Zynaptiq Morph

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Morph

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WolfKay wrote:
Daags wrote:for the sake of better quality morphing, i'd be more interested in a plugin, or standalone application if needs be, that morphed between loaded/analysed/mapped samples...rather than live input.
+1000!
Yes, an upgrade for this plugin and/or a standalone app w/ sample loading and offline processing are definitely needed...
A kind of new SoundHack for today's needs.
That would turn an already great plugin into an incredible, powerful sound design weapon!!
It would be a heaven's gift :)
:pray:
I really love that it can be 'fed' live, personally, albeit I'm feeding it with samplers/manglers/loopers. :wink:
I'm not a musician, but I've designed sounds that others use to make music. http://soundcloud.com/obsidiananvil

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That's a great way to use Morph!
Though offline processing would still be needed for better sound quality and for more treatment choices.

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I would recommend Alchemy for a precalculated method of morphing. It's morphing gets a bad rap for some reason but I'm guessing that's because people don't set the pitches of each sound source to the proper relative intervals so that when the sound you are morphing to is reached it is playing back at the completely wrong pitch. Also this allows for for way morphing. It can still be gotten for a short time and it is totally stable in its current incarnation. Before Zynaptic released this product it was the best in the box morphing solution available among all the other cool synthesis stuff that it does.

Sorry for bringing up a different product on this thread.

The fun thing for me about Morph is that you can morph between things with barely any setup which allows for crazy happy accidents. If you really want to get down and dirty with configuring stuff build yourself a morphing routine with csound or supercollider or something that will let you retool the algorithm at will to get the best results for your source sounds.
Don't F**K with Mr. Zero.

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Morphing a field recording I made in Seoul some years ago with a dark drone from one of my SoundPacks. This is a rather strange combo...

http://www.youtube.com/watch?v=7iHJK48uIBs

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javahut wrote:Yeah... damn it. Now I gotta have Pitchmap, too. It looks like way too much fun to not be playing with. :love:
I'm thinking about picking up Pitchmap too. Damn you, Zynaptiq! :hihi:
Incomplete list of my gear: 1/8" audio input jack.

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Sampleconstruct wrote:Morphing a field recording I made in Seoul some years ago with a dark drone from one of my SoundPacks. This is a rather strange combo...

http://www.youtube.com/watch?v=7iHJK48uIBs
This sounds INCREDIBLE! :love:

What does your typical field recording kit consist of?
Incomplete list of my gear: 1/8" audio input jack.

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Daags wrote:for the sake of better quality morphing, i'd be more interested in a plugin, or standalone application if needs be, that morphed between loaded/analysed/mapped samples...rather than live input.
Yes. Offline option would also be pretty cool!
My main tools: Kontakt, Omnisphere, Samplemodeling + Audio Modeling. Akai VIP = godsend. Tari's libraries also rock.

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Ben H wrote: Yes. Offline option would also be pretty cool!
It would be cool for the standalone app. and BTW all Zynaptic products ...including Morph !

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Q for Simon I see you are using Logic, currently this is the way I do it

Create a track stack for input B and out put Bus 2. this enables me to put multiple sources, balance them and control overall level. Create audio track for input A, use side chain Morph and input Bus 2. Works but no quick way of bouncing except to route to another audio track and record real time. Do you have any suggestions on how to improve this ?

Q for Simon and Denis. I usually have a buffer setting of 256 in Logic. is there any reason to change the buffer size to 1024 apart from the overall performance increase. I get no cracks or pops at 256 and is difficult to AB the difference with the time taken to change buffer settings.

Tx
Mac Studio
10.14.7.3
Cubase 13, Ableton Live 12

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deastman wrote:
Sampleconstruct wrote:Morphing a field recording I made in Seoul some years ago with a dark drone from one of my SoundPacks. This is a rather strange combo...

http://www.youtube.com/watch?v=7iHJK48uIBs
This sounds INCREDIBLE! :love:

What does your typical field recording kit consist of?
Thank's! I have been using 2 MKH70 shotguns, each one in a big windshield cage with a dead cat around it, both mounted on the same boom (this is heavy but I don't do mono field recordings). At that time I was recording onto a Marantz PMD 671 which I exchanged a while ago for a Tascam HD-P2, as that has better mic preamps.

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woodsdenis wrote:Q for Simon I see you are using Logic, currently this is the way I do it

Create a track stack for input B and out put Bus 2. this enables me to put multiple sources, balance them and control overall level. Create audio track for input A, use side chain Morph and input Bus 2. Works but no quick way of bouncing except to route to another audio track and record real time. Do you have any suggestions on how to improve this ?

Q for Simon and Denis. I usually have a buffer setting of 256 in Logic. is there any reason to change the buffer size to 1024 apart from the overall performance increase. I get no cracks or pops at 256 and is difficult to AB the difference with the time taken to change buffer settings.

Tx
There is no benefit from using higher buffers other than relaxing the CPU load, 256 sample buffer seems fine for me in most scenarios. Concerning the routing: why would that setup not allow for offline bouncing? I am using offline bounce most of the times using a similar setup, but I have to check back, to confirm that offline bouncing works as I expect it should work.

In order to allow for multiple sources to be fed into both inputs A/B, one could also insert Morph on e.g. Bus 1, route source A stuff there, then use sidechained Bus 2 for the input B sources. In that case set the outputs for Bus 2 to none, and Bus 1 to stereo or another Bus which you can use for Bus-recording onto a track in Logic. I haven't tried this myself but will try that asap.

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Sampleconstruct wrote:
deastman wrote:
Sampleconstruct wrote:Morphing a field recording I made in Seoul some years ago with a dark drone from one of my SoundPacks. This is a rather strange combo...

http://www.youtube.com/watch?v=7iHJK48uIBs
This sounds INCREDIBLE! :love:

What does your typical field recording kit consist of?
Thank's! I have been using 2 MKH70 shotguns, each one in a big windshield cage with a dead cat around it, both mounted on the same boom (this is heavy but I don't do mono field recordings). At that time I was recording onto a Marantz PMD 671 which I exchanged a while ago for a Tascam HD-P2, as that has better mic preamps.
That's some nice kit!

I often use a single MKH70 (I work in video production) but it never occurred to me to try a stereo pair. It seems like that would be rather cumbersome with two housings and deadcats on a boom, all handheld. I admire your commitment to the craft! I sometimes record to a Tascam DR-100MKII, but honestly my tastes are far less refined than yours... I'm usually content with a handheld Shure VP-88 plugged into a Zoom H4N. :oops:
Incomplete list of my gear: 1/8" audio input jack.

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deastman wrote:
Sampleconstruct wrote:
deastman wrote:
Sampleconstruct wrote:Morphing a field recording I made in Seoul some years ago with a dark drone from one of my SoundPacks. This is a rather strange combo...

http://www.youtube.com/watch?v=7iHJK48uIBs
This sounds INCREDIBLE! :love:

What does your typical field recording kit consist of?
Thank's! I have been using 2 MKH70 shotguns, each one in a big windshield cage with a dead cat around it, both mounted on the same boom (this is heavy but I don't do mono field recordings). At that time I was recording onto a Marantz PMD 671 which I exchanged a while ago for a Tascam HD-P2, as that has better mic preamps.
That's some nice kit!

I often use a single MKH70 (I work in video production) but it never occurred to me to try a stereo pair. It seems like that would be rather cumbersome with two housings and deadcats on a boom, all handheld. I admire your commitment to the craft! I sometimes record to a Tascam DR-100MKII, but honestly my tastes are far less refined than yours... I'm usually content with a handheld Shure VP-88 plugged into a Zoom H4N. :oops:
Mono field works fine for film footage, but for creating soundscapes and deriving music from "found" sounds like I often did in my film soundtrack work for documentaries, it has to be at least stereo. Of course I also use smaller gear for less spectacular purposes, I always carry a Zoom on me, and sometimes a handheld stereo mic also does the job. Sometimes I also use binaural in-ear-mics plugged into a little Zoom, that way people don't notice you're recording as they think you're listening to music - good for capturing ambiences in pedestrian zones, shopping malls, backstage areas and alike.

[/thread derailment]

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Sampleconstruct wrote:
woodsdenis wrote:Q for Simon I see you are using Logic, currently this is the way I do it

Create a track stack for input B and out put Bus 2. this enables me to put multiple sources, balance them and control overall level. Create audio track for input A, use side chain Morph and input Bus 2. Works but no quick way of bouncing except to route to another audio track and record real time. Do you have any suggestions on how to improve this ?

Q for Simon and Denis. I usually have a buffer setting of 256 in Logic. is there any reason to change the buffer size to 1024 apart from the overall performance increase. I get no cracks or pops at 256 and is difficult to AB the difference with the time taken to change buffer settings.

Tx
There is no benefit from using higher buffers other than relaxing the CPU load, 256 sample buffer seems fine for me in most scenarios. Concerning the routing: why would that setup not allow for offline bouncing? I am using offline bounce most of the times using a similar setup, but I have to check back, to confirm that offline bouncing works as I expect it should work.

In order to allow for multiple sources to be fed into both inputs A/B, one could also insert Morph on e.g. Bus 1, route source A stuff there, then use sidechained Bus 2 for the input B sources. In that case set the outputs for Bus 2 to none, and Bus 1 to stereo or another Bus which you can use for Bus-recording onto a track in Logic. I haven't tried this myself but will try that asap.
Tx Simon yes I can offline bounce I jus like to keep the "final bounce" in the session. Will try your suggestion about bus routing.
Mac Studio
10.14.7.3
Cubase 13, Ableton Live 12

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Sampleconstruct wrote:
In order to allow for multiple sources to be fed into both inputs A/B, one could also insert Morph on e.g. Bus 1, route source A stuff there, then use sidechained Bus 2 for the input B sources. In that case set the outputs for Bus 2 to none, and Bus 1 to stereo or another Bus which you can use for Bus-recording onto a track in Logic. I haven't tried this myself but will try that asap.
Is a great way workflow wise tx
Mac Studio
10.14.7.3
Cubase 13, Ableton Live 12

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