Novation Bass Station II - Manual (Page 14)

14
Volume
Volume
Frequency
Volume
Volume
Frequency
Cutoff
Frequency
Cutoff
Frequency
Cutoff
Frequency
Cutoff
Frequency
Frequency
Frequency
Cutoff
Frequency
Cutoff
Frequency
Cutoff
Frequency
Cutoff
Frequency
Volume
Volume
Frequency
Volume
Volume
Frequency
Frequency
Frequency
Low Pass 12 dB
Volume
Volume
Frequency
Volume
Volume
Frequency
Cutoff
Frequency
Cutoff
Frequency
Cutoff
Frequency
Cutoff
Frequency
Frequency
Frequency
Cutoff
Frequency
Cutoff
Frequency
Cutoff
Frequency
Cutoff
Frequency
Volume
Volume
Frequency
Volume
Volume
Frequency
Frequency
Frequency
Low Pass 24 dB (Classic / Acid) with resonance
Volume
Volume
Frequency
Volume
Volume
Frequency
Cutoff
Frequency
Cutoff
Frequency
Cutoff
Frequency
Cutoff
Frequency
Frequency
Frequency
Cutoff
Frequency
Cutoff
Frequency
Cutoff
Frequency
Cutoff
Frequency
Volume
Volume
Frequency
Volume
Volume
Frequency
Frequency
Frequency
Low Pass 12 dB with resonance
Volume
Volume
Frequency
Volume
Volume
Frequency
Cutoff
Frequency
Cutoff
Frequency
Cutoff
Frequency
Cutoff
Frequency
Frequency
Frequency
Cutoff
Frequency
Cutoff
Frequency
Cutoff
Frequency
Cutoff
Frequency
Volume
Volume
Frequency
Volume
Volume
Frequency
Frequency
Frequency
Band Pass 24 dB
Volume
Volume
Frequency
Volume
Volume
Frequency
Cutoff
Frequency
Cutoff
Frequency
Cutoff
Frequency
Cutoff
Frequency
Frequency
Frequency
Cutoff
Frequency
Cutoff
Frequency
Cutoff
Frequency
Cutoff
Frequency
Volume
Volume
Frequency
Volume
Volume
Frequency
Frequency
Frequency
Band Pass 12 dB
Volume
Volume
Frequency
Volume
Volume
Frequency
Cutoff
Frequency
Cutoff
Frequency
Cutoff
Frequency
Cutoff
Frequency
Frequency
Frequency
Cutoff
Frequency
Cutoff
Frequency
Cutoff
Frequency
Cutoff
Frequency
Volume
Volume
Frequency
Volume
Volume
Frequency
Frequency
Frequency
High Pass 24 dB
Volume
Volume
Frequency
Volume
Volume
Frequency
Cutoff
Frequency
Cutoff
Frequency
Cutoff
Frequency
Cutoff
Frequency
Frequency
Frequency
Cutoff
Frequency
Cutoff
Frequency
Cutoff
Frequency
Cutoff
Frequency
Volume
Volume
Frequency
Volume
Volume
Frequency
Frequency
Frequency
High Pass 12 dB
Frequency
The large rotary Frequency control 34 sets the cut-off frequency of the Acid filter type,
and also of the Classic filter type when Shape is set to HP or LP. With a Classic band-
pass filter configured, Frequency sets the centre frequency of the pass-band.
Sweeping the filter frequency manually will impose a “hard-to-soft” characteristic on almost
any sound.
Resonance
The Resonance control 35 adds gain to the signal in a narrow band of frequencies
around the frequency set by the Frequency control. It can accentuate the swept-filter
effect considerably. Increasing the resonance parameter is very good for enhancing
modulation of the cut-off frequency, creating a very edgy sound. Increasing Resonance
also accentuates the action of the Frequency control, giving it a more pronounced effect.
Filter modulation
The filter’s Frequency parameter may be varied automatically - or modulated, by the output
of LFO 2 and/or the Modulation Envelope. Either or both methods of modulation may be
used, and each has a dedicated intensity control, LFO 2 depth 38 for LFO 2 and Mod
Env depth 37 for the modulation envelope. (Compare with the use of LFO 1 and Mod Env
for modulating the Oscillators.)
Note that only one LFO – LFO 2 - is used for filter modulation. Filter frequency can be
varied by up to eight octaves.
Some examples of the relationship between the LFO 2 Depth parameter
and the filter frequency are as follows:
1 = 76 cents
16 = one octave
32 = two octaves
Negative values of LFO 2 depth “invert” the modulating LFO waveform; the effect of this
will be more obvious with non-sinusoidal LFO waveforms.
Modulating the filter frequency with an LFO can produce some unusual “wah-wah”
type effects. Setting LFO 2 to a very slow speed can add a gradual hardening and then
softening edge to the sound.
When the filter’s action is triggered by Envelope 2, the filter action changes over the
duration of the note. By adjusting the Envelope controls carefully, this can produce some
very pleasing sounds, as for example, the spectral content of the sound can be made to
differ considerably during the attack phase of the note compared to its “fade-out”. Mod
Env depth lets you control the “depth” and “direction” of the modulation; the higher
the value, the greater the range of frequencies over which the filter will sweep. With the
parameter set to its maximum value, the filter frequency with vary over a range of eight
octaves when Envelope 2 Sustain is set to maximum. Positive and negative values make the
filter sweep in opposite directions, but the audible result of this will be further modified by
the filter type in use.
Overdrive
The filter section includes a dedicated drive (or distortion) generator; the Overdrive
control 36 adjusts the degree of distortion treatment applied to the signal. The drive is
added before the filter.
The Envelopes Section
Bass Station II generates two envelopes each time a key is pressed, which can be used
to modify the synth sound in various ways. The envelope controls are based on the familiar
ADSR concept.
TIME
KEY "ON" KEY "OFF"
VOLUME
ATTACK DECAY RELEASE
SUSTAIN
TIME
KEY "ON" KEY "OFF"
VOLUME
TIME
KEY "ON" KEY "OFF"
VOLUME
TIME
KEY "ON" KEY "OFF"
VOLUME
ATTACK DECAY RELEASE
SUSTAIN
SUSTAIN
RATE
TIME
KEY "ON" KEY "OFF"
VOLUME
ATTACK DECAY RELEASE
SUSTAIN
SUSTAIN TIME
TIME
KEY "ON" KEY "OFF"
VOLUME
ATTACK DECAY RELEASE
SUSTAIN
TIME
KEY "ON" KEY "OFF"
VOLUME
ATTACK DECAY RELEASE
SUSTAIN
TIME
KEY "ON" KEY "OFF"
FILTER
CUT-OFF