Timbre Morph

Parameters

Morph Amount — Master morph position, 0–1. 0 = pure A’s timbre profile applied to A’s source; 1 = morph A’s source toward B’s timbre profile. Acts as a global blend between “leave A alone” and “fully reshape A using B’s spectral statistics.” The four weight knobs below let you control which aspects of B’s timbre are transferred.

Centroid Weight — How strongly to transfer B’s spectral centroid (overall brightness profile), 0–1. Labeled “Harmonics” in the UI. 0 = ignore B’s centroid (A’s brightness preserved). 1 = fully transfer B’s centroid (A becomes as bright/dark as B). Mid values partial transfer.

Spread Weight — How strongly to transfer B’s spectral spread (HPR — harmonic vs. percussive vs. residual balance), 0–1. Labeled “H/P/R” in the UI. Determines whether A inherits B’s harmonic-percussive-residual ratio. Useful for “make A sound more like B’s tonal/percussive balance.”

Tilt Weight — How strongly to transfer B’s spectral tilt (decay slope from low to high frequencies), 0–1. Labeled “Decay” in the UI. 0 = preserve A’s tilt. 1 = adopt B’s tilt. Affects the “shape” of A’s spectrum — whether highs are emphasized or rolled off.

Flatness Weight — How strongly to transfer B’s spectral flatness (tonal vs. noisy character), 0–1. Labeled “Noise” in the UI. 0 = preserve A’s flatness. 1 = adopt B’s flatness. Determines whether A becomes more tonal or more noisy depending on B’s character.

Output Gain — Output level in dB, −24 to +24.

Additional controls

Phase — Phase reconstruction: Preserve, Blend, Dominant (see other crossmorph nodes for explanations).

Loop B — When on, Source B loops to match Source A’s duration; off plays B once.

About Timbre Morph

Timbre Morph is K2K’s most distinctive crossmorph operation. Instead of mixing samples or interpolating spectrums, it computes a set of timbre derivatives (centroid, spread, tilt, flatness) for both inputs, then reshapes A’s harmonic recipe so its derivatives match B’s — weighted independently per derivative. The result is “make A sound like B in the dimensions you care about, while keeping A’s source content otherwise intact.” Use it for: cross-genre adaptation (make a soft pad sound aggressive like a saw lead), spectral character transfer (give a dull recording the brightness of a bright reference), studied transfer of just one timbral aspect (e.g. transfer only spectral tilt while preserving everything else — extreme creative control), or as a smarter alternative to EQ-matching for matching one source to another’s tonal character.

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