Ok. I'll try Harmonaig again, study how you and others are using it, and try and figure it out.
I have four of those blue QZVCOs that could be interesting with it.I really like the idea of it, but I was having such difficulty sequencing it the CVs it wants
in the order it wants, and could never find the melody/chordings I was looking for.
Mosly from difficulty in setting those three modals using a stepped CV, precisely.I'll take another look at it, and thank you for your assistance.
-- noodle_hut
Do you mean the Doepfer A-110-4 QZVCO? That could be fun!
Some considerations:
Just because Harmonàig has four CV outputs, keep in mind that not all musical contexts benefit from full blown 7th chords! Comp like you would a guitar or piano accompaniment. The 3rd is the most important interval after the root, of course. It defines tonality. Often the 5th can even be omitted without losing harmonic context, unless you’re going for a particular voice-led cadence. In a iiø, V7, i progression, the 5th can play a bigger harmonic and melodic role.
Honestly, I keep my patches to triads most of the time. I’ll maybe only add a 7th if I’m in a minimal minor tonality and the minor 7th adds some nice character. A triadic V-I still resolves without the dominant7th, which can be overkill in the wrong context.
TZFM voices are very powerful in terms of timbre, but on their own those blue VCOs are just quadrature sine wave generators. To get the TZ harmonic timbres, they need a modulator. And as the fundamental roles reverse, with the modulators define pitch and the carriers (TZ) define timbre.
Let us know how you get on!
And if you need Harmonàig support, don’t hesitate to ask :)
(But maybe over email rather than on the MG forum under an unrelated module!)