i was thinking of suggesting the same. a bunch of modulation/sequencing things could go where the rene is and a 0-ctrl could sit outside - fun instrument that can be used on its own for more abstract/chance/random sounds, and also sequenced.

Not sure if this is a common problem, I’m currently experiencing clipping issues with my morphagene. I’m layering and recording to a new splice, mixing the input signal and Morphagene with the SOS knob. After stacking up 4 to 5 layers the clipping becomes apparent. I’m on the latest firmware and used the lowest gain staging setting.

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There’s some kind of glitching issue on the input, it’s not clipping. Email their tech support about it: technical@makenoisemusic.com I emailed them about it ages ago (just after the new firmware came out) and they confirmed it as a bug but haven’t addressed it yet, so hopefully more people bringing it up will encourage them to fix it! I haven’t really been using it much because of that issue :frowning:

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Weird, I’m getting this glitching issue right now. I contacted them and they asked me to reinstall the firmware which i did and it didn’t help. Now they want me to send it in for them to look at.

Is this related to maximum morph in combination with clock sync in?

@vicimity It’s definitely related to the clock sync in yes!

I asked a question regarding this on the Make Noise user forum on Facebook. I think last summer when the “new” firmware was just released. They said there is an issue / bug and it would be looked at next firmware update. This is some time ago though… No new firmware since.

Edit: link to Facebook post, https://m.facebook.com/groups/1657330677899729?view=permalink&id=2340628209569969

Edit 2: Memory failed. It wasn’t me who asked the question. :woozy_face:

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Yep just confirmed this with Devin from Make Noise.

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Any word on when this might be fixed?

Nope sorry. From Devin:

“unfortunately, there is nothing that we could do for this module in this situation.
We will however attempt to address this behavior in a future firmware update.”

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Haha a thread that refers back to my old post from 9 months ago! The original post reports this issue and demonstrates it:

@walker responded saying that it would be investigated. No updates as of yet though.

Hey y’all, I’ve had a patch question/problem for the Morphagene for the past short while and finally figured out a way to achieve what I was after. Maybe it’s a bit obvious to some of you, but it felt like a bit of an “aha!” moment for me, so I thought I’d share in case it helps anyone else

This is roughly the patch that I started with:

A controller or sequencer (in this case FH-2, but could easily be Keystep, Ansible, etc) sends a gate into a multiplier, with one output controlling the gate input of Stages configured as an ADSR envelope generator, and the other connected to the Play input of Morphagene. The audio output of Morphagene goes into a VCA, whose output volume is controlled by the ADSR envelope generated by Stages. Output from the VCA isn’t patched in the image, but it goes into your mixer/audio output/whatever.

The core idea here was to make Morphagene behave like a repeatable granular sound source (oscillator), with your “standard synth” ADSR volume control. With the Play input disconnected, the patch behaves as expected, with the caveat that the onset of each note gate may sound a bit different due to the phasing of gene playback. This is where the “repeatable” constraint comes in - I wanted the timbre of the note to stay the same, regardless of when the gate comes in, or how often it’s repeated.

Connecting the note gate to the Play input solves the repeatability problem, since it means envelope will always begin to open at the beginning of a gene, but when the Play input goes to zero, Morphagene stops outputting audio as soon as the current gene is finished. This makes the “release” phase of the envelope unpredictable, bordering on unusable. If the release time is longer than the time left of the current playing gene, the audio will stop abruptly when the gene ends, instead of filling out the full release tail. This is not such a huge problem when the Gene Size is turned down (i.e. genes are long), but when the Gene Size is cranked up (i.e. genes are short) the release phase is effectively non-existent.

To fix this, I needed to figure out how to extend the gate attached to the Play input so that it would last as long as the release phase of the ADSR. Based on the modules I have, I wound up using the Disting mk4, but I suspect any comparator (or possibly even a logical OR?) would do the trick.

Instead of patching the gate into the mult, the gate just goes into the ADSR envelope generator, and then the envelope is fanned out - one output into the VCA as before, and the other into the comparator. For Disting, this means using algorithm A7 (Comparator). The output of the ADSR goes into input X. Input Y is left unpatched, meaning that output A will go high whenever there’s any non-zero voltage coming from the ADSR, which yields a gate that lasts the full length of the envelope, which is exactly what I needed to feed the Morphagene’s Play input.

The fixed patch looks like this:

You could also mult the A output of the Disting to send to things like phase-sync’d LFOs for modulating other parameters, etc.

Anyways, hope this helps someone (or future me), and happy Rauhnächte to those who celebrate :wink:

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What if you just double your envelope into Play input? AFAIK it plays when signal there is higher than 0.

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5ths and/or octave quantization as an option in the text file would be very nice,
or even better the same way like the user-definable Morph Chord Ratios.
EDIT: just reading through the tread and seeing that it was mentioned several times and argued about.
Sure, it’s modular and a quanticer with programmable scales can do this. But I guess this is the dilemma with customizable digital modules VS serge patch programming style.

ah jeez, damn… is it really that simple? 🤦

edit - yeah, damn, it is really that simple

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pmod 2 for Trigger Loop should also work.

I’ve had Morphagene for a few months now and haven’t really clicked with it. Mostly I feel like I’m not really playing it. One reason I love clouds is because it feels very playable in that I can patch it up to respond to what I’m playing into it. I haven’t had that type of experience with Morphagene…

I feel like I’m missing something and perhaps I need to just play around with it more… I’m mostly interested in playing into it live instead of processing pre loaded samples.

What’s your favorite Morphagene technique?

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I’ll start by saying that I primarily use Morphagene with material I’ve prepped for use with it. In other words I’ll take bits of audio and drop in markers on the computer, then transfer them to the SD card. In fact, at this very moment, I am taking a a piano progression and mangling it with the Morphagene. Here’s the naked progression:

Here’s where I am with it right now (I’m not done, but wanted to just show you where I’m headed.)

So I’ve got markers placed right before the transient of each chord. I’m manually processing with the Shift button. An LFO is patched into gene size.

I’ve got a Teletype scene set up to randomly jump between octaves via the varispeed CV control, so there’s some timbral variety. Beyond that, the rhythm is coming from a sequence of gates hitting maths, which opens a pair of VCA’s. From there, QPAS and mimeophon for processing. Not sure if I love that but yet.

And there you have it: piano bongos? :man_shrugging:

Edit: Ok, here’s a take of this technique in the context of the song I’m working on. It sits under the original piano part and serves as a kind of drum substitute.

The final thing I’ll do is gush on @walker 's YouTube Morphagene videos. They really are all worth a watch. Morphagene will get you into some music concrete territory very quickly. I’ll often take a simple field recording of footsteps or pine cones being rubbed together and just explore them…

One more thought: these two things aren’t always mutually exclusive. Try loading in a file that’s just every note in your favorite scale played on your favorite instrument, with a marker at the beginning of each note (you could also do this in rack with a clock patched in to MG). Now you can “play” that scale with the Organize knob, or patch the end of splice gate into the Shift input (which will yield a kind of “riffing”).

I’ve used this technique to create a very playable model of my Lyra-8, and it’s a lot of fun. (This is a fun approach for Cheat Codes as well, FTR).

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I can only echo what @mattlowery said about using mostly stuff I prepped for it. Putting in markers via reaper as described in the manual is fairly straightforward. I also asked a friend a few months ago to record a bunch of 4 bar loops for me, which is what the morphagene excels at mangling in my experience. To just name my most common uses for the MG:

  • Turning arps into chords with morph up high
  • Turning chords into pads with the same technique
  • Chucking sequences and modulation into vocal loops to make lead lines
  • Making faux remixes by taking breakdowns of songs I like and then splicing & processing them through the MG and further
  • Using one SD card for prepped stuff and one for snapshots of patches that I can’t be bothered to actually record but don’t want to lose

I did try using longer recordings a short while ago by recording something explicitly for use with the MG. Since I found that using unclean samples or ones with a lot of ambient noise made for a more interesting sound, I recorded the following improvised thing with Lekko:

Then I added splice markers after every bar or so and used that recording to make this:

The second track is just me messing around for 10 minutes with my setup, the morphagene is doing the higher piano chops which are run through the mimeophon with flip engaged.

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All of this is beautiful - Thanks for sharing!

Edit: Also thats a very good idea in using it to create a instrument of its own with pre loaded samples - I havent thought of it in this manner before, so viewing it in that way is a nice perspective.

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