Файл: Morpheus_Operation_Manual.pdf

Z-PLANE FILTER DESCRIPTIONS

F162 BroadRes.4

Sweeping filter for resonant effects. Can be used for a “waterdrop” effect on percussion.

Morph: Sweeps to a series of peaks and notches. Notches: 80Hz, 160Hz, 320Hz. Peaks: 2kHz, 6kHz, 10kHz.

Freq. Tracking: Turns peaks into notches.

Transform 2: Not used.

F163 RubberHose4

This filter introduces a series of peaks spaced at octave intervals, in the range of 95Hz to 1.5kHz, and a single notch at 47Hz. Increasing the Morph Offset further raises the peaks and lowers the notch.

Morph: Use to control the depth of the peaks/notch.

Freq. Tracking: Higher values attenuate the effect of the filter.

Transform 2: Not used.

F164 HeeghCube

This filter produces a very subtle series of peaks above 4kHz. Morphing increases the gain and bandwidth of the peaks, slightly, and Frequency Tracking can be used to subtly raise the frequency of the peaks. Increasing the value for Transform 2 increases the gain of the peaks without affecting bandwidth.

Morph: Controls gain and bandwidth of peaks. Freq. Tracking: Tunes the filter.

Transform 2: Controls gain of peaks.

F165 NoizCube

This filter introduces some subtle peaks into the high frequency range, along with a single peak which can be swept.

Morph: Sweeps a single frequency.

Freq. Tracking: Determines range of sweep. Transform 2: Tunes the sweep, bandwidth, and ‘Q’.

F166 VelctyTilt

This filter can function as a sweepable, subtle low-pass filter.

Morph & Freq. Tracking: Control filter cutoff.

Transform 2: Controls filter resonance.

F167 SynthWow4

An emulation of a resonant low-pass filter. Both Morph Offset and Frequency Tracking control cutoff frequency; the brightest sounds are obtained with both these parameters set to 255.

Morph & Freq. Tracking: Control filter cutoff. Transform 2: Not used.

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Z-PLANE FILTER DESCRIPTIONS

F168 CntrySweep4

Multiple peaks are swept in a variety of directions, imparting a phase-shifter-like, almost vocal quality when this filter is morphed.

Morph: Set this higher to move widely spaced peaks closer together.

Freq. Tracking: Set this higher to move low-frequency peaks towards the higher ranges.

Transform 2: Not used.

F169 Diffuser4

Morphing this filter upward sweeps a resonant peak up in frequency and increases low frequency content. The Frequency Tracking parameter can be used to tune the peak.

Morph: Use to tune the resonant peak and control low-frequency content.

Freq. Tracking: Use to ‘tune’ the resonant peak and control lowfrequency content.

Transform 2: Not used.

F170 MdlySweep4

Morphing this filter upward sweeps several resonant peaks up in frequency. The Frequency Tracking parameter can be used to tune the peaks.

Morph & Freq. Tracking: Tune the resonant peaks.

Transform 2: Not used.

F171 StrongShimr

This filter produces several deep notches in the frequency spectrum, which can be tuned or swept according to the settings and modulators for the Morph Offset, Frequency Tracking, and Transform 2 parameters.

Morph: Raising this value lowers the frequency of the notches, producing thinner sounds.

Freq. Tracking: Raising this value lowers the frequency of the notches, producing thinner sounds.

Transform 2: Raising this value raises the frequency of the notches, producing fatter sounds.

F172 Acc.Vel-1

Morph: Fixes soft “Start-point”.

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

Transform 2: Controls brightness and volume.

Comments: Velocity cube. Use Morph to establish soft start point.

Z-PLANE FILTER DESCRIPTIONS

F173 Acc.Vel-2

Variation of “Acc.Vel-1”, except somewhat brighter on bottom and mellower on top.

F174 Vel2-Wind

Morph: Fixes soft “Start-point”.

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

Transform 2: Controls brightness and volume.

Comments: Velocity cube. Use morph to establish soft start point. Good for wind instruments as more morph gives a “hollower” soft sound.

F175 Harmo

Morph: Changes from “peaky” lowpass response to smooth lowpass.

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

Transform 2: Controls volume, brightness and dissonance.

Comments: Cube construction - Use the Aux. Envelope to provide attack transient which then fades off to rear frames.

F176 Start>EndA

Morph: Complex peak at 80Hz to a very gentle lowpass response.

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

Transform 2: Brighter, more volume, more harmonics.

Comments: Cube construction - Use the Aux. Envelope to provide attack transient which then fades off to rear frames. Softer version than “HarmoEP”. Volume changes for sensitivity are maintained in the cube.

F177 Start>EndB

Morph: Flat response to gentle lowpass.

Freq. Tracking: Key tracking to balance keyboard brightness. Transform 2: Controls volume, brightness and harmonic content.

Comments: Same model as Start>EndA but more bright and dissonant.

F178 MovingPick1

Morph: Tight<>Hollow

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

Transform 2: Controls brightness and volume.

Comments: Uses Morph to simulate acoustic versus electric type response to velocity: plucking closer or further from the bridge of a guitar for example.

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Z-PLANE FILTER DESCRIPTIONS

F179 MovingPick2

A variation on “MovingPick1” to simulate different pick positions, for example. Morph moves closer to neck, further from bridge.

F180 Mph+Trns1

Morph: Makes vowel like changes.

Freq. Tracking: Provides key tracking to enhance vowel.

Transform 2: Controls vowels, brightness, volume.

Comments: Uses Morph to sweep from one vowel to another.

Transform 2 takes care of velocity expression.

F181 0>Odds

Morph: Sweeps from flat to odds only.

Freq. Tracking: Provides key tracking to fix partials. Transform 2: Controls brightness and volume.

Comments: Strong odds only spectrum with morphing. Transform 2 takes care of brightness.

F182 Comb Voices

Center frequencies of the poles and zeros in this filter can move in opposite directions as the filter is modulated along any of its axes, producing an amazing variety of possible curves. Sweeping the Morph axis produces some lovely phase-shifter/flanger-type effects, especially with the value for Transform 2 set fairly high.

Morph: Use this to animate the comb-filtering effect.

Freq. Tracking: Generally, this can be used to tune the filter. Transform 2: Moves the filter toward more open sounds.

F183 Odd-Ev Hrm

A series of peaks and notches based on the odd and even harmonic series. Sweeping the Morph axis produces some lovely comb filtering effects, which can be either subtle or dramatic depending on other settings ( especially that of Transform 2).

Morph: Use this to sweep the peaks/notches. Freq. Tracking: Tunes the filter.

Transform 2: Tunes the filter and controls resonance.

F184 OddHrm+rez

This filter cube, based on the odd harmonic series, provides a number of comb-filtering effects. Use the Morph Offset to control filter ‘Q’, and Frequency Tracking and Transform 2 to tune the filter.

Morph: Increasing this parameter pushes the filter towards a flat curve.

Freq. Tracking: Tunes the filter.

Transform 2: Tunes the filter. Higher values add a high-frequency bump.