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INSTRUMENTS / GENERATORS
Morphine Generator Panel
An Overview of Synthesis in Morphine
The Generator Page contains the Additive Synthesis controls for Morphine. As has been discussed in the introduction, Additive synthesis builds more complex waveforms from a harmonic sequence
of sine-waves. Better yet, Morphine can interpolate a series of these harmonic 'snapshots', that may be manually programmed or derived from samples, to re/create infinitely complex sounds. In other words,
Morphine can generate synthetic 'samples'. There are four main features of the Morphine architecture -
- Harmonics: Each note consist of a fundamental (or root) sine wave and, optionally, a series of harmonics (higher frequency sine waves linked to the root) to create almost any waveform. The architecture
allows harmonic amplitude, tuning and panning to be modulated creating infinitely complex and rich tones. Each set of 128 harmonic properties and associated modifiers is termed a 'Breakpoint'.
- Harmonic Morphing & Modulation: Breakpoint properties such as harmonic amplitude, tuning and panning can be interpolated to produce a continuous evolving sound, known as a 'Spectrum'.
- Keyboard Zones: Zones add the ability to spread unique Spectra across the keyboard. If desired each note from C0 to C11 can play a unique Spectrum!
- Generator Mixing: The 4 Generators can be dynamically cross-faded using the Morph/Mix control panel. Given that each Generator can contain a set of morphing Breakpoints, the possibilities are limitless.
The aim was to provide the sound designer with a rich palette of evolving sounds that can be mixed, real-time, in response to modulation parameters time or tempo. By now the Morph in Morphine
should be clear.
Controls
This section describes the synthesis controls and their operation.
GENERATOR A, B C & D
The 4 GENERATORS in Morphine have the same set of properties that modify the response of 128 harmonics per voice. Further, in combination with Keyboard Zones, Generators can contain multiple, independent, 'sub-voices' assigned to play over unique keyboard ranges. The components of
the Generators are described, starting from the bottom of the Generator Page (as shown above) working upwards:
CONTROL RANGE
Limits the Detune and Pan range of the 128 harmonics for all Breakpoints. NOTE: If these are set to zero then the Detune and Pan values set in the Breakpoints won't have any effect,
conversely, if the Breakpoints don't have Detune and Pan values set, then these sliders will have no effect on the sound.
PWM FILTER
PWM FILTER - Each generator has a unique PWM Filter (Pulse Width Modulation). PWM Filters are usually created by adding or subtracting a second (detuned or phase shifted) voice with an original
to create unison, phasing or chorus-like effects. As the Morphine architecture provides control over the harmonic spectra it is possible to modulate the 128 harmonic amplitudes of each Breakpoint to
simulate voice mixing without the need to double voices. The options include detune, phase, and mix coefficient (positive or negative).
- RATE - Modulation speed. Up is faster.
- FREE - OFF: the modulation cycle starts with each note. ON: the modulation cycle is free-running.
- PHASE - Change the phase of the modulation cycle.
- MODE (OFF / + / -) - OFF: No detune simulation. +: Simulates additive voice mixing. -: Simulates subtractive voice mixing.
Breakpoint Editor Tutorial
This quick tutorial will show you how to morph between two simple harmonic spectra and give you a feel for working the controls of the Breakpoint Editor window, see the instructions below the image.
Harmonic Morphing
- Reset the patch: Left-click in the Program Name field (top-left window in Morphine) and select 'Reset Program' to call a blank patch.
- Add a harmonic Breakpoint: Click on the AMPLITUDE Breakpoint control and raise the left-most harmonic bar to maximum and play on your keyboard/sequencer. You should hear a single sine wave sound, the fundamental harmonic.
- Add a new morphing envelope point: Right-click (or Alt + Left-click) in the area shown above at (2.) to add a new morphing envelope point. Make sure the point is at the top of the window as the height will affect the volume of the
spectra at that point. Adding a point in this way will replicate the spectrum of the point immediately to the left of the new point.
- Customise the new Breakpoint sequence: Lower the original, left-most harmonic and add a new one further to the right. When this patch is played you will hear the low sine morph into a higher one as the
harmonics are morphed from the first to second Breakpoint.
- Change the morph speed: Adjust the RATE knob above the envelope window and hear how it affects the speed the envelope is played. You can also modulate the playback speed by changing the
RATE K-TRK (keyboard tracking), the RATE V-TRK control or simply moving the Breakpoint left/right. These will change the speed in response to note position and velocity respectively. An alternative
envelope mode is the TEMPO SYNC mode where the envelope will play back in beat-time, this is useful for tempo-synced sounds.
- LOOPING: Left-clicking to the right of the LOOP MODE label will open an menu to change the envelope loop type (Off, forward, backward or ping-pong as shown above). The start/end points may be
Left-clicked and dragged to the appropriate position on the envelope.
- KEYBOARD ZONES - Keyboard Zones allow you to either program new sounds on any or all keys or to tonally balance a sound across the keyboard (similar to multisamples on a Sampler). When you
add a new Keyboard Zone (Right-click or Alt + Left-click in the Keyboard Zone window) it may seem that Morphine has lost your hard work on the current Zone. Fear not! New zones are blank, if you click on the first
Keyboard Zone in the lower panel, your first Keyboard Zone will re-appear. Use this method to swap between Zones and Breakpoint Sequences.
ADSR (Attack, Decay, Sustain and Release) Envelopes
You may be wondering where the ADSR envelopes are for the Generators (A to D). Since the volume envelope of a Spectrum is defined by the height of the Breakpoint Markers a separate ADSR envelope
is unnecessary. To set the ADSR of a Spectrum simply draw the desired volume curve. To set a Sustain Level (a constant volume while a key is held) you can either use the last Breakpoint or, if you also need
to have a release envelope, then use the Loop Markers to trap the Spectrum at the desired Breakpoint (or set of Breakpoints) and so define the Sustain level. In the example below, the Loop Start and End
Markers are placed on the third Breakpoint in the sequence, trapping the Spectrum at that Breakpoint. On release the Spectrum will continue to the last Breakpoint and so the portion after the loop end will
define the Release envelope. Don't forget, there is also a Master Envelope, that applies to all Spectra, however bear in mind that this is imposed over the sound of the Generators
so it won't add a fast attack to a Generator with an inherently slow attack.
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