Now that we had created a sample library of flute techniques and textures, we began exploring the musical potential of these samples via processing. These were then used directly in the production of Morphés. 

Our approach to processing focuses on the relationship between the source material (unprocessed recordings) and listener, exploring how different processing techniques alter the perception of sound. For example, slowing down a sample changes our perception of time, and placing a microphone in a different location or adding reverb changes our perception of the space in which we experience the sound.

Each step in the processing creates a new scenario for how the sound can be perceived, while maintaining a connection to the original source material. Each step brings out new aspects of the sound. Building a sample library is also a process of building a library of processes, with breadcrumbs that lead back to the original materials at each stage.

We modified the dynamic, temporal, spectral, timbral, and spatial dimensions of audio samples. The techniques include amplification, noise reduction, temporal modification, spectral modification, timbral modification, spatial modification, and additive synthesis. Each technique has specific parameters and an acronym that is added to the file name to document the process. The techniques are used to shape and sculpt the sound of the samples, and are applied using predetermined presets in some cases.

In addition, we have come up with a file naming system with specific acronyms for each applied technique. Those acronyms are added to the title of each file. This system solidifies the proper and thorough documentation of our work process, helping navigating easily through the files.