E-Mu MORPHEUS Operation Manual
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E-Mu MORPHEUS Operation Manual

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MORPHEUS
Operation Manual
© 1993 E-mu Systems, Inc.
All Rights Reserved
• FI420 Rev. C
Manual - Riley Smith
E-mu World Headquarters
E-mu Systems, Inc. U.S.A.
P.O. Box 660015
Scotts Valley, CA USA
95067–0015
Telephone: 831-438-1921
Fax: 831-438-8612
Important Notice:
In order to obtain warranty service on your Morpheus unit, the serial number sticker must
be intact and you must have a sales receipt or other proof of purchase. If there is no serial
number sticker on Morpheus, please contact E-mu Systems at once.
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.
Europe, Africa, Middle East
E-mu Systems, Ltd.
Suite 6, Adam Ferguson
House
Eskmills Industrial Park
Musselburgh, East Lothian
Scotland, EH21 7PQ
Telephone: 44-31-653-6556
Fax: 44-31-665-0473
PRINTED AND MADE IN THE USA

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  • Page 1 Fax: 44-31-665-0473 Important Notice: In order to obtain warranty service on your Morpheus unit, the serial number sticker must be intact and you must have a sales receipt or other proof of purchase. If there is no serial number sticker on Morpheus, please contact E-mu Systems at once.
  • Page 2 3. Do not use Morpheus near water — for example near a bathtub, washbowl, electric shock to persons. kitchen sink, in a wet basement, on a wet bar, or near or in a swimming...
  • Page 3 5. Morpheus should be located away from heat sources such as radiators, heat registers, fireplaces, stoves, or ovens. 6. Morpheus should only be connected to a power supply of the type de- scribed in the operating instructions and as marked on the product.

  • Page 4: Table Of Contents

    CONTENTS INTRODUCTION & BASIC SETUP Introduction ................... Getting Started ..................Connection Instructions ..............Background - About Sampling ............BASIC OPERATION Main Controls ..................Selecting MIDI Channels ..............Selecting Presets/Hyperpresets ............Adjusting Volume & Pan Position ........... Memory Card ..................Midimap Selection ................
  • Page 5 FX Output Select ..............36 Save Midimap ............... 36 EFFECTS SECTION Where are the Effects? ............39 Effects Output Routing ............40 Morpheus Effects Bus Architecture .......... 40 Effect Programming Instructions ..........41 Reverb ................... 42 Stereo Flanger ............... 46 Stereo Phaser ................. 48 Stereo Chorus ................
  • Page 6 Low Frequency Oscillators ..............Function Generators .............. 76 Filter Modulation ..............84 Parametric Filters ..............87 The Morpheus Filter ............... 88 The Z-Plane Filter ..............89 Another View ................92 Morpheus Signal Flow ............93 Note-On Modulation Control ..........94 Realtime Modulation Control ..........
  • Page 7 CONTENTS PRESET MENU (cont) Sound Reverse..............107 Nontranspose ..............108 Loop Enable ............... 108 Loop Offset ................108 Solo Mode ................109 Solo Mode Priority .............. 110 Portamento Rate ..............110 Portamento Shape .............. 110 Portamento Mode............... 111 Crossfade Mode ..............111 Crossfade Direction ..............
  • Page 8 Sound Delay ................145 Sound Start ................145 Application: Sound Splicing........... 146 Time to Save? ................ 147 LFO Modulation ..............147 Modulating Modulators ............150 The Morpheus Filter ............... 151 Just Do It ................152 Filter Filosophy ..............154 Morphology ................157...
  • Page 9 CONTENTS Using Morpheus with a Sequencer......... 158 More Advanced Sequencing ..........159 REFERENCE SECTION Factory RAM Presets - Bank 0 ..........162 Factory ROM Presets - Bank 1..........163 Instrument Listing..............164 B3 Wave Diagrams ..............169 Percussion Instrument Locations ........... 170 Z-Plane Filter Descriptions .............

  • Page 10: Introduction & Basic Setup

    INTRODUCTION & BASIC SETUP Chapter 1: Basic Setup...
  • Page 11 Morpheus Operation Manual...
  • Page 12 INTRODUCTION MORPHEUS Z-PLANE SYNTHESIZER Morpheus 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 different pitches.

  • Page 13: Getting Started

    GETTING STARTED In it's most basic form, Morpheus is organized as shown in the dia- gram below. Complete acoustic instrument samples and electronically created sounds are used as raw material to form Presets. The Preset is a complete set of all program functions and combina- tions for a complete Morpheus sound.

  • Page 14: Connection Instructions

    MIDI wind controller or MIDI guitar controller. Audio Outputs Morpheus is a high quality, stereo audio device. In order to repro- duce its wide dynamic range and frequency response, use a high quality amplification and speaker system such as a keyboard amplifier or home stereo system.
  • Page 15 Audio Outputs Morpheus has three sets of programmable stereo outputs; Main, Sub 1, and Sub 2. Specific Morpheus presets (or MIDI channels) can be routed to one of these stereo pairs in order to be further processed or mixed separately.
  • Page 16 MIDI In jack. Audio Outputs Each of the Sub 1 and Sub 2 output jacks on the Morpheus are stereo jacks. The tip of each jack (accessed when a standard phone plug is inserted) is the left or right output of that group. The Sub...
  • Page 17 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, indicating that Morpheus is operating. You may have noticed that there is no 110/220 Volt power selector switch on Morpheus.

  • Page 18: About Sampling

    BACKGROUND ABOUT SAMPLING Morpheus utilizes digital recording of acoustic sounds for the basis of each Instrument. This is similar to a tape recorder except that inside the Morpheus, the sounds are permanently recorded on digital memory chips. Sound and instrument waveforms are first sampled into the Emulator III, our top of the line, 16 bit stereo digital sampler.
  • Page 19 Morpheus Operation Manual...

  • Page 20: Basic Operation

    BASIC OPERATION Chapter 2: Basic Operation...

  • Page 21: Main Controls

    Master menu. Midimap Menu Select Button A Midimap is a set of parameters used to configure Morpheus to other MIDI gear such as a sequencer or keyboard setup. The 16 Midimaps contain digital effects setting as well as assignments of presets/hyperpresets to MIDI channels.
  • Page 22 The Home/Enter button is used to confirm a particular operation or to return the cursor the “Home” position in the upper left corner. The LED flashes to indicate that Morpheus is waiting for your response. ••• The cursor can also be...

  • Page 23: Midi Channel Selection

    Indicates that MIDI data is being received. MIDI CHANNEL SELECTION Press the cursor key repeatedly until the cursor is underneath the • • If Morpheus is not channel number. (The cursor is the little flashing line underneath one esponding properly or plays he wrong preset, make sure of the parameters in the display.) Rotate the data entry control to...

  • Page 24: Memory Card

    MIDI chan- nel or it could be used as an “Effects Preset”, since each Midimap stores a complete effects setup. There are 16 Midimaps in Morpheus and an additional 16 Midimaps can be stored on a memory card.

  • Page 25: Multi-Timbral Operation

    1. Set the MIDI mode to MULTI-Mode, using the MIDI mode function 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 that you DO NOT want Morpheus to receive using the MIDI En- ables in the Midimap menu (page 33).

  • Page 26: Master Menu

    MASTER MENU Chapter 3: Master Menu...
  • Page 27 Morpheus Operation Manual...

  • Page 28: Master Tune

    MASTER MENU FUNCTIONS • Master Tune Master tune adjusts the overall tuning of all presets so that Morpheus can be tuned to other instruments. The master tuning range is ± 1 semitone in 1/64th semitone increments. A master tune setting of “+00”...

  • Page 29: User Key Tuning

    MASTER MENU • User Key Tuning In addition to standard twelve tone equal temperament, Morpheus contains four additional preset tuning tables (Just C, Vallotti, 19 tone, and Gamelan) and one user definable tuning. User Key Tuning allows •• Application: The user...
  • Page 30 MASTER MENU GLOBAL VELOCITY CURVES Chapter 3: Master Menu...

  • Page 31: Midi Mode

    MIDI channel (the “basic channel”, displayed on the main screen) and plays that channel’s associated preset. Multi mode Morpheus responds to data on any combination of MIDI chan- nels and plays the specific preset associated with each of the MIDI channels.

  • Page 32: Midi Program Change Map

    MIDI program number sent from the master synth to be linked with a specific preset or hyperpreset on Morpheus. For example, the Program Change Map could be set to call up preset 12 whenever Morpheus receives program change number 26. Any preset or hyperpreset in Morpheus can be mapped to any incoming MIDI program change number.

  • Page 33: Midi Controller Assign

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

  • Page 34: Sysex Packet Delay

    The Enter LED will be flashing. Press the Enter button to confirm the To Record MIDI Data into a Sequencer: operation. To receive MIDI data, simply send the MIDI data into Morpheus from another Morpheus or your sequencer. The choices are: 1. Setup sequencer to receive system exclusive data. RAM Presets .........

  • Page 35: Proteus Sysex

    • Proteus Sysex When this function is On, Proteus presets can be transferred over MIDI into Morpheus. It also allows the use of Proteus patch editing programs. Instrument numbers and parameters which are unique to Morpheus will, of course, NOT be transferred. This function defaults to Off to avoid unplanned conflicts with Proteus Sysex transfers.

  • Page 36: Midimap Menu

    MIDIMAP MENU Chapter 4: Midimap Menu...
  • Page 37 Morpheus Operation Manual...

  • Page 38: The Midimap

    Presets” for your favorite effects setups. The Midimap contains all the pre-sequence setup information, such as the program (preset or hyperpreset) for each MIDI channel, effects settings, etc. There are 16 Midimaps in Morpheus and an additional 16 can be stored on a memory card. ••• Midimaps can also be...

  • Page 39: Midimap Select

    Press the Midimap button, lighting the LED. The current screen will be the one most recently selected since powering up Morpheus. The cursor will appear underneath the first character of the screen heading on line one. To select a Midimap...

  • Page 40: Midimap Name

    MIDIMAP MENU • Midimap Name This function allows you to name each of the 16 Midimaps with a name of up to 12 characters. Position the cursor underneath the The Auto-Select feature in character location and use the data entry control to change the char- the Master menu must be turned On in order to use the acter.
  • Page 41 The diagram below shows the function of Output Mix Select. •• Please note that the Sub Output is an “Effects Only” utput. The Output Mix Select (for each MIDI channel) selects which bus in the Output Section will be used. Morpheus Operation Manual...

  • Page 42: Midi Enables

    Footswitches 1-3 The “All Messages” filter is useful when you have other MIDI devices connected and do not want Morpheus to respond to the MIDI chan- nels reserved for other devices. Messages will be passed when On and filtered out when turned Off.

  • Page 43: Program Map Select

    MIDIMAP MENU • Program Map Select There are four Program Maps in Morpheus. Program Maps allow incoming MIDI program changes to be translated into another num- ber. For example, a program map could be set up so that program •• The Program Change...

  • Page 44: Fx B

    MIDIMAP MENU • FX B This function allows you to select which effect is active on Effect Processor B. Processor B effects include echo, delay, chorus, phase shifter, distortion and ring modulator. Each effect has one or more adjustable parameters which are accessed by moving the cursor to the lower line.

  • Page 45: Fx Output Select

    Enter LED will be flashing. Pressing the Home/Enter switch will con- firm the operation. Writing to a Midimap location erases the existing Midimap in that location. Make sure that the location does not con- tain information you want to keep. Save MIDIMAP to M00 -defMIDIMap- Morpheus Operation Manual...

  • Page 46: Effects Section

    EFFECTS SECTION Chapter 5: Effects Section...
  • Page 47 Morpheus Operation Manual...

  • Page 48: Where Are The Effects

    The Effects section in Morpheus is located external to the preset in the Midimap menu. The effects section is located within the Midimap. There are 16 Midimaps (and 16 more on a memory card) which store different effects setups.

  • Page 49: Effects Output Routing

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

  • Page 50: Effects Section

    EFFECTS SECTION TO PROGRAM AN EFFECT: 1) Press the MIDIMAP button lighting the LED. 2) Slowly turn the data entry knob clockwise until you find the screen shown below. Select one of the effect processors in the Mix Selec- tion. This selects the input to the effect processors. •••...

  • Page 51: Reverb

    REVERB Reverberation is a simulation of a natural space such as a room or hall. The reverb effects in Morpheus simulate various halls, chambers, rooms and reverberation plates. In addition, there are several other reverb effects such as Early Reflections and Rain. There is only one adjustable parameter on the reverbs - Decay Time.
  • Page 52 EFFECTS SECTION Room programs simulate small rooms with high frequency absorption caused by drapes and furniture. Plates simulate plate type reverbs with their tight, dense early 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 concert halls.
  • Page 53 Simulates a plate reverb unit. Gives a tight, bright, slightly metallic sound. Reflection buildup is very rapid, with high density. Early reflec- tions are minimized. • Plate 2 An effect similar to Plate 1, but slightly warmer with less density. Morpheus Operation Manual...
  • Page 54 EFFECTS SECTION EARLY REFLECTION GROUP All Early Reflection programs have a single Ambience parameter which adds diffusion to the individual reflections. Lower ambience settings cause reflections to become more discrete, simulating harder reflecting surfaces. The early reflection programs are simulations of increasingly large acoustic spaces, from a small studio (Early Refl 1) to a large room like a sound stage (Early Refl 4).

  • Page 55: Stereo Flanger

    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.
  • Page 56 EFFECTS SECTION A Minimum Delay control serves to tune the flanger. In other words, it adjusts the placement of the comb filter notches. The initial delay is variable from 26 microseconds to 6.5 milliseconds. FXA:StereoFlange Min Delay A Low Frequency Oscillator (LFO) varies this initial delay setting, changing the frequency of the notches and adding animation to the sound.

  • Page 57: Stereo Phaser

    The phaser creates a swirly animation when used with harmonically rich sounds such as strings and voices. It can also be used like a chorus to thicken-up a thin sound. FXA:Phaser FXA:Phaser LFO Rate LFO Depth FXA:Phaser FXA:Phaser Min Freq Feedback Morpheus Operation Manual...

  • Page 58: Stereo Chorus

    LFO Rates generally requiring less LFO Amount and vice-versa. The stereo chorus in the Morpheus is very similar to the stereo flanger except that the delay time is longer. The delay times for the stereo chorus range from 13 milliseconds to 52 milliseconds, compared with the 26 microsecond to 6.5 millisecond range of the flanger.
  • Page 59 Feedback controls how many echoes are produced. A setting of 0 produces only one echo. The delay line is incredibly stable even Morpheus Operation Manual...
  • Page 60 EFFECTS SECTION with large amounts of feedback. This quality allows the delay line to be used as a resonator, where it acts as a kind of oscillator when excited by an input signal. Infinite delay effects are also possible without the risk of runaway.
  • Page 61 The left and right signals are kept completely independent throughout the effect and have separate controls except the feedback amount control which affects both channels. FXA:Echo FXA:Echo L DelayTime R DelayTime FXA:Echo FXA:Echo L Tap Level R Tap Level FXA:Echo Feedback Morpheus Operation Manual...

  • Page 62: Stereo Delay

    EFFECTS SECTION B EFFECTS The B effects include Stereo Flanger, Stereo Chorus, Phaser, Fuzz, Ring Modulator, Delay, Cross Delay and Fuzz Lite. Some of the B effects such as the Fuzz and the Ring Modulator are a bit bizarre (you won't want to use them on every sound), but can be used to create some truly amazing effects.

  • Page 63: Stereo Fuzz

    Output Filter removes harmonics at the output, smoothing the sound. Higher values allow more harmonics to pass. The level of the input sound greatly affects the amount of fuzz, so that Morpheus' envelopes can now control harmonic content as well as the volume.

  • Page 64: Ring Modulator

    EFFECTS SECTION • Ring Modulator A Ring Modulator is a device which takes two signals and multiplies them together into one resultant signal containing only the sum and difference frequencies of the two input waves. The original frequen- cies are not output! However, every harmonic of each signal multiplies every other, according to its amplitude.
  • Page 65 Pan the primary and secondary instruments to left and right in the pan screen, then move to the Effect B screen and select Ring Modula- tor. There are no parameters to adjust in this effect so the lower line of the display reads: None. FXB:RingModulate None Morpheus Operation Manual...

  • Page 66: Hyperpreset Menu

    HYPERPRESET MENU Chapter 6: Hyperpreset Menu...
  • Page 67 Morpheus Operation Manual...

  • Page 68: The Hyperpreset

    To enable the Hyperpreset menu Press the Hyper button, lighting the LED. The current screen will be the one most recently selected since powering up Morpheus. In order to HEAR the The Hyperpreset to be edited will be the LAST one selected or Hyperpreset as you edit it, edited.

  • Page 69: Hyperpreset Name

    Master Menu) is urned On, Zones will be elected as the keyboard is layed. In the case of verlapping zones, the lowest one number will be selected. elocity will select the zone if elocity switching has been rogrammed. Morpheus Operation Manual...

  • Page 70: Zone Volume And Pan

    HYPERPRESET MENU • Zone Volume and Pan This function sets the Volume and Pan position for each zone. Volume allows you to adjust the relative volume between presets and pan allows you to change the position of each zone in the stereo field. The Volume control acts as an attenuator on the preset volume.

  • Page 71: Zone Velocity Range

    65 and above would select the second preset. Because there are sixteen possible zones, presets can be layered 16 deep! VEL RANGE low:000 hi:127 Zone Velocity Range allows you to select different preset layers according to key velocity. Morpheus Operation Manual...

  • Page 72: Zone Velocity Offset

    HYPERPRESET MENU • Zone Velocity Offset This function works in conjunction with the Zone Velocity Range feature and adds a programmable offset value to the velocity value applied to the preset. The velocity offset is variable for each zone from - 126 to +126.

  • Page 73: Hyperpreset Portamento Mode

    Level +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” controller which can control all presets contained in a hyperpreset. Morpheus Operation Manual...
  • Page 74 HYPERPRESET MENU Hyperpresets contain a slightly different version of the function genera- tor called a Free-Running Function Generator or Free-Run FG. There is one Free-Run FG per hyperpreset (effectively one per MIDI channel). What the Free-Run FG actually controls is programmed in the preset itself.

  • Page 75: Save Hyperpreset

    Any of the hyperpreset locations may be selected. Saving to a hyper erases the existing hyper in that location. Make sure that the destination does not contain information you want to keep. SAVE HYPER to... 000 SynBass/Lead Morpheus Operation Manual...

  • Page 76: Preset Programming

    PRESET PROGRAMMING PRESET PROGRAMMING Chapter 7: Preset Programming...
  • Page 77 PRESET PROGRAMMING Morpheus Operation Manual...
  • Page 78 It’s easy to create new presets by using the Preset Edit menu to modify existing presets. This is really the best way of getting aquainted with Morpheus. If you don't like the results, simply change the preset momentarily and you'll be back to the original sound. Changes are not made permanent until you SAVE a preset.

  • Page 79: Modulation

    Morpheus is designed so that for each of the variable parameters, such as the volume, there is an initial setting which can be changed by a modulation source.

  • Page 80: Modulation Sources

    PRESET PROGRAMMING MODULATION SOURCES Morpheus uses three kinds of modulation sources. • NOTE-ON MODULATION CONTROL Values which are generated at the start of a note and do not change during the note. Keyboard Key Which key is pressed. Key Velocity How fast the key is pressed.

  • Page 81: Footswitch Modulation

    MIDIPATCH Connecting a modulation Source to a Destination is called a Patch. Morpheus lets you connect the modulation sources in almost any possible way to the modulation destinations. You can even modulate other modulators. Each patch also has an amount parameter which determines “how much”...

  • Page 82: Envelope Generators

    An envelope can be described as a “contour” which can be used to shape the sound in some way over time. There are two different enve- lope generators on Morpheus. The Alternate Volume Envelope genera- tor controls the volume of the primary or secondary instrument over time and has 5 stages: Attack, Hold, Decay, Sustain, and Release.
  • Page 83 3) The envelope remains at the Sustain level until the key is released, then it glides back down to zero at the programmed Release rate. level time released down When the key is released, the Release phase immediately begins. Morpheus Operation Manual...

  • Page 84: Low Frequency Oscillators

    LOW FREQUENCY OSCILLATORS (LFOs) A Low Frequency Oscillator or LFO is simply a wave which repeats at a slow rate. The Morpheus has two multi-wave LFOs for each of its 32 channels. The LFO waveforms are: Triangle, Sine, Square, Sawtooth, and Random, which is a random “sample and hold”...
  • Page 85 For example, the function generator could be programmed to jump back to segment 5 if the key is held, but jump to segment 8 whenever the key is released. Jump if Note On Jump if Note Off Morpheus Operation Manual...
  • Page 86 PRESET PROGRAMMING The jumps are called Conditional Jumps because they only jump if a certain condition is met. For example, the function generator can be programmed to jump to another segment only if the key is still being held. Otherwise it will continue on to the next segment. Each of the eight segments can have a conditional jump to any segment (including itself).
  • Page 87 In the example below, segments 2 and 3 would only be played if the velocity value were 84 or above. Velocity values below 84 would cause the function generator to jump to segment 4. Jump to Segment 4 if Velocity is less than 84 Morpheus Operation Manual...
  • Page 88 PRESET PROGRAMMING In the example below the function generator becomes a complex LFO through the use of an “Always End” jump which always forces a jump back to segment 1 from the end of segment 5. Thus the function generator constantly repeats forming a low frequency oscillator. Always Jump to 1 at End of Segment FUNCTION GENERATOR DELTA &...
  • Page 89 In the example below, the function generator will follow a random course within the limits of 48. Etc. ••• Always End means always jump at the end of the segment. Always Jump to End Morpheus Operation Manual...
  • Page 90 PRESET PROGRAMMING To access the Random Delta parameter, turn the level value of a function generator one unit past r +127. The random delta (r ) sym- bol appears in the value field. FUNC GEN F1S1 Level r -127 A Random Delta level allows the function generator to change by a random amount which does not exceed the random change specified.

  • Page 91: Function Generators

    Note-on time Preset Preset Preset Preset & are not synced Function Function Function Function with each other. Generator Generator Generator Generator There are two Function Generators per Preset which start at the time a note is pressed. Morpheus Operation Manual...
  • Page 92 PRESET PROGRAMMING When Presets are Selected, The Free-Run the Free-Run Function Generator ONLY works Function Generator has No Effect in a Hyperpreset. Preset 1 Preset 2 Hyperpreset Morph Volume Preset 1 Preset 2 Free-Run Free-Run Morph Volume Free-Run Free-Run Free-Run Free-Run Hyperpreset The Free-Run Function Generator only works in a Hyperpreset, even though the...
  • Page 93 PRESET PROGRAMMING Chapter 7: Preset Programming...

  • Page 94: Filter Modulation

    One way to represent complex waveforms is to use a chart with fre- quency on one axis and amplitude on the other. Each vertical line of the chart represents one sine wave at a specific amplitude and frequency. 1440 2880 Frequency Morpheus Operation Manual...
  • Page 95 PRESET PROGRAMMING WHAT IS A FILTER? Most of the instruments in Morpheus are complex waves containing many sine waves of various amplitudes and frequencies. A filter is a device which allows us to remove certain components of a sound depending on its frequency. For example, a Low Pass Filter lets the low frequencies pass and removes only the high frequencies.
  • Page 96 Parametric equalizers are usually either 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. 4-pole 2-pole Lowpass Lowpass Frequency Morpheus Operation Manual...

  • Page 97: Parametric Filters

    PRESET PROGRAMMING Using a filter, we now have a way to control the harmonic content of a sampled sound. As it turns out, even a simple low pass filter can simulate the response of many natural sounds. For example, when a piano string is struck by its hammer, there are initially a lot of high frequencies present.

  • Page 98: The Morpheus Filter

    THE MORPHEUS FILTER The Morpheus filter is actually much more complex than the four parametric sections described above. As an example of its power, the diagram below shows one of the possible ways that the Morpheus filter can be configured.

  • Page 99: The Z-Plane Filter

    A Filter Morph Frequency The Morpheus Z-plane filter has the unique abilty to change its function over time. Filters A and B represent two different complex filters. By changing a single parameter, the Morph, many complex filter parameters can now be changed simultaneously. Following along the Morph axis you can see that the filter response smoothly interpolates between the two filters.
  • Page 100 In the Morpheus filter there is only one parameter that can be continu- ously varied in realtime and that is the Morph parameter. Other filter parameters, such as Frequency Tracking, can only be changed at note- on time.
  • Page 101 PRESET PROGRAMMING Suppose we added yet another dimension to the filter model. We could have the realtime Morph parameter, the Frequency Tracking parameter (set at note-on time) and one more parameter, perhaps controlling the amount of the filter peaks with key velocity. A way to visualize a three-dimensional filter model is shown by the diagram below.

  • Page 102: Another View

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

  • Page 103: Morpheus Signal Flow

    PRESET PROGRAMMING MORPHEUS SIGNAL FLOW Going back to the block diagram for a single channel we can re-exam- ine the complete signal path. Z-Plane Filter Instrument Tone Freq Trans Sample Morph Pitch Start Volume Function Aux. Volume Velocity Possible Gen.

  • Page 104: Note-On Modulation Control

    Filter Transform 2 The possible modulation routings are completely flexible as shown in Primary Filter Transform 2 the diagram above. Multiple sources can control the same destination, Secondary Filter Transform 2 or a single source can control multiple destinations. Morpheus Operation Manual...

  • Page 105: Realtime Modulation Control

    PRESET PROGRAMMING Realtime Modulation Destinations Modulation Sources Pitch Wheel Primary Z-Plane LFO 1 Instrument Tone MIDI Control A Filter Amount Rate Pitch Morph MIDI Control B MIDI Control C Volume LFO 2 MIDI Control D Amount Rate Volume Mono Pressure X-Fade AHDSR Portamento...

  • Page 106: Key Number

    MIDI controller. Curve 1 Curve 2 80 100 80 100 Played Velocity Played Velocity Curve 3 Curve 4 80 100 80 100 Played Velocity Played Velocity Morpheus Operation Manual...

  • Page 107: Midi Realtime Controls

    3 types of messages; note on/off, program changes, and continuous controller messages. Your MIDI keyboard, in addition to telling Morpheus which note was played, may also send realtime control information, which simply means occurring in real time 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.)

  • Page 108: Edit Menu

    Portamento Rate Primary Portamento Rate Secondary Portamento Rate MIDI Filter Morph Primary Filter Morph Controller Secondary Filter Morph Amount Primary Pan Secondary Pan The MIDI controllers A-B-C-D must have both a source (0-31), and a control destination assigned. Morpheus Operation Manual...

  • Page 109: Preset Menu

    PRESET MENU Chapter 8: Preset Menu...
  • Page 110 Morpheus Operation Manual...
  • Page 111 PRESET MENU The Preset menu contains functions that can be modified by the user and then saved as preset information in one of the user presets. For example, the LFO speed or other parameter can be edited, then the preset can be saved to a user location (0-127, bank 0). WARNING Changes made in the Preset menu will be forever lost unless the preset is “saved”...

  • Page 112: Preset Name

    • Secondary Instrument This function allows you to select which of the available instrument sounds (or none) will be placed on the secondary layer of the current user preset. INSTRUMENT sec I038 Rock Organ Morpheus Operation Manual...

  • Page 113: Volume

    This sets the keyboard range for the entire preset and will further limit the primary and secondary keyboard ranges. The key range can be set anywhere from C-2 to G8. KEY RANGE C-2 -> G8 Morpheus Keyboard Range MIDI 120 127 Key # Name...

  • Page 114: Primary Key Range

    See the Pri Instr. chapter on Hyperpresets in this manual. Sec Instr. LAYERING TWO INSTRUMENTS This diagram shows how instruments can be layered or “stacked” using the primary and secondary instruments. Morpheus Operation Manual...

  • Page 115: Transpose

    PRESET MENU • Transpose This function allows you to transpose the key of the primary and second- ary instruments in semitone intervals by shifting the keyboard position relative to middle C. The transpose range is -36 to +36 semitones. ••• Use Transpose when you TRANSPOSE want the instrument's timbre pri:+00...

  • Page 116: Primary Alternate Envelope Parameters

    P: A and release times of the 00 00 00 99 16 Alternate Envelope can alleviate channel “ripoff” problems. Morpheus exam- ines the Alternate Envelope to determine if a channel can be • Secondary Alternate Envelope Parameters reused. This function allows you to adjust the alternate volume envelope para- meters for the secondary instrument.

  • Page 117: Sound Delay

    When sound reverse is turned On, the instrument will be played back- wards. Since instruments tend to sound very different when reversed, ••• The Sound Start this function extends the number of possible sounds in Morpheus. parameter can be useful to remove the gradual attack of a reversed sound.

  • Page 118: Nontranspose

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

  • Page 119: Solo Mode

    PRESET MENU Loop - Start Point + Start Point Loop Loop Piano Choir Strings Brass Synth Sample Memory ••• Sounds are looped so Changing the Loop Offset Start point moves the loop forward or backward (+ or-) that they will continue to through the sample memory, keeping the loops size constant.

  • Page 120: Solo Mode Priority

    The portamento is variable from convex exponential (8) to linear, for both the primary and secondary instruments. Using the exponential shapes, the portamento rate will slow as the note nears its destination. The portamento shape can PORTAMENTO SHAPE be varied from linear to convex exponential. pri:Ex4 sec:Lin Morpheus Operation Manual...

  • Page 121: Portamento Mode

    PRESET MENU • Portamento Mode This 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 a three-note chord is played, only two of the notes will glide. Notes will glide from the previous note or notes played.

  • Page 122: Crossfade Direction

    Balance + Mod Medium Crossfade Amount Balance + Mod Small Crossfade Amount Balance + Mod Modulation and Crossfade balance are added together to determine the mixture of primary and secondary instruments. Higher values increase the secondary volume. Morpheus Operation Manual...

  • Page 123: Cross-Switch Point

    PRESET MENU • Cross-Switch Point The cross-switch point determines the point at which cross-switching will occur when key position or velocity is controlling cross-switch. To enable the Cross-switch XSWITCH POINT function, you must assign 064 (E3) Velocity Crossfade to a modulation source in the Note-on or Realtime Cords screens.

  • Page 124: Morph Offset

    In order control which brightens or to have keyboard tracking, you must also patch the “Keyboard to Filter darkens the sound. Frequency Tracking” in the Note-On modulation screen. FILT FREQ TRACK pri:000 sec:000 Morpheus Operation Manual...

  • Page 125: Filter Transform 2

    A way to visualize a three- dimensional filter model is shown in the diagram below. Frequency Tracking Frequency Tracking Frequency Tracking Frequency Tracking Key Number Each Morpheus filter is actually constructed of up to eight different complex filters. Chapter 8: Preset Menu...

  • Page 126: Filter Reverse

    0 to 13 seconds (000-127). The envelope amount is vari- Programming section of this able from -128 to +127. Negative values will produce inverted manual. envelopes. AUX ENV AMT DLY A: A +127 000 00 00 00 99 20 Morpheus Operation Manual...

  • Page 127: Lfo 1 & 2 - Shape & Amount

    PRESET MENU • LFO 1 - Shape & Amount This screen controls the waveshape and amount of Low Frequency Oscillator 1. The LFO can be used to produce vibrato (when routed to pitch), or tremolo (when routed to volume). The LFO can be routed to control any of the Realtime Modulation destinations (page 123).

  • Page 128: Function Generator 1 And 2

    CondJump Never Parameters CondValue +000 CondDestSeg ••• Routing the Function Generator to control Pitch makes it easy to hear what you are doing. The Function Generator contains eight segments, each with a level and time param- eter. Morpheus Operation Manual...
  • Page 129 PRESET MENU The function generator can have up to eight segments, each with a Level and a Time parameter. The level parameter can be either positive or negative. Each segment of the function generator can have a different Shape. There are 63 different shapes consisting of various curves, straight and crooked line segments, random, chaos and delays.
  • Page 130 See the following page. Key End ..... Jumps at the end of the segment if the note value is greater than a positive conditional value or less than a negative conditional value. See the following page. Morpheus Operation Manual...
  • Page 131 PRESET MENU For Velocity End & Key End When the value is Positive, a jump FUNC GEN F1S1 occurs if the velocity or key number CondValue +064 is Greater than value shown. ••• Drawing your function generator ideas on paper first will simplify the program- ming process.

  • Page 132: Note-On Modulation Control

    PITCH WHEEL PRESSURE KEY NUMBER VELOCITY Secondary Filter Level, (INITIAL SETTING) (INITIAL SETTING) Filter Freq. Tracking, Primary Filter Freq. Tracking Note-On Modulation Sources Secondary Filter Freq. Tracking Filter Transform 2 Primary Filter Transform 2 Secondary Filter Transform 2 Morpheus Operation Manual...

  • Page 133: Realtime Modulation Control

    PRESET MENU • Realtime Modulation Control Realtime Modulation Sources These functions allow you to route realtime controllers to any of the Pitch Wheel modulation destinations except Tone, Sample Start, Filter Frequency MIDI Control A Tracking and Filter Transform 2. Up to 10 simultaneous patches may be MIDI Control B programmed.

  • Page 134: Footswitch Control

    -128 to +127 for each of the MIDI Modulation Control amounts controllers. for these functions to have a full range of control, the Pressure and Controller A-D amounts must be set to CONTROLLER AMT CONTROLLER AMT +127. A:+127 B:+127 C:+127 D:+127 Morpheus Operation Manual...

  • Page 135: Velocity Curve

    PRESET MENU • Velocity Curve Incoming velocity data can be modified by a velocity curve in order to provide different types of dynamics in response to your playing or better adapt to the MIDI controller. This function allows you to select one of the four velocity curves or leave the velocity data unaltered (Off).

  • Page 136: Keyboard Center

    KEYBOARD CENTER KEY CENTER • Keyboard Tuning In addition to the standard equally divided octave tuning, Morpheus contains four other types of scale tuning and one user-definable tuning. This function selects which tuning will be used in the current preset.

  • Page 137: Mix Select

    PRESET MENU • Mix Select This function allows you to direct a particular preset to one of the four destinations (Main, Sub 1, FXA, FXB). This routing is utilized if Mix Select for a particular MIDI channel is set to “Preset” in the current Midimap.
  • Page 138 Morpheus Operation Manual...

  • Page 139: Copy Menu

    COPY MENU COPY MENU Chapter 9: Copy Menu...

  • Page 140: Copy Menu

    COPY MENU Morpheus Operation Manual...

  • Page 141: Copy Preset

    Remember to SAVE your This function allows you to copy a preset from any location in edited Preset, Hyper presret Morpheus into the current preset location. The current preset is the or Midimap if you want to keep it. preset showing in the main screen.

  • Page 142: Copy Layer

    This function allows you to copy the LFO settings for LFO1, LFO2 or both from another preset into the current preset. There are five options available: 1 to 1, 1 to 2, 2 to 2, 2 to 1, 1 & 2 (Both). COPY LFO 000 Preset Name Morpheus Operation Manual...

  • Page 143: Copy Function Generator

    COPY MENU • Copy Function Generator This function allows you to copy the function generator parameters for either FG1, FG2 or both from another preset into the current preset. There are five options available: 1 to 1, 1 to 2, 2 to 2, 2 to 1, 1 & 2 (Both).

  • Page 144: Copy Hyperpreset

    This function allows you to copy all the Free-Run Function Generator parameters from any hyperpreset into the current hyperpreset loca- tion. COPY FREE-RUN FG 000 HyperName • Copy Midimap This function allows you to copy an entire midimap into the current midimap location. COPY MIDIMAP M00 MidiName Morpheus Operation Manual...

  • Page 145: Copy Channel

    COPY MENU • Copy Channel This function allows you to copy all the information from a single MIDI channel from any midimap into the current midimap location. Channels may be placed into any other channel number in the cur- rent midimap. The parameters that will be copied are: Preset/Hyper, Volume, Pan, Mix, MIDI Enables, and Bank Select.

  • Page 146: Copy Bank

    Presets - RAM to Card, Card to RAM, ROM to RAM, ROM to Card, Hypers - RAM to Card, Card to RAM, MIDImap - RAM to Card, Card to RAM, All - Card to RAM, RAM to Card COPY BANK Presets RAM Card Morpheus Operation Manual...

  • Page 147: Step-By-Step

    STEP-BY-STEP STEP-BY-STEP Chapter 10: Step-by-Step...
  • Page 148 STEP-BY-STEP Morpheus Operation Manual...

  • Page 149: Editing Presets

    Musician, which are available at most newsstands, contain current information on the subject, as well as valuable programming tips. Morpheus (or any synthesizer for that matter) is not really one instru- ment but a collection of modules which can be connected together to create many different instruments.

  • Page 150: Starting From Scratch

    • The Instrument The instrument is the basis of your sound. The instruments in Morpheus are digital recordings of various sounds from the simple (sine wave) to the complex (Bosendorfer Piano). The second screen in the Preset menu selects the primary instrument.

  • Page 151: Volume

    STEP-BY-STEP • Volume Turn the data knob one click to the right to the Volume screen. This screen adjusts the volumes of the two instruments. Refer to the block diagram on the previous page as you adjust the volume of the DCA. VOLUME pri:110 sec:100...

  • Page 152: Coarse Tuning

    ‘-defPreset-’. Now everything is erased. Set the primary instrument to I005 Spectrum Pad, press Home/Enter, then slowly turn the data entry knob until you find the screen shown below. ALT VOL ENVELOPE pri:Off sec:Off Morpheus Operation Manual...

  • Page 153: Alternate Volume Envelope

    Organ Every instrument in Morpheus has its own volume envelope which is used when the Alternate Envelope parameter is turned Off. By turning the Alternate Volume Envelope On, we can re-shape the instrument's natural volume envelope any way we want.

  • Page 154: Anatomy Of An Envelope

    Because this function works by using two instruments per layer, it halves the number of available notes that can be played. Therefore you should only use this feature when necessary to achieve the desired effect. DOUBLE + DETUNE pri:06 sec:Off Morpheus Operation Manual...

  • Page 155: Sound Delay

    STEP-BY-STEP • Sound Delay This function delays the onset of the note after a key is pressed and is mainly used when a secondary instrument is also present. Go ahead and select a secondary instrument now, then come back to this screen to experiment with the delay.

  • Page 156: Application: Sound Splicing

    Finally, the volumes of the two instruments are balanced with the volume control. Splicing is only of the many things you can do with Morpheus. Think of Morpheus as an audio construction set, which allows you to mold the sound as you would a piece of clay.

  • Page 157: Time To Save

    STEP-BY-STEP • Time to Save? If you wanted to keep this sound, you would have to SAVE it using the Save Preset function (the very last screen in the Preset menu). To save a preset, simply move the cursor to the bottom line of the display, select the preset location where you want to store it, then press Enter.
  • Page 158 Change the amount to -128 and notice that it now ramps down and comes abruptly back up. Anytime you use a negative amount (in any part of Morpheus), you Invert the modulation. Negative Amount Sawtooth Inverted Sawtooth In preparation for the next experiment, set the LFO waveform to “Sine”...
  • Page 159 STEP-BY-STEP Go back to the Realtime Modulation screen and set it as shown below. REALTIME CTRL #0 Lfo1 Pan +127 Notice how the LFO now moves the sound from side to side. The dia- gram below illustrates the connection you just made. Instrument LFO 1 The Realtime Control screen connects ANY realtime modulation...

  • Page 160: Modulating Modulators

    On modulations and ten Realtime modulations in each preset. You can probably see why patch diagrams are important (even if they only exist in your mind). They allow you to visualize how the connections are being made inside Morpheus. Morpheus Operation Manual...

  • Page 161: The Morpheus Filter

    This is what a lot of you have been waiting for. This incredible filter is what puts the Morph in Morpheus. If you have not read the section on the Z-Plane Filter in the Preset Programming section, please do so before proceed- ing, since it contains important background information.

  • Page 162: Just Do It

    Enter the Preset menu and select an instru- ment rich in harmonics such as “I004 PunchyBrass”. The mod wheel is usually transmitted on MIDI controller 01. Morpheus Controller A is set to controller 01 by default. So if you have not •••...
  • Page 163 STEP-BY-STEP Move to the “Filter Frequency Tracking” screen and adjust the primary offset while playing the keyboard. (You must re-key the keyboard to hear the results of changing this value.) As specified, this parameter changes the frequency of the filter, making it brighter as the value is increased.

  • Page 164: Filter Filosophy

    The Filter can only act on frequencies that are present in the Instrument. Use the Filter Frequency Tracking control to “fine tune” the filter to the instrument. No sound would be output from the example above because the filter's frequency response and the harmonic spectrum of the instrument do not coincide. Morpheus Operation Manual...
  • Page 165 STEP-BY-STEP Original Instrument Spectrum 1440 2880 Frequency Filter Response Instrument Through Filter 1440 2880 Frequency Resulting Frequency Spectrum 1440 2880 Frequency The Filter imposes its response on the harmonic spectrum of the Instrument. Chapter 10: Step-by-Step...
  • Page 166 Interesting and expressive sounds have many different controls occurring simultaneously. In creating a preset, you are actually designing a new musical instrument. Take the time to fine tune and polish your creation! Morpheus Operation Manual...

  • Page 167: Morphology

    The best and ultimately the only way to choose filters is to try them out. Morpheus is no mere mortal synthesizer with a single filter. Morpheus has 197 filter types to choose from. Think of the filters as you do instru- ments: entities which have a particular sound.

  • Page 168: Using Morpheus With A Sequencer

    “Save Midimap to”. Then select a location and press Enter. In order to respond to multiple MIDI channels, Morpheus must be in Multi-Mode. Multi-Mode is selected in the Master menu. Press the Master menu button and use the data entry control to scroll through the screens until you find MIDI MODE.

  • Page 169: More Advanced Sequencing

    Suppose that you want to have your sequencer set up everything for you before the start of the song. Good idea. This will make the Morpheus setup procedure automatic and prevent the wrong presets from playing. The basic idea of a pre-sequence setup is to send out a Midimap Select command just before the start of the song.
  • Page 170 • Channel Ripoff ••• Use the effects section to When Morpheus uses up all its 32 channels and needs more, it steals a “fatten” your sound instead channel from the key that has been held the longest. This is commonly of the chorus feature in the known as “channel rip-off”.

  • Page 171: Reference Section

    REFERENCE SECTION Chapter 11: Reference Section...

  • Page 172: Factory Ram Presets - Bank 0

    126. Krazy Rom 36. Organic 66. Thunder Tar 96. Vox Sweep 37. Vell Bell 67. Harmtoo 97. Amazon 127. -defPreset- 38. Cookin’ 68. Flang Strat 98. Wow Man 39. Ear Candy 69. Pick It 99. Window Pane Morpheus Operation Manual...

  • Page 173: Factory Rom Presets - Bank 1

    FACTORY ROM PRESETS - BANK 1 MORPH LEAD DRUM 0. Morpheus 3. Ball Heavies 6. Flute Morph Dance 10. Phat Sky 40. Swirly 70. Jupiter Synth 100. New Jacq 11. Swell Pad 41. Centered 71. Big Hooter 101. Snare 12. Windy Pip 42.
  • Page 174 28. Crotales 55. Pulse 96% 29. Peking 56. Pulse 98% 30. Java Malet 57. Pulse 99% 31. Kenong 58. Noise 32. Icy Pad 59. Oct 3rd White Noise 33. Bright Electric Piano 60. Triangle 34. Piano Bright Morpheus Operation Manual...
  • Page 175 MORPHEUS INSTRUMENTS HARMONIC WAVEFORMS 61. Oct 1 (Sine) 62. Oct 2 All Starting from the first octave (fundamental), 63. Oct 3 All the harmonic waveforms contain the har- monics (odd, even, or all) present in each 64. Oct 4 All octave.
  • Page 176 137. Saint Moog 108. Wind Cycle 1 138. Analog Bass 109. Wind Cycle 2 139. Liquid Moog 110. Wind Cycle 3 140. Quake Bass 111. Wind Cycle 4 141. Q Bass 112. Organ Cycle 1 142. Luxury Bass Morpheus Operation Manual...
  • Page 177 MORPHEUS INSTRUMENTS 143. Reson Bass 2 144. Deep Bass 145. Eight 0 Eight 146. MOOG Wave 1 147. MOOG Wave 2 148. MOOG Wave 3 149. EMU RECTIFIER 1 150. MOOG RECTANGLE 1 151. MOOG RECTANGLE 2 152. MOOG RECTANGLE 3 153.
  • Page 178 Diagrams on the 204. Cowbell 238 Rap Scratch A following pages. 205. Tamb707Noiz 239. Rap Scratch B 240. Conga Hits 206. Shaker 808 207. Shaker 2 241. Clave Log Drum 208. NoizTambHit 242. Combined Hit 209. Open Hat Morpheus Operation Manual...
  • Page 179 B3 WAVES - DRAWBAR SETTINGS DRAWBAR DIAGRAMS Each drawbar controls the volume of its associated harmonic or over- tone. The 8' drawbar is the fundamental pitch of the sound. Full Volume Sub- Octave 15th 19th Scale Interval Octave 12th 17th 22nd Unison B3 Wave 1...

  • Page 180: Percussion Instrument Locations

    PERCUSSION INSTRUMENT LOCATIONS MIDI Key # Dance Drums 1 Instrument 001 MIDI Key # Dance Drums 2 Instrument 002 Morpheus Operation Manual...

  • Page 181: Percussion Instrument Locations

    PERCUSSION INSTRUMENT LOCATIONS MIDI Key # All Kicks Instrument 235 MIDI Key # All Snares Instrument 236 Chapter 11: Reference Section...
  • Page 182 PERCUSSION INSTRUMENT LOCATIONS MIDI Key # Hats & Noise Instrument 237 MIDI Key # Rap Scratch A Instrument 238 Morpheus Operation Manual...
  • Page 183 PERCUSSION INSTRUMENT LOCATIONS Scratch 7 MIDI Key # Scratch 7 Rap Scratch B Instrument 239 MIDI Key # Conga Hits Instrument 240 Chapter 11: Reference Section...

  • Page 184: Z-Plane Filter Descriptions

    Freq. Tracking: Moves the notches to 400, 800, 1600, 3200, 6400, 12800Hz, which allows key tracking to keep the “sweet spot” of the flanger centered over the harmonics of the note. Transform 2: Not used. Morpheus Operation Manual...
  • Page 185 Z-PLANE FILTER DESCRIPTIONS F004 CubeFlanger A flanging filter featuring deep notches tuned in octaves and a steep roll-off of high frequencies when all axes have no offset. High settings for Transform 2 can produce some rather metallic- sounding overtones. Apart from flanging effects, this filter can be used in much the same way as a standard resonant synth filter.
  • Page 186 Morph: Reveals flat to flange filter Freq. Tracking: Provides key tracking to maintain spectrum Transform 2: Adds volume, different flange Comments: Nice for introducing a subtle flange to a pure sound. Velocity has a natural effect increasing flange depth, volume and brightness. Morpheus Operation Manual...
  • Page 187 Z-PLANE FILTER DESCRIPTIONS F014 Flng>Flng3b Morph: Sweeps from flange 1 to 2 Freq. Tracking: Provides key tracking to enhance flanging Transform 2: Increases depth of flange Comments: A gentle sweeper. F015: Flng>Flng4 Morph: Sweeps flange Freq. Tracking: Provides key tracking to enhance flanging. Transform 2: Reduces depth of flange effect with Morph offset, otherwise, increases flange depth.
  • Page 188 Transform 2: Controls the amplitude of all of the resonances. F024 AOParaVowel Morph: Controls movement between vowels. Freq. Tracking: Shifts all of the resonances up in frequency. Transform 2: Controls the amplitude of all of the resonances. Morpheus Operation Manual...
  • Page 189 Z-PLANE FILTER DESCRIPTIONS F025 AUParaVow.4 Morph: Controls movement between vowels. Freq. Tracking: Shifts all of the resonances up in frequency. Transform 2: Controls the amplitude of all of the resonances. F026 UOParaVow.4 Morph: Controls movement between vowels. Freq. Tracking: Shifts all of the resonances up in frequency. Transform 2: Controls the amplitude of all of the resonances.
  • Page 190 Morph: Sweeps between “ah” and “oh”. Freq. Tracking: Provides key tracking to balance keyboard bright- ness. Transform 2: Provides volume and brightness control with velocity and/or key position. Comments: Transform 2 increases volume and depth of vowel effect. Morpheus Operation Manual...
  • Page 191 Z-PLANE FILTER DESCRIPTIONS F040 Vow>Vow2 Morph: Sweeps between “ee” and “oh”. Freq. Tracking: Provides key tracking to fix partials. Transform 2: Provides volume and brightness control with velocity and/or key position. Comments: Morphing sweeps between vowels- slight “E” effect. F041 YahYahs.4 Morph: Sweeps between “eeya”...
  • Page 192 This is basically a 2-pole lowpass filter which can be swept from 60Hz to 19.5kHz. Modulating the Frequency Tracking parameter upward will increase filter resonance. A good choice for emulating certain kinds of analog filter effects. Morph: Controls filter cutoff. Freq. Tracking: Controls resonance. Transform 2: Not used. Morpheus Operation Manual...
  • Page 193 Z-PLANE FILTER DESCRIPTIONS F051 4 PoleLoQ.4 A resonant low-pass filter emulation. Morphing creates the famil- iar filter sweep effect. Morph: Controls filter cutoff. Freq. Tracking: Controls filter resonance. Transform 2: Not used. F052 4PoleMidQ.4 A 4-filter version of the classic 4-pole resonant filter found in most analog synthesizers.
  • Page 194 A high-pass filter with the cutoff point moving from about 160Hz to upwards of 2.5kHz (with a sizable gain in resonance) as the filter is morphed upward. Morph: Higher settings increase cutoff frequency and ‘Q’. Freq. Tracking: Controls filter depth. Transform 2: Not used. Morpheus Operation Manual...
  • Page 195 Z-PLANE FILTER DESCRIPTIONS F062 Deep Combs This filter can provide a tremendous variety of comb-filtering and filter sweep effects. Higher frequencies are sharply attenuated with Frequency Tracking and Transform 2 set to low values, so be sure at least one of these is either set in the mid- to high-range, or that a modulator is used to offset.
  • Page 196 Morph: Boosts frequencies around 60Hz, sweeping to open re- sponse. Freq. Tracking: Introduces a dip at 320Hz and a peak at 2059Hz. With axes offset, a bump at 60Hz and 1200Hz is introduced. Transform 2: Not used. Morpheus Operation Manual...
  • Page 197 Z-PLANE FILTER DESCRIPTIONS F073 BassDrumEQ Morph: Adds low end boost. Freq. Tracking: Tends to smooth out the filter. Transform 2: This adds high end at the expense of low end. Comments: This is an EQ filter designed for bass drums, based on a low pass EQ filter.
  • Page 198 Morph: Sweeps from Clarinet to Oboe Freq. Tracking: Provides key tracking to fix partials. Transform 2: Provides volume and brightness control with velocity and/or key position. Comments: Strong morphing effect with this filter. Transform 2 takes care of velocity expressivity. Morpheus Operation Manual...
  • Page 199 Z-PLANE FILTER DESCRIPTIONS F084 0>Muter Morph: Introduces “Mute”. Freq. Tracking: Provides key tracking to fix partials. Transform 2: Selects “Mute” variety. F085 PZ Syn Horn Morph: Controls brightness. Freq. Tracking: This moves the harmonic modifiers higher in frequency. Transform 2: This makes a modest change in brightness (fine tuning).
  • Page 200 Morph and Frequency Tracking manipulate frequency sweeps. F094 VelMarim Morph: Sweeps frequencies of small, closely-spaced peaks. Freq. Tracking: Keyboard tracking. Transform 2: Deepens the effect. Comments: Designed to make dynamic marimba sounds using mallet and plate sounds. Morpheus Operation Manual...
  • Page 201 Z-PLANE FILTER DESCRIPTIONS F095 EZ Vibez.4 Like 098-“Easy Rhodes”, this is essentially a 2-pole low-pass filter, sweeping from a gentle roll-off at 65Hz to reveal a wide open response. Morph: Sweeps from lowpass to wide open response. Freq. Tracking: Keyboard tracking. Transform 2: Not used.
  • Page 202 Vary the value for Morph Offset to vary the ‘mic position’. Route velocity to Freq. Tracking for controlling brightness and ‘pick position’. Morph: Controls filter formant notch depth and position. Freq. Tracking: Frequency Tracking. Transform 2: Not used. Morpheus Operation Manual...
  • Page 203 Z-PLANE FILTER DESCRIPTIONS F106 Tube Sust.4 Use this filter with broad-band waves to produce sounds character- istic of distorted guitars. The fullest sounds are achieved with Morph Offset set to 255, and Frequency Tracking set to 000 Morph: Increasing this increases bass and midrange. Freq.
  • Page 204 Freq. Tracking: Provides key tracking to fix dissonant partials. Transform 2: Increases bell-like effect, makes the sound brighter and louder. Comments: To be used in conjunction with 0>Bell-. Morphing sweeps partials to a different dissonance than with 0>Bell-. Morpheus Operation Manual...
  • Page 205 Z-PLANE FILTER DESCRIPTIONS F116 Bel>Crs>Bel Morph: Sweeps from flat to dissonance. Freq. Tracking: Provides key tracking to fix dissonant partials. Transform 2: Increases bell-like effect. Makes the sound brighter and louder. Comments: Low velocities on Transform 2 reveals a hint of bells when Morphing.
  • Page 206 F128 0>Shp2 Morph: Changes from flat to shape. Freq. Tracking: Provides key tracking to maintain spectrum. Transform 2: Controls brightness and volume. Comments: More vowel like changes than 0>Shape1. Morpheus Operation Manual...
  • Page 207 Z-PLANE FILTER DESCRIPTIONS F129 0>Shp3 Morph: Sweeps to shape. Freq. Tracking: Provides key tracking to balance keyboard bright- ness. Transform 2: Controls brightness and volume. Comments: Morphing imposes a shape on the sound. Low velocity for mellow, high for bright. F130 Shp>Shp1 Starts with peaks every half octave from 66Hz and morphs to peaks every octave beginning at 66Hz Effect is “ee”...
  • Page 208 Comments: Designed for Frequency Tracking to control brightness with velocity. F138 Krators.4 Morph: Provides resonant peaks at low-frequencies, morphing from lower to higher frequency. Freq. Tracking: Controls brightness. Transform 2: Not used. Comments: Designed to control brightness by assigning Velocity to Frequency Tracking. Morpheus Operation Manual...
  • Page 209 Z-PLANE FILTER DESCRIPTIONS F139 Harmonix.4 Morph: Morphs between complex responses sweeping to mid frequency resonances while leaving edges untouched. Freq. Tracking: Controls brightness and tracks keyboard. Transform 2: Not used. F140 GreenWorld4 Morph: A mellow low-frequency sweeper designed for piano applications.
  • Page 210 Morph parameter varies the ‘Q’ settings for most of the peaks and notches, while sweeping the frequency and Q of the first pole. Morph: Sweeps one of the resonant peaks and varies ‘Q’. Freq. Tracking: Tunes the filter. Transform 2: Controls resonance. Morpheus Operation Manual...
  • Page 211 Z-PLANE FILTER DESCRIPTIONS F149 Lo/High4 A scattering of poles and zeros with fairly high Q settings produces this very resonant filter. Sweeping the Morph axis produces quite pronounced wa-wa effects in which multiple resonances are clearly audible. Morph Offset and Frequency Tracking can be used to tune the filter, although with Morph Offset set to 255, the filter is essentially flat.
  • Page 212 Morph: Produces low-pass filter effects. Freq. Tracking: Use to control key tracking or to set overall filter depth. Transform 2: Controls brightness. Morpheus Operation Manual...
  • Page 213 Z-PLANE FILTER DESCRIPTIONS F157 Intervallc4 This filter is similar to the ‘Bendup/Swap’ filter, but here the effect is even more pronounced. With Frequency Tracking set to 000, pushing the Morph Offset higher produces a downward sweep of a series of very resonant harmonics. Set Frequency Tracking to 255, however, and the sweep reverses.
  • Page 214 An emulation of a resonant low-pass filter. Both Morph Offset and Frequency Tracking control cutoff frequency; the brightest sounds are obtained with both these parameters set to 255. Morph & Freq. Tracking: Control filter cutoff. Transform 2: Not used. Morpheus Operation Manual...
  • Page 215 Z-PLANE FILTER DESCRIPTIONS F168 CntrySweep4 Multiple peaks are swept in a variety of directions, imparting a phase-shifter-like, almost vocal quality when this filter is morphed. Morph: Set this higher to move widely spaced peaks closer to- gether. Freq. Tracking: Set this higher to move low-frequency peaks towards the higher ranges.
  • Page 216 Freq. Tracking: Provides key tracking to balance keyboard brightness. Transform 2: Controls brightness and volume. Comments: Uses Morph to simulate acoustic versus electric type response to velocity: plucking closer or further from the bridge of a guitar for example. Morpheus Operation Manual...
  • Page 217 Z-PLANE FILTER DESCRIPTIONS F179 MovingPick2 A variation on “MovingPick1” to simulate different pick positions, for example. Morph moves closer to neck, further from bridge. F180 Mph+Trns1 Morph: Makes vowel like changes. Freq. Tracking: Provides key tracking to enhance vowel. Transform 2: Controls vowels, brightness, volume. Comments: Uses Morph to sweep from one vowel to another.
  • Page 218 Morph: Use to sweep the filter. Freq. Tracking: Tunes the filter. Transform 2: Controls filter resonance. F189 MildQPole Morph: Sweeps between a shallow roll-off low-pass to almost flat response. Freq. Tracking: Tracks keyboard. Transform 2: At maximum, inverts morph effect. Morpheus Operation Manual...
  • Page 219 Z-PLANE FILTER DESCRIPTIONS F190 Bonk>CO A series of highly resonant peaks alternating with notches are spaced at intervals of about an octave. The Morph Offset param- eter is used to control ‘Q’ — modulating the Morph Offset upward causes the curve to flatten out. Frequency Tracking can be used to tune the peaks/notches;...
  • Page 220 Filter Level controls the distortion’s depth as well as volume. F197 TubeJam.4 All rules are broken here. Peaks are intentionally clipped, yet output volume is within tolerance..barely! Only the morph axis is active. Freq. Tracking: Not used. Transform 2: Not used. Morpheus Operation Manual...

  • Page 221: Loop Offset Sample Locations

    LOOP OFFSET SAMPLE LOCATIONS This listing represents the actual order of the ROM samples in memory. This information may be useful when adjusting the Loop Offset parameters in the preset menu. When the loop size reaches the end of memory, it jumps back to the start. Conga Tone Acoustic Guitar - B5 - Start -...
  • Page 222 Low E String - Pickup Pulse 94% - A0 Pulse 99% - D4 High & Low E String Pulse 94% - D1 Pulse 99% - G4 Bridge - E2 Pulse 94% - G1 Pulse 99% - C5 Morpheus Operation Manual...
  • Page 223 LOOP OFFSET SAMPLE LOCATIONS Pulse 99% - F5 Violin Essence - C5 Moog Rectangle 5 - Noise Buzzoon - A3 3rd Octave White Noise Buzzoon - A6 Ring Mod Wave Triangle - D4 Brassy Wave - A3 Ice Bell 1 Triangle - D5 Brassy Wave - A4 Ice Bell 2...

  • Page 224: Function Generator Curves

    FUNCTION GENERATOR CURVES Linear Exponential +1 Exponential +2 Exponential +3 Exponential +5 Exponential +4 Exponential +6 Exponential +7 Morpheus Operation Manual...
  • Page 225 FUNCTION GENERATOR CURVES Circle 1.4 Circle 1.6 Circle 1.8 Circle 1.16 Squeeze Fast Line 1 Fast Line 2 Fast Line 3 Chapter 11: Reference Section...
  • Page 226 FUNCTION GENERATOR CURVES Medium Line 1 Medium Line 2 Slow Ramp 1 Slow Ramp 2 Bloom Bloom 2 Circle 1.16 R Circle 1.8 R Morpheus Operation Manual...
  • Page 227 FUNCTION GENERATOR CURVES Circle 1.16 R Circle 1.4 R Slow Curve 1 Slow Curve 2 Delay DC DC Delay ••• Delay DC waits for the specified time, then outputs the level. ••• DC Delay outputs the level, then waits for the specified time before moving on to the next segment.
  • Page 228 FUNCTION GENERATOR CURVES Curve 2x C Ziz-Zag 1 Ziz-Zag 2 Ziz-Zag 3 Chaos 03 Chaos 06 Chaos 12 Chaos 16 Morpheus Operation Manual...
  • Page 229 FUNCTION GENERATOR CURVES Chaos 25 Chaos 33 Chaos 37 Chaos 50 Chaos 66 Chaos 75 Chaos 95 Chaos 99 Chapter 11: Reference Section...
  • Page 230 FUNCTION GENERATOR CURVES Linear Shuffle Linear Shuffle 2 Random A Random B Random C Random D Random E Random F Morpheus Operation Manual...
  • Page 231 FUNCTION GENERATOR CURVES Random G Random H Random I Random J Random L Random K Random Z Chapter 11: Reference Section...

  • Page 232: Function Generator, Lfo & Envelope Specifications

    Multiple “patch cords” can .090 be added For greater pitch .174 intervals. .246 .408 1.04 2.06 5.05 9.87 15.56 19.64 163.6 FUNCTION GEN. PITCH INTERVALS PITCH INTERVALS Display Semitone Display Semitone 127+36 127+69 +113 127+101 <7 +127 <8 Morpheus Operation Manual...

  • Page 233: Technical Specifications

    TECHNICAL SPECIFICATIONS Audio Channels: ......32 Audio Outputs: ......6 (2 main, 2 effects, 2 submix) Submix Inputs: ......4 Max. Output Level: ....... +4 dB into 600 Output Impedance: ...... 1k MIDI: ..........In, Out, Thru Data Encoding: ......16 bit Linear Sample Playback Rate: ....

  • Page 234: Midi Implementation Chart

    Mode 3: OMNI OFF, POLY Mode 4: OMNI OFF, MONO GENERAL INFORMATION FOR MORPHEUS SYSEX • Product ID for Morpheus is 0C. • Device ID is [00-0F] (0-15 decimal). • Parameter Number and Parameter Value are 2 bytes each. • Since MIDI data bytes cannot be greater than [7F] (127 decimal), the data values are “nibble-ized”...

  • Page 235: Midi Specifications

    MIDI SPECIFICATION RECEIVED CHANNEL COMMANDS Channels number (n) = 0-15. Message bytes are represented in hex. All other numbers are decimal. Running Status is supported. Command Message Comments Note Off 8n kk vv release velocity is ignored Note On 9n kk vv velocity 0 = note off Key Aftertouch An kk vv...

  • Page 236: Midi Specification

    Warning: When transferring preset banks and tuning table data back and forth from Morpheus to a computer, the data should be recorded as you would a regular sequence. Sending the data in one huge chunk will clog the input buffer on Morpheus unless a time period of approxi- mately 100 mS is inserted between each preset.
  • Page 237 MIDI SPECIFICATION COMMAND SUMMARY The following SysEx Command IDs are recognized by Morpheus. Command Function Number Preset Request Preset Data Parameter Request Parameter Data Tune Table Request Tune Table Data Prog Map Request Prog Map Data Master Data Request Unused...
  • Page 238 Preset numbers are: 0-127 RAM, 128-255 ROM, 256-319 CARD. Values 0x0400+ the bank number (0-2) represent request for banks. (Banks are blocks of 128 presets.) SysEx Status Byte E-mu Mfg. ID Morpheus Product ID Device ID 0-15 Command ID lsb Preset Number msb Preset Number...
  • Page 239 MIDI SPECIFICATION Offset Name Range Preset Name 12 chars, ASCII 32-127 Preset Low Key 0-127 MIDI key number Preset Hi Key 0-127 MIDI key number Bend Range 0-13, 0-12 semitones, 13 = Global Velocity Curve 0-5, 0 = Off, 5 = Global Keyboard Center 0-127 MIDI key number The parameter numbers...
  • Page 240 (L) Sound Delay 0-127 (L) Solo Mode 0-2, Off, Wind, Synth (L) Solo Priority 0-4, Hi, Low, First, Last, Drum (L) Portamento Rate 0-127, 0 = Off (L) Pmento Shape 0-8, 0 = Linear, Expo1 - Expo8 Morpheus Operation Manual...
  • Page 241 Hyperpreset numbers are: 0-127 RAM, 128-255 CARD. Values 0x0400 + bank # represent request for banks. (Banks are blocks of 128 Hypers.) SysEx Status Byte E-mu Mfg ID Morpheus Product ID Device ID 0-15 Command ID Hyperpreset Number ls byte...
  • Page 242 0x0400 + bank number (0-1) represent requests for banks. (Banks are blocks of 16 Midimaps) The scratch map is accessed by requesting MASTER settings or individual parameter requests. SysEx Status Byte E-mu Mfg. ID Morpheus Product ID Device ID 0-15 Command ID ls byte Midimap Number ms byte Midimap Number...
  • Page 243 Version 01 of the midimap follows. If map is sent to current selected location, the scratch map will be loaded from the newly stored map. Midimap numbers: 0-15 RAM, 16-31 CARD SysEx Status Byte E-mu Mfg. ID Morpheus Product ID Device ID 0-15 Command ID Data Version Midimap Number ls byte...
  • Page 244 See PARAMETER NUM- BERS chart for a listing of the parameters. SysEx Status Byte E-mu Mfg. ID Morpheus Product ID Device ID 0-15 Command ID Parm Number ls byte Parm Number ms byte End of SysEx Status •...
  • Page 245 SysEx Status Byte E-mu Mfg. ID Morpheus Product ID Device ID 0-15 Command ID Table Number (only 1 table in Morpheus) ls byte of Tune Value ms byte of Tune Value 128 total entries End of SysEx Status • Program Map Request SysEx Status Byte E-mu Mfg.
  • Page 246 MIDI SPECIFICATION • Program Map Data SysEx Status Byte E-mu Mfg. ID Morpheus Product ID Device ID 0-15 Command ID Map Number, 0-3 ls byte of Program Number ms byte of Program Number 128 total entries End of SysEx Status •...
  • Page 247 Device ID 0-15 Command ID End of SysEx Status • Version Data SysEx Status Byte E-mu Mfg. ID Morpheus Product ID Device ID 0-15 Command ID Version Code for Morpheus Revision x.xx (i.e. 1.00) End of SysEx Status Chapter 11: Reference Section...
  • Page 248 This command can be used to determine if a card is presently installed. SysEx Status Byte E-mu Mfg. ID Morpheus Product ID Device ID 0-15 Command ID End of SysEx Status •...
  • Page 249 • Instrument List Request Request list of available instruments. See data message for format of response. SysEx Status Byte E-mu Mfg. ID Morpheus Product ID Device ID 0-15 Command ID End of SysEx Status • Instrument List Data List of currently available instruments and their ids in the order they appear in the box.
  • Page 250 List of currently available filters and their ids in the order they appear in the box. See FILTER TYPES for information regarding interpretation of this data. SysEx StatusByte E-mu Mfg. ID Morpheus Product ID Device ID 0-15 Command ID lsb Number of Filters msb Number of Filters...
  • Page 251 MIDI SPECIFICATION • Preset List Data List of currently available presets in the order they appear in Morpheus. SysEx Status Byte E-mu Mfg. ID Morpheus Product ID Device ID 0-15 Command ID lsb Number of Presets msb Number of Presets...
  • Page 252 • Midimap List Request Request list of available midimaps. See the data message for the format of the response. SysEx Status Byte E-mu Mfg. ID Morpheus Product ID Device ID 0-15 Command ID End of SysEx Status • Midimap List Data List of currently available midimaps in the order as they appear in Morpheus.
  • Page 253 List of currently available effects and their ids in the order they appear in the box. See EFFECT TYPES for information regarding the interpretation of this data. SysEx Status Byte E-mu Mfg. ID Morpheus Product ID Device ID 0-15 Command ID lsb Number of A Effects msb Number of A Effects...
  • Page 254 MIDI SPECIFICATION MISCELLANEOUS DOCUMENTATION • Patchcord Sources The MIDI patchcord sources are unique across all Proteus type prod- ucts. The note-on patchcords, valid for Morpheus, are as follows: MIDI Description Value Velocity Pitchwheel Control A Control B Control C Control D...
  • Page 255 The MIDI patchcord destination numbers are unique across all Proteus type products. Note-on and realtime numbers are shared. The chart shows whether a cord is available to note-on (NO) realtime (RT) or both. The patchcord destinations available to Morpheus are as follows: MIDI Description...
  • Page 256 The function generator shapes are as follows: MIDI Shape MIDI Shape Value Name Value Name Linear Squeeze Expo+1 FastLn1 Expo+2 FastLn2 Expo+3 FastLn3 Expo+4 MedLn1 Expo+5 MedLn2 Expo+6 SlwRmp1 Expo+7 SlwRmp2 Circ1.4 Bloom Circ1.6 Bloom2 Circ1.8 Cr1.16R Cir1.16 Cir1.8R Morpheus Operation Manual...
  • Page 257 MIDI SPECIFICATION MIDI Shape MIDI Shape Value Name Value Name Cir1.6R Chaos50 Cir1.4R Chaos66 SlwCrv1 Chaos75 SlwCrv2 Chaos95 DelayDC Chaos99 DCdelay LinShfl Curve2X LnShfl2 Curv2XB RandomA Curv2XC RandomB ZizZag1 RandomC ZizZag2 RandomD ZizZag3 RandomE Chaos03 RandomF Chaos06 RandomG Chaos12 RandomH Chaos16 RandomI Chaos25...
  • Page 258 The number of parms active for any filter is determined by the num- ber of frames in the filter. Number of Active Frames Parms Morph Morph, Frequency Track Morph, Frequency Track, Transform 2 Morph, Frequency Track, Transform 2 Morpheus Operation Manual...
  • Page 259 MIDI SPECIFICATION Transform Filter Type 2 frame filter 4 frame “square” filter 6 frame “phantom cube” filter 8 frame “cube” filter unused 4 frame “square” filter, gain reduced • Effect Types Use the EFFECT LIST command to get a list of the currently available EFFECTS and their IDs.
  • Page 260 (romset<<8) + index. bits 8-13 = romset number. bits 0-7 is an index into the romset. The Morpheus romset is 7. (Therefore instrument numbers start at 1792). • Program Numbers The mapping of program numbers for preset changes and midimap...
  • Page 261 SYSEX TUTORIAL • 14-bit Signed 2's Complement Numbers If the data value is negative, you must first take the 2's complement of the number: In the case of a 14-bit number this is equivalent to add- ing 16384 to the original negative value. To fit the 7-bit MIDI protocol, numbers must be “nibble-ized”.

  • Page 262: Sysex Tutorial

    Parameter data editing is accomplished using the format described on page 234. System Exclusive Status Byte E-mu Mfg. ID Morpheus Product ID Byte Device ID 0-15 (usually 00) Command ID - Parameter Data (from Command Summary) Parameter Number ls byte...
  • Page 263 Parameter data editing is accomplished using the format described on page 234. System Exclusive Status Byte E-mu Mfg. ID Morpheus Product ID Byte ••• See MIDI Mode in the Device ID 0-15 (usually 00) Master Menu for additional Command ID - Parameter Data (from Command Summary) information on Device ID.
  • Page 264 MidiMap given on page 250. The format for parameter editing is the same as always. System Exclusive Status Byte E-mu Mfg. ID Morpheus Product ID Byte ••• See MIDI Mode in the Master Menu for additional Device ID 0-15 (usually 00) information on Device ID.

  • Page 265: Index

    INDEX “A” effects list 42 Data entry control 13 A-B-C-D controllers 24, 97-98, 122-124 DCA 93 About sampling 9 Decay 73, 144 Aftertouch 71 Delay 50, 53 73 Alternate volume envelope 73, 105, 143 Delay times, envelope 222 Attack 73, 144 Demo sequence select 13 Audio outputs 5, 6 Demo sequences 16...
  • Page 266 Hyperpreset name 60 Master 19, 20 Master menu select button 12 Master tune 19 ID number 22 Master menu 17, 57, 129 Instruments 4, 93,140, 162-166 Memory card 15 MIDI MIDI basic channel 22 MIDI activity LED 13 Morpheus Operation Manual...

  • Page 267: Midi Sysex Tutorial

    INDEX M (cont) MIDI basic channel 22 Pan 61, 93 MIDI channel selection 14 Parametric filters 87 MIDI controller amount 124 Percussion instrument locations 170-173 MIDI controller assign 24 Percussion instruments 168 MIDI enables 32 Performance setup 7 MIDI footswitch control 24 Phaser 48 MIDI implementation chart 223 Pitch tune 63...
  • Page 268 Secondary key range 104 Weight: 222 Secondary instrument 102 Wind mode 109 Send MIDI data 24 Setup 5 Sequencer, using Morpheus 158-159 Z-plane filter 84, 89, 93, 151 Shimmer 43 Z-plane filter descriptions 174-210 Solo mode 109 Zone 4, 59...

  • Page 269: How To Obtain Warranty Service

    E-mu Systems' liability for a product found defective is limited to repair or replace- ment of the unit, at E-mu's option. In no event shall E-mu Systems be liable for damages based on inconvenience, whether incidental or consequential, loss of use of the unit, loss of time, interrupted operation or commercial loss, or any other conse- quential damages.

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