Файл: Morpheus_Operation_Manual.pdf

• Alternate Volume Envelope

Turn the Alternate Volume Envelope On for the primary instrument. This enables the next screen, the primary volume envelope.

Going back to the block diagram model, the preset now looks like this:

Every sound you hear, be it a piano note, a drum, a bell or whatever, has

R

L

Alternate

Volume

Envelope

a characteristic volume curve or Envelope which grows louder and softer in various ways during the course of the sound. The volume envelope of a sound is one of the clues that our brain uses to determine what type of sound is being produced.

Every instrument in Morpheus has its own volume envelope which is used when the Alternate Envelope parameter is turned Off. By turning the Alternate Volume Envelope On, we can re-shape the instrument's natural volume envelope any way we want. By re-shaping the volume envelope, you can dramatically change the way the sound is perceived. For example, by adjusting the envelope parameters you can make “bowed” pianos or backwards gongs. The diagrams at right show the volume envelopes of a few common sounds.

Set all the numbers to 00 and listen to the sound. You should only hear a little blip. Now move the cursor under the Attack Time (A) and slowly increase the value while playing the keyboard. The attack controls the amount of time it takes for the sound to reach full volume when a key is pressed and held.

Set the attack to “00” and slowly increase the Decay (D) instead. Notice how percussion-like the sound becomes. You have just created the percussion envelope shown at the right.

Set the Sustain (S) to 99 and slowly increase the Release time. Note the effect as you release the note. The release time controls the time it takes for the sound to die away when a note is released.

Piano

Organ

Strings

Percussion

••• The generalized envelope shapes of a few types of sounds are shown above.

••• For more information about Envelopes, see the Programming Basics chapter in this manual.

••• The Delay parameter is only available in the Auxiliary Envelope.

Practice making different volume envelopes. As you hear everyday sounds, try to imagine what the volume envelope of these sounds might look like.

• Anatomy of an Envelope

When a key is pressed, the envelope generator level starts to increase at the Attack rate. When it reaches full level, it Holds at that level for the specified Hold time. After the hold time has elapsed, the envelope begins to Decay back down at the Decay rate until it reaches the Sustain Level. (Note that all the other parameters are Rates, but the Sustain is a Level.) The envelope will stay at the Sustain level for as long as the key is held. When the key is Released, the envelope falls back down to zero at the Release rate.

The secondary alternate volume envelope parameters perform the same functions on the secondary layer.

• Double + Detune

The next screen, Double + Detune, doubles the instrument and detunes it slightly by an adjustable amount. This acts like a chorus effect and serves to “fatten” the sound. Try it and notice how much fuller the sound becomes. Because this function works by using two instruments per layer, it halves the number of available notes that can be played. Therefore you should only use this feature when necessary to achieve the desired effect.

DOUBLE + DETUNE pri:06 sec:Off

• Time to Save?

If you wanted to keep this sound, you would have to SAVE it using the Save Preset function (the very last screen in the Preset menu). To save a preset, simply move the cursor to the bottom line of the display, select the preset location where you want to store it, then press Enter. That's it!

Warning: Saving a preset erases whatever preset was already stored in that location.

If you want to re-name your preset, do so using the first screen (Preset Name), then save the preset again to the same location.

• LFO Modulation

Let's investigate how modulation routings can affect the sound. For these experiments, you use the default preset. If you just wrote over it, there is another one stored in permanent ROM (127, bank 1). Select any primary instrument, but leave the secondary instrument turned Off.

The LFOs (Low Frequency Oscillators) generate repeating waves which are commonly used to animate the sound or create vibrato (a cyclic pitch change). To create vibrato we can use an LFO to modulate the pitch. As you learned in the Programming Basics section, Modulation requires a modulation Source and a Destination. The LFO is the source and Pitch is the destination. The block diagram below illustrates this connection.

R

Pitch

L

LFO 1

To make the connection between the LFO and the Instrument Pitch, move through the Preset parameters until you find the screen shown below.

The setting shown indicates that the Pitch Wheel is connected to the Pitch, with an amount of +127 (full). Press the right cursor button (>) twice to place the cursor under the modulation source. As you slowly

••• You can think of each modulation patch as a “Cord”. You must connect BOTH ends of a cord for it to work.