Three Different Sounds In Harmor

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Three Different Sounds In Harmor

In this tutorial I will show you how to program three different sounds in Harmor.


Sound 1 might work well in a background of a Chill-Out or Ambient track for example. Sound 2 is a bit bass-heavy. It might work as a bassline in a D&B track, but you might wan’t to EQ it a bit to make sure it’s not overtaking your mix. Sound 3 is a organ style sound which could work in D&B, but maybe in a Hip Hop track as well. But as always, any sound could work in any genre.

Check audio previews below:

Alright.

This is a kind of long tutorial so click here to jump straight to sound 2 tutorial and click here to go straight to sound 3 tutorial.

Here’s how to re-create the sound 1:

Open Harmor and make sure you’re in the Part A (you should be there by default).

Harmor Part A

First, we need a Sine wave. In Harmor, Timbre 1 and 2 are used as an oscillator sources. Timbre 1 generates a Saw wave by default and Timbre 2 generates Square wave. In order to hear a Sine wave, we need to edit the Harmonic Level of either Timbre 1 or 2 which can be done in the Harmonic Level envelope editor.

So now, left-click the Timbre 1 to open it’s Harmonic Level envelope editor.

Timbre 1 Harmonic Level Editor

By editing the Harmonic Level envelope and/or the Harmonic Phase envelope you can basically create ANY waveform in Harmor.

Sine wave can be achieved by leaving only the first harmonic active by muting the rest of the harmonics. In other words, leave the level of the Harmonic 1 to 0.0dB while dropping the levels of the Harmonics 2 to 516 to INF (silence). In order to do that, use a following envelope:

Timbre 1 Harmonic Level Envelope

Next, we need to arpeggiate this Sine wave and we are going to use a Pitch Envelope for that.

So while you’re still at the Harmor’s Envelope Editor window, set the Editor Target to Pitch and select Envelope as the Articulator. Activate the envelope by clicking the Enable envelope box. Also, enable the Tempo-based Time to sync it with the tempo. Also, make sure Snap-To-Grid is enabled for easier envelope editing. Right click the Envelope Point 1/1 and set it as Loop Start point to make the arpeggiator pattern play as a continuous loop. Then edit the envelope as follows (use left-click and drag to move envelope point and right-click to add a new point):

Pitch Envelope For Arpeggiator

This kind of envelope first raises the pitch up by one octave, then drops it back to it’s initial pitch, then raises it up again by two octaves and finally drops it back to it’s initial pitch again. All of this happens in a time of 1/4 bar (that’s one beat).

Next, we are going to thicken and stereoize the sound with Unison so in the Harmor’s Unison section, set the Unison Distribution to Classic, set the Unison Order to 2 and Pitch Thickness to around 60%.

Unison Settings

Next, we need to slide the pitch between overlapping notes and that is done by activating the Legato mode (that’s monophonic mode).

Head to the Global section of Harmor and click on the Legato switch to turn it on. (Note that the changes you make in the Global section affects to both parts – A & B – of Harmor.)

Set the slide time between the overlapping notes with the Portamento/legato Time knob in the Pitch section. Set it to around 1:00.

Legato Mode

Next, open the Part B of Harmor and activate it by clicking the Enable switch (also, if you want, disable Part A to hear the Part B and all the changes made to it in solo).

Enable Part B

In Part B, we are going to create a simple Saw wave pad.

As mentioned earlier, Timbre 1 is generating a Saw wave by default so leave it as is.

Leave Timbre 1 As Is

First, we need to transpose down the pitch of this Saw wave so head to the Pitch section and set the Frequency Divider value (the one with the yellow background) to 6. This’ll transpose the pitch of the played note down by two and a half octaves.

So now, when you hit i.e a note of middle C, the Saw wave is actually playing F two octaves lower.

Frequency Divider Value

If you activate the Harmor’s Part A and hit a note of middle C, you’ll hear the Part A playing C and Part B playing F# two octaves lower.

Try different pitch values for interesting harmonies. Try creating power chord for example (power chord consists of the root note and the fifth. So in practice, leave the pitch in the Harmor’s Part A to as is and set Part B’s Frequency Multiplicator to 1.4983/1. This’ll transpose the pitch up by 700 cents which is a perfect fifth. When played together, you’ll hear a power chord).

To make things sound musically right when tweaking the Harmor’s Frequency Multiplicator / Divider, use Sengpielaudio’s “Frequency Ratio to Cents” conversion chart.

Next, add some richness to the sound in the Harmonizer section.

How does the Harmonizer works? It clones and transposes the existing harmonics thus making the sound more richer.

Set the Harmonizer Mix to around 55%.

Harmonizer

Next, thicken the sound using the Unison.

So in the Unison section, leave the Unison Distribution to Blurred, set the Unison Order to 4 and raise the Unison Pitch Thickness to around 75%.

Unison Settings For Saw

Next, add a bit of movement to the sound by using a Phaser effect.

So in the Phaser section, set the Phaser Type to Deeper and dial the Phaser Mix knob to around 50%.

Phaser Settings

Next, smoothen the sound a bit by using a low pass filter.

So head to the Filter section and dial the Filter 1 Frequency value to around 40% (the default filter type is Crude Low Pass and that works well in this context).

Filter 1 Frequency Value

Next, we need to tweak the Portamento/legato time so head to the Pitch section.

You can set the Portamento/legato time of both Harmor parts independently from each other. Set the Part B’s Portamento time a bit longer than Part A by dialing the Time knob to 5:00. This adds a bit of extra interest to the overall sound after the both parts are activated.

Legato Time Settings

And now, enable the Part A and set the Part A & B Mix level to around 75%.

Part A And B Mix Level

Ok. Final step is to add couple of effects.

In the Harmor’s Global section, go to the FX page and apply a bit of a Delay first for that slightly etheric feel. Use following settings:

  • Delay Feedback mode: Ping-Pong (default) for left-right echo effect.
  • Delay Input Volume: 60% to slightly increase the input level to the delay for a more audible echoes.
  • Delay Feedback Level: 45% to increase the amount of echoes for a longer lasting echo effect.
  • Delay Input Panning: +50% for panning the input into the delay to right. This enhances the stereo bouncing effect. Negative value pans it to the left. Either value works, this parameter just defines in which channel and how hard the bouncing starts.

Leave the other Delay settings as is.

Delay Settings

Next, enable the Reverb for some depth and use following settings:

  • Reverb Color: W+ for a more warmer reverb.
  • Reverb Lowcut: 280Hz to cut off the low frequncies from the input signal. This is to reduce the appearance of possible rumble and muddiness from the reverb effect.
  • Decay: 10000ms for a loooong reverb.
  • Reverb Wet Volume: 40% to avoid drowning the sound into the reverb too much.

And again, leave the other settings as is.

Reverb Settings

And finally, apply compression for some extra ‘flavor’. Use following settings:

  • Compression Type: Heating
  • Compression Amount: 50% (default)
  • Low Band: 60%
  • Mid Band: 60%
  • High Band: 70%

Compression Settings

Done!

Let’s move on to sound 2.

Load a new instance of Harmor (or initialize the settings) and set the project tempo to something DNB’ish like 170 BPM (we are going to use a tempo-synced filter modulation in this sound and the project tempo partly affects how fast the modulation happens).

Project Tempo

First, we need a Square wave so while you’re at the Part A of Harmor, set the Timbre 1 & 2 Mix level to 100% (all the way to right). As mentioned earlier, Timbre 2 generates a Square wave by default.

Timbre 1 And 2 Mix Level

In the Pitch section, drop the pitch down by two octaves by setting the Frequency Divider to 4.

Frequency Divider Settings

Next, we are going to add some ‘smack’ to the attack part of this sound by using a sudden pitch drop and that can be done in the Harmor’s Envelope Editor.

So in the Harmor’s Envelope Editor, select Pitch as the Editor Target and Envelope as Articulator. Enable the envelope, enable also Tempo-based Time and draw a following envelope:

Pitch Envelope For Smack

Next step is to thicken the sound so in the Unison section, set the Unison Distribution to Classic, Unison Order to 6 and Unison Pitch Thickness to 80%.

Unison Settings For Square

Now, head to the Harmonizer section to richen the sound. Set the Harmonizer Mix Amount to 70%.

Harmonizer Settings For Square

Next, go to the Filter section.

We need to make this thing sound like a low, rumbling pad and that can be done by dampening those higher frequencies with a low pass filter.

So in the Filter section, leave the Filter 1 Type to it’s default (Crude Low Pass) and set the Frequency value to around 10%.

Low Pass Filter Frequency Settings

Next step is to make this patch monophonic as this is going to be a type of sound that doesn’t work very well if you play chords with it. So go to the Global section and enable the Legato mode. Also, we don’t need this pad sound to slide from note-to-note so in the Pitch section, set the Legato Time to 0:00.

Legato Settings For Square

Next, we need to mix in a high pitched Saw wave so head to the Part B of the Harmor and enable it. (Again, disable Part A if you want to hear the Part B in solo.)

Enable Part B Again

For the Saw wave, leave Timbre 1 as is.

Leave Timbre 1 Settings

Now, go to the Pitch section to transpose the pitch.

Set the Frequency Multiplicator to 3.0000/1. This’ll transpose the Saw wave up by one octave and seven semitones.

Frequency Multiplicator

So now, when you play a note of middle C, you’ll hear G one octave higher.

After you activate the Harmor’s Part A and hit that middle C, you’ll hear the Part A playing C two octaves lower and Part B playing G one octave higher.

Also, leave the Legato Time as is. The sound we made in the Part A doesn’t need note-to-note sliding, but it does fit quite well to the sound we are creating in here Part B. And when played together and overlapping notes, it sounds kinda cool.

Leave Legato Time As Is

Next, we need to apply a low pass filter modulation to add that ‘swelling’ movement to the Saw wave and we are going to use LFO to control the movement.

First, you need to drop the Filter 1 Frequency value to hear the LFO controlled filter modulation in action. So head to the Filter section and set the Filter 1 Frequency value to around 15%.

Filter 1 Frequency Value For Swelling

Next, head to the Envelope Editor section and select Filter 1 Frequency as the Editor Target and LFO as the Articulator. Enable the LFO and also enable the Tempo-Based Time.
Use the LFO Speed knob to set the LFO speed. Set it to 002:00:000.

LFO Settings

Next, in the Global Section, activate the Part A and set the Part A & B Mix Level to around 40%.

Part A And B Mix Level In Sound 2

Now, head to the FX page for some effects.

First, the Distortion. Use following settings:

  • Distortion Type: Classic
  • Distortion Highcut: all the way to top (in this example, we don’t need any high frequency filtering on the distortion)
  • Distortion Amount: to around 85%

Also, drop the Post-FX Main Volume in the Global Section if things are getting too loud.

Distortion Settings

(Note that I’m playing a note E-4 in the audio example below)

Next, enable the Delay and use following settings:

  • Delay Feedback Mode: Ping-Pong
  • Delay Feedback Level: 65%
  • Delay Lowcut: 150Hz (to filter out some of the low frequencies from the delay echoes)

Leave other settings as is.

Delay Settings For Sound 2

Next, enable the Compression by setting the Compression Type to Heating and use following settings:

  • Compression Amount: 75%
  • Low Band: 85%
  • Mid Band: 65%
  • High Band: 75%

Compression Settings For Sound 2

Done!

Let’s move on to sound 3.

Again, set the project tempo to something DNB’ish like 160BPM (assuming you want to re-create this sound precisely like in in the example -> we are going to use Phaser effect and the project tempo affects partly to the speed of the phasing).

Project Tempo For Sound 3

Next, open the Harmor.

We need a Sine wave again so in the Part A of Harmor, left-click the Timbre 1 to open the Editor window and edit the Timbre 1 Harmonic Level envelope like in the first sound example tutorial:

That Sine Wave Again

Next, we are going to transpose the pitch up by an octave so in the Pitch section, set the Frequency Multiplicator value to 2.0000/1.

Frequency Multiplicator For Sound 3

We also need a Vibrato effect (vibrato is good for adding a little warmth to a sound). So while you’re still at the Pitch section, set the Vibrato Depth to around 25-40 cents and Speed to around 150ms. This gives us a quite mild, but fast vibrato effect.

Vibrato Settings

Next, we need to mix in a Saw wave so open the Harmor’s Part B and enable it (and again, leave the Timbre 1 as is for the Saw wave).

Sound 3 Part B Timbre Settings

Transpose the pitch down by one octave, so in the Pitch section, set the Frequency Divider value to 2.

Sound 3 Part B Pitch Settings

Next, add some movemement with Phaser so go to the Phaser section and set the Phaser Mix to around 85-90% (leave other Phaser settings as is).

Phaser Settings For Sound 3 Part B

Next, apply the Harmonizer to enhance the harmonic quality. Set the Harmonizer Mix to around 40%.

Harmonizer Settings For Sound 3 Part B

Smoothen the sound a bit via low pass filter.

So head to the Filter section and set the Filter 1 Frequency value to around 70%.

Low Pass Filter Settings For Sound 3 Part B

Next, go to the FX page for some global effects.

First, enable Distortion and use following settings:

  • Distortion Type: Classic
  • Distortion Highcut: to max
  • Distortion Amount: 25%

Also, in the Global section, drop the Pre-FX Main Volume a little to avoid feeding too hot signal to the FX section thus avoiding unnecessary clipping and other artifacts. Set it to -3 dB.

Distortion Settings For Sound 3

Next, enable the Delay and use following settings:

  • Delay Feedback Mode: Ping-Pong (default)
  • Delay Feedback Level: 50%
  • Delay Input Panning: -70% (or 70%)
  • Delay Lowcut: 150Hz

Leave other settings as is.

Delay Settings For Sound 3

Next, enable the Reverb and use following settings:

  • Decay: 11000ms
  • Reverb predelay: 2:00 (Reverb pre-delay has many uses. It’s a way to add distance between the original signal and reverb tail to give more presence to the original signal while still maintaining that sense of space. It’s also good for a slap-back echo effect. In this example, we are using it for kind of both.)
  • Reverb Highcut: OFF (We need to apply the reverb to those higher frequencies as well.)
  • Reverb Lowcut: 150Hz
  • Reverb Wet Volume: 40%

Leave other Reverb settings as is.

Reverb Settings For Sound 3

Also, in the Compression section, enable limiting by setting the Compression Type to Limiting. Limiting prevents the output from Harmor exceeding 0 dB.

Lave other Compression settings as is.

Compression Settings For Sound 3

And finally, set the Part A & B Mix Level to 60% in the Global Section.

Sound 3 Part A And B Mix Level

(Note: try playing chords with this sound)

The end! 😎

Watch the video version below:

Download the Harmor preset files (.FST) for these sounds below:

Sound 1
Sound 2
Sound 3

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HowToMakeElectronicMusic.com (HTMEM) – A music production website with plenty FL Studio tutorials, interviews, news, free music production tips, and free downloads.

22 Comments

  1. Always doing good work. I just want to say that you work aren’t useless and donΒ΄t feel unmotivated cause I think I talk for everybodyl when I say that you help a lot.

    Thank you again πŸ™‚ .

  2. robotron on

    That was a long gap, but its worth to wait. Another great work. You are my greatest inspiration for FL Studio. I wish imageline give you time/money to show us the great potential of FL Studio (and Harmor).
    Greetings from Berlin

  3. Ur tutorials are very helpful ,
    easy to follow and understand
    I’ve already watched almost all of ur tutorials.
    They are all great.
    I am learning from u
    Thanks , petri
    wish u happy πŸ™‚

  4. Gteat tutorials.

    please a tutorial about harnor it self in fl 12 ? there is a lot of tutorial online telling you turn this that knob

    What I Learned is turn knob,knob ;knob,knob. i do this like LMFAO.
    i like the way you explain things. Big thank to you

  5. Thanks again for the outstanding tutz. Nice diversity in the 3 sounds.

    What track is sound 3?

    I wanna bump that

  6. Thank you So much……..like always it was more intresting tutorial…..enjoyed alot soon im gonna try it on my tracks…..appreciated sir keep it up!!!!!!

  7. Hii big brother. You are the reason, I learn making music. Thanks a ton. That would be really a great help if you upload the video about how to make kick and hat,clap loops and melody loops. I would really appreciate if you do that. Second thing, I am 26. Is it legit to go for music at this age? Again thanks a ton for inspiration I got from your channel.

    • Hello Grand, and thanks for your feedback! I’m glad to hear your finding my tutorials useful! 😎

      I’ll look into the drum/melody loops tutorial at some point for sure.

      Also, there’s definitely no any age limit on music so go for it!

      Best regards

  8. Just wanted to say thanks for another great tutorial. I’ve been going through lots of your tutorials and they have had a very possitive impact on my ability to make good electronic music. Cheers

  9. Really fantastic tutorials. Thanks. Really enjoying them. Already given me tons of ideas and techniques for my music, really love the precise instructions, I love the variety of things you cover. I’ve totally rediscovered 3xOsc thanks to you, I’d previously dismissed it as far too simplistic when I have access to all the more powerful synths, and had thus had failed to grasp a bunch of the basics about how much you can achieve with pitch shifts, lfos, adsr envelopes, fine detunes etc.

    Question: there’s a very strong click caused by the arpeggio in sound 1 when I emulate it – it’s also present in your recording. I tried removing it by changing the slope of the pitch shift rather than the snapped transitions, but that didn’t work. I tried using the volume envelope to scoop out the volume at the moment of transition but that didn’t work either (improved it but didn’t remove it). Do you have any ideas?

    • Hi and many thanks, Hugo!

      About that clicking: that’s a bit problematic yeah. Pure sine wave is really sensitive for abrupt changes.

      I have two ideas: use the ‘Articulator output smoothing’ -knob to smoothen those sharp envelope shapes. You can find it just above the Envelope editor box, right beside that Articulator part selection menu. Set it to 40ms or more.

      The downside though is that it makes the pitch changes kind of slide from one octave to another and that changes the character of this sound quite a bit.

      Another idea is to forget using the Pitch envelope for arpeggio and use the Volume envelope and Arpeggiator breaks instead (check Harmor manual what are ‘Arpeggiator breaks’). This is a completely click-free method. The downside is that the arpeggio now only happens when you play CHORDS so you can’t play those ‘one-finger’ arpeggiator sounds anymore.

      Here’s a Harmor preset for this. Download it and load it to your Harmor:

      http://howtomakeelectronicmusic.com/downloads/arp-using-volume-envelope-arp-breaks.fst

      Next, go to Harmor’s Piano Roll and draw following notes there: C5, C6, C7 (or import the score below):

      http://howtomakeelectronicmusic.com/downloads/arp-score.fsc

      You should hear exactly the same arpeggiator sequence as with using the Pitch envelope. But with no clicks.

      Let me know if it worked!

      • Great response, thank you for taking the time to answer this so comprehensively. Both techniques work and are useful additions to my toolbox. I managed to create both versions you describe from your descriptions alone without reference to the files you provided, so great instructions, thank you. I then compared my arpeggiator breaks version with yours – and was pleased we both used the solution of wrapping around the bottom of the arpeggio to get to the top octave. Out of curiosity, if I had an arpeggio that spanned say 7 notes would there be a way to skip around, say the equivalent of “next two steps” or is that getting too clever? Should one just stick to midi input at that point?

        I found that on the arpeggiator breaks version there’s definitely still clicking when it’s on the top octave (at the end of the second bar) but was able to get rid of it with a few ms smoothing so great to know about that function.

        Of course I then realised that part b no longer sounds the same since it’s getting chords as the input… but for me the purpose here was not to recreate any particular sound but rather to understand and learn how all this stuff works and definitely mission accomplished, so thank you again!

        • Glad to hear you got it working!

          By that 7 notes spanning, do you mean you would like the arpeggiator to raise/lower the pitch by semitones rather than full octave?

          If that’s what you mean, that’s not possible using the arpeggiator breaks because they doesn’t actually define the pitch of the note. With arpeggiator breaks you just set the points where the arpeggiator happens in time and in what order it should arpeggiate the chord notes you send to Harmor via MIDI. The notes you send to Harmor defines the pitch.

          Best regards!

  10. A very good tutorial Petri πŸ™‚ . Your tutorials are very helpful and have only made me admire your work. Thanks for these great tutorials . πŸ˜€

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