FL Manual 6 Harmless Flashcards

Question

FL STUDIO Harmless - Amp Section detune Slider functions how?

Answer 1

- Harmonic tuning. - -Changes the pitch of the harmonics (+/- 24 semitones)

Answer 2

-Adds a 'metallic' grittiness by selectively detuning harmonics.

Answer 3

- Vibrato effect. Fast pitch modulation. - -TIP: It can be useful to link the aftertouch to this knob. In FL Studio, press & hold a note, Right-click the knob to open the remote control settings and then press the note harder and you are done.

Answer 4

- Applies LFO to the main pitch. - -The value can be positive or negative depending on the direction of the lfo knob.

Answer 5

- Portamento slides between the levels/pitch of the last note & the new one. - -time knob determines the slide time.

Answer 6

- Legato is a monophonic mode and slides between overlapping notes. - -The time knob determines the slide time.

Answer 7

-Controls the porta and legato slide times.

Answer 8

-Links note-on velocity to portamento or legato attack time, and note-off velocity to legato release time.

Answer 9

- Alternative, 'adaptive envelope' mode ensures the filter cutoff frequency is only modulated over the range from the current cutoff value to the max/min frequency limit. - -The cutoff modulation range is 'adaptive' in that 100% envelope modulation always = max/min frequency. Direction depends on the amt value being positive or negative. - --The purpose is to avoid 'pauses' that can happen in 'normal' mode when the cutoff is modulated above or below the max/min frequency and the cutoff pauses at the limit until the modulation value returns to within the audible range.

Answer 10

-Attack time

Answer 11

-The knob below the att control determines the shape of the attack ramp.

Answer 12

-Decay time.

Answer 13

-The knob below the dec control determines the shape of the decay ramp.

Answer 14

- Filter cutoff frequency envelope amount. - -Turning right applies positive modulation of the filter cutoff frequency. - --Turning left applies a negative modulation of the filter cutoff frequency. - ---In 'normal' mode the envelope is multiplied by the amt value and added to the filter cutoff freq. See alt mode above.

Answer 15

-Links note-on velocity to filter envelope amount.

Answer 16

- Applies LFO to the filter cutoff value. - -The value can be positive or negative depending on the direction of the lfo knob.

Answer 17

- Keyboard tracking. - -Applies an offset to the filter cutoff value depending on pitch. - --The offset-value can be positive or negative depending on the direction of the kb.t knob. - ---For example, keyboard tracking is useful to make a sound brighter, by raising the cutoff frequency of a low-pass filter, as higher keys are played.

Answer 18

- Filter bandwidth. - -Narrower widths create a more clearly defined 'center frequency' sound.

Answer 19

- Filter cutoff frequency. - -This is the target for all controls in green to the left of the knob.

Answer 20

- Filter resonance. - -This boosts frequencies around the cutoff value (depending on the offset value). - --Resonance accentuates the cutoff frequency position making a familiar 'resonant' sound.

Answer 21

# Choose from resonance type variations:

Answer 22

-Single narrow resonance peak.

Answer 23

-Various resonance peak shapes, named according to their approximate shape.

Answer 24

- Cut frequencies at the cutoff frequency with resonant peaks either side of the hole. - -These settings are designed to be used with the self-oscillation, to avoid annoying interferences and overly loud ringing when the resonance peak passes harmonic frequencies.

Answer 25

- Cut frequencies at the cutoff frequency with resonant peaks either side of the hole. - -These settings are designed to be used with the self-oscillation, to avoid annoying interferences and overly loud ringing when the resonance peak passes harmonic frequencies.

Answer 26

- Special effect. - -Randomly selects harmonics to play. - --Use the res knob to control the number of harmonics selected and ofs (offset) to control randomization speed.

Answer 27

-Sets the shape of the resonance frequency peak to an Octave or Hertz scale. Set by ear.

Answer 28

- Shift the resonant frequency +/- 2400 cents, relative to the cutoff frequency. - -NOTE: Resonance may become inaudible if the offset moves the peak past the filter cutoff point, since there may be few or no frequencies to resonate there.

Answer 29

- Self-oscillation level. - -A sine wave is deliberately introduced at the resonant frequency developing more distinct 'tonal' sound. - --Can be useful when the offset moves the resonant peak beyond the filter cutoff point.

Answer 30

-This works with the self-oscillation (osc) feature so that the self oscillation only happens when there is cutoff-frequency motion.

Answer 31

- Adaptive resonant-peak width. - -The resonant peak changes width as a function of cutoff frequency. Set by ear.

Answer 32

- Unison is a thickening and stereoizing effect, similar to chorusing. - -Unlike chorus, that is applied to the final output, unison is a per-note effect where each note is given a user-defined number of 'subvoices' (from the order setting). - --Subvoices are then given user-defined variations of panning, volume, pitch and phasing relative to the root note.

Answer 33

-Number of unison voices.

Answer 34

Select from three variations of pitch and panning spread (Classic, Uniform & Blurred). Set by ear.

Answer 35

Panning variation across the unison voices.

Answer 36

Pitch variation (detune) across the unison voices

Answer 37

Links note-on velocity to pitch variation.

Answer 38

Timbre starting phase variation across the unison voices.

Answer 39

Adds a offset the LFO position (phase) and phaser speed for each unison voice.

Answer 40

- Phasing is the process of creating, constantly moving, frequency cancellation/s in a sound. - -The Harmless phaser allows individual harmonics to be phased rather than it being applied to the entire output or 'cancellation patterns' (cut templates) to be applied to the timbre making a range of interesting phasing and harmonic effects possible.

Answer 41

Amount of phasing.

Answer 42

Select phaser type. There are three broad categories.

Answer 43

In this group you will find settings similar to traditional phaser sounds.

Answer 44

Are special phasing effects that fully exploit the Harmless additive architecture.

Answer 45

Extra special! Modulates the frequency of all the partials in the timbre.

Answer 46

Set the scale to octave, Hz or harmonics. Set by ear. See the tutorial preset 'PWM' to learn how to use the phaser in harmonic scale in order to achieve pulse-width modulation (PWM).

Answer 47

Wider settings cause a more aggressive phase cancellation.

Answer 48

- Subjects the width setting to LFO modulation. - -The lfo characteristics are set at the main LFO (lower right on the interface).

Answer 49

-Offsets the phase mask (cancellation) position.

Answer 50

Subjects the offset setting to LFO modulation. The lfo characteristics are set at the main LFO (lower right on the interface).

Answer 51

-Speed with which the phase cancellations are swept across the spectrum.

Answer 52

Keyboard tracking adds an offset to the amount control depending on note pitch note.

Answer 53

-The harmonizer clones the existing harmonics upwards, using various methods (+ octaves, or by an offset).

Answer 54

Harmonizing mix.

Answer 55

Determines how far upward the harmonics are cloned.

Answer 56

- Subjects the width setting to LFO modulation. - -The lfo characteristics are set at the main LFO (lower right on the interface).

Answer 57

Links note-on velocity to width.

Answer 58

-Strength places emphases on the first/early harmonic clones.

Answer 59

# Choose from various transpositions. Set by ear.

Answer 60

- Choose the location where the harmonizer is added to the timbre (Pre-filter, Pre-phaser, Pre-pluck, Final. For example, Final vs Pre-filter. - -Adding harmonizer harmonics Pre-filter means the filter can still remove them. - --Harmonizing added at Final means the filter will have no effect on the harmonizer harmonics

Answer 61

- Attack controls the time taken for the LFO to reach maximum oscillation. - -The effect is similar to an attack envelope over the LFO.

Answer 62

- LFO oscillation frequency. - -Direction left and right of the vertical position controls LFO phase.

Answer 63

-Uses the filter envelope shape (as set by att, dec and their associated curve controls).

Answer 64

Value of the Filter frequency knob = LFO value.

Answer 65

- The LFO value changes randomly each time a note is played. - -The new random value only affects the new note, sustained notes hold their original LFO values.

Answer 66

-Note-on velocity acts as a modulation variable.

Answer 67

- Note pitch. - -LFO Speed becomes an offset when this is chosen.

Answer 68

- When deselected the LFO restarts for each note played and the LFO is unique to that note. - -When selected the LFO continuously cycles in the background and all notes share the current LFO value.

Answer 69

- The Chorus effect results from the interaction of delayed copies of the input sound, that are detuned by a small and continuously varied amount. - -It is called 'Chorus' because it can make a single voice sound like that of a chorus of singers (all slightly out of tune relative to each other) and creates a thick and lush texture. - --The effect is similar to Unison but operates across all voices rather than per-voice and is much less CPU intensive. - ---Chorus type - Select from a range of different Chorus styles. Set by ear. - ----Mix - Controls the balance between the dry (fully left) and chorused signal (fully right).

Answer 70

- Delay is an echo-based effect. Very short values of the delay time controls can produce a 'reverb' like sound while longer time settings are great for left-right 'ping-pong' effects. - -vol - Controls the level of the delay echoes. - --fb - Feedback controls the number of delay echoes. - ---time - Controls the spacing between the delay echoes. The control is tempo synced, watch the Hint Bar wile you adjust the time setting (delay values display in beats and beat fractions).

Answer 71

- Reverberation, simulates acoustic spaces. If you clap your hands in a bathroom and in a concert hall, the two sounds will be quite different. In enclosed spaces reflections overlap one another to create a 'reverberant' sound. Consider using delay to create the sense of space rather than reverb in a dense musical mix. - -Reverb type - Select from a range of room sizes. - --Vol - Volume controls the strength of the reverberant sound.

Answer 72

- Select from compression, limiting and distortion effects. Harmless uses the Maximus compression engine. - -Compression type - Compression increases the low-level parts of the sound reducing the dynamic range, and so, making it sound louder or whatever the 'Compression type' setting claims. The Limiting preset prevents the output from Harmless exceeding 0 dB (assuming its Mixer track and Channel setting volumes are at the defaults). When Limiting the Mix control is disabled. The remaining presets offer various compression 'flavors' as described by their names. Distortion does what it says. Set by ear. - --Mix - Control the mix between the dry and effected signal. Right = 100% effected. - ---NOTE: If the effects chain Harmless feeds into already has compression/limiting then don't use the internal effect.

Answer 73

- Use high quality mode for better live quality on transients and very fast LFO's. - -NOTE: Harmless uses ultra high quality when rendering, and no you can't have that for live use, unless you are using the VST version then it's available on the Hint Bar Options menu.

Answer 74

- Allows multi-threading for improved multi-core CPU performance. - -Switching threading off may, in some cases, improve performance if the host's multithreading is more efficient than the plugins own.