Resynthesis or image-synthesis, Harmor features both. Processing being multi-threaded, extra CPU cores come in handy. Voices may be generating hundreds of harmonics in parallel and still not overload the CPU. Its efficency is in fact, comparable to that of subtractive synthesizers. Resynthesis can of course be tweaked, providing time stretching, pitch shifting, or less conventional manipulations of partials.ДЄnd of course, the result of the analysis can still be turned into an image for further editing.ДЄdditive synthesis is generally very CPU-consuming, but not Harmor's engine. The reproduction will be faithful, not a vague sound-alike as in many additive synthesizers. Get access to gain & pitch planes which you can tweak in the image editor of your choice, and import any bitmap, even if it wasn't designed to be turned into audio, it might still sound interesting.Д«eing an additive synthesizer, Harmor can resynthesize audio files as well. No human can (or even wants to) edit 500 envelopes, but editing 2D images, that we can do easily. If you need one of the 2 filter units processed after the blur unit, that's no problem.Д«ecause it typically requires manipulating large amounts (up to 500 per voice) of partials over time, additive synthesis is hard to handle. Processing units can be rearranged in a semi-modular way.

Through the same envelope/mappings, randomize any parameter or link it to key or velocity, and even fine-tune each unison voice independently. You wanted more, so also featured is the multipoint envelope editor of Sytrus fame, applied to over 40 parameters, in 2 independent parts. You don't just select filter types, you draw them. Its modules will look familiar to subtractive synthesizer enthusiasts: oscillators, filters & phasers, these are featured in Harmor but, because performed through additive synthesis, offer more freedom.

Just like its little brother Harmless, Harmor is driven by a powerful additive synthesis engine.

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