E-Mu PROTEUS FX Operating instructions

E-Mu PROTEUS FX Operating instructions
Read This First: Important Safety Instructions
PROTEUS FX
OPERATION MANUAL
© 1994 E-MU SYSTEMS, INC.
ALL RIGHTS RESERVED
• FI433 REV. B
MANUAL - RILEY SMITH
IMPORTANT NOTICE:
IN ORDER TO OBTAIN WARRANTY SERVICE ON
YOUR PROTEUS FX UNIT, THE SERIAL NUMBER
STICKER MUST BE INTACT AND YOU MUST HAVE A
SALES RECEIPT OR OTHER PROOF OF PURCHASE.
IF THERE IS NO SERIAL NUMBER STICKER ON
PROTEUS FX, PLEASE CONTACT E-MU SYSTEMS AT
ONCE.
THIS PRODUCT IS COVERED UNDER ONE OR
MORE OF THE FOLLOWING U. S. PATENTS:
3,969,682; 3,986,423; 4,404,529; 4,506,579;
4,699,038; 4,987,600; 5,013,105; 5,072,645;
5,111,727 AND FOREIGN PATENTS AND/OR
PENDING PATENTS.PROTEUS FX IS A REGISTERED
TRADEMARK OF E-MU SYSTEMS, INC.
E-MU WORLD HEADQUARTERS
E-MU SYSTEMS, INC. U.S.A.
P.O. BOX 660015
SCOTTS VALLEY, CA USA
95067–0015
TELEPHONE: 408-438-1921
FAX: 408-438-8612
EUROPE, AFRICA, MIDDLE EAST
E-MU SYSTEMS, LTD.
SUITE 6, ADAM FERGUSON
HOUSE
ESKMILLS INDUSTRIAL PARK
MUSSELBURGH, EAST LOTHIAN
SCOTLAND, EH21 7PQ
TELEPHONE: 44-31-653-6556
FAX: 44-31-665-0473
Read This First: Important Safety Instructions
Use in countries other than the U.S.A.
may require the use of a different line
cord or attachment plug, or both. To
reduce the risk of fire or electric shock,
refer servicing to qualified service personnel. To reduce risk of fire or electric
shock do not expose this product to rain
or moisture.
INSTRUCTIONS PERTAINING TO A RISK
OF FIRE, ELECTRIC SHOCK, OR INJURY
TO PERSONS
DANGER
1. Read all instructions before using
Proteus FX.
Improper connection of equipment can
result in the risk of electric shock. Check
with a qualified electrician or service
personnel if you are in doubt as to
whether the product is properly
grounded. Do not modify the plug provided with this product — if it will not fit
the outlet, have a proper outlet installed
by a qualified technician.
CAUTION
If the Proteus FX (model number 9026),
is rack mounted, a standard 19-inch open
frame rack must be used.
USER-MAINTENANCE INSTRUCTIONS
WARNING; When using electric products,
basic precautions should always be
followed, including the following:
2. To reduce the risk of injury, close
supervision is necessary when Proteus FX
is used near children.
3. Do not use Proteus FX near water —
for example near a bathtub, washbowl,
kitchen sink, in a wet basement, on a wet
bar, or near or in a swimming pool.
4. Proteus FX should be situated so that
its location or position does not interfere
with its proper ventilation.
5. Proteus FX should be located away
from heat sources such as radiators, heat
registers, fireplaces, stoves, or ovens.
1. Proteus FX should be kept clean and
dust free. Periodically wipe the unit with
a clean, lint free cloth. Do not use solvents or cleaners.
6. Proteus FX should only be connected
to a power supply of the type described in
the operating instructions and as marked
on the product.
2. There are no user lubrication or
adjustment requirements.
7. This product, in combination with an
amplifier, headphones, and speakers, may
be capable of producing sound levels that
could cause full or partial hearing loss or
damaged equipment. Do not operate for
long periods of time at high volume levels
or at a level that is uncomfortable. If you
3. Refer all other servicing to qualified
service personnel.
1
experience any hearing loss or ringing of
the ears consult your physician.
8. Proteus FX may be equipped with a
polarized line plug (one blade wider that
the other). This is a safety feature. If you
are unable to insert this plug into the
outlet, do not defeat the safety purpose of
the plug. Contact an electrician to replace
your obsolete outlet.
9. The power supply cord of Proteus FX
should be unplugged from the outlet
when left unused for a long period of
time.
10. Care should be taken so that objects
do not fall and liquids are not spilled into
the enclosure of Proteus FX through
openings.
11. The product should be serviced by
qualified service personnel when:
A. The power supply cord has been
damaged; or
B. Objects have fallen, or liquid has been
spilled into the product; or
C. The product has been exposed to rain;
or
D. The product does not appear to
operate normally or exhibits a marked
change in performance; or
E. The product has been dropped or the
enclosure damaged.
12. All servicing should be referred to
qualified service personnel.
SAVE THESE INSTRUCTIONS
2
Contents
Section 1
Section 2
Section 3
7
Introduction/Connection Instructions
9
Introduction
10
Basic organization
11
Basic setup
12
Studio setup
13
Performance setup
14
Power up
14
About proteus FX
15
Basic Operation
17
Main controls
18
Selecting presets
18
Selecting MIDI channels, volume & pan
19
Multi-timbral operation
20
Playing the demo sequences
21
Master Menu
23
Enabling the master menu
24
FX mix select
24
Effect A
24
Effect B
25
Effects amount
25
Master tune
25
Transpose
25
Global bend
26
Global velocity curve
26
MIDI mode
3
PROTEUS FX OPERATION MANUAL
Master Menu
Section 4
Section 5
4
26
MIDI mode change
26
MIDI overflow
27
MIDI enable
27
Bank/Preset change
28
MIDI controller assign
29
MIDI footswitch assign
29
Program -> preset map
30
Send MIDI data
30
User key tuning
30
Viewing angle
31
Effects Section
33
Effects bus architecture
34
Effects output routing
34
Effect programming
35
Reverb
38
Stereo chorus
39
Stereo flanger
41
Stereo phaser
42
Delay
43
Cross delay
44
Echo
46
Stereo fuzz
47
Ring modulator
49
Preset Programming
51
Splitting & layering the keyboard
52
Modulation
53
Modulation sources
54
Envelope generators
55
Low frequency oscillators
56
Midipatch
PROTEUS FX OPERATION MANUAL
Section 6
57
Keyboard & velocity modulation
58
Key number
58
Velocity curve
59
Realtime modulation
60
MIDI realtime controls
63
Edit Menu
65
Enabling the edit menu
66
Preset name
66
Primary instrument
66
Secondary instrument
66
Key range
67
Primary key range
67
Secondary key range
68
Volume
68
Pan
68
Coarse tuning
68
Fine tuning
68
Chorus
69
Delay
69
Solo mode
69
Sound start
69
Reverse sound
70
Alternate envelope on/off
70
Primary & secondary alternate envelope parameters
70
Crossfade mode
71
Crossfade direction
71
Crossfade balance
71
Crossfade amount
72
Cross-switch point
72
LFO - shape & amount
72
LFO - rate, delay & variation
5
PROTEUS FX OPERATION MANUAL
Edit Menu
Section 7
Section 8
Index
Warranty
6
73
Auxiliary envelope
74
Keyboard & velocity modulation control
75
Realtime modulation control
76
Footswitch control
76
MIDI control amount
76
Pressure amount
76
Pitch bend range
76
Velocity range
76
Keyboard center
77
Keyboard tuning
77
Preset links
77
Save preset
79
Step-by-Step
81
Linking presets
82
Editing presets
83
Proteus synthesis
85
Using Proteus FX with a sequencer
87
Reference Section
88
Factory RAM presets
90
Factory ROM presets
92
Instrument listing
98
Percussion instrument locations
104
Technical specifications
105
MIDI implementation chart
106
MIDI specifications
Proteus FX
INTRODUCTION
7
INTRO - CONNECTION INSTRUCTIONS
8
INTRO - CONNECTION INSTRUCTIONS
1
Introduction
PROTEUS FX
Proteus FX is a musical instrument
whose sounds are based on actual digital
recordings of “real” instruments. In this
way, Proteus FX is very similar to a
sampling instrument. With the Proteus
FX, we have done the sampling for you
and loaded it with a collection of the
cleanest 16 bit sounds ever sampled.
Proteus FX contains a massive 8 Megabytes of the highest quality 16 bit Rock/
Pop and Orchestral samples selected from
the Emulator III sound library and stored
in ROMs for instant access. We have
included everything you need to play and
compose in a wide range of contemporary
styles. You simply plug in and play.
But this is only the beginning. Proteus FX
gives you the ability to literally take these
sounds apart and reassemble them into
an almost limitless number of entirely
new sounds, combining parts of one
sound with another or with any of a
selection of digital waveforms also stored
on ROM. For example, the attack of a
flute can be faded out as a vibe tone is
faded in, giving you a completely new
sound! The monophonic and true stereo
16 bit samples are arranged into 512
preset locations, 256 of which are userprogrammable.
Proteus FX features 32 voice polyphony,
allowing you to take full advantage of its
layering capabilities (up to 8 sounds on
each key) and its ability to respond multitimbrally to all 16 MIDI channels makes
it ideally suited for multitrack sequencing
and composing using a MIDI sequencer.
Other features include two studio-quality
effects processors with 27 different
effects, a user definable alternate tuning,
and of course, an extensive MIDI implementation.
9
INTRO - CONNECTION INSTRUCTIONS
Basic
Organization
Proteus FX is organized as shown in the
diagram below.
The Preset is a complete set of all program
parameters for a complete Proteus FX
sound.
The preset memory is organized into two
banks of 128 user RAM presets (banks 0-1)
and two banks of unalterable ROM presets
(banks 2-3).
USER RAM PRESETS
CAN BE MOVED, ERASED
OR ALTERED AS DESIRED
ROM PRESETS
CANNOT BE MOVED OR
ALTERED UNLESS THEY ARE
FIRST COPIED TO A USER
LOCATION
Each preset consists of one or more
Instruments. An instrument is a complete
set of samples or a digital waveform which
covers the entire keyboard range. An
instrument can be assigned to each of the
Primary and Secondary layers of the
preset.
10
The primary and secondary layers are
essentially two instruments with
complete modulation controls. The two
layers can be layered or placed adjacent
to each other, and can be switched or
crossfaded together in various ways.
Up to four presets can be Linked in
order to have more than one preset on
the keyboard at a time. The linked
presets may lie on top of each other to
create a dense layered sound or be
arranged side by side on the keyboard to
create a split keyboard.
INTRO - CONNECTION INSTRUCTIONS
Basic Setup
MIDI In - Proteus FX is controlled by
MIDI messages received at the MIDI In
connector. Connect the MIDI In of the
Proteus FX to the MIDI Out connector of
a MIDI controller such as a MIDI keyboard, MIDI wind controller, or MIDI
guitar controller.
Outputs - Proteus FX is a high quality,
stereo audio device. In order to reproduce
its wide dynamic range and frequency
response, use a high quality amplification
and speaker system such as a recording
mixer and amplifier or home stereo
system. A stereo setup is highly desirable
because of the added realism of stereophonic sound. Headphones can be used if
an amplifier and speaker system are not
available. The right output jack serves as
a mono output when the left jack is not
plugged in.
11
INTRO - CONNECTION INSTRUCTIONS
Studio Setup
MIDI In - In this setup, Proteus FX is
controlled by MIDI messages received at
the MIDI In connector which have been
routed by a MIDI switcher. The MIDI
switcher allows any MIDI controller such
as a MIDI keyboard, MIDI wind controller,
or a computer to be easily connected.
MIDI Out - The MIDI Out jack is normally used to transmit program data to a
computer or other device.
12
Outputs - Use a high quality amplification and speaker system such as a recording mixer and amplifier or home stereo
system. A stereo setup is highly desirable
because of the added realism of stereophonic sound. The right output jack
serves as a mono output when the left
jack is not plugged in.
INTRO - CONNECTION INSTRUCTIONS
Performance Setup
MIDI In - Proteus FX is controlled by
MIDI messages received at the MIDI In
connector. Connect MIDI In of the Proteus
FX to MIDI Out of a MIDI controller such
as a MIDI keyboard, MIDI wind controller,
or MIDI guitar controller.
MIDI Thru - MIDI Thru transmits an exact
copy of the messages received at the MIDI
In jack and is used to connect additional
MIDI devices onto the MIDI chain.
Outputs - Use a high quality amplification and speaker system such as a
keyboard amplifier and speakers. A
stereo setup is highly desirable because
of the added realism of stereophonic
sound. The headphone jack is located on
the front panel. The right output jack
serves as a mono output when the left
jack is not plugged in.
13
INTRO - CONNECTION INSTRUCTIONS
POWER UP!
Before applying power, make sure that
you have received the correct AC adapter
for your part of the world (110V or 220V).
Always connect the AC adapter to the
Proteus before plugging it into the wall.
The power switch is located on the right
side of the front panel. The Proteus FX
and its MIDI controller may be turned on
in any order. When power is applied, the
liquid crystal display will light, indicating
that the Proteus FX is operating.
ABOUT PROTEUS FX
Proteus FX, unlike many synthesizers,
utilizes digital recordings of “real”
instruments for the basis of its sound.
This is similar to a tape recorder except
that in the Proteus FX, the sounds are
permanently recorded on digital memory
chips.
To perform this modern miracle, sounds
and instrument waveforms are first
sampled into the Emulator III, our top of
the line, 16 bit stereo digital sampler.
14
After the sounds and waveforms have
been truncated, looped and processed,
they are “masked” into the Proteus FX
ROM (Read Only Memory) chips.
Conceptually, the sampling process is
very simple, as shown in the Basic Sampling System diagram. As a sound wave
strikes the diaphragm of a microphone, a
corresponding voltage is generated. To
sample the sound, the voltage level is
repeatedly measured at a very high rate
and the voltage measurements are stored
in memory. To play the sound back, the
numbers are read back from memory,
converted back into voltages, then amplified and fed to a speaker which converts
the voltage back into sound waves. Of
course, playing back 32 channels at
different pitches tends to complicate
matters, but this is basically how it works.
In Proteus FX, we have left out the analog
to digital converter stage since the sounds
are already sampled for you.
Proteus FX
BASIC OPERATION
15
BASIC OPERATION
16
BASIC OPERATION
2
Main Controls
Power Switch
Switches AC power to the Proteus FX On
and Off.
MIDI Activity LED
Indicates that MIDI data is being received.
Master Menu Select Button
The Master menu contains parameters
that affect the entire machine, not just
certain presets. The Effects screens are
also located in the Master menu. An
illuminated LED to the left of the button
indicates that you are in the Master menu.
Edit Menu Select Button
The Edit menu is used when you want to
change parameters of a preset. An illuminated LED to the left of the button indicates that you are in the Edit menu.
Home/Enter Button
The Home/Enter button is used to confirm
a particular operation or return the cursor
to the “Home” position. The adjacent LED
flashes to indicate that Proteus FX is
waiting for your response.
Cursor Control
These buttons move the cursor to the
next parameter on the display in a clockwise or counterclockwise direction. (The
cursor is a little flashing line underneath
one of the parameters in the display.)
Press either cursor control repeatedly
until the cursor is underneath the desired
parameter.
Data Entry Control
The data entry control is a stepped,
variable control which is used to change
parameter values. The control increments
or decrements the current value one unit
with each click. This control incorporates
acceleration (values advance faster if the
control is turned quickly).
Volume Control
This is the master volume control for all
audio outputs. Note: For maximum
dynamic range, set this control at full
level and adjust the amplifier or mixer
volume.
17
BASIC OPERATION
IF YOUR PROTEUS IS NOT
RESPONDING PROPERLY OR
PLAYS THE WRONG PRESET,
MAKE SURE THAT PROTEUS
AND YOUR MIDI
CONTROLLER ARE SET TO
THE SAME MIDI CHANNEL
AND THAT THE MIDI
VOLUME IS TURNED UP.
FOR MORE INFORMATION
ABOUT MIDI, SEE MIDI
REALTIME CONTROLS ON
PAGE 60.
MIDI CHANNEL SELECTION
CHANNEL VOLUME
Press the cursor key repeatedly until the
cursor is underneath the channel number. (The cursor is a little flashing line
underneath one of the parameters in the
display.) Rotate the data entry control to
select MIDI channel 01-16. As the channel is changed, the display will change to
show the preset, volume and pan associated with the displayed channel.
Press the cursor key repeatedly until the
cursor is underneath the volume value.
Rotate the data entry control to select
volume 00-127. (This is the same parameter as MIDI volume control #7, and
changes made over MIDI will be shown in
the display.)
C01 Vol127 Pan=P
0
000 Preset Name
C01 Vol127 Pan=P
0
000 Preset Name
CHANNEL PAN
PRESET SELECTION
CHANNEL PAN SHOULD
NORMALLY BE SET TO "P"
UNLESS REALTIME CONTROL
OF PANNING IS DESIRED.
THIS WILL ALLOW THE PAN
SETTINGS PROGRAMMED
FOR EACH PRESET TO BE
USED.
Press the cursor key repeatedly until the
cursor is underneath the preset number.
(The cursor is a little flashing line underneath one of the parameters in the
display.) As the data entry control is
rotated, the preset number and name will
change. The displayed preset will be
assigned to the displayed MIDI channel.
Preset numbers are arranged into four
banks of 128.
C01 Vol127 Pan=P
0
000 Preset Name
Press the cursor key repeatedly until the
cursor is underneath the pan value.
Rotate the data entry control to select pan
values -7 to +7 or “P”. When “P” is
selected, the pan value specified in the
preset is selected. Any other value will
override the pan parameter in the preset.
(This is the same parameter as MIDI pan
control #10, and changes made over MIDI
will be shown in the display.)
C01 Vol127 Pan+7
0
000 Preset Name
PRESET BANK SELECTION
You can jump between preset banks by
following the steps outined below.
1. Press and Hold the Home/Enter
button. While holding the button, turn
the data entry knob.
2. Turning the knob will cause the preset
to jump to the same location in the
next bank.
The bank selection feature allows you to jump
between banks of 128 presets.
18
BASIC OPERATION
Each of the 16 MIDI channels can be assigned to play a specific preset in Proteus FX.
MULTI-TIMBRAL OPERATION
Multi-timbral operation means that
Proteus FX can play more than one sound
at the same time. To access multiple
presets on different MIDI channels
simultaneously, follow these instructions:
1. Set the MIDI mode to MULTI-Mode,
using the MIDI mode function in the
Master menu (page 26).
4. Proteus FX will now respond multitimbrally on the MIDI channels you have
specified. The volume and pan position
parameters can be adjusted over MIDI (for
each MIDI channel) or using the Cursor
and Data Entry control in the MIDI
Channel/Preset selection screen.
2. Decide which MIDI channels you wish
Proteus FX to receive, and (optionally)
turn all other channels OFF using the
MIDI Enable function in the Master menu
(page 27).
Up to 16 channels can be selected
simultaneously!
3. Select the desired preset for each of the
MIDI channels you wish Proteus FX to
receive using the MIDI Channel/Preset
selection screen (see previous instructions).
19
BASIC OPERATION
PLAYING THE DEMO SEQUENCES
Proteus FX contains a play-only sequencer in order to give you an idea of
what is possible using this amazing
machine. Press and hold both the Master
button and the Edit button. The sequence
will start in a moment. Press the Enter
button to stop the sequence. Press the
right cursor button to toggle between
the sequences. Press the left cursor
button to start the current sequence
again. Proteus FX contains 2 sequences.
DEMO: 1
2
ENTER=Stop >=Nxt
20
Proteus FX
MASTER MENU
21
MASTER MENU
22
MASTER MENU
3
The Master Menu
The Master menu contains functions that
affect the overall operation of Proteus FX.
For example, changing the Master Tune
will change the tuning of all the presets,
not just the one currently displayed. The
Master Menu contains the two digital
effects processors, since they are programmed globally for all presets.
TO ENABLE THE MASTER MENU
Press the Master key, lighting the LED.
The current screen will be the one most
recently selected since powering up
Proteus FX. The cursor will appear
underneath the first character of the
screen heading on the top line.
TO SELECT A NEW SCREEN
Press the cursor key repeatedly (or hold
the cursor key while turning the data
entry control) until the cursor is underneath the screen title heading. Rotate the
data entry control to select another
screen.
TO MODIFY A PARAMETER
Press the cursor key repeatedly (or hold
the cursor key while turning the data
entry control) until the cursor is underneath the parameter value. Rotate the
data entry control to change the value.
TO RETURN TO PRESET SELECT MODE
Press the Master key, turning off the LED.
23
MASTER MENU
FX MIX SELECT
EFFECT A
This function selects which bus in the
output section will be used for each MIDI
channel. You can route each MIDI channel through the FxA or FxB processors or
directly to the Main outputs (no effects).
An additional selection called Preset
(Prst), allows the selection to be made in
the preset (FX Mix Select). Thus effects
can be selected according to MIDI channel or by preset.
This function allows you to select the type
of effect for effect bus A and contains the
parameters associated with each effect.
See the Effects chapter for detailed
information on each effect.
FX MIX SELECT
channel 01: FxA
FXA:Hall1
Decay Time
140
EFFECT B
This function allows you to select the type
of effect for effect bus B and contains the
parameters associated with each effect.
See the Effects chapter for detailed
information on each effect.
FXB:StereoChorus
Lfo Rate
050
24
MASTER MENU
MASTER TUNE
Master Tune adjusts the overall tuning of
all presets so that Proteus FX can be
tuned to other instruments. The master
tuning range is ± 1 semitone in 1/64th
semitone increments. A master tune
setting of “00” would indicate that
Proteus FX is perfectly tuned to concert
pitch (A=440 Hz).
MASTER TUNE
+63
TRANSPOSE
FX AMOUNT
TO USE THE B->A ONLY
ROUTING FEATURE, THE
FX MIX SELECT MUST BE
SET TO “B”.
This function allows you to adjust the
ratio of wet (processed) to dry (unprocessed) signal coming out of each effect
processor. A setting of 100% would
indicate that all of the signal is being
processed by the effect. The B->A parameter allows you to adjust the amount of
effect B that will be fed through the A
effect. If B->A is set above 100%, the word
“Only” is displayed and the B amount
changes to “Off”. This disconnects effect
B from the outputs and routes ALL of
effect B through effect A.
FX AMOUNT A:50%
B->A:0%
B:75%
This function transposes the key of
Proteus FX in half-step intervals. The
transpose range is ± 12 semitones or one
octave.
TRANSPOSE
+12 semitones
GLOBAL BEND
This function sets the range of the pitch
wheel only when it is routed to control
pitch. The maximum pitch bend range is
± 12 semitones. This function only affects
presets which have their individual pitch
bend range set to global.
GLOBAL BEND
± 12 semitones
25
MASTER MENU
GLOBAL VELOCITY CURVE
WARNING! WHEN
TRANSFERRING SYSEX
DATA FROM ONE
PROTEUS FX TO
ANOTHER, THE ID
NUMBERS OF BOTH
UNITS MUST MATCH.
UNLESS YOU ARE USING
MULTIPLE PROTEUS UNITS
IT IS BEST TO LEAVE THE
ID NUMBER SET TO 00.
Incoming velocity data can be modified by
a velocity curve in order to provide
different types of dynamics in response to
your playing or to better adapt to a MIDI
controller. This function allows you to
select one of the four velocity curves or
leave the velocity data unaltered (off).
Global velocity curve only affects presets
which have their individual velocity curve
set to global. For more information on
the velocity curves, see page 58.
GLOBAL VEL CURVE
4
ID number
This function allows an external programming unit to distinguish between multiple Proteus FX units. In the case of
multiple Proteus FX units, each Proteus
FX should have a different ID number.
MIDI MODE
Omni
ID
00
MIDI MODE CHANGE
MIDI MODE
This function selects one of the four MIDI
modes and the MIDI system exclusive ID
number.
Omni mode
Proteus FX responds to note information
on all MIDI channels and plays the preset
currently displayed in the main screen.
Poly mode
Proteus FX only responds to note information received on the currently selected
MIDI channel (on the preset selection
screen) and plays that channel’s associated preset.
Multi mode
Proteus FX responds to data on any
combination of MIDI channels and plays
the specific preset associated with each of
the MIDI channels.
Mono mode
Proteus FX responds to data on any
combination of MIDI channels but plays
each channel monophonically. If a new
note on a channel is played before the last
26
note is released, the envelopes will not be
retriggered (legato). Mono mode is
particularly useful with alternate controllers such as MIDI guitars, etc.
This function selects whether or not MIDI
mode change commands are accepted or
ignored when received over MIDI (see
MIDI Mode).
MIDI MODE CHANGE
Disabled
MIDI OVERFLOW
When on, if you play more notes than
Proteus FX has channels (32), the additional note data will be directed out the
MIDI Out port to a second Proteus FX or
other MIDI device. MIDI Overflow can be
turned On or Off.
MIDI OVERFLOW
Off
MASTER MENU
.
MIDI ENABLE
When in MIDI Multi mode, this function
lets you turn each MIDI channel On or
Off. This is useful when you have other
MIDI devices connected and do not want
Proteus FX to respond to the MIDI
channels reserved for the other devices.
MIDI Enable only operates in Multi Mode.
MIDI ENABLE
channel:01 On
BANK/PRESET CHANGE
This function allows Proteus FX to utilize
or ignore incoming MIDI program
change commands for each channel.
Since MIDI can only select presets 000127, this function also allows you to
select which bank of 128 presets will be
accessed via incoming program change
commands. Another option, “Map,”
routes incoming program changes to the
MIDI program -> preset mapping
function. See page 29.
BANK/PRST CHANGE
channel 01:Off
PROGRAM CHANGES IGNORED
ON MIDI CHANNEL 1
BANK/PRST CHANGE
channel 02:Bank1
PROGRAM CHANGES ROUTED TO
PRESET BANK 1 ON MIDI CHANNEL 2
BANK/PRST CHANGE
channel 03:Map
PROGRAM CHANGES ROUTED
THROUGH THE PROGRAM ->PRESET
MAP ON MIDI CHANNEL 3
27
MASTER MENU
SOME OF THE STANDARD
MIDI CONTROLLER
NUMBERS ARE LISTED
BELOW:
1 MODULATION WHEEL
OR LEVER
2 BREATH CONTROLLER
3 PRESSURE: REV 1 DX7
4 FOOT PEDAL
5 PORTAMENTO TIME
6 DATA ENTRY
7 VOLUME
8 BALANCE
9 UNDEFINED
10 PAN
MIDI CONTROLLER ASSIGN
Proteus FX allows you to assign up to
four realtime control sources from your
MIDI controller. These control sources
could be modulation wheels, data sliders
or whatever. In this screen, you set up
which controllers will be received by
Proteus FX. What effect the controller
will have is programmed separately for
each preset. MIDI controllers are each
assigned a letter, A-D. Each controller
letter can be assigned to a MIDI realtime
controller from 01-31. Note: If controller
numbers 7 or 10 are selected, they will
override the standard MIDI volume and
pan control routings.
For more information on MIDI controllers, see “MIDI Realtime Controls” in
chapter 5, Preset Programming.
CONTROLLER #
A:01
B:02
Next Screen:
CONTROLLER #
C:03
D:04
SOME OF THE STANDARD
MIDI SWITCH NUMBERS
ARE LISTED BELOW.
64 SUSTAIN SWITCH
(ON/OFF)
65 PORTAMENTO SWITCH
(ON/OFF)
66 SOSTENUTO
(CHORD HOLD,
ON/OFF)
67 SOFT PEDAL (ON/OFF)
69 HOLD PEDAL 2
(ON/OFF)
The MIDI controller A-B-C-D must have both a source (0-31) and a control destination assigned.
28
MASTER MENU
This chart shows how MIDI preset changes can be re-mapped. In this example, program changes 10-29
have been re-mapped. All other programs will be selected normally.
MIDI FOOTSWITCH ASSIGN
IF THE PROGRAM ->
PRESET MAP DOES NOT
SEEM TO WORK, MAKE
SURE THAT THE BANK/
PRESET CHANGE
FUNCTION IS SET TO
“MAP” (PAGE 27).
Like the MIDI Controllers, 3 MIDI
footswitches can be assigned to MIDI
footswitch numbers. Footswitches can be
assigned numbers from 64-79. Destinations for the footswitch controllers are
programmed in the Edit menu.
FOOTSWITCH #
1:64 2:65 3:66
PROGRAM ->PRESET MAP
Incoming MIDI program changes can be
remapped to a different numbered preset.
This is a handy feature when you want a
specific preset number sent from the
master synth to call up another specific
preset number on Proteus FX. For
example, the Program Change Map could
1
be set to call up preset 012 whenever
Proteus FX receives program change
number 26. Any preset can be mapped to
any incoming MIDI program change
number.
MAP PROGRAM 026>
1
012 prc:Xylophony
29
MASTER MENU
APPLICATION: THE USER KEY
TUNING CAN BE USED TO
TUNE INDIVIDUAL
PERCUSSION INSTRUMENTS.
SEND MIDI DATA
This function transmits MIDI System
Exclusive data to the MIDI Out port. MIDI
data can either be sent to a computer/
sequencer or to another Proteus FX.
Using the cursor key and the data entry
control, select the type of MIDI data you
wish to transmit. The choices are:
Effect Settings
Transmits all the current effects parameters except mix select (for the 16 MIDI
channels).
THE PRESET, VOLUME, AND
PAN INFORMATION FOR ALL
16 CHANNELS IS INCLUDED
WHEN THE MASTER
SETTINGS ARE TRANSMITTED
OR RECEIVED.
Master Settings
Transmits all parameters in the Master
menu except effects, tuning table,
program/preset map and viewing angle.
Program/Preset Map
Transmits only the program/preset map.
Tuning Table
Transmits only the user tuning table.
Factory Presets
Transmits all the factory presets.
User Presets
Transmits all the user presets.
Any Individual Preset
Transmits only the selected preset.
SEND
MIDI DATA
1
000 kbd:BritePno
TO RECEIVE MIDI DATA FROM A
SEQUENCER
1. SIMPLY PLAY BACK THE SEQUENCE
INTO PROTEUS FX
USER KEY TUNING
In addition to standard twelve tone equal
temperament, Proteus FX contains four
additional preset tuning tables (Just C,
Vallotti, 19 tone, and Gamelan) and one
user definable tuning. User Key Tuning
allows you to alter the parameters of the
user definable tuning stored in memory.
The initial frequency of every key can be
individually tuned, facilitating the creation of microtonal scales. Using the
cursor key and the data entry control,
select the key name, the MIDI key number and the fine tuning. The key name is
variable from C-2 to G8. MIDI key number is variable from 0 to 127. The fine
tuning is variable from 00 to 63 in
increments of 1/64 of a semitone (approx.
1.56 cents). For each preset, the specific
tuning table is selected in the Edit menu.
USER KEY TUNING
Key:C1
036-00
VIEWING ANGLE
The Enter LED will be flashing. Press the
Enter button to confirm the operation.
WARNING! WHEN
TRANSFERRING SYSEX
DATA FROM ONE
PROTEUS FX TO
ANOTHER, THE ID
NUMBERS OF BOTH
UNITS MUST MATCH.
30
TO TRANSMIT MIDI DATA TO A
SEQUENCER
1. SET UP SEQUENCER TO RECEIVE
SYSTEM EXCLUSIVE DATA.
2. START SEQUENCER RECORDING, THEN
SEND PRESET DATA.
This function allows you to change the
viewing angle of the display so that it may
be easily read from either above or below.
The angle is adjustable from +7 to -8.
Positive values will make the display
easier to read when viewed from above.
Negative values make the display easier to
read from below.
VIEWING ANGLE
+7
Proteus FX
EFFECTS SECTION
31
EFFECTS SECTION
32
EFFECTS SECTION
4
Effects Section
The two effect processors are programmed globally for the entire machine.
EFFECTS BUS ARCHITECTURE
Two separate digital effects processors are
included in the Proteus FX. The “A” effect
processor includes several types of
Reverberation, which is an electronic
simulation of a natural space such as a
room or hall, as well as Delays, Echoes,
Chorusing, Phaser and Flanging effects.
The “B” effect processor contains special
effects such as a Ring Modulator and two
types of Fuzz.
Each effect has its own set of control
parameters which are appropriate to that
particular effect. For both the A and B
effects there is an amount parameter
which determines the relative mix of the
processed and unprocessed signals (wet/
dry mix). The output of the B effect can
also be routed back through processor A.
The effect programming is done on a
global basis, meaning that the two effects
serve the entire machine. This is similar
to the way an external effects unit would
be connected except that in Proteus FX,
the signal path is kept entirely in the
digital domain in order to preserve the
excellent sound quality.
The choice of which of the two effects is
used for a particular sound can be made
by MIDI channel or it can be selected per
preset.
33
EFFECTS SECTION
EFFECTS CAN BE STORED AS
PART OF A SEQUENCE BY
USING “SEND EFFECTS” IN
THE MASTER MENU.
EFFECTS OUTPUT ROUTING
EDITED EFFECTS
PARAMETERS ARE NOT
REMEMBERED WHEN A
NEW EFFECT IS SELECTED.
The diagram above shows how the effects
section is integrated into the output jack
routing scheme. The mix bus can be
selected either by the preset or by MIDI
channel. When “Preset” is selected, the
FX MIX SELECT programmed in the
preset is used.
3) Select the desired effect and program
the appropriate parameters.
TO PROGRAM AN EFFECT:
4) Set the FX Amount for the A or B
effect. This adjusts the ratio of effected to un-effected signal. B->A
allows you to route the output of
effect B through effect A (set the MIX
to FxB).
1) Press the MASTER button lighting
the LED.
2) The first screen in the Master menu is
shown below. Select one of the effect
processors for each MIDI channel you
wish to use (or select “Preset” if you
want the selection in the preset to be
used), This control selects the input
to the effect processors.
FX MIX SELECT
channel 01:FxA
34
FXA:Echo
L Delay Time 255
FX AMOUNT A:50%
B->A:0%
B:50%
5) That's it!
EFFECTS SECTION
A EFFECTS
B EFFECTS
WARM ROOM
STEREO FLANGE
ROOM
SMALL ROOMS 1 & 2
HALLS 1, 2 & 3
CHAMBERS 1 & 2
PLATES 1 & 2
EARLY REFLECTIONS 1-4
REVERSE EARLY REFLECTIONS
RAIN & SHIMMER
STEREO CHORUS
PHASER
DELAY
CROSS DELAY
FUZZ
FUZZ LITE
RING MODULATOR
STEREO CHORUS
STEREO FLANGE
PHASER
ECHO
DELAY
CROSS DELAY
REVERB
Reverberation is a simulation of a natural
space such as a room or hall. The reverb
effects in Proteus FX simulate various
halls, chambers, rooms and reverberation
plates. In addition, there are several other
reverb effects such as Early Reflections
and Rain. There is only one adjustable
parameter on the reverbs - Decay Time.
Decay time is the length of time that it
takes for the reflected sound from the
walls of the room to die away. In general,
the larger the room, the longer the decay
time.
The diagram below breaks down the
reverberated sound into its component
parts. After an initial pre-delay period, the
echoes from the closest walls or ceiling
are heard. These first echoes or the early
reflection cluster, vary greatly depending
on the type of room. Roughly 20 milliseconds after the reflection cluster, the
actual reverberation begins and decays
according to the time set by the decay
time parameter.
35
EFFECTS SECTION
Room programs simulate small rooms
with high frequency absorption caused by
drapes and furniture.
Plates simulate plate type reverbs with
their tight, dense early reflections and
sharp reverb build-up.
Chambers simulate medium sized rooms
with hard reflective surfaces.
Hall programs recreate the open, spacious ambience of large concert halls.
Early Reflection programs consist of the
reflection cluster only without the reverb
decay. These effects are similar to a
multiple tap delay line and have a single
adjustable parameter - Ambience.
The special reverbs Rain & Shimmer are
variations of the early reflection programs
and consist of a dense group of short
echoes followed by longer echoes.
FXA:Hall 1
Decay Time: 165
Place the cursor underneath the reverb
name and use the data entry control to
change the type of reverb. Moving the
cursor to the lower line allows you to
change the decay time of the reverb.The
decay times of the reverb programs vary
from effect to effect (Rooms: 50-250,
Small Rooms: 10-128, Halls: 100-255,
Chambers: 50-200, Plate 1: 80-200, Plate
2: 80-250.
The Early Reflection programs have an
Ambience parameter which is variable
between 0-100. The ambience parameter
is a diffusion control which simulates the
effect of an irregular wall surface as the
amount is increased.
36
REVERB EFFECTS
Room
A bright, medium sized room. The
apparent source position is fairly close to
the listener. Suitable for use with 100%
wet mix setting for adding ambience.
Warm Room
This reverb is similar to “Room” with
more high frequency absorption, slightly
larger size and a more distant source
position.
Small Room 1
This reverb is also similar to “Room” with
shorter initial reflections, shorter decay
times and higher reflection density due to
the reduced room size. The apparent
source position is closer to the listener.
Small Room 2
This reverb is a variation of “Small Room
1” with greater high frequency damping
and a more distant source position.
Hall 1
Hall 1 is a large, highly reverberant space
with auditorium-like acoustics. Like all
the Hall programs, “Hall 1” exhibits a
warm, distant ambience with slow reflection density buildup. With the decay
parameter set to maximum, “infinite”
reverberation effects can be obtained.
Adjustment of wet-dry mix can be used to
position the listener from the “front row”
(≈25%) to “back of the balcony” (≈100%).
Hall 2
This reverb is similar to “Hall 1”, but
harder and brighter, with more pronounced slap echoes that come from
parallel reflecting surfaces in the room.
Hall 2 also exhibits a pronounced reverb
“bloom” or late-reflection buildup. A 50%
wet mix creates the optimum “close”
distance adjustment.
EFFECTS SECTION
Hall 3
Hall 3 is similar to “Hall 2”, but with
larger scale stadium-like acoustics. Hall 3
is warmer than Hall 2 (more high frequency damping) and does not display the
obvious early reflections and slap echoes.
It also exhibits a distinct predelay of
approximately 100 milliseconds and a
pronounced late reflection buildup both
of which contribute to the impression of a
large space. Wet mix values of 10% to
50% are most appropriate, although a
setting of 100% produces an effective cave
simulation.
Chamber 1
A simulation of a bright, medium-sized
chamber reverb or recital hall with hard
walls. Early reflections are very prominent, with high reflection density. Moderately long decays are possible at the
maximum decay setting.
Chamber 2
Similar to “Chamber 1” but with a much
warmer sound. The wet mix adjustment
provides an effective control over the
apparent source location from close
(10%) to very distant (100%).
Plate 1
Simulates a plate reverb unit. Gives a
tight, bright, slightly metallic sound.
Reflection buildup is very rapid, with high
density. Early reflections are minimized.
EARLY REFLECTION GROUP
Early Reflection 1
Early Reflection 2
Early Reflection 3
Early Reflection 4
All Early Reflection programs have a
single Ambience parameter which adds
diffusion to the individual reflections.
Lower ambience settings cause reflections
to become more discrete, simulating
harder reflecting surfaces. The early
reflection programs are simulations of
increasingly large acoustic spaces, from a
small studio (Early Refl 1) to a large room
like a sound stage (Early Refl 4). The wet
mix control acts effectively as source
distance control. In general, lower mix
amounts are more effective as the room
size increases.
Reverse Early Reflection
More of a special effect than an acoustic
simulation, Reverse ER contains a set of
exponentially increasing delay taps,
creating a kind of “zip” sound at low
Ambience settings. At maximum ambience and lower wet mix values, the sound
is more authentically acoustic, with a
long, delayed reflection “bloom”. The
effect is similar to a large but well
damped parking garage.
Plate 2
An effect similar to Plate 1, but slightly
warmer with less density.
37
EFFECTS SECTION
SPECIAL REVERBS
STEREO CHORUS
These special reverbs all have a single
Decay Time parameter.
The function of a chorus device is to
thicken the sound or to make one voice
sound like many. The way the effect is
achieved is by mixing one or more
delayed versions of the signal in with the
original. The delay times used are too
short to be perceived as an echo, but long
enough so that comb filtering does not
occur. In addition, the delay time is
varied to simulate the random differences
which occur when multiple instruments
are playing together. A slight amount of
feedback improves the effect by creating
multiple images of the sound as it recirculates again and again. The delay times
are slightly different for each channel and
the LFO phase is inverted on the right
channel to help contribute to the overall
chorus effect. The LFO Rate and Depth
settings are critical to achieving a realistic effect with faster LFO Rates generally
requiring less LFO Amount and viceversa.
Rain
Similar to a repeating delay, but with
complex spatial and filtering effects
occurring across the stereo panorama.
The effect on percussive sounds might be
likened to a bucket of marbles raining
down on a galvanized steel roof.
Shimmer
Distantly related to the Rain effect,
Shimmer causes input signals to be
progressively diffused in time and space
across the stereo panorama. The spatial
diffusion is accompanied by a flanging
effect. The program is highly responsive
to left or right-panned inputs. A stunning
special effect with percussive sounds,
especially through headphones.
STEREO CHORUS
38
EFFECTS SECTION
The stereo chorus in the Proteus FX is
very similar to the stereo flanger except
that the delay time is longer. The delay
times for the stereo chorus range from 13
milliseconds to 52 milliseconds, compared with the 26 microsecond to 6.5
millisecond range of the flanger.
FXA:StereoChorus
LFO Rate
050
FXA:StereoChorus
LFO Depth
050
FXA:StereoChorus
Min Delay
036
STEREO FLANGER
A flanger consists of a short audio delay
line whose output is mixed together with
the original signal. Mixing the delayed
and original signals together results in
multiple frequency cancellations creating
a comb filter effect as shown in the
diagram below. Since the flanger is a type
of filter, it works best with harmonically
rich sounds such as strings.
The flanging effect was originally created
using two tape recorders playing identical
recordings. By exactly synchronizing the
two decks and then slowing the speed of
one by grasping the tape reel flanges, the
flanging effect was born.
The flanger in the Proteus FX is a stereo
device consisting of two separate delay
lines controlled by a single set of controls. The block diagram of the flanger is
shown on the following page.
FXA:StereoChorus
Feedback
+100
Adding the original signal together with a slightly delayed version creates multiple cancellations in the
output signal called “comb filtering”.
39
EFFECTS SECTION
STEREO FLANGER
A Minimum Delay control serves to tune
the flanger. In other words, it adjusts the
placement of the comb filter notches. The
initial delay is variable from 26 microseconds to 6.5 milliseconds.
FXA:StereoFlange
Min Delay
100
A Low Frequency Oscillator (LFO) varies
this initial delay setting, changing the
frequency of the notches and adding
animation to the sound. The LFO Rate
controls the rate of change and the LFO
Depth controls how much the delay is
changed by the LFO. The LFO adds to the
initial delay time so that with LFO Depth
set to 255 the maximum delay time is 13
milliseconds.
FXA:StereoFlange
LFO Rate
038
40
FXA:StereoFlange
LFO Depth
150
The Feedback control sends some of the
delayed signal through the delay line
again. When positive feedback is used
(values +1 to +127), the comb filter
notches are deepened; when negative
feedback is used (values -1 to -127)
resonant peaks are formed between the
notches which increase with the amount
of negative feedback.
FXA:StereoFlange
Feedback
-127
EFFECTS SECTION
STEREO PHASER
The stereo phaser is an effect similar to
the flanger although much more subtle.
The phaser creates a swirly animation
when used with harmonically rich sounds
such as strings and voices. It can also be
used like a chorus to thicken-up a thin
sound.
Use the Minimum Frequency control to
“tune” the resonant frequencies of the
peaks and notches to the sound. The LFO
Depth controls the amount of animation
that the effect will add. Feedback controls
the depth of the peaks and notches.
STEREO PHASER
FXA:Phaser
Lfo Rate
FXA:Phaser
Lfo Depth
060
FXA:Phaser
Min Freq
001
015
FXA:Phaser
Feedback
060
41
EFFECTS SECTION
STEREO DELAY
DELAY
The delay line is a stereo effect which can
be used for doubling, echoes or fixed
formant comb filtering with completely
independent delay time and tap levels for
the left and right sides. The delay is
shown in the diagram below.
The Delay Time parameter is independently variable from 0 to 209 milliseconds
for both the left and right channels. The
Tap Level parameters control the amount
of signal from the left and right delays as
well as how much signal from each is
supplied to the feedback control.
Feedback controls how many echoes are
produced. A setting of 0 produces only
one echo. The delay line is incredibly
stable even with large amounts of feedback. This quality allows the delay line to
be used as a resonator, where it acts as a
kind of oscillator when excited by an
input signal. Infinite delay effects are also
possible without the risk of runaway. The
stereo delay can function as two independent delay lines by panning the primary
and secondary instruments to the extreme left and right.
42
FXA:Delay
R DelayTime
060
FXA:Delay
R Tap Level
055
FXA:Delay
L DelayTime
255
FXA:Delay
L Tap Level
120
FXA:Delay
Feedback
+120
EFFECTS SECTION
CROSS DELAY
Cross Delay is identical to the normal
delay line except that the output paths
and the feedback paths cross over to the
opposite channel in order to produce a
ping-pong type of effect when reproduced
in stereo. Delay time is adjustable from 0
to 209 milliseconds. The Cross Delay is
shown in the diagram below.
CROSS DELAY
FXA:Cross Delay
R DelayTime
060
FXA:Cross Delay
L Tap Level
120
FXA:Cross Delay
R Tap Level
055
FXA:Cross Delay
Feedback
120
FXA:Cross Delay
L DelayTime
255
43
EFFECTS SECTION
ECHO
The Echo produces echoes up to 400
milliseconds in length (twice that of the
Delay and Cross Delay effects). The feedback path is independent of the output
level and utilizes a high frequency damping (low pass filter) control which can
simulate traditional analog tape echo.
Because the left and right delay controls
are completely independent (0-400 mS)
they be adjusted to create very interesting
stereo echo effects.
ECHO
44
FXA:Echo
Feedback
100
FXA:Echo
R DelayTime
FXA:Echo
L DelayTime
255
FXA:Echo
HF Damping
100
010
EFFECTS SECTION
B EFFECTS
STEREO CROSS DELAY B
The B effects include Stereo Flanger,
Stereo Chorus, Phaser, Fuzz, Ring
Modulator, Delay, Cross Delay and Fuzz
Lite. Some of the B effects such as the
Fuzz and the Ring Modulator are a bit
bizarre (you won’t want to use them on
every sound), but can be used to create
some truly amazing effects. The B effects
can additionally be routed through the A
effect as shown in the diagram below.
Simple effects such as Fuzz can take on a
completely new character when routed
through a Reverb.
The B Cross Delay is identical to the cross
delay line in the A effect group except that
the maximum delay time is 104 milliseconds (instead of 209 mS). This delay is
useful for short ping-pong echoes, stereo
slapback and doubling effects.
STEREO DELAY B
The B Delay is identical to the delay line
in the A effect group except that the
maximum delay time is 104 milliseconds
(instead of 209 milliseconds). This delay
is useful for short echoes, slapback and
doubling effects, as well as for fixed
formant comb filtering. Like Stereo Delay
A, the feedback parameter is extremely
stable even with high amounts, making it
useful as a resonator for “infinite” delays.
45
EFFECTS SECTION
STEREO FUZZ
The Stereo Fuzz introduces a controlled
distortion to any signal passing through
it. Distortion creates harmonics by
clipping the top of the wave when it
exceeds a certain level. Sine waves are
transformed into square waves and
complex waves take on noise-like qualities. There are two types of fuzz in Proteus FX: Fuzz and Fuzz Lite.
FUZZ
This Fuzz is probably the “grungiest” fuzz
you have ever heard. Two filters, one at
the input and one at the output of the
fuzz, allow you to control the amount and
type of harmonics added to the sound.
The Input Filter controls the amount of
harmonics produced by the fuzz and the
Output Filter removes harmonics at the
output, smoothing the sound. Higher
values allow more harmonics to pass. The
level of the input sound greatly affects the
amount of fuzz, so that Proteus FX’s
envelopes can now control harmonic
content as well as the volume. Output
Volume sets the output level of the fuzz.
There are two complete fuzz effects,
controlled by the same set of controls as
shown in the diagram below.
46
Two independent sounds can be processed by panning primary and secondary
to opposite sides, or a single sound can be
routed through both sides. If a single
sound is panned slightly off center, the
fuzz will act slightly differently on each
side because of the difference in level.
FUZZ LITE
This is a more restrained type of fuzz
utilizing “soft-clipping.” As the level
increases, the waveform through Fuzz
Lite becomes somewhat squared. As
signal level is increased further, it transforms into a square wave. There is no
Output Volume control on Fuzz Lite.
Experiment with the way the input and
output filters work on the sound. Fuzz is
a specialized effect, not for every situation, but another powerful tool in your
musical arsenal.
EFFECTS SECTION
RING MODULATOR
A Ring Modulator is a device which takes
two signals and multiplies them together
into one resultant signal containing only
the sum and difference frequencies of
the two input waves. The original frequencies are not output! However, every
harmonic of each signal multiplies every
other, according to its amplitude. As a
result, ring modulators tend to generate a
lot of non-harmonic frequencies which
can sound very bell-like or out of tune.
There are no controls on the ring modulator as shown by the block diagram
below. The left and right outputs are
simply multiplied together to form a
monophonic output.
This diagram shows the result of Ring Modulating two sine waves with frequencies of 800 Hz and 200 Hz.
Only the Sum and Difference frequencies of 600 Hz and 1000 Hz will result.
47
EFFECTS SECTION
By routing the preset (or MIDI channel)
to effect B and panning to opposite sides
(shown below), two different waves can be
ring modulated. Ring modulation works
well with simple waves such as sine waves
and the harmonic waveforms. Also, try
complex waves modulated with sine
waves. (Play chords!) Complex waveforms
tend to sound rather noise-like.
Pan the primary and secondary instruments to left and right in the pan screen
and then move to the Effect B screen and
select Ring Modulator. There are no
parameters to adjust in this effect so the
lower line of the display always reads:
None.
FXB:RingModulate
None
---
48
Proteus FX
PRESET PROGRAMMING
49
PRESET PROGRAMMING
50
PRESET PROGRAMMING
5
Preset Programming
These diagrams show how keyboard splits and layers can be created by linking presets. Remember that
each preset can consist of both a primary and secondary layer.
Your initial involvement with Proteus FX
will most likely consist of using the
existing presets and selecting MIDI
channels. While the factory presets are
very good, there are probably some things
you would like to change, perhaps the
LFO speed, or the attack time. You may
also want to make your own custom
presets using complex modulation
routings. Entirely new sounds can be
created by combining the attack portion
of one sound with the body of another
sound or by combining the digital waveforms with sampled sounds. There are
256 user locations (banks 0-1) available to
store your own creations or edited factory
presets. Best of all, it’s easy to edit or
create new presets using the edit menu.
Presets can be made up of both a primary
and secondary instrument. Presets can
also be “linked” with up to 3 additional
presets to create layering or splits.
One way to create a keyboard split is to
assign an instrument to a specific range
and then link it to other presets which fill
in the empty keys. By using both the
primary and secondary instrument ranges
for each of the individual preset links, up
to eight keyboard splits can be produced.
51
PRESET PROGRAMMING
Proteus FX has an extensive modulation
architecture using two multi-wave LFO’s
(Low Frequency Oscillators), two
envelope generators and the ability to
respond to multiple MIDI controllers. You
may simultaneously route any combination of these control sources to multiple
destinations.
Turning the volume control back and forth on your home stereo is an example of amplitude modulation.
MODULATION
Modulation means to dynamically
change a parameter, whether it be the
volume (amplitude modulation), the
pitch (frequency modulation), or whatever. Turning the volume control on your
home stereo rapidly back and forth would
be an example of amplitude modulation.
To modulate something we need a modulation source and a modulation destination. The source is your hand turning the
knob, and the destination is the volume
control. If we had a device that would
automatically turn the volume control,
we would also call that device a modulation source. Proteus FX (and all synthesizers for that matter) is designed so that
for each of the variable parameters, such
as the volume, there is an initial setting
52
which can be changed by a modulation
source. Therefore in the case of volume,
we have an initial volume and we can
change or modulate that volume with a
modulation source. This can be thought
of as a type of remote control in which
one device automatically controls another
in a precise way.
Two main types of modulation sources on
Proteus FX are Envelope Generators and
Low Frequency Oscillators. In the example above, an envelope generator could
be routed to automatically turn the
volume control as programmed by the
envelope. Or, a low frequency oscillator
could be routed to automatically turn the
volume control up and down in a repeating fashion.
PRESET PROGRAMMING
MODULATION SOURCES
Proteus FX uses three kinds of modulation sources.
KEYBOARD & VELOCITY MODULATION
FOOTSWITCH MODULATION
Values which are generated at the start of
a note and do not change during the note.
Changes a parameter when one of three
MIDI footswitches are pressed. The
footswitches can be programmed to
switch: Sustain (pri/sec/both), Alternate
Volume Envelope (pri/sec/both), Alternate
Volume Release (pri/sec/both), or CrossSwitch between the primary and secondary instruments.
Keyboard Key
Which key is pressed.
Key Velocity
How hard the key is pressed.
REALTIME MODULATION
Values which can be continuously
changed during the entire duration of the
sound.
Pitch Wheel
A synthesizer pitch bend wheel.
Miscellaneous Controllers (4)
Any type of MIDI controller data.
Keyboard Pressure (mono aftertouch)
Key pressure applied after the key is
initially pressed.
Polyphonic Key Pressure (poly
aftertouch)
Polyphonic aftertouch from a controller capable of generating polyphonic
pressure data. Poly pressure is received
on a “per note” basis.
Low Frequency Oscillators (2)
Generate repeating waves.
Envelope Generators (1)
Generate a programmable volume or
pitch contour which changes over time
when a key is pressed.
53
PRESET PROGRAMMING
ENVELOPE GENERATORS
THE GENERALIZED
ENVELOPE SHAPES OF A
FEW TYPES OF SOUNDS
ARE SHOWN BELOW.
An envelope can be described as a “contour” which can be used to shape the
sound in some way over time. Proteus FX
contains two different kinds of envelope
generators. One of the envelope generators, the Alternate Volume Envelope,
controls the volume of the primary or
secondary instrument and has 5 stages,
Attack, Hold, Decay, Sustain, and Release.
The other envelope, the Auxiliary Envelope, can be routed to any realtime
control destination and is a general
purpose envelope. The Auxiliary Envelope
has 6 stages: Delay, Attack, Hold, Decay,
Sustain, and Release. The Envelope
parameters can be described as follows:
Delay
The time between when a key is played
and when the attack phase begins.
Attack
The time it takes to go from zero to the
peak (full) level.
Hold
The time the envelope will stay at the
peak level before starting the decay
phase.
Decay
The time it takes the envelope to go
from the peak level to the sustain level.
Sustain
The level at which the envelope remains as long as a key is held down.
Release
The time it takes the envelope to fall to
the zero level after the key is released.
The six stages of the auxiliary envelope generator: Delay, Attack, Hold, Decay, Sustain and Release.
54
PRESET PROGRAMMING
If the key is released during the Hold (H) phase, the Release (R) phase begins.
LOW FREQUENCY OSCILLATORS (LFOs)
A Low Frequency Oscillator is simply a
wave which repeats at a slow rate. Proteus
FX has two multi-wave LFOs for each of
its 32 channels. The LFO waveforms are:
Triangle, Sine, Square, Sawtooth, and
Random, which is a random “sample and
hold” type of wave.
By examining the diagram of the LFO
waveforms, you can see how the LFO will
affect a modulation destination. Suppose
we are modulating the pitch of an instrument. The sine wave looks smooth, and
will smoothly change the pitch. The
square wave changes abruptly, and will
abruptly change the pitch from one pitch
to another. The sawtooth wave smoothly
decreases, then abruptly changes back up.
The sound’s pitch will follow the same
course. Controlling the pitch of an
instrument is an easy way to hear the
effects of the LFO waves.
LFO waveforms.
55
PRESET PROGRAMMING
When the amount of an LFO is a negative
value, the LFO shape will be inverted. For
example, inverting the sawtooth wave
produces a wave that smoothly increases,
then instantly resets down.
MIDIPATCH
Connecting a modulation source to a
destination is called a patch. Proteus FX
lets you connect the modulation sources
in almost any possible way to the modulation destinations. You can even modulate
other modulators. Each patch also has an
amount parameter which determines
“how much” modulation is applied to the
destination.
56
The modulation amount can be positive
or negative and will either add or subtract
from the initial value. Keyboard and
velocity sources can be simultaneously
patched to any 6 of the 33 destinations for
each preset. Realtime modulation sources
can be simultaneously patched to any 8 of
the 24 destinations for each preset.
PRESET PROGRAMMING
MODULATION SOURCES:
KEY NUMBER
KEY VELOCITY
DESTINATIONS:
PITCH, PRIMARY PITCH,
SECONDARY PITCH,
VOLUME, PRIMARY VOLUME,
SECONDARY VOLUME,
ATTACK, PRIMARY ATTACK,
SECONDARY ATTACK,
DECAY, PRIMARY DECAY,
SECONDARY DECAY,
RELEASE, PRIMARY RELEASE,
SECONDARY RELEASE,
CROSSFADE,
LFO 1 AMOUNT,
LFO 1 RATE,
LFO 2 AMOUNT,
LFO 2 RATE,
AUX. ENVELOPE AMOUNT,
AUX. ENVELOPE ATTACK,
AUX. ENVELOPE DECAY,
AUX. ENVELOPE RELEASE,
SAMPLE START,
PRIMARY SAMPLE START,
SECONDARY SAMPLE START,
PAN, PRIMARY PAN,
SECONDARY PAN,
TONE, PRIMARY TONE,
SECONDARY TONE
KEYBOARD & VELOCITY MODULATION
THE TONE FILTER IS A
SIMPLE LOW-PASS TONE
CONTROL WHICH CAN BE
USED TO DARKEN THE
TONE OF AN INSTRUMENT.
The Keyboard and Velocity Modulation
diagram shows the possible routings of
Key Number (which key is pressed), and
Velocity (how hard the key is pressed).
These modulation sources can control
any of the destinations indicated by the
small arrows. A modulation source can
control up to six destinations or one
destination can be controlled by up to six
modulation sources. The possible modulation routings are completely flexible as
shown in the example above.
57
PRESET PROGRAMMING
KEYS ABOVE THE
KEYBOARD CENTER POINT
WILL HAVE A POSITIVE
EFFECT. KEYS BELOW THE
KEYBOARD CENTER WILL
HAVE A NEGATIVE EFFECT.
KEY NUMBER
The Key Number is affected by the
Keyboard Center parameter which can be
set to any key from C-2 to G8. The keyboard center establishes a reference point
for keyboard modulation; keys above this
point will have a positive value, while keys
below it will be negative. For example, if
we wished to change the volume of an
instrument using key number and the key
center were set to middle C, the instrument would get progressively louder
CHOOSE THE VELOCITY
CURVE THAT WORKS BEST
FOR YOUR PLAYING STYLE
AND YOUR MIDI
CONTROLLER.
58
above middle C and progressively softer
below middle C.
VELOCITY CURVES
Incoming velocity values can be scaled by
one of the four velocity curves in order to
match your playing style or better adapt
to the MIDI controller. Experiment with
the four curves to find the one that works
best for your style and MIDI controller.
PRESET PROGRAMMING
MODULATION SOURCES:
PITCH WHEEL,
MIDI CONTROL A,
MIDI CONTROL B,
MIDI CONTROL C,
MIDI CONTROL D,
MONO PRESSURE,
POLYPHONIC PRESSURE,
LFO 1, LFO 2,
AUXILIARY ENVELOPE
DESTINATIONS:
PITCH, PRIMARY PITCH,
SECONDARY PITCH,
VOLUME, PRIMARY VOLUME,
SECONDARY VOLUME,
ATTACK, PRIMARY ATTACK,
SECONDARY ATTACK,
DECAY, PRIMARY DECAY,
SECONDARY DECAY,
RELEASE, PRIMARY RELEASE,
SECONDARY RELEASE,
CROSSFADE,
LFO 1 AMOUNT,
LFO 1 RATE,
LFO 2 AMOUNT,
LFO 2 RATE,
AUX. ENVELOPE AMOUNT,
AUX. ENVELOPE ATTACK,
AUX. ENVELOPE DECAY,
AUX. ENVELOPE RELEASE
REALTIME MODULATION
In addition to keyboard and velocity
modulation, Proteus FX has multiple
realtime modulation sources. Realtime
modulation sources are parameters which
vary over time. The velocity and keyboard
modulations, in comparison, are set at
the key depression. The realtime modulation sources can control any of the
destinations except Sample Start, Tone
and Pan as indicated by the small arrows.
A modulation source can control up to
eight destinations or one destination can
be controlled by up to eight modulation
sources. The possible modulation
routings are completely flexible as shown
in the example above.
59
PRESET PROGRAMMING
MIDI REALTIME CONTROLS
MIDI WIND CONTROLLERS
MAY WORK BETTER IF YOU
ASSIGN ONE OF THE MIDI
A, B, C, D CONTROLLERS TO
CONTROL VOLUME. THIS
WILL ALLOW THE MIDI
VOLUME TO BE ADDED TO
THE CURRENT VOLUME.
The MIDI realtime controllers may seem
confusing at first, but they are really very
simple to understand. You probably
already know that there are 16 MIDI
channels that can be used. Each of the 16
MIDI channels uses basically 3 types of
messages; note on/off, program changes,
and continuous controller messages.
Your MIDI keyboard, in addition to telling
Proteus FX which note was played, may
also send realtime control information,
which simply means occurring in real
time or live. (You may be using a MIDI
device other than a keyboard, but for
simplicity’s sake we’ll presume that
Common realtime controllers such as the
pitch wheel, volume, pan and pressure are
pre-programmed to their proper destinations. Your keyboard may have other
realtime controls such as a control pedal
or data slider which can also be programmed to control most of the parameters on Proteus FX.
Proteus FX is equipped with our sophisticated MidiPatch™ system, which allows
you to route any continuous controller to
any realtime modulation destination. The
MidiPatch system is also very easy to use.
First, you must know which controller
numbers your keyboard can transmit.
60
you’re using a keyboard.) Realtime
control sources include such things as
pitch wheels or levers, modulation wheels
or levers, control pedals, aftertouch, etc.
and are used to add more expression or
control. Your MIDI keyboard sends out
realtime controller information on
separate channels called continuous
controller channels. There is a set of 32
continuous controller channels for each
of the 16 MIDI channels. Some of the
controller channels, such as pitch wheel,
volume, and pan have been standardized.
For example, volume is usually sent on
continuous controller channel #7.
PRESET PROGRAMMING
STANDARD MIDI
CONTROLLER NUMBERS:
1- MODULATION WHEEL
2- BREATH CONTROLLER
3- PRESSURE REV 1 DX7
4- FOOT PEDAL
5- PORTAMENTO TIME
6- DATA ENTRY
7- VOLUME
8- BALANCE
9- UNDEFINED
10- PAN
As an example, imagine you are using a
master keyboard which has pitch and
modulation wheels, a breath controller, a
data slider and a foot pedal, all of which
transmit their values over MIDI. The
standard MIDI controller numbers for the
controls are listed below (the pitch wheel
has a dedicated controller, PWH). First,
we would go to the Master menu, MIDI
Controller Assign and define the 4 MIDI
controllers that we wish to use. Assign
each controller number to one of the
letters A-B-C-D.
To complete the connections for a particular preset, go to the Edit menu,
Realtime Control, and route the MIDI A,
B, C, D to the desired destinations. These
could be patched to any 4 destinations or
even to the same destination. The MIDI
Controller Amount menu, (in the Edit
menu) allows you to scale the amounts of
each of the controllers by a positive or
negative value. The signal flow is shown
in the diagram below.
01 - Modulation Wheel A
02 - Breath Controller B
04 - Foot Pedal C
06 - Data Entry D
The MIDI controllers A-B-C-D must have both a source (0-31), and a control destination assigned.
61
PRESET PROGRAMMING
62
Proteus FX
EDIT MENU
63
EDIT MENU
64
EDIT MENU
6
The Edit Menu
WHILE THE EDIT MENU IS
ACTIVATED, INCOMING
MIDI PRESET CHANGES ARE
IGNORED. THIS IS A QUICK
AND EASY WAY TO
TEMPORARILY TURN MIDI
PRESET CHANGE OFF.
The Edit menu contains functions that
can be modified by the user and then
saved as preset information in one of the
user presets. For example, the LFO speed
or other parameter can be edited, then
the preset can be saved to a user location
(Banks 0 and 1).
WARNING
Changes made in the Edit menu will
be forever lost unless the preset is
“saved” using the Save Preset
function (page 78) before changing
the preset.
TO ENABLE THE EDIT MENU
Press the Edit button, lighting the LED.
The current screen will be the one most
recently selected since powering up the
machine. The cursor will appear underneath the first character of the screen
heading on line one.
TO SELECT A NEW SCREEN
Press the Home/Enter button or press a
cursor button repeatedly until the cursor
is underneath the screen heading. Rotate
the Data Entry Control to select the
screen.
TO MODIFY A PARAMETER
Press a cursor button repeatedly (or hold
the right cursor button while turning the
data entry control) until the cursor is
underneath the parameter value. Rotate
the data entry control to change the
value.
TO RETURN TO PRESET SELECT MODE
Press the Edit button, turning off the
LED.
65
EDIT MENU
Edit Menu Functions
PRESET NAME
SECONDARY INSTRUMENT
Preset Name allows you to name each of
the user presets with a name of up to 12
characters. Position the cursor under the
character location and use the data entry
control to change the character. The
keyboard can also be used to select
characters. The chart above shows the
keyboard character assignment.
This function allows you to select which
of the available instrument sounds (or
none) will be placed on the secondary
layer of the current user preset.
PRESET NAME
000 Untitled
PRIMARY INSTRUMENT
CHANGING THE
INSTRUMENT IS A SIMPLE
WAY TO CREATE A NEW
SOUND WHILE RETAINING
ALL THE OTHER PARAMETERS
OF THE PRESET.
66
This function allows you to select which
of the available instrument sounds (or
none) will be placed on the primary layer
of the current user preset.
INSTRUMENT pri
I002 Piano Pad
INSTRUMENT sec
I001 Piano
KEY RANGE
Key range sets the keyboard range of both
primary and secondary instruments. This
sets the keyboard range for the entire
preset and will further limit the primary
and secondary keyboard ranges. The key
range can be set anywhere from C-2 to
G8.
KEY RANGE
C-2 -> G8
EDIT MENU
ENTIRE PRESETS CAN BE
LINKED TO FORM SPLIT OR
LAYERED PRESETS. SEE THE
LINK FUNCTION AT THE
END OF THIS CHAPTER.
PRIMARY KEY RANGE
SECONDARY KEY RANGE
Key range sets the keyboard range of the
primary instrument. This is useful for
creating positional crossfades and keyboard splits between the primary and
secondary layers. The key range can be set
anywhere from C-2 to G8.
Key range sets the keyboard range of the
secondary instrument. The key range can
be set anywhere from C-2 to G8.
KEY RANGE sec
C#0 -> G8
KEY RANGE pri
C-2 -> C0
67
EDIT MENU
VOLUME
COARSE TUNING
Volume sets the amplitude of the primary
and secondary instruments. This function
also allows you to compensate for the
relative volume differences between
instruments.
This function allows you to change the
tuning of the primary and secondary
instruments in semitone intervals. The
coarse tuning range is -36 to +36
semitones. A coarse tuning setting of “00”
would indicate that the instrument is
tuned to concert pitch (A=440 Hz).
VOLUME
pri:127
sec:64
TUNING coarse
pri:+00 sec:+00
PAN
Pan allows you to independently set the
initial pan position of the primary and
secondary instruments. A value of -7 pans
the instrument hard left and a value of +7
pans the instrument hard right. This pan
setting is only valid if “P,” for preset pan,
is selected in the main display.
PAN
pri:-7
IN ORDER FOR THE FX MIX
SELECT TO BE UTILIZED, THE
FX MIX SELECT FOR THE MIDI
CHANNEL (IN THE MASTER
MENU) MUST BE SET TO
PRESET.
sec:+7
This function allows you to change the
tuning of the primary and secondary
instruments in 1/64 semitone intervals
(approx. 1.56 cents). The fine tuning
range is ± 1 semitone.
TUNING fine
pri:+00 sec:+00
FX MIX SELECT
CHORUS
This function allows you to direct a
particular preset to one of the effect
processors (FxA, FxB) or leave the preset
Dry-no effects (Main). This routing is
utilized if Mix Select for a particular MIDI
channel is set to “Preset” in the Master
menu. Otherwise this parameter is
ignored. This function allows you to
choose the effect bus in the preset rather
than by MIDI channel.
Chorus “thickens” the sound by doubling
the sound and then detuning it. Chorus
can be turned On or Off for the primary
and secondary instruments. When Chorus
is on, a particular instrument will use
twice as many channels. If Chorus is used
for both primary and secondary instruments, the preset will use four channels
per key which correspondingly reduces
the available polyphony.
FX MIX SELECT
FxA
68
FINE TUNING
CHORUS
pri:Off
sec:On
EDIT MENU
DELAY
SOUND START
Delay varies the time between the arrival
of a MIDI Note On message and the onset
of a note. The delay time is adjustable
from 0 to 14 seconds (000-127).
This function allows you to set where a
sample begins playing when you hit a key.
A setting of 000 plays a sound from the
beginning, higher values move the
sample start point toward the end of the
sound.
DELAY
pri:000
sec:000
SOUND START
pri:000 sec:000
SOLO MODE
Solo mode provides the playing action of
a monophonic instrument with single
triggering and last-note priority. This
mode does not allow you to play a chord.
Solo mode will not retrigger the envelope
generators if a new note is played while
another is being held. This allows a legato
playing technique to be used. Solo mode
also provides more realistic effects when
working with guitar and wind controllers.
REVERSE SOUND
When reverse sound is turned On, the
instrument will be played backwards.
When an instrument is reversed, any
loops in the sound will be ignored, which
means that the sound will not sustain
indefinitely.
REVERSE SOUND
pri:Off sec:On
SOLO MODE
pri:Off sec:On
THE SOUND START
PARAMETER CAN BE USEFUL
TO REMOVE THE GRADUAL
ATTACK OF A REVERSED
SOUND. SEE THE STEP-BYSTEP CHAPTER FOR AN
APPLICATION USING
SOUND START.
Sound
Start
The Sound Start parameter allows you to cut off the beginning of the sound. Higher values move the
start point toward the end of the sound.
69
EDIT MENU
The Alternate Volume Envelope dynamically controls the final output and can completely change the
character of a sound.
ALTERNATE ENVELOPE ON/OFF
CROSSFADE MODE
Each instrument has its own factory
preset AHDSR volume envelope which is
used if this parameter is set to Off. Turn
Alternate Volume Envelope On to use the
user-programmable alternate envelope
instead.
This function determines which of the
following crossfade modes will be
selected: Off, Crossfade, or Cross-Switch.
ALT ENVELOPE
pri:Off sec:On
TO ENABLE THE
CROSSFADE OR CROSSSWITCH FUNCTIONS,
YOU MUST ASSIGN
CROSSFADE TO A
MODULATION SOURCE
IN EITHER THE REALTIME
OR KEY/VELOCITY
MODULATION SCREENS.
PRIMARY & SECONDARY ALTERNATE
ENVELOPE PARAMETERS
These functions allow you to adjust the
alternate volume envelope parameters for
the primary and secondary instruments.
The parameters are Attack time, Hold
time, Decay time, Sustain level, Release
time, and are adjustable from 00 to 99.
P: A H D S R
00 00 00 99 16
S: A H D S R
00 00 00 99 16
Off
When “Off” is selected, none of the
crossfade parameters will have any effect.
Crossfade
When Crossfade mode is selected, a
control input is used to fade between the
primary and secondary. Any modulation
source may be used as a control input
(velocity, LFO, etc.).
Cross-switch
When Cross-switch mode is selected, the
switched layer is selected if the input
crosses a certain threshold or if a
footswitch controlling cross-switch is
activated. The switch occurs only at the
start of the note; no further switching
takes place while the key is held down.
If key position or velocity is routed to
cross-switch, the threshold is the switch
point. Realtime controllers do not have
any effect when routed to cross-switch.
For more information, see Cross-Switch
Point on page 72.
XFADE MODE
Off
70
EDIT MENU
TO USE THE KEYBOARD FOR
CROSSFADE, SET THE
CROSSFADE BALANCE TO
64 AND THE KEY CENTER
TO THE SPLIT POINT.
By overlapping the primary and secondary instruments, you can crossfade or cross-switch between the
layers.
SEE ALSO CROSS-SWITCH
POINT ON THE FOLLOWING
PAGE.
The crossfade and cross-switch functions
MUST be connected to a controller in
either the Key/Velocity or Realtime
Modulation screens. (Otherwis, what is
controlling the crossfade?)
CROSSFADE DIRECTION
This function determines the polarity of
the crossfade or cross-switch. The direction is either primary -› secondary, or
secondary -› primary.
CROSSFADE AMOUNT
The crossfade amount parameter determines the range over which crossfading
will occur. Crossfade amount is variable
from 000 to 255. The larger the value, the
more modulation will be required to
effect a complete crossfade.
XFADE AMOUNT
128
XFADE DIRECTION
Pri -> Sec
A CROSSFADE BALANCE
SETTING OF 000 WOULD BE
APPROPRIATE WITH A
SOURCE SUCH AS A
MODULATION WHEEL OR
FOOTPEDAL, EITHER OF
WHICH CAN ONLY
CHANGE THE VALUE IN A
POSITIVE DIRECTION.
CROSSFADE BALANCE
The crossfade balance parameter determines the initial balance between the
primary and secondary layers. Any modulation is subsequently added to this value.
Crossfade balance is variable between 000
and 127.
XFADE BALANCE
064
71
EDIT MENU
TO ENABLE THE CROSSSWITCH FUNCTION, YOU
MUST ASSIGN
CROSSFADE TO A
MODULATION SOURCE
IN THE REALTIME OR
KEY/VELOCITY SCREENS.
Velocity
CROSS-SWITCH POINT
The cross-switch point parameter determines the point at which cross-switching
will occur when key position or velocity is
controlling cross-switch.
SWITCH POINT
064
(E3)
Key
LFO 1 - SHAPE AND AMOUNT
FOR MORE INFORMATION
ON THE LFOS, SEE THE
PRESET PROGRAMMING
CHAPTER OF THIS MANUAL.
This screen controls the waveshape and
amount of Low Frequency Oscillator 1.
The LFO can be used to produce vibrato
(when routed to pitch), or tremolo (when
routed to volume). The five LFO waveshapes are: Triangle, Sine, Square,
Sawtooth, and Random. The amount can
be varied from -128 to +127. Negative
values will produce inverted waveshapes.
LFO1
SHAPE AMT
Rand +127
LFO 1 - RATE, DELAY AND VARIATION
This screen controls the rate, delay and
variation of LFO 1.
LFO Rate
Varies the LFO speed from 0.052 Hz to 25
Hz (000-127).
LFO Delay
Sets the amount of time between hitting
a key and the onset of modulation. This
can be used to simulate an effect often
used by acoustic instrument players,
where the vibrato is brought in only after
the initial note pitch has been established. The delay range is variable from 0
to 13 seconds (000-127).
LFO Variation
Sets the amount of random variation of
an LFO each time a key is pressed. This
function is useful for ensemble effects,
where each note played has a slightly
different modulation rate. The higher the
number, the greater the note to note
variation in LFO rate. LFO variation is
variable from 000-127.
LFO1 RT DLY VAR
000 000 000
LFO 2 - SHAPE AND AMOUNT
LFO 2 is functionally identical to LFO 1.
LFO 2 - RATE, DELAY AND VARIATION
LFO 2 is functionally identical to LFO 1.
72
EDIT MENU
Delayed LFO - The LFO wave begins after the specified delay time has elapsed.
FOR MORE INFORMATION
ON THE ENVELOPES, SEE
THE PRESET PROGRAMMING
CHAPTER OF THIS MANUAL.
AUXILIARY ENVELOPE
This is a supplementary, utility envelope
that can be routed to any realtime control
destination. The auxiliary envelope
parameters are: Envelope Amount, Delay,
Attack Time, Hold Time, Decay Time,
Sustain Level, and Release Time. The
delay time is variable from 0 to 13 seconds (000-127). The envelope amount is
variable from -128 to +127. Negative
values will produce inverted envelopes.
AUX ENV AMT DLY
+127 000
A: A H D S R
00 00 00 99 20
The six stages of the Auxiliary Envelope Generator.
73
EDIT MENU
MODULATION SOURCES:
KEY NUMBER
KEY VELOCITY
DESTINATIONS:
PITCH, PRIMARY PITCH,
SECONDARY PITCH,
VOLUME, PRIMARY VOLUME,
SECONDARY VOLUME,
ATTACK, PRIMARY ATTACK,
SECONDARY ATTACK,
DECAY, PRIMARY DECAY,
SECONDARY DECAY,
RELEASE, PRIMARY RELEASE,
SECONDARY RELEASE,
CROSSFADE,
LFO 1 AMOUNT,
LFO 1 RATE,
LFO 2 AMOUNT,
LFO 2 RATE,
AUX. ENVELOPE AMOUNT,
AUX. ENVELOPE ATTACK,
AUX. ENVELOPE DECAY,
AUX. ENVELOPE RELEASE,
SAMPLE START,
PRIMARY SAMPLE START,
SECONDARY SAMPLE START,
PAN, PRIMARY PAN,
SECONDARY PAN,
TONE, PRIMARY TONE,
SECONDARY TONE
THE TONE FILTER IS A
SIMPLE LOW-PASS TONE
CONTROL WHICH CAN BE
USED TO DARKEN THE
TONE OF AN INSTRUMENT.
74
KEYBOARD & VELOCITY MODULATION
These functions allow you to route
keyboard and velocity information to any
of the modulation destinations on the
Proteus FX. Up to 6 simultaneous paths
or “patches” may be programmed. For
each modulation patch, there is a source
(keyboard or velocity), and a correspond-
ing amount parameter which is variable
from -128 to +127. Place the cursor
under the appropriate parameter and
change the patch number, modulation
source, modulation destination, or the
amount using the data entry control. If a
parameter is not labeled either primary or
secondary, it will affect both.
KEY/VELOCITY CTL
1 V>Attack -064
EDIT MENU
MODULATION SOURCES:
PITCH WHEEL,
MIDI CONTROL A,
MIDI CONTROL B,
MIDI CONTROL C,
MIDI CONTROL D,
MONO PRESSURE,
POLYPHONIC PRESSURE,
LFO 1, LFO 2,
AUXILIARY ENVELOPE
DESTINATIONS:
PITCH, PRIMARY PITCH,
SECONDARY PITCH,
VOLUME, PRIMARY VOLUME,
SECONDARY VOLUME,
ATTACK, PRIMARY ATTACK,
SECONDARY ATTACK,
DECAY, PRIMARY DECAY,
SECONDARY DECAY,
RELEASE, PRIMARY RELEASE,
SECONDARY RELEASE,
CROSSFADE,
LFO 1 AMOUNT,
LFO 1 RATE,
LFO 2 AMOUNT,
LFO 2 RATE,
AUX. ENVELOPE AMOUNT,
AUX. ENVELOPE ATTACK,
AUX. ENVELOPE DECAY,
AUX. ENVELOPE RELEASE
REALTIME MODULATION CONTROL
These functions allow you to route
realtime controllers to any of the modulation destinations on Proteus FX except
Tone, Sample Start, and Pan. Up to 8
simultaneous patches may be programmed. For each modulation patch,
there is a source and a destination
parameter. Place the cursor under the
appropriate parameter and change the
patch number, modulation source or
modulation destination using the data
entry control. If a parameter is not
labeled either primary or secondary, it
will affect both.
REALTIME CTL
1 LFO1 ->Pitch
WHEN MODULATING
ENVELOPE ATTACK,
DECAY OR RELEASE
TIMES:
POSITIVE AMOUNTS OF
MODULATION INCREASE
THE TIME.
NEGATIVE AMOUNTS OF
MODULATION DECREASE
THE TIME.
75
EDIT MENU
FOOTSWITCH CONTROL
PRESSURE AMOUNT
This function allows you route the 3
footswitch controllers to any of the
footswitch destinations. The footswitches
can be routed to switch: Sustain (pri/sec/
both), Alternate Volume Envelope (pri/
sec/both), Alternate Volume Release (pri/
sec/both), or Cross-switch between the
primary and secondary instruments.
This function allows you to specify an
amount parameter for mono or poly
keyboard pressure data (aftertouch). The
pressure amount is variable from -128 to
+127.
PRESSURE AMOUNT
+127
FOOTSWITCH CTL
1 -> Sustain
VELOCITY CURVE
PITCH BEND RANGE
This function allows you to specify the
pitch wheel range for the current preset
or it can be set to be controlled globally
(set in the Master menu). Pitch bend
range is only applied when the pitch
wheel is used to control pitch.
PITCH BEND RANGE
± 12 semitones
Incoming velocity data can be modified by
a velocity curve in order to provide
different types of dynamics in response to
your playing or better adapt to the MIDI
controller. This function allows you to
select one of the four velocity curves or
leave the velocity data unaltered (Off). In
addition, the velocity curve can be set to
Global, which means that the global
velocity curve (programmed in the Master
menu) is used.
VELOCITY CURVE
Global
MIDI CONTROLLER AMOUNT
This function allows you to specify an
amount parameter (variable from -128 to
+127) for each of the MIDI controllers.
CONTROLLER AMT
A:+127
B:-090
CONTROLLER AMT
C:+127
D:-090
76
KEYBOARD CENTER
The Keyboard Center parameter establishes a reference point for keyboard
modulation. Keys above this point will
have a positive value and keys below it
will be negative. The keyboard center can
be set to any key within the range A-1 to
C7.
KEYBOARD CENTER
C#3
EDIT MENU
Choose the velocity curve that works best for your playing style and your MIDI controller.
Above the Keyboard Center point, key values will be positive; below the Keyboard Center, key values will
be negative.
77
EDIT MENU
KEYBOARD TUNING
PRESET LINKS
In addition to the standard equally
divided octave tuning, Proteus FX contains four other types of scale tuning and
one user-definable tuning. This function
selects which tuning will be used in the
current preset. The available tunings are:
Presets may be linked to other presets in
order to create layering or keyboard
splits. The current preset can be linked
with up to three other presets. Each
linked preset can be assigned to a specific
range in order to easily create keyboard
splits. The modulation parameters
specified in each preset remain in effect
for each preset in the link.
Equal tuning
12-tone equal temperament
(Standard Western tuning)
Just C tuning
Just intonation
(Based on small interval ratios; sweet and
pure; non-beating intervals)
LINK 1 C-2->F#4
0
000 Preset Name
Vallotti tuning
Vallotti & Young non-equal temperament
(Similar to 12 tone equal temperament;
for a given scale, each key has a different
character)
LINK 2 C#1->F#4
3
127 Preset Name
19 Tone tuning
19-tone equal temperament
(19 notes per octave; difficult to play but
works well with a sequencer)
LINK 3
Off
Gamelan tuning
Javanese tuning: 5-tone Slendro and
7-tone Pelog
(Pelog-white keys; Slendro-black keys
Exotic tunings of Gamelan flavor)
User tuning
Defined in the Master menu.
KEYBOARD TUNING
Equal
SAVE PRESET
Changes made to a preset in the Edit
menu are not made permanent until the
preset is Saved. To save a preset, move
the cursor to the bottom line and select
the location for the new preset with the
data entry control. The Enter LED will be
flashing. Pressing the Enter switch will
confirm the operation. Any user preset
(Banks 0 and 1) may be selected using the
data entry control. Writing to a user
preset erases the existing preset in that
location. Make sure that the destination
preset does not contain information that
you want to keep.
SAVE PRESET to
0
064 Preset Name
78
Proteus FX
STEP-BY-STEP
79
STEP-BY-STEP
80
STEP-BY-STEP
7
Step-By-Step
This section is an introduction to the Edit
menu, explains the concept of Proteus
Synthesis, and contains specific programming examples and tips.
LINKING PRESETS
Linking presets is a quick and easy way to
create new sounds by “layering presets”
and also to “split” the keyboard into
sections containing different sounds.
LAYERING TWO PRESETS
1)
2)
3)
4)
5)
Select the first preset you wish to
layer.
Press the Edit button.
Use the data entry control to move
through the screens until you find
one of the “LINK” screens.
Move the cursor to the second line
of the display, then select the preset
that you want to be linked with this
preset. You may want to play the
keyboard as you scroll through the
various presets in order to hear the
results.
If you want the link to be a permanent part of the preset, be sure to
“SAVE PRESET”.
CREATE A SPLIT KEYBOARD USING
LINKS
1)
2)
3)
5)
6)
Follow steps 1 through 4 at left.
Now set the range of the linked
preset while still in the LINK menu.
Press Enter.
Now use the data entry control to
move through the screens to KEY
RANGE.
Set the range of the preset so that it
fills the remaining range of your
keyboard.
Save the preset.
81
STEP-BY-STEP
EDITING PRESETS
The easiest way to make a preset is to edit
an existing preset. This is also an excellent way of becoming familiar with
Proteus FX. If you don’t like what you
hear, simply change the preset and
Proteus FX reverts back to the original
sound. Changes are not made permanent
until you Save them using the “SAVE
PRESET” function, which is the last
screen in the Edit menu. Let’s experiment
and modify a few parameters of an existing preset. We’ll start with functions that
have an obvious effect on the sound like
Instrument select, Coarse Tuning, Chorus, and Reverse Sound.
First, choose a preset that strikes your
fancy and press the Edit button.
CHANGING THE INSTRUMENT
This is probably the easiest way to modify
existing presets. Scroll through the Edit
menu functions until you come to:
INSTRUMENT pri
IXXX Instr Name
Move the cursor down to the bottom line
(using the cursor button) and change the
primary instrument with the data entry
control. Play the keyboard as you scroll
through the various instruments. When
you find an interesting instrument, move
the cursor back up to the first line and
select:
INSTRUMENT sec
IXXX Instr Name
82
Repeat the process for the secondary
instrument. Find an instrument that
sounds good when combined with the
first one you selected. You can probably
see that with all these great instruments
to work with, you really can’t go wrong.
Now let’s play with the tuning.
CHANGING THE TUNING OF AN
INSTRUMENT
Scroll through the Edit menu functions
until you come to:
TUNING coarse
pri:+00 sec:+00
If the numbers are “00” as in the example
above, it means that the instruments are
tuned to concert pitch (A=440 Hz). Each
whole number in coarse tuning represents a semitone interval. To tune one or
both of the instruments up an octave,
move the cursor to the number (using
the cursor button) and set the number to
+12 using the data entry control. Try
tuning one of the instruments to a perfect
fifth above the other. Simply set the
coarse tuning to +7.
CHORUS
This is an easy one. With the cursor on
the top line of the display, turn the data
control until you find CHORUS. Chorus
can be turned on or off for each of the
primary and secondary instruments.
Chorus works by doubling the instruments and detuning them slightly. Try it.
CHORUS
pri:Off
sec:Off
STEP-BY-STEP
REVERSING THE SOUND
PROTEUS SYNTHESIS
A simple concept. The instrument sounds
can be played in reverse. This will normally make an instrument sound quite a
bit different. It also virtually doubles the
number of raw instruments you have to
work with, and it’s fun.
Oh, no! Not another form of synthesis to
learn. Relax. It’s easy. Proteus Synthesis
is actually just a form of additive synthesis. Only, instead of building a sound
from simple sine waves, Proteus FX starts
with complete sampled sounds or complex waveforms and combines all or part
of these together to form a new sound.
The process is illustrated below.
REVERSE SOUND
pri:Off sec:Off
You’re probably getting the idea by now.
Remember not to change presets or the
preset will return to normal. If you want
to save your creation, select the last
screen in the Edit menu and select a
destination preset location for your
masterpiece, then press Enter. That’s it.
The previous examples were offered solely
to pique your curiosity. By all means, go
ahead and experiment with any of the
other functions. Some of the best sounds
have been discovered by accident. If it
sounds good ... Do it!
The envelope generators controlling the
DCAs (digitally controlled amplifiers) can
be used to fade between two instruments
(primary and secondary) during the
course of a note. This powerful technique
allows you to combine elements of
different instruments together to form
completely new sounds. New sounds that
are totally natural, because they are based
on natural sounds. Proteus FX also
contains many digitally generated waveforms that can be combined with other
digital waves or with sampled instruments in order to change the character of
the sound, perhaps to add a digital “edge”
or add more bottom. In addition to the
envelope generators, parameters such as
Delay, Sample Start, and Crossfade allow
you to further control the blend of
primary and secondary instruments.
Portions of two sounds are dynamically crossfaded in order to produce a new sound containing elements
of both.
83
STEP-BY-STEP
AN EXAMPLE
As an example, let’s combine the electric
guitar and a synthesized waveform to
create a new instrument. Refer to the Edit
menu parameters in the chart below. The
Electric Guitar is the basic sound and is
augmented by a chorused, synthesized
wave which adds a digital sheen. Note
that the guitar has a slower attack, which
completely changes its character. Basically, the attack of the guitar has been
replaced by the synthesized wave. In
addition, the guitar is tuned up one
octave and the two sounds have been
panned to different positions in the stereo
field.
ANOTHER EXAMPLE
As another example, we’ll use the attack
portion of the Soft Flute and the sustain
portion of the Tenor Sax as raw material.
This time we will use the Delay and
Sample Start parameters as well as the
Alternate Envelopes to blend the two
instruments.
The attack portion of the secondary
instrument is removed using the sample
start parameter and then delayed slightly
so it will sound only after the flute attack
portion begins to decay. The alternate
envelopes are used to “fine tune” the
splice. Furthermore, the flute attack has
been detuned a bit sharp so the composite
sound will start sharp and fall into correct
pitch.
Continue your experiments using this
example, but changing the primary and
secondary instruments. When you have
found a good combination, “fine tune”
the delay, sample start, volume and
envelope parameters. Feel free to play
with the modulation parameters as well.
84
STEP-BY-STEP
USING PROTEUS FX WITH A
SEQUENCER
We thought you’d never ask. Proteus FX
was designed from its conception with
multi-timbral sequencing in mind. Just
take a look at the main screen.
C01 Vol127 Pan+0
0
000 Preset Name
The preset for each MIDI channel is
selected from the main screen. Press the
cursor button to move the cursor up so
that it is underneath the channel number.
C01 Vol127 Pan+0
0
000 Preset Name
Turn the data entry control and you will
see that every MIDI channel has a preset
assigned to it. Just select a preset for each
of the MIDI channels. It’s simple! In order
to respond to multiple MIDI channels,
Proteus FX must be in Multi-Mode. MultiMode is selected in the Master menu.
Press the Master menu button and use
the data entry control to scroll through
the screens until you find MIDI MODE.
MORE ADVANCED SEQUENCING
Pre-Sequence Setup
Suppose that you want to have your
sequencer set up everything for you
before the start of the song. Good idea.
This will make the Proteus FX setup
procedure automatic and prevent the
wrong presets from playing.
The basic idea of a pre-sequence setup is
to send out MIDI information just before
the start of the song. This MIDI information will select all the proper presets,
adjust the mix, and pan positions of each
preset.
Note: Proteus FX setup information
should be transmitted from the sequencer
before the song actually starts, perhaps
during a lead-in measure or countdown.
DO NOT send setup information just
before the first beat of the song or MIDI
timing errors could result.
Initial Setup
In the Master menu:
1) Turn ON Multi-Mode
2) Turn ON Preset Change enable for
each channel.
3) Turn OFF MIDI Enable on MIDI
channels that are to be used for other
synthesizers.
PRESET, VOLUME & PAN SETUP
MIDI MODE
Multi
ID
00
Move the cursor down to the second line
and change the mode to Multi as shown.
Proteus FX will now respond to multiple
MIDI channels.
Program your MIDI sequencer to
transmit the following information before
the song starts.
1) Select the proper presets for each
MIDI channel used on Proteus FX.
2) Send MIDI volume information
(controller #7) for each MIDI channel
used on Proteus FX.
3) Send MIDI pan information (controller #10) for each MIDI channel used
on Proteus FX.
85
STEP-BY-STEP
Now your song will play perfectly every
time using the proper presets, volumes
and pan positions. In addition, presets,
volumes and pan positions (or anything
else for that matter) can be adjusted in
realtime during the song. Note: If the
wrong presets are being selected, check
the MIDI Program -> Preset Map.
To carry the pre-sequence setup even
further, you can even include preset data
for each preset used in the sequence. See
page 27 for details.
USING THE 32 CHANNELS
As stated earlier, Proteus FX has 32
independent audio channels which are
utilized as needed. With 32 channels and
512 presets, you have a universe of sonic
textures at your disposal. But you have
probably noticed that many of the best
sounding presets in Proteus FX are linked
with other presets or have chorus applied
to them in order to make them sound
larger. While this is fine when the preset
is played solo, you may begin to run out
of channels when Proteus FX is played
multi-timbrally. Linking and chorusing
cause twice as many channels to be used
by the preset. Learn to “budget” your
output channels for maximum efficiency.
CHANNEL RIPOFF
When Proteus FX uses up all its 32
channels and needs more, it steals a
channel from the key that has been held
the longest. This is commonly known as
“channel ripoff”. You will most commonly
encounter this ripoff when using Proteus
FX in multi-timbral mode. To eliminate
ripoff you must either, play fewer notes,
use simpler sounds, turn off doubling
(pri/sec, chorus, or linked presets), or use
MIDI overflow to another Proteus FX.
86
INSTRUMENT DEFINITION
If your sequence has an instrumental
section using numerous chord it may be
advantageous to use a basic preset without links or chorus. A preset will sound
much different alone than when combined with an ensemble. Try to resist the
temptation to make every sound as fat as
possible or you can wind up with “MIDI
Soup”, a huge, stifling sound with every
possible audio frequency filled. A solo
saxophone in a band isn’t chorused and it
sounds great. Each voice in your composition should have it’s own identity. Save
the monster sounds for solos or dramatic
effects.
Proteus FX
REFERENCE SECTION
87
REFERENCE SECTION
RAM Presets
Keyboards
Chromatic
Percussion
Organs
Guitars
Bass
Strings
Bank 0
0. kbd:GrandPno
1. kbd:Heaven
2. kbd:TinePno*
3. kbd:7ftGrand
4. kbd:ElGrand1
5. kbd:Roadz 1
6. kbd:Tine EP
7. kbd:Claved
8. prc:Marimba
9. prc:Vibe>Mod
10. prc:TimbaMal
11. prc:Javanese
12. prc:Celeste
13. prc:Trinidad
14. prc:Carillon
15. prc:Glock
16. org:VintgeB3
17. org:That B3
18. org:Be Vocal
19. org:Rock #2
20. org:3rd Perc
21. org:PureTone
22. org:Synthgan
23. org:Tarkus
24. gtr:EcoStrat
25. gtr:ClenStrt
26. gtr:Acoustic
27. gtr:12String
28. gtr:CombPad*
29. gtr:Funky
30. gtr:Mutes
31. gtr:Lazy G
32. bas:Miracle
33. bas:& Harms
34. bas:Jazzer
35. bas:TurboSyn
36. bas:FlintRok
37. bas:FunkyPop
38. bas:Chorused
39. bas:Noser
40. str:Viol Duo
41. str:BigViola
42. str:BigCello
Ensemble
Brass
Reeds
Pipes
Synth
Leads
43.
44.
45.
46.
47.
48.
49.
50.
51.
52.
53.
54.
55.
56.
57.
58.
59.
60.
61.
62.
63.
64.
65.
66.
67.
68.
69.
70.
71.
72.
73.
74.
75.
76.
77.
78.
79.
80.
81.
82.
83.
84.
85.
str:Soloists
str:PizzViol
str:PizzCeli
Synth
Pads
str:8va Pizz
str:Quartet
ens:Xpresive
ens:Orchstra
ens:Moody
ens:Symphony
ens:VoxHuman
ens:Str&Vox
Synth
ens:Choir
Sounds
ens:OBString
brs:HdTrumpt
brs:MutedTpt
brs:Trombone
brs:Fr Horns
brs:Section*
brs:Full On*
Ethnic
brs:VelFalls
brs:Layers
red:SteroSax
red:”G” Sax
red:Bari Sax
red:Soprano
red:TwinMood
red:Eng Horn Percussion
red:DblSectn
red:Oboe
pip:VerbFlut
pip:Whistle
pip:ButtrFlu
pip:Calliope
pip:Herble
pip:SynthVox
Special
pip:Pizzillo
FX
pip:Sakura
led:BrasSolo
led:MeinSolo
led:SoloMini
led:Hollow
led:Venus NV
led:PortaMod
* Indicates that the preset contains a Link to one or more presets in bank 3.
88
86. led:BuzzSolo
87. led:FuseHorn
88. pad:Dark Syn
89. pad:Spiritu
90. pad:RoxyMuse
91. pad:Kryonite
92. pad:DeString
93. pad:CosmoMan
94. pad:Guidance
95. pad:Dynalog
96. syn:Krystala
97. syn:Iron Man
98. syn:Flashbak
99. syn:Phantazi
100. syn:RingHard
101. syn:Zoundz
102. syn:Watering
103. syn:Glisando
104. eth:JamSteel
105. eth:Kyoto
106. eth:Metalia
107. eth:KingCong
108. eth:Dulcimer
109. eth:Balinese
110. eth:Far East
111. eth:Sitari *
112. drm:RockKit1
113. drm:Wacky
114. drm:SteroKit
115. drm:SynthKit
116. drm:Snares
117. drm:Kicks
118. drm:Cymbals
119. drm:Tamborin
120. sfx:Group #1
121. sfx:WildBoy*
122. sfx:Infinite
123. sfx:LostSoul
124. sfx:Cyclotrn
125. sfx:Insects
126. sfx:Control
127. sfx:Fluterby
REFERENCE SECTION
RAM Presets
Keyboards
Chromatic
Percussion
Organs
Guitars
Bass
Strings
Bank 1
0. kbd:BritePno
1. kbd:Dark Pno
2. kbd:PnoSyn *
3. kbd:ElGrand2
4. kbd:Dramatic
5. kbd:MedElPno
6. kbd:Harpsicd
7. kbd:Pizziano
8. prc:Islander
9. prc:OddVibes
10. prc:Tamblock
11. prc:Airimba
12. prc:Xylofony
13. prc:Submerge
14. prc:Maletoid
15. prc:CosmoBel
16. org:DrawBarz
17. org:Mod>Lesl
18. org:Clickety
19. org:Chorus
20. org:TheOther
21. org:Smoothy*
22. org:Reedy5th
23. org:Church
24. gtr:El 12Str
25. gtr:& Winds
26. gtr:El Jazz
27. gtr:Baroque
28. gtr:Baritone
29. gtr:Pianotar
30. gtr:Harmonic
31. gtr:Feedback
32. bas:Thunder
33. bas:El Viva
34. bas:Fretles1
35. bas:Slap #1
36. bas:BigBotm*
37. bas:DarkRock
38. bas:Mystery
39. bas:Bad Boy
40. str:Conductr
41. str:Diverti
42. str:Octaves
Ensemble
Brass
Reeds
Pipes
Synth
Leads
43.
44.
45.
46.
47.
48.
49.
50.
51.
52.
53.
54.
55.
56.
57.
58.
59.
60.
61.
62.
63.
64.
65.
66.
67.
68.
69.
70.
71.
72.
73.
74.
75.
76.
77.
78.
79.
80.
81.
82.
83.
84.
85.
str:XpresPiz
str:PizzBass
str:PizVioln
str:Fr Cello
str:Vienna
ens:Melotron
ens:The Hall
ens:Montovan
ens:Concerto
ens:Envious
ens:Crystal*
ens:SloStrng
ens:Vostring
brs:Sax/Tpt
brs:Big City
brs:Fox Hunt
brs:T.O.P. *
brs:FullFall
brs:ThePops*
brs:Crispy
brs:Syntho
red:Alto Sax
red:5th Ave
red:NoVibObo
red:BariAlto
red:BasnEHrn
red:SecWinds
red:CombViol
red:ClarOboe
pip:Piccolo
pip:Chiffer
pip:BrethFlt
pip:Ocarina
pip:Insprate
pip:PanFlut*
pip:EcoFlut*
pip:Duces Hi
led:WynWoods
led:SoftSolo
led:Big Muff
led:Chiff
led:Mjr Solo
led:Buzzard
86. led:FrogFret
87. led:Reedy
88. pad:Voices
Synth
Pads
89. pad:NewerAge
90. pad:Sweeper
91. pad:Warm Up
92. pad:Empyrean
93. pad:PolySyn
94. pad:Britenes
95. pad:Essence
96. syn:echoist*
Synth
Sounds 97. syn:Mem Moog
98. syn:Blue Ice
99. syn:Atmos
100. syn:Mod Harp
101. syn:CyberGuy
102. syn:Intervl5
103. syn:Spheric
104 eth:Kalimba
Ethnic
105. eth:Amnesia
106. eth:Shanai
107. eth:TikiRoom
108. eth:Lute
109. eth:AsiaReed
110. eth:JunglDrm
111. eth:Noh Way*
Percussion 112. drm:EchoBeat
113. drm:Hip Kit*
114. drm:Zip kit
115. drm:Da Beat*
116. drm:909 Kit
117. drm:Syn Kit*
118. drm:Latino
119. drm:WinChime
Special 120. sfx:Sub Rosa
121. sfx:Too Wyrd
FX
122. sfx:Rockets
123. sfx:ByTheSea
124. sfx:Spacely
125. sfx:Forestry
126. sfx:Sputnik
127. sfx:Whales
* Indicates that the preset contains a Link to one or more presets in bank 3.
89
REFERENCE SECTION
ROM Presets
Bank 2
Keyboards 0. kbd:VryGrand
1. kbd:RoadHaus
2. kbd:DigPiano
3. kbd:Grandios
4. kbd:RoadzStr
5. kbd:Roadz 2
6. kbd:NoseClav
7. kbd:Clavinet
Chromatic 8. prc:Mod Vibe
Percussion 9. prc:Marimba2
10. prc:MusicBox
11. prc:Vibrafon
12. prc:Bellafon
13. prc:Blok Hed
14. prc:TubeBels
15. prc:Cylybels
16. org:Cathedra
Organs
17. org:AnotherB
18. org:B Again
19. org:WarmTone
20. org:Notre
21. org:Accordia
22. org:MouthHrp
23. org:Obordian
24. gtr:Guitaras
Guitars
25. gtr:The Hero
26. gtr:AcStereo
27. gtr:Buckeroo
28. gtr:PalmMute
29. gtr:Swirly
30. gtr:Syn Mute
31. gtr:8va Pick
32. bas:StonSlap
Bass
33. bas:Fretles2
34. bas:Syntheti
35. bas:Fretles3
36. bas:Super JX
37. bas:Slapper
38. bas:LosAngel
39. bas:Jupiter
40. str:SoloViin
Strings
41. str:SoloViol
42. str:SoloCelo
43.
44.
45.
46.
47.
Ensemble 48.
49.
50.
51.
52.
53.
54.
55.
56.
Brass
57.
58.
59.
60.
61.
62.
63.
64.
Reeds
65.
66.
67.
68.
69.
70.
71.
72.
73.
Pipes
74.
75.
76.
77.
78.
79.
80.
Synth
Leads
81.
82.
83.
84.
85.
str:CntraBas
str:Tremolo
str:PizzCmbo
str:OrchHarp
str:TimpCelo
ens:Strings
ens:Quartet2
ens:SynStrng
ens:XtraSlow
ens:VoxSpred
ens:StrayVox
ens:Ominous
ens:OrchHit*
brs:Trumpet
brs:Big Band
brs:Tuba
brs:And Wind
brs:FrHorns2
brs:Tijuana
brs:Gilespie
brs:Layered*
red:Sax&Mute
red:DblReedz
red:TenorSax
red:PowerSax
red:SynthSax
red:Layered*
red:Bassoon
red:BasClrnt
pip:SynFlute
pip:Flauta
pip:8vaFlute
pip:BrethEco
pip:Bottle
pip:Flut/Vox
pip:Xpresivo
pip:Picolode
led:Wissler
led:MoogSol1
led:New Ager
led:Medium
led:& Bass
led:Hornz
86. led:Xpresso
87. led:MoogSol2
88. pad:AirStrng
Synth
Pads
89. pad:UpRite
90. pad:Vektor 4
91. pad:Cortext
92. pad:0 Gravty
93. pad:Coolness
94. pad:Grunge
95. pad:Mythical
96. syn:Rain
Synth
Sounds 97. syn:Cubic Z
98. syn:Phairest
99. syn:PiPaBend
100. syn:Nova
101. syn:Burma
102. syn:Wrinkles
103. syn:MoonWalk
104. eth:Fiddle
Ethnic
105. eth:Kotoid
106. eth:EastPluk
107. eth:Sitarica
108. eth:Shamisen
109. eth:Koto
110. eth:SteelDrm
111. eth:Latimba*
Percussion 112. drm:GM Drum*
113. drm:LatinDrm
114. drm:RokKit2
115. drm:Rap Kit
116. drm:Taiko
117. drm:Tam Tam
118. drm:AstroTmp
119. drm:RevCymbl
Special 120. sfx:MetlVapr
FX
121. sfx:WaleTale
122. sfx:RubSlap
123. sfx:YourHead
124. sfx:telefone
125. sfx:Spiritz
126. sfx:En Furno
127. sfx:Oh Heli
* Indicates that the preset contains a Link to one or more presets in bank 3.
90
REFERENCE SECTION
ROM Presets
Bank 3
Keyboards 0. kbd:IceHeven
1. kbd:PnoWinds
2. kbd:PnoForte
3. kbd:Pad/Pno
4. kbd:Big Comp
5. kbd:Pianorg
6. kbd:Wurli EP
7. kbd:Mute Pno
Chromatic 8. prc:Equinox
Percussion 9. prc:Waterway
10. prc:Disonant
11. prc:Of China
12. prc:Omens
13. prc:VibroPad
14. prc:Shining
15. prc:BelleAir
16. org:ToTheBar
Organs
17. org:Tocatta7
18. org:5ths Bar
19. org:Kalimgan
20. org:Reedz
21. org:Doner
22. org:Fisamon
23. org:& Bass
24. gtr:PlukFair
Guitars
25. gtr:Warped
26. gtr:LapSteel
27. gtr:Combo12
28. gtr:Fingerz
29. gtr:Calm B4
30. gtr:AgntCoop
31. gtr:Xtopia
32. bas:FatSynth
Bass
33. bas:Rouge
34. bas:Sick One
35. bas:RoundSyn
36. bas:Slapper2
37. bas:Mondoid
38. bas:Kisser
39. bas:Pulsar
40. str:PizzSter
Strings
41. str:PizCntrl
42. str:Swell
43.
44.
45.
46.
47.
Ensemble 48.
49.
50.
51.
52.
53.
54.
55.
56.
Brass
57.
58.
59.
60.
61.
62.
63.
64.
65.
Reeds
66.
67.
68.
69.
70.
71.
72.
Pipes
73.
74.
75.
76.
77.
78.
79.
80.
Synth
Leads
81.
82.
83.
84.
85.
str:DevDance
str:PwrCello
str:AhVienna
str:Fairlite
str:Thematic
ens:Mixture1
ens:Legatto
ens:Mixture2
ens:PeaceOrc
ens:Chromax
ens:VoxWarpr
ens:StrGlide
ens:StrFalls
brs:Sesh Tpt
brs:X-hibit
brs:Chi-Town
brs:Waterboy
brs:Bones
brs:Popster
brs:DXster
brs:& Voices
red:Fusion
red:MythMakr
red:SaxonSun
red:Dead Sea
red:Spring
red:OBX Clar
red:Claraboe
red:Chamber
pip:MuteFlut
pip:Magical
pip:CryOnMe
pip:VerblAtk
pip:Flutachi
pip:The Flew
pip:Bellwiss
pip:FluteVox
led:Echo Tpt
led:Miles D
led:IsleyRok
led:5thsLead
led:Synister
led:SynSushi
86. led:OvrDrive
87. led:PipeSolo
Synth 88. syn:LunaWind
Sounds 89. syn:BrassVox
90. syn:DarkAges
91. syn:Mtalovox
92. syn:IceForst
93. syn:Mortale
94. syn:Terminus
95. lnk:#002&258
Links
96. lnk:#028
97. lnk:#060
98. lnk:#061
99. lnk:#111
100. lnk:#121&243
101. lnk:#130&387
102. lnk:#149
103. lnk:#164
104. lnk:#181
105. lnk:#187
106. lnk:#189
107. lnk:#205
108. lnk:#206
109. lnk:#224
110. lnk:#239
111. lnk:#241
112. lnk:#245
113. lnk:#295
114. lnk:#311
115. lnk:#319
116. lnk:#340
117. lnk:#367
118. lnk:#368
119. lnk:#368
120. lnk:#368
121. lnk:#388
122. lnk:#403
123. lnk:#407
124. lnk:#421
125. lnk:#434&325
126. lnk:#470
127. lnk:#471
* Indicates that the preset contains a Link to one or more presets in bank 3.
91
REFERENCE SECTION
Rock/Pop
Instruments
92
1. Piano ..................................................................................................... 9 foot Grand Piano
2. Piano Pad ........................................................ Piano with slow attack and sustained loop
3. Loose Piano ..................................................................................... Old style Grand Piano
4. Tight Piano .................................................................. Contemporary 9 foot Grand Piano
5. Strings .......................................... String section with Basses, Cellos, Violas and Violins
6. Long Strings ................................................ String section with long attack and release
7. Slow Strings ............................................ Section Strings with longer attack and release
8. Dark Strings ............................................................... Section Strings with a darker tone
9. Voices ............................................................................................................. Female Choir
10. Slow Voices ................................................ Female Choir with longer attack and release
11. Dark Choir ..................................................................... Female Choir with a darker tone
12. Synth Flute ................................................................... Genuine Flute with a short loop
13. Soft Flute ............................................................................................... Slow attack Flute
14. Alto Sax ................................................................................................................. Alto Sax
15. Tenor Sax .......................................................................................................... Tenor Sax
16. Baritone Sax .................................................................................................. Baritone Sax
17. Dark Sax .............................................................................. Tenor sax with a darker tone
18. Soft Trumpet ..................................................................................... Soft blown Trumpet
19. Dark Soft Trumpet ............................................ Soft blown Trumpet with a darker tone
20. Hard Trumpet ................................................................................. Hard blown Trumpet
21. Dark Hard Trumpet ......................................... Hard blown Trumpet with a darker tone
22. Horn Falls.............................................................................. Descending pitch Trumpets
23. Trombone 1 ........................................................................................................ Trombone
24. Trombone 2 ....................................................................................................... Trombone
25. French Horn................................................................................................. French Horn
26. Brass 1 ................................................................. Combination Trombone/Soft Trumpet
27. Brass 2 ............................................................... Combination Trombone/Hard Trumpet
28. Brass 3 ........................................ Combination Trombone/Soft Trumpet/Hard Trumpet
29. Trombone/Sax .............................................................. Combination Trombone and Sax
30. Guitar Mute .......................................................................... Palm muted Electric Guitar
31. Electric Guitar ........................................................ Clean, Humbucking Electric Guitar
32. Acoustic Guitar ................................................................... Steel String Acoustic Guitar
33. Rock Bass ................................................................................. Carbon Fiber Bass Guitar
34. Stone Bass ................................................................. Rare, Aluminum Neck Bass Guitar
35. Flint Bass ................................................................. Bass Guitar with altered harmonics
36. Funk Slap ............................................................ Lower two Bass Guitar strings slapped
37. Funk Pop ................................... Popped Bass Guitar strings (combine with Funk Slap)
38. Harmonics .................................................................................... Bass Guitar Harmonics
39. Rock/Harmonics ...................................... Combination Rock Bass and Bass Harmonics
40. Stone/Harmonics .................................. Combination Alum. Neck Bass and Harmonics
41. Nose Bass ............................................................................. Chunky, Popped Bass Guitar
42. Bass Synth 1 ...................................................... Classic, Analog Synthesizer Bass Sound
43. Bass Synth 2 ............................................................................... Digital Bass Synthesizer
REFERENCE SECTION
Rock/Pop
Instruments
44. Synth Pad ............................................................................. Fat, Digital Synthesizer Pad
45. Medium Envelope Pad ...................................... Digital Synth pad with altered envelope
46. Long Envelope Pad ................................ Digital Synth pad with long attack and release
47. Dark Synth .......................................................... Digital Synthesizer with a darker tone
48. Percussive Organ ........................................................ Classic, Tone Wheel Organ sound
49. Marimba .............................................................................................................. Marimba
50. Vibraphone ...................................................................................................... Vibraphone
51. All Percussion (balanced levels)
52. All Percussion (unbalanced levels)
53. Standard Percussion Setup 1
54. Standard Percussion Setup 2
55. Standard Percussion Setup 3
56. Kicks
57. Snares
58. Toms
59. Cymbals
60. Latin Drums
61. Latin Percussion
62. Agogo Bell
63. Woodblock
64. Conga
65. Timbale
66. Ride Cymbal
67. Percussion FX1
68. Percussion FX2
69. Metal .................................... Percussive, Metallic, Analog Synthesizer Sound
93
REFERENCE SECTION
Waveforms
HARMONIC WAVEFORMS
70.
71.
72.
73.
74.
75.
76.
77.
78.
79.
80.
81.
82.
83.
84.
85.
86.
87.
88.
89.
90.
91.
Oct 1 (Sine)
Oct 2 All
Oct 3 All
Oct 4 All
Oct 5 All
Oct 6 All
Oct 7 All
Oct 2 Odd
Oct 3 Odd
Oct 4 Odd
Oct 5 Odd
Oct 6 Odd
Oct 7 Odd
Oct 2 Even
Oct 3 Even
Oct 4 Even
Oct 5 Even
Oct 6 Even
Oct 7 Even
Low Odds
Low Evens
Four Octaves
Starting from the first octave (fundamental), the harmonic waveforms contain the
harmonics (odd, even, or all) present in
each octave. In each successive octave the
number of harmonics doubles. By
combining (pri/sec or link) the harmonic
waveforms in various amounts (volume),
and transposing them (coarse/fine
tuning), a vast range of timbres may be
produced.
As an example, this chart shows the harmonics present in the Octave 5 Odd waveform.
94
REFERENCE SECTION
Waveforms
SINGLE CYCLE WAVEFORMS
92.
93.
94.
95.
96.
97.
98.
99.
100.
101.
102.
103.
104.
105.
106.
107.
108.
109.
110.
111.
112.
Synth Cycle 1
Synth Cycle 2
Synth Cycle 3
Synth Cycle 4
Fundamental Gone 1
Fundamental Gone 2
Bite Cycle
Buzzy Cycle 1
Metalphone 1
Metalphone 2
Metalphone 3
Metalphone 4
Duck Cycle 1
Duck Cycle 2
Duck Cycle 3
Wind Cycle 1
Wind Cycle 2
Wind Cycle 3
Wind Cycle 4
Organ Cycle 1
Organ Cycle 2
The single cycle waveforms are either
synthesized or taken from actual sampled
sounds. Each wave has a unique tonal
quality.
MULTI-CYCLE WAVEFORMS
113.
114.
115.
116.
117.
118.
119.
120.
121.
122.
123.
124.
125.
Noise
Stray Voice 1
Stray Voice 2
Stray Voice 3
Stray Voice 4
Synth String 1
Synth String 2
Animals
Reed
Pluck 1
Pluck 2
Mallet 1
Mallet 2
The multi-cycle waves are short sections
of sampled sounds.
95
REFERENCE SECTION
Orchestral
Instruments
96
126.
127.
128.
129.
130.
131.
132.
133.
134.
135.
136.
137.
138.
139.
140.
141.
142.
143.
144.
145.
146.
147.
148.
149.
150.
151.
152.
153.
154.
155.
156.
Solo Cello ......................................................... Bowed, Solo Cello with natural vibrato
Solo Viola ......................................................... Bowed, Solo Viola with natural vibrato
Solo Violin ...................................................... Bowed, Solo Violin with natural vibrato
Gambambo ....................................................................... Cello, Violin with no vibrato
Quartet 1............................................................................................ Celli, Viola, Violin
Quartet 2................................................................................ Bass, Celli, Violas, Violins
Quartet 3............................................................................................ Celli, Viola, Violin
Quartet 4....................................................................................................... Celli, Violin
Pizz Basses .................................................................................... Bass section, plucked
Pizz Celli ....................................................................................... Celli section, plucked
Pizz Violas ................................................................................... Viola section, plucked
Pizz Violin ................................................................................. Violin section, plucked
Pizzicombo ............................................................ Pizzicato Bass, Celli, Violas, Violins
Bass Clarinet ............................................................................ Sustained Bass Clarinet
Clarinet ............................................................................................. Sustained Clarinet
Bass Clarinet/Clarinet ........................................ Bass Clarinet and Clarinet split at C3
Contra Bassoon ..................................................................................... Contra Bassoon
Bassoon.............................................................................................................. Bassoon
English Horn .......................................................... English Horn with natural vibrato
Oboe ...................................................................................... Oboe with natural vibrato
Woodwinds ......................................... Contra Bassoon, Bassoon, English Horn, Oboe
Harmon Mute .................................................................. Solo Trumpet, Harmon Mute
Tubular Bell .............................................................................. Orchestral Tubular Bell
Timpani .............................................................................................................. Timpani
Timpani/Tubular Bell ................................................. Timpani/Tubular Bell split at C2
Tambourine ........................................................................................ Brass Tambourine
Tam Tam........................................................................................................... Tam Tam
Percussion 3 ............................................................................. See Percussion 3 Chart
Special Effects ...................................................................... See Special Effects Chart
Oboe no Vib .................................................................................. Oboe with no vibrato
Upright Pizz .......................................... Pizzicato Bass transposed across entire range
REFERENCE SECTION
Waveforms
DIGITAL WAVEFORMS
157. Sine Wave
158. Triangle Wave
159. Square Wave
160. Pulse 33%
161. Pulse 25%
162. Pulse 10%
163. Sawtooth
164. Sawtooth Odd Gone
165. Ramp
166. Ramp Even Only
167. Violin Essence
168. Buzzoon
169. Brassy Wave
170. Reedy Buzz
171. Growl Wave
172. HarpsiWave
173. Fuzzy Gruzz
174. Power 5ths
175. Filtered Saw
176. Ice Bell
177. Bronze Age
178. Iron Plate
179. Aluminum
180. Lead Beam
181. Steel Extract
182. Winter Glass
183. Town Bell Wash
184. Orchestral Bells
185. Tubular SE
186. Soft Bell Wave
187. Swirly
188. Tack Attack
189. Shimmer Wave
190. Moog Lead
191. B3 SE
192. Mild Tone
193. Piper
194. Ah Wave
195. Vocal Wave
196. Fuzzy Clav
197. Electrhode
198. Whine 1
199. Whine 2
200. Metal Drone
201. Silver Race
202. Metal Attack
203. Filter Bass
204. Alt. Oboe
97
REFERENCE SECTION
Percussion
Instrument
Locations
98
REFERENCE SECTION
Percussion
Instrument
Locations
99
REFERENCE SECTION
Percussion
Instrument
Locations
100
REFERENCE SECTION
Percussion
Instrument
Locations
101
REFERENCE SECTION
Percussion
Instrument
Locations
102
REFERENCE SECTION
Instrument
Locations
103
REFERENCE SECTION
Technical
Specifications
Audio Channels ............................................. 32
Max. Output Level .................. +4 dB into 600Ω
Output Impedance ................................... 100Ω
MIDI ............................................ In, Out, Thru
Data Encoding ............................... 16 bit linear
Sample Playback Rate ............................ 39 kHz
Signal to Noise: ......................................>90 dB
Dynamic Range ......................................>90 dB
Frequency Response ................. 20 Hz - 18 kHz
THD + N ................................................. < .05%
IMD ......................................................... < .05%
Power Requirements ........................... 25 Watts
Operating Temperature ................. 100° F Max.
Dimensions...................... H:1.75" W:19" L: 6"
(H:4.4cm W:48.3cm L: 15.2cm)
Weight .................................... 4 lb, 9 oz (2 Kg)
104
REFERENCE SECTION
MIDI
Implementaion
Chart
GENERAL INFORMATION FOR PROTEUS FX
• Product ID is 04.
• Device ID is [00-0F] (0-15 decimal).
• Since MIDI data bytes cannot be greater than [7F] (127 decimal), the data values are
“nibble-ized” to a 14-bit signed 2's complement format.
• There is only one edit buffer which is for the current preset (the preset shown in the
display). Only one preset at a time can be edited via SysEx commands and changing the
current preset erases the edit buffer.
105
REFERENCE SECTION
MIDI
Specification
Bank 0 = 000-127 - bb=00
Bank 1 = 128-255 - bb=01
Bank 2 = 256-383 - bb=02
RECEIVED CHANNEL COMMANDS
Channels number (n) = 0-15. Message bytes are represented in hex. All other numbers
are decimal.
Command
Message
Comments
Note Off
8n kk vv
release velocity is ignored
Note Off
9n kk vv
velocity 0 = note off
Key Pressure
An kk pp
Program Change
Cn pp
Channel Pressure
Dn pp
Pitch Wheel
En ll mm
Realtime Controller
Bn cc vv
cc = 01-31
Footswitch
Bn cc vv
cc = 64-79, vv ≥ 64 = on
Volume
Bn 07 vv
Pan
Bn 0A vv
0 = hard left, 127 = hard right
Effect Control A
Bn 0C vv
See • Note below
Effect Control B
Bn 0D vv
See • Note below
Effect A Mix
Bn 5B vv
B->A Feed
Bn 5C vv
Effect B Mix
Bn 5D vv
Reset All Controllers
Bn 79 00
ignored in omni mode
All Notes Off
Bn 7B 00
ignored in omni mode
Omni Mode
Bn 7D 00
forces all notes & controls off
Mono Mode
Bn 7E 00
forces all notes & controls off
Poly Mode
Bn 7F 00
forces all notes & controls off
Bank Select
Bn 00 00 20 bb Cn pp
l = lsb, m = msb
bb = bank #, pp = prog. in bank
Bank 3 = 384-511 - bb=03
• Note: These controls adjust the currently selected parameter of the currently selected
effect. The “currently selected” parameter is either the 1st one in an effect's parameter
list (as initialized after power up) or the parameter selected either by hand or by SysEx
parameter edits.
106
REFERENCE SECTION
MIDI
Specification
RECEIVED SYSTEM COMMANDS
For system exclusive commands the
following format is used:
F0
system exclusive status byte
18
E-mu ID byte
04
product ID byte
dd
device ID byte
cc
command byte
...
data bytes (256 bytes/preset)
F7
EOX
Two MIDI bytes (lsb, msb) are required
for each 14 bit data word. Bits 0-6 are
sent first, followed by bits 7-13 in the next
MIDI byte. All data words are signed 2’s
complement values with sign-extension
out to the most significant bit (bit 13).
This convention applies to all data words,
regardless of the parameter’s value range.
Command
Message
Comments
Preset Data Request
F0 18 04 dd 00 ll mm F7
Preset Data
F0 18 04 dd 01 ll mm ... ... cs F7
cs = checksum = sum of all data bytes
Parameter Value
Request
F0 18 04 dd 02 pl pm F7
pl = parameter # lsb
pm = msb
Parameter Value
F0 18 04 dd 03 pl pm vl vm F7
vl = value lsb
vm = msb
ll = preset # lsb,
mm =preset # msb
see note 6
Tuning Table Request
F0 18 04 dd 04 F7
Tuning Table
F0 18 04 dd 05 ... ... F7
Program Map Request
F0 18 04 dd 06 F7
Program Map Data
F0 18 04 dd 07 ... ... F7
Version Request
F0 18 04 dd 0A ... ... F7
see note 3
Configuration Request
F0 18 04 dd 0C ... ... F7
see note 4
MMA Tuning Dump
F0 7E dd 08 01 tt <name (16 ascii)>…F7
see note 5
see note 1
107
REFERENCE SECTION
MIDI
Specification
TRANSMITTED SYSTEM COMMANDS
Command
Message
Preset Data
F0 18 04 dd 01 ll mm ... ... cs F7 cs = checksum =
sum of all data bytes
Parameter Value
F0 18 04 dd 03 pl pm vl vm F7 pl = parameter # lsb
pm = msb vl = value lsb
vm = msb
Tuning Table
F0 18 04 dd 05 ... ... F7
TT data = 256 bytes
Program Map Data
F0 18 04 dd 07 ... ... F7
see note 1
PARAMETER EDITING
ALTERNATE TUNING
Preset and setup parameters may be
edited individually using system exclusive
commands. The preset being edited is the
active preset (the preset which is assigned
to the received channel). The value of a
given parameter may be changed by
sending a parameter value command.
The value of a parameter may be read by
sending a parameter value request, to
which the machine will respond by
sending back the parameter value.
The “user tuning table” allows any key to
be tuned to an arbitrary pitch over an 8
octave range. If selected in the preset, an
alternate tuning may be achieved by
modifying the tuning values from the
front panel or downloading a new table
into the machine. The table consists of
128 words corresponding to the MIDI key
range, kept in non-volatile memory. Each
word is a pitch value expressed in 1/64
semitones, offset from key number 0
(c-2). Therefore, for equal temperament,
each entry in the table would be equal to
its key number times 64.
Preset data may also be transmitted or
received in a single block (one complete
preset) using system exclusive commands. A preset data request may be
issued by a host computer, to which the
machine will respond sending the data
block for the requested preset. Conversely, the computer may send new
preset data which will replace the specified preset currently in the machine.
Additionally, a front panel command will
transmit one or all user presets for
backup onto an external sequencer. These
presets may be restored by simply playing
back the sequence into the machine.
108
Comments
PRESET DATA FORMAT
Preset data is transmitted and received
using the following format: The standard
system exclusive header (described below)
is followed by the preset number (lsb,
msb), a 14 bit word for each preset
parameter (lsb, msb) starting at parameter #0 and continuing upward, a onebyte checksum, and the end-of-exclusive
byte (F7). The checksum is the modulo
128 sum of all the parameter value bytes;
that is, all of the data bytes following the
preset number and before the checksum.
REFERENCE SECTION
MIDI
Specification
PRESET PARAMETERS
Parameter
Number
Parameter
Name
Parameter
Number
Parameter
Name
0-11 ---------- preset name (12 ascii chars)
46 -------------------------------------- sec pan
12-14 --------------------------------- link 1-3
47 ------------------------------------ sec delay
15-18 ----------------------------- low key 0-3
48 --------------------------------- sec low key
19-22 --------------------------- high key 0-3
49 --------------------------------sec high key
23 ---------------------------- pri instrument
50 ------------------------------- sec alt attack
24 -------------------- pri sample start offset
51 --------------------------------- sec alt hold
25 ----------------------- pri tuning (coarse)
52 ------------------------------- sec alt decay
26 --------------------------- pri tuning (fine)
53 ----------------------------- sec alt sustain
27 --------------------------------- pri volume
54 ------------------------------ sec alt release
28 -------------------------------------- pri pan
55 ----------------------- sec alt envelope on
29 ------------------------------------ pri delay
56 ------------------------------sec solo mode
30 --------------------------------- pri low key
57 ---------------------------------- sec chorus
31 -------------------------------- pri high key
58 ------------------------- sec reverse sound
32 ------------------------------- pri alt attack
59 ---------------------------- crossfade mode
33 --------------------------------- pri alt hold
60 ----------------------- crossfade direction
34 -------------------------------- pri alt decay
61 ------------------------- crossfade balance
35 ------------------------------ pri alt sustain
62 ------------------------- crossfade amount
36 ------------------------------ pri alt release
63 ------------------------------- switch point
37 ------------------------ pri alt envelope on
64 ------------------------------- LFO 1 shape
38 ------------------------------ pri solo mode
65 -------------------------- LFO 1 frequency
39 ---------------------------------- pri chorus
66 -------------------------------- LFO 1 delay
40 ------------------------- pri reverse sound
67 --------------------------- LFO 1 variation
41 ---------------------------- sec instrument
68 ----------------------------- LFO 1 amount
42 --------------------sec sample start offset
69 ------------------------------- LFO 2 shape
43 ----------------------- sec tuning (coarse)
70 -------------------------- LFO 2 frequency
44 -------------------------- sec tuning (fine)
71 -------------------------------- LFO 2 delay
45 --------------------------------- sec volume
72 --------------------------- LFO 2 variation
109
REFERENCE SECTION
MIDI
Specification
PRESET PARAMETERS
Parameter
Number
Parameter
Name
GLOBAL/SETUP PARAMETERS
Parameter
Number
Parameter
Name
73 ----------------------------- LFO 2 amount
256 ---------------------- MIDI basic channel
74 ----------------------------------- aux delay
257 ----------------------------- MIDI volume
75 ---------------------------------- aux attack
258 ---------------------------------- MIDI pan
76 ------------------------------------ aux hold
259 ---------------------------- current preset
77 ----------------------------------- aux decay
260 ------------------------------- master tune
78 --------------------------------- aux sustain
261 ---------------------------------- transpose
79 --------------------------------- aux release
262 -----------------global pitch bend range
80 -------------------------------- aux amount
263 -------------------- global velocity curve
81-86 ---------------------key/vel source 1-6
264 -------------------------------- MIDI mode
87-92 ------------------------ key/vel dest 1-6
265 ---------------------------- MIDI overflow
93-98 ------------------- key/vel amount 1-6
266-269 ---------- controller A-D numbers
99-106 ------------------ realtime source 1-8
270-272 ---------- footswitch 1-3 numbers
107-114 ------------------- realtime dest 1-8
273 ---------------------mode change enable
115-117 ---------------- footswitch dest 1-3
274 ------------------------ device ID number
118-121 ----------- controller amount A-D
384-399 -------------- MIDI channel enable
122 ------------------------- pressure amount
400-415** ---- MIDI program change enable
123 ------------------------- pitch bend range
416-431† -- Bus Assign (per MIDI channel)
124 ----------------------------- velocity curve
512-639 ------- MIDI program/preset map
125 -------------------------- keyboard center
2381†† ----------------------------------------------------------- FxA ID
126 * ---------------------------------------------- preset submix
2382-2391 ----- Current FxA Parm Values
127 ------------------------- keyboard tuning
2392†† --------------------------------- FxB ID
2393-2402 ----- Current FxB Parm Values
2403 ------------------ FxA Wet Mix Percent
2404 ------------------ FxB Wet Mix Percent
2405 ------------------- Series B->A Percent
110
*
See note 7
**
See note 8
†
See note 9
††
See note 10
REFERENCE SECTION
MIDI
Specification
NOTE 1 - PROGRAM MAPPING
MIDI program changes will normally
correspond to internal preset numbers 0127. However, the user may “re-map” any
MIDI program number, assigning it to an
arbitrary internal preset. This feature
allows any of the internal presets to be
selected from a MIDI keyboard controller.
Example:
Suppose we want to change the
instrument to I130 Quartet 1.
1) 387 + 130 = 517 (387 + Instr. No.)
2) 517 ÷ 128 = 4 r-5 = 2 (ignore
remainder)
3) 4 in Hex = 04 = msb
4) remainder 5 in Hex = 05 = lsb
NOTE 2 - SOUND SETS
A Proteus FX has a double 8 MB sound set
consisting of sample data (sound ROMs),
plus additional instrument data in the
program ROMs. Each of the sound sets
has a unique ID number. The sound sets
for Proteus FX are 0 and 2.
It is necessary to include the sound set
number as part of the instrument number
when exchanging data. The complete
instrument number contains two fields:
bits 8-12 specify the sound set (0-31) and
bits 0-7 specify the instrument within the
sound set (0-255).
Instrument Bit Fields:
12
8 7
0
<— sound set —> <—instrument # —>
(5 bits)
(8 bits)
5) SysEx Instrument Number =
lsb
msb
05
04
The complete message to change the
primary instrument to #130:
F0 18 04 dd 03 17 00 05 04 F7
14-bit Signed 2’s Complement Numbers
If the data value is negative, you must
first take the 2’s complement of the
number: In the case of a 14-bit number
this is equivalent to adding 16384 to the
original negative value.
To fit the 7-bit MIDI protocol, numbers
must be “nibble-ized”.
Within any given sound set, the first
instrument is #1 and #0 selects “None”.
The “magic number” 387 represents the
start number for the second sound set (2)
of Proteus FX instruments. To calculate
the complete instrument number follow
the instructions below.
SysEx Instr. No. = 387 + Instr. No.
Next you must convert the SysEx instrument number to a 14-bit MIDI number.
See the information on 14-bit 2's complement numbers.
• To get the 14-bit nibble-ized value (of a
positive value or a 2’s complemented
negative value):
msb = value DIV 128 (divide and ignore
the remainder)
lsb = value MOD 128 (divide and use only
the remainder)
111
REFERENCE SECTION
MIDI
Specification
• To go the other way (convert 14-bit
signed 2’s complement to a signed real
number)
raw Value = (msb*128) + lsb (gives you
the unsigned raw value)
if raw Value ≥ 8192 (8192 = 2^13)
then signed Value = raw value - 16384
(16384 = 2^14)
NOTE 4 -CONFIGURATION REQUEST
This MIDI command is used to identify
the sound sets in a given Proteus FX. The
configuration request command is:
F0 18 04 dd OC F7
Proteus FX will respond to this command
with the configuration message:
F0 18 0A dd 0D pl pm s1 l1 m1 s2 l2 m2 F7
Example: To find the “nibble-ized” Hex
value of -127:
1) -127 + 16384 = 16252
2) 16252 ÷ 128 = 126 r-124
3) 126 in Hex = 7E = msb
where pl and pm are the lsb and msb are
the total number of presets, s1 and s2 are
the ID numbers of the sound sets contained in this unit, and n1=l1, m1 and m2
= l2, m2 represent the lsb and msb of the
number of instruments in each sound set.
4) 124 in Hex = 7C = lsb
5) Parameter value would be transmitted
as 7C 7E
Example: To find the “nibble-ized” Hex
value of parameter number 257:
1) 257 ÷ 128 = 2 r-1
2) 2 in Hex = 02 = msb
3) 1 in Hex = 01 = lsb
4) Parameter number would be
transmitted as 01 02
Proteus FX can receive MIDI Tuning
Standard dumps in addition to its own
SysEx tuning table dumps. Proteus FX
will only transmit in it’s own SysEx
tuning format. The MIDI Tuning Standard is as follows:
F0 7E dd 08 01 tt <tuning name (16
ascii)> … F7
dd= device ID tt= tuning prog #
(ignored) tuning name = (ignored)
… = data (xx yy zz) frequency data for
one note repeated 128x
NOTE 3 - VERSION REQUEST
xx yy zz = 0xxxxxxx 0abcdefg 0hijklmn
This command allows identification of
machine type and software revision.
Proteus FX will respond to the request
with the version data:
xxxxxxx = semitone abcdefghijklmn =
fraction of semitone in .0061 cent units.
Examples: Middle C = 3C 00 00 A-440 =
45 00 00
F0 18 04 dd OB 01 r1 r2 r3 F7
r1, r2, r3 =software revision number in
ascii (decimal point between r1 & r2).
112
NOTE 5 - BULK TUNING DUMP
REFERENCE SECTION
MIDI
Specification
NOTE 6 - PRESET DATA REQUEST
Proteus FX presets are organized into
groups of 64 presets for the purpose of
bulk preset dumps. There are 8 groups of
64 presets (0-511). Each group may be
requested using the preset request
command and the appropriate preset code
listed below.
Group Preset Range
0
0-63
Preset Code
1024
MIDI Message
F0 18 04 dd 00 00 08 F7
1
64-127
1025
F0 18 04 dd 00 01 08 F7
2
128-191
1026
F0 18 04 dd 00 02 08 F7
3
192-255
1027
F0 18 04 dd 00 03 08 F7
4
256-319
1028
F0 18 04 dd 00 04 08 F7
5
320-383
1029
F0 18 04 dd 00 05 08 F7
6
384-447
1030
F0 18 04 dd 00 06 08 F7
7
448-511
1031
F0 18 04 dd 00 07 08 F7
1
64-127
-1
F0 18 04 dd 00 7F 7F F7
0
0-63
-2
F0 18 04 dd 00 7E 7F F7
0-3
0-255
-3
F0 18 04 dd 00 7D 7F F7
4-5
256-511
-4
F0 18 04 dd 00 7C 7F F7
NOTE 7 - PER PRESET BUS ASSIGNMENTS
(Preset Parameter 126)
0 - Main
1 - FxA
2 - FxB
NOTE 8 - PER CHANNEL PROGRAM/BANK ENABLE
(Global Parameters 400-415)
Respond to:
-1
0
1
2
3
4
Enabled, Use Program Map
Disabled
Enabled, initially Bank 1
Enabled, initially Bank 2
Enabled, initially Bank 3
Enabled, initially Bank 4
Bank
Select
No
No
Yes
Yes
Yes
Yes
Program
Change
Yes
No
Yes
Yes
Yes
Yes
113
REFERENCE SECTION
MIDI
Specification
NOTE 9 PER CHANNEL BUS ASSIGNMENTS
(Global Parameters 416-431)
0 - Main
1 - FxA
2 - FxB
3 - From Preset
NOTE 10 - SYSEX EFFECTS CONTROL
Parameter values transmitted via MIDI
SysEx can be used to control all aspects of
the Proteus FX effects processors. This
SysEx protocol overlaps somewhat the
channel-based MIDI controller numbers
already assigned to effects; the MIDI
controllers are designed for realtime
performance control, or from a sequencer
during mixdown, whereas the SysEx
protocol is oriented towards setup at the
start of the sequence, or use by editor and
librarian programs.
Parameter 2381, 2392
FxA, FxB ID numbers
These parameters select which A and B
effect to execute. Sending the parameter
value will trigger loading a new A or B
effect, using the effect’s default settings.
The parameter values are unique ID
numbers which “name” the effect, and are
given in the table on the following page.
To cause “No effect” (a straight-through
signal path) to be loaded, send ID #0 for
FxA or ID #128 for FxB. Sending ID
numbers not found in the table, or an FxA
ID number for the FxB parameter or vice
versa, will also cause “No effect” to be
loaded.
Parameter 2382-2391, 2393-2402
FxA, FxB effects parameter values
Both FxA and FxB each have 10 SysEx
parameter numbers assigned to them to
control up to 10 parameter values per
effects program (most programs have far
fewer.) Editing parameters which are not
114
active can have unpredictable results
(usually, the value of the first of or last
valid parameter will be inadvertantly
changed.). The order of the parameters is
the same order as they appear in the
Proteus FX display. The allowed range of
SysEx parameter values is also the same
as for the values displayed on the screen,
and may be both positive and negative,
depending on the parameter; out of range
values are clipped. (Note that this differs
from the way that MIDI channel effects
controllers 12 and 13 work - their entire
range of 0-127 is mapped to cover exactly
the range of the effects parameter.)
Parameter 2403, 2404, 2405
FxA Mix %, FxB Mix %, B->A Feed %
These parameters are used to control the
relative Wet/Dry mix, from 0 (dry) to 100
(wet, ie all effect.) These duplicate the
function of realtime MIDI channel
continuous controller numbers 91 (FxA
Mix), 92 (B->A Feed) and 93 (FxB Mix).
In addition, parameter 2405 (B->A Feed
%) uses the value 101 to set “ONLY”
(100% wet) FxB output into FxA input
and “Off” (no B output); this special value
is not available from the continuous
controller 92.
REFERENCE SECTION
MIDI
Specification
EFFECTS CONTROLLER MESSAGES
0x5C (92)
B->A Feed %
Adjusts the B->A mix amount
Parameter
Value
Room ................................................. 1
WarmRoom ....................................... 2
Plate 1 ................................................ 3
Plate 2 ................................................ 4
Chamber 1 ......................................... 5
Chamber 2 ......................................... 6
Hall 1 ................................................. 7
Hall 2 ................................................. 8
Delay .................................................. 9
Cross Delay ........................................ 10
Flange ................................................ 11
Phaser ................................................ 13
Chorus ............................................... 12
Echo ................................................... 15
Small Room 1 .................................... 16
Small Room 2 .................................... 17
Hall 3 ................................................. 18
Early Refl 1 ........................................ 19
Early Refl 2 ........................................ 20
Early Refl 3 ........................................ 21
Early Refl 4 ........................................ 22
Rain .................................................... 23
Reverse ER......................................... 24
Shimmer............................................ 25
0x5D (93)
FxB Mix %
Adjusts the B mix amount
FxB Programs
The following standard MIDI controllers
will be mapped to effects parameters. The
MIDI channel on which these controllers
are transmitted must be enabled in the
Proteus FX Master Menu, but is otherwise
ignored.
0x0C (12)
Effect Control 1
This adjusts the currently selected
parameter of the currently selected “A”
effect.
0x0D (13)
Effect Control 2
This adjusts the currently selected
parameter of the currently selected “B”
effect
The Effect Control controllers will map
0-127 onto the whole range of the
selected effect parameter. The “currently
selected” parameter is either the first one
in an effect’s parameter list, (as initialized
after power up) or the parameter selected
either by hand or by SysEx parameter
edits.
0x5B (91)
FxA Mix %
Adjusts the A mix amount
These controllers, defined in the MIDI
spec as “Effects Depth Controllers”, map
controller values from 0-100 directly onto
their corresponding mix percentages (to
101 in the case of B->A feed.) Note that
these parameters may not respond as
quickly as incoming controller data can
be received by the unit, so you may hear
the mix values jump in large steps in
order to “catch up”.
FxA Programs
Parameter
Value
Ring Modulate ................................... 29
Flange ................................................ 130
Chorus ............................................... 31
Fuzz ................................................... 132
Phaser ................................................ 133
Delay .................................................. 134
Cross Delay ........................................ 135
Fuzz Lite ............................................ 138
115
REFERENCE SECTION
MIDI
Specification
CHANNEL BANK SELECT MESSAGES
The following standard MIDI controllers
will be mapped to MIDI Bank Select:
0x00 (0)
Bank Select MSB
0x20 (32)
Bank Select LSB
After a valid Bank Select message has
been received, any subsequent program
changes on that channel will occur within
the selected bank. Partial or invalid bank
select messages on a channel will not
affect the bank selected for that channel.
The BANK/PRST CHANGE screen will be
updated if necessary to reflect the newly
selected bank.
The possible range of controller values are:
0x0000
- Proteus FX Bank 0
0x0001
- Proteus FX Bank 1
0x0002
- Proteus FX Bank 2
0x0003-0xffff
- Proteus FX Bank 3
(Note that controller values specifying
bank numbers greater than Bank 3 are
clipped. Note also that, because of a
difference in naming conventions, Proteus Bank 0 corresponds to MIDI Bank 1
as defined in the MMA spec.)
As per the MIDI spec, these messages
must be sent in MSB/LSB order without
intervening messages; response to these
messages in any other order or format is
undefined, but Proteus FX will generally
not respond to anything but the MSB
followed directly by the LSB on the same
channel.
116
REFERENCE SECTION
Index
A
A Effects List 35
A-D Controllers 28
AC Adapter 14
AC Connection 14
Alternate Volume Envelope 70
Attack 54
Effect Bus Architecture 33
Effect Programming 35
Effect Settings, sending 30
Effect Output Routing 34
Enter Button 17
Envelope Generators 54
F
B
B Effects 45
B->A 25
Bank/Preset Change 27
Basic Setup 11
C
Chambers 36
Changing the Instrument 82
Changing the Tuning 82
Channel Pan 18
Channel Volume 18
Chorus 38, 68, 82
Coarse Tuning 68
Continuous Controller 60
Cross Delay 43
Cross-switch 70
Cross-switch Point 72
Crossfade Amount 71
Crossfade Balance 71
Crossfade Direction 71
Crossfade Modes 70
Cursor 17
Factory Presets, sending 30
Feedback 40
Fine Tuning 68
Flanger 39
Footswitch Control 76
Footswitch Modulation 53
Fuzz 46
Fuzz Lite 46
FX Amount 25
FX Mix Select 24, 68
G
Gamelan Tuning 78
Global Bend 25
Global Velocity Curve 26
H
Hall 36
Harmonic Waveforms 94
Headphones 11
Hold 54
I
D
Data Entry Control 17
Decay 54
Delay 42, 54, 69
Demo Sequences 20
Digital Waveforms 97
E
Early Reflection 36
Echo 44
Edit Menu 65
Edit Menu Select Button 17
Editing Presets 82
Effect A 24
Effect B 24
ID number 26
instrument 10
Instrument Listing 92, 93, 96
J
Just C Tuning 78
K
Key Number 58
Key Range 66
Keyboard & Velocity Modulation 53, 57, 74
Keyboard Center 76
Keyboard Tuning 78
117
REFERENCE SECTION
Index
L
Layering 81
LFO See Low Frequency Oscillator
LFO Delay 72
LFO Rate 72
LFO Variation 72
Linking Presets 10, 81
Low Frequency Oscillator 40, 55, 72
M
Map, Program->Preset 29
Master Menu 17, 23
Master Settings, sending 29
Master Tune 25
Microtonal Scales 30
MIDI Activity LED 17
MIDI Channel Selection 18
MIDI Controller Amount 76
MIDI Controller Assign 28
MIDI Enable 27
MIDI Footswitch Assign 29
MIDI Implementaion Chart 105
MIDI In 11
MIDI Messages 60
MIDI Mode 26
MIDI Mode Change 26
MIDI Out 12
MIDI Overflow 26
MIDI Program ->Preset 29
MIDI Realtime Controls 60
MIDI Specification. 106-116
MIDI Thru 13
Midipatch 56
Mix Select 68
Modulation 52
Mono Mode 26
Multi Mode 26
Multi-Cycle Waveforms 95
Multi-timbral 19
O
Omni mode 26
“Only” 25 See also FX Amount
P
Pan 68
Patch 56
Percussion Instrument Locations 98-103
118
Performance Setup 13
Phaser 41
Pitch Bend Range 76
Plates 36
Poly Mode 26
Power Switch 14, 17
Preset 10
Preset Change Disable 27
Preset Linking 78
Preset Name 66
Preset Selection 18
Pressure Amount 76
Primary 10
Primary Instrument 66
Program Change Map 29
Program/Preset Map, sending 30
Proteus Synthesis 83
R
Rain 36
RAM Presets 88, 89
Realtime Control 28
Realtime Controllers 60
Realtime Modulation 53, 59, 75
Receiving MIDI Data 30
Release 54
Reverb 35
Room 36
Reverb Descriptions 35
Reverse Sound 69
Reversing the Sound 83
Ring Modulator 47
Ripoff 86
ROM Presets 90, 91
S
Sampling 14
Save Preset 78
Scale Tuning 78
Secondary 10
Secondary Instrument 66
Send MIDI Data 30
Sequencing 85
Shimmer 36
Single Cycle Waveforms 95
Solo Mode 69
Sound Start 69
Split Keyboard 51, 81
Studio Setup 12
Sustain 54
REFERENCE SECTION
Index
T
Technical Specifications 104
Transmit MIDI Data 30
Transpose 25
Tuning Table, sending 30
U
User Key Tuning 30
User Presets, sending 30
User Presets 10
User Tuning 78
V
Vallotti Tuning 78
Velocity Curve 76
Velocity Curve 58
Viewing Angle 30
Volume 68
Volume Control 17
19-Tone Tuning 78
119
REFERENCE SECTION
Warranty
Please read this warranty, as it gives you specific legal rights.
Length of Warranty
This warranty covers all defects in materials and workmanship for a period of one year from the date of
purchase by the original owner, provided that the Warranty Registration Card is filled out and returned to
E-mu Systems within 14 days from the date of purchase. Cases may arise where E-mu’s Service
Department or one of E-mu’s authorized service centers will ask for a copy of your sales receipt to
facilitate warranty service. Please keep your purchase receipt in a safe place.
E-mu Systems does not cover:
• Damages due to improper or inadequate maintenance, accident, abuse, misuse, alteration,
unauthorized repairs, tampering, or failure to follow normal operating procedures as outlined in the
owner’s manual.
• Deterioration or damage of the cabinet.
• Damages occurring during any shipment of the product for any reason.
• An E-mu product that has in any way been modified by anyone other than E-mu Systems, Inc.
Limitation of Implied Warranties
No warranty is expressed or implied. E-mu Systems specifically disclaims the implied warranties of
merchantability and fitness for a particular purpose.
Exclusion of Certain Damages
E-mu Systems’ liability for a product found defective is limited to repair or replacement of the unit, at
E-mu’s option. In no event shall E-mu Systems be liable for damages based on inconvenience, whether
incidental or consequential, loss of use of the unit, loss of time, interrupted operation or commercial loss,
or any other consequential damages.
Some states do not allow limitation of the duration of implied warranties or the exclusion or limitation of
incidental or consequential damages, so the above limitations and exclusions may not apply to you.
How To Obtain Warranty Service
All E-mu products are manufactured with the highest standards of quality. If you find that your instrument does require service, it may be done by an authorized E-mu service center. If you are unable to
locate a service center in your area, please contact E-mu Systems Service Department at (408) 438-1921.
They will either refer you to an authorized service center or ask that you return your instrument to the
factory. When returning an instrument to the factory, you will be issued a Return Authorization number
(RA). Please label all cartons, shipping documents and correspondence with this number. E-mu suggests
you carefully and securely pack your instrument for return to the factory. Mark the outside of the shipping
carton clearly with your RA number. Send to E-mu Systems, Inc. 1600 Green Hills Road, Scotts Valley,
California, 95066. You must pre-pay `shipping charges to the service location. E-mu Systems will pay
return shipping fees. You will be responsible for any damage or loss sustained during shipment in any
direction.
120
Was this manual useful for you? yes no
Thank you for your participation!

* Your assessment is very important for improving the work of artificial intelligence, which forms the content of this project

Download PDF

advertisement