Файл: Morpheus_Operation_Manual.pdf

Z-PLANE FILTER DESCRIPTIONS

F139 Harmonix.4

Morph: Morphs between complex responses sweeping to mid frequency resonances while leaving edges untouched.

Freq. Tracking: Controls brightness and tracks keyboard.

Transform 2: Not used.

F140 GreenWorld4

Morph: A mellow low-frequency sweeper designed for piano applications.

Freq. Tracking: Controls brightness and tracks keyboard.

Transform 2: Not used.

F141 Comb/Swap.4

Morph: Controls a series of notches moving from 160Hz to 10kHz.

Freq. Tracking: Controls brightness and tracks keyboard.

Transform 2: Not used.

F142 Comb/HP.4

Morph: Sweeps between a series of low frequency notches to a high pass response.

Freq. Tracking: Keyboard Tracking and brightness control.

Transform 2: Not used.

Comments: Control the brightness by assigning Velocity to Frequency Tracking.

F143 Swirly

Morph: Moves from series of notches to fewer notches.

Freq. Tracking: Tracks keyboard.

Transform 2: Alters timbre of effect and adds dynamics.

Comments: Try a Transform 2 setting of 255 for a brighter Morph.

F144 Cavatate.4

Emphasizes frequencies from 160Hz to 2kHz.

Morph: Morphs to a modified high pass response.

Freq. Tracking: Brightness control .

Transform 2: Not used.

Z-PLANE FILTER DESCRIPTIONS

F145 GentleRZ4

A series of unevenly spaced resonant peaks converge to a single peak as Morph Offset is increased. The Frequency Tracking offset provides a somewhat muted sound (with several gentle bumps in the mid-frequency range), moving toward a flat response. Sweeping this filter produces some very smooth wa-wa effects. Using this filter with the trumpet waves can produce sounds suggestive of French Horns.

Morph: Modulating this sweeps filter peaks.

Freq. Tracking: Use this to control filter depth and cutoff.

Transform 2: Not used.

F146 Bendup/Swap

This complex filter features several series of tuned resonant peaks and notches which can seem to bend up or down in pitch depending on the settings for the various Morph, Frequency Tracking, and

Transform 2 parameters. Morph: Use to tune the filter.

Freq. Tracking: Low values make upward filter sweeps appear to bend pitch up. High values make pitch bend appear to go down.

Transform 2: Higher values make the filter sound more open.

F147 Bendup

This is similar to filter number 146, except that the bend is always in an upward direction (if the Morph axis is swept in a positive direction). Frequency Tracking can be used to tune the filter over a nearly 2-octave range. Transform 2 is used to set the cutoff point of the lowpass filter; higher values raise the cutoff point.

Morph: Sweeps harmonic peaks. Freq. Tracking: Tunes the filter.

Transform 2: Increase for a brighter effect.

F148 SKWEEZIT

This filter features a complex series of peaks and notches. Varying the Morph parameter varies the ‘Q’ settings for most of the peaks and notches, while sweeping the frequency and Q of the first pole.

Morph: Sweeps one of the resonant peaks and varies ‘Q’. Freq. Tracking: Tunes the filter.

Transform 2: Controls resonance.

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Z-PLANE FILTER DESCRIPTIONS

F149 Lo/High4

A scattering of poles and zeros with fairly high Q settings produces this very resonant filter. Sweeping the Morph axis produces quite pronounced wa-wa effects in which multiple resonances are clearly audible. Morph Offset and Frequency Tracking can be used to tune the filter, although with Morph Offset set to 255, the filter is essentially flat.

Morph: Positive values increase pole/zero frequencies and decrease ‘Q’, opening the filter entirely.

Freq. Tracking: Similar to the Morph axis, but a bit higher in pitch.

Transform 2: Not used.

F150 SbtleMvmnt4

Morphing this filter to reverse the polarity of a series of more-or- less evenly spaced peaks and notches produces an effect more subdued than some types of filter sweeps. Using velocity or a mod wheel (assigned through the Note-on Control section) to control the Morph parameter can be useful when developing responsive plucked-string instrument sounds, such as guitar.

Morph: Controls polarity of poles. Freq. Tracking: Tunes the filter.

Transform 2: Not used.

F151 Buzzy Pad.4

This filter produces a bump at 65Hz and a rolloff above 250Hz at low Morph values. Increasing the Morph value pushes the bump up to about 2kHz, and the cutoff of the lowpass filter up to 20kHz. Increasing the value of Frequency Tracking sends the bump higher yet — up to about 8400Hz at maximum offset. The effect of sweeping the Morph axis is similar to that of a classic 2-pole lowpass filter with medium resonance.

Morph: Tunes the filter.

Freq. Tracking: Tunes the filter.

Transform 2: Not used.

F152 Bw5kHz+6.4

Lowpass cutoff is set to 400Hz with “0” Morph Offset. In addition, there is a 6 dB bump at 5kHz. The bandwidth of this “bump” is controlled by the Morph parameter. Sweeping the Morph Offset upwards moves the bandwidth setting from very narrow to very wide. Frequency Tracking moves the cutoff frequency of the lowpass filter up to a maximum of 20kHz. The range of effects available is from fairly dramatic to quite subtle.

Morph: Controls filter bandwidth. Freq. Tracking: Controls filter cutoff.

Transform 2: Not used.

Z-PLANE FILTER DESCRIPTIONS

F153 Bw65Hz/2k.4

This filter is similar to filter 152, but in addition to sweeping the bandwidth of a single peak along the Morph and Frequency Tracking axes, the peak itself is swept. The range of the frequency sweep is one octave along either axis, although much greater ranges of change are achieved when both the Morph and Frequency Tracking axes are combined. Effects range from gentle, analog-style filter sweeps (with the Frequency Tracking parameter set low), to more ‘digital’ sounding effects in which high-pitched, whistling harmonics are produced.

Morph: Controls bandwidth and frequency. Freq. Tracking: Tunes the filter.

Transform 2: Not used.

F154 Bb80Hzbw1.4

With a Morph Offset value of “0”, the lowpass filter cutoff is set at 400Hz, and there is a wide-band bump at 80Hz. Morphing the filter increases the gain of this bump from 6 dB to 24 dB. Frequency Tracking increases the cutoff to 19.5kHz, and decreases the bandwidth of the 80Hz bump.

Morph: Controls bandwidth. Freq. Tracking: Tunes the filter.

Transform 2: Not used.

F155 HighsTwist4

The frequencies of the poles and zeros in this filter remain constant as Morph or Freq. Tracking are modulated, but the ‘Q’ values are modulated in a variety of ways. The filter is closest to flat (with some emphasis in the high frequency range and a small bump at about 200Hz) when Morph Offset and Frequency Tracking are both set to 000. Modulating either or both of these parameters upward emphasizes more of the highs, with increased values for Frequency Tracking, rolling off the lows as well.

Morph: Controls filter ‘Q’.

Freq. Tracking: Modulate upward for thinner, brighter sounds.

Transform 2: Not used.

F156 Cubix

Morphing this filter produces a lowpass filter sweep effect, while pushing the Frequency Tracking parameter in a positive direction moves the filter towards a more flat response, with a bit of subtle emphasis in the higher frequencies.

Morph: Produces low-pass filter effects.

Freq. Tracking: Use to control key tracking or to set overall filter depth.

Transform 2: Controls brightness.

202 Morpheus Operation Manual

Z-PLANE FILTER DESCRIPTIONS

F157 Intervallc4

This filter is similar to the ‘Bendup/Swap’ filter, but here the effect is even more pronounced. With Frequency Tracking set to 000, pushing the Morph Offset higher produces a downward sweep of a series of very resonant harmonics. Set Frequency Tracking to 255, however, and the sweep reverses. Other effects can be achieved by experimenting with the interaction between these two parameters. Because of its metallic overtones, this filter can make a good choice for simulating certain percussion instruments, such as steel drums and kalimbas.

Morph: Causes a downward sweep of harmonic intervals. Freq. Tracking: Reverses Morph sweep.

Transform 2: Not used.

F158 EvenCuts4

This filter produces a series of notches in the frequency spectrum (based on the even harmonic series), which turn into small bumps when morphed.

Morph: Controls the depth of the notches/height of the bumps. Freq. Tracking: Tunes the notches/bumps.

Transform 2: Not used.

F159 OddCuts.4

This filter produces a series of notches in the frequency spectrum (based on the odd harmonic series), which turn into small bumps when morphed.

Morph: Controls the depth of the notches/height of the bumps. Freq. Tracking: Tunes the notches/bumps.

Transform 2: Not used.

F160 PWMtrans.4

This filter produces a series of harmonically related notches, which become peaks as the filter is morphed upward — the effect can be similar to pulse width modulation, depending on the source material. As Frequency Tracking is moved upward, the peaks/notches move toward the high end of the frequency range, and ‘Q’ is increased, producing more resonant sounds.

Morph: Controls depth of the peaks/notches.

Freq. Tracking: Tunes the filter and controls ‘Q’ amount.

Transform 2: Not used.

F161 HiEndQ.4

This filter behaves much like a resonant low-pass filter.

Morph: Sweep this for low-pass filter effects.

Freq. Tracking: Sets the initial cutoff point of the filter.

Transform 2: Not used.