Novation A-Station User Manual Download Page 65

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Oscillators

Waveform

Square / Saw / Variable Pulse /
Tri / Sine / Double Saw /
Double Tri / Double Sine

Octave Range

Shift -1 / 0 /+1 / +2

Mod Env Depth

-100% to +100%

LFO1 Depth

-100% to +100%

PWM Source

Mod Env / Manual / LFO2

Ring Mod

1 * 2

2 * 3

2 * 3 FM Level

0 – 100%

2 * 3 FM Mod Level

0 – 100%

FM Env Attack Rate

500uS-20 Seconds

FM Env Decay Rate

1mS-20 Seconds

Mixer

Osc 1 - 2 Level

Off-Osc1-Osc2

Osc 3 Level

0 – 100%

Noise Level

0 – 100%

FM Level

0 – 100%

External Input Level

0 – 100%

Filter

Frequency 5Hz-24kHz
Resonance

0-Self Oscillation (24dB mode)

Mod Env Depth

-100% to +100%

LFO 2 Depth

-100% to +100%

Cut Off

0-100%

Keyboard Tracking

0-100%

Overdrive / Q normalise

0-100%

Amplifier and Mod Envelope

elocity

-100% to +100%

Attack 250uS-20

Seconds

Decay 1mS-20

Seconds

Sustain

0-100%

Release

1mS – 20 Seconds

LF01 and LFO2

Waveform

Sample & Hold / Tri / Saw / Squ

Speed

0 Hz – 1Khz

Delay Fade In

0 – 5 Seconds

LFO Sync

Internal – MIDI Clock

Arpeggiator

Arpeggiator

Speed / Range / Gate Time /
MIDI Clock / Sync / Keysync

Interfacing

MIDI Sockets

In / Out / Thru

Audio Input

Line Level 1 x Mono 1/4” Jack

Audio Outputs

Line Level 2 x Mono 1/4” Jack

Effects

Reverb

Level / Echo Chamber, Small Room
Large Room, Small Hall, Large Hall
Grand hall / Decay / Wheel Level

Chorus - Phaser

Level / Rate / Type / MIDI
Clock Sync / Feedback / Mod
Depth / Centre / MIDI clock sync inital Position
Wheel Level

Distortion

Drive / Compensation / Wheel Level

Panning

Position / Mod Depth / Speed / MIDI clock Sync
Initial Position

Delay

Depth / Time / Feedback / MIDI
Clock Sync/ Stereo Width / Ratio
/ Wheel Level

Vocoder

On –Off / Sibilance Level /
Sibilance Type

EQ / Filter

Depth / Freq / Mod Depth / Mod Speed
MIDI clock sync / MIDI clock sync Initial postion

General

Power

9 Volt D.C. 600 mA

Dimensions

W=483mm H=44mm D=125mm

Weight 1.6

A-4

A-Station technical Specification

Appendix

ENGLISH

Summary of Contents for A-Station

Page 1: ... User Manual A station polyphonic synthesizer A S T A T I O N in music anything is possible ...

Page 2: ...Copyright Novation E M S Limited 2001 A Station User Guide Version 1 1 Features and specifications subject to change without notice due to improvements www novationmusic com ...

Page 3: ...iator Oscillators Oscillators FM synthesis Pitch and Modulation wheels Aftertouch and Breath Control Velocity Triggering and Synchronisation Utility Mode Global Master tuning Local On Off Global Midi clock Midi sync Global Velocity Curve Display operation Ext Audio Input Saving backing up sounds to an external device Loading restoring factory preset sounds Receiving sounds from an external device ...

Page 4: ...ar with the main features of the machine the Advanced Features section which covers the Effects Arpeggiator Synchronisation Triggering and the Utilities will provide all the information to operate the A Station in the most creative productive way Main Features Four hundred Program sound locations Two hundred factory programmed sounds are included and a further two hundred user sound memory locatio...

Page 5: ...rd Program refers to a collection of knob and switch settings that define an individual Sound These settings are then saved as a Program that has a corresponding number in the machines non volatile memory Throughout this manual the two words Sound and Program are frequently referred to and essentially have the same mean ing Text in CAPITALS refer to a front panel control or legend even though the ...

Page 6: ... the factory preset sounds selecting sounds editing a sound and saving a sound Connecting to audio equipment Before connecting the A Station to other units in the system ensure the power to all units is off Connect an audio cable from the Left and Right master output sockets to a suitable amplifier or mixing desk stereo inputs If the A Station is to be operated in MONO either output may be used Co...

Page 7: ... give a clear indication of the sound at different pitches Editing a Sound Once familiar with the sounds that are available select program number 499 This is a very basic synthesizer sound It can be used as a starting point to create a new more interesting sound When this sound is played from the keyboard it will be noticed that there is no change to the volume of the sound other than it being on ...

Page 8: ...ll flash once to confirm that a new program has been written If a program is written and there has been no edits changes to the sound then the write dot only on the LED display will flash Once a sound has been written the operating MODE will automatically return to PROGRAM mode NOTE Any edits to any parameters will cause the edit LED to light NOTE Since there is only a two digit display available ...

Page 9: ...e sounds that the A Station is capable of produc ing will be of benefit when it comes to creating new sounds Press the MODE select button repeatedly until the UTILITY LED is lit Press the AUDITION demo button The Factory demonstration will begin to play To stop the demonstration either press the AUDITION demo button again or press the MODE button to return to program mode ...

Page 10: ...se terms are often given different names Volume is referred to as Amplitude Pitch as Frequency and Tone as Timbre Pitch Taking the example of air vibrating the ear drum the pitch is determined by how fast the vibrations are For an adult human the lowest vibration perceived as sound is about twenty times a second which the brain interprets as a bass type sound and the highest is many thousands of t...

Page 11: ...orm is simply because when viewed on this piece of equipment it looks like its named wave The diagrams show how these waveforms look on the Oscilloscope and illustrate the relative volumes of their harmon ics In summary the Oscillators generate Waveforms at a control lable pitch These Waveforms determine the character Timbre of the sound 9 Oscillators and Waveforms Synthesis Tutorial Sine waves ha...

Page 12: ...e effect of changing the sounds char acter or timbre In practice there is a gradual reduction in the volume of the har monics above the cut off point How quickly these harmonics are reduced in volume above the cut off frequency is deter mined by the Filter s slope This slope is measured in volume units per octave Since Volume is measured in decibels this slope is quoted in number of decibels per o...

Page 13: ...evel Sets the level that the envelope remains at while the key is held down R Release time Adjusts the time it takes when key is released from the Sustain level to zero It can be used to cre ate sounds that slowly fade away in volume Envelopes and Amplifier In earlier paragraphs it was determined how the pitch and tim bre of a sound is synthesized This final part describes how the volume is contro...

Page 14: ...tor s pitch The result would be that the pitch slowly rises and falls above and below its original pitch This would simulate for example a violinist moving a finger up and down the string of the instrument whilst it is being bowed This subtle up and down movement of pitch is referred to as the Vibrato effect As well as LFOs being available to modify or more commonly known as Modulate different sec...

Page 15: ...uts out certain harmonics which changes the characteristic or tImbre of the sound 4 An Amplifier that is controlled by an Envelope generator that alters the volume of a sound over time 5 LFO s and Envelopes that can be used to modulate any of the above Much of the enjoyment to be had with a Synthesiser is with experimenting with the factory preset sounds and creating new ones There is no substitut...

Page 16: ...L left position it adjusts the Portamento effect Notes change instantly from one pitch to another when this knob is zero Turning the knob clockwise introduces the Portamento effect Notes will glide smoothly from one pitch to the next Increasing the amount will slow the time taken for the pitch of the first note to reach that of the second note played When the FUNCTION switch is set to SHIFT right ...

Page 17: ...a memory location in this mode The 0 9 keypad buttons are used to select the destination memory loca tion for the sound to be saved Also see Page 6 UTILITY MODE The Global Menu which has options that affect the overall operation of the machine and the sending of Program memo ries to external devices backing up may be accessed in this mode Pressing keypad button 0 activates the Global Menu See Page...

Page 18: ... is set to NOR MAL or Sine if the FUNCTION switch is set to SHIFT In the position the selected Oscillators waveform will change to Square if the FUNCTION switch is set to NORMAL or Triangle if the FUNCTION switch is set to SHIFT Oscillator 1 2 Sync Switch Synchronizes the waveform of Oscillator 2 to Oscillator 1 Each time Oscillator 1 completes its cycle it resets the start cycle of Oscillator 2 W...

Page 19: ...he MOD ENV The intensity of this modulation is determined by the PULSE WIDTH knob With the Pulse Width knob at central position there is no effect Turning clockwise or anticlockwise introduces the effect Continuous variation in the width of a pulse waveform which is what is happening when LFO 2 is modulating it changes the harmonic content This is pleasing to the ear especially at lower pitches wh...

Page 20: ...lts in some musically pleasing intervals Settings 5 a perfect 4th 7 a perfect 5th 3 minor 3rd 4 major 3rd 8 minor 6th and 9 major 6th offer the best results Mod Env Depth Knob Controls the amount of pitch modulation to the currently select ed Oscillator from the Mod Envelope In the centre position there is no effect on the oscillator s pitch anticlockwise the effect is negative i e the pitch drops...

Page 21: ...e results in Oscillator 2 only being heard Osc 3 Knob Controls the volume of Oscillator 3 Fully anticlockwise results in no signal Fully clockwise results in full volume for this Oscillator Source Switch and level Knob Selects which sound source the level knob will control In the NOISE position it controls volume of the White Noise Generator White Noise is useful for creating sound effects such as...

Page 22: ... remains Fully closed and no sound at all passes This type of Filter is musically the most useful especially for bass sounds Cut off Switch Controls how drastically the frequencies above the Cut off point are removed from the sound In the 12dB position the Cut off slope is gentle so higher harmonics are not attenuated reduced in volume as sharply as they are when in the 24dB position Frequency Ove...

Page 23: ...ilter Cut off set by the Frequency knob by the Modulation Envelope In its central position there is no change to the filter Cut off frequency Adjusting the knob anticlockwise from centre will introduce an increasing amount of negative modulation The filter will close as the MOD ENV runs through its cycle Adjusting the knob clockwise from centre will introduce an increasing amount of positive modul...

Page 24: ...cay times turn this knob anticlockwise and to lengthen decay times turn this knob clockwise Sustain Knob Sets the level at which the envelope remains following the Decay phase only while a key is being held on a controller key board or there is a Midi note on command present Fully anti clockwise and the envelope will decay to zero without being interrupted As the knob is turned clockwise the susta...

Page 25: ...l begin immediately Turning clockwise it will introduce a time delay before the LFO effect can be heard This is partic ularly useful for delayed vibrato effects Shape Switch Selects the waveform shape for the selected LFO S H Sample Hold At a regular interval governed by the Speed knob the level of the LFO jumps to a new random level and stays there until the next jump This creates a rhythmic effe...

Page 26: ...o repeats Small amounts of feedback produce repeated sounds resulting in a multiple echo effect Large amounts of feedback produces infinite echoes Delay Sync The time of the Delay repeats can be synchronized to the tempo of a song The standard synchronization method is to use a MIDI clock as a master timer See page 26 This may be used to lock the repeats in time with a range of musical timings See...

Page 27: ...enu opposite as an example A previous item in the Menu may be selected by pressing the AUDITION button This allows for easy navigation both back wards and forwards in the menus NOTE The Audition button only behaves like this when the FUNCTION button is in the SHIFT mode Adding a Delay effect to a sound Ensure the function switch is set to SHIFT Press KEY 1 and the display shows d L with an alterna...

Page 28: ...ATA knob clockwise so that the delay effect may be heard Repeatedly press KEY 1 until the display shows d y delay sync value Turn the PORTA DATA knob to experiment with dif ferent lengths of delay The repeats will now be in time with the musical piece the repeat time being determined by the syn chronization value Changing the Delay ratio There are thirteen musically useful Delay ratios available E...

Page 29: ... Clocks Synchronised to o F Free running 1 d 144 1 5 Bars 3 t 2 32nd Triplet 2 b 192 2 Bars 3 2 3 32nd 4 t 256 4 Bar Triplet 6 t 4 16th Triplet 3 b 288 3 Bars 1 6 6 16th 5 t 320 5 Bar Triplet 8 t 8 8th Triplet 4 b 384 4 Bars 6 d 9 16th Dotted 3 d 432 4 5 Bars 8 12 8th 7 t 448 7 Bar Triplet 4 t 16 4th Triplet 5 b 480 5 Bars 8 d 18 8th Dotted 8 t 512 8 Bar Triplet 4 24 4th 6 b 576 6 Bars 2 t 32 2nd ...

Page 30: ...e range from a small room to a large hall Changing the Type of Reverb Ensure the function switch is set to SHIFT Repeatedly press KEY 2 until the display shows r t Turn the PORTA DATA knob to experiment with different types of Reverb See table opposite for display legends Reverb Decay Time This is the time it takes for the Reverb to die away after the original sound has decayed Very acoustically r...

Page 31: ...s a stereo image Chorus retains the definition of the effected sound making it more suitable for basses organs and percussive sounds Phaser Although referred to as a Chorus type the Phaser effect is in fact entirely different A portion of the audio signal is split off and phase shifted at certain frequencies It is then mixed back with the original signal to generate the characteristic swishing eff...

Page 32: ... low levels of feedback The Phaser effect requires higher levels of feedback Chorus LFO Initial Position As well as being able to synchronize to MIDI clock tempo the Chorus LFO may have its initial position set after a specific MIDI event is received see page 51 Global menu options The initial positions are shown in the table above For example if the Chorus initial position sync is set to R t afte...

Page 33: ...T Repeatedly press KEY 4 until the display shows P P and an alternating value Turn the PORTA DATA knob clockwise or anticlockwise to move the sound across the Stereo field Pan Depth A subsequent press of Key 4 will select Pan Depth This parameter determines how much of the Panning effect can be heard Pan Rate If the Pan Depth is set to a non zero value the sound will move from the Left to the Righ...

Page 34: ...ing able to boost low or high frequencies the final output EQ Filter may be used to create automatic sweeps of EQ and filtering It may be synchronized to tempo and locked to musical timings from 32nd triplets through to several bars EQ Amount An EQ amount control is provided to give the sound a boost or cut at any chosen frequency Positive amounts boost the vol ume of frequencies above the FREQUEN...

Page 35: ...clockwise to decrease the rate EQ Sync The rate speed of the LFO may be locked to the tempo of the musical piece to allow auto EQ Filtering effects The table on the Page 27 describes the musical timings available Set to o F and the LFO speed will be at the rate determined by the EQ RATE see above Set to any other selection the LFO speed will be in time with the selected musical timing This works i...

Page 36: ...to a medium speed While playing notice how the sound automatically becomes brighter and softer in time with the speed of the LFO If there is no effect select the EQ SYNC option and make sure it is set to o F The final step is to synchronize this with the musical piece With a sequencer connected and sending MIDI clock information see page 26 set the EQ SYNC to the desired musical timing See page 27...

Page 37: ...alue With a microphone or other sound source connected to the input jack this being the modulator play a note or chord on the connected MIDI keyboard this being the carrier At a setting of 64 a mix of the Modulator and Carrier will be heard the Vocoder effect At a setting of 0 the Carrier only will be heard and at a setting of 127 the Modulator only Sibilance Level Determines the amount of sibilan...

Page 38: ... played will not resyn chronize the pattern Experiment by changing modes and play ing the keyboard No Latch Keysync On o K The Arpeggiator will behave as above however new notes played will resynchronize the pattern This mode is useful for certain musical styles Latched No Keysync o L This is similar to the o n option however notes will continue to sound even when keys are released on the controll...

Page 39: ...eggio starts at the lowest note played and sweeps up through the notes until it reaches the highest note It then sweeps back down This is useful when playing three notes in songs with a 3 4 time signature u d UP DOWN2 The arpeggio starts at the lowest note played plays it twice and sweeps up through the notes until it reaches the highest note It then plays the top note again and sweeps back down L...

Page 40: ...t using this setting Setting the destination to Et external will route the Arpgeggiated notes ONLY to the MIDI output socket Please note There will be no sound from the A Station rack s own sound engine when this option is selected Setting the destination to IE internal and external will route Arpgeggiated notes to both the MIDI output socket and the internal sound engine Setting the destination t...

Page 41: ...39 Arpeggiator Advanced features ENGLISH ...

Page 42: ...the Unison detune amount sets how much each voice is detuned relative to the others Adjust the amount until the desired effect is heard VCO Drift Controls the amount of tuning drift for the Oscillators Setting a modest value 10 for example will cause each Oscillator to slowly drift fractionally out of tune Classic Analogue Synthesizers were known to gradually go out of tune as the internal circuit...

Page 43: ...active synthesis were introduced Terms such as harmonics timbre waveforms and oscillators became familiar FM Synthesis is the technique of using one waveform to Frequency Modulate FM another to produce a resultant more harmonically complex waveform The following diagram illustrates that the higher the modulation between the Modulating wave and the Carrier wave the more the waveform changes In this...

Page 44: ...ing block is illustrated below OSC 2 is able to FM OSC 3 via a dedicated FM envelope The diagram below shows in block diagram format how the A Station can produce FM sounds The easiest way to be totally familiar with FM is to take one of the factory preset FM sounds for example Bank 2 49 Sound 249 and modify it Setting OSC 2 3 manual FM amount Ensure the function switch is set to SHIFT Repeatedly ...

Page 45: ...sing the PORTA DATA knob Notice how the spit at the begin ning of the sound may be accentuated Experiment with Oscillator 2 pitch using the OCTAVE switch SEMITONE and DETUNE knobs Adjusting the FM Envelope Attack and Decay times Assuming the the Oscillator Menu is selected and FM Envelope Amount was the last selected item a further key press will enter the FM envelope attack time options The displ...

Page 46: ...it may be desirable to drastically change the pitch of all the Oscillators using the Modulation Wheel Repeatedly press KEY 8 ensure the function switch is in SHIFT mode until the display shows P A alternating with a numeric value Adjust the PORTA DATA knob A value from 1 to 64 will result in a lower pitch being generated when the mod wheel is pushed forward A value from 01 to 63 will result in a h...

Page 47: ...tive value 1 63 will open the Filter when the Mod wheel is pushed forward A nega tive value 1 64 will close the Filter when the Mod wheel is pushed forward Setting up a Wow WoW effect using the Modulation Wheel Sending a small amount of triangle LFO modulation to the Filter will simulate the popular Wow Wow effect Repeatedly press KEY 8 ensure function switch is in shift mode until the display sho...

Page 48: ...f the note Note Ensure the Waveform of LFO 1 is set to triangle The filter Cut off frequency may be raised opening the filter or lowered closing the filter directly from Aftertouch or Breath control Repeatedly press KEY 9 ensure the function switch is in SHIFT mode until the display shows A F for Aftertouch adjustment or with 5 more key presses b F for Breath control adjustment alternating with a ...

Page 49: ...to transmit Aftertouch or Breath control information Note In order to hear the effect of any of these settings press a key on the MIDI controller or blow into the breath controller while adjusting the parameters Velocity Triggering and Synchronization Control Powerful synchronization and triggering options are available through the KEY 0 Menu The table below illustrates the options available in th...

Page 50: ...e Oscillator section Select a factory preset FM sound such as 209 Repeatedly press KEY 0 ensure the function switch is in SHIFT mode until the display shows u F alternating with a numeric value Adjust the PORTA DATA knob Notice how the FM effect at the start of the sound becomes dependent on how hard the keys are struck Voice Mode Interpretation of new MIDI notes received is set using the Voice Mo...

Page 51: ...lifier and Filter envelopes trigger For the remaining legato notes just the filter envelope re triggering would create the effect of the phrase becoming quieter and quieter Changing the Envelope Triggering Type Mono mode only Repeatedly press KEY 0 ensure function switch is in shift mode until the display shows E t and an alternating value The table below illustrates the modes according to the let...

Page 52: ...onized to Key presses Locking the LFOs Each of the eight voices have two LFO s sixteen in total The eight LFOs designated LFO 1 one per voice may be phase locked together and similarly the eight LFO s designated LFO 2 may be locked To illustrate this assume the LFO waveform is a triangle wave and at a specific moment in time all eight are at the beginning of a the rising portion of the wave At a l...

Page 53: ...ft mode until the display shows L 1 for LFO1 or L 2 for LFO 2 and an alternating symbol The table opposite illustrates the options according to the letters displayed Use the PORTA DATA knob to change the mode LFO1 and LFO2 Midi Clock Synchronization Both LFOs may be locked to MIDI Clock As an example a very pleasing audio effect may be achieved when an LFO is modulating the filter cut off frequenc...

Page 54: ...re allows a sequencer when in playback mode to send MIDI controller data which has the effect of adjusting knob values Although there is no physical movement of the knobs the sound will be manipu lated in real time according to the controller data values NOTE To prevent a MIDI data conflict arising when knobs are being adjusted and data being is received from a sequencer when there is a complete M...

Page 55: ...ynchronize the Panning EQ Filter and Chorus LFO s They may have their start position locked in time with the musical piece for stunning effects To change the clock sync type press the MODE SELECT but ton until the UTILITY LED is lit Repeatedly press KEY 0 until the display shows S t Sync Type and an alternating value Set to P C for first note after Program Change or S S for Start Song Message by t...

Page 56: ... always selecting Reverb level The second mode specifies that the last used item in the menu list for a KEY is selected For example if Reverb Decay is being adjusted KEY 2 and the Chorus but ton is pressed KEY 3 a subsequent press of KEY 2 will result in Reverb Decay being the menu item selected Press the MODE SELECT button until the UTILITY LED is lit Repeatedly press KEY 0 until the display show...

Page 57: ... that the specific program has its triggering options enabled for external audio Set Triggering Option E E to E n in the KEY 0 Vel Trig Sync Menu see page 49 Adjusting the Audio Input Auto triggering Sensitivity Ensure the MODE is set to UTILITY Repeatedly press KEY 0 until the display shows i L Input Trigger Level While playing the external audio input device or talking into the microphone adjust...

Page 58: ... PROGRAM mode and enter the destination location for the single factory preset to be restored to Select UTILITY mode Press Key 9 the display will indicate 1 P restore single program Press the KEY once the display will start flashing the selected destination program number as a prompt A sec ond press of the KEY actually restores the factory preset pro gram NOTE If at any time it is necessary to aba...

Page 59: ...l device or other A Station Sounds using MIDI SYSEX transfers may be sent to the unit at any time from a sequencer computer or other A Station When a sound is received the display will alternate with and the current program number The received sound will be heard when a note is played If the sound is to be kept it must be saved in the normal way Receiving a bank of sounds from an external device o...

Page 60: ...erge the MIDI information from the key board and the A Station into a single stream Consult the manu facturers user guide for the MIDI merge box for correct connec tion If the Master Keyboard is a Workstation it has a Synthesizer built in set it to Local Off or the equivalent in its MIDI setup Turn the Computer Software Sequencers Soft Thru or sometimes called Echo Back to the On or Enabled positi...

Page 61: ...t MIDI Volume level or move the Volume knob this automatically overrides the MIDI setting Responding to MIDI Sustain Pedal On Off The A Station will respond the normal MIDI controller message for Sustain Pedal On Off Connect a sustain pedal to the MIDI controller keyboard or workstation that is to be used in the sys tem It is often necessary to check that the polarity of the pedal is correct for t...

Page 62: ...4 Pad13 234 Pad14 244 Pad15 254 Pad16 264 Pad17 274 Pad18 284 Pad19 294 Pad20 205 Keyboard11 215 Keyboard12 225 Keyboard13 235 Keyboard14 245 Keyboard15 255 Keyboard16 265 Keyboard17 275 Keyboard18 285 Keyboard19 295 Keyboard20 206 Trance1 216 Trance2 226 Trance3 236 Trance4 246 Trance5 256 Trance6 266 Trance7 276 Trance8 286 Trance9 296 Trance10 207 Brass11 217 Brass12 227 Brass13 237 Brass14 247...

Page 63: ... settings for Oscillators 1 2 Sound 303 Ring Mod Example Here all the Oscillator levels are set to 000 The Ring Mod level is set to 100 The modulation envelope has an attack setting of 035 and a decay setting of 105 The mod env amount is set to 50 for Oscillator 2 and 40 for Oscillator 1 Try experimenting with the modulation envelope settings the mod env depth amount for Oscillators 1 2 and the oc...

Page 64: ...sequencer and set the sequencer recording Press button 6 on the A Station keypad to initiate the all banks data transfer Stop the sequencer recording when the sequencer midi in indi cator shows that all midi activity has finished 2 Verify the back up Change a setting in program 100 which can be remembered Save the change to the A Station program 100 Connect the midi out of the sequencer to the mid...

Page 65: ...eform Sample Hold Tri Saw Squ Speed 0 Hz 1Khz Delay Fade In 0 5 Seconds LFO Sync Internal MIDI Clock Arpeggiator Arpeggiator Speed Range Gate Time MIDI Clock Sync Keysync Interfacing MIDI Sockets In Out Thru Audio Input Line Level 1 x Mono 1 4 Jack Audio Outputs Line Level 2 x Mono 1 4 Jack Effects Reverb Level Echo Chamber Small Room Large Room Small Hall Large Hall Grand hall Decay Wheel Level C...

Page 66: ...K 30 undefined msb CHORUS MOD DEPTH 31 undefined msb CHORUS MOD CENTRE POINT 32 bank lsb BANK SELECT 1 4 33 modwheel lsb EQ LEVEL 0 1 63 64 65 126 127 LP LPshelf flat HPshelf HP 34 breath lsb EQ FREQUENCY 35 undefined lsb NON SYNC EQ MOD RATE 36 foot controller lsb SYNC EQ MOD RATE 0 34 non sync 32Triplet 12bars 37 portamento time lsb EQ MOD DEPTH 38 data entry lsb A 5 MIDI Controller List Appendi...

Page 67: ...DI S SPECIFIED U USE A S STATION U USE 70 sound controller 1 OSC 1 2 3 WAVEFORM PORTAMENTO MODE s se ee e p pa ac ck ke ed d p pa ar ra am me et te er r 3 3 71 sound controller 2 OSC 1 2 3 OCTAVE OSC 1 2 SYNC s se ee e p pa ac ck ke ed d p pa ar ra am me et te er r 4 4 72 sound controller 3 OSC1 LEVEL to filter 73 sound controller 4 OSC2 LEVEL to filter 74 sound controller 5 OSC3 LEVEL to filter 7...

Page 68: ...ITUDE ENVELOPE VELOCITY DEPTH 113 undefined may be used in future software releases 114 undefined MOD ENVELOPE ATTACK 115 undefined MOD ENVELOPE DECAY 116 undefined MOD ENVELOPE SUSTAIN 117 undefined MOD ENVELOPE RELEASE 118 undefined MOD ENVELOPE VELOCITY DEPTH 119 undefined VOICE LEVEL TO OUTPUT EFFECTS 120 all sounds off ALL NOTES OFF WITH FAST RELEASE receive only 121 reset controllers RESET C...

Page 69: ... DEPTH 18 AMPLITUDE MODWHEEL DIRECT DEPTH 19 AMPLITUDE AFTERTOUCH DIRECT DEPTH 20 AMPLITUDE BREATH DIRECT DEPTH 21 EFFECTS TYPE CONTROL s se ee e p pa ac ck ke ed d p pa ar ra am me et te er r 8 8 22 EFFECTS GLOBAL SYNC CONTROL s se ee e p pa ac ck ke ed d p pa ar ra am me et te er r 9 9 23 EFFECTS VOCODER EXTERNAL AUDIO CONTROL s se ee e p pa ac ck ke ed d p pa ar ra am me et te er r 1 10 0 24 31...

Page 70: ... 0 independent per voice 1 all voices same phase bit 3 lfo2 keysync phase shift bit 4 lfo2 keysync 1 on bit 5 lfo2 lock 0 independent per voice 1 all voices same phase note that when lock is on keysync becomes global sync ie note when all notes off first note after prog change song start message Refer to the lists of MIDI Controllers and NRPNs on Pages A 6 thru A 8 7 7 A AR RP PE EG GG GIIA AT TO ...

Page 71: ...tware releases may on receipt of some message types from an earlier version alter the data before storing it This will only apply to messages which contain data blocks To ensure future compatibility librarian programs should always maintain a match between the Vv and Vi byte values and the data block content SY YS SE EX X D DA AT TA A D DU UM MP P M ME ES SS SA AG GE ES S C CU UR RR RE EN NT T S S...

Page 72: ...RAM DATA BLOCK On page A A 1 13 3 for format PROGRAM BLOCK 128 bytes Odd numbered program See PROGRAM DATA BLOCK On page A A 1 13 3 for format F7h END OF EXCLUSIVE Note the purpose of the program pair dump is for internal efficiency in flash memory storage This mes sage type is used for all bank dumps invoked from the front panel A full bank dump consists of 50 program pair dumps When a single ban...

Page 73: ...care Vi VERSION INCREMENT Don t care B PROGRAM BANK 1 4 don t care if C 0 P PROGRAM NUMBER 0 99 F7h END OF EXCLUSIVE P PR RO OG GR RA AM M P PA AIIR R D DU UM MP P R RE EQ QU UE ES ST T F0h SYSEX START 00h NOVATION ID 1 20h NOVATION ID 2 29h NOVATION ID 3 01h DEVICE TYPE 40h A STATION SyCh SYSEX CHANNEL 7Fh or current receive channel 42h MESSAGE TYPE Program pair dump request C CONTROL BYTE Reply ...

Page 74: ...Pa ar ra am me et te er r 0 UNISON VOICE TYPE FILTER TYPE see packed parameter 2 1 UNISON DETUNE 2 INDIVIDUAL OSCILLATOR RANDOM DETUNE 3 PORTAMENTO TIME 4 PREGLIDE SEMITONES 12 12 0 preglide disabled B By yt te e P Pa ar ra am me et te er r 5 OSC 1 2 3 WAVEFORM PORTAMENTO MODE see packed parameter 3 6 OSC 1 2 3 OCTAVE OSC 1 2 SYNC see packed parameter 4 7 OSC1 SEMITONE 12 12 8 OSC1 CENT 50 50 9 OS...

Page 75: ... software releases 72 NON SYNC LFO1 SPEED 73 SYNC LFO1 SPEED 0 NON SYNC B By yt te e P Pa ar ra am me et te er r 74 LFO1 DELAY GRADUAL ONSET TIME 75 NON SYNC LFO2 SPEED 76 SYNC LFO2 SPEED 0 NON SYNC 77 LFO2 DELAY GRADUAL ONSET TIME 78 LFO 1 2 WAVEFORM DELAY MULTI MODE see packed parameter 5 79 LFO 1 2 KEYSYNC LOCK PHASE CONTROL see packed parameter 6 80 ENVELOPE MODES OSC WAVEFORM KEYSYNC see pack...

Page 76: ...CHORUS RATE 113 SYNC CHORUS RATE 0 34 non sync 32Triplet 12bars 114 CHORUS FEEDBACK 115 CHORUS MOD DEPTH 116 CHORUS MOD CENTRE POINT 117 PAN POSITION 118 NON SYNC PAN RATE 119 SYNC PAN RATE 0 34 non sync 32Triplet 12bars 120 PAN MOD DEPTH 121 EFFECTS TYPE CONTROL see packed parameter 8 122 EFFECTS GLOBAL SYNC CONTROL see packed parameter 9 123 EFFECTS VOCODER EXTERNAL AUDIO CONTROL see packed para...

Page 77: ...y Note On O V 1 127 O V 1 127 Note Off X X Aftertouch Keys X X Channel X O Pitch Bend O O Control Change 1 3 5 10 1 3 5 10 See Controller NRPN 12 37 40 65 12 37 40 65 tables in Appendix for 67 85 87 89 67 85 87 89 full details 91 95 98 100 91 95 98 100 102 112 114 119 102 112 114 119 Function Transmitted Recognised Remarks Program 0 99 0 99 Change TRUE System Exclusive O O Programs Global Data Dum...

Page 78: ... c d 0 27 P d 0 27 Delay Ratio Chorus Centre Pan Rate d r 11 14 c c 64 63 p r 0 27 Delay Wheel Level Chorus Feedback Pan Sync d u 0 27 c F 64 63 p y oF 12 Chorus LFO Initial Pos n Panning s LFO s Init Position c I o F R t P I oF R t Chorus Wheel Level EQ Amount c u 0 27 E A 64 63 EQ Frequency E F 0 27 EQ Depth E d 0 27 EQ Rate E r 0 27 EQ Sync E y oF 12 EQ LFO Initial Position E k oF H I A 17 Menu...

Page 79: ...3 n n n A P 2 Arp Pattern Oscillator Start Phase Osc 1 2 3 Pitch Mod LFO1 Amt Aftertouch to Amplifier Level Porta Type A P u P r d o P o F 14 P L 64 63 A A 64 63 P t E L Arp Sync Osc 2 3 FM Manual Level Filter Cut Off Absolute Freq Amt Breath to Osc 1 2 3 Absolute Pitch Envelopes Triggering Type A y oF 2b F L 0 27 F A 64 63 b P 64 63 E t n E b E Osc 2 3 FM Env Amt Filter Cut Off Freq Mod LFO2 Amt ...

Page 80: ...ts that are on different branch Circuit breaker or fuse circuits or install AC line filter s In the case of radio or TV interference relocate re orient the antenna If the antenna lead in is 300 ohm ribbon lead change the lead in to co axial type cable If these corrective measures do not produce satisfactory results please contact the local retailer authorized to distribute this type of product The...

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