Designed as a stop-gap product after EIII sampler sales had proven less than stellar, the Proteus was brilliantly simple, and utterly prescient. Desktop composers didn’t need an instrument with a built-in sequencer, they needed sounds.įor those musicians, E-MU’s Proteus must have been like manna from heaven. Software MIDI sequencers provided the ability to drive 16 or more channels of MIDI data. By 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. The trouble is, these instruments carried with them some overlap with the other hot product of the day: the software sequencer. 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.
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