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… I wonder if I can get even closer by applying an LFO to one or more of the Harmadillo parameters. I’ve recently added a Morningstar midi controller which has a signal generator (a sine, triangle, or square LFO) that can be assigned to various H9 parameters …

Congratulations.  External controllers ‘create’ new H9 parameters.  They’re incredible additions to all kinds of H9 situations, as long as you don’t overload it with CC messages.  For example, LFOs modifying detune depths in MicroPitch (astounding surprise), or ‘time modulation’ in any DELAY algorithm (I use that with those XFADE presets to great effect).  Loop switchers, he SA Reflex, MIDI keyboards & step sequencers, expression pedal ramp triggers, … there are many cool options to tap out there now.

For UniVibe, I modify at the source most often, as opposed to the destination.  I’ll use the LFO ‘skew’ in an MPX-1, or an 8 Step Program sequence with some Glide.  Then mirror the front panel of a Korg NuVibe as a waveform template.  But that doesn’t mean you can’t approach similar results shaping at the destination.  You can often come close enough by mixing two internal SHAPE/ MOD SOURCE in ModFactor algos.

I haven’t given Harmadillo as much exploration time as perhaps I should have.  My 1st thought was possibly having a common LFO waveform controlling a smaller range of the 0-100 SLOPE (in SHAPE).  My 2nd thought was that it might be more accurate to control multiple parameters by targeting the Expression Pedal programming with the LFO.  In my mind’s ear, that has potential to get the characteristic growl.

Interesting concept to explore.  I’m going to try out a few things later on (after the NFL playoff games).  As for your 2nd question … my hunch is that the HIGH / LOW bands are partially mixed – not strictly split – in a stereo field, but I could be wrong there.  I’ll confirm that, as well.  My 3rd thought was – if you have this luxury – a 2nd H9 in series could get you ‘spectral panning’ with the Sculpt algorithm.