With the turn of a single knob, the PolyBrute can move seamlessly between two different groups of settings for nearly every parameter on the synthesizer. These groups are called A and B. Every Preset can be Morphed, and every factory Preset makes use of Morphing.
So, it’s like a “macro” on other synths I’ve used?
Not quite. Macros can sweep multiple parameters at once, but typically each parameter has a default value, then an offset. With Morphs, every Preset is really two sounds in one, with two sets of parameter values that are equally important. You can play just one, just the other, or a nything in between.
Think of someone whose superpower is that they can shift appearances between two people, or stop anywhere mid-shift to look like a combination of them. They’d still need only one apartment. That’s what we mean by two Presets in one.
The variation between the A and B values really is continuous for every parameter involved. So, it’s really more like you’re getting infinite sounds in one Preset.
Say you had a Preset where the VCOs played triangle waves at A and sawtooth waves at B. Turn the Morph knob exactly halfway, and you’ll hear all voices playing both waveforms — almost as though you’d temporarily doubled up on oscillators! A simple crossfade can’t do that.
Yes. There's a button to assign Morphing functionality to the PolyBrute’s exclusive Morphée 3D controller. The Morph knob can also be a modulation destination in the PolyBrute’s extensive Modulation Matrix. So you can control it with anything, really.
Simple. With the Morph knob all the way at A, make all the settings for the sound you want to hear. Then, turn the Morph knob all the way to B and make all the settings for the second sound. Save the Preset.
Yes. That happens by definition, based on the two groups of settings you make. There’s no requirement that Morphing sweeps any parameter through its full range, though of course you can do that setting by setting if you want.
Yes. Again, your A settings can be anything and your B settings can be anything. There’s no need to worry about reversing the polarity for this or that parameter. This is another advantage over how “macros” usually work.
Like you have an extra hand for just about every knob, slider, and function on the PolyBrute and you’re using them all at once. Based on the settings you make at A and B, a full Morph movement ensures that every parameter “arrives at the finish line” at the same time. If parameters are scaled differently (a dramatic filter cutoff sweep but a subtler resonance change, for example), they will Morph at different speeds.
There really are no rules. Your A sound and B sound can be as similar or as different as you like. For some applications, you may want subtle changes. But Morphing is also how the PolyBrute performs splits and layers without using two Presets. For a split, you might want to make one sound very different from the other: a bass in the lower part and a pad in the right, for example.
Only in that Morphing is one of the things you can set the Morphée to do. It can be even cooler to use the Morphée, because the X and Y axes morph the pitch elements and level elements of the Preset separately.
If you have any further questions, feel free to contact us.