Файл: Morpheus_Operation_Manual.pdf

••• Use the effects section to “fatten” your sound instead of the chorus feature in the preset. This will help conserve precious voice channels.

• Using the 32 Channels

As stated earlier, Morpheus has 32 independent audio channels which are utilized dynamically. With 32 channels and hundreds of sounds, you have a universe of sonic textures at your disposal. You may have noticed that many of the very “big” sounding hyperpresets in Morpheus are constructed using layered presets or they may use Double+Detune. While this is fine when the hyper is played solo, you may begin to run out of channels when Morpheus is played multitimbrally. Layered hyperpresets and the Double+Detune function cause extra output channels to be used. Learn to “budget” your output channels for maximum efficiency.

• Channel Ripoff

When Morpheus uses up all its 32 channels and needs more, it steals a channel from the key that has been held the longest. This is commonly known as “channel rip-off”. You will most commonly encounter this “rip-off” when using Morpheus in multi-timbral mode or when using massive hyperpresets. Long Alternate Envelope attack and release rates can also cause this problem. Since Morpheus dynamically allocates channels as needed, you must either, play fewer notes, shorten the release rates, use simpler sounds, or turn off Double+Detune to eliminate channel rip-off.

• Using External Processing

Don't be afraid to use external processing on specific sounds if you feel the urge. The submix sends and returns on Morpheus are there for a reason. In certain instances, a little external signal processing will be

SAMPLED SOUNDS

1.Dance Drums 1 ........................

2.Dance Drums 2 ........................

3.Dancer Synth

4.Punchy Brass

5.Spectrum Pad

6.Vox Choir

7.Jupiter String

8.Orchestral String 1

9.Orchestral String 2

10.Acoustic Guitar

11.Acoustic Guitar 2

12.Acoustic Guitar 3

13.Silver Flute

14.Tenor Sax 1

15.Tenor Sax 2

16.Bari Sax

17.Soprano Sax

18.Alto Sax

19.Metal String

20.Gutt Bass

21.Upright Bass

22.Upright Bass 2

23.Fretless

24.Quick Bass

25.Cool Vibe

26.Bright Vibes

27.Vibe Stik

28.Crotales

29.Peking

30.Java Malet

31.Kenong

32.Icy Pad

33.Bright Electric Piano

34.Piano Bright

See the Percussion Instrument Location Diagrams on page 168.

35.Piano Medium 1

36.Piano Medium 2

37.Piano Dark

38.Rock Organ

39.Clean Strat

40.Harmonics

41.Bass Harmonic

42.Electric Bass 1

43.Electric Bass 2

44.Electric Bass 3

45.Electric Bass 4

46.Electric Bass 5

47.Electric Bass 6

48.Electric Bass 7

STANDARD SYNTHESIZER WAVEFORMS

49.Sawtooth

50.Square

51.Pulse 50%

52.Pulse 75%

53.Pulse 90%

54.Pulse 94%

55.Pulse 96%

56.Pulse 98%

57.Pulse 99%

58.Noise

59.Oct 3rd White Noise

60.Triangle

61.Oct 1 (Sine)

62.Oct 2 All

63.Oct 3 All

64.Oct 4 All

65.Oct 5 All

66.Oct 6 All

67.Oct 7 All

68.Oct 2 Odd

69.Oct 3 Odd

70.Oct 4 Odd

71.Oct 5 Odd

72.Oct 6 Odd

73.Oct 7 Odd

74.Oct 2 Even

75.Oct 3 Even

76.Oct 4 Even

77.Oct 5 Even

78.Oct 6 Even

79.Oct 7 Even

80.Low Odds

81.Low Evens

82.Four Octaves

Starting from the first octave (fundamental), the harmonic waveforms contain the harmonics (odd, even, or all) present in each octave. In each successive octave, the number of

harmonics doubles. By combining (pri/sec or link) the harmonic waveforms in various amounts (volume), and transposing them (course/fine tuning), a wide range of timbres may be produced.