OWNERS MANUAL
Contents
1. Each oscillator is a sound source producing the elec tronic eguivalent of the vibration in the air which makes a sound the speakers you are using to listen to the BassStation convert the electronic signal into an acoustic one you can actually hear Oscillation is a technical term for vibration The actual timbre of each oscillator depends on its harmonic content which is determined by its Waveform Each oscillator has this switch allowing you to switch between two different waveform types which have their individual set of har monics The two waveforms are Sawtooth or Ramp So called because a series of sawtooth oscillations resembles the teeth on a saw The sawtooth waveform contains every harmonic in the hannonic series in decreasing vol ume Sawtooth waveforms make a very rich sound Pulse including Sauare This waveform switches between maximum and minimum values giving the blocky look to the waveform The harmonic content of the pulse waveform is dependent on the relative width of the maximum and minimum values If these are equal then the waveform is referred to as a sguare wave and has a very similar harmonic content to a clarinet ie all the odd numbered harmonics in decreasing volume which gives a hollow quality to the sound The width of the pulse wave is controlled by the Pulse Width knob and the modulations in narrower to the far right of the knob the fundamental the basic pitch of the oscilla tor becomes very2. Oscillator 2 Range Waveform Semi tone Tune Detune Sync M ixer Range Oscillator Filter Cut off Frequency Resonance Envelope Cut off slope LFO Input Envelope 1 Attack time Decay time Sustain level Release time Velocity Envelope 2 Attack time Decay time Sustain level Release time Velocity C 2 to C7 Square Sawtooth Pulse Continuously variable Variable depth control and source of Modulation selectable from Manual LFO or Envelope 2 50 Cents tune C 3 to ClO Square Sawtooth Pulse Continuously variable 12 Semi tones 1 50 Cents Oscillator 1 2 sync Variable mix control between 1 2 and external source 5Hzto1OKHz 0 to Self Oscillation 24dB Variable and control of Envelope 2 depth of Modulation Switchable between 12dB and 24dB Variable and control of LFO depth of Modulation External audio input to filter 500 Micosecs to 5 Secs 3ms to 10 Secs 3ms to 10 Secs Variable sensitivity control 500 Micosecs to 5 Secs 3ms to 10 Secs 3ms to 10 Secs Variable sensitivity control Triggering Autoglide Single Multi VCA Master volume control Portamento Range M IDI Program Change Filter Envelopes LFO Controllers CV Gate Connections MIDI CV Gate Filter Outputs Power 2nd key pressed triggers oscillator glide to new note with out re running envelopes No re runs of envelopes Re runs envelopes Auto 0 to 5 Secs ramp time 100 Me
3. Use the and buttons to change the value This is a global setting For further information on the different types of CV Gate system see page 18 Master Tuning This is where you set the master tuning of the BassStation Rack When you switch it on the BassStation Rack automatically tunes itself to concert pitch A 440Hz so you will not normally need to adjust the tuning Range 9 to 09 Press the TUNING button once the display alternates between FIC z ion Bnowvwation Display Ider Wale Use the and buttons to change the value A 440Hz or concert pitch is indicated by 00 This is a global setting Polyphonic M ode This feature can be used to chain a number of BassStation Racks together to create polyphonic sounds more than one note When set to On the BassStation Rack will play the first note it receives and re transmit the remaining notes and any other infor mation Pitch bend Modulation etc via the MIDI Out socket thus assigning one note to each unit in the chain The Polyphony number of notes played will depend directly on the number of BassStation Racks connected in the system i e 4 BassStations 4 note polyphonic 8 BassStations 8 note polyphonic etc Range OF amp On Press the POLY MODE button once the display alternates between anowvation Bnovation bit A Display Kiewit Walia Use the and
4. buttons to change the value This is a global setting ADDITIONAL INFORMATION FOR SEITING UP A POLY PHONIC SYSTEM MIDI CONNECTIONS Use the first BassStation Rack in the chain MIDI In connect ed to seguencer keyboard Out as your Master unit Connect the MIDI Out of this unit to the MIDI In of the next and so on until the last unit is connected Next ensure that the MIDI transmit receive channels are set to the same value and that Poly mode is set to On on each unit Data Entry Program Section Cont PROGRAMS The program sounds should be identical in every unit so a Save All procedure should be carried out from the Master unit to all the Slave units in the chain see the Save section on page 9 Now you can use the Master unit to call up the same sound on all the Slaves CONTROLLERS Moving a knob on the Master unit assigned a MIDI controller num ber see MIDI Implementation chart will affect all the units in the chain for exam ple moving the Master units Resonance knob will simultaneously change the reso nance value of each Slave PROGRAM EDITING If you need to edit a sound just play single notes from your sequencer keyboard and use the Master unit controls to make the changes When you are happy with the changes Write the sound into it s memory and repeat the Save procedure as above to load the other units with the updated sound s
5. Now you can play the sound again using chords Demo When Utility mode is selected this button is used to play the BassStation Rack s demonstration sequence Press the AUDITION DEMO button once to start the seguence playing The demo seguence plays a selection of parts using various factory sounds to show the full sonic potential of the BassStation Rack A General MIDI drum track has also been included in the seguence To hear the drums connect a GM com patible drum machine module to the MIDI Out socket on the rear panel To stop the sequence at any time simply press the AUDITION DEMO button again M ode 5 Save This is where you Save the BassStation Rack sounds on a computer or other data storage device using MIDI sysex dumps There are three types of Save as follows Type Function Display Ident 1 Save single voice BassStation Rack format Sr 2 Save single voice BassStation keyboard format Sb 3 Saveall voices BassStation Rack format Ar Type 2 Saves should only be used for loading sounds into a BassStation keyboard Types 8 3 are used to save Single or All sounds from the Bass Station Rack Ensure that your data storage device is ready to accept the data Use the Mode button to select SAVE mode LED on the display shows HOW THE CONTROLS WORK anovation Proton play ent for Gave Single Pack dump NOTE The sound Saved will be the last sound selec
6. 1 4 jack delivers a line level output signal for connection to a mixing desk or amplifier input 4 MIDI IN This connector is used to receive MIDI data from an external device OUT This connector is used to transmit MIDI data to an external device THRU This connector re transmits MIDI data received by the MIDI IN socket to an external device 5 9vDC Input Connect the output plug of the AC adapter supplied with the BassStation Rack to this socket CONNECTIONS novation III III QUICK SETUP GUIDE Connect the Line out socket on the BassStation Rack to a suitable amplifier or mixing desk and set the Volume control to a reasonably high output level 9 10 This will maintain a good signal to noise ratio on the line level output from the BassStation but be sure that the input volume setting on your amplifier or mixer is initially set at a low level to ensure a comfortable listening volume when the first notes are played and then adjust accordingly Connect the MIDI Out from your master keyboard or sequencer to the MIDI In on the BassStation Rack and check that the Write switch is in the Protect position Now connect the power supply Novation PSU 3 to the socket marked Power In 9VDC and plug into a suitable AC power outlet The Display should now illuminate showing the selected program number and the LFO speed LED should be flashing at a constant rate If this does not happen check that the powe
7. If you do want to save the sound in this location press the WRITE button Write LED on display panel flashes momentarily If you don t want to save the sound in this location you can choose another by simply entering any program number from 40 to 99 using the Data Entry keypad buttons T to 0 only the and cannot be used Once again you can check the sounds using the COMPARE feature and then when you have found a suitable location press the WRITE button The sound is now saved move the WRITE switch back to the Protect position NOTE 1 Always remember to move the WRITE switch back to the Protect position after completing a save operation This will avoid any accidental erasure of sounds the Write Enable LED flashes to warn you of this condition NOTE 2 Sounds can only be saved in the User locations 40 to 99 If you attempt to save a sound into any of the Factory locations 00 to 39 the display digits will flash rapidly to warn that this operation cannot be carried out 10 ANALOGUE VOICE ARCHITECTURE HOW THE CONTROLS WORK The BassStation features all the classic elements of analogue or subtractive synthesis two oscillators with standard waveshapes a voltage controlled filter with resonance and an LFO and two envelopes for amplitude and filter pitch pulse width modulation The term subtractive gives
8. section contains the Master Volume and Portamento controls Headphone output socket and the Program write enable switch 2 Data Entry Program Section This section contains the 12 Data Entry buttons Display and Menu LEDs Audition Demo and Mode Buttons 3 LFO Section This section contains the LEO Speed Depth and Waveform Shape controls 4 Oscillator 1 2 Sections This section contains the Oscillator 1 Waveform Oscillator 2 Waveform Range Detune and Semi tone transposition controls It also contains the control to mix REAR PANEL anovation BassStation Dack ANALCOUE SYNTHESEEER MODULE Oscillators 1 amp 2 with the external audio input 5 Oscillator 1 8 2 Mod Sync Section This section contains the Oscillator 1 2 Sync Oscillator Mod select PWM Source Envelope Modulation LEO Modulation and Pulse Width Depth controls 6 Filter Section This section contains the Freguency Resonance Modulation Depth Cut off slope and Modulation Source controls 7 Envelope Section This section contains the Envelope select Triggering Attack Decay Sustain Release and Velocity controls H E e P PETEA DPI o o 1 CV Gate In amp Out The connectors in this section are used to interface vintage analogue synthesisers with CV Gate in outs to MIDI 2 Filter Input This connector is used to process an external MIDI triggered sound source through the filter and envelope sections of the BassStation Rack 3 Output This
9. set to Manual the position of this knob controls the actual width of the Pulse At the far left the Width is 50 ie minimum and maximum values are of equal length giving a special case which we refer to as a Square wave which contains all the odd numbered harmonics giving a hollow sound reminiscent of a clarinet As you move the knob to the right the Pulse Width gets narrower and more and more high harmonics are added at the expense of the fundamental pitch giving the sound a thin trebly quality At the far right the fundamental has almost disappeared and the sound becomes very thin indeed When the Mod Source switch is set to Env 2 or LEO this knob governs the amount of variation in the pulse width in a negative or positive direction about a central off posi tion As the knob is moved to the left the variation in the Pulse Width will increase progressively in a negative manner whilst moving it to the right will vary the Pulse Width in a positive manner PWM Source Switch This switch selects how the Width of the Pulse Wave if selected on either or both oscillators is controlled In the MAN manual position the width is directly controlled by the position of the Pulse Width knob above In the ENV 2 position the variation in the Pulse Width is controlled by the second Envelope starting and finishing at 50 with the amount of shift away from this setting being controlled by the Pulse Width knob above In the LFO position the var
10. Back ANALOGUE SYNTHESIZER MODULE OWNERS MANUAL novation CONTENTS INtodtcho NS 2 52 s aka EN 1 Front Panel Controls amp Features eee 2 Rear Panel Features eeeeeeeeeeeee eee eee eee nenene nenene 2 Connections amp Quick Set up Guide 3 How The Controls Work eee eee eee eee nenene 4 Master Volume Section ee eee eee eee eee een een 4 Data Entry Program Gechon eee eee 4 Program Changes EE 5 MIDI TX RX Channels eee ee ee eee eee nenene nen 5 ll 5 Save 8 Load Sysex DUMPS eee eee 9 Editing amp Writing Gounde ee eee eee eee een 10 Analogue Voice Architecture eeeccceeeeeeteeeeeeenneeeeeeenaeeeeeeeeaaes 11 LFO SOCON TEE 12 Oscillators 1 amp 2 Gecton nne 13 Oscillators 182 Mod Sync Section eee 14 RI EE 15 Envelopes 182 Section enaa a eee eee eee eee 16 MIDI COMTO zzz shoda Ka na nas l daa Karan di k Sonatas d Kana k ani nana di Vak ka s k ia 18 Filter Envelope Controllers ee eeeeeeeee eee 18 LFO to MIDI Clock Gm 18 CV Gate to MIDI Convertor eee eee een 18 Lee le 19 Roland TB303 Emulation 8 Troubleshooting Guide 19 Specification ANEN 20 Midi Implementation Chart 21 Factory Programs et 22 INTRODUCTION Thank you for buying the Novation BassStation Rack Analogue Bass Synthesizer The module you have purchased is ideal for producing the kind of bass sounds which have returned to po
11. Cat WET ENVELOPE TA Bats E MIHE The envelopes are used to shape the sound over time Envelope 1 is hard wired to amplitude or volume It is used to decide how quickly the sound starts when you hit a note and how it sustains or dies away Envelope 2 can be used to control Pulse Width Filter frequency or Pitch changes depending on the settings of the PWM S ource switch in the Osc 1 2 M od S ync section and the Filter Mod switch in the Filter section Of course if neither of these is switched to Env 2 you will hear no change when you alter the settings of Envelope 2 Switch one or the other to Env 2 to hear the changes you are making 16 Envelope 1 82 Section Continued Envelope 1 2 1 amp 2 Switch This switch selects which envelope you are currently making changes to If 1 is select ed then changes to the knobs in this section will change the way the amplitude or vol ume envelope responds when you hit hold and release a note If 2 is selected then changes to the Envelope knobs will affect the Pulse Width and or Filter Frequency modulation depending on which is switched to Env 2 in the appropriate sections If 1 amp 2 is selected then any changes made will affect both envelopes N B the settings of each envelope will be unaffected until you move the appropriate knobs as the current settings of those knobs are ignored until they are moved otherwise each Envelope would automatically copy the setti
12. DICONTROL MIDI Control In addition to all the standard MIDI functions the BassStation Rack has the ability to transmit and receive changes to the filter and envelope controls dur ing a performance You can also synchronise the LFO to the MIDI clock Filter Section Controls The Frequency Resonance and Mod Depth rotary controls in this section are assigned to the following MIDI controllers Filter Control Controller Number Frequency 105 Resonance 106 Mod Depth 107 When any of the knobs in the Filter section are moved MID controller data is trans mitted via the MIDI Out socket enabling you to record these changes on your sequencer If you want to concentrate on playing the notes first you can go back and overdub any filter changes later to enhance all or part of the performance Envelope Section Controls The Attack Decay Sustain Release and Velocity rotary controls of envelopes amp 2 in this section are assigned to the following MIDI controllers Envelope Control Controller Number Env 1 Attack 108 Decay 109 Sustain 110 Release 111 Velocity 112 Env2 Attack 114 Decay 115 Sustain 116 Release 117 Velocity 118 Once again you can record any changes made with these controls into a sequencer during a performance or at a later time to enhance the recording LFO MIDI Clock Sync When this function is selected the LFO will trigger in synchronisation with the MID Clock at the set rat
13. ENCY RESONANCE MOD DEPTH and ENVELOPE 2 DECAY controls act in a similar fashion to the TB303 Setting Up A TB303 Sound Turn the PORTAMENTO control to 2 In the OSC section turn the MIX control to the Osc 1 position in order to only listen to oscillator 1 The WAVEFORM switch may be set as desired since the TB303 also has this selection switch For the moment set it to Sawtooth In the OSC 1 2 MODULATION section set the OSCILLATOR 1 2 switch to position and make sure that the ENVELOPE and LFO controls are set to 0 central position Set the OSC 1 2 SYNC switch to Off The TB303 does not have these controls so we want to make sure they have no effect In the filter section set the CUT OFF switch to the 12dB position Set the MOD SOURCE switch to the LFO position and turn the MOD DEPTH control to its middle position Again the TB303 does not have this control so any LFO modulation must be removed Now set the MOD SOURCE switch back to the ENV 2 position In the 12dB position the MOD SOURCE control does not act as shown on the label i e there is only positive MOD available between 0 fully anti clockwise and 10 fully clockwise as on the TB303 Set the ENVELOPE switch to so the envelope controls have an affect on envelope I Set the ATTACK to 0 DECAY to 4 SUSTAIN to 10 and RELEASE to 3 Move the ENVELOPE switch to 2 and set the ATTACK to 0 SUSTAIN to 0 and RELEASE to 3 19 APPENDIX The DECAY control can now be adjus
14. a clue to the way analogue syn thesis works You start with sound which contains more than you need and remove parts of it until you are left with the required timbre and shape The oscilla tors provide the starting sound each waveshape pro viding a complex set of harmonics which can be further enriched with de tuning and pulse width modulation The filter allows you to remove those harmonics which you don t need and the envelopes allow you to change both this harmonic content and the volume in real time to give the sound a shape The LFO allows you to control the speed of vibrato and other regular timbral changes If you are already familiar with the basics of analogue synthesis you can use this section as a reference guide to exactly how any element is programmed and routed but if you are new to this analogue business having grown up on sample replay instruments welcome back to the real synthesiser you should get a good grounding in the basics of synthesis by working your way through each section 11 HOW THE CONTROLS WORK LFO Section The LFO Low Freguency Oscillator produces regular electronic variations which are too low to be heard when converted into audio vibrations However they can be used to modify various elements of the sound producing regular changes in pitch vibrato pulse width or filter cut off two different controls on the harmonic content of the sound Speed Rotary This knob cont
15. ass Frequency Rotary This knob controls the basic cut off frequency of the filter All the way to the right the filter is wide open allowing all the frequencies produced by the Oscillators to sound As you turn the knob to the left it closes the filter cutting out harmonics starting with the highest but increasingly lower ones until only the fundamental or nothing at all is allowed to sound at the far left If ever the BassStation is making no sound at all and the Volume knob is turned up the most likely cause is that the Filter is fully closed Turn the Frequency knob to the right to let the sound out Mod Depth Rotary This knob controls the amount of change to the filter cut off set by the Frequency knob to the left In its central position there is no change to the filter cut off frequency To the left of centre there will be an increasing amount of negative modulation ie the fil ter will be closed more and to the right the modulation is positive ie the filter will be increasingly opened by the modulation sources The Filter Mod switch below selects which source will produce this modulation or change in the filter cut off frequency HOW THE CONTROLS WORK Filter Section Continued Resonance Rotary This knob allows you to boost or emphasise the frequencies around the Cut off fre quency set by Frequency knob above For this reason on some synths this control is known as Emphasis At the far left there is no boosting of t
16. at the far right Again fine adjustment of short times can be made on the left and bigger changes to longer release times on the right Velocity Rotary This knob sets how much effect velocity has on the envelope Hard key strikes will always make the envelope reach its peak level but softer strokes will produce a vary ing peak dependent on the setting of the Velocity knob At the far left there will be no velocity effect ie soft strokes will produce exactly the same effect as hard ones As you turn the knob to the fight softer strokes will open the envelope less and less until at the far right the softest stroke will not open the envelope at all Obviously on enve lope 1 this will result in quieter notes from soft keys strokes whereas on envelope 2 softer notes will produce less Pulse Width and or Filter Frequency Modulation depending on which are switched to Env 2 in their appropriate sections Triggering Switch This switch determines how the trigger for the envelopes is derived The options are as follows AUTOGLIDE In this position if a note is held down and a second note pressed the oscillators will glide to the new note without re running the envelopes This setting labeled Slide on Roland s TB303 produces a similar effect to a note slide on a gui tar SINGLE In this position only the first note played and held will run the envelopes MULTI In this position every note played will run the envelopes MI
17. button once the dis play alternates between Display ident Vl Use the and buttons to change the value This setting can be saved with the sound see Writing a program into memory on page 10 Pitch Mod Depth This is where you set the amount depth of pitch modulation from the Controller wheel of an external keyboard Range 00 off to I 5 rmaxirnum Press the PITCH MOD button once the display alternates between novation novation Use the and buttons to change the value This setting can be saved with the sound see Writing a program into memory on page 10 Filter Mod Depth This is where you set the amount of filter modulation from the Controller wheel of an exter nal keyboard Range 00 off to 15 maximum Press the FILTER MOD button once the display alternates between Bnowation lel novation Display ert Val Use the and buttons to change the value This setting can be saved with the sound see Writing a program into memory on page 10 Aftertouch Breath Pitch Mod Depth This dual function button is used to set the amount of pitch modulation for either Aftertouch or Breath MIDI wind controllers Range 7 to 07 Press the AT BTH P MOD button once the display alternates between Bnovation EUC W z Tu Display kient Value Use the and buttons to change the valu
18. cal interval between the oscillators in semi tones up to a full octave by raising the pitch of oscillator 2 The most conventionally useful intervals are set by switching to 5 a perfect 4th 7 a perfect 5th with 3 minor 3rd 4 major 3rd 8 minor 6th and 9 major 6th following closely behind Other fixed intervals are only for the more experimental Oscillator 2 Range Switch This switch allows you to select the octave difference between the oscillators by switching oscillator 2 up or down The range is referred to in feet 16 8 amp 2 a convention which comes from the length of organ pipes The 8 setting puts the two oscillators in the same octave range HOW THE CONTROLS WORK Oscillator 1 842 Mod Sync Section hy NW d d ah ey a5 _ M NE F On ER 2 MAM LFO C1 EK ei PWM SOLACE OSCILLATOR This section allows you to setup modulations automat ic changes to the pitch timbre of the oscillators whilst they are playing back This gives the sound more life by making it more interesting to the ear Pitch changes include the amount of vibrato and auto bends or slides Timbral changes are achieved by varying the pulse width and thereby the harmonic content You can also set the oscillators to syncronise Oscillator 1 2 Switch This switch selects the oscillator whose modulation you are currently setting Any changes you make to the three knobs and the PWM Source switch will be applied t
19. ch Osc 1 2 Sync on and then switch the sync on and off to hear the difference Osc 1 2 Sync Switch This switch activates the synchronization described above Try Setting Up This Classic Sync Sound FILTER section select the 24dB Cut Off mode and set the Frequency to 10 Resonance to 0 and Mod Depth to 0 120 clock position OSC 1 2 sections select square waveforms on both oscillators Set Osc 2 Range to 4 Move the Mix knob to the Osc 2 position OSC 1 2 MOD SYNC section select Osc 1 and set all modulations to zero I 20 clock positions Select Osc 2 and set Envelope to 2 and all other modulations to zero ENVELOPES section select 2 on the Envelope switch and set Attack to 0 Decay to 5 Sustain to 0 and Release to 0 Now move the Osc 1 2 Sync switch to On and the Mix knob to the 182 position Try experimenting with the following controls to alter the sound Envelope 2 Decay Mix Osc 2 Envelope Mod Osc 2 Semitone HOW THE CONTROLS WORK Filter Section ai K a 5 FREQUENCY RESO ANCE Woo DEPTH ap El UT OFF This is where the unwanted frequencies in the sound are removed The filter on the BassStation is the most popular type a Low Pass Filter which removes the higher harmonics first and as it is closed down removes the lower harmonics until only the fundamental or nothing is left This is the type supplied on all syn thesizers and the most musically useful especially for b
20. e and buttons to change the value This setting can be saved with the sound M IDI To LFO Clock Rate This is where you set the rate to sync the LFO to the MIDI Clock Range OF to 96 Press the MIDI LFO CLK button once the display alternates between mnowatiorn Use the and buttons to change the value This setting can be saved with the sound For further information see the MIDI Control section on page 18 Value Musical Equivalent Value Musical Equivalent OP OFF 16 Quarter note triplet 02 Thirtysecond note triplet 18 Eighth note dotted 03 Thirtysecond note 24 Quarter note 04 Sixteenth note triplet 32 Half note triplet 06 Sixteenth note 36 Quarter note dotted 08 Eighth note triplet 48 Half note 09 Sixteenth note dotted 72 Half note dotted 12 Eighth note 96 Whole note HOW THE CONTROLS WORK Data Entry I Program Section Cont CV Gate MIDI Channel amp Type This dual function button is used to set the CV Gate convertor MIDI channel Range 01 to 16 and the type of system used Roland Korg etc Range 00 to 02 Press the C V GATE CR button once the display alternates Cp at ion nm Display ident VL Use the and buttons to change the value This is a global setting Press the C V GATE CH button again the display will now alternate between mnovation Display Viet Valun
21. e This feature can be used for various sweeping effects and rhyth mical pulses NOTE The BassStation Rack s LFO will take approximately to 2 beats to lock in to the MID clock so always allow for this in your sequence i e insert a blank count in period at the beginning of a track See the MID LFO Clock Sync section on page 7 for more details on the available time signatures CV Gate To MIDI Convertor Vintage analogue synths which use Control Voltages CV to determine the pitch of the oscillators and a Trigger Pulse Gate to open the envelopes can be interfaced with the BassStation Rack and any other MIDI device using this feature The different types of CY Gate system used on these older synths can also be set Setting Up Connect the CV Gate In amp Outs from the vintage synth to the respective sockets on the Rack see page 3 Set the CV Gate MIDI channel see page 7 Select the cor rect CV Gate Type for the Vintage synth you wish to control from the chart below Type Synthesiser CV Gate Range 00 Roland Arp SCI Sequential Volts per octave Gate pulse CO to C5 01 Yamaha Korg Hertz per octave S TRIG C 1 to C5 02 Moog Volts per octave S TRIG CO to C5 03 Roland Arp SCI Sequential Volts per octave Gate pulse C 1 to C4 04 Yamaha Korg Hertz per octave S TRIG C 2 to C4 05 Moog Volts per octave S TRIG C 1 to C4 Types 03 to 05 will shift the range down one octave allowing access to lower no
22. e This setting can be saved with the sound Press the AT BTH P MOD button again the display will now alternate between lisplay Itant Use the and buttons to change the value This setting can be saved with the sound see Writing a program into memory on page 10 DATA ENTRY PROGRAM SECTION CONT Aftertouch Breath Filter Mod Depth This dual function button is used to set the amount of filter modulation for either Aftertouch or Breath MIDI wind controllers Range 7 to 07 Press the AT BIR F MOD button once the display alternates between novation Eric water Walia Use the and buttons to change the value This setting can be saved with the sound Press the AT BTH F MOD button again the display will now alternate between Displary dani Use the and buttons to change the value This setting can be saved with the sound Aftertouch Breath Envelope Generator Bias This dual function button is used to set the amount of EG Bias Volume for either Aftertouch or Breath MIDI wind controllers Range 00 to 15 Press the AT BTH EG BIAS button once the display alternates between HOW THE CONTROLS WORK Use the and buttons to change the value This setting can be saved with the sound Press the AT BTH EG BIAS button again the display will now alternate between onowation nnowvation Diapiay Idend Use th
23. e output on the front panel Portamento Rotary This knob controls the speed of the glide between the last pitch and the next All the way to the left the pitch changes instantaneously so you will not hear any glide As you move the knob to the right the time taken for the pitch to change between notes is increased and you begin to hear the glide At the far right this takes 5 seconds The position of this knob is saved with each sound Write Switch This switch protects your sounds from accidental erasure During normal operation it should be left in it s Protect position however when you have edited or created a new sound that you want to save moving it to the Enable position will allow you to write over an existing sound see Writing a Program Into Memory on page 10 Headphone Socket Use this 1 4 jack socket to monitor the output of your BassStation Rack via head phones This output will drive any type of headphones DATA ENTRY PROGRAM SECTION snowation a ADETI TEN MORE CE ATA EMTRY ENA This is where you select the sounds you have previous ly created on the BassS tation Rack set the MIDI transmit and receive channels set the various utility functions and store newly edited sounds When editing a stored sound the current position of a knob or switch will probably be totally different to that of the memory sound selected so when you turn a rotary control more than a few degrees or move a s
24. euueyo P STIOW N Oak oT T 4aTnezyod oTseg Ps LIEU Ueuad GIA Tuss ZT 0 qJapueg UDITd i o0o00o0oO0O00 00 000000 II J40 SION NO SJ0N ZAK ARAR KK K TSOqunn cL P SION Daiaitg OO jT30T9A ded ee TEEE x 21 FACTORY PROGRAMS LIST Factory Program List Number Name OO is ee Bt MOOGBASS UR WOW BASS US eege eege JACKO BASS Hee seet SOFT BASS O4 E ELECTRIC BASS ODi res iieis BIRDLAND BASS OG iieii iae PERCUSSIVE BASS KE EOW BASS OE EE POWER BASS Uess FREAKPOWER BASS T L save ctcceeesn TB3O3AUTOGLIDE BASS UE SPITSINE BASS ee TB303 EOW BASS TB ooo tavets de TB303 SOUARE BASS U Pore tkch THUD BASS EE AMBIENT TB303 OP TRANCE 1 TEE TRANCE 2 EE SPIT jhe PA en RAINMAN EE YAZOO LEAD Z R ORGAN BASS EE CLAVY LEAD EE PLUCK LEAD Ee tes LFO FILTER FADE BASS EE SQUARE BASS 20 E WOW BASS VZ AR JOOP WOWEOW BASS SE egaeegeu e HARD SYNC LEAD leese SQUARE PORTA LEAD EE SYNC 0 LEAD ENN SYNC LEAD EE PT POWER LEAD BS EE LOVE DON T LEAD esoe DUCK LEAD IDin OLAVE LEAD EI S1c shasaske WHISTLE LEAD liiik YAZ2LEAD ESE SYNC3LEAD lege RESONANT LEAD NOTE To access the lower range of Bass sounds where both oscillators are set to 8 factory or user set your master keyboard or seguencer to 12 one octave
25. gain simply press the Audition button NOTE The transposition setting is not saved with each sound For information on the DEMO mode see page 9 Data Entry Keypad Buttons The 12 buttons of the Calculator style Data Entry keypad are used to call up and set the various operating parameters of each Mode function You can use two methods to enter a number I DIGIT INPUT using the buttons 0 to 9 Note this must always be a two digit entry for example Selecting program sound 8 press the 0 and 8 buttons display reads 08 Selecting program sound 47 press the 4 and 7 buttons display reads 47 2 INCREMENT DECREMENT using the and buttons Press the button to move up to the next program or value Press the button to move down to the next program or value These buttons can also be used to scroll through values by pressing and holding down until the desired value is reached Mode 1 Program Change This is where you select a sound from the BassStation s 100 programs The Program Change mode is automatically selected when the BassStation Rack is powered up and the program number displayed will be the one selected prior to power being turned off To select a different sound first check that the PROGRAM LED is on Using the Data Entry keypad as described above you can quickly call up any of the BassStation s programs The recogn
26. he BassStation Rack Use the Mode button to select the UTILITY mode LED on NOTE the operating system of the Data Entry keypad is slightly different in this mode all of the functions in the Utility mode are visually indicated by yellow text see panel diagram The 0 to 9 buttons are now used to call up sub directories of the Utility mode and the and buttons used to change their values whilst the display will flash alternatately between a value and a letter reference code The ten sub directo ries of the Utility mode are as follows Button Function Display Ident Range 1 Pitch bend range Pb 00 to 12 2 Pitch mod depth Pd 00 to 15 3 Filter mod depth Fd 00 to 15 4 Aftertouch Breath pitch mod depth AP bP P to 07 5 Aftertouch Breath filter mod depth AF bF 7 to 07 6 Aftertouch Breath envelope generator bias AE bE 00 to 15 7 MIDI to LFO clock rate LF 00 to 96 8 CV Gate MIDI channel Type OH Ct 01 to 16700 to 02 9 Tuning Tn 9 to 09 0 Polyphonic Mode PL OF amp On HOW THE CONTROLS WORK DATA ENTRY PROGRAM SECTION CONT Pitch Bend Range This is where you set the semitone range response br the pitch bend wheel of an external keyboard Each number represents a semitone Le bend range 02 two semitones bend range 12 twelve semitones one octave Press the PITCH BEND
27. he cut off frequency but as you turn to the right this frequency will be boosted until at the far left it goes in to oscil lation producing a new pitched element similar to feedback on an electric guitar If ever the BassStation produces a high whistling sound the chances are this knob is too far to the right Unless you want this self oscillating effect keep the resonance control away from the extreme right setting Increasing the Resonance is very good for bringing out modulation movement or change in the filter cut off frequency such as in Acid basslines and other very up front sounds Keep the resonance to a minimum if you want more subtle less striking sounds Cut Off Switch This switch allows you to change how drastically the frequencies above the cut off point are removed from the sound In the 12dB position the cut off slope is less steep so the higher frequencies are not attenuated reduced in volume as much as they are in the 24dB position This makes the resulting filtering in the 12dB position more sub tle than the 24dB which you should select if you want the cut off to be more obvious Mod Source Switch This switch selects the amount of variation in the filter cut off frequency set by the Modulation knob above using either the LFO and or Envelope 2 When LFO is select ed the filter cut off will be moved around the starting point set by the Frequency knob at a rate set by the Speed knob in the LFO Section The amount of
28. iation of the Pulse Width around the central 50 is controlled by an additional fixed speed internal LFO not to be confused with the main variable LFO on the front panel with the amount of variation being con trolled by the Pulse Width knob above Variation in the harmonic content of an oscilla tor which is what changing the Pulse Width achieves is very pleasing to the ear especially at lower pitches where all the associated harmonics fall within the audio range and can clearly be heard When selected to Env 2 the effect is best appreciat ed using fairly slow changes so longer Envelope 2 Attack and Decay times are best Oscillator 182 Mod Sync Section Cont Oscillator Sync This facility causes the waveform of oscillator 2 to restart its cycle each time oscillator 1 starts its cycle whatever the difference in timing would otherwise be if they were not synchronised The effect of this is to keep the pitch identical so settings of the De tune and Semitone knobs will appear not to work but make radical changes to the timbre of the sounds This is particularly noticeable if you use Env 2 to move the nomi nal pitch of oscillator 2 The pitch will not change if sync is switched on but you will hear timbral changes similar to the resonant changes in the human voice You will find this easier to understand if you set up a very drastic and probably unmusical pitch change effect just on oscillator 2 using Env 2 before you swit
29. ised numbers in this mode are from 00 to 99 You can also use MIDI Program Change commands from a sequencer or other exter nal MIDI device to call up sounds NOTE Because the Rack s programs begin at 00 the next higher number must always be used to call up the correct sound i e to select Rack program 88 transmit a MIDI Program Change 89 NOTE 2 The 40 factory sounds are stored in programs 00 to 39 whilst the 60 HOW THE CONTROLS WORK user locations from 40 to 99 are all initially stored with a basic square wave tone see separate sheet for program listing Mode 2 M IDI Receive Channel This is where you set the MIDI receive channel for the BassStation Rack Use the Mode button to select the MIDI RX Ch mode LED on and then the Data Entry keypad to enter your selection The recognised numbers in this mode are from 01 to 16 NOTE the MIDI RX CH LED will flash when MIDI data is received on this channel Mode 3 M IDI Transmit Channel This is where you set the MIDI transmit channel for the BassStation Rack Use the Mode button to select the MIDI TX Ch mode LED on and then the Data Entry keypad to enter your selection The recognised numbers in this mode are from 01 to 16 NOTE The MIDI Tx and Rx channels are memorized even when the power is turned off M ode 4 Utility This is where you set the various Utility functions of t
30. mories 40 factory 60 user Frequency Resonance and Mod Depth Attack Decay Sustain Release amp Velocity on Envelopes 182 Re trigger to MIDI clock Pitch bend Pitch mod Filter mod Aftertouch Breath pitch mod Aftertouch Breath filter mod Aftertouch Breath env generator bias CV Gate in out to MIDI convertor In Out Thru CV in Gate in CV out Gate out External audio input Line out amp Headphone 9vDC input Dimensions Weight Case style Width Depth Height Weight 1U 483mm 19 2 100mm 3 9 44mm 1 75 Less than 2Kg Specification subject to change without prior notice M IDIIMPLEMENTATION CHART UOLEAOUE ON X sal O C661 Ttad 3S1 Sien 07T UOTSIAA ONOW 440 INWO p 9POW ATOd 430 INWO Z 9POW ONOW NO INWO POW ATOd NO INWO T 9POW qasay aguac SATIOY AAO S9JON TIW 440 NO TEDOT sobessau xny 9UTL San onurTauo3 us3jsAS do3s 31e3S xo0TD szajowered 9DTOA aATSNTOxe U93S S x BNIL abueyo werborg KKK RRR HH HH 66 0 A3TD0T9A ZAUA aseoTey ZAUA uTeysns ZAUJ eDag au yoeqqw ZAUJ A3TD0T9A TAUG oseaTOY Taug uTe3sng aug Aeoaq Taug xOP3Jv TAU ujdop pou 193TT4 dDuUPUOSO1 I9ATTA Aousnbaz3j 193TT4 ounTOA TOTIU0OD UJPDIAE T99UM UOTJETNPON obueua TOTAU03 XXX OOOOOOOO0OO00000 uoTanToso1 ITA L OZT Z D I 2 soabessay x pebueyd T
31. movement is set by the Modulation knob above When Env 2 is selected the filter cut off will be moved away from and back to the starting point set by the Frequency knob If the Modulation knob is set to a negative amount the Attack of Envelope 2 will close the filter and the Decay Release will re open it back to the starting point If the amount is positive the Attack will open the filter further and the Decay Release will close it back to its starting point Using positive Modulation from Env 2 will emphasize the attack of the note especially if the Resonance is turned up whereas LFO modulation will provide a tremolo effect External Audio Input To The Filter This feature can be used to process an external audio signal through the BassStation Rack s Filter and Envelope sections Connect the audio output of the device you wish to process to the Filter Input socket and the MIDI Out to the MIDI In on the BassStation Rack s rear panel The Envelopes will only open when MIDI data or a vin tage synth s Gate trigger pulse are received so to process a signal from an instrument without this facility you must use a separate MIDI device sequencer or Gate pulse to open the Envelopes when you want the sound to occur Try experimenting with the MIX knob to create a blend of the external signal and the BassStation Rack s own oscillators See page 3 for connection details Envelopes 1 amp 2 Section e a KL Me
32. ngs of the other when you switched between them Attack Rotary This knob sets how quickly the envelope rises to its maximum level when a note is struck At the far left this is 1 millisecond instantaneous to our ears increasing expo nentially to 10 seconds at the far right This mean that the left hand side of the range can make very fine adjustments to quick attack times whilst greater changes can be made to longer attack times on the right hand side Decay Rotary This knob sets how quickly the envelope drops off to the sustain level once the maxi mum level has been reached At the far left this time is 3 milliseconds still instanta neous to our ears increasing exponentially to 10 seconds at the far right Again fine adjustment of short times can be made on the left and bigger changes to longer decay times on the right Sustain Rotary This knob sets the level at which the envelope remains after the Decay phase until the note is released At the far left the envelope will decay all the way to zero without being interrupted As the knob is moved to the right the level at which the decay is halted increases until at the far right there is no decay at all 17 HOW THE CONTROLS WORK Release Rotary This knobs sets how quickly the envelope drops from the sustain level to zero once the note has been released At the far left this time is 3 milliseconds still instanta neous to our ears increasing exponentially to 10 seconds
33. o whichever oscillator is currently selected When you switch to the other oscillator you will need to alter the positions of the knobs and switches in this section to make their current positions apply to the new oscillator otherwise the previous settings will still apply Envelope Rotary This knob controls the amount of pitch modulation to the currently selected oscillator see above from envelope 2 In the centre position there is no effect on the oscilla tor s pitch to the left the effect is negative ie the pitch drops and then rises and to the right positive the pitch rises and then falls The further you set the knob from the central position the further the pitch rises and falls See the Envelope Section later for the exact programming of the rise and fall times LFO Rotary This knob controls the amount of pitch modulation to the oscillator ie how much above and below the set pitch the oscillator regularly rises and falls If the LEO is set to Triangle wave and it s speed is above the centre of its range then this will normally produce a vibrato effect but other effects like a siren or seagull cries are possible with 14 more extreme settings See the LEO section on page 12 for more details on adjusting the LEO parameters to create these effects Pulse Width Rotary This knob has a direct effect on the Pulse Width when the waveform of the selected oscillator is set to Pulse Square When the Mod Source switch is
34. o the right Shape Switch This switch selects the waveform which defines the shape of the LEO movement The options are as follows R DOM This stands for random sometimes also referred to as Sample amp Hold At a regular interval governed by the Speed knob the level of the LFO jumps to a new random level and stays there until the next jump This creates a rhythmic effect partic ularly if routed to the Filter Cut off see Filter Section Routing this to Pitch gives a less musical result but is useful for computer or machinery sound effects TRI Short for Triangle this waveform gives the smoothest continuous change in level to the LEO and is therefor probably the most generally useful setting When rout ed to Pitch it gives you vibrato if used with higher speed and lesser depth or a siren effect with lower speed and greater depth If routed to Filter Cut off a tremolo or Leslie effect results SAW This waveform looks like the teeth of a saw from which it gets its name and gives you a falling level which then jumps back up to the full level Routed to the Filter Cut off it produces a rhythmic pulse effect similar to a sequenced repeated bass line Routing it to Pitch produces alarm type sounds LFO to MIDI Clock Sync You can synchronise the LEO to the MIDI clock for various applications See page 7 and 18 for more information Oscilators 1 8 2 Section 1 PORTAMENTO PROTECT ENABLE zm 8 VOLUME
35. pularity in recent years hut it is capable of far more than just that Analogue synthesis is also suitable for melody lines and lead solos as well as sound effects The MIDI specification on the BassStation Rack allows for real time transmission and reception of controller information This means that the live tweaking of con trols during a performance which is particularly appropriate for analogue sounds can be recorded into a seguencer along with the notes played and the entire per formance recreated on playback Bulk or individual dumps of the 100 Memory locations can also be sent and received allowing you to build a large library of analogue sounds for different applications The BassStation Rack also adds several features over and above the specifica tion of the successful BassStation keyboard The Oscillator Sync feature is very popular with traditional synthesists allowing very vocal timbres The CVIGate MIDI converter can be used to trigger the Rack froni a vintage analogue synth sequencer or as a translator for a MIDI sequencer to trigger other analogue devices The external input to the Rack s filter means that you can process any other instrument including an analogue synth being triggered by the CV Gate MIDI converter Welcome to an expanded Analogue for the 90 s FRONT PANEL ew Lites 3 O d i ry A a pm mmm pm K m i m m SS NN R O M ee O eege R T Tee gege N 1 Master Volume Section This
36. quiet and is increasingly over powered by the higher harmonics pro ducing a very thin sound HOW THE CONTROLS WORK Osc 1 2 External M ix Rotary This knob controls the relative volumes of the two oscillators and the external audio input All the way to the left will give you just the external signal if nothing is connect ed to the External Audio Input socket the BassStation s filter can be heard without the oscillators As the knob is turned to the right oscillator will be gradually introduced At the I amp 2 position both oscillators and the external signal will be equally loud Moving the knob all the way to right gives you just oscillator 2 For more information on the External Audio Input see page 16 Detune Rotary This knob controls the amount of fine tuning difference between the two oscillators In it s central position the oscillators will be exactly in tune with each other Turning the knob anti clockwise will make oscillator 2 increasingly Hat in relation to oscillator 1 Turning the knob in a clockwise direction will make oscillator 2 increasingly Sharp Slight detunings will enrich the sound by introducing a beating between the oscillators in the same way a 12 string guitar sounds richer than a 6 string allowing you to fat ten up bass and lead sounds Greater amounts of detuning will lead to more extreme effects Use according to your own taste Semi Tone Rotary This knob allows you to switch the musi
37. r supply is of the specified type and that it is connected as described above Now you can use your master keyboard or sequencer to play the currently selected sound the BassStation Rack is initially set at the factory to receive on MIDI channel 1 To listen to all 40 factory presets first make sure the Program LED is on if not c 0 TT V use the Mode button to re select and then use the Data Entry keypad to call up sounds 00 to 39 see page 5 and the separate sheet for factory program informa tion You can also use the Audition button to trigger the sounds The BassStation Rack also features a Demo mode To play the demo use the Mode button to select Utility LED lit and press the Audition Demo button To stop the demo simply press the Audition Demo button again Reading the following chapter How the controls work in detail will help you to understand how the sounds were created and allow you to explore the extensive sonic capabilities of the BassStation Rack so you can easily create your own individual sounds HOW THE CONTROLS WORK MASTER VOL SECTION PORTAMENTO YOLUME Volume Rotary This knob allows you to adjust the output volume of the BassStation Rack Turn to the left to reduce the volume and to the right to increase the volume This control affects both the Line level output on the rear panel and the Headphon
38. rols the rate at which these changes take place and a visual indication of the speed set is given by the flashing of the LED directly below this knob Faster speeds are set by turning the knob to the right and are more suitable for vibrato and tremolo effects whilst slower speeds to the left are more pleasing for Pulse Width changes of harmonic content Using a Modulation Controller wheel to open amp close the filter 1 Move the Speed knob fully left to it s 0 position This will stop the LEO running completely speed LED stays on 2 Select the 24dB mode and turn the Frequency knob fully to the left Filter closed 3 Using the Mod Source switch set LFO and Env 2 to zero knob in central position Now you can use the Modulation Controller Wheel to open and close the Filter Delay Rotary This knob controls how long after the note is struck the LFO begins to take effect If the knob is all the way to the left the LEO effect will begin immediately As the knob is turned to the right it will take increasingly longer for the LFO effect to be introduced This is particularly useful for vibrato effects which if present as the note is struck can make the note sound out of tune By setting the LEO Delay to the right the LEO effect will not be introduced until after the note is struck thereby removing the problem If you have problems getting the LEO to take effect make sure the Delay knob is not set all the way t
39. ry on the BassStation Rack is divided up as follows 00 to 39 40 factory sounds in ROM cannot be overwritten 40 to 99 60 user sound locations in RAM can be overwritten If you edit a factory program you can only save it in one of the 60 user program loca tions just think of the 40 factory sounds as a Reference library to take sounds from If you want to start creating a sound of your own from scratch use one of the Plain Vanilla tones initially stored in the user program locations To store a new or edited sound move the Write switch to the Enable position LED flashes Now using the Data Entry buttons 0 to 9 only select the program number where you want to store the sound and press the WRTTE button To store the sound in the same program 40 to 99 only simply press the WRITE button If you want to listen to a sound before overwriting it use the COMPARE function as follows When you have edited a sound move the Write switch to the Enable position LED flashes Press the COMPARE button once Edit LED flashes at a faster rate to indi cate Compare mode is active You can now listen to the original sound before decid ing whether you want to overwrite it or not check the sound using an external key board computer or the Audition button on the front panel Pressing the COMPARE again button will bring back the edited sound
40. ted as on the TB303 The VELOCITY can be adjusted as desired but for now set it to 0 so that the volume is always the same no matter how hard a note is played To get the twangy TB303 sound turn the RESONANCE control up When the control is set to 8 the sound should get more Watery To simulate the glide on the TB303 switch to AUTOGLIDE in the ENVELOPE section If you play a note and then whilst holding it play another one the new note will glide or slur up to the new pitch If it goes instantly to the new pitch adjust the Portamento control a little until the glide is noticeable Once you are happy with this new sound save it in a memory for future use Copyright Roland Corporation Japan Troubleshooting Guide If the BassStation Rack does not operate as expected make reference to the trou bleshooting guide below Remember in most cases problems that appear to be caused by equipment malfunction can often be traced to human error Problem Possible Causes No power Power supply not connected correctly Check polarity of 9v DC output plug center pin No sound Volume knob set at 0 Program saved with Mix knob set to Ext no external input signal MIDI volume set to zero Filter Resonance Decay or Sustain knobs set to 0 Single note trigger Poly Mode set to ON APPENDIX Specification Monophonic Sound Source Oscillator 1 Range Waveform Pulse Width Modulation Master Fine
41. ted whilst in the Program mode If you were editing a sound the modified version will be saved Press the SAVE button to transmit the single voice To save a single sound in the BassStation keyboard format press the SAVE TYPE button once the display changes to REMEMBER this Save Type must only be used when you want to transfer sounds to a BassStation keyboard If you accidentally load this Save type back into the BassStation Rack the sound will have changed due to the differences between the Rack and Keyboard versions Ensure that your computer or data storage device is ready to accept the sysex bulk dump Press the SAVE button to transmit the single voice To save all the sounds in the BassStation Rack press the SAVE TYPE button again the display changes to anovation F nil m mt we Ensure that your computer or data storage device is ready to accept the sysex bulk dump Press the SAVE button to transmit the All voice dump The Global settings CV Gate channel type Poly mode status MIDI Tx and Rx channels will also be saved NOTE the display will briefly go blank as the data is being transmitted HOW THE CONTROLS WORK Data Entry Program Section Cont Loading Sounds There are two ways to load a Single sound into the BassStation Rack 1 If you want to overwrite an existing sound select the Program mode and call up
42. tes on the relevant vintage synthesiser Triggering Vintage Analogue Synths from M IDI You can trigger the vintage synth independently by setting a different MIDI channel to the main MIDI channel of the BassStation Rack for example BassStation Rack MIDI Ch 1 CV Gate MID Ch 7 or together for combining sounds BassStation Rack MIDI Ch CV Gate MIDI Ch 1 Transmitting MIDI Data Using A Vintage Analogue Synth You can also use the vintage synths keyboard to play the BassStation Rack or any 18 Set Up For Roland TB303 Emulation The Roland TB303 The Roland TB303 Bass Line has a very familiar and unigue sound for an analogue synthesiser The BassStation Rack can emulate this sound and indeed create a much wider range of sounds The TB303 has a single oscillator and single envelope that control both the level of the sound and the way in which the filter contours that sound The most frequently used controls on the TB303 are the CUT OFF FREQ RESO NANCE DECAY and ENV MOD and by tweaking these the well known bleeps and burps are attainable The BassStation Rack With its dual oscillators and two envelopes the BassStation Rack has far greater sound creating capability than the TB303 however to produce the sound of the TB303 it is important to use just a single oscillator and mimic the single envelope The filter section on the BassStation Rack has been designed such that when the CUT OFF switch is in the 12dB position the FREQU
43. the program where you want to store the incoming sound Now move the Write switch to the Enable position and transmit the sysex dump from your computer The Write LED on the display will flash to confirm reception Return the Write switch to Protect 2 If you want to listen to a sound before committing it to memory select the Program mode don t worry about which program number comes up Ensure that the Write switch is in the Protect position and then transmit the sysex dump from your comput er The Edit LED on the display will come on to show that the sound available is dif ferent to the one displayed i e an edited sound Now you can use the Compare pro cedure to select a suitable program location to store the imported sound When you send an All sysex dump to the BassStation Rack the position of the Write switch will be ignored i e all sounds and global settings will be immediately overwritten even if the Write switch is in it s Protect position so make sure you have completed a Save All procedure before hand Editing A Program To change or Edit a program simply adjust the parameters you want to alter The Edit LED on the display will flash to show that you are no longer listening to the stored memory If you do not store this new edit before calling up another program it will be lost Writing A Program into Memory The program memo
44. witch expect the sound to ping to the new position M ode Button This button is used to select which of the five main parameter Modes are accessed by the Data Entry keypad The current mode is indicated by one of five LED s on the right hand side of the display panel NOTE When the BassStation Rack is switched on Program mode is automatically selected Each time the Mode button is pressed the next Mode in the menu will be selected i e MIDI RX Channel MIDI TX Channel Utility and Save From Save the next press will loop the menu back up to the Program mode Audition Demo Button This button is used to trigger a note from the currently selected sound It provides a convenient way of monitoring a sound whilst working at the control panel The trig gered note can also be transpo ed up or down to suit the sound higher notes for lead sounds lower notes for bass as follows DATA ENTRY PROGRAM SECTION CONT 1 Press and hold down the Audition button note sounds once 2 Press the button on the Data Entry keypad note sounds once 1 3 octave Each time the button is pressed the note will sound and move up 1 3 octave 3 Press the button on the Data Entry keypad note sounds once 1 3 octave Each time the button is pressed the note will sound and move down 1 3 octave When you are happy with the transposition of the note release both buttons To check the note a
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