Sound Morph runs the incoming audio through a 2048-point phase-vocoder FFT and multiplies its spectrum by a morph shape envelope you sculpt with a single knob — neutral pass-through, two formant vowels, a harmonic comb, and a sharp resonant peak, crossfading smoothly between each. Add an internal dual-LFO for self-evolving motion and an Abbey-Road-style shimmer reverb on top.
Unity pass-through. Use as a starting point or as an automation home base.
Open formant pair around 800 Hz / 1150 Hz. Wide, vocal, throat-forward.
Tight formants at 300 Hz / 2400 Hz. Bright, hollow, close-mouth.
Harmonic series stacked from a movable fundamental. Pitched, bell-like, metallic.
Single sharp resonance. The auto-wah / analog-filter-sweep voice.
MORPH scrubs across the five anchors in order, crossfading the spectral shape smoothly as you go. Automate it from 0 to 1 over a chorus and the source moves continuously through neutral, vocal, hollow, comb, and resonant peak. No mode switches, no preset hunting — just turn it and listen.
Direct manipulation · automatable · 0 → 1A glowing amber line traces the current morph shape directly on top of the live FFT bars, so you can see exactly what the filter is doing to the source. The bars themselves fade from cyan at the low end to magenta at the top — a constant tonal map that makes spectral changes visible at a glance.
Amber filter curve · cyan→magenta spectrumThe MOTION knob hands the morph and frequency parameters to an internal two-LFO modulator running anywhere from 0.1 Hz drift to 6 Hz tremolo. The two oscillators run at related but offset rates so the modulation never repeats predictably — set MOTION to 0.4 and the patch evolves on its own without ever sitting still.
Two LFOs · exponential rate curve · live phase dotSHIMMER feeds an octave-up harmonic generator into a feedback loop, high-passed at 30 Hz and low-passed at 6 kHz — the Abbey-Road EQ trick — with per-cycle pitch jitter so each repeat chorus against the others instead of stacking statically. DECAY rings out from 0.5 seconds to roughly seven seconds, giving you anything from a quick halo to a continuous ambient pad.
Octave-up · 30 Hz / 6 kHz band-limit · pitch-jittered feedback2048-point FFT with 4× overlap-add reconstruction. The phase-vocoder approach lets the filter modify magnitude without smearing transients — the analysis hop is small enough that consonants and percussive attacks survive the round-trip cleanly.
Each anchor shape is a frequency-domain envelope; the current shape is a linear interpolation between the two adjacent anchors. The spectrum is multiplied bin-for-bin and inverse-transformed back to time domain. RES controls a per-bin gain curve that sharpens peaks without changing their centre frequencies.
Two independent LFOs at related but offset rates feed both MORPH and FREQ, with their phase relationship chosen so the modulation does not repeat predictably. RATE is exponentially curved so the same knob throw covers drift (0.1 Hz) and tremolo (6 Hz) musically.
A pitch-shifter produces the octave-up harmonic content, then feeds it back into the input with a high-pass at 30 Hz and a low-pass at 6 kHz — the classic Abbey-Road EQ trick. Per-cycle pitch jitter prevents the repeats from stacking into a static drone; instead they chorus naturally.
Every control is bound to an AudioProcessorValueTreeState. Automation works everywhere, undo/redo is deep, sessions restore exactly how you left them, and the host can ride the MORPH knob through whatever you draw in.
Universal binary (arm64 + x86_64), targeting macOS 10.13+. Drops in as an insert on any audio or instrument track in Logic Pro, with host-side bypass routing and click-free parameter changes.
Automate MORPH from 0 to 0.5 across a chorus. The pad walks from neutral into Vowel AH and out into Vowel EE, picking up vocal-formant colour as it moves.
MORPH parked at the PEAK shape with high RES gives you a sharp resonant filter. Crank MOTION and the LFO sweeps the peak across the spectrum on its own.
MORPH at 0.4 sits between the two vowel shapes; MOTION at 0.5 lets the dual-LFO cycle between them. The result is a synth that whispers syllables.
MORPH at 0.75 lands on the COMB shape; high RES makes the harmonics ring. SHIMMER and a long DECAY do the rest.
MORPH at 0, MIX at 100% — Sound Morph becomes a pure shimmer reverb. The 30 Hz / 6 kHz band-limit keeps the tail from cluttering the low end or biting the high end of the vocal.
Phase-coherent 4-band mastering compressor with interactive spectrum and A/B peak-hold.
AI-assisted equalizer · 9 analog voicings per band · Gemma 4 local inference.
64-voice hybrid subtractive + 6-op FM polysynth with 8 algorithms.
Multi-engine reverb: a true-stereo convolver plus six algorithms, with shimmer, freeze, duck, and delay-into-reverb.
Physically-modeled tape saturation — harmonic warmth, transient punch, smooth top end, and wow/flutter motion from a single insert.
Six-voice virtual analogue polysynth — rock-stable oscillator, creamy four-pole filter, and a two-mode stereo chorus. Zero latency, one panel.
3D placement panner with crosstalk cancellation. Works on headphones and real stereo monitors.
Real-time spectral suppression + envelope gate. Dual-stage attenuation with live activity meters.
AES67 / ST 2110 audio-over-IP between DAWs. Sub-5 ms on gigabit. MIT-licensed, open source.
Dual 6-stage optical phaser with two sweep generators. Deep series swirls or wide parallel stereo motion.
Three oscillators, eight voices, and a modulation matrix built for trouble.
Circuit-modelled three-stage overdrive with tube-style compression, tape saturation, BBD chorus, pitch-bending echo, spring tank and a zero-latency cabinet loader.
A granular atmosphere engine — Drone, Reverse, Shimmer and Gliss modes, pitch-tracked grains, and a Freeze that holds a cloud indefinitely.
Sixteen voices on a step sequencer that works the way the originals did — per-voice tune, decay and filter, accent per step, and producer-style swing.
Neural amp capture and playback. Load a model or capture your own rig. Free · public beta.
Seven lo-fi modules on one panel — saturation, wow and flutter, bit crush, band limiting, dropouts, ambience and a ducked noise bed, under one Amount macro.
Stereo analog echo and ducking delay — tape and lo-fi character, repeat filtering, ping-pong, and program-dependent ducking.
Morphing spectral filter · 5 anchor shapes · dual-LFO motion · studio shimmer.
Stereo BBD chorus and pitch shifter. Wide, warm, and wild. AU · VST3.
BS.1770-4 loudness metering, phase scope, and a true-peak brickwall limiter. AU · VST3 · Standalone.
Real-time pitch correction — natural intonation to hard-tune, with formant preservation. AU · VST3 · Standalone.
Audio transient to MIDI generator. Tighten drums without losing groove. AU · Standalone.
Build your own impulse responses — design a space or capture a real one, deconvolve, and load it straight into Verb.
A MIDI plug-in that writes full ambient, neo-soul and lo-fi songs across five parts. Free · public beta.
Sound Morph is an original Dreamlab Digital Media product. It is not affiliated with, endorsed by, or derived from any hardware or software manufacturer. Full licence terms at dreamlabnet.com/daw2/eula.html.