Novation V-Station User Manual

Software synthesizer

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Thank you for purchasing the Novation V-Station software synthesizer.

The V-Station virtual analogue synthesizer recreates the power and rich sound of the K-Station

synth as a plug-in for Macintosh or Windows.

At the core of the V-Station is Novation's 'Liquid Analogue' synthesis engine, delivering rich,

dense sounds that offer vast creative potential. The plug-in combines these with a clear and

responsive front panel interface with all the key sound shaping controls you need.

Main features

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3 audio oscillators deliver a wide range of waveforms.

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Noise generator authentically models analogue noise generator circuits.

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Ring modulator for clangy, bell-like textures.

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Fm Synthesis for the accurate creation of electric pianos and tuned percussion sounds.

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5-channel mixer for combining and balancing the oscillators, noise generator and ring

modulator.

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Resonant 'Liquid Analogue' lowpass filter with 12dB/Octave and 24dB/Octave settings.

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2 x ADSR envelope generators.

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2 x multi-wave, MIDI syncable LFOs.

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Portamento with exponential and linear slopes.

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Unison mode puts all eight voices (with detune) on one note for a huge sound.

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Arpeggiator with variable patterns, range and gate time. MIDI syncable to host sequencer.

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6 x simultaneous multi-effects including delay (echo), reverb, chorus/flanging/phasing,

EQ, distortion and panning.

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Multiple instances in your sequencer host

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Transfer sounds to/from a K-Station.

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Easy to use 'knobby' panels that emulates a hardware synth.

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400 memory locations (200 factory presets / 200 user presets).

The exact number of instances depends on your computer's processing power. Naturally, the

faster the CPU, the more instances you can use simultaneously.

Main Features

Introduction

Table of Contents

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Summary of Contents for Novation V-Station

Page 1 Thank you for purchasing the Novation V-Station software synthesizer. The V-Station virtual analogue synthesizer recreates the power and rich sound of the K-Station synth as a plug-in for Macintosh or Windows. At the core of the V-Station is Novation’s ‘Liquid Analogue’ synthesis engine, delivering rich, dense sounds that offer vast creative potential.
Page 2 Minimum requirements OPERATING SYSTEMS - PC Windows 98SE - 98ME Windows 2000 (Service Pack 3) WindowsXP HARDWARE Pentium III 1GHz (or equivalent Athlon) 256MB RAM or more S E Q U E N C E R H O S T S LOGIC V5.5 SONAR 1.3.1 (minimum) and a suitable VSTi >...
Page 3 Insert the CD-ROM into your computer’s CD-ROM drive and locate the file ‘V-Station.dmg’. Double click on the file ‘V-Station.dmg’ - this will open as a .pkg file. Double click on this and simply follow the on-screen instructions. At the end of the installation process, you will be prompted to finish - click on QUIT.
Page 4 AUTHORISE dialogue. Paste the UNLOCKING CODE into the KEYCODE box and click on DONE. The V-Station will now launch and you can use it. Once authorised, you will not receive the authorisation dialogue again and you are free to use your V-Station.
Page 5 Selecting programs Probably the best way to get a feel for the V-Station is to play the factory presets that are supplied. The V-Station comes supplied with 400 program memory locations of which the first 200 are occupied with factory presets.
Page 6 To actually save the sound, click on the WRITE button below the LCD. The display will prompt you to select a memory location: Using the V-Station Getting Started...
Page 7 “Vintage”. Whatever... you can subsequently load all these sounds back into your V-Station at any time. In this way, you can build up your own private library of V-Station sounds. It’s also likely that banks of sounds will appear on the Internet which can be downloaded and used with your V-Station.
Page 8 Elements of a sound To gain an understanding of how a synthesizer generates sound, it is helpful to have an understanding of the components that make up a sound, be it musical or non-musical. The only way that a sound may be detected is by air vibrating the eardrum in a regular, periodic manner.
Page 9 Elements of a Sound T o n e Musical sounds consist of several different related pitches occurring simultaneously. The loudest is referred to as the ‘Fundamental’ pitch and corresponds to the perceived note of the sound. Pitches related to the fundamental are called harmonics (sometimes also referred to as ‘overtones’) and these are multiples of the fundamental (i.e.
Page 10 Finally, the sound passes onto the amplifier where the sound’s envelope can be shaped. The V-Station’s sound generating process is all based around these basic principles except that it has three oscillators which can be mixed and combined in any number of ways to provide a far greater palette of raw waveforms than a single oscillator could ever produce.
Page 11 It consists of a wide range of odd numbered harmonics. On many synths (the V-Station included), it is possible to vary the width of the square wave: The so-called ‘pulse’ waves at either extreme have a very different harmonic content to the square wave and sound ‘thinner’...
Page 12 Another technique possible with the oscillators is that known as OSCILLATOR SYNC. This synchronises the outputs of two oscillators to create new waveforms. Normally, when two oscillators are free running, they interact and the resulting waveform is an ‘animated’, constantly evolving sound: Oscillator 1 Oscillator 2 Mixed waveform...
Page 13 1.76kHz (1,760Hz - the sum a further octave up) In this way, you can coax another octave out of the oscillators for a bigger sound. The Ring Modulator on the V-Station always takes Oscillators 1 and 2 as its input sources as shown in the diagram above.
Page 14 The filter in the V-Station is a Low Pass type. A cut-off point is chosen and any harmonics below that point are allowed to pass through unaffected and any above are filtered out. The setting of the FREQUENCY knob on the V-Station panel dictates the point below which harmonics are removed.
Page 15 Filter A further important feature of the filter is the RESONANCE control. Frequencies at the cut-off point are increased in volume by this control: Cutoff frequency As you can see, those harmonics around the cutoff frequency are actually boosted in level whilst all those outside the shaded area are removed.
Page 16 Envelope Generator. Note that on the V-Station, there are no controls in a section on the MAIN panel which deal with the amplifier directly. The only way to hear and control an audio signal passing through the amplifier is to modulate it by using Amp Envelope controls.
Page 17 When controlling volume, these controls adjust the following phases of the envelope as shown in the illustration. Attack time Adjusts the time it takes when a key is pressed for the envelope to climb from zero to full volume. It can be used to create a sound with a slow fade in.
Page 18 The waveforms generated by the LFOs may be fed to other parts of the synthesizer to create the desired movements in the sound. A typical LFO will generate a variety of different control waveforms.
Page 19 (although it must be said that vibrato effects are more naturally controlled with a performance controller such as the modulation wheel). The V-Station has two independent LFOs available which may be used to modulate different synthesizer sections and each LFO can run at different speeds.
Page 20 (and cheaper) and memory became cheaper and readily available, manufacturers were able to allow more and more sounds to be stored in memory. Today, a typical synth has locations for hundreds of sounds! The V-Station is no exception with the capacity to store 400 sounds.
Page 21 The combination of all the above can be stored in memories for later recall. Much of the enjoyment to be had with a synthesizer is with experimenting with the factory preset sounds and creating new ones. There is no substitute for ‘hands on‘ experience.
Page 22 FM Synthesis FM synthesis We have seen how we can create sounds by taking raw waveforms that are rich in harmonics, combining them and processing these through filters and amplifiers under the control of envelopes and LFOs, etc.. However, a form of synthesis was introduced in the ‘80s that used a very different technique to create sounds and instead of taking complex waveforms and breaking them down with filters, you start with simple waveforms and build more complex ones.
Page 23 It is important that it is realised that the FM envelope is used only for FM purposes and is not one of the envelopes available on the V-Station’s MAIN panel. Although the FM synthesis capabilities on the V-Station are not as extensive as those found on other synthesizers that specialise in FM synthesis, it is nonetheless capable of producing some excellent electric pianos and tuned percussion sounds not normally available on subtractive analogue synthesizers.
Page 24 Armed with the knowledge in this chapter, and an understanding of what is actually happening in the machine when tweaks to the knobs and buttons are made, the process of creating new and exciting sounds will become easy. In the next chapter, we’ll see how all this theory relates to the V-Station. Synthesis Tutorial...
Page 25 The V-Station’s MAIN panel is laid out like a conventional analogue synthesizer: The design is based on the V-Station’s hardware brother, the K-Station and if you have any experience with that synthesizer, the V-Station will be immediately familiar to you.
Page 26 Oscillators Oscillators The oscillators generate pitched waveforms (as described in the Synthesis Tutorial chapter) . Most of the controls that determine the pitch and waveform of the oscillators and how they react to modulation are in this area. OCT LEDs Sets the basic pitch of Oscillator 1, 2 or 3 in Octave jumps.
Page 27 When modulated by the MOD ENV, the effect is most apparent when using fairly long Mod Env Attack and Decay times. However, the PWM control on the V-Station is not limited only to varying the width or ‘symmetry’ of the square wave - it can also be used with the other waveforms available for each of the V-Station’s oscillators (see the next page for details).
Page 28 Oscillators Rotate the PWM knob fully clockwise. As the control is rotated, a double sawtooth wave is generated. At this fully clockwise position the pitch will appear to double. Select LFO 2 using the PW M select LEDs. Slowly rotate the PWM knob. Notice that there will be some movement in the sound.
Page 29 Mixer Mixer The V-Station’s mixer makes it possible to combine the outputs of Oscillators 1, 2 and 3, the Noise source and the Ring modulator. The ability to mix together any (or all) of these sound sources makes it easy to create complex timbres.
Page 30 Filter Filter The V-Station’s filter is what is known as a ‘Low Pass’ type. This type of filter is musically the most useful for the majority of sounds. FREQ Knob This controls the basic cutoff frequency of the filter. Set fully clockwise, the filter is wide open allowing all frequencies (harmonics) produced by the oscillators to pass through.
Page 31 Filter O-DRIVE 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. MOD ENV Knob Controls the amount of change to the filter cutoff (set by the FREQUENCY knob) by the Modulation Envelope.
Page 32 Envelopes Amplifier and Mod envelopes The V-Station’s envelopes are used to shape a sound throughout its duration. The AMP ENVdetermines the volume of the sound with respect to its duration. The MOD ENV may be used to control other sound elements of the synthesizer throughout the duration of the sound.
Page 33 Envelopes RELEASE Knob / Slider Sets how quickly the envelope falls from the sustain level to zero once the note has been released. When set to zero, this time is very fast (instantaneous to the ear) increasing exponentially to twenty seconds when set to maximum. To shorten release times, move this control towards zero and to lengthen release times, move this control towards maximum.
Page 34 Low Frequency Oscillators (LFOs) There are two LFOs - Low Frequency Oscillators - available on the V-Station. These produce regular electronic variations which are too low to be heard but can be used to modify or control various elements of the sound such as pitch (vibrato), pulse width or filter cutoff.
Page 35 WRITE button Allows you to write any sounds you edit or create to the V-Station’s memory. Clicking on this will put a prompt in the LCD: If you want to over-write the existing sound, simply click on CONFIRM - the sound will be written to the current location.
Page 36 VOICE METER Below the Master section is a voice meter that shows how many voices are being used. The V-Station is capable of 8-voice polyphony. MIDI indicator LED This flashes whenever a MIDI note is received. If this LED does not flash wien a note is played, there is a problem with MIDI reception.
Page 37 Arpeggiator The V-Station includes an Arpeggiator which 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. This section of the MAIN panel allows you to select the arpeggiator’s pattern and range.
Page 38 Arpeggiator RANGE menu Sets how many octaves the Arpeggio pattern will sweep through. The sweep range is selectable from 1 to 4 octaves. ON / OFF Button This activates / deactivates the Arpeggiator. While the Arpeggiator is activated, the LED in the button will be lit.
Page 39 Portamento Portamento Portamento (sometimes known as GLIDE) is an effect where notes will slide smoothly from one pitch to the next. Normally, when you play, notes just ‘play’ - they change pitch instantly as you would expect. However, with portamento applied, the notes will slide from one to another at a rate determined by the portamento TIME control.
Page 40 Effects section At the bottom right of the V-Station’s panel is a section where you can program the V-Station’s effects. The V-Station has six effects - delay (echo), reverb, chorus (which can also produce flanging and phasing effects), distortion, EQ and panning - which can be used simultaneously. To edit the effects, simply click on the LEDs.
Page 41 RATIO Menu The V-Station’s delay effect is actually a stereo delay and it is possible to set different delay times on the left and right audio outputs. The RATIO menu allows you to select the ratio of the longest delay time and the shorter delay time into timings that are musically useful. The following ratios are available: A simple, equal 1 to 1 ratio is the first entry in the table.
Page 42 SYNC RATE Menu Enables the time of the Delay repeats to be synchronised to the tempo of a song. The following table gives the range of synchronisation values available. Menu Item 32nd T 32nd 16th T 16th 8th T 16th D 4th T 8th D 2nd T...
Page 43 TYPE Menu Different types of rooms and halls have different acoustics and, therefore, different reverb characteristics. The V-Station’s reverb processor features six different reverb types. These range from a small room to a large hall: Experiment with different types of reverb, noting how different ‘rooms’ affect the acoustic properties of the sound.
Page 44 The V-Station’s chorus is a stereo unit which adds width as well as depth to the sound. The V-Station’s chorus is also capable of behaving as a phaser. The way a phaser works is in fact entirely different to the chorus. A portion of the audio signal is split off and phase shifted at certain frequencies.
Page 45 Moderate amounts are recommended. Note : The dedicated chorus LFO should not be confused with the two LFOs available on the V-Station’s MAIN panel. CENTRE Knob The stereo chorus can actually be thought of as two continuously variable delays. The delay variations are being controlled by the chorus dedicated LFO.
Page 46 SYNC RATE Menu Similar to Delay Sync, the chorus unit’s internal LFO may be synchronised to internal or external MIDI clock tempo. The available Sync resolutions are the same as those we saw in the delay section but with the addition of longer LFO sweeps: Menu Item MIDI Clocks Synchronised to Manual rate 32nd T...
Page 47 Distortion Distortion is an effect commonly used by guitar players. However, it is now increasingly used in the production of modern dance music. The V-Station’s distortion effect gives the sound a hard edged, distorted and dirty kind of quality. LEVEL Knob Sets the amount of signal going to the distortion.
Page 48 EQ (Equalisation) Contained in the Effects section is an EQ filter which can boost or cut high (treble) or low (bass) frequencies in a similar manner to the ‘tone’ controls often found on domestic hi-fi units. As well as being able to boost low or high frequencies, the final output EQ filter may be used to create automatic sweeps of EQ and filtering.
Page 49 EQ MOD RATE control. The effect is not unlike that of a mild filter sweep and can be used creatively to augment the V-Station’s filter section. Note : The dedicated EQ LFO should not be confused with the two LFOs available on the V-Station’s MAIN panel.
Page 50 (see Mod Depth above). Note : The dedicated EQ LFO should not be confused with the two LFOs available on the V-Station’s MAIN panel. INIT POS Menu As well as being able to synchronise to MIDI clock (tempo), the dedicated LFO used to modulate the depth of the EQ may have its initial position set after a specific MIDI event is received.
Page 51 SYNC RATE Menu The rate (speed) of the dedicated EQ LFO may be locked to the tempo of the host sequencer to allow synchronised EQ filtering effects. The following table describes the musical timings available: Menu Item MIDI Clocks Synchronised to Manual rate 32nd T 32nd Triplet...
Page 52 Panning Panning The Panning function in the V-Station performs the same function as the PAN knob on a mixing console. It can be used to position a sound anywhere from left to right in the stereo field. POS Knob Uniquely, the PANNING effect does not have a LEVEL control. Instead, it has a POS (an abbreviation for ‘position’) control to place the sound in the left / right output.
Page 53 CENTRE, the panning will start at the centre, move to the left then back to the right and then to the centre, etc.. If set to OFF, the panning will be ‘free-running’ for every note. Note : The panning LFO should not be confused with the two LFOs available on the V-Station’s MAIN panel. MAIN panel / Operation...
Page 54 SYNC RATE Menu A very pleasing audio effect may be heard when the panning effect is synchronised to the tempo of a musical piece. The following table describes the musical timings available: Menu Item MIDI Clocks Synchronised to Manual rate 32nd T 32nd Triplet 32nd...
Page 55 (or even create your own sounds from scratch) In the next section, we’ll look at some of the lesser-used (but no less important) functions of the V-Station. MAIN panel / Operation...
Page 56 EXTRA panel EXTRA panel The EXTRA page is where you’ll find the little ‘extras’ that add a lot to the basic functionality but are only used occasionally and don’t warrant cluttering up the MAIN panel. As on the MAIN panel, the sections are divided up logically. We will look at these in this chapter. EXTRA panel / Operation...
Page 57 The Oscillator Extra controls are: FM LEVEL Knob The V-Station allows simple FM synthesis to be performed. The FM Level controls the amount that Oscillator 3 is directly Frequency Modulated by Oscillator 2. As the FM Level is increased, so the output of Oscillator 3 becomes more ‘metallic’ (for a description of FM synthesis, see...
Page 58 POLY1 allows successive playing of the same note(s) to be ‘stacked’ together, gradually producing a louder sound texture as the note(s) are repeatedly played. With POLY2, if the same note(s) are played repeatedly, they will use the same synthesizer voices as used previously, thus avoiding the ‘stacked note’ effect.
Page 59 Unison allows more than one voice to be used for each note played on the keyboard. This effect is useful when a very thick sound is required. The V-Station allows up to eight voices to sound layered one on top of another when just a single note is played.
Page 60 Arpeggiator Extras Arpeggiator The arpeggiator’s extra controls are: TEMPO Knob By default, the arpeggiator is set to sync to the sequencer’s tempo so that when the arpeggiator is enabled, it automatically syncs to the song you are working on. However, it is possible to override this default so that the arpeggiator is ‘free-running’...
Page 61 SYNC RATE This drop down menu allows the Arpeggiator to be synchronised with an external sequencer. A range of synchronisation values are available : Menu Item MIDI Clocks Synchronised to 32nd T 32nd 16th T 16th 8th T 16th D 4th T 8th D 2nd T...
Page 62 When FM synthesis is being used, this value determines the FM Envelope’s Attack time. Note : The FM Envelope is used only for FM synthesis and should not be confused with the Amp or Mod Envelopes available on the V-Station’s MAIN panel. FM DECAY Knob When FM synthesis is being used (see Pages 23 and 24), this value determines the FM Envelope’s Decay time.
Page 63 Envelopes Extras VEL > FM Controls the amount velocity will affect the output level of the FM envelope. At a setting of zero, there will be no effect - it won’t matter how hard or soft you play the keyboard, there will be no difference in the sound.
Page 64 Envelopes Extras When set to MULTI, the appropriate envelope’s attack/release will always re-trigger on each key press, regardless of the playing style used. Multi triggering is useful where you want every note to have a pronounced attack/decay - it is also good for emulating older analogue synths such as the ARP range that had multiple triggering.
Page 65 LFOs Extras Low Frequency Oscillators (LFOs) DELAY TRIG select LEDs When the Voice mode is set to any of the Mono options (see Page 60), different LFO delay settings are available for legato playing styles (notes overlapping). When the first note of a musical phrase is played, it might be desirable to have an initial delay on the LFO.
Page 66 To illustrate this, assume the LFO waveform is a triangle wave and at a specific moment in time all eight are at the beginning of a the rising portion of the wave. At a later point in time all will be at the beginning of the falling portion of the wave.
Page 67 The CONTROLS panel allows you to set how the various performance controllers such as pitch bend, mod wheel, aftertouch and breath will control certain V-Station parameters. Typically, these will be set so that the modwheel will control vibrato, the pitch bend wheel will control pitch and so forth.
Page 68 Mod wheel This section of the panel provides all the controls required to route the mod wheel to various destinations. They are: Using these four controls, you can use the modulation wheel to gradually introduce each of the effects during a performance. DELAY Sets how much the modulation wheel will introduce the delay effect.
Page 69 AMP GAIN By routing the Modulation wheel to the amplifier, the overall volume of the sound may be controlled. Positive values of 1 to 63 increase the output volume of the Amp Envelope as the Modulation Wheel is pushed forwards. Negative values from -1 to -64 decrease the output volume of the Amp Envelope as the Modulation Wheel is pushed forwards.
Page 70 Breath control With these controls, you can set how the V-Station will respond to breath control. O S C 1 2 3 PITCH It may be desirable to drastically change the pitch of all the oscillators using breath control. This setting is used to shift the absolute pitch of the all the oscillators up or down in response to breath control.
Page 71 Aftertouch With these controls, you can set how the V-Station will respond to aftertouch. O S C 1 2 3 PITCH It may be desirable to drastically change the pitch of all the oscillators using aftertouch. This setting is used to shift the absolute pitch of the all the oscillators up or down in response to aftertouch.
Page 72 GLOBAL panel This page allows you to set parameters that relate to the overall performance of the V-Station. Global MASTER TUNE Knob This allows you to tune the V-Station to other instruments. SYNC MODE select LEDs If MIDI Clock Source is set to EXT (external clock), a clock synchronisation type may be selected...
Page 73 When set to EXT, the V-Station will sync to the sequencer’s tempo. However, that’s not to say every syncable device in the V-Station will run in time with your sequencer - they will have to be individually set to sync to incoming MIDI clock. The only exception to this is the arpeggiator which, by default, will sync to your sequencer.
Page 74 The RESTORE button allows you to restore the factory sounds originally supplied with the V-Station. To restore the factory sounds, simply click on RESTORE - you will receive a prompt asking if you want to restore just the currently selected program or all programs: Select as appropriate.
Page 75 V-Station’s internal sounds and/or build up your own personal library of V-Station sounds. We’ll discuss EXPORT first and we’ll look at how to get that export into the V-Station and into a K-Station. To export, click on EXPORT. You will receive this prompt: You can export the currently selected sound or all programs.
Page 76 Import / Export Select the file you wiant to import and click on IMPORT. After a short while, the V-Station’s LCD will inform you that the import completed. Note : The IMPORTprocess will completely replace the sounds you have in your V-Station and there is no ‘undo’...
Page 77 Importing raw SysEx files from the K-Station to the V-Station The V-Station will also import SysEx files (*syx) and it is possible (with the appropriate application) to import raw sysex data from the K-Station into your computer. In this way, you can receive K-Station SysEx dumps directly into your computer, save the result as ‘*.syx’...
Page 78 V-Station’s ‘local’ memory - to store them permanently, they need to be written to the V-Station’s memory. This can be done manually, of course, but this preference allows you to set the V-Station so that whenever a preset/setting/whatever is loaded, it will automatically be written to the V-Station’s memory.
Page 79 Preferences NUMPAD PROGRAM SELECT LEDs This preference allows you to enable program selection using your computer keyboard’s numeric keypad. With this enabled, programs can be selected by typing in a three digit number (100 - 400). Note : Some sequencers use the numeric keypad for play, stop, locating and other functions. Some sequencers allow you to re-assign these so that you can use the keypad for other purposes.
Page 80 Using the V-Station with a K-Station If you have a K-Station, you can use this to control your V-Station directly and very convenient this is too as it gives you all the flexibility of a software synth plug-in but with the tactile operation only a hardware control surface can provide.
Page 81 SETTINGS will load all programs back into the V-Station. • When the V-Station is inserted into a track, if the V-Station’s window is open and a track other than the one that the V-Station is inserted into is selected, the V-Station’s panel will appear to be inactive (i.e.
Page 82 MIDI controller list Some controllers adhere to the normal midi-specified use (eg modwheel, volume) but most are used arbitrarily and no claim is made of compatibility with other Novation products or other manufacturer’s products. This is a common practice among manufacturers.
Page 83 MIDI-SPECIFIED USE V-STATION USE undefined msb CHORUS MOD CENTRE POINT bank lsb BANK SELECT 1..4 modwheel lsb EQ LEVEL *** (0, 1..63, 64, 65. 126, 127 = LP, LPshelf, flat, HPshelf, HP) breath lsb EQ FREQUENCY undefined lsb NON-SYNC EQ MOD RATE foot controller lsb SYNC EQ MOD RATE 0..34 (non-sync, 32Triplet..12bars)
Page 84 MIDI-SPECIFIED USE V-STATION USE sound controller 10 LFO 1,2 KEYSYNC / LOCK / PHASE CONTROL (see packed parameter 6) gen. controller 5 lsb NON-SYNC LFO1 SPEED gen. controller 6 lsb SYNC LFO1 SPEED (0=NON-SYNC) gen. controller 7 lsb LFO1 DELAY (GRADUAL ONSET TIME) gen.
Page 85 Refer to the lists of MIDI Controllers and NRPNs on Pages 42 - 44. ENVELOPES SINGLE-MULTI / OSC WAVEFORM KEYSYNC bit 0 amp env trigger 0=single 1=multi bit 1 mod env trigger 0=single 1=multi bit 2 fm env trigger 0=single 1=multi bits 3-6 4-bit wave keysync phase 0=free-running 1..15 = 0..336 degrees in 24 degree steps...
Page 86 10 EFFECTS, VOCODER & EXTERNAL AUDIO CONTROL bit 3 vocoder sibilance type 0=hi-pass 1=noise bit 5 external audio trigger control 1=enabled bit 6 external audio to fx control 1=enabled 11 EFFECTS SELECT/ KEYBOARD OCTAVE bits 0-2 0=Delay 1=reverb 2=chorus 3=distortion 4=EQ 5=panning 6=vocoder bit 3,4,5,6 Signed value 0 = Nominal Octave where middle C is 261Hz -4 = Lowest Octave +5 = Highest octave 12 OSC SELECT, NOISE/RING SELECT, PWM SOURCE SELECT, LFO SELECT...
Page 87 The V-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 88 SYSEX REQUEST MESSAGES (receive only) PROGRAM DUMP REQUEST SYSEX START NOVATION ID 1 NOVATION ID 2 NOVATION ID 3 DEVICE TYPE K-STATION SyCh SYSEX CHANNEL MESSAGE TYPE CONTROL BYTE SOFTWARE VERSION VERSION INCREMENT PROGRAM BANK PROGRAM NUMBER END OF EXCLUSIVE...
Page 89 GLOBAL DATA BLOCK (256 bytes) Byte Parameter POWER-UP PROGRAM BANK 1..4 POWER-UP PROGRAM NUMBER 0..99 MEMORY PROTECT (0=protected 1=not protected) MIDI LOCAL CONTROL (0=off 127=on) MIDI RECEIVE CHANNEL 0..15 MIDI TRANSMIT CHANNEL 0..15 --- (may be used in future software releases) MIDI CLOCK SOURCE (0=internal 1=external) --- (may be used in future software releases) MASTER TUNE CENTS ***...
Page 90 OSC3 SEMITONE *** -12..+12 OSC3 CENT *** -50..+50 OSC3 BENDWHEEL PITCH AMOUNT *** OSC3 LFO1 PITCH AMOUNT *** OSC3 MOD.ENV PITCH AMOUNT *** OSC3 PULSE WIDTH POSITION *** (0=50% or in-phase double wave) OSC3 LFO2 PULSE WIDTH MOD *** OSC3 MOD.ENV PULSE WIDTH MOD *** OSCs 1,2,3 MODWHEEL DIRECT PITCH DEPTH *** OSCs 1,2,3 AFTERTOUCH DIRECT PITCH DEPTH *** OSCs 1,2,3 BREATH DIRECT PITCH DEPTH ***...
Page 91 Byte Parameter MOD. ENVELOPE VELOCITY DEPTH *** MOD. ENVELOPE ATTACK MOD. ENVELOPE DECAY MOD. ENVELOPE SUSTAIN MOD. ENVELOPE RELEASE --- (may be used in future software releases) NON-SYNC LFO1 SPEED SYNC LFO1 SPEED (0=NON-SYNC) LFO1 DELAY (GRADUAL ONSET TIME) NON-SYNC LFO2 SPEED SYNC LFO2 SPEED (0=NON-SYNC) LFO2 DELAY (GRADUAL ONSET TIME) LFO 1,2 WAVEFORM / DELAY MULTI MODE (see packed parameter 5)
Page 92 Zeros are transmitted. Use zeros for future compatibility Note : Some parameters listed above are not appropriate to the V-Station (for example, Vocoder and External Input parameters). They will be accepted by the V-Station but will just be ignored. MIDI System Exclusive...
Page 93 Model : Novation V-Station Function Basic Default Channel Changed Mode Default Altered Messages Note True Number Voice Velocity Note On Note Off Aftertouch Channel Keys Pitch Bend Control Change Program Change True System Exclusive System Real-Time System Common Messages Local On...