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Owners Manual

1. Arrplifer Mixer and Monitors Computer Sequencer Master Keyboard Workstation Connect the Left and Right sockets of the Super Bass Station to a suitable arrplifier or mixing desks stereo inputs and set the Volume control on the front panel to a reasonably high output level 9 10 This will maintain a good signal to noise ratio Make sure that the input volume setting on your amplifier or mixer is initially set to zero Connect the MIDI Out from your master keyboard or sequencer to the MIDI In on the Super Bass Station and check that the White switch is in the Protect position Now connect the power supply Novation PSU 4 to the socket marked Power In 9VDC and plug into a suitable AC power outlet Switch on the power to the Super Bass Station and the dis play should now illurrinate showing the last selected program number Now switch on your arrplifier and adjust the vol urre accordingly The master keyboard or sequencer will play the currently selected program the Super Bass Station is initially set at the factory to receive on MIDI channel 1 To listen to all the factory preset sounds first make sure the Program LED is on if not use the Mode button to re select and then use the Data Entry keypad to call up sounds See page 9 4 Selecting Programs Finder Mode for more information on selecting sounds You can also use the Audition
2. Ident This display will altemate between Cod ident Chorus Mod Depth and it s value Use the Data Entry Portanrento Rotary control to adjust the value of this parameter NOTE If presets 1P to SP are selected a default value is set for this para rreter You can change this if required 35 This pararreter controls the depth of to which the selected LFO waveform will modulate the Chorus effect The range is 00 to 99 A value of 00 will produce only a slight anunt of modulation producing only a slight swirling stereo sensation At a value of 50 the chorus effect is quite noticeable and at a value of 99 the chorus will produce alrrost vibrato like effects This pararreter is rrerrorised wth the program Page 3 Distortion Drive Ident This display will alternate between dS ident Distortion Drive and it s value Use the Data Entry Portarrento Rotary control to adjust the value of this parameter This parameter controls the drive of the Distortion effect The range is OF Off or bypassed No Distortion effect OL to 99 Level of drive to the Distortion effect Low levels of drive produce a warm edge or crunch to a sound High levels of drive really compress the sound and add a much harder quality to a sound This pararreter is rrerrorised with the program Button 5 iator ARPEGGIO Related groups of parameters are in Pages within each bu
3. These alter the Volure of a sound over time All of these main elements can be further manipulated by various methods For example The Pitch of a note can of course be played on a keyboard on a synthesiser but additionally it can be manipulated in real time using the Pitch Bend Wheel to create Slides and Bends in pitch FO s Low Frequency Oscillators can be used to Wobble the pitch of a note at a specific rate creating a Vibrato effect The Filter can be manipulated by 1 FO s to vary the Tone of a sound at a specific rate creating a Wah Wah type of 15 effect An Envelope Generator can also be used on the filter so that the Tone of a sound varies over tine A Feature called Keyboard Tracking can also be used on the filter so that Synthesis the Tone of a sound changes depending on the note being played The Arrplifier can be manipulated by Envelope Generators so that changes in the Volume of a sound over time can make a sound short and percussive or more like a piano or organ Additionally the Velocity at which you hit the keys can also be used to manipulate the Volume of a sound making the sound more expressive Pararreters that manipulate these three main elements are called Modulators The best thing to do is to just get in there and tweak the knobs after all that s what we put themthere for Experiment and you will
4. MIDI systemby checking to see if your sequencer is transmitting MIDI Clock data Ident This display will altemate between tS ident Trigger Sync and it s value Use the Data Entry Porttamento Rotary control to adjust the value of this parameter This parameter controls which LFO s or if the Arpeggiator is the clock for the Analogue Trigger output The range is OF Off NO Trigger is output 41 LFO 1 is the source and Trigger pulses are output 2 LFO 2 is the source and Trigger pulses are output Ar TheArpeggio is the source and Trigger pulses are output To synchronise the Trigger to MIDI Clock first select a source in this page say LEO 1 and the sync LFO 1 to MIDI Clock on page 1 This pararreter is rrerrorised as Global Page 6 Trigger Type Ident This display will altemate between tr ident Trigger Type and its value Use the Data Entry Portarrento Rotary control to adjust the value of this pararreter This parameter controls which type of trigger signals are output by the Trigger Output The range is OO Negative edge Trigger Pulse 01 Positive edge Trigger Pulse If you are unsure about which is suitable for your analogue equipment please refer to the manufacturers owners manual for details This pararreter is rrerrorised as Global Button 3 CV Gate Ch CV GATECH Related groups of parameters are in Pages within each button This button is used to acces
5. The Super Bass Station reads sustain infomation as Arpeggiator latch on off so depressing the sustain pedal will switch the Arpeggiator latch on and releasing the sustain pedal will switch Arpeggiator latch ofP For this to work properly the master keyboard should be transrritting on the same MIDI channel as the RX chan nel of the Super Bass Station Additionally this parameter may work in the reverse manner as described if the incorrect footswitch is connected to the master keyboard Some master keyboards have the ability to reverse this refer to the master keyboards owners manual for details 7 Alternatively you can control this feature froma sequencer To do so simply transmit con troller 64 with a value of 127 to tum the Arpeggiator latch on and transmit controller 64 with a value of O to tum the Arpeggiator latch off on the same MIDI channel as the RX channel of the Super Bass Station The Super Bass Station can also be used as an effects processor Feed and extemal signal into the External Audio Input and adjust the Level rotary in the Mixer Section with the Select Switch set to Extemal and you should hear the eter nal signal fromthe outputs of the Super Bass Station If not check the Filter and the Extemal Auto Trigger Level and Triggering pararreter settings refer page 59 and 56 respectively for details The Filter allows not only tonal changes to be made to the sou
6. all these sounds reloading the factory sounds into the RAM You can do this at any time simply by switching the power off and pressing the Save and the Write buttons simultaneously and while holding themdown switch the power to the Super Bass Station back on This will reload all the factory sounds NOTE Doing this will erase permanently any sounds that are in the Super Bass Station and replace them with the factory sounds To Save any special sounds you might have made refer to Mode 5 Save System E xcdusive Data Dumps on page 62 11 Ni tA i o Ec RUE of SE it E O ve sore eS about sound itself Sound is a vibration or Oscillation These vibrations create changes in air pressure Synthesis that is picked up by our ears and perceived as sound When dealing with musical sounds the vibrations or oscillations occur at regular intervals and are perceived as the Pitch or Frequency of a sound The sirrplest musical sound is a sine wave because it contains only one Pitch and is perceived as a very Pure tone similar to a whistle Most musical sounds consist of several different Pitches or Frequencies The loudest is referred to as the Fundarrental Hamonic and deterrrines the perceived Pitch of the note The other frequen cies present are called HHarrronics and in musical sounds usually occur in multiples of the fundamental hanmonic s fre quency i e If the fundamental note is 440Hz the
7. 2 Aftertouch Pitch Mod Depth This display will altemate between AP ident Oscillator 1 and 2 Aftertouch Pitch Mod Depth and it s value Use the Data Entry Portarrento Rotary control to adjust the value of this parameter This parameter controls the depth of pitch modula tion to both of the oscillators by Aftertouch fromthe controller keyboard The range is 7 to 447 The higher the value nore pitch shift is applied at full modulation This paranreter is merrorised with the program Page 2 Oscillator 1 and 2 Breath Pitch Mod Depth Utilities AT Brecdl Ident This display will altemate between bP ident Oscillator 1 and 2 Breath Mod Pitch Depth and its value Use the Data Entry Portarrento Rotary control to adjust the value of this parameter This parameter controls the depth of pitch modula tion to both of the oscillators by Breath controller froma wind controller or sequencer The range is 7 to 447 The higher the value nore pitch shift is applied at full modulation This parameter is merrorised with the program Page 3 Filter Aftertouch Mod Depth This display will altemate between AF ident Filter Aftertouch Mod Depth and its value Use the Data Entry Portarrento Rotary control to adjust the value of this parameter This parameter controls the depth of cutoff frequency nod Ulation to the Filter by Aftertouch fromthe controller keyboard 23 The range is 7 to 44
8. are pressed on the controller keyboard the Arpeggiator will simply change the notes to the new ones This rreans that the cycle of the Arpeogiator is reset to the start of the pattem when a new set of notes are played on the controller keyboard This is particularly useful live and is generally more musically correct This pararreter is rrerrorised with the program LC Button 6 Panning PANNING Related groups of pararreters are in Pages within each button This buttons pararreters are used to control the Stereo Panner Pages exist within this button and they are selected by pressing button 6 again Refer to the Ident Map on the outside back cover of this manual for nore details To change the value of any pararreter use the Data Entry Portarrento Rotary con trol Fine increments of pararreters values can be set using the and the Buttons Page 1 Pan Mod Source Select Ident This display will altemate between Pn ident Pan Mod Source Select and its value Use the Data Entry Portarrerto Rotary control to adjust the value of this pararreter This parameter controls which LEO or if ENV 2 is going to modulate the stereo Panner The range is An Manual 11 LFO 1 controls the Panner 4 2 LFO 2 controls the Panner E2 ENV 2 controls the Panner Because the LFO s can be synced to incorring MIDI Clock the panning of the sound can be synchronised to the BPM of the song Additiona
9. button on the front panel to trigger the sounds On page 4 is a diagramof the basic way to set up the Super Bass Station Normally the setup should be as follows If the Master Keyboard is a Workstation i e it has a Synthesiser built in tum Local Off or the equivalent in its MIDI setup Refer to the manufacturers Owners Manual for details on how to do this Tum the Computer Software Sequencer s soft Thru or sometimes called Echo Back to the ON or Enabled position Now when selecting a Track in the Computer Software Sequencer that is assigned to the MIDI RX channel of the Super Bass Station Refer Page 23 playing the keyboard should play the Super Bass Station through the Headphones Monitors Sinilany Tracks in the Computer Software Sequencer that are assigned to the MIDI channel s of the Morkstation should make it produce sound If not please refer to the Keyboard Computer Software Sequencer nanu facturers Owners Manuals for details on how to do this NOTE This setup does not allow the recording of knob movements on the Computer Software Sequencer This is because the MIDI output of the Super Bass Station is not connected to the input of the Sequencer Computer To record Knob rrove ment in real time refer Advanced Setup on page 6 NOTE If there are additional Keyboards Modules connected via MIDI as shown this diagram does not indude audio for the Keyboard Modue The audio
10. fre quencies produced by the Oscillators to sound As you tum the knob antidockwise it doses the filter cutting out harronics starting with the highest then increasingly lower ones until only the fundamental or nothing at all is allowed to sound fully anticlockwise If ever the BassStation is naking no sound at all and the Volume knob is tumed up the most likely cause is that the Filter is fully dosed Tum the Frequency knob dockwise to let the sound out NOTE In the 12db mode this knob has the sarre range as a TB303 and so will not completely cut the sound off when tumed fully antidockwise TB303 is a registered traderrark of Roland Corp J apean 75 oe o RR 3 RESONANCE This knob allows you to boost or errphasise the frequencies around the Cut Off frequency set by Frequency knob on page 75 For this reason on sorre synths this control is known as Emphasis Fully anticlockwise there is no boosting of the Cut Off frequency but as you tum clockwise this frequency will be boosted until fully anticdlockwise it goes in to oscillation po ducing 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 dockwise Unless you wart this self oscillating effect keep the resonance con trol away fromthe extrerre clockwise setting Increasing the Resonance is very good for bringing out modulation move ment or change in the filter Cut Off frequenc
11. on dis play panel flashes momentanily If you don t wert to save the programin this location you can choose another by simply 10 entering any programnurrber from 050 to 099 in the A Bank and 100 to 199 in the About Conpare B Bank using the Data Entry keypad buttons O to 9 Factory Programs NOTE In this mode the and 4 Buttons cannot be used Once again you can check the programs using the COMPARE feature and then when you have found a suitable loca tion press the WRITE button The programis now saved Note 1 Always retum the WRITE switch to the Protect position after completing a save operation This will avoid any accidental erasure of programs The Wite LED will flash to wam you of the Enabled state Note 2 Prograrrs can only be saved in the User locations 050 to 099 in the A Bank and 100 to 199 in the B Bank If you attent to save a programinto any of the Factory ROM locations 000 to 049 in the A Bank the display digits will flash rapidly to vam that this operation cannot be corrpeted Factory Programs The Super Bass Station corres pre loaded with 200 sounds The first 50 in the A bank are ROM sounds Read Only Merrory and these cannot be erased All the other sounds in banks A and B are in RAM and can be overwritten or erased The Super Bass Station can Recall
12. outputs of these devices must also be connected to the mixer asc Arp Trigger Input Gate IN annnm CCS m Vintage Analogue Synthesizer Arrplifer Mixer and Monitors Computer Sequencer Master Keyboard Workstation m I This is the advanced way to setup the Super Bass Station and utilises all of the rear panel features This setup allows real time recording of knob movements onto the Computer Software Sequencer as both the MIDI output of the keyboard and the MIDI output of the Super Bass Station are merged with an extemal not supplied MIDI Merge box If the Master Keyboard is a Workstation i e it has a Synthesiser built in tum Local Off or the equivalent in its MIDI setup Refer to the manufacturers Owners Manual for details on how to do this Tum the Computer Software Sequencer s soft Thru or sometimes called Echo Back to the ON or Enabled position Now when selecting a Track in the Computer Software Sequencer that is assigned to the MIDI RX channel of the Super Bass Station Refer Page 23 playing the keyboard should play the Super Bass Station through the Headphones Monitors Sinilany Tracks in the Computer Software Sequencer that are assigned to the MIDI channel s of the Morkstation should make it produce sound If not please refer to
13. the value of this pararreter This parameter controls the pitch bend range of oscillator 1 with the J oystidgMheel on your controller keyboard for the current program selected The range is OF to 12 This is in semitones oF no change and 12 twelve semitone range for oscillator L This pararreter is rrerrorised with the program 24 Page 2 Oscillator 2 Pitch Bend Range Ident This display will altemate between P2 ident Oscillator 2 Pitch Bend Range and its value Use the Data Entry Portarrento Rotary control to adjust the value of this pararreter This parameter controls the pitch bend range of oscillator 2 with the J oystick VVheel on your controller keyboard for the current program selected The range is OF to 12 This is in semitones oF no change and 12 twelve semitone range for oscillator 2 This pararreter is rrerrorised with the program Having independent control over the pitchbend range on each oscillator means that you have greater control over sync sounds and allows interesting effects to be produced when using the pitch bend J oystickAMneel For nomal operation you must set both oscillators to the same range Page 3 Oscillator 1 and 2 Pitch Mod Depth Ident This display will alternate between Pd ident Oscillator 1 and 2 Pitch Mod Depth and its value Use the Data Entry Portarrento Rotary control to adjust the value of this parameter This pararreter controls t
14. to 99 These are preset pattems that play different arpeggios fromthe standard selection Some have syncopation rnythrrically and sorre feature legato notes suitable for use with sounds that utilise the autoglide feature for TBE303 like arpeggios For details on each pattem see Factory Pattem Data on the separate sheet Note All the pattems contain velocity data For details on each pattem see Factory Pattem Data on the separate sheet This pararreter is rrerrorised wth the program Page 4 Arpeggiator Latch This display will altemate between AL ident Arpeggiator Latch and it s value Use the Data Entry Portarrento Rotary control to adjust the value of this parameter This parameter controls the way in which the Arpeggiator rerrerrbers which notes you are playing or have played The range is This means that the Arpeggiator will only sweep though its pattems of notes when you hold keys down on the coriroller keyboard If you are not playing any notes on the controller keyboard no arpeggio will be heard This means that the arpeggio rerrerrbers what notes you last played For exarrple if you play a C triad and then release the keys the Arpeggiator will not stop it will continue to sweep through the C triad until a new set of notes is played then it will continue to sweep through the new notes until another set is played etc etc Note that this pararreter can be controlled via MIDI To do so connect a sustain ped
15. waveformis important because it deten vines the basic Timbre of the sound you are making Once the waveformhas been selected you can then fine tune the harmonic content of a sound by passing it through a Filter to remove any unwanted hanronics The filter in an Analogue synthesiser is a very powerful Tone Control Like the tone con trols on a stereo the filter can alter how things sound but cannot change the style of music being played on the CD and so the filter in a synthesiser can alter the tone of a sound but is restricted by the basic Timbre of the waveform For this rea son in most Analogue synthesiser s several waveforrrs are available at once and it is possible to mx themtogether to provide more hanmonically rich wavefonrs The last major feature that is important when synthesising sound is Volume The Volume of sounds vary as time goes by and so an Organ has a very different volurre characteristic than that of a Piano or a String section See the diagrams below for details An Organ can be seen to go to ful volurre instantly when a key is pressed and then stays at full volume until the key is released at which point the volume drops instantly to zero Key On Key ont A Piano can be seen to go to ful volurre instantly when a key is pressed and then gradual ly falls back down to zero after several seconds Synthesis Time A String Section can be seen to go to full vo
16. 7 The higher the value more filter manipulation is applied at full modulation This pararreter is rrerrorised with the program Page 4 Filter Breath Mod Depth Uulities AT Breeath Ident This display will altemate between DF ident Filter Breath Mod Depth and it s value Use the Data Entry Portarrento Rotary control to adjust the value of this pararreter This pararreter controls the depth of cutoff frequency nodulation to the Filter by Breath controller froma wind controller or sequencer The range is 7 to 47 The higher the value more filter manipulation is applied at full modulation This parameter is rrerrorised with the program Page 5 Amplifier Aftertouch Mod Depth Ident This display will altemate between AE ident Arrplifier Aftertouch Mod Depth and it s value Da h haus Use the Data Entry Portarrento Rotary control to adjust the value of this parameter This parameter controls the depth of nodulation to the amplifier Volume by Aftertouch fromthe Ublittes AT Breall controller keyboard The range is O00 to 15 The higher the value more volume manipula tion is applied at full nodulation This pararreter is rrerrorised with the program Page 6 Amplifier Breath Mod Depth Ident This display will altemate between bE ident An plifier Breath Mod Depth and its value Use the Data Entry Portarrento Rotary control to adjust the value of this paramet
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18. I UIPIM esin d idea T047 undead zAN3 TISO Also Available roman OV ation TION o The Novation Drurr amp tation faithfully recreates all the classic sounds of the TR909 and TR808 drum machines and adds new features like Panning Front Cut and a built in distortion for each drunsound Available Autumn 1997 SUPERNOVA X oq T un ess ee The new Novation SUPERNOVA Polyphonic Synthesiser allows a degree of synthesis control and sonic perfection that was previously unobtainable Utilising new DSP technology the SUPERNOVA is not only powerful but can be expanded with the addition of plug in cards 8A A S M Modelling of TR808 amp TR909 Drurmsourcs Realtime and MIDI control of Drum Pararreters Programreable Drurrkits 8 Assignable Outputs Front Cut editing the Attack portion of Drunssounds MIDI Note Off Recognition for Gating effects Pitch Assign Banks transposing Drurrs over 1 Octave MIDI to DIN Sync converter Expandable voice architecture 8 part rruttitirrbral 12 18 24 and 36 db per oct self ascillating Mulitrrode Filter with LPF HPF BPF and special configurations Built in effects induding Reverb Chorus Distortion Delay and Panning Realtirre and MIDI control of all Pararreters 8 Assignable Outputs 2 MIDI Busses ard a built in MIDI Merge That renowned Novation user interface FCC Infomelion U S A 1 IMPORTANT NOTICE DO NOT MODIFY THIS UNIT This product when installed as i
19. JIENV TA d q ZAN3 J8 d q 04712 2e1 pueogha azueuos n x E o o E o x ox x R oo E Z cc uj CO cC SZ u u Lu Lu LI LI a OLI a a A LL aa CO x o uanbal 4 yQ oipny jewe 3437 pow Bul 3497 2SI0 3437 250 ANS 3497 ISO PIM asin Z 250 d q 10412250 d q ZANI 2250 UQIU S Z 250 un q 2 350 UPIM esind T 250 dsg 10471250 dea ZANJ T 250 Aelag 2041 peeds 7047 Aelaq 1041 peeds 1041 Qu3 eye g euog SUUN OA SJOJOWCIE d uogelado uiejsns eunou JO 30 N yae duy sy uleysns 851 ueg Huluue d SUUN OA Ayu3 eeq OJUSWELO d tpeaig uopeinpo Ww asw yueg BJ9ua t esiubo e y jiu sueJ Jajawese d 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 x x o0o000000000000000000000000000O0O0OoO x x Ox K O0OO0O0OQ0 oO OOOoOoocoocoocococo Jequiny Jajo uo y Cannot record knob rroverrerts Bank Change Messages If the Super Bass Station does not operate as expected make reference to the troubleshooting guide below Rerrerrber in most cases problems that appear to be caused by equipnrent malfunction can often be traced to human error Power Supply not connected properly Incorrect Power Supply used Use Novation PSU 4 only Volurre knob set at zero Incorrect MIDI R Channel selected All mixer knobs set to zero External in the c
20. R and Headphone outputs NOTE This control can be ovenidden by MIDI Volurre data If a MIDI Volume of 0 has been received by the Super Bass Station no output will be heard regardless of the position of this knob To reset the volurre either transmit the relevant MIDI Volurre level or move the Volume knob this autorratically overrides the MIDI setting 0 DATA 10 PORTAMENTO This knob adjusts the Portamento effect in the Program mode and functions as a data entry knob in the Utility mode In the Program mode notes jump instantly fromone pitch to another when this knob is set to O Tuming the knob clockwise brings in the Portamento effect and notes will smoothly glide from one pitch to the next In the Utility mode values of parameters are set with this knob e ag Wate Switch Mest Vol PROTECT ENABLE WEE Section This switch protects your programs fromaccidental erasure During nomal operation it should be left in it s Protect posi tion however When you have edited or created a new programthat you want to save moving it to the Enable position will allow you to write over an existing program Refer Writing a Programlnto Memory on page 10 Headphone Socket HEADPHONES Use this 1 4 jack socket to monitor the output of your Super Bass Station via headphones This output will drive any type of headphones This is where you select the prograrrs on the Super Bass Station set the MIDI transm
21. SUPER BASS STATION a anovation Button 3 Sound Category Button 4 Chorus Button 4 Distortion Button 5 Arpeggiator Button 6 Panning Button 7 MIDI Clock Button 8 CV Gate Channel Button 9 Tuning Button O Triggering Factory Derro Saving System Exdusive Data Dumps Loading System Exclusive Data Dumps LFO 1 and 2 Section Oscillator 1 and 2 Section Mixer Section Filter Section Envelope 1 and 2 Section MDI Implementation Controller Map Editing amp Witting Programs Compare Factory Restoring Factory Programs About Analogue Synthesis Block Diagram Mester Volume Section Data Entry Program Section Keypad Audition Auto Trigger Button Mode Button ProgramBanks Midi TX amp RX Channels Utility Mode Operation Button 1 Pitch Bend Mod Button 2 Aftertouch Breath Button 3 Velocity ORBRAEBAANTRAAKRAFSLERYLEER A REUNNSVBEUREBCOUA UNA N M W H Thank you for buying the Novation Super Bass Station Analogue Synthesiser The module you have purchased is ideal for producing the kind of classic synthesised sounds which have returned to popularity in recent years and features all the Classic rrethods of Analogue Section Subtractive Synthesis Based on the award winning BassStation Keyboard and BassStation Rack the Super Bass Station features Two Main Oscillators with selectable vaveforrrs plus a new Sub Oscillator that generates deep bottom end and a fatter sound Like the BassStation Rack the Sup
22. TX and RX channel settings are menmrised when the power is tumed off MODE 4 Utility This is the section were Global and sorre Sound Pararreters are edited The various Pararreter groups are selected by pressing the appropriate button on the twelve key pad when in the utilities mode Pages exist within these Buttons and they are selected by pressing the appropriate button again Once the desired page is selected the ident flashes between the ident of the pararreter selected and its value To change the value of any pararreter use the Data Entry Portamento Rotary control Fine increments of parameters values can be set using the and the Buttons Button 1 Pitch B IVbd D Related groups of pararreters are in Pages within each button This buttons pararreters are used to determine how the Pitch Bend J oystick Vheel on your controller keyboard effects the pitch of the oscillators Pages exist within this button and they are selected by pressing button 1 again Refer to the Ident Map on the outside back cover of this manual for nore details To change the value of any pararreter use the Data Entry Portarrento Rotary con trol Fine increments of pararreters values can be set using the and the Buttons Page 1 Oscillator 1 Pitch Bend Range This display will altemate between P1 ident Oscillator 1 Pitch Bend Range and its value Use the Data Entry Portarrento Rotary control to adjust
23. a ee 16 4th note triplet MIDI Clock Sync 1g 8th note dotted MIDI Clock Sync Utilities MDI Cloc 24 4th note MIDI Clock Sync 3X2 2nd not tipet MIDI Clock Sync 30 4th note dotted MIDI Clock Sync 48 2nd note MIDI Clock Sync 72 2nd note dotted MIDI Clock Sync 96 1 rreasure 97 2 Measures 08 3rreasures 99 4 rreasures Vhen in the range 7 to 7 the LFO will sync to LFO 1 and will follow any changes in speed of LFO 1 In this case the Speed Rotary for LFO 2 will have no effect Note also that LFO 1 can be synced to MIDI Clock so then LFO 2 will be as well In this case the Speed Rotary for LFO 1 and 2 will have no effect When this pararreter is in the range of 02 to 99 the LFO is synced to inconing MIDI Clock If this is he case and the Super Bass Station does not receive MIDI Clock the LFO s mill appear to be stuck not functioning A lot of software sequencers default to NOT transmitting MIDI Clock If the LFO is stuck not functioning and you have it in MIDI Clock sync the sequencer is not sending MIDI Clock There is no other reason NOTE The LFO s will take approximately 1 to 2 beats to lock in to the MIDI clock so always allow for this in your sequence i e insert a blank count in period at the beginning of a track NOTE Both LFO s can be synced to MIDI Clock at different signatures This pararreter is rrerrorised with
24. al to the master keyboard The Super Bass Station reads Uu liies Arpeggo sustain infomation as Arpeggiator latch on off so depressing the sustain pedal will switch the Arpeggiator latch on and releasing the sustain pedal will switch Arpeggiator latch off For this to work properly the mester keyboard should be transmitting on the same MIDI channel as the RX channel of the Super Bass Station Additionally this pararreter may work in the reverse manner as described if the incorrect footswitch is connected to the master keyboard Sone master keyboards have the ability to reverse this refer to the master keyboards owners manual for d tails Alternatively you can control this feature froma sequencer To do so simply transnit controller 64 with a value of 127 to tum the Arpeggiator latch on and transmit controller 64 with a value of O to tum the Arpeggiator latch ofP on the same MIDI channel as the RX channel of the Super Bass Station This pararreter is rrerrorised with the program Page 5 Arpeggiator Keysync Ident This display will alternate between AY ident Anpeggiator Keysync and it s value Use the Data Entry Portarrento Rotary control to adjust the value of this parameter This pararreter controls the wey in which the Arpeggiator resets itself when new notes are played The range is OF This means that the cycle of the sweep of the Arpeggiator is not interrupted when new keys
25. ararreters select the 1 position To adjust LFO 2 s pararreters select the 2 position 1111 illl 2 RDM TRI SAWSOR Speed Rotary o 40 SPEED This knob controls the rate at which these changes take place for both LFO 1 and LFO 2 A visual indication of the speed set is given by the flashing of the LED directly below this knob Faster speeds are set by tuming the knob dockwise and are nore suitable for vibrato and trerrolo effects whilst slower speeds antidockwise are nore pleasing for Pulse Width Changes or for controlling the Chorus or Panner Effects Using a Modulation Controller whee to open amp dose the filter 1 Move the LFO Select switch so that LFO 2 is selected 2 Move the Speed knob fully anticlockwise to it s 0 position This will stop the LFO running completely and the speed LED will stays off indicating it has stopped 3 Select the 24dB node and tum the F knob fully anticlockwise Filter closed LFO land 2 ps eo a 4 Set the 1 FO and ENV 2 knobs to zero knob in central position 5 Set the Filter Mod Depth pararreter in Utilities Mode button 1 page 4 to 15 The nod wheel now controls the filter O Delay Rotary o 9 40 DELAY This knob controls how long after the note is struck before LEO 1 or LFO 2 begins to take effect If the knob is all the way anticlockwise the LFO effect will begin immediately As the knob is tumed clockwise it will take increasingly longer fo
26. ass Stations filter can be heard without the oscillators As the knob is tumed dockwise the Sub Oscillator will be gradually introduced Moving the knob fully clockwise gives you ful volume for this Oscillator II Source Switch NOISE RING EXT SOURCE This switch allows you to select which sound source the 1 evel Rotary will control In the Noise position the Level Rotary controls the volume of the White Noise Generator White Noise is useful for creating sound effects such as Wind etc In the Ring position the Level Rotary controls the volume of the Ring Modulator Ring Modulation is useful for creating Harder Metallic timbres In the Ext position the Level Rotary controls the volume of extemal signals fromthe Extemal Audio Input to be processed by the filter and envelopes Note All three sound sources can be used simulteneously e Be MN Co Section aA OSC LEVEL This knob controls the relative volurres of the two oscillators All the way anticlockwise will give you no signal in this posi tion and with all the other Mixer levels tumed down the Super Bass Station s filter can be heard without the oscillators As the knob is tuned clockwise oscillator 1 wil be gradually introduced At the 1 2 position both oscillators will be equally loud Moving the knob fully dockwise gives you just oscillator 2 O Level Rotary o 910 LEVEL This knob controls the volume
27. attens up the sound but also provides boost to the bottomend The Super Bass Station also features a Stereo Panner that can be assigned to LFO s and Envelopes allowing enhanced dynamic control of the stereo image The Super Bass Station is one of the rrost versatile and creative Analogue Synthesisers available today with the degree of MIDI control and accessibility it will deliver that sound quickly and easily Super Bass Station Analogue you are about to hear the difference 1 M ster Volume Section This section contains the Master Volurre control Portarrento Data Entry control Headphone output socket and the Programwite switch 2 Data Entry Program Section This section contains the 12 Data Entry buttons Display and Menu LED s Audition Denno and Mode select buttons 3 LFO 1 and 2 Section This section contains the Speed and Delay controls and the Shape and LFO select switches 4 Oscillator 1 and 2 Section This section contains the Detune Serritone ENV2 Depth LFO 1 Depth and Pulse Width controls and the Range Waveform Osc Select Osc 1 2 Sync and PVM Source switches 2 5 Mber Section This section contains the Osc Level Noise Ring Modulation External Audio Inout Level Sub Osc Level controls and the Source switch 6 Filter Section This section contains the Frequency Resonance LFO 2 Depth ENV 2 Depth and K YBD Track controls and the Cut Off switch 7 Envelope 1 and 2 Section This sec
28. change the value of any pararreter use the Data Entry Portamento Rotary control Fine increrrents of pararreters values can be set using the and the 4 keys NN Button Audition Demo DEMO AUDITION Pressing the AuditioryDerro button when in the utility mode will start the Factory Derronstration Pressing this button again will stop the derrorstration This is a Montage of all the individual sound categories derro s NOTE In the Program Mode these buttons behave differently fromthe Utility mode Pressing the Audition Deno in Program Mode will not only activate the Deno for the category of the sound currently selected but also will engage Finder Mode As an indication that the Super Bass Station is in Finder Mode both the Decirral points in the display flash Pressing the and buttons while in Finder Mode will not move up or down to the next program but up or down to the next programin the same category This makes it easy to audition similar sounds with out having to remember all the sounds locations i e if aBass category sound is selected then pushing will advance to the next Bass category sound To reum to nonmel operation press the Audition Derro button again See Utilities Sound Category on page 32 for nore infomation on categories and the separate sheet for nore information on the Factory sounds MODE 5 Save System Exclusive Data Dunes This is
29. cillator 1 2 Sync Switch OFF ON OSC 1 2 SYNC This facility causes the waveform of oscillator 2 to restart its yde each tirre oscillator 1 starts its cycle whatever the diffe ence in tirring would otherwise be if they were not synchronised The effect of this is to keep the pitch identical to Osc 1 and tintoral changes being made by Osc 2 so Osc 2 De tune and Serritone knobs will not behave as usual but make radi cal changes to the timbre of the sound This is particularly noticeable if you use ENV 2 to move the norrinal pitch of oscilla tor 2 The pitch will not change if sync is switched on but you will hear timbral changes sirilar to the resonant changes in eo the hunan voice You will find this easier to understand if set Up a drastic and Oscillator 1 and 2 du uM p probably unmusical pitch change effect just on oscillator 2 using ENV 2 before you switch Osc 1 2 Sync on and then switch the sync on and off to hear the difference In the Off position this effect is disabled In the On position Oscillator sync is active MI Pulse Width Select Switch ENV2 MAN LFO2 PWM SOURCE 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 Viicth is controlled by the second Envelope starting and finishi
30. e down to the next program You will notice that if programA bank 99 is selected and press the button the program will change to B bank OO You can also use MIDI ProgramChange and Bank Change commands froma sequencer or other extemal MIDI device to call up prograrrs 3 FINDER MODE Perforrring a search for similar sounds Pressing the Audition Derro will not only activate the Deno for the category of the sound currently selected but also will engage Finder Mode As an indication that the Super Bass Station is in Finder Mode both the Decimal points in the dis play flash Pressing the and buttons while in Finder Mode will not move up or down to the next program but up or down to the next programin the same category This makes it easy to audition similar sounds without having to remember all the sounds locations i e if a Bass category sound is selected then pushing will advance to the next Bass category sound To retum to norrral operation press the Audition Derro button again See Utilities Sound Category on page 32 for nore information on categories and the separate sheet for more information on the Factory sounds Witing Compare To change or Edit a program simply adjust the parameters you wish to alter The Edit LED on the display will flash to show that you are no longer listening to the stored program If you do not store this new edit before calling up another programit will be los
31. ect to change The information contained in this manual is believed to be correct at the tirre of going to press However Novation reserves the right to change or modify the specification without notice or obligation to update existing units Copyright 1997 Novation Electronic Music Systems Ltd C Printed in England SUPER BASS STATION Ident Map
32. ed with the program Page 3 Arpeggiator Pattem Ident Value This display will alternate between PA ident Arpeggiator Pattem and it s value Use the Data Entry Porttamento Rotary control to adjust the value of this parameter This parameter controls the way in which the Arpeggiator sweeps through it s notes The range is UP Uu lities Arpeggo This is a pattem where the arpeggio starts at the lowest note you play and sweeps up through the notes until it reaches the highest note It then starts at the bottom again This is a pattem where the arpeggio starts at the highest note you play and sweeps down through the notes until it reach es the lowest note It then starts at the top again Ud This is a pattem where the arpeggio starts at the lowest note you play and sweeps up through the notes until it reaches the highest note It then starts to sweep back down this is useful when playing three notes in songs with a 3 4 time signa ture ud This is a pattem where the arpeggio starts at the lowest note you play plays it twice and sweeps up through the notes until it reaches the highest note It then plays the top note again and then starts to sweep back down It will also repeat the lowest note twice this is useful when playing three notes in songs with a 4 4 time signature Ty This is a pattem where the arpeggio plays any of the notes you are playing in a randomorder 00 through
33. eleted and the sound will not be the sarre To save a single the programin the BassStation keyboard format press the SAVE TYPE 2 button once again the dis play changes to Sb NOTE A lot of features on the Super Bass Station are not on the BassStation Keyboard and therefore will not be used For example if the programyou wish to transfer to the BassStation Keyboard uses new features any of the pararreters that are not present on the BassStation Keyboard will be deleted and the sound will not be the sarre Ensure that your computer or data storage device is ready to accept the sysex bulk dump Press the SAVE 4 button to transmit the All programs dump The Global settings MIDI TX and RX channels will also be saved NOTE The display will briefly go blank as the data is transmitted Loading System Exclusive Data Dumps Single Programs There are two weys of loading cata They are as follows 1 If you Wert to overwite an existing program select the Program mode and call up the program number you want to use Now move the Wite switch to the Enable position and transmit the sysex dump fromyour computer The rite LED on the display will flash to confinmreception Retum the hite switch to the Protect position NOTE This operation will erase the existing programand replace it with the program fromthe computer 2 If you went to listen to a program before corrrritting it to rrer
34. emitones down is applied to the oscillators The time it takes to do this is deterrined by the setting of the Portamento Control in the Program Mode Dela To cra P2 Predlide 2 Envelopes are retriggered as in the Lt setting and when they do retrigger a glide fromfive semitones down is applied to the oscillators The tire it takes to do this is determined by the setting of the Portamento Control in the Program Mode P3 Preglde 3 Envelopes are retriggered as in the Lt setting and when they do retrigger a glide fromtwo serritones up is applied to the oscillators The tirre it takes to do this is detemined by the setting of the Portarrento Control in the Program Mode P4 Preglde 4 Envelopes are retriggered as in the 11 setting and when they do retrigger a glide fromseven serritones up is applied to the oscillators The tirre it takes to do this is detemined by the setting of the Portamento Control in the Program Mode EA Extemal Audio Input Envelopes are retriggered when the extemal audio exceeds the Trigger level set on page 3 External Audio Trigger Level on page 59 This pararreter is rrerrorised with the program Page 2 LFO Triggering Ident This display will altemate between 11 ident LFO Triggering and it s value Use the Data Entry Portarrento Rotary con trol to adjust the value of this pararreter This parameter controls how the LFO s trigg
35. er The range is on Both LFO s Keysynced LFO 1 Keysynced LFO 2 Freewheeling LFO 2 Keysynced LFO 1 Freewheeling oF Both LFO s Freewneel This pararreter is rrerrorised with the program NR I ll Page 3 Extemal Auto Trigger Level This display wil alternate between Au ident Auto Trigger Level and its value Use the Data Entry Portarrento Rotary control to adjust the value of this pararreter This pararreter controls how loud an external signal has to be before the external signal will trigger the envelopes The range is OL to 99 The number indicates the Trigger Threshold Level To switch the triggering of the program from MIDI to external audio change the page 1 ENV Triggering pararreter on page 56 to EA Extemal Audio This parameter is rrerrorised NOTE This function works independently fromthe Level control in the mixer section NOTE If you have the ENV Triggering pararreter set to EA no sound will be heard when MIDI notes are sert to the Super Bass Station until an extemal signal connected to the extemal signal input goes past the trigger level set with this parameter If no extemal signal is present or connected and the ENV Triggering pararreter is set to EA no sound will be heard when MIDI notes are sent to the Super Bass Station SAVETYPE ED EN Button Save Type Compare EJ Button Save Wite Utiliies 13 Denmo To
36. er This parameter controls the depth of nodulation to the arrplifier Volurre by Breath controller froma wind controller or sequencer The range is 00 to 15 The higher the value more volume manipulation is applied at full nodulation This pararreter is rrerrorised with the program Button 3 Velocity VELOCITY Related groups of parameters are in Pages within each button This buttons pararreters are used to determine how Velocity on received notes via Midi effect the envelope generators and which sound category the programis in Pages exist within this button and they are selected by pressing button 3 again Refer to the Ident Map on the outside back cover of this manual for nore details To change the value of any pararreter use the Data Entry Portarrento Rotary con trol Fine increments of pararreters values can be set using the 2 and the Buttons Page 1 Arrplifier Envelope Velocity ENV 1 Ident This display will alternate between VA ident An pilifier Envelope Velocity Depth and it s value Use the Data Entry Portarrento Rotary control to adjust the value of this pararreter This parameter controls how much velocity controls the Arrpifier Envelope Generator The range is OO to 99 At a value of 00 soft key strokes will produce sounds at the same volurre as hard key strokes At a value of 99 soft key strokes will be nuch quieter than hard key strokes This pa
37. er Bass Station also offers Oscillator Sync that allows creation of metallic timbres A Ring Modulator has been added and there is also a new White Noise Source as well as an Extemal Audio Input for greater tonal flexibility The new Mixer Section makes it easy to combine these sources together allowing for the creation of complex tint bres The filters in the Super Bass Station deliver the liquid Sound of Analogue Filters because they are Analogue They have been carefully engineered so they retain the character and warrrth of classic analogue synthesisers Selectable 12db or 24db cutoff curves make it easy to faithfully recreate anything from a TB303 to a nore traditional synthesiser sound featuring that liquid resonance that can only be created using analogue technology With the Super Bass Station the front panel is self explanatory with every Pararreter that is needed having its own knob All the knobs transnit MIDI Controllers for easy recording of any rroverrerts in real time on a sequencer and as they are controllers they are easy to edit Once that sound has been created the Super Bass Station has 150 RAM Programlocations to store themin These plus the 50 ROM prograrrs can be recalled with MIDI Program Change rressages The Super Bass Station features a built in Analogue Distortion Effect This can add the edge to harder sounds or at high levels of drive can really make a sound scream Additionally there is a Stereo Analogue Chorus that not only f
38. er to ENV 2 to hear the changes you are making O Attack Rotary o e 10 ATTACK This knob sets how quickly the envelope rises to its meximumlevel when a note is struck Fully anticdlockwise this is 500 microseconds instantaneous to our ears increasing exponentially to 20 seconds fully clockwise To shorten attack times tum this knob anticlockwise and to lengthen attack times tum this knob dockwise Decay Rotery o e DECAY This knob sets how quickly the envelope drops off to the sustain level once the rreximumlevel has been reached Fully anticlockwise this tine is 1 millisecond still instantaneous to our ears increasing exponentially to 20 sec onds fully dockwise To shorten decay times tum this knob anticlockwise and to lengthen decay times tum this knob dock wise ER ey Envelopes Land 2 SUSTAIN This knob sets the level at which the envelope remains after the Decay phase until the note is released Fully anticlockwise the envelope will decay all the way to zero without being interrupted As the knob is moved clockwise the level at which the decay is halted increases until fully clockwise there is no decay at all Release Rotary o 910 RELEASE This knob sets how quickly the envelope drops fromthe sustain level to zero once the note has been released Fully anti dockwise this time is 1 millisecond still instantaneous to our ears increasing exponentially to 20 seconds fully clod lt wise To shorten attac
39. five main parameter Miodes are accessed by the Data Entry keypad The current mode is indicated by one of five LED s on the right hand side of the display panel NOTE When the Super Bass Station is switched on Program mode is automatically selected Each time the Mode button is pressed the next Mode in the menu will be selected i e Program MIDI RX Channel MIDI TX Channel Utility and Save From SAVE the next press will loop the menu back to the Program Bank A mode MODE 1 ProgamBankA amp B There are 2 Banks of 100 sounds in the Super Bass Station They are divided up as follows You cannct store programs in the ROM area A Bank 000 O49 only in the RAM area A Bank 050 099 and B Bank 100 199 If you edit a ROM program you can save it in one of the 150 RAM user programlocations The Program Mode is selected if the Program LED is lit or flashing If itis not press the MODE button until it is The Data Entry Keypad works differently in this mode There are two methods to enter a number 1 DIGIT INPUT Using the buttons O to 9 NOTE this must always be a three digit entry for exarrple To select Bank A sound 8 press the O and O and 8 buttons and the display reads 08 and the Progran LED is continuously lit indicating that you are in A bank To select Bank B sound 17 press the 1 and 1 and 7 button
40. gnal input goes past the trigger level set with this pararreter If no exter nal signal is present or connected and this pararreter is set to On no sound will be heard when MIDI notes are sent to the Super Bass Station 8 There are three ways to select a program First make sure you are in the Program Mode Selecting Programs The Program Mode is selected if the Program LED is lit or flashing If it is not press the MODE button until it is There are 2 Banks of 100 sounds in the Super Bass Station They Tinder Mode are divided up as follows You cannot store prograrrs in the ROM area A Bank OOO O49 only in the RAM area A Bank O50 099 and B Bank 100 199 If you edt a ROM program you can save it in one of the 150 RAM user programlocations There are three methods in which you can select a Program 1 DIGIT INPUT Using the buttons O to 9 NOTE this must always be a three digit entry for exarrple To select Bank A sound 8 press the O and O and 8 buttons and the display reads 08 and the Progran LED is continuously lit indicating that you are in A bank To select Bank B sound 17 press the 1 and 1 and 7 buttons and display reads 17 and the Program LED is flashing indicating that you are in B bank 2 INCREMENT DECREMENT Using the 2 and buttons Press the button to move up to the next program Press the button to mov
41. h then jurrps back up to the full level Routed to the Filter Cut Off it produces a rhythrric pulse effect similar to a sequenced repeated bass line Routing it to Pitch produces alarrri type sounds SQR This waveform looks Square fromwhich it gets its name and changes level instantly fromone level to another This waveformis useful for Trill and Computer Garre effects LFO to MDI Clock Sync You can synchronise the LFO to the MIDI dock for various applications See page 44 for nore infomation This is were you adjust all the pararreters that deal with the oscillators These provide the Oscillator Land 2 po j Pitched element to the sound and depending on the wavetorrrs selected also effect the tint bre of the sound as well HE Range Switch 6 8 4 2 RANGE 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 4 amp 2 a convention which corres fromthe length of organ pipes QB venero swih A ru WAVEFORM Each oscillator is a sound source producing the electronic equivalent of the vibration in the air which makes a sound The loudspeakers you are using to listen to the Super Bass Station convert the electronic signal into an acoustic one you can actually hear Oscillation is a technical tenmfor vibration The actual timbre of each oscillator depends on its hanmonic con tent which is deterrrined b
42. hat 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 ohmribbon lead change the lead in to co axial type cable If these corrective measures do not produce satisfactory results please contact the local retailer authorised to distribute this type of product The staterrents above apply ONLY to products distributed in the USA CANADA The digital section of this apparatus does not exceed the Class B limits for radio noise errissions from digital apparatus set out in the radio interference regulation of the Canadian Departrrent of Comrrunicatiors Le present appareil nurrerique rYerret pas de bruits radioelectriques depassant les limites applicables aux appareils numeriques de la Classe B prescrites dans le reglerrent sur le brouillage radioelectrique edicte par le Ministere Des Corrrrunicatiore du Canada This only applies to products distributed in Canada Ceci ne s applique qu aux produits distibues dans Canada Other Standards Rest of World This product complies with the radio frequency interference requirements of the Council Directive 89 336 EC Dette apparat overholder det gaeldenda EF direktiv vedr rendareadiost J Cet appareil est conforrre aux prescriptions de la directivecorrmunautaire 89 336 EC Diese Ger te entsprechen der EG Richtlinie 89 336 EC Specifications subj
43. he depth of LFO 1 pitch nodulation Vibrato to both of the oscillators Uu lities PitcylTMVbcd by the Modulation J oystick Whee fromthe controller keyboard The range is oF to 15 The higher the value nore vibrato is applied at full nodulation This pararreter is rrerrorised with the program Page 4 Filter Mod Depth Ident This display will altemate between Fd ident Filter Mod Depth and it s value Use the Data Entry Portamento Rotary control to adjust the value of this parameter This parameter controls the depth of LEO 2 cutoff frequency nodulation to the Filter by the J oystidk V heed fromthe controller keyboard The range is from oF to 15 The higher the value more filter manipulation is applied at full nodulation This pararreter is rrerrorised with the program Button 2 AT Breath Mbd AT BTH MOD Utili es AT Breath Related groups of parameters are in Pages within each button This buttons parameters are used to deterrrine how Aftertouch and Breath controllers via Midi effect the pitch of the oscillators Pages exist within this button and they are selected by pressing button 2 again Refer to the Ident Map on the outside back cover of this manual for nore details To change the value of any pararreter use the Data Entry Portarrento Rotary con trol Fine increrrents of pararreters values can be set using the and the Buttons Page 1 Oscillator 1 and
44. it and receive channels set the various utility functions and store newly edited pogran Data Entry Keypad Buttons POE Mee A Ginn The 12 buttons of the calculator style Data Entry keypad are used to Er 5 6 call up and set the various operating pararreters of each Mode In CHORUS DIST ARPEGGIO PANNING cm 787 EM E the MIDI RX Channel MIDI TX Channel Utility and Save Modes MDICLOCK CV GATECH TUNNG the operation of these buttons are different fromthe Program Mode Em Co NE En In these modes they work as follows din You can use two methods to enter a number 1 DIGIT INPUT using the buttons O to 9 NOTE In the MIDI RX MIDI TX Utility and save modes this must always be a two digit entry for eample To select a value of 8 press the O and 8 buttons display reads 08 To select a value of 17 press the 1 and 7 buttons display reads 17 2 INCREMENT DECREMENT using the and buttons Press the button to move up to the next value Press the button to move down to the next value These buttons can also be used to Scroll through values by pressing and holding down urtil the desired value is reached ament AUDITION 3 AuckitioryDerro This button is used to trigger the currently selected program It provides a convenient way of monitoring a sound whilst working at the control panel AUDITION Vhen in Program
45. k times tum this knob antidockwise and to lengthen attack times tum this knob dockwise LO6T YEW WHT seq O T UOISISA ONONW 330 INWO A10d 330 INWO ONOW NO INWO A10d NO INWO Joso y asuas IAN Y 340 S9JON IV 330 NO 12207 sabessaw xny anunuoj aul jeay dos eS 100 WaJs g slajawesed 3110A 3AISN DX3 ulejs s RRE x ol 66 00 auey wepo d 0300 9 1933W Le d SIT 0 pII 0300 J9 euleJe d CIT OF SOT j0300 9 Ja au EJE d 76 01 16 uogelado uiejsns euuou 10 30 N jjo uo uxe 1 diy 104 epa d uleysns 8s7 ajos Jueg JONUO7 J3JALWBJe d 0 u0 Jajatuele d Huluue d 9UnjoA nu3 eeq 0300 eag 1994 M PON GSW Dojos ueg v9 ZE GE 0 EE TE 01 9T OT L 9 C Tabuey 0 000 Ox x OO O O O O x luas 21 00 Jepuag uy d s43 uno shay Jay i n d D 330 SON LETTA 0 NO AON NO SA RR BIO AJ9QUAN AMA aul aon ion peepee back palay X sofessa ly jnejeq pow pabueyo j uuey 3 p suow W 9r I 9r T jnejeq seg Imi pleoghay uonejssseg pue x ey uoge ssseg eu ui ajgneduo ale sJe O3u02 S Y xxx pe y uonejssseg au ur ajgneduo ale sIa omuo2 S L sex papajas si Jajauueled siu usum qouy AQUA eyeq guaweyod Bulsn apo faim ur PARIWSUEL yx gouy nu3 eyeg oJuaueyo d usn apo welbold ul paniwsuell y u n dag smo ad sno d q pow u AG uoniojsi IOJ A ZA aseajay ZA UIBjSn S ZA e ag ZA PERY ZA y20 9A TA aseajay TA usns TA e ag TA
46. lly odd wawveforrrs like fRandorri can be used for startling stereo effects This pararreter is rrerrorised with the program Page 2 Pan Mod Depth Ident This display wil alternate between Pd ident Pan Mod Depth and its value Use the Data Entry Portarrento Rotary control to adjust the value of this parameter This parameter controls the depth of the panning nodulation The range is DO to 99 At low levels only slight stereo moverrert will be heard At high levels the sound will swing wildly from one channel to the other Note that if the Pan Mod Source parameter is set to An the Data Entry Rotary no longer transmits MIDI Controller 6 Data Entry but MIDI Controller 10 Panning in this page The range is different in this situation The range is LOtoL1 to Ct Centre to r1to r9 The and keys step through the 19 steps but the Data Entry knob utilises all O 127 possibilities even though the range appears to be the sarre This pararreter is rrerrorised with the program ButonZ MIDI Clock MDI CLOCK Related groups of pararreters are in Pages within each button This button is used to access the various syncronization to MIDI Clock pararreters Pages exist within this button and they are selected by pressing button 7 again Refer to the Ident Map on the outside back cover of this manual for nore details To change the value of any pararreter use the Data Entry Portarre
47. lume gradually over several seconds when a key is pressed and then stays there until the key is released when gradually over a couple of seconds the volume drops to zero Key Off These curves are called Envelopes and in an Analogue synthesiser Envelope Generators are used to recreate them The Envelope Generators are connected to an arrplifier which controls the Volume of the sound Envelope Generators have 4 pararreters that are used to adjust the shape of the envelope Refer to the diagram below Key om A Attack tine This is used to adjust the time it takes when a key is pressed for the emne l EA J lope to go fromzero to full value and can be used to create Fade in s Synthesis D Decay tine This is used to adjust the tirre it takes for the envelope to go fromfull value to the value set by the Sustain level S Sustain level This is used to set the level that the envelope remains at while the key is held down R Release tirre This is used to adjust the tirre it takes when key is released fromthe Sustain level to zero and can be used to create Fade ours An Analogue synthesiser can be broken down into three main elerrents 1 The Oscillator generates Weavefonr5 at a certain Pitch 2 The type of Waveform selected and the settings of the Filter detemines the sounds Tone 3 The sound is then passed through an Arrplifier that is controlled by an Envelope Generator
48. n a musical hambonic series would be 2nd Hamonic 880Hz 3rd Hamonic 1320Hz 4th Hamonic 1760Hz 5th Hamonic 2200Hz etc etc The number and loudness of these Harrronics detemine the Timbre of a sound This gives a sound character and is why a violin sounds different froma guitar and a piano sounds different again In an Analogue synthesiser you have the choice of several different wavefonrs Each waveformhas different amounts of harronics and so the Timbre of each one is quite different Below are descrip tions of some of the waveforms and indications on what they can best be used for NN Sawtooth waves have all the hammnics of the fundamental frequency As you can see every har na monic has half the amptitude of the previous one This waveformis pleasing to the ear and is useful for Basses leads and synthesising stringed instrurrents I ME Square waves have only the odd barrronics present These are at the sane arrptitude as the odd E harrronics in a saw wave Square waves have a hollow metallic sound to them and so are useful for creating unusual synthesiser sounds and oboe like sounds ANC ns White noise has no fundamental and all frequencies are at the About Analogue sane level This waveformcan be used by itself to synthesise 1 4 Noise Hamer explosions or wind and when used in conjunction with other Synthesis wawveftforrrs can be used to create the illusion of Breath in an instrunrent The choice of
49. nd but resonance can also be applied Additionally the extemal signal can be processed by the Analogue Distortion Analogue Chorus and the Panner Effects The Super Bass Station can be set to generate triggers to run its envelopes fromextemal signals This is great for making Synthbasses fromreal Bass signals or Triggering the envelopes froman extemal Drum Machine for instance To do this set the Level pararreter in Page 3 of Utilities button O Extemal Auto Trigger Level refer page 59 for details and switch the Triggering pararreter to EA n Utilities button O refer page 56 for details The Extemal Auto Trigger Level parameter controls how loud an extemal signal has to be before the extemal signal will trigger the envelopes The range is to O1 to 99 The number indicates the Trigger Threshold Level the higher the value the louder the extemal signal has to be before triggers are generated The Triggering controls how the envelopes are triggered In the most of the range the envelopes are triggered by incoming MIDI note data If this pararreter is set EA then incoming MIDI note data does not trigger the envelopes the extemal sig nal does NOTE This function works independently fromthe Level control in the nixer section NOTE If you have the Triggering set to EA no sound will be heard when MIDI notes are sent to the Super Bass Station until an extemal signal connected to the extemal si
50. ndicated in the instructions contained in this Manual meets FCC requirements Modifications not expressly approved by Novation may void your authority granted by the FCC to use the product 2 IMPORTANT When connecting this product to accessories and or another product use only high quality shielded cables Cable s supplied with this product MUST be used Follow all installation instructions Failure to follow instruc tions could void your FCC authorisation to use this product in the USA 3 NOTE This product has been tested and found to comply with the requirements listed in FCC Regulations Part 15 for Class B digital devices Compliance with these requirements provides a reasonable level of assurance that your use of this product in residential environment will not result in harnful interference with other electronic devices This equipment generates uses radio frequencies and if not installed and used according to the instructions found in the users manual may cause interference harrrful to the operation of other electronic devices Compliance with FCC regulations does not guarantee that interference will not occur in all installations If this product is found to be the source of interference which can be determined by turning the unit OFF and ON please try to elirrinate the problem by using one of the following measures Relocate either this product or the device that is being affected by the interference Utilise power outlets t
51. ng at 50 with the arrount of shift away fromthis setting being controlled by the Pulse Wath knob above In the LFO 2 position the variation of the Pulse Width is controlled by LFO 2 with the arrount of variation being controlled by the Pulse Wath knob above Variation in the harrronic content of an oscillator which is what changing the Pulse Wcth achieves is very pleasing to the ear especially at lower pitches where all the associated harrronics fall within the audio range and can dearly be heard When selected to ENV 2 the effect is best appreciated using fairly slow changes so longer Envelope 2 Attack and Decay times are best Detune Rotary DETUNE This knob controls the arrourt of fine tuning difference between the two oscillators In its central position the oscillators will be exactly in tune with each other Tuming the knob anti clockwise will make Oscillator 2 increasingly Flat in relation to ZO Oscillator 1 Turning the knob in a clockwise direction will meke Oscillator 2 increasingly Oscillat 1 12 Sharp Slight detunings wil enrich the sound by introducing a beating between the oscilla tors in the sane wey 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 nore extrene effects Use according to your own taste 0 12 SEMITONE This knob allows you to switch the musical interval between the Oscillators in serritones up
52. nob has a direct effect on the Pulse Width when the vwavefonmof the selected oscillator is set to Pulse Square Vhen the PVM Source switch is set to Manual the position of this knob controls the actual width of the Pulse In the cen tral position the Wah is 50 i e ninimumand meximum values are of equal length which we refer to as a square wave This contains all the odd numbered barrronics giving a hollow sound reminiscent of a clarinet As you move the knob clockwise the Pulse VMdtn gets narrower and more and more high harmonics are added at the expense of the fundamental pitch giving the sound a thin trebly quality Fully clockwise the fundamental has almost disappeared and the sound becorres very thin indeed Vhen the Mod Source switch is set to ENV 2 or LEO 2 this knob govems the arrount of varia tion in the pulse width in a negative or positive direction about a central ofP position As the knob is moved antidockwise the variation in the Pulse Width will increase progressively in a negative manner whilst moving it dockwise will vary the Pulse Wcdth in a positive manner This section makes it easy to corrbine all the various sound sources together allowing for Mer the creation of corrplex tirrbres Section O Sub Osc Rotary i 0 10 SUB OSC This knob controls the volurre of the Sub oscillator All the way antidockwise will give you no signal In this position and with all the other Mixer levels tumed down the Super B
53. note dotted MIDI Clock Sync 1 rreasure 2 Measures 3 measures 4 measures Vhen in the range 7 to 7 the Arpeggiator will sync to LEO 1 and will follow any changes in speed of LFO 1 In this case the Arpeggiator Rate parameter Ar ident will have no effect Note also that LFO 1 can be synced to MIDI Clock so then the Arpeggiator will be as well In this case the Speed Rotary for LFO 1 will have no effect 50 When this pararreter is in the range of 02 to 99 the Arpeggiator is synced to incoming MIDI Clock If this is the case and the Super Bass Station does not receive MIDI Clock the Arpeggiator will appear to be stuck not functioning A lot of software sequencers default to Utilities MDI Clock NOT transmitting MIDI Clock If the Arpeogiator is stuck not functioning and you have it in MIDI Clock sync the sequencer is not sending MIDI Clock There is no other reason NOTE The Arpeggiator will take approximately 1 to 2 beats to tock in to the MIDI clock so always allow for this in your sequence i e insert a blank count in period at the beginning of a track This parameter is rrerrorised with the program Page 4 MIDI Clock Detector This display will altemate between Cd ident MIDI Clock Detector and on or oF When the display shows on MIDI Clock is present When the display shows oF MIDI Clock is not present This feature is useful for troubleshooting your
54. nto Rotary con trol Fine increments of pararreters values can be set using the and the Buttons 44 Page 1 LFO 1 MIDI Clock Sync Ident This display will altemate between 1 1 ident LFO 1 MIDI Clock Sync and it s value Use the Data Entry Portarrento Rotary control to adjust the value of this pararreter This pararreter controls if LFO 1 runs on it s intemal clock or synchro nises to incorring MIDI Clock The range is OF Off The LFO is running on Intemal Clock 02 32rd note triplet MIDI Clock Sync 03 32nd note MIDI Clock Sync 04 16h note triplet MIDI Clock Sync 06 16th note MIDI Clock Sync 08 8th note triplet MDI Clock Sync 09 16th note dotted MIDI Clock Sync 2 8th note MIDI Clock Sync 16 4th note triplet MIDI Clock Sync 18 8th note dotted MIDI Clock Sync 24 4th note MIDI Clock Sync 32 2nd note triplet MIDI Clock Sync 36 4th note dotted MIDI Clock Sync 2nd note MIDI Clock Sync 2nd note dotted MIDI Clock Sync 1 messure Dela FOOT Utilities MDI Cloc 2rreasures 3 messures EREDE I 4 rreasures Vhen in any position except oF the LFO will sync to incorring MIDI Clock and will follow terrpo changes on the sequencer Be sure to send MIDI Clock in this mode If the Super Bass Station does not receive MIDI Clock the LFO will appear to be stuck not functioning A lot of sof
55. r sequencer software owners manual for details Bank change rressage are as follows They must be sent as shown and in the correct order An A bank message is as follows enter Controller O with a value of O followed by Controller 32 with a value of O followed by a programchange message with the value of the program you wart i e for program6 enter 7 A B bank message is as follows enter Controller O with a value of O followed by Controller 32 with a value of 1 followed by a program change mes sage with the value of the program you want Alternately some sequencers software enable you to select banks using a Bank Box or sorre thing similar If this is the case you can enter a 1 in this box for bank A and a 2 in this box for bank B Consult your sequencer software owners manual for details Alternatively simply go to the other bank fromthe one you wish to select Make sure the MIDI output of the Super Bass Station is connected to the MIDI input of your sequencer computer either directly or via a merge box put the sequence software into record and type in the desired programinto the data entry keypad 000 to 199 The Super Bass Station will output the desired message which should be recorded by the sequencer sjuauieAoJduil oy anp uey oj pelqns suone yi2adg qunoubpe y 6T NT 6361 WWOTT d WWpp H UUEgp M yndu 2Q A6 136611 anbojeuy ala Y 7 13497 eur 3nduj olpny eua 3 mo a1e9 M0 A
56. r 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 LFO Delay dockwise the LFO effect will not be introduced until after the note is struck thereby removing the problem If you have problerrs getting the LFO to take effect make sure the Delay knob is not set all the way dockwise CIO Shape Switch RDM TRI SAW SOR SHAPE This switch selects the waveformwhich defines the shape of LFO 1 and LFO 2 The options are as follows R DOM This stands for random sometimes also referred to as Sample Hold At a regular interval govemed by the Speed knob the level of the LFO jurrps to a new randomlevel and stays there until the next jump This creates a rythrric effect particularly 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 rrachinery sound effects 66 TRI Short for Triangle this waveform gives the srroothest continuous change in level to LFO 1 12 the LFO and is therefore probably the most generally useful setting Ven routed 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 Wah Wah effect results SAW This waveform looks like the teeth of a saw fromwhich it gets its name and gives you a falling level whic
57. rarreter is rrerrorised with the program Page 2 Filter Envelope Velocity ENV 2 Ident This display will alternate between VF ident Filter Envelope Velocity Depth and it s value As you can see fromthe Block Diagramon page 17 ENV 2 is the envelope that modulates the filter Use the Data Entry Porttamento Rotary control to adjust the value of this parameter This parameter controls how much velocity controls the Filter Envelope Generator The range is OO to 99 At a value of 00 soft key strokes will produce sounds at the sarre tone as hard key strokes At a value of 99 soft key strokes will modulate the filter by a small amount where hard key strokes will modulate the filter by a large arrount The effect of this parameter depends on the setting of the ENV 2 mod depth pararreters For example ENV 2 can modulate nct only the filter but also Pulse Width Modulation and the pitch of both oscillators individually This parameter is rrerrorised with the program Page 3 Sound Category This display will altemate between CA ident Sound Category and it s value Use the Data Entry Portarrento Rotary control to adjust the value of this parameter This Utilities Category parameter sets which Category a sound is in so that the Finder Mode can find similar sounds marked with the same category There are 16 different categories a sound can be assigned to For the Factory Sounds these are as belo
58. ring standards using this pararreter The range is Ident Manufacturer CV Type Gate Type Range 00 Ronald Arp Sequential Volts Per Octave J4Gate Puse COto C5 01 Yarraha Korg Hertz Per Octave S Trig C 1 to C5 02 Moog Volts Per Octave 4S Trig CO to C5 03 Ronald Arp Sequential Volts Per Octave Gate Puse C1toC4 04 Yamaha Korg Hertz Per Octave S Trig C2w C4 05 Moog Volts Per Octave 4S Trig Cl to C4 Types 03 to 05 are identical to 00 to 02 except they have a range that is one octave lower If you are unsure about which is suitable for your analogue equipment please refer to the manufacturers owners manual for details This pararreter is rrerrorised as Global EN Button 9 Tuning TUNING Uulites Tune Trig This button is used to access the master tune parameter Ident This display will alternate between tn ident Tuning and its value Use the Data Entry Portarrento Rotary control to adjust the value of this parameter The Super Bass Station defaults to A 440Hz so you will not nonrally need to adjust the tuning If you wish to alter the tuning the range is 8 to 08 The 00 setting is A 440Hz This pararreter is rrerrorised as Global Button O Triggering TRIGGERING Related groups of pararreters are in Pages within each button This button is used to access the various Triggering pararreters Pages exist within this button and
59. rory select the Program mode don t worry about which program nurrber comes up Ensure that the Wite switch is in the Protect position and then transmit the sysex durrp from your computer The Edit LED on the display will come on to show that the program available is different to the one displayed i e an edited program Now you can use the Compare procedure to select a suitable location to store the irrported program see the COMPARE section on page 10 All Programs If you want to overwrite all the existing programs move the White switch to the Enable position and transmit the sysex durrp from your computer The hite LED on the display will flash to confinmreception Retum the Write switch to the Protect position NOTE if the hite switch is in the Protect position when the sysex dump is transnitted from your computer the display will flash to indicate that the data cannot be loaded The LFO Low Frequency Oscillator produces regular electronic variations which are too LFO 1 12 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 ubrato pulse width or filter Cut Off two different controls on the hamronic content of the sound aue LFO Select Switch 1 2 LFO SELECT All the controls in this section apply to both LFO 1 and LFO 2 To adjust LFO 1 s p
60. rrode press the Audition Deno button to start a small deno of the currently selected sound There is a different demo for each sound category For nore information on categories refer to page 32 FINDER MODE Perforrring a search for similar sounds Pressing the Audition Derro will not only activate the Deno for the category of the sound currently selected but will also engage Finder Mode As an indication that the Super Bass Station is in Finder Mode both the decimal points in the dis play flash Pressing the and buttons while in Finder Mode will not move up or down to the next program but up or down to the next programin the same category This makes it easy to audition similar sounds without having to remember all the sounds locations i e if a Bass category sound is selected then pushing will advance to the next Bass category sound To reum to nomal operation press the Audition Derro button again See Utilities Sound Category on page 32 for nore information on categories and the separate sheet for more infomation on the Factory sounds DEMO Vhen in the Utility mode press the Audition Deno button to start the Factory Derrorstration This is a montage of all the sound categories individual derro s strung together Once started this demo will run in a loop continuously Pressing this button again will stop the derronstration MODE Button MODE This button is used to select which of the
61. s O to 10 i e no negative values are possible This provides the useful range that is present on a TB303 and allows fine adjustrrents to be made easily TB303 is a registered traderrark of Roland Corp J apean fr LFO2Depth Rotary 5 9 5 LFO 2 DEPTH This knob controls the armmeurt of change to the filter Cut Off set by the Frequency knob by LFO 2 In its central position there is no change to the filter Cut Off frequency Antidockwise of centre there will be an increasing amount of negative nodulation i e the filter will be dosed more and dockwise the nodulation is positive i e the filter will be increasingly opened by LFO 2 NOTE External audio can be processed by the Super Bass Station s filters and effects Refer to page 6 Advanced Applications for rrore details on connection and operation Erwelopes 1and 2 E loves Land2 The envelopes are used to shape the sound over time Envelope 1 is hard wired to anpli tude or volurre 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 VMcdth Filter frequen cy or Pitch changes depending on the settings of the PWM Source switch in the Osc 1 2 section and the Filter Mod switch in the Filter section Of course if neither of these is switched to ENV 2 you wil hear no change when you alter the settings of Envelope 2 Switch one or the oth
62. s and display reads 17 and the Program LED is flashing indicating that you are in B bank 2 INCREMENT DECREMENT Using the and buttons Press the button to move up to the next program Press the button to move down to the next program You will notice that if programA bank 99 is selected and press the button the program will change to B bank OO You can also use MIDI Program Change and Bank Change conmmands froma sequencer or other extemal MIDI device to call up prograrrs 22 NOTE Because the Super Bass Station s program numbers start at O00 the next higher number rrust be used via MIDI program change to call up the correct sound i e O19 on the Super Bass Station MIDI program change 20 MODE 2 MDI Receive Channel This is where you set the MIDI receive channel for the Super Bass Station Use the Mode button to select the MIDI RX Ch mode LED on and then the Data Entry keypad to enter your selection The recognised numbers in this mode are fromm O1 to 16 NOTE the MIDI RX CH LED will flash when MIDI data is received on this channel MODE 3 MIDI Transnit Channel This is where you set the MIDI transmit channel for the Super Bass Station Use the Mode button to select the MIDI TX Ch mode LED on and then the Data Entry keypad to enter your selection The recognised numbers in this mode are fromm O1 to 16 NOTE The MIDI
63. s of the three sound sources selected by the Source switch All the way antidockwise will give you no signal in this position and with all the other Mixer levels tumed down the Super Bass Station s filter can be heard without the oscillators As the knob is tumed dockwise the selected source will be gradually introduced Moving the knob fully dockwise gives full volurre for the selected source NOTE All three sound sources can be used at once 74 This is where the unanted frequencies in the sound are removed The filter on the Gn 32 BassStation is the most popular type a Low Pass Filter which removes the higher hamon ics first and as it is closed down removes the lower harrronics until only the fundamental or nothing is left This is the type supplied on all synthesisers and the most musically useful especially for bass Ma Cut off Switch 12dB 24dB CUT OFF This switch allows you to change how drastically the frequencies above the Cut Off point are rerroved fromthe sound In the 120B 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 subtle than the 240B which you should select if you want the Cut Off to be nore obvious dcm o 910 FREQUENCY This knob controls the basic Cut Off frequency of the filter All the way clockwise the filter is wide open allowing all the
64. s the CV Gate Interfaces pararreters Pages exist within this button and they are selected by pressing button 8 again Refer to the Ident Map on the outside back cover of this manual for more details To change the value of any pararreter use the Data Entry Portamento Rotary con trol Fine increrrents of pararreters values can be set using the and the 4 Buttons Page 1 CV Gate MIDI Channel This display will altemate between CH ident CV Gate MIDI Channel and its value Use the Data Entry Porttamento Rotary control to adjust the value of this pararreter This parameter controls which MIDI channel the MIDI to CV Gate out puts will respond to The range is oF and OL to 16 In the OF position there is no output fromthe CV Gate outputs in the O1 position any MIDI notes received on MIDI Channel 1 will be converted as sent fromthe CV Gate outputs NOTE This must be a monophonic line CV Gate interfaces are not polyphonic This pararreter is rrerrorised as Global Page 2 CV Gate Type Ident This display will alternate between Ct ident CV Gate Type and it s value Use the Data Entry Portarrento Rotary con trol to adjust the value of this pararreter There are several differing standards of CV Gate interfaces Most manufacturers had there own systemand they are incompatible The Super Bass Station s CV Gate outputs can be configured to any of the 3 diffe
65. soon be creating your own sounds Do not worry about erasing the Factory sounds in the memory if you want the factory sounds can be recalled at any time Refer to page 11 for details 182 Mix JA Sub OOo Nose R Cutotf o 9 Reso Q PWM Source A unsure Breath 67 7 AT Tracking voy HK Ml Lo gt AE mm ES n Bye SES VU hisce gcc A A O 0000 oo ENv2 T PWM Oscilator Sync ONON Lro1 Jenva T Pwm External Audio A ENV2 LFO2 Joc ar Breath Chorus Mod Source Depth Pan Mod Source cot AT Breath syne Syo On oft Rh A m aan x Y Y Y Y Eod Pitch IN MIDI Ciock IN MIDI Clock IN CC Breath Clock Gate Gate Gate Pitch MIDI Clock IN AT Pitch aa External Audio Pitch Controlle LFo1 MIDI Trigger Controller Level Senso Ape ENV t Porta PBRange Tune Speed Delay Wavelom Speed Delay Wevelorm TriggerType External Threshold Speed Range allem Latch Keysync Alack Decay Sustain Release Velocity Attack Decay Sustain Release Velocity Audio IN 7 VOLUME This knob adjusts the overall output volume of the Super Bass Station on both the Main L
66. t Witting a into The programrrerrory on the Super Bass Station is divided up as follows You cannot store prograrrs in the ROM area A Bank 000 049 only in the RAM area A Bank O50 099 and B Bank 100 199 If you edit a factory program you can Save it in one of the 150 user program locations To store a new or edited program move the Wiite switch to the Enable position and the Enable LED flashes Now using the Data Entry buttons 0 to 9 only select the program number where you wart to store the program Remember this is a three digit entry O50 to 199 000 to 049 are ROM To store the programin the sarre location simply press the WRITE button If you want to listen to a program before overit ing it use the Compare function Using the Compare Function Vhen you have edited a program move the Wiite switch to the Enable position and the Enable LED flashes Press the COMPARE button once and the Edit LED will flash at a faster rate to indicate Cor pare mode is active You can now listen to the original programbefore deciding whether you want to overwrite it or not Check the programusing an extemal keyboard computer or the Audition button on the front panel Pressing the COMPARE button again will bring back the edited program If you do want to save the programin this location press the WRITE button and the Write LED
67. the Keyboard amp Computer Software Sequencer manufac turers Owners Manuals for details on how to do this 6 To use the Super Bass Station s CV and Gate outputs with older analogue equipment estab li ti lish which type of interface your vintage equipment has There are several differing types of CV and Gate and so you should check in the vintage equipnrents owners manuals for details of what standard your equipment is If this is not available set as shown in the table below This covers rrost types of CV and Gate variations however there are sorretirres slight variation between different models made by the same manufacturer You will have to set the MIDI Channel you want the analogue equipment to respond to and the type of CV Gate should also be specified To do this refer to page 54 CV Gate Channel and page 55 CV Gate Type for details Identfor CV Gate type pararreter Manufacturer CV Type Gate Type Range 00 Ronald Arp Sequential Volts Per Octave Gate Puse COto C5 01 Yamaha Korg Hertz Per Octave S Trig C 1to C5 02 Moog Volts Per Octave 4S Trig COto C5 03 Ronald Arp Sequential Volts Per Octave 4Gate Puse C1toC4 04 Yamaha Korg Hertz Per Octave S Trig C2w CA 05 Moog Volts Per Octave 4S Trig Cl to C4 The Super Bass Station can also have it s Arpeggiator Latch parameter switched on and off va MIDI To do so connect a sustain pedal to the master keyboard
68. the program Page 3 Arpeggio Sync Ident This display will altemate between Ar ident Arpeggio Sync and it s value Use the Data Entry Portarrento Rotary con trol to adjust the value of this pararreter This pararreter controls if the Anpeggiator runs on it s intemal dock or synchronis es to LFO 1 or incoming MIDI Clock The range is OF Off The Arpeogiator is running on Intemal Clock 7 Quarter Tine x 0 25 of LFOL 6 Dotted x 0 33333 recuning of LFOL 5 Tripe x 0 375 of LFOL 4 Half Tine x O5 of LFOL os Dotted x 0 66666 recuning of LFO1 2 Triplet x0 75 of LFOL 1 TheSareasLFO 1 2 Dotted x 133333 recuning of LFO1 3 Triplet x15 of LFOL 4 Double Tine x2 of LFOL 5 Dotted x 266666 recuning of LFO1 Dela FOOT U liies MIDI Cloc M x x BNGRNNRARGERRAA M x aS 99 Triplet x 3 of LFOI1 Quad Tine x 4 of LFOI1 32nd note triplet MIDI Clock Sync 32nd note MIDI Clock Sync 16th note triplet MIDI Clock Sync 16th note MIDI Clock Sync 8th note triplet MIDI Clock Sync 16th note dotted MIDI Clock Sync 8th note MIDI Clock Sync 4th note triplet MIDI Clock Sync 8th note dotted MIDI Clock Sync 4th note MIDI Clock Sync 2nd note triplet MIDI Clock Sync 4th note dotted MIDI Clock Sync 2nd note MIDI Clock Sync 2nd
69. they are selected by pressing button O again Refer to the Ident Map on the outside back cover of this manual for nore details To change the value of any pararreter use the Data Entry Portarrento Rotary con trol Fine increments of pararreters values can be set using the and the Buttons Page 1 ENV Triggering Ident This display will alternate between tr ident Triggering and its value Use the Data Entry Portarrento Rotary control to adjust the value of this pararreter This parameter controls how the envelopes trigger The range is 1 Muti Every new note will trigger both the envelopes even ones that are legato SG Singe Notes must have a gap in between themfor the Filter envelope ENV2 to retrigger Legato Overlapping notes will not retrigger the Filter envelope but will retrigger the Anp envelope ENV1 AG Autodlide A special arrangerrent where notes must have a gap in between themfor both the envelopes to retrigger In this case even though Portamento may be prograntred in it will have no effect Legato Overlapping notes will not retrigger both the envelopes but will engage the Portamento effect This makes it easy to programin TB303 type glides in a sequencer by simply overlapping the notes at the place you want the gide Pl Preglcde 1 Envelopes are retriggered as in the Lt setting and when they do retrigger a glide fromtwo Uu lities Triggering s
70. tion contains the Attack Decay Sustain and Release controls for Envelopes 1 ard 2 alt 2 3 SUPER BASS STATION 1 Clock Out This connector is used to control the Tenpo of vintage ana logue equiprrent that utilises analogue trigger pulses MIDI Clock LFO s or the Arpeggiator can be selected as the rras ter 2 CV Gate Outputs These two connectors are used to interface vintage analogue equiprrent that utilise Control Voltage for pitch control and Gate Pulses for envelope control MIDI note messages are converted to CV Gate and output fromthese connectors 3 Mer Extemal Audio Input This connector allows extemal signals to be processed by the Super Bass Stations filters and envelopes External signals can also be used as triggers for the envelopes 4 5 6 c 4 Mester Outputs These connections deliver a stereo line level output signal for connection to a mixing desk or arrplifier 5 MIDI Connections IN This connector is used to receive MIDI Data froman extemal device OUT This connector is used to Transmit MIDI Data to an extemal device THRU This connector re tansmits MIDI Data received by the MIDI IN socket to an extemal device 6 9V DC Input Connect the output plug of the AC Adaptor supplied PSU 4 with the Super Bass Station to this socket CV GATE MASTER OUTPUT Novation PSU4 Power Supply If you wish to use the Super Bass Station in MONO simply use the left channel output only
71. 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 mejor 3rd 8 minor amp h and 9 major 6th following dosely behind Other fixed intervals are only for the rrore experimental Envelope Rotary e e 5 9 5 ENV 2 DEPTH This knob controls the arrourt of pitch nodulation to the currently selected oscillator fromenvelope 2 In the centre position there is no effect on the oscillators pitch anticlockwise the effect is negative i e the pitch drops and then rises and clock wise positive the pitch rises and then falls The further you set the knob fromthe central position the further the pitch rises and falls See the Envelope Section later for the exact programming of the rise and fall times Osdadllator 1 and 2 Section x O LFO Rotary LFO 1 DEPTH This knob controls the arrourt of pitch nodulation to the oscillator i e how much above and below the set pitch the oscilla tor regularly rises and falls If the LFO is set to Triangle weve and it s speed is above the centre of its range then this wil norrrally produce a vibrato effect but other effects like a siren or seagull cries are possible wth nore extrerre settings See the LFO section on page 12 for rrore details on adjusting the LFO pararreters to create these effects Pulse Width Rotary 5 e PULSE WIDTH This k
72. tton This buttons parameters Uu li ies Arpeggo are used to control the Arpeggiator Pages exist within this button and they are selected by pressing button 5 again Refer to the Ident Map on the outside back cover of this manual for more details To change the value of any pararreter use the Data Entry Portamento Rotary con trol Fine increrrents of pararreters values can be set using the 2 and the 4 Buttons Page 1 Arpeggiator Rate This display will alternate between Ar ident Arpeggiator Rate and it s value Use the Data Entry Portarrento Rotary control to adjust the value of this parameter This parameter controls the rate at which the Arpeggiator sweeps though it s pattems The range is OF Off Arpeggio does not function Or to 99 Rate at which the Arpeggio sweeps 01 Slow 99 Fast NOTE If the Anpeggiator is synced to MIDI Clock then this function is disabled and does not appear when the Arpeggio but ton is pressed This pararreter is rrerrorised with the program 37 Page 2 Arpeggiator Octave Range Ident This display will altemate between Or ident Arpeggiator Octave Range and it s value Use the Data Entry Portarrento Rotary control to adjust the value of this pararreter This parameter controls the number of octaves the Arnpeggiator will sweep through The range is O1 one octave to 04 four octaves This pararreter is rrerroris
73. tware sequencers default to NOT transnitting MIDI Clock If the LFO is stuck not functioning and you have it in MIDI Clock sync the sequencer is not sending MIDI Clock There is no other rea son NOTE The LFO s will take approxirraetely 1 to 2 beats to lock in to the MIDI clock so always allow for this in your sequence i e insert a blank count in period at the beginning of a track This pararreter is rrerrorised with the program Page 2 LFO 2 Sync This display will alternate between 1 2 ident LFO 2 Sync to LFO 1 and its value 46 Use the Data Entry Portanrento Rotary control to adjust the value of this parameter This pararreter controls if LFO 2 runs on it s intemal dock or synchronises to LEO 1 The range is Off LFO 2 is running on Internal Clock Quarter Tine x 0 25 of LFOL Dotted x 0 33333 recurring of LFO1 Triplet x 0 375 of LFO1 Half Time x O5 of LFOL Dotted x 0 66666 recuning of LFO1 Triplet x 0 75 of LFO1 The Sane as LFO 1 Dotted x 1 33333 recuning of LFO1 Triplet x 1 5 of LFO1 Double Tirre x 2 of LFOL Dotted x 2 66666 recuning of LFO1 Triplet x 3 of LFOL Quad Tirre x 4 of LFOL 32nd note triplet MIDI Clock Sync 32nd note MIDI Clock Sync 16th note triplet MIDI Clock Sync 16th note MIDI Clock Sync 8th note triplet MIDI Clock Sync 16th note dotted MIDI Clock Sync 8th note MIDI Clock Sync Utilities MDI Clock Del
74. urrent program A Volurre MIDI Message of zero has been received Filter Cut Off knob or Sustain and Decay knob s set to zero The units Triggering pararreter set to EA External Audio A lot of software sequencers default to NOT transmitting MIDI Clock If the LFO Arp is stuck not functioning and you have it in MIDI Clock sync the sequencer is not sending MIDI Clock There is no other reason Use the MIDI Clock detector to see if it is present Sone sequencers software feature a filter for filtering out unwanted data Controllers is usually an option This data must not be filtered out by the program Consult the sequencer software s owners manual for details Bank changes are different from program changes and are actually three messages For this reason some sequencers software have a Bank Box or similar in an attempt to simplify things However sometimes on early Hacked versions of software this function does not work If this is the case or your sequencer does not have a Bank Box or similar you will have to enter in the data manually in a List Edit or similar function within the sequencer You will have to enter two controllers with specific values and then a programchange message all with the right values and in the right order and on the right channels If the message you send does not change the bank on the Super Bass Station then you are not sending the right messages and values Consult you
75. used to access the Stereo Chorus and Distortion pararreters Pages exist within this button and they are selected by pressing button 4 again Refer to the Ident Map on the outside back cover of this manual for nore details To change the value of any pararreter use the Data Entry Portarrento Rotary con trol Fine increments of pararreters values can be set using the and the Buttons Page 1 Chorus Preset LFO s and LFO select This display will altemate between CP ident Chorus Preset LFO s and LFO select and it s value Use the Data Entry Portarrento Rotary control to adjust the value of this pararreter This pararreter selects which of the LFO s or preset Chorus LFO s controls the speed and waveformof the chorus effect The range is Q E Off or bypassed No Chorus effect Preset 1 Errulation of J uno 6 Chorus type 1 Preset 2 Emulation of J uno 6 Chorus type 2 Preset 3 Preset 4 Preset 5 LFO 1 controls the speed and weveformof the Chorus effect LFO 2 controls the speed and weveformof the Chorus effect J uno Gis a traderrark of Roland Corp J apan Having LFO 1 and 2 in this list allows the chorus to not only have unusual wavefonrs such as randomas the chorus nodu lation but also allows it to be in time with the BPM as the LFO s are capable of syncing to MIDI Clock This pararreter is rrerrorised with the program M TEELE II R Page 2 Chons Mod Depth
76. w but of course you can change this at any tine to an arrangerrent that suits you Refer page 9 for details on howto use the Finder mode 01 Bass All the Bass sounds that are in the Factory sounds are saved with this setting 02 Hard Bass All the Harder Bass sounds that are in the Factory sounds are saved with this setting 03 Arpeggio AI the Arpeggio Percussive sounds that are in the Factory sounds are saved with this setting 04 Soft Lead All the Soft Warm Lead sounds that are in the Factory sounds are saved with this setting 05 Hard Lead All the Harder Edged Lead sounds that are in the Factory sounds are saved with this setting 06 Porta Lead All the lead sounds using Portamento that are in the Factory sounds are saved with this setting 07 Bell All the Bell sounds that are in the Factory sounds are saved with this setting 08 Keyboard AI the Keyboard Type sounds i e Clav Organ etc sounds in the Factory sounds are saved with this setting 09 Sound Effects All the Sound Effect sounds that are in the Factory sounds are saved with this setting 10 Spare user Category 11 Spare user Category 12 Spare user Category 13 Spare user Category 14 Spare user Category 15 Spare user Category 16 Spare user Category Button 4 Chorus Dist Related groups of pararreters are in Pages within each button This button is
77. where you SAVE the Super Bass Station s prograrrs onto a computer or other data storage device using MIDI sysex durrps There are four types of SAVE as follows Display Ident Function ss Save a single program AS Save all prograrrs Sr Save a single programin BassSation Rack Forrrat Sb Save a single programin BassSation Kyod Fonrat SR and SB modes should only be used when transferring data fromthe Super Bass Station to a BassStation Rack or BassStation keyboard 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 Ss NOTE The program Saved will be the program currently selected in the Program mode If you were editing a program the modified version will be saved Press the SAVE 4 button to transmit the single program To save all the programs in the Super Bass Station press the SAVE TYPE button once the display changes to To save a single the programin the BassStation Rack forrrat press the SAVE TYPE button once again the display changes to Sp NOTE Alot of features on the Super Bass Station are not on the BassStation Rack and Deta Ent T therefore will not be used For exarrple if the program you wish to transfer to the BassStation Rack uses new features any of the pararreters that are not present on the Load Sysex BassStation Rack will be d
78. y such as in Acid basslines and other very up front sounds Keep the reso nance to a rrinirrumif you want more subte less striking sounds NOTE In the 12db mode this knob has the sane range as a TB303 ard so will not self oscillate when tumed fully clockwise O K YBD Track Rotary 0 940 K YBD TRACK This knob controls the arrounrt of change to the filter Cut Off set by the Frequency knob by the pitch of the note played In its O position there is no change to the filter Cut Off frequency Clockwise of centre there will be an increasing amount of modulation i e the filter will be opened more as higher notes are played on the keyboard This control is used to set how the timbre of a sound changes over the keyboard At the 10 position the filter tracks the pitch changes in a 1 to 1 ratio NOTE To emulate a TB303 this knob should be set to 0 in 12db mode TB303 is a registered traderrark of Roland Corp J apan 76 my mmm Em D O ENV 2 DEPTH This knob controls the amount of change to the filter Cut Off set by the Frequency knob by ENV 2 In its central posi tion there is no change to the filter Cut Off frequency Anticdlockwise of centre there will be an increasing amount of negative modulation i e the filter will be dosed nore and clockwise the nodulation is positive i e the filter wil be increasingly opened by ENV 2 NOTE In the 12db mode this knob has the same range as a TB303 and so the range i
79. y its Waveform Each oscillator has this switch allowing you to switch between two different waveformtypes which have their individual set of harmonics The two waveforrrs are NA Sawtooth or Ramp So called because a series of Sawtooth oscillations resembles the teeth on a saw The Sawtooth waveform contains every harrronic in the hanmonic series in decreasing volume Sawtooth waveforms make a very rich sound ese Pulse Including Square Oscillai 1 12 This waveformswtches between meximumand rrinimunmwvalues giving the blocky look to the waveform The hammonic content of the pulse waveformis dependent on the relative width of the mexmumand mini mumvalues If these are equal then the waveformis referred to as a square wave and has a very similar harmonic content to a Clarinet i e all the odd nurrbered harrronics in decreasing volume which gives a hollow quality to the sound The width of the pulse weve is controlled by the Pulse Width knob and modulations in narrower fully dockwise the funda mental the basic pitch of the oscillator becomes very quiet and is increasingly overpowered by the higher hammonics pro ducing a very thin sound MN oc Select Switch 1 2 OSC SELECT Sone of the controls in this section apply to both Oscillator 1 and Oscillator 2 Refer to the block diagramon page 17 To adjust Oscillator 1 s parameters select the T position To adjust Oscillator 2 s parameters select the 2 position MM Os

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