The Lfos Section - Novation X-Station User Manual

THE KS SYNTHESIZER
ENV DEPTH Knob
Controls the amount of change to the filter Cut off (set by the FRE-
QUENCY knob) by the Modulation Envelope. In its central position
there is no change to the filter Cut off frequency. Adjusting the knob
anticlockwise from centre will introduce an increasing amount of nega-
tive modulation.
The filter will close as the MOD ENV runs through its cycle. Adjusting
the knob clockwise from centre will introduce an increasing amount of
positive modulation. The filter will be opened by the MOD ENV.
LFO DEPTH Knob
Controls the amount of change to the filter Cut off (set by the FRE-
QUENCY knob) by LFO 2. In its central position there is no change to
the filter Cut off frequency. Adjusting the knob anticlockwise from centre
will introduce an increasing amount of negative modulation. The Filter
will close and open in time with LFO2 (this creates the popular wow
wow effect of LFO2 wavefrom is set to Triangle).
Adjusting the knob clockwise from centre will introduce an increasing
amount of positive modulation. The filter will open and close in time with
LFO 2.
OVERDRIVE Knob
This knob controls how much the filter is overdriven. When used in
large amounts it will have the effect of making the sound richer and
slightly distorted.
SLOPE Button
Controls how drastically the frequencies above (Low Pass), below (High
Pass) or around (Band Pass) the Cut off point are removed from the
sound. When the 12dB position is selected, the Cut off slope is gentle
so higher harmonics are not attenuated (reduced in volume) as sharply
as they are when the 24dB position is selected.
TYPE Button
Determines whether the Filter is acting as a Low Pass, High Pass or
Band Pass type.
HPF ON Button
This button is not used in KS Synth Mode.
FILTER SELECT Button
This button is not used in KS Synth Mode since the KS Synth only has
a single Filter.
More functions associated with the Filter can be found in the Filter
Menu. See Page 45.

The LFOs Section

SPEED Knob
Controls the speed of the selected LFO. Faster speeds are set by turn-
ing the knob clockwise. These are suitable for vibrato and tremolo
effects. Slower speeds are more appropriate for Pulse Width changes
or special effects.
DELAY / AMOUNT Knob
Controls how long after the note is struck the selected LFO begins to
take effect. Fully anticlockwise and the selected LFO effect will begin
immediately. Turning clockwise will cause the LFO effect to fade in. The
time of the fade in is dependent on the knob position. This is used for
delayed vibrato effects.
LFO SELECT Button
Selects the desired LFO for editing. Only LFOs 1 or 2 can be selected
on the KS Synth.
WAVEFORM & DEST Buttons
Selects the LFO waveform. Use the WAVEFORM button to move up the
waveform list and the DEST button to move down the waveform list.
LFO Waveforms
Value Display
0 SINE
1 TRIANGLE
2 SAWTOOTH
3 SQUARE
4 RANDM S/H
5 QUANT S/H
6 CROSSFADE
7 EXP DEC1
8 EXP DEC2
9 EXP DEC3
10 ATT EXP1
11 ATT EXP2
12 ATT EXP3
13 SUST EXP1
14 SUST EXP2
15 SUST EXP3
16 PIANOENV1
17 PIANOENV2
18 PIANOENV3
19 EXPUPDOWN
20 CHROMATIC
21 MAJ-MODES
22 MAJOR-7
23 PATTERN 1
24 PATTERN 2
25 PATTERN 3
26 PATTERN 4
27 PATTERN 5
28 PATTERN 6
29 PATTERN 7
30 PATTERN 8
31 PATTERN 9
• •
41
The LFOs Section
There are two LFOs - Low Frequency
Oscillators - available on the KS Synth.
These produce regular electronic varia-
tions which are too low to be heard when
converted into audio vibrations. They can
modify various elements of the sound,
producing regular changes in pitch (vibra-
to), pulse width or filter Cut off.
The three waveforms 20, 21 and
22 are very special. If one of these
particular waveforms is selected for
LFO 1, this LFO can then be used
to modulate one or more of the
oscillator frequencies to produce
the appropriate scale.(see page
37)
To do this, LFO1 should be set to
the unipolar mode (see page 45)
and the LFO mod depth assigned
within the oscillator section should
have a value of exactly 30 for a ris-
ing scale and -30 for a falling
scale.
This can create very complex
patches, particularly when used in
combination with the arpeggiator.