Bassstation: Owner'S Manual Owner'S Manual
Bassstation: Owner'S Manual Owner'S Manual
Bassstation: Owner'S Manual Owner'S Manual
OWNER'S MANUAL
Contents
Introduction
Front Panel Controls & Features
Rear Panel Connections & Features
Preparation & Connections
Preparation ........................................................................................................... page 3
Connections .......................................................................................................... page 4
Quick Guide .......................................................................................................... page 4
How The Controls Work
Control Section ...................................................................................................... page 5
Memory Section .................................................................................................... page 7
Analogue Voice Architecture ................................................................................. page 7
LFO Section .......................................................................................................... page 8
Oscillators 1&2 Section ......................................................................................... page 9
Oscillators 1&2 Modulation Section .................................................................... page 10
Filter Section ........................................................................................................ page 11
Envelopes 1&2 Section ....................................................................................... page 12
MIDI Control ........................................................................................................ page 14
Appendix
Specification ........................................................................................................ page 15
Introduction
Thank you for buying the Novation BassStation Analogue Bass Synthesiser. The keyboard
you have purchased is ideal for producing the kind of bass sounds which have returned
to popularity in recent years, but it is capable of far more than just that. Analogue
synthesis is also suitable for melody lines and lead solos as well as sound effects.
Coming from the Novation stable, it is also obvious that the BassStation makes an ideal
performance keyboard for stage use, not just for lines played using it's bass and lead
sounds, but also for polyphonic control of MIDI sound modules with velocity, pitch bend,
modulation and after touch control.
The MIDI on the BassStation allows for real-time transmission and reception of controller
information. This means that the live 'tweaking' of controls during a performance which is
particularly appropriate for analogue sounds can be recorded into a sequencer along
with the notes played and the entire performance recreated on playback. Bulk Dumps of
the 7 Memory locations can also be sent and received, allowing you to build a large
library of analogue sounds for different applications.
4
3 5
2 6
1 7
FILTER OFF PITCH KEY'B OFF TUNING EDIT/ WRITE PROTECT ENABLE SPEED R'DOM TRI SAW 16' 8' 4' 2' 1 2 ENV 2 MAN LFO 12dB 24dB LFO ENV 2 1 2 AUTOGLIDE SINGLE MULTI
BassStation
ANALOGUE BASS SYNTH
MOD WHEEL DEPTH UTIL. MODE WRITE SHAPE WAVEFORM RANGE WAVEFORM OSCILLATOR PWM SOURCE CUT- OFF MOD SOURCE ENVELOPE TRIGGERING
OCTAVE SELECT MIDI CHANNEL SELECT CONTROLLER ASSIGN LOAD MEMORY SAVE
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 TX RX A.TOUCH MOD VOL SINGLE ALL SINGLE ALL
_ / Down +/ Up
Compare Write
PITCH CONTROLLER
3 2 1
BassStation
3 4 2
1 Power On/Off Switch 5 MIDI In Connector
Slide to the "On" position to turn the BassStation on, and to the "Off" This connector is used to receive MIDI data from an external device..
position to turn it off.
2 6 MIDI Out Connector
External 9vDC Input
Use this jack to power the BassStation from an optional DC adapter. This connector is used to transmit MIDI data to an external device.
3 Battery Compartment 7 Line Out Connector
The BassStation uses six AA size ( SUM - 3 or R6P ) batteries. This 1/4 jack delivers a line-level output signal for connection to a
4 External Pitch Bend / Controller Wheel Grip Connector mixing desk or amplifier input.
Use this connector when using the optional Controller Grip ( ECG-1 ).
Preparation
Power Supply
The BassStation will operate either from batteries or an optional DC adapter.
Using Batteries
Six AA size batteries must first be installed in the battery compartment.
Battery Insertion
Insert the six batteries as shown in the diagram.
AA 1.5V AA 1.5V AA 1.5V Note that three batteries fit in one direction and
AA 1.5V AA 1.5V AA 1.5V three in the other as shown by the polarity
indications inside the compartment. The spring
always fits against the negative end of the battery.
Correct battery insertion
Replace Cover
Replace the battery compartment cover, making sure that it locks firmly in place.
Power Switch
Move this switch to the "On" position to turn the BassStation on, and to the "Off" position to
turn the power off.
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Connections & Quick Guide
Connections
9vDC In Jack
This jack is used to power the BassStation from an optional external DC adapter instead of
batteries. The plug of a Novation PSU-2 should be plugged into this jack. The batteries are
automatically disconnected when the plug is inserted.
MIDI In Connector
Use this connector when you wish to play the BassStation's sounds from an external MIDI
device i.e. a sequencer or keyboard.
Quick Guide
First, set the 'Volume' control to a reasonably high output level (8-9). This will maintain a good
signal to noise ratio on the line level output from the BassStation, but be sure that the input volume
setting on your amplifier or mixer is initially set at a low level to ensure a comfortable listening
volume when the first notes are played. Move the rotary 'Memory' selector to position '1'. Ensure
that the 'Mod Wheel Depth' and 'Util.Mode' switches in the Control Section are at their central 'off'
positions and that the 'Write' switch in the Memory Section is in the 'Protect' position.
Now, move the 'Power On/Off' switch located on the rear panel to the 'On' position. The LFO speed
LED should be flashing at a constant rate. If this does not happen, check that the batteries are
new and correctly fitted or that the power supply is of the specified type. Play the keyboard and
you will hear the sound that is stored in memory location number 1. Use the 'Memory' knob to
select all 7 of the factory demonstration sounds.
Reading the following chapter "How the controls work" in detail, will help you to understand how
these sounds were set up and allow you to explore the extensive sonic capabilities of the
BassStation so you can easily create your own, individual sounds.
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How The Controls Work
Control Section
Volume - Rotary
This knob allows you to adjust the volume output of the BassStation. Turn to the left to reduce the
volume and to the right to increase the volume. Because the BassStation also acts as a
polyphonic MIDI keyboard controller, you may also want to use this knob to silence the sound of
the BassStation whilst playing external sounds on the same MIDI channel.
Mod Wheel Depth - Switch
This switch allows you to alter the amount of Pitch or Filter modulation depth available on the
controller wheel. These settings can be stored with each Memory for custom setups. When set to
either the Pitch or Filter position, the Controller Wheel is used to set the maximum depth of
modulation from the wheel at it's 'full on' position. Whilst playing a note(s) on the keyboard, adjust
the Controller Wheel to set the required depth of either the Filter or Pitch. i.e. the amount of depth
set during this procedure will have effect at the full "end stop" position of the Controller Wheel.
N.B. Ensure this switch is in the " Off " position during normal use.
MIDI Channel
Keys 1-18 govern the MIDI channels on which the BassStation transmits (TX) and receives (RX). To
set the transmit channel, first press the key labelled "TX" followed by the key corresponding to the
MIDI channel on which you want the BassStation to transmit. Similarly, to set the receive channel,
press the key labelled "RX" followed by the key corresponding to the MIDI channel on which you
want the BassStation to receive. N.B. Remember to press the "TX" or "RX" key first, otherwise you will
change the pitch bend setting if a key numbered 1 to 12 is pressed.
Important note: When playing the BassStation from it's own keyboard you must always set the
transmit and receive channels to the same number. If no sound appears and the volume is
turned up, check that the TX and RX channels are set to the same value.
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How The Controls Work
Controller Assign
The next three keys are used to set the function of the Controller Wheel. To make the Controller
Wheel send Aftertouch ( pressure), press the key labelled "A.Touch". To make it send modulation,
press the key labelled "Mod". To make it send MIDI Volume, press the key labelled "Vol".
Load Single
To load a single sound, you must first move the Write switch in the Memory section from the
Protect to the Enable position. Then move the Memory Rotary switch to the position in which you
want to store the incoming sound. Now press the "Load Single" Key. The BassStation is now waiting
to receive the incoming sound data which you must transmit from your computer or other data
storage device. When the data is received, the "Edit/Write" LED will flash rapidly for a few
moments to confirm that the BassStation has stored the transmitted sound. If no data is received
within 20 seconds, the BassStation will revert to normal mode. This means you must press the
"Load Single" key to receive a sound.
Load All
To load all 7 sounds into the BassStation's memory, you must again make sure that the Write switch
in the Memory section is in the Enable position. Now press the "Load All" Key and then transmit the
bulk dump from your computer or other data storage device. When the data is received, the
Edit/Write LED will flash rapidly for a few moments to confirm that the BassStation has stored all
seven sounds. Again if no data is received within 20 seconds, the BassStation will revert to normal
mode. You must press the "Load All" key again to load a bulk dump. N.B. When you have finished
loading, make sure you turn the Write switch back to the Protect position to prevent any sounds
being accidentally erased.
Save Single
To save a single sound to a computer or other data storage device, you must first move the
Memory rotary switch to the position of the sound you want to save. Make sure the computer or
data storage device is ready to accept the data and then press the "Save Single" key.
Save All
To save all seven sounds in the BassStation's memory to a computer or other data storage device,
ensure that the computer or data storage device is ready to accept the bulk dump and then
press the "Save All" key. All seven sounds will be transmitted via the MIDI Out socket.
Portamento - Rotary
This knob controls the speed of the glide between the last pitch and the next. All the way to the
left, the pitch changes instantaneously so you will not hear any glide. As you move the knob to the
right, the time taken for the pitch to change between notes is increased and you begin to hear
the glide. At the far right, this takes 5 seconds.
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How The Controls Work
Memory Section
This is where you select the sounds you have previously 3
4
5
created on the BassStation and store newly edited 2 6
sounds. When editing a stored sound, the current
1 7
position of a knob or switch will probably be totally
different to that of the memory sound selected. When MANUAL
If you are already familiar with the basics of analogue synthesis you can use this section as a
reference guide to exactly how any element is programmed and routed, but if you are new to
this analogue business (having grown up on sample replay instruments - welcome back to the
real synthesiser), you should get a good grounding in the basics of synthesis by working your way
through each section.
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How The Controls Work
LFO Section
Speed - Rotary
This knob controls the rate at which these changes take place and a visual indication of the
speed set is given by the flashing of the LED directly below this knob. Faster speeds are set by
turning the knob to the right and are more suitable for vibrato and tremolo effects whilst slower
speeds to the left are more pleasing for Pulse Width changes of harmonic content.
1. Move the Speed knob fully left to it's '0' position. This will stop the LFO running completely.
2. Using the Mod Wheel Depth switch and Controller Wheel, set the Pitch Depth to zero and
the Filter Depth to full - see 'Control Section' on page 5.
3. Select the 24dB mode and turn the Frequency knob fully to the left - Filter closed.
4. Using the Mod Source switch, set 'LFO' and 'Env 2' to zero ( knob in central position ).
Now you can use the Controller Wheel to open and close the Filter.
Delay - Rotary
This knob controls how long after the note is struck the LFO begins to take effect. If the knob is all
the way to the left, the LFO effect will begin immediately. As the knob is turned to the right it will
take increasingly longer for the LFO effect to be introduced. This is particularly useful for vibrato
effects which if present (ie. when the Delay knob is all the way to the left) as the note is
struck can make the note sound out of tune. By setting the LFO Delay to the right, the LFO effect
will not be introduced until after the note is struck, thereby removing the problem. If you have
problems getting the LFO to take effect, make sure the Delay knob is not set all the way to the
right!
Shape - Switch
This switch selects the waveform which defines the "shape" of the LFO movement. The options are
as follows :
R'DOM - This stands for random, sometimes also referred to as Sample & Hold. At a regular interval
(governed by the Speed knob), the level of the LFO jumps to a new random level and stays there
until the next jump. This creates a rhythmic effect particularly if routed to the Filter Cut-off (see Filter
Section). Routing this to Pitch gives a less musical result, but is useful for computer or machinery
sound effects.
TRI - Short for Triangle, this waveform gives the smoothest, continuous change in level to the LFO
and is therefor probably the most generally useful setting. When routed to Pitch, it gives you
vibrato (if used with higher speed and lesser depth) or a siren effect (with lower speed and greater
depth). If routed to Filter Cut-off, a tremolo or "Leslie" effect results.
SAW - This waveform looks like the teeth of a saw (from which it gets it's name) and gives you a
falling level which then jumps back up to the full level. Routed to the Filter Cut-off, it produces a
rhythmic pulse effect, similar to a sequenced repeated bass line. Routing it to Pitch produces
"alarm" type sounds.
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How The Controls Work
Sawtooth ( or Ramp )
So called because a series of sawtooth oscillations resembles the teeth on a saw. The sawtooth
waveform contains every harmonic in the harmonic series in decreasing volume. Sawtooth
waveforms make a very rich sound.
Detune - Rotary
This knob controls the amount of fine tuning difference between the two oscillators. In it's central
position the oscillators will be exactly in tune with each other. Turning the knob anti-clockwise will
make oscillator 2 increasingly "Flat" in relation to oscillator 1. Turning the knob in a clockwise
direction will make oscillator 2 increasingly "Sharp" . Slight detunings will enrich the sound by
introducing a beating between the oscillators (in the same way a 12-string guitar sounds richer
than a 6-string) allowing you to 'fatten' up bass and lead sounds. Greater amounts of detuning will
lead to more extreme effects. Use according to your own taste.
Semi-Tone - Rotary
This knob allows you to switch the musical interval between the oscillators in semi-tones up to a full
octave, by raising the pitch of oscillator 2. The most conventionally useful intervals are set by
switching to 5 (a perfect 4th), 7 (a perfect 5th), with 3 (minor 3rd), 4 (major 3rd), 8 (minor 6th) and
9 (major 6th) following closely behind. Other fixed intervals are only for the more experimental.
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How The Controls Work
Oscillator 1 2 - Switch
This switch selects the oscillator whose modulation you are currently setting. Any changes to the
three knobs and the other switch in this section you make will be applied to whichever oscillator is
currently selected. When you switch to the other oscillator, you will need to alter the positions of
the knobs and switches in this section to make their current positions apply to the new oscillator,
otherwise the previous settings will still apply.
Envelope - Rotary
This knob controls the amount of pitch modulation to the currently selected oscillator (see above)
from envelope 2. In the centre position there is no effect on the oscillator's pitch, to the left the
effect is negative (ie. the pitch drops and then rises) and to the right positive (the pitch rises and
then falls). The further you set the knob from the central position the further the pitch rises and falls.
See the "Envelope Section" later for the exact programming of the rise and fall times.
LFO - Rotary
This knob controls the amount of pitch modulation to the oscillator, ie. how much above and
below the set pitch the oscillator regularly rises and falls. If the LFO is set to Triangle wave and it's
speed is above the centre of its range, then this will normally produce a vibrato effect, but other
effects like a siren or seagull cries are possible with more extreme settings. See the LFO section
later for more detail on adjusting the LFO parameters to create these effects.
Pulse Width - Rotary
This knob has a direct effect on the Pulse Width when the waveform of the selected oscillator is set
to Pulse (Square). When the Mod Source switch is set to Manual, the position of this knob controls
the actual width of the Pulse. At the far left, the Width is 50% (ie. minimum and maximum values
are of equal length) giving a special case which we refer to as a square wave, which contains all
the odd-numbered harmonics giving a 'hollow' sound reminiscent of a clarinet. As you move the
knob to the right the Pulse Width gets narrower and more and more high harmonics are added at
the expense of the fundamental pitch giving the sound a thin, trebly quality. At the far right the
fundamental has almost disappeared and the sound becomes very thin indeed. When the Mod
Source switch is set to Env 2 or LFO, this knob governs the amount of variation in the pulse width in
a negative or positive direction about a central 'off' position. As the knob is moved to the left, the
variation in the Pulse Width will increase progressively in a negative manner whilst moving it to the
right will vary the Pulse Width in a positive manner.
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How The Controls Work
Filter Section
Frequency - Rotary
This knob controls the basic cut-off frequency of the filter. All the way to the right, the filter is wide
open allowing all the frequencies produced by the Oscillators to sound. As you turn the knob to
the left it closes the filter, cutting out harmonics, starting with the highest but increasingly lower
ones until only the fundamental or nothing at all is allowed to sound (at the far left). If ever the
BassStation is making no sound at all and the Volume knob is turned up, the most likely cause is
that the Filter is fully closed. Turn the Frequency knob to the right to let the sound out.
Resonance - Rotary
This knob allows you to boost or emphasise the frequencies around the Cut-off frequency (set by
Frequency knob above). For this reason on some synths this control is known as Emphasis. At the
far left there is no boosting of the cut-off frequency, but as you turn to the right this frequency will
be boosted until at the far left it goes in to oscillation producing a new pitched element (similar to
feedback on an electric guitar). If ever the BassStation produces a high whistling sound, the
chances are this knob is too far to the right. Unless you want this self-oscillating effect, keep the
resonance control away from the extreme right setting. Increasing the Resonance is very good
for bringing out modulation (movement or change) in the filter cut-off frequency, such as in Acid
basslines and other very up-front sounds. Keep the resonance to a minimum if you want more
subtle less striking sounds.
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How The Controls Work
you hit a note and how it ATTACK DECAY SUSTAIN RELEASE VELOCITY
Envelope 1 2 - Switch
This switch selects which envelope you are currently making changes to. If 1 is selected then
changes to the knobs in this section will change the way the amplitude or volume envelope
responds when you hit, hold and release a note. If 2 is selected, then changes to the Envelope
knobs will affect the Pulse Width and/or Filter Frequency modulation (depending on which is
switched to Env 2 in the appropriate sections). N.B. the settings of each envelope will be
unaffected until you move the appropriate knobs, as the current settings of those knobs are
ignored until they moved (otherwise each Envelope would automatically copy the settings of the
other when you switched between them.
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How The Controls Work
Decay - Rotary
This knob sets how quickly the envelope drops off to the sustain level once the maximum level has
been reached. At the far left this time is 3 milliseconds (still instantaneous to our ears) increasing
exponentially to 10 seconds at the far right. Again fine adjustment of short times can be made on
the left and bigger changes to longer decay times on the right.
Sustain - Rotary
This knob sets the level at which the envelope remains after the Decay phase until the keyboard is
released. At the far left the envelope will decay all the way to zero without being interrupted. As
the knob is moved to the right, the level at which the decay is halted increases until at the far
right, there is no decay at all.
Release - Rotary
This knobs sets how quickly the envelope drops from the sustain level to zero once the key has
been released. At the far left this time is 3 milliseconds (still instantaneous to our ears) increasing
exponentially to 10 seconds at the far right. Again fine adjustment of short times can be made on
the left and bigger changes to longer release times on the right.
Velocity - Rotary
This knob sets how much effect velocity has on the envelope. Hard key strikes will always make the
envelope reach its peak level, but softer strokes will produce a varying peak dependent on the
setting of the Velocity knob. At the far left there will be no velocity effect, ie. soft strokes will
produce exactly the same effect as hard ones. As you turn the knob to the fight, softer strokes will
open the envelope less and less, until at the far right the softest stroke will not open the envelope
at all. Obviously on envelope 1, this will result in quieter notes from soft keys strokes, whereas on
envelope 2 softer notes will produce less Pulse Width and/or Filter Frequency Modulation,
depending on which are switched to Env 2 in their appropriate sections.
Triggering - Switch
This switch determines how the trigger for the envelopes is derived. The options are as follows :
AUTOGLIDE - In this position, if a note is held down and a second note pressed, the oscillators will
glide to the new note without re-running the envelopes. This setting ( labelled 'Slide' on Roland's
TB303) produces a similar effect to a note slide on a guitar.
SINGLE - In this position, only the first note played (and held) will run the envelopes.
MULTI - In this position, every note played will run the envelopes.
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How The Controls Work
MIDI Control
In addition to all the standard MIDI functions, the BassStation has the ability to transmit
and receive changes to the filter and envelope controls during a performance. You can
also call up any of the on-board memory sounds.
Keyboard
Although the internal synthesiser is monophonic, the BassStation's two octave keyboard actually
transmits polyphonic MIDI data. To use the keyboard as a master controller whilst the internal synth
is playing back from a sequencer, simply set the transmit (TX) channel to any channel other than
the receive (RX) channel. For example, you could use the BassStation to play a bass part on ch.2
whilst playing chords, melody lines etc. at the same time on ch.8. To set the basic transmit and
receive channels refer to the 'MIDI Channel' paragraph on page 5.
Memory Select
Using the MIDI 'Program Change' command you can call up any of the 7 sounds stored in the
BassStation from your sequencer or other MIDI device as follows :
BassStation Memory Program Change No.
1 - 0
2 - 1
3 - 2
4 - 3
5 - 4
6 - 5
7 - 6
You can record any changes made with these controls into a sequencer whilst playing notes on
the keyboard. If you want to concentrate on playing the notes first you can go back and record
any filter changes later to enhance all or part of the performance.
Autoglide on/off -
Once again, you can record any changes made with these controls into a sequencer whilst
playing notes on the keyboard or at a later time to enhance the performance.
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How The Controls Work
In the OSC 1-2 MODULATION section set the OSCILLATOR 1 2 switch to position 1 and make sure
that the ENVELOPE and LFO controls are set to 0 ( Central position ). The TB303 does not have
these controls so we want to make sure they have no effect.
In the filter section set the CUT - OFF switch to the 12dB position. Set the MOD SOURCE switch to
the LFO position and turn the MOD DEPTH control to its middle position. Again, the TB303 does not
have this control so any LFO modulation must be removed. Now, set the MOD SOURCE switch
back to the ENV 2 position. In the 12dB position the MOD SOURCE control does not act as shown
on the label i.e. there is only positive MOD available between 0 ( fully anti-clockwise ) and 10 ( fully
clockwise ) as on the TB303.
Set the ENVELOPE switch to 1 so the envelope controls have an affect on envelope 1. Set the
ATTACK to 0, DECAY to 4, SUSTAIN to 10 and RELEASE to 3. Move the ENVELOPE switch to 2 and set
the ATTACK to 0, SUSTAIN to 0 and RELEASE to 3. The DECAY control can now be adjusted as on the
TB303.
The VELOCITY can be adjusted as desired but for now, set it to 0 so that the volume is always the
same no matter how hard the keyboard is played. To get the"twangy" TB303 sound turn the
RESONANCE control up. When the control is set to 8 the sound should get more "Watery". To
simulate the glide on the TB303, switch to AUTOGLIDE in the ENVELOPE section. If you play a note
and then, whilst holding it, play another one, the new note will glide or 'slur' up to the new pitch. If
it goes instantly to the new pitch adjust the Portamento control a little until the glide is noticeable.
Once you are happy with this new sound save it in a memory for future use.
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Appendix
Specification
Monophonic Sound Source: Triggering
External : PSU-2
Envelope 2 Dimensions / Weight
Attack time 1ms to 5 Secs Width : 465mm ( 18.75" )
Decay time 3ms to 10 Secs Depth : 215mm ( 8.25" )
Sustain level Height : 55mm ( 2" )
Release time 3ms to 10 Secs
Velocity Variable sensitivity control Weight : Less than 2.5Kg
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FCC Information ( U.S.A.)
1. IMPORTANT NOTICE: DO NOT MODIFY THIS UNIT! This product, when installed as indicated in the instructions contained in this Manual,
meets FCC requirements. Modifications not expressly approved by Novation may void your authority, granted by the FCC, to use the product.
2. IMPORTANT: When connecting this product to accessories and/or another product use only high quality shielded cables. Cable/s supplied
with this product MUST be used. Follow all installation instructions. Failure to follow instructions could void your FCC authorisation to use this
product in the USA.
3. NOTE: This product has been tested and found to comply with the requirements listed in FCC Regulations, Part 15 for Class "B" digital
devices. Compliance with these requirements provides a reasonable level of assurance that your use of this product in residential environment
will not result in harmful interference with other electronic devices. This equipment generates/uses radio frequencies and, if not installed and
used according to the instructions found in the users manual, may cause interference harmful to the operation of other electronic devices.
Compliance with FCC regulations does not guarantee that interference will not occur in all installations. If this product is found to be the source
of interference, which can be determined by turning the unit "OFF" and "ON", please try to eliminate the problem by using one of the following
measures:
Relocate either this product or the device that is being affected by the interference.
Utilise power outlets that are on different branch (Circuit breaker or fuse) circuits or install AC line filter/s.
In the case of radio or TV interference, relocate/re orient the antenna. If the antenna lead-in is 300 ohm ribbon lead, change the lead-in to co-axial
type cable.
If these corrective measures do not produce satisfactory results, please contact the local retailer authorised to distribute this type of product.
CANADA
The digital section of this apparatus does not exceed the "Class B" limits for radio noise emissions from digital apparatus set out in the radio
interference regulation of the Canadian Department of Communications.
Le present appareil numerique n'emet pas de bruits radioelectriques depassant les limites applicables aux appareils numeriques de la "Classe B"
prescrites dans le reglement sur le brouillage radioelectrique edicte par le Ministere Des Communications du Canada.
Cet appareil est conforme aux prescriptions de la directive Diese Geräte entsprechen der EG-Richtlinie 89/336/EC.
communautaire 89/336/EC
Copyright 1994
Novation Electronic Music Systems Ltd.
Printed in England
The Roland TB303 Bass Line has a very familiar and unique sound for an analogue synthesiser. The
BassStation can emulate this sound and indeed create a much wider range of sounds. The TB303
has a single oscillator and single envelope that control both the level of the sound and the way in
which the filter contours that sound. The most frequently used controls on the TB303 are the CUT
OFF FREQ, RESONANCE, DECAY and ENV MOD and by "tweaking" these the well known "bleeps
and burps" are attainable.
With its dual oscillators and two envelopes, the BassStation has far greater sound creating
capability than the TB303, however to produce the sound of the TB303 it is important to use just a
single oscillator and mimic the single envelope. The filter section on the BassStation has been
designed such that when the CUT-OFF switch is in the 12dB position the FREQUENCY, RESONANCE,
MOD DEPTH and ENVELOPE 2 DECAY controls act in a similar fashion to the TB303.
Turn the PORTAMENTO control to 2. In the OSC 1 section, turn the MIX control fully anticlockwise in
order to only listen to oscillator 1. The WAVEFORM switch may be set as desired since the TB303
also has this selection switch. For the moment set it to Sawtooth.
In the OSC 1-2 MODULATION section set the OSCILLATOR 1 2 switch to position 1 and make sure
that the ENVELOPE and LFO controls are set to 0 ( Central position ). The TB303 does not have
these controls so we want to make sure they have no effect.
In the filter section set the CUT - OFF switch to the 12dB position. Set the MOD SOURCE switch to
the LFO position and turn the MOD DEPTH control to its middle position. Again, the TB303 does not
have this control so any LFO modulation must be removed. Now, set the MOD SOURCE switch
back to the ENV 2 position. In the 12dB position the MOD SOURCE control does not act as shown
on the label i.e. there is only positive MOD available between 0 ( fully anti-clockwise ) and 10 ( fully
clockwise ) as on the TB303.
Set the ENVELOPE switch to 1 so the envelope controls have an affect on envelope 1. Set the
ATTACK to 0, DECAY to 4, SUSTAIN to 10 and RELEASE to 3. Move the ENVELOPE switch to 2 and set
the ATTACK to 0, SUSTAIN to 0 and RELEASE to 3. The DECAY control can now be adjusted as on the
TB303.
The VELOCITY can be adjusted as desired but for now, set it to 0 so that the volume is always the
same no matter how hard the keyboard is played. To get the"twangy" TB303 sound turn the
RESONANCE control up. When the control is set to 8 the sound should get more "Watery". To
simulate the glide on the TB303, switch to AUTOGLIDE in the ENVELOPE section. If you play a note
and then, whilst holding it, play another one, the new note will glide or 'slur' up to the new pitch. If
it goes instantly to the new pitch adjust the Portamento control a little until the glide is noticeable.
Once you are happy with this new sound save it in a memory for future use.
ADDITIONAL NOTE
The BassStation is capable of saving the Pitch Bend and Controller wheel settings with a sound
thus allowing you to customise these effects specifically to each sound. If you want to alter these
settings without changing the sound, you must remember to go through the save procedure
otherwise the changes made will be lost.
Novation Electronic Music Systems Ltd. Unit A4 Westacott Business Centre, Maidenhead Office Park, Maidenhead, Berkshire, England. SL6 3RT
Telephone: +44 (0)1628 828888
Fax: +44 (0)1628 825599