JPS HS Harmonic Synthesizer User manual

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CONGRATULATIONS !
You have
acqujred the latest advances
in
synthesizer technologyl
rock-solid stable digital oscillators and a low-noise,
all-analog audio path comprising voltage-controlled envelopes' low-frequency modulation'
frequency modulation and a triple-output filter.
The Jps Harmonjc synthesizer features
oscillators provide a nearly infinite variety of permutations through rnanipulation of
uptosixteenindividua]harmonicsandshapingcontrolsperoscillator.Eachosci]latorcan
also sjmultaneously produce up to six preset waveforms for a big, rich sound'
The tlvo
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SET-UP INFORI,4ATION:
Connecti ons
a.
b.
c.
d.
A.C. power cord plugs into any convenience outlet - jt draws very little.
Volume and Filter pedais pluq into jacks labelled ,,Pedals,, underneath. No mjstake can
be made between "Volume" and "Filter,,jacks because of different sizes. The synthesizer
can be operated without the pedals being connected - you nerely lose the control over the
tl,lo functions.
Mono audio outputs for 0scillator l and 0s.illator 2 Voices are labelled ,,Osc 10ut,,and
"0sc 2 out". The signals are low-level, high-impedance. Any microphone or gujtar-type
input will provide sufficient amplification. The audio system should have tllleeters to
reproduce the high frequencies being generated by the synthesizer.
"VCF Filter ln" allows external signals to be processed through the Dynamjc Filter. other
audio sources such as organs, guitars, microphones or electric pianos can be passed
through the filter for special effects. If some sources are too low jn level to produce
the desired effects, a small battery-operated preamp module can be jnserted just before
the
VCF
Input.
Stereo vs.
Several companies manufacture such modules
for
use wjth gujtars.
For the best performance, two separate audio systems should be
used for Left and Rjght audio outputs. However, if t!,lo are not
available, both Left and Rjght can be,,mixed,,into one ampljfjer
having a two-channel input. For your convenience, both oscillators
can be independently panned left or right from the front of the
instrument itself, to a true stereo output.
Mono:
II1P0RTANT N0TE: 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 tve recomend setting the mjnjmum values durjng sonq
construction, untjl you need to render your track, when you can turn the values up.
b. Polyphony can be extended from 1up to 64 voices. The more voices you add the more DSp
t.liill be required for live playback. Set this fjgure to the lowest value yo! need.
Remember that polyphony allocation includes voices ifl release as well as key on.
c. I/]hen using a system sanple rate of 44.1 or 4BkHz, adjust the,,oversample,,to 2x for nonnal
use, or turn it to the "off" position if needing to save more system resources. you lliill
notice some aliasing lrlten turned off, but much less at 2x ; this will be further reduced
if selecting 4x oversampljng, and will not be noticeable when selecting Bx oversampling,
Usjng Bx oversampling will dramatically increase osp use, but is the best quality, so
select Bx prior to exporting your finjshed song to give you the best quality on your
rendered output. Consider "2x" as the live/draft setting, ,,8x,,as,,export,,setting.
d. If using high system sample rates, 88.2 or 96kHz, oversampljng can still be of benefjt.
However, we recomend exporting at 96kHz rate even when using a system sample rate of
44.1 or 4BkHz to get the highest sound quality, and downsample that exported *.wav later.
e. The "oversample" control state is not saved wjth patches, but is saved withjn song-fjles.
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PROCEDURE
TUNING
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switch on the left,rii"f,-.""iifut.t to edlt, adjust the "DHG Edit select"
to the 1 or 2 label to
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section are available to adjust uniquely for each
Generators
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the panel beside the tuning sLider are a good
Digital
i"aflation of A440 tuning set the Tune for the two
above'
"pp""J.f"Generators, then proceed to tune by ear as indicated
u'u'"roai"
by tuning the 0scillator 2
iri"r""ii"g "beating" effects can be achieved
sliders^are +/- 12 semitones'
v.i".-"ligfitly sha.f. rh. range of the tuning the
shift.key of an attached
rir," t,-rniig control'can be achieved by holding
by directly inputting the value
i"yl.."a, I. precise values can be achieved
inio u" upp.opriate MIDI sequencer lane of your usual recording softv'are
NOTE: Markings on
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the "Shape" slider to adjust the voltage shaping and manipulate
the oscillator waveform from a tone rich in harmonics into a basic sine. The
default position is "6".
You can use
In addition to the Harmonic Generator, Oscillator 1 can produce six further
voices, using preset buttons "C1arinet", "Pulse", "I'1ute", "Horn", "Reed" and
"Strings". These can all be used on their
own
or in
combinatlon.
Oscillator 2 can produce five additional voices: "Pulse", "F1ute", "Horn",
"Reed" and "Complex". oscillator 2 can also be synced to Oscillator 1by
pressing the "Sync" preset button, and Oscilfator 1 can ring modulate
Oscillator 2 by pressing the "Ring" button below the "DHG Edit Select"
switch. At least one Oscillator l voice must be engaged for the ring
modulation to have any effect, although Oscillator 1 can be set to a zero
volurne if its audio output is not required. Ring modulation and oscillator
sync can be used together. Experiment using different oscillator tunings when
using these two features
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high frequencies of all voices can be attenuated with the manual filter,
all volces except for "Pu1se" can be adjusted with the "Shape"
controller.
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The JPS Harmonic Synthesizer utilises the original 5-bit circuitry of the
original RMI when using a shaped sine value of "6", and the Binary Adder is
set to its default "S" position.
naturally 1ow resolution of the tone generators does create some
quantisation noise which may be noticeable when using pitch bend or vibrato
functionality. This is expected behaviour and perfectly nornal.
The
to reduce the leve1 of quantisation noise, your
synthesizer may be legitimately modified, with no risk to your warra[ty, by
increasing the voltage of the Binary Adder, up to 8 bits (fully shaped),
which will produce a more detailed tone which is less prone to quantisation
noise. You can even lower it to use just 4 bits for an even noisier and more
'lo-fi" tone if you really like that sort of thing.
Should you wish
Unlike the oversarnple range, the Binary Adder setting is saved with patches.
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After you have arrived at a setting on the Harmonic Generator, should you
desire a slight attenuation of highs for a more mel1ow tone, it is easily
accomplished with the manual filter without resetting the harmonics. Raising
the slider attenuates the highs.
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stages, and leave "Attack" and "Sustain,, stages set to their
1eve1. Set the "Re1ease" stage to the sane position as the ,,Decay,
stage to a1low the sound to decay at the same rate even after the note is
releaaed earIy. Set Decay curve to a non-linear value (see page 22).
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capability
The JPS synthesizer features a three-stage release triggering
oscillator 2. This Provides some amazing possibilities when used together
with Osclllator
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Note
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is activated by fllcking the "Mode" switch up or down from its
centrat "off" position. Moales of operatioo are "sequential", or "random" is
the sequencer
ip""a i" set by turning knob. A pilot light indicates when"on"
If keys are
in operation. If no keys are he1d, the light will remain
In
the
teing trela, the light will putse when the sequence "resets"
"seqientiai" mode, this pulse of light will serve as a "downbeat"
i,rai".to, for most rhythnic patterns or bass lines ln the "random" mode' it
will pulse with each note.
Sequencer
"sequencer Rate" to sync to host
or be free running. In addition the sequencer can play
polyphonically by gating the chords at the set rate To do
itii- clrange "sequencer Type" from "Sequential" to "Gated"'
Random gaied sequencer wilt add random "rests" The pilot
The speed can be switched
via
SEOUENCER
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light wiLl not Llght for rests.
hands are busy with cont"ots or another inatnrment, the sequencer can
If your
be i'programmed" by selecting "Hold" while the notes are played You can now
release the notes and the sequencer will continue to play that sequence
yo" play a new set of notes, switch the sequencer back to "Key" mode'
""tif
or stop playback entirelY.
.,PS'
HAEIMEIFIiE
=VFI?HE=I=EEI
MODULATION
.,PS
I
9
a
O
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g+ ?HE=!!EE! t
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t\
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The Harmonic Synthesizer features a common ,,LFO Rate,,
used
Tor modulating the frequency and amplirude of Oseiffator
and Uscr tlator 2. and che frequency of rhe Dynamic Filter.I
-trr" However, you can use external inputs to
ii*"a
internal LFO for any or all of these in order
"r"""_ "iJ"
i".""-t1."-'
modulations at different rates or for additional t""rriu.rt
shapes, thus vastly expanding the sonic p.""ilifiii""-of'-ifr.
internal
,A\
/r\
Fur\:/*^.,
o
oF;
!4iEio TMo o Ee
o* o* oE=o< Tr12l2irod.
ooo00
instrument
be set to ,,Mono,,, 60 that it starts from zero when the
instrument is first turned on and does not reset. ifris-i! p.eferatfe
for
vibrato effects. I{hen moved to ,,po1y,, tfre r,rO
*av.ioii
il
restartea
uni-quely for each hote played. which can be particulariy
interesting when
used jn coniunctjon with the tremolo effect. tf,.
hosL !empo or be free-running.
""i"'"r, be syDced Lo a
The
LFO can
Set the.M,odulation Shape for each 0scillator, then the Frequency
uodulation
amount ("Vibrato Depth',) and Amptitude Modufation .rorniil,f""rofo O.ptf,,,).
Tf you enabte Aftertouch via the MIDI section, set the ,,Vibrato
Depth,, to the
value you wish to apply to the maximum aftertoucf, f.r"f y""
send, thus
vibrato wilt be zero until aftertouch is applied,
i"
if-t",
maximum Vibrato
Depth level set.
"p
.rPst HAFlMtil?E
=Vil?HE=?==F!
PITCH
DEVIATION
CONTROLS
14
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Pitch Deviation Upon Attack: ,Depth,, control determines the point
at which
the "s1ide"-begins. Setting ,,Depah,, controt to ,,ff^t;i-*iii
pitch
the
to start "flat" and slide up to the correct pitch. ;Sha;;; wo.k8
"u,.,"" in reverse,
as you would.expecr. Se!ring the ,,Dep!h, control aI 12:0b in
center of
rrs !rave1 wlIl cause no deviation. ,,Time,, control determinesthe
the
wilt take to travel from the deviated pitch to tfru-"o."""t-Olt"tr. time it
r,PS'
HAEIME'FIIE
=VFI?HEEI=EF!
MODULATION
NOISE
JPS
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oscillator can be frequency-modulated by noise in
infinitely variable degrees. Noise "frequency" or "color" can be controlled
from "pink" to "whlte". "Pink" noise can be interesting for creating "sample
& ho1d" type effects. Most useful, however, is the "white" - turned fu11y
clockwise. To maintain a sense of pitch, do not adjust the depth beyond the
12:00 position. Noise modulation is most com only 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.
Noise Modulation: Either
JPE
HAEIMEIFIIE
.,TS
AEIEIMAFI
FlI AEIEIAI|
AEISMAR F* AF:EV
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IEFT
FEEDSACh R|GHT
II
MOD
a{c}a
E
standard
js a handy all-in-one-box for all
The ACID AN FX ARRAY
tidy and easy-to-use package. It nakes the pe'fect companion for any
your
pedal effects needs
in
guitar or electronic
a
key-
board.
The system comprises
1.
glsllB.lLQltr Apply the distortion to just the Lo, Mid or Hjgh bands' or All
frequencies, and adiust the Drive amount'
the selected band'
1. Use the Dirty Gain knob to boost or reduce the input level into
bands'
2. The Clean knob boosts or reduces the input level into the non-selected
is selected, Clean Gain }!ill adjust the distortion threshold'
3.
2.
Ulhere
qualjty chorus using the latest technology' Select from one of eight
(select "ENs")' Adiust the drv
different types, four chorus (select "CHO")' four ensemble
than the 12 o'clock
to l,let signal levels t{ith dry and wet control: vie recorrnend no more
Ensemble'
position when requiring Chorus, and set fully to the right when using
effect. Set the Rate (Hz or sync), the Range, and the co]or to
taste.Leavethecolorcontrolto12o,clockpositionfornocolor,tothe]eftfor
sttitch applies an offset
negative, or right for positive coloration (feedback)' The offset
to the right channel for a stereo flanging effect'
FLANGER:
4.
PIIASEBT
6.
"All"
C!!BIJS: A high
3.
5.
six effects in serjes'
A f]anger pedal
A big s-stage phaser
effect' Controls are the
same
as the Flanger'
The delay can operate tiith delavs
!E!AI: A simple and highly efficient stereo delay'
(left input
parallel to the input (i.e., left input to left delay' "PAR') or cross-stereo
by turninq
to right delay and vice versa, 'X-S')' Channel delay time can be set to "off"
to fully
fully to the left, and no feedback will be applied to that channel; set Dry/l'Jet
channel' and a delayed signal on
wet and you'll effectively have a dry signal on the "off"
times the same'
the other. For a pseudo mono delay, set both Left and Right delay
and adiust the
vintage delay. Add a gentle modulation with the od control'
style reverb leave damp at
length of the Reverb using Decay and Damp' For Hall/Plate
Damp and lower the Decay'
minimun. For a shorter, room-style reverb increase the
BEIEB9T A
VOLTAGE
JPS
CONTROLLED
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Voltage-Controlled Filter: Mode Switch - "Filter off" position passes
0scillator 1 voice unaffected by the filter. "Static,' position turns on the
filter allowing either a fixed frequency and/or modulated with a sine
tremulant. The rate of the tremulant is set by the master "LFO Rate',. ,,Up,'
or "Down" positions cause rising or falling ramp envelope modulations from
the starting Frequency. Envelope "Speed" and "Depth" are controllable. you
can connect a monophonic external envelope to the "Filter Sweep Dnv.',, and
setting the sweep control to "Cv" mode. The sine tremulance can be overridden using the "Filter Trem. Mod" input for using different moduLation
shapes or rates from the internal options. "Mod W." position activates
modulation wheel control of the filter frequency, from the set frequency
value (wheel down) to fully closed filter (wheel up). For ful1 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 fu11 "Low Pass" with some "Q" (resonance). ,Notch,,
filter effects are created by mixing low and high pass outputs in varying
proportions.
oscillator 2 can also be routed through the filter when selecting "Osc 2 0n,,
Any stereo separation applied using the oscillator pa[-pots is maintained.
.rPst l{AElMailtE
PORTAMENTO
CONTROLS
17
HAElUt!!Rt! gv t]{=gtrEE!
JPS
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Portamentor This very popular synthesizer effect refers to the sliding from
one pitch played to the next pitch played. The JPS Harmonic Synthesizer is
unique because of two features of the portarnento - independent controls for
each oscillator, and "follow-through" effect, causing the final desired pitch
to be achieved without having to hold the key down. In most cases, you witl
find the 9 o'clock setting the most trlusically useful. To activate the
portamento affect, play the first note required, then play the note to which
you want to slide. If you set a fairly long "Release" time, you can let go
of the second note before it has reached that pitch, and the portamento will
continue to slide up until it reaches the desired pitch, or the release has
finished its decay, whichever is reached first.
.TPS;
HAEIME'N?E
CRITICAL
rrps
ANALOG
a{aFlMEr tE
DI
CONTROLS
=vAtuE=l=EF!
-
18
---
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EITflT HSftIYIENIC EENEBFTORS
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1 2 3 4 5 6 7 A I lO fi 12 13 l{ t5
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16
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@
EXACT ANAIOG SETTINGS may
o
o
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"ri.
o o o
o
vary from instrument to instmment, not
to mention the varying taste of the individual owners. Therefore, you
should
set your panel controls to look as closely as possible to the presets, then
EXPERIMENT with each variable control by adjusting it to either side of the
initial setting. You will note that noise modulation, VCF outputs and sine
modulation are not included as critical because they are usually full ,,on,' or
ful1 "off".
.rP-el
fJAlllttllt!
EuniftEEtlrEE!
19
CONTROLS
\{HEEL
P I TCH
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HAEIMERIE g+Fl?llE=t=EF!
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PITCH BENO WHEEI RAI{GES
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I
OSCILLAIOR 2
OSCLLLATOR
EXrEB{AI CoNrmrllPs
WiEEL > FILTER FREOUENCY
AFTERIOITH > VIBMTO D€PTII
trIOD
FJORESSION
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OVERSC'ITPI.!
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AINARYADDER
you can also use the
In addition to the key triggered Pitch Bend envelope each.oscillator
'
can be
i.a"*..i"Jtii"n wrr""i uilix" other synthesizers'
and in
set to different 'ans's (up to 24 semitones)
'
;;;;"i;;;";;"t1y
positions'
ai'.."tio" iol both the up and the down pitcheffects
-wheeL
using pitch bend!
"iin".
;;;;i;pi"g some unique opport'nities for creative
Try setting "Osc 1 UP" to (+)12
-3 and "Osc 2 Down" to -7.
.,PS'
anal
"osc 1Down"
to (+)7, and "osc 2 Up" to
HAEIMEIFIIE =VFIIHESI2EE!
POLYPHONY
AND
MIDT
CONTBOL
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The instrurent is velocity sensitive. To enable velocity control of notes
through performance turn on the ',Ve1,, 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 enabfe it by turning
"Exp" to the on position. Remember to record and store the expreision vaiue,
or you Tay find the output level is lower than expected next time you turn
the device on. You can control the finat output 1eve1 using the ,,Master
Output
" control.
Three voice modes are available to the Harmonic Synthesizer using a three_
position_ switch. In the down position the instrument 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
fully polyphonic, allowing you to play chords, or bass and lead Iines
together. Do be aware that the device can get very hot when using too many
voices and could start to mett. \{e strongly recomnend setting the polyphony
to the lowest value appropriate for the particular performance, ].r"irrg ih"'
polyphony "Voice SeIect,, display.
rTPS HAEIMI,FIIE
=VF{?HEEI=EE!
EXTERNAI,
CONTROL
YOLTAGE
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I
OSCTLLATOR
WHEEL
,AFIERTCTICN
EXPRESSION
St!.
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> FILTER FREOI]EIICY
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EXTERMT COI{mOU.ERS
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afl the functions of the_JpS Harnonic Synthesizer can be controlled
-:;;";"-;;":.
via external "control voltage,_ f ,cv,.t
i"o"t",
output via
sequencers or alternative modulation souices. Envelop"
..
mO
connections
to "Internal Over-rides,, wilt automaticalfy ai""o.rrr."[-tfri inter.ral
-th;'Dynuri
sou.ce,
,Filter
except for the
SveeD,,, which requires
fi"g
c
Filter,s
"S!,/eep" controt ro rhe ,,cv, serring..
vorrug. ""i
inio',n" synthesizer
Nearly
should be carried out
at lhe modulirio,
""uii;!
"ori"..
The DHG1 and DHG2 harrnonic ,,CV,,
inputs
include a global voltage scafer
oscillator, but individual inputs shoulddobe
scaled froD the source
those for controllins pitch
:::";,;::il"*+"s
rrre rlirer ]:ryr::
pass mlxers.
do nrovide local scal ing knobs
Der
and mod wheels, and
"Filt. Freq., CV sers rhF nirvgiqsl kn65 ,ufr", !o -"u""t.for rhe .input values.
sLart or cenrre posit ion" of" th. .oaufutuJ-i""qJir"r",rr.luseA to adjusl che
r fi -tter envelope
or fil Ler t remulant . respecL i vely ).
If
connecting an external audio source to the ,,VCF Input,,
that audio witl be
routed through the filter and output through ,,Osc f
0,;l;
the Stereo Out in a position determined ty-lfr"-o""iriii"" in mono, and through
1 pan-pot.
.TPS
HAFIMEIII?E
=VFI?HE=I=EE!
FJ
XTERNAL
.,P€'
VOLTAGE
CONTROL
HAF:M!!AIE
2
Sweep
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16
SHAPE
TUNE
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r
osc lLrroR
C'O
QT
C
RiTE
i\e
> AII,IPI.TLIOE
Ei2iIESS ON
'::-./
BINARYADDEN
If a slower or faster rise or fa1l time is desired on the envelopes, the
voltage adjustment of the attack and decay can be easily performed without
voiding the warranty. Set the "Attack" to 12:00 for a liuear rise, or turn
to the left for a slower rise (Exp), or to the right for a faster rise (Log)
For "Decay", turn completely to the left for a linear fal1, and turn to the
right for a steeper fa1l. Note this adjusts both decay and release voltage
curves. Likewise the decay curve of the Filter Sweep and Portamento/Pitch
Bend attack cao be adjusted in the same manner.
Attack
RMI "Percussion"
e[velope
Decay/Release Decay/Release
RMI "Normal"
JPS enYelooe
Sustain
Attack
"Linear"
"70% Log"
.'PS
"Li near"
.
"Li near"
HAFIMEIF{?E EI+FI?H==I=EEI
23
By now, you should have a rough idea of where the controls are and what
effects they should have on the sound.
You are about ready to put at1 this raw knowledge to practical use, but before
you do, G0 BACK AND oNCE AGAIN READ THE PAGE ON CRITICAL ANAIOG CONTROLS. It
will only take a minute. Tho6e controls are what it,s all about _ interfacing the hunan being with the electronic machine. you have an idea of what
you would like to hear, but the machine doesn't. you must te1l it through the
controls. Now, read that page, and 1et,s get on with the best part _ making
the sounds.--..
Now go
through the folder "Set-Up Sheets,' (pages 24-55).
NqlE:
When referring to the Set-Up Sheets,
ANY CONTROLS NOT APPLIED SHOULD BE IN TI]E
'OFF' OB "UINIMUM'
POSITION.
DOING YOUR O\{N THING:
The most
exciting thing about synthesis is creating your
own voices. Having
Set-UpB created by someone e1se, you probably have some ideas of
Of course, you can stil1 create further variations on the Set-Ups
tried several
your own.
by re-combining
But
if
you
just
them
want
I
to enjoy our lovely presets, then feel free to do that!
rTPS HAEIMIITIIE
=VFI?HEEI=EE!
56
:
Your JPS Harmonic Synthesizer is actually two svnthesizers 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 fu1l advantage of its potential.
Here's how:
oscillators at the same time. When you
reach for osc 1 or osc 2 to set up a sound, think to yourself:
Vhenever possible, use both
"Vhat differences are there between the two voices, and ho{r can T
use these differences to my advantage?" Remember, Osc 1 can use
the Voltage-Controlled Dynarnic 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.
When
you have set sounds in both 0sci11ators, their relatio[ships
two categories: "Doubling" or "Contrasting".
wilt falI into
Doubling
-
Contrasting
JPS'
Creating the
or instnaent in both
of sound is enhanced by
same sound
oscillators. Bichness
subtleties in differences of "attack" and "re1ease"
parameters, "beats" or "phasing" caused by slight
differences in tuni[g between oscillators.
-
different instmments in two Oscillators.
Interesting muaic is full of contrasts in many
forms. The successful synthesist will be fully
aware of a1f areas in which he or she can create
contrasts. Of course, the trick ls to apply these
contrasts to the music being performed.
Creating
HAEIMEF{IE
=VIIIHE=I==E!
of contrasts: Horizontal
There are two types
Horizontal
-
Contrasts appearing in sequence of time,
exampl e: fl ute/vi ol a/fl ute/vi ol a, etc.
-
Vertical
and Vertjcal
Contrasts appearing between each other
exanpl
e:
fl ute
at the same tjme.
viola
A sequence of time occurs as music is performed, 0n paper, as music js perforrned, jt moves
from left to right - horizontal. l{hen two or more musjcal lines are played at the same time,
their arrangement on paper is vertical . Therefore, t9lo musical ljnes (one above the other)
can progress from left to rjght, 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.
HOlrJ
TO GENERATE CONTRASTS:
The contrasts shown above were between different instruments. 0n your synthesizer, you are
given four areas in which to create contrasts:
I,IAVEFORII
1.
-
l,Javeform
Vertical
-
2. Amplitude
-
Horizontal
3.
Frequency
4.
Envelope
-
-
vs. rich
/
-
FREQUENCY
.
ENVELOPE
vs. even harmonics, etc.
rapid changes can be made tvith the preset Voices or gradual changes can be
made l,ith the Harmonic Generator sliders.
create contrasting instruments on oscillator l and oscillator 2 and set to
an opposabl e pan position
odd harmonics
loud vs. soft,
-
use volume pedal
use contrasting
high vs. low
-
-
/
for
dynamjc changes
intensities on osc
I
and osc 2 Vojces.
pitched vs, non-pitched (noise-modulated).
with octave Shifters, or add noise modulatjon.
use contrasting octaves between oscjllator l and Oscillator 2, tune Oscilla_
tor 2 to a djfferent interval, such as a third, fjfth or sixth, or add nojse
,rodul at i on to one voice.
change octaves
slow and long vs. fast and short.
Horizontal
Vertical
-
-
Horjzontal
Vertical
AI.IPLITUDE
mellow
Horizontal
Vertical
-
-
rTPS
-
change envelope generator
settings lllhile playjng.
use contrasting envelope generator settings for Oscillator
0sci ll ator 2 voices
HAEIMEFIIE
I
and
=+II?HE=I=EF!
58
A
NOTE OF IMPORTANCE:
Most synthesizer performers make few changes while playing, the"efore
their music becomes uninteresting. To maie yoru music" inleresting, you
should constantly be thinking about your nexl change while you ari '
playing. Get in the habit of practicing your chanles as an integral part
of your music. Adding vibrato, tremolo, or dynamii changes are as
critical as playing the correct note!!!
SOME HELPFUL
HINTS:
(which may be obvious
Always have as many controls as possible set up
in
to you already)
advance.
if
exanple
you are using one of the preset \{aveforms, have the Harmonic
Generator sliders set-up in advance of their next usage.
example
if you are not using the Sequencer,
for the next usage.
example
if you are not using Vibrato or Tremolo, have the LFo Bate set in
advance at the proper speed alrd 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 pitot light will remain ,'on,, but the
have
its
speed
set in
advance
function not in effect.
example
if noise modulation is not being used, the most eommon use will be
"white" noise, therefore have the Noise Frequency control set fully
clockwise in advance.
example
if the Dynamic Filter is not being used, it should be set
for
all the parameters of its next usage. Comnon usage would up
call
for
Speed and Depth to be set at 12rOO, Q at 10i00, a;d Low pass full.
Filter modulation wheel should be closed.
example: if only one voice is being used, al1 of the controls for the other
voice should be set in advance of their next usage.
the JpS Harmonic Synthesizer for elaborate sequences
other
instruments, keep in nind that the Volume pedal completeiy stopswith
the
sound
when in-the fulIy-closed position. Therefore, compiete s-et_ups can
be
arranged in advance without being heard, then, ,r..Lly open the Votume
Pedal to start the sequence. In the ,,sequential', mode, the Sequencer pilot
Larnp 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
\{hen using
Expression or Mod lrheel.
..rTS' HAEIME'ilIE
=VFIIIHEE!?=EF!
59
Vell, that's it....
.....sorry, we've run out of
You
are on your own from
idea6.
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
forgotten.
And
If fact, if you come up with some wilners, don't keep them a seeret.
Instead, send them to JPS and we may add them in a future update, and we'd
like to include some new ideas!
Don't forget to fill
Thanx
Now
out your
WABRANTY CARD
so that sre have a record of you.
.
go enjoy the world of harmonic synthesis!
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:
Should
y,/e
Jiggery-Pokeiy Sound
https : / /wwr,,. facebook. com/JiggeryPokerySound
rTPS HTFIMIIFIIE =Vil"HE=?=EFI
SET-UP
PATCH
SHEET
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REMOTE
MAPPING
//Remote liap teinplate
for
Scope Jiggery Pokery
//control Surface Iterr
cofl
61
lnstruments
Jiggery-Pokery
Sound
JPS harmonic Synthesizer
.jiggerypokery.JPSHarmonicSynthesizer
(ey
Rmotable
Iten Scale
ode
tlap
l,lap
ocjty
itap
Vel
l,!ap
Erpression Enable
Enable
Hap
Hap
Edit Select
Hap
DHG
fiap
DilG
I
DNG
Harnonic
Hamonic
Hamonic
2
Harmonic
5
ap
I
I
DHG l
DHG I
DHG l
DHG l
DHG l
DNG l
oHG l
DHG l
ohc l
DhG l
DhG l
DHG l
DHG l
oHG l
Harmonic
l,!dp
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
Harmonlc
Harmonic
Harmonic
Harmonic
Hap
Hap
Hap
Hap
Hap
l,!ap
tlap
ap
l,lap
l,!ap
l,!ap
tlap
l,!ap
ap
DhG
l,!dp
oHG
l,lap
DHG
l,!ap
oHG
l,!ap
oHG
tlap
oHG
ap
DNG
l,{ap
DHG
ap
DNG
Hap
DHG
Hap
DHG
l,{ap
DHG
l,{ap
DHG
tlap
DHG
DHG
Hanionic
10
Harmonic 11
Harmonic 12
Harmonic l3
Harmonic l4
Hannonic 15
Harmonic 16
Hdrmonic
Harmonic
Harmonic
1
2
3
4
5
6
7
Hamonic 8
Harmonic 9
Harmonic 10
Harmonic 11
Harmonic
12
Harnonic
Harnonic
13
Hamonic
15
14
Harmonic 16
DHG
tlap
osc Ioctave
tlap
osc
0sc
0sc
I
I
I
osc
osc
0sc
0sc
I
I
I
I
ap
4
Harmonic 6
Harmonic 7
Harmonic 8
Harmonlc 9
l,{dp
Hdp
3
Shape
Fil ter
Tune
l,{ap
ap
Hap
Hap
Hap
Pan
HG
Clarinet
Pulse
Hap
Continued overleaf
rTPS IIAEIMEIIIIE =VR?HE=I2EEI
(... c o N T '
D)
62
osc
I
Horn
0sc
l
Strings
Hap
ap
flap
tlap
flap
ap
Ring llod
osc 2 octale
osc 2
osc 2
osc 2
Shape
Filter
Tune
ap
Hap
tlap
l,lap
Hap
ap
tlap
[!ap
2 Pan
2 HG
2 Sync
2 Pulse
osc 2 Flute
osc 2 Norn
osc
osc
osc
osc
osc 2
osc 2
Idp
ap
ap
r4ap
ap
dp
ap
Reed
Complex
osc
osc
l
I
osc
osc
osc
0sc
2 Trigger
Decay
Sustain
ilode
2 Attack
2 Decay
2 Sustain
ap
uap
I'tap
Map
l4ap
tlap
ap
liap
[ap
Iap
off
off
osc 2 lote off
osc 2 tote off
osc 2 lote
osc 2 ltote
Attack
Hold
Level
oecay
osc I Pitchbend Ti me
0sc l Pitchbend Depth
0sc 1 Portamento Speed
osc 2 Pitchbend Time
osc 2 Pitchbend Depth
osc 2 Portamento
Speed
ap
I
2
oise oepth
oise oepth
l,!ap
osc
osc
Hap
LFo Hode
Hap
LFo Sync
LFo Rate Hz
LEo Rate Sync
t!ap
l,lap
tlap
I'lap
liap
l,iap
Bap
ap
tlap
0sc
osc
osc
osc
osc
osc
l
t
Tremulant
Yibrato
Shape
Depth
1 Tremolo Depth
2 Trernulant Shape
2 vibrato Depth
2 Tremolo Depth
rTPS HAEIMIIFIIE =VFI?HEEII=EFI
CON
T'
D)
63
rap
flap
Filter
Filter
Speed
oepth
liap
flap
flap
fidp
t!ap
Filter
liap
High Pdss iti x
osc 2 Fil ter
fiap
tiap
sequencer Speed Hz
Sequencer Speed Sync
fiap
tiap
udp
Distortion Enable
Distortion Hode
Clean Gain
l,{dp
0irty
ap
0rive
l,ldp
tlap
Q
Gain
Chorus Enable
Chorus Type
Hap
Iix
l,4dp
Chorus
l,!dp
Flanger Enable
Flanger Sync
dp
r4ap
ap
ap
Flanger
Range
l,lap
ap
Iap
Flanger 0ffset
Flanger lii x
ap
ap
ap
Map
l,lap
l,{ap
ap
l,lap
Map
iiap
ilap
Delay Enable
Delay Type
Delay Sync
Delay Left Time U2
Delay Left Iime Sync
Del
ay Right Time
ay Rjght Time
Del
ay
Del
Hz
Sync
fiap
liap
Iix
Reverb Enable
tlap
ap
tiap
tlap
r'PS
HAEIMEIFITE
=VFI?HE=I2EE!
'.:.
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.tPSt l{AFlMtFltE E+ll?llEEl2EE!
vr.o.o
shop
JPS Hamonic Synlhesizer Rack Exlension: user guide lovingly recrealed and adapled from lhe original RMI Harmonic Synthesizer manual
They don'l wrile 'em like lhat anymore.
'Reason' .Rack Exlension' and associaled logos are l.ademarks of Propellerhead Soflware AB.
All commercial symbols sre protected lrade names of lheir holder and lheir inclusion wiihin this guide and the associaled
Reason Rack Extension product are merely indicativo and do not constitute ondors€mont ofihis producl by any pariy.
Produced and Designed by Mait Black. Coded by ScuzzyEye Spec al lhanks 1o the JPS Bela and Demo leam
O 2015 Jiasery-Pokery Sound. All riahts reseryed,
Ema : suppoar@tiggery
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