Novation A-Station User Manual
A-STATION
A-station
in music, anything is possible.
polyphonic synthesizer
▲
User Manual
Copyright: Novation E.M.S Limited 2001 A-Station User Guide
Version 1.1
Features and specifications subject to change without notice due
to improvements
www.novationmusic.com
Table of Contents
Introduction....................................................................
Using this manual...................................................................
Main Features.........................................................................
Conventions used in this manual............................................
Quick Start Guide..........................................................
Connecting to audio equipment.............................................
Listening to the factory preset sounds...................................
Selecting sounds....................................................................
Auditioning a sound.................................................................
Editing a sound......................................................................
Saving a sound......................................................................
Listening to the factory demonstration...................................
Synthesis Tutorial.........................................................
Elements of a sound..............................................................
Oscillators and Waveforms......................................................
Mixer and Filter........................................................................
Envelopes and Amplifier..........................................................
LFOs and Memories...............................................................
Summary..................................................................................
Main features and operation.........................................
Volume, Portamento controls ,Function Switch and LED........
Mode select button..................................................................
Oscillators................................................................................
Mixer........................................................................................
Filter.........................................................................................
Amp and Mod Envelopes........................................................
LFO’s.......................................................................................
Advanced features........................................................
Effects......................................................................................
Delay........................................................................................
Reverb.....................................................................................
Chorus, Phaser........................................................................
Distortion..................................................................................
Panning....................................................................................
EQ Filter...................................................................................
Vocoder....................................................................................
Other Menus............................................................................
Arpeggiator..............................................................................
Oscillators................................................................................
Oscillators - FM synthesis.......................................................
Pitch and Modulation wheels...................................................
Aftertouch and Breath Control.................................................
Velocity, Triggering and Synchronisation................................
Utility Mode.............................................................................
Global Master tuning - Local On / Off.....................................
Global Midi clock - Midi sync...................................................
Global Velocity Curve, Display operation, Ext Audio Input.....
Saving (backing up) sounds to an external device.................
Loading (restoring) factory preset sounds...............................
Receiving sounds from an external device.............................
Connection diagram................................................................
Notes.....MIDI Volume... Sustain Pedal...................................
Appendix........................................................................
Factory Preset Sounds Listings and Examples.......................
Operating System Upgrade Process.......................................
Technical Specification............................................................
MIDI Controller List..................................................................
MIDI NRPN List.......................................................................
Packed Controller / NRPN Details...........................................
MIDI System Exclusive ...........................................................
MIDI Implementation Chart.....................................................
Menu Lists...............................................................................
FCC Information......................................................................
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A1
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A3
A4
A5
A8
A9
A10
A16
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A20
1
Thank you for purchasing the Novation A-Station Synthesizer.
This polyphonic sound module has evolved from the classic
Novation Bass Station, using the very latest Novation technology from award winning products such as the Nova and
SuperNovaII. It is capable of producing an enormous range of
high quality synthesized sounds and is an ideal machine for a
home studio set-up or for an experienced producer looking to
add an extra dimension of controllable sound power.
Using this Manual
This manual consists of four chapters, Introduction, Quick
Start Guide, Main Features and Operation, and Advanced
Features. For easy reference, the chapter name is printed in
the footer margin of each page. An Appendix on the final
pages lists all menu options and factory preset sounds list.
In order to become an expert user as quickly as possible, it is
recommended that this manual is read in sequence chapter by
chapter. If sound synthesis is an unfamiliar subject, then the
chapter ‘About Analogue synthesis’ will provide a useful introduction to the techniques used to electronically simulate the
sound of a musical instrument using an analogue music synthesizer.
If the general principles of Sound Synthesis are already familiar,
then the Quick Start Guide is the place to begin. Once familiar
with the main features of the machine, the Advanced Features
section which covers the Effects, Arpeggiator, Synchronisation,
Triggering and the Utilities, will provide all the information to
operate the A-Station in the most creative, productive way.
Main Features
* Four hundred Program sound locations
Two hundred factory programmed sounds are included and a
further two hundred user sound memory locations are provided
(the two hundred factory sounds may be overwritten).
* Powerful Oscillators
Three Oscillators provide Sawtooth, Square, Variable Pulse,
Triangle and Sine waves. The Sawtooth, Triangle and Sine
waveforms may be duplicated within an Oscillator to provide
thicker sounding waveforms. Synchronization and FM between
two Oscillators allow the generation of metallic or percussive
timbres. A white noise source completes the waveform engine.
* External Audio Input
The Mixer allows an external audio signal to be combined with
the Oscillators and processed through the Filter and Envelopes.
Envelopes may then be auto-triggered by the external signal.
* Filter
The filter in the A-Station Synthesizer delivers the liquid sound
of an analogue filter. Selectable Low-pass, 12dB or 24dB cut-off
curves with Resonance, Overdrive and Resonance normalize
make it easy to faithfully recreate anything from distorted rave
screams to tightly rounded bass patches.
* Vocoder
The 12 band Vocoder makes it easy to create Robot and Talky
sound effects.
2Introduction
Using this Manual - Main Features
Introduction
* Arpeggiator
The arpeggiator features six different pattern types with
adjustable gate time for staccato effects.
* Comprehensive MIDI control spec
Adjustments of any controls transmit MIDI Controller numbers
for real time recording by a sequencer or computer.
* Powerful Effects
The effects processor includes Distortion, Stereo Chorus,
Phaser, Reverb, Synchronized Delay and Synchronized Stereo
Panning. Complex, dynamic timbres may be created using
tempo synchronized effects settings. A final output EQ and
Filter section complete with a tempo synchronized LFO allow
for a performance to be automatically filtered and time locked
from 32nd triplets through to several bars.
Conventions used in this Manual.
The word ‘Program’ refers to a collection of knob and switch
settings that define an individual ‘Sound’. These settings are
then saved as a ‘Program’ that has a corresponding number in
the machines non volatile memory.
Throughout this manual the two words, ‘Sound’ and ‘Program’
are frequently referred to and essentially have the same meaning.
Text in CAPITALS refer to a front panel control or legend (even
though the name of the control may be in lower case on the
actual front panel). It could be a knob or button. For example
FREQUENCY refers to the Filter frequency control knob.
MODE select refers to the mode select button.
Warning Mode
If for any reason the front panel switches are set to an undetermined position (mid way between one setting and another) the
display will alert the condtion by flashing the following sequence
Should this occur, simply locate the switch that is mid position
and move it left or right.
3
Main Features
4Quick Start Guide
Connecting to audio equipment - Listening to factory preset sounds - Selecting sounds
Left / Right Master Outputs
Midi Sockets Power In
Rear Panel
Selecting Sounds
There are three ways to step through the factory preset sounds.
PROGRAM mode must be selected (the Program LED is lit or
flashing). If necessary press the MODE button until it is.
There are 4 banks of 100 sounds in the A-Station named Bank
1, 2, 3 and 4
Bank 1 100 - 199 - First bank of factory preset sounds
Bank 2 200 - 299 - Second bank of factory preset sounds
Bank 3 300 - 399 - First bank of user sounds
Bank 4 400 - 499 - Second bank of user sounds
1 - Using the 0 - 9 Keypad
Ensure the FUNCTION button is set to NORMAL. There must
always be a three digit entry on the numeric keypad, for example : To select Bank 1 sound 8, press the 1, 0 and 8 buttons.
The display reads 08 and the PROGRAM LED will blink continuously indicating that the selected program is from Bank 1;
The fastest way to become familiar with the A-Station is to follow this quick start guide. It covers connecting up the AStation, listening to the factory preset sounds, selecting
sounds, editing a sound and saving a sound.
Connecting to audio equipment
Before connecting the A-Station to other units in the system,
ensure the power to all units is off. Connect an audio cable
from the Left and Right master output sockets to a suitable
amplifier or mixing desk stereo inputs. If the A-Station is to be
operated in MONO, either output may be used.
Connect the MIDI Out from a master keyboard or sequencer to
the MIDI In on the A-Station. Connect the power supply
(Novation PSU-6) to the socket ‘Power In 9VDC’ and connect
the adapter to the AC mains. Switch on the power. The AStation front panel LED display will now display the last selected program number. Switch on other units in the Audio system.
Listening to the factory preset sounds
Ensure the FUNCTION switch is set to NORMAL. Set the
VOLUME control to a reasonably high output level. This will
maintain a good signal to noise ratio. Make sure that the input
volume setting on the system amplifier or mixer is initially set to
zero.
The A-Station is set at the factory to receive on MIDI channel
1, so ensure the keyboard or sequencer is set to transmit on
this channel. Play the master keyboard or sequencer and the
currently selected factory preset sound will be heard.
Quick Start Guide5
Auditioning a sound - Editing a sound
To select a program in Bank 2, sound 17, press the 2, 1 and 7
buttons, the display reads 17 and the program LED will blink
twice continuously indicating that the selected program is from
Bank 2; Selecting Bank 3 or 4 with a three digit entry will cause
the PROGRAM LED to blink three and four times respectively.
2 - Using the + / - Keypad buttons
Use the + and - buttons to move up or down to the next program. Pressing and holding either button for a short period will
cause the program number to advance by a further 9. This is
useful for auditioning factory preset sounds that are set ten
locations apart. For example Bass type sounds are at 100, 110,
120 etc.
3 - Using MIDI Program Change Commands
A MIDI Program change or Bank Change command sent from
an external sequencer or controller keyboard will select the
appropriate Program or Bank Number.
Auditioning a sound
As well as responding to MIDI commands from a keyboard or
sequencer, the sounds in the A-Station may be triggered or
Auditioned by pressing the AUDITION button. Each press of the
button will sequence through a selection of notes to give a clear
indication of the sound at different pitches.
Editing a Sound
Once familiar with the sounds that are available, select program
number 499. This is a very basic synthesizer sound. It can be
used as a starting point to create a new, more interesting
sound. When this sound is played from the keyboard, it will be
noticed that there is no change to the volume of the sound
other than it being on when the key is pressed, and off when
the key is released. The most useful editing controls on the AStation are on the front panel and some of these will be now be
used to modify (edit) this basic program.
While playing the keyboard, adjust the Amplifier Envelope
SUSTAIN control. Notice that the sound level when holding a
key down changes. Set this control to just over half. Now adjust
the RELEASE control. Notice how, when a key on the keyboard
is released the sound will continue after the key is released.
How quickly the sound dies away depends on the setting of this
control.The sound is still a little too bright. Adjust the FREQUENCY control in the filter area. Notice how the sound
becomes softer as the control is rotated anticlockwise. Continue
to make adjustments until a desired sound is heard. The first
small edit is complete on the A-Station!
The sound must now be saved if it is needed for the future.
Sustain control Release control
6Quick Start Guide
Sounds may be saved in any location. It is recommend that the
user locations (Banks 3 and 4, 300 - 499 ) be used early on for
saving new sound creations. The factory preset sounds in
Banks 1 and 2 may also be overwritten if desired. Once these
factory presents are overwritten, they may only be retrieved by
performing a factory restore - See page 54 (A backup of the
factory preset or user programs, either one by one or by bank
may be made to an external MIDI storage device - See page
54)
NOTE: When the A-Station is shipped from the factory, the
global memory protect switch is set to on. In order to save a
sound, the global memory protect must be switched off.
Switching off Global Memory Protect
Press the MODE button repeatedly until the UTILITY LED is lit.
Press the +(UNPROTECT) button once. The LED above and to
the right of the FUNCTION switch will now light indicating that
memory protect is now off (writing is enabled).
To save a program in the same location
Assuming the sound in location 499 has been edited, it may be
saved in the same location or a different one. To save it in the
same location, repeatedly press the MODE button until the
SAVE mode LED is lit.
Press the + (WRITE) button once. The write and edit dots on
the LED display will flash once to confirm that a new program
has been written. If a program is written and there has been no
edits (changes to the sound) then the write dot only on the LED
display will flash. Once a sound has been written, the operating
MODE will automatically return to PROGRAM mode.
NOTE: Any edits to any parameters will cause the edit LED to
light.
NOTE: Since there is only a two digit display available, a value
of any parameter greater than 99 (100 - 127) will be displayed
as (00. - 27.) Negative values greater than -9 will also be displayed as 10. - 63."
To save a program in a different location
Press the MODE select button until the SAVE LED is lit. Using
the keypad buttons 0 - 9 only, select the program number
where the new program is to be stored. Remember this is a
three digit entry, (100 - 499)
Press the + (WRITE) once. The write dot (and the edit dot if
there has been an edit) on the LED display will flash once to
confirm that a new program has been written. Once a sound
has been written, the MODE will automatically return to PROGRAM mode.
Using the Compare Function
After editing a sound it may be useful to compare it to the originally stored program.
Press the MODE button until the SAVE mode LED is lit.
Hold down the - (COMPARE) button. The sound being listened
to will be the originally stored program. Releasing the - (COMPARE) button will switch to listening to the edited sound again.
To save the edited sound, press the + (WRITE) button.
Saving a sound
Saving a sound
Quick Start Guide7
Listening to the factory demonstration
Listening to the factory demonstration
To complete this Quick Start Guide section, some time spent
listening to the sounds that the A-Station is capable of producing will be of benefit when it comes to creating new sounds.
Press the MODE select button repeatedly until the UTILITY
LED is lit. Press the AUDITION (demo) button. The Factory
demonstration will begin to play. To stop the demonstration,
either press the AUDITION (demo) button again or press the
MODE button to return to program mode.
It is recommended that this chapter is read carefully if Analogue
sound synthesis is an unfamiliar subject. Experienced users
can skip this chapter and move to the chapter - Main features
and Operation on Page 14.
Elements of a Sound
To gain an understanding of how a Synthesizer generates
sound it is helpful to have an understanding of the components
that make up a sound, be it musical or non musical.
The only way that a sound may be detected is by air vibrating
the eardrum in a regular, periodic manner. The brain interprets
these vibrations (very accurately) into one of an infinite number
of different types of sound.
Remarkably, any sound may be described by just three terms,
and all sounds always have them. They are :
* Volume
* Pitch
* Tone
What makes one sound different to another is how these three
terms change during the duration of the sound.
In a musical synthesizer we deliberately set out to have precise
control over these three terms and, in particular, how they can
be changed throughout the duration of the sound. These terms
are often given different names, Volume is referred to as
Amplitude, Pitch as Frequency and Tone as Timbre.
Pitch
Taking the example of air vibrating the ear drum, the pitch is
determined by how fast the vibrations are. For an adult human
the lowest vibration perceived as sound is about twenty times a
second, which the brain interprets as a bass type sound, and
the highest is many thousands of times a second, which the
brain interprets as a treble type sound.
Tone
Musical sounds consist of several different related pitches
occurring simultaneously. The loudest is referred to as the
‘Fundamental’ pitch Pitches related to the fundamental are
called harmonics. The relative loudness of these harmonics
compared to the loudness of all the other harmonics (including
the fundamental) determines the tone or ‘Timbre’ of the sound.
Volume
Volume, which is referred to as the amplitude or loudness of the
sound is determined by how large the vibrations are. Very simply, listening to a piano from a metre away would sound louder
than if it were fifty metres away.
8Synthesis Tutorial
Elements of a Sound
Wave A
Wave B
Time
Wave B is twice the Pitch of Wave A
Wave A
Wave B
Volume
Wave A is louder than Wave B but is the same pitch
Having shown that just three elements make up a sound, these
elements now have to be related to a Musical synthesizer. It is
logical that a different section of the Synthesizer ‘synthesizes’
these different elements.
Oscillators and Waveforms
The Oscillator is really the heartbeat of the Synthesizer. It generates an electronic wave (which creates the vibrations) at a
controllable musical pitch that has a distinctive tone or timbre.
Many years ago pioneers of musical synthesis discovered that
just a few distinctive waves contained most of the useful harmonics for musical synthesis. They are known as, Sine waves,
Square waves, Sawtooth waves, Triangle waves and Noise
Waves.
Each one has a specific fixed amount of musically related harmonics (except noise waves) that can be manipulated by other
sections of the Synthesizer. These waves are referred to as
Waveforms.
A piece of equipment known as an Oscilloscope is able to display these waveforms on a television type screen. The name
given to the waveform is simply because, when viewed on this
piece of equipment, it looks like its named wave.
The diagrams show how these waveforms look on the
Oscilloscope and illustrate the relative volumes of their harmonics.
In summary, the Oscillators generate Waveforms at a controllable pitch. These Waveforms determine the character (Timbre)
of the sound.
9
Oscillators and Waveforms
Synthesis Tutorial
Sine waves have just a single fre-
quency. This waveform produces
the purest sound because it only
has this single pitch (frequency).
Triangle waves contain odd harmonics only. The volume of each is
the square of its position in the
harmonic series. For example, the
5th harmonic has a volume of
1/25th of the fundamental.
Sawtooth waves contain all the
harmonics of the fundamental frequency. The volume of each harmonic is proportional to its position
in the harmonic series.
Square waves have only the odd
harmonics present. These are at
the same volume as the odd harmonics in a sawtooth wave.
Noise waves have no fundamental
frequency and all frequencies are at
the same volume.
Sine Wave
Volume
Volume
Volume
Volume
Volume
Harmonic
Harmonic
Triangle Wave
Harmonic
Sawtooth Wave
Harmonic
Square Wave
Harmonic
Noise
10Synthesis Tutorial
To extend the range of sounds that may be reproduced, a typical Analogue synthesizer has more than one Oscillator. The AStation has three independent Oscillators and a separate Noise
Oscillator.
For flexibility, a mixer section is included so that the amplitude
(volume level) of each of the Oscillators may be adjusted independently and mixed together to form a harmonically complex
waveform.
Filter
The A-Station is an Analogue subtractive type of music synthesizer. Subtractive implies that part of the sound is subtracted
somewhere in the synthesis process.
The Oscillators provide the raw waveforms with plenty of harmonic content and it is the Filter that subtracts harmonics in a
controllable manner.
The Filter in the A-Station is a Low Pass type. A cut-off point is
chosen and any frequencies below the point are passed and
any above are filtered out. This process of removing harmonics
from the waveforms has the effect of changing the sounds character or timbre.
In practice there is a gradual reduction in the volume of the harmonics above the cut-off point. How quickly these harmonics
are reduced in volume above the cut-off frequency is determined by the Filter’s slope. This slope is measured in ‘volume
units per octave’ Since Volume is measured in decibels this
slope is quoted in number of decibels per octave (dB). Typical
values are 12dB or 24 dB per Octave. The higher the number,
the faster the harmonics are cut and the more pronounced the
filtering effect.
A further important feature of the Filter is the Resonance control. Frequencies at the cut-off point may be increased in volume by this control. This is useful for emphasizing certain harmonics of the sound.
Mixer and Filter
Response of a typical low
pass filter. Frequencies
above the cut off point are
reduced in volume
When resonance is added,
frequencies at the cut off
point are boosted in volume
OSC1
OSC1 VOLUME
MIXER
INPUT TO
FILTER
COMPLEX
WAVEFORM
MIX OF
OSC1,2 AND 3
OSC2 VOLUME
OSC3 VOLUME
OSC2
OSC3
Volume
Volume
Frequency
Frequency
Cut off
Frequency
Cut off
Frequency
Mixer
11
Envelopes and Amplifier
Synthesis Tutorial
An Organ sound quickly attains
full volume when a key is
pressed. It stays at full volume
until the key is released, at which
point the volume falls to zero.
A Piano
quickly attains
full volume when a key is pressed and
gradually falls back down to
zero after several seconds, even
if a key is held.
A String Section emulation
attains
full volume graduall when
a key is pressed. It remains at
full volume until the key is
released, when gradually, the
volume falls to zero.
A = Attack time. Adjusts the time it takes when a key is
pressed for the envelope to climb from zero to full volume. It
can be used to create a sound with a slow fade in.
D = Decay time. Adjusts the time it takes for the envelope to
decay from full volume to the level set by the Sustain control.
S = Sustain level. Sets the level that the envelope remains at
while the key is held down.
R = Release time. Adjusts the time it takes when key is
released from the Sustain level to zero. It can be used to create sounds that slowly fade away in volume.
Envelopes and Amplifier
In earlier paragraphs, it was determined how the pitch and timbre of a sound is synthesized. This final part describes how the
volume is controlled. The volume throughout the duration of a
sound created by a musical instrument varies greatly according
to the type of instrument.
The diagrams show how three instruments have very different
volume characteristics. These volume intensity curves are
referred to as volume envelopes.
In an Analogue synthesizer, an Envelope Generator circuit is
connected to an Amplifier, which controls the Volume of the
sound.
The envelope generators have four controls that are used to
adjust the shape of the envelope.
When controlling Volume, these controls adjust the following
phases of the Envelope as shown in the illustration.
12Synthesis Tutorial
LFOs and Memories
A typical synthesizer will have one or more envelopes. One is
always applied to the amplifier. Additional envlopes are typically
used to modify the filter cut off frequency or change an oscillators pitch.
LFOs
The electronic building blocks so far described allow a sound to
be synthesized. However, apart from the volume changing
throughout the duration, the sound would be fairly static and
uninteresting.
Most musical instruments produce sounds that vary not just in
volume but also in pitch and timbre. To generate this movement, additional sound modifying blocks are included in a typical Analogue Synthesizer. These generate low frequency wavforms of distinct shapes. They are given the name LFOs ( Low
Frequency Oscillators).
The waveforms generated by the LFO’s may be fed to other
parts of the synthesizer to create the desired movements.
A typical waveshape for an LFO would be a Triangle wave.
Imagine this slow moving wave being applied to an Oscillator’s
pitch. The result would be that the pitch slowly rises and falls
above and below its original pitch.
This would simulate, for example, a violinist moving a finger up
and down the string of the instrument whilst it is being bowed.
This subtle up and down movement of pitch is referred to as
the ‘Vibrato’ effect.
As well as LFOs being available to modify (or more commonly
known as Modulate) different sections of the synthesizer, additional Envelopes may also be used.
Clearly the more Oscillators, Filters, Envelopes and LFO’s there
are in a Synthesizer, the more powerful it becomes.
Memories
Many years ago large modular machines were produced where
each part of the synthesizer was housed in a separate unit
(block). These blocks could be connected together in any combination by patch leads. Every time a new sound was required
the leads would have to be physically disconnected and reconnected.
Modern machines such as the A-Station have all the blocks in
one compact unit and the sound generating or modifying blocks
are arranged in a sensible fashion. Front panel switches and
knobs determine how each block functions and where the
sound modifying blocks such as the LFOs and Envelopes are
routed.
Synthesis Tutorial
The settings of these front panel controls (which of course
determine the current sound) may then be stored in memory
locations in the machine which can be recalled at any time.
Summary
An Analogue synthesizer can be broken down into five main
sound generating or sound modifying (modulating) blocks.
1 Oscillators that generate Waveforms at a certain
pitches.
2 A Mixer that mixes the outputs from the Oscillators
together.
3 A Filter that cuts out certain harmonics, which changes
the characteristic or tImbre of the sound.
4 An Amplifier that is controlled by an Envelope
generator, that alters the volume of a sound over
time.
5 LFO’s and Envelopes that can be used to modulate
any of the above.
Much of the enjoyment to be had with a Synthesiser is with
experimenting with the factory preset sounds and creating new
ones. There is no substitute for ‘hands on‘ experience.
Armed with the knowledge in this chapter, and understanding
what is actually happening in the machine when tweaks to the
knobs and switches are made will make to process of creating
new and exciting sounds easy - Have fun.
13
Summary
14Main features and operation
Volume and Portamento controls - Function Switch and LED
This chapter describes the main front panel controls and
how they affect a sound.
Volume knob
This knob is dual function. When the FUNCTION switch is
set to NORMAL it adjusts the overall output volume on both
the Left and Right master audio outputs on the rear panel
and the Headphone output on the front panel. Using a mixing desk as a comparison, this control can be thought of as
the channel volume fader.
When the FUNCTION switch is set to SHIFT the volume knob
adjusts the program output level. This control is used to maintain a consistent volume level without distortion throughout all
sound programs. Delicate sounds, those which use just one
Oscillator and closed filter settings, can be increased in volume
using this control. Conversely, sounds that use all Oscillators
and high polyphony (6 to 8 notes played at once), can be
reduced in volume to avoid distortion. Using a mixing desk as a
comparison, this control can be thought of as the gain or trim
control for the channel.
Portamento / Value knob
This knob is dual function. When the FUNCTION switch is set
to NORMAL (left position) it adjusts the Portamento effect.
Notes change instantly from one pitch to another when this
knob is zero. Turning the knob clockwise introduces the
Portamento effect. Notes will glide smoothly from one pitch to
the next. Increasing the amount will slow the time taken for the
pitch of the first note to reach that of the second note played.
When the FUNCTION switch is set to SHIFT (right position) this
knob adjusts the value of the data on the display. For example
if Reverb is selected, this knob will control the amount of
Reverb applied to the sound.
Function switch and LED
This switch and its associated LED behave differently depending on the MODE selected.
Function switch operation in PROGRAM MODE
Set to NORMAL, programs may be selected by using the 0-9
and + / - keys on the data entry keypad. Set to SHIFT, the 0-9
keys select the function labeled in the light blue highlighted
area below each rubber key such as Delay, Reverb. The + / keys may still be used to select the PROGRAM number. The
LED above the switch will light to indicate SHIFT selected. In
SHIFT position, certain other front panel knobs and switches
have a secondary (shifted) function. - See following pages.
LED operation SAVE and UTILITY mode
In SAVE and UTILITY mode, the LED above the FUNCTION
switch will light if writing to program memory is enabled. (Global
memory protect set to ‘off’).
Main features and operation
15
Mode Select Button
This stereo output jack socket will drive most Stereo headphones and monitors the main Left and Right audio outputs.
Mode Select button
Selects which MODE the 0-9 keys and + / - keys are operating
in. The mode is indicated by one of five LEDs on the right hand
side of the LED display panel.
When the A-Station is switched on, PROGRAM mode is automatically selected.
Each time the button is pressed, the next operating mode will
be selected - SAVE, UTILITY, MIDI TX Channel and MIDI RX
Channel and a final loop back to PROGRAM mode. The MODE
sequence will run from the bottom to the top of the column of
LEDs.
PROGRAM MODE
Sounds (programs) may be selected using the 0-9 and + / - key
on the keypad. The PROGRAM LED indicates what program-
bank is selected.
SAVE MODE
Sounds (programs) may be compared (using - key), or written
to (using + key) a memory location in this mode. The 0 - 9
keypad buttons are used to select the destination memory location for the sound to be saved. - Also see Page 6.
UTILITY MODE
The Global Menu (which has options that affect the overall
operation of the machine and the sending of Program memories to external devices (backing up)) may be accessed in this
mode. Pressing keypad button 0 activates the Global Menu.
See Page 50 for Global settings and Page 54 for saving sounds
to external devices.
MIDI Tx CH mode allows the MIDI transmit channel to be set.
Use the PORTA/DATA knob to enter the channel number. The
recognised MIDI channel numbers are 01 to 16.
NOTE: The MIDI TX and RX channel settings are automatically
memorised when exiting from this mode.
MIDI Rx CH mode allows the MIDI receive channel. Use the
PORTA/DATA knob to enter the channel number.
The MIDI RX CH LED will flash when MIDI data is received on
the selected channel.
Mode Button Operating Mode
Power up default Program
1st Press Save
2nd Utlity
3rd MIDI Transmit Channel
4th MIDI Receive Channel
5th
Headphone Jack
16
Oscillators
Oscillators
The Oscillators generate pitched waveforms (as described in
the Synthesis tutorial) and these are fed into the Mixer.
Most of the controls that determine the pitch and waveform of
the Oscillators, and how they react to modulation are in this
area.
Osc Select Switch
There are three independent Oscillators and each one can be
independently controlled by the switches and knobs in the
Oscillator area. To adjust the controls for Oscillator 1, select
position 1, to adjust Oscillator 2, select position 2 and to adjust
Oscillator 3, select position 3.
Octave Switch
Sets the basic pitch of Oscillator 1, 2 or 3 in Octave jumps. To
change the basic pitch of Oscillator 1, set the OSC SELECT
switch to position 1 and move the OCTAVE switch to position 1
NOTE: The 0 position corresponds to the pitch of 440Hz when
note A above middle C is played.
Waveform Switch
In the position, the selected Oscillator’s waveform will
change to Sawtooth if the FUNCTION switch is set to NORMAL or Sine if the FUNCTION switch is set to SHIFT.
In the position, the selected Oscillators waveform will
change to Square if the FUNCTION switch is set to NORMAL
or Triangle if the FUNCTION switch is set to SHIFT.
Oscillator 1 - 2 Sync Switch
Synchronizes the waveform of Oscillator 2 to Oscillator 1. Each
time Oscillator 1 completes its cycle it resets the start cycle of
Oscillator 2. When listening to Oscillator 2 only, it has a dramatic effect on the timbre of the sound. The easiest way to illustrate the effect is to create a sound using the Oscillator Sync.
Creating a sound using the Sync Effect
Select a factory preset basic sound - preset 499. Select OSC 1
and set its WAVEFORM to square - . Turn the OSC 1 &
2 knob in the MIXER section to fully clockwise to OSC 2. Select
OSC 2 in the Oscillator Section. Select OSC 2 WAVEFORM to
square - . Play a note and listen to the sound. It will be
a simple tone.
Apply a little MODE ENV depth by turning the MOD ENV
DEPTH knob slightly clockwise from centre. Adjust the MOD
ENV ATTACK and MOD ENV DECAY in the Envelopes section.
Listen to the sound, it will now rise and fall quickly at the begin
Main features and operation
17
Oscillators
ning of the sound and rest at a final pitch. Finally turn the OSC
1-2 sync on by sliding the switch to the ON position.
Experiment with the sound by raising the semitone pitch of
OSC 2 and by adjusting the MOD ENV ATTACK and DECAY
knobs in the Envelopes section.
PWM (Pulse Width Modulation) Source switch and Pulse
Width knob
The function of the PULSE WIDTH knob is dependent on the
PWM SOURCE switch.
With the switch in the MANUAL position, the PULSE WIDTH
knob will manually control the pulse width of a square waveform (The selected waveform for the Oscillator must be Square
for this to happen). In order to understand how the Pulse Width
knob affects other waveforms see the paragraph following titled:
Width control of other Waveforms.
With the PULSE WIDTH knob in the central position, the Pulse
Width wave becomes a square wave. As the knob is adjusted
clockwise, or anticlockwise, the Pulse Width becomes narrower,
producing thinner more nasal sounds.
With the PWM SOURCE switch in the LFO 2 position, the width
of the Pulse Wave may be modulated by either LFO 2, or, when
the FUNCTION switch is set to SHIFT, the MOD ENV. The
intensity of this modulation is determined by the PULSE WIDTH
knob. With the Pulse Width knob at central position there is no
effect. Turning clockwise or anticlockwise introduces the effect.
Continuous variation in the width of a pulse waveform (which is
what is happening when LFO 2 is modulating it) changes the
harmonic content. This is pleasing to the ear, especially at
lower pitches where all the associated harmonics fall within the
audio range.
When modulated by the MODE ENV, the effect is most apparent when using fairly long Mod Env Attack and Decay times.
Width control of other waveforms
If the square wave is not selected for the Oscillator being
adjusted by the pulse width control, its waveform will gradually
change to a double waveform of the same type as the pulse
width control is moved away from its central position.
Very thick sound textures may be created by using LFO2 to
modulate this doubling effect. To hear the effect, select a sawtooth waveform for one of the Oscillators. Set the PWM
SOURCE switch to the LFO2 position. Set LFO2’s waveform to
triangle. Introduce an amount of modulation from LFO2 by
moving the PULSE WIDTH knob from its central position.
Adjust the speed of LFO2 and notice how the speed affects the
apparent detuning ‘thickening’ of the sound.
Main features and operation
18
Oscillators
Detune Knob
Sets the detune amount in Cents for the selected Oscillator 1,2
or 3. If it is set fully clockwise, Oscillators pitch will be 50 cents
sharper than its basic pitch, fully anticlockwise and it will be 50
cents flat.
Slight detuning between each Oscillator will enrich the sound by
introducing a beating between the Oscillators (in the same way
a 12-string guitar sounds richer than a 6-string). Bass and lead
sounds can be fattened up using a small amount of detune.
Large amounts of detuning will lead to more extreme effects.
Semitone
Raises or lowers the selected Oscillators pitch in semitone
increments up to a full octave. By setting the pitch of Oscillator
1 to zero and adjusting the pitch of Oscillator 2 and 3 by differing amounts results in some musically pleasing intervals.
Settings 5 (a perfect 4th), 7 (a perfect 5th), 3 (minor 3rd), 4
(major 3rd), 8 (minor 6th) and 9 (major 6th) offer the best
results.
Mod Env Depth Knob
Controls the amount of pitch modulation to the currently selected Oscillator from the Mod Envelope. In the centre position
there is no effect on the oscillator's pitch, anticlockwise the
effect is negative (i.e. the pitch drops and then rises) and clockwise positive (the pitch rises and then falls).
See Page 22 - Amp and Mod Envelopes, for the setting of the
rise and fall times.
LFO1 Depth Knob
Controls the amount of pitch modulation to an Oscillator from
LFO 1. It controls how much above and below the basic pitch
the Oscillator regularly rises and falls. If the LFO is set to
Triangle wave and the LFO’s speed knob is above the centre of
its range, this will produce a vibrato effect. Other effects like a
siren or sea gull cry are possible with more extreme settings.
Main features and operation
Main features and operation19
Mixer
Mixer
The Mixer makes it it possible to combine the outputs of
Oscillators 1,2 and 3, the Noise source, the Ring modulator and
the external Audio Input. The ability to mix together any or all of
these sound sources makes easy to create complex timbres.
Osc 1 & 2 Knob
Controls the volumes of the two Oscillators. Fully anticlockwise
results in no signal. In this position and with all the other Mixer
levels turned down, there will be no audio output. Turning clockwise, Oscillator 1 will be introduced. At the 1 & 2 position both
Oscillators will be of equal volume. Fully clockwise results in
Oscillator 2 only being heard.
Osc 3 Knob
Controls the volume of Oscillator 3. Fully anticlockwise results
in no signal. Fully clockwise results in full volume for this
Oscillator.
Source Switch and level Knob
Selects which sound source the level knob will control.
In the NOISE position it controls volume of the White Noise
Generator. White Noise is useful for creating sound effects such
as Wind.
In the RING position it controls the volume of the Ring
Modulator. Ring Modulation is useful for creating harder Metallic
tones.
In the EXT position it controls the volume of the External audio
input signal. This signal can be processed by the filter,
envelopes and effects.
Note: All three sound sources may be used simultaneously and
if they are, it may be necessary to reduce the program level
(see page 14).
Resonance ( Resonance Normalize ) Knob
This knob is dual function, When the FUNCTION select switch
is set to NORMAL this knob will control the Resonance of the
Filter. The control will boost frequencies at the Cut off frequency. On on some synthesizers this control is known as
Emphasis since it will emphasize certain frequencies. At the
zero position there is no effect. Turning clockwise slowly introduces the emphasis.
If set fully clockwise, the Filter will begin to self oscillate, producing a new pitched element (similar to feedback on an electric guitar).
When the FUNCTION select switch is set to SHIFT, this knob
controls the Resonance Normalize. At zero, when resonance
is applied, the main audio signal will remain at normal levels.
Adjusting clockwise will reduce the signal level in relation to
the resonance level. This control enables the Filter to emulate
20
Filter
Filter
The Filter is a Low Pass type. As the frequency knob is adjusted
anticlockwise, harmonics are gradually removed from the sound.
When almost closed, only the fundamental frequency remains.
Fully closed and no sound at all passes. This type of Filter is
musically the most useful, especially for bass sounds.
Cut off Switch
Controls how drastically the frequencies above the Cut off point
are removed from the sound. In the 12dB position, the Cut off
slope is gentle so higher harmonics are not attenuated (reduced
in volume) as sharply as they are when in the 24dB position.
Frequency ( Overdrive ) Knob
This knob is dual function, When the FUNCTION select switch is
set to NORMAL it controls the basic Cut off frequency of the filter. If set fully clockwise and the filter is wide open allowing all
frequencies (harmonics) produced by the Oscillators to sound.
As the knob is turned anticlockwise, the filter closes, cutting out
harmonics, starting with the highest, then increasingly lower ones
until only the fundamental or nothing at all is allowed to sound
(fully anticlockwise).
If there is silence when the VOLUME knob is turned up, it is most
likely that the Filter is fully closed. Turn the Frequency knob
clockwise to open the filter.
When the FUNCTION select switch is set to SHIFT, this knob
controls the Filter OVERDRIVE. Used in large amounts it will
have the effect of making the sound richer and slightly distorted.
Main features and operation
21
Filter
many of the classic Filters such as the Moog type, Oberheim
type and Roland TB303* type.
If the A-Station produces a high pitched whistling sound, it is
probably due to this knob is being adjusted too far clockwise. If
this self-oscillating effect is not desired, keep the Resonance
control away from the extreme clockwise setting. Increasing the
Resonance is very good for bringing out modulation (movement
or change) in the filter Cut off frequency, such as in Acid bass
lines and other very edgy sounds.
K’YBD Track Knob
Controls the amount of change to the filter Cut off (set by the
Frequency knob) by the pitch of the note played. Set fully anticlockwise and there is no change to the filter Cut off frequency.
With clockwise movement there will be an increasing amount of
modulation. The filter will be opened more as higher notes are
played on the keyboard. This control is used to define how the
timbre of a sound changes over the keyboard. At the 10 position the filter tracks the pitch changes in a 1 to 1 ratio.
Mod Env Knob
Controls the amount of change to the filter Cut off (set by the
Frequency knob) by the Modulation Envelope. In its central
position there is no change to the filter Cut off frequency.
Adjusting the knob anticlockwise from centre will introduce an
increasing amount of negative modulation. The filter will close
as the MOD ENV runs through its cycle. Adjusting the knob
clockwise from centre will introduce an increasing amount of
positive modulaton. The filter will be opened by the MOD ENV.
LFO 2 Depth Knob
Controls the amount of change to the filter Cut off (set by the
Frequency knob) by LFO 2. In its central position there is no
change to the filter Cut off frequency. Adjusting the knob anticlockwise from centre will introduce an increasing amount of
negative modulation. The filter will close and open in time with
LFO2 (this creates the popular wow wow effect).
Adjusting the knob clockwise from centre will introduce an
increasing amount of positive modulaton. The filter will open
and close in time with LFO 2.
NOTE : An external audio signal such as a microphone, guitar
or CD player may be processed by the filter and effects. Refer
to pages 50, 54 and 55 in the Advanced Features Chapter for
more details on setting up this feature.
*TB303 is a trademark of the Roland corporation of Japan
Main features and operation
Main features and operation 22
Amp and Mod Envelopes
Attack Knob
Sets how quickly the envelope rises to its maximum level when
a note is struck. Fully anticlockwise and this rise time or slope
is very fast, less than half a thousanth of a second (instantaneous to the ear) increasing exponentially to twenty seconds
when fully clockwise. To shorten attack times turn this knob
anticlockwise and to lengthen attack times turn this knob clockwise.
NOTE: When the attack time is set to Zero the instantaneous
rise time of the Envelope may produce audible ‘clicks’. This is
not a faulty condition and may be useful for the creation of certain sounds. If this is undesirable, increase the Attack time until
the clicks are inaudible.
Decay Knob
Sets how quickly the envelope falls to a sustain level after the
maximum level has been reached. Fully anticlockwise and this
time is about one thousanth of a second (still instantaneous to
the ear ) increasing exponentially to twenty seconds when fully
clockwise.To shorten decay times turn this knob anticlockwise
and to lengthen decay times turn this knob clockwise.
Sustain Knob
Sets the level at which the envelope remains following the
Decay phase, only while a key is being held on a controller keyboard (or there is a Midi note on command present). Fully anticlockwise and the envelope will decay to zero without being
interrupted. As the knob is turned clockwise, the sustain level
increases until, when fully clockwise, the sustain level is at
maximum.
Release Knob
Sets how quickly the envelope falls from the sustain level to
zero once the note has been released. Fully anticlockwise this
time is about one thousanth of a second (instantaneous to the
ear) increasing exponentially to twenty seconds when fully
clockwise.To shorten release times turn this knob anticlockwise
and to lengthen release times turn this knob clockwise.
Amp and Mod Envelopes
The Envelopes are used to shape the sound throughout its
duration. The AMP Envelope determines the volume of the
sound with respect to its duration.
The MOD Envelope may be used to control other sound elements of the synthesizer throughout the duration of the sound.
It can control Pulse Width, Filter frequency and Oscillator Pitch.
Main features and operation23
LFOs
LFOs
There are two LFOs - Low Frequency Oscillators - available.
These produce regular electronic variations which are too low
to be heard when converted into audio vibrations. They can be
used to modify various elements of the sound, producing regular changes in pitch (vibrato), pulse width or filter Cut off.
LFO Select Switch
Selects which LFO the Speed, Delay and waveform controls
relate to. Select position 1 for LFO 1 and 2 for LFO 2.
Speed Knob
Controls the speed of the low frequency Oscillations. An LED
directly below the knob indicates the speed. Faster speeds are
set by turning the knob clockwise. These are suitable for vibrato
and tremolo effects. Slower speeds are more appropriate for
Pulse Width changes or special effects.
Delay Knob
Controls how long after the note is struck the selected LFO
begins to take effect. Fully anticlockwise and the selected LFO
effect will begin immediately. Turning clockwise it will introduce
a time delay before the LFO effect can be heard. This is particularly useful for delayed vibrato effects.
Shape - Switch
Selects the waveform shape for the selected LFO.
S/H - Sample & Hold. At a regular interval (governed by the
Speed knob), the level of the LFO jumps to a new random level
and stays there until the next jump. This creates a rhythmic
effect particularly if routed to the Filter Cut off. Routing this to
pitch gives a less musical result, but is useful for computer or
machinery sound effects.
TRI -Triangle waveform gives the smoothest continuous change
in level to the LFO. When routed to pitch, it introduces vibrato
or a siren effect dependent of its speed setting. When routed to
Filter Cut off, a Wow Wow effect results.
SAW - Sawtooth waveform generates a falling level which then
jumps back up to full level. Routed to the Filter Cut off, it produces a rhythmic pulse effect. Routing it to pitch produces siren
type sounds.
SQR - Square waveform changes level instantly from minimum
to maximum. This waveform is useful for trills and computer
game effects.
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