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Rossum MORPHEUS Operating Manual

Stereo morphing z-plane filter
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MORPHEUS
Stereo Morphing
Z-Plane Filter
Operation Manual
v1.2_012317
Copyright 2017 Rossum Electro-Music LLC
www.rossum-electro.com

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  • Page 1 MORPHEUS Stereo Morphing Z-Plane Filter Operation Manual v1.2_012317 Copyright 2017 Rossum Electro-Music LLC www.rossum-electro.com...

  • Page 2: Table Of Contents

    Contents 1. Introduction 2. Module Installation 3. Overview 4. How to Use This Manual 5. Basic Functionality 6. The Main Display 7. Managing Filters 8. Editing Filters 9. Filter Sequencer 10. Utilities 11. Factory Cubes 12. Specifications 13. From Dave’s Lab 14.

  • Page 3: Introduction

    Morpheus Stereo Morphing Z-Plane Filter. with your Morpheus, tell us about it here: This manual will give you the information http://www.rossum-electro.com/support/ you need to get the most out of Morpheus. support-request-form/ However, the manual assumes you already have a basic understanding of synthesis and …...
  • Page 4 Firmware parts and connections. When handling If we’ve released an updated version of Morpheus, it’s best that you hold it by the firmware after your module was shipped to edges of the front panel or circuit board. It’s your dealer, you should update to that latest not particularly easy to blow up, but why take version before proceeding.

  • Page 5: Overview

    3. Overview...
  • Page 6 A FREQUENCY RESPONSE: This is the most to create filters of a variety and complexity basic construct of a Morpheus filter. It is far beyond the capabilities of conventional essentially a single static configuration of synthesizer filters. Most excitingly, Morpheus Morpheus’s 14 poles and zeros.
  • Page 7 Frequency Responses. In Morpheus, Morpheus Filter. This consists of one of the configurations of this type are identified with 289 Cubes and the various parameters set in a “.4”...
  • Page 8 All of the Morpheus Filters that are based on “.4” Cubes have by default the Transform control knob and CV input set to control...

  • Page 9: How To Use This Manual

    4. How to Use This Manual Chapter 10: Utilities While, from a processing point of view, Morpheus is insanely complex, from a This chapter describes various utility usability point of view, it’s actually pretty functions, including loading updated straightforward. Basically, pick a filter and firmware, boot software, or new filter modulate it to within an inch of its life.

  • Page 10: Basic Functionality

    5. Basic Functionality Before we jump into individual functions, let’s While the left and right IMPORTANT: take a look at Morpheus’s basic organization. channels are completely independent, they are both processed by the same filter Power Up (although individual Gain and Distortion parameters can be selected for each channel).
  • Page 11 Controls Trans CV This is a control voltage Data Encoder input that is modified by its The Encoder is used to associated attenuverter and select and load Filters then summed with the value and Sequences as well as of the Transform knob to set the value of various produce the final Transform, parameters.

  • Page 12: Setting Parameters

    Pressing and holding this button brings up If you select a new filter or sequence before the Utilities Menu, where you will have saving them, the changes will be lost. access to Morpheus’s various housekeeping and maintenance functions. See Chapter 10 for details.

  • Page 13: The Main Display

    6. Main Display Morpheus’s main display provides a variety of meter extend into the red, you will need to information that gives you a comprehensive lower the level of the input signal before view of what’s happening in the module.
  • Page 14 (if the step contains a filter) or an indication that the sequence is in a Halt (-H-) or Pause (-P-) state. Anytime that Morpheus receives a rising edge at the Sequencer Dec, Inc, or Reset inputs, the display briefly flashes a yellow indicator showing which input was activated.

  • Page 15: Managing Filters

    When you As shipped from the factory, NOTE: see the one Morpheus contains a series of sequences you want, click the encoder’s switch. The that subdivide the filters by basic function. selected filter will be loaded, respecting the Loading one of those sequences allows you to Exit Fade Time of the previously loaded filter select among only that filter type.
  • Page 16 Saving Without Changing the Name exits the Save Filter screen. If you release the button before 2 seconds have elapsed, the To save the current filter to the selected display briefly shows “Save canceled” and location without changing the location’s exits the screen without executing the save existing name, either press the encoder for 2 operation.

  • Page 17: Editing Filters

    Morpheus’s which of 289 Cubes Morpheus’s and setting 289 Cubes your the filter will desired filter use. If you parameters.
  • Page 18 THE DETAILS: Frequency, With a CV Offset of 0.0V (i.e., no offset), a cumulative CV of 0V results in Morph, and the interpolation point being in the exact Transform/ center of its axis. In this case, a CV of +5.0V Distortion will place the point at one extreme end of the CV Gains...
  • Page 19 Left and either Right manually by Distortion using the Morpheus is encoder or capable of via the Filter Sequencer, you can program producing a independent Enter Fade Times and Exit Fade wide variety Times for each filter. The total transition time...
  • Page 20 The Transform CV Offset sets the static It’s important to ANOTHER NOTE: > remember that the filter distortion set by position of the interpolation point on the these parameters is intended to be a creative Transform Axis. tool and is separate from the distortion that When Transform Controls NOTE: results from a too hot input to the filter or the...

  • Page 21: Filter Sequencer

    To program or edit a step, use the encoder Press the encoder switch to select the to scroll to that step (it will be displayed at desired sequence and load it into Morpheus a larger size than the unselected steps) and and exit the Load Sequence screen.

  • Page 22: Sequence Commands

    Navigational Commands press the encoder. The current content of the step will be highlighted in red and turning The Navigational Commands give you some the encoder will select the desired content or additional ways to control the flow of your action for that step.
  • Page 23 Fade Time Reset: If the Sequencer is in the normal or Halt state, it immediately jumps to Step Scale 001 of the current sequence, loading the Commands associated filter or command. The Fade If the sequence is in the Pause state, the Time Scale sequencer will exit that state and return to commands...
  • Page 24 Other Stuff to Know About Sequences In addition to being off because you’ve > selected Sequence OFF, the sequencer is also off when you are in the Edit Filter menu (so it won’t be changing filters on you while you’re trying to program one) and while a filter is being saved.

  • Page 25: Utilities

    Using this tone, set the record level on your recording device to about -6dBFS. Start recording on your recording device. Click the encoder on your Morpheus to send the data.
  • Page 26 Select Utilities > Load User Data on your recorded (using the Save User Data function) Morpheus. backup into your Morpheus to load that data . Click the encoder as instructed. into your module’s memory. . Start playback of the .wav file. You should...
  • Page 27 This does not actually load the data into again (try playing back at a hotter level) or your Morpheus. Its purpose is to confirm press the Edit Filter button to exit. that the backup file is valid, so that you can If you don’t receive an error, you can...
  • Page 28 To merge your saved data: encoder to return to the Utility menu. Connect the output from your playback OLED device to your Morpheus’s Full Level Control Frequency input. We’ve found that a As mentioned regular Eurorack patch cord works fine.
  • Page 29 The value number also changes color to indicate their effect on OLED life Select Utilities > Calibrate on your Morpheus. (Green=great, Yellow=okay, Red=beware The procedure is self-guiding. Simply follow if you leave your system on 24/7) the instructions on each screen.
  • Page 30 Global/Pause/Utilities function button to exit. above, except that this time, Once transfer is complete, click the encoder you select to reboot your Morpheus and use your new Utilities > software. Load Cubes Load Boot on your Software...
  • Page 31 This function provides a suite of tests to be incoming call or message notifications used during manufacturing to ensure that from interfering with playback. everything on your Morpheus is working correctly. Unless something goes horribly We have found that Safari on the Mac >...

  • Page 32: Factory Cubes

    11. Factory Cubes Null Cube C003 Flange2.4 This flanger has a series of 6 notches placed C000 Null Cube at octaves, not linearly. With all CVs at The Null Cube has a completely flat minimum, the notches are around 56, 112, frequency response under all parameter 225, 450, 900, and 1800 Hz.
  • Page 33 C008 Flange6.4 they should hit harmonics one at a time as they are swept in frequency. Traditional Introduces both peaks and notches which flangers have notches spaced linearly, not log start widely spaced and become more tightly spaced. distributed as Morph CV reaches maximum. Frequency: Moves all of the notches up The center frequencies for the various filter...
  • Page 34 Frequency: C013 LP>Flng2 Use this to sweep the notches or take them away. Morphs from a relatively benign lowpass Morph: Use this to tune the notches. frequency response into a flanger. Transform: Results in a highpass effect, Frequency: Track note frequency to maintain transitioning into a null filter at maximum.
  • Page 35 Distortion: C019 Flng>FlngC Dramatically accentuates several resonances, at high settings merging into A rather different morphed flanger. grunge. Frequency: Sweeps the notches and peaks, C016 Flng>Flng5 and controls brightness. Morph: Sweeps from open to closed And yet another cube that morphs between response when Transform CV is low and flangers.
  • Page 36 Dipthong Filters Distortion: Harmonics will excite the resonances further, frequently distorting Implemented with parametric equalizer them. subsections, the resonances do not have the traditional overall low pass effect that a C023 AOLpParaVow true vocal resonance would have. Instead, This paravowel has a low pass filter to provide they are placed at the same frequency as additional roll off, when desired.
  • Page 37 Distortion: C030 C1-6Harms.4 In the default filter, Transform Controls Distortion. Harmonics will excite Frequency: Controls the frequency of the the resonances further, frequently distorting notch and peaks. them. Morph: Sweeps between a notch at 230 Hz to a series of closely spaced peaks from C027 SftEOVowl.4 80Hz to 530 Hz Frequency:...
  • Page 38 C034 Be Ye.4 C038 YeahYeah.4 Designed to say ‘Be Ye’. Frequency: Sweeps the lowest peak upward, and brightens the sound. Frequency: Sweeps the filter over about an Morph: Moves between ‘ee’ and ‘ya’ sounds. octave. Transform: Transitions into a null filter at Morph: Sweeps the vocal formants.
  • Page 39 Standard Filters C042 YoYo.4 Frequency: Sweeps frequencies over two These filters are variations on traditional 2 and octaves higher for tracking and brightness 4-pole synthesizer filters control. C044 BrickWaLP.4 Morph: Sweeps between ‘ee’ and ‘oh’ This filter features an extreme rolloff at the sounds.
  • Page 40 C047 HiQ 2PoleLP C050 2 PoleLoQ.4 A more resonant version of filter C046 (MdQ This is a 2-pole lowpass filter which can be 2PoleLP), with a single frequency band being swept from 70Hz to 19.5kHz. Modulating swept about with the Frequency CV. the Morph CV upward will increase filter resonance.
  • Page 41 C053 2pole>4pole C056 APass.4 This All Pole filter is modeled on traditional A lowpass filter with gentle rolloff above low pass filter. It has a soft resonance boost, 500 Hz that can be morphed to flat. A good and controllable cutoff slope. choice when more subtle filtering is desired.
  • Page 42 Distortion: C061 HiPassSweep.4 In the default filter, Transform Controls Distortion. Adds distortion creating A high-pass filter with the cutoff point overtones at low levels, which then cause moving from about 180 Hz to upwards of the frequency peak to resonate. At extreme 2.5 kHz (with a sizable gain in resonance) as levels, you can drag those resonances nicely Frequency CV is increased.
  • Page 43 C063 One Peak moderately fast LFO produces some nice phasing and rotating speaker effects. Morphs from a simple lowpass to a complex Morph: Shifts the frequencies of the notches. filter with multiple resonances. The strongest, Transform: In the default filter, Transform most characteristic sounds come from Controls Distortion.
  • Page 44 Equalization Filters C074 Snare LPEQ2 This is an EQ filter designed for snare-type Most of these filters are variations of sounds, based on a low pass EQ filter. There traditional parametric EQ filters. is a strong boost in the 320Hz to 640Hz C070 BassEQ 1.4 range and some boost on the low end to Frequency:...
  • Page 45 Complex Filters C081 Wa Wa.4 Multiple resonant peaks flatten, then invert Many of these filters have never existed for to become notches as the value of Morph is musical applications before! increased. Increasing the value of Transform C076 HP LP PZ can have the effect of sweeping the peaks lower in frequency, inverting the peaks, or This Pole/ Zero filter models both low pass...
  • Page 46 C085 PZ Syn Horn C089 BrsSwell2.4 This filter models the harmonic content of a Another lowpass filter with low resonance synthesized horn sound, thus will lend a synth designed for brass-type filtersweeps. This horn sound to other audio. time with the ability to add some warm distortion.
  • Page 47 Similar to “MoogVocodr.4”, but brighter. Can Controls Distortion. create a variety of interesting responses by C096 Piano 01 modulating the values of each axis. In the original Morpheus, this cube was Frequency: Sweeps lower peaks. designed to make possible a set of Piano Morph:...
  • Page 48 C102 StrSweep.4 C 106 Tube Sust.4 Set Frequency towards max and gently Use this filter with broad-band audio input to modulate the Morph parameter in its upper produce sounds characteristic of distorted ranges for an effect that will accentuate guitars. The fullest sounds are achieved with bowing-type sounds in string-like patches.
  • Page 49 Frequency: C114 0>Bell- Shifts the frequency of the chord. Morph: Moves the ‘chord’ of resonant peaks Another cube that produces bell-like effects. from 1st to 2nd inversion. Morphing sweeps resonances downwards Transform: In the default filter, Transform away from harmonic values. Controls Distortion.
  • Page 50 C118 Chrs>Flng2 Frequency: Controls overall fequency of notches. A variation of Chrs>Flng1 above, but with Morph: Sweeps from nasal to bright; vowel peaks and notches at different frequencies. shifts from ‘oh’ to ‘ee’. Frequency: Controls the frequency of peaks Transform: In the default filter, Transform and/or notches Controls Distortion.
  • Page 51 C127 0>Shp1 as tuning the entire filter higher. This cube will also add a significant amount of gain to Imposes a vowel like shape on a pure sound incoming signals. Either adjusting the internal with a fairly drastic cut of higher harmonics gain settings or attenuating a Eurorack through Morph modulation.
  • Page 52 Frequency: C133 PowerSweeps Controls the center frequency of the filter system. Alternating resonant peaks and notches, Morph: Controls the structure of the spaced at approximately half-octave intervals resonant peaks. At the -5.0V setting, the can be used to produce a number of flanging series of peaks are set every half octave from and vocal effects.
  • Page 53 C136 V>FcQuad.4 C139 Harmonix.4 This cube is a highly resonant lowpass filter Use a quantized 1V/Oct sequence to with an extremely steep slope. It’s designed modulate the Frequency at the Full Level for modulation of filter cut-off where 1V/Oct input to create melodic overtones of a CV from a keyboard or sequencer value is Sawtooth or a Square Wave drone passing tracked by the Full Range CV input and an...
  • Page 54 C142 Comb/HP.4 C145 GentleRez.4 The combination of a comb filter and a high A series of unevenly spaced resonant peaks pass filter provides interesting harmonic converge to a single peak as Morph is highpass sweeps. The Frequency parameter increased. Frequency provides a somewhat is the primary cutoff control, but when used muted sound (with several gentle bumps in in conjunction with a sequencer or keyboard,...
  • Page 55 C148 Skweezit Frequency: Controls the frequencies of the peaks/notches. This filter features a complex series of peaks Morph: Transitions between peaks and and notches. Varying the Morph parameter notches. varies the ‘Q’ settings for most of the peaks Transform: In the default filter, Transform and notches, while sweeping the frequency Controls Distortion.
  • Page 56 Frequency: C156 Cubix Controls the frequency of the resonant peak. Morphing this cube produces a non-resonant Morph: Controls the shape and resonance of lowpass filter sweep, while pushing the the peak. Frequency parameter in a positive direction Transform: In the default filter, Transform moves the filter towards a more flat response, Controls Distortion.
  • Page 57 Frequency: C162 BroadRes.4 Controls the frequency of the notches/peaks. Sweep this cube for for resonant effects. Morph: Controls the depth of the notches/ Can be used for a “waterdrop” effect on height of the peaks. percussion. The behavior of the Frequency Transform: In the default filter, Transform control renders better results with an inverted...
  • Page 58 C165 NoizCube Frequency: Controls filter cutoff frequency. Morph: Controls cutoff frequency and alters This filter introduces some subtle peaks resonance. into the high frequency range, along with a Transform: In the default filter, Transform single peak which can be swept. The effect Controls Distortion.
  • Page 59 C170 MdlySweep4 C173 Acc.Vel-2 This is basically a lowpass filter with two This is a variation of “Acc.Vel-1” above, except slight resonance peaks. The secondary somewhat brighter on bottom and mellower peak doesn’t become noticeable until the on top. Frequency value is greater than -2V. Morphing This cube will distort very easily with NOTE: this filter alters the response of the resonant...
  • Page 60 C176 Start>EndA Frequency: Controls the overall frequency Morph: Controls the “pick position.” This filter is similar to C175 Harmo, but darker Transform: Controls volume and high end. and smoother. As described in the C175 Comments, envelope and quantized V/Oct C180 Mph+Trns1 sequences are also a good way to create This cube is primarily a formant filter that harmonically modulated percussion riffs.
  • Page 61 C183 Odd-Ev Hrm Frequency: Positive values move the poles upward in frequency. A series of peaks and notches based on the Morph: Positive values generally move the odd and even harmonic series. Sweeping poles upward in frequency. the Morph axis produces some lovely comb Transform: Transitions between a lowpass filtering effects, which can be either subtle...
  • Page 62 C190 Bonk>CO Frequency: Morphs between various configurations of peaks. A series of highly resonant peaks alternating Morph: Transitions from high peaks to gentle with notches are spaced at intervals of about lowpass at max. an octave. The Morph parameter is used to Transform: Transitions from generally flat to control ‘Q’...
  • Page 63 Variable slope filters are very rare in synthesizers (except, of course, in the C195 PoleCross.4 Rossum Evolution Variable Character Ladder Crossing peaks produces certain “hot” or Filter module), but the effect of the variable “sweet” spots where frequencies correlate.
  • Page 64 Tracking Filters C202 4 Poles C And another 4 pole lowpass filter with These filters range from lowpass to resonant variable slope. peaking filters. The Frequency parameter allows the filter to “track” specific harmonics Frequency: Controls cutoff frequency; range as you play up and down the keyboard is from approx 20Hz-20kHz.
  • Page 65 Parametric Tracking Filters C209 InFifths.4 Similar to C 208 Tracker5ths, but with These filters are set up with various Transform set to add some tasty distortion. combinations of peaks and notches. The Frequency parameter controls functions such Frequency: Controls the overall frequencies as bandwidth, amount and cutoff frequency.
  • Page 66 Harmonic Shifters C215 MultiMetricA A series of adjustable peaks and notches These filters are are designed to alter the tuned to octaves. normal harmonic relationships of instruments by radically shifting the resonant frequency Frequency: Controls the overall frequencies bands using the Morph parameter. Frequency of the peaks and notches;...
  • Page 67 C222 HarmShifter C227 HrmncPhsr2 A combination of peaks and notches. Peaks and notches cross one another to produce a variety of dramatic phase shifter- Frequency: Controls the overall frequencies like sweeps. of the peaks and notches. Frequency: Higher values increase depth of Morph: Shifts emphasis from lower peaks and notches (at -5V, filter is flat).
  • Page 68 Vocal Formants C232 Oh Shaper Based on the formants for the vowel ‘O’. These cubes are designed to simulate human Sweep Frequency for some interesting vocal resonances. In these cubes, all axes vocalizations. control the movement between vowels. Each filter allows a slightly different type of vowel Frequency: Controls the overall frequencies shifting control.
  • Page 69 Instrument Formant Filters Min. Morph, Max. Transform: Lots of mid and high frequency energy, as though the These filters are to simulate the resonant soundboard was being mic’d by a contact characteristics of various types of instruments. pickup. Exhibits a pronounced electronic The Frequency parameter sometimes allows sound.
  • Page 70 C241 String Cube C244 Mellotron.4 Controls high frequency response through Originally designed for use with strings, CV to Transform, but with the added voices, flutes, and synth pads, this filter possibility of emphasising the 2nd harmonic attenuates certain lows and low mids while (first overtone) with Morph parameter, à...
  • Page 71 C247 Pluck.4 C250 ElGuit Cube Designed for plucked string-type sounds. Designed like the Breath Control cubes to give a complete cutoff of sound in the base Frequency: Low Pass with steep slope and position. Transform gives a bright response two bumps at around 120Hz and600Hz for loud playing.
  • Page 72 C252 Breather 1 C255 WindNoise 2 An easy to adjust cube suitable for using Like C254 WindNoise 1, but with a broader, breath control (or equivalent CV source) for less harmonic effect. Again, as the name the simulation of wind and brass instruments. implies, designed for use with white noise .
  • Page 73 C259 FlutBreth.4 C263 SfBrzando.4 Use with noise to create the sound of breath Manipulate Frequency and Morph to produce passing over the mouthpiece of a flute. Good sudden volume change effects. for creating flute-like sounds. Crank in some Frequency: Frequency at -5V results in peaks distortion for overblown effects.
  • Page 74 Miscellaneous Filters C266 Cymbal Cube Useful for simulating the response of a A potpourri of unique filters that don’t fit in cymbal-type sound to changes in drumstick any other category. location. C268 CableRing.4 Frequency: Controls the overall frequencies Originally designed to be used with a and spacing of the resonant peaks.
  • Page 75 C271 Dragon Claw C274 Clear Water Useful for making adjustable horn mutes. A flat response cube with a little bit of Also works well with electric bass-type increase in high frequency brightness. sounds. Provides a high frequency sheen to any sound.
  • Page 76 C278 Analog.4 Similar to C277 SnakeCros.4 but with a little bit more resonance. Frequency: Controls cutoff frequency and slope. Adds a high peak at max. Morph: With frequency at -5V, Morph -5V provides a lowpass response rolling off at 2.5kHz with a single peak at 44Hz. At +5V, provides a near-flat response with an 11.5kHz boost.

  • Page 77: Specifications

    12. Specifications FILTER CUBES OUTPUTS AUDIO L/R 2x 3.5mm mono socket FILTERS 1kΩ Impedance 1000 POWER REQUIREMENTS FILTER SEQUENCES +/-12V (+/- 5%) via 16-pin, Doepfer-style connector SEQUENCE STEPS CURRENT DRAW 20,000 Dynamically Allocated 135mA +12V, 25mA -12V (maximum) INPUTS DIMENSIONS AUDIO L/R 18HP (W);...

  • Page 78: From Dave's Lab

    Rossum Electro module is accidentally plugged in backwards, no stress is placed on the +5V supply or...

  • Page 79: Acknowledgements

    14. Acknowledgements A number of wonderful people generously provided help, advice, encouragement, and inspiration during the development of Morpheus. Many thanks from the Rossum Electro-Music team to: Jim Aikin Alex Anderson James Bernard Bob Bliss Patrick Brede Janis Chafin Josh Cliffe...

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