11 Novation ENVIRONMENTAL A division of Focusrite Audio Engineering Ltd. Windsor House, DECLARATION Turnpike Road, Cressex Business Park, High Wycombe, Bucks, Compliance Information Statement: Declaration of Compliance procedure HP12 3FX. Product Identification: Novation Bass Station II keyboard United Kingdom Responsible party: American Music and Sound Address: 4325 Executive Drive, Tel: +44 1494 462246 Suite 300 Fax: +44 1494 459920 Southaven, MS 38672 e-mail: [email protected] Telephone: 800-431-2609 Web: http://www.novationmusic.com Trademarks This device complies with part 15 of the FCC Rules. Operation is subject to the following The Novation trademark is owned by Focusrite Audio Engineering Ltd. All other brand, two conditions: (1) This device may not cause harmful interference, and (2) this device product and company names and any other registered names or trade marks mentioned in must accept any interference received, including interference that may cause undesired this manual belong to their respective owners. operation. Disclaimer Novation has taken all possible steps to ensure that the information given here is both For USA correct and complete. In no event can Novation accept any liability or responsibility for any loss or damage to the owner of the equipment, any third party, or any equipment To the User: which may result from use of this manual or the equipment which it describes. The 1. D o not modify this unit! This product, when installed as indicated in the instructions information provided in this document may be modified at any time without prior warning. contained in this manual, meets FCC requirements. Modifications not expressly Specifications and appearance may differ from those listed and illustrated. approved by Novation may void your authority, granted by the FCC, to use this product. 2. I mportant: This product satisfies FCC regulations when high quality shielded USB cables with integral ferrite are used to connect with other equipment. Failure to use high IMPORTANT SAFETY quality shielded USB cables with integral ferrite or to follow the installation instructions within this manual may cause magnetic interference with appliances such as radios and INSTRUCTIONS televisions and void your FCC authorization to use this product in the USA. 3. Note: This equipment has been tested and found to comply with the limits for a Class 1. Read these instructions. B digital device, pursuant to part 15 of the FCC Rules. These limits are designed to 2. Keep these instructions. provide reasonable protection against harmful interference in a residential installation. 3. Heed all warnings. This equipment generates, uses and can radiate radio frequency energy and, if not 4. Follow all instructions. installed and used in accordance with the instructions, may cause harmful interference 5. Do not use this apparatus with water. to radio communications. However, there is no guarantee that interference will not occur 6. Clean only with dry cloth. in a particular installation. If this equipment does cause harmful interference to radio 7. Do not install near any heat sources such as radiators, heat registers, stoves, or other or television reception, which can be determined by turning the equipment off and on, apparatus (including amplifiers) that produce heat. the user is encouraged to try to correct the interference by one or more of the following 8. Do not defeat the safety purpose of the polarized or grounding-type plug. A polarized measures: plug has two blades with one wider than the other. A grounding type plug has two blades • Reorient or relocate the receiving antenna. and a third grounding prong. The wide blade or the third prong are provided for your safety. • Increase the separation between the equipment and receiver. If the provided plug does not fit into your outlet, consult an electrician for replacement of • Connect the equipment into an outlet on a circuit different from that to which the the obsolete outlet. receiver 9. Protect the power cord from being walked on or pinched particularly at plugs, is connected. convenience receptacles, and the point where they exit from the apparatus. • Consult the dealer or an experienced radio/TV technician for help. 10. Only use attachments/accessories specified by the manufacturer. 11. Use only with the cart, stand, tripod, bracket, or table specified by the For Canada manufacturer, or sold with the apparatus. When a cart is used, use caution when moving the cart/apparatus combination to avoid injury To the User: from tip-over. This Class B digital apparatus complies with Canadian ICES-003. 12. Unplug this apparatus during lightning storms or when unused for long periods of time. Cet appareil numérique de la classe B est conforme à la norme NMB-003 du Canada. 13. Refer all servicing to qualified service personnel. Servicing is required when the apparatus has been damaged in any way, such as power-supply cord or plug is damaged, RoHS Notice liquid has been spilled or objects have fallen into the apparatus, the apparatus has been Novation has conformed and product conforms, where applicable, to the European exposed to rain or moisture, does not operate normally, or has been dropped. Union’s Directive 2002/95/EC on Restrictions of Hazardous Substances (RoHS) as 14. No naked flames, such as lighted candles, should be placed on the apparatus. well as the following sections of California law which refer to RoHS, namely sections 25214.10, 25214.10.2, and 58012, Health and Safety Code; Section 42475.2, Public WARNING: Excessive sound pressure levels from earphones and headphones can cause Resources Code. hearing loss. WARNING: This equipment must only be connected to USB 1.1 or 2.0 type ports. CAUTION: CAUTION: TO REDUCE THE RISK OF The normal operation of this product may be affected by a strong electrostatic discharge ELECTRIC SHOCK, DO NOT REMOVE (ESD). In the event of this happening, simply reset the unit by removing and then COVER (OR BACK). NO USER-SERVICABLE replugging the USB cable. Normal operation should return. PARTS INSIDE. REFER SERVICING TO QUALIFIED SERVICE PERSONNEL. COPYRIGHT AND LEGAL The lightning flash with arrowhead symbol within an equilateral triangle is intended to alert the user to the presence of uninsulated “dangerous voltage” NOTICES within the product’s enclosure that may be of sufficient magnitude to constitute the risk of electric shock to persons. Novation is a registered trade mark of Focusrite Audio Engineering Limited. The exclamation point within an equilateral triangle is intended to alert the user Bass Station II is a trade mark of Focusrite Audio Engineering Limited. to the presence of important operating and maintenance (servicing) instructions in the literature accompanying the appliance. 2013 © Focusrite Audio Engineering Limited. All rights reserved. WARNING: TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK, DO NOT EXPOSE THIS APPARATUS TO RAIN OR MOISTURE. 2 CONTENTS IMPORTANT SAFETY SIMPLIFIED BASS STATION II BLOCK DIAGRAM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .12 INSTRUCTIONS..............................................................2 BASS STATION II IN DETAIL ..................................................12 ENVIRONMENTAL The Oscillator Section....................................................12 DECLARATION...............................................................2 Waveform........................................................12 For USA .................................................................2 Pitch ............................................................12 For Canada ..............................................................2 Modulation.......................................................12 Pulse Width......................................................13 COPYRIGHT AND LEGAL NOTICES............................................2 Oscillator Sync ...................................................13 The Sub Oscillator ................................................13 INTRODUCTION..............................................................4 The Mixer Section........................................................13 Key Features .............................................................4 The Filter Section ........................................................13 About This Manual ........................................................4 Filter type........................................................13 What’s In The Box.........................................................4 Frequency ....................................................... 14 Registering your Bass Station II.............................................4 Resonance....................................................... 14 Power Requirements ......................................................4 Filter modulation.................................................. 14 Hardware Overview .......................................................5 Overdrive........................................................ 14 The Envelopes Section ...................................................14 GETTING STARTED...........................................................7 Portamento .............................................................15 Loading Patches..........................................................7 The Effects Section ......................................................15 Saving Patches...........................................................7 The LFO Section.........................................................15 Basic Operation – sound modification .......................................7 LFO 1:...........................................................15 The LED display ....................................................7 LFO 2: ..........................................................15 The Filter knob......................................................7 LFO Waveforms ..................................................16 Pitch and Mod wheels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7 LFO Speed ......................................................16 Octave Shift........................................................7 LFO Delay .......................................................16 Transpose .........................................................8 LFO Speed/Sync.................................................16 On-Key functions ...................................................8 LFO Keysync.....................................................16 Local control .......................................................8 LFO Slew........................................................16 The Arpeggiator Section..................................................16 SYNTHESIS TUTORIAL........................................................8 Arp Swing ....................................................... 17 Pitch ..............................................................8 The Sequencer ..........................................................17 Tone ..............................................................8 Record .......................................................... 17 Volume ............................................................8 Play............................................................. 17 The Oscillators And Mixer............................................9 SEQ Retrig ...................................................... 17 Sine Waves ........................................................9 On-key Functions ........................................................17 Triangle Waves .....................................................9 Sawtooth Waves....................................................9 APPENDIX ..................................................................19 Square / Pulse Waves...............................................9 Importing Patches via SysEx...............................................19 Noise .............................................................9 Sync values table ........................................................19 Ring Modulation ....................................................9 Init Patch – parameter table ...............................................20 The Filter ........................................................10 Synth settings saved on power-off..........................................20 Envelopes And Amplifier...........................................10 Synth settings not saved on power-off ......................................20 Attack Time .......................................................11 MIDI parameters list......................................................21 Decay Time .......................................................11 MIDI implementation table.................................................21 Sustain Level......................................................11 Release Time......................................................11 LFOs.............................................................11 Summary .........................................................11 3 INTRODUCTION What’s In The Box Your Bass Station II has been carefully packed in the factory and the packaging was designed to withstand rough handling. Should the unit appear to have been damaged in Thank you for purchasing this Bass Station II digitally-controlled analogue synthesizer. transit, do not discard any of the packing material and notify your music dealer. Based on the classic 1990s Novation Bass Station synth, it combines traditional analogue waveform generation and processing with the power and fl exibility of digital control, plus a If practical, save all the packing materials in case you ever need to ship the unit again. set of effects and presets for the 21st century. Please check the list below against the contents of the packaging. If any items are missing NOTE: Bass Station II is capable of generating audio with a large dynamic range, the or damaged, contact the Novation dealer or distributor where you purchased the unit. extremes of which can cause damage to loudspeakers or other components, and also to your hearing! • Bass Station II synthesizer • DC power supply unit (PSU) Key Features • USB cable • Classic analogue waveform generation • Registration card, also providing on-line access to: • Two multi-waveform oscillators plus separate sub oscillator • Loopmasters Sample Content • Analogue signal path – fi lters, envelopes, modulation • Ableton Live Lite • Traditional “single function” style rotary controls • This manual • LP/BP/HP fi lters with variable slope • Separate dual LFO section Registering your Bass Station II • Ring Modulator (inputs: Oscs 1 and 2) It is important to register your Bass Station II on-line, using the Warranty Registration Card • Versatile 32-step arpeggiator with wide range of patterns provided. Apart from validating your manufacturer’s warranty, you will also then be able to • 32-step sequencer with four memories download the additional software that you are entitled to as a Bass Station II purchaser. • Portamento with dedicated time control Follow the instructions on the Registration Card. • Pre-loaded with 64 brand new Killer Patches • Memory for 64 additional User Patches Power Requirements • Pitch and Mod wheels Bass Station II is shipped with a 9 V DC, 500 mA power supply. The centre pin of the • 25-note velocity-sensitive keyboard with aftertouch coaxial connector is the positive (+ve) side of the supply. Bass Station II can either be • -5/+4 octave keyboard shift powered by this AC-to-DC mains adaptor, or by a USB connection to a computer. To • Key transpose function obtain the best possible audio performance from Bass Station II we recommend using the • On-Key functions – use the keyboard to adjust non-performance sound parameters supplied adaptor. • MIDI input and output • LED display for patch selection, parameter adjustment, octave settings, etc. There are two versions of the PSU, your Bass Station II will be supplied with the one • External DC input (for supplied AC PSU) appropriate to your country. In some countries the PSU comes with detachable adaptors; • Class-compliant USB port (no drivers required), for alternative DC power, patch use the one that fi ts your country’s AC outlets. When powering Bass Station II with the dump and MIDI mains PSU, please ensure that your local AC supply is within the range of voltages required • External audio input to mixer section by the adaptor – i.e., 100 to 240 VAC - BEFORE you plug it into the mains. • Headphone output • Sustain pedal socket We strongly recommend that you only use the supplied PSU. Using alternative PSUs will • Kensington Security Slot invalidate your warranty. Power supplies for your Novation product can be purchased from your music dealer if you have lost yours. About This Manual We’ve tried to make this manual as helpful as possible for all types of user, and this If the synth is powered via the USB port, note that it will “go to sleep” if the host computer inevitably means that more experienced users will want to skip over certain parts of it, while goes into power save mode. The synth can be “woken-up” again by pressing any key; relative novices will want to avoid certain parts of it until they’re confi dent they’ve mastered however, this does not alter the power status of the computer. the basics. However, there are a few general points that are useful to know about before you continue reading this manual. We’ve adopted some graphical conventions within the text, which we A word about laptops: hope all types of user will fi nd helpful in navigating through the information to fi nd what they If powering your Bass Station II via the USB connection you should be aware need to know quickly: that although the USB specifi cation agreed by the IT industry states that a USB port should be able to supply 0.5 A at 5 V, some computers - particularly laptops – are unable to supply this current. Unreliable operation of the synth Abbreviations, conventions, etc. will result in such a case. When powering Bass Station II from a laptop’s USB Where top panel controls or rear panel connectors are referred to, we’ve used a number port, it is strongly recommended that the laptop is powered from AC mains thus: 1 to cross-reference to the top panel diagram, and thus: 11 to cross-reference to rather than its internal battery. the rear panel diagram. (See page 5 and page 6). We’ve used BOLD TEXT (or Bold Text) to name top panel controls or rear panel connectors; we’ve made a point of using exactly the same names as appear on the Bass Station II. We’ve used SEVEN-SEGMENT DIGITS to denote numbers that appear on the top panel LED display. Tips These do what it says on the tin: we include bits of advice, relevant to the topic being discussed that should simplify setting up Impulse to do what you want. It’s not mandatory that you follow them, but generally they should make life easier. These are additions to the text that will be of interest to the more advanced user and can generally be avoided by the novice. They are intended to provide a clarifi cation or explanation of a particular area of operation. 4 Hardware Overview 21 29 31 9 8 47 12 13 18 20 11 26 27 32 35 37 10 6 7 15 14 16 17 19 22 28 30 34 36 33 45 44 49 43 46 48 41 42 4 5 3 24 25 23 25 24 38 39 40 2 1 1 25-note (two octaves) velocity-sensitive keyboard with aftertouch. 19 Pulse Width – a multi-functional control adjusting the pulse waveform; only active 2 Pitch and Mod wheels: The Pitch wheel is mechanically biased to return to the centre when Waveform 13 is set to Pulse. When the pulse width source modulation switch 18 position when released. The wheels are internally illuminated. is set to Manual, the control adjusts the pulse width directly; when set to Mod Env or LFO 3 Octave shift keys – transpose the keyboard in octave increments. 2, it acts as a Modulation Depth control. Note that the pulse width may be modulated by all 4 Transpose - lets you transpose the keyboard in semitone increments, up to a maximum three sources simultaneously, by differing amounts. of +/- 12 semitones. 20 Sync 1-2 – this LED illuminates when the Osc 1/Osc 2 Sync function is enabled (an 5 Function/Exit – hold this down to use any of Bass Station II’s On-Key Functions. A On-Key Function) wide range of “system set-up” parameters can be set in this mode. 21 Octave – sets the range of the sub-octave oscillator; the actual pitch of this oscillator is determined by OSC 1’s pitch, and adds additional bass frequencies (LF) to the sound. -1 Master section: adds LF one octave below OSC 1, -2 adds LF two octaves below. 6 LED display – a three-character alphanumeric display showing various items of unit 22 Sub Osc Wave – a choice of three waveforms is available for the sub-octave oscillator: data – e.g., patch number, octave shift and parameter values – depending on which sine, narrow pulse or square. other controls are in use. 7 Org. Value – one of these two LEDs will illuminate when the value of a parameter no LFO section: longer matches the value stored for the patch. 23 LFO Delay/Speed – the two rotary controls in the LFO section are dual-function, the function being set by this switch. In Speed mode, the rotary controls adjust the 8 Patch/Value – allows selection of one of the 64 Factory or 64 User Patches, and are frequencies of the two LFOs. In Delay mode, they set the “fade-in” time for the LFO. also used to set parameter values for On-Key functions. Speed mode can be changed to Sync mode by using one of the On-key functions. See “ 9 Save – use in conjunction with Patch keys 8 to save modifi ed Patches in User Mod Wh: Filter Freq (bottom C)” on page 17 for further information. Memories. 24 LFO waveform – these buttons step through the available waveforms for each LFO 10 Volume – sets the Bass Station II’s audio volume. independently: triangle, sawtooth, square, sample and hold. The associated LEDs give a visual indication of the LFO speed and waveform. Oscillator section: 25 LFO rotary controls – these two controls either adjust LFO speed or delay, as set by 11 Osc Select switch – assigns the controls in the Oscillator section to Oscillator 1 or the LFO Delay/Speed switch [23]. Oscillator 2. 12 Range – steps through the base pitch ranges of the selected oscillator. For standard Mixer section: concert pitch (A3 = 440 Hz), set to 8’. 26 OSC 1 – adjusts the proportion of Oscillator 1’s signal making up the sound. 13 Waveform – steps through the range of available oscillator waveforms – sine, 27 OSC 2 – adjusts the proportion of Oscillator 2’s signal making up the sound. triangular, sawtooth and pulse. 28 Sub – adjusts the proportion of the sub-octave oscillator making up the sound. Additional inputs - up to three further sources may contribute to the synth output; this 14 Coarse – adjusts the pitch of the selected oscillator over a range of ±1 octave. control sets their levels. The control’s function is set by switch 30 . 15 Fine – adjusts the oscillator pitch over a range of ±100 cents (±1 semitone). 29 Noise/Ring/Ext – determines the function of rotary control 29. When set to Noise, 16 Mod Env depth – controls the degree by which the oscillator pitch changes as a the rotary control sets the amount of white noise added to the sound; when set to Ring, it result of modulation by Envelope 2; the control is ‘centre-off’, so that either pitch increases sets the amount of the output from the Ring Modulator circuit is added (the inputs to the or decreases can be obtained. RRiinngg MMoodduullaattoorr aarree OOsscc 11 aanndd OOsscc 22));; iinn tthhee Ext position, an external signal connected to 17 LFO 1 depth – controls the degree by which the oscillator pitch changes as a result of the rear panel connector 66 can be mixed in. modulation by LFO 1. 18 Pulse width modulation source – active only when Waveform 13 is set to Pulse; this switch selects the method of varying the width of the pulse waveform. The options are: modulation by Envelope 2 (Mod Env), modulation by LFO 2 (LFO 2) or manual control by the Pulse Width control 19 . 5 Filter section: Arpeggiator section: 30 Type – two-position switch selecting fi lter type: Classic confi gures a variable fi lter, 41 On/Legato – turns the arpeggiator on and off. Also allows notes in a recorded arp whose basic characteristics may be set with the Shape and Slope switches 32 and 33; sequence to be tied, or played in a Legato style. Acid confi gures a 4-pole diode ladder lo-pass fi lter, which emulates a type of fi lter found on 42 Latch/Rest – sets the arpeggiator to play the current pattern continuously. Also early ‘80s analogue synths. allows a musical rest to be inserted in an arp sequence. When the arpeggiator is off, the 31 Shape – three-position switch; with Type set to Classic, sets the fi lter characteristic Latch/Rest button enables a Key Hold function, which simulates the effect of holding a key to be lo-pass (LP), band-pass (BP) or hi-pass (HP). down continuously, until another key is pressed. 32 Slope – two-position switch; with Type set to Classic, sets the slope of fi lter beyond 43 Tempo – sets the arp pattern tempo in the range 40 to 240 BPM. the passband to either 12dB or 24dB per octave. 44 Rhythm – selects one of 32 pre-defi ned arp rhythmic patterns. The LED display 33 Frequency – large rotary knob controlling the fi lter’s cut-off frequency (LP or HP), or indicates the pattern number. its centre frequency (BP). 45 Arp Mode – the arp can play the notes making up the selected pattern in a variety of 34 Resonance – adds resonance (an increased response at the fi lter frequency) to the sequences; Arp Mode sets the sequence, and can also put the arp into Record and Play fi lter characteristic. modes for patterns based on the notes actually played rather than on the pre-defi ned sequences. 35 Overdrive – adds a degree of pre-fi lter distortion to the mixer output. 46 Arp Octaves/SEQ – 4-position rotary switch setting the number of octaves over 36 Mod Env depth – controls the degree by which the fi lter frequency is modifi ed by the which the arp pattern plays. This control also selects one of four global sequences when Mod Envelope. Arp Mode is set to Play or Record. 37 LFO 2 depth – controls the degree by which the fi lter frequency is modifi ed by LFO 2. Portamento section: Envelopes Section: 47 Glide Time – sets the portamento glide time; with the control fully anticlockwise, 38 Env Select – assigns the Envelope faders [40] to vary the parameters of the portamento is ‘off’. Amplitude Envelope (Amp Env), Modulation Envelope (Mod Env), or both simultaneously (Amp+Mod Env). Effects section: 39 Envelope controls – a set of four faders adjusting the standard ADSR Envelope 48 Distortion – controls the amount of post-fi lter distortion added to the synth output. parameters (Attack, Decay, Sustain and Release). 49 Osc Filter Mod - allows the fi lter frequency to be modulated directly by Oscillator 2. 40 Triggering – three-position switch controlling how envelopes work with legato and portamento playing styles. 8 7 6 5 4 3 2 1 9 66 EXT IN – ¼” jack socket for external microphone, instrument or line level audio inputs. 11 POWER IN – connect the supplied PSU here when powering Bass Station II from AC Input is unbalanced. An audio source connected here may be mixed with the synth mains. sound. 22 Power switch – three-position switch: centre is OFF, set to ext DC if using the 77 LINE OUTPUT (MONO) – ¼” jack socket carrying the Bass Station II’s output signal; supplied AC mains PSU, set to USB if powering Bass Station II from a computer via a connect your recording system, amplifi er and speakers, audio mixer, etc. Output is USB cable. unbalanced. 33 USB – standard USB 1.1 port (2.0-compatible). Connect to a Type A USB port on a 88 HEADPHONES – 3-pole ¼” jack socket for stereo headphones (though synth output computer using the supplied cable. is mono). Phones volume is adjusted by the VOLUME control [10]. 44 MIDI IN and OUT – standard 5-pin DIN MIDI sockets for connecting Bass Station II to 99 Kensington Security Slot – to secure your synth. other MIDI-equipped hardware. 55 SUSTAIN – 2-pole (mono) ¼” jack socket for connection of a sustain pedal. Both N/O (Normally Open) and N/C (Normally Closed) pedal types are compatible; if the pedal is connected when the Bass Station II is powered on, the type will be automatically sensed during boot-up (provided your foot is not on the pedal!). 6 GETTING STARTED Bass Station II may be used as a standalone synthesizer, or with MIDI connections to/ Note that when you change Patch, you lose the current synth settings. If from other sound modules or keyboards. It may also be connected - via its USB port – to a the current settings were a modifi ed version of a stored Patch, these computer (Windows or Mac). The USB connection can supply power to the synth, transfer modifi cations will be lost. Thus it is always advisable to save your MIDI data to/from a MIDI sequencer application and allow Patches to be saved to memory. settings before loading a new patch. See Saving Patches below. TThhee ssiimmpplleesstt aanndd qquuiicckkeesstt wwaayy ooff ggeettttiinngg ssttaarrtteedd wwiitthh BBaassss SSttaattiioonn IIII iiss ttoo ccoonnnneecctt tthhee rear panel jack socket marked LINE Output 77 to the input of a power amplifi er, audio mixer, powered speaker, third-party computer sound card or other means of monitoring the Saving Patches output. Patches can be saved to any of the 128 memory locations (0 – 127), but remember that if you save your settings to any of Patches 0 - 63, you will overwrite one of the factory presets. To save a patch press the Save button 9 . The LED display – showing the current patch number - will fl ash. To overwrite this Patch with your current settings, press the Save Audio Out button again. The LED display will briefl y indicate that the patch is being saved. To save the current settings to a different memory to the Patch number on the display (as would be the case if you loaded a Patch, modifi ed it in some way and then wished to save the modifi ed version without overwriting the original version), press the Save button and then use the Patch buttons to select an alternative Patch memory while the display is fl ashing. Once selected, it is possible to audition the target patch (by using the keyboard) MIDI Out just to make sure that you are happy to overwrite it. Press the Save button once more to MIDI In store the patch. The LED display will briefl y indicate that the patch is being saved. You can abort the Save procedure at the “LED fl ashing” stage by pressing the Function/ Exit button 5 . The Save procedure will cancel and Bass Station II will return to the patch Master Keyboard Sound Modules being edited. The Bass Station II Factory Patches can be downloaded from the Novation USB Audio In website if they have been accidentally overwritten. See “Importing Patches via SysEx” on page 19. Basic Operation – sound modifi cation Headphones Once you have loaded a Patch you like the sound of, you can modify the sound in many different ways using the synth controls. Each area of the control panel is dealt with in greater depth later in the manual, but a few fundamental points should be discussed here: The LED display The three-segment alphanumeric display will normally show the number of the currently- loaded Patch (0 to 127). As soon as you change any “analogue” parameter – i.e., turn a Note: Bass Station II is not a computer MIDI interface. MIDI can be rotary control or adjust an On-Key function, it will display the parameter value (most are transmitted between the synth and computer via the USB connection, but either 0 to 127 or -63 to +63), with one of two arrows being highlighted (at the right-hand MIDI cannot be transferred between the computer and external equipment side). These arrows indicate which direction the control needs to be turned in order to via Bass Station II’s MIDI DIN ports. match the value stored in the patch. It reverts to the Patch number display after the control is released. If using Bass Station II with other sound modules, connect MIDI OUT 44 on the synth The Filter knob to MIDI IN on the fi rst sound module, and daisy-chain further modules in the usual way. If Adjusting the frequency of the synth’s fi lter is probably the most commonly-used method of using Bass Station II with a master keyboard, connect the master keyboard’s MIDI OUT sound modifi cation. For this reason, Filter Frequency has its own dedicated large rotary to MIDI IN on the synth, and ensure that the master keyboard is set to output on MIDI control 34 at the panel top right. Experiment with different types of patch to hear how channel 1 (the synth’s default channel). changing the fi lter frequency alters the characteristic of different types of sound. WWWiiittthhh ttthhheee aaammmpppllliiifififi eeerrr ooorrr mmmiiixxxeeerrr oooffffff ooorrr mmmuuuttteeeddd,,, cccooonnnnnneeecccttt ttthhheee AAACCC aaadddaaappptttooorrr tttooo ttthhheee BBBaaassssss SSStttaaatttiiiooonnn IIIIII Pitch and Mod wheels 11 , and plug it into the AC mains. Turn the synth on by moving the rear panel switch 22 to Bass Station II is fi tted with a standard pair of synthesizer control wheels 2 adjacent to ext DC. After completing its boot sequence, Bass Station will load Patch 0, and the LCD the keyboard, Pitch and Mod (Modulation). The Pitch control is spring-loaded and always display will confi rm this. For a list of initial synth settings which are not retained from the returns to the centre position. previous session, please see Synth settings unsaved from previous session in Appendix. Moving Pitch will always raise or lower the pitch of the note(s) being played. The maximum Turn on the mixer/amplifi er/powered speakers, and turn up the VOLUME control 10 until range of operation is 12 semitones up or down, but this may be adjusted using On-Key you have a healthy sound level from the speaker when you play. function Oscillator: Pitch Bend Range (Upper C#). Using headphones The Mod wheel’s precise function varies with the patch loaded; it is used in general to add IInnsstteeaadd ooff aa ssppeeaakkeerr aanndd//oorr aann aauuddiioo mmiixxeerr,, yyoouu mmaayy wwiisshh ttoo uussee aa ppaaiirr ooff hheeaaddpphhoonneess.. expression or various elements to a synthesized sound. A common use is to add vibrato to These may be plugged into the rear panel headphone output socket 88 . The main outputs a sound. are still active when headphones are plugged in. The VOLUME control 10 also adjusts headphone level. It is possible to assign the Mod wheel to alter various parameters making up the sound – or a combination of parameters simultaneously. This topic is discussed in more detail NOTE: The Bass Station II headphone amplifi er is capable of outputting a high signal level; elsewhere in the manual. See ‘On-key functions (mod wheel) on page 17. please take care when setting the volume. Octave Shift Loading Patches These two buttons 3 transpose the keyboard up or down one octave each time they are Bass Station II can store 128 Patches in memory. 0 – 63 are pre-loaded with some great pressed, to a maximum of four octaves downwards, or fi ve octaves upwards. The number factory sounds. 64 – 127 are intended for storing user Patches, and are all pre-loaded with of octaves by which the keyboard is shifted is indicated by the LED display. Pressing both the same default “initial” Patch (see “Init Patch – parameter table” on page 20). buttons together (Reset) returns the keyboard to its default pitch, where the lowest note on the keyboard is one octave below Middle C. A Patch is loaded by simply scrolling up or down to the Patch number with the Patch buttons 8 ; the Patch is immediately active and the LED display shows the current patch number. The Patch buttons can be held down for fast scrolling. 7 SYNTHESIS TUTORIAL This section covers the general principles of electronic sound generation and processing in more detail, including references to Bass Station II’s facilities where relevant. It is recommended that this chapter is read carefully if analogue sound synthesis is an unfamiliar subject. Users familiar with this subject can skip this section and move on to the next. To gain an understanding of how a synthesizer generates sound it is helpful to have an appreciation of the components that make up a sound, both musical and non-musical. The only way that a sound may be detected is by air vibrating the eardrum in a regular, periodic manner. The brain interprets these vibrations (very accurately) into one of an infinite number of different types of sound. Middle C Remarkably, any sound may be described in terms of just three properties, and all sounds always have them. They are: Transpose • Pitch The keyboard may be transposed up or down one octave, in semitone increments. • Tone • Volume To transpose, hold down the Transpose button 4 , and hold down the key representing the key that you wish to transpose to. Transposition is relative to Middle C. For example, What makes one sound different from another is the relative magnitudes of the three to shift the keyboard up four semitones, hold Transpose and press E above Middle C. To properties as initially present in the sound, and how the properties change over the return to normal pitching, perform the same actions, only select Middle C as the target key. duration of the sound. The Arpeggiator With a musical synthesizer, we deliberately set out to have precise control over these three Bass Station II includes an arpeggiator, which allows arpeggios of varying complexity and properties and, in particular, how they can be changed during the “lifetime” of the sound. rhythm to be played and manipulated in real-time. The arpeggiator is enabled by pressing The properties are often given different names: Volume may be referred to as Amplitude, the Arp ON button 42; its LED will illuminate. Loudness or Level, Pitch as Frequency and Tone as Timbre. If a single key is pressed, the note will be retriggered by the arpeggiator, at a rate Pitch determined by the Tempo control 44. If you play a chord, the arpeggiator identifies its As stated, sound is perceived by air vibrating the eardrum. The pitch of the sound is notes and plays them individually in sequence at the same rate (this is termed an arpeggio determined by how fast the vibrations are. For an adult human, the slowest vibration pattern or ‘arp sequence’); thus if you play a C major triad, the selected notes will be C, E perceived as sound is about twenty times a second, which the brain interprets as a bass and G. type sound; the fastest is many thousands of times a second, which the brain interprets as a high treble type sound. Adjusting the Rhythm 45, Arp Mode 46 and Arp Octaves 47 controls will alter the rhythm of the pattern, the way the sequence is played and the range in a variety of ways. See “The Arpeggiator Section” on page 16 for full details. A B On-Key functions Time Time If the number of peaks in the two waveforms (vibrations) are counted, it will be seen that there are exactly twice as many peaks in Wave B as in Wave A. (Wave B is actually an To reduce the number of controls on Bass Station II (and hence make the synth smaller and octave higher in pitch than Wave A). It is the number of vibrations in a given period that neater!), a number of configuration and setup options have been assigned to the keyboard determines the pitch of a sound. This is the reason that pitch is sometimes referred to as itself. Think of the keys as having a Shift (or Ctrl, or Fn) function, as on a computer frequency. It is the number of waveform peaks counted during a given period of time which keyboard; the On-Key functions are enabled by holding down the Function/Exit button defines the pitch, or frequency. 5 while pressing a key. The On-Key function for each key is printed on the top panel immediately above the keyboard. Tone Musical sounds consist of several different, related pitches occurring simultaneously. The Some On-Key functions are “bi-state” – i.e., they enable or disable something, while others loudest is referred to as the ‘fundamental’ pitch and corresponds to the perceived note are “analogue” parameters which consist of a range of values. Once the On-Key function of the sound. Other pitches making up the sound which are related to the fundamental in mode has been entered, use the Patch/Value buttons 8 to alter its state or value. simple mathematical ratios are called harmonics. The relative loudness of each harmonic as compared to the loudness of the fundamental determines the overall tone or ‘timbre’ of Pressing Function/Exit a second time will exit the On-Key function mode or alternatively, the sound. if you wish to change another parameter, hold the Function/Exit button while pressing the key of the next parameter. See page 17 for full details of all the On-Key functions. Consider two instruments such as a harpsichord and a piano playing the same note on the keyboard and at equal volume. Despite having the same volume and pitch, the instruments Local control still sound distinctly different. This is because the different note-making mechanisms of Bass Station II has a very high degree of MIDI implementation, and almost every control the two instruments generate different sets of harmonics; the harmonics present in a piano and synth parameter transmits MIDI data to external equipment, and similarly, the synth can sound are different to those found in a harpsichord sound. be controlled in almost every respect by incoming MIDI data from a DAW or sequencer. Local control is enabled/disabled via the On-Key function Global: Local (upper A). Hold Volume the Function/Exit button 5 and press the key. Use the Value buttons 8 to switch Volume, which is often referred to as the amplitude or loudness of the sound, is determined Local control On or Off. The display will confirm the setting. Press Function/Exit to exit the by how large the vibrations are. Very simply, listening to a piano from a metre away would On-Key mode. The default state is for Local mode to be On, so that the keyboard works! If sound louder than if it were fifty metres away. you want to control the synth via MIDI from other equipment (such as a master keyboard), set Local mode to Off. Local mode is always set to ON after a power cycle. A B Volume 8 Volume Having shown that just three elements may define any sound, these elements now have to These are rich in harmonics, and contain both even and odd harmonics of the fundamental be related to a Musical synthesizer. It is logical that a different section of the Synthesizer frequency. The volume of each is inversely proportional to its position in the harmonic ‘synthesizes’ (or creates) these different elements. series. 1 3 5 7 Triangle Wave Harmonic Square / Pulse Waves One section of the synthesizer, the Oscillators, provide raw waveform signals which define the pitch of the sound along with its raw harmonic content (tone). These signals are then mixed together in a section called the Mixer, and the resulting mixture is then fed into a section called the Filter. This makes further alterations to the tone of the sound, by Volume removing (filtering) or enhancing certain of the harmonics. Lastly, the filtered signal is fed into the Amplifier, which determines the final volume of the sound. 1 2 3 4 5 Oscillators Mixer Filter Amplifier Square Wave Harmonic These contain only odd harmonics, which are at the same volume as the odd harmonics in a sawtooth wave. It will be noticed that the square waveform spends an equal amount of time in its ‘high’ state as in its ‘low’ state. This ratio is knoVwolnu mase the ‘duty cycle’. A square wave always has Additional synthesizer sections - LFOs and Envelopes - provide further ways of altering a duty cycle of 50% which means it is ‘high’ for half the cycle and ‘low’ for the other half. the pitch, tone and volume of a sound by interacting with the Oscillators, Filter and Bass Station II lets you adjust the duty cycle of the basic square waveform to produce a 1 Amplifier, providing changes in the character of the sound which can evolve over waveform whichS iisn em Woraev e‘rectangular’ in shape. These aHraer omfotennic known as Pulse waveforms. time. Because LFOs’ and Envelopes’ only purpose is to control (modulate) the other As the waveform becomes more and more rectangular, more even harmonics are synthesizer sections, they are commonly known as ‘modulators’. introduced and the waveform changes its character, becoming more ‘nasal’ sounding. These various synthesizer sections will now be covered in more detail. The width of the pulse waveform (the ‘Pulse Width’) can be altered dynamically by a modulator, which results in the harmonicV coolunmteent of the waveform constantly changing. This The Oscillators And Mixer can give the waveform a very ‘fat’ quality wheVno luthmee pulse width is altered at a moderate rate. The Oscillator section is really the heartbeat of the synthesizer. It generates an electronic 1 2 3 4 5 wave (which creates the vibrations when eventually fed to a loudspeaker). This Waveform A pulse waveform sounds the same whether the duty cycle is – for example - 40% or 60%, is produced at a controllable musical pitch, initially determined by the note played on the since the waSvaewfotormoTt ihrsi a Wjnugaslevt e“Winavveerted” and the harmoHn1aicrH mcaoo3rnmntiocenn5ict is e7x actly the same. keyboard or contained in a received MIDI note message. The initial distinctive tone or Volume timbre of the waveform is actually determined by the waveform’s shape. Volume Many years ago, pioTnrieanegrlse oWf amveusical synthesis disco1veHrae3rdm tohna5ict jus7t a few distinctive 50% waveforms contained many of the most useful harmonics for making musical sounds. The Volume names of these waves reflect their actual shape when viewed on an instrument called an 1 2 3 4 5 oscilloscope, and they are: Sine waves, Square waves, Sawtooth waves, Triangle waves Noise Harmonic and Noise. Bass Station II’s Oscillator section can generate all these waveforms. 1 2 3 4 5 40% Square Wave Harmonic Volume Each waveform shape (except Noise) has a specific set of musically-related harmonics which can be manipulated by further sections of the synthesizer. 1 2 3 4 5 The diagrams below show how these waveforms look on an oscilloscope, and illustrate 10% Square Wave Harmonic the relative levels of their harmonics. Remember, it is the relative levels of the various harmonics present in a waveform which determine the tone of the final sound. Volume Sine Waves 60% 1 Volume Sine Wave Harmonic Volume Noise 1 3 5 7 Triangle Wave 1 Harmonic Noise is basically a random signal, and has no one fundamental frequency (and therefore Sine Wave Harmonic no pitch property). All frequencies are pVreosluemnte in noise, and all have the same volume. Because it possesses no pitch, noise is often useful for creating sound effects and These possess just one harmonic. A sine waveform produces the “purest” sound because percussion type sounds. it only has this single pitch (frequency). 1 2 3 4 5 Volume Sawtooth Wave Harmonic Triangle Waves Volume 1 2 3 4 5 1 2 3 4 5 Square Wave Harmonic Volume Sawtooth Wave VolumeHarmonic 1 3 5 7 1 2 3 4 5 Triangle Wave Harmonic Noise Harmonic Volume Ring Modulation These contain only odd harmonics. The volume of each decreases as the square of its A Ring Modulator is a sound generator that takes signals from two oscillators and position in the harmonic series. For examVpolluem, tehe1 5th ha2rmonic3 has a 4volume5 1/25th of the effectively “multiplies” them together. Bass Station II’s Ring Modulator uses Oscillator 1 volume of the funNdoaimseental. Harmonic and Oscillator 2 as inputs. The resulting output depends on the various frequencies and Volume 1 harmonic content present in each of the two oscillator signals, and will consist of a series Sawtooth WavSeinse Wave Harmonic of sum and difference frequencies as well as the frequencies present in the original signals. 1 2 3 4 5 Square Wave Harmonic OSC 1 Volume X 1 2 3 4 5 OSC 2 Sawtooth Wave Harmonic Volume 1 Sine Wave Volume Harmonic 9 1 2 3 4 5 Noise Harmonic Volume 1 2 3 4 5 Sawtooth Wave Harmonic Volume 1 2 3 4 5 Noise Harmonic Cut-off Frequency Volume Cut-off Frequency Volume Frequency Cut-off Frequency Volume Frequency The Mixer When resonance is added, the frequencies around the cut off point are boosted in volume. To extend the range of sounds that may be produced, typical analogue synthesizers have more than one Oscillator. By using multiple Oscillators to create a sound, it is possible Cut-off to achieve very interesting harmonic mixes. It is also possible to slightly detune individual Frequency Oscillators against each other, which creates a very warm, ‘fat’ sound. Bass Station II’s Mixer allows you create a sound consisting of the waveforms of Oscillators 1 and 2, the Volume separate sub-octave oscillator, a Noise source, the Ring Modulator output and an external Frequency signal, all mixed together as required. Cut-off Frequency OSC 1 OSC 1 VOLUME Volume MIXER Frequency OSC 2 OSC 2 VOLUME Cut-off Frequency In addition to the traditional Low PaCsuts-o Fffilter type, there are also High Pass and Band Pass Frequency INPUT TO tVVypooellsuu. Ommnee Bass Station II, the Filter type is selected with the Shape switch 32. FILTER A High Pass Filter is similar to a Low Pass Filter, but works in the “opposite sense”, so that SUB OSC SUB OSC VOLUME COMPLEX frequencies below the cut-offF proeinqt uareen recmyoved. Frequencies above the cut-off point are WAVEFORM MIX OF passed. When the Filter Frequency parameter is set to zero, the filter is completely open OSC1, 2 AND 3 and no frequencies are removed from the raw Oscillator waveforms. Cut-off Frequency The Filter Volume Bass Station II is a subtractive music synthesizer. Subtractive implies that part of the sound Frequency Frequency is subtracted somewhere in the synthesis process. Cut-off The Oscillators provide the raw waveforms with plenty of harmonic content and the Filter Frequency section subtracts some of the harmonics in a controlled manner. Volume 7 types of Filter are available on Bass Station II; they are all variations of the three basic Cut-off filter types: Low Pass, Band Pass and High Pass. The type of Filter most commonly used Frequency Volume on synthesizers is Low Pass. On a Low Pass Filter, a “cut-off frequency” is chosen and any frequencies below this are passed, while frequencies above are filtered out, or removed. The setting of the Filter Frequency parameter dictates the point above which frequencies Frequency are removed. This process of removing harmonics from the waveforms has the effect of changing the sound’s character or timbre. When the Frequency parameter is at maximum, When a Band Pass Filter is used, only a narrow band of frequencies centered around the the filter is completely “open” and no frequencies are removed from the raw Oscillator cut- off point are passed. Frequencies above and below the band are removed. It is not waveforms. possible to fully open this typFer oefq Fuilteern, acnyd allow all frequencies to pass. In practice, there is a gradual (rather than a sudden) reduction in the volume of the harmonics above the cut-off point of a Low Pass Filter. How rapidly these harmonics Cut-off reduce in volume as frequency increases above the cut-off point is determined by FreqFreuqueenncycy the Filter’s slope. The slope is measured in ‘volume units per octave’. Since volume is Volume measured in decibels, this slope is usually quoted as so many decibels per octave (dB/ oct). The higher the number, the greater the rejection of harmonics above the cut-off point, and the more pronounced the filtering effect. Bass Station II’s filter section provides two slopes, 12 dB/oct and 24 dB/oct. A further important parameter of the Filter is its Resonance. Frequencies at the cut-off point may be increased in volume by the Filter Resonance control. This is useful for emphasising certain harmonics of the sound. As Resonance is increased, a whistling-like quality will be introduced to the sound passing Frequency through the filter. When set to very high levels, Resonance actually causes the filter to self- oscillate whenever a signal is being passed through it. The resulting whistling tone being produced is actually a pure sine wave, the pitch of which depends on the setting of the Envelopes And Amplifier Frequency knob (the filter’s cut-off point). This resonance-produced sine wave can actually In earlier paragraphs, the synthesis of the pitch and the timbre of a sound was described. be used for some sounds as an additional sound source if wished. The next part of the Synthesis Tutorial describes how the volume of the sound is controlled. The diagram below shows the response of a typical low pass filter. Frequencies above the The volume of a note created by aF rmCequuut-eosnfifccyal instrument often varies greatly over the duration oVf tohleu nmotee, according to the type of instrument. cut-off point are reduced in volume. For example, a note played on an Organ quickly attains full volume when a key is pressed. Cut-off Frequency It stays at full volume until the key is released, at which point the volume level falls instantly to zero. Volume KEY "ON" KEY "OFF" VOLUME Frequency Frequency TIME Cut-off Frequency 10 KEY "ON" KEY "OFF" Volume VOLUME TIME Frequency KEY "ON" KEY "OFF" Cut-off Frequency Volume VOLUME TIME Frequency KEY "ON" KEY "OFF" VOLUME Cut-off SUSTAIN Frequency Volume ATTACK DECAY RELEASE TIME KEY "ON" KEY "OFF" Frequency VOLUME SUSTAIN ATTACK DECAY RELEASE TIME KEY "ON" KEY "OFF" SUSTAIN RATE VOLUME SUSTAIN ATTACK DECAY RELEASE TIME KEY "ON" KEY "OFF" SUSTAIN TIME VOLUME SUSTAIN ATTACK DECAY RELEASE TIME KEY "ON" KEY "OFF" FILTER CUT-OFF SUSTAIN ATTACK DECAY RELEASE TIME