Файл: Morpheus_Operation_Manual.pdf

Z-PLANE FILTER DESCRIPTIONS

F040 Vow>Vow2

Morph: Sweeps between “ee” and “oh”.

Freq. Tracking: Provides key tracking to fix partials.

Transform 2: Provides volume and brightness control with velocity and/or key position.

Comments: Morphing sweeps between vowelsslight “E” effect.

F041 YahYahs.4

Morph: Sweeps between “eeya” and “aa”.

Freq. Tracking: Introduces frequencies two octaves higher for key tracking and brightness control.

Transform 2: Not used.

F042 YoYo.4

Morph: Sweeps between “ee” and “oh” sounds.

Freq. Tracking: Introduces frequencies two octaves higher for key tracking and brightness control.

Transform 2: Not used.

F043 VowelSpace

Dr. William Martens developed this filter cube, which allows any vowel to be approximated with only two parameters.

Morph: Sweeps the first formant of the vowel from 150Hz up to 850Hz.

Freq. Tracking: Sweeps the second formant from 500Hz up to 2500Hz.

Transform 2: Changes the vowel “stress.” Low stress means that all of the vowel frequencies collapse to a relaxed “schwa” sound. Maximum Transform produces the maximum excursion (stress) for all of the vowel frequencies.

STANDARD

These filters are variations on traditional 2 and 4-pole filter models

F044 BrickWalLP.4

This filter features an extreme rolloff at the cutoff point, which moves from 100Hz to 3000Hz. Use this filter to produce lowresonance filter sweeps, or to selectively filter out high frequencies in the source sound.

Morph: Controls filter cutoff.

Freq. Tracking: Controls filter depth and provides gentler roll-off beginning ~3000Hz.

Transform 2: Not used.

Z-PLANE FILTER DESCRIPTIONS

F045 BrickWal LP2

Morph: Controls filter ‘Q’.

Freq. Tracking: Controls filter cutoff.

Transform 2: Use to control filter depth.

F046 MdQ 2PoleLP

A single pole of this filter is swept from low to high as the filter is

Morphed. This filter produces nice, not-too-resonant sweep effects.

Morph: Controls filter cutoff.

Freq. Tracking: Controls filter cutoff.

Transform 2: Controls resonance.

F047 HiQ 2PoleLP

A more resonant version of filter 046, again with a single frequency band being swept about according to Morph.

Morph: Controls filter cutoff.

Freq. Tracking: Controls filter cutoff. Transform 2: Controls resonance.

F048 MdQ 4PoleLP

Similar to filters 046 and 047, in this filter two of the poles (tuned to the same frequency) are swept to create a steeper rolloff at the cutoff point, re-creating the classic 4-pole lowpass filter effect. This filter features medium resonance which can be accentuated via the Transform 2 offset.

Morph: Controls filter cutoff.

Freq. Tracking: Controls filter cutoff. Transform 2: Controls resonance.

F049 HiQ 4PoleLP

Again, (as with filters 046-047), two poles tuned to the same frequency are swept to create a steep rolloff at the filter cutoff point. This filter features high ‘Q’, which can be controlled via Transform 2.

Morph: Controls filter cutoff.

Freq. Tracking: Controls filter cutoff. Transform 2: Controls resonance.

F050 2poleLoQLP4

This is basically a 2-pole lowpass filter which can be swept from 60Hz to 19.5kHz. Modulating the Frequency Tracking parameter upward will increase filter resonance. A good choice for emulating certain kinds of analog filter effects.

Morph: Controls filter cutoff.

Freq. Tracking: Controls resonance.

Transform 2: Not used.

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Z-PLANE FILTER DESCRIPTIONS

F051 4 PoleLoQ.4

A resonant low-pass filter emulation. Morphing creates the familiar filter sweep effect.

Morph: Controls filter cutoff.

Freq. Tracking: Controls filter resonance.

Transform 2: Not used.

F052 4PoleMidQ.4

A 4-filter version of the classic 4-pole resonant filter found in most analog synthesizers.

Morph: Controls filter cutoff.

Freq. Tracking: Controls resonance (“Q”).

Transform 2: Not used.

F053 2p>4p 0

Morph: Opens up the filter making it brighter.

Freq. Tracking: This adds a small amount of resonance (Q) to the filter.

Transform 2: Changes from a 4-pole filter (-24dB/oct.) to a 2-pole filter (-12dB/oct.).

Comments: This All Pole filter is modeled on traditional lowpass filter. It has a soft resonance boost.

F054 LowPassPlus

Morph: Sweeps from octave peaks starting at 220Hz to inharmonic, higher frequency peaks.

Freq. Tracking: Keyboard tracking. Transform 2: Brightens the response.

F055 Low Past.4

Poles with fairly high ‘Q’ settings are grouped into the lowerto upper-midrange. Sweeping along the Morph or Frequency Tracking axes can produce some rather vocal-sounding effects.

Morph: Use to sweep the frequencies of the pole. Freq. Tracking: Use to tune the filter.

Transform 2: Not used.

F056 APass.4

Simple lowpass filter with gentle rolloff above 200Hz; morphs to flat.

Morph: Gentle lowpass to flat response.

Freq. Tracking: Also moves the filter towards a flat response, allowing you to control the depth of filtering

Transform 2: Not used.

Comments: A good choice when more subtle filtering is desired.

Z-PLANE FILTER DESCRIPTIONS

F057 HPSweep.4

A highly resonant high-pass filter which generally rolls off frequencies steeply below ~2.5kHz.A low Morph Offset will create a relatively flat response (with a gentle cut to the lower frequencies), so the most subtle filtering is achieved with Morph Offset set to 000, and Frequency Tracking set to 255.

Morph: Positive values move the filter higher in frequency.

Freq. Tracking: Positive values move the filter toward a flatter curve.

Transform 2: Not used.

F058 HiSwept1.4

A highly resonant filter with ‘Q’ increasing as the Morph or Frequency Tracking parameters are swept upward. Increase the value for Frequency Tracking to accentuate this brightness and resonance.

Morph & Freq. Tracking: Control filter cutoff and resonance.

Transform 2: Not used.

F059 HghsSwpt2.4

A more open-sounding version of filter 058. Raises both the filter cutoff point and filter ‘Q’.

Morph & Freq. Tracking: Raises both the filter cutoff point and filter ‘Q’.

Transform 2: Not used.

F060 HighAccent.4

The center frequencies remain constant throughout all permutations of this filter along the Morph and Frequency Tracking axes; what changes are the ‘Q’ settings for the various poles and zeros.

This allows you to accentuate various resonances, (generally in the upper frequency ranges), of the source sound by manipulating the Morph Offset point and the Frequency Tracking parameter.

Morph: Controls ‘Q’ of the various poles.

Freq. Tracking: Higher values produce brighter, thinner sounds.

Transform 2: Not used.

F061 HiPassSweep.4

A high-pass filter with the cutoff point moving from about 160Hz to upwards of 2.5kHz (with a sizable gain in resonance) as the filter is morphed upward.

Morph: Higher settings increase cutoff frequency and ‘Q’. Freq. Tracking: Controls filter depth.

Transform 2: Not used.

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Z-PLANE FILTER DESCRIPTIONS

F062 Deep Combs

This filter can provide a tremendous variety of comb-filtering and filter sweep effects. Higher frequencies are sharply attenuated with Frequency Tracking and Transform 2 set to low values, so be sure at least one of these is either set in the midto high-range, or that a modulator is used to offset.

Morph: Positive modulation moves frequency notches towards lower values.

Freq. Tracking: Positive modulation moves frequency notches towards lower values.

Transform 2: Positive modulation moves frequency notches towards lower values.

F063 One Peak

Morph: Try setting Transform 2 to 255 for increased brightness over morph range. Sweeps from a slight peak at 220Hz and roll-off after 650Hz to a series of even peaks at 220,440, 880Hz, and a smaller odd series at 330, 555 and 770Hz.

Freq. Tracking: Tracks filter to keyboard.

Transform 2: Increases the effect of Morph and provides velocity sensing.

F064 More Peaks

Morph: Try setting Transform 2 to 255. Moves from a low cut-off flat frame to a series of peaks at 220, 440, 880, 330, 1000 and 2000Hz.

Freq. Tracking: Tracks keyboard.

Transform 2: Intensifies effect and controls volume.

F065 Rev Peaks

Morph: Try setting Transform 2 to 255. Moves from flat with a low-frequency cut-off to a series of peaks at 220, 440, 660, 880, 1100 and 1320.

Freq. Tracking: Tracks keyboard with notches three octaves higher.

Transform 2: Contains higher gain peaks at same frequencies as Morph axis for volume control and deeper effect.

F066 Notcher 2.4

Frames 1 and 3 contain multiple, unevenly spaced notches and peaks, while frames 2 and 4 are essentially flat. Modulating upward along the Morph axis, pushes the filter towards flat. Modulating Frequency Tracking upwards tends to give the source material a bit rounder, more ‘open’ sound.

Morph: Sweeping over a narrow range with a quick LFO produces some nice rotating speaker effects.

Freq. Tracking: Can be used to tune the filter.

Transform 2: Not used.