#SOUNDHACK MANUAL PATCH#
#SOUNDHACK MANUAL FULL#
#SOUNDHACK MANUAL PLUS#

#SOUNDHACK MANUAL PLUS#

That plus Wogglebug burst into telharmonic's d-gate is controllable, bundles of fun, but still offers expressivity. That's totally how I do it, too: Three channels of PP to Tonic, degree CV, and sometimes Interval but often Centroid, with time-based modulations (EGs usually) to Flux and Centroid trig'd by the PP's T-gate or clock coming into PP.

It makes for a very easy to use chord machine. So to play in minor (aka Aeolian) mode you would move six Degrees up from CCW and modulate from there.Д¬aptjrab wrote:I had some great results with the telharmonic using the PP tuned voltage outs, one row into degree and another into interval.

Example: b minor is the same set of chords as D Major (as in the diagram) but starting on b minor and moving up from there. The other modes are the same set of chords, the only difference is the starting point.

#SOUNDHACK MANUAL FULL#

In other words with Degree set full CCW, and modulating upward from there. 15 of the manual, at the top you will see a diagram of a sweep of Degree in Root position triads (as set by Interval) in Ionian Mode. Then use degree to set the mode but then sequence degree? Or set interval below 11 and fine tune interval to set the mode? If you use degree to set the mode, won't modulating degree change the mode? I'm definitely missing something. So set interval somewhere ccw below 11'oclock. Starting from the Green Triad (one click to the right of Orange), here are the seven available modes:

#SOUNDHACK MANUAL PATCH#

Now, patch a sequence from BRAINS, RenГ© or Wogglebug toДegree to sequence chords in your chosen mode. One вЂњclickвЂќ to the right of the Orange Triad. Ionian is a Green/Aqua Triad that will be found That will be found one вЂњclickвЂќ to the left of the Orange Triad. (Major) and Aeolian (minor), use the RGB LED to find the starting point. Use the Degree panel control to choose a mode. Set Interval to Triads (anywhere below 11:00). While those results are 'better' they are still far from usable.ДЄlso, why should degree be fully ccw for the tuning of tonic? Does it matter? It would make more sense to me to tune degree while it's nearer to 12 o'clock.but again maybe I'm not getting something.ДЄny advice is appreciated! Another thing I need to try is going the other way and riffing the bassline off of the output from the tELHARMONIC, but for me it's just easier to compose initially by flipping some switches/pots on metropolis. I think I should program the changes to interval mostly and leave degree alone. I was hoping I could use a turing machine (from Peaks) that is clocked by the sync output (and into d-gate) of metropolis to switch up the pads, but I think I have it backwards. Music theory (especially with respect to chord progressions!) are not my strong suit.Дo most ppl not modulate both at the same time? Is it better to just modulate 1? If you do modulate both do you use typical LFO-type stuff or 2 sequencer lines (I had much better results with sequencer lines)?Д®xample: I would like to start with a bassline generated from Metropolis and then work some backing pads into the mix, but whenever I try to do so it sounds very disjointed. I just received it Saturday, I was thinking that I could run modulations into both the interval and degree inputs, but I think mostly non-nonsensical progressions are the result. (Tuning the tonic knob while degree is set full CCW and interval set to unison) Any specific advice? I am tuning it as suggested a few pages back. However, I'm having trouble getting the sounds it generates to play nicely with the other sounds in my small system.

Like the Echophon, it's coded by Tom Erbe of soundhack.Hi, I purchased a tELHARMONIC recently and I like it a lot.

More than an end-of-chain effects unit, it's a whole new building block for modular synthesis. Traveling between spaces is possible by modulating the algorithm or manually sweeping parameters. The continuously variable algorithm allows for hybrid and unreal spaces to be found. Typical reverb types such as plate, room, hall, shimmer and others may be programmed by adjusting the knobs. The Erbe-Verb music synthesizer module is more than a collection of reverb algorithms or presets, it is a unique, modeless, continuously variable reverb algorithm with complete voltage control.

Soundhack manual