morpheus - e-univercity.com · 2011-09-27 · morpheus is a registered trade-mark of e-mu systems,...

This product is covered under one or more of the following U. S. patents: 3,969,682;3,986,423; 4,404,529; 4,506,579; 4,699,038; 4,987,600; 5,013,105; 5,072,645;5,111,727 and foreign patents and/or pending patents. Morpheus is a registered trade-mark of E-mu Systems, Inc.

Important Notice:In order to obtain warranty service on your Morpheus unit, the serial number sticker mustbe intact and you must have a sales receipt or other proof of purchase. If there is no serialnumber sticker on Morpheus, please contact E-mu Systems at once.

PRINTED AND MADE IN THE USA

Manual - Riley Smith

E-mu World HeadquartersE-mu Systems, Inc. U.S.A.P.O. Box 660015Scotts Valley, CA USA95067–0015Telephone: 831-438-1921Fax: 831-438-8612

Europe, Africa, Middle EastE-mu Systems, Ltd.Suite 6, Adam FergusonHouseEskmills Industrial ParkMusselburgh, East LothianScotland, EH21 7PQTelephone: 44-31-653-6556Fax: 44-31-665-0473

MORPHEUSOperation Manual© 1993 E-mu Systems, Inc.All Rights Reserved

• FI420 Rev. C

WARNING: READ THIS FIRST!

This symbol is intended to alertthe user to the presence ofimportant operating andmaintenance (servicing)instructions in the literatureaccompanying the appliance.

This symbol is intended to alertthe user to the presence ofuninsulated dangerous voltagewithin the product's enclosurethat may be of sufficientmagnitude to constitute a risk oelectric shock to persons.

IMPORTANT SAFETY INSTRUCTIONSUse in countries other than the U.S.A. may require the use of a different linecord 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 electricshock do not expose this product to rain or moisture.

GROUNDING INSTRUCTIONSThis product must be grounded. If it should malfunction or break down,grounding provides a path of least resistance for electric current, reducing therisk of electric shock. This product is equipped with a cord having an equip-ment-grounding conductor and a grounding plug. The plug must be pluggedinto an appropriate outlet properly installed and grounded in accordancewith all local codes and ordinances.

DANGERImproper connection of equipment grounding conductor can result in therisk of electric shock. Check with a qualified electrician or service personnelif you are in doubt as to whether the product is properly grounded. Do notmodify the plug provided with this product — if it will not fit the outlet,have a proper outlet installed by a qualified technician.

CAUTIONIf the Morpheus (model number 9053), is rack mounted, a standard 19-inchopen frame rack must be used.

USER-MAINTENANCE INSTRUCTIONS1. Morpheus should be kept clean and dust free. Periodically wipe the unit

with a clean, lint free cloth. Do not use solvents or cleaners.

2. There are no user lubrication or adjustment requirements.

3. Refer all other servicing to qualified service personnel.

INSTRUCTIONS PERTAINING TO A RISK OF FIRE, ELEC-TRIC SHOCK, OR INJURY TO PERSONS

WARNING; When using electric products, basic precautions shouldalways be followed, including the following:

1. Read all instructions before using Morpheus.

2. To reduce the risk of injury, close supervision is necessary when Morpheusis used near children.

3. Do not use Morpheus near water — for example near a bathtub, washbowl,kitchen sink, in a wet basement, on a wet bar, or near or in a swimmingpool.

i

In this document, whenever theword “Morpheus” is mentionedwe are referring to theMorpheus Synthesizer by E-muSystems, Inc.

SAVE THESE INSTRUCTIONS

4. Morpheus should be situated so that its location or position does notinterfere with its proper ventilation.

5. Morpheus should be located away from heat sources such as radiators, heatregisters, fireplaces, stoves, or ovens.

6. Morpheus should only be connected to a power supply of the type de-scribed in the operating instructions and as marked on the product.

7. This product, in combination with an amplifier, headphones, and speak-ers, may be capable of producing sound levels that could cause full orpartial hearing loss or damaged equipment. Do not operate for longperiods of time at high volume levels or at a level that is uncomfortable.Additionally, care must be taken when programming any of the filterscontained herein using extreme operating parameters. This action couldalso produce signals which result in unacceptable high sound levels asnoted previously. If you experience any hearing loss or ringing of the earsconsult your physician.

8. Morpheus may be equipped with a polarized line plug (one blade widerthat the other). This is a safety feature. If you are unable to insert this pluginto the outlet, do not defeat the safety purpose of the plug. Contact anelectrician to replace your obsolete outlet.

9. The power supply cord of Morpheus should be unplugged from the outletwhen left unused for a long period of time.

10. Care should be taken so that objects do not fall and liquids are not spilledinto the enclosure of Morpheus through openings.

11. The product should be serviced by qualified service personnel when:

A. The power supply cord has been damaged; or

B. Objects have fallen, or liquid has been spilled into the product; or

C. The product has been exposed to rain; or

D. The product does not appear to operate normally or exhibits amarked change in performance; or

E. The product has been dropped or the enclosure damaged.

12. All servicing should be referred to qualified service personnel.

SAVE THESE INSTRUCTIONS

ii

CONTENTS

iii

INTRODUCTION & BASIC SETUP 1

Introduction ........................................................................................... 3Getting Started ...................................................................................... 4Connection Instructions ...................................................................... 5Background - About Sampling .......................................................... 9

BASIC OPERATION 11

Main Controls ...................................................................................... 12Selecting MIDI Channels ................................................................... 14Selecting Presets/Hyperpresets ......................................................... 14Adjusting Volume & Pan Position ................................................... 14Memory Card ....................................................................................... 15Midimap Selection .............................................................................. 15Multi-Timbral Operation ................................................................... 16Playing the Demo Sequences ............................................................ 16

MASTER MENU 17

Enabling the Master Menu ............................................................... 19Master Tune ......................................................................................... 19Transpose ............................................................................................. 19User Key Tuning .................................................................................. 20Global Bend ......................................................................................... 20Global Velocity Curve ........................................................................ 20MIDI Mode ........................................................................................... 22MIDI Mode Change ............................................................................ 22MIDI Program Change Map ............................................................ 23MIDI Controller Assign ...................................................................... 24MIDI Footswitch Control ......................................................... 24Send MIDI Data .................................................................................. 24Sysex Packet Delay ................................................................. 25Proteus Sysex ......................................................................... 26Auto Select ............................................................................ 26Compare Mode ...................................................................... 26Viewing Angle ...................................................................................... 26

MIDIMAP MENU 27

The Midimap ....................................................................................... 29Enabling the Midimap Menu ........................................................... 30Midimap Select ...................................................................... 30Midimap Name .................................................................... 31Program to Channel Assign .................................................. 31

CONTENTS

iv

MIDIMAP MENU (cont)

Volume, Pan & Output Mix ..................................................... 31MIDI Enables ........................................................................ 33Bank Select ............................................................................ 33Program Map Select .............................................................. 34FX A ..................................................................................... 34FX B ..................................................................................... 35FX Amount ............................................................................ 35FX Output Select .................................................................... 36Save Midimap ....................................................................... 36

EFFECTS SECTION 37

Where are the Effects? ............................................................ 39Effects Output Routing ........................................................... 40Morpheus Effects Bus Architecture .......................................... 40Effect Programming Instructions .............................................. 41Reverb ................................................................................... 42Stereo Flanger ....................................................................... 46Stereo Phaser ......................................................................... 48Stereo Chorus ........................................................................ 49Stereo Delay .......................................................................... 50Stereo Cross Delay ................................................................. 51Stereo Echo ............................................................................ 52“B” Effects ............................................................................. 53Stereo Fuzz ............................................................................ 54Ring Modulator ..................................................................... 55

HYPERPRESET MENU 57

The Hyperpreset .................................................................................. 59Enabling the Hyperpreset Menu ............................................. 59Hyperpreset Name ................................................................ 60Preset to Zone Assignment ..................................................... 60Zone Volume and Pan ........................................................... 61Zone Key Range .................................................................... 61Zone Velocity Range .............................................................. 62Zone Velocity Offset ............................................................... 63Zone Transpose .................................................................... 63Zone Pitch Tune.................................................................... 63Hyperpreset Portamento Mode.............................................. 64Free-Run Function Generator ................................................. 64Save Hyperpreset ................................................................... 66

PRESET PROGRAMMING 67

Starting to Program .............................................................. 69Modulation .......................................................................................... 70Modulation Sources ........................................................................... 71Footswitch Modulation .......................................................... 72Midipatch .............................................................................. 72Envelope Generators .......................................................................... 73Low Frequency Oscillators ................................................................ 75Function Generators .............................................................. 76Filter Modulation ................................................................... 84Parametric Filters ................................................................... 87The Morpheus Filter ............................................................... 88The Z-Plane Filter .................................................................... 89Another View ........................................................................... 92Morpheus Signal Flow ........................................................... 93Note-On Modulation Control ................................................. 94Realtime Modulation Control ................................................. 95Key Number ........................................................................... 96Velocity Curves ...................................................................... 96MIDI Realtime Controls .......................................................... 97

PRESET MENU 99

Enabling the Preset Menu .................................................... 101Preset Name ........................................................................ 102Primary Instrument .............................................................. 102Secondary Instrument .......................................................... 102Volume ................................................................................ 103Pan ..................................................................................... 103Key Range ........................................................................... 103Primary Key Range .............................................................. 104Secondary Key Range ........................................................... 104Transpose ............................................................................ 105Coarse Pitch Tuning............................................................. 105Fine Pitch Tuning ................................................................. 105Alternate Envelope On/Off ................................................... 105Primary Alternate Envelope Parameters ................................ 106Secondary Alternate Envelope Parameters ............................ 106Double + Detune ................................................................. 106Sound Delay ........................................................................ 107Sound Start ......................................................................... 107

CONTENTS

v

PRESET MENU (cont)

Sound Reverse...................................................................... 107Nontranspose ...................................................................... 108Loop Enable ....................................................................... 108Loop Offset .......................................................................... 108Solo Mode ........................................................................... 109Solo Mode Priority .............................................................. 110Portamento Rate ................................................................ 110Portamento Shape .............................................................. 110Portamento Mode............................................................... 111Crossfade Mode .................................................................. 111Crossfade Direction .............................................................. 112Crossfade Balance and Amount .......................................... 112Cross-switch Point .............................................................. 113Primary Filter Type .............................................................. 113Secondary Filter Type .......................................................... 113Filter Level ........................................................................... 113Morph Offset ...................................................................... 114Filter Frequency Tracking ..................................................... 114Filter Transform 2 ............................................................... 115Filter Reverse ...................................................................... 116Auxiliary Envelope .............................................................. 116LFO 1 & 2 - Shape & Amount.............................................. 117LFO 1 & 2 - Rate, Delay & Variation .................................... 117Function Generator 1 and 2 ................................................. 118Note-On Modulation Control .............................................. 122Realtime Modulation Control .............................................. 123Footswitch Control .............................................................. 124Pitch Bend Range................................................................ 124Pressure Amount .................................................................. 124MIDI Controller Amount ..................................................... 124Velocity Curve ...................................................................... 125Keyboard Center .................................................................. 126Keyboard Tuning ................................................................ 126Mix Select ........................................................................... 127Save Preset .......................................................................... 127

CONTENTS

vi

COPY MENU 129

Enabling the Copy Menu ..................................................... 131Copy Preset ......................................................................... 131Copy Layer .......................................................................... 132Copy Filter ........................................................................... 132Copy LFO ............................................................................... 132Copy Function Generator ..................................................... 133Copy Auxiliary Envelope ...................................................... 133Copy Note-On Control ......................................................... 133Copy Realtime Control ......................................................... 133Copy Hyperpreset ................................................................ 134Copy Zone ............................................................................. 134Copy Free-Run Function Generator ....................................... 134Copy Midimap ..................................................................... 134Copy Channel ...................................................................... 135Copy Effects ......................................................................... 135Copy Program Change Map.................................................. 135Copy Bank ........................................................................... 136

STEP-BY-STEP 137

Forward ................................................................................. 139Editing Presets ..................................................................... 139Starting From Scratch .......................................................... 140The Instrument ...................................................................... 140Volume .................................................................................. 141Pan ........................................................................................ 141Transpose .............................................................................. 141Coarse Tuning ....................................................................... 142Fine Tuning ........................................................................... 142Alternate Volume Envelope .................................................... 143Anatomy of an Envelope ....................................................... 144Sound Delay .......................................................................... 145Sound Start ........................................................................... 145Application: Sound Splicing................................................... 146Time to Save? ........................................................................ 147LFO Modulation .................................................................... 147Modulating Modulators ........................................................ 150The Morpheus Filter ............................................................... 151Just Do It ............................................................................... 152Filter Filosophy ...................................................................... 154Morphology........................................................................... 157

CONTENTS

vii

Using Morpheus with a Sequencer......................................... 158More Advanced Sequencing .................................................. 159

REFERENCE SECTION 161

Factory RAM Presets - Bank 0 ................................................ 162Factory ROM Presets - Bank 1................................................ 163Instrument Listing.................................................................. 164B3 Wave Diagrams ................................................................ 169Percussion Instrument Locations ........................................... 170Z-Plane Filter Descriptions ..................................................... 174Loop Offset Sample Locations................................................ 211Function Generator Curves .................................................... 214Function Generator, LFO & Envelope Specifications .............. 222Technical Specifications ......................................................... 223MIDI Implementation Chart .................................................. 224MIDI Specifications ................................................................ 225MIDI SysEx Tutorial ............................................................... 251

INDEX 255

CONTENTS

viii

1Chapter 1: Basic Setup

INTRODUCTION& BASIC SETUP

Morpheus Operation Manual2


INTRODUCTION

MORPHEUS Z-PLANE SYNTHESIZERMorpheus is a completely new type of music synthesizer which repre-sents 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 differentpitches. Sampling has the advantage of highly accurate and realisticsound. One disadvantage of sampling is that once the sounds arerecorded, it is difficult to change them in any significant way.

Morpheus introduces the Z-Plane filter, which has the ability tosmoothly change its function over time. This ultra-powerful device canaccurately simulate the resonance of musical instruments, the humanvoice or create entirely new timbres. The Z-Plane filter is composed ofup to eight complex filters for unprecedented control over subtleaspects of the sound.

Morpheus contains eight megabytes (internally expandable to 16megabytes) of the highest quality 16 bit samples as the basis for itssounds. These sounds can be combined or spliced, modulated and thenshaped through one of 197 Z-Plane filters. Sampled sounds can now bere-shaped and expressively controlled.

The 16 bit sound samples are arranged into 256 preset locations, 128 ofwhich are user-programmable. 128 user-programmable Hyperpresetsallow ultra-flexible keyboard mapping of presets. The optional memorycard lets you create an expandable library of your favorite presets andhyperpresets.

Morpheus features two studio-quality effects processors with 28 differ-ent effects to choose from. Hyperpresets allow you to have up to 32different sounds on the keyboard at one time in any desired arrange-ment. Sounds can be placed side by side or layered with velocity con-trol. The ability to respond multi-timbrally to all 16 MIDI channelsmakes Morpheus ideally suited for multitrack sequencing and compos-ing using a MIDI sequencer.

Other features include 3 stereo outputs for individually processingsounds (also configurable as 6 polyphonic submixes with fully pro-grammable panning), integral sends and returns to allow the additionof external effects units without the need for a separate mixer, userdefinable alternate tuning, and of course, an extensive MIDIimplementation.


GETTING STARTED

In it's most basic form, Morpheus is organized as shown in the dia-gram below. Complete acoustic instrument samples and electronicallycreated sounds are used as raw material to form Presets.

The Preset is a complete set of all program functions and combina-tions for a complete Morpheus sound. Each preset consists of one ortwo Instruments. An Instrument is a complete set of samples or adigital waveform which covers the entire keyboard range. An instru-ment can be assigned to each of the Primary and Secondary layers ofthe preset.

The primary and secondary layers of the preset are essentially twoinstruments with complete modulation controls. The memory is orga-nized into banks of 128 programmable RAM presets, unalterable ROMpresets and Hyperpresets.

A Hyperpreset is a combination of up to sixteen presets arrangedeither side by side on the keyboard (to create a keyboard split) or ontop of each other (to create a denser sound). Each preset in ahyperpreset is assigned to a keyboard Zone, with an associated keyrange, volume, pan, tuning and transpose setting. In addition, eachzone can be assigned to a velocity range so that different presets canplay depending on the key velocity. There are 128 Hyperpreset loca-tions available to store your own custom keyboard setups.

RAM Presets can bemoved, erased or modified asesired.

ROM Presets cannot bemoved or altered unless theyre first copied to a RAM

ocation.

Hyperpresets are groupsf presets arranged on theeyboard to form splits orayers.

Memory Card - Allowsou to easily load and savedditional Presets and

Hyperpresets.


CONNECTION INSTRUCTIONS

• • • If Morpheus does notseem to be respondingcorrectly, make sure thatboth Morpheus and yourMIDI controller are set to thesame MIDI channel.

SETUP #1 BASIC SETUP

MIDI InMorpheus is controlled by MIDI messages received at the MIDI Inconnector. Connect the MIDI In of the Morpheus to the MIDIOut connector of a MIDI controller such as a MIDI keyboard,MIDI wind controller or MIDI guitar controller.

Audio OutputsMorpheus is a high quality, stereo audio device. In order to repro-duce its wide dynamic range and frequency response, use a highquality amplification and speaker system such as a keyboardamplifier or home stereo system. A stereo setup is highly desirablebecause of the added realism of stereophonic sound. Headphonescan be used if an amplifier and speaker system is not available.Plug stereo headphones into the headphone jack located on theleft side of the front panel. The Right Main output jack serves as amono output when the Left Main plug is not plugged in.

The headphone outputmonitors the main outputsonly. The submix outputs doNOT feed into the head-phone output.



SETUP #2 STUDIO SETUP

MIDI InIn this setup, Morpheus is controlled by MIDI messages receivedat the MIDI In connector which have been routed by a MIDIswitcher. The MIDI switcher allows any MIDI controller such as aMIDI keyboard, MIDI wind controller or a computer to be easilyconnected.

MIDI OutThe MIDI Out jack is normally used to transmit MIDI SystemExclusive data to a computer or other device.

Audio OutputsMorpheus has three sets of programmable stereo outputs; Main,Sub 1, and Sub 2. Specific Morpheus presets (or MIDI channels)can be routed to one of these stereo pairs in order to be furtherprocessed or mixed separately.



SETUP #3 PERFORMANCE SETUP

MIDI InMorpheus is controlled by MIDI messages received at the MIDI Inconnector. Connect the MIDI In of Morpheus to the MIDI Outconnector of a MIDI controller such as a MIDI keyboard, MIDIwind controller or MIDI guitar controller.

MIDI ThruThe MIDI Thru jack is used to connect additional MIDI devicesonto the MIDI chain. MIDI Thru transmits an exact copy of themessages received at the MIDI In jack.

Audio OutputsEach of the Sub 1 and Sub 2 output jacks on the Morpheus arestereo jacks. The tip of each jack (accessed when a standard phoneplug is inserted) is the left or right output of that group. The Sub1 outputs


CONNECTIONS

bypass the internal effects section. The Sub 2 outputs are fed from theeffects section. If a stereo plug is inserted, the Ring of the stereo plugserves as a signal Return which sums into the Main outputs.

Therefore, the Sub 1 and Sub 2 jacks can serve as effect sends andreturns in order to further process selected instruments and thenreturn them to the main mix.

The diagram shows the Sub 1 and Sub 2 jacks being used as send/returns in order to further process selected Morpheus presets withoutusing the effects bus on the mixing board. In a pinch, the effect re-turns could also be used to sum additional instruments into the mainoutputs.

POWER UP!The power switch is located on the right side of the front panel.Morpheus and its MIDI controller may be turned on in any order.When power is applied, the liquid crystal display will light, indicatingthat Morpheus is operating. You may have noticed that there is no110/220 Volt power selector switch on Morpheus.

Morpheus automatically switches itself for 110 or 220 Voltoperation.

The Sub 1 and Sub 2 jacks can be used as effect returns to the Main Outputs.

Morpheus Output Section


ABOUT SAMPLINGMorpheus utilizes digital recording of acoustic sounds for the basis ofeach Instrument. This is similar to a tape recorder except that insidethe Morpheus, the sounds are permanently recorded on digitalmemory chips.

Sound and instrument waveforms are first sampled into the EmulatorIII, our top of the line, 16 bit stereo digital sampler. After the soundsand waveforms have been truncated, looped and processed, they arepermanently encoded into the Morpheus ROM (Read Only Memory)chips.

Conceptually, the sampling process is very simple, as shown in theBasic Sampling System diagram. As a sound wave strikes the dia-phragm of a microphone, a corresponding voltage is generated. Tosample the sound, the voltage level is repeatedly measured over timeand the corresponding data values are stored in memory. To play thesound back, the numbers are read back out of memory, modified bythe Z-plane filter, converted back into voltages, then amplified and fedto a speaker which converts the voltage back into sound waves. Ofcourse, playing back 32 channels at different pitches tends to compli-cate matters, but this is basically how it works.

BACKGROUND

Chapter 2: Basic Operation 11

BASICOPERATION


MAIN CONTROLS

Volume ControlThis is the master volume control for all audio outputs. Note: Formaximum dynamic range, set this control at full level.

Card SlotThe card slot accepts RAM and ROM cards containing additionalpresets, hyperpresets and midimaps.

Master Menu Select ButtonThe Master menu contains global parameters which affect theentire machine. The LED to the left of the button indicates thatyou are in the Master menu.

Midimap Menu Select ButtonA Midimap is a set of parameters used to configure Morpheus toother MIDI gear such as a sequencer or keyboard setup. The 16Midimaps contain digital effects setting as well as assignments ofpresets/hyperpresets to MIDI channels. An LED to the left of thebutton indicates that you are working in the Midimap menu.

Preset Menu Select ButtonThe Preset menu is used when you want to create or modify apreset. The LED to the left of the button indicates that you areworking in the Preset menu. To Compare an edited preset with theunedited version, simply exit Preset Edit mode. The stored presetwill be heard whenever the main screen is selected. Changing thepreset will erase the edited version.

Hyperpreset Menu Select ButtonThe Hyperpreset menu is used to place presets at certain locationson the keyboard to create custom keyboard layouts. The LED tothe left of the button indicates that you are working in theHyperpreset menu.


••• The cursor can also bemoved bidirectionally usingthe data entry control whilethe right cursor button isheld down. (i.e. Press andhold the cursor button andturn the data entry knob.)

MAIN CONTROLS

Demo Sequence SelectMorpheus contains four play-only sequences to demonstrate therange of sounds. Press and hold the Midimap and the Hyperpresetbuttons simultaneously to select the Demo Sequence selectionscreen.

Cursor ControlThese buttons move the cursor to the next parameter on thedisplay in a clockwise or counter-clockwise direction. (The cursoris the little flashing line underneath one of the parameters in thedisplay.) Press either cursor control button repeatedly until thecursor is underneath the desired parameter.

Copy ButtonThe copy menu allows you to copy selected groups of parametersbetween Presets, Hyperpresets, and Midimaps.

Home/Enter ButtonThe Home/Enter button is used to confirm a particular operationor to return the cursor the “Home” position in the upper leftcorner. The LED flashes to indicate that Morpheus is waiting foryour response.

Data Entry ControlThe data entry control is a stepped, variable control which is usedto change parameter values. The control increments or decrementsthe current value one unit with each click. This control incorpo-rates acceleration (values advance faster if the control is turnedquickly).

Power SwitchSwitches AC power to Morpheus On and Off.

You must hold theMidimap and Hyperpresetbuttons for approximatelytwo seconds to start thedemo sequences.


0

0

BASIC OPERATION

•• Channel Pan shouldormally be set to “P” unlessealtime control of panning isesired. If Pan is set to “0”, atereo preset will play in

mono.

• • If Morpheus is notesponding properly or playshe wrong preset, make surehat both Morpheus andour MIDI controller are seto the same MIDI channelnd that the MIDI Volume isurned up.

or more information aboutMIDI, see MIDI Realtime

ontrols on page 97.

MIDI Activity LEDIndicates that MIDI data is being received.

MIDI CHANNEL SELECTIONPress the cursor key repeatedly until the cursor is underneath thechannel number. (The cursor is the little flashing line underneath oneof the parameters in the display.) Rotate the data entry control toselect MIDI channel 01-16. As the channel is changed, the display willchange to show the preset/hyperpreset, volume and pan associatedwith the displayed channel.

C01 VOL127 PAN=P000 Preset Name

PRESET/HYPERPRESET (PROGRAM) SELECTIONPress the cursor key repeatedly (or press Home/Enter) until the cursoris underneath the program number. A Program is a Preset or aHyperpreset. As the data entry control is rotated, the program numberand name will change. The displayed program will be assigned to thedisplayed MIDI channel. Programs are arranged into banks of 128, asshown in the diagram at left. Banks can be selected independently ofthe program number by pressing the Home/Enter button while turn-ing the data entry knob.

C01 VOL127 PAN=P000 Program Name

CHANNEL VOLUMEPress the cursor key repeatedly until the cursor is underneath thevolume value. Rotate the data entry control to select volume 000-127.(This is the same parameter as MIDI volume control #7, and changesmade over MIDI will be shown in the display.)

CHANNEL PANPress the cursor key repeatedly until the cursor is underneath the panvalue. Rotate the data entry control to select pan values -7 to +7 or“P”. When “P” is selected, the pan value specified in the preset isselected. Any other value will override the pan parameter in the pre-set. (This is the same parameter as MIDI pan control #10, and changesmade over MIDI will be shown in the display.)

↔ MIDI Channel Parameters↔ Preset/Hyperpreset Name


BASIC OPERATION

RAM Cards need to beinitialized before they arefirst used. They display willprompt you to initialize ablank card.

RAM Cards can be used tostore your own presets,hyperpresets and midimaps.

ROM Cards contain pre-recorded presets,hyperpresets and midimaps.You cannot save data to aROM card.

MEMORY CARDThe memory card is a convenient method of saving and transferringpresets and hyperpresets. Insert the card firmly into the slot on thefront panel with the label facing up. Press the eject button to releasethe card. A RAM card stores 128 presets, 128 hyperpresets and 16midimaps. RAM cards may be Write-Protected by moving the littleswitch on the end of the card. If a memory card is NOT inserted, thedisplay reads “ --noCard-- ” for banks 3 & 4 and the list of selectablemidimaps shrinks to 16.

MIDIMAP SELECTIONA Midimap is a set of parameters which can be used as a pre-sequencesetup, storing the program and other parameters for each MIDI chan-nel or it could be used as an “Effects Preset”, since each Midimapstores a complete effects setup. There are 16 Midimaps in Morpheusand an additional 16 Midimaps can be stored on a memory card.

To Select a MidimapPress the Midimap key, lighting the LED. The current screen willbe the one most recently selected since powering up Morpheus.The first screen in the menu is Midimap Select. Move the cursorto the lower line and use the data entry control to select one ofthe 16 Midimaps. The Home/Enter LED will be flashing. Press theHome/Enter key to load the new Midimap.

MIDIMAP SELECTM00 -defMIDIMap-

Simply scrolling through the list DOES NOT change the Midimap.You must move the cursor down to line two and press Enter. Tryout the different Midimaps and notice that the effects change witheach one.

••• The “current Midimap”is remembered on power-down, even though you maynot have saved it. Thiseffectively gives you a total o17 internal Midimaps.


BASIC OPERATION

MULTI-TIMBRAL OPERATIONMulti-timbral operation means that the Morpheus can play morethan one sound at the same time. To access multiple presets ondifferent MIDI channels simultaneously, follow these instructions:

1. Set the MIDI mode to MULTI-Mode, using the MIDI modefunction in the Master menu (page 22).

2. Decide which MIDI channels you wish the Morpheus to re-ceive, and turn “All Messages” Off for the MIDI channels thatyou DO NOT want Morpheus to receive using the MIDI En-ables in the Midimap menu (page 33). Turning “All MessagesOff” turns that channel Off.

If you do not turn any channels Off, Morpheus willreceive all 16 MIDI channels simultaneously!

3. Select the desired preset or hyperpreset for each of the MIDIchannels you wish the Morpheus to receive using thePreset/Hyperpreset -> MIDI Channel selection screen in theMidimap menu (page 31).

4. Save the Midimap using the last screen in the Midimap menu.

5. Morpheus will now respond multi-timbrally on the MIDIchannels you have specified.

6. The effects can be programmed and each MIDI channel as-signed to an effects bus if so desired. The volume and panposition can be adjusted for each MIDI channel in theMidimap Volume and Pan screen. Remember to SAVE theMidimap or all of your work will be LOST when you selectanother Midimap.

PLAYING THE DEMO SEQUENCESMorpheus contains a play-only sequencer with 4 different sequencesto give you an idea of what is possible using this amazing instrument.Press and hold both the Midimap and Hyper buttons. The sequencewill start momentarily. Press the Enter button to stop the sequence.Press the right cursor button to advance to the next sequence.Sequences will cycle automatically.

DEMO 1 2 3 4ENTER=Stop >=Nxt

Chapter 3: Master Menu 17

MASTERMENU


MASTER MENU

The Master menu contains functions that affect the overall operationof Morpheus. For example, changing the Master Tune will change thetuning of all the presets, not just the one currently displayed.

To enable the Master menuPress the Master button, lighting the LED. The current screen willbe the one most recently selected since powering up Morpheus.The Cursor will appear underneath the first character of thescreen heading on line one.

To select a new screenPress the Home/Enter button or press the Cursorbuttonrepeatedly until the cursor is underneath the screen titleheading. Rotate the data entry control to select another screen.

To modify a parameterPress the Cursor button repeatedly (or hold the right cursor keywhile turning the data entry control) until the cursor is under-neath the parameter value. Rotate the data entry control tochange the value.

To return to the main screenPress the Master button, turning off the LED.

MASTER MENU FUNCTIONS

• Master TuneMaster tune adjusts the overall tuning of all presets so that Morpheuscan be tuned to other instruments. The master tuning range is ± 1semitone in 1/64th semitone increments. A master tune setting of“+00” would indicate that the Morpheus is perfectly tuned to concertpitch (A=440 Hz).

MASTER TUNE+63

• TransposeThis function transposes the key of Morpheus in half-step intervals.The transpose range is ± 12 semitones or one octave.

TRANSPOSE+12 semitones


MASTER MENU

• User Key TuningIn addition to standard twelve tone equal temperament, Morpheuscontains four additional preset tuning tables (Just C, Vallotti, 19 tone,and Gamelan) and one user definable tuning. User Key Tuning allowsyou to alter the parameters of the user definable tuning stored inmemory. The initial frequency of every key can be individually tuned,facilitating the creation of microtonal scales. Using the cursor key andthe data entry control, select the key name, the MIDI key number andthe fine tuning. The key name is variable from C-2 to G8. CoarseTuning (which also happens to be the MIDI key number) is variable from 0to 127. The fine tuning is variable from 00 to 63 in increments of 1/64of a semitone (approx. 1.56 cents). For each preset, the specific tuningtable is selected in the Preset menu.

USER KEY TUNINGKey:C1 036-00

• Global BendThis function sets the range of the pitch wheel controller (even whenpitch wheel is not routed to control pitch). The maximum pitch bendrange is ± 12 semitones. This function only affects presets which havetheir individual pitch bend range set to global.

GLOBAL BEND+/- 12 semitones

• Global Velocity CurveIncoming velocity data can be modified by a velocity curve in order toprovide different types of dynamics in response to your playing or tobetter adapt to a MIDI controller. This function allows you to selectone of eight global velocity curves or leave the velocity data unaltered(off). Global velocity curve only affects presets which have their indi-vidual velocity curve set to global.

GLOBAL VEL CURVE8

•• Application: The userey tuning can be used toune individual percussionnstruments.

It is possible to tune theitch up so high that theange of Morpheus' pitchhifter is exceeded. If theitch will not go any higher,ry using the Transposeontrol instead of Coarseuning.

•• In order for the PitchWheel to control pitch, itmust be routed to thisestination in the Realtime

Modulation Control screen.


MASTER MENU

GLOBAL VELOCITY CURVES


MASTER MENU

• MIDI ModeThis function selects one of the four MIDI receive modes and the MIDIsystem exclusive ID number.

Omni modeMorpheus responds to note information on all MIDI channelsand plays the preset currently displayed in the main screen.

Poly modeMorpheus only responds to note information received on thecurrently selected MIDI channel (the “basic channel”, displayedon the main screen) and plays that channel’s associated preset.

Multi modeMorpheus responds to data on any combination of MIDI chan-nels and plays the specific preset associated with each of the MIDIchannels.

Mono modeMorpheus responds to data on any combination of MIDI chan-nels but plays each channel monophonically. If a new note on achannel is played before the last note is released, the envelopeswill not be retriggered. Mono mode is particularly useful withalternate controllers such as MIDI guitars, etc.

Device IDThis function allows an external programming unit to distinguishbetween multiple Morpheus units. In the case of multipleMorpheus units, each unit should have a different device IDnumber.

MIDI MODE IDOmni 00

•MIDI Mode ChangeThis function selects whether or not MIDI mode change commandsare accepted or ignored when received over MIDI (see MIDI Mode).

MIDI MODE CHANGEDisabled

Warning: MIDI Sysex datawill not be transferredetween two Morpheus unitsnless the ID numbers ofoth units match.


• MIDI Program Change MapIncoming MIDI program changes can be remapped to a differentnumbered preset. This is a handy feature when you want a specificMIDI program number sent from the master synth to be linked with aspecific preset or hyperpreset on Morpheus. For example, the ProgramChange Map could be set to call up preset 12 whenever Morpheusreceives program change number 26. Any preset or hyperpreset inMorpheus can be mapped to any incoming MIDI program changenumber. There are four separate Program Change Maps available. Thisfeature also allows you to call up presets in any bank, which are notaccessible through a standard MIDI program change. Note: TheProgram Map only operates if it is selected in the Midimapand if the Bank Select function in the Midimap is set tobank 0.

PROG CHG MAP #1026 > 012

MASTER MENU

••• The Bank Select functionis located in the Midimapmenu.

0

This chart shows how MIDI preset changes can be re-mapped. In this example,program changes 10-29 have been re-mapped. All other programs will be selectednormally.

••• On some synthesizerProgram 00 is called Program01 with a corresponding diference through all the numbers.


MASTER MENU

• MIDI Controller AssignMorpheus allows you to assign up to four realtime control sourcesfrom your MIDI controller. These control sources could be modulationwheels, data sliders or whatever. In this screen, you set up whichcontrollers will be received by the Morpheus. What effect the control-ler will have is programmed separately for each preset. The MorpheusMIDI controllers are each assigned a letter, A-D. Each controller lettercan be assigned to a MIDI realtime controller from 00-31. Note: Ifcontroller numbers 7 or 10 are selected, they will override the stan-dard MIDI volume and pan control routings. For more information,see MIDI Realtime Controls in theProgramming Basics section.

CONTROLLER# ABCD01 02 03 04

• MIDI Footswitch ControlLike the MIDI Controllers, 3 MIDI footswitches can be assigned toMIDI footswitch numbers. Footswitches can be assigned numbers from64-79. Destinations for the footswitch controllers are programmed inthe Preset menu.

FOOTSW CTL# 12364 65 66

• Send MIDI DataThis function will send MIDI System Exclusive data to the MIDI Outport of Morpheus. The MIDI data can either be sent to a computer/sequencer or to another Morpheus. Using the cursor key and the dataentry control, select the type of MIDI data you wish to transmit.

SEND MIDI DATARAM Presets

Warning: When transfer-ng Sysex data from one

Morpheus to another, the IDumbers of both units must

match.

•• A few of the standard-zed MIDI Controllerumbers are listed below.

- Modulation Wheel orever

- Breath Controller

- Aftertouch: Rev 1 DX7

- Foot Pedal

- Portamento Time

- Data Entry

- Volume

- Balance

- Undefined

0 - Pan

1 - Expression

•• A few of the standard-zed MIDI switch numbersre listed below.

4 - Sustain Switch (on/off)

5 - Portamento (on/off)

6 - Sostenuto (on/off)

7 - Soft Pedal (on/off)

9 - Hold Pedal 2 (on/off)


MASTER MENU

The Enter LED will be flashing. Press the Enter button to confirm theoperation. To receive MIDI data, simply send the MIDI data intoMorpheus from another Morpheus or your sequencer. The choices are:

RAM Presets ......................................... Transmits all the user RAM presets.

ROM Presets ................................... Transmits all the factory ROM presets.

Card Presets ...................................Transmits all the memory card presets.

RAM Hypers ............................... Transmits all the user RAM hyperpresets.

Card Hypers .......................... Transmits all the memory card hyperpresets.

RAM MIDI Maps ................................... Transmits all the user MIDI maps.

Card MIDI Maps ....................Transmits all the memory card MIDI maps.

Program Change Maps ............ Transmits all the program change maps.

Master Settings .................... Transmits all parameters in the Master menuexcept tuning table, program change map & viewing angle.

The “scratch” Midimap is also transmitted.

Tuning Table ..................................... Transmits only the user tuning table.

All RAM Data ................. Transmits all the user RAM data in the machine.

Individual Program ... Transmits only the specified preset or hyperpreset.

Individual Midimap ....................... Transmits only the specified midimap.

Individual Program Change Map Transmits the specified program map.

When Individual Programs, Midimaps or Program Change Maps arereceived via SysEx, they are placed in their proper locations.

• Sysex Packet DelayErrors can sometimes occur when transferring Sysex data fromMorpheus to a computer because the computer cannot process andstore the incoming data fast enough. This function allows you tochange the amount of delay between MIDI Sysex data packets so thatthe input buffer of your computer does not overflow. The defaultspeed is 300 delay units. A setting of “000” allows full speed MIDISysex. If you are having data transmission errors, increase the delayuntil the problem disappears.

SYSEX PKT DELAY300

To Record MIDI Data intoa Sequencer:

1. Setup sequencer to receivesystem exclusive data.

2. Place sequencer intorecord mode, then Send MIDIData.

To Receive MIDI Datafrom a Sequencer:

1. Simply play back thesequence into Morpheus.

Warning: Send datafrom your sequencer as youwould a regular sequence.Sending data in one hugechunk may clog theMorpheus input buffer.

A Midimap received byMorpheus does not changethe “scratch” Midimapunless it is currently selected.You must select the Midimafor it to be active. See page159.

••• The Individual Midimapsand Program Change Mapsare located after the Indi-vidual Programs (keepscrolling).

Turn “Keyboard Thru”mode OFF on your sequencerwhen transferring SysEx dataor a MIDI feedback loop mayresult.


MASTER MENU

• Proteus SysexWhen this function is On, Proteus presets can be transferred overMIDI into Morpheus. It also allows the use of Proteus patch editingprograms. Instrument numbers and parameters which are unique toMorpheus will, of course, NOT be transferred. This function defaultsto Off to avoid unplanned conflicts with Proteus Sysex transfers.

PROTEUS SYSEXOff

• Auto SelectWhen editing a parameter which involves the keyboard, such as azone range, the parameter can be automatically selected simply byplaying the keyboard. This is a handy feature for “power program-mers”, but can sometimes be confusing. Therefore, Auto-Select can beturned On or Off. Auto-Select affects the following parameters: UserKey Tuning, Zone Select, Key Range, Midimap, Preset & HyperpresetNaming, Cross-switch Point, Keyboard Center.

AUTO-SELECTOff

• CompareThis function turns the Compare feature (accessed by pressing thePreset button when editing) On or Off. If Compare is turned On,changes made via MIDI SysEx will not be heard except when thePreset menu is enabled.

COMPAREOn

• Viewing AngleThis function allows you to change the viewing angle of the display sothat it may be easily read from either above or below. The angle isadjustable from +7 to -8. Positive values will make the display easier toread when viewed from above. Negative values make the display easierto read from below.

VIEWING ANGLE+7

If Morpheus does notespond to external presetditors, turn the Compareunction Off.

Chapter 4: Midimap Menu 27

MIDIMAPMENU


THE MIDIMAPA Midimap is a group of parameters which you might associate with aspecific sequence or song. You can also use the Midimaps as “EffectsPresets” for your favorite effects setups. The Midimap contains all thepre-sequence setup information, such as the program (preset orhyperpreset) for each MIDI channel, effects settings, etc. There are 16Midimaps in Morpheus and an additional 16 can be stored on amemory card.

MIDIMAP MENU

Midimaps are often used with Morpheus connected to an externalsequencer in MULTI mode. Multi mode allows Morpheus to receiveMIDI data on all 16 channels simultaneously. Morpheus can store 16different Midimaps. The two digital effects processors are also part ofthe Midimap.

••• Midimaps can also bechanged using a SysExParameter Change com-mand. See page 159.


MIDIMAP MENU

To enable the Midimap menuPress the Midimap button, lighting the LED. The current screenwill be the one most recently selected since powering upMorpheus. The cursor will appear underneath the first characterof the screen heading on line one.

To select a MidimapPress the Home/Enter button or press the cursor key repeatedlyuntil the cursor is underneath the screen title heading. The firstscreen in the list is “Midimap Select”. Move the cursor to thelower line of the display and use the data entry control to selectthe desired Midimap. The Home/Enter LED will be flashing. PressHome/Enter to load the Midimap.

To select a new screenPress the Home/Enter button or press the cursor key repeatedlyuntil the cursor is underneath the screen title heading. Rotate thedata entry control to select another screen.

To modify a parameterPress the cursor button repeatedly (or hold the cursor key whileturning the data entry control) until the cursor is underneath theparameter value. Rotate the data entry control to change thevalue.

To return to Program Select modePress the Midimap button, turning off the LED.

MIDIMAP MENU FUNCTIONS

• Midimap SelectThis is where you select one of the 16 Midimaps. You can use theMidimaps to setup a particular sequence or song. Position the cursorunder the Midimap number and use the data entry control to selectthe Midimap. The Home/Enter LED will be flashing. You MUSTpress Enter to load the Midimap.

MIDIMAP SELECTM00 Cool FX

Selecting a new Midimapwill overwrite the “current”r “scratch” Midimap.


• Midimap NameThis function allows you to name each of the 16 Midimaps with aname of up to 12 characters. Position the cursor underneath thecharacter location and use the data entry control to change the char-acter. The keyboard can also be used to select characters.

This screen displays the current Midimap. The Midimap Select screenis the last screen in the menu.

MIDIMAP NAMEM15 New Song

• Preset/Hyper to MIDI Channel AssignThis function allows you to assign a preset or hyperpreset (program) toeach MIDI channel for the currently selected Midimap.

Position the cursor under the channel number and use the data entrycontrol to change the MIDI channel. Position the cursor under theprogram number and use the data entry control to change the pro-gram assigned to each MIDI channel.

PRESET/HYPER C01061 Space Wash

• Volume, Pan & Output MixThis function sets the Volume, Pan Position and Output Mix for eachMIDI channel in the selected Midimap. Volume allows you to adjustthe relative volume between programs. Pan allows you to positioneach program in the stereo field. The Volume control acts as an at-tenuator on the program volume. It cannot increase the volume pastthe setting programmed in the program.

The Pan control Overrides the pan value programmed in theprogram.

VOL PAN MIX C01127 =P FxA

MIDIMAP MENU

0

The Auto-Select feature inthe Master menu must beturned On in order to use thekeyboard for namingMidimaps.

The MIDI channel shownin the right side of the screenis NOT the MIDI basicchannel, only the one beingedited in the Midimap.

••• Channel Pan shouldnormally be set to “P” unlessrealtime control of panning idesired. If Pan is set to “0”, astereo preset will play inmono.


MIDIMAP MENU

The Output Mix allows you to selectively route the program throughone of the effects processors or direct it to a pair of output jacks (foreach of the 16 MIDI channels). An additional selection called Preset or“P”, allows the selection to be made in the preset (Mix Output). Thuseffects and outputs can be selected according to MIDI channel or bypreset.

Position the cursor under the channel number and use the data entrycontrol to change the MIDI channel. Position the cursor under thevolume, pan or mix and use the data entry control to change thevalue. The volume and pan values are the same ones shown in themain screen.

The diagram below shows the function of Output Mix Select.

The Output Mix Select (for each MIDI channel) selects which bus in the OutputSection will be used.

•• Please note that the Sub Output is an “Effects Only”utput.


MIDIMAP MENU

• MIDI EnablesThe MIDI enables allow you to enable or filter out specific MIDI mes-sages on a per-channel basis. MIDI messages that can be filtered in-clude:

All Messages (turns channel off)

Program Change

Bank Select

Volume Control (controller #7)

Pan Control (controller #10)

••• The Channel Pan controcan be disabled to preventincoming MIDI messagesfrom altering stereo effectsprogrammed in the presets.

BANK SELECT C010

Pitch Wheel

Mono Pressure

Key Pressure

Controllers A-D

Footswitches 1-3

The “All Messages” filter is useful when you have other MIDI devicesconnected and do not want Morpheus to respond to the MIDI chan-nels reserved for other devices. Messages will be passed when On andfiltered out when turned Off.

MIDI ENABLES C01AllMessages On

• Bank SelectThe MIDI specification only allows for 128 presets per MIDI channel.This function selects which bank of 128 presets will be used for incom-ing MIDI program change commands. Banks can be set for each MIDIchannel. This function allows you to access all presets andhyperpresets in Morpheus without using a MIDI Bank Select com-mand.


MIDIMAP MENU

• Program Map SelectThere are four Program Maps in Morpheus. Program Maps allowincoming MIDI program changes to be translated into another num-ber. For example, a program map could be set up so that programnumber 12 is selected whenever program change number 26 is re-ceived at the MIDI in port. The Program Map Select function allowsyou to select one of the four Program Maps to be used in the currentlyselected Midimap or turn the Program Map function Off. Note: TheProgram Map only operates if it is turned On and the BankSelect function is set to bank 0.

PROG CHG MAPOff

This chart shows how MIDI preset changes can be re-mapped. In this exampleprogram changes 10-29 (darkened area) have been re-mapped. All other programswill be selected normally.

• FX AThis function allows you to select which effect is active on EffectProcessor A. Processor A effects include several types of reverb as wellas other effects such as delays, chorus, flanger, and phase shifter. Eacheffect has one or more adjustable parameters which are accessed bymoving the cursor to the lower line. See the Effects section for detailedinformation on these functions.

FXA: RoomDecay Time 100

•• The Program ChangeMaps are located in theMaster menu.


MIDIMAP MENU

• FX BThis function allows you to select which effect is active on EffectProcessor B. Processor B effects include echo, delay, chorus, phaseshifter, distortion and ring modulator. Each effect has one or moreadjustable parameters which are accessed by moving the cursor to thelower line. See the Effects section for detailed information on thesefunctions.

FXB:StereoFlangeLFO Rate 050

• FX AmountThis function allows you to adjust the ratio of dry (unprocessed) towet (processed) signal coming out of the effect processor. A setting of100% indicates that all of the signal is being processed by the effect.The B->A parameter allows you to adjust the amount of effect B whichwill be fed through the A effect. If B->A is set to one value above100%, the word “Only” is displayed and the B amount changes to Off.This disconnects effect B from the main outputs and routes ALL ofeffect B through effect A.

FX AMOUNT A:50%B->A:0% B:75%

If the B->A amount is setto “Only”, no sound willresult if “No Effect” isselected for effect A


• FX Output SelectThis function selects which pair of output jacks each effect processorwill be routed. This is shown in the diagram on page 32 by the 3-wayswitches after each effect processor.

FX OUTPUT SELECTA:Main B:Sub 1

• Save MidimapChanges made to a Midimap are not made permanent until theMidimap is Saved. To save a Midimap, move the cursor to the bottomline and select one of the 16 locations with the data entry control. TheEnter LED will be flashing. Pressing the Home/Enter switch will con-firm the operation. Writing to a Midimap location erases the existingMidimap in that location. Make sure that the location does not con-tain information you want to keep.

Save MIDIMAP toM00 -defMIDIMap-

MIDIMAP MENU

Chapter 5: Effects Section 37

EFFECTSSECTION


Where are the Effects?The effects in Morpheus are separate from the preset. This is similar toan external effects unit except that the signal path is kept in the digitaldomain to maintain excellent sound quality.

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

EFFECTS BASICS

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

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


EFFECTS OUTPUT ROUTINGThe diagram below shows how the effects section is integrated into theoutput jack routing scheme. The mix bus can be selected either by thepreset or by MIDI channel. When “Preset” is selected, the MIX SELECTprogrammed in the preset is used.

EFFECTS SECTION

MORPHEUS EFFECT BUS ARCHITECTUREThe two stereo effect processors on Morpheus are designated as A andB effects. “A” effects contain Reverb and other effects. The “B” effectsdo not include Reverbs, but include a host of other great effects whichare listed on page 53.

Each effect has its own set of control parameters which are appropriateto that particular effect. For both the A and B effects there is anamount parameter which determines the relative mix of the processedand unprocessed signals (wet/dry mix). The output of the B effect canalso be routed back through processor A. In addition, the stereosubmix outputs (Sub 1) can be used to externally process selectedpresets.


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 screenshown below. Select one of the effect processors in the Mix Selec-tion. This selects the input to the effect processors.

VOL PAN MIX C01127 =P FXA

3) Set the FX Amount for the A or B effect. This adjusts the ratio ofeffected to un-effected signal. B->A allows you to route the outputof effect B through effect A (set the MIX to effect B).

FX AMOUNT A:50%B->A:0% B:50%

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

FXA:EchoL Delay Time 255

••• The diagram on theprevious page illustrates thefunction of Mix Select.

••• Setting the B->A percentage to maximum selects“Only” which disconnectseffect B from the mainoutputs and routes all of thesignal through effect A.

If the B->A amount is setto “Only”, no sound willresult if “No Effect” isselected for effect A


EFFECTS SECTION

B EFFECTSFuzzFuzz LiteStereo FlangePhaserStereo ChorusDelayCross DelayRing Modulator

Floor, Wall &.Ceiling Reflections

Thousands ofVery ComplexReflections

A EFFECTSRoomWarm RoomSmall Rooms 1 & 2Halls 1, 2 & 3Chambers 1 & 2Plates 1 & 2Early Reflections 1-4Reverse Early Refl.Rain & ShimmerStereo FlangePhaserStereo ChorusDelayCross DelayEcho

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

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


EFFECTS SECTION

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

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

Chambers simulate medium sized rooms with hard reflective surfaces.

Hall programs recreate the open, spacious ambience of large concerthalls.

Early Reflection programs consist of the reflection cluster only with-out the reverb decay. These effects are similar to a multiple tap delayline and have a single adjustable parameter - Ambience.

The special reverbs Rain & Shimmer are variations of the early reflec-tion programs and consist of a dense group of short echoes followedby longer echoes.

FXA:Hall 1Decay Time: 165

Place the cursor underneath the reverb name and use the data entrycontrol to change the type of reverb. Moving the cursor to the lowerline allows you to change the decay time of the reverb. The decaytimes of the reverb programs range from 100-255. The ambiencecontrol of the Early Reflection programs range from 0-100.

• RoomA bright, medium sized room. The apparent source position is fairlyclose to the listener. Suitable for use with 100% wet mix setting foradding ambience.

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

• Small Room 1This reverb is also to “Room” with shorter initial reflections, shorterdecay times and higher reflection density, due to the reduced roomsize. The apparent source position is closer to the listener.

• Small Room 2This reverb is a variation of “Small Room 1” with greater high fre-quency damping and a more distant source position.


EFFECTS SECTION

• Hall 1Hall 1 is a large, highly reverberant space with auditorium-like acous-tics. Like all the Hall programs, “Hall 1” exhibits a warm, distantambience with slow reflection density buildup. With the decay param-eter set to maximum, “infinite” reverberation effects can be obtained.Adjustment of wet-dry mix can be used to position the listener fromthe “front row” (≈25%) to “back of the balcony” (≈100%).

• Hall 2This reverb is similar to “Hall 1”, but harder and brighter, with morepronounced slap echoes that come from parallel reflecting surfaces inthe room. Hall 2 also exhibits a pronounced reverb “bloom” or late-reflection buildup. A 50% wet mix creates the optimum “close” dis-tance adjustment.

• Hall 3Hall 3 is similar to “Hall 2”, but with larger scale stadium-like acous-tics. Hall 3 is warmer than Hall 2 (more high frequency damping) anddoes not display the obvious early reflections and slap echoes. It alsoexhibits a distinct predelay of approximately 100 milliseconds and apronounced late reflection buildup both of which contribute to theimpression of a large space. Wet mix values of 10% to 50% are mostappropriate, although a setting of 100% produces an effective cavesimulation.

• Chamber 1A simulation of a bright, medium-sized chamber reverb or recital hallwith hard walls. Early reflections are very prominent, with high reflec-tion density. Moderately long decays are possible at the maximumdecay setting.

• Chamber 2Similar to “Chamber 1” but with a much warmer sound. The wet mixadjustment provides an effective control over the apparent sourcelocation from close (10%) to very distant (100%).

• Plate 1Simulates a plate reverb unit. Gives a tight, bright, slightly metallicsound. Reflection buildup is very rapid, with high density. Early reflec-tions are minimized.

• Plate 2An effect similar to Plate 1, but slightly warmer with less density.


EFFECTS SECTION

EARLY REFLECTION GROUPAll Early Reflection programs have a single Ambience parameter whichadds diffusion to the individual reflections. Lower ambience settingscause reflections to become more discrete, simulating harder reflectingsurfaces. The early reflection programs are simulations of increasinglylarge acoustic spaces, from a small studio (Early Refl 1) to a large roomlike a sound stage (Early Refl 4). The wet mix control acts effectively assource distance control. In general, lower mix amounts are moreeffective as the room size increases.

• Early Reflection 1




• Reverse Early ReflectionMore of a special effect than an acoustic simulation, Reverse ER con-tains a set of exponentially increasing delay taps, creating a kind of“zip” sound at low Ambience settings. At maximum ambience andlower wet mix values, the sound is more authentically acoustic, with along, delayed reflection “bloom”. The effect is similar to a large butwell damped parking garage.

SPECIAL REVERBSThese special reverbs all have a single Decay Time parameter.

• RainSimilar to a repeating delay, but with complex spatial and filteringeffects occurring across the stereo panorama. The effect on percussivesounds might be likened to a bucket of marbles raining down on agalvanized steel roof.

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


EFFECTS SECTION

• Stereo FlangerA flanger consists of a short audio delay line whose output is mixedtogether with the original signal. Mixing the delayed and originalsignals together results in multiple frequency cancellations creating acomb filter effect as shown in the diagram below. Since the flanger is atype of filter, it works best with harmonically rich sounds such asstrings.

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

The flanger in the Morpheus is a stereo device consisting of two sepa-rate delay lines controlled by a single set of controls. The block dia-gram of the flanger is shown below.


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 isvariable from 26 microseconds to 6.5 milliseconds.

FXA:StereoFlangeMin Delay 100

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

FXA:StereoFlangeLFO Rate 038

FXA:StereoFlangeLFO Depth 150

The Feedback control sends some of the delayed signal through thedelay line again. When positive feedback is used (values +1 to +127),the comb filter notches are deepened; when negative feedback is used(values -1 to-127) resonant peaks are formed between the notches which increasewith the amount of negative feedback.

FXA:StereoFlangeFeedback -127


EFFECTS SECTION

• Stereo PhaserThe stereo phaser is an effect similar to the flanger although muchmore subtle. The phaser creates a swirly animation when used withharmonically rich sounds such as strings and voices. It can also beused like a chorus to thicken-up a thin sound.

FXA:PhaserLFO Rate 060

FXA:PhaserMin Freq 015

FXA:PhaserLFO Depth 100

FXA:PhaserFeedback 064


EFFECTS SECTION

• Stereo ChorusThe function of a chorus device is to thicken the sound or to make onevoice sound like many. The way the effect is achieved is by mixing oneor more delayed versions of the signal in with the original. The delaytimes used are too short to be perceived as a an echo, but long enoughso that comb filtering does not occur. In addition, the delay time isvaried to simulate the random differences which occur when multipleinstruments are playing together. A slight amount of feedback im-proves the effect by creating multiple images of the sound as it recircu-lates again and again. The delay times are slightly different for eachchannel and the LFO phase is inverted on the right channel to helpcontribute to the overall chorus effect. The LFO Rate and Depth set-tings are critical to achieving a realistic effect with faster LFO Ratesgenerally requiring less LFO Amount and vice-versa.

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

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


FXA:StereoChorusMin Delay 036

FXA:StereoChorusFeedback +100

EFFECTS SECTION

FXA:StereoChorusLFO Rate 050

FXA:StereoChorusLFO Depth 050

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

• DelayThe delay line is a stereo effect which can be used for doubling, echoesor fixed formant comb filtering with completely independent delaytime and tap levels for the left and right sides. The delay is shown inthe diagram below.


FXA:DelayL DelayTime 120

FXA:DelayL Tap Level 120

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

FXA:DelayR DelayTime 060

FXA:DelayR Tap Level 120

EFFECTS SECTION

FXA:DelayFeedback 120

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


• EchoThe Echo produces echoes up to 400 milliseconds in length (twice thatof the Delay and Cross Delay effects). The feedback path is indepen-dent of the output level and contains a low pass filter which simulatesan analog tape echo. The left and right signals are kept completelyindependent throughout the effect and have separate controls exceptthe feedback amount control which affects both channels.

EFFECTS SECTION

FXA:EchoL DelayTime 120

FXA:EchoL Tap Level 127

FXA:EchoR DelayTime 100

FXA:EchoR Tap Level 127

FXA:EchoFeedback 100


B EFFECTSThe B effects include Stereo Flanger, Stereo Chorus, Phaser, Fuzz, RingModulator, Delay, Cross Delay and Fuzz Lite. Some of the B effectssuch as the Fuzz and the Ring Modulator are a bit bizarre (you won'twant to use them on every sound), but can be used to create sometruly amazing effects. The B effects can additionally be routed throughthe A effect as shown in the diagram below. Simple effects such as Fuzzcan take on a completely new character when routed through theReverb.

EFFECTS SECTION

• Stereo Delay BThe B Delay is identical to the delay line in the A effect group exceptthat the maximum delay time is 104 milliseconds (instead of 209milliseconds). This delay is useful for short echoes, slapback and dou-bling effects, as well as for fixed formant comb filtering. Like StereoDelay A, the feedback parameter is extremely stable even with highamounts, making it useful as a resonator for “infinite” delays.

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


STEREO FUZZThe Stereo Fuzz introduces a controlled distortion to any signal pass-ing through it. Distortion creates harmonics by clipping the top of thewave when it exceeds a certain level. Sine waves are transformed intosquare waves and complex waves take on noise-like qualities. There aretwo types of fuzz in Morpheus: Fuzz and Fuzz Lite.

• FuzzThis Fuzz is probably the grungiest fuzz you have ever heard. Twofilters, one at the input and one at the output of the fuzz, allow you tocontrol the amount and type of harmonics added to the sound. TheInput Filter controls the amount of harmonics produced by the fuzzand the Output Filter removes harmonics at the output, smoothingthe sound. Higher values allow more harmonics to pass. The level ofthe input sound greatly affects the amount of fuzz, so that Morpheus'envelopes can now control harmonic content as well as the volume.Output Volume sets the output level of the fuzz. There are two com-plete fuzz effects, controlled by the same set of controls as shown inthe diagram below.

EFFECTS SECTION

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

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

• Fuzz LiteThis is a more restrained type of fuzz utilizing “soft-clipping”. As thelevel increases, the waveform through Fuzz Lite becomes somewhatsquared. As signal level is increased further, it transforms into a squarewave. There is no Output Volume control on Fuzz Lite.


• Ring ModulatorA Ring Modulator is a device which takes two signals and multipliesthem together into one resultant signal containing only the sum anddifference frequencies of the two input waves. The original frequen-cies are not output! However, every harmonic of each signal multipliesevery other, according to its amplitude. As a result, ring modulatorstend to generate a lot of non-harmonic frequencies which can soundvery bell-like or out of tune.

This diagram shows the result of Ring Modulating two sine waves with frequencies of200 Hz and 800 Hz. Only the Sum and Difference frequencies of 1000 Hz and 600Hz will result.

EFFECTS SECTION


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

EFFECTS SECTION

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

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

FXB:RingModulateNone ---

Chapter 6: Hyperpreset Menu 57

HYPERPRESETMENU


HYPERPRESET MENU

THE HYPERPRESETA Hyperpreset is a group of one to sixteen presets which have beenassigned to areas of the keyboard in order to have more than one soundavailable at once. Presets are assigned to ranges of the keyboard calledZones and may include 1 key or all 128 keys. Zones may be placedadjacent to each other (to create a split keyboard) or may overlap (tocreate fat, layered sounds). Each zone has its own volume, pan, trans-pose, tuning and velocity range.

••• An additional 128Hyperpresets can be storedon a memory card.

Compare Mode must beturned On in the MasterMenu for the Comparefeature to work.

In order to HEAR theHyperpreset as you edit it,you must have it assigned toa MIDI channel in the mainscreen.

To enable the Hyperpreset menuPress the Hyper button, lighting the LED. The current screen willbe the one most recently selected since powering up Morpheus.The Hyperpreset to be edited will be the LAST one selected oredited. The cursor will appear underneath the first character ofthe screen heading on line one.

To select a new screenPress the Home/Enter button or press a cursor button repeatedlyuntil the cursor is underneath the screen title heading. Rotate thedata entry control to select another screen.

To modify a parameterPress the Cursor button repeatedly (or hold the right cursorbutton while turning the data entry control) until the cursor isunderneath the parameter value. Rotate the data entry control tochange the value.

To compare an edited Hyperpreset with the unedited originalPress the Hyper button, turning off the LED. The unedited Hyperis now active. Changing the Hyperpreset number will erase theedit. To hear the edited hyperpreset again, press the Hyper but-ton, lighting the LED.

To return to the main screenPress the Hyper button, turning off the LED.

Up to sixteen presets can be assigned to the keyboard in any desired arrangement


• Preset to Zone AssignmentThis function allows you to select the preset which will be assigned toeach of the sixteen keyboard zones. Position the cursor under the zonenumber and use the data entry control to change the zone number.Position the cursor under the preset number and use the data entrycontrol to change the preset associated with each zone. Any preset canbe assigned to a zone. Set the preset number of unused zones to Off(located below preset 000).

PRESET Z01003 Multi/Split

HYPERPRESET MENU

HYPERPRESET MENU FUNCTIONS

• Hyperpreset NameHyperpreset Name allows you to name each of the 128 hyperpresetswith a name of up to 12 characters. Position the cursor under thecharacter location and use the data entry control to change the charac-ter. The keyboard can also be used to select characters. The chart belowshows the keyboard character assignments.

HYPERPRESET NAME000 Bass/Lead

If the Auto-Select functionn the Master Menu) isurned On, Zones will beelected as the keyboard islayed. In the case ofverlapping zones, the lowestone number will be selected.elocity will select the zone ifelocity switching has beenrogrammed.

2

0


• Zone Volume and PanThis function sets the Volume and Pan position for each zone. Volumeallows you to adjust the relative volume between presets and panallows you to change the position of each zone in the stereo field. TheVolume control acts as an attenuator on the preset volume. It cannotincrease the volume past the setting programmed in the preset. ThePan control adds algebraically to the pan value programmed in thepreset. Therefore if the preset pan setting is -7, (full left) a hyperpresetpan setting of +14 would move the sound to (+7) the extreme right sideof the stereo field.

Position the cursor under the zone number and use the data entrycontrol to change the zone number. Position the cursor under thevolume or pan number and use the data entry control to change thevalue for each zone.

VOLUME PAN Z01127 +00

• Zone Key RangeKey range sets the keyboard range associated with each of the sixteenpossible zones. The key range of each zone can be set anywhere fromkey C-2 to G8.

By placing the key ranges next to each other on the keyboard, multipleinstruments can be accessed simultaneously. This is called “splitting”the keyboard because the keyboard is literally split up into differentsections each containing a different sound.

If multiple presets are placed on the same range of the keyboard, theywill all be played simultaneously. This is called “layering” since mul-tiple presets are layered on top of one another. This results in a verydense, “fat” sound.

KEY RANGE Z01C-2 -> G8

HYPERPRESET MENU


• Zone Velocity RangeEach zone can be given its own velocity range so that different presetswill be selected according to the keyboard velocity. Imagine two pre-sets assigned to the same keyboard range. If one preset were assignedthe 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 velocities65 and above would select the second preset. Because there are sixteenpossible zones, presets can be layered 16 deep!

VEL RANGE Z01low:000 hi:127

Zone Velocity Range allows you to select different preset layers according to keyvelocity.

HYPERPRESET MENU


• Zone Velocity OffsetThis function works in conjunction with the Zone Velocity Rangefeature and adds a programmable offset value to the velocity valueapplied 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 previ-ous screen). If the preset was programmed with velocity to volume ortone, the low velocity range will make the preset soft and muted. Byoffsetting the velocity value to the preset by +100, the preset willreceive velocity values of 100-126 instead of 000-026 and the presetwill sound normal again.

VEL OFFSET Z01+000

• Zone TransposeThe key of each zone can be transposed in half-step intervals. Therange of the transpose function is ±36 semitones (three octaves up ordown). Transpose shifts the relative position of the keyboard in rela-tion to middle C rather than actually changing the tuning of the zone.

TRANSPOSE Z01+36

• Zone Pitch TuneThe tuning of each zone can be adjusted in coarse and fine increments.The coarse tuning adjustment tunes the zone in semitone increments.This is different from the transpose function in that the sounds areactually retuned, rather than having the relative key position changed.This control can produce radical timbre shifts in the sampled sounds.The range of the coarse tuning control is ±36 semitones (±3 octaves).The fine tuning control changes the pitch in 1/64 semitone increments(approx. 1.56 cents). The fine tuning range is ±1 semitone.

PITCH TUNE Z01crse+36 fine+64

HYPERPRESET MENU

If the Auto-Select function(in the Master Menu) isturned On, Zones will beselected as the keyboard isplayed.


HYPERPRESET MENU

•• The function generatorhapes are diagrammed onage 214 of this manual.

• Hyperpreset Portamento ModeThis function sets the number of notes that will be affected by porta-mento for all presets in a hyperpreset which have portamento turnedOn. It works exactly the same as preset portamento mode, but controlsthe mode for the hyperpreset.

If the Portamento Mode is set to two keys and a three-note chord isplayed, only two of the notes will glide. Notes will glide from theprevious note or notes played. By setting the number of keys to matchthe number of notes in your chords, smooth glides between thosechords can be accomplished without having notes glide in from ran-dom starting points. The number of keys can be set from mono to five-note polyphonic.

PORTAMENTO MODEPoly 2 keys

Free-Run Function GeneratorThe function generator is another kind of modulation source which ismuch more programmable than an envelope generator or an LFO(although it can function as either). The function generator can beused when you want the type of complex control that a normal AHDSRenvelope cannot provide. See the Function Generator description inthe Preset Programming section for complete details.

FREE-RUN FG S1Level +127

Function Generators contain up to eight segments, each with a level, time, shape,and conditional jump parameter. The Free-Run FG is a kind of “Master” controllerwhich can control all presets contained in a hyperpreset.


HYPERPRESET MENU

Hyperpresets contain a slightly different version of the function genera-tor called a Free-Running Function Generator or Free-Run FG. There isone Free-Run FG per hyperpreset (effectively one per MIDI channel).What the Free-Run FG actually controls is programmed in the presetitself.

The Free-Run FG differs from the other FGs in two fundamental ways.There is one Free-Run FG per Hyperpreset which can modulate anypresets in the hyper which have the Free-Run FG assigned. This differsfrom the 2 function generators in the preset which are completelyindependent from note to note. Because the Free-Run FG is like a globalmodulation source, it can be used when you want to modulate multiplesounds in the same way. The Free-Run FG is only active whenplaying a Hyperpreset.

For example, you could program the Free-Run FG to be an LFO andmodulate the pitch. All the voices in all presets in that hyperpresetwith Free-Run FG assigned would modulate up and down inunison.The Free-Run FG begins the instant the hyperpreset is selectedand continues to run until stopped by its programming or when an-other hyperpreset is selected. If the Free-Run FG is not pro-grammed to loop, it simply runs to the last segment andstops! Because it continually runs (if so programmed) and is notstarted at the beginning of a note like the preset function generators, itis called “free-running”.

The Free-Run Function Generator only works in a Hyperpreset, even though themodulation routing is made in the preset.

••• See the ProgrammingBasics section of this manualfor additional information onthe Function Generators.


HYPERPRESET MENU

The functions of the Free-Run FG are almost identical to the preset FG'sexcept that the conditional jumps are more limited. The conditionaljumps 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 stillon.

Note On Imm. .............. Jumps immediately if the note is still on.

Note Off End ................ Jumps at the end of the segment if the note is off.

Note Off Imm. ............. Jumps immediately if the note is off.

Footsw. 1-3 End ........... Jumps at the end of the segment if the selectedFootswitch is pressed.

Footsw. 1-3 Imm. ........ Jumps immediately if the selected Footswitch ispressed.

• Save HyperpresetChanges made to a hyperpreset are NOT made permanent until thehyperpreset is Saved. To save a hyperpreset, move the cursor to thebottom line and select the location for the new hyperpreset with thedata entry control. The Enter LED will be flashing. Pressing the Enterswitch will confirm the operation. Any of the hyperpreset locationsmay be selected. Saving to a hyper erases the existing hyper in thatlocation. Make sure that the destination does not contain informationyou want to keep.

SAVE HYPER to...000 SynBass/Lead

2

Chapter 7: Preset Programming 83

PRESET PROGRAMMING


PRESET PROGRAMMING

The Tone filter is a simple low-pass tone control which can be used todarken the tone of an instrument. The Z-Plane filter is an ultra-powerful synthesizer filter which can dramatically alter the sound ofan instrument.

To understand how a filter works we need to understand what makesup a sound wave. A sine wave is the simplest form of sound wave. Anywaveform except a sine wave can be analyzed as a mix of sine waves atspecific frequencies and amplitudes.

One way to represent complex waveforms is to use a chart with fre-quency on one axis and amplitude on the other. Each vertical line ofthe chart represents one sine wave at a specific amplitude andfrequency.

20

40

60

80

100

40 80 160 360 720 1440 2880

Frequency

...

Am

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Any waveform can be analyzed as a mixture of sine waves.

FILTER MODULATIONThe block diagram of a single channel is shown below.

R

L

PanInstrument Tone DCAMorphFilter


PRESET PROGRAMMING

A filter that lets only the high frequencies pass is called a High PassFilter.

A filter which only lets a certain band of frequencies pass is called aBandpass Filter.

WHAT IS A FILTER?Most of the instruments in Morpheus are complex waves containingmany sine waves of various amplitudes and frequencies. A filter is adevice which allows us to remove certain components of a sounddepending on its frequency. For example, a Low Pass Filter lets thelow frequencies pass and removes only the high frequencies.

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Frequency...

Am

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Output of Filter

Low PassFilter

Cutoff Frequency

20

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40 80 160 360 720 1440 2880

Frequency...

Am

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Initial Frequency

High PassFilter

20

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40 80 160 360 720 1440 2880

Frequency...

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Center Frequency

FilterOutput

Band PassFilter


PRESET PROGRAMMING

A Notch Filter is just the opposite of a bandpass filter and is used toeliminate a narrow band of frequencies.

Another control found on traditional filters is called Q or resonance. Alowpass filter with a high Q would emphasize the frequencies aroundthe cutoff frequency. The chart below shows how different amounts ofQ affect the low pass filter response. In terms of sound, frequenciesaround the cutoff will tend to “ring” with high Q settings. If the filteris slowly swept back and forth, with a high Q, various overtones willbe “picked out” of the sound and amplified as the resonant peaksweeps over them. Bells and gongs are real world examples of soundswhich have a high Q.

Another parameter on a filter is the number of poles it contains.Traditional synthesizer filters were usually either 2-pole or 4-polefilters. The number of poles in a filter describes the steepness of itsslope. The more poles, the steeper the filter's slope and the strongerthe filtering action. The tone controls on your home stereo are prob-ably one-pole or two-pole filters. Parametric equalizers are usuallyeither two-pole or three-pole filters. In terms of vintage synthesizers,Moog and ARP synthesizer filters used 4-pole filters, Oberheim synthe-sizers were famous for their 2-pole filter sound.

Frequency

Am

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4-poleLowpass

2-poleLowpass

Frequency

Am

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PRESET PROGRAMMING

Using a filter, we now have a way to control the harmonic content ofa sampled sound. As it turns out, even a simple low pass filter cansimulate the response of many natural sounds.

For example, when a piano string is struck by its hammer, there areinitially a lot of high frequencies present. If the same note is playedsofter, there will be fewer of the high frequencies generated by thestring. We can simulate this effect by routing the velocity of thekeyboard to control the amount of high frequencies that the low passfilter lets through. The result is expressive, natural control over thesound.

If an envelope generator is used to control the cutoff frequency of alow pass filter, the frequency content can be varied dynamically overthe course of the note. This can add animation to the sound as well assimulate the response of many natural instruments.

PARAMETRIC FILTERSA more complex type of filter is called a parametric filter. A parametricfilter gives you control over three basic parameters of the filter. Thethree parameters are: Frequency, Bandwidth, and Boost/Cut. The Fre-quency parameter allows you to select a range of frequencies to beboosted or cut, the Bandwidth parameter allows you to select thewidth of the range, and the Boost/Cut parameter either boosts or cutsthe frequencies within the selected band by a specified amount. Fre-quencies not included in the selected band are left unaltered. This isdifferent from a band pass filter which attenuates (reduces) frequenciesoutside the selected band.

Boost

Cut

Freq.

0 dB

+18 dB

-18 dB

Bandwidth

Frequency

Am

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ParametricFilter

The parametric filter is quite flexible. Any range of frequencies can beeither amplified or attenuated. Often times, several parametric sec-tions are cascaded (placed one after another) in order to create com-plex filter response curves.


PRESET PROGRAMMING

If four parametric filter sections were cascaded, it would be possible tocreate the following complex filter response.

Many natural instruments have complex resonances which are basedon their soundboard or tube size. The resonance shown above wouldbe impossible to create using a normal synthesizer filter.

THE MORPHEUS FILTERThe Morpheus filter is actually much more complex than the fourparametric sections described above. As an example of its power, thediagram below shows one of the possible ways that the Morpheusfilter can be configured. This amount of filtering is unprecedented inall of electronic music history. (Especially when you consider that weare only talking about one of the 32 channels.)

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Linear Frequency - Hertz

dB

Mag

nit

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-5

0

5

15

20

500 10,000 15,000 20,000

4 Parametric Equalizers

Right away you can see that we now have 20 different parameters tocontrol. Ah, there's the catch. How can all these parameters be effec-tively controlled? 20 envelope generators? We don't think so.

In Out

6 Parametric Equalizer Sections1 Low PassSection

Fc Q FcBw

Gain

FcBw

Gain

FcBw

Gain

FcBw

Gain

FcBw

Gain

FcBw

Gain


PRESET PROGRAMMING

Consider, as an example, the human vocal tract, which is a type ofcomplex filter or resonator. There are dozens of different musclescontrolling the shape of the vocal tract. When speaking, however, wedon't think of the muscles, we just remember how it feels to form thevowels. A vowel is really a configuration of many muscles, but weconsider it a single object. In changing from one vowel to another, wedon't need to consider the frequencies of the resonant peaks! Youremember the shape of your mouth for each sound and interpolatebetween them.

THE Z-PLANE FILTERIn a simple Morpheus filter, we would start with two complex filtersand interpolate between them using a single parameter. Refer to thediagram below.

The Morpheus Z-plane filter has the unique abilty to change its function over time.

Filters A and B represent two different complex filters. By changing asingle parameter, the Morph, many complex filter parameters cannow be changed simultaneously. Following along the Morph axis youcan see that the filter response smoothly interpolates between the twofilters. This is the essence of the Z-plane filter. Through the use ofinterpolation, many complex parameters are condensed down intoone manageable entity.

This Z-Plane filter sweep can be controlled by an envelope or functiongenerator, an LFO, modulation wheels or pedals, keyboard velocity,key pressure, etc. In fact, any of the modulation sources can controlthe Z-Plane filter.

Frequency

Am

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Morph

A Filter

B Filter

Morph


PRESET PROGRAMMING

Because creating the complex filtering is difficult and very time con-suming, we have created hundreds of filters and installed them perma-nently in ROM for your use. You simply select and use the filters in amanner similar to choosing an instrument. Because there are so manytypes of filters to choose from, the number of possible permutations isstaggering. For example, you could play a guitar sound through avocal tract filter and create a talking guitar sound. Or you could havean acoustic guitar whose body shape changes as you play.

In the current example, two complex filters were created and theMorph parameter was used to interpolate between them. This is thesimplest way to visualize a Morpheus filter

Morph

The next logical extension of this two filter model would be to add yetanother filter pair. The diagram below shows an example using fourfilters. Now we have two parameters that can be controlled.

The diagram above, adds a Frequency Tracking parameter which variesthe frequency of the filter. If we had set the frequency tracking andmorph parameters as shown in the diagram above, the dot wouldrepresent the resulting filter position: a mixture of all four, but closestin nature to the left rear filter.

In the Morpheus filter there is only one parameter that can be continu-ously varied in realtime and that is the Morph parameter. Other filterparameters, such as Frequency Tracking, can only be changed at note-on time.

Frequency Tracking

Morph(Envelope,Wheel,LFO, etc.)

(Set at Note-On Time)

••• See the Step-By-Stepchapter for more informationon the Z-plane filters.


PRESET PROGRAMMING

Suppose we added yet another dimension to the filter model. Wecould have the realtime Morph parameter, the Frequency Trackingparameter (set at note-on time) and one more parameter, perhapscontrolling the amount of the filter peaks with key velocity. A way tovisualize a three-dimensional filter model is shown by the diagrambelow.

••• Note: The FrequencyTracking parameter isTransform 1.

••• If the frequency graphsat the corners of the cube areconfusing you, think of themas the settings on a graphicequalizer.

Each axis of the three-dimensional cube changes the filter in a differ-ent way. In the example above, key number is being applied to theFrequency Tracking parameter in order to make the filter frequencytrack or follow the notes played on the keyboard. Assigning the Key-board to frequency is called Key Tracking and is used to keep the tim-bre of the sound constant as you play up and down the keyboard.Without key tracking the sound would get duller as you move up thekeyboard and could sound completely different at opposite ends of thekeyboard. Because Frequency Tracking is so important it has beenassigned its own parameter which is used in many of the filters (thereare exceptions).

In the filter model above, there is another note-on (defined at the timethe note is pressed) parameter, Transform 2. Unlike the FrequencyTracking parameter, the effect of Transform 2 may vary from filter tofilter. In the example above, Transform 2 is being used to vary the sizeof the peaks and notches in the filter. The frequency plots in theupper plane of the cube have sharper peaks. Key velocity could beused to control Transform 2 and the sharpness of the filter peaks.

The Cube filters are actually constructed of eight different complex filters.

Key Number

Frequency Tracking

Tran

sfor

m 2

Vel

oci

ty

Mor

ph

Mor

ph

Tran

sfor

m 2

Tran

sfor

m 2

Mor

ph

Tran

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Real-T

ime

Mor

ph

Frequency Tracking

Frequency Tracking

Frequency Tracking


PRESET PROGRAMMING

• Another ViewAnother 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 permuta-tions in order to use it. You just need to know what the controls doand listen to the sound. Each Z-Plane filter is described in the Refer-ence Section of this manual.

FilterLevel

MorphOffset

Freq.Track

Transform2

Reverse

Filter Type

The Morph and Transform 2 parameters vary in function from filter tofilter. About half of the Z-Plane filters are not Cubes andtherefore DO NOT use Transform 2. The Frequency Trackingparameter usually controls the frequency of the filters, moving peaks,shelves or notches up and down in frequency. Refer to the ReferenceSection of this manual for specific information on each filter.

Many of the filter types in Morpheus are models of traditional acousticinstruments such as electric piano or guitar. When an electric pianosample is played through an electric piano filter, the harmonics of thesample can now be controlled using the filter parameters.

Of course, you can put any instrument through the filter and the filterwill shape the basic character of the instrument. This “building-block”approach to synthesis is only a part of what makes Morpheus such aunique and powerful synthesizer.

Lowpass Filter Morphing into a Bandpass Filter

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The Z-Plane filter can change its function in time.

Imagine a Lowpass filter transforming into a Bandpass filter. TheMorph parameter (Morph Offset) typically handles this type offunction.

••• On some filters, theFrequency Tracking param-eter DOES NOT control thefilter frequency. See the filterdescriptions in the ReferenceSection for details.


PRESET PROGRAMMING

MORPHEUS SIGNAL FLOWGoing back to the block diagram for a single channel we can re-exam-ine the complete signal path.

InstrumentThis is the sampled sound wave. The pitch of the instrument canbe modulated by any modulation source. The sample start pointcan only be modulated by a velocity or key source (see the nextpage).

ToneTone is a simple low-pass tone control which can be used todarken the sound. Tone can only be set at Note-On time (see thenext page). Key velocity is commonly used to modulate the tone(in a negative way) so that the harder you play, the brighter thesound becomes.

Z-Plane FilterThe Z-Plane Filter controls the harmonic content of an instru-ment in a highly controlled manner. Any modulation source canbe used to control the various aspects of this complex filter.

DCADigitally Controlled Amplifier. Together with the AlternateVolume AHDSR, the DCA is used to shape the volume contour ofa sound. The DCA can be controlled by any modulation source.Key Velocity is often used as a modulation source for the DCA sothat the harder you play, the louder the sound becomes.

PanAdjusts the balance of sound between the left and right channels.

R

LVolume

Pan

VolumeAHDSR

Instrument

PitchSampleStart

ToneZ-Plane Filter

DCA

Aux.DAHDSR

Velocity

KeyPosition

MorphFreqTrk

FunctionGen. Possible

ModulationSources

Trans2

The vertical arrows represent possible modulation routings to the basic signal path.


PRESET PROGRAMMING

NOTE-ON CTRL #0Vel Attack +064

NOTE-ON MODULATION CONTROLModulation sources must be connected to a destination in order tohave any effect. The diagram and the LCD screen above show howmodulation sources are connected to destinations. The modulationsources can control any of the destinations indicated by the smallarrows.

Note-On modulation sources are only measured once at Note-Ontime, hence the name. Even a controller like the Pitch Wheel is onlymeasured once (at note-on time) when routed as a Note-On control.The Realtime Modulation screen (on the next page), allows continu-ous variation.

The possible modulation routings are completely flexible as shown inthe diagram above. Multiple sources can control the same destination,or a single source can control multiple destinations.

Source

Patch Number

ModulationAmount

Destination

Note-OnModulation SourcesKey Number, Key VelocityInitial Pitch Wheel AmountInitial Controller A AmountInitial Controller B AmountInitial Controller C AmountInitial Controller D AmountInitial Mono Pressure AmountInitial FR Func. Gen. Amount

DestinationsOffPitch, Primary PitchSecondary PitchVolume, Primary VolumeSecondary VolumeAttack, Primary AttackSecondary AttackDecay, Primary DecaySecondary DecayRelease, Primary ReleaseSecondary ReleaseCrossfadeLFO 1 Amount, LFO 1 RateLFO 2 Amount, LFO 2 RateAuxiliary Envelope AmountAuxiliary Envelope AttackAuxiliary Envelope DecayAuxiliary Envelope ReleaseFunction Gen 1 AmountFunction Gen 2 AmountPortamento RatePrimary Portamento RateSecondary Portamento RateFilter MorphPrimary Filter MorphSecondary Filter MorphPan, Primary PanSecondary PanSample StartPrimary Sample StartSecondary Sample StartTone, Primary ToneSecondary ToneFilter Level, Primary Filter LevelSecondary Filter LevelFilter Frequency TrackPrimary Filter Frequency TrackSecondary Filter Freq. TrackFilter Transform 2Primary Filter Transform 2Secondary Filter Transform 2

LFO 1

Amount Rate

LFO 2

Amount Rate

R

LVolume

PanPrimary

InstrumentPitch

SampleStart

Tone

VELOCITY

VELOCITYCURVE

KEY NUMBER

KEYBOARDCENTER

Note-On Modulation Sources

X-Fade

Atk Dec Rel

VolumeAHDSR

R

LVolume

PanSecondaryInstrument

PitchSampleStart

Tone

Atk Dec Rel

VolumeAHDSR

PortamentoRate

DCA

DCA

Modulation Destinations

AuxiliaryDAHDSR

AmtAtk Dec Rel

CONTROLLERA-B-C-D

(INITIAL SETTING)

PRESSURE(INITIAL SETTING)

FR FUNCTIONGENERATOR(INITIAL SETTING)

PITCH WHEEL(INITIAL SETTING)

FunctionGenerator 1

AmountCond

FunctionGenerator 2

AmountCond

Z-PlaneFilter

T2TrkMorphAttn.

Z-PlaneFilter

T2TrkMorphAttn.


PRESET PROGRAMMING

RealtimeModulation SourcesPitch WheelMIDI Control AMIDI Control BMIDI Control CMIDI Control DMono PressurePolyphonic PressureLFO 1, LFO 2Auxiliary EnvelopeFunction Generator 1Function Generator 2Free-Run Function Generator

DestinationsOffPitch, Primary PitchSecondary PitchVolume, Primary VolumeSecondary VolumeAttack, Primary AttackSecondary AttackDecay, Primary DecaySecondary DecayRelease, Primary ReleaseSecondary ReleaseCrossfadeLFO 1 Amount, LFO 1 RateLFO 2 Amount, LFO 2 RateAuxiliary Envelope AmountAuxiliary Envelope AttackAuxiliary Envelope DecayAuxiliary Envelope ReleaseFunction Gen 1 AmountFunction Gen 2 AmountPortamento RatePrimary Portamento RateSecondary Portamento RateFilter MorphPrimary Filter MorphSecondary Filter MorphPan, Primary PanSecondary Pan

REALTIME CTRL #9PWhl Pitch +064

REALTIME MODULATION CONTROLRealtime modulation sources are parameters which can be continu-ously varied over time. The velocity and keyboard modulations, incomparison, are set at the key depression. Modulation sources must beconnected to a destination in order to have any effect.

The diagram and the LCD screen above show how modulation sourcesare connected to destinations. The modulation sources can controlany of the destinations indicated by the small arrows. The possiblemodulation routings are completely flexible as shown in the diagramabove. Multiple sources can control the same destination, or a singlesource can control multiple destinations.

When Modulating Enve-lope Attack, Decay orRelease Times:

Positive amounts of modula-tion increase the time.

Negative amounts of modu-lation decrease the time.

Source

Patch Number

ModulationAmount

Destination

Realtime Modulation Sources

POLYPRESSURE

MONOPRESSURE

MIDICONTROLLER

A/B/C/DLFO 2

AUXILIARYENVELOPELFO 1PITCH WHEEL

AuxiliaryDAHDSR

AmtAtk Dec Rel

LFO 1

Amount Rate

LFO 2

Amount Rate

Modulation DestinationsR

LVolume

Pan

Atk Dec Rel

VolumeAHDSR

PrimaryInstrument

Pitch

ToneZ-Plane

Filter

X-Fade

R

LVolume

Pan

Atk Dec Rel

VolumeAHDSR

SecondaryInstrument

Pitch

ToneZ-Plane

Filter

Morph

Morph

PortamentoRate

DCA

DCA

FUNCTIONGENERATOR

FREE-RUNFUNCTION

GENERATOR

FunctionGenerator 1

Amt

FunctionGenerator 2

Amt


PRESET PROGRAMMING

KEY NUMBERThe Key Number is affected by the Keyboard Center parameter whichcan be set to any key from A-1 to C7. The keyboard center establishesa reference point for keyboard modulation; keys above this point willhave a positive value, while keys below it will be negative. For ex-ample, if we wished to change the volume of an instrument using keynumber and the key center were set to key A1, the instrument wouldget progressively louder above A1 and progressively softer below A1.

KEY CENTER

+

-

0

-

+

0

20

40

60

80

100

120

0 20 40 60 80 100

Played Velocity120

Res

ult

Vel

oci

ty

Curve 4

Curve 2

0

20

40

60

80

100

120

0 20 40 60 80 100

Played Velocity120

Res

ult

Vel

oci

ty

Curve 3

0

20

40

60

80

100

120

0 20 40 60 80 100

Played Velocity120

Res

ult

Vel

oci

ty

Curve 1

0

20

40

60

80

100

120

0 20 40 60 80 100

Played Velocity120

Res

ult

Vel

oci

ty

VELOCITY CURVESIncoming velocity values can be scaled by one of the four velocitycurves or by one of the eight Global velocity curves in order to matchyour playing style or better adapt to the MIDI controller. Experimentwith the curves to find the one that works best for your style andMIDI controller.


PRESET PROGRAMMING

MIDI REALTIME CONTROLSThe MIDI realtime controllers may seem confusing at first, but theyare really very simple to understand. You probably already know thatthere are 16 MIDI channels that can be used. Each of the 16 MIDIchannels uses basically 3 types of messages; note on/off, programchanges, and continuous controller messages. Your MIDI keyboard, inaddition to telling Morpheus which note was played, may also sendrealtime control information, which simply means occurring in realtime or live. (You may be using a MIDI device other than a keyboard,but for simplicity's sake we'll presume that you're using a keyboard.)Realtime control sources include such things as pitch wheels or levers,modulation wheels or levers, control pedals, aftertouch, etc. and areused to add more expression or control. Your MIDI keyboard sends outrealtime controller information as continuous controllers. There is a setof 32 continuous controllers for each of the 16 MIDI channels. Someof the controllers, such as pitch wheel, volume, and pan have stan-dardized numbers. For example, volume is usually sent on continuouscontroller #7.

NoteOn/Off

ContinuousControllers

MIDIChannel 16

ProgramChange

NoteOn/Off


MIDIChannel 3

ProgramChange

NoteOn/Off


MIDIChannel 2

ProgramChange

NoteOn/Off


MIDIChannel 1

ProgramChange

••• MIDI wind controllersmay work better if you assignone of the MIDI A, B, C, Dcontrollers to control volume.This will allow the MIDIvolume to be added to thecurrent volume.

Common realtime controllers such as the pitch wheel, volume, panand pressure are pre-programmed to their proper destinations. Yourkeyboard may have other realtime controls such as a control pedal ordata slider which can also be programmed to control most of theparameters on Morpheus.

Morpheus is equipped with the sophisticated MidiPatch™ system,which allows you to route any continuous controller to any realtimemodulation destination. The MidiPatch system is also very easy to use.First, you must know which controller numbers your keyboard cantransmit.

Let's say for example, that you are using a Yamaha DX7 as your masterkeyboard. The DX has pitch and mod. wheels, a breath controller, adata slider and a foot pedal, all of which transmit their values overMIDI. The standard MIDI controller numbers for the controls are listedbelow (the pitch wheel has a dedicated controller, PWH).


PRESET PROGRAMMING

First, we would go to the Master menu, MIDI Controller Assign anddefine the 4 MIDI controllers that we wish to use. Assign each control-ler number to one of the lettersA-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 Editmenu, Realtime Modulation Control, and route the MIDI A, B, C, D tothe desired destinations. These could be patched to any four destina-tions or even to the same destination. The MIDI Controller Amountmenu, (in the Preset menu) allows you to scale the amounts of each ofthe controllers by a positive or negative value. The signal flow isshown in the diagram below.

The MIDI controllers A-B-C-D must have both a source (0-31), and a controldestination assigned.

0123

31

MIDI

ControllerC

Control Destinations

+-

MasterMenu

EditMenu

A

B

C

D

0123

31

MIDI

ControllerA

0123

31

MIDI

ControllerB

0123

31

MIDI

ControllerD

MIDI

Amount

+-

+-

+-

PitchPrimary Pitch onlySecondary Pitch onlyVolumePrimary Volume onlySecondary Volume onlyAttackPrimary Attack onlySecondary Attack onlyDecayPrimary Decay onlySecondary Decay onlyReleasePrimary Release onlySecondary Release onlyCrossfadeLFO 1 RateLFO 1 AmountLFO 2 RateLFO 2 AmountAuxiliary Envelope AmountAuxiliary Envelope AttackAuxiliary Envelope DecayAuxiliary Envelope ReleasePortamento RatePrimary Portamento RateSecondary Portamento RateFilter MorphPrimary Filter MorphSecondary Filter MorphPanPrimary PanSecondary Pan

Standard MIDIController Numbers

1 Modulation Wheel

2 Breath Controller

3 Pressure (Rev 1 DX7)

4 Foot Pedal

5 Portamento Time

6 Data Entry

7 Volume

8 Balance

9 Undefined

10 Pan

Chapter 8: Preset Menu 99

PRESETMENU


PRESET MENU

••• While the Preset menuis activated, incoming MIDIpreset changes are ignored.This is a quick and easyway to temporarily turnMIDI Program Change OFF.

The Preset menu contains functions that can be modified by the userand then saved as preset information in one of the user presets. Forexample, the LFO speed or other parameter can be edited, then thepreset can be saved to a user location (0-127, bank 0).

WARNINGChanges made in the Preset menu will be forever lost unlessthe preset is “saved” using the Save Preset function (page127) before changing the preset.

To enable the Preset menuPress the Preset button, lighting the LED. The current screen willbe the one most recently selected since powering up the machine.The cursor will appear underneath the first character of the screenheading on line one.


To modify a parameterPress the cursor button repeatedly (or hold the right cursor buttonwhile turning the data entry control) until the cursor is under-neath the parameter value. Rotate the data entry control tochange the value.

To compare an edited preset with the original presetPress the preset button, turning off the LED. The unedited presetis now active. Changing the preset number will erase the edit. To hearthe edited preset again, press the Preset button, lighting the LED.The stored version of the preset will be heard whenever you are inthe main screen.

To return to the main screenPress the Preset button, turning off the LED.



PRESET MENU

PRESET MENU FUNCTIONS

• Preset NamePreset Name allows you to name each of the user presets with a name ofup to 12 characters. Position the cursor under the character locationand use the data entry control to change the character. The keyboardcan also be used to select characters. The chart below shows the key-board character assignment.

PRESET NAME000 Untitled

• Primary InstrumentThis function allows you to select which of the available instrumentsounds (or none) will be placed on the primary layer of the current userpreset.

INSTRUMENT priI003 DancerSynth

• Secondary InstrumentThis function allows you to select which of the available instrumentsounds (or none) will be placed on the secondary layer of the currentuser preset.

INSTRUMENT secI038 Rock Organ

02

3

57

8

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••• Changing the instrumentis a simple way to create anew sound while retaining allother parameters of thepreset.

0


PRESET MENU

• VolumeVolume sets the amplitude of the primary and secondary instruments.This function also allows you to compensate for the relative volumedifferences between instruments.

VOLUMEpri:127 sec:64

• PanPan allows you to independently set the initial pan position of theprimary and secondary instruments. A value of -7 pans the instrumenthard left and a value of +7 pans the instrument hard right. This pansetting is only valid if “P”, for preset pan, is selected in the main display(or the Midimap).

PANpri:-7 sec:+7

• Key RangeKey range sets the keyboard range of both primary and secondaryinstruments. This sets the keyboard range for the entire preset and willfurther limit the primary and secondary keyboard ranges. The key rangecan be set anywhere from C-2 to G8.

KEY RANGEC-2 -> G8

C-2 C-1 C0 C1 C2 C3 C4 C5 C6 C7 C8

= Standard 5 Octave Keyboard Range

Morpheus Keyboard RangeMIDIKey #

KeyName

0 12 24 36 48 60 72 84 96 108 120 127


• Primary Key RangeKey range sets the keyboard range of the primary instrument. This isuseful for creating positional crossfades and keyboard splits between theprimary and secondary layers. The key range can be set anywhere fromC-2 to G8.

KEY RANGE priC-2 -> G8

• Secondary Key RangeKey range sets the keyboard range of the secondary instrument. The keyrange can be set anywhere from C-2 to G8.

KEY RANGE secG#4 -> G8

PRESET MENU

This diagram shows how instruments can be layered or “stacked” using the primaryand secondary instruments.

This diagram shows how a “split” keyboard can be programmed using the primaryand secondary instruments.

••• Entire presets can also becombined to form split orlayered keyboards. See thechapter on Hyperpresets inthis manual.

Primary InstrumentKey Range

Key Range

SPLIT KEYBOARD

Secondary Instrument

Pri Instr.

Sec Instr.

LAYERING TWO INSTRUMENTS

Key Range


PRESET MENU

• TransposeThis function allows you to transpose the key of the primary and second-ary instruments in semitone intervals by shifting the keyboard positionrelative to middle C. The transpose range is -36 to +36 semitones.

TRANSPOSEpri:+00 sec:+00

• Coarse Pitch TuningThis function allows you to change the tuning of the primary and sec-ondary instruments in semitone intervals. The coarse tuning range is -36to +36 semitones.

PITCH TUNE crsepri:+00 sec:+00

• Fine Pitch TuningThis function allows you to change the tuning of the primary and sec-ondary instruments in 1/64 semitone intervals (approx. 1.56 cents). Thefine tuning range is ± 1 semitone.

PITCH TUNE finepri:+00 sec:+00

• Alternate Volume Envelope On/OffEach instrument has its own factory preset AHDSR volume envelopewhich is used if this parameter is set to Off. Turn Alternate VolumeEnvelope On to use the user-programmable alternate envelope.

ALT VOL ENVELOPEpri:Off sec:On

••• Use the Coarse Tuningcontrol to change the tuningof multiple drum instruments.

••• Use Transpose when youwant the instrument's timbreto remain constant.

Use Coarse Tuning when youwant to change the timbre ofthe instrument.


• Primary Alternate Envelope ParametersThis function allows you to adjust the alternate volume envelope para-meters for the primary instrument. The parameters are Attack time,Hold time, Decay time, Sustain level, Release time and are adjustablefrom 00 to 99.

P: A H D S R 00 00 00 99 16

• Secondary Alternate Envelope ParametersThis function allows you to adjust the alternate volume envelope para-meters for the secondary instrument. The parameters are Attack time,Hold time, Decay time, Sustain level, Release time and are adjustablefrom 00 to 99.

S: A H D S R 00 00 00 99 16

• Double + DetuneDouble + Detune “thickens” the sound by doubling the sound and thendetuning it. The amount is variable over a range of 1 to 15. WhenDouble + Detune is on, a particular instrument will use twice as manychannels. If Double + Detune is used for both the primary and second-ary instruments, the preset will use four channels per key.

DOUBLE + DETUNEpri:Off sec:07

PRESET MENU

DCA

Atk Dec Rel

NormalEnvelope

Atk Dec Rel

AlternateEnvelope

••• See pages 73-74 for anexplanation of the envelopeparameters.

••• Shortening the attackand release times of theAlternate Envelope canalleviate channel “ripoff”problems. Morpheus exam-ines the Alternate Envelope todetermine if a channel can bereused.


PRESET MENU

• Sound DelaySound Delay varies the time between the arrival of a MIDI Note-Onmessage and the onset of a note. The delay time is adjustable from 0 to14 seconds (000-127).

SOUND DELAYpri:000 sec:000

• Sound StartThis function allows you to set where a sample begins playing whenyou hit a key. A setting of 000 plays a sound from the beginning, highervalues move the sample start point toward the end of the sound.

SOUND STARTpri:000 sec:000

• Sound ReverseWhen sound reverse is turned On, the instrument will be played back-wards. Since instruments tend to sound very different when reversed,this function extends the number of possible sounds in Morpheus.

SOUND REVERSEpri:Off sec:On

The Sound Start parameter allows you to cut off the beginning of the sound. Highervalues move the start point toward the end of the sound.

SoundS t a r t

••• The Sound Startparameter can be useful toremove the gradual attackof a reversed sound. TheLoop Offset parameterscan also be put to gooduse with reversed sounds.

••• See the Step-By-Stepsection of this manual for anapplication using SoundStart.


PRESET MENU

• NontransposeThis function turns keyboard transposition On or Off for the primaryand secondary instruments. With Nontranspose On, the keyboard willnot control the pitch of the instrument. This is a useful function fordrones or “chiffs”, which you may not want to track the keyboard.

NONTRANSPOSEpri:Off sec:On

• Loop EnableThis function allows you to turn the loop in a sound On or Off. Loopingis a way that sounds can be sustained indefinitely. If you want an in-strument to play once, then stop, turn Off the Loop Enable function.

LOOP ENABLEpri:Off sec:On

• Loop OffsetAll the Morpheus instruments have been factory looped for your conve-nience. The Loop Offset function allows you to modify the Loop StartPoint and the Loop Size so you can create your own loops.

By looping the sound on the attack portion of an instrument, you cancreate new waveforms. The Loop Start and Loop Size parameters cancross sample boundaries so that more than one instrument will play.Sample boundary crossing may be useful to create a special effect orbackground ambience. A Start and Size Offset of 000,000 returns you tothe factory loop setting.

LOOP OFFSET LOOP OFFSETStartP +000,000 SizeP +000,000

LOOP OFFSET LOOP OFFSETStartS +000,000 SizeS +000,000

LOOP OFFSET IDEAS••• Loop offset can be usedto create interesting newtimbres by looping on theattack transient of aninstrument.

••• By traversing severalinstruments you may findinteresting polyrhythms.

••• Extremely LONG loopsizes can create incrediblebackground ambience. Usepitch-shifting and multiplekeys.

In some cases, such as theindividual percussion sounds,looping may not be desirable.If this is the case, turn LoopEnable Off.

Primary

Secondary


• Solo ModeSolo mode provides the playing action of a monophonic instrument. Itcan make wind and string instruments sound more realistic by prevent-ing more than one note from sounding at once. Two types of solo modeare provided: Wind Controller mode and Synth mode. In either solomode, if a new note is played while another is being held, the envelopegenerators do not retrigger and the sample remains in the loop. Thisallows a legato playing technique to be used.

Wind ModeThe envelope generator attack always begins at the start of theattack phase when playing staccato. When playing legato, theenvelope generator stays in the sustain phase.

Synth ModeThe envelope generator attack begins at whatever point in therelease phase is in when a new key is pressed. When playing legato,the envelope generator stays in the sustain phase.

SOLO MODEp:Off s:Wind

Changing the Loop Offset Start point moves the loop forward or backward (+ or-)through the sample memory, keeping the loops size constant. Large changes willmove the loop completely out of the original sample.

Changing the Loop Offset Size alters the size of the loop, leaving the loop start pointstationary. Large positive offsets will enlarge the loop to encompass multiple samples.

Piano Choir Strings Brass Synth

Loop Loop+ Start PointLoop

Sample Memory

- Start Point

Strings Brass Synth

Loop

Loop Size

Sample Memory

PRESET MENU

••• Sounds are looped sothat they will continue tosound as long as the key isheld.

••• When using a negativeloop start point, the soundmay jump back to a pointbefore the start of thesample during the loop cycle.

••• Solo Mode allows you tosimulate certain playingtechniques such as“Tongueing” on a saxo-phone, where the attack isonly heard on certain notes.


PRESET MENU

• Solo Mode PriorityWhen multiple notes are played and held in solo mode, the last noteplayed is always heard. As notes are released, the solo mode prioritydetermines which note will take over from the last note played.

• High Note Priority - If multiple notes are being held in solo mode,the highest key being held will play when the last-played key isreleased.

• Low Note Priority - If multiple notes are being held in solo mode,the lowest key being held will play when the last-played key is re-leased.

• First Note Priority - If multiple notes are being held in solo mode,and the last note is released, the note will jump back to the first note.

• Last Note Priority - If multiple notes are being held in solo mode,only the note last pressed will play. If the note is released it jumpsback to the last note before that.

• Drum - If multiple notes are being held in solo mode, only the notelast pressed will play. If the note is released, no jumping occurs.

SOLO PRIORITYp:Low s:Hi

• Portamento RatePortamento is a smooth gliding between notes instead of the normalinstantaneous change in pitch when a new key is pressed. The porta-mento rate is the time it takes to glide to the new pitch. The larger thevalue, the slower the glide rate. The rate is adjustable from 1-127 or itcan be turned Off. Portamento glides at a linear rate between notes andcan be set separately for the primary and secondary layers. Portamentoworks both in and out of Solo Mode.

PORTAMENTO RATEpri:127 sec:Off

• Portamento ShapeThe portamento is variable from convex exponential (8) to linear, forboth the primary and secondary instruments. Using the exponentialshapes, the portamento rate will slow as the note nears its destination.

PORTAMENTO SHAPEpri:Ex4 sec:Lin

There is a four note limitfor remembering notes in theFirst and Last Note Prioritymodes.

The portamento shape canbe varied from linear toconvex exponential.

Ex4

Lin

Ex8


PRESET MENU

To enable the crossfade orcross-switch functions, youmust assign Crossfade to amodulation source in theRealtime or Note-On Modu-lation screen.

••• To use the keyboard forcrossfade, set the CrossfadeBalance to 64 and the KeyCenter to the split point.

••• See also, Cross-SwitchPoint on page 113.

By overlapping the primary and secondary instruments, you can crossfade or cross-switch between the layers.

• Portamento ModeThis function sets the number of notes that will be affected by porta-mento. For example, if the Portamento Mode is set to two keys and athree-note chord is played, only two of the notes will glide. Notes willglide from the previous note or notes played. By setting the number ofkeys to match the number of notes in your chords, smooth glidesbetween those chords can be accomplished without having notes glidein from random starting points. The number of keys can be set frommono to 5 note polyphonic.


• Crossfade ModeThis function determines which of the following crossfade modes will beselected: Off, Crossfade, or Cross-Switch.

OffWhen “Off” is selected, crossfade is disabled.

CrossfadeWhen “X-Fade” is selected, a control input is used to fade betweenthe primary and secondary instruments. Any modulation sourcemay be used as an input (velocity, wheel, etc.).

Cross-SwitchWhen “X-Switch” is selected, the secondary layer is selected if theinput crosses a certain threshold or if a footswitch controlling cross-switch is activated. The switch occurs only at the start of the note; nofurther switching takes place while the key is held down. If keyposition or velocity is routed to cross-switch, the threshold is theswitch point. Realtime controllers do not have any effect when routedto cross-switch.

XFADE MODEOff

PrimaryInstrumentKey Range

Key Range

SecondaryInstrument

Crossfade Range


PRESET MENU

In order to use theCrossfade or Cross-Switchfunctions, you must assignCrossfade to a modulationsource in the Realtime orNote-On modulation screens.

••• A Crossfade Balancesetting of 000 would beappropriate with a sourcesuch as a modulation wheelor footpedal, either of whichcan only change the value ina positive direction.

• Crossfade DirectionThis function determines the polarity of the crossfade or cross-switch.The direction is either primary secondary, or secondary primary.

XFADE DIRECTIONPri -> Sec

• Crossfade Balance and AmountThe crossfade balance parameter determines the initial balance betweenthe primary and secondary layers. Higher values shift the balance to thesecondary instrument. When the Crossfade Direction is Pri->Sec, Modu-lation subtracts from the primary volume and adds to the secondaryvolume. When crossfade modulation and balance equal 64, the twoinstruments are at equal volume.

The crossfade amount parameter determines the range over whichcrossfading will occur. Crossfade amount is variable from 000 to 255.The larger the value, the more modulation will be required to effect acomplete crossfade.

XFADE BAL AMT 064 128

0 255

Pri Sec Medium Crossfade Amount

0 255

Pri Sec

0 255

Pri Sec

Balance + Mod

Balance + Mod

Balance + Mod

Large Crossfade Amount

Small Crossfade Amount

Modulation and Crossfade balance are added together to determine the mixture ofprimary and secondary instruments. Higher values increase the secondary volume.


• Cross-Switch PointThe cross-switch point determines the point at which cross-switchingwill occur when key position or velocity is controlling cross-switch.

XSWITCH POINT064 (E3)

• Primary Filter TypeThis screen allows you to select one of 197 Z-Plane filter types availablein ROM. These filters include: traditional low-pass filters, flanger simu-lators, vowel formants, distortion filters, acoustic instrument modelsand many, many more. See the reference section for a complete listingand descriptions of the filters.

FILTER TYPE priF035 Ee-Yi.4

• Secondary Filter TypeThis screen allows you to set the filter type for the secondary layer. SeePrimary Filter Type.

FILTER TYPE secF139 MidFeedBk2

• Filter LevelThis function sets the amount of signal into the filter. This control canbe used to balance the levels between instruments or to control thedistortion characteristics of the filter. Depending on the type of instru-ment and the filter, this control can have a dramatic effect on thesound. This control differs from the Volume parameter which adjuststhe volume after the filter. The default setting is 255 (full level).

FILTER LEVELpri:198 sec:255

Velocity Key

To enable the Cross-switchfunction, you must assignCrossfade to a modulationsource in the Note-on orRealtime Cords screens.

PRESET MENU

Under certain unusualcircumstances the filters mayoverload, producing a loudobjectionable noise. Turndown the Filter Level value toalleviate the problem.


PRESET MENU

• Morph OffsetThis function allows you to set the initial point in the filter morph withno modulation applied. Subsequent modulation will be added or sub-tracted to this value.

MORPH OFFSETpri:096 sec:000

The Morph Offset sets the point along the morph axis where the filter starts with nomodulation applied.

• Filter Frequency TrackingIf the filter frequency remains constant as the pitch of a sound is varied,the timbre of the sound will change with pitch. A way to correct this isto have the filter's frequency track the pitch of the note. This func-tion sets the initial frequency of the filter's pitch tracking. Ingeneral, you can think of frequency tracking as a tone control. In orderto have keyboard tracking, you must also patch the “Keyboard to FilterFrequency Tracking” in the Note-On modulation screen.

FILT FREQ TRACKpri:000 sec:000

••• In many of the filters,the Filter FrequencyTracking works like a tonecontrol which brightens ordarkens the sound.

Frequency

Am

pli

tud

e

Morph

A Filter

B Filter

Morph


PRESET MENU

Filter Frequency Tracking allows the timbre of the sound to remain constant up anddown the keyboard (if Key Number is routed to this parameter).

Key Number

Morph(Envelope, Wheel,LFO, etc.)

Filter Frequency Tracking

Frequency

Each Morpheus filter is actually constructed of up to eight different complex filters.

• Filter Transform 2Suppose we added yet another dimension to the filter model. We havethe realtime Morph parameter, the Frequency Tracking parameter (set atnote-on time) and one more parameter, perhaps controlling theamount of the filter peaks with key velocity. A way to visualize a three-dimensional filter model is shown in the diagram below.

Key Number

Frequency Tracking

Tran

sfor

m 2

Vel

oci

ty

Mor

ph

Mor

ph

Tran

sfor

m 2

Tran

sfor

m 2

Mor

ph

Tran

sfor

m 2

Real-T

ime

Mor

ph

Frequency Tracking

Frequency Tracking

Frequency Tracking


Each axis of the three-dimensional cube changes the filter in a differentway. In the example above, key number is being applied to the Fre-quency Tracking parameter in order to make the filter frequency trackor follow the notes played on the keyboard.

In the 3-D filter model, there is another note-on (defined at the time thenote is pressed) parameter, Transform 2. Unlike the frequency trackingparameter, the effect of Transform 2 varies from filter to filter. In theexample above, Transform 2 is being used to vary the size of the peaksand notches in the filter. The frequency plots in the upper plane of thecube have sharper peaks. In the example above, key velocity is beingused to control Transform 2 and the sharpness of the filter peaks.

Filter Transform 2 sets the Initial Point along the Transform 2 axis.Subsequent modulation (from note-on modulation) adds to this initialsetting for the primary and secondary filters.

FILT TRANSFORM 2pri:000 sec:127

• Filter ReverseThis function allows you to reverse the direction of all of the filtercontrols. Key Tracking, Transform 2 and the Morph parameters will alloperate in reverse. The Offset points are reversed, as well as the direc-tion of filter modulation.

FILTER REVERSEpri:Off sec:Off

• Auxiliary EnvelopeThis is a supplementary, utility envelope that can be routed to anyrealtime control destination including the Morph filter. The auxiliaryenvelope parameters are: Envelope Amount, Delay, Attack Time, HoldTime, Decay Time, Sustain Level, and Release Time. The delay time isvariable from 0 to 13 seconds (000-127). The envelope amount is vari-able from -128 to +127. Negative values will produce invertedenvelopes.

AUX ENV AMT DLY A: A H D S R +127 000 00 00 00 99 20

PRESET MENU

••• For more information onthe Envelopes, see the PresetProgramming section of thismanual.

••• The filters labeled with“.4” in their name do not usethe Transform 2 parameter.


• LFO 1 - Shape & AmountThis screen controls the waveshape and amount of Low FrequencyOscillator 1. The LFO can be used to produce vibrato (when routed topitch), or tremolo (when routed to volume). The LFO can be routed tocontrol any of the Realtime Modulation destinations (page 123). Thefive LFO waveshapes are: Triangle, Sine, Square, Sawtooth, and Ran-dom. The amount can be varied from -128 to +127. Negative values willproduce inverted waveshapes.

LFO1 SHAPE AMT Rand +127

• LFO 1 - Rate, Delay & VariationThis screen controls the rate, delay and variation of LFO 1.

LFO RateVaries the LFO speed from 0.052 Hz to 25 Hz (000-127).

LFO DelaySets the amount of time between hitting a key and the onset ofmodulation. This can be used to simulate an effect often used byacoustic instrument players, where the vibrato is brought in onlyafter the initial note pitch has been established. The delay range isvariable from 0 to 13 seconds (000-127).

LFO VariationSets the amount of random variation of an LFO each time a key ispressed. This function is useful for ensemble effects, where eachnote played has a slightly different modulation rate. The higherthe number, the greater the note to note variation in LFO rate.LFO variation is variable from 000-127.

LFO1 RT DLY VAR 000 000 000

PRESET MENU

••• For more information onthe LFOs, see the PresetProgramming section of thismanual.

Triangle

Square

Sine

Sawtooth

Random


PRESET MENU

The Function Generator contains eight segments, each with a level and time param-eter.

L1

T1

L2

L3

L4

L5

L6

L7

L8T2 T3

T4T5

T6 T7 T8

••• For more information onFunction Generators, see thePreset Programming sectionof this manual.

• LFO 2 - Shape & AmountLFO 2 is functionally identical to LFO 1.

• LFO 2 - Rate, Delay & VariationLFO 2 is functionally identical to LFO 1.

• Function Generators 1 and 2The Function Generators are eight segment modulation sources withconditional jumping capabilities and selectable segment shapes. Leveland Time parameters are provided for each stage. In addition, the shapeof each stage can be individually selected from a palette of 63 shapes.The function generator can be used when you want complex and pre-cise control over a parameter. Through the creative use of its condi-tional jumps and curves, the function generator can serve as a complexLFO, a complex envelope generator, a mini-sequencer, a random sourceor all at once if you desire.

FUNC GEN F1S1Level +124

Segment Number

Parameter Value/Shape

Function Generator 1 or 2

Level +127Time 0750msShape LinearCondJump NeverCondValue +000CondDestSeg 2

FunctionGeneratorParameters

••• Routing the FunctionGenerator to control Pitchmakes it easy to hear whatyou are doing.


PRESET MENU

The function generator can have up to eight segments, each with a Leveland a Time parameter. The level parameter can be either positive ornegative. Each segment of the function generator can have a differentShape. There are 63 different shapes consisting of various curves,straight and crooked line segments, random, chaos and delays.


Fast Line 2

Circle 16 R

Chaos 6 Random K

Chaos

Linear

Expon

entia

lExp

+1

Four of the 63 curves are shown below. By combining the various curveshapes, extremely complex functions can be created. See the ReferenceSection of this manual for the complete set of function generator curvediagrams.

Function GeneratorCurvesLinearExponential +1Exponential +2Exponential +3Exponential +4Exponential +5Exponential +6Exponential +7Circle 1.4Circle 1.6Circle 1.8Circle 1.16SqueezeFast Line 1Fast Line 2Fast Line 3Medium Line 1Medium Line 2Slow Ramp 1Slow Ramp 2BloomBloom 2Circle 1.16 ReverseCircle 1.8 ReverseCircle 1.6 ReverseCircle 1.4 ReverseSlow Curve 1Slow Curve 2Delay DCDC DelayCurve 2xCurve 2x BCurve 2x CZiz Zag 1Ziz Zag 2Ziz Zag 3Chaos 03, 06, 12, 16, 25, 33,

37, 50, 66, 75, 95, 99Linear Shuffle 1Linear Shuffle 2Random A-LRandom Z


PRESET MENU

The function generator can be programmed to jump between segmentsbased on certain conditions. Because the decision to jump is based onconditions, these jumps are called Conditional Jumps. For example, thefunction generator could be programmed to loop only if the key is stillbeing held. In the diagram below, the function generator has beenprogrammed to jump back to segment 3 if the key is held but jump tosegment 4 whenever the key is released.

1

2

3

4

If Note Off Jump to 4 at End of Segment

5 6 7 8If Note OffImmediately Jump to 4

If Note OnImmediately Jump to 3

Conditional jumps can be programmed to jump to the destinationsegment immediately or they can wait until the end of the segmentbefore jumping. The conditional jumps are:

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 stillon.

Note On Immed. ...... Jumps immediately if the note is still on.

Note Off End ............ Jumps at the end of the segment if the note is off.

Note Off Immed. ..... Jumps immediately if the note is off.

LFO 1 or 2 End ......... Jumps at the end of the segment if the value of theselected LFO is equal or greater than theconditional value.

Footsw. 1-3 End ....... Jumps at the end of the segment if the selectedfootswitch is pressed.

Footsw. 1-3 Immed. Jumps immediately if the selected footswitch ispressed.

Velocity End ............ Jumps at the end of the segment if the velocityvalue is greater than a positive conditional valueor less than a negative conditional value. See thefollowing page.

Key End ..................... Jumps at the end of the segment if the note valueis greater than a positive conditional value or lessthan a negative conditional value. See thefollowing page.

Remember to turn up theLFO amount when usingLFOs as conditionals.

••• A Conditional Jumpalways goes to the Begin-ning of the destinationsegment.


PRESET MENU

For Velocity End & Key End

FUNC GEN F1S1CondValue +064

FUNC GEN F1S1CondValue -064

••• When one segment jumps to another at a different level, a smoothtransition is made between the two. The time to the end of the destina-tion segment remains as specified.

When the value is Negative, a jumpoccurs if the velocity or key numberis Less than value shown (ignoringthe sign).

When the value is Positive, a jumpoccurs if the velocity or key numberis Greater than value shown.

1

23

4

5

Time = .4 sec

Jump

Time = .4 sec

In the example above, segment 4 has been skipped, but the time to the end ofsegment 5 will remain the same (400 milliseconds). This will alter the slope ofsegment 5.• Function Generator AmountThis control scales the output of the function generator before it isapplied to a modulation destination (in the Realtime Control screen).The amount is like a water faucet. It controls “how much” of the func-tion generator is output. If a negative value is selected, the functiongenerator output will be inverted. Function generator 1 or 2 is selectedon the top line of the display (F1 or F2).

FUNC GEN AMT F1+064

••• Remember that you mustassign the function generatorto a destination in theRealtime Control screen.

••• The Function Genera-tor Amount can also bemodulated by a RealtimeControl source.

••• Drawing your functiongenerator ideas on paper firstwill simplify the program-ming process.


PRESET MENU

• Note-On Modulation ControlThese functions allow you to route Note-On information (informationreceived at note-on time such as velocity or key number) to any of themodulation destinations. Up to 10 simultaneous paths or “patches”may be programmed. For each modulation patch, there is a source, adestination and a corresponding amount parameter which is variablefrom -128 to +127. Place the cursor under the appropriate parameterand change the patch number, modulation source, modulationdestination, or the amount, using the data entry control. If a param-eter is not labeled either primary or secondary, it affects both.

NOTE-ON CTRL #0V Volume +000

Note-OnModulation SourcesKey Number, Key VelocityInitial Pitch Wheel AmountInitial Controller A AmountInitial Controller B AmountInitial Controller C AmountInitial Controller D AmountInitial Mono Pressure AmountInitial FR Function Gen.Amount

DestinationsOffPitch, Primary PitchSecondary PitchVolume, Primary VolumeSecondary VolumeAttack, Primary AttackSecondary AttackDecay, Primary DecaySecondary DecayRelease, Primary ReleaseSecondary ReleaseCrossfadeLFO 1 Amount, LFO 1 RateLFO 2 Amount, LFO 2 RateAuxiliary Envelope AmountAuxiliary Envelope AttackAuxiliary Envelope DecayAuxiliary Envelope ReleaseFunction Gen 1 AmountFunction Gen 2 AmountPortamento RatePrimary Portamento RateSecondary Portamento RateFilter MorphPrimary Filter MorphSecondary Filter MorphPan, Primary PanSecondary PanSample StartPrimary Sample StartSecondary Sample StartTone, Primary ToneSecondary ToneFilter Level, Primary Filter LevelSecondary Filter Level,Filter Freq. Tracking,Primary Filter Freq. TrackingSecondary Filter Freq. TrackingFilter Transform 2Primary Filter Transform 2Secondary Filter Transform 2

LFO 1

Amount Rate

LFO 2

Amount Rate

R

LVolume

PanPrimary

InstrumentPitch

SampleStart

Tone

VELOCITY

VELOCITYCURVE

KEY NUMBER

KEYBOARDCENTER


X-Fade

Atk Dec Rel

VolumeAHDSR

R

LVolume


PitchSampleStart

Tone

Atk Dec Rel

VolumeAHDSR

PortamentoRate

DCA

DCA


AuxiliaryDAHDSR

AmtAtk Dec Rel

CONTROLLERA-B-C-D

(INITIAL SETTING)




FunctionGenerator 1

AmountCond

FunctionGenerator 2

AmountCond

Z-PlaneFilter

T2TrkMorphAttn.

Z-PlaneFilter

T2TrkMorphAttn.


PRESET MENU

• Realtime Modulation ControlThese functions allow you to route realtime controllers to any of themodulation destinations except Tone, Sample Start, Filter FrequencyTracking and Filter Transform 2. Up to 10 simultaneous patches may beprogrammed. For each modulation patch, there is a source and a desti-nation parameter. Place the cursor under the appropriate parameterand change the patch number, modulation source, modulationdestination, or the amount using the data entry control. If a param-eter is not labeled either primary or secondary, it affects both.

REALTIME CTL #0PWhl Off +127





DestinationsOffPitch, Primary PitchSecondary PitchVolume, Primary VolumeSecondary VolumeAttack, Primary AttackSecondary AttackDecay, Primary DecaySecondary DecayRelease, Primary ReleaseSecondary ReleaseCrossfadeLFO 1 Amount, LFO 1 RateLFO 2 Amount, LFO 2 RateAuxiliary Envelope AmountAuxiliary Envelope AttackAuxiliary Envelope DecayAuxiliary Envelope ReleaseFunction Gen 1 AmountFunction Gen 2 AmountPortamento RatePrimary Portamento RateSecondary Portamento RateFilter MorphPrimary Filter Morph,Secondary Filter MorphPan, Primary PanSecondary Pan


POLYPRESSURE

MONOPRESSURE

MIDICONTROLLER

A/B/C/DLFO 2


AuxiliaryDAHDSR

AmtAtk Dec Rel

LFO 1

Amount Rate

LFO 2

Amount Rate


R

LVolume

Pan

Atk Dec Rel

VolumeAHDSR

PrimaryInstrument

Pitch

ToneZ-Plane

Filter

X-Fade

R

LVolume

Pan

Atk Dec Rel

VolumeAHDSR

SecondaryInstrument

Pitch

ToneZ-Plane

Filter

Morph

Morph

PortamentoRate

DCA

DCA

FUNCTIONGENERATOR

FREE-RUNFUNCTION

GENERATOR

FunctionGenerator 1

Amt

FunctionGenerator 2

Amt


PRESET MENU

• Footswitch ControlThis function allows you to route the 3 footswitch controllers (1, 2 or 3)to any of the footswitch destinations. The footswitches can be routed toswitch: Sustain (pri/sec/both), alternate volume envelope (pri/sec/both),alternate volume release (pri/sec/both), cross-switch between the pri-mary and secondary instruments or switch portamento Off or On (pri/sec/both).

FOOTSWITCH CTRL1 -> Sustain

• Pitch Bend RangeThis function allows you to specify the pitch wheel range for the cur-rent preset if pitch bend is not being globally controlled in the Mastermenu. Pitch bend range is only used when the pitch wheel is used tocontrol pitch.

PITCH BEND RANGE+- 12 semitones

• Pressure AmountThis function allows you to specify an overall amount parameter formono or poly keyboard pressure data (pre-patch cord). The pressureamount is variable from -128 to +127.

PRESSURE AMOUNT+127

• MIDI Controller AmountThis function allows you to specify an overall amount parameter (pre-patch cord) which variable from -128 to +127 for each of the MIDIcontrollers.

CONTROLLER AMT CONTROLLER AMTA:+127 B:+127 C:+127 D:+127

Pressure Amount andController A-B-C-D Amountare MASTER Controls whichaffect the amount of modula-tion which can beprogrammed in the RealtimeModulation section.

In order for the RealtimeModulation Control amountsfor these functions to have afull range of control, thePressure and Controller A-Damounts must be set to+127.


PRESET MENU

• Velocity CurveIncoming velocity data can be modified by a velocity curve in order toprovide different types of dynamics in response to your playing or betteradapt to the MIDI controller. This function allows you to select one ofthe four velocity curves or leave the velocity data unaltered (Off). Inaddition, the velocity curve can be set to “Global”, which means thatthe global velocity curve (programmed in the Master menu) is used.

VELOCITY CURVEGlobal

Curve 3

0

20

40

60

80

100

120

0 20 40 60 80 100

Played Velocity120

Res

ult

Vel

oci

ty

Curve 1

0

20

40

60

80

100

120

0 20 40 60 80 100

Played Velocity120

Res

ult

Vel

oci

ty

0

20

40

60

80

100

120

0 20 40 60 80 100

Played Velocity120

Res

ult

Vel

oci

ty

Curve 4

Curve 2

0

20

40

60

80

100

120

0 20 40 60 80 100

Played Velocity120

Res

ult

Vel

oci

ty


PRESET MENU

• Keyboard CenterThe Keyboard Center parameter establishes a reference point for key-board modulation. Keys above this point will have a positive value andkeys below it will be negative. The keyboard center can be set to any keywithin the range C-2 to G8.

KEYBOARD CENTERC#3

KEY CENTER

+

-

0

-

+

• Keyboard TuningIn addition to the standard equally divided octave tuning, Morpheuscontains four other types of scale tuning and one user-definable tuning.This function selects which tuning will be used in the current preset.

The choices of keyboard tunings are:

Equal tuning (12 tone equal temperament)Standard Western tuning.

Just C tuning (just intonation)Based on small interval ratios. Sweet and pure, non-beatingintervals.

Vallotti tuning (Vallotti & Young non-equal temperament)Similar to 12 tone equal temperament. For a given scale, each keyhas a different character.

19 Tone tuning (19 tone equal temperament)19 notes per octave. Difficult to play, but works well with a se-quencer.

Gamelan (Javanese) tuning (5 tone Slendro and 7 tone Pelog)Pelog-white keys, Slendro-black keys. Exotic tunings of Gamelanflavor.

User tuningDefined in the Master menu.


PRESET MENU

• Mix SelectThis function allows you to direct a particular preset to one of the fourdestinations (Main, Sub 1, FXA, FXB). This routing is utilized if MixSelect for a particular MIDI channel is set to “Preset” in the currentMidimap. Otherwise this setting is ignored. This function allows you tochoose the effect bus in the preset rather than by MIDI channel.

MIX OUTPUTMain

• Save PresetChanges made to a preset in the Preset Edit menu are not made perma-nent until the preset is Saved. To save a preset, move the cursor to thebottom line and select the location for the new preset with the dataentry control. The Enter LED will then flash. Pressing the Enter buttonwill confirm the operation.

Any user preset (000-127, bank 0) or RAM card location (000-127, bank3) may be selected using the data entry control. Writing to a user preseterases the existing preset in that location. Make sure that the destina-tion preset does not contain information that you want to keep.

SAVE PRESET to064 Preset Name

In order for the Preset MixSelect to be utilized, theMidimap Mix select must beset to “Preset”.

0


PRESETMENU


PRESET MENU

••• While the Preset menuis activated, incoming MIDIpreset changes are ignored.This is a quick and easyway to temporarily turnMIDI Program Change OFF.

The Preset menu contains functions that can be modified by the userand then saved as preset information in one of the user presets. Forexample, the LFO speed or other parameter can be edited, then thepreset can be saved to a user location (0-127, bank 0).

WARNINGChanges made in the Preset menu will be forever lost unlessthe preset is “saved” using the Save Preset function (page127) before changing the preset.

To enable the Preset menuPress the Preset button, lighting the LED. The current screen willbe the one most recently selected since powering up the machine.The cursor will appear underneath the first character of the screenheading on line one.


To modify a parameterPress the cursor button repeatedly (or hold the right cursor buttonwhile turning the data entry control) until the cursor is under-neath the parameter value. Rotate the data entry control tochange the value.

To compare an edited preset with the original presetPress the preset button, turning off the LED. The unedited presetis now active. Changing the preset number will erase the edit. To hearthe edited preset again, press the Preset button, lighting the LED.The stored version of the preset will be heard whenever you are inthe main screen.

To return to the main screenPress the Preset button, turning off the LED.



PRESET MENU

PRESET MENU FUNCTIONS

• Preset NamePreset Name allows you to name each of the user presets with a name ofup to 12 characters. Position the cursor under the character locationand use the data entry control to change the character. The keyboardcan also be used to select characters. The chart below shows the key-board character assignment.

PRESET NAME000 Untitled

• Primary InstrumentThis function allows you to select which of the available instrumentsounds (or none) will be placed on the primary layer of the current userpreset.

INSTRUMENT priI003 DancerSynth

• Secondary InstrumentThis function allows you to select which of the available instrumentsounds (or none) will be placed on the secondary layer of the currentuser preset.

INSTRUMENT secI038 Rock Organ

02

3

57

8

:<

>

?A

C

DF

H

JK

M

OP

R

TV

W

Y[

¥

^`

b

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g

hj

l

no

q

st

v

xz

<-

+,

.

&'

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blank

"$

46

9;

=@

B

EG

IL

N

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Z

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ad

f

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••• Changing the instrumentis a simple way to create anew sound while retaining allother parameters of thepreset.

0


PRESET MENU

• VolumeVolume sets the amplitude of the primary and secondary instruments.This function also allows you to compensate for the relative volumedifferences between instruments.


• PanPan allows you to independently set the initial pan position of theprimary and secondary instruments. A value of -7 pans the instrumenthard left and a value of +7 pans the instrument hard right. This pansetting is only valid if “P”, for preset pan, is selected in the main display(or the Midimap).

PANpri:-7 sec:+7

• Key RangeKey range sets the keyboard range of both primary and secondaryinstruments. This sets the keyboard range for the entire preset and willfurther limit the primary and secondary keyboard ranges. The key rangecan be set anywhere from C-2 to G8.

KEY RANGEC-2 -> G8

C-2 C-1 C0 C1 C2 C3 C4 C5 C6 C7 C8

= Standard 5 Octave Keyboard Range

Morpheus Keyboard RangeMIDIKey #

KeyName

0 12 24 36 48 60 72 84 96 108 120 127


• Primary Key RangeKey range sets the keyboard range of the primary instrument. This isuseful for creating positional crossfades and keyboard splits between theprimary and secondary layers. The key range can be set anywhere fromC-2 to G8.

KEY RANGE priC-2 -> G8

• Secondary Key RangeKey range sets the keyboard range of the secondary instrument. The keyrange can be set anywhere from C-2 to G8.

KEY RANGE secG#4 -> G8

PRESET MENU

This diagram shows how instruments can be layered or “stacked” using the primaryand secondary instruments.

This diagram shows how a “split” keyboard can be programmed using the primaryand secondary instruments.

••• Entire presets can also becombined to form split orlayered keyboards. See thechapter on Hyperpresets inthis manual.

Primary InstrumentKey Range

Key Range

SPLIT KEYBOARD

Secondary Instrument

Pri Instr.

Sec Instr.

LAYERING TWO INSTRUMENTS

Key Range


PRESET MENU

• TransposeThis function allows you to transpose the key of the primary and second-ary instruments in semitone intervals by shifting the keyboard positionrelative to middle C. The transpose range is -36 to +36 semitones.


• Coarse Pitch TuningThis function allows you to change the tuning of the primary and sec-ondary instruments in semitone intervals. The coarse tuning range is -36to +36 semitones.


• Fine Pitch TuningThis function allows you to change the tuning of the primary and sec-ondary instruments in 1/64 semitone intervals (approx. 1.56 cents). Thefine tuning range is ± 1 semitone.


• Alternate Volume Envelope On/OffEach instrument has its own factory preset AHDSR volume envelopewhich is used if this parameter is set to Off. Turn Alternate VolumeEnvelope On to use the user-programmable alternate envelope.

ALT VOL ENVELOPEpri:Off sec:On

••• Use the Coarse Tuningcontrol to change the tuningof multiple drum instruments.

••• Use Transpose when youwant the instrument's timbreto remain constant.

Use Coarse Tuning when youwant to change the timbre ofthe instrument.


• Primary Alternate Envelope ParametersThis function allows you to adjust the alternate volume envelope para-meters for the primary instrument. The parameters are Attack time,Hold time, Decay time, Sustain level, Release time and are adjustablefrom 00 to 99.

P: A H D S R 00 00 00 99 16

• Secondary Alternate Envelope ParametersThis function allows you to adjust the alternate volume envelope para-meters for the secondary instrument. The parameters are Attack time,Hold time, Decay time, Sustain level, Release time and are adjustablefrom 00 to 99.

S: A H D S R 00 00 00 99 16

• Double + DetuneDouble + Detune “thickens” the sound by doubling the sound and thendetuning it. The amount is variable over a range of 1 to 15. WhenDouble + Detune is on, a particular instrument will use twice as manychannels. If Double + Detune is used for both the primary and second-ary instruments, the preset will use four channels per key.

DOUBLE + DETUNEpri:Off sec:07

PRESET MENU

DCA

Atk Dec Rel

NormalEnvelope

Atk Dec Rel

AlternateEnvelope

••• See pages 73-74 for anexplanation of the envelopeparameters.

••• Shortening the attackand release times of theAlternate Envelope canalleviate channel “ripoff”problems. Morpheus exam-ines the Alternate Envelope todetermine if a channel can bereused.


PRESET MENU

• Sound DelaySound Delay varies the time between the arrival of a MIDI Note-Onmessage and the onset of a note. The delay time is adjustable from 0 to14 seconds (000-127).


• Sound StartThis function allows you to set where a sample begins playing whenyou hit a key. A setting of 000 plays a sound from the beginning, highervalues move the sample start point toward the end of the sound.


• Sound ReverseWhen sound reverse is turned On, the instrument will be played back-wards. Since instruments tend to sound very different when reversed,this function extends the number of possible sounds in Morpheus.

SOUND REVERSEpri:Off sec:On

The Sound Start parameter allows you to cut off the beginning of the sound. Highervalues move the start point toward the end of the sound.

SoundS t a r t

••• The Sound Startparameter can be useful toremove the gradual attackof a reversed sound. TheLoop Offset parameterscan also be put to gooduse with reversed sounds.

••• See the Step-By-Stepsection of this manual for anapplication using SoundStart.


PRESET MENU

• NontransposeThis function turns keyboard transposition On or Off for the primaryand secondary instruments. With Nontranspose On, the keyboard willnot control the pitch of the instrument. This is a useful function fordrones or “chiffs”, which you may not want to track the keyboard.

NONTRANSPOSEpri:Off sec:On

• Loop EnableThis function allows you to turn the loop in a sound On or Off. Loopingis a way that sounds can be sustained indefinitely. If you want an in-strument to play once, then stop, turn Off the Loop Enable function.

LOOP ENABLEpri:Off sec:On

• Loop OffsetAll the Morpheus instruments have been factory looped for your conve-nience. The Loop Offset function allows you to modify the Loop StartPoint and the Loop Size so you can create your own loops.

By looping the sound on the attack portion of an instrument, you cancreate new waveforms. The Loop Start and Loop Size parameters cancross sample boundaries so that more than one instrument will play.Sample boundary crossing may be useful to create a special effect orbackground ambience. A Start and Size Offset of 000,000 returns you tothe factory loop setting.

LOOP OFFSET LOOP OFFSETStartP +000,000 SizeP +000,000

LOOP OFFSET LOOP OFFSETStartS +000,000 SizeS +000,000

LOOP OFFSET IDEAS••• Loop offset can be usedto create interesting newtimbres by looping on theattack transient of aninstrument.

••• By traversing severalinstruments you may findinteresting polyrhythms.

••• Extremely LONG loopsizes can create incrediblebackground ambience. Usepitch-shifting and multiplekeys.

In some cases, such as theindividual percussion sounds,looping may not be desirable.If this is the case, turn LoopEnable Off.

Primary

Secondary


• Solo ModeSolo mode provides the playing action of a monophonic instrument. Itcan make wind and string instruments sound more realistic by prevent-ing more than one note from sounding at once. Two types of solo modeare provided: Wind Controller mode and Synth mode. In either solomode, if a new note is played while another is being held, the envelopegenerators do not retrigger and the sample remains in the loop. Thisallows a legato playing technique to be used.

Wind ModeThe envelope generator attack always begins at the start of theattack phase when playing staccato. When playing legato, theenvelope generator stays in the sustain phase.

Synth ModeThe envelope generator attack begins at whatever point in therelease phase is in when a new key is pressed. When playing legato,the envelope generator stays in the sustain phase.

SOLO MODEp:Off s:Wind

Changing the Loop Offset Start point moves the loop forward or backward (+ or-)through the sample memory, keeping the loops size constant. Large changes willmove the loop completely out of the original sample.

Changing the Loop Offset Size alters the size of the loop, leaving the loop start pointstationary. Large positive offsets will enlarge the loop to encompass multiple samples.

Piano Choir Strings Brass Synth

Loop Loop+ Start PointLoop

Sample Memory

- Start Point

Strings Brass Synth

Loop

Loop Size

Sample Memory

PRESET MENU

••• Sounds are looped sothat they will continue tosound as long as the key isheld.

••• When using a negativeloop start point, the soundmay jump back to a pointbefore the start of thesample during the loop cycle.

••• Solo Mode allows you tosimulate certain playingtechniques such as“Tongueing” on a saxo-phone, where the attack isonly heard on certain notes.


PRESET MENU

• Solo Mode PriorityWhen multiple notes are played and held in solo mode, the last noteplayed is always heard. As notes are released, the solo mode prioritydetermines which note will take over from the last note played.

• High Note Priority - If multiple notes are being held in solo mode,the highest key being held will play when the last-played key isreleased.

• Low Note Priority - If multiple notes are being held in solo mode,the lowest key being held will play when the last-played key is re-leased.

• First Note Priority - If multiple notes are being held in solo mode,and the last note is released, the note will jump back to the first note.

• Last Note Priority - If multiple notes are being held in solo mode,only the note last pressed will play. If the note is released it jumpsback to the last note before that.

• Drum - If multiple notes are being held in solo mode, only the notelast pressed will play. If the note is released, no jumping occurs.

SOLO PRIORITYp:Low s:Hi

• Portamento RatePortamento is a smooth gliding between notes instead of the normalinstantaneous change in pitch when a new key is pressed. The porta-mento rate is the time it takes to glide to the new pitch. The larger thevalue, the slower the glide rate. The rate is adjustable from 1-127 or itcan be turned Off. Portamento glides at a linear rate between notes andcan be set separately for the primary and secondary layers. Portamentoworks both in and out of Solo Mode.

PORTAMENTO RATEpri:127 sec:Off

• Portamento ShapeThe portamento is variable from convex exponential (8) to linear, forboth the primary and secondary instruments. Using the exponentialshapes, the portamento rate will slow as the note nears its destination.

PORTAMENTO SHAPEpri:Ex4 sec:Lin

There is a four note limitfor remembering notes in theFirst and Last Note Prioritymodes.

The portamento shape canbe varied from linear toconvex exponential.

Ex4

Lin

Ex8


PRESET MENU

To enable the crossfade orcross-switch functions, youmust assign Crossfade to amodulation source in theRealtime or Note-On Modu-lation screen.

••• To use the keyboard forcrossfade, set the CrossfadeBalance to 64 and the KeyCenter to the split point.

••• See also, Cross-SwitchPoint on page 113.

By overlapping the primary and secondary instruments, you can crossfade or cross-switch between the layers.

• Portamento ModeThis function sets the number of notes that will be affected by porta-mento. For example, if the Portamento Mode is set to two keys and athree-note chord is played, only two of the notes will glide. Notes willglide from the previous note or notes played. By setting the number ofkeys to match the number of notes in your chords, smooth glidesbetween those chords can be accomplished without having notes glidein from random starting points. The number of keys can be set frommono to 5 note polyphonic.


• Crossfade ModeThis function determines which of the following crossfade modes will beselected: Off, Crossfade, or Cross-Switch.

OffWhen “Off” is selected, crossfade is disabled.

CrossfadeWhen “X-Fade” is selected, a control input is used to fade betweenthe primary and secondary instruments. Any modulation sourcemay be used as an input (velocity, wheel, etc.).

Cross-SwitchWhen “X-Switch” is selected, the secondary layer is selected if theinput crosses a certain threshold or if a footswitch controlling cross-switch is activated. The switch occurs only at the start of the note; nofurther switching takes place while the key is held down. If keyposition or velocity is routed to cross-switch, the threshold is theswitch point. Realtime controllers do not have any effect when routedto cross-switch.

XFADE MODEOff

PrimaryInstrumentKey Range

Key Range

SecondaryInstrument

Crossfade Range


PRESET MENU

In order to use theCrossfade or Cross-Switchfunctions, you must assignCrossfade to a modulationsource in the Realtime orNote-On modulation screens.

••• A Crossfade Balancesetting of 000 would beappropriate with a sourcesuch as a modulation wheelor footpedal, either of whichcan only change the value ina positive direction.

• Crossfade DirectionThis function determines the polarity of the crossfade or cross-switch.The direction is either primary secondary, or secondary primary.

XFADE DIRECTIONPri -> Sec

• Crossfade Balance and AmountThe crossfade balance parameter determines the initial balance betweenthe primary and secondary layers. Higher values shift the balance to thesecondary instrument. When the Crossfade Direction is Pri->Sec, Modu-lation subtracts from the primary volume and adds to the secondaryvolume. When crossfade modulation and balance equal 64, the twoinstruments are at equal volume.

The crossfade amount parameter determines the range over whichcrossfading will occur. Crossfade amount is variable from 000 to 255.The larger the value, the more modulation will be required to effect acomplete crossfade.

XFADE BAL AMT 064 128

0 255

Pri Sec Medium Crossfade Amount

0 255

Pri Sec

0 255

Pri Sec

Balance + Mod

Balance + Mod

Balance + Mod

Large Crossfade Amount

Small Crossfade Amount

Modulation and Crossfade balance are added together to determine the mixture ofprimary and secondary instruments. Higher values increase the secondary volume.


• Cross-Switch PointThe cross-switch point determines the point at which cross-switchingwill occur when key position or velocity is controlling cross-switch.

XSWITCH POINT064 (E3)

• Primary Filter TypeThis screen allows you to select one of 197 Z-Plane filter types availablein ROM. These filters include: traditional low-pass filters, flanger simu-lators, vowel formants, distortion filters, acoustic instrument modelsand many, many more. See the reference section for a complete listingand descriptions of the filters.

FILTER TYPE priF035 Ee-Yi.4

• Secondary Filter TypeThis screen allows you to set the filter type for the secondary layer. SeePrimary Filter Type.

FILTER TYPE secF139 MidFeedBk2

• Filter LevelThis function sets the amount of signal into the filter. This control canbe used to balance the levels between instruments or to control thedistortion characteristics of the filter. Depending on the type of instru-ment and the filter, this control can have a dramatic effect on thesound. This control differs from the Volume parameter which adjuststhe volume after the filter. The default setting is 255 (full level).

FILTER LEVELpri:198 sec:255

Velocity Key

To enable the Cross-switchfunction, you must assignCrossfade to a modulationsource in the Note-on orRealtime Cords screens.

PRESET MENU

Under certain unusualcircumstances the filters mayoverload, producing a loudobjectionable noise. Turndown the Filter Level value toalleviate the problem.


PRESET MENU

• Morph OffsetThis function allows you to set the initial point in the filter morph withno modulation applied. Subsequent modulation will be added or sub-tracted to this value.

MORPH OFFSETpri:096 sec:000

The Morph Offset sets the point along the morph axis where the filter starts with nomodulation applied.

• Filter Frequency TrackingIf the filter frequency remains constant as the pitch of a sound is varied,the timbre of the sound will change with pitch. A way to correct this isto have the filter's frequency track the pitch of the note. This func-tion sets the initial frequency of the filter's pitch tracking. Ingeneral, you can think of frequency tracking as a tone control. In orderto have keyboard tracking, you must also patch the “Keyboard to FilterFrequency Tracking” in the Note-On modulation screen.


••• In many of the filters,the Filter FrequencyTracking works like a tonecontrol which brightens ordarkens the sound.

Frequency

Am

pli

tud

e

Morph

A Filter

B Filter

Morph


PRESET MENU

Filter Frequency Tracking allows the timbre of the sound to remain constant up anddown the keyboard (if Key Number is routed to this parameter).

Key Number

Morph(Envelope, Wheel,LFO, etc.)

Filter Frequency Tracking

Frequency

Each Morpheus filter is actually constructed of up to eight different complex filters.

• Filter Transform 2Suppose we added yet another dimension to the filter model. We havethe realtime Morph parameter, the Frequency Tracking parameter (set atnote-on time) and one more parameter, perhaps controlling theamount of the filter peaks with key velocity. A way to visualize a three-dimensional filter model is shown in the diagram below.

Key Number

Frequency Tracking

Tran

sfor

m 2

Vel

oci

ty

Mor

ph

Mor

ph

Tran

sfor

m 2

Tran

sfor

m 2

Mor

ph

Tran

sfor

m 2

Real-T

ime

Mor

ph

Frequency Tracking

Frequency Tracking

Frequency Tracking


Each axis of the three-dimensional cube changes the filter in a differentway. In the example above, key number is being applied to the Fre-quency Tracking parameter in order to make the filter frequency trackor follow the notes played on the keyboard.

In the 3-D filter model, there is another note-on (defined at the time thenote is pressed) parameter, Transform 2. Unlike the frequency trackingparameter, the effect of Transform 2 varies from filter to filter. In theexample above, Transform 2 is being used to vary the size of the peaksand notches in the filter. The frequency plots in the upper plane of thecube have sharper peaks. In the example above, key velocity is beingused to control Transform 2 and the sharpness of the filter peaks.

Filter Transform 2 sets the Initial Point along the Transform 2 axis.Subsequent modulation (from note-on modulation) adds to this initialsetting for the primary and secondary filters.


• Filter ReverseThis function allows you to reverse the direction of all of the filtercontrols. Key Tracking, Transform 2 and the Morph parameters will alloperate in reverse. The Offset points are reversed, as well as the direc-tion of filter modulation.

FILTER REVERSEpri:Off sec:Off

• Auxiliary EnvelopeThis is a supplementary, utility envelope that can be routed to anyrealtime control destination including the Morph filter. The auxiliaryenvelope parameters are: Envelope Amount, Delay, Attack Time, HoldTime, Decay Time, Sustain Level, and Release Time. The delay time isvariable from 0 to 13 seconds (000-127). The envelope amount is vari-able from -128 to +127. Negative values will produce invertedenvelopes.

AUX ENV AMT DLY A: A H D S R +127 000 00 00 00 99 20

PRESET MENU

••• For more information onthe Envelopes, see the PresetProgramming section of thismanual.

••• The filters labeled with“.4” in their name do not usethe Transform 2 parameter.


• LFO 1 - Shape & AmountThis screen controls the waveshape and amount of Low FrequencyOscillator 1. The LFO can be used to produce vibrato (when routed topitch), or tremolo (when routed to volume). The LFO can be routed tocontrol any of the Realtime Modulation destinations (page 123). Thefive LFO waveshapes are: Triangle, Sine, Square, Sawtooth, and Ran-dom. The amount can be varied from -128 to +127. Negative values willproduce inverted waveshapes.

LFO1 SHAPE AMT Rand +127

• LFO 1 - Rate, Delay & VariationThis screen controls the rate, delay and variation of LFO 1.

LFO RateVaries the LFO speed from 0.052 Hz to 25 Hz (000-127).

LFO DelaySets the amount of time between hitting a key and the onset ofmodulation. This can be used to simulate an effect often used byacoustic instrument players, where the vibrato is brought in onlyafter the initial note pitch has been established. The delay range isvariable from 0 to 13 seconds (000-127).

LFO VariationSets the amount of random variation of an LFO each time a key ispressed. This function is useful for ensemble effects, where eachnote played has a slightly different modulation rate. The higherthe number, the greater the note to note variation in LFO rate.LFO variation is variable from 000-127.

LFO1 RT DLY VAR 000 000 000

PRESET MENU

••• For more information onthe LFOs, see the PresetProgramming section of thismanual.

Triangle

Square

Sine

Sawtooth

Random


PRESET MENU

The Function Generator contains eight segments, each with a level and time param-eter.

L1

T1

L2

L3

L4

L5

L6

L7

L8T2 T3

T4T5

T6 T7 T8

••• For more information onFunction Generators, see thePreset Programming sectionof this manual.

• LFO 2 - Shape & AmountLFO 2 is functionally identical to LFO 1.

• LFO 2 - Rate, Delay & VariationLFO 2 is functionally identical to LFO 1.

• Function Generators 1 and 2The Function Generators are eight segment modulation sources withconditional jumping capabilities and selectable segment shapes. Leveland Time parameters are provided for each stage. In addition, the shapeof each stage can be individually selected from a palette of 63 shapes.The function generator can be used when you want complex and pre-cise control over a parameter. Through the creative use of its condi-tional jumps and curves, the function generator can serve as a complexLFO, a complex envelope generator, a mini-sequencer, a random sourceor all at once if you desire.


Segment Number

Parameter Value/Shape

Function Generator 1 or 2

Level +127Time 0750msShape LinearCondJump NeverCondValue +000CondDestSeg 2

FunctionGeneratorParameters

••• Routing the FunctionGenerator to control Pitchmakes it easy to hear whatyou are doing.