Файл: Morpheus_Operation_Manual.pdf

Z-PLANE FILTER DESCRIPTIONS

F067 Ntches2Oct4

This filter is composed of a series of notches, tuned in octaves. Morph & Freq. Tracking: Moves notches lower in frequency.

Transform 2: Not used.

Comments: Maximum shift is two octaves along either axis, for a combined total of four octaves if both axes are modulated.

F068 Odd>+

Morph: Changes from odd to even harmonics.

Freq. Tracking: Provides key tracking to maintain spectrum. Transform 2: Provides volume and brightness control.

Comments: Hints at odd harmonics which are then changed into a different shape depending on the position of Transform 2. (Transform 2 mostly respects natural changes in brightness, however.)

F069 VarSlope.4

A low-pass filter in which the rolloff above the cutoff point (400Hz) becomes steeper as the value for Morph Offset is increased.

Morph: Changes the slope of the rolloff.

Freq. Tracking: Moves the filter toward flat response.

Transform 2: Not used.

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

EQUALIZATION FILTERS

Most of these filters are variations of traditional parametric EQ filters.

F070 BassEQ 1.4

Morph: Contains deep notch at 196Hz, morphing to a slight bump at 132Hz and a dip at 2600Hz.

Freq. Tracking: Frequency Tracking opens filter completely at maximum offset.

Transform 2: Not used.

F071 B BOOST.4

Morph: Boosts frequencies around 60Hz, sweeping to open response.

Freq. Tracking: Provides gentle rise at 320Hz and 5kHz.

Transform 2: Not used.

F072 BssBOOST2.4

Morph: Boosts frequencies around 60Hz, sweeping to open response.

Freq. Tracking: Introduces a dip at 320Hz and a peak at 2059Hz. With axes offset, a bump at 60Hz and 1200Hz is introduced.

Transform 2: Not used.

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Z-PLANE FILTER DESCRIPTIONS

F073 BassDrumEQ

Morph: Adds low end boost.

Freq. Tracking: Tends to smooth out the filter.

Transform 2: This adds high end at the expense of low end.

Comments: This is an EQ filter designed for bass drums, based on a low pass EQ filter. The transforms tailor to different types of bass drums.

F074 Snare LPEQ2

Morph: Controls brightness.

Freq. Tracking: This moves the mid range bump down a bit. Transform 2: This will smooth the boost (widens the “Q”).

Comments: This is an EQ filter designed for snares, based on a low pass EQ filter. There is a strong boost in the 320Hz to 640Hz range and some boost on the low end to give it some punch. The transforms tailor to different types of snares.

F075 HiHatLPEQ

Morph: Controls brightness.

Freq. Tracking: Tends to make the EQ more complex. Transform 2: Tends to modify the low end.

Comments: This is an EQ filter designed for hi hats, based on a low pass EQ filter. There is a strong boost in the 5kHz to 18kHz range and some cut on the low end. The transforms tailor to different types of hi-hats.

COMPLEX FILTERS

Many of these filters have never existed for musical applications before!

F076 HP LP PZ

Morph: Sets how open or closed the filter is.

Freq. Tracking: Sets the transition from high pass to low pass. Transform 2: This sets the sharpness of the cut off.

Comments: This Pole/ Zero filter models both low pass and high pass filters.

F077 PZ Notch

Morph: Sets the notch's center frequency.

Freq. Tracking: This deepens the notch (more cut). Transform 2: This makes the notch wider (widens the “Q”).

Comments: This Pole/ Zero filter is a notch that ranges from 80Hz to 10kHz.

Z-PLANE FILTER DESCRIPTIONS

F078 Band-aid

Morph: Sets the amount of cut on the high and low frequencies. Freq. Tracking: This widens the band.

Transform 2: This softens the amount of cut on the high end.

Comments: This Pole/ Zero filter is a band pass that cuts both the high and low end of the sample.

F079 LowQHiQ

Morph: Controls brightness.

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

Transform 2: This adds resonance (“Q”) to the filter.

Comments: This All Pole filter is modeled on traditional low pass filter types. It can emulate most familiar analog sounds.

F080 Wah4Vib.4

Morph: Sweeps from slight rise above 1200Hz to a peak at 590Hz with roll-off after. Sounds more mellow and rounded as offset is increased.

Freq. Tracking: Tracks keyboard.

Transform 2: Not used.

F081 WaWa

Multiple resonant peaks flatten, then invert to become notches as the value for Morph Offset or Frequency Tracking is increased. Increasing the value for Transform 2 can have the effect of sweeping the peaks lower in frequency, inverting the peaks, or both, depending on the settings for Morph Offset and Frequency Tracking.

Morph & Freq. Tracking: Controls polarity of filter gain. Transform 2: Tunes filter and controls polarity of gain.

F082 BrassRez.4

Compelling trumpet mute effect.

Morph: Try assigning Control A or Velocity to Morph as a note-on controller. Increasing Morph Offset reveals less muted, more open response. Reverse filter for opposite response.

Freq. Tracking: Modulates between a similarly shaped second set of resonances for additional Note-on control.

Transform 2: Not used.

F083 Clr>Oboe

Morph: Sweeps from Clarinet to Oboe

Freq. Tracking: Provides key tracking to fix partials.

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

Comments: Strong morphing effect with this filter. Transform 2 takes care of velocity expressivity.

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Z-PLANE FILTER DESCRIPTIONS

F084 0>Muter

Morph: Introduces “Mute”.

Freq. Tracking: Provides key tracking to fix partials.

Transform 2: Selects “Mute” variety.

F085 PZ Syn Horn

Morph: Controls brightness.

Freq. Tracking: This moves the harmonic modifiers higher in frequency.

Transform 2: This makes a modest change in brightness (fine tuning).

Comments: This filter models the harmonic content of a synth horn, thus will lend a synth horn sound to other samples.

F086 HP Brass

Generally, each frame in this filter cube provides either a steep rolloff of low frequencies or a sharp boost of high frequencies, with one axis arriving at flat response. Note that with Transform 2 set to 255, the polarity of the sweep along the Morph axis is reversed. This filter can be a good choice when you need a sharp accentuation of high-frequency material.

Morph: Sweeps the highpass filter, with direction dependent on setting of Transform 2.

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

Transform 2: Sweeps the highpass filter, with direction dependent on setting of Morph Offset.

F087 BrassyBlast

This filter provides several responses similar to that of a lowpass filter, but with the addition of a gentle bump in the midrange to upper-midrange.

Morph: Use to sweep the filter.

Freq. Tracking: Adds a resonant bump at about 200Hz, which flattens out as the value is moved upward.

Transform 2: Works similarly to Frequency Tracking, but adds a gentle bump at about 8kHz as the offset is increased.

Comments: A very smooth-sounding filter, great for brass-type filter sweep effects.

F088 BrassSwell

Similar to a lowpass filter, but multiple resonant peaks give this one a bit of a vocal, phase-shifter-like quality.

Morph: Use to sweep the filter. Freq. Tracking: Tunes the filter.

Transform 2: Higher values add midrange “beef” and resonance.