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Make Noise Soundhack tELHARMONIC Manual

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v. 2.2

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Summary of Contents for Make Noise Soundhack tELHARMONIC

  • Page 1 v. 2.2...
  • Page 2 (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 / modi cations not approved by the Make Noise Co. could void the user’s authority to operate the equipment.

  • Page 3: Limited Warranty

    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 service rates will apply.

  • Page 4: Electrocution Hazard

    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.
  • Page 5 The Telharmonium weighed 200 tons and occupied the entire oor 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.
  • Page 6 tELHARMONIC 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: input for Linear Frequency Modulation of the tELHARMONIC core. Modulates all 3 Algorithms (N, H, and P OUTputs).
  • Page 7 tELHARMONIC Panel Controls (Cont’d) 7. TONIC Panel Control: adjusts the pitch of all Voices across 6 octaves. 8. TONIC CV IN: unity, 1V/ Octave pitch control INput. Not quantized. Range 0V to 6V. 9. INTERVAL Panel Control: sets the pitch spacing of the three Harmonic and Phase Mod Voices to form Triads (with two Inversions), Fifths, Unison, or Octave relationships.
  • Page 8 tELHARMONIC Panel Controls (Cont’d) 17. CENTROID Panel Control: CENTROID has a di erent e ect on the N, H, and P OUTputs: -H OUT: modulates or selects harmonics for emphasis by FLUX and H-LOCK parameters. -P OUT: sets the Phase Modulation Ratio. -N OUT: has no e ect.
  • Page 9 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 di erent e ect on the N, H, and P OUTputs: -N OUT: increasing FLUX focuses the noise around the Fundamental, as set by TONIC and DEGREE.
  • Page 10 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 Sta . Although you will nd great detail below about the inner workings in the next section, NO KNOWLEDGE OF MUSIC THEORY IS REQUIRED TO COMPOSE WITH THE tELHARMONIC.
  • Page 11 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 di erently 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 modulated at all.
  • Page 12 Sculpting Timbre with tELHARMONIC: (cont’d) FM IN : Another method of exerting external in uence 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.
  • Page 13 ColoR STaFF : 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 Sta is for entertainment purposes only.
  • Page 14 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 Sta . TONIC This parameter is similar to the Pitch control on a VCO, it responds continuously to a 1V/ Octave signal across 6 octaves.
  • Page 15 Composing with tELHARMONIC: DEGREE (Cont’d) Here is what a partial sweep of Degree looks like with Interval 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).
  • Page 16 Composing with tELHARMONIC: (Cont’d) CHORD PROGrESSIons: 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”.
  • Page 17 Patch Example: Drone with Sequential Harmonics (Thanks, Tony): Variation: 1. Patch tELHARMONIC N OUT to FM IN. 2. With René CV OUT still patched to tELHARMONIC CENTROID CV IN, patch René 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.
  • Page 18 Patch Example: Additive Presets (Thanks, Walker Farrell): DUMMY DUMMY CABLE CABLE -Set Tonic and Degree to taste. -Set René 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 René row. Each new press will clear the locked Harmonics and write the new ones.
  • Page 19 Patch Example: Interstellar Drone (Thanks, Tony): 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): If patched correctly, you 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.
  • Page 20 Patch Example: Intelligent Bass (Thanks, Tony): 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): Click here to watch on YouTube Set Interval to Unison (~3:00, Turquoise Color Sta ), and adjust Tonic and Degree to set desired fundamental.
  • Page 21 Patch Example: Chordal Accompaniment Variations (Thanks, Walker Farrell): Click here to watch on YouTube (Adjust to 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.