E-Mu PROTEUS FX Instrucciones de operaciones descargar pdf (Pagina 88)

86

STEP-BY-STEP

Now your song will play perfectly every

time using the proper presets, volumes

and pan positions. In addition, presets,

volumes and pan positions (or anything

else for that matter) can be adjusted in

realtime during the song. Note: If the

wrong presets are being selected, check

the MIDI Program -> Preset Map.

To carry the pre-sequence setup even

further, you can even include preset data

for each preset used in the sequence. See

page 27 for details.

USING THE 32 CHANNELS

As stated earlier, Proteus FX has 32

independent audio channels which are

utilized as needed. With 32 channels and

512 presets, you have a universe of sonic

textures at your disposal. But you have

probably noticed that many of the best

sounding presets in Proteus FX are linked

with other presets or have chorus applied

to them in order to make them sound

larger. While this is fine when the preset

is played solo, you may begin to run out

of channels when Proteus FX is played

multi-timbrally. Linking and chorusing

cause twice as many channels to be used

by the preset. Learn to “budget” your

output channels for maximum efficiency.

CHANNEL RIPOFF

When Proteus FX uses up all its 32

channels and needs more, it steals a

channel from the key that has been held

the longest. This is commonly known as

“channel ripoff”. You will most commonly

encounter this ripoff when using Proteus

FX in multi-timbral mode. To eliminate

ripoff you must either, play fewer notes,

use simpler sounds, turn off doubling

(pri/sec, chorus, or linked presets), or use

MIDI overflow to another Proteus FX.

INSTRUMENT DEFINITION

If your sequence has an instrumental

section using numerous chord it may be

advantageous to use a basic preset with-

out links or chorus. A preset will sound

much different alone than when com-

bined with an ensemble. Try to resist the

temptation to make every sound as fat as

possible or you can wind up with “MIDI

Soup”, a huge, stifling sound with every

possible audio frequency filled. A solo

saxophone in a band isn’t chorused and it

sounds great. Each voice in your compo-

sition should have it’s own identity. Save

the monster sounds for solos or dramatic

effects.

1 2 ... 83 84 85 86 87 88 89 90 91 92 93 ... 121 122

Comentarios a estos manuales

Sin comentarios