Harmor = best additive resynthesizer?

[wagtunes]

The current library that I'm working on for Mangle is all ambient, pads and ARPs and FX.

... and so your Harmor soundbank will also just ambient Random samples bumped into the resynthesis.

Looks like nobody cares about the osc parts... maybe because they're too difficult and resynthesis is easier *g*

I intend to crack this thing wide open.

We'll see.

Why are you making assumptions about what I'm going to do with Harmor? Did you get my soundbanks for Serum, Zebra and Ominisphere? Drives me crazy when people make assumptions.

I assure you that when I am done with Harmor (and this may actually take me several months to do right) it will not be just a lot of crap thrown together with some fancy modulations.

[Neon Breath]

Wildfunk, who cares about Harmor's sounds not sounding 'House and Techno' enough for you. You should stick to sin and saw waves really. That way, no risk and only sure shots. Stay comfortable in your old slippers. I think you totally miss Harmor's point and idea behind it.

wagtunes, keep up the good work and keep experimenting with an open minded approach, that's the way to go for finding new aural territories.

[wagtunes]

Wildfunk, who cares about Harmor's sounds not sounding 'House and Techno' enough for you. You should stick to sin and saw waves really. That way, no risk and only sure shots. Stay comfortable in your old slippers. I think you totally miss Harmor's point and idea behind it.

wagtunes, keep up the good work and keep experimenting with an open minded approach, that's the way to go for finding new aural territories.

It's cool. If I listened to every person who complained about certain patches made with each synth, I wouldn't design anything.

My mode of operation is simple. I make what I like and use. I make a demo of it and let others hear it. If they like it, they get it. If they don't, they don't.

Maybe Wildfunk should simply check out my demos for Serum, Zebra and Omnisphere. That way he can get a decent idea of the kinds of sounds I do.

And no, I do not cater specifically to the EDM crowd. My stuff is more old school and off beat. It's what I like, so it's what I do.

[Wildfunk]

Wildfunk, who cares about Harmor's sounds not sounding 'House and Techno' enough for you.

Lol, Harmor is perfect for House and Techno! But it's funny that there are hundreds of soundbanks for Sylenth1 and not a single (techy/housy/trancy) one for Harmor

You should stick to sin and saw waves really. That way, no risk and only sure shots. Stay comfortable in your old slippers.

Did you know that Harmor is an additive synth? I mainly create my own timbres and don't use sines or saws.

I think you totally miss Harmor's point and idea behind it.

The idea sure was not bumping random images into the resynthesis. Also everybody overlooks the osc parts etc. It's really sad...

[Neon Breath]

But can't both sides, experimental oriented approach via audio/image resynthesis AND a more conservative approach via more traditional timbres, live and coexist together under one same synth? Why trying to diss one or the other? And why do you care if someone is having fun throwing random images into Harmor, what that takes $100 out of your pocket each times or what? Why a technique that you don't use or like is automatically ''stupid' as you call it? Sorry but you sound like a 18 teen man

[wagtunes]

Wildfunk, who cares about Harmor's sounds not sounding 'House and Techno' enough for you.

Lol, Harmor is perfect for House and Techno! But it's funny that there are hundreds of soundbanks for Sylenth1 and not a single (techy/housy/trancy) one for Harmor

You should stick to sin and saw waves really. That way, no risk and only sure shots. Stay comfortable in your old slippers.

Did you know that Harmor is an additive synth? I mainly create my own timbres and don't use sines or saws.

I think you totally miss Harmor's point and idea behind it.

The idea sure was not bumping random images into the resynthesis. Also everybody overlooks the osc parts etc. It's really sad...

The reason Harmor has so few soundbanks in general is twofold.

1) It's a very difficult synth for most people to program.

2) I do not believe there is a big market for soundbanks, at least not in comparison to something like Sylenth1 which almost everybody and their grandmother owns.

For a sound designer to dive into Harmor, it would have to be a labor of love and not for money. I don't expect to sell a lot of banks when mine is completed, but I plan on doing one anyway because I think the synth has tons of potential if people will just take the time with it.

Here's what I'd like you to do for me if you don't mind. Post a video or audio of the kinds of sounds you're looking for in a soundbank just so I have an idea.

[Wildfunk]

But can't both sides, experimental oriented approach via audio/image resynthesis AND a more conservative approach via more traditional timbres, live and coexist together under one same synth?

Of course but i've heard only "experimental" patches (with use of the resynthesis) so far.

Usually the fx section is just a small part of a soundset. The neurovision soundset with 300 patches is 100% fx

And why do you care if someone is having fun throwing random images into Harmor

Because i take Harmor seriously! And it's not helpful for the reputation of Harmor when there are only bad resynthesis soundbanks available.

[Sound Author]

A lot flaming about "the point" of Harmor, and certain sounds being "unusable" and just general negativity overall.

Sound design should be fun! Instruments like Harmor allow us to experiment with new ideas, or maybe combine new ideas with old ideas and see what happens! I don't think there's a "point" to any of it, what a terrible limitation that would be if there was.

Some people are new to sound design. Perhaps others aren't interested in sound design at all, and just want to flip through some presets and use "bread and butter" sounds for tracks they're working on. Different strokes for different folks. I don't think there's a right or wrong way to use Harmor ... and whether or not certain sounds are "usable" ... well, that depends on what you're doing.

Some sounds are musical, and some aren't. Some sounds contain tonal data we can use in a musical situation. "Noises" are often dissonant, unpleasant or even downright obnoxious, seldom providing harmonic content we can use musically. But that only renders sounds "unusable" in a musical setting.

Sometimes, the setting isn't about music at all. Sometimes, the setting has more to do with atmosphere, ambiance, or maybe just a general feeling of open space. Harmor is a tool we can use for practically any setting. Take your pick. AND HAVE FUN!

[highkoo]

Because i take Harmor seriously! And it's not helpful for the reputation of Harmor when there are only bad resynthesis soundbanks available.

So why are you arbitrarily talking shit to a guy who is likely working on a good soundbank...?

[Neon Breath]

A lot flaming about "the point" of Harmor, and certain sounds being "unusable" and just general negativity overall.

Sound design should be fun! Instruments like Harmor allow us to experiment with new ideas, or maybe combine new ideas with old ideas and see what happens! I don't think there's a "point" to any of it, what a terrible limitation that would be if there was.

Some people are new to sound design. Perhaps others aren't interested in sound design at all, and just want to flip through some presets and use "bread and butter" sounds for tracks they're working on. Different strokes for different folks. I don't think there's a right or wrong way to use Harmor ... and whether or not certain sounds are "usable" ... well, that depends on what you're doing.

Some sounds are musical, and some aren't. Some sounds contain tonal data we can use in a musical situation. "Noises" are often dissonant, unpleasant or even downright obnoxious, seldom providing harmonic content we can use musically. But that only renders sounds "unusable" in a musical setting.

Sometimes, the setting isn't about music at all. Sometimes, the setting has more to do with atmosphere, ambiance, or maybe just a general feeling of open space. Harmor is a tool we can use for practically any setting. Take your pick. AND HAVE FUN!

Boom! There you go. Simple as that. No idea why that bothers some...

[highkoo]

"the point" of Harmor

While Harmor has all the features needed to do almost anything, it could be said that it was designed to appeal to people looking for exactly the "neuro wobble bass" super modulated type shit everyone is complaining about.
If someones ideal is warm house pads and basses, maybe Harmor is not the best choice of synth...

[wagtunes]

Because i take Harmor seriously! And it's not helpful for the reputation of Harmor when there are only bad resynthesis soundbanks available.

So why are you arbitrarily talking shit to a guy who is likely working on a good soundbank...?

It is the nature of forums. There are those of us who just like to start trouble where none exists. I don't take it personally. When my soundbank is done, people can judge for themselves if it's any good or not.

I'll be starting it on March 1, 2015. Expected completion date: May 31, 2015. I want to give this the time and effort that it deserves.

[Wildfunk]

If someones ideal is warm house pads and basses, maybe Harmor is not the best choice of synth

Why not? Of course you have to program Harmor properly and not just bump images into...

[wagtunes]

If someones ideal is warm house pads and basses, maybe Harmor is not the best choice of synth

Why not? Of course you have to program Harmor properly and not just bump images into...

Okay, I gotta ask. What exactly is "proper" programming?

I don't know how long you've been around but my synth programming days go back to the late 70s starting with Moog and working my way up to ARP and Yamaha. Some of the early synth patches were true experiments in every sense of the word and many of them made their way into popular recordings. This list of "odd" synth sounds in well known tracks would surprise you. Or maybe you never listened to stuff like Kraftwerk, Tangerine Dream, ELP or even The Who when they came out with, at the time, was a crazy, wild ARP 2600 sequence that took the world by storm. Back then, that was some weird stuff for a rock recording.

So I'd love to know what proper programming is because I've yet to hear that term used when it comes to programming synths, something that at one time in itself was looked down upon by a lot of the music community.

[Neon Breath]

Okay, I gotta ask. What exactly is "proper" programming?

Certainly not experimenting with spectral resynthesis! It's forbidden because it's not serious enough