Файл: Morpheus_Operation_Manual.pdf

Z-PLANE FILTER DESCRIPTIONS

F185 EvnHrm+rez

This filter cube is nearly identical to the ‘OddHrm+rez’ filter, but it’s based on the even harmonic series. The overall effect is quite similar, though somewhat less ‘hollow’ sound at certain settings.

Morph: Increasing this parameter pushes the filter towards a flat curve and reduced “Q”.

Freq. Tracking: Tunes the filter.

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

F186 MellowPeaks

This filter provides two or three mildly resonant poles which can be swept through the frequency spectrum in a number of ways, depending on the settings for the various parameters. With lower settings for Frequency Tracking , the filter takes on a distinctly vocal quality on most source material.

Morph: Positive values generally move the poles upward in frequency.

Freq. Tracking: Positive values generally move the poles upward in frequency.

Transform 2: Positive values generally move the poles upward in frequency.

F187 AHmBnd.4

The Morph Offset can be swept to sweep a cluster of resonant peaks, producing a pitch-bend effect. The effect is generally most pronounced with Frequency Tracking set to a fairly low value.

Morph: Sweeping produces ‘pitch-bend’ effect. Freq. Tracking: Tunes the filter.

Transform 2: Not used.

F188 Vintage

Features an accentuated low end, and a series of notches which can be swept via morphing. The most dramatic resonant sweeps are produced with Frequency Tracking set to minimum and Transform 2 set to maximum, producing the classic analog filter sweep sound.

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

Transform 2: Controls filter resonance.

F189 MildQPole

Morph: Sweeps between a shallow roll-off low-pass to almost flat response.

Freq. Tracking: Tracks keyboard.

Transform 2: At maximum, inverts morph effect.

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Z-PLANE FILTER DESCRIPTIONS

F190 Bonk>CO

A series of highly resonant peaks alternating with notches are spaced at intervals of about an octave. The Morph Offset parameter is used to control ‘Q’ — modulating the Morph Offset upward causes the curve to flatten out. Frequency Tracking can be used to tune the peaks/notches; higher values move the peaks/notches into higher frequency ranges. Transform 2 also tunes the filter, but higher values cause the notches to move down in frequency, slightly. The overall effect of the filter can be very vocal, depending on the source material.

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

Transform 2: Subtly tunes the filter.

F191 Speaker

Groups of unevenly spaced bumps and dips in the frequency spectrum are used to simulate a number of speaker cabinet responses. Use Morph Offset, Frequency Tracking, and Transform 2 to vary the tuning and depth of the bumps and dips to simulate different speaker cabinet types.

All Axes: Vary center frequency and amount of boost/cut for the various filter bands.

F192 Expander

Frequency Tracking and Transform 2 provide a range of fairly broad-band boosts and cuts at various frequencies, with higher values generally providing thinner, brighter sounds. These can be used to add a measure of expressiveness to the source material — route ‘Key’ to control Frequency Tracking, for example, and ‘Vel’ to control Transform 2. Increasing the value for Morph Offset has the effect of flattening the curve, providing you with a filter depth control.

Morph: Use to control filter depth.

Freq. Tracking: Higher values produce thinner, brighter sounds. Transform 2: Higher values produce thinner, brighter sounds.

F193 Separator

This filter features three inharmonically related resonant peaks, which can be swept via the Morph parameter, producing a metallic set of overtones. Applied to the noise waves, this can sound like whistling wind; applied to pitch sounds, it can produce anything from hollow, metallic resonances to accentuated high-frequency attack transients.

Morph: Use to sweep the resonant peaks. Freq. Tracking: Tunes the filter. Transform 2: Controls filter resonance.

Z-PLANE FILTER DESCRIPTIONS

F194 MildPolSwap

Basically, a variable cut-off low pass filter.

Morph: Tunes the filter.

Freq. Tracking: Tunes the filter.

Transform 2: Adds extra brightness to high morph.

DISTORTIONS

Jump Back! The Filter Level is useful to control the distortion filters.

F195 PoleCross.4

Crossing poles produces certain “hot” or “sweet” spots where frequencies correlate.

Morph: Crosses filter “poles” to create hot (distortion) or sweet spots.

Freq. Tracking: Adds extra bite to Morph.

Transform 2: Not used.

F196 ApDistB6.4

Reducing the Filter Level parameter in the preset will not only reduce the volume level, it will also reduce the amount of distortion effect. Therefore, routing velocity, mod wheel, pressure, pedal, etc to Filter Level controls the distortion’s depth as well as volume.

F197 TubeJam.4

All rules are broken here. Peaks are intentionally clipped, yet output volume is within tolerance....barely! Only the morph axis is active.

Freq. Tracking: Not used. Transform 2: Not used.

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LOOP OFFSET SAMPLE LOCATIONS

This listing represents the actual order of the ROM samples in memory. This information may be useful when adjusting the Loop Offset parameters in the preset menu. When the loop size reaches the end of memory, it jumps back to the start.

LOOP OFFSET SAMPLE LOCATIONS

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LOOP OFFSET SAMPLE LOCATIONS