Page 2 Important Notice: In order to obtain warranty service on your UltraProteus unit, the serial number sticker must be intact and you must have a sales receipt or other proof of purchase. If there is no serial number sticker on UltraProteus, please contact E-mu Systems at once.
Page 3 3. Do not use UltraProteus near water — for example near a bathtub, washbowl, magnitude to constitute a risk of kitchen sink, in a wet basement, on a wet bar, or near or in a swimming pool.
Page 4 5. UltraProteus should be located away from heat sources such as radiators, heat registers, fireplaces, stoves, or ovens. 6. UltraProteus should only be connected to a power supply of the type de- scribed in the operating instructions and as marked on the product.
Page 5 TABLE OF CONTENTS INTRODUCTION & BASIC SETUP Introduction ........................3 Getting Started ........................ 4 Connection Instructions ....................5 Background - About Sampling ..................9 BASIC OPERATION Main Controls ........................ 12 Selecting MIDI Channels ....................14 Selecting Presets/Hyperpresets ..................14 Adjusting Volume & Pan Position ..................14 Memory Card ........................
Page 6: Table Of Contents
FX Output Select ......................36 Save Midimap ....................... 36 EFFECTS SECTION Where are the Effects? ....................39 Effects Output Routing ....................40 UltraProteus Effects Bus Architecture ................40 Effect Programming Instructions..................41 Reverb .......................... 42 Stereo Flanger ....................... 46 Stereo Phaser ........................ 48 Stereo Chorus ........................
Page 7 Low Frequency Oscillators ....................75 Function Generators ...................... 76 Filter Modulation ......................84 Parametric Filters ......................87 The UltraProteus Filter ....................88 The Z-Plane Filter ......................89 Another View ......................... 92 UltraProteus Signal Flow ....................93 Note-On Modulation Control ................... 94 Realtime Modulation Control ..................
Page 8 TABLE OF CONTENTS PRESET MENU (cont) Sound Reverse ......................107 Nontranspose ......................108 Loop Enable ........................ 108 Loop Offset ......................... 108 Solo Mode ........................109 Solo Mode Priority ....................... 110 Portamento Rate ......................110 Portamento Shape ....................... 110 Portamento Mode ......................111 Crossfade Mode ......................
Page 9 Anatomy of an Envelope ....................144 Sound Delay ........................ 145 Sound Start ......................... 145 Application: Sound Splicing ..................146 Time to Save?......................147 LFO Modulation ......................147 Modulating Modulators ....................150 The UltraProteus Filter ....................151 Just Do It ........................152 Filter Filosophy ......................154...
Page 10 TABLE OF CONTENTS STEP-BY-STEP (cont) Morphology ........................ 157 Using UltraProteus with a Sequencer ................158 More Advanced Sequencing ..................159 REFERENCE SECTION Factory RAM Presets - Bank 0 ..................162 Factory ROM Presets - Bank 1 ..................163 Instrument Listing......................164 B3 Wave Diagrams ......................
Page 11 UltraProteus INTRO/BASIC SETUP Chapter 1: Basic Setup...
Page 12 UltraProteus Operation Manual...
Page 13: Introduction
HOME/ENTER 195 Star Ship MIDI DEMO UltraProteus UltraProteus is a new type of music synthesizer which upholds the legendary THIS SYMBOL APPEARS THOUGHOUT THE MANUAL TO Proteus tradition of crystal-clear sounds while significantly furthering the HIGHLIGHT ADDITIONAL evolution of electronic sound synthesis.
Page 14: Getting Started
GETTING STARTED In its most basic form, UltraProteus is organized as shown in the diagram below. Complete acoustic instrument samples and electronically created sounds are used as raw material to form Presets. The Preset is a complete set of all program functions and combinations for a complete UltraProteus sound.
Page 15: Connection Instructions
MIDI In UltraProteus is controlled by MIDI messages received at the MIDI In connector. Connect the MIDI In of the UltraProteus to the MIDI Out connector of a MIDI controller such as a MIDI keyboard, MIDI wind controller or MIDI guitar MOST ULTRAPROTEUS FACTORY controller.
Page 16 UltraProteus has three sets of programmable stereo outputs; Main, Sub 1, and Sub 2. Sub 1 is a non-effects output, Sub 2 is an effects-only output. Specific UltraProteus presets (or MIDI channels) can be routed to one of these stereo pairs in order to be further processed or mixed separately.
Page 17 In jack. Audio Outputs Each of the Sub 1 and Sub 2 output jacks on the UltraProteus are stereo jacks. The tip of each jack (accessed when a standard phone plug is inserted) is the left or right output of that group. If a stereo plug is inserted, the Ring of the stereo plug serves as a signal Return which sums into the Main outputs.
Page 18 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 right side of the front panel. UltraProteus and its MIDI controller may be turned on in any order. When power is applied, the liquid crystal display will light, indicating that UltraProteus is operating.
Page 19 BACKGROUND ABOUT SAMPLING UltraProteus utilizes digital recording of acoustic sounds for the basis of each Instrument. This is similar to a tape recorder except that inside the UltraProteus, the sounds are permanently recorded on digital memory chips. Sound and instrument waveforms are first sampled into the Emulator III, our top of the line, 16 bit stereo digital sampler.
Page 20 UltraProteus Operation Manual...
Page 21 UltraProteus BASIC OPERATION Chapter 2: Basic Operation...
Page 22 The LED to the left of the button indicates that you are in the Master menu. Midimap Menu Select Button A Midimap is a set of parameters used to configure UltraProteus to other MIDI gear such as a sequencer or keyboard setup. The 16 Midimaps contain digital effects setting as well as assignments of presets/hyperpresets to MIDI channels.
Page 23: Basic Operation Main Controls
The Home/Enter button is used to confirm a particular operation or to return the cursor the “Home” position in the upper left corner (main screen-lower left). The LED flashes to indicate that UltraProteus is waiting for your response. Data Entry Control...
Page 24 Rotate the data entry control to select MIDI channel 01-16. As the channel is changed, the display will change to show the preset/hyperpreset, IF ULTRAPROTEUS IS NOT volume and pan associated with the displayed channel. RESPONDING PROPERLY OR...
Page 25: Midimap Select
“Effects Preset”, since each Midimap stores a complete effects setup. RAM CARDS NEED TO BE INITIALIZED BEFORE THEY There are 16 Midimaps in UltraProteus and an additional 16 Midimaps can be ARE FIRST USED. THEY stored on a memory card.
Page 26 UltraProteus to receive using the MIDI Enables in the Midimap menu (page 33). Turning “All Messages Off” turns that channel Off. If you do not turn any channels Off, UltraProteus will receive all 16 MIDI channels simultaneously! Select the desired preset or hyperpreset for each of the MIDI channels you wish the UltraProteus to receive using the Preset/Hyperpreset ->...
Page 27 UltraProteus MIDIMAP MENU Chapter 4: Midimap Menu...
Page 28 UltraProteus Operation Manual...
Page 29: Midimap Menu (Cont)
The Midimap contains all the pre-sequence setup infor- mation, such as the program (preset or hyperpreset) for each MIDI channel, effects settings, etc. There are 16 Midimaps in UltraProteus and an additional 16 can be stored on a memory card.
Page 30 To enable the Midimap menu Press the Midimap button, lighting the LED. The current screen will be the one most recently selected since powering up UltraProteus. The cursor will appear underneath the first character of the screen heading on line one.
Page 31 MIDIMAP MENU Midimap Name This function allows you to name each of the 16 Midimaps with a name of up to THE AUTO-SELECT FEATURE IN 12 characters. Position the cursor underneath the character location and use THE MASTER MENU MUST BE the data entry control to change the character.
Page 32 F X A M I D I C h a n n e l 1 6 F X B The Output Mix Select (for each MIDI channel) selects which bus in the Output Section will be used. UltraProteus Operation Manual...
Page 33: Midi Enables
PRESETS. The “All Messages” filter is useful when you have other MIDI devices connected and do not want UltraProteus to respond to the MIDI channels reserved for other devices. Messages will be passed when On and filtered out when turned Off.
Page 34: Program Map Select
MIDIMAP MENU Program Map Select There are four Program Maps in UltraProteus. Program Maps allow incoming MIDI program changes to be translated into another number. For example, a program map could be set up so that program number 12 is selected whenever THE PROGRAM CHANGE MAPS program change number 26 is received at the MIDI in port.
Page 35: Fx B
MIDIMAP MENU FX B This function allows you to select which effect is active on Effect Processor B. Processor B effects include echo, delay, chorus, phase shifter, distortion and ring modulator. Each effect has one or more adjustable param- eters which are accessed by moving the cursor to the lower line. See the Effects section for detailed information on these functions.
Page 36: Fx Output Select
Pressing the Home/Enter switch will confirm the operation. Writing to a Midimap location erases the existing Midimap in that location. Make sure that the location does not contain information you want to keep. Save MIDIMAP to M00 -defMIDIMap- UltraProteus Operation Manual...
Page 37: Effects Section
UltraProteus EFFECTS SECTION Chapter 5: Effects Section...
Page 38 UltraProteus Operation Manual...
Page 39: Where Are The Effects
EFFECTS SECTION Where are the Effects? The effects in UltraProteus are separate from the preset. This is similar to an external effects unit except that the signal path is kept in the digital domain to maintain excellent sound quality. MIDIMAP...
Page 40: Effects Output Routing
FX B ULTRAPROTEUS EFFECT BUS ARCHITECTURE The two stereo effect processors on UltraProteus are designated as A and B effects. “A” effects contain Reverb and other effects. The “B” effects do not include Reverbs, but include a host of other great effects which are listed on page 53.
Page 41 EFFECTS SECTION TO PROGRAM AN EFFECT: 1) Press the MIDIMAP button lighting the LED. 2) Slowly turn the data entry knob clockwise until you find the screen shown below. Select one of the effect processors in the Mix Selection. This selects the input to the effect processors.
Page 42: Reverb
REVERB Reverberation is a simulation of a natural space such as a room or hall. The reverb effects in UltraProteus simulate various halls, chambers, rooms and reverberation plates. In addition, there are several other reverb effects such as Early Reflections and Rain. There is only one adjustable parameter on the reverbs - Decay Time.
Page 43 EFFECTS SECTION Room programs simulate small rooms with high frequency absorption caused by drapes and furniture. Plates simulate plate type reverbs with their tight, dense early reflections and sharp reverb build-up. Chambers simulate medium sized rooms with hard reflective surfaces. Hall programs recreate the open, spacious ambience of large concert halls.
Page 44 Simulates a plate reverb unit. Gives a tight, bright, slightly metallic sound. Reflection buildup is very rapid, with high density. Early reflections are mini- mized. Plate 2 An effect similar to Plate 1, but slightly warmer with less density. UltraProteus Operation Manual...
Page 45 EFFECTS SECTION EARLY REFLECTION GROUP All Early Reflection programs have a single Ambience parameter which adds diffusion to the individual reflections. Lower ambience settings cause reflec- tions to become more discrete, simulating harder reflecting surfaces. The early reflection programs are simulations of increasingly large acoustic spaces, from a small studio (Early Refl 1) to a large room like a sound stage (Early Refl 4).
Page 46: Stereo Flanger
The flanger in the UltraProteus is a stereo device consisting of two separate delay lines controlled by a single set of controls. The block diagram of the flanger is shown below.
Page 47 EFFECTS SECTION A Minimum Delay control serves to tune the flanger. In other words, it adjusts the placement of the comb filter notches. The initial delay is variable from 26 microseconds to 6.5 milliseconds. FXA:StereoFlange Min Delay A Low Frequency Oscillator (LFO) varies this initial delay setting, changing the frequency of the notches and adding animation to the sound.
Page 48: Stereo Phaser
Ph a se L In pu t L O ut p ut S hi ft er M in imu m Fre q. Depth L F O Rate FXA:Phaser FXA:Phaser LFO Rate LFO Depth FXA:Phaser FXA:Phaser Min Freq Feedback UltraProteus Operation Manual...
Page 49: Stereo Chorus
LFO Rates generally requiring less LFO Amount and vice-versa. The stereo chorus in the UltraProteus is very similar to the stereo flanger except that the delay time is longer. The delay times for the stereo chorus range from 13 milliseconds to 52 milliseconds, compared with the 26 microsecond to 6.5...
Page 50 Feedback controls how many echoes are produced. A setting of 0 produces only one echo. The delay line is incredibly UltraProteus Operation Manual...
Page 51 EFFECTS SECTION stable even with large amounts of feedback. This quality allows the delay line to be used as a resonator, where it acts as a kind of oscillator when excited by an input signal. Infinite delay effects are also possible without the risk of runaway. The stereo delay can function as two independent delay lines by panning the primary and secondary instruments to the extreme left and right.
Page 52 L In pu t L Ou tp u t L e ft L eft De l ay Ta p L evel FXA:Echo FXA:Echo L DelayTime R DelayTime FXA:Echo FXA:Echo L Tap Level R Tap Level FXA:Echo Feedback UltraProteus Operation Manual...
Page 53: Stereo Delay
EFFECTS SECTION B EFFECTS The B effects include Stereo Flanger, Stereo Chorus, Phaser, Fuzz, Ring Modu- lator, Delay, Cross Delay and Fuzz Lite. Some of the B effects such as the Fuzz and the Ring Modulator are a bit bizarre (you won't want to use them on every sound), but can be used to create some truly amazing effects.
Page 54: Stereo Fuzz
The level of the input sound greatly affects the amount of fuzz, so that UltraProteus' envelopes can now control harmonic content as well as the volume. Output Volume sets the output level of the fuzz. There are two complete fuzz effects, controlled by the same set of controls as shown in the diagram below.
Page 55 EFFECTS SECTION Ring Modulator A Ring Modulator is a device which takes two signals and multiplies them together into one resultant signal containing only the sum and difference frequencies of the two input waves. The original frequencies are not output! However, every harmonic of each signal multiplies every other, according to its amplitude.
Page 56: Ring Modulator
Pan the primary and secondary instruments to left and right in the pan screen, then move to the Effect B screen and select Ring Modulator. There are no parameters to adjust in this effect so the lower line of the display reads: None. FXB:RingModulate None UltraProteus Operation Manual...
Page 57 UltraProteus EFFECTS SECTION Chapter 5: Effects Section...
Page 58 UltraProteus Operation Manual...
Page 59 EFFECTS SECTION Where are the Effects? The effects in UltraProteus are separate from the preset. This is similar to an external effects unit except that the signal path is kept in the digital domain to maintain excellent sound quality. MIDIMAP...
Page 60 FX B ULTRAPROTEUS EFFECT BUS ARCHITECTURE The two stereo effect processors on UltraProteus are designated as A and B effects. “A” effects contain Reverb and other effects. The “B” effects do not include Reverbs, but include a host of other great effects which are listed on page 53.
Page 61 EFFECTS SECTION TO PROGRAM AN EFFECT: 1) Press the MIDIMAP button lighting the LED. 2) Slowly turn the data entry knob clockwise until you find the screen shown below. Select one of the effect processors in the Mix Selection. This selects the input to the effect processors.
Page 62 REVERB Reverberation is a simulation of a natural space such as a room or hall. The reverb effects in UltraProteus simulate various halls, chambers, rooms and reverberation plates. In addition, there are several other reverb effects such as Early Reflections and Rain. There is only one adjustable parameter on the reverbs - Decay Time.
Page 63 EFFECTS SECTION Room programs simulate small rooms with high frequency absorption caused by drapes and furniture. Plates simulate plate type reverbs with their tight, dense early reflections and sharp reverb build-up. Chambers simulate medium sized rooms with hard reflective surfaces. Hall programs recreate the open, spacious ambience of large concert halls.
Page 64 Simulates a plate reverb unit. Gives a tight, bright, slightly metallic sound. Reflection buildup is very rapid, with high density. Early reflections are mini- mized. Plate 2 An effect similar to Plate 1, but slightly warmer with less density. UltraProteus Operation Manual...
Page 65 EFFECTS SECTION EARLY REFLECTION GROUP All Early Reflection programs have a single Ambience parameter which adds diffusion to the individual reflections. Lower ambience settings cause reflec- tions to become more discrete, simulating harder reflecting surfaces. The early reflection programs are simulations of increasingly large acoustic spaces, from a small studio (Early Refl 1) to a large room like a sound stage (Early Refl 4).
Page 66 The flanger in the UltraProteus is a stereo device consisting of two separate delay lines controlled by a single set of controls. The block diagram of the flanger is shown below.
Page 67 EFFECTS SECTION A Minimum Delay control serves to tune the flanger. In other words, it adjusts the placement of the comb filter notches. The initial delay is variable from 26 microseconds to 6.5 milliseconds. FXA:StereoFlange Min Delay A Low Frequency Oscillator (LFO) varies this initial delay setting, changing the frequency of the notches and adding animation to the sound.
Page 68 Ph a se L In pu t L O ut p ut S hi ft er M in imu m Fre q. Depth L F O Rate FXA:Phaser FXA:Phaser LFO Rate LFO Depth FXA:Phaser FXA:Phaser Min Freq Feedback UltraProteus Operation Manual...
Page 69 LFO Rates generally requiring less LFO Amount and vice-versa. The stereo chorus in the UltraProteus is very similar to the stereo flanger except that the delay time is longer. The delay times for the stereo chorus range from 13 milliseconds to 52 milliseconds, compared with the 26 microsecond to 6.5...
Page 70 Feedback controls how many echoes are produced. A setting of 0 produces only one echo. The delay line is incredibly UltraProteus Operation Manual...
Page 71 EFFECTS SECTION stable even with large amounts of feedback. This quality allows the delay line to be used as a resonator, where it acts as a kind of oscillator when excited by an input signal. Infinite delay effects are also possible without the risk of runaway. The stereo delay can function as two independent delay lines by panning the primary and secondary instruments to the extreme left and right.
Page 72 L In pu t L Ou tp u t L e ft L eft De l ay Ta p L evel FXA:Echo FXA:Echo L DelayTime R DelayTime FXA:Echo FXA:Echo L Tap Level R Tap Level FXA:Echo Feedback UltraProteus Operation Manual...
Page 73 EFFECTS SECTION B EFFECTS The B effects include Stereo Flanger, Stereo Chorus, Phaser, Fuzz, Ring Modu- lator, Delay, Cross Delay and Fuzz Lite. Some of the B effects such as the Fuzz and the Ring Modulator are a bit bizarre (you won't want to use them on every sound), but can be used to create some truly amazing effects.
Page 74 The level of the input sound greatly affects the amount of fuzz, so that UltraProteus' envelopes can now control harmonic content as well as the volume. Output Volume sets the output level of the fuzz. There are two complete fuzz effects, controlled by the same set of controls as shown in the diagram below.
Page 75 EFFECTS SECTION Ring Modulator A Ring Modulator is a device which takes two signals and multiplies them together into one resultant signal containing only the sum and difference frequencies of the two input waves. The original frequencies are not output! However, every harmonic of each signal multiplies every other, according to its amplitude.
Page 76 Pan the primary and secondary instruments to left and right in the pan screen, then move to the Effect B screen and select Ring Modulator. There are no parameters to adjust in this effect so the lower line of the display reads: None. FXB:RingModulate None UltraProteus Operation Manual...
Page 77 UltraProteus HYPERPRESET MENU Chapter 6: Hyperpreset Menu...
Page 78 UltraProteus Operation Manual...
Page 79: Hyperpreset Menu
Press the Hyper button, lighting the LED. The current screen will be the HYPERPRESET AS YOU EDIT one most recently selected since powering up UltraProteus. IT, YOU MUST HAVE IT The Hyperpreset to be edited will be the LAST one selected or edited. The...
Page 80: Hyperpreset Name
MENU) IS TURNED ON, ZONES WILL BE SELECTED AS THE KEYBOARD IS PLAYED. IN THE CASE OF OVERLAPPING ZONES, THE LOWEST ZONE NUMBER WILL BE SELECTED. VELOCITY WILL SELECT THE ZONE IF VELOCITY SWITCHING HAS BEEN PROGRAMMED. UltraProteus Operation Manual...
Page 81: Zone Volume And Pan
Zone Key Range Key range sets the keyboard range associated with each of the sixteen possible zones. The key range of each zone can be set anywhere from key C-2 to G8. UltraProteus Keyboard Range MIDI 120 127 Key #...
Page 82: Zone Velocity Range
Because there are sixteen possible zones, presets can be layered 16 deep! VEL RANGE low:000 hi:127 High Velocities Preset (Velocity Range 065-127) Play this Preset Low Velocities Preset (Velocity Range 001-064) Play this Preset Zone Velocity Range allows you to select different preset layers according to key velocity. UltraProteus Operation Manual...
Page 83: Zone Velocity Offset
HYPERPRESET MENU Zone Velocity Offset This function works in conjunction with the Zone Velocity Range feature and adds a programmable offset value to the velocity value applied to the preset. The velocity offset is variable for each zone from -126 to +126. Suppose that a preset is assigned a velocity range of 000-026 (see previous screen).
Page 84: Hyperpreset Portamento Mode
PAGE 239 OF THIS MANUAL. Function Generators contain up to eight segments, each with a level, time, shape, and conditional jump parameter. The Free-Run FG is a kind of “Master” controller which can control all presets contained in a hyperpreset. UltraProteus Operation Manual...
Page 85 HYPERPRESET MENU Hyperpresets contain a slightly different version of the function generator called a Free-Running Function Generator or Free-Run FG. There is one Free-Run FG per hyperpreset (effectively one per MIDI channel). What the Free-Run FG actually controls is programmed in the preset itself. The Free-Run FG differs from the other FGs in two fundamental ways.
Page 86: Save Hyperpreset
Pressing the Enter switch will confirm the operation. Any of the hyperpreset locations may be selected. Saving to a hyper erases the existing hyper in that location. Make sure that the destination does not contain informa- tion you want to keep. SAVE HYPER to... 000 SynBass/Lead UltraProteus Operation Manual...
Page 87: Preset Programming
PRESET PROGRAMMING Chapter 7: Preset Programming...
Page 88: Filter Modulation
One way to represent complex waveforms is to use a chart with frequency on one axis and amplitude on the other. Each vertical line of the chart represents one sine wave at a specific amplitude and frequency. 1440 2880 Frequency UltraProteus Operation Manual...
Page 89 PRESET PROGRAMMING WHAT IS A FILTER? Most of the instruments in UltraProteus are complex waves containing many sine waves of various amplitudes and frequencies. A filter is a device which allows us to remove certain components of a sound depending on its fre- quency.
Page 90 Parametric equalizers are usually either two-pole or three-pole filters. In terms of vintage synthesizers, Moog and ARP synthesizer filters used 4-pole filters, Oberheim synthesizers were famous for their 2-pole filter sound. 4-pole 2-pole Lowpass Lowpass Frequency UltraProteus Operation Manual...
Page 91: Parametric Filters
PRESET PROGRAMMING Using a filter, we now have a way to control the harmonic content of a sampled sound. As it turns out, even a simple low pass filter can simulate the response of many natural sounds. For example, when a piano string is struck by its hammer, there are initially a lot of high frequencies present.
Page 92 The UltraProteus filter is actually much more complex than the four parametric sections described above. As an example of its power, the diagram below shows one of the possible ways that the UltraProteus filter can be configured. This amount of filtering is unprecedented in all of electronic music history.
Page 93 Morph Frequency The UltraProteus Z-plane filter has the unique ability to change its function over time. Filters A and B represent two different complex filters. By changing a single parameter, the Morph, many complex filter parameters can now be changed simultaneously.
Page 94: The Ultraproteus Filter
In the UltraProteus filter there is only one parameter that can be continuously varied in realtime and that is the Morph parameter. Other filter parameters, such as Frequency Tracking, can only be changed at note-on time.
Page 95 PRESET PROGRAMMING Suppose we added yet another dimension to the filter model. We could have the realtime Morph parameter, the Frequency Tracking parameter (set at note-on time) and one more parameter, perhaps controlling the amount of the filter peaks with key velocity. One way to visualize a three-dimensional filter model is shown by the diagram below.
Page 96: Filter Type
Of course, you can put any instrument through the filter and the filter will shape the basic character of the instrument. This “building-block” approach to synthesis is only a part of what makes UltraProteus such a unique and powerful synthesizer.
Page 97: Ultraproteus Signal Flow
PRESET PROGRAMMING ULTRAPROTEUS SIGNAL FLOW Going back to the block diagram for a single channel we can re-examine the complete signal path. Instrument Z-Plane Filter Tone Freq Trans Sample Morph Pitch Start Volume Function Aux. Volume Velocity Possible Gen. DAHDSR...
Page 98: Note-On Modulation Control
FILTER TRANSFORM 2 PRIMARY FILTER TRANSFORM 2 The possible modulation routings are completely flexible as shown in the SECONDARY FILTER TRANSFORM 2 diagram above. Multiple sources can control the same destination, or a single source can control multiple destinations. UltraProteus Operation Manual...
Page 99: Realtime Modulation Control
PRESET PROGRAMMING REALTIME Modulation Destinations MODULATION SOURCES PITCH WHEEL Primary LFO 1 Z-Plane Instrument Tone MIDI CONTROL A Filter Amount Rate MIDI CONTROL B Pitch Morph MIDI CONTROL C Volume LFO 2 MIDI CONTROL D Amount Rate Volume MONO PRESSURE X-Fade AHDSR Portamento...
Page 100: Key Number
MIDI controller. Experiment with the curves to find the one that works best for your style and MIDI controller. Curve 1 Curve 2 Played Velocity Played Velocity Curve 4 Curve 3 Played Velocity Played Velocity UltraProteus Operation Manual...
Page 101: Midi Realtime Controls
Each of the 16 MIDI channels uses basically 3 types of messages; note on/off, program changes, and continuous controller mes- sages. Your MIDI keyboard, in addition to telling UltraProteus which note was played, may also send realtime control information, which simply means occurring in real time or live.
Page 102: Edit Menu
Portamento Rate Primary Portamento Rate Secondary Portamento Rate MIDI Filter Morph Primary Filter Morph Controller Secondary Filter Morph Amount Primary Pan Secondary Pan The MIDI controllers A-B-C-D must have both a source (0-31), and a control destination assigned. UltraProteus Operation Manual...
Page 103 PRESET PROGRAMMING UltraProteus PRESET PROGRAMMING Chapter 7: Preset Programming...
Page 104 PRESET PROGRAMMING UltraProteus Operation Manual...
Page 105: Selecting Midi Channels
It’s easy to create new presets by using the Preset Edit menu to modify existing presets. This is really the best way of getting aquainted with UltraProteus. If you don't like the results, simply change the preset momentarily and you'll be back to the original sound.
Page 106 UltraProteus is designed so that for each of the variable parameters, such as the volume, there is an initial setting which can be changed by a modulation source.
Page 107 PRESET PROGRAMMING MODULATION SOURCES UltraProteus uses three kinds of modulation sources. NOTE-ON MODULATION CONTROL 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 fast the key is pressed.
Page 108 MIDIPATCH Connecting a modulation Source to a Destination is called a Patch. UltraProteus lets you connect the modulation sources in almost any possible way to the modulation destinations. You can even modulate other modulators. Each patch also has an amount parameter which determines “how much”...
Page 109 An envelope can be described as a “contour” which can be used to shape the sound in some way over time. There are two different envelope generators on UltraProteus. The Alternate Volume Envelope generator controls the volume of the primary or secondary instrument over time and has 5 stages: Attack, Hold, Decay, Sustain, and Release.
Page 110 3) The envelope remains at the Sustain level until the key is released, then it glides back down to zero at the programmed Release rate. level time released down When the key is released, the Release phase immediately begins. UltraProteus Operation Manual...
Page 111: Low Frequency Oscillators
A Low Frequency Oscillator or LFO is simply a wave which repeats at a slow rate. The UltraProteus has two multi-wave LFOs for each of its 32 channels. The LFO waveforms are: Triangle, Sine, Square, Sawtooth, and Random, which is a random “sample and hold”...
Page 112: Function Generators
5 if the key is held, but jump to segment 8 whenever the key is released. Jump if Note On ROUTING THE FUNCTION GENERATOR TO CONTROL PITCH MAKES IT EASY TO HEAR WHAT YOU ARE DOING. Jump if Note Off UltraProteus Operation Manual...
Page 113 PRESET PROGRAMMING The jumps are called Conditional Jumps because they only jump if a certain condition is met. For example, the function generator can be programmed to jump to another segment only if the key is still being held. Otherwise it will continue on to the next segment.
Page 114 In the example below, segments 2 and 3 would only be played if the velocity value were 84 or above. Velocity values below 84 would cause the function generator to jump to segment 4. Jump to Segment 4 if Velocity is less than 84 UltraProteus Operation Manual...
Page 115 PRESET PROGRAMMING In the example below the function generator becomes a complex LFO through the use of an “Always End” jump which always forces a jump back to segment 1 from the end of segment 5. Thus the function generator constantly repeats forming a low frequency oscillator.
Page 116 In the example below, the function generator will follow a random course within the limits of ±48. ALWAYS END MEANS ALWAYS Etc. JUMP AT THE END OF THE SEGMENT. Always Jump at End UltraProteus Operation Manual...
Page 117 PRESET PROGRAMMING To access the Random Delta parameter, turn the level value of a function generator one unit past r +127. The random delta (r ∆) symbol appears in the value field. FUNC GEN F1S1 Level r∆-127 A Random Delta level allows the function generator to change by a random amount which does not exceed the random change specified.
Page 118 Note-On time Preset Preset Preset Preset & are not synced Function Function Function Function with each other. Generator Generator Generator Generator There are two Function Generators per Preset which start at the time a note is pressed. UltraProteus Operation Manual...
Page 119 PRESET PROGRAMMING When Presets are Selected, The Free-Run the Free-Run Function Generator ONLY works Function Generator has No Effect in a Hyperpreset. Preset 1 Preset 2 Hyperpreset Morph Volume Preset 1 Preset 2 Free-Run Free-Run Morph Volume Free-Run Free-Run Free-Run Free-Run Hyperpreset The Free-Run Function Generator only works in a Hyperpreset, even though the...
Page 120 UltraProteus PRESET MENU Chapter 8: Preset Menu...
Page 121 UltraProteus Operation Manual...
Page 122: Preset Menu
PRESET MENU The Preset menu contains functions that can be modified by the user and then saved as preset information in one of the user RAM presets. For example, the LFO speed or other parameter can be edited, then the preset can be saved to a user RAM location (0-127, bank 0).
Page 123: Preset Name
ALL OTHER PARAMETERS OF THE PRESET. 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 user preset. INSTRUMENT sec I037 Solo Cello UltraProteus Operation Manual...
Page 124: Volume
This sets the keyboard range for the entire preset and will further limit the primary and secondary keyboard ranges. The key range can be set anywhere from C-2 to G8. KEY RANGE C-2 -> G8 UltraProteus Keyboard Range MIDI 120 127 Key # Name...
Page 125: Primary Key Range
COMBINED TO FORM SPLIT OR Pri Instr. LAYERED KEYBOARDS. SEE THE CHAPTER ON HYPERPRESETS IN THIS MANUAL. Sec Instr. LAYERING TWO INSTRUMENTS This diagram shows how instruments can be layered or “stacked” using the primary and secondary instruments. UltraProteus Operation Manual...
Page 126: Transpose
PRESET MENU Transpose This function allows you to transpose the key of the primary and secondary instruments in semitone intervals by shifting the keyboard position relative to middle C. The transpose range is -36 to +36 semitones. TRANSPOSE USE TRANSPOSE WHEN YOU pri:+00 sec:+00 WANT THE INSTRUMENT'S...
Page 127: Primary Alternate Envelope Parameters
TIMES OF THE ALTERNATE ENVELOPE CAN ALLEVIATE CHANNEL “RIPOFF” PROBLEMS. Secondary Alternate Envelope Parameters ULTRAPROTEUS EXAMINES THE This function allows you to adjust the alternate volume envelope parameters for ALTERNATE ENVELOPE TO the secondary instrument. The parameters are Attack time, Hold time, Decay...
Page 128: Sound Delay
Sound Reverse When sound reverse is turned On, the instrument will be played backwards. Since instruments tend to sound very different when reversed, this function extends the number of possible sounds in UltraProteus. SOUND REVERSE pri:Off sec:On...
Page 129: Nontranspose
THE CASE, TURN LOOP ENABLE OFF. Loop Offset All the UltraProteus instruments have been factory looped for your convenience. The Loop Offset function allows you to modify the Loop Start Point and the Loop Size so you can create your own loops.
Page 130: Solo Mode
PRESET MENU Loop Loop (-) Start Point (+) Start Point Loop Piano Choir Strings Brass Synth Sample Memory Changing the Loop Offset Start point moves the loop forward or backward (+ or -) SOUNDS ARE LOOPED SO THAT through the sample memory, keeping the loop size constant. Large changes will move THEY WILL CONTINUE TO the loop completely out of the original sample.
Page 131: Solo Mode Priority
The portamento is variable from convex exponential (8) to linear, for both the primary and secondary instruments. Using the exponential shapes, the porta- mento rate will slow as the note nears its destination. THE PORTAMENTO SHAPE CAN PORTAMENTO SHAPE BE VARIED FROM LINEAR TO pri:Ex4 sec:Lin CONVEX EXPONENTIAL. UltraProteus Operation Manual...
Page 132: Portamento Mode
PRESET MENU Portamento Mode This function sets the number of notes that will be affected by portamento. For example, if the Portamento Mode is set to two keys and a three-note chord is played, only two of the notes will glide. Notes will glide from the previous note or notes played.
Page 133: Crossfade Direction
Balance + Mod Medium Crossfade Amount Balance + Mod Small Crossfade Amount Balance + Mod Modulation and Crossfade balance are added together to determine the mixture of primary and secondary instruments. Higher values increase the secondary volume. UltraProteus Operation Manual...
Page 134: Cross-Switch Point
PRESET MENU Cross-Switch Point The Cross-Switch point determines the point at which cross-switching will occur when key position or velocity is controlling Cross-Switch. XSWITCH POINT IN ORDER TO CONTROL THE Velocity 064 (E3) CROSS-SWITCH FUNCTION, YOU MUST ASSIGN CROSSFADE TO A MODULATION SOURCE IN Primary Filter Type THE NOTE-ON OR REALTIME...
Page 135: Morph Offset
CONTROL WHICH BRIGHTENS tracking as a tone control. In order to have keyboard tracking, you must also OR DARKENS THE SOUND. patch the “Keyboard to Filter Frequency Tracking” in the Note-On modulation screen. FILT FREQ TRACK pri:000 sec:000 UltraProteus Operation Manual...
Page 136: Filter Transform 2
A way to visualize a three-dimensional filter model is shown in the diagram below. Frequency Tracking Frequency Tracking Frequency Tracking Frequency Tracking Key Number Each UltraProteus filter is actually constructed of up to eight different complex filters. Chapter 8: Preset Menu...
Page 137: Filter Reverse
Filter Transform 2 sets the Initial Point along the Transform 2 axis. Subsequent modulation (from note-on modulation) adds to this initial setting for the primary and secondary filters. MANY OF THE FILTERS IN ULTRAPROTEUS DO NOT USE FILT TRANSFORM 2 TRANSFORM 2. pri:000...
Page 138: Lfo 1 & 2 - Shape & Amount
PRESET MENU LFO 1 - Shape & Amount This screen controls the waveshape and amount of Low Frequency Oscillator 1. The LFO can be used to produce vibrato (when routed to pitch), or tremolo (when routed to volume). The LFO can be routed to control any of the Realtime Modulation destinations (page 123).
Page 139: Function Generator 1 And 2
Linear Generator CondJump Never Parameters CondValue +000 CondDestSeg ROUTING THE FUNCTION GENERATOR TO CONTROL PITCH MAKES IT EASY TO HEAR WHAT YOU ARE DOING. The Function Generator contains eight segments, each with a level and time parameter. UltraProteus Operation Manual...
Page 140 PRESET MENU The function generator can have up to eight segments, each with a Level and a Time parameter. The level parameter can be either positive or negative. Each segment of the function generator can have a different Shape. There are 63 different shapes consisting of various curves, straight and crooked line seg- ments, random, chaos and delays.
Page 141 See the following page. Key End ....... Jumps at the end of the segment if the note value is greater than a positive conditional value or less than a negative conditional value. See the following page. UltraProteus Operation Manual...
Page 142 PRESET MENU For Velocity End & Key End When the value is Positive, a jump FUNC GEN F1S1 occurs if the velocity or key number is CondValue +064 Greater than value shown. When the value is Negative, a jump FUNC GEN F1S1 occurs if the velocity or key number is CondValue...
Page 143: Note-On Modulation Control
PITCH WHEEL PRESSURE SECONDARY FILTER LEVEL, KEY NUMBER VELOCITY (INITIAL SETTING) (INITIAL SETTING) FILTER FREQ. TRACKING, PRIMARY FILTER FREQ. TRACKING SECONDARY FILTER FREQ. Note-On Modulation Sources TRACKING FILTER TRANSFORM 2 PRIMARY FILTER TRANSFORM 2 SECONDARY FILTER TRANSFORM 2 UltraProteus Operation Manual...
Page 144: Realtime Modulation Control
PRESET MENU Realtime Modulation Control REALTIME MODULATION SOURCES These functions allow you to route realtime controllers to any of the modula- PITCH WHEEL tion destinations except Tone, Sample Start, Filter Frequency Tracking and MIDI CONTROL A Filter Transform 2. Up to 10 simultaneous patches may be programmed. For MIDI CONTROL B each modulation patch, there is a source and a destination parameter.
Page 145: Footswitch Control
IN ORDER FOR THE REALTIME MODULATION CONTROL CONTROLLER AMT CONTROLLER AMT AMOUNTS FOR THESE FUNCTIONS TO HAVE A FULL A:+127 B:+127 C:+127 D:+127 RANGE OF CONTROL, THE PRESSURE AND CONTROLLER A-D AMOUNTS MUST BE SET TO +127. UltraProteus Operation Manual...
Page 146: Velocity Curve
PRESET MENU Velocity Curve Incoming velocity data can be modified by a velocity curve in order to provide different types of dynamics in response to your playing or better adapt to the MIDI controller. This function allows you to select one of the four velocity curves available in the Preset menu or leave the velocity data unaltered (Off).
Page 147: Keyboard Center
KEYBOARD CENTER KEY CENTER Keyboard Tuning In addition to the standard equally divided octave tuning, UltraProteus contains four other types of scale tuning and one user-definable tuning. This function selects which tuning will be used in the current preset. The choices of keyboard tunings are: Equal tuning (12 tone equal temperament) Standard Western tuning.
Page 148: Mix Select
PRESET MENU Mix Select This function allows you to direct a particular preset to one of the four destina- tions (Main, Sub 1, FXA, FXB). This routing is utilized if Mix Select for a par- ticular MIDI channel is set to “Preset” in the current Midimap. Otherwise this setting is ignored.
Page 149 UltraProteus Operation Manual...
Page 150: Copy Menu
COPY MENU UltraProteus COPY MENU Chapter 9: Copy Menu...
Page 151 COPY MENU UltraProteus Operation Manual...
Page 152: Copy Preset
COPY MENU FUNCTIONS Copy Preset This function allows you to copy a preset from any location in UltraProteus into REMEMBER TO SAVE YOUR the current preset location. The current preset is the preset showing in the EDITED PRESET, HYPERPRESET main screen.
Page 153: Copy Layer
This function allows you to copy the LFO settings for LFO1, LFO2 or both from another preset into the current preset. There are five options available: 1 to 1, 1 to 2, 2 to 2, 2 to 1, 1 & 2 (Both). COPY LFO 000 PresetName UltraProteus Operation Manual...
Page 154: Copy Function Generator
COPY MENU Copy Function Generator This function allows you to copy the function generator parameters for either FG1, FG2 or both from another preset into the current preset. There are five options available: 1 to 1, 1 to 2, 2 to 2, 2 to 1, 1 & 2 (Both). COPY FUNCGEN 1 1 000 Preset Name Copy Auxiliary Envelope...
Page 155: Copy Hyperpreset
This function allows you to copy all the Free-Run Function Generator param- eters from any hyperpreset into the current hyperpreset location. COPY FREE-RUN FG 000 HyperName Copy Midimap This function allows you to copy an entire midimap into the current midimap location. COPY MIDIMAP M00 MidiName UltraProteus Operation Manual...
Page 156: Copy Channel
COPY MENU Copy Channel This function allows you to copy all the information from a single MIDI channel from any midimap into the current midimap location. Channels may be placed into any other channel number in the current midimap. The parameters that will be copied are: Preset/Hyper, Volume, Pan, Mix, MIDI Enables, and Bank Select.
Page 157: Copy Bank
Presets - RAM to Card, Card to RAM, ROM to RAM, ROM to Card, Hypers - RAM to Card, Card to RAM, MIDImap - RAM to Card, Card to RAM, All - Card to RAM, RAM to Card COPY BANK Presets RAM Card UltraProteus Operation Manual...
Page 158: Step-By-Step
STEP-BY-STEP UltraProteus STEP-BY-STEP Chapter 10: Step-by-Step...
Page 159 STEP-BY-STEP UltraProteus Operation Manual...
Page 160: Editing Presets
EDITING PRESETS A good way to get acquainted with UltraProteus is by examining and editing existing presets. If you hear an effect or a control you like, take the time to discover how it was achieved.
Page 161: Starting From Scratch
The Instrument The instrument is the basis of your sound. The instruments in UltraProteus are digital recordings of various sounds from the simple (sine wave) to the complex (Grand Piano). The second screen in the Preset menu selects the primary instrument.
Page 162: Volume
STEP-BY-STEP Volume Turn the data knob one click to the right to the Volume screen. This screen adjusts the volumes of the two instruments. Refer to the block diagram on the previous page as you adjust the volume of the DCA. VOLUME pri:110 sec:100...
Page 163: Coarse Tuning
LED, dial momentarily to another preset and then go back to the ‘-defPreset-’. Now everything is erased. Set the primary instrument to I337 Synth Pad, press Home/Enter, then slowly turn the data entry knob until you find the screen shown below. ALT VOL ENVELOPE pri:Off sec:Off UltraProteus Operation Manual...
Page 164: Alternate Volume Envelope
Organ produced. Every instrument in UltraProteus has its own volume envelope which is used when the Alternate Envelope parameter is turned Off. By turning the Alternate Strings Volume Envelope On, we can re-shape the instrument's natural volume enve- lope any way we want.
Page 165: Anatomy Of An Envelope
Because this function works by using two instruments per layer, it halves the number of available notes that can be played. Therefore you should only use this feature when necessary to achieve the desired effect. DOUBLE + DETUNE pri:06 sec:Off UltraProteus Operation Manual...
Page 166: Sound Delay
STEP-BY-STEP Sound Delay This function delays the onset of the note after a key is pressed and is mainly used when a secondary instrument is also present. Go ahead and select a sec- ondary instrument now, then come back to this screen to experiment with the delay.
Page 167: Application: Sound Splicing
Finally, the volumes of the two instruments are balanced with the volume control. Splicing is only of the many things you can do with UltraProteus. Think of UltraProteus as an audio construction set, which allows you to mold the sound as you would a piece of clay.
Page 168: Time To Save
STEP-BY-STEP Time to Save? If you wanted to keep this sound, you would have to SAVE it using the Save Preset function (the very last screen in the Preset menu). To save a preset, simply move the cursor to the bottom line of the display, select the preset location where you want to store it, then press Enter.
Page 169 Change the amount to -128 and notice that it now ramps down and comes abruptly back up. Anytime you use a negative amount (in any part of UltraProteus), you Invert the modulation.
Page 170 STEP-BY-STEP Go back to the Realtime Modulation screen and set it as shown below. REALTIME CTRL #0 Lfo1 Pan +127 Notice how the LFO now moves the sound from side to side. The diagram below illustrates the connection you just made. Instrument LFO 1 The Realtime Control screen connects ANY realtime modulation source to...
Page 171: Modulating Modulators
There can be ten Note-On modulations and ten Realtime modulations in each preset. You can probably see why patch diagrams are important (even if they only exist in your mind). They allow you to visualize how the connections are being made inside UltraProteus. UltraProteus Operation Manual...
Page 172: The Ultraproteus Filter
This is what a lot of you have been waiting for. This incredible filter is what puts the Ultra in UltraProteus. If you have not read the section on the Z-Plane Filter in the Preset Programming section, please do so before proceeding, since it contains important background information.
Page 173: Just Do It
“I049 P2 Strings 1”. TRANSFORM 2. The mod wheel is usually transmitted on MIDI controller 01. UltraProteus Controller A is set to controller 01 by default. So if you have not changed this parameter in the Master menu, Controller A is the mod wheel. We want to route Controller A (the mod wheel) to Morph.
Page 174 STEP-BY-STEP Move to the “Filter Frequency Tracking” screen and adjust the primary offset while playing the keyboard. (You must re-key the keyboard to hear the results of changing this value.) As specified, this parameter changes the frequency of the filter, making it brighter as the value is increased. Feel free to adjust the morph parameter as you adjust frequency tracking.
Page 175: Filter Filosophy
The Filter can only act on frequencies that are present in the Instrument. Use the Filter Frequency Tracking control to “fine tune” the filter to the instrument. No sound would be output from the example above because the filter's frequency response and the harmonic spectrum of the instrument do not coincide. UltraProteus Operation Manual...
Page 176 STEP-BY-STEP Original Instrument Spectrum 1440 2880 Frequency Filter Response Instrument Through Filter 1440 2880 Frequency Resulting Frequency Spectrum 1440 2880 Frequency The Filter imposes its response on the harmonic spectrum of the Instrument. Chapter 10: Step-by-Step...
Page 177 Interesting and expressive sounds have many different controls occur- ring simultaneously. Genius is in the details. Take the time to fine tune and polish your creation! UltraProteus Operation Manual...
Page 178: Morphology
The best and ultimately the only way to choose filters is to try them out. UltraProteus is no mere mortal synthesizer with a single filter. UltraProteus has 288 filter types to choose from. Think of the filters as you do instruments: entities which have a particular sound.
Page 179: Using Ultraproteus With A Sequencer
Midimap button and turn the data entry control to the last screen, “Save Midimap to”. Then select a location and press Enter. In order to respond to multiple MIDI channels, UltraProteus 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 the screens until you find MIDI MODE.
Page 180: 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 UltraProteus setup proce- dure automatic and prevent the wrong presets from playing. The basic idea of a pre-sequence setup is to send out a Midimap Select com- mand just before the start of the song.
Page 181 Double+Detune. While this is fine when the SOUND INSTEAD OF “DOUBLE+DETUNE” IN THE hyper is played solo, you may begin to run out of channels when UltraProteus is PRESET MENU. played multi-timbrally. Layered hyperpresets and the Double+Detune function cause extra output channels to be used.
Page 182: Reference Section
UltraProteus REFERENCE SECTION Preset Listing ..................162 Instrument Listing ................164 Drawbar Diagrams ................171 Instrument Locations ................172 Percussion Instrument Locations ............173 Z-Plane Filter Descriptions ..............178 Loop Offset Sample Locations ............. 235 Function Generator Curves ..............239 Func.
Page 183: Factory Ram Presets - Bank 0
13. Vibra Chimes 81. Trumpets 62. Human Drums 29. BriteMarimba 82. Solo Trmbone 96. Latin Drums 95. Tube Attack 83. Trombones 108. Surdo 97. Long Sarong 84. TrumpetBone 99. Plexi Mute 85. FanfareHorns 106. Xylophone 86. Fr. Horn Section UltraProteus Operation Manual...
Page 184: Factory Rom Presets - Bank 1
FACTORY ROM PRESETS - BANK 1 PIANO BRASS BASS/SYNTH BASS DRUMS/PERCUSSION 0. Stereo Grand 3. Pop Brass 7. Funk Pops 14. Standard Kit 16. Heaven 19. Brass Falls 8. Plexi Bass 30. Dance Drums 32. Pianova 35. L.A. Brass 23. Jazz String 46.
Page 185 1. Stereo Grand THE STEREO GRAND PIANO IS A TRUE STEREO GRAND PIANO 2. Stereo Slack 35. E. Guit D 68. Troubador SAMPLES TAKEN FROM THE E-MU 3. Stereo Tight 36. E. Guit E 69. Troubador A PROFORMANCE™ PIANO MODULE.
Page 186 INSTRUMENTS 134. Oboe 168. Jews Harp A 100. Dark Sax 101. Tuba 135. Long Oboe 169. Jews Harp B 102. Trumpet 1 mf 136. Alt. Oboe 170. Jews Harp C 137. WoodWinds 103. Trumpet 1 ff 171. Jews Harp D 104.
Page 187: Instrument Locations
213. Crash Cymbal 247. Maracas 281. Bata Ipu Slap 214. BD/Tom 808 248. The Tabla 282. Bata Enu Tone 249. Bata Drums 215. Snare 808 283. Bata Hi Tone 216. Cowbell 808 250. Udu Drum 284. Bata Hi Mute UltraProteus Operation Manual...
Page 188 PERCUSSION INSTRUMENTS 319. Plexi-Slap C 285. Bata HiSlap 286. Tabla Tone 320. Bonang 287. Tabla Mute A 321. Kenong 288. Tabla Mute B 322. Saron 289. Tabla Mute C 323. Rubbed Bonang 290. Tabla Open 324. Rubbed Kenong 291. Udu Tone 325.
Page 189 365. Low Evens 366. FourOctaves Frequency (log) OCTAVE-5 ODD 1 2 3 4 5 6 7 8 9 10 15 16 17 Harmonic Octave As an example, this chart shows the harmonics present in the Octave 5 Odd waveform. UltraProteus Operation Manual...
Page 190 WAVEFORM INSTRUMENTS STANDARD SYNTHESIZER WAVEFORMS 367. Square 368. SquareChrs1 369. SquareChrs2 370. Sawtooth 371. Filter Saw 372. Sawstack 373. Dark Stack 374. Triangle 375. Ramp SYNTHESIZER & ORGAN WAVEFORMS Single cycle waveforms are sampled waves from various synthesizers and organs. Waveforms highlighted in Bold lettering are multicycle samples. The others are single cycle waveforms.
Page 191 456. Soft Bell 457. Swirly 423. Buzzy Cyc 424. Metlphone 1 458. Tack Attack 425. Metlphone 2 459. ShimmerWave 426. Metlphone 3 460. Mild Tone 461. Ah Wave 427. Metlphone 4 428. Duck Cyc 1 462. Vocal Wave UltraProteus Operation Manual...
Page 192 B3 WAVES - DRAWBAR SETTINGS DRAWBAR DIAGRAMS Each drawbar controls the volume of the associated harmonic or overtone. The 8' drawbar is the fundamental pitch of the sound. You can add animation to the B3 waves (or any other waves) by modulating their pitch or volume with the LFO.
Page 193: Instrument Locations
P2 Strings 1 Instrument 049 MIDI Key # Arco Cello Arco Viola Arco Cello Arco Viola Arco Violin Quartet 2 Instrument 053 Spirit Catcher Didgeridoo B MIDI Key # Bull Roarer Didgeridoo A Didgeridoo C Down Under Instrument 172 UltraProteus Operation Manual...
Page 194: Percussion Instrument Locations
PERCUSSION INSTRUMENT LOCATIONS MIDI Key # Rock Percussion 1 Instrument 183 MIDI Key # Standard 1 Instrument 185 Chapter 11: Reference Section...
Page 195 PERCUSSION INSTRUMENT LOCATIONS Bass Drum Bass Drum MIDI Key # 808 Snare All 808 Instrument 188 MIDI Key # G. MIDI 1 Instrument 193 MIDI Key # G. MIDI 2 Instrument 194 UltraProteus Operation Manual...
Page 196: Percussion Instrument Locations
PERCUSSION INSTRUMENT LOCATIONS Open Hand Tone High Tumba Closed Slap MIDI Key # Hi Tumba Tone Timbale Rimshot High Tumba Open Slap Latin Drums Instrument 245 Wood Maracas Cabasa Guiro Up Block Claves MIDI Key # Guiro Down Ambient Rasp Agogo Bell Latin Percussion Instrument 246...
Page 197 PERCUSSION INSTRUMENT LOCATIONS MIDI Key # World Percussion 1 Instrument 258 MIDI Key # World Percussion 2 Instrument 259 UltraProteus Operation Manual...
Page 198 PERCUSSION INSTRUMENT LOCATIONS Udu Release Udu Slap MIDI Key # Udu Tone Udu Finger Udu Drum Instrument 250 Req Open Deff Mute MIDI Key # Deff Slap Bendir Req Slap Middle Eastern Combi Instrument 261 Accordion MIDI Key # Tambura Sitar East Indian Instrument 262...
Page 199: Z-Plane Filter Descriptions
Freq. Tracking: Moves the notches to 400, 800, 1600, 3200, 6400, 12800Hz, which allows key tracking to keep the “sweet spot” of the flanger centered over the harmonics of the note. Transform 2: Not used. UltraProteus Operation Manual...
Page 200 Z-PLANE FILTER DESCRIPTIONS F004 CubeFlanger A flanging filter featuring deep notches tuned in octaves and a steep roll-off of high frequencies when all axes have no offset. High settings for Trans- form 2 can produce some rather metallic-sounding overtones. Apart from flanging effects, this filter can be used in much the same way as a standard resonant synth filter.
Page 201 Morph: Reveals flat to flange filter Freq. Tracking: Provides key tracking to maintain spectrum Transform 2: Adds volume, different flange Comments: Nice for introducing a subtle flange to a pure sound. Velocity has a natural effect increasing flange depth, volume and brightness. UltraProteus Operation Manual...
Page 202 Z-PLANE FILTER DESCRIPTIONS F014 Flng>Flng3b Morph: Sweeps from flange 1 to 2 Freq. Tracking: Provides key tracking to enhance flanging Transform 2: Increases depth of flange Comments: A gentle sweeper. F015 Flng>Flng4 Morph: Sweeps flange Freq. Tracking: Provides key tracking to enhance flanging. Transform 2: Reduces depth of flange effect with Morph offset, other- wise, increases flange depth.
Page 203 Transform 2: Controls the amplitude of all of the resonances. F024 AOParaVowel Morph: Controls movement between vowels. Freq. Tracking: Shifts all of the resonances up in frequency. Transform 2: Controls the amplitude of all of the resonances. UltraProteus Operation Manual...
Page 204 Z-PLANE FILTER DESCRIPTIONS F025 AUParaVow.4 Morph: Controls movement between vowels. Freq. Tracking: Shifts all of the resonances up in frequency. Transform 2: Controls the amplitude of all of the resonances. F026 UOParaVow.4 Morph: Controls movement between vowels. Freq. Tracking: Shifts all of the resonances up in frequency. Transform 2: Controls the amplitude of all of the resonances.
Page 205 Morph: Sweeps between ‘ah’ and ‘oh’. Freq. Tracking: Provides key tracking to balance keyboard brightness. Transform 2: Provides volume and brightness control with velocity and/or key position. Comments: Transform 2 increases volume and depth of vowel effect. UltraProteus Operation Manual...
Page 206 Z-PLANE FILTER DESCRIPTIONS F040 Vow>Vow2 Morph: Sweeps between ‘ee’ and ‘oh’. Freq. Tracking: Provides key tracking to fix partials. Transform 2: Provides volume and brightness control with velocity and/or key position. Comments: Morphing sweeps between vowels- slight ‘E’ effect. F041 YahYahs.4 Morph: Sweeps between ‘eeya’...
Page 207 This is basically a 2-pole lowpass filter which can be swept from 60Hz to 19.5kHz. Modulating the Frequency Tracking parameter upward will increase filter resonance. A good choice for emulating certain kinds of analog filter effects. Morph: Controls filter cutoff. Freq. Tracking: Controls resonance. Transform 2: Not used. UltraProteus Operation Manual...
Page 208 Z-PLANE FILTER DESCRIPTIONS F051 4 PoleLoQ.4 A resonant low-pass filter emulation. Morphing creates the familiar filter sweep effect. Morph: Controls filter cutoff. Freq. Tracking: Controls filter resonance. Transform 2: Not used. F052 4PoleMidQ.4 A 4-filter version of the classic 4-pole resonant filter found in most analog synthesizers.
Page 209 A high-pass filter with the cutoff point moving from about 160Hz to upwards of 2.5kHz (with a sizable gain in resonance) as the filter is morphed upward. Morph: Higher settings increase cutoff frequency and ‘Q’. Freq. Tracking: Controls filter depth. Transform 2: Not used. UltraProteus Operation Manual...
Page 210 Z-PLANE FILTER DESCRIPTIONS F062 Deep Combs This filter can provide a tremendous variety of comb-filtering and filter sweep effects. Higher frequencies are sharply attenuated with Frequency Tracking and Transform 2 set to low values, so be sure at least one of these is either set in the mid- to high-range, or that a modulator is used to offset.
Page 211 Freq. Tracking: Frequency Tracking opens filter completely at maxi- mum offset. Transform 2: Not used. F071 B BOOST.4 Morph: Boosts frequencies around 60Hz, sweeping to open response. Freq. Tracking: Provides gentle rise at 320Hz and 5kHz. Transform 2: Not used. UltraProteus Operation Manual...
Page 212 Z-PLANE FILTER DESCRIPTIONS F072 BssBOOST2.4 Morph: Boosts frequencies around 60Hz, sweeping to open response. Freq. Tracking: Introduces a dip at 320Hz and a peak at 2059Hz. With axes offset, a bump at 60Hz and 1200Hz is introduced. Transform 2: Not used. F073 BassDrumEQ Morph: Adds low end boost.
Page 213 Morph: Try assigning Control A or Velocity to Morph as a note-on controller. Increasing Morph Offset reveals less muted, more open response. Reverse filter for opposite response. Freq. Tracking: Modulates between a similarly shaped second set of resonances for additional Note-on control. Transform 2: Not used. UltraProteus Operation Manual...
Page 214 Z-PLANE FILTER DESCRIPTIONS F083 Clr>Oboe Morph: Sweeps from Clarinet to Oboe Freq. Tracking: Provides key tracking to fix partials. Transform 2: Provides volume and brightness control with velocity and/or key position. Comments: Strong morphing effect with this filter. Transform 2 takes care of velocity expressivity.
Page 215 Morph: Sweeps from peaks at 100Hz, 300Hz, 400Hz, 600Hz, 900Hz and 1500Hz to peaks at 200Hz, 600Hz, 800Hz, etc. Freq. Tracking: Keyboard tracking. Transform 2: Deepens the effect. Comments: Designed to make interesting cymbal sounds. Both Morph and Frequency Tracking manipulate frequency sweeps. UltraProteus Operation Manual...
Page 216 Z-PLANE FILTER DESCRIPTIONS F094 VelMarim Morph: Sweeps frequencies of small, closely-spaced peaks. Freq. Tracking: Keyboard tracking. Transform 2: Deepens the effect. Comments: Designed to make dynamic marimba sounds using mallet and plate sounds. F095 EZ Vibez.4 Like 098-“Easy Rhodez4”, this is essentially a 2-pole low-pass filter, sweep- ing from a gentle roll-off at 65Hz to reveal a wide open response.
Page 217 Freq. Tracking: Tunes the notch. Transform 2: Controls the lowpass filter cutoff frequency. F104 Qbase.4 Morph: Sweeps from a bright nasal response to accentuated low- frequency boost. Freq. Tracking: Tracks filter with keyboard. Transform 2: Not used. UltraProteus Operation Manual...
Page 218 Z-PLANE FILTER DESCRIPTIONS F105 AcGtrRs.4 This filter is designed to emulate some of the resonant characteristics of an acoustic guitar body. With Morph Offset and Frequency Tracking set to 000, the body is extremely resonant, as if a large acoustic guitar were close- miked near the sound hole.
Page 219 Freq. Tracking: Provides key tracking to fix dissonant partials. Transform 2: Increases bell-like effect, makes brighter, louder. Comments: To be used in conjunction with 0>Bell+. Morphing sweeps partials downwards just away from harmonic values causing bell-like effects. UltraProteus Operation Manual...
Page 220 Z-PLANE FILTER DESCRIPTIONS F115 0>Bell+ Morph: Sweeps from flat to dissonance. Freq. Tracking: Provides key tracking to fix dissonant partials. Transform 2: Increases bell-like effect, makes the sound brighter and louder. Comments: To be used in conjunction with 0>Bell-. Morphing sweeps partials to a different dissonance than with 0>Bell-.
Page 221 Odd>Even Morph: Changes from odds to even harmonics. Freq. Tracking: Provides key tracking to maintain spectrum. Transform 2: Controls brightness and volume. Comments: Odd harmonics are replaced by evens. Can give an impression a raising one octave. UltraProteus Operation Manual...
Page 222 Z-PLANE FILTER DESCRIPTIONS F127 0>Shp1 Morph: Changes from flat to shape. Freq. Tracking: Provides key tracking to maintain spectrum. Transform 2: Controls brightness and volume. Comments: Imposes a vowel like shape on a pure sound. (Can be useful for morphing in and out using two samples.) F128 0>Shp2 Morph: Changes from flat to shape.
Page 223 Morph: Moves from a brickwall low pass to higher frequency, relaxed SLOPE. slope response. Freq. Tracking: Frequency Tracking at maximum inverts effect of morph. Transform 2: Not used. Comments: Designed for Frequency Tracking to control brightness with velocity. UltraProteus Operation Manual...
Page 224 Z-PLANE FILTER DESCRIPTIONS F138 Krators.4 Morph: Provides resonant peaks at low-frequencies, morphing from lower to higher frequency. Freq. Tracking: Controls brightness. Transform 2: Not used. Comments: Designed to control brightness by assigning Velocity to Frequency Tracking. F139 Harmonix.4 Morph: Morphs between complex responses sweeping mid frequency resonances while leaving edges untouched.
Page 225 Morph parameter varies the ‘Q’ settings for most of the peaks and notches, while sweeping the frequency and Q of the first pole. Morph: Sweeps one of the resonant peaks and varies ‘Q’. Freq. Tracking: Tunes the filter. Transform 2: Controls resonance. UltraProteus Operation Manual...
Page 226 Z-PLANE FILTER DESCRIPTIONS F149 Lo/High4 A scattering of poles and zeros with fairly high Q settings produces this very resonant filter. Sweeping the Morph axis produces quite pronounced wa-wa effects in which multiple resonances are clearly audible. Morph Offset and Frequency Tracking can be used to tune the filter, although with Morph Offset set to 255, the filter is essentially flat.
Page 227 Morph: Produces low-pass filter effects. Freq. Tracking: Use to control key tracking or to set overall filter depth. Transform 2: Controls brightness. UltraProteus Operation Manual...
Page 228 Z-PLANE FILTER DESCRIPTIONS F157 Intervallc4 This filter is similar to the ‘Bendup/Swap’ filter, but here the effect is even more pronounced. With Frequency Tracking set to 000, pushing the Morph Offset higher produces and downward sweep of a series of very resonant harmonics.
Page 229 An emulation of a resonant low-pass filter. Both Morph Offset and Fre- quency Tracking control cutoff frequency; the brightest sounds are ob- tained with both these parameters set to 255. Morph & Freq. Tracking: Control filter cutoff. Transform 2: Not used. UltraProteus Operation Manual...
Page 230 Z-PLANE FILTER DESCRIPTIONS F168 CntrySweep4 Multiple peaks are swept in a variety of directions, imparting a phase- shifter-like, almost vocal quality when this filter is morphed. Morph: Set this higher to move widely spaced peaks closer together. Freq. Tracking: Set this higher to move low-frequency peaks towards the higher ranges.
Page 231 Comments: Uses Morph to simulate acoustic versus electric type response to velocity: plucking closer or further from the bridge of a guitar for example. F179 MovingPick2 A variation on “MovingPick1” to simulate different pick positions, for example. Morph moves closer to neck, further from bridge. UltraProteus Operation Manual...
Page 232 Z-PLANE FILTER DESCRIPTIONS F180 Mph+Trns1 Morph: Makes vowel like changes. Freq. Tracking: Provides key tracking to enhance vowel. Transform 2: Controls vowels, brightness, volume. Comments: Uses Morph to sweep from one vowel to another. Transform 2 takes care of velocity expression. F181 0>Odds Morph: Sweeps from flat to odds only.
Page 233 Morph: Use to sweep the filter. Freq. Tracking: Tunes the filter. Transform 2: Controls filter resonance. F189 MildQPole Morph: Sweeps between a shallow roll-off low-pass to almost flat response. Freq. Tracking: Tracks keyboard. Transform 2: At maximum, inverts morph effect. UltraProteus Operation Manual...
Page 234 Z-PLANE FILTER DESCRIPTIONS F190 Bonk>CO A series of highly resonant peaks alternating with notches are spaced at intervals of about an octave. The Morph Offset parameter is used to control ‘Q’ — modulating the Morph Offset upward causes the curve to flatten out. Frequency Tracking can be used to tune the peaks/notches;...
Page 235 F197 TubeJam.4 All rules are broken here. Peaks are intentionally clipped, yet output volume is within tolerance..barely! Only the morph axis is active. Freq. Tracking: Not used. Transform 2: Not used. UltraProteus Operation Manual...
Page 236 Z-PLANE FILTER DESCRIPTIONS VARI-POLE FILTERS This group of lowpass filters all have a variable slope. Variable slope filters are very rare in synthesizers, but the effect of the variable slope occurs in natural sounds. The number of poles relates to the maximum steepness of the filter. F198 Poles 1-7 Morph: Controls filter cut-off (Fc);...
Page 237 Tracker5ths Morph: Increases filter peak gains. Freq. Tracking: Tunes the filter. Transform 2: Use as LP filter (lower values = darker). Harmonic peaks tuned to fifths. For most accurate key tracking, set Key to Freq. Track +127. UltraProteus Operation Manual...
Page 238 Z-PLANE FILTER DESCRIPTIONS F209 InFifths.4 The filter thins and mellows out almost any sound. Morphing has the effect of adding low end warmth. Nice with cellos, hip with trombones. All filters are scaled for Keyboard Center C1. Morph: Starts with the fundamental, and the 5th and their multiples from 65Hz through 16.64kHz attenuated by 18dB.
Page 239 Use Filt. Freq. Track to control whether filter produces peaks or notches (higher values produce peaks), and use Morph to tune them (higher values move them lower in frequency). Increasing Transform 2 flattens response. Morph: Tunes the filter. Freq. Tracking: Controls polarity. Transform 2: Controls overall filter depth. UltraProteus Operation Manual...
Page 240 Z-PLANE FILTER DESCRIPTIONS HARMONIC SHIFTERS These filters are are designed to alter the normal harmonic relationships of instruments by radically shifting the resonant frequency bands using the Morph parameter. The Frequency Tracking parameter allows the filter to “track” specific harmonics as you play up and down the keyboard. F219 HrmncPeaks Filter bands can be tuned using Freq.
Page 241 Higher Transform 2 values result in widely spaced peaks. Morph: Increases depth of notches and peaks. Freq. Tracking: Tunes the filter. Transform 2: Controls polarity. F229 New Boost An attempt to make a more versatile version of the popular F71 B Boost.4 filter. UltraProteus Operation Manual...
Page 242 Z-PLANE FILTER DESCRIPTIONS VOCAL FORMANTS These filters are designed to simulate human vocal resonances. In these filters, all axes control the movement between vowels. Each filter allows a slightly different type of vowel shifting control. F230 Vowel Space2 Imparts a different vowel color to the source at each corner of the cube. No simple shifting of formant frequencies is accomplished by any of the three filter controls.
Page 243 Morph: Controls the height and width of the subtle peaks at resonant frequencies. Freq. Tracking: Tracks filter frequency response with keyboard. This filter works best with Velocity assigned to Morph ≈+150 (use two patch cords) and no key to Filt. Freq. Track assigned. Transform 2: Not Used. UltraProteus Operation Manual...
Page 244 Z-PLANE FILTER DESCRIPTIONS F237 PianoSndBrd Designed for use with the Stereo Grand Piano, the filters in this cube create a variety of resonances designed to imitate the resonances of both the piano soundboard, the surrounding wood, and various mic placements. All filters in this cube are scaled for Keyboard Center, Minimum Morph, Minimum Transform 2.
Page 245 Freq. Tracking: Maintains harmonic filter tracking. Transform 2: Controls timbre choice. (aah <> oohish on choir-like instruments.) F243 Quartet.4 Morph: Widens bump around 1.6kHz while reducing steepness of low- pass slope. Freq. Tracking: Tracks filter over 5 octaves. Transform 2: Not Used. UltraProteus Operation Manual...
Page 246 Z-PLANE FILTER DESCRIPTIONS F244 Mellotron.4 Designed for use with strings, voices, flutes, and synth pads, this filter attenuates certain lows and low mids while boosting upper midrange frequencies to give that unnatural, tweaked Mellotron sound. All filters are scaled for Keyboard Center C1. Morph: Opens filter to allow the natural sample to come through unprocessed.
Page 247 Maximum Morph, Max. Transform 2: Represent the pick position nearer the base of the neck. Tone has body, but also has some high-end “singing.” Determines neck position pickup used. UltraProteus Operation Manual...
Page 248 Z-PLANE FILTER DESCRIPTIONS F252 Breather 1 An easy to adjust filter suitable for using breath control for the simulation of wind and brass instruments etc. Also for keyboard use with breath controllers connected. Full effort blow gives more brightness and volume, soft playing gives mellower, quieter sound with optional timbre change with velocity.
Page 249 Freq. Tracking: Controls the frequencies of the resonances. Assign Velocity to Morph and Key to Filt. Freq. Track. Transform 2: Not Used. F261 New Mute.4 Morph: Higher values flatten filter response. Freq. Tracking: Tunes the filter. Works well for brass muting. Transform 2: Not Used. UltraProteus Operation Manual...
Page 250 Z-PLANE FILTER DESCRIPTIONS F262 Trempeto.4 Morph: At 0 offset, response is a lowpass with bump at ≈50Hz and cut- off before 1000Hz. At 255, filter is flat. Freq. Tracking: Tracks keyboard. Transform 2: Not Used. F263 SfBrzando.4 Morph: Starts with a 12dB overall boost except for a dip at ≈140Hz. At higher values, dip is reduced and boost increased after dip until flattening at 5kHz.
Page 251 Morph: Tracks one set of unevenly-spaced notches from medium to medium high frequencies. Freq. Tracking: Tracks another, lower frequency set of unevenly-spaced notches to higher frequency notches. Transform 2: Reduces overall effect of filter as amount is increased. UltraProteus Operation Manual...
Page 252 Z-PLANE FILTER DESCRIPTIONS F272 Spectra This filter can produce some fairly metallic sounds when Morph is set high and can result in distortion. Use velocity to control Morph for clangorous effects. Some interesting digital chiffs can be produced as well. Best tracking is obtained with Key Center C1, and Key to Filt.
Page 253 (Use headphones for maximum effect.) Morph: Sweeps transform peak and notches from high to very high frequency. Freq. Tracking: Reverses left and right filters, regardless of morphing level. Transform 2: Gradually increases brightness and volume. UltraProteus Operation Manual...
Page 254 Z-PLANE FILTER DESCRIPTIONS F282 Head Pan 2 The same as F281 Head Pan 1 with the Frequency Tracking filters reversed for the opposite ear. Morph: Sweeps apparent elevation angle from low to high. Freq. Tracking: Shifts apparent azimuth from left to right. Transform 2: Shifts apparent distance from far to near.
Page 255 Transform 2: Sweeps a single pole. F288 AllPoleDst2 Warning: This filter can easily overload. Morph: Sweeps the frequency of a single zero. Freq. Tracking: Lower settings rolloff highs, higher settings rolloff lows. Transform 2: Higher values increase overall Q. UltraProteus Operation Manual...
Page 256: Loop Offset Sample Locations
LOOP OFFSET SAMPLE LOCATIONS This listing represents the actual order of the ROM samples in memory. This information may be useful when adjusting the Loop Offset parameters in the preset menu. When the loop size reaches the end of memory, it jumps back to the start.
Page 257 UltraProteus Operation Manual...
Page 258 LOOP OFFSET SAMPLE LOCATIONS synthcyc2 d4 icebell e5 arcbasses f1 piccolo d3 synthcyc3 d4 icebell e6 arcbasses a1 bclarinet c1 synthcyc4 d4 bronzeage e3 arcobasses d2 bclarinet e1 fundgone1 d4 bronzeage e6 arcbasses f2 bclarinet g1 fundgone2 d4 ironplate d4 arcbasses a2 bclarinet c2 bitecyc d4...
Page 259 …End troubharp c3 siku f3 iputone troubharp f3 charmerloop ipuslap troubhrp a3 neyflute b2 enutone irishharp c3 neyflute f3 batatone irishharp f3 neyflute b3 batamute irishharp a3 neyflute a4 bataslap dlcmr c2 bagpipedrn a crickets UltraProteus Operation Manual...
Page 260: Function Generator Curves
FUNCTION GENERATOR CURVES Linear Exponential +1 Exponential +2 Exponential +3 Exponential +5 Exponential +4 Exponential +6 Exponential +7 Chapter 11: Reference Section...
Page 261 FUNCTION GENERATOR CURVES Circle 1.4 Circle 1.6 Circle 1.8 Circle 1.16 Squeeze Fast Line 1 Fast Line 2 Fast Line 3 UltraProteus Operation Manual...
Page 262 FUNCTION GENERATOR CURVES Medium Line 1 Medium Line 2 Slow Ramp 1 Slow Ramp 2 Bloom Bloom 2 Circle 1.16 R Circle 1.8 R Chapter 11: Reference Section...
Page 263: Function Generator Curves
SPECIFIED TIME, THEN OUTPUTS THE LEVEL. DC DELAY OUTPUTS THE LEVEL, THEN WAITS FOR THE SPECIFIED TIME BEFORE MOVING ON TO THE NEXT SEGMENT. THESE TWO SHAPES ARE USEFUL FOR CREATING STEPPED MINI- SEQUENCES. Curve 2x Curve 2x B UltraProteus Operation Manual...
Page 264 FUNCTION GENERATOR CURVES Curve 2x C Ziz-Zag 1 Ziz-Zag 2 Ziz-Zag 3 Chaos 03 Chaos 06 Chaos 12 Chaos 16 Chapter 11: Reference Section...
Page 265 FUNCTION GENERATOR CURVES Chaos 25 Chaos 33 Chaos 37 Chaos 50 Chaos 66 Chaos 75 Chaos 95 Chaos 99 UltraProteus Operation Manual...
Page 266 FUNCTION GENERATOR CURVES Linear Shuffle Linear Shuffle 2 Random A Random B Random C Random D Random E Random F Chapter 11: Reference Section...
Page 267 FUNCTION GENERATOR CURVES Random G Random H Random I Random J Random K Random L Random Z UltraProteus Operation Manual...
Page 268: Function Generator, Lfo & Envelope Specifications
FUNCTION GENERATOR, LFO & ENVELOPE SPECIFICATIONS DELAY T IM ES LF O RA TES Displa y Ti m e (se c s) Disp la y R ate ( Hz ) .0 2 .0 52 .1 0 .1 8 .3 8 .8 9 1.
Page 269: Technical Specifications
Stereo Phase: ..........Phase Coherent ±1˚ at 1 kHz Filter: ............(32) 14-pole Z-Plane Filters (32) LP Tone Filters Power Requirements: ........ 25 watts Dimensions: ..........H: 1.75" W: 19" L: 8.5" Weight: ............6 lb, 14 oz (3.1 Kg) UltraProteus Operation Manual...
Page 270: Midi Implementation Chart
Mode 3: OMNI OFF, POLY Mode 4: OMNI OFF, MONO GENERAL INFORMATION FOR ULTRAPROTEUS SYSEX • Product ID for UltraProteus is 0C. • Device ID is [00-0F] (0-15 decimal). • Parameter Number and Parameter Value are 2 bytes each. • Since MIDI data bytes cannot be greater than [7F] (127 decimal), the data values are “nibble-ized”...
Page 271: Midi Specifications
From Mono Mode ... Mono Off turns Poly On; Omni On turns Omni On. From Multi Mode .... Omni On turns Omni On; Omni Off or Mono Off turns Poly On; Mono On turns Mono On. All other changes have no effect. UltraProteus Operation Manual...
Page 272: Midi Specifications
Warning: When transferring preset banks and tuning table data back and forth CHANGING THE CURRENT from UltraProteus to a computer, the data should be recorded as you would a PRESET, HYPER OR MIDIMAP regular sequence. Sending the data in one huge chunk will clog the input buffer...
Page 273 MIDI SPECIFICATION COMMAND SUMMARY The following SysEx Command IDs are recognized by UltraProteus. Command Function Number Preset Request Preset Data Parameter Request Parameter Data Tune Table Request Tune Table Data Prog Map Request Prog Map Data Master Data Request Unused...
Page 274 0-127 RAM, 128-255 ROM, 256-319 CARD. Values 0x0400+ bank number represent request for banks. (Banks are blocks of 128 presets.) SysEx Status Byte E-mu Mfg. ID UltraProteus Product ID Device ID 0-15 Command ID lsb Preset Number msb Preset Number...
Page 275 LFO Shape 0-4, Rand, Tri, Sine, Saw, Square LFO Rate 0-127 LFO Delay 0-127 LFO Variation 0-127 LFO Amount -128 to +127 2 LFOs (5 parms each) FG Amount -128 to +127 FG Seg Level See FUNCGEN LEVELS UltraProteus Operation Manual...
Page 276 MIDI SPECIFICATION Offset Name Range FG Seg Time 0-4095 msecs FG Seg Shape See FUNCGEN SHAPES chart FG Seg CondJump See FUNCGEN CONDITIONS chart ± 127 FG Seg CondVal FG Seg DestSeg 0-7 segment number 8 funcgen segments (6 parms each) 2 function generators (49 parms each) Aux Env Delay 0-127...
Page 277 0-127 RAM, 128-255 CARD. Values 0x0400 + bank number represent request for banks. (Banks are blocks of 128 Hyperpresets.) SysEx Status Byte E-mu Mfg ID UltraProteus Product ID Device ID 0-15 Command ID Hyperpreset Number ls byte Hyperpreset Number ms byte...
Page 278 MASTER settings or individual parameter requests. Values 0x0400 + bank number represent request for banks. (Banks are blocks of 16 Midimaps.) SysEx Status Byte E-mu Mfg. ID UltraProteus Product ID Device ID 0-15 Command ID ls byte Midimap Number...
Page 279 Version 01 of the midimap follows. If map is sent to current selected location, the scratch map will be loaded from the newly stored map. Midimap numbers: 0-15 RAM, 16-31 CARD SysEx Status Byte E-mu Mfg. ID UltraProteus Product ID Device ID 0-15 Command ID Data Version Midimap Number ls byte...
Page 280 Individual parameter editing uses a unique parm number for each editable parm. See PARAMETER NUMBERS chart for a listing of the param- eters. SysEx Status Byte E-mu Mfg. ID UltraProteus Product ID Device ID 0-15 Command ID Parm Number ls byte Parm Number ms byte...
Page 281 SysEx Status Byte E-mu Mfg. ID UltraProteus Product ID Device ID 0-15 Command ID Table Number (only 1 table in UltraProteus) ls byte of Tune Value ms byte of Tune Value 128 total entries End of SysEx Status Program Map Request SysEx Status Byte E-mu Mfg.
Page 282 MIDI SPECIFICATION Program Map Data SysEx Status Byte E-mu Mfg. ID UltraProteus Product ID Device ID 0-15 Command ID Map Number, 0-3 ls byte of Program Number ms byte of Program Number 128 total entries End of SysEx Status Master Settings Request SysEx Status Byte E-mu Mfg.
Page 283 Device ID 0-15 Command ID End of SysEx Status Version Data SysEx Status Byte E-mu Mfg. ID UltraProteus Product ID Device ID 0-15 Command ID Version Code for UltraProteus Revision x.xx (i.e. 1.00) End of SysEx Status UltraProteus Operation Manual...
Page 284 This command can be used to determine if a card is presently installed. SysEx Status Byte E-mu Mfg. ID UltraProteus Product ID Device ID 0-15 Command ID End of SysEx Status...
Page 285 MIDI SPECIFICATION Instrument List Request Request list of available instruments. See data message for format of response. SysEx Status Byte E-mu Mfg. ID UltraProteus Product ID Device ID 0-15 Command ID End of SysEx Status Instrument List Data List of currently available instruments and their ids in the order they appear in the box.
Page 286 List of currently available filters and their ids in the order they appear in the box. See FILTER TYPES for information regarding interpretation of this data. SysEx StatusByte E-mu Mfg. ID UltraProteus Product ID Device ID 0-15 Command ID lsb Number of Filters...
Page 287 MIDI SPECIFICATION Preset List Data List of currently available presets in the order they appear in UltraProteus. SysEx Status Byte E-mu Mfg. ID UltraProteus Product ID Device ID 0-15 Command ID lsb Number of Presets msb Number of Presets Preset Name...
Page 288 UltraProteus Product ID Device ID 0-15 Command ID End of SysEx Status Midimap List Data List of currently available midimaps in the order as they appear in UltraProteus. SysEx Status Byte E-mu Mfg. ID UltraProteus Product ID Device ID 0-15...
Page 289 List of currently available effects and their IDs in the order they appear in the box. See EFFECT TYPES for information regarding the interpretation of this data. SysEx Status Byte E-mu Mfg. ID UltraProteus Product ID Device ID 0-15 Command ID lsb Number of A Effects msb Number of A Effects...
Page 290 You can use a PARAMETER request to determine what the current edit buffer number is for each of the types. SysEx Status byte E-mu Mfg. ID UltraProteus Product ID Device ID (0-15) Command ID Buffer type 0 = Preset, 1 = Stack, 2 = Midimap...
Page 291 Value Velocity Pitchwheel Control A Control B Control C Control D Mono Pressure Free-run Function Generator The realtime patchcord sources, valid for UltraProteus, are as follows: MIDI Description Value Pitchwheel Control A Control B Control C Control D Mono Pressure...
Page 292 The MIDI patchcord destination numbers are unique across all Proteus type products. Note-on and realtime numbers are shared. The chart shows whether a cord is available to note-on (NO) realtime (RT) or both. The patchcord destina- tions available to UltraProteus are as follows: MIDI Description...
Page 293 The function generator shapes are as follows: MIDI Shape MIDI Shape Value Name Value Name Linear Squeeze Expo+1 FastLn1 Expo+2 FastLn2 Expo+3 FastLn3 Expo+4 MedLn1 Expo+5 MedLn2 Expo+6 SlwRmp1 Expo+7 SlwRmp2 Circ1.4 Bloom Circ1.6 Bloom2 Circ1.8 Cr1.16R Cir1.16 Cir1.8R UltraProteus Operation Manual...
Page 294 MIDI SPECIFICATION MIDI Shape MIDI Shape Value Name Value Name Cir1.6R Chaos50 Cir1.4R Chaos66 SlwCrv1 Chaos75 SlwCrv2 Chaos95 DelayDC Chaos99 DCdelay LinShfl Curve2X LnShfl2 Curv2XB RandomA Curv2XC RandomB ZizZag1 RandomC ZizZag2 RandomD ZizZag3 RandomE Chaos03 RandomF Chaos06 RandomG Chaos12 RandomH Chaos16 RandomI Chaos25...
Page 295 The number of parms active for any filter is determined by the number of frames in the filter. Number of Active Frames Parms Morph Morph, Frequency Track Morph, Frequency Track, Transform 2 Morph, Frequency Track, Transform 2 UltraProteus Operation Manual...
Page 296 MIDI SPECIFICATION Transform Filter Type 2 frame filter 4 frame “square” filter 6 frame “phantom cube” filter 8 frame “cube” filter unused 4 frame “square” filter, gain reduced Effect Types Use the EFFECT LIST command to get a list of the currently available EFFECTS and their IDs.
Page 297 (romset<<8) + index. bits 8-13 = romset number. bits 0-7 is an index into the romset. The UltraProteus contains romsets number 9 & 10. Instrument numbers start at 2304 for romset 9 and 2560 for romset 10. Program Numbers The mapping of program numbers for preset changes and midimap program...
Page 298: Sysex Tutorial
SYSEX TUTORIAL 14-BIT SIGNED 2'S COMPLEMENT NUMBERS If the data value is negative, you must first take the 2's complement of the number: In the case of a 14-bit number this is equivalent to adding 16384 to the original negative value. To fit the 7-bit MIDI protocol, numbers must be “nibble-ized”.
Page 299 7) The completed message is: F0 18 0C 00 03 5D 40 00 00 F7. 8) If we wanted to change the waveform to Square, the message would be: F0 18 0C 00 03 5D 40 04 00 F7. Substitute 04 00 for 00 00 in the data bytes (lsb first). UltraProteus Operation Manual...
Page 300 SYSEX TUTORIAL HOW TO EDIT A GLOBAL PARAMETER Parameter data editing is accomplished using the format described on page 259. System Exclusive Status Byte E-mu Mfg. ID Ultra Product ID Byte Device ID 0-15 SEE MIDI MODE IN THE MASTER...
Page 301 6) From the table on page 259 we see that the FXA Amount range is 0-100%. Simply send the desired amount in Hexadecimal. 50 in Hex = 32, or 00 32. 7) The completed message is (lsb first): F0 18 0C 00 03 63 12 32 00 F7. UltraProteus Operation Manual...
Page 302: Index
INDEX “A” effects list 42 Data entry control 13 A-B-C-D controllers 24, 97-98, 122-124 DCA 93 About sampling 9 Decay 73, 144 Aftertouch 71 Delay 50, 53 73 Alternate volume envelope 73, 105, 143 Demo sequence select 13 Attack 73, 144 Demo sequences 16 Audio outputs 5, 6 Dimensions: 248...
Page 303: Memory Card
MIDI basic channel 22 Zone velocity range 62 MIDI channel selection 14 Zone volume 61 MIDI controller amount 124 Hyperpreset menu select button 12 MIDI controller assign 24 Hyperpreset name 60 MIDI enables 32 MIDI footswitch control 24 UltraProteus Operation Manual...
Page 304: Multi-Timbral Operation
INDEX M (cont) Phaser 48 Pitch tune 63 MIDI implementation chart 249 Pitch wheel 124 MIDI in 5, 6, 7 Pitch bend range 124 MIDI mode 22 Pitch wheel 71 MIDI mode change 22 Plates, reverb 43 MIDI modes 22 Poles 86 MIDI out 6 Poly mode 22...
Page 305 Secondary instrument 102 Vocal filters 221 Send, MIDI data 24 Volume 61, 103, 141 Setup, UltraProteus 5 Volume Control 12 Sequencer, using UltraProteus 158-159 Shimmer effect 43 Sine, LFO wave 75 Weight: 248 Solo mode 109 Wind mode 109 Solo mode priority 110...
Page 306: Warranty
• Deterioration or damage of the cabinet. • Damages occurring during any shipment of the product for any reason. • An E-mu product that has in any way been modified by anyone other than E-mu Systems, Inc. Limitation of Implied Warranties No warranty is expressed or implied.
Page 307 NOTES UltraProteus Operation Manual...

E-Mu Ultraproteus Operation Manual

MIDIMAP MENU (Cont)

Effects Section

Hyperpreset Menu

Preset Programming

Preset Menu

PRESET MENU (Cont)

Copy Menu

Step-By-Step

STEP-BY-STEP (Cont)

Reference Section

Index

Quick Links

Related Manuals for E-Mu Ultraproteus

Summary of Contents for E-Mu Ultraproteus

Table of Contents