![]() ![]() ![]() (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.Īlso, 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.Īny 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.ĭo 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)?Įxample: 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. Hi, I purchased a tELHARMONIC recently and I like it a lot. ![]()
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