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Move 3 Morphing

Morphing was interpreted as a transformation ofthe source sound and also as a

transformation within the new sound. The library is thus split between twelve

Morphed sounds and thirteen Morphing sounds.

The Morphing sounds typically have automation applied to plug-in parameters, while

the Morphed sounds do not. The Morphed sounds can be roughly divided into three

approaches: rhythmic/percussive transformations, alteration of pitched elements in the

sound, and layering of sounds to create a new unified composite sound. The Morphing

sounds mainly involve morphing from one sound to another, and variation of plug-in

parameters via automation.

Most of the sounds were not processed with any illustrative concept in mind, but with

an idea of a transformation to apply to the source sound or within the new sound. The

sounds were then named retrospectively from the impression received through causal

listening.

Notes

The sounds were processed in Logic Pro 7 between 26 September and 1 November

2007, then edited and normalized to -3dB in Pro Tools LE 7.3.1 on 1 November 2007.

It appears from the screenshots that many of the sounds are entirely clipped this is an

imaging bug with Logic, once you zoom in close enough the detail is resolved and it no

longer appears clipped.

Many of the source sounds had a sample rate of 44.1kHz, these were padded up to

96kHz to standardise processing in Logic. To the notes on individual sounds below

should be added editing and mixing, which were left out of descriptions for brevity.

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Morphed

nm_Army_Step

0.385s

DH_BalloonNoise1 SilvgateExpander

ChanEQ

Ringshift

The noise gate was used to isolate percussive

low frequency content and the expander to

restore some dynamic range. Equalisation wasapplied to boost the bass and cut noise in the

2kHz region. The ringshifter created the brief

delay and added some ambience.

nm_Chirp_Cavern

1.674s

DH_SwampBug ChanEQ

EVOC FB

Denoiser

PtVerb

Transformation: pitched elements/spatialization.

ChanEQ was used as a high-pass filter, EVOC FB

mutated the pitched elements in the source. This

produced some unwanted hum which was removed

with the Denoiser. Reverb was added because it was

felt the sound benefited from a reverberant spatial

context.

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nm_Drumming

0.526s

DH_RubberSlapBalloon St-Delay

SampleDlyTpDelay

Fuzz-Wah

ChanEQ

Comp

Transformation: rhythmic/percussive. A

variety of delays were applied to create the

drumming effect, including a stereo delay

which applied a panning effect. The Fuzz-Wah was added give the sound more bite,

ChanEQ to boost the high which was lacking

and to cut an unwanted frequency at 390Hz,

while compression evened out the dynamics.

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nm_Four_Four

4.014s

DH_BouncingBalloon1 ChanEQ

EnsembleRingshift

(automated)

Another rhythmic transformation, this time

with facetious musical overtones. ChanEQ

isolates the bass frequencies, Ensemble

thickens the sound, while automatedRingshift varies the frequency of the sound.

nm_Ra

2.056s

DH_CaptainWhaleHab ChanEQ

VocalTrf

Ringshift

Exciter

Transformation: vocalisation. ChanEQ cuts

high frequency noise, VocalTrf modulates

vowel formants while Ringshift achieves the

breathing effect. Exciter creates high

frequency harmonics of lower frequency

content to replenish high end.

nm_ Rainforest

5.635s

DH_BallonExhale

HeldedPitched

ChanEQ

EVOC FB

Denoiser

Exploring the chirping/croaking effects

possible with EVOC FB. ChanEQ acts as ahigh pass filter, EVOC FB modulates pitched

elements in the source, while Denoiser acts as

a second high pass stage.

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nm_Rait

0.700s

DH_WashbBoard Noise gate

DH_Granular Noise gate

Transformation: layering. Noise gates

emphasise the percussive aspect of the

sounds. Layering and mixing merges the

sounds so they appear to have one source.

nm_Ritual

1.790s

DH_RubberRubBalloon RingshiftChanEQ

(automated)

Exciter

Transformation of pitched elements.

Ringshift pulls high frequency content into

the mid-range, the pitched elements of thisare accentuated using equalisation. Ringshift

also brings in unwanted high end noise from

ultrasound frequencies, which is cut. Exciter

restores the balance.

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nm_Sandpaper

0.780s

DH_ScrewDriver HardGate

DH_Twist ChanEQExciter

HardGate draws out the scraping aspect of

Screwdriver, ChanEQ and Exciter emphasise

the tearing aspect of Twist. Layering and

mixing creates a unified object.

nm_Skat_Gate

0.643s

DH_Granular SilvGate

DH_Vibrate SilvGate

DH_Clunky SilvGate

Gating emphasises percussive qualities of thesounds, which are layered to create a fast-

paced, scatty composite sound.

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nm_Squeal_Over_Waves

1.741s

DH_Mumble ChanEQ

DH_CaptainWhaleHab ChanEQ

Transformation: creating a

relationship between two sounds.

Equalisation mainly brings out

pitched elements, layering createscall and response of rhythms.

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nm_Umbrella

0.753s

DH_DumbDumb

DH_BallonHit&Hold1DH_Rattle

DH_RubberSlapBalloon

No plug-ins,

just editing,layering, and

mixing.

Exploring composite percussive sounds and

the limits of mixing to achieve this.

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Morphing

nm_Air_Raid_Feed

2.043s

DH_Noise RingshiftChanEQ

Ringshift was applied to create a varying

frequency shift resulting in the beating effect,

followed by equalisation to remove noise andalso to boost the low end frequencies to give a

rounder sound.

nm_Bubbling

1.023s

DH_BallonExhaleHel

ded

Overdrive

(automated)EVOC TO

DH_RisingUp Vol. auto.

Enveloper

Morph: one sound to another. Volume

automation and enveloper create fast attack

and gradual decay of RisingUp, while gain

automation of overdrive onBallonExhaleHelded completes the cross-

fade. Overdrive thickens the sound and

EVOC TO creates the bubbling effect.

Sounds like hot liquid searing then boiling.

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nm_Car_Window_Face

11.832s

DH_BallonExhaleH

eldSustained

ClipDist

(automated)ChanEQ

Multipres

Morph: impression of motion. ClipDist

parameters are automated to emphasise

different parts of the spectrum. ChanEQ

emphasises windy frequencies and rattling,Multipres something of an experiment which

gells the sound together. Sounds like a

recording from a rollercoaster.

nm_CrispAcket

1.044s

DH_RubberRubBalloon Vol. auto.

Phaser

Volume automation accentuates first and

third beats. Morph: Phaser creates pitch shift

impression which rises through the sound.

nm_Gurgling_Snow_Ratchet

0.974s

DH_CaptainWhaleHab

mutated with

Wei_Chilly_01 in

SoundHack using

default parameters

ChanEQ

Morph: impression of mechanical activity.

Mutation in SoundHack produces ratcheting

sound in foreground alternating with noise in

the left channel. Equalisation cuts noise and

emphasises mechanical sound.

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nm_Haemorrhage

0.820s

DH_BallonHit&Hold1 AUHipass

(automated)Dist

Enveloper

Morph: pitched. AUHipass scans down the

frequencies, a continuous scale which is

distorted, making it harmonically more dense.

The enveloper splits up the sound into 220msnotes.

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nm_ Hot_Jet_Balloon

3.645s

DH_BalloonBlowUp Vol. auto.

DH_BallonExhaleHelded

Vol. auto.Phaser

BassAmp

LinPhaseE

(automated)

Morph: one sound into another. Volume

automation provides cross-fade, Phaser and

LinPhaseEQ alter the frequency content to

create characteristic jet fighter sound, whileBassAmp, a distortion unit, creates the ripping

afterburner aspect.

nm_Hypervent

1.832s

DH_BallonExhaleHel

dedPitched

Vol. auto.

Exploring volume automation, which creates

impression of breathing from deflating

balloon.

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nm_Mechanix

0.930s

DH_Whaling Vol. auto.

ChanEQGate

Fuzz-Wah

Bass Amp

DH_ScrewDriver Vol. auto.

Volume automation provides cross-fade,

ChanEQ removes noise and accentuates

pitched quality at 1720Hz. Gate draws out

scraping sound, while Fuzz-Wah adds bite andBassAmp reduces the dynamic range and

thickens.

nm_Perc

0.474s

DH_Clunky -

DH_Twist Vol. auto.

Phaser

BassAmp

Morph: one sound to another. Clunky is

placed to trigger Twist, which is brought to a

climactic end using volume automation and

Phaser. BassAmp makes the sound more

dense.

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nm_Tin_Pad_Drum

1.357s

DH_Vibrate mutated with

DH_Tweek inSoundHack, default

parameters

-

DH_TinPadAlly Exciter

Gate

Comp

ChanEQ

Morph: one sound into another. Mutation in

SoundHack produces textured white noise

which pans toward the right. This is layered

with TinPadAlley to accentuate its rhythm.

nm_Velcro_Baby

0.251s

DH_FloorBoard Fuzz-Wah

Bass Amp

Morph: WAAAAAAAAAAA. Fuzz-Wah

creates the wah effect, and BassAmp adds

the tearing sensation. Sounds like unfastening

Velcro or the raspy wail of a baby.

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nm_Vimp

0.934s

DH_Whaling ChanEQ

GateFuzz-Wah

Bass Amp

At time of submission to infrar.ed I hadnt

noticed that this sound is very similar to

Mechanix. As an alternative I have included

another sound from the same batch ofmorphs, Panting, below.

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nm_Panting

0.934s

DH_Whaling EVOC FB

Ringshift

Morph: breathing. The sound was reversed.

EVOC FB modulates vowel formants while

Ringshift raises the pitch slightly.