Файл: Morpheus_Operation_Manual.pdf

••• LFO 2 is identical to LFO 1.

turn the data knob, each possible modulation source is displayed. Select LFO 1 as the Source and press Home/Enter.

Turn the data entry knob counter-clockwise until you find the LFO 1 parameter screens shown below.

Place the cursor under the Amount (AMT) parameter and set the value to +127 (you have to re-key, to hear any changes). You should be hearing lots of vibrato. Adjust the other parameters such as Rate and Shape. Controlling pitch is an easy way to hear the different LFO waveshapes.

Delay (DLY) sets a time before the LFO starts. Variation (VAR) makes the rate of each LFO a little different for ensemble effects.

Now set the LFO Rate to about 20 and set the shape to “Saw”. Listen

how the sawtooth wave smoothly ramps up then comes abruptly down. Change the amount to -128 and notice that it now ramps down and comes abruptly back up. Anytime you use a negative amount (in any part of Morpheus), you Invert the modulation.

Negative Amount

- +

In preparation for the next experiment, set the LFO waveform to “Sine” and the rate to about “050”. Leave the amount set to “-128”. Press Enter.

Go back to the Realtime Modulation screen and set it as shown below.

Notice how the LFO now moves the sound from side to side. The diagram below illustrates the connection you just made.

R

L

LFO 1

The Realtime Control screen connects ANY realtime modulation source to ANY realtime control destination! The amount parameter controls “how much” modulation is applied. Change the destination to Volume and listen. The block diagram for this connection is shown below.

LFO 1

Place the cursor under the “#0” on the top line of the display. Turn the data entry knob and notice that the lower line changes with the patch number. There are TEN (count 'em) realtime modulation patches available per preset! This is what sound synthesis is all about. By simultaneously controlling many parameters, the sound is shaped in complex ways into the desired form.

Now that you understand how to connect modulation sources to destinations, try using the Auxiliary Envelope Generator to control pitch. You've already used the Alternate Volume Envelope generators. The Auxiliary Envelope works exactly the same, except that it has an initial Delay stage and it can be routed to any realtime control destination.

••• An LFO modulating volume is called “Tremolo”. Tremolo is useful for organ, voice, surf guitars, etc.

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

• The Morpheus Filter

This is what a lot of you have been waiting for. This incredible filter is what puts the Morph in Morpheus. If you have not read the section on the Z-Plane Filter in the Preset Programming section, please do so before proceeding, since it contains important background information. Now we can add the Z-Plane filter to our block diagram.

Let's examine the filter controls more closely. The vertical arrows in the diagram below, indicate controls that can be modulated. The Morph Offset is the only filter control that can be modulated continuously by a Realtime Control source.

The filter has an input level control called the Filter Level which controls how much signal is presented to the filter. This control (like most of the controls in Morpheus) has an initial amount and can also be controlled from a Note-on modulation source. Certain Morpheus filters are designed to distort the signal as a musical effect. The Filter Level allows you to control the amount of distortion produced by these special filter types.

The action of the Morph Offset varies from filter to filter. Because it can be continuously varied, it can be thought of as the main filter control. See the section on Morpheus Filters in the Reference Section of this manual for specific information on each filter.

The Frequency Tracking control changes the frequency of the filter on many of the filter types. This would correspond to Fc or the cutoff frequency of a traditional lowpass filter, You can connect the keyboard to this control (in the Note-on Control screen) with an amount setting of “64” if you want the filter frequency to track the keyboard.

••• Frequency Tracking does not always control frequency as the name would imply.

See the Z-Plane Filter Descriptions in the Reference Section for details on each filter type.

•••Note: Filter Frequency Tracking is Transform 1.

▼ Many of the Z-plane filters do not use Transform 2.

••• Information on connecting MIDI controllers can be found at the end of the Programming Basics section.

Key tracking is used to keep the timbre of the sound constant as you play up and down the keyboard. Of course, you can route any Note-On controller to control Frequency Tracking.

Like the Morph control, the effect of Transform 2 varies from filter to filter and in many cases it is not used at all. On a simple lowpass filter, Transform 2 might be used as a Q (or resonance) control. On a flanger, it might control the depth of the notches. The Z-plane filter descriptions in the Reference Section give specific information on the function of Transform 2 in each filter.

Just Do It!

OK. Let's start experimenting with the filters. First, we should connect the modulation wheel to control Morph so that it will be easy to hear the effect of this important parameter. Start with a clean slate by selecting the default preset again. Enter the Preset menu and select an instrument rich in harmonics such as “I004 PunchyBrass”.

The mod wheel is usually transmitted on MIDI controller 01. Morpheus Controller A is set to controller 01 by default. So if you have not changed this parameter in the Master menu, Controller A is the mod wheel. We want to route Controller A (the mod wheel) to Morph. Go to the Realtime Modulation Control screen and set it as shown below.

REALTIME CTRL #1

CtlA Morph +127

Note: A good way to verify that the mod wheel is connected is to set the destination (in the screen above) to “Pitch” instead of “Morph”. Move the wheel to verify that the pitch varies with the wheel. If so, change the destination back to “Morph”.

Move to the “Primary Filter Type” screen and scroll though the various filters as you play the keyboard. Move the modulation wheel and verify that the wheel is controlling the morph parameter. For this experiment, set the filter type to “F029 Vocal Cube”. This is an interesting filter and since it is a “cube”, it has three parameters to adjust.

FILTER TYPE pri

F029 Vocal Cube

Move to the “Filter Frequency Tracking” screen and adjust the primary offset while playing the keyboard. (You must re-key the keyboard to hear the results of changing this value.) As specified, this parameter changes the frequency of the filter, making it brighter as the value is increased. Feel free to adjust the morph parameter as you adjust frequency tracking.

FILT FREQ TRACK pri:127 sec:000

Next we'll adjust “Filter Transform 2”. On this filter, Transform 2 increases the size of the peaks in the vocal formant. The effect of increasing the peaks is a pronounced “nasal” quality which is quite dramatic.

FILT TRANSFORM 2 pri:127 sec:000

Now that you've explored the three main filter parameters, let's go back and connect the keyboard to “Filter Frequency Tracking”. The keyboard is a Note-On control. A setting of “064” is the proper setting for accurate key tracking where the timbre will remain more or less constant up and down the keyboard.

NOTE-ON CTRL #0

Key FrqTrk +064

As long as we're programming Note-On Controls, go ahead and connect Velocity to Transform 2. The screen is shown below.

NOTE-ON CTRL #1

Vel Trans2 +127

The timbre of the sound should now change as the keyboard is played hard and soft. Transform 2, Frequency Tracking, and the Morph are all highly interactive, so a fair amount of adjustment may be required to get the sound just right.

••• Feel free to change the instrument at any time during these experiments. They are just that, Experiments!

Amplitude

100