![]() ![]() ![]() When tables are loaded into non- contiguous frames, the greyed-out intermediate frames smoothly interpolate between them so even with just two tables set up, complex spectral shifts and sweeps are easily realised. That’s really only the beginning, though, as up to 16 harmonic tables can be defined per oscillator, loaded into the row of ‘frames’ at the bottom of the Harmonic Editor, for sweeping through, wavetable-style, with the Position knob. You can even import the frequency profile of an audio file, which often yields interesting results. A menu of shaping functions can be called on to transform the whole harmonic table (Boost Lows or Highs, Shift Octave, Randomize, etc), and a collection of preset tables is on hand for starting-point inspiration or use as is. In the pop-out Harmonic Editor, these are represented by vertical orange (amplitude) and blue (phase) bars, above and below the horizontal dividing line, and edited by drawing curves across the spectrum in one of four modes (Free, Odd, Even and Organ), or clicking in discrete settings for individual harmonics. ![]() The three identical oscillators each generate a waveform from an editable series of 128 harmonics. Thorn’s (VST/AU/AAX) architecture centres on three Harmonic Oscillators, the combined output of which is manipulated using a familiar arsenal of subtractive ‘analogue’ processors, and polished into a final sound with effects, an arpeggiator and the very cool Glitch Sequencer (see A Glitch in the system). ![]()
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