3

Proteus operation manual

CONTENTSINTRODUCTION

3

Proteus System ....................................................................................................................... 6

CONNECTION INSTRUCTIONS

7

Basic Setup .............................................................................................................................. 7
Performance Setup ................................................................................................................ 8
Studio Setup ........................................................................................................................... 9BASIC OPERATION

13

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

PROGRAMMING BASICS

27

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

EDIT MENU

41

Enabling the Edit Menu ...................................................................................................... 41

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

4

Proteus operation manual

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

PROGRAMMING PROTEUS

63

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

REFERENCE SECTION

73

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

INDEX

WARRANTY

Proteus operation manual

Introduction

5

INTRODUCTION

6

Proteus operation manualProteus operation manual

Introduction

7

INTRODUCTION

POWER

MASTER

EDIT

ENTER

C01 Vol127 Pan+0000 Preset NameCURSORDATAVOLUME

What is PROTEUS?
Proteus is a musical instrument whose sounds are based on actual digitalrecordings of "real" instruments. In this way the Proteus is very similar toa sampling instrument. With the Proteus, we have done the sampling for
you and loaded it with some of the cleanest 16 bit sounds ever sampled.
Proteus begins with sound. Four megabytes (internally expandable to 8
megabytes) of the highest quality 16 bit samples selected from theEmulator III sound library and stored in ROMs for instant access.
Everything you need to play and compose in a wide range of contemporary styles. You simply plug in and play.
But this is only the beginning. Proteus gives you the ability to literally
take these sounds apart and reassemble them into an almost limitless
number of entirely new sounds, combining parts of one sound withanother or with any of a selection of digital waveforms also stored onROM. For example, the attack of a flute can be faded out as a vibe tone is
faded in, giving you a completely new sound! The monophonic and true
stereo 16 bit samples are arranged into 192 preset locations, 64 of which
are user-programmable.
Proteus also features 32 voice polyphony allowing you to take fulladvantage of its layering capabilities (up to 8 sounds on each key) and its
ability to respond multi-timbrally to all 16 MIDI channels makes it ideallysuited for multitrack sequencing and composing using a MIDI sequencer.
Other features include 3 stereo outputs for individually processing
sounds (also configurable as 6 polyphonic submixes with fully programmable panning), integral sends and returns to allow the addition of
external effects units without the need for a separate mixer, user definable alternate tuning, and of course, an extensive MIDI implementation.

8

Proteus system

Proteus operation manual

THE PROTEUS SYSTEM

Proteus is organized as shown in the diagram below.
INSTRUMENT

PRIMARYPRESETSECONDARYINSTRUMENT

The Preset is a complete set of all program parameters for a complete
Proteus sound. There are 192 preset locations in the Proteus.
Presets 0-63 are unalterable factory presets, presets 64-127 are userpresets which can be changed, and presets 128-191 are unalterable
factory presets.
Each preset consists of one or more instruments. An instrument is acomplete set of samples or a digital waveform which covers the entire
keyboard range. An instrument can be assigned to each of the Primary andSecondary layers of the preset.
The primary and secondary layers are essentially two complete sounds
stacked or placed adjacent to each other, and can be switched or
crossfaded together in various ways.
Up to four presets can be Linked in order to have more than one preset on
the keyboard at a time. The linked presets may overlap each other forlayered sounds or be adjacent to each other to create keyboard "splits".
PRIMARYPRESET

LINK 1SECONDARYPRIMARYPRESET

LINK 2SECONDARYPRIMARYPRESET

LINK 3

SECONDARYPRIMARYPRESETSECONDARYProteus operation manual

Connection Instructions - Basic Setup

9

CONNECTION INSTRUCTIONS
Setup #1 BASIC SETUP

MIDI Controller(MIDI Keyboard, Sequencer, etc.)

MIDI OutUse the Left Main Output
for Stereophones

OUTPUTS

MIDI

SUB 1

SUB 2

IN

OUT

THRU

R

L

R

POWER

MONO STEREO
MAIN

L

R

L

To
Main Outs

Mixer

Male RCA plugtoMale Phono plug

Aux. orTape In

Amp

Speakers

Home Stereo
SystemHome Studio
SystemThis diagram shows a typical equipment setup for the Proteus.

MIDI In - Proteus is controlled by MIDI messages received at the MIDI In
connector. Connect the MIDI In of the Proteus to the MIDI Out connectorof a MIDI controller such as a MIDI keyboard, MIDI wind controller, or
MIDI guitar controller.
Outputs - Proteus is a high quality, stereo audio device. In order toreproduce its wide dynamic range and frequency response, use a highquality amplification and speaker system such as a keyboard amplifier orhome stereo system. A stereo setup is highly desirable because of theadded realism of stereophonic sound. Headphones can be used if anamplifier and speaker system is not available. Plug stereo headphones
into the Left Main output jack. The Right Main output jack serves as amono output when the left jack is not plugged in.

If Proteus does notseem to be responding
correctly, make surethat both Proteus andyour MIDI Controller
are set to the same
MIDI channel.

10Connection Instructions - Studio Setup

Proteus operation manual

Setup #2 STUDIO SETUP
MIDI Controller(MIDI Keyboard, Sequencer, etc.)

Computer

MIDI Out

MIDI Out

Additional
MIDI
Devices

MIDI In

MIDI InIn

Out

MIDI Switcher
In

OUTPUTS

MIDI

SUB 1

SUB 2

OUT

THRU

L

R

Sub 2 Outputs

IN

MONO STEREO
MAIN

L

R

POWER

R

L

Main Outputs

Out

Out

Sub 1 Outputs

In

MIDI In - In this setup, Proteus is controlled by MIDI messages received
at the MIDI In connector which have been routed by a MIDI switcher. The
MIDI switcher allows any MIDI controller such as a MIDI keyboard,
MIDI wind controller, or a computer to be easily connected.
MIDI Out - The MIDI Out jack is normally used to transmit program data
to a computer or other device.
Outputs - Proteus has three sets of programmable stereo outputs; Main,
Sub 1, and Sub 2. Specific Proteus instruments can be routed to one ofthese stereo pairs in order to be further processed or mixed separately.

Proteus operation manual

Connection Instructions- Performance Setup

11

Setup #3 PERFORMANCE SETUP
MIDI Controller(MIDI Keyboard, Sequencer, etc.)
Additional
MIDI
Devices

MIDI In
MIDI OutOUTPUTS
SUB 1

SUB 2

THRU

L

R

MAIN

L

R

R

Send/Return

OUT

Send/Return

IN

POWER

MONO STEREO

Effect Device

L

Main Outputs

MIDI

Effect Device
Sub Output
Return(To Main Output)

Tip

Ring

To Effect

From Effect

SEND/RETURN CABLES

MIDI In - Proteus is controlled by MIDI messages received at the MIDI In
connector. Connect the MIDI In of Proteus to the MIDI Out connector ofa MIDI controller such as a MIDI keyboard, MIDI wind controller, or
MIDI guitar controller.
MIDI Thru - The MIDI Thru jack is used to connect additional MIDI
devices onto the MIDI chain. MIDI Thru transmits an exact copy of themessages received at the MIDI In jack.
Outputs - Each of the Sub 1 and Sub 2 output jacks on the Proteus arestereo jacks. The tip of each jack (accessed when a standard phone plug isinserted) connects to the left or right output of that group.

12Power Up!

Proteus operation manual

If a stereo plug is inserted, the Ring of the stereo plug serves as a signal
Return which sums into the Main outputs.
Therefore, the Sub 1 and Sub 2 jacks can serve as effect sends and returns
in order to further process selected instruments and then return them tothe main mix.
The diagram shows the Sub 1 and Sub 2 jacks being used as send/returns
in order to further process selected Proteus instruments without using
the effects bus on the mixing board. In a pinch, the effect returns could
also be used to sum additional instruments into the main outputs of theProteus.
Proteus Output Section

L Bus
R Bus

Tip

Tip
Ring

R

Tip
Ring

L
SUB 2

Tip
Ring

R

Tip

Tip

Ring

L
SUB 1

Ring

R

L
MAIN

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

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

Proteus operation manual

Basic Operation

11

BASIC OPERATION

12

Proteus operation manualProteus operation manual

Main Controls

13BASIC OPERATION
MAIN CONTROLSMIDI
ACTIVITYMASTERPOWER

CURSORCONTROLEDIT MENU
SELECT

EDIT

ENTER

C01 Vol127 Pan+0000 Preset NameCURSOR

VOLUMECONTROLDATA

VOLUMEDISPLAY
POWER
SWITCHMASTER MENU
SELECTENTER
BUTTONDATA ENTRY
CONTROL■ Power Switch - Switches AC power to the Proteus ON and OFF.
■ MIDI Activity LED - Indicates that MIDI data is being received.
■ Master Menu Select Button - The Master menu contains parametersthat affect the entire machine, not just certain presets. An illuminated LED
above the button indicates that you are in the Master menu.
■ Edit Menu Select Button - The Edit menu is used when you want tochange parameters of a preset. An illuminated LED above the button
indicates that you are in the Edit menu.
■ Enter Button - The Enter button is used to initiate a particular operation
within the Proteus. The red LED above the enter button flashes to let you
know that the Proteus is waiting for your response.
■ Cursor Control - This button moves the cursor to the next parameteron the display. (The cursor is a little flashing line underneath one of theparameters in the display.) Press the cursor control repeatedly until the
cursor is underneath the desired parameter. The cursor can also be moved
bidirectionally using the data entry control while the cursor select button
is being held down (i.e. Press and hold the cursor button and turn the data
entry knob).
■ Data Entry Control - The data entry control is a stepped, variable
control which is used to change parameter values. The control increments
or decrements the current value one unit with each click.
■ Volume Control - This is the master volume control for all audio
outputs. Note: For maximum dynamic range, set this control at full level.

14

Preset Selection

Proteus operation manual

BASIC OPERATIONMIDI CHANNEL SELECTION■ If your Proteus is not
responding properly or
plays the wrong preset,
make sure that Proteus
and your MIDI controller are set to the same
MIDI channel and that
the MIDI Volume isturned up.

For more information
about MIDI, see MIDI
Realtime Controls on
page 36.

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

C01 Vol127 Pan+0000 Preset NamePRESET SELECTION
Press the cursor key repeatedly until the cursor is underneath the preset
number. (The cursor is a little flashing line underneath one of theparameters in the display.) As the data entry control is rotated, the preset
number and name will change. The displayed preset will be assigned tothe displayed MIDI channel. Preset numbers range from 000 to 191 on astandard Proteus or from 000 to 383 on the Proteus XR.

C01 Vol127 Pan+0000 Preset Name÷ MIDI Channel Parameters÷ Preset Information

CHANNEL VOLUME
Press the cursor key repeatedly until the cursor is underneath the volume
value. Rotate the data entry control to select volume 00-127. (This is thesame parameter as MIDI volume control #7, and changes made over
MIDI will be shown in the display.)■ Channel Pan should
normally be set to "P"unless realtime controlof panning is desired.
This will allow the pansettings programmed
for each preset to be
used.

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

Multi-Timbral Operation

15

BASIC OPERATIONMULTI-TIMBRAL OPERATION
Multi-timbral operation means that the Proteus can play more than one
sound at the same time. To access multiple presets on different MIDI
channels simultaneously, follow these instructions:
1. Set the MIDI mode to MULTI-Mode, using the MIDI mode function in
the Master menu (page 18).
2. Decide which MIDI channels you wish the Proteus to receive, and turnall other channels OFF using the MIDI Enable function in the Mastermenu (page 19). Up to 16 channels can be selected simultaneously!
3. Select the desired preset for each of the MIDI channels you wish theProteus to receive using the MIDI Channel/Preset selection screen (seeprevious instructions).
4. Proteus will now respond multi-timbrally on the MIDI channels you
have specified. The volume and pan position parameters can be adjusted
over MIDI (for each MIDI channel) or using the Cursor and Data Entry
control in the MIDI Channel/Preset selection screen.

Channel 01

Channel 02

Channel 03

Channel 16

VolumePan

VolumePan

VolumePan

VolumePan

PRESETPRESETPRESETPRESET

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

16

Master Menu

Proteus operation manual

MASTER MENUThe Master menu contains functions that affect the overall operation of
the Proteus. For example, changing the Master Tune will change thetuning of all the presets, not just the one currently displayed.
To enable the Master menu: Press the Master key, lighting the LED. The
current screen will be the one most recently selected since powering up
the Proteus. The cursor will appear underneath the first character of thescreen heading on line one.
To select a new screen: Press the cursor key repeatedly (or hold the
cursor key while turning the data entry control) until the cursor isunderneath the screen title heading. Rotate the data entry control to selectanother screen.
To modify a parameter: Press the cursor key repeatedly (or hold the
cursor key while turning the data entry control) until the cursor isunderneath the parameter value. Rotate the data entry control to change
the value.
To return to Preset Select mode: Press the Master key, turning off the
LED.

MASTER MENU FUNCTIONSMASTER TUNE
Master Tune adjusts the overall tuning of all presets so that theProteus can be tuned to other instruments. The master tuning range is± 1 semitone in 1/64th semitone increments. A master tune setting of"00" would indicate that the Proteus is perfectly tuned to concert pitch(A=440 Hz).
MASTER TUNE
+63

Proteus operation manual

Transpose

17

MASTER MENU

TRANSPOSE
This function transposes the key of the Proteus in half-step intervals. The
transpose range is ± 12 semitones or one octave.
TRANSPOSE+12 semitones

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

GLOBAL VELOCITY CURVE
Incoming velocity data can be modified by a velocity curve in order toprovide different types of dynamics in response to your playing or tobetter adapt to a MIDI controller. This function allows you to select oneof the four velocity curves or leave the velocity data unaltered (off). Global
velocity curve only affects presets which have their individual velocity
curve set to global. For more information on the velocity curves, see page57.
GLOBAL VEL CURVE
4

18

Mix Output

Proteus operation manual

MASTER MENUMIX OUTPUT
This function allows you override the output assignments made in eachpreset and instead assign the outputs according to MIDI channel. This
also allows you to change the output assignment of the factory presets.
For each of the 16 MIDI channels, you can select the Main, Sub 1, or Sub
2 outputs, or "P". When "P" is selected, the output assignment selected in
the preset is used. If no plugs are inserted into the sub outputs, the audio
will be automatically directed to the main outputs.
MIX OUTPUT
channel 01:P

MIDI MODE
This function selects one of the four MIDI modes and the MIDI system
exclusive ID number.
■ Omni mode - Proteus responds to note information on all MIDI
channels and plays the preset currently displayed in the main screen.
■ Poly mode - Proteus only responds to note information received on thecurrently selected MIDI channel (on the preset selection screen) and playsthat channel’s associated preset.
■ Multi mode - Proteus responds to data on any combination of MIDI
channels and plays the specific preset associated with each of the MIDI
channels.
■ Mono mode - Proteus responds to data on any combination of MIDI
channels but plays each channel monophonically. If a new note on achannel is played before the last note is released, the envelopes will not
be retriggered (legato). Mono mode is particularly useful with alternate
controllers such as MIDI guitars, etc.
▼ Warning: Presets
will not be transferred
between two Proteus'
unless the ID numbersof both units match.

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

MIDI MODE
Omni

ID
00

Proteus operation manual

MIDI Mode Change

19

MASTER MENU

MIDI MODE CHANGE
This function selects whether or not MIDI mode change commands are
accepted or ignored when received over MIDI (see MIDI Mode).
MIDI MODE CHANGE
Disabled

MIDI OVERFLOW
When on, if you play more notes than the Proteus has channels (32), theadditional note data will be directed out the MIDI Out port to a second
Proteus or other MIDI device. MIDI Overflow can be turned On or Off.
MIDI OVERFLOW
OffMIDI ENABLE
When in MIDI Multi mode, this function lets you turn each MIDI channel
On or Off. This is useful when you have other MIDI devices connected anddo not want the Proteus to respond to the MIDI channels reserved for theother devices. MIDI Enable only operates in Multi Mode.
MIDI ENABLE
channel:01 On

PRESET CHANGE
This function lets the Proteus utilize or ignore incoming MIDI presetchange commands for each channel. Note that MIDI can only selectpresets 000-127. Presets 128-191 can either be selected manually or over
MIDI using the mapping function "MIDI PROGRAM ➙ PRESET".
PRESET CHANGE
channel:01 On

20

MIDI Controller Assign

Proteus operation manual

MASTER MENU

MIDI CONTROLLER ASSIGN
The Proteus allows you to assign up to four realtime control sources fromyour MIDI controller. These control sources could be modulation wheels,
data sliders or whatever. In this screen, you set up which controllers will
be received by the Proteus. What effect the controller will have is
programmed separately for each preset. The Proteus MIDI controllers areeach assigned a letter, A-D. Each controller letter can be assigned to a
MIDI realtime controller from 01-31. Note: If controller numbers 7 or 10
are selected, they will override the standard MIDI volume and pan
control routings. For more information, see MIDI Realtime Controls in
the Programming Basics section.
Some of the standard
MIDI Controller numbers are listed below.
1 - Modulation Wheel orLever
2 - Breath Controller
3 - Pressure: Rev 1 DX7
4 - Foot Pedal
5 - Portamento Time6 - Data Entry
7 - Volume
8 - Balance
9 - Undefined
10 - Pan

Some of the standard
MIDI switch numbers
are listed below.
64 - Sustain Switch(on/off)
65 - Portamento Switch(on/off)
66 - Sostenuto (chordhold, on/off)
67 - Soft Pedal (on/off)
69 - Hold Pedal 2 (on/off)

CONTROLLER #
A:01
B:02

Next Screen:

CONTROLLER #
C:03
D:04

MIDI FOOTSWITCH ASSIGN
Like the MIDI Controllers, 3 MIDI footswitches can be assigned to MIDI
footswitch numbers. Footswitches can be assigned numbers from 64-79.
Destinations for the footswitch controllers are programmed in the Edit
menu.
FOOTSWITCH #1:64 2:65 3:66

Proteus operation manual

MIDI Footswitch Assign

21

MASTER MENU

0

1

2

3

4

5

6

7

8

9

0 00 01 02 03 04 05 06 07 08 09
1 44 191 50 01 15 88 151 78 99 88
2 34 73 106 55 43 75 12 120 121 180

Selected
Program

3 30 31 32 33 34 35 36 37 38 39
4 40 41 42 43 44 45 46 47 48 49

MappedProgram

5 50 51 52 53 54 55 56 57 58 59
6 60 61 62 63 64 65 66 67 68 69
7 70 71 72 73 74 75 76 77 78 79
8 80 81 82 83 84 85 86 87 88 89
9 90 91 92 93 94 95 96 97 98 99
10 100 101 102 103 104 105 106 107 108 109
11 110 111 112 113 114 115 116 117 118 119
12 120 121 122 123 124 125 126 127

This chart shows how MIDI preset changes can be re-mapped. In this example, program changes
10-29 have been re-mapped. All other programs will be selected normally.

MIDI PROGRAM ➔PRESET
Incoming MIDI program changes can be “mapped” to call a different
numbered preset. This is a handy feature when you want a specific preset
number sent from the master synth to be linked with a specific preset on
the Proteus. Simply selecting a preset on the master synth will automatically call up the proper Proteus preset. Any of the presets in the Proteus
can be mapped to any incoming MIDI program change number. Thisfeature also allows you to call up the presets 128-383, which are notnormally accessable over MIDI.
MIDI PROG>PRESET
000 > 000

22

Send Preset Data

Proteus operation manual

MASTER MENU

To Record MIDI Data
into a Sequencer:
1. Setup sequencer toreceive system exclusivedata.
2. Place sequencer into
record mode, then Send
Preset Data.
To Receive MIDI Data
from a Sequencer:
1. Simply play back thesequence into Proteus.

■ The Preset, Volume,and Pan information for
all 16 channels is included when the Mastersettings are transmitted
or received.
▼ Warning: Whentransferring SysEx datafrom one Proteus to another, the ID numbers ofboth units must match.

Application:
The user key tuning
can be used to tune
individual percussion
instruments.

SEND MIDI DATAThis function will send MIDI System Exclusive data to the MIDI Out portof the Proteus. The MIDI data can either be sent to a computer/sequencer
or to another Proteus. Using the cursor key and the data entry control,
select the type of MIDI data you wish to transmit. The choices are:
Master Settings: Transmits all parameters in the Master menu except
tuning table, program/preset map and viewing angle.
Program/ Preset Map: Transmits only the program/preset map.
Tuning Table: Transmits only the user tuning table.
Factory Presets: Transmits all the factory presets.
User Presets: Transmits all the user presets.
Any Individual Preset: Transmits only the selected preset.
The Enter LED will be flashing. Press the Enter button to confirm theoperation. To receive MIDI data, simply send the MIDI data into Proteus
from another Proteus or your sequencer.

SEND MIDI DATA
000 Stereo Piano

USER KEY TUNING
In addition to standard twelve tone equal temperament, the Proteus
contains four additional preset tuning tables (Just C, Vallotti, 19 tone, andGamelan) and one user definable tuning. User Key Tuning allows you toalter the parameters of the user definable tuning stored in memory. The
initial frequency of every key can be individually tuned, facilitating thecreation of microtonal scales. Using the cursor key and the data entry
control, select the key name, the MIDI key number and the fine tuning.
The key name is variable from C-2 to G8. MIDI key number is variablefrom 0 to 127. The fine tuning is variable from 00 to 63 in increments of
1/64 of a semitone (approx. 1.56 cents). For each preset, the specifictuning table is selected in the Edit menu.
USER KEY TUNING
Key:C1036.00Proteus operation manual

User Key Tuning

23

MASTER MENU

Proteus Keyboard Range
MIDI 0
Key #

12

24

36

48

60

72

84

96

108

120 127

Key C-2
Name

C-1

C0

C1

C2

C3

C4

C5

C6

C7

C8

= Standard 5 Octave Keyboard Range

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

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

DEMO SEQUENCE
Start Sequence

24

About Proteus

Proteus operation manual

about PROTEUS

Proteus, unlike most synthesizers, utilizes digital recordings of real
instruments for the basis of its sound. This is similar to a tape recorder
except that in the Proteus, the sounds are permanently recorded on
digital memory chips.
To perform this modern miracle, sounds and instrument waveforms are
first sampled into the Emulator III, our top of the line, 16 bit stereo digital
sampler. After the sounds and waveforms have been truncated, looped
and processed, they are “masked” into the Proteus ROM (Read Only
Memory) chips.
Conceptually, the sampling process is very simple, as shown in the Basic
Sampling System diagram. As a sound wave strikes the diaphragm of a
microphone, a corresponding voltage is generated. To sample the sound,the voltage level is repeatedly measured at a very high rate and thevoltage measurements are stored in memory. To play the sound back, thenumbers are read back out of memory, converted back into voltages, thenamplified and fed to a speaker which converts the voltage back into soundwaves. Of course, playing back 32 channels at different pitches tends tocomplicate matters, but this is basically how it works. In Proteus, we haveleft out the Analog/Digital converter stage since the sounds are alreadysampled for you.

Basic Sampling System
Analog/Digital
Converter
1011001

Memory10100101001
01010010100
10101010100
10101001010

Digital/Analog
Converter
1011001

3V

0V

-3V
1V 3V -2V -1V 3V -1V -2V

AmplifierProteus operation manual

Programming Basics

25

PROGRAMMING
BASICSPROGRAMMING
BASICS

26

PROGRAMMING BASICS

Proteus operation manualProteus operation manual

General Information

27

PROGRAMMINGPROGRAMMING
BASICS
BASICSYour initial involvement with the Proteus will most likely consist of using
the existing presets and selecting MIDI channels. While the factory
presets are very good, there are probably some things you would like tochange, perhaps the LFO speed, or the attack time. You may also want tomake your own custom presets using complex modulation routings.
Entirely new sounds can be created by combining the attack portion of
one sound with the body of another sound or by combining the digital
waveforms with sampled sounds. There are 64 user locations (64-127)
available to store your own creations or edited factory presets. Best of all,it’s easy to edit or create new presets using the edit menu.
Presets can be made up of both a primary and secondary instrument.
Presets can also be “linked” with up to 3 additional presets to create
layering or splits.
One way to create a keyboard split is assign an instrument to a specificrange and then link it to other presets which fill in the empty keys. Usinga combination of 4 linked presets and the primary and secondary instrument ranges, up to 8 keyboard splits can be produced. If linked presets
overlap on the same keyboard range, the presets will be doubled or
stacked.
LINK
PRESET #1
Key Range

PRESET #2
Key Range

CREATING A SPLIT KEYBOARD
Key Range
PRESET #1

LINK
PRESET #2

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

28

Modulation

Proteus operation manual

PROGRAMMING BASICS

Proteus has an extensive modulation implementation using two multiwave LFO’s (Low Frequency Oscillators), two envelope generators andthe ability to respond to multiple MIDI 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 thevolume (amplitude modulation), the pitch (frequency modulation), or
whatever. Turning the volume control on your home stereo rapidly backand 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 thevolume control. If we had a device that would automatically turn thevolume control, we would also call that device a modulation source. The
Proteus is designed so that for each of the variable parameters, such as thevolume, 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. Twomain types of modulation sources on the Proteus are Envelope Generators
and Low Frequency Oscillators. In the example above, an envelope generator could be routed to automatically turn the volume control as programmed by the envelope. Or, a low frequency oscillator could be routed
to automatically turn the volume control up and down in a repeatingfashion.

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

Proteus operation manual

Modulation Sources

29

PROGRAMMING BASICS

MODULATION SOURCES
The Proteus uses three kinds of modulation sources.

■ KEYBOARD and VELOCITY MODULATION
Values which are generated at the start of a note and do not change during
the note.

Keyboard Key - Which key is pressed.
Key Velocity - How hard the key is pressed.
■ REALTIME MODULATION
Values which can be continuously changed during the entire duration of
the sound.

Pitch Wheel - A synthesizer pitch bend wheel.
Miscellaneous Controllers (4) - Any type of MIDI controller data.
Keyboard Pressure (mono aftertouch) - Key pressure applied after the
key is initially pressed.
Polyphonic Key Pressure - Pressure from a controller capable ofgenerating polyphonic pressure data.
Low Frequency Oscillators (2) - Generate repeating waves.
Envelope Generators (2) - Generate a programmable “contour” whichchanges over time when a key is pressed.
■ FOOTSWITCH MODULATION
Changes a parameter when one of the three footswitches are pressed. The
footswitches can be programmed to switch: Sustain (pri/sec/both),
Alternate Volume Envelope (pri/sec/both), Alternate Volume Release(pri/sec/both), or Cross-Switch between the primary and secondary
instruments.

30

Envelope Generators

Proteus operation manual

PROGRAMMING BASICSENVELOPE GENERATORS

Percussion

Organ

An envelope can be described as a “contour” which can be used to shape
the sound in some way over time. Each channel of the Proteus contains
two envelope generators. One of the envelope generators, the Alternate
Volume Envelope, controls the volume of the primary or secondary
instrument and has 5 stages, Attack, Hold, Decay, Sustain, and Release.
The other envelope, the Auxiliary Envelope, can be routed to any realtime
control destination and is a general purpose envelope. The Auxiliary
Envelope has 6 stages: Delay, Attack, Hold, Decay, Sustain, and Release.
The Envelope parameters can be described as follows:■ Delay - The time between when a key is played and when the attack
phase begins.
■ Attack - The time it takes to go from zero to the peak (full) level.

StringPlucked■ The generalizedenvelope shapesof a few types ofsounds are shown
above.

■ Hold - The time the envelope will stay at the peak level before starting
the decay phase.
■ Decay - The time it takes the envelope to go from the peak level to thesustain level.
■ Sustain - The level at which the envelope remains as long as a key isheld down.
■ Release - The time it takes the envelope to fall to the zero level after the
key is released.

S

level
time
D

key
down

A

H

D

R

key
releasedProteus operation manual

AHDSRS and LFOs

31

PROGRAMMING BASICS

level
time
A

key
down

H

R

key
released

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

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

Triangle

SawtoothSine

RandomSquare32

Modulation "Patching"Proteus operation manual

PROGRAMMING BASICS

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 thatsmoothly increases, then instantly resets down.
Negative Amount-+

Sawtooth

Inverted Sawtooth

MIDIPATCH
Connecting a modulation source to a destination is called a patch.
Proteus lets you connect the modulation sources in almost any possible
way to the modulation destinations. You can even modulate othermodulators. Each patch also has an amount parameter which determines“how much” modulation is applied to the destination. The modulation
amount can be positive or negative and will either add or subtract fromthe initial value. Keyboard and velocity sources can be simultaneously
patched to any 6 of the 33 destinations for each preset. Realtime modulation sources can be simultaneously patched to any 8 of the 24 destinations
for each preset.
Amount +/Modulation
Source-+Destination

LFO 1

Primary
Level

Sources

Destinations

LFO 1
LFO 2
Aux Env
Wheel
Pressure
MIDI
etc.

Pitch
X-FadeLevel
LFO Amt.
LFO Rate
Attacketc.

Proteus operation manual

Modulation Chart

33

PROGRAMMING BASICS

Primary
Instrument

R
DCA

Tone

Pan

Sample
Start

Pitch

L
VolumeAHDSR
Atk Dec Rel

X-FadeLevel

SecondaryInstrument

R
DCA

Tone

Pan

Sample
Start

Pitch

L

Modulation Sources:
Key Number and Key
Velocity

VolumeAHDSR
Atk Dec Rel

LFO 1Amount

Freq.

LFO 2
AmountAuxiliary
DAHDSR

Level

Freq.

Atk Dec Rel Amt

KEYBOARD
CENTERVELOCITYCURVE

KEY NUMBER

VELOCITY

Keyboard and Velocity Modulation Sources

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

Destinations: Off,
Pitch, Primary Pitch,
Secondary Pitch,
Volume,Primary Volume,
Secondary Volume,
Attack,Primary Attack,Secondary Attack,Decay,
Primary Decay,
Secondary Decay,
Release,Primary Release,
Secondary Release,
Crossfade, LFO 1
Amount, LFO 1 Rate,
LFO 2 Amount,
LFO 2 Rate, Auxiliary
Envelope Amount,
Auxiliary Envelope
Attack, Auxiliary
Envelope Decay,
Auxiliary Envelope
Release, Sample
Start, Primary Sample
Start, Secondary
Sample Start, Pan,
Primary Pan,
Secondary Pan, Tone,
Primary Tone,
Secondary Tone

34

Key Number

Proteus operation manual

PROGRAMMING BASICS

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

- +

+

0

-

VELOCITY CURVES
Incoming velocity values can be scaled by one of the four velocity curves
in order to match your playing style or better adapt to the MIDI controller.
Experiment with the four curves to find the one that works best for yourstyle and MIDI controller.
140

140
120

120

100

100
80

80

Curve 1Curve 2

60

40

20

20
0

0
0

10

20

30

40

50

60

70

80

90 100

0

10

20

30

40

50

60

70

80

90 100

0

10

20

30

40

50

60

70

80

90 100

140

140
120

120

100

100

80

Curve 3

60

40

80

Curve 4

60

60

40

40

20

20

0

0
0

10

20

30

40

50

60

70

80

90 100Proteus operation manual

Realtime Modulation

35

PROGRAMMING BASICS
R

Primary
Instrument

DCA

Pan

L

Pitch

VolumeAHDSR
Atk Dec Rel

X-FadeLevel

R

SecondaryInstrument

DCA

Pan

Pitch

L
VolumeAHDSR
Atk Dec Rel

Level

LFO 1
AmountPITCH WHEEL

Auxiliary
Envelope(DAHDSR)

LFO 2

Freq.

AmountMONO
PRESSURE

Freq.

POLY
PRESSURE

Atk Dec Rel Amt

MIDI
CONTROLLER
A/B/C/D

LFO 1

LFO 2

AUXILIARYENVELOPE

Realtime Modulation Sources

REALTIME MODULATION
In addition to keyboard and velocity modulation, Proteus has multiple
realtime modulation sources. Realtime modulation sources are parameters which vary over time. The velocity and keyboard modulations, incomparison, are set at the key depression. The realtime modulation
sources can control any of the destinations except Sample Start, Tone andPan as indicated by the small arrows. A modulation source can control up
to eight destinations or one destination can be controlled by up to eight
modulation sources. The possible modulation routings are completely
flexible as shown in the example above.

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

Destinations: Off,
Pitch, Primary Pitch,
Secondary Pitch,
Volume,Primary Volume,
Secondary Volume,
Attack,Primary Attack,Secondary Attack,Decay,
Primary Decay,
Secondary Decay,
Release,Primary Release,
Secondary Release,
Crossfade, LFO 1
Amount, LFO 1 Rate,
LFO 2 Amount,
LFO 2 Rate, Auxiliary
Envelope Amount,
Auxiliary Envelope
Attack, Auxiliary
Envelope Decay,
Auxiliary Envelope
Release36

MIDI Realtime Controllers

Proteus operation manual

PROGRAMMING BASICS

MIDI REALTIME CONTROLS

MIDI wind controllers
may work better if you
assign one of the MIDI
A, B, C, D controllers tocontrol volume. This willallow the MIDI volume
to be added to thecurrent volume.

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

MIDI
Channel 1

MIDI
Channel 2

MIDI
Channel 3

MIDI
Channel 16

Note
On/OffNote
On/OffNote
On/OffNote
On/Off

Program
ChangeProgram
ChangeProgram
ChangeProgram
ChangeContinuous
Controllers

Continuous
Controllers

Continuous
Controllers

Continuous
Controllers

Common realtime controllers such as the pitch wheel, volume, pan andpressure are pre-programmed to their proper destinations. Your keyboard may have other realtime controls such as a control pedal or dataslider which can also be programmed to control most of the parameterson Proteus.
The Proteus is equipped with a sophisticated MidiPatch™ system, whichallows you to route any continuous controller to any realtime modulation
destination. The MidiPatch system is also very easy to use. First, youmust know which controller numbers your keyboard can transmit.

Proteus operation manual

MIDI Realtime Controllers

37

PROGRAMMING BASICS

Let's say for instance, that you are using a Yamaha DX7 as your masterkeyboard. The DX has pitch and mod. wheels, a breath controller, a dataslider and a foot pedal, all of which transmit their values over MIDI. The
standard MIDI controller numbers for the controls are listed below (thepitch wheel has a dedicated controller, PWH). First, we would go to the
Master menu, MIDI Controller Assign and define the 4 MIDI controllers
that we wish to use. Assign each controller number to one of the letters
A-B-C-D.
01 - Modulation Wheel
02 - Breath Controller
04 - Foot Pedal
06 - Data Entry

A
B
C
D

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

Master
Menu

Edit
Menu

0
1
2
3

A-

+

B-

+

C-

+

D-

+

31

0
1
2
3
31

MIDI
Controller
A

MIDI
Controller
B

MIDI
0
1
2
3
31

0
1
2
3
31

MIDI
Controller
C

MIDI
ControllerD

AmountControl Destinations
Pitch
Primary Pitch only
Secondary Pitch only
VolumePrimary Volume only
Secondary Volume only
AttackPrimary Attack only
Secondary Attack only
Decay
Primary Decay only
Secondary Decay only
ReleasePrimary Release only
Secondary Release only
Crossfade
LFO 1 Rate
LFO 1 Amount
LFO 2 Rate
LFO 2 Amount
Auxiliary Envelope Amount
Auxiliary Envelope Attack
Auxiliary Envelope Decay
Auxiliary Envelope Release

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

Standard MIDI
Controller Numbers:
1- Modulation Wheel
2- Breath Controller
3- Pressure Rev 1 DX7
4- Foot Pedal
5- Portamento Time
6- Data Entry
7- Volume
8- Balance
9- Undefined10- Pan38

Stereo Mix Outputs

Proteus operation manual

PROGRAMMING BASICS

STEREO MIX OUTPUTS
Proteus has three sets of polyphonic stereo outputs (Main, Sub 1, Sub 2).
The channels used by a particular preset may be directed to appear at any
one of these three stereo outputs. This feature is useful for signal processing (EQ, reverb, etc.) of individual sounds prior to final mixdown.
By panning a preset completely left or right, it can be routed to a single
output jack.
Note: All presets will be automatically routed to the Main outputs unlessplugs are inserted into the Sub 1 or Sub 2 outputs.

MIX
OUTPUT
Preset01

L

Main
Preset22

R

Preset12

L

Sub 1
Preset127

R

Preset18

L

Preset
120

R

Sub 2

etc.

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

Proteus operation manual

Edit Menu

39

EDIT
MENU
EDIT
MENU

40

EDIT MENU

Proteus operation manualProteus operation manualProteus Programming

41

EDIT
EDIT
MENU
MENU

The edit menu contains functions that can be modified by the user andthen saved as preset information in one of the user presets. For example,
the LFO speed or other parameter can be edited, then the preset can besaved to a user location (64-127 on standard Proteus, 0-255 on Proteus
XR).
While the Edit menu is activated, incoming MIDI preset changes are ignored.
This is a quick and easy way to temporarily turn MIDI Preset Change OFF.

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

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

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

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

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

42

Edit Menu Functions

Proteus operation manual

EDIT MENUEDIT MENU FUNCTIONSPRESET NAME
Preset Name allows you to name each of the user presets with a name of
up to 12 characters. Position the cursor under the character location anduse the data entry control to change the character. The keyboard can also
be used to select characters. The charts below show the keyboard
character assignment.

PRESET NAME
000 Untitled

%
#

*

1

(

6

/

!

=

4

;

-

B
@

9

I
G

N

U

L

E

Z

S

a

X

_

Q

f

m

d

k

]

i

r

y

p

w

->
|

u

b
&
+
0
5
:
?
D
J
O
T
Y
^
c
h
n
s
x
}
l "
'
,
2
7
<
A
F
K
P
V
[
`
e
j
o
t
z
<a $
)
.
3
8
>
C
H
M
R
W
¥
b
g
l
q
v
{
n
k
C-1
C0
C1
C2
C3
C4
C5
C6

C C# D D# E
-2

F

F# G G# A A# B Pitch

blank

!

"

#

$

%

&

-1

'

(

)

*

+

,

-

.

/

0

1

2

0

3

4

5

6

7

8

9

:

;

<

=

>

1

?

@

A

B

C

D

E

F

G

H

I

J

2

K

L

M

N

O

P

Q

R

S

T

U

V

3

W

X

Y

Z

[

¥

]

^

_

`

a

b

4

c

d

e

f

g

h

i

j

k

l

m

n

5

o

p

q

r

s

t

u

v

w

x

y

z

6

{

|

}

OctaveNo.

Proteus operation manual

Mix Output

43

EDIT MENUMIX OUTPUT
This function allows you to direct the channels used by a particular preset
to appear at one of these three stereo outputs (Main, Sub 1, Sub 2).

MIX OUTPUT
Main

PRIMARY INSTRUMENT
This function allows you to select which of the available instrument
sounds (or none) will be placed on the primary layer of the current userpreset.

INSTRUMENT pri
I002 Piano Pad

SECONDARY INSTRUMENT
This function allows you to select which of the available instrument
sounds (or none) will be placed on the secondary layer of the current userpreset.

INSTRUMENT sec
I001 Piano

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

KEY RANGE
C-2 -> G8

Simply changing the
instrument creates a
new sound while
retaining all otherparameters of thepreset.

44

Key Range

Proteus operation manual

EDIT MENUPRIMARY KEY RANGE
Key range sets the keyboard range of the primary instrument. This isuseful for creating positional crossfades and keyboard splits between the
primary and secondary layers. The key range can be set anywhere from
C-2 to G8.

KEY RANGE pri
C-2 -> G8

Primary Instrument
Key Range
Secondary Instrument
Key Range

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

Key Range
Pri Instr.
Sec Instr.
This diagram shows how instruments can be layered or "stacked" using the primaryand secondary instruments.

Proteus operation manual

Key Range

45

EDIT MENU

Proteus Keyboard Range
MIDI 0
Key #

12

24

36

48

60

72

84

96

108

120 127

Key C-2
Name

C-1

C0

C1

C2

C3

C4

C5

C6

C7

C8

= Standard 5 Octave Keyboard Range

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

KEY RANGE sec
C-2 -> G8

VOLUME
Volume sets the amplitude of the primary and secondary instruments.
This function also allows you to compensate for the relative volume
differences between instruments.

VOLUME
pri:127

sec:64PAN
Pan allows you to independently set the initial pan position of the primaryand secondary instruments. A value of -7 pans the instrument hard left
and a value of +7 pans the instrument hard right. This pan setting is only
valid if “P”, for preset pan, is selected in the main display.

PAN
pri:-7

sec:+7

46

Coarse Tuning

Proteus operation manual

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

TUNING coarse
pri:+00 sec:+00

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

TUNING finepri:+00 sec:+00

CHORUS
Chorus “thickens” the sound by doubling the sound and then detuning
it. Proteus/1 chorus can be only be turned On or Off. Proteus/2 and above
allow you select the chorus amount from a range of 1 to 15. When Chorus
is on, the number of channels used by an instrument will be doubled.
Proteus/1

CHORUS
pri:OnProteus/2 and above

sec:Off

CHORUS
pri:Off

sec:07

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

DELAY
pri:000

sec:000

Proteus operation manual

Solo Mode47

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

SOLO MODE
pri:Off sec:On

SOUND START
This function allows you to set where a sample begins playing when you
hit a key. A setting of 000 plays a sound from the beginning, higher values
move the sample start point toward the end of the sound.

SOUND START
pri:000 sec:000

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

REVERSE SOUND
pri:Off sec:On

48

Alternate Envelope

Proteus operation manual

EDIT MENU
DCA

NormalEnvelope

Alternate
Envelope

Atk Dec Rel

Atk Dec Rel

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

ALT ENVELOPE
pri:Off sec:On

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

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

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

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

Proteus operation manual

Crossfade Mode49

EDIT MENUCROSSFADE MODE
This function determines which of the following crossfade modes will beselected: Off, Crossfade, or Cross-Switch.
Off: When “off” is selected, none of the crossfade parameters will haveany effect.
Crossfade: When “crossfade” is selected, a control input is used to fadebetween the primary and secondary. Any modulation source may be
used as an input (velocity, wheel, etc.)
Cross-switch: When “cross-switch” mode is selected, the switched layer
is selected if the input crosses a certain threshold or if a footswitch
controlling cross-switch is activated. The switch occurs only at the start of
the note; no further switching takes place while the key is held down.
If key position or velocity is routed to cross-switch, the threshold is theswitch point. Realtime controllers do not have any effect when routed tocross-switch. For more information, see Cross-Switch Point on page 51.

XFADE MODE
Off

Primary
Instrument
Key Range

SecondaryInstrument
Key Range

Crossfade Range
By overlapping the primary and secondary instruments, you can crossfade or cross-switch
between the two layers.

50

Crossfade Direction

Proteus operation manual

EDIT MENUCROSSFADE DIRECTION
This function determines the polarity of the crossfade or cross-switch.
The direction is either primary ➝secondary, or secondary ➝primary.
XFADE DIRECTION
Pri -> Sec

CROSSFADE BALANCE
The crossfade balance parameter determines the initial balance between
the primary and secondary layers. Any modulation is subsequently
added to this value. Crossfade balance is variable between 000 and 127.
■ A Crossfade Balancesetting of 000 would beappropriate with asource such as amodulation wheel orfootpedal which onlychange the value in apositive direction.

XFADE BALANCE
064

PRIMARYAMOUNTSECONDARYAMOUNT

CROSSFADECROSSFADEBALANCE32

Primary
Only

Equal
AmountSecondary
Only

INPUT

Velocity,
Mod. Wheel,
Footpedal,
etc.

0

12

32

52

64

96

128

CROSSFADEAMOUNT
40

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

Proteus operation manual

Crossfade Amount51

EDIT MENUCROSSFADE AMOUNTThe crossfade amount parameter determines the range over whichcrossfading will occur. Crossfade amount is variable from 000 to 255. The
larger the value, the more modulation will be required to effect a complete
crossfade.
XFADE AMOUNT128

CROSS-SWITCH POINT
The cross-switch point parameter determines the point at which crossswitching will occur when key position or velocity is controlling crossswitch.

Velocity

SWITCH POINT
064
c#2

Key

LFO 1 - SHAPE and AMOUNTThis screen controls the waveshape and amount of Low Frequency
Oscillator 1. The LFO can be used to produce vibrato (when routed topitch), or tremolo (when routed to volume). The five LFO waveshapes
are: Triangle, Sine, Square, Sawtooth, and Random. The amount can bevaried from -128 to +127. Negative values will produce inverted waveshapes.
LFO1

SHAPE AMT
Rand +127

Triangle

SawtoothSine

RandomSquare52

LFO 1

Proteus operation manual

EDIT MENU

LFO 1 - RATE, DELAY and VARIATIONThis screen controls the rate, delay and variation of LFO 1.
■ LFO Rate: varies the LFO speed from 0.052 Hz to 25 Hz (000-127).
■ LFO Delay: sets the amount of time between hitting a key and the onset
of modulation. This can be used to simulate an effect often used byacoustic instrument players, where the vibrato is brought in only after the
initial note pitch has been established. The delay range is variable from 0
to 13 seconds (000-127).
time
Delay

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

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

LFO1 RTDLY VAR000 000 000

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

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

Proteus operation manual

Auxiliary Envelope

53

EDIT MENUAUXILIARY ENVELOPE
This is a supplementary, utility envelope that can be routed to any
realtime control destination. The auxiliary envelope parameters are:Envelope Amount, Delay, Attack Time, Hold Time, Decay Time, Sustain
Level, and Release Time. The delay time is variable from 0 to 13 seconds(000-127). The envelope amount is variable from -128 to +127. Negativevalues will produce inverted envelopes.
AUX ENV AMT DLY
+127

A: A

H
00

D
00

000

S
00

R
99

Sustain

level
time

20

D
e
l
a
y
key
down

A
t
t
a
c
k

H
o
l
d

D
e
c
a
y

R
e
l
e
a
s
e
key
releasedThis diagram shows the six stages of the Auxiliary Envelope Generator.

54

KYBD/ Velocity.Modulation

Proteus operation manual

EDIT MENU

Modulation Sources:
Key Number and Key
Velocity

Destinations: Off,
Pitch, Primary Pitch,
Secondary Pitch,
Volume, Primary
Volume, Secondary
Volume, Attack,Primary Attack,Secondary Attack,Decay, Primary
Decay, Secondary
Decay, Release,
Primary Release,
Secondary Release,
Crossfade, LFO 1
Amount, LFO 1 Rate,
LFO 2 Amount, LFO 2
Rate, Auxiliary
Envelope Amount,
Auxiliary Envelope
Attack, Auxiliary
Envelope Decay,
Auxiliary Envelope
Release, Sample
Start, Primary Sample
Start, Secondary
Sample Start, Pan,
Primary Pan,
Secondary Pan, Tone,
Primary Tone,
Secondary Tone

KEYBOARD and VELOCITY MODULATION CONTROL
These functions allow you to route keyboard and velocity information to
any of the modulation destinations on the Proteus. Up to 6 simultaneouspaths or “patches” may be programmed. For each modulation patch,
there is a source (keyboard or velocity), and a corresponding amountparameter which is variable from -128 to +127. Place the cursor under theappropriate parameter and change the patch number, modulation
source, modulation destination, or the amount using the data entry
control. If a parameter is not labeled either primary or secondary, itaffects both.
KEY/VELOCITY CTL
1 V>Attack -064
Patch
Modulation
NumberDestination
Modulation
Modulation
SourceAmountLFO 1
AmountFreq.

Primary
Instrument
Pitch

Negative amounts ofmodulation decrease
the time.

L
VolumeAHDSR
Atk Dec Rel

X-FadeLFO 2Amount

Level

Freq.

SecondaryInstrument
Pitch

R
DCA

Tone

Pan

Sample
Start

L

Level

Atk Dec Rel Amt

Positive amounts ofmodulation increase
the time.

Pan

SampleStart

Auxiliary
DAHDSR

When Modulating
Envelope Attack,Decay, or Release
Times:

R
DCA

Tone

VolumeAHDSR
Atk Dec Rel

Modulation Destinations

KEYBOARD
CENTERVELOCITYCURVE

KEY NUMBER

VELOCITY

Keyboard and Velocity Modulation SourcesProteus operation manual

Realtime Modulation

55

EDIT MENUREALTIME MODULATION CONTROL
These functions allow you to route realtime controllers to any of themodulation destinations on Proteus except Tone, Sample Start and Pan.
Up to 8 simultaneous patches may be programmed. For each modulation
patch, there is a source and a destination parameter. Place the cursor
under the appropriate parameter and change the patch number, modulation source or modulation destination using the data entry control. If
a parameter is not labeled either primary or secondary, it affects both.

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

REALTIME CTL
1 LFO1 ->Pitch
Patch
NumberModulation
Destination

Modulation
SourceLFO 1
AmountR

Primary
Instrument

DCA

Pan

Freq.

L

Pitch

VolumeAHDSR
Atk Dec Rel

X-FadeLFO 2Amount

Freq.

Level

SecondaryInstrument

R
DCA

Pan

Pitch

L

Auxiliary
DAHDSR

Level

VolumeAHDSR
Atk Dec Rel

Atk Dec Rel Amt

Modulation Destinations

PITCH WHEELMONOPRESSURE

POLY
PRESSURE

MIDI
CONTROLLER
A/B/C/D

LFO 1

Realtime Modulation Sources

LFO 2

AUXILIARYENVELOPE

Destinations: Off,
Pitch, Primary Pitch,
Secondary Pitch,
Volume, Primary
Volume, Secondary
Volume, Attack,Primary Attack,Secondary Attack,Decay, Primary
Decay, Secondary
Decay, Release,
Primary Release,
Secondary Release,
Crossfade, LFO 1
Amount, LFO 1 Rate,
LFO 2 Amount, LFO 2
Rate, Auxiliary
Envelope Amount,
Auxiliary Envelope
Attack, Auxiliary
Envelope Decay,
Auxiliary Envelope
Release56

Footswitch Control

Proteus operation manual

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

MIDI CONTROLLER AMOUNTThis function allows you to specify an amount parameter (variable from-128 to +127) for each of the MIDI controllers.
CONTROLLER AMT
A:+127
B:-090CONTROLLER AMT
C:+127
D:-090

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

Proteus operation manual

Pitch Bend Range

57

EDIT MENUPITCH BEND RANGEThis function allows you to specify the pitch wheel range for the current
preset or it can be set to be controlled globally (set in the Master menu).
Pitch bend range is only applied when the pitch wheel is used to control
pitch.
PITCH BEND RANGE+- 12 semitones

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

140

140
120

120

100

100

80

80

60

60

40

40

20

20
0

0
0

10

20

30

40

50

60

70

80

0

90 100102030Curve 1

40

50

60

70

80

90 1007080

90 100Curve 2
140

140
120

120

100

100

80

80

60

60

40

40

20

20

0

0
0

10

20

30

40

50

60

Curve 370

80

90 100

0

10

20

30

40

50

60

Curve 4

58

Keyboard Center

Proteus operation manual

EDIT MENU

KEYBOARD CENTER
The Keyboard Center parameter establishes a reference point for keyboard modulation. Keys above this point will have a positive value andkeys below it will be negative. The keyboard center can be set to any key
within the range A-1 to C7.
KEYBOARD CENTER
c#3
KEY CENTER

- +

+

0

-

KEYBOARD TUNING
In addition to the standard equally divided octave tuning, Proteus
contains three other types of scale tuning and one user-definable tuning.
This function selects which tuning will be used in the current preset.
The choices of keyboard tunings are:Equal tuning (12 tone equal temperment)
Standard Western tuning
Just C tuning (just intonation)
Based on small interval ratios; sweet and pure; non-beating intervals
Vallotti tuning (Vallotti and Young non-equal temperment)
Similar to 12 tone equal temperment; for a given scale, each key has adifferent character
19 Tone tuning (19 tone equal temperment)
19 notes per octave; difficult to play but works well with a sequencer
Gamelan (Javanese) tuning (5 tone Slendro and 7 tone Pelog)
Pelog-white keys; Slendro-black keys; exotic tunings of Gamelan flavor
User tuning which is defined in the Master menu.

Proteus operation manual

Preset Links

59

EDIT MENUPRESET LINKS
Presets may be linked to other presets in order to create layering or
keyboard splits. The current preset can be linked with up to three otherpresets. Each linked preset can be assigned to a specific range in order toeasily create keyboard splits. The modulation parameters specified ineach preset remain in effect for each preset in the link.
LINK 1 c#1->f#4
000 Preset Name

LINK 2 c#1->f#4
191 Preset Name

LINK 3OffLINK
PRESET #1
Key Range

PRESET #2
Key Range

CREATING A SPLIT KEYBOARD

Key Range
PRESET #1

LINK
PRESET #2

LAYERING TWO PRESETS

60

Save Preset

Proteus operation manual

EDIT MENU

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

To Save a Preset:
1. Select the new location
2. Press EnterProteus operation manual

Programming Proteus

61

PROGRAMMING PROTEUS

62

Proteus operation manualProteus operation manual

Linking Presets

63

PROGRAMMING PROTEUS

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

LINKING PRESETS
Linking presets is a quick and easy way to create new sounds by “layering
presets” and also to “split” the keyboard into sections containing different sounds.
LAYERING TWO PRESETS
1) Select the first preset you wish to layer.
2) Press the Edit button.
3) Use the data entry control to move through the screens until you find
one of the “LINK” screens.
4) Move the cursor to the second line of the display, then select the presetthat you want to be linked with this preset. You may want to play the
keyboard as you scroll through the various presets in order to hear the
results.
5) If you want the link to be a permanent part of the preset, be sure to“SAVE PRESET”.

CREATE A SPLIT KEYBOARD USING LINKS
1) Follow steps 1 through 4 above.
2) Now set the range of the linked preset while still in the LINK menu.
3) Save the preset.
4) Now go back to the first preset, press the Edit button and use the data
entry control to move through the screens to KEY RANGE.
5) Set the range of this preset so that it fills the remaining range of yourkeyboard.
6) Save the preset.

64

Editing Presets

Proteus operation manual

PROGRAMMING PROTEUS

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

CHANGING THE INSTRUMENT
This is probably the easiest way to modify existing presets. Scroll throughthe Edit menu functions until you come to:
INSTRUMENT pri
IXXX Instr Name

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

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

CHANGING THE TUNING OF AN INSTRUMENT
Scroll through the Edit menu functions until you come to:
TUNING coarse
pri:+00 sec:+00

Proteus operation manual

Editing Presets

65

PROGRAMMING PROTEUS

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

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

sec:Off

REVERSING THE SOUND
A simple concept. The instrument sounds can be played in reverse. This
will normally make an instrument sound quite a bit different. It also
virtually doubles the number of raw instruments you have to work with,and it’s fun.
REVERSE SOUND
pri:Off sec:Off

You’re probably getting the idea by now. Remember not to change presets
or the preset will return to normal. If you want to save your creation, selectthe last screen in the Edit menu and select a destination preset location foryour masterpiece, then press Enter. That’s it.
The previous examples were offered solely to pique your curiosity. By allmeans, go ahead and experiment with any of the other functions. Some of
the best sounds have been discovered by accident. If it sounds good ... Do
it!

66

Proteus Synthesis

Proteus operation manual

PROGRAMMING PROTEUS

PROTEUS SYNTHESIS
Oh, no! Not another form of synthesis to learn.
Relax. It’s easy.
Proteus Synthesis is actually just a form of additive synthesis. Only,
instead of building a sound from simple sine waves, Proteus starts withcomplete sampled sounds or complex waveforms and combines all orpart of these together to form a new sound. The process is illustrated
below.
PROTEUS SYNTHESISInstrument

Shaped with DCA

Added Together toform Resultant Sound

Pri

Sec

Fade
Area

Fade
Area

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

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

Proteus operation manual

Programming Examples

67

PROGRAMMING PROTEUS

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

SecondaryInstrument: Oct. 7 All
Alt Envelope: On
A H D S R
00 00 51 00 36

Instrument: El. Guitar
Alt Envelope: On
A H D S R
05 05 27 88 44

Volume: 45

Volume: 88

Chorus: On

Chorus: Off

Tuning: +00

Tuning: +12

Pan: +2

Pan: -2

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

SecondaryInstrument: Soft Flute
Alt Envelope: On
A H D S R
04 02 16 00 16

Instrument: Tenor Sax
Alt Envelope: On
A H D S R
06 00 38 85 40

Volume: 109

Volume: 83

Fine Tuning: +05

Fine Tuning: +00

Tuning: +12

Tuning: +12

Delay: 000

Delay: 002

Sound Start: 000

Sound Start: 040

68

Sequencing Proteus

Proteus operation manual

PROGRAMMING PROTEUS

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

USING PROTEUS WITH A SEQUENCER
We thought you’d never ask. Proteus was designed from its conception
with multi-timbral sequencing in mind. Just take a look at the main
screen.
C01 Vol127 Pan+0000 Preset Name

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

C01 Vol127 Pan+0000 Preset Name
Turn the data entry control and you will see that every MIDI channel has
a preset assigned to it. Just select a preset for each of the MIDI channels.
It’s simple! In order to respond to multiple MIDI channels, Proteus must
be in Multi-Mode. Multi-Mode is selected in the Master menu. Press the
Master menu button and use the data entry control to scroll through thescreens until you find MIDI MODE.

MIDI MODE
Multi

ID
00

Proteus operation manual

Advanced Sequencing

69

PROGRAMMING PROTEUS

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

MORE ADVANCED SEQUENCING
PRE-SEQUENCE SETUP
Suppose that you want to have your sequencer set up everything for you
before the start of the song. Good idea. This will make the Proteus setup
procedure automatic and prevent the wrong presets from playing.
The basic idea of a pre-sequence setup is to send out MIDI information
just before the start of the song. This MIDI information will select all theproper presets, adjust the mix, and pan positions of each preset.
Note: Proteus setup information should be transmitted from the sequencer before the song actually starts, perhaps during a lead-in measure
or countdown. DO NOT send setup information just before the first beatof the song or MIDI timing errors could result.

INITIAL SETUP
In the Master menu:
1) Turn ON Multi-Mode2) Turn ON Preset Change enable for each channel.
3) Turn OFF MIDI Enable on MIDI channels that are to be used for othersynthesizers.

PRESET, VOLUME and PAN SETUP
Program your MIDI sequencer to transmit the following information
before the song starts.
1) Select the proper presets for each MIDI channel used on Proteus.
2) Send MIDI volume information (controller #7) for each MIDI channel
used on Proteus.
3) Send MIDI pan information (controller #10) for each MIDI channel
used on Proteus.

■ The Preset, Volume,and Pan information for
all 16 channels is
included when the Mastersettings are transmitted
or received.

70

Using the 32 Channels

Proteus operation manual

PROGRAMMING PROTEUS

Now your song will play perfectly every time using the proper presets,
volumes and pan positions. In addition, presets, volumes and pan
positions (or anything else for that matter) can be adjusted in realtime
during the song. Note: If the wrong presets are being selected, check the
MIDI Program -> Preset map.
The following
Proteus/1 presets
use only one output
channel:5. Acoustic Guitar
14. Rock Drums 1
20. Velocity Falls
25. Special FX 1
30. Latin Drums
31. Wind Chimes
35. Baritone Sax
36. Solo Trumpet
46. Latin Percussion
48. Grand Piano
53. Solo Trombone
124. Tremolo Vibe
127. Barber Pole
160. Low Grand161. Bright Piano
162. Xpressive String
163. String Vel.-> Atk.
164. Choir165. Dark Choir167. Alto Sax
168. Tenor Sax
170. French Horn
171. Trombone 2
172. Trom./Trumpet
173. Guitar Mutes
174. Electric Guitar
176. Rock Bass
177. Flint Bass
178. Bass Synth 2179. Harmonics
180. Marimba
181. Vibes Wheel
182. Percussives
183. Rock Drums 2184. Rock Drums 3185. Snares/Drums
186. Kick Drums
187. Cymbals
188. Tom Toms
189. Conga Trans.
190. Block Trans.

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

USING THE 32 CHANNELS
As stated earlier, Proteus has 32 independent audio channels which areutilized dynamically. With 32 channels and 192 presets, you have auniverse of sonic textures at your disposal. But you have probably
noticed that many of the best sounding presets in Proteus are linked withother presets or have chorus applied to them in order to make them soundlarger. While this is fine when the preset is played solo, you may begin torun out of channels when Proteus is played multi-timbrally. Linking andchorusing cause twice as many channels to be used by the preset. Learn
to "budget" your output channels for maximum efficiency.
CHANNEL RIPOFF
When Proteus uses up all its 32 channels and needs more, it steals achannel from the key that has been held the longest. This is commonly
known as “channel ripoff”. You will most commonly encounter this“ripoff” when using Proteus in multi-timbral mode. Since Proteus dynamically allocates channels as needed, to eliminate ripoff you must
either, play fewer notes, use simpler sounds, turn off doubling (pri/sec,chorus, or linked presets), or use MIDI overflow to another Proteus.
INSTRUMENT DEFINITION
If your sequence has a instrumental section using numerous chords, it
may be advantageous to use a basic preset without links or chorus. A
preset will sound much different alone than when combined with an
ensemble. Try to resist the temptation to make every sound as fat as
possible or you can wind up with “MIDI Soup”; a huge, stifling soundwith every possible audio frequency filled. A solo saxophone in a band
isn't chorused and it sounds great. Each voice in your composition shouldhave it’s own identity. Save the monster sounds for solos or dramaticeffects.

Proteus operation manual

External Processing

71

PROGRAMMING PROTEUS

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

OUTPUTS
SUB 1

SUB 2

R

Tip

MONO STEREO

L

MAIN

R

L

R

L

Tip

Ring

Tip

Ring

Ring

FuzzmanFuzz Box

StereoReverb Unit

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

72

Patch Sheet

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

PROTEUS Patch Sheet
KEY/VELOCITY CONTROL
1

>

2

>

3

>

4

>

5

>

Sec ATTACK6>MIX OUTPUT

Sec HOLDREALTIME MOD. CONTROLPRI INSTRUMENTSec DECAY

1-SEC INSTRUMENTSec SUSTAIN

2-

KEY RANGESec RELEASE

3-Pri KEY RANGEXFADE MODE

Sec KEY RANGEXFADE DIRECTION

5-Pri VOLUMEXFADE BALANCE

6-

Sec VOLUMEXFADE AMOUNT7-

Pri PANSWITCH POINT

8-

Sec PANLFO 1 SHAPE

Pri COARSE TUNE

LFO 1 AMOUNT1Sec COARSE TUNE

LFO 1 RATE

2

Pri FINE TUNE

LFO 1 DELAY

3

Sec FINE TUNE

LFO 1 VARIATIONPri CHORUS

LFO 2 SHAPECONTROLLER A

Sec CHORUS

LFO 2 AMOUNTCONTROLLER B

Pri DELAY

LFO 2 RATECONTROLLER CSec DELAY

LFO 2 DELAY

CONTROLLER D

Pri SOLO

LFO 2 VARIATIONPRESSURE AMT.

Sec SOLO

AUX ENV AMOUNTP-BEND RANGEPri SOUND STARTAUX ENV DELAY

VEL. CURVESec SOUND STARTAUX ENV-ATTACKKYBD CENTER

Pri REVERSE

AUX ENV-HOLD

KYBD TUNINGSec REVERSE

AUX ENV-DECAY

LINK 1

Pri ALT. ENVELOPE

AUX ENV-SUSTAIN

LINK 2

Sec ALT. ENVELOPE

AUX ENV-RELEASELINK 3

Pri ATTACKPri HOLD
Pri DECAY
Pri SUSTAIN
Pri RELEASE

FD Xsw

4-

FOOTSWITCH CONTROLCONTROLLER AMOUNTProteus operation manual

Reference73

REFERENCE SECTION

74

Factory Presets

Proteus operation manual

PROTEUS/1 FACTORY PRESETSPROTEUS
Presets
0-63

ROM

64-127 RAM
128-191 ROM

PROTEUS XR
Presets0-255

RAM256-383 ROM■ The RAM presets
may be modified or replaced as you desire,but the ROM presets
are stored permanently in the Proteus.

KEYBOARDSVOICESPLUCKED

0. (256) Stereo Piano
9. (265) B3 Mod->Leslie
16. (272) Heaven
18. (274) Electric Piano
32. (288) Harpsikord
39. (295) String Bass/Piano *48. (304) Grand Piano
66. (66) Space Clavier
69. (69) Ball Game80. (80) Vibrant Piano *96. (96) Piano Drama
99. (99) Reedy Keys
112. (112) Winston Grand122. (122) Mr. Minister
128. (320) Piano & Synth *144. (336) Saloon Piano
160. (352) Low Grand161. (353) Bright Piano

2. (258) InChoirIrie
34. (290) Human Voices
58. (314) Octave Choir
66. (66) WeAteFlangers
116. (116) Vibes/Choir *145. (337) Crystal Choir *146. (338) Herbal Verbal
164. (356) Choir165. (357) Dark Choir

5. (261) Acou. Guitar
6. (262) Modern Guitar
21. (277) Stereo Mutes
37. (293) 12 String *38. (294) Modern Harp
47. (303) SpaceBkwdGuitar
54. (310) Xpr. El. Guitar
59. (315) Gitano
70. (70) Clean Stratocaster97. (97) Punctuate107. (107) BanJovi
118. (118) Rock Gitaro
125. (125) Dulcimer
133. (325) Ster. Acou. Guitar
134. (326) Shamisen
173. (365) Guitar Mutes
174. (366) Electric Guitar
175. (367) Ster. El. Guitar
179. (371) Harmonics

STRINGS
1. (257) Hall Strings
33. (289) String Orchestra
49. (305) Flange String
65. (65) Isham Strings *90. (90) Synth String
100. (100) String Swell110. (110) Hall 2 Strings **111. (111) Hall 2 Link **113. (113) STRings
129. (321) String Chamber
132. (324) New Orchestra *151. (343) Orchestra Hit
162. (354) Xpressive String
163. (355) String Vel. ->Atk.

BRASS
3. (259) Big City Brass
19. (275) French Horn Sect.
20. (276) Velocity Falls
36. (292) Solo Trumpet
52. (308) Miles Solos
53. (309) Solo Trombone
68. (68) Hard Trumpet
83. (83) Orchestral Brass
84. (84) Low Octave Bones
91. (91) Space Trumpet
123. (123) Bone Face
131. (323) Trumpet Combo
132. (324) New Orchestra *147. (339) Section Falls
148. (340) Section Horns *170. (362) French Horn
171. (363) Trombone 2
172. (364) Tromb./Trumpet

REEDS/FLUTES
4. (260) Stereo Sax
17. (273) Verb Flute
35. (291) Baritone Sax
115. (115) Uboe
130. (322) Breathy Flute132. (324) New Orchestra *166. (358) Soprano Reed
167. (359) Alto Sax
168. (360) Tenor Sax
169. (361) Synth. Clarinet

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

SYNTHESIZER
8. MiniMoog Bass
10. (266) Phantazia
11. (267) Zound Trax
26. (282) Har. Synth27. (283) Beyond FM
40. (296) Mythical Pad
41. (297) PianoBell
43. (299) Empyrean
50. (306) White Veil
51. (307) Dark World
55. (311) Space Bass Pad
56. (312) Dune
57. (313) RB’s Wine
64. (64) FM Style Piano *66. (66) WeAteFlangers
67. (67) Space Clavier
73. (73) Space Horn
74. (74) Blue Ice
75. (75) Embered Tines
81. (81) Emperor *82. (82) NoiseFree LA *
85. (85) Synthibell

Proteus operation manual

Factory Presets

75

PROTEUS/1 FACTORY PRESETSSYNTHESIZER
86. (86) Space Steel
89. (89) Squarish Lead
90. (90) Synth String
91. (91) Space Trumpet
98. (98) Lunar Window
101. (101) Jingle Pad
102. (102) Solo Lead
104. (104) Bass & Synth *105. (105) Gillectro
106. (106) Pop Pad
114. (114) Sharp Edge
117. (117) Solo Synth 3121. (121) Bed Tine
128. (320) Piano & Synth *136. (328) Rock Attitude137. (329) Tocatta Seven
138. (330) Pop Art
139. (331) Mini Solo
140. (332) Airimba
149. (341) Hollow Solo
152. (344) Keys Please155. (347) Crazy Man
156. (348) Clock Chimes
178. (370) Bass Synth. 2

BASS
7. (263) Thunder Bass
8. (264) MiniMoog Bass
22. (278) Stone Bass & Har.
23. (279) Slap/Pop Bass
24. (280) Rap Bass
39. (295) String Bass/Piano *55. (311) Space Bass Pad
71. (71) Noze Bass/Pad
72. (72) Wide Neck *103. (103) Buzzy Frets
104. (104) Bass & Synth *109. (109) Slippery Bass
135. (327) Stone Slap Bass
150. (342) Fat Boy Bass
176. (368) Rock Bass
177. (369) Flint Bass

178. (370) Bass Synth. 2
179. (371) Harmonics

TUNED
PERCUSSION
12. (268) Vibe n Me
13. (269) Tiki Threat
44. (300) Glockenspiel
45. (301) Wide Marimba
61. (317) Medicine Drum
76. (76) Odd Vibes
77. (77) Bright Steel *92. (92) Metal Throat
93. (93) Light Mallet
94. (94) Congablock108. (108) Malletumba
116. (116) Vibes/Choir *124. (124) Tremolo Vibe
126. (126) Block Head
140. (332) Airimba
141. (333) Steel Drums
157. (349) Vibe & Marimba
180. (372) Marimba
181. (373) Vibes Whl-Mod.
189. (381) Conga Trans.
190. (382) Block Trans.

PERCUSSION
14. (270) Rock Drums 1
30. (286) Latin Drums
46. (302) Latin Percussion
61. (317) Medicine Drum
62. (318) Radical Drum
142. (334) Modern Drums
153. (345) Metal Toys
158. (350) Ster. Slap Drum
182. (374) Percussives
183. (375) Rock Drums 2184. (376) Rock Drums 3185. (377) Snares/Drums
186. (378) Kick Drums
187. (379) Cymbals
188. (380) Tom Toms

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

WORLD
28. (284) Kyoto Forest
29. (285) Balinesia
42. (298) Noh Way! *60. (316) Thai Bath House
78. (78) Native Power *134. (326) Shamisen

SOUND EFFECTS
15. (271) Metal Vapor
25. (281) Special FX 1
31. (287) Wind Chimes
63. (319) Mtlphone Arp. 9
79. (79) Insects
87. (87) Jet Boom **88. (88) Jet Boom **95. (95) Hold & Sample
119. (119) Animal 1 **120. (120) Animal **127. (127) Barber Pole
143. (335) Space Texture
153. (345) Metal Toys
154. (346) Weather
156. (348) Clock Chimes
159. (351) Flying Module

191. (383) Default Patch

76

Sampled Sounds

Proteus operation manual

PROTEUS INSTRUMENTS

SAMPLED SOUNDS
1. Piano ........................................................................... 9 foot Grand Piano
2. Piano Pad .......................... Piano with slow attack and sustained loop
3. Loose Piano .......................................................... Old style Grand Piano
4. Tight Piano ...................................... Contemporary 9 foot Grand Piano
5. Strings .............. String section with Basses, Cellos, Violas and Violins
6. Long Strings ...................... String section with long attack and release
7. Slow Strings ................. Section Strings with longer attack and release
8. Dark Strings ..................................... Section Strings with a darker tone
9. Voices.................................................................................... Female Choir
10. Slow Voices ................... Female Choir with longer attack and release
11. Dark Choir ........................................ Female Choir with a darker tone
12. Synth Flute ......................................... Genuine Flute with a short loop
13. Soft Flute ..................................................................... Slow attack Flute
14. Alto Sax ....................................................................................... Alto Sax
15. Tenor Sax.................................................................................. Tenor Sax
16. Baritone Sax ......................................................................... Baritone Sax
17. Dark Sax .................................................. Tenor sax with a darker tone
18. Soft Trumpet .......................................................... Soft blown Trumpet
19. Dark Soft Trumpet ............. Soft blown Trumpet with a darker tone
20. Hard Trumpet ..................................................... Hard blown Trumpet
21. Dark Hard Trumpet ......... Hard blown Trumpet with a darker tone
22. Horn Falls ................................................. Descending pitch Trumpets
23. Trombone 1 .............................................................................. Trombone
24. Trombone 2 ............................................................................. Trombone
25. French Horn ....................................................................... French Horn
26. Brass 1 .................................... Combination Trombone/Soft Trumpet
27. Brass 2 .................................. Combination Trombone/Hard Trumpet
28. Brass 3 ........ Combination Trombone/Soft Trumpet/Hard Trumpet
29. Trombone/Sax ................................ Combination Trombone and Sax
30. Guitar Mute .............................................. Palm muted Electric Guitar
31. Electric Guitar............................. Clean, Humbucking Electric Guitar
32. Acoustic Guitar ........................................ Steel String Acoustic Guitar
33. Rock Bass ...................................................... Carbon Fiber Bass Guitar
34. Stone Bass .................................... Rare, Aluminum Neck Bass Guitar
35. Flint Bass ..................................... Bass Guitar with altered harmonics
36. Funk Slap .............................. Lower two Bass Guitar strings slapped
37. Funk Pop ..... Popped Bass Guitar strings (combine with Funk Slap)
38. Harmonics ......................................................... Bass Guitar Harmonics
39. Rock/Harmonics ....... Combination Rock Bass and Bass Harmonics

Proteus operation manualSampled Sounds

77

PROTEUS/1 INSTRUMENTS

40. Stone/Harmonics .. Combination Alum. Neck Bass and Harmonics
41. Nose Bass ................................................ Chunky, Popped Bass Guitar
42. Bass Synth 1 ......................... Classic, Analog Synthesizer Bass Sound
43. Bass Synth 2 ..................................................... Digital Bass Synthesizer
44. Synth Pad .................................................. Fat, Digital Synthesizer pad
45. Medium Envelope Pad ..... Digital Synth pad with altered envelope
46. Long Envelope Pad. Digital Synth pad with long attack and release
47. Dark Synth .............................. Digital Synthesizer with a darker tone
48. Percussive Organ .......................... Classic, Tone Wheel Organ sound
49. Marimba ..................................................................................... Marimba
50. Vibraphone ........................................................................... Vibraphone
51. All Percussion (balanced levels) ........
52. All Percussion (unbalanced levels) ...
53. Standard Percussion Setup 1 ..............
54. Standard Percussion Setup 2 ..............
55. Standard Percussion Setup 3 ..............
56. Kicks ......................................................
57. Snares.....................................................
See the58. Toms ......................................................
Percussion
59. Cymbals ................................................
Instrument Location
60. Latin Drums ..........................................
Diagrams
61. Latin Percussion ...................................
on the following pages.
62. Agogo Bell.............................................
63. Woodblock ............................................
64. Conga .....................................................
65. Timbale ..................................................
66. Ride Cymbal .........................................
67. Percussion FX1 .....................................
68. Percussion FX2 .....................................
69. Metal ....................... Percussive, Metallic, Analog Synthesizer Sound78

Proteus/1 Harmonic Waveforms

Proteus operation manual

PROTEUS/1 INSTRUMENTS
HARMONIC WAVEFORMS
70. Oct 1 (Sine)
Starting from the first octave (fundamental), the71. Oct 2 All
harmonic waveforms contain the harmonics (odd,
72. Oct 3 All
even, or all) present in each octave. In each succes73. Oct 4 Allsive octave the number of harmonics doubles. By
74. Oct 5 All
combining (pri/sec or link) the harmonic wave75. Oct 6 All
forms in various amounts (volume), and transpos76. Oct 7 All
ing them (coarse/fine tuning), a vast range of tim77. Oct 2 Odd
bres may be produced.
78. Oct 3 Odd
79. Oct 4 Odd
80. Oct 5 Odd
81. Oct 6 Odd
82. Oct 7 Odd
83. Oct 2 Even
84. Oct 3 Even
85. Oct 4 Even
86. Oct 5 Even
87. Oct 6 Even
88. Oct 7 Even
89. Low Odds
90. Low Evens
91. Four Octaves

Level

Frequency (log)Harmonic

1 2 3 4 5 6 7 8 9 10

Octave 12

3

15 1617 18

4

31

5

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

Proteus operation manualProteus/1 Waveforms

79

PROTEUS/1 INSTRUMENTSSINGLE CYCLE WAVEFORMS
92. Synth Cycle 1
93. Synth Cycle 2
94. Synth Cycle 3
95. Synth Cycle 4
96. Fundamental Gone 1
97. Fundamental Gone 2
98. Bite Cycle
99. Buzzy Cycle 1
100. Metalphone 1
101. Metalphone 2
102. Metalphone 3
103. Metalphone 4104. Duck Cycle 1105. Duck Cycle 2106. Duck Cycle 3
107. Wind Cycle 1
108. Wind Cycle 2
109. Wind Cycle 3110. Wind Cycle 4111. Organ Cycle 1
112. Organ Cycle 2

MULTI-CYCLE WAVEFORMS
113. Noise114. Stray Voice 1
115. Stray Voice 2116. Stray Voice 3
117. Stray Voice 4118. Synth String 1
119. Synth String 2120. Animals
121. Reed
122. Pluck 1
123. Pluck 2
124. Mallet 1
125. Mallet 2

These single cycle waveforms were
either synthesized or taken from actual sampled sounds. They werechosen for their diversity and interesting qualities.

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

MIDI
Key #
36
48
60
72

Standard 1
Instrument 53

14" Tom Tom

All + Standard 1

84

Closed HiHat 2Open HiHat 2
Agogo Bell72

Rude Crash
Ride Cymbal

Closed HiHat 1
Big HiHat
Agogo Bell

Timbale Strike
Timbale Rimshot
Timbale Rimshot
Conga
Conga Open Slap
Conga Closed Slap
Wood Block
Rosewood Claves
MaracasCabasa
Guiro Down
Guiro Up
Agogo Bell10" Tom Tom

60

Reverb Click
Finger Snap

MaracasCabasaAgogo Bell48

Wood Block
Rosewood Claves

Closed HiHat 2Open HiHat 2
Agogo BellBig HiHat
Closed HiHat 2Open HiHat 2
Ride Cymbal
Rude Crash
Electro Cymbal
Finger Snap
Low Electro Cymbal

Reverb Kick 1
Kick 2
Kick 3
Reverb Snare 1
Snare 2
Snare 3
Reverb Click
Closed HiHat 1
36

Rude Crash
Ride Cymbal

Closed HiHat 1
Big HiHat
Agogo Bell

Reverb Click
Finger Snap

MIDI
Key #

Reverb Kick 1
Reverb Snare 1
14" Tom Tom
14" Tom Tom
14" Tom Tom
10" Tom Tom
10" Tom Tom
10" Tom Tom
Electro Cymbal
Kick 2
Snare 2
Kick 3
Snare 3
Timbale Strike
Timbale Rimshot
Conga
Conga Open Slap
Conga Closed Slap
Guiro Down
Guiro Up
Guiro Up
Reverb Kick 1
Reverb Snare 1
14" Tom Tom
14" Tom Tom
14" Tom Tom
10" Tom Tom
10" Tom Tom
10" Tom Tom
Electro Cymbal
Kick 2
Snare 2
Kick 3
Snare 3
Timbale Strike
Timbale Rimshot

80
Proteus operation manual

PROTEUS/1
PERCUSSION INSTRUMENT LOCATIONS

84
96

All Percussion
Instruments 51, 52

96

MIDI
Key #
36
48
60
72
84

Closed HiHat 1
Big HiHat
Electro Cymbal

72

Rude Crash
Ride Cymbal

Closed HiHat 2Open HiHat 2
Electro Cymbal

60

Reverb Click
Finger Snap

MaracasCabasaAgogo Bell48

Wood Block
Rosewood Claves

Closed HiHat 1
Big HiHat
Electro Cymbal

Kick 2
Snare 2
14" Tom Tom
14" Tom Tom
14" Tom Tom
10" Tom Tom
10" Tom Tom
10" Tom Tom
Electro Cymbal
Reverb Kick 1
Reverb Snare 1
Kick 3
Snare 3
Timbale Strike
Timbale Rimshot
Conga
Conga Open Slap
Conga Closed Slap
Guiro Down
Guiro Up
Guiro Up
Kick 2
Snare 2
14" Tom Tom
14" Tom Tom
14" Tom Tom
10" Tom Tom
10" Tom Tom
10" Tom Tom
Electro Cymbal
Reverb Kick 1
Reverb Snare 1
Kick 3
Snare 3
Timbale Strike
Timbale Rimshot
36

Rude Crash
Ride Cymbal

Closed HiHat 2Open HiHat 2
Electro Cymbal

Reverb Click
Finger Snap

MIDI
Key #

Kick 3
Snare 3
14" Tom Tom
14" Tom Tom
14" Tom Tom
10" Tom Tom
10" Tom Tom
10" Tom Tom
Hi Electro Cymbal
Reverb Kick 1
Reverb Snare 1
Kick 2
Snare 2
Timbale Strike
Timbale Rimshot
Conga
Conga Open Slap
Conga Closed Slap
Guiro Down
Guiro Up
Guiro Up
Kick 3
Snare 3
14" Tom Tom
14" Tom Tom
14" Tom Tom
10" Tom Tom
10" Tom Tom
10" Tom Tom
Electro Cymbal
Reverb Kick 1
Reverb Snare 1
Kick 2
Snare 2
Timbale Strike
Timbale Rimshot

Closed HiHat 1
Big HiHat
Electro Cymbal

Rude Crash
Ride Cymbal

Closed HiHat 2Open HiHat 2
Electro Cymbal

Reverb Click
Finger Snap

MaracasCabasaAgogo Bell

Wood Block
Rosewood Claves

Closed HiHat 1
Big HiHat
Electro Cymbal

Rude Crash
Ride Cymbal

Closed HiHat 2Open HiHat 2
Electro Cymbal

Reverb Click
Finger Snap

Proteus operation manual
Standard 2 + 3

84
96

Standard 2
Instrument 54

96

Standard 3
Instrument 55

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

81

PROTEUS/1
PERCUSSION INSTR UMENT LOCATIONS

82

Kicks, Snares, Toms

Proteus operation manual

PROTEUS/1
PERCUSSION INSTR UMENT LOCATIONSKick 2

MIDI
Key #

36

48

60

72

Reverb Kick 1

84

96

Kick 3

Kicks
Instrument 56

Snare 3

MIDI
Key #

36

48

60

Reverb Snare 1

72

84

96

84

96

Snare 2

SnaresInstrument 57

14" Tom Tom

MIDI
Key #

36

48

60

72

10" Tom Tom

Toms
Instrument 58

CongaConga
Conga Open Slap
Conga Open Slap
Conga
Conga
Conga Open Slap
Conga Open Slap
Conga
Conga
Conga Open Slap
Conga Open Slap
Conga
Conga
Conga Open Slap
Conga Open Slap
Timbale Strike
Timbale Strike
Timbale Rimshot
Timbale Rimshot
Timbale Strike
Timbale Strike
Timbale Rimshot
Timbale Rimshot
Timbale Strike
Timbale Strike

MIDI
Key #

MIDI
Key #
36

Maracas36

Timbale Strike

Cabasa48

Guiro Up

48

60

Ride Cymbal

60
72

Wood
Block

72

Guiro Down

Latin Percussion
Instrument 61

84

Electro Cymbal

Timbale Strike

72

Timbale Rimshot
Timbale Rimshot

Closed HiHat 1

Timbale Rimshot
Timbale Rimshot
Timbale Strike

60

Conga Closed Slap
Timbale Strike

48

Conga Closed Slap
Conga Closed Slap
Conga Closed Slap

36

Conga Closed Slap
Conga Closed Slap

Big HiHat

Conga Closed Slap
Conga Closed Slap
Conga Closed Slap

MIDI
Key #

Conga Closed Slap
Conga Closed Slap

Proteus operation manual
Cymbals + Latin

Closed HiHat 2 Open HiHat 2

84
96

Rude Crash

Cymbals
Instrument 59

84
96

TimbaleRimshot

Latin Drums
Instrument 60

Claves96

Agogo Bell83

PROTEUS/1
PERCUSSION INSTR UMENT LOCATIONS

84

FX, Agogo, Conga, Ride

Proteus operation manual

PROTEUS/1
PERCUSSION INSTR UMENT LOCATIONSOpen
HiHat Ride
2 Cymbal

MIDI
Key #

36

48

ElectroCymbal60

Reverb Reverb
Snare 1 Click

Finger
Snap

Big
HiHat

72

Rude
Crash

84

Guiro
Up

96

Conga
Open Slap

Percussion FX 1
Instrument 67

Ride Cymbal

MIDI
Key #

36

48

60

72

Conga Open Slap

84

96

Big HiHat

Percussion FX 2
Instrument 68

Agogo Bell
Conga
Ride Cymbal

MIDI
Key #

36

48

60

72

Agogo Bell, Conga, Ride Cymbal
Instruments 62, 64, 66

84

96

Proteus operation manual

85

PROTEUS/1 Plus 2
PRESETS and INSTRUMENTS

86

Proteus/1 Plus 2 Orchestral Presets

Proteus operation manual

ORCHESTRALROM PRESETSSTRINGSWOODWINDSENSEMBLES

384. Solo Cello385. Solo Viola386. Solo Violin
387. Quartet
388. Solo Chamber
389. StrHarmonic
391. Gamba Musik
392. Cellophane393. Vienna Dream
394. RoomOfStrings
395. Legato Str
396. Concerto
397. Power Cello398. Devil Dance
399. Just Violin
400. Violin&Viola
401. BassoViolino
402. Celli Viola403. String Stuff*
404. Pizz Basses
405. Pizz Celli
406. Pizz Violas
407. Pizz Violins
408. Pizzicato 1409. Pizzicato 2410. Bowed () Pitz
412. 3 Octave Pix*413. Paper Pizza
414. Synth-N-Pitz
420. PizzBass 8vb
421. PizzVlns 8va
474. Harpsomatic
475. Harpsicato

427. Piccolodeeyo
428. Oboe
429. English Horn430. Clarinet
431. Verb Clarinet
432. Bass Clarinet
433. Bassoon
434. ContrBassoon
437. Chamber Wind
438. Section Winds
439. Wind Stack*440. Double Reeds
441. Krummhorns S
442. Asian Reed S
444. Myth Maker
445. Egyptian Reed S
447. BassClar 8vb
448. Cntrbsn 8vb
449. Clarinet/Bb
450. Clarinet/A
451. BassClar/Bb
452. Eng.Horn/F

390. Quintoctave
417. Violin&Oboe
418. Oboe/Strings
422. Strgs/Winds
423. Pizz/Piccolo
424. Divertimento
425. Pluck d'Bois
426. Clarinola
435. Flute/Oboe
436. Clar/Bassoon
446. Piano Winds
499. SawBass/Lead*
511. Piano Pizz

BRASS
443. Fusion Horn453. Harmon Mute
454. Harmony RoomPERCUSSION
455. Timpani
456. Tam Tam
457. Tubular Bells
458. Timba Mallet
459. Deep Drum
460. Bell Ensemble
461. Warm Mallet
464. Mongol Man
465. Timp w/Tone
466. Gamelan Vibe

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

Proteus operation manualProteus/1 Plus 2 Orchestral Presets

87

ORCHESTRAL ROM PRESETSKEYBOARDTEXTURES

419. Piano Trio467. Notre Dame
468. Carousel S
469. Requiem
470. Chapel Organ S
471. Sepulcher
473. Harpsikord 2 S
474. Harpsomatic
476. Lurch Pluck
479. Deep Pad
482. Phaedra
488. Tarkus Twin
490. Sympathetic
492. Glitter God
493. Tinker Bell494. Bronze Pad
495. ShimmerWays
496. Link2Shimmer*
497. Analog Pad
502. Square One
503. Square Link*
504. Nice Night505. Prophet Lead*
506. Prophet Link
507. Mystery Scene
508. ElectricLady
509. AnalogueMood510. Kosmos Keys

462. Magic Bells
472. Pipe Dream477. Whistl'n Joe
478. Winter Signs489. Wrong Room
498. Electrovocal

SOUND EFFECTS
480. Cyberspace
481. Grim Reaper
483. Darn Saucers
485. Space Cowboy
486. Infinite One
491. Boat Haus
500. Psychlotron
501. VampiricalBASS
411. Jazz Bass S
415. PizzMoogBass
416. Amplify Bass
463. Sub It
484. Kool Bass
487. Turbo Bassva ................ indicates that the preset is shifted an octave up.
vb ................ indicates that the preset is shifted an octave down.
* ................... indicates that the preset is linked to another preset.
S .................. Synthesized - the preset was created in Proteus, not sampled.

88

Proteus/1 Plus 2 Orchestral Instruments

Proteus operation manual

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

■ Quartets 1-4 havebeen designed so thatthey can be layered
without having theindividual instruments
overlap each other.
This gives you a muchricher sound than you
would get by simply
layering the same
instruments on top ofeach other.

ORCHESTRAL SAMPLED SOUNDS
126. Solo Cello ............................ Bowed, Solo Cello with natural vibrato
127. Solo Viola ............................ Bowed, Solo Viola with natural vibrato
128. Solo Violin ......................... Bowed, Solo Violin with natural vibrato
129. Gambambo ........................................... Cello, Violin with no vibrato
130. Quartet 1 ................................................................. Celli, Viola, Violin
131. Quartet 2 ..................................................... Bass, Celli, Violas, Violins
132. Quartet 3 ................................................................. Celli, Viola, Violin
133. Quartet 4 ............................................................................. Celli, Violin
134. Pizz Basses ......................................................... Bass section, plucked
135. Pizz Celli ............................................................. Celli section, plucked
136. Pizz Violas ......................................................... Viola section, plucked
137. Pizz Violin ........................................................ Violin section, plucked
138. Pizzicombo................................ Pizzicato Bass, Celli, Violas, Violins
139. Bass Clarinet .................................................. Sustained Bass Clarinet
140. Clarinet .................................................................... Sustained Clarinet
141. Bass Clarinet/Clarinet .......... Bass Clarinet and Clarinet split at C3142. Contra Bassoon ........................................................... Contra Bassoon
143. Bassoon ...................................................................................... Bassoon
144. English Horn .............................. English Horn with natural vibrato
145. Oboe ............................................................ Oboe with natural vibrato
146. Woodwinds ........... Contra Bassoon, Bassoon, English Horn, Oboe
147. Harmon Mute ...................................... Solo Trumpet, Harmon Mute
148. Tubular Bell ................................................... Orchestral Tubular Bell149. Timpani ...................................................................................... Timpani
150. Timpani/Tubular Bell ...................Timpani/Tubular Bell split at C2
151. Tamborine ................................................................... Brass Tamborine
152. Tam Tam .................................................................................. Tam Tam
153. Percussion 3 .................................................... See Percussion 3 Chart
154. Special Effects ............................................. See Special Effects Chart
155. Oboe noVib ........................................................ Oboe with no vibrato
156. Upright Pizz ............ Pizzicato Bass transposed across entire range

Proteus operation manualProteus/1 Plus 2 Orchestral Instruments

89

Plus INSTRUMENTS

DIGITAL WAVEFORMS
157. Sine Wave
158. Triangle Wave
159. Square Wave
160. Pulse 33%
161. Pulse 25%162. Pulse 10%163. Sawtooth164. Sawtooth Odd Gone
165. Ramp
166. Ramp Even Only
167. Violin Essence
168. Buzzoon
169. Brassy Wave
170. Reedy Buzz
171. Growl Wave
172. HarpsiWave
173. Fuzzy Gruzz
174. Power 5ths
175. Filtered Saw
176. Ice Bell177. Bronze Age
178. Iron Plate
179. Aluminum

MIDI
Key #

36

180. Lead Beam
181. Steel Extract
182. Winter Glass
183. Town Bell Wash
184. Orchestral Bells
185. Tubular SE
186. Soft Bell Wave
187. Swirly
188. Tack Attack
189. Shimmer Wave
190. Moog Lead
191. B3 SE
192. Mild Tone
193. Piper
194. Ah Wave
195. Vocal Wave
196. Fuzzy Clav
197. Electrhode198. Whine 1
199. Whine 2200. Metal Drone201. Silver Race
202. Metal Attack
203. Filter Bass

48

60

Tubular BellTam Tam72

Timpani

Brass Tambourine

Tam Tam

MIDI
Key #

36

48

84

96

Tubular Bell

Brass Tamborine

60

72

Timpani

84

96

90

Proteus operation manualProteus operation manual

91

PROTEUS/2 PRESETS and INSTRUMENTS

92

Proteus/2 Factory Presets

Proteus operation manual

PROTEUS/2 FACTORY PRESETSPROTEUS
Presets
0-63

ROM

64-127 RAM
128-191 ROM

PROTEUS XR
Presets0-255

RAM256-383 ROM■ On the Proteus XR,
ROM presets 256-319
are duplicated in thefirst 64 RAM locations.

STRINGSWOODWINDSENSEMBLES

0. Solo Cello †1. Solo Viola †2. Solo Violin †3. Quartet
4. Solo Chamber
5. Arco Basses †6. Arco Celli †7. Arco Violas †8. Arco Violins †9. Marcato 1
10. Marcato 2
11. Legato Str
12. Concerto
13. Pizz Basses †14. Pizz Celli †15. Pizz Violas †16. Pizz Violins †17. Pizzicato 1
18. Pizzicato 2
19. Trem Strings
20. Tremulus
60. Harp
74. Exotic Harp
96. Vienna Dream
99. RoomOfStrings
109. String Thing
132. Koto E
136. Soft Harp
139. Classic Gtr E
141. StrHarmonic E
142. Cellophane143. Gamba Musik

24. Flute †25. Piccolo †26. Oboe †27. English Horn †28. Clarinet †29. Bass Clarinet †30. Bassoon †31. Contrbassoon †32. Chamber Winds
33. Section Winds
85. Piccolodeeyo
131. Recorder E
135. Asian Reed E
154. Krummhorns E
156. Soft Flute157. Hi Wind Solo
158. Verb Clarinet
159. PiccoloPeace160. Flute/Oboe
161. Clar./Flute162. Clar/Bassoon
163. Double Reeds
164. Bassoon/Horn165. Alto Flute184. Clarinet/Bb †185. Clarinet/A †186. BassClar/Bb †187. EngHorn/F †145. Basses&Vios
146. Violin&Celli
147. ArcoViolins
148. Arco Duet149. Str Section
150. Arco Strings
151. In The Pit
152. <<InThePit<<
153. Rotary Chmbr
166. WindEnsemble **167. DblReeds/Hrn **ENSEMBLES
21. Strgs/Flutes
22. Resting Pad
23. Divertimento
34. Epilogue
35. Wind Stack
49. BrassStrings
61. Harpstrings
84. Gently Now *107. Pizz/Piccolo
144. Quintoctave

BRASS
36. French Horn 1 †37. French Horn 2 †38. Section Horns
39. Trumpet 1 †40. Trumpet 2 †41. Two Trumpets
42. Harmon Mute †43. Trombone 1 †44. Trombone 2 †45. Tuba †46. Back Brass
47. Bright Brass
48. Chamber Brass
168. Verb Horn
169. Xprsv Cornet
170. Bone&Trumpet
171. Bone&Tuba
172. Trombones
173. Sfz Brass
174. Horn Vel+Wh
188. FrenchHorn/F †189. Trumpet/Bb †190. Trumpet/D †Bold Type ... indicates a User Preset.
* ................... indicates that the preset is linked to another preset.
** ................. indicates that the two adjacent presets are linked.
† .................. the keyboard range is limited to the actual range of the instrument.
E .................. Ersatz; the instrument was created in Proteus, not sampled.

Proteus operation manualProteus/2 Factory Presets

93

PROTEUS/2 FACTORY PRESETSPERCUSSIONKEYBOARDTEXTURES

50. Timpani
51. Gong/Cymbal
52. Bass/Snare +53. Temple Block
54. Xylophone
55. Glockenspiel
56. Celesta
57. Tubular Bells
58. Percussion 1
59. Percussion 2
60. Harp
70. Marimbala
77. Vibraphone E
83. Early Perc
102. Sub It!
104. CloudChamber
138. Grandfather
140. Temple Bell E
175. Afroblocks E
176. Timba Mallet
177. Timp w/Tone
178. Bass Drum
179. TimpLowBlock180. Deep Drum
181. Triangle
182. Big Log E
183. Gamelan E

62. Harpsikord E
63. Notre Dame
65. Deep Pad
67. Bell Ensemble
72. Tinker Bell73. Carousel E
76. Bronze Pad
87. ShimmerWays *89. Requiem
91. Analog Pad
92. Chapel Organ
95. SawBass/Lead
98. Tarkus Twin
101. Reginatron105. Sepulcher
106. Lurch Pluck
111. Square One **112. Square Link **115. Master Tron
117. Sympathetic
120. Glitter God
122. Nice Night123. Prophet Lead **124. Prophet Link **126. Link2Shimmer *128. Harpsomatic
129. Phaedra
130. Cimbalon E

64. Winter Signs
80. Sombre Winds
81. Space Cowboy
82. The Machine
90. Wrong Room
93. Electrovocal
97. Vertigo Pad
103. Psychlotron
108. Vampirical113. <*>
114. Sardonicus
116. Lo Wind Inst
127. Ascending

SOUND EFFECTS
66. Portamento/F
68. Cyberspace
71. Grim Reaper
75. Darn Saucers
78. Astral Flute
86. Infinite One
100. Magic Bells E
110. Galapagos
118. Wind Chimes E
119. Boat Haus
125. Whistl'n Joe133. Dream Garden
138. Grandfather

BASS
69. PizzMoogBass
79. Kool Bass
88. Turbo Bass
94. Fat Boy Tuba
121. Story Bass
134. Amplify Bass
137. Jazz Bass E
155. C.Bsn/Dbl Bs E
191. Default
Bold Type ... indicates a User Preset.
* ................... indicates that the preset is linked to another preset.
** ................. indicates that the two adjacent presets are linked.
E .................. Ersatz - the instrument was created in Proteus, not sampled.

94

Proteus/2 Instruments

Proteus operation manual

PROTEUS/2 INSTRUMENTS
SAMPLED SOUNDS
1. Arco Basses ................................................. Bowed, 3 piece Bass section
2. Arco Celli .................................................... Bowed, 4 piece Celli section
3. Arco Violas .............................................. Bowed, 10 piece Viola section
4. Arco Violin ............................................. Bowed, 16 piece Violin section
5. Dark Basses ........................................... Bass section with a darker tone
6. Dark Celli .............................................. Celli section with a darker tone
7. Dark Violas .......................................... Viola section with a darker tone
8. Dark Violin ........................................ Violin section with a darker tone
9. Low Tremolo ................................................... Tremolande Bass section
10. High Tremolo ............................................. Tremolande Violin section
11. Tremolande ......................................... Tremolande Basses and Violins
12. Strings 1 ........................................... Section Bass, Celli, Violas, Violins
13. Strings 2 ........................................... Section Bass, Celli, Violas, Violins
14. Strings 3 ........................................... Section Bass, Celli, Violas, Violins
15. Solo Cello .............................. Bowed, Solo Cello with natural vibrato
16. Solo Viola .............................. Bowed, Solo Cello with natural vibrato
17. Solo Violin ............................. Bowed, Solo Cello with natural vibrato
18. Quartet 1 ................................................................... Cello, Viola, Violin
19. Quartet 2 .......................................................... Bass, Cello, Viola, Violin
20. Quartet 3 ................................................................... Cello, Viola, Violin
21. Quartet 4 .............................................................................. Cello, Violin
22. Gambambo .............................................. Cello, Violin with no vibrato
23. Pizz Basses ............................................................ Bass section, plucked
24. Pizz Celli ............................................................... Celli section, plucked
25. Pizz Violas ........................................................... Viola section, plucked
26. Pizz Violin ........................................................... Violin section, plucked
27. Pizzicombo.................................. Pizzicato Bass, Celli, Violas, Violins
28. Flute w/Vib ......................................... Solo Flute with natural vibrato
29. Flute noVib ............................................. Darker Flute with no vibrato
30. Alt. Flute ........................................................ Flute with natural vibrato
31. Piccolo ............................................................................................ Piccolo
32. Bass Clarinet ..................................................... Sustained Bass Clarinet
33. Clarinet ....................................................................... Sustained Clarinet
34. Bass Clarinet/Clarinet ............ Bass Clarinet and Clarinet split at C3
35. Contra Bassoon ............................................................. Contra Bassoon
36. Bassoon ......................................................................................... Bassoon
37. English Horn ................................. English Horn with natural vibrato
38. Oboe w/Vib ................................................. Oboe with natural vibrato
39. Oboe noVib .......................................................... Oboe with no vibrato
40. Alt. Oboe ............................................ Different Oboe with no vibratoProteus operation manualProteus/2 Instruments

95

PROTEUS/2 INSTRUMENTS

41. Woodwinds .............. Contra Bassoon, Bassoon, English Horn, Oboe
42. Hi Trombone ............................................................................ Trombone
43. Lo Trombone ............................................. Slightly different Trombone
44. mf Trumpet .................................................... Solo Trumpet, MF attack
45. ff Trumpet ................................................... Solo Trumpet, Forte attack
46. Harmon Mute ......................................... Solo Trumpet, Harmon Mute
47. mf French Horn ...................................... Solo French Horn, MF attack
48. ff French Horn ..................................... Solo French Horn, Forte attack
49. Tuba .................................................................................................... Tuba
50. ff Brass ............................................ Trombone, French Horn, Trumpet
51. mf Brass ................................................... Tuba, French Horn, Trumpet
52. Harp .................................................................................... Concert Harp
53. Xylophone ............................................................................... Xylophone
54. Celesta ........................................................................................... Celesta
55. Triangle ........................................................................................ Triangle
56. Bass Drum ............................................................................... Bass Drum
57. Snare Drum + ............................................... See Snare Drum + Chart
58. Piatti ................................................................................................... Piatti
59. Temple Block ...................................................................... Temple Block
60. Glockenspiel ....................................................................... Glockenspiel
61. Percussion 1 ...................................................... See Percussion 1 Chart
62. Percussion 2 ...................................................... See Percussion 2 Chart
63. Low Percussion 2 ............... Same as Percussion 2, but at lower pitch
64. High Percussion 2 ............. Same as Percussion 2, but at higher pitch
65. Tubular Bell ....................................................... Orchestral Tubular Bell66. Timpani ........................................................................................ Timpani
67. Timpani/Tubular Bell ..................... Timpani/Tubular Bell split at C2
68. Tambourine .......................................................................... Tambourine
69. Tam Tam .................................................................................... Tam Tam
70. Percussion 3 ...................................................... See Percussion 3 Chart
71. Special Effects ............................................... See Special Effects Chart

96

Proteus/2 Harmonic Waveforms

Proteus operation manual

PROTEUS/2 INSTRUMENTS

HARMONIC WAVEFORMS
72. Oct 1 (Sine)
73. Oct 2 All
74. Oct 3 All
75. Oct 4 All
These are the same waveforms that are in
76. Oct 5 All
the Proteus/1 and are very useful, either
77. Oct 6 All
to accent certain harmonics in the
78. Oct 7 All
sampled sounds, or combined with other
79. Oct 2 Odd
waveforms for synthesized and additive
80. Oct 3 Odd
timbres.
81. Oct 4 Odd
82. Oct 5 Odd
83. Oct 6 Odd
84. Oct 7 Odd
85. Oct 2 Even
86. Oct 3 Even
87. Oct 4 Even
88. Oct 5 Even
89. Oct 6 Even
90. Oct 7 Even
91. Low Odds
92. Low Evens
93. Four Octaves

Frequency (log)

OCTAVE-5 ODD
17

19
23

Level

21

Harmonic

1 2 3 4 5 6 7 8 9 10

Octave 12

3

15 1617 18

4

25

27

29

31

31

5

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

Proteus operation manualProteus/2 Waveforms

97

PROTEUS/2 INSTRUMENTS

DIGITAL WAVEFORMS
94. Sine Wave
95. Triangle Wave
96. Square Wave
97. Pulse 33%
98. Pulse 25%
99. Pulse 10%100. Sawtooth101. Sawtooth Odd Gone
102. Ramp
103. Ramp Even Only
104. Violin Essence
105. Buzzoon
106. Brassy Wave
107. Reedy Buzz
108. Growl Wave
109. HarpsiWave
110. Fuzzy Gruzz
111. Power 5ths
112. Filtered Saw
113. Ice Bell114. Bronze Age115. Iron Plate
116. Aluminum
117. Lead Beam
118. Steel Extract

119. Winter Glass
120. Town Bell Wash
121. Orchestral Bells
122. Tubular SE
123. Soft Bell Wave
124. Swirly
125. Tack Attack
126. Shimmer Wave
127. Moog Lead
128. B3 SE
129. Mild Tone
130. Piper
131. Ah Wave
132. Vocal Wave
133. Fuzzy Clav
134. Electrhode135. Whine 1136. Whine 2137. Metal Drone138. Silver Race139. Metal Attack
140. Filter Bass
141. Upright Pizz
142. Nylon Pluck 1
143. Nylon Pluck 2
144. Plucked Bass

98

Strings 1, 2 and 3

Proteus operation manual

PROTEUS/2
INSTRUMENT LOCATIONS

MIDI
Key #

36

48

Arco Basses

60

72

Arco Celli

Arco Violas

84

96

Arco Violins

Strings 1
Instrument 12

MIDI
Key #

36

48

60

72

Arco Violas

Arco Celli

84

96

Arco Violins

Strings 2
Instrument 13

MIDI
Key #

36

48

Arco Celli

60

Arco Violas

72

Arco Violins

Strings 3
Instrument 14

84

Arco Violas

96Proteus operation manual

Quartets 1, 2 and 3

99

PROTEUS/2
INSTRUMENT LOCATIONS

MIDI
Key #

36

48

60

72

Arco
Viola

Arco Cello84

96

Arco Violin

Quartet 1
Instrument 18

MIDI
Key #

36

48

60

Arco Viola

Arco Cello72

Arco Cello84

Arco Viola

96

Arco Violins

Quartet 2
Instrument 19

MIDI
Key #

36

48

Arco Cello60

72

Arco Viola

Quartet 3
Instrument 20

84

Arco Violin

96

100

Percussion 1, 2 and 3

Proteus operation manual

PROTEUS/2
INSTRUMENT LOCATIONS

MIDI
Key #

36

48

60

72

Temple Block84

96

Xylophone

Triangle

Percussion 1
Instrument 61

PiattiMIDIKey #Piatti36

Triangle

48

Bass
Drum

Snare
Drum

60

Rim
Shot

Rim
Click

72

Snare
Roll

Temple
Block

84

96

Xylophone

Percussion 2
Instrument 62

Tam Tam

MIDI
Key #

36

48

Brass Tamborine

60

72

Timpani

Percussion 3
Instrument 70

84

96

Proteus operation manual

Pizz., Woodwinds, FX

101

PROTEUS/2
INSTRUMENT LOCATIONS

MIDI
Key #

36

48

Pizzicato Basses

60

Pizzicato Celli

72

Pizzicato Violas

84

96

Pizzicato Violins

Pizzicombo
Instrument 27

MIDI
Key #

36

48

60

ContraBassoonBassoon72

84

English Horn

96

Oboe

Woodwinds
Instrument 41

MIDI
Key #

36

48

Tam Tam60

Tubular Bell72

Brass Tambourine

Special Effects(Transpositions)

Instrument 71

84

Timpani

96

Tubular Bell

102

Proteus operation manualProteus operation manual

103

PROTEUS/3 PRESETS and INSTRUMENTS

104

Proteus/3 Factory Presets

Proteus operation manual

PROTEUS/3 FACTORY PRESETSPROTEUS
Presets
0-63

ROM

64-127 RAM

TRUMPETS/HORNSFLUTESPERCUSSION

2. Desert Dawn
11. Shofars
14. Didjeridu 1
91. Heralds
137. Trombone (329)138. Trumpet (330)139. French Horn (331)161. Didjeridu 2 (353)

5. Ney Flute
15. Pan Flute
35. Shakuhachi
45. Ocarina Solo
55. Suling T
61. Fifths Ney
65. Flautissimo
79. Whistling
100. Uduhachi
131. Herbal Ney (323)141. Chiff Flute (333)148. Stereo Siku (340)153. FluteTransform (345)
159. Rhythm Flutes (351)164. Gamelan Flute T (356)170. ShakuWhistle (362)187. Pennywhistle (379)

8. Percussion 1
18. Percussion 2
28. Bata Drums
48. Udu Tones
58. Pitchin' Perc
140. Stereo Bata (332)147. World Drums (339)151. Repique (343)
163. Gongs (355)
165. Plexi Delay (357)178. Udu Grande (370)179. Drum Stacks (371)186. Log/Shaker (378)189. Panned Perc (381)128-191 ROM

PROTEUS XR
Presets0-255

RAM256-383 ROM

0
63
64
127
128
191
192
255
256
319
320
383

USER
USER
USER
USER
ROM
ROM

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

STRINGS/PLUCKED
0. Troubadour
3. Blue Grass
6. Koto10. Irish Harp
12. Psaltery
13. Fragrant Tar
16. Dulcimer
20. Nylon Guitar
23. Lotus Land
24. AmbiJewsHarp
26. Oud E
30. Pizzicatos
33. Mod Sitars
34. Mbira E
36. Cimbalom E
40. Harp Tones
43. Shamisen E
46. Tamburas
60. Santur E
66. Er-Hu
80. Star of Siam
86. Yesir Rebab
106. Bass Mbira E
128. Stereo Harp (320)149. Likembeleo (341)154. Harpluck 5th (346)156. Nylon Pad (348)162. Juicy Slap (354)171. Ravoozle (363)173. Camelot (365)175. Banjo (367)177. Juicy Pizz (369)185. Berimbau E (377)

REEDS
1. Accordion
17. Bagpipe
21. Mizmars
25. Shenai
31. Mod Harmonica
41. Paris Musette E
51. Fsw->Bagpipe
97. Clarinet E129. Chanter Pipes (321)180. Dali Drone (372)

KEYBOARDS
27. Harmonium E, T
41. Paris Musette E
71. Europa I
76. Elec. Piano E
77. Eurostructur
129. Chanter Pipes (321)150. Electro Tine E (342)180. Dali Drone (372)

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

TUNED
PERCUSSION
32. Temple Gong
38. Baya Suwuk
52. Sake Bell54. Brite Bonang
63. Shinto
67. Miya Daiko
75. Tabla Tarang
85. Saronkembe
88. Bali Bells T
89. Stereo Shake
92. Bender Bells
94. Flautaland107. Heavy Tibet
113. Afro Mallets
118. Sandrum
122. Balafon
124. Vodun Drums
130. The Temple (322)134. Punch Ocarina (326)136. Stereo Steel (328)160. Titse Drum (352)169. Timpani E (361)172. Syndrums T (364)174. Chimes E, T (366)188. Gamelan T (380)Proteus operation manualProteus/3 Factory Presets

105

PROTEUS/3 FACTORY PRESETSSYNTHESIZERSSYNTH PADSENSEMBLES

19. Hanoi Drone
37. Hybrid Winds
42. Nu Age
49. Jade Spring
57. Psaltines
64. Dream I
68. So Dark
73. Whambambu
82. Analogue I
83. Silk & Spice
90. Arctic Vista
96. Air Gamelan
98. Krafter Bass
99. Resokeys
104. Orgon
110. Deep Synth112. Rubber Band
127. Balithang131. Herbal Ney (323)181. Gonggnod Mod (373)

39. Peter's Pad
47. Dulcet Bow
59. Mizmarized
71. Europa I
77. Eurostructur
95. On Land101. Brass Pad
102. Requiem
105. Dream III
107. Heavy Tibet
109. Asiatic Drone111. Xanax
114. Europa II
116. New Jerusalem
120. Good Breath
143. Big Theme (335)146. Ersatz Ahs (338)152. Lhasa (344)155. Netherworld (347)167. Ben Hur (359)

7. East Indian
53. Celtic Split
142. Akhmirs Tent (334)144. Raga (336)

SYNTHETIC BLENDSWEIRD/SOUND FX

22. Back in Bowl!
44. Syn Kalimba
50. Hybrid Pluck
62. Ethnocentric
69. Breathing
72. Dream II
78. Spanish Ney
80. Star of Siam
87. Sukiyaki
94. Flautaland108. Bali Reeds
117. Automan Empire
119. Ice Bella
121. Sundareem
123. Groan Drone
153. Flute Transform (345)
158. Tarmon Down (350)
166. Air Guitar (358)182. Lotus Moon (374)183. Neydashofar (375)190. Zendo (382)

4. Spirit Catch
9. Waterphone T
29. Deep Sea Life T
74. Forboding
84. Disembodied
89. Stereo Shake
93. Brook Babble
103. Metal Cutter
115. Fried Eggs
126. Jungle Book
132. SpiriSprite ** (324)133. SpiriSprite ** (325)135. Vast Sea (327)145. Reverse Drums (337)157. Big Noise (349)
168. Spacethang (360)176. Gorgon (368)184. Catch Rhythm (376)

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

BASS
56. Pizz Bass
70. Reso Bass
81. Basov Chorus
98. Krafter Bass
125. Bass

191. Default (383)106Proteus/3 Instruments

Proteus operation manual

PROTEUS/3 INSTRUMENTS
SAMPLED SOUNDSAFRICA
53. Udu Drum ............ Combination - See Udu Drum Chart
56. Wood Drum ......... Combination - See Wood Drum Chart
75. Buzz/Likembe .... Combination - Likembe Buzz, Likembe
76. Likembe ................ African Sansa or “thumb piano”
77. Likembe Buzz ...... African Sansa with buzz
89. Udu Tone ............. African Clay Pot with Open Side Hole90. Udu Release ......... African Clay Pot - hand released from side hole
91. Udu Finger ........... African Clay Pot - ring tapping on side
92. Udu Slap............... African Clay Pot - slapping on side
117. Rosewood Bass .... African Tonal Drum
118. Rosewood Tick .... African Tonal Drum
119. Rosewood Harm. African Tonal Drum - harmonic
120. Rosewood Finger African Tonal Drum
121. Tanzanian Shaker Wooden Shaker from Tanzania
AUSTRALIA
4.
Down Under ........ Combination - See Down Under Chart
37. Roarer/Catcher ... Combination Bull Roarer/Spirit Catcher
38. Bull Roarer ........... Australian Aerophone - wood plate and cord
40. Didjeridu .............. Combination - A, B & C Didjeridus
41. Didjeridu A .......... Tubular Australian Trumpet - looped pattern
42. Didjeridu B........... Australian Trumpet - looped tone
43. Didjeridu C .......... Australian Trumpet - single complex event
116. Clapper Stick ....... Australian Flat Wood Clapper
EUROPE
1.
Renaissance .......... Combination - See Renaissance Chart
5.
Troubadour .......... French Nylon String Folk Harp
7.
Dulcimer............... Steel String Hammered Dulcimer
11. Guitar .................... Nylon String Classical Guitar
17. Pizz Bass ............... Plucked Double Bass
19. Accordion ............. Modern Keyboard Accordion - looped
20. Harmonica ........... Harmonica Tone - looped
21. Vib. Harmonica ... Harmonica Tone with Vibrato - looped
25. Ocarina ................. Clay Ocarina
44. Jews Harp............. Combination - A, B, C, & D Jews Harps

Proteus operation manualProteus/3 Instruments

107

PROTEUS/3 INSTRUMENTS

EUROPE (cont)45. Jews Harp A ........ Metal Jews Harp - playing style A
46. Jews Harp B ......... Metal Jews Harp - playing style B
47. Jews Harp C ......... Metal Jews Harp - playing style C
48. Jews Harp D ........ Metal Jews Harp - playing style D
49. Trombone ............. Trombone
50. French Horn ......... French Horn
51. Trumpet................ Trumpet
74. Castanet ................ Spanish Castanets
INDO-ASIAN
2.
East Indian ........... Combination - See East Indian Chart
12. Sitar ....................... Indian Sitar
13. Tamburas ............. Indian Tamburas
18. Tam/Sitar ............. Combination - Tambura/Sitar
23. Shanai ................... Indian Double Reed Shawm-1 semi rise
55. The Tabla .............. Combination - See Tabla Chart
72. Wood Block.......... Chinese Wood Block100. Baya Tone ............. Indian Low Tabla - tone, slightly rising pitch
101. Baya Slap .............. Indian Low Tabla - slap
102. Baya Hit ................ Indian Low Tabla - sharp hit
103. Tabla Tone ........... Indian High Tabla - tone
104. Tabla Mute A ....... Indian High Tabla - dull mute105. Tabla Mute B ....... Indian High Tabla - strong mute106. Tabla Mute C ....... Indian High Tabla - high pitched mute107. Tabla Open........... Indian High Tabla - slightly tonal mute108. China Gong .......... Chinese Brass Gong
109. Nepal Cymbal ..... Nepalese Brass Cymbal
110. Tibetan Bowl ........ Highly Resonant Brass Bowl
INDONESIA
57. Gamelan ............... Combination - Kenong, Bonang, Saron
58. Bonang Kenong ... Combination - Bonang, Kenong
59. Kenong Bonang ... Combination - Kenong, Bonang
60. Seribu Pulau ........ Combination - Tibeten Bowl, Saron, Bonang
112. Bonang .................. Small Javanese Bronze Tuned Gong - Gamelan
113. Kenong ................. Medium Javanese Bronze Gong - Gamelan
114. Saron ..................... Javanese “Xylophone” - Gamelan
115. Suwuk Gong ........ Large Shallow Javanese Gong - Gamelan

108

Proteus/3 Instruments

Proteus operation manual

PROTEUS/3 INSTRUMENTS

INDONESIA (cont)122. Hula Stick ............. Bamboo Shaker from the Pacific Islands
123. Log Drum ............. Pitched Indonesian Wooden DrumIRELAND
6.
Irish Harp ............. Steel String Folk Harp
24. Penny Whistle ..... Irish Tin Whistle
JAPAN
8.
Koto ....................... Japanese 13-string Zither
30. Shakuhachi .......... Japanese End-blown Bamboo FluteMIDDLE EAST
10. Hi Tar .................... Iranian Lute
14. Psaltry ................... Middle Eastern Bowed Psaltry
22. Mizmars ............... Middle Eastern Double Reed Shawms
26. Shofar A................ Hebrew Ceremonial Ram’s Horn
27. Shofar B ................ Hebrew Ceremonial Horn - 1 semitone rise/fall
28. Shofars .................. Combination - Shofar A/Shofar B
31. Ney Flute .............. Side Blown Wooden Flute
52. Mid East Drum .... Combination - See Mid. Eastern Drum Chart
80. Deff Slap ............... Egyptian Frame Drum
81. Deff Mute ............. Egyptian Frame Drum - muted
82. Bendir ................... Middle Eastern 16" Gut Snare Drum
83. Req Open.............. Middle Eastern Tambourine
84. Req Slap ................ Middle Eastern Tambourine - slapped
111. Crotales ................ Small Egyptian Pitched Cymbals
SCOTLAND
32. Bagpipe Drone .... Scottish Highland Drone Pipe
33. Chanter A ............. Scottish Highland Bagpipe - dbl. reed chanter
34. Chanter B ............. Scottish Highland Bagpipe - dbl. reed chanter
35. Drone/ChanterA Combination Drone/Chanter A
36. Drone/ChanterB . Combination Drone/Chanter B

Proteus operation manualProteus/3 Harmonic Waveforms

109

PROTEUS/3 INSTRUMENTS

SOUTH AMERICA
29. Siku ....................... South American End-blown Flute
61. Surdo Drum ......... Combination - Surdo Open/Surdo Mute
62. Maracas ................ Combination - Maraca A/B/C/D
78. Surdo Open .......... Large South American Bass Drum
79. Surdo Mute .......... Muted South American Bass Drum
85. Maraca A .............. Latin American Gourd Maraca- shake
86. Maraca B ............... Latin American Gourd Maraca- shake
87. Maraca C .............. Latin American Gourd Maraca- mute88 . Maraca D .............. Latin American Gourd Maraca- short mute
99. Crickets ................. Brazilian Wooden Blown Rattle
USA
3.
Folk America ....... Combination - See Folk America Chart
9.
Banjo ..................... American Five String Banjo
15. Waterphone 1 ...... Bowed Water Vessel - complex attack
16. Waterphone 2 ...... Bowed Water Vessel - simple attack
39. Spirit Catcher ....... Aerophone - rubber band on wooden “kite”
63. Plexitones ............. Combination - Plexitone styles.
68. Snare Drum .......... Standard Double-headed Side Drum
69. Kick Drum ........... Double-headed Bass Drum
70. Hi-Hat Closed ..... Hi-hat Cymbal Closing
71. Hi-Hat Open ........ Hi-hat Cymbal Open124. Plexi-Tone ............ Six-foot Plexiglass Tube
125. Plexi-Slap A ......... Six-foot Plexiglass Tube
126. Plexi-Slap B .......... Six-foot Plexiglass Tube
127. Plexi-Slap C .......... Six-foot Plexiglass Tube
WEST INDIES
54. Bata Drums .......... Combination - See Bata Drum Chart
73. Steel Drum ........... Steel Drum from Trinidad - Second Pan
93. Bata Ipu Tone ...... Cuban, Conical Drum - tone
94. Bata Ipu Slap ........ Cuban, Conical Drum - slapped edge
95. Bata Enu Tone ..... Cuban, Conical Drum - tone
96. Bata Hi Tone ........ Cuban, Conical Drum - tone
97. Bata Hi Mute........ Cuban, Conical Drum - head slightly muted
98. Bata Hi Slap ......... Cuban, Conical Drum - slapped edge

110

Proteus operation manualProteus/3 Harmonic Waveforms

PROTEUS/3 INSTRUMENTS

COMBINATION
64. Traps ..................... Combination - See Traps Chart
65. All Percussion 1... Combination - See All Percussion 1 Chart
66. All Percussion 1P Same as All Percussion 1 with panning
67. All Percussion 2... Combination - See All Percussion 2 Chart

Level

HARMONIC WAVEFORMS
128. Oct 1 (Sine)
129. Oct 2 All
The Harmonic Waveforms are extremely useful.
130. Oct 3 All
They can be used to add specific harmonics to131. Oct 4 All
sampled sounds, or be combined with other132. Oct 5 All
waveforms to create synthesized and additive
133. Oct 6 All
textures.
134. Oct 7 All
135. Oct 2 Odd
136. Oct 3 Odd
137. Oct 4 Odd
Frequency (log)138. Oct 5 Odd
OCTAVE-5 ODD
139. Oct 6 Odd
17140. Oct 7 Odd
19
21
23
141. Oct 2 Even
25
27
29
142. Oct 3 Even
31
143. Oct 4 Even
144. Oct 5 Even
15 1617 18
31
Harmonic 1 2 3 4 5 6 7 8 9 10145. Oct 6 Even
Octave 1 2345146. Oct 7 Even
147. Low Odds
As an example, this chart shows the harmonics present in the
Octave 5 Odd waveform.
148. Low Evens
149. Four Octaves

SINGLE CYCLE WAVEFORMS
150. Synth Cycle 1
151. Synth Cycle 2
152. Synth Cycle 3
153. Synth Cycle 4154. Fundamental Gone 1
155. Fundamental Gone 2
156. Bite Cycle
157. Buzzy Cycle 1

Proteus operation manualProteus/3 Digital Waveforms

111

PROTEUS/3 INSTRUMENTSSINGLE CYCLE WAVEFORMS (cont)158. Metalphone 1
159. Metalphone 2
160. Metalphone 3
161. Metalphone 4
162. Duck Cycle 1
163. Duck Cycle 2
164. Duck Cycle 3
165. Wind Cycle 1
166. Wind Cycle 2167. Wind Cycle 3168. Wind Cycle 4169. Organ Cycle 1
170. Organ Cycle 2

DIGITAL WAVEFORMS
171. Noise172. Dark Noise173. Triangle
174. Square175. Sawtooth176. Sawtooth Odd Gone
177. Ramp
178. Ramp Even Only
179. Violin Essence
180. Buzzoon
181. Brassy Wave
182. Reedy Buzz
183. Growl Wave
184. HarpsiWave
185. Fuzzy Gruzz
186. Power 5ths
187. Filtered Saw
188. Ice Bell189. Bronze Age190. Iron Plate
191. Aluminum
192. Lead Beam
193. Steel Extract
194. Winter GlassCONTRIVEDINSTRUMENTS
195. Asian Gongs 1
196. Asian Gongs 2197. Suwak Wave
198. Savannah Land
199. Swamp Thing
200. Bugs 1
201. Bugs 2
202. Bugs 3203. Bugs 4204. Bugs 5
205. Bugs 6206. Crickets
207. Woodpecker 1
208. Woodpecker 2
209. Frogz
210. Tribe 1211. Tribe 2

112

Proteus operation manual

Renaissance, East Indian, Folk America

48

Ocarina

60

72

84

Renaissance
Instrument 1

Accordion

36

48

60

72

Tamburas

84

96

Baya Tone
Baya Slap
Tabla Tone
Tabla Mute B
Tabla OpenClapper Stick

MIDI
Key #

96

Baya Hit
Tabla Mute A
Tabla Mute C

36

Troubadour Harp

Castanet
Maraca A
Maraca C
Maraca D

MIDI
Key #

CrotalesCrickets

Wood Block
Maraca B

PROTEUS/3
INSTRUMENT LOCATIONS

Sitar

Jews Harp C
Jews Harp A

East Indian
Instrument 2

36

48

Dulcimer

60

72

Banjo

Folk America
Instrument 3

84

Jews Harp D
Jews Harp B

MIDI
Key #

96

Harmonica

Proteus operation manual

Down Under, Middle Eastern Drum, Udu Drum

113

Spirit Catcher

MIDI
Key #

36

48

Clapper Stick

PROTEUS/3
INSTRUMENT LOCATIONS

Didjeridu B

60

Bull Roarer

72

84

96

Didjeridu C

Didjeridu A

Down Under
Instrument 4

Deff Mute

MIDI
Key #

36

48

Req Open60

Deff Slap

72

84

Bendir96

Req Slap

Middle Eastern Drum
Instrument 52

Udu Release

MIDI
Key #

36

48

Udu Tone

Udu Slap

60

72

Udu Finger

Udu Drum
Instrument 53

84

96

MIDI
Key #

MIDI
Key #

36
48

36
48

Rosewood Bass

48

60

Tabla Mute C
Tabla Open36

Tabla Mute A
Tabla Mute B

Baya Slap
Baya Hit

MIDI
Key #

Tabla Tone
Tabla Tone
Tabla Mute A
Tabla Mute B
Tabla Mute C
Tabla OpenBaya Tone
Baya Tone
Baya Slap
Baya Hit

Bata Ipu Tone
Bata Ipu Slap
Bata Enu Tone
Bata Hi Tone
Bata Hi MUte
Bata Hi Slap
Bata Hi Slap
Bata Ipu Tone
Bata Ipu Slap
Bata Enu Tone
Bata Hi Tone
Bata Hi Mute
Bata Hi Slap
Bata Hi Slap
Bata Ipu Tone
Bata Ipu Slap
Bata Enu Tone
Bata Hi Tone
Bata Hi Mute
Bata Hi Slap
Bata Hi Slap
Bata Ipu Tone
Bata Ipu Slap
Bata Enu Tone
Bata Hi Tone
Bata Hi Mute
Bata Hi Slap
Bata Hi Slap
Bata Ipu Tone
Bata Ipu Slap
Bata Enu Tone
Bata Enu Tone
Bata Hi Mute
Bata Hi Slap
Bata Hi Slap
Bata Ipu Tone
60

60

72

72

72

Rosewood Tick

Wood Drum
Instrument 56

Bata Hi Tone
Bata Hi Mute
Bata Hi Slap

Bata Ipu Tone
Bata Ipu Slap

Bata Hi Tone
Bata Hi Mute
Bata Hi Slap

Bata Ipu Tone
Bata Ipu Slap

Bata Hi Tone
Bata Hi Slap
Bata Hi Slap

Bata Ipu Tone
Bata Enu Tone

Bata Hi Mute
Bata Hi Slap
Bata Hi Slap

Bata Ipu Slap
Bata Enu Tone

Bata Hi Tone
Bata Hi Mute
Bata Hi Slap

Bata Ipu Tone
Bata Ipu Slap

114 Bata, Tabla, Wood Drum
Proteus operation manual

PROTEUS/3
INSTRUMENT LOCATIONS

84

84

84

Rosewood Finger

96

Bata Drums
Instrument 54

96

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

The Tabla
Instrument 55

Rosewood Harmonic

96

MIDI
Key #

36

48

60

72

All Percussion 2
Instrument 67

All Percussion 1
Instrument 65

84

BonangSaron
Log Drum

72

Castanet
Castanet
Castanet

Hula Stick
Hula Stick72

Rosewood Bass
Rosewood Harmonic

Tanzanian Shaker
Hula Stick
Hula Stick

Snare Drum

Baya Hit
Tabla Mute A
Tabla Mute C

60

Tanzanian Shaker
Tanzanian Shaker

60

Bata Hi Mute
Crickets

Maraca C
Maraca D
Tanzanian Shaker

Kick DrumUdu Release
Udu Slap
Bata Ipu Slap

48

Maraca A
Maraca B

Nepal Cymbal
Nepal Cymbal
Nepal Cymbal

48

Maraca A
Maraca C

Req Slap
Hi-hat Closed
Kick Drum36

Nepal Cymbal
Nepal Cymbal

Hi-hat Closed
Hi-hat Open
Rosewood Tick

Clapper Stick
Wood Block36

Surdo Mute
Deff Mute

Kick Drum
Snare Drum
Surdo Open
Surdo Open
Surdo Open
Surdo Open
Surdo Open
Surdo Open
Surdo Mute
Bendir
Deff Slap
Deff Mute
Req Open
Req Slap
Udu Tone
Udu Release
Udu Finger
Udu Slap
Bata Ipu Tone
Bata Ipu Slap
Bata Enu Tone
Bata Hi Tone
Bata Hi Mute
Bata Hi Slap
Baya Tone
Baya Slap
Baya Hit
Tabla Tone
Tabla Mute A
Tabla Mute B
Tabla Mute C
Tabla Open
Rosewood Bass
Rosewood Tick
Rosewood Harm
Rosewood Finger

MIDI
Key #

Plexi-Tone
Plexi-Slap B
LikembeNepal Cymbal
Steel Drum

MIDI
Key #

China Gong
Tibeten Bowl
CrotaleHula Stick
Plexi-Slap A
Plexi-Slap C
Likembe Buzz
Surdo OpenDeff Slap
BendirReq OpenHi-hat Open
Snare Drum
Castanet
Wood Block
Maraca B
Maraca D
Udu Tone
Udu Finger
Bata Ipu Tone
Bata Enu Tone
Bata Hi Tone
Bata Hi Slap
Baya Tone
Baya Slap
Tabla Tone
Tabla Mute B
Tabla OpenClapper Stick
Rosewood Tick
Rosewood Finger
Tanzanian Shaker
KenongSuwuk Gong
Log DrumLog DrumProteus operation manual
Traps, All Percussion 1 + 2

Closed Hi-hat

84
96

Traps
Instrument 64
Open Hi-hat

84
96

96

115

PROTEUS/3
INSTRUMENT LOCATIONS

116

Envelope Times

Proteus operation manual

LFO, DELAY and ENVELOPE TIMESLFO RATES
Knob Rate (Hz)
000
.052
5
.1
10
.6
15
.8
20
1.33
25
1.8
30
2.2
40
3.3
50
7
60
10
80
16
127
25

Delay time applies to both instrument delay
and envelope delay.
The alternate and auxiliary envelopeparameters are identical except for theattack times.

DELAY

ALTERNATE
ATTACK

AUXILIARYATTACK

Knob Time (sec)
000
0
5
.125
10
.25
20
.6
32
1
40
1.5
64
2.5
75
3.5
80
4.2
96
6.2
100
7
127
13

Knob Time (sec)
0
0
5
.125
10
.25
15
.4
20
.6
30
1.2
40
2.2
50
4
60
9
75
15
80
20
99
60

Knob Time (sec)
0
0
5
.125
10
.25
15
.5
20
.8
30
1.5
40
2.75
50
5.25
60
9
75
23
88
99
99
136

HOLD

DECAY

RELEASE

Knob Time (sec)
0
0
5
.125
10
.25
20
.4
30
.8
40
1.3
50
1.75
60
2.3
70
3.2
75
3.5
80
4.2
99
6.5

Knob Time (sec)
0
0
5
.125
10
.25
20
.4
30
.75
40
1.5
50
3
60
5
70
9
75
12
80
18
99
40

Knob Time (sec)
0
0
5
.125
10
.25
15
.4
20
.6
30
1.2
40
2.2
50
4
60
9
75
15
80
20
99
60

Proteus operation manual

Specifications

117

TECHNICAL SPECIFICATIONS

Audio Channels: 32
Audio Outputs: 6
Submix Inputs: 4
Max. Output Level: +4 dB into 600Ω
Output Impedance: 100Ω
MIDI: In, Out, Thru
Data Encoding: 16 bit Linear
Sample Playback Rate: 39kHz
Signal to Noise: >90 dB
Dynamic Range: >90 dB
Frequency Response: 20Hz-18kHz
THD +N: <.05%
IMD: <.05%
Power Requirements: 25 watts
Operating Temperature: 110°F Max.
Dimensions: H: 1.75" W: 19" L: 8.5"
Weight: Proteus/1 ............. 4lb, 7oz (2 Kg)
Proteus/1 Plus 2 . 4lb, 7oz (2 Kg)
Proteus/2 ............. 4lb, 7oz (2 Kg) or 4lb, 12.5 oz (2.173Kg)
Proteus/3 ............. 4lb, 7oz (2 Kg)

118

MIDI Specifications

Proteus operation manual

MIDI SPECIFICATIONSRECEIVED CHANNEL COMMANDS
Channels number (n) = 0-15. Message bytes are represented in hex. Allother numbers are decimal.
Command

Message

Comments

Note Off

8n kk vv

release velocity is ignored

Note Off

9n kk vv

velocity 0 = note off

Key Pressure

An kk pp

Program Change

Cn pp

Channel Pressure

Dn pp

Pitch Wheel

En ll mml = lsb, m = msb

Realtime Controller

Bn cc vv

cc = 00-31

Footswitch

Bn cc vv

cc = 64-79, vv ≥ 64 = on

VolumeBn 07 vv

Pan

Bn 0A vv

0 = hard left, 127 = hard rightReset All Controllers

Bn 79 00

ignored in omni mode

All Notes Off

Bn 7B 00

ignored in omni mode

Omni ModeBn 7D 00

forces all notes & controls off

Mono ModeBn 7E 00

forces all notes & controls off

Poly ModeBn 7F 00

forces all notes & controls off

Proteus operation manual

MIDI Specifications

119

MIDI SPECIFICATIONSRECEIVED SYSTEM COMMANDS
For system exclusive commands, the following format is used:
F0
18
04
dd
cc
...
F7

system exclusive status byte
E-mu ID byte
product ID byte
device ID byte
command byte
data bytes (256 bytes/preset)
EOX

Two MIDI bytes (lsb, msb) are required for each 14 bit data word. Bits 06 are sent first, followed by bits 7-13 in the next MIDI byte. All data words
are signed 2's complement values with sign-extension out to the mostsignificant bit (bit 13). This convention applies to all data words, regardless of the parameter's value range.

Command

Message

Comments

Preset Data Request

F0 18 04 dd 00 ll mm F7

ll = preset # lsb,
mm =preset # msb

7F 7F = all user presets

7E 7F = all factory presets

Preset Data

F0 18 04 dd 01 ll mm ... ... cs F7
cs = checksum = sum of all data bytes

Parameter Value
RequestF0 18 04 dd 02 pl pm F7
pl = parameter # lsb

pm = msb

Parameter Value

F0 18 04 dd 03 pl pm vl vm F7
vl = value lsb

vm = msb

Tuning Table Request F0 18 04 dd 04 F7
Tuning Table

F0 18 04 dd 05 ... ... F7

Program Map Request F0 18 04 dd 06 F7
Program Map Data

F0 18 04 dd 07 ... ... F7

120

MIDI Specifications

Proteus operation manual

MIDI SPECIFICATIONSTRANSMITTED SYSTEM COMMANDS
Command

Message

Comments

Preset Data

F0 18 04 dd 01 ll mm ... ... CS F7
cs = checksum = sum of all data bytes

Parameter Value

F0 18 04 dd 03 pl pm vl vm F7

pl = parameter # lsb
Tuning Table

pm = msb

vl = value lsb

F0 18 04 dd 05 ... ... F7

vm = msb

TT data = 256 bytes

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

Parameter Editing
Preset and setup parameters may be edited individually using system
exclusive commands. The preset being edited is the active preset (thepreset which is assigned to the received channel). The value of a given
parameter may be changed by sending a parameter value command. The
value of a parameter may be read by sending a parameter value request, towhich the machine will respond by sending back the parameter value.
Preset data may also be transmitted or received in a single block (onecomplete preset) using system exclusive commands. A preset data request
may be issued by a host computer, to which the machine will respondsending the data block for the requested preset. Conversely, the computer
may send new preset data which will replace the specified preset currently in the machine. Additionally, a front panel command will transmit
one or all user presets for backup onto an external sequencer. These
presets may be restored by simply playing back the sequence into themachine.

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

Proteus operation manual

MIDI Specifications

121

MIDI SPECIFICATIONS

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

PRESET PARAMETERS
Parameter Number
0-11
12-14
15-18
19-22
23
24
25
26
27
28
29
30
31
32
33
34
35
36
37
38
39
40
41
42
43
44
45
46

Parameter Name
preset name (12 ascii characters)link 1-3
low key 0-3
high key 0-3
pri instrument
pri sample start offset
pri tuning (coarse)
pri tuning (fine)pri volume
pri panpri delaypri low key
pri high key
pri alt attack
pri alt holdpri alt decay
pri alt sustain
pri alt releasepri alt envelope on
pri solo modepri chorus
pri reverse soundsec instrument
sec sample start offset
sec tuning (coarse)
sec tuning (fine)sec volume
sec pan

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MIDI SPECIFICATIONSPRESET PARAMETERS (cont)Parameter Number
47
48
49
50
51
52
53
54
55
56
57
58
59
60
61
62
63
64
65
66
67
68
69
70
71
72
73
74
75
76
77
78
79
80
81-86
87-92
93-98
99-106107-114

Parameter Namesec delay
sec low key
sec high key
sec alt attack
sec alt holdsec alt decay
sec alt sustain
sec alt releasesec alt envelope on
sec solo modesec chorus
sec reverse soundcrossfade modecrossfade direction
crossfade balancecrossfade amountswitch point
LFO 1 shape
LFO 1 frequency
LFO 1 delay
LFO 1 variation
LFO 1 amount
LFO 2 shape
LFO 2 frequency
LFO 2 delay
LFO 2 variation
LFO 2 amountaux delay
aux attack
aux holdaux decay
aux sustain
aux releaseaux amountkey/vel source 1-6
key/vel dest 1-6
key/vel amount 1-6
realtime source 1-8
realtime dest 1-8

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MIDI SPECIFICATIONSPRESET PARAMETERS (cont)Parameter Number
115-117118-121
122
123
124
125
126
127

Parameter Namefootswitch dest 1-3
controller amount A-D
pressure amount
pitch bend range
velocity curve
keyboard center
submixkeyboard tuning

GLOBAL/SETUP PARAMETERS
Parameter Number
256
257
258
259
260
261
262
263
264
265
266-269
270-272273
274
384-399
400-415416-431512-639

Parameter NameMIDI basic channel
MIDI volume
MIDI pancurrent preset
master tunetranspose
global pitch bend range
global velocity curve
MIDI mode
MIDI overflow
controller A-D numbers
footswitch 1-3 numbers
mode change enabledevice ID number
MIDI channel enable
MIDI program change enable
mix out (per MIDI channel)
MIDI program/preset map

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

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MIDI SPECIFICATIONSPROTEUS XR
Several commands have been added to support external control of theProteus XR.
Preset Data Request
Proteus presets are organized into banks. Each bank consists of 64 presets.
Proteus XR has six banks of presets (0-383), while the standard Proteus
only has the first three (0-191). Banks may be requested using the preset
request command and the appropriate preset code listed below.
Bank
0
1
2
3
4
5
Prot./1 Xpander only - 6
XR only - 0-3
XR only - 4-5

Preset Range

Requested Preset #MIDI Message

0-63
64-127128-191
192-255
256-319320-383384-4470-255
256-3831024 (0x400)
1025 (0x401)
1026 (0x402)
1027 (0x403)
1028 (0x404)
1029 (0x405)
1030 (0x406)-3-4F0 18 04 dd 00 00 08 F7
F0 18 04 dd 00 01 08 F7
F0 18 04 dd 00 02 08 F7
F0 18 04 dd 00 03 08 F7
F0 18 04 dd 00 04 08 F7
F0 18 04 dd 00 05 08 F7
F0 18 04 dd 00 06 08 F7
F0 18 04 dd 00 7D 7F F7F0 18 04 dd 00 7C 7F F7The original commands for requesting user presets (-1:64-127) and factory
presets (-2:0-63) are still supported to retain compatibility with existing
software.
Master Settings Request
A new command has been added which requests the master settings as agroup. The master settings request is: F0 18 04 dd 08 F7.
Proteus will respond by sending the master settings as a string ofparameter changes. This is identical to the data that is sent when theprocedure is initiated from the front panel.
Version Request
A new command has been added to allow identification of machine typeand software revision.
The version request command is: F0 18 04 dd 0A F7.
Proteus will respond to this command with the version data:
F0 18 04 dd 0B vv r1 r2 r3 F7
where vv = version code (0=standard Proteus, 1 = XR)
r1, r2, r3 = software revision # in ascii (decimal point between r1& r2)

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ADDENDUM TO MIDI SPECIFICATIONPROTEUS/2, PROTEUS/3 and PROTEUS EXPANSION SETS
Revision 4 3-4-92
Please note changes to “Instrument List” command and the addition ofvariable chorus.

SOUND SETS
A Proteus sound set consists of 4 Megabytes of sample data (soundROMs), plus additional instrument data in the program ROMs. Proteus
may contain one or two complete sound sets. Each sound set has a unique
ID number; the “Pop/Rock” sound set in Proteus/1 is sound set #0.
Proteus/2 contains sound sets #1 and #2. It is desirable to be able tosupport “mix-and-match” configurations, and be able to successfullytransfer presets from one configuration to another. For example, it should
be possible to exchange presets between a Proteus/2 and an expanded
Proteus/1 if the instruments come from common sound sets.
In order to achieve this compatibility between different Proteus configurations, it is necessary to include the sound set number as part of the
instrument number when exchanging data. The instrument number (asexpressed over MIDI) now contains two fields: bits 8-12 specify the soundset (0-31) and bits 0-7 specify the instrument within the sound set (0-255).
Since Proteus/1 contains sound set #0, compatibility with existing products is maintained.

Instrument bit fields:
12
8 7

0

<—sound set—> <———instrument #———>(5 bits)(8 bits)

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

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

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

CONFIGURATION MESSAGE
A new MIDI command has been added to identify the sound sets in agiven Proteus. The configuration request command is:
F0 18 04 dd 0C F7Proteus will respond to this command with the configuration message:
F0 18 04 dd 0D pl pm s1 l1 m1 s2 l2 m2 F7
where pl and pm are the lsb and msb of the total number of presets, s1 ands2 are the ID numbers of the sound sets contained in this unit, and
n1=l1,m1 and n2=l2,m2 represent the lsb and msb of the number of
instruments in each sound set. If no expansion set is present, s2 will be 7F
and n2 will be zero. If the Proteus contains firmware earlier than version
2.10, no response will be given, and one can assume sound set #0.
The current configurations are as follows:

Product
Proteus/1
Proteus/2
Proteus/1 + Orchestral
Proteus/1 + Invision
Proteus/3Sound Set(s)
0
1, 2
0, 2
0, 3
4

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ADDENDUM TO MIDI SPECIFICATIONINSTRUMENT LIST
A new MIDI command has been added to allow external software to
upload the instrument list as an array of ascii strings. The instrument
list request command is:
F0 18 04 dd 0E F7Proteus will respond to this command with the instrument list
message:
F0 18 04 dd 0F (14 bytes per instrument) ... ... F7
The instruments are transmitted in the same order they appear to theuser on Proteus. Note that a given instrument’s position in this list
may be different from its actual number within the sound set.
instrument entry:

il im (11 ascii bytes) 00

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

PRESET LIST
A new MIDI command has been added to allow external software to
upload all preset names as an array of ascii strings. The preset list
request command is:
F0 18 04 dd 12 F7Proteus will respond to this command with the preset list message:
F0 18 04 dd 13 (13 bytes per preset) ... ... F7
Each preset name is 12 ascii characters, plus a zero terminator, for a totalof 13 (decimal) bytes. The first preset is #0. The total number of preset
names is equal to pp in the configuration message above. Proteus firmware earlier than version 2.10 will not respond to this command.

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ADDENDUM TO MIDI SPECIFICATIONVARIABLE CHORUS
Proteus firmware starting with version 2.10 features a variable chorus
depth. The range of values is now 0 (Off) through 15, with a value of 7
corresponding to 1 (On) in Proteus/1. The MIDI parameter number isunchanged.

■ Proteus only receives
the MIDI Standard Bulk
tuning dumps. For more
information on the MIDI
Tuning Standard andBank Select format,
contact the International MIDI Association.

BULK TUNING DUMP
Proteus/3 and above can now receive MIDI Tuning Standard dumps inaddition to its own SysEx tuning table dumps. Proteus will only transmit
in it's own SysEx tuning format. The MIDI Tuning Standard is as follows:
F0 7E dd 08 01 tt <tuning name (16 ascii)> … F7
dd= device ID

tt= tuning prog # (ignored)tuning name = (ignored)… = data (xx yy zz) frequency data for one note repeated 128xxx yy zz = 0xxxxxxx 0abcdefg 0hijklmn
xxxxxxx = semitone abcdefghijklmn = fraction of semitone in .0061 centunits. Examples: Middle C = 3C 00 00 A440 = 45 00 00

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

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INDEX
A
aftertouch See pressure
alternate envelope 48
See also envelope generator
attack 30
auxiliary envelope 53
See also envelope generatorC
chorus 46, 65
connections 7-9
contour
See envelope generator
controls 13
crossfade mode 49-51
cursor 13
D
decay 30
delay
envelope generator delay 30
instrument delay 46
time chart 110
demo sequence 23
Eedit menu 41
envelope generator
description 30
alternate envelope 48
auxiliary envelope 53
time chart 116
external processing 9,10, 71
F
footswitches 21, 29, 56
G
global controls
global pitch bend 17
global velocity curve 17H
headphones 7
hold 30I
ID number, MIDI 18
instrument 6, 43-45

instrument list
Proteus/1 76-79
Proteus/1 Plus 2 88-89
Proteus/2 94-97
Proteus/3 106-111
inputs 7-9
intonation See keyboard tuningK
key number 34
key number chart 23, 42
key range 43-45
key velocity 29
velocity modulation 33, 54
keyboard center 34, 58
keyboard tuning See master tuneLlayer 6, 27, 44, 59
LFO
definition 31
programming 51-52, 54-55
time chart 116
link 59
M
mapping, presets
See MIDI program->preset
master menu 16
master tune 16
MIDI
MIDI channel selection 14
MIDI enable 19
MIDI footswitch 21, 29, 56
MIDI in 7-9
MIDI key number chart 19
MIDI mode 14
MIDI mode change 15
MIDI out 5-9
MIDI overflow 19
MIDI panning control 14, 45
MIDI preset change 19
MIDI program-> preset 21-22
MIDI specifications 118-128
MIDI thru 7-9
MIDI realtime controllers 36-37
amounts 56
modulation assignment 55
controller numbers 20

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INDEX
M (cont.)
MIDI system exclusives 119-128
ID number 18
MIDI volume control 14, 45
mix outputs 7-10, 38, 43, 71
modulation
description 28
keyboard and velocity chart 33, 54
footswitch 21, 29, 56
realtime modulation chart 35, 55
sources 29
mono See MIDI modes
multi-timbral operation 15, 18, 68Oomni See MIDI modes
outputs 7-9
P
pan 14
MIDI control of pan 14, 45
patch 32
patch sheet 72
perc. instr. charts 80-84, 89, 98-101,
112-115
pitch bend range 17, 57
poly See MIDI modes
power requirements 10
See also Precautions section
pressuremono 29, 35, 55, 56
polyphonic 29, 35, 55, 56
primary 6, 43-45
Proteus Synthesis 66
preset 6
listing Proteus/1 74-75
listing Proteus/1 Plus 2 86-87
listing Proteus/2 92-93
listing Proteus/3 104-105
naming 34
recording into a sequencer 22
saving presets 60
selection 14
preset change via MIDI 19, 69
Rrandom wave 31, 51
realtime modulation 35, 55
release 30
reverse sound 47, 65
ripoff 70

S
sampling, basic decription 24
sampled sound listing 76
saving, presets 60
sawtooth wave 31, 51
secondary 6, 43-45
sequencer
external sequencer setup 68-70
Proteus demo sequences 23
recording presets into 22
sine wave 31, 51, 78
solo mode 47
sound start 47, 54, 67
specifications
MIDI 118-128
technical 117
split keyboard 27, 44, 59
square wave 31, 51
submixinputs/outputs 7-10, 38, 43, 71
send/return cables 9, 71
sustain 30
switch point 51
Ttranspose 17
triangle wave 31, 51
tuningalternate tuning 22-23, 58-59
master tune 16
instrument tuning 46
Uuser key tuning 22-23, 58-59
Vvelocity curves 17, 34, 57
viewing angle 23
volumevolume control 13
channel volume 14
MIDI volume control 14, 45
W
waveforms
instrument 78-79, 89, 96-97,
110-111
LFO 31, 51