 Hello OscillatorSync here. Today we are making a long overdue return to the Norand Morphos to see what it can achieve today in my modular rig. This is the second video in a series where we are taking a look at the Morphos. In the first video we made use of it in a kind of conventional monosynth environment, which it did a very lovely job in, but it is a module which encourages you to do more extreme modulation. There's also things we can do across modulation, audio modulation built into the contextual modulators, and so today we're going to take it to some more kind of extreme places. In that first video I did a kind of general overview and sort of sound review of the Morphos listening to different wave shapes, talking about how the contextual modulators work, and although I'll kind of talk about them a little bit as I use them in this video I'm not going to go into as much depth in terms of how they work, so if you want to check out that video first to get kind of an idea of how the Morphos works I'll put a link to that in the description of this video. So my goal for this patch is to take the Morphos and use it as the only kind of synth oscillator in this patch, but by making use of the various different ways that we can modulate it internally plus the various cross-modulations you can do between the two oscillators in the module. By routing this module maybe through a bunch of low pass gates and filters, bringing them in in stereo, hopefully we can create something that's quite complex using just the two oscillators that are sat inside Morphos. Now I know my viewership are very very observant people so it won't escape to your notice that I have a bunch of stuff already pre-patched here, so let's just quickly go over what we have. So let's first we'll talk about the one thing that you'll be hearing that isn't the Morphos and that is the two HP VCO here, and this is just set up to do kind of a kick drum thing. So if I start PAMs here, so that is PAMs and this channel is doing an envelope curve that's going into the volts proctave just to give it that attack. On the triangle output which is going into a low pass gate which is receiving the same envelope shape that the pitch is, and that's just going out into the aux of x-pam which is then routed into my output. So that's the only other thing we're going to hear in this patch which is not Morphos. So in terms of Morphos itself it is taking its outputs into these buffered volts at the top of the palette case and they are just coming into each side of x-pam here so at the moment they're just doing a rather lovely stereo drone. Yes they're tuned together triangle waves at the moment. Lovely stuff. Again that's just then been routed into my output there. So as for the rest of this nest of wires here this is kind of my sequencer of sorts. So what we've got here and this is duplicated for each side of Morphos because it's obviously got two oscillator cores in here. So I've got Pams which is creating a random sequence, just a random CV sequence. There's some Euclidean stuff going on there as well just to make the rhythm a little bit more interesting. This is going into Quadract here on this channel here and then the output of that channel is going into Disting here which is a quantizer for each side. So what that allows me to do if I just turn up one side here and just pan to the middle it's fine. So if I start up Pamela because the attenuator is before the quantizer this means that I can alter the range of my sequence while still keeping it in tune. And I can do that for each side. So if I want to bring it down I can kind of do that. Just cool. So the other thing that we've got here on these two channels for the left side and the right side is this is controlling the loop parameter on Pams. So at the moment we've got quite a short repeating sequence right. If I want to make that longer I can turn this one up because that's a longer version of that sequence. If I turn it down all the way it becomes just random and doesn't loop anymore. So this is kind of a bit like a Turing machine so I can let new randomness seed in there and then lock it. So it's just a cool way of using Pams with a quantizer to kind of emulate the kind of Turing machine kind of workflow which I think works very well for this sort of techno kind of sequence. Right so that's enough of what's pre-patched. Let's patch some more stuff shall we? Okay let's start throwing some modulation at this. So kick-turn down and we'll just turn up one of the oscillators just for the moment. Okay so the first bit of modulation I want to talk about is probably this through zero FM. So through zero FM means that whenever I turn this control up it's going to be FM modulated linearly through zero by the other side. Now if the other side is playing the same melody then it'll just give you that richness of FM. But because the two sides are playing different things as we turn this up things can get pretty interesting. And because it's going to be affected by whatever sequence is going on this side if we turn this up higher there are some fun things that we can get going on in there. But we probably don't want this going the entire time I don't think. Let me see what's in there. So because we have our contextual modulators on the Morphos we can do more than just turn this knob up and down. So I just grab a patch cable. By default if this CV input for the through zero FM is white this just acts as a standard CV control. So I can turn up the amount here and then control it remotely using say at 10 here. But we also have two other modes in here. The first is an LFO. So you can come here that's sweeping in and out. The one I think is really interesting with the through zero FM is actually the final mode here which is the envelope. So now the input of the through zero FM CV is expecting a trigger and that will trigger an envelope which will throw the through zero FM knob in the direction set by the amount and we can set the rate of that envelope as well. So let's grab a sequence from PAMs and do just that. So I'll grab a patch cable here. Plug that in there. They can hear that that's been sort of triggered in time. So let's mess with what PAM is doing here. So I'm just going to come in here and set it to be a short trigger. Cool. Maybe let's get a Euclidean pattern going on here. Let's try a bit. Maybe this one running faster I think. And then let's maybe duplicate that trick on the other side as well. So throw that on the left one side. Oops. So we'll take another channel of PAMs here. Set the input here to be Envelope mode. It's triggering too much obviously so let's again get a Euclidean pattern in here maybe with some random skips as well. Okay that's fun. Obviously the left hand side is generally a lower oscillator at the moment so we're getting those sort of ripples happening but you can hear occasionally when we get both of them happening ones we get that really extreme kind of sound going on there as well. Fun. Right so the next place that we can do some pretty fun extreme modulation is by playing some audio rate modulation as well. And I'm going to try that on the wave control here. So if we put this over to, I'm just going to add just one. Okay if I set this to the orange setting here on the wave input and go across to type here kind of here straight away there right. So now we've got audio rate modulation of the wave parameter here so we're going between the different waveforms here and we can tune this in to get something that's kind of in tune but again we probably don't want that on the entire time we probably want to give it some of that action instead. So when we're in LFO mode here with the contextual modulators when it's in the orange mode here the CV input is going to control the amount. So let's make use maybe of stages to give us a envelope that we can put in there. So let's grab patch cable go into this gate here and grab the output of that there and pop it into the wave then turning up the amount will give us some of that. So again let's go into that channel on pams and let's mess with the controls here a little bit. Let's make it a trigger again so it's not holding. I reckon something that's all fast and gappy would sound cool there so let's maybe put some gaps in there with the random skip that's just the one operator one oscillator at the moment but we're hearing quite a lot of different timbres in there and if we bring in the other one as well perhaps we can do the same thing on that side as well with a different pattern I think that'd be cool. Pams go into stages to create another envelope set that to be a just a trigger again maybe on the other side here before we do that we probably want to tune that modulation so let's just set that to audio rate and of course because we're now creating these more complex timbres on each side the 30mm is going to be doing more as well so we might just want to readjust the amount 30mm on each side here but I want to make it sound like it's more than it kind of already does sound like it's more than just one synth perhaps but I want to make it more obviously more than one synth so let's think about how we can take this and make more of it so at the moment we are essentially droning the morphos here it kind of doesn't sound so much like it's droning when we have stuff going because of all of that modulation that's going on there but let's make a little less droning perhaps and I think the thing we can do here is take the outputs of the morphos and run it through some low pass gates which are being pinged at the same rate as the modulation is coming in on the 30mm and the wave on each of them and that should accentuate those particular aspects and then we can take one side of it and then also run it through a filter to run down the middle or something like that I think okay let's give that a go so I'm just going to turn that down on there un-patch the x-pan here we'll probably use it again in just a second but we need to do something else first so first things first let's uh take each of those outputs and run it into the takah low pass gate here so we can take the mult here to that side and the mult here to the other side like that and now we want to grab some gates to open up the low pass gate here so um I guess we can just take them straight from the through 0mm outputs there that probably makes sense will it reach with a short green stack cable or it might do it won't do okay never mind uh okay we'll have to use the longer ones okay so let's take um this one and go into a stack cable stack cable back into that to ping the through 0mm envelope and then into the cv input here and then similarly on this side lovely stuff and then we can take the output of that maybe back into x-pan that might work there we go back into here so now what we've got here are just the hits where the through 0mm is getting uh tapped by uh pams to open up its envelope on morphos which means we get these lovely kind of percussive plonks which are cool I think dead dancing over here right let's do the same thing uh but for that um audio rate fm on the wave so we want to take the uh gates that are coming into stages uh we can use the oscillator the gate here to get over here somehow that cables going into the gates like so okay and then we can just take those out into the cv input of the loba's gate for the output just the bits with the audio rate happening so we've got that lovely sort of pseudo fm sound and again this is all just morphos but we're just accentuating the different bits of modulation that's going into it so I think probably to finish that off would be good just to have like a a version that's going into just filter maybe I'll take it into the stereo filter here so it's a bit of a width to it even still and we can use a different he says checking yes we've got one uh channel of pams left so we can use a different uh rhythm to that as well and just have that sort of wamping up a little bit yeah okay let's do that so I'll just take one side here like that and we'll go into the input of the dual filter from adac there low pass out holding so uh yeah that's all just morphos we're throwing various bits of modulation at it then using the low pass gates being triggered by that modulation to emphasize those various little bits which is a good fun morphos likes it probably get lost in this force of the floor fun thank you so much for joining me hope you enjoyed the video if you did make sure you leave it a thumbs up that's always massively appreciated and make sure you're subscribed to the channel so you don't miss out on any upcoming otherwise until next time