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Blur is not something you’re likely to have seen elsewhere, and like any number of other things in Harmor, it takes some work to come to grips with what it does. This can be set to favor the processing of upper or lower frequencies. Horizontally (that is, in the time dimension), Blur can affect the attack and decay of partials. There’s more here that’s worthy of note, such as the sub-oscillator capabilities, but there are just so many capabilities in Harmor that we can’t discuss them all. They merely serve as the source of the amplitude and phase characteristics of the partials, upon which further manipulations will be done in the signal chain in the part. Whatever the single-cycle waves look like in the end, they are not used in that form. Finally, you can supply your own single-cycle wave. You can also open an additive editor that lets you designate individual partial levels, and there’s a randomization function that should allow you to come up with arbitrarily complex single-cycle forms. Let’s start with the dual “oscillators.” Into these you can select a stock waveform. We’ll look at the individual components in varying amounts of detail, but the important thing to keep in mind is that everything here is operating in the frequency domain. There’s a lot going on here, and it can be a little overwhelming. The area of immediate interest is in the parts, the area in the upper portion of the interface with a purple background. They are of good quality but are nothing unique, so we’re mostly going to overlook then in this review. The effects available are a typical collection of delay, distortion, et.al. There are two identical parts that independently produce sound that is combined (if both parts are enabled) and passed on to a global effects section. Yes, it’s crowded and a bit intimidating, but there is oh-so-much functionality. The figure above shows the GUI for Harmor. Harmor Architectureįirst, let’s look at the big picture. Frequency-domain filtering is by no means the only reason Harmor is an innovative wonder, but it’s a highly significant reason. This feature is emphasized not to demean other additive instruments, but Harmor does things rather differently than the others. Filtering in the frequency domain dramatically rewrites the rulebook. And it does this up to and including the filter stage. What makes Harmor stand out from the crowd is that it keeps the sound in the form of component partials much longer, or as Image-Line would put things, it keeps the data in the frequency domain. But those synths sum the partials fairly early on in the signal chain and pass them on to the familiar processes that are staples of subtractive synthesis, filters in particular. If we alter the characteristics of partials over time, which is standard operating procedure for additive synths, we get a changing or evolving sound.
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When all the partials are summed, the result is a single-cycle wave that is invariant as long as the partials all retain the same characteristics of amplitude and phase.
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Partials may be in phase with the fundamental frequency, but they do not have to be. Any such single cycle can be decomposed into component sine waves with frequencies that are exact multiples of the fundamental wave. If this is making no sense, let’s review how additive synthesis works by working backward from a single cycle waveform. It maintains the sound representation in an “additive state” much longer than more conventional additive synths. So what’s all the fuss about? Other synths like Alchemy and Image-Line’s own Morphine are additive synths. Harmless is a worthy instrument in its own right, but it’s overshadowed by its vastly more competent successor, Harmor.
#Review harmor vst upgrade
There’s nothing quite like it out there, except for its predecessor, Harmless, which also just got the 64-bit upgrade treatment. Harmor is a thoroughly unique innovation. For a geek moment, read the sidebar “Why Delphi?”.
#Review harmor vst mac
Harmor is written in Delphi, a powerful development environment, but one that will never find life on the Mac platform. Harmor’s author is Didier Dambrin, a brilliant (and I suspect slightly mad, but in a very good way ? ) software innovator. But it’s PC-only, and that’s never likely to change. I’ll be saying some extremely complementary things about Harmor. But let me say up front: Mac users, read no further or you’ll just end up very disappointed.
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As such, a fresh look at this instrument is certainly warranted.
#Review harmor vst software
The Harmor software synth from Image-Line debuted several years ago, but it has just recently (at last!) matriculated to 64-bitness. As such, a fresh look at this instrument is warranted.īy David Baer, Sept. The Harmor software synth from Image-Line debuted several years ago, but it has just recently matriculated to 64-bitness.