#87

Yep. The button combos get me too. I’ve had both the Tempi and Morphagene and sold both for this reason. Other modules by other manufacturers with button combos like this have also done me in recently, and I’ve been trying to avoid them at all costs.

That being said, I have a phonogene on the way as part of a trade - I’ve always been interested in the lower-fi and aliasing you can get with it! And, so far as I can tell, there’s really only one button combo to clear the audio after you clear splices, which is an easy one to remember.

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#88

And a bit of an incantation to go into broken echo mode, but not at all bad. You just have make sure something is recorded into the buffer—which can be silence—and hold down the record button until the EOS light flashes.

I keep going back and forth on replacing my Phonogene with a Morphagene. I have a Tempi and don’t mind the button combos, but I like the immediacy of the PG, and the sound.

#89

Phono and morphagene are very different in my opinion, phonogene has an amazing sound, a learning curve and has been the ghost in my rack (to borrow a title from another thread) for any patches it’s been in. Morphagene on the other hand, is pretty tame, has a ton of sweet spots and sometimes goes into a mode that feels like it’s broken (maybe reel mode? I don’t know how I get in or out of it). Morphagene is in the rack now for it’s versatility but I’ll have a hard time getting rid of phonogene.

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#90

Can you link to the “ghost in my rack” post? I’m curious!

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#91

The Ghost In Your Rack < here you are. Forget if I’ve read through the thread myself but I really liked what I understood to be the idea.

#92

Using the strike input is the best indicator for understanding the damp knob, in my opinion. When struck, a short damp will cause just a click, long damp will have the classic vactrol ring. Using an envelope into the ctrl input makes it a little harder to hear the effect, because the ring is only distinct when the input envelope is pretty short.

IIRC, the V2 version has a neat feature where if you hit strike with no input signal, you’ll get an envelope from the output.

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#93

You need to plug a constant voltage in that channel’s input to get the same behavior with the 1.

#94

I prefer the behavior for V1 over V2 to be honest. For the V2 Optomix, turning “control” manually adds a DC offset to the output signal.

#95

Only if there is no signal patched to that input.

#96

You can actually hear the offset on the V2 version with a non-DC signal patched into the input. Makenoise calls it “subtle non-symmetrical clipping of signals” in the product description. Somewhere past noon on the dial, I heard it as a subtle thinning of the signal. The V1 version is smooth all the way around, so no harmonics are added to the signal with the VCFA open.

Edit: but yes @jamescigler is right. It is only present with nothing patched into control.

#97

There’s two times where the V2 feature came in particularly handy for me (not including the usual making dark simple kick sounds, or creating a simple attack-decay envelope). One time I needed a 3rd DC-offset and already used CH2 and Ch3 on MATHs, and the other was when I needed to mix a control signal with a DC offset - it’s often forgotten that Optomix is DC-coupled and can be used to mix control signals too, so I was able to use it just for that purpose.

Optomix - not just for audio™ :slight_smile:

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#99

In 2013, my first modular setup was a Shared System. I was drawn to it because I like the more artistic approach to an interface where labeling on the front panel sort of got me out of the “scientific” interpretation of functions. I still have the system but in a bigger case augmented with other makers’ stuff.

The Make Noise philosophy/aesthetic in my opinion is more fun and less serious, which is what I want out of music-making. Plus, Tony skates.

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#100

Finally got around to making mockups of some Black & Gold PCB panels that don’t currently exist in any official capacity, something I’ll probably end up making for myself at some point when I have my expanded Make Noise system.

fakenoisepanels
fakenoisepanels.png1384×702 130 KB

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#102

Great idea! I have 3 of these modules, and had to get the Grayscale panels to make them ‘blend’ in better, but these are so much better. You should definitely make more than one if you do go ahead - I’m sure I wouldn’t be the only one interested in getting in on them.

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#114

My wife gave me a Telharmonic for my birthday, excellent surprise! It’s been on my GAS list for “some day”…

It seems like something that would appeal to at least some folks in this community…

Anyone have any tips or insights for using it? I’m waiting for a new case to get it racked up at the moment…

Thanks!

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#117

This is a fairly straightforward patch, but it’s my favorite Telharmonic one that I’ve heard. It’s great for drones if that’s your thing. https://www.youtube.com/watch?v=Qcu57sbBh2E&ab_channel=DivKidVideo

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#124

Use the Noise output - a lot. It’s super cool and I feel overlooked by a lot of users.
Also, the D-Gate output is SUPER cool and again doesn’t get used enough.

The trickiest thing to starting out is tuning. Start with Degree at noon, and Interval at the Unison setting.
Listen to the H output, turn Centroid all the way down, and then tune with Tonic. Once tuned, patch your 1v/oct signal into Degree.

It’s a much deeper module than it appears on the surface and definitely rewards experimentation and patience.

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#125

re: Telharmonic - I haven’t had mine tremendously long, but patching the other outputs into the FM in usually makes for interest. I also use that noise source a lot. It’s currently my only noise, so it’s handy to have!

I find the module makes great electric guitar paletted sounds.

Maybe goes without saying, but read the manual well? There are lots of good notes in there. I still refer to it frequently for ideas.

I’ve found sequencing it outside of “Unison” a bit tricky trmyself. Still getting to know it that way. As @jamescigler noted, it’s much deeper than it looks. That said, it’s also easy to use use from a “make dope sound fast” perspective, as it only has two controls and a gate that shape the different outputs. It’s also quite expressive. Here’s my favorite little sequence I’ve done with it (TSNM playing the Telharmonic).

On a different subject, I finally started using the Morphagene as two mono channels. For some reason my brain was thinking of it like a reverb that smears the channels together, so I always kind of presumed the second channel wouldn’t be of much use… but you really have two Morphagenes in one in a sense? You’ll get identical manupulations of course, but it’s still neat. Don’t overlook this like I did! :sweat_smile:

Also, the firmware update that added the “only record the live input” option has really given the module new life for me. Leaving it doing SOS mode but only messing with the live input turns it into more of an effects processor, and it’s a super dope way to use it.

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#130

One thing to always keep in mind, especially when using other intervals than Unison, is that if you have Flux turned up (particularly higher than 12 o’clock) and you’re turning up Centroid, you’re isolating harmonics. And particularly if you’re in a triad Interval, you very well could isolate a harmonic that is not harmonically pleasing with other voices in your patch. This is the same with narrow bandpass filtering too, so not unique to the Telharm, but something to be aware of. If I know I want to use the chords more from the Telharm, I try to start with that first and then sequence the other voices in my patch to better fill that out, rather than vice versa. Or, I modulate Centroid less (or I sequence it’s modulation so that it’s repeatable and tunable).

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#131

(mod edit: to keep this thread on-topic, covering the philosophy and design of make noise modules, the lengthy discussion & speculation on the upcoming/new Rene v2 has been moved to its own thread: Make Noise Rene v2)

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