Файл: Morpheus_Operation_Manual.pdf

• Cross-Switch Point

The cross-switch point determines the point at which cross-switching will occur when key position or velocity is controlling cross-switch.

• Primary Filter Type

This screen allows you to select one of 197 Z-Plane filter types available in ROM. These filters include: traditional low-pass filters, flanger simulators, vowel formants, distortion filters, acoustic instrument models and many, many more. See the reference section for a complete listing and descriptions of the filters.

FILTER TYPE pri

F035 Ee-Yi.4

• Secondary Filter Type

This screen allows you to set the filter type for the secondary layer. See Primary Filter Type.

FILTER TYPE sec

F139 MidFeedBk2

• Filter Level

This function sets the amount of signal into the filter. This control can be used to balance the levels between instruments or to control the distortion characteristics of the filter. Depending on the type of instrument and the filter, this control can have a dramatic effect on the sound. This control differs from the Volume parameter which adjusts the volume after the filter. The default setting is 255 (full level).

FILTER LEVEL pri:198 sec:255

▼ To enable the Cross-switch function, you must assign Crossfade to a modulation source in the Note-on or Realtime Cords screens.

▼ Under certain unusual circumstances the filters may overload, producing a loud objectionable noise. Turn down the Filter Level value to alleviate the problem.

••• In many of the filters, the Filter Frequency Tracking works like a tone control which brightens or darkens the sound.

• Morph Offset

This function allows you to set the initial point in the filter morph with no modulation applied. Subsequent modulation will be added or subtracted to this value.

MORPH OFFSET pri:096 sec:000

Morph

B Filter

Morph

Frequency

The Morph Offset sets the point along the morph axis where the filter starts with no modulation applied.

• Filter Frequency Tracking

If the filter frequency remains constant as the pitch of a sound is varied, the timbre of the sound will change with pitch. A way to correct this is to have the filter's frequency track the pitch of the note. This function sets the initial frequency of the filter's pitch tracking. In general, you can think of frequency tracking as a tone control. In order to have keyboard tracking, you must also patch the “Keyboard to Filter Frequency Tracking” in the Note-On modulation screen.

FILT FREQ TRACK pri:000 sec:000

••• The filters labeled with “.4” in their name do not use the Transform 2 parameter.

••• For more information on the Envelopes, see the Preset Programming section of this manual.

Each axis of the three-dimensional cube changes the filter in a different way. In the example above, key number is being applied to the Frequency Tracking parameter in order to make the filter frequency track or follow the notes played on the keyboard.

In the 3-D filter model, there is another note-on (defined at the time the note is pressed) parameter, Transform 2. Unlike the frequency tracking parameter, the effect of Transform 2 varies from filter to filter. In the example above, Transform 2 is being used to vary the size of the peaks and notches in the filter. The frequency plots in the upper plane of the cube have sharper peaks. In the example above, key velocity is being used to control Transform 2 and the sharpness of the filter peaks.

Filter Transform 2 sets the Initial Point along the Transform 2 axis. Subsequent modulation (from note-on modulation) adds to this initial setting for the primary and secondary filters.

FILT TRANSFORM 2 pri:000 sec:127

• Filter Reverse

This function allows you to reverse the direction of all of the filter controls. Key Tracking, Transform 2 and the Morph parameters will all operate in reverse. The Offset points are reversed, as well as the direction of filter modulation.

FILTER REVERSE pri:Off sec:Off

• Auxiliary Envelope

This is a supplementary, utility envelope that can be routed to any realtime control destination including the Morph filter. The auxiliary envelope parameters are: Envelope Amount, Delay, Attack Time, Hold Time, Decay Time, Sustain Level, and Release Time. The delay time is variable from 0 to 13 seconds (000-127). The envelope amount is variable from -128 to +127. Negative values will produce inverted envelopes.

• LFO 1 - Shape & Amount

This screen controls the waveshape and amount of Low Frequency Oscillator 1. The LFO can be used to produce vibrato (when routed to pitch), or tremolo (when routed to volume). The LFO can be routed to control any of the Realtime Modulation destinations (page 123). The five LFO waveshapes are: Triangle, Sine, Square, Sawtooth, and Random. The amount can be varied from -128 to +127. Negative values will produce inverted waveshapes.

LFO1 SHAPE AMT

Rand +127

• LFO 1 - Rate, Delay & Variation

This screen controls the rate, delay and variation of LFO 1.

LFO Rate

Varies the LFO speed from 0.052 Hz to 25 Hz (000-127).

LFO Delay

Sets the amount of time between hitting a key and the onset of modulation. This can be used to simulate an effect often used by acoustic instrument players, where the vibrato is brought in only after the initial note pitch has been established. The delay range is variable from 0 to 13 seconds (000-127).

LFO Variation

Sets the amount of random variation of an LFO each time a key is pressed. This function is useful for ensemble effects, where each note played has a slightly different modulation rate. The higher the number, the greater the note to note variation in LFO rate. LFO variation is variable from 000-127.

LFO1 RT DLY VAR 000 000 000

••• For more information on the LFOs, see the Preset Programming section of this manual.

••• For more information on Function Generators, see the Preset Programming section of this manual.

••• Routing the Function Generator to control Pitch makes it easy to hear what you are doing.

• LFO 2 - Shape & Amount

LFO 2 is functionally identical to LFO 1.

• LFO 2 - Rate, Delay & Variation

LFO 2 is functionally identical to LFO 1.

• Function Generators 1 and 2

The Function Generators are eight segment modulation sources with conditional jumping capabilities and selectable segment shapes. Level and Time parameters are provided for each stage. In addition, the shape of each stage can be individually selected from a palette of 63 shapes. The function generator can be used when you want complex and precise control over a parameter. Through the creative use of its conditional jumps and curves, the function generator can serve as a complex LFO, a complex envelope generator, a mini-sequencer, a random source or all at once if you desire.

Function Generator 1 or 2

The Function Generator contains eight segments, each with a level and time parameter.