Operation Manual
©2000, E-MU Systems, Inc. d.b.a. E-MU / ENSONIQ. All rights reserved.
FI10721 Rev. B
E-MU World Headquarters Europe, Africa, Middle East
E-MU / ENSONIQ E-MU / ENSONIQ
P.O. Box 660015 Suite 6, Adam Ferguson House
Scotts Valley, CA USA Eskmills Industrial Park
95067-0015 Musselburgh, East Lothian
Telephone: 831-438-1921 Scotland, EH21 7PQ
Fax: 831-438-8612 Tel: +44 (0) 131-653-6556
Internet: www.emu.com Fax: +44 (0) 131-665-0473
The following are registered worldwide trademarks owned and/or exclusively
licensed by E-MU Systems, Inc.: E-MU® and E-MU Systems®. All other trademarks are the property of their respective holders.
Important Notice:
In order to obtain warranty service on your Mo’Phatt unit, the serial number
sticker must be intact and you must have a sales receipt or other proof of
purchase. If there is no serial number sticker on the Mo’Phatt, please contact
E-MU Systems at once.
This product is covered under one or more of the following U.S. patents:
4,404,529; 4,506,579; 4,699,038; 4,987,600; 5,013,105; 5,072,645;
5,111,727; 5,144,676; 5,170,367; 5,248,845; 5,303,309; 5,317,104;
5,342,990; 5,430,244 and foreign patents and/or pending patents. All other
trademarks belong to their respective companies. Specifications and features
are subject to change without notice.
Mo’Phatt Operation Manual
i
Table of Contents
Table of Contents
Introduction ............................................................................. 1
Product Description ............................................................................. 1
Overview ............................................................................................. 2
Important Safety Instructions - English ................................... 3
Foreign Language Warnings - German ................................... 6
Foreign Language Warnings - French ..................................... 9
Setup ...................................................................................... 13
Unpacking ......................................................................................... 13
Connection Instructions..................................................................... 14
Basic Setup ................................................................................................14
Studio Setup .............................................................................................. 15
Power Up! .................................................................................................16
Instant Gratification ........................................................................... 17
Playing Demo Sequences ...........................................................................17
Auditioning Presets ....................................................................................17
Selecting and Quick Editing Presets ...........................................................18
Playing BEATS ............................................................................................20
Exploring the Master Arpeggiator ..............................................................22
Multi-Channel Arpeggiator ........................................................................23
Basic Operations .................................................................... 25
Front Panel ........................................................................................ 25
Volume Control .........................................................................................25
Master Button ............................................................................................25
Edit Button ................................................................................................25
Control Button ..........................................................................................25
Audition Button .........................................................................................26
Left/Right Cursor Buttons ..........................................................................26
Save/Copy Button .....................................................................................26
Home/Enter Button ...................................................................................26
Data Entry Control .....................................................................................27
ii
E-MU Systems
Table of Contents
Front Panel Controller Modes.............................................................27
Real-time Control ...................................................................................... 27
Quick Edit ................................................................................................. 28
Deep Edit Mode ........................................................................................ 28
Main Screen....................................................................................... 30
MIDI Channel Selection .............................................................................30
Preset Selection ......................................................................................... 30
Channel Volume ........................................................................................ 31
Channel Pan .............................................................................................. 32
Channel Arpeggiator ................................................................................. 32
Sound Navigator................................................................................ 33
Preset Category ......................................................................................... 33
Instrument Category ................................................................................. 33
Multitimbral Operation ...................................................................... 34
Arpeggiator/Beats Menu ........................................................35
Base Tempo (Master Clock) ....................................................................... 36
SuperBEATS........................................................................................ 36
BEATS Mode .............................................................................................. 39
Status ..................................................................................................... 39
Beats Channel (BtsCh) ............................................................................ 39
Trigger Channel (TrigCh) ....................................................................... 39
BEATS Controllers ......................................................................................41
Beat Velocity Group 1-4 (BtsVelG1 -> BtsVelG4) ..................................... 41
Beat Xpose Group 1-4 (BtsXpsG1 -> BtsXpsG4) ...................................... 41
Beat Busy (BtsBusy) ................................................................................ 41
Beat Variation ......................................................................................... 42
Beat Variation (BtsVari) ...........................................................................42
Beats Trigger Layout .................................................................................. 43
1-Bar Trigger Option .............................................................................. 43
Beats Trigger Offset ................................................................................... 44
Beats Part Velocity ..................................................................................... 44
Beats Part Transpose .................................................................................. 45
Beats Part Group ....................................................................................... 46
Master Riff .................................................................................................46
Riff Tempo ................................................................................................ 47
Riff Controllers ........................................................................................... 47
MIDI Song Start ........................................................................................ 48
Arp/Riff MIDI Out ...................................................................................... 48
Arpeggiators ......................................................................................49
Arp Controllers .......................................................................................... 50
Master Arpeggiator Parameters .......................................................... 50
Status ........................................................................................................ 51
Mode ........................................................................................................ 51
Note Value ................................................................................................ 52
Arpeggiator Pattern Speed ........................................................................52
Mo’Phatt Operation Manual
iii
Table of Contents
Pattern ......................................................................................................52
Velocity .....................................................................................................53
Gate Time ..................................................................................................53
Extension Count ........................................................................................54
Extension Interval ......................................................................................54
Sync ..........................................................................................................55
Pre-Delay ...................................................................................................55
Duration ....................................................................................................56
Post-Delay .................................................................................................56
Recycle ......................................................................................................57
Keyboard Thru ...........................................................................................57
Latch .........................................................................................................57
Key Range .................................................................................................58
Send MIDI System Exclusive Data ...................................................... 58
User Patterns ..........................................................................................58
Editing a User Arpeggiator Pattern .............................................................59
Pattern Step Number .................................................................................59
Key ............................................................................................................59
Key Offset ...............................................................................................60
Tie ..........................................................................................................60
Rest ........................................................................................................60
Skip ........................................................................................................60
End ........................................................................................................60
Velocity .....................................................................................................61
Duration ....................................................................................................61
Repeat .......................................................................................................61
User Pattern Name ....................................................................................62
Multi-Channel Arpeggiating............................................................... 63
iv E-MU Systems
Using a MIDI Interface to Channelize Data......................................... 64
Master Menu .......................................................................... 65
Defining Master Parameters ............................................................... 66
Transpose/Tune .........................................................................................66
Bend Range ...............................................................................................66
Velocity Curve ...........................................................................................67
Mix Output ...............................................................................................67
Master Effects .................................................................................... 69
Effects Mode ..............................................................................................69
Effects Multi Mode Control ........................................................................69
Master FXA Algorithm ...............................................................................70
A Effect Types .........................................................................................70
FXA Parameters: Decay/HF Damping FxB -> FxA ........................................71
FXA Send Amounts ....................................................................................71
Master FXB Algorithm ................................................................................71
B Effect Types .........................................................................................72
FXB Parameters: Feedback/LFO Rate Delay Time ........................................ 72
FXB Send Amounts ....................................................................................72
Table of Contents
MIDI Parameters ................................................................................73
MIDI Mode ............................................................................................... 73
MIDI SysEx ID ............................................................................................ 73
MIDI Enable ..............................................................................................74
MIDI Program Change -> Preset ................................................................ 74
Receive Program Change .......................................................................... 75
Real-time Controller Assignment ............................................................... 75
MIDI Footswitch Assign .............................................................................. 76
Tempo Controller ......................................................................................77
Knob Preset Quick-Edit .............................................................................. 77
Knobs Deep Edit ........................................................................................ 78
Knobs/Riff MIDI Out .................................................................................. 78
Preset Edit All Layers Enable .......................................................................78
Front Panel Knob Calibration .....................................................................79
MIDI SysEx Packet Delay ............................................................................ 80
Send MIDI System Exclusive Data .............................................................. 80
User Key Tuning ........................................................................................ 82
Screen Viewing Angle ................................................................................82
Programming Basics ...............................................................83
Modulation ........................................................................................ 84
Modulation Sources ........................................................................... 85
Random Sources ....................................................................................... 86
Modulation PatchCords...................................................................... 86
Envelope Generators .......................................................................... 87
Tempo-based Envelopes ......................................................................... 88
Envelope Repeat ..................................................................................... 88
Low Frequency Oscillators (LFOs)....................................................... 89
Clock Modulation............................................................................... 90
Modulation Destinations .................................................................... 92
Modulation Processors ....................................................................... 93
Preset Modulation Processors ............................................................. 95
Using the Modulation Processors ...............................................................97
More Examples .......................................................................................... 99
Dynamic Filters ................................................................................ 101
What is a Filter? ....................................................................................... 102
Parametric Filters ..................................................................................... 105
The Z-Plane Filter ....................................................................................106
Signal Flow ...................................................................................... 107
MIDI Channels & Real-time Controls ................................................ 108
Bank Select Commands ........................................................................... 110
Stereo Mix Outputs.......................................................................... 111
Mo’Phatt Operation Manual v
Table of Contents
Edit Menu ............................................................................. 113
Preset Name ............................................................................................114
Four Layer Architecture .................................................................... 115
Selecting Layers .......................................................................................115
Defining Layer Parameters ............................................................... 116
Selecting an Instrument ...........................................................................116
Sound Navigator ...................................................................................116
Defining Key Range .................................................................................117
Defining the Velocity Crossfade Range ..................................................... 120
Defining the Real-time Crossfade Range ..................................................122
Transposing the Instrument .....................................................................125
Tuning .....................................................................................................126
Background: Transpose vs. Coarse Tuning ............................................126
Amplifier ..................................................................................................126
Volume Envelope .....................................................................................127
Selecting the Mode ..............................................................................127
Defining the Volume Envelope .............................................................128
Chorusing the Layer ................................................................................129
Sound Start Offset and Delay ...................................................................129
Non-Transpose Mode ..............................................................................130
Solo Mode ...............................................................................................130
Assign Group ...........................................................................................131
Glide .......................................................................................................132
Z-Plane Filters ..........................................................................................132
Mo’Phatt Filter Types ...............................................................................133
Filter Types ...........................................................................................133
Filter Parameters ...................................................................................135
Filter Envelope .........................................................................................135
Defining the Filter Envelope .................................................................. 137
Auxiliary Envelope ...................................................................................137
Low Frequency Oscillators (LFOs) ............................................................137
Shape ...................................................................................................138
Sync .....................................................................................................139
Rate ......................................................................................................139
Delay ....................................................................................................140
Variation ...............................................................................................141
PatchCords ..............................................................................................142
Modulator Polarity ................................................................................143
Pitch Bend Range ....................................................................................145
Mix Output .............................................................................................145
Common Preset Parameters............................................................. 146
Preset Effects ............................................................................................146
FXA Algorithm ..........................................................................................148
A Effect Types .......................................................................................148
FXA Parameters .......................................................................................149
FXA Send Amounts ..................................................................................149
FXB Algorithm .........................................................................................149
B Effect Types .......................................................................................149
vi E-MU Systems
Table of Contents
FXB Parameters .......................................................................................150
FXB Send Amounts ..................................................................................150
Preset Patchcords .................................................................................... 151
Initial Controller Amount .........................................................................152
Keyboard Tuning ..................................................................................... 153
Preset Links ............................................................................................. 155
Preset Tempo Offset ................................................................................ 156
Audition Riff Selection .............................................................................156
Play Solo Layers ....................................................................................... 156
Programming Tutorial ..........................................................157
Editing Presets.................................................................................. 157
Changing the Instrument ........................................................................ 157
Changing the Tuning of an Instrument ...................................................158
Chorus .................................................................................................... 159
Volume Envelope ..................................................................................... 159
Working with Filters ................................................................................. 161
Adding the Filter Envelope ...................................................................162
Changing Filter Types .......................................................................... 164
Envelope Repeat ................................................................................... 165
Practice Modulating ................................................................................ 165
Troubleshooting ...................................................................................... 166
Linking Presets.......................................................................................... 167
Effects ....................................................................................169
Effects Overview...............................................................................169
The Effects Sends ..................................................................................... 169
Effect Types...................................................................................... 171
Effect Parameters ............................................................................. 171
Decay ................................................................................................... 172
High Frequency Damping ....................................................................172
Feedback .............................................................................................. 172
LFO Rate .............................................................................................. 172
Delay .................................................................................................... 172
Effects Programmed in the Preset ..................................................... 173
Master Effects................................................................................... 174
Effects Mode ...........................................................................................176
Using the Effects Channel Settings in Multi Mode ................................178
Effect B Into Effect A ................................................................................ 178
General Effect Descriptions............................................................... 180
Reverb ..................................................................................................... 180
Chorus .................................................................................................... 181
Doubling ................................................................................................. 181
Slapback .................................................................................................. 181
Stereo Flanger ......................................................................................... 181
Mo’Phatt Operation Manual vii
Table of Contents
Delay .......................................................................................................182
Stereo Delay ............................................................................................182
Panning Delay .........................................................................................182
Dual Tap ..................................................................................................182
Vibrato ....................................................................................................182
Distortion ................................................................................................182
Save/Copy Menu .................................................................. 183
Saving a Preset................................................................................. 183
Copying Information ....................................................................... 184
Copy Preset .............................................................................................184
Copy Layer .............................................................................................. 185
Copy PatchCords .....................................................................................186
Copy Preset PatchCords ...........................................................................186
Copy Arpeggiator Settings .......................................................................187
Copy Arpeggiator Pattern ........................................................................187
Copy Preset Bank .....................................................................................188
Multisetups...................................................................................... 188
Restoring Multisetups ..............................................................................189
Multisetup Name .....................................................................................189
Saving Multisetups ..................................................................................190
Create Random Preset .............................................................................190
Copy User Bank to Flash ..........................................................................191
Rename Flash SIMM ................................................................................192
Duplicate Flash ........................................................................................ 193
Appendix............................................................................... 195
Front Panel Knob Functions ............................................................. 195
Presets ............................................................................................. 196
Preset Categories .....................................................................................196
Preset Listing.................................................................................... 197
Instrument Listing............................................................................ 201
Riff Listing........................................................................................ 210
Example Percussion Maps ................................................................ 213
Trigger Layouts ................................................................................ 216
Velocity Curves ................................................................................ 219
PatchCord Amount Chart ................................................................ 221
MIDI ................................................................................................ 222
Technical Specifications.................................................................... 225
Props ............................................................................................... 226
Warranty.......................................................................................... 227
Index .................................................................................... 229
viii E-MU Systems
Introduction
Congratulations on your purchase of the Mo’Phatt, 64-Voice Urban Dance
Module. Mo-Phatt takes over where E-MU’s legendary Planet Phatt left off
with 32 MB of fresh new sounds and lighting fast response time. Mo’Phatt
was designed for performance , so make sure to try out all the controller
knobs on each preset.
Product Description
Mo’Phatt contains two user-upgradable sound SIMM sockets. Need more
sounds? New sounds can be added as easily as plugging in a new 16MB or
32MB SIMM module. Many sets are available now, with more coming all
the time, or you can create your own custom ROMs using E-MU’s E4 Ultra
samplers.
Mo’Phatt contains 512 user presets and can hold literally thousands of
factory presets. (ROM presets are automatically added when sound SIMMs are
installed. As an example, a 32 MB SIMM may contain up to 1024 ROM presets.)
Mo’Phatt’s Sound Navigator makes it easy to find the exact sound you
want. It’s powerful, yet simple to use.
Mo’Phatt contains E-MU’s new SuperBEATS Mode, which is a whole new
way to create dynamic, original music. With SuperBEATS, you trigger, latch
and unlatch synced loops and grooves from your keyboard. Simply select a
“bts:” preset and you’re ready to groove! Then use Mo’Phatt’s performance
controls to alter and mutate the rhythm or the sound itself.
Then there’s Mo’Phatt’s revolutionary Rhythmic Pattern Generator/Arpeggiator which can play up to 16 synchronized arpeggiator patterns at once
using a different sound for each! Patterns can be edited using pattern flow
commands such as: delay for 2 bars, play for 4 bars, hold for 2 beats and
repeat. You can program or download 100 user patterns in addition to the
200 factory patterns.
The extremely flexible yet easy to use 4-layer synthesizer voices make it
easy to build sounds of any kind. Layers can be switched or crossfaded
using key position, velocity, real-time controllers or any modulation source.
Mo’Phatt also contains 50 different 2nd to 12th order resonant & modeling
Mo’Phatt Operation Manual 1
Introduction
Overview
The optional Turbo
upgrade adds the following
features to your Mo’Phatt:
• 128 voice polyphony
• 4 submix analog outputs
• 32 MIDI channel operation
• 2 additional sound ROM slots
• S/PDIF stereo digital output
2
filters which are used to shape and modify the waveforms contained in 32
megabytes (MB) of ROM.
Sixty four modulation sources include three multistage envelopes and two
LFOs per layer, as well as full MIDI control over virtually every parameter.
The digital patch bay, with 24 cords per layer, (and 12 more cords per
preset) lets you connect modulation sources to 64 destinations in any
imaginable way. The patch bay contains a set of arithmetic modifiers,
letting you create complex synthesis models. Synth parameters as well as
arpeggiator and BEAT tempos can be controlled from Mo’Phatt’s internal
clock (or an external MIDI clock). Up to 8 LFOs and 12 envelopes can be
perfectly synchronized at different rates. This is an extremely powerful
synthesizer!
Four front panel real-time controllers give you control over 12 userselectable parameters. The real-time knobs can adjust multiple parameters
at once, allowing complex levels of control. For example, one knob can
simultaneously turn up filter cutoff, while detuning one sample, and
adjusting the release time of the volume envelope. Virtually every synth
parameter in Mo’Phatt is controllable using the real-time knobs or by any
internal or external control source.
Once you have created your preset, you can add richness to your sound
using Mo’Phatt’s 24-bit stereo effects. You can choose a different effects
setup for each preset from over 60 algorithms. Mo’Phatt’s effects section is
actually two separate effects processors with control over each wet/dry mix
level on four effects sends. Effects Processor “A” contains primarily
ambiance algorithms like reverb and delays, while effects processor “B”
contains primarily spectral algorithms such as chorus, flange, phase,
distortion, and delay. Effects can be linked to each preset or used globally to
further enhance your sound.
Overview
E-MU Systems
Other features include multiple solo, voice assignment and performance
modes for expressive control, 12 user-definable alternate tunings, and, of
course, an extensive MIDI implementation.
This is the Getting Started Manual for setting up and playing Mo’Phatt. The
first part of the manual describes how to unpack and setup the hardware.
The next chapters provide step-by-step instructions for the most common
and widely used features of Mo’Phatt. This section also defines each of the
parameters and provides information on how to use them.
The complete operation manual is provided to you in pdf format on
CD-ROM. The CD-ROM contains pdf files for both Mac and PC as well as
the complete MIDI SysEx specification and a software downloading tool
which allows you to retrieve the latest software and new features from the
world wide web.
Important Safety Instructions
Use in countries other than the U.S.A. may require the use of a different
line cord or attachment plug, or both. To reduce the risk of fire or electric
shock, refer all servicing to qualified service personnel. Do not expose this
product to rain or moisture. There are no user serviceable parts or adjustments inside the unit.
Grounding Instructions
Danger!
Caution!
This product must be grounded. If it should malfunction or break down,
grounding provides a path of least resistance for electric current, reducing
the risk of electric shock. This product is equipped with a cord having an
equipment-grounding conductor and a grounding plug. The plug must be
plugged into an appropriate outlet properly installed and grounded in
accordance with all local codes and ordinances.
Improper connection of the equipment’s grounding conductor can result in
the risk of electric shock. Check with a qualified electrician or service
personnel if you are in doubt as to whether the product is properly
grounded. Do not modify the plug provided with this product. If it will not
fit the outlet, have a proper outlet installed by a qualified technician.
If your Mo’Phatt (Model Number 9111) is rack mounted, you must use a
standard 19 inch open frame rack. Screw-on rack mount ears are provided
for this purpose.
Mo’Phatt Operation Manual 3
Important Safety Instructions
User Maintenance Instructions
User Maintenance Instructions
4
1.
The Mo’Phatt should be kept clean and dust free. Periodically wipe the
unit with a clean, lint free cloth. Do not use solvents or cleaners.
2.
There are no user lubrication or adjustment requirements.
Caution -.
These servicing instructions are for use by qualified personnel only. To
reduce the risk of electric shock, do not perform any servicing other than that
contained in these operating instructions unless you are qualified to do so. Refer
all servicing to qualified service personnel.
INSTRUCTIONS PERTAINING TO A RISK OF FIRE,
ELECTRIC SHOCK, OR INJURY TO PERSONS.
READ THESE INSTRUCTIONS: When using electric products, basic precau-
tions should always be adhered to, including the following:
This symbol is intended to
alert you to the presence of
important operating and
maintenance (servicing)
instructions in the literature
accompanying the unit.
This symbol is intended to
alert you to the presence of
uninsulated dangerous
voltage within the product’s
enclosure that may be of
sufficient magnitude to
constitute a risk of electric
shock to persons.
1.
Read all instructions before using Mo’Phatt.
2.
To reduce the risk of injury, close supervision is necessary when using
Mo’Phatt near children.
3.
Do not use Mo’Phatt near water — for example near a bathtub,
washbowl, kitchen sink, in a wet basement, on a wet bar, or near or in a
swimming pool. Do not expose the unit to drips or splashes.
4.
The Mo’Phatt should be situated so that its location or position does
not interfere with its proper ventilation.
5.
The Mo’Phatt should be located away from heat sources such as
radiators, heat registers, fireplaces, stoves, or ovens.
6.
The Mo’Phatt should be connected only to a power supply of the type
described in the operating instructions and marked on the product.
7.
Care should be taken so that objects do not fall and liquids are not
spilled into the enclosure of Mo’Phatt through openings.
8.
This Mo’Phatt may be equipped with a polarized line plug (one blade
wider that the other). This is a safety feature. If you are unable to insert
this plug into the outlet, do not defeat the safety purpose of the
plug.Contact an electrician to replace your obsolete outlet.
9.
Protect the power cord from being walked on or pinched, particularly at
plugs, convenience receptacles, and the point where they exit from the
unit.
10.
Unplug the Mo’Phatt from the power outlet during lightning storms or
when left unused for a long period of time.
11.
This product, in combination with an amplifier and headphones and
speakers, may be capable of producing sound levels that could cause
permanent hearing loss. Do not operate for a long period of time at a
high volume level or at a level that is uncomfortable. If you experience
any hearing loss or ringing in the ears, consult an audiologist.
12.
Only use attachments and accessories specified by E-mu Systems.
13.
The Mo’Phatt should be serviced by qualified service personnel when:
E-MU Systems
•
•
Important Safety Instructions
Radio and Television Interference
A. The power supply cord has been damaged; or
B. Objects have fallen, or liquid has been spilled into the unit; or
C. The unit has been exposed to rain; or
D. The unit has been dropped or the enclosure damaged; or
E. The Mo’Phatt does not operate normally or exhibits a marked
change in performance.
14.
All servicing should be referred to qualified service personnel.
Save These Instructions.
•
•
•
Radio and
Television
Interference
The equipment described in this manual generates and uses radiofrequency energy. If it is not installed and used properly —that is, in strict
accordance with our instructions— it may cause interference with radio
and television reception.
This equipment has been tested and complies with the limits for a Class B
computing device in accordance with the specifications in Subpart J of Part
15 of the FCC rules. These rules are designed to provide reasonable
protection against such interference in a residential installation. However,
there is no guarantee that the interference will not occur in a particular
installation, especially if a “rabbit ear” TV antenna is used.
If Mo’Phatt does cause interference to radio or television reception, you can
try to correct the interference by using one or more of the following
measures:
Turn the television or radio antenna until the interference stops.
Move Mo’Phatt to one side or the other of the television or radio.
Move Mo’Phatt farther away from the television or radio.
Plug Mo’Phatt into an outlet on a different circuit than the television or
radio.
Consider installing a rooftop antenna with a coaxial lead-in between the
antenna and television set.
Mo’Phatt Operation Manual 5
Foreign Language Warnings - German
Wichtige Sicherheitsvorschriften
Foreign Language Warnings
- German
6
Wichtige
Sicherheitsvorschriften
Erdungsinstruktionen
Gefahr
In Ländern ausserhalb den U.S.A. können andere Kabel oder Stecker
notwendig werden. Zur Verminderung des Risikos von Feuer oder eines
elektrischen Schlages übergebe man den Service an qualifizierte Fachleute.
Das Gerät niemals Regen oder Nässe aussetzen.
Das Gerät muss geerdet sein. Bei einem Defekt oder Ausfall bietet Erdung
dem elektrischen Strom den Weg des geringsten Widerstandes und
reduziert das Risiko eines Schlages. Dieses Gerät ist mit einem geerdeten
Kabel und Stecker ausgerüstet. Der Stecker muss in eine passende,
einwandfrei montierte und geerdete Steckdose in Übereinstimmung mit
den örtlichen Vorschriften eingeführt werden.
Unvorschriftsgemässer Anschluss des Gerätes kann zum Risiko eines
elektrischen Schlages führen. Im Zweifelsfalle über die ordnungsgemässe
Erdung soll ein qualifizierter Elektriker oder eine Serviecestelle beigezogen
werden. Ändern Sie den mitgelieferten Stecker nicht. Sollte er nicht in die
Steckdose passen, soll die einwandfreie Installation durch einen qualifizierten Techniker erfolgen.
Vorsicht
E-MU Systems
Wird der Mo’Phatt (Modell Nummer 9111) in einem Rackgestell montiert,
muss ein offener 19-Zollrahmen verwendet werden.
Unterhaltsinstruktionen
für anwender
Foreign Language Warnings - German
Unterhaltsinstruktionen für anwender
1.
Mo’Phatt soll sauber und staubfrei gehalten werden. Das Gerät mit
einem sauberen und säurefreien Tuch periodisch abreiben. Keine
Lösungs- oder Reinigungsmittel anwenden.
2.
Schmieren und Justieren sind nicht notwendig.
3.
Bei weiteren Servicefragen wende man sich an eine qualifizierte Servicestelle.
Vorsicht
Dieses Symbol weist den
Anwender auf wichtige
Gebrauchs- und Service-
Vorschriften in den beilieg-
enden Drucksachen.
Dieses Symbol verweist auf
nicht-isolierte Stromspan-
nungen im Geräte-Innern,
welche zu einem elektrischen
Schlag führen könnten.
Diese Gebrauchsanweisungen sind nur für qualifizierte Techniker
beabsichtigt. Um die Gefahr eines elektrischen Schlages zu vermeiden,
sollen Sie keine Arbeit unternehmen, die nicht in diesen Instruktionen
vorgeschrieben ist. Wenden Sie Sich bei weiteren Servicefragen an eine
qualifizierte Servicestelle.
INSTRUKTIONEN BETR. FEUERRISIKO,
ELEKTROSCHOCK ODER VERLETZUNG VON
PERSONEN
WARNUNG; Beim Einsatz elektrischer Geräte sollten
folgende Vorsichtsmassregeln stets beachtet werden:
1.
Lesen Sie vor dem Einschalten des Mo’Phatt alle Instruktionen.
2.
Zur Vermeidung von Verletzungsrisiken müssen Kinder bei eingeschaltetem Mo’Phatt sorgfältig überwacht werden.
3.
Mo’Phatt nicht in der Nähe von Wasser in Betrieb nehmen -- z.B. in der
Nähe von Badewannen, Waschschüsseln, auf nassen Gestellen oder am
Swimmingpool.
4.
Mo’Phatt stets so aufstellen, dass seine Belüftung nicht beeinträchtigt
wird.
5.
Mo’Phatt nicht in der Nähe von Hitze aufstellen, wie Heizkörper,
offenem Feuer, Öfen oder von Backöfen.
6.
Mo’Phatt ausschliesslich mit einem Netzgerät gemäss Bedienungsanleitung und Gerätemarkierung verwenden.
7.
Dieses Gerät kann bei Verwendung von Kopfhörern und Verstärkern
hohe Lautpegel erzeugen, welche zu bleibenden Gehörschäden führen.
Arbeiten Sie nicht während längerer Zeit mit voller Lautstärke oder
hohem Lautpegel. Stellen Sie Gehörverlust oder Ohrenläuten fest,
wenden Sie sich an einen Ohrenartz.
8.
Mo’Phatt kann mit einem polarisierten Kabelstecker (mit ungleichen
Stiften) ausgerüstet sein. Das geschieht für Ihre Sicherheit. Können Sie
den Stecker nicht in die Steckdose einführen, ändern Sie nicht den
Stecker ab, sondern wenden Sie sich an einen Elektriker.
9.
Das Netzkabel des Mo’Phatt bei längerem Nichtgebrauch aus der
Steckdose ziehen.
Mo’Phatt Operation Manual 7
Foreign Language Warnings - German
10.
11.
12.
DIESE INSTRUKTIONEN AUFBEWAHREN
Vermeiden Sie sorgfältig das Eindringen von Gegenständen oder
Flüssigkeiten durch die Gehäuseöffnungen.
Das Gerät soll durch qualifizierte Serviceleute gewartet werden, falls:
A. das Netzkabel beschädigt wurde, oder
B. Gegenstände oder Flüssigkeit in das Gerät gelangten,
C. das Gerät Regen ausgesetzt war, oder
D. das Gerät nicht normal oder einwandfrei arbeitet, oder
E. das Gerät stürzte oder sein Gehäuse beschädigt wurde.
Servicearbeiten sollten nur qualifizierten Fachleuten anvertraut werden.
8
E-MU Systems
Foreign Language Warnings - French
Instructions de Sécurité Importantes
Foreign Language Warnings
- French
Instructions
de Sécurité
Importantes
Instructions de Mise à la Terre
Danger
Une utilisation dans des pays autres que les U.S.A. peut nécessiter l’usage
d’un cordon d’alimentation différent. Afin de réduire les risques d’incendie
ou d’électrocution, référez-vous à un personnel de service qualifié, et
n’exposez pas cet appareil à la pluie ou à l’humidité.
Cet appareil doit être relié à la terre. Dans le cas d’une malfonction
éventuelle, la terre fournit un passage de moindre résistance pour le
courant électrique, réduisant ainsi les risques d’électrocution. Le Mo’Phatt
est équipé d’un cordon muni d’un conducteur et d’une fiche devant être
branchée dans une prise appropriée et reliée à la terre en conformité avec
les normes locales.
Une connexion incorrecte peut résulter en des risques d’électrocution.
Vérifiez avec un technicien qualifié si vous avez des doutes quant à la
connexion. Ne modifiez pas vous-même le cordon d’alimentation livré avec
cet appareil; s’il ne rentre pas dans la prise, faites-en installer un autre par
un technicien qualifié.
Attention Si le Mo’Phatt (Model 9111) est installé dans un rack, utilisez un rack
standard ouvert de 48.25cm.
Instructions de Maintenance
1. le Mo’Phatt doit être maintenu propre et sans poussière. Nettoyez-le
périodiquement à l’aide d’un chiffon propre et non-pelucheux.
N’utilisez pas de solvants, ou d’autres produits de nettoyage.
2. Aucune lubrification et aucun réglage ne sont nécessaires de votre part.
3. Pour tout autre service, référez-vous à un personnel qualifié.
Mo’Phatt Operation Manual
9
Foreign Language Warnings - French
Instructions de Maintenance
Instructions Concernant les Risques d’Incendie,
d’Electrocution, ou de Blessures Corporelles.
ATTENTION: Lorsque vous utilisez des appareils électriques,
certaines précautions élémentaires doivent toujours être prises,
incluant les suivantes:
Ces instructions de dépanage sont destinées uniquement aux personnes
qualifiées. Afin d’éviter les risques d’électrocution, n’effectuez que les opérations décrites dans ce manuel, à moins que vous ne soyez qualifiê pour cela.
Faites effectuer toute r’eparation par une personne qualifié.
1. Lisez bien toutes les instructions avant d’utiliser le Mo’Phatt.
2. Afin de réduire les risques de blessures, une attention particulière est
3. N’utilisez pas le Mo’Phatt dans ou près d’endroits humides - par
Ce symbole vous alerte de la
présence d’instructions
importantes d’opération et
de maintenance dans la
notice accompagnant
l’appareil.
Ce symbole vous alerte de
la présence d’un voltage
non-isolé dangereux à
l’intérieur de l’appareil,
pouvant être d’une
magnitude suffisante pour
constituer un risque
d’électrocution.
4. Le Mo’Phatt doit être placé de façon à ce que sa position n’interfére pas
5. Le Mo’Phatt doit être placé loin de sources de chaleur telles que des
6. Le Mo’Phatt doit uniquement être connecté à une alimentation du type
7. Une attention particulière doit être observée quant aux objets pouvant
8. Le Mo’Phatt peut être équipé d’une fiche secteur polarisée (avec une
9. Evitez de marcher sur le cordon d’alimentation ou de le coincer, parti-
10. Le cordon d’alimentation de le Mo’Phatt doit être débranché lorsque ce
11. Cet appareil, combiné avec un amplificateur, des haut-parleurs, et/ou
12. N’utilisez que les accessoires sp’ecifi’es par E-mu Systems.
13. Cet appareil doit être examiné par un personnel qualifié lorsque:
nécessaire en la présence d’enfants en bas âge.
exemple près d’une baignoire, d’un lavabo, dans les toilettes, dans une
cave humide, sur un bar fréquenté, en présence d’un bull-dog en rut, ou
dans une piscine pleine. Protégez cet appareil de tout liquide,
éclaboussure ou fuite.
avec sa propre ventilation.
radiateurs, cheminées, fours, ou groupies en chaleur.
décrit dans les instructions d’opération et tel qu’indiqué sur l’appareil.
tomber et aux liquides pouvant être versés sur et à l’intérieur de le
Mo’Phatt.
broche plus large que l’autre). C’est une mesure de sécurité. Si vous ne
pouvez pas brancher cette fiche dans une prise, ne neutralisez pas cette
sécurité. Contactez plutôt un électricien pour remplacer la prise
obsolète.
culiêrement prês des prises de courant, des boitiers ‘electriques dt du
point de sortie de l’appareil.
dernier n’est pas utilisé pendant une longue période.
un casque, est capable de générer des niveaux sonores pouvant
occasionner une perte de l’ouïe permanente. Ne travaillez pas trop
longtemps à un volume trop élevé ou même inconfortable. Si vous
observez une perte de l’audition ou un bourdonnement dans les
oreilles, consultez un O.R.L.
10 E-MU Systems
Foreign Language Warnings - French
Interférences Radio et Télévision
A. Le cordon d’alimentation a été endommagé, ou
B. Des objets sont tombés, ou du liquide a été versé sur/à l’intérieur
de l’appareil, ou
C. Le Mo’Phatt a été exposé à la pluie, ou
D. Le Mo’Phatt est tombé, ou
E. Le Mo’Phatt ne fonctionne pas normalement, ou affiche un
changement radical de performance.
14. Tout service doit être effectué par un personnel qualifié.
SAUVEGARDEZ CES INSTRUCTIONS
Interférences
Radio et
Télévision
L’appareil décrit dans cette notice génére et utilise une énergie de
fréquence-radio. S’il n’est pas installé et utilisé correctement - c’est à dire en
suivant strictement nos instructions - il peut occasionner des interférences
avec la réception d’une radio ou d’une télévision.
Cet appareil a été testé et est conforme aux normes de Classe A en accord
avec les spécifications du paragraphe J de la section 15 des lois FCC. Ces lois
sont désignées pour fournir une protection raisonnable contre de telles
interférences dans une installation résidentielle. Toutefois, il n’est pas
garanti qu’aucune interférence n’apparaisse dans des installations particulières, et plus spécialement lorsqu’une antenne de télévision en «oreilles de
lapin» est utilisée.
Si le Mo’Phatt occasionne des interférences , vous pouvez essayer de les
corriger en utilisant une ou plusieurs des mesures suivantes:
• Tournez l’antenne de la télé ou de la radio jusqu’à ce que les interférences disparaissent.
• Déplacez le Mo’Phatt d’un côté ou de l’autre de la télé ou de la radio.
• Eloignez le Mo’Phatt de la télé ou de la radio.
• Branchez le Mo’Phatt sur une prise différente que la télé ou la radio.
• Installez une antenne sur le toit munie d’une connexion coaxiale entre
elle et le poste de télévision.
Mo’Phatt Operation Manual 11
Declaration of Conformity
Interférences Radio et Télévision
Declaration of Conformity
Manufacturer:
E-MU/Ensoniq
1600 Green Hills Road
Scotts Valley, CA 95067-0015 USA
We hereby declare that the equipment listed herein conforms to the
harmonized standards of the following European Commission Directives:
89/336/EEC and 72/23/EEC.
Trade Name: Audio Sampler/Emulator System
Model Number: Proteus 1000 CR
Under 89/336/EEC as amended by 92/31/EEC, and 72/23/EEC
In accordance with EN 55103-1:1996, Emission Environments E1, E2, E3
In accordance with EN 55103-2:1996, Immunity Environments E1, E2, E3
Test information is contained in a report by Atlas Compliance and
Engineering dated November 15, 1999.
Report No.: 9949EMU2KCR103
Under 73/23/EEC as amended by 93/68/EEC
In accordance with EN 60950 with amendments A1, A2, A3, A4, A11
This Declaration is made November 15, 1999
12 E-MU Systems
Setup
This section thoroughly describes how to set up your new Mo’Phatt for use.
Setup includes unpacking instructions and how to connect the cables.
Unpacking Carefully remove Mo’Phatt from the packaging material. Take care to save
the packing materials in case you need to transport the unit. Check to make
sure all components are included and in good condition. If there are
missing or damaged components, contact E-MU Systems immediately for
replacement or repair.
The Mo’Phatt box should include the following components:
• Mo’Phatt rack unit
• Power cable
• Rack mounting ears
• This operation manual
• Manuals CD-ROM
Mo’Phatt Operation Manual 13
Connection
SCOTTS V
ALLEY CA. U.S.A.
IN
THRU
Instructions
Basic Setup
If Mo’Phatt does not
seem to be responding correctly,
make sure that both Mo’Phatt
and your MIDI controller are set
to the same MIDI channel.
Footswitch
Setup
Connection Instructions
REAL TIME CONTROLLERS
ASSIGNABLE KEYS
PRESET
SAMPLE
SEQUENCER
MIDI Out
Control
Pedal
~
EMULATOR
A
To
Main Outs
LEVEL
EXIT
ENTER
PAGE
PRESET SELECT
RETURN
0.987654321
The Headphone
Output is located
on the Front Panel
B
SCOTTS V
IN
THRU
ALLEY CA. U.S.A.
The Right Main output
jack carries a mono mix of the
left and right channels when the
Left Main plug is not plugged in.
The Left Main output jack is a
stereo jack carrying both
channels when the right output
jack is empty.
Male RCA plug
to
Male Phono Plug
Aux. or
Tape In
Amp
Main Outs to Mixer In
Mixer
Speakers
Home Stereo
System
Home Studio
System
MIDI In
Mo’Phatt is controlled by MIDI messages received at the MIDI In jack.
Normally you will connect MIDI Out of a controller such as a MIDI
keyboard to Mo’Phatt’s MIDI In jack. Be sure to connect a Footswitch and/
or Control Pedal to your MIDI keyboard. Many of the factory presets use
MIDI controllers.
Outputs
In order to reproduce Mo’Phatt’s wide dynamic range and frequency
response, use a high quality amplification and speaker system such as a
keyboard amplifier or home stereo system. A stereo setup is highly desirable
because of the added realism of stereophonic sound. Headphones can be
used if an amplifier and speaker system is not available. Plug stereo
headphones into the headphone jack on the left side of the front panel.
14 E-MU Systems
Studio Setup
SCOTTS V
ALLEY CA. U.S.A.
MIDI Controller
(MIDI Keyboard, Sequencer, etc.)
REAL TIME CONTROLLERS
ASSIGNABLE KEYS
PRESET
SAMPLE
SEQUENCER
Setup
Connection Instructions
LEVEL
EXIT
ENTER
PAGE
PRESET SELECT
RETURN
EMULATOR
0.987654321
Computer
MIDI OutMIDI In
In
Additional
MIDI
Devices
MIDI In
MIDI
Interface
Out
“A” MIDI
channels
1-16
~
In
A
Out
B
IN THRU
SCOTTS V
ALLEY CA. U.S.A.
Mixer
Amp
MIDI In
In this setup, Mo’Phatt is controlled by MIDI messages, received at the
MIDI input, which are routed by the MIDI interface. The MIDI interface
allows any MIDI controller, such as a MIDI keyboard or a computer, to
control the module.
MIDI Out
The MIDI Out jack transmits program data to a computer or other device.
Outputs
A stereo connection is highly desirable because of the added realism of
stereophonic sound. Plug stereo headphones into the headphone jack
located on the left side of the front panel. The Right Main output jack
serves as a mono output when the Left Main plug is not plugged in. The
Left Main output jack is a stereo jack carrying both channels when the
Right output jack is empty.
Mo’Phatt Operation Manual 15
Setup
Connection Instructions
Power Up! The power switch is located on the right side of the front panel. You can
turn on the Mo’Phatt and its MIDI controller in any order. When power is
applied the liquid crystal display will light, indicating that Mo’Phatt is
operating. You may have noticed that there is no 110/220 Volt power
selector switch on Mo’Phatt.
Mo’Phatt automatically switches itself to the
proper line voltage.
16 E-MU Systems
Setup
Instant Gratification
Instant
Gratification
Playing Demo Sequences
This section presents step-by-step instructions for the most fundamental
operations to get you up and making sounds quickly.
Mo’Phatt has several factory demonstration sequences that let you hear
what this incredible machine can do. The actual number of demo
sequences depends on which ROM sounds sets are installed. You can play
these demo sequences by accessing the Demo Sequence page.
DEMO SEQUENCES PHATT
Ph
Phatling
To Play a Demo Sequence
1. Press and hold the Master and Edit buttons at the same time to enter
the Demo Sequence page. The screen shown above appears.
2. Select a sequence using the data entry control. The Enter LED will be
flashing.
3. Press the Enter button to begin playing the selected sequence. The
screen shown below appears.
PLAYING: Phatling
Press ENTER to stop
4. Press the Enter button again to stop playing the sequence.
5. When a demo sequence plays to the end, the next demo will automati-
cally begin playing. The screen will display the new demo name.
6. With the sequence stopped, press either the Master, Edit or Arp/Beats
button to Exit the demo sequence mode.
Auditioning Presets The front panel audition button allows you to hear any preset in Mo’Phatt
without even hooking up a MIDI keyboard! When the Audition button is
pressed, the LED next to the button will illuminate and a short
“Riff” (programmed as part of the preset) will play. The Riff is latched on
and plays continuously until the button is pressed again. Presets can be
changed while Audition is latched on.
The top line of the display changes to show the MIDI Bank Select controller
values needed to select the preset being auditioned. This is an extremely
handy feature when sequencing.
Mo’Phatt Operation Manual 17
Instant Gratification
Bank MSB:007 LSB:2 PHATT
1
252 key: SynhissOrgan
To Audition a Preset
1. Select a preset by turning the data entry control while the cursor is
anywhere on the lower line. The preset number field (shown above) is
the normal position of the cursor and pressing the Enter button will
return the cursor to this position.
2. Press the Audition button on the front panel. The Audition LED will
illuminate and a short riff will play the selected preset.
3. Continue to select and audition presets.
4. Press the Audition button again to turn Audition mode off. The LED
will extinguish.
Setup
Selecting and Quick Editing Presets
The first thing you’ll do with the Mo’Phatt is select and play the factory
provided presets. Mo’Phatt comes standard with 8 banks containing 128
presets each. See “Main Screen” on page 30.
Preset
Location
Channel
Number
Initial
Volume
Setting
Initial
Pan
Setting
Arpeggiator
Setting
C01 V127 P01R A:off USER
252 key: SynhissOrgan
1
Blinking
Cursor
The first four banks are USER locations that can be overwritten and used to
store your own presets. The presets that come stored in the USER presets are
duplicated in banks 0-3 of the “Mo’Phatt” ROM bank, so feel free to
overwrite them with your own presets. You won’t be losing anything.
Preset
Number
Bank
Number
Preset
Category
Preset
Name
18 E-MU Systems
The ROM Card identifier is shown in the top right of the display. The preset
is identified in the bottom line of the main screen (the screen that appears
when you first power up the unit).
Setup
Instant Gratification
Each bank of 128 presets is identified by a superscripted Bank Number to the
right of the preset number. The bank numbers reset to 0 at the start of each
ROM card you have installed. So with the Mo’Phatt ROM installed, the
USER banks will go from 0-3, then start over from 0-3 for the Mo’Phatt
ROM banks.
Bank Organization
OO
OO
You can select presets
from the Preset Number, Bank
Number, Preset Category or
Preset Name fields.
USER
USER
USER
USER
PHATT
PHATT
PHATT
The User Banks
are duplicated
in the PHATT
ROM bankS.
The four User Banks can hold 512 custom presets. Feel free to overwrite these
since the factory user presets are duplicated in nonvolatile ROM.
To the right of the preset number and bank is the preset Category name
followed by the Preset Name.
To Change the Preset
1. Place the cursor under the first character in the Preset Number field.
This is the “Home” position which is selected instantly when you press
the Home/Enter button. Pressing either of the two cursor buttons
repeatedly also gets you there.
2. Turn the Data Entry Control knob on the front panel to select a new
preset number. If you turn the knob slowly, the presets advance one
number for each “click” of the knob. If you spin the knob quickly, the
numbers advance much faster (more than one number per click).
3. Play the keyboard (or press the Audition button) and listen to the
sounds made by your Mo’Phatt!
4. TURN THE FOUR KNOBS on the front panel and note how they
change the sound of each preset! Press the button to the left of the
controller knobs to change the function of the knobs. Don’t worry
about ruining the sound, the values are automatically reset as soon as
you select a new preset.
}
PHATT
Bank 0
Bank 1
Bank 2
Bank 3
Bank 0
Bank 1
Bank 2
Bank 3
128 Presets
128 Presets
128 Presets
128 Presets
128 Presets
128 Presets
128 Presets
128 Presets
Mo’Phatt Operation Manual 19
Setup
Instant Gratification
Playing BEATS This function controls the BEATS for the currently selected MIDI channel
(the default channel is 1). Unlike the Arpeggiators, BEATS is only active on
one MIDI channel at a time.
To Play BEATS (Quick Start)
1. Select any preset with the bts: prefix.
2. Play the keyboard keys in the range shown in the default template
below. Be sure to try out each key.
Default Assignment
of BEATS
Perc 1
Snare 1
HiHat 2
Perc 3/Fill 1
Perc 5/Fill 3
Inst 2/Wild 2
Inst 4/Combo
Start/Stop
Group 3
Main Groove
Alt. Groove
C1 D1 E1 F1 G1 B1 C2 D2 E2 F2 G2 A2
Kick 2
Kick 1
HiHat 1
3. Now try out the “Wild 1-4” knobs and other “bts:” presets.
• If BEATS are not playing: Go into the Arp/Beats menu, locate the
screen shown below and set the parameters exactly as shown.
Perc 2
Snare 2
Perc 4/Fill 2
Group 1
Group 2
Perc 6/Fill 4
Inst 3/Bass
Inst 1/Wild 1
Group 4
Mute
B2A1
TrigHold
Clear Parts
20 E-MU Systems
BEATS MODE Status: P
BtsCh: Basic TrigCh:Basic
Setup
Instant Gratification
To Latch BEATS Triggers
The Trigger Keys can be Latched so that pressing once turns a key on and
pressing the key again turns it off.
1. Press the Arp/Beats button and turn the Data Entry control until the
following screen appears (this is the 3rd screen from the beginning).
BEATS TRIGGER LAYOUT
Part 1 Key: C1 unlatch
2. Press either cursor button repeatedly until it is underneath the Part
field.
3. Rotate the Data Entry Control to select the desired part.
4. Press either cursor button repeatedly until it is underneath the unlatch/
latch field.
5. Rotate the Data Entry Control to change the status to “Latch”.
6. Repeat steps 2-5 until Parts 1-16 are latched.
7. Now play the Trigger Keys and hear the results.
8. Press the Clear Trigger Key to kill all latched Parts.
9. Start up a few more triggers and play with the Mute key.
To play BEATS on a different MIDI channel
You can have your cake and eat it too.
BEATS MODE Status: P
BtsCh: 01 TrigCh:Basic
1. Press the Arp/Beats button and locate the screen shown above (the 2nd
screen from the beginning).
1. Set your MIDI keyboard to transmit on channel 2.
2. Select any “bts:” preset on channel 1 (main screen).
3. From the main screen, change to channel 2 and select another preset.
4. The Trigger Keys now play BEATS and the other keys play the preset on
channel 2
Want more?
5. On channel 2, select a preset with the arp: prefix.
6. Set the arpeggiator to P (A:P) on the main screen (channel 2).
7. Now you can play BEATS and arpeggiate. Yeow!
Mo’Phatt Operation Manual 21
Setup
Instant Gratification
Exploring the Master Arpeggiator
Mo’Phatt’s multi-channel Pattern Generator/Arpeggiator is one of the
greatest features ever put in a synth. Let’s explore the Master Arpeggiator.
To Arpeggiate a Single Preset:
1. Select a preset. Note that the factory presets all have prefixes which
describe the type of sound. For this investigation it might be best to
choose a preset with the prefix “arp,” for arpeggiator. These presets are
optimized for use with the arpeggiator.
2. Set the Arp parameter in the main screen to “M” for Master
Arpeggiator.
C01 V127 P01R A:M PHATT
3
123
3. Press the Arp/Beats menu button on the front panel to access the
master Arpeggiator menu, then use the Data Entry Control to scroll to
the screen shown below.
arp: OrbisTabula1
MASTER ARPEGGIATOR
OO
OO
Try using the control
knobs to change the arpeggiator
parameters.
S
tatus on
4. Make sure the arpeggiator Status is “on.” Play the keyboard to start
arpeggiating.
5. Press either cursor key repeatedly to move the cursor below the Status
field.
6. Turn the Data Entry Control clockwise one click. The Mode screen
appears.
MASTER ARPEGGIATOR
Mode u
7. Use the cursor keys to move the cursor to the Mode field (up, down, up/
down, forw asgn, backw asgn, forw/backw, random, pattern). Try out
the different modes as you play the keyboard.
8. Move the cursor back to the lower left position and explore the other
parameters. The Note Value parameter changes the rate of the arpeggios.
By the way, note value is a divisor based on the Master Clock Tempo.
Try changing the tempo (page 36), but come right back.
p
22 E-MU Systems
Setup
A/E/I
VOLUME
B/F/J
C/G/K
D/H/L
AUDITION
ARP/BEA
VE/COPY
HOME/ENTER
MIDI
POWER
FIL
TER CUTOFF
ACK
WILD 1
A-D
E-H
I-L
FIL
TER RES
DECA
Y/RLS
WILD 2
SHAPE
MOVEMENT
WILD 3
IMAGE
TE
WILD 4
MASTER
DEMOS
EDIT
Instant Gratification
9. Let’s check out the pattern generator. Go back to the Mode screen and
set the mode to “Pattern”.
10. Now advance to the Pattern screen (shown below) and move the cursor
to the Pattern Number field (the second field from the left).
MASTER ARPEGGIATOR
OO
OO
See the Arpeggiator
Chapter for detailed information
on creating Patterns.
Multi-Channel Arpeggiator
Pattern 3
80 Inversions
11. Try the various patterns. There are 200 permanent factory patterns and
100 user locations to store the patterns you create. Each pattern can
have up to 32 notes.
Mo’Phatt can run up to 16 arpeggiators at once! Even two or three patterns
at once can create a complex groove or a dynamic landscape of sound. Even
if you don’t think you like arpeggiators, you owe it to yourself to give these
a try. They’re a great source of new song ideas.
Here’s one way to access this ultra-powerful feature. There is one arpeggiator for each MIDI channel. In order to arpeggiate on multiple channels,
you’ll need a controller that can output multiple MIDI channels at once.
Arp on
Chan 1
Arp on
Chan 2
Arp on
Chan 3
FIL
TER CUTOFF
A-D
FIL
TER RES
SHAPE
ATTTTACK
E-H
DECA
WILD 1
I-L
A/E/I
VOLUME
B/F/J
IMAGE
Y/RLS
MOVEMENT
RARATE
WILD 2
WILD 3
WILD 4
C/G/K
D/H/L
MASTER
EDIT
DEMOS
AUDITION
ARP/BEA
TS SASAVE/COPY
HOME/ENTER
POWER
MIDI
MIDI In
MIDI Out
REAL TIME CONTROLLERS
ASSIGNABLE KEYS
PRESET
SAMPLE
SEQUENCER
EMULATOR
EXIT
PRESET SELECT
LEVEL
ENTER
PAGE
RETURN
0.987654321
Master Keyboard transmitting on
MIDI channels 1, 2, 3
Connect a multi-channel controller to Mo’Phatt to unleash its true potential!
Mo’Phatt Operation Manual 23
OO
OO
Don’t forget that you
can adjust the volume and pan
position for each channel.
Sometimes a simple volume
change will bring out hidden
rhythms and patterns.
Setup
Instant Gratification
1. Set up your MIDI keyboard so that it outputs the entire keyboard range
on MIDI channels 1, 2, and 3. This procedure varies with the type of
keyboard you own.
2. Put Mo’Phatt into Multi mode. This is located on the MIDI Mode page
in the Master menu.
3. From the main screen, turn the arpeggiator “on” for MIDI channels 1
and 2. (We’re only using two for now to keep it simple.) Select a
different preset for each MIDI channel while you’re at it.
C01 V127 P01R A:on PHATT
026
4. Start playing. You should be hearing two arpeggiators playing at once.
5. Change presets on one or both of the MIDI channels you are using
(1 & 2). Since each factory preset has differently programmed arpeggiator settings, changing the preset not only changes the sound, but the
arpeggiator as well.
6. Press the Control Select button on the front panel so that the “Arp/
Beats” LED is illuminated. Adjust the front panel control knobs.
Remember that the knobs are controlling the arpeggiator on the
channel displayed in the main screen.
7. Try changing one of the channel’s arpeggiator setting to “M” instead of
“on.” Now press the Arpeggiator menu button on the front panel and
adjust the arpeggiator parameters in real-time.
8. From the Master Arpeggiator menu, set the Mode to “Pattern” then
explore the different patterns. There are 200 patterns available!
3
arp:Hollographik
24 E-MU Systems
MASTER ARPEGGIATOR
Pattern 99
Now you’re starting to get the picture of how versatile and easy to use
Mo’Phatt really is.
1
Pattern Name
Basic Operations
A/E/I
VOLUME
B/F/J
C/G/K
D/H/L
AUDITION
ARP/BEATSTSSASA
VE/COPY
HOME/ENTER
MIDI
POWER
FIL
TER CUTOFF
ACK
WILD 1
A-D
E-H
FIL
TER RES
DECA
Y/RLS
WILD 2
SHAPE
MOVEMENT
WILD 3
IMAGE
TE
WILD 4
MASTER
DEMOS
EDIT
Basic Operations
Front Panel
Control
Button
VOLUME
A-D
E-H
I-L
Volume
Control
FIL
TER CUTOFF
ATTTTACK
WILD 1
A/E/I
MASTER
AUDITION
Edit
Menu
EDIT
DEMOS
ARP/BEA
VE/COPY
Cursor
Controls
HOME/ENTER
Master
Menu
TER RES
SHAPE
WILD 3
IMAGE
RARATE
WILD 4
D/H/L
FIL
DECA
Y/RLS
MOVEMENT
WILD 2
B/F/J
C/G/K
Power
Switch
POWER
MIDI
Display
Headphone
Jack
Realtime
Control Knobs
Audition
Button
Arp/Beats
Button
Save/
Copy
Home/
Enter
Data
Entry
Front Panel The Mo’Phatt front panel contains an LCD screen, nine buttons and four
real-time controllers. Functions are grouped logically and the controls are
arranged for ease of use. Precisely because Mo’Phatt is so simple to use, you
might be tempted to skip this section. If you just can’t help yourself, at least
read the Real-time Controller information beginning page 27. There are
several “power user” features in the interface which make programming
even easier and we wouldn’t want you to miss them.
Volume Control This control is the master volume control for all audio outputs. The Volume
Control does not affect any editing or user interface operations.
For maximum dynamic range, turn this knob all the way up and control
the volume from your mixer or amplifier.
Master Button The Master menu contains parameters that affect the entire machine, not
just certain presets. An illuminated LED to the right of the button indicates
that you are in the Master menu.
Edit Button Use the Edit menu when you want to create or modify a preset. An illumi-
nated LED to the right of the button indicates that you are in the Edit
menu.
Control Button The Control button is used to change the function of the Controller knobs
(see the next section). Each time you press the Control button, the Control
Mode toggles to select only one of the three Control Rows. The currently
selected Control Row is indicated by one of the three LEDs to the right of
the row’s label.
Mo’Phatt Operation Manual 25
Basic Operations
Front Panel
Audition Button The Audition button allows you to hear any preset without hooking up a
MIDI keyboard. When the Audition button is pressed, the LED next to the
button will illuminate and a short “Riff” (programmed as part of the preset)
will play. The Riff is latched on and plays continuously until the button is
pressed again. Presets can be changed while Audition is latched on. See
“Bank Select Commands” on page 110 for more information on selecting banks
via MIDI.
OO
OO
L.E.D. Beat Markers
• The Audition LED flashes off
quickly on each downbeat and
flashes off for a longer period on
the Riff Loop.
• The Clock LED flashes to mark
each quarter note.
The top line of the display changes to show the MIDI Bank Select controller
values needed to select the preset being auditioned. This handy feature lets
you know the exact Bank and Preset number to enter into your sequencer.
Preset #
MSB
Bank MSB:013 LSB:3
0
823 bts: Down Low
LSB
PHATT
Left/Right Cursor Buttons
These buttons move the cursor to the next parameter on the display. (The
cursor is a little flashing line underneath one of the parameters in the
display.) Press either cursor button until the cursor is underneath the
desired parameter. The cursor buttons have an auto-repeat feature which
advances the cursor when the button is held continuously.
The cursor can be moved bidirectionally using the Data Entry Control
while either cursor select button is held down (for example, press and hold
the right cursor button and turn the Data Entry Control).
Save/Copy Button The Save/Copy button is used to save or copy presets and to copy data.
Selected groups of parameters, such as PatchCord settings, can be copied
between Presets and/or between Layers using this menu.
The LED to the right of the button illuminates to indicate that you are in
the Save/Copy menu. The LED also illuminates when any preset parameter
has been changed in the Edit menu (or if the front panel knobs have been
moved with Quick-Edit mode enabled).
Home/Enter Button The Home/Enter button is dual purpose. In general, this button acts as the
“Home” button. For example, when in an Edit menu, this button snaps the
cursor to the page name field of the current screen. When viewing the
Preset Select screen (we also call it the main screen), this button snaps the
cursor to the preset number field. In these instances, the LED is not used.
26 E-MU Systems
Some screens and parameter fields use this button as the “Enter” button. In
these cases, the LED blinks to indicate that the module is waiting for your
response to initiate the operation.
Basic Operations
Front Panel Controller Modes
Data Entry Control The Data Entry Control is a stepped, variable control switch used to change
parameter values. The wheel increments or decrements the current value
one unit with each click. This control incorporates acceleration, which
advances the value faster if the Data Entry Control is turned quickly.
Front Panel
Controller
Modes
The Real-time Controller Knobs serve three purposes:
1. Real-time control of synthesizer parameters
2. “Quick Editing” the initial settings of the real-time controllers
3. “Deep Editing” the parameters
This section describes each of the three uses.
Real-time Control The Real-time controller knobs provide direct control of the Mo’Phatt’s
synthesizer parameters. They are always active when on the Preset Select
(main) screen. They can optionally be used to transmit MIDI controller
messages to other MIDI devices.
The Control button (left of the knobs) changes the function of the real-time
controller knobs. Each time the button is pressed, the Control Mode toggles
to select one of the three Control Row groups. The currently selected
Control Row is indicated by the illuminated LED to the right of the button.
The control knob functions are determined by the selected Control Row.
The three Control Rows generate MIDI data that can control the preset on
the current MIDI channel (the channel showing on the Preset and main
screen. The labels (Filter Cutoff, Filter Res, Shape, Image, etc.) printed on
these rows show how the factory ROM presets may be programmed to
respond. (The controls might not conform to the front panel labels depending on
the preset.) You can change the way a preset responds to MIDI A-L messages
from the Edit menu (PatchCords).
There is an LED next to each of the control knobs which illuminates to
indicate that the knob setting has been changed from the value
programmed in the preset (when Quick Edit mode is enabled). If the knob
position is returned to the original setting, the LED is extinguished.
If the “Knobs MIDI Out” parameter in the Master menu (see “Knobs/Riff
MIDI Out” on page 78) is set to “transmit,” the system sends a MIDI
controller message when you turn off the Control knob. The MIDI
controller message is sent on the current MIDI channel (also called the
basic channel) using the controller number assigned in the Master menu
(see “Real-time Controller Assignment” on page 75).
The knobs only generate a message when you move a knob to a new value.
The current value jumps to the new value.
Mo’Phatt Operation Manual 27
Basic Operations
Front Panel Controller Modes
Quick Edit This mode uses the Controller knobs to “Quick-Edit” the currently selected
preset without having to enter the Preset Edit menu. This mode is only
active when on the Preset Select screen and when “Quick-Edit” is enabled in
the Master menu (see “Knob Preset Quick-Edit” on page 77).
Initial controller values can be stored in every preset. When you move a
knob with Quick-Edit enabled, the Initial Controller Value is updated with
the knob’s new value. The knob’s LED lights indicating that the preset value
has been changed. The three Control Rows’ MIDI A-L values are stored in
the corresponding Initial Controller Amount parameter in the Edit menu (see
“Initial Controller Amount” on page 152). The Save/Copy button LED
illuminates to remind you that the preset has been edited. “Quick-Edits”
made to a preset are lost if you select another preset before saving them.
To Quick-Edit a Preset
__
__
Quick-Edit mode must
be enabled in the Master menu.
1. Use the Control Knobs to change the sound of the current preset as
desired.
2. Press the Save/Copy button. The display reads, “Save Preset to.”
3. Press the right cursor button to select the bottom row.
4. Optional: Select a new preset location if you don’t want to overwrite
the current preset, or if the current preset is a ROM preset.
5. Press the Enter button to save the preset.
Deep Edit Mode When in the Master, or Edit menus, you can use the Controller Knobs to
edit parameters. Using the Controller Knobs is a faster method for entering
data, but the Data Entry Control offers finer precision.
To Enable Deep Edit Mode:
1. Press the Master button and use the Data Entry Control to advance to
the “Knobs Deep Edit” screen as shown in the following illustration.
KNOBS DEEP EDIT
disabled
2. Press either Cursor key to move the cursor to the bottom line in the
display.
3. Use the Data Entry Control to change the value to “enabled.”
4. Press the Master menu button to exit the Master menu.
When you enter any of the Edit menus:
1. The four Controller Knobs are used for editing.
2. All the Controller LEDs are off.
3. All the Control Row LEDS are off.
28 E-MU Systems
Basic Operations
Front Panel Controller Modes
When you turn a knob, the field value jumps to the current knob value.
You can still use the Data Entry Control for editing by moving the cursor to
the desired field.
L1
KEY: LO FADE HIGH FADE
A/E/I B/F/J C/G/K D/H/L
To move through menus horizontally, use the Data Entry Control (the
page’s title field is the default cursor position). To move through menus
vertically (preset layers), press the left cursor to get to the layer field, then
change layers with the Data Entry Control.
• Use the Data Entry Control to move through menus (horizontally) or
layers (vertically).
• Use the Controller Knobs to change parameter values within each page.
C-2 000 G8 000
Mo’Phatt Operation Manual 29
Basic Operations
Main Screen
Main Screen The Preset Select screen is Mo’Phatt’s default screen (also called the main
screen) and is active when you have not selected any of the other buttonactivated menus. From this screen you can change or examine the Preset,
Volume, Pan Position and Preset Location for each of the 16 MIDI
channels.
MIDI Channel
ROM or RAM Preset Location
C01 V127 P01
0793 bts: Nogognog
MIDI Channel Selection
The channel number
shown in the main screen is the
“basic MIDI channel” when in
Omni or Poly modes.
To Change the MIDI Channel
1. Press either cursor button until the cursor is underneath the channel
number. (The cursor is the little flashing line underneath one of the
parameters in the display.)
2. Rotate the Data Entry Control to select a MIDI channel (01-16). As the
channel number changes, the display changes to show the preset,
volume, pan and preset location associated with the displayed channel.
Preset Selection To Change the Preset
1. Press either cursor key until the cursor is underneath the preset number.
(The cursor is a little flashing line underneath one of the parameters in
the display.) As you rotate the Data Entry Control, the preset number
and name changes.
2. The displayed preset is assigned to the displayed MIDI channel. Presets
are arranged into banks of 128, as shown in the diagram at left.
A:off USER
R
Bank Contents
0
128 RAM Presets
1
128 RAM Presets
2
128 RAM Presets
USERROM 1
3
128 RAM Presets
0
128 ROM Presets
1
128 ROM Presets
2
128 ROM Presets
??
30 E-MU Systems
Depending on
ROM sets installed
Bank Number
Preset
Number
C01 V127 P01
A:off USER
R
0793 bts: Nogognog
Using the screen above as an example, the superscripted number 2 in the
second line of the display identifies the current bank number.
Basic Operations
Main Screen
• Select banks independently of the of the preset number by locating the
cursor on the Bank field and turning the Data Entry Control.
MIDI BANK SELECT
MSB LSB
cc00 cc32
USER
USER
USER
USER
PHATT
PHATT
PHATT
PHATT
This chart shows the MSB and LSB numbers needed to select preset banks over MIDI.
Select a bank, then send the program change number. Without a bank select command,
presets are selected from within the current bank.
00
00
00
00
13
13
13
13
00
01
02
03
00
01
02
03
Bank 0
Bank 1
Bank 2
Bank 3
Bank 0
Bank 1
Bank 2
Bank 3
Channel Volume Channel Volume sets the volume of the selected MIDI channel in relation
to the other channels. This is the same parameter as MIDI volume control
#7, and changes made over MIDI are shown in the display.
Volume
C01 V127 P01
A:off USER
R
0793 bts: Nogognog
To Change the Channel Volume
1. Press either cursor key until the cursor is underneath the volume value.
2. Rotate the Data Entry Control to select a volume level. The Channel
Volume range is 000-127.
Mo’Phatt Operation Manual 31
Basic Operations
Main Screen
Channel Pan Channel Pan sets the stereo position of the selected MIDI channel. This
control operates like the balance control on your home stereo system.
Channel Pan is the same parameter as MIDI pan controller #10, and
changes made over MIDI are shown in the display.
Pan Position
C01 V127 P01
R
A:off USER
0793 bts: Nogognog
Note: Pan settings in the preset ADD algebraically with the Channel Pan
setting. Therefore, if the pan setting in the preset were set to “63
R,” moving
the Channel Pan setting full left would return the sound to the center
position.
To Change the Channel Pan
1. Press either cursor key until the cursor is underneath the pan field.
2. Rotate the Data Entry Control to select a pan value. 64L indicates a hard
left pan, 63R indicates a hard right pan. With a setting of “00,” the
sound is centered in the stereo field.
Channel Arpeggiator This function controls the arpeggiator for each MIDI channel. When the
channel arpeggiator mode is set to Off, then there is no arpeggiation on
that channel, regardless of what is set up in the Master Arpeggiator or
preset. If the channel arpeggiator is On, the preset’s arpeggiator is used,
regardless of whether or not it is turned on in the Edit menu. This lets you
turn on arpeggiation from the main screen.
32 E-MU Systems
If the mode is set to “P” (for preset), the preset’s arpeggiator settings and
on/off status is used. If the mode is set to “M” (for master), the master
arpeggiator settings and on/off status (located in the Arp/Beats menu) are
used. See the “Arpeggiator/Beats Menu” on page 35 for more information.
To Play the Arpeggiator (Quick Start)
1. From the main screen, press either cursor key repeatedly until the
cursor is underneath the arpeggiator field (A:).
2. Rotate the Data Entry Control to select “P” for preset.
3. Press either cursor key repeatedly until the cursor is underneath the
Preset Category field and select “arp:” using the data entry control.
4. Press the right cursor button to move it to the Preset Name field.
5. Play notes or chords on the keyboard. Change presets as desired to
audition the various patterns and presets.
Basic Operations
Sound Navigator
Sound
Navigator
Sound Navigator allows you to search through preset and instrument
categories to find the type of sound you’re looking for. Each preset and
instrument has a name and a three letter preset category. You can create
your own categories in order to group favorite presets. The preset category
is assigned in the Edit menu (Preset Name). Instrument categories are fixed.
Preset Category When you want to find presets in a particular category, you simply change
the category field in the main screen, then move the cursor to the preset
name field to scroll through all the presets in the selected category.
When the cursor is on the Preset Category field, turning the Data Entry
Control selects different preset categories. The Name Field will change to
show the first preset in each category.
C01 V127 P00
A:off USER
0641 bas: Basingie
Preset Category
To Change the Preset Category
1. Press either cursor key repeatedly until the cursor is underneath the
preset category field.
2. Rotate the Data Entry Control to select one of the preset categories.
Preset Categories are displayed in alphabetical order.
Preset Name
To Select a Preset within a Category
1. After selecting a category, move the cursor to the Preset Name field.
2. Rotate the Data Entry Control to scroll through the presets in the
selected category. Note that the preset numbers will no longer change
sequentially.
Instrument Category When the cursor is on the Instrument Category field (Edit menu), turning
the Data Entry Control selects different instrument categories. The Name
Field changes to show the first instrument in each category. Move the
cursor back to the instrument name to choose other instruments in the
selected category.
L1
INSTRUMENT ROM:PHATT
0641 bas: Basingie
Mo’Phatt Operation Manual 33
Basic Operations
Multitimbral Operation
Multitimbral
Operation
OO
OO
Save the Multisetup
using the instructions provided
in Chapter 9:Save/Copy
Multitimbral operation means that Mo’Phatt can play more than one
sound at the same time. Follow these instructions to access multiple presets
on different MIDI channels simultaneously.
To Set Up Mo’Phatt for Multitimbral Operation
1. Set the MIDI mode to “multi mode,” using the MIDI mode function in
the Master menu.
2. Decide which MIDI channels you want the Mo’Phatt to receive (16
channels can be used simultaneously). You can turn any unused
channels OFF using the MIDI Enable function in the Master menu.
3. Select the desired preset for each of the MIDI channels you want the
Mo’Phatt to receive using the Main preset selection screen. (See “Main
Screen” on page 30.)
4. Mo’Phatt now responds multitimbrally on each of the MIDI channels
you have specified. The volume and pan position parameters can be
adjusted over MIDI (for each MIDI channel) or using the Cursor and
Data Entry Control in the Preset Select screen.
Volume
Channel 01
Pan
Arp
PRESET
Volume
Channel 02
Channel 03
Channel 16
Each of the 16 MIDI channels can be assigned to play a specific Mo’Phatt preset.
Pan
Arp
Volume
Pan
Arp
Volume
Pan
Arp
PRESET
PRESET
PRESET
34 E-MU Systems
Arpeggiator/Beats Menu
Arpeggiator/Beats Menu
Mo’Phatt’s SuperBEATS mode allows you to trigger, latch and unlatch
synced loops and grooves from separate keys on your keyboard. Select a
SuperBEATS Riff and then choose any one of Mo’Phatt’s presets. Now by
playing 24 assignable keyboard keys, you can bring specific Parts in and
out. It’s time to Groove!
Mo’Phatt can also run up to 16 simultaneously synced arpeggiators, each
with a different preset sound. The arpeggiators can either play one of 7
arpeggios or can be set to play a pattern, which is a stored sequence of
notes. Combined with SuperBEATS, the number of musical permutations is
staggering!
To enable the Arpeggiator/Beats menu
Press the Arp/Beats button, lighting the LED. The Arp/Beats screen displays
the menu page most recently selected since powering up Mo’Phatt. The
cursor appears below the first character of the screen heading on line one.
Arp/Beats and Master
parameters are automatically
saved to the current multisetup
when you exit the menu, but
you may wish to save to another
location
To select a new screen
Press the Home/Enter button or press the Cursor button repeatedly until
the cursor is below the screen title heading on the top line of the display.
Rotate the Data Entry Control to select another screen.
To modify a parameter
Press either Cursor button repeatedly (or hold down the right cursor button
while turning the Data Entry Control) until the cursor is below the desired
parameter value. Rotate the Data Entry Control to change the value.
To access a submenu
The Beats Trigger Layout and the Master Arpeggiator screens have
submenus which are accessed by pressing the cursor buttons to move the
cursor to the lower left corner of the display. Select the submenu function
using the Data Entry Control.
To save Arpeggiator/BEATS parameters
Press the Save/Copy button and scroll to “Save Setup”. Select a Setup
number and press Enter. See “Saving Multisetups” on page 190.
To return to the main screen
Press the Arp/Beats button, turning off the LED.
Mo’Phatt Operation Manual 35
Arpeggiator/Beats Menu
SuperBEATS
Base Tempo (Master Clock)
__
__
To control Riffs using
MIDI clock, be sure to set Riff
Tempo (page 47) to “use
current tempo”.
Mo’Phatt contains an internal Master Clock. The Master Clock controls
SuperBEATS, arpeggiators, synchronizes the LFOs when in tempo-based
mode, controls the times of tempo-based envelopes, and can be used as a
modulation source in the PatchCords section. There are two tempo values
shown in the display.
• Base Tempo - This is the base tempo setting before being modified by
the Tempo Controller (if engaged). See “Tempo Controller” on page 77.
• Current Tempo - This is the actual tempo. The current tempo is equal to
the base tempo modulated by the MIDI controller specified in the Tempo
Controller screen. If no MIDI Tempo controller message has been
received since the last Base Tempo change, the Current Tempo will be
equal to the Base Tempo.
The LED to the right of the button blinks at the current tempo rate.
To Change the Base Tempo
1. Move the cursor to the lower line of the display.
2. Adjust the Base Tempo using the Data Entry Control.
BASE TEMPO TAP -> enter
120 bpm (current: 182)
3. To Tap Tempo - Tap the Enter button at least three times when the
cursor is on the top line of the display. Keep tapping to continuously
update the tempo on each tap. The tap tempo range is 25-300 bpm.
The Base Tempo values range from 1 through 300 beats per minute (BPM)
or you can select “use MIDI” to use an external MIDI clock source.
SuperBEATS SuperBEATS is a 16-track play-only sequencer that is optimized for live
performance and groove creation. Mo’Phatt contains dozens of special 16part BEATS Riffs created by some of the best producers in the business.
BEATS Riffs are normally used in conjunction with a “bts” preset
containing the appropriate percussion mapping, but any preset can be
selected and used.
36 E-MU Systems
OO
OO
L.E.D. Beat Markers
• The Audition LED flashes off
quickly on each downbeat and
flashes off for a longer period on
the Riff Loop.
• The Clock LED flashes to mark
each quarter note.
Arpeggiator/Beats Menu
SuperBEATS
The BEATS channel is selected from the Beats enable screen in the Arp/Beats
menu.
Here’s how it works. Each of the 16 parts is assigned to a keyboard key on
the selected Trigger MIDI channel. Each part is brought in or out by
pressing that key. Keys can also be Latched (press the key once to turn the part
on, press it again to turn the part off). Other control keys allow you to Mute
All Parts, Clear All Parts, and Start & Stop the groove. The 16 parts are
arranged in the following manner:
__
__
BEATS (BTS) Riffs are
special 16-part riffs made
especially for use with BEATS
mode. A Riff without the BTS
prefix only has Part 1 recorded.
Main Groove
1. Kick1
2. Snare1
3. Hihat1
4. Bass
For each BEATS Riff, you have 2 Grooves, 4 Fills which correspond to the
four parts of the Main and Alternate groove, and 4 Instrument parts. By
adding and removing parts, you control the complexity of the groove.
Each part can also be scaled by Key Velocity, allowing you to fade parts in
and out (if velocity is routed to volume) as you play, or can be Transposed
over a six octave range.
Each part can be assigned to any one of four Groups, which allow multiple
parts to be triggered from a single key.
The chart below shows the default assignment of each Part, the 4 Groups
and the Control Keys (shown in bold). These assignments can be modified
to suit your personal preference.
Alt. Groove
5. Kick2
6. Snare2
7. Hihat2
8. Perc2
Perc / Fills
9. Perc3/Fill1
10. Perc4/Fill2
11. Perc5/Fill3
12. Perc6/Fill4
Instr/Wild
13. Inst1/Wild1
14. Inst2/Wild2
15. Inst3/Wild3
16. Inst4/Wild4
Mo’Phatt Operation Manual 37
Arpeggiator/Beats Menu
SuperBEATS
Trigger layouts are saved
with the Multisetup. See
“Trigger Layouts” on page 216
to examine several other factory
BEATS trigger layouts.
Default Assignment
of BEAT Triggers
OO
OO
Starting BEATS mode
with the Start/Stop key allows
you to start the sequencer
rolling silently. Then you can
bring Parts in and out using the
“Busy” control.
OO
OO
If Mute is set to 1-bar,
the Part mutes for 1 bar then
un-mutes.
Perc 1
Snare 1
HiHat 2
Perc 3/Fill 1
Perc 5/Fill 3
Inst 2/Wild 2
Inst 4/Combo
Start/Stop
Group 3
Mute
Main Groove
Alt. Groove
C1 D1 E1 F1 G1 B1 C2 D2 E2 F2 G2 A2
Kick 1
• Start/Stop Trigger Starts the beat sequencer from the beginning of
the sequence. When latched, pressing once starts
and pressing again stops. When unlatched, the
sequence runs as long as the key is held.
Once the BEATS sequencer is started, it continues
to run even if no triggers are active.
• Clear Parts Clears any enabled parts. This control provides a
quick and easy way to shut off all latched Parts.
Latch mode has no effect on this key.
• Mute Mutes all Parts while held, but the Beats sequencer
continues running.
• Trig Hold When this key is held, all other Trigger Keys
behave as if they were in Latch mode.
Kick 2
HiHat 1
Snare 2
Perc 2
Perc 4/Fill 2
Perc 6/Fill 4
Inst 1/Wild 1
Group 1
Group 2
Inst 3/Bass
B2A1
Group 4
TrigHold
Clear Parts
OO
OO
Start/Stop doesn’t clear
latched parts when it stops the
sequencer. Any trigger played
after stopping will not only start
the sequencer and play that
trigger's part, but also play all
previously latched parts.
38 E-MU Systems
The BEATS sequencer plays as long as any BEATS triggers are active. BEATS
Riffs can also be Restarted using a MIDI Song Start command even if the
BEATS channel is not currently selected. The Audition LED illuminates
whenever the BEATS sequencer is running (even if no Parts are playing).
Pressing the Audition button or starting a Demo causes the Beats sequencer
to stop. Pressing the Audition button plays Parts 1-4 & 16 on “bts:” presets.
All Arp/BEATS parameters are saved with the Multisetup. (See
“Restoring Multisetups” on page 189 for more information.)
Arpeggiator/Beats Menu
SuperBEATS
BEATS Mode This screen turns BEATS mode on and has several other features which
allow flexible control over BEATS mode. There are several status modes that
determine when BEATS will be turned on and which Riff will be used.
BEATS and BEAT Triggers can be set to different MIDI channels. This allows
you to perform on two MIDI channels at once with a keyboard that only
transmits on a single MIDI channel.
BEATS MODE Status: P
BtsCh: Basic TrigCh:Basic
The Basic Channel is the
MIDI channel currently
displayed in the Main Screen.
Status
• Off . . . . . . . BEATS mode off.
• On . . . . . . . . BEATS mode on. The Riff assigned in the preset is used.
• P . . . . . . . . . BEATS mode is turned on ONLY if the Riff assigned in the
preset is a “BTS” riff. The Riff assigned in the preset is used.
(Default setting)
• M . . . . . . . . BEATS mode on. The Master Riff is used (Arp/Beats menu).
BEATS MODE Status: P
BtsCh: Basic TrigCh:Basic
Beats Channel (BtsCh)
• 01-16 . . . . . Selects the MIDI channel on which BEATS play.
• Basic . . . . . . BEATS play on the MIDI channel displayed in the Main Screen.
Trigger Channel (TrigCh)
• 01-16 . . . . . . . Selects the MIDI channel on which Trigger Keys will be active.
• Basic . . . . . . . . Sets the Trigger Keys to the MIDI channel displayed on the
Main Screen.
Mo’Phatt Operation Manual 39
Arpeggiator/Beats Menu
SuperBEATS
To Play BEATS (Quick Start)
1. Select any preset with the bts: prefix.
2. Play the keyboard keys from C1 to B2.
3. Refer to the “Default Assignment” diagram on page 37 and try out each
of the keys.
4. Try out the Wild 1-4 knobs and other “bts:” presets. Now check out the
other cool BEATS controls explained in this chapter!
• If BEATS are not playing: Locate the screen at the top of this page in
the Arp/Beats menu and set the parameters exactly as shown.
To Play BEATS on a different MIDI channel
This is just an example of how you might use this feature.
1. Set your MIDI keyboard to transmit on channel 2.
2. Set the Status to P.
3. Set the Beats Channel to 01.
4. Set the Trigger Channel to Basic.
5. Select any “bts:” preset on channel 1 (main screen).
6. From the main screen, change to channel 2 and select another preset.
7. The Trigger Keys now play BEATS and the other keys play the preset on
channel 2.
40 E-MU Systems
Arpeggiator/Beats Menu
SuperBEATS
BEATS Controllers BEATS can be controlled using the front panel real-time controllers or
external MIDI continuous controllers. Controllers are patched to BEATS
via the Preset PatchCords located in the Edit menu. The following Preset
PatchCord destinations control BEATS.
Beat Velocity Group 1-4 (BtsVelG1 -> BtsVelG4)
Parts assigned to one of the four BEATS groups can have their velocity
scaled by the controller input. Since most “bts” presets have velocity
controlling volume, this control can be used to mix the relative levels of
the Groups.
Beats velocity works as a percent addition. An input value of 0 (or no Cord)
means change the velocity by 0%. A full scale modulation setting of 100%
in the PatchCord adds 100% to the velocity value 100% + 100% = 200%. A
PatchCord setting of -100% subtracts 100% from the velocity (making it 0).
Beat velocity scalings are reset with a preset change.
Beat Xpose Group 1-4 (BtsXpsG1 -> BtsXpsG4)
Parts assigned to one of the four BEATS groups are transposed by the
controller input. Transpose works by shifting the keyboard position and
not by changing the tuning of individual notes. Therefore, on a BEATS
presets (bts), where different instruments are assigned to each key,
Transpose has the effect of changing the instrument used by a particular
part. This control ADDS to the Part Transpose set in the Beats Transpose
screen (page 45). Beat transpose offsets are reset with a preset change.
Original
Parts
Kick Crowd
Fun Scratch
Tick
909 Click
Machine Kick
Kick
Snare
808 Snare
Transposed
+12
909 Tom
909 Tom
Simmons Tom
909 Tom
Tom Wave
Waver Tom
Cymbal
Ride Cymbal
Splashy Cymbal
Splash Cymbal
Timbale 3
Bongo Tip
Low Conga
Bongo Tone
Ride Cymbal
Guiro
Guiro
Guiro
Cabasa
Wood Block
Agogo Hi-Tone
Wood Block
Triangle Mute
Triangle Open
Beat Busy (BtsBusy)
This destination determines which parts are enabled. Beat Busy will accept
either positive or negative values.
• Positive values Add parts to whatever parts are triggered
• Negative values Remove parts that are triggered.
Mo’Phatt Operation Manual 41
Arpeggiator/Beats Menu
SuperBEATS
OO
OO
A PatchCord amount of
50% is enough to drive Beat
Busy to the maximum setting.
Bidirectional Mod Wheel:
Set Mod Wheel to BtsBusy with
a Cord amount of +100, then
add a DC bias to BtsBusy with a
Cord amount of -50. Wheel now
adds or subtracts “Busyness”.
Suppose the pitch wheel (which can output both positive and negative values)
were connected to Beat Busy and four Key Triggers are down. As the pitch
wheel is moved from center to fully up, the remaining parts will be enabled
until the pitch wheel is fully up and all parts are playing. Moving the pitch
wheel from center to fully down, the four triggered parts are sequentially
removed until at the most negative position of the wheel, no parts are
playing.
The Busy control acts on the BEATS condition whenever the control is
changed. Playing more triggers without changing the Busy control simply
adds them until the Busy control is changed again, at which point it will
possibly add or subtract parts as needed.
The interaction between the Busy control, Triggers, Part Velocity and Group
Velocity can get complicated, but works according to this rule:
WHICHEVER CONTROL WAS LAST CHANGED TAKES OVER
When interacting with the Group Velocity scale control, the Busy control
ignores group velocity even when it is set to zero, enabling and disabling
parts as necessary. If the Group Velocity is changed after the Busy control, it
takes control, scaling parts as it deems necessary.
OO
OO
Cool Tip! Connecting
Key Pressure to Beat Busy at
50% increases BEAT complexity
the harder you press.
The Busy control does take the Part velocity into account when adding and
subtracting parts. If a part has a velocity of 0%, it is removed from the list of
parts that the Busy control adds or subtracts. Therefore, you can use the
Part Velocity control to remove parts you don’t want to hear.
Brings in Parts
Beat
Busy
Removes Parts
Played
Positive controller values bring in new Parts and negative controller values remove
Parts that are latched or held. In this example, the Pitch Wheel is connected to
Beat Busy since it outputs negative as well as positive values.
Beat Variation (BtsVari)
Beat Variation varies which Parts are brought in and out using the Beat
Busy control. Increasing this control mixes up the order in which Parts are
brought in and out, thus providing even more permutations to the BEAT.
42 E-MU Systems
Arpeggiator/Beats Menu
SuperBEATS
Beats Trigger Layout This screen assigns the BEATS triggers to keyboard notes on the BEATS
channel. For each Part, Group and Control Key you can select the following
options:
__
__
Save your Beats Trigger
Layouts and all other Arp/BEATS
parameters using the “Save
Setup” function located in the
Save/Copy menu.
• Key . . . . . . . . . Selects which keyboard key triggers the Part
• Latch . . . . . . . . The first key press turns the Part on, the next turns it off.
• Unlatch . . . . . . The Part plays only while the key is held.
• 1-bar . . . . . . . . The Part plays for one bar then stops.
BEATS TRIGGER LAYOUT
Part 1 Key: C1 unlatch
1-Bar Trigger Option
The 1-bar option requires a bit of explanation. When a trigger key is pressed
before the last beat of the measure, the part will continue playing until the
end of the measure. If the Trigger Key is pressed after the last beat of the
measure, the part waits until the next measure before playing. Then it plays
for the entire measure and stops. The time signature and the measure
bounds are determined by the particular BEATS Riff you are playing.
Trig Key
pressed before
the last beat
12341234
Measure 1
Trig Key
pressed
here
12341234
Measure 1
Part continues
to end of measure
then stops.
Measure 2
Part begins at
next measure and
plays entire measure
Measure 2
Mo’Phatt Operation Manual 43
Arpeggiator/Beats Menu
SuperBEATS
Beats Trigger Offset This function slides the Beats Trigger keys (assigned in the previous screen) up
and down the keyboard. This makes it easy to change the keyboard location
of the trigger keys without having to re-assign each key. A positive offset
moves the group of triggers up the keyboard by the designated number of
keys. Negative offsets move the trigger group lower on the keyboard.
BEATS TRIGGER OFFSET
+000 keys
Positive OffsetNegative Offset
Trigger
Keys
Beats Trigger Offset slides the entire group of beats triggers up or down the keyboard.
Beats Part Velocity Each note of a BEATS Riff can have its recorded velocity scaled by a value
(from 0 to 120%) of the recorded velocity or the actual played velocity of
the trigger key can be used (trigger vel). For example, if a note’s velocity is
80, scaling by 110% will increase the note’s velocity to 88. This feature
allows you to control the mix of the different parts in advance or “on-thefly” as you play. If a part’s velocity is set to 0%, that part will be removed
from the mix.
Select Part
P1
BEATS PART VELOCITY
Scaled by: trigger vel
To Set the Velocity for each Part
1. Press the left cursor button to move the cursor under the Part field.
2. Select the Part number using the Data Entry Control. Parts 1-16 can be
selected. (All parts, shown as an “A”, can be edited at once if “Edit All
Layers” is enabled in the Master menu.)
3. Move the cursor to the bottom line using the cursor keys and adjust the
Velocity Scaling percentage using the Data Entry Control.
4. Repeat steps 1 through 3 for all the Parts you wish to adjust.
5. Press the Enter/Home button or use the cursor keys to move the cursor
back to the screen heading.
44 E-MU Systems
Arpeggiator/Beats Menu
SuperBEATS
Beats Part Transpose Each Part of a BEAT Riff can be transposed up to 36 semitones up or down.
Transpose works by shifting the keyboard position and not by changing the
tuning of individual notes. Therefore, on a BEATS preset (bts:), where
different instruments are assigned to each key, Transpose has the effect of
changing the instrument used by a particular part. On a preset where a
single sound covers the entire keyboard, Transpose will actually transpose
the sound.
Select Part
P1
BEATS PART TRANSPOSE
+00 semitones
To set the Transposition for each Part
1. Press the left cursor button to move the cursor under the Part field.
2. Select the Part number using the Data Entry Control. Parts 1-16 can be
selected. (All parts, shown as an “A”, can be edited at once if “Edit All
Layers” is enabled in the Master menu.)
3. Move the cursor to the bottom line using the cursor keys and adjust the
Transposition in semitones using the Data Entry Control.
4. Repeat steps 1 through 3 for all the Parts you wish to adjust.
5. Press the Enter/Home button or use the cursor keys to move the cursor
back to the screen heading.
Original
Part
Kick Crowd
Fun Scratch
Tick
909 Click
Machine Kick
Kick
Transposed
Snare
909 Tom
808 Snare
Simmons Tom
+12
909 Tom
909 Tom
Tom Wave
Waver Tom
Cymbal
Ride Cymbal
Splash Cymbal
Splashy Cymbal
Guiro
Guiro
Guiro
Cabasa
Timbale 3
Bongo Tip
Low Conga
Bongo Tone
Ride Cymbal
Agogo Hi-Tone
Mo’Phatt Operation Manual 45
Wood Block
Wood Block
Triangle Mute
Triangle Open
Arpeggiator/Beats Menu
SuperBEATS
Beats Part Group This screen is where you assign Parts to one of the four Groups. By
grouping, you can play multiple parts with a single key. A part can be in
one and only one group, or in no groups.
Select Part
P1
BEATS PART GROUP
Group: 2
To Assign a Part to a Group
__
__
All Parts assigned to a
Group will stop playing when
the Group key is triggered, then
untriggered even if the
individual Parts in the Group are
latched.
1. Press the left cursor button to move the cursor under the Part field.
2. Select the Part number using the Data Entry Control. Parts 1-16 can be
selected. (All parts, shown as an “A”, can be edited at once if “Edit All
Layers” is enabled in the Master menu.)
3. Move the cursor to the bottom line using the cursor keys and select the
Group (1-4 or none) using the Data Entry Control.
4. Repeat steps 1 through 3 for all the Parts you wish to assign.
5. Press the Enter/Home button or use the cursor keys to move the cursor
back to the screen heading.
Master Riff The Master Riff is selected from this screen. The Master Riff is used when
Master (M) is selected for BEATS in Beats mode enable screen.
MASTER RIFF PHATT
Plays: TranzAmbient 1
To Assign the Master Riff
1. Use the cursor buttons to move the cursor to the lower line of the
display.
2. Select the desired Riff using the Data Entry Control. (BEATS Riffs are
identified by the BTS prefix.)
3. If there is more than one ROM in Mo’Phatt you can select Riffs from
either ROM set. Move the cursor under the ROM ID and select using the
Data Entry Control.
4. Press the Enter/Home button or use the cursor keys to move the cursor
back to the screen heading.
46 E-MU Systems
Arpeggiator/Beats Menu
SuperBEATS
Riff Tempo This setting determines whether Riff Tempo (the tempo stored with each
Riff) or the Current Tempo (the Base Tempo from the Master Clock) will be
used for BEATS.
To control the Riff Tempo from MIDI clock, set Riff Tempo to “use current
tempo” and Base Tempo to “use MIDI”.
RIFF TEMPO
use riff tempo
To Set the Riff Tempo Mode
1. Use the cursor buttons to move the cursor to the lower line of the
display.
2. Select “use riff tempo” or “use current tempo” using the Data Entry
Control.
3. Press the Enter/Home button or use the cursor keys to move the cursor
back to the screen heading.
Riff Controllers Riffs contain real-time control information. This function allows you to
turn these controllers On or Off for the Riffs. This control affects Audition
Riffs as well as BEATS Riffs.
RIFF CONTROLLERS
use riff controllers
To Turn Riff Controllers On or Off
1. Use the cursor buttons to move the cursor to the lower line of the
display.
2. Select “use riff controllers” or “ignore riff controllers” using the Data
Entry Control.
3. Press the Enter/Home button or use the cursor keys to move the cursor
back to the screen heading.
Mo’Phatt Operation Manual 47
Arpeggiator/Beats Menu
SuperBEATS
MIDI Song Start This function enables or disables MIDI Song Start for the Arpeggiator and
Riffs. The MIDI Song Start option restarts the arpeggiator and/or Riff (BEAT)
to the beginning when a MIDI Song Start command is received. This is
useful for synchronizing arpeggios and BEATS when recording into, or
playing along with a sequencer. You can choose to resync: Arp, Riff, both
Arp and Riff, or disable MIDI Song Start.
MIDI SONG START
resyncs arps & riffs
Arp/Riff MIDI Out
This parameter selects whether or not the Arpeggiator and/or Riff (BEATS)
note data is sent to the MIDI out port. This feature lets you use Mo’Phatt as
an arpeggiator or sequencer for your other MIDI instruments. It also lets
you record the arpeggios and Riffs into a MIDI sequencer. You can choose
to transmit: Arpeggiator data, Riff data, both Arp and Riff data, or nothing.
ARP/RIFF MIDI OUT
don’t transmit
48 E-MU Systems
Arpeggiator/Beats Menu
Arpeggiators
Arpeggiators An arpeggiator moves a pattern of notes sequentially over a range of the
keyboard. Mo’Phatt has the unique ability to play a different arpeggiator on
each MIDI channel!
Arpeggiator settings can be defined as part of the preset (using the Arp
parameters in the Edit menu), or globally in the Arpeggiator menu. The
preset and master arpeggiators have the same parameters which we define
in this chapter.
The Arp field in the main screen defines which arpeggiator settings will be
used. “M” uses the master Arpeggiator settings and on/off status (as defined
in the Arpeggiator menu). “P” uses the preset’s arpeggiator settings and on/
off status (as defined in the Edit menu). Choosing “On” uses the preset’s
arpeggiator settings regardless of whether or not it is turned on in the Edit
menu and Off turns off the arpeggiator regardless of the settings and status
specified in either menu.
__
__
SAVE your Arp setups
and name them using the “Save
Setup” function located in the
Save/Copy menu. See“Saving
Multisetups” on page 190.
Arp Settings in the
Preset are Used
C01 V127 P00
3
047
arp: Sine Drum
A:P USER
All arpeggiators share Mo’Phatt’s master clock and its current setting. The
master clock can be Mo’Phatt’s internal clock or an external MIDI clock.
Although the arpeggiators use the master clock setting, the tempo divisor
can be unique for each arpeggiator setup.
Arpeggiator modes include up, up/down, forward assign, backward assign,
forward/backward assign and random as well as play Patterns. Patterns are
pre-recorded sequences of notes and rests. All key-on notes play the
pattern. For example, if you play a chord, all the notes in the chord play the
pattern in harmony. Mo’Phatt contains 200 factory patterns and 100 user
definable patterns.
Mo’Phatt Operation Manual 49
Arpeggiator/Beats Menu
Master Arpeggiator Parameters
Arp Controllers The Arpeggiators can be controlled using the front panel real-time
controllers or external MIDI continuous controllers. Controllers are
patched to Arps via the Preset PatchCords located in the Edit menu. See
“Preset Patchcords” on page 151. The following Preset PatchCord destinations
control the Arpeggiators.
Arpeggiator Resolution (ArpRes)
This control changes the Arpeggiator Note Value, which defines the length
of the notes when playing arpeggiated chords. It adds to the note value set
in the Arpeggiator Note Value screen. See “Note Value” on page 52.
Arpeggiator Extension (ArpExt)
This control changes the Arpeggiator Extension Count. It adds to the
extension count programmed in the Arpeggiator Note Value screen. See
“Extension Count” on page 54.
Arpeggiator Velocity (ArpVel)
This control changes the Arpeggiator Velocity Value. It scales the velocity
value set in the Arpeggiator Note Value screen. See “Velocity” on page 53.
Master Arpeggiator Parameters
Arpeggiator Gate (ArpGate)
This control changes the Arpeggiator Gate Time. It adds to the gate time set
in the Arpeggiator Gate Time screen. See “Gate Time” on page 53.
Arpeggiator Interval (ArpIntvl)
This control modulates the Arpeggiator Extension Interval. It adds to the
extension programmed in the Arpeggiator Extension Interval screen. See
“Extension Interval” on page 54.
The Master Arpeggiator is defined in the Arp/Beats menu. The Arpeggiator
mode selected on the Main Screen determines whether the Master arpeggiator or the Preset menu arpeggiator settings are used.
To Access the Master Arpeggiator Parameters
1. Press the Arpeggiator menu button lighting the LED. The Arpeggiator
menu screen displays the menu page most recently selected since
powering up Mo’Phatt. The cursor appears below the first character of
the screen heading on line one.
2. Use the right cursor button to advance the cursor to the first field in the
bottom line of the screen.
3. Now, use the Data Entry Control to access the various Master
Arpeggiator parameters.
4. Save your Arpeggiator settings using the “Save Setup” function on the
Save/Copy menu.
50 E-MU Systems
Arpeggiator/Beats Menu
Master Arpeggiator Parameters
Status The Status parameter turns the Master Arpeggiator on and off. The Channel
Arpeggiator setting in the main screen overrides this setting. For example, if
you set the Arpeggiator in the main screen to “off,” and turn it “on” here, it
still will not play.
MASTER ARPEGGIATOR
Status off
Mode The Mode parameter determines the direction or pattern mode of the
arpeggiated notes.
MASTER ARPEGGIATOR
Mode up
The eight arpeggiator modes are:
• Up Held notes arpeggiate continuously from lowest to
highest pitch.
• Down Held notes arpeggiate continuously from highest to
lowest pitch.
• Up/Down Held notes arpeggiate continuously from lowest to
highest pitch, then from highest to lowest, then repeat
this cycle.
• Fwd Assign Held notes arpeggiate continuously in the order in
which the keys were pressed.
• Bkwd Assign Held notes arpeggiate continuously in the reverse order
in which the keys were pressed.
• Fwd/Bkwd Held notes arpeggiate continuously in the order in
which the keys were pressed, then arpeggiate in the
reverse order that they were pressed. The cycle is then
repeated.
• Random Held notes arpeggiate continuously in a random
fashion.
• Pattern Held notes play the selected pattern (see “Pattern” on
page 52 for details).
Mo’Phatt Operation Manual 51
Arpeggiator/Beats Menu
Master Arpeggiator Parameters
Note Value The Note Value determines the duration of each note played. This
parameter is used in non-pattern mode only.
MASTER ARPEGGIATOR
Note Value 1/8 dot
Following is a list of possible Note Values and the relative number of clocks
used for each.
Note value has no effect
when the mode is set to
“pattern.”
Note Value MIDI Clock
Double Whole Note..................... 192
Dotted Whole Note........................144
Double Note Triplet........................128
Whole Note.................................... 96
Dotted Half Note..............................72
Whole Note Triplet...........................64
Half Note ....................................... 48
Dotted Quarter Note ........................36
Half Note Triplet...............................32
Quarter Note.................................. 24
Dotted Eighth Note..........................18
Quarter Note Triplet.........................16
8th Note......................................... 12
Dotted 16th Note ............................... 9
8th Note Triplet.................................. 8
16th Note......................................... 6
Dotted 32nd Note ...........................4.5
16th Note Triplet................................ 4
32nd Note ........................................ 3
Arpeggiator Pattern Speed
The Arpeggiator Pattern Speed parameter lets you change the playback rate
of Patterns by 1/4x, 1/2x, 1x (normal), 2x or 4x normal speed.
Pattern This field lets you choose the pattern used when the arpeggiator Mode is set
to “Pattern.” There are 200 factory programmed patterns and you can
create an additional 100 user definable patterns (see “Editing a User Arpeggiator Pattern” on page 59).
MASTER ARPEGGIATOR
Pattern 99
52 E-MU Systems
1
Pattern Name
Arpeggiator/Beats Menu
Master Arpeggiator Parameters
Velocity The Velocity parameter determines the velocity at which each note arpeg-
giates. Velocity can be defined by the velocity value specified (from 1
through 127), or by the actual velocity of the played note (played). Bear in
mind that velocity values do not have an effect on the sound unless the
preset is programmed to respond to velocity.
MASTER ARPEGGIATOR
Velocity played
Gate Time The Gate Time parameter works together with the Note Value parameter.
Just as Note Value defines the length of a note, the Gate Time sets the
percentage of the Note Value time played. This can have a dramatic effect
on the sound depending on how the envelope generators are programmed.
The note-on time is used
for the start-of-time when
calculating note durations. See
“Duration” on page 56.
MASTER ARPEGGIATOR
Gate 100%
With a Gate Time setting of 100% the note is held on until the next note
starts. The envelope generators never advance to the Release stages. With a
Gate Time setting of 50%, the note is released halfway through the note
cycle and the envelope generators proceed to their release stages until the
next note occurs. Refer to the following illustration.
Selected Note Value (8th notes, 16th notes, etc.)
Gate Time
100%
75%
50%
key-on
time
key-on
time
key-on
time
25%
Mo’Phatt Operation Manual 53
Arpeggiator/Beats Menu
Master Arpeggiator Parameters
Extension Count The Extension Count parameter specifies how many times the Extension
Interval is carried out. With an Extension Count of 0, the arpeggio plays
only the notes pressed. With an Extension Count of 1, the arpeggio plays
the notes pressed, then plays the same notes (in the same order), transposed by the Extension Interval amount. The cycle is then repeated.
MASTER ARPEGGIATOR
Extension Count 4
For example, with the Extension Interval set to 12 (an octave) and an
Extension Count of 2, and with the Arpeggiator Mode set to Fwd Assign, if
you played E2, then C2, then G2, the arpeggiated sequence would consist
of: E2, C2, G2, then E3, C3, G3, and then E4, C4, G4. The Extension Count
values range from 0 through 15. Refer to the following illustration.
Back
123 456 789
Extend 1
Played
Extend 2
Extension Interval The Extension Interval specifies the additional intervals played when you
press a key. For example, suppose you played C2 with an Interval of 7 (a
Major 5th), Up mode, and an Extension Count of 2. The arpeggio alternates
between C2 and G2.
The Extension Interval values range from 1 through 16.
MASTER ARPEGGIATOR
Extension Interval 7
54 E-MU Systems
Arpeggiator/Beats Menu
Master Arpeggiator Parameters
Sync The Sync parameter defines when a note is played in relation to when the
key is pressed. When set to “Key Sync”, the note sounds the instant a key is
pressed. When set to “Quantized”, the note does not sound until the next
occurrence of the selected note value.
MASTER ARPEGGIATOR
Sync key sync
The following diagram illustrates how Key Sync and Quantize work.
Key
Pressed
Note Sounds
Immediately
Key Sync
Quarter Notes
Note Doesn't Sound until
the Next Quarter Note
Quantize
Quarter Notes
Pre-Delay The Pre-Delay value determines how long the arpeggiator is delayed before
becoming active after the first “note-on.” During the pre-delay period,
notes are played normally (as if the arpeggiator was off). After the pre-delay
period has elapsed, the arpeggiator kicks in. Once you release all the keys
on the controller, the pre-delay starts over with the next note-on. In combination with the Duration parameter, Pre-Delay lets you create many more
variations in the arpeggio patterns. Please refer to the diagram on page 57.
You can play the preset normally as long as you don’t hold the notes longer
than the Pre-Delay. If you do, the arpeggiator starts in. When used in
conjunction with multiple arpeggiators or BEATS mode, Pre-Delay allows
you to offset the time between the different patterns.
MASTER ARPEGGIATOR
Pre-Delay off
Mo’Phatt Operation Manual 55
Arpeggiator/Beats Menu
Master Arpeggiator Parameters
Duration This parameter defines how long the arpeggiator plays before stopping. The
Duration is specified in note values. Therefore if an arpeggio were running
at a 16th Note Value and the Duration were set to a whole note, the arpeg-
giator would play 16 steps before stopping. After the duration has elapsed,
the arpeggiator remains inactive until the key is released. If Duration is set
to Off, the arpeggio repeats as long as the notes are held (Infinite Duration).
MASTER ARPEGGIATOR
Duration 1 / 1d
Duration can be used to modify the patterns and increase the possible
pattern combinations and variations. Because this parameter limits the
length of arpeggiator play time, it can change the arpeggio pattern when
the Duration is less than the length of the arpeggio. You can set the
arpeggio to repeat continuously using the Recycle function described below.
Post-Delay This parameter is only relevant when both the “Duration” and “Recycle”
parameters are not in the “Off” state. The Post-Delay value determines how
long the arpeggiator is delayed after the Duration period. Please refer to the
diagram on page 57. During the post-delay period, notes are played normally
(as if the arpeggiator was off). After the post-delay period has elapsed, the
arpeggiator either jumps to the beginning of the Pre-Delay period or to the
beginning of the Duration period depending on the Recycle setting.
If the arpeggiator is playing an extension when the Duration expires, the
notes in the extension will continue to sound during the Post-Delay (and
Pre-Delay if on). On the next pass through the Duration period, the
extension continues where it left off.
Post-Delay increases the number of possible variations in the beat and
allows the recycle loop to be set to an exact measure of time.
MASTER ARPEGGIATOR
Post-Delay off
56 E-MU Systems
Arpeggiator/Beats Menu
Master Arpeggiator Parameters
Keys
Pressed
Arp PlaysNotes Sound Notes Sound
Pre-Delay Duration Post-Delay
R
R
e
c
y
c
l
e
e
c
y
c
l
e
o
o
n
-
o
N
/
n
y
l
D
e
r
P
Recycle Recycle enables the pattern or arpeggio to repeat. This parameter works
together with the Duration and Pre/Post Delay parameters to allow the loop
to be set to an exact measure of time. The “on/No-PreDelay” option
bypasses the predelay period. With Recycle turned Off, the pattern or
arpeggio stops at the end of the Post-Delay period.
MASTER ARPEGGIATOR
Recycle on/No-PreDly
Keyboard Thru When enabled, Keyboard Thru merges the notes not arpeggiated with the
notes being produced by the arpeggiator. This gives the effect of two parts
playing at once.
MASTER ARPEGGIATOR
Keyboard Thru off
Latch With Latch mode On, any notes you play remain on until you press them
again. Latched notes can also be halted by turning Latch off in this screen,
or by turning off the Arpeggiator for the channel in the main screen.
MASTER ARPEGGIATOR
Latch on
Mo’Phatt Operation Manual 57
Arpeggiator/Beats Menu
Send MIDI System Exclusive Data
Key Range Use the Key Range parameter to set the keyboard range for the arpeggiator.
Notes inside the range will arpeggiate while notes outside the specified
range will not arpeggiate. Use the Extensions parameters to exceed the
upper boundary of the Key Range (see the information about Extensions
beginning on page 54).
MASTER ARPEGGIATOR
Key Range C-2->G8
Move the cursor under the first key and use the Data Entry Control to
define the lowest key to be arpeggiated. Move the cursor under the second
key value and use the Data Entry Control to define the highest key to be
arpeggiated.
Send MIDI System Exclusive Data
Send data as you would
a regular sequence. Sending
data in one huge chunk may
clog the MIDI input buffer on
Mo’Phatt.
Transmits the Arpeggiator Patterns via the MIDI out port as MIDI System
Exclusive data to another Mo’Phatt or to a computer/sequencer for backup.
Using the cursor key and the Data Entry Control, select the MIDI data you
want to transmit. See Send MIDI System Exclusive Data in the Master chapter
for additional details about recording SysEx.
User Patterns
Transmits all the User patterns.
000 to 990
Transmits only the individual pattern you have selected.
SEND MIDI SYSEX DATA
A
ll User Arp Patterns
58 E-MU Systems
Arpeggiator/Beats Menu
Send MIDI System Exclusive Data
Editing a User Arpeggiator Pattern
Bank 0 = User Patterns
Bank 1 = Factory Patterns
Bank 2 = Factory Patterns
OO
OO
Before editing a Pattern,
select Master Arpeggiator (M) in
the main screen and set the
Arpeggiator to the Pattern you
are editing. This lets you hear
the Pattern as you edit it.
Mo’Phatt lets you create and edit your own arpeggiator patterns. Using the
Edit User Pattern menu, you can create up to 100 user patterns and each
pattern can be up to 32 steps in length.
When you edit a pattern, you are writing directly into memory—no Save
command is required. This is different from the Edit menu where you must
Save a preset before it will be overwritten. If you want to modify an existing
pattern and keep the original, you must first COPY the pattern you want to
edit to another location using the function in the Copy menu (See
page 187). Refer to the instructions below and the following parameter
descriptions to create your own patterns.
EDIT USER PATTERN
1
01
DRUMnBASS 1
To Select the Pattern to Edit
1. From the Edit User Pattern screen shown above, move the cursor to the
bottom line and select the pattern you want to edit. The Enter LED
begins flashing.
2. Press the Enter button to confirm that you want to edit the selected
pattern. The “User Pattern Edit” page appears.
PTRN KEY VEL DUR RPT
S01 +0 ply 1/8 2
Pattern Step Number
Pattern Step
number
You can set up to 32 steps for each arpeggiator pattern. This field selects
which step you will be editing from 1 to 32.
Key offset Velocity Duration Repeat
Key This parameter defines what happens during the current step. The Key
parameter can do one of five different operations. Following is a description
of each of the key functions and how to use them.
Mo’Phatt Operation Manual 59
Arpeggiator/Beats Menu
Send MIDI System Exclusive Data
Key Offset
This parameter defines not the actual note of the arpeggiator playback, but
instead specifies the amount of offset, in semitones, from the original note
played. You can set a Key Offset from -48 to +48 for each step. For example,
if you play a “C” on the keyboard with the Key Offset amount for the first
step set to “+1,” the first step in the pattern will be “C#.”
+12-12 0 +24-24 +36-36-48 +48
__
__
IMPORTANT: The Gate
function in the arpeggiator
MUST be set to 100% when
using the tie function, otherwise
the tied note is retriggered
instead of extended.
Played
Note
Tie
This function extends the duration of notes beyond the values given in the
duration field by “tying” notes together. You can tie together any number
of consecutive steps.
+2
Step 1
Rest
Instead of playing a note, you can define the step as a Rest. The Duration
parameter specifies the length of the rest. Rests can be tied together to form
longer rests.
tie
Step 2
+ OffsetOffset
-5
Step 3
60 E-MU Systems
Skip
This command simply removes the step from the pattern. The Skip feature
makes it easy to remove an unwanted step without rearranging the entire
pattern. You’ll be happy to know that the velocity, duration and repeat
parameters are remembered if you decide to put the step back later.
End
This command signals the end of the pattern. Any steps programmed after
the step containing the End command are ignored.
Arpeggiator/Beats Menu
Send MIDI System Exclusive Data
Velocity Each note in the pattern plays using either a preset velocity value (from
1 through 127), or using the actual velocity of the played note (ply).
Note: Velocity values will not have an effect on the sound unless velocity is
programmed to do something in the preset.
Duration This parameter sets the length of time for the current step, defined as a note
value, based on the Master Clock Tempo. The selectable note durations are
described below.
1/32 32nd Note
1/16t 16th Note Triplet
1/32d Dotted 32nd Note
1/16 16th Note
1/8t 8th Note Triplet
1/16d Dotted 16th Note
1/8 8th Note
1/4t Quarter Note Triplet
1/8d Dotted Eighth Note
1/4 Quarter Note
1/2t Half Note Triplet
1/4d Dotted Quarter Note
1/2 Half Note
1/1d Dotted Whole Note
1/1t Whole Note Triplet
1/2d Dotted Half Note
1/1 Whole Note
2/1t Double Whole Note
Triplet
2/1 Double Whole Note
Repeat Each step can be played from 1 to 32 times. A repeat setting of “1” indicates
the step will be played one time (not repeated one time or played twice).
To Edit a User Pattern
1. The first field in the Edit User Pattern field defines the pattern’s step
number. Start with the pattern Step 01.
2. Define the Key Offset, Velocity, Duration and Repeat values.
3. Repeat steps 1 and 2 until you have setup the desired number of steps
in the pattern.
4. Set the Key Offset to “End” on the last step in the pattern.
Mo’Phatt Operation Manual 61
Arpeggiator/Beats Menu
Send MIDI System Exclusive Data
User Pattern Name The User Pattern Name page lets you enter a name for any User Arpeggiator
Pattern.
PTRN KEY VEL DUR RPT
S01 +0 ply 1/8 2
To Name a User Pattern
1. From the Pattern Edit screen shown above, position the cursor under
the PTRN field.
2. Turn the Data Entry Control clockwise. The following screen appears.
USER PATTERN NAME
0
00
Mod Snow Peas
3. Move the cursor to the bottom line and edit the Pattern name using the
Data Entry Control and Cursor keys.
4. Move the cursor to the “Home” position (shown above) by pressing the
Home/Enter button, then turn the Data Entry Control counterclockwise one click to return to the Pattern Edit screen.
5. Turn the Data Entry Control counterclockwise multiple clicks to jump
back to the main Arpeggiator menu screen.
62 E-MU Systems
Arpeggiator/Beats Menu
A/E/I
VOLUME
B/F/J
C/G/K
D/H/L
AUDITION
ARP/BEATSTSSASA
VE/COPY
HOME/ENTER
MIDI
POWER
FIL
TER CUTOFF
ACK
WILD 1
A-D
E-H
I-L
FIL
TER RES
DECA
Y/RLS
WILD 2
SHAPE
MOVEMENT
WILD 3
IMAGE
TE
WILD 4
MASTER
DEMOS
EDIT
Multi-Channel Arpeggiating
Multi-Channel
Arpeggiating
One of the coolest features in Mo’Phatt is its ability to run multiple arpeggiators at the same time. The interactions of multiple note sequences can be
complex and fascinating. Mo’Phatt lets you run up to sixteen arpeggiator
patterns at once! Even two or three patterns at once can create very
complex sequences and dynamic landscapes of sound.
Arp on
Chan 1
FIL
TER CUTOFF
A-D
ATTTTACK
E-H
WILD 1
I-L
A/E/I
VOLUME
FIL
DECA
B/F/J
TER RES
Y/RLS
WILD 2
REAL TIME CONTROLLERS
SHAPE
MOVEMENT
WILD 3
C/G/K
IMAGE
RARATE
WILD 4
D/H/L
ASSIGNABLE KEYS
Arp on
Chan 2
PRESET
SAMPLE
SEQUENCER
MASTER
AUDITION
MIDI Out
EMULATOR
DEMOS
ARP/BEA
EDIT
VE/COPY
Arp on
Chan 3
HOME/ENTER
MIDI In
LEVEL
EXIT
ENTER
PAGE
PRESET SELECT
0.987654321
POWER
MIDI
RETURN
Master Keyboard transmitting on
MIDI channels 1, 2, 3
Here’s one way to use this ultra-powerful feature. There is one arpeggiator
for each MIDI channel. In order to arpeggiate on multiple channels, you
need a controller that can output multiple MIDI channels at once.
1. Set up your MIDI keyboard so that it outputs the entire keyboard on
MIDI channels 1 and 2. This procedure varies with the type of keyboard
you own. Refer to the owner’s manual that came with your keyboard
for instructions.
2. Put Mo’Phatt into Multi mode. This is located in the Master menu,
MIDI Mode page.
3. On the main screen, turn the arpeggiator “on” for MIDI channels 1 and
2. (We’re only using two channels for now to keep it simple.) Select a
different preset for each MIDI channel while you’re at it.
C01 V127 P00
3
047
arp: Sine Drum
A:on PHATT
4. Start playing. You should be hearing two arpeggiators playing at once.
Mo’Phatt Operation Manual 63
Arpeggiator/Beats Menu
A/E/I
VOLUME
B/F/J
C/G/K
D/H/L
AUDITION
ARP/BEATSTSSASA
VE/COPY
HOME/ENTER
MIDI
POWER
FIL
TER CUTOFF
ACK
WILD 1
A-D
E-H
I-L
FIL
TER RES
DECA
Y/RLS
WILD 2
SHAPE
MOVEMENT
WILD 3
IMAGE
TE
WILD 4
MASTER
DEMOS
EDIT
Using a MIDI Interface to Channelize Data
Try experimenting with presets and settings. For example:
• Change presets on one or both of the MIDI channels you are using
(1 & 2). Since each factory preset has different arpeggiator settings,
changing the preset not only changes the sound, but the
arpeggiator settings as well.
• Press the Control button on the front panel to select “I-L” (the LED
in the third row is illuminated). Adjust the front panel control
knobs. These knobs usually control the arpeggiator on presets with
the “arp:” prefix.
• Try changing one of the channel’s arpeggiator setting to “M”
instead of “on.” Now press the Arpeggiator Menu button and adjust
the arpeggiator parameters in real time.
• From the Master Arpeggiator menu, set the Mode to Pattern then
explore the different patterns. There are 300 patterns available!
MASTER ARPEGGIATOR
Pattern 99
1
Pattern Name
Using a MIDI
Interface to
Channelize
Data
Now you’re getting the picture. This machine is beyond awesome!
Not all keyboards or controllers can transmit on multiple MIDI channels at
once. If your MIDI controller only transmits on a single MIDI channel,
there are other ways to use the multi-channel arpeggiators. A MIDI
interface such as Mark of the Unicorn’s MIDI Time Piece®, or a MIDI router
box will convert data on one channel to any other channel or channels.
FIL
TER CUTOFF
A-D
FIL
TER RES
SHAPE
Data on Channels 1, 2, 3
MIDI Out
MIDI OUTMIDI IN
MIDI In
MIDI In
MIDI
INTER
FACE
MIDI Interface
ATTTTACK
E-H
WILD 1
I-L
A/E/I
VOLUME
IMAGE
DECA
Y/RLS
MOVEMENT
RARATE
WILD 2
WILD 3
WILD 4
B/F/J
C/G/K
D/H/L
PLANET PHATT
MIDI Out
Older Keyboard which only
transmits on MIDI Channel 1.
Your MIDI Interface may be able to output MIDI data on multiple channels at once.
MASTER
EDIT
DEMOS
AUDITION
ARP/BEA
VE/COPY
HOME/ENTER
POWER
MIDI
64 E-MU Systems
Master Menu
The Master menu contains functions that affect the overall operation of
Mo’Phatt. For example, changing the Master Tune parameter changes the
tuning of all the presets, not just the one currently displayed.
To enable the Master menu
Press the Master button, lighting the LED. The Master Menu screen displays
the menu page most recently selected since powering up Mo’Phatt. The
cursor appears below the first character of the screen heading on line one.
__
__
Warning: Master Menu
changes are automatically
saved when you exit the menu.
If the power is turned off before
you exit the menu any changes
you have made will be lost.
To select a new screen
Press the Home/Enter button or press the Cursor button repeatedly until
the cursor is below the screen title heading. Rotate the Data Entry Control
to select another screen.
To modify a parameter
Press either Cursor button repeatedly (or hold down the right cursor button
while turning the Data Entry Control) until the cursor is below the desired
parameter value. Rotate the Data Entry Control to change the value.
To return to the main screen
Press the Master button, turning off the LED.
Mo’Phatt Operation Manual 65
Master Menu
Defining Master Parameters
Defining
Master
Master setup parameters affect overall performance, range, and global
effects. This section describes the Master parameters and how to define
them.
Parameters
Transpose/Tune The Transpose parameter transposes the key of all presets, in semitone
intervals. The transpose range is ± 24 semitones.
Master Tune adjusts the fine tuning of all presets so that you can tune
Mo’Phatt to other instruments. The master tuning range is ± 1 semitone in
1/64th semitone increments (1.56 cents). A master tune setting of “+00”
indicates that Mo’Phatt is perfectly tuned to concert pitch (A=440 Hz).
MASTER TRANSPOSE TUNE
+00 semitones +00
Bend Range The Bend Range parameter sets the range of the pitch wheel. This affects
only presets that have their individual Pitch Bend range (defined in the Edit
menu) set to Master. The maximum pitch bend range is ±12 semitones or
one octave in each direction.
66 E-MU Systems
MASTER BEND RANGE
+/- 7 semitones
Master Menu
Defining Master Parameters
Velocity Curve You can modify incoming velocity data by a velocity curve in order to
provide different types of dynamics in response to your playing, or to better
adapt to a MIDI controller. The Master Velocity Curve lets you select one of
thirteen master velocity curves or to leave the data unaltered (linear).
MASTER VELOCITY CURVE
13
120
100
80
60
40
20
Result Velocity
Linear
0
20
0
40
Played Velocity
120
100
Curve 9
80
60
40
20
Result Velocity
0
20
0
40
Played Velocity
120
100
Curve 2
80
60
40
20
Result Velocity
0
20
0
100
120
80
60
40
100
120
80
60
Played Velocity
120
100
80
60
40
20
Result Velocity
0
20
0
100
120
80
60
40
60
Curve 13
120
100
80
Played Velocity
For a complete list of all available velocity curves, see “Velocity Curves” on
page 220 of the Appendix.
Mix Output The Mix Output parameter allows you to override the routing assignments
made in each preset and instead assign the outputs according to MIDI
channel. For each of the 16 MIDI channels, you can select Send 1-4, or
Preset. When Preset is selected, the output assignment defined in the Preset
Edit menu is used.
Mo’Phatt Operation Manual 67
Master Menu
Defining Master Parameters
MIX OUTPUT
channel 16: use preset
MIX OUTPUT
channel 15: Send 1
The Sends function as effect processor inputs (effect sends). The four Effect
Sends allow you to get the most out of the two effect processors. For
example, with Effect B set to an echo algorithm, you could route one MIDI
channel to Send 3 and set the effect amount to 80%. Another MIDI channel
could be routed to Send 4 with an effect amount of only 5%. This is almost
like having two different effects!
MIDI Channel 1
MIDI Channel 2
MIDI Channel 3
MIDI Channel 4
MIDI Channel 5
MIDI Channel 6
MIDI Channel 16
MIDI CHANNEL
Preset
Preset
OUTPUT SECTION
& EFFECTS PROCESSORS
FX Sends
Send 1 15%
Send 2 10%
Send 3 0%
Send 4 0%
S
E
N
D
1
FX Sends
Send 1 0%
Send 2 0%
Send 3 20%
Send 4 15%
S
E
N
D
2
S
E
N
D
3
S
E
N
D
4
Effect
Effect
Hall 1
A
B➟A
Chorus
B
M
A
I
N
68 E-MU Systems
Master Menu
Master Effects
Master Effects The digital effect processors can be programmed as part of the preset (using
the Edit menu) so that effects will change along with the preset. However,
there are only two effect processors, and so you cannot have a different
effect on each preset when in Multi mode.
The Master Effects settings assign the effect processors “globally” for all
presets to provide a way to use the effects in Multi mode. Detailed information is presented in the Effects chapter (see Effects on page 169).
Effects Mode The FX Mode page enables or bypasses the effects. When the FX Mode is set
to “bypass,” the effects are turned off on a global scale. This includes Effects
programmed in the preset.
FX MODE
enabled
Effects Multi Mode Control
The routing scheme for the two stereo effects processors provides a lot of
versatility. When in multi mode, you can “use master settings” which
applies the Master menu effects settings to all 16 MIDI channels.
FX MULTIMODE CONTROL
use master settings
If you want more control, you can use the “channel” setting which applies
the effects settings of the preset on a specified channel to all the other
channels. Changing the preset on the specified channel changes the effect.
FX MULTIMODE CONTROL
preset on channel 1
If you are in Omni or Poly modes this parameter is disabled and the
message in parentheses explains that Mo’Phatt is currently in Omni mode.
FX MULTIMODE CONTROL
(using Omni mode)
Mo’Phatt Operation Manual 69
Master Menu
Master Effects
Master FXA Algorithm
This function selects the type of effect used for the “A” effect. The following
effect types are available.
MASTER FXA ALGORITHM
Room 1
A Effect Types
1. Room 1
2. Room 2
3. Room 3
4. Hall 1
5. Hall 2
6. Plate
7. Delay
8. Panning Delay
9. Multitap 1
10. Multitap Pan
11. 3 Tap
12. 3 Tap Pan
13. Soft Room
14. Warm Room
15. Perfect Room
16. Tiled Room
17. Hard Plate
18. Warm Hall
19. Spacious Hall
20. Bright Hall
21. Bright Hall Pan
22. Bright Plate
23. BBall Court
24. Gymnasium
25. Cavern
26. Concert 9
27. Concert 10 Pan
28. Reverse Gate
29. Gate 2
30. Gate Pan
31. Concert 11
32. Medium Concert
33. Large Concert
34. Large Concert Pan
35. Canyon
36. DelayVerb 1
37. DelayVerb 2
38. DelayVerb 3
39. DelayVerb 4 Pan
40. DelayVerb 5 Pan
41. DelayVerb 6
42. DelayVerb 7
43. DelayVerb 8
44. DelayVerb 9
70 E-MU Systems
Master Menu
Master Effects
FXA Parameters: Decay/HF Damping FxB -> FxA
This page lets you define the parameters of the selected Effects algorithm.
Use this page to setup the effect decay, high frequency damping amount
and to route “B” effects through the “A” effects. See “Effect Parameters” on
page 171 for more details.
FXA DECAY HFDAMP FxB>FxA
040 096 001
FXA Send Amounts These parameters set the effects amounts for each of the four stereo effects
busses. See “Master Effects” on page 174 for detailed information.
FXA SEND AMOUNTS 1:100%
2: 50% 3: 10% 4: 0%
Master FXB Algorithm
This parameter selects the type of effect used for the “B” effect. The
following effect types are available.
MASTER FXB ALGORITHM
Chorus 1
Mo’Phatt Operation Manual 71
B Effect Types
Master Menu
Master Effects
FXB Parameters: Feedback/LFO Rate Delay Time
1. Chorus 1
2. Chorus 2
3. Chorus 3
4. Chorus 4
5. Chorus 5
6. Doubling
7. Slapback
8. Flange 1
9. Flange 2
10. Flange 3
11. Flange 4
12. Flange 5
13. Flange 6
14. Flange 7
15. Big Chorus
16. Symphonic
17. Ensemble
18. Delay
19. Delay Stereo
20. Delay Stereo 2
21. Panning Delay
22. Delay Chorus
23. Pan Delay Chorus 1
24. Pan Delay Chorus 2
25. Dual Tap 1/3
26. Dual Tap 1/4
27. Vibrato
28. Distortion 1
29. Distortion 2
30. Distorted Flange
31. Distorted Chorus
32. Distorted Double
The FXB parameters setup the characteristics of the effect. Use this page to
define the feedback amount, the LFO rate and delay amount for the
selected type “B” effect. See “Effect Parameters” on page 171 for details.
FXB FEEDBK LFORATE DELAY
000 003 0
FXB Send Amounts These parameters set the effects amounts for each of the four stereo effects
busses. See the Effects chapter for detailed information.
FXB SEND AMOUNTS 1:100%
2: 50% 3: 10% 4: 0%
72 E-MU Systems
Master Menu
MIDI Parameters
MIDI
MIDI parameters control how the Mo’Phatt sends and receives MIDI data.
Parameters
MIDI Mode MIDI Mode selects one of the three MIDI modes: Omni, Poly or Multi
mode.
MIDI MODE CHANGE
omni ignored
The MIDI Mode Change parameter specifies whether mode changes made
through an external MIDI controller are accepted or ignored.
The MIDI modes are as follows:
Omni
Responds to note information on all MIDI channels and plays the preset
currently displayed in the main screen.
Poly
Responds only to note information received on the currently selected MIDI
channel (on the preset selection screen) and plays that channel’s associated
preset.
Multi
Responds to data on any combination of MIDI channels and plays the
specific preset associated with each of the MIDI channels. You must select
multi mode for multitimbral operation.
MIDI SysEx ID This page defines the MIDI system exclusive (SysEx) device ID number. The
SysEx ID lets an external programming unit to distinguish between
multiple Mo’Phatt units connected to the same preset editor. In this case
each unit must have a unique SysEx ID number.
__
__
WARNING: When
transferring SysEx data from one
Mo’Phatt to another, the ID
numbers of both units must be
the same.
MIDI SYSEX ID
000
Mo’Phatt Operation Manual 73
Master Menu
MIDI Parameters
MIDI Enable MIDI Enable lets you turn each MIDI channel on and off independently
when in Multi mode. This feature is helpful when you have other devices
connected to the same MIDI line and do not want the Mo’Phatt unit to
respond to the MIDI channels reserved for the other devices.
MIDI ENABLE
channel 01: On
Because the MIDI Enable function only makes sense if you are in Multi
mode, Mo’Phatt disables this feature when in Omni or Poly mode.
MIDI Program Change -> Preset
The Program->Preset
Change only works for program
changes received in Bank 0.
In Multi
Mode
In Omni
Mode
MIDI ENABLE
channel 16: On
MIDI ENABLE
(using Omni mode)
You can also remap incoming MIDI program changes to a different
numbered preset. This is a handy feature when your master keyboard
cannot send a bank change or you want to reorder preset numbers. Any
preset can be mapped to any incoming MIDI program change number.
For example, you could set up the Program -> Preset map to call up preset
#12 whenever Mo’Phatt receives MIDI program change #26.
The four fields shown below are editable.
MIDI PROG CHNG -> PRESET
000 User 000
0
74 E-MU Systems
Incoming Program
Change in Bank 0
ROM Bank
Program No. Bank No.
OO
OO
Programs and presets
are the same thing. “Preset” is
E-MU’s term for MIDI Program.
Selected
Program
0 1 2 3 4 5 6 7 8 9
0000000000
00 01 02 03 04 05 06 07 08 09
201000 0 0
44 91 50 01 15 88 99 78 32 88
10
10002000 02
34 73 106 55 43 75 120 121 100
20
0000000000
30 31 32 33 34 35 36 37 38 39
30
0000000000
40 41 42 43 44 45 46 47 48 49
40
0000000000
50 51 52 53 54 55 56 57 58 59
50
0000000000
60 61 62 63 64 65 66 67 68 69
60
0000000000
70 71 72 73 74 75 76 77 78 79
70
0000000000
80
80 81 82 83 84 85 86 87 88 89
0000000000
90
90 91 92 93 94 95 96 97 98 99
100
110
120
0000000000
100 101 102 103 104 105 106 107 108 109
0000000000
110 111 112 113 114 115 116 117 118 119
00000000
120 121 122 123 124 125 126 127
12
Master Menu
MIDI Parameters
41
Mapped
Program
Receive Program Change
Real-time Controller Assignment
In this chart, program changes 10-29 have been remapped to new preset numbers. All
other presets are selected normally.
Use this function to instruct the Mo’Phatt to utilize or ignore incoming
MIDI preset changes or Bank Select commands for each channel. Use the
cursor buttons to select the channel number field, then use the Data Entry
Control to select a channel number. Use the cursor button again to select
the On/Off field and the Data Entry Control to change the value.
RECEIVE PROGRAM CHANGE
channel 01 : on
Use these three pages to assign twelve real-time control sources. Each MIDI
Controller is assigned a letter (A - L). The front panel Controller Knobs and
twelve MIDI controller numbers share the A-L controller routings. These
screens let you select which MIDI real-time controllers numbers will be
received (from 1 to 31 and from 64 to 119) and which controller
numbers will be transmitted over MIDI if the front panel controls are
turned.The PatchCord routing and amount in the Edit menu determine
what effect the controller has on each preset. Real-time controllers are
shown in the PatchCord menu as MIDI A through MIDI L.
Mo’Phatt Operation Manual 75
OO
OO
Mo’Phatt factory presets
have certain synth parameters
assigned to each controller letter
and so these are “Global”
controller assignments.
For example, assigning a MIDI
controller to “A” in this screen
would let you control filter Fc for
all the factory presets. See
“Front Panel Knob Functions” on
page 195.
Master Menu
MIDI Parameters
The Real-time Controller assignment also specifies which controller
numbers are transmitted when the “Knobs MIDI Out” is enabled (see
“Knobs/Riff MIDI Out” on page 78).
REALTIME CONTROLLER #
A: 21 B: 22 C: 23 D: 24
REALTIME CONTROLLER #
E: 25 F: 26 G: 27 H: 28
REALTIME CONTROLLER #
I: 80 J: 81 K: 91 L: 93
MIDI Footswitch Assign
Note: Controllers 7 and 10 are already assigned to Volume and Pan for each
MIDI channel. Controllers 91 & 93 are the standard controller numbers for
reverb and chorus send amounts.
Following are a few of the standardized MIDI Controller numbers as
defined by the MIDI manufacturers association. The controllers shown in
Bold are automatically routed to the destination (volume & pan) or have
their own PatchCord source. Others, such as Portamento Time, can be
routed using a PatchCord to have the desired effect.
1 - Modulation Wheel
- Breath Controller
- Old DX7 Aftertouch
- Foot Pedal
- Portamento Time
6 - Data Entry
Like the MIDI Controllers, you can assign three MIDI footswitches to MIDI
footswitch numbers. Footswitches numbers are from 64-79. Destinations
for the footswitch controllers are programmed in the PatchCord section of
the Edit menu.
7 - Volume
8 - Balance
9 - Undefined
10 - Pan
11 - Expression
76 E-MU Systems
FOOTSWITCH CONTROLLER #
1: 64 2: 65 3: 66
MIDI Parameters
Following are a few of the standardized MIDI Switch numbers.
Master Menu
64 - Sustain Switch (on/off)
65 - Portamento (on/off)
66 - Sostenuto (on/off)
67 - Soft Pedal (on/off)
69 - Hold Pedal 2 (on/off)
Tempo Controller This function allows a MIDI controller to change the Base Tempo of the
Master Clock. The Master Clock is used for the clock divisor PatchCords,
tempo-based envelopes and synced LFOs. (See “Clock Modulation” on
page 90.) You can assign any controller number from 0-31, mono key
pressure, or the pitch wheel to change the Base Tempo.
See “Base Tempo
(Master Clock)” on page 36.
A different controller can be used to change the tempo up or down. The
Pitch Wheel can be assigned to both the up and down parameters to vary
the tempo up and down from a single controller. If any other controller is
assigned to both the up and down parameters, Mo’Phatt redefines the
center of the controller’s range as zero (so it acts like a pitch wheel).
MIDI Controller values are added to the Base Tempo with a range of ±64.
When the controller is set to “off” the tempo returns to its original setting.
This control has no effect when using an external clock.
Knob Preset Quick-Edit
Quick Edit does not work
while in the Edit menu with
“Knobs Deep Edit” enabled.
TEMPO CONTROLLER# CHAN
Up: 03 Down: 09 16
“Quick-Edit” changes the initial controller setting in the preset whenever
you move a Control Knob. This parameter selects whether or not the front
panel Controller Knobs are used to Quick-Edit the currently selected preset.
See “Real-time Control” on page 27 in the Operations chapter for more
details.
KNOBS PRESET QUICK-EDIT
disabled
Mo’Phatt Operation Manual 77
Master Menu
MIDI Parameters
Knobs Deep Edit
This parameter specifies whether or not the front panel controller knobs
can be used to edit parameter values in the Master or Edit menus. This is
called “Deep-Editing.” With Knob Deep Edit disabled, the front panel
controller knobs retain their function as real-time controllers even when in
the Master or Edit modes.
KNOBS DEEP EDIT
disabled
Knobs/Riff MIDI Out This function allows you to select whether or not MIDI controller data is
transmitted when you turn the front panel Controller knobs. The knobs
transmit on the controller numbers defined by the Real-time Controller
Assign parameter (see page 75). This function also enables or disables transmission of Riff note data over MIDI when the Audition button is pressed.
If Deep Edit is enabled, “Knobs MIDI Out” does not work while in any of
the editing menus (Master, Edit, Save/Copy).
Preset Edit All Layers Enable
KNOBS/RIFF MIDI OUT
don’t transmit
This function allows you to turn the Edit All Layers feature on or off. “Edit
All Layers” is an Edit menu feature which allows you to select all layers (A)
in order to edit all four layers simultaneously. Because this feature can be
confusing to the beginning programmer, it can be disabled here in the
Master menu. Check this feature out when you’re ready. It’s great!
PRESET EDIT ALL LAYERS
enabled
78 E-MU Systems
Master Menu
MIDI Parameters
Front Panel Knob Calibration
This function calibrates the minimum and maximum values for the five
front panel knobs. The controls should be calibrated periodically in order to
compensate for normal wear and tear on the controls themselves or if the
controls behave strangely. Before calibration, it’s usually a good idea to let
the unit warm up for about half an hour to ensure you have the maximum
range on all the front panel controls.
To Calibrate the Front Panel Control Knobs
1. Press the Master menu button and advance to the Calibrate Knobs page.
CALIBRATE KNOBS
Start
2. Press the Enter button to begin the calibration process. The following
screen appears.
Turn all knobs to MIN
Press Enter when ready
3. Turn all knobs to their minimum value (which is pegged in the counter-
clockwise direction), then press the Enter button. The screen briefly
flashes, “Reading Values…,” then displays:
Turn all knobs to MAX
Press Enter when ready
4. Turn all knobs to their maximum value (pegged in the clockwise
position), then press the Enter button. The display shows, “Reading
Values… Done.” Calibration is complete.
Mo’Phatt Operation Manual 79
Master Menu
MIDI Parameters
MIDI SysEx Packet Delay
Send MIDI System Exclusive Data
Sometimes errors occur if the computer or sequencer to which you are
sending MIDI SysEx data is faster or slower than the Mo’Phatt. The MIDI
SysEx Packet Delay command lets you specify the amount of delay between
MIDI SysEx packets so the input buffer of your computer does not overflow,
causing an error. The value range is from 0 through 8000 milliseconds. A
delay value of zero allows full speed MIDI transfer. If you are experiencing
data transmission errors, try increasing the delay value until the problem
disappears.
MIDI SYSEX PACKET DELAY
300 milliseconds
This command transmits MIDI System Exclusive (SysEx) data to the MIDI
Out port of Mo’Phatt. The MIDI data can be sent to a computer, sequencer
or to another Mo’Phatt. When transferring data between two Mo’Phatts be
sure both units have the same SysEx ID number! See “MIDI SysEx ID” on
page 73 to learn how to change the SysEx ID.
Using the cursor key and the Data Entry Control, select the type of MIDI
data you want to transmit. Following are descriptions of the types of MIDI
data that can be transmitted.
OO
OO
The Preset, Volume,
and Pan information for all 16
channels is included when the
Multi mode Map settings are
transmitted or received.
Current Multisetup
Transmits all parameters in the Master menu except Tuning Tables,
Program/Preset Map and Viewing Angle.
Program /Preset Map
Transmits the MIDI Program -> Preset Map.
All User Tuning Tables
Transmits all 12 user User Tuning Tables.
Multimode Map
Transmits the following parameters:
• Multimode Basic Channel
• Multimode Effects Control Channel
• Multimode Tempo Control Channel
and for each MIDI Channel…
• Preset, Volume, & Pan
• Mix Output
• Multimode Channel Enable
• Multimode Bank Map
• Multimode Receive Program Change
80 E-MU Systems
__
__
WARNING: When
transferring SysEx data from one
Mo’Phatt to another, the ID
numbers of both units must
match.
Master Menu
MIDI Parameters
Bank 0 User Presets
Transmits all the user defined presets in Bank 0.
Bank 1 User Presets
Transmits all the user defined presets in Bank 1.
Bank 2 User Presets
Transmits all the user defined presets in Bank 2.
Bank 3 User Presets
Transmits all the user defined presets in Bank 3.
Any Individual Preset
Transmits only the selected preset.
All User Arp Patterns
Transmits all user arpeggiator patterns.
All User Data
Transmits ALL: user presets, user tuning tables, user arp patterns, and user
multisetups.
The Enter LED will be flashing. Press the Enter button to confirm the
operation. To receive MIDI data, simply send the MIDI data into Mo’Phatt
from another Mo’Phatt or from a computer/sequencer.
SEND MIDI SYSEX DATA
bank 1 user presets
To Record MIDI SysEx Data into a Sequencer:
1. Setup the sequencer to receive system exclusive data.
2. Place the sequencer into record mode, then Send MIDI Data.
To Receive MIDI SysEx Data from a Sequencer:
Simply play back the sequence containing the SysEx data into Mo’Phatt.
Mo’Phatt Operation Manual 81
Master Menu
MIDI Parameters
User Key Tuning User Key Tuning lets you create and modify 12 user definable tuning tables.
The initial frequency of every key can be individually tuned, facilitating the
creation of alternate or microtonal scales.
Using the cursor keys and the Data Entry Control, select the user table
number, the key name, the coarse tuning and the fine tuning. The key
name is variable from C-2 to G8. Coarse Tuning is variable from 0 to 127
semitones. The fine tuning is variable from 00 to 63 in increments of 1/64
of a semitone (approx. 1.56 cents). For each preset, the specific tuning table
is selected in the Edit menu.
OO
OO
The user key tuning can
be used to tune individual
percussion instruments.
USER KEY TUNING Table: 1
Key: C1 Crs: 036 Fine: 00
Screen Viewing Angle
This function changes the viewing angle of the display so that you can read
it easily from either above or below the unit. The angle is adjustable from
+7 to -8. Positive values will make the display easier to read when viewed
from above. Negative values make the display easier to read from below.
VIEWING ANGLE
+0
82 E-MU Systems
Programming Basics
This chapter explains how Mo’Phatt sounds are constructed and contains
important background information on how to create your own custom
presets.
Your initial involvement with Mo’Phatt will most likely be using the
existing presets and selecting MIDI channels. While the factory presets are
very good, there are some things you will probably want to change
eventually, perhaps the LFO speed, the filter frequency or the attack time.
You may also want to make your own custom presets using complex
modulation routings. This module will do far more than you ever imagined
and there are whole new classes of sound just waiting to be discovered.
Each preset can consist of up to four instrument layers. Each of the four
layers can be placed anywhere on the keyboard and can be crossfaded or
switched according to key position, velocity, or by using a real-time control
such as a wheel, slider, pedal, LFO or envelope generator. A preset can also
be “linked” with up to 2 more presets creating additional layering or splits.
Mo’Phatt has an extensive modulation implementation using two multiwave LFO’s (Low Frequency Oscillators), three multi-stage envelope generators and the ability to respond to multiple MIDI controllers. You can
simultaneously route any combination of these control sources to multiple
destinations.
There are 512 user locations (USER Banks 0-3) available to store your own
creations or edited factory presets. It’s easy and fun to edit or create your
own unique presets.
Mo’Phatt Operation Manual 83
Programming Basics
Modulation
Modulation To modulate means to dynamically change a parameter, whether it be the
volume (amplitude modulation), the pitch (frequency modulation), and so
on. Turning the volume control on your home stereo rapidly back and
forth is an example of amplitude modulation. To modulate something we
need a modulation source and a modulation destination. In this case, the
source is your hand turning the knob, and the destination is the volume
control. If we had a device that could turn the volume control automatically, we would call that device a modulation source.
Turning the volume control back and forth on your home stereo is an example of
Amplitude Modulation.
Mo’Phatt is designed so that each of the variable parameters, such as the
volume, has an initial setting which is changed by a modulation source.
Therefore in the case of volume, we have an initial volume that we can
change or modulate with a modulation source.
Two main kinds of modulation sources on Mo’Phatt are Envelope Generators
and Low Frequency Oscillators. In the example above, an envelope generator
could be routed to automatically turn the volume control as programmed
by the envelope. Or, a low frequency oscillator could be routed to turn the
volume up and down in a repeating fashion.
Positive modulation adds to the initial amount. Negative modulation
subtracts from the initial amount.
Summing Nodes
All the modulation inputs on Mo’Phatt are summing nodes. This means
that you can connect as many modulation sources as you want to an input
(such as Pitch or AmpVol). Modulation sources are simply added algebraically— connecting two knobs one set to -100 and the other set to +100
yields a net value of zero.
84 E-MU Systems
Programming Basics
Modulation Sources
Modulation
Sources
OO
OO
Tip: Try routing Key
Glide to Filter Frequency if you
want the filter to smoothly
follow pitch in solo mode.
Routing Key Glide to Pan creates
another interesting effect.
Modulation sources include Envelope Generators, Performance Controllers and
Low Frequency Oscillators. In the previous example, an envelope generator
was routed to automatically turn the volume control as programmed by the
envelope, or, a low frequency oscillator could be routed to turn the volume
control up and down in a repeating fashion. The following is a list of the
modulation sources used in Mo’Phatt.
Keyboard Key
Which key is pressed.
Key Velocity
How fast the key is pressed.
Release Velocity
How fast the key is released.
Gate
High if the key is pressed, low when the key is released.
Key Glide
A smoothly changing control source based on the Glide Rate and the
interval between the last two notes played.
Pitch and Mod Wheels
Synthesizer pitch bend and modulation wheels.
Keyboard Pressure (mono aftertouch)
Key Pressure applied after the key is initially pressed.
Pedal
A continuously variable pedal controller.
Miscellaneous Controllers A -L
Any type of MIDI continuous controller data.
Low Frequency Oscillators (2 per layer)
Generate repeating waves.
Envelope Generators (3 per layer)
Generate a programmable “contour” which changes over time when a key
is pressed.
Noise & Random Generators
Generate spectrums of noise and random signals.
Footswitches
Change a parameter when the switch is pressed.
Clock Divisor
The master clock can be divided and used as a modulation source.
Mo’Phatt Operation Manual 85
Programming Basics
Modulation PatchCords
Random Sources Random modulation sources can be used when you want the timbre of the
sound to be “animated” in a random or non-consistent manner.
• Key Random 1 & 2 generate different random values for each layer
which do not change during the note.
• The White & Pink Noise Generators produce varying random values.
Both white and pink noise sources are low frequency noise designed
for control purposes. Either noise source can be filtered even more by
passing it through a lag processor.
• The Crossfade Random function generates the same random value
for all layers in a preset. This source is designed to be used for crossfading and cross-switching layers, although you may find other uses.
Modulation
PatchCords
The controller Knobs
assignments printed on the front
panel are the system defaults.
You can change any of these
assignments using the Real-time
Controller Assignment page in
the Master menu (see page 75
for details).
When setting up modulation with the Mo’Phatt, you define a modulation
source and a modulation destination. Then, you connect the source to the
destination using “PatchCords.” Mo’Phatt’s PatchCords are connected in
the software. Mo’Phatt has 24 general purpose PatchCords for each layer.
You can connect the modulation sources in almost any possible way to the
modulation destinations. You can even modulate other modulators. Each
PatchCord also has an amount parameter which determines “how much”
modulation is applied to the destination. The modulation amount can be
positive or negative. Negative values invert the modulation source.
Modulation
Source
LFO 1
Modulation
Source
LFO 1
LFO 2
Amp Env
Filt Env
Aux Env
Wheel
Pressure
etc.
Amount +/-
- +
Destination
Amp
Volume
Destination
Amp Vol
Pitch
Pan
LFO Rate
Aux Env
Env Atk
Glide
etc.
86 E-MU Systems
Programming Basics
Envelope Generators
Envelope
Generators
__
__
If two adjacent segments
have the same level in a “timebased” envelope, the segment
will be skipped. Adjacent
segments must have different
levels for the rate control to
work.
An envelope can be described as a “contour” which is used to shape the
sound over time in a pre-programmed manner. There are three envelope
generators per layer and all of them are the rate/level type.
This is how the rate/level (time based) envelopes work: When a key is
pressed, envelope starts from zero and moves toward the Attack 1 Level at
the Attack 1 Rate. As soon as it reaches this first level, it immediately begins
the next phase and moves toward the Attack 2 level at the Attack 2 rate. As
long as the key is held down, the envelope continues on through the Decay
1 and Decay 2 stages. If the key is still held when the envelope reaches the
end of Decay 2, it simply waits there for you to release the key. When you
release the key, the envelope continues into the Release 1 and Release 2
stages, stopping at the end of the Release 2 stage. Mo’Phatt’s envelope
generators provide great flexibility for programming both complex and
simple envelopes.
Atk2
Atk1
level
Dcy1
Dcy2
Rls1
Rls2
OO
OO
By routing the Auxiliary
or Filter Envelopes to control the
pitch (PatchCords) you can
easily hear the shape of the
envelopes you are creating.
time
Sustain
Key
Down
All three envelope generators have the six stages described above. The
Volume Envelope generator controls the volume of the voice over time.
The Filter Envelope generator is a general purpose envelope most often
used to control the filter frequency. Unlike the Volume Envelope, however,
the Filter Envelope can have a negative level value as well as a positive
level. There is also an Auxiliary Envelope generator which is a general
purpose envelope. The Auxiliary Envelope is identical to the Filter Envelope
and can have negative as well as positive levels. You can adjust the time of
each stage to create myriad envelope shapes, which in turn shape the
sound over time.
• Volume envelopes contour the way the volume of a sound changes
over time determining how we perceive that sound. For example, a
bell struck with a hammer is instantly at full volume, then slowly dies
away. A bowed violin sound fades in more slowly and dies away
slowly. Using Mo’Phatt’s Volume Envelope, you can simulate the different types of natural instrument volume envelopes by programming
them appropriately.
Key
Released
Mo’Phatt Operation Manual 87
Programming Basics
Envelope Generators
Tempo-based Envelopes
Tempo-based envelopes are based on Time which is controlled by the
Master Clock (located in the Arp/Beats menu). The Master Clock rate scales
the time of the Tempo-based envelope segments. The Master Clock can also
be set to use an external MIDI clock so that the envelope times can be
synchronized to external sequencer or arpeggiator tempo changes.
Tempo-Based Envelopes
= Initial Setting
= Increase Master Tempo
Only the Filter and
Auxiliary Envelopes have the
repeating feature.
= Decrease Master Tempo
Envelope Repeat
The Envelope Generators can also be made to repeat. When the envelope
repeat function is On, the Attack (1&2) and Decay (1&2) stages will
continue to repeat as long as the key is held. As soon as the key is released,
the envelope continues through its normal Release stages (1 & 2).
level
Atk1
Atk2
Dcy2
Dcy1
Rls1
Rls1
Repeat Re..
time
Key Down Key Released
The diagram above show how the looping envelopes work. When the key is
pressed the envelope goes through its regular Attack 1, Attack 2, Decay 1
and Decay 2 stages. In non-looping mode, the envelope would hold at the
end of the Decay 2 stage until the key was released. In looping mode
however, it jumps back to the Attack 1 stage and repeats the first four
stages. It continues to loop through these four stages until the key is
released where it immediately jumps to the Release 1 stage.
88 E-MU Systems
Programming Basics
Low Frequency Oscillators (LFOs)
Low
Frequency
Oscillators
(LFOs)
LFO Tricks & Tips:
• The Random LFO wave is
truly random and is different
for each voice and layer.
• The Pattern (Pat) waveforms
will sound the same on
different layers and voices.
• Sine + Noise is very useful for
simulating trumpet and flute
vibrato.
★
When routing Hemi-quaver
to Pitch:
+38 = major scale
-38 = phrygian scale
+76 = whole tone scale
(+38) + (+76) = diminished
(two cords)
odd amount = S+H sound
A Low Frequency Oscillator or LFO is simply a wave which repeats at a slow
rate. The Mo’Phatt has two multi-wave LFOs for each channel. The LFO
waveforms are shown in the following illustration.
25% Pulse
Pat: Octaves
+ Octave
Pat: Neener
C
A#
Sine + Noise
Random
Sine
- Octave
G
Triangle
Square
Pat: Fifth+Octave
C
G
C
Sine 1,2 Sine 1,3,5
Hemi-quaver
Sawtooth
33% Pulse
12% Pulse16% Pulse
Pat: Sus4 trip
G
F
C
Note: References to musical
intervals in the pattern LFO
shapes are with the LFO
routed to pitch and a
PatchCord amount of +38
Try combining the
Pattern LFOs, or controlling the
amount of one with another, or
combining them with the clock
divisors.
.
By examining the diagram of the LFO waveforms, you can see how an LFO
affects a modulation destination. The shape of the waveform determines
the result. Suppose we are modulating the pitch of an instrument. The sine
wave looks smooth, and changes the pitch smoothly. The square wave
changes abruptly and abruptly changes from one pitch to another. The
sawtooth wave increases smoothly, then changes back abruptly. The
sound’s pitch follows the same course. Controlling the pitch of an
instrument is an easy way to hear the effects of the LFO waves.
Like the Auxiliary Envelope, LFOs can be routed to control any real-time
function such as Pitch, Filter, Panning, or Volume. A common use for the
LFO is to control the pitch of the sound (LFO -> Pitch). This effect is called
vibrato and is an important performance effect. Many presets use this
routing with the modulation wheel controlling “how much” LFO
modulation is applied. Another common effect, Tremolo, is created by
controlling the volume of a sound with the LFO (LFO -> Volume).
Mo’Phatt Operation Manual 89
Programming Basics
Clock Modulation
You might use the LFOs to add a slight bit of animation to the sound by
routing the LFO to control the filter. For this effect, set the LFO “amount”
low for a subtle effect.
When a PatchCord amount is a negative value, the LFO shape is inverted.
For example, inverting the sawtooth wave produces a wave that increases
abruptly, then smoothly glides down.
Negative Amount
+-
Clock
Modulation
Envelopes are triggered
on the positive going edge of the
clock. LFOs are triggered on the
negative going edge of the
clock.
The tempo of the master
clock is set in the Arp/Beats
menu.
Sawtooth
You can use the Master Clock as a modulation source, to trigger the Filter or
Auxiliary Envelope generators, trigger Sample Start, synchronize the LFOs,
or directly as a square wave modulation source. The Clock source is
available in eight divisions (octal whole note, quad whole note, double
whole note, whole note, half note, quarter note, eighth note, sixteenth
note). You can use the different rates separately or in conjunction to create
complex “synchro-sonic” rhythm patterns. You can also use a MIDI Clock
as the Master Clock to synchronize to an external MIDI device such as a
drum machine or sequencer. (See “Base Tempo (Master Clock)” on page 36.)
Clocks are routed exactly like the other modulations sources using the
PatchCords. The PatchCord Amount MUST be positive (+) for the clock to
pass. By modulating the PatchCord Amount, you can route the divided
clocks using real-time controllers or other modulation sources.
When an LFO is triggered by a clock, the LFO wave resets to zero every time
the clock wave goes low. If the LFO rate is close to the clock rate, the LFO
virtually synchronizes with the clock. If the two rates are far apart, the
waveform of the LFO will be mildly or radically altered.
Triggered LFO
Inverted Sawtooth
90 E-MU Systems
LFO Wave
Clock
LFO Trigger causes the LFO to reset each time the clock waveform goes low.
Programming Basics
Clock Modulation
LFOs can also be perfectly synchronized with the clock at any of 25 note
divisions. This allows you to create very cool “synchro-sonic” effects that
work perfectly at any tempo. Choosing one of the note divisors in the LFO
rate screen selects the synced LFO function.
There are many possibilities for clock modulation and retrigger. For
example, you can create a repeating six segment curve of any shape by
triggering the Filter or Auxiliary Envelope generators with the clock. A few
other possibilities are listed below.
LFO Synced to 1/4 Note Clock
• Turn different voice layers on and off using different clock divisors.
• Switch between Auxiliary and Filter Envelope retriggering using a
slider or footswitch.
• Retrigger LFOs or Envelopes using noise or other LFOs to create
random or semi random effects.
• Alter the LFO waveform by modulating the rate of a triggered LFO.
• Route multiple clocks with different divisors to the same destination
(such as pitch) to create complex patterns. (Hint: Adjust the PatchCord
Amounts.)
Eighth
Note
Quarter
Note
Adding these two clocks together in equal amounts produces a stairstep waveform.
16th
Note
8th
Note
Quarter
Note
Adding multiple clocks with unequal amounts produces complex repeating patterns.
Mo’Phatt Operation Manual 91
Programming Basics
Modulation Destinations
Modulation
Destinations
All the modulation
destinations are summing
nodes. This means that you can
connect as many modulation
sources as you want to a
destination. Modulation sources
are simply added algebraically
— connecting two sources, one
with a value of -100 and the
other with a value of +100
yields a net value of zero.
The PatchCords section of the Edit menu is where you connect sources to
destinations. Each PatchCord has an amount associated with it which
controls how much modulation is applied.
L1
PATCHCORD #01
ModWhl -> RTXfade +036
The PatchCords screen above and the diagram below show how
modulation sources are connected to destinations. The modulation sources
can control any of the destinations in the layer.
Layer
L
Instrument
Glide
Pitch
Start Offset
Chorus
Z-Plane
Filter
Freq. Gain
Envelope
Gen.
Vol
Amp
R
Pan
Envelope
Gen.
92 E-MU Systems
LFOs
• Note-on modulation sources, such as key, velocity and gate output a
single value at note-on time. Realtime modulation sources such as
LFOs, envelope generators and modulation wheels output
continuously changing values.
The possible modulation routings are completely flexible as shown in the
diagram above. Multiple sources can control the same destination, or a
single source can control multiple destinations.
Mod
Wheel
Envelope
Gen.
MIDI
Controls
Key #
Velocity
Gate
Mod.
Proc.
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