Sorry for the sloppy title, I would not know how to formulate better.
The short in question is this one: https://www.youtube.com/shorts/qkvJSKXK2aE
I think the topic on Morse’s technique in tumeni notes and other pieces (but I think that one is the pinnacle of this approach to arpeggios) is a long standing one.
The shallow “neutral slant” movement is a difficult one to bring to those kind of speeds - I remember having some exchange with Troy some time ago about the approach to “gaining” this movement. He was/is for a “relaxed, speedy” encoding and successive cleaning - I was/am for the “zen, super-slow, supercontrolled” encoding type. Of course, one has to have the ability to “understand” what the movement looks like when it is at a certain speed, and this is not easy at all…
But I digress 
Specifically to the performance on this piece, I must say that the only version that leaves my jaw on the floor is the studio one.
I have watched/listened to multiple live versions from Morse, or other monsters like Andy Wood and… They do not convince me. They’re always somewhat blurred to my ear. Which makes sense in my world as the execution is extremely difficult in my view.
I’m not really playing much these days/years, but when I focused on that movement, I boiled the extra difficulty down to what Troy used to call (using past tense as I stopped arond the MIM on Batio, I think… 
) “tracking”. I. e., shifting the wrist axis of motion across the strings range.
Tumeni notes’ arpeggios span four strings in the difficult part and in many instances there are repeated smaller shifts that add to the complexity of the pattern. Not to mention 3 or even 4 strings jumps. This makes tracking an extreme endeavour, I came to believe. If you keep yourself to 3 strings, with a fluid/regular shift and possibly two notes picked on one of the strings, things are much more manageable.
I am wondering if any of you has ever attempted the second section of the tune (that with clean sound) and has an experience or relates to what I’m saying here.
Thanks!
Michele