Jiggery-Pokery Sound JPS Harmonic Synthesizer User Manual

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- Fix:
notes are nou released
- Fix:
The
corectly r$en usirE the *&ral Arp' Player in
Reason g+
correct font is nov used on the main csatrol penel la$cls
-
50 netr patches, inc'luding thc aev Terturcs foldcr, plus a Pulsar-brsed Codinator
patches in the ner Codinators/l.1 Prtchcs/ s6-foldcr.
-
Signature patches have bcaa duped
1. 1.
for
each
of
these extra
into the rypropriete type folders for easier oby type" brorsing
1
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ADDE},IDU$,I
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rate of distortion gain
llEl,l FEATURE! Added
ADDENDTJI,I
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I .0. 3
Srnoothing
ADDEHDIS.I
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1.2.0
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Pitch Bend Ranges can nse be autmted via seguencer autsmation, Remote, or Combinator ltod 8us
- I{EUI
targeting. Tro ex@le Codinators are available rith lhor step seguencing
(Combinators/ttative Cmbinators/Seqrcmed Pitch Bend Rangc Co*i scries)
Additional Remste ltapping for Fitch Bend Range:
Fitch Raagc OSC I Up
Itlap _contrsl_
Pttch Rangc OSe I Ooilffi
l,tap _contro'l_
Pitch Range OSC 2 UP
l{ap _control_
Pitch Reac€ 05C 2 06{ilr
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CONGRATULATIONS !
You have acquired
the latest advances in synthesjzer technologyl
rock-solid stable digjtal oscillators and a low-noise,
all-analog audio path comprising voltage-controlled envelopes, low-frequency modulatjon,
frequency modulation and a trr'ple-output filter.
The JPS Harmonic Synthesizer features
oscillators provide a nearly infinjte varjety of permutations through manipulation of
up to sixteen jndividual harmonics and shaping controls per oscillator. Each oscillator can
also simultaneously produce up to six preset waveforms for a big, rich sound.
The ti,vo
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SET-UP INFOR14ATION:
Connecti ons
a.
b.
c.
d.
A.C. power cord plugs into any convenjence outlet - it draws very little.
Volume and Filter pedals plug into iacks labelled "Pedals" underneath. No mistake can
be nade between "Volume" and "Filter" iacks because of different sizes. The synthesizdr
can be operated without the pedals being connected - you merely lose the control over the
two functi ons.
lilono audio outputs for oscjllator l and oscillator 2 voices are labelled "osc 1out" and
"osc 2 out". The signals are low-level, high-impedance. Any microphone or guitar-type
input will provide sufficient amplification. The audio system should have tweeters to
reproduce the high frequencies being generated by the synthesizer.
"VCF Filter In" allor,Js external signals to be processed through the Dynamic Filter. 0ther
audio sources such as organs, guitars, microphones or electric pianos can be passed
filter for special effects' If
are too low in level to produce
effects, a small battery-operated preamp module can be inserted iust before
the VCF Input. Several companies manufacture such modules for use with guitars.
through the
the desired
Stereo vs.
some sources
For the best performance, two separate audio systems should be
used for Left and Right audio outputs. However, if two are not
available, both Left and Right can be "mixed" into one ampljfier
having a two-channel input. For your convenieltce, both oscillators
can be independently panned left or rjght from the front of the
I'4ono:
instrument
itself, to a true
stereo output.
Il'1PoRTANT NoTE: DSP Usage
a.
The Harmonic Synthesizer can scale
to
use a great deal
of resources in terms of
sample
rate and polyphony. For best results we recofimend setting the minimum values during song
construction, until you need to render your track, when you can turn the values up.
b, Polyphony can be extended from 1 up to 64 voices. The more voices you add the more DSP
will be required for live playback. Set this figure to the lowest value you need.
Remember that polyphony allocation includes voices in release as well as key on.
c. Hhen using a system sample rate of 44 1or 4BkHz, adiust the "0versample" to 2x for normal
use, or turn it to the "0ff" position if needing to save more system resources. You will
notice some aliasing when turned off, but nuch less at 2x i this l,vjll be further reduced
jf selecting 4x oversampling, and will not be noticeable when selecting Bx oversampljng'
Using Bx oversampling will dramatically increase DSP use, but js the best quality, so
select 8x prior to exporting your finished song to gjve you the best quality on your
I'export" setting.
rendered output. Consider "2x" as the live/draft setting, "8x" as
d. lf using high system sample rates, 88.2 or 96kHz, oversampling can still be of benefit.
However, we recofimend exporting at 96kHz rate even when using a system sample rate of
*.vlav later.
44.1 or 4BkHz to get the highest sound quality, and dolvnsample that exported
e. The "0versample" conirol state is not saved with patches, but is saved within song-files.
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Your JPS Harmonic Synthesizer features two digital oscillators. To select
which oscillator to edit, adjust the "DHG Edit Select" switch on the lefthand side of the panel. An LED will llght next to the 1or 2 labe1 to
indicate which oscillator is being edited. Al1 controls in the Digital
Harmonic Generators section are available to adjust uniquely for each
oscillator, except for the ring modulation control "Ring", which is only
available for oscillator
2.
the panel beside the tuning slider are a good
approximate indication of A440 tuning. Set the 'I\-me for the two Digital
Harnonic Generators, then proceed to tune by ear as indicated above,
lnteresting "beatlng" effects can be achieved by tuning the 0scillator 2
Voice slightly sharp. The range of the tuning sliders are +/- 12 semitones.
Fine tuning control can be achieved by holdi[g the shift key of an attached
keyboard, or precise values can be achieved by directly inputting the value
into an appropriate MIDI sequencer lane of your usual recording software.
N0TE: Markings on
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the "Shape" slider to adjust the voltage shaping and manipulate
the oscillator waveform fron a tone rich in harmorics into a baslc sine. The
default position is "6"
You can use
In addition to the Harmonic cenerator, 0scillator 1 can produce six further
voices, using preset buttons "Clarinet", "pu1se,,, ,,F1ute,,, ,,Horn,,, "Reed', and
"Strings". These can all be used on their otm or in combination.
0scillator 2 can produce five additional voices: ,,pu1se,,, ,'F1ute,', ,,Horn,,,
"Reed" and "Comp1ex". oscillator 2 can also be synced to 0scillator 1by
pressing the "Sync" preset button, and Oscillator 1 can ring modulate
Oscillator 2 by pressing the "Ring" button below the ',DHG Edit Select,'
switch. At least one oscillatoi 1 voice must be engaged for the ring
modulation to have any effect, although oscillator l can be set to a zero
volume if its audio output is not required. Ring modul-ation and oscilfator
sync can be used together. Experiment using different oscillator tunings when
using these two features
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The high frequencies of all voices can be attenuated with the manual
and all voices except for "Pulse" can be adjusted with the ,,Shape,,
filter,
controller.
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The JPS Harmonic Synrhesizer uEiiises
the original s-bit circuitry of the
orrgtnal RllI when using a shaped sjne value
of ,,6', , and the Binary Adder is
seL 1o I ls defaul L ,5,, posj c.iun.
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Should you wish
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After you have arrived at a setting on the Harmonic Generator, shoufd you
desire a slight attenuation of highs for a more melIow tone, it is easily
accomplished with the manual filter without resetting the harmonics.
Raising
the slider attenuates the highs.
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To mimic the original RMI "Norma1" envelope mode, you should only adjust the
"Attack" and "Belease" stages, while teaving the .Sustain,, stage set to its
maximum Ieve1. Set Attack and Decay curves to linear (see page 22).
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ninimum 1evel. Set the "Release" stage to the same position as the ,Decay,,
stage to a1low the sound to decay at the same rate Lven after the note is
released early. Set Decay curve to a non-linear value (see page 22).
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The JPS synthesizer features a three-stage release triggering capability on
oscillator 2. This provides sone arazing possibilities when used together
with oscillator
1.
Switch the "Trig" button from "On" to "ReI" and Oscillator 2 will be
triggered not srhen the note is pressed, but when that note is released. Note
that the functions of the osc 2 envelope controls change. "Attack" is the
time from when the note is released to a set 1eve1, determined by the
"Level" control. "Hold" wi11 sustain the released note for a specified
period of time at that 1evel. "Decay" is the time the note takes to return to
silence after the ho1d. For a percussive note-off sound, set "Hold" to zero
and use only "Attack" and "Decay", setting the volume with "Leve1".
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is activated by flicking the "Mode" switch up or down from its
central "off" position. Modes of operation are "sequential", or "random".
Speed is set by turning knob. A pilot light indicates when the sequencer is
in operation. If no keys are heId, the light will renain "on". If keys are
being held, the light will pulse when the sequence "resets". In the
"sequential" node, this pulse of light will serve as a "downbeat"
indicator for most rhythnic patterns or bass 1ines. In the "random" mode, it
will pulse with each note.
Sequencer
via "Sequencer Rate" to Sync to host
or be free rulnlng. In addition the sequencer can play
polyphonically by gating the chords at the set rate. To do
this change "Sequencer Type" from "Sequential" to "Gated".
Random gated sequencer will add random "rests". The pilot
Iight ri11 not light for rests.
The speed can be switched
SEqUENCER
a
0
If your hands are busy with contiols or another instrunent, the sequencer can
be "programmed" by selecting "Hold" while the notes are played. You can now
release the notes and the sequencer will continue to play that sequence
until you play a new set of notes, switch the sequencer back to "Key" mode,
or stop playback entirely.
rTPS I{AEIMEII?E =+N?H==I=EFI
MODULATlON
JPS
I
!r-
E
.
CONTROLS
I.]AEM!IN!E
=VN?HE=I=EE
Dl ElTrt
t
il inn
x t't-r
13
Hfrft IJEI}I E
EENE F F TERE
t,lilti
tt
ll ll Ll l]ti
n'rnnn,
tt,I
tr lil
lllililll
l
uil
,,,,-\
,
t,
.l
i
RLNG
ry4@trEtrtrtr @trtrtrtrtrtr
OSC I ENVELOPE
.-=r ..:=
,/t/tt
\. -/
'HCB.
t-
il
.,-\Y"^"
rQlh
,t[g
L]
L]
't,)
!-,/
'":',
"..e
\
.=\
/a=-
\\ _/
\_/
€F:
."t
F^ \.-
f,
i
]
1r I
li )t
\-i
\r/
TREMVLANT
t"es) *e
3:€,*
"*e
'FE@LO
i
\:r/
OEPft
5I
.".,Q:
ir
;;,
I
')r
,
DYNAMIC FILTER
"..^=
(rl
The Harmonic Synthesizer features a common "LFo Rate" used
for modulating the frequency and amplitude of 0scillator 1
and Osclllator 2, and the frequency of the Dynamic Eilter.
However, you can use external inputs to over-ride the fixed
internal LFo for any or al1 of these in order to run the
)
. ", =,:"""_
l.^
O* O*
Osc Osc
Trem
Mod.
ooooo
,
2
ldem.l
modulations at different rates or for additional tremulant
shapes, thus vastly expanding the sonic possibilities of the instnrment.
itternal LFO can be set to "Mono", so that it starts from zero {hen the
instnrment is first turned on and does not reset. This is preferable for
vibrato effects. \{hen moved to "Poly" the LFO wavefolm is restarted
uniquely for each note played, which can be particularly interesting when
used in conjunction with the tremolo effect. The rate can be synced to a
hosL Lempo or be free-running.
The
Set the Modulation Shape for each Oscillator, then the Frequency Modulation
amount ("Vibrato Depth") and Amplitude Modulation amount ("Tremo1o Depth").
If you enable Aftertouch via the MIDI section, set the "Vibrato Depth" to the
value you wish to apply to the maximru aftertouch level you send, thus
vibrato will be zero until aftertouch is applied, up to that maximum Vibrato
Depth 1eve1 set.
r.,PS HAEIMI'FIIE =VII?HE=I==E!
P T TCH
JPS
DEVIATION
tjAEMa t! =1,Utl]E=tr=E
OIGITflt
t
,F.
7
CONTROLS
H
flRI']I[
:t] N il ll itt Jl Jl il
trlrrl:1,I
IIll'lltililrtl:
Ll '
t4
--
a
aD!
ENER frTOBE
Iit lt !|
rtIti
,3 r4
'5
rI
;l
I
1; ,-";;
.=rr\
r'r
R
/\_\
Lttlli
\
^,\ff.^t
)
,
(r
./l
sB
"..o..^@..^..
ir
Pitch Deviation Upon Attack: "Depth" control determines the point at which
the "s1ide" begins. Setting "Depth" control to "flat" will cause the pitch
to start "f1at" and slide up to the correct pitch. "Sharp" works in reverse
as you would expect. Setting the "Depth" control at 12:00 in the center of
its travel will cause no deviation. "Time" control determines the time it
will take to travel from the deviated pitch to the correct pitch.
drPS HAFIMIIFIIE =VFI?HE=I=EEI
NOISE
JFS
MODULAT]ON
15
a ---
HAEIMEI]I! g\lI]?HEgIzEE
Daa
ll
I
lr
E
l
I
tq
/
LLllll
_.@
E (
\/--\N
).)
(..)
Itr
00
,"Affi*"
ED
@
ti rfi
OYNAMIC FIL'TEF
l--r '.))
Noise Modulation; Either
i
I
oscillator can be frequency-modulated by noise in
infinitely variable degrees. Noise ',frequency,, or ',color,' can be controlled
from "pink" to "white". "Pink" noise can be interesting for creating ,'sample
& hold" type effects. Most useful, however, is the ,,white" - turned fu1Iv
clockwise. To maintain a sense of pitch, do not adjust the depth beyona ihe
12:00 position. Noise modulation is most conrnonly used in creating drums,
traps, and other percussion instruments. It is also effective in producing
wind, thunder, and whistles. It is up to you to experiment.
TPS; HAEIMIIFIIE
VOLTAGE
.IFS
CONTROLLED
FILTER
I]AEM!,RIE E1,Ii?I.]E gtr
16
.---aaa
E E!
I
!,
((
I
f-l
))
@trtrtrtrtrtrl
l
I
t'
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x
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5i
Ll
ffiel
it
tl
OOI
@
@
o
@
a
Voltage-Controlled Fi1ter: Mode Switch _ ,'Filter Off ,, position passes
0scillator l voice unaffected by the filter. ,'Static,, position turns on the
filter allowing either a fixed frequency and/or modulated
a sine
tremulant. The rate of the tremulant is set by the masterwith
,,LFO Rate,,. ,,Up,
or "Down" positions cause rising or falling ramp envelope
from
the starting Frequency. Xnvelope ,'Speed,, and ,,iepth,, are modulations
you
controllable.
can connect a monophonic external envelope to the ',Fi1ter Sweep Env.,,,
and
setting the sweep control to ',CV,'mode. The sine tremulance can be over_
ridden using the "Filter Trero. Mod,' input for using different modulation
shapes or rates fron the internal options. ,,Mod Wi,, position activates
modulation wheel control of the filter frequency, from the set freque[cy
value (wheel down) to fulty closed filter iwheei up). For fult range
modulation wheel control, set the Frequency to maximum. TremuLance can
also
be applied in "Mod W.,, mode.
Low, band, and high pass outputs are mixable. Typical "wow" effects are
created by modulating the full ,,Low pass, with some ,,Q,, (resonance). " Notch"
filter effects are created by mixing 1ow and high pass outputs in varying
proportions.
oscillator 2 can also be routed
through the filter when selecting 'Osc 2
Any stereo separation applied using the oscillator pan-pots is maintained.On,
r,PS;
HTEIMEIFIIE
=VFI?H==I=EE!
PORTAMENTO
CONTROL
S
17
i- -- --- aDr
(rPs l]aEM!Rl! gvRrt]EqllEE
t]I
I
{J
a
O
E
ITfl
I
HFR]:IENII EENEFFTIlBE
l,rll,rffllllilfl,'
, u ll ! []llll
FN6
trtrtrtrrc
I :H:S='
oscJ$ML.,*
11 ",*"
-11
"try" ;;&i.-'"!;.";i
'*"
"*."..
QriO Or o
:H:
I
;,*;,";;;.
i ,"," ^,-".?*&51"':,'*i^ ,...^..
O
! ]"O.H-.O ;1,
!l
s,,.;"."
lI
- :h;'J-h."..., """O ]-a:e
OYNAMIC F'LTEP
-
-'r^ i
ln.i
I
,
_
,=:.
Li ,
,is
ri
r
Portamento: This very popular synthesizer effect refers to the sliding from
one pitch played to the next pitch played. The JpS Harmonic Synthesizlr is
unique because of two features of the portamento _ independent controls for
each oscillator, and ,, fol low- through,, effect, causing tire final desired pitch
to be achieved without having to hold the key down. In most
yo,
find the g o'c1ock setting the most musically useful. To actlvate
"u""", tire *i11
portamento affect, play the first note required, then play the note
which
you want to s1ide. If you set a fairly long ',Re1ease,, tir", you canto
let
go
of the second note before it has reached tfrat pit"fr, and the portamento will
continue to slide up until it reaches the desiied pit"h, o. the release has
finished its decay, whichever is reached first.
.,PS
HAFIMEil?E
=VFI?HE=I2EE!
.rps
CONTROLS
ANALOG
I T ] CAL
CR
r --
HAEME IT =vFliuE=rrEE
=g,[,i'il.,fi,
18
----- ooo
OIEITBL Hfl RIIIONIE EENERRTT]HE
.11
['[, fl '[.l[,.fi'[.,fi il''''[. fr,'fi'.'H,,t,
6
O
s-"s,?
7
3
S
lO ll
12 13 14 15 16
sH P! FtrrER
o
"
@
It
RNG
E@trtrtrtrtrtr1@trtrtrtrtrtr
I
OSC
I ENVELOPE
o @@ o@
,,,if.B.
I.4!EC1'" 8"#r'
;<>':x.,,@
n
tl
,iE'g.
fl
tl
(e)c)
'
F:
"g
:"EIxEeT"
".fe
()
OYNAMIC FILTER
--oEift TFENU*NT o
",
@@o@leo
"..o,:F:: o.l,:,:O-H
_.o
.ffi
@
-,8..'6€:.
x
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,.," "., "?*nfli"':,"s,i" ".,.^".
(O "*'
'i"#J,.
f
BEts?i"
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I
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loL_]
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@
-sdEEP
@
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".P ..P ..P E l..p
".P .R.
RnMEItsER
-
EXACT ANAIOG SETTINGS may
vary from instrument to instrument, not
you should
toGtio.r the varying taste of the individual osners Therefore,
presets,
then
possible
to
the
set your panel .oni.o1s to look as closely as
the
of
side
it
to
either
fxpnilfmui with each variable control by adjusting
sine
and
vCF
outputs
initial setting. You will oote that noise modulation,
,,on,' or
modu]ation a1'e not include.I as criticat because they are usually full
fu11 "off".
.
A-I'.ET HAEIMENIE EVF{?HEE?=EE!
\{HEEL
P I TCH
CONTROLS
IS
HAEMAAilg gURtr.]E=r=EE
JPS
1L
HF
I[
BIIIDN
l;ltr
-
i
EENER fiT ORS
lflnlr
lllltltiltli,
I
t t rJ il ll ti, r t
a
ORl*
aala
,'
l,
,'
.l'
I
t
;
@trtr]trtrtrtr1@trtrEtrtrEd
OSC 2 ENVELOFE
o
I
!.i
ir
O (.)
'\)
L
il;"'
e-,O O
u^,
1L
oFF,}!::,1
FLrEF
FLAT\.:-SHAqP
o#-i6D sr -
L)
-
0
PITCH BEND WHEET PINGES
EI
EB
c0
EI] I E3
roP2 I
oscrll,aroR
).
oscrLr
earF
LxrleNnrcoNrRolrRs
i1 i > irl: R R.o rN,
EXPRESSiON
C
.'l
> AMPLiL]'E
"
OVMSAI\IPLE
"
u;
\-]
E]MPYADDER
In addition to the key triggered pitch Bend envefope, you can also use the
integrated Pitch l{heel. Unlike other synthesizers, each oscillator can be
both independently set to different ranges (up to 24 semitones), and in
either direction for both the up and the down pitch wheel positions,
developing some unique opportunities for creative effects using pitch bendl
Try setting "osc 1Up"
to
-3 and "Osc 2 Down" to -7.
t,PS;
(+)12 and ,0sc 1Down,'
HAEIMEFI?E
to (+)7, and ,'osc 2 Up,' to
=VII?HE=I2=E!
POLYPHONY
.rPs
i
u
a
i
I
M]DI
ANI)
CONTROL
HAEit!tl]l! =vlltH=gltEa a ---OI EITfl I HflRiJONtI CEN ERRTNRS
,llill[,ff'l',li|il,
utrlL]ll U Ull l]
R,Nc
i,*,i
--
lll ll
alla
\r
[lil
I]
,1
trtrtr8
tsct
I
I
rl
ttt
2A
,.---.
(!
t ELd':,-7sfAF,
o.-,r -
,r=,
((
o+/:,-/
SEOUENCEF
sFEeo
; mjc aracK
l
OYNAM'C FILTER
The instrument is velocity sensitive. To enable velocity control of notes
through performance turn on the ',Vet,, function. you can also control the
overall amplitude of the output using an expression pedal connected to the
volume pedal jack on the underside of the device, and enable it by turning
"nxp" to the on position. Remember to record and store the expreision vaiue,
or you may find the output 1evel is lower than expected next time you turn
the device on. You can control the final output leve1 using the ,,Master
Output
" control
.
Three voice modes are available to the Harmonic Synthesizer using a threeposition switch. In the dom position the instnrment is monophonic (one voice
per oscillator) with automatic re-triggering. In the middle position you will
find a monophonic legato option. In the up position the instrument is
ful1y polyphonic, allowing you to play chords, or bass and lead lines
together. Do be aware that the device can get very hot when using too many
voices and could start to melt. We strongly recommend setting the potyphony
to the lowest value appropriate for the particular performance, l'r"irrg- it" "
polyphony "Voice Select " display.
rTPS HAEIMEIIIIE EVII?HE=I2EE!
TPS AEIEIMAFI Flt AE!F!A+
AF!F!V
O
##$f
E@EE
Q.nr S u
"u,t m
s{o}a
1(rt
r,E,i-
The ACIDI4AN FX
FuxcEn
{o}
e
+&# ###
{a} I
o
"9.
is a handy all-jn-one-box for all your standard
pedal effects needs jn
tj dy and easy-to-use package, it makes the perfect
companion for any guitar or electronjc
ARRAY
key_
board,
The system comprises
1.
a
six effects jn series.
DISToRTI0N: Apply
the d i storti on
Lo' Ilid or Hish bands' or Ail
frequencies, and adiust ,n" o",r,"tlrliil.'ne
1. Use the Dirty Gain knob to boost or reduce
the input level jnto the selected band.
2. The crean knob boosts or reduces the input iever
into the non_serectea oands.
3. l,]here,,All,, is selected, Clean Gain will
adjust the distortion threshold.
2.
A hjgh quality chorus using the latest
technology, Select from one of eight
djfferent types, four chorus (select ,,CH0,,),
four ensemble (select ,ENS,,). Adjust
the dry
to wet signal levels with dry and wet control:
we recomend no more than the
lZ o,clock
position tvhen requiring Chorus, and
set fully to the right rf,"r rring fn.umlle.
3.
FLANGER:
CH0RUS:
taste.
A flanger pedal
effect.
Leave the coror contror
:
,"T:i:,::;"ri:i.il.'ili,;"ril,lllri;il:i:;r,;l:",.
negative, or right for positive coloration (feedback).
fne Offset swltctr applles an oftset
t0 the right channel for a stereo flanging
effect.
4.
5.
PHASERT
A big 5-stage phaser
effect, contrors are the
same
as the Franger.
8E!4f: A simpte and highly efficie
parare, to the input (i.e., ,",,
to right delay and vice versa, ,,X_S,,). Channel
delay tioe.un 0a.",',0 ,,0ff,, by turn.ing
fully to the left, and no feedback will be applied
to that channel; set Dry/l,/et to fully
wet and you']r effectiverv have a dry
signar on the,,ort,,.turnut, uno a derayed
sjgnar on
the other. For a pseudo mono delay, set both
Left and Right delay times the same.
i:J";",:;l"i;,llililil,.li:::::::,:i:::il;|,,,0,,
6.
A vintage delay. Add a gen e modulation
wjth the llod control, and adjust the
length of the Reverb using Decay and
Daflp. For Har/prate styre reuerb
reave damp at
flijnimum. For a shorter, room_style
reverb jncrease ttre Damp ana lower
the Decay.
REVERE:
EXTERNAL
.rPst
CONTROI,
r{aE!MlrAlE
21
=rl tHE=r!EE!
Fiter V!!ab
.,1- 2 swp o.-os
Osc Os.
VOI,TAGE
Trcmoto Fiti.r pona./
or
c?
Osc
oooo
oooqQooooooooooooo
"* 's
E1€op.
Ocr des
",E
8" iiil.E*5^*t *,{.8
LFO
OvsjidE
Chee
l
16
SHAPE FILT TLJNE VOL
ooooooooooo oooooooooooo
ooooooooooo oooo@ooooooo
ffi: H'$#
ffi; ffi k,,g:il
ooooooo ooooooolh"j
il^ * ^trlB o o
c 'co
lBll,oou,*,[lE
Jrlr Frh Fih
{ir* okr
qri. s{.
R,l. t.&. k* o*2
Nd* ",fi] ffi,: Pfi1
DHG
clol
Pllse Fllte Born Re.d strss
PITCH AENO WTIEET RANGES
OSCILIATOR
]
ftIE
Ftde
tlm
ry' rm
Der,th
ffi",
Re.d cnrpri sete.1
SEQUENCER
O5CILLATOR 2
ECERMT CONTnOU-EnS
> F]LTER FREOUENCY
AFIERTOT]CH > VIBRAIO DEPTH
EXPRESSION > AMPUTI]DE
MOD WHEEL
oHG syE
""fit
rft
(r(t,
"r.rAq
\7
O\ERSAIIIFIE
",4\"
SIEREO
\v/
BIMRYADOEP
Nearly all the functions of the JpS Harmonic Synthesizer can be controlled
via externaf "control voltage,' (,,CV',) inputs, such as those output via
sequencers or alternative modulation sources. Envelope or LFo connections
to "Internal Over-rides" 1,yi1l automatically disconaect the internal source,
except for the "Filter Siyeep", which requires setting the Dynamic Filter,s
"Sweep" control to the ,'CV,, setting. Voltage scaling into the synthesizer
should be carried out at the modulatiot source.
The DHG1 and DHG2 harmonic ,,Cy,, inputs do include a global voltage scaler per
oscillator, but individual inputs should be scaled from the source.
other_'CY" inputs, including those for controlling pitch and moal wheels, and
the Filter pass mixers, do provide local scaling XrroU" fo, the input vaiues.
"Filt. Freq." CV sets the physieal knob va1ue, so can be used to adjust the
start or centre positions of the modulated frequency types (filter lnvelope
or filter tremulant, respectively).
If con[ecting an external audio source to the ,,VCF Input',, that audio will be
routed through the filter and output through .Osc 1 Out,, in mono, aod through
the Stereo out in a position determined by the oscillator 1 pan-pot.
rrPS
HAEMT!illE
=vil?HE=l==E!
CONTROL
EXTERNAL
VOLTAGE
22
cl)
HAFIME IE ErIFIIHE=?=EF!
.,PS
OCOCOOOOOc)
o@oo
O -OO O **'*"'"'
O O OOO O GO{-OO
C
ry
C_oC
Frr ruNE
rG
14
r5
13
n 12
.
*";;
"
'1"
" " o
o o o{ oo<l oo Goc o o @ sc'rLeor'crc"
o &o ci
:. (', it t-:
ocooooooocooooQ o ooooooc
voL
sr'raPE
O a,-\
ooooooooooeoooo
;5 'ii ,:* #" ,ll. i;'; ir.l ti;l
\l
|iT
453
B::3
R:'.3
?r':
ooooo
" ocooooo
lJ
?# i;"'l
oG i'
,"..,'
P'j! rt
\::,/ \l
Inre
fe't
or? o<, oar
2sr,
Deo$ Time Did$
'o'
PITCH BEND WHEELRANGES
El^ * ^LE
OSCILLATOR
i
C'
!t
ELI'*.-'eE
OSCILL,\TOR 2
"5JJ"
EXIERML CONTROLIERS
IL]OF I"VHEEL
>
F LTER FREOUETiCY
OIi
>
AIiPI]IUDE
EXPRIsS
is deBired on the e[velopes' the
If a slower or faster rise or: fa11 time
eas i 1y performed without
ua:""t."nt of the attack and decay can befor
a linear tise' or turn
"ofi.g"
"Attack" to 12:oo
;;i;i;; ;;: warranty. set the(Exp),
or to the right for.a faster rise (Log) '
i"'irr."r.ii io" u "io*"t rise
for a linear fa11' and turn to the
F;r-';e;a;i, turn completely to ti.re.left
both decay and release voltage
,iglrii"t'"'"i""p". rurr. i'lote this adjusts
curves. Likewise the decay curve of th; Filter Sweep and Portanento/Pitch
-
Bend
attack can be adjusted in the
RMI "NorBal" enveloDe
Decay / Release
Attack
JlS ,c!Yc,l!pc
Sustain
Attack
#
I
Decav I
same matuIer'
RMI " Percus sion"
Decay /Release
Release
"Li near"
"Linear"
"Li near"
Log"
.'PS
HAEIMEIFII E
=VII!|HE=I2EE!
23
you should have a rough idea of &here the
control
have on lhe sound.
B)
^nor\. they should
ellects
s
are and what
You are about ready
to put all this raw knowledge to practical use bilt before
ul;,
AcArN READ rrE .AGE .,r--duiin
_ruaroddh3l'?i
*?y, only
So.3llo-{?-.?I9,
will
take a minute. Those controls ;;; ;;.;itt
all
about - interfacing the_ human being with the electronic ma"fri.re. You
have
an idea of what
you would like to hear, but the machine doesn,t.
You must telI it through the
conlrols. Now. read that page, and let.s ger on with the
best part - making
the sounds
_
Now
go through the
NoIE
i
folder
Wh_en-referring
,'Set_Up
Sheets,, (pages 24_Eb).
to the Set-Up
Sheets,
ANY CONTROLS NOT APPLIED SHbULO SP irV
tHS 'OF'I'' OR 'MINIMI,IM'
POSITION.
DOING YOUR OWN THING:
exciting thing about synthesis
your own voices. Ha\ ing
tried several Set-Ups created o).someoneis,creating
else.
yorr
probably
have some ideas_oI
your own. 0f course, you can strit creale further
va-riat
ions
on the Ser-Ups
by re-combining
The most
them
I
But if you just want to enjoy our rovely presets,
then feel free to do that!
trPS
HAEIMIIFIIE
=ViIII{E=I=EF!
56
A
GENERAI, APPROACH TO TIIE USE OF
T}IE INSTRUMENT:
Your JPS Harmonic Synthesizer is actually two synthesizers in one unit. \{e
feel that more musical excitement is created when two things are happening at
once. This is what you paid for when you bought the instrument, and now, you
should take fu11 advantage of its potential.
Here ' s how:
\dhenever possible, use both 0scillators at the same time. \rhen you
reach for Osc 1 or osc 2 to set up a souod, think to yourself:
"\{hat differences are there between the two voices, and how can 1
use these differences to ny advantage?" Remember, osc 1 can use
the Voltage-ControlIed Dynamic Filter with mod wheel pedal control
while osc 2 remains static, thus sounds that require filter can go
to the osc 1 voice. Osc 2 can be tuned differently.
set sounds in both 0sc111ators, their relationships
will fa11 into two categories: "Doubling" or "Contrasting".
\{hen you have
same sound or instrunent in both
oscillators. Riclmess of sound is enhanced by
subtleties in differences of "attack" and "re1ease"
parameters, "beats" or "phasing" caused by slight
differences in tuning between oscillators.
Doubling -
Creating the
Contrasting -
Creating different instruments in two Oscillators.
Interesting music is fulI of contrasts in many
forms. The successful synthesist wiIl be fully
aware of a1l areas ln which he or she can create
contrasts. of course, the trick is to apply these
contlasts to the music being performed.
JPS; HAEMIFI?I =I|FIIHE=I2EE!
57
There are two types
Horizontal
Vertical
-
of contrasts: Horizontal and Vertr'cal
Contrasts appearing in sequence of time.
example: fl ute/vi ol a/fl ute/vi ol a, etc.
-
Contrasts appearing between each other at the
same
tirne.
example: fl ute
viola
A sequence of tine occurs as musjc is performed. 0n paper, as nusjc is performed, it moves
frorn left to right - horizontal . When two or more musical lines are played at the same tine,
their arrangement on paper is vertical . Therefore, two musical lines (one above the other)
can progress from left to right, creating both horizontal and vertical relatjons.
example: flute/horn/flute/horn/flute/horn, etc.
vi ol a/bass/vi ol a/bass/vi ol a/bass, etc.
!0]!_I0_-EEIEBAIE_!0$I845I! :
different instruments,
to create contrasts:
The contrasts shown above were between
gjven four areas
I,/AVEFORI.I
in
-
lvhich
AIIPLITUDE
-
FREQUENCY
-
0n your synthesizer, you are
ENVELOPE
1. Haveforin - mellow vs. rich / odd harmonics vs. even harmonics, etc.
Horizontal - rapid changes can be made with the Preset Voices or gradual changes can be
made with the Harmonic Generator sliders.
Vertical - create contrastjng instruments on 0scillator l and 0scillator 2 and set to
an opposable pan posjtion
2. Anrplitude - loud vs. soft.
Horizontal
Vertjcal
-
-
use volume pedal
use contrasting
3, Frequency - high vs. low
Horizontal
Vertjcal
4.
Envelope
-
-
-
rTPS
-
dynamic changes
intensities on osc l
and osc 2 Voices.
pitched vs. non-pitched (noise-modulated).
Shifters, or add noise modulation,
use contrasting octaves between 0scjllator l and 0scillator 2, tune 0scjllator 2 to a different interval , such as a thjrd, fjfth or sixth, or add noise
mod-l at i on to one voice.
change octaves l,/ith ociave
slow and long vs.
Horizontal
Vertical
-
/
for
fast
and short.
change envelope generator
settings while playing,
use contrastjng envelope generator settings for 0scillator
0sci I I ator 2 voices
HAEIMIINI E
l
=VFI?HE=I
and
zEE!
58
A NOTE OF
IMPORTANCE:
Most synthesizer performers make few changes while playing, therefore
their music becomes uninteresting. To make your muslc inieresting, you
should constantly be thinking about your next change while you arplaying. Get in the habit of practicing your changes as an integral part
of your music. Adding vibrato, tremolo, or dynamic changes are as
critical as playing the correct notell!
SOME HELPFUL HINTS:
(which may be obvious
Afways have as many controls as possible set up
in
to you already)
advance.
example
if you are using one of the Preset Waveforms, have the Harmonic
Generator sliders set-up in advance of their next usage,
exanple
if you are not using the Sequencer,
for the next usage.
etample
if you are not using Vibrato or Tremolo, have the LFO Rate set in
advance at the proper speed and pre-select the sine wave on the
Tremulant Shape controls. Since Vibrato is often used, it is
helpful to leave the Vibrato Depth controls in the ,minimum,,
position, but not "off". The pilot light wi]l remain,'on,,but the
have
its
speed
set in
advance
function not in effect
examPle
if noise modulation is not being used, the most comon use will be
"white" noise, therefore have the Noise Frequency control set fully
clockwise in advance.
exanple
if the Dynamic Filter is not being used, it should be set up for
all the paraneters of its next usage. Comlon usage would call for
Speed and Depth to be set at 12:00, q at 10:00, and Low pass full.
Filter modulation wheel should be closed.
example
if only
one voice is being used, at1 of the controls for the other
voice should be set in advance of their next usage.
\{hen using the JPS Harmonic Synthesizer for elaborate sequences with other
instruments, keep in mind that the Volume pedal completeiy stops the sound
when in the fu1ly-closed position. Therefore, complete set-ups can be
arranged in advance without being heard, then, merely open the Volume
Peda] to start the sequence. Tn the ',sequential,' mode, the Sequencer pilot
Lamp serves as a "down-beat" indicator, assuming the lowest note is on the
down-beat, giving you a chance to synchronize yourself with the beat before
listening to it. Remember, you can add accents on various beats with the
Expression or Mod Wheel.
TPS
HAE'MIIFI?E
=VFI?H==I=EE!
59
.....soIry, we've run out of ideas.
You are on your own from now on.
to prove our faith to you, we have included a blank Set-Up sheet on the
next page you can photocopy to jot down your ideas so that they won't be
And
forgotten.
If fact, if you come up with some winners, don't keep them a secret.
Instead, send them to JPS and we may add them in a future update, and we'd
like to include some new ideasl
Don't forget to fill
Now go
out your
\{ARRANTY CARD
so that we have a record of you.
enjoy the world of harmonic synthesisl
Should we have somehow inspired you to such heights of creativity that you
can't help but share your success, drop us a line! Here's where we are:
Jiggery-Pokery Sound
https : / /www. facebook. com/JiggeryPokerysound
JPS; HAEIMEIIIIE EIIIIIIHE=IzEFI
SET-UP
SHEET
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REMOTE
MAPPING
61
instrunents Jiggery-Pokery Sound
//Rernote ap teriplate for
Scope Jiggery Pokery con.jiggerypokery.JPSHamonicSynthesjzer
//Conhol Surface ltem
Key
Remotable
Item Scale
JPS Harmonic Synthesjzer
ode
ap
14ap
r4ap
Velocity
14ap
Expression Enable
Enable
Hap
ilap
udp
flap
I'lap
I'1ap
DHG
Edit Select
DHG
I
I
DHG
1 Harmonic
Hannonic 1
Harmonic 2
DHG 1 Harmonic 3
DHG I Harmonic 4
DHG
I
DHG I
DHG I
Harmonic
Barmonic
Barmonic
DHG 1 Harmonic
DHG I Harmonic
DHG
I'tap
Map
l'4ap
Map
|lap
5
6
7
8
9
10
I
Harmonic 1t
DHG 1 Harmonic 12
DHG 1 Harmonic 13
DHG I Harmonic 14
DHG
llap
DHG
ap
DHG
1 Hdrmonic
1 Hdrmonic
DHG
2 Harmonic
1
2
l,4ap
2 Narmonic
oHG 2 llarmonic
oHG 2 Narmonic
ilap
oHG
ap
DHG
flap
DHG
l4dp
DHG
Hap
DHG
Map
DHG
l,lap
DHG
14ap
DHG
ap
DllG
DHG
DHG
l,lap
DllG
14ap
DHG
ap
ap
Map
Map
2
2
2
2
2
2
2
2
2
2
2
2
15
16
3
4
Narinonic
5
harmonic
6
Narmonic
7
Harnonic 8
Hamonic 9
Haff'onic
10
Harnonic 1l
Harmonic
12
Hamonic
Hanionic
13
Hdrmonic
15
Harnonlc
16
14
0s. loctave
0sc l
0sc 1
0sc l
Shape
Filter
Tune
Map
ap
osc
t
ap
0s.
1HG
ap
0sc 1 Clarinet
0sc 1 Pulse
0sc I Flute
ap
Map
Pan
.TPS HAEIMEIIIIE EVil?H==I2EFI
(... c 0 N T '
62
D)
0sc
l
Norn
llap
0sc
l
Strjngs
Hap
Rjng
Map
flap
l,lod
osc 2 octave
osc 2 Shape
osc 2 Fil ter
osc 2 Tune
|1ap
14dp
osc 2
Iap
osc 2 HG
osc 2 Slnc
Map
osc 2 Pulse
Pan
ap
l,1ap
osc 2
Horn
uap
osc 2
Reed
ap
osc 2
Complex
Map
osc
osc
Hap
llap
t
l
Decay
Sustdin
ap
osc 2 Trigger
l,lode
Iap
l,lap
osc 2
Hap
0sc 2 Sustain
Decay
ap
l,lap
l,lap
r{ap
r!ap
off
off
osc 2 Note off
osc 2 Note off
osc 2 Note
osc 2 flote
Attack
Hold
Level
Decay
r,!ap
0sc l Pitchbend Time
0sc 1 Pitchbend Depth
osc 1 Portamento Speed
14aP
0sc 2 Pitchbend
14dp
osc 2 Pitchbend Depth
Hap
osc 2 Portamento
Map
14ap
Time
Speed
Map
l,!ap
uap
osc I Noise Depth
osc 2 Noise Depth
Map
Map
LFo Sync
l,lap
LFO
ap
Rate
H2
LFo Raie Sync
1 Tremulant
ap
0sc
0sc
osc
osc
0sc
ap
osc 2 Iremolo Depth
Map
Map
r,lap
Map
.,PS
Shape
1 Vjbrato DePth
1 Trernolo Depth
2 Tremulant Shape
2 vibrato
Depth
I{AEIMEIFIIE
=VFIiH==I=EEI
CON
T'
D)
63
xap
liap
udp
Filter
Filter
Speed
Depth
ap
Hap
Filter
Q
Hap
l,lap
Map
Map
l,4ap
Nigh Pass Hjx
osc 2 Fil ter
Sequencer Hold
l,{dp
Hap
Hap
ap
Sequencer Speed Hz
Sequencer Speed Sync
Distortion
Enable
ap
liap
Clean Gain
liap
Dirty
Hap
0rive
14ap
Chorus Enable
Gain
Map
l,lap
Chorus Hode
l'4ap
I'tap
Hap
Hdp
Flanger Enable
Flanger Sync
Flanger Rate Hz
lrap
ap
Irtap
Flanger Color
fldp
Fldnger Hix
ap
Hap
tlap
ap
|]ap
I!dp
tlap
l,iap
ap
oelay Enable
l,lap
Delay Type
Delay Sync
Delay Left Time H2
Delay Left Time Sync
l'1ap
Del
llap
Del
ay Ri9ht Time
ay Right Time
Del
ay
I'lap
ap
Map
Hz
Sync
irap
flap
rtri
x
14ap
|1ap
t'1ap
ap
rTPS
Reverb Mix
HAEIMEIFIIT!
;
ICffiTB
:shopl
.rPS
HAEMEIIiE
=+R"I{ESI2EF!
vr.o.o
JPS Hahonic Svnlheez€r Rack Exrensi.n: us6r duide tovingty recreated and adapted trom ihe origtnat
RlVt Harmonio Synthesizer manual.
They donl wrile'em like thal anymore.
.Roason", 'Rack
Extension" and associaled togos are trademarks oi propelerhead Software AB.
All @mmercial svmbols are protocted tlade names ol th6ir horder and iheir inctusion wiihin ihis guide and lhe
Reason Rack Extension product are merety indicarive and do nol constitute endorsement otrtrispJult
Oy any [any.
Produced and Designed by Mait Black. Coded by ScuzyEye. Speciat thanks to th6 JpS Beta and Demo leam.
O 2015 Jiggory-Pokery Sound. Attrights resetued.
tma l: support@jl99ery poke.y.com
Web:
vvw.llqqery-pokery.com
lwittr
JiGGERY'POTERY
@1i99€ryPokerymb
Faebook li9geryPokerySound
associaled
TEIIE 1\lf-6.I<EE!, (c)F...
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