The distortion amount I set to fairly high. The distortion low pass (or high cut) filter value I set to maximum because to my taste the distortion didn’t require any cuts in the higher frequency area. There’s no particular reason why I picked the Ribbon. In the FX section of Harmor, I used Ribbon distortion. I’ll show you what kind of effects I used in the audio example you heard at the beginning of this video. To further develop your sequences, add some effects. You can also use the ‘Envelope sequencer’ which you can find under the ‘Options’ menu:īut that’s not all. Remember, that you can also use different curves in the envelope editor window: just right click any envelope point to open a menu and choose a different curve. The more parameters you modulate and the longer you make your sequences, the more complex stuff you are able to come up with. For example, try modulating Filter Resonance Amount and Prism Amount alongside with the Pitch and Filter Frequency. There are lots of different parameters you can use for creating sequences in Harmor. And again, I’ll just draw something random. I’m also going to loop it so I’ll set the loop start and end points the same way as I did with the pitch envelope. I’m going to draw some rhythmic sequence that is the same length as the pitch sequence. Next, I’ll draw a modulation sequence for the Filter 1 cutoff frequency.įirst, I’ll set the editor target as Filter 1 frequency and again, I’ll switch on the envelope and sync it with the tempo. I don’t have anything specific in mind so I’ll just randomly create a different kind of curves To set the loop end point, right click another envelope point and select ‘Sustain / loop end’ from the menu.Īnd now, I’ll just start to draw the sequence. To set the loop points, right click an envelope point to open a menu and select ‘Loop start’. In this example, loop start point is going to be the envelope point 1. To loop the sequence, define loop start and end points. I’m also going to loop it (the length of my sequence is going to be only two beats – that’s half a bar). Now I add a new envelope point to the grid. This way it’s easier to create melodic sequences that are in tune. It’s particularly handy when editing pitch envelope as it lets you move and draw in 100 cent steps (100 cents is one semitone and one octave is twelve semitones = 1200 cents). Also, the SNAP is handy to keep ON if you want to snap your curve editing to the editor grid. Next, I enable the envelope and switch on the tempo-based time to sync the envelope to tempo. So all I have to do is I select the pitch as a target: In this tutorial example, I’m modulating the pitch with the envelope as an articulator.
The envelope is a good choice as the editor lets you freely draw all kinds of curves and shapes and allows you to have precise control how the modulation should behave. Next, define HOW you want to modulate it by choosing the articulator (Envelope or LFO). First, you need to select the TARGET parameter you want to modulate. You may also want to draw some note to the Harmor’s Piano Roll for a quick preview and audition purposes.Īlright! Creating sequences in Harmor is very easy: it’s all about drawing a rhythmical and (preferably) tempo synced modulations targeting one or more of the many Harmor’s parameters using the envelope editor window. To create something like that, first, open Harmor. Here’s an audio example (dressed with drum loop):
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