Chapter 11: Reference Section 197
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” to “u” with
Frequency Tracking fully offset. Transform 2 reveals a completely
flat response with all axes offset.
F131 Lpeq Vel
Morph: Moves between different “softs” & “brights”.
Freq. Tracking: Provides key tracking to maintain spectrum.
Transform 2: Controls brightness and volume.
Comments: Position of the Morph determines the nature of the
softness and brightness.
F132 CleanSweep4
A number of lowpass, highpass and bandpass type effects can be
produced using this filter. It works particularly well on solo brass
waves to produce a variety of mute effects.
Morph: Effects range from lowpass with low ‘Q’ to highpass with
high ‘Q’.
Freq. Tracking: Increase for thinner, brighter and more resonant
sounds.
Transform 2: Not used.
F133 PowerSweeps
Alternating resonant peaks and notches, spaced at approximately
half-octave intervals can be used to produce a number of flanging
and vocal effects. The direction of Morph depends on the Freq.
Tracking setting.
Morph: Modulating this sweeps the peaks/notches up and/or
down.
Freq. Tracking: Tunes the filter; determines polarity of Morph.
Transform 2: Can also be used to tune the filter.
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