I wanted this just for Wave Candy after seeing a video from Au5 on YT. I didn't know how or what meters he was using. I had to do some digging around. Found out Image-Line no longer sells VSTs on their website, so I had to find out if I could purchase it elsewhere. Everything in Wave Candy works perfectly in Ableton Live 10.1.42. I have not used anything else from the bundle yet. If you own and ONLY use FL Studio, Juice Pack, products come free with full versions to use only in FL Studio. If you want to use them in another DAW, you must use the VST versions. Those are not free.Read Review
FL Studio is a tremendous piece of software to musically create any song in any genre imaginable. Those who lock it down to one musical style don't know what they are talking about. The interface is flawless, fast, lightning fast, intuitive and modern. One of the best on the market, above Pro-Tools, which is an old and boring dinosaur. Creating a good sounding track, cutting it and editing it is so easy in FL Studio! The editing and sound modules, compressors, limiters, etc. are excellent! When you first open FL studio it takes about 3 seconds, Mixcraft 9 takes three times as long, Studio One takes almost 30 seconds or more. There are many who say that a DAW has no sound of its own, but the FL Studio console lives when you add editors, compressors, etc., the sound shoots up to an incredible quality. In Mixcraft for comparison, it sounds flat and muffled, the same as in Studio One or Bitwig. In FL Studio the sound is fat, creamy and dense, modern and elegant at the same time, making the producers ears can have a close vision of what the final master will sound like. What I don't like about FL studio is that sometimes the mouse click behaves unpredictably, the synths you assign are not automatically associated to a channel and that's a bit confusing. Some of the built-in synthesizers are mediocre sounding and unintuitive, not all of them...Directwave sounds like Kontakt the same, Sytrus sounds incredibly clean and analog at the same time, it's like having a Korg Chrome inside FL Studio. FLEX is great for pads and atmospheric sounds. The Patcher where you can mix anything you can think of responds like a tool out of this world! The piano-roll that works here works wonders and there is no current DAW that can come close in its performance and versatility, a marvel for composing well and fast. If you don't use any DAW yet and you are thinking about one, don't hesitate with FL Studio, it's a dream DAW, it's perfect? NO, but it will make you smile in every song you compose, produce and listen to with it.Read Review
I use this Daw from the version fl loops 4, .
I like this Daw, are interface is not frozen, these keyboard shortcuts, these synths particularly Harmor.
and Patcher to mix the VST is super powerful.
I also like the Fruity peak controller and the envelope controller to control our virtual instrument and effect
we have everything with this software, we can even make videos with ZgameEditor it's perfect.
I use FL Studio 12 to make all of my music. It has so many great plugins and sounds and lots of lovely effects and features that I feel like anyone would like.
Sytrus is one of my favorite softsynths for synth sounds. It is good because it can do anything ranging from subtractive, to FM, to additive. Minisynth and GMS are good subtractive synths, as is SimSynth. DX10 is good for randomizing patches because you can get amazing results.
DAW features: 100/100.
It is full of features that many people would like.
I think FL is very flexible, it has tons of piano roll stuff like quantization.
I love the quality of this DAW. It has tons of nice features. I am able to use Synth1, Dexed, Korg Legacy, and others seamlessly.Read Review
Great VST, great price.
Has a bit of everything and controls to modify/manipulate to the users desire in order to create an abundance of musical yumminess :).Read Review
Harmor's biggest strength is also it's greatest weakness, and probably why there are so few reviews for such an amazing synth. You can use Harmor for years, and still feel like a noob only scratching the surface. That makes writing a review difficult. How can you give an in-depth review, when you feel so green behind the ears? You only need to watch a few YT videos (e.g. Seamless) or chat with another user to discover yet another side to this truly versatile beast.
To start off with, Harmor is an amazingly capable subtractive synth. It might be billed as an additive synth, but you can drag in your own waveforms without having to worry about setting any partials. You can completely ignore that side if you want to. You get 4 oscillators split over 2 parts, and you get to choose the mix between the 2 oscillators per part, as well as the mix between the two parts. Where Harmor comes into its own here is in the modulation options. If you've used FL Studio or Sytrus, this part will probably make sense immediately. If you haven't, you'll probably have a bit of a learning curve. Essentially, you can draw any envelope curves you can dream up, including loop points, for pretty much any parameter. Or you can just draw a standard ADSR instead. You also get an LFO for each parameter that is much more versatile than just a simple repeated wave form. Again, you can draw your own and do weird and wacky things. All envelopes and LFOs can be tempo synced or retriggered globally when you play another note.
I find the UI intuitive with drop-down menus to select the parameter you want to modulate (there must be around 70 to choose from) and another drop-down to select the source (envelope, LFO, keymap, velocity etc.). It keeps everything uncluttered while giving you access to a huge number of options.
This makes it extremely easy to create organic and evolving sounds. You also get 2 filters to play with that you can route in series or parallel. And in addition to the standard filter options you'd expect, you can also draw your own filter and resonance curves.
Of course, you can instead create your own waveforms from partials. Under the hood, Harmor works exclusively with partials, which is where it shows its additive nature. If you load a waveform, it will be analysed and broken down into the corresponding partials (which you can view and edit if you want). Everything Harmor is doing is happening at the partial level. Your filter curves are actually being applied directly to the appropriate partials' levels, not to the final audio output resulting from all partials being added together.
Now you can manipulate these partials in various ways, blurring them together or using the prism function to spread the partials across the frequency spectrum so they no longer act as harmonics. This can create all sorts of metallic and weird sounds. Of course, you can modulate the prism and blur settings using envelopes and LFOs. To help you understand what is going on, Harmor has a visual representation of the partials that are playing, and you can see how they drift and blur with your settings. This is immensely helpful. I suggest that you type "can i haz moar view" into the preset description box to make this visual element bigger (hidden Easter egg).
It's very easy to make ugly sounds by manipulating the partials this way. Quite a few of the presets that use these features in more extreme ways fall into the "weird sound fx" category. But they are actually great for creating more metallic tones, where not all the partials are harmonics. The right custom filter curve, and/or partials, and you are good to go! At less extreme setting they can also add bite or grit to the sound.
There's also a unison function, again applied to the partials, as well as a hamonizer that allows you to clone partials and add copies elsewhere in the frequency spectrum, either using addition or multiplication. But there's no way I can list every feature you get. Suffice to say, you can spend hours twiddling knobs just to see/hear what happens.
But that's not all! You can load audio and image files to use as your sound source instead of the oscillators. The audio or image is analysed, and broken down into partials. This means you can play any audio as a pitched instrument, and manipulate the partials. It can be fun to load random images, but I've found that algorithmically generated designs can work really well - things similar to the classic geometric screen savers that just drew coloured lines to make interesting patterns such as spirals. If you load an image, you can actually see the image in the view on the right as your audio plays, which is neat.
There are various ways you can interact with images/audio (which are essentially treated as the same thing). There are various speed settings as well as options for how to map content to partials. Different options here give very different results. You can use envelopes and LFOs to scrub through the image/audio and set an offset/play position. In theory, you can set the speed to 0, and load an audio file consisting of several single cycle waveforms and use the time offset to scan through the waves. I've only done this with images, but I can't think why it won't work for audio too, essentially giving you wavetable scanning as well.
The last section I need to mention are the in-built FX. Harmor has a nice selection of FX, and my god, do they sound luscious. You get distortion, chorus, delay reverb and compression to choose from. And because Harmor can never give you too many options, you get to choose not only the order in which the global FX are applied, but also the order in which the different sections of the synthesizer are applied. So you can first apply EQ, then use the pluck, then apply the prism effect and then filter the result. Or filter first, then phaser, then harmonizer. It's crazy.
As you can probably tell, Harmor is a crazy beast of a synth, and I'm actually trying to keep this relatively brief...
So is Harmor for you? If you are a sound designer, most definitely. If you like experimenting and making your own presets from time to time, it's a wonderful synth to do that on. Harmor is one of those synths I sometimes fire up just to see what sounds will come out. You can easily futz around for an hour without noticing how much time has passed. But if you are a heavy preset user, and the thought of doing more than tweak the odd knob is a turn off, Harmor is not for you.
Because it's so versatile, you could probably use it to replace a large number of synths. On the other hand, nothing can come close to replacing Harmor. That's why it's my desert island synth. It's the one that can do almost everything. I can make beautiful pads, punchy basses, silky leads. I can make ugly metallic clangs, dirty gritty soundscapes. I can sample myself going "ooh" and play it as a choir. Backwards.
I think there are too many 10/10 ratings on KVR, but Harmor is the one synth I have that deserves it. Well done Gol.Read Review
i love this synthesizer so much that i automatically reach for it first.
Light on system resources, great modulation system, rich FX section, intuitive overall design, adaptable oscillators (operators)... by far my most treasured synthesizer plugin.
I've thought long and hard about how to rate this synth, and decided to go with a perfect 10, with the caveat that your experience may well be a zero.
What it boils down to is Harmor is THE synth for you when know what you're doing -- and the more you know, the better it is. However, if you're brand new to the synth game, or have a spotty grasp of the physics of sound, you're very likely to flail about uselessly until you get frustrated and quit.
Like a bicycle without training wheels or a bowling lane without bumpers, Harmor is very beginner-unfriendly. But it makes up for that by being extremely convenient for advanced users. The built in vibrato, tremolo, and pluck are obvious time savers, as is the suite of re-orderable onboard effects, but the real power is the additive-doing-subtractive paradigm. And I don't mean "power" in the "ability to do novel things" definition typically associated with synthesis -- although Harmor obvious ranks extremely highly (perhaps the highest) on this chart. Instead, I'm referring to the ability to work quickly.
You can dial in EXACTLY the harmonic profile you want. You can get the PRECISE filter shape you're looking for. You can create the SPECIFIC envelope behavior you desire. And you can do all of this in just a couple of clicks without ever fussing about with a modulation matrix. You know what's better than drag-n-drop routing? No routing at all -- just right click on the control, and then edit the envelope, LFO, keyboard tracking, velocity mapping, etc for practically every knob and slider you see on the screen. Once you get used to this paradigm you'll wonder how you ever lived without it.
Also, remember in other synths when you used to stack all those different oscillators at various pitches with different amounts of unison and detune? You'll never do that again. The unison on this thing reigns supreme. First of all, the fact that you have per-harmonic phase control and inherently linear-phase additive "filters" means that you have fatness and low end for days on this thing -- there's no phase cancellation or distortion mucking things up unless you want it. Second, you can adjust the unison detuning on a per-harmonic basis, which is a very direct and efficient way to achieve the type of unison timbre you're seeking. Again, this is another one of those things that you'll wonder how you got by without -- it's that good.
The sound, of course, is fantastic, with unbelievable quality and versatility. Forget about aliasing -- there is no aliasing here. There is no anti-aliasing here either -- it's additive-doing-subtractive, you don't need anti-aliasing. Now I'm sure that Harmor could be made to alias, perhaps through the distortion unit, but really, the clarity and strength of the sound is unparalleled in the software world. Digital FM is cool and all, but this right here is computer synthesis shining in a way that nothing else can -- with phenomenal CPU efficiency to boot! It's truly one of a kind.
But the thing I keep coming back to is just how quickly you can work with Harmor, assuming you know what you're doing. It's an expert tool for expert users -- beginners would be better served with something like Harmless. And even intermediate users should approach with caution. For instance, Harmor doesn't do straight-up PWM. If you know synthesis, and want to make a PWM sound, but don't understand what that means harmonically, Harmor will frustrate and confuse you. However, if you understand that PWM is a saw harmonic series attenuated periodically in the frequency domain at harmonic scaled intervals, with the size of that interval smoothly varying over the time domain, then you'll see that using Harmor's phaser in "harmonic" mode, not only can you can get that classic PWM sound, but you can do it better, and with a trillion variations that aren't possible in classic subtractive paradigms. Heady stuff.
And here I'm not even touching on the resynthesis capabilities, which are a whole universe unto themselves. But this review is long enough as is.
Image-Line is very clear about their target audience for Harmor. The manual sums it up well:
"The Harmor design philosophy is 'more is more', every feature, control and harmonic function was carefully selected for maximum effectiveness."
With this target audience in mind, and rating Harmor based on how well it serves that audience, stacking it up against the competition, it clearly merits nothing less than a 10 out of 10. The future of sound design arrived 5 years ago and runs on a cheap laptop. What a time to be alive.Read Review