Файл: Morpheus_Operation_Manual.pdf

Z-PLANE FILTER DESCRIPTIONS

F089 BrsSwell2.4

An emulation of a lowpass filter with low resonance designed for brass-type filter sweeps.

Morph: Moves the cutoff frequency higher, and adds a gentle bump in the upper-midrange.

Freq. Tracking: Adds a bit of resonance at the cutoff point, which becomes flatter as the filter is morphed upward.

Transform 2: Not used.

F090 LoVelTrum

A series of tightly spaced peaks is swept upward by each of the filter transforms, with the brightest sounds obtained at maximum settings for Morph Offset, Frequency Tracking, and Transform 2. In addition, Transform 2 increases the resonance.

Morph and Freq. Tracking: Sweeps the peaks.

Transform 2: Tunes the peaks and increases resonance.

F091 Chiffin.4

Morph: Sweeps between low frequency notches.

Freq. Tracking: Allows the notches to track the keyboard.

Transform 2: Not used.

Comments: Use with noise to create a chiff sound on wind instruments.

F092 ShakuFilter

Morph: Sweeps between peaks at 400Hz, 1600Hz, 2700Hz and 3150Hz with roll-off after 30kHz to a mostly flat response with a slight bump at 1900Hz.

Freq. Tracking: Keyboard tracking. Transform 2: Controls tone and depth.

F093 Cym

Morph: Sweeps from peaks at 100Hz, 300Hz, 400Hz, 600Hz, 900Hz and 1500Hz to peaks at 200Hz, 600Hz, 800Hz, etc.

Freq. Tracking: Keyboard tracking. Transform 2: Deepens the effect.

Comments: Designed to make interesting cymbal sounds. Both Morph and Frequency Tracking manipulate frequency sweeps.

F094 VelMarim

Morph: Sweeps frequencies of small, closely-spaced peaks. Freq. Tracking: Keyboard tracking.

Transform 2: Deepens the effect.

Comments: Designed to make dynamic marimba sounds using mallet and plate sounds.

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Z-PLANE FILTER DESCRIPTIONS

F095 EZ Vibez.4

Like 098-“Easy Rhodes”, this is essentially a 2-pole low-pass filter, sweeping from a gentle roll-off at 65Hz to reveal a wide open response.

Morph: Sweeps from lowpass to wide open response. Freq. Tracking: Keyboard tracking.

Transform 2: Not used.

F096 Piano 01

Designed to make possible a set of Piano presets that sound like they were recorded with the sustain pedal down.

F097 PianoFltr4

This filter functions much like a lowpass filter with a low ‘Q’ setting. Cutoff frequency is controlled along the Morph axis. Increasing the value for Frequency Tracking increases overall brightness. Although this filter is designed to work well for adding expressiveness to piano-type sounds, it can also be useful in many instances when a filter with a gentle slope is required.

Morph: Controls cutoff frequency.

Freq. Tracking: Controls cutoff frequency and brightness.

Transform 2: Not used.

F098 EZ Rhodez4

A lowpass filter, with cutoff frequency ranging from about 200Hz to about 5kHz along the Morph axis.

Morph: Sets cutoff frequency.

Freq. Tracking: Controls filter depth.

Transform 2: Not used.

F099 MoogVocodr4

Designed to simulate the classic vocoder filter response. Morph sweeps the frequencies. Frequency Tracking produces a more nasal and enclosed effect.

Morph: Sweeps frequency.

Freq. Tracking: Increases resonance.

Transform 2: Not used.

F100 MoogVocSwp

Similar to “MoogVocodr4”, but brighter. Can create variety of interesting responses by altering offsets of each axis, such as sweeping Morph with Frequency Tracking at maximum.

Morph: Sweeps frequency.

Freq. Tracking: Increases resonance.

Transform 2: Changes the effect of the Morph parameter.

Z-PLANE FILTER DESCRIPTIONS

F101 StrngThing4

A series of widely spaced notches produces this filter, which can sound somewhat like a phase shifter when Morphed - especially if the value for Frequency Tracking is set fairly high. With Morph Offset and Frequency Tracking set high, the curve is essentially flat, with a gentle bump approaching 20kHz, so this filter might be a good choice for adding a subtle sparkle to some sounds.

Morph: Controls cutoff frequency and depth of notches. Freq. Tracking: Tunes the filter.

Transform 2: Not used.

F102 StrSweep.4

Set Frequency Tracking between the ranges of 200 and 255, and gently modulate the Morph Offset parameter in its upper ranges for an effect that will accentuate bowing sounds in string programs.

Morph: Positive modulation increases filter center frequencies and resonance.

Freq. Tracking: Positive modulation decreases resonance, increases brightness slightly.

Transform 2: Not used.

F103 BassXpress

This filter provides increased bass, and a sharp notch.

Morph: Controls the depth of the notch.

Freq. Tracking: Tunes the notch.

Transform 2: Controls the lowpass filter cutoff frequency.

F104 Qbase.4

Morph: Sweeps from a bright nasal response to accentuated lowfrequency boost.

Freq. Tracking: Tracks filter with keyboard.

Transform 2: Not used.

F105 AcGtrRs.4

This filter is designed to emulate some of the resonant characteristics of an acoustic guitar body. With Morph Offset and Frequency Tracking set to 000, the body is extremely resonant, as if a large acoustic guitar were close-miked near the sound hole. Vary the value for Morph Offset to vary the ‘mic position’. Route velocity to Freq. Tracking for controlling brightness and ‘pick position’.

Morph: Controls filter formant notch depth and position. Freq. Tracking: Frequency Tracking.

Transform 2: Not used.

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Z-PLANE FILTER DESCRIPTIONS

F106 Tube Sust.4

Use this filter with broad-band waves to produce sounds characteristic of distorted guitars. The fullest sounds are achieved with Morph Offset set to 255, and Frequency Tracking set to 000

Morph: Increasing this increases bass and midrange. Freq. Tracking: Controls the lower-midrange.

Transform 2: Not used.

F107 GtrSkwk

Morph: Plays the squeak.

Freq. Tracking: Provides key tracking to balance keyboard brightness.

Transform 2: Makes brighter, adds more volume and squeak.

Comments: Higher Transform 2 allows morphing to “string squeak”. Best used with Aux. Env or Function Generator to control this. Routing Velocity to Transform 2 will reduce squeak on low velocities.

F108 GuitXpress

Increasing the Morph Offset value places a notch in the frequency spectrum, the tuning of which can be controlled via the Frequency Tracking and Transform 2 parameters. In addition, increasing the value for Frequency Tracking and/or Transform 2 raises the cutoff point of the lowpass filter. This filter can be used to add a measure of expressiveness, particularly to acoustic instrument simulations. Try using velocity to control Transform 2 and key position to Frequency Tracking. For an additional measure of control, assign Control A (the mod wheel) to control Morph in the Note-on Control section.

Morph: Increases the depth of the filter notch.

Freq. Tracking: Tunes the notch and controls filter cutoff point. Transform 2: Tunes the notch and controls filter cutoff point.

F109 FG MajTrans4

This filter features a series of peaks tuned to the intervals found in a major triad. Modulating the Morph Offset from 000 to 255 moves the ‘chord’ from first to second inversion; the Frequency Tracking parameter can be used to tune the chord over a range of several octaves. The effect is perhaps easiest to hear applied to one of the noise waves. It also works well with the RecrdScrch waves.

Morph: Moves the ‘chord’ of resonant peaks from first to second inversion.

Freq. Tracking: Tunes the chord. Transform 2: Not used.

Z-PLANE FILTER DESCRIPTIONS

F110 Tam

Morph: Sweeps frequencies from low to high. Try routing velocity or mod wheel to Morph with offset at 255.

Freq. Tracking: Designed for velocity control of volume & brightness.

Transform 2: Controls brightness and depth.

Comments: Designed to make interesting, dynamic tambourine sounds.

F111 HOTwell.4

Morph: Sweeps frequency range.

Freq. Tracking: Determines degree of frequencies accentuated.

Transform 2: Not used.

Comments: Works well with bell-like sounds.

F112 Bell.Waha

Morph: Sweeps between flat and bell.

Freq. Tracking: Provides key tracking to fix partials. Transform 2: More dissonance and effect.

Comments: Morphing can pull bell-like sounds out of any sample. Transform 2 adds more dissonance. This is best used with BellWahb which has a similar action but uses different dissonant partials.

113Belwahb

Morph: Sweeps between flat and bell.

Freq. Tracking: Provides key tracking to fix partials. Transform 2: Controls dissonance and depth of effect.

Comments: See BellWaha

F114 0>Bell-

Morph: Sweeps from flat to dissonance.

Freq. Tracking: Provides key tracking to fix dissonant partials. Transform 2: Increases bell-like effect, makes brighter, louder.

Comments: To be used in conjunction with 0>Bell+. Morphing sweeps partials downwards just away from harmonic values causing bell-like effects.

F115 0>Bell+

Morph: Sweeps from flat to dissonance.

Freq. Tracking: Provides key tracking to fix dissonant partials.

Transform 2: Increases bell-like effect, makes the sound brighter and louder.

Comments: To be used in conjunction with 0>Bell-. Morphing sweeps partials to a different dissonance than with 0>Bell-.

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