This is a thread for sharing patches, tips, tricks, and discoveries about the Make Noise tELHARMONIC module.

Personally, I have had the tELHARMONIC in my system for around a year at this point. Despite this, I feel like I’m only touching the surface of what this module can do. I mainly use it for simple drones, pads, and the occasional hi-hat sound. Most of my usage feels like I’m choosing a “preset” voice, applying a simple LFO to one/two parameters (often Centroid), and calling it a day. I’m certain there are some Lines-ers who have explored this module more deeply than I have and may have some tips :slight_smile:

So… what types of (audio rate?) modulations have you found interesting? Do you have an interesting way of sequencing the voltage-controlled music theory aspects of the module? How have you wrangled the sound of the tELHARMONIC to fit your musical style?

Some interesting food for thought…


envelopes! crazy percussion style stuff just lovely. but i cant remember how i did it. (few years back)

After a long hiatus, I put the Telharmonic back in my case to experiment with the three voice shift register mode - does anybody have any tips on who to get the most out of it? I understand that it can accept 1v/O at the degree input to sequence notes and chords, but I was mainly using an envelop to modulate degree.

I have a bit of a love/hate relationship with the module and currently debating whether to trade it for an STO. The immediacy of the STO appeals to me, but I already have a DPO, and the Telharmonic would afford me more sonic and musical variety in my patches.

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I was given one as a Christmas present a few years ago and have barely used it…

I’ve been busy trying to learn my monome/Mannequins menagerie and a Shared System Plus, so it has been low on my priority list… I do think it’s got some interesting potential and look forward to hearing from others about it…

I adore the sound of the 3 voice shift register. I use it in almost every patch. I love the way it sits in the back and glues everything else together. I patch v/oct to Degree, and the corresponding gate to D-Gate. I leave both fully CCW, and the Degree CV in fully CW. I use H out and start with Centroid at full CCW and Flux at full CW. I modulate Centroid (via LFO or Woggle smooth for instance) so that it peaks out around 10 o clock. I usually send the middle channel (t2/x2) of Marbles into it.

It can also make some beautiful drones. I like to mix all 3 outs whilst slowing modulating the centroid and flux.

All that said, I’d be curious to hear how other folks are using it.


It’s probably common knowledge when a Make Noise video comes out, but this one was such an interesting usage of this under-appreciated module I had to share.

And honestly, I have the TH sitting in a box waiting to be sold, but this is quite interesting sounding…


I just ordered a tELHARMONIC. Any die hard fans in here with some tips for a new user?


My ambient go-to is the 3-voice mode H out, with subtle modulation of centroid. Adds a nice drone layer to anything.


Ok, I don’t consider myself an expert in modular technique, but here we go:

I tend to take all three outputs (Noise, Harm, Phase) into separate channels on my A-135-2 Quad VCA. I run CV sequences from Varigate 4+ or 8+ into Tonic, Interval and Cent. I then take modulations from TTLFOv2 and/or Quadrax to control CV in on the Quad VCA.

Noise, Harm and Phase move in and out of audio range while maintaining the same overall v/oct sequence.

(this is just one way that I embrace the Telharmonic… but it works for interesting movement around a common sequence)

Like I said, not an expert… I just like to have fun with weird modules.


I’ve been using the Telharmonic in almost all of my patches. Sometimes I wish there would be a few more less conventional chord options.

My favorite is the shift register mode, especially when sequencing the suspended chord. In my unit the tracking is a bit all over the place when in chromatic mode, but still worth checking this out.


Patching N into fm can get some nice lofi ish modulation.


Ah I’m excited to have a weird esoteric sound source in my system. Excited to run it through rings and see what happens! Is it challenging to tune the tel to other gear? I understand that it is very harmonically dense and has its own way of playing in key. My plan is to use my small modular as a bit of a stand-alone weirdo drone box, but it would be cool if I could get it to play with Digitone as well!

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I haven’t found that it’s difficult to get in tune with other oscillators. Just really learn what the changes to Tonic, Interval and Degree do.

There are also good Make Noise tELHARMONIC YouTube vids, particularly their System Cartesian ones that focus on using the tELHARMONIC with the STO .


The telharmonic is one of those modules I regret selling after way too little experimentation :frowning:

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its more difficult than other vco because it doesnt have a fine tune but still, its achievable.

But you can always use your VCO with fine tune to adjust to the tELHARMONIC :wink:


My only pure voices are the tELHARMONIC and STO, so I end up leaning pretty heavily on those two modules. I recently found some interesting choral sounds from the H out with soft modulation from Wogglebug’s Smooth and some blurring from delay/reverb. You’re hearing the Shift Register mode’s suspended chords.


telharmonic > res-4 > valhalla supermassive is like instant landscape magic

this is one of the modules i can’t quit


Most importantly you can make it sound like Pedal steel guitar.

Post by Robert Aiki Aubrey Lowe


Found out you can get some warbly, underwater harmonica tones from the Harmonic out by patching the Noise output into the FM input.