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
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?
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.
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.
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.
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!
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.