proteus 1 on the tour

At 4:44, below the JV-2080.

Future Sound of London equipment list from the August 1992 issue of Music Technology Magazine:

Instruments

Akai S612 Sampler + MD280 Disk Drive Akai S900 Sampler Akai S1000 Sampler w/8Mb memory E-mu Proteus/1 w/Protologic board Jen SX1000 Synth Roland D110 Synth Module Roland JX3P Synth Roland MC202 Monosynth Roland MKS50 Synth Module + PG300 Programmer Roland TB303 Bass Synth Roland TR606 Drum Machine Yamaha DS55 Synth Yamaha TX81Z

Effects

Alesis Quadraverb (x2) Alesis MIDIverb II BBE 422A Sonic Maximiser Bel Electronics BD80 Digital Delay Drawmer DS201 Dual Gate Fostex 3070 Compressor/Limiter Ibanez DM1100 Digital Delay Korg DRV1000 Digital Reverb Yamaha SPX90 Multi effects Processor

Recording

Aiwa HDX1 DAT Recorder Atari 1040ST Computer w/C-lab Creator software Fostex B16 Multitrack Groove MC2V MIDI/CV Converter Korg KMS30 Sync Unit Nakamichi 480Z Cassette Deck Sony DTC1000ES DAT Recorder Soundtracs CM4400 Mixing Desk Technics SL1200 Mk2 Turntable Yamaha NS10M Monitors

The Body Bags score was composed using Digital Performer software running on a Macintosh Iicx computer. Sampling was done with an Emulator IIIxp and a Forat F16. Other electronic instruments include Hammond B3, Wurlitzer electric piano, MicroMoog, Roland MKS80, D550, Prophet VS, Yamaha DX and TX series, EMU Proteus 1 and 2, Korg M1r and M1rex, and an AKAI 612.

The score was digitally recorded using Alesis ADATs and BRC and John Hardy microphone preamps. Microphones included AKG414, Shure VP88 and SM57. The music was mixed on a custom Speck Electronics model 62 console. Signal processors used include: Behringer MDX 2000, SNR 802, DBX165a, B&B and Troisi cq, Dyna-Mite, Aphex expander gates, Lexicon and Yamaha Reverbs, Zoom, TC and Korg delays. Additional DSP and editing done in Sound Designer/Sound Tools. -John Carpenter

E-Mu Proteus 1 is included in the list of synths/samplers used by Pet Shop Boys.

This article states that Jerry's studio includes "Clavia Nord Electro 2, Clavia Nord Lead, E-mu ESI-32, E-mu Proteus 1, E-mu XP, Korg Wavestation, Roland D-550, Sequential Circuits Prophet T8, Voce V3, Waldorf Microwave, Yamaha DX7, and Yamaha TX-816."

Included in Andy McCluskey's equipment list, published in a 1993 issue of Sound on Sound.

Mentioned in a May 2002 Keyboard magazine article by Hardy Fox.

Of course there are E-mu rack units, like Proteus (still around somewhere).

Youth professes an affection for analogue keyboards and a strong dislike of FM synthesis. "I don't like modern keyboards too much. I leave them to jingle writers. Those modern sounds are so associative of those advertising images that I prefer to stay well away from them. But of course they end up using your music anyway [laughs]." The only modern keyboard which has his approval is the Roland JD800, because of its "analogue versatility. It's hands-on, direct communication with the machine, rather than numerical, mathematical communication. You can change the sounds very quickly. One of the most important things with equipment is how much time they take to use and program." Hence the presence of keyboards like Alpha Juno 2, Juno 106, Oberheim OB-X (MIDI), SH101 + MCV, Korg MS1, Proteus, Proteus World, plus of course the JD800 in the main studio in the basement. There are also the well tested TR808 and 909, plus Akais S1000 and S1100.

As cited in the gear list of this May '92 feature in Music Tech magazine

A token nod to contemporary keyboard equipment comes courtesy of the Waldorf Microwave and Proteus 1.

"We've had them for over a year. The Waldorf is just horrendously complicated, but generally I find we're using about four sounds out of it; the 'Scanalogue' is a good one. The big crunchy sound in 'Cubik' is made up of about three or four sounds from the Waldorf, put in an FZ1 and multi-sampled. We still use the FZ because we've got a big library for it, and it's a lot easier to use than the Akai. The Proteus is pretty bog standard - we don't tend to use it a lot, mainly because a lot of people use it. We used the Moog sound on it before we got the Moog."