Manual - Make Noise
Contents
1. 9 2 O 0 O O O POOQ Ox e G De E OT l Zock MEX T o CH 20009 eii e p F maan UN oo NGT nies mt Press any pad on the Pressure Points to ignite the Sentient Bottle Rocket Patch Example Artificial De Celleration Thanks Tony spundhack BIN TELHAKMANIL Si NG X i V 610 e Van e o O Oo Oo w 2 Gg Ns Oy 2 O10 Jur JAN LO is x mai BY y caben d 00000 e Rakh a ER P T Briefly turn on MATHS Ch 1 Cycling and wait for Ch 4 to be triggered via EOR At which point press the Ch 1 CYCLE Button again in order to disengage cycling allowing the trigger loop to continue indefinitely Patch Example Stereo Spiralgraph Thanks Tony TINI ack TELHARMANIL Kej FNNIN IIT AUT NS O E AUT INTERVAL CONTROL KC 1 13 G 95 GO WA JIKENJEL Note Stereo Patch Must use a stereo TRS cablejfor monitoring NIKVL pts v OO 5e 0d p 7 SIE MO2. Soundhack TELHAKMANIL N H FNNIN INIT AUT 9 016 56 e K 0 WOP ke FID NO e CC eT JMAKENAGE Qollik amp 4oMUN YW CLAoMUA XS BAA T T T T T T T St LlK 7 4 MUS CLA MUS o SEN T T T T T T T I 1 GOLLK m Ze Cem pm SAKE T T T T i T T T SLEKISLEF D GLIBE m CLAKKZ SWD T T T T T T T Set Tonic and Degree to taste Set Ren to Cartesian Mode on X FUN page and engage Clock AND Mod Press the Pressure Points touchplate to write in the four harmonics of the selected Ren row Each new press will clear the locked Harmonics and write the new ones Variation 1 Use a slow clock instead of Pressure Points gate and Mult it to Y CLK input A new set of Harmonics is introduced at each clock pulse Patch Example Interstellar Dro
3. a O O O Qu a RER C UI DANE HU OU 000 og S wei C Pern OR O CZ Variation Instead of using the Pressure Points Tuned Voltage Output use a Keyboard or Sequencer s CV Output to control DEGREE Patch the Keyboard Sequencer Gate OUT to MATHS or FUNCTION Trigger INput Solar Wind Chimes Thanks Walker Farrell lick here to watch on YouTube ay NAVEN FN IN e Ze 608 NIKL DANE DEL ji poopoo O ede OS Se IN YI UN ISO DEL Set Interval to Unison 3 00 Turquoise Color Staff and adjust Tonic and Degree to set desired fundamental With each cycle of MATHS several random Harmonics will be locked which are cleared at the end of the cycle Variations 1 This variation adds the wooshing of wind to the ringing of the chimes Patch H Out to Optomix Ch 1 Signal INput Patch N Out to Optomix Ch 2 Signal INput Mult MATHS Unity to Optomix Ch2 Control CV In Set Control knobs to taste while monitoring from the Optomix s SUM OUT 2 This variation adds semi predictability to the chime pattern Doublecheck that th
4. ACCESS ASAL 0000 8 2 0000 o od oo00 oO Genf just t Taste Adjust the telHARMONIC s Tonic Panel Control until it sounds in tune with the DPO s VCO B Frequency Set the DEGREE Panel Control full CCW Interval to a Triad Adjust the DPO s Fold Panel Control full CCW with the Shape and Angle Controls to taste Set the DEGREE input attenuator to taste Adjust or modulate Centroid Flux and or H LOCK to taste x T oz Z Ne lt TI E Ka M gr e Each press of the Pressure Points will select a new chord progression Sparser Y Gate settings will yield sparser accompaniment Variation 1 Run QCV through a VCA prior to DEGREE to place chord progression range under voltage control should still mult the unaltered QCV to DPO For example set DEGREE Panel Control to 12 00 and patch QCV to the modDemix Channel 1 Input modulated with a bipolar control signal Patch Ch 1 Output to DEGREE 2 Use Ren CV out to modulate MATHS Fall time for different chord lengths 3 Patch a slower clock instead of the Pressure Points Gate Output in order to change patterns automatically Shift Register Patch Examples Broken and Fixed Arpeggios Thanks Walker Farrell Shift Register Active k D i VAR JINKENEL Variation Sequence TONIC and INTERVAL to achieve c
5. Light Orange Root Position Triad Major Green minor Periwinkle diminished Dark Orange First Inversion Triad Major Turquoise minor Sky Blue diminished Orange Fifth Peach Unison Turquoise Octave Lavender Do0 000 Composing with tELHARMONIC Voltage Controlled Music Theory Recall from the previous section that the left side of the module allows for patch programming chord progressions scales and melodies It consists of the TONIC INTERVAL DEGREE and D GATE parameters and the visual indication of the Color Staff TANI This parameter is similar to the Pitch control on a VCO it responds continuously to a 1V Octave signal across 6 octaves TONIC will control all voices of the tELHARMONIC This input is of course useful for patching typical modular sequencing techniques micro tunings and modulations but it is also highly useful for transposing progressions and melodies that are patch programmed using the DEGREE parameter see below To achieve sequences or transpositions that are in tune you will either tune these TONIC changes by ear or utilize a Quantized CV source such as the QCV output from Ren The Tonic parameter sets the base frequency for the Interval and Degree parameters In other words the Tonic sets the key Here is how a portion of the Tonic control looks swept clockwise with Interval set to Root Triad and Degree set to a Major Triad Note the
6. CN KU K SEND l A S A N 6 og weg Vi NGA O eio Haha N MAN Ny PEN Ne D LINE AUT MS d b d bar 9 MASTER VOLUME CONTROL
7. Tonic control is continuous thus the glissando markings Also note that the sonority of the triad Major in this example does not change as it moves Tonic DEGREE D GATE AND GATE AUT These parameters do not compare to any of the inputs and outputs typically found on a VCO module DEGREE is a quantized control that allows for ease in patch programming chord progressions and melodies using just about any control voltage It makes note selection relative to the pitch set by TONIC and determines sonority of the TRIAD where applicable DEGREE will control all Voices and Algorithms of the tELHARMONIC and because it is a quantized parameter any control voltage will result in a valid equal temperament progression When INTERVAL is set to Unison Fifth Octave or any of their in between spaces DEGREE has twelve possible values per octave corresponding to the chromatic scale When INTERVAL is set to TRIAD or a triad inversion DEGREE has seven possible values per octave corresponding to the degrees of the diatonic scale id iii WV V vi vii The pitch of I and therefore the chosen key is set by the TONIC parameter Depending on the setting of the DEGREE panel control diatonic chord progressions can be easily be programmed in any mode including the Major and minor scales with transposition key change provided by TONIC Composing with tELHARMONIC DEGREE Cont d Here is what a partial sweep of Degree looks like with Interva
8. modulated at all The single voice Noise Algorithm NOUT is inspired by the Music IIl patch that composer James Tenney wrote at Bell Labs in 1961 for his first computer music piece Analog 1 Noise Study It consists of two band limited noise sidebands which surround the frequency set by TONIC and DEGREE FLUX controls the width of the sidebands which can go from extremely narrow for a fluttering sinusoid to full bandwidth Using these two controls almost any color of noise may be generated For the Harmonic Algorithm H OUT each of the three voices is a 24 partial harmonic oscillator using high resolution sine wave generators The timbre is varied by the CENTROID and FLUX parameters with CENTROID setting the loudest of the 24 harmonics and FLUX setting the steepness of the gain roll off around that center harmonic When FLUX is full CCW 0 modulation the spectrum is flat and sweeping the CENTROID will ripple the spectrum like a string harmonic When FLUX is increased the harmonics surrounding the CENTROID decrease in amplitude and the sound becomes more focused upon the center harmonic which causes modulation of the CENTROID to have a more dramatic effect When FLUX is not set to 0 a Trigger or Gate in the H LOCK INput or a PRESS of the H LOCK button will cause the partial that is currently selected by the CENTROID parameter to be locked ON at full amplitude even after CENTROID changes By sequencing CENTROID and Locking harmoni
9. you can play whatever chord you d like by manually selecting three notes in succession This also works nicely for chord changes layered within a simple sequence patched to TONIC Patch Example Drone with Sequential Harmonics Thanks Tony NALA FNIN I e e a e re ei INE JINKENAEL oi Oz y IK 99 99 X KK SMD YMB A 09090 00007 0000 0000 02000 JINKENAGL pe A amp YEND T D Cen M T T T l ik l MUA w CLKoMUA b BAA T T T dh l ji NA DP CLAOMUA m T T T SLEKISLEF po GLIBE m CLAKKST x NA T T T T T T Qollk d amp HELE lt 4 MOA T T T QOLLK m 46 Variation 1 Patch tELHARMONIC N OUT to FM IN 2 With Ren CV OUT still patched to tELHARMONIC CENTROID CV IN patch Ren QCV OUT to an analog VCO s such as STO or DPO 1V Octave Input and tune the STO or DPO to one octave below the TONIC of tELHARMONIC Set Ren Q Page for Octaves only Blend the analog VCO with H and P OUTS using OPTOMIX s AUX IN mixing the tELHARMONIC s H and P OUTs using the Ch 1 and Ch 2 Control knobs Patch Example Additive Presets Thanks Walker Farrell
10. Soundhack TELHAKMANIL Soundhack TELHAKMANIL ke LE This device complies with Part 15 of the FCC Rules Operation is subject to the following two conditions 1 this device may not cause harmful interference and 2 this device must accept any interference received including interference that may cause undesired operation Changes modifications not approved by the Make Noise Co could void the user s authority to operate the equipment This equipment has been tested and found to comply with the limits for a Class A digital device pursuant to part 15 of the FCC Rules These limits are designed to provide reasonable protection against harmful interference when the equipment is operated in a commercial environment This equipment generates uses and can radiate radio frequency energy and if not installed and used in accordance with the instruction manual may cause harmful interference to radio communications makenoisemusic com Make Noise Co 414 Haywood Road Asheville NC 28806 Limited WARRANTY Make Noise warrants this product to be free of defects in materials or construction for a period of one year from the date of purchase proof of purchase invoice required Malfunction resulting from wrong power supply voltages backwards or reversed eurorack bus board cable connection abuse of the product or any other causes determined by Make Noise to be the fault of the user are not covered by this warranty and normal ser
11. cks 1v Octave when the DEGREE CV Attenuator is set Full CW Because DEGREE is a Quantized parameter it has a musically valid response to any control voltage used e Whenever Degree changes values a gate is generated and available for use at the GATE OUTput e he D Gate Input operates as a Track amp Hold for the DEGREE parameter With nothing patched D Gate is held HIGH and DEGREE will always be actively tracking the signal patched to the DEGREE CV IN With a clock gate pulse or trigger patched to D Gate the DEGREE parameter will only track the signal patched to DEGREE CV IN while the D Gate is held HIGH e The FM IN is a fantastic way to introduce vibrato and pitch bend to a melody or progression Patch any fast control voltage or expression voltage to the FM IN to experiment with this technique For a more technical look at the musical applications of these parameters read the section titled Composing with tELHARMONIC Voltage Controlled Music Theory Sculpting Timbre with tELHARMONIC Moving CENTROID w FLUX The tELHARMONIC has 3 independent and simultaneously available Algorithms each with a unique timbre Using two control voltages and a Gate signal full timbral animation of the tELHARMONIC is possible Because the Noise Harmonic and Phase Mod algorithms all respond quite differently to these parameters the results may be very complex and it is also possible to have some voices deeply modulated while other voices are not
12. cs many additive timbres can be found To clear all locked harmonics HOLD the H LOCK button for 1 second or set Flux to 0 via panel control or CV This parameter affects all three voices of the H OUT but does not affect the P or N OUTs Each voice of the Phase Modulation Algorithm uses 3 phase locked sine wave oscillators arranged as 2 Modulators and 1 Carrier This algorithm will create a large number of harmonically locked partials by reshaping the Carrier similar to wavefolding The CENTROID controls the frequency ratio of the modulation and therefore the brightness The FLUX controls the Depth of Modulation which determines the number of partials When FLUX is full CCW this is the largest number of partials when full CW there is only 1 a sine wave The CENTROID controls 2 adjacent harmonic modulation partials from 1 to 8 For example when CENTROID is at 2 5 the Modulator will be an even mix of harmonics 2 and 3 Sculpting Timbre with tELHARMONIC cont d FM IN Another method of exerting external influence upon the tELHARMONIC allowing for even more complex timbres by generating sidebands around all the harmonics created by each algorithm Typically an analog SINE or TRIANGLE waveform from a VCO such as the STO or DPO would be patched to this input The high harmonic content of the N H and P OUTs on the tELHARMONIC means many sidebands will result from FM and so less complex waveforms such as SINE and TRIANGLE will yield the
13. dulation the ratio is set by CENTROID The response is the inverse to that of the H and N OUTs At OV FLUX Fully CCW maximum Phase Modulation is achieved Gradually increasing this parameter decreases the Index of the Phase Modulation 23 FLUX CV IN unipolar control INput for FLUX Range OV to 8V Composing with tELHARMONIC 101 The left side of the module allows for patch programming chord progressions scales and melodies It consists of the TONIC INTERVAL DEGREE and D GATE parameters and the visual indication of the Color Staff Although you will find great detail below about the inner workings in the next section NO KNOWLEDGE OF MUSIC THEORY IS REQUIRED TO COMPOSE WITH THE tELHARMONIC These parameters respond to control voltage just like anything else in your system Here are some quick pointers e You could think of Tonic as the main Pitch FREQuency control similar to the grey knob on a DPO or STO It is continuous not Quantized and responds 1V Octave e Interval sets the spread of the Pitch FREQuency between voices in the H and P Outputs There are three voices that can be set to Triad Fifth Unison Octaves and anywhere in between Whatever Interval is selected will be maintained when TONIC is manipulated Unison about 3 o clock has all three voices set to the same note for behavior typical of a VCO e Degree adds or subtract up to two octaves from the base frequency set by Tonic It has a Quantized response and also tra
14. e Wogglebug clock rate is somewhat higher than the MATHS cycle rate at least 4 WB clocks per MATHS cycle Mult MATHS Unity to Wogglebug Ego Input adjust Ego Id Balance full CCW gradually increasing to taste Patch Example Chordal Accompaniment Variations Thanks Walker Farrell lick here to watch on YouTube AA An A WOH QE A Dat oe itt AER 0 06 FININ IL NG B oc s SgS 060 d Oia bid EXA LIN e nO MAY bus IVAN Oo INDEX gt gt Zei A Q Q CO safe NG KK PS b Q XMAS A YMD A a O N l dun 5 Sta Et D es e Pre Gr EEN didt ni e Q Q EHE A O O Q soe JE ENSE NEN iN neia IE ei
15. g of the three Harmonic and Phase Mod Voices to form Triads with two Inversions Fifths Unison or Octave relationships Continuously variable aside from the two Inversions for Triads INTERVAL CV Attenuator bi polar attenuator for INTERVAL CV INput INTERVAL CV IN control signal INput for INTERVAL Range OV to 5V COLOR STAFF Toward the center of the tELHARMONIC there is a visual indicator that will change color to display the state of INTERVAL and DEGREE while pulsing to show the frequency of the TONIC DEGREE Panel Control quantized note selection relative to the pitch as defined by TONIC Also deter mines sonority of the TRIAD where applicable DEGREE CV Attenuator bi polar attenuator for DEGREE CV INput DEGREE CV IN control signal INput for DEGREE Quantized parameter Range 2V D Gate IN Gate INput for activation of DEGREE parameter Normalled HIGH so that with nothing patched DEGREE is always active Requires a Clock Gate signal of at least 5V and width of at least 10ms With nothing patched to D GATE tELHARMO 17 21 NIC Panel Controls Cont d CENTROID Panel Control CENTROID has a different effect on the N H and P OUTputs e H OUT modulates or selects harmonics for emphasis by FLUX and H LOCK parameters e P OUT sets the Phase Modulation Ratio N OUT has no effect CENTROID CV Attenuator bi polar attenuator for CENTROID CV INput CENTROID CY IN control signal INput f
16. he DEGREE D Gate and INTERVAL controls Each time the D Gate INput sees a Pulse Gate Clock or Trigger DEGREE updates the pitch of one of the three voices present in the HARMONIC and PHASE MOD algorithms Since the Noise algorithm is a single voice its operation remains unchanged Each successive Pulse Gate Clock or Trigger at the D Gate INput causes the next voice to update its pitch based on the DEGREE setting e DEGREE does not change without first patching something into D GATE Also since D Gate only sees rising edges normalization has no effect In order to achieve DEGREE modulation you must first patch a signal for example a pulse stream to D GATE e INTERVAL determines which notes may be accessed by the DEGREE parameter Starting from fully counterclockwise the possible settings are Suspended chord 1 4 5 minor triad Major triad Octaves fifths Chromatic Octaves only Note Shift Register DOES NOT change the behavior s of CENTROID FLUX and H LOCK Creating Chords With INTERVAL set to Chromatic any 3 note chord can be created with a spread of up to four octaves With a programmable Quantizer such as the one found in Ren it is possible to sequence chords arpeggios and melodies in any key or scale A CV keyboard such as the KMI QuNexus provides the most flexibility in chord selection To accomplish this send the keyboard s Gate OUTput to D Gate and the keyboard s CV to the Degree INput Now
17. he TRIAD where applicable DEGREE CV Attenuator bi polar attenuator for DEGREE CV INput DEGREE CV IN control signal INput for DEGREE Quantized parameter Range 2V D Gate IN Gate INput for activation of DEGREE parameter Normalled HIGH so that with nothing patched DEGREE is always active Requires a Clock Gate signal of at least 5V and width of at least 10ms Spiratone Panel Controls Cont d 17 20 21 22 23 CENTROID Panel Control Sets the spacing of the oscillators from one octave to a very narrow pitch difference CENTROID CV Attenuator bi polar attenuator for CENTROID CV INput CENTROID CV IN control signal INput for CENTROID Range OV to 8V H LOCK Button LED HOLD to exit Spiratone and return to tELHARMONIC H LOCK IN Not used FLUX Sets the level of Random Pitch Modulation FLUX CV IN unipolar control INput for FLUX Range OV to 8V Patch Example Sentient Bottle Rocket Thanks Tony NOS soundhack TELHAKMANIL 0 06 KeX il W S aur Se vi O a 7 e Oo o ene SONG Si Soc e
18. hesis inspired by James Tenney s 1961 early computer music piece Analog 1 Noise Study Phase Modulation synthesis inspired by early commercial digital synthesis from the 1980 s The tELHARMONIC could be thought of as having two sides The left side has the voltage controlled music theory Through the use of TONIC INTERVAL DEGREE and D Gate it is possible to create chord progressions scales and playing styles using control voltages rather than playing manually or programming with MIDI These parameters influence the Noise Harmonic and Phase Mod Algorithms in a unified way The right side of the tELHARMONIC has the controls for sculpting the timbre These are the CENTROID FLUX and H LOCK parameters Each of these parameters controls timbre of each of the Algorithms in a different way This allows for complex sounds to be created around a unified melodic structure and pattern In other words the Noise Harmonic and Phase Mod Algorithms which are all available simultaneously at their respective outputs were designed to be blended mixed and used together to emphasize a single musical motif To find the Spiratone within the tELHARMONIC With nothing patched to D Gate HOLD H LOCK for 5 seconds The sound will dramatically change and you should now hear a Shepard Tone in the H or P Output s To return to tELHARMONIC HOLD H LOCK For more information visit http www makenoisemusic com Spiratone html TONIL tELHARMONIC Panel C
19. hord progressions Clusters and Frames Thanks Walker Farrell Create any 3 voice pattern in any scale by altering the Snake pattern Location panel controls and Q Page settings Shift Register Active E track NE l HERAK MANI 69 06 00 AL NG dk WA 0 jil 8 LJ Gg DO X SIN Oxs T 1T 1 X 2 d 2S 2e ES A A EN amp Q sre sole gel g SH SY SX IRE EIE a E Em F j 4r 5 Ar 4 egt A d d e p 18r Lb j b j br 7 Er jA ESTE GETS SESS l H ACCESS X GATE Y GATE X FUN Y FUN Q 000 o oO ere En f oooO oo ft t Adjust to Taste ae Variation Sequence CENTROID with Ren s unquantized CV output and H LOCK with G Y while also shifting Snake patterns don t forget to clear H LOCK periodically either manually or by bringing FLUX Full CCW with CV Sounchack CF KA ONE Soundhack TELHAKMANIL H f AUT AUT AUT v 1 Spiratone Overview The Spiratone is a form of Shepard Tone generator It is a sonic barber pole that creates the auditory illusion of a tone that continually ascends or descends in pitch
20. ion of included eurorack bus board connector cable on backside of module see picture below plug the bus board connector cable into the Eurorack style bus board minding the polarity so that the RED stripe on the cable is oriented to the NEGATIVE 12 Volt line on both the module and the bus board On the Make Noise 6U or 3U Busboard the negative 12 Volt line is indicated by the white stripe 12V Please refer to your case manufacturers specifications for location of the negative supply AVEKV EW The tELHARMONIC is a Multi Voice Multi Algorithm synthesizer module coded by Tom Erbe and named for the music hall where the first Telharmonium concerts were held Telharmonic Hall is considered by some to be the location of the first electronic music concerts The Telharmonium was an early pioneering electronic musical instrument designed in 1897 by Thaddeus Cahill It is believed to be the first additive synthesizer The Telharmonium weighed 200 tons and occupied the entire floor of Telharmonic Hall on 39th Street and Broadway in New York City The Make Noise Soundhack tELhARMONIC module weighs less than 12 ounces and occupies 14hp in a Eurorack synthesizer system The goal with the tELHARMONIC was to present three historically important pioneering electronic music tone generation techniques less often implemented within the modular synthesizer Additive Harmonic synthesis inspired by Thaddeus Cahill s original Telharmonium Noise synt
21. l set to Root Position and Tonic set to D Note that the resulting triads sonorities always match their scale positions in the key of D Major b minor Degree Triads When Interval is not set to Triad Degree moves through the scale chromatically 12 possible values per octave rather than the 7 Triads For example here is part of a Degree sweep with Interval set to Fifth Degree Fifths Using the D GATE parameter it is possible to limit the amount of change in the DEGREE which will only change when D Gate is HIGH keep in mind that D GATE is normalled to 5V so that with nothing patched to D GATE DEGREE will always be able to change In this way the D GATE allows the user to pick off notes and or chords from a continuous or non continuous control voltage It is a way of extracting melodies and progressions from typically non melodic sources such as LFOs Envelopes Expression Voltages or Random Voltages You could also use it to process Sequences where you do not want to utilize all notes in the Sequence or to limit DEGREE changes to a tempo or clock within the system By varying the Width of the Gate signal patched to D GATE to be narrow you could grab single notes or chords from a control voltage By setting the width of the Gate signal patched to D GATE to be wider you could pick off clusters of notes or chords from a control source With each change in DEGREE a gate signal is generated and output at the GATE OUT This gate is usef
22. most controllable results Additionally an LPG or VCA such as the Optomix could be patched in series between the STO and tELHARMONIC to achieve a dynamic FM Index BLE NDING The Noise Harmonic and Phase Mod voices were designed for fantastic spectral combination The simplest way to do this is using a mixer However it is highly useful to have each output patched to its own VCA or LPG such as the modDemix or Optomix with a unique control signal to allow for the complete animation of dynamics and blend ing in creation of the final HARMANILL AND TEMPERAMENT There are many settings of the right side of tELHARMONIC in which the upper harmonics dominate the spectrum Meanwhile the left side of the tELHARMONIC can be used to force the fundamental pitches of the three voices into Equal Temperament These two planes of control create the possibility of using two tuning systems simultaneously within the same instrument In other words the tELHARMONIC provides the opportunity for smooth motion between Just and Equal Temperament COLOR STMF Toward the center of the tELHARMONIC there is a visual indicator that will change color to indicate the states of INTERVAL and DEGREE while pulsing to indicate the frequency of the TONIC often this frequency is high enough that the eye will not be able to discern Warning Color Staff is for entertainment purposes only Second Inversion Triad Major Aqua minor Baby Blue diminished
23. n Aeolian Blue Locrian Orange CENDUANCING WITH ACCIDE NTA S Choose a mode as described in Triad Modes Sequence a chord progression of your choice Use the unquantized CV output of Ren or another row of Pressure Points Tuned Voltages to modulate Interval to Unison or Octaves on steps where you would like accidentals to be possible For these steps adjust the sequence values for Degree so that the desired accidental is produced VIBRATA NIA EM IN In addition to the timbral sculpting possible with this input detailed in the Sculpting Timbre with tELHARMONIC section the FM IN is also a fantastic way to introduce vibrato pitch bend to a melody or progression Patch any fast control voltage or expression voltage to the FM IN to experiment with this technique Even a Gate signal could be attenuated and applied to this input to achieve sequenced pitch bends J VALE SHIFT REGISTER The tELHARMONIC Voltage Controlled Music Theory has an alternate behavior a 3 Voice Shift Register that allows for the creation of any 3 note chord within the twelve tone scale spanning up to four ocataves In order to access Shift Register with nothing patched to D Gate HOLD the H LOCK button for 2 seconds and watch for the Color Staff to become solid while listening for a single solid tone This indicates Shift Register is Active To deactivate Shift Register HOLD H LOCK to return Shift Register changes the behavior of t
24. ne Thanks Tony Ge Ge 8 AK ad o OO Oo NIKU kat Dk ici OOO ONG olo Ve JINKENEL Variations 1 Patch a sequencer to tELHARMONIC DEGREE IN 2 Set CENTROID Panel Control Full CW and CENTROID CV Attenuvertor Full CCW Ascending Descending Run Thanks Tony Soundhack TELIAKMANIL Leg Go INIT AUT AUT JALAN ES SEY 0 0 4 2 r If patched correctiv vou should hear an Ascending Run Setting the DEGREE Attenuvertor to 10 o clock and DEGREE Panel Control to 3 o clock should produce a Descending Run Variations 1 Set CH 1 Attenuvertor to 1 o clock for alternating run 2 Patch a sequence that is synchronized to MATHS EOR to tELHARMONIC TONIC IN Sequences running at a multiple of MATHS CH 1 will yield particularly interesting results 3 Patch the tELHARMONIC H OUT to Optomix Ch 1 Signal IN Patch t L HARMONIC Gate OUT to generate an Envelope that is patched to Optomix Ch 1 CONTROL IN Patch Example Intelligent Bass Thanks Tony itt GO 9I 8 9 FININ
25. ontrols 1 GATE OUT outputs Gate signal at each change in DEGREE DC coupled 10V Gate 2 GATE LED visual indication of activity at GATE OUTput 3 FM IN input for Linear Frequency Modulation of the tELHARMONIC core Modulates all 3 Algorithms N H and P OUTputs AC coupled expects maximum signal level of 15Vpp 4 N OUT output for the single voice Noise Algorithm Pitch set by TONIC and DEGREE and bandwidth set by FLUX Does not respond to INTERVAL CENTROID or H LOCK AC coupled 8Vpp signal 5 HOUT output for the three Voices of the Harmonic Algorithm Core frequency is set by TONIC and DEGREE The pitch spacing harmonic relationship of the three voices to one another is set by INTERVAL and DEGREE Timbre of this OUTput is controlled by FLUX CENTROID and H LOCK AC coupled 10Vpp signal 6 P OUT output for the three Voices of the Phase Mod Algorithm Core frequency is set by TONIC and DEGREE The pitch spacing harmonic relationship of the three voices to one another is set by INTERVAL and DEGREE Timbre of this OUTput is controlled by FLUX and CENTROID Response to FLUX is the inverse of that of the N and H OUTputs Does not respond to H LOCK AC coupled 10Vpp signal tELHARMONIC Panel Controls Cont d Fa 8 9 TONIC Panel Control adjusts the pitch of all Voices across 6 octaves TONIC CV IN unitv 1V Octave pitch control INput Not quantized Range OV to 6V INTERVAL Panel Control sets the pitch spacin
26. or CENTROID Range OV to 8V H LOCK Button LED with FLUX greater than 1096 sets the Harmonic selected by CENTROID parameter to be locked ON Multiple Harmonics may be locked ON LED brightness indicates the number of Harmonics locked ON To un lock Harmonics set FLUX to 096 or HOLD the H LOCK Button for one second until the H LOCK LED fades OFF This parameter only affects the Harmonic Algorithm With nothing patched to D GATE e HOLD for 5 seconds to find the Spiratone HOLD to return e HOLD for 2 seconds to enter Shift Register HOLD to return H LOCK IN Gate INput for setting Harmonics to be locked ON Requires a Clock Gate signal amplitude of at least 5V and a width of at least 10ms tELHARMONIC Panel Controls Cont d 22 FLUX Combo Pot unipolar Combo Knob With nothing patched to FLUX CV INput functions as a standard panel control When a control signal is patched to the FLUX CV INput functions as an attenuator for that signal as it is applied to the FLUX paramater FLUX has a different effect on the N H and P OUTputs N OUT increasing FLUX focuses the noise around the Fundamental as set by TONIC and DEGREE H OUT At OV FLUX Fully CCW all Harmonics are equally emphasized Increasing FLUX de emphasizes all Harmonics surrounding the CENTROID with the exception of those that are currently locked by H LOCK This de emphasis has the effect of emphasizing the CENTROID P OUT FLUX sets the Index of Phase Mo
27. pecially if limiting the CV depth on INTERVAL so that it only reaches the three Triad inversions gives access to a great variety of possible chord progressions and key modulations In the past the use of chord machines has typically involved selecting a chord structure such as major or minor and then moving the whole structure up and down when sequencing Such blatantly parallel movement would be anathema to the contrapuntal chorale writers of yore but the sound of this type of chord progression is integral to many classics in the history of electronic music To emulate this and sequence so called techno chords simply pick a chord structure using INTERVAL and DEGREE and then sequence only TONIC while leaving DEGREE static Composition Tips and Tricks TAIAD MODE 5 Set Interval to Triads anywhere below 11 00 Use the Degree panel control to choose a mode For lonian Major and Aeolian minor use the RGB LED to find the starting point Aeolian is a Blue or Periwinkle Triad that will be found one click to the left of the Orange Triad lonian is a Green Aqua Triad that will be found one click to the right of the Orange Triad Now patch a sequence from BRAINS Ren or Wogglebug to Degree to sequence chords in your chosen mode Starting from the Green Triad one click to the right of Orange here are the seven available modes lonian Green Dorian Blue Phrygian Blue Lydian Green Mixolydian Gree
28. ul for triggering events to coincide with a change in the Chord or Note generated by the tELHARMONIC for example an Envelope generator could be triggered to open a VCA or LPG each time the DEGREE is changed INTERVAL This parameter controls the pitch spacing between the 3 Voices of the Harmonic and Phase Mod OUTs The Noise OUT is not controlled in any way by the INTERVAL parameter because the NOISE OUT is a single voice The INTERVAL parameter starts with the TRIAD sonority at Full CCW There are two Inversions of the TRIAD as the INTERVAL parameter is increased After the two Inversions INTERVAL begins to continuously detune and tune into Fifths followed by Unison and finally Octaves There are many in between tuning states allowing for programming of complex even dissonant chords The continuous nature of the detuning and tuning makes INTERVAL modulate smoothly Here is what an F Major chord as set by Degree and Tonic looks like at all stages of the Interval parameter starting from full Counterclockwise Interval Composing with tELHARMONIC Cont d LHARP FRAGKE LIN With Interval set to TRIAD DEGREE is the easiest parameter to sequence for traditional diatonic chord progressions in which the sonority of the chord changes according to its scale position Because of this the tELHARMONIC is quite a bit more versatile than past synth engines with Chord modes Clever sequencing of DEGREE together with TONIC and INTERVAL es
29. vice rates will apply During the warranty period any defective products will be repaired or replaced at the option of Make Noise on a return to Make Noise basis with the customer paying the transit cost to Make Noise Please contact technical makenoisemusic com for Return To Manufacturer Authorization Make Noise implies and accepts no responsibility for harm to person or apparatus caused through operation of this product Please contact technical makenoisemusic com with any questions needs amp comments otherwise go MAKE NOISE http www makenoisemusic com ht THANK YOU DSP Wizard Tom Erbe www soundhack com Beta Analysts Devin Booze Lee Coleman Walker Farrell Test Subjects James Cigler Spiritual Advisor Richard Devine INSTALLATION Electrocution hazard Always turn the Eurorack case off and unplug the power cord before plugging or un plugging any Eurorack bus board connection cable cable Do not touch any electrical terminals when attaching any Eurorack bus board cable The Make Noise tELHARMONIC is an electronic music module requiring 139mA of 12VDC and 10mA of 12VDC regulated voltages and a properly formatted distribution receptacle to operate It must be properly installed into a Eurorack format modular synthesizer system case Go to http www makenoisemusic com systems shtml for examples of Eurorack Systems and Cases To install ind 14HP in your Eurorack synthesizer case confirm proper installat
30. yet ultimately seems to get no higher or lower It was inspired by Jean Claude Risset s Computer Suite from Little Boy Fall 1968 and James Tenney s For Ann rising 1969 It occupies the same space as the tELHARMONIC To find the Spiratone on the tELHARMONIC With nothing patched to D Gate HOLD H LOCK for 5 seconds The sound will dramatically change and you should now hear a Shepard Tone in the H or P Output s TING AX Spiratone Panel Controls 1 GATE OUT outputs Gate signal at each change in DEGREE DC coupled 10V Gate 2 GATE LED visual indication of activity at GATE OUTput 3 FM IN NOT UTILIZED 4 N OUT output for the single voice Noise Algorithm 5 H OUT Output for half of the Spiratone s oscillators AC coupled 10Vpp signal 6 P OUT Output for the other half of the Spiratone s oscillators AC coupled 10Vpp signal Spiratone Panel Controls Cont d f 8 TONIC Panel Control adjusts the pitch of all oscillators TONIC CV IN unity 1V Octave pitch control INput Not quantized Range OV to 6V INTERVAL Panel Control Sets internal modulation speed no modulation at NOON modulates up CW from NOON and down CCW from NOON INTERVAL CV Attenuator bi polar attenuator for INTERVAL CV INput INTERVAL CV IN control signal INput for INTERVAL Range OV to 5V DEGREE Panel Control quantized note selection relative to the pitch as defined by TONIC Also deter mines sonority of t
Download Pdf Manuals
Related Search