Jiggery-Pokery Combo Electric Harpsichord User manual

COMBO ELECTRIC HARPSICHORD
OWNER'S MANUAL
JIGGERY-POKERY

From the Instrument Developers --
This manual is prepared as an introduction to your new
Combo Electric Harpsichord. It will also serve to guide you in the use of your
instrument. The information contained herein is as up-to-date as possible in view
of the rapid advances in this radically new instrument. Specifications and details
are, of course, subject to change.

The Baldwin SOLID BODY HARPSICHORD

SUMMARY SPECIFICATIONS
A. MUSICAL FEATURES
Range: 4-3/4 octaves, A to F (57 notes), Middle "C" at keyboard center.
Two Basic Contrasting Voices: "Blue" - a clear, deep-throated, resonant string
tone with long sustaining power; somewhat reminiscent of the haunting quality of
the bass clarinet; pickups "listen" to string at midpoint.
"Red" - a driving, twangy, shallow string sound with pronounced plucking and long
sustaining; the biting power of an electric guitar; pickups "listen" to string
ends.
"Light Blue" - An extra string that can be selected between 8' or 4' range.
"Light Red" - An extra string that can be selected between 8' or 4' range.
Damped Effect on Each Voice: Muted "Blue" - a strongly plucked, "covered",
subtle string tone, with foreshortened sustaining: practically indistinguishable
from a harp.
Muted "Red" - a tune percussive tone, rhythmically powerful without being harsh;
resembling a banjo.
Delay Effect on Each Voice: All four voices can be delayed to create a subtle
or extreme grace note/strum effect. For best results always leave at least one
voice with no delay applied.
Tuning: All four voices can be independently detuned by up to a semitone. A
two-semitone Pitch-bend is also available for guitar-like bends.
Special External Effects: The guitar amplifier can add spring and room
reverberation, and specially tailored drive and cabinet effects, all external
to the harpsichord.
B. CONTROLS
Two-Manual Flexibility - Single-Manual Simplicity: Keyboard divides at
Middle-"C" into treble/bass section, so that the right can contrast the left.
Tonal colors can be set up and volume adjusted independently in the bass and
treble ends of the keyboard, or pedal controlled.
Handswitches: one for each voice range. Each switch has three positions di-
recting the voice it controls either to the left output, off, or to the right
output, when the instrument is in Stereo mode and using either no amplifier or
the stereo transistor amplifier. If the instrument is Dual Mono mode or is us-
ing a mono amplifier, each voice is sent to both outputs.
Pedal: a standard swell/expression pedal located in a separate housing on the
floors serves as remote volume control to the amplifier.
Damper: Increase the Damp fader to apply damping effect.

Special External Effects Control: Controls on the Harpsichord permit fast
selection of external effects set on the amplifier. Select between five
different Amplifiers and eight Cabinets, or turn them off entirely to use
direct. Drive will increase the distortion, and you can adjust the tone with
Bass and Treble. There is a built-in Spring tank and the Room can also be
adjusted.
Additional Controls: Unlike other harpsichords, the keys can be velocity-
enabled, by increasing the Velocity control to maximum. The sensitivity of the
pickups to the release mechanism can also be tweaked. To remove any release
noise set the Release fader to minimum, or boost it by raising it above 100%.
Leave at 100% for the standard amount. A brick-wall High Pass Filter can be
used to filter out sub-40 Hz low end by increasing it up to around 20-25%, or
push it further for a thinner sound.
C. DESIGN DETAILS
Stringing: two strings per note, "Blue" and "Red", and "Light Blue" and "Light
Red".
Layout: string lengths, diameters and plucking points based on The Cannon Guild
classical acoustic harpsichords, specially modified for solid body instrument.
Case and Finish: welded aluminum case/frame, baked-on black finish.
Music Desk and Lid: Plexiglas music desk folds to become keyboard cover.
Legs: rubbed mahogany with non-marring ball casters; legs easily detached for
transporting instrument.
Action: Delrin jacks, adjustable plectra timing and dampers.
Keyboard: standard piano dimensions, rugged plastic covers.
Tuning system: tuning readily adjusted with tuning screws provided.
Dimensions: Standard 3U Eurorack format.

1. AN INTRODUCTION TO YOUR NEW INSTRUMENT
1.1 Design Background:
The Combo Electric Harpsichord brings a family of new sounds that are
musically rich and natural in color. Where others have turned to electronics
to generate the tone, this instrument uses the string - one of the most colorful
tonal generators possible. Where others use multiple strings to a note, we
limit ourselves to one to retain the purity in chord playing. Modern electronics
enable us to seek out previous unavailable rich tonal qualities, amplify them,
control them, and mix them into a large number of new combinations.
Basically, the instrument uses a harpsichord action to pluck a "harp"
of strings. A sophisticated electric-guitar-like system picks up the string
vibrations.
The keyboard player has available to them a new instrument with wide volume
and tonal flexibility. If you are at home with any other keyboard instrument,
you can soon master this potential since the controls are simple - even if unique
- and readily understandable.
The instrument design represents a careful balance between ruggedness,
reliability, stability and moderate cost. Tradition has not been allowed to
hamper the design, yet tradition is referred to as an aid in styling and where
proven techniques could be called forward to be used in the new instrument. The
result is an optimum (not a maximum) design; no one requirement has been allowed
to overshadow. For instance, steel (in place of the aluminum actually used)
would have improved tuning stability, but would have made the instrument too
heavy to be readily carried about.
1.2 The Player's Responsibility to Their Instrument:
Let's face reality - you will need to tune and mechanically adjust
("Regulate") your new instrument. But there is a really practical plus here.
This new instrument is carefully designed to that the adjustments can be made
by the players themselves, without prior training - you thus can become self-
sufficient, with no need to call on the often-unavailable tuners, repairpersons
and other technicians needs for many instruments.
But, most important of all, there is a musical advantage to participating
in your own instrument's upkeep. You will find your listening sharpened as you
school yourself at taking care of the instrument. Your sense of intonation and
sensitivity will be continually improved. These music sensitivities will help
you as a keyboard player in understanding musical performance and in playing with
other musicians.

2. GETTING THE MOST OUT OF YOUR INSTRUMENT
2.1 The Two Basic Open Voices:
Since the tonal characteristics of this new instrument are unique and not
strictly imitative of other instruments, they are assigned colors rather than
names to avoid confusion with existing nomenclature:
"Blue": a clear, deep-throated, resonant string tone, with long
sustaining power; somewhat reminiscent of the haunting quality of the bass
clarinet. This voice comes from "listening" to the midpoint of the string,
the "Mid Pickup".
"Red": a driving, twangy, shallow string sound, with pronounced
plucking and long sustaining; the "biting" power of an electric guitar. As
would be expected, this voice comes from "listening" to the string ends, the
"Top Pickup".
2.2 Muted Basic Voices:
By slightly damping the strings ends, the two "colors" become more muted,
with the results described below:
Muted "Blue": a strongly plucked, "covered", subtle string tone, with
foreshortened sustaining; practically indistinguishable from a harp.
Muted"Red": a tuned percussive tone, rhythmically powerful without
being harsh; resembling a banjo.
2.3 The Two Doubled Voices:
To create further tonal contrasts, the Red and Blue Voices can be "doubled"
using the "Light Red" and "Light Blue" strings. They can play the same 8'
footage as the normal Voices, or you can select a 4' pitch, raising the tone by
an octave. By detuning these voices against the basic colors, you can create a
richer, chorused tone, or by delaying the pluck, create a "flam" effect, which
sounds like hitting the string twice.
2.4 Split Keyboard:
To provide the contrasts and flexibility of a two-manual instrument, the
basic voice pickups are divided as middle-"C". The player thus can select
contrasting voices or voice mixtures in the treble and bass sections of the
keyboard. The left hand can thus contrast the right.
2.5 Velocity:
To give the player control over note volume, the "VEL" faderswitch can be
turned on and set to an appropriate position.

2.6 Special Effects:
The Combo Harpsichord depends solely on the amplifier for special electronic
effects such as tremolo, reverberation, bass or treble boost/attenuate, etc. The
built-in custom amplifier provides the widest possible tone coloring, giving all
the desired special external effects to the "pure" or "natural" tones produced by
the harpsichord.
"Channels": When set to "mono", voices set to Left Channel or Right
Channel are sent to the outputs in mono, i.e., both left and right output
jacks. When set to "stereo", the Left Channel voices are sent to the left
output, Right Channel voices to the right output.
"Spring": a long spring reverb.
"Room": a short room reverb.
"Amp":
"TY"- select Type from "No Amp" or "Transistor", both of which
can operate when "Channels" are set to mono or stereo; or "Tube",
"Class A" or "Plexi" types, which only operate in mono, thus the
"Channels" setting is disregarded.
"DR"- adjust the drive amount for the given amp type.
"Tone":
"BS"- boost or attenuate the bass eq.
"TR"- boost or attenuate the treble eq.
"Tone":
"BS"- boost or attenuate the bass eq.
"TR"- boost or attenuate the treble eq.
"Trem": The classic Tremolo effect.
"SP"- sets the Speed of the tremolo rise and fall.
"IN"- adjusts the Intensity of the tremolo effect.
"Cabinet": you can run the amp through "No Cabinet", or select from one
of eight cabinet types for the amp.
Two additional faderswitch controls are available.
"REL": the level of the key off ("release resonance") noise can be
adjusted. 100% is the nominal, true level.
"HPF": a high pass filter allows you to quickly cut low frequencies.
2.7 Handswitch System:
Eight handswitches are provided, one of each of the voice pick-up sections:
"Blue" voice - Bass, "Blue" - Treble, "Red" - Bass, "Red" - Treble, "Light Blue"
- Bass, " Light Blue" - Treble, " Light Red" - Bass, " Light Red" - Treble. Each

switch has three position: "Left Channel" (switch handle to left), "off" (center
position), and "Right Channel" (handle to right). Thus the player can assign
any combination of voice to either channel of the amplifier. In practice, this
allows full use of the external effects capability of the guitar amplifier since
the player can combine any voice, keyboard section and external effect in any way
they desire.
2.7 Familiarizing Yourself With the Basic Working Tonal Colors:
It is now apparent that you have an almost unlimited variety of timbres at
your command; exercising this flexibility is worth some systematic study on your
part.
You will undoubtedly evolve a family of tonal colors which suits your
particular form of musical self-expression.
As a start, limit yourself to working with the basic voices separately.
First play the "Blue" voice as a solo stop. The handswitches on the harpsichord
should be set thus: BLUE RED LIGHT BLUE LIGHT RED
  '( $$ $$ $$
with a basic amplifier setting as follows, and the jacks connected in stereo:
Level: both channels about 2/3open.
Channels: Mono.
Bass/Treble Tone Controls: about 6 and 12dB boost respectively.
Tremolo: off.
Reverb: off.
Amp/Cabinet: "Transistor" amp, and "1x12 Fender" cabinet
Volume: Set to around -12dB.
After familiarizing yourself with the "Blue" voice, try shifting to the
"Red" voice as solo, thus:
BLUE RED LIGHT BLUE LIGHT RED
  $$ '( $$ $$
Leave the amplifier set up as before.
Now change Channels to stereo. You'll hear the Red bass section on the left
and the Red treble section on the right. Try connecting the jacks to separate
external mixers to adjust their pans individually.
Time spent really familiarizing yourself with these basic voices is well
spent. You will find synthesis of your own expressive sounds much easier in
future.

2.8 Some Interesting Tonal Combinations:
You are now ready to explore more widely the capability of the instrument.
Using the previous setup, now add the Light Red voices, thus:
BLUE RED LIGHT BLUE LIGHT RED
  $$ '( $$ '(
With the Light Red voice set to 4' octave, you'll here it doubling the Red voice
an octave up. Now you can take it further: adjust the Light Red Delay control to
between 2ms and 3ms.
Located between the Level and Delay controls of each Voice is small Tuning
knob. Try twisting the Light Red Tuning knob a little to right to detune it
slightly, creating a unison or chorus effect.
You can also try live detuning by using a pitch wheel, which provides up to
2 semitones of pitch adjust.
One other useful trick is the ability to individually control the level of
the Bass and Treble by using both the normal voices and Light voices, but set the
Light Voice to 8'. Try this:
BLUE RED LIGHT BLUE LIGHT RED
  '$ $$ '$ $$
Now you can use the separate Level control of the Blue and Light Blue voices to
boost or attenuate the bass and treble ranges of the same tone type independently
as required.