Hey yeah i think harmor is awesomely awesome for being a additive synth with subtractive look in a digital environment, the possibilities just wow! and i found what i was looking for a while ago, i thought i commented it here but i think my internet wasn't working properly (btw i sometimes have lots of problems loading pages on this forum) i think it works now, so i will explain how to do this in harmor right now. For example, one could create a rule so that higher frequencies take longer to adjust than lower frequencies.ĮDIT: Clarification and terrible grammar. Further than this, the manner in which the sounds transform can easily be changed. Essentially, when sound is represented in this way, you can directly change sound at its core level. If interested, this was a demo for my first synth engine: This method, however, is much more intuitively flexible than wavetable synthesis. Though, I guess the result is the same for the synth player and listener. In other words, this might not be waveform morphing in the strictest sense, as the waveforms are constructed using pure sine waves on the fly. So, indeed, all the processes in Harmor would therefore be manipulating a bank of sine waves to achieve complex waveforms. It seems that Harmor uses filters very similar to those I designed for my first additive synth engine. He does talk about subtractive synthesis and how a filtered saw wave will eventually become a sine wave but all subtractive synths can do this. So I found Seamless' Harmor tutorial and started watching. The difference between performing a linear crossfade or morph within the table, opposed to performing the morph in the audio domain is that there is no danger clipping might occur so there is a difference between what might sound like waveforms morphing and the result of actually directly manipulating the wavetable data. I've yet to explore Harmor - wasn't aware it could morph between waveforms but that's pretty simple to achieve computationally with CPU expense directly proportional to wavetable size.
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