Jiggery-Pokery Sound JPS Harmonic Synthesizer User manual

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A0DEt{t}tfi,{ 1.0.2
- Fix: Osc 1 ring mod rigrl *rs llrcorrcctly egpliod rith tbr Orc I ry envclope; it nory igmres the envelope
- Fix: Yoicc release hrndllng in Faly nedt tt ingrovcd
AD0EH{X.H{ I .0. 3
- Fix: Srnoothing rate of distortion gain
ADDEHDIS.I I . 1.0
- llEl,l FEATURE! Added a velocity curve optionr Lou cerve/Linear (original default)/ltigh curve
- Fix: notes are nou released corectly r$en usirE the *&ral Arp' Player in Reason g+
- Fix: The correct font is nov used on the main csatrol penel la$cls
- 50 netr patches, inc'luding thc aev Terturcs foldcr, plus a Pulsar-brsed Codinator for each of these extra
patches in the ner Codinators/l.1 Prtchcs/ s6-foldcr.
- Signature patches have bcaa duped into the rypropriete type folders for easier oby type" brorsing
ADDENDTJI,I 1. 1. 1
- Fix: lle* velocity vrluc of CY 6atc inputr nory rrsults in corect notc velocity
ADDE},IDU$,I
- ITU FFAT
1.2.0
I{EUI FEATURE! Pitch Bend Ranges can nse be autmted via seguencer autsmation, Remote, or Combinator ltod 8us
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:
Itlap _contrsl_
l,tap _contro'l_
l{ap _control_
tlap _control_
Fitch Raagc OSC I Up
Pttch Rangc OSe I Ooilffi
Pitch Range OSC 2 UP
Pitch Reac€ 05C 2 06{ilr

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rrpE, t{AFtutFt?t IEI|H?I{IIIEIIEE
A0DEt{t}tfi,{ 1.0.2
- Fix: Osc 1 ring mod rigrl *rs llrcorrcctly egpliod rith tbr Orc I ry envclope; it nory igmres the envelope
- Fix: Yoicc release hrndllng in Faly nedt tt ingrovcd
AD0EH{X.H{ I .0. 3
- Fix: Srnoothing rate of distortion gain
ADDEHDIS.I I . 1.0
- llEl,l FEATURE! Added a velocity curve optionr Lou cerve/Linear (original default)/ltigh curve
- Fix: notes are nou released corectly r$en usirE the *&ral Arp' Player in Reason g+
- Fix: The correct font is nov used on the main csatrol penel la$cls
- 50 netr patches, inc'luding thc aev Terturcs foldcr, plus a Pulsar-brsed Codinator for each of these extra
patches in the ner Codinators/l.1 Prtchcs/ s6-foldcr.
- Signature patches have bcaa duped into the rypropriete type folders for easier oby type" brorsing
ADDENDTJI,I 1. 1. 1
- Fix: lle* velocity vrluc of CY 6atc inputr nory rrsults in corect notc velocity
ADDE},IDU$,I
- ITU FFAT
1.2.0
I{EUI FEATURE! Pitch Bend Ranges can nse be autmted via seguencer autsmation, Remote, or Combinator ltod 8us
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:
Itlap _contrsl_
l,tap _contro'l_
l{ap _control_
tlap _control_
Fitch Raagc OSC I Up
Pttch Rangc OSe I Ooilffi
Pitch Range OSC 2 UP
Pitch Reac€ 05C 2 06{ilr

CONGRATULATIONS !
You have acquired the latest advances in synthesjzer technologyl
The JPS Harmonic Synthesizer features 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 ti,vo 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.
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SET-UP INFOR14ATION:
Connecti ons
a. A.C. power cord plugs into any convenjence outlet - it draws very little.
b. 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.
c. 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.
d. "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
through the filter for special effects' If some sources are too low in level to produce
the desired effects, a small battery-operated preamp module can be inserted iust before
the VCF Input. Several companies manufacture such modules for use with guitars.
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
instrument itself, to a true stereo output.
Stereo vs. I'4ono:
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
rendered output. Consider "2x" as the live/draft setting, "8x" as I'export" setting.
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
44.1 or 4BkHz to get the highest sound quality, and dolvnsample that exported *.vlav later.
e. The "0versample" conirol state is not saved with patches, but is saved within song-files.
.,PSI HAFIMEIFI?E =VN?HE=I=EE!

TUN]NG PROCEDURD
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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 left-
hand 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.
N0TE: Markings on 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.
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You can use the "Shape"
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baslc sine. The
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 I
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.
The high frequencies of all voices can be attenuated with the manual filter,
and all voices except for "Pulse" can be adjusted with the ,,Shape,,
controller.
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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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The JPS synthesizer features a fulf analogue ,,AISR,, envelope control.
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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a1low the sound to decay at the same rate Lven after the note is
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".
JPS HAFIMENIE =rIFIIHE=I=EF!

SEqUENCER CONTROL t2
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Sequencer 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.
The speed can be switched 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.
SEqUENCER
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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 CONTROLS 13
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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
modulations at different rates or for additional tremulant
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shapes, thus vastly expanding the sonic possibilities of the instnrment.
The 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.
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 DEVIATION CONTROLS t4
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Pitch Deviation Upon Attack: "Depth" control determines the point
the "s1ide" begins. Setting "Depth" control to "flat" will cause
to start "f1at" and slide up to the correct pitch. "Sharp" works
as you would expect. Setting the "Depth" control at 12:00 in the
its travel will cause no deviation. "Time" control determines the
will take to travel from the deviated pitch to the correct pitch.
at which
the pitch
in reverse
center of
time it
drPS HAFIMIIFIIE =VFI?HE=I=EEI

NOISE MODULAT]ON 15
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JFS HAEIMEI]I! g\lI]?HEgIzEE a --- Daa
Noise Modulation; Either 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 =VFI?HE=!=EE!

VOLTAGE CONTROLLED FILTER 16
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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 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. Xnvelope ,'Speed,, and ,,iepth,, are controllable. you
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
created by modulating the full ,,Low pass, with some ,,Q,,
filter effects are created by mixing 1ow and high pass
proportions.
oscillator 2 can also be routed through
Any stereo separation applied using the
"wow" effects are
(resonance). " Notch"
outputs in varying
the filter when selecting 'Osc 2 On,
oscillator pan-pots is maintained.
r,PS; HTEIMEIFIIE =VFI?H==I=EE!

PORTAMENTO CONTROL S17
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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 "u""", yo, *i11
find the g o'c1ock setting the most musically useful. To actlvate tire
portamento affect, play the first note required, then play the note to which
you want to s1ide. If you set a fairly long ',Re1ease,, tir", you can 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!
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CR I T ] CAL ANALOG CONTROLS 18
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RnMEItsER - EXACT ANAIOG SETTINGS may vary from instrument to instrument, not
toGtio.r the varying taste of the individual osners Therefore, you should
set your panel .oni.o1s to look as closely as possible to the presets, then
fxpnilfmui with each variable control by adjusting it to either side of the
initial setting. You will oote that noise modulation, vCF outputs and sine
modu]ation a1'e not include.I as criticat because they are usually full ,,on,' or
fu11 "off".
. A-I'.ET HAEIMENIE EVF{?HEE?=EE!