user manual - LinPlug Virtual Instruments
Contents
1. ee N ae S o LE rpepho gt e Jrade your mod wheel to a morph whee symm phase time eso chorus delay J spread wave y stereo Wave y d E d 00 eD ambient user manual F O MIX FILT MIX CHORUS 1 ha ae P AR Be pm A ke o 3 J track time spee gt fdbk NN symm phase osc i i 0D an ENS 16 Saw Thin 2 2 depth F Sawini gt y fm cutoff vol chorus delay pre noise FILTER ENV AMP ENV vb right E osc2 j Y A symm fm SIN y Pulse att dec sus rel Pulse MOD MATRIX LFO 1 0 35 Main Pitch Velocity 0 6537 Filter Cutoff FM Mod Envelope 0 06 Osc 1 Pitch Mod Envelope 0 1040 Filter Cutoff Mod Envelope 0 3279 Main Amplitude Constant 1 0000 Main Osc Stereo Velocity 0 0000 Filter Env Depth Keyfollow 0 5458 Osc 2 SpreadPitch LFO2 0 1719 Osc 1 Symmetry Stair Generator 27 95 Osc 1 Pitch Triang 1 4 LinPlu g Miorpho gt lt ambient war of worlds dh Copyright LinPlug Virtual Instruments GmbH 2010 All rights reserved Concept Peter Linsener Instrument Pavol Markovic and Peter Linsener Graphics Branislav Pakic Sounds in alphabetic order Bigtone Cet Merlin dubhad Ed Ten Eyck Jan Ancic Luigi Raimondi Summa Vivolator Manual Peter Linsener Thanks to all beta testers All technical specifications of the products specified in this manual may be subject2. In the Oscillator Mixer you can adjust the volume of the two oscillators and the noise source The dials Osc 1 and Osc 2 can be turned into red which means that their volume can be turned so high that it saturates at the filter input and thus produces new harmonics The Ring ring modulation parameter below the Osc 2 dial allows a gradual adjustment of how the output of Oscillator 2 is made from Oscillator 2 and its integrated Amplitude and Ring Modulator see glossary for explanation of Amplitude and Ring Modulation Turned fully left the output of Oscillator 2 is purely Oscillator 2 Turned fully right the output of Oscillator 2 is fully the ring modulation result of Oscillator 1 and Oscillator 2 In middle position the output is mix of Oscillator 2 and the ring modulation result which is the same as Amplitude Modulation or in short AM LinPlug MorphoX 1 0 15 Filter Filter Env The LinPlug MorphoX contains a special newly designed filter which produces a unique characteristic sound you won t find in any other instrument It supports morphing and offers three simultaneous outputs low pass band pass and high pass The FM parameter determines how much the filters cutoff frequency is modulated by Oscillator 1 Note that even if Oscillator 1 is turned fully silent in the Oscillator Mixer it can be used to modulate the filter cutoff frequency Cutoff is used to set the frequency at which frequencies are filtere
3. Pitch Bend no yes Control Change no yes Program Change no yes System Exclusive no no System Common Song Position no no Song Select no no Tune Request no no System Realtime Clock no no Commands no no Aux Messages Local On Off no no All Notes Off no yes Active Sensing no no System Reset no yes LinPlug MorphoX 1 0 39 Appendix A Modulation Sources and Destinations Modulation Sources Keyfollow Velocity Aftertouch Pitch Wheel Modulation Wheel Breath Controller Foot Controller Expression Contr Amp Envelope LinPlug MorphoX 1 0 The note being played with a linear response The modulation value follows the note number bipolar The MIDI note on velocity information The harder the key is hit the higher the modulation value unipolar The Aftertouch also sometimes called Pressure value either Mono or Poly whatever your keyboard supports is used as modulation source Your MIDI keyboard must support this If this doesn t work it is likely that your keyboard has no aftertouch unipolar The value of the Pitch Wheel is taken as modulation source maybe it makes sense to reduce the Pitch Wheel range on the Settings page to O when using the Pitch Wheel as modulation source The Pitch Wheel is bipolar The MIDI modulation wheel MIDI CC 1 unipolar This one is mainly used to control the morphing Thought it might make sense to use it in the modulation matrix MIDI CC 2 unipolar MIDI CC 4 un
4. music and an infinity of musical possibilities for the sonic explorer Creating TUN microtuning files with SCALA Scala is a freeware utility developed by Manuel Op de Coul in the Netherlands which can be used for the creation and analysis of historical ethnic and contemporary microtunings A powerful capability of Scala is that it enables the user to create the proprietary tuning data required for microtuning a wide range of hardware and software synthesizers and samplers Scala may be used to create the TUN format microtuning files needed to explore microtunings with this instrument The Scala home page is http www xs4all nl huygensf scala LinPlug MorphoX 1 0 45 Specifying the Reference Frequency of a Microtuning One of the powerful capabilities of the TUN file format and Scala is the ability to specify the pitch and midi note which will be the reference pitch for the microtuning in use This becomes a very important consideration when one is using a number of different synthesizers and wishes to keep them in tune with a given base frequency It is very common for one to specify a chosen concert pitch such as A440 Hz or C261 6256 Hz as a reference for a microtuning however the flexibility of the TUN format and Scala enables one to specify this frequency arbitrarily In Scala this reference is called Map Frequency As well as being able to specify the Map Frequency one can also specify a central midi note which will become
5. switching either the A or B button will make the wheel move fully up or fully down for Using this Link button makes sure you always see and edit the sound which corresponds best to the current sound you hear when playing Left of the three buttons are the two dials labeled max and min Sometimes you may find that the best sound for a particular purpose is not at the outermost positions of the wheel For this purpose you can limit the range of morphing by using these two dials to a certain range On the very left of the morph section you find the morph curve Usually the morphing happens in a linear fashion indicated by a straight line By moving this control downwards the morphing slowly moves from A to the middle and quickly approaches B at the end When moving this control upwards however the morphing quickly moves from A towards the middle and slowly approaches B at the end LinPlug MorphoX 1 0 32 Preset Browser File Controls The Preset Browser consists of two displays The left one shows the Current Bank and the right one shows the Current Preset Whenever a Preset is loaded using the file controls right of these displays the Preset name is updated with the name of the loaded Preset and the Bank name that s the name of the directory that contains the Preset By default the Preset Browser points to the factory presets installed gt A with the LinPlug Morphox Presets can be changed in three different way
6. with an LFO as the source for a permanently moving sound or with Envelopes to let the oscillator output move through the stereo panorama Modulates the start point in the waveform of oscillator 1 if its not set to Free Run Osc 1 or 2 Spread Pitchlf Spread is used in the respective oscillator one LinPlug MorphoX 1 0 can hereby control the amount of detuning within the range null no detune up to the value as set by the Spread slider 42 Osc 1 or 2 Spread Volume Osc 2 Ringmod Osc 2 FM Amount Filter Cutoff Filter Cutoff FM Filter Resonance Filter Env Depth Filter LP Volume Filter BP Volume Filter HP Volume Main Amplitude Main Pitch Main Noise Volume Main Osc Stereo LinPlug MorphoX 1 0 If Spread is used in the respective oscillator one can hereby control the volume of the additional voices within the range null no additional sound up to the full volume Controls the output of oscillator 2 in the same way as the Ringmod parameter below osc 2 in the mixer thus allows to dynamically change the mix of oscillator 2 and the ring modulators output Controls the amount of frequency modulation of oscillator two by oscillator one Cutoff frequency of the Filter often used with an LFO to create filter sweeps or with Velocity to simulate an acoustic instrument s response to note attack The intensity of the FM modulation of the filters cutoff frequency Resonance of the Filter sometimes a rath
7. The xxx Is the actual version number in example 100 Double click this file to decompress and open the image then double click the installer program which will guide you through the installation process The instrument file MorphoX and the factory presets will now be placed in the right directory for virtual instruments on your Mac The next time you start your host software the LinPlug MorphoX will be listed in the AU RTAS VST Instrument list Installation on PC After downloading the LinPlug MorphoX for PC you will find a file named MorphoX Installer xxx exe located in your download folder The xxx Is the actual version number in example 100 Start this program and the Installer will guide you through the installation process Make sure you choose the right directory so your host software finds the MorphoX Refer to your host software s manual if you are unsure about where the host software plug in directory is located The instrument file MorphoX dll and the factory presets will be placed in the chosen directory The next time you start your host software the LinPlug MorphoX will be listed in the VST Instrument list Common to Mac and PC After you ve installed and opened the LinPlug MorphoxX for the first time you will see a S N edit box on the Settings page which should read Enter here in red letters Enter the serial number you have received into this edit box If the serial number has not been entered or it h
8. a more pronounced peak in the signal while lower settings produce a flatter response Below the Filter you find the Filter Envelope which is a standard ADSR envelope for more details see the chapter ADSR envelopes right after the Filter Mix section Filter Mix To the right of the filter there on three dials to mix the different outputs of the filter Each dial controls the volume of low pass band pass and high pass respectively LP lowpass This filter type allows frequencies that fall below the cutoff frequency to pass HP high pass This filter type allows frequencies above the cutoff frequency to pass BP bandpass The frequency band directly surrounding the cutoff frequency is allowed to pass All other frequencies are cut By mixing LP and HP one can also create a band reject filter BR or Notch filter LinPlug MorphoX 1 0 17 ADSR Envelope ADSR envelopes can be found in the Filter Env section controlling filter cutoff depending on the Depth dial in the Filter section in the Amp Env section controlling the overall amplitude of the sound and in the Mod Env section a general purpose envelope routed in the modulation matrix The A Attack Time Slider is used to set the time it takes for the envelope to reach its full level For example if the Attack Slider is Time set at lowest position full down the envelope will move from zero to peak level immediately If the Attack Slider is set to highest
9. at which the delay time is modulated The Feedback dial allows you to send back the signal from the output of the Chorus to its input This is usually used when creating flanging sounds with shorter delay times LinPlug MorphoX 1 0 20 Delay The Delay functions as follows the input signal is first delayed by Pre Time then it s delayed by Left Time and finally by the Right Time If Feedback is applied the Right signal is fed back into the left delay line so that an alternating left right delay is produced The delayed signal usually appears on the left first The Pre Left and Right menus are used for setting the pre delay left and right channel delay times in note length the delay is always tempo synced The Stereo dial is used to set the pan position of the left and right delays When set fully right the Left delay signal appears left and the Right delay signal appears right moving the dial gradually reduces stereo width In the middle position the output of the delay is centered Turning the dial fully left inverts the stereo positions so the delayed signal appears on the right first The Feedback dial allows you to set the number of times the signal repeats or echoes The small LP and HP dials gradually apply a low pass or high pass filter on the delayed signal so the signal changes its harmonics with every repetition This is both good for natural delays as well as some special effects The Stereo Mono switch
10. control the way the Arpeggio is played in many unusual ways including some wicked modulations Clicking on the title Arpeggiator offers you a menu of functions that includes saving and loading arpeggios initialisation and copy and paste so you can easily transfer arpeggios to other presets or your own creations You can build an entire library of your own creative arpeggios The parameters of the MorphoX Arpeggiator are Arpeggiator Step Display LinPlug MorphoX 1 0 26 The large display with the 16 step values is the heart of the Arpeggiator Here is where the rhythmic variations of the Arpeggiator can be defined As we said before an arpeggio is a Chord broken into Notes of equal length defined by using the Clock parameter In the Steps you can give these equal Notes different velocity values make pauses instead of notes or tie notes together to create notes with a different note length Each step can be set to it s own velocity value of 1 127 and also to the value Off which means that there is actually a pause or to Tie which means that the steps are bound together creating a longer note If you play a C E G chord in example the step values of 127 127 Off 100 Tie 30 Off Tie would result in the following assuming a 1 16 clock and mode Up Note C being played with maximum velocity length 1 16 Note E played just the same 1 16th length and 127 velocity then a 1 16th pause Note G played with velo
11. to filter and amplitude both will be modulated with the same random amount The amount of course changes randomly on each note being played Unipolar means that the source is only increasing or if applied with negative depth decreasing the targets value 41 Random Bipolar Alternate Const Similar to Random Unipolar however a random bipolar source Bipolar means that the source is randomly increasing or decreasing the target s value The Alternate modulation source changes between values of 1 and 1 for each note This is useful for modulation effects such as auto panning bipolar The Modulation Amount is used as a constant modulation value unipolar Modulation Destinations Osc 1 or 2 Amplitude Osc 1 or 2 Pitch Osc 1 or 2 Symmetry Osc 1 or 2 Panning Osc 1 Start Phase The amplitude volume of the respective Oscillator In order to create the classic tremolo effect it is better to use Main Amplitude as the modulation destination as this is applied to the whole voice The pitch of the respective Oscillator In order to create the classic vibrato effect it is better to use Main Pitch as the modulation destination as this is applied to the whole voice Pulsewidth or Symmetry of the respective Oscillator waveform used to thicken a sound or make it swirl effect depends on intensity and modulation speed typically with LFO Pan position of the oscillator output used for stereo effects for example
12. 0 LFO 3 The LFO 3 is a host synced LFO It both synchronises with tempo as well as song position so the start of a bar in the song will also be the start of a cycle of this LFO This only works for speeds equal or faster than 1 1 if you for example choose 4 1 of course the LFO can only starts its cycle every 4 bar The first parameter selects the Waveform while the second selects the Speed in note s length When choosing Retrigger the LFO is only tempos synced to the host song but not position synced it will start its cycle with each first note after a pause LinPlug MorphoX 1 0 31 Morph Settings The Morph Settings are best explained from right to left On the very right you find the modulation wheel which serves both as a control you can click and move with your mouse as well as a status display of your real world keyboard s modulation wheel Moving this control or either your keyboard s modulation wheel will morph the sound of MorphoX between the two sub programs A and B You can switch the display between the two sub programs A and B by using the A and B buttons left of the modulation wheel Between the A and B buttons you ll find the Link button which serves as a connection between the modulation wheel and the A and B buttons whenever you move the wheel above its center button B will become active and whenever you move it below its center button A will become active This also works the other way around
13. I controllers to perform live or to automate parameters its recommended to have this switched Off When using MIDI controllers to edit a patch you might find it useful to have this switched On The Bend Up Range control is used to set the LinPlug MorphoX s response to pitch bend messages Bend Range can be set from 0 to 24 semitones A setting of 0 means that the Pitch Wheel won t affect the sounds pitch The Bend Down Range control is used to set the LinPlug MorphoX s response to pitch bend messages Bend Down Range can be set from 0 to 24 semitones The Bend Down Range control can also be set to Link in which case the Bend Down Range is the same as the Bend Up Range Scale See Appendix B for a complete description of how to use TUN files in the LinPlug Morphox Startup is used to define a preset that is loaded upon startup of MorphoX when you insert a new instance of MorphoX in your host Below this you find the actual version of MorphoX you are running and in the S N field whether it runs as a Demo showing Enter Serial here or full product showing Valid To switch back to the Front Panel click the LinPlug MorphoX logo on the Rear Panel or the Edit button bottom right LinPlug MorphoX 1 0 36 Glossary AM Amplifier Effect Envelope Filter FM AM or Amplitude Modulation is a process where the amplitude of one oscillator the carrier is controlled by another the modulator When
14. Settings The Settings on the Rear Panel of the LinPlug MorphoX are accessed by clicking on the LinPlug MorphoX logo at the bottom left of the LinPlug MorphoX s front panel or the Setup button at the bottom right of the front panel Several controls have been located here to make the front panel less crowded and also so that they are not changed accidentally while the LinPlug MorphoxX is in use PE atts LINEAR mastertune 440 0 FM ECStoA ME bend up IN bend dawn link E scale 12 Tone Equal startup AGA Init version 092 SN Walid Dial Mode is used to select the LinPlug MorphoX s dial operation mode Two modes are available Circular and Linear In Circular mode the MorphoX s dials track cursor movement in a circular fashion around the dial In Linear mode the MorphoX s dials track vertical cursor movement It s important to note that some sequencers can override the instrument s dial mode settings so if the MorphoX s dials are not operating in the correct manner check the host program s settings Master Tune is used to set the overall tuning of the LinPlug MorphoX if no micro tuning file is loaded Tuning can be set from 415 3 Hz to 466 2 Hz ECS toAandB when this option is checked the Morphox s MIDI Learn will not only allow to control a certain parameter but will also support LinPlug MorphoX 1 0 35 changes to both part A and part B depending on which page you are currently editing the sound When using MID
15. as been entered incorrectly the LinPlug MorphoX will remain in demo mode To switch back to the main edit screen click the LinPlug MorphoX logo on the rear panel or the Edit button located bottom right If you have any questions regarding the installation of LinPlug MorphoX please contact our support team at http www linplug com support support htm LinPlug MorphoX 1 0 5 Features The LinPlug MorphoX combines a number of features which LinPlug is famous for with some new exciting features The sound can be continuously morphed between two individual sounds in real time using the modulation wheel Two versatile oscillators with many modulation capabilities plus noise oscillator Oscillator cross modulation FM AM Ringmod cross modulation intensity itself can also be modulated Individual spread multiple voices and saturation for both oscillators Stereo Filter with simultaneous low pass band pass and high pass Filter FM intensity itself can also be modulated Three ADSR envelopes for filter amplitude and general modulation the envelope times can be modulated Two LFOs with various waveforms delay attack and tempo sync LFO tempo can be modulated Modulation Matrix which includes 10 routings with more than 20 sources and more than 40 destinations Adjustable Precision for recreating the warmth of analog synthesizers Mono and polyphonic Portamento Glide morphing Chorus and Stereo Delay effect units fully morphing 2
16. ce when the note starts LinPlug MorphoX 1 0 44 Appendix B Using TUN Files By Jacky Ligon About Microtuning Microtuning or microtonality are methods for tuning musical instruments whereby musicians may explore and compose with ethnic historical and contemporary tuning systems Microtuning musical instruments allows one to use scales which may have pitches lying between the notes of our familiar Western 12 tone scale These pitches which are found in the cracks of 12 Tone Equal Temperament are one of the things that give music s of Bali India Africa Thailand Turkey and the Middle East to name but a few a special intonational flavor but is something that is of immeasurable value to the contemporary acoustic and_ electronic composer who may require a more broad palette of musical pitches for their music The quest for creating beautiful and musically useful tuning systems has been an unending process of discovery and debate amongst musical theorists mathematicians physicists and musicians going back to early history Quite often the reasons for micro tuning instruments may involve improving the consonant intervals of a tuning system for sweeter sounding harmonies as well as offering wider variety of choices for melody Microtuning an instrument can sometimes mean there may be less or more than 12 tones in an octave or even that the octave itself may be stretched or compressed Microtuning is a vast topic rich with lore
17. city 100 an average volume and a note length of 1 8th as the next step is tied to this step then Note C again played with a very gentle velocity of 30 at 1 16th length finally a 1 8th pause After reaching the end the arpeggio just starts over from the beginning Note that the arpeggio will variate the pattern such that when starting with step one again it now plays a E with velocity 127 and 1 16th length first that s because we played a 3 note chord and have a 4 note step definition playing C E G C next round E G C E and then G C E G before starting with the first pattern again Also note that a Tie after an Off is just the same as placing an Off behind another Off both resulting in a longer pause LinPlug MorphoX 1 0 21 Arpeggiator Mode Below the step display on the very left the Mode defines how the Arpeggiator functions with several options available Chord does not play the Chord as separate Notes but as a Chord in rhythmic phrases defined by the other parameters Modulation Basically the Arpeggiator is Off and does not influence Chords or single notes being played But the Arpeggiator is available as a Modulation Source in the Modulation Matrix as if it were switched On Using the Arpeggiator in the Modulation Matrix is like having an LFO with up to 16 individually definable steps Up Down UpDown DownUp UpDown and DownUp modes play typical arpeggiator patterns or arpeggios which as we said before ar
18. ctly 12 times faster LinPlug MorphoX 1 0 22 The Freq Frequency parameter determines the LFO s frequency within a range from 0 01 to 32 Hz This parameter has no function if Sync is used Right above the Freq dial is the Sync menu to sync LFO tempo with the current host song tempo Note that the LFO is restarted with each Note s start You can also apply a simple envelope to the LFO using the Delay Attack dials The Del delay parameter sets the time before the LFO begins running When set to the leftmost setting it starts immediately The Att attack dial next to it determines the time it takes for the LFO to reach its full level and thus the full modulation depth This can be used to slowly increase the amount of modulation applied When turned fully left it means that modulation commences immediately Modulation Matrix oos5 Ka 0 0 0 Keyfollow oooo The MorphoX s Modulation Matrix allows you to create user defined modulation routings Many parameters are available as modulation destinations which can be modulated by various modulation sources see LinPlug MorphoX 1 0 23 Appendix A for a complete listing and description of all modulation sources and destinations Modulation sources are shown in a column on the left of the display while the destinations are shown on the right The modulation amount is displayed in the middle To change a routing click on the source or destination that you want
19. d out of the signal When using the Low Pass output higher settings produce brighter sounds while lower settings result in darker sounds When using the High Pass output higher settings produce thinner brighter sounds while lower settings produce fatter darker sounds When using the bandpass output only the frequency spectrum around the cutoff frequency is passing the filter Track tracking is used to control the degree to which the filter tracks the note being played So higher notes have a higher cutoff frequency while LinPlug MorphoX 1 0 16 lower notes have a lower cutoff frequency When the dial is moved to the left the effect of filter tracking is just opposite as described The Depth dial is used to set the degree to which the filter s envelope effects the Cutoff Setting Depth to 100 i e turning the dial completely counter clockwise means that the envelope has full negative effect on the filter Adjusting the dial to the middle position means that it has no effect on the filter Turning the dial completely clockwise means that the filter is modulated by the envelope s full range 100 The negative envelope depth can be used for special effects in example for opening the Filter when a note is released this is impossible with a non inverted ADSR envelope Reso resonance is used to set the amount of emphasis around the cutoff frequency up to self resonance thus adding something to the signal Higher settings create
20. e aiid 7 OPERATION CONTROES ca id ecc 9 MORPHING AREA AND GLOBAL AREA ccccececcececececeeccececececaeneaes 10 OSCILLATOR Si tii 12 OSCILLATOR M ER iia 15 FIETERRETERENDV ta tio 16 ALTER MIDA e err Tone Coe 17 ADSR ENVECORE tant ope ateo due ds ree a el os e OO el al 18 MASTER AMP ENV a ici 19 ESFERA a da O Do OT 20 A A A 20 DEV tarios el aa e de do 21 MODULATION 0 a e ot ba 22 PROTA EA das 22 MODULATION MATRIX ii dsd 23 MODULATION ENVELOPE caciones 24 A T N E sic ETET 25 PRECISION ar AA NA 25 C OPA AREA e ie ao IONES O A eae 26 THE RPECCATO R iaa 26 STAIR GENERATOR ia 30 OS EE AAA ER ROO DOT eT PRO Ce 31 MORPH SETTINGS ccccecececececcecececececaeaecerececeeaeaes 32 Preset Browser FILE CONTROLS ccececececeeeees 33 VOE A A E SED cer 34 EGS MID EEN cias 34 SETTINGS a i dl E doo oie Wa 35 GELOSSAR Vania a e ob or aa ae a 37 MIDI IMPLEMENTATION CHART c ccececcececececcccccececececeeaeeenereeeenens 39 APPENDIX A MODULATION SOURCES AND DESTINATIONG 40 MODULATION SOURCES cescececececeecececececacaeaeneness 40 MODULATION DESTINATIONS ocococccncnoncconononnnnnnnnnnnns 42 APPENDIX B USING TUN FILES cc cc ccc esac ccececececeeeeeecereceeeeaeaers 45 LinPlug MorphoX 1 0 4 Installation Installation on Mac After downloading the LinPlug MorphoX for Mac you will find a file named MorphoX Installer xxx dmg located in your download folder
21. e the notes of the chord being played successively instead of simultaneously In Up mode the notes are played from lowest Note on upward In Down its the other way around UpDown and DownUp alternatively play the notes from lowest to highest and from highest to lowest With UpDown it s as the name suggests first notes are played from the lowest note upward With DownUp it s just the opposite A sign behind the mode indicates that the highest and lowest notes are being played twice For example a C E G chord would be played in UpDown Mode C E G E and again from the beginning while in UpDown mode it will be played C E G G E C and from the beginning on again AsPlayed Mode plays the notes in the order the Note On signal arrives or simply the way you actually played the chord This effect is easiest to understand when you play notes of a chord not exactly at the same time The order they are actually played is exactly as you played them Random Mode plays the notes of the chord in a random order LinPlug MorphoX 1 0 28 Arpeggiator Clock Next to the Mode is the Clock setting which allows you to set the length of the individual notes in which the chord is separated by the Arpeggiator For example when set to 1 16 it will play all the notes as 1 16th notes Arpeggiator Retrigger The small Retrig Retrigger switch to the right of the clock parameter defines whether a new chord will restart the Arpeggiator or not If you have a pau
22. eed A 16 Sawtooth D ER j 32 Pulse HoV Th ww i chorus delay E ial MA WN i stereo fdbk Every single 37 Puse O ure A parameter 8 Dark Saw 1 e a ao _ does morph veboty 0 0440 Fue Resonance EEN bewteen A Velocity 0 09 Filter E HELD ON dia HS ST and B qe joo CED None of these does morph montanus dh While the complete basic synth engine and the chorus and delay effect can be morphed there is also a Global Area The Global Area opposed to the Morphing Area above does hold modules and controls for the whole instrument which does not depend on the modulation wheel and thus not morph All aspects of the Morphing Area and the Global Area are described in detail in the following chapters LinPlug MorphoX 1 0 10 The reason for having a not morphing or global area are as follows in case you are interested otherwise just skip this and continue with chapter Oscillators The arpeggiator cannot really morph between two settings because there is no way to musically morph from in example a 3 step pattern to a 5 step pattern Moreover even if the amount of steps would be the same there still could be tied notes in one pattern but not in the other which forbids morphing The Stair Generator and the LFO 3 are host synced LFO s Opposed to the morphing LFO s 1 and 2 which are only tempo synced the Stair Generator and LFO 3 are also position synced which means they don t d
23. epend on the triggering of a note but also run when no note is played this is useful for certain rhythmic patterns However once position synced you cannot morph them anymore Finally there are the morph settings itself in the Global Area preset management ECS MIDI learn and the amount of voices polyphony also cannot be musically morphed LinPlug MorphoX 1 0 11 Oscillators The LinPlug MorphoX contains 2 oscillators plus a noise source The oscillators are similar but not identical TS phase oscl GST a gt ee 32 PulseHolTh RED spread noise as gt osc2 N j EEEN WAY symm w Common to both oscillators The LinPlug MorphoX s oscillators outputs a waveform that is a combination of two basic waveforms These waveforms are constructed from harmonic sine waves using a unique additive process which ensures a smooth high quality output signal The type of waveform is set by clicking on one of the Wave names below the Waveform Display This opens a menu that allows you to select from the available waveforms With the arrow keys next to the wave name you can switch through all available waveforms one by one good for checking while playing Left of the name you have the option to set various basic frequency where 8 is as played and 4 and 2 is 1 and 2 octaves higher while 16 and 32 is 1 and 2 octaves lower as played The combined output waveform is shown in the Waveform Displa
24. er subtle effect sometimes drastic Controls with how much the filter envelope affects the filter cutoff frequency The volume of the low pass output of the filter The volume of the band pass output of the filter The volume of the high pass output of the filter Used to control the overall volume of the patch Used to control the overall pitch of this patch Allows modulation of the noise amount in the oscillator mixer When oscillator one or oscillator two runs in Spread mode the different voices are usually centered 43 Matrix Depth 1 2 3 4 LFO Speed 1 2 3 Envelope Xxx Att Envelope Xxx Dec Envelope Xxx Rel However when increasing the value of this modulation target the voices are gradually spread in stereo panorama Intensity of the first four entries line 1 to 4 in the Modulation Matrix often used with the ModWheel as source to control a specific modulation parameter e g Vibrato Speed of LFO 1 to 3 this allows tempo changes of the LFO to be programmed Typically this is used with Mod Env as the source Another example is Key Lin which can be used to make the LFO run faster with higher notes The Attack Time of the respective Envelope either Amp Amplitude Fil Filter or Mod Modulation The Decay Time of the respective Envelope The Release Time of the respective Envelope Note that the envelope modulation targets will not allow continuous modulation This modulation is always applied on
25. frequency is within the audio range Frequency Modulation is produced LinPlug MorphoX 1 0 3 LFO Modulation Matrix Oscillator Ring Modulation Noise An LFO or Low Frequency Oscillator is a periodic signal source usually below audio frequency range used to modulate another module s parameter An LFO can be used for a variety of effects including vibrato by modulating the pitch and tremolo by modulating the volume A signal junction where a source signal can be patched so that it controls a destination signal The MorphoX s Modulation Matrix is used for tasks such as modulating an oscillator s amplitude by an LFO A signal source that generates a periodic waveform at a given frequency The process of combining two audio signals by multiplication Ring Modulation produces sidebands but suppresses both the carrier and modulating frequencies Specifically White Noise is a signal which contains equal energy over its frequency range compared to other types of noise white noise has a bright sound LinPlug MorphoX 1 0 38 MIDI Implementation Chart Product MorphoX Version 1 x Date 10 September 2010 Manufacturer LinPlug Virtual Instruments GmbH Function Transmitted Recognized Remarks Basic Channel Default no no Changed no no Mode Default no Omni Changed no no Note Number no yes True Voice no no Velocity Note On no yes Note Off no no Aftertouch Poly Key no yes Mono Channel no yes
26. in the Delay s title is usually set to Stereo however for certain sounds especially those with a stereo signal in example when the Oscillators are panned it can sound better to mix down the input of the delay to mono Thus the delay can be switched to mono Note It s still a Stereo delay with Stereo output just its input is changed LinPlug MorphoX 1 0 21 Modulation One of the key features of the MorphoX are its sophisticated modulation capabilities The instrument contains four independent LFOs low frequency oscillators two of them described in this chapter the other two located in the Global Area and described there as well as a Modulation Matrix that is used to control modulation routing the Modulation Envelope Glide and Precision an analogue instability simulation 675 Main Amplitude 7 Fitter Cuto Keyfollow Tam precision 100 0 23 0 0 0 36 0 0 0 0 0 0 0 0 0 LFO 1 and LFO 2 An LFO is an oscillator that generates low frequency signals that are used to modulate other aspects of the signal To select one of the LFOs waveforms click on one of the waveform buttons at the left of the respective LFO section Seven LFO waveforms are available and printed right onto the waveform buttons It should be noted that when the Noise and Sample and Hold waveforms are synced to tempo they run at a faster tempo than the other LFO waveforms The Sample and Hold and Noise waveforms will change their state exa
27. ipolar MIDI CC 11 unipolar The Main Amplitude envelope This envelope controls the overall output Volume however if it makes sense within the preset to do so the envelope can be used as a modulation source unipolar 40 Filter Envelope Mod Envelope Glide Envelope LFO 1 LFO 2 LFO 3 Arpeggiator Stair Generator Random Unipolar LinPlug MorphoX 1 0 The envelope of the Filter This envelopes control the Filter cutoff frequency however if it makes sense within the preset to do so the envelope can be used as a modulation source unipolar The Mod Envelope is dedicated to be used in the matrix and can be routed to any available modulation destination unipolar The envelope of the Glide effect when used This envelopes control the gradual frequency change of the played note when Glide is activated However if it makes sense within the preset to do so this envelope can be used as a modulation source unipolar LFO 1 bipolar LFO 2 bipolar LFO 3 bipolar As a special modulation source the Arpeggiator is useable as modulation source too Usually it then runs in Mod Only mode but every mode other than Off will work unipolar The Stair Generator is a special globally running LFO It is quite similar to LFO 3 however it has a different stair alike waveform A random unipolar source The value of this source is the same if used in several modulation routing If you for example route it
28. mode MY PR time Glide has 3 modes Off Held and On The On and Off functions turn Glide on and off The Held setting is similar to On but works as follows If notes overlap then Glide is applied however if they don t overlap then the notes are played without Glide This makes it possible to apply Glide only to selected notes The Time dial controls the time it takes to move from one note to the next It will take the same amount of time to reach the destination pitch regardless of whether the preceding notes are a semitone apart or an octave apart Precision The Precision control below the Glide section can be used to set the accuracy of the LinPlug MorphoX s signal generation When the Precision control is set to less than 100 small inaccuracies are introduced at various points in the LinPlug MorphoX s signal chain This is useful if you re trying to replicate the warmth of an old analog synthesizer Precision can be set in a range from 90 to 100 LinPlug MorphoX 1 0 25 Global Area In the global area there are the not morphing parts like the arpeggiator two global LFO s the morph settings and the preset handling controls The Arpeggiator The MorphoX s Arpeggiator is the dominating module in the left of the global area It allows you to create a vast variety of user defined arpeggios Arpeggios are chords that are played as separate successive notes or broken chords With the MorphoX s Arpeggiator you can
29. ound and then the second note sounds When the second note is released the first note sounds again This is typical for MONO mode and creates a pedal tone effect The oo setting allows maximum polyphony which is 32 voices ECS MIDI Learn The ECS Easy Controller Setup section makes it simple to control the LinPlug MorphoX from an external MIDI controller either hardware or software All you have to select Learn from the ECS menu select a LinPlug MorphoX parameter with the mouse and finally send some MIDI messages from you MIDI source That s all there is to do From now on you can change the parameter with that controller You can define up to 128 parameter controller combinations This does not depend on the type of controller you have nor the particular MIDI Control Change messages it sends ECS settings are save automatically but can be saved and restored manually using the Load and Save functions from the menu A single controller assignment can be cleared using the Clear menu entry and move controls that you wish to be cleared de assigned from MIDI CC s The Clear All function clears all controller assignments at once Don t forget to switch Off the ECS after you have finished making or clearing assignments A special feature in MorphoX is the ability of ECS to control both the parameters of the A and B sound this is described in detail as ECS to A and B in the next chapter Settings LinPlug MorphoX 1 0 34
30. position the envelope will move from zero to peak level in the maximum time of about 16 seconds So by adjusting the slider position one can change the time it takes for the envelope gradually from zero over some milliseconds up on many seconds and finally 16 seconds The D Decay Time Slider determines the time it takes for the envelope to move from the peak level to the Sustain level which is set with the next slider Again set to the lowest position the envelope will move from the peak level to the Sustain level immediately and set to top position it will take about 16 seconds The S Sustain Level Sliders setting determines the envelope level after the initial Attack Decay phase while a note is being held If set to the lowest position the envelope will be at zero level when finishing the Decay phase If set to the maximum position the envelope will remain on peak level so actually it will not really decay when sustain is at maximum position The R Release Time Slider is used to set the time that the envelope takes to move from their current level to silence after the note is released Typically this will happen from Sustain level however when the note is being released before Sustain is reached the release time starts right where the envelope currently is LinPlug MorphoX 1 0 18 Master Amp Env The LinPlug Morphox s Master section is located to the right of the Filter Mix section This section contains controls for ove
31. rall and effects amplitude chorus delay The Master sections follows right of the filter section It features Vol volume control to adjust the overall output volume The Vel velocity control allows adjustment of the influence that the note s velocity has on volume When turned fully to the left the velocity has no influence on the volume while turned fully right means that the volume is mainly depending on velocity The Chorus and Delay sliders control the amount of chorus and delay which is added to the synth output signal It s the same as the Wet control you often find on effects plugins Right below the Master section is the Amp Env section which consists of a standard ADSR envelope to control the overall volume Refer to chapter ADSR Envelope right prior this chapter for more details about ADSR envelopes LinPlug MorphoX 1 0 19 Effects The LinPlug MorphoX has two fully morphing stereo effects units Chorus and Delay AD speed fdbk Chorus The Chorus effect can be used to thicken a single sound creating the impression that it contains multiple voices The Chorus works by mixing delayed signals with the original signal The Chorus slider in the Master section left of the Chorus allows you to set the amount of chorus mixed to the signal The Time dial is used for setting the delay time Longer times produce a chorusing effect while shorter times create a flanging effect The Rate dial sets the rate
32. s You can load a new Preset with the file controls which work by clicking the lt Previous or gt Next arrow buttons located right of the Preset name You can select the desired Preset directly from the right display which turns into a menu when you click on it You can also change a Preset by sending a program change command from your host to the synth could be either a built in feature of the host or a MIDI program change from your MIDI controller The Current Location can be changed by loading a Preset from a different directory or by selecting the desired location from the left display which also turns into a menu when you Click on it The File Controls located to the right of the arrow buttons are used for all File related operations The Load button opens a dialog that lets you select a file for loading The Save button allows you to save the current Preset settings Note that when you load a Preset using the Master section s file controls the previous Preset is erased so if you want to keep changes in a Preset make sure you save it before loading another one LinPlug MorphoX 1 0 33 Voices The Voices control is used to set the polyphony available The maximum polyphony is 32 voices A variety of settings are available for polyphony mono Wn to i Pa and oo Mono means that say that you hold down one key and then press and release a second key In the case of the mono voice setting the first note will s
33. se between two chords being played the Arpeggiator will restart with the first step when the Retrigger is activated If it s deactivated it will continue on the next step when a new chord is played Arpeggiator Octave This extends the note range being played regardless of the octave in which you played them originally For example you can choose notes of the chord and not only they will be played in the octave at which the chord is played but also in the octave above This can be extended up to 4 octaves again we recommend you just try it to hear the obvious effect Arpeggiator Steps Steps allows you to define how many of the up to 16 steps are actually used for a particular arpeggio lt could be a very short two step arpeggio or anything up to 16 steps Arpeggiator Gate The Gate is the only morphing parameter in the Global Area simply because its technically possible and musically useful The fact that its morphable is indicated by the special label below it which will also change when changing from sub program A to B or vice versa Gate defines the length of the actual Note On time of a note followed by a certain Note Off time As we said clock defines the length of the steps such as a 1 16th note With the Gate parameter you can define how much of this time the note is actually On and how much it is Off With a setting of full right the note length is the same as the step length A middle setting allows the Note to be on ju
34. software MorphoX receives its MIDI data on all Channels simultaneously Omni mode The LinPlug MorphoX has two oscillators plus a noise oscillator Each oscillator s pitch amplitude panning and more can be controlled using the Modulation Matrix Oscillator 2 is followed by a Ringmodulator which is also feed from Oscillator 1 The output of all of the oscillators and Ringmodulator is routed to the Filter The Filter modifies the frequency spectrum of the oscillator s output The LinPlug MorphoX 1 0 T filters works in stereo and has an envelope for controlling its cutoff parameter Oscillators one s output can be used to independently modulate the frequency of oscillators two and the filter cutoff This option increases the richness of the spectrum of the modulated oscillator and filter producing very interesting harmonically rich results The output of the Filter section is then sent to the Amp FX Effects section which contains two successive stereo effects modules a Chorus and a Delay The output of the effects is send back to the host software s mixer At various points throughout the signal path you can modulate the signal using either envelopes LFOs the Arpeggiator or MIDI Controllers The LinPlug MorphoX contains 3 independent envelopes one for the filter cutoff frequency one for the main amplitude and one general purpose envelope designed for use with the Modulation Matrix All of these can control any available modula
35. sound layers each containing all above mentioned features Arpeggiator with 16 step rhythm sequencer step length clock settings various modes including modulation and chord switchable re trigger save load copy paste functionality Two global LFOs one with special adjustable stair waveform Morph Section allowing setting the morph range and the morph curve for fine adjusting the morphing Sound programs are stored directly on hard disk Sounds are sorted into style maps for easy search Integrated Sound Browser MIDI program change supported Microtonal support Scala file import for different scales Indian Arabic etc 32 voice polyphony adjustable voice limit mono 1 12 32 MIDI Learn settings can be saved restored LinPlug MorphoX 1 0 6 Overview The LinPlug MorphoX is a 32 note polyphonic virtual subtractive style synthesizer combining various oscillators a special filter module many modulation and effects modules with its real time morphing capability The block diagram below shows the signal flow within the LinPlug MorphoX synthesizer FM i The shadow behind each module indicates that there are two complete independent settings for all these modules the sub programs A and B actually there are even more modules morphing in example all the LFO s and Envelopes but this is only audio signal flow Audio signals are generated by the oscillators who gets pitch information from the host
36. st half of the time for example a 1 32th of the 1 16th step The more you turn the dial to the left the shorter the note is played The effect is most prominent with sounds that have a short release time LinPlug MorphoX 1 0 29 Stair Generator The Stair Generator is basically a globally running LFO It has only two controls the lower one is setting the speed at which it proceeds from one step of the stair waveform to the next The upper parameter defines how many levels the stair is made of and thus how long it takes for a complete cycle As you 33 64 a woo can see from the below examples there is 1 8 a fixed correlation between the amount of levels and the length of a complete cycle This is the simplest stair made of 2 levels which makes a 2 step cycle In MorphoX it is named 2 2 This stair has 3 levels the floor one in the middle and the highest It takes 4 steps to complete one cycle lts named 3 4 This is the 4 6 as it consists of 4 levels and takes 6 steps The last example is the 5 8 you guess it it has 5 levels and takes 8 steps so at a speed of 1 16 it takes 8 1 16 half a note to complete Sag The possible amount of levels goes way further up and finally produces a more and more almost triangular looking waveform at the maximum setting the waveform is hard to be perceived as steps anymore depending on the kind of modulation the Stair Gen is used for LinPlug MorphoX 1 0 3
37. the frequency of the modulator is periodic and below the audio range less than 20 Hz tremolo is produced When the modulation frequency is within the audio range metallic overtones are produced A signal processing device that changes the amplitude and hence the volume of a signal A signal processing device that changes some aspect of the input signal An enormous number of different effect types are available These include Chorus which produces a thickening of the signal Delay adding echoes to the signal and Distortion which changes the shape of the waveform usually adding overtones A time varying signal used to control the development of another signal after it has been triggered Envelopes are often used for controlling a signal s amplitude or filter s frequency The shape of the envelope is determined by the number of control parameters Usually four parameters are available Attack Time Decay Time Sustain Level and Release Time A signal processing device that suppresses or filters out specific parts of a signal s frequency spectrum Numerous types of filter are used in audio synthesis These include Low Pass High Pass Band Pass and Notch FM or Frequency Modulation is a process where the frequency of one oscillator or filter the carrier is controlled by another the modulator When the frequency of the modulator is periodic and below the audio range less than 20 Hz vibrato is produced When the modulation
38. the starting point for the microtuning in use Being able to specify a particular midi note on the controller provides a way to map a microtuning beginning on any desired midi key making it easier to navigate the keyboard when there may be more or less than 12 tones per octave or where one may desire to have the notes of a tuning fall on certain physical keys Important Note When one uses a TUN microtuning file in the MorphoX the above specified mapping properties will override the Master Tuning reference Normally when one is using the default 12 Tone Equal Tempered Scale the Master Tuning will be used to make fine pitch adjustments around the standard concert pitch of A440 Hz but when one has specified another pitch base for a microtuning when the TUN file is created in Scala such as C261 6256 Hz the data in the TUN microtuning file will provide a new pitch reference LinPlug MorphoX 1 0 46
39. tion destination via the Modulation Matrix The LinPlug MorphoX also contains 4 independent LFOs Two LFOs allow morphing including their delay attack envelopes The other two LFOs are not morphing but have other special features LFOs can be routed to any available modulation destination The Arpeggiator finally allows to create a vast variety of user defined arpeggios Arpeggios are chords that are played as separate successive notes or broken chords With the MorphoX s Arpeggiator you can control the way the Arpeggio is played in many unusual ways including some wicked modulations More detailed information can be found in the following chapters LinPlug MorphoX 1 0 8 Operation Controls Users have the option of controlling all LinPlug MorphoX dials in either a circular or a linear manner depending on the Dial Mode setting on the LinPlug MorphoX s rear panel see the Settings chapter of this manual for more information about the MorphoX s rear panel Holding down the ALT key while clicking on a control changes the selected control s value a minimum step upwards when clicking in the upper half of the control or a minimum step downwards when clicking in the lower half of the control Holding down the CTRL key Windows or COMMAND key Mac while clicking on a control sets the control to its default value e g for Volume controls it sets the control s value to O dB Holding down the SHIFT key while changing a control s val
40. to change A menu will appear which lets you select the new source or destination To remove a modulation source or destination select the entry in the menu To change the modulation depth click on the amount display and move the mouse while keeping the mouse button pressed upwards or downwards increasing or decreasing the value until the desired amount has been reached The further you move the mouse the less sensitive it gets allowing more drastic changes A negative modulation depth inverts the waveform of the modulation source Double clicking on a modulation depth display sets the value to 0 00 disabled Double clicking again on the display restores the previous value This can be useful when creating new Presets to quickly disable modulation routings The modulation of pitch has a special display for modulation depth In example a modulation depth of 2 50 means that the respective pitch is modulated to a depth of 2 semitones and 50 cents Modulation Envelope The Modulation Envelope is a general purpose envelope used as Modulation Source in the Modulation Matrix See chapter Modulation Matrix right before this chapter for more info on the matrix and chapter ADSR Envelopes for more info about ADSR envelopes LinPlug MorphoX 1 0 24 Glide Glide continuously changes the pitch from one note to the next connecting the notes and letting you smoothly glide from one to the other Sometimes called portamento
41. to change without notice The documents may not be changed especially copyright notices may not be removed or changed MorphoX is a trademark of LinPlug Virtual Instruments GmbH LinPlug is a trademarks of LinPlug Virtual Instruments GmbH VST is a registered trademarks of Steinberg Media Technologies GmbH All other trademarks are the property of their respective owners Welcome Thank you for purchasing the LinPlug Morphox The LinPlug MorphoX is a morphing synthesizer designed for creating music on your personal computer The LinPlug MorphoX s key features is the ability to morph between two sounds It comes with a set of high quality presets in a wide range of styles an easy to use interface and a highly flexible sound engine including many processing and modulation options and a powerful flexible arpeggiator This manual describes all aspects of the LinPlug MorphoX synthesizer and is designed so that your use of this software is as efficient and as pleasurable as possible We feel that the LinPlug MorphoX is exceptional because of its audio quality and its features especially because of it real time morphing ability We are confident that you will get a lot of pleasure using the LinPlug MorphoX synthesizer and that it will become an inspirational part of your music making the LinPlug team September 2010 LinPlug MorphoX 1 0 3 Table of Contents INSTALLATION e ea te deus 5 FEATURE SS ao era Dad 6 A A ne teluntecGa dudalen e
42. tors of the LinPlug MorphoX allow Spread which means playing multiple detuned voices with one Oscillator without the loss of voices full polyphony The Spread slider is used to set the degree of LinPlug MorphoX 1 0 13 detuning among these voices When moved from the bottom position the slider gradually detunes the voices to produce a thick and fat sound While oscillator one uses five voices and produces a more thick sound oscillator two uses three voices and thus sounds different which might be better suited for certain sounds Oscillator 1 The Phase parameter does allow to specify at which point in the waveforms cycle the oscillator starts from This parameter has no effect in case the oscillator is set to run free See above Free run The Phase is particularly interesting for certain types of sounds mainly Bass but also when Oscillator 1 is used for FM or AM FM and AM are explained in the Glossary of either the Oscillator 2 or the Filter Between the two oscillators you find the Detune dial which allows you to adjust both oscillators frequency in two different directions to create the typical swirling or detuned sound Oscillator 2 The FM controller will adjust the amount of frequency modulation of Oscillator 2 through Oscillator 1 This type of modulation is great for producing metallic bell like tones and can also be used to produce rich and complex waveforms LinPlug MorphoX 1 0 14 Oscillator Mixer
43. ue enables finer control values to be set Double clicking once in a Modulation Matrix slot sets the value of the slot to 0 00 Double clicking in the same slot a second time resets the slot to ts previous value All Controls can be controlled using external MIDI messages To do this you need to use the LinPlug MorphoX s ECS which is described in detail later in this manual LinPlug MorphoX 1 0 9 Morphing Area and Global Area The upper part of the MorphoX user interface shows what we call the Morphing Area That s the area holding all the controls to operate the modules which are morphing between the two sub programs A and B It s not required to technically understand the process of morphing especially as it behaves differently for each module The important thing is that it s not just a volume crossfading which would be quite boring but a process which gradually changes one sound to another revealing some often unexpected intermediate sounds between the two sub programs A and B You surely already came across a sound where moving the modulation wheel does open the filter that s a very simple morphing process having two synth sounds one with filter closed and one with the filter more open In MorphoX however there is not changing just one property but about 100 properties of a sound from which some describe complex modulations the ones from the modulation matrix e XI MAN l seq fdbk yY symm phase time sp
44. y LinPlug MorphoX 1 0 12 The Wave dial allows you to interpolate between the two basic waveforms When the dial is at its leftmost setting the waveform consists of purely the first waveform Similarly if the dial is moved all the way to the right the waveform consists of purely the second waveform When in an intermediate position the waveform is a mixture of the harmonics of the basic waveforms It s probably easier to see this in the display rather than explain it so try it for yourself Set one wave to Sine in the Dark category and the other to Sawtooth As you move the Wave dial from one end to the other you can see the wave changes between Sine and Sawtooth symm phase A _ z 4 ee EF 16 Sawtooth aS aa 32 Pulse HolTh RE spread Wave de A symm fm 32 A AR spread Wave The Symm symmetry dial right next to the display changes the waveform symmetry As the waveform display also shows the current symmetry setting we suggest you just play with dial with having two clear basic waveform as Sine and Sawtooth to see how it affects he waveform It s pretty straightforward The F free run button located on top just right of the oscillators label determines if the oscillator is re triggered or not When the Free run button is Off the phase of each note is reset at each onset When the Free run button is On the phase of each note continues on from the phase of the previous note Both oscilla
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