If you’re coming from a virtual analogue background, the Harmolator offers a relatively intuitive introduction to additive oscillators.
Dynamic timbre changes can be programmed using modulation of each Harmolator parameter (more of which later). Because the Harmolator’s output can be as harmonically rich or as pure as any combination of multiple analogue-style oscillators, only one is needed.
The controls, which bear slightly arcane names such as ripple and symmetry, allow infinite flexibility to sculpt and shape the sound. The Harmolator (presumably a contraction of ‘harmonic oscillator’) offers nine simplified parameters for controlling the basic output of the oscillator. The plugin instead bases all its sounds on the unique Harmolator section. Unlike subtractive synths, additive synthesis constructs timbres from partials – harmonics and inharmonic functions of the tone’s fundamental frequency – rather than using filters to remove harmonics from a rich waveform.īlade’s designers have simplified the potentially complex process by avoiding the traditional approach of editing partial levels manually. HarmolatorĪdditive synthesis has never enjoyed the success of its more familiar analogue and virtual analogue rivals, in large part due to its unintuitive editing methods. The name may draw obvious comparisons to Native Instruments’ Razor plugin, but Blade takes a typically unique approach to sound generation. The latest product to join the line-up is Blade, an additive synth which takes a distinctly different approach to any of Papen’s other offerings.
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