Synth menus – reference section

Parameter: Input Gain 

This control adjusts gain for the Audio input. The gain is displayed directly in dBs. As the gain is increased, the signal at the input will be seen on the bargraph meter at the top of the LCD. The gain should be adjusted so the meter peaks two or three segments below the right-most on the loudest passages. The meter also includes an OVER flag; aim to set your signal level, so this never comes on! Note, if InptGain is set to Off, the audio input is inoperative.

Parameter: Input FX level

This parameter adjusts the amount of the input signal sent to the FX processor for the currently selected Patch.

Displays the firmware version currently installed in your MiniNova. You may need to know this in the event of a technical issue arising, or to check whether a newer version is available from the Novation website.

Parameter: Memory Protection

This is a safety feature, used to prevent accidental erasure of memories and loss of data. When set to On, writing Patches or Global data into memory will be prevented, and a brief warning message (Memory Protect!) shown on the MiniNova’s display. It is recommended Protect is left On unless Patches are being edited for storing in memory, or a System Exclusive dump from a computer is to be received.

Parameter: Local Control On/Off

This control determines if the MiniNova can be played from its own keyboard, or 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 the MiniNova’s keyboard as a master keyboard. When Off is selected, a LOCAL OFF flag appears in the LCD.

Parameter: Assign MIDI Channel

The MIDI protocol provides 16 channels allowing up to 16 devices to co-exist on a MIDI network, if each is assigned to operate on a different MIDI channel. MIDI Ch lets you set the MiniNova to receive and transmit MIDI data on a particular channel, so it can interface correctly with external equipment.

Parameter: Master Fine Tuning

This control adjusts the frequencies of all Oscillators by the same amount, allowing you to fine-tune the synth to another instrument. The increments are cents (1/100 of a semitone), thus setting to ±50 tunes the synth a quarter-tone between two semitones. A setting of ±0 tunes the keyboard with the A above middle C at 440 Hz – i.e., standard Concert Pitch.

Parameter: Key Transposition

Transpose is a very useful global setting which “shifts” the whole keyboard one semitone at a time up or down. It differs from oscillator tuning in that it modifies the control data from the keyboard rather than the actual oscillators. Thus setting Transpose to +4 means you can play with other instruments in the actual key of E major, but only need to play white notes, as if you were playing in C major.

Parameter: Pot Pickup (Rotary Perform Control value matching)

Operates with the four rotary Perform controls and the Filter knob to match the parameter value stored in the Patch to the Tweak control’s position. If PotPckup is set On, the rotary control has no effect until its level matches that stored in the Patch, avoiding sudden changes in parameter value. Also, the display shows →Pickup until the value is reached. With PotPckup Off, the parameter will change as soon as the control is turned.

Parameter: Keyboard Velocity

Selects the MIDI NoteOn Velocity value, which relates the key Velocity response to the force applied as they are played. The values 4 to 127 correspond to the actual Velocity values. Normal is the default setting, and should be acceptable for most playing styles.

Parameter: Foot switch configuration

A sustain foot switch can be connected to the MiniNova via the SUSTAIN socket {29}. If your sustain pedal is Normally-open or Normally-closed, and set this parameter to suit. If you are unsure which it is, connect the foot switch with the MiniNova f, and then power it on (without your foot on the pedal!) Provided the default setting of Auto is still selected, the polarity will now be correctly sensed.

Parameter: Clock Source

The MiniNova uses a master MIDI clock to set the tempo (rate) of the arpeggiator and to provide a time base for synchronisation to an overall tempo. This clock may be derived internally or provided by an external device able to transmit MIDI clock. The ClkSourc setting determines whether the MiniNova’s tempo-synchronised features (Arpeggiator, Chorus Sync, Delay Sync, Gator Sync, LFO Delay Sync, LFO Rate Sync & Pan Rate Sync) will follow the tempo of an external MIDI clock source or follow the tempo set by the TEMPO knob [21].

When set to any of the external MIDI clock sources, the tempo will be at the MIDI Clock rate received from the external source (e.g., a sequencer). Make sure the external sequencer is set to transmit MIDI Clock. If unsure of the procedure, consult the sequencer manual for details.

Most sequencers do not transmit MIDI Clock while they are stopped. Synchronisation of the MiniNova to MIDI Clock will only be possible while the sequencer is actually recording or playing. In the absence of an external clock, the tempo will flywheel and will assume the last known incoming MIDI Clock value.

Parameter: Wheel Illumination

The PITCH and MOD wheels [2] are internally illuminated; this setting allows them to be turned on or off.

Parameter: MiniNova Power Save

This is an energy-saving option. Setting PwrSave to On will make the MiniNova turn off (saving the current settings) when the computer goes into sleep mode. This only applies if it is powered via the USB connection. If set to 10 mins, the keyboard will turn off after that period, regardless of how it is powered. In either case, pressing any key will restore power. If set to Off, the keyboard will remain on.

Parameter: Arpeggiator Rate Sync

This parameter effectively determines the beat of the arp sequence, based on the current tempo. See Top menu: global.

Parameter: Arpeggiator Gate Time

This parameter sets the basic duration of the notes played by the Arpeggiator (though this will be further amended by both the Arp Pttn and Arp Sync settings). The lower the parameter value, the shorter the duration of the note played. At its maximum value, one note in the sequence is immediately followed by the next without a gap. At the default value of 64, the note duration is exactly half the beat interval (based on the current tempo), and each note is followed by a rest of equal length.

Parameter: Arpeggiator Mode

When enabled, the Arpeggiator will play all notes held down in a sequence which is determined by the Arp Mode parameter. The third column of the table describes the nature of the sequence in each case.

Parameter: Arpeggiator Octaves

This setting adds upper octaves to the arp sequence. If Arp Octv is set to 2, the sequence is played as normal, then is played again an octave higher. Higher values of Arp Octv extend this by adding additional higher octaves. Arp Octv values greater than 1 double or triple, 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 Octv set to 1, will consist of eight notes when Arp Octv is set to 2.

Parameter: Arpeggiator Pattern

On the MiniNova, Arpeggiator sequences can be configured up to eight notes in length by setting Arp Pttn to Arp Edit. You can edit the Arp sequence using the eight Pads in ARPEGGIATE mode. It is only possible to modify an Arp sequence with the Pads when Arp Pttn is set to Arp Edit.

UN pat 2 to 33 are pre-assigned Arp patterns of various lengths (greater than eight notes) and timings, and are derived from the UltraNova. These are not modifiable.

Parameter: Arpeggiator Length

This parameter is only available when Arp Pttn is set to Arp Edit. This parameter represents the number of steps making up the sequence.

Parameter: Arpeggiator Swing

This parameter is only available when Arp Pttn is set to Arp Edit. If this parameter is set to something other than its default value of 50, some further interesting rhythmic effects can be obtained. Higher values of Swing 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!

The MiniNova’s Chorder is a useful feature which allows you to play chords up to ten notes by pressing a single key. The resulting chord uses the lowest note played as its root; all the other notes in the chord will be above the root.

Parameter: Chord Mode

Turns Chord mode On or Off.

Parameter: Chord Transposition

The transposition control is calibrated in semitone intervals, and the pitch of the chord can be shifted up to 11 semitones, either up or down.

Parameter: Save Chord

To save a chord, set ChrdMode to On and select this menu option (SaveChrd). The display will show OK?; press the OK button [9]. The display will change to PlayChrd play the chord; you can play it in any key or inversion. Then press the OK button. After a short delay, the display will confirm the action by with Chord SAVED!

This menu is where you can modify the sound of a Patch, or create a new one from first principles. The Edit menu is divided further submenus as follows:

Parameter: Tweak Number 

Use the PAGE ◀ and ► buttons [7] to select which of the eight Tweak controls you wish to configure, and the DATA control [6] to select the parameter which the selected Tweak control will vary.

With this submenu, it is first necessary to select the oscillator whose parameters are to be adjusted. This selection is made with the PAGE ◀ and ► buttons [7].

The MiniNova has three identical oscillators and a noise source; these are the synth’s sound generators.

In the following parameter descriptions, the text refers to Oscillator 1; however, it applies equally to whichever oscillator is selected. A separate set of parameters applicable to all three oscillators is available when the Oscillator submenu is selected to OscComn (see Common Oscillator parameters).

Parameter: Coarse tuning

This parameter sets the basic per-oscillator tuning. Incrementing its value by 1 shifts the pitch of every note on the keyboard up by one semitone for the selected oscillator only, thus setting it to +12 effectively shifts the oscillator tuning up one octave. Negative values detune in the same manner. See also Top menu: global.

Parameter: Fine tuning

This parameter lets you make finer adjustments to the tuning. The increments are cents (1/100 of a semitone), and thus setting the value to ±50 tunes the oscillator to a quartertone midway between two semitones.

Parameter: Virtual Oscillator Sync

Oscillator Sync is a technique of using an additional “virtual” oscillator to add harmonics to the first, using the virtual oscillator’s waveform to retrigger the first. This technique produces interesting sonic effects. The nature of the resulting sound varies as the parameter is altered because the virtual oscillator frequency increases as a multiple of the main oscillator frequency as the parameter value increases.

When the Vsync value is a multiple of 16, the virtual oscillator frequency is a musical harmonic of the main oscillator frequency. The overall effect is a transposition of the oscillator that moves up the harmonic series, with values in between multiples of 16 producing more discordant effects.

Parameter: Oscillator Waveform

This selects the oscillator’s waveform from a range of 72 options. As well as analogue synth type waveforms like sine, square, sawtooth, pulse and 9 ratios of sawtooth/pulse mix, there are various digital waveforms and 36 wavetables consisting of nine individual waveforms per wavetable, plus two audio input sources.

Parameter: Pulse Width/Wave Table Index

This control has two functions, depending on the waveform selected by O1Wave. With pulse waveforms, it varies the pulse width of the oscillator output. This basic effect can most easily be heard by adjusting this parameter with O1Wave set to PW; you will hear the harmonic content varies and at high settings the sound becomes quite thin and metallic.

A pulse wave is an asymmetric square wave; when set to zero, the waveform is a square wave. (See The Oscillators and Mixer.) This parameter has a different function if the oscillator waveform is set to be one of the 36 Wave Tables (see O1Wave above). Each Wave Table consists of nine related waveforms, and the setting of O1PW/Idx determines which is in use.

The total parameter value range of 128 is divided into 9 (approximately) equal segments of 14 value units, so setting the value to anything between -64 and -50 will generate the first of the 9 waveforms, -49 to -35 the second, and so on. See also the Wave Table Interpolation parameter (O1WTInt), which can be used to introduce further variation in the way wavetables are used.

Parameter: Hardness

The Hardness parameter changes the harmonic content of the waveform, reducing the level of the upper harmonics as the value is decreased. Its effect is similar to a lowpass filter, but operates at oscillator level. You will note it has no effect on a sine waveform, as this is the one waveform with no harmonics.

Parameter: Density

The density parameter adds copies of the oscillator waveform to itself. Up to eight additional virtual oscillators are used for this, depending on the value of the parameter. This produces a “thicker” sound at low to medium values, but if the virtual oscillators are detuned slightly (see O1DnsDtn below), a more interesting effect is obtained.

Parameter: Density Detuning

This parameter should be used with the Density control. It detunes the virtual density oscillators, and you will notice not only a thicker sound, but the effect of beating as well.

Parameter: Pitch Wheel Range

The pitch wheel varies the oscillator pitch by up to an octave, up or down. The units are in semitones, so with a value of +12, moving the pitch wheel up increases the pitch of the notes played by one octave, moving it down takes them down an octave. Setting the parameter to a negative value reverses the operation of the pitch wheel. You’ll find many of the factory patches are set to +2, allowing a range of ±1 tone. This value can be set independently for each oscillator.

Parameter: Wave Table Interpolation

This parameter sets how smooth the transition is between adjacent waveforms in the same wavetable. A value of 127 will create a very smooth transition, with the adjacent waveforms blending together. With a value of zero, the transitions will be abrupt and obvious. With a high 01WInt value set, it is possible to retain a mix of adjacent waveforms if the modulation value remains fixed. When modulating the wavetable Index (via LFO, etc.), the wavetable interpolation parameter sets how smooth (or not!) the transition is.

The remaining parameters in the Oscillator Menu are common to all 3 oscillators. They are available when Oscillator Number is set to OscComn.

Parameter: Vibrato Depth

Adding vibrato to an oscillator modulates (or varies) the pitch of the note cyclically, adding a “wobble” to the tone. This parameter determines the vibrato depth, and hence how obvious the “wobble” is. The mod wheel is used to apply vibrato, with the ModVib parameter value representing the maximum depth of vibrato that can be obtained with the mod wheel in its fully ‘up’ position. On the MiniNova, VibMod and MVibRate are common parameters that affect all oscillators and do not require the use of the LFO section.

Parameter: Vibrato Rate

This parameter sets the rate of the vibrato from slow (value=0) to very fast (value=127).

Parameter: Oscillator Drift

When the oscillators are set to the same tuning, their waveforms are perfectly synchronised. Old analogue synthesisers were unable to stay perfectly in tune, Oscillator Drift ‘emulates’ this by applying a controlled amount of detuning so the oscillators are slightly out of tune with each other. This adds a “fuller” character to the sound.

Parameter: Oscillator Phase

This adjusts the point in the waveform at which the oscillators start, and is adjustable in 3° increments over one whole waveform cycle (360º). The effect of this is to add a slight “click” or “edge” to the start of the note, as the instantaneous output voltage when the key is pressed is not zero. Setting the parameter to 90° or 269° produces the most obvious effect. With the parameter set to 0°, the oscillators start precisely in step. If Free is set, the phase relationship of the waveforms is unrelated to when a key is pressed.

Parameter: Single Fixed Note

Some sounds don’t have to be chromatically-dependent. Examples would be percussion sounds (e.g., bass drums), and sound effects, such as a laser gun. You can assign a fixed note to a patch, playing any key on the keyboard generates the same sound. The pitch the sound is based on may be any semitone note in a range of over ten octaves. With the parameter set Off, the keyboard behaves as normal. With it set to any other value, every key plays the sound at the pitch corresponding to the value.

Parameter: Noise Source Type

In addition to the three main oscillators, the MiniNova has a noise generator. White noise is defined as a signal with “equal power at all frequencies”, and is a familiar “hissing” sound. Restricting the bandwidth of the noise alters the characteristic of the “hiss”, and the other three options for this parameter apply filtering. Note that the noise generator has its own input to the mixer, and to hear it in isolation, its input will need to be turned up and the oscillator inputs turned down. (See Edit menu - Submenu 3: Mixer.)

The outputs of the three oscillators and the noise source are passed to a simple audio mixer, where their individual contributions to the overall sound output can be adjusted. Most of the factory Patches use either two, or all three oscillators, but with their outputs summed in various combinations of levels. A total of 6 inputs and two FX sends are available for adjustment.

Parameter: Oscillator 1 Level

This parameter sets the amount of Oscillator 1’s signal present in the overall sound.

Parameter: Oscillator 2 Level

This parameter sets the initial amount of Oscillator 2’s signal present in the overall sound.

Parameter: Oscillator 3 Level

This parameter sets the initial amount of Oscillator 3’s signal present in the overall sound.

Parameter: Ring Modulator Level (Oscs. 1 * 3)

A Ring Modulator is a processing block with two inputs and one output, it “multiplies” the two input signals together. Depending on the relative frequencies and harmonic content of the two inputs, the resulting output will contain a series of sum and difference frequencies as well as fundamentals. The MiniNova has two Ring Modulators; both use Oscillator 3 as one input, one combines this with Oscillator 1, the other with Oscillator 2. The Ring Modulator outputs are available as two additional inputs to the mixer, controlled by RM1*3Lvl and RM2*3Lvl. The parameter controlled by RM1*3Lvl sets the amount of the Osc. 1 * 3 Ring Modulator output present in the overall sound.

Parameter: Ring Modulator Level (Oscs. 2 * 3)

The parameter controlled by RM2*3Lvl sets the amount of the Osc. 2 * 3 Ring Modulator output present in the overall sound.

Parameter: Noise Source Level

This parameter sets the amount of Noise present in the overall sound.

Parameter: Pre-FX level send

The summed mixer inputs are routed through the FX block (even if no effects are active) at a level determined by PreFXLvl. This control should be adjusted with care to avoid overloading the FX processing.

Parameter: Post-FX level send

This parameter adjusts the level returned from the FX processor. Both PreFXLvl and PostFXLv will alter the signal level even when all FX slots in the FX block are bypassed.

With this submenu, it is first necessary to select the filter whose parameters are to be adjusted.

The MiniNova has two identical filter sections, which modify the harmonic content of the oscillators’ outputs. They can be thought of as elaborate tone controls, with the additional ability of being dynamically controllable by other parts of the synth. A total of 8 parameters per filter are available for adjustment.

Note that some parameters are common to both filters (found in the FiltrCmn submenu). It is possible to use the two filter blocks together, placing them in various series/parallel configurations, by adjustment of the common parameter FRouting.

Filter 1 is used as the example in the descriptions which follow, but the two are identical in operation, except where indicated.

Parameter: Filter frequency

This parameter sets the frequency at which the filter type selected by F1Type operates. In the case of hi-pass or low-pass filters, it is the “cut-off” frequency; for band-pass filters, it is the “centre” frequency. Sweeping the filter manually will impose a “hard-to-soft” characteristic on almost any sound.

Parameter: Filter resonance

This parameter adds gain to the signal in a narrowband of frequencies around the frequency set by F1Freq. 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 Filter Frequency parameter, so as you move the FILTER knob [14], you’ll hear a more pronounced effect.

Parameter: Filter control by Envelope 2

The filter’s action may be triggered by Envelope Generator 2. Envelope 2’s own menu provides comprehensive control over precisely how this shape of the envelope is derived, see Filter envelope. F1Env2 lets you control the “depth” and “direction” of this external control; the higher the value, the greater the range of frequencies over which the filter will sweep. 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.

Parameter: Filter tracking

The pitch of the note played can be made to alter the cut-off frequency of the filter. At the maximum value (127), this frequency moves in semitone steps with the notes played on the keyboard – i.e., the filter tracks the pitch changes in a 1:1 ratio (e.g., when playing two notes an octave apart, the filter cut off-frequency will also change by one octave). At the minimum setting (value 0), the filter frequency remains constant, whatever note(s) are played on the keyboard.

Parameter: Filter type

The MiniNova filter sections offer 14 different types of filter: four hi-pass and four low-pass (with different slopes), and 6 band-pass filters of various types. Each filter type differentiates between frequency bands differently, rejecting some frequencies and passing others, and thus each imposes a subtly different character on the sound.

F1Type can be also adjusted directly from Row 3 of the PERFORM section of the control panel with Tweak Control RC3.

Parameter: Drive Amount

The filter section includes a dedicated drive (or distortion) generator; this parameter adjusts the degree of distortion treatment applied to the signal. The basic ‘type’ of drive added is set by F1DType (see below). The drive is added pre the filter (but see below).

Parameter: Drive Type

The drive processor for each filter is located immediately before the filter section itself. The type of drive (or distortion) generated can be selected with the F1DType parameter.

Parameter: Filter Q Normalisation

This parameter alters the bandwidth of the peak created by the resonance control F1Res. The value of F1Res has to be set to something other than zero for this parameter to have any effect. This feature enables the Filter section to emulate many of the filter responses found on various classic analogue and digital synths.

With Filter number set to FiltrCmn, the displayed parameters in the Filter Menu are common to both filters.

Parameter: Filter balance

MiniNova’s two filter sections may be used simultaneously, but configured in different ways (see FRouting below). Low-pass and band-pass filters could be combined in parallel to create speech-like sounds (see Common filter parameters). For configurations using both filters, FBalance lets you mix the outputs of the two filter sections together in whatever combination you want. The minimum parameter value of -64 represents maximum output from Filter 1 and no output from Filter 2, and the maximum value of +63 represents maximum output from Filter 2 and no output from Filter 1. With a value of 0, the outputs of the two filter sections are mixed in equal proportion.

Parameter: Filter Routing

MiniNova has five possible combinations of the two filter blocks, plus bypass. Single mode uses Filter 1 only, the other modes interconnect the two filter sections in various ways.

Bypass - No filters in circuit

Single - Filter 1 only

Series - Filter 1 feeds Filter 2, but output is still derived from Filter Balance control

Parallel - Filter sections are driven with the same input signal, and their output mix is adjusted by the Filter Balance parameter.

Parallel 2 As Parallel Mode, but Filter 1 is driven by Osc 3 and Noise source, remaining sources feed Filter 2.

Drum - As Parallel Mode 2, but Filter 1’s output is added to Filter 2’s input signals.

Note that Paral2 and Drum modes differ in an important respect from the others, in that the Filter 1 and Filter 2 are fed from different sources. This allows the noise source and Osc 3 to be filtered differently from Oscillators 1 and 2 and the Ring Modulator Outputs, an important requirement when creating certain percussive sounds.

Tip

Two examples of Filter routings…

…a Notch Filter: 

F1Type: LP

F2Type: HP

F1Routing: Parallel

…a wideband bandpass filter 

F1Type: HP

F2Type: LP

F1Routing: Series

Parameter: Filter Frequency Link

Setting FreqLink to On creates a relationship between the frequencies of the two Filter sections, and re-assigns the function of F2Freq for Filter 2 from Frequency to Frequency Offset (see F1Freq, above). Filter 2’s offset is relative to Filter 1’s frequency.

Parameter: Resonance Link

Setting ResLink to On applies the same Resonance parameter value to both Filter 1 and Filter 2. The Filter Resonance control (F1Res) affects both filters, regardless of which filter is currently selected for adjustment.

The MiniNova is a multi-voice, polyphonic synthesiser, which basically means you can play chords on the keyboard, and every note you hold down will sound. Each note is termed a ‘voice’, and the MiniNova’s DSP engine is sufficiently powerful to ensure that you will always run out of fingers before you run out of voices! However, if you are controlling the MiniNova from a MIDI sequencer, it is theoretically possible to run out (there are a maximum of 18 voices internally). Although this is likely to happen only rarely, users may occasionally observe this phenomenon, which is termed ‘voice stealing’.

The alternative to polyphonic voicing is mono. With mono voicing, only one note sounds at a time; pressing a second key while holding the first down will cancel the first and play the second – and so on. The last note played is always the only one that you hear. All the early synths were mono, and if you are trying to emulate a 1970s analogue synth, you may wish to set the voicing to mono as the mode imposes a certain restriction on playing style that will add to authenticity.

In addition to selecting polyphonic or mono voicing, the Voice menu also lets you set the portamento and other related voicing parameters.

Parameter: Unison Voices

Unison can be used to “thicken” the sound by assigning additional voices (up to 4 in total) for each note. Be aware that the “reservoir” of voices is finite and with multiple voices assigned, polyphony is accordingly reduced. With 4 voices per note, a four-note chord approaches the MiniNova’s limit, and if further notes are added to the chord, “voice stealing” is implemented and the initial note(s) played may be cancelled.

Parameter: Unison Detune

Unison Detune applies only when Unison Voices is set to something other than Off. The parameter determines how much each voice is detuned relative to the others; you will be able to hear a difference in the sound of the same note with different numbers of voices even if Unison Detune is set to zero, but the sound gets more interesting as it is increased in value.

Parameter: Portamento Time

With Portamento active, notes played sequentially glide from one to the next, rather than immediately jumping to the desired note pitch. The synth remembers the last note played and the glide will start from that note even after the key has been released. The PortTime is the duration of the glide, and a value of 115 equates to approximately 1 second. Portamento is primarily intended for use in a mono Mode (see PortMode below), where it is particularly effective. It can also be used in a Poly mode, but its operation can be unpredictable, particularly when chords are played. Note that PreGlide must be set to zero in order for Portamento to be operative.

Parameter: Portamento Mode

This sets the ‘shape’ of the Portamento and PreGlide (see following page) transitions from one note to the next. In Linear mode, the glide alters the pitch evenly between the previous note and that being played. In Expo mode, the pitch changes more rapidly at first, and then approaches the ‘target’ note more slowly, i.e., exponentially.

Parameter: Pre-Glide

PreGlide takes priority over Portamento, though it does use the PortTime parameter to set its duration. PreGlide is calibrated in semitones, and each note played will actually begin a on a chromatically-related note up to an octave above (value = +12) or below (value = -12) the note corresponding to the key pressed, and glide towards the ‘target’ note. This differs from Portamento in that, e.g., two notes played in sequence will each have their own PreGlide, related to the notes played, and there will be no glide ‘between’ the notes.

Parameter: Polyphony Mode

As the names imply, three of the possible modes are mono and two are polyphonic.

The MiniNova provides a great deal of flexibility in the use of envelopes in sound creation, 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, and adjustments are provided for each of these:

With this submenu, it is first necessary to select the envelope whose parameters are to be adjusted:

The following parameters apply only to the Amplitude Envelope, and will be available if Env n (above) is set to Amp Env.

Parameter: Amplitude Attack Time

This parameter sets the note’s attack time. With a value of 0 the note is at its maximum level immediately the key is pressed; with a value of 127, the note takes over 20 seconds to reach its maximum level. At the mid-setting (64), the time is approx. 250 ms (provided Amplitude Attack Slope (AmpAtSlp) has a value of zero).

Parameter: Amplitude Decay Time

This parameter sets the notes’ decay time. Decay time only has meaning if AmpSus (see below) is set to less than 127, as the Decay phase will be inaudible if the sustain level is the same as the level reached during the attack phase. At the mid-setting (64), the time is approx. 150 ms (provided AmpDcSlp has a value of 127).

Parameter: Amplitude Sustain Level

The value of the Sustain parameter sets the volume of the note after the completion of the decay phase. Setting a low value will obviously have the effect of emphasising the start of the note; setting it to zero will render the note silent after the decay phase has elapsed.

Parameter: Amplitude Release Time

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. A setting of 64 gives a Release Time of approx. 360 ms. The MiniNova has a maximum release time of over 20 seconds (with AmpRel set to 127), but shorter times will probably be more useful! Note that the relationship between the parameter value and Release Time is not linear.

Parameter: Amplitude Velocity

AmpVeloc does not modify the shape of the ADSR amplitude envelope in any way, but adds touch sensitivity to overall volume, so with positive parameter values, the harder you play the keys, the louder will be the sound. With AmpVeloc 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.

Parameter: Amplitude Envelope Repeat

By using Amplitude Repeat, it is possible to repeat the Attack and Decay phases of the envelope before the Sustain phase is initiated. This can produce an interesting “stuttering” effect at the start of the note if the Attack and Decay times are set appropriately. The value of the Repeat parameter (from 1 to 126) is the actual number of repeats, so if you set it to, e.g., 3, you will hear a total of four attack/decay phases of the envelope – the initial one, plus three repeats. If set to Off there are not repeats. The maximum setting of KeyOff generates an infinite number of repeats.

Parameter: Amplitude Touch Trigger

You will have noticed the MiniNova’s eight Performance Pads are touch-sensitive. The Pads can be used in real time to provide creative control over the sound, which is especially useful when playing live.

Amplitude Touch Trigger assigns any Pads to act as a re-trigger button – as soon as the assignment is made, the Pad illuminates. When the Pad is touched, the amplitude envelope is re-triggered. After making the assignment, to use the feature it is necessary to put the Pads into Animate mode (see Using the pads as performance controls) .

Parameter: Amplitude Multi-trigger

When this parameter is set to Re-Trig, each note played will trigger its full ADSR amplitude envelope, even if other keys are held down. In Legato mode, only the first key to be pressed will produce a note with the full envelope, all subsequent notes will omit the attack and decay phases, and sound only from the start of the Sustain phase. “Legato” literally means “smoothly”, and this mode aids this style of playing.

It is important to appreciate for the Legato mode to be operative, mono voicing must be selected – it will not work with polyphonic voicing. See Edit menu - Submenu 5: Voice.

Parameter: Amplitude Attack Slope

This parameter controls the “shape” of the attack characteristic. With a value of 0, the volume increases linearly during the attack phase – it increases by equal amounts in equal time intervals. A non-linear attack characteristic may be selected as an alternative, where the volume increases more rapidly at first. The diagram below illustrates this.

Parameter: Amplitude Decay Slope

This parameter applies the same function as Amplitude Attack Slope to the Decay phase of the envelope. With a value of 0, the volume drops linearly from the maximum value defined by the Sustain parameter, but setting Decay Slope to a higher value will cause the volume to reduce more rapidly initially. The diagram below illustrates this:

Parameter: Amplitude Attack Track

This parameter relates a note’s attack time to its position on the keyboard. When Amplitude Attack Track has a positive value, the attack time of a note decreases the higher up the keyboard it is played. Conversely, lower notes have a longer attack time. This aids in simulating the effect of a real stringed instrument (such as a grand piano), where the mass of the strings on the lower notes have a slower response time when struck. When a negative value is applied, the relationships are reversed.

Parameter: Amplitude Decay Track

This parameter works in exactly the same way as Attack Track, except the Decay time of a note becomes dependent on its position on the keyboard.

Parameter: Amplitude Sustain Rate

With this parameter set to Flat, the volume during the Sustain phase of the envelope remains constant. You can get additional variations to a note’s by causing the note to become louder or quieter while the key is held. A positive value of Sustain Rate will cause the volume to increase during the Sustain phase, and it will continue to do so until maximum level is reached. The parameter controls the rate at which the note increases volume, and the higher the value, the faster the rate of increase. Any Release time set will act as normal when the key is released, whether or not the maximum volume has been reached. If a negative value is set, the volume during the Sustain phase drops, and if the key is not released, the note will eventually become inaudible.

Parameter: Amplitude Sustain Time

This parameter sets the duration of the Sustain phase. With a value of KeyOff, the note will remain audible continuously until the key is released (unless a negative value of Sustain Rate has been applied to reduce its volume). Any other value of Sustain Time will cut the note off automatically after a pre-determined time if the key is still held down. Release Time still applies if the key is released sooner. A value of 126 sets the Sustain time to approx. 10 seconds, while values around 60 set it to about 1 second.

Parameter: Amplitude Level Track

This parameter works in a similar way to the other “tracking” parameters Attack Track and Decay Track, but it is the volume of the note which is changed, according to the interval between it and the Level Track Note (see below). With a positive value, notes higher than the Track Note get progressively louder the further from the Track Note they are, and vice-versa. With a negative value, notes higher than the Track Note get progressively quieter the further from the Track Note they are, and again, vice-versa. Note that this volume modification is applied to all phases of the amplitude envelope equally; it is the overall volume of the note which changes with Amp Level Track. The effect should be used sparingly; low values have a better effect.

This parameter is common to all the envelopes. This sets the reference note used for all Level Track parameters, including Amp Level Track. When active, this parameter increases the volume for notes above the chosen Track Note, and reduces it for notes below it. C 3, the default value, is Middle C on the keyboard; this is the C one octave above the lowest note on the keyboard (also C), providing no OCTAVE buttons [24] are selected.

The following parameters apply only to the Filter Envelope, and will be available if Env n (Edit menu - Submenu 6: Env) is set to Fltr Env.

The 16 parameters available for adjustment with the Filter Envelope closely match those for the Amplitude Envelope. Whereas the Amplitude Envelope is concerned with modifying the sound’s amplitude, the Filter Envelope gives you “dynamic” filtering by establishing a relationship between the filter section and ADSR Filter Envelope. This results in the filter frequency being varied by the shape of the envelope.

Parameter: Filter Attack Time 

This parameter sets how the filter section acts during the note’s Attack phase. The higher the value, the longer it takes for the filter to react during this phase.

Parameter: Filter Decay Time 

This parameter sets how the filter section acts during the note’s Decay phase. Again, the higher the parameter value, the longer the period for which filtering is applied.

Parameter: Filter Sustain Level 

The frequency of the filter (cut-off or centre, depending on filter type) “settles” at a value set by the Filter Sustain Level. Thus, once the Attack and Decay stages of the envelope are completed, the harmonic content most evident in the sound will be determined by this parameter. Remember, if the filter frequency parameter (as set in the Filter Menu) is set at a too low or too high a value, the envelope’s effect will be limited.

Parameter: Filter Release Time 

As Filter Release is increased in value, the note undergoes increasingly more filter action once the key is released.

Parameter: Filter Velocity 

As Amplitude Velocity adds touch sensitivity to volume, so Filter Velocity can be set to make filter action touch sensitive. With positive parameter values, the harder you play the keys, the greater will be the effect of the filter. With Filter Velocity set to zero, the sound’s characteristics are the same regardless of how the keys are played. Note that negative values have the inverse effect.

Parameter: Filter Repeat 

When Filter Repeat is set to a value other than Off, the Attack and Decay phases of the envelope are repeated before the Sustain phase is initiated. This has a similar effect to Amplitude Repeat and use of either or both repeat parameters can create some quite striking sounds.

Parameter: Filter Touch Trigger 

Unlike Amplitude Touch Trigger, Filter Touch Trigger has three options per Pad control: Trigger, Re-trigger and Enable. However, as with Amplitude Touch Trigger, it is necessary to enable the ANIMATE mode for the Pads to be operative (see Using the pads as performance controls).

Parameter: Filter Multi-trigger 

This operates similarly to Amplitude Multi-trigger. When set to Re-Trig, each note played will trigger its full ADSR envelope, even if other keys are held down. With the envelope applied to the filter section, this means the effect of any envelope-triggered filtering will be heard on every note. When set to Legato, only the first key to be pressed will produce a note with the full envelope and produce any filtering effect. All subsequent notes will lack any dynamic filtering. Remember, for the Legato mode to be operative, mono voicing must be selected – it will not work with polyphonic voicing. See Edit menu - Submenu 5: Voice.

This parameter controls the “shape” of the attack characteristic as applied to the filters. With a value of zero, any filtering effect applied to the Attack phase increases linearly – that is to say, increases by equal amounts in equal time intervals. A non-linear attack characteristic may be selected as an alternative, where the filter effect increases more rapidly at first.

Parameter: Filter Decay Slope 

This corresponds to Filter Attack Slope in the same manner Amplitude Decay Slope corresponds to Amplitude Attack Slope. The linearity of the reaction of the filter section during the Decay phase of the envelope can be varied, from linear to a more exponential slope. Any filter effect is more pronounced during the first part of the Decay phase.

Parameter: Filter Attack Track 

Like Amplitude Attack Track, this parameter relates a note’s attack time to its position on the keyboard. When Filter Attack Track has a positive value, the filtering effect during the Attack phase of a note is shortened as you go up the keyboard. Conversely, lower notes have their attack time increased. With a negative value, the relationships are reversed.

Parameter: Filter Decay Track 

This parameter works in exactly the same way as Attack Track, except it is the filter effect during the Decay phase of a note that becomes dependent on its keyboard position.

Parameter: Filter Sustain Rate 

With a value of Flat, filter frequency remains constant during the Sustain phase of the note. If Filter Sustain Rate is given a positive value, the filter frequency continues to increase during the Sustain phase, the character of the note continues altering audibly for longer. With low values of Filter Sustain Rate, the change is slow, and increases in rapidity as the value is increased. With negative values, the filter frequency decreases during the Sustain phase. See Amplitude envelope for an illustration.

Parameter: Filter Sustain Time 

This parameter also applies to the Sustain phase, and sets how long any envelope-triggered filtering remains active. When set to KeyOff, the filtering remains applied continuously until the key is released. Any lower value of Sustain Time will cause the filtering effect to suddenly stop before the note ends, and you will be left with the release phase of the envelope. This does, of course, only occur if the Amplitude Sustain Time is longer than the Filter Sustain Time, otherwise the note will stop sounding altogether before the filter has cut off.

Parameter: Filter Level Track 

This parameter works similarly to the other “tracking” parameters, but it is the depth with which the envelope is applied to the filter which alters. In relation to the interval between the note played and the Level Track Note (see below). With a positive value, the envelope-triggered filtering effect becomes progressively more pronounced for notes higher than the Track Note the further from the Track Note they are, and vice versa. With a negative value, notes higher than the Track Note undergo progressively less filtering the further from the Track Note they are, and again, vice versa.

Parameter: Level Track Note 

This parameter is common to all the envelopes. See Amplitude envelope.

In addition to dedicated Amplitude and Filter envelopes, the MiniNova is equipped with four further assignable envelopes, Envelopes 3 to 6. These envelopes have virtually the same set of parameters as the Amplitude and Filter envelopes, but they can be assigned at will to control many other synth functions, including most oscillator parameters, filters, EQ, and panning among others. These parameters will be available if Env n (Edit menu - Submenu 6: Env) is set to Env 3 to Env 6.

The assignment of Envelopes 3 to 6 to other synth parameters is performed in the Modulation Matrix (ModMatrx) Menu (see

for full details). To audition their effects, you must first open the ModMatrx Menu and set a Mod Slot Source to Env3 and the Destination to a parameter of your choice (e.g., Global Oscillator Pitch – 0123Ptch).

The parameter arrangement for Envelopes 3 to 6 is identical, and the arrangement closely follows Envelopes 1 and 2 (Amplitude and Filters). Although denoted as Envelope 3, the parameter summaries below apply equally to Envelopes 4, 5 & 6, so are not repeated.

The actual function of Envelopes 3 to 6 will obviously depend on what they are routed to control in the Modulation Matrix Menu. However, the derivation of the envelope parameters themselves follow those already described for the Amplitude and Filter envelopes, except the Delay parameter (e.g., E3Delay), whose function is described below.

Parameter: Envelope 3 Attack Time

Parameter: Envelope 3 Decay Time

Parameter: Envelope 3 Sustain Level

Parameter: Envelope 3 Release Time

Parameter: Envelope 3 Delay

This parameter delays the start of the entire envelope. When a key is pressed, its note sounds normally, with Envelopes 1 and 2 acting as they are programmed. But any further modulation effects triggered by Envelopes 3 to 6 will be delayed by a time set by the Delay parameter. The maximum value of 127 represents a delay of 10 seconds, while a value of about 60~70 represents a delay of approximately 1 second.

Parameter: Envelope 3 Repeat

Parameter: Envelope 3 Touch Trigger

Parameter: Envelope 3 Multi-trigger

Parameter: Envelope 3 Attack Slope

Parameter: Envelope 3 Decay Slope

Parameter: Envelope 3 Attack Track

Parameter: Envelope 3 Decay Track

Parameter: Envelope 3 Sustain Rate

Parameter: Envelope 3 Sustain time

Parameter: Envelope 3 Level Track

Parameter: Level Track Note

This parameter is common to all the envelopes.

See Amplitude envelope.

The MiniNova has three separate Low Frequency Oscillators (LFOs). These are designated LFO1, 2 and 3, are identical in terms of features, and can be used freely to modify many other synth parameters, such as oscillator pitch or level, filters, panning, etc.

The assignment of LFOs 1 to 3 to other synth parameters is performed in the Modulation Matrix Menu (see Edit menu - Submenu 8: ModMatrx).

To audition their effects, open the Modulation Matrix Menu and set a Modulation Slot’s Source to LFO1+/- or LFO1+* and the Destination to a parameter of your choice. Note also the Depth control on this menu determines the amount of LFO modulation applied to the Destination parameter. Increasing this value will have a different effect depending on what the Destination parameter is, but can generally be taken to mean “more effect”.”. The interpretation of negative values of Depth will also depend on the chosen Destination parameter.

*Selecting LFO1+ as the source makes the LFO vary the controlled parameter in a positive sense (i.e., increasing) only. Selecting it as LFO1+/- varies it in both a positive and a negative sense.

With this submenu, it is first necessary to select the LFO whose parameters are to be adjusted:

A total of 12 parameters per LFO is available for adjustment. Because the three LFOs are identical, only the functions of LFO1 are described.

Parameter: LFO 1 Rate

Rate is the LFO’s frequency. A value of zero stops the LFO, and most musical effects are likely to use values in the 40~70 range, though higher or lower values may be appropriate for certain sound effects.

Tip

When the LFO Rate is set to zero, the LFO is “stopped”, but will still apply an offset to the parameter it is modulating of a magnitude dependent on where it stopped in its cycle.

Parameter: LFO 1 Rate Sync

This control allows the frequency of the LFO to be synchronised to an internal/external MIDI clock. When set to Off, the LFOs run at a frequency set by the L1Rate parameter. At all other settings L1Rate becomes inoperative, and the LFO rate is determined by L1Sync, which in turn is derived from the MIDI clock. When using internal MIDI clock, the rate can be set using the TEMPO control [21].

Parameter: LFO 1 Waveform

The MiniNova’s LFOs are able to generate not only the familiar sine, sawtooth, triangle, and square waveforms for modulation purposes, but are also able to produce a wide range of preset sequences of various lengths and random waveforms. A common use of an LFO is to modulate the main oscillator(s). With many of the sequenced waveforms, setting the Depth parameter in the Modulation Matrix Menu to either 30 or 36 (see LFO waveforms table) will ensure the resulting oscillator pitches will be musically associated in some way.Dept parameter in the Modulation Matrix Menu to either 30 or 36 (see LFO waveforms table) will ensure the resulting oscillator pitches will be musically associated in some way.

Parameter: LFO 1 Phase

This control is only active if L1KSync (same menu) is set On. It determines the start point of the LFO waveform when the key is pressed. A complete waveform has 360º, and the control’s increments are in 3º steps. Thus a half-way setting (180°) will cause the modulating waveform to start at half-way through its cycle.

Parameter: LFO 1 Slew

Slew modifies the shape of the LFO waveform. Sharp edges become less sharp as Slew is increased. This effect can be heard by selecting Square as the LFO waveform and setting a low rate so the output when a key is pressed alternates between two tones. Increasing the Slew value will cause the transition between the tones to “glide” rather than a sharp change. This is caused by the edges of the square LFO waveform being slewed.

Note

Note that Slew has an effect on all LFO waveforms, including sine. The effect of LFO Slew differs somewhat with different LFO waveforms. 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.

Parameter: LFO 1 Key Sync On/Off

Each LFO runs continuously, ‘in the background’. If the Key Sync setting is Off, there is no way of predicting where the waveform will be when a key is pressed. Consecutive presses of a key will inevitably produce varying results. Setting Key Sync to On re-starts the LFO at the same point on the waveform every time a key is pressed. The actual point is set by the Phase parameter (L1Phase).

Parameter: LFO 1 Common Sync

When LFOs are in use for pitch modulation (their most common application), Common Sync is only applicable to polyphonic voices. It ensures the phase of the LFO waveform is synchronised for every note being played. When to set Off, there is no such synchronisation, and playing a second note while one is already pressed will result in an unsynchronised sound as the modulations will be out of time.

Parameter: LFO 1 One-Shot

As its name suggests, setting this parameter to On causes the LFO to generate just a single cycle of its waveform. Note a full waveform cycle is always generated regardless of the setting of LFO Phase; if LFO Phase is set to 90°, the one-shot waveform will start at the 90° point, execute a full cycle, and end at 90°.

Parameter: LFO 1 Delay

LFO Delay is a time parameter whose function is determined by L1InOut (see below).

Parameter: LFO 1 Delay Sync

When this parameter is set to Off, the LFO delay is controlled by the Delay parameter (L1Delay). At all other settings, L1Delay becomes inoperative, and the LFO delay is derived from the internal/external MIDI clock.

Parameter: LFO 1 Fade In/Fade Out

The function of the four possible settings of L1InOut are as follows:

Parameter: LFO 1 Delay Trigger

This parameter works in conjunction with the Fade/Gate parameters set by L1InOut. In Re-Trig mode, every note played has its own delay time, as set by L1Delay (or MIDI clock if L1Dsync is active). In Legato mode, it is only the first note of a legato-style passage which triggers the delay – i.e., second and subsequent notes do not re-trigger the Delay function. For the Legato setting of Delay Trigger to be operative, mono voicing must be selected – it will not work with polyphonic voicing. See Edit menu - Submenu 5: Voice.

The heart of a versatile synthesiser lies in the ability to interconnect the various controllers, sound generators and processing blocks such that one is controlling – or “modulating” - another, in as many ways as possible. MiniNova provides tremendous flexibility of control routing, and there is a dedicated menu for this, the Modulation Matrix Menu (ModMatrx).

The menu may be visualised as a system for connecting controlling sources to a specific area of the synth. Each such connection assignment is termed a slot, and there are 20 such slots, accessed by ModSlt (see below). Each slot defines how one or two control sources are routed to a controlled parameter. The routing possibilities available in each of the 20 slots are identical, and the control description below is applicable to all them.

Tip

The Modulation Matrix is both variable and additive. What do we mean by a ‘variable’ and ‘additive’ matrix?

‘Variable’ means it is not just the routing of a controlling source to a controlled parameter which is defined in each slot, but also the “magnitude” of the control. Thus the ‘amount’ of control – or control ‘range’ – used is up to you.

'Additive’ mean a parameter may be varied by more than one source. Each slot allows for two sources to be routed to a parameter, and their effects are multiplied together. This means if either of them is at zero, there will be no modulation. However, there is no reason why you can’t have further slots routing these or other sources to the same parameter. In this case, the control signals from different slots “add” to produce the overall effect.

You need to be careful when setting up patches like this to ensure that the combined effect of all the controllers acting simultaneously still creates the sound that you want.

In addition, the Modulation Matrix Menu lets you assign Pads as additional controllers, so long as Animate mode is enabled (Using the pads as performance controls).

With this submenu, it is first necessary to select the modulation slot whose parameters are to be adjusted:

The Modulation Matrix has 20 ‘slots’ (‘mod slots’), each defining a routing assignment of one (or two) sources to a destination. All the slots have the same selection of sources and destinations, and any or all can be used. The same source can control multiple destinations, and one destination can be controlled by multiple sources.

Because the 20 Modulation Slots are identical, only the functions of Slot 1 are described.

Parameter: First Source

This selects a control source (modulator), which will be routed to the destination set by Destin. Setting both Source1 and Source2 to Direct means no modulation is defined.

Parameter: Second Source

This selects a second control source for the chosen destination. If only one source per patch is being used, set Source2 to.

Parameter: Touch controller enable

The eight ANIMATE Pads can be programmed as touch controllers, so they initiate a change to a parameter value (defined by Destin, see below) when pressed. Note that Animate mode must be enabled for the Pads to be active. ANIMATE pads will illuminate purple if a controller has been assigned. See Using the pads as performance controls for more details regarding using the Pads. Note that when both a Pad and other sources (Source1 and/or Source2) are assigned in the same slot, the Pad acts as a switch for the other sources, whose effect will only be heard when the Pad is pressed.

This sets which MiniNova parameter is to be controlled by the selected source (or sources) in the current matrix configuration. The range of possibilities comprises:

Parameter: Depth

The Depth control sets the level of the control being applied to the Destination – i.e., the parameter being modulated. If both Source1 and Source2 are active in the current slot, Depth controls their combined effect.

The MiniNova comes equipped with a comprehensive set of DSP-based effects processors, which can be applied to both the synth sound and any audio applied to the MiniNova’s audio inputs.

The FX section comprises five processing slots, each of which may be “loaded” with an FX processor from a pool of devices that includes panning, equalisation, compression, delay, chorus, distortion, reverb and gator effects. In addition to the slots, controls are also provided for global FX parameters like panning, FX level, FX feedback, etc.

The FX controls are accessed from the Effects submenu. This provides six options: PanRoute and FXSlot1 to FXSlot5. PanRoute provides selection of panning and slot configuration. Entering FXSlot1 to FXSlot5 allows you to choose the FX device and its associated parameters for each of the five slots.

The following parameters apply only to the PanRoute option:

Parameter: Pan Position 

This is the main manual pan control and positions the dry (pre-FX) synth sound/Input audio in the stereo image between the left and right outputs. Negative values of PanPosn move the sound to the left and positive values to the right. Note that some FX (e.g., reverb, chorus) are inherently stereo, and these are added post-panning. Thus, if you are using a sound using FX such as these, PanPosn will appear to not entirely localise the sound fully left or right at its extreme settings.

Parameter: Pan Rate

Automatic panning is also possible, and the Pan section has a dedicated sine wave LFO which controls this. The PanRate parameter controls the LFO frequency, and thus how rapidly the sound moves between left and right and back again. With a value of 40, the sound takes approx. 3 seconds to complete a full cycle, and the range of control allows extremely slow or extremely fast panning.

Parameter: Pan Sync

Auto-panning rate may be synchronised to the internal or external MIDI clock, using a wide variety of tempos.

Parameter: Pan Depth

This control determines the amount of image shift applied by the auto-panner. At its maximum value of 127, the auto-panner will pan the sound both fully left and fully right; lower values will pan less extremely, with the sound remaining more centrally located. The auto-panner is effectively off when the parameter value is zero (but the “manual” pan parameter PanPosn is still operative).

Parameter: FX Slot Routing

This parameter lets you configure the interconnection of the FX slots. The five slots may be interconnected in serial, in parallel, or in various combinations of serial and parallel.

FXRouting = 0

FXRouting = 1

FXRouting = 2

FXRouting = 3

FXRouting = 4

FXRouting = 5

FXRouting = 6

FXRouting = 7

Parameter: Effect feedback

This parameter controls how much signal is fed back to the input of the effects chain from its output. The FX Slot from which the feedback is derived varies with the FX Routing configuration in use – see diagrams above. However, with all routing configurations, the feedback is added back into the chain at FX Slot 1. Note that not all configurations employ feedback.

FX Slots 

Each of the FX slot options (accessed from the initial Effects submenu) are identical, and may be loaded with one of the various FX processors available. The parameter descriptions following refer to the first FX slot; operation of the other four are identical.

Parameter: FX1 Type

The table shows the “pool” of FX devices available. As DSP capacity is finite, each device in the list may only be loaded into one slot, and once it has been loaded, it will no longer appear in the list of available processors for the other slots. You will see multiples of most of the FX devices are provided, to allow the most creative use of the FX.

Parameter: Effect Amount

The precise function of this parameter depends on which FX device is loaded into the slot. See the table below for a summary.

The remaining parameters available for adjustment in the FXSLOTn submenu are determined by which effects device has been loaded into the slot. A slot which has no FX device loaded has no further menu options available.

Each FX device has its own menu; these are described in turn below. All references to FX1 may be taken as being equally applicable to the other four FX slots.

The equaliser is a three-band ‘swept’ type, with cut/boost and frequency controls for each band. The LF and HF sections are second-order (slope of 12 dB/octave) shelving filters, and the MF section is a bell-response filter.

Parameter: LF Cut/Boost 

This parameter controls the LF response of the equaliser; a value of 0 gives a flat response in the LF region, positive values will give a rise in the LF response – i.e., more bass, and negative values will have the opposite effect. The range of adjustment is ±12 dB (with FX1 Amnt set to 127).

Parameter: MF Cut/Boost 

This parameter controls the MF response of the equaliser; a value of 0 gives a flat response in the MF region, positive values will give a rise in the MF response – i.e., more mid-frequencies (the voice region of the audio spectrum), and negative values will accordingly reduce the MF response. The range of adjustment is ±12 dB (with FX1 Amnt set to 127).

Parameter: HF Cut/Boost 

This parameter controls the HF response of the equaliser; a value of 0 gives a flat response in the HF region, positive values will give a rise in the HF response – i.e., more treble, and negative values less treble. The range of adjustment is ±12 dB (with FX1 Amnt set to 127).

Parameter: LF Frequency 

The equaliser is a “swept” type, which means in addition to being able to increase or decrease the treble, mid or bass, you can also control the frequency band over which the Cut/Boost controls are effective. That is, just what is meant by “bass”, “mid” and “treble”.”. This gives you much more accurate control over the frequency response. Increasing the value of EQBasFre increases the frequency below which EQBasLvl is effective, so in general, EQBasLvl will have more effect on the sound the higher the value of EQBasFre. Decreasing the value of EQBasFre will lower the frequency below which the cut/boost control is effective, with a value of 0 corresponding to approx. 140 Hz . The maximum value of 127 corresponds to about 880 Hz, and the default value of 64 to about 500 Hz.

Parameter: MF Frequency 

Increasing the value of this parameter increases the “centre” frequency of the MF response. The centre frequency is the one that gets the maximum amount of cut or boost as you adjust EQMidLvl, and this control will have a proportionately decreasing effect on frequencies above and below the centre frequency. The range of adjustment is from 440 Hz (value = 0) to 2.2 kHz (value = 127). The default value of 64 corresponds to approximately 1.2 kHz.

Parameter: HF Frequency 

Decreasing the value of EQTrbFre decreases the frequency above which EQTrbLvl is effective, so in general, EQTrbLvl will have more effect on the sound the lower the value of EQTrbFre. Increasing the value of EQTrbFre will raise the frequency above which the cut/boost control is effective, with a value of 127 corresponding to about 4.4 kHz. A value of 0 corresponds to about 650 Hz, and the default value of 64 to about 2 kHz.

Two compressor devices are available. Their facilities are identical; the example below illustrates Compressor 1.

The compressors can be used to reduce the dynamic range of the synth sound (or the external audio input), which gives the effect of “thickening” the sound and/or giving it more “punch” or impact. They are particularly effective on sounds with a strong percussive content.

Parameter: Compression Ratio

With the minimum value of 1.0 set, the compressor has no effect, as 1.0 means every change in input level results in an equal change in output level. The parameter sets the degree to which sounds which are louder than the level set by the Threshold level parameter get reduced in volume. If the Ratio is set to 2.0, a change in input level results in a change in output level of only half the magnitude, thus the overall dynamic range of the signal is reduced. The higher the setting of Compression Ratio, the more compression is applied to those parts of the sound which are above the Threshold level.

Parameter: Threshold Level

Threshold defines the signal level at which compressor action starts. Signals below the threshold (i.e. the quieter parts of the sound) are unaltered, but signals exceeding the threshold (the louder sections) are reduced in level - in the ratio set with C1Ratio - resulting in an overall reduction of the dynamic range of the sound. Note that the value of the parameter approximately represents the actual analogue signal level – i.e., the number of dBs below the maximum digital clip level of 0 dB.

Parameter: Attack Time

The Attack Time parameter determines how fast the compressor applies gain reduction to a signal exceeding the threshold. With percussive sounds - such as struck drums or plucked bass - it may be desirable to compress the main envelope of the sound while retaining the distinctive front edge or “attack phase” of the sound. A low value gives a fast attack time, and compression will be applied to the front edge of the signal. High values give slow response times, and percussive leading edges will not be compressed, to give a “punchier” sound. The range of attack times available is from 0.1 ms to 100 ms.

Parameter: Release Time

This parameter should be adjusted in conjunction with the Hold Time parameter (see C1Hold below). Release Time determines the time period over which the gain reduction is removed (resulting in no compression) after the completion of the Hold Time. Low values give a short Release Time, high values a long one. The range of release times available is from 25 ms to 1 second.

Parameter: Hold Time

Hold Time determines for how long any gain reduction applied to a signal exceeding the Threshold Level remains applied after the signal level drops below the Threshold Level.

At the end of the Hold Time, the amount of gain reduction is reduced over the Release Time. Low values give a short Hold Time, high values a long one. The range of hold times available is from 2.5 ms to 500 ms.

Parameter: Auto Gain

A consequence of compression is the overall volume of the sound may be reduced. The MiniNova’s compressors automatically “make up” for this loss of level, and ensure the level of the compressed signal remains as near as possible to the input. Auto Gain provides additional gain, which may be useful in situations where heavy compression is used.

Distortion is usually regarded as something undesirable, and although we all take great pains most of the time to avoid it, there are circumstances when adding some carefully-controlled distortion gives you exactly the sound you’re after.

Distortion arises when a signal is passed through a non-linear channel of some kind, the non-linearity producing alterations to the waveform which we hear as distortion. The nature of the circuitry exhibiting the non-linearity dictates the precise nature of the distortion. The MiniNova’s distortion algorithms are able to simulate various types of non-linear circuitry, with results ranging from a slight thickening of the sound to something really quite nasty.

The MiniNova has two distortion effect devices. These may be loaded into any two FX slots. Their facilities are identical; the example below illustrates Distortion 1.

Parameter: Distortion Type

Parameter: Distortion Compensation

Distortion Compensation only has an effect on Diode and Valve distortion types. Increasing compensation reduces the harshness of the distortion effect.

The Delay FX processor produces one or more repetitions of the note played. Although the two are intimately related in an acoustic sense, delay should not be confused with reverb in terms of an effect. Think of delay simply as “Echo”.

The MiniNova has two delay processors. Their facilities are identical; the example below illustrates Delay 1.

Parameter: Delay Time

This parameter sets the basic delay time. With Dly1Sync (see below) set to Off, the note played will be repeated after a fixed time. Higher values correspond to a longer delay, with the maximum value of 127 equating to approx. 700 ms. If Delay Time is varied (either manually or via modulation), while a note is being played, pitch shifting will result. See also Delay Slew.

Parameter: Delay Sync

Delay time may synchronise to the internal or external MIDI clock, using a wide variety of tempo dividers/multipliers to produce delays from about 5 ms to 1 second.

Parameter: Delay Feedback

The output of the delay processor is connected back to the input, at a reduced level; Dly1Fbck sets the level. This results in multiple echoes, as the delayed signal is further repeated. With Dly1Fbck set to zero, no delayed signal at all is fed back, so only a single echo results. As you increase the value, you will hear more echoes for each note, though they still die away in volume. Setting the control in the centre of its range (64) results in about 5 or 6 audible echoes; at the maximum setting, the repetitions will still be audible after a minute or more.

Parameter: Delay Left-Right Ratio

The value of this parameter is a ratio, and determines how each delayed note is distributed between the left and right outputs. Setting Dly1L/R to the default 1/1 value places all echoes centrally in the stereo image. With other values, the larger number represents the delay time, and an echo will be produced at this time in one channel only, depending on whether the larger number is to the left of the slash or the right. It will be accompanied by a faster echo in the other channel, at a time defined by the ratio of the two numbers. Values with OFF to one side of the slash result in all the echoes being in one channel only.

Parameter: Delay Stereo Image Width

The Delay Stereo Image Width parameter is only really relevant to settings of Delay Left-Right Ratio, which result in the echoes being split across the stereo image. With its default value of 127, any stereo placement of delayed signals will be fully left and fully right. Decreasing the value of Dly1Wdth reduces the width of the stereo image, and panned echoes are at an intermediate position between centre and fully left or right.

Parameter: Delay Slew Rate

Delay Slew Rate only has an effect on the sound when the Delay Time is being modulated. Modulating delay time produces pitch-shifting. With DSP-generated delays, very fast changes of delay time are possible, but these may produce unwelcome effects, including digital glitching and clicks. Delay Slew Rate effectively slows the applied modulation down, so any glitches resulting from trying to change the delay time too rapidly may be avoided. The default value of Off corresponds to the maximum rate of change, and the delay time will attempt to follow any modulation accurately. Higher values will produce a smoother effect.

The Reverb algorithms add the effect of an acoustic space to a sound. Unlike delay, reverberation is created by generating a dense set of delayed signals, typically with different phase relationships and equalisations applied to re-create what happens to sound in a real acoustic space.

The MiniNova has two reverb processors. Their facilities are identical; the example below illustrates Reverb 1.

Parameter: Reverb Type

MiniNova provides six different reverb algorithms, designed to simulate the reflections which occur in rooms and halls of various sizes.

Parameter: Reverb Decay

The Reverb Decay parameter sets the basic reverb time of the selected space. It can be thought of as setting the size of the room.

Chorus is an effect produced by mixing a continuously delayed version of the signal with the original. The characteristic swirling effect is produced by the Chorus processor’s own LFO making very small changes in the delays. The changing delay also produces the effect of multiple voices, some of which are pitch-shifted; this adds to the effect.

The Chorus processor can also be configured as a Phaser, where varying phase shift is applied to the signal in specific frequency bands, and the result remixed with the original signal. The familiar ‘swishing’ effect is the result.

The MiniNova has four Chorus processors. Their facilities are identical; the example below illustrates Chorus 1. Note that although the parameters are named ‘Chorus’, they are all effective in both Chorus and Phaser modes.

Parameter: Chorus Type

Configures the FX processor as either a Chorus or Phaser.

Parameter: Chorus Speed

The Chorus Rate parameter controls the frequency of the Chorus processor’s dedicated LFO. Lower values give a lower frequency, and hence a sound whose characteristic changes more gradually. A slow rate is generally more effective.

Parameter: Chorus Sync

Chorus Rate may synchronise to the internal or external MIDI clock, using a wide variety of tempos.

Parameter: Chorus Feedback

The Chorus processor has its own feedback path between output and input, and a certain amount of feedback will usually need to be applied to get an effective sound. Higher values will generally be needed when Phaser mode is selected. Negative values of Feedback mean the signal being fed back is phase-reversed.

Parameter: Chorus Depth

The Depth parameter determines the amount of LFO modulation applied to the Chorus delay time, and thus the overall depth of the effect. A value of zero produces no effect.

Parameter: Chorus Delay

Chorus Delay is the actual delay used to generate the chorus/phaser effect. Dynamically altering this parameter will produce some interesting effects, though the difference in sound between different static settings is not marked, unless Chorus Feedback is at a high value. The overall effect of Chorus Delay is more pronounced in Phaser mode.

The built-in Gator is a very powerful Novation effect. In essence, it is similar to a Noise Gate, triggered by a repeating pattern derived from the internal or external MIDI clock. This breaks a note up rhythmically. One of six patterns is available by setting the Gator Mode parameter; the base patterns have 16 steps, but by combining these in various ways, the Gator Mode setting produces longer, more complex patterns.

Parameter: Gator On/Off

This switches the Gator effect on or off.

Parameter: Gator Latch

With the Latch Off, a note sounds only while its key is pressed. With Latch On, pressing a key will cause the note, modified by its Gator pattern, to sound continuously. It is cancelled by setting GtLatch to Off again.

Parameter: Gator Rate Sync

The clock driving the Gator’s trigger is derived from the MiniNova’s master tempo clock and the BPM may be adjusted by the ARP TEMPO control [21]. Gator Rate may synchronised to the internal or external MIDI clock, using a wide variety of tempos.

Parameter: Gator Key Sync

When Key Sync is On, every time you press a key, the Gator pattern restarts at its beginning.

With Key Sync Off, the pattern continues independently in the background.

Parameter: Gator Edge Slew

Gator Edge Slew controls the rise time of the triggering clock. This in turn controls how fast the gate opens and closes, and thus whether the note has a sharp attack or a slight ‘fade-in” and “fade-out”. Higher values of GtSlew lengthen the rise time, and thus slow down the gate response.

Parameter: Gator Hold

The Gator Hold parameter controls how long the Noise Gate is open for once it has been triggered, and thus the duration of the note heard. Note that this parameter is independent of the clock tempo or Gator Rate Sync parameter, and the note duration set by GtHold is constant, whatever speed the pattern is running at.

Parameter: Gator Left-Right Delay

To enhance the effect of sequenced patterns further, the Gator includes a dedicated delay processor. When set to zero, the notes in the pattern are centrally located in the stereo image. With positive values, the notes are panned hard left and a delayed repetition of the note is panned hard right. The value of the parameter controls the delay time. With negative values, pre-echo results (an echo which precedes the note). The stereo imaging is the same, with the timed pattern note itself on the left and the pre-echo on the right.

Parameter: Gator Mode

The Mode parameter allows you to select one of 6 methods of combining the two sets of 16-step Groups, {A} and {B}. Three of the modes are mono, and three are stereo, in which notes in Set {A} are routed to the Left output and those in Set {B} to the Right output.

Parameter: VocalTune Mode

VocalTune is a powerful MiniNova feature, which lets you alter the pitch of a signal at the Audio/Mic Input (e.g., your voice through the MiniNova’s mic). There are three methods of providing the musical scale VocalTune uses as a reference when changing the pitch of the audio signal.

When in Scale Correction mode (with VT Mode set to ScalCorr) you can select the scale Vocal Tune uses as a reference. If VT Scale is set to Played, the VocalTune will reference the notes in the chord played most recently.

Parameter: VocalTune Key

Sets the key in which Vocal Tune operates (with VT Mode set to ScalCorr and VT Scale not set to Played).

Parameter: VocalTune Speed

Sets the time for Vocal Tune to adjust the pitch of the incoming audio to the target pitch. A value is 0 is slow and 127 is fast.

Parameter: VocalTune Routing

This parameter controls the routing of the Vocal Tune output within the synth.

Parameter: VocalTune Output Level

VT Level sets the output level of the pitch-shifted audio.

Parameter: VocalTune Vibrato Level

The VocalTune feature has a vibrato effect, which adds additional authenticity to the pitch-shifted audio. VibAmont sets the amount of vibrato applied to the pitch-shifted audio.

Parameter: VocalTune Vibrato Level Via MOD Wheel

In addition to VibAmont, you have the ability to alter the amount of vibrato applied to the pitch-shifted audio in real-time, using the MOD Wheel. VibModWl sets the range.

Parameter: VocalTune Vibrato Rate

The rate (speed) of the vibrato applied to both VibAmont and VibModWl.

Parameter: VocalTune Pitch Shift

VocalTune applies both fixed and dynamic pitch shifting. PtchShft sets the amount of fixed pitch shift applied to the incoming audio signal. This will be in addition to any pitch shift applied as a result of VocalTune being used to alter the pitch of an incoming audio signal in real time (e.g., VTMode settings of ScalCorr and KBCntl). PtchShft intervals are in semitones.

Parameter: VocalTune Pitch Wheel Range

BendShft sets the range of additional pitch shift available from use of the Pitch Wheel. Bend Shift intervals are also in semitones. VT Modes ScalCorr and KBCntl apply additional correction prior to the Bend Shift stage.

Parameter: VocalTune Gate Threshold

The input channel of the VocalTune feature includes a Noise Gate to help reject unwanted microphone noise. Set GateThr to suit the incoming audio source. Values are in dBs.

Parameter: VocalTune Gate Release Time

This parameter sets how long the gate remains open after the signal level has dropped below the value set by GateThr. The default value of 64 should suffice for many purposes, but longer or shorter times may be more suitable for certain types of material.

A Vocoder is a device which analyses selected frequencies present in an audio signal (called a Modulator) and superimposes these frequencies onto another sound (called the Carrier). It does this by feeding the Modulator signal into a bank of band pass filters. Each of these filters (12 of them in the MiniNova) covers a particular band in the audio spectrum, and the filter bank thus “splits” the audio signal into 12 separate frequency bands. The result of this arrangement is the spectral content – i.e. the “character” of the audio signal is “imposed” upon the synth sound, and what you hear is a synth sound simulating the audio input (typically a vocal).

The final character of the vocoded sound will depend greatly on the harmonics present in the synth sound used as the Carrier. Patches very rich in harmonics (for example using Sawtooth Waves) will generally give the best results.

Typically, the Modulator signal used by a Vocoder would be a human voice speaking or singing into a microphone. This creates the distinctive robotic or ‘talky’ like sounds which have recently returned to popularity and are now being used in lots of current music genres. Bear in mind however, the Modulator signal need not be restricted to human speech. Other types of Modulator signal can be used (for example, an electric guitar or drums) and can often give quite unexpected and interesting results.

The most common way of using the Vocoder is with the dynamic gooseneck mic supplied with the MiniNova (or any other dynamic mic) plugged into the top panel XLR socket [22]. Alternatively, the Modulator signals may be from an instrument or other source connected to the EXT IN socket {32}, located on the rear panel, but remember a jack plug connected at this input will override the top panel XLR input. The Modulator input to the Vocoder is always mono.

The pitch of the final vocoded sound will depend on the notes the Carrier (the currently selected Patch) is playing. Notes can either be played on the MiniNova’s keyboard or received via MIDI from an external keyboard or sequencer. Both Carrier and Modulator signals must be present simultaneously for the Vocoder effect to work, so notes must be played while the Modulator signal is present. The Vocoder is enabled by selecting a Patch of Type VOCODER/MIC FX with the TYPE/GENRE knob [4], and controlled from the VOCODER submenu.

Parameter: Vocoder On/Off

Enables/disables the Vocoder function.

Parameter: Vocoder Level

Characteristic Vocoder sounds are obtained by blending the Vocoder output with one or other of the two source signals. MiniNova lets you mix the output of the vocoder with either the Modulator signal or the Carrier signal, or both. VocodLvl adjusts the level of the Vocoder output in this mix.

Parameter: Carrier Level

CarriLvl adjusts the level of the Carrier signal (the currently selected synth Patch) in the Vocoder output mix.

Parameter: Modulator Level

ModulLvl adjusts the level of the microphone (or other external input) mixed with the Vocoder output signal.

Parameter: Vocoder Width

The outputs of each Vocoder filter band are routed to the Left and Right channels alternately to produce a stereo image with good depth. Decreasing the value of Width will progressively route all the filter outputs to both outputs, so with Width set to zero, the Vocoder output will be in mono and centrally located in the stereo image.

Parameter: Vocoder Mode

The Normal setting produces standard vocoder operation. The modulator signal (usually the microphone input) is analysed to produce driving levels for the vocoder carrier synthesis bands. Use this mode if you want the typical ‘talking robot’ type of sound.

If VocMode is set to AllMax, no analysis is performed. All the carrier synthesis bands are set to a high level and this allows the vocoder to be used as a powerful multi-filter effect. Used in conjunction with the other vocoder parameters, in particular Resonate, VocShift and VocSpred (see below), effects ranging from subtle stereo comb filtering and phasing to strange bell like textures can be found. Experiment!

Parameter: Vocoder Freeze Mode

With VocFreez set to Off, normal vocoder operation is available. In this mode, the modulator input (normally the mic) will be constantly analysed by the vocoder.

If VocFreez is set to On, the current levels of the vocoder modulator analysis filters will be frozen, and stored. (Imagine taking a single frame from a film as an analogy.) This can be used to ‘capture’ the mic signal. Factory Patches ‘Aaah1’ (B073) and ‘Aaah2’ (B074) use this freeze mode. Note that the frozen formant is stored as part of the Patch data.

Parameter: Vocoder Shift

The VocShift parameter changes how the vocoder modulator analysis filter band frequencies are mapped to the carrier synthesis band frequencies. VocShift offsets the whole of the analysis bands by the same amount relative to the synthesis bands. A positive value shifts the carrier bands up the frequency spectrum, whereas negative values shifts them downwards.

Parameter: Vocoder Spread

VocSpred further modifies how the vocoder modulator analysis filter band frequencies are mapped to the carrier synthesis band frequencies. It increases or decreases the range of frequencies involved (think of ‘stretching’ and ‘shrinking’). Positive values of VocSpred stretch how the frequencies are mapped, negative values have the opposite effect.

Parameter: Vocoder Resonance

Resonate sets the resonance the vocoder synthesis filter bands have. More resonance gives a ringing sound to the vocoder output. Less resonance gives a drier sound.

Parameter: Vocoder Decay

Controls how long the analysis bands take to close once their threshold has been exceeded. Short decay times aid intelligibility of the vocoder. Longer release times are useful for more creative vocoder effects.

Parameter: Vocoder Sibilance Type

In the default HighPass setting, sibilance is taken from the Modulator (the vocalist’s natural voice) by filtering. This setting allows some Modulator signal to be heard. If you want to add sibilance to the vocoded vocals, but the performer’s voice isn’t sibilant naturally, you can select Noise as Sibilance Type to artificially simulate sibilance. This will add a small level of noise to the Modulator signal, and the vocoder will treat the additional HF content in the same manner as it would natural sibilance.

Parameter: Vocoder Sibilance Level

This parameter determines the sibilance present in the final vocoded signal, and can make the Vocoder emphasise the ‘S’ and ‘T’ sounds in speech. Sibilance can be added to give the Vocoder to give a more distinctive sound and to make vocoded vocals more intelligible.

Parameter: Vocoder Noise Gate Threshold

The Modulator signal (from the external inputs) has a noise gate to reject unwanted low level signals. GateThr sets the gate’s threshold. This is valuable when using the Vocoder in live performance, as it helps prevent extraneous sounds triggering the Vocoder. The calibration is approximately in dBs below internal clip level (0 dB).

Parameter: Vocoder Noise Gate Release Time

GateRel sets the release time of the Noise Gate; how long the Gate stays open after the Modulator signal level drops below the level set by GateThr (i.e., how long the mic remains live after you stop singing).