Anything like Zynaptiq Morph?

[MeldaProduction]

Thank you! I actually didn't add the "XY grid", because in ZMorph it always felt like only one of them is actually useful. This feels better to me

[Sampleconstruct]

Thank you! I actually didn't add the "XY grid", because in ZMorph it always felt like only one of them is actually useful. This feels better to me

Sure, I understand, but then we would need to define the term “useful“ maybe, I often found many of the in-between-states very useful.

[MeldaProduction]

Hehe true, usefulness is relative . It's just that for classic morphing I always ended up moving the grid on the left or right side and in that case the workflow in ZMorph is just horrible...

[Sampleconstruct]

This one morphs acoustic instruments, cello with french horn and bass flute (all VSL extended libs) - all playing he same quickly improvised solo line. The cello always plays, in the second half of the video the flute substitutes the horn and towards the end the flute plays a perfect fifth higher which makes for even more interesting effects, the overall sound quality in MMorph is really good and the occurring artifacts sound quite musical, not technical:

[WolfKay]

I'm morphing Dmitry Sches Diversion with Amaranth Cycle right now using MMorph.
Well, how can I say? It's just mind-blowing so far…

are you using the same, or very similar midi-files for both instruments, played simultaneously ?

Actually, I'm using an instrument on a track, then I use Plogue Bidule as an FX on this track.
Bidule uses the two stereo inputs in MMorph:
- one for the current "A" instrument (Diversion being displayed as "Bidule Plugin 6" here)
- and the other one for the "B" instrument (Cycle, here)

mmorph bidule.png

i'm afraid i don't know much things about bidule i assume though, that both synth performances are based on the same midi data, that would ensure you the most effective and flexible results, AFAIK

Of course the two morphed instruments are triggered by the same MIDI input device.
Then the most common way to use MMorph is to use the side-chain abilities directly inside you DAW, as explained in Melda's documentation.
In my case, I'm hosting MMorph (like many of my other tools) inside Bidule systematically, only to have all its modular components an advanced modulation options close at hand.
Now back to MMorph, inside MXXX this time, hosted itself by Bidule

[mcbpete]

My first impression:

In comparison to Zynaptiq's Morph, there is only one downside, you have to use the switch to flip a modulator into a carrier, in Z-Morph you can morph continuously between the sources, and the crossover sounds can be spectacular. But the sound shaping possibilities in MMorph are more refined and the spectral buffer settings make for a wide variety of possibilities, so do the compressor modules which let you shape the input sources inside the plugin, in Z-Morph you have to do all of that on the individual source tracks. And then we have all these modulators which I haven't even touched yet.

Damnit, bought ZMorph2 last year because of your awesome Youtube demos, now I want to swap and have MMorph instead 'cos of your awesome Youtube demos

[Sampleconstruct]

My first impression:

In comparison to Zynaptiq's Morph, there is only one downside, you have to use the switch to flip a modulator into a carrier, in Z-Morph you can morph continuously between the sources, and the crossover sounds can be spectacular. But the sound shaping possibilities in MMorph are more refined and the spectral buffer settings make for a wide variety of possibilities, so do the compressor modules which let you shape the input sources inside the plugin, in Z-Morph you have to do all of that on the individual source tracks. And then we have all these modulators which I haven't even touched yet.

Damnit, bought ZMorph2 last year because of your awesome Youtube demos, now I want to swap and have MMorph instead 'cos of your awesome Youtube demos

Sorry, time flies, and obviously Melda felt challenged by doing it's own version of a morphing plugin, and succeeded too.

[secretkillerofnames]

As for Ableton Live - Live doesn't support sidechaining properly. Unlike other plugins ours support up to 8 channels per bus (surround) and Live just doesn't like that. But you can use VST, it works fine there. I'd suggest asking Ableton to fix that though, it's a shame there are so many problems in quite a cool host like that.

The Zynaptiq Morph has two AU plugins, one with SideChain and it works fine in Live.

Fair enough it being not on your priority list - it's a minor hassle for me.

Haha at asking Ableton to fix it.

I really like the smooth morphing of ZMorph, it's really fun to find that point where the combination brings up something insane and then slowly move around that.
From experiments with MMorph i'm thinking a more targeted approach with specific intentions will be beneficial.

[woodsdenis]

Great plugin and free with the creative bundle, TX

[astramistil]

Here I tried randomly to mix some rythmic guitar I made with 'Clair de Lune-Debussy' and while they are not rythmically aligned, at about 0:13 it gives interesting kind-of-upbeat patterns I think. So for ''stuttery-spectral-etheral FX'' it can be useful for sure. All Compression and Flattening knobs are for sure very important for tone, alot more than I initially thought.

https://soundcloud.com/yannick-trudeau/mmorph-debussy

But after 3hours trying to get something useful with MMorph, I must say that MMorph is definitely an alchemist plugin. I tried in vain to layer violin with guitar and piano playing same parts but I couldnt get a sound I would use for a professional composition (even when layered with the original). So in the ''organic pads'' domain, I think its hit-or-miss, and when something sounds great its just about 1-2seconds and the next 5 are not as great/usable; I guess hours of automation is the key here.

Though, with rythmical stuff in Sidechain over lets say an orchestral pads it can bring something really interesting or with different FX on the modulator source, it can generates unusual phaser/flanger etc. Cutting lows from s-c source helped.

But for organic, detailed, clean pads any advices? (like with violins+piano?) I guess a blend of MMoprh and AET from Kontakt would gives better results

(oh and I think it will be a good ''Boards of Canada'' tool!)

[MeldaProduction]

I think it's more like choosing the right audio materials, not everything makes sense with everything and it also depends on what you are looking for. It's a creative thing definitely. I personally prefer to use main input for something sustained (pads, strings, stuff like that) and sidechain to be more rhythmical (drums, vocals etc.). Definitely one of them should sort of "constant" - if you have 2 instruments playing 2 different melodies, you cannot expect much, at least if you are looking for something harmonic. If one of the instruments is too "small" (not many frequencies), it helps to use some of the whitening, flattening or things like that.

[Sampleconstruct]

Vocal texture meets Zebra pad, that sort of thing:

[MeldaProduction]

That's what I'm talking about!

[jc_vt]

No problem just using the VST version. Happy to report as well that the AU work fine in Numerology, although you do need to move some patch cords around.

Are there other Melda effects which have the same AU problem in Live?

Thank you folks!

As for Ableton Live - Live doesn't support sidechaining properly. Unlike other plugins ours support up to 8 channels per bus (surround) and Live just doesn't like that. But you can use VST, it works fine there. I'd suggest asking Ableton to fix that though, it's a shame there are so many problems in quite a cool host like that.

[frizzbee]

could someone please do a demo of what you can't do with a vocoder? i don't hear a difference so far