the cutoff frequency? Again, no problem.
If Harmless was a high-school grad who was at the top of his class, Harmor is that individual eight years later, having gone to college and acquired a PHD while working out at the gym for a couple hours a day for the duration. In other words, it's pretty awesome.
Harmless was not the only synth that generated single cycle repetitions using an additive approach. I have it on good authority that this is what Zebra does as well. But once the wave is out of Zebra's oscillator, processing To begin with, we now have two is in the time domain. completely separate voices and each Harmless does all manner of of these has two oscillators. So we modulation and manipulation before really have four oscillators in total, quadrupling the power of Harmless. leaving the frequency domain. Only But on top of that, we have an when we get to the final effects alternate sound generation section do we transition to timemechanism in the form of a timedomain processing. Or at least that's the way I have interpreted the story based sound specification. One can import a wave file into a Harmor voice here. and the program will translate it into a Matriculation
December 2011
pair of two dimensional arrays. In the first, we have amplitude levels of each partial; in the other we have pitch information (partials do not have to be precise multiples of the base frequency). The single cycle waves appear to become disabled when an imported sample is present. This is one of many, many points upon which the documentation is mute. There's a lot to understand here but much of it remains a mystery due to insufficient documentation. This is an incredibly powerful feature that is far from intuitive to work with. As just one example, the help file (which is the only documentation ... there's no PDF manual) shows a fade region in the looping portion of an imported
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