FL Manual 8 Harmor2 Flashcards

Question

FL STUDIO Harmor - ENV Controls below the Envelope Snap does what?

Answer 1

Enable this option if you want the control points to snap to the nearest step in the timeline while dragging.

Answer 2

Enable this option to preserve the relative distance between a dragged control point and all control points after it (this option is enabled by default)

Answer 3

Opens pre-saved Editor state files (envelopes, etc).

Answer 4

-Save an Editor state.

Answer 5

Copies the current Editor settings to be copied to another location.

Answer 6

Paste the Editor state data in the clipboard.

Answer 7

Copies the current articulation to the same target in the matching synthesis part.

Answer 8

There will be an item in the menu which shows the last action performed, clicking it will undo the action. The last action before the screenshot was 'enabling' of the envelope, hence 'Undo change enabled'.

Answer 9

Shows the editing history since the last reset.

Answer 10

- Changes the tension knob effect (below the envelope) . - -Selected: tension adjustments are made symmetrically around the zero line (bipolar). - --Deselected: tension adjustments are made relative to the waveform maxima and minima (unipolar).

Answer 11

Inverts the current envelope.

Answer 12

Opens the Scale Level tool.

Answer 13

-Scales the envelope so the highest and/or lowest levels reach +/- 100%.

Answer 14

-Opens a simple tool that allows manipulation of the number of control points in the envelope (useful in conjunction with Analyze audio file).

Answer 15

Opens the Envelope Filter tool (useful in conjunction with Analyze audio file)

Answer 16

Opens the Smooth Up tool that allows smoothing of the envelope shape (useful in conjunction with Analyze audio file).

Answer 17

Quick removal of 'spikey' or sudden changes in the envelope.

Answer 18

Preset filter to quickly filter the envelope.

Answer 19

Opens the Envelope sequencer.

Answer 20

- Creates an envelope that mirrors the volume amplitude profile of the analyzed sound. - -You can also drop audio files on the envelope and they will be analyzed

Answer 21

Turn the background gradient on/off.

Answer 22

- Articulation (modulation destinations) - -Mapping (keyboard/articulator to target modifier relationships) - --Shaping (harmonic filter shaping).

Answer 23

- 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 24

- Another particularly useful mapping is the Unison index mapping. --This mapping part allows you to pan, pitch, set levels, etc., for each unison voice independently, opening up many powerful synthesis techniques. - --The horizontal grid changes to reflect the number of unison voices active. When two voices are active the extreme ends are Unison voice 1 (left) and Unison voice 2 (right) respectively.

Answer 25

-Set the unison number to set voices active and then use the Pitch \> Unison index mapping to independently tune the unison voices to any pitch desired.

Answer 26

With a Unison of 2 (with the Pitch \> Unison index mapping setting the second voice set an octave below the first) and the Timbre 1 & 2 mix \> Unison index mapping set to play a square wave on voice 2, you now have a Saw with a Square 1 octave below at the same time, with only one part.

Answer 27

Use Global LFO phase \> Unison index mapping and Panning \> Unison index mapping to make a stereo-panning effect.

Answer 28

- Outputs a random value under envelope control. - -Each time a note is triggered a random value between 0 and 1 (along the horizontal axis) is generated. - --A corresponding output modulation value is selected according to the envelope value at that point. - --In this way the vertical range of the envelope sets randomization range and area under the envelope probability that an output value will be generated. As this is the same system used in Fruity Envelope Controller, EXAMPLE: The envelope above will generate random output values between 0.25 and 1.0, notice the output values on the left side. 25% of the time the output value will be 0.25 as 1/4 of the envelope is fixed at 0.25. 50% of the time the value will be between 0.75 and 1.0 and the remaining 25% of the time the value will be 1.0 as 1/4 of the envelope is fixed at 1.0. Mathematically probability comes down to areas under the curve, for each output value. If you want simple random numbers between 0 and 1 then create a straight-line envelope from the bottom left corner to the top right.

Answer 29

The following envelopes control the level and phase of partials sent to Harmor's 'additive synthesis' engine.

Answer 30

- All post-processing and patch changes are referenced to the original sample data. - -That is, the original sample data is re-analyzed and processed according to the new settings. - --Maximum detail is used for the frequency & gain planes. As a reminder, Additive synthesis views audio as an evolving frequency spectrum vs amplitude on a moment-by-moment basis. NOTE: Resynthesis mode modulates the phases of partials depending on the source audio and references the original source audio every time the patch is edited. In 'Image' mode 'Harmonic phase mapping' is calculated across the sound, then fixed and is not changed by subsequent editing. This means resynthesis will maintain a more natural sound with complex post-editing.

Answer 31

- Sample data is analyzed and converted to image files, with the advantage you can edit these 2D images in any image editor. - -There are independent image planes for gain & pitch. You can also import any bitmap. - --Even if it wasn't designed to be turned into audio, it might still sound interesting. NOTE: Once a patch has been converted to 'Image Synthesis' mode, you can't revert back to resynthesis mode, the link to the original sample data is lost and the sound is converted to image planes.

Answer 32

- Harmor has 516 partials so an image 516 pixels high can play all partials (1 to 516). - -Pixel brightness is interpreted as partial level. Black means no partial, white is 100%. - --A horizontal white line at the bottom of an otherwise black the image, 1 pixel high, will play the first (lowest) partial. A horizontal white line at the top of the image, 1 pixel high, will play the 516th (highest partial). - ---Time is represented by the image-width, although you can change the speed and scaling via the resynthesis controls as shown below. An image less than 516 pixels high is assumed to start from the bottom partial up. An image 20 pixels high will play the first 20 partials. - ----In short, the difference between the two modes is quality (resynthesis) vs image editing flexibility (image synthesis).

Answer 33

- Left or right-click the image editor and drag to scrub-play the sound. - -You can record this movement from FL Studio 10.0.5 onward using the FL Studio native version (just set FL Studio to record and start scrubbing). - --NOTE: The VSTi specifications don't support this. Right-click the image editor to scrub in both pitch (vertical) and time (horizontal), set the speed to 0% first.

Answer 34

- All post-processing and patch changes are referenced to the original sample data. - -That is, the original sample data is re-analyzed and processed according to the new settings. - --Maximum detail is used for the frequency & gain planes. As a reminder, Additive synthesis views audio as an evolving frequency spectrum vs amplitude on a moment-by-moment basis. NOTE: Resynthesis mode modulates the phases of partials depending on the source audio and references the original source audio every time the patch is edited. In 'Image' mode 'Harmonic phase mapping' is calculated across the sound, then fixed and is not changed by subsequent editing. This means resynthesis will maintain a more natural sound with complex post-editing.

Answer 35

Clears all image planes

Answer 36

Prepares an ENV \> Image time offset \> Envelope ready for scratching and time warping

Answer 37

Prepares an ENV \> Image time offset \> Envelope with a bouncing loop envelope enabled, using loop points embedded in the sample.

Answer 38

Slows down the speed within the set loop.

Answer 39

Changes ENV \> Pitch \> Envelope as a function of start time.

Answer 40

Sets the section visible in the window as the Loop Region.

Answer 41

Sets the last section played as the Loop Region

Answer 42

Sets the ENV \> Image time offset \> Keyboard mapping so the last key played. To use set the time to the desired part of the image and play a key and use the function. This way you can build up a unique set of MIDI keys to playback (time) positions.

Answer 43

Opens a file browser to load an audio file (.wav, .mp3, .ogg).

Answer 44

- There are two modes, resynthesis and image synthesis. - -When you drop a sample on Harmor it is processed in 'resynthesis' mode which references the original sample data for the highest fidelity. - --When converted to 'image synthesis' mode editing flexibility is increased at the expense of fidelity. Trade-offs, don't you love 'em?

Answer 45

- Samples with embedded time markers will be mapped to keys using the ENV \> Image time offset \> Keyboard mapping envelope. - -Useful for creating 'slicing/stuttering' effects in Harmor. - --NOTE: Playback will continue to the end of the sample starting from each marker triggered if a key is held. To confine playback to the marker regions use the next option:

Answer 46

- Similar to 'Map audio markers to keys' except playback is limited to the regions defined by markers in the audio file. - -NOTE: For 'play to end' of the sample type behavior use the previous option.

Answer 47

-Creates a random 'cloud' image.

Answer 48

-Reduce horizontal resolution

Answer 49

-Reduce vertical resolution

Answer 50

-Create a cross-fade on the entire image using 10%, 25% and 50% of the width respectively.

Answer 51

Opens a file browser to load an image file (.bmp, .jpg, .png, .gif). The image is embedded in the patch, not linked to.

Answer 52

Saves the current image.

Answer 53

-Opens the default Image Editor on your PC.

Answer 54

Copies the current image to the clipboard.

Answer 55

Pastes the current image from the clipboard.

Answer 56

Clears the image.

Answer 57

Inverts the image polarity (creating a negative) so light areas become dark and dark light.

Answer 58

Flips the image so the top becomes bottom and vice versa.

Answer 59

Image plane. Select the Frequency, Amplitude or Combined (All) image planes.

Answer 60

Copy/Paste images from the image clipboard. Only available when you have used the 'Convert to image synthesis mode' from the 'Image options' menu.

Answer 61

Vertical image scale.

Answer 62

Playback speed (course).

Answer 63

Playback speed (fine).

Answer 64

Image sharpening. Sharper images will have shaper transients. Left is transient sharpening, right is transient sharpening + phasing.

Answer 65

- To set a loop hold Ctrl + Left-click and drag on the region to loop. - -The start time will be made coincident with the Loop Start, use the Image time offset knob to disassociate them. - --Alternatively, use the Image options \> Tools 'Set viewed zone as loop region' & 'Set last played zone as loop region' OR include a loop in your imported sample and it will be autodetected and used.

Answer 66

Image plays once.

Answer 67

Image loops between the loop-points.

Answer 68

Image bounced back and forth between the loop-points.

Answer 69

- Image time offset smoothing sets the time taken to relocate between Image Time Offset positions. - -The smoothing knob has different behaviors when turned left and right of 12 O'Clock. Left (Always): Smoothing is applied according to the time-constant set, Right (With threshold): Smoothing is only applied for small distances, when the offset is moved over large distances smoothing is ignored. - --This is useful to smooth out small movements but allows larger 'quick' jumps.

Answer 70

- Image start time offset. - -Use this to relocate the start point in the image. NOTE: Left or right-click the image editor and drag to scrub-play the sound. - --You can record scrubbing in FL Studio 10.0.5 onward using the FL native version of Harmor (just set FL Studio to record and start scrubbing). Pitch = vertical and time = horizontal, set the speed to 0% first.

Answer 71

- These controls affect the volume mapping (brightness) of the resynthesis or image. - -The frequency image plane at 50% grey = 1, no change to the original level.

Answer 72

- Sets how the gain level is interpolated between pixels. - -Check the preset,'Tutorials and tricks \> Image synthesis \> Interpolation to learn how the various modes affect the sound.

Answer 73

Various interpolation shapes, set by ear.

Answer 74

Various interpolation shapes, set by ear.

Answer 75

Special interpolations that only allow rising or falling levels.

Answer 76

Image brightness to gain scaling.

Answer 77

- There are separate gain and frequency image planes. - -This knob blends in the gain information. - --When set to 0%, all active frequencies active are equally loud.

Answer 78

These controls affect the frequency mapping (vertical scaling) of the image or resynthesis.

Answer 79

- Block, Cap Bell - Various interpolation shapes, set by ear. - -Linear, Cubic - Various interpolation shapes, set by ear. - --Rise, Fall - Special interpolations that only allow rising or falling levels.

Answer 80

- Octave, Hz, Wide Hz - Relationship between vertical pixel position and frequency. Hz mode will have the effect of 'fattening' harmonics. - -Unison - Image controls Unison detuning. - --SCALE - Image frequency pixel scale controls the amount of frequency offset applied to the image/resynthesis, according to (its own envelope, Right-click and select 'edit articulator' and) the Interpolation and Mode settings (discussed above). By default turning this to zero will rescale lower frequencies toward the fundamental harmonic relationship with decreasing scaling applied as a function of increasing frequency.

Answer 81

- From the presets select Template \> Resynthesis. - -From the Image options menu select 'Analyze audio file' OR drop an audio file on the window. - --Optional: Convert to image-synthesis mode for more editing freedom (see below).

Answer 82

- From the presets select Template \> Resynthesis. - -This has the 'side' switch on the ADV (advanced) tab selected. Important for loading stereo samples. - --Load a stereo sample in Part A - ---Reload the same stereo sample in Part B - ----The A/B fader now acts as a Mid/Side mix control and the stereo sample will play as originally recorded with 50% mix settings. - -----Optional, link parts A and B so playback relocation etc is synchronized

Answer 83

- To edit the sound visually after loading it as shown above, from the Image options menu select 'Convert to image synthesis mode' OR - -Drag an image file from a file browser and drop it on the image window. - --Click copy above the Image window. - ---Open your favorite image editor and select Paste from its options. The image can now be edited in your editor. - -----Select copy from in your image editor and Paste it back into Harmor. Now just continue to edit and select copy in your image editor and paste into Harmor. Watch which plane you're editing as you copy and paste. Frequency or Gain. - -----NOTE: Images are calibrated to a brown noise profile, the same profile used in Harmor to create a sawtooth wave (i.e a sawtooth is created by a flat line in the Harmonics Editor, the purpose of which is to make it much easier to create traditional and good-sounding waveforms).

Answer 84

-Output of that process and operates in the time domain. NOTE: The effects unit order can be set on the ADV tab.

Answer 85

- Distortion simulates over-driven analog sounds. When this occurs the shape of the input waveform is distorted and this leads to a pleasing (to some) tone. - -amt - Amount of distortion. - --asym - Asymmetry of the positive and negative waveform oscillation. - ---wet - Wet (effect) to dry mix. - ----filter - Low pass filter. - -----Type (menu) - Choose from: Classic, Flat hat, Cube, Softsat(uration), Rubber, Ribbon & Sincrush. Set by ear.

Answer 86

-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. Select from -Chorus options (menu) - Select from a range of different Chorus styles. Set by ear. --Order - Sets the number of chorus voices, choose from 1 to 9. ---NOTE: Chorus and Unison have a similar sound but Unison is added per note, so uses more CPU. Where possible use Chorus to achieve the effect. ----depth - Controls the chorus delay modulation. The chorus delay will be swept between delay and delay+depth. If this value is zero, the chorus will remain 'static' as the delay modulation will stay constant. Setting the 'Depth' to higher values will create heavier modulation. . speed - Frequency sweep-speed. NOTE: The 'beating' sound of the chorus depends on the interaction between speed, depth & order. del - Sets the minimum delay between the chorus voices. The chorus delay will be swept between delay and delay+depth Spread - Stereo spread Cross - Cutoff frequency of the cross-over filter Mix - Controls the balance between the dry (middle) and chorused signal (top) and inverted phase chorus (bottom).

Answer 87

-Controls the balance between the dry (middle) and chorused signal (top) and inverted phase chorus (bottom).

Answer 88

-Cutoff frequency of the cross-over filter

Answer 89

- Sets the minimum delay between the chorus voices. - -The chorus delay will be swept between delay and delay+depth

Answer 90

- Frequency sweep-speed. - -NOTE: The 'beating' sound of the chorus depends on the interaction between speed, depth & order.

Answer 91

- Controls the chorus delay modulation. - -The chorus delay will be swept between delay and delay+depth. - --If this value is zero, the chorus will remain 'static' as the delay modulation will stay constant. Setting the 'Depth' to higher values will create heavier modulation.

Answer 92

- 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.

Answer 93

- norm - Delay echoes appear in the same location as the input. - -inv - Inverted switches the left and right channels in the echoes - --pong - Ping pong delay bounces L and R channel audio between the speakers. Works in conjunction with the s.ofs (Stereo Offset) control.

Answer 94

- Pans the input into the delay - -Useful where a Ping-pong mode has been selected and you want the echoes to bounce from one side to the other.

Answer 95

- This shows the order (data flow) for processing the units as shown (top is processed first). - -Left-click on a synthesis unit to move it down the list or right-click to move it up OR hover your mouse cursor over a unit and roll the mouse-wheel.

Answer 96

- Note on to play delay. - -Left in milliseconds, right in measures (tempo based).

Answer 97

- Polyphonic release scaling. - -Useful for patches that have a long release, that would normally overlap with following notes too much or use too much CPU.

Answer 98

- Partial onset relationship. - -Left is absolute where partials onset from lowest to highest. - --Right is relative, delaying the lower partials relative to the upper partials.

Answer 99

- Transient declicking. - -Effects the attack portion of notes, useful with fast gated envelopes that are causing unwanted clicking.

Answer 100

- This sets the mode for the Automatic Gain control on the Timbre Section. - -The Automatic gain control acts similar to an audio compressor preventing clipping caused by high-level partials. - --Relative vs Absolute levels.

Answer 101

- Select between Generic (255 partials) and High precision (516 partials) used in the audio-to-image resynthesis process. - -Generic is usually good enough. - --Image resynthesis allocates 1 pixel per partial vertically and any number required horizontally to represent time at about 174 pixels per second.

Answer 102

- Used when importing stereo samples. - -Use the 'Templates \> Resynthesis' patch then drop or import a STEREO sample on Part A then again on Part B. - --Part B has the switch engaged and the sample is now used in MID/SIDE stereo mode. - ---Part A contains MID and part B SIDE information. When remixed during playback the original stereo sound is heard. - ----Use the Part A/B slider can be used to change the stereo separation. 0% = Mid sound [mono]. 50% = original stereo sound. 75% = maximum stereo separation. 100% = Side sound [mono].

Answer 103

Removes noise from the image (useful for removing noise from a sample).

Answer 104

New notes will only kill the same note.

Answer 105

New notes kill any other playing notes.

Answer 106

New notes set all notes to the release phase of their envelopes.

Answer 107

- Harmor can add subtle random variation to parameters on a voice-by-voice basis. This is useful for simulating analog gear or human inaccuracies. Choose from: - -Per voice - Each note has randomizations applied. - --Per part - Each part (A and B) each part has randomizations applied. - ---Per unison voice - Each voice in the unison effect has randomizations applied. - ----same for all maps (switch) - The same randomizations are applied to all mappings (envelopes).

Answer 108

- The sine waveform has one line at the bottom. - -It is the fundamental frequency or the fundamental tone. - --The rest of the spectrum is silent.

Answer 109

-The triangle waveform has one loud frequency at the bottom and then much less loud frequencies over the rest of the spectrum.

Answer 110

- The square waveform has the same number of active frequencies compared to the triangle waveform but all the frequencies has a higher amplitude. - -They are louder.

Answer 111

-The saw waveform has the double active frequencies compared to the square waveform.

Answer 112

- Specific frequencies of sine waveforms and amplitude. - -But that is not all, also the starting point in the oscillation for each frequency is something that also contributes to the characteristics of the sound. - --The starting point is called the phase.

Answer 113

 The number of active partials and the frequency of them.  The individual amplitude of each of the working partial sine waves.  The phase position of each working active partial.

Answer 114

-It is reducing the amplitude gradually for higher frequencies

Answer 115

-That this way you can mix between two different sounds without the need to care about phase cancellation.

Answer 116

2) I sometimes have trouble getting what I want with Reverb in Harmor for w/e reason but some tips to mess with. A) When combing delay and reverb I find that reverb seems to die off more quickly than I want when I have reverb placed after delay and I end up with a fading echo that sounds like it has no reverb applied to it as it fades. If you switch the order in the ADV tab so that reverb comes first then the delay will be repeating the reverb already played instead of trying to apply reverb to an ever-quieter echo. This will give reverb more presence as things fade away. B) To add presence to reverb and/or delay try placing compression after it in the ADV tab. Limiting and Compression are reactive effects that change based upon the input volume. This means you can get a wide variety of changes just by changing the pre-fx volume slider. Warning though... Even though limiting and compression are Fx that are designed to control volume you can still get extremely loud with them active so if you are going to mess with the pre-fx volume slider you should turn down the post-fx volume slider first. Adding compression after delay/reverb effects will give them more presence but will not actually extend their length. It will make them louder for longer then have a more abrupt falloff. Also the more extreme the compression gets the more playing new notes, or rather anything that adds more volume to the mix feeding into the compressor, will cause the dry signal to basically kill off the pre-compression FX. This can give unwanted effects adding unwanted dryness to a mix. It can also be used purposefully to add reflection kinds of effects. This is fun to use on sounds with constant sustain volumes and no release so that holding the note makes it sound almost entirely dry then releasing the note/s kicks in the wet signal making really reactive reflections and such. C) Harmor's reverb lacks modulation which can make it rather flat sounding in some instances, especially on flatter sounds. (I know I have already mentioned this in this thread but just to keep it together ill mention it again). To add more versatility to reverb and other FX in Harmor you can copy part A to part B then basically follow tip number 1 on this post. Turn the FX slider down to around -40% to -50% or so. Set delay and reverb at 100% wet or thereabouts. But only do this on part B. Then go to part A and set the fx slider to 100% so that its entirely dry. This makes A your dry signal and B your wet signal. You can then adjust your wet/dry with the AB slider. Once this is set up you can then begin adjusting part b in ways that will only affect the wet signal. I find adding simple vibrato can make a ton of difference to reverb making it fuller and lush. If a sound already has vibrato altering the amount and/or speed can work well. Or you can try modulation modulators such as adding an LFO to control the Vibrato depth. Also adding chorus before or after reverb, or really any kind of moving modulation to anything at all, can liven things up. The choices are almost endless. My favorites to mess with are pitch lfos, vibrato, clipping and EQ. An additional method for altering this setup is the wet/dry slot in the FX routing in the ADV tab. This slot basically ignores the fx wet/dry slider on each of the parts allowing all or none of the fx to apply to all parts depending on where it is placed. I most commonly use this to add delay or compression, or both, to bot the A and B parts though you may want to adjust the wet/dry on delay to find a nice happy medium. D) Dampen in Harmor's reverb seems to continually reduce the high end on the reverb, working more like real-world reverb. I find this often kills the reverb's presence much quicker than I prefer on many airy and atmospheric sounds. If you are having trouble with this try turning the damp knob all the way to the top so that its turned completely off then use the highcut slider and the reverb color selector to to get the right kind of EQ. And to add on to tips B and C you can also set some pre-or-post-reverb compression, not limiter but any of the other 3 compressors, and use it as a sort of EQ for your FX to add in or remove some frequencies you may want.

Answer 117

2) I sometimes have trouble getting what I want with Reverb in Harmor for w/e reason but some tips to mess with. A) When combing delay and reverb I find that reverb seems to die off more quickly than I want when I have reverb placed after delay and I end up with a fading echo that sounds like it has no reverb applied to it as it fades. If you switch the order in the ADV tab so that reverb comes first then the delay will be repeating the reverb already played instead of trying to apply reverb to an ever-quieter echo. This will give reverb more presence as things fade away. B) To add presence to reverb and/or delay try placing compression after it in the ADV tab. Limiting and Compression are reactive effects that change based upon the input volume. This means you can get a wide variety of changes just by changing the pre-fx volume slider. Warning though... Even though limiting and compression are Fx that are designed to control volume you can still get extremely loud with them active so if you are going to mess with the pre-fx volume slider you should turn down the post-fx volume slider first. Adding compression after delay/reverb effects will give them more presence but will not actually extend their length. It will make them louder for longer then have a more abrupt falloff. Also the more extreme the compression gets the more playing new notes, or rather anything that adds more volume to the mix feeding into the compressor, will cause the dry signal to basically kill off the pre-compression FX. This can give unwanted effects adding unwanted dryness to a mix. It can also be used purposefully to add reflection kinds of effects. This is fun to use on sounds with constant sustain volumes and no release so that holding the note makes it sound almost entirely dry then releasing the note/s kicks in the wet signal making really reactive reflections and such. C) Harmor's reverb lacks modulation which can make it rather flat sounding in some instances, especially on flatter sounds. (I know I have already mentioned this in this thread but just to keep it together ill mention it again). To add more versatility to reverb and other FX in Harmor you can copy part A to part B then basically follow tip number 1 on this post. Turn the FX slider down to around -40% to -50% or so. Set delay and reverb at 100% wet or thereabouts. But only do this on part B. Then go to part A and set the fx slider to 100% so that its entirely dry. This makes A your dry signal and B your wet signal. You can then adjust your wet/dry with the AB slider. Once this is set up you can then begin adjusting part b in ways that will only affect the wet signal. I find adding simple vibrato can make a ton of difference to reverb making it fuller and lush. If a sound already has vibrato altering the amount and/or speed can work well. Or you can try modulation modulators such as adding an LFO to control the Vibrato depth. Also adding chorus before or after reverb, or really any kind of moving modulation to anything at all, can liven things up. The choices are almost endless. My favorites to mess with are pitch lfos, vibrato, clipping and EQ. An additional method for altering this setup is the wet/dry slot in the FX routing in the ADV tab. This slot basically ignores the fx wet/dry slider on each of the parts allowing all or none of the fx to apply to all parts depending on where it is placed. I most commonly use this to add delay or compression, or both, to bot the A and B parts though you may want to adjust the wet/dry on delay to find a nice happy medium. D) Dampen in Harmor's reverb seems to continually reduce the high end on the reverb, working more like real-world reverb. I find this often kills the reverb's presence much quicker than I prefer on many airy and atmospheric sounds. If you are having trouble with this try turning the damp knob all the way to the top so that its turned completely off then use the highcut slider and the reverb color selector to to get the right kind of EQ. And to add on to tips B and C you can also set some pre-or-post-reverb compression, not limiter but any of the other 3 compressors, and use it as a sort of EQ for your FX to add in or remove some frequencies you may want.