Bass Station II’s Oscillator section consists of two identical primary oscillators, plus a “sub-octave” oscillator which is always frequency-locked to Oscillator 1. The primary oscillators, Osc 1 and Osc 2, share a single set of controls; the oscillator being controlled is selected by the Oscillator switch . After adjustments have been made to one oscillator, the other may be selected and the same controls used to adjust its contribution to the overall sound, without altering the settings of the first. You can constantly reassign the controls between the two oscillators until you get the sound you’re after.
The following descriptions thus apply equally to the two oscillators, depending which is currently selected:
The Waveform switch selects one of four fundamental wave shapes -
Sine,
Triangle,
(rising) Sawtooth or
Square/Pulse. The LEDs above the switch confirm the waveform currently selected.
The three controls Range, Coarse and Fine set the Oscillator’s fundamental frequency (or Pitch). The Range button selects using traditional “organ-stop” units, where 16’ gives the lowest frequency and 2’ the highest. Each doubling of stop length halves the frequency and thus transposes the pitch of a note played at the same position on a keyboard down one octave. When Range is set to 8’, the keyboard will be at concert pitch with Middle C in the centre. The LEDs confirm the stop length currently selected.
The Coarse and Fine rotary controls adjust the pitch over a range of 1 octave and 1 semitone respectively. The OLED display shows the parameter value for Coarse in semitones (12 semitones = 1 octave) and Fine in cents (100 cents = 1 semitone).
The frequency of either Oscillator may be varied by modulating it with either (or both) LFO 1 or the Mod Env envelope. The two Pitch controls, LFO 1 depth and Mod Env depth
control the depth – or intensity – of the respective modulation sources.
Note that only one LFO – LFO 1 - is used for oscillator modulation. Oscillator pitch can be varied by up to five octaves, but the LFO 1 depth control is calibrated to give finer resolution at lower parameter values (less than ±12), as these are generally more useful for musical purposes.
Tip
You will find the following parameter settings generate musically useful pitch swings: 6 = a semitone 12 = a tone 22 = a perfect fifth 32 = one octave 56 = two octaves 80 = three octaves
Negative values of LFO 1 depth “invert” the modulating LFO waveform; the effect of this will be more obvious with non-sinusoidal LFO waveforms.
Adding LFO Modulation can add a pleasing vibrato when a sine or triangle LFO waveform is used, and the LFO speed is set neither too high nor too low. A sawtooth or square LFO waveform will produce rather more dramatic and unusual effects.
Adding envelope modulation can give some interesting effects, with the oscillator pitch altering over the duration of the note as it is played. The control is “centre-off”, the LED display shows a range of -63 to +63 as it is adjusted. With the parameter value set to maximum, the oscillator pitch will vary over eight octaves. A parameter value of 8 shifts the pitch of the oscillator by one octave for the maximum level of the modulation envelope (e.g., if sustain is at maximum). Negative values invert the sense of the pitch variation; i.e., the pitch will fall during the attack phase of the envelope if Mod Env depth has a negative setting.
When the Oscillator waveform is set to Square/Pulse, the timbre of the “edgy” square wave sound can be modified by varying the pulse width, or duty cycle, of the waveform.
The Pulse Width modulation source switch allows the duty cycle to be varied either manually or automatically. When set to Manual, the Pulse Width control
is enabled; the parameter range is 5 to 95, where 50 corresponds to a square wave (a duty cycle of 50%). Extreme clockwise and anticlockwise settings produce very narrow positive or negative pulses, with the sound becoming thinner and more “reedy” as the control is advanced.
Pulse width may also be modulated by either (or both) the Modulation Envelope or LFO 2, by moving switch to one of its other positions. The sonic effect of LFO modulation on pulse width is very dependent on the LFO waveform and speed used, while using envelope modulation can produce some good tonal effects, with the harmonic content of the note changing over its duration.
Oscillator Sync is a technique of using one oscillator (Osc 1 on Bass Station II) to add additional harmonics to the waveform produced another (Osc 2), by making the waveform from Osc 1 “retrigger” that of Osc 2 before a full cycle of Osc 2’s waveform has been completed. This produces an interesting range of sonic effects, the nature of which varies as the frequency of Osc 1 is altered, and is also dependent on the ratio of the two oscillators’ frequencies, as the additional harmonics may or may not be musically related to the fundamental frequency. The diagrams below illustrate the process.
In general, it is advisable to turn down the volume of Osc 1 in the Mixer section so that you don’t hear its effect. Osc Sync is enabled by an On-Key function – Oscillator: Osc 1-2 sync (the higher D). The Sync 1-2 LED
illuminates when Osc 1-2 sync is selected.
In addition to the two primary oscillators, Bass Station II has a secondary “sub-octave” oscillator, whose output can be added to that of Osc 1 and Osc 2 to create great bass sounds. The sub oscillator’s frequency is always locked to that of Osc 1, so that the pitch is either exactly one or two octaves below it, according to the setting of the Sub Oscillator Octave switch .
The waveform of the sub oscillator is selectable independently of Osc 1, with the Wave switch . The options are:
sinewave,
a narrow pulse wave or a
square wave.
Both the sub oscillator switches have associated sets of LEDs to confirm the current setting. The sub oscillator output is fed to the Mixer Section where it may be added to the synth sound to the degree required.
The Bass Station II is at its core a monophonic synthesiser. However, enabling paraphonic mode gives you different playing possibilities. Paraphonic means you can use the two oscillators separately and track them across separate keys.
In monosynth mode, when both oscillators are turned up, they track the keyboard together, regardless of if they are detuned from each other. With paraphonic mode enabled, when you play 2 keys on the keyboard you have the ability to separate the 2 oscillators and play them individually In paraphonic mode, the 2 oscillators will still share the same amplifier and filter.
To enable paraphonic mode, hold down the function button and double tap Osc 1-2 sync. The display will change to:P-0. Use the patch value buttons to enable (P-1) or disable (P-0) paraphonic mode. Paraphonic mode can be saved per-patch. By default paraphonic mode is always off.
To create a bit more carnage it’s now possible to introduce random detune to your oscillators each time a key is pressed. The error follows a pseudo-random function, so it should be different every time you press and give you impression of an older analogue synthesiser.
To turn on oscillator error: hold the function key and press Pitch Bend Range twice. The screen will change to:E-0. Use the patch value keys to change this value from 0-7. 0 is no error, and 7 represents an error of maximum approximately 1 semitone.
Oscillator error can be saved in the patch. By default it will be 0 (no error). When in paraphonic mode the error will be different for each part.
By default the Sub-Oscillator follows the pitch of oscillator 1. The Sub-Oscillator can now be detuned from oscillator 1 using the Coarse/Fine controls. This means all 3 oscillators can be tuned to different pitches to create interesting intervals and triad chords with single key presses.
To adjust the tuning of the Sub-Oscillator press and hold the Function key whilst adjusting the oscillator Coarse/Fine tune controls.
When the Sub-Oscillator detune is set to 0, it will match the detune of Oscillator 1, which is the default.
The outputs of the various sound sources can be mixed together in various proportions to produce the overall synth sound, using what is essentially a standard 6-into-1 mono mixer.
The two Oscillators and the sub oscillator have dedicated, fixed level controls, Osc 1 , Osc 2
and Sub
. The other three sources – the Noise source, Ring Modulator output and external input - “share” a single level control, though any mix of the three may be used. The Noise/Ring/Ext switch
assigns the fourth level control
to one of these three sources at a time; having set the level in the mix for one of them, you can move switch
to a different position and add that source to the mix without altering the level of the first.
The sum created in the mixer from the various signal sources is fed to the Filter Section. Bass Station II’s filter section is both simple and traditional, and can be configured with only a small number of single-function controls.
The Type switch selects one of two filter styles: Classic and Acid.
Acid configures the filter section as a fixed-slope, 4-pole (24 dB/oct), low-pass type. Low-pass filters reject higher frequencies, so this filter setting will be suitable for many types of bass sounds. This filter type is based on the simple diode-ladder designs that were found in various analogue synths popular in the 1980s, and has a particular sonic character. When Acid is selected as the Type, the Slope and Shape switches are inoperative.
When Type is set to Classic, the filter is configured as a variable type, whose Shape and Slope may be set with the switches. A low-pass (LP), band-pass (BP) or hi-pass (HP) characteristic may be selected with Shape; Slope sets the degree of rejection applied to out-of-band frequencies; the 24 dB position gives a steeper slope than the 12 dB; an out-of-band frequency will be attenuated more severely with the steeper setting.
The large rotary Frequency control sets the cut-off frequency of the Acid filter type, and of the Classic filter type when Shape is set to HP or LP. With a Classic band-pass filter configured, Frequency sets the centre frequency of the pass-band.
Sweeping the filter frequency manually will impose a “hard-to-soft” characteristic on almost any sound.
The Resonance control adds gain to the signal in a narrow band of frequencies around the frequency set by the Frequency control. It can accentuate the swept-filter effect considerably. Increasing the resonance parameter is good for enhancing modulation of the cut-off frequency, creating an edgy sound. Increasing Resonance also accentuates the action of the Frequency control, giving it a more pronounced effect.
The filter’s Frequency parameter may be varied automatically - or modulated, by the output of LFO 2 and/or the Modulation Envelope. Either or both methods of modulation may be used, and each has a dedicated intensity control, LFO 2 depth for LFO 2 and Mod Env depth
for the modulation envelope. (Compare with the use of LFO 1 and Mod Env for modulating the Oscillators.)
Note that only one LFO – LFO 2 - is used for filter modulation. Filter frequency can be varied by up to eight octaves.
Note
Some examples of the relationship between the LFO 2 Depth parameter and the filter frequency are as follows:
Negative values of LFO 2 depth “invert” the modulating LFO waveform; the effect of this will be more obvious with non-sinusoidal LFO waveforms.
Modulating the filter frequency with an LFO can produce some unusual “wah-wah” type effects. Setting LFO 2 to a very slow speed can add a gradual hardening and then softening edge to the sound.
When the filter’s action is triggered by Envelope 2, the filter action changes over the duration of the note. By adjusting the Envelope controls carefully, this can produce some very pleasing sounds, as for example, the spectral content of the sound can be made to differ considerably during the attack phase of the note compared to its “fade-out”. Mod Env depth lets you control the “depth” and “direction” of the modulation; the higher the value, the greater the range of frequencies over which the filter will sweep. With the parameter set to its maximum value, the filter frequency with vary over a range of eight octaves when Envelope 2 Sustain is set to maximum. Positive and negative values make the filter sweep in opposite directions, but the audible result of this will be further modified by the filter type in use.
The filter section includes a dedicated drive (or distortion) generator; the Overdrive control adjusts the degree of distortion treatment applied to the signal. The drive is added before the filter.
Filter tracking is when the cutoff position of the filter frequency tracks the keyboard. This allows you to control how much the Filter Cutoff is going to be tracked and allow for more natural sounds, as typically going into higher registers timbres become brighter, much like that of a filter opening and letting higher frequencies pass.
Filter tracking can now be adjusted by holding the function key and pressing the Filter Freq key twice. The display will change to: F-0 This means that filter tracking is fully on.
You can use the patch value buttons to change this value in the range 0-7, where 0 is full filter tracking and 7 is no filter tracking.
The filter tracking setting can be saved per-patch. By default it is always fully on.
Bass Station II generates two envelopes each time a key is pressed, which can be used to modify the synth sound in various ways. The envelope controls are based on the familiar ADSR concept.
The ADSR envelope can be most easily visualised by considering the amplitude (volume) of a note over time. The envelope describing the “lifetime” of a note can be split into four distinct phases:
-
Attack – the time it takes for the note to increase from zero (e.g., when the key is pressed) to its maximum level. A long attack time produces a “fade-in” effect.
-
Decay – the time it takes for the level to drop from the maximum value reached at the end of the attack phase to a new level, defined by the Sustain parameter.
-
Sustain – this is an amplitude value, and represents the volume of the note after the initial attack and decay phases – i.e., while holding the key down. Setting a low value of Sustain can give a very short, percussive effect (providing the attack and decay times are short).
-
Release – This is the time it takes for the note’s volume to drop back to zero after the key is released. A high value of Release will cause the sound to remain audible (though diminishing in volume) after the key is released.
Although the above discusses ADSR in terms of volume, note that Bass Station II is equipped with two separate envelope generators, referred to as Amp Env and Mod Env.
Amp Env - the amplitude envelope - is the envelope that controls the amplitude of the synth signal, and is always routed just to the VCA in the output stage (see the Bass Station II block diagram on page 14).
Mod Env – the modulation envelope - is routed to various other sections of Bass Station II, where it can be used to alter other synth parameters over the duration of the note. These are:
-
Modulating the pitch of Osc 1 and Osc 2, at a degree set by the Mod Env depth control
-
Modulating the pulse width of Osc 1 and Osc 2’s outputs when they are set to Square/Pulse waveforms and the Pulse Width modulation source switch
is set to Mod Env
-
Modulating the filter frequency (when the filter is in Classic mode), at a degree set by the Mod Env depth control
Bass Station II has a dedicated slider control for each ADSR parameter. The set of sliders will adjust the envelope(s) selected by the Env Select switch : the amplitude envelope, the modulation envelope, or both together.
-
Attack - sets the note’s attack time. With the slider at its lowest position, the note attains its maximum level immediately the key is pressed; with the slider in its uppermost position, the note takes over 5 seconds to reach its maximum level. Midway, the time is approx. 250 ms.
-
Decay - sets the time the note takes to decay from its initial level to that defined by the Sustain parameter. With the slider at the mid-position, the time is approx. 150 ms.
-
Sustain - sets the volume of the note after the decay phase. A low Sustain value will have the effect of emphasising the start of the note; having the slider fully down will make the note inaudible when the decay time has elapsed.
-
Release - Many sounds acquire some of their character from the notes remaining audible after the key is released; this “hanging” or “fade-out” effect, with the note gently dying away naturally (as with many real instruments) can be very effective. With the slider set to the mid-position the Release Time will be approx. 360 ms. Bass Station II has a maximum release time of over 10 seconds, but shorter times will probably be more useful! The relationship between the parameter value and the Release Time is not linear.
Further control over how individual notes sound with different playing styles can be obtained with the different settings of the Triggering switch .
-
Single – the selected envelope(s) is triggered for every note that is played on its own. However, if playing in a legato style then the envelope(s) will not trigger. If the Glide Time control is set to anything other than fully anti-clockwise (off), portamento is applied between the notes irrespective of playing style. See Envelope retriggering.
-
Multi – the selected envelope(s) is always triggered for every note played, regardless of playing style. If the Glide Time control
is set to anything other than fully anti-clockwise (off) portamento is applied between the notes, whether they are played in a legato style or not.
-
Autoglide – this mode works in the same way as Single, but portamento is applied only to those notes played in a legato style.
Tip
As implied above, the musical term Legato means “smoothly”. A Legato keyboard style is one where at least two notes overlap. This means that as you play the melody, you keep the previous (or an earlier) note sounding as you play another note. Once that note is sounding, you then release the earlier note.
Legato style playing is relevant to some sonic possibilities. In the case of Multi mode, it is important to appreciate that the envelope will re-trigger if any ‘gap’ is left between notes.
It’s possible to configure both your mod and/or amplitude envelopes to retrigger once the decay stage has ended.
This can be turned on and off by holding the Function key and pressing the AmpEnv (for amplitude envelope looping) or ModEnv (for modulation envelope looping) keys twice. The screen will change to:r-0. Use the patch value keys to switch between r-1 (envelope retriggers) or r-0 (envelope does not retrigger).
The settings can be stored in the patch. The default value is always to not retrigger.
As an extension to the retriggering envelope feature described above, envelopes can be set to loop indefinitely, or any value up to 16 times.
Envelope Retriggering must be turned on for this feature to be effective. To turn on Envelope Retriggering, hold Function and press the Amp-Env or Mod-Env function keys twice (until the display changes to r-0), then use Patch </> buttons to select r-1.
To set the number of times the envelope will loop, hold Function and press the Amp-Env or Mod-Env key three times (until the display changes to c-0). When set to c-0 the envelope will loop indefinitely, this is the default setting. Select from c-[1-16] (using the Patch </> buttons) to set the number of loops from 1 to 16.
The sustain period of both the amp and mod envelopes can be set to a fixed time. This is especially useful for using the Bass Station II to design drum sounds.
When active, the envelope will move to the release stage a set period of time after the sustain stage, regardless of whether the triggering note is released or not.
When you enable fixed duration sustain, the decay stage is removed from the envelope. The decay slider will now determine the duration of the sustain stage of the envelope.
To change the envelopes to a fixed-duration mode, hold Function and press the Amp-Env or Mod-Env key four times (until the display changes to d-0). Set the display to d-1 to enabled fixed duration envelopes.
When enabled, fixed duration sustain envelopes override the envelope retriggering feature.
Portamento makes notes sequentially glide from one to the next as they are played, rather than immediately jumping from one pitch to another. The synth remembers the last note played and the glide will start from that note even after the key has been released. The duration of the glide is set by the Glide Time control.
By default, the same Glide time (portamento) is applied for all oscillators. However, it is also possible to introduce different glide times between the first and second oscillators.
To turn on Glide Divergence, hold Function and press the Input Gain key twice. The display will show (g-0). Select g-[1-15] (using the Patch </> buttons). The selected value determines how much slower oscillator 2 glides.
When glide divergence is enabled oscillator 2 will always glide slower than oscillator 1.
Two additional sound effects tools are provided with Bass Station II: Distortion and Osc Filter Mod.
-
Distortion - this adds a controlled amount of distortion before the VCA. This means that the distortion characteristic will not change as the amplitude of the signal changes over time as a result of the Amplitude Envelope.
-
Osc Filter Mod – This allows the filter frequency to be modulated directly by Oscillator 2. The intensity of the resulting effect is dependent on the control setting, but also almost all Osc 2 parameters, e.g., range, pitch, waveform, pulse width and any modulation applied.
Bass Station II has two separate Low Frequency Oscillators (LFOs), designated LFO 1, and LFO 2. They are identical in terms of features, but their outputs are routed to different parts of the synth and are thus used differently, as outlined below:
-
can modulate the pitch of Osc 1 and/or Osc 2; the amount of modulation is adjusted in the Oscillator Section with the LFO 1 depth control
.
-
can modulate the pitch of both Osc 1 and Osc 2 via the Mod wheel
, if enabled by the On-Key function Mod Wh: LFO 1 to Osc Pitch (lower C#).
-
can modulate the pitch of both Osc 1 and Osc 2 via keyboard aftertouch, if enabled by the On-Key function Aftertouch: LFO 1 to Osc Pitch (lower F).
-
can modulate the pulse width of Osc 1 and/or Osc 2 when Waveform is set to Square/Pulse, and the pulse width modulation source switch [18] is set to LFO 2.
-
can modulate the filter frequency; the amount of modulation is adjusted in the Filter Section with LFO 2 depth control.
-
can modulate the filter frequency via the Mod wheel, if enabled by the On-Key function Mod Wh: LFO 2 to Filter Freq (lower D).
The waveform switches select one of four wave shapes - Triangle, (falling) Sawtooth, Square or Sample and Hold. The LEDs next to the switch confirm the waveform currently selected.
The speed (or frequency) of each LFO is set by the rotary controls when the LFO Delay/Speed switch
is set to Speed. The frequency range is from zero to about 190 Hz.
Vibrato is often more effective when faded-in, rather than just ‘switched on’; the Delay parameter sets how long the LFO output takes to ramp up when a note is played. The single (one per LFO) rotary control is used to adjust this time when the LFO Delay/Speed switch
is in the Delay position.
These On-Key functions (available for each LFO independently) relate to the Delay/Speed switch in the LFO section of the Bass Station II. When Delay/Speed is set to Speed, it is possible to extend its function by using the Speed/Sync On-Key function. Setting the On-key function Speed/Sync LFO 1 (via the lower A key) to SPd (Speed) allows the speed of LFO 1 to be controlled by the rotary control
. Setting it to Snc (Sync) reassigns the function of this control, and allows the speed of LFO 1 to be synchronised to an internal or external MIDI clock, based on a sync value selected by the control
. Sync values are shown on the LED display. See Sync Values table on Sync values table.
The same facility is applicable to LFO 2 by the On-Key function Speed/Sync LFO 2, which is selected by the lower A# key.
Each LFO runs continuously, ‘in the background’. If Keysync is Off, there is no way of predicting where the waveform will be when a key is pressed. Consecutive presses of a key will produce varying results. Setting Keysync to On re-starts the LFO at the start of the waveform every time a key is pressed.
Keysync is selected on or off for each LFO independently by On-Key functions: LFO: Keysync LFO 1 (lower G) and LFO: Keysync LFO 2 (lower G#).
Slew has the effect of modifying the shape of the LFO waveform. Sharp edges become less sharp as Slew is increased. The effect of this can be heard by selecting Square as the LFO waveform and setting the rate fairly low so that the output when a key is pressed alternates between just two tones. Increasing the value of Slew will cause the transition between the two tones to become a “glide” rather than a sharp change. This is caused by the vertical edges of the square LFO waveform being slewed.
Slew is controlled by On-Key functions: LFO: Slew LFO 1 (lower B) and LFO: Slew LFO 2 (middle C). Press the Function/Exit button and the chosen Slew LFO key; then adjust the parameter value using the Value buttons
. Press Function/Exit again to exit LFO Slew.
Note
Slew has an effect on all LFO waveforms, but the sonic effect differs with waveform rate and type. As Slew is increased, the time taken to reach maximum amplitude is increased, and can ultimately result in it never being achieved at all, though the setting at which this point is reached will vary with the waveform.
Bass Station II has a versatile Arpeggiator feature which allows arpeggios of varying complexity and rhythm to be played and manipulated in real-time. When the Arpeggiator is enabled and a single key is pressed, its note will be retriggered. If you play a chord, the Arpeggiator identifies its notes and plays them individually in sequence (this is termed an arpeggio pattern or ‘arp sequence’); thus if you play a C major triad, the selected notes will be C, E and G.
The Arpeggiator is enabled by pressing the On button ; the associated LED will confirm its status.
The tempo of the arp sequence is set by the Tempo control ; you can make the sequence play faster or slower by adjusting this. The range is 40 to 240 BPM, and the BPM value is shown in the LED display. If Bass Station II is being synchronsied to an external MIDI clock, it will automatically detect the incoming clock and disable the Tempo control. The tempo of the arp sequence will now be determined by the external MIDI clock. To view the BPM value of the incoming clock, adjust the Tempo control slightly; this will change the LED display to show the external clock rate.
Tip
If the external MIDI clock source is removed, the Arpeggiator will continue to “flywheel” at the last known tempo. However, if you now adjust the Tempo control, the internal clock will take over and override the flywheel rate. The arp tempo is now governed by the internal clock and adjustable by the Tempo control.
The Latch button plays the currently selected arp sequence repeatedly without the keys being held. Latch can also be pressed before the Arpeggiator is enabled. When the Arpeggiator is enabled, Bass Station II will immediately play the arp sequence defined by the last set of notes played, and will do so indefinitely.
The arp pattern is selected by the three controls ,
&
: Rhythm, Arp Mode and Arp Octaves.
-
Rhythm – the arpeggiator comes with 32 pre-defined arp sequences; use the Rhythm control to select one. The sequences are numbered 1 to 32; the display confirms the number of the one selected. The sequences increase in rhythmic complexity as the numbers increase; Rhythm 1 is just a series of consecutive crotchets, and higher-numbered rhythms introduce more complex patterns and shorter duration notes (semiquavers).
-
Arp Mode – the setting of this 8-position switch roughly determines the order in which the notes making up the sequence will be played:
|
SWITCH POSITION |
DESCRIPTION |
COMMENTS |
|---|---|---|
|
Up |
Ascending |
Sequence begins with lowest note played |
|
Down |
Descending |
Sequence begins with highest note played |
|
UpDn |
Ascend/descend |
Sequence alternates |
|
UpDn2 |
As UpDn, but lowest and highest notes are played twice |
|
|
Played |
Key order |
Sequence comprises notes in the order in which they are played |
|
Random |
Random |
The notes held are played in a continuously-varying random sequence |
|
Record |
See Sequencer section (The sequencer) |
|
|
Play |
Tip
You should spend some time experimenting with different combinations of Rhythm and Arp Mode. Some patterns work better in certain Modes.
-
Arp Octaves – allows upper octaves to be added to the arp sequence. When set to 2, the sequence is played as normal, then immediately played again an octave higher. Higher values extend this process by adding additional higher octaves. Settings other than 1 have the effect of doubling, tripling, etc., the length of the sequence. The additional notes added duplicate the complete original sequence, but octave-shifted. Thus a four-note sequence played with Arp Octaves set to 1 will consist of eight notes when Arp Octaves is set to 2.
This arp parameter is set via a On-Key function, Arp: Swing (upper F#). Hold the key down and adjust the parameter value with the Patch/Value buttons . If Swing is set to something other than its default value of 50, some further interesting rhythmic effects can be obtained. Higher values lengthen the interval between odd and even notes, while the even-to-odd intervals are correspondingly shortened. Lower values have the opposite effect. This is an effect which is easier to experiment with than describe!
Bass Station II includes a 32 note step sequencer, the controls for which are included in the Arpeggiator section. The sequencer controls are marked on the control panel by black text on a white-block background, and are: Record, Play, SEQ, Legato, Rest and SEQ Retrig. (Note that SEQ, Legato and Rest are “second functions” of the Arp Octaves control and the arp On
and Latch
buttons respectively.)
Up to four separate sequences, each containing up to 32 notes (or a combination of notes and rests) can be recorded. These sequences are stored in Bass Station II and are retained when the synth is switched off. In addition, the currently selected sequence is also be stored as part of a patch.
To record a sequence, first select which of the four memory locations (1 to 4) is to be used with the SEQ control . Set the Arp Mode control
to Record. The LED display will confirm the mode with rec. Play the first note (or insert a rest – see below) and the LED display will show ‘1’; it will then increment with each subsequent note/rest that is played, up to a maximum of 32 notes.
The sequencer does not record the length of the notes or rests played. During playback the rhythm of the sequence is determined by the arp Rhythm control ;
if a complete sequence of 32 notes/rests has been recorded any subsequent note played will not be stored;
sequences may be shorter than 32 notes/rests if wished and you can stop recording at any time.
A rest (a period of silence of the same duration as a note) can be recorded into a sequence in the same manner as recording a note by pressing the Rest button .
If two or more notes are required to be played in a legato fashion (irrespective of the pattern selected by the Rhythm control), play the first note and then press the Legato button . A dash ‘-‘ will appear in the display after the step number to indicate that legato has been applied to this note. This, and the following note, will now be played in a legato style. Similarly, notes can be tied (extended in duration) in a similar manner by playing the same note either side of the legato dash ‘-‘. (Note that it is not possible to tie rests in this way.)
Pressing the Legato button repeatedly will toggle the legato/tie function on and off. Use this to cancel any applied legato/tie to a sequencer step. Once cancelled the dash will disappear.
Once the desired sequence is recorded, set the Arp Mode control to PLAY.
Recorded sequences can be played in a number of ways. If you play the first note of the recorded sequence, the sequencer will play the entire sequence in its original key. For example, if the first note of the recorded sequence was Middle C, then to play that sequence back in its original key you should play Middle C. If you play a different key, the sequence will be transposed, with the key played as the first note of the sequence. For example, if the lower B is played, the sequence (which was recorded starting on Middle C) will be transposed down one semitone.
The rhythm of the sequence can be changed by using the Rhythm control in a similar manner as used in with the arpeggiator.
This sequence parameter is set via an On-Key function, Arp: SEQ Retrig (the upper G).
The available rhythms - as described in the arpeggiator section - range from two bars of single crotchet beats to two bars with a complex pattern of semiquaver beats. The number of notes in the rhythm pattern therefore varies from 8 (two bars each of four crotchets) to 32 (two bars each of 16 semiquavers/rests). However, a recorded sequence could contain any number of notes (up to a maximum of 32), thus the length of the sequence may not match the length of the selected rhythm pattern. This may be fine, but in some instances it may be better to shorten the sequence to match the length of the selected rhythm, i.e., to have a repetitive sequence matching the rhythm.
When set to On, SEQ Retrig re-triggers the sequence every two bars, irrespective of whether playback of the entire sequence has been completed. With SEQ Retrig set to Off, the sequence will be played in its entirety, even if it ‘wraps around’ the rhythm pattern.
Developed in collaboration with Richard D James (Aphex Twin), AFX Mode allows you to assign multiple variations of patch parameters (overlays) to individual keys. This enables you to have a different patch on each key, bringing extensive possibilities to the Bass Station II.
You could begin with your favourite patch and introduce subtle changes as you advance up the keyboard, build drum sounds and assign them to given keys, use the Arpeggiator to structure overlays or even create full tracks entirely from the Bass Station II.
An overlay contains a list of parameter values that are loaded on top of the patch. As soon as a key with an overlay is pressed, the parameter values stored in an overlay are recalled.
Overlays are arranged into banks of 25. Each bank of 25 overlays is positioned over the 25 notes of the two initial octaves of the BSII keyboard (when octave set to 0, C2 to C4).
There are eight banks of overlays, any of which can be loaded on top of any patch. By default, no overlays are selected in each patch.
To select a bank of overlays, hold Function/Exit and press the Arp-Swing key twice. Using the Patch < and > buttons, choose from o-0 (no overlays), and o-[1-8] (overlay banks 1-8).
To modify an overlay, press and hold the desired key and make some changes to the controls. The key will then have the changes applied when pressed, all other keys will remain unaffected.
The banks of overlays are independent of the patches, allowing any bank of overlays to be recalled on any patch. For example, you can make changes to the overlays in bank 1 when using patch 1 and then recall the overlays in bank 1 on top of any other patch. The changes in bank 1 will then be applied to the selected patch, creating new variations on the patch.
By default, banks 1-4 contain preset overlays and banks 5-8 are left blank. When assigning a blank bank of overlays to a patch, you'll hear the patch ‘underneath’ the overlay when first pressing a key.
Each bank of overlays must be saved individually. To do this, go to the overlay selection menu (by pressing Function/Exit + Arp-Swing twice) and press Save.
Any unsaved changes will be erased when changing an overlay bank. Changing patches may introduce a change to a different overlay bank.
The selected overlay bank is saved within the synth patch. Individual overlays can only be saved as part of a bank. For individual overlay export, see the SysEx support section.
Overlay banks can be cleared using the Novation Components software on the AFX Mode page. The default overlay banks can also be restored from this page. Individual overlays can be cleared individually via SysEx (see ‘SysEx Support’ below).
It is possible to copy and paste overlays from one note to another on the hardware.
Press and hold Function/Exit + Transpose (in that order) to enter copy-paste mode, this is only available when a bank of overlays is selected. Whilst holding Function/Exit + Transpose, press and hold a key to copy an overlay (“CPY” is shown on screen when the overlay is copied.
With copied key still held, the overlay can then be pasted to any key by pressing the desired key (‘PST’ will be displayed on screen). An overlay can be pasted onto any number of keys.
It’s possible to write-protect your overlays to allow you to make performance changes to the synth without accidentally changing the overlays. To enable write-protection hold Function/Exit and press the Seq-Retrig key twice, then change r-0 (read-only disabled) to 1 (read-only enabled).
To minimise the number of controls, Bass Station II uses On-key functions to adjust non-performance sound parameters.
Each note on the keyboard has a specific On-key function, and these are marked on the panel above each key. To use an On-key function press and hold the Function/Exit button and press the key corresponding to the desired function. The LED display will flash, showing the current value or setting of the function. Release both the key and the Function/Exit button, and use the Patch/Value buttons
to alter the value or state. Note that some functions are “switch” type – i.e., On/Off, while others are “analogue” and have a typical parameter value range from -63 to +63. When the desired value or state has been set, press Function/Exit again to exit the On-key mode; if you don’t make any further adjustments it will time-out after 10 seconds.
Tip
Once the On-key function has been selected (with the LED display flashing), the keyboard resumes normal operation. This allows any changes to the sound resulting from alteration of the On-key function to be auditioned live if necessary.
Many of the On-key functions are described elsewhere in the manual, including any multiple-press functions for extended features. The list below provides a summary of parameters printed on the faceplate of your Bass Station II.
Mod Wh: Filter Freq (bottom C)
As well as varying the filter cut-off frequency manually (with the Frequency control ), with the Modulation Envelope, and with LFO 2, you can also use the Mod Wheel to vary it. This is great feature in live performance. The parameter value effectively determines the range of control available from the wheel. Positive values of the parameter increase the filter cut-off frequency as the mod wheel is moved away from you; negative values have the opposite effect.
Mod Wh: LFO 1 to OSC Pitch (lower C#)
The LFO 1 to OSC Pitch parameter controls the degree to which the oscillator pitch (both Osc 1 and Osc 2) is modified by LFO 1 when using the Mod wheel . This function is summed with all other oscillator pitch controls, therefore its specific effect will also depend on the other oscillator pitch control settings. Positive values increase the modulation, resulting in a maximum pitch change of 96 semitones, or 8 octaves. Negative values reduce the oscillator pitch modulation by a similar maximum amount.
Mod Wh: LFO 2 to Filter Freq (lower D)
The LFO 2 to Filter Freq parameter controls the degree to which the filter frequency is modified by LFO 2 when using the Mod wheel . This function is summed with all other filter frequency controls, therefore its specific effect will also depend on the other filter frequency control settings. Positive values increase the filter frequency modulation, negative values decrease it.
Mod Wh: Osc 2 Pitch (lower D#)
The Osc 2 Pitch parameter controls the degree to which the pitch of Osc 2 is modified when using the Mod wheel . This is useful for sweeping Osc 2 by a greater amount than is possible using the Pitch wheel. Positive values increase the modulation, resulting in a maximum pitch change of 96 semitones, or 8 octaves. Negative values reduce the oscillator pitch modulation by a similar maximum amount.
Aftertouch: Filter Freq (lower E)
The Filter Freq parameter controls the degree to which the filter frequency is modified by aftertouch (i.e., the change in filter frequency is proportional to the amount of pressure applied to the key once it is struck). Positive values increase the filter frequency modulation, negative values decrease it.
Aftertouch: LFO 1 to OSC Pitch (lower F)
The LFO 1 to OSC Pitch parameter controls the degree to which the oscillator pitch (for both Osc 1 and Osc 2) is modified by LFO 1 when using aftertouch. This function is summed with the other oscillator pitch controls, therefore its specific effect will also depend on the other oscillator pitch control settings. Positive values increase the modulation, resulting in a maximum pitch change of 95 semitones, or 8 octaves. Negative values reduce the oscillator pitch modulation by a similar maximum amount.
Aftertouch: LFO 2 Speed (lower F#)
The LFO 2 Speed parameter controls the degree to which aftertouch affects LFO 2 speed. Positive values increase the speed in proportion to the amount of pressure applied to the key. Negative values decrease the speed of LFO 2.
Setting Keysync LFO 1 to On re-starts LFO 1 at the start of the waveform every time a key is pressed. If set to Off it is not possible to predict where the waveform will be when a key is pressed.
Setting Keysync LFO 2 to On re-starts LFO 2 at the start of the waveform every time a key is pressed. If set to Off it is not possible to predict where the waveform will be when a key is pressed.
LFO: Speed/Sync LFO 1 (lower A)
This On-key function relates to the Delay/Speed switch in the LFO section. When Delay/Speed is set to Speed, it is possible to extend its function by using the Speed/Sync On-Key function. Setting Speed/Sync LFO 1 to Speed allows the speed of LFO 1 to be controlled by the rotary control
. Setting it to Sync reassigns the function of this control, and allows the speed of LFO 1 to be synchronised to an internal or external MIDI clock, based on a sync value selected by the control
. Sync values are shown on the LED display. See Sync Values table on Sync values table.
LFO: Speed/Sync LFO 2 (lower A#)
This On-key function operates in a similar manner to LFO: Speed/Sync LFO 1 above.
Slew has the effect of modifying the shape of the LFO 1 waveform. Sharp edges become less sharp as the value of Slew is increased.
This On-key function operates in a similar manner to Slew LFO 1 above, but varies the slew for LFO 2.
Oscillator: Pitch Bend Range (upper C#)
The Pitch Bend Range parameter determines the maximum range (in semitones) that a note can be raised or lowered using the Pitch wheel . A maximum of two octaves can be selected. A positive value increases the pitch of a note when the Pitch wheel is rotated “forwards” and decrease its pitch when it is rotated “backwards”. A negative Pitch Bend value reverses this relationship.
Oscillator: Osc 1-2 sync (upper D)
Osc 1-2 sync is a technique of using Osc 1 to add harmonics to Osc 2 by using oscillator 1’s waveform to re-trigger that of oscillator 2. When OSC 1-2 sync is On, the Sync 1-2 LED [20] is illuminated. See The Oscillators and Mixer for further details.
This function adds touch sensitivity to overall volume, so that with positive parameter values, the harder you play the keys, the louder will be the sound. With Amplitude Velocity set to zero, the volume is the same regardless of how the keys are played. The relationship between the velocity at which a note is played and volume is determined by the value. Note that negative values have the inverse effect.
As Amp Env adds touch sensitivity to volume, so Mod Env can be set to make the effect of anything being controlled by the Modulation envelope become touch sensitive. With positive parameter values, the harder you play the keys, the greater will be the effect of the modulation. Note that negative values have the inverse effect.
Because Bass Station II can generate a very wide dynamic range – particularly if the filter section is adjusted close to self-oscillation – it may be desirable to apply limiting to the synth output to control the signal level. This On-key function applies a simple limiter (there are no other controls) to the VCA stage. It is best adjusted after all other sound parameters have been tweaked; if possible, set it while checking the output level on the meter of a mixer or amplifier to ensure that no clipping occurs while any in-performance controls are adjusted. As the parameter value is increased, the limiting becomes more severe, resulting in a compressed sound at lower output level. You may have to turn the volume up externally to compensate for limiting.
This modifies the rhythm of the current arp pattern. See Arp swing for a full description.
This forces a repeat of the current sequencer pattern regardless of the length of the arp pattern. See Seq retrig for a full description.
Global: MIDI Channel (upper G#)
This On-key function lets you select the MIDI channel to be used for transmitting and receiving MIDI data to/from other equipment (such as the MIDI sequencer within your DAW). Hold the Function/Exit button down and press the upper G# note. The display will flash, showing the current MIDI channel number (1 if it has not been changed from the factory default). Release Function/Exit. You can now use the Patch/Value keys to alter the channel number. The new channel number will be stored and reinstated after a power-down.
This control determines whether Bass Station II is to be played from its own keyboard, or to respond to MIDI control from an external device, such as a MIDI sequencer or master keyboard. Set Local to On to use the keyboard, and to Off if you are going to control the synth externally via MIDI or use Bass Station II’s keyboard other external MIDI devices.
This parameter lets you make finer adjustments to the overall synth tuning. The increments are cents (1/100 of a semitone), and thus setting the value to ±50 tunes the oscillator to a quarter-tone midway between two semitones.
This adjusts the gain of the external audio input applied at the rear panel EXT IN connector {6}. The default value is zero (unity gain)
Use this On-key function to transmit current synth parameters via MIDI as a SysEx message. This allows you to store personal Patches on your computer for back-up purposes. The data is transmitted from both the USB port and MIDI OUT sockets on the rear panel. You can either transmit just the current Patch, or all 128. Hold the Function/Exit button and hit the key. The display will show onE. Keeping the Function/Exit button pressed, hit the key again, and all current synth parameters will be transmitted. Alternatively, press the Patch/Value buttons, the display will show All. Keeping the Function/Exit button pressed, hit the key again; Bass Station II will now transmit the parameters of all 128 Patches in sequence, so that you will have a backup of your entire synth.