the sound by routing the LFO to control the filter. For this effect, set the LFO “amount” low for a subtle effect. When a PatchCord amount is a negative value, the LFO shape is inverted. For example, inverting the sawtooth wave produces a wave that increases abruptly, then smoothly glides down. Negative Amount - Sawtooth Clock Modulation  Envelopes are triggered on the positive going edge of the clock.
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Programming Basics Clock Modulation LFOs can also be perfectly synchronized with the clock at any of 25 note divisions. This allows you to create very cool “synchro-sonic” effects that work perfectly at any tempo. Choosing one of the note divisors in the LFO rate screen selects the synced LFO function. There are many possibilities for clock modulation and retrigger.
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Programming Basics Modulation Destinations Modulation Destinations The PatchCords section of the Edit menu is where you connect sources to destinations. Each PatchCord has an amount associated with it which controls how much modulation is applied. L1 PATCHCORD ModWhl -> RTXfade #01 +036 The PatchCords screen above and the diagram below show how modulation sources are connected to destinations. The modulation sources can control any of the destinations in the layer.
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Programming Basics Modulation Processors Modulation Processors Modulation processors are devices which can modify modulation sources such as LFOs and envelope generators before they are applied to a destination. Modulation processors let you create patches and do tricks which would not be possible otherwise. Proteus 2000 implements the following modulation processors: Switch Outputs full value when the input is greater than “0”.
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Programming Basics Modulation Processors Diode The diode blocks negative input values, passing only positive values. Diode Flip-Flop  The value of a digital “1” is equal to the PatchCord amount. The output of this processor alternates between full value and zero each time the input goes positive from zero or a negative value. With an LFO input, the output will be a square wave of half the input frequency.
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Programming Basics Preset Modulation Processors Preset Modulation Processors start working as soon as the preset is selected. The Layer Modulation Processors take effect only when a key is pressed. Preset Lag Like the Layer Lag processors (described on page 65) the Preset Lag slows down rapid changes in the input signal. The output “lags” behind the input at a pre-programmed rate. Unlike the layer level lag processors, the preset lag takes effect as soon as the preset is selected.
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Programming Basics Preset Modulation Processors The preset ramp instantly resets when all notes have been released and the next first key on the MIDI channel is pressed. The Ramp Rate polarity (+ or -) determines if the ramp will be positive or negative going. The value of the ramp rate sets the increment. Large values produce fast ramps and small values produce slow ramps. Multiple inputs can be connected to the ramp rate (just like all the other destinations in Proteus 2000).
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Programming Basics Preset Modulation Processors Using the Modulation Processors Modulation processors are inserted into a modulation routing as shown in the following diagram. The modular analog synthesizers of yesteryear were incredibly flexible, partly because processing devices could be connected in any order. Modulation processors are designed according to this modular concept. They can be linked and used in a wide variety of ways limited only by your imagination.
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Programming Basics Preset Modulation Processors But what if you want the velocity switch point to be something other than 64? Thanks to modulation processors, it can be done. Here's how. Velocity ~ Cord Switch 21 DC Pitch Cord Switch On when Velocity > 0 Cord Switch value is Scaled by Cord Amount Connect the DC level to the input of the switch along with the velocity value. Note that more than one modulation source can be applied to the input of a processor.
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Programming Basics Preset Modulation Processors More Examples To derive a smooth random function you could route the Pink Noise generator through one of the Lag Processors. A smooth random wave is useful in small amounts to add a degree of natural variation to timbre when routed to filter cutoff. Normal pink noise is low pass filtered audio frequency noise with a 3 dB/octave slope to give equal energy per octave.
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Programming Basics Preset Modulation Processors O The 4x Amp can be used to get more steps or increase the interval of the Quantizer. L1 #01 +030 L1 PATCHCORD Quantize -> Pitch #02 +100 L1 #03 -050 PATCHCORD LFO1+ -> Quantize O Experiment with this patch by connecting other sources and destinations to the Quantizer. PATCHCORD DC -> Pitch This patch generates an ascending arpeggio every time a key is pressed. A diagram of the patch is shown below.
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Programming Basics Modulation Processors The block diagram of the Proteus 2000’s signal path is shown below. L Z-Plane Filter Instrument Amp R Q Vol Pan Start Offset Glide Retrigger Glide Freq. Pitch To understand how a filter works, we need to understand what makes up a sound wave. A sine wave is the simplest form of sound wave. Any waveform, except a sine wave, can be analyzed as a mix of sine waves at specific frequencies and amplitudes.
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Programming Basics Dynamic Filters What is a Filter? Most sounds are complex waves containing many sine waves of various amplitudes and frequencies. A filter is a device which allows us to remove certain components of a sound depending on its frequency. For example, a low-pass filter lets the low frequencies pass and removes only the high frequencies as illustrated in the following diagram. Cutoff Frequency 100 Amplitude 80 Output of Filter Low Pass Filter 60 40 20 40 80 160 360 720 1440 2880 ..
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Programming Basics Dynamic Filters A filter which only lets a certain band of frequencies pass is called a band-pass filter. Center Frequency 100 Filter Output Amplitude 80 Band Pass Filter 60 40 20 40 80 160 360 720 1440 2880 ... Frequency A notch filter is just the opposite of a band-pass filter and is used to eliminate a narrow band of frequencies. Amplitude Another control found on traditional filters is called Q or resonance.
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Programming Basics Dynamic Filters Another characteristic of a filter is the number of poles it contains. Traditional synthesizer filters were usually either 2-pole or 4-pole filters. The Proteus 2000 has selectable 2, 4, and 6-pole low-pass filters. The number of poles in a filter describes the steepness of its slope. The more poles, the steeper the filter's slope and the stronger the filtering action. The tone controls on your home stereo are probably one-pole or two-pole filters.
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Programming Basics Dynamic Filters A more complex type of filter is called a parametric filter or Swept EQ. A parametric filter allows control over three basic parameters of the filter. The three parameters are: Bandwidth, Frequency and Gain. The Bandwidth allows you to select the width of the range of frequencies to be boosted or cut, the Frequency defines the center frequency of the bandwidth, and the Gain parameter either boosts or cuts the frequencies within the selected band by a specified amount.
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Programming Basics Dynamic Filters The Z-Plane Filter A Z-plane filter is a filter which can change its function over time. In a Z-plane filter, we start with two complex filter types and interpolate between them using a single parameter. See the following diagram. Morph Amplitude B Filter A Filter Morph Frequency The Z-plane filter has the unique ability to change its function over time. Filters A and B represent two different complex filters or “frames.
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Programming Basics Signal Flow Signal Flow Going back to the Signal Path diagram for a single channel we can reexamine the complete signal path. Instrument Sample Pitch Start Z-Plane Filter Freq R DCA Pan Q L Volume Filter Envelope Velocity Volume Envelope Instrument This is the sampled sound wave. The pitch of the instrument can be modulated by any modulation source. The sample start point can be changed only at the time the note is played.
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Programming Basics MIDI Channels and Real-time Controls MIDI Channels and Real-time Controls Your MIDI keyboard sends out real-time controller information on separate continuous controller numbers. There is a set of 32 continuous controller numbers for each MIDI channel. Some of the controllers, such as the modulation wheel, volume, and pan have standardized numbers. For example, volume is usually sent on continuous controller #7.
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Programming Basics MIDI Channels and Real-time Controls The factory presets have the MIDI A-L controls connected to standard synthesizer functions (marked on the front panel of Proteus 2000). By choosing any four of the eight standard functions, your four sliders will work the same on every preset. The chart below shows how this might work if your keyboard transmitted the slider settings on MIDI controllers 12-15.
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Programming Basics MIDI Channels and Real-time Controls Bank Select Commands When the original MIDI specification was developed, synthesizers had only 8 to 40 preset locations. At that time being able to select up to 128 presets didn’t seem like much of a limitation. So it was that the original MIDI specification provided for the selection of up to 128 presets. Musicians screamed for MORE and so the MIDI specification was later amended to include Bank Select Commands.
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Programming Basics Stereo Mix Outputs Stereo Mix Outputs Proteus 2000 has three sets of polyphonic stereo outputs (Main, Sub 1 and Sub 2). The channels used by a particular preset (or a particular MIDI channel) can be directed to appear at any one of these three stereo outputs. This feature is useful for adding signal processing (EQ, reverb, etc.) of individual sounds prior to final mixdown. By panning a preset completely left or right, it can be routed to a single output jack.
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Programming Basics Stereo Mix Outputs To route a particular preset to a Submix output, first go to the Mix Output screen in the Master menu and set the MIDI channel to “Preset”. MIX OUTPUT channel 01A: Preset Next set the Mix Output routing in the preset to the desired output (for each layer). Yes, you can send each layer to a different output if you want. L1 MIX OUTPUT Send 2 Why have a Send 4 routing at all if it only goes to the Main output? The answer lies in the dual function of the Sends.
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Edit Menu The Edit Menu contains four layers of preset parameters that you can modify and then save as preset information in one of the user preset locations. There are four instrument layers in the Edit menu. See the illustration on page 87 for a description of the Preset Layer model.  While the Edit menu is activated, all incoming MIDI preset changes on the selected channel are ignored. Press the Edit button, lighting the LED.
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Edit Menu Preset Name The Preset names consists of two parts: a 3 letter preset category and a 12 letter preset name. Position the cursor under the character location and use the data entry control to change the character. The preset category is used in conjunction with the Sound Navigator feature. Using the Sound Navigator, a category is selected and the presets in that category are listed in alphabetical order. Creating categories makes it easier to find specific sounds when you need them.
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Edit Menu Four Layer Architecture Four Layer Architecture Proteus 2000 provides a 4 layer instrument structure. Each layer is a complete synthesizer voice with 50 filter types, over 64 modulation sources, more than 64 modulation destinations and 24 patchcords to connect everything together. In addition, the four layers can be crossfaded or switched by key position, velocity or any real-time modulation source.
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Edit Menu Defining Layer Parameters Defining Layer Parameters Selecting an Instrument The Edit menu parameters define the four layers and include the instrument assigned to the layer, the ranges of the layer, tuning, envelopes, filters, and patch cords. These parameters are defined for each layer on an individual basis (based on the currently selected layer). See “Common Preset Parameters” on page 119 for global preset settings.
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Edit Menu Defining Layer Parameters Defining Key Range The Key parameter defines the range on the keyboard used by the current layer. The Key range is from C-2 through G8. Middle C C-2 C-1 C0 C1 C2 C3 C4 C5 C6 C7 C8 G8 To define the range, set the low key value and the high key value. You can select key numbers by simply pressing the desired keyboard key when the cursor is positioned on the low or high key field n the display.
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Edit Menu Defining Layer Parameters To Switch Layers According to Key Position The Key Range parameter allows you to create a “split” keyboard with up to four sounds adjacent to each other on the keyboard. This is shown in the diagram below. C0 C1 C2 Layer 1 Layer 2 Switch  You can select key numbers by simply pressing the desired keyboard key when the cursor is positioned on the low or high key field n the display.
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Edit Menu Defining Layer Parameters To Stack Layers If the ranges of two or more Layers overlap it is called stacking layers. All Layers assigned to a key sound when the key is played. This is shown in the following diagram. It’s very easy to stack layers. Simply duplicate the key ranges for any layers you want to stack.
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Edit Menu Defining Layer Parameters Defining the Velocity Crossfade Range Velocity is a measure of how hard the key is pressed. Velocity Range lets you control the volume of the layers using velocity. Using this function you can crossfade or cross-switch between layers according to how hard you play the keyboard. Set the velocity range of the layer by defining the high and low velocity values. Values range from 0 (off) to 127 (hardest).
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Edit Menu Defining Layer Parameters To Set Up a Velocity Crossfade Between Layers Set the velocity fades so that layer 1 fades out with higher key velocity, while layer 2 fades in. At a velocity of 64, the two sounds are equal volume. You may want to adjust the fade in and fade out points to achieve a natural sounding crossfade. These parameters vary depending on the sounds.
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Edit Menu Defining Layer Parameters Defining the Real-time Crossfade Range The Real-time Crossfade window lets you control the volume of the four layers using a real-time controller such as a front panel knob, a pedal or an LFO or Envelope generator. The controller is defined by the PatchCord parameter (see “PatchCords” on page 115). The Fade fields define the crossfade range in velocity for the currently selected layer. The first Fade field defines the Fade In amount for the low Real-time Control value.
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Edit Menu Defining Layer Parameters 4. 5. 6. 7. 8. 9. Press Enter, then use the Data Entry Control to advance to the Realtime Crossfade page. Define the High and Low range of each Layer. In this example the entire range of 0-127 is used. Define the Fades for each Layer. This is just an initial setting. The Range and Fade parameters may have to be adjusted later to get a smooth crossfade. Press Home/Enter and use the Data Entry Control to advance to the PatchCord page. Select Layer 1.
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Edit Menu Defining Layer Parameters 1. 2. 3. Press the Edit button to access the Edit menu. Go to the Instrument screen and select Instruments for Layers 1 through 4. Press Enter, then use the Data Entry Control to advance to the Realtime Crossfade page. L1 4. 5. 6. 7.
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Edit Menu Defining Layer Parameters L1 PATCHCORD XfdRand -> RTXfade 8. Transposing the Instrument #01 +100 That’s it! Now set each Layer up the way you want. Try radically different instruments, filter settings, or tunings. Or you can make each layer just slightly different for a more natural effect. Try adjusting the Fades or overlapping the ranges if you want more than one layer to play at once. The Transpose parameter lets you transpose the key of the current layer’s Instrument.
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Edit Menu Defining Layer Parameters Tuning The Tuning parameter changes the pitch of the key in semitone and 1/64 semitone intervals. L1 TUNING Coarse: +36 Fine: +63 Use the Coarse field to shift the tuning by semitone intervals. Use the Fine field to shift tuning by 1/64 semitones (or 1.56 cents) intervals. Background: Transpose vs.
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Edit Menu Defining Layer Parameters Volume Envelope An envelope can be described as a “contour” which is used to shape the sound over time. The Volume Envelope controls the volume of the sound in the current layer over time. The way the volume of a sound evolves has a profound effect on how we perceive the sound. Each instrument has its own Factory preset Volume Envelope setting. The Volume Envelope allows you to program your own envelope settings.
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Edit Menu Defining Layer Parameters  See the Programming Basics section of this manual for detailed information about how the Envelopes work. Defining the Volume Envelope The Volume Envelope controls the volume of the layer over time. The Volume Envelope has six stages to the contour: Attack 1, Attack 2, Decay 1, Decay 2, Release 1 and Release 2. When a key is pressed, the Envelope goes through the first four stages. If you continue to hold down the key, the envelope holds at the Decay 2 level.
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Edit Menu Defining Layer Parameters Chorusing the Layer _ WARNING: Because it works by doubling instruments, Chorusing halves the number of notes you can play. Chorusing “thickens” the sound by doubling the sound in stereo and then detuning it. Every layer with chorus turned on uses twice the polyphony for that layer. L1 CHORUS off WIDTH 100% The first field in this screen turns Chorus On or Off and allows you to adjust the amount of detuning (1 to 100%).
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Edit Menu Defining Layer Parameters Non-Transpose Mode This function turns keyboard transposition On or Off for the current layer. With Nontranspose “on,” the keyboard will not control the pitch of the instrument. This is a useful function for drones, attack “chiffs,” or other sound effects which you may not want to track the keyboard. L1 NONTRANSPOSE off Solo Mode Provides the playing action of a monophonic instrument such as a lead synthesizer by preventing more than one note from sounding at once.
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Edit Menu Assign Group Synth (low): Same as Synth (last) but with low note priority. When you release the currently sounding solo key while holding other keys down, the lowest held solo key sounds in a Legato fashion (MiniMoog). Synth (high): Same as Synth (last) but with high note priority. When you release the currently sounding solo key while holding other keys down, the highest held solo key sounds in a Legato fashion.
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Edit Menu Glide Glide Glide creates a smooth transition from one note to the next instead of the normal instantaneous change in pitch when a new key is pressed. This effect is commonly heard on slide guitars, synthesizers and violins. L1 GLIDE RATE 0.000 sec/oct CURVE linear The Glide Rate parameter defines the time it takes to glide to the new pitch (the larger the value, the slower the glide rate) The glide rate value range is from 0 through 32.738 seconds (zero means off).
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Edit Menu Z-Plane Filters 128 filters of 2nd to 6th order complexity or 64 filters of 12th order complexity. Therefore, if you decided to use all 12th order filters, Proteus 2000 would be limited to 64 voices. Filters are dynamically allocated according to their usage so that the maximum number of voices is always available. See page 74 for more information about filters. Filter Types This screen allows you to choose the type of filter for the current layer.
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Edit Menu Z-Plane Filters Filter Types Filter Name Order Type Description Swept2>1oct 06 EQ+ Parametric filter with 24 dB of boost or cut. The bandwidth of the filter is two octaves wide at the low end of the audio spectrum, gradually changing to one octave wide at the upper end of the spectrum. Swept3>1oct 06 EQ+ Parametric filter with 24 dB of boost or cut.
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Edit Menu Z-Plane Filters Filter Name Order Type Description PhazeShift2 06 PHA Comb filter with slightly different notch frequency moving the spacing of notches. Q varies the depth of the notches. FreakShifta 12 PHA Phasey movement. Try major 6 interval and maximum Q. CruzPusher 12 PHA Accentuates harmonics at high Q. Try with a sawtooth LFO. FlangerLite 06 FLG Contains three notches. Frequency moves frequency and spacing of notches. Q increases flanging depth.
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Edit Menu Proteus 2000 Filter Types Proteus 2000 Filter Types Filter Parameters The Freq and Q parameters control various elements of the filter depending on the type of filter used. See the table in the Filter Types section for details about what the Freq and Q fields control in each filter. L1 FILTER Freq: 255 Filter Envelope Q: 019 The Filter Envelope is normally used to control the filter frequency and has six stages.
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Edit Menu Filter Envelope Envelope Repeat The Envelope Generators can also be made to repeat. When the envelope repeat function is On, the Attack (1&2) and Decay (1&2) stages will continue to repeat as long as the key is held. As soon as the key is released, the envelope continues through its normal Release stages (1 & 2). For more information, see “Envelope Repeat” on page 60. 1. To Turn on Envelope Repeat: Move the cursor until it is underneath the Mode field as shown below.
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Edit Menu Auxiliary Envelope  See the Programming Basics section of this manual for detailed information about how the Envelopes work. Defining the Filter Envelope The Filter Envelope controls the filter frequency of the layer over time. The Envelope has six stages to the contour: Attack 1, Attack 2, Decay 1, Decay 2, Release 1 and Release 2. When a key is pressed, the Envelope goes through the first four stages. If the key continues to be held, the envelope holds at the Decay 2 level.
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Edit Menu Low Frequency Oscillators (LFOs) Shape LFO waveforms have different shapes. The shape of the waveform determines the effect of the LFO. LFOs have traditionally been used to add vibrato or repeating movement to a sound. These new shapes offer a lot of new programming possibilities. If you modulate the pitch of an instrument, it’s easy to visualize the shape of the waveform. For example, the sine wave has a smooth, rolling shape that changes the pitch smoothly.
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Edit Menu Low Frequency Oscillators (LFOs) L1 LFO1 SHAPE sawtooth SYNC key sync Sync LFO Synced to 1/4 Note Clock The Sync field specifies whether the LFO is synchronized to a key stroke or is Free Running. Key Sync starts the LFO wave at the beginning of its cycle each time you press a key on the controller. In Free Run mode, the LFO wave begins at a random point in its cycle each time you press a key on the controller.
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Edit Menu Low Frequency Oscillators (LFOs) Tempo-based Rates (based on Master Tempo) Display double note triplet 2/1t whole note 1/1 dotted half note 1/2d whole note triplet 1/1t half note 1/2 dotted quarter note 1/4d half note triplet 1/2t quarter note 1/4 dotted 8th note 1/8d quarter note triplet 1/4t 8th note 1/8 dotted 16th note 1/16d 8th note triplet 1/8t 16th note 1/16 dotted 32nd note 1/32d 16th note triplet 1/16t 32nd Note 1/32 Delay The Delay parameter defines t
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Edit Menu Low Frequency Oscillators (LFOs) Variation LFO Variation sets the amount of random variation of the LFO each time you press a key on the controller. This creates a chorus or ensemble effect since each note played has a slightly different modulation rate. The higher the value entered, the greater the note to note variation in the LFO. _ The Variation value range is from 0 through 100. Variation is disabled when a Tempo-Based LFO is selected.
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Edit Menu PatchCords PatchCords PatchCords tie everything together by connecting modulation sources to destinations. Each PatchCord has its own Amount control which can be positive or negative (negative amounts invert the signal). In addition, the PatchCord amounts themselves can be controlled by any modulation source. Proteus 2000 provides 24 patches for each layer. There are three permanently connected control routings: volume envelope to amplifier, pitch wheel to pitch and key to pitch.
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Edit Menu PatchCords Modulator Polarity You will notice that some of the modulation sources have symbols following their names. For example, there are three Velocity modulation sources, Vel +, Vel ±, and Vel <. Control Value + ± < 0 63 127 Control Value Applied 0 -63 -127 63 0 -63 127 +64 0 + modulation ADDS to the initial value. (Normal) ± centers around Zero. (Use for LFOs, Filt. Freq.
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Edit Menu PatchCords Refer to the following table for a list of modulation sources and destinations available in the Proteus 2000.
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Edit Menu Pitch Bend Range Pitch Bend Range Specifies the Pitch Wheel range in semitones for the current layer. Pitch Wheel is a standard synthesizer control which is transmitted as a MIDI continuous controller message used (normally) to bend the pitch up and down. The PitchBend range is from 0 to +12 semitones or “Master.” A setting of “0” turns the pitch wheel Off for the current layer. The Master setting uses the Pitch Bend range defined in the Master menu.
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Edit Menu Common Preset Parameters Preset Effects This section of the Edit menu chapter describes parameters that affect all layers in the preset. Proteus 2000 has two stereo effects processors. When playing presets one at a time, the two processors can be programmed as part of the preset. The diagram below shows how the effects are integrated into the signal path using a parallel effects send/return model, similar to a mixing console.
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Edit Menu Preset Effects OUTPUT SECTION & EFFECTS PROCESSORS FX Sends PRESET EDIT MENU Send 2 10% Send 3 0% Send 4 0% Mix Output Send 1 S E N D 1 FX Sends PRESET Send 4 15% Ch 2A SEND 2 Ch 3A SEND 3 S E S U B 1 Jack Detect 2 S E 3 MASTER MENU Effect B N D N D Ch 16B SEND 4 Chorus M A I N Send 1 0% Send 3 20% Mix Output Effect A B➟A Send 2 0% Ch 1A Hall 1 Send 1 15% Jack Detect S U B 2 S E N D 4 The Mix Output setting in the Master Menu determines if the Preset’s Mix Outpu
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Edit Menu FXA Algorithm FXA Algorithm This screen selects the effect type for Effect Processor A. The “A” effects consist of different reverb types and digital delays. Move the cursor to the lower line of the display and select the effect you want. FXA ALGORITHM Lg Concert Pan A Effect Types 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22.
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Edit Menu FXA Parameters FXA Parameters The FXA parameters are Decay, High Frequency Damping, and the FxB to FxA send. Decay sets the length of time it takes an effect to fade out. HF Damping causes the high frequency energy to fade away more quickly during the reverb decay. FxB to FxA controls the amount of the “B” effect sent through effect “A”. This allows you to place the two effects in series and create setups such as “distortion through reverb” among others.
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Edit Menu FXB Parameters FXB Parameters The FXB parameters are Feedback, LFO Rate and Delay. Feedback sends the output of the effect back into the input. This creates multiple echoes on a delay effect and intensifies a chorus or flange effect. LFO Rate allows you to change the speed of the modulation oscillator for flange and chorus effects. Delay sets the length of the delay line. This affects the time between echoes, or the tone of flange effects.
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Edit Menu Preset Patchcords Modulation Sources: Flip-Flop Footswitch 1 Footswitch 2 Flip-Flop Footswitch 2 Footswitch 3 Flip-Flop Footswitch 3 DC 124 E-MU Systems Modulation Destinations Preset Lag In Preset Lag Amount Preset Lag Rate Preset Ramp Rate
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Edit Menu Initial Controller Amount This parameter sets the initial value of MIDI controllers A-L when the preset is first selected. The front panel Control Knobs can be thought of as front panel MIDI controllers because in the Proteus 2000, they are treated just as if they originated from an external MIDI device. Refer to the following diagram. There are three Initial Controller Amount screens (A-D, E-H, I-L).
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Edit Menu Keyboard Tuning Keyboard Tuning In addition to the standard equally divided octave tuning, Proteus 2000 contains twelve factory programmed tunings and 12 user-definable tunings. The Keyboard Tuning parameter selects which tuning is used by the current preset. The User Tuning tables are defined in the Master menu. The factory Keyboard Tuning tables are described in the following table.
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Edit Menu Keyboard Tuning The Just C Tuning Tables  Proteus 2000 implements the MIDI Tuning Dump protocol which allows you to create tuning tables on your personal computer and download them via MIDI. There are several computer applications available on the internet which let you create and download tuning tables via MIDI. Well Tempered and Just were standard keyboard tunings up until the 20thcentury when the current “equal tempered” scale became prevalent.
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Edit Menu Preset Links Preset Links You can link presets to other presets to create layering or keyboard splits. The current preset can be linked with up to two other presets (Links 1 & 2). Each linked preset can be assigned to a specific range in order to create keyboard splits or can be assigned a velocity range to switch links according to key velocity. In addition, you can specify Volume, Pan, Transpose and Delay settings for each Link.
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Edit Menu Preset Tempo Offset Preset Tempo Offset This function allows you to double or halve the Master Tempo as it applies to this preset. When playing or sequencing several presets in Multimode, the Master Tempo may be too fast or slow for one preset. Using this feature, you can adjust the tempo for the misbehaving preset. The Tempo Offset can use the current tempo or be set to half or twice the current tempo.
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Edit Menu Play Solo Layers 130 E-MU Systems
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Programming Tutorial There is so much you can do with the Proteus 2000 it’s impossible to describe it all. This chapter is will give you some ideas for programming your own custom sounds and contains step-by-step instructions to help you get started. In order to get the most from this chapter, we recommend you actually try each example. Have fun! Editing Presets One of the easiest ways to make a new preset is to edit an existing preset.
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Programming Tutorial Editing Presets 6. 7. To Change the Instrument for any Layer in the Preset Move the cursor back up to the first field in the first line (the layer). Use the Data Entry Control to select the layer you want. L2 INSTRUMENT 0050 org:Dance 8. ROM:CMPSR Repeat steps 3 and 4 for each selected layer. Find an instrument that sounds good when combined with the previous instruments selected. With all these great instruments to work with, you really can’t go wrong.
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Programming Tutorial Editing Presets Chorus _ WARNING: Since it works by doubling the instruments, Chorusing halves the number of notes you can play on Proteus 2000. This is an easy one. Chorus works by doubling the instruments and detuning them slightly. The larger the chorus value, the more detuning occurs. The Width parameter controls the stereo spread. A Width value of 0% reduces the chorus to mono, a value of 100% provides the most stereo separation.
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Programming Tutorial Editing Presets 2 y1 Dc Atk Rl k1 s1 At level Key Down Strings Percussion Rls2 Sustain time Piano Organ Dcy2 Key Released Every instrument in Proteus 2000 has it's own predetermined volume envelope which is used when the Volume Envelope parameter is set to “factory.” By setting the Volume Envelope to “time-based” or “tempobased,” we can reshape the instrument's natural volume envelope any way we want.
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Programming Tutorial Editing Presets 4. 5. Working with Filters Move the cursor to the first field in the bottom line and use the cursor buttons to advance to the Release pages. Increase the Release 1 and 2 times. Note the effect as you release the key on the controller. The Release stages controls the time it takes for the sound to die away when a note is released. The filters make it possible to remove certain components of the sound.
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Programming Tutorial Editing Presets Cutoff Frequency 100 Amplitude 80 Output of Filter 60 40 20 40 80 160 360 720 1440 2880 ... Frequency 3. 4. 5. Open the filter back up to 255, then move the cursor to the Q field. Set the Q to 10, then move the cursor back under the Freq value. As you change the frequency, notice that the sound now has a sharp, nasal quality. A high Q boosts or amplifies the frequencies at the cutoff frequency (Fc). Reset the cutoff frequency to the lowest setting (0.
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Programming Tutorial Editing Presets 4. Move the cursor to the last field in the line. This is the Amount field. The Amount field determines the amount of modulation applied. Set this value to “+100.” L1 PATCHCORD FiltEnv+ -> FiltFreq #01 +100 This setup connects the Filter Envelope Generator to the Filter Cutoff as shown in the following diagram. Instrument Tone R Filter Fc DCA Pan Q L Filter Env. 5. Now, return to the Filter Envelope Mode screen. Set the Mode to “timebased.
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Programming Tutorial Editing Presets L1 FILT ENV Attack1 8. 9. RATE 50 LEVEL +88% Change the attack rate and note the change in the sound. Set the envelope parameters as shown in the following table. Envelope Phase Time Level % Attack 1 40 65 Attack 2 65 100 Decay 1 80 85 Decay 2 25 50 Release 1 97 20 Release 2 73 0 With the above setup, the filter sweeps up, then Decays back down to the Decay 2 Level until you release the key. Then it sweeps down at the Release rates.
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Programming Tutorial Editing Presets Envelope Repeat The Envelope Generator can also be made to repeat. When the envelope repeat function is On, the Attack (1&2) and Decay (1&2) stages will continue to repeat as long as the key is held. 1. 2. To Make the Filter Envelope Repeat: Go to the Filter Envelope Mode screen shown below. Move the cursor to the Mode field. L1 FILTER ENVELOPE Mode: time-based 3. Turn the data entry control clockwise. The Mode field will change to Repeat as shown below.
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Programming Tutorial Editing Presets Troubleshooting A common source of confusion when working with the filter envelope is that the Attack or Release parameters might not seem to be working correctly. If you are not getting the expected result, try to analyze the situation. There will be many times when you will have to stop for a minute and think, “What am I trying to do and why isn't it working?” When this happens (and it will), don't panic. Troubleshooting is a normal part of the synthesis process.
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Programming Tutorial Linking Presets Linking Presets Using the Link pages in the Edit menu is a quick and easy way to create new sounds. Use the Links to “layer” presets and to “split” a keyboard into sections containing different sounds. 1. 2. O To Layer Two Presets Select the first preset you want to layer. Press the Edit button. Use the Data Entry Control to move through the screens until you find either the “LINK 1” or “LINK 2” screen shown below.
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Programming Tutorial Linking Presets Using External Processing Don't be afraid to use external processing on specific sounds. The submix sends and returns on Proteus 2000 are there for just that reason. In many instances, a bit of reverb or EQ will be just the thing an instrument needs to give it a distinct identity. Incidentally, an external fuzz box can work wonders on otherwise harmless sounds.
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Effects Effects Overview Proteus 2000 has two stereo effects processors. When playing presets one at a time, the two processors can be programmed as part of the preset. When the MIDI Mode is set to “multi,” the Proteus uses a global effects assignment (Master Effects). The diagram below shows how the effects are integrated into the signal path using a parallel effects send/return model, similar to a mixing console.
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Effects Effects Overview Send 2 and Send 3 are also used to route sounds to the Sub 1 and 2 outputs on the back panel. When a plug is inserted into the associated Submix jack on the back panel, the Dy portion of the Send is disconnected from the effects processor and the Dry signal is routed directly to the output jack. The actual output routing is shown in parenthesis in the display. The Dry Send is disconnected from the Effects Processors even if only one plug is inserted into a Submix pair.
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Effects Effect Types Effect Types A Effect Types Room 1-3 Hall 1 & 2 Plate Delay Panning Delay Multitap 1 Multitap Pan 3 Tap 3 Tap Pan Soft Room Warm Room Perfect Room Tiled Room Hard Plate Warm Hall Spacious Hall Bright Hall Bright Hall Pan Bright Plate BBall Court Gymnasium Cavern Concert 9 Concert 10 Pan Reverse Gate Gate 2 Gate Pan Concert 11 Effect Parameters Medium Concert Large Concert Large Concert Pan Canyon DelayVerb 1-3 DelayVerb 4-5 Pan DelayVerb 6-9 B Effect Types Chorus 1-5 Doubling Slapb
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Effects Effect Types Decay The Decay parameter is used when setting “A” type effects. Decay sets the length of time it takes an effect to fade out. When setting up reverb effects, Decay controls the room size and the reflectivity of the room. For larger room sizes and greater reflectivity, set the Decay value higher. When setting up delay effects, the Decay parameter controls how many echoes are produced or how long the echoes last. The greater the value, the more echoes and longer lengths of time.
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Effects Effects Programmed in the Preset Effects Programmed in the Preset Effects are normally programmed as part of the preset allowing you to have a different effect for each. This section describes how to program and modify Proteus 2000’s preset effects. 1. 2. To Program the Effects as Part of the Preset: Press the Edit button. The LED illuminates and the Edit screen appears. Use the Data Entry Control to select the FXA Algorithm screen. FXA ALGORITHM Lg Concert Pan 3. 4. Select an Effect.
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Effects Master Effects FXB 9. 10. Master Effects FEEDBK 127 LFORATE 127 DELAY 635ms Set the other effect parameters to your preference. Refer to the information in the last section for detailed descriptions of these parameters. Save the preset. The programmed effects setting will be saved along with the preset. You might want the effects to be programmed on a global basis when in Omni or Poly modes. You could choose your favorite reverb, for example, and have it applied to any preset you select.
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Effects Master Effects 5. 6. Set the other effect parameters to your preference. Refer to the information in the last section for detailed descriptions of these parameters. Use the Data Entry Control to select the FXB Algorithm screen. FXB ALGORITHM Distorted Flange 7. 8. Select an Effect. Use the Data Entry Control to select the FXB parameter screen. FXB 9. 10. 11. _ The MIDI mode (Master Menu) must be set to Omni or Poly mode in order to select the effects in the preset.
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Effects Master Effects Effects Mode This control provides a true bypass of the effects engine. Bypass is a useful feature if you are using external effects at the mixing console and want to turn the effects off for all presets. 1. 2. To Bypass the Effects: Press the Master menu button. The LED lights and the last Master parameter screen used is displayed. Use the Data Entry Control to select the Effects Mode screen. FX MODE enabled 3. 4. 5.
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Effects Master Effects Refer to the following diagram for a look at how effects are programmed. 1 Master FX Preset FX Effects are part of the Preset (Omni or Poly Mode) 2 Master FX Preset Ch 1A FX Master Effects 3 (Multi mode) Preset Ch 16B FX Master FX Preset Ch 1A FX (Multi mode) Selected FX Control Channel Preset FX Ch 16B One Channel's Preset determines the Effect Settings To Program the Effects Globally for all Presets in Multi Mode: 1. Press the Master menu button.
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Effects Master Effects 3. Move the cursor to the Multi mode Effects Control page using the Data Entry Control. FX MULTIMODE CONTROL use master settings 4. 5. Set the Effect Control channel to use master settings using the Data Entry Control. Press the Enter key to save the settings and return to the main screen.
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Effects Master Effects FXA 2. 3. DECAY 127 HFDAMP 127 FxB>FxA 127 Set this amount to 127. Press the cursor button to return the cursor to the top line in the display. Use the Data Entry Control to select the FXA submix routing parameter screen. FXA SEND AMOUNTS 2: 20% 3: 30% 4. 5. 6. 7. 8. 9. 1: 10% 4: 40% Press the cursor buttons to advance the cursor to the Main field. Set the Main send amount to any amount other than zero. Press the cursor button again to return the cursor to the FXA title.
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Effects General Effect Descriptions General Effect Descriptions Reverb Reverberation is a simulation of a natural space such as a room or hall. The reverb algorithms in Proteus 2000 simulate various halls, rooms and reverberation plates. In addition, there are several other reverb effects such as Gated Reverbs, Multi Tap (early reflections), Delay and Panning effects. There are two adjustable parameters on the reverb effects - Decay Time and High Frequency Damping.
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Effects General Effect Descriptions Chorus The function of a chorus device is to thicken the sound or to make one voice sound like many. This effect is usually created by mixing one or more delayed versions of the signal 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.
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Effects General Effect Descriptions The Proteus 2000 flanger is a stereo device consisting of two separate delay lines controlled by a single set of controls. A Low Frequency Oscillator (LFO) varies this initial delay setting, changing the frequency of the notches and adding animation to the sound. LFO Rate controls the rate of change and LFO Depth controls how much the LFO changes the delay. The Feedback control sends some of the delayed signal through the delay line again.
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Save/Copy Menu The Save/Copy menu is used to save changes to a preset and to copy data between presets. When in “Quick Edit” mode, this menu always defaults to the “Save to Preset” page of this menu with the cursor on the second line. You can use the Data Entry Control to navigate to other pages that support copying information.
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Save/Copy Menu Copying Information Copying Information Copy Preset The Copy operations let you copy information from any preset or layer to any other preset or layer. To use the copy command, first select the preset or layer to which you want to copy (the destination location). Then, from the copy screen, select the preset or layer you want to copy to the currently selected location (the source location). Using the copy commands you can copy preset, layer, PatchCord and arpeggiator information.
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Save/Copy Menu Copying Information 1. 2. 3. 4. 5. 6. 7. 8. Copy PatchCords To Copy a Layer Select the Preset and Layer you want to copy information into. Press the Save/Copy menu button. Move the cursor to the bottom line on the display. Select the preset location using the Data Entry Control, of the preset containing the information you want to copy into the current preset. Move the cursor to the top line in the display. Select the layer of the source preset in the first field on the right.
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Save/Copy Menu Copying Information Copy Preset PatchCords The Copy Preset PatchCord command lets you copy the preset patchcord settings from one preset location into the current preset location. The preset information in the source location (the preset location from which you want to copy) is not deleted from the original location, just copied to the destination location. COPY PRESET CORDS 0201 Source Preset 1. 2. 3. 4. 5.
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Save/Copy Menu Copying Information Create Random Preset This is a great feature which creates a new preset using portions of the ROM presets as source material. By merging random presets, really great sounding presets can be generated with ease. Use this feature to generate wild new sounds, get new programming ideas or just for fun. RANDOMIZE PRESET 0000 Any User Preset  Examine interesting presets to learn how they work using the Edit menu. 1. 2. 3. 4.
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Save/Copy Menu Copying Information Copy User Bank to Flash This is a special purpose function to be used with the Flash sound authoring feature. Flash Sound SIMMs created on an EOS Ultra sampler can be used as a custom Proteus 2000 bank. Presets are then created in a User bank. When the bank of presets is finished, it can be copied, using this function, to the Flash SIMM. Flash SIMMs contain two separate memory locations.
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Save/Copy Menu Copying Information Rename Flash SIMM  This utility allows you to rename the Flash SIMM and change its ID number. Flash SIMMs can have any five letter name you choose. Each Flash SIMM in a Proteus 2000 unit must have a unique ID number (106-119). The field in the upper right corner selects between multiple Flash SIMMs. If only one Flash SIMM is installed, the field cannot be modified. TheFlash ID is the MSB of the MIDI Bank Select command used to select the Sound Bank.
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Save/Copy Menu Copying Information Duplicate Flash This utility allows you to duplicate Flash SIMMs using Proteus 2000. Both Sound and Preset data is copied when a Flash SIMM is duplicated. A factory sound SIMM cannot be copied using this utility. WARNING: dangerous voltages are exposed inside Proteus 2000! Make sure power is completely disconnected from Proteus 2000 before removing the top panel. Replace the top panel before restoring power to the unit.
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Appendix This section provides some of the more technical information about the Proteus 2000. In this appendix, you will find information about velocity curves, MIDI commands and PatchCord charts. Front Panel Knob Functions The front panel knob functions are standardized for most of the factory presets. The typical functions of the controller knobs are described below. TONE ATTACK DYNAMIC 1 A/E/I PRESENCE DECAY/RLS SHAPE DYNAMIC 2 B/F/J IMAGE MOVEMENT RATE FX A C/G/K FX B D/H/L Tone ........
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Appendix Presets Presets Proteus 2000 Preset Categories 166 E-MU Systems Proteus 2000 comes standard with 1024 ROM presets and 512 editable User preset locations. Presets are organized into banks of 128 presets each. User banks 0-3 are duplicates of CMPSR banks 4-7. The Proteus 2000 presets are organized in categories according to the types of sound.
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Appendix Preset Listing Preset Listing User Bank 0, CMPSR Bank 4 0. 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24. 25. 26. 27. 28. 29. 30. 31. 32. 33. 34. 35. 36. 37. 38. 39. 40. 41. 42.
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Appendix Preset Listing Preset Listing User Bank 1, CMPSR Bank 5 168 E-MU Systems kb4:Dance 43. bs1:Upright 2 86. bs2:Sloppiest 1. kb4:Dyno Piano 44. bs1:Upright Days 87. bs2:Spankin 2. kb4:DynoWahClav 45. bs1:WalkinUprite 88. bs2:ThickFretles 3. kb4:E Grand 46. bs2:BADtube 89. bs2:VeloFretless 4. kb4:Elecre 1 47. bs2:Big Basic 90. bs3:26 5. kb4:Elecre 2 48. bs2:EP 1 91. bs3:Analow 6. kb4:Elecre 3 49. bs2:EP 2 92. bs3:ATC 1 7. kb4:Electrified 50. bs2:EP 3 93. bs3:ATC 2 8.
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Appendix Preset Listing Preset Listing User Bank 2, CMPSR Bank 6 bs3:Sub-Basement 43. bs4:Mini 3 86. bs4:Synth 9 1. bs3:Subtle Bass 44. bs4:Mini 4 87. bs4:Synth 2. bs3:Super Sub 45. bs4:Mini More 88. bs4:TB 1 3. bs3:The Tunnel 46. bs4:Mod da Wheel 89. bs4:TB 2 4. bs3:Thickley Dub 47. bs4:Moog 1 90. bs4:TB 3 5. bs3:Thip Kong 48. bs4:Moog 2 91. bs4:TB 4 6. bs3:Way Low Down 49. bs4:Moog Tri 92. bs4:Thunk 7. bs3:Wide Chorus 50. bs4:Mr. Clean 93. bs4:Tight Mo MW 8. bs3:ZuB CoMpLeX 51.
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Appendix Preset Listing Preset Listing User Bank 3, CMPSR Bank 7 170 E-MU Systems bs5:Ultimate 2 43. gtr:Power 2 86. str:Sham Wave 1. bs5:Ultimate 3 44. gtr:Rezatronics 87. str:SitarTalk 2. bs5:VP1 1 45. gtr:Slippery Joe 88. str:Sneajy 3. bs5:VP1 2 46. gtr:SlipSly 89. str:Solo Quartet 4. bs5:WetMonica 47. gtr:Spy 90. str:So Long 5. gtr:Carlos 48. gtr:Steel 91. str:SoloOutFront 6. gtr:Cast Teller 49. gtr:Steel Real 92. str:Swoon 7. gtr:Chuckin 50. gtr:Strat Wow 93. str:Texture 8.
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Appendix Preset Listing Preset Listing CMPSR Bank 0 brs:SforzadoSect 43. wnd:Harmonica 86. vox:Tarzanalien 1. brs:Soft Trumpet 44. wnd:Harmonika 87. vox:ThroatRattle 2. brs:Solo 'Bone 45. wnd:Harmony 88. vox:Tokenring 3. brs:Synth Brass 46. wnd:Monica Blow 89. vox:Trapped 4. brs:The Ensemble 47. wnd:Nuages 90. led:Apple Eater 5. brs:Too Bahhd 48. wnd:Oboe 1 91. led:Blue Danube 6. brs:Trmpt+Sect 49. wnd:Oboe 2 92. led:Cat's Nip 7. brs:Tromboned 50. wnd:Ocarina 1 93. led:Dancerama 8.
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Appendix Preset Listing Preset Listing CMPSR Bank 1 172 E-MU Systems wav:CZ101 Digi 43. wav:VS48 86. syn:Razor Edge 1. wav:Dig Buzz Syn 44. wav:Whine 87. syn:Rez Synth 2. wav:Eraser 45. wav:Wild Synth 88. syn:Rezzy Wave 3. wav:ES Rag 46. syn:5th Brass 89. syn:Saw Blip 4. wav:Fat Attack 47. syn:8O8 Synthax 90. syn:Saw Stack 5. wav:Glass Perc 48. syn:Arpitty 91. syn:Saw Sweep 6. wav:Hollow Deep 49. syn:BenderPlanet 92. syn:SawsweepComp 7. wav:Juno Pulse 50. syn:Big Planet 93.
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Appendix Preset Listing Preset Listing CMPSR Bank 2 pad:MetalBeats 43. hit:Brass Hits 3 86. sfx:DawnFollows 1. pad:MovingBells 44. hit:Brass Hits 4 87. sfx:Full Circle 2. pad:Pad Life 45. hit:Brass Hittas 88. sfx:Gtr Scrape 1 3. pad:Paddy 46. hit:Brass Hitz 89. sfx:Gtr Scrape 2 4. pad:Paddy Flange 47. hit:Da Danzits 90. sfx:GtrBodyKnock 5. pad:Phat Pad 48. hit:Dance Hits 1 91. sfx:Guitar Pick 6. pad:Phat Pan 49. hit:Dance Hits 2 92. sfx:Hello!!! 7. pad:Pulsation 50.
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Appendix Preset Listing Preset Listing CMPSR Bank 3 Instrument Listing 174 E-MU Systems prc:Acidphone 43. prc:Soft Vibes 86. kit:ClubVinyl 1. prc:Agogos 44. prc:Stuff 1 87. kit:CookUsAHit 2. prc:Bell Tree 1 45. prc:Stuff 2 88. kit:Dance 1 3. prc:Bell Tree 2 46. prc:Tams 1 89. kit:Dance 2 4. prc:Bells1 47. prc:Tams 2 90. kit:DearLyBeEmuD 5. prc:Bells2 48. prc:Timbs 1 91. kit:Dee and Be 1 6. prc:Blocks1 49. prc:Timbs 2 92. kit:Dee and Be 2 7. prc:Blocks2 50. prc:Timpani 93.
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Appendix Instrument Listing Instrument Listing This section lists the raw instruments in the Composer ROM set. Instruments can be either multisamples or single samples. 0. None 42. org:JX Organ 84. bas:Basss ic 1. pno:Stereo Grand 43. org:Tone Organ 85. bas:Stereo VP1 1 2. pno:Grand Piano2 44. org:Simple Organ 86. bas:VP1 2 3. pno:Techno Piano 45. org:Org Lite 87. bas:FM 4. epo:Med Rhodes 46. org:Nod 88. bas:DB 5. epo:Hard Rhodes 47. org:Full Organ 89. bas:Memory Moog 6.
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Appendix Instrument Listing Instrument Listing 176 E-MU Systems 126. bas:Pocket 170. bas:Upright 2 214. str:Pizzicato 127. bas:Sonics 171. gtr:Nylon 215. str:Tron 128. bas:Perco 172. gtr:Steel 216. str:Analog 129. bas:Spitt 173. gtr:Jazz 217. str:Matrix Synth 130. bas:Tapp 174. gtr:Electric 1 218. str:Digital 131. bas:DX 1 175. gtr:Electric 2 219. str:Sham Wave 132. bas:DX 2 176. gtr:El Mute 1 220. str:Koto 133. bas:DX 3 177. gtr:El Mute 2 221. str:Sitar 134. bas:Finger 1 178.
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Appendix Instrument Listing Instrument Listing 258. wnd:Sax FX 1 302. wav:Moog Lead 346. wav:Worm Lead 3 259. wnd:Sax FX 2 303. wav:Fretless 347. wav:Worm Lead 4 260. wnd:Sax FX 3 304. wav:Magic 348. wav:Worm Lead 5 261. wnd:Bottle Blow 305. wav:ES Rag 349. wav:Worm Lead 6 262. wnd:Shenai 306. wav:Chime 350. wav:Sinusoid 263. wnd:Harmonica 307. wav:Pure H20 351. wav:Sine Wave 2 264. vox:Pop Oohs 308. wav:Log Hit 352. wav:Sine Squared 265. vox:Pop Aahs 309. wav:Pluck Tone 353.
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Appendix Instrument Listing Instrument Listing 178 E-MU Systems 390. pad:Dreamy 434. hit:Brass Hit 9 478. hit:Dance Hit 11 391. pad:Phat Pad 435. hit:Brass Hit 10 479. hit:Dance Hit 12 392. pad:Synth Pad 436. hit:Brass Hit 11 480. hit:Dance Hit 13 393. pad:Pad Life 437. hit:Brass Hit 12 481. hit:Dance Hit 14 394. pad:Classic 438. hit:Brass Hit 13 482. hit:Dance Hit 15 395. pad:Dream Pad 439. hit:Brass Hit 14 483. hit:Dance Hit 16 396. pad:Paddy 440. hit:Brass Hit 15 484.
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Appendix Instrument Listing Instrument Listing  The Percussion Instruments on this page are single sample instruments stretched across the entire keyboard. 522. sfx:Sci Fi 566. scr:Classic Tape 610. prc:Cymbals 2 523. sfx:Synth Siren 567. scr:Scratch Out! 611. prc:Shakers 524. sfx:Space Wiggle 568. scr:Punch It 612. prc:Maracas 525. sfx:Sqweal Rev 569. scr:Ork Scratch 613. prc:Bells 1 526. nse:White 1 570. scr:Tape Stop 614. prc:Bells 2 527. nse:No Pitch 571. scr:Zip Scratch 615.
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Appendix Instrument Listing Instrument Listing  The Percussion Instruments on this page are single sample instruments stretched across the entire keyboard. 180 E-MU Systems 654. prc:Kick 1 698. prc:Kick 45 742. prc:Snare 18 655. prc:Kick 2 699. prc:Kick 46 743. prc:Snare 19 656. prc:Kick 3 700. prc:Kick 47 744. prc:Snare 20 657. prc:Kick 4 701. prc:Kick 48 745. prc:Snare 21 658. prc:Kick 5 702. prc:Kick 49 746. prc:Snare 22 659. prc:Kick 6 703. prc:Kick 50 747. prc:Snare 23 660.
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Appendix Instrument Listing Instrument Listing  The Percussion Instruments on this page are single sample instruments stretched across the entire keyboard. 786. prc:Snare 62 830. prc:Snare 106 874. prc:Tom 13 787. prc:Snare 63 831. prc:Snare 107 875. prc:Tom 14 788. prc:Snare 64 832. prc:Snare 108 876. prc:Tom 15 789. prc:Snare 65 833. prc:Snare 109 877. prc:Tom 16 790. prc:Snare 66 834. prc:Snare 110 878. prc:Tom 17 791. prc:Snare 67 835. prc:Snare 111 879. prc:Tom 18 792.
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Appendix Instrument Listing Instrument Listing 918. 919. 920. 921. 922. 923. 924. 925. 926.  The Percussion Instruments on this page are single sample instruments stretched across the entire keyboard. 927. 928. 929. 930. 931. 932. 933. 934. 935. 936. 937. 938. 939. 940. 941. 942. 943. 944. 945. 946. 947. 948. 949. 950. 951. 952. 953. 954. 955. 956. 957. 958. 959. 960. 961.
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Appendix Instrument Listing Instrument Listing  The Percussion Instruments on this page are single sample instruments stretched across the entire keyboard. 1050. prc:Shaker 14 1092. prc:Bell 26 1134. prc:Clap 17 1051. prc:Shaker 15 1093. prc:Bell 27 1135. prc:Clap 18 1052. prc:Shaker 16 1094. prc:Bell 28 1136. prc:Snap 1 1053. prc:Shaker 17 1095. prc:Block 1 1137. prc:Snap 2 1054. prc:Shaker 18 1096. prc:Block 2 1138. prc:Snap 3 1055. prc:Shaker 19 1097. prc:Block 3 1139.
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Appendix Riff Listing Riff Listing 184 E-MU Systems 1. KEY-C3 45. BAS-Slap Me 89. GTR-EmmTV Crunch 2. KEY-C3 (2 Bars) 46. BAS-Slappity 90. GTR-FallingNylon 3. KEY-C3 (4 Bars) 47. BAS-Soft&Hard 91. GTR-FlangnVioWah 4. KEY-C4 48. BAS-Stomper 92. GTR-FullNylon 5. KEY-Cs Up 49. BAS-Sub Core 93. GTR-GenericClean 6. KEY-Cs Up-Down 50. BAS-Sub Pummeled 94. GTR-Grusty 7. KEY-C Triad 51. BAS-Sub-Basement 95. GTR-JangleWah 8. KEY-Cm7 52. BAS-Sugar Freak 96. GTR-Jazzed 9. KEY-Cm9 53.
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Appendix Riff Listing Riff Listing 132. KBD-DynamcGrand 176. KBD-Yo My Dynos 220. KIT-Kit 03 d 133. KBD-DynoPiano 177. KIT-424 221. KIT-Kit 03 e 134. KBD-E Grand 178. KIT-Acoustic 1 222. KIT-Kit 03 f 135. KBD-EP Roll 2 179. KIT-Acoustic 2 223. KIT-Kit 04 a 136. KBD-Elecre 2 180. KIT-BMF 224. KIT-Kit 04 b 137. KBD-Elecro7CP80 181. KIT-Bag O Tricks 225. KIT-Kit 05 a 138. KBD-FM2Classc 182. KIT-Berzerker 226. KIT-Kit 05 b 139. KBD-Filmscore 183. KIT-Booster 227. KIT-Kit 06 140.
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Appendix Riff Listing Riff Listing 186 E-MU Systems 264. KIT-Werzerker 308. PRC-Shakers 352. VOX-Lo-Fi Ether 265. LED-Apple Eater 309. PRC-SiameseCats 353. VOX-MauzeWowz 266. LED-Blue Danube 310. PRC-TV Spy Vibes 354. VOX-Mist 267. LED-Ethereosity 311. PRC-Velo Vibes 355. VOX-New Age Oohs 268. LED-Freakus 312. PRC-Velo Vibes 2 356. VOX-Odd Boys 269. LED-inBottles 313. PRC-Village 357. VOX-Pop Oohs 270. LED-Post 90's DM 314. PRC-Xylophone 358. VOX-Slo Lunarvox 271. LED-Q Snapper 315.
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Appendix Velocity Curves This section provides diagrams and descriptions of the Proteus 2000 velocity curves. 120 Result Velocity Result Velocity 120 100 Linear 80 60 40 20 0 100 Curve 1 80 60 40 20 0 0 20 40 60 80 100 120 0 Played Velocity 40 60 80 100 120 Compresses velocity range. 120 120 Result Velocity Result Velocity 20 Played Velocity Linear, no change to velocity.
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Appendix Velocity Curves 120 Result Velocity 120 100 Curve 6 80 60 40 20 100 60 40 20 0 0 0 20 40 60 80 100 120 0 20 40 60 80 100 120 Played Velocity Played Velocity Shifts velocity values up while compressing the midde range. Similar to Curve 6. 120 Result Velocity y 120 100 Curve 8 80 60 40 20 0 100 Curve 9 80 60 40 20 0 0 20 40 60 80 100 120 0 20 40 60 80 100 120 Played Velocity Played Velocity Similar to Curve 6 with more emphasis on the middle range.
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Appendix PatchCord Amount Chart 120 Result Velocity Result Velocity 120 100 Curve 12 80 60 40 20 0 80 60 Curve 13 40 20 0 0 PatchCord Amount Chart 100 20 40 60 80 100 120 0 20 40 60 80 100 120 Played Velocity Played Velocity Less severe version of Curve 11. Extreme expansion of velocity range. The following chart shows the PatchCord “Amount” settings in order to get semitone intervals when modulation sources are connected to pitch.
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Appendix MIDI MIDI MIDI Implementation Chart Function Transmitted Recognized Remarks Basic Default Channel Changed No No 1 1-16 Memorized Mode No Mode 1, 3, 4 Mono, Poly, Omni, On/Off Memorized Note Number True Voice No No 0-127 0-127 Velocity Note ON Note OFF No No Yes v=1-127 Yes After Touch Keys Channels No No No Yes Pitch Bender No Yes Control Change Yes Yes Bank Select No Yes No No Yes 0-127 Yes 0-127 All Sound Off No Yes All Notes Off No Yes Program Change De
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Appendix MIDI Received Channel Commands Channels number (n) = 0-15. Message bytes are represented in hex. All other numbers are decimal. Running Status is supported.
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Appendix Technical Specifications Technical Specifications 192 E-MU Systems Audio Channels: 128 MIDI: 2 MIDI In, 2 MIDI Out, 2 MIDI Thru MIDI Channels: 32 (2 MIDI in ports) Presets: 512 user presets. (The number of ROM presets is determined by the sound SIMMs installed.) Filters: 6th Order (17 different types) Audio Outputs: 6 polyphonic analog outputs Submix Inputs: 4 analog inputs (sum to main outs) Digital Output: S/PDIF stereo (AES-pro compatible) Max.
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Appendix Warranty Warranty Please read this warranty, as it gives you specific legal rights.
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Appendix Warranty When returning your unit to the EMU factory, you will be issued a Return Merchandise Authorization (RMA) number. Please label all cartons, shipping documents and correspondence with this number. EMU suggests you carefully and securely pack your unit for return to the factory. (Do not send the power cord or operation manual.) Send the unit to E-MU Systems, Inc., 1600 Green Hills Road, Scotts Valley, CA 95066. You must pre-pay shipping charges to EMU; EMU will pay return shipping charges.
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Index Index “+” modulation polarity 116 “±” modulation polarity 116 base tempo 54 basic setup 14 basics, programming 55 bend range 36 breath controller 47 button control 21 cursor 22 edit menu 21 home/enter 35 master menu 21 save/copy 22 bypass effects 150 bypassed, effects mode 150 Numerics C Symbols 19-tone tuning 126 2-pole filters 76 4-pole filters 76 6-pole filters 76 A A effect types 145, 146 absolute value processor 65 AES pro output format 53 aftertouch, mono 57 algorithm FXA 147, 148 FXB 14
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Index MIDI #7 27, 80 MIDI real-time 80 modes 23 quick edit and real-time mode 24 real-time 21, 23 knobs 23 only mode 23 standardized MIDI numbers 47 copying layers 158 patchcords 159 preset banks 160 preset patchcords 160 presets 158 create random preset 161 crossfade between effects 123 random 58 ranges 94 current tempo offset 129 cursor buttons 22 curve glide 104 velocity 37 volume 133 cutoff frequency 75, 135 D damping, high frequency 146, 154 data entry control 23 DC offset, example 72 DCA 79, 140 dec
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Index enabling MIDI channels 45 enter button 23 envelope attack 100, 110, 117 auxiliary 110 decay 133 filter 108, 136, 137, 139 generator 57, 59 example 76 mode, factory 134 mode, filter 137 release 133 repeating 60 reverberation 154 volume 99, 100, 133, 134 equal temperment tuning 126 errors, data transmission 51 external processing 142 F factory envelope mode 134 Fc 108, 135 feedback 146 effect 156 FxB 43 filter 2-pole 76 4-pole 76 6-pole 76 bandpass 75, 105 changing type 138 comb 106, 146 definition 74
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Index J just C tuning 126 description 127 just intonation 126 K key glide 57 range 90 preset link 128 transpose 97 tuning 53 velocity 57 keyboard character assignments 86 key 57 layering and splitting 141 pressure 57 range 89, 90 splitting 141 transpose 97 transpose on/off 102 tuning 126 19-tone 126 equal temperment 126 gamelan 126 just C 126 Vallotti 126 Kirnberger tuning 126 knobs calibration 50 controller 25, 81 MIDI out 49 preset quick edit 48 transmit MIDI 24 typical functions 165 knobs MIDI out 49
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Index port A & B 30 real-time controllers 80 receive program change 46 received channel commands 191 receiving sysex data 52 recording sysex data 52 send sysex data 52 standardized controller numbers 47 sysex data, sending 51 sysex packet delay 51 sysex send/receive 52 thru 16 transmit, knob 49 minimoog, solo mode 103 mix output 38, 118, 144 mod wheel 57 mode control 21 controller 23 deep edit 49 effect bypass 150 effects 40, 150 factory 134 filter envelope 137 MIDI 44, 143 mono 191 multi 44, 143, 191 non-
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Index ramp rate 68 pole filters 76 poly all, assign group 103 poly mode 44, 150, 191 poly, assign group 103 portamento 104 power 17 power consumption 192 preset architecture 87 audition 18, 22 category 20, 29, 166 changing 20 copying 158 editing 131 effects 119, 147 lag 67 links 128, 129, 141 listing 167-174 MIDI changes 46 naming 86 quick edit 48 ramp 67 random 161 saving a 157 selecting 19, 26 user 52 processor 4x gain 66 absolute value 65 diode 66 effect 143 flip-flop 66 modulation 69 quantizer 66 summi
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Index send preset effect 118 send amount 143 FXA 42, 122, 123 sends effect 38 sequence setup 34 using multisetups in a 31 sequencing 34 setup basic 14 performance 16 studio 15 Sicherheitsvorschriften 6 signal path 79, 143 slapback, effect 155 solo layer 129 solo mode 102 sound navigator 29 selecting instruments 88 sound start 101 sources, modulation 117 specifications, technical 192 split keyboard 128, 141 using links 141 stack layers 91 presets 128 standard MIDI switch numbers 48 standardized MIDI control
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Index W waveforms inverting 62 LFO 61 weight 192 Werkmeister tuning 126 wheel 202 E-MU Systems modulation 47, 57 pitch 57, 139 width, chorus 133 Z Z-plane filter 78, 79, 104