Make Noise Spectraphon: Reimagining Resynthesis in Eurorack

The video opens with Make Noise positioning the Spectraphon as a resynthesizer that doesn’t just recreate sounds, but reimagines them. Unlike the Morphagene, which is described as recreating audio literally, the Spectraphon operates more figuratively—taking input material and transforming it into something new through spectral analysis and synthesis. This conceptual distinction sets the tone for the module’s role in a rack: it’s not about faithful reproduction, but about creative reinterpretation.

To ground this idea, the patch setup is kept simple, following a basic resynthesis patch from the manual. Outputs from the Morphagene are multed to the DXG and also sent to the Spectraphon’s input. The even and odd outputs from the Spectraphon are panned and mixed via the X-Pan, then routed back through the DXG and out to the monitor. This signal path allows for direct comparison and blending of the Morphagene’s and Spectraphon’s outputs, with the DXG providing level control and mild filtering to tame any harshness.

A core focus of the Spectraphon is its distinctive approach to pitch and harmonics, particularly in SAM (Spectral Amplitude Modulation) mode. Unlike a standard oscillator, the Spectraphon’s pitch control sets the core frequency, with all output harmonics derived from this base. However, the core pitch itself may not always be present in the output, leading to timbres that can sound strikingly different from traditional synthesis.

The video contrasts this with the Morphagene, where the very speed parameter determines playback pitch, but the actual note depends on the reel’s content. In Spectraphon, everything is referenced to the set core frequency, and harmonic motion is achieved by resynthesizing spectral content as multiples of this frequency. This can create the illusion of pitch shifting, even when the fundamental remains constant.

The slide parameter is highlighted as a key control, determining which frequency the Spectraphon listens for and treats as the fundamental. Turning slide shifts the harmonic series being resynthesized, while adjusting pitch moves the entire output up or down. The result is a flexible harmonic landscape, with the possibility of producing sounds dominated by upper harmonics—sometimes bordering on the shrill, but always rooted in the spectral relationship to the core frequency.

The demonstration moves into how tweaking various parameters directly sculpts the harmonic content and overall sound structure. By monitoring both the sine output (the core frequency) and the even/odd outputs, it becomes clear that the resynthesized signal can be almost entirely devoid of the fundamental, resulting in timbres rarely found in nature.

A series of five variables are identified as shaping the resynthesized result: Morphagene’s very speed, Morphagene’s slide, pre-filtering with the Cupass, Spectraphon’s slide, and Spectraphon’s pitch. Each of these acts simultaneously, and modulating any one will alter the output. The video underscores how this interconnectedness allows for a broad palette of sounds, from tightly focused harmonic structures to wide, shifting spectra.