Iām actually an end (or near-end) of chain user. Modulating the Morphagene as a granular device is when it actually gets going doing granular stuffs. You want it set to never record its own output (you can manually override this by patching it to feedback with itself if thatās really what you want, and can use a VCA between the output / input to dial in the right amount of feedback instead of having feedback tied to dry / wet balance). Further, smooth gene windowing is a big help, and knowing what kind of control signals you like the sound of into what inputs is pretty big. I usually patch a slow LFO to the dry / wet and leave Morph maxed out with a fairly short buffer (30 seconds or less). Because pitch shifting is a big part of the experience (esp. at max morph), more-so than clouds, you have to be very deliberate about the harmonic content of the material you feed it when live-playing. I dig monophonic sources limited to 5 pitches or fewer spread over at least an octave and a half (and change the incoming pitches dynamically if I get bored, one note at a time, yielding 6 note chords in transitions superimposed on themselves shifted in fifths and octaves if morph is high).
The timbrel and harmonic characteristics of what you feed the morphagene as a live effect simply must be dynamic, or else the effect itself loses all sense of movement.
Youāve actually got that particular MG in your hands because I didnāt jive with it as a sampler!
Edit: forgot to mention that to get actual granular stuffs requires a stepped voltage to āslideā ā similar toā¦ āpositionā (?) on clouds
