Файл: Morpheus_Operation_Manual.pdf

▼ 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.

• 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.