This is the reason why Image-Line calls it an additive / subtractive synthesizer. General and advanced GUI features Īlthough Harmor is internally an additive synthesizer, most of its controls found on the main GUI are presented in a way that is familiar to subtractive synthesis users. Harmor’s spectrogram (visual feedback panel) can also be revealed to show partials sent to the synthesis engine and display their behavior in real-time.
FL STUDIO HARMOR PRESETS DOWNLOAD FULL
gif) files can also be resynthesized quite faithfully, and some of their parameters can be edited such as time stretching, pitch shifting, and formants, in addition to the full amplitude, pitch and phase harmonic-level manipulation enabled by the additive parameters described above. Imported audio ( WAV, AIFF, WavPack, MP3, OGG, REX1&2) and image (.bmp. Harmor can produce up to 516 partials per note, per unison voice, in each part (512 partials, 3 sub-harmonics, and the filter self-resonance oscillator). This enables a greater amount of harmonic control before partials are summed. Furthermore, lots of these additive parameters can also be individually controlled per each unison voice, and the way these additive modules affect harmonics can often be changed according to custom shapes, masks, and harmonic distribution graphs in the envelope section using line editors. This means that the timbre, filters, harmonizer, phaser, equalizer, and more are all done additively. Although the different additive modules and controls found in Harmor can look similar to more conventional synthesizers that utilize subtractive synthesis, its sound generation engine differs in that it sums its partials later in the signal chain (right before the FX stage) compared to some other additive synthesizers. Harmor is powered by an additive synthesis engine, similar to Image-Line’s synthesizer Morphine.
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