Have experimented with quite a number of grid layouts. Here the three imho most interesting ones.
They all have in common that there are 24 semitones horizontally (like the piano overlay) - so if you have the finger distances memorized they all play the same in that regard.
24 semitones also have the advantage that the Morph pitch bend rounding works well with this distance (doesn’t work reliable with arbitrary ones. If you want to get the most out of the layouts then I would suggest to practise with pitch rounding off though ).
Particularly the 1x24 and 4x24 layouts are also well-suited to be played without any overlay - playing just by ear. (8x24 is also imaginable to play without overlay - would require to learn the vertical “string positions” though which is a non-issue for 1x24 and trivial for 4x24).
All layouts are set up with MPE default settings (set pitch bend to +/- 12 octaves, pressure is mapped to channel pressure and the vertical axis to CC 74).
The color coding has a distinct greyscale value for each note in the 12-tone scale. Imho this is better for arbitrary tonalities than e.g. black’n’white highlighting of the major C scale like on a piano.
Here a convenient bundle with all layouts:
24x8, 24x4 right Morph (or only Morph), 24x4 left Morph, 24x1 in four variants for 1-4 Morphs
SenselMorphGridLayouts.zip (2.3 KB)
Bundle with Affinity Designer overlay graphics (for PNGs just save the images shown below. When you print these PNGs with 300 dpi and cut them out then they exactly fit into an Innovator’s overlay):
SenselMorphGridLayoutsAFFiles.zip (566.6 KB)
24x8 is essentially a slightly shrinked Linnstrument: 8 “strings” tuned in fourths - all fourth tuning, like e.g. on bass guitar. As the cell height is only 1.42 cm the y-axis modulation is set to relative mode.
This can be played with just a single Morph and allows a tonal range of about 5 octaves.
For 24x4 the four areas are tuned one octave apart. Can be played with one or two Morphs (gives 5 or 7 octaves range). With two Morphs the nice thing is that each hand can play on a dedicated Morph. The upper two rows of the left Morph have the same tuning as the lower two rows of the right Morph. So the hands can play in the same range while in most cases being able to stay on their “home Morph”.
As the rows are one instead of two octaves apart each note is occuring twice with an offset of half a Morph-width. Thus one of both positions is always closer to the middle - so there should always be a viable place where a chord or pitch bend can be played starting from a particular note.
The vertical range is big enough for that layout that absolute y position becomes viable.
1x24 is essentially like the Continuum - just a big xyz area. Nice when having several Morphs that can be stacked horizontally. Gives 2 octaves for one Morph, 4 for two, 6 for three and (guess what) 8 for four.
Gives most precise control over y axis (which is of course set to absolute here). As the y range is so big this layout uses 14 bit MIDI mode for higher resolution.