MORPHEUS Operation Manual © 1993 E-mu Systems, Inc. All Rights Reserved • FI420 Rev. C 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.
WARNING: READ THIS FIRST! IMPORTANT SAFETY INSTRUCTIONS Use in countries other than the U.S.A. may require the use of a different line cord or attachment plug, or both. To reduce the risk of fire or electric shock, refer servicing to qualified service personnel. To reduce risk of fire or electric shock do not expose this product to rain or moisture. GROUNDING INSTRUCTIONS In this document, whenever the word “Morpheus” is mentioned we are referring to the Morpheus Synthesizer by E-mu Systems, Inc.
SAVE THESE INSTRUCTIONS 4. Morpheus should be situated so that its location or position does not interfere with its proper ventilation. 5. Morpheus should be located away from heat sources such as radiators, heat registers, fireplaces, stoves, or ovens. 6. Morpheus should only be connected to a power supply of the type described in the operating instructions and as marked on the product. 7.
CONTENTS INTRODUCTION & BASIC SETUP 1 Introduction ........................................................................................... Getting Started ...................................................................................... Connection Instructions ...................................................................... Background - About Sampling .......................................................... BASIC OPERATION Main Controls ...................................................
CONTENTS MIDIMAP MENU (cont) Volume, Pan & Output Mix ..................................................... MIDI Enables ........................................................................ Bank Select ............................................................................ Program Map Select .............................................................. FX A ..................................................................................... FX B ..................................................
CONTENTS PRESET PROGRAMMING 67 Starting to Program .............................................................. Modulation .......................................................................................... Modulation Sources ........................................................................... Footswitch Modulation .......................................................... Midipatch.............................................................................. Envelope Generators .........
CONTENTS PRESET MENU (cont) Sound Reverse...................................................................... Nontranspose ...................................................................... Loop Enable ....................................................................... Loop Offset .......................................................................... Solo Mode ........................................................................... Solo Mode Priority ......................................
CONTENTS COPY MENU Enabling the Copy Menu ..................................................... Copy Preset ......................................................................... Copy Layer .......................................................................... Copy Filter ........................................................................... Copy LFO ............................................................................... Copy Function Generator ..........................................
CONTENTS Using Morpheus with a Sequencer......................................... 158 More Advanced Sequencing .................................................. 159 REFERENCE SECTION Factory RAM Presets - Bank 0 ................................................ Factory ROM Presets - Bank 1................................................ Instrument Listing.................................................................. B3 Wave Diagrams ................................................................
INTRODUCTION & BASIC SETUP Chapter 1: Basic Setup 1
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INTRODUCTION MORPHEUS Z-PLANE SYNTHESIZER Morpheus is a completely new type of music synthesizer which represents a major landmark in the evolution of electronic sound synthesis. Many electronic instruments involve the technology of sampling, where sounds are digitally recorded and played back at different pitches. Sampling has the advantage of highly accurate and realistic sound. One disadvantage of sampling is that once the sounds are recorded, it is difficult to change them in any significant way.
GETTING STARTED In it's most basic form, Morpheus is organized as shown in the diagram below. Complete acoustic instrument samples and electronically created sounds are used as raw material to form Presets. The Preset is a complete set of all program functions and combinations for a complete Morpheus sound. Each preset consists of one or two Instruments. An Instrument is a complete set of samples or a digital waveform which covers the entire keyboard range.
CONNECTION INSTRUCTIONS SETUP #1 BASIC SETUP ▼ The headphone output monitors the main outputs only. The submix outputs do NOT feed into the headphone output. • • • If Morpheus does not seem to be responding correctly, make sure that both Morpheus and your MIDI controller are set to the same MIDI channel. MIDI In Morpheus is controlled by MIDI messages received at the MIDI In connector.
CONNECTION INSTRUCTIONS SETUP #2 STUDIO SETUP MIDI In In this setup, Morpheus is controlled by MIDI messages received at the MIDI In connector which have been routed by a MIDI switcher. The MIDI switcher allows any 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.
CONNECTION INSTRUCTIONS SETUP #3 PERFORMANCE SETUP MIDI In Morpheus is controlled by MIDI messages received at the MIDI In connector. Connect the MIDI In of Morpheus to the MIDI Out connector of a MIDI controller such as a MIDI 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.
CONNECTIONS bypass the internal effects section. The Sub 2 outputs are fed from the effects section. If a stereo plug is inserted, the Ring of the stereo plug serves as a signal Return which sums into the Main outputs. Therefore, the Sub 1 and Sub 2 jacks can serve as effect sends and returns in order to further process selected instruments and then return them to the main mix.
BACKGROUND ABOUT SAMPLING Morpheus utilizes digital recording of acoustic sounds for the basis of each Instrument. This is similar to a tape recorder except that inside the Morpheus, the sounds are permanently recorded on digital memory chips. Sound and instrument waveforms are first sampled into the Emulator III, our top of the line, 16 bit stereo digital sampler.
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BASIC OPERATION Chapter 2: Basic Operation 11
MAIN CONTROLS Volume Control This is the master volume control for all audio outputs. Note: For maximum dynamic range, set this control at full level. Card Slot The card slot accepts RAM and ROM cards containing additional presets, hyperpresets and midimaps. Master Menu Select Button The Master menu contains global parameters which affect the entire machine. The LED to the left of the button indicates that you are in the Master menu.
MAIN CONTROLS Demo Sequence Select Morpheus contains four play-only sequences to demonstrate the range of sounds. Press and hold the Midimap and the Hyperpreset buttons simultaneously to select the Demo Sequence selection screen. ▼ You must hold the Midimap and Hyperpreset buttons for approximately two seconds to start the demo sequences. Cursor Control These buttons move the cursor to the next parameter on the display in a clockwise or counter-clockwise direction.
BASIC OPERATION MIDI Activity LED Indicates that MIDI data is being received. MIDI CHANNEL SELECTION Press the cursor key repeatedly until the cursor is underneath the channel number. (The cursor is the little flashing line underneath one of the parameters in the display.) Rotate the data entry control to select MIDI channel 01-16. As the channel is changed, the display will change to show the preset/hyperpreset, volume and pan associated with the displayed channel.
BASIC OPERATION MEMORY CARD The memory card is a convenient method of saving and transferring presets and hyperpresets. Insert the card firmly into the slot on the front panel with the label facing up. Press the eject button to release the card. A RAM card stores 128 presets, 128 hyperpresets and 16 midimaps. RAM cards may be Write-Protected by moving the little switch on the end of the card.
BASIC OPERATION MULTI-TIMBRAL OPERATION Multi-timbral operation means that the Morpheus can play more than one sound at the same time. To access multiple presets on different MIDI channels simultaneously, follow these instructions: 1. Set the MIDI mode to MULTI-Mode, using the MIDI mode function in the Master menu (page 22). 2.
MASTER MENU Chapter 3: Master Menu 17
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MASTER MENU The Master menu contains functions that affect the overall operation of Morpheus. For example, changing the Master Tune will change the tuning of all the presets, not just the one currently displayed. To enable the Master menu Press the Master button, lighting the LED. The current screen will be the one most recently selected since powering up Morpheus. The Cursor will appear underneath the first character of the screen heading on line one.
MASTER MENU • User Key Tuning In addition to standard twelve tone equal temperament, Morpheus contains four additional preset tuning tables (Just C, Vallotti, 19 tone, and Gamelan) and one user definable tuning. User Key Tuning allows you to alter the parameters of the user definable tuning stored in memory. The initial frequency of every key can be individually tuned, facilitating the creation of microtonal scales.
MASTER MENU GLOBAL VELOCITY CURVES Chapter 3: Master Menu 21
MASTER MENU • MIDI Mode This function selects one of the four MIDI receive modes and the MIDI system exclusive ID number. Omni mode Morpheus responds to note information on all MIDI channels and plays the preset currently displayed in the main screen. Poly mode Morpheus only responds to note information received on the currently selected MIDI channel (the “basic channel”, displayed on the main screen) and plays that channel’s associated preset.
MASTER MENU • MIDI Program Change Map Incoming MIDI program changes can be remapped to a different numbered preset. This is a handy feature when you want a specific MIDI program number sent from the master synth to be linked with a specific preset or hyperpreset on Morpheus. For example, the Program Change Map could be set to call up preset 12 whenever Morpheus receives program change number 26. Any preset or hyperpreset in Morpheus can be mapped to any incoming MIDI program change number.
MASTER MENU •• A few of the standardzed MIDI Controller umbers are listed below. - Modulation Wheel or ever - Breath Controller - Aftertouch: Rev 1 DX7 - Foot Pedal - Portamento Time - Data Entry - Volume • MIDI Controller Assign Morpheus allows you to assign up to four realtime control sources from your MIDI controller. These control sources could be modulation wheels, data sliders or whatever. In this screen, you set up which controllers will be received by the Morpheus.
MASTER MENU The Enter LED will be flashing. Press the Enter button to confirm the operation. To receive MIDI data, simply send the MIDI data into Morpheus from another Morpheus or your sequencer. The choices are: To Record MIDI Data into a Sequencer: RAM Presets ......................................... Transmits all the user RAM presets. ROM Presets ................................... Transmits all the factory ROM presets. 2. Place sequencer into record mode, then Send MIDI Data. Card Presets ........
MASTER MENU • Proteus Sysex When this function is On, Proteus presets can be transferred over MIDI into Morpheus. It also allows the use of Proteus patch editing programs. Instrument numbers and parameters which are unique to Morpheus will, of course, NOT be transferred. This function defaults to Off to avoid unplanned conflicts with Proteus Sysex transfers.
MIDIMAP MENU Chapter 4: Midimap Menu 27
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MIDIMAP MENU THE MIDIMAP A Midimap is a group of parameters which you might associate with a specific sequence or song. You can also use the Midimaps as “Effects Presets” for your favorite effects setups. The Midimap contains all the pre-sequence setup information, such as the program (preset or hyperpreset) 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 To enable the Midimap menu Press the Midimap button, lighting the LED. The current screen will be the one most recently selected since powering up Morpheus. The cursor will appear underneath the first character of the screen heading on line one. To select a Midimap Press the Home/Enter button or press the cursor key repeatedly until the cursor is underneath the screen title heading. The first screen in the list is “Midimap Select”.
MIDIMAP MENU • Midimap Name This function allows you to name each of the 16 Midimaps with a name of up to 12 characters. Position the cursor underneath the character location and use the data entry control to change the character. The keyboard can also be used to select characters. This screen displays the current Midimap. The Midimap Select screen is the last screen in the menu. ▼ The Auto-Select feature in the Master menu must be turned On in order to use the keyboard for naming Midimaps.
MIDIMAP MENU The Output Mix allows you to selectively route the program through one of the effects processors or direct it to a pair of output jacks (for each of the 16 MIDI channels). An additional selection called Preset or “P”, allows the selection to be made in the preset (Mix Output). Thus effects and outputs 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.
MIDIMAP MENU • MIDI Enables The MIDI enables allow you to enable or filter out specific MIDI messages on a per-channel basis. MIDI messages that can be filtered include: All Messages (turns channel off) Pitch Wheel Program Change Mono Pressure Bank Select Key Pressure Volume Control (controller #7) Controllers A-D Pan Control (controller #10) Footswitches 1-3 ••• The Channel Pan contro can be disabled to prevent incoming MIDI messages from altering stereo effects programmed in the presets.
MIDIMAP MENU • Program Map Select There are four Program Maps in Morpheus. Program Maps allow incoming MIDI program changes to be translated into another number. For example, a program map could be set up so that program number 12 is selected whenever program change number 26 is received at the MIDI in port. The Program Map Select function allows you to select one of the four Program Maps to be used in the currently selected Midimap or turn the Program Map function Off.
MIDIMAP MENU • FX B This function allows you to select which effect is active on Effect Processor B. Processor B effects include echo, delay, chorus, phase shifter, distortion and ring modulator. Each effect has one or more adjustable parameters which are accessed by moving the cursor to the lower line. See the Effects section for detailed information on these functions.
MIDIMAP MENU • FX Output Select This function selects which pair of output jacks each effect processor will be routed. This is shown in the diagram on page 32 by the 3-way switches after each effect processor. FX OUTPUT SELECT A:Main B:Sub 1 • Save Midimap Changes made to a Midimap are not made permanent until the Midimap is Saved. To save a Midimap, move the cursor to the bottom line and select one of the 16 locations with the data entry control. The Enter LED will be flashing.
EFFECTS SECTION Chapter 5: Effects Section 37
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EFFECTS BASICS Where are the Effects? The effects in Morpheus are separate from the preset. This is similar to an external effects unit except that the signal path is kept in the digital domain to maintain excellent sound quality. The Effects section in Morpheus is located external to the preset in the Midimap menu. The effects section is located within the Midimap. There are 16 Midimaps (and 16 more on a memory card) which store different effects setups.
EFFECTS SECTION EFFECTS OUTPUT ROUTING The diagram below shows how the effects section is integrated into the output jack routing scheme. The mix bus can be selected either by the preset or by MIDI channel. When “Preset” is selected, the MIX SELECT programmed in the preset is used. MORPHEUS EFFECT BUS ARCHITECTURE The two stereo effect processors on Morpheus are designated as A and B effects. “A” effects contain Reverb and other effects.
EFFECTS SECTION TO PROGRAM AN EFFECT: 1) Press the MIDIMAP button lighting the LED. 2) Slowly turn the data entry knob clockwise until you find the screen shown below. Select one of the effect processors in the Mix Selection. This selects the input to the effect processors. VOL PAN MIX 127 =P FXA ••• The diagram on the previous page illustrates the function of Mix Select. C01 3) Set the FX Amount for the A or B effect. This adjusts the ratio of effected to un-effected signal.
EFFECTS SECTION A EFFECTS Room Warm Room Small Rooms 1 & 2 Halls 1, 2 & 3 Chambers 1 & 2 Plates 1 & 2 Early Reflections 1-4 Reverse Early Refl. Rain & Shimmer Stereo Flange Phaser Stereo Chorus Delay Cross Delay Echo B EFFECTS Fuzz Fuzz Lite Stereo Flange Phaser Stereo Chorus Delay Cross Delay Ring Modulator REVERB Reverberation is a simulation of a natural space such as a room or hall. The reverb effects in Morpheus simulate various halls, chambers, rooms and reverberation plates.
EFFECTS SECTION Room programs simulate small rooms with high frequency absorption caused by drapes and furniture. Plates simulate plate type reverbs with their tight, dense early reflections and sharp reverb build-up. Chambers simulate medium sized rooms with hard reflective surfaces. Hall programs recreate the open, spacious ambience of large concert halls. Early Reflection programs consist of the reflection cluster only without the reverb decay.
EFFECTS SECTION • Hall 1 Hall 1 is a large, highly reverberant space with auditorium-like acoustics. Like all the Hall programs, “Hall 1” exhibits a warm, distant ambience with slow reflection density buildup. With the decay parameter set to maximum, “infinite” reverberation effects can be obtained. Adjustment of wet-dry mix can be used to position the listener from the “front row” (≈25%) to “back of the balcony” (≈100%).
EFFECTS SECTION EARLY REFLECTION GROUP All Early Reflection programs have a single Ambience parameter which adds diffusion to the individual reflections. Lower ambience settings cause reflections to become more discrete, simulating harder reflecting surfaces. The early reflection programs are simulations of increasingly large acoustic spaces, from a small studio (Early Refl 1) to a large room like a sound stage (Early Refl 4). The wet mix control acts effectively as source distance control.
EFFECTS SECTION • Stereo Flanger A flanger consists of a short audio delay line whose output is mixed together with the original signal. Mixing the delayed and original signals together results in multiple frequency cancellations creating a comb filter effect as shown in the diagram below. Since the flanger is a type of filter, it works best with harmonically rich sounds such as strings. The flanging effect was originally created using two tape recorders playing identical recordings.
EFFECTS SECTION A Minimum Delay control serves to tune the flanger. In other words, it adjusts the placement of the comb filter notches. The initial delay is variable from 26 microseconds to 6.5 milliseconds. FXA:StereoFlange Min Delay 100 A Low Frequency Oscillator (LFO) varies this initial delay setting, changing the frequency of the notches and adding animation to the sound. The LFO Rate controls the rate of change and the LFO Depth controls how much the delay is changed by the LFO.
EFFECTS SECTION • Stereo Phaser The stereo phaser is an effect similar to the flanger although much more subtle. The phaser creates a swirly animation when used with harmonically rich sounds such as strings and voices. It can also be used like a chorus to thicken-up a thin sound.
EFFECTS SECTION • Stereo Chorus The function of a chorus device is to thicken the sound or to make one voice sound like many. The way the effect is achieved is by mixing one or more delayed versions of the signal in with the original. The delay times used are too short to be perceived as a an echo, but long enough so that comb filtering does not occur. In addition, the delay time is varied to simulate the random differences which occur when multiple instruments are playing together.
EFFECTS SECTION FXA:StereoChorus LFO Rate 050 FXA:StereoChorus Min Delay 036 FXA:StereoChorus LFO Depth 050 FXA:StereoChorus Feedback +100 • Delay The delay line is a stereo effect which can be used for doubling, echoes or fixed formant comb filtering with completely independent delay time and tap levels for the left and right sides. The delay is shown in the diagram below. The Delay Time parameter is independently variable from 0 to 209 milliseconds for both the left and right channels.
EFFECTS SECTION with large amounts of feedback. This quality allows the delay line to be used as a resonator, where it acts as a kind of oscillator when excited by an input signal. Infinite delay effects are also possible without the risk of runaway. The stereo delay can function as two independent delay lines by panning the primary and secondary instruments to the extreme left and right.
EFFECTS SECTION • Echo The Echo produces echoes up to 400 milliseconds in length (twice that of the Delay and Cross Delay effects). The feedback path is independent of the output level and contains a low pass filter which simulates an analog tape echo. The left and right signals are kept completely independent throughout the effect and have separate controls except the feedback amount control which affects both channels.
EFFECTS SECTION B EFFECTS The B effects include Stereo Flanger, Stereo Chorus, Phaser, Fuzz, Ring Modulator, Delay, Cross Delay and Fuzz Lite. Some of the B effects such as the Fuzz and the Ring Modulator are a bit bizarre (you won't want to use them on every sound), but can be used to create some truly amazing effects. The B effects can additionally be routed through the A effect as shown in the diagram below.
EFFECTS SECTION STEREO FUZZ The Stereo Fuzz introduces a controlled distortion to any signal passing through it. Distortion creates harmonics by clipping the top of the wave when it exceeds a certain level. Sine waves are transformed into square waves and complex waves take on noise-like qualities. There are two types of fuzz in Morpheus: Fuzz and Fuzz Lite. • Fuzz This Fuzz is probably the grungiest fuzz you have ever heard.
EFFECTS SECTION • Ring Modulator A Ring Modulator is a device which takes two signals and multiplies them together into one resultant signal containing only the sum and difference frequencies of the two input waves. The original frequencies are not output! However, every harmonic of each signal multiplies every other, according to its amplitude. As a result, ring modulators tend to generate a lot of non-harmonic frequencies which can sound very bell-like or out of tune.
EFFECTS SECTION There are no controls on the ring modulator as shown by the block diagram below. The left and right outputs are simply multiplied together to form a monophonic output. By routing the preset (or MIDI channel) to effect B and panning to opposite sides (shown below), two different waves can be ring modulated. Ring modulation works well with simple waves such as sine waves and the harmonic waveforms. Also, try complex waves modulated with sine waves.
HYPERPRESET MENU Chapter 6: Hyperpreset Menu 57
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HYPERPRESET MENU THE HYPERPRESET A Hyperpreset is a group of one to sixteen presets which have been assigned to areas of the keyboard in order to have more than one sound available at once. Presets are assigned to ranges of the keyboard called Zones and may include 1 key or all 128 keys. Zones may be placed adjacent to each other (to create a split keyboard) or may overlap (to create fat, layered sounds). Each zone has its own volume, pan, transpose, tuning and velocity range.
HYPERPRESET MENU HYPERPRESET MENU FUNCTIONS • Hyperpreset Name Hyperpreset Name allows you to name each of the 128 hyperpresets with a name of up to 12 characters. Position the cursor under the character location and use the data entry control to change the character. The keyboard can also be used to select characters. The chart below shows the keyboard character assignments.
HYPERPRESET MENU • Zone Volume and Pan This function sets the Volume and Pan position for each zone. Volume allows you to adjust the relative volume between presets and pan allows you to change the position of each zone in the stereo field. The Volume control acts as an attenuator on the preset volume. It cannot increase the volume past the setting programmed in the preset. The Pan control adds algebraically to the pan value programmed in the preset.
HYPERPRESET MENU • Zone Velocity Range Each zone can be given its own velocity range so that different presets will be selected according to the keyboard velocity. Imagine two presets assigned to the same keyboard range. 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.
HYPERPRESET MENU • Zone Velocity Offset This function works in conjunction with the Zone Velocity Range feature and adds a programmable offset value to the velocity value applied to the preset. The velocity offset is variable for each zone from 126 to +126. Suppose that a preset is assigned a velocity range of 000-026 (see previous screen). If the preset was programmed with velocity to volume or tone, the low velocity range will make the preset soft and muted.
HYPERPRESET MENU • Hyperpreset Portamento Mode This function sets the number of notes that will be affected by portamento for all presets in a hyperpreset which have portamento turned On. It works exactly the same as preset portamento mode, but controls the mode for the hyperpreset. If the Portamento Mode is set to two keys and a three-note chord is played, only two of the notes will glide. Notes will glide from the previous note or notes played.
HYPERPRESET MENU Hyperpresets contain a slightly different version of the function generator called a Free-Running Function Generator or Free-Run FG. There is one Free-Run FG per hyperpreset (effectively one per MIDI channel). What the Free-Run FG actually controls is programmed in the preset itself. The Free-Run FG differs from the other FGs in two fundamental ways. There is one Free-Run FG per Hyperpreset which can modulate any presets in the hyper which have the Free-Run FG assigned.
HYPERPRESET MENU The functions of the Free-Run FG are almost identical to the preset FG's except that the conditional jumps are more limited. The conditional jumps are listed below. Never ............................. Never jumps. Always goes on to next segment. Always End .................. Always jumps 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 Imm. .............. Jumps immediately if the note is still on.
PRESET PROGRAMMING PRESET PROGRAMMING Chapter 7: Preset Programming 67
PRESET PROGRAMMING 68 Morpheus Operation Manual
PRESET PROGRAMMING This chapter explains how preset sounds are constructed in Morpheus. It also contains important background information on the various programming aspects of the instrument. • If you are new to synthesizers and electronic music, you may need more background information than this manual provides. There are many books dedicated to synthesizer basics and MIDI available through your local music dealer.
PRESET PROGRAMMING Morpheus has an extensive modulation implementation using two multi-wave LFO’s (Low Frequency Oscillators), three envelope generators, two multi-segment function generators and the ability to respond to multiple MIDI controllers. You can simultaneously route any combination of these control sources to multiple destinations. MODULATION Modulation means to dynamically change a parameter, whether it be the volume (amplitude modulation), the pitch (frequency modulation), or whatever.
PRESET PROGRAMMING MODULATION SOURCES Morpheus uses three kinds of modulation sources. • NOTE-ON MODULATION CONTROL Values which are generated at the start of a note and do not change during the note. Keyboard Key Which key is pressed. Key Velocity How fast the key is pressed. Pitch Wheel, Control ABCD, Mono Pressure, Free-Run Func. Generator These are variable controls which are measured only once at Note-On time.
PRESET PROGRAMMING • FOOTSWITCH MODULATION Changes a parameter when one of the three footswitches are pressed. The footswitches can be programmed to switch: Sustain (pri/sec/both), Alternate Volume Envelope (pri/sec/both), Alternate Volume Release (pri/sec/both), Cross-Switch between the primary and secondary instruments, or Portamento On or Off (pri/sec/both). In addition, the footswitches can be used to execute conditional jumps in any of the function generators.
PRESET PROGRAMMING ENVELOPE GENERATORS An envelope can be described as a “contour” which can be used to shape the sound in some way over time. There are two different envelope generators on Morpheus. The Alternate Volume Envelope generator controls the volume of the primary or secondary instrument over time and has 5 stages: Attack, Hold, Decay, Sustain, and Release. There is also an Auxiliary Envelope generator which is a general purpose envelope and can be routed to any realtime control destination.
PRESET PROGRAMMING AUXILIARY ENVELOPE GENERATOR Sustain level time D e l a y D e c a y H o l d A t t a c k key released key down R e l e a s e 1) When a key is pressed, the envelope generator waits for the specified Delay time, then begins to increase at the Attack rate. 2) At full level, it waits for the specified Hold time before gliding down at the Decay rate, coming to rest at the Sustain level.
PRESET PROGRAMMING LOW FREQUENCY OSCILLATORS (LFOs) A Low Frequency Oscillator or LFO is simply a wave which repeats at a slow rate. The Morpheus has two multi-wave LFOs for each of its 32 channels. The LFO waveforms are: Triangle, Sine, Square, Sawtooth, and Random, which is a random “sample and hold” type of wave. By examining the diagram of the LFO waveforms, you can see how the LFO will affect a modulation destination. Suppose we are modulating the pitch of an instrument.
PRESET PROGRAMMING 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 generator can be used when you want the type of complex control that a normal AHDSR envelope cannot handle. Refer to the diagram below.
PRESET PROGRAMMING The jumps are called Conditional Jumps because they only jump if a certain condition is met. For example, the function generator can be programmed to jump to another segment only if the key is still being held. Otherwise it will continue on to the next segment. Each of the eight segments can have a conditional jump to any segment (including itself).
PRESET PROGRAMMING In the example below, a standard ADSR envelope generator has been programmed. Segments 5-8 have been set to zero since they are not used. In addition, all conditional jumps for segments 5-8 have been set to “Never ”. ••• Drawing your function generator ideas on paper first will simplify the programming process.
PRESET PROGRAMMING In the example below the function generator becomes a complex LFO through the use of an “Always End” jump which always forces a jump back to segment 1 from the end of segment 5. Thus the function generator constantly repeats forming a low frequency oscillator. Always Jump to 1 at End of Segment 3 1 2 4 5 FUNCTION GENERATOR DELTA & RANDOM LEVEL There are 3 additional options in the function generator level screen, Delta Level (level change), Random, and Random Delta (random change).
PRESET PROGRAMMING A slightly more complex example could use non-linear segment shapes or multiple segments in the loop. In the example below, the function generator decays with a zig-zag pattern when the note is released. +32 +127 127 112 -32 96 -32 80 64 48 If Note Off Jump to 2 Etc. 32 16 000 To access the Random parameter, turn the level value of a function generator one unit past ∆ +127. The random (r) symbol appears in the value field.
PRESET PROGRAMMING To access the Random Delta parameter, turn the level value of a function generator one unit past r +127. The random delta (r ∆) symbol appears in the value field. FUNC GEN Level F1S1 r∆-127 A Random Delta level allows the function generator to change by a random amount which does not exceed the random change specified. If a random delta of +16 were programmed, the level could change by any value between 0 and +16.
PRESET PROGRAMMING If the Free-Run FG were to be programmed as an LFO and to modulate the pitch, all the voices in all presets in that hyperpreset with the FreeRun FG assigned to pitch would modulate up and down in unison. FREE-RUN FUNCTION GENERATOR HYPERPRESET Preset Preset Preset Preset MIDI CHANNEL Free-Run Func Gen There is one Free-Run Function Generator per MIDI channel which can affect any or all presets in a Hyperpreset.
PRESET PROGRAMMING When Presets are Selected, the Free-Run Function Generator has No Effect Preset 1 Preset 2 Morph Volume Free-Run FG Free-Run FG The Free-Run Function Generator ONLY works in a Hyperpreset. Hyperpreset Preset 1 Preset 2 Morph Volume Free-Run FG Free-Run FG Free-Run FG Free-Run FG Hyperpreset The Free-Run Function Generator only works in a Hyperpreset, even though the modulation routing is made in the preset.
PRESET PROGRAMMING Chapter 7: Preset Programming 83
PRESET PROGRAMMING FILTER MODULATION The block diagram of a single channel is shown below. Instrument R Morph Filter Tone DCA Pan L The Tone filter is a simple low-pass tone control which can be used to darken the tone of an instrument. The Z-Plane filter is an ultrapowerful synthesizer filter which can dramatically alter the sound of an instrument. To understand how a filter works we need to understand what makes up a sound wave. A sine wave is the simplest form of sound wave.
PRESET PROGRAMMING WHAT IS A FILTER? Most of the instruments in Morpheus are complex waves containing many sine waves of various amplitudes and frequencies. 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. Cutoff Frequency 100 Amplitude 80 Output of Filter Low Pass Filter 60 40 20 40 80 160 360 720 1440 2880 ...
PRESET PROGRAMMING A Notch Filter is just the opposite of a bandpass filter and is used to eliminate a narrow band of frequencies. Amplitude Another control found on traditional filters is called Q or resonance. A lowpass filter with a high Q would emphasize the frequencies around the cutoff frequency. The chart below shows how different amounts of Q affect the low pass filter response. In terms of sound, frequencies around the cutoff will tend to “ring” with high Q settings.
PRESET PROGRAMMING Using a filter, we now have a way to control the harmonic content of a sampled sound. As it turns out, even a simple low pass filter can simulate the response of many natural sounds. For example, when a piano string is struck by its hammer, there are initially a lot of high frequencies present. If the same note is played softer, there will be fewer of the high frequencies generated by the string.
PRESET PROGRAMMING If four parametric filter sections were cascaded, it would be possible to create the following complex filter response. 4 Parametric Equalizers dB Magnitude 20 15 10 5 0 -5 500 10,000 15,000 20,000 Linear Frequency - Hertz Many natural instruments have complex resonances which are based on their soundboard or tube size. The resonance shown above would be impossible to create using a normal synthesizer filter.
PRESET PROGRAMMING Consider, as an example, the human vocal tract, which is a type of complex filter or resonator. There are dozens of different muscles controlling the shape of the vocal tract. When speaking, however, we don't think of the muscles, we just remember how it feels to form the vowels. A vowel is really a configuration of many muscles, but we consider it a single object.
PRESET PROGRAMMING Because creating the complex filtering is difficult and very time consuming, we have created hundreds of filters and installed them permanently in ROM for your use. You simply select and use the filters in a manner similar to choosing an instrument. Because there are so many types of filters to choose from, the number of possible permutations is staggering. For example, you could play a guitar sound through a vocal tract filter and create a talking guitar sound.
PRESET PROGRAMMING Suppose we added yet another dimension to the filter model. We could 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 by the diagram below.
PRESET PROGRAMMING • Another View Another way to look at the Z-Plane filter is simply as a “black box”. You don't really need to think about all the possible filter permutations in order to use it. You just need to know what the controls do and listen to the sound. Each Z-Plane filter is described in the Reference Section of this manual. Filter Type Filter Level Reverse Morph Offset Freq. Track Transform 2 The Z-Plane filter can change its function in time.
PRESET PROGRAMMING MORPHEUS SIGNAL FLOW Going back to the block diagram for a single channel we can re-examine the complete signal path. Instrument Pitch Sample Start Tone Z-Plane Filter Freq Trans Morph Trk 2 R DCA Pan L Volume Function Gen. Aux. DAHDSR Velocity Key Position Volume AHDSR Possible Modulation Sources The vertical arrows represent possible modulation routings to the basic signal path. Instrument This is the sampled sound wave.
PRESET PROGRAMMING Note-On Modulation Sources Key Number, Key Velocity Initial Pitch Wheel Amount Initial Controller A Amount Initial Controller B Amount Initial Controller C Amount Initial Controller D Amount Initial Mono Pressure Amount Initial FR Func. Gen.
PRESET PROGRAMMING Modulation Destinations Primary Instrument LFO 1 Amount Rate Tone R Z-Plane Filter DCA Pan Morph Pitch L Volume LFO 2 Amount Rate Portamento Volume AHDSR Rate Atk Dec Rel X-Fade Auxiliary DAHDSR Atk Dec Rel Amt Secondary Instrument Function Generator 1 Amt Tone R Z-Plane Filter DCA Pan Morph Pitch L Volume Function Generator 2 Volume AHDSR Amt Atk Dec Rel MONO PRESSURE PITCH WHEEL MIDI CONTROLLER A/B/C/D AUXILIARY ENVELOPE LFO 1 POLY PRESSURE FUNCTION G
PRESET PROGRAMMING KEY NUMBER The Key Number is affected by the Keyboard Center parameter which can be set to any key from A-1 to C7. The keyboard center establishes a reference point for keyboard modulation; keys above this point will have a positive value, while keys below it will be negative. For example, if we wished to change the volume of an instrument using key number and the key center were set to key A1, the instrument would get progressively louder above A1 and progressively softer below A1.
PRESET PROGRAMMING MIDI REALTIME CONTROLS The MIDI realtime controllers may seem confusing at first, but they are really very simple to understand. You probably already know that there are 16 MIDI channels that can be used. Each of the 16 MIDI channels uses basically 3 types of messages; note on/off, program changes, and continuous controller messages.
PRESET PROGRAMMING First, we would go to the Master menu, MIDI Controller Assign and define the 4 MIDI controllers that we wish to use. Assign each controller number to one of the letters A-B-C-D. 01 - Modulation Wheel A 02 - Breath Controller B 04 - Foot Pedal C 06 - Data Entry D To complete the connections for a particular preset, go to the Edit menu, Realtime Modulation Control, and route the MIDI A, B, C, D to the desired destinations.
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PRESET MENU The Preset menu contains functions that can be modified by the user and then saved as preset information in one of the user presets. For example, the LFO speed or other parameter can be edited, then the preset can be saved to a user location (0-127, bank 0). WARNING Changes made in the Preset menu will be forever lost unless the preset is “saved” using the Save Preset function (page 127) before changing the preset. To enable the Preset menu Press the Preset button, lighting the LED.
PRESET MENU PRESET MENU FUNCTIONS • Preset Name Preset Name allows you to name each of the user presets with a name of up to 12 characters. Position the cursor under the character location and use the data entry control to change the character. The keyboard can also be used to select characters. The chart below shows the keyboard character assignment.
PRESET MENU • Volume Volume sets the amplitude of the primary and secondary instruments. This function also allows you to compensate for the relative volume differences between instruments. VOLUME pri:127 sec:64 • Pan Pan allows you to independently set the initial pan position of the primary and secondary instruments. A value of -7 pans the instrument hard left and a value of +7 pans the instrument hard right.
PRESET MENU • Primary Key Range Key range sets the keyboard range of the primary instrument. This is useful for creating positional crossfades and keyboard splits between the primary and secondary layers. The key range can be set anywhere from C-2 to G8. KEY RANGE pri C-2 -> G8 • Secondary Key Range Key range sets the keyboard range of the secondary instrument. The key range can be set anywhere from C-2 to G8.
PRESET MENU • Transpose This function allows you to transpose the key of the primary and secondary instruments in semitone intervals by shifting the keyboard position relative to middle C. The transpose range is -36 to +36 semitones. ••• Use Transpose when you want the instrument's timbre to remain constant. TRANSPOSE pri:+00 sec:+00 Use Coarse Tuning when you want to change the timbre of the instrument.
PRESET MENU DCA ••• See pages 73-74 for an explanation of the envelope parameters. Normal Envelope Alternate Envelope Atk Dec Rel Atk Dec Rel • Primary Alternate Envelope Parameters This function allows you to adjust the alternate volume envelope parameters for the primary instrument. The parameters are Attack time, Hold time, Decay time, Sustain level, Release time and are adjustable from 00 to 99.
PRESET MENU • Sound Delay Sound Delay varies the time between the arrival of a MIDI Note-On message and the onset of a note. The delay time is adjustable from 0 to 14 seconds (000-127). SOUND DELAY pri:000 sec:000 • Sound Start This function allows you to set where a sample begins playing when you hit a key. A setting of 000 plays a sound from the beginning, higher values move the sample start point toward the end of the sound.
PRESET MENU • Nontranspose This function turns keyboard transposition On or Off for the primary and secondary instruments. With Nontranspose On, the keyboard will not control the pitch of the instrument. This is a useful function for drones or “chiffs”, which you may not want to track the keyboard. NONTRANSPOSE pri:Off sec:On • Loop Enable This function allows you to turn the loop in a sound On or Off. Looping is a way that sounds can be sustained indefinitely.
PRESET MENU Loop - Start Point + Start Point Loop Loop Piano Choir Strings Brass Synth Sample Memory 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. Loop Size ••• Sounds are looped so that they will continue to sound as long as the key is held.
PRESET MENU • Solo Mode Priority When multiple notes are played and held in solo mode, the last note played is always heard. As notes are released, the solo mode priority determines which note will take over from the last note played. ▼ There is a four note limit for remembering notes in the First and Last Note Priority modes. • High Note Priority - If multiple notes are being held in solo mode, the highest key being held will play when the last-played key is released.
PRESET MENU • Portamento Mode This function sets the number of notes that will be affected by portamento. For example, if the Portamento Mode is set to two keys and a three-note chord is played, only two of the notes will glide. Notes will glide from the previous note or notes played. By setting the number of keys to match the number of notes in your chords, smooth glides between those chords can be accomplished without having notes glide in from random starting points.
PRESET MENU • Crossfade Direction This function determines the polarity of the crossfade or cross-switch. The direction is either primary ➝ secondary, or secondary ➝ primary. XFADE DIRECTION Pri -> Sec • Crossfade Balance and Amount ••• A Crossfade Balance setting of 000 would be appropriate with a source such as a modulation wheel or footpedal, either of which can only change the value in a positive direction.
PRESET MENU • Cross-Switch Point The cross-switch point determines the point at which cross-switching will occur when key position or velocity is controlling cross-switch. Velocity XSWITCH POINT 064 (E3) Key ▼ To enable the Cross-switch function, you must assign Crossfade to a modulation source in the Note-on or Realtime Cords screens. • Primary Filter Type This screen allows you to select one of 197 Z-Plane filter types available in ROM.
PRESET MENU • Morph Offset This function allows you to set the initial point in the filter morph with no modulation applied. Subsequent modulation will be added or subtracted to this value. MORPH OFFSET pri:096 sec:000 Morph Amplitude B Filter A Filter Morph Frequency The Morph Offset sets the point along the morph axis where the filter starts with no modulation applied.
PRESET MENU Morph Filter Frequency Tracking (Envelope, Wheel, LFO, etc.) Frequency Key Number Filter Frequency Tracking allows the timbre of the sound to remain constant up and down the keyboard (if Key Number is routed to this parameter). • Filter Transform 2 Suppose we added yet another dimension to the filter model.
PRESET MENU Each axis of the three-dimensional cube changes the filter in a different way. In the example above, key number is being applied to the Frequency Tracking parameter in order to make the filter frequency track or follow the notes played on the keyboard. ••• The filters labeled with “.4” in their name do not use the Transform 2 parameter. In the 3-D filter model, there is another note-on (defined at the time the note is pressed) parameter, Transform 2.
PRESET MENU • LFO 1 - Shape & Amount This screen controls the waveshape and amount of Low Frequency Oscillator 1. The LFO can be used to produce vibrato (when routed to pitch), or tremolo (when routed to volume). The LFO can be routed to control any of the Realtime Modulation destinations (page 123). The five LFO waveshapes are: Triangle, Sine, Square, Sawtooth, and Random. The amount can be varied from -128 to +127. Negative values will produce inverted waveshapes.
PRESET MENU • LFO 2 - Shape & Amount LFO 2 is functionally identical to LFO 1. • LFO 2 - Rate, Delay & Variation LFO 2 is functionally identical to LFO 1. • Function Generators 1 and 2 ••• For more information on Function Generators, see the Preset Programming section of this manual. The Function Generators are eight segment modulation sources with conditional jumping capabilities and selectable segment shapes. Level and Time parameters are provided for each stage.
PRESET MENU The function generator can have up to eight segments, each with a Level and a Time parameter. The level parameter can be either positive or negative. Each segment of the function generator can have a different Shape. There are 63 different shapes consisting of various curves, straight and crooked line segments, random, chaos and delays. FUNC GEN Level F1S1 +124 ao Ch s Exp on en ti al Linea r Ex p +1 Four of the 63 curves are shown below.
PRESET MENU The function generator can be programmed to jump between segments based on certain conditions. Because the decision to jump is based on conditions, these jumps are called Conditional Jumps. For example, the function generator could be programmed to loop only if the key is still being held. In the diagram below, the function generator has been programmed to jump back to segment 3 if the key is held but jump to segment 4 whenever the key is released.
PRESET MENU For Velocity End & Key End FUNC GEN CondValue F1S1 +064 FUNC GEN CondValue F1S1 -064 When the value is Positive, a jump occurs if the velocity or key number is Greater than value shown. When the value is Negative, a jump occurs if the velocity or key number is Less than value shown (ignoring the sign). ••• Drawing your function generator ideas on paper first will simplify the programming process.
PRESET MENU Note-On Modulation Sources Key Number, Key Velocity Initial Pitch Wheel Amount Initial Controller A Amount Initial Controller B Amount Initial Controller C Amount Initial Controller D Amount Initial Mono Pressure Amount Initial FR Function Gen.
PRESET MENU • Realtime Modulation Control These functions allow you to route realtime controllers to any of the modulation destinations except Tone, Sample Start, Filter Frequency Tracking and Filter Transform 2. Up to 10 simultaneous patches may be programmed. For each modulation patch, there is a source and a destination parameter. Place the cursor under the appropriate parameter and change the patch number, modulation source, modulation destination, or the amount using the data entry control.
PRESET MENU • Footswitch Control This function allows you to route the 3 footswitch controllers (1, 2 or 3) to any of the footswitch destinations. The footswitches can be routed to switch: Sustain (pri/sec/both), alternate volume envelope (pri/sec/both), alternate volume release (pri/sec/both), cross-switch between the primary and secondary instruments or switch portamento Off or On (pri/ sec/both).
PRESET MENU • Velocity Curve Incoming velocity data can be modified by a velocity curve in order to provide different types of dynamics in response to your playing or better adapt to the MIDI controller. This function allows you to select one of the four velocity curves or leave the velocity 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.
PRESET MENU • Keyboard Center The Keyboard Center parameter establishes a reference point for keyboard modulation. Keys above this point will have a positive value and keys below it will be negative. The keyboard center can be set to any key within the range C-2 to G8. KEYBOARD CENTER C#3 KEY CENTER - + + 0 - • Keyboard Tuning In addition to the standard equally divided octave tuning, Morpheus contains four other types of scale tuning and one user-definable tuning.
PRESET MENU • Mix Select This function allows you to direct a particular preset to one of the four destinations (Main, Sub 1, FXA, FXB). This routing is utilized if Mix Select for a particular MIDI channel is set to “Preset” in the current Midimap. Otherwise this setting is ignored. This function allows you to choose the effect bus in the preset rather than by MIDI channel. ▼ In order for the Preset Mix Select to be utilized, the Midimap Mix select must be set to “Preset”.
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COPY MENU The Copy menu functions allow you to copy data between Presets, Hyperpresets or Midimaps. Selected groups of parameters, such as Function Generator or Effects settings, can be simply copied, making it easy to build new Presets, Hyperpresets or Midimaps. • When using the Copy functions, you always copy INTO the Current “Scratch” Preset, Hyperpreset or Midimap. The copy menus allow you to copy data from anywhere in the machine. To enable the Copy menu Press the Copy key, lighting the LED.
COPY MENU • Copy Layer This function allows you to copy everything in the primary or secondary layer (or both) from another preset into the current preset. A primary layer may be copied into the secondary layer and vice-versa. Only parameters which are designated “primary” or “secondary” will be copied. Parameters such as the LFOs or modulation routings will NOT be copied.
COPY MENU • Copy Function Generator This function allows you to copy the function generator parameters for either FG1, FG2 or both from another preset into the current preset. There are five options available: 1 to 1, 1 to 2, 2 to 2, 2 to 1, 1 & 2 (Both). COPY FUNCGEN 1 1 0 000 Preset Name • Copy Auxiliary Envelope This function allows you to copy just the auxiliary envelope parameters from another preset into the current preset. There is only a single option.
COPY MENU • Copy Hyperpreset This function allows you to copy a hyperpreset from any hyperpreset into the current hyperpreset location. COPY HYPERPRESET 2 000 HyperName •••The current hyperpreset is the last one selected or modified. • Copy Zone This function allows you to copy a single hyperpreset zone from any hyperpreset into the current hyperpreset location. Zones may be placed into any other zone number in the current hyperpreset.
COPY MENU • Copy Channel This function allows you to copy all the information from a single MIDI channel from any midimap into the current midimap location. Channels may be placed into any other channel number in the current midimap. The parameters that will be copied are: Preset/Hyper, Volume, Pan, Mix, MIDI Enables, and Bank Select. COPY CHAN 01 03 M00 MidiName • Copy Effects This function allows you to copy effects from any midimap into the current midimap location.
COPY MENU • Copy Bank This function allows you to copy an entire bank of 128 programs or a set of 16 Midimaps between ROM, RAM and Card locations. “All” allows you to copy all RAM presets, Hyperpresets and Midimaps to the card or vice-versa. WARNING Be careful when using the Copy Bank function.
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STEP-BY-STEP This chapter walks you through Morpheus in a step-by-step manner. Although it is not possible to cover every detail of programming a synthesizer of this complexity, these first steps will hopefully get you started in the right direction. Before starting this chapter, please read the Programming Basics chapter of this manual. It contains important background information, which will help you get the most of this chapter.
STEP-BY-STEP STARTING FROM SCRATCH When starting from scratch, first select the Default Preset (-defPreset-) which is located in the factory location 127 (bank 1). A default is basically a blank preset which is ready to program. After selecting the default preset, press the Preset button. • The Instrument The instrument is the basis of your sound. The instruments in Morpheus are digital recordings of various sounds from the simple (sine wave) to the complex (Bosendorfer Piano).
STEP-BY-STEP • Volume Turn the data knob one click to the right to the Volume screen. This screen adjusts the volumes of the two instruments. Refer to the block diagram on the previous page as you adjust the volume of the DCA. VOLUME pri:110 sec:100 As you adjust the volume of the two instruments relative to each other, notice how the quality of the sound changes. Whichever instrument is loudest is perceived as the sound of both.
STEP-BY-STEP • Coarse Tuning ••• To hear how Transpose and Coarse Tuning differ, try them on the multi-percussion instruments. This function is related to transpose and in fact, the two work well together in the creation of new timbres. A little background: Transpose works by shifting the keyboard assignment of the samples (as if you were sliding the keyboard up and down). Coarse Tuning keeps the keyboard sample placement constant and actually tunes the samples up.
STEP-BY-STEP • Alternate Volume Envelope Turn the Alternate Volume Envelope On for the primary instrument. This enables the next screen, the primary volume envelope.
STEP-BY-STEP Practice making different volume envelopes. As you hear everyday sounds, try to imagine what the volume envelope of these sounds might look like. • Anatomy of an Envelope ••• For more information about Envelopes, see the Programming Basics chapter in this manual. When a key is pressed, the envelope generator level starts to increase at the Attack rate. When it reaches full level, it Holds at that level for the specified Hold time.
STEP-BY-STEP • Sound Delay This function delays the onset of the note after a key is pressed and is mainly used when a secondary instrument is also present. Go ahead and select a secondary instrument now, then come back to this screen to experiment with the delay. A very small amount of delay can serve to give each layer its own sonic “identity”. SOUND DELAY pri:000 sec:000 • Applications include: Echo Effect - Bring in a slightly softer version of the same instrument or even a different instrument.
STEP-BY-STEP • Application - Sound Splicing Sound Splicing is an operation that uses most of the features we've gone over. As mentioned above, Sound Splicing merges the attack of one sound with the body of another to form a new sound. The process is illustrated below. The alternate volume envelopes are used to fade one instrument out while another fades in.
STEP-BY-STEP • Time to Save? If you wanted to keep this sound, you would have to SAVE it using the Save Preset function (the very last screen in the Preset menu). To save a preset, simply move the cursor to the bottom line of the display, select the preset location where you want to store it, then press Enter. That's it! Warning: Saving a preset erases whatever preset was already stored in that location.
STEP-BY-STEP turn the data knob, each possible modulation source is displayed. Select LFO 1 as the Source and press Home/Enter. Turn the data entry knob counter-clockwise until you find the LFO 1 parameter screens shown below. LFO1 SHAPE AMT Tri +000 LFO1 RT DLY VAR 060 000 000 Place the cursor under the Amount (AMT) parameter and set the value to +127 (you have to re-key, to hear any changes). You should be hearing lots of vibrato. Adjust the other parameters such as Rate and Shape.
STEP-BY-STEP Go back to the Realtime Modulation screen and set it as shown below. REALTIME CTRL #0 Lfo1 Pan +127 Notice how the LFO now moves the sound from side to side. The diagram below illustrates the connection you just made. R Instrument DCA Pan L LFO 1 The Realtime Control screen connects ANY realtime modulation source to ANY realtime control destination! The amount parameter controls “how much” modulation is applied. Change the destination to Volume and listen.
STEP-BY-STEP • Modulating Modulators Go back again to the LFO 1 screen and turn the amount to “+000”. Next turn to the Note-On Control screen and set up the screen to look like the one below. NOTE-ON CTRL #0 Vel Lfo1Amt +080 The connection you just made is shown below. R Instrument DCA Pan Volume - L + Amount Key Velocity LFO 1 Play the keyboard hard and then softly. The key velocity is controlling the amount of LFO applied to the volume. The harder you play, the more LFO modulation is applied.
STEP-BY-STEP • The Morpheus Filter This is what a lot of you have been waiting for. This incredible filter is what puts the Morph in Morpheus. If you have not read the section on the Z-Plane Filter in the Preset Programming section, please do so before proceeding, since it contains important background information. Now we can add the Z-Plane filter to our block diagram. Instrument Pitch Tone Sample Start Z-Plane Filter Freq Trans Morph Trk 2 R DCA Pan L Volume Function Gen. Aux.
STEP-BY-STEP ••• Note: Filter Frequency Tracking is Transform 1. ▼ Many of the Z-plane filters do not use Transform 2. Key tracking is used to keep the timbre of the sound constant as you play up and down the keyboard. Of course, you can route any Note-On controller to control Frequency Tracking. Like the Morph control, the effect of Transform 2 varies from filter to filter and in many cases it is not used at all. On a simple lowpass filter, Transform 2 might be used as a Q (or resonance) control.
STEP-BY-STEP Move to the “Filter Frequency Tracking” screen and adjust the primary offset while playing the keyboard. (You must re-key the keyboard to hear the results of changing this value.) As specified, this parameter changes the frequency of the filter, making it brighter as the value is increased. Feel free to adjust the morph parameter as you adjust frequency tracking. FILT FREQ TRACK pri:127 sec:000 •••␣ Feel free to change the instrument at any time during these experiments.
STEP-BY-STEP • Filter Filosophy The Instrument and the Filter work together to determine the harmonic content of the final sound. You can think of the instrument like clay which is being squeezed through a die, the filter. The filter tries to impress its structure on the harmonics of the instrument. Filter Frequency Response of Instrument Instrument's Response Shaped by Filter Of course, the filter cannot amplify or attenuate frequencies which do not exist in the original instrument.
STEP-BY-STEP Amplitude Original Instrument Spectrum 40 80 160 360 720 1440 2880 Frequency Filter Response Amplitude Instrument Through Filter 40 80 160 360 720 1440 2880 Amplitude Frequency Resulting Frequency Spectrum 40 80 160 360 720 1440 2880 Frequency The Filter imposes its response on the harmonic spectrum of the Instrument.
STEP-BY-STEP To illustrate the point, let's create a complete sound from scratch as an example of how the various parameters combined with the Z-plane filter can radically alter an instrument. In this case we'll try running a saxophone through a clarinet and oboe filter using only the primary layer. As in previous experiments, start with the default preset and change only the parameters listed. Sax-Obonet (pri only) Instrument: 014 Tenor Sax 1 Note-On Ctrl Alt Envelope: On 0 Key -> Freq.
STEP-BY-STEP • Morphology The best and ultimately the only way to choose filters is to try them out. Morpheus is no mere mortal synthesizer with a single filter. Morpheus has 197 filter types to choose from. Think of the filters as you do instruments: entities which have a particular sound. As you learn what the instrument and the filters sound like, you can mix and match them to suit your needs.
STEP-BY-STEP USING MORPHEUS WITH A SEQUENCER We thought you’d never ask. Morpheus was designed from its conception with multi-timbral sequencing in mind. Just take a look at the main screen. C01 VOL127 PAN=P 000 Program Name The preset for each MIDI channel is selected from the main screen or from the Midimap menu which stores sixteen (32 with a RAM card installed) complete 16-channel MIDI setups.
STEP-BY-STEP MORE ADVANCED SEQUENCING • Pre-Sequence Setup Suppose that you want to have your sequencer set up everything for you before the start of the song. Good idea. This will make the Morpheus setup procedure automatic and prevent the wrong presets from playing. The basic idea of a pre-sequence setup is to send out a Midimap Select command just before the start of the song.
STEP-BY-STEP •␣ Using the 32 Channels As stated earlier, Morpheus has 32 independent audio channels which are utilized dynamically. With 32 channels and hundreds of sounds, you have a universe of sonic textures at your disposal. You may have noticed that many of the very “big” sounding hyperpresets in Morpheus are constructed using layered presets or they may use Double+Detune. While this is fine when the hyper is played solo, you may begin to run out of channels when Morpheus is played multitimbrally.
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FACTORY RAM PRESETS - BANK 0 MORPH PAD LEAD DRUM 0. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 3. 40. 41. 42. 43. 44. 45. 46. 47. 48. 49. 6. 70. 71. 72. 73. 74. 75. 76. 77. 78. 79. 9. 100. 101. 102. 103. 104. 105. 106. 107. 108. 109.
FACTORY ROM PRESETS - BANK 1 MORPH PAD LEAD DRUM 0. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 3. 40. 41. 42. 43. 44. 45. 46. 47. 48. 49. 6. 70. 71. 72. 73. 74. 75. 76. 77. 78. 79. 9. 100. 101. 102. 103. 104. 105. 106. 107. 108. 109.
MORPHEUS INSTRUMENTS SAMPLED SOUNDS 1. Dance Drums 1 ........................ 2. Dance Drums 2 ........................ See the Percussion Instrument Location Diagrams on page 168. 3. Dancer Synth 4. Punchy Brass 5. Spectrum Pad 6. Vox Choir 35. Piano Medium 1 7. Jupiter String 36. Piano Medium 2 8. Orchestral String 1 37. Piano Dark 9. Orchestral String 2 38. Rock Organ 10. Acoustic Guitar 39. Clean Strat 11. Acoustic Guitar 2 40. Harmonics 12. Acoustic Guitar 3 41. Bass Harmonic 13.
MORPHEUS INSTRUMENTS HARMONIC WAVEFORMS 61. Oct 1 (Sine) 62. Oct 2 All Starting from the first octave (fundamental), the harmonic waveforms contain the harmonics (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. 63. Oct 3 All 64. Oct 4 All 65. Oct 5 All 66. Oct 6 All 67. Oct 7 All 68.
MORPHEUS INSTRUMENTS SYNTHESIZER & ORGAN WAVEFORMS Single cycle waveforms are sampled waves from various synthesizers and organs. Waveforms highlighted in Bold lettering are multicycle samples. The ohers are single cycle waveforms. B3 waves are various harmonic drawbar settings designed to be used alone or layered. 166 83. B3 Wave 1 113. Organ Cycle 2 84. B3 Wave 2 114. Violin Essence 85. B3 Wave 4 115. Buzzoon 86. B3 Wave 5 116. Brassy Wave 87. B3 Wave 6 117. Woofer Pulse 88.
MORPHEUS INSTRUMENTS 143. Reson Bass 2 144. Deep Bass 145. Eight 0 Eight 146. MOOG Wave 1 147. MOOG Wave 2 148. MOOG Wave 3 149. EMU RECTIFIER 1 150. MOOG RECTANGLE 1 151. MOOG 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.
MORPHEUS INSTRUMENTS PERCUSSION INSTRUMENTS See the Percussion Instrument Location Diagrams on the following pages. 176. Rack Bell 210. Foot Hat 177. Solder Sucker 211. Tip Hat 178. Rasp Shaker 212. Hi Hat 808 179. Iron Rattle 213. Open Hi Hat 180. Burst Hats 214. Closed Hat 181. Vise Grips 215. Hip Hat 182. Record Scratch 1 216. Hip Hat 2 183. Record Scratch 2 217. Rim Shot 184. Record Scratch 3 218. Snare Drum 1 185. Record Scratch 4 219. Snare Drum 2 186. Record Scratch 5 220.
B3 WAVES - DRAWBAR SETTINGS DRAWBAR DIAGRAMS Each drawbar controls the volume of its associated harmonic or overtone. The 8' drawbar is the fundamental pitch of the sound.
MIDI Key # Dry Bass Drum Shamen Snare #1 Liquid Drum Shamen Snare #3 Closed Hat 909 Open Hat 909 Electric Snare 4 Bass Drum Ware Snare Snap Snare Rim Shot Hip Hat Hi-Hat Open Hi-Hat Kick'n 808 Snare 808 Rim Shot Hip Hat Rim Shot Closed Hat Open Hi-Hat Killer 808 Snare Drum 2 Snare Drum 1 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 To
24 36 48 60 72 84 All Snares Instrument 236 Chapter 11: Reference Section 171 ROB 808 Claps Snare 808 Snap Snare Snare 5 Rim Shot 84 Shamen Snare #3 Dry 909 Clap Electric Snare #4 Shamen Snare #1 Shamen Snare #2 72 Ware Snare Shamen Snare #3 Snap Snare Ware Snare Ware Snare 60 Snare 909 #2 Snare 5 Snare 5 Snare 909 #2 909 Snare 3 48 Crushed Snare Rim Shot Snare 909 #2 Ware Snare Electric Snare #4 Kick 909 #2 Power Kick Distorto-Kick Bass Drum Beef Kick Rap Bass Drum TR808 Kick Kick'n 808
MIDI Key # 24 36 172 48 60 Morpheus Operation Manual 72 Rap Scratch A Instrument 238 84 Scratch 7 Scratch 5 Modular Scratch 84 Scratch 6 Scratch 7 Scratch 2 Scratch 5 Scratch 4 72 Scratch 6 Scratch 7 Scratch 7 Scratch 5 Scratch 4 60 Scratch 6 Scratch 7 Scratch 2 Scratch 5 Scratch 5 48 Scratch 6 Scratch 7 Scratch 2 Scratch 5 Scratch 4 Scratch 6 Scratch 7 36 Scratch 2 Scratch 5 Scratch 4 Scratch 1 Scratch 1 24 Modular Scratch Scratch 4 Modular Scratch Scratch 5 Modular Scratch Tip Hat
MIDI Key # Tumba Tone Conga Slap Conga Tone Conga Slap Open Conga Slap Conga Slap Closed Conga Slap Open Conga Slap Closed Conga Tone Tumba Tone Conga Tone Tumba Tone Conga Slap Open Conga Slap Closed Conga Slap Tumba Tone Conga Tone Conga Slap Open Conga Slap Open Conga Slap Open Conga Tone Conga Slap Closed Conga Tone Tumba Tone Conga Slap Closed Conga Slap Closed Conga Tone Tumba Tone Conga Tone Tumba Tone Conga Slap Open Conga Slap Conga Slap Tumba Tone Conga Tone Conga Slap Open 36 48 60 72 Chapter 1
Z-PLANE FILTER DESCRIPTIONS The Z-Plane filters are categorized into groups of: Flangers, Vowel Filters, Traditional Filters, Parametric Filters, Instrument Models, etc. A suffix of “4” or “.4” indicates filter is square, not cube and does not contain a Transform 2 axis. FLANGERS Members of this filter family contain a series of notches with various depths, widths and frequencies. The traditional flange effect is created by sweeping different frequency notches with a real time controller.
Z-PLANE FILTER DESCRIPTIONS F004 CubeFlanger A flanging filter featuring deep notches tuned in octaves and a steep roll-off of high frequencies when all axes have no offset. High settings for Transform 2 can produce some rather metallicsounding overtones. Apart from flanging effects, this filter can be used in much the same way as a standard resonant synth filter. Morph: Tunes the filter notches. Freq. Tracking: Controls lowpass filter cutoff point.
Z-PLANE FILTER DESCRIPTIONS 176 F009 Flange 6R.4 This is a variation of filter 008, Flange 6.4. It is a bit more resonant-sounding, due in part to higher ‘Q’ settings. Sweeping the Morph axis can produce the syllable ‘yi’. Morph: Sweep filter frequency bands up and together when modulated in a positive direction. Freq. Tracking: Sweep filter frequency bands up and together when modulated in a positive direction. Transform 2: Not used. F010 Flanger 7.
Z-PLANE FILTER DESCRIPTIONS F014 Flng>Flng3b Morph: Sweeps from flange 1 to 2 Freq. Tracking: Provides key tracking to enhance flanging Transform 2: Increases depth of flange Comments: A gentle sweeper. F015: Flng>Flng4 Morph: Sweeps flange Freq. Tracking: Provides key tracking to enhance flanging. Transform 2: Reduces depth of flange effect with Morph offset, otherwise, increases flange depth. F016 Flng>Flng5 Morph: Sweeps from flange 1 to 2 Freq. Tracking: Provides key tracking to enhance flanging.
Z-PLANE FILTER DESCRIPTIONS DIPTHONGS Implemented with parametric equalizer subsections, the resonances do not have the traditional overall lowpass effect that a true vocal resonance would have. Instead, they are placed at the same frequency as the resonances would be found in a true vowel, but the response at high frequencies is essentially flat to allow high frequencies of the samples to get through the filter. The Morph axis controls movement between vowels.
Z-PLANE FILTER DESCRIPTIONS F025 AUParaVow.4 Morph: Controls movement between vowels. Freq. Tracking: Shifts all of the resonances up in frequency. Transform 2: Controls the amplitude of all of the resonances. F026 UOParaVow.4 Morph: Controls movement between vowels. Freq. Tracking: Shifts all of the resonances up in frequency. Transform 2: Controls the amplitude of all of the resonances. F027 SftEOVowel4 Morph: Controls movement between vowels. Freq.
Z-PLANE FILTER DESCRIPTIONS 180 F033 Bassutoi.4 Morph: Controls movement between “yu” and “ee”. Freq. Tracking: Tracks filter with keyboard range and controls brightness with velocity assigned. Transform 2: Not used. F034 Be Ye.4 Designed to say “Be Ye”. Morph: Sweeps vocal formants. Freq. Tracking: Tracks filter with keyboard range and controls brightness with velocity assigned. Transform 2: Not used. F035 Ee-Yi.4 Morph: Controls movement between vowels “e” and “i”. Freq.
Z-PLANE FILTER DESCRIPTIONS F040 Vow>Vow2 Morph: Sweeps between “ee” and “oh”. Freq. Tracking: Provides key tracking to fix partials. Transform 2: Provides volume and brightness control with velocity and/or key position. Comments: Morphing sweeps between vowels- slight “E” effect. F041 YahYahs.4 Morph: Sweeps between “eeya” and “aa”. Freq. Tracking: Introduces frequencies two octaves higher for key tracking and brightness control. Transform 2: Not used. F042 YoYo.
Z-PLANE FILTER DESCRIPTIONS 182 F045 BrickWal LP2 Morph: Controls filter ‘Q’. Freq. Tracking: Controls filter cutoff. Transform 2: Use to control filter depth. F046 MdQ 2PoleLP A single pole of this filter is swept from low to high as the filter is Morphed. This filter produces nice, not-too-resonant sweep effects. Morph: Controls filter cutoff. Freq. Tracking: Controls filter cutoff. Transform 2: Controls resonance.
Z-PLANE FILTER DESCRIPTIONS F051 4 PoleLoQ.4 A resonant low-pass filter emulation. Morphing creates the familiar filter sweep effect. Morph: Controls filter cutoff. Freq. Tracking: Controls filter resonance. Transform 2: Not used. F052 4PoleMidQ.4 A 4-filter version of the classic 4-pole resonant filter found in most analog synthesizers. Morph: Controls filter cutoff. Freq. Tracking: Controls resonance (“Q”). Transform 2: Not used. F053 2p>4p 0 Morph: Opens up the filter making it brighter. Freq.
Z-PLANE FILTER DESCRIPTIONS 184 F057 HPSweep.4 A highly resonant high-pass filter which generally rolls off frequencies steeply below ~2.5kHz.A low Morph Offset will create a relatively flat response (with a gentle cut to the lower frequencies), so the most subtle filtering is achieved with Morph Offset set to 000, and Frequency Tracking set to 255. Morph: Positive values move the filter higher in frequency. Freq. Tracking: Positive values move the filter toward a flatter curve. Transform 2: Not used.
Z-PLANE FILTER DESCRIPTIONS F062 Deep Combs This filter can provide a tremendous variety of comb-filtering and filter sweep effects. Higher frequencies are sharply attenuated with Frequency Tracking and Transform 2 set to low values, so be sure at least one of these is either set in the mid- to high-range, or that a modulator is used to offset. Morph: Positive modulation moves frequency notches towards lower values. Freq. Tracking: Positive modulation moves frequency notches towards lower values.
Z-PLANE FILTER DESCRIPTIONS F067 Ntches2Oct4 This filter is composed of a series of notches, tuned in octaves. Morph & Freq. Tracking: Moves notches lower in frequency. Transform 2: Not used. Comments: Maximum shift is two octaves along either axis, for a combined total of four octaves if both axes are modulated. F068 Odd>+ Morph: Changes from odd to even harmonics. Freq. Tracking: Provides key tracking to maintain spectrum. Transform 2: Provides volume and brightness control.
Z-PLANE FILTER DESCRIPTIONS F073 BassDrumEQ Morph: Adds low end boost. Freq. Tracking: Tends to smooth out the filter. Transform 2: This adds high end at the expense of low end. Comments: This is an EQ filter designed for bass drums, based on a low pass EQ filter. The transforms tailor to different types of bass drums. F074 Snare LPEQ2 Morph: Controls brightness. Freq. Tracking: This moves the mid range bump down a bit. Transform 2: This will smooth the boost (widens the “Q”).
Z-PLANE FILTER DESCRIPTIONS F078 Band-aid Morph: Sets the amount of cut on the high and low frequencies. Freq. Tracking: This widens the band. Transform 2: This softens the amount of cut on the high end. Comments: This Pole/ Zero filter is a band pass that cuts both the high and low end of the sample. F079 LowQHiQ Morph: Controls brightness. Freq. Tracking: Changes from a 4-pole filter (-24dB/oct.) to a 2pole filter (-12dB/oct.) Transform 2: This adds resonance (“Q”) to the filter.
Z-PLANE FILTER DESCRIPTIONS F084 0>Muter Morph: Introduces “Mute”. Freq. Tracking: Provides key tracking to fix partials. Transform 2: Selects “Mute” variety. F085 PZ Syn Horn Morph: Controls brightness. Freq. Tracking: This moves the harmonic modifiers higher in frequency. Transform 2: This makes a modest change in brightness (fine tuning). Comments: This filter models the harmonic content of a synth horn, thus will lend a synth horn sound to other samples.
Z-PLANE FILTER DESCRIPTIONS 190 F089 BrsSwell2.4 An emulation of a lowpass filter with low resonance designed for brass-type filter sweeps. Morph: Moves the cutoff frequency higher, and adds a gentle bump in the upper-midrange. Freq. Tracking: Adds a bit of resonance at the cutoff point, which becomes flatter as the filter is morphed upward. Transform 2: Not used.
Z-PLANE FILTER DESCRIPTIONS F095 EZ Vibez.4 Like 098-“Easy Rhodes”, this is essentially a 2-pole low-pass filter, sweeping from a gentle roll-off at 65Hz to reveal a wide open response. Morph: Sweeps from lowpass to wide open response. Freq. Tracking: Keyboard tracking. Transform 2: Not used. F096 Piano 01 Designed to make possible a set of Piano presets that sound like they were recorded with the sustain pedal down.
Z-PLANE FILTER DESCRIPTIONS 192 F101 StrngThing4 A series of widely spaced notches produces this filter, which can sound somewhat like a phase shifter when Morphed - especially if the value for Frequency Tracking is set fairly high. With Morph Offset and Frequency Tracking set high, the curve is essentially flat, with a gentle bump approaching 20kHz, so this filter might be a good choice for adding a subtle sparkle to some sounds. Morph: Controls cutoff frequency and depth of notches. Freq.
Z-PLANE FILTER DESCRIPTIONS F106 Tube Sust.4 Use this filter with broad-band waves to produce sounds characteristic of distorted guitars. The fullest sounds are achieved with Morph Offset set to 255, and Frequency Tracking set to 000 Morph: Increasing this increases bass and midrange. Freq. Tracking: Controls the lower-midrange. Transform 2: Not used. F107 GtrSkwk Morph: Plays the squeak. Freq. Tracking: Provides key tracking to balance keyboard brightness.
Z-PLANE FILTER DESCRIPTIONS 194 F110 Tam Morph: Sweeps frequencies from low to high. Try routing velocity or mod wheel to Morph with offset at 255. Freq. Tracking: Designed for velocity control of volume & brightness. Transform 2: Controls brightness and depth. Comments: Designed to make interesting, dynamic tambourine sounds. F111 HOTwell.4 Morph: Sweeps frequency range. Freq. Tracking: Determines degree of frequencies accentuated. Transform 2: Not used. Comments: Works well with bell-like sounds.
Z-PLANE FILTER DESCRIPTIONS F116 Bel>Crs>Bel Morph: Sweeps from flat to dissonance. Freq. Tracking: Provides key tracking to fix dissonant partials. Transform 2: Increases bell-like effect. Makes the sound brighter and louder. Comments: Low velocities on Transform 2 reveals a hint of bells when Morphing. Higher Transform 2 values create a more bell-like and dissonant sound. F117 Chrs>Flng1 Morph: Sweeps to a flange effect. Freq. Tracking: Provides key tracking to enhance flange effect.
Z-PLANE FILTER DESCRIPTIONS 196 F123 Swingshift Morph: Try setting Transform 2 to 255 for brighter morph. Modulates from low-frequency cut-off to series of peaks at 349Hz, 494Hz, 698Hz, 988Hz etc. Freq. Tracking: Tracks filter with keyboard. Transform 2: Adds depth, volume. F124 500up.4 Poles and zeros alternate, spaced at 500Hz intervals. Increasing Morph Offset boosts the peaks slightly, and greatly deepens the notches, producing an effect similar to band-pass filtering.
Z-PLANE FILTER DESCRIPTIONS F129 0>Shp3 Morph: Sweeps to shape. Freq. Tracking: Provides key tracking to balance keyboard brightness. Transform 2: Controls brightness and volume. Comments: Morphing imposes a shape on the sound. Low velocity for mellow, high for bright. F130 Shp>Shp1 Starts with peaks every half octave from 66Hz and morphs to peaks every octave beginning at 66Hz Effect is “ee” to “u” with Frequency Tracking fully offset.
Z-PLANE FILTER DESCRIPTIONS F134 TSweep.4 A grouping of inharmonically related peaks gives this filter something of a metallic quality, although it can also produce voice-like sounds. Increasing Morph Offset increases overall filter resonance and raises the cutoff point of the lowpass filter. Frequency Tracking can be used to tune the filter. Morph: Controls ‘Q’; controls lowpass cutoff. Freq. Tracking: Tunes the filter. Transform 2: Not used. F135 SweepHiQ1.
Z-PLANE FILTER DESCRIPTIONS F139 Harmonix.4 Morph: Morphs between complex responses sweeping to mid frequency resonances while leaving edges untouched. Freq. Tracking: Controls brightness and tracks keyboard. Transform 2: Not used. F140 GreenWorld4 Morph: A mellow low-frequency sweeper designed for piano applications. Freq. Tracking: Controls brightness and tracks keyboard. Transform 2: Not used. F141 Comb/Swap.4 Morph: Controls a series of notches moving from 160Hz to 10kHz. Freq.
Z-PLANE FILTER DESCRIPTIONS 200 F145 GentleRZ4 A series of unevenly spaced resonant peaks converge to a single peak as Morph Offset is increased. The Frequency Tracking offset provides a somewhat muted sound (with several gentle bumps in the mid-frequency range), moving toward a flat response. Sweeping this filter produces some very smooth wa-wa effects. Using this filter with the trumpet waves can produce sounds suggestive of French Horns. Morph: Modulating this sweeps filter peaks. Freq.
Z-PLANE FILTER DESCRIPTIONS F149 Lo/High4 A scattering of poles and zeros with fairly high Q settings produces this very resonant filter. Sweeping the Morph axis produces quite pronounced wa-wa effects in which multiple resonances are clearly audible. Morph Offset and Frequency Tracking can be used to tune the filter, although with Morph Offset set to 255, the filter is essentially flat. Morph: Positive values increase pole/zero frequencies and decrease ‘Q’, opening the filter entirely. Freq.
Z-PLANE FILTER DESCRIPTIONS 202 F153 Bw65Hz/2k.4 This filter is similar to filter 152, but in addition to sweeping the bandwidth of a single peak along the Morph and Frequency Tracking axes, the peak itself is swept. The range of the frequency sweep is one octave along either axis, although much greater ranges of change are achieved when both the Morph and Frequency Tracking axes are combined.
Z-PLANE FILTER DESCRIPTIONS F157 Intervallc4 This filter is similar to the ‘Bendup/Swap’ filter, but here the effect is even more pronounced. With Frequency Tracking set to 000, pushing the Morph Offset higher produces a downward sweep of a series of very resonant harmonics. Set Frequency Tracking to 255, however, and the sweep reverses. Other effects can be achieved by experimenting with the interaction between these two parameters.
Z-PLANE FILTER DESCRIPTIONS 204 F162 BroadRes.4 Sweeping filter for resonant effects. Can be used for a “waterdrop” effect on percussion. Morph: Sweeps to a series of peaks and notches. Notches: 80Hz, 160Hz, 320Hz. Peaks: 2kHz, 6kHz, 10kHz. Freq. Tracking: Turns peaks into notches. Transform 2: Not used. F163 RubberHose4 This filter introduces a series of peaks spaced at octave intervals, in the range of 95Hz to 1.5kHz, and a single notch at 47Hz.
Z-PLANE FILTER DESCRIPTIONS F168 CntrySweep4 Multiple peaks are swept in a variety of directions, imparting a phase-shifter-like, almost vocal quality when this filter is morphed. Morph: Set this higher to move widely spaced peaks closer together. Freq. Tracking: Set this higher to move low-frequency peaks towards the higher ranges. Transform 2: Not used. F169 Diffuser4 Morphing this filter upward sweeps a resonant peak up in frequency and increases low frequency content.
Z-PLANE FILTER DESCRIPTIONS 206 F173 Acc.Vel-2 Variation of “Acc.Vel-1”, except somewhat brighter on bottom and mellower on top. F174 Vel2-Wind Morph: Fixes soft “Start-point”. Freq. Tracking: Provides key tracking to balance keyboard brightness. Transform 2: Controls brightness and volume. Comments: Velocity cube. Use morph to establish soft start point. Good for wind instruments as more morph gives a “hollower” soft sound. F175 Harmo Morph: Changes from “peaky” lowpass response to smooth lowpass.
Z-PLANE FILTER DESCRIPTIONS F179 MovingPick2 A variation on “MovingPick1” to simulate different pick positions, for example. Morph moves closer to neck, further from bridge. F180 Mph+Trns1 Morph: Makes vowel like changes. Freq. Tracking: Provides key tracking to enhance vowel. Transform 2: Controls vowels, brightness, volume. Comments: Uses Morph to sweep from one vowel to another. Transform 2 takes care of velocity expression. F181 0>Odds Morph: Sweeps from flat to odds only. Freq.
Z-PLANE FILTER DESCRIPTIONS 208 F185 EvnHrm+rez This filter cube is nearly identical to the ‘OddHrm+rez’ filter, but it’s based on the even harmonic series. The overall effect is quite similar, though somewhat less ‘hollow’ sound at certain settings. Morph: Increasing this parameter pushes the filter towards a flat curve and reduced “Q”. Freq. Tracking: Tunes the filter. Transform 2: Tunes the filter. Higher values add a high-frequency bump.
Z-PLANE FILTER DESCRIPTIONS F190 Bonk>CO A series of highly resonant peaks alternating with notches are spaced at intervals of about an octave. The Morph Offset parameter is used to control ‘Q’ — modulating the Morph Offset upward causes the curve to flatten out. Frequency Tracking can be used to tune the peaks/notches; higher values move the peaks/notches into higher frequency ranges. Transform 2 also tunes the filter, but higher values cause the notches to move down in frequency, slightly.
Z-PLANE FILTER DESCRIPTIONS F194 MildPolSwap Basically, a variable cut-off low pass filter. Morph: Tunes the filter. Freq. Tracking: Tunes the filter. Transform 2: Adds extra brightness to high morph. DISTORTIONS Jump Back! The Filter Level is useful to control the distortion filters. 210 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.
LOOP OFFSET SAMPLE LOCATIONS This listing represents the actual order of the ROM samples in memory. This information may be useful when adjusting the Loop Offset parameters in the preset menu. When the loop size reaches the end of memory, it jumps back to the start. - Start Big Brass - G1 Big Brass - C6 Kenong Elec. Bass 1 Elec.
LOOP OFFSET SAMPLE LOCATIONS Bright Electric Piano 1 Bright Electric Piano 2 Bosendorfer - D1 Bosendorfer - F1 Bosendorfer - C2 Bosendorfer - F2 Bosendorfer - B2 Moog Wave 1 Moog Wave 2 Moog Wave 3 Resonate Bass Bosendorfer - E3 Bass-O-Drop Kickin’ 808 Bosendorfer - G3 Bosendorfer - D4 Bosendorfer - G4 Bosendorfer - C5 Bosendorfer - F5 Bosendorfer - A5 Bosendorfer - D6 Bosendorfer - F6 Fretless Bass Rock Organ - A5 Electric Guitar - E1 Electric Guitar - D2 Electric Guitar - G2 Electric Guitar - B2 Electric
LOOP OFFSET SAMPLE LOCATIONS Pulse 99% - F5 Noise 3rd Octave White Noise Triangle - D4 Triangle - D5 Triangle - D7 Octave 1 Sine Octave 2 All Octave 3 All Octave 4 All Octave 5 All Octave 6 All Octave 7 All Octave 3 Odd Octave 4 Odd Octave 5 Odd Octave 6 Odd Octave 7 Odd Odd 1 Even 1 Octave1 B3 Wave 1 B3 Wave 2 B3 Wave 4 B3 Wave 5 B3 Wave 6 Organ 1 Organ 2 Color Organ Synth Cycle - C1 Synth Cycle - C2 Synth Cycle - C3 Synth Cycle - C4 Fundamental Gone 1 Fundamental Gone 2 Bite Cycle Buzzy Cycle Metalphone
FUNCTION GENERATOR CURVES 214 Linear Exponential +1 Exponential +2 Exponential +3 Exponential +4 Exponential +5 Exponential +6 Exponential +7 Morpheus Operation Manual
FUNCTION GENERATOR CURVES Circle 1.4 Circle 1.6 Circle 1.8 Circle 1.
FUNCTION GENERATOR CURVES 216 Medium Line 1 Medium Line 2 Slow Ramp 1 Slow Ramp 2 Bloom Bloom 2 Circle 1.16 R Circle 1.
FUNCTION GENERATOR CURVES Circle 1.16 R Circle 1.4 R Slow Curve 1 Slow Curve 2 Delay DC DC Delay ••• 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 minisequences.
FUNCTION GENERATOR CURVES 218 Curve 2x C Ziz-Zag 1 Ziz-Zag 2 Ziz-Zag 3 Chaos 03 Chaos 06 Chaos 12 Chaos 16 Morpheus Operation Manual
FUNCTION GENERATOR CURVES Chaos 25 Chaos 33 Chaos 37 Chaos 50 Chaos 66 Chaos 75 Chaos 95 Chaos 99 Chapter 11: Reference Section 219
FUNCTION GENERATOR CURVES 220 Linear Shuffle Linear Shuffle 2 Random A Random B Random C Random D Random E Random F Morpheus Operation Manual
FUNCTION GENERATOR CURVES Random G Random H Random I Random J Random K Random L Random Z Chapter 11: Reference Section 221
FUNCTION GENERATOR, LFO & ENVELOPE SPECIFICATIONS DELAY TIMES LFO RATES Display Time (secs) Display Rate (Hz) 1 4 8 16 32 36 48 56 88 100 116 127 .02 .10 .18 .38 .89 1.05 1.61 2.06 5.02 6.77 9.94 12.85 000 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 ENVELOPE RATES ••• The Pitch Intervals can be used when modulating Pitch. All other attenuators should be set to +127. Multiple “patch cords” can be added For greater pitch intervals.
TECHNICAL SPECIFICATIONS Audio Channels: ............................ 32 Audio Outputs: .............................. 6 (2 main, 2 effects, 2 submix) Submix Inputs: .............................. 4 Max. Output Level: ....................... +4 dB into 600Ω Output Impedance: ...................... 1kΩ MIDI: ................................................ In, Out, Thru Data Encoding: .............................. 16 bit Linear Sample Playback Rate: ................ 39 kHz Max.
MIDI IMPLEMENTATION CHART Function… Transmitted Basic Channel Default Changed No No 1 1-16 Memorized Mode Default Messages No Mode 1, 3, 4 MONO, POLY OMNI, ON/OFF Memorized True Voice No No 0-127 0-127 Velocity Note ON Note OFF No No Yes No After Touch Keys Channels No No Yes Yes Pitch Bender No Yes Control Change No Yes Bank Select No Yes Program Change True Number No No Yes 0-127 Yes 0-127 All Sound Off No Yes All Notes Off No Yes Reset All Controllers No Yes S
MIDI SPECIFICATION RECEIVED CHANNEL COMMANDS Channels number (n) = 0-15. Message bytes are represented in hex. All other numbers are decimal. Running Status is supported.
MIDI SPECIFICATION MIDI SYSEX COMMANDS For system exclusive commands, the following format is used: ••• Morpheus will receive Proteus presets (if enabled in the Master menu), but will fill in the extra parameters with default values and set instruments to “None”. F0 18 0C dd cc ...
MIDI SPECIFICATION COMMAND SUMMARY The following SysEx Command IDs are recognized by Morpheus. Command Number Function 00 01 02 03 04 05 06 07 08 .. 0A 0B 0C 0D 0E 0F .. 12 13 .. 44 45 46 47 ..
MIDI SPECIFICATION COMMAND DETAILS All parameters are sent as 14-bit signed values, LSB-MSB. (See discussion of number conversion) numbers in the far left column are decimal offsets into the dumps.These numbers are added to the parm base offsets in order to do individual parameter editing. (See PARAMETER editing cmds) Data sent to a ROM card or a card that is protected is ignored. Requests for card data while card is not inserted will be ignored.
MIDI SPECIFICATION Offset Name Range 0 12 13 14 15 16 17 Preset Name Preset Low Key Preset Hi Key Bend Range Velocity Curve Keyboard Center Tune Table 18 19 20 21 22 23 24 25 26 27 Mix Bus Port Mode X-Fade Mode X-Fade Direction X-Fade Balance X-Fade Amount X-Switch Pointt Note-on Source Note-on Dest. Note-on Amount ... Realtime Source Realtime Dest. Realtime Amount ... Foot Dest. ... Ctrl.
MIDI SPECIFICATION ••• The Parameters labeled with (L) are the primary layer. The secondary layer parameters bigin at number 243. 230 Offset Name Range 106 107 108 109 FG Seg Shape FG Seg CondJump FG Seg CondVal FG Seg DestSeg ... ...
MIDI SPECIFICATION Offset Name Range 233 234 235 236 237 238 239 240 241 242 (L) = Layer (L) Double+Detune (L) Sound Reverse (L) Nontranspose (L) Filt Type (L) Filt Reverse (L) Filt Level (L) Filt Morph (L) Filt FrqTrk (L) Filt Trans2 (L) Unused ... cs 0-15, 0 = Off 0-1, Off, On 0-1, Off, On See FILTER TYPES 0-1, Off, On 0-255 0-255 0-255 0-255 0 2 layers (35 parms each) Checksum End of SysEx Status F7 ••• The Parameters labeled with (L) are the primary layer.
MIDI SPECIFICATION •••␣ The parameters labeled with (Z) equate to zone 1. Zones 2-16 begin at parameter number 72. No. Name Range 0 12 13 14 15 16 17 18 Hyperpreset Name Port Mode FG Seg Level FG Seg Time FG Seg Shape FG Seg CondJump FG Seg CondVal FG Seg DestSeg ... Z Preset Z Volume Z Pan Z Low Key Z High Key Z Low Vel Z High Vel Z Vel Offset Z Xpose Z Coarse Tune Z Fine Tune ...
MIDI SPECIFICATION • Midimap Data Version 01 of the midimap follows. If map is sent to current selected location, the scratch map will be loaded from the newly stored map. Midimap numbers: 0-15 RAM, 16-31 CARD F0 18 0C dd 47 vv ll mm SysEx Status Byte E-mu Mfg. ID Morpheus Product ID Device ID 0-15 Command ID Data Version Midimap Number ls byte Midimap Number ms byte Offset Name Range 0 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 ... 332 333 334 Midimap Name Ch. Program Ch. Bank Ch.
MIDI SPECIFICATION Offset Name ... 344 345 ... 355 356 357 358 359 Range FX B Type FX B Parm Vals FX A Amt FX B Amt B->A Amt FX A Bus FX B Bus cs End of SysEx Status F7 10 parm values See EFFECTS TYPES chart See EFFECTS TYPES chart 10 parm values 0-100% 0-100% 0-100%, 101 = B->A Only 0-2, Main, Sub1, Sub2 0-2, Main, Sub1, Sub2 Checksum • Parameter Request Request a parameter value. An unknown parameter number will respond with a value of zero.
MIDI SPECIFICATION • Tuning Table Request F0 18 0C dd 04 bb F7 SysEx Status Byte E-mu Mfg. ID Morpheus Product ID Device ID 0-15 Command ID Table Number, 0 - MAX TUNETABLE End of SysEx Status • Tuning Table Data F0 18 0C dd 05 bb ll mm ... F7 SysEx Status Byte E-mu Mfg.
MIDI SPECIFICATION • Program Map Data F0 18 0C dd 07 bb ll mm ... F7 SysEx Status Byte E-mu Mfg. ID Morpheus Product ID Device ID 0-15 Command ID Map Number, 0-3 ls byte of Program Number ms byte of Program Number 128 total entries End of SysEx Status • Master Settings Request F0 18 0C dd 08 F7 SysEx Status Byte E-mu Mfg.
MIDI SPECIFICATION F7 then... F0 18 0C dd 03 pl pm vl vm ... F7 End of SysEx Status SysEx Status Byte E-mu Mfg. ID Morpheus Product ID Device ID 0-15 Command ID lsb Parm Number msb Parm Number lsb Parm Value msb Parm Value Scratch Midimap Parms End of SysEx Status • Version Request 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.
MIDI SPECIFICATION • Configuration Request Use this command to get configuration information. Note that much of the information is dynamic (e.g. if RAM card is installed or not) and therefore the information is only valid for some window of time. This command can be used to determine if a card is presently installed. F0 18 0C dd 0C F7 SysEx Status Byte E-mu Mfg.
MIDI SPECIFICATION • Instrument List Request Request list of available instruments. See data message for format of response. F0 18 0C dd 0E F7 SysEx Status Byte E-mu Mfg. ID Morpheus Product ID Device ID 0-15 Command ID End of SysEx Status • Instrument List Data List of currently available instruments and their ids in the order they appear in the box. See INSTRUMENT NUMBERS for a description of the instrument number. F0 18 0C dd 0F nl nm il im nn ... 00 ... F7 SysEx Status Byte E-mu Mfg.
MIDI SPECIFICATION • Filter List Data List of currently available filters and their ids in the order they appear in the box. See FILTER TYPES for information regarding interpretation of this data. F0 18 0C dd 57 nl nm il im nn ... 00 tl tm ... F7 SysEx StatusByte E-mu Mfg.
MIDI SPECIFICATION • Preset List Data List of currently available presets in the order they appear in Morpheus. F0 18 0C dd 0F nl nm nn ... 00 ... F7 SysEx Status Byte E-mu Mfg. ID Morpheus Product ID Device ID 0-15 Command ID lsb Number of Presets msb Number of Presets Preset Name 12 ASCII chars per instrument String Null Terminator for number of presets End of SysEx Status • Hyperpreset List Request Request list of available Hypers. See data message for format of response.
MIDI SPECIFICATION • Midimap List Request Request list of available midimaps. See the data message for the format of the response. F0 18 0C dd 52 F7 SysEx Status Byte E-mu Mfg. ID Morpheus Product ID Device ID 0-15 Command ID End of SysEx Status • Midimap List Data List of currently available midimaps in the order as they appear in Morpheus. F0 18 0C dd 53 nl nm nn ... 00 ... F7 SysEx Status Byte E-mu Mfg.
MIDI SPECIFICATION • Effect List Data List of currently available effects and their ids in the order they appear in the box. See EFFECT TYPES for information regarding the interpretation of this data. F0 18 0C dd 55 nl nm il im nn ... 00 pl pm nn ... 00 vl vm vl vm vl vm ... nl nm ... F7 SysEx Status Byte E-mu Mfg.
MIDI SPECIFICATION MISCELLANEOUS DOCUMENTATION • Patchcord Sources The MIDI patchcord sources are unique across all Proteus type products.
MIDI SPECIFICATION • Patchcord Destinations The MIDI patchcord destination numbers are unique across all Proteus type products. Note-on and realtime numbers are shared. The chart shows whether a cord is available to note-on (NO) realtime (RT) or both.
MIDI SPECIFICATION MIDI Value 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 Description ToneP ToneS Morph MorphP MorphS Trans2 Trans2P Trans2S PortRt PortRtP PortRtS FG1Amt FG2Amt FltLev FltLevP FltLevS FreqTrk FreqTrkP FreqTrkS NO/RT Availability NO NO RT/NO RT/NO RT/NO NO NO NO RT/NO RT/NO RT/NO RT/NO RT/NO NO NO NO NO NO NO • Function Generator Shapes The function generator shapes are as follows: MIDI Value 0 1 2 3 4 5 6 7 8 9 10 11 246 Shape Name Linear Expo+1 Expo+2 Expo+3 Expo+4 Expo+
MIDI SPECIFICATION MIDI Value 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 Shape Name Cir1.6R Cir1.
MIDI SPECIFICATION MIDI Value 10 11 12 13 14 15 Description Availability Footswitch2End Footswitch2Imm Footswitch3End Footswitch3Imm VelocityEnd KeyEnd Preset, Hyperpreset Preset, Hyperpreset Preset, Hyperpreset Preset, Hyperpreset Preset Preset • Function Generator Levels The funcgen level parm value is comprised of two bitfields.
MIDI SPECIFICATION Transform 0 1 2 3 4 5 Filter Type 2 frame filter 4 frame “square” filter 6 frame “phantom cube” filter 8 frame “cube” filter unused 4 frame “square” filter, gain reduced •␣ Effect Types Use the EFFECT LIST command to get a list of the currently available EFFECTS and their IDs. The effect type number sent via SysEx are unique IDs. (they are not the index into the screens). Note that the A and B effect IDs do not overlap. e.g.
MIDI SPECIFICATION Parm Number 274 ... 320 ... 323 324 325 326 .. 2048-2407 8192-8469 8704-8940 Parm Description SysEx Device ID Unused Current Midimap Unused Auto Select Packet Delay Proteus SysEx Compare Mode Unused Midimap Vers. 1 Parms Preset Vers. 1 Parms Hyper Vers. 1 Parms Range 0-15 0-MAXMAP 0-1, Off, On 0-999 (approx.
SYSEX TUTORIAL • 14-bit Signed 2's Complement Numbers If the data value is negative, you must first take the 2's complement of the number: In the case of a 14-bit number this is equivalent to adding 16384 to the original negative value. To fit the 7-bit MIDI protocol, numbers must be “nibble-ized”. data bits data bits { { Status Bit MUST be “0” in MIDI data bytes.
SYSEX TUTORIAL HOW TO EDIT AN INDIVIDUAL PRESET PARAMETER Parameter data editing is accomplished using the format described on page 234. F0 18 0C dd 03 pl pm vl vm F7 System Exclusive Status Byte E-mu Mfg. ID Morpheus Product ID Byte Device ID 0-15 (usually 00) Command ID - Parameter Data (from Command Summary) Parameter Number ls byte Parameter Number ms byte Parameter Value ls byte Parameter Value ms byte EOX Example: Change the waveshape of LFO 1 to Random.
SYSEX TUTORIAL HOW TO EDIT A GLOBAL PARAMETER Parameter data editing is accomplished using the format described on page 234. F0 18 0C dd 03 pl pm vl vm F7 System Exclusive Status Byte E-mu Mfg. ID Morpheus Product ID Byte Device ID 0-15 (usually 00) Command ID - Parameter Data (from Command Summary) Parameter Number ls byte Parameter Number ms byte Parameter Value ls byte Parameter Value ms byte EOX ••• See MIDI Mode in the Master Menu for additional information on Device ID.
SYSEX TUTORIAL HOW TO EDIT A MIDIMAP PARAMETER By popular request we’ll offer one more example. Editing a Midimap is just another type of parameter data editing. The number given for the parameters is an OFFSET which will be added to the base number for MidiMap given on page 250. The format for parameter editing is the same as always. ••• See MIDI Mode in the Master Menu for additional information on Device ID. F0 18 0C dd 03 pl pm vl vm F7 System Exclusive Status Byte E-mu Mfg.
INDEX A D “A” effects list 42 A-B-C-D controllers 24, 97-98, 122-124 About sampling 9 Aftertouch 71 Alternate volume envelope 73, 105, 143 Attack 73, 144 Audio outputs 5, 6 Auto select 26 Auxiliary envelope 73, 116 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 B “B” effects list 53 B3 waves 167 Bandpass filter 85 Bank select 33 Basic channel 22
INDEX F (cont) K Function generator 71, 76, 118 Conditional jumps 66, 77 Delta level 79 Pitch intervals 222 Random delta 81 Random level 79 Function generator amount 121 Function generator curves 214-221 Fuzz 54 Fuzz lite 54 FX A 34 FX A Amount, changing via SysEx 254 FX amount 35 FX B 35 FX output select 36 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
INDEX M (cont) P MIDI basic channel 22 MIDI channel selection 14 MIDI controller amount 124 MIDI controller assign 24 MIDI enables 32 MIDI footswitch control 24 MIDI implementation chart 223 MIDI in 5, 6, 7 MIDI mode 22 MIDI mode change 22 MIDI modes 22 MIDI out 6 MIDI program change map 23 MIDI realtime controls 97 MIDI specifications 224-254 MIDI sysex 226-254 MIDI sysex tutorial 251-254 MIDI sysex packet delay 25 Midimap 29 Midimap pan 31 Midimap volume 31 Midimap menu select button 12 Midimap name 31
INDEX S V Sample rate 214 Sampled sounds listing 164 sampling 9 Save 147 Save hyperpreset 66 Save midimap 36 Save preset 127 Secondary alternate envelope 106 Secondary filter type 113 Secondary key range 104 Secondary instrument 102 Send MIDI data 24 Setup 5 Sequencer, using Morpheus 158-159 Shimmer 43 Solo mode 109 Solo mode priority 110 Sound delay 107, 145 Sound reverse 107 Sound splicing 146 Sound start 107, 145 Split keyboard 104 Studio setup 6 Sub 1 & 2 8 Sustain 73, 144 Synth mode 109 Synthesizer
WARRANTY Please read this warranty, as it gives you specific legal rights. Length of Warranty This warranty covers all defects in materials and workmanship for a period of one year from the date of purchase by the original owner, provided that the Warranty Registration Card is filled out and returned to E-mu Systems within 14 days from the date of purchase.
NOTES 260 Morpheus Operation Manual
