E-Mu B-3 Betriebsanleitung PDF herunterladen (Seite 167)

Chapter 10: Step-by-Step 157

STEP-BY-STEP

• Morphology

The best and ultimately the only way to choose filters is to try them out.

Morpheus is no mere mortal synthesizer with a single filter. Morpheus

has 197 filter types to choose from. Think of the filters as you do instru-

ments: entities which have a particular sound. As you learn what the

instrument and the filters sound like, you can mix and match them to

suit your needs.

• A flanger filter (which is a parametric EQ with closely-spaced

notches) sounds like a traditional flanger when swept. If the fre-

quency of the flanger is controlled by key velocity and not swept,

the flanger can simulate different plucks on a string or strikes on a

surface such as a cymbal.

• The need for Keyboard Tracking is reduced when using a para-

metric EQ since the high frequencies are preserved (unlike a

lowpass filter).

• Time-variant filter sweeps are good for traditional synthesizer

effects such as resonant sweeps, flanges, phasing, stereo panning,

vowels, etc. Time-invariant filters are useful for distortion, simulat-

ing instrument resonances, plucked strings, cymbals strikes, etc.

• Correlate the DCA envelope to emphasize or minimize parallel

filter attack and release characteristics.

• Try using vibrato (LFO to pitch) with vocal filters for more realis-

tic vocal simulations.

• Velocity and Key Number generally alter the timbre in expressive

presets. Also, Harder (faster) usually equals Brighter.

• Natural sounds tend to use low Q filters.

• Fixed Formant Filters:

- Can reduce the unwanted effect of pitch shifting the samples

(munchkinization).

- Simulate instrument body resonances

- Simulate cymbal strikes, with variation in the stick position

- Simulate woodwind instrument resonance

- Simulate guitar and string plucks with variation in pick position

• Swept Filters:

- Flanger

- Traditional Synthesizer Lowpass Filter Effects

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E-Mu B-3 Betriebsanleitung Seite 167