Morph 2 by Zynaptic is a unique plugin that runs on advanced mathematical algorithms integrating sound at a more detailed level than similar methods.
The processing uses real-time inverse sound simulation on two source inputs to control how the sound is morphed. Zynaptic has transformed version one of Morph by Prosoniq into a more accessible plugin for all platforms.
There are upgrades to the original algorithm and reverb, trackball slider controls have been introduced, two menus of preset options (29 total), and three algorithms, two of which have low latency options.
Value for Money
The engineering behind this plugin is well above any market competitors in this price range. Similar options are available at this level but cost significantly more.
Category |
Rating |
Summary |
GUI |
⭐⭐⭐⭐⭐ |
The Morph 2 GUI is clean and user-friendly, with trackball controls unique to Zynaptec. The compact processing sections on the left and right make space for the X/Y field allowing more range for morphing. |
Features |
⭐⭐⭐⭐⭐ |
Plugin features are well thought out, the amp sense, complexity, and reverb complement the morphing algorithm, and mix A and B produce clear distinctions when mixing. |
Sound |
⭐⭐⭐⭐ |
It can take a while to get the two source tracks to level out, but it’s worth the wait when the algorithm fits with the morphed sound. The classic algorithm is designed for sustained and ambient sounds, the interweave algorithm for natural sound, and the tight algorithm works best with heavy transients |
Value For Money |
⭐⭐⭐⭐⭐ |
This plugin has an advanced design that sets it apart from similar morphing methods available. The combined morph function and processing give it the capability not only to improve sounds but also to create completely new ideas from existing sounds. |
Morphing
Dual mono and stereo morphing
The main section of Morph 2 is the X/Y panel which controls the morphing of the two inputs by using the ‘scope’ to move through the sound field. It routes one track/sound source to input A and a second track/sound source to input B, then morphing the two.
Looking at the X/Y panel, there are corner markers for A and B. The closer you move the scope to each area more sound that is mapped to that area will be heard. To understand how it sounds, below are some audio clips starting with a pad tweaking the X/Y field, followed by the same pad morphed with drums.
After hearing these first morphed sounds, the impression is that this is a very good plugin that can manipulate audio in a way that not many other plugins can. The unique processing can be heard when moving through the X/Y field, and it is not crossfading. It is analyzing the structure of the sound and blending it at a deeper and more defined level.
Pad and Synth Morphing
Pad and Drums Morphing
Set up
To get started, two audio signals are needed. Depending on your DAW, the sources can be dual mono or stereo (see compatibility at the end of this review for full details on DAW-specific morphing capability). Routing will depend on the workstation, and there are detailed instructions with screenshots for Logic, Pro Tools, Ableton, Cubase, MOTU, BitWig, and FL Studio in the manual.
If there are any issues with the routing, specifically with buses or other multi-level sound sources, deleting the plugin and starting again should fix the issue. If cycling through presets is the preferred way to get started, note that there are two preset lists called – morphing algorithm explanation and feature exploration, which will be explained now in the features section.
Features
Processing, presets, and algorithms
The first processing section is AMP sense which can be used to level out unwanted sound peaks when turning it down or to increase levels when turning it up. This function, as described, senses sound depending on the algorithm chosen, so results will vary for each project.
Next up in this section is a high-quality formant shifter controlled by the trackball slider, and the third section is the complexity to adjust how much detail you would like in the sound. Taking two samples, one of which is very gritty, can achieve good results in creating a perfectly morphed vocal.
Vox morphed with format shifting, complexity, and amp controls
Presets
The two preset menus are called ‘morphing algorithm exploration,‘ which sticks with the X/Y field, leaving control of the remaining features for user preference. The second is ‘feature exploration,’ which includes processing and reverb into the presets.
Algorithms
There are three algorithms, classic, which is the original Prosoniq algorithm with upgraded resolution and latency of 2048 samples. The Interweave algorithm maintains more of the source sound separately than completely morphing the two together, with a latency of 2048 samples. Lastly, the tight algorithm is created for transient heavy sounds at a latency of 512 samples. An LL (low-latency) version of the classic and interweave algorithms are included.
Piano and chords morph through the Interweave Algorithm, then the Classic algorithm followed by the Tight Algorithm
The second processing section includes reverb controlled by the trackball slider with size, mix, damping parameters, and the output mixer, allowing solo and mix-in for both tracks. A notable mention is the meta functions at the top to activate midi, open the tips menu, and link to the manual.
User interface
Morph 2 has a good-looking and well-designed UI that is easy to understand. Zynaptic created the trackball sliders to conserve GUI space and have a clear parameter display. The only change that could be good is an update to the preset and algorithm section to have a different format and naming. Apart from that, the X/Y field and output mixer are the right size and position, combine this with the color scheme, and it’s a clean design.
Sound
From trying Morph on projects of different styles, it is clear to understand how the two source inputs will affect each other at the fundamental level. Adding the formant shifter with the amp sense and adjusting the mix A and B has shown the most obvious and interesting sound effects.
The finished product will depend on the sounds you morph and their pitch, timbre, transients, etc. For ambient effects, the difference can be minimal, and take more time to find the right balance. For more noticeable effects, choose strong sounds with peaks and density.
Morphing melodic keys and subtle impact fx, adjusting the mix in A/B, and switching from classic to interweave and back.
Interestingly, when blending sounds with peaks in the plucky chords in the clip below, the weighty sounds with higher transients cause a pulsing effect. These noticeable effects could produce some interesting variations when layering different rhythms. The end of this audio clip shows the processing being tweaked to hear more of the complexity.
Plucky chords and vox morphed and adjusting the complexity control.
Compatibility
Morph 2 comes in two versions – Morph and Morph SC (side-chain). Depending on your workstation, the formats AU, RTAS, VST 2.4, VST 3 and AAX are compatible with Mac OS 10.6.8 or newer and Microsoft Windows Vista or newer.
Verdict
Morph 2 is powerful when you know how to use it and the types of sound to combine. Ideal for film and game scores to live performances and music production across genres and is a good plugin overall for producing original sounds in your projects.
AK is a self-taught producer from Australia who started producing while living in London after a friend gave her a copy of the DAW Reason. She started learning drum loops and electronic music which quickly became her main focus. That’s when it all started. Since then AK has worked on perfecting the craft, learning new programs, and finding her sound. She has a growing catalog of releases on major/ independent platforms, her main style is dark electronic. All music/sound is produced and mixed by AK in Sydney.