E-Mu MORPHEUS, Operation Manual

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Chapter 11: Reference Section 175
Z-PLANE FILTER DESCRIPTIONS
F004 CubeFlanger
A flanging filter featuring deep notches tuned in octaves and a
steep roll-off of high frequencies when all axes have no offset.
High settings for Transform 2 can produce some rather metallic-
sounding overtones. Apart from flanging effects, this filter can be
used in much the same way as a standard resonant synth filter.
Morph: Tunes the filter notches.
Freq. Tracking: Controls lowpass filter cutoff point.
Transform 2: Increases resonance and introduces some peaks.
F005 Flange3.4
Notches are spaced at a ratio of 1.61 between notch frequencies,
starting at 40Hz. This spacing means that notches will not fall on
top of all of the harmonics of a sound at once. Instead, they
should hit harmonics one at a time as they are swept in frequency.
Traditional flangers have notches spaced linearly, not log spaced.
Morph: Moves all of the notches up above 10kHz, with the relative
frequency spacing decreasing. The deepest flange effect will hap-
pen in the lower 1/3 to 1/5 of the morph parameter range.
Freq. Tracking: Sets the initial tuning of the notches, moving all of
the notches up from 40Hz to 325Hz as the base frequency.
Transform 2: Not used.
F006 Flange 4.4
A highly resonant flanger /filter type. Sweeping the Morph axis
produces dramatic effects. The Filter Frequency Track parameter
can be used to tune the flanger; higher values produce more open
sounds.
Morph: Increase to raise the cutoff frequency and vary the gain of
the various peaks and notches.
Freq. Tracking: Tunes the filter.
Transform 2: Not used.
F007 Flange 5
A complex flange possessing some vocal-sounding characteristics.
Sweeping along the Morph or Freq. Track axes produces flanger-
like effects.
Morph: Tunes the notches.
Freq. Tracking: Spreads the notches.
Transform 2: Increase this to move the filter toward a more flat
curve.
F008 Flange 6.4
Introduces both peaks and notches which start widely spaced and
become more tightly distributed as Morph Offset reaches maxi-
mum. The center frequencies for the various filter bands move
towards higher ranges as the Morph or Filter Freq. Track param-
eters are swept upward; the effect is not unlike a sweeping of
multiple resonant band-pass filters.