Файл: Morpheus_Operation_Manual.pdf

EFFECTS SECTION

• Stereo Phaser

The stereo phaser is an effect similar to the flanger although much more subtle. The phaser creates a swirly animation when used with harmonically rich sounds such as strings and voices. It can also be used like a chorus to thicken-up a thin sound.

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• Stereo Chorus

The function of a chorus device is to thicken the sound or to make one voice sound like many. The way the effect is achieved is by mixing one or more delayed versions of the signal in with the original. The delay times used are too short to be perceived as a an echo, but long enough so that comb filtering does not occur. In addition, the delay time is varied to simulate the random differences which occur when multiple instruments are playing together. A slight amount of feedback improves the effect by creating multiple images of the sound as it recirculates again and again. The delay times are slightly different for each channel and the LFO phase is inverted on the right channel to help contribute to the overall chorus effect. The LFO Rate and Depth settings are critical to achieving a realistic effect with faster LFO Rates generally requiring less LFO Amount and vice-versa.

The stereo chorus in the Morpheus is very similar to the stereo flanger except that the delay time is longer. The delay times for the stereo chorus range from 13 milliseconds to 52 milliseconds, compared with the 26 microsecond to 6.5 millisecond range of the flanger.

Chorus simulates the effect of multiple instruments playing by creating multiple copies of the sound using a varying delay time and feedback.

EFFECTS SECTION

• Delay

The delay line is a stereo effect which can be used for doubling, echoes or fixed formant comb filtering with completely independent delay time and tap levels for the left and right sides. The delay is shown in the diagram below.

The Delay Time parameter is independently variable from 0 to 209 milliseconds for both the left and right channels. The Tap Level parameters control the amount of signal from the left and right delays as well as how much signal from each is supplied to the feedback control. Feedback controls how many echoes are produced. A setting of 0 produces only one echo. The delay line is incredibly stable even

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EFFECTS SECTION

with large amounts of feedback. This quality allows the delay line to be used as a resonator, where it acts as a kind of oscillator when excited by an input signal. Infinite delay effects are also possible without the risk of runaway. The stereo delay can function as two independent delay lines by panning the primary and secondary instruments to the extreme left and right.

FXA:Delay

Feedback 120

• Cross Delay

Cross Delay is identical to the normal delay line except that the output paths and the feedback paths cross over to the opposite channel in order to produce a ping-pong type of effect when reproduced in stereo. Delay time is adjustable from 0 to 209 milliseconds. The Cross Delay is shown in the diagram below.

EFFECTS SECTION

• Echo

The Echo produces echoes up to 400 milliseconds in length (twice that of the Delay and Cross Delay effects). The feedback path is independent of the output level and contains a low pass filter which simulates an analog tape echo. The left and right signals are kept completely independent throughout the effect and have separate controls except the feedback amount control which affects both channels.

FXA:Echo

Feedback 100

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EFFECTS SECTION

B EFFECTS

The B effects include Stereo Flanger, Stereo Chorus, Phaser, Fuzz, Ring Modulator, Delay, Cross Delay and Fuzz Lite. Some of the B effects such as the Fuzz and the Ring Modulator are a bit bizarre (you won't want to use them on every sound), but can be used to create some truly amazing effects. The B effects can additionally be routed through the A effect as shown in the diagram below. Simple effects such as Fuzz can take on a completely new character when routed through the Reverb.

• Stereo Delay B

The B Delay is identical to the delay line in the A effect group except that the maximum delay time is 104 milliseconds (instead of 209 milliseconds). This delay is useful for short echoes, slapback and doubling effects, as well as for fixed formant comb filtering. Like Stereo Delay A, the feedback parameter is extremely stable even with high amounts, making it useful as a resonator for “infinite” delays.

• Stereo Cross Delay B

The B Cross Delay is identical to the cross delay line in the A effect group except that the maximum delay time is 104 milliseconds (instead of 209 mS). This delay is useful for short ping-pong echoes, stereo slapback and doubling effects.

EFFECTS SECTION

STEREO FUZZ

The Stereo Fuzz introduces a controlled distortion to any signal passing through it. Distortion creates harmonics by clipping the top of the wave when it exceeds a certain level. Sine waves are transformed into square waves and complex waves take on noise-like qualities. There are two types of fuzz in Morpheus: Fuzz and Fuzz Lite.

• Fuzz

This Fuzz is probably the grungiest fuzz you have ever heard. Two filters, one at the input and one at the output of the fuzz, allow you to control the amount and type of harmonics added to the sound. The Input Filter controls the amount of harmonics produced by the fuzz and the Output Filter removes harmonics at the output, smoothing the sound. Higher values allow more harmonics to pass. The level of the input sound greatly affects the amount of fuzz, so that Morpheus' envelopes can now control harmonic content as well as the volume. Output Volume sets the output level of the fuzz. There are two complete fuzz effects, controlled by the same set of controls as shown in the diagram below.

Two independent sounds can be processed by panning primary and secondary to opposite sides, or a single sound can be routed through both sides. If a single sound is panned slightly off center, the fuzz will act slightly differently on each side because of the difference in level.

• Fuzz Lite

This is a more restrained type of fuzz utilizing “soft-clipping”. As the level increases, the waveform through Fuzz Lite becomes somewhat squared. As signal level is increased further, it transforms into a square wave. There is no Output Volume control on Fuzz Lite.

Experiment with the way the input and output filters work on the sound. Fuzz is a specialized effect, not for every situation, but another powerful tool in your arsenal.

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• Ring Modulator

A Ring Modulator is a device which takes two signals and multiplies them together into one resultant signal containing only the sum and difference frequencies of the two input waves. The original frequencies are not output! However, every harmonic of each signal multiplies every other, according to its amplitude. As a result, ring modulators tend to generate a lot of non-harmonic frequencies which can sound very bell-like or out of tune.

This diagram shows the result of Ring Modulating two sine waves with frequencies of 200 Hz and 800 Hz. Only the Sum and Difference frequencies of 1000 Hz and 600 Hz will result.

EFFECTS SECTION

There are no controls on the ring modulator as shown by the block diagram below. The left and right outputs are simply multiplied together to form a monophonic output.

By routing the preset (or MIDI channel) to effect B and panning to opposite sides (shown below), two different waves can be ring modulated. Ring modulation works well with simple waves such as sine waves and the harmonic waveforms. Also, try complex waves modulated with sine waves. (Play chords!) Complex waveforms tend to sound rather noise-like.

Pan the primary and secondary instruments to left and right in the pan screen, then move to the Effect B screen and select Ring Modulator. There are no parameters to adjust in this effect so the lower line of the display reads: None.

FXB:RingModulate

None ---

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HYPERPRESET MENU

HYPERPRESET MENU

HYPERPRESET MENU

HYPERPRESET MENU FUNCTIONS

• Hyperpreset Name

Hyperpreset Name allows you to name each of the 128 hyperpresets with a name of up to 12 characters. Position the cursor under the character location and use the data entry control to change the character. The keyboard can also be used to select characters. The chart below

shows the keyboard character assignments.

HYPERPRESET NAME

0002 Bass/Lead

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