BATMAN. You must be sick in body causing your voice to sound like that, or sick in mind for being able to keep up that voice for the whole video. Either way, we love you Seamless.
Partial safety ceiling (& also related to partial max count) is because Harmor has to guess up to which partial it has to process, & skip the inaudible ones (which keeps the CPU usage down). While that's simple when it's a plain sawtooth, it can get complex depending on the effects that are enabled, & this is to increase the # of partials above what Harmor believes to be the limit. It's important also if you wanna ramp the pitch down by one octave or more, because Harmor hasn't been processing the inaudible partials which then become audible, and has to guess which phase those partials would now have if they had been processed. Sometimes Harmor just can't figure it out, and raising the safety ceiling will force those partials to be processed, & thus the result will be accurate.
Somebody help me please! I don't know how to make harmor to be in mono (Portamento and polyphonic speaking) If i put a lot of C in a pattern, they dont sond like the same note when i play the pattern. PLEASE HELP!
Seamless, i've seen all of your work so far and it is amazing. For your next livestream i would love to see you make a dubstep song from scratch. It would probably help me to improve on what i am doing as well. I can usually get a good beat going and a few melodies but i just cant seem to stitch it all together. Thanks.
Hey. Thank you for the very informative series. But I am hoping you can help me further. I am attempting to generate a simple sine wave (for use as a sub tone), but can not do so without producing a barrage of frequencies (noise, not harmonics) on its initiation and release. It can be easily heard and observed visually by running it through wave candy in spectrum mode with the scale at 100%. However, in harmor's visual feedback only the desire fundamental tone is present. So I'm hoping you might be able to illuminate me as to where this single-sine-wave's-click is originating and if there are other ways it can be removed. Right now i'm using Harmor's Ramp (partial relative) for the initial click, and a velocity envelope for the release click... Thanks again!
6 YEARS LATE amd also not Seamless but if you just take either the Local EQ and remove most of the higher frequencies (Basically everything from the right side to almost all the way the left side on the graph) or use a filter, turn Key Tracking to 100% and turn down to a lower value like 20% of so you can get a simple sine wave for sub basses and similar. Hope its useful! Even if 6 years late. xD
all mono options I think have to do with the volume envelope. Kill same: if you have a release and press the same note it will stop the release, if you don't have it on the release will keep sounding and there'll be a weird sync effect. kill all: makes it monophonic and kills the release of any note, like an analog monosynth where the oscillator can only do one thing so the release of the previous note is cut. release all: leaves the release alone but makes it mono. I would say kill same could help some pad sounds with extreme release times not get out of control and too muddy, while kill all gives you that analog style monophony, release all and off are just too dirty.
BATMAN. You must be sick in body causing your voice to sound like that, or sick in mind for being able to keep up that voice for the whole video. Either way, we love you Seamless.
Partial safety ceiling (& also related to partial max count) is because Harmor has to guess up to which partial it has to process, & skip the inaudible ones (which keeps the CPU usage down). While that's simple when it's a plain sawtooth, it can get complex depending on the effects that are enabled, & this is to increase the # of partials above what Harmor believes to be the limit.
It's important also if you wanna ramp the pitch down by one octave or more, because Harmor hasn't been processing the inaudible partials which then become audible, and has to guess which phase those partials would now have if they had been processed. Sometimes Harmor just can't figure it out, and raising the safety ceiling will force those partials to be processed, & thus the result will be accurate.
Such badass voice!
The fact the first video got like 13 times more views shows the dedication of the community lol
Nice! Powering through it even though you're sick! Great job Stephen!
Well, I have just now finished this series nd am beyond grateful for ur persistence!!!!
You sound awesome batman :) Was able to finish the entire series. Also bought your tutorial on sonic academy before. Cheers!
Thanks for the post. Feel better, dude.
Somebody help me please! I don't know how to make harmor to be in mono (Portamento and polyphonic speaking) If i put a lot of C in a pattern, they dont sond like the same note when i play the pattern. PLEASE HELP!
Release all kills the voice and sends it into the release part of the volume envelope.
Seamless, i've seen all of your work so far and it is amazing. For your next livestream i would love to see you make a dubstep song from scratch. It would probably help me to improve on what i am doing as well. I can usually get a good beat going and a few melodies but i just cant seem to stitch it all together. Thanks.
12:48 this would make a great sample
Hey. Thank you for the very informative series. But I am hoping you can help me further.
I am attempting to generate a simple sine wave (for use as a sub tone), but can not do so without producing a barrage of frequencies (noise, not harmonics) on its initiation and release. It can be easily heard and observed visually by running it through wave candy in spectrum mode with the scale at 100%. However, in harmor's visual feedback only the desire fundamental tone is present.
So I'm hoping you might be able to illuminate me as to where this single-sine-wave's-click is originating and if there are other ways it can be removed.
Right now i'm using Harmor's Ramp (partial relative) for the initial click, and a velocity envelope for the release click...
Thanks again!
6 YEARS LATE amd also not Seamless but if you just take either the Local EQ and remove most of the higher frequencies (Basically everything from the right side to almost all the way the left side on the graph) or use a filter, turn Key Tracking to 100% and turn down to a lower value like 20% of so you can get a simple sine wave for sub basses and similar.
Hope its useful! Even if 6 years late. xD
Did you talk about the denoise nob?
all mono options I think have to do with the volume envelope. Kill same: if you have a release and press the same note it will stop the release, if you don't have it on the release will keep sounding and there'll be a weird sync effect. kill all: makes it monophonic and kills the release of any note, like an analog monosynth where the oscillator can only do one thing so the release of the previous note is cut. release all: leaves the release alone but makes it mono. I would say kill same could help some pad sounds with extreme release times not get out of control and too muddy, while kill all gives you that analog style monophony, release all and off are just too dirty.
12:50 rofl
Hmm, I don't speak frog Stephen, please record again :P
LOL
i can see your beard youre clearly not batman
Someone put a low-pass filter on his voice.... Poor guy..
What happend with your voice? 😐
First! oh my gosh!! >.