Jiggery-Pokery Ammo 100LA User manual

Ammo 100LA “Light Artillery” 1
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Ammo 100LAAmmo 100LA
v1.2.0v1.2.0
Produced and Designed by Matt Black
Coding by Pitchblende Ltd for Jiggery-Pokery
© 2014 Jiggery-Pokery Sound
All rights reserved.
“Reason”, “Rack Extension” and associated logos are trademarks of Propellerhead Software AB.
All commercial symbols are protected trade names of their holder and their inclusion within this guide and the associated
Reason Rack Extension product are merely indicative and do not constitute endorsement of this product by any party.
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AVAILABLE IN THE

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Ammo 100LA is the cut-down, oscillator-only edition of the Ammo Rack Extension series. Eschewing the complex internal
routing matrix and internal envelope, the 100LA is an efficient, rack-space saving device providing 128 preset waveforms,
with the same a huge rate of fire, from 0.001 Hz to 8.4 kHz at both audio and CV rate. Ammo’s high quality oscillator has
built-in oversampling providing non-aliased audio up to a massive 18 kHz of harmonic content, even using a 44.1 kHz sam-
ple rate.
The device functions as a monophonic synthesizer as well as an LFO device. External modulations for oscillator rate and
depth can be at standard Reason cv rate (1/64th of audio rate), or audio rate for true FM (frequency modulation) and AM
(amplitude modulation).
While the number of preset waveforms is slightly reduced from 136 in the 1200BR/400R to 128 in the 100LA, we’ve simply
removed a few of the pre-inverted copies; these are still available by simply inverting the output with the Depth control. Us-
ing 128 waves allows 1-to-1 mapping in the Combinator TS8450 programmer.
For extra convenience and space-saving, the primary controls are available in this 1/2U “Light Artillery” mode for a genuinely
little LFO.
It might be smaller and leaner, but pound-for-pound it can still unleash more shock and awe in your Reason rack than
competing devices twice its size.
Oscillator controls
The following functions are available in both Full and Light Artillery mode:
• Oscillator Off/On:
—Turn the oscillator off or on as required. To prevent clicks during patch browsing, by default the Oscillator is Off
• Waveform selector:
—Use either the up/down buttons to step through the waveforms, or drag up/down on the display to rapidly move
through them
—Waveforms W001–005 are basic analogue waves, sine, triangle, saw up and down, and square
—Waveform W128 is square random (noise); “soft” random can be made by adding Up/Lag Down
—Waveform W127 is a DC line. Use this to output a single fixed CV value.
• Rate knob:
—Adjust the oscillator frequency within selected Range, Low, High, Tempo Synced, Semitone, and Cents
—You can switch between ranges as required and the Rate knob remembers the setting each Range
• Rate display:
—This window shows the current rate of the oscillator according to the Range and Rate settings
—The display is Read Only. Please use the Rate knob to adjust the value
Ammo 100 “Light Artillery”

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• Range selector:
This button below the rate display (Full mode) or to the right of it (LA mode) sets the frequency range of the oscillator.
Press repeatedly to cycle through the five options:
—Low: 0.001 Hz to 30.0 Hz [from a 15-minute LFO single waveform cycle up to note B0]
—High: 30.0 Hz to 8.4 kHz (8,372 Hz) [a note range of B0 to C9]. Default is A4 (440 Hz)
—Semitone: +/- 36 semitones from the High range frequency
—Cents: +/- 50 cents detune from the frequency as determined by High and Semitone ranges
—Tempo Synced: this is the tempo synced Low Range mode offering a selection of LFO durations from 32/1 to 1/128T
• Depth knob:
—Control the amplitude of the waveform
—This is an inverting control. Use +1 (full right) for maximum amplitude, set to 0 (middle) for no output, and -1 (full left)
for a maximum inverted amplitude
• Phase knob:
—Use this control to set the starting point within the waveform in degrees (°)
A pair of LEDs provide an indication of whether the output signal is positive (green), zero (both off) or negative (orange), and
there is a gate/note event LED notification.
The remaining controls are only available in Full mode.
• Pulse Width knob (PW):
—This inverting control, from -100 to +100%, moves the centre position of the waveform backwards or forwards.
Note that setting maximum value results a fixed value (a DC line). For best results limit the range to +/- 95% or less
—Due to the wavetables being bandlimited to prevent aliasing, Pulse Width is only available in Low/Tempo Sync Ranges
• CV In knobs:
—Rate, Depth and Phase controls have CV trim adjustment for their CV inputs available on the front, rather than the
back to allow easy access and automation. These have no effect if the respective CV in is not connected
—Rate and Depth have audio rate CV in as well as Reason CV, and these trim knobs will also adjust modulation level
when audio cv is used
• Keyboard control/Portamento amount (Kbd/Porta):
—Turn the knob fully counter-clockwise to disconnect keyboard note pitch control to the oscillator, allowing you to
modulate another parameter by the fixed Rate only, rather than the Rate scaled by note frequency input
—Turn slightly clockwise to enable keyboard note to oscillator frequency control; this is a monophonic retrigger mode
—Continue to turn clockwise to select Portamento; increase the portamento time (slide length) between notes
—For a smooth glide between pitches in portamento mode, play the notes with legato
—Keyboard control can be used in any Range mode to create keyboard rate scaling from slow (low notes) to fast (high
notes). In High Range the scaling is set equal temperament based on master tuning of A=440 Hz. Change the
default High Range value to alter the master tuning, however for most purposes use Semitone and Cents to fine tune
the oscillator pitch

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• Envelope CV In:
—Charlotte Envelope Generator is a great companion to Ammo 100LA. When it is connected to Ammo 100LA’s
Env CV In you can scale the envelope input using this control. Normally this can be left at maximum
• Free button:
—Leave enabled for a free-running oscillator when not using one-shot mode. Turn off to retrigger the waveform on a
gate event when you are not using an external envelope. This function is ignored when 1-Shot is enabled.
• 1-S (1-Shot) button:
—With this button enabled the entire waveform will play once, holding the final level (see page 11 for more details)
—The final held level may not be consistent if the oscillator is being externally modulated
—Remember that the Phase setting determines the start and end point of waveform; use a zero degree phase (0°) to
play the waveform as you see it described in the preset waveform display
—This control is only used in Low and Tempo Sync ranges
• Lag Up/Lag Down knobs:
—Ammo is the only Reason system that allows separate slew adjustment of the up and down slopes of the waveform.
Lag acts as a filter, rounding off sharp waveform edges. Because we have separate controls, you can smooth, for
example, only the up portion of a square or random wave, and leave the falling edge sharp. Lag Up, the left knob
smooths the rising edges of a waveform clockwise; Lag Down, the right knob, smooths the falling edges of the wave
form anticlockwise
• Output:
—This is a x2 scaler, useful if you want a really hot signal. By default it is set to x1 (no scaling)
The order in which the Ammo waveforms have been arranged was chosen mostly to group similar types of LFO shapes to-
gether, rather than provide a typical wavetable that might be based on one waveform but with different harmonics. This al-
lows the commonly used basic shapes at the beginning, with DC Line (fast to end and one button back) and random stepped
easily available right at the end for easy location and selection.
Random waveform
The random waveform supports several useful applications, including
noise and S&H-style output, for experimental, avant-garde and special
effect purposes.
Audio Noise
With High Range selected, the random waveform acts as noise and
you can use both Rate and Phase controls to adjust the sample rate of the noise. The Lag controls act as filters which can be
used to adjust the “colour” of the noise.
CV Noise
In Low Range set the Phase to 0° for a fast CV noise, .
S&H
Still in Low Range you can increase the Phase value up to 360° to slow down the time between samples.

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For S&H random oscillator pitch effects route a Low Range random Ammo 100LA to a High Range Ammo 100LA. Set the
master pitch on the latter and use the CV In trims on the audio oscillator to control the amount the pitch changes, although
note the resulting pitch itself won’t be tuned as the random voltage can result in pitch frequencies between notes. However
you could use an RE such as OchenK CV Tuner to convert the random CV pitch to note CV pitch.
In Tempo Sync Range, set the Phase to 360°, and use the Rate control to set the sample length; due to the way Ammo oper-
ates you will get two samples per cycle, so set the rate to double the value you need for a single value. So for a fixed random
value of one bar, set the Rate to two bars (2/1).
Lag
Use the Lag controls to smooth the edges of waveforms. Ammo smooths the rising and falling edges
independently for improved Lag control. Since Lag is essentially filtering, it can be used equally well on
audio signals or CV ones. Two modes are available using the Lag Mode selector switch on the back
(version 1.1 and above); Logarithmic provides a curved smoothing, Linear provides a straight smoothing.
Random waveform with no Lag
Random waveform with only 40% linear Lag Up applied. Note that only
the rising edge of the waveform is filtered
Random waveform with 25% linear Lag Up and 25% linear Lag Down
applied. Both rising and falling edges are gently smoothed leaving a
plateau at the peaks and plain in the troughs
Random waveform with 50% linear Lag Up and 50% linear Lag Down
applied. Both rising and falling edges are smoothed creating a random
triangular waveform
Random waveform with 100% linear Lag Up and 100% linear Lag
Down applied. The wave is now smoothed to approximately a sine.
Note that at maximum Lag, you may need to raise the Output level
slightly to compensate for reduced gain
Random waveform with 50% logarithmic Lag Up and 50% logarithmic
Lag Down applied. Both rising and falling edges are smoothed with a
curve; in this scenario the device acts like SubTractor’s Smooth Random
You can use this approach for any wave that features a step, or where the
end and start values are different, to effectively interpolate the end/start
values. For example, for waveform 116, the step is on the falling edge of
the waveform, so adding just 20% Lag Down will nicely reduce the both the step and interpolate
the difference between the end value of the waveform and start value.

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Performance controls
The Ammo 100LA provides an onboard pitch-bend and modulation wheel control. Pitch-bend is routed to oscillator Rate,
and the Mod Wheel controls oscillator Depth. The Mod Wheel is an inverting control, so the oscillator Depth reduces as you
increase the mod wheel value. The Mod Wheel lamp output will decrease accordingly. This behaviour is the same regardless
of the inversion of the Depth knob itself: it will reduce inverted Depth to zero the same as non-inverted Depth.
Rate Mod Range selector
On the back of is an adjustment screw for Rate modulation sensitivity. At a basic level you can use this to ad-
just the pitch-bend range, but it has a more significant use as it also allows greater range for other modulation
sources. Remember that an Ammo oscillator has a very wide frequency range, and so using the Pitch Wheel
with the oscillator at a very low rate, i.e., 0.01 Hz is not going to get the rate to move very far even with a
maximum input level: a one octave range up from 0.01 Hz is only going to be 0.02 Hz.
So to compensate for this you can set the sensitivity of the Ammo oscillator rate to modulation input:
• Low:
—100% Pitch-Bend range = Seventh
• Standard:
—100% Pitch-Bend range = Octave
• High:
—100% Pitch-Bend range = Two octaves (default setting)
• Full:
—100% Pitch-Bend range = 26 octaves
The Full setting may not be particularly practical using 100% modulation input settings to a High Range oscillator, but will be
especially useful a very low rates.
Back panel connectivity
By including both CV and audio input and output, Ammo 100LA punches above its weight with the ability to create a truly
modular system in conjunction with other Reason devices, but especially products in the Jiggery-Pokery Super-Spider range.
Inputs
• Sequencer CV In:
—The Gate input alone can be used to trigger Ammo 100LA in one-shot mode
—If Gate and CV connections are used, you can trigger Ammo 100LA for continuous drone output; use the ModWheel
to adjust the Depth dynamically
—Connect the Env, Gate and CV inputs to Charlotte for full envelope (depth), gate (trigger) and CV (pitch) control

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• P.Wheel CV In/Range:
—Connect a CV input to adjust the oscillator Rate as if using the pitch-wheel
—Input effects are in addition to those applied by the Rate CV inputs
—Set the pitch-wheel range using the Range knob (see above)
• Waveform CV In:
—Ammo has been set up to provide smooth cross-faded modulation between waveforms
—Best results are achieved by keeping the modulation to within the “similar LFO group”, so use very small input values
• Rate CV In:
—The top connector is the audio input jack for true FM; below is the CV input jack for CV rate modulation
—Both can be used at the same time; many of the included example synth Combinator patches add FM via the audio
input and vibrato via the CV input
—Use front panel Rate CV In Amount knob to adjust input level
• Depth CV In:
—The top connector is the audio input jack for true AM; below is the CV input jack for CV rate modulation
—Both can be used at the same time
—Use front panel Depth CV In Amount knob to adjust input level
• Phase CV In:
—CV input jack for phase modulation
—Use front panel Phase CV In Amount knob to adjust input level
• Output CV In:
—CV input jack and trim knob for master output control
Outputs
• Bipolar CV1–4 Out:
—Four separate outputs for bipolar CV values (-64 to +64)
—If available, select “Bipolar” as the CV input type of the target device
—Click the INV radio button to the right of Bipolar CV Out 4 to invert its output (the active click area
extends well above and to the right of the LED itself, shown here in blue, so you don’t need to pre
cisely hit the small lamp directly)
• Unipolar CV1–4 Out:
—Four separate outputs for unipolar CV values (0–64 / 0–127)
—If available, select “Unipolar” as the CV input type of the target device for full range 0–127, otherwise the usable
range is limited to just the positive Ammo output range
—Click the INV radio button to the right of Unipolar CV Out 4 to invert its output (the active click area extends well
below and to the right of the LED itself, shown here in green, so you don’t need to precisely hit the small lamp directly)
• Audio Out 1–4
—Four identical audio outputs
The oscillator signal is sent to all CV and audio outputs regardless of which Range you have selected; the internal signal path
is entirely at audio rate. The CV outputs downsample the audio signal to Reason’s standard 1/64 CV rate.

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Programming a simple monosynth patch
Audio rate FM effects are easily achievable by modulating an
oscillator with another oscillator. Simply connect the audio
output of one Ammo 100LA, the modulator, to the Audio
Rate CV In of a second, the carrier, which is then used to cre-
ate the sound output to the mix channel.
For best results keep the pitch of the modulator the same
pitch as the carrier, or whole octaves apart. Using differ ent
pitches for the modulator should be used for creative effects!
You can adjust the level of the FM input using either the
Rate CV In control next the carrier’s Rate knob, or the Depth
or Output controls on the modulator.
Because you have four audio outputs on each Ammo
100LA, you can still use the modulator as an audio output,
or using the carrier to modulate the modulator!
Let’s play “follow the cable”! In this second example, turn the
Rate CV In down to around 30 on the modulator, for a slightly
more pleasing distorted sound on the right channel. Alterna-
tively, you could connect the modulator to the Depth Audio CV
In, for AM effects.
With Keyboard set to “On” for both carrier and modulator, we can play the keyboard and the pitch will track, but it’s just a
drone! The tone doesn’t stop. This is because Ammo 100LA
doesn’t feature an internal amp envelope. While we can use
the Mod Wheel to control the output level and play the
device like a Theremin, that isn’t exactly practical much of
the time! So let’s connect an amp EG.
Add a Charlotte Envelope Generator VEGN group to each
oscillator (we’ve used VEGN1 and VEGN8 for easier visual
reference, but if Charlotte’s Priority is set to “All”, you can
use any VEGN group). However we need to tell the Combi-
nator how to handle the note triggering, so in the TS8450
programmer, turn off “Receive Notes” for the two oscillators
and enable it for the Charlotte. Load a Charlotte patch or
program a nice envelope, and our basic, stereo monosynth
FM patch is complete!
Basic Modular Synthesis Workshop

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But of course, we don’t want to stop there!
We can add a filter. There are a number of options both in
Reason and with third party Rack Extensions. For now, let’s
just use the old faithful, the ECF-42. You could use the existing
Charlotte envelope and connect a spare EG output to the Com-
binator’s CV1 input, then route that the ECF-2 filter frequency.
For now, though, we’ll simply trigger the ECF-42’s own ADSR
envelope by enabling its own “Receive Notes” in the pro-
grammer.
Insert the ECF-42 between the Ammo 100LAs and the
Combinator. Start playing and adjust the filter’s ADSR.
From this simple setup we can start adding more oscilla-
tors, and gradually building up the patch.
Creating a polyphonic synth patch
In our simple monosynth patch, create two more oscillators,
and hook all four into a Line Mixer. Route the Line Mixer
output through the filter and into the Combinator, and
connect the Sequencer CV In of each oscillator to consecu-
tive Charlotte VEGN groups, so VEGN1, 2, 3 and 4. For clarity
I’ve removed the FM cables.
Select the Semitone Range, and set oscillators 1 to 4 to 0,
+12, 0 and +7 semitones respectively. And remember to
disable “Receive Notes” for the two new oscillators in the
TS840 programmer!
Now play your keyboard and you have a four voice mono-
synth. But we have a Charlotte connected, so we can make
this polyphonic with just one more knob twist!

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Since we have four oscillators, set Voices to 4. (You can also set the Priority, so that the each note of the chord is sent to
same oscillator. For now, set Priority to “Low”, so the that lowest note goes to Oscillator 1
and the highest note goes to Oscillator 4.) Now play a three or four note chord, and you have
a three or four note polyphonic synth!
Now set Priority to “Rotate”, and just play a repeating three-note chord. You now have now
programmed a wave sequencing polyphonic arpeggiator by hand!
Charlotte sequentially rotates three notes across four voices, one step for each gate on. A single Charlotte supports up to
eight voices, so add more oscillators. But remember, you’ll need to play/sequence one less note in the chord than the num-
ber of Oscillators/Voices you have for this to work, or else there is no spare voice to rotate through.
Patches
A selection of instrument and insert effect Combinators featuring the Ammo 100LA are available from your patch browser.
As befits the sonic heart of a modular system, note that most of the patches which are using one or more Ammo 100LA
devices as the instrument sound source require Charlotte Envelope Generator. Required Rack Extensions are listed within
the brackets of the patch name; while RE Studio or Creative effects, such as Chenille Chorus Ensemble, or Audiomatic Retro
Transformer, are not necessary for the patch to function, those with Utilities, such as Lolth CV Delay Splitter, are. Charlotte
and the “Super-Spider Bundle” are also available from the Propellerhead Shop.