Файл: Morpheus_Operation_Manual.pdf

• Sound Delay

Sound Delay varies the time between the arrival of a MIDI Note-On message and the onset of a note. The delay time is adjustable from 0 to 14 seconds (000-127).

SOUND DELAY pri:000 sec:000

• Sound Start

This function allows you to set where a sample begins playing when you hit a key. A setting of 000 plays a sound from the beginning, higher values move the sample start point toward the end of the sound.

SOUND START pri:000 sec:000

Sound

S t a r t

The Sound Start parameter allows you to cut off the beginning of the sound. Higher values move the start point toward the end of the sound.

• Sound Reverse

When sound reverse is turned On, the instrument will be played backwards. Since instruments tend to sound very different when reversed, this function extends the number of possible sounds in Morpheus.

SOUND REVERSE pri:Off sec:On

••• See the Step-By-Step section of this manual for an application using Sound Start.

••• The Sound Start parameter can be useful to remove the gradual attack of a reversed sound. The Loop Offset parameters can also be put to good use with reversed sounds.

▼ In some cases, such as the individual percussion sounds, looping may not be desirable. If this is the case, turn Loop Enable Off.

LOOP OFFSET IDEAS

•••Loop offset can be used to create interesting new timbres by looping on the attack transient of an instrument.

•••By traversing several instruments you may find interesting polyrhythms.

•••Extremely LONG loop sizes can create incredible background ambience. Use pitch-shifting and multiple keys.

• Nontranspose

This function turns keyboard transposition On or Off for the primary and secondary instruments. With Nontranspose On, the keyboard will not control the pitch of the instrument. This is a useful function for drones or “chiffs”, which you may not want to track the keyboard.

NONTRANSPOSE pri:Off sec:On

• Loop Enable

This function allows you to turn the loop in a sound On or Off. Looping is a way that sounds can be sustained indefinitely. If you want an instrument to play once, then stop, turn Off the Loop Enable function.

LOOP ENABLE pri:Off sec:On

• Loop Offset

All the Morpheus instruments have been factory looped for your convenience. The Loop Offset function allows you to modify the Loop Start Point and the Loop Size so you can create your own loops.

By looping the sound on the attack portion of an instrument, you can create new waveforms. The Loop Start and Loop Size parameters can cross sample boundaries so that more than one instrument will play. Sample boundary crossing may be useful to create a special effect or background ambience. A Start and Size Offset of 000,000 returns you to the factory loop setting.

Sample Memory

Changing the Loop Offset Start point moves the loop forward or backward (+ or-) through the sample memory, keeping the loops size constant. Large changes will move the loop completely out of the original sample.

Loop Size

Sample Memory

Changing the Loop Offset Size alters the size of the loop, leaving the loop start point stationary. Large positive offsets will enlarge the loop to encompass multiple samples.

• Solo Mode

Solo mode provides the playing action of a monophonic instrument. It can make wind and string instruments sound more realistic by preventing more than one note from sounding at once. Two types of solo mode are provided: Wind Controller mode and Synth mode. In either solo mode, if a new note is played while another is being held, the envelope generators do not retrigger and the sample remains in the loop. This allows a legato playing technique to be used.

Wind Mode

The envelope generator attack always begins at the start of the attack phase when playing staccato. When playing legato, the envelope generator stays in the sustain phase.

Synth Mode

The envelope generator attack begins at whatever point in the release phase is in when a new key is pressed. When playing legato, the envelope generator stays in the sustain phase.

SOLO MODE

p:Off s:Wind

••• Sounds are looped so that they will continue to sound as long as the key is held.

••• When using a negative loop start point, the sound may jump back to a point before the start of the sample during the loop cycle.

••• Solo Mode allows you to simulate certain playing techniques such as “Tongueing” on a saxophone, where the attack is only heard on certain notes.

▼ There is a four note limit for remembering notes in the First and Last Note Priority modes.

Ex8

Ex4

Lin

The portamento shape can be varied from linear to convex exponential.

• Solo Mode Priority

When multiple notes are played and held in solo mode, the last note played is always heard. As notes are released, the solo mode priority determines which note will take over from the last note played.

•High Note Priority - If multiple notes are being held in solo mode, the highest key being held will play when the last-played key is released.

•Low Note Priority - If multiple notes are being held in solo mode, the lowest key being held will play when the last-played key is released.

•First Note Priority - If multiple notes are being held in solo mode, and the last note is released, the note will jump back to the first note.

•Last Note Priority - If multiple notes are being held in solo mode, only the note last pressed will play. If the note is released it jumps back to the last note before that.

•Drum - If multiple notes are being held in solo mode, only the note last pressed will play. If the note is released, no jumping occurs.

SOLO PRIORITY p:Low s:Hi

• Portamento Rate

Portamento is a smooth gliding between notes instead of the normal instantaneous change in pitch when a new key is pressed. The portamento rate is the time it takes to glide to the new pitch. The larger the value, the slower the glide rate. The rate is adjustable from 1-127 or it can be turned Off. Portamento glides at a linear rate between notes and can be set separately for the primary and secondary layers. Portamento works both in and out of Solo Mode.

PORTAMENTO RATE pri:127 sec:Off

• Portamento Shape

The portamento is variable from convex exponential (8) to linear, for both the primary and secondary instruments. Using the exponential shapes, the portamento rate will slow as the note nears its destination.

PORTAMENTO SHAPE pri:Ex4 sec:Lin

• Portamento Mode

This function sets the number of notes that will be affected by portamento. For example, if the Portamento Mode is set to two keys and a three-note chord is played, only two of the notes will glide. Notes will glide from the previous note or notes played. By setting the number of keys to match the number of notes in your chords, smooth glides between those chords can be accomplished without having notes glide in from random starting points. The number of keys can be set from mono to 5 note polyphonic.

PORTAMENTO MODE

Poly 2 keys

• Crossfade Mode

This function determines which of the following crossfade modes will be selected: Off, Crossfade, or Cross-Switch.

Off

When “Off” is selected, crossfade is disabled.

Crossfade

When “X-Fade” is selected, a control input is used to fade between the primary and secondary instruments. Any modulation source may be used as an input (velocity, wheel, etc.).

Cross-Switch

When “X-Switch” is selected, the secondary layer is selected if the input crosses a certain threshold or if a footswitch controlling crossswitch is activated. The switch occurs only at the start of the note; no further switching takes place while the key is held down. If key position or velocity is routed to cross-switch, the threshold is the switch point. Realtime controllers do not have any effect when routed to cross-switch.

XFADE MODE

Off

Primary

Instrument

Key Range

Crossfade Range

By overlapping the primary and secondary instruments, you can crossfade or crossswitch between the layers.

▼ To enable the crossfade or cross-switch functions, you must assign Crossfade to a modulation source in the Realtime or Note-On Modulation screen.

••• See also, Cross-Switch Point on page 113.

••• To use the keyboard for crossfade, set the Crossfade Balance to 64 and the Key Center to the split point.

••• A Crossfade Balance setting of 000 would be appropriate with a source such as a modulation wheel or footpedal, either of which can only change the value in a positive direction.

▼ In order to use the Crossfade or Cross-Switch functions, you must assign Crossfade to a modulation source in the Realtime or Note-On modulation screens.

• Crossfade Direction

This function determines the polarity of the crossfade or cross-switch. The direction is either primary secondary, or secondary primary.

XFADE DIRECTION

Pri -> Sec

• Crossfade Balance and Amount

The crossfade balance parameter determines the initial balance between the primary and secondary layers. Higher values shift the balance to the secondary instrument. When the Crossfade Direction is Pri->Sec, Modulation subtracts from the primary volume and adds to the secondary volume. When crossfade modulation and balance equal 64, the two instruments are at equal volume.

The crossfade amount parameter determines the range over which crossfading will occur. Crossfade amount is variable from 000 to 255. The larger the value, the more modulation will be required to effect a complete crossfade.

XFADE BAL AMT 064 128

Balance + Mod

Modulation and Crossfade balance are added together to determine the mixture of primary and secondary instruments. Higher values increase the secondary volume.