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Supernova II Keyboard
User Manual
211 pgs1.18 Mb0

Novation Supernova II Keyboard User Manual

FRONT PANEL.....................................................................................................................................................................2
BACK PANEL.......................................................................................................................................................................3
SETTING UP........................................................................................................................................................................4
PLAYING THE FACTORY DEMO........................................................................................................................................5
BASIC SETUP .................................................................................................................... ..................................................6
ADVANCED SETUP.............................................................................................................................................................7
ABOUT ANALOGUE SYNTHESIS .......................................................................................................................................8
ABOUT FM SYNTHESIS......................................................................................................................................................17
ABOUT EFFECTS................................................................................................................................................................20
NOVATIONISH - NOVATION JARGON................................................................................................................................24
ABOUT PROGRAMS...........................................................................................................................................................25
ABOUT DRUM MAPS..........................................................................................................................................................26
ABOUT FAVOURITES..........................................................................................................................................................29
INSERTING A FAVOURITE INTO AN EXISTING FAVOURITES MAP...............................................................................31
DELETING A FAVOURITE FROM AN EXISTING FAVOURITES MAP ...............................................................................32
SELECTING PROGRAMS, PERFORMANCES & FAVOURITES........................................................................................33
SELECTING DRUM MAP AND DRUM MAP PROGRAMS.................................................................................................34
EDITING & WRITING ARPEGGIATOR PATTERNS............................................................................................................35
EDITING & WRITING PROGRAMS.....................................................................................................................................38
MASTER VOLUME SECTION.............................................................................................................................................46
MODE SECTION..................................................................................................................................................................47
DISPLAY SECTION..............................................................................................................................................................60
KEYPAD SECTION..............................................................................................................................................................61
OSCILLATOR SECTION......................................................................................................................................................72
FILTER SECTION.................................................................................................................................................................89
LFO SECTION......................................................................................................................................................................96
INPUTS SECTION................................................................................................................................................................100
USING FOOTSWITCHES....................................................................................................................................................103
USING PEDALS...................................................................................................................................................................106
PROBLEMS THAT CAN OCCUR WHEN USING FOOTSWITCHES & PEDALS...............................................................108
VOCODER SECTION...........................................................................................................................................................109
ENVELOPES SECTION.......................................................................................................................................................112
EFFECTS SECTION............................................................................................................................................................119
PART EDIT SECTION ..........................................................................................................................................................134
MULTITIMBRAL USE...........................................................................................................................................................142
USING A SEQUENCER........................................................................................................................................................144
MASTER KEYBOARD FUNCTIONS - PART EDIT SECTION.............................................................................................150
TROUBLESHOOTING..........................................................................................................................................................158
UPGRADING THE SOUNDS ..............................................................................................................................................161
UPGRADING THE OPERATING SYSTEM..........................................................................................................................162
PROBLEMS THAT CAN OCCUR WHEN UPDATING AN OS ............................................................................................163
SPECIFICATION..................................................................................................................................................................165
BANK MESSAGES...............................................................................................................................................................166
MIDI CONTROLLER TABLE................................................................................................................................................167
NRPN TABLES.....................................................................................................................................................................168
MIDI IMPLEMENTATION CHART........................................................................................................................................181
PROGRAM BANK A .............................................................................................................................................................182
PROGRAM BANK B .............................................................................................................................................................183
PROGRAM BANK C.............................................................................................................................................................184
PROGRAM BANK D.............................................................................................................................................................185
PROGRAM BANK E .............................................................................................................................................................186
PROGRAM BANK F.............................................................................................................................................................187
PROGRAM BANK G............................................................................................................................................................188
PROGRAM BANK H.............................................................................................................................................................189
DRUM MAP A.......................................................................................................................................................................190
DRUM MAP B.......................................................................................................................................................................191
DRUM MAP C......................................................................................................................................................................192
DRUM MAP D......................................................................................................................................................................193
DRUM MAP H ......................................................................................................................................................................194
PERFORMANCE BANK A...................................................................................................................................................195
PERFORMANCE BANK B...................................................................................................................................................196
MONOPHONIC PRESET PATTERNS.................................................................................................................................197
POLYPHONIC PRESET PATTERNS...................................................................................................................................198
DISTRIBUTORS...................................................................................................................................................................199
INDEX...................................................................................................................................................................................200
NOTES.................................................................................................................................................................................204
MENU MAP..........................................................................................................................................................................207
CONTENTS
1
FRONT PANEL
1 - Master V olume Section
This section contains the Master Volume knob and the Octave Up & Down buttons.
2 - Oscillator Section
This section contains all the Knobs and buttons associated with the Oscillators.
3 - Arpeggiator Section
This section contains all the Knobs and buttons associated with the Arpeggiator.
4 - Oscillator Modulation Matrix Section
This section contains all the Knobs and buttons associated with the Oscillators Modulation Matrix.
5 - Filter Section
This section contains all the Knobs and buttons associated with the Filter.
6 - Mode Section
This section contains all the buttons used to select the various playing modes.
7 - Filter Modulation Matrix Section
This section contains all the Knobs and buttons associated with the Filter Modulation Matrix.
8 - LFO Section
This section contains all the Knobs and buttons associated with the 2 LFOs.
9 - Display Section
This section contains the Display, the Data Knobs and Page buttons.
10 - Input Section
This section contains all the buttons associated with the 2 Inputs.
11 - Vocoder Section
This section contains the Menu button and Balance knob associated with the Vocoder.
12 - Envelopes Section
This section contains all the knobs, sliders and buttons associated with the 3 Envelopes.
1 3 - Part Edit Section
This section contains all the knobs and buttons associated with Parts of a Performance.
14 - Keypad Section
This section contains all the buttons used to select sounds.
10 - Ef fects Section
2
1 3 6 9 14
2 4 5 7 8 10 11 1312 15
fm fm fm
voice controltune
menu
keysync
noise1*3 2*3
up down u/d 1 u/d 2menu
modulation
destination source
menu 12db 18db 24db
special low band high lfo 1 lfo 2 mutebalance tune velocity output midi polyphony range special external part level menu level time feedbackcopy part fx c-morphconfig
lfo 1
mix
pitch
lfo 2
level
env 2
width
env 3
sync
modportamento
hardness
wheel
speed
3 oct
4 oct
modulation
frequency
freq
resonance
tracking reso/widthq-normoverdrive offset delay speed
demo tracks
find global
compare assign
gate time
performanceprogram
source
menu
lfo 1
lfo 2
env 2
env 3
wheel
write
favourites
fast
square
normal
saw
s/h
tri
slow
page
favourites
Vocoder EffectsLFOs
constant
menu
menu
gate
Envs
menu
env 2
env 3
multi
delay
decay
attack sustain release key trackdecayattack sustain release
trigger
data
12345678
envelope 1 (amp)envelopes 2/3
velocity
multi
key track
trigger
bank
Oscillators Filters Part EditInputs
copy
solo
menu
polyphonic synthesiser keyboard
sources
osc 2 osc 3
osc 1
square saw
special
cents
oct/semi
Arpeggiator
master volume
transpose
mute
zone
octave
pitch mod
on 1 octlatch 2 oct
distortion
level
menu
pan
level
menu
60 70 100 110 12080 90
delay
reverb
menu
chorus
flanger phaser...
menu
special bypass
solo
overload
(poly limit)
treble
velocity
prog level
bass
01020304050
0123456789
level typedecay
typespeedlevel
This section contains all the knobs and buttons associated with the Effects section.
1 - Power On/Off - Switch .
This switch turns the mains power supply in the Supernova II keyboard on and off. Edited and newly-created Programs or Performances that have not been written into a memory location will be lost when the Supernova II keyboard is switched off. The edit buffers will not be preserved, so be sure to save edited Programs & Performances to memory before switching Supernova II keyboard off. Refer to pages 38 & 41 for details of writing Programs and Performances into memory.
2 - IEC Mains Connector.
This socket is for the supplied Mains lead. This socket accepts 110V, 220V & 240V mains supplies at 50 or 60 Hz. This ensures the Supernova II keyboard will work on any country’s mains supply.
3 - SPDIF Phono In & Out Connectors.
These phono sockets provide SPDIF format digital inputs and outputs supplied when the optional SPDIF/ADATcard is installed.
4 - A D AT Optical In & Out Connectors .
These optical connectors provide ADAT format digital inputs and outputs supplied when the optional SPDIF/ADAT card is installed.
5 - Pedal / Switch 3 Socket .
This 1/4 inch jack socket allows the connection of either an optional footswitch or expression pedal to be connected. The functions of these sockets are defined in the Global menu.
6 - MIDI IN / MIDI OUT / MIDI THRU Connectors.
The MIDI IN connector is used to receive MIDI Data from an external device. The MIDI OUT connector is used to transmit MIDI Data to an external device. The MIDI THRU connector re-transmits MIDI Data received by the MIDI IN socket to an external device.
7 - Master Left & Right / Aux 1 / Aux 2 & Aux 3 Audio Outputs.
The Master Left & Right 1/4 inch Jack sockets deliver a Stereo Line Level output signal for connection to a mixing desk or amplifi­er. The level of these outputs is controlled by the Master Volume Knob on the front panel.
The Aux 1 1/4 inch Jack sockets deliver a Stereo Line Level output signal for connection to a mixing desk or amplifier. These out­puts can be used in addition with the Master Audio Outputs for more flexibility in live and studio applications.
The Aux 2 1/4 inch Jack sockets deliver a Stereo Line Level output signal for connection to a mixing desk or amplifier. These out­puts can be used in addition with the Master Audio and the Aux. 1 Outputs for even more flexibility in live and studio applications.
The Aux 3 1/4 inch Jack sockets deliver a Stereo Line Level output signal for connection to a mixing desk or amplifier. These out­puts can be used in addition with the Master Audio and the Aux. 1 & 2 Outputs for even more flexibility in live and studio applica­tions.
8 - Input/SW2 & input/SW1 Connectors.
These 1/4 inch Jack sockets provide 2 audio inputs for synthesis, filtering or effect processing or as footswitch inputs. The function of these sockets is user defined in the Global menu. When used as audio inputs, the sensitivity is user defined in the inputs menu.
9 - Headphones - Socket.
Use this 1/4 inch Jack Socket to monitor the Left & Right output of the Supernova II keyboard via headphones. This output will drive any type of headphones. The Supernova II keyboard’s headphone amplifier will deliver a louder signal if low impedance
BACK PANEL
3
1 2 3 4 5 6 7 8 9
aux 1aux 2aux 3pedal/switch 3 midi
SPDIF
inout
O I
inout
master
436587thru out in
21
phonesinput/sw1input/sw2
(sustain)
SETTING UP
headphones are used (i.e. 8 ohms impedance). Be aware that the sound pressure level obtainable with low impedance head­phones could damage hearing.
Connect the Master left & Right Audio Outputs (and the Aux. 1, Aux. 2 & Aux. 3 Audio Outputs if required ) of the Supernova II keyboard to a suitable amplifier or mixing desk’s stereo inputs and set the Master Volume control on the Supernova II keyboard to a reasonably high output level ( 9 - 10 ). This will maintain a good signal to noise ratio. Make sure the input volume on your amplifi­er or mixing desk is initially set to zero.
Make sure that the Supernova II keyboard’s mains switch is in the “OFF” position. Connect the Mains supply with the supplied lead to the Mains Socket on the Supernova II keyboard. Connect the other end to the mains supply and switch the supply on. The dis­play should now illuminate showing the Performance, Program or Favourite that was selected when the global settings were last written into memory. Refer to page 47 for details on this function. Now switch on your amplifier and adjust the volume accordingly whilst playing the keyboard.
The keyboard will be playing the currently selected Performance, Program or Favourite. To listen to all of the Factory sounds, make sure you are in the Performance, Program or Favourite Mode by pressing the appropriate Performance, Program or Favourite mode Button. The Keypad section can now be used to call up the different sounds. For details on how to select the different Performances and Programs, refer to page 33.
4
The Demo mode is activated by either pressing the ‘Find’ and ‘Global’ buttons simultaneously or pressing just the ‘Find’ button while currently within the Global Menu.
When demo mode is activated the display shows :
The Part edit buttons will be flashing to indicate which buttons can be pressed to start a demo. The Display shows which Demo is currently playing.
Once a demo has finished, the next demo in sequence will automatically start.
Once the last demo has finished playing, the sequence of demos loop and the first demo starts again.
Pressing a Part edit button while the demos are playing, causes the current demo to stop and the new appropriate demo to start from the beginning. Additionally the current demo can also be selected using the higher Data knob.
A demo can be stopped at any time by pressing the ‘Find’ button again while the demo is playing. Pressing the ‘Find’ button once more restarts the demos, starting from Demo number 1. A playing demo may also be stopped and Demo Mode exited by simply select­ing any normal mode button or selecting any Menu button.
DEMO MODE : Press Part buttons to play
PLAYING THE FACTO RY DEMO
5
demo tracks
find global
compare assign
performanceprogram
write
favourites
favourites
Part Edit
12345678
solo
mutetune velocity output midi polyphony range special external part level
NOTE:
NOTE:
NOTE:
NOTE:
NOTE:
NOTE:
NOTE:
NOTE:
BASIC SETUP
Above is a diagram of the basic way to set-up the Supernova II keyboard. Normally the set-up would be as follows: Connect the Supernova II keyboard as shown above. Set the “Local On/Off” parameter on page 7 of the Global mode to OFF. 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 same channel as the Supernova II keyboard is set to receive on ( If this is a Performance you can set the receive channels individually for each “Part”. Refer to page 136 for details, If this is a Program, Programs are played on the “Global MIDI Channel (refer to page 48 for details). Playing the keyboard should should produce sounds through the Headphones / Monitors.
The Supernova II keyboard can have virtually any parameter controlled via MIDI. The movement of any knob, the pressing of any button or change to any parameter can be recorded with this setup. These recordings can then be easily edited on a sequencer. Details on all the controllers and NRPNs (Non Registered Parameter Numbers) used by the Supernova II keyboard can be found on pages 167 to page 180.
If there are additional keyboards / Modules connected via MIDI, this diagram does not include audio for the keyboards / Modules.
The audio outputs of these devices must also be connected to the mixer.
6
To Mains Supply
aux 1aux 2aux 3pedal/switch 3 midi
SPDIF
inout
O I
inout
MIDI IN
MIDI OUT
master
436587thru out in
21
(sustain)
Audio Inputs
phonesinput/sw1input/sw2
Sustain Pedal
Computer / Sequencer
Amplifer / Mixer and Monitors
NOTE:
NOTE:
This is the one of the more advanced ways to set up the Supernova II keyboard. Connect the Supernova II keyboard as shown above. Set the “Local On/Off” parameter on page 7 of the Global mode to OFF. 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 same channel as the Supernova II keyboard is set to receive on ( If this is a Performance you can set the receive channels individually for each “Part”. Refer to page 136 for details, If this is a Program, Programs are played on the “Global MIDI Channel”. Refer to page 48 for details.) playing the keyboard should should produce sounds through the Headphones / Monitors.
The Supernova II keyboard can have virtually any parameter controlled via MIDI. The movement of any knob, the pressing of any button or change to any parameter can be recorded with this setup. These recordings can then be easily edited on a sequencer. Details on all the controllers & NRPNs (Non Registered Parameter Numbers) used by the Supernova II keyboard can be found on pages 167 to page 180.
There are 4 stereo pairs of Outputs connected to the mixer. This allows individual sounds to be processed externally by the mixer and other outboard equipment. To direct “Parts” of a “Performance” to these separate outputs Refer to page 136 for details. Additionally, the Supernova II keyboard automatically redirects the effects outputs for the selected part to go to the same outputs as the part, so even if separate outputs are assigned the associated effects follow automatically.
Additionally a microphone is connected to Input/SW1 & this allows external signals to be processed by the synthesis engine ( including filtering ) and/or effects processors and Vocoder of the Supernova II keyboard. In fact virtually any type of signal can be used by the Supernova II keyboard, as the gain of the 2 inputs can be adjusted from Microphone level through to Studio levels (+4dBm ). Refer to page 100 for details on how to use the inputs. The inputs can also double as Footswitch inputs. A footswitch is shown connected to Input/SW2. The function of this socket is determined in the Global Menu. Refer to page 52 for details.
An expression pedal input is also shown, allowing a optional pedal to be connected. Virtually any parameter can be controlled via the expression pedal using the “Pedal/breath” parameter on page 4 of the Global menu. Alternatively, this socket can be used as a footswitch input. The function of this Pedal/Switch input can be user determined in the Global Menu. Refer to page 53 for details.
An Optional Digital I/O card can be fitted to the Supernova II keyboard providing an ADAT Optical & SPDIF Coaxial digital Input and output. When connected to suitable hardware (such as a KORG 1212 PCI Card or any similar digital audio card for computers or a digital Mixer such as the Yamaha 02R with suitable digital interfaces), the Supernova II keyboard can transfer sound digitally. This allows the Supernova II keyboard to integrate easily within a modern digital studio and allows some unique possibilities such as separate filtering and effects processing of 8 ADAT tracks of audio from a computer hard disk recording system simultaneously, and then digitally transferring the processed tracks back to the computer via the ADAT out, or alternatively using the Supernova II keyboard as an I/O system as there are 2 analogue inputs & 8 analogue outputs.
aux 1aux 2aux 3pedal/switch 3 midi
436587thru out in
master
21
inout
SPDIF
inout
phonesinput/sw1input/sw2
(sustain)
Sustain Pedal
Microphone
To Mains Supply
Amplifer / Mixer and Monitors
Audio Inputs
Mixing Console
MIDI IN
ADAT IN
Pedal
MIDI OUT
ADAT OUT
SPDIF IN
SPDIF OUT
Computer / Sequencer
O I
A D VANCED SETUP
7
ABOUT ANALOGUE SYNTHESIS
OSCILLATO R S - pitch
To understand synthesis, it is necessary to have some understanding about sound itself. Sound is a vibration or oscillation. These vibrations create changes in air pressure which is picked up by your 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” element of a sound. The simplest musical sound is actually 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 lowest is referred to as the “Fundamental” 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 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. The number and loudness of these “Harmonics” determines the “Timbre” or “Tone” 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 be best used for.
Sawtooth waves have all the harmonics of the fundamental frequency. As you can see, every harmonic has half the amplitude of the previous one. This sound is pleasing to the ear and is useful for basses, leads or synthesising stringed instruments.
Square waves have only the odd harmonics present. These are at the same amplitudes as the odd harmonics in a saw wave. Square waves have a hollow / metallic sound to them and so are useful in creating unusual synthesiser and oboe-like sounds.
White noise has no fundamental and so all harmonics are the same value. This wave 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.
P W M (PULSEWIDTH MODULATION )
The choice of waveform is important as it determines the basic “Timbre” of the sound you are making. There are additional meth­ods of synthesis that allow more harmonics to be generated. The First of these is Pulse Width Modulation. ( PWM for short ). Essentially the duty cycle of the normally symmetrical square wave is varied. This means the wave form goes from a Square wave to a Pulse wave like so:
This has a very pleasant “thickening” chorus like effect and is often used in Pad type or String section type sounds.
8
Level
Level
Square Waveform
1234567
Harmonics
Level
Noise Waveform
1234567
Harmonics
Variable Width
Square Waveform
Pulse Waveform
Additionally there is a synthesis method called Oscillator sync. This takes two oscillators, using one ( the Master ) to reset the other ( The Slave ) each time it starts a new cycle. The effect is most noticeable when the two oscillators are out of tune as shown below.
This Sync Effect creates very piercing and metallic sounds, often used a lot as lead sounds. It is worth noting that the Supernova II keyboard does not require 2 oscillators to create this effect. The Sync “Effect” is created by the Analogue Sound Modelling process without the need for a Sync Oscillator. There is merely a “Sync” parameter that creates the classic Sync Effect. This means that each of the 3 oscillators in one Supernova II keyboard “voice” can be independently Sync’ed as if there were 3 Master and 3 Slave oscillators.
Analogue Sound Modelling technology also enables the creation of some new “Sync” related parameters that are not found on analogue synthesisers. These are “Key Sync”, “Sync Skew” & “Formant Width”.
Normally on an analogue synthesiser, even though the Master and Slave oscillators are detuned relative to each other, they both track keyboard pitch equally. i.e. if you play notes one octave apart, both the Master and the Slave oscillator will be transposed one octave. On the Supernova II Keyboard, “Key Sync” allows the virtual slave oscillator to have its pitch tracking adjusted indepen­dently. This means that the “Sync Effect” will change as you play different notes up and down the keyboard.
Sync Skew manipulates the frequency of the “virtual” slave oscillator within one cycle of the master oscillator. The result is that the Sync Effect seems to have a higher frequency at the end of each cycle with positive modulation and at the start of the cycle with negative modu­lation. This parameter makes the sync waveform sound even harsher. This is particularly good for aggressive lead sounds.
ABOUT ANALOGUE SYNTHESIS
9
Osc1( Master )
Osc2 ( Slave )
Sync Waveform
Osc1( Master )
Osc2 ( Slave )
Sync Waveform
Normal Saw Sync Waveform
Positive Skew on a Saw Sync Wave
Negative Skew on a Saw Sync Wave
ABOUT ANALOGUE SYNTHESIS
Sync Skew also effects the standard Square and Saw waveforms. The effect is to “sqwash” the waveform at the end of its cycle with positive modulation, sqwashing the waveform at the beginning of the cycle. On a square wave, moderate amounts of this effect produce similar effects to Pulse width modulation except width modulation over 100% can be achieved, allowing many cycles to be “sqwashed” into one original one. This can also be described as Frequency Modulation within the cycle and so mimics classic “Cross Modulation” with a Saw wave. This can produce effects similar to Sync but when this parameter is used in conjunction with Formant Width, the results can be very different. Below are examples of Sync Skew on standard Square and Saw waveforms. Note how the wave is sqwashed at one end and how more than one cycle has been sqwashed into the original cycle.
Formant width is a parameter that controls the level of the cycles of the “virtual” slave oscillator. This can be used to simulate reso­nance within the oscillator itself by using the “Harden” parameter to smooth out the sharp edges of this wave form. The effect is to reduce the level of every successive slave cycle. Additionally this parameter has an effect on the normal Saw and Square wave­forms, boosting the treble content of these waves.
Both Sync Skew and Formant Width can be used in conjunction to create yet even more waveforms. Below are examples.
Analogue Sound Modelling technology allows even more control over the waveform. Once you have selected your basic oscillator waveforms, you can further modify them using a “Hardening” process. At low values, the “Hardness” parameter rounds off all the “Sharp” edges of the waveform, thereby reducing its harmonic content. Below is an example of what the “Harden” parameter does to a Square wave.
10
Negative Skew on a Square Wave
Positive Skew on a Square Wave
Negative Skew on a Saw Wave
Postive Skew on a Saw Wave
Sync Waveform
Sync Formant Width Waveform
Formant Width on a Square Wave
Formant Width on a Saw Wave
Negative Skew & Formant Width on a Saw Wave
Negative Skew & Formant Width on a Saw Wave
The Harden parameter is completely variable and can reduce a square wave to only one harmonic, producing a Sine wave. The Harden process can also be applied to the noise generator providing control over the harmonic content of the noise. Below is an example of what the “Harden” parameter does to Pink Noise.
Finally there is Ring modulation. This uses two oscillators but instead of adding them together like in a mixer, they are multiplied together. This is very similar to FM and produces the kind of effect shown below:
The Ring Modulation effect creates metallic and bell-like sounds, often used generally for lead sounds, but if used subtly, can be used to produce Electric Pianos etc. If used radically, Ring Modulation can produce unusual sound effects.
All these methods further enhance the basic Oscillator waveforms to provide further waveforms or a useful mix of harmonics. Once the waveforms have been selected, you can then “fine tune” the harmonic content of the mixture of different waveforms by passing them through a “Filter” to remove unwanted harmonics. The filter in an Analogue synthesiser is a very powerful “Tone Control”. A tone control on a stereo can alter how things sound, but it cannot change the style of music being played on the record. Similarly, the filter in a synthesiser can alter the “tone” of a sound but is restricted by the basic “Timbre” of the waveforms. For this reason, several waveforms are available at once (using different Oscillators) and you can “Mix” them together to provide more harmonically rich waveforms. Below is a diagram showing the signal path in the Supernova II keyboard and the waveforms at various locations.
ABOUT ANALOGUE SYNTHESIS
11
Square Waveform
Softened Square Waveform
Level
Noise Waveform
Softened Noise Waveform
1234567
Harmonics
Level
1234567
Harmonics
Osc1
X
Osc2
=
Ring Modulated Waveform Osc1 x Osc2
ABOUT ANALOGUE SYNTHESIS
Different waveforms are being produced by different Oscillators using different techniques. The Oscillators, Ring Modulators & the Noise Generator can all be mixed together and fed to the Filter. The filtered signal is then in turn fed to the Amplifier. Oscillator 1 is shown using a Square wave modulated by Sync Skew and then hardened to create a sine-like wave (except it has an extra bump in it). This produces a pure, Whistle like sound. Oscillator 2 is shown using a Saw wave modulated by Sync Skew and Sync, pro­ducing a Harsh sound. Oscillator 3 is shown using a Square wave modulated by Sync Skew and Formant Width to produce a bright PWM like waveform. The 1*3 Ring modulator and 2*3 Ring modulator are shown producing complex waveforms. These, along with all the Oscillators and Noise generator are fed to the Mixer.
FILT E R - tone
There are several different types of filter. These are Low Pass Filter, High Pass Filter& Band Pass Filter. The Low Pass Filter allows harmonics below a set frequency to pass through the filter (hence the term Low Pass). The High Pass Filter allows harmon­ics above a set frequency to pass through the filter (hence the term High Pass). The Band Pass Filter allows a band of harmonics at a set frequency to pass through the filter. The harmonics above and below the set frequency do not pass through (hence the term Band Pass). Below are the frequency response curves of the three types of filters.
Additionally, the slope of the curve at which the filter rejects unwanted harmonics can be altered. The effect is similar to a “Q” con­trol on a parametric EQ. In the 12dB position, the Cutoff Frequency slope is less steep, so the higher frequencies are not attenuat­ed (reduced) as much as they are in the 24 or 18dB positions. This makes the resulting filtering in the 12dB position more subtle than the 24 or 18dB positions, which should selected if the Cutoff Frequency is to be made more obvious. The slope is measured in dB per Octave. Below are the response curves of a Low Pass Filter with 24, 18 & 12 dB per Octave slopes.
All these filters have a Resonance parameter. This has the effect of emphasising harmonics at the cutoff frequency of the filter. This is very useful for creating large tonal differences to a basic waveform. The effect is shown below as frequency response curves when resonance is applied in the Filter.
12
Signal Path Diagram
Osc 1
Osc 2
Osc 3
Noise Gen
Osc 1 output ( Sq wave Softened with +ve Skew )
Osc 2 output ( Saw wave Synced with +ve Skew )
Osc 3 output ( Sq wave Synced with +ve Skew & Formant width )
Pink noise output
Osc 1*3 Ring Mod
Osc 2*3 Ring Mod
Ring Mod output
Ring Mod output
MIXER
Osc 1 level
Osc 1*3 level
Osc 2 level
Osc 2*3 level
Osc 3 level
Noise level
Mixer output Filter output Amp output
Filter Amp
Env 2
LFO 1
Env 3
LFO 2
Env 1
Cutoff
Volume
Frequency
Frequency
Low Pass Filter Responce Curve
Volume
High Pass Filter Responce Curve
Cutoff
Frequency
Frequency
Cutoff
Volume
Frequency
Frequency
Band Pass Filter Responce Curve
Volume
Cutoff
Frequency
Volume
Cutoff
Frequency
Volume
Cutoff
Frequency
Frequency
24db/oct LPF Responce Curve
18db/oct LPF Responce Curve
Frequency
Frequency
12db/oct LPF Responce Curve
AMPLIFIER - volume
The last major process that makes up a sound is its “Volume”. The “Volume” of sounds often vary as time goes by, and so an Organ has very different volume characteristics than that of a Piano or String section. See the following diagrams for details.
The “Organ” can be seen to go to full volume instantly when a key is pressed and then stay there until the key is released at which point the volume drops instantly to zero.
The “Piano” can be seen to go to full volume instantly when a key is pressed and then gradually fall back down to zero over sever­al seconds while the note is held.
ABOUT ANALOGUE SYNTHESIS
13
Cutoff
Frequency
Volume
No Resonance Mid Resonance High Resonance
Volume
Frequency
Cutoff
Frequency
Frequency
Volume
Low Pass Filter with Resonance Responce Curves
Cutoff
Frequency
Volume
No Resonance Mid Resonance High Resonance
Volume
Frequency
High Pass Filter with Resonance Responce Curves
Volume
Cutoff
Frequency
Volume
No Resonance
Cutoff
Frequency
Frequency
Cutoff
Frequency
Volume
Volume
Mid Resonance
Cutoff
Frequency
Frequency
Frequency
Cutoff
Frequency
Cutoff
Frequency
Frequency
Frequency
Frequency
Band Pass Filter with Resonance Responce Curves
Volume
Key "On"
Key "Off"
Time
"Organ" Type Volume Response Curve
Volume
Key "On"
Key "Off"
Time
"Piano" Type Volume Response Curve
ABOUT ANALOGUE SYNTHESIS
The “String section” volume curve can be seen to go to full volume gradually over several seconds when a key is pressed and then stay there until the key is released, when gradually over a couple of seconds the volume drops to zero.
These volume curves are called “Envelopes”. In an Analogue synthesiser, “Envelope Generators” are used to recreate them. Envelope Generators have 4 main parameters which are used to adjust the shape of the envelope. See the diagram below:
Attack time is used to adjust the time it takes when the key is pressed for the envelope to go from zero to full value ( Fade in ). Decay time is used to adjust the time it takes for the envelope to go from full value to the value set by the Sustain level. ( Piano
like decay of volume )
Sustain level is used to set the level that the envelope remains at while the key is held down. Release time is used to adjust the time it takes when the key is released for the level to go from the sustain value to zero. ( Fade
out ) The Supernova II keyboard also offers additional envelope features to the classic ADSR types allowing even more flexibility, see
the diagram below:
In addition to the Attack, Decay, Sustain & Release parameters there are also 3 new parameters. These are: Sustain Rate which is used to control the slope of the “Sustain” phase of the envelope. When this parameter is set to zero, the
curve is normal like so:
When this parameter has a +ve value, during the “Sustain” phase of the envelope, the Sustain value will rise to full at a “Rate” determined by this parameter as can be seen below:
14
Volume
Key "On"
Key "Off"
Time
"String Section" Type Volume Response Curve
Volume
Key "On"
Decay
Time
Infinite Sustain
Time with
no Sustain Rate
Attack
Time
ADSR Type Volume Response Curve
Key "Off"
Sustain level
Release Time
Volume
Key "On"
Attack
Time
Decay
Time
Infinite Sustain
Time with
+ve Sustain Rate
Key "Off"
Sustain level
Release Time
ADSR Type Volume Response Curve
Volume
Key "On"
Key "Off"
Sustain level
Decay
Time
Infinite Sustain
Time with
no Sustain Rate
Release Time
Attack
Time
Low values like +01 will produce a very slow rise. High values will produce a quick rise to full intensity. When this parameter has a
-ve value, during the “Sustain” phase of the envelope the Sustain value will fall to zero at a “Rate” determined by this parameter as can be seen below:
Low values like -01 will produce a very slow fall, while high negative values will produce a quick fall to zero intensity. A-D Repeat allows the Attack & Decay phases of the envelope to be looped, producing repeated cycles of Attack & Decay curves.
This is fully adjustable from Off ( normal ADSR operation ), up to 126 repeats or Infinity. Sustain Time which is used to control how long the “Sustain” phase of the envelope will last. When this parameter is set to 127 (
infinite ) the curve is normal like so:
When this parameter is set to anything less than 127 the “Sustain” phase has a defined time duration and can be adjusted from very long to very short. This means the “Sustain” phase may end before the key played is released, at which point the “Release” phase will start automatically. Below is an example of all 3 new parameters working together:
Summary
An Analogue Synthesiser can be broken down into three main elements.
1 - The Oscillator is the part of a synthesiser that generates “Waveforms” at a certain “Pitch”.
2 - The type of “Waveform” selected in the Oscillator & the settings of the “Filter” determine the “Tone” of the sound.
3 - The sound is then passed through an “Amplifier” which is controlled by an “Envelope Generator”. These alter the “Volume” of a sound over time.
ABOUT ANALOGUE SYNTHESIS
15
Volume
Key "On"
Attack
Time
Decay
Time
Infinite Sustain
Time with
+ve Sustain Rate
Key "Off"
Sustain level
Release Time
Volume
Key "On"
Attack
Time
Decay
Time
Infinite Sustain
Time with
-ve Sustain Rate
Key "Off"
Sustain level
Release Time
Volume
Key "On"
Attack
Time
Decay
Time
Infinite Sustain
Time with
no Sustain Rate
Key "Off"
Sustain level
Release Time
Volume
Key "On"
A/D Repeat
set to 1
Short Sustain
Time with
+ve Sustain Rate
Key "Off"
Sustain level
Release Time
ABOUT ANALOGUE SYNTHESIS
All of these three main elements can be controlled by various methods. For example: The “Pitch” of a note can be played on a keyboard or a synthesiser. Additionally it can be manipulated in real time using the “Pitch
Bend Wheel” to create “Slides” and “Bends” in pitch. LFOs ( low frequency oscillators ) can be used to “Wobble” the pitch of a note at a specific rate creating a “Vibrato” effect. An Envelope Generator can also be used to “Slide” the pitch in an automatic way.
The Filter can be manipulated by LFOs to vary the “Tone” of a sound at a specific rate creating a “Wah Wah” type of effect. An Envelope Generator can also be used on the Filter so that the “Tone” of a sound changes over time. A feature 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 the sound short and percussive or more like a piano, or even like an organ. Additionally the “Velocity” at which you hit the keys can also be used to manipulate volume making a sound more “expressive”.
The elements that manipulate these three main synthesis elements are called “Modulation Sources”. The Supernova II keyboard features 3 Envelope generators and 2 LFOs ( Low Frequency Oscillators ) as Modulation “Sources”. In
addition to these modulators, Velocity (the dynamics of your keyboard playing. i.e. ppp to fff ), Aftertouch ( Pressure on the key­board while note(s) are held ) and the Modulation Wheel are included as additional “Sources” of modulation signals in a “Modulation Matrix”. This allows almost any “Source” to modulate a given parameter. It is even possible to have combinations of different “Sources” modulating one parameter simultaneously. In the Supernova II keyboard this has been neatly arranged on the front panel so that accessing all the possible combinations of modulation is quick and easy. Below is the Modulation Matrix for the Oscillator section.
Oscillator Modulation Matrix
Simply by selecting the desired “Source” ( using the row of buttons on the right ) and the desired “Destination” ( using the row of buttons on the left ), the “Level” or “Mod Depth” knobs allows the creation of complex modulation setups easily. On older modular Analogue Synthesisers this was done with “Patch” leads that physically connected the “Sources” and “Destinations” together.
This allows some very powerful performance features to be implemented. i.e. It is possible to sweep the “Sync” effect, “Harden” effect, Pulse Width Modulation and alter the Mix of all three oscillators independently plus open the Filter Cutoff Frequency, Reduce the Filter Resonance, add lots more Distortion and Delay and reduce the Chorus and Reverb - all by simply moving the Mod Wheel forward! With the Modulation Matrix, relationships such as these are quick to set up and will transform a “static” sound into one with real “hands on” control and flexibility.
This is where most synthesisers end. However, the Supernova II keyboard also features a very powerful Effects section. It could be said that effects are as much “part” of a sound as the raw sound itself. Some of the larger old Analogue systems had built in spring reverb. And with the development of DSP technology, digital effects have become available in modern synthesisers. However, when in a “Multimbral” application, many modern synths pass all the sounds through one set of effects, compromising flexibility.
In the Supernova II keyboard, a block of 7 effects is part of the “Program” and can be considered to be part of the synthesis engine. These effects include Distortion, EQ, Reverb, Chorus/Flanger/Phaser, Delay, Panning & Comb Filter effects. These can simulate “Real World” effects like Echo and Room Reverberation etc. or they can be used to just do really weird things to your sound! For details on what each effect does and how best to use them, refer to the About Effects section of this manual on page
20. The best thing to do is just get in there and tweak those knobs, after all that’s why we put them there! Experiment and you’ll soon
be creating your own sounds. Nothing beats hands-on experience when learning how to make the most of the Supernova II Keyboard.
mix
pitch
width
sync
hardness
lfo 1
lfo 2
env 2
env 3
wheelmod
level
destination source
modulation
16
Basic Theory
Earlier in this manual we were introduced to the basics of subtractive synthesis and became familiar with terms such as harmonics, timbre, waveforms and oscillators. FM Synthesis is the technique of using one waveform ( Oscillator ) to Frequency Modulate - FM
- another to produce a resultant more harmonically complex waveform. For purposes of illustration we will assume that the oscillators are producing sine waves.
As we have already discovered, it is the CHANGE in harmonics over time that starts to make a sound interesting to our ears. In FM synthesis, an envelope generator is inserted between the modulator and carrier waveforms. This gives control over of how much Frequency modulation is taking place with respect to time.
Adding this envelope makes the basic FM building block look like this
We can see that the output waveform starts off as the same as the carrier, becomes more complex (HARMONICS ARE ADDED) as the amount of FM modulation increases via the envelope, and then returns to a simple wave again as the envelope decays. THE TIMBRE OF THE WAVEFORM IS CHANGING WITH TIME. This is the opposite of subtractive synthesis where often a LOW PASS FILTER is used to REMOVE HARMONICS.
To complete this simple synthesizer, we need to add one further envelope to control the volume of what we are hearing. The com­plete building block will now look like this.
ABOUT FM SYNTHESIS
17
Osc 1- Modulator
Modulation level = 0 = 30
Osc 3- Carrier
Output Waveform
= 90
Osc 1- Modulator
Envelope modulation level = 20
Osc 3- Carrier
Output Waveform
Modulator
Env - used to control FM modulation amount
Carrier
Env - used to control amplitude of sound over time
Output
ABOUT FM SYNTHESIS
Yamaha popularised FM synthesis in the 1980’s with the famous DX7 synthesiser.The basic building block of the original Yamaha machine was referred to as an OPERATOR. An operator is just one oscillator with one envelope generator that can control the out­put level of the Oscillator.
Referring to our simple synthesiser in the diagram above we can outline the different sections and see that it comprises of two blocks, each one containing one oscillator and one envelope. This is known as a 2 OPERATOR SYSTEM in DX7 Language.
The DX7 had six operators and these were presented to the user in preset combinations referred to as ALGORITHMS. This termi­nology of OPERATORS & ALGORITHMS immediately presented users of this new digital technology with a mystifying machine interface, thus creating original sounds was very often left to professional programmers. We will attempt to make things clearer with the SUPERNOVA II so you may gain the knowledge to create your own FM sounds.
Programming of your own FM sounds using the Supernova II keyboard.
In any one PROGRAM of the Supernova II keyboard, we can make up to 3 OPERATORS using the oscillators and envelopes available. We can also add a noise waveform for special effects & Drum/Percussion sounds. For simplicity, most of the factory pre­sets use the same structure as in the diagram below.
A Noise waveform maybe substituted for Osc1 or Osc2 Many musical instruments contain much of the detailed sonic information during the first few moments that the instrument is
plucked, struck or blown. For example, when a Xylophone is struck, during the small amount of time after the beater has made contact with the wood it will resonate and contain many harmonics. The sound will then settle down to a more periodic waveform.
The easiest way to learn and understand FM is to study a few of the factory presets. So lets start with the Xylophone Select the FM sound Program H056"FMpt Xylo Lo". When manipulating FM sounds, most of the "tweaking" will be done using the envelope section and oscillator section. Because we are now using an additive form of synthesis, it is not really necessary to use the filter section (remember FM
synthesisadds harmonics instead of subtracting them). However, the Filter may still be used to enhance the sound further if required.
18
perator 1
perator 2
Output
Osc1
Env3
Osc3
Env1 Amplifier
Operator 1
Operator 3
Output
Osc2
Env2
Operator 2
When using the Supernova II keyboard for FM synthesis it is important to note that it is ALWAYS Oscillator 3 that is heard as an output to the mixer section. If you are creating sounds from scratch, we recommend using the program H126 “FM Init Program” as a starting point, as in this Program all the oscillators are set to sine waves and only oscillator 3 has its mix level turned up.
Referring to the graphic above, we have Oscillator 3 doing the "Body" of the sound. We then have Oscillator 1 via env3 Modulating Oscillator 1 for a small amount of time to simulate the effect of the beater. To hear just the body of the sound, press "osc3" in the Oscillator Section and press "solo". - Make sure that the button "fm" under the 1*3 is NOT LIT. Play the keyboard and listen to the sound. You are hearing a softened square wave that is in fact a sine wave. Whilst playing the keyboard, press the "hardness" but­ton and slowly rotate the "Level" knob. Notice how the sound becomes harder. Turn the knob back so that the hardness level is zero. Now press the "fm" button. You can hear the FM effect of Oscillator 1 coming in via envelope 3. The extra harmonics are now audible at the start of the sound and it resembles a real Xylophone.
The amount of time in which FM is taking place and the FM intencity is controlled by Env3. Env3 is allowing an amount of Oscillator 1 to FM Oscillator 3. Experiment by selecting env3 in the Envelopes section and varying the decay time. Also Experiment with changing the pitch of Osc1. To do this press the "osc1" button and turn the "oct/semi" or "cents" knob.
A general rule in FM synthesis is that the HIGHER THE FM MODULATION AMOUNT, THE HARDER OR BRIGHTER THE SOUND BECOMES.
The real power of FM in the Supernova II keyboard is the ability to "stack" programs into performances. The Performance "FM Xylophone" in B025 is actually made from 2 programs. The program as described above (FMpt Xylo Lo) &
FMpt Xylo Hi. From the names you can work out which program is doing what part of the sound !!!!! To hear the 2 programs together select Performance B025. This is a layer of the 2 programs. In terms of Operators this sound will now look like this in block diagram form.
ABOUT FM SYNTHESIS
19
Osc1
Env3
Osc3
Env1 Amplifier
Operator 1
Operator 2
ProgA Fmpt Xylo Lo
Output
Osc1
Env3
Osc3
Env1 Amplifier
Operator 1
Operator 2
ProgB Fmpt Xylo Hi
ABOUT EFFECTS
The Supernova II keyboard’s effect section is arguably one of the most powerful in a synthesiser of this type today. With all this power it is possible to obtain a level of production that was previously unattainable.
Effects can be “Effects” or they can be “Acoustic Simulations”. Both are useful in the production of modern music. In fact they are almost essential. Clever use of effects can enhance a track beyond compare. However, slapping loads of effect on everything can do the reverse.
In the Supernova II keyboard there are 7 effects units per Program. They are: Distortion, EQ ( Equalisation ), Comb Filter, Reverb, Chorus/Flanger/Phaser ( This is one effect that can be a Rotary Speaker or an Ensemble or a Chorus or a Flanger or a Phaser ), Delay & Panner/Tremolo. Let’s look at all of these effects one by one.
Distortion .
This is usually an effect reserved for Guitar players. As the name suggests, this has the effect of distorting the incoming signal as can be seen in the diagram below.
This effect not only gives the sound a hard edge and a dirty kind of quality, it also has several other characteristics that are worthy of note. Firstly, low level harmonics within the waveform are exaggerated. “Resonant” waveforms and indeed any resonance or additional harmonics will jump out if this effect is used. Secondly, the maximum level that comes out of the distortion effect is rela­tively constant so there is a definite compression effect present as well. This can be useful for mixing, as the level of the sound is the same. The Distortion parameter as its name implies introduces Distortion.
EQ.
This effect is not normally found on most synthesisers, but is found on mixing desks and is very useful for fine tweaking the individ­ual sounds to make them “fit” together in a mix. Very often a sound may be too “muffled” sounding or a bass too “twangy” sound­ing. This is where EQ comes in. Muffled sounds have insufficient treble, so adjusting the Treble EQ will either boost or reduce the treble. Similarly, the Bass EQ will either boost or reduce the bass. In the Supernova II keyboard there is a Treble EQ control and a Bass EQ control.
Comb Filter.
This effect is a filter that generates many peaks in the frequency response of the signal. This can be seen in the frequency Response curve below.
20
Saw Waveform
Distorted Saw Waveform
Boost
Level
Level
Comb Filter Frequency Responce at a low "Freqency" setting
Boost
Comb Filter Frequency Responce at a high "Freqency" setting
There are many peaks and they look like a “comb” hence the name Comb Filter. There are two main parameters associated with this effect. Comb frequency controls the “frequencies” at which the peaks occur, and Comb boost controls how high the peaks are. The effect is to alter the timbre of the sound. Although similar to EQ, this effect can produce effects not possible using a standard EQ. The resulting sound tends to be quite “Metallic” sounding especially when large “Boosts” are applied.
Reverb.
This is an “Acoustic Simulation of a room. Why does singing sound good in the toilet? Reverb that’s why! The Reverb Effect is a computer model of the acoustics of a room. The type of room is up to you, anywhere from the toilet to the local Concert hall is pos­sible. Below is a simplified diagram of the reflections of sound in a room. Note there are many reflections from all directions.
When the Reverb button is pressed, the knob in the effect section controls how much Reverb there is. Anticlockwise there is little effect This can be thought of as being very close to the sound source within the hall. Fully clockwise, there is lots and this can be thought of as being at the other end of the hall from the sound source. Basically one way of looking at this parameter is “where you are and where the sound source is in the hall”.
Different types of rooms and halls have different acoustics. For this reason, Supernova II keyboard features several different Reverb types. These range from very, very small rooms like the “Dry Chamber” setting to the very large hall like the “Large type 2” setting. Additionally, “special” types have been included. These are “Gated” types and are an artificial type of reverberation that sustains for a period and typically dies away suddenly rather than smoothly decaying away as reverb does naturally. These types can be used as a special effect, especially on drums.
Most rooms have dominant large reflective surfaces ( Larger walls typically ) and these create dominant echoes in the reverberated signal. Early ref ( reflection ) level simulates these reflections. Large amounts of Early ref level will produce strong signal at the beginning of the reverb.
Decay Time is the time it takes for the Reverb to die away after the sound has stopped. This can be thought of a “what the hall is made of”. Very acoustically reflective rooms tend to have long decay times and very non reflective rooms have short ones.
HF damp is short for High Frequency Damping. This controls the “tone” of the decaying Reverb. This can be thought of as the amount of carpet and drapes in the hall. Carpet and drapes tend to absorb high frequencies as a sound “bounces” around the hall , giving you your Reverb effect. With each bounce the sound looses a little treble. No HF Damping is a little unusual in the “real” world but can be used to emphasise sibilant or trebly sounds. Normally a little HF Damping is applied to give the Reverb a natural kind of sound.
Chorus/Flanger/ Phaser.
This is one effect that can be a Rotary Speaker, Ensemble, Quad Chorus, Chorus / Flanger or a Phaser.
Rotary Speaker - a n overview.
This effect is designed to simulate the effect created by a “Leslie” cabinet (often used in conjunction with an Organ such as a Hammond B3). The effect was created by 2 separate speakers in the Leslie cabinet that are spun around independently with 2 motors. Hence the name of this effect, “Rotary Speaker”. One of the speakers in the Leslie cabinet is a “Horn” ( Tweeter ) and the
ABOUT EFFECTS
21
ABOUT EFFECTS
other is a “Rotor”. ( Woofer ) The effect has 2 settings: a “Speed 1” setting, ( where the speakers are usually set to rotate slowly ) and a “Speed 2” setting ( where the speakers are usually set to rotate fast ). The speakers are quite heavy, so when changing from one setting to another, the speed change is not instant but gradual due to the speaker’s inertia.
Ensemble - a n overview.
This effect is designed to simulate the “Ensemble” effects found in classic “String Ensemble” keyboards like the Solina or the Roland SE101. This is similar to Chorus in the sense that Ensemble provides an effect that fattens up sounds and provides a stereo image but without the swirling sensation. It could in actual fact be thought of as 4 independent Choruses all running at differ­ent speeds, thus masking the “wobbly” sensation that Chorus can produce. This is particularly suitable for string sounds as it sounds smoother than Chorus for this purpose.
Chorus - an overview.
This is an effect originally designed to simulate the effect when many people sing together as opposed to one person or the sound of a 12 string guitar as opposed to a 6 string guitar. Chorus is an effect that is produced by detuning the signal slightly and mixing it back together with the original signal. The characteristic Chorus swirling effect is produced by an LFO that controls the amount of detuning the chorus performs.
Quad Chorus.
This is effectively 4 Choruses running at once from one LFO but in different phases. This creates a particularly “thick” Chorus effect suitable for String Ensemble and other “Lush” sounds.
Chorus/Flanger.
Normal Chorus and Flanger effects are quite similar. Using this effect as a Chorus provides a Stereo effect with a smooth, swirling sensation that fattens up sounds and provides a stereo image. This type of Chorus differs from the Quad Chorus in the sense that although not as “thick” sounding, this Chorus retains the “definition” of the effected sound, making it more suitable for basses, organs & percussive sounds. The Flanger effect is similar to a chorus but tends to use more detuning and feedback to produce an effect with a pronounced swirling sensation that emphasises the harmonics in the sound as it sweeps through them.
Phaser.
This effect is almost the reverse of a Flanger. A small amount of phase shift is applied to the signal via an LFO. When this is added back together with the original signal, a pronounced swirling effect is produced that cancels out harmonics in a sound as it sweeps through them.
Chorus Speed. This parameter controls how fast the LFO for this effect is going. Generally a fairly slow speed is used. Higher speeds tend to induce a vibrato like quality to the sound.
Mod Depth controls the amount of detuning or phase shift that the effects LFO produces. Again, large amounts of modulation from this parameter will produce a more noticeable effect. Generally moderate amounts are often used, but you will find that bass sounds benefit from more Mod Depth than normal. Feedback controls how much of the treated signal is fed back into the input. Subtle effects like chorus benefit from low levels of feedback. Flangers and Phasers on the other hand often sound better with more feedback. Feedback emphasises the harmonics in a Flanger and emphasises the cancellation of harmonics in a Phaser.
The Type parameter determines if this effect is going to be a Chorus or a Flanger or a Phaser. Select the one you want.
The effects LFO should not be confused with the front panel Program LFOs.
Delay.
This effect is normally a single acoustic reflection of a sound. This is commonly called Echo. This effect can be heard naturally any­where where there is a large flat surface, like a concrete wall. A “Stereo” version can be considered to be two concrete walls and this is the type that the Supernova II keyboard uses. The distance from the walls determines the delay time and in the example below, the distance between the left wall and left ear of the listener is different to the distance between the right wall and the right ear of the listener. This creates a Stereo “staggering” effect of the echoes and is normally referred to as “Multi Tap Delay” or “Tap Delay”.
22
NOTE:
NOTE:
Delay Time. This parameter controls the amount of time it takes for the delayed signal to be heard after the original signal. In the example given above, this is the same effect as the distance you are from the wall. A large distance produces a long delay and a short distance produces a short delay. In the Supernova II keyboard, the Delay time is the time of the Longest delay. The shorter delay will be a percentage of this value (see “Ratio” below).
Feedback. This parameter controls how much of the delayed signal is fed back into the delay’s input. No feedback produces a “Slapback Echo” effect, that is just one delayed signal with no repeats. Small amounts of feedback produce “repeated” signals giv­ing the “Echo” effect. This can be thought of as standing in-between two parallel concrete walls. The sound bounces back and forth between them. In this case, the Decay Time represents the distance between the walls.
HF Damping. HF Damping is short for High Frequency Damping. This controls the “tone” of the decaying Echo. This can be thought of as the amount of drapes on the walls. Drapes tend to absorb high frequencies so as a sound “bounces” from wall to wall giving you your Echo effect. With each bounce the sound looses a little treble. No HF Damping is a little unusual in the “real” world but can be used to emphasise sibilant or trebly sounds. This characteristic was found in older “Tape” based echo units. Higher val­ues of this parameter simulates the effect of worn out tape or heads in a tape echo. Normally a little HF Damping is applied to give the Echo a natural kind of sound.
Delay Ratio. The Ratio parameter automatically adjusts the “Ratio” of the Longest Delay time and the shorter Delay time into tim­ings that are useful for Musical use. This parameter does not effect the Delay Time parameter but does alter the shorter Delay time so that it works well with the Delay Time setting.
Width is the Stereo spread between the long and shorter Delay times. At a width of zero, both delays appear in the middle of the stereo field. (Monoaural) At a width of 127, the long delay will appear on one output and the shorter delay on the other producing a dramatic stereo effect.
Pan.
This effect controls where the sound “sits” in the stereo field. In the Supernova II keyboard, this performs exactly the same function as Pan does on a Mixing console. It can be used to statically position a sound anywhere from Left to Right in the stereo field. This ( as everything else on Supernova II keyboard ) can be controlled via MIDI controllers.
Pan Typedetermines if the Pan is set to Pan automatically. If set to “Autopan” the sound will swing from side to side of the stereo field at a rate determined by the Speed parameter. If set to “Tremolo” the sound goes up and down in volume at a rate determined by the Speed parameter.
Pan Speed determines the speed of the Autopan and Tremolo effects. Pan Depth determines how much the Autopan and Tremolo effects control the Volume of the sound. Small amounts produces sub-
tle movements and full amount produces change from no sound to full volume.
ABOUT EFFECTS
23
N O VATIONISH - N O VATION JARGON
In this manual there are several terms used that may lead to confusion if not fully understood. Below is an explanation of all the Novationish used in this manual.
Program
This is the simplest type of sound Supernova II keyboard can create. These are accessed by pressing the Program button. The Supernova then enters Program Mode. Other Manufacturers sometimes call these Patches or Partials.
Drum Map
This is the special arrangement where many Programs are arranged across the keyboard ( one drum Program for each note ). All drum sounds are available simultaneously. The Drum Maps are accessed by pressing the Program button and the Bank buttons. On the Supernova, all Drum Map sounds use a single set of effects. Other Manufacturers sometimes call these Drumkits.
Performance
This is the most complex type of sound the Supernova II keyboard can create. It is made up of 8 different sounds called Parts. Each Part contains its own Program and Part settings. These Parts can be layered or set up as splits to form the Performance. Performances are accessed by pressing the Performance button. The Supernova then enters Performance Mode. Other Manufacturers sometimes call these Multis, Multisetups or Combinations.
Part
This is one of the 8 sounds or Parts of a Performance. The sound assigned to a Part is called a Program. Other Manufacturers sometimes call these Timbres.
Favourites
This is a special set of memories storing all your “Favourite” Programs, Performances and Arpeggiator patterns. These are accessed by pressing the Favourites button. The Supernova then enters Favourites Mode.
V oice
This is a measurement of polyphony. One voice is the equivalent of one note being played. One voice in the Supernova II key­board uses three Oscillators, two Ring Modulators and a Noise generator as sound sources. All these sound sources can be used simultaneously in one Voice.
Oscillator
This is the basic waveform generator in the Supernova II keyboard. As described above, there are three Oscillators per Voice.
Sync Effect
This is a parameter of one oscillator that simulates the “Sync Effect” generated by 2 Analogue oscillators in a “Oscillator Sync” con­figuration. For more details refer to page 6 - About Analogue Synthesis.
Hardness Effect
This is a parameter that controls the harmonic content of any waveform. Full Hardness Effect on a waveform produces a normal wave. Minimum Hardness produces a near sine wave. This is similar to having a separate LPF for each oscillator. For more details refer page 6 - About Analogue Synthesis.
Analogue Sound Modelling
This is the Synthesis System the Supernova II keyboard uses to create sound. Created by Novation, this new method of synthesis was first used in the Award winning Novation Drum Station.
When this symbol appears in the manual this indicates an important feature or destructive function such as Writing data to memory etc.
24
NOTE:
NOTE:
There are 3 types of “Sounds” you can select in the Supernova II keyboard. These are Programs, Drum Maps & Performances. When the Program Button is selected, the Supernova enters Program Mode and a single Program is recalled from memory. A
Program is the most basic type of sound in the Supernova II keyboard. This sound is made up of the 3 oscillators, the 2 ring modu­lators and the noise generator. These are Mixed together and are fed through the Filter, Amplifier and effects processors. The sound produced by a Program in Program Mode always comes out of outputs 1 & 2. Program Mode always uses the “Global MIDI Channel” to send and receive MIDI Data. In Program Mode, the Program covers the entire range of notes on a keyboard and has the standard velocity curve. On other synthesisers, a “Program” is sometimes referred to as a “Patch” or “Partial”. This is fairly standard amongst synthesisers except that the Supernova II keyboard differs in 2 areas.
Firstly, the Effects Section is memorised with the Program. Although this may seem standard in comparison to other equipment, the real difference happens in Performance Mode when a Performance is selected. Because the Supernova II keyboard can run 56 Effects at once, all 8 “Parts” of a Performance have their own Effects Section. This allows all the “Parts” of a Performance to sound exactly the same in Performance mode as they do in Program mode. This is unique to the Supernova II keyboard and is literally like having the equivalent of 8 separate synthesisers with 8 sets of effects sections allowing a very high level of production to be achieved with just one box.
Secondly, the Arpeggiator Sections parameters are also memorised with a Program. Similarly, because the Supernova II keyboard can run up to 8 Arpeggiators at once, all 8 “Parts” of a Performance have their own Arpeggiation settings.
Below is a simplified block diagram of a “Program” in the Supernova II keyboard.
In a Program, incoming MIDI messages get processed by the Arpeggiator ( If it is “On” ) and control the Oscillators. The signals produced are mixed together in the Mixer section and the resulting signal is passed on to the Filter. The signal then is passed to the Amplifier which then sends the signal into the effects section. This signal path is refected on the front panel of the Supernova II keyboard allowing easy understanding of the synthesis process. All the essential controls of this process are on the front panel and in Program mode, adjusting the controls will directly affect the sound produced. For a deeper understanding of the creation of sounds refer to the section “About Analogue Synthesis” on page 8 for details.
Arpeggiator Oscillators
and Ring
Modulators
Mixer Filter Amplifier
Dist EQ
Pan
Reverb
Chorus
Delay
LFO 2
Envelope 2
Envelope 1LFO 1
Envelope 3
MIDI
Program
Comb
Effect Section
( Shown in Normal
Configuration, D + R + C )
ABOUT PROGRAMS
25
ABOUT DRUM MAPS
A Drum Map is a special way of playing Programs. A Drum Map can be thought of as a special bank of 50 Programs rather than the 128 Programs found in a normal Program Bank. Normally, a Program is transposed and is played over the entire range of the keyboard. In a Drum Map, each program is assigned to a single note on the keyboard and every note from C1 ( bottom C on the keyboard ) to B4 plays a different program. Basically a separate “Program” is assigned to each note in a Drum Map. This allows the keyboard to access different Drum sounds on each key. This is particularly useful when using the Supernova II keyboard with a sequencer, as a Drum Bank can be assigned to a single “Part” of a Performance allowing many different drums to be played on one MIDI channel. Each Drum Bank contains 50 Programs. Below is a block diagram of a Supernova II keyboard Drum Map.
The incoming note data is split up and fed to one of the 50 Programs in the Drum Map. These Programs are numbered 000 to 049. Drum Map Programs 000 to 048 are for storing sound data. The output of all these programs is mixed together and fed through one effects section. The effects section’s parameters are actually stored in Drum Map Program 049, so adjusting the effects sec­tion of any Program within a particular Drum Map will actually alter the effects on Drum Map Program 049 and hence the whole Drum Map. When a Drum Map program is saved, the sound data is stored in the desired location and any edits to the effects data is stored in Drum Map Program 049. Effects settings from other normal Programs can be imported into a Drum Bank by saving the Program that has the desired effects in Drum Map Program location 049.
In the Supernova II keyboard there are 8 Drum Maps. These are referred to as Drum Maps ‘a’ to ‘h’. Note the use of lower case to avoid confusion with standard Program Banks which are labelled ‘A’ to ‘H’.
Adjusting the effects settings of any Drum Map Program will affect all the sounds in the entire Drum Map.
Any Program written into Drum Bank location 049 will not make a sound but will write the source Programs effects on the entire Drum Map.
It is perfectly possible to write a “normal” type of Program into a Drum Map and to write a Drum Map Program into a “normal” Program’s location within Banks ‘A’ to ‘H’ using the write procedure.
When using Drum Maps with a sequencer, it is possible that "note dropouts" can occur, especially when repetitive notes occur (Such as snare rolls). This is because some sequencers occasionally get the note on/off messages out of sequence. It is not a fault with the Supernova II keyboard but rather the sequencer. This is a typical example of what happens, when a snare roll of say 16th notes with a gate time of 16ths is programmed into a sequencer, the expected Midi output would be as follows: Note on - (gap of 1 16th) - Note off, Note on - (gap of 1 16th) - Note off, Note on - (gap of 1 16th) - Note off, etc. Ocassionally, What actually happens is : Note on - (gap of 1 16th) - Note off, Note on - (gap of 1 16th) - Note on, Note off - (gap of 1 16th) - Note off, etc.
This happens presumably because as far as the sequencer is concerned, certain Note off and the Next note on events happen in theory at the same time. Most of the time the sequencer will output them in the right order but occasionally it will get the order wrong, resulting in the odd note dropping out.The solution is to either make the Gate time (Note length) of the notes less than the distance between the notes (forcing the sequencer to output the Note on and off messages correctly) or to use the Drum One-Shot parameter in the Voice Control Menu to make each drum sound ignore Note off messages. See page 80 for details.
26
Drum Bank Program a000
Drum Bank Program a048
Dist EQ
Comb
Pan
Reverb
Chorus
MIDI
Drum Bank Program a049
Effects section
Effect Section
( Shown in Normal
Configuration, D + R + C )
Drum Bank
Delay
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Performance Mode is a mode where you can use Supernova II keyboard “Multitimbrally” as opposed to Program Mode where only one type of sound is available for playing at any one time. Performance Mode allows the Supernova II keyboard to play up to 8 dif­ferent sounds simultaneously on up to 8 different MIDI Channels. Each “Part” of a Performance can have a separate MIDI channel setting.
Different Parts in a Performance need not be assigned to different MIDIchannels however. Parts set to use the same MIDIchannel may be layered together to create a “Fatter” sound or spread across the keyboard range creating dynamic split points. Remember, each one of the Parts can have its own Program settings, and as explained before, this means each “Part” has its own Effects Section and Arpeggiator. This means it is possible to layer up to 8 Programs or create a 8 way split of different sounds across the keyboard or any combination of the two. Below are some examples.
In the Performance Layer example there are 2 Pad Programs layered together over the entire range of the keyboard. Playing any one note will play both the sounds on that note. In the Velocity Crossfadeexample, playing the keyboard softly will mean Pad 1 is heard. Playing the keyboard hard will mean Pad 2 will be heard. Playing the keyboard with medium feel will produce a mixture of Pad 1 and Pad 2.
In the Performance Split example, play the higher end of the keyboard and Pad 1 will be heard. Play the low end and Pad 2 will be heard. Additionally, it can be seen here that different Arpeggiators are assigned to the Lower and Upper parts of the keyboard. Both of these can be played at the same time.
The Performance Multiple example is much more complex. A Performance can have up to 8 “Parts”. In this case, 7 Parts have been used. The lower half of the keyboard is a 3-way layer of Programs. There is a Pad, a Bass & an Arpeggiated 303 sound. These all sound at the same time when a note is pressed within their note range. A little further up the keyboard, a Brass sound has been assigned. When the keyboard is struck hard, a Ring mod FX is added. Further up the keyboard still, there are 2 Arpeggiated sounds assigned. These are arranged in a Velocity crossfade so that playing the keyboard in this range softly pro­duces a Spike sound with an Arpeggiation. Playing it heavily produces a Bell sound with a different Arpeggiation. To set the sp lit points use the “Range” Parameter to specify over which “Range” of notes the selected “Part” will sound. To set the velocity cross­fades use the “Velocity Curve” Parameter to specify how the selected “Part” will respond to note velocity.
Bell
Arpeggiator
Brass
Ring FX
Arpeggiator
Spike
Master Keyboard / Workstation
Keyboard Range
Velocity = 127
Velocity = 1
PERFORMANCE SPLIT EXAMPLE
Pad 1
Pad 2
Arpeggiator
Arpeggiator
Master Keyboard / Workstation
Keyboard Range
Velocity = 127
Velocity = 1
PERFORMANCE MULTIPLE EXAMPLE
303
Arpeggiator
Pad
Bass
Master Keyboard / Workstation
Keyboard Range
Velocity = 127
Velocity = 1
Pad
Pad 1
Pad 2
PERFORMANCE LAYER EXAMPLE
Master Keyboard / Workstation
Keyboard Range
Velocity = 127
Velocity = 1
PERFORMANCE VELOCITY CROSSFADE EXAMPLE
Pad 1
Pad 2
ABOUT PERFORMANCES
27
ABOUT PERFORMANCES
Above is an example of 8 different sounds assigned to 8 different MIDIChannels. Set the individual “Parts” to the required MIDI channels and make sure the “Part” Note Ranges are set to cover the full range of the keyboard. Velocity Curve settings are set to the normal setting otherwise unexpected results may occur. Also it can be seen that combinations of Multitimbraland Split/Layered Performances can be made. For example, a performance could be set up so that Parts 1 to 4 were assigned to MIDI Channels 1 to 4 and Parts 5 & 6 assigned to MIDI channel 5 with key ranges set so that a split is created. Parts 7 & 8 are assigned to MIDI chan­nel 6 with full key ranges so that a layer is created.
When a Program change message is received on the Global MIDI channel it will change the selected Program or Performance, possibly selecting Program or Performance Mode. If a Program change is received on a Part MIDI Channel that is not the Global one, it will change the assigned Program for that Part. When it does so, the effects settings stored in the Program will be loaded into the Part’s Effects section if the Effects used parameter in the Output menu is set to “Program” . If this parameter is set to “Performance” the Program will change but the effects setting for that part will not be altered. Additionally the Arpeggiator Parameters from the Program will be loaded into the Part’s Arpeggiator.
There is only one Arpeggiator Speed control in a Performance. Adjusting the speed of any Parts Arpeggiator will control the tempo of all 8 Arpeggiators.
Below is a simplified block diagram of a “Performance” in the Supernova II keyboard.
A Performance is literally a duplication of 8 Programs, including the Effects Sections and the Arpeggiators.
Arpeggiator Oscillators
and Ring
Modulators
Mixer Filter Amplifier
Dist EQ
Pan
Reverb
Chorus
Delay
LFO 2
Envelope 2
Envelope 1LFO 1
Envelope 3
MIDI
Tune
Velocity
Output
Range
Polyphony
Performance
Comb
Effect Section
( Shown in Normal
Configuration, D + R + C )
28
Part 8
M Ch8
Part 7
M Ch7
Part 6
M Ch6
Part 5
M Ch5
Part 4
M Ch4
Part 3
M Ch3
Part 2
M Ch2
Part 1
Part 1
M Ch1
Velocity = 127
M Ch1
Velocity = 1
Master Keyboard / Workstation
Keyboard Range MULTI TIMBRAL PERFORMANCE EXAMPLE
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The Supernova II keyboard features a “Favourites Section” that allows any 2 button selection made on the Keypad section or any incoming MIDI Program Change command to call up any Program or Performance from any Bank or select a new Arpeggiator Pattern for the currently selected program. The Favourites Section is user programmable and is Memorised with the Global set­tings.
To select the Favourites Section, simply press the Favourites button in the Mode section or send a MIDI Bank Message of 0 ( Controller 32 with a value of 0 ).
To select a Favourite requires a maximum of only 2 button presses, even if the number has 3 digits. For example to select Favourite 111, make sure the Supernova II keyboard in in the Favourites mode ( the Favourites button is lit ). Now simply press the ‘110’ button and the ‘1’ button in the Keypad section. The display shows:
To select Favourite 001, make sure the Supernova II keyboard is in the Favourites mode ( the Favourites button is lit ). Now simply press the ‘0’ button on the top row of the Keypad section and the ‘1’ button on the bottom row of the Keypad section. In some cases, only one button press is required. For example, if Favourite 111 is currently selected, to select 112 only requires the ‘2’ but­ton to be pressed.
The Favourites map can be made active via MIDI at all times by setting the “Incoming program change” parameter on page 13 of the Global Menu to “Favourites”.
The Favourites mode can be memorised as the power up default made by saving the Global data when this mode is selected. This allows Master Keyboards trying to control the Supernova II keyboard which do not transmit Bank Select Messages to be able to call up any Program or Performance in any Bank.
When a Program/Part receives a valid Bank Select Message (Controller 32) via MIDI IN, the bank will continue to remain selected for the Program/Part until another Bank Select Message is received via MIDI IN.
This “Favourites” mode is assigned to MIDI Bank 0 ( Controller 32 with a value of 0 ). If this message is received the Supernova II keyboard will switch from normal operation to the Favourites mode. Any Program changes received after that will be re-mapped according to the Favourites map. This can be disabled by sending another MIDI Bank Message calling up either one of the Program or Performance Banks. See page 166 for details on the Bank Messages received by Supernova II keyboard.
Space Dust Prog A111 Fave
ABOUT FAVOURITES
29
111
demo tracks
find global
compare assign
performanceprogram
write
favourites
favourites
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ASSIGNING FAVOUR ITES
To assign a Program or performance to a specific Favourites location is easy. Simply select the desired Program or Performance using the Program or Performance buttons in the Mode section, the Bank buttons and keypad section.
Now press the Assign ( favourites ) button in the Mode section. It will light to show it is active. Select the Destination “Favourite” location while in this mode using the keypad buttons or data knobs. The display will show:
Press the Assign (favourites) button again and the display shows this message momentarily:
Indicating that the program has now been assigned to Favourite 111. It is possible to assign all your “Favourites” in this way, but the assignments are not actually written to Flash memory until a write procedure has been done. Now to write this into flash, press the Favourites button to enter the Favourites mode and press the Write button.
If the Write button is not pressed while in Favourites mode, the Flash memory will not be written. All assignments will be lost on power off.
It is also possible to assign Arp Pattern changes to Favourites. To do this, enter the Arp Menu and go to page 1 where the display shows the Pattern bank and Pattern Number parameters. Select the Bank and Pattern to be assigned. Press the Assign Favourites button and set the Favourites location for the Pattern assignment using the Keypad buttons or data knobs. Press the Assign button again to confirm the assignment. Press the Write button to write the assignment to Flash memory.
If the Write button is not pressed while in Favourites mode, the Flash memory will not be written. All assignments will be lost on power off.
It is also possible to assign “Current” program changes to Favourites. “Current” means a program or performance will be selected at a specified location within the “Currently” selected bank. You could think of this as Favourite that is just a program change with­out the bank change data. To do this enter the Favourites mode. Select the desired “Current” value with the keypad section. Press the Assign Favourites button and set the Favourites location for the Current assignment using the Keypad buttons. Press the Assign button again to confirm the assignment. Press the Write button to write the assignment to Flash memory.
If the Write button is not pressed while in Favourites mode the Flash memory will not be written. All assignments will be lost on power off.
Program assigned to :
Assign Program to :
30
111
111
demo tracks
find global
bank
compare assign
performanceprogram
write
favourites
favourites
01020304050
0123456789
60 70 100 110 12080 90
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