Файл: Morpheus_Operation_Manual.pdf

STEP-BY-STEP

The Filter imposes its response on the harmonic spectrum of the Instrument.

STEP-BY-STEP

To illustrate the point, let's create a complete sound from scratch as an example of how the various parameters combined with the Z-plane filter can radically alter an instrument. In this case we'll try running a saxophone through a clarinet and oboe filter using only the primary layer. As in previous experiments, start with the default preset and change only the parameters listed.

Sax-Obonet (pri only)

The Tenor Saxophone is an instrument rich in harmonics, making it ideal for filtering. Double + Detune has been turned on to make the sax sound a little “fatter”, and the Alternate Volume Envelope has been adjusted slightly for a fast attack and release. The filter type is 085 Clarinet->Oboe, which models the resonance characteristics of a clarinet and morphs into the resonance of an oboe. On this particular filter, Transform 2 controls a lowpass filter and increases the volume slightly (more T2 equals brighter and louder). The Morph Offset is turned down to 000 so that it can be turned back up using Controller A (which defaults to the Mod Wheel of your keyboard.). Control A has been routed to control the filter Morph in the Realtime Modulation Control.

Now to the Note-On modulation. The Key Number has been routed to Key Tracking with the standard setting of +064. This keeps the tone constant as you play up and down the keyboard. Velocity has been routed to Transform 2, which will make the sound brighter and louder as you play harder. Velocity controls the Tone using negative modulation to slightly mute the sound with soft playing and controls volume to increase the volume with hard playing.

This is just a simple example to get you started. To learn more about how great presets are constructed, examine the factory presets in detail and discover their secrets. Interesting and expressive sounds have many different controls occurring simultaneously. In creating a preset, you are actually designing a new musical instrument. Take the time to fine tune and polish your creation!

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STEP-BY-STEP

• Morphology

The best and ultimately the only way to choose filters is to try them out. Morpheus is no mere mortal synthesizer with a single filter. Morpheus has 197 filter types to choose from. Think of the filters as you do instruments: entities which have a particular sound. As you learn what the instrument and the filters sound like, you can mix and match them to suit your needs.

•A flanger filter (which is a parametric EQ with closely-spaced notches) sounds like a traditional flanger when swept. If the frequency of the flanger is controlled by key velocity and not swept, the flanger can simulate different plucks on a string or strikes on a surface such as a cymbal.

•The need for Keyboard Tracking is reduced when using a parametric EQ since the high frequencies are preserved (unlike a lowpass filter).

•Time-variant filter sweeps are good for traditional synthesizer effects such as resonant sweeps, flanges, phasing, stereo panning, vowels, etc. Time-invariant filters are useful for distortion, simulating instrument resonances, plucked strings, cymbals strikes, etc.

•Correlate the DCA envelope to emphasize or minimize parallel filter attack and release characteristics.

•Try using vibrato (LFO to pitch) with vocal filters for more realistic vocal simulations.

•Velocity and Key Number generally alter the timbre in expressive presets. Also, Harder (faster) usually equals Brighter.

•Natural sounds tend to use low Q filters.

•Fixed Formant Filters:

-Can reduce the unwanted effect of pitch shifting the samples (munchkinization).

-Simulate instrument body resonances

-Simulate cymbal strikes, with variation in the stick position

-Simulate woodwind instrument resonance

-Simulate guitar and string plucks with variation in pick position

• Swept Filters:

-Flanger

-Traditional Synthesizer Lowpass Filter Effects

STEP-BY-STEP

USING MORPHEUS WITH A SEQUENCER

We thought you’d never ask. Morpheus was designed from its conception with multi-timbral sequencing in mind. Just take a look at the main screen.

C01 VOL127 PAN=P

000 Program Name

The preset for each MIDI channel is selected from the main screen or from the Midimap menu which stores sixteen (32 with a RAM card installed) complete 16-channel MIDI setups. The Main Screen settings are the same settings in the currently selected Midimap and any changes you make will be reflected in either screen. Press the cursor button to move the cursor up so that it is underneath the channel number.

C01 VOL127 PAN=P

000 Program Name

Turn the data entry control and you will see that every MIDI channel has a preset assigned to it. Just select a preset or hyperpreset for each of the MIDI channels. It’s simple! If you want to store the sixteen channel MIDI setup, press the Midimap button and turn the data entry control to the last screen, “Save Midimap to”. Then select a location and press Enter.

In order to respond to multiple MIDI channels, Morpheus must be in Multi-Mode. Multi-Mode is selected in the Master menu. Press the Master menu button and use the data entry control to scroll through the screens until you find MIDI MODE.

Move the cursor down to the second line and change the mode to Multi as shown. Morpheus will now respond to multiple MIDI channels.

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STEP-BY-STEP