A harmonic tremolo takes a different approach. It splits the signal into low and high frequency bands and
then applies the LFO to the low band and an inverted copy of the LFO to the high band. When the low
band becomes louder, the high band becomes quieter, and vice versa. This way, the overall volume
doesn’t drop as much because one part of the sound spectrum is always audible. This also means that the
upper harmonics receive a different tremolo than the fundamental, hence the name “harmonic tremolo”.
Harmadillo features three ENV (envelope follower) controls that use your picking and playing dynamics
to affect the tremolo’s rate, depth, and crossover frequency. These controls can make subtle or drastic
changes to your sound and add flexibility to the effect. When first getting to know Harmadillo, we
recommend setting the ENV controls to 0 so that you can get a feel for the basic controls first. Once you
are familiar with those, it will be easier to see how the ENV controls can be used to add expression to
your playing.
Depth: This is the depth of the low and high bands of the tremolo. At 0, the tremolo will have no
effect on the volume of the bands. At 100, the bands will be completely faded in and out.
Rate: This is the base rate of the tremolo. When Tempo Sync is ON, this becomes a multiplier on the
tapped BPM value. The Env Rate control can change the apparent rate, so if the rate that you are
hearing is different from the value of the Rate control, try setting the value of Env Rate to 0.
Shape: The shape of the tremolo waveform. The same shape is used for both high and low bands.
The shapes describe what happens to the low band, since it’s usually the main part of your sound;
the high band will change in the opposite direction. Options are:
Sine: A sine wave. This shape works well for producing a smooth, subtle tremolo.
Fat Sine: A “fat” sine wave that spends more time near its minimum and maximum values. This
waveform sounds similar to Sine, but with slightly more throb.
Phat Sine: An even “fatter” sine wave that spends even more time at its minimum and maximum
values.
Triangle: A linear up/down ramp. Like sine, this is a good shape for smooth, subtle tremolo.
Ramp Dn: A downward ramp for the low band, and an upward ramp for the high band. The low
band will have a plucked attack while the high band will fade in.
Ramp Up: An upward ramp for the low band, and a downward ramp for the high band. The low
band will fade in, while the high band will have a plucked attack.
Pulse X: A pulse wave with selectable duty cycle (X). The low band will stay at its maximum
amplitude for X% of the cycle, then jump to its minimum amplitude, set by Depth and Env Depth.
Options are 25%, 33%, 50%, 66%, and 75%. This shape can be especially interesting when
paired with a delay pedal whose time is related to Harmadillo’s rate.
Lump: The first half of a sine wave. The low band’s waveform is rounded at the maximum and
pointed at the minimum. This shape is good for making fast, vibey tremolos.
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11. ALGORITHM GUIDE
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