Файл: Morpheus_Operation_Manual.pdf

MIDIMAP MENU

34 Morpheus Operation Manual

MIDIMAP MENU

MIDIMAP MENU

• FX Output Select

This function selects which pair of output jacks each effect processor will be routed. This is shown in the diagram on page 32 by the 3-way switches after each effect processor.

FX OUTPUT SELECT

A:Main B:Sub 1

• Save Midimap

Changes made to a Midimap are not made permanent until the Midimap is Saved. To save a Midimap, move the cursor to the bottom line and select one of the 16 locations with the data entry control. The Enter LED will be flashing. Pressing the Home/Enter switch will confirm the operation. Writing to a Midimap location erases the existing Midimap in that location. Make sure that the location does not contain information you want to keep.

Save MIDIMAP to

M00 -defMIDIMap-

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EFFECTS SECTION

EFFECTS BASICS

Where are the Effects?

The effects in Morpheus are separate from the preset. This is similar to an external effects unit except that the signal path is kept in the digital domain to maintain excellent sound quality.

The Effects section in Morpheus is located external to the preset in the Midimap menu.

The effects section is located within the Midimap. There are 16 Midimaps (and 16 more on a memory card) which store different effects setups. You could think of a Midimap as an Effects Preset (although they store other parameters as well).

For each of the 16 MIDI channels, you may select: Effect A, Effect B, the Main Outputs (with no effect), the Sub 1 Output (with no effect), or you may choose to use the Mix Select programmed as part of the preset. Therefore you can select effects routings by MIDI channel or by preset. The choice is up to you.

EFFECTS SECTION

EFFECTS OUTPUT ROUTING

The diagram below shows how the effects section is integrated into the output jack routing scheme. The mix bus can be selected either by the preset or by MIDI channel. When “Preset” is selected, the MIX SELECT programmed in the preset is used.

MORPHEUS EFFECT BUS ARCHITECTURE

The two stereo effect processors on Morpheus are designated as A and B effects. “A” effects contain Reverb and other effects. The “B” effects do not include Reverbs, but include a host of other great effects which are listed on page 53.

Each effect has its own set of control parameters which are appropriate to that particular effect. For both the A and B effects there is an amount parameter which determines the relative mix of the processed and unprocessed signals (wet/dry mix). The output of the B effect can also be routed back through processor A. In addition, the stereo submix outputs (Sub 1) can be used to externally process selected presets.

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EFFECTS SECTION

4) Select the desired Effect and program the appropriate parameters.

FXA:Echo

L Delay Time 255

EFFECTS SECTION

Reverberation is a simulation of a natural space such as a room or hall. The reverb effects in Morpheus simulate various halls, chambers, rooms and reverberation plates. In addition, there are several other reverb effects such as Early Reflections and Rain. There is only one adjustable parameter on the reverbs - Decay Time. Decay time is the length of time that it takes for the reflected sound from the walls of the room to die away. In general, the larger the room, the longer the decay time.

The diagram below breaks down the reverberated sound into its component parts. After an initial pre-delay period, the echoes from the closest walls or ceiling are heard. These first echoes or the early reflection cluster, vary greatly depending on the type of room. Roughly 20 milliseconds after the reflection cluster, the actual reverberation begins and decays according to the time set by the decay time parameter.

Floor, Wall &.

Ceiling Reflections

Thousands of

Very Complex

Reflections

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EFFECTS SECTION

Room programs simulate small rooms with high frequency absorption caused by drapes and furniture.

Plates simulate plate type reverbs with their tight, dense early reflections and sharp reverb build-up.

Chambers simulate medium sized rooms with hard reflective surfaces.

Hall programs recreate the open, spacious ambience of large concert halls.

Early Reflection programs consist of the reflection cluster only without the reverb decay. These effects are similar to a multiple tap delay line and have a single adjustable parameter - Ambience.

The special reverbs Rain & Shimmer are variations of the early reflection programs and consist of a dense group of short echoes followed by longer echoes.

FXA:Hall 1

Decay Time: 165

Place the cursor underneath the reverb name and use the data entry control to change the type of reverb. Moving the cursor to the lower line allows you to change the decay time of the reverb. The decay times of the reverb programs range from 100-255. The ambience control of the Early Reflection programs range from 0-100.

• Room

A bright, medium sized room. The apparent source position is fairly close to the listener. Suitable for use with 100% wet mix setting for adding ambience.

• Warm Room

This reverb is similar to “Room” with more high frequency absorption, slightly larger size and a more distant source position.

• Small Room 1

This reverb is also to “Room” with shorter initial reflections, shorter decay times and higher reflection density, due to the reduced room size. The apparent source position is closer to the listener.

• Small Room 2

This reverb is a variation of “Small Room 1” with greater high frequency damping and a more distant source position.

EFFECTS SECTION

• Hall 1

Hall 1 is a large, highly reverberant space with auditorium-like acoustics. Like all the Hall programs, “Hall 1” exhibits a warm, distant ambience with slow reflection density buildup. With the decay parameter set to maximum, “infinite” reverberation effects can be obtained.

Adjustment of wet-dry mix can be used to position the listener from the “front row” (≈25%) to “back of the balcony” (≈100%).

• Hall 2

This reverb is similar to “Hall 1”, but harder and brighter, with more pronounced slap echoes that come from parallel reflecting surfaces in the room. Hall 2 also exhibits a pronounced reverb “bloom” or latereflection buildup. A 50% wet mix creates the optimum “close” distance adjustment.

• Hall 3

Hall 3 is similar to “Hall 2”, but with larger scale stadium-like acoustics. Hall 3 is warmer than Hall 2 (more high frequency damping) and does not display the obvious early reflections and slap echoes. It also exhibits a distinct predelay of approximately 100 milliseconds and a pronounced late reflection buildup both of which contribute to the impression of a large space. Wet mix values of 10% to 50% are most appropriate, although a setting of 100% produces an effective cave simulation.

• Chamber 1

A simulation of a bright, medium-sized chamber reverb or recital hall with hard walls. Early reflections are very prominent, with high reflection density. Moderately long decays are possible at the maximum decay setting.

• Chamber 2

Similar to “Chamber 1” but with a much warmer sound. The wet mix adjustment provides an effective control over the apparent source location from close (10%) to very distant (100%).

• Plate 1

Simulates a plate reverb unit. Gives a tight, bright, slightly metallic sound. Reflection buildup is very rapid, with high density. Early reflections are minimized.

• Plate 2

An effect similar to Plate 1, but slightly warmer with less density.

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EFFECTS SECTION

EARLY REFLECTION GROUP

All Early Reflection programs have a single Ambience parameter which adds diffusion to the individual reflections. Lower ambience settings cause reflections to become more discrete, simulating harder reflecting surfaces. The early reflection programs are simulations of increasingly large acoustic spaces, from a small studio (Early Refl 1) to a large room like a sound stage (Early Refl 4). The wet mix control acts effectively as source distance control. In general, lower mix amounts are more effective as the room size increases.

•Early Reflection 1

•Early Reflection 2

•Early Reflection 3

•Early Reflection 4

•Reverse Early Reflection

More of a special effect than an acoustic simulation, Reverse ER contains a set of exponentially increasing delay taps, creating a kind of “zip” sound at low Ambience settings. At maximum ambience and lower wet mix values, the sound is more authentically acoustic, with a long, delayed reflection “bloom”. The effect is similar to a large but well damped parking garage.

SPECIAL REVERBS

These special reverbs all have a single Decay Time parameter.

• Rain

Similar to a repeating delay, but with complex spatial and filtering effects occurring across the stereo panorama. The effect on percussive sounds might be likened to a bucket of marbles raining down on a galvanized steel roof.

• Shimmer

Distantly related to the Rain effect, Shimmer causes input signals to be progressively diffused in time and space across the stereo panorama. The spatial diffusion is accompanied by a flanging effect. The program is highly responsive to left or right-panned inputs. A stunning special effect with percussive sounds, and especially through headphones.

EFFECTS SECTION

• Stereo Flanger

A flanger consists of a short audio delay line whose output is mixed together with the original signal. Mixing the delayed and original signals together results in multiple frequency cancellations creating a comb filter effect as shown in the diagram below. Since the flanger is a type of filter, it works best with harmonically rich sounds such as strings

The flanging effect was originally created using two tape recorders playing identical recordings. By exactly synchronizing the two decks and then slowing the speed of one by grasping the tape reel flanges, the flanging effect was born.

The flanger in the Morpheus is a stereo device consisting of two separate delay lines controlled by a single set of controls. The block diagram of the flanger is shown below.

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EFFECTS SECTION

A Minimum Delay control serves to tune the flanger. In other words, it adjusts the placement of the comb filter notches. The initial delay is variable from 26 microseconds to 6.5 milliseconds.

FXA:StereoFlange

A Low Frequency Oscillator (LFO) varies this initial delay setting, changing the frequency of the notches and adding animation to the sound. The LFO Rate controls the rate of change and the LFO Depth controls how much the delay is changed by the LFO. The LFO adds to the initial delay time so that with LFO Depth set to 255 the maximum delay time is 13 milliseconds.

FXA:StereoFlange

FXA:StereoFlange

The Feedback control sends some of the delayed signal through the delay line again. When positive feedback is used (values +1 to +127), the comb filter notches are deepened; when negative feedback is used (values -1 to

-127) resonant peaks are formed between the notches which increase with the amount of negative feedback.

FXA:StereoFlange

Feedback -127