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Proteus X Operation Manual Rev. A

1. AUX OUTPUTS i ASIO 1 2 EX Main z ASIO 3 4 EX Main EX Main E MULTI 49 4 Multisetup Global Controls Global Controls To Open the Proteus Session in PatchMix DSP 1 Open PatchMix DSP by clicking on the icon and select New Session 2 Select the Proteus X Studio or Emulator X Studio session 3 The PatchMix DSP screen below shows the Main and Aux Output connections from Proteus X Main Proteus X Studio Output Aux 1 Aux 2 Aux 3 Session The routing options in the Proteus X Aux Output section take their names from the PatchMix DSP scribble strips To route an Aux Send to a hardware effect simply change the Aux Output routing to a PatchMix strip containing effects 50 Proteus X Operation Manual 4 Multisetup Global Controls Global Controls Filter Override The filter type of the first voice in the preset on the currently selected channel is shown in this display If you change the filter type in this field ALL the voices in the preset will change to the filter type you select When the display reads Not Set the filters programmed in each voice will be used The filters may be set differently for each voice MIDI Realtime Controllers amp Scribble Strips Filter Override 34 MB CPU Disk 0 F Ch 1 Proteus x Preroll RAM CPU Meter Number of Samples Current Channel MIDI Controllers amp Scribble Strips Sixteen realtime MIDI Controllers are availabl
2. Bank Bl Proteus X Composer Proteus X J File Edit View Presets Options Window a acta em os se ee EE Proteus X Name 1D Bank Prog Category Proteus X Composer exb mu Dynamic Grand P000 000 000 Keyboard 1 Presets SGH M vo My Dynos Poot 000 001 Keyboard 4 Folder amommeced dme o mu mm ms HW Orchestral HUE A Ku Stq Poot 000 004 Bass 1 MM Grusty M Rockin B Poos 000 005 Keyboard 3 loices and Zones MM WideSuitca P006 000 006 Keyboard 2 Open DE x ice am paa E P007 000 007 te D Voice Processi MM AnalogPlanet Poos 000 008 Bass 4 Preset JM A Ku a ies a n P009 000 009 a MM Rockin B V And Voice Poio 000 010 Keyboard 1 IM WideSuitcase MM MetalScience P011 000 011 SFX MM Zimppler M Silk OBXsaws P012 000 012 Synth JM AnalogPlanet WI Stolen7Away P013 000 013 Guitar x Le M Movie Brass P014 000 014 Brass a oe WI Dyna heim pois 000 015 Strings os HM Jumping P016 000 016 BPM D ns WI New Age Oohs P017 000 017 Vocal Presets om ait fe M Sugar enis P018 000 018 Bass 4 MM Dyna heim HM Clavinetti P019 000 019 Keyboard 4 5 AM Jumping WW Acoustic 1 Pozo 000 020 kit HM New Age Oohs WI BreathyTBone P021 000 021 Brass MRM Sugar Freak Hi Real Flute P022 000 022 Wind MM Clavinetti Samples NM BreathyTB Folder J Sara C Samples The x Multisetups Tree List View Multisetup 7 ne reps Lan Folder For Help press F1 34MB CPU Disk o Ch 5 Presets 23 items Sampler System Library Ta
3. Sampler 3 Choose Select on Current Channel The preset is now selected for that channel E MU Systems 5 Preset Editor 55 5 Preset Editor Preset Globals Preset Globals These parameters affect the entire preset and are saved with the bank CHAN LAG 1 CHAN LAO 2 AMOUNT AMOUNT TRANSPOSE Equal Temperament TUNING TABLE MIDIL MIDIM X A Mod 4 unused MIDIN 55 05 x A Mod 3 unused MIDI O 62 98 x A Feedback MIDI P J 100 00 X A Wet Dry Mix X B Wet Dry Mix J Transpose amp Volume Transpose works by shifting the keyboard position The actual samples are not retuned In other words if you have the same sound on each key such as a piano the piano will change key when you transpose On the other hand if you have a different drum assigned to each key changing transpose will shift the position of the drums on the keyboard The volume control allows you to adjust the volume for the entire preset This control is variable from 96 dB off to 10 dB Initial Controllers A P These set the initial value of MIDI controllers A P for the preset As soon as a MIDI controller is moved it jumps immediately from this initial setting to the new setting of the control The controllers A P are assigned to MIDI continuous controller numbers in the Preferences dialog box Controllers A P can be adjusted via MIDI or by turning the controller knob in the Multi setup The Label fields to the left
4. Modulation Parameters Wet Dry Mix Left Delay Division Changes the division by a power of 2 up or down Right Delay Division Changes the division by a power of 2 up or down Feedback E MU Systems 7 Effects Effects Descriptions See page 120 for full descriptions and diagrams The BPM Tempo Chart on page 83 shows the number of master tempo clock pulses for each division 123 7 Effects Effects Descriptions Early Reflections Early reflections are the initial echoes that you hear when listening to sound in an indoor space The echoes are staggered because they are reflected off surfaces which are at various distances from your ear Normally this effect would be part of a reverb algorithm but we decided to include it as a separate effect because it creates useful and interesting sounds Parameter Description E R Mode Selects the pattern of the early reflections Select between Hall 1 Hall 2 Hall 3 Room Spiral Multitap 6 tap 12 tap 12 tap rising up amp down Room Size Changes the spacing of the early reflections characteristics of various room sizes and shapes L R Offset Scales the spacing of left side reflections versus the right side to create a more interesting stereo image Range 50 to 50 Modulation Parameters Wet Dry Mix 1 Band Para EQ This single band parametric equalizer is useful 154B m i when you just want to
5. 100 0 0 000 78 00 40 0 DESTINATION Cord 02 Amt Pitch y Sustain Filter Frequen Filter Resona Cord 07 Art Filter Frequen Of Amp Erw Atta a Modulation Amounts MIDI A Cord Sources MIDI B MIDI Filter Env MIDI D MIDIE Modulation Source Amount 3 Cord Destinations Destination Tremolo is created by routing an LFO to the Amp Volume using a Cord Modulation Sources Source Description Crossfade Random Generates the same random value for all voices in a preset This source is intended to be used for crossfading voices Key Key Tracking This value increases as you play up the keyboard Velocity Key Velocity This value increases as the key is played harder Release Velocity This value increases the slower you release the key Gate This value goes to full value as long as a key is depressed Pitch Wheel MIDI data from your keyboard pitch bender 92 Proteus X Operation Manual Modulation Sources 6 Voice Editor Synthesizer Level Source Description Mod Wheel MIDI data from your keyboards modulation wheel or lever Pressure Aftertouch MIDI data channel pressure Pedal Footpedal MIDI data normally controller 4 MIDI A P 16 assignable MIDI continuous controllers See page 21 Footswitch 1 amp 2 MIDI footswitch data normally controllers 64 amp 65 F F Foo
6. As you can see MIDI Continuous Controller numbers are assigned to letters A P or labels Pitch Mod Pressure Pedal etc in this screen When programming a preset these letter or name labels can be assigned to control various parameters such as filter frequency or attack time The name labels such as pitch and mod wheels are so commonly used that they have their own assigned name but these can also be freely assigned in any way you choose If you re just getting started it s probably best to use the default settings Press the Use Default button to restore the default settings which are shown above E MU Systems 21 1 Introduction amp Installation Setting up the Preferences Other Settings Preferences Audio MIDI Controllers Other Settings Load last bank at startup C Clear clip indicators after 10 seconds Load Last Bank at Startup This feature automatically loads the last bank you had loaded whenever you start the Proteus X application Clear clip indicators after 10 seconds This feature automatically clears the main output meter clip indicators If this function is set to Off the clip indicators will stay on until you manually click on them Appearance Settings in Windows Adjusting the Performance Options in Windows will make the Preference buttons much easier to read and increase the smoothness when dragging windows around on the screen P To Improve th
7. o This diagram shows the result of Ring Modulating two sine waves with frequencies of 200 Hz amp 800 Hz Only the Sum and Difference frequencies of 600 Hz and 1000 Hz will be output Parameter Description Frequency This control sets the frequency of the modulation waveform Range 0 Hz to 5000 Hz Envelope Follower Controls how much the amplitude envelope sweeps the modulating oscillator Range 10x to 10x 130 Proteus X Operation Manual 7 Effects Effects Descriptions R In x Out Ring L In LO L Out Modulator Modulating Oscillator Envelope Follower Freq Modulation Parameters Wet Dry Mix Frequency Envelope Amount SP1 2 ulator The E MU SP 12 Sampling Drum Machine was the most advanced beat box of its day and remains a classic The SP 12 used a gritty drop sample pitch shifting technique which contributed to its distinctive sound The SP12 ulator effect pays homage to the venerable SP 12 and allows you to mangle sounds as your forefathers did many years ago In O gt Out Signal path Stereo n Freq i Depth Resolution Parameter Description Frequency This parameter controls the number of samples that will be dropped Range 0 100 Depth This parameter controls the intensity of the resultant distortion Range 0 to 100 Resolution The SP 12 is a 12 bit drum machine The SP1 2 ulator allows you to reduce the bit depth to 1 2 bits o
8. E MU Systems 175 10 Appendix MIDI Implementation Chart MIDI Implementation Chart MIDI Information Transmitted Recognized Remarks MIDI Channels No 1 16 17 32 32 MIDI Channels Note Numbers No 0 127 Program Change No 0 127 Bank Select Response No Yes MSB LSB Modes Omni Mode 1 No No Responds to all MIDI Mono Mode 2 No No channels Poly Mode 3 No No Mode 4 Y N No No Multi Mode 5 No No Note On Velocity No Yes Note Off Velocity No Yes Channel Aftertouch No Yes Poly Key Aftertouch No No Pitch Bend No Yes Active Sensing No No System Reset No No Tune Request No No System Exclusive No 0 Sample Dump Standard No O File Dump No O MIDI Tuning No O Master Volume No O Master Balance No O Notation Information No O Turn GMT System On No O Turn GM2 System On No O Turn GM1 System Off No O Other See Remarks No O NRPNs No O RPN 00 Pitch Bend Sensi No O RPN 01 Chan Fine Tune No O RPN 02 Chan Coar Tune No O RPN 03 Tuning Prog Sel No O RPN 04 Tuning Bank Sel No O RPN 05 Mod Depth Rang No O MIDI Timing amp Sync No No MIDI Clock Yes Yes Song Position Pointer No No Song Select No No Start No No Continue No No Stop No No MIDI Time Code No No MIDI Machine Control No No MIDI Show Control No No General MIDI Compat No O Is GM default mode No O DLS compatible No O Import DLS Files No O Export DLS File
9. Filter 40 0 Amp Erw Atta The voice editor window displays all the synthesizer controls and PatchCord routings for the selected voice s Each module contains an independent synthesizer function Templates For each different module in the voice editor or effects you can save a library of your favorite settings These Templates make it easy to create your own customized voices and presets Templates are saved with the Proteus X application so they re always available for use Here s how they work To Create a Template Save LFO Template the edit field or select the name of an existing template to replace Cancel 1 Set the controls as desired for a particular module Type the name of the template in 2 Right click with the mouse anywhere inside the module border A pop up menu appears Fast Trill 3 Select Save Template or press S Fast vibrato while the popup dialog box is visible Octave Pattern The foll dialog b Sample amp Hold following popup dialog box Slow amp Smaoth appears Slow vibrato 4 Type in a name for your Template and dick OK The Template is saved with the editor program ready to use when you open another bank 76 Proteus X Operation Manual gt T 2 6 Voice Editor Synthesizer Level Overview of the Voice Editor To Recall a Template Right click with the mouse anywhere inside the module border A pop up menu appears Select the
10. T Tempered Tuning 57 Templates 76 Tempo Control 48 enable disable 20 Toolbars 135 viewing amp hiding 136 Transpose key 78 linked preset 73 master 48 non transpose mode 78 preset global 56 Tree View 140 Tree exploring 29 Trigger multiple keyboard mode 100 Triggering Envelopes from modulation sources 146 Tube effect 132 Tuning coarse 78 keyboard 57 to other instruments 48 voice fine 78 Tuning Tables 57 19 tone 57 equal temperment 57 gamelan 57 just C 57 Kirnberger 57 Scarlatti 57 Vallotti 57 Werkmeister 57 Twin effect 133 U Ultra High Precision Interpolation 18 Undo amp Redo 142 Update Library 41 Use Optimal Buffer Size 18 186 Utilities link 73 V Vallotti Tuning 57 Variation LFO 97 Velocity Curve MIDI 20 Velocity Window 65 link 74 View Menu 139 Voice 38 amp sample zones 61 add to preset 38 assign group 99 coarse tuning 78 combine 69 continuous controller cross switch 68 control of FX amounts 109 crossfading by realtime controller 66 crossfading by velocity 66 delay 80 delete 69 description 25 27 expand 70 fine tuning 78 fixed pitch mode 78 grouping 62 key transpose 78 keyboard range 63 lag processors 98 layering 64 new 69 open 69 random crosswitch 67 realtime crossfade 67 realtime window 66 selecting multiple 75 selection 61 switching by key position 63 switching by realtime controller 66 68 switching by velocity 66 utilities 69 velocity range 65 Voice amp Sample
11. You can use the standard cut copy amp paste utilities when working with voices and Voices cannot be sample zones Single or multiple voices can be selected then moved or rearranged pasted onto the desktop within the bank or between banks This makes it easy to create or modify custom presets or outside of a bank and banks To Copy and Paste Voice s 1 Select the voice s you wish to copy Hold Shift to select contiguous voices Select Copy from the Edit menu Open a new preset if you want to paste between voices Select the Voices and Samples page Select Paste from the Edit menu The following dialog box appears Paste Pasting 1 voice After the end of the selection JE O Starting at voice 27 6 You have the option of pasting the voice s before the currently selected voice after the currently selected voice or starting at a specified voice number This feature allows you to rearrange your voices any way you want 7 Press OK to paste the voice or Cancel to cancel the operation E MU Systems 71 5 Preset Editor Links Links Links call up additional presets in the bank as a quick and easy way to create layering or keyboard splits Linked presets are not altered by being linked to another preset they are simply played Key Range Preset 1 Preset 2 Layering Two Presets Using Links Preset 1 Key Range Preset 2 Tt Creating a Split Keyboard with Links One wa
12. how much modulation is applied to the destination The modulation amount can be positive or negative and will either add or subtract from the initial value To use a modulation cord you must connect a modulation Source to a modulation Destination Think of modulation cords as if you are connecting an actual cord You must connect both ends of the cord for the connection to be made There are 36 general purpose cords per voice Modulation Amount Source Destination VI 4 fy E MU Systems 145 9 Synthesizer Basics Envelope Generators Envelope Generators An envelope can be described as a contour which can be used to shape the sound in some way over time There are three envelope generators per voice and all of them are the rate level type This is how the rate level envelopes work When a key is pressed envelope starts from zero and moves toward the Attack 1 Level at the Attack 1 Rate As soon as it reaches this first stage it immediately begins the Attack 2 phase and moves toward the Attack 2 level at the Attack 2 rate As long as the key is still held the envelope continues on through the Decay 1 and Decay 2 stages If the key is still held when the envelope reaches the end of Decay 2 it simply stops there waiting for you to release the key When you release the key the envelope continues through its Release 1 and Release 2 stages stopping at the end of the Release 2 stage The rate level envelopes give maxim
13. Cit an EE 62 Key Window Page semaine Re eit Deleted Be ite aeter bci etn 63 Velocity Window iii dora di EHE E UIS EA EE re ndn 65 Realtime WIBdOW oe ber er een e i E ener d p reed ento 66 Continuous Controller Window Buttons essen 68 Voice amp Sample Zone Utilities ete eere dette aiii 69 Voice Utilities yess diceres tr est ene c p ene e nae ede e RERO 69 Open VOICES a stt pene d pe RN 69 New Voices ar p BE eene Padi re en Lab n qe GR HERR ea 69 Delete Voices tirita bdo daa 69 Duplicate Volt cui ER e RR ea ne 69 Combine VOICES genera iom a nn Re nei ene d dn E re NER ees 69 Expand Voice eoim A Ne AR ae ttes 70 Sample Zone TIOS x temet eei e em e ede Re Et dt 70 New Sample Zone Wein ce nemine 70 Delete Sample Zones 9 x Rb e mdi ete iret tee 70 Duplicate Sample Zones sienne 70 Edit Menu Utilities Cut Copy amp Paste ss 71 Lin ES oe oes dcdit a a T E enne 72 Eink Utilities dec RR ure E REST BRIT ais RS LIRE 73 Mix Tune WindOW 4 5 5 tecti ee nan e e Hit ipe teste 73 Key Window etta e EUR HE HO LU Masten RARE FER ae A tiene 74 Velocity Window ss stress tert tere deett te rm Re I e eee dr Cerere rre de 74 CO WITIdOW sec th cete o E E dd IG alee 74 6 Voice Editor Synthesizer Level 25 Simplified Proteus X Signal Path 75 Overview of the Voice Editor 76 Templates teet terere aa 76 Oscillator series sade eco te tem eo npe aderenti PRO APIS 78 Pitch Bend Range i
14. ESL E Li TRANSPOSE EELT F ME saemmibn LUCE ee Pitch Bend Range These two sliders allow you to set the amount of pitch bend up or down when a MIDI pitch wheel message is received Pitch wheel messages are automatically routed to pitch unless these controls are set to zero Tuning Controls Transpose This function allows you to transpose the key of the selected voice s in semitone intervals by shifting the keyboard position relative to middle C The transpose range is 36 to 36 semitones You will normally use the transpose function to tune a voice to its keyboard location or simply to transpose the voice This is the same Transpose control displayed on the Mix Tune tab of Voices amp Zones page 61 and changes made to either page will appear in both places Coarse Tuning This function allows you to change the tuning of the voice in semitone intervals The coarse tuning range is 72 to 24 semitones Unlike the transpose function coarse tuning stretches the pitch of the individual samples assigned to a key and may change the timbre of a voice This is the same Coarse Tuning control displayed on the Mix Tune tab of Voices amp Zones page 61 and changes made to either page will appear in both places Fine Tuning This function allows you to change the tuning of the voice in 1 100 cent intervals 100 cents 1 semitone The fine tuning range is 1 semitone Fine tuning can be used to slightly detune a voice c
15. MM New Age Ochs Brass Hits 4 IW Brass Hittas WUE Brass Hitz nm Brass amp Bari HW BrassControl Sugar Freak B Bi MMB qm Breath MM Breath Clavinetti IK Brasso Wm Brassy JM Brazz NM Breather JM Breathy f shied it Breathy Flt1 WW Breathy Flt2 wm Breathy Mute m BreathyTBone JM Brite Beauty uua aa Ihm Brolin s 1st WME B Sax 3 Build Up WM Buzz Saw Syn MM Buzz Synth amp m Real eh Im Buzza Wm Buzzed WIC Bells MK Cargo n Carlos 1 Allin a Pizz I Carrion MK Cast Teller AW Cat s Nip dm Chamber Orch nm ChamberGrp MM Walky Talk I Chime WUE Chime Grand HA Chi Town MM Choice 1 1M Chuckin EM Filmscore inm Claps 1 MM Claps 2 MM Clar Oboe nm Clarinet MM Clarinette MM L Y s Worm I Classic WW Classic EP 1 MM Classic EP 2 mu Classic EP 3 Jm Classic EP 4 Es MM Bag O Tricks Ihi ClassicBrass WW ClassicHouse Wi Claves MM Clavin It MM Clavinet 1 s Melosoul EP Km Clavinet 2 WW Clavinet 3 Mu Clavinetti nm Clavity KW Clean R amp B mw Clicky B mui Cloud 9 qm Club Vinyl JM Combo WW Comp Keyz 1 MU Comp Keyz 2 MM Comp Keyz 3 WW Concert Pno IW Cannas IM Conalama WW Cook IS Ai WW Crickets EA 35 MB CPU Disk 0 Ch 1 Presets 1026 items Main Display View When in the Sample Preset or Multisetup Tree clicking on the sample or preset folder shows all the samples or presets in the bank in the large window The View Menu provides several display options for samples presets and multisetups The view options are listed below Large Icons Displays large icons useful for s
16. Proteus X Composer FX Template 108 Key POIDS e tote nr tes Sn te E em a cue 108 VOICE mE 108 PreSet esse ack ame aenea ie xe 108 Multi Sets e oec e ete oed ida 108 Controlling the Preset Effect Amount from the Voice sss 109 AUX FX Screen T 110 PUK TA K MAN EEA EE nt 110 Aux EX Send Amounts eo ettet e rete R da An 110 Preset FX Screens zoe Re pur ED dete eee 111 Preset Effects ta e eret een e D ete RE 111 Preset FX Modulation Parameters sssssseeeneeeeeneeeenreeen nnne 112 Creating Deleting Reordering Templates sse 113 Effects EISUng uen marine nier en ns Gr dei e et e eere tte 115 Eff cts DesctiptioDs see orando etant a ees ees ee 115 Background Reverb e etse tededesen e ee died tintin 115 ReyVetb 4e ede eoe pee ean t tata ade i iode bei n ets 116 Early Reflections Reverb iaa PS 116 Reverb Lite mono eere tet e IE re ere P nian dica 117 GU mn nl nement den racines 118 Backsround Cliorus cil anus 118 Chorus Delay icc tene Red c HU ee RE E TR IRE EE ERE etna 119 Delay ii ore Et aeo e e EO EE ERU Or 120 Background Del ay 5 ete tede se tede det dads I ese Ens 120 Discrete Stereo LA AA teet terre rate eh 120 Ping PONE steleO SEAT Re REB eR 121 Ping Pong Mono LR iia 121 Delay BPM aria ic emite tal mienne 123 Early Reflections nee Rei seas moe he OO OR eas 124 Band Para EQ sco td a Sia ed wb Sadie wt tae eae er ee 124 A Banik Oy rec
17. SAMPLE 8 There are two multisampled voices in this preset Adjust the volume slider for each of the voices as you play Now try playing with the pan position and transpose Before you leave this window turn up the volume controls on both voices gt Exploring the Key and Velocity Windows 1 Click the Key Win tab again SAMPLE 2 Click and drag the ends of the blue bars so they look something like the screen shown above The settings don t have to be exact 3 Play the keyboard from the lowest key to the highest Voice 1 plays at the low end of the keyboard and voice 2 plays on the high keys 4 To return both voices to their original positions select Edit Undo from the toolbar Select Undo again until both voices are assigned to the entire keyboard Velocity Switching and Crosstading 5 Click on the Val Win tab The following window appears VOICE ZONE SAMPLE 6 This screen controls the voices using key velocity or how hard the keys are played Set the bars something like the screen above E MU Systems 37 3 Getting Started Opening a Preset 7 Play the keyboard anywhere but begin playing softly and gradually play harder Notice that the choir voice 2 plays with lower key velocity and switches to piano voice 1 when you play hard You ve just created a velocity cross switch 8 Ctrl click the end point of the bar in voice 1 and drag it to the left The color intensity of the bar fades The fade in col
18. 125 Omni Mode On No No 126 Poly Mode Off No No 127 Poly Mode On No No Poly mode is always on NOTES Proteus X can receive ANY continuous controller number from 1 to 95 Because of Proteus X s powerful synth engine many of the standard MIDI controllers can be user programmed to provide the desired function A Yes response in this chart means that a controller is programmed by default in Proteus X 3K Value of 0 reset all except vol amp pan value of 127 reset all Other Pan 64 hard left 63 hard right E MU Systems 10 Appendix MIDI Implementation Chart 179 10 Appendix MIDI Implementation Chart part 2 Controllers Received Channel Commands Channels number n 0 15 Message bytes are represented in hex All other numbers are decimal Running Status is supported Command Note Off Note On Key Aftertouch Program Change Channel Aftertouch Pitch Bend Realtime Controller Footswitch Volume Pan All Sound Off Reset All Controllers All Notes Off Omni Mode Off Omni Mode On Mono Mode On Poly Of Poly Mode On Mono O Bank Select MSB Bank Select LSB 3 3 Special Notes From Omni Mode From Poly Mode From Mono Mode From Multi Mode 180 Message 8n kk vv 9n kk vv An kk vv Cn w Dn w En Il mm Bn cc vv Bn cc vv Bn 07 w Bn 0A vv Bn 78 00 Bn 79 00 Bn 7B 00 Bn 7C 00 Bn 7D 00 Bn 7E 00 Bn 7F 00 Bn 00 bb Bn 20 b
19. A lowpass filter with a high Q would emphasize the frequencies around the cutoff frequency The following chart shows how different amounts of Q affect the low pass filter response In terms of sound frequencies around the cutoff tend to ring with high Q settings If the filter is slowly swept back and forth with a high Q various overtones are picked out of the sound and amplified as the resonant peak sweeps over them Bells and gongs are real world examples of sounds which have a high Q 3 Amplitude Frequency Another characteristic of a filter is the number of poles it contains Traditional synthe sizer filters were usually either 2 pole or 4 pole filters The Proteus has a selectable 2 4 or 6 pole low pass filter The number of poles in a filter describes the steepness of its slope The more poles the steeper the filter s slope and the stronger the filtering action The tone controls on your home stereo are probably one pole or two pole filters Parametric equalizers are usually either two pole or three pole filters In terms of vintage synthesizers Moog and ARP synthesizers used 4 pole filters Oberheim and E mu synthesizers were famous for their 2 pole filter sound 6 pole Lowpass 2 pole Lowpass Amplitude Frequency Using a filter we now have a way to control the harmonic content of a sampled sound As it turns out even a simple low pass filter can simulate the response of many natural sounds
20. Although there is no initial control the sample loop position can be modulated using a Cord See Modulation Destinations on page 94 The loop length remains constant as the loop is modulated This feature can be used to implement pulse width modulation and other wavetable scanning synthesis techniques 98 Proteus X Operation Manual 6 Voice Editor Synthesizer Level Modulation Cords By modulating the loop over a single cycle of a square wave it can be pulse width modulated Other more complex waveshapes can also be modulated in this way Assign Group This function allows you to assign a certain number of output channels to each voice By assigning all voices in the preset to assign groups important parts can be protected from being stolen by more recently played keys Or a voice such as an open high hat can be assigned to a mono channel so it will be cancelled by a closed high hat Voices will rotate within their assigned bin of channels not interfering with other bins Poly All is the default mode The modes are as follows Notes are played polyphonically with dynamic channel assignment using Poly All all 128 channels Two bins of 16 channels each Notes are played polyphonically with Poly 16 A B f dynamic channel assignment using no more than 16 channels Four bins of 8 channels each Notes are played polyphonically with Poly 8 A D dynamic channel assignment but using
21. Appendix Right Click Shortcuts Right Click Shortcuts Use the right mouse button to call up a popup window with these context sensitive shortcuts On Instrument Proteus X icon Open Bank Ctrl O Merge iio aa ae Ctrl M Save As Preferences On Preset Icon tree Open in New Window Rena Esasen rereke o eene F2 Ct rss ee eed DRE iig Ctrl X COPY utut et uns Ctrl C PAST ua ena es Ctrl V Delete lada Del Duplicate ett Ctrl U Category Export Select on Current Channel Ctrl P On Link Icon tree Open in New Window NeW Link Ctrl W On Voice Processing Icon tree Open in New Window On a Sample Icon tree Open in New Window Rename epe deste F2 SU E Ctrl X GODy seen eS Ctrl C PASTE pere eris Ctrl P Delete cL em Del Dubplicate Ctrl U Audition Category Voice Processing Synth Template List Save Template Organize Templates 172 Voices amp Zones Multisample name field Open Voices Ctrl Enter Open Voices in New Window Cut VOlCe eer Ctrl X Copy Voice Ctrl C Paste Voc roroa riai Ctrl P Delete Voices Duplicate Voices Combine Voices Expand Voice New Sample Zone Alt W New Group Select Group N Voices amp Zones Sample name field Open Sample Alt E
22. E 2 sel cons EAEL aaa HMS O WorM 1 3001 mM 424 Wm Sth Brass P WW 70 s Phazzy 11808 Synthax MWA Ku Stq wn Abbey Strngs p MW Acid 4 Ever Jm Acidphone MM Acoustic WW Acoustic 1 9 Q Pr EN Hide Object Numbers e WW Agogos n Ahhs nm AirBorn WW Airy Trumpet al GB AH Fox Show Object Numbers het 1W Akkordione JM AKS Vinyl 1m All Niter 1 All Purpose y T Show Bank and Program Numbers iz M Alta Trumpet MM Alto Saxo JM Analog JM Analogic tg NN 1t AnalogPlanet Mf Analow Km And Voice WW Apple Eater gm ay D ath HUE ArcotremPizz II Arp 4 Arpitty WWA SAX a 55 MIBATC 1 MIMATC 2 MMATC 3 NMATC 4 E ME Refresh Ia WW B3 X Wheel 1 WW B3OrganWavel WM B3OrganWavez WW B4PCM Brass E 4 Zimppler I Bad Bells wmBADtube WW Bag O Tricks nm Ballad Grand qw Ballad Tine amp JM AnalogPlanet Ihm Bally Yard Wm Bari MM Barry Bones Ml Bass Hit WME Bass ic M Kit 1 Bass Scrape IM Bass Slips WW Bass Synth Wm Bass Thud WM Basses amp And Voice I Beauty JM Bell Synth 1 Bell Tree 1 mu Bell Tree 2 m Bells1 MME MetalScience Ihm Bells2 Wt Below Sub WW BenderPlanet M Bernie Funk WW Berzerker E JM Silk OBXsaws I Big Band 1 Big Basic 1 Big Basic MM Big Planet 1t Big Strings EJ Stolen7 Away IM Big Sync MM Big Top MM Bigga MM Biggy Brass WwBlipper JM Movie Brass Blippoid nim Blockst HAN Blocks2 MM Blue Danube wu BMF E nm Dyna heim Im Bondomatic M Bone Mk Booster MM Borneo MM Bottle Blow R E Jumping AME Brass Batz aW Brass Bite 4 Brass Hits 1 MME Brass Hits 2 IME Brass Hits 3
23. W Remember that if a preset with effects is used on more than one MIDI channel the CPU penalty multiplies each time the preset is used 103 7 Effects Programming Effects How to Temporarily Disable a Preset Effect 1 Select the Multisetup Page by clicking the Proteus X icon at the top of the tree 2 Click on the OUTS button on the top left of the screen The screen shown at the right appears EX 3 The two rows of buttons marked FXA and FXB Enables enable or disable the preset effects for each channel 4 Turn the buttons off grey for the channels you are using if you don t want to use the effects Block Diagram of the Effects Routing Voices i 1 I D D i i I i 1 j iF i 1 1 1 1 i D D i L 1 1 l 1 1 i q 1 l i 1 D D D per VOICE 1 1 1 1 l 1 I I Post FX i per PRESET Sends l Main Main ASIO 1 2 I RIO V2 oni TN rx pe ASIO 3 4 i ASIO 31 32 I Re 1 i Aux 2 ASIO 3 4 ASIO 31 32 EE eme Aux Outputs L M P rr ASIO 1 2 x Fx e J s 37 Ss ASIO 31 32 Two effects can be assigned per Preset Three effects can be assigned per Multisetup Effects amounts can be controlled at the voice lev
24. output cord amount controls the size or interval of the steps This patch generates an ascending arpeggio every time you press a key The block Experiment with this diagram of the patch is shown below The patch is very straightforward except for the patch by connecting DC offset which was added in to bring the pitch down into tune Sometimes you have other sources and to fix a problem but thanks to the mod processors there s usually a way around it to destinations to the achieve the desired result quantizer Number Size LFO 100 100 Cord Cord mr You can probably start to see some of the possibilities and there are many Whenever you find yourself wishing for some esoteric type of control take a minute and think if there is a way to achieve the desired result using the modulation processors 152 Proteus X Operation Manual Dynamic Filters Following is a block diagram of the signal path L R Freq Q Vol Pan 2238 amp 0 906 E c e S un The Proteus X utilizes advanced Z plane filters which can dramatically alter the sound of a sample To understand how a filter works we need to understand what makes a sound wave A sine wave is the simplest form of sound wave Any waveform except a sine wave can be analyzed as a mixture of sine waves One way to represent complex waveforms is to use a chart with frequency on one axis and amplitude on the other Each vertical line of the chart represents one sine wave at a speci
25. 7 Select one of the Effects from the list 8 Turn up the FXA knob in the MIDI controllers section to hear the effect FXA is usually located on Controller N 9 Change the effect parameters to suit your own taste or change the entire effect for that matter Keep in mind that the changes you make will affect ALL the presets in the bank 102 PatchMix DSP hardware effects routings are already programmed into most Proteus X banks Proteus X icon Proteus X Proteus X Composer exb Presets M POOOO DynamicGrand m EJEM POOO1 Yo My Dynos E AM POOD2 Orchestral E JE PODOS Grusty EJEM PODO4 A Ku Stq 8 4 PODOS Rockin B E JM POOD6 WideSuitcase Amm ponos x When creating your own presets and banks we recommend you follow the FX routing model on page 108 Proteus X Operation Manual 10 Save the bank if you want to keep your changes gt How to Temporarily Disable the Aux Effects You might want to turn off the Aux effects to free up CPU or just to hear the dry mix 1 Click on the OUTS button near the top right Select the Multisetup Page by clicking the Proteus X icon at the top of the tree Aux part of the screen The screen shown at the right Enables appears The row of buttons marked AUX disable the Aux outputs for each channel Turn the buttons off grey for the channels on which you don t want effects Adding an Effect to a Preset Suppose you have a nice s
26. 7 volume response to other manufacturers equipment Three curves are provided Linear Inverse Square or Logarithmic The action of this control is displayed in the window Volume Sensitivity This control allows you to modify the response curve for MIDI continuous controller 7 Volume This allows you to match the Proteus s response to other manufacturers equipment Low numbers compress the volume control range raising the volume level at lower controller 7 values 20 Proteus X Operation Manual 1 Introduction amp Installation Setting up the Preferences Controllers This is where you set up which MIDI Continuous Controllers the Proteus X will receive Match these controls to the MIDI continuous controller numbers that your keyboard or sequencer transmits What the controllers actually do is programmable in each preset See Modulation Cords on page 92 Preferences uw Audio MIDI Controllers Other Settings Ctrl A 021 Undefined w Ctil 070 Sound Variation iv Pitch Pitch Wheel iv Ctrl B 022 Undefined iv Ctrl J 071 Harmonic Content Mod 001 Mod wheel iv Ctrl E 025 Undefined w CtiM 091 Reverb Depth iv F switch 1 064 Sustain iv Ctrl F 026 Undefined CtiN 093 Chorus Depth iv F switch 2 065 Portamento iv Ctrl G 027 Undefined w culo 082 Gen l Purpose 7 iv T switch 066 Sostenuto iv
27. For example when a piano string is struck by its hammer there are initially a lot of high frequencies present If the same note is played softer there will be fewer of the high frequencies generated by the string We can simulate this effect by routing keyboard velocity to control the low pass filter The result is expressive natural control over the sound E MU Systems 155 9 Synthesizer Basics Dynamic Filters If an envelope generator is used to control the cutoff frequency of a filter the frequency content can be varied dynamically over the course of the note This can add animation to the sound as well as simulate the response of many natural instruments Parametric Filters A more complex type of filter is called a parametric filter or Swept EQ A parametric filter allows control over three basic parameters of the filter The three parameters are Frequency Bandwidth and Gain The Frequency parameter allows you to select a range of frequencies to be boosted or cut the Bandwidth parameter allows you to select the width of the range and the Gain parameter either boosts or cuts the frequencies within the selected band by a specified amount Frequencies not included in the selected band are left unaltered This is different from a band pass filter which attenuates reduces frequencies outside the selected band Freq 18 dB Parametric Filter 0 dB Amplitude Bandwidth 18 dB Frequency Another para
28. LSB i 46 x 47 48 Gen Pur Ctrl 1 LSB 49 Gen Pur Ctrl 2 LSB 50 Gen Pur Ctrl 3 LSB j 51 Gen Pur Ctrl 4 LSB 52 53 54 i 55 56 57 ii 58 59 E 60 61 y 62 63 x 64 Sustain Pedal No Yes i 65 Portamento on off No No 66 Sostenuto No No ig 67 Soft Pedal 68 Legato Footswitch 5 69 Hold 2 70 Variation d 71 Timbre Har Inten Yes Yes A 72 Release Time Yes 73 Attack Time Yes 74 Brightness Yes i 75 Sound Cntrir 6 Yes Yes e 76 Sound Cntrir 7 ig 77 Sound Cntrir 8 Yes Yes A 78 Sound Cntrir 9 Yes Yes T 79 Sound Cntrir 10 Yes Yes 80 Gen Purp Cntrir 5 Yes Yes 7 81 Gen Purp Cntrlr 6 ii 82 Gen Pur Ctrir 7 Yes Yes x 83 Gen Pur Ctrir 8 Yes Yes E 84 Portamento Cntrl j 85 86 87 88 ki 89 90 178 Proteus X Operation Manual Control Function Transmitted Recognized Remarks 91 Effects 1 Depth Yes i 92 Effects 2 Depth A 93 Effects 3 Depth Yes 94 Effects 4 Depth 95 Effects 5 Depth 96 Data Increment 97 Data Decrement 98 NRPN LSB 99 NRPN MSB 100 RPN LSB 101 RPN MSB 102 103 104 105 106 107 108 109 110 111 112 113 114 115 116 117 118 119 120 All Sound Off No Yes See note Ak 121 Reset All Controllers No Yes 122 Local Cntrl on off No No 123 All Notes Off No Yes 124 Omni Mode Off No No
29. Mix Pitch Feedback Pan E MU Systems 129 7 Effects Effects Descriptions Ring Modulator A ring modulator takes two signals and multiplies them together to produce an output signal containing only the sum and difference frequencies of the two input waves The original frequencies are not output If complex waveforms are used every harmonic of each signal multiplies every other according to its amplitude Because ring modulation is a linear process these new sum and difference frequencies are displaced from their normal exponential harmonic relationship As a result ring modulators tend to create clangorous bell like timbres In this ring modulator each side of the stereo input source is multiplied by an internal sine wave oscillator The internal oscillator can remain at a fixed pitch or it can be modulated by an envelope follower The envelope follower sweeps the pitch of the modulating oscillator up or down based on the amplitude of the input signal Try adjusting the Proteus X attack and decay controls amp to hear the effect of the envelope follower The envelope follower can sweep the modulating oscillator in either the positive or negative direction by setting the value positive or negative Input 1 AMPLITUDE 200 Hz D 200 FREQUENCY Hz Input 2 AMPLITUDE 800 Hz pee 800 FREQUENCY Hz Result 600 amp 1000 Hz AMPLITUDE 1 gt 600 800 1000 FREQUENCY Hz
30. Morph 06 PROG Please refer to the detailed description on page 88 Expression Peak Shelf Morph 06 PROG Please refer to the detailed description on page 89 Ace of Bass 12 EQ Bass boost to bass cut morph MegaSweepz 12 LPF Loud LPF with a hard Q Tweeters beware EarlyRizer 12 LPF Classic analog sweeping with hot Q and Low end Millennium 12 LPF Aggressive low pass filter Q gives you a variety of spiky tonal peaks MeatyGizmo 12 REZ Filter inverts at mid Q KlubKlassik 12 LPF Responsive low pass filter sweep with a wide spectrum of Q sounds BassBox 303 12 LPF Pumped up lows with TB like squelchy Q factor FuzziFace 12 DST Nasty clipped distortion Q functions as mid frequency tone control DeadRinger 12 REZ Permanent Ringy Q response Many Q variations E MU Systems 85 6 Voice Editor Synthesizer Level Amplifier Filter amp Auxiliary Envelopes Filter Name Order Type Description TB OrNot TB 12 EQ Great Bassline Processor Ooh To Eee 12 VOW Oooh to Eeee formant morph BolandBass 12 EQ Constant bass boost with mid tone Q control MultiQVox 12 VOW Multi Formant Map Q To velocity TalkingHedz 12 VOW Oui morphing filter Q adds peaks ZoomPeaks 12 REZ High resonance nasal filter DJAlkaline 12 EQ Band accentuating filter Q shifts ring frequency BassTracer 12 EQ Low Q boos
31. Region can specify up to 4 8 for GigaStudio samples called Layers Stereo interleaved samples are supported they take up two Layers of course but a Region cannot hold both Stereo and Mono samples You can also specify up to 32 velocity splits wow but this is lessened the more Layers you use The envelopes are semi regular PADSR s Giga also supports Performance files prf in Giga 1 0 gsp in Giga 2 0 which are essen tially macros that load Instruments into the different MIDI channels The Proteus X Converter supports the Giga 1 0 prf format as well as 2 0 gsp GigaStudio files There are quite a few commercial Giga libraries that use a special compression algorithm these files won t permit wav extraction and make the file smaller in size by about 20 These wav files aren t looped One very interesting thing about Gigasampler is that the file format had a copy protection feature on it A sound development company would be able to produce files that cannot be loaded unless a code is entered after that the sound resides in that computer while being authorized by that code This could have helped protect the company from having pirated samples floating around Interestingly GigaStudio does not retain this protection although it gives you some hard time dialogs that post warnings SoundFont Introduced in 1993 the SoundFont sample based synthesis format has become a standard with the proliferation of the Creative Technology
32. Selected il Manon My Song PER Mili MOO1 Sneeze Closes Selected Item Moves Down in List With the Presets folder selected as in the example above pressing the right cursor will open the presets folder E Presets POOO Rockin B POD1 AnalogPlanet Opens AU POO2 Jumping gt soeces JM POOS JimmyJazzy B Folder AE POOF Vox 1 AU POOS Planet Bass MM POO6 Q Bass 2 MI POO Sync Echo Pressing the Right Cursor key again opens the Preset E Presets EM PODO Rockin B Y Yoices and Zones en kis fus T Voice Processing Opens the E JM POO1 AnalogPlanet Preset E JNE POOS Planet Bass The Left Cursor reverses the actions The Up Down Cursors move up and down within the list The Enter key opens the item Find Items When the cursor is positioned in a list such as the tree you can locate specific presets or samples by simply typing the name Typing the first letter of a name finds the first preset or sample beginning with that letter Repeatedly typing the same letter finds the next item beginning with that letter and so on When Show Object Numbers is selected you can type the preset or sample number preceded by the letter P or S to locate items by number E MU Systems 141 8 Controls View Menu Refresh F5 Sometimes the display does not reflect the state of the synthesizer or vice versa Pressing F5 or selecting Refresh from the View menu
33. Sets the amount of cut or boost of the high frequency shelf Range 24dB to 15dB High Sets the corner frequency where the signal begins getting cut or Frequency boosted with the High Gain control Range 4kHz to 16kHz High Mid Gain Sets the amount of cut or boost of the High Mid Frequency band Range 24dB to 15dB High Mid Sets the range of frequencies to be cut or boosted with the High Frequency Mid Gain control Range 1kHz to 8kHz High Mid Sets the width of the frequency range for the High Mid Center Bandwidth Frequency band that will be cut or boosted by the High Mid Gain control Range 01 octave to 2 octaves Low Mid Gain Sets the amount of cut or boost of the Mid 1 Frequency band Range 24dB to 15dB Low Mid Sets the range of frequencies to be cut or boosted with the Mid 1 Center Freq Gain control Range 200Hz to 3kHz Low Mid Sets the width of the frequency range for the Low Mid Center Bandwidth Frequency band that will be cut or boosted by the Low Mid Gain control Range 01 octave to 2 octaves Low Gain Sets the amount of cut or boost of the low frequency shelf Range 24dB to 15dB Low Sets the corner frequency where the signal begins getting cut or Frequency boosted with the Low Gain control Range 40Hz to 800Hz Modulation Parameters High Gain High Mid Gain Low Mid Gain Low Gain E MU Systems 7 Effects Effects Descriptions Note The Wet Dry Mix control on
34. Shifter effect 128 Phase Shifter filter 85 Phattening using chorus 118 Ping Pong 122 123 Pink Noise 152 Pitch Shifter effect 129 Pitch Wheel 144 bend range 78 control assignment 21 Proteus X Operation Manual Polarity modulation source 95 Poly 16 A B assign group 99 Poly All assign group 99 Poly Key Timer 59 Poly Mode MIDI 160 180 Poly Normal keyboard mode 100 Poly Release Trigger 100 Polyphony optimizing 17 Positional Crossfade 65 Post FX Send Amounts 111 Pre Delay 115 116 117 Preferences 15 Pre filter 127 Pre roll 16 Preroll RAM Indicator 51 Presence 132 133 Preset about 25 auditioning 32 changing 31 32 44 cords 60 description 25 editing 55 143 links 72 opening 36 selecting from the tree 33 Preset Effects adding 103 enable disable 47 104 modulation 112 selecting 47 111 voice controlled 109 Preset Global Page 56 Preset Modulators 58 Processor channel lag 58 channel ramp 60 modulation 151 lag 152 quantizer 152 Program Change Commands 160 Proteus X Composer FX Template 108 Proteus X File Converter 161 Pulse Width Modulation 98 Q Q 86 155 Quantizer effect 131 modulation processor 151 example 152 R Ramp channel 60 Random crossfade 148 crosswitch between voices 67 generator 145 E MU Systems Index modulation 148 Realtime Controller tutorial 158 Realtime Window 66 Receive Program Changes 20 Reducing Bits effect 131 Release Velocity modulation s
35. VSTI tete ost ri Oe e eset etd dete Mete eet i Le Dee len scrote aes 169 Launching the VSTi Application ss 169 Checklist for Launching Proteus X VSTi sesssssssseeeeeeeneeennns 170 Cub e 5 l coa ercaonme ss 170 PatchMixDSD 4 nent ede esae dien me e dn i e eee eis 170 VSTMu ltiSet p 3 de ERIT Re e EH ERE ees 170 Keyboard Shortcuts terree Ani 171 Right Click Shortcuts tto a eet AE E ee OR DEG AEAEE Ar sanidad 172 Drag amp Diop id MA SER eene eue eres 173 Toolbar Fun Ctl ONS Enr ane Man e n ER PR PAESE ET e EE 175 MIDI Implementation Chart tee ret eet He te e ertet 176 MIDI Implementation Chart part 2 Controllers Received Channel Commands ss 177 Special NOES usse taste fac ATA tenus Aor e ue rdiet 180 Index iile LIA LI ns ere TO E MU Systems Proteus X Operation Manual 1 Introduction amp Installation Introduction 1 Introduction amp Installation Introduction The Proteus X is a professional desktop sound module based on the Proteus sound modules and Emulator samplers The engineers and designers at E MU Systems have brought their years of experience and expertise to create the most comprehensive and flexible software instrument ever Proteus X Proteus X allows quick and easy creation of multitimbral setups on up to 32 different MIDI channels Other features include the following 24 bit playback Sample streaming from the hard disk allows huge sample banks Upto 192 kHz sample rate
36. Warnings Items of special interest are presented in this document as notes tips and warnings Notes provide additional information related to the topic being discussed Often notes describe the interaction between the topic and some other aspect of the system Tips describe applications for the topic under discussion V Warnings are especially important since they help you avoid activities that can cause damage to your files your computer or yourself System Requirements To use Proteus X you will need at least e Pentium III 1GHz or equivalent CPU P4 2 GHz or faster recommended 512 MB RAM 1 GB DDR or greater recommended e Hard disk capable of 200 Mb sec transfer rate e Windows 2000 or XP Software Installation Programs installed e Proteus X Desktop Sound Module application Proteus X VSTi Proteus X Converter Proteus X Factory Sound Banks Important Install the EMU Digital Audio System audio card before installing and running Proteus X 1 Insert the CD labeled Proteus X Program Disc into your CD ROM drive 2 On the CD ROM locate the file called Install Proteus X and double click on it 3 Follow the instructions on the screen The Proteus X applications have been installed inside Program Files Creative Professional ProteusX 4 Look for any ReadMe files in the Proteus X folder or in the Start menu and read these before continuing The readme files may contain important last minute info
37. Windows Copy Move E4 Bank File CD Proteus X System Folder Copy Move E4 Bank Preset CD Instrument Merge E4 Bank Preset CD Presets Folder Merge E4 Bank Preset CD Multisetup Preset Slot Merge amp Place E4 Bank Preset CD Folder in Windows Export E4 Bank Preset CD Proteus X System Folder Export E4 Bank Preset CD Link Merge amp Replace Link E4 Bank Preset CD Link null space Merge amp Add Link E4 Bank Sample CD Instrument Merge E4 Bank Sample CD Samples Folder Merge E4 Bank Sample CD Preset Voice Merge amp Add to Voice E4 Bank Sample CD Folder in Windows Export as Bank Wave AIFF E4 Bank Sample CD Proteus X System Folder Export as Bank Wave AIFF E4 Bank Multisetup Instrument Merge E4 Bank Multisetup Multisetup Folder Merge 174 Proteus X Operation Manual 10 Appendix Toolbar Functions Toolbar Functions Standard Tools Back New Bank Save Bank fe gt se m Up Forward Open Bank Display Items MIDI Modes Show Name Show Bank Show Small Show Multi Omni Only amp Prog No Icons Details Mode Mode SR i GDR a 3 W E4 E3 Library CDs use a proprietary format and can only be read using Show Object Show Large List View Help Poly SCSI ATAPI drives Number Icons Mode Status Bar Basic Current Voice Samples In RAM Disk Usage MIDI Channel amp KYBD Range 56 MB CPU Disk 6 Ch 1 PODO St Thomas Strings Voice CO F1 CPU Usage Number of Preset Name Samples Playing amp Number
38. Zone Utilities 69 Voice Editor overview 76 Voice Effect Sends 91 Volume in multisetup 46 linked preset 73 preset global 56 Volume Control master 48 Volume Curve 20 Volume Sensitivity 20 VSTi amp multisetup 52 Cubase 5 1 checklist 170 launching 169 VU Meter 48 Proteus X Operation Manual Ww Waveforms LFO 147 Wavetable Scanning Synthesis 98 Werkmeister Tuning 57 Wet Dry Mix effects 110 111 Wheels Pitch amp Mod 21 144 White Noise 148 Z Z plane Filter 87 157 E MU Systems Index 187 Index 188 Proteus X Operation Manual
39. a device that would automatically turn the volume control we would also call that device a modulation source E MU Systems 143 9 Synthesizer Basics Modulation Turning the volume control back and forth on your home stereo is an example of Amplitude Modulation The Proteus is designed so that for each of the variable parameters such as the volume there is an initial setting 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 Positive modulation Adds to the initial amount Negative modulation Subtracts from the initial amount Modulation Sources The main modulation sources are Envelope Generators Performance Controllers and Low Frequency Oscillators In the previous example 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 turn the volume control up and down ina repeating fashion The main mod sources are listed below Keyboard Key Which key is pressed Key Velocity How fast the key is pressed Release Velocity How fast the key is released Gate High if the key is pressed low when the key is released Key Glide A smoothly changing control source based on the Glide Rate and the interval between the last two notes played Pitch and Mod Wheels Keyboard pitch bend and modulation wheel
40. be surrounded by red boxes 6 With both voices selected select Open Voices Crtl Enter from the Preset menu play softly and a known The Voice Editor screen appears Verify that the two voices are selected in the Voice voice when you play Selector section of the window hard 7 Assign Crossfade Random as modulation source in the Cords section 8 Select Amp Crossfade as the destination Set the Cord Amount to 127 9 Voices 1 and 2 will now be randomly selected whenever you press a key Continuous Controller Window Buttons The CC Windows 1 5 offer additional voice switching and crossfading possibilities using MIDI Continuous Controller messages Unlike the Realtime window the CC crossfades and cross switches occur only at Note on time They cannot be continu ously swept during the note These controls are designed to be used to switch and fade voices during your performance You can use the CC windows to switch between drum sets or bring in accent samples The CC assignments are easy to use because you can complete the entire patch from this window The list of control sources is accessed by clicking on the button to the right of the Assignment screen The following control sources are available Mod Wheel Pressure Pedal MIDI A P Footswitch 1 amp 2 Flip Flop Footswitch 1 amp 2 Thumbswitch and Flip Flop Thumbswitch List of Control Sources P To Cross switch Two Voices 1 In order to cross switch voices th
41. between them using a controller The Just C2 Just C min Just C3 Tuning Tables Fully explaining the mysteries of just intonation is beyond the scope of this manual but the subject is covered exhaustively in Hermann Helmholtz s On the Sensations of Tone available at most libraries and bookstores E MU Systems 5 Preset Editor Preset Globals 57 5 Preset Editor Preset Globals The four just intonation tables are called Just C2 Just C3 and Just C Minor Try playing in the key of C Cm using each table You ll quickly discover both the wonders and the frustrations of just intonation In Just C for example you ll find that the chords C Em E G and Am sound beautiful If you hold one of these chords you ll hear no beating After playing for a few minutes switch back to Equal Temperament for a rude awakening At this point you might wonder why anyone would use Equal Temperament to begin with For the answer to that question play a D Dmi or Bb chord The intervallic ratios that make the C amp G chords sound so pure make the D chord sound horribly out of tune That s why we had to include Just C3 In this tuning D Dmi and Bb sound in tune but the G chord will sound wrong Each of the 4 tables allows you to play a different group of common chords in just intonation Sadly there is no single 12 note tuning that will allow all of the common chords to be in tune and of course that s why they invented the equal temperamen
42. boost or cut a single range Boost am ae of frequencies For example if you just want to Width brighten up the lead vocal a bit you might c choose this EQ This EQ offers up to 15dB 5 SEP boost and 24dB of cut Cut Y Ad NE it Center Frequency Parameter Description Gain Sets the amount of cut or boost of the selected frequency band Range 24dB to 15dB Center Frequency Sets the range of frequencies to be cut or boosted with the Gain control Range 40Hz to 1 6kHz Bandwidth Sets the width of the frequency range for the Center Frequency band that will be cut or boosted by the Gain control Range 01 octave to 2 octaves Modulation Parameters Gain Frequency Bandwidth 124 lt Tip EO becomes a powerful performance tool when the modulation parameters are patched to MIDI Controllers Proteus X Operation Manual 4 Band EQ This 4 band equalizer provides two shelving filters at the high and low ends of the frequency range and two fully parametric bands in the center Up to 15 dB of boost and 24dB of cut is provided for each band Low Mid High Mid Low Shelf Band Band High Shelf Corner l 1 Corner A Frequency i i Frequency u gt gt 8 Width Width 1 1 1 o 1 1 i ea I l 1 i 1 I U s i a Y Center Center Frequency Frequency Frequency Parameter Description High Gain
43. fast release for this example 2 Click on the Effect Select icon at the top right corner of the Effects TV screen A list of available effects drops down 3 Select Delay from the list The Effect name is now listed above the TV screen and the W Remember that if a effect parameters are shown in the TV screen preset with effects is used on more than one MIDI channel the CPU penalty 5 Turn up the Wet Dry Mix to about 86 Wet multiplies each time the preset is used 4 Play the keyboard You should now hear the echo Adjust the parameters to taste 6 Select Voice Processing from the Tree for the preset you are using The Voice Page appears 7 Find an unused Cord and Set it up like this Velocity 100 Wet Dry Mix 8 Make sure the Wet Dry Mix in the Amplifier section is set to 100 all wet 9 Play the keyboard soft and hard to check it out 10 To reverse the action hard echo soft no echo make the Cord amount 100 and set the Wet Dry Mix to 0 You may also want to reduce the Wet Dry mix in the Echo effect itself to obtain the proper response 11 Now that you ve got it all set up try changing the Preset Effect Try reverb flanger phaser and distortion effects E MU Systems 109 7 Effects Aux FX Screen Aux FX Screen All effects have a wet dry mix parameter to control the ratio of effected to plain signal which is stored with the FX preset The effect parameters vary with the type of effect General
44. first empty Multisetup location To Rearrange the Order of Multisetups 1 Click once on the multisetup folder in the tree The list of multisetups appears 2 Select Details View from the view options in the toolbar and change the ID number 3 If you try to save a Multisetup with a number that is already used a popup dialog box will appear asking you if you want to use the next available ID number or enter a new ID E MU Systems 53 4 Multisetup Global Controls Working with Multisetups 54 Proteus X Operation Manual 5 Preset Editor The Preset Editor allows you to edit presets and their key maps Samples can be arranged into single sample or multi sample voices with synthesizer processing applied Then these complete voices can then be arranged anywhere on the keyboard The Preset Editor contains three sections The first section Voices amp Zones is used for arranging voices and samples on the keyboard and editing global preset parameters The Links section makes it easy to build new presets by combining other finished presets Multiple presets can be crossfaded or cross switched according to key position key velocity or by the position of MIDI continuous controllers The third section Voice Processing is used to perform more detailed editing of voices such as envelope shaping of amplitude and filters as well as modulation parameters This is the synthesizer section of Proteus X containing E MU s legendary Z plane fi
45. just like the velocity window in the Voices and Zones section page 61 and allows you to set the velocity range for each linked preset In the example below the presets are set to crossfade from Link 1 to 2 as the key velocity is increased Linked Presets Velocity Range Graphic Display of Low amp High Velo Crossfades Velocity Range Selector Button CC Window The CC or continuous controller window works just like the CC window in the Voices and Zones section page 68 and allows you to set the range for each linked preset using continuous controllers In the example below the presets are set to switch from Link 1 to 2 as the Mod Wheel is turned past 63 The CC values are locked in at note on time Linked Presets AN AS Clavinet 1 Pluck Tone Selector Continuous Button CC Range Controller Graphic Display of Low amp High Range Crossfades Assignments Controller Range 74 Proteus X Operation Manual 6 Voice Editor Synthesizer Level 6 Voice Editor Synthesizer Level Voice Processing contains the traditional synthesizer controls such as envelope shaping of amplitude and filters as well as modulation parameters When multiple voices are selected parameter changes affect all selected voices i e setting the filter cutoff to 50 sets it to 50 on all selected voices The voice processing parameters are accessed by clicking on the Voice Processing icon in the Tree gt To Select Multiple Voic
46. manually synchronizes the display and synth Context Sensitive Menus The right mouse button brings up context sensitive menus in many areas of the Proteus X Simply right click over the field or area to bring up the menu for that function Please refer to page 172 for a complete listing of context sensitive menus Undo Redo Almost every action you do with the Proteus X can be undone You can undo up to 100 actions Select Undo or Redo from the Edit menu or press Ctrl Z Undo or Ctrl Y Redo from the keyboard 142 Proteus X Operation Manual 9 Synthesizer Basics Editing Presets 9 Synthesizer Basics This chapter contains background information on the various programming aspects of synthesizers If you are new to synthesizers and electronic music you may need more background information than this manual provides There are many books dedicated to synthesizer basics and MIDI available through your local music dealer Magazines such as Keyboard and Electronic Musician available at most newsstands contain current information on the subject as well as valuable programming tips The internet is a also a rich source of information on this subject Seek and you shall find Your initial involvement with the Proteus X will most likely consist of using the existing banks and presets While our factory banks and presets are very good there are probably some things you would like to change perhaps the LFO speed the filter setting o
47. modulating the Cord Amount the divided clocks can be routed around using realtime controllers or other modulation sources Syncing an LFO to the Clock When an LFO is triggered by a clock the LFO wave resets to zero every time the clock wave goes low To sync an LFO to the clock patch a clock divisor to the LFO Trigger Trg in the Cords screen If the LFO rate is close to the clock rate the LFO will synchronize with the clock If the two rates are far apart the waveform of the LFO will be mildly or radically altered as shown by the diagram on the following page 148 Envelopes are triggered on the positive going edge of the clock LFOs are triggered on the negative going edge of the clock The tempo of the master clock is set from the Multisetup page Proteus X Operation Manual Triggered LFO LFO Wave Clock LFO Trigger causes the LFO to reset each time the clock waveform goes low The possibilities of clock modulation and retrigger are numerous and varied A repeating six segment curve of any shape can be created by triggering the Filter or Auxiliary Envelope generators with the clock A few other possibilities are listed below Turn different voice layers on and off using different clock divisors Create a global triangle LFO by routing the Clock through a Lag Processor Switch between Auxiliary and Filter Envelope retriggering using a slider or footswitch Retrigger LFOs or Envelopes using noise
48. nete reete td eee e cive IS eae EU 142 9 Synthesizer Basics sn nsnnsnnnnnnnnnennnnnennnnnnes 143 Editing Presets sere Deren e tee cete eee she eere dhs ue ere tes 143 MOGUlationi 7s ettet rt E aer eer oO PARERE erint ete prie dile stp eei ties 143 ModulationiSOUE Ces viii eere eec eh eee ee e teens ete 144 Keyboard Key eee eie et t erede aye e e e tt ees 144 Key Velocity I EE 144 Release Vel Citys 44 ia ette tre Ire Ree Chen RII aa e NB UO aid 144 GA 144 Cue P M 144 Pitch and Mod Wheels sise 144 Keyboard Pressure mono aftertouch sss 144 Pedal ertt A A mn e e e eatin Y lus 144 Miscellaneous Controllers A P ss 145 Low Frequency Oscillators 2 per voice sene 145 Envelope Generators 3 per voice ss 145 Noise amp Random Generators idees 145 T switch and Footswitches ss 145 Modulation Cord tai tr Rep e tn e a ree i Le ERR cu 145 Envelope Generators sect ett tes xe ee Nor cao aom c rata Le le ee eho oe 146 INI p ERR 146 Low Frequency Oscillators LFOS fuaire oiii iE A EE E 147 Randon SOU eie eoo erre inpet dera es nine A 148 GlockeModulation s iro ree ia re nece etus eto OE 148 Syncing an LFO to the Clock sise 148 Modulation Destinations ss 150 Modulation Processo mansoa tette tent amentia ert PER re fei Aaa ia ie ieH d 151 Modulation Processor Examples sssssssse
49. non consistent manner Key Random 1 amp 2 generate different random values for each voice which are selected at key on time and do not change during the note The White amp Pink Noise Generators produce varying random values Both white and pink noise sources are low frequency noise designed for control purposes Either noise source can be filtered even more by passing it through a lag processor The Crossfade Random function generates the same random value for all voices in a preset This source is designed to be used for randomly crossfading voices although you may find other uses Clock Modulation The clock can also be used as a modulation source It can be used to trigger the Filter or Auxiliary envelope generators trigger sample start synchronize the LFOs or used directly as a square wave modulation source Envelopes are triggered on the positive going edge of the clock LFOs are triggered on the negative going edge The Clock source is available in six divisions double whole note whole note half note quarter note eighth note sixteenth note The different rates can be used separately or in conjunction to create complex synchro sonic rhythm patterns Using MIDI clocks the internal clock can also be synchronized with an external MIDI device such as a drum machine or sequencer Clocks are routed exactly like the other modulations sources using the Cords The Cord Amount MUST be positive for the clock to pass By
50. of the initial controller knobs are user definable These labels or Scribble Strips also appear in the Multisetup screen to show the function of the realtime controller knobs See MIDI Channels amp Real time Controls on page 158 for additional information about Controllers A P 56 Changing the initial controller settings is an easy way to customize a preset Simply change the knobs and save the bank Proteus X Operation Manual Tuning Tables In addition to the standard equally divided octave tuning Proteus X contains twelve factory programmed tuning tables The Keyboard Tuning parameter selects which tuning is used by the current preset The factory keyboard tuning tables are described in the following table Tuning Tables Equal Temperament Description Standard Western tuning 12 equally spaced notes per octave Just C minor Just C Just intonation Based on small interval ratios Sweet and pure non beating intervals Vallotti Valotti amp Young non equal temperament Similar to 12 tone equal temperament Each key has a different character for a given scale 19 Tone 19 tone equal temperament 19 notes per octave Difficult to play but works well with a sequencer Gamelan 5 tone Slendro and 7 tone Pelog Javanese Pelog are white keys Slendro are black keys Exotic tunings of Gamelan flavor Just C2 Allows you to play the following chords in the key of C C E E G A
51. on a positive going edge 146 lt The EOS envelope generators are just like standard ADSRS except that they have two segments for each stage To create a standard ADSR curve set the 2 levels the same as the 1 levels and set all the 2 rates to O lt By routing the Auxiliary Envelope to control the pitch Cords you can easily hear the shape of the envelopes you are creating Proteus X Operation Manual 9 Synthesizer Basics Low Frequency Oscillators LFOs Low Frequency Oscillators LFOs A Low Frequency Oscillator or LFO is simply a wave which repeats at a slow rate The Proteus has two multi wave LFOs for each channel The LFO waveforms are shown in the following illustration Random Triangle Sawtooth Sine Square 33 Pulse 25 Pulse 16 Pulse 12 Pulse Pat Octaves Pat Fifth Octave Pat Sus4 trip Octave c G O L S Ead ad Octave e Pat Neener Sine 1 2 Sine 1 3 5 Sine Noise Hemi quaver By examining the diagram of the LFO waveforms you can see how the LFO will affect a amp Try combining the modulation destination Suppose we are modulating the pitch of an instrument The Pattern LFOs or sine wave looks smooth and will smoothly change the pitch The square wave changes controlling the amount of abruptly and will abruptly change the pitch from one pitch to another The sawtooth one with another or combining them with the wave smoothly decreases then abruptly changes back up The
52. slower devices to the IDE controller used by your audio drive Get the fastest hard disk drive you can afford as this is the single most important component affecting Proteus X performance Many drives now offer an 8MB data buffer which can also improve performance Defragment your hard drive often Perform a clean install of your operating system with only the minimum compo nents and programs installed Use the System Restore feature of Windows XP or other restoration program such as Ghost to keep your system uncluttered and fast E MU Systems 1 Introduction amp Installation Software Installation 13 1 Introduction amp Installation Setting up your Audio SCSI and IDE Drive Tips and Considerations When considering the purchase of a new SCSI or IDE drive for use with Proteus X make W E4 E3 CDs use a sure that the new drive supports a sustained data transfer rate of at least 2 megabytes per proprietary format and second While it is impossible to reliably calculate the needs of your computer s can only be read using operating system which must be considered in addition to Proteus X s requirements SCSI ATAPI drives you can get an approximate idea of the necessary speed of your hard disk drive based on the bit depth and number of voices you need Data Transfer Rate Chart 16 bits 44 1 k sample rate 86 2 k per Channel per second 48 k sample rate 93 8 k per Channel per second 24 bit
53. the internal MIDI clock rate The master tempo is adjusted and displayed in the Multisetup page page 54 This allows the synthesizer to adapt to the tempo of your music The tempo automatically syncs to an external MIDI clock if it is present in the system If you have an external MIDI device generating MIDI clock or if another application is generating MIDI clock the tempo will automatically lock to the MIDI clock tempo If nothing else in the system is generating MIDI clock the internal clock will be used TIME sec ENVELOPES 4 546 3 315 18 971 0 746 0 0 DECAY 1 DECAY RELEASE RELEASE Se 100 0 84 4 74 4 Cut Copy amp Paste You can use cut copy and paste commands for most Proteus X functions Voices amp Zones Cut Copy and Paste voices between banks Rearrange the order of voices in the list Voice Processing Cut Copy and Paste synth module settings such as envelopes LFO Cords between voices in the bank You can also copy Amp envelope settings to the Filter envelope for example 138 Proteus X Operation Manual 8 Controls View Menu View Menu Show Object Numbers Large Icons List Help Hide Object Toolbar View Numbers Selection Show Bank Prog No Small Icons Details ElProteus X Composer Proteus X File Edit View Presets Options Window Help E ES Large Icons E
54. to merge the sample after all choose Undo from the Edit menu or press Cutlers to un merge the sample Load a New Bank Load up a new bank in preparation for the next few examples Load the Proteus Composer bank located in your Proteus X folder 1 Select Open from the File menu then locate Proteus Composer and click Open E MU Systems 3 Getting Started Load a New Bank Note 24 bit samples are shown as 32 bit because they are internally stored and processed as 32 bit numbers Note Emulator 4 banks are accessed and loaded from the System Tab rather than from the File menu 35 3 Getting Started Opening a Preset Opening a Preset A preset is a complete keyboard setup for one MIDI Channel Think of a preset as one complete sound which usually contains multiple voices and samples 1 Click on the Preset Folder in the Tree to show all the presets in the bank Show Details n 3 H Proteus X Composer Proteus X m E File Edi view Presets Options Window Help Hees aca 1120 Ea aaa 2 LE mag Proteus X Name D Bank Prog Category al Proteus X Composer exb mu pynsmic Grand Keyboard 1 J I Yo My Dynos i Click om Allene Here MM Yo My Dynos AM Grusty aW Orchestral MMA Ku Stq To Show All de MMMM Grusty Ml Rockin B T Keyboard 3 JM AKuStq MU wideSuitcase P0006 000 006 Keyboard 2 Sort Buttons MM Rockin B WW Zimppler PO007 000 007 Lead amp MM WideSuitcase M anal
55. zero baseline 0 100 The Filter and Auxiliary Envelope generators are general purpose envelopes which must be patched to a destination using a PatchCord The levels of the Filter and Auxiliary Envelopes can be programmed between the value range of 100 to 100 Holds here Oo i until key release Key Released Adjusting the Envelopes There are four ways to adjust the envelope parameters Adjust the Time Level knobs Grab one of the points on the Envelope Display and drag the envelope Position the cursor in the Time or Level numeric fields and type in a time value Position the cursor in the Time numeric field and type in the exact time The time values are calculated using time and the vertical distance to the next point Time BPM Select Time Controls ENVELOPES arci reso 0 908 08 0 137 0 456 P A d a de EI ATTACK 1 ATTACK2 DECAYE DECAY RELEASE RELEASE 2 Amp Filter Aux Env lope Level Controls Selector Buttons Repeat E MU Systems 81 6 Voice Editor Synthesizer Level Amplifier Filter amp Auxiliary Envelopes Time based and BPM Envelopes Envelope times can be time based or BPM based Time based envelopes have an absolute time setting such as 1 second BPM based envelope times are divided down from the Master Tempo setting on the Multisetup page The Master Tempo scales the time of the BPM based envelope segments BPM times are displayed in musical time intervals whe
56. 00 The Akai S 1000 was one of the first hardware samplers using the 16 bit format The 3000 came out a couple years afterward offering expanded programming and expanded structures The Akai format is proprietary you cannot view the contents of the disk using the standard file browsing mechanisms on a computer There are files that can be written to 162 Proteus X Operation Manual DOS that represent the Akai format they use the ak1 or the ak3 file extension The Proteus X Converter supports these The Akai format is made of these elements Partitions Maximum 60mb in size one or more of them on a drive Volumes Exist inside a Partition these hold the Programs and Samples An Akai Volume is the equivalent of a Proteus X Bank The Proteus X Converter can convert whole disks Partitions or Volumes You cannot convert single Programs which are roughly the equivalent of an Emu Preset The Akai S 1000 3000 can stack Programs in other words play two Programs at the same time by setting each Program to the same Program Number and the same MIDI Channel in their parameters The Proteus X Converter will automatically combine these into the same Proteus X Preset to mimic exactly how the Akai treats these Programs The Akai S 1000 3000 use two separate samples to perform stereo operations usually marked L and R in their names The Proteus X Converter will generally combine samples that were meant to be stereoized plea
57. 24 Creator code and file type An EXS 24 file does not hold the samples they are referenced and can be in the form of AIFF WAVE Sound Designer 1 or 2 or Mac System 7 files The EXS 24 is very popular however its programming ability is somewhat limited which makes it fairly easy to convert into the Proteus X s superior framework However there are certain features that need special addressing in Proteus X Please see Keyswitching amp Other Non Proteus X Features on page 166 for more information The EXS 24 like the Proteus X uses streaming like technology to load and play large sets of samples The Proteus X Converter will convert any amount and size of samples and the Proteus X is powerful enough to play any size An EXS 24 file is the equivalent of a Proteus X Bank although when you are converting whole folders each folder will convert to a single Proteus X Bank with each EXS 24 file becoming a Preset within that Bank The EXS 24 files store the locations of its referenced samples within its files The samples do not necessarily have to be in the same folder as the EXS 24 The Proteus X Converter expects that the sample files referenced by the EXS 24 file will be where it says they will be just like the EXS 24 itself behaves See Locating Referenced Samples on page 166 for more information Steinberg HALion I and II The Steinberg HALion is a popular VST based software sampler HALion files can possibly exist on PC or M
58. 32 bit floating point internal processing Drag and drop sample voice and preset selection Phase Locked Stereo signal path Ultra High Precision Pitch Interpolation user selectable High Voice Polyphony system dependent Realtime controllers for all important control points Proteus X allows the serious synthesist and programmer to literally design custom instruments using the renowned Proteus 4 synthesis architecture 54 different filter types including multi pole resonant filters phasers flangers vocal filters and multiparameter morphing filters Extremely powerful yet easy to use voice and sample zones allow crossfading by position velocity or realtime controller up to 128 layers deep Three multistage envelopes two lag processors and two multi wave LFOS per voice Multiple solo modes and assignment groups let you simulate the playing response of physical instruments and classic synthesizers 36 patchcords per voice allow you to get as complex as you want when building instruments Arithmetic modifiers in the patchcord section allow you to construct complex synthesis models E MU Systems 11 1 Introduction amp Installation System Requirements Before you Begin You should have a good working knowledge of you computer s operating system For example you should know how to use the mouse standard menus and commands You should also know how to cut copy paste open and close files Notes Tips and
59. B C m D m Em F m G m Am Bm Allows you to play the following chords in the key of C C E F G A B Em Am Bm C m D m G m Just C3 Allows you to play the following chords in the key of C C D E Bb C m Dm Em F m G m Am Werkmeister III A well temperament developed in the 17th century Although you can play in all keys each key sounds slightly different Kirnberger Scarlatti Another well temperament developed by Johann Philipp Kirnberger where no pitch is more than 12 cents off from equal temperament A variant of Meantone tuning which was used from the 15th to 18th centuries Repeating Octave Middle C octave is repeated up and down the keyboard Link with a preset in equal temperament to form unusual inversions up and down the keyboard The Just C Tuning Tables Well Tempered and Just were standard keyboard tunings up until the 20th century when the current equal tempered scale became prevalent In an equal tempered scale the octave is equally divided into 12 parts In Just or Well Tempered scales the 12 notes are separately tuned to produce pure chords However in Just tunings you are limited to playing certain chords and if you play the wrong chord it may sound terrible Tuning tables can be changed as you play using a program change create several presets with the same sound and different tuning tables or using a continuous controller link 2 presets and crossfade
60. Click on the Preset Select button for the desired MIDI channel The Select Preset dialog box appears 2 Click on the presets in the list to audition them Presets can be viewed by large icon small icon by list or by detailed list Presets can also be sorted by name ID bank program number or category when in Detail View mode 3 To choose a preset select it and press OK or double click on the preset in the list gt To Select a Preset from the Tree 1 Set the Current Channel by clicking anywhere on a horizontal channel strip in the Multisetup window The channel number turns red indicating that this is the current channel 2 Choose the preset you want in the tree and Right Click on its preset icon 3 Choose Select on Current Channel The preset is now selected for that channel 4 You can also select a preset for the current channel by simply clicking the preset s keyboard icon from the tree MIDI Channel Each channel only responds to MIDI data on its particular channel Use the small keyboard at the bottom of the window to audition presets on the currently selected channel Select the current channel by clicking anywhere on the desired channel strip The red indicator displays the currently selected channel number Preset Assignment Assign presets to MIDI channels by clicking on the selector button to the right of the preset field A pop up dialog box appears with the list of presets in the bank Select a preset then clic
61. DI channel Change the current channel by clicking anywhere on the desired channel strip E MU Systems 51 4 Multisetup Global Controls Working with Multisetups Working with Multisetups A Multisetup is a snapshot of the current Proteus X settings Multisetups store the preset volume pan position and output bus routings for 32 MIDI channels along with the Global Tempo and the three Aux Send destinations Saving FX amp Multisetups It is important to realize what data is stored in a multisetup when saving banks In addition to Volume Pan and Preset choices for each channel the FX Aux 1 Aux 2 and Aux 3 are stored with the multisetup The send level for each preset to each Aux bus is stored in the preset data Remember to save the bank whenever you have made changes that you want to keep VSTi Multsetups A multisetup for your VSTi is stored in your Cubase project and will be loaded when the project is opened This multisetup overrides whatever default multisetup may have been saved if the bank was opened in Proteus X standalone mode If you wish to store extra multisetups you may do by using the Multisetup menu on the toolbar To Save the Current Multisetup 1 Set up all the multisetup parameters the way you want them 2 Select Save from the Multisetup window on the toolbar 3 Choose a name and number for the multisetup Changing the number allows you to place the Multisetup anywhere you want in the list 4 Pres
62. Desktop Sound Module Operatio E MU Proteus xX Desktop Sound Module Operation Manual 2003 E MU Systems All Rights Reserved Revision A E MU World Headquarters E MU Systems 1500 Green Hills Road Scotts Valley CA 95067 0015 USA Europe Africa Middle East Creative Labs Ballycoolin Business Park Blanchardstown Dublin 15 IRELAND E MU Japan Creative Media K K Kanda Eight Bldg 3F 4 6 7 Soto Kanda Chiyoda ku Tokyo 101 0021 JAPAN www japan creative com Proteus X Operation Manual Table of Contents 1 Introduction amp Installation o nnns 11 Introduction s sii RN 11 Proteus Xe oc eu Sec d ertet dg a a a et v e tb tart t 11 Before you Begins iiie eI E NI OI ERR RR alesis 12 NIC 12 System Requirements cui E Lea o rr EUER eH eA ERR 12 Software Installation A te ape b d 12 Programs installed eee ert eet reste 12 Register your Software ii 13 Optimizing Your Computer for Proteus X o cccececcecesceseeseeseseeseeseeseeeeseeseeseeeeeeeseeseeees 13 SCSI and IDE Drive Tips and Considerations ssssseeeeeeeeee 14 Setting up VOU AUdlO ederent ue eie he irt eer t ir Rent 14 Setting up the Preferences uc nee RR Rice p cnm lets 15 Audio Preferences eoe ntn da tado ES E S eO IS 16 SGre RE nn Pie nee Avoided eee aa 16 Prectoll cyto teens a de nee nr id ere 16 Audio Setup zen Rae o m tte otn 17 VS TI Output Buses ee eret ee p D tere ean ei
63. Dyna heim MM Jumping WM New Age Ochs P0017 000 017 Vocal IRM New Age Oohs mM Sugar Freak P0018 000 018 Bass 4 MM Sugar Freak JM Clavinetti P0019 000 019 Keyboard 4 WW Acoustic 1 P0020 000 020 Kit WI BreathyTBone Poo21 000 021 Brass WI Real Flute P0022 000 022 Wind amp V Allin a Pizz P0023 000 023 Strings E Allin a Pizz HME walky Talk P0024 000 024 Bass 4 i AM Walky Talk JM Filmscore P0025 000 025 Strings AM Filmscore IL V s Worm P0026 00 026 Lead Ge ARI LV Worm 1 Bag O Tricks P0027 000 027 Kit ie MM Bag O Tricks M Melosoul EP PO028 000 028 Keyboard 2 Mil Melosoul EP MM Breather P0029 000 029 Wind MI Frozen Time P0030 000 030 Vocal WM MasterBlast P0031 000 031 Hit m For Help press F1 34 MB CPU Disk 0 Ch 1 Presets 1026 items Tree View The Sample Preset or Multisetup Tree items can also be viewed in several ways The View Menu provides several display options for the tree The view options are listed below Displays or hides the object number for the Sample Show Hide Object Numbers Preset or Multisetup Show Bank amp Program Numbers Presets can be displayed in the tree with Object numbers P003 or with Bank and Program numbers 002 003 140 Proteus X Operation Manual 8 Controls View Menu Tree Navigation using the Keyboard Cursor Keys You can move quickly through the Tree using the Left Right Up Down Cursor Keys Moves Up in List Opens E Multisetups
64. Filter Types BPF M Band pass filter Filter Descriptions EQ EO boost filter Filter Name Order Type Description EQ EQ cut filter 2 pole Lowpass 02 LPF Typical OB type low pass filter with a shallow FLG Flanger filter 12 dB octave slope 4 pole Lowpass 04 LPF 4 pole low pass filter the standard filter on HPF kHigh pass filter classic analog synths 24 dB octave rolloff iie m ow pass filter 6 pole Lowpass 06 LPF 6 pole low pass filter which has a steeper slope P than a 4 pole low pass filter 36 dB octave PHA Phaser filter rolloff 2 pole Highpass 02 HPF 2 pole high pass filter 12 dB octave slope PROG Programmable 4 pole 04 HPF Classic 4 pole high pass filter Cutoff sweep REZ Highly Resonant Highpass progressively cuts 4th Order High pass 2 pole 02 BPF Band pass filter with 6 dB octave rolloff on SFX Special Effect Bandpass either side of the passband and Q control VOW Vowel formant 4 pole 04 BPF Band pass filter with 12 dB octave rolloff on Bandpass either side of the passband and Q control WOW Wah Wah pedal 84 Proteus X Operation Manual 6 Voice Editor Synthesizer Level Amplifier Filter amp Auxiliary Envelopes Filter Name Order Type Description Contrary 06 BPF A novel band pass filter where the frequency Band pass peaks and dips midway in the frequency range SweptEQ 06 EQ Parametric filter with 24 dB of boos
65. Flop Footswitch 1 FSwitch 1 FF FX A Mod 1 Footswitch 2 FX A Mod 2 Flip Flop Footswitch 2 FSwitch 2 FF FX A Mod 3 Thumbswitch FX A Mod 4 Flip Flop Thumbswitch TSwitch FF FX B Mod 1 DC Offset FX B Mod 2 Channel Lag 1 amp 2 FX B Mod 3 Channel Ramp FX B Mod 4 60 Proteus X Operation Manual 5 Preset Editor Voices amp Sample Zones Voices amp Sample Zones Mix Tune Tab Volume pan transpose coarse tuning and fine tuning can be adjusted separately for each voice See page 78 to understand the difference between transpose and coarse tune You can also set the group number from this page The Mix Tune parameters are the same controls displayed in the Voice Editor page 78 amp 90 and changes made to either page will appear in both places Voice Selection A voice can be selected by clicking anywhere on the voice strip Selection is shown by a red box around the voice strip 1 Select the first voice in the Voices amp Zones screen red number 2 Hold the Shift key to select contiguous voices Hold the Control key to select non contiguous voices Press Control A to select all voices Note about multiple voice editing If you open several voices for editing which have different voice parameter settings the parameters in the different voices will remain as they were until you change them That is if you have three voices selected and you change the filter cutoff all three voices will jump to the new c
66. Hz or 48 kHz as your output sample rate The software based filters can eat up CPU cycles and reduce polyphony Cost of Filters on Voice Count No Filter No additional CPU load 2nd Order Additional CPU load comparable to playing another 1 2 sample 4th Order Additional CPU load comparable to playing another 3 4 sample 6th Order Additional CPU load is comparable to playing 1 more sample polyphony is divided by 2 12th Order Additional CPU load comparable to playing 2 more samples polyphony is divided by 3 Synthesizer parameters also use CPU cycles When creating presets feel free to use modulation cords as needed but don t leave cords half connected if you aren t using them since these patch settings waste CPU cycles Turn off both the source and desti nation of unused cords Audio Setup These controls let you set audio quality parameters related to Proteus X and your sound card Type You have a choice to use either Direct Sound or ASIO audio drivers If you have another high quality sound card installed in your system it will be shown in this field ASIO Audio Stream Input Output is a cross platform multi channel audio transfer protocol ASIO is fast and supports 16 bit and 24 bit data width To use Proteus X with the E MU Digital Audio System select the E MU ASIO driver Selecting Direct Sound uses the audio output device specified in the control panel of your computer In general using Dire
67. K to close the dialog box To Change the Order of the Templates Right click with the mouse anywhere inside the module border Select Organize Templates The menu shown above appears Click Move Up to move the Template one space up in the list Click Move Down to move the Template one space down in the list Click OK to close the dialog box Proteus X Operation Manual 7 Effects Effects Listing Effects Listing Reverb Delay mono Ring Modulator Early Reflections Reverb Flanger SP 1 2 ulator Reverb Lite mono Phaser Growl Chorus Early Reflections Tube Chorus Delay mono EQ 1Band Parametric Twin mono Delay EQ 4 Band Delay BPM Pitch Shifter mono Effects Descriptions Background Reverb This information applies to all the reverb algorithms Reverberation is a simulation of a natural space such as a room or hall Pre delay is the time before the reflections from the closest walls are heard This parameter gives our ears important clues about the size of a room As you might imagine large halls have a longer pre delay than small rooms Decay Time defines the time it takes for the reflected sound from the room to decay or die away The diagram below shows a generalized reverberation envelope m Initial Sound LA Reverberation Time i Pre Delay Early Reflections After a short pre delay period the echoes from the closest walls or ceiling are heard The pattern of t
68. KB 40 Proteus X Operation Manual The Librarian As your sample library grows so does the problem of managing all your banks presets and samples As you ve probably already discovered a single bank can contain literally thousands of individual samples The Library is accessed by clicking the Library tab at the bottom of the Tree To use the librarian you first Update from the File menu This creates a searchable database of all your samples presets banks and audio files which can be quickly searched Audio files can be either WAVE or AIFF You can select which drives you wish to add to the catalog or manually Add Locations to narrow down the selection range to speed the update process The Add Location button also allows you to specify network drives to catalog Only the selected targets are overwritten with new data when the update process is performed Unselected targets remain as they were The Clear Library button erases the entire library so you can start from scratch P Using the Librarian Catalog your Disks 1 Select Update from the File menu A popup dialog box appears asking you to select the disks you wish to catalog Update Library Select the drives or Folders you would like to index From the Following list To index a location not in the list use the Add Location button IY CA Cancel Update Clear Library li il Add Location Updates the Library with the selected i
69. Notice that the MIDI Activity 3 Getting Started Multisetup Page Try out a few more presets When you find one you like double click on it to select it and return to the Multisetup screen Change the current preset by clicking on the number to the left of the preset The Selecting None in number you selected turns red the Preset field disables the MIDI Channel LED of the current preset now plays along with whatever sound is selected for that channel Your MIDI keyboard still plays on the channel to which it is set Change the channel on your MIDI keyboard then play it The Proteus now plays the preset on that channel Selecting Presets from the Tree When you click on a preset in the tree you have just selected it for the current MIDI channel This action also calls the Preset Global page To go back to the Multisetup page click the back arrow or click on the Proteus X icon at the top of the tree Changing the Current MIDI Channel The Current MIDI Channel is simply the MIDI channel you are currently working with To change the current MIDI channel click on the channel number in the Multisetup page The selected channel number turns red Note also that the channel number at the bottom of the window changes to reflect the current channel Adjusting the Controllers Each preset has a set of 16 continuous controllers which are used to adjust and control the sound as you play Your MIDI keyboa
70. Preset Editor Preset Globals Channel Ramp This processor generates a single negative going slope whenever the first key is depressed on the MIDI channel This preset level processor was originally designed to simulate the percussion key click on Hammond organs but you may find other uses Channel Ramp time decrease 1st Note Played The Channel Ramp instantly resets when all notes have been released and the next first key on the MIDI channel is pressed The value of the ramp rate sets the increment Large values produce fast ramps and small values produce slow ramps To use the Channel Ramp as a first note decay envelope patch the Channel Ramp out to Amp Volume and set the Amp Envelope for a fast attack and 100 sustain and short release Preset PatchCords Preset PatchCords give you real time control of the Preset Modulators There are 12 Preset PatchCords per preset with a source a destination and an amount control The amount can be set from 100 to 100 Modulation Sources Modulation Destinations Off Off Pitch Wheel Channel Lag 1 In Mod Wheel Modulation Wheel Channel Lag 1 Amount Pressure Channel Pressure Channel Lag 2 In Pedal Channel Lag 2 Amount MIDI Volume Controller 7 Channel Ramp Rate MIDI Pan Controller 10 Post FX Main Send Expression Controller 11 Post FX Aux 1 Send MIDI A P Post FX Aux 2 Send Footswitch 1 Post FX Aux 3 Send Flip
71. Press Shift Tab to move the cursor to the previous field P Select the Knob or Slider and then Usethe Left Right keys to increment or decrement the value by 1 Use the Page Up amp Page Down keys increment or decrement by 10 Use the Roller on a roller type mouse to increment or decrement the value Press the Home key to turn the control all the way down Press the End key to turn the control all the way up Press the 5 key in the numeric keypad to center the control Num Lock must be off 136 Proteus X Operation Manual 8 Controls Adjusting Key Ranges amp Fades Adjusting Key Ranges amp Fades The Key map windows contain alphanumeric fields displaying the key ranges of samples and voices N TUN DEEE IN voce PIHENINN S ZONE SAMPLE o FAD OR KEY Click amp Drag gt Editing the Key Range using the Graphic Display Click and drag the end points of the graphic display to set the high and low key range Hold Ctrl then click and drag the end points to move the fade range gt Editing the Key Range via the Alphanumeric Fields First place the cursor inside the alphanumeric field and then Type in the desired value Use the keys to increment or decrement the value Use the roller on a roller type mouse to increment or decrement the value Press and hold Ctrl and press Alt A small MIDI connector symbol appears at the bottom of the window Play your MIDI k
72. Proteus X 4 Multisetup Global Controls The Multisetup Main Output Routing File Edit View Nultisetup Options Wii ae mH XS Click DR deme Here JM A Ku Stq JH Rockin B JM WideSuitcase Zimppler 4 ME AnalogPlanet cmm Kit 1 A And Voice MM MetalScience gj AM Silk OBXsaws gj AM Stolen7Away A Movie Brass s ME Dyna heim sj MM Jumping Current Channel LAT Acoustic 1 1 BreathyTBone JM Real Flute AM Allin Pizz FU Walky Talk 4 Films MM Ls Worm MW Bag O Tricks AM Melosoul EP AM Breather MIDI Controllers a ge 107 4 emto 90 eme l a a n a a a le YA WV Sampler M AAA A A For Help press F1 34 MB CPU Disk 84 Ch 1 Proteus X Aux Send Enables P Preset FX Enables Filter Override Master L Tempo Master Volume AUX Output Select Preroll CPU amp Disk No of Current Definable RAM Used Use Meters Samples Channel Labels Playing E MU Systems Preset Tune amp Limiter 45 4 Multisetup Global Controls The Multisetup The Current MIDI Channel Change the current channel by clicking anywhere on the desired horizontal channel strip The red indicator displays the currently selected channel number The MIDI Controllers change to show the settings of the currently selected MIDI channel To Select a Preset 1
73. X Operation Manual 7 Effects Overview 7 Effects Overview In addition to the hardware based effects of PatchMix DSP Proteus X offers software effects processors and a powerful effects routing scheme The E MU engineers have created a complete collection of top quality effects using 32 bit floating point precision for pristine sound quality In addition the effects algorithms have been designed for low CPU usage The Proteus X effect routing architecture is extremely flexible Effects can be included as part of the preset or multisetup or both Preset FX and Aux FX both use the same effects algorithms Multisetup Aux Effects are designed to be used for your main effects such as reverb or delay Aux effects can be applied to any or all of the 32 MIDI channels Preset Effects are used when you want an effect to be included as part of a certain preset For example you might want to add chorus to a string pad or distortion to a guitar sound Aux Effects in Sidechain Preset Effects in Series Amounts From MAIN To Voices Host From Voices To Aux FX or Host Each effect has a number of user adjustable parameters and a wet dry mix control See page 21 to learn how to connect controllers When using effects as part of the preset the wet dry mix or effect amount is controllable on a per voice basis This means that you can create presets using effects as integral parts of the sound and control
74. ac formatted disks The Proteus X Converter can access and convert both types as it can view both PC and Mac drives Both HALion I and II use the same file format II just has more features HALion files use the fxp file extension although especially in the case of Mac files it is not necessary to have the file extension The Proteus X Converter will only see HALion files on PC formatted disks if they have the fxp extension on Mac disks they either can have the fxp extension or be file typed with the HALion Creator code and file type It is important to note that the fxp extension is commonly used by other VST related files The Proteus X Converter only shows the fxp files that are verified internally as being HALion compatible ones A HALion file does not hold the samples they are referenced and can be in the form of AIFE WAVE Sound Designer 1 or 2 or Mac System 7 files HALion has extensive programming capabilities including a large modulation matrix The Proteus X s larger CORD capabilities are more than enough to handle the load however there are certain features that need special addressing in Proteus X Please see Keyswitching amp Other Non Proteus X Features on page 166 for more information HALion like the Proteus X uses streaming like technology to load and play large sets of samples The Proteus X Converter will convert any amount and size of samples and the Proteus X is powerful enough to play any size A HAL
75. age then save the bank E MU Systems 33 3 Getting Started Create Your Own Custom Bank Create Your Own Custom Bank It s easy to create your own custom sound banks by simply dragging and dropping the presets or samples you want onto the Proteus X icon in the tree D To Create a New Custom Bank Locate the Presets on your Computer 1 Select New from the File menu This creates a new empty bank You can also merge presets or samples into an existing bank if you wish Select the System Tab The Desktop icon will appear in the tree Locate the presets you wish to include in your new bank These will be located in the E MU Systems folder located in Program Files The included CD Proteus X Proteus Composer exb ROMs contain several E proteus X Composer exb SamplePool other great banks of E Desktop ai 8 E Proteus Composer sounds Run the installer Gy My Computer ick to a application on the library E ee Local Disk C Open 7 MiB Presets CDs to install these banks H Cakewalk Projects Samples on your hard disk E DELL i E Documents and Set a Mukisetups H DRIVERS E Program Files Y H Creative H Creative Profes a Presets H CyberLink I DynamicGrand Dell WW Yo My Dynos E MU Systems m Orchestral 2 Phantom Pri a ne a Clickio ea Proteus Cor m A Ku Sb C3 Sampler m q Open ce leg Proteus IE Rockin B E Saint Thome In WideSuitcase n Zimppl
76. alues decrease the attack rate of the amp envelope Amp Env Decay Positive values decrease the decay rate of the amp envelope Amp Env Release Positive values decrease the release rate of the amp envelope Filter Envelope Rates Positive values decrease the rates of all filter envelope stages Filt Env Atk Dcy Rel Same as for Amplifier See above Filter Env Trigger A positive going zero crossing value retriggers the envelope Aux Envelope Rates Positive values decrease the rates of all Aux envelope stages Aux Env Atk Dcy Rel Same as for Amplifier Envelope parameters See above Aux Env Trigger A positive going zero crossing value retriggers the envelope LFO Rate 1 amp 2 Positive values increase the LFO rate LFO Trigger 1 amp 2 A negative going zero crossing value resets the LFO to zero Lag Processor 0 amp 1 Inputs for Lag Processors 0 amp 1 See page 98 Summing Amp Input to the Summing Amp See page 151 Switch Input to the Switch processor See page 151 Absolute Value Input to the Absolute Value processor See page 151 Diode Input to the Diode processor See page 151 Flip Flop Input to the Flip Flop processor See page 151 Quantizer Input to the Quantizer See page 151 Gain 4x Input to the 4x Amplifier See page 151 Cord 1 36 Amount Controls the amount of PatchCords 1 36 94 Pro
77. amended to include Bank Select Commands It was decided that Bank Select Commands would use Continuous Controllers 0 and 32 to allow the selection of up to 16 384 banks of 128 presets over two million presets Because Bank Selects are implemented using Continuous Controllers the Bank Selec tions can be made per channel This is getting better and better For each MIDI channel you can select any of 16 384 banks and then one of the 128 presets in the bank Of course no synthesizer has 16 384 banks yet but hey it s nice to know it s possible for that really BIG project MIDI Modes There are three MIDI modes used by the Proteus X Multi Mode is the default mode Select MIDI Modes from the toolbar buttons or from the Taskbar Options menu Omni Mode Voice messages are received on any and all MIDI channels and played on the basic channel This mode is the lowest common denominator of MIDI It is designed so that you always hear something Also called Mode 1 e Poly Mode Voice messages are received only on one MIDI channel the basic MIDI channel Also called Mode 3 e Multi Mode Voice messages on each MIDI channel play on the preset assigned to that channel The Proteus X has the ability to play a different preset on each of 32 MIDI channels using two MIDI ports of 16 channels each The Basic MIDI Channel can be identified by the red channel number in the Multi page Click on any channel
78. amounts as well as a wet dry mix to the Preset FX section The three effect sends from all voices and Presets are summed into the three Aux Outputs where they are assigned to an ASIO pair The Aux ASIO streams can be routed to the PatchMix DSP mixer or to other software devices running on your computer Proteus X Aux Bus Routing PRESET VOICE Proteus Sessions in PatchMix DSP The Proteus X factory banks have been designed to be used with special Sessions in the E MU Digital Audio System These Sessions connect the Aux Outputs to PatchMix DSP mixer input strips containing PatchMix DSP hardware effects If a factory bank has the Aux Outputs set as shown in the diagram above it is designed to use the PatchMix hardware effects If all the Aux Outputs are set to EX Main it most likely uses the built in software effects You can easily add PatchMix DSP hardware effects to a bank that uses Proteus X software effects by simply switching an Aux bus to a PatchMix strip with effects See Block Diagram of the Effects Routing on page 104 IMPORTANT The act of creating PatchMix DSP ASIO mixer strips makes them available for Proteus X or any other application You must create the ASIO mixer strips before Proteus X or any other application will see them E MU Systems 4 Multisetup Global Controls Global Controls See Chapter 7 Effects on page 101 for complete descriptions of the effects routing ASIO 1 2 EM
79. ampler The Proteus X Converter is able to convert single files multiple files and entire disks and even more than one disk simultaneously Simply click the Add button and a customized file browsing dialog will appear From this dialog simply choose disks folders or files you want to convert You can select single files by double clicking on them or by clicking on the dialogs Add button You can select multiple selected files or folders disks by selecting them and clicking on the dialog s Add button Remember that selecting a folder to translate includes not only all the files that are immediately within that folder but all files within all the folders within that folder In other words it always recurses every relevant folder tree The objects you want to convert are added to the Converter Application s object list They are not converted yet You may add or delete from the list until you re ready to convert Also note that if you choose a folder of say EXS 24 files they are entered into the Converter Application list individually You can see the name of the file and the path that it exists in Source Format Information The Proteus X Converter is able to browse any sort of disk whether it is PC formatted Mac formatted or specially formatted for a specific sampler Below is helpful background on each source format and some relevant details on how their special features are exported into the Proteus X Akai S 1000 30
80. an equalizer should normally be set to 100 wet or unpredictable results may occur lt Tip When using a MIDI controller to change the EO gain a value of 77 OdB 125 7 Effects Effects Descriptions Flanger A flanger is a very short delay line whose output is mixed back together with the original sound Mixing the original and delayed signals results in multiple frequency cancella tions known as a comb filter Since the flanger is a type of filter it works best with harmonically rich sounds AMPLITUDE dB FREQUENCY log A low frequency oscillator is included to slowly change the delay time This creates a rich sweeping effect as the notches move up and down across the frequency range The amount of feedback deepens the notches intensifying the effect You can invert the feedback signal by choosing a negative feedback value Inverting the feedback signal creates peaks in the notch filter and deepens the effect Parameter Description Initial Delay Sets the initial delay of the flanger in 01 millisecond increments This parameter allows you to tune the flanger to a specific frequency range Range 01ms to 4ms Depth Sets how much the LFO affects the delay time Increases the animation and amount of the flanging effect Range 05 to 10096 Rate Sets the speed of the low frequency oscillator which modulates the delay time of the flanger Rang
81. ank EM MIDI MIDI MIDI MIDI Ch1 Ch2 Ch3 Ch4 Ch 31 Ch 32 gt Filter Amp Multisample Velocity or Realtime Crossfade Multi Sample Voice Multisample Multi HA Filter Amp We Wwe ii Sample Sample 02 03 Multi Setup Preset Single Sample Voice Voices Mei Sample Samples Sample 01 24 Sample 04 Sample 05 Sample 06 Proteus X Operation Manual 2 Proteus Architecture A Modular System Multisetup A Multisetup is like a map which assigns a preset volume pan position and output routing to each of the 32 MIDI channels Aux FX and effect bypass controls are also included in a Multisetup Multisetups can be saved and recalled for use with a particular song or sequence so that all the MIDI channels play the proper preset Preset A Preset is the same as A Preset is one complete keyboard setup controlled by one MIDI channel Presets are a MIDI Program composed of multiple voices The assignment of voices to keyboard keys is completely flexible Voice A Voice is one complete sound containing one or more samples with keyboard and velocity mappings and all programmable synthesizer parameters Voices can be assigned to a single note on the keyboard or transposed to cover a wide
82. apping of the samples contained within it E MU Systems 27 2 Proteus Architecture A Modular System Normally these samples would be placed side by side on the keyboard as in the diagram above You assign the sample to a range by setting the original key which is usually the original pitch of the sample a high key and a low key The number of samples needed for a realistic emulation varies with the instrument but in general more is better You can place the voice and its sample anywhere on the keyboard If more than one voice is assigned to the same range then pressing a key in that range plays all the voices assigned to that range Voices assigned to the keyboard can be crossfaded by their position on the keyboard or the key stroke velocity Voices can also be switched or faded depending on the value of a realtime controller such as a modulation wheel an LFO or an envelope generator 28 Proteus X Operation Manual 3 Getting Started Exploring the Tree 3 Getting Started Exploring the Tree In this section you ll learn how to navigate around Proteus X using the Tree Don t worry if you don t know what everything does just yet Everything will be explained later on 1 With the Proteus X application running a bank is loaded by selecting Open from the File menu Click on the Presets Folder in the Tree and a screen similar to the one shown below appears Toolbars
83. application such as Cubase or Sonar e Simply set up the Multisetup the way you want it or select one from the Tree then save your song The Multisetup will be saved along with your song 170 Proteus X Operation Manual Keyboard Shortcuts File Menu Nan MES Ctrl N ell Ctrl O Merge E ln Ctrl M SAVE EE Ctrl S Edit Menu WAG Oxez cee es nese nies she sean ante ss Ctrl Z REGO 226 PET Ctrl Y GUE 4 dE Ctrl X COPY es Ctrl C Paste vou iae e emt C aoe te oec LE de Eu Ctrl V Select AI iii soe cec Mimet Ctrl A Options All Sound Off Ctrl Pause Window orc edo Alt F4 Tile Horizontally Ctrl Shift H Tile Vertically eeussse Ctrl Shift V Presets New Preset Ctrl W Open VOICES Ctrl Enter New VoOiCe eceern mene Ctrl W New Sample Zone Alt W Links New Link uet epe Ctrl W View Refresh iii iseereseesesesee F5 Voice Editor Place the cursor over the knob slider or wheel Center Control Pan etc Ctrl Click Number key 5 also centers control when Num Lock is off Minimum Setting Home Maximum Setting End E MU Systems 10 Appendix Keyboard Shortcuts 171 10
84. at the bottom of the list Rename your new preset and double click on the plus sign to open it The Voices amp Zones Links and Voice Processing branches appear Click on the Links icon The Link window appears Select Links gt New Link to create a new blank link Click on the Preset button to the right of the preset field A pop up menu appears Select a preset Repeat steps 6 and 7 to add additional presets until the desired thickness is achieved Mix Tune Window This window allows you to set the volume pan position transpose and fine tuning for the linked preset Volume Adjusts the volume of the linked preset Pan Sets the stereo pan position of the linked preset Transpose lransposes the linked preset by shifting the keyboard position See page 78 Fine Tune Allows you to detune the linked preset by 100 cents 1 semitone E MU Systems 5 Preset Editor Links W if you link two or more presets the Preset FX of the linked presets will be ignored The linked presets will be routed through the effects of the main preset 73 5 Preset Editor Links Key Window The key window works just like the key window in the Voices and Zones section page 61 and allows you to set the keyboard range for each linked preset Linked Preset Clavinet 1 Selector Key Position ic Di Graphic Displa Button Low amp High Key Crossfades aon a Velocity Window The velocity window works
85. b Omni Off turns Poly On Comments velocity O note off kk 0 127 wv 0 127 0 127 0 127 Isb m msb cc 00 31 64 95 cc 64 79 v 64 on 0 127 O left 127 right 64 center turns all sound off ignored in omni mode ignored in omni mode forces all notes amp controls o forces all notes amp controls o forces all notes amp controls o forces all notes amp controls o bb bank MSB Go There bb bank LSB Go There Omni On turns Omni On Mono On turns Mono On Mono Off turns Poly On Omni On turns Omni On Omni On turns Omni On Omni Off or Mono Off turns Poly On Mono On turns Mono On All other changes have no effect AAR A Proteus X Operation Manual Index Symbols modulation source polarity 95 Numerics 19 Tone Tuning 57 1 Band Para EQ 124 2nd Stage Gain 133 4 Band EQ 125 4x Gain 151 A Absolute Value 151 Advanced Preference Settings 18 Aftertouch modulation source 144 Aftertouch Mono 144 Akai converting files to Proteus X 161 162 Alternate Tunings 57 Amount patchcord 158 Amp Envelope Depth 90 Amplifer Volume 90 Amplifier Controls 90 Amplifier Pan 90 Analog Oscillator Sound 79 Architecture description 26 ASIO audio drivers 17 outputs 106 Assign Group voice 99 Audio Setup 17 Audition preset or sample from library 42 presets 32 34 sample from disk 35 Aux FX 101 adding 102 bus routing diagram 49 enable disable 103 select 110 send amounts 110 vie
86. bs The Tree is the section shown on the left of the screen There are three tabs at the W E4 E3 CDs use a bottom of the Tree labeled Sampler System and Library proprietary format and can only be read using SCSI ATAPI drives They Sampler Allows you to see the contents of the current Proteus X bank cannot be read using firewire and USB drives This tab gives you access to your entire computer system PC hard disks CD ROM System drives network etc Presets Samples and Multisetups can be browsed then Merged into the current Bank Load Emulator IV banks from this tab The Library shows you all Emulator X and Proteus X related files wherever they Library may be located on hard disks CD ROM or network Presets Samples and Multi setups can be browsed in the Library then Merged into the current Bank E MU Systems 29 3 Getting Started Multisetup Page Multisetup Page The Multisetup is the top level of the Proteus hierarchy and is the place where you choose and assign presets to each of the MIDI channels A multisetup assigns a preset volume pan position and output routing to each of the 32 MIDI channels Multisetups can be saved and recalled for use with a particular song or sequence so that all the MIDI channels play the proper preset Click on the Proteus X icon to display the Multisetup page There are three views of the Multisetup page The Multisetup View buttons change the current view The Single channel view
87. can now be changed simulta neously Following along the Morph axis you can see that the filter response smoothly interpolates between the two filters This is the essence of the Z plane filter Through the use of interpolation many complex parameters are condensed down into one manageable entity Consider as an example the human vocal tract which is a type of complex filter or resonator There are dozens of different muscles controlling the shape of the vocal tract When speaking however we don t think of the muscles we just remember how it feels to form the vowels A vowel is really a configuration of many muscles but we consider it a single object In changing from one vowel to another we don t need to consider the frequencies of the resonant peaks You remember the shape of your mouth for each sound and interpolate between them This is similar to what the Z plane filter does This Z plane filter sweep can be controlled by an envelope generator an LFO modulation wheels or pedals keyboard velocity key pressure etc In fact any of the modulation sources can control the Z plane filter E MU Systems 157 9 Synthesizer Basics MIDI Channels amp Real time Controls MIDI Channels amp Real time Controls The MIDI real time controllers may seem confusing at first but they are really very simple once you understand them You probably already know that there are 16 MIDI channels per MIDI cable Each MIDI channel uses three basic typ
88. ct Sound is not recommended because of speed and latency issues E MU Systems 17 1 Introduction amp Installation Setting up the Preferences Buffer Size This control sets the number of sample periods between updates of the synthesizer parameters The buffer size can be adjusted according to the speed of your computer s CPU A faster CPU can handle a lower buffer size The default setting is 128 sample periods a good compromise of performance to CPU usage Use Optimal Buffer Size When this box is checked the Proteus X will choose the best buffer size based on the ASIO Buffer Latency setting located in the ASIO control panel You should normally leave this feature enabled for best audio performance In certain rare cases you may want to manually set the buffer length to improve MIDI or synth performance Sample Rate This control sets the output sample rate of the Proteus X and will always match the sample rate of your sound card The default setting is 44 1kHz CPU Cap This control sets percentage of CPU resources that will be used by Proteus X and conse quently the maximum number of samples that can be played at the same time Depending on the design of the preset a single Proteus X voice may contain multiple samples which play simultaneously The maximum setting is 80 CPU usage If you hear notes being stolen in your sequence or as you play the keyboard or if the disk meter readout at the bottom of the window goes into
89. ct voices for editing If more than one voice is assigned to the key the voices will cycle around with repeated pressing of the same key 6 To select multiple voices you must use the Group feature See Groups on page 62 Receive Program Changes This check box selects whether or not MIDI Program Change messages from your MIDI controller or sequencer will be received or ignored by the Proteus X Place an X in the check box to receive program changes External Tempo Source This check box selects between internal tempo clock or MIDI clock as the tempo source WV Important The Proteus X uses a global master tempo for Tempo based Envelopes Tempo based If External Tempo Source LFOs and clock modulation When this check box is selected MIDI clock will be used is set to external the for the global tempo and the tempo control in the Multisetup window will be disabled tempo control in the Voice Editor will be greyed out and non functional MIDI Response These controls allow you to customize the MIDI response of the Proteus X to match your MIDI Controller or other instruments Velocity Curve Incoming velocity values can be scaled by one of 24 curves to better adapt to your playing style or MIDI controller Selecting linear leaves the velocity data unaltered The shape of the selected curve is displayed in the window Select the curve that works best for you Volume Curve This is an adjustment to help match MIDI controller
90. ded to or subtracted from this value This is the same pan control as shown on the Mix Tune tab of Voices amp Zones page 61 Amp Envelope Dynamic Range Sets the maximum amount of attenuation from the amplifier envelope generator Variable from 96 dB to 48 dB With longer attack times reducing the envelope depth towards 48 dB may provide a more natural sounding volume envelope Response This control changes the amplitude curve of the voice Classic response emulates the volume curves of classic E MU synthesizers Voice FX Wet Dry Output This control sets the mixture of Wet Dry signal that will be sent from the Voice Main output to the Preset FX processors See the diagram at right A setting of 0 means that no signal from the Main output of the voice will be sent to the Preset FX A setting of 100 means that all of the Main voice output will be sent through the Preset FX 90 Proteus X Operation Manual 6 Voice Editor Synthesizer Level Voice Effect Sends Voice Effect Sends Each voice has one Main Output level control which feeds a Wet Dry mixer and three Aux Send level controls The Wet Dry outputs from all voices in the preset are summed into the Preset FX The output of the Preset FX section can be mixed into the Main and Aux 1 3 outputs The Main Output of the Preset FX goes directly to the channel s main stereo output The Aux Outputs of the Preset FX are summed together with the Aux Output signals from all t
91. des Help Edit View Preset Options Window Help e Bi BA SC mw ms E Toolbar MIDI Modes Handle Status Toolbar Pre Roll Samples Disk Usage Basic Current Voice in RAM MIDI Channel amp KYBD Range 56 MB CPU Disk 6 3 1 POOO St Thomas Strings Voice 1 CO F1 CPU Usage Number of Preset Name Samples Playing amp Number E MU Systems 135 8 Controls Drag amp Drop Viewing and Hiding the Toolbars Select Toolbars from the View menu to call up the Show Hide Toolbar menu Check the boxes of the toolbars you wish to view Flat Toolbars changes the look of the toolbars Toolbars standard M MIDI Mode Flat Toolbars Drag amp Drop You can use simple Drag amp Drop operations for many Proteus X functions For example to copy a voice to another preset simply left click on the voice icon then drag it on top of another preset and release the mouse Page 173 provides a complete listing of the drag amp drop functions Changing Settings Entering Numeric Values Numeric values are displayed in alphanumeric readouts with either an associated control knob or an up down button adjoining the display gt Numeric values can be changed by Turning the knob if there is one Pressing the Up Down keys when the cursor is over a field Typing the desired value into the field Move the Cursor from the Keyboard Press the Tab key to move the cursor to the next field
92. desired Template from the list The Template will be selected OR 1 Pl Organize Templates Select Organize Templates or press 0 while the popup list is visible The following popup dialog box appears v WN WN String Pizz Amp String Sustain Amp Drum Amp Synth Sweep Filter Falling Sweep Filter Talky Filter String Env Select the Template you want and click OK To Rename or Delete a Template Select the desired template from the Organize Templates dialog box Click Delete to permanently remove the Template Click Rename then type in the new name to rename the Template Click OK to close the dialog box To Change the Order of the Templates Select the desired template from the Organize Templates dialog box Click Move Up to move the Template one space up in the list Click Move Down to move the Template one space down in the list Click OK to close the dialog box To Save All the Voice Parameters as a Template Select Voice Processing Templates from the Menu Bar Choose Save Voice Processing Template from the menu A pop up dialog appears asking you to name your new Template Name the template 4 Press OK to save the Template or Cancel to cancel the operation E MU Systems 77 6 Voice Editor Synthesizer Level Oscillator Oscillator OSCILLATOR Frac BEND RANGE sait uses UP OWN EF TUME FIXED FITCH 0 0 00
93. e 01 Hz to 20Hz Feedback Controls how much signal is recirculated through the delay line and increases resonance Negative values can produce intense flanging with some signals Range 0 to 100 Through Zero On Adds a short delay to the original signal to simulate the classic through zero flanger sound which was originally created using two tape recorders On out of phase Inverts the phase 180 and adds a delay to the original signal producing additional phase cancellation If the feedback control is set to zero complete cancellation occurs when the flanger goes through zero Modulation Parameters Wet Dry Mix Depth Mod Rate Mod Feedback 126 lt In order to hear a rich flanging effect the original signal must be mixed in with the flanged signal This can be accomplished using the Wet Dry Mix control or with the Main Send when using Aux effects Proteus X Operation Manual 7 Effects Effects Descriptions Growl This is a new kind of self modulation effect created especially for the Proteus X Growl excels at turning simple sounds into musically complex and interesting ones Depending on the input wave and control settings Growl can impart a horn like quality a warm tube distortion or a harsh rasp Growl is easy to use Just turn up the depth control and wet dry mix then adjust the Initial control until you find the right amount of growl Then back off the oth
94. e Preset Folder in Windows Export as Bank Preset Proteus X System Folder Export as Bank Preset Link Replace Link Preset Link null space Add Link ultisetup Instrument Load Instrument Multisetup Folder Save Instrument Multisetup Replace E4 Bank File Instrument Load Merge E4 Bank File Folder in Windows Copy Move E4 Bank File Proteus X System Folder Copy Move E4 Bank Preset Instrument Merge E4 Bank Preset Presets Folder Merge E4 Bank Preset Multisetup Preset Slot Merge amp Place E4 Bank Preset Folder in Windows Load Merge E MU Systems 10 Appendix Drag amp Drop 173 10 Appendix Drag amp Drop Drag amp Drop Operations From Drag amp Drop To Action E4 Bank Preset Proteus X System Folder Export as Bank E4 Bank Preset Link Merge amp Replace Link E4 Bank Preset Link null space Merge amp Add Link E4 Bank Sample Instrument Merge E4 Bank Sample Samples Folder Merge E4 Bank Sample Folder in Windows Export as Bank Wave AIFF E4 Bank Sample Proteus X System Folder Export as Bank Wave AIFF E4 Bank Sample Preset Zone Replace Zone E4 Bank Sample Preset Voice null space Add Voice E4 Bank Multisetup Instrument Merge E4 Bank Multisetup Multisetup Folder Merge E4 Bank File CD Instrument Load Move E4 Bank File CD Folder in
95. e 1 4 24 dotted 8th note 1 8d 18 quarter note triplet 1 4t 16 8th note 1 8 12 dotted 16th note 1 16d 9 8th note triplet 1 8t 8 16th note 1 16 6 dotted 32nd note 1 32d 4 5 16th note triplet 1 16t 4 32nd note 1 32 3 dotted 64nd note 1 64d 2 25 32nd note triplet 1 32t 2 64th note 1 64 1 5 E MU Systems 83 6 Voice Editor Synthesizer Level Amplifier Filter amp Auxiliary Envelopes Filter Controls FILTER Roque Hertz You can choose from 53 different filter types or choose No Filter which bypasses the filter section Most of the filters have two parameters Frequency or Morph and Resonance Q Gain Body Size These two parameters can be continuously varied during the note choose realtime resonance The frequency response curve of the filter is accurately shown in the display as you change the initial filter settings Frequency is shown on the horizontal axis with amplitude on the vertical axis High values of Q or resonance amplify frequencies near the cutoff or center frequency In a swept EQ filter gain controls the amount of boost or cut In a phaser or flanger resonance determines the depth of the effect In the vocal filters body size determines the apparent size of the mouth cavity You will notice an increase in voice count when the filters are bypassed as the filters steal cycles from your computer s CPU 12th order filters use more CPU and therefore decrease the maximum voice count
96. e Appearance Settings 1 Open the Windows Control Panel Start Settings Control Panel Select System Select the Advanced Settings tab Under Visual Effects select Adjust for Best Performance Click OK M oW N 22 Proteus X Operation Manual 2 Proteus Architecture This chapter contains important background information about the organization of the various modules of the Proteus X Although this chapter doesn t contain any hands on tutorials this information is vital to your understanding of this ultra powerful instrument Read This A Modular System You can think of the Proteus X as a collection of sound organizing modules all contained within the current bank The following is a brief description of the five main elements of the Proteus X hierarchy starting from the largest element the Bank Bank Before you can play the Proteus X you load a Bank of presets The bank contains all the sounds you wish to use in a particular sequence or performance If you need additional sounds they can be added by simply dragging and dropping them into the bank from the system or library Unneeded sounds can likewise be removed from the bank When loading a bank the Proteus X only loads a small portion of the digital samples so bank load time is greatly reduced Saving The bank retains data only for as long as your computer is plugged in and turned on Of course we don t expect you to leave your computer on all the time which b
97. e Cords section although ITD can only be changed at the time of the key depression When Chorus is on a mono voice will use twice as many channels Off is different than 0 for chorus amount With mono samples chorus On effec tively turns a mono sample into a stereo sample with detuned L amp R sides with Chorus Amount being the detune amount With chorus Off no amount of modulation will turn the chorus on With chorus On modulation can drive the chorus detune amount to a minimum of 0 but not Off Tips for Using Chorus Set chorus amount to 1 and use chorus width as a pan control which does not span the entire L R spread Set the chorus width to 0 and adjust the ITD to create a through zero flange effect With 10096 width a panning chorus effect is obtained To avoid L R pitch drift use type of modulation in the cords selection box Modulate the ITD to create Hass Effect panning i e apparent location shift using slight delays in the L R channels Fora detuned analog oscillator sound set stereo width to 100 Route a free running LFO to chorus position with amount set to about 25 Glide Rate amp Curve GLIDE Glide is a smooth gliding between notes instead of the normal instantaneous change in pitch when a new key is pressed The glide rate deter mines the time it takes to glide to the new pitch The larger the value the slower the glide rate The rate is adju
98. e gradually group number You can fades out as the upper voice fades in edit the group number of a voice in any of the Voice screens to be faded out as a function of key position In the screen shown below voices 1 and 2 are being positionally crossfaded over a range of five notes voue VOICE 1 VOICE 3 VOICE y Velocity Window The Velocity Window allows you to control the volume of a voice by the key velocity Using this function you can crossfade or cross switch between voices by key velocity Suppose you had several samples voices of the same piano note one played soft the next played medium hard and the third played hard Using this function you could set the velocity at which each of the voices would sound thus recreating the response of the actual instrument Sample Name Velocity Range os ay Selector Low amp High Velo Crossfades Graphic Display of Velocity Bar Button Indicators Switch Fade E MU Systems 65 5 Preset Editor Key Window Page gt To Velocity Switch Voices 1 In order to velocity switch voices they must first be assigned to the same key range In the Key Window set the high and low key range of the voices so that they completely overlap 2 Select the Velocity Window button shown below By default both voices will be assigned to the full 0 127 velocity range 3 Set the velocity range so that each voice has its own velocity range In the example screen on the previous pa
99. e to control the preset on the currently selected channel These controllers are connected to MIDI sources as assigned in the Preferences dialog box page 21 and changes made over MIDI will be reflected here The scribble strip names and the initial settings of the controller knobs are user programmable in the Preset Globals window See page 56 Mini Keyboard The mini keyboard is used to audition presets and settings without changing the Hold Ctrl and play channel of your MIDI keyboard The keyboard plays the currently selected MIDI the mini keyboard for a channel at a velocity of 64 Select the current channel by clicking anywhere on the velocity of 10 Play the desired channel strip mini keyboard while holding Shift for a Preroll RAM Used dao A This display shows how much of your computer s RAM is being used by pre roll sound data The amount of Pre roll RAM can be adjusted in the preferences dialog box When Sample Streaming is disabled this number shows the total RAM usage See page 15 CPU Meter This display shows how much of your computer CPU power is being used by the Proteus X Number of Samples Playing This display shows you how many samples are currently being played The maximum number of samples that can be played depends on a variety of factors such as HD speed RAM memory speed and CPU speed See Audio Setup on page 17 for more information about performance Current Channel This displays the currently selected MI
100. e view is shown below This view is convenient for performing live or when you re only playing one preset at a time Single Channel View gt The Multisetup W The MIDI Controller settings and Filter Override are not stored with the Multisetup These settings are stored with each Preset Preset Multisetup Select All or Select Channel Bank Aux FX MIDI Select View by Category Category Select Preset Display Mode Buttons Display Buttons Select E Proteus X Composer Proteu File Edit View Multiseti Options WW elp e INN AAN i e FE E SESS S l8 e El ES Select Click M Proteus X Composer exb Effect Here B t3 Presets A E AM Dynamic Grand E IM Yo My Dynos D 0 0 0 0 Effect MM Orchestral Bypass Channel AM Grusty Dyna zx M A Ku Stq Pan A E WideSuitcase Preset Zimppler m Category AnalogPlanet j Channel me Display Volume MM And Voice MetalScience Silk OBXsaws Filter MU Stolen7A FXA FXB Ares Override Aux Output Dynacheim Jumping Enables New Age Oohs SS Master etti Tempo M ain Acoustic 1 E JM BreathyTBone Output NM Real Flute Select MME Alin az Master Ce AA rey Talk Volume JA Filmscore AE L V s Worm E JM Bag O Tricks MIDI z soul EP AUX Controllers E MM Breather m Output Sampler EJ System Library Select For Help press F1 34 MB CPU Dis 0 Ch 1 Proteus X Preroll CPU amp Disk Samples Curre
101. ea e EXP NURSE ex nuances 49 Proteus Sessions in PatchMix DSP sssssseseeeeeeeeeeeeee eene nennen 49 Filter Overt de sant tae B egit erras 51 MIDI Controllers Scribble Strips 44 51 Mini Key DO at 3 nd e He Hr tree Sees a Mere ein 51 Pr roll RAM Used eene dieere REO 51 CPUM t r 4 erret bo o e dete A a 5 Number of Samples Playing ccccccccceceseeseesesseseeseeseeecseesecseeseeseeesecseeeeeeeseeaeeaeees 51 Current Channel tA HEN a Ua ER 51 Working with MultisetUps eterne entente EE ere teer sn Sind 52 Saving FX amp M ltisetups eei de n EE il ans 52 VSTIMultsetups sace steh dette np An des BST hr ue Hen i 52 4 Proteus X Operation Manual 5 Preset Editor ne nn nuunuumuuuuuuuuuuuuuuuuuuuusauusanuas DD Preset Global iaa n aeree tret oa Aad le eee 56 Transpose VOM oia de e t et teer ag 56 Initial Gontrollers A P ipee gen Rer e ER E RE 56 Tuning Tables or rere ER REDE EA RA aah 57 Preset Modulators aceite rer te e P HR He ena eurent iii 58 Channel Lag 1 amp 2 Rate sen AE ee e RR PERO anion 58 Poly Key Vitter ias cat Re de eee de e e nee Rei S 59 Channel Ramp nie nn mine Mere Reiten 60 Preset Patch COLdS oiro a ten eese gr ete ded iei e dece es 60 Volces Sample Zones iaa 61 Mix Tune Tab ene tette esed eet epe ceo e ede eot 61 Voice Selection sais rere estes OPERE ERE EROR PETERE REB RED nan 61 Samples amp Multisamiples miss Rete eed tee e Cete i 61
102. ect Controllers Other This section allows you to set up the MIDI Continuous Controllers you want the Proteus X to receive This group contains three miscellaneous controls that didnt fit anywhere else Load Last bank At Startup Clear clip indicators after 10 seconds E MU Systems 15 1 Introduction amp Installation Setting up the Preferences Audio Preferences Preferences Audio MIDI Controllers Other Settings Streaming Audio Type E MU ASIO im ASIO Control Panel Ultra High Precision Interpolation lt gt Pre roll seconds 0 5 Sample buffers 64 Buffer size 480 10 0 msec vl CPU cap 95 80 Ka VST A a Sample rate 48 0 kHz x Headroom Boost dB 15 Streaming When you load a Proteus X bank with Streaming on you are not actually loading the sample files themselves into your computer s RAM Only the preset information and the first few seconds of the sample are loaded The rest of the sample data is taken directly from the hard disk when needed This streaming technique makes fast loading times possible even when using huge banks that would clog a RAM based sample player Multi layer minute long stereo samples on each key are no problem for Proteus X Sample streaming technology is not new It was originally developed for hard disk audio recorders so that fast punch ins and punch outs could be achieved You have the option to e
103. ect a controller number for each control on the keyboard For example it may let you select a number from 0 31 for the data slider The realtime controller numbers that the keyboard transmits must match the numbers Proteus X is receiving otherwise nothing will happen when you move the controls Suppose you wanted to send the four data sliders on your master keyboard Proteus X can handle up to 16 MIDI controllers A P of your choosing MIDI A P are simply names for the internal connections that link external MIDI continuous controllers to the Cords page There are two parts to the connection First MIDI controller numbers are assigned to the letters A P in the Controllers dialog box Next the letters A P are connected to synthesizer control parameters in the PatchCord section of the Preset Edit window The Cord Amount scales the amount of each controller by a positive or negative value Most factory presets have the MIDI A P controls connected to standard synthesizer functions labelled in the Multisetup page By choosing any four of the 16 standard functions the four sliders on your keyboard will work the same on every preset The chart on the following page shows how this might work if your keyboard transmitted the slider settings on MIDI controllers 21 24 158 Proteus X Operation Manual 9 Synthesizer Basics MIDI Channels amp Real time Controls MIDI AP are internal connections which carry MIDI co
104. ected category are selected D Changing the Current MIDI Channel The Current MIDI Channel is simply the MIDI channel you are currently working with To change the current MIDI channel simply increment or decrement the channel number using the buttons or click on the channel number and type in the desired number E MU Systems 3 Getting Started Multisetup Page Note that Single View only changes the display and does not affect the currently selected MIDI mode i e Omni Poly or Multi a The Bank Program Display shows the Bank and Program number you would use to select the preset from a sequencer 3l 3 Getting Started Multisetup Page Channel 1 16 View Press the Multisetup View 1 16 button to view channels 1 16 This page view is particularly useful when sequencing as you can see 16 MIDI channels at once Note that the Output Display button is now active Press the 17 32 button to view the presets on channels 17 32 See also 4 Multisetup Global Controls on page 49 Channel 1 6 View MIDI Preset Multisetup Channel Channel Output Aux FX MIDI Main Activity Select View Volume Pan Display Display Mode Output Buttons Button Buttons Select Routing N Lr H Proteus Composer Proteus X File Edit View Nultisetup Options Windy lelp as 85H J Click rates X Composer exb y Here a el AuxSend Enable Pa Preset FX Enables 4 JM Dynamic Grand L3 s JN Y
105. eeeeeeeeneee eene 152 Dynamic Filters nasce eer eee ehe ro ir OE OR ORA ARIES 153 Whatis a Filter ssc cecscsseceatis prt ree e ete er a rie e ge tee seeds 153 Parametric Filters 5 eco ettet rre rr ee a P Pe RE tie e ASS 156 The Z Platie Filter onn eden e eR ed ane e eH PER ane dense 157 MIDI Channels amp Real time Controls ss 158 MIDI Program Change Commands sese 160 MIDI Bank Select Commands sese enne enne 160 Background Bank Select Commands sse 160 MIDI MOd s sieste E ida 160 8 Proteus X Operation Manual 10 Appendix ee eene e nnne nnne nnnm nnn nnno 161 The Proteus X File Converter aio erret RE THEE ERE re ente 161 Supported File Types iue emet id wave seeder ee RES 161 Background ie EROR UO re EHE Re OR ge ets 162 Source Format Information rriar n r E a E A 162 NOTES EE 166 Keyswitching Other Non Proteus X Features sess 166 Relative Paths eee aste iie sa tete m ie 167 Fixed Location Folder eh eere try rente nte i edis 167 Mac Catalog FSSpec Reference sse 167 Monolithic Files rhin menti ee eere y e e ede regis 167 Special Notes BER B e m e ene tete ates 167 Combining Dual Mono Samples into Stereo Files sss 167 Floppy Disk Suppott mii reme det fe nere A geass 168 Note about EOS Banks Saved on DOS Floppies sss 168 Proteus
106. efinition 160 multi mode 160 note on 80 omni mode 160 poly mode 160 preferences 19 program change enable disable 20 program changes 160 real time controllers 158 selecting input ports 19 velocity curve 20 MIDI Response 20 Mini Keyboard 51 MiniMoog solo mode 100 Mix Tune Tab 61 Mod Wheel modulation source 144 Mode fixed pitch 78 mono 180 multi 180 omni 180 poly 180 solo 100 Modulation 143 cords 145 description 143 destinations 150 of effects 112 of loop 98 processors 151 source random 148 sources 144 adding 95 Mono Aftertouch 144 Mono A I 99 Mono Mode 180 Morphing Filters 87 157 Multi Mode 160 180 184 Multiple Trigger 100 Multisample Voices description 27 viewing amp editing 61 Multisetup basic operations 52 description 25 intro 30 MIDI channel 46 output assignment 46 saving 52 selecting 43 selecting presets 46 Network searching with librarian 41 New sample zone 70 voice 69 Noise Generator 145 None in preset select field 33 Notch Filter 155 Note Division BPM envelopes 83 97 Number of Samples Playing 51 Numeric Values entering 136 O Offset Sample Start 80 Omni Mode 160 180 Open Voices 69 Optimizing your Computer 13 Original Key 63 P Pan amplifer 90 in multisetup 46 linked preset 73 Parametric Filter 156 1 band para eq 124 4 band eq 125 PatchCord amount 158 description 145 sources destinations 92 tutorial 39 Pedal modulation source 144 Phase
107. el or the preset level Note that since the Main output and Aux 1 2 amp 3 are all connected to the same ASIO output they will be MIXED before being sent to the Host application Patch Mix DSP 104 Proteus X Operation Manual 7 Effects FX Routing FX Routing Make sure that you are thoroughly familiar with the architecture of Proteus X page 23 before delving into the effects section and it will make a lot more sense Study the effect routing diagrams below and the preceding page The effects architecture of the Proteus X is very flexible and allows for a variety of different signal routing schemes Block Diagram of the Effects Screens Preset Effects Aux Effect Main Output Aux Output A amp B On Off View ASIO Select On Off Aux Output PRESET ASIO Select AMPLIFIER Lx e Main L ASIO 1 2 p ASIO 1 2 ASIO 3 4 ASIO 5 6 VOICE MULTI This diagram shows the effects routing using the actual Proteus X screens in the Voice Preset and Multisetup The Main output and the Aux 1 outputs are both routed to EX Main ASIO 1 2 and will be combined into the ASIO 1 2 channels Voice Main Output Adjusts the amount of Voice signal to the Wet Dry mix control Voice Aux Outputs 1 3 Adjusts the amount of Voice signal sent to the Aux 1 3 Busses and Effects Voice Wet Dry Mix Adjusts the Wet Dry mix of the Voice main output sent to the Preset effects section Preset Main Output Adjusts the amount of P
108. er controls and a fine tune all the other controls to taste It s Grrrreat Parameter Description Initial This control Tunes the effect to a specific frequency range Range 01ms to 15ms Depth Sets how much self modulation is applied Range 096 to 10096 Color Controls the tonal color of the effect Range 99 to 99 Pre Filter Anti aliasing filter Turn this filter up if you hear aliasing at high frequencies Modulation Parameters Wet Dry Mix Depth Color E MU Systems 127 7 Effects Effects Descriptions Phaser A Phaser or phase shifter produces a fixed number of peaks and notches in the audio spectrum which can be swept up and down in frequency with a low frequency oscillator LFO This creates a swirly ethereal sound with harmonically rich sound sources of a type of pitch shift with simpler sounds The phase shifter was invented in the 1970 s and the characteristic sound of this device evokes emotions of that musical era Feedback Rate L R Phase Parameter Description Depth Controls how much the Center Frequency is swept by the LFO Range 0 to 100 Rate Controls the sweep rate of the Low Frequency Oscillator Range 01Hz to 20Hz Feedback Increases the depth of the notches and height of the peaks Inverted values invert the feedback polarity Range 100 to 100 Stages Selects between 3 6 9 or 12 phase shift stages and thus the number
109. er m It AnalogPlanet lt WW Kit 1 mum Samp sy tem Wh And Voice 1 MetalScience System Tab Audition the Presets 4 9 After you have located the Presets folder click on the Proteus X icon in the Tree to view the Multisetup page Find a preset in the Tree and Right click over it A pop up menu appears with two options Audition and Merge Select Audition or press A on your computer keyboard Notice that the preset Tip You can also name is now flashing in the Multisetup screen audition samples or Play your MIDI keyboard to audition the preset from the hard disk A Right click again and select Stop Audition or press S on your computer keyboard The preset name stops flashing in the Multisetup screen Continue auditioning until you find a preset you like Merge the Preset 10 When you have found a preset you want to include Right click over it in the Tree 34 and select Merge from the menu or press M on your computer keyboard The preset is added to the current bank Proteus X Operation Manual Another Method of Merging Presets 11 Simply click left mouse button and drag the preset over the Proteus X icon at the top of the tree The cursor changes to a plus sign as you pass over the icon Release the mouse button and a pop up progress bar will inform you that the preset is being loaded 12 If you change your mind and don t want to merge the preset after all choose Undo from
110. er you wish to control PRESET CORDS Post FX Aux 1 Send X 100 00 MIDI K 6 Set the Cord Amount 7 In the screen above MIDI Controller K is controlling the Reverb Decay Time See MIDI Channels amp Real time Controls to learn how MIDI controllers work in the Proteus X See page 21 to learn how to assign MIDI controller numbers to the Proteus s A P reference letters 112 Proteus X Operation Manual 7 Effects Preset FX Screen Creating Deleting amp Reordering Templates You can save a library of your favorite effects as Templates Templates are saved with the Proteus X application so they re always available for use D To Create an Effect Template 1 Set the controls as desired for a particular effect 2 Right click with the mouse anywhere inside the TV screen border A pop up menu appears 3 Select Save Effects Template or press S while the popup dialog box is visible The following popup dialog box appears OR 1 Select Effects Templates or press E from the Multisetup Preset or Voice menus A pop up list of Templates appears 2 Select Save Effects Template or press S while the popup dialog box is visible The following popup dialog box appears Save Effects Template Type the name of the template in the edit field or select the name of an existing template to replace Nice Feeling Adds a Fifth Adds An Oct Alien Chorus Animated Chorus Anothe
111. erceived by the ear as a distinctly separate sound If we now vary the delay time in this range an effect called chorus is created which gives the illusion of multiple sound sources A slight amount of feedback serves to increase the effect Inverted feedback percentages add negative feedback which can change the tone of the chorus A very slow LFO rate is usually best for a realistic effect but a faster LFO rate can also be useful with minimal LFO depth 2 This effect is a true stereo chorus with independent delay lines for the left and right channels The left and right modulation waveforms are always 180 out of phase so that left channel delay is increasing while the right channel delay is decreasing and vice versa This creates a richer and more animated chorus sound Parameter Description Initial Delay Sets the length of the delay Range 10ms to 50ms Modulation Sets how much the LFO affects the delay time Increases the Depth animation and amount of the chorus effect Range 0 to 100 Modulation Sets the frequency of the low frequency oscillator Rate Range 01Hz to 15Hz Feedback Sets the polarity and amount of delayed signal that will be recirculated through the delay lines Range 99 to 99 LFO Waveform Selectable between Sine or Triangle wave Modulation Parameters Wet Dry Mix Rate LFO Feedback 118 Proteus X Operation Manual Chorus Delay This effect is a combination Ch
112. es Assign voices to Groups in the Voices and Zones page then select the group Select the desired voices from the Voices and Zones page Drag the range bar below the little keyboard to select a range of voices Hold Crtl Alt and play your MIDI keyboard to select voices with IntelliEdit on Press Ctrl A to select all voices from the voice processing page Simplified Proteus X Signal Path A single Proteus X voice is diagrammed below The audio path includes one or more samples a dynamically controlled filter and a dynamically controlled amplifier with a panning network Modulation parameters operate simultaneously on all samples contained in a voice PatchCords with built in amount controls connect modulation sources LFOs envelopes knobs etc to modulation destinations sample pitch filter amp volume etc Memorize this voice architecture diagram to better understand the Proteus X and make programming much easier Voice L Sample Loop info Sample Rate R 282858 eQMe ona AGUA ce 1 LI 1 d E MU Systems Simplified Proteus X Signal Path 4 See Groups on page 62 IntelliEdit is enabled in the MIDI Preferences dialog box See page 19 75 6 Voice Editor Synthesizer Level Overview of the Voice Editor Overview of the Voice Editor FREQ Hz TYPE 801 ER ES 2 Pole Lowpass tJ 1 J FIXED PITCH 0 0 00 s s SOURCE Triangle os MIDIB MIDIE
113. es Add EIII ESi 51000 and 3000 Destination C Documents and Settings rileys My Documents Results Conversion Progress File Progress IMPORTANT You don t have to convert Emulator IV banks Simply locate the desired EIV bank using the System Tab then Open or Merge the bank E MU Systems 161 10 Appendix The Proteus X File Converter P To Use the File Converter 1 SoundFont GigaStudio EXS HALion and 5000 files W E4 E3 Library CDs use Drag and drop files from your hard drive to the Files to Convert area a proprietary format and can only be read using FIII ESi 1000 and S3000 files SCSI ATAPI drives Press the Add Button below the Files to Convert area then select the files from your CD ROM or hard disk 2 Select a Destination location Browse 3 Press Convert The file Converter does the rest preserving loop sample and preset information 4 Files may be removed from the Files to Convert area by first selecting them and then clicking the Remove button Overwrite Existing Files Overwrites files with the same name in the Destination folder Background The Proteus X Converter is the result of over eight years of painstaking conversion work and piles of research on sampler behavior and performance The conversions into the Proteus X will be of extremely high quality so good that sometimes you won t even notice that you are using the sounds in a different s
114. es of messages note on off preset changes and continuous controller messages Your MIDI keyboard in addition to telling Proteus X which note was played can also send aftertouch real time control information which simply means control 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 you are using a keyboard Real time control sources include such things as controller knobs pitch wheels or touchstrips modulation wheels control pedals and aftertouch These are used to add more expression or control The front panel control knobs send out real time controller information on separate continuous controller numbers There is a set of 95 continuous controller numbers for each MIDI channel Some continuous controllers such as modulation wheel volume and pan have standardized numbers For example volume is usually sent on continuous controller 7 The front panel control knobs are programmed to specific MIDI controls MIDI MIDI MIDI MIDI Channel 1 Channel 2 Channel 3 Channel 16 Note Note Note Note On Off On Off On Off On Off Program Program Program Program Change Change Change Change Continuous Continuous Continuous Continuous Controllers Controllers Controllers Controllers Any MIDI controller can be routed to any modulation destination First you have to know which controller numbers your keyboard transmits Most modern MIDI keyboards let you sel
115. esets from Single View Single View is the default view when you first run Proteus X This view is convenient for performing live or when you re only playing one preset at a time All the main param eters for the selected MIDI channel are displayed in Single View and a convenient Category mode allows you to quickly select presets in a certain category A close up of the current channel settings is shown below Single View Close up Select All or Select Select Select View MIDI Channel by Category Category MIDI Channel Inc Dec Preset Inc Dec Select View M CHANNEL y A BANK PROGRAM Bank Preset 2 4 im Program Number P060 Category 01 004 025 Display Ethereosity Preset Selected Name Category VOLUME Channel we Channel Volume Pan OUTPUT EX Main Main Output FXA FXB Select Enables Aux Output Enable To Select Presets by Number 1 Click on the Preset Increment Decrement buttons to move up or down the presets by number 2 Highlight the Preset Number field and type in the desired preset number To Select Presets by Category 1 Click on the Select Category button The pop up dialog box at right appears Categories 2 1 h Guitar l bn ha i desired preset category then row eyboard 2 3 Choose Select By Category from the edi E Single view screen above Kit L 4 Use the Increment or Decrement se buttons to select presets Note that only Orchestral F2 presets of the sel
116. ey must first be assigned to the same key range In the Key Window set the high and low key range of the voices so that they completely overlap 2 Set up a basic cross switch in one of the CC Windows as shown above For this example we ll use two voices This will cause voice 1 to sound whenever the CC value is in the range of 0 63 and voice 2 to sound whenever the CC value is in the range of 64 127 68 Proteus X Operation Manual 5 Preset Editor Voice amp Sample Zone Utilities 3 Select one of the controllers from the list Do this for each voice you wish to switch In the example above voice 1 will sound whenever the Mod Wheel is less than halfway up Voice 2 will sound whenever the Mod Wheel is more than halfway up Voice amp Sample Zone Utilities These utilities are invaluable when creating and modifying Proteus X voices The voice and Sample Zone Utilities are located under the Preset menu Voice Utilities Open Voices This function opens the voice editor for the currently selected voice s New Voice This function allows you to add a new empty voice to the preset You ll use this function when building new presets from scratch or to add a voice to an existing preset Delete Voices This function deletes the selected voice but does not erase the samples Duplicate Voices This function makes a copy of the voice but does not copy the samples Combine Voices This function takes all selected voices and combines the
117. eyboard to set the key position Selecting Voices using your MIDI Keyboard Before you begin Make sure IntelliEdit in the MIDI Preferences is set to the same MIDI port as your keyboard Press Ctrl Alt MIDI Key to select voices from the Voice Processing page You ll see a MIDI icon appear in the status bar at the bottom of the window The first note played selects all voices that overlap that key The second note played if it is different selects all voices that overlap the range between the two notes played If the same key is pressed repeatedly and if there are multiple voices assigned to that note the selection will cycle through the voices whose ranges overlap that key You can see the selected range of keys displayed below the keyboard at the top of the Voice Processing window Voice Processing Graphic Keyboard Operation The Voice Processing window has a small keyboard at the top Clicking the keyboard will play the clicked note The range bar below the keyboard shows the range of all selected voices You can change the voice selection by simply dragging the ends of the bar E MU Systems 137 8 Controls Adjusting Envelopes Adjusting Envelopes Envelope rates and levels can be adjusted using the knobs numeric entry or by simply dragging the break points to the desired positions See also Amplifier Filter amp Auxiliary Envelopes on page 81 BPM Mode amp Tempo BPM mode allows the envelope times to follow
118. fect Click on the Effect Select icon at the top right corner of the Effects TV screen A list of available effects drops down See Adding an Aux Effect in the Multisetup on page 102 for complete details on how to add aux effects E MU Systems 47 4 Multisetup Global Controls Global Controls Global Controls FILTER OVERRIDE AUX OUTPUTS E EX Main TUNE oents TRANSPOSE 0 0 RELEASE 50 Master Volume Control amp VU Meter This is the master volume control for the Proteus X This slider controls the output volume of all MIDI channels The range of this control can be adjusted using the Headroom Boost control in the preferences dialog box See page 18 The VU meter indicates the overall output level of the Proteus X Main Outputs It serves as a handy indicator to show clipping or to troubleshoot audio output problems Tempo Control This control and associated display sets the master tempo when the Proteus is chosen as the tempo source Proteus X contains a global master clock which is used for Tempo based Envelopes Tempo based LFOs and clock modulation External Tempo Source in the MIDI Preferences dialog must be Off for this control to operate When External Tempo Source in the preferences dialog box is On and an external MIDI device or application is generating MIDI clock the Proteus X tempo will lock to the MIDI clock tempo Master Tune Master Tune adjusts the overall tuning of all preset
119. fic amplitude and frequency 100 Frequency vs Amplitude o o o Amplitude EN o 20 40 80 160 360 720 1440 2880 Frequency What is a Filter Most samples are complex waves containing many sine waves of various amplitudes and frequencies A filter is a device which allows us to remove certain components of a sound depending on its frequency For example a Low Pass Filter lets the low frequencies pass and removes only the high frequencies E MU Systems 9 Synthesizer Basics Dynamic Filters 153 9 Synthesizer Basics Dynamic Filters 100 Cutoff Frequency lt gt 80 i Output of Filter Low Pass Z 60 Filter E 40 lt i 20 40 80 160 360 720 1440 2880 Frequency A filter that lets only the high frequencies pass is called a high pass filter 100 Initial Frequency 4 80 3 Filter Output 2 High Pass po Filter 20 40 80 160 360 720 1440 2880 Frequency A filter that only lets a certain band of frequencies pass is called a band pass filter Center Frequency 100 4 ES Filter o9 Output S 60 Band Pass Filter E 40 lt 20 40 80 160 360 720 1440 2880 Frequency 154 Proteus X Operation Manual 9 Synthesizer Basics Dynamic Filters A Notch Filter is just the opposite of a bandpass filter and is used to eliminate a narrow band of frequencies Another control found on traditional filters is called Q or resonance
120. g as this value is above zero Fine Pitch Fine pitch modulation with a maximum range of semitone Pitch Full range pitch modulation Glide Controls the portamento glide time Chorus Amount Controls the amount of voice chorus doubling Chorus Position ITD Controls the Inter aural Time Delay of voice chorus See page 79 Sample Start Controls the sample start offset point See page 80 Sample Loop Controls the sample loop length See page 98 Sample Retrigger A negative going zero crossing value retriggers the sample from the sample start Filter Frequency Controls the frequency or morph of the filter Realtime Resonance Realtime control of filter resonance O gain body size Filter Resonance Filter resonance control which is set at note on time only Amp Volume Controls the volume of the voice Amp Pan Controls the left right positioning of the voice Amp Crossfade Controls the RT crossfade of voices so programmed See page 66 Send Main Controls the level of the voice sent to the Preset FX and the Main Output See page 104 Send Aux 1 3 Controls the level of the voice sent to the Aux Send 1 2 or 3 FX processors See page 104 Wet Dry Mix Controls the Wet Dry mix sent to the Preset FX See page 104 Amp Envelope Rates Positive values decrease the rates of all amp envelope stages Amp Env Attack Positive v
121. g or moving a sample file or in certain instances by moving the control file This organizational method is called the Separate File For Samples Method Or it should be called that In this method the built in mechanism for finding the sample that is inherent in the Monolithic Method is gone The Separate File For Samples Method needs a method to find where the separate file is in order to load it Below are the ways this is accomplished by the supported formats Absolute Paths Formats Who Use this Method EXS 24 HALion These control files store a complete absolute path to the sample An absolute path looks something like this c Program Files My Kazoo Samples hohner wav 166 Proteus X Operation Manual 10 Appendix The Proteus X File Converter Relative Paths Formats Who Use this Method None These control files store relative paths which look like this My Kazoo Samples hohner wav This means from the control file go up two folders then descend to this file Fixed Location Folder Formats Who Use this Method Akai S 5000 Emulator X Proteus X These formats simply assume that the sample is in the same folder as the control file or in the case of the Proteus X they must be in a folder called SamplePool that is in the same folder as the control file Mac Catalog FSSpec Reference Formats Who Use this Method HALion Mac oriented files such as HALion files use the Mac format disk system to locate their sa
122. ge 99 to 49996 LFO Pan Sets the amount of panning that will occur at the Modulation Rate Modulation Parameters Wet Dry Mix Rate LFO Feedback Pan E MU Systems 7 Effects Effects Descriptions lt Very short delay times combined with a high feedback amount can be used to create monotone robotic sounding effects 119 7 Effects Effects Descriptions Delay Background Delay A delay line makes a copy of the incoming audio holds it in memory then plays it back after a predetermined time Long delays produce echoes short delays can be used for doubling or slapback effects Very short delays can be used to produce resonant flanging and comb filter effects or create monotone robotic sounding effects Hint use feedback Stereo signals are summed together before entering a mono delay A feedback path recirculates the delayed audio back around through the delay line When creating echo effects the feedback controls how many echoes will be produced With short delay settings the feedback control acts as a resonance control increasing the amount of comb filtering produced by the delay line See Flanger on page 126 A Tone control in the feedback path cuts some of the high frequency energy each time the audio goes through the delay line This simulates the natural absorption of high frequencies in a room and can also be used to simulate tape based echo units The Wet Dry mix controls how loud the ech
123. ge a key velocity of 1 35 will play voice 1 a key velocity of 36 80 will play voice 2 and a key velocity of 81 or above will play voice 3 To Velocity Crossfade Voices 1 In order to velocity crossfade voices they must first be assigned to the same key range In the Key Window set the high and low key range of the voices so that they completely overlap BETO EE E j I VOICE ZONE SAMPLE 2 Select the Velocity Window button shown above By default both voices will be assigned to the full 0 127 velocity range 3 Set the Fade parameter for each voice so that as one voice faces out the other fades in 4 Play the keyboard and fine tune the crossfade points for the desired response Realtime Window The Realtime Window allows you to control the volume of a voice using a real time controller such as a modulation wheel a pedal an LFO or an envelope generator It works in a manner very similar to the velocity window except that a realtime controller is used to control the volume instead of key velocity Sample Name VOICE ZONE SAMPLE Selector Buttons Realtime Range Graphic Display of Scroll amp Indicators Low amp High Range Crossfades Realtime Switch Fade Bar 66 Proteus X Operation Manual P To Realtime Crossfade Two Voices 1 In order to realtime crossfade voices they must first be assigned to the same key range In the Key Window set the high and low key range of the voices so that t
124. h enough the entire bank will be loaded into RAM and no disk streaming will occur W if you get an error message when trying to open a file the file may be too large to fit into RAM Turn streaming on lt Tip Decrease Pre roll time for fast load times when auditioning sounds and creating new banks Increase pre roll time when yourre playing many notes or dense sequences Proteus X Operation Manual 1 Introduction amp Installation Setting up the Preferences Sample Buffers This control allocates the amount of RAM that will be set aside for Proteus X in other words the number of the largest complete samples in the bank that can be kept in the RAM cache As samples are played they are loaded from the hard disk into RAM If you play those samples again and they are already in RAM they don t have to be reloaded This control sets the size of the RAM cache that will be kept and lowers disk access at the expense of RAM D To Optimize the Performance and Polyphony of your System The polyphony of the Proteus X is dependent on a variety of factors including The Pre roll setting if streaming is enabled The Sample Buffers setting if streaming is enabled The CPU Cap setting The bit depth of your samples 16 or 24 bits 24 bits fewer voices The sample rate of the audio hardware 44 1 KHz 48kHz 96kHz The speed of your computer CPU speed RAM and hard disk access time Begin by choosing 44 1k
125. hange Commands The Proteus X receives MIDI Program Change commands on each of its 32 MIDI channels MIDI program changes select Proteus X presets The Receive Program Changes button must be turned on depressed in the Preferences dialog box in order to receive program changes or bank select commands MIDI Bank Select Commands The Proteus X accepts MIDI bank select commands using MIDI continuous controller numbers Continuous Controller CC 0 is the MSB most significant byte and CC 32 is the LSB least significant byte Normally you send both the MSB and LSB controllers to implement a bank change Proteus X remembers the MSB and the LSB that were last sent or last changed from the front panel For example if you have already set the Bank MSB to 04 you need only send the LSB to change banks within the bank The selected bank remains selected until you change it either via MIDI or by changing the bank from the front panel Standard MIDI Program Change commands select from 128 presets within the selected bank Background Bank Select Commands When the original MIDI specification was developed no commercially available synthe sizer had more than about 100 preset locations At that time being able to select up to 128 presets didn t seem like much of a limitation So it was that the original MIDI specification provided for the selection of up to 128 presets Musicians wanted more presets and so the MIDI specification was later
126. he vibrato is brought in only after the initial note pitch has been established The delay range is adjustable from 0 seconds to 20 seconds Shape Sets the LFO waveshape which determines the effect of the LFO There are 16 LFO waveforms and a random sample amp hold type of wave which outputs random levels at the LFO rate 96 Proteus X has two multi wave LFOs for each Proteus X Operation Manual 6 Voice Editor Synthesizer Level Variation Sets the amount of random variation on an LFO each time a key is pressed which 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 the LFO rate Sync Key Sync or Free Running With key sync selected the LFO wave starts at the beginning of its cycle at each key depression With Key Sync off the LFO wave begins at a random point in its cycle on each key depression BPM The BPM button allows the LFO rate to be controlled by the Master Tempo located in the Multisetup window The Master Tempo can also be derived from an external MIDI clock to synchronize the envelope times with external sequencer or arpeggiator tempo changes The chart below lists all the displayed musical note divisions when the LFO is set to BPM The Master Tempo Clock Pulses column shows the exact number of clocks used by each note division based on the MIDI standard of 24 pulses per quarter note The LFO cyc
127. he voices All the Aux Sends 1 3 from all voices and channels are summed with Aux Outputs 1 3 from the Preset FX and then feed the Aux FX processors located on the Multisetup page See page 55 The outputs of the Aux FX processors which may be bypassed feed the Aux Output section where they can be directed to any available ASIO output The Aux Output On Off button to the right of each channel main output allows you to turn the Aux Sends on or off for that channel so you can hear the channel with or without effects 1 1 1 ASIO 1 2 Aux Outputs 9 ASIO 1 2 J s0 3 4 Voices E ASIO 31 32 ASIO 1 2 mm mm Y ASIO 31 32 hmmm mmm mm mmm mmm mmm LL LT p ASIO 1 2 ASIO 3 4 ASIO 31 32 The Voice Effect Send levels and the Wet Dry mix can be controlled using the voice modulation cords See Send Aux 1 3 on page 94 See also Controlling the Preset Effect Amount from the Voice on page 109 E MU Systems 91 6 Voice Editor Synthesizer Level Modulation Cords Modulation Cords Each voice contains 36 Cords which are used to route modulation sources to destina tions and control the amount of modulation There are only three permanently connected modulation connections amp envelope to amplifier pitch wheel to pitch and key to pitch All other modulation routings must be connected with a Cord Cord Page Select Buttons SOURCE Mod Wheel MOO 6 000
128. hese first echoes or Early Reflections vary greatly depending on the type of room Some time after the early reflection cluster ends the actual Reverberation a dense cloud of complex wall reflections begins and decays according to the time set by the Decay parameter Diffusion is the amount of scattering and density of the reverberation cloud Rooms with many complex surfaces have more diffusion than bare rooms High frequency energy tends to fade away first as a sound is dissipated in a room The High Frequency Damping parameter adjusts the time it takes for the high frequency energy to die away and thus changes the characteristics of the room Rooms with smooth hard surfaces are more reflective and have less high frequency damping Rooms filled with sound absorbing materials such as curtains or people have more high frequency damping E MU Systems 115 7 Effects Effects Descriptions Reverb The Reverb is a medium load reverb designed to simulate various types of rooms halls and plates Parameter Description Decay Sets the decay time of the entire effect Diffusion Sets the amount of scattering of the reverb cloud Note that high diffusion settings will increase the overall decay time Room Size Changes the spacing of the reverb stages to simulate rooms of Early Reflections various shapes and sizes Sets the volume of the initial wall reflections Pre Delay Sets the amount of time before any reflected so
129. hey completely overlap Set up the Voices 2 Select the Realtime Window button shown above By default both voices will be assigned to the full 0 127 range 3 Set the Fade parameter for each voice so that as one voice faces out the other fades in Voice 1 will be at full volume until the realtime controller reaches a value of 16 It will then begin fading out Voice 2 will begin fading in immediately and be at full volume from 100 to 127 Assign the Realtime Controller 4 Select one of the voices you want to crossfade by clicking anywhere on the strip A red box forms around the voice to show that it s selected 5 Now hold the Crtl key and select the next voice you wish to crossfade by clicking on it Both voices should be surrounded by red boxes 6 With both voices selected select Open Voices Crtl Enter from the Preset menu The Voice Editor screen appears Verify that the two voices are selected in the Voice Selector section of the window 7 Assign a realtime controller to control the crossfade Select Amp Crossfade as the destination Select a modulation source that goes from 0 127 such as Aux Envelope LFO or MIDI A P Set the Cord Amount to 127 8 You should now be hearing the realtime crossfade when you play a key You may have to go back to the Realtime Crossfade page to adjust and fine tune the crossfade points These settings will vary with the sounds that are being crossfaded D To Randomly Cross switch
130. ing high frequency 115 Decay Time reverb 115 Delay LFO 96 voice 80 Delete sample zone 70 voice 69 voices 69 Destinations Modulation 150 Diffusion reverb 115 Diode modulation processor 151 DirectSound 17 Distortion tube effect 132 twin effect 133 Divisors clock 149 Drag amp Drop 136 operations list 173 Duplicate sample zone 70 Dynamic Range Adjust 18 E3 converting files to Proteus X 161 Early Reflections Reverb effect 116 Early Reflections description 115 Early Reflections effect 124 Echo creating 120 Effect Types 1 band para EQ 124 chorus 118 early reflections 124 early reflections reverb 116 flanger 126 growl 127 phase shifter 128 pitch shifter 129 reverb 116 182 reverb lite 117 ring modulator 130 SP12 ulator 131 tube 132 twin 133 Effects 4 band EQ 125 block diagram 104 105 bypass 110 creating robot voice 120 descriptions 115 enable disable 107 list of 115 mono delays 120 post FX sends 111 preset adding 103 selecting preset 47 sends 49 typical usage 106 voice controlled amount 109 Emagic EXS 24 converting files to Proteus X 161 Envelope Follower ring modulator 130 Envelope Generators 145 description 81 146 rates scaling time of 82 94 repeating 82 retriggering 146 Envelope reverberation 115 EOS banks loaded from floppy disk 168 Equal Temperment Tuning 57 Expand Voice 70 External MIDI Clock 20 48 External Tempo Source 20 48 F Fade ba
131. ing feature was released In looping mode however it jumps back to the Attack 1 stage and repeats the first four stages It continues to loop through these four stages until the key is released where it immediately jumps to the Release 1 stage 82 Proteus X Operation Manual 6 Voice Editor Synthesizer Level Amplifier Filter amp Auxiliary Envelopes The chart below lists all the displayed musical note divisions when the envelope is set to BPM The Master Tempo Clock Pulses column shows the exact number of clocks used by each note division based on the MIDI standard of 24 pulses per quarter note The envelope segments will last for the exact note division shown You can also set envelope times between the standard note divisions These are displayed as integer numbers BPM Tempo Chart POSE Tempo D sPlayed Note Division master Tempo Clock 16x whole note quad long 16 1 1536 8x dotted whole note 8 1d 1152 16x whole note triplet 16 17 1024 8x whole note double long 8 1 768 4x dotted whole note 4 1d 576 8x whole note triplet 8 1t 512 4x whole note long 4 1 384 2x dotted whole note 2 14 288 4x whole note triplet 4 1t 256 2x whole note breve 2 1 192 dotted whole note 1 1d 144 2x whole note triplet 2 1t 128 whole note 1 1 96 dotted half note 1 2d 72 whole note triplet 1 1t 64 half note 1 2 48 dotted quarter note 1 4d 36 half note triplet 1 2t 32 quarter not
132. into falling sawtooth Sine Noise is very useful for simulating trumpet and flute vibrato When routing Hemi quaver to Pitch 38 major scale 38 phrygian scale 76 whole tone scale 38 76 diminished scale two cords odd amount S H sound Try combining the Pattern LFOs or controlling the amount of one with another or combining them with the clock divisors Lag Processors 1 amp 2 Lag processors can be inserted in a modulation patch to inhibit rapid changes in the modulation source or cause it to lag behind the input The amount rate of lag is adjustable from 0 to 10 A setting of O will cause the least amount of lag 10 is the slowest lag Foot Switch gt gt Lag mE gt Processor LFO Cord Cord Lag Slows LFO Gradually Rapid Change Speeds Up Switch of Footswitch Instantly On T Lag processors are used to slow down and smooth rapid changes in control signals In the example above the instantaneous switch change becomes a smooth transition The Lag Processors can also be used as 2 additional Lag0 summing amps Summing amps are used to add several modulation sources together so the output can be controlled by a single Cord Amount The output of LagOin and Lag1 Lag 0 in modulation sources are equal to the sum of any cords connected to the Lag in destinations The summing node is located before the lag processor as shown in the diagram Sum Node Sample Loop Modulation
133. ion file is the equivalent of a Proteus X Bank although when you are converting whole folders each folder will convert to a single Proteus X Bank with each HALion file becoming a Preset within that Bank HALion files stores the locations of its referenced samples within its files please see Locating Referenced Samples on page 166 for more information on how the Proteus X Converter handles these E MU Systems 165 10 Appendix The Proteus X File Converter Notes Keyswitching amp Other Non Proteus X Features GigaStudio EXS 24 and HALion have some particular features that the Proteus X Converter attempts to recreate in some innovative ways Below is a list of the major ones Key Switching This is a newly found feature where the user hits a non sounding key on the music keyboard and that tells the sampler to change sample references to point to usually a different set of samples The Proteus X does not support this so the Proteus X Converter splits each keyswitching section into separate Presets followed by the phrase KSW x where x is the split number Controller Switching This is just like the above only the references are changed upon receipt of a controller message For example the mod wheel can be set up to reference one sample in the down position when it hits value 40 the sample reference changes to another sample etc The Proteus X Converter translates this by including all the samples and changing the am
134. is extremely handy for turning all your effects on or off The Preset Effect On Off buttons are used to temporarily disable the selected A or B effect while passing the signal These controls allow you to hear each preset with or without effects or to turn off all Preset Effects in order to gauge the CPU load incurred by the Preset Effects The Aux Output On Off buttons work differently than the Preset Effect On Off buttons and completely turn off the three Aux Sends for the selected channel When using the factory presets the Aux Output buttons are used to enable or disable the Aux Effects because all outputs are connected to EX Main If you were using the Aux busses to send signals to physical outputs the Aux button could be used to turn these outputs on or off Main Output Output Auxi 3 Main Output Window View Select Routing Preset AUX Effects Output On Off On Off EX Main Output View Selects the Main Output Window Note This button is disabled in Single mode Aux 1 3 Select Select between Aux 1 Aux 2 or Aux 3 FX in the TV view Preset Effects On Off Turns the Preset A or B effects On or Off for each MIDI channel and passes the signal through Main Output Routing Selects the ASIO channel for the Main Output See tip gt ASIO channels must be FA Ano n AA de Aer Are a a created in PatchMix or Aux Output On Off Turns the Aux Outputs On or Off for the selected channel AM another Host application This tu
135. is shown below e Single Displays the preset for the currently selected MIDI channel e Channels 1 16 Displays the preset volume and pan for MIDI channels 1 16 e Channels 17 32 Displays the preset volume and pan for MIDI channels 17 32 See page 49 for a complete description of the Multisetup screen Single Channel View Multisetup Aux FX MIDI View Display Mode Buttons Buttons Select H Proteus X Composer Proteu File Edit View Multisetup Options d lelp e acu Be Proteus X mE Click EER Proteus X Composer exb NES Her e Bg ea Presets a PRESET yw fa d J CHANNEL yj 01 EJ Dynamic Grand EI Yo My Dynos P00 00 E M Orchestral E JM Grusty EJ A Ku Stq M Rockin B E WideSuitcase IW Zimppler EJ AnalogPlanet WAM Kit 1 HM And Voice E M MetalScience EME Silk OBXsaws WME Stolen7Away NE Movie Brass EJ Dyna heim EJ Jumping Category Dynamic Grand ME New ge Oohs Master ME Sugar Freak Volume AR Clavinetti E JM Acousti AM BreathyTBone MIDI A Real Flute Controllers AE Allin a Pizz EARL walky Talk AU Filmscore MW L s Worm EJ Bag O Tricks E ME Melosoul EP gu Morse lt Ecc AAA For Help press F1 34 MB CPU Dis Ch 1 Proteus X Preroll CPU amp Disk Samples Current RAM Used Usage Meters Playing Channel 30 Proteus X Operation Manual Changing Pr
136. k OK to select Channel Volume This control sets the relative volume of the MIDI channel This is equivalent to MIDI controller 47 channel volume and changes made over MIDI will be shown here Channel Pan This control sets the stereo position of the MIDI channel This is equivalent to MIDI controller 410 channel pan and changes made over MIDI will be shown here Output Assignment SOIT This control selects the Main Output assignment for the MIDI EX Main channel 100 of the stereo output signal is sent to the selected output bus W Important The act of creating PatchMix DSP ASIO mixer strips makes them available for Proteus The number of outputs available in this field depends on the number of stereo channels X If they are not created in your sound card provides Add ASIO input strips in PatchMix DSP to increase the PatchMix DSP you won t number of available outputs Output destinations will be labeled according to the see them in the Output PatchMix DSP input strip scribble strip name The EX session templates in PatchMix Assignment field DSP are designed to be used with the Proteus X 46 Proteus X Operation Manual 4 Multisetup Global Controls The Multisetup Output View Button This button allows you to view the Aux Send On Off Main Output Routing and Preset FXA FXB Bypass buttons when not in Single Mode The button is disabled in Single mode You may want to bypass the Preset Effects on certain channels in o
137. l lag amount 58 Proteus X Operation Manual 5 Preset Editor Preset Globals The Channel Lags could be used to slowly increase or decrease the speed of an LFO which in turn controls some other effect perhaps left right panning pitch or the filter When a MIDI footswitch is used as the input the lag acts to slow down the instantaneous change of the switch The slowly changing output value can then be routed using a patchcord to crossfade between voices or change the speed of an LFO j A ex footswitch Lag Amount value longer Poly Key Timer This processor starts a timer which begins counting down whenever a key is pressed and stops when the key is released The value of this timer can be used on any voices assigned to the Key after the key release The Poly Key Timer is a special modulation source controlled by the key and not the voice Poly Key Timer can be used to control the volume of a Release Layer in order to reduce its volume the longer a key is held This control is commonly used on grand piano presets to lower the pedal damper volume the longer the keys are held Release layer voice becomes softer the longer the key is held Release Layer Voice Poly Release Trigger At MES Note On Poly Key Timer begins counting down Note Off Poly Key Timer stops counting and outputs value X iii E MU Systems 59 5
138. l mono files into Proteus X stereo files Naming The ends of the samples must have the same name including spaces plus the endings of the sample names need to be similarly formatted with a L and R Examples L and R L and R L and R etc Loop Points The loops points need to be the same If they are not the Proteus X Converter will not combine the samples Sample Sizes Most of the time the Proteus X Converter WILL combine these and make the new file the size of the largest sample Exact Alternative Parameters Some formats store Root Key Sample Rate Fine Tune and other informations with the sample These need to be exactly the same E MU Systems 167 10 Appendix The Proteus X File Converter Identical References There are occasions where a Program or several Programs that are slated to go into the same Bank will reference both the samples at one point but only one of them in another The Proteus X Converter will combine the two samples but also write a mono version to satisfy the mono reference Floppy Disk Support The Proteus X Converter does not support proprietary floppy formats such as Ensoniq Akai Roland Emu or other However there is a way to get your sounds off the floppies using other programs onto your hard drive in a form in which the Proteus X Converter can convert them to Proteus X formats You can use various DOS programs written by various people over the years Yo
139. le will last for the exact note division shown red aie Tempo Displayed Note Division Master Tempo Clock 8x whole note double long 8 1 768 4x dotted whole note 4 1d 576 8x whole note triplet 8 1t 512 4x whole note long 4 1 384 2x dotted whole note 2 1d 288 4x whole note triplet 4 1t 256 2x whole note breve 2 1 192 dotted whole note 1 1d 144 2x whole note triplet 2 1t 128 whole note 1 1 96 dotted half note 1 2d 72 whole note triplet 1 1t 64 half note 1 2 48 dotted quarter note 1 4d 36 half note triplet 1 2t 32 quarter note 1 4 24 dotted 8th note 1 8d 18 quarter note triplet 1 4t 16 8th note 1 8 12 dotted 16th note 1 16d 9 8th note triplet 1 8t 8 16th note 1 16 6 dotted 32nd note 1 32d 4 5 16th note triplet 1 16t 4 32nd note 1 32 3 E MU Systems Modulation Cords The master tempo can be set internally using the tempo control in the Multisetup window or controlled from an external MIDI clock Internal External clock selection is located in the Preferences dialog box 97 6 Voice Editor Synthesizer Level Modulation Cords LFO Tricks amp Tips The Random LFO wave is truly random and is different for each voice and layer The Pattern Pat waveforms will sound the same on different layers and voices When the PatchCord amount for an LFO is a negative value the LFO shape will be inverted A rising sawtooth turns
140. les You can process each voice separately or select all voices to be processed in the same way 1 Go to the Tree and click on preset P0015 Dana him Play the keyboard You should be able to hear the preset 2 Open the preset by clicking on the plus sign then click on the Voice Processing icon gt The Voice Processing page shown below appears Step 3 Select All gt MARA y LLATOR lg PITCH BEND RANGE semitones FILTER s FREQ Hz TYPE 2 Pole Lowpass 4 J 801 Td up FIXED PITCH 0 0 00 ord 02 Amt Pitch Footswitch 1 MIDI A MIDI B MIDIC Filter Env Key Sustain Filter Frequen 0 00 Filter Resona Cord 07 Amt Filter Frequen Filter Frequen Amp Err Atta Step 5 Step 6 Set to LFO 1 Set to Filter Frequency Note See Groups on page 62 for detailed information on how to select groups of voices 3 Near the top of the screen near the keyboard you ll see the Group Selector Set this to All to select all voices in the preset 4 Feel free to explore the synthesizer section The filter section is probably a good place to begin Change the filter type then adjust the frequency and Q controls as you play the keyboard Note that the filter response display changes as you change the filter settings Cords One reason synthesizers are able to generate such complex sounds is because most if not all of their processes can be placed under automatic control Here
141. llows you to adjust the mid frequency content at the output of the 2nd tube Pan Sets the left right pan position of the processed sound Range 100 to 100 Compression Tubes have a certain amount of natural soft compression This controls how much compression is applied by both tubes Modulation Parameters Wet Dry Mix Gains 1 amp 2 Master Volume Pan E MU Systems 133 7 Effects Effects Descriptions 134 Proteus X Operation Manual 8 Controls The Toolbars 8 Controls This chapter describes how to work the controls of the Proteus X There are certain tips and tricks to learn in becoming a power user and a good number of them are in this chapter The Toolbars The toolbars are located just beneath the menu bar at the top of the window and one more at the very bottom of the window the status toolbar The toolbars provide handy single click buttons for the most common operations By holding the mouse pointer over the tool a label will appear revealing the purpose of each tool The upper toolbars can be rearranged by simply clicking the Toolbar Handles see below and dragging them wherever you want The Status Toolbar is always located at the very bottom of the window and provides context sensitive information such as the current MIDI channel sample preset name amp number as well as the number of samples currently playing Menu Toolbars Menu Bar Standard Tools Display Mo
142. lly fade out in volume below F2 as you play down the keyboard To Switch Voices According to Position Assigning voices samples or multisamples adjacent to each other is the simplest and most common application of the Key Window The voices in the screen below are each assigned a one octave range E MU Systems 63 5 Preset Editor Key Window Page cx coe II C4 Lo Another way of visualizing this assignment is shown below MO V ON CN voc 1 VOICE 2 VOICE 3 VOICE a D To Layer Voices and Samples The ranges of two or more voices may overlap and all voices assigned to a key will sound C4 LS M ul CLEO LL vorce 1 VOICE 2 VOICE 3 VOICE 4 64 4 Samples can be arranged in a multisample voice in exactly the same way that voices are arranged on the keyboard They can be arranged side by side on the keyboard or stacked on top of each other to create layered sounds all within a single voice Proteus X Operation Manual 5 Preset Editor Key Window Page gt To Positionally Crossfade You may want to This technique can help mask the point at which two sounds meet or can be used for assign voices in different crossfading sound effects The fade parameters allow the volume of the voice or sample layers to different groups This allows you to select all of the voices in each layer just by selecting the As the voice boundaries are crossed playing up the keyboard the lower voic
143. locity modulation source 144 Key Sync LFO 97 E MU Systems Index Key Timer poly 59 Key Window 63 link 74 Key Velocity Windows exploring 37 Keyboard key modulation source 144 modes 100 pressure modulation source 144 tuning 57 19 tone 57 equal temperment 57 gamelan 57 just C 57 Kirnberger 57 repeating octave 57 Scarlatti 57 Vallotti 57 Werkmeister III 57 Kirnberger Tuning 57 L Lag Amount preset lag 58 Lag Processors preset 58 voice 98 151 Large Icons 139 Latch Mode 100 Layering presets using links 73 voices amp samples 64 LFO 96 145 delay 96 flanger 126 sync 148 tips amp tricks 98 variation 97 waveforms 147 waveshapes 96 Librarian 41 Limiter 48 Links 72 preset 72 utilities 73 List View 139 Load Emulator 4 bank 29 Load Last Bank at Startup 22 Loop envelopes 82 modulation 98 Low Frequency Oscillator 96 145 147 Main Output Routing 107 Master Clock 48 Master Transpose 48 Master Tune 48 183 Index N Master Volume Control 48 Matrix reverb pattern 116 117 Melody last 100 Merge library object into the bank 42 Meters main output 48 MIDI bank select commands 160 cc cross switch voices 68 cc 7 curve 20 channel in multisetup 46 channel current 31 33 45 46 clock using external 82 97 continuous controller 158 continuus controller setup 21 controller 7 20 controllers global page 51 initial settings 56 controlling effects with 112 implementation chart 176 177 modes d
144. lters and powerful matrix modulation To Edit a Preset 1 Select the Sampler tab from the Tree The contents of the current Proteus X bank appears in the Tree Proteus X zm Proteus X Composer exb a 1 Presets MM PODOO DymamicGrand E JM POOO1 Yo My Dynos EJEM PODO2 Orchestral E JM POOOS Grusty E JM PODO4 A Ku Stq EJEM PODOS Rockin B 2 Double click on the Preset folder from the tree or click once on the symbol The preset folder expands to display the presets contained within 3 Click on one of the Preset icons in the Presets folder to view the Preset Globals window 4 Double click on the desired preset icon from the MA P0006 WideSultcase tree or click once on the symbol The preset icon Y S nl expands to display the subsections Voices and in ES o Zones Links and Voice Processing levels Voice Processing 3 3 POOO Zimppler JM POOO8 AnalogPlanet M POOOS Kit 1 JE POD10 And Voice JM POO11 MetalScience EJEM POO12 Silk OBXsaws EJEM POO13 Stolen7Away JM POD14 Movie Brass JU POOZS Filmscore v lt gt 5 Select the desired section Voices amp Zones Links or Voice Processing by clicking on the associated icon gt To Select a Preset from the Tree 1 Set the Current Channel to the one you re using by clicking on the channel number in the Multisetup screen 2 Choose the preset you want in the tree and Right Click on its preset icon
145. ly when using the Aux Effects the wet dry mix in the effect should be set to 100 wet since the Aux Send amount controls how much effect will be applied Aux Effects Output Aux1 3 View Select Effects List Wet Dry Mix Effect Control Bypass Effect Parameters Effects List Click on the Effects List icon to show the list of effects Aux 1 3 Select Select between Aux 1 Aux 2 or Aux3 FX in the TV view Output View Selects the Main Output Window See Main Output Window Note This button is disabled in Single mode Wet Dry Mix Control Adjusts the ratio of effected signal to un effected signal Effect Bypass When this button is selected Red the effect is completely bypassed allowing you to hear only the uneffected signal Effect Parameters Each effect has its own set of user adjustable controls Aux FX Send Amounts The Aux Send Amounts can be controlled either from the Preset Cords or from within each Voice Refer to the FX Routing Diagram on page 105 Aux Effect parameters such as Delay Time Feedback etc can not be externally controlled 110 Proteus X Operation Manual 7 Effects Preset FX Screen Preset FX Screen All effects have a wet dry mix parameter to control the ratio of effect to plain signal which is stored with the FX preset Each effect has its own set of control parameters Turn up the Wet Dry mix to hear more effect while you adjust the parameters then turn the amou
146. m into one multisampled voice The synthesizer level programming of the first voice is used for the new voice Any synthesizer level programming associated with the other voices is lost Voice 1 Voice 2 Voice3 Voice 4 Riana NN Before 77 7 7 Wy AR aad Atter I Sample 01 I I Sample 02 Sample 03 Sample 04 E MU Systems 69 5 Preset Editor Voice amp Sample Zone Utilities Expand Voice This function takes apart the selected multisampled voice and makes an individual voice for each sample The voice processing information of the parent voice is dupli cated for each newly created voice Sample 04 Sample 03 Sample 02 E Sample 01 Before k Voice 01 Voice 1 Voice2 Voice 3 Voice 4 Sample Zone Utilities A Sample Zone is the keyboard mapping of the samples used in a voice Use these utilities when editing multisample voices New Sample Zone This function creates a new sample zone in the currently selected voice If this operation is performed on a single sample voice the voice is transformed into a multisample Delete Sample Zones This function deletes the currently selected sample zones from the voice Duplicate Sample Zones This function makes a copy of the currently selected sample zones but does not copy the samples 70 Proteus X Operation Manual 5 Preset Editor Edit Menu Utilities Cut Copy amp Paste Edit Menu Utilities Cut Copy amp Paste
147. maller banks Small Icons Displays small icons shown above useful for large banks List Displays Presets and Samples in a list view format in numerical order Details Displays the ID Number Bank Program Number and Category Clicking on the Category button at the top of each column sorts the list by that category E MU Systems 139 8 Controls View Menu Category Buttons Proteus X Composer Proteus X File Edit View Presets Options Window Help Aer SH Proteus X Lond Proteus X Composer exb 2 Presets amp M Dynamic Grand q j M Yo My Dynos e IM Orchestral V Dynamic Grand Keyboard 1 WW Yo My Dynos P0001 000 001 Keyboard 4 W Orchestral PO002 000 002 Orchestral MME Grusty P0003 000 003 Guitar JM A Ku Stg P0004 000 004 Bass 1 iM Grusty WI Rockin B P0005 000 005 Keyboard 3 HM A Ku Stq VW WideSuitcase P0006 000 006 Keyboard 2 MM Rockin B 1 Zimppler P0007 000 007 Lead E MM WideSuitcase Y AnalogPlanet P0008 000 008 Bass 4 MM Kie 1 P0009 000 009 Kit WW And Voice P0010 000 010 Keyboard 1 JM MetalScience P0011 000 011 SFX WW Silk OBXsaws P0012 000 012 Synth WW Stolen7Away P0013 000 013 Guitar V Movie Brass P0014 000 014 Brass WI Dyna heim P0015 000 015 Strings Zimppler JM AnalogPlanet cmm Kit 1 amp AE And Voice E JM MetalScience c MI Silk OBXsaws M Stolen7 Away gm i MEME press WE Jumping PODi6 000 016 EPM E 3
148. me ID number bank program number or category Click on the button again to sort in reverse order 3 Clicking on the plus sign next to the Preset folder or double clicking on the folder itself opens the folder and displays the bank s presets in the tree 4 Clicking on the plus sign next to one of the preset icons displays the sub modules of the preset Voices amp Presets Links Voice Processing I Presets Nili brs SforzadoSect Wil brs Soft Trumpet Y Voices and Zones amp Links gt Voice Processing Wl brs Solo Bone Wl brs Synth Brass Wl brs The Ensemble Wl brs Too Bahhd gt 66 Please refer to chapter Submodule Function 2 Proteus Architecture on page 23 for complete Voices amp Zones Assign voices and multisamples to the keyboard which can be switched or explanations of the sub crossfaded by key position velocity or controller setting modules Links Multiple presets can be layered switched or crossfaded across the keyboard Voice Processing Synthesizer voice parameters including filters LFOs envelopes and cords 36 Proteus X Operation Manual 3 Getting Started Opening a Preset 5 Open the preset And Voice by clicking on the plus sign next to the folder 6 Next click on the Voices amp Zones icon The Key Window appears The blue bars show that the two multisamples in this preset are mapped across the entire keyboard SAMPLE
149. meter sometimes used on a parametric filter is Shelving Shelving simply widens the passband so that it extends to the limit of the upper or lower frequency range The parametric filter is quite flexible Any range of frequencies can be either amplified or attenuated Several parametric sections are often cascaded in order to create complex filter response curves If four parametric filter sections were cascaded it would be possible to create the following complex filter response 4 Parametric Equalizers pipe anc ae ee eee ee ee ee es E aie day ee see OT Baie e u1 o dB Magnitude u1 o 500 10 000 15 000 20 000 Linear Frequency Hertz Many natural instruments have complex resonances which are based on their sound board or tube size The resonance shown above would be impossible to create using a normal synthesizer filter 156 Proteus X Operation Manual 9 Synthesizer Basics Dynamic Filters The Z Plane Filter A Z plane filter is a filter which can change its function over time In a Z plane filter we start with two complex filter types and interpolate between them using a single parameter Refer to the diagram below b B Filter 9 S Cm a a E lt Morph Frequency gt The Z plane filter has the unique ability to change its function over time Filters A and B represent two different complex filters or frames By changing a single parameter the Morph many complex filter parameters
150. mic Range iii 90 RESPONSE 5 25 dtt dde rete dte EU I ERE Aca A dd eat 90 EX We DIV seen ia A RE Bethesda Sass li 90 Voice Effect Ss ive E EHE n eee e t ER Reds 91 Modulation Cordas e cnr e herein rhe re esie dada 92 Modulation Source Polarity ss 95 Summing Nodes cte eter ee ae ea i ee er HH Ig Here 95 Patch Cord Lote x etse dei rere diner legende tests erede deleri 95 LEO 1 82 ed ety diu a EE UP EUR e OPERE ET ESTERI 96 Delay aiios oett Bis e entere is eee oen IARE oot che ME o vedette ue P ceeds 96 Nro E CL R P 96 VALIAt OM REN E 97 Oud ERE 97 ju 97 LEO Tuck TIPS hber RE 98 Lag Processors 2 ds DS en 98 Sample Loop Modulation sis 98 Assign GTOHD stil aie et oe ope no BOSE etes cibo Gert De DR ee 99 Keyboard Modes 6 a ete tenete ec ie eite die get eere teris 100 lath Mode x int tent a e ee ee 100 Ta Efes ao TOT DI e E e e cel Saco 101 Programming Pre in as 102 Adding an Aux Effect in the Multisetup sss 102 Adding an Effect to a Presto I ie e Ede 103 Block Diagram of the Effects Routing sse 104 FX Routing nine a lanai a UR evo eo rte dee cda 105 Block Diagram of the Effects Screens sss 105 Effects Overhead se ete atea 106 dypical Effects Usage scx see ADT te E e ET a EMO Ted 106 ASIO QuUtPUtS EE 106 Main Output WIndOw 3 2 de desee Recette a de 107 Main Output Window sise 107 6 Proteus X Operation Manual
151. mming Amp A fixed value that can be scaled by the Cord to offset a value The Summing Amp is useful for mixing several modulation signals so they can be controlled from a single Cord amount See page 151 Switch Absolute Value The switch outputs full value 100 when the input is greater than O The output value can be scaled by a Cord See page 151 This processor inverts negative values and leaves positive values untouched so that only positive values are output See page 151 Diode Flip Flop This processor allows only positive values to pass Negative values are blocked See page 151 The output of this processor alternates between full value and zero each time the input goes positive from zero or a negative value If an LFO were connected to the input the output would be a square wave of half the input frequency See page 151 Quantizer Smoothly changing signals are transformed into discrete steps The value of the input Cord determines the number of steps The value of the output Cord determines the size of the steps See page 151 Hint Gain 4x can increase number of steps or step size Gain 4x E MU Systems This processor amplifies the modulation input by a factor of 4 Modulation Cords 93 6 Voice Editor Synthesizer Level Modulation Cords Modulation Destinations Destination Key Sustain Description Holds the envelope generators at the sustain point as lon
152. mple files this is called Catalog Searching using a FSSpec but never mind that for now Monolithic Files Formats Who Use this Method GigaStudio Emu E3 E3x ESi These files store the samples within the Program files thus the samples are always in the files and do not need locating Special Notes Akai S 1000 3000 This uses separate sample files within its own proprietary format and it is possible for a Program to reference missing samples but not usually When the Proteus X Converter encounters the Separate File For Samples Method it uses the control file s reference to find the sample and expects it to be there If it is not the Proteus X Converter will still write the reference in the Proteus X s exb file pointing to an empty location so you may fill it in later manually within the Proteus X exb file Combining Dual Mono Samples into Stereo Files Many formats do not support single Stereo files so they simulate stereo by using two separate files commonly they were sampled in simultaneously in true stereo imaging layering them and panning one hard left and the other hard right Commonly they are named with the same sample file name plus a L and R The Proteus X Converter will automatically look for samples like this and combine them when possible On the whole every instance will be combined but there are a couple reasons when they will not be Below are the specific qualifications necessary when combining dua
153. n Fingered Glide Same as Synth last except that Glide is disabled when playing Staccato enabled when playing Legato Poly Release Trig Release Vel Polyphonic action but the voice triggers only when the key is released The key velocity is determined by how fast the key is released Poly Release Trig Note on Vel Solo Release Trig Release Vel Polyphonic action but the voice triggers only when the key is released The key velocity is determined by how fast the key is pressed Monophonic action but the voice triggers only when the key is released The key velocity is determined by how fast the key is released Solo Release Trig Note on Vel Monophonic action but the voice triggers only when the key is released The key velocity is determined by how fast the key is pressed Latch Mode When Latch mode is On pressing a key once will latch the key on Pressing the key again will unlatch the key This mode was originally designed for doing sound effects work but you can probably find many other uses for it such as latching sampled grooves Any voices assigned to the same key as a latched voice will also latch 100 W Solo modes sometimes require extra Pre roll page 16 length to perform properly If you are having problems with the solo modes try increasing the Pre roll VW Caution Using Latch Modes together with the Solo Modes may cause unpredictable results Proteus
154. n each Preset Effect can be controlled from the Preset Cords Some effects such as BPM delay allow four controllable parameters while other effects such as Early Reflections have only one controllable parameter If an effect uses less than four parameters the idle cords are listed as unused See below The Preset Cord value ADDS to the setting made in the Preset FX screen For example if the Wet Dry Mix were set to 0 and you patched a MIDI Controller to Wet Dry Mix with an amount of 100 the MIDI Controller would have a full range of control over Wet Dry Mix To invert the control simply set the initial Wet Dry Mix to 100 and set the Cord amount to 100 gt How to Connect MIDI Controllers to FX Parameters 1 Select the preset you want in the tree by clicking on the keyboard MI icon The Preset Global page appears 2 Assign FXA or FXB in the Preset FX screen 3 Select the Destination field from the Preset Cords section n v Off A list of all possible Preset Cord destinations appears Chan Lag 1 In 4 The effect modulation parameters are at the bottom ofthe Chan Lag 1 Amt Chan Lag 2 In Chan Lag 2 Amt 5 Select the Modulation Source you wish to use Chan Ramp Rate Post FX Main Send Post FX Aux 1 Send Post FX Aux 2 Send Post FX Aux 3 Send FX Wet Dry Mix FX Decay FX A Diffusion FX A Mod 4 unused FX B Wet Dry Mix FX B Feedback FX B Mod 3 unused FX B Mod 4 unused list Select the paramet
155. nable or disable streaming audio If streaming is turned off the Proteus loads or attempts to load the entire bank into your computer s RAM If streaming is so great why would you ever want to turn it off Well if you re using your computer as an audio workstation performing multiple simultaneous functions sooner or later you ll exceed your computer s CPU memory or disk access resources Sample streaming makes very heavy demands on your hard disk If you re recording other audio tracks using multiple software plug ins and playing Proteus X with a lot of voices you may run into a disk access bottleneck By disabling streaming and loading the bank into your unneeded RAM your hard disk can be reserved for more critical operations Pre roll This important control allows you to set how many seconds of each sample should be loaded into RAM when the bank is loaded This setting greatly influences the perfor mance of Proteus X when streaming is on The setting you choose depends on the number of samples you want to use and the amount of RAM you want to dedicate to Proteus X The smaller the pre roll the more disk access will be required for sustained sounds Frequent disk access can overtax your computer system depending on its speed and the number of other disk dependent applications you have running Large pre roll times will improve polyphony and performance at the expense of system RAM and slower bank loading If you set the pre roll hig
156. ndent control over the lowpass filter frequency Expression This allows you to use velocity for example to control expressive timbre via the lowpass filter while the Morph parameter is modulated for another effect As the Morph value is increased the filter interpolates from the low to high settings The gain parameter for each EQ section stays constant during the morph High EQ 1 Dual EQ amp m High EO 2 2EQ Morph 9 Filters 3 a E lt Low EO 2 Frequency 88 Proteus X Operation Manual 6 Voice Editor Synthesizer Level Amplifier Filter amp Auxiliary Envelopes 2EQ Lowpass Morph FC Morph Filt Freq LPF O Filt Res FOMMORPH TYPE Dual EG LP Mar Lx LOW HE HRZHIHzhP GAIN dB This unusual filter has two EQ sections and a lowpass filter whose Fc is also controlled by the Morph parameter The Lowpass filter is completely open at a setting of 255 As the Morph value is increased the filter interpolates from the low to high settings and the lowpass filter allows more high frequencies to pass The Q of the lowpass filter has an initial setting and can also be modulated realtime using the Filter Resonance parameter The gain parameter for each EQ section stays constant during the morph Peak Shelf Morph a Morph Filt Freq MORPH 1 Peak Shelf Morph Peak Filt Resonance 75 9 This 2 frame morphing filter offers independent control over frequency shel
157. nitially turned down but they are controlled by Preset Patch Cords connected to MIDI controllers K amp L Aux 3 is turned down and is not used Multisetup Aux 1 is routed to Reverb Aux 2 is routed to BPM Delay Important All the Aux Outputs are set to EX Main ASIO 1 2 and so are mixed together before being sent to the Host computer 108 Proteus X Operation Manual 7 Effects Proteus X Composer FX Template Controlling the Preset Effect Amount from the Voice The Proteus X allows you to control the Preset effects amount from the voice This means that the amount is individually controllable for each key press With this great feature you can create many wonderful effects such as Velocity or pressure controlled distortion on guitars organs or electric pianos Release velocity controlled echoes or reverb Chorus or Flanger amount controlled by an envelope generator or LFO Ring Modulator or Pitch Shifter that only occurs during the attack Because the effect amounts are now controlled by your performance this technique contains endless possibilities Try it gt How to Control the Effect Amount from the Voice For this example let s set up the keyboard so that echoes only occur with low velocity When you hit the keys soft you get echoes when you play hard you get no echoes 1 Select the preset you want in the tree by clicking on the keyboard MI icon The Preset Global page appears Choose a sound with a
158. no more than 8 channels Four bins of 4 channels each Notes are played polyphonically with Poly 4 A D b i dynamic channel assignment but using no more than 4 channels Four bins of 2 channels each Notes are played polyphonically with Poly 2 A D dynamic channel assignment but using no more than 2 channels Nine monophonic channels Any voices assigned to the same letter Mono A I i interrupt each other but do not affect other voices E MU Systems 99 6 Voice Editor Synthesizer Level Modulation Cords Keyboard Modes The Keyboard mode controls how the voice will be triggered from the keyboard Poly Normal mode is the default mode which allows you to play chords The eight different solo modes provide the playing action of a monophonic instrument only one note can be played at a time Monophonic wind brass and string instruments often sound more realistic with a single note playing Synthesizer lead lines also require solo mode There are solo modes provided which can be used with monophonic synthesizer sounds or to create other performance effects The Release modes only triggers a voice when the key is released Many acoustic instru ments such as a harpsichord generate sounds when a key is released To use this feature create a special Release Voice and turn one of these modes on for that voice Poly Normal Standard polyphonic mode Any number of notes can be played Multiple T
159. nt Channel Tune Limiter RAM Used Usage Meters Playing Channel amp Transpose 43 E MU Systems 4 Multisetup Global Controls The Multisetup There are three views of the Multisetup page The Multisetup View buttons change the current view e Single Displays the preset for the currently selected MIDI channel e Channels 1 16 Displays the preset volume and pan for MIDI channels 1 16 e Channels 17 32 Displays the preset volume and pan for MIDI channels 17 32 Changing Presets from Single View Single View is the default view when you first run Proteus X This view is convenient for performing live or when you re only playing one preset at a time All the main param eters for the selected MIDI channel are displayed in Single View and a convenient Category mode allows you to quickly select presets in a certain category A close up of the current channel settings is shown below Single View Close up Select All or Select Select Select View MIDI Channel by Category Category MIDI Channel Inc Dec Preset Inc Dec Select View PRESET M CHANNEL j a x Bank Preset z2 Program Number PO60 Category 01 Display Ethereosity Preset Selected Name Category VOLUME Channel Channel Volume Pan Main Output FXA FXB Select Enables Aux Output Enable To Select Presets by Number 1 Click on the Preset Increment Decrement buttons to move up or down the presets by number 2 Highlight the Pre
160. nt down to the desired effect amount Preset Effects Wet Dry Mix FXA FXB Effects List Post FX Control Select Send Amounts PRESET EFFECTS AUX 1 yh Effects List Click on the Effects List icon to show the list of effects FXA FXB Select Select between FXA or FXB in the TV view Wet Dry Mix Control Adjusts the ratio of effected signal to un effected signal Post FX Send Amounts Adjusts the amount of preset effect signal that will be sent to the Main and Aux Outputs Effect Parameters Each effect has its own set of controls P To Get to the Preset FX Screen 1 Select the preset you want in the tree by mugs Proteus X m g Proteus X Composer exb clicking on the keyboard im icon The Preset Global page appears CJ Presets A P0000 DynamicGrand 3 2 Click on the Effect Select Icon x at the top ME POOO1 Yo My Dynos right corner of the Effects TV screen A list of amp M PODO2 Orchestral EJ POOOS Grusty EJEM PODO4 A Ku Stq EJ PODOS Rockin B AN PO006 WideSuitcase gm POO OS available effects drops down E MU Systems 111 7 Effects Preset FX Screen To Swap FXA and FXB Effects can sound very different depending on their order in the chain Here is a simple way to swap FXA and FXB 1 Choose Swap Effects from the Preset pull down menu 2 The two effects will exchange positions Preset FX Modulation Parameters Certain parameters i
161. ntents of the disk using the standard file browsing mechanisms on a computer There are files that can be written to DOS that represent the Emu E3 format they use the e3 e3x or the esi file extension The Proteus X Converter supports these The Proteus X structure is similar if not exact to the E3 s an E3 Bank is equivalent to a Proteus X Bank E MU Systems 10 Appendix The Proteus X File Converter 163 10 Appendix The Proteus X File Converter Tascam GigaStudio The Nemesys Gigasampler was the first product that became GigaStudio Its sampler software played endless waves technology developed and licensed from Rockwell directly from disk Gigasampler does provide looping and that is good Gigasampler uses the DOS disk format since it is a Windows computer program Nemesys then expanded their product line to include the Gigastudio which is essen tially Gigasampler 2 0 It has an improved interface added functionality and greater polyphony Gigasampler and GigaStudio are very similar we will refer to them as Giga The basic Instrument unit on Giga is the Instrument or gig file A gig file can hold up to 128 Instruments they hold the parameters and the wavedata to be played An Instrument holds a maximum 4 GigaStudio maximum 8 keymaps arranged in a horizontal mapping system called Regions same as a Keygroup on Akai samplers except they do not overlap You can have a Region for every key on the keyboard and a
162. nter Open Sample in New Window Delete Sample Zones Duplicate Sample Zones Numeric Field Undo Cut Copy Paste Delete Select All Toolbars Checkboxes for Tools view Status Standard Toolbars Dialog Multisetup Icon in tree Open in New Window AA eet diated Crtl W Proteus X Operation Manual Drag amp Drop You can use simple Drag amp Drop operations for many Proteus X functions Drag amp Drop Operations From Bank File in Windows Drag amp Drop To Proteus X Icon Action Load or Merge Bank Bank File in Windows Proteus X System Folder Copy Move Bank Audio File in Windows Instrument Import Audio File in Windows Samples Folder Import Audio File in Windows Folder in Windows Copy Move Proteus X Bank File Proteus X Icon Load Merge Proteus X Bank File Folder in Windows Copy Move Proteus X Bank File Proteus X System Folder Copy Move Proteus X Bank Preset Proteus X Icon Merge Proteus X Bank Preset Presets Folder Merge Proteus X Bank Preset Multisetup Slot Merge amp place Proteus X Bank Preset Folder in Windows Export as Bank Proteus X Bank Preset Proteus X System Folder Export as Bank Proteus X Bank Preset Link Merge amp Replace Link Proteus X Bank Preset Link null space Merge amp Add Link Preset Multisetup Preset Slot Plac
163. ntinuous controller data Assign a MIDI Continuous Controller numbers to a letter A P in the Preferences menu then assign the same letter Controller B Controller Controller Amount to a modulation destination in the Voice Editor page E MU Systems Control MIDI Controller Routing Letter Standard Function Slider 1 21 A Controls Filter Frequency Slider 2 22 B Controls Filter Resonance Slider 3 23 C Controls Filter Attack Slider 4 24 D Controls Filter Decay De Xr co e ur eri d a Preferences 16 Control Voice Edit Cord Destinations Knobs Menu Page e Key Sustain Fine Pitch Pitch Glide e Chorus Amount e Sample Start e Sample Loop e Sample Retrigger Filter Frequency e Filter Q e Amplifier Volume e Amplifier Pan Amplifier Crossfade Volume Envelope Rates e Volume Envelope Attack Volume Envelope Decay Volume Envelope Release Filter Envelope Rates Filter Envelope Attack Filter Envelope Decay el Filter Envelope Release e Aux Envelope Rates emm Aux Envelope Attack em Aux Envelope Decay Aux Envelope Release e FO 1 amp 2 Rates LFO 1 amp 2 Trigger e Lag Processor e Summing Amp e Switch e Absolute Value e Diode Quantizer e 4x Gain e Cord 1 36 Amount Channel Lag e Channel Lag Rate Cords Preset Lag In e Preset Lag Amount 159 9 Synthesizer Basics MIDI Program Change Commands MIDI Program C
164. number to make it the basic channel 160 lt Tip Select Show Bank and Program Numbers in the toolbar to view program and bank numbers in the preset list Bank and Program numbers are displayed in Single Preset mode screen The general term for Preset in MIDI speak is Program Same thing Multi Poly Omni B Proteus X Operation Manual 10 Appendix The Proteus X File Converter 10 Appendix The Proteus X File Converter The Proteus X Converter is a special application that enables you to convert most popular sampler formats into the Proteus X s exb file format for use in your Proteus X Any source media may be used such as CD ROM Ss fixed hard drives ZipDisks all removable media magneto optical drives and all others Exception floppy media is not supported however see notes on possible workarounds Supported File Types The Proteus X file Converter can convert the following types of files into Proteus X format Akai 1000 3000 Akai S 5000 Emu E3 ESi Tascam GigaStudio SoundFont Emagic EXS 24 Mark I and Mark II Steinberg HALion I and II If you don t have sounds for any of these products you won t need to use the File Converter Keep the application installed in case you ever want to convert file formats 8 Proteus X File Converter LJ Drop SoundFont GigaStudio EXS HALion and S5000 56000 files here Add Files to Convert Area Button Overwrite existing Fil
165. o My Dynos IE A Ku Stq JH Rockin B JM WideSuitcase jJ Zimppler 4 JM AnalogPlanet ce MM Kit 1 JM And Voice MM MetalScience gj AM Silk OBXsaws gj MW Stolen7Away A Movie Brass s ME Dyna heim 4 MM Jumping New Age Oohs ou Sugar Freak Basic Channel Filter Override a L T CR 5er Select Master LT Tempo JM BreathyTBone JM Real Flute AE Allin Pizz 54 Walky Talk Continuous 71 Controllers Master Volume JM Bag O Tricks sj M Melosoul EP an Breather iv Sampler Library For Help press F1 34 MB CPU Ch 1 Proteus x Preroll CPU amp Disk Samples Current Channel Tune Limiter RAM Used Use Meters Playing Channel amp Transpose Changing Presets from the 1 16 view Play your MIDI keyboard and note that one of the MIDI activity LEDs comes on This is the channel on which your MIDI keyboard is transmitting If you don t see MIDI activity check your MIDI connection and make sure MIDI is set up properly in the Preferences menu See page 19 P To Audition and Select Presets 1 Click onceon the Preset Select button on the channel used by your MIDI keyboard The complete list of all presets in the bank appears 2 Click once on a preset to audition it Play your keyboard to hear it 32 Proteus X Operation Manual Play the small keyboard at the bottom of the screen
166. ocessor multiplies the input value by a factor of four Used to amplify modulation sources Flip Flop Alternates between full value 100 and 0 each time the input goes positive through zero E MU Systems 151 9 Synthesizer Basics Modulation Processors Modulation Processor Examples This example routes the Pink Noise generator through one of the Lag Processors in order to derive a smooth random function A smooth random wave is useful in small amounts to add a degree of natural variation to timbre when routed to filter cutoff Normal pink noise is low pass filtered audio frequency noise with a 3 dB octave slope to give equal energy per octave Our pink noise is actually more like very low frequency filtered mauve noise but it is perfect for use as a random control source Lag T Processor Cord Lag Smooths Smooth Pink Noise Random Function The Quantizer can generate interesting whole tone scales when envelope generators or LFOs are routed to the input The quantizer turns a smoothly changing input signal into a series of steps By routing the output of the quantizer to Pitch and adjusting the cord amounts you can control both the number of steps and the pitch interval of each step Number Size of of Steps Steps Cord Cord gt gt The input cord amount controls how many steps are generated A sawtooth wave LFO feeding the input and the cord amount set to 100 generates sixteen steps The
167. oes are in relation to the original signal This Delay is a true stereo delay line with completely independent left and right channels right channels This delay line features four different modes which affect how the signals are routed and cross coupled Discrete stereo Use this mode when you want to preserve the stereo image of the delayed signals You can also create panning effects by setting one delay long and the other short Delay Mode R Delay Time Discrete stereo The left and right channels are kept totally separate HF ms Feedback L Delay Time 120 Proteus X Operation Manual 7 Effects Effects Descriptions Ping Pong stereo This mode cross couples the output of the left and right delay into the input of the opposite channel This mode works best with true stereo program material or with completely different sounds on either channel Delay Mode R Delay Time Ping Pong stereo The output of the left and right channels are fed into the opposite channel L Delay Time Ping Pong mono L gt R This mode creates echoes which bounce back and forth from left to right using either a mono or stereo source This is the classic ping pong echo effect Delay Mode R Delay Time Ping Pong mono L gt R The input is summed to mono then fed into the left channel The output of the left channel is cross coupled into the right channel The right channel output is cross coupled into
168. of peaks and notches in the frequency response LFO L R Phase Offsets the LFO between the left and right phaser channels 0 90 or 180 This adds animation to the sound Modulation Parameters Wet Dry Mix Depth Modulation Rate Modulation Feedback 128 Proteus X Operation Manual 7 Effects Effects Descriptions Pitch Shifter mono The pitch shifter also known as a harmonizer shifts the pitch of the input up or down while preserving the time between events Unlike speeding up or slowing down a tape recorder or pitch shifting across the Proteus X keyboard The range of the pitch shifter is 36 semitones down to 24 semitones up in 01 semitone increments Small amounts of pitch shifting makes an effective type of chorus Semitone shifts work especially well on the human voice for harmonization and for special effects With the Feedback control turned up the pitch shifted and slightly delayed signal will be recir culated through the pitch shifter and re shifted further up or down Feedback Pitch Shift Parameter Description Pitch Shift This control selects the pitch shift interval Range 36 semitones to 24 semitones Feedback Controls how much signal is recirculated through the pitch shifter Range 0 to 100 Pan This parameter moves the pitch shifted sound left or right This moves the apparent sound source left or right Modulation Parameters Wet Dry
169. ogPlanet POO08 000 008 Bass 4 amp MM Zimppler IM 1 POO09 000 009 Kit s MM AnalogPlanet WW And Voice P0010 000 010 Keyboard 1 MM Kit 1 MM MetalScience PO01i O00 011 SFX amp MM And Voice MM Sik OBXsaws PO0I2 000 012 Synth Mill MetalScience WM Stolen7Away P0013 000 013 Guitar Double click uum Sk Obs HM Movie Brass P0014 000014 Brass d NIE Stolen Away JM Dyna heim PODIS 000 015 Strings to open the p Moi JM Jumping PODI6 000 016 BPM M DR pen MM New Age Oohs P0017 000 017 Vocal Folder EMM Jumping x ce MMM New Age Oohs Sugar Freak P0018 000 018 Bass4 MM Sugar Freak HM Clavinetti PO0i9 000 019 Keyboard 4 MM Clavinetti WV Acoustic 1 P0020 000 020 Kt G MM Acoustic 1 M BreathyTBone POO21 000 021 Brass WW BreathyTBone Real Flute P0022 000 022 Wind MM Real Flute MM Alin a Pizz P0023 000 023 Strings Click on a AGM Alin a Pizz HU Walky Talk P0024 000 024 Bass 4 MM Walky Talk MM Fiimscore PO025 000 025 Strings preset icon MM Fimscore HL Vs Worm PO026 000 026 Lead to go to GE MM L V s Worm MM Bag O Tricks P0027 000 027 Kt MM Bag O Tricks 1 Melosoul EP P0028 000 028 Keyboard 2 Preset MM Melosoul EP MM Breather PO029 000 029 Wind Global W Breather v Frozen Time POO30 000 030 Vocal MM MasterBlast PO031 000 031 Hit A For Help press F1 34MB CPU Disk 0 Ch 3 Presets 1027 items 2 Click the Show Details button The details of the presets are now shown The sort buttons allow you to sort the presets by na
170. on lower numbered cords and to place compo nents of complex modulations patches in the proper order in the Cords section Negative Cord amounts invert envelopes and LFO waveforms To invert the effect of a controller knob set its Cord to 100 and add DC with a Cord value of 100 E MU Systems 95 6 Voice Editor Synthesizer Level Modulation Cords LFO 1 amp 2 A Low Frequency Oscillator or LFO is simply a wave which repeats at a slow rate LFOs are used to add animation to a sound voice with 17 different waveforms which are diagrammed below 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 Triangle Note References to musical intervals in the pattern LFO shapes are with the LFO routed to pitch and a PatchCord amount of 38 Random Triangle Sawtooth Sine Square 33 Pulse 25 Pulse 16 Pulse 12 Pulse Pat Octaves Pat Fifth Octave Pat Sus4 trip Octave C G La i E A C C Octave Pat Neener Sine 1 2 Sine 1 3 5 Sine Noise m E ASAS a G Hemi quaver aller Delay Sets the amount of time between playing a key and the onset of modulation This can be used to simulate an effect often used by acoustic instrument players where t
171. or Crossfade Between Voices In certain situations such as setting up drum kits you may want to randomly switch between several voices Crossfade Random is a modulation source specifically designed to handle this situation Unlike the other random sources Crossfade Random generates one random number for all voices that are assigned to the same key 1 In order to realtime crossfade or cross switch voices they must first be assigned to the same key range In the Key Window set the high and low key range of the voices so that they completely overlap Set up the Voices 2 Select the Realtime Window button 3 Set up a basic cross switch in the Realtime Window as shown below For this example we ll use two voices This will cause voice 1 to sound whenever the random value is in the range of 0 63 and voice 2 to sound whenever the random value is in the range of 64 127 E MU Systems 5 Preset Editor Key Window Page VW Warning Make sure you understand how to select Voices and assign Cords before attempting to perform realtime crossfades 67 5 Preset Editor Key Window Page Assign the Realtime Controller 4 Select the first voice by clicking anywhere on the strip A red box forms around the Tip Random Cross voice to show that it s selected Switch can be used in combination with Velocity Switching to play random voices when you 5 Hold the Ctrl key and select the next voice by clicking on it Both voices should
172. or a single source can control multiple destinations Control _ Value 9 63 127 Control Value Applied modulation ADDS to the initial value Normal o 63 127 centers around Zero fe Use for LFOs Filt Freq 63 0 64 lt lt modulation SUBTRACTS from the initial value 127 63 0 150 Proteus X Operation Manual 9 Synthesizer Basics Modulation Processors Modulation Processors Modulation processors are devices which can modify modulation sources such as LFOs and envelope generators before they are applied to a destination The modulation processors allow you to create patches and do tricks which would not be possible otherwise The following modulation processors are currently implemented Summing Amp Allows you to add several modulation sources so the output can be controlled by a single Cord Amount Switch Outputs a full value 100 level whenever the input above zero IS greater than zero Lag Processors Slow down rapid changes La in the input signal The 9 yg output lags behind the Processor input Rate is adjustable Absolute Value Inverts negative values and leaves positive values untouched Outputs only positive values Absolute Diode Blocks negative values and allows positive values to pass untouched Quantizer 3 of Size of With the input Cord set to Steps Steps 100 the output is limited ee to 16 discrete steps 4x Gain This pr
173. or is analogous to volume the darker the color the louder the volume for a certain velocity 9 Drag the fade points of the two voices so they look something like the window shown below SAMPLE 10 Play the keyboard anywhere but begin playing softly and gradually play harder Notice that the choir plays with lower key velocity and fades into piano as you play harder You ve just created a velocity crossfade gt Add a Voice 1 Select Preset New Voice from the toolbar A new empty voice appears below voice two 2 The label area of the new voice is blank Click on the selection box to the right of the empty label area to bring up the entire list of samples in the bank 3 Select sample 0350 SectionStringC3 by double clicking on it You ve just assigned a sample to the voice you created 4 Play the keyboard and now you have orchestral strings as well P Delete the Voice 1 Select the voice you just created by clicking once on the sample name or number to the left of the name The number turns red 2 Select Preset Delete Voice from the toolbar The voice has now been deleted Much More Now you ve had a small taste of what you can do with the Voices and Zones section Read chapter 5 to learn more about the Preset Editor See page 55 38 Proteus X Operation Manual 3 Getting Started Examine a Voice Examine a Voice Each voice has its own synthesizer section called Voice Processing to process the raw samp
174. or other LFOs to create random or semi random effects Modulating the rate of triggered LFOs will alter the LFO waveform Route multiple clocks with different divisors to the same destination such as pitch to create complex patterns Hint Adjust the Cord Amounts Eighth TLL Added together in equal amounts produces Note Quarter Note I Added together in unequal amounts produces Quarter Note E MU Systems 9 Synthesizer Basics Clock Modulation 149 9 Synthesizer Basics Modulation Destinations Modulation Destinations The Cords section of the Preset Edit module is where you connect sources to destina tions Each cord has an amount control associated with it to control how much modulation is applied Voice ARIS Morph Loop info NON Sample Rate Filter R Frequency Q Loop Start nu WU 2 3 e y SA LI 1 s Retrigger sn areas The Cords screen and the diagram above show how modulation sources are connected to destinations The modulation sources can control any of the destinations in the voice Note on modulation sources such as key velocity and gate output a single value at note on time Realtime modulation sources such as LFOs envelope generators and modulation wheels can be varied continuously The possible modulation routings are completely flexible as shown in the diagram above Multiple sources can control the same destination
175. ore dependable than manually selecting each voice when editing D To Place a Voice into a Group 1 Tag each voice you want to be in the group with the same group number This can be done in the Voices and Zones window or from the Voice Editor window 2 Whenever you select that group number in the Voice Editor screen all voices with that group number will be selected You can define up to 99 groups but a voice can only be in one group at a time To Make a New Group from the Currently Selected Voices 1 Select the voices you want to be in the new Group from the Voices amp Zones page 2 Select New Group from the Preset menu A new group will be created using the lowest available group number D To Select All Voices for Editing From the Voices amp Sample Zones window press Control A From the Synth Editor window select All in the Group box D To Select a Group of Voices for Editing Method 1 Simply select the desired group number from the Voice Processing page Once you have selected a group you will be editing all the voices in this group Method 2 Select any voice in the group then select Select Group N from the Preset menu All the voices in the group will be selected 62 Proteus X Operation Manual 5 Preset Editor Key Window Page Key Window Page Sample Name Selector Button Key Position Original Key Graphic Display Scroll Low amp High Key Cro
176. ort DF20 v Linear Linear Receive Program Changes vol itivit 31 External Tempo Source ee eee E MIDI Inputs Channels 1 16 17 32 The Proteus X can respond to 32 MIDI channels at once Since there can be only 16 MIDI channels per MIDI cable or input two inputs are provided Set the MIDI Inputs Ch 1 16 Ch 17 32 to match up to two outputs from your MIDI interface or sequencer If you don t need 32 channels you can turn either input off IntelliEdit This control allows you to set the MIDI device for IntelliEdit Selecting None disables the feature When editing sample key ranges or editing voices it is convenient to select the key position by simply playing your MIDI keyboard IntelliEdit lets you selectively edit key ranges using the keyboard when you need to but blocks keyboard editing when you may not want it such as when your keyboard is playing in the background Here s how it works E MU Systems 19 1 Introduction amp Installation Setting up the Preferences gt To Use IntelliEdit 1 Make sure IntelliEdit is set to the same MIDI port your keyboard is using 2 In one of the Voices and Sample Zones screens such as Key Window position the cursor inside one of the Key Range fields Low or High 3 Press and hold Ctrl Alt on your computer keyboard 4 Play your MIDI keyboard The key range will be edited 5 In the Voice Edit window holding Ctrl Alt lets you sele
177. orus and Delay because the signal can be delayed up toa full second 1000ms Slightly modulating the delay time in the 15 20ms range produces the familiar chorus effect See Background Chorus on page 118 When a longer delay is modulated a kind of gliding pitch shift effect is produced Vibrato effects can be easily created by adjusting the modulation rate and modulation depth parameters When feedback is introduced to a long modulated delay the sound tends to get scrambled up in unpredictable ways which might be just the thing to create that swarming bees effect you ve been looking for Setting the feedback percentage in the negative range inverts the feedback signal Negative feedback has the effect of deepening the cancellation notches which are created when using short delays with feedback Feedback o n ma o Parameter Description Initial Delay Sets the length of the delay line Range 10ms to 1000ms Modulation Sets how much the LFO affects the delay time Increases the amount Depth of chorus effect and pitch shift animation Range 096 to 10096 Modulation Sets the frequency of the low frequency oscillator Rate Range 01Hz to 15Hz Feedback Sets the polarity and amount of delayed signal that will be recirculated through the delay line Range 99 to 49996 Pan This parameter moves the delayed sound left or right This moves the apparent sound source left or right Range 99 to 99 Ran
178. ource 144 Re order Voices 138 Resonance controlling in realtime 94 definition 155 filter 86 Response amplifier 90 Retrigger 149 Retriggering Envelopes 146 Reverb Lite effect 117 Reverb effect 116 Reverb envelope 115 Reverberation description 115 Right Click Shortcuts 172 Ring Modulator effect 130 Robot Voice Effects creating 119 S Sample audition from disk 35 definition 25 layering 64 retrigger 94 start offset 80 Sample Buffers 17 Sample Rate setting 18 Sample Zone definition 70 delete 70 duplicate 70 new 70 utilities 70 SamplePool 40 Save 23 40 controller settings 33 definition 23 FX amp multiseups 52 Save As 23 40 Scarlatti Tuning 57 Scribble Strip 51 SCSI Tips 14 Select on Current Channel 46 Selecting Voices using MIDI keyboard 137 Send Aux 1 3 94 Send Main 94 Sensitivity MIDI controller 7 20 Shape LFO 96 Show Bank amp Program Numbers 140 Show Hide Object Numbers 140 Signal Path simplified 75 Small Icons 139 Software Installation 12 Solo Release Trig 100 185 Index Solo keyboard modes 100 SoundFont converting files to Proteus X 161 Sources Modulation 144 SP12 ulator effect 131 Standardized MIDI Controller Numbers 177 Stereo Width voice chorus 79 Streaming description 16 Summing Amps 151 using lag processors 98 Summing Nodes 95 Swap FXA amp FXB 112 Swept EQ Filter 156 Switch 151 Sync LFO 97 to clock 148 Synth Solo Mode 100 Synthesizer Controls 75 System Requirements 12
179. p Bar z 70 0 32 PartColors AMCT Track Chn Audio 1 Audio 2 Audio 3 Audio 4 Audio 5 Audio 6 Audio 7 Audio 8 Midi 1 Midi 2 Midi 3 Midi 4 Click Here 4 Select one of the MIDI Tracks as shown above 5 Click the Inspector icon shown above to open the Track Info 6 Select Panels VST Instruments from the menu bar The VST Instruments window appears 7 Click on No VST Instrument and select ProteusXVSTi from the list 8 In the Track Info section click on the Instrument field Select ProteusXVSTi 9 To the right of the Proteus X VSTi selection a pop up channel selection screen appears Select Any Proteus X 10 In the VST Instruments window click Edit Proteus X VSTi will open 11 From the File menu in Proteus X VSTi select Open and select a bank to open 12 Play your MIDI keyboard The MIDI Activity lights should flash on Proteus X E MU Systems 169 10 Appendix Proteus X VSTi Checklist for Launching Proteus X VSTi Cubase 5 1 Choose the following settings in the Options menu Options Audio Setup System A states etes E MU ASIO Options MIDI Setup System MIDI Input sursis lien ihren E DSP MIDI port B800 Options MIDI Setup System MID Tartas Enabled Thru Off Channel Off PatchMix DSP Make sure you have an ASIO 1 amp 2 input strip in the mixer VST Multisetup The current Multisetup is automatically saved when you save your song in your recording
180. plitude where the sample comes in per the controller This is not exactly what is done with the source file The Proteus X is forced to use up polyphony whereas Giga EXS Halion actually turns the samples on and off saving polyphony Release Triggering This is when a sample is programmed to play when the engine receives a note off message rather than the normal note on This is not possible with the Proteus X and such references are ignored Locating Referenced Samples In any multisample format such as the Proteus X s there are two elements the Program and the Sample The Program is defined as the information that determines what sample will be played when a certain MIDI note is triggering the engine Programs are called many things on different platforms on the Emu they are Presets on the Ensoniq they are called Instru ments and so on The Sample is well the sample data and maybe a couple of immediate parameters such as the loop points and the sample rate Some formats store all this information in one file this is called the Monolithic Method A good example of this is a GigaStudio gig file A gig file can be huge if it contains long samples or a large quantity of samples Other formats store the Program information in a small file sometimes called the control file In that file there are file references that instruct the sampler engine to load a sample from another file These sample references can be broken by deletin
181. r mation that didn t make it into this manual 5 Remove the Proteus X application disk from the CD ROM drive Proteus X Operation Manual Install the Proteus X Sound Banks 6 Locate Sound Disk 1 and insert it into the CD ROM drive This disk contains the Proteus Composer bank used in the tutorials If Windows AutoPlay mode is enabled for your CD ROM drive the installer begins running automatically Follow the onscreen instructions to install the bank on your hard disk The Factory Sound Banks are installed inside Program Files Creative Professional ProteusX Production Sound Banks by default 9 You can install the other sound bank disks now or at a later time Launch the Proteus X program by double clicking the Proteus X icon on the desktop or by selecting the Proteus X item from the Start menu Register your Software Please register your software today to guarantee uninterrupted use Optimizing Your Computer for Proteus X Windows The following suggestions can help you configure your windows machine for optimal performance Since systems vary we recommend that you note the original settings of any system parameters you alter so that you can restore them in the event that unexpected problems occur as you seek to optimize your system for Proteus X Seriously consider dedicating a computer as your audio workstation This computer can be optimized for best audio performance If possible avoid assigning
182. r Room AUX Default BPM Delay AUX Default Reverb Bad Metal Bathroom M 3 Type in a name for your Template and click OK The Template is saved with the editor program ready to use when you open any bank To Recall a Template 1 Right click with the mouse anywhere inside the module border A pop up menu of Templates appears 2 Select the desired Template from the list The Template will be selected 1 Select Effects Templates or press E from the Multisetup Preset or Voice menus A pop up list of Templates appears 2 Select the Template you want and click OK To Rename or Delete a Template 1 Right click with the mouse anywhere inside the module border 2 Select Organize Templates The following menu appears E MU Systems 113 7 Effects Pres et FX Screen Eg Organize Templates Templates Reverb 1 Large Room Gate 1 Reverb 2 Chamber Gate 2 Reverb 3 Small Club Gate 3 Small Room Club Gate 4 Small Live Room Small Hall Gate 5 Weird Small Room Sweet Big Verb Reverse Gate Weird Tiny Room Theatre Plate 1 Bright Room Gymnasium Plate 2 Live Room Warehouse Plate 3 Tiled Room Dark Cavern Bad Metal Bathroom Outdoor Concert Slapback Cold Room Oudoors 2 Slapback 2 Another Room Fantasy Verb Panned Slapback M F3 Ms ee Wo WON 114 Click Delete to permanently remove the Template Click Rename then type in the new name to rename the Template Click O
183. r all the way down to 1 bit resolution if you must Range Hi Res 32 bit 12 bit to 1 bit Modulation Parameters Wet Dry Mix Frequency Depth E MU Systems 131 7 Effects Effects Descriptions Tube The Tube is a tube amplifier simulator based on soft clipping An overdriven tube amplifier sounds good because it generates even harmonic distortion products This digital tube gently rounds the waveform in a smooth controlled manner much like a real vacuum tube Set the amount of distortion using the Gain control then adjust the tone using the Treble and Bias controls The Compression control smooths out volume changes and the Output Level control sets the final volume of the effect n gt Signal path Stereo Parameter Lowpass Filter H gt T 4 1 Gain Output Presence Level Bias Compression Description Gain This parameter controls the overdrive amount on the tube and thus the amount of distortion generated Range 0 25 50 00 Output Level This parameter sets the output volume level and has no effect on the tone Presence This control sets the lowpass filter frequency at the output of the tube Compression Tubes have a certain amount of natural soft compression This controls how much compression is applied Bias Bias controls at what point in the waveform clipping begins Modulation Parameters Wet Dry Mix Gain O
184. r es 33 Create Your Own Custom Bank ss 34 Load a New Bank uen odio d eset ere Een e ERA 35 Opening a Preset o acto emt petat e adc gi d i re esie ge nns 36 Much MOT iuret e e de nn e PETRA ee D ERR gs 38 Examine a Voice cR TE 39 Wipe thes Slates tt res M is MN eu Lt nk AM cR ae c 40 Save and Save AS esee eie a EH GEO E UR EUR De RE CERE nement 40 Proteus X Bank SUCINE e ete tete mee cds carded ductus Oe OE N ee ue 40 The Librtaridn et nt emnt ds 41 4 Multisetup Global Controls cernens 43 TheMult setup edt tice tree ae ee th verae e agn 43 Changing Presets from Single View sss 44 16 Channel View a aS T Re e ERR RE Re S 45 The Current MIDI Channel 4 saeta 46 MIDI Channel xem tete Pereira b ee ned 46 Preset Assigniment eene redatto 46 Channel Volume a ES 46 Channel Pau i5 anco nn ann Ne RE dede b RR 46 GQutput ASSIBHITHEDE c S nor di 46 Output View Button cu ee eR ERE EON 47 AUX FX View BUttOns eei ae ai e ERR Een Er eL d 47 Aux Send On Off veri sense i RV e Ue hs 47 Preset FX Enable e dece eee aen 47 Select Effect naa di built asas 47 Global Control ua tt dl er ems 48 Master Volume Control amp VU Meter uses 48 Tempo Controls 2 ede eee RR Po e HE OE e AR UR DS 48 Master TUDE ere te b oet aed Hare cis 48 Master Lranspose uoto mre e emeret exiit iae edet dete e re Renee Re ee ed euam 48 LIMITE san tree e eae eene dta 48 AUX OUEpUtS eee ERR ERE Hte rt ae re e Ree tin
185. r keyboard range Sample A sample is an individual digital recording with a name sample rate and loop data E MU Systems 25 2 Proteus Architecture A Modular System Flexible Architecture The Proteus X allows you great flexibility in the way you construct presets Consider this you can assign multiple samples to the keyboard inside a voice or assign single sample voices to the keyboard Unless you specify otherwise only one sample is assigned per voice In this case you would assign voices and the single sample each one contains to the keyboard and create presets On the other hand you may want to create multisample voices before you start designing presets and treat the voice as your finished sound In this case the preset can be used to crossfade layer or switch multiple complex voices Preset Diagram The diagram below illustrates the concepts of a preset and voice Preset A complete keyboard layout with unlimited voices Voice A complete synth sound containing a single sample or a Multisample Sample An individual digital recording with loop information Preset Ee I TII KYBD Range Velocity or Realtime Crossfade ni s Voice Sample Loop info Sample Rate 9 Frequency Pitch Retrigger Chorus Glide Start Offset Loop E ER i Vel E Gate ER 26 Proteus X Operation Manual 2 Proteu
186. r the attack time Eventually you ll want to make your own custom presets using complex modulation routings Editing Presets It s easy to create new presets by modifying existing presets This is really the best way of getting acquainted with the Proteus X If you don t like the results simply reload the preset or bank and you ll be back to the original sound Changes are not made permanent until you SAVE a bank Therefore you can experiment all you want with presets voices and samples without worrying about losing a sound We encourage you to actually try out the different functions as you read about them Hearing what a control actually does will remove a lot of the mystery associated with it The Proteus X contains an extensive modulation implementation using two multi wave LFO s Low Frequency Oscillators three envelope generators and the ability to respond to multiple MIDI performance controllers You can simultaneously route any combination of these control sources to multiple destinations 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
187. rd may have several knobs or sliders that are transmitted over MIDI These can be used to control the Proteus X if you match the CC numbers your MIDI keyboard transmits to the same CC numbers on the Proteus X These global settings are located under Options Preferences Controllers See page 21 and page 158 for additional information about MIDI controllers 1 To Modify the Sound using the Controllers Play your MIDI keyboard as you adjust the controller knobs on the screen Notice that the sound changes If the sound doesn t change make sure the current preset red number is the same one that your keyboard is playing If you have controller knobs on your MIDI keyboard and have set up the Controllers Options Preferences Controllers to match your keyboard you can use these knobs to modify the sound Notice that the screen knob follows the movement of the hardware knob Try changing the filter type Click on the selector to the right of the filter name and select one of the 53 different filter types Adjust the Tone and Presence controls while playing the keyboard to hear your changes Change the Volume and Pan controls for the MIDI channel you are using These settings can be adjusted remotely using MIDI controller 7 volume and controller 10 pan If you want to save the changes you must set the Initial Controller Amounts in the Preset Globals page to match the settings you made in the Multisetup p
188. rder to free up CPU power or to hear the presets dry Aux FX View Buttons The buttons above the TV display select which of the three possible Aux Effect is currently displayed Note The Output View button is disabled in Single mode Aux Send On Off These buttons enable blue or disable grey the inputs to the Aux Sends for each MIDI The Output View channel When a factory FX template such as Proteus X Composer is used these button is only available buttons serve to enable disable the Aux FX for each channel The Main Output is when 1 16 or 17 32 is selected In Single mode A you can only control the These buttons disable the Aux Sends whether the Aux FX are being used or not Please current channel refer to the diagram on page 104 to see the exact location of this switch in the signal path unaffected by these buttons Aux Effect View Buttons Output View Button OUTPUT EX Main Aux Send On Off Preset FX Enable Buttons Main Output Routing Preset FX Enables These two rows of buttons marked FXA and FXB enable or disable the preset effects for each MIDI channel These work differently than the Aux Send On Off buttons in that they bypass the effects instead of turning them on or off These buttons are useful to bypass any preset effects which may have been programmed in the preset Please refer to Chapter 7 Effects on page 101 for detailed information about the output and effects routing Select Ef
189. re are four user programmable morphing filters which have the ability to change their response over time Now you can design your own custom filters that morph between filter types Take the time to learn about these powerful filters because they are extremely useful and sound great The frequency response graphs are especially helpful to understand the action of these complex filters since the control functions are slightly different for each filter Dual EQ Morph MORPH i ma 100 0 J This is a programmable 2 frame Morphing filter with two EQ sections As the Morph value is increased the filter interpolates from the low to high settings The Gain of each section remains constant during the Morph but can be scaled at note on time by controlling the Initial Gain parameter This filter can be used to create your own vocal formant filters Try the settings shown and modulate with the filter envelope or LFO High EO 1 Dual EQ amp 7 2EQ Morph Filters High EO 2 Amplitude A Low EO 2 Cs Frequency As the Morph value is increased the filter interpolates from the Low to High Frequency settings E MU Systems 87 6 Voice Editor Synthesizer Level Amplifier Filter amp Auxiliary Envelopes 2bEQ Morph Expression Morph Filt Freq Express n Filt Res MORPH Dual EQ Morph Ex 100 0 Q SECTION 1 This filter also has two EQ sections and a lowpass filter with indepe
190. re possible For example if you set the attack time to be 1 16 the attack time will last exactly one sixteenth note at the master tempo BPM Envelopes BPM envelopes are controlled by the Master Tempo located in the Multisetup window Note The master The Master Tempo rate scales the time of the BPM envelope segments The Master tempo can be set Tempo can also be derived from an external MIDI clock to synchronize the envelope internally using the times with external sequencer or arpeggiator tempo changes See note gt tempo control in the Multisetup window or controlled from an BPM Envelopes external MIDI clock Internal External clock selection is located in the Preferences dialog box ll Initial Setting ll Increase Master Tempo M Decrease Master Tempo Envelope Repeat The Envelope Generators can also be made to repeat When the envelope repeat function is On the Attack 1 amp 2 and Decay 1 amp 2 stages will continue to repeat as long as the key is held As soon as the key is released the envelope continues through its normal Release stages 1 amp 2 level time gt Key Down Key Released The diagram above shows how the looping envelopes work When the key is pressed the Only the Filter and envelope goes through its regular Attack 1 Attack 2 Decay 1 and Decay 2 stages In non Auxiliary Envelopes have looping mode the envelope would hold at the end of the Decay 2 stage until the key the repeat
191. reating a fatter sound when it is combined with another voice This is the same Fine Tuning control displayed on the Mix Tune tab of Voices amp Zones page 61 and changes made to either page will appear in both places Fixed Pitch Mode This function turns keyboard transposition On or Off for the voice With Fixed Pitch On the keyboard will not control the pitch of the voice This is a useful function for drones or chiffs which you may not want to track the keyboard 78 Use Transpose when you want the voice s timbre to remain constant lt Use Coarse Tuning when you want to change the timbre of the voice Use the Coarse Tuning control to change the tuning of voices containing multiple drums Proteus X Operation Manual 6 Voice Editor Synthesizer Level Oscillator Chorus Amount Chorus thickens the sound by doubling the sound in stereo and CHORUS then detuning it Chorus uses twice as many voices and twice as ate much of your CPU power when the Amount is set above zero AAO LIMIT B ET Amd The amount of detuning and is variable from a Off to 100 100 0 WIDTH Controls the stereo spread 096 reduces the Stereo Width chorus to mono and 100 gives the most FT m stereo separation LER Adjusts the delay of the left and right sounds Inter Aural Time Delay ITD Positive values start the right channel early and the left late Chorus amount and ITD can be modulated in th
192. reset effect signal that will be sent to the Main Output Preset Aux Outputs 1 3 Adjusts the amount of Preset effect signal that will be sent to the Aux 1 3 busses Multi Effects A amp B On Off These buttons enable or disable the Preset A amp B effects for each MIDI channel Multi Aux Effect View These buttons let you see the Main output screen or the Aux 1 3 effect screens Multi Main Output ASIO This field allows you to select the ASIO channel pair for the Main Output ASIO outputs appear in the list only after they have been created in PatchMix DSP Multi Aux Output On Off This button turns the Aux outputs on or off for each MIDI channel In the factory presets this button effectively enables or disables the global effects Multi Aux Output ASIO This field allows you to select the ASIO channel pair for Aux Outputs 1 3 ASIO outputs appear in the list only after they have been created in PatchMix DSP E MU Systems 105 7 Effects FX Routing You can place effects in three places Multisetup Effects placed in the Multisetup Aux 1 Aux 2 or Aux 3 can be used by all Presets in the Bank Preset Effects placed in the Preset FXA or FXB are used by one W if a Preset containing specific Preset an effect is used by more l than one MIDI channel PatchMix DSP Hardware effects can be applied in the PatchMix DSP more CPU resources are mixer application These effect
193. rigger Last note priority No key up action Retriggers envelopes and samples when a key is pressed Melody last Last note priority No key up action First solo note Envelopes start at Attack segment from zero Samples start at the beginning If previous note is releasing Envelopes start at Attack segment but from current level Samples start at the beginning When playing Legato Envelopes continue from current segment and level Samples start at the loop or the beginning if unlooped Melody low Same as Melody last but with low note priority Newly played keys which are higher than the lowest solo key held will not sound Melody high Same as Melody last but with high note priority Newly played keys which are lower than the highest solo key held will not sound Synth last Similar to Melody last with key up action When currently sounding solo key is released while still holding other keys the highest held solo key sounds in a Legato fashion envelopes not retriggered Synth low Same as Synth last but with low note priority When the currently sounding solo key is released when other keys are still held the lowest held solo key will sound in a Legato fashion MiniMoog Synth high Same as Synth last but with high note priority When the currently sounding solo key is released when other keys are still held the highest held solo key will sound in a Legato fashio
194. rings us to the subject of saving data Saving the bank to a hard disk permanently stores data so that even after turning off your computer the disk stores a record of your work IF YOU DO NOT SAVE A BANK ANY CHANGES YOU HAVE MADE WILL BE LOST WHEN YOU TURN OFF THE COMPUTER Do not wait until the end of a session to save Save your work periodically in case of power failure or some other unforeseen circumstance that might erase the computer s memory Hard disks and computers are not infallible All hard disk banks should be backed up periodically to another hard disk or other media Should you improve the preset later you can always replace the original with the revised version And if something goes wrong the original will still be available to save you the ordeal of starting from scratch When you choose Save as opposed to Save As only the edited presets voices and samples will be written saving time and memory When you choose Save As from the file menu the entire bank presets voices and samples are re written to the hard disk This method although somewhat wasteful of memory ensures that all your samples remain bound with your bank E MU Systems 2 Proteus Architecture A Modular System W Whenever you have done enough work that you would hate to lose it BACK IT UP Use Save As and rename the bank file to avoid losing valuable data 23 2 Proteus Architecture A Modular System Proteus X B
195. rns all three Aux Outputs Off rather than bypassing before they appear in this the effects Functions as an FX Bypass when the standard list Proteus X Composer template is used See page 108 E MU Systems 107 7 Effects Proteus X Composer FX Template Proteus X Composer FX Template This is the effects architecture we have chosen to use for the Proteus X Composer bank We recommend that you use this scheme as a model for your own presets unless you have special requirements Preset effects and global effects can be used simultaneously and you can use PatchMix DSP hardware effects by simply changing the Aux Output routing The main effects are located in the Multisetup so that they can be shared by all presets This is the standard sidechain effects routing scheme found on all mixing boards Aux 1 Reverb and Aux 2 BPM Delay MIDI controller K controls Reverb amount and MIDI controller L controls Delay amount through the Preset PatchCords The diagram below shows the Proteus X Composer routing scheme Aux Outputs EX Main 14 gt EX Main 7 MIDI A Controllers Preset Cords Key Points Voice Aux 1 2 3 are turned fully down and are not used The Main Output is turned up full The Wet Dry Mix is turned to full wet Preset No effects are selected for Preset FXA FXB To add a preset effect just select one The Main Output is turned up full Aux 1 and Aux 2 are i
196. rs in key window 63 Figure Eight reverb pattern 116 117 Filter about 153 bandpass 84 154 comb 85 controls 84 cost on voice count 17 descriptions 84 FX 1 band para eq 124 4 band eq 125 global type 51 highpass 154 notch 155 parametric 156 poles 155 swept EQ 156 types 84 Z plane 157 Filter by Category library 42 Find files using the librarian 42 Fine Tuning 78 linked preset 73 Proteus X Operation Manual Fingered Glide 100 First Key modulation 60 Fixed Pitch Mode 78 Flanger 126 Flip Flop 151 Floppy disk loading EOS banks from 168 Footswitch 145 FX Edit Screen 113 FX Insert Chains 113 G Gain filter 84 Gamelan Tuning 57 Gate modulation source 144 Generator envelope 145 146 noise 145 GigaStudio converting files to Proteus X 161 Glide 79 modulation source 144 rate 79 Global Controls 48 Groups 62 Growl effect 127 H HALion converting files to Proteus X 161 Hard Drive Requirements 14 Hass Effect Panning 79 Headroom Boost Control 18 High Frequency Damping stereo reverb 115 High Hat Simulation 99 High Pass Filter 154 Implementation Chart MIDI 176 177 Independent reverb pattern 116 117 Initital Controllers A P 56 IntelliEdit 19 Inter Aural Time Delay 79 Inverting modulation sources 148 ITD 79 J Just C Tuning 57 description 57 Just Intonation 57 K Key glide modulation source 144 ranges amp fades adjusting 137 transpose 78 transpose voice 76 ve
197. s Keyboard Pressure mono aftertouch Key Pressure applied after the key is initially pressed Pedal A continuously variable pedal controller connected to your MIDI keyboard 144 Proteus X Operation Manual 9 Synthesizer Basics Modulation Miscellaneous Controllers A P Any type of MIDI continuous controller data from your keyboard or other controller MIDI continuous controller numbers are programmed in the Preferences dialog box See page 21 Low Frequency Oscillators 2 per voice Generate moving repeating waves used to add interest and animation to the sound Envelope Generators 3 per voice Generate a programmable contour which changes over time when a key is pressed Noise amp Random Generators Generate spectrums of noise and random signals to be used for modulation T switch and Footswitches Change a parameter when a MIDI switch is pressed MIDI footswitch numbers are programmed in the Preferences dialog box See page 21 Modulation Cords You use a Cord to connect a modulation Source to a Destination Patchcord a holdover from the days when modules of an analog synthesizer were connected together with physical cords Nowadays we still need a way to connect modules together but the cords are in software You can connect the modulation sources in almost any possible way to the modulation destinations You can even modulate other modulators Each cord also has an amount parameter which determines
198. s No O Import Std MIDI files No O Export Std MIDI files No o 176 Proteus X Operation Manual MIDI Implementation Chart Control Function Transmitted Recognized Remarks 0 Bank Select MSB No Yes See Note 1 Mod Wheel MSB No Yes 2 Breath Cntl MSB No No 5 3 No 4 Foot Cntl MSB No No id 5 Portamento MSB No No 6 Data Entry MSB No No 7 Chan Volume MSB No Yes 8 Balance MSB No No i 9 10 Pan MSB No Yes A 11 Expression MSB No Yes 3 12 Effect Cntl 1 MSB No No 13 Effect Cntl 2 MSB No No 14 i 15 16 GenPur Ctrl 1 MSB 8 17 GenPur Ctrl 2 MSB i 18 GenPur Ctrl 3 MSB 19 GenPur Ctrl 4 MSB 20 21 i 22 23 24 25 26 27 x 28 5 29 30 3l 32 Bank Select LSB 33 Mod Wheel LSB 5 34 Breath Cntl LSB x 35 i 36 Foot Cntrlr LSB 37 Portamento LSB 38 Data Entry LSB A 39 Chan Volume LSB x 40 Balance LSB i 41 42 Pan LSB 43 Expression LSB 44 Effect Cntl 1 LSB x E MU Systems 10 Appendix MIDI Implementation Chart 177 10 Appendix MIDI Implementation Chart Control Function Transmitted Recognized Remarks 45 Effect Cntl 2
199. s 44 1 k sample rate 138 k per Channel per second 48 k sample rate 150 k per Channel per second Regularly check your hard drive for fragmentation and de fragment the drive when necessary Your drive will operate most efficiently when it s not fragmented If possible use a two drive system one for audio one for your system Setting up your Audio Before you can start making music you have to establish a connection between Proteus X and your audio output hardware This is done by selecting a software driver that makes this connection between hardware and software 1 Select the Preferences screen from the menu bar Preferences Audio MIDI Controllers Other Settings Streaming Audio Pre roll seconds 0 5 Type E MU ASIO x 4510 Control Panel Sample buffers 64 use Opt Ultra High Precision Interpolation Buffer size 480 10 0 msec v CPU cap 80 VST 5e Sample rate 48 0 kHz v Headroom Boost dB 15 s ap 2 In the Audio section of the dialog box select E MU ASIO if not already selected This setting interfaces with the E MU Digital Audio System 3 With E MU ASIO selected the Proteus X will interface properly with the E MU Digital Audio System After running Proteus X you may want to adjust the Audio Preferences for optimum performance on your computer system See Audio Preferences on page 16 4 If for some reason you want to use hardware that doesn t suppor
200. s Architecture A Modular System Voices A voice is a complete sound that can be assigned to a range of the keyboard A sample is the part of a voice that generates the actual sound You can think of a voice as a complete instrument consisting of one or more samples which can then be used as a building block in constructing more complicated presets A voice consists of one or more samples a dynamic filter a dynamic amplifier up to three 6 stage envelope generators up to two multi wave LFOs and up to 32 modulation routings called Cords to connect everything together Multisample Voices In another scenario you might have several samples of an instrument such as a piano A voice can contain a then place them into the same voice in order to share the same set of synthesizer param single sample or eters If a voice contains more than one sample this multiple sample object is called a multiple samples Multisample A diagram of a multisample voice is shown below whichever you prefer Multisample Voice l Each Sample Orig Key Tune Volume Pan i Key Range Fades Positional Velo Range Fades P Crossfade I Loop Samp Rate Loop Samp Rate Loop Samp Rate Multisample voices are designed to arrange groups of samples into one manageable entity The window below shows an opened multisample The key mapping of the multisample overrides the key m
201. s OK to save the Multisetup 5 Save the Bank otherwise nothing will be saved To Restore a Multisetup 1 Open the multisetup folder in the Tree Any multisetups contained in the bank will be listed below the folder 2 Left click on the desired multisetup icon in the tree and drag it over the Proteus X icon above the tree This multisetup will be restored 3 Alternate Method Right click over the Multisetup icon in the Tree and choose Load To Rename a Multisetup 1 Open the multisetup folder in the Tree Any multisetups contained in the bank will be listed below the folder 2 Right click on the desired multisetup icon in the tree then select Rename from the pop up menu 3 Type in a new name for the multisetup To Delete a Multisetup Open the multisetup folder in the Tree Any multisetups contained in the bank will be listed below the folder Right click on the desired multisetup icon in the tree then select Delete from the pop up menu 3 The Multisetup will be deleted NJ 52 Proteus X Operation Manual 4 Multisetup Global Controls Working with Multisetups P To Duplicate a Multisetup 1 Open the multisetup folder in the Tree Any multisetups contained in the bank will be listed below the folder 2 Right click on the desired multisetup icon in the tree then select Duplicate from the pop up menu 3 The Multisetup will be duplicated renamed Copy of XX and placed in the
202. s Roo n ure Nase ah AE AT NS e E E ne EA S ve 125 Flanget tee teret reel eo e ree dr re ere eod n d eee e eps 126 GEOWL secte ter eda e ORE ede e e e ede E ret n eset 127 POS titine ne RE e E ELE Ru RR Rte a o eae e ERR 128 Pitch Shifter MOno caries sete o eie 129 Ring Modulator earen rin re eh te ee etie AE nr EE eda 130 jubar EE 131 br sr A 132 WIN 133 8 Controls ainia TSS The Toolbars ee ad 135 Viewing and Hiding the Toolbars suser dernei i E EA A 136 Drag amp DIOP TN 136 Ghatiging Settings eere avi Ai date ert 136 Entering Numeric Valles nanan a a a erret 136 Adjusting Key Ranges amp Fades 137 Selecting Voices using your MIDI Keyboard seen 137 Voice Processing Graphic Keyboard Operation sse 137 Adjusting Enyelopes ciet eet ee teer anre PR ee i ne Ur entres 138 BPM Mode A Temporaire Res merde de a HE be RE 138 Cut Copy A Paste gH it ias 138 VIEW MENU iiit emere de eee tre o RD eee ae i e a ei RR 139 Main Display View 2 5 oec ee e e ae NO eH REOR dea Fe ERE di En ends 139 E MU Systems ben 140 Tree Navigation using the Keyboard ss 141 CUESOL Keys PE 141 Find Items cedi ee eee ree eb Da eh P ttes E EE ET 141 Refresh E5 ixi emet veio v te bM edet eu Ua Ds 142 Context Sensitive Menus eue E ee EI iege tpe er E op RE CER ere 142 Undo Redo 35 50 rte
203. s an example 5 Tired of turning the filter frequency by hand Let s program one of the LFOs to do it Choose Cord 8 and set the left selection box to LFO 1 E MU Systems 39 3 Getting Started Examine a Voice 6 You ve just connected one end of a Cord Like all cords you ve got to connect both ends for it to do anything Connect the other end of the cord to Filter Frequency 7 Each Cord has its own attenuator which controls how much signal goes through the cord Turn the knob in the center of the cord all the way to the right 4 100946 8 Now set the filter frequency knob about 1 3 of the way up and play a note on the keyboard You should hear the filter being turned up and down automatically 9 Change filter types and adjust the filter frequency if you don t hear the filter being modulated 10 Adjust the Frequency of LFO 1 11 Change the Shape of LFO 1 You ll have to re key to hear the new waveform Modulating Cords In the Proteus X even the Cords themselves can be controlled by other modulation sources or controls Let s use your keyboard s mod wheel to control the amount of LFO to filter modulation 12 Cord 0 already has the Mod Wheel assigned as an input Set the output of Cord 0 to go to Cord 8 Amount 13 Turn up the amount of Cord 0 to 100 14 Set the amount of Cord 8 to 0 off You re going to turn it up with the mod wheel 15 Now play a note and move the Mod Wheel of your keyboard up Mo
204. s so you can tune Proteus X to other instruments The master tuning range is 1 semitone in one cent steps 1 100th of a semitone A master tune setting of 0 indicates that the Proteus X is precisely tuned to concert pitch A 440 Hz Master Transpose The master transpose parameter transposes the key of all presets in semitone intervals The transpose range is 12 semitones 1 octave Limiter When playing the Proteus X you may sometimes hear digital clipping This clipping occurs in the digital hardware and is not caused by the Proteus X which uses high resolution floating point processing and has tremendous internal headroom To avoid the clipping you could always lower the volume controls but there s a better way The Limiter monitors the signal ahead of the output stage and automatically turns down the volume before clipping can occur 48 Proteus X Operation Manual gt To Use the Limiter 1 Press the Enable button illuminating the button 2 Set the Release knob to about 30 to start Release controls how fast the limiter turns the volume back up after reducing it to avoid the clipping peaks 3 Increase the release time if you hear obvious volume changes pumping Reduce the release time for percussive playing Aux Outputs These three output assignments assign the Aux Routings selected in the Voices or Presets to pairs of ASIO channels or to DirectSound Every Voice page 27 has three effects sends with programmable
205. s to fill in the keyboard ASIO Control Panel This button brings up the E MU ASIO control panel which allows you to set the ASIO buffer latency in milliseconds This important setting determines how fast notes will sound after you play them If this time is too long gt 10mS the keyboard response will feel slow and sluggish If set too fast however you will hear the sound break up and crackle when you play too many notes Experiment to find the setting that gives the best performance on your computer W Warning Sounds with long release times will exhibit voice stealing more than short percussive sounds Proteus X Operation Manual 1 Introduction amp Installation Setting up the Preferences VST Output Buses This control is only active in the Proteus X VSTi application This setting allows you to add additional VST buses stereo pairs Proteus X channel outputs can be assigned to VST buses in the Multisetup Output field These outputs are sent to the VST Mixer in your recording application You must restart the VSTi for the changes to take effect MIDI This group of preferences allows you to set up the MIDI inputs adjust the master MIDI volume and velocity curves and turn the IntelliEdit feature on or off Preferences t3 a LAudio MIDI Controllers Other settings MIDI Inputs MIDI Response ch 1 16 EDSPMIDIPert DF20 v Velocity curve Volume curve IntelliEdit E DSP MIDI P
206. s use minimal CPU used resources but do not get saved with the Bank You have to call up the appropriate PatchMix Session Effects Overhead Each effect you select whether it is located in a Preset or in the Multisetup uses a percentage of your computer s CPU Extensive use of effects in every preset can easily bog down your computer Effects begin running and using CPU as soon as they are selected Typical Effects Usage Because the software effects use precious CPU resources you will generally use Aux effects in the Multisetup for your main effects since these can be shared by all presets in the bank You can still use Preset Effects as needed keeping in mind that the more software effects you use the fewer CPU resources will be available for polyphony recording and other tasks ASIO Outputs ASIO outputs appear in the list only after they have been created in PatchMix DSP If you only have three ASIO input strips in PatchMix DSP you will only see three choices in the Multisetup ASIO Selects The ASIO Outputs take their names from the names of the Strips in PatchMix DSP 106 Proteus X Operation Manual 7 Effects Main Output Window Main Output Window The Main Output window is accessed by clicking the Outs button This option is not available in Single mode This one window allows you to set the ASIO routing of the Main Output enable the Preset Effects and enable the Aux Outputs for each MIDI channel This window
207. se see Combining Dual Mono Samples into Stereo Files on page 167 for more specific information The Proteus X Converter expects that the samples files referenced by the Akai Programs within the Volumes will be in the same folder as the Program just like the Akai itself behaves The vast majority of the time they are See Locating Referenced Samples on page 166 for more information Akai S 5000 The Akai S 5000 uses files stored on regular computer format disks and uses files with the akp extension for their Programs and these reference wav files to store their samples These can be mono or stereo Each akp file is the equivalent of a Proteus X Bank although when you are converting whole folders each folder will convert to a single Proteus X Bank with each akp file becoming a Preset within that Bank Akai akp files and the wav files they are connected to may be quite large up to 512mb The Proteus X Converter expects that the wav files referenced by the akp will be in the same folder as the akp just like the Akai itself behaves See Locating Referenced Samples on page 166 for more information Emu E3 ESi The Emu E3 Series by now is the most legendary sampler ever produced In fact it s so awesome that it s scary to even convert its format to anything else The Emu E3 Series format which includes the Emulator 3 the Emulator 3x the ESi 32 ESi 4000 and ESi 2000 is proprietary you cannot view the co
208. set Number field and type in the desired preset number To Select Presets by Category AE 1 Click on the Select Category button The mo rs Ies pop up dialog box at right appears cre Lok s Hit 2 Select the desired preset category then press Keyboard i OK Keyboard 2 Maps E K 3 Choose Select By Category from the Single Ke view screen above uad Orchestral 4 Use the Increment or Decrement buttons to m M select presets Note that only presets of the selected category are selected 44 Note that Single View only changes the display and does not affect the currently selected MIDI mode i e Omni Poly or Multi The Bank Program Display shows the Bank and Program number you would use to select the preset from a sequencer Proteus X Operation Manual D Changing the Current MIDI Channel The Current MIDI Channel is simply the MIDI channel you are currently working with To change the current MIDI channel simply increment or decrement the channel number using the buttons or click on the channel number and type in the desired number 16 Channel View Press the 1 16 Multisetup View button to view 16 channels at once This mode is useful for sequencing or when playing multiple MIDI channels Channel 1 16 View MIDI Preset Multisetup Channel Channel Output Aux FX Activity Select View Volume Pan Display Display Buttons Button Buttons N z E Proteus Composer
209. slimmed down version of the Big Reverb This effect only uses about 3 4 of the DSP resources of the Big Reverb and is smaller than even the Chorus effect making it the perfect choice when you re running low on CPU horse power See also Background Reverb on page 115 Parameter Description Pre Delay Sets the amount of time before any reflected sound is heard Decay Sets the overall decay time of the reverberation effect Diffusion Sets the density of the echoes and scattering of the reverb cloud At low settings discrete echoes will be heard At high settings a dense wash of sound is produced Note High diffusion settings will increase the overall decay time Room Size Changes the spacing between the reverb stages to simulate rooms of various shapes and sizes HF Damping High Frequency Damping sets the rate at which low frequencies die away A setting of zero results in no damping Pan This parameter sets the position of the reverberant sound in the stereo field in order to change the apparent source position Modulation Parameters Wet Dry Mix Decay Pan E MU Systems 7 Effects Effects Descriptions When using the Figure Eight or Matrix modes pan position will be less focused and the stereo image will be somewhat blurred 117 7 Effects Effects Descriptions Chorus Background Chorus An audio delay in the range of 15 20 milliseconds is too short to be an echo but is p
210. sound cards SoundFont technology is a sample format that was invented by E MU for the purpose of creating a flexible wavetable synthesis solution for Creative Labs E MU added their expertise and created a solution that would be embraced for consumer and professional applications SoundFonts are wav file samples that have been transformed by a SoundFont editor such as Vienna into MIDI controllable instruments They re also referred to as sf2 files patches or programs and are generally put together in groups known as SoundFont Banks which can contain definitions of up to 128 instruments and one drum set Emagic EXS 24 Mark I and Mark II The Emagic EXS 24 is the internal sampler that is available for Emagic s popular Logic DAW It also comes in a VST flavor called the EXSP 24 that can be used within or outside of Logic EXS 24 files can exist on PC or Mac formatted disks The Proteus X Converter can access and convert both types as it can view both PC and Mac drives The Mark I and Mark II use the same file format the Mark II just has more features The EXS 24 uses the exs file extension although especially in the case of Mac files it is not 164 Proteus X Operation Manual 10 Appendix The Proteus X File Converter necessary to have the file extension The Proteus X Converter will only see EXS 24 files on PC formatted disks if they have the exs extension on Mac disks they either can have the exs extension or have the EXS
211. sound s pitch will follow T clock divisors the same course Controlling the pitch of an instrument is an easy way to hear the effects of the LFO waves Like the Auxiliary Envelope the LFOs can be routed to control any realtime functions such as Pitch Filter Panning or Volume A common use for the LFO is to control the pitch of the sound LFO gt Pitch This effect is called vibrato and is an important performance parameter Many presets use this routing with the modulation wheel controlling how much LFO modulation is applied Another common effect Tremolo is created by controlling the volume of a sound with the LFO LFO gt Volume Another use for the LFOs might be to add a slight bit of animation to the sound by routing the LFO to control the filter In this example the LFO amount would be set low for a subtle effect Negative Amount uU gt Sawtooth Inverted Sawtooth E MU Systems 147 9 Synthesizer Basics Random Sources 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 Since the inverted sawtooth wave is now negative adding DC with a cord amount of 100 will make it positive again See page 152 for information on how to use a DC Cord Random Sources Random modulation sources can be used when you want the timbre of the sound to be animated in a random or
212. ssfades of Voice Position Bar The Key Range Window allows you to edit the keyboard range assignment and place the voices and samples wherever you want A voice containing only one sample takes the name of the sample If a voice contains more than one sample it is called a Multisample and the samples it contains are listed below it The screen above shows two single sample voices Voice 1 plays on the lower half of the keyboard and voice 2 plays on the upper half The Original Key determines the pitch of the sample The original key need not be located between the high and low key ranges Samples normally have the original key as part of the sample name Imported samples with embedded original key information can be auto mapped the correct location See page 190 The key position is edited by placing the cursor over the desired parameter and then playing the MIDI keyboard or adjusting the value using the keyboard You can also simply drag the blue bar to the desired position with the mouse Voices and samples can be crossfaded according to key position by adjusting the low and high fade parameters The fade is adjusted in number of keys and is graphically represented by a gradual decrease in the color intensity of the bars gt To Manipulate the Bars To Set the Length of the Bar Left click and drag from either endpoint To Create a Fade Left click and drag inward while holding the Ctrl key lg The voice will gradua
213. st keyboards have two wheels or controllers One bends pitch and the other is the modulation wheel Experiment 16 Try setting the output of Cord 11 to Pitch Now try changing the LFO Shape Now its much easier to hear the different LFO wave shapes Wipe the Slate The preset might be a little messed up after your experiments It s good to know that as long as you don t Save the bank none of the original data is destroyed If you want to get back to the original preset simply load the bank again You can also Undo any changes you made by repeatedly clicking the back arrow button Save and Save As When you choose Save As from the file menu the entire bank presets voices and samples are re written to the hard disk This method although somewhat wasteful of memory ensures that all your samples remain bound with your bank Be sure to rename your bank when using Save As to save an edited bank otherwise you may overwrite data you wanted to keep When you choose Save instead of Save As only the edited presets voices and samples will be written saving time and memory Proteus X Bank Structure Banks are comprised of two distinct entities which need to be kept in the same folder on your computer hard disk The SamplePool contains the raw sample data used The Bank file contains all the voice preset and multisample data that makes up the Proteus X bank Proteus X Composer SamplePool EJ Emulator x Bank File 14 613
214. stable from 0 to 32 738 seconds Zero seconds equals Off A glide curve setting of 0 equals linear Higher values make the curve more exponential Glide is polyphonic but can be monophonic when in Solo mode E MU Systems 79 6 Voice Editor Synthesizer Level Oscillator Key Controls 3 475 DELAY SAMPLE mit OFFSET L7 HN dy Al eid Solo Synth low Sample Offset Delay 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 10 000 milliseconds 0 10 seconds Delay can be used to create echo effects or to thicken the sound when using layered voices This function allows you to set where the voice s sample begins playing when you hit a key A setting of 0 plays a sample from the beginning higher values move the sample start point toward the end of the sound gt Sample Start Offset Important Note If the Sample Start Offset is moved past the Pre roll length the sound will be cut off If you are having Disk problems when using Sample Offset increase the Pre roll in the Preferences menu See Pre roll on page 16 80 Proteus X Operation Manual 6 Voice Editor Synthesizer Level Amplifier Filter amp Auxiliary Envelopes Amplifier Filter amp Auxiliary Envelopes Proteus X contains three envelope generators per voice The Amplifier Envelope is hard wired to control the DCA volume and cannot go below the
215. t tuning system that we use today Just C Play these chords C E E G A Cm C m Em F m Gm Am Just C2 Play these chords C E F G A B C m D m Em G m Am Bm Just C minor Play these chords C DP D EP G AP Cm Em Fm Gm Just C3 Play these chords C D F BP C m Dm Em F m G m Am Preset Modulators The Preset Modulators are special class of modulation sources in that they originate at the Preset Level but their output is used in the Voice PatchCords There are three types of preset modulation sources Preset Modulator Typical Uses Channel Lags 1 amp 2 Leslie speaker effects Switch slowly increases decreases LFO speed Poly Ramp Timer Controlling key up layer volume based on the time a key is held Channel Ramp Ramps on First Note only Used for Hammond style organ percussion Channel Lag 1 amp 2 Rate Like the Layer Lag processors described on page 98 the Channel Lag slows down rapid changes in the input signal The output lags behind the input at a pre programmed rate Unlike the layer level lag processors the Channel Lags 1 amp 2 take effect as soon as the preset is selected In contrast the Voice level lag processors begin acting only after a keyboard key has been depressed The Channel Lag also has a Lag Amount input which controls the lag time Positive lag amounts increase the lag time A MIDI controller front panel knob is commonly used to contro
216. t ASIO select the DirectSound driver For Proteus X to communicate with your sound card you need to have Microsoft DirectSound installed on your computer and there must be a DirectSound driver installed for your audio hardware Please go to page 16 for complete explanations of the Audio Preferences 14 Proteus X Operation Manual 1 Introduction amp Installation Setting up the Preferences Setting up the Preferences The preferences dialog box contains a variety of important controls used to configure Proteus X for your audio hardware and to customize the controls to suit the way you work D To Access the Preferences Dialog Box 1 Select Preferences from the Options dialog box The following screen appears Preferences Streaming Pre roll seconds Sample buffers VST Audio MIDI Controllers Other Settings Audio os E Type E MU ASIO v ASIO Control Panel Ultra High Precision Interpolation 64 Buffer size 480 10 0 msec v CPU cap 80 Y Sample rate 48 0 kHz v Headroom Boost dB 15 Apply 2 The preferences dialog box is divided into four main groups Click on the tab heading to select one of the four sets of controls Audio Disk Streaming Controls Audio Hardware Setup amp Pitch Shift Algorithm selection MIDI MIDI Inputs Channels 1 16 amp 17 32 IntelliEdit and Receive lgnore Program Changes Internal External Tempo Source sel
217. t or cut and 1 octave a one octave bandwidth Swept EQ 06 EQ Parametric filter with 24 dB of boost or cut The 2 gt 1 octave bandwidth of the filter is two octaves wide at the low end of the audio spectrum gradually changing to one octave wide at the upper end Swept EQ 06 EQ Parametric filter with 24 dB of boost or cut The 3 gt 1octave bandwidth of the filter is three octaves wide at the low end of the audio spectrum gradually changing to one octave wide at the upper end Phaser 1 06 PHA Recreates a comb filter effect typical of phase shifters Frequency moves position of notches Q varies the depth of the notches Phaser 2 06 PHA Comb filter with slightly different notch frequency moving the frequency of notches Q varies the depth of the notches FlangerLite 06 FLG Contains three notches Frequency moves fre quency and spacing of notches Q increases flanging depth Vocal 06 VOW Vowel formant filter which sweeps from Ah Aah Ay Eeh sound through Ay sound to Ee sound at maximum frequency setting Q varies the apparent size of the mouth cavity Vocal Ooh Aah 06 VOW Vowel formant filter which sweeps from Oo sound through Oh sound to Ah sound at maximum frequency setting Q varies the apparent size of mouth cavity Dual EQ Morph 06 PROG Please refer to the detailed description on page 87 Dual EQ 06 PROG Please refer to the detailed description on page 89 Lowpass Morph Dual EQ
218. tem eed id eed e e re ee e eng 78 Tuning Controls ern tee ene ee Pe e e N 78 Prans pO SE 2 cette nite ENS GR Hee Ge E A RUE refert ci Lan PETS 78 Coarse Puning 5 ene eh I a an AA 78 Fine TUNNE i ante Dent ne PR Sn nr Re dir tte 78 Fixed Pitch Mode er ee rere ertt Le ent eoe Ie gts 78 Chor s Amount rs ade aee REDE BER ER e RR e etae e e Ue e ane e ERES 79 Tips for Using Chorus sise tinas 79 Glide Rate CUE nicotina de e e heiter een e e ree OH eet 79 Key Controls sienne ee epa e ra ete E P E REOS EUER IRR ee 80 E MU Systems DCL aye TS 80 Sample DISEASE Le EE Medusa hatin cede ete Mes ee Sees 80 Sample Start Offset nz uxo la INIT EH 80 Amplifier Filter amp Auxiliary Envelopes 81 Adjusting the Envelopes ses 81 Time based and BPM Envelopes 4 82 BPM Envelopes 225 edidit ee tad ute o ated 82 Envelope Repeat cett e e e n o do t e de 82 BPM Tempo hart x ten Een Rt dh E 83 Filter Controls RON 84 Filter Descriptions nn deant te deemed ute eee tam dede 84 FIRE DES P alee A E bee Melvin Slav aes 84 Programmable Morphing Filters essen eene 87 DEA A eM eO in e Rus 87 2EQ Motph Expression A M tee ede tete 88 DEN LowpassMOrpb e teet detta e tuc ite deret 89 Peak Shelt Morph en Rt mI V 89 Amplifiet Gontrols sna RE EUR dee che EORR 90 Volume sissies terne de 90 Panin acie meet tede dec e e A ear eoe ure Re dune nn An 90 Amp Envelope Dyna
219. tems leaving non checked targets intact Clear Library Erases Library database Update Allows you to manually select targets to speed update time or select network Add Location drives to catalog 2 Select any disk drives that contains the banks presets and samples that were included when you installed the Proteus X application Using the Add Location button you can select network drives to add to the Library catalog The Add Location button also allows you to select specific folders or locations for cataloging 3 Click the Update button to begin cataloging The display will read Updating This process may take a minute or two depending on how many files need to be cataloged E MU Systems 3 Getting Started The Librarian lt Cool Tip Categorize multiple Presets 1 Go to the Tree 2 Click the Presets folder 3 Select multiple presets 4 Right click and choose category 5 Select category 41 3 Getting Started The Librarian Find your Files 4 Select the Library tab at the bottom of the Tree All Proteus X Banks Presets or Samples can now be accessed here This can take a few seconds especially with large banks Click on the Presets folder to view all the presets on your hard disks Select a Category of presets using the Filter by Category option Browse through the Bank Preset and Sample folders to find the sounds you want Right click on a Preset or Sample to A
220. teus X Operation Manual 6 Voice Editor Synthesizer Level Modulation Cords Modulation Source Polarity On a few of the modulation sources you ll see the following suffixes lt These designate the polarity of the modulation source A plus means that the source goes from zero to maximum value The symbol indicates that the source is bidirectional In the case of an LFO the LFO would go both positive and negative centering on the zero line The symbol indicates that the source only subtracts from the initial value of a destination This type of control is designed to be used for velocity to volume control where you want to keep as much headroom as possible The following chart shows the three types of polarity Control _ Value 9 63 127 Control Value Applied modulation ADDS to the ulis l Be 1 2 7 initial value Normal centers around Zero t Use for LFOs Filt Freq 63 0 64 Summing Nodes All the modulation inputs on Proteus X are summing nodes This means that you can connect as many modulation sources as you want to an input such as Pitch or AmpVol Modulation sources are simply added algebraically connecting two knobs one set to 100 and the other set to 100 yields a net value of zero lt modulation SUBTRACTS from the initial value 127 63 0 PatchCord Lore Real time events happen first on lower numbered Cords so it is usually a good idea to put important functions
221. the left channel input Lin R In L Delay Time E MU Systems 121 7 Effects Effects Descriptions Parameter Description Left Delay Time Sets the length of the delay for the left channel in milliseconds Range 01 millisecond to 2000 milliseconds 01ms minimum increment between settings Right Delay Time Mode Sets the length of the delay for the right channel in milliseconds Range 01 millisecond to 2000 milliseconds 01ms minimum increment between settings Changes the signal routing of the delay The four modes are Discrete stereo signal paths remain completely separate Ping Pong stereo The feedback paths feed the opposite channel Ping Pong mono L gt R The effected signal is summed to mono then fed down the left channel whose feedback path feeds the right channel The right channel feedback path feeds the left channel Ping Pong mono R gt L This is the same as the previous algorithm except that the L R channels are reversed Feedback Sets the amount of delayed signal that will be recirculated through both delay lines Range 0 to 100 HF Damping High Frequency Damping cuts the high frequency content in the feedback paths This causes the echoes to decay naturally away Modulation Parameters Wet Dry Mix Feedback 122 Proteus X Operation Manual Delay BPM The BPM Delay is similar to the Stereo Delay except that the delay time is synchroni
222. the Edit menu to un merge the preset Continue to Create the Bank 13 Continue to add presets to your new bank 14 Save the bank when you are satisfied gt Alternate Method using the Librarian to find Presets 1 Select the Library Tab instead of the System Tab in step 3 above 2 If you haven t done so already Update the Library 3 Choose presets from the Library then drag and drop them on top of the Proteus X icon at the top of the tree To Audition and Merge Samples Samples can also be auditioned and merged Locate the Samples Folder 1 Locate the Samples folder just below the Presets folder you just opened 2 Click on the Proteus X icon in the Tree to view the Multisetup page Audition 3 Select a Sample from the Tree and press the Space Bar on your computer keyboard The sample is auditioned from the hard disk 4 Press the Space Bar again to Stop auditioning 5 You can also audition samples by Right clicking over the sample and selecting Audition Right click and select Stop Audition to silence audition Merge the Samples 6 Right click over the sample in the Tree and select Merge from the menu or press M on your computer keyboard The sample is added to the current bank 7 You can also drag and drop a sample over the Proteus X icon to merge it into the bank These free samples will have to be assigned to voices in a preset before they can be played 8 If you change your mind and don t want
223. the effect amounts using LFOs envelope generators key velocity or any other PatchCord source As an example you could build a preset where the distortion amount increases the harder you hit the key E MU Systems 101 7 Effects Programming Effects Programming Effects Adding an Aux Effect in the Multisetup Some banks Proteus X Composer for example are already programmed to use Proteus X soft effects These instructions explain how to add Aux Effects to a Proteus X bank which does not already have soft effects programmed The Aux Effects are designed to be used as sidechain effects applied on all presets in the bank See the diagram on page 104 for a complete description of the effects routing gt How to Add an Aux Effect 1 Select the Proteus X Studio session in PatchMix DSP 2 Close PatchMix DSP 3 Select the Multisetup Page by clicking the Proteus X icon at the top of the tree 4 Locate the Aux Outputs section in the lower right part of the window and set all the Aux Outputs to EX Main This bypasses the PatchMix DSP hardware effects and sets up the Aux Outs to be used as sidechain effects AUX OUTPUTS EX Main Es Main Ex Main 5 Click on the Aux 1 button at the top right of the screen if it s not already selected The Aux 1 effect appears in the TV screen 6 Click on the Effect Select Icon at the top right corner of the Effects TV screen A list of available effects drops down Effect Select icon
224. the red increase the value of this control If you have other applications running you may want to reduce the setting of this control to free up more CPU for them Headroom Boost Headroom is the amount of dynamic range remaining before clipping occurs The amount of headroom is adjustable from 12 dB to 30 dB in 1 dB increments A headroom setting of 12dB provides the hottest output level and the highest signal to noise ratio but may produce clipping if too many notes are played at once The default headroom setting is 15 dB which maintains an excellent signal to noise ratio while keeping a reasonable amount of headroom in reserve If you hear the signal clipping or breaking up make the headroom value more negative In practice you can think of this control as adjusting the control range of the Master Volume control Ultra High Precision Interpolation Button This button allows you to select between E MU s ultra high precision pitch shifting algorithm or a lower quality pitch shifting scheme which uses fewer CPU resources If you are using presets with a sample placed on every key as is the case on many banks you can switch high precision off to free up CPU with no penalty in audio quality No pitch shifting is occurring anyway High quality pitch interpolation is only needed when you are playing presets which have a few samples mapped across the entire keyboard In this case the Proteus X shifts the pitch of the available sample
225. tring sound but you want to make it really thick and lush The obvious solution is to add a chorus Since you only want the chorus to affect the string sound you ll use a preset effect gt 1 available effects drops down H A P0004 A Ku Stq EJEM POOOS Rockin B Select Chorus or whatever effect you wish A PODOS WideSuitcase from the list The Effect name is now listed cm pnno How to Add a Preset Effect Select the preset you want in the tree by Proteus X Est Proteus X Composer exb clicking on the keyboard Mm icon The Preset C Presets Global page appears ram P0000 DynamicGrand E E JM PODO1 Yo My Dynos Click on the Effect Select Icon at the top right corner of the Effects TV screen A list of D o o o S a FE m n g o E vu 2 2a o e a 2 c p pa lt above the TV screen and the effect parameters are shown in the TV screen Play the keyboard You should now hear the selected effect as part of your sound If you don t hear effects make sure the FXA amp FXB enable buttons are on for the MIDI channel you are using See page 104 5 Adjust the Wet Dry mix to control the effect amount Adjust the effect parameters until you find the sound you want or select a Template See page 76 Save the bank if you want to keep your changes E MU Systems 7 Effects Programming Effects The Aux buttons turn all three Aux busses On or Off
226. ts bass Try sawtooth or square waveform with Q set to 115 RogueHertz 12 EQ Bass with mid range boost and smooth Q Sweep cutoff with Q at 127 RazorBlades 12 EQ Cuts a series of frequency bands Q selects different bands RadioCraze 12 EQ Band limited for a cheap radio like EQ Eeh To Aah 12 VOW E to Ah formant movement Q accentuates peakiness UbuOrator 12 VOW Aah Uuh vowel with no O Raise Q for throaty vocals DeepBouche 12 VOW French vowels Ou Est vowel at low Q FreakShifta 12 PHA Phasey movement Try major 6 interval and maximum Q CruzPusher 12 PHA Accentuates harmonics at high Q Try it with a sawtooth LFO AngelzHairz 12 FLG Smooth sweep flanger Good with vox waves e g 1094 Q 260 DreamWeava 12 FLG Directional Flanger Poles shift down at low Q and up at high Q AcidRavage 12 REZ Great analog Q response Wide tonal range Try it with a sawtooth LFO BassOMatic 12 REZ Low boost for basslines Q goes to distortion at the maximum level LucifersQ 12 REZ Violent mid Q filter Take care with Q values 40 90 ToothComb 12 REZ Highly resonant harmonic peaks shift in unison Try mid Q EarBender 12 WAH Midway between wah amp vowel Strong mid boost Nasty at high Q settings KlangKling 12 SFX Ringing Flange filter Q tunes the ring frequency 86 Proteus X Operation Manual 6 Voice Editor Synthesizer Level Amplifier Filter amp Auxiliary Envelopes Programmable Morphing Filters The
227. tswitch 1 amp 2 MIDI footswitch inputs which latch on or off with each press MIDI Volume MIDI Continuous Controller data on channel 7 MIDI Pan MIDI Continuous Controller data on channel 10 Key Glide Amp Envelope A smoothly changing control source based on the Glide Rate and the interval between the last two notes played Amplifier Envelope Generator See page 95 Filter Envelope Filter Envelope Generator See page 95 Aux Envelope LFO 1 amp 2 Auxiliary Envelope Generator See page 95 Low Frequency Oscillators 1 amp 2 White Noise A continuously varying random control source for effects Pink Noise KRandom 1 amp 2 A lower frequency random control source These sources generate different random values for each voice The values are chosen at key on time and remain constant Lag O amp 1 in Lag Processors can also be used as summing amps See page 98 Lag Processor 1 amp 2 Lag processors slow down rapid changes See page 98 Channel Lags 1 amp 2 Lag processors that operate at the channel level See page 58 Channel Ramp Slope generator that is triggered by the first key pressed See page 60 Poly Key Timer Outputs a value based on the time a key is held down See page 59 Clock Divisors MIDI clock is divided to the specified value and used as a modulation source See page 148 DC Offset Su
228. u can get more information on these at www chickensys com Please be advised that these are frequently not supported and do not run on Windows XP but please see the site for some easily attained workarounds Note about EOS Banks Saved on DOS Floppies Some EOS banks saved onto DOS floppies may end up with their 16 bit byte swapped LSB for MSB The samples in these banks when loaded into Proteus X will typically sound like white noise Proteus X provides a method by which to repair the data as it is loaded To do this simply rename the bank file so that the extension reads b4e 168 Proteus X Operation Manual 10 Appendix Proteus X VSTi Proteus X VSTi Launching the VSTi Application The following instructions apply to Cubase 5 1 Other host applications will have their own unique methods for launching a VSTi application If you are using a host appli cation other than Cubase 5 1 consult the documentation that came with your host application P To Launch the Proteus X VSTi in Cubase 5 1 Tip When running multiple VSTis distribute FatchMix DSP the CPU96 among the VSTis Example If one VSTi does not glitch at 1 Click the New Session button on the toolbar 2 Select Default MultiTrack session for this tutorial 60 set the CPU of two VSTis so they add up Cubase to 60 3 Start Cubase 5 1 from the Start Menu or from the desktop icon The following window appears Arrange Untitled 1 m a t3 Solo Sna
229. u to balance the relative volumes of the early reflections Tail Balance and the reverberation cloud 096 to 10096 HF Damping High Frequency Damping cuts the High Frequency content to simulate soft absorbent surfaces such as draperies wood or people 116 When using the Figure Eight or Matrix modes pan position will be less focused and the stereo image will be somewhat blurred Proteus X Operation Manual Parameter Description LF Damping Low Frequency Damping cuts the Low Frequency content to simulate hard reflective surfaces such as tiles or stone Tail Decay Sets the decay time of the reverberation cloud RT60 Tail Diffusion Sets the amount of scattering of the reverb cloud At low settings discrete echoes are heard At high settings a diffuse wash of sound is heard High diffusion settings will increase the overall decay time Tail Room Size Tail Stereo Mode Changes the spread of the reverberation cloud echoes simulating rooms of various sizes and shapes Independent In this mode the left and right sides function as completely separate reverb units Figure Eight This mode incorporates criss cross feedback in which the left channel feeds the right and vice versa Matrix This mode utilizes multiple feedback paths to create a spacious natural sound Modulation Parameters Wet Dry Mix Decay Diffusion Reverb Lite mono The Reverb Lite is a monophonic
230. udition the Preset or Sample from disk You must play the keyboard while Auditioning to hear presets Load your Files 9 42 To add a file to the bank Left click and Drag the desired object in the Library over the Proteus X icon at the top of the tree and release the mouse button The file is added to the bank Or Select the object you want from the Library and Right click Then select Merge to merge the object into the current bank Proteus X A Proteus X Composer exb Filter by Category lt Any gt iv Filter by Name Banks Presets Samples Samp Bj System a Tip You can add Category tags to your own presets and samples by Right clicking on them Proteus X Operation Manual 4 Multisetup Global Controls 4 Multisetup Global Controls The Multisetup The Multisetup is the top level of the Proteus hierarchy and is the place where you choose and assign presets to each of the MIDI channels All the control settings in this window are saved when you save the Multisetup A multisetup assigns a preset volume pan position and output routing to each of the 32 MIDI channels Multisetups can be saved and recalled for use with a particular song or sequence so that all the MIDI channels play the proper preset To Select the Current Multisetup 1 Click on the Proteus X icon at the top of the Tree The current multisetup appears 2 The Single Mod
231. um flexibility to program both complex and simple envelopes Holds here until key release level time gt l i Key Key Down Released The Amplifier Envelope generator controls the volume of the voice over time and has 6 stages Attack 1 Attack 2 Decay 1 Decay 2 Release 1 and Release 2 The Filter Envelope generator controls the filter morph and also has 6 stages Unlike the amplifier envelope however the filter envelope has the ability to go negative as well as positive There is also an Auxiliary Envelope generator which is a general purpose envelope The auxiliary envelope is identical to the filter envelope and can go negative as well as positive The time of each stage can be adjusted to create myriad envelope shapes which in turn shape the sound over time The way the volume of a sound changes over time determines how we perceive that sound For example a bell struck with a hammer is instantly at full volume then slowly dies away A bowed violin sound fades in more slowly and dies away slowly Using the Amplifier Envelope you can simulate different types of instrument volume envelopes by programming them appropriately Retriggering The Filter and Auxiliary envelopes can be retriggered by an LFO or any other modulation source such as clock divisor See Clock Modulation on page 148 Patch the desired modulation source using a positive value to Filter Env Trigger or Aux Env Trigger Envelopes are triggered
232. und is heard Range I millisecond to 200 milliseconds High Freq Damping Sets the rate at which high frequencies die away Low Freq Damping Sets the rate at which low frequencies die away Stereo Mode Independent In this mode the left and right sides function as completely separate reverb units Figure Eight This mode incorporates criss cross feedback in which the left channel feeds the right and vice versa Matrix This mode utilizes multiple feedback paths to create a spacious natural sound Modulation Parameters Wet Dry Mix Decay Diffusion Early Reflections Reverb The Early Reflections algorithm is the most resource intensive reverb model and has the most adjustable parameters This reverb is designed to simulate various halls rooms and reverberation plates See also Background Reverb on page 115 Parameter Description Pre Delay Early Reflection Mode Sets the amount of time before any reflected sound is heard Selects the pattern of the early reflections Select between Hall 1 Hall 2 Hall 3 Room Spiral Multitap 6 tap 12 tap 12 tap rising or up amp down Early Reflection Room Size Scales the spacing of the early reflections to simulate rooms of different sizes Early Reflection L R Spacing Scales the spacing of left side reflections versus the right side to create a more interesting stereo image Early Reflection Allows yo
233. utoff setting but all the other parameters will remain as they were Samples amp Multisamples The samples contained in the voice are displayed and can be rearranged If the voice contains more than one sample the word Multisample will displayed in the sample field All the samples in a multisample share the same set of synthesizer parameters However the volume fine tune and pan parameters can be adjusted separately for each sample in a multisample P To View amp Edit the Samples in a Multisample 1 Click on the down arrow v to display the individual samples and key ranges which comprise the multisample 2 Click the arrow 4 to collapse the multisample E MU Systems 61 5 Preset Editor Voices amp Sample Zones Expand Collapse Multisample Multisample Key Range Individual Sample Key Ranges Multisamples allow you to place multiple samples under the same set of synthesizer voice parameters The multisample key range sets the overall key range limit for the samples in the multi sample In the diagram above the top sample won t be played because its key range is outside the limit of the Multisample key range Groups Voices can be categorized into Groups as a way to organize and select similar voices say a layer of piano voices and a layer of string voices into unified entities You can create a temporary group if you want to edit several voices Grouping the voices and then selecting the group is faster and m
234. utput Level 132 Proteus X Operation Manual 7 Effects Effects Descriptions Twin The Twin utilizes two tube stages to simulate the overdrive response of a guitar amplifier Separate gain controls allow you to precisely control the amount of soft clipping from each tube stage A three band tone control between the two stages and a presence control after the 2nd stage allow you to precisely contour the overdrive frequencies Set the amount of distortion using the Volume and 2nd Stage Gain controls then adjust the tone using the Treble Mid and Bass controls The Compression control smooths out the timbrel changes and the Output Level control sets the final volume of the effect Presence Filter Les Tone Controls Volume Beas Mi Presence Master pan i Treble Volume Compression Stage Gain Parameter Description Volume This parameter controls the overdrive amount on the Ist tube and thus the amount of distortion generated Master Volume This parameter sets the output volume level and has no effect on the tone Treble Allows you to adjust the high frequency content between the two tubes Mid Allows you to adjust the mid frequency content between the two tubes Bass Allows you to adjust the low frequency content between the two tubes 2nd Stage Gain This parameter controls the overdrive amount on the 2nd tube and thus the amount of distortion generated Presence A
235. ve side aride ele cs 19 MIDI is ne de RO PORE RS ERR id artis 19 MIDI Int 5 22 oer rete toe ee ect e a ERU iio 19 VIDI IUIS 20 Como teer ederet dee tete dde I e Oed Ie ates ER 21 Other Settings eee tent teste tuned dia 22 Appearance Settings in Windows sese 22 2 Proteus Architecture enc nnnnnuuuunuuuuuuuuuauusauusess 2D A Modular Systetn se ee abs mei ener e aae casecdnesscencaabesbesascavers estes NEQU HR EROR ET 23 Bank qe 23 SAVING zc oco A Are TEE PAD USER e o Rr dus 23 Multisetup 5a Se AE she Gogh Oh Bis Siege te AOA ate o i Eb tts eee rU EDS 25 Pr set o ss tee EU gras decies amb egeret isa ane e 25 NOICE sessio nt ere d Sa PRS er ea Dove ect opto Moo tr eie 25 Sample ett enne ae eh eile t enia 25 Flexible Architecture 4 Ber A S GRE e A AE 26 Preset Diagram sene bene teas delP 26 VOS pet die lee er een etl ee dtes odio dee T 27 Multisample Voices nite etc erbe eet eee aaah 27 E MU Systems 3 Getting Started ee eese e enne nnne nnns 29 Exploring th Tree eset tete e e eere eed etae eerte deve exe e e iens 29 Multisetup Page rete perte timet rer A EANES ePP PEE tendre 30 Changing Presets from Single View sss 31 Channel LO VI W santa e e ee OR TEE EISE GA NUR EP DDR OS 32 Changing Presets from the 1 16 view sss 32 Adjusting the Controllets cei e tiet eee cree Entra
236. ving and peak for each of the two filter frames The Peak parameter can also be modulated in realtime by controlling the Filter Resonance parameter When the Shelf parameter is negative the filter will have a low shelving response When the Shelf parameter is positive the filter will assume a high shelving response With Shelf at zero the filter assumes a peak filter response Note that the three controls of the two morphing frames are grouped in this filter and all three controls are morphed E MU Systems 89 6 Voice Editor Synthesizer Level Amplifier Controls Amplifier Controls AMPLIFI ER Tie 4 5 VOLUME he FX WET DRY 100 4T AUX I AUX 1 AUX 3 CLASSIC RESPONSE These parameters set the overall volume and pan settings as well as the output channels for the selected voice s Volume Sets the initial volume of the voice from 96 dB off to 10 dB This is the same volume control as shown on the Mix Tune tab of Voices amp Zones page 61 Lower the volume of the Amplifier when modulating Amp Volume You won t hear any modulation if the volume is already turned all the way up The default setting is O dB which allows a bit of headroom so that other modulators can be added in without clipping Use this volume control to balance the voice output against others If you hear clipping reduce volume setting Panning Sets the initial stereo pan position of the voice Subsequent modulation is ad
237. w buttons 47 Aux Output 49 enable disable 91 107 on off 107 select 107 Aux Sends 1 3 91 on off 47 E MU Systems Index Symbols Band Pass Filter 84 154 Bank amp preset display 43 create new using librarian 42 description 23 structure 40 Bank Select MIDI 160 Basic MIDI Channel definition 160 Bias 132 Body Size 84 BPM Envelopes 82 Buffer Size 18 Buffers sample 17 Bypass Effects 110 C Catalog Disks 41 Category preset 31 44 tags adding to samples presets 42 CC Window link 74 Channel Lag Processors 59 Channel Ramp Processor 60 Chorus effect 118 voice 79 Clear Library 41 Clipping headroom 18 preventing 48 Clock divisors 149 external MIDI 82 97 master 48 modulation 148 Coarse Tune Transpose Differences 78 Coarse Tuning voice 78 Comb Filter 85 126 Combine Voices 69 Compression tube effect 132 Context Sensitive Menus 142 172 Continuous Controller 158 cross switch between voices 68 Controllers 7 20 initial values 56 MIDI 158 MIDI 7 158 MIDI real time 158 MIDI setup 21 modify the sound using 33 modulate FX using 112 modulation source 145 sensitivity 20 Convert other files to Proteus X format 161 181 Index D Cords 150 lore 95 modulation 145 preset 60 voice modulation 92 CPU Cap 18 CPU Meter 51 Crossfade positional 65 random 148 Current Channel Indicator 51 Current Preset changing 33 Curve glide 79 velocity 20 Cut Copy Paste synth settings 138 voices 138 D Damp
238. y to create new presets is to simply link several other presets to an empty preset Each linked preset can be customized with its own keyboard range velocity range continuous controller assignments volume pan position and tuning D To Access the Link Windows 1 Select the Sampler Tab in the Tree Tip You can also create a new Link by 2 Open the Presets folder by clicking on the sign next to the folder f simply dragging and 3 Select a Preset or Create a New Preset Presets gt New Preset dropping a preset onto 4 Open the Preset by clicking on the sign next to the preset icon 2I DEEP EMO page 5 You ll see three sub icons beneath the Preset icon Click on the Links icon The Links window opens PRESET Clavinet 1 Pluck Tone 6 Select Links gt New to add a new link 7 The Mix Tune window appears Click the tabs across the top of the window to select the various Link windows 72 Proteus X Operation Manual Link Utilities These three controls are accessed from the main menu New Link 7X Delete Links Duplicate Links New Creates a new link Delete Deletes the selected link s Duplicate Duplicates the selected link s gt To Create a Huge Stacked Preset the Easy Way XD ON GO uU Load any bank of presets From the Sampler Tab of the Tree click on the Presets folder Select Preset gt New Preset to create a new blank preset Blank Preset will appear in the Tree Look
239. zed to the master MIDI clock in note divisions This allows you to easily set up synchro nized echoes to your beats Because the left and right channels are completely independent you can set up different synchro sonic patterns on each side The four modes are the same as the stereo delay Delay Mode R Delay Division Discrete stereo The left and right channels are kept totally separate L Delay Division Parameter Description Left Delay Sets the length of the delay for the left channel in milliseconds Division Range 4 1 note to 1 64 dotted note Right Delay Sets the length of the delay for the right channel in milliseconds Division Range 4 1 note to 1 64 dotted note Mode Changes the signal routing of the delay The four modes are Discrete stereo signal paths remain completely separate Ping Pong stereo The feedback paths feed the opposite channel Ping Pong mono L gt R The effected signal is summed to mono then fed down the left channel whose feedback path feeds the right channel The right channel feedback path feeds the left channel Ping Pong mono R gt L This is the same as the previous algorithm except that the L R channels are reversed Feedback Sets the amount of delayed signal that will be recirculated through both delay lines Range 0 to 100 HF Damping High Frequency Damping cuts the high frequency content in the feedback paths This causes the echoes to decay naturally away

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