If you want to save, backup, or transfer patches to your Bass Station II Novation Components is the software you need to use. Components can be accessed from within your Novation account or the online version can be accessed in compatible web-MIDI browsers at the following URL:
In addition to patch management, Novation Components also allows you to manage AFX Mode overlays, Custom Message, Tuning tables and firmware updates.
The On-Key Dump function lets you save any or all of your Bass Station II Patches to a computer by transmitting the data in the form of MIDI SysEx messages. This would not be very useful without a method of loading Patches into the synth from the computer!
In addition to loading Patches which you may have saved, you may also want to load new Patches which you have downloaded from the Novation website. (Remember to check the website from time to time, as our sound programming team is constantly coming up with great new sounds for you to use.)
Use whatever MIDI software you have installed on your computer to upload Patches as SysEx data. You will need to know where the Patch files are saved on your hard drive, of course.
When you send a single Patch from your computer, Bass Station II loads it into a buffer memory, but it becomes the currently active Patch – i.e., you can use it straightaway. However, if you change to another Patch on the synth, the uploaded Patch will be lost. If you want to upload a Patch into your synth and save it for future use, you must Save it in the normal manner (see Saving patches). As with saving any modified Patch, if you just press Save, the Patch in the currently-selected location will be overwritten. If you want to Save the uploaded Patch in a specific memory location (Patch number), you must first scroll to that location before Saving.
If you send a complete patch library, you will automatically overwrite every Patch in the synth. This is useful – as it allows you to restore the synth to its original factory Patch settings – but note that it will overwrite all existing Patches, so if you have not backed them up they will be lost. Use with caution!
This table explains what the display will show when altering the Speed/Sync setting for either of the LFOs (by turning the LFO rotary controls [25] when On-Key function LFO: Speed/Sync LFO 1 is set to Sync).
|
Display |
Display Meaning |
Musical Description |
MIDI Ticks |
|
|---|---|---|---|---|
|
1 |
64b |
64 beats |
1 cycle per 16 bars |
1536 |
|
2 |
48b |
48 beats |
1 cycle per 12 bars |
1152 |
|
3 |
42b |
42 beats |
2 cycles per 21 bars |
1002 |
|
4 |
36b |
36 beats |
1 cycle per 9 bars |
864 |
|
5 |
32b |
32 beats |
1 cycle per 8 bars |
768 |
|
6 |
30b |
30 beats |
2 cycles per 15 bars |
720 |
|
7 |
28b |
28 beats |
1 cycle per 7 bars |
672 |
|
8 |
24b |
24 beats |
1 cycle per 6 bars |
576 |
|
9 |
213 |
21 + 2/3 |
3 cycles per 16 bars |
512 |
|
10 |
20b |
20 beats |
1 cycle per 5 bars |
480 |
|
11 |
183 |
18+ 2/3 |
3 cycles per 14 bars |
448 |
|
12 |
18b |
18 beats |
1 cycle per 18 beats (2 cycles per 9 bars) |
432 |
|
13 |
16b |
16 beats |
1 cycle per 4 bars |
384 |
|
14 |
133 |
13 + 1/3 |
3 cycles per 4 bars |
320 |
|
15 |
12b |
12 beats |
1 cycle per 12 beats (1 cycle per 3 bars) |
288 |
|
16 |
102 |
10 + 2/3 |
3 cycles per 8 bars |
256 |
|
17 |
8b |
8 beats |
1 cycle per 2 bars |
192 |
|
18 |
6b |
6 beats |
1 cycle per 6 beats (2 cycles per 3 bars) |
144 |
|
19 |
5b3 |
5 + 1/3 |
3 cycles per 4 bars |
128 |
|
20 |
4b |
4 beats |
1 cycle per 1 bar |
96 |
|
21 |
3b |
3 beats |
1 cycle per 3 beats (4 cycles per 3 bars) |
72 |
|
22 |
8x3 |
2 + 2/3 |
3 cycles per 2 bars |
64 |
|
23 |
2n |
2nd |
2 cycles per 1 bar |
48 |
|
24 |
4d |
4th dotted |
2 cycles per 3 beats (8 cycles per 3 bars) |
36 |
|
25 |
4x3 |
1 + 1/3 |
3 cycles per 1 bar |
32 |
|
26 |
4n |
4th |
4 cycles per 1 bar |
24 |
|
27 |
8d |
8th dotted |
4 cycles per 3 beats (16 cycles per 3 bars) |
18 |
|
28 |
4t |
4th triplet |
6 cycles per 1 bar |
16 |
|
29 |
8n |
8th |
8 cycles per 1 bar |
12 |
|
30 |
16d |
16th dotted |
8 cycles per 3 beats (32 cycles per 3 bars) |
9 |
|
31 |
8t |
8th triplet |
12 cycles per 1 bar |
8 |
|
32 |
16n |
16th |
16 cycles per 1 bar |
6 |
|
33 |
16t |
16th triplet |
24 cycles per 1 bar |
4 |
|
34 |
32n |
32nd |
32 cycles per 1 bar |
3 |
|
35 |
32t |
32nd triplet |
48 cycles per 1 bar |
2 |
This list gives the values of all synth parameters in the Init Patch (the factory Patch initially loaded into Patch memories 64 to 127):
|
Section |
Parameter |
Initial Value |
|---|---|---|
|
Master |
patch volume |
100 |
|
Oscillator |
Osc 1 fine |
0 (centre) |
|
Osc 1 range |
8’ (A3=440Hz) |
|
|
Osc 1 coarse |
0 (centre) |
|
|
Osc 1 waveform |
saw |
|
|
Osc 1 Mod Env depth |
0 (centre) |
|
|
Osc 1 LFO 1 depth |
0 (centre) |
|
|
Osc 1 Mod Env PW mod amount |
0 (centre) |
|
|
Osc 1 LFO 2 PW mod amount |
0 (centre) |
|
|
Osc 1 manual PW amount |
50. (centre) |
|
|
Osc 2 fine |
0 (centre) |
|
|
Osc 2 range |
8’ (A3=440Hz) |
|
|
Osc 2 coarse |
0 (centre) |
|
|
Osc 2 waveform |
saw |
|
|
Osc 2 Mod Env depth |
0 (centre) |
|
|
Osc 2 LFO 1 depth |
0 (centre) |
|
|
Osc 2 env 2 PW mod amount |
0 (centre) |
|
|
Osc 2 LFO 2 PW mod amount |
0 (centre) |
|
|
Osc 2 manual PW amount |
50. (centre) |
|
|
Sub Osc oct |
-1 |
|
|
Sub Osc wave |
sine |
|
|
Mixer |
Osc 1 level |
255 (right) |
|
Osc 2 level |
0 (left) |
|
|
Sub Osc level |
0 (left) |
|
|
Select noise, ring, ext |
0 (left) |
|
|
Noise level |
0 (left) |
|
|
Ring mod level |
0 (left) |
|
|
External signal level |
0 (left) |
|
|
Filter |
Type |
Classic |
|
Slope |
24dB |
|
|
Shape |
LP |
|
|
Frequency |
255 (right) |
|
|
Resonance |
0 (left) |
|
|
Mod Env depth |
0 (centre) |
|
|
LFO 2 depth |
0 (centre) |
|
|
Overdrive |
0 (centre) |
|
|
Portamento |
Portamento time |
0 (left) |
|
LFOs |
LFO 1 speed |
75 (7.9Hz) |
|
LFO 1 delay |
0 (left) |
|
|
LFO 2 speed |
52 (3Hz) |
|
|
LFO 2 delay |
0 (left) |
|
|
LFO 1 wave |
tri |
|
|
LFO 2 wave |
tri |
|
|
LFO 1 Sync value |
off |
|
|
LFO 2 Sync value |
on |
|
|
Envelope |
Amp env attack |
0 (bottom) |
|
Amp env decay |
0 (bottom) |
|
|
Amp env sustain |
127 (up) |
|
|
Amp env release |
0 (bottom) |
|
|
Amp env triggering |
Multi |
|
|
Mod Env attack |
0 (bottom) |
|
|
Mod Env decay |
0 (bottom) |
|
|
Mod Env sustain |
127 (right) |
|
|
Mod Env release |
0 (bottom) |
|
|
Mod Env triggering |
Multi |
|
|
Amp and Mod Env triggering |
Multi |
|
|
Effects |
Distortion |
0 (left) |
|
Osc Filter Mod |
0 (left) |
|
|
Arpeggiator |
On |
off |
|
Latch |
off |
|
|
Rhythm |
32 |
|
|
Note mode |
up |
|
|
Octaves |
1 |
|
|
Octave Area |
Key transpose |
0 |
|
Octave |
0 |
|
|
Other |
Mod |
0 |
|
On Key Functions |
||
|
Mod Wh |
LFO 2 Filter Freq |
0 |
|
LFO 1 Osc Pitch |
10 |
|
|
Osc 2 Pitch |
0 |
|
|
Aftertouch |
Filter Freq |
10 |
|
LFO 1 to Osc Pitch |
0 |
|
|
LFO 2 Speed |
0 |
|
|
LFO |
Key Sync LFO 1 |
off |
|
Key Sync LFO 2 |
on |
|
|
Speed/Sync LFO 1 |
speed |
|
|
Speed/Sync LFO 2 |
speed |
|
|
Slew LFO 1 |
0 |
|
|
Slew LFO 2 |
0 |
|
|
Oscillator |
Bend Amount |
12 (oct up and down) |
|
Osc 1-2 Sync |
off |
|
|
Velocity |
Amp Env |
0 |
|
Mod Env |
0 |
|
|
VCA |
Limit |
0 |
|
Arp |
Arp Swing |
50 |
|
Seq Retrig |
on |
|
|
Global |
MIDI Chan |
1 |
|
Local |
on |
|
|
Tune |
0 |
|
|
Input Gain |
0 |
|
|
Section |
Parameter |
CC / NRPN |
Control No. |
Range |
|---|---|---|---|---|
|
Master |
||||
|
patch volume |
cc |
7 |
0 to 127 |
|
|
patch inc |
prog change |
0 to 127 |
||
|
patch dec |
prog change |
0 to 127 |
||
|
Oscillator |
||||
|
osc 1 fine |
cc |
26:58 |
-100 to 100* (to 1 dec place, no 0 for ints) |
|
|
osc 1 range |
cc |
70 |
16’,8’,4’,2’ (MIDI val of 63, 64, 65, 66) |
|
|
osc 1 coarse |
cc |
27:59 |
-12. to 12. |
|
|
osc 1 waveform |
NRPN |
0:72 |
sine, tri, saw, pulse |
|
|
osc 1 Mod Env depth |
cc |
71 |
-63 to +63* |
|
|
osc 1 LFO 1 depth |
cc |
28:60 |
-127 to 127* |
|
|
osc 1 Mod Env PW mod amount |
cc |
72 |
-63 to 63* |
|
|
osc 1 LFO 2 PW mod amount |
cc |
73 |
-90 to 90 (MIDI val of 63 & 64 = 0%) |
|
|
osc 1 manual PW amount |
cc |
74 |
5. to 95. (MIDI val of 64 = 50%) |
|
|
osc 2 fine |
cc |
29:61 |
-100 to 100* (to 1 dec place, no 0 for ints) |
|
|
osc 2 range |
cc |
75 |
16’,8’,4’,2’ (MIDI val of 63, 64, 65, 66) |
|
|
osc 2 coarse |
cc |
30:62 |
-12. to 12* (to 1 dec place, no 0 for ints) |
|
|
osc 2 waveform |
NRPN |
0:82 |
sine, tri, saw, pulse |
|
|
osc 2 Mod Env depth |
cc |
76 |
-63 to +63* |
|
|
osc 2 LFO 1 depth |
cc |
31:63 |
-127 to 127* |
|
|
osc 2 env 2 PW mod amount |
cc |
77 |
-63 to +63* |
|
|
osc 2 LFO 2 PW mod amount |
cc |
78 |
-90 to 90 (MIDI val of 63 & 64 = 0%) |
|
|
osc 2 manual PW amount |
cc |
79 |
5. to 94.3 (MIDI val of 64 = 50%) |
|
|
sub osc oct |
cc |
81 |
-2,-1 oct below OSC 1 |
|
|
sub osc wave |
cc |
80 |
sine, pulse, square |
|
|
osc tuning error |
NRPN |
0:111 |
||
|
paraphonic mode |
NRPN |
0:107 |
||
|
osc glide divergence |
NRPN |
0:113 |
||
|
sub-osc coarse |
NRPN |
0:84 |
||
|
sub-osc fine |
NRPN |
0:77 |
||
|
Mixer |
||||
|
osc 1 level |
cc |
20:52 |
0 to 255 |
|
|
osc 2 level |
cc |
21:53 |
0 to 255 |
|
|
sub osc level |
cc |
22:54 |
0 to 255 |
|
|
noise level |
cc |
23.55 |
0 to 255 |
|
|
ring mod level |
cc |
24:56 |
0 to 255 |
|
|
external signal level |
cc |
25:57 |
0 to 255 |
|
|
Filter |
||||
|
Type |
cc |
83 |
Classic, acid |
|
|
slope |
cc |
106 |
12, 24 |
|
|
shape |
cc |
84 |
LP, BP, HP |
|
|
frequency |
cc |
16:48 |
0 to 255 |
|
|
resonance |
cc |
82 |
0 to 127 |
|
|
Mod Env depth |
cc |
85 |
-63 to +63* |
|
|
LFO 2 depth |
cc |
17:49 |
-127 to 127* |
|
|
overdrive |
cc |
114 |
0-127 |
|
|
filter tracking |
NRPN |
0:108 |
||
|
Portamento |
||||
|
portamento time |
cc |
5 |
off, 1 to 127 |
|
|
LFOs |
||||
|
LFO 1 speed |
cc |
18:50 |
0 to 255 |
|
|
LFO 1 delay |
cc |
86 |
off, 1 to 127 |
|
|
LFO 2 speed |
cc |
19:51 |
0 to 255 |
|
|
LFO 2 delay |
cc |
87 |
off, 1 to 127 |
|
|
LFO 1 wave |
cc |
88 |
||
|
LFO 2 wave |
cc |
89 |
||
|
LFO 1 Sync value |
NRPN |
87 |
||
|
LFO 2 Sync value |
NRPN |
91 |
||
|
Envelope |
||||
|
amp env attack |
cc |
90 |
0 to 127 |
|
|
amp env decay |
cc |
91 |
0 to 127 |
|
|
amp env sustain |
cc |
92 |
0 to 127 |
|
|
amp env release |
cc |
93 |
0 to 127 |
|
|
amp env triggering |
NRPN |
0:73 |
1,2,3 |
|
|
amp env retrigger |
NRPN |
0:109 |
||
|
amp env fixed sustatin duration |
NRPN |
0:114 |
||
|
amp env retrigger count |
NRPN |
0:117 |
||
|
Mod Env attack |
cc |
102 |
0 to 127 |
|
|
Mod Env decay |
cc |
103 |
0 to 127 |
|
|
Mod Env sustain |
cc |
104 |
0 to 127 |
|
|
Mod Env release |
cc |
105 |
0 to 127 |
|
|
Mod Env triggering |
NRPN |
0:105 |
1,2,3 |
|
|
Mod Env retrigger |
NRPN |
0:110 |
||
|
Mod Env fixed sustain duration |
NRPN |
0:115 |
||
|
Mod Env retrigger count |
NRPN |
0:118 |
||
|
Effects |
||||
|
Distortion |
cc |
94 |
0 to 127 |
|
|
Osc Filter Mod |
cc |
115 |
off, 1 to 127 |
|
|
Arpeggiator |
||||
|
on |
cc |
108 |
||
|
latch |
cc |
109 |
||
|
rhythm |
cc |
119 |
||
|
note mode |
cc |
118 |
||
|
octaves |
cc |
111 |
||
|
Other |
||||
|
pitch |
pitchbend |
0 to 65535 |
||
|
mod |
cc |
0 |
0 to 127 |
|
|
sustain |
cc |
64 |
0 to 127 |
|
|
after touch |
aftertouch |
0 to 127 |
||
|
Mod Wh |
||||
|
LFO 2 Filter Freq |
NRPN |
0:71 |
||
|
LFO 1 Osc Pitch |
NRPN |
0:70 |
-63 to +63 |
|
|
Osc 2 Pitch |
NRPN |
0:78 |
-63 to +63 |
|
|
Aftertouch |
||||
|
Filter Freq |
NRPN |
0:74 |
-63 to +63 |
|
|
LFO 1 to Osc Pitch |
NRPN |
0:75 |
-63 to +63 |
|
|
LFO 2 Speed |
NRPN |
0:76 |
off, 1 to 127 |
|
|
LFO |
||||
|
Key Sync LFO 1 |
NRPN |
0:89 |
OFF or On |
|
|
Key Sync LFO 2 |
NRPN |
0:93 |
OFF or On |
|
|
Speed/Sync LFO 1 |
NRPN |
0:87 |
||
|
Speed/Sync LFO 2 |
NRPN |
0:91 |
||
|
Slew LFO 1 |
NRPN |
0:86 |
||
|
Slew LFO 2 |
NRPN |
0:90 |
||
|
Oscillator |
||||
|
Bend Amount |
cc |
107 |
1 to 12 |
|
|
Osc 1-2 Sync |
cc |
110 |
OFF or On |
|
|
Velocity |
||||
|
Amp Env |
cc |
112 |
||
|
Mod Env |
cc |
113 |
||
|
VCA |
||||
|
Limit |
cc |
95 |
0-127 |
|
|
Arp |
||||
|
Arp Swing |
cc |
116 |
||
|
Seq Retrig |
NRPN |
106 |
||
Via SysEx messages it’s possible to export, import, copy, move and save the overlays. The current overlay bank and overlay write-protection can be changed using dedicated NRPNs.
To dump/export an overlay over SysEx, ensure the appropriate overlay bank is selected, then send the following request to the device:
0xF0 0x00 0x20 0x29 0x00 0x33 0x00 0x4F 0xnn 0xF7
Where 0xnn is the index of the overlay (0 – 24 where 0 corresponds to the C at the bottom of the home octave position).
The response to this message will be SysEx of length 106 bytes. The SysEx message received matches the format of the Import SysEx message, allowing dumped overlay data to be later reinstalled.
To import an overlay to BSII over SysEx simply play the corresponding .syx file to the device using a MIDI librarian. The format of the message is:
0xF0 0x00 0x20 0x29 0x00 0x33 0x00 0x4e 0xnn <data> 0xF7
The following SysEx message copies an existing overlay from one position to another:
0xF0 0x00 0x20 0x29 0x00 0x33 0x00 0x4b 0xnn 0xmm 0xF7
Where 0xnn is the destination position and 0xmm the source position. The source overlay is not affected by this operation.
The following SysEx message moves an existing overlay from one position to another. The source overlay is cleared after the move operation is carried out.
0xF0 0x00 0x20 0x29 0x00 0x33 0x00 0x4d 0xnn 0xmm 0xF7
Where 0xnn is the destination position and 0xmm the source position.
The following message saves the current overlay bank to memory.
0xF0 0x00 0x20 0x29 0x00 0x33 0x00 0x4a 0xF7
The following message clears the current overlay bank.
0xF0 0x00 0x20 0x29 0x00 0x33 0x00 0x49 0xF7
Note that this operation does not save the cleared bank, this must be performed separately.
You can store the following parameters in an overlay.
|
Voice |
Osc 1-2 Sync |
|---|---|
|
Osc 1 |
Waveform |
|
Pulse Width |
|
|
Range |
|
|
Coarse |
|
|
Fine |
|
|
Osc 2 |
Waveform |
|
Pulse Width |
|
|
Range |
|
|
Coarse |
|
|
Fine |
|
|
Sub-Osc |
Wave |
|
Octave |
|
|
Coarse |
|
|
Fine |
|
|
Osc Extra |
Tuning Error |
|
Glide Diverge |
|
|
Mixer |
Osc 1 |
|
Osc 2 |
|
|
Sub-Osc |
|
|
Noise |
|
|
Ring Mod |
|
|
External |
|
|
Filter |
Frequency |
|
Resonance |
|
|
Overdrive |
|
|
Shape |
|
|
Type |
|
|
Slope |
|
|
Amp Env |
Velocity |
|
Attack |
|
|
Decay |
|
|
Sustain |
|
|
Release |
|
|
Trigger |
|
|
Retrigger |
|
|
Fixed Duration |
|
|
Retrigger Count |
|
|
Mod Env |
Velocity |
|
Attack |
|
|
Decay |
|
|
Sustain |
|
|
Release |
|
|
Trigger |
|
|
Retrigger |
|
|
Fixed Duration |
|
|
Retrigger Count |
|
|
LFO 1 |
Waveform |
|
Delay |
|
|
Slew |
|
|
Speed/Sync |
|
|
Non-Sync Speed |
|
|
Sync Speed |
|
|
Key Sync |
|
|
LFO 2 |
Waveform |
|
Delay |
|
|
Slew |
|
|
Speed/Sync |
|
|
Non-Sync Speed |
|
|
Sync Speed |
|
|
Key Sync |
|
|
Aftertouch |
Filter Freq |
|
LFO 1 to Osc Pitch |
|
|
LFO 2 Speed |
|
|
LFO 1 > |
Osc1 Pitch |
|
Osc2 Pitch |
|
|
Sub-Osc Pitch |
|
|
LFO 2 > |
Osc1 PW |
|
Osc2 PW |
|
|
Filter Freq |
|
|
Mod Envelope > |
Osc1 Pitch |
|
Osc2 Pitch |
|
|
Osc1 PW |
|
|
Osc2 PW |
|
|
Filter Freq |
|
|
Osc Filter Mod |
Amount |
|
Distortion |
Amount |
Micro-tuning support gives you complete control of the frequency triggered by each keypress. Re-tuning is performed at the very front of the signal chain.
There are nine editable tuning tables on the device, however you can only save the last eight. On startup, the first table is always initialised to be the standard MIDI keyboard. To change the currently active tuning table hold Function, and pressing the Tune key twice.
The screen will change to: t-0.
Use the patch value buttons to choose between nine tuning tables. The active tuning table can be saved with the patch. The default tuning table will always be 0.
Included with the 2.5 firmware update are 8 tuning tables:
The prime pentatonic mode with no semitones. It uses both the “large” and “small” whole-tone (204¢ and 182¢, respectively).
2. Harmonic Series (6 Notes per octave) (432Hz)
Harmonics 6 to 12 of the harmonic series.
3. Indian (22 Notes per octave)
Traditional Indian Shruti scale.
256/243 16/15 10/9 9/8 32/27 6/5 5/4 81/64 4/3 27/20 45/32 729/512 3/2 128/81 8/5 5/3 27/16 16/9 9/5 15/8 243/128 2/1
4. Ptolemy (7 Notes per octave)
Ptolemy’s Intense Diatonic Syntonon. Also known as Zarlino’s scale.
5. Chinese Bianzhong (12 Notes per octave)
Pitches of Bianzhong bells (Xinyang)
104 308 624 820 1012 1144 1329 1515 1857 2039 2231 2674
6. Turkish (7 Notes per octave)
Turkish scale with 5 limit tone system, harmonic minor inverse.
16/15 5/4 4/3 3/2 5/3 16/9 2/1
7. Dan Schmidt’s Slendro Pelog (7 Notes per octave) (pelog/white slendro/black)
Heptatonic Pelog on white keys, pentatonic Slendro on black keys.
8. Carlos Super (12 Notes per octave)
Wendy Carlos’ super just intonation scale
17/16 9/8 6/5 5/4 4/3 11/8 3/2 13/8 5/3 7/4 15/8 2/1
Tuning tables map each of the 128 MIDI notes to different frequencies. The tables can be modified using SysEx, using the real-time MIDI tuning message:
F0 7F id 08 02 tt ll [kk xx yy zz] F7
The frequency data is described by:
For example, to detune A4 (note number 0x45) to B4 (note number 0x47), in the first tuning table, send:
F0 7F 00 08 02 00 01 45 47 00 00 F7
To shift the note A4 sharp by 50 cents, in the second tuning table, send:
F0 7F 00 08 02 01 01 45 45 40 00 F7
When notes are retuned, the effect is immediate, so holding a note and changing the tuning will result in an audible change in pitch.
Multiple tunings can be sent in a single message by changing the entry for the number of notes to be changed. For example, to shift A4 to B4 and B4 to C5 send:
F0 7F 00 08 02 00 02 45 47 00 00 47 48 00 00 F7
It should be possible to play Scala tuning dumps to your BSII.
Don’t forget to save your tuning tables. Do this by pressing save when you’re on the tuning table select page (function + Tune twice). Otherwise any modifications made to the tables will be lost.
An absolute lower limit on our tuning accuracy is a semitone/256. This means only the top bit of the detune in 16384 steps value will be observed. In practical terms we can achieve sub-cent accuracy.
It’s possible to morph in real-time between different tuning tables. Hold function and press the Tune key twice. This parameter screen will not time out, to allow it to be used for performance reasons.
Turn up the glide time, hold some notes (try paraphonic mode) and switch between the tuning tables to hear the effect of morphing between tunings.
BSII can now support a custom message display at startup. This can be easily configured in Components, or sent to the unit over SysEx using the message:
F0 00 20 29 (novation preamble)
00 33 (Bass Station II –specific)
47 (message type = greeting message)
01 (splash screen enabled or disabled)
[numbers corresponding to ascii characters]
For example, to change the message to “turn it up”, send:
F0 00 20 29 00 33 00 47 01 74 75 72 6e 20 49 74 20 75 50 F7
To disable the greeting message send the same message without the characters, and with the enable section changed to 0:
F0 00 20 29 00 33 00 47 00 F7
The message will forever appear on start up until you either disable it, change it, or downgrade your firmware.
There are some limitations to displaying letters on a 7-segment display. Some of them appear unusual, though all the standard ascii letters are mapped to something that’s supposed to look a bit similar. Sometimes the letters might come out capitalised, or de-capitalised.
We can support the characters [0:9][a:z][A:Z], space (0x23) and the hyphen (0x20).