E-Mu Ultraproteus Operation Manual page 254

F282 Head Pan 2
The same as F281 Head Pan 1 with the Frequency Tracking filters reversed
for the opposite ear.
Morph: Sweeps apparent elevation angle from low to high.
Freq. Tracking: Shifts apparent azimuth from left to right.
Transform 2: Shifts apparent distance from far to near.
F283 Arpeggio
Several peaks are tuned to a series of notes. Increasing the Morph offset
decreases the gain of lower frequencies, while increasing the gain of higher
frequencies. Best tracking is obtained with Key Center set to C1, and Key to
Filt. Freq. Track +127.
Morph: Controls gain of the various peaks.
Freq. Tracking: Tunes the filter.
Transform 2: Higher values increase overall gain of the various peaks.
F284 HeavyFilt.4
Morph: Starts (at 0 offset) as a high shelving filter with a boost at
2.5kHz and resolves (at 255) to a flat response with dips at 6 and
14kHz.
Freq. Tracking: Starts flat until a dip at 4kHz and tracks it up in
frequency as offset is increased.
Transform 2: Not Used.
F285 Noiz Cube 2
A series of non-harmonically related filter bands. Can impart a woody
quality to some sounds; nice for organs.
Morph: Controls bandwidth and gain.
Freq. Tracking: Tunes the filter.
Transform 2: Controls polarity.
DISTORTION FILTERS
New and improved distortion filters which allow better control over harmonic
content. Grunge, beautiful grunge!
F286 Feedback
Morph: Increases gain of the overtone; higher values distort.
Freq. Tracking: Tunes the filter.
Transform 2: Adjusts low pass Fc. Use this to add feedback, or a pro-
nounced harmonic to an instrument. Best tracking is achieved with
Key to Filt. Freq. Track +127.
Z-PLANE FILTER DESCRIPTIONS
Chapter 11: Reference Section 233