Novation A-Station User Manual
  1. Manuals
  2. Brands
  3. Novation Manuals
  4. Synthesizer
  5. A-Station
  6. User manual

Novation A-Station User Manual

Polyphonic synthesizer
Hide thumbs
Table of Contents

Advertisement

Quick Links

A - S T A T I O N
A-station
polyphonic synthesizer
User Manual
in music, anything is possible.

Advertisement

Table of Contents
loading
Need help?

Need help?

Do you have a question about the A-Station and is the answer not in the manual?

Questions and answers

Related Manuals for Novation A-Station

Summary of Contents for Novation A-Station

  • Page 1 A - S T A T I O N A-station polyphonic synthesizer User Manual in music, anything is possible.
  • Page 2 Copyright: Novation E.M.S Limited 2001 A-Station User Guide Version 1.1 Features and specifications subject to change without notice due to improvements www.novationmusic.com...

  • Page 3: Table Of Contents

    Introduction... Using this manual... Main Features... Conventions used in this manual... Quick Start Guide... Connecting to audio equipment... Listening to the factory preset sounds... Selecting sounds... Auditioning a sound... Editing a sound... Saving a sound... Listening to the factory demonstration... Synthesis Tutorial...

  • Page 4: Using This Manual

    Oscillators and processed through the Filter and Envelopes. Envelopes may then be auto-triggered by the external signal. * Filter The filter in the A-Station Synthesizer delivers the liquid sound of an analogue filter. Selectable Low-pass, 12dB or 24dB cut-off curves with Resonance, Overdrive and Resonance normalize make it easy to faithfully recreate anything from distorted rave screams to tightly rounded bass patches.

  • Page 5: Main Features

    Arpeggiator The arpeggiator features six different pattern types with adjustable gate time for staccato effects. Comprehensive MIDI control spec Adjustments of any controls transmit MIDI Controller numbers for real time recording by a sequencer or computer. Powerful Effects The effects processor includes Distortion, Stereo Chorus, Phaser, Reverb, Synchronized Delay and Synchronized Stereo Panning.

  • Page 6: Quick Start Guide

    Connecting to audio equipment - Listening to factory preset sounds - Selecting sounds The fastest way to become familiar with the A-Station is to fol- low this quick start guide. It covers connecting up the A- Station, listening to the factory preset sounds, selecting sounds, editing a sound and saving a sound.

  • Page 7: Auditioning A Sound

    Auditioning a sound As well as responding to MIDI commands from a keyboard or sequencer, the sounds in the A-Station may be triggered or Auditioned by pressing the AUDITION button. Each press of the button will sequence through a selection of notes to give a clear indication of the sound at different pitches.

  • Page 8: Saving A Sound

    MIDI storage device - See page NOTE: When the A-Station is shipped from the factory, the global memory protect switch is set to on. In order to save a sound, the global memory protect must be switched off.

  • Page 9: Listening To The Factory Demonstration

    Listening to the factory demonstration To complete this Quick Start Guide section, some time spent listening to the sounds that the A-Station is capable of produc- ing will be of benefit when it comes to creating new sounds. Press the MODE select button repeatedly until the UTILITY LED is lit.

  • Page 10: Synthesis Tutorial

    Elements of a Sound It is recommended that this chapter is read carefully if Analogue sound synthesis is an unfamiliar subject. Experienced users can skip this chapter and move to the chapter - Main features and Operation on Page 14. Elements of a Sound To gain an understanding of how a Synthesizer generates sound it is helpful to have an understanding of the components...

  • Page 11: Oscillators And Waveforms

    Having shown that just three elements make up a sound, these elements now have to be related to a Musical synthesizer. It is logical that a different section of the Synthesizer ‘synthesizes’ these different elements. Oscillators and Waveforms The Oscillator is really the heartbeat of the Synthesizer. It gen- erates an electronic wave (which creates the vibrations) at a controllable musical pitch that has a distinctive tone or timbre.

  • Page 12: Mixer And Filter

    Filter that subtracts harmonics in a controllable manner. The Filter in the A-Station is a Low Pass type. A cut-off point is Synthesis Tutorial chosen and any frequencies below the point are passed and any above are filtered out.

  • Page 13: Envelopes And Amplifier

    Envelopes and Amplifier In earlier paragraphs, it was determined how the pitch and tim- bre of a sound is synthesized. This final part describes how the volume is controlled. The volume throughout the duration of a sound created by a musical instrument varies greatly according to the type of instrument.

  • Page 14: Lfos And Memories

    Modern machines such as the A-Station have all the blocks in one compact unit and the sound generating or modifying blocks are arranged in a sensible fashion. Front panel switches and...

  • Page 15: Summary

    The settings of these front panel controls (which of course determine the current sound) may then be stored in memory locations in the machine which can be recalled at any time. Summary An Analogue synthesizer can be broken down into five main sound generating or sound modifying (modulating) blocks.

  • Page 16: Main Features And Operation

    Volume and Portamento controls - Function Switch and LED This chapter describes the main front panel controls and how they affect a sound. Volume knob This knob is dual function. When the FUNCTION switch is set to NORMAL it adjusts the overall output volume on both the Left and Right master audio outputs on the rear panel and the Headphone output on the front panel.

  • Page 17: Mode Select Button

    The mode is indicated by one of five LEDs on the right hand side of the LED display panel. When the A-Station is switched on, PROGRAM mode is auto- matically selected. Each time the button is pressed, the next operating mode will be selected - SAVE, UTILITY, MIDI TX Channel and MIDI RX Channel and a final loop back to PROGRAM mode.

  • Page 18: Oscillators

    Oscillators Oscillators The Oscillators generate pitched waveforms (as described in the Synthesis tutorial) and these are fed into the Mixer. Most of the controls that determine the pitch and waveform of the Oscillators, and how they react to modulation are in this area.
  • Page 19 ning of the sound and rest at a final pitch. Finally turn the OSC 1-2 sync on by sliding the switch to the ON position. Experiment with the sound by raising the semitone pitch of OSC 2 and by adjusting the MOD ENV ATTACK and DECAY knobs in the Envelopes section.
  • Page 20 Oscillators Detune Knob Sets the detune amount in Cents for the selected Oscillator 1,2 or 3. If it is set fully clockwise, Oscillators pitch will be 50 cents sharper than its basic pitch, fully anticlockwise and it will be 50 cents flat.

  • Page 21: Mixer

    Mixer The Mixer makes it it possible to combine the outputs of Oscillators 1,2 and 3, the Noise source, the Ring modulator and the external Audio Input. The ability to mix together any or all of these sound sources makes easy to create complex timbres. Osc 1 &...

  • Page 22: Filter

    Filter Filter The Filter is a Low Pass type. As the frequency knob is adjusted anticlockwise, harmonics are gradually removed from the sound. When almost closed, only the fundamental frequency remains. Fully closed and no sound at all passes. This type of Filter is musically the most useful, especially for bass sounds.
  • Page 23 Filters such as the Moog type, Oberheim type and Roland TB303* type. If the A-Station produces a high pitched whistling sound, it is probably due to this knob is being adjusted too far clockwise. If this self-oscillating effect is not desired, keep the Resonance control away from the extreme clockwise setting.

  • Page 24: Amp And Mod Envelopes

    Amp and Mod Envelopes Amp and Mod Envelopes The Envelopes are used to shape the sound throughout its duration. The AMP Envelope determines the volume of the sound with respect to its duration. The MOD Envelope may be used to control other sound ele- ments of the synthesizer throughout the duration of the sound.

  • Page 25: Lfos

    LFOs There are two LFOs - Low Frequency Oscillators - available. These produce regular electronic variations which are too low to be heard when converted into audio vibrations. They can be used to modify various elements of the sound, producing regu- lar changes in pitch (vibrato), pulse width or filter Cut off.

  • Page 26: Advanced Features

    This chapter describes how to use the advanced features of the Effects, Arpeggiator, Synchronization, Triggering and the Utilities. Effects The A-Station features a powerful effects processor. Used in a creative fashion, it can greatly enhance a sound. Delay Effect The comprehensive Delay effects processor has many pro- grammable parameters.
  • Page 27 To access the Effects processor and other menus, the FUNC- TION switch in the master control area must be set to SHIFT (right hand position). Instead of numerically selecting programs, the keypad access- es Menus as described by the legends below each key. For example KEY 1 accesses the DELAY effects Menu, KEY 5 accesses the VOCODER effects Menu etc.
  • Page 28 Effects - Delay Delay Synchronisation A very pleasing audio effect may be heard when the Delay time is synchronized to the tempo of musical piece. The table on the following page describes the musical timings available. Setting up a synchronized delay effect using midi clock sync sent from an external sequencer.
  • Page 29 Delay, Panning, Chorus, Arpeggiator and LFO's Synchronisation to MIDI Clock Table Display MIDI Clocks Five different effects use this table to determine the musical time synchronized to. For example, to Pan the sound to the left for 1 Bar and then to the right for 1 Bar select option 1 b - 1 Bar. To have a Delay repeat every crotchet (quarter note) select 4. Synchronised to:- Display MIDI Clocks...

  • Page 30: Effects - Reverb

    Effects - Reverb Reverb The Reverb Effect is an electronic simulation of a room or build- ing that is acoustically reflective. When a sound is made in a room or large building, there are sound reflections from all directions. When a Reverb effect is added, it is these reflections of the sound that are being added.

  • Page 31: Chorus, Phaser

    Chorus This effect was originally designed to simulate the sound of many people singing together (hence the name Chorus) in con- trast to a single voice. Instrumentally, consider the sound of a 12 string guitar compared to a 6 string guitar. Chorus is an effect produced by mixing a continuously delayed version of the audio signal back with the original.

  • Page 32: Distortion

    Effects - Chorus - Phaser - Distortion Chorus Sync Similar to Delay Sync, the Chorus’s own internal LFO may be synchronized to internal or external MIDI clock tempo - Refer to Page 26 - Setting up synchronization with MIDI clock. Chorus Mod Depth The Chorus has it own LFO which is continuously changing the delay time.

  • Page 33: Panning

    MIDI controller keyboard will introduce the Distortion effect. Panning The Panning control in the A-Station performs the same func- tion as the Panning knob on a mixing console. It can be used to position a sound anywhere from left to right in the stereo field.

  • Page 34: Eq Filter

    Effects - Panning - EQ Filter Pan Sync A very pleasing audio effect may be heard when the Panning effect is synchronized to the tempo of a musical piece. The table on the Page 27 describes the musical timings available. Set to o F and the Panning effect will be at the rate determined by the Speed parameter.
  • Page 35 EQ Frequency The EQ frequency set point determines where in the sound spectrum the boost or cut occurs. It may be moved anywhere from very low frequencies (0 = less than 10Hz) to very high fre- quencies (127 = above 20,000Hz) Volume Volume EQ Frequency Point...

  • Page 36: Vocoder

    Effects - EQ Filter - Vocoder EQ LFO Initial Position position. Set to C E and it climbs from the centre of the wave- form. Using the EQ Filter Effect One of the most powerful ways to use this effect is to automati- cally open and close the filter in time with the musical piece.

  • Page 37: Vocoder Menu

    What is a Vocoder ? Assuming a voice is used via a microphone connected to the external input, the Vocoder superimposes a replica of the voice’s energy pattern on to the currently selected sound. The voice signal known as the Modulator is fed to a bank of band pass filters.

  • Page 38: Other Menus

    Arpeggiator Arpeggiator The Arpeggiator breaks down chords into single notes and plays them one at a time. For example, if a ‘C’ triad chord is held, the notes C, E and G will play one by one in sequence. How the sequence is played is determined by parameters that may be set up in the Arpeggiator menu.

  • Page 39: Arpeggiator Menu

    Arpeggiator Menu Key 6 Function Alternating LED Display 1st Press Arp Condition Arp Rate Arp Oct Range Arp Gate Time Arp Pattern Arp Sync Arp Note Destination Arpeggiator Range Set how many octaves the Arpeggiator will sweep through. The sweep range is selectable from 1 to 4 octaves. Arpeggiator Gate Time Sets the gate time or duration of the notes being played by the Arpeggiator.
  • Page 40 Setting the destination to Et (external) will route the Arpgeggiated notes ONLY to the MIDI output socket. Please note: There will be no sound from the A-Station rack's own sound engine when this option is selected. Setting the destination to IE (internal and external) will route Arpgeggiated notes to both the MIDI output socket and the internal sound engine.
  • Page 41 Arpeggiator Advanced features...

  • Page 42: Oscillators

    Unison mode allows more than one voice to be used for each note played. This effect is useful when a very thick sound is required. The A-Station allows up to eight voices to sound lay- ered one on top of another when just a single note is played.

  • Page 43: Oscillators - Fm Synthesis

    Oscillator Start Phase When synthesizing percussive or plucked type sounds, where there is a lot of detailed waveform information at the beginning of the sound, it is often useful to have the Oscillator wave start in exactly the same place every time a key is pressed. The start phase option allows the precise starting point of the Oscillator wave to be determined.
  • Page 44 Advanced features Programming FM sounds OSC 2 is able to FM OSC 3 via a dedicated FM envelope. The diagram below shows in block diagram format how the A-Station can produce FM sounds. OSC 2 FM Envelope OSC 3 AMP ENV...
  • Page 45 Oscillators - FM Synthesis Setting the OSC 2 - 3 FM Envelope Amount Many sounds have complex harmonic movements at the start of the sound. Introducing envelope modulation from an enve- lope with a fast attack and decay time to control the FM amount will simulate this fast changing harmonic effect.

  • Page 46: Pitch And Modulation Wheels

    Pitch and Modulation wheels Responding to Pitch and Modulation Wheel Data The A-Station will respond to Pitch and Modulation wheel infor- mation from a MIDI keyboard. The response is set using the Wheels Menu - KEY 8. Setting up a Pitch change when pushing a wheel forward Press KEY 8 (ensure the function switch is in SHIFT mode) and the display will show b 1 alternating with a numeric value.
  • Page 47 until the display shows P L alternating with a numeric value. Adjust the PORTA/DATA knob. A positive value (1 - 63) will introduce a pitch shift in time with LFO 1. If LFO 1 is set to a sawtooth wave then the pitch will climb , then rapidly return to the base pitch.

  • Page 48: Aftertouch And Breath Control

    Aftertouch and Breath Control Responding to Aftertouch and Breath Control Data The A-Station will respond to Aftertouch information from a MIDI keyboard and Breath Control from from a Breath Controller. The response to this information can be set using the Aftertouch, Breath Menu - KEY 9.

  • Page 49: Velocity, Triggering And Synchronisation

    Setting up a Wow Wow effect using Aftertouch or Breath Control. Move the function switch to SHIFT and press KEY 9 four times. The display shows A n(Aftertouch adjustment) or with five more presses, b n (Breath control adjustment) alternating with a numeric value.
  • Page 50 Velocity - Triggering - Synchronisation Setting up a sound to make its volume respond to velocity Press KEY 0 (ensure the function switch is in SHIFT mode) and the display will show u A alternating with a numeric value. Adjust the PORTA/DATA knob. At a setting of zero a soft key stroke will produce a sound at the same volume as a hard key stroke.
  • Page 51 Voice Mode Description Mono No Auto Glide Mono with Autoglide Poly 1 Poly 2 Changing the Voice Mode Repeatedly press KEY 0 (ensure the function switch is in SHIFT mode) until the display shows n n and an alternating value. The table above illustrates the modes according to the letters displayed.
  • Page 52 Velocity - Triggering - Synchronisation External Audio Trig Description Triggering Disabled Triggering Enabled Ext Audio fed Direct to Effects For more information on setting up and triggering from an exter- nal audio input signal, see page 52. LFO Delay Triggering When the Voice mode is set to any of the Mono options, differ- ent LFO delay settings are available for legato playing styles LFO's Delay Trig Type...
  • Page 53 Imagine a String section of eight violin players. With the LFO locked and the LFO being used to create a vibrato. All eight of the string players would have the bow in exactly the same position. This obviously does not occur in a real string section and if it did the sound would be very unusual.

  • Page 54: Utility Mode

    (Global Tuning) and an alternating value. The A-Station is preset at the factory with the display indicating 0 0. The zero value indicates there is no tuning offset. Playing the note ‘A’ above middle ‘C’ will produce a pitch of 440Hz.

  • Page 55: Global Midi Clock - Midi Sync

    MIDI Clock Source The A-Station requires a master timing clock in order to deter- mine the tempo (rate) of the arpeggiator and to provide a time base for synchronization to other musical timings. This clock may be derived internally or received from an external device that is able to send a master timing clock (This is often known as a MIDI clock).

  • Page 56: Global Velocity Curve, Display Operation, Ext Audio Input

    (second mode). Using the External Audio Input In order to use an external audio input, the A-Station must be set up to correctly to respond to the level (amplitude) of the incoming signal. Since the levels of these signals can vary sub- stantially, the Global menu option, Input Sensitivity and Input Trim must be adjusted for optimum performance.This will mini-...
  • Page 57 Once set, play (or talk into the microphone), the column of LEDs to the right of the display should now respond to the level of the signal. It is likely that they will either all illuminate or just the lowest one or two in the column. The ‘Input Trim’ must now be set to optimize performance.

  • Page 58: Led Display

    Utility Mode - Backing up sounds - Restoring factory preset sounds Sending (Backing Up) sounds to an external device Remaining KEYS in the UTILITY MENU are used for sending PROGRAMS (backing up) to external storage devices and for restoring factory preset programs. Press the MODE SELECT button until the UTILITY LED is lit.

  • Page 59: Receiving Sounds From An External Device

    As long as the Memory protect is switch off (see page 6) banks of sounds (using MIDI SYSEX transfers) may be sent to the unit at any time from a sequencer/computer or other A-Station. The bank of sounds will be written into the bank of the currently selected program.

  • Page 60: Connection Diagram

    This setup allows real-time recording of knob move- ments into a Computer Software/Sequencer since both the MIDI output of the keyboard and the MIDI output of the A-Station are connected to the Computer Software/Sequencer. The Computer Software/Sequencer MUST have at least 2 MIDI inputs to allow knob movements to be recorded at the same time as playing the keyboard.

  • Page 61: Volume Control

    Volume Control The Volume may be overridden by MIDI Volume data. If MIDI Volume of 0 has been received by the A-Station, no output will be heard regardless of the position of the volume knob. To reset the volume, either transmit the relevant MIDI Volume level or move the Volume knob - this automatically overrides the MIDI setting.

  • Page 62: Appendix

    239 FM4 Example initialisation Sounds A few example sounds have been provided that illustate how some of the feature of the A-Station can be used. Sound 300 - Double Saw Example 1 The double effect works by making each oscillator produce two waves for each setting - sine, saw and tri.
  • Page 63 This is a powerful eq filter which is at the output stage of the signal path of the A-Station. This can boost frequencies as well as attenuate them - compared the low pass filter which can only attenuate. Positive settings of the amount control will boost frequencies above the frequency point and attenuate frequencies below it.
  • Page 64 1) Make a back up of all data stored in the A-Station to a sequencer. From program mode, press the select button twice so that the utility LED is lit. Connect midi out of the A-Station to midi in of a sequencer and set the sequencer recording. Press button 6 on Appendix the A-Station keypad to initiate the "all banks"...

  • Page 65: Technical Specification

    250uS-20 Seconds Decay 1mS-20 Seconds Sustain 0-100% Release 1mS – 20 Seconds A-Station technical Specification LF01 and LFO2 Waveform Sample & Hold / Tri / Saw / Squ Speed 0 Hz – 1Khz Delay Fade In 0 – 5 Seconds LFO Sync Internal –...

  • Page 66: Midi Controller List

    Some controllers adhere to the normal midi-specified use (eg mod- wheel, volume) but most are used arbitrarily and no claim is made of compatibility with other Novation products or other manufacturer’s prod- ucts. This is a common practice among manufacturers.
  • Page 67 MIDI-S S PECIFIED U U SE A-S S TATION U U SE volume lsb balance lsb OSC1 SEMITONE *** -12..+12 undefined lsb OSC1 CENT *** -50..+50 pan lsb OSC1 BENDWHEEL PITCH AMOUNT *** expression lsb OSC1 LFO1 PITCH AMOUNT *** effect control 1 lsb OSC1 MOD.ENV PITCH AMOUNT *** effect control 2 lsb...
  • Page 68 MIDI Controller List MIDI-S S PECIFIED U U SE A-S S TATION U U SE rpn lsb rpn msb undefined FILTER FREQUENCY LFO2 MOD DEPTH *** undefined FILTER Q NORMALISE (127=zero filter drive at max resonance) undefined FILTER OVERDRIVE undefined FILTER FREQUENCY undefined FILTER RESONANCE...

  • Page 69: Midi Nrpn List

    MIDI N N RPN L L IST The A-Station uses a few NRPNs as detailed below. Since less than 128 of them are used, only one NRPN msb (bank) is needed. Therefore only the NRPN lsb is transmitted/received and the NRPN msb is ignored and is not transmitted.
  • Page 70 Packed Controller / NRPN Parameter Details Packed Controller / NRPN Parameter Details - E E N N V V E E L L O O P P E E S S S S I I N N G G L L E E -M M U U L L T T I I / / O O S S C C W W A A V V E E F F O O R R M M K K E E Y Y S S Y Y N N C C bit 0 amp env trigger 0=single 1=multi bit 1...

  • Page 71: Midi System Exclusive

    Y Y S S E E X X M M E E S S S S A A G G E E S S C C O O M M M M O O N N F F O O R R M M A A T T SYSEX START NOVATION ID 1 NOVATION ID 2 NOVATION ID 3...
  • Page 72 When a third party librarian or device receives either a program dump or program pair dump, it can ignore the C value but when it transmits one of these dumps to a A-Station, it must be aware of the effect of the C value.
  • Page 73 C C U U R R R R E E N N T T S S O O U U N N D D D D U U M M P P R R E E Q Q U U E E S S T T SYSEX START NOVATION ID 1 NOVATION ID 2...
  • Page 74 MIDI System Exclusive G G L L O O B B A A L L D D A A T T A A B B L L O O C C K K ( ( 2 2 5 5 6 6 b b y y t t e e s s ) ) B B y y t t e e P P a a r r a a m m e e t t e e r r POWER-UP PROGRAM BANK 1..4...
  • Page 75 P P R R O O G G R R A A M M D D A A T T A A B B L L O O C C K K ( ( c c o o n n t t i i n n u u e e d d ) ) B B y y t t e e P P a a r r a a m m e e t t e e r r OSC1 LEVEL (to filter)
  • Page 76 MIDI System Exclusive P P R R O O G G R R A A M M D D A A T T A A B B L L O O C C K K ( ( c c o o n n t t i i n n u u e e d d ) ) B B y y t t e e P P a a r r a a m m e e t t e e r r DELAY SEND LEVEL...
  • Page 77 Function Transmitted Basic Default 1 - 16 Channel Changed 1 - 16 Mode Default Messages Altered ************** Note TRUE 0 - 127 Number Voice ************** Velocity Note On O V = 1 - 127 Note Off Aftertouch Keys Channel Pitch Bend Control Change 1, 3, 5 - 10 12 - 37,40 - 65...

  • Page 78: Global Mode

    Menus Global Mode KEY 0 PRESS Global Tuning - Cents 50. - 50 Local of - on Midi Clock Source i - e Midi Clock Inspector - - 96 Clock Sync Type PC - SS Pot Display Persistance 00 - 99 Velocity Curve S t - H d Menu Initial Display...
  • Page 79 Program mode - Function switch set to SHIFT KEY 6 KEY 7 Arpeggiator Oscillators Arp Mode Unison o F - o b o F - 8 Arp Speed Unison Detune 64 - 91. 0 - 27. Arp Oct Range VCO Drift 1 - 4 0 - 27.

  • Page 80: Fcc Information ( U.s.a.)

    Specifications subject to change: The information contained in this manual is believed to be correct at the time of going to press. However, Novation reserves the right to change or modify the specification without notice or obligation to update existing units.
  • Page 81 Platinum House 32 Clivemont Road Maidenhead Berkshire England SL6 7BZ Phone +44 1 628 678520 Fax +44 1 628 671122 E-mail sales@novationmusic.com Novation USA Limited Int. Toll-free Tel: 011 - 800 - NOVATION (6682-8466) E-mail salesusa@novationmusic.com www.novationmusic.com Specification subject to change without prior notice.

Table of Contents

Save PDF