Novation Super Bass Station User Manual

Owners

Manual

ENABLEPROTECT

MAN LFO 2ENV 2

12dB 24dB

OFF ON

1 2 1 2

LFO 1 AND 2 OSCILLATORS 1 AND 2 MIXER FILTER ENVELOPE 1 AMPLIFIER

ENVELOPE 2 FILTER

TRIGGERING SAVESAVE TYPE

WRITE

COMPARE

DATA ENTRY MODEAUDITIONWRITEHEADPHONES SHAPELFO SELECT WAVEFORMRANGE OSC SELECT SOURCE K'YBD TRACK ENV 2 DEPTHOSC 1 - 2 SYNC PWM SOURCE SUB OSC CUT-OFF

PORTAMENTOVOLUME DELAYSPEED SEMITONEDETUNE LFO 1 DEPTHENV 2 DEPTH FREQUENCYLEVEL LFO 2 DEPTHRESONANCEOSC LEVEL

PULSE WIDTH

DECAY SUSTAINATTACK RELEASE

16' 8' 4' 2'

TRI SAWSQRRDM

DEMO

RING EXTNOISE

VELOCITY

PITCH B/ MOD D

PANNING

CV / GATE CH

AT/ BTH MOD

MIDI CLOCK

CHORUS / DIST

ARPEGGIO

TUNING

OSC 1

010010 012

50 50

5555

010010010

010010010010

010

OFF

1 & 2

OSC 2

010010

DATA

MIDI RX CH MIDI TX CH

PROGRAM

EDIT WRITE

UTILITY

SAVE

Introduction 1 Front Panel Controls 2 Rear Panel Connections 3 Connections & Setting up 4 Applications - Basic 5 Applications - Advanced 6 Selecting Programs / Finder Mode 9 Editing & Writing Programs / Compare 10 Factory & Restoring Factory Programs 11 About Analogue Synthesis 12 Block Diagram 17 Master Volume Section 18 Data Entry / Program Section 20

Keypad 20 Audition - Auto Trigger Button 21 Mode Button - Program Banks 22 Midi TX & RX Channels 23 Utility Mode / Operation 24

Button 1 Pitch Bend / Mod 24 Button 2 Aftertouch / Breath 27 Button 3 Velocity 31

Button 3 Sound Category 32 Button 4 Chorus 34 Button 4 Distortion 36 Button 5 Arpeggiator 37 Button 6 Panning 42 Button 7 MIDI Clock 44 Button 8 CV / Gate Channel 54 Button 9 Tuning 56 Button 0 Triggering 56

Factory Demo 61 Saving System Exclusive Data Dumps 62 Loading System Exclusive Data Dumps 63

LFO 1 and 2 Section 65 Oscillator 1 and 2 Section 68 Mixer Section 73 Filter Section 75 Envelope 1 and 2 Section 78 MIDI Implementation 80 Controller Map 81 Troubleshooting Guide 82 Specification 83 Ident Map O.B.C.

Table of

Contents

Thank you for buying the Novation Super Bass Station Analogue Synthesiser. The module you have purchased is ideal for producing the kind of classic synthesised sounds which have returned to popularity in recent years and features all the Classic methods of Analogue Subtractive Synthesis. Based on the award winning BassStation Keyboard and BassStation Rack, the Super Bass Station features Two Main Oscillators with selectable waveforms plus a new Sub Oscillator that generates deep bottom end and a fatter sound. Like the BassStation Rack the Super Bass Station also offers Oscillator Sync that allows creation of metallic timbres. ARing Modulator has been added and there is also a new White Noise Source as well as an External Audio Input for greater tonal flexibility. The new Mixer Section makes it easy to combine these sources together allowing for the creation of complex timbres. The filters in the Super Bass Station deliver the liquid Sound of Analogue Filters because they are Analogue. They have been carefully engineered so they retain the character and warmth of classic analogue synthesisers. Selectable, 12db or 24db, cut-off curves make it easy to faithfully recreate anything from a TB303* to a more traditional synthesiser sound featuring that liquid resonance that can only be created using analogue technology. With the Super Bass Station the front panel is self explanatory with every Parameter that is needed having its own knob. All the knobs transmit MIDI Controllers for easy recording of any movements in real-time on a sequencer and as they are controllers they are easy to edit. Once “that sound” has been created the Super Bass Station has 150 RAM Program locations to store them in. These plus the 50 ROM programs can be recalled with MIDI Program Change messages. The Super Bass Station features a built in Analogue Distortion Effect. This can add the edge to harder sounds or at high levels of drive, can really make a sound scream. Additionally there is a Stereo Analogue Chorus that not only fattens up the sound but also provides boost to the bottom end. The Super Bass Station also features a Stereo Panner that can be assigned to LFO’s and Envelopes allowing enhanced dynamic control of the stereo image. The Super Bass Station is one of the most versatile and creative Analogue Synthesisers available today, with the degree of MIDI control and accessibility it will deliver “that sound” quickly and easily. Super Bass Station...Analogue, you are about to hear the difference.

Introduction

Section

Controls

123 4 56 7

Front Panel

1 Master Volume Section

This section contains the Master Volume control, Portamento / Data Entry control, Headphone output socket and the Program write switch.

2 Data Entry/Program Section

This section contains the 12 Data Entry buttons, Display and Menu LED’s, Audition / Demo and Mode select buttons.

3 LFO 1 and 2 Section

This section contains the Speed and Delay controls and the Shape and LFO select switches.

4 Oscillator 1 and 2 Section

This section contains the Detune, Semitone, ENV2 Depth, LFO 1 Depth and Pulse Width controls and the Range, Waveform, Osc Select, Osc 1 - 2 Sync and PWM Source switches.

5 Mixer Section

This section contains the Osc Level, Noise / Ring Modulation / External Audio Input Level, Sub Osc Level controls and the Source switch.

6 Filter Section

This section contains the Frequency, Resonance, LFO 2 Depth, ENV 2 Depth and K’YBD Track controls and the CutOff switch.

7 Envelope 1 and 2 Section

This section contains the Attack, Decay, Sustain and Release controls for Envelopes 1 and 2.

010010

AT/ BTH MOD

DATA

CHORUS / DIST

ARPEGGIO

PORTAMENTOVOLUME DELAYSPEED SEMITONEDETUNE LFO 1 DEPTHENV 2 DEPTH FREQUENCYLEVEL LFO 2 DEPTHRESONANCEOSC LEVEL

CV / GATE CH

MIDI CLOCK

ENABLEPROTECT

TRIGGERING SAVESAVE TYPE

COMPARE

DATA ENTRY MODEAUDITIONWRITEHEADPHONES SHAPELFO SELECT WAVEFORMRANGE OSC SELECT SOURCE K'YBD TRACK ENV 2 DEPTHOSC 1 - 2 SYNC PWM SOURCE SUB OSC CUT-OFF

MIDI RX CH MIDI TX CH

PANNING

EDIT WRITE

TUNING

WRITE

010010 012

UTILITY

SAVE

DEMO

1 2 1 2

50 50

16' 8' 4' 2'

TRI SAWSQRRDM

5555

LFO 1 AND 2 OSCILLATORS 1 AND 2 MIXER FILTER ENVELOPE 1 AMPLIFIER

PROGRAM

VELOCITY

PITCH B/ MOD D

OFF ON

PULSE WIDTH

MAN LFO 2ENV 2

OSC 1

1 & 2

OSC 2

OFF

010010010

RING EXTNOISE

010

12dB 24dB

010

010010010010

DECAY SUSTAINATTACK RELEASE

010010010010

ENVELOPE 2 FILTER

Rear Panel

Connections

1 Clock Out

This connector is used to control the Tempo of vintage analogue equipment that utilises analogue trigger pulses. MIDI Clock, LFO’s or the Arpeggiator can be selected as the master.

2 CV / Gate Outputs

These two connectors are used to interface vintage analogue equipment that utilise Control Voltage for pitch control and Gate Pulses for envelope control. MIDI note messages are converted to CV /Gate and output from these connectors.

3 Mixer External Audio Input

This connector allows external signals to be processed by the Super Bass Station’s filters and envelopes. External signals can also be used as triggers for the envelopes.

4 Master Outputs

These connections deliver a stereo line level output signal for connection to a mixing desk or amplifier.

5 MIDI Connections IN - This connector is used to receive MIDI Data from an

external device. OUT - This connector is used to Transmit MIDI Data to an external device. THRU - This connector re-transmits MIDI Data received by the MIDI IN socket to an external device.

6 9V DC Input

Connect the output plug of the AC Adaptor supplied ( PSU-4 ) with the Super Bass Station to this socket.

POWER IN

9V DC

LEFTEXTERNAL

AUDIO INPUT

CV OUT GATE OUT

IN OUT THRU

RIGHTOUT

BASS SYNTHESISER MODULE

CAUTION: DO NOT OPEN CASE. NO USER SERVICEABLE PARTS INSIDE. REFER TO QUALIFIED SERVICE PERSONNEL.

This device complies with Part 15 of the FCC Rules. Operation is subject to the following two conditions: 1.This device may not cause harmful interference. 2.This device must accept any interference received, including interference that may cause undesired operation.

MADE IN ENGLAND

1234 5 6

POWER IN

9V DC

LEFTEXTERNAL

AUDIO INPUT

CV OUT GATE OUT

IN OUT THRU

RIGHTOUT

BASS SYNTHESISER MODULE

CAUTION: DO NOT OPEN CASE. NO USER SERVICEABLE PARTS INSIDE. REFER TO QUALIFIED SERVICE PERSONNEL.

MADE IN ENGLAND

Connect the Left and Right sockets of the Super Bass Station to a suitable amplifier or mixing desk’s stereo inputs and set the “Volume” control on the front panel to a reasonably high output level (9-10). This will maintain a good signal to noise ratio. Make sure that the input volume setting on your amplifier or mixer is initially set to zero. Connect the MIDI Out from your master keyboard or sequencer to the MIDI In on the Super Bass Station and check that the “Write” switch is in the “Protect” position. Now, connect the power supply ( Novation PSU-4 ) to the socket marked “Power In 9VDC” and plug into a suitable AC power outlet. Switch on the power to the Super Bass Station and the display should now illuminate showing the last selected program number. Now switch on your amplifier and adjust the volume accordingly. The master keyboard or sequencer will play the currently selected program ( the Super Bass Station is initially set at the factory to receive on MIDI channel 1). To listen to all the factory preset sounds, first make sure the “Program” LED is on ( if not, use the “Mode” button to re-select ) and then use the “Data Entry” keypad to call up sounds. See page 9

Connections

& Setting up

BASIC SETUP

Master Keyboard / Workstation

Novation PSU4 Power Supply

MIDI INMIDI OUT

Computer / SequencerAmplifer / Mixer and Monitors

Audio Inputs

If you wish to use the Super Bass Station in MONO, simply use the left channel output only.

“Selecting Programs / Finder Mode” for more information on selecting sounds. You can also use the “Audition” button on the front panel to trigger the sounds.

On page 4 is a diagram of the basic way to set up the Super Bass Station . Normally the setup should be as follows: If the Master Keyboard is a “Workstation” i.e. it has a Synthesiser built in, turn “Local Off” or the equivalent in its MIDI setup. ( Refer to the manufacturers Owners Manual for details on how to do this. ) Turn the Computer Software / Sequencer’s ‘soft Thru” (or sometimes called “Echo Back”) to the “ON” or “Enabled” position. Now when selecting a “Track” in the Computer Software/Sequencer that is assigned to the MIDI RX channel of the Super Bass Station, (Refer: Page 23) playing the keyboard should play the Super Bass Station through the Headphones / Monitors. Similarly “Tracks” in the Computer Software/Sequencer that are assigned to the MIDI channel(s) of the “Workstation” should make it produce sound. If not please refer to the Keyboard & Computer Software / Sequencer manufacturers Owners Manuals for details on how to do this.

NOTE: This setup does not allow the recording of knob movements on the Computer Software/Sequencer. This is because the MIDI output of the Super Bass Station is not connected to the input of the Sequencer/Computer. To record Knob movements in real-time refer Advanced Setup on page 6.

NOTE: If there are additional Keyboards/Modules connected via MIDI as shown, this diagram does not include audio for the Keyboard/Module. The audio outputs of these devices must also be connected to the mixer.

Applications

Basic

POWER IN

9V DC

LEFTEXTERNAL

AUDIO INPUT

CV OUT GATE OUT

IN OUT THRU

RIGHTOUT

BASS SYNTHESISER MODULE

CAUTION: DO NOT OPEN CASE. NO USER SERVICEABLE PARTS INSIDE. REFER TO QUALIFIED SERVICE PERSONNEL.

MADE IN ENGLAND

Applications

Advanced

This is the advanced way to setup the Super Bass Station and utilises all of the rear panel features. This setup allows realtime recording of knob movements onto the Computer Software/Sequencer as both the MIDI output of the keyboard and the MIDI output of the Super Bass Station are merged with an external (not supplied) MIDI Merge box. If the Master Keyboard is a “Workstation” i.e. it has a Synthesiser built in, turn “Local Off” or the equivalent in its MIDI setup. ( Refer to the manufacturers Owners Manual for details on how to do this. ) Turn the Computer Software/Sequencer’s ‘soft Thru” (or sometimes called “Echo Back”) to the “ON” or “Enabled” position. Now when selecting a “Track” in the Computer Software / Sequencer that is assigned to the MIDI RX channel of the Super Bass Station, (Refer: Page 23) playing the keyboard should play the Super Bass Station through the Headphones / Monitors. Similarly “Tracks” in the Computer Software / Sequencer that are assigned to the MIDI channel(s) of the “Workstation” should make it produce sound. If not please refer to the Keyboard & Computer Software/Sequencer manufacturers Owners Manuals for details on how to do this.

Master Keyboard / Workstation

Sustain Pedal

Novation PSU4 Power Supply

MIDI INMIDI OUT

MIDI Merge Box

MIDI INMIDI OUT

Computer / SequencerAmplifer / Mixer and Monitors

Audio Inputs

Vintage Analogue Synthesizer

Arp Trigger Input CV IN Gate IN Audio OUT

To use the Super Bass Station’s CV and Gate outputs with older analogue equipment establish which type of interface your vintage equipment has. There are several differing types of CV and Gate and so you should check in the vintage equipments owners manuals for details of what standard your equipment is. If this is not available, set as shown in the table below. This covers most types of CV and Gate variations however there are sometimes slight variation between different models made by the same manufacturer. You will have to set the MIDI Channel you want the analogue equipment to respond to and the “type” of CV Gate should also be specified. To do this refer to page 54 “CV / Gate Channel” and page 55 “CV / Gate Type” for details.

Identfor CV / Gate type parameter Manufacturer CV Type Gate Type Range

“00” = Ronald / Arp / Sequential Volts Per Octave +Gate Pulse C0 to C5 “01” = Yamaha / Korg Hertz Per Octave - S/Trig C-1 to C5 “02” = Moog Volts Per Octave +S/Trig C0 to C5 “03” = Ronald / Arp / Sequential Volts Per Octave +Gate Pulse C-1 to C4 “04” = Yamaha / Korg Hertz Per Octave - S/Trig C-2 to C4 “05” = Moog Volts Per Octave +S/Trig C-1 to C4

The Super Bass Station can also have it’s Arpeggiator Latch parameter switched on and off via MIDI. To do so connect a sustain pedal to the master keyboard. The Super Bass Station reads sustain information as Arpeggiator latch “on” / “off” so depressing the sustain pedal will switch the Arpeggiator latch “on” and releasing the sustain pedal will switch Arpeggiator latch “off”. For this to work properly the master keyboard should be transmitting on the same MIDI channel as the RX channel of the Super Bass Station. Additionally this parameter may work in the reverse manner as described if the incorrect footswitch is connected to the master keyboard. Some master keyboards have the ability to reverse this, refer to the master keyboards owners manual for details.

Applications

Advanced

Alternatively you can control this feature from a sequencer. To do so simply transmit controller 64 with a value of 127 to turn the Arpeggiator latch “on” and transmit controller 64 with a value of 0 to turn the Arpeggiator latch “off” on the same MIDI channel as the RX channel of the Super Bass Station.

The Super Bass Station can also be used as an effects processor. Feed and external signal into the External Audio Input and adjust the “Level” rotary in the “Mixer Section” with the “Select Switch” set to “External” and you should hear the external signal from the outputs of the Super Bass Station. If not check the Filter and the “External Auto Trigger Level” and “Triggering” parameter settings. (refer page 59 and 56 respectively for details ) The Filter allows not only tonal changes to be made to the sound but resonance can also be applied. Additionally the external signal can be processed by the Analogue Distortion, Analogue Chorus and the Panner Effects. The Super Bass Station can be set to generate triggers to run its envelopes from external signals. This is great for making Synthbasses from real Bass signals or Triggering the envelopes from an external Drum Machine for instance. To do this set the “Level” parameter in Page 3 of Utilities, button 0, “External Auto Trigger Level” ( refer page 59 for details ) and switch the “Triggering” parameter to “EA”in Utilities, button 0. ( refer page 56 for details ) The “External Auto Trigger Level” parameter controls how loud an external signal has to be before the external signal will trigger the envelopes. The range is to “01” to “99”. The number indicates the “Trigger Threshold Level”, the higher the value the louder the external signal has to be before triggers are generated. The “Triggering” controls how the envelopes are triggered. In the most of the range the envelopes are triggered by incoming MIDI note data. If this parameter is set “EA” then incoming MIDI note data does not trigger the envelopes, the external signal does. NOTE: This function works independently from the “Level” control in the mixer section. NOTE: If you have the “Triggering” set to “EA” no sound will be heard when MIDI notes are sent to the Super Bass Station until an external signal connected to the external signal input goes past the trigger level set with this parameter. If no external signal is present or connected and this parameter is set to “On” no sound will be heard when MIDI notes are sent to the Super Bass Station.

Applications

Advanced

There are three ways to select a program. First make sure you are in the “Program Mode”. The “Program Mode” is selected if the “Program LED” is lit or flashing. If it is not press the MODE button until it is. There are 2 “Banks” of 100 sounds in the Super Bass Station. They are divided up as follows: You cannot store programs in the ROM area (“A” Bank 000 - 049) only in the RAM area.( “A” Bank 050 - 099 and “B” Bank 100 - 199) If you edit a ROM program, you can save it in one of the 150 RAM user program locations. There are three methods in which you can select a Program :

1. DIGIT INPUT Using the buttons 0 to 9. NOTE: this must always be a three digit entry, for example : To select Bank A sound 8, press the “0” and “0” and “8” buttons and the display reads “08” and the “Program” LED is continuously lit

indicating that you are in Abank. To select Bank B sound 17, press the “1” and “1” and “7” buttons and display reads “17” and the “Program” LED is flashing indicating that you are in B bank.

2. INCREMENT/DECREMENT Using the “-” and “+” buttons. Press the “+” button to move up to the next program. Press the “-” button to move down to the next program. You will notice that if program Abank 99 is selected and press the “+” button the program will change to B bank 00. You can also use MIDI Program Change and Bank Change commands from a sequencer or other external MIDI device to call up programs.

3. FINDER MODE Performing a search for similar sounds. Pressing the “Audition / Demo” will not only activate the Demo for the category of the sound currently selected but also will engage “Finder Mode”. As an indication that the Super Bass Station is in “Finder Mode” both the Decimal points in the display flash. Pressing the “+” and “-” buttons while in “Finder Mode” will not move up or down to the next program but up or down to the next program in the same category. This makes it easy to audition similar sounds without having to remember all the sounds locations. i.e if a”Bass” category sound is selected then pushing “+” will advance to the next “Bass” category sound. To return to normal operation press the Audition / Demo button again. See Utilities / Sound Category on page 32 for more information on categories and the separate sheet for more information on the Factory sounds.

Selecting Programs

“Finder” Mode

Editing a Program

To change or “Edit” a program, simply adjust the parameters you wish to alter. The Edit LED on the display will flash to show that you are no longer listening to the stored program. If you do not

store this new edit before calling up another program it will be lost.

Writing a Program into Memory

The program memory on the Super Bass Station is divided up as follows: You cannot store programs in the ROM area (“A” Bank 000 - 049) only in the RAM area.( “A” Bank 050 - 099 and “B” Bank 100 - 199) If you edit a factory program, you can save it in one of the 150 user program locations. To store a new or edited program, move the “Write” switch to the “Enable” position and the “Enable LED” flashes. Now, using the “Data Entry” buttons ( “0” to “9” only ) select the program number where you want to store the program. Remember this is a three digit entry, “050” to “199” ( “000” to “049” are ROM ) To store the program in the same location simply press the “WRITE” button. If you want to listen to a program before overwriting it use the Compare function.

Using the Compare Function

When you have edited a program, move the “Write” switch to the “Enable” position and the “Enable LED” flashes. Press the “COMPARE” button once and the “Edit” LED will flash at a faster rate to indicate “Compare” mode is active. You can now listen to the original program before deciding whether you want to overwrite it or not. Check the program using an external keyboard / computer or the “Audition” button on the front panel. Pressing the “COMPARE” button again will bring back the edited program. If you do want to save the program in this location, press the “WRITE” button and the “Write” LED on display panel flashes momentarily. If you don”t want to save the program in this location you can choose another by simply

About Editing/

Writing/Compare

entering any program number from “050” to “099” in the “A” Bank and “100” to “199” in the “B” Bank using the “Data Entry” keypad buttons “0” to “9”.

NOTE: In this mode the “-” and “+” Buttons cannot be used. Once again, you can check the programs using the “COMPARE” feature and then, when you have found a suitable loca-

tion, press the “WRITE” button. The program is now saved. Note 1: Always return the “WRITE” switch to the “Protect” position after completing a save operation. This will avoid any

accidental erasure of programs. The “Write” LED will flash to warn you of the “Enabled” state. Note 2: Programs can only be saved in the User locations (“050” to “099” in the “A” Bank and “100” to “199” in the “B” Bank). If you attempt to save a program into any of the Factory ROM locations ( “000” to “049” in the “A” Bank ) the display digits will flash rapidly to warn that this operation cannot be competed.

Factory Programs

The Super Bass Station comes pre loaded with 200 sounds. The first 50 in the “A” bank are ROM sounds ( Read Only Memory ) and these cannot be erased. All the other sounds in banks “A”and “B” are in RAM and can be overwritten or erased. The Super Bass Station can “Recall” all these sounds, reloading the factory sounds into the RAM. You can do this at any time simply by switching the power off and pressing the “Save” and the “Write” buttons simultaneously and while holding them down switch the power to the Super Bass Station back on. This will reload all the factory sounds.

NOTE: Doing this will erase permanently any sounds that are in the Super Bass Station and replace them with the factory sounds. To “Save” any special sounds you might have made refer to Mode 5 - Save System Exclusive Data Dumps on page 62.

About Compare/

Factory Programs

To understand synthesis of sound it is necessary to have some understanding about sound itself. Sound is a vibration or Oscillation. These vibrations create changes in air pressure that is picked up by our ears and perceived as sound. When dealing with musical sounds

the vibrations or oscillations occur at regular intervals and are perceived as the “Pitch” or “Frequency” of a sound. The simplest musical sound is a sine wave because it contains only one “Pitch” and is perceived as a very “Pure” tone, similar to a whistle. Most musical sounds consist of several different “Pitches” or “Frequencies” The loudest is referred to as the “Fundamental Harmonic” and determines the perceived “Pitch” of the note. The other frequencies present are called “Harmonics” and in musical sounds usually occur in multiples of the fundamental harmonic’s frequency, i.e. If the fundamental note is 440Hz then a musical harmonic series would be, 2nd Harmonic = 880Hz, 3rd Harmonic = 1320Hz, 4th Harmonic - 1760Hz, 5th Harmonic = 2200Hz etc. etc. The number and loudness of these “Harmonics” determine the “Timbre” of a sound. This gives a sound character and is why a violin sounds different from a guitar and a piano sounds different again. In an Analogue synthesiser you have the choice of several different waveforms. Each waveform has different amounts of harmonics and so the “Timbre” of each one is quite different. Below are descriptions of some of the waveforms and indications on what they can best be used for.

Sawtooth waves have all the harmonics of the fundamental frequency. As you can see every harmonic has half the amptitude of the previous one. This waveform is pleasing to the ear and is useful for Basses, leads and synthesising stringed instruments.

Square waves have only the odd harmonics present. These are at the same amptitude as the odd harmonics in a saw wave. Square waves have a hollow / metallic sound to them and so are useful for creating unusual synthesiser sounds and oboe like sounds.

About Analogue

Synthesis

Sawtooth Wave

Volume

Harmonic

12345

Square Wave

Volume

Harmonic

12345

White noise has no fundamental and all frequencies are at the same level. This waveform can be used by itself to synthesise explosions or wind and when used in conjunction with other

waveforms can be used to create the illusion of “Breath” in an instrument. The choice of waveform is important because it determines the basic “Timbre” of the sound you are making. Once the

waveform has been selected you can then “fine tune” the harmonic content of a sound by passing it through a “Filter” to remove any unwanted harmonics. The filter in an Analogue synthesiser is a very powerful “Tone Control”. Like the tone controls on a stereo, the filter can alter how things sound but cannot change the style of music being played on the CD, and so the filter in a synthesiser can alter the “tone” of a sound but is restricted by the basic “Timbre” of the waveform. For this reason in most Analogue synthesiser's, several waveforms are available at once and it is possible to “mix” them together to provide more harmonically rich waveforms.

The last major feature that is important when synthesising sound is “Volume”. The “Volume” of sounds vary as time goes by and so an Organ has a very different volume characteristic than that of a Piano or a String section. See the diagrams below for details.

An “Organ” can be seen to go to full volume instantly when a key is pressed and then stays at full volume until the key is released, at which point the volume drops instantly to zero.

About Analogue

Synthesis

Noise

Volume

Harmonic

12345

Key "On" Key "Off"

Time

Volume

A“Piano” can be seen to go to full volume instantly when a key is pressed and then gradual-

ly falls back down to zero after several seconds.

A“String Section” can be seen to go to full volume gradually over several seconds when a key is pressed and then stays there until the key is released when gradually over a couple of seconds the volume drops to zero.

These curves are called “Envelopes” and in an Analogue synthesiser “Envelope Generators” are used to recreate them. The “Envelope Generators” are connected to an amplifier, which controls the “Volume” of the sound. Envelope Generators have 4 parameters that are used to adjust the shape of the envelope. Refer to the diagram below.

About Analogue

Synthesis

Key "On" Key "Off"

Time

Volume

Key "On" Key "Off"

Time

Volume

Attack

Decay Release

Sustain

Key "On" Key "Off"

Time

Volume

A= Attack time. This is used to adjust the time it takes when a key is pressed for the envelope to go from zero to full value and can be used to create “Fade in’s”.

D = Decay time. This is used to adjust the time it takes for the envelope to go from full value to the value set by the Sustain level.

S = Sustain level. This is used to set the level that the envelope remains at while the key is held down. R = Release time. This is used to adjust the time it takes when key is released from the Sustain level to zero and can be

used to create “Fade out’s”. An Analogue synthesiser can be broken down into three main elements.

1 The Oscillator generates “Waveforms” at a certain “Pitch”. 2 The type of “Waveform” selected and the settings of the “Filter” determines the sounds “Tone” 3 The sound is then passed through an “Amplifier” that is controlled by an “Envelope Generator”. These alter the

“Volume” of a sound over time. All of these main elements can be further manipulated by various methods. For example: The “Pitch” of a note can of course be played on a keyboard on a synthesiser but additionally it can be manipulated in real

time using the “Pitch Bend Wheel” to create “Slides” and “Bends” in pitch. “LFO’s” ( Low Frequency Oscillators ) can be used to “Wobble” the pitch of a note at a specific rate creating a “Vibrato” effect. The “Filter” can be manipulated by “LFO’s” to vary the “Tone” of a sound at a specific rate creating a “Wah Wah” type of

About Analogue

Synthesis

effect. An “Envelope Generator” can also be used on the filter so that the “Tone” of a sound varies over time. AFeature called “Keyboard Tracking” can also be used on the filter so that the “Tone” of a sound changes depending on the note being played.

The Amplifier can be manipulated by “Envelope Generators” so that changes in the “Volume” of a sound over time can make a sound short and percussive or more like a piano or organ. Additionally the “Velocity” at which you hit the keys can also be used to manipulate the “Volume” of a sound making the sound more “expressive”.

Parameters that manipulate these three main elements are called “Modulators” The best thing to do is to just get in there and tweak the knobs, after all that’s what we put them there for. Experiment and

you will soon be creating your own sounds. Do not worry about erasing the Factory sounds in the memory, if you want the factory sounds can be recalled at any time. Refer to page 11 for details.

About Analogue

Synthesis

Saw Sq

Detune Semi

Range

Osc 1&2 Mix

Sub

Noise Ring

External Audio

Cutoff

Reso

Drive On Off

LFO 1 ENV 2

PWM

PWM Source

Oscillator Sync On/Off

LFO 1 ENV 2

PWM

PWM Source

ENV 2 LFO 2 CC1 AT Breath

24/12db

Tracking

AT Breath Chorus Mod Source

Depth

Pan Mod Source

Line Output

Panner

Stereo Analogue Chorus

Analogue Distortion

Voltage Controlled Amplifier

Voltage Controlled FilterMixer Section

Ring Modulator

Noise Source

Oscillator 2Sub OscOscillator 1

CC1

Breath

Pitch Controller

Porta

PB Range

Tune

Sync

Speed Delay Waveform

Sync

Speed Delay Waveform

MIDI Clock IN

MIDI

LFO 2

LFO 1

CC1

Clock

Pitch

Gate

Trigger Controller

Trigger Type

External Audio Level Sensor

External Audio IN

Threshold

Arpeggiator

Sync On Off

Speed Latch

Keysync

Range Pattern

ENV 1

Attack Decay Sustain Release Velocity

ENV 1

Attack Decay Sustain Release Velocity

÷ 2

Pitch IN

MIDI Clock IN

Breath

Pitch

Gate Gate Gate IN

Gate IN

Block

Diagram

Volume - Rotary

This knob adjusts the overall output volume of the Super Bass Station on both the Main L/R and Headphone outputs.

NOTE: This control can be overridden by MIDI Volume data. If a MIDI Volume of “0” has been received by the Super Bass Station, no output will be heard regardless of the position of this knob. To reset the volume either transmit the relevant MIDI Volume level or move the Volume knob - this automatically overrides the MIDI setting.

Portamento / Data - Rotary

This knob adjusts the Portamento effect in the Program mode and functions as a data entry knob in the Utility mode. In the Program mode notes jump instantly from one pitch to another when this knob is set to 0. Turning the knob clockwise brings in the Portamento effect and notes will smoothly glide from one pitch to the next. In the Utility mode values of parameters are set with this knob.

Master Volume

Section

ENABLEPROTECT

WRITEHEADPHONES

PORTAMENTOVOLUME

010010

DATA

VOLUME

010

PORTAMENTO

010

DATA

Write - Switch

This switch protects your programs from accidental erasure. During normal operation it should be left in it’s “Protect” position however, when you have edited or created a new program that you want to save, moving it to the “Enable” position will allow you to “write” over an existing program. Refer: “Writing a Program Into Memory” on page 10.

Headphone - Socket

Use this 1/4 jack socket to monitor the output of your Super Bass Station via headphones. This output will drive any type of headphones.

Master Volume

Section

ENABLEPROTECT

WRITE

HEADPHONES

This is where you select the programs on the Super Bass Station, set the MIDI transmit and receive channels, set the various utility functions and store newly edited programs.

Data Entry Keypad - Buttons

The 12 buttons of the calculator style “Data Entry” keypad are used to call up and set the various operating parameters of each “Mode”. In the, “MIDI RX Channel”, MIDI TX Channel”, “Utility” and “Save” Modes the operation of these buttons are different from the “Program Mode”. In these modes they work as follows : You can use two methods to enter a number :

1. DIGIT INPUT - using the buttons 0 to 9. NOTE: In the MIDI RX, MIDI TX, Utility and save modes this must always be a two digit entry, for example : To select a value of 8 —— press the “0” and “8” buttons - display reads “08”. To select a value of 17 —- press the “1” and “7” buttons - display reads “17”.

2. INCREMENT/DECREMENT - using the “-” and “+” buttons. Press the “+” button to move up to the next value. Press the “-” button to move down to the next value. These buttons can also be used to “scroll” through values by pressing and holding down until the desired value is reached.

Data Entry/Program

Keypad

TRIGGERING SAVESAVE TYPE

WRITE

COMPARE

DATA ENTRY MODEAUDITION

DEMO

VELOCITY

PITCH B/ MOD D

PANNING

CV / GATE CH

AT/ BTH MOD

MIDI CLOCK

CHORUS / DIST

ARPEGGIO

TUNING

MIDI RX CH MIDI TX CH

PROGRAM

EDIT WRITE

UTILITY

SAVE

Audition / Demo - Button

This button is used to trigger the currently selected program. It provides a convenient way of monitoring a sound whilst working at the control panel.

AUDITION When in Program mode press the Audition / Demo button to start a small demo of the currently selected sound. There is a different demo for each sound category. For more information on categories refer to page 32.

FINDER MODE Performing a search for similar sounds. Pressing the “Audition / Demo” will not only activate the Demo for the category of the sound currently selected but will also engage “Finder Mode”. As an indication that the Super Bass Station is in “Finder Mode” both the decimal points in the display flash. Pressing the “+” and “-” buttons while in “Finder Mode” will not move up or down to the next program but up or down to the next program in the same category. This makes it easy to audition similar sounds without having to remember all the sounds locations. i.e if a”Bass” category sound is selected then pushing “+” will advance to the next “Bass” category sound. To return to normal operation press the Audition / Demo button again. See Utilities / Sound Category on page 32 for more information on categories and the separate sheet for more information on the Factory sounds.

DEMO When in the Utility mode press the Audition / Demo button to start the Factory Demonstration. This is a montage of all the sound categories individual demo’s strung together. Once started this demo will run in a loop continuously. Pressing this button again will stop the demonstration.

Data Entry/Program Audition/Demo

AUDITION

DEMO

MODE - Button

This button is used to select which of the five main parameter “Modes” are accessed by the “Data Entry” keypad. The current mode is indicated by one of five LED’s on the right hand side of the display panel. NOTE: When the Super Bass Station is switched on, “Program” mode is automatically selected. Each time the Mode button is pressed the next “Mode” in the menu will be selected i.e. “Program”, “MIDI RX Channel”, “MIDI TX Channel”, “Utility” and “Save”. From “SAVE”, the next press will loop the menu back to the Program Bank Amode.

MODE 1 - Program Bank A & B.

There are 2 “Banks” of 100 sounds in the Super Bass Station. They are divided up as follows: You cannot store programs in the ROM area (“A” Bank 000 - 049) only in the RAM area.( “A” Bank 050 - 099 and “B” Bank 100 - 199) If you edit a ROM program, you can save it in one of the 150 RAM user program locations. The “Program Mode” is selected if the “Program LED” is lit or flashing. If it is not press the MODE button until it is. The “Data Entry Keypad” works differently in this mode. There are two methods to enter a number :

indicating that you are in Abank. To select Bank B sound 17,press the “1” and “1” and “7” buttons and display reads “17” and the “Program” LED is flashing indicating that you are in B bank.

Data Entry/Program

Mode/Banks

MODE

SELECT

NOTE : Because the Super Bass Station’s program numbers start at “000” the next higher number must be used via MIDI program change to call up the correct sound. i.e. 019 on the Super Bass Station = MIDI program change 20.

MODE 2 - MIDI Receive Channel

This is where you set the MIDI receive channel for the Super Bass Station . Use the “Mode” button to select the “MIDI RX Ch.” mode - LED on, and then the “Data Entry” keypad to enter your selection. The recognised numbers in this mode are from “01” to “16”. NOTE: the “MIDI RX CH.” LED will flash when MIDI data is received on this channel.

MODE 3 - MIDI Transmit Channel

This is where you set the MIDI transmit channel for the Super Bass Station . Use the “Mode” button to select the “MIDI TX Ch.” mode - LED on, and then the “Data Entry” keypad to enter your selection. The recognised numbers in this mode are from “01” to “16”. NOTE: The MIDI TX and RX channel settings are memorised when the power is turned off.

MODE 4 - Utility

This is the section were Global and some Sound Parameters are edited. The various Parameter groups are selected by pressing the appropriate button on the twelve key pad when in the utilities mode. Pages exist within these Buttons and they are selected by pressing the appropriate button again. Once the desired page is selected the ident flashes between the ident of the parameter selected and it’s value. To change the value of any parameter use the “Data Entry / Portamento” Rotary control. Fine increments of parameters values can be set using the “-” and the “+” Buttons.

Data Entry/Program MIDI/Utilities

Button 1 - Pitch B / Mod D

Related groups of parameters are in “Pages” within each button. This buttons parameters are used to determine how the Pitch Bend Joystick / Wheel on your controller keyboard effects the pitch of the oscillators.

Pages exist within this button and they are selected by pressing button 1 again. Refer to the Ident Map on the outside back cover of this manual for more details. To change the value of any parameter use the “Data Entry / Portamento” Rotary control. Fine increments of parameters values can be set using the “-” and the “+” Buttons.

Page 1 - Oscillator 1 Pitch Bend Range

Ident Value

This display will alternate between “P1” ident ( Oscillator 1 Pitch Bend Range ) and it’s value. Use the Data Entry / Portamento Rotary control to adjust the value of this parameter. This parameter controls the pitch bend range of oscillator 1 with the Joystick/Wheel on your controller keyboard for the current program selected. The range is “oF” to “12”. This is in semitones. “oF” = no change and “12” = twelve semitone range for oscillator 1. This parameter is memorised with the program.

DataEntry/Program

Utilities/Pitch/Mod

PITCH B/ MOD D

MIDI RX CH MIDI TX CH

PROGRAM

EDIT WRITE

UTILITY

SAVE

MIDI RX CH MIDI TX CH

PROGRAM

EDIT WRITE

UTILITY

SAVE

Page 2 - Oscillator 2 Pitch Bend Range

Ident Value

This display will alternate between “P2” ident ( Oscillator 2 Pitch Bend Range ) and it’s value. Use the Data Entry / Portamento Rotary control to adjust the value of this parameter. This parameter controls the pitch bend range of oscillator 2 with the Joystick/Wheel on your controller keyboard for the current program selected. The range is “oF” to “12”. This is in semitones. “oF” = no change and “12” = twelve semitone range for oscillator 2. This parameter is memorised with the program. Having independent control over the pitchbend range on each oscillator means that you have greater control over sync sounds and allows interesting effects to be produced when using the pitchbend Joystick/Wheel. For normal operation you must set both oscillators to the same range.

Page 3 - Oscillator 1 and 2 Pitch Mod Depth

Ident Value

This display will alternate between “Pd” ident ( Oscillator 1 and 2 Pitch Mod Depth ) and it’s value.

Data Entry/Program

Utilities/Pitch/Mod

MIDI RX CH MIDI TX CH

PROGRAM

EDIT WRITE

UTILITY

SAVE

MIDI RX CH MIDI TX CH

PROGRAM

EDIT WRITE

UTILITY

SAVE

MIDI RX CH MIDI TX CH

PROGRAM

EDIT WRITE

UTILITY

SAVE

MIDI RX CH MIDI TX CH

PROGRAM

EDIT WRITE

UTILITY

SAVE

+ 63 hidden pages

Novation Super Bass Station User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual