Joranalogue GENERATE 3 User manual

GENERATE 3
THROUGH-
ZERO MULTIPHONIC SIGNAL GENERATOR
1
INTRODUCTION
Any signal can be expressed in terms of a few
parameters: frequency, phase, amplitude and
timbre. It is through modulation of these aspects
that synthesists create electronic sound. With
Generate 3, it is now possible to create a signal
and control all its parameters by through-zero
modulation within a single 12 HP wide module.
Everything starts with the exceptionally precise
triangle-core voltage controlled oscillator (VCO)
at the module’s heart. Through-zero linear
frequency modulation (FM) enables rich yet
pitch-stable FM sounds, by allowing the oscillator
to run backwards into ‘negative frequencies’.
The resultant triangle wave is then processed by
the through-zero phase modulator, providing a
total phase shift range of 900°. Phase modulation
offers an interesting alternative for FM, as it
enables deep FM-type tones without actually
changing the oscillation frequency.
The timbre of a signal is determined by its
harmonic content. This full set of harmonics can
be grouped into three main parts: the
fundamental, even and odd harmonics.
Generate 3’s harmonics generator separates out
these three timbral ‘channels’. By adjusting their
relative amplitudes, a vast array of different
waveforms can be created, including but not
limited to the classic sine, saw and square waves.
While the amplitudes can be adjusted manually,
each timbral channel supports through-zero
amplitude modulation, also known as balanced
or ring modulation. When audio-frequency
modulation signals are applied, the harmonics
become ‘split’, enriching the spectrum.
In addition to all the usual analogue synthesis
techniques, the extensive set of modulation
options makes Generate 3 especially suited for
exploring multiphonic synthesis: a monophonic
source creating a complex timbre, much like
throat singing, yet by electronic means.
CONTENTS
In the Generate 3 box, you’ll find:
Product card, stating serial number and
production batch.
16-to-10-pin Eurorack power cable.
Mounting hardware: two black M3 x 6 mm
hex screws, two black nylon washers and a
hex key.
The Generate 3 module itself, in a protective
cotton bag.
If any of these items are missing, please contact
your dealer or [e-mail].

GENERATE 3
THROUGH-
ZERO MULTIPHONIC SIGNAL GENERATOR
2
CONTROLS & CONNECTIONS
1 FREQUENCY RANGE SWITCH
This switch determines over which frequency
range Generate 3 will operate: low frequency
(VCLFO) or audio frequency (VCO).
2 COARSE AND FINE FREQUENCY KNOBS
The oscillation frequency is determined by these
knobs. In the audio frequency mode, with the
fine knob centred and at default through-zero
FM settings, the coarse knob has a range of 22 Hz
to 22 kHz at the fundamental signal output. The
fine knob’s range is 5 % of the coarse knob (6
semitones in audio mode).
In low frequency mode, the total range is
2.8 mHz (a period of 6 minutes) to 180 Hz, with
1 Hz when both knobs are centred.

GENERATE 3
THROUGH-
ZERO MULTIPHONIC SIGNAL GENERATOR
3
3 THROUGH-ZERO FM INPUT, KNOB AND AC
AND BIAS SWITCHES
An internal through-zero FM voltage directly
controls the VCO core, determining the overall
range of the exponential frequency modulation.
For example, the low and audio ranges
mentioned earlier assume a through-zero FM
voltage of +5 V.
Increasing or decreasing this voltage has a
corresponding effect on the frequency. But
unlike standard linear FM, the voltage can also be
negative, causing the oscillator to flip direction
and run backwards. This allows for incredibly
deep and dramatic FM sounds.
0 V will cause the VCO to stop. However, since a
+5 V normalisation is present on the through-
zero FM socket, it is not necessary to plug in an
external voltage for the VCO to oscillate. Set the
polariser knob to the maximum setting and both
bias and AC switches off, and the module will run
within the selected range (low/audio). This is
considered the default configuration.
The knob can then be used to apply linear
detuning, through the zero point and into the
negative realm, or adjust the modulation depth
if an external through-zero FM signal is applied.
The bias switch, when enabled, then adds a +5 V
offset to this modulation. This makes it easy to
toggle between through-zero FM (bias off, up)
and normal linear FM (bias on, down). In the
default configuration with no modulation, the
effect of enabling the bias is a doubling in
frequency, or an increase in pitch of one octave.
Enable the AC switch to AC-couple the LFM
input. This rejects any DC offset or very low
frequency content that may be present in the
modulation signal, preventing a fundamental
pitch shift from appearing during audio rate
modulation. Note that this will also remove the
normalised +5 V that is present on the through-
zero FM socket by default.
4 VOLT PER OCTAVE FM INPUT
This input is used to modulate the frequency in
an exponential fashion, with a standard 1 volt per
octave response, to create accurate pitches. In
the low range, the sensitivity is increased to
approximately 0.66 volt per octave.
5 EXPONENTIAL FM INPUT AND KNOB
This second exponential FM input includes a
polariser knob to set the modulation depth, with
0 in the centre, +1 volt per octave maximum and
−1 volt per octave minimum in audio mode. In
low mode, the sensitivity is increased to
approximately 0.66 volt per octave.
6 RESET AND FLIP INPUTS
In addition to the through-zero and exponential
FM, two types of oscillator synchronisation are
available: reset (hard sync) and flip (soft sync).
A rising edge on the reset input causes the VCO
output voltage to instantaneously go to 0 V.
Oscillation will then resume as before. On the
other hand, the flip input merely flips the triangle
direction (rising or falling) on a rising edge.
Both sync types have a very different effect to the
VCO and thus yield different sonic results. Reset
sync is considered ‘harder’ since the fast edges
caused by the instantaneous resets create high
harmonic content. Flip sync is free from these
fast edges, and has a ‘softer’ sound as a result.
The two sync types can be combined at will and
affect all outputs.

GENERATE 3
THROUGH-
ZERO MULTIPHONIC SIGNAL GENERATOR
4
7 PHASE INPUT AND KNOB
Generate 3’s phase modulator allows the phase
of the timbral channels to be shifted over a wide
range. The phase can either lead or lag with
respect to the 0° reference; thus, this form of
modulation is through-zero as well.
With the phase input socket left unpatched, the
knob will adjust the phase manually. Once a
phase modulation signal is applied, the knob
becomes a bipolar attenuator. The sensitivity is
90°/V, with a maximum phase offset of ±450°.
Since phase is a relative parameter, any
stationary phase setting will sound the same as
any other. However, when the phase continually
changes over time, a perceived pitch change
occurs, despite the core oscillation frequency
remaining constant. Thus, PM provides an
alternative to through-zero FM for creating ‘FM
sounds’. Generate 3 allows both modulation
types to be used simultaneously.
In addition, shifting the phase will change the
effect of the sync inputs on the timbral channels,
as the starting points of the waveforms will
diverge from the VCO core reference.
8 HARMONIC KNOBS AND INPUTS
The level and polarity of each of the three timbral
channels (fundamental, even and odd) is
controlled by these knobs and CV inputs. The
knobs are bipolar, with a channel amplitude of
10 Vpp in the maximum setting, 0 in the centre
and 10 Vpp, with inverted polarity minimum.
Once a cable is plugged into any of the CV
sockets, the corresponding knob functions as a
bipolar attenuator for the modulation signal.
Since the channel amplitude controllers are
balanced modulators rather than conventional
VCAs, through-zero amplitude modulation is
possible, also known as balanced or ring
modulation.
9 CORE OUTPUT
This is the 10 Vpp triangle wave output straight
from Generate 3’s VCO core. It is not affected by
the phase modulator. Also note that it is at half
the frequency of, so one octave below, the
fundamental output, and thus can be used as a
sub-octave signal.
The LEDs at the output sockets show the real-
time output voltages, lighting up red for positive
and blue for negative.
10 HARMONIC OUTPUTS
The output signal for each timbral channel is
available from these sockets.
The fundamental channel consists of a sine wave,
with any overtones suppressed as much as
possible.
The even signal is a saw wave at twice frequency,
thus only containing even harmonics with
respect to the fundamental (2nd, 4th, 6th etc.),
becoming weaker as the harmonic number
increases.
The odd channel only contains odd harmonics
with respect to the fundamental, excluding the
fundamental itself (3rd, 5th, 7th etc.), becoming
weaker as the harmonic number increases.
11 FULL OUTPUT
The three timbral channels are also mixed
together into this output, creating a full-
spectrum signal containing all harmonics.

GENERATE 3
THROUGH-
ZERO MULTIPHONIC SIGNAL GENERATOR
5
12 VOLT PER OCTAVE TRIMMER
This trim potentiometer is used to calibrate the
module’s pitch tracking. Since it is accessible
from the front panel, calibration can be easily
performed without removing the module from
the system. Each module is individually
calibrated during production; do not adjust this
trimmer if not needed.
Should you find your Generate 3 to be out of
tune, set the range switch to the audio range, the
coarse frequency knob to about 20 % of its range
(9 o’clock), and the fine knob in the centre
position.
Make sure Generate 3 has been powered for at
least 20 minutes at a stable ambient
temperature. Now connect the fundamental
output to a calibrated digital tuner. The volt per
octave input should be switched between 0 V
and a precision +5 V source, toggled
automatically or by hand. Leave all other inputs
unpatched.
Using a dedicated trimming tool or standard
2.5 mm flat screwdriver, adjust the trimmer until
the interval between both states is exactly 5
octaves.

GENERATE 3
THROUGH-
ZERO MULTIPHONIC SIGNAL GENERATOR
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PATCH IDEAS
CLASSIC WAVEFORMS
Apart from a vast array of complex waveforms,
Generate 3 can also create the classic set of
subtractive synthesiser waves: sine, triangle,
square and saw.
The sine wave is available from the fundamental
output and triangle from the core output.
To create a square wave with standard 10 Vpp
amplitude at the full output socket, set the
fundamental level knob to 100 % (fully
clockwise), the even level off (centre position)
and the odd level to 80 % (approximately 4
o’clock).
The even output signal is a saw wave at double
frequency. For a 10 Vpp saw wave at the full
output and the fundamental frequency, set the
fundamental to 50 % and the two other
channels to 40 %.
WHITE NOISE GENERATOR
While Generate 3 is primarily designed to create
clean and reliable waveforms, you can push the
circuit beyond its limits using feedback patching.
Experiment sending outputs to inputs to create
many surprising, complex and often unstable
sounds.
One feedback patch in particular makes use of
the module’s high speed and inherent analogue
instabilities to create white noise. Simply patch
the even output to the phase modulation input
and set all knobs to their maximum settings. A
10 Vpp noise signal can now be found at the
fundamental output. Vary the frequency to ‘tune’
the noise.
TIME-SHIFTED RATIOMETRIC RHYTHMS
The outputs waveforms are at multiple
frequencies of each other: the fundamental is
twice as fast as the core, and even is twice as fast
as the fundamental. This relationship can be
used in low mode to create ratiometric rhythms:
if one core cycle would be considered a bar, then
a fundamental cycle represents half notes and
an even cycle quarter notes.
The output waveforms can be used to drive
various rhythmic elements within a patch:
envelopes, drum sounds etc. Depending on the
destination, you may need to process the signals
through comparators first.
By shifting the phase, the starting point for the
half and quarter notes can be moved at will. Use
the reset input to perfectly synchronise the
rhythms to an external tempo clock signal. The
variable waveforms at the full output provide a
plethora of complex rhythms to experiment
with.
DECAYED HARMONICS
Create ‘filtered’ synth lines using a separate
decay envelope for each timbral channel, all
triggered together by a sequencer. Use the
sequencer’s V/oct. output to control Generate 3’s
pitch.
By then adjusting the decay times, the timbral
parts will decay at different rates, giving the
illusion of various filter sweeps on the full output.

GENERATE 3
THROUGH-
ZERO MULTIPHONIC SIGNAL GENERATOR
7
SPECIFICATIONS
MODULE FORMAT
Doepfer A-100 ‘Eurorack’ compatible module
3 U, 12 HP, 30 mm deep (inc. power cable)
Milled 2 mm aluminium front panel with non-
erasable graphics
MAXIMUM CURRENT DRAW
+12 V: 130 mA
−12 V: 115 mA
POWER PROTECTION
Reverse polarity (MOSFET)
I/O IMPEDANCE
All inputs: 100 kΩ
All outputs: 0 Ω(compensated)
OUTER DIMENSIONS (H X W X D)
128.5 x 60.6 x 43 mm
MASS
Module: 175 g
Including packaging and accessories: 250 g
SUPPORT
As all Joranalogue Audio Design products,
Generate 3 is designed, manufactured and
tested with the highest standards, to provide the
performance and reliability music professionals
expect.
In case your module isn’t functioning as it should,
make sure to check your Eurorack power supply
and all connections first.
If the problem persists, contact your dealer or
send an email to [e-mail].
Please mention your serial number, which can be
found on the product card or on the module’s
rear side.

With compliments to the following fine people,
who helped to make Generate 3 a reality!
Ben ‘DivKid’ Wilson Björn Jauss
Boris Uytterhaegen Gregory Delabelle
Jan D’Hooghe Jërémy Bocquet
Jeroen De Pessemier Lieven Stockx
Sebastiaan Tulkens
Everyone at Wired Electronics
Generate 3 User Manual
version 2019-11-26
21st Century Analogue Synthesis—Made in Belgium
© 2019
[e-mail]
https://joranalogue.com/