Generate 3

Joranalogue 12HP

Through-zero multiphonic signal generator. Precision triangle-core VC(LF)O with through-zero linear FM, a 900° through-zero phase modulator, and three harmonic channels (fundamental, even, odd) with balanced-modulator CV for ring-style AM.

Patch Ideas · 5

★ Through-zero FM lead

Audio range. Sequencer pitch into V/OCT. LFO into TZ FM with Bias off for true through-zero FM. Mix Fundamental and Odd at Full Output for a thin, pitch-stable lead that stays in tune under deep modulation.

Walkthrough

Flip the Frequency Range switch to AUDIO.
Set Bias switch off (up) and AC switch off for true through-zero FM.
Turn the TZ FM knob to roughly 2 o'clock for a clear but musical depth.
Set Fundamental level fully clockwise (max) and Odd to about 2 o'clock; leave Even off (centred).
Patch a 1 V/oct sequencer into V/OCT.
Patch an audio-rate LFO (or another VCO's output) into TZ FM.
Patch Full Output into a VCA input, an envelope into the VCA CV, then the VCA to your output.
Play the sequence — raise the LFO depth to push into deep FM without losing the tuning.

Signal out Full Output — 10 Vpp audio lead that stays in tune as TZ FM depth increases.

Listen for A thin, edgy FM tone with bell-like overtones at higher depths. Because the core flips direction at zero crossings the pitch does not drift sharp like with ordinary linear FM.

▸ Show diagram

★ Additive organ

Audio range. Balance all three harmonic channels at the Full Output for a stacked, organ-like tone. A gentle exponential FM adds movement; Core Output reinforces the sub-octave.

Walkthrough

Flip Frequency Range to AUDIO.
Set Fundamental, Even, and Odd knobs all to about 1 o'clock (roughly balanced levels).
Turn the Exp FM knob slightly clockwise for a small positive amount.
Patch pitch CV into V/OCT and a slow LFO into EXP FM for gentle vibrato.
Patch Fundamental, Even, and Odd outputs into separate mixer channels.
Patch Core Output into the mixer as a sub-octave reinforcement.
Sum the mixer into your output and balance the four channels to taste.

Signal out Mixer sum — additive organ tone with independent control over fundamental, evens, and odds plus a sub-octave from Core.

Listen for A full, drawbar-organ-like sound. Turning down Even hollows it toward a square; adding more Odd brightens the top. The Core channel adds body an octave below.

▸ Show diagram

Phase-wash drone

Low range with Bias on (linear FM style control) and AC on. A slow LFO sweeps the PHASE input — perceived pitch drifts while the core frequency is fixed. Fundamental and Even dominate the spectrum.

Walkthrough

Flip Frequency Range to LOW.
Switch Bias ON (down) and AC ON for stable, DC-free response.
Centre the Coarse knob so the LOW rate is around 1 Hz; centre Fine.
Set the Phase knob to noon (it becomes the PHASE input attenuverter once patched).
Set Fundamental to about 2 o'clock, Even just past noon, Odd low.
Patch a slow LFO (seconds per cycle) into PHASE.
Patch Full Output into a reverb, then to your output.
Slowly raise the LFO amplitude — the phase wraps through ±450° and pitch appears to drift without the core changing frequency.

Signal out Full Output — slowly evolving drone whose perceived pitch moves with the phase sweep while the core stays fixed.

Listen for A wide, shifting wash. With Odd low it feels vowel-like; pushing the LFO harder brings an FM-style warble even though no FM is happening.

▸ Show diagram

★ Hard-sync lead

Audio range. Sequencer sets the master pitch on V/OCT; a second VCO fires RESET for hard-sync bite. FLIP stays free for softer layering. Phase knob sculpts the sync edge.

Walkthrough

Flip Frequency Range to AUDIO and Bias off, AC on (to keep TZ FM clean).
Patch the sequencer's 1 V/oct into V/OCT.
Patch a second VCO's output into RESET — its pitch is the sync 'slave' pitch of Generate 3.
Set Fundamental around 2 o'clock, Odd around 1 o'clock, Even low.
Keep Phase knob at noon to start; rotate later to reshape the sync edge.
Patch Full Output through a VCA controlled by an envelope, then to the output.
Sweep the Sync VCO's pitch to hear classic hard-sync screams.

Signal out Full Output — hard-synced harmonic-rich lead; the melodic pitch comes from the Sync VCO while Generate 3 provides the carrier timbre.

Listen for Cutting sync-lead tone with strong upper harmonics. Turning the Phase knob moves where the reset lands on the waveform, carving the harmonics differently.

▸ Show diagram

Ratiometric LFO bank

Low range turns Generate 3 into a three-voice modulator. The outputs run at 1× (core), 2× (fundamental) and 4× (even) of the core — locked whole-note / half-note / quarter-note rhythms that all share the same phase.

Walkthrough

Flip Frequency Range to LOW and centre Coarse so one cycle is one bar.
Patch your master clock's trigger into RESET so all outputs lock to tempo.
Set Fundamental around 2 o'clock, Even around 1 o'clock, Odd at noon.
Patch Core Output into a filter cutoff (whole-bar sweep).
Patch Fundamental Output into a VCA CV (half-bar swell).
Patch Even Output into a stereo panner CV (quarter-bar pan).
Route the Full Output through the filter and VCA to your stereo out.
Nudge the Phase knob to shift the starting point of the half and quarter patterns.

Signal out Core / Fundamental / Even — three synchronised modulation voices at 1× / 2× / 4× the bar, plus Full Output as an audio-ready mix (still low frequency here).

Listen for A tightly interlocking cascade of modulations: filter sweeps every bar, amplitude swells every half-bar, panning every quarter. Hitting RESET on the downbeat keeps everything phase-locked to your clock.

▸ Show diagram

Behaviors

Through-zero FM TZ FM knob or input (Bias off)

Linear FM where the modulation can push the core through 0 Hz into negative frequencies. Deep FM stays pitch-stable because the core flips direction instead of drifting sharp.

Linear FM with bias Bias switch on

Adds +5 V offset to the TZ FM path, turning through-zero FM into conventional linear FM. With no external modulation, enabling Bias raises pitch by one octave.

Phase modulation PHASE input

Shifts the phase of the timbral channels up to ±450° (900° total). Stationary phase sounds the same at any setting, but continuous phase change creates perceived pitch movement without altering the core frequency — an alternative to FM.

Hard and soft sync RESET or FLIP input

RESET forces the core to 0 V on a rising edge (hard sync, bright high-harmonic sound). FLIP reverses triangle direction on a rising edge (soft sync, no fast edges). They can be combined and affect all outputs.

Balanced-modulator harmonic channels Fundamental, Even, Odd CV

Each harmonic level is a through-zero (balanced) modulator, not a standard VCA. Audio-rate CV produces ring/AM and splits the harmonics into new partials, enriching the spectrum.

Phase shifts sync behaviour Phase knob with RESET or FLIP patched

Because the harmonic channels start from the phase-shifted waveform, moving the phase changes where the sync cuts occur, letting you sculpt the sync timbre without retuning.

Low range as multi-output modulator Frequency Range set to LOW

The same core becomes a slow through-zero modulation source. The fundamental/even/odd outputs still reflect the harmonic structure, so the module acts as a three-voice LFO with ratiometric rhythms (core : fundamental : even = 1 : 2 : 4).

Core as sub-octave monitor Core Output

The Core output is always one octave below the fundamental output and is not affected by the phase modulator, making it a clean sub-oscillator or modulation reference.

Noise via feedback Even Output patched to PHASE input, all knobs max

Pushes the circuit into instability, producing 10 Vpp white-noise-like signal at the fundamental output. Vary Coarse frequency to 'tune' the noise.

Controls

Global	Frequency Range	Switches between audio-rate VCO and low-frequency VCLFO operation. AUDIO: 22 Hz to 22 kHz at fundamental output · LOW: 2.8 mHz (6 minute period) to 180 Hz
Global	Coarse Frequency	Sets the core oscillation frequency. audio: 22 Hz to 22 kHz at the fundamental output with Fine centred and default TZ FM
Global	Fine Frequency	Adds a narrow offset around the Coarse frequency. about 5% of Coarse range · approximately 6 semitones in audio mode
Core FM	Through-Zero FM	Polariser knob for the internal through-zero FM voltage that drives the VCO core. With nothing patched it sets the core frequency directly via the +5 V normalisation. 0 V stops the core · negative values run the oscillator backwards · acts as attenuverter on any patched TZ FM signal
Core FM	Bias	Adds a +5 V offset to the TZ FM path. Flips operation between through-zero FM (bias off) and standard linear FM (bias on). with no modulation, enabling Bias doubles the frequency (up one octave)
Core FM	AC	AC-couples the TZ FM input to reject DC offsets and very low-frequency content from the modulator, preventing a fundamental pitch shift during audio-rate FM. also removes the internal +5 V normalisation on the TZ FM socket
Exp FM	Exponential FM	Bipolar polariser for the dedicated exponential FM input. audio mode: up to ±1 V/oct · low mode: sensitivity increased to approximately 0.66 V/oct
Phase modulator	Phase	Unpatched: sets a manual phase offset. Patched: becomes a bipolar attenuator for the external phase modulation signal. 90°/V sensitivity · maximum phase offset ±450° (900° total through-zero range)
Harmonics	Fundamental	Bipolar level/polarity for the fundamental (sine) channel. Acts as attenuverter when CV is patched; the channel is a balanced modulator so audio-rate CV produces ring/AM. centre = off · max = 10 Vpp normal · min = 10 Vpp inverted
Harmonics	Even	Bipolar level/polarity for the even-harmonic channel (balanced modulator). centre = off · max = 10 Vpp · min = 10 Vpp inverted
Harmonics	Odd	Bipolar level/polarity for the odd-harmonic channel (balanced modulator). centre = off · max = 10 Vpp · min = 10 Vpp inverted
Calibration	V/Oct Trimmer	Front-panel pitch-tracking trim for V/Oct calibration without removing the module. factory calibrated · adjust only if needed · aim for exactly 5 octaves between 0 V and +5 V

I/O

IN · 9

V/OCT 1 V/oct in audio · approx 0.66 V/oct in low mode CV

Exponential pitch input for accurate tracking across the range.
TZ FM bipolar CV · +5 V normalisation CV

Through-zero linear FM input. Internally normalised to +5 V, so the core oscillates even with nothing patched. AC switch removes this normalisation.
EXP FM ±1 V/oct max (audio) · approx 0.66 V/oct max (low) CV

Second exponential FM input with polariser knob.
RESET rising edge AUDIO

Hard sync. A rising edge forces the VCO core output instantly to 0 V; oscillation then resumes. Fast edges create high-harmonic content.
FLIP rising edge

Soft sync. A rising edge flips the triangle direction (rising becomes falling or vice versa) without a fast reset edge, giving a softer sync sound.
PHASE bipolar CV · 90°/V · ±450° max CV

Through-zero phase modulation input. Phase knob becomes a bipolar attenuator once patched.
Fundamental CV bipolar CV CV

CV input for the fundamental harmonic channel; balanced modulator enables ring-style AM at audio rates.
Even CV bipolar CV CV

CV input for the even harmonic channel (balanced modulator / ring mod).
Odd CV bipolar CV CV

CV input for the odd harmonic channel (balanced modulator / ring mod).

OUT · 5

Core Output 10 Vpp AUDIO

Triangle wave straight from the VCO core, not affected by the phase modulator. Runs at half the fundamental frequency (one octave below) — useful as a sub-octave source.
Fundamental Output 10 Vpp

Sine wave of the fundamental channel, with overtones suppressed as much as possible.
Even Output 10 Vpp

Saw wave at twice the fundamental frequency, containing only even harmonics (2nd, 4th, 6th…) that taper off as the harmonic number increases.
Odd Output 10 Vpp

Odd-harmonic channel containing only odd harmonics above the fundamental (3rd, 5th, 7th…), excluding the fundamental itself, tapering with harmonic number.
Full Output 10 Vpp

Mix of the three timbral channels into one full-spectrum signal containing all harmonics.

Patch Ideas · 5

Behaviors

Controls

I/O

▸ IN · 9

◂ OUT · 5

IN · 9

OUT · 5