EMU PROTEUS FOR SALE PATCH
Proteus offered a then-whopping 32 voices of polyphony and was part multitimbral by default, making it the ideal companion for computer musicians looking for something to connect to and control with their newfangled software sequencers.īecause it was possessed of neither filters or effects, the Proteus was largely seen as a prefab band-in-a-box, yet it did provide some amount of patch editing. It made use of a brand new chip, an elegant single-space rack-mountable enclosure, and a tidy collection of high-quality bit sampled sounds yanked from the not-inconsiderable library the company had developed for its costly samplers. Designed as a stop-gap product after EIII sampler sales had proven less than stellar, the Proteus was brilliantly simple, and utterly prescient. The trouble is, these instruments carried with them some overlap with the other hot product of the day: the software sequencer.īy the end of the '80s, many electronic musicians had gleaned that the personal computer represented the future, offering unparalleled flexibility and power to those who could afford one. With such a machine, it was possible to create complete - if simplified - productions entirely at home. The keyboard workstation was indeed a terrific instrument to own. Other manufacturers had jumped into the fray and these all-in-one instruments were quickly becoming the mainstays of both storefront and stage.
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Most likely would not have purchased it at full price.The late '80s was the era of the synthesiser workstation. I have to admit, I got mine at a serious discount. I guess sometimes I want that old school sound and sometimes I want that fresh modern sound too. but seriously I do get what you're saying. It's weird that you never hear a jazz musician saying the Rhodes sound is hammered or rocker saying the Strat is hammered or a polka musician saying the accordion.well you get my point. every studio I used to go into had a proteus 2000 at least and thats going back a fair few years.
If it's good for you then cool, but it's been seriously hammered in the genre I know very well. but trying to get sounds I don't have is REALLY tough for me. I could get it from DSF, but well I was an early adopter to s8 and didn't wait for the deals.
Would you buy it at $232 though (thats the price here). Now if realism is what you're after then by all mean the Proteus is not a good choice. My point was people will pass on a Proteus module because it sounds old then buy a Mellotron vst because. Though that wasn't exactly the point I was arguing. You're absolutely right their are much better emulations of those particular instruments out there. Have you ever compared the Rhodes from the P2000 with something that has 50x the number of samples, it's loop-free, recorded in stereo and with no less than 10 dynamic levels? But buying these sounds today and for $300 would be sheer madness, considering that for about the same amount you can get Kontakt 3 or a similar package that comes with tens of gigabytes of high-quality stereo samples. If you still have some of these modules in a rack, you may want to keep them just because they're worth nothing on the used market ($50?) and you may still want to occasionally use a patch or two. Not to mention the better orchestral VSTs.
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The orchestral sounds that come with Dimension Pro are light-years ahead of this dinosaur. V2000 - This is definitely the most useless. Planet Earth - great at the time it was released (1999?), especially for the percussions, but not even close to something like MOTU Ethno or better. Mo' Phatt - I don't have this one and I'm not into hip-hop, but reportedly they're very "dated" sounds/loops. P2000 - a few nice patches, especially those I made myself, but the bread & butter isn't up to today's standards. I actually still have some these romplers or rom cards in my studio. Is the E-MU Proteus Pack worth the money, $299.00.
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