![]() ![]() And unlike real tape, it’s a doddle to seamlessly remove these later, effectively joining the tape up again. At the most basic level, you could create a series of splices to be swapped around either manually or under CV control, inserting new ones at any time to work on smaller sections of material. Having made an initial recording into the first splice, you’re free to overdub or create new splices until you hit the 87 second limit. Starting out with no guidelines as to what might yield interesting results, I quickly realised that moving outside the modular and sampling anything and everything was the most sensible proposition.Ī reel’s maximum recording time is 87 seconds, which can be divided into up to 100 splices - discrete chunks of looping audio. This is worth stressing because you can just as easily capture the module’s own playback, or any mix you care to make of source and playback. To monitor the incoming audio exclusively, the SOS knob must be turned fully anti-clockwise. Be aware that pressing these buttons in the reverse order is the command to wipe the current splice. Therefore, an auto-levelling process is required, for which the button combination is Record and Shift. Strangely, there is no input level control. To add a few degrees to the initial learning curve, the order of pressing buttons also affects the resulting functionality. First you’ll need to capture some audio, and for this you’ll need the manual and some practice memorising the various button combinations. Current: +12V = 165mA, -12V = 20mA.While you aren’t forced to work in stereo, it makes a lot of sense to do so - or alternatively, to treat the virtual tape as two mono sources for separate processing later. Indeed, it was sometimes slightly confusing trying to differentiate between incoming audio and playback, since the only balance control is the single SOS (Sound On Sound) knob. The audio recorded on to these reels is stereo, 48kHz and 32-bit - in other words, high quality. Instead of actual tape, a 4GB MicroSD card is provided, which can store up to 32 reels. Stretch and squash sound with Clock input.Morphagene is Make Noise’s attempt to take creative tape splicing and microsound exploration into the 21st century. Utilize envelope following CV OUT and EOSG Trigger to engage Morphagene in conversation with the rest of your modular system. Process sound in real time using Time Lag Accumulation. Undertake iterative music processes by recording manipulations and overdubs into new Splices, like having two machines (one for Playback and modulations, one for Record). Manipulate playback speed and direction with Vari-Speed. ![]() ![]() Some of the Morphagene's most basic uses: Splice recorded audio and jumble it using ORGANIZE. Search between the notes to find the unfound sounds. The Make Noise - Morphagene is a next generation tape and microsound music module that uses Reels, Splices, and Genes to create new sounds from those that already exist. The Make Noise - Morphagene levels up the already game-chaning features of the neo-classical Phonogene from the same manufacturer: multiple channels, morphing signals, more ease with recording and stereo signal path will keep you busy for quite a long time.
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