A number of modulation sources can also be sync'ed to MIDI clock, as can certain rhythmic patches.įor programming in greater depth, the patching system also includes 'arithmetic modifiers', though there's no need to be intimidated by the prospect of editing. There is MIDI control over most parameters and internal modulation sources are routed via a virtual patchcord system to any of 64 destinations via up to 24 'patch cords' per layer. The modulation facilities of the Proteus 2000 rival those of a modular synth and include three envelope generators and two LFOs for each layer of a patch. I'm also pleased to see that reverb is used sparingly in the factory patches, rather than being laid on with a trowel as so often seems to be the case. Nevertheless, most of the sounds seem to stand up well with little more than a light dusting of reverb. However, the amount of effect applied to each part may be varied. There are two 24‑bit multi‑effects units, though in multitimbral mode these have to be applied globally. Layers may be switched or crossfaded by velocity, keyboard position, real‑time MIDI control or from an internal modulation source. Patches comprise up to four layers, with independent amplitude envelopes and filters for each of the layers, as well as comprehensive modulation facilities. There seems to be a large number of these audition phrases, and they can be sent out over MIDI if you're interested in seeing how they're put together. This runs continuously when the Audition button is on, and when you change to a new patch, the audition phrase changes accordingly - a great way to get a feel for the sounds in a music store.
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An automatic audition function, that plays short sequenced phrases appropriate to the current patch, is included so that sounds can be checked out quickly, even when no keyboard is connected. To help you to find your way around all these patches, there's a feature called Sound Navigator that allows sounds to be defined and searched for by type. When expansion cards are added, more factory presets are also added, though the number of user memories remains fixed at 512. The user banks are filled with copies of factory patches.
Emu proteus 2000 plus#
Patches are arranged in banks of 128 and, as supplied, the instrument has four banks of user memories, plus eight banks of 'factory' presets on the Composer card along with all the currently available waveforms. Not only does this allow users to create their own waveform samples, it also opens up the market for third‑party companies to supply additional sound banks. In theory, you could get the entire Proteus‑series back catalogue onto a single expansion card - something that would certainly interest me.Īs well as the proposed expansion ROM cards, Emu have developed a compatible Flash RAM expander card that can be programmed within their new E‑series Ultra instruments (namely the E6400 Ultra, Esynth Ultra, and E4XT Ultra). These cards will be either 16 or 32Mb each, and though none are currently available, it is expected that the range will include many of the sounds from the earlier Proteus, Planet Phatt and Orbit models, as well as new orchestral, contemporary and dance‑orientated sets.
Emu proteus 2000 free#
This leaves three slots free for expander cards of your choice. The 'Composer' sound set provided with all basic machines is on a SIMM card and plugs into one of the four 32Mb expansion slots. The Proteus 2000 departs from tradition in that there are no hard‑wired factory sounds. The front‑panel controls comprise just six knobs and nine buttons, not including the mains switch, but behind this simple facade is a powerful editing system. Presented in a rackmount case that's styled along the same lines as the Audity 2000, the Proteus 2000 features 128‑voice polyphony with 32‑part multitimbrality via two separate MIDI In ports. However, it's a very different sounding instrument to the Roland JV2080 and would actually complement it very well if you were in a position to afford both. It also has resonant filters and is expandable via internal ROM cards.
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It's quite obvious that Emu looked at Roland's successful JV1080 and JV2080 synths, then decided to go down a similar route - while at the same time trying to offer more of just about everything! Like the Roland models, the Proteus 2000's patches can comprise up to four layers. And although still sample‑based, it is a vastly more powerful instrument than the original. Now the Proteus is back with a vengeance, in the guise of the Proteus 2000. But in recent years, the company seems to have turned its attention away from traditional synths to concentrate on samplers and dedicated dance instruments.
Emu proteus 2000 series#
We meet the reviewer's dream - a powerful synth that's versatile, easy to use, easy to edit and even demonstrates its own patches for you!Įmu's original Proteus series of synthesizer modules was enormously well respected, and even today there are musicians who wouldn't want to be without them.