#Morphvox pro delay problem mod
So, if you want, say, vibrato on the mod wheel, that means copying the patch from A to B, adding vibrato to patch B and remembering to mirror any tweaks in both patches. The Morph Wheel itself is actually quite limited - you can assign it to a CC using the MIDI learn feature, but you can't unassign it from the mod wheel. It's easy to manage the A and B patches - you can copy, paste and swap patch settings with a few clicks. It works well, and useful variations can be found by morphing between different patches or even variations on the same sound. Moving the wheel morphs between them, smoothly interpolating between all parameters. It can hold two patches loaded at once, referred to as A and B. MorphoX's approach is far simpler and arguably more elegant.
This isn't a new idea - for example, Ohm Force's comparable Melohman system has been around for a few years now. MorphoX's Morph Wheel enables the user to 'morph' smoothly between two patches.
#Morphvox pro delay problem plus
There are also simple but effective chorus and delay effects (morphable, natch), and an arpeggiator, plus two auxiliary oscillators, one of which provides stepped output - useful for creating rhythmic sequences. The mod matrix is straightforward, and doesn't offer MIDI CCs as sources, but it's functional enough and a decent MIDI learn system makes up for that minor shortcoming. All these envelopes can also be freely routed in the modulation matrix, of course, and it's even possible to use the glide envelope as a mod source! This really needn't be a worry, however, as the filter sounds great as is.Īs well as the filter envelope, two other identical ADSRs are onboard, one of which controls the amplitude and the other of which is intended for use as a general modulation source. These features are undoubtedly cool, and the filter also includes the requisite keytracking and filter envelope depth settings, but filter freaks might be wondering about the lack of multiple modes and filter strength settings. The frequency of oscillator 1 can be used to modulate the cutoff of the filter (even when the oscillator output to the amp is turned down), making it possible to apply extreme pitch modulation to the oscillator for mad, full-on cutoff frequency modulation action. We'd like to see this included in more synths in the future.Īnother nice touch is the reappearance of the filter FM function from Alpha 3. While this might not sound particularly useful, in practice, being able to dial a little treble into the mix using the high-pass filter level is really effective. Rather than offering switchable modes, it has Level knobs for its low, high, and band-pass filters, with shared Cutoff and Resonance controls.
LinPlug reckon they left this out for simplicity's sake, but we hope they change their minds and make it available in a future update.Īfter the oscillators comes MorphoX's filter section, which boasts a couple of interesting features. This is a missed opportunity, as great results can be had by sweeping them rapidly. More seriously, while the Wave knobs are automatable, it's not possible to modulate them via the mod matrix.
This isn't a major problem because you can use the modulation matrix as a workaround, and there are Fine-tune knobs for creating detuned sounds. However, there's no direct way to detune the oscillators by semitones. The raw sound is great to start with, which always helps, and it's possible to get some really meaty tones using the spread and modulation features. The oscillator section is, by and large, excellent. You can set oscillators to be free-running, and oscillator one also has a Phase control. Unusually, spread works differently for each oscillator, giving you five voices for oscillator one and three voices for oscillator two.
0 kommentar(er)
