FL Manual 7 Harmor1 Flashcards

Question

FL STUDIO Harmor - Timbre Section clip Slider does what?

Answer 1

-Clipping threshold.

Answer 2

- Each is a different threshold curve, similar to a compression curve, dictating at what amplitude level partials are 'clipped'. - -This parameter has a corresponding Harmonic clipping shaping mapping

Answer 3

-Effects to dry mix.

Answer 4

-Volume envelope multiplier

Answer 5

-Frequency domain envelope multiplier.

Answer 6

- Automatic gain controls the audio levels as a function of velocity and number of notes being played (similar to an audio compressor that will protect the section output from clipping). - -You can set Absolute or Relative gain on the Advanced Tab.

Answer 7

-Maps the velocity to the attack time of the volume envelope.

Answer 8

-Maps the velocity to the attack time scaling of the volume envelope.

Answer 9

-Maps the release velocity to the release time scaling

Answer 10

- Blur smears the partials horizontally. Blur the left side (attack), right side (decay), top (harmonic frequencies) or bottom (fundamental frequency). - -Use this to create preverb and reverb type sounds.

Answer 11

- Blur Attack/Decay. - -Adjust the leading and trailing blur amount independently. - --High Attack values will soften transients in resynthesized audio, high Decay values will create 'reverb' style effects. - ---NOTE: The Pluck control can replace the trailing blur when 'blur' is selected.

Answer 12

-Harmonic blur amount, equivalent to a vertical smearing of partials.

Answer 13

Relative blurring of high vs low frequencies.

Answer 14

-Relative blurring of high vs low frequencies.

Answer 15

-Tremolo Is a stereo effect with a left/right panning of the sound that simulates the rotary speaker effect used in some classic organ patches

Answer 16

Mix between tremolo effect and the dry signal.

Answer 17

-Tremolo speed.

Answer 18

- Extent of panning between left and right pan position. - -When set to 0, the effect will be monophonic affecting volume only.

Answer 19

- Prism shifts the position of the partials from their original relationship to the fundamental frequency. - -If the partials were harmonics, prism will generally making them inharmonic. - --This adds a metallic (extreme prism) or detuned (mild prism) quality to the sound. - ---NOTE: The 'Harmonic prism' articulator envelope allows you to customize the prism effect as a function of the partial frequency.

Answer 20

-Prism amount.

Answer 21

-Additive or multiplicative effect of the prism amount.

Answer 22

- The prism amount depends on the volume of the harmonic, the louder the harmonic, the higher the amount of prism applied. - -Inverted applies the opposite.

Answer 23

Prism amount - 'Amt' as above. Shaping - Harmonic prism (mapping of per-partial deviation amount). This is a bi-polar envelope so you can add positive or negative deviations as a function of frequency

Answer 24

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

Answer 25

-Harmonizing mix.

Answer 26

-Determines how far upward the harmonics are cloned.

Answer 27

-Strength places emphases on the upper harmonic clones.

Answer 28

- Shifts the harmonics relative to the fundamental frequency (ofs = offset in octaves, step = offset in harmonics). - -Drag up for additive offsets and down for multiplier offsets.

Answer 29

- Gap between the 1st harmonic and higher harmonics (ofs = offset in octaves, step = offset in harmonics). - -Drag up for additive offsets and down for multiplier offsets.

Answer 30

- Unison is a thickening / 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 31

-Number of unison voices.

Answer 32

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

Answer 33

-Alternates gain polarity.

Answer 34

-Panning variation across the unison voices.

Answer 35

-Pitch variation (detune) across the unison voices

Answer 36

- Timbre starting phase variation across the unison voices. - -NOTE: Set unison phase to 100% (full blur) for a smooth unison on high pitch notes, lower notes may sound noisy however.

Answer 37

- Unison pitch thickness - 'Pitch' control as above can be mapped according to a number of Mapping envelopes. - -Unison phase - 'Phase' control as above can be mapped according to a number of Mapping envelopes. - --Unison index mapping - Independent unison voice mapping, can be found for most Editor targets including Pitch, Prism, Pluck etc. Worthy of mention is the 'Pitch \> Unison index mapping' that allows the pitch of each Unison voice to be set independently.

Answer 38

Pitch distribution in octaves (unweighted) or Hertz (weighted).

Answer 39

-Frequency multiplier/divider.

Answer 40

-Offset/detune of the partials relative to the fundamental frequency.

Answer 41

-The effect of any Pitch related envelopes are moderated by this bi-directional (-1 to +1) control.

Answer 42

- Vibrato - A 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 43

-Extent of the deviation around the correct pitch.

Answer 44

- Generates 'index' values for successively held notes. - -When the notes of a chord are added in secession (rather than simultaneously) each additional note after the first will have an 'index' value 1 unit greater than the last. - --In practice, the mapping steps 1 grid unit per note. - ---It's useful with: - Chords - Where you only want the first note to be bright and later ones to use a lower filter cutoff frequency for example. - -Legato - If you want the note to which you are sliding to have different values/properties for the Editor target compared to the first. - --Arpeggiator - Giving control over the values of each note if they are added in secession to create an arpeggiator chord.

Answer 45

- Record a sample in edison looped and cut the extra - -Drag and drop into harmor - --Apply whatever FX/changes - ---Record into edison - ----Drag back in and re sample, and repeat over and over.

Answer 46

-Both are harmonic sequence EQs, but the local EQ is per note whereas the Global EQ is the same for all notes.

Answer 47

- Adaptive envelope mode. - -The bandwidth of the filter changes width as a function of the notes frequency, so that the duration of envelopes applied to low vs high notes sound similar in duration. Set by ear.

Answer 48

- 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 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 49

- Filter bandwidth, equivalent to 'dB/Octave' setting on traditional filters. - -Narrower widths create a more clearly defined 'center frequency' or 'cut' frequency.

Answer 50

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

Answer 51

-Choose from cutoff slope variations, Crude & Hill being the steepest: Low pass - Filters frequencies above the cutoff frequency. Band pass - Filters frequencies either side of a central band. Band stop - Filters frequencies inside a central band. High pass - Filters frequencies below the cutoff frequency. Phaser - 'Comb filtering', a series of stacked band-stop filers. Custom shape 1 & 2 - Define your own filter shape with ENV 'Filter shape 1 & 2' envelopes.

Answer 52

- Filter resonance sections can operate in parallel or series depending on the position of the knob. - -Consider the percentage like the mix between Filter 1 and 2. - --When parallel it's the mix of both filters to the output. - ---When serial its the mix of Filter 1 directly to the output or into Filter 2.

Answer 53

- 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 54

-Choose from resonance type variations:

Answer 55

-Single narrow resonance peak

Answer 56

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

Answer 57

- 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 58

- Special effect. - -Harmonics are sounded randomly. - --Use the RES to control the amount of randomness, width controls the length/duration of changes in harmonics.

Answer 59

-Define your own resonance filter shape with 'Filter (resonance) shape 1 & 2' envelopes.

Answer 60

-Provides a resonance peak followed by a dip, this makes it an 'extra lowpass', so that the slope of the lowpass filter effectively becomes steeper as the resonance increases.

Answer 61

-Resonance peak width, left = narrow, right = wide.

Answer 62

- Adaptive envelope mode. - -The bandwidth of the filter changes width as a function of the notes frequency, so that the resonance sounds similar regardless of the note pitch. Set by ear.

Answer 63

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

Answer 64

- 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 (see 'ofs' above).

Answer 65

- Pluck is a specialized decay-related filter. - -To change the filter shape select 'Pluck shape' from the Editor target shaping. - --The mapping represents decay time (vertical) as a function of frequency (horizontal). - ---The default shape decays the high frequencies first, progressing down to the low frequencies. This simulates a plucked string where the pluck is bright and quickly dulls. At high settings the default pluck shape imparts a 'damped' quality to the tone.

Answer 66

-Decay time ('Pluck shape' envelope multiplier).

Answer 67

-The pluck setting replaces the blur decay in the BLUR section.

Answer 68

- Phasing is the process of creating, constantly moving, frequency cancellation/s in a sound. - -The Harmor 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 69

-Amount of phasing.

Answer 70

Select phaser type. There are three broad categories as follows

Answer 71

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

Answer 72

-Are special phasing effects that fully exploit the Harmor additive architecture.

Answer 73

-Extra special! Modulates the frequency of all the partials in the timbre according to a user defined envelope. custom - User defined phaser envelope.

Answer 74

-Set the scale to octave, Hz or harmonics. Set by ear. Use the phaser in harmonic scale mode to achieve pulse-width modulation (PWM) oscillator sync or FM type sounds.

Answer 75

-Wider settings cause a more aggressive phase cancellation.

Answer 76

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

Answer 77

-Offsets the phase mask (cancellation) position.

Answer 78

- Speed with which the phase cancellations are swept across the spectrum. - -The control is bipolar, turn left for downward sloping phasing and right for upward phasing.

Answer 79

-Keyboard tracking adds an offset to the phase depending on note pitch note.

Answer 80

- EQ or equalization adjusts the tonal balance of the sound. - -The MIX knob controls the EQ as set by the ENV \> Shaping \> Global EQ envelope. - --By default the EQ curve is flat so no EQ will be applied when tweaking the knob. There are two EQ envelopes available.

Answer 81

-The equalization curve is the same regardless of the notes played.

Answer 82

- The equalization curve follows the notes played. That is, the EQ frequencies will be relative to the root note played. - -The EQ knob on the UI controls the Global EQ mix. - --The Local EQ mix is always 100%.

Answer 83

-Wet/dry mix for the EQ curve.

Answer 84

-Set from the ENV (envelopes) \> Shaping (section) \> Global EQ

Answer 85

- The visual feedback panel shows partials sent to the synthesis engine and is perfect for learning how features and functions in Harmor work. - -Leave it open during patch creation. It also looks cool and impresses onlookers.

Answer 86

Click once to open, again to expand and again to close.

Answer 87

- These parameters control performance related effects including portamento, strumming and modulation. - -The A/B (Part) switch is used to access the two separate and identical synthesis banks.

Answer 88

Options menu (next to the Global label).

Answer 89

Copies the currently selected preset. You can use this to transfer presets between instances of Harmor.

Answer 90

- Harmor has two parts A and B. - -Each is an identical and independent synthesis section. Copy part A or B with this option.

Answer 91

-Paste the preset or part. You can also paste between instances of Harmor

Answer 92

-Locks the currently selected part.

Answer 93

-Select chorus presets. These are also accessible from the FX panel.

Answer 94

-Select reverb presets. These are also accessible from the FX panel.

Answer 95

-Version number, credits etc.

Answer 96

- Scales all active LFO envelopes - -The value can be positive or negative depending on the direction of the lfo knob

Answer 97

-Links note velocity to volume.

Answer 98

-Harmor has two parts A and B. Each is an identical and independent synthesis section.

Answer 99

- Select to edit Part A or Part B. - -To use parts in stereo use the ENV \> Panning \> Envelope control to pan parts A and B in the stereo field.

Answer 100

- Control the balance of Parts A and B. - -This is not automatable. Rather, use the volume envelopes of parts A and B to create mix changes.

Answer 101

-Select the switches on either end of the mix slider to activate or deactivate parts.

Answer 102

- Links parts for editing, so changes made on one parts controls will be applied to the same controls on the other. - -You can activate and deactivate this as you are programming patches to make related and independent changes to controls on each part. - --NOTE: When controls are linked and one is automated by an external controller the other will not respond, you need to link each part control separately to the same external controller knob or slider. - ---Internal automation will maintain these linked relationships.

Answer 103

- Pitch range over which legato effects will occur. - -Exceed the limit and normal polyphony will apply.

Answer 104

- Legato is a monophonic mode that slides pitch between overlapping notes. - -NOTE: This control interacts with the Part A/B LEGATO 'time', 'Portamento / Legato time (switches)' & 'legato curve (switches)'.

Answer 105

- Portamento is a polyphonic mode that slides between overlapping notes. - -NOTE: This control interacts with the Part A/B LEGATO 'time', 'Portamento / Legato time (switches)' and 'limit' knob.

Answer 106

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

Answer 107

- Delays the onset of notes in a chord. - -Play a chord and set the time knob to a higher time value to create 'strum' effects such as playing a guitar.

Answer 108

-Lowest note in the chord is played first up to the highest, last.

Answer 109

Highest note in the chord is played first down to the lowest, last.

Answer 110

The direction alternates between Up and Down on alternating chords.

Answer 111

The strum direction is randomized.

Answer 112

Time taken to strum the chord.

Answer 113

-Acceleration / deceleration through the chord. Left = strum accelerating. Right = strum decelerating.

Answer 114

- The XYZ values are freely assignable to Modulation targets in Harmor via the 'Articulation part' \> Modulation X/Y or Z mapping envelopes. - -Simply edit the X, Y or Z Modulation mapping envelope from the default (flat) state and it will control the selected Editor target. - --NOTE: X (left-right) & Y (up-down) can be controlled by left-clicking in the X/Y/Z area and dragging. Z can be controlled by mouse wheel OR clicking the middle mouse button and dragging vertically. - ---NOTE: X and Y also correspond to FL Studio Piano roll per-note parameters.

Answer 115

-Pre FX (effects section) volume.

Answer 116

-Post FX (effects section) volume.

Answer 117

- Playback pitch. - -NOTE: In Image synthesis / resynthesis mode you can set the playback speed to zero, right-click in the image window and right-click and scrub horizontally (time) and vertically (pitch)