And another cool thing about this resynthesized voice, is if I play back a chord now on my MIDI controller you’ll hear a chord of my Aah-ed voice. So by default when you drag an audio file in it is set to loop. But if you have bits of silence before and after the audio part it’s still going to play through the whole file before looping. To fix this you can create a looped selection. To do this, hold down Ctrl and drag in a selection area on the IMG graph on where you want it to loop. This creates a pink looped area, you can drag the node points at the bottom to fine tune the looped selection.With its charcoal and plum shadings, its look is also unmistakably Image-Line. Format-wise, it's aVSTi and FL Studio plug-in. The developer positions Harmor as an 'additive/subtractive' synthesiser, but there's no doubt that the emphasis is on the former. Even typically subtractive elements like the filter are achieved via additive technology. There are, for instance, selectable oscillator waveforms - a pair per 'Timbre' - that can be mixed as you see fit. However, those waveforms are generated by additive means, and displayed in the Env window. You can draw directly in this window and import single-cycle waves, audio files or images to create your own waveforms. Up to 520 partials may be present in any waveform.
#Fl studio harmor change tempo Patch#
It should be noted that each patch can consist of two complete and individual patches that are stacked or dynamically mixed. Harmor includes many ways to tweak your waveform, and some of them might be unfamiliar. Examples of these new paradigms include the Prism and Harmonizer sections. The former simply shifts the positions of the partials, making them inharmonic while the latter replicates and transposes harmonics. Both have the effect of thickening the sound in some way, or creating dissonant timbres.Īnother thickener comes in the form of a sub-harmonic generator, which is used to add bass and depth. Harmor sports a dual-filter configuration thatincludes allof the normal goodies. You canchoose from the usual filter mode suspects, with the addition ofCustom Shapes these are defined inthe ENV(elope) display and are drawn in just like the additive waves. Since the perception of an additive tone relies somuch on the fundamental, there is a Prot(ection) slider in the Timbre section that ensures the lowest frequencies squeak through unharmed. The filters are joined by Phaser and Pluck sections. The latter deserves special mention: it functions as a fast-decay low-pass filter envelope to simulate plucked strings. Setting short times garners sounds similar to synth legend Don Buchla's low-pass gate, making it easy to get your bongo on, if you are so inclined. Harmor's envelopes play a significant role in its ability to produce sounds of stunning complexity. The envelopes and LFOs share the same display and features. These are the massive multistage envelopes also seen on Image-Line's Sytrus, and they can be applied to virtually any parameter that matters. They are powerful enough that they double as sequencer and arpeggiator as well as a standard envelope. As you'd expect, stages can be locked to project tempo.
Of special note is Harmor's ability to analyse audio and create an envelope based onthat analysis.
This seems an obvious task for an additive resynthesiser, and we're glad to see it taking its place here.And the rest
We simply haven't got the space to describe every parameter in detail.
However, we should point out that Harmor also has a host of more traditional features on offer. There are loads of effects, for a start, including reverb, delay, distortion, chorus and compression. Effects can be re-ordered on the Adv(anced) page. There is an EQ and a nifty visual feedback panel that can help get an idea of what's going on under the hood, too. There's also an awesome Strum function that does what its name suggests but turns out to be excellent for wind-chimes and other clangorous patches as well.
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