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SOUNDSHAPER: CDP REFERENCE

MORPHPEAKS/MULTIMORPH
   - morph between the spectral peaks of two sounds.



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SPECTRAL > MORPH/FORMANTS > MORPHPKS & MULTIMORPH >

SUMMARY
MORPHPEAKS (CDP: newmorph) morphs between the spectral peaks of one sound and those of another. This makes it possible to morph between dissimilar sounds.
MULTIMORPH morphs between spectral peaks with multiple outputs: Sound 1 is morphed towards Sound2 in outcnt steps, each step a new output file. (Multimorph implements newmorph Mode 7 separately in Soundshaper for technical reasons.)


MODES (Morphpeaks)
 1. Ave.Peaks linear: Interpolate linearly between average peak channels.
 2. Ave.Peaks cosine: Interpolate cosinusoidally between average peak channel.
 3. Chan-by-chan linear: Interpolate linearly between peaks calculated channel-by-channel.
 4. Chan-by-chan cosine: Interpolate cosinusoidally between peaks calculated channel-by-channel.
 5. Tuned linear: Sound 1 gradually tuned to averaged harmonic field of sound 2, linearly.
 6. Tuned cosine: Sound 1 gradually tuned to averaged harmonic field of sound 2, cosinusoidally.

PARAMETERS
Morphpeaks:
  stagger:  Time before entry of second file.
    Range: 0- file-length secs
  start: Start time (in first file) of morph
    Range: 0- file-length secs
  end: End time (in first file) of morph
    Range: Window-gap*2 to file-length secs
  exponent of interpolation: >1 increasing slope; 1 linear; <1 decreasing slope
    Range: 0.02 to 50
  peaks: number of peaks to interpolate
    Range: 1 to 16
 

Multimorph:
  peaks: number of peaks to interpolate
    Range: 1 to 16

  outcnt: number of output files to generate
    Range: 1-16


OPTIONS
 • Keep envelope: retain loudness envelope of first sound (o/p ends when 1st sound ends)
 • Interpolate peaks only: No interpolation of anything except peaks
 • Frequency only:  Only frequency is determined by peaks in sound 2.


NOTES
In Modes 1 and 2, the process interpolates linearly (Mode 1) or cosinusoidally (Mode 2) between the average peak channels, simultaneously moving spectral peaks, and interpolating all remaining channels. In Modes 3 and 4 the peaks are calculated channel-by channel, again linearly (Mode 3) or  cosinusoidally (Mode 4).

 In Modes 5 and 6 (again linear/cosine), Sound 1 is gradually tuned to the averaged harmonic field* of Sound 2. (The averaging would be required, as pitch in acoustic sounds is almost never static.)  Additionally, each mode offers different slopes (exponent) for the interpolation curves: >1 = an increasing slope; 1 = linear; <1 = a decreasing slope.

Stagger, start and end define when the interpolation begins and ends, while peaks sets the number of peaks to interpolate. The end of the interpolation must not be beyond the end of one of the files.

* The terms Harmonic set and Harmonic field were introduced with the Texture suite. A harmonic set (or pitch set) is a set of pitches in specific octaves, while a harmonic field (or pitch field) places the pitches in any octave (possibly within a specified range). Music already has the term "Pitch-class", where, for example, the pitch-class "C" means a C in any octave. A pitch in a harmonic field or set refers to a more specific frequency and can be microtonal: e.g. 60.5 is Middle C half-sharp at A=440.


© Ensemble Software and Composers Desktop Project 2014