Image - Line Morphine

Since its inception, additive synthesis has always been seen as a technique with great potential but difficult to manage and costly of resources. Instruments such as the DK Synergy or the Kawai K5000 have given a taste of the potential of this technique although limited for physical issues (processing capacity of the processors) and for the number of controls available.

Il Fourier theorem states that any periodic signal can be decomposed into the sum of sinusoids where the first has the base frequency of the signal considered (the note we perceive, here called fundamental) with a series of multiples of it called harmonics. There additive synthesis is based precisely on this principle, adding different sinusoids in order to generate a complex signal. The Gordian knot of this technique is precisely the large amount of parameters to be managed as they must be multiplied for each harmonic.
Morphine, produced by the Belgian image-line, the same that also develops Fruity Loops now in version 8, it meets these problems by providing a very complex tool in an essential and functional interface.

First aspect:

The screen that appears as soon as the program is launched corresponds to Generator and, at first glance, it may seem tricky. In the upper part we find everything related to the harmonic characteristics of the sound, ergo the parameters that can be manipulated. We can define the volume of each single harmonic of the 128 available, its position in the stereo panorama, any pitch variations and, finally, the actual harmonic series called Window. All these parameters define a single Breakpoint. Pay attention because here comes the beauty: the section immediately below works as an envelope generator where every single point represents a Breakpoint. By adding a new point, using the right mouse button, and modifying the spectral parameters, we obtain a timbre variation over time. In other words, the sound changes continuously allowing you to obtain complex and evolving timbres with a few simple touches.

If you want to try your hand at a test, simply add a harmonic (or more at the same time, depending on the type of Tool you select from the appropriate menu), add a point in the Spectrum section and retouch the harmonic curve. When you play you can hear your timbre vary over time.

Resynthesis:

One of the strengths of Morphine and its resynthesis engine, that is the ability to recreate a sound starting from a sample and then allowing us to manipulate it at will in its spectral content. I confess that initially I was rather skeptical about the capabilities of this technique, but I soon had to change my mind. By clicking on the button Charge Smp, located in the left part of the program, we can select the sample we want to recreate and listen to a preview using the Play button. With the help of the Balance knob we can listen to the difference between the original sound and the one that will be imported by making, if necessary, any changes to the pitch using the Note and Detune values. The fidelity of the reconstruction is directly proportional to the resolution selected in Resolution, as well as the time taken to process the sample. The first attempt was made by resampling a digital piano with results I really didn't expect. The sound is quite faithful and, contrary to what happens with samplers, the loading times are instantaneous. It is therefore possible to fairly faithfully reconstruct acoustic instruments in an environment without samples.
The situation is different for sounds with more complex evolution, such as melodic or rhythmic lines. The results, and it could not be otherwise, are not as satisfying if your intentions are those of faithful reproduction. If, on the other hand, you want to create new material from old samples then break down an open door. The possibilities offered by the manipulation of the spectrum and the modulations provided by the synthesizer will allow you to create new soundscapes in no time.
 
Morphing and Modulations:

As already mentioned above, Morphine allows you to create evolutionary sounds through the concept of Breakpoint. The section Morph/Mix allows you to mix the four Generators using a panel X/Y which recalls the vector synthesis present on the old Korg Wavestation and SCI Prophet VS and the possibilities to vary the sound do not end there. The Modulation panel provides the classic modulation matrix, with 12 slots available, and four additional envelope generators. Finally, it is possible to select a sample in the Noise section, with its Lowpass filter, to add additional color to the sound. All this adds innumerable tonal variations to the already well-supplied equipment of the product.

Effects:

Morphine it also features a small effects section including a Chorus, an Delay, an reverberation and a Equalizer ad 8 bands as well as a Distortion placed next to the Master Level. Nothing too spectacular, but they do their job very well without burdening the CPU. Too bad that the reverb, in my opinion, can be a little too metallic even if in certain contexts this will prove to be more a peculiarity than a gap. It is also a pity that there are no parameters for distortion or the possibility of choosing at least a couple of different algorithms. These little tricks would make Morphine even more palatable.

How does it sound?

Morphine boasts an eclecticism that we can rarely find in the panorama of virtual instruments. It can be used both for classical sounds and for totally innovative and unusual timbres, reconstruction of acoustic instruments as well as ethereal and enveloping pads.

Ratings:

Powerful and with ample tonal potential. Essential and well designed interface. It does not burden the processor too much. It can initially be difficult for those who have never had to deal with an approach to synthesis in the frequency domain. Some generic controls are missing, such as the pitch for each generator without having to change every single harmonic for every Breakpoint. A more full-bodied section of effects or a few more parameters could prove to be a significant added value for the product. A must-have tool in your Sound Design arsenal.

Conclusions:

The challenge of offering users an additive synthesizer is always considerable. Most of the tools of synthesis are based on subtraction and those concepts are now rooted in our modus operandi. Working in the frequency domain can be difficult as, as mentioned at the beginning of the article, you have to deal with countless parameters. The compromise between functionality and ease of use always remains one of the most difficult obstacles for programmers to overcome and I must honestly say that those of the Image-Line have managed to obtain a good result. Those unfamiliar with programming will be able to abuse the resynthesis capabilities, modifying samples in ways that we would not normally be able to achieve with samplers and the like. The more savvy user, on the other hand, can have fun by atomically manipulating the sound in its most intimate part, that is the spectrum. A lot of functionality could be added and I'm sure many of you, during programming, will wonder what other results you would get if there were other parameters. This, however, would mean undermining the good balance that the developers have managed to achieve with this product making it very valid, I repeat, both for simplicity of use and for timbre capabilities.

Useful Information:
Rough price: $ 159,00
Sito: Image-Line Morphine