E-Mu MORPHEUS Operation Manual Download Page 220 | Manualshive

Page: 220 / 269

background image

Morpheus Operation Manual

210

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 distor-
tion 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.

Z-PLANE FILTER DESCRIPTIONS

«
...
218
219
220
221
222
...
»

Summary of Contents for MORPHEUS

Page 1: ...u must have a sales receipt or other proof of purchase If there is no serial number sticker on Morpheus please contact E mu Systems at once PRINTED AND MADE IN THE USA Manual Riley Smith E mu World Headquarters E mu Systems Inc U S A P O Box 660015 Scotts Valley CA USA 95067 0015 Telephone 831 438 1921 Fax 831 438 8612 Europe Africa Middle East E mu Systems Ltd Suite 6 Adam Ferguson House Eskmills...

Page 2: ... DANGER Improper connection of equipment grounding conductor can result in the risk of electric shock Check with a qualified electrician or service personnel if you are in doubt as to whether the product is properly grounded Do not modify the plug provided with this product if it will not fit the outlet have a proper outlet installed by a qualified technician CAUTION If the Morpheus model number 9...

Page 3: ...ted previously If you experience any hearing loss or ringing of the ears consult your physician 8 Morpheus may be equipped with a polarized line plug one blade wider that the other This is a safety feature If you are unable to insert this plug into the outlet do not defeat the safety purpose of the plug Contact an electrician to replace your obsolete outlet 9 The power supply cord of Morpheus shou...

Page 4: ...eration 16 Playing the Demo Sequences 16 MASTER MENU 17 Enabling the Master Menu 19 Master Tune 19 Transpose 19 User Key Tuning 20 Global Bend 20 Global Velocity Curve 20 MIDI Mode 22 MIDI Mode Change 22 MIDI Program Change Map 23 MIDI Controller Assign 24 MIDI Footswitch Control 24 Send MIDI Data 24 Sysex Packet Delay 25 Proteus Sysex 26 Auto Select 26 Compare Mode 26 Viewing Angle 26 MIDIMAP MEN...

Page 5: ...structions 41 Reverb 42 Stereo Flanger 46 Stereo Phaser 48 Stereo Chorus 49 Stereo Delay 50 Stereo Cross Delay 51 Stereo Echo 52 B Effects 53 Stereo Fuzz 54 Ring Modulator 55 HYPERPRESET MENU 57 The Hyperpreset 59 Enabling the Hyperpreset Menu 59 Hyperpreset Name 60 Preset to Zone Assignment 60 Zone Volume and Pan 61 Zone Key Range 61 Zone Velocity Range 62 Zone Velocity Offset 63 Zone Transpose 6...

Page 6: ...dulation Control 94 Realtime Modulation Control 95 Key Number 96 Velocity Curves 96 MIDI Realtime Controls 97 PRESET MENU 99 Enabling the Preset Menu 101 Preset Name 102 Primary Instrument 102 Secondary Instrument 102 Volume 103 Pan 103 Key Range 103 Primary Key Range 104 Secondary Key Range 104 Transpose 105 Coarse Pitch Tuning 105 Fine Pitch Tuning 105 Alternate Envelope On Off 105 Primary Alter...

Page 7: ...113 Secondary Filter Type 113 Filter Level 113 Morph Offset 114 Filter Frequency Tracking 114 Filter Transform 2 115 Filter Reverse 116 Auxiliary Envelope 116 LFO 1 2 Shape Amount 117 LFO 1 2 Rate Delay Variation 117 Function Generator 1 and 2 118 Note On Modulation Control 122 Realtime Modulation Control 123 Footswitch Control 124 Pitch Bend Range 124 Pressure Amount 124 MIDI Controller Amount 12...

Page 8: ... Channel 135 Copy Effects 135 Copy Program Change Map 135 Copy Bank 136 STEP BY STEP 137 Forward 139 Editing Presets 139 Starting From Scratch 140 The Instrument 140 Volume 141 Pan 141 Transpose 141 Coarse Tuning 142 Fine Tuning 142 Alternate Volume Envelope 143 Anatomy of an Envelope 144 Sound Delay 145 Sound Start 145 Application Sound Splicing 146 Time to Save 147 LFO Modulation 147 Modulating ...

Page 9: ...trument Listing 164 B3 Wave Diagrams 169 Percussion Instrument Locations 170 Z Plane Filter Descriptions 174 Loop Offset Sample Locations 211 Function Generator Curves 214 Function Generator LFO Envelope Specifications 222 Technical Specifications 223 MIDI Implementation Chart 224 MIDI Specifications 225 MIDI SysEx Tutorial 251 INDEX 255 CONTENTS viii ...

Page 10: ...1 Chapter 1 Basic Setup INTRODUCTION BASIC SETUP ...

Page 11: ...Morpheus Operation Manual 2 ...

Page 12: ...e sounds can be combined or spliced modulated and then shaped through one of 197 Z Plane filters Sampled sounds can now be re shaped and expressively controlled The 16 bit sound samples are arranged into 256 preset locations 128 of which are user programmable 128 user programmable Hyperpresets allow ultra flexible keyboard mapping of presets The optional memory card lets you create an expandable l...

Page 13: ... nized into banks of 128 programmable RAM presets unalterable ROM presets and Hyperpresets A Hyperpreset is a combination of up to sixteen presets arranged either side by side on the keyboard to create a keyboard split or on top of each other to create a denser sound Each preset in a hyperpreset is assigned to a keyboard Zone with an associated key range volume pan tuning and transpose setting In ...

Page 14: ...s is a high quality stereo audio device In order to repro duce its wide dynamic range and frequency response use a high quality amplification and speaker system such as a keyboard amplifier or home stereo system A stereo setup is highly desirable because of the added realism of stereophonic sound Headphones can be used if an amplifier and speaker system is not available Plug stereo headphones into...

Page 15: ... MIDI controller such as a MIDI keyboard MIDI wind controller or a computer to be easily connected MIDI Out The MIDI Out jack is normally used to transmit MIDI System Exclusive data to a computer or other device Audio Outputs Morpheus has three sets of programmable stereo outputs Main Sub 1 and Sub 2 Specific Morpheus presets or MIDI channels can be routed to one of these stereo pairs in order to ...

Page 16: ...IDI keyboard MIDI wind controller or MIDI guitar controller MIDI Thru The MIDI Thru jack is used to connect additional MIDI devices onto the MIDI chain MIDI Thru transmits an exact copy of the messages received at the MIDI In jack Audio Outputs Each of the Sub 1 and Sub 2 output jacks on the Morpheus are stereo jacks The tip of each jack accessed when a standard phone plug is inserted is the left ...

Page 17: ...to further process selected Morpheus presets without using the effects bus on the mixing board In a pinch the effect re turns could also be used to sum additional instruments into the main outputs POWER UP The power switch is located on the right side of the front panel Morpheus and its MIDI controller may be turned on in any order When power is applied the liquid crystal display will light indica...

Page 18: ...Morpheus ROM Read Only Memory chips Conceptually the sampling process is very simple as shown in the Basic Sampling System diagram As a sound wave strikes the dia phragm of a microphone a corresponding voltage is generated To sample the sound the voltage level is repeatedly measured over time and the corresponding data values are stored in memory To play the sound back the numbers are read back ou...

Page 19: ...Morpheus Operation Manual 10 ...

Page 20: ...Chapter 2 Basic Operation 11 BASIC OPERATION ...

Page 21: ... 16 Midimaps contain digital effects setting as well as assignments of presets hyperpresets to MIDI channels An LED to the left of the button indicates that you are working in the Midimap menu Preset Menu Select Button The Preset menu is used when you want to create or modify a preset The LED to the left of the button indicates that you are working in the Preset menu To Compare an edited preset wi...

Page 22: ...ursor control button repeatedly until the cursor is underneath the desired parameter Copy Button The copy menu allows you to copy selected groups of parameters between Presets Hyperpresets and Midimaps Home Enter Button The Home Enter button is used to confirm a particular operation or to return the cursor the Home position in the upper left corner The LED flashes to indicate that Morpheus is wait...

Page 23: ... or press Home Enter until the cursor is underneath the program number A Program is a Preset or a Hyperpreset As the data entry control is rotated the program number and name will change The displayed program will be assigned to the displayed MIDI channel Programs are arranged into banks of 128 as shown in the diagram at left Banks can be selected independently of the program number by pressing th...

Page 24: ...s a set of parameters which can be used as a pre sequence setup storing the program and other parameters for each MIDI chan nel or it could be used as an Effects Preset since each Midimap stores a complete effects setup There are 16 Midimaps in Morpheus and an additional 16 Midimaps can be stored on a memory card To Select a Midimap Press the Midimap key lighting the LED The current screen will be...

Page 25: ...wish the Morpheus to receive using the Preset Hyperpreset MIDI Channel selection screen in the Midimap menu page 31 4 Save the Midimap using the last screen in the Midimap menu 5 Morpheus will now respond multi timbrally on the MIDI channels you have specified 6 The effects can be programmed and each MIDI channel as signed to an effects bus if so desired The volume and pan position can be adjusted...

Page 26: ...Chapter 3 Master Menu 17 MASTER MENU ...

Page 27: ...Morpheus Operation Manual 18 ...

Page 28: ... the data entry control to select another screen To modify a parameter Press the Cursor button repeatedly or hold the right cursor key while turning the data entry control until the cursor is under neath the parameter value Rotate the data entry control to change the value To return to the main screen Press the Master button turning off the LED MASTER MENU FUNCTIONS Master Tune Master tune adjusts...

Page 29: ...unction sets the range of the pitch wheel controller even when pitch wheel is not routed to control pitch The maximum pitch bend range is 12 semitones This function only affects presets which have their individual pitch bend range set to global GLOBAL BEND 12 semitones Global Velocity Curve Incoming velocity data can be modified by a velocity curve in order to provide different types of dynamics i...

Page 30: ...Chapter 3 Master Menu 21 MASTER MENU GLOBAL VELOCITY CURVES ...

Page 31: ...nnels Mono mode Morpheus responds to data on any combination of MIDI chan nels but plays each channel monophonically If a new note on a channel is played before the last note is released the envelopes will not be retriggered Mono mode is particularly useful with alternate controllers such as MIDI guitars etc Device ID This function allows an external programming unit to distinguish between multipl...

Page 32: ... change number There are four separate Program Change Maps available This feature also allows you to call up presets in any bank which are not accessible through a standard MIDI program change Note The Program Map only operates if it is selected in the Midimap and if the Bank Select function in the Midimap is set to bank 0 PROG CHG MAP 1 026 012 MASTER MENU The Bank Select function is located in t...

Page 33: ...ers 3 MIDI footswitches can be assigned to MIDI footswitch numbers Footswitches can be assigned numbers from 64 79 Destinations for the footswitch controllers are programmed in the Preset menu FOOTSW CTL 123 64 65 66 Send MIDI Data This function will send MIDI System Exclusive data to the MIDI Out port of Morpheus The MIDI data can either be sent to a computer sequencer or to another Morpheus Usin...

Page 34: ...rogram Change Maps are received via SysEx they are placed in their proper locations Sysex Packet Delay Errors can sometimes occur when transferring Sysex data from Morpheus to a computer because the computer cannot process and store the incoming data fast enough This function allows you to change the amount of delay between MIDI Sysex data packets so that the input buffer of your computer does not...

Page 35: ...ore Auto Select can be turned On or Off Auto Select affects the following parameters User Key Tuning Zone Select Key Range Midimap Preset Hyperpreset Naming Cross switch Point Keyboard Center AUTO SELECT Off Compare This function turns the Compare feature accessed by pressing the Preset button when editing On or Off If Compare is turned On changes made via MIDI SysEx will not be heard except when ...

Page 36: ...Chapter 4 Midimap Menu 27 MIDIMAP MENU ...

Page 37: ...Morpheus Operation Manual 28 ...

Page 38: ...perpreset for each MIDI channel effects settings etc There are 16 Midimaps in Morpheus and an additional 16 can be stored on a memory card MIDIMAP MENU Midimaps are often used with Morpheus connected to an external sequencer in MULTI mode Multi mode allows Morpheus to receive MIDI data on all 16 channels simultaneously Morpheus can store 16 different Midimaps The two digital effects processors are...

Page 39: ...the Home Enter button or press the cursor key repeatedly until the cursor is underneath the screen title heading Rotate the data entry control to select another screen To modify a parameter Press the cursor button repeatedly or hold the cursor key while turning the data entry control until the cursor is underneath the parameter value Rotate the data entry control to change the value To return to P...

Page 40: ... to change the pro gram assigned to each MIDI channel PRESET HYPER C01 061 Space Wash Volume Pan Output Mix This function sets the Volume Pan Position and Output Mix for each MIDI channel in the selected Midimap Volume allows you to adjust the relative volume between programs Pan allows you to position each program in the stereo field The Volume control acts as an at tenuator on the program volume...

Page 41: ...can be selected according to MIDI channel or by preset Position the cursor under the channel number and use the data entry control to change the MIDI channel Position the cursor under the volume pan or mix and use the data entry control to change the value The volume and pan values are the same ones shown in the main screen The diagram below shows the function of Output Mix Select The Output Mix S...

Page 42: ...el Mono Pressure Key Pressure Controllers A D Footswitches 1 3 The All Messages filter is useful when you have other MIDI devices connected and do not want Morpheus to respond to the MIDI chan nels reserved for other devices Messages will be passed when On and filtered out when turned Off MIDI ENABLES C01 AllMessages On Bank Select The MIDI specification only allows for 128 presets per MIDI channe...

Page 43: ...erates if it is turned On and the Bank Select function is set to bank 0 PROG CHG MAP Off This chart shows how MIDI preset changes can be re mapped In this example program changes 10 29 darkened area have been re mapped All other programs will be selected normally FX A This function allows you to select which effect is active on Effect Processor A Processor A effects include several types of reverb...

Page 44: ...FX Amount This function allows you to adjust the ratio of dry unprocessed to wet processed signal coming out of the effect processor A setting of 100 indicates that all of the signal is being processed by the effect The B A parameter allows you to adjust the amount of effect B which will be fed through the A effect If B A is set to one value above 100 the word Only is displayed and the B amount ch...

Page 45: ...nges 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 con firm the operation Writing to a Midimap location erases the existing Midimap in that location Make sure that the location does not con tain ...

Page 46: ...Chapter 5 Effects Section 37 EFFECTS SECTION ...

Page 47: ...Morpheus Operation Manual 38 ...

Page 48: ...y card which store different effects setups You could think of a Midimap as an Effects Preset although they store other parameters as well EFFECTS BASICS 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 b...

Page 49: ... 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 unproces...

Page 50: ...s adjusts the ratio of effected to un effected signal B A allows you to route the output of effect B through effect A set the MIX to effect B FX AMOUNT A 50 B A 0 B 50 4 Select the desired Effect and program the appropriate parameters FXA Echo L Delay Time 255 The diagram on the previous page illustrates the function of Mix Select Setting the B A percent age to maximum selects Only which disconnec...

Page 51: ...everberation 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 ...

Page 52: ...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 c...

Page 53: ... 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 simulati...

Page 54: ... con tains 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 repeatin...

Page 55: ...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 tw...

Page 56: ...e 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 LFO Rate 038 FXA StereoFlange LFO Depth 150 The Feedback control sends some of the delayed signal through the delay line again When positive feedback is used values 1 to ...

Page 57: ... 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 FXA Phaser LFO Rate 060 FXA Phaser Min Freq 015 FXA Phaser LFO Depth 100 FXA Phaser Feedback 064 ...

Page 58: ...tiple images of the sound as it recircu lates 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 set tings are critical to achieving a realistic effect with faster LFO Rates generally requiring less LFO Amount and vice versa The stereo chorus in the Morpheu...

Page 59: ...rameters 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 Delay The delay line is a stereo effect which can be used for doubling echoes or fixed formant comb filtering with completely indepe...

Page 60: ...an function as two independent delay lines by panning the primary and secondary instruments to the extreme left and right FXA Delay R DelayTime 060 FXA Delay R Tap Level 120 EFFECTS SECTION 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 o...

Page 61: ...put 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 EFFECTS SECTION FXA Echo L DelayTime 120 FXA Echo L Tap Level 127 FXA Echo R DelayTime 100 FXA Echo R Tap Level 127 FXA Echo Feedback 100 ...

Page 62: ...ugh the Reverb EFFECTS SECTION 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 dou bling effects as well as for fixed formant comb filtering Like Stereo Delay A the feedback parameter is extremely stable even with high amounts making ...

Page 63: ...tly 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 com plete fuzz effects controlled by the same set of controls as shown in the diagram below EFFECTS SECTION Experiment with the way the input and output filters work on the sound Fuzz is a specialized effect not for every sit...

Page 64: ...nal frequen cies 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 an...

Page 65: ...low two different waves can be ring modu lated Ring modulation works well with simple waves such as sine waves and the harmonic waveforms Also try complex waves modu lated 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 Modula tor There are no...

Page 66: ...Chapter 6 Hyperpreset Menu 57 HYPERPRESET MENU ...

Page 67: ...Morpheus Operation Manual 58 ...

Page 68: ...he one most recently selected since powering up Morpheus The Hyperpreset to be edited will be the LAST one selected or edited The cursor will appear underneath the first character of the screen heading on line one To select a new screen Press the Home Enter button or press a cursor button repeatedly until the cursor is underneath the screen title heading Rotate the data entry control to select ano...

Page 69: ...t 000 PRESET Z01 003 Multi Split 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 charac ter The keyboard can also be used to select characters The chart below shows the keyboard character assig...

Page 70: ...he data entry control to change the zone number Position the cursor under the volume or pan number and use the data entry control to change the value for each zone VOLUME PAN Z01 127 00 Zone Key Range Key range sets the keyboard range associated with each of the sixteen possible zones The key range of each zone can be set anywhere from key C 2 to G8 By placing the key ranges next to each other on ...

Page 71: ...nge If one preset were assigned the velocity range 000 to 64 and the other to velocity range 65 to 127 key velocities below 65 would select the first preset and key velocities 65 and above would select the second preset Because there are sixteen possible zones presets can be layered 16 deep VEL RANGE Z01 low 000 hi 127 Zone Velocity Range allows you to select different preset layers according to k...

Page 72: ...e range of the transpose function is 36 semitones three octaves up or down Transpose shifts the relative position of the keyboard in rela tion to middle C rather than actually changing the tuning of the zone TRANSPOSE Z01 36 Zone Pitch Tune The tuning of each zone can be adjusted in coarse and fine increments The coarse tuning adjustment tunes the zone in semitone increments This is different from...

Page 73: ...tween those chords can be accomplished without having notes glide in from ran dom starting points The number of keys can be set from mono to five note polyphonic PORTAMENTO MODE Poly 2 keys Free Run Function Generator The function generator is another kind of modulation source which is much more programmable than an envelope generator or an LFO although it can function as either The function gener...

Page 74: ... modulate multiple sounds in the same way The Free Run FG is only active when playing a Hyperpreset For example you could program the Free Run FG to be an LFO and modulate the pitch All the voices in all presets in that hyperpreset with Free Run FG assigned would modulate up and down in unison The Free Run FG begins the instant the hyperpreset is selected and continues to run until stopped by its ...

Page 75: ...mmediately if the note is off Footsw 1 3 End Jumps at the end of the segment if the selected Footswitch is pressed Footsw 1 3 Imm Jumps immediately if the selected Footswitch is pressed Save Hyperpreset Changes made to a hyperpreset are NOT made permanent until the hyperpreset is Saved To save a hyperpreset move the cursor to the bottom line and select the location for the new hyperpreset with the...

Page 76: ...Chapter 7 Preset Programming 67 PRESET PROGRAMMING PRESET PROGRAMMING ...

Page 77: ...Morpheus Operation Manual 68 PRESET PROGRAMMING ...

Page 78: ...want to make your own custom presets using complex modulation routings There are 128 user locations 000 127 available to store your own creations or edited factory presets Editing Presets It s easy to create new presets by using the Preset Edit menu to modify existing presets This is really the best way of getting aquainted with Morpheus If you don t like the results simply change the preset momen...

Page 79: ... volume control If we had a device that would automatically turn the volume control we would also call that device a modulation source Morpheus is designed so that for each of the variable parameters such as the volume there is an initial setting which can be changed by a modulation source Therefore in the case of volume we have an initial volume and we can change or modulate that volume with a mo...

Page 80: ...pitch bend wheel Miscellaneous Controllers A B C D Any type of MIDI continuous controller data Keyboard Pressure mono aftertouch Key Pressure applied after the key is initially pressed Polyphonic Key Pressure Key Pressure from a controller capable of generating polyphonic pressure data Low Frequency Oscillators 2 per preset Generate repeating waves Envelope Generators 3 per preset Generate a progr...

Page 81: ...y possible way to the modulation destinations You can even modulate other modulators Each patch also has an amount parameter which determines how much modulation is applied to the destination The modulation amount can be positive or negative and will either add or subtract from the initial value In order to create a modulation patch you must connect a modula tion Source to a modulation Destination...

Page 82: ... the Alternate Vol ume Envelope you can simulate different types of instrument volume envelopes by programming them appropriately By routing the Auxil iary Envelope to control the pitch realtime control screen you can easily hear the shape of the envelopes you are creating The envelope generator parameters can be described as follows Refer to the diagrams on the following page Delay The time betwe...

Page 83: ...or the specified Hold time before gliding down at the Decay rate coming to rest at the Sustain level 3 The envelope remains at the Sustain level until the key is released then it glides back down to zero at the programmed Release rate D e l a y level time key down A t t a c k H o l d D e c a y Sustain R e l e a s e key released level key down key released A H R time When the key is released the Re...

Page 84: ... back up The sound s pitch will follow the same course Controlling the pitch of an instrument is an easy way to hear the effects of the LFO waves Like the Auxiliary Envelope the LFOs can be routed to control any realtime functions such as Pitch Filter Panning or Volume A com mon use for the LFO is to control the pitch of the sound LFO Pitch This effect is called vibrato and is an important perform...

Page 85: ...e are 63 different shapes to choose from many of which have unusual shapes or are random in nature The function generator also has the ability to jump from one segment to another based on certain programmable conditions For example the function generator could be programmed to jump back to segment 5 if the key is held but jump to segment 8 whenever the key is released 1 2 3 6 5 4 7 8 Jump if Note ...

Page 86: ...ote is off Note Off Immed Jumps immediately if the note is off LFO 1 or 2 End Jumps at the end of the segment if the value of the selected LFO is equal or greater than the conditional value Footsw 1 3 End Jumps at the end of the segment if the selected Footswitch is pressed Footsw 1 3 Immed Jumps immediately if the selected Footswitch is pressed Velocity End Jumps at the end of the segment if the ...

Page 87: ... the function generators can get a little complicated For this reason it is suggested that you draw out your ideas on paper beforehand Remember that you always jump to the beginning of a segment A conditional jump could be programmed to skip a group of segments based on the key velocity In the example below segments 2 and 3 would only be played if the velocity value were 84 or above Velocity value...

Page 88: ...the level value of a function generator one unit past 127 The delta symbol appears in the value field FUNC GEN F1S1 Level 127 Delta Level causes the level to change by the specified amount instead of going to an absolute level value If Level 1 was set to 127 and Level 2 was 027 then the resulting level 2 value would be 100 127 27 100 The Level parameter can be quite useful when looping segments In...

Page 89: ...om level specified If a random level of 48 were programmed the level could go to any value between 0 and 48 If a value of 48 were programmed the level could go to any value between 0 and 48 The random level parameter then is a limit on the degree of randomness and is useful for creating smooth ran dom curves Smooth random curves can be used synthesize natural sounds by slightly changing the timbre...

Page 90: ...one segment does not exceed these values The example above shows a smooth random generator whose rate of change is limited to 16 FREE RUNNING FUNCTION GENERATOR Hyperpresets contain a slightly different version of the function gen erator called a Free Running Function Generator or Free Run FG The Free Run FG is only active when a Hyperpreset is in use even though its destination is programmed in t...

Page 91: ... Function Generator Morpheus Voice Preset Function Generator Morpheus Voice Preset Function Generator Morpheus Voice Preset Function Generator PRESET FUNCTION GENERATORS 2 independent FG s per voice Function Generators start at Note on time are not synced with each other There is one Free Run Function Generator per MIDI channel which can affect any or all presets in a Hyperpreset The Free Run Func...

Page 92: ...it simply runs to the last segment and stops Because it continually runs if so programmed and is not started at the begin ning of a note like the preset function generators it is called free running The functions of the Free Run FG are almost identical to the preset FG s except that the conditional jumps are more limited The condi tional jumps are listed below Never Never jumps Always goes on to n...

Page 93: ...Chapter 7 Preset Programming 83 PRESET PROGRAMMING ...

Page 94: ...plest form of sound wave Any waveform except a sine wave can be analyzed as a mix of sine waves at specific frequencies and amplitudes One way to represent complex waveforms is to use a chart with fre quency on one axis and amplitude on the other Each vertical line of the chart represents one sine wave at a specific amplitude and frequency 20 40 60 80 100 40 80 160 360 720 1440 2880 Frequency Ampl...

Page 95: ...uencies A filter is a device which allows us to remove certain components of a sound depending on its frequency For example a Low Pass Filter lets the low frequencies pass and removes only the high frequencies 20 40 60 80 100 40 80 160 360 720 1440 2880 Frequency Amplitude Output of Filter Low Pass Filter Cutoff Frequency 20 40 60 80 100 40 80 160 360 720 1440 2880 Frequency Amplitude Filter Outpu...

Page 96: ... amplified as the resonant peak sweeps over them Bells and gongs are real world examples of sounds which have a high Q Another parameter on a filter is the number of poles it contains Traditional synthesizer filters were usually either 2 pole or 4 pole filters The number of poles in a filter describes the steepness of its slope The more poles the steeper the filter s slope and the stronger the fil...

Page 97: ...sound as well as simulate the response of many natural instruments PARAMETRIC FILTERS A more complex type of filter is called a parametric filter A parametric filter gives you control over three basic parameters of the filter The three parameters are Frequency Bandwidth and Boost Cut The Fre quency parameter allows you to select a range of frequencies to be boosted or cut the Bandwidth parameter a...

Page 98: ...e of its power the diagram below shows one of the possible ways that the Morpheus filter can be configured This amount of filtering is unprecedented in all of electronic music history Especially when you consider that we are only talking about one of the 32 channels 10 Linear Frequency Hertz dB Magnitude 5 0 5 15 20 500 10 000 15 000 20 000 4 Parametric Equalizers Right away you can see that we no...

Page 99: ...plex filters and interpolate between them using a single parameter Refer to the diagram below The Morpheus Z plane filter has the unique abilty to change its function over time Filters A and B represent two different complex filters By changing a single parameter the Morph many complex filter parameters can now be changed simultaneously Following along the Morph axis you can see that the filter re...

Page 100: ...the simplest way to visualize a Morpheus filter Morph The next logical extension of this two filter model would be to add yet another filter pair The diagram below shows an example using four filters Now we have two parameters that can be controlled The diagram above adds a Frequency Tracking parameter which varies the frequency of the filter If we had set the frequency tracking and morph paramete...

Page 101: ...the tim bre of the sound constant as you play up and down the keyboard Without key tracking the sound would get duller as you move up the keyboard and could sound completely different at opposite ends of the keyboard Because Frequency Tracking is so important it has been assigned its own parameter which is used in many of the filters there are exceptions In the filter model above there is another ...

Page 102: ...cific information on each filter Many of the filter types in Morpheus are models of traditional acoustic instruments such as electric piano or guitar When an electric piano sample is played through an electric piano filter the harmonics of the sample can now be controlled using the filter parameters Of course you can put any instrument through the filter and the filter will shape the basic charact...

Page 103: ...es Z Plane Filter The Z Plane Filter controls the harmonic content of an instru ment in a highly controlled manner Any modulation source can be used to control the various aspects of this complex filter DCA Digitally Controlled Amplifier Together with the Alternate Volume AHDSR the DCA is used to shape the volume contour of a sound The DCA can be controlled by any modulation source Key Velocity is...

Page 104: ...olume Attack Primary Attack Secondary Attack Decay Primary Decay Secondary Decay Release Primary Release Secondary Release Crossfade LFO 1 Amount LFO 1 Rate LFO 2 Amount LFO 2 Rate Auxiliary Envelope Amount Auxiliary Envelope Attack Auxiliary Envelope Decay Auxiliary Envelope Release Function Gen 1 Amount Function Gen 2 Amount Portamento Rate Primary Portamento Rate Secondary Portamento Rate Filte...

Page 105: ...ns in comparison are set at the key depression Modulation sources must be connected to a destination in order to have any effect The diagram and the LCD screen above show how modulation sources are connected to destinations The modulation sources can control any of the destinations indicated by the small arrows The possible modulation routings are completely flexible as shown in the diagram above ...

Page 106: ...e A1 and progressively softer below A1 KEY CENTER 0 0 20 40 60 80 100 120 0 20 40 60 80 100 Played Velocity 120 Result Velocity Curve 4 Curve 2 0 20 40 60 80 100 120 0 20 40 60 80 100 Played Velocity 120 Result Velocity Curve 3 0 20 40 60 80 100 120 0 20 40 60 80 100 Played Velocity 120 Result Velocity Curve 1 0 20 40 60 80 100 120 0 20 40 60 80 100 Played Velocity 120 Result Velocity VELOCITY CUR...

Page 107: ...ontinuous controller 7 Note On Off Continuous Controllers MIDI Channel 16 Program Change Note On Off Continuous Controllers MIDI Channel 3 Program Change Note On Off Continuous Controllers MIDI Channel 2 Program Change Note On Off Continuous Controllers MIDI Channel 1 Program Change MIDI wind controllers may work better if you assign one of the MIDI A B C D controllers to control volume This will ...

Page 108: ...both a source 0 31 and a control destination assigned 0 1 2 3 31 MIDI Controller C Control Destinations Master Menu Edit Menu A B C D 0 1 2 3 31 MIDI Controller A 0 1 2 3 31 MIDI Controller B 0 1 2 3 31 MIDI Controller D MIDI Amount Pitch Primary Pitch only Secondary Pitch only Volume Primary Volume only Secondary Volume only Attack Primary Attack only Secondary Attack only Decay Primary Decay onl...

Page 109: ...Chapter 8 Preset Menu 99 PRESET MENU ...

Page 110: ...Morpheus Operation Manual 100 ...

Page 111: ...erneath the first character of the screen heading on line one To select a new screen Press the Home Enter button or press a cursor button repeatedly until the cursor is underneath the screen title heading Rotate the data entry control to select another screen To modify a parameter Press the cursor button repeatedly or hold the right cursor button while turning the data entry control until the curs...

Page 112: ...s function allows you to select which of the available instrument sounds or none will be placed on the primary layer of the current user preset INSTRUMENT pri I003 DancerSynth Secondary Instrument This function allows you to select which of the available instrument sounds or none will be placed on the secondary layer of the current user preset INSTRUMENT sec I038 Rock Organ 0 2 3 5 7 8 A C D F H J...

Page 113: ...eft and a value of 7 pans the instrument hard right This pan setting is only valid if P for preset pan is selected in the main display or the Midimap PAN pri 7 sec 7 Key Range Key range sets the keyboard range of both primary and secondary instruments This sets the keyboard range for the entire preset and will further limit the primary and secondary keyboard ranges The key range can be set anywher...

Page 114: ...ondary instrument The key range can be set anywhere from C 2 to G8 KEY RANGE sec G 4 G8 PRESET MENU This diagram shows how instruments can be layered or stacked using the primary and secondary instruments This diagram shows how a split keyboard can be programmed using the primary and secondary instruments Entire presets can also be combined to form split or layered keyboards See the chapter on Hyp...

Page 115: ...Pitch Tuning This function allows you to change the tuning of the primary and sec ondary instruments in 1 64 semitone intervals approx 1 56 cents The fine tuning range is 1 semitone PITCH TUNE fine pri 00 sec 00 Alternate Volume Envelope On Off Each instrument has its own factory preset AHDSR volume envelope which is used if this parameter is set to Off Turn Alternate Volume Envelope On to use the...

Page 116: ... are adjustable from 00 to 99 S A H D S R 00 00 00 99 16 Double Detune Double Detune thickens the sound by doubling the sound and then detuning it The amount is variable over a range of 1 to 15 When Double Detune is on a particular instrument will use twice as many channels If Double Detune is used for both the primary and second ary instruments the preset will use four channels per key DOUBLE DET...

Page 117: ...T pri 000 sec 000 Sound Reverse When sound reverse is turned On the instrument will be played back wards Since instruments tend to sound very different when reversed this function extends the number of possible sounds in Morpheus SOUND REVERSE pri Off sec On The Sound Start parameter allows you to cut off the beginning of the sound Higher values move the start point toward the end of the sound Sou...

Page 118: ...Loop Size so you can create your own loops By looping the sound on the attack portion of an instrument you can create new waveforms The Loop Start and Loop Size parameters can cross sample boundaries so that more than one instrument will play Sample boundary crossing may be useful to create a special effect or background ambience A Start and Size Offset of 000 000 returns you to the factory loop s...

Page 119: ...is pressed When playing legato the envelope generator stays in the sustain phase SOLO MODE p Off s Wind Changing the Loop Offset Start point moves the loop forward or backward or through the sample memory keeping the loops size constant Large changes will move the loop completely out of the original sample Changing the Loop Offset Size alters the size of the loop leaving the loop start point stati...

Page 120: ...otes are being held in solo mode only the note last pressed will play If the note is released no jumping occurs SOLO PRIORITY p Low s Hi Portamento Rate Portamento is a smooth gliding between notes instead of the normal instantaneous change in pitch when a new key is pressed The porta mento rate is the time it takes to glide to the new pitch The larger the value the slower the glide rate The rate ...

Page 121: ...hed without having notes glide in from random starting points The number of keys can be set from mono to 5 note polyphonic PORTAMENTO MODE Poly 2 keys Crossfade Mode This function determines which of the following crossfade modes will be selected Off Crossfade or Cross Switch Off When Off is selected crossfade is disabled Crossfade When X Fade is selected a control input is used to fade between th...

Page 122: ... the primary and secondary layers Higher values shift the balance to the secondary instrument When the Crossfade Direction is Pri Sec Modu lation subtracts from the primary volume and adds to the secondary volume When crossfade modulation and balance equal 64 the two instruments are at equal volume The crossfade amount parameter determines the range over which crossfading will occur Crossfade amou...

Page 123: ... the secondary layer See Primary Filter Type FILTER TYPE sec F139 MidFeedBk2 Filter Level This function sets the amount of signal into the filter This control can be used to balance the levels between instruments or to control the distortion characteristics of the filter Depending on the type of instru ment and the filter this control can have a dramatic effect on the sound This control differs fr...

Page 124: ... pitch of a sound is varied the timbre of the sound will change with pitch A way to correct this is to have the filter s frequency track the pitch of the note This func tion sets the initial frequency of the filter s pitch tracking In general you can think of frequency tracking as a tone control In order to have keyboard tracking you must also patch the Keyboard to Filter Frequency Tracking in the...

Page 125: ...x filters Filter Transform 2 Suppose we added yet another dimension to the filter model We have the realtime Morph parameter the Frequency Tracking parameter set at note on time and one more parameter perhaps controlling the amount of the filter peaks with key velocity A way to visualize a three dimensional filter model is shown in the diagram below Key Number Frequency Tracking Transform 2 Veloci...

Page 126: ...ion from note on modulation adds to this initial setting for the primary and secondary filters FILT TRANSFORM 2 pri 000 sec 127 Filter Reverse This function allows you to reverse the direction of all of the filter controls Key Tracking Transform 2 and the Morph parameters will all operate in reverse The Offset points are reversed as well as the direc tion of filter modulation FILTER REVERSE pri Of...

Page 127: ...m 0 052 Hz to 25 Hz 000 127 LFO Delay Sets the amount of time between hitting a key and the onset of modulation This can be used to simulate an effect often used by acoustic instrument players where the vibrato is brought in only after the initial note pitch has been established The delay range is variable from 0 to 13 seconds 000 127 LFO Variation Sets the amount of random variation of an LFO eac...

Page 128: ...egment shapes Level and Time parameters are provided for each stage In addition the shape of each stage can be individually selected from a palette of 63 shapes The function generator can be used when you want complex and pre cise control over a parameter Through the creative use of its condi tional jumps and curves the function generator can serve as a complex LFO a complex envelope generator a m...

Page 129: ... the various curve shapes extremely complex functions can be created See the Reference Section of this manual for the complete set of function generator curve diagrams Function Generator Curves Linear Exponential 1 Exponential 2 Exponential 3 Exponential 4 Exponential 5 Exponential 6 Exponential 7 Circle 1 4 Circle 1 6 Circle 1 8 Circle 1 16 Squeeze Fast Line 1 Fast Line 2 Fast Line 3 Medium Line ...

Page 130: ...umps at the end of the current segment Note On End Jumps at the end of the segment if the note is still on Note On Immed Jumps immediately if the note is still on Note Off End Jumps at the end of the segment if the note is off Note Off Immed Jumps immediately if the note is off LFO 1 or 2 End Jumps at the end of the segment if the value of the selected LFO is equal or greater than the conditional ...

Page 131: ...the end of segment 5 will remain the same 400 milliseconds This will alter the slope of segment 5 Function Generator Amount This control scales the output of the function generator before it is applied to a modulation destination in the Realtime Control screen The amount is like a water faucet It controls how much of the func tion generator is output If a negative value is selected the function ge...

Page 132: ...Release Secondary Release Crossfade LFO 1 Amount LFO 1 Rate LFO 2 Amount LFO 2 Rate Auxiliary Envelope Amount Auxiliary Envelope Attack Auxiliary Envelope Decay Auxiliary Envelope Release Function Gen 1 Amount Function Gen 2 Amount Portamento Rate Primary Portamento Rate Secondary Portamento Rate Filter Morph Primary Filter Morph Secondary Filter Morph Pan Primary Pan Secondary Pan Sample Start Pr...

Page 133: ...erator 1 Function Generator 2 Free Run Function Generator Destinations Off Pitch Primary Pitch Secondary Pitch Volume Primary Volume Secondary Volume Attack Primary Attack Secondary Attack Decay Primary Decay Secondary Decay Release Primary Release Secondary Release Crossfade LFO 1 Amount LFO 1 Rate LFO 2 Amount LFO 2 Rate Auxiliary Envelope Amount Auxiliary Envelope Attack Auxiliary Envelope Deca...

Page 134: ...used when the pitch wheel is used to control pitch PITCH BEND RANGE 12 semitones Pressure Amount This function allows you to specify an overall amount parameter for mono or poly keyboard pressure data pre patch cord The pressure amount is variable from 128 to 127 PRESSURE AMOUNT 127 MIDI Controller Amount This function allows you to specify an overall amount parameter pre patch cord which variable...

Page 135: ...ity data unaltered Off In addition the velocity curve can be set to Global which means that the global velocity curve programmed in the Master menu is used VELOCITY CURVE Global Curve 3 0 20 40 60 80 100 120 0 20 40 60 80 100 Played Velocity 120 Result Velocity Curve 1 0 20 40 60 80 100 120 0 20 40 60 80 100 Played Velocity 120 Result Velocity 0 20 40 60 80 100 120 0 20 40 60 80 100 Played Velocit...

Page 136: ...This function selects which tuning will be used in the current preset The choices of keyboard tunings are Equal tuning 12 tone equal temperament Standard Western tuning Just C tuning just intonation Based on small interval ratios Sweet and pure non beating intervals Vallotti tuning Vallotti Young non equal temperament Similar to 12 tone equal temperament For a given scale each key has a different ...

Page 137: ...t menu are not made perma nent until the preset is Saved To save a preset move the cursor to the bottom line and select the location for the new preset with the data entry control The Enter LED will then flash Pressing the Enter button will confirm the operation Any user preset 000 127 bank 0 or RAM card location 000 127 bank 3 may be selected using the data entry control Writing to a user preset ...

Page 138: ...Morpheus Operation Manual 128 ...

Page 139: ...Chapter 9 Copy Menu 129 COPY MENU COPY MENU ...

Page 140: ...Morpheus Operation Manual 130 COPY MENU ...

Page 141: ...e screen heading on line one To select a new screen Press the Home Enter key or press the cursor keys repeatedly until the cursor is underneath the screen title heading Rotate the data entry control to select another screen To modify a parameter Press the cursor key repeatedly or hold the right cursor key while turning the data entry control until the cursor is underneath the parameter value Rotat...

Page 142: ... primary or secondary layer or both from another preset into the current preset Copy Filter copies the following parameters only Filter Type Filter Level Morph Offset Filter Frequency Track initial setting Filter Transform 2 initial setting and Filter Reverse There are five options available Pri to Pri Pri to Sec Sec to Sec Sec to Pri Pri Sec Both COPY FILTER P P 000 Preset Name Copy LFO This func...

Page 143: ...ou to copy just the auxiliary envelope param eters from another preset into the current preset There is only a single option COPY AUX ENV 000 PresetName Copy Note On Control This function allows you to copy the Note On modulation routings from another preset into the current preset There is only a single option COPY NOTE ON CTL 000 Preset Name Copy Realtime Control This function allows you to copy...

Page 144: ...set location Zones may be placed into any other zone number in the current hyperpreset COPY ZONE 01 03 000 HyperName Copy Free Run Function Generator This function allows you to copy all the Free Run Function Generator parameters from any hyperpreset into the current hyperpreset loca tion COPY FREE RUN FG 000 HyperName Copy Midimap This function allows you to copy an entire midimap into the curren...

Page 145: ...ou to copy effects from any midimap into the current midimap location There are three options available A to A B to B A B Both Because of the differences between the A and B effects it is not possible to copy between A and B Copying a single A or B effect includes all effects parameters and the A or B amount but not the A B amount When both effects are cop ied the A B amount is included COPY EFFEC...

Page 146: ...opy all RAM presets Hyperpresets and Midimaps to the card or vice versa WARNING Be careful when using the Copy Bank function It is very easy to accidentally overwrite an entire bank of data There are ten options available Presets RAM to Card Card to RAM ROM to RAM ROM to Card Hypers RAM to Card Card to RAM MIDImap RAM to Card Card to RAM All Card to RAM RAM to Card COPY BANK Presets RAM Card ...

Page 147: ...Chapter 10 Step by Step 137 STEP BY STEP STEP BY STEP ...

Page 148: ...Morpheus Operation Manual 138 STEP BY STEP ...

Page 149: ...t builder The more knowledge you have about music acoustics and electronics the more success you will have in constructing the sounds of your dreams Learning about sound synthesis will be much easier if you learn to really LISTEN to the sounds all around you then try to recreate them Listen to how the pitch rises on that bird s chirp or how the volume changes on that organ Soon you ll be hearing s...

Page 150: ...nts A patch diagram shown below is useful to visualize the connection you have just made Press Enter when you find an instrument you like Turn the data knob one click to the right to the secondary instrument select screen The secondary instruments are identical to the primary instruments Change the secondary instrument and listen to the various combinations of the two What you are doing is actuall...

Page 151: ...o keep the identities of the instruments separate Try it and notice how the guitar and piano instruments are distinct and separate When you are finished return the pan settings to 0 and press Enter PAN pri 0 sec 0 Transpose Move the data knob ahead four clicks until you find the transpose screen This function transposes the key of the primary or secondary instrument Each number represents a semito...

Page 152: ...ke it easier to hear the guitar PITCH TUNE crse pri 12 sec 00 Fine Tuning The Fine Tune control is related to the coarse tuning but has a range of one semitone When both primary and secondary instruments are the same detuning one of the instruments slightly will create a fat sound useful for strings or ensemble effects PITCH TUNE fine pri 00 sec 00 In preparation for the next experiment let s clea...

Page 153: ...er is turned Off By turning the Alternate Volume Envelope On we can re shape the instrument s natural volume envelope any way we want By re shaping the volume envelope you can dramatically change the way the sound is perceived For example by adjusting the envelope parameters you can make bowed pianos or backwards gongs The diagrams at right show the volume envelopes of a few common sounds Set all ...

Page 154: ...d the envelope falls back down to zero at the Release rate The secondary alternate volume envelope parameters perform the same functions on the secondary layer D e l a y level time key down A t t a c k H o l d D e c a y Sustain R e l e a s e key released Double Detune The next screen Double Detune doubles the instrument and detunes it slightly by an adjustable amount This acts like a chorus effect...

Page 155: ...mal echoes Delayed Chorus Set primary and secondary to the same instru ment Use Double Delay Fine Tuning and Sound Delay on the secondary layer Sound Splicing Splice the attack of one sound with the body of another using Sound Delay and Sound Start the next subject of our investigations Read on Sound Start Sound Start removes the beginning attack of the sound as the value is increased It s probabl...

Page 156: ...ly the percussive attack is heard a short delay and decay with the sustain set to zero The Acoustic Guitar 3 instrument serves as the body of the sound The Sound Delay parameter is used to delay the onset of the guitar until the piano attack has finished The guitar attack is removed using the Sound Start parameter The Attack parameter of the Secondary Alternate Enve lope is set to 04 so the guitar...

Page 157: ... secondary instrument turned Off The LFOs Low Frequency Oscillators generate repeating waves which are commonly used to animate the sound or create vibrato a cyclic pitch change To create vibrato we can use an LFO to modulate the pitch As you learned in the Programming Basics section Modulation requires a modulation Source and a Destination The LFO is the source and Pitch is the destination The bl...

Page 158: ...tch is an easy way to hear the different LFO waveshapes Delay DLY sets a time before the LFO starts Variation VAR makes the rate of each LFO a little different for ensemble effects Now set the LFO Rate to about 20 and set the shape to Saw Listen how the sawtooth wave smoothly ramps up then comes abruptly down Change the amount to 128 and notice that it now ramps down and comes abruptly back up Any...

Page 159: ...s with the patch number There are TEN count em realtime modulation patches avail able per preset This is what sound synthesis is all about By simulta neously controlling many parameters the sound is shaped in complex ways into the desired form Now that you understand how to connect modulation sources to destinations try using the Auxiliary Envelope Generator to control pitch You ve already used th...

Page 160: ...olling the amount of LFO applied to the volume The harder you play the more LFO modulation is applied The modulation wheel Realtime Control screen can also be routed to control the LFO 1 amount or the LFO rate or the Pan position or all of the above There can be ten Note On modulations and ten Realtime modulations in each preset You can probably see why patch diagrams are important even if they on...

Page 161: ...ught of as the main filter control See the section on Morpheus Filters in the Reference Section of this manual for specific information on each filter The Frequency Tracking control changes the frequency of the filter on many of the filter types This would correspond to Fc or the cutoff frequency of a traditional lowpass filter You can connect the keyboard to this control in the Note on Control sc...

Page 162: ...d wheel is usually transmitted on MIDI controller 01 Morpheus Controller A is set to controller 01 by default So if you have not changed this parameter in the Master menu Controller A is the mod wheel We want to route Controller A the mod wheel to Morph Go to the Realtime Modulation Control screen and set it as shown below REALTIME CTRL 1 CtlA Morph 127 Note A good way to verify that the mod wheel...

Page 163: ...LT TRANSFORM 2 pri 127 sec 000 Now that you ve explored the three main filter parameters let s go back and connect the keyboard to Filter Frequency Tracking The keyboard is a Note On control A setting of 064 is the proper setting for accurate key tracking where the timbre will remain more or less constant up and down the keyboard NOTE ON CTRL 0 Key FrqTrk 064 As long as we re programming Note On C...

Page 164: ...f course the filter cannot amplify or attenuate frequencies which do not exist in the original instrument The Filter Frequency Tracking control can be used to tune in the filter to match the instrument The Filter can only act on frequencies that are present in the Instrument Use the Filter Frequency Tracking control to fine tune the filter to the instrument No sound would be output from the exampl...

Page 165: ... harmonic spectrum of the Instrument 40 80 160 360 720 1440 2880 Frequency Original Instrument Spectrum Amplitude Frequency Filter Response Instrument Through Filter 40 80 160 360 720 1440 2880 Amplitude Frequency 40 80 160 360 720 1440 2880 Amplitude Resulting Frequency Spectrum ...

Page 166: ... and morphs into the resonance of an oboe On this particular filter Transform 2 controls a lowpass filter and increases the volume slightly more T2 equals brighter and louder The Morph Offset is turned down to 000 so that it can be turned back up using Controller A which de faults to the Mod Wheel of your keyboard Control A has been routed to control the filter Morph in the Realtime Modulation Con...

Page 167: ... preserved unlike a lowpass filter Time variant filter sweeps are good for traditional synthesizer effects such as resonant sweeps flanges phasing stereo panning vowels etc Time invariant filters are useful for distortion simulat ing instrument resonances plucked strings cymbals strikes etc Correlate the DCA envelope to emphasize or minimize parallel filter attack and release characteristics Try u...

Page 168: ...that it is underneath the channel number C01 VOL127 PAN P 000 Program Name Turn the data entry control and you will see that every MIDI channel has a preset assigned to it Just select a preset or hyperpreset for each of the MIDI channels It s simple If you want to store the sixteen channel MIDI setup press the Midimap button and turn the data entry control to the last screen Save Midimap to Then s...

Page 169: ...Midimap in one of the sixteen internal locations or one of the sixteen RAM card locations 3 Make sure the Device ID MIDI Mode in the Master menu is set to 00 Otherwise Morpheus will simply ignore the SysEx messages Before the Sequence Starts Send the following MIDI SysEx messages exactly as listed 1 Turn On Multi Mode Send F0 18 0C 00 03 08 02 02 00 F7 2 Select the Midimap Send F0 18 0C 00 03 40 0...

Page 170: ...lso cause this problem Since Morpheus dynamically allocates channels as needed you must either play fewer notes shorten the release rates use simpler sounds or turn off Double Detune to elimi nate channel rip off Using External Processing Don t be afraid to use external processing on specific sounds if you feel the urge The submix sends and returns on Morpheus are there for a reason In certain ins...

Page 171: ...Chapter 11 Reference Section 161 REFERENCE SECTION ...

Page 172: ...eart 92 Cirrus 93 Uman String 94 Erica s 95 Oz Boiz 96 Vox Sweep 97 Amazon 98 Wow Man 99 Window Pane PAD 3 Strings 40 Synth River 41 BrassKin 42 Huge String 43 Synth Morph 44 Strang Thang 45 Mechanik 46 Leslike 47 Weird B3 48 Flange String 49 Eden Drone BASS 4 UpRight 50 Bozo250 51 Fat Sawz 52 Selazap 53 Bassa 54 Grindge 55 Q Fall 56 Some 57 Headcase 58 Form 59 Acous Elect GUITAR 5 Trippy 60 Santa...

Page 173: ... Fools Water 88 Noise E 89 AirWaves VOCAL 8 Vocal Wheel 90 Big Will 91 Noise Vowl 92 Yah Synth 93 Yuppies 94 Hissing 95 Chorus Vowel 96 Breathy Vowel 97 Pulse 98 Morfy Yes 99 Vox Pad DRUM 9 Dance 100 New Jacq 101 Snare 102 Lo Drum 103 Hi Drum 104 Morphie 105 Notch 106 Sweep 107 Reverse 108 Deep Power 109 China SOUND FX 110 Computer String 111 Bean Machine 112 Bass Drum 113 Snare Drum 114 Shaker 11...

Page 174: ... 24 Quick Bass 25 Cool Vibe 26 Bright Vibes 27 Vibe Stik 28 Crotales 29 Peking 30 Java Malet 31 Kenong 32 Icy Pad 33 Bright Electric Piano 34 Piano Bright 35 Piano Medium 1 36 Piano Medium 2 37 Piano Dark 38 Rock Organ 39 Clean Strat 40 Harmonics 41 Bass Harmonic 42 Electric Bass 1 43 Electric Bass 2 44 Electric Bass 3 45 Electric Bass 4 46 Electric Bass 5 47 Electric Bass 6 48 Electric Bass 7 STA...

Page 175: ...Four Octaves Starting from the first octave fundamental the harmonic waveforms contain the har monics odd even or all present in each octave In each successive octave the number of harmonics doubles By combining pri sec or link the harmonic waveforms in various amounts volume and transposing them course fine tuning a wide range of timbres may be produced As an example this chart shows the harmonic...

Page 176: ...5ths 126 Reson TG 127 Hollow Whisp 128 Metal Whisp 129 Formant Axe 130 Crunchy Lead 131 Sync Lead 132 Pulse Sweep 133 Pulse Wave 134 Emu Modular 1 135 Emu Modular 2 136 Mini MOOG 137 Saint Moog 138 Analog Bass 139 Liquid Moog 140 Quake Bass 141 Q Bass 142 Luxury Bass 83 B3 Wave 1 84 B3 Wave 2 85 B3 Wave 4 86 B3 Wave 5 87 B3 Wave 6 88 Organ Wave 1 89 Organ Wave 2 90 Barber Pole 91 Synth Cycle 1 92 ...

Page 177: ...OOG RECTANGLE 2 152 MOOG RECTANGLE 3 153 MOOG RECTANGLE 4 154 MOOG RECTANGLE 5 155 Ring Mod Wave 156 Ice Bell 157 Bronze Age 158 Iron Plate 159 Aluminum 160 Lead Beam 161 Steel Xtract 162 Winter Glass 163 Ice Wash 164 Hollow Wash 165 Cluster 166 Swirly 167 Nyles Noise 168 Mellow Pad 169 Syn String 1 170 Syn String 2 171 Syn String 3 172 Thick String Wave 173 Silk Veil 174 Mecha Vox 175 Techno Vox ...

Page 178: ...um 202 Liquid Drum 203 Power Kick 204 Cowbell 205 Tamb707Noiz 206 Shaker 808 207 Shaker 2 208 NoizTambHit 209 Open Hat 210 Foot Hat 211 Tip Hat 212 Hi Hat 808 213 Open Hi Hat 214 Closed Hat 215 Hip Hat 216 Hip Hat 2 217 Rim Shot 218 Snare Drum 1 219 Snare Drum 2 220 Snare 808 221 Rim 808 Shot 222 Electric Snare 4 223 ROB 808 Claps 224 Dry 909 Clap 225 Open Hat 909 226 Closed Hat 909 227 Shaman Sna...

Page 179: ...NIC SUB 3rd HARMONIC FUNDAMENTAL 2nd HARMONIC 3rd HARMONIC 4th HARMONIC 5th HARMONIC 6th HARMONIC 8th HARMONIC Off Full Volume Sub Octave 5th Unison Octave 12th 15th 17th 19th 22nd 5 1 3 16 16 8 4 2 1 B3 Wave 5 8 7 6 5 4 3 2 1 6 5 4 3 2 1 5 1 3 1 1 3 1 3 5 2 2 3 2 B3 Wave 6 8 7 6 5 4 3 2 1 8 7 6 5 4 3 2 1 1 16 8 4 5 1 3 1 3 5 1 1 3 2 2 3 16 8 4 2 1 8 7 6 5 4 3 2 1 B3 Wave 1 5 1 3 1 1 3 1 3 5 2 2 3...

Page 180: ... Ware Snare Bass Drum Snap Snare High Snare Distorto Kick Snare 5 Conga Tone Conga Tone Bass Conga Conga Conga Beef Kick Rap Cymbal Chik Beef Kick Rap Snare 5 Kick 909 Snare 909 2 Bass 909 2 Distorto Kick Snare 5 Conga Tone Bass Conga Kick 909 Snare 909 Rim Shot Power Kick MIDI Key 36 48 60 72 84 96 Kick 909 2 Snare 1 Distorto Kick Snare Drum 2 Bass Drum 2 Snap Snare High Snare Bass Drum Snare 3 C...

Page 181: ... Snare 5 Snare 5 Electric Snare 4 Shamen Snare 1 Snare 909 2 Snap Snare Crushed Snare Snare 909 2 Snare Drum 2 Crushed Snare Snare 3 Rim Shot High Snare Shamen Snare 1 High Snare Electric Snare 4 All Snares Instrument 236 Distorto Kick MIDI Key 36 48 60 72 84 96 Kick 909 2 Distorto Kick Bass Drum Power Kick Beef Kick Rap Bass Drum TR808 Kick Kick n 808 Beef Kick Rap Kick 909 Distorto Kick Distorto...

Page 182: ...Noise 3rd Oct White Noise Closed Hat Open Hi Hat Open Hi Hat 3rd Oct White Noise 3rd Oct White Noise 3rd Oct White Noise 3rd Oct White Noise Closed Hat Hats Noise Instrument 237 Scratch 1 Modular Scratch Scratch 4 Modular Scratch Modular Scratch Scratch 5 MIDI Key 36 24 48 60 72 84 96 Scratch 6 Scratch 4 Modular Scratch Scratch 4 RScratch 4 Scratch 4 Modular Scratch Scratch 5 Scratch 1 Scratch 3 S...

Page 183: ...5 Modular Scratch Scratch 4 Scratch 7 Scratch 7 Scratch 6 Rap Scratch B Instrument 239 Tumba Tone MIDI Key 36 48 60 72 84 96 Tumba Tone Conga Tone Conga Slap Open Conga Slap Conga Slap Conga Slap Closed Conga Slap Open Conga Slap Closed Conga Tone Tumba Tone Tumba Tone Conga Tone Conga Tone Conga Slap Closed Conga Slap Tumba Tone Conga Tone Conga Slap Conga Slap Conga Slap Conga Slap Conga Slap Op...

Page 184: ... Moves the notches in the first frame of the Morph axis up two octaves The second frame is completely flat Tracks filter to keyboard frequencies with Note on key assignment Controls brightness Transform 2 Not used F002 Low Pass Flange Bk 4 A series of deep notches spaced at octave intervals morphing to less severe more closely clustered high frequency notches An additional lowpass filter is at the...

Page 185: ...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...

Page 186: ... of notches tuned in octaves are swept upward and finally converge at 19 5kHz as this filter is pushed up along the Morph axis A small bump at about 15kHz is introduced to maintain brightness when Morph is at completely offset Morph Increasing this value sweeps the filter notches upward and together Freq Tracking Increasing this value raises the lowpass filter cutoff point Transform 2 Not used F01...

Page 187: ...but Transform 2 adds more depth and introduces a bell like quality to the flange F017 Flng Flng6 Morph Sweeps from flange 1 to 2 Freq Tracking Provides key tracking to fix partials Transform 2 Provides more brightness and flange F018 Flng FlngT Morph Sweeps between flat and flange Freq Tracking Provides key tracking to fix partials Transform 2 Provides more brightness and flange Comments A gentle ...

Page 188: ...s paravowel has a low pass filter to provide additional roll off when desired Otherwise it behave as the other paravowels Morph Controls movement between vowels Try setting Trans form 2 to 255 for additional brightness Freq Tracking Shifts all of the resonances up in frequency Transform 2 Controls volume depth of effect F022 AEParaVowel Morph Controls movement between vowels Try setting Trans form...

Page 189: ...en vowels Freq Tracking Shifts all of the resonances up in frequency Transform 2 Controls the amplitude of all of the resonances F029 Vocal Cube Morph Sweeps frequencies Freq Tracking Assign to velocity for brightness control Transform 2 Tunes filter F030 C1 6 Harms4 Morph Sweeps between a notch at 190Hz to a series of closely spaced peaks from 120Hz to 640Hz Freq Tracking Tracks filter with keybo...

Page 190: ... used F036 Ii Yi 4 Morph Controls movement between vowels Freq Tracking Tracks filter with keyboard range and controls brightness with velocity assigned Transform 2 Not used F037 Uhrrrah 4 Morph Roars like a lion Freq Tracking Tracks filter with keyboard range and controls brightness with velocity assigned Transform 2 Not used F038 YeahYeah 4 See What Yeah preset Morph Moves between ee and ya soun...

Page 191: ...ped this filter cube which allows any vowel to be approximated with only two parameters Morph Sweeps the first formant of the vowel from 150Hz up to 850Hz Freq Tracking Sweeps the second formant from 500Hz up to 2500Hz Transform 2 Changes the vowel stress Low stress means that all of the vowel frequencies collapse to a relaxed schwa sound Maximum Transform produces the maximum excursion stress for...

Page 192: ... frequency are swept to create a steeper rolloff at the cutoff point re creating the classic 4 pole lowpass filter effect This filter features medium resonance which can be accentuated via the Transform 2 offset Morph Controls filter cutoff Freq Tracking Controls filter cutoff Transform 2 Controls resonance F049 HiQ 4PoleLP Again as with filters 046 047 two poles tuned to the same frequency are sw...

Page 193: ...s All Pole filter is modeled on traditional lowpass filter It has a soft resonance boost F054 LowPassPlus Morph Sweeps from octave peaks starting at 220Hz to inharmonic higher frequency peaks Freq Tracking Keyboard tracking Transform 2 Brightens the response F055 Low Past 4 Poles with fairly high Q settings are grouped into the lower to upper midrange Sweeping along the Morph or Frequency Track in...

Page 194: ...Not used F059 HghsSwpt2 4 A more open sounding version of filter 058 Raises both the filter cutoff point and filter Q Morph Freq Tracking Raises both the filter cutoff point and filter Q Transform 2 Not used F060 HighAccent 4 The center frequencies remain constant throughout all permuta tions of this filter along the Morph and Frequency Tracking axes what changes are the Q settings for the various...

Page 195: ... Transform 2 Increases the effect of Morph and provides velocity sensing F064 More Peaks Morph Try setting Transform 2 to 255 Moves from a low cut off flat frame to a series of peaks at 220 440 880 330 1000 and 2000Hz Freq Tracking Tracks keyboard Transform 2 Intensifies effect and controls volume F065 Rev Peaks Morph Try setting Transform 2 to 255 Moves from flat with a low frequency cut off to a...

Page 196: ... above the cutoff point 400Hz becomes steeper as the value for Morph Offset is increased Morph Changes the slope of the rolloff Freq Tracking Moves the filter toward flat response Transform 2 Not used Comments A good choice when more subtle filtering is desired EQUALIZATION FILTERS Most of these filters are variations of traditional parametric EQ filters F070 BassEQ 1 4 Morph Contains deep notch a...

Page 197: ...types of snares F075 HiHatLPEQ Morph Controls brightness Freq Tracking Tends to make the EQ more complex Transform 2 Tends to modify the low end Comments This is an EQ filter designed for hi hats based on a low pass EQ filter There is a strong boost in the 5kHz to 18kHz range and some cut on the low end The transforms tailor to different types of hi hats COMPLEX FILTERS Many of these filters have ...

Page 198: ...peaks flatten then invert to become notches as the value for Morph Offset or Frequency Tracking is increased Increasing the value for Transform 2 can have the effect of sweep ing the peaks lower in frequency inverting the peaks or both depending on the settings for Morph Offset and Frequency Track ing Morph Freq Tracking Controls polarity of filter gain Transform 2 Tunes filter and controls polari...

Page 199: ...ccentuation of high frequency material Morph Sweeps the highpass filter with direction dependent on setting of Transform 2 Freq Tracking Higher values produce thinner brighter sounds Transform 2 Sweeps the highpass filter with direction dependent on setting of Morph Offset F087 BrassyBlast This filter provides several responses similar to that of a lowpass filter but with the addition of a gentle ...

Page 200: ... F091 Chiffin 4 Morph Sweeps between low frequency notches Freq Tracking Allows the notches to track the keyboard Transform 2 Not used Comments Use with noise to create a chiff sound on wind instruments F092 ShakuFilter Morph Sweeps between peaks at 400Hz 1600Hz 2700Hz and 3150Hz with roll off after 30kHz to a mostly flat response with a slight bump at 1900Hz Freq Tracking Keyboard tracking Transf...

Page 201: ...sounds it can also be useful in many instances when a filter with a gentle slope is required Morph Controls cutoff frequency Freq Tracking Controls cutoff frequency and brightness Transform 2 Not used F098 EZ Rhodez4 A lowpass filter with cutoff frequency ranging from about 200Hz to about 5kHz along the Morph axis Morph Sets cutoff frequency Freq Tracking Controls filter depth Transform 2 Not used...

Page 202: ...s filter center frequencies and resonance Freq Tracking Positive modulation decreases resonance increases brightness slightly Transform 2 Not used F103 BassXpress This filter provides increased bass and a sharp notch Morph Controls the depth of the notch Freq Tracking Tunes the notch Transform 2 Controls the lowpass filter cutoff frequency F104 Qbase 4 Morph Sweeps from a bright nasal response to ...

Page 203: ...dition in creasing the value for Frequency Tracking and or Transform 2 raises the cutoff point of the lowpass filter This filter can be used to add a measure of expressiveness particularly to acoustic instru ment simulations Try using velocity to control Transform 2 and key position to Frequency Tracking For an additional measure of control assign Control A the mod wheel to control Morph in the No...

Page 204: ...ransform 2 adds more dissonance This is best used with BellWahb which has a similar action but uses different dissonant partials 113 Belwahb Morph Sweeps between flat and bell Freq Tracking Provides key tracking to fix partials Transform 2 Controls dissonance and depth of effect Comments See BellWaha F114 0 Bell Morph Sweeps from flat to dissonance Freq Tracking Provides key tracking to fix disson...

Page 205: ...effect Transform 2 Makes brighter adds volume Comments Velocity controls degree of flange effect F119 Ev OdNtch 4 Morph Sweeps from even notches at 200 400 800Hz etc with an overall low frequency cut off to notches at 300 600 1200 2400Hz etc effecting a warm to bright transition Freq Tracking Provides key tracking Transform 2 Not used F120 Odd EvnNtch Morph Provides subtle modulation between odd o...

Page 206: ...he filter Transform 2 Not used F125 C1Harmonic5oct 8R Morph Try setting Transform 2 to maximum Controls resonance Freq Tracking Controls resonance Transform 2 Tunes the filter F126 Odd Even Morph Changes from odds to even harmonics Freq Tracking Provides key tracking to maintain spectrum Transform 2 Controls brightness and volume Comments Odd harmonics are replaced by evens Can give an impression ...

Page 207: ...Controls brightness and volume Comments Position of the Morph determines the nature of the softness and brightness F132 CleanSweep4 A number of lowpass highpass and bandpass type effects can be produced using this filter It works particularly well on solo brass waves to produce a variety of mute effects Morph Effects range from lowpass with low Q to highpass with high Q Freq Tracking Increase for ...

Page 208: ...ed peaks at 1500Hz to 15kHz Transform 2 Not used F136 V FcQuad 4 Designed for velocity to control filter cut off Each frame has an octave higher cut off than the one before it Morph Moves from a bump at 320Hz then a brickwall cut off up an octave Freq Tracking Tracks keyboard Transform 2 Not used F137 Nexus 4 Morph Moves from a brickwall low pass to higher frequency relaxed slope response Freq Tra...

Page 209: ...0kHz Freq Tracking Controls brightness and tracks keyboard Transform 2 Not used F142 Comb HP 4 Morph Sweeps between a series of low frequency notches to a high pass response Freq Tracking Keyboard Tracking and brightness control Transform 2 Not used Comments Control the brightness by assigning Velocity to Fre quency Tracking F143 Swirly Morph Moves from series of notches to fewer notches Freq Trac...

Page 210: ...and Transform 2 parameters Morph Use to tune the filter Freq Tracking Low values make upward filter sweeps appear to bend pitch up High values make pitch bend appear to go down Transform 2 Higher values make the filter sound more open F147 Bendup This is similar to filter number 146 except that the bend is always in an upward direction if the Morph axis is swept in a positive direction Frequency T...

Page 211: ...string instrument sounds such as guitar Morph Controls polarity of poles Freq Tracking Tunes the filter Transform 2 Not used F151 Buzzy Pad 4 This filter produces a bump at 65Hz and a rolloff above 250Hz at low Morph values Increasing the Morph value pushes the bump up to about 2kHz and the cutoff of the lowpass filter up to 20kHz Increasing the value of Frequency Tracking sends the bump higher ye...

Page 212: ...toff to 19 5kHz and decreases the bandwidth of the 80Hz bump Morph Controls bandwidth Freq Tracking Tunes the filter Transform 2 Not used F155 HighsTwist4 The frequencies of the poles and zeros in this filter remain con stant as Morph or Freq Tracking are modulated but the Q values are modulated in a variety of ways The filter is closest to flat with some emphasis in the high frequency range and a...

Page 213: ...d Morph Controls the depth of the notches height of the bumps Freq Tracking Tunes the notches bumps Transform 2 Not used F159 OddCuts 4 This filter produces a series of notches in the frequency spectrum based on the odd harmonic series which turn into small bumps when morphed Morph Controls the depth of the notches height of the bumps Freq Tracking Tunes the notches bumps Transform 2 Not used F160...

Page 214: ...andwidth 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 ...

Page 215: ...his 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 spec trum which can be tuned or swept according to the settings and modulators for the Morph Offset Frequency Tracking and Trans for...

Page 216: ...rph Complex peak at 80Hz to a very gentle lowpass response Freq Tracking Provides key tracking to balance keyboard bright ness 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 ...

Page 217: ...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 har monic series Sweeping the Morph axis pro...

Page 218: ...ncy 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 ...

Page 219: ...enter 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 cont...

Page 220: ...s 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 distor tion 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 ...

Page 221: ...C3 Sax D3 Sax F3 Sax A3 Sax C4 CZ Bass 1 CZ Bass 2 ResonBass Silkworm A3 Cluster Towel Rack Solder Sucker Wood Rasp Iron Rattle Noise Burst Vise Grip Metal String Gutt Bass Gutt Bass Upright Bass Fretless Bass Fretless Bass Fretless Bass Quick Bass Quick Bass Quick Bass Cool Vibe Cool Vibe Bright Vibes Bright Vibes Vibe Stick Crotales D5 Peking Iron Saron Iron Saron Sheppard Tone Icy Pad 1 Icy Pad...

Page 222: ...lse 94 C5 Pulse 94 F5 Pulse 96 F0 Pulse 96 A0 Pulse 96 D1 Pulse 96 G1 Pulse 96 C2 Pulse 96 F2 Pulse 96 B2 Pulse 96 E3 Pulse 96 A3 Square Wave Square Wave Square Wave Pulse 96 D4 Pulse 96 G4 Pulse 96 C5 Pulse 96 F5 Pulse 98 C0 Pulse 98 F0 Pulse 98 A0 Pulse 98 D1 Pulse 98 G1 Pulse 98 C2 Pulse 98 F2 Pulse 98 B2 Pulse 98 E3 Pulse 98 A3 Pulse 98 D4 Pulse 98 G4 Pulse 98 C5 Pulse 98 F5 Pulse 99 C0 Pulse ...

Page 223: ...er Fifths A2 Power Fifths G2 Power Fifths C3 Power Fifths F3 Power Fifths A3 Metal Whisper 1 Hollow Whisper 1 Metal Whisper 2 Hollow Whisper 2 Formant Axe JX Sync 1 JX Sync 2 Lead Sweep Pulse Sweep 1 Pulse Sweep 2 Pulse Sweep 3 E mu Modular Moog Rectangle 1 G3 Moog Rectangle 1 G5 Moog Rectangle 1 C6 Moog Rectangle 2 G3 Moog Rectangle 2 G5 Moog Rectangle 2 C6 Moog Rectangle 3 G3 Moog Rectangle 3 G5...

Page 224: ...Morpheus Operation Manual 214 FUNCTION GENERATOR CURVES Linear Exponential 1 Exponential 2 Exponential 3 Exponential 4 Exponential 5 Exponential 6 Exponential 7 ...

Page 225: ...Chapter 11 Reference Section 215 FUNCTION GENERATOR CURVES Circle 1 4 Circle 1 6 Circle 1 8 Circle 1 16 Squeeze Fast Line 1 Fast Line 2 Fast Line 3 ...

Page 226: ...Morpheus Operation Manual 216 FUNCTION GENERATOR CURVES Medium Line 1 Medium Line 2 Slow Ramp 1 Slow Ramp 2 Bloom Bloom 2 Circle 1 16 R Circle 1 8 R ...

Page 227: ... Slow Curve 1 Slow Curve 2 DC Delay Delay DC Curve 2x Curve 2x B Delay DC waits for the specified time then outputs the level DC Delay outputs the level then waits for the specified time before moving on to the next segment These two shapes are useful for creating stepped mini sequences ...

Page 228: ...Morpheus Operation Manual 218 FUNCTION GENERATOR CURVES Curve 2x C Ziz Zag 1 Ziz Zag 2 Ziz Zag 3 Chaos 03 Chaos 06 Chaos 12 Chaos 16 ...

Page 229: ...Chapter 11 Reference Section 219 FUNCTION GENERATOR CURVES Chaos 25 Chaos 33 Chaos 37 Chaos 50 Chaos 66 Chaos 75 Chaos 95 Chaos 99 ...

Page 230: ...Morpheus Operation Manual 220 FUNCTION GENERATOR CURVES Linear Shuffle Linear Shuffle 2 Random B Random A Random C Random D Random E Random F ...

Page 231: ...Chapter 11 Reference Section 221 FUNCTION GENERATOR CURVES Random G Random H Random I Random J Random K Random L Random Z ...

Page 232: ...116 127 02 10 18 38 89 1 05 1 61 2 06 5 02 6 77 9 94 12 85 Display Time secs LFO PITCH INTERVALS 32 65 98 127 127 36 127 69 127 101 1 2 3 4 5 6 7 Display Semitone LFO RATES 000 5 10 15 20 25 30 40 50 60 80 127 052 1 6 8 1 33 1 8 2 2 3 3 7 10 16 25 Display Rate Hz FUNCTION GEN PITCH INTERVALS 16 32 49 65 81 97 113 127 1 2 3 4 5 6 7 8 Display Semitone ENVELOPE RATES 4 8 16 24 32 48 60 76 88 96 100 1...

Page 233: ...ce 1kΩ MIDI In Out Thru Data Encoding 16 bit Linear Sample Playback Rate 39 kHz Max Signal to Quiescent Noise 90 dB Dynamic Range 90 dB Frequency Response 20 Hz 15 kHz THD N 05 IMD 05 Stereo Phase Phase Coherent 1 at 1 kHz MIDI Response Time 4 mS Filter 32 14 pole Z Plane Filters 32 LP Tone Filters Power Requirements 25 watts Dimensions H 1 75 W 19 L 8 5 Weight 6 lb 14 oz 3 1 Kg ...

Page 234: ...tes Pan 0 hard left 127 hard right Function Mode 1 OMNI ON POLY Mode 3 OMNI OFF POLY Mode 2 OMNI ON MONO Mode 4 OMNI OFF MONO 0 31 Bank Select No Yes 64 79 All Sound Off Reset All Controllers No Yes No Yes All Notes Off No Yes GENERAL INFORMATION FOR MORPHEUS SYSEX Product ID for Morpheus is 0C Device ID is 00 0F 0 15 decimal Parameter Number and Parameter Value are 2 bytes each Since MIDI data by...

Page 235: ... hard left 127 hard right All Sound Off Bn 78 00 turns all sound off Reset All Controllers Bn 79 00 ignored in omni mode All Notes Off Bn 7B 00 ignored in omni mode Omni Mode Off Bn 7C 00 forces all notes controls off Omni Mode On Bn 7D 00 forces all notes controls off Mono Mode On Poly Off Bn 7E 00 forces all notes controls off Poly Mode On Mono Off Bn 7F 00 forces all notes controls off Bank Sel...

Page 236: ...reset data may also be transmitted or received in a single block one complete preset using system exclusive commands A preset data request may be issued by a host computer to which the machine will respond sending the data block for the requested preset Conversely the com puter may send new preset data which will replace the specified preset currently in the machine Additionally a front panel comm...

Page 237: ... Prog Map Data 08 Master Data Request Unused 0A Version Request 0B Version Data 0C Configuration Request 0D Configuration Data 0E Instrument List Request 0F Instrument List Data Unused 12 Preset List Request 13 Preset List Data Unused 44 Hyperpreset Request 45 Hyperpreset Data 46 Midimap Request 47 Midimap Data Unused 50 Hyperpreset List Req 51 Hyperpreset List Data 52 Midimap List Req 53 Midimap ...

Page 238: ...esults Generally default data will be sent no data corruption in the box should occur PRESET REQUEST Request preset Uses preset index values not the same as program numbers Request for card presets will be ignored if card is not present Preset numbers are 0 127 RAM 128 255 ROM 256 319 CARD Values 0x0400 the bank number 0 2 represent request for banks Banks are blocks of 128 presets F0 SysEx Status...

Page 239: ...PATCHCORDS SRC 26 Note on Dest See PATCHCORDS SRC 27 Note on Amount 128 to 127 10 note on cords 3 parms each 55 Realtime Source See PATCHCORDS DEST 56 Realtime Dest See PATCHCORDS DEST 57 Realtime Amount 128 to 127 10 realtime cords 3 parms each 85 Foot Dest See PATCHCORDS DEST 3 footswitch cords 1 parm each 88 Ctrl A Amount 128 to 127 89 Ctrl B Amount 128 to 127 90 Ctrl C Amount 128 to 127 91 Ctr...

Page 240: ...number 211 L Volume 0 127 212 L Pan 7 to 7 213 L Course Tune 36 semitones 214 L Key Xpose 36 semitones 215 L Fine Tune 64 semitone 64 216 L AltEnv Enable 0 1 Off On 217 L AltEnv Attack 0 99 rate 218 L AltEnv Hold 0 99 time 219 L AltEnv Decay 0 99 rate 220 L AltEnv Sustain 0 99 level 221 L AltEnv Release 0 99 rate 222 L Loop Enable 0 1 Off On 223 L LoopStart MS 999 thousand samples 224 L LoopStart ...

Page 241: ...d of SysEx Status Hyperpreset Request Request Hyper uses index values not the same as program numbers Request for RAM Card presets will be ignored if card is not present Hyperpreset numbers are 0 127 RAM 128 255 CARD Values 0x0400 bank represent request for banks Banks are blocks of 128 Hypers F0 SysEx Status Byte 18 E mu Mfg ID 0C Morpheus Product ID dd Device ID 0 15 44 Command ID ll Hyperpreset...

Page 242: ...27 MIDI key number 65 Z High Key 0 127 MIDI key number 66 Z Low Vel 0 127 67 Z High Vel 0 127 68 Z Vel Offset 126 69 Z Xpose 36 keys 70 Z Coarse Tune 36 semitones 71 Z Fine Tune 64 semitones 64 Z zone 16 zones 11 parms each cs Checksum F7 End of SysEx Status Midimap Request Request midimap Request for card midimaps will be ignored if card is not present Midimap numbers 0 15 RAM 16 31 CARD Values 0...

Page 243: ...RS 13 Ch Bank 0 4 See PROG NUMBERS for bank s 14 Ch Volume 0 127 15 Ch Pan 7 8 Preset 16 Ch Mix Bus 1 preset 0 3 Main Sub1 FxA FxB 17 Ch Enable 0 1 Off On 18 Ch ProgChg Enbl 0 1 Off On 19 Ch BankChg Enbl 0 1 Off On 20 Ch VolCtl Enbl 0 1 Off On 21 Ch PanCtl Enbl 0 1 Off On 22 Ch PWhl Enbl 0 1 Off On 23 Ch MPress Enbl 0 1 Off On 24 Ch PPress Enbl 0 1 Off On 25 Ch Ctl A Enbl 0 1 Off On 26 Ch Ctl B En...

Page 244: ...er will respond with a value of zero Individual parameter editing uses a unique parm number for each editable parm See PARAMETER NUM BERS chart for a listing of the parameters F0 SysEx Status Byte 18 E mu Mfg ID 0C Morpheus Product ID dd Device ID 0 15 02 Command ID pl Parm Number ls byte pm Parm Number ms byte F7 End of SysEx Status Parameter Data The format of a parameter value request response ...

Page 245: ... SysEx Status Tuning Table Data F0 SysEx Status Byte 18 E mu Mfg ID 0C Morpheus Product ID dd Device ID 0 15 05 Command ID bb Table Number only 1 table in Morpheus ll ls byte of Tune Value mm ms byte of Tune Value 128 total entries F7 End of SysEx Status Program Map Request F0 SysEx Status Byte 18 E mu Mfg ID 0C Morpheus Product ID dd Device ID 0 15 06 Command ID bb Map Number 0 3 F7 End of SysEx ...

Page 246: ...quest F0 SysEx Status Byte 18 E mu Mfg ID 0C Morpheus Product ID dd Device ID 0 15 08 Command ID F7 End of SysEx Status Master Settings Data A master settings request responds with streams of parmnumber parmvalue pairs in running status mode Two separate dumps are sent first global parms then scratch midimap parms F0 SysEx Status Byte 18 E mu Mfg ID 0C Morpheus Product ID dd Device ID 0 15 03 Comm...

Page 247: ...t Use this command to determine the model version code and the software revision different models and revisions may have more or less features so use the command to verify what machine is being controlled F0 SysEx Status Byte 18 E mu Mfg ID 0C Morpheus Product ID dd Device ID 0 15 0A Command ID F7 End of SysEx Status Version Data F0 SysEx Status Byte 18 E mu Mfg ID 0C Morpheus Product ID dd Device...

Page 248: ...e Request Command Description for information regarding the validity of this information F0 SysEx Status Byte 18 E mu Mfg ID 0C Morpheus Product ID dd Device ID 0 15 0D Command ID pl lsb Number of Presets pm msb Number of Presets s1 Sound Set Rank A sl lsb Number of Insts Rank A sm msb Number of Insts Rank A s2 Sound Set Rank B sl lsb Number of Insts Rank B sm msb Number of Insts Rank B hl lsb Num...

Page 249: ...RUMENT NUMBERS for a description of the instrument number F0 SysEx Status Byte 18 E mu Mfg ID 0C Morpheus Product ID dd Device ID 0 15 0F Command ID nl lsb Number of Instruments nm msb Number of Instruments il lsb Instrument Number im msb Instrument Number nn Instrument Name 11 ASCII Chars per Instrument 00 String Null Terminator for number of instruments F7 End of SysEx Status Filter List Request...

Page 250: ...Device ID 0 15 57 Command ID nl lsb Number of Filters nm msb Number of Filters il lsb Filter Number im msb Filter Number nn Filter Name 11 ASCII chars per instrument 00 String Null Terminator tl lsb of Transform Number tm msb of Transform Number for number of filters F7 End of SysEx Status Preset List Request Request list of available presets See data message for format F0 SysEx Status Byte 18 E m...

Page 251: ...SysEx Status Hyperpreset List Request Request list of available Hypers See data message for format of response F0 SysEx Status Byte 18 E mu Mfg ID 0C Morpheus Product ID dd Device ID 0 15 50 Command ID F7 End of SysEx Status Hyperpreset List Data Currently available Hypers in the order they appear in Morpheus F0 SysEx Status Byte 18 E mu Mfg ID 0C Morpheus Product ID dd Device ID 0 15 51 Command I...

Page 252: ...imaps in the order as they appear in Morpheus F0 SysEx Status Byte 18 E mu Mfg ID 0C Morpheus Product ID dd Device ID 0 15 53 Command ID nl lsb Number of Midimaps nm msb Number of Midimaps nn Midimap Name 12 ASCII Chars per Midimap 00 String Null Terminator for number of Midimap F7 End of SysEx Status Effect List Request Request list of available effects See the data message for the format of the ...

Page 253: ...nm msb Number of A Effects il lsb Effect ID im msb Effect ID nn Effect Name 12 ASCII Chars per Effect 00 String Null Terminator pl lsb Effect Number of Parms pm msb Effect Number of Parms nn Effect Parm Name 11 ASCII Chars per Effect Parm 00 String Null Terminator vl lsb Parm Min Value vm msb Parm Min Value vl lsb Parm Max Value vm msb Parm Max Value vl lsb Parm Default Value vm msb Parm Default V...

Page 254: ...ription Value 0 Key 1 Velocity 2 Pitchwheel 3 Control A 4 Control B 5 Control C 6 Control D 7 Mono Pressure 8 Free run Function Generator The realtime patchcord sources valid for Morpheus are as follows MIDI Description Value 0 Pitchwheel 1 Control A 2 Control B 3 Control C 4 Control D 5 Mono Pressure 6 Poly Pressure 7 LFO 1 8 LFO 2 9 Auxiliary Envelope 10 Function Generator 1 11 Function Generato...

Page 255: ... as follows MIDI Description NO RT Value Availability 0 Off RT NO 1 Pitch RT NO 2 PitchP RT NO 3 PitchS RT NO 4 Volume RT NO 5 VolumeP RT NO 6 VolumeS RT NO 7 Attack RT NO 8 AttackP RT NO 9 AttackS RT NO 10 Decay RT NO 11 DecayP RT NO 12 DecayS RT NO 13 Release RT NO 14 RelP RT NO 15 RelS RT NO 16 XFade RT NO 17 Lfo1Amt RT NO 18 Lfo1Rt RT NO 19 Lfo2Amt RT NO 20 Lfo2Rt RT NO 21 AuxAmt RT NO 22 AuxA...

Page 256: ... RT NO 44 FG2Amt RT NO 45 FltLev NO 46 FltLevP NO 47 FltLevS NO 48 FreqTrk NO 49 FreqTrkP NO 50 FreqTrkS NO Function Generator Shapes The function generator shapes are as follows MIDI Shape Value Name 0 Linear 1 Expo 1 2 Expo 2 3 Expo 3 4 Expo 4 5 Expo 5 6 Expo 6 7 Expo 7 8 Circ1 4 9 Circ1 6 10 Circ1 8 11 Cir1 16 MIDI Shape Value Name 12 Squeeze 13 FastLn1 14 FastLn2 15 FastLn3 16 MedLn1 17 MedLn2...

Page 257: ...5 RandomF 56 RandomG 57 RandomH 58 RandomI 59 RandomJ 60 RandomK 61 RandomL 62 RandomZ Function Generator Conditions The function generator condition values are shared between preset funcgens and hyper funcgens though some values are excluded in the hyper func gen The chart shows the numbers and the availability MIDI Description Availability Value 0 Never Preset Hyperpreset 1 AlwaysEnd Preset Hype...

Page 258: ...level types are defined as follows MIDI Description Value 0 absolute level 1 delta level 2 random absolute level 3 random delta level Filter Types Use the FILTER LIST command to get a list of the currently available filter names ids and transform number the filter type number sent via sysex are unique ids they are not the index into the screens The transform number is used to determine the active ...

Page 259: ...ct StereoFlange does not have the same ID as the B effect StereoFlange Parameter Numbers The following parameter numbers are in decimal Parm Parm Range Number Description 0 128 Proteus Preset Parms 256 Basic Channel 0 15 257 Channel Volume 0 127 258 Channel Pan 7 8 P 259 Current Program 0 MAXPROGRAM 260 Master Tune 64 Semitones 261 Master X pose 12 Midi Keys semitones 262 Global Bend 0 12 Semitone...

Page 260: ...ers 1 Parms See HYPERPRESET DATA Instrument Numbers Use the INSTRUMENT LIST commands to get a list of the IDs and names as they appear in the box Instrument numbers are comprised of two bitfields romset 8 index bits 8 13 romset number bits 0 7 is an index into the romset The Morpheus romset is 7 Therefore instrument numbers start at 1792 Program Numbers The mapping of program numbers for preset ch...

Page 261: ...28 divide and use only the remainder To go the other way convert 14 bit signed 2 s complement to a signed real number raw Value msb 128 lsb gives you the unsigned raw value if raw Value 8192 8192 2 13 then signed Value raw value 16384 16384 2 14 Example To find the nibble ized Hex value of 127 1 127 16384 16257 2 16257 128 127 r 1 3 127 in Hex 7F msb 4 1 in Hex 01 lsb 5 Parameter value would be tr...

Page 262: ...hown on pages 229 231 must be added to the base offsets in order to get the actual parameter number 3 The preset parameter list shows LFO 1 waveshape as 93 page 229 The base offset number for preset parameters is 8192 page 250 Add these numbers to get the actual parameter number 8192 93 8285 4 Now the parameter number must be converted into 14 bit 2 s comple ment in order to fit into the MIDI form...

Page 263: ... 258 128 2 r2 b 2 in Hex 02 msb c 2 in Hex 02 lsb 2 The least significant byte is always sent first The MIDI SysEx string now looks like this F0 18 0C 00 03 02 02 XX XX F7 We re still missing the value data to select the pan position 3 From the table on page 249 you can find out that 8 corresponds to Preset Pan For negative numbers add 16384 to the original negative value 16384 8 16376 4 Next we c...

Page 264: ...nd the Midimap parameter number for FXA Amount in Hexadecimal This will be the Parameter Number portion of the message The Midimap parameter offset numbers shown on pages 233 234 must be added to the base offset in order to get the actual parameter number 3 The Midimap parameter list shows FXA Amount as 355 page 234 The base offset number for Midimap parameters is 2048 page 250 Add these numbers t...

Page 265: ...2 Crossfade balance 112 Crossfade direction 112 Crossfade mode 111 Cursor 13 D Data entry control 13 DCA 93 Decay 73 144 Delay 50 53 73 Delay times envelope 222 Demo sequence select 13 Demo sequences 16 Dimensions 223 Double Detune 106 144 Drawbar diagrams 169 Drum priority 110 E Early reflection 43 Editing presets 69 139 Effect bus architecture 40 Effect processor A 34 Effect processor B 35 Effec...

Page 266: ...63 Zone velocity range 62 Zone volume 61 Hyperpreset menu select button 12 Hyperpreset name 60 I ID number 22 Instruments 4 93 140 162 166 K Key number 96 Key range Key velocity 71 Keyboard center 126 Keyboard key 71 Keyboard pressure 71 Keyboard tuning 126 19 tone tuning 126 Equal tuning 126 Gamelan 126 Just C tuning 126 Vallotti tuning 126 L Last note priority 110 Layered keyboard 104 LFO 47 75 ...

Page 267: ...e on modulation control 71 94 122 O Organ waveforms 164 Omni mode 22 Only effect mode 35 Output impedance 223 Output level 214 Output mix 31 P Pan 61 93 Parametric filters 87 Percussion instrument locations 170 173 Percussion instruments 168 Performance setup 7 Phaser 48 Pitch tune 63 Pitch wheel 124 Pitch bend range 124 Pitch wheel 71 Plates reverb 43 Poles 86 Poly mode 22 Polyphonic key pressure...

Page 268: ... splicing 146 Sound start 107 145 Split keyboard 104 Studio setup 6 Sub 1 2 8 Sustain 73 144 Synth mode 109 Synthesizer waves 166 Sysex 24 226 254 T Tap level 50 Technical specifications 223 Tone 84 93 Tone filter 84 93 Transform 2 152 Transpose 19 63 105 Tremolo 75 Tuning Coarse fine tuning 63 105 Tuning to other instruments 19 User key tuning 20 126 U User key tuning 20 V Velocity curve 96 125 V...

Page 269: ...of the unit at E mu s option In no event shall E mu Systems be liable for damages based on inconvenience whether incidental or consequential loss of use of the unit loss of time interrupted operation or commercial loss or any other conse quential damages Some states do not allow limitation of the duration of implied warranties or the exclusion or limitation of incidental or consequential damages s...

Reviews:

No comments

Related manuals for MORPHEUS

Brand: Octave Pages: 38

Brand: Philips Pages: 10

Brand: Philips Pages: 18

Brand: Philips Pages: 46

Brand: Philips Pages: 106

Brand: Sequential Pages: 48

Brand: BEL Pages: 10

Brand: Yamaha Pages: 86

Brand: EarthQuake Pages: 12

Brand: Moog Pages: 23

Brands by name

0 1 2 3 4 5 6 7 8 9 A B C D E F G H I J K L M N O P Q R S T U V W X Y Z

Popular brands

Load more brands