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Hands On - Emu Proteus (part 4)

Of course, I’m missing out a lot on my quick tour of Proteus and there is much that you’ll probably want to get involved in. I think that one of the principal concepts behind Proteus is that whatever you do to a sound, it almost always ends up a ‘real’ sound, or a sound with similar qualities to a real sound...

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MIDI Patch

Of course, I’m missing out a lot on my quick tour of Proteus and there is much that you’ll probably want to get involved in. I think that one of the principal concepts behind Proteus is that whatever you do to a sound, it almost always ends up a ‘real’ sound, or a sound with similar qualities to a real sound. This is in direct contrast to the Korg M1 and 01/W which also use sampled sounds as their basis, but the end results sound synthesised - which isn’t a bad thing of course, just different.

But if you are dealing with real or pseudo-real sounds, then what you’ll want most is control. Powerful control. Proteus has this in the form of what they call MIDI Patch. In my early days with Proteus I found this difficult to get used to, probably because many of the actions you can take take bear no useful fruit unless you have a very clear idea of what you’re after in the first place. You really have to sit down and think about what you are doing, rather than fiddle with the controls. MIDI Patch can be broken down into two sections: Keyboard and Velocity Modulation and Real Time Modulation.

Keyboard and Velocity Modulation

In this case the two possible modulation sources are Key Number (which key is pressed) and Velocity (how hard the key is pressed). These can be routed to control the following parameters:

  • None
  • Pitch*
  • Volume*
  • Attack*
  • Decay*
  • 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*
  • Pan*
  • Tone*

Where an asterisk is shown the modulation destination can be the primary voice, the secondary voice or both. There can be up to six ‘patchcords’ between Key Number or Velocity and the destinations shown, and the amount of control is adjustable in both positive and negative directions.

  • Real Time Modulation
  • Here the modulation sources are these…
  • Pitch wheel
  • MIDI control A
  • MIDI control B
  • MIDI control C
  • MIDI control D
  • Aftertouch
  • Polyphonic aftertouch
  • LFO 1
  • LFO 2
  • Auxiliary envelope

…and the destinations are (the asterisks have the same meaning as before):

  • None
  • Pitch*
  • Volume*
  • Attack*
  • Decay*
  • 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
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By David Mellor Thursday January 1, 2004
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