Welcome to Jiggery-Pokery Additives, a

sample and virtual synth additive-FM synthesis ReFill for Reason 5 and above.
This is a free demo for Additions. The full product contains
nearly 3GB of uncompressed samples. All sample-based
patches in the Demo version are limited to one sample per
tone, and only a selection of Multi Combinators have been
included.
All sounds in the Additives demo may be freely used in your
music productions.
Samples or patches from this Demo product may not be
repackaged or resold without the prior permission of the
ReFill producer.
JP would like to extend a massive thanks to selig aka
Giles Reaves for the last-minute Additions of his wonderful VocoSynth!

Written and produced by Matt Black

DK Synergy samples looped and edited by Matt Black for
Hollow Sun. Used under license
VocoSynth and Quad LFO original programming by Giles Reaves
2011 Jiggery-Pokery Productions.
All rights reserved.

Reason and ReFill are trademarks of

Propellerhead Software AB.
All commercial symbols are protected trade names of their respective holders and their inclusion within this guide and the associated
ReFill product are merely indicative and do not constitute endorsement of this product by any party.

www.jiggery-pokery.com

Jiggery-Pokery Additives

Contents
Additive synthesis ................................................ 4
The synths ........................................................... 5
Side-chain synthesis ............................................. 7
From the maker of ....................................... 10

Jiggery-Pokery Additives

Additive synthesis
What is it?
Additive synthesis starts with a fundamental wave (usually a
sine wave) to which you add further harmonic or inharmonic
frequencies (known as partials). By contrast, subtractive synthesis starts with a waveform and removes harmonics from it
through filtering.
A brief history
The most common, and most famous, use of additive synthesis is of course, the organ, which has existed for over two
thousand years. Even the modern organ, where the mix
of partials could be controlled by the use of stops, a set of
pull-knobs, first appeared around 500 years ago!
By the mid-20th Century, additive synthesis was firmly established in electronic form. The Hammond organ, devised as a
portable replacement for pipe organs, had appeared in the
early 1930s, and 1960s brought transistorisation with small
but weighty Farfisa and Vox organs. But still, these were all
organs, with a limited number of partials. But to this day the
pipe lengths are still used to decribe the octave of an oscillators root pitch, 64, 32, 16, 8 etc.
FM (Frequency Modulation) synthesis, such as that used in
the Yamaha DX range, and Reasons Thor FM Pair oscillators, is a development of additive sound generation. In basic
terms, one partial is used to modulate another partial. Thor
FM Pair operators feature 32 partials, but of course in FM
synthesis you can in effect only hear one partial per operator,
so it both is and isnt additive synthesis.
The RMI Harmonic Synthesizer was the first additive and FM
synthesizer. Launched in 1974, and fully digital (probably
the first commercially available digital synth), it is a rare and
(purely due to its use by Jarre on Oxygene) expensive crea4

Jiggery-Pokery Additives

ture, and thus is not in this collection (yet?!): only a handful

ever a made it Europe. Monophonic, it had two Digital Harmonic Generators (DHG)just a fancy name for oscillator
each with up to 16 partials, with AM and FM, one filter per
DHG, and its use of the word Tremulant in the LFO section
is to be applauded.
It didnt catch on, it would be another five or six years before digital synthesizers became popular, and FM of course
dominated completely from about 85 until the early 90s.
But in terms of popularity, pure additive synthesis (outside
of organs) has historically been slightly less popular than
beachwalking barefoot onto stranded jellyfish. Maybe the
complexity of adjusting the harmonics puts many people
off; perhaps it was because the raw sounds could be very
tinny, or was it simply the design of these synths was just
terribly fiddly? Its true that additive synths really need effects to make them work (just as the Hammond organ loves
a Leslie). Some musicians may be using additive synthesis
unwittingly in their music every time they add a fifth to their
chords!
But whatever the reason, digital additive synthesis has never
really caught on. So let us proceed in attempting to set the
record straight, as we dig out two retro additive synthesizers.

The synths
DK Synergy

patience than most saints were probably capable of.

The DKS first appeared in 1982. An FM/additive synth,

Wendy Carlos was its biggest fan; she produced three of the
best sound cartridges for the instrument. In association with
Hollow Sun, all of her sounds are presented in Additions.

Like the Synergy, the underlying engine is 8-bit, so again

non-sustained samples are truncated slightly to reduce the
presence of noise.

The sounds of seven of the DKS cartridges are included.

Factory sounds
Cart #3 - FX
Cart #4
Cart #5
Carlos #1 - Orch Plus
Carlos #2 - Bells & Whistles
Carlos #3 - Missing Links

Kawai K5
Kawai produced two additive synthesizers. The K5/K5m
launched in 1987, sold a few, disappeared. Ten years later
Kawai tried again and launched the PCM-enhanced K5000
series... sold a few, disappeared! The K5m despite the very
ulitarian look, is very impressive when used in Multi Mode.
The original K5 was thought to be too complex to program.
JP considers this slightly unfair: its generally no more complicated than any other button-based synth, but its true that
adjusting the harmonics does require more fractionally more
Note: this page and the following page are taken from the full Additions
pdf guide, and do not reflect the sounds included in Additives

JP presents a selection of patches from the following

memory cards:

Factory Internal
Factory External
Cards 1, 2, 3, 4, 5 and 7

Card 6 is a collection of electronic pianos and thin basses

and bells that are not any more exciting or satisfying than
those already included in other cards and thus has been
ignored, while Card 9 doesnt actually exist.
Patches from Cards 8 and 10 will appear in a future update
[to Additions only].
Multi patches
Both the Synergy and the K5 had the ability to stack or
keyboard split patches: the DKS up to four parts, the K5 up
to 14 parts simulataneously. Naturally JP couldnt ignore this
Jiggery-Pokery Additives

feature, so each synth also has a Multi folder, where each

patch has at least two layers.
Additives note: Only multi-patches have been included in
the demo version.
Virtual RMI, Synergy and VocoSynth
A collection of wierd, odd and hopefully some wonderful
additive and FM sounds created by Thor, and inspired by
the godfathers of additive synthesis. The ReFill features a
virtual RMI, using multiple Thors and ReMix drawbars,
and include an adapted version of Giles Reaves VocoSynth
side-chain synthesizer!

Jiggery-Pokery Additives

Side-Chain synthesis
Late in the production of Additions, Giles Reaves unveiled
his VocoSynth additive synthesizer. It seemed quite a good
fit with what JP had been working on with some virtual RMI
Harmonic Synthesizer Combinators but hadnt quite managed to make work, and fit in the overall ethos of the Additions project.
Here is Mr Reaves:
Im calling this type of synthesis Side-Chain Synthesis,
because the harmonics levels are solely determined by the
spectral envelope of the side-chain input, which can be percussion, a Thor synth or any of the above! Its pretty cool to
hear the difference between a filtered sawtooth and an FM
pair (you can recognize the signature of each), or a multioscillator, or filtered noise, or oscillator sync, comb-filtered
noise etc., etc.
When these are combined you can get some interesting
textures, and what is unique is that this is not just waveform
mixing, but CV mixing where the combined elements are
used to drive a single bank of sines to produce the audio
signal. Detuning two oscillators in the side-chain signal has
a very different effect than detuning two oscillators in a
traditional synth.
Also worth noting, I added another vocoder/side-chain for
sine panning, so each harmonic is being panned by a second
and seperate audio-to-cv signal. This synth, while the audio
quality of 16 harmonics isnt that great still allows such unlimited potential. Enjoy!
FFT or DHG?
In the selig VocoSynth folder are two templates, JP VocoSynth DHG and selig VocoSynth FFT. The selig FFT version
is Giles original Side-Chain synth, where the harmonics are

solely controlled by the input of the side-chain signal. JP has

amended the original by placing it over his RMI template,
so you can easily change the timbre of the main sound, and
adjust the levels of the dry signal and the VocoSynth.
The DHG version is JPs original RMI design with sixteen
harmonics than can be set as required by adjusting the level
sliders of the two DHG mixer units, with the addition of
seligs side-chain Vocoder for extra texture.

The front panel controls:

Wave
Adjust this rotary to select Sine [Flute], Triangle [Clar.], Pulse or
Saw [Reed] waves. Enable the Smooth X-Fade button to, er,
smooth the crossfade between the wave types

Volume
Adjust the relative levels of the Dry Signal [DHG] and the VocoSynth [V.Synth]

VocoSynth
Mod. Decay controls the reaction time of the VocoSynth; increase to slow down the reaction time, decrease to speed it up
(note you can also adjust the Attack directly on the VocoSynth
BV512 module too). Use Mod. Hold to freeze the current
harmonic levels, while VocoSustain and VocoRhythm will turn
on the Thor oscillator to side-chain and ReDrum to side-synth
respectively. Remember to Run the devices to hear the VocoRhythm section!

As you will see from the next page, it is a bit of beast, and
JPs PDF template is struggling to contain it.

Jiggery-Pokery Additives

The top half of the selig VocoSynth covers global controls and
effects. Use the Modifier rotarys of the two Amp Env Thors
to adjust Attack, Decay, Sustain and Release of the Digital
Harmonic Generators.
The Mclass suite is the last part of the signal chain, which follow the Master Levels. Channels 1 and 2 here are also controlled by Rotarys 2 and 3. A set of effects are included for your
convenience on the Return send busses.

The VocoSynth section begins with the two harmonic mixers (1-14, and 15-16). In the FFT version, all the faders are
at zero. You can increase the faders to heighten a particular
harmonic if required. In the DHG version, always use these
faders to manually adjust the levels of the harmonics.
Adjust the timbre of the sound with the BV512 controls,
even add some of the dry side-chain signal in works particularly well using just the VocoRhythm option. Likewise you
can modify the VocoPan properties. Each DHG goes through
its own filter, and both the filter and amp envelopes can be
manually adjusted as required. Use the VocoSynth Mixer to
set the levels of the Synth Mod and Rhythm Mods.

Jiggery-Pokery Additives

Play around with settings in the SynthMod Thor section. An

analog sine or triangle is great with a pitch-sweep, as shown
below, for polyphonically rising and falling harmonic sweeps.

The two Modifier buttons turn on LFO to VocoSynth Shift

CV in, and Mod Envelope to LFO 1 Rate. Of course, change
anything to anything else and see what happens!
The VocoSynth folder contains a number of preset instruments.

Jiggery-Pokery Additives

From the maker of

ReFills

Additions - Retro Additive Synthesizers, DK Synergy* and Kawai K5m

Elements - Vector Synthesis Workstation ReFill, featuring Waldorf Blofeld, Korg Wavestation and Roland SC-8850

Blue Meanie: Virtually an ARP2600 - Thor and Kong-based analogue synth machine

Kings of Kong Classic Drum Machines* - the premier ReFill for Reason 5, with over 50 classic beatboxes for Kong Drum Designer
Retro Organs - Hammond B3 + Farfisa Compact + Vox Continental in one magnificent OrganFill
B3 Tonewheels v1.5 - the original 24-bit non-Leslie samples ReFill with advanced rotary speaker emulation
Farfisa Combo Compact Deluxe v1.5 - original 24-bit samples in a versatile Reason package
Vox Continental v1.5 - all the Vox organ sounds for the first very time in Reason
Hammond Novachord* - the near-antique pre-WW2 monster polyphonic valve synthesizer
Retrospective: 40 years of Synthesizer History* - Over 1Gb of vintage samples from synths and electronic keyboards

FreeFills

Additives - Retro Additive Synthesizers, featuring seligs VocoSynth

8-BIT Magic: The ZX Spectrum ReFill
Classic Drum Machine Collection v1.1
Eminent 310 Strings* v3 - now with stereo samples and Jarre pizzicato
Harpe Laser*
Moog Taurus Bass Synthesizer* v1.1

________________
Combinator skin sets
All skins updated June 2010 to work with Record and Reason 5.0

Analogue Heaven volume 1 v2 (the Analogue Monsters set for PinkNoize Studio)

Analogue Heaven volume 2 v2 (Electromechanical and beyond)

Analogue Heaven volume 3 v2

Digital Heaven v2

Guitar Collection v2

8-bit Collection v2

Drum Machine Collection v2

Orkester Collection v2

Cubana Collection v2

Misc Amps, Pianos & Effects

10

Jiggery-Pokery Additives