MAKEN0ISE Spectral DRUM MACHINE: Resynthesizing Percussion with Morphagene and Spectraphon

The video opens with a characteristically eerie Make Noise vibe, setting the stage for a journey into spectral percussion. The presenter introduces the concept of crafting transient and drum-like sounds using the ReSynthesizer and Morphagene, aiming to build a unique library of percussive events. This is not your standard drum machine fare—it’s about harnessing the modular ecosystem to generate and collect a palette of unconventional hits.

From the outset, it’s clear the focus is on process rather than preset. The Morphagene acts as a digital memory bank, capturing the evolving results of spectral manipulation. The approach is exploratory, inviting viewers to think beyond traditional drum synthesis and consider how resynthesis and sampling can yield a library of one-of-a-kind percussive material.

Diving into the patch, the video demonstrates using both sides of the Spectraphon to generate raw material. The sub outputs—particularly the sawtooth from side A—are routed through the QPAS filter, using its mono low-pass output to stack all four filters for a saturated, aggressive tone. This isn’t about subtlety; the overdriven filter path is chosen specifically for its punch and character.

The signal then feeds into the right side of the Spectraphon in SAM mode, resynthesizing and further colouring the sound. By patching the processed audio into the Morphagene, the presenter creates a feedback loop of spectral manipulation. Mixing even and odd outputs in the X-Pan yields a more nuanced stereo image, avoiding the hard-panned extremes often found in spectral processing. The result is a series of percussive timbres with a distinctly machine-like edge.

The workflow shifts to performance and modulation, with a focus on generating transient shapes that transcend simple manual sweeps. The touch gate from the Press Point is multed via the CV bus, triggering a Maths channel to create a short exponential decay—classic function generator territory. This envelope is then distributed to modulate the QPAS frequency and the Spectraphon’s slide control, injecting dynamic movement into each hit.

Further punch is achieved by sending an attenuated variable output to the Spectraphon’s pitch input, a tried-and-true technique for adding impact to drum sounds. The patching is hands-on but repeatable, allowing for on-demand creation of percussive events while retaining the organic unpredictability of modular synthesis. The result is a toolkit for sculpting spectral drums that feel both controlled and alive.

Attention turns to the Morphagene, where the process of capturing and organizing percussive variations is methodically illustrated. By configuring the Morphagene to record into new splices rather than overdubbing, the presenter ensures each transient event is neatly segmented for later recall. A multed gate signal automates the recording process, syncing the creation of each sound with its capture.

Once a reel of splices is assembled, the Morphagene’s end-of-splice gate is patched to the shift input, enabling automatic cycling through the library of hits. This approach transforms the Morphagene into a spectral drum sampler, capable of rapid-fire playback and further manipulation. The workflow is modular at heart: flexible, hands-on, and ripe for creative abuse.