Home

NOVA Owners Manual

1. NOVA Owners Manual For Operating System Version 4 1 Introducing axmovation In music anything is possible TABLE OF CONTENTS ALAGA AA AA AA 2 PREAMP AN lis Goe stunun ccu naa O BA atacand rt us na aag a CA LEA ed 3 Setting UP ss mamamaga KENA Rp rs oU cei NMNG ee prd da e ve or BN edet tas 4 Playing thie Edctory demo ous mda rer KA BOKU MEGA KANAL I HIM CIR AAE EEE 5 Basic SOUP isis st eben Aha sb Robbe RT ROS SERE RU deans wha dette ebd 6 Advanced Setup isis ts ene o bee isa teo eu EDS uu isses e rd ups rd rues 7 About Analogue Synthesis GA an BI o tte teg ett DAG a e C hoa We a eqs 8 AG AA ad D MEL T Sm MUN MORE UE 16 NOVatONISH EHI 20 About Programs teso sec tetro Ka TA iot ian aaa E nx E Stes ek a d uA t NG 21 About Performean6es s ur ette eet orm vere v ve v p uad TIN Y RT Aube PET 22 Selecting Programs amp Performances iissssssssssssssssssse ee eeeette teen eens 24 Editing amp Writing Arpeggiator Patterns isssssssssssssss IRI 25 Editing amp Writing Programs sede c TG UA eee rn ur t Mead TA RAT Uca 28 Editing amp Writing Performances A a tenet HH e eens 30 Master Volume Sectlon s c e AN NANA KANA AABANG RO OU AU eR ERREUR Re died 34 Mode SECI uia ebrei yaa Abba ha gon epurbpelbieee ee prre AGO POND dre Cep RE tickles 35 Display Sectlori eo eo dte tee eve YAH dal On po ote Du d ARN A had Ad E RUE RE 46 Arpeggiator S6ectiol ngaa bon aati y ei e
2. Rev CIFIP R D gt C R C gt D CIFIP C D gt R C R gt D zx D R C R gt D C CIFIP gt Delay C5 D R R C gt D P cFP 90 EFFECTS SECTION D C gt R D R gt C CIFIP The range of this parameter is D R C D gt R gt C D gt C gt R R gt D gt C R gt C gt D C gt D gt R C gt R gt D D R gt C D C gt R R D gt C R C gt D C D gt R C R gt D D gt R C R gt D C C gt D R R C gt D D C gt R amp D R gt C This parameter is memorised with a Program in Program Mode or memorised with a Program or Performance in Performance Mode depending on the value of the Part s Effects Used parameter NOTE To use the different configurations the Config morph parameter should be set to 127 If this parameter is set to 000 the Normal configuration D R C applies As can be seen the lower parameter is Config morph In this case with a value of 10 This parameter morphs the effect configuration from the Normal D R C configuration to any configuration selected by the Fx config parameter Use the Lower Fast Data knob to adjust this parameter If this parameter is set to the fully anticlockwise position 00 the config is Normal D R C If this parameter is set to 127 the configuration will be the one selected by the Fx config parameter In between this the configuration is somewhere between the two This allows many inte
3. All these methods further enhance the basic Oscillator waveforms to include many more or a useful mix of harmonics Once the waveforms have been selected you can then fine tune the harmonic content of the mixture of different waveforms by passing them through a Filter to remove unwanted harmonics The filter in an Analogue synthesiser is a very powerful Tone Control Like the tone control on a stereo the filter can alter how things sound but it cannot change the style of music being played on the record amp so the filter in a synthesiser can alter the tone of a sound but is restricted by the basic Timbre of the waveforms For this reason several waveforms are available at once amp you can Mix them together to provide more harmonically rich waveforms Below is a diagram showing the signal path in the Nova amp all the waveforms at various locations Signal Path Diagram M ixer output KI Filter output J Amp output n As can be seen different waveforms are being produced by different oscillators using different techniques The Oscillators Ring Modulators amp the Noise Generator are all being Mixed together amp feed to the filter The signal is then in turn fed to the Amplifier Oscillator 1 is using a Square wave modulated by Skew amp then Softened To create a sine like wave except it has an extra bump in it this produces a Whistle like sound Oscillator 2 is using a Saw wave modulated by Skew amp Sync producing a Harsh s
4. This is because the MIDI out amp MIDI in of the Nova is connected to a sequencer which is remapping Bank Program messages generated by changing Program Bank on a Part to a channel corresponding to the Global channel of the Nova The solution is to Filter out Bank messages in the Sequencer or disconnect the midi out of the Nova or disable the Thru function on the sequencer or to change the Global channel of the Nova to one not being used in the sequencer W hen editing a Part in Perf mode other parts are being edited as well This is because the MIDI out amp MIDI in of the Nova is connected to a sequencer which is remapping controller messages gener ated by editing parameters on a Part to a channel corresponding to the channel of the other Part The solution is to switch the local control parameter in global to off This means all edits will be carried out via the MIDI chain rather than directly amp the sequencer will dictate which part is being edited by the MIDI channel setting on the track The alternatives are not very friendly they are to filter out controller messages in the Sequencer or disconnect the midi out of the Nova or disable the Thru function on the sequencer 111 COM PATIBILITY WITH OTHER NOVATION PRODUCTS Data compatibility with SN Il series Limited provision has been made for the Nova Laptop to load system exclusive dumps from a Supernova II Keyboard Nova Il Keyboard or Supernova Il Rack However
5. special low band high frequency resonance frequency resonance e e overdrive mod depth wheel This section contains all the knobs amp buttons associated with the Filter 12dB Button 18dB Button 24dB Button These buttons select the slope of the cutoff curve of the Filter Only one can be selected at once The effect is similar to a Q con trol on a parametric EQ In the 12db position the Cutoff Frequency slope is less steep so in a Low Pass Filter the higher frequen cies are not attenuated as much as they are in the 24 or 18db positions This makes the resulting filtering in the 12db position more subtle than the 24db or 18db positions which you should select if you want the Cutoff Frequency to be more obvious Low Button High Button Band Button These buttons select the type of Filter to be used in this program All have a very different sound Below is a description of what parts of the sound the different Filters allow through the Filter The Low button configures the Filter into a Low Pass Filter A Low Pass Filter allows harmonics below a set frequency to pass through the Filter Hence the name Low Pass Filter The High button configures the Filter into a High Pass Filter A High Pass Filter allows harmonics above a set frequency to pass through the Filter Hence the name High Pass Filter The Band button configures the Filter into a Band Pass Filter A Band Pass Filter allows har monics at a set frequency to p
6. Analogue Sound Modelling technology also enables the creation of some new Sync related parameters that are not found on analogue synthesisers These are Key Sync Sync Skew amp Formant Width Normally in an analogue synthesiser even though the Master amp Slave oscillators are detuned relative to each other they both track keyboard pitch equally i e if you play notes one octave apart both the Master amp the Slave oscillator will be transposed one octave Key Sync allows the slave oscillator to have its pitch tracking adjusted independently This means that the Sync Effect will change as you play different notes up amp down the keyboard Sync Skew manipulates the frequency of the virtual slave oscillator within one cycle of the master oscillator As can be seen the effect is the Sync Effect seems to have a higher frequency at the end of each cycle with positive modulation amp at the start of the cycle with negative modulation This parameter makes the sync waveform sound even harsher This is particularly good for aggressive lead sounds Normal Saw Sync Waveform Positive Skew on a Saw Sync Wave Negative Skew on a Saw Sync Wave ABOUT ANALOGUE SYNTHESIS Skew also effects the standard Square amp Saw waveforms The effect is to squash the waveform at the end of its cycle with posi tive modulation amp squashing the waveform at the beginning of the cycle On a square wave moderate amounts of this effect p
7. Res MWh LFO2 amt 72 Resonance 12 68 70 71 72 73 Resonance Button 70 71 Resonance Knob 68 Rest 26 27 Restore from ROM 40 Reverb 17 85 86 Reverb Button 83 Reverb decay 86 Reverb type 17 Reverb wheel 86 Ring modulation 11 S S H Button 75 Sample amp Hold 76 Saw Button 75 Saw Waveform Button 54 Sawtooth 8 75 Selecting Programs amp Performances 24 Selects 43 Semitone 56 97 Semitone Button 56 Sensitivity 105 Setting Up 4 Sibilance 19 93 Sibilance level 19 93 Single 80 Slave 9 Slow 77 Soften 10 15 20 63 Soften Button 64 Soften Button 63 Solo 53 101 Solo Button 53 101 Sound 110 Source 15 57 69 Special Button 67 Special type filter width 74 Special waveform 55 Special Waveform Button 54 55 Specification 117 Speed 18 23 47 87 92 Speed Knob 47 75 Split 22 Sq waveform Button 54 Square 8 75 Square Button 75 Step 25 45 Stereo width 84 Sustain 13 99 107 108 Sustain Knob 78 Sync 9 15 20 50 62 66 77 84 Sync Button 63 Sync Button 62 Sync key follow 66 Sync Skew 9 66 Sysex 111 Sysex Reception 37 Sysex transmission 37 System Exclusive 37 T Tap Delay 18 tone 12 Treble 88 Tremolo 19 92 Tri Button 75 Triangle 75 Trigger Button 80 Triggering 77 80 Trim 105 106 Troubleshooting 110 Tune 30 Tune Knob 56 Tune Button 96 Tuning 96 Type 85 86 U Unison 82 Unison mode 82 update 33 Up
8. 3 114 Not Currently Used 51 Inp ut 1 trim 4 115 Not Currently Used 125 M IDINRPN TABLES Packed NRPN 109 Data Description Data Description 0 Reserved 64 Part MIDI channel Omni 1 Arp octave range 1 65 Part MIDI channel Global 2 Arp octave range 2 66 Sysex Rx Disabled 3 Arp octave range 3 67 Sysex Rx Normal Rx as sent 4 Arp octave range 4 68 Sysex Rx All Progs to bank A 5 Am gate time 25 69 Sysex Rx All Progs to bank B 6 Arp gate time 50 70 Reserved 7 Arp gate time 75 71 Reserved 8 Am gate time 99 T2 Sysex Rx All Perfs to bank A 9 Reserved 73 Reserved 10 Reserved 74 Reserved 11 Reserved T5 Reserved 12 Reserved T6 Reserved 13 Reserved TT Reserved 14 Reserved T8 Reserved 15 Reserved 79 Reserved 16 Reserved 80 Part velocity curve Normal 17 Reserved 81 Part velocity curve Inverse 18 Reserved 82 Part velocity curve Cross fade high 19 Reserved 83 Part velocity curve Cross fade low 20 Reserved 84 Part velocity curve To value 60 21 Reserved 85 Part velocity curve From value 61 22 Reserved 86 Part velocity curve To value 70 23 Reserved 87 Part velocity curve From value 71 24 Reserved 88 Part velocity curve To value 80 25 Reserved 89 Part velocity curve From value 81 26 Reserved 90 Part velocity curve To value 90 27 Reserved 91 Part velocity curve From value 91 28 Reserved 92 Part velocity curve To value 100 29 Reserved 93 Part velocity curv
9. Frequency of the Filter from LFO 2 This produces a Wah Wah type of effect In the central position of the higher Fast Data knob there is no change to the Filter Cutoff Frequency when the Master Keyboard s Modulation Wheel is engaged Anticlockwise of cen tre there will be an increasing amount of Negative modulation i e The Filter will be closed more by LFO 2 when the Master Keyboard s Modulation Wheel is engaged Clockwise of centre the modulation is Positive i e The Filter will be increasingly opened by LFO 2 when the Master Keyboard s Modulation Wheel is engaged The range of this parameter is 64 to 63 This parameter is memorised with a Program As can be seen the lower parameter is Res MWh LFO2 amt In this case with a value of 63 This parameter determines how the Modulation Wheel on the Master Keyboard effects the amount of Modulation of the Resonance of the Filter from LFO 2 In the central position of the lower Fast Data knob there is no change to the Filter Resonance when the Master Keyboard s Modulation Wheel is engaged Anticlockwise of centre there will be an increasing amount of Negative modula tion i e The Filter will be made less Resonant by LFO 2 when the Master Keyboard s Modulation Wheel is engaged Clockwise of centre the modulation is Positive i e The Filter will be increasingly made more Resonant by LFO 2 when the Master Keyboard s Modulation Wheel is engaged The range of this parameter is 64 to 63 This parameter is
10. In the Mid position there is no modulation at all The range of this parameter is 64 to 63 58 OSCILLATOR SECTION Pitch Button Level Knob This combination controls the Pitch Tracking of the selected oscillator Turning the Level Knob fully clockwise makes the selected Oscillator track the keyboard in the normal way i e Notes played one octave a Part on the Master Keyboard on the keyboard are transposed one octave apart In the Mid position notes played one octave a Part on the Master Keyboard are transposed 1 2 an octave a Part 8 fully anticlockwise notes played one octave a Part on the Master Keyboard produces no transposition at all This can be useful for Ring Mod effects The range of this parameter is 000 to 127 NOTE This does not apply to the Noise 1 3 amp 2 3 Ring Modulator outputs No audible effect to these sound sources will be heard if an attempt is made to adjust this parameter when these sound sources are selected Pitch Button M od Depth Knob LFO 1 Button This combination controls the Pitch Modulation of the selected Oscillator by LFO 1 Turning the Mod Depth Knob fully clockwise introduces Vibrato from LFO 1 to the selected Oscillator in a Positive direction Turning the Mod Depth Knob fully anticlockwise introduces Vibrato from LFO 1 to the selected Oscillator in a Negative direction In the Mid position there is no modulation at all The range of this parameter is 64 to 63 NOTE This does
11. NOTE Specification subject to change without prior notice due to improvements 117 M IDI IM PLEM ENTATION Basic Default Channel Changed Default Messages x Altered 888888888888 2 X Note True nn Number Voice 888888888888 j 0 X Velocity is transmitted by the Arpeggiator Key Aftertouch recognised but treated as Channel Aftertouch Pitch Bender o 0 12 Semi 3 98 100 119 1 98 100 119 CC 0 ignored See Controller Map See Controller Map CC 99 ignored CC 2 re mapable See Controller and NRPN Tables for full details Program Change 0 0 127 True 888888888888 System Exclusive Voice amp User Pattern Parameters Write amp Dump requests Start Stop Continue amp Clock Aux Local Off Messages All notes Off Active Sense Reset Control All Sound Off Mode1 Omni On Poly Mode3 Omni On Mono Mode2 Omni Off Poly Mode4 Omni Off Poly Version 4 0 Date 3 5 01 118 Sent Received only on Global MIDI Channel Bits 0 2 Early Ref Level Bits 3 6 Reverb Type MIDI CONTROLLER TABLE 0 Bank Select MSB 1 Modulation Wheel 2 Breath Controller 3 Arp Pattern Select 4 Ring Modulator 2 3 Mix Level 5 Portamento Time 6 Data Entry 7 Part Program Volume 8 Effects Confg Morph Amount 9 Arp Speed Internal Clock Rate 10 Pan 11 Osc 1 Fine Tune 12 Osc 3 Fine Tune 13 Osc 1 Soften 14 Osc 2 Soften 15 Osc 3 Soften 16 LFO 1 Speed 17 LFO 1 Del
12. Page 4 looks like so As can be seen the display is showing Vocoder spectrum In this page the Nova displays the Audio spectrum of the modulator in 40 bands on the screen This is for display 4 is not memorised Copy Button This button only works in Performance mode The copy button in the effects section allows quick copying of effects parameters from a Program into the Performance Part buffer This allows you to use a Program with completely different effects setting from that originally in the Program It is not necessary to save the edited program to a memory location as the effects changes are stored with the Performance Copying the effects is easy just press the Copy button Copy button lit amp select which effect you wish to copy from the Program Delay Reverb Chorus Dist EQ Config Pan or Vocoder amp Nova copies all the settings over 95 PART EDIT SECTION tune velocity in out midi polyphony range mute This section contains all the knobs amp buttons associated with the Part Edit Section Level Knob This knob adjusts the level of the currently selected Program In Program mode this knob controls the gain of the Program This can be considered to be similar to gain on a mixers channel Use this knob in Program mode to set the headroom of the Program If the Program has to much level in Program mode distortion will occur in all Program amp Performance mode In Performance mode this knob controls
13. Parts are muted or soloed in Performance mode flashing Part buttons will indicate the MIDI informa tion transmitted not necessarily relevant to each Parts current mute status As can be seen the lower parameter is Memory protect In this case with a value of Off This parameter determines if the memory can be written to or not Use the lower Fast Data knob to adjust this parameter In the On position Programs Performances Patterns or Global Data cannot be written into memory In the Off position Programs Performances Patterns or Global Data can be written into memory This parameter is memorised as Global 39 MODE SECTION Page 8 looks like so NOTE Pressing the Write button while this page is displayed starts the Restore procedure As can be seen the parameter is Restore from ROM In this case with a value of One program This parameter allows the factory Programs Performances amp Global data amp Arp Pattern data to be restored to the Factory settings Use the lower Fast Data knob to adjust this parameter Whatever selection is made with the lower Fast Data knob is restored into memory ERASING WHAT WAS THERE when the Write button is pressed while in this mode Additional pages appear depending on the selection i e if All data is selected Nova asks for confirmation which is set with the lower Fast Data knob if you set this to Yes amp press the Write button again all the factory setting will be r
14. 25 This parameter Detunes the Program by the amount selected using the higher Fast Data knob The range of this parameter is 64 to 63 cents This parameter is memorised with the Performance Velocity Button This button only works in Performance mode This button assigns which Velocity curve is assigned to the currently selected Part When this button is pressed the display shows parameters relevant to this section W hen this button is pressed the display shows As can be seen the higher parameter is Part velocity curve In this case with a value of Normal This parameter determines the velocity response of the currently selected Part Values are selected using the higher Fast Data knob In the Normal position the Program plays in a normal velocity sensitive way If the Velocity parameter for the selected Program has been set to any positive value In the Inverse position the response is inverse to the normal velocity curve i e Louder sounds are produced by playing softly rather than hard If the Velocity parameter for the selected Program has been set to any positive value These two curves are ideal for creating velocity Cross fades between two different parts for Organ type sounds The Cross Fade Low amp Cross Fade High options are similar but provide a Normal overall response when used togeth er in two different parts The remaining options provide Normal velocity curve response Up to or From specific Velo
15. 3 22 Osc 3 Audio input 1 wave 86 Osc 2 semitone tune 4 23 Osc 3 Audio input 2 wave 87 Osc 2 semitone tune 5 24 Osc 3 double saw wave 88 Osc 2 semitone tune 6 25 Not Currently Used 89 Osc 2 semitone tune 7 26 Not Currently Used 90 Osc 2 semitone tune 8 27 Not Currently Used 91 Osc 2 semitone tune 9 28 Not Currently Used 92 Osc 2 semitone tune 10 29 Not Currently Used 93 Osc 2 semitone tune 11 30 Osc 1 octave 2 94 Osc 2 semitone tune 12 31 Osc 1 octave 1 95 Osc 3 semitone tune 12 32 Osc 1 octave 0 96 Osc 3 semitone tune 11 33 Osc 1 octave 1 97 Osc 3 semitone tune 10 34 Osc 1 octave 2 98 Osc 3 semitone tune 9 35 Osc 2 octave 2 99 Osc 3 semitone tune 8 36 Osc 2 octave 1 100 Osc 3 semitone tune 7 37 Osc 2 octave 0 101 Osc 3 semitone tune 6 38 Osc 2 octave 1 102 Osc 3 semitone tune 5 39 Osc 2 octave 2 103 Osc 3 semitone tune 4 40 Osc 3 octave 2 104 Osc 3 semitone tune 3 41 Osc 3 octave 1 105 Osc 3 semitone tune 2 42 Osc 3 octave 0 106 Osc 3 semitone tune 1 43 Osc 3 octave 1 107 Osc 3 semitone tune 0 44 Osc 3 octave 2 108 Osc 3 semitone tune 1 45 Osc 1 semitone tune 12 109 Osc 3 semitone tune 2 46 Osc 1 semitone tune 11 110 Osc 3 semitone tune 3 47 Osc 1 semitone tune 10 111 Osc 3 semitone tune 4 48 Osc 1 semitone tune 9 112 Osc 3 semitone tune 5 49 Osc 1 semitone tune 8 113 Osc 3 semitone tune 6 50 Osc 1 semitone tune 7 114 Osc 3 semitone tune 7 51 Osc 1 semitone tune 6 115 Osc 3 semitone tune 8 122
16. 3 or Noise buttons If you attempt to alter this parameter when these buttons are selected the display will show Menu Only Available For Osc 1 2 or 3 whilst the adjustment is being made then the display will revert back to the last edited parameter 65 OSCILLATOR SECTION As can be seen the lower parameter is Sync skew In this case with a value of 10 This parameter determines how much of the Sync Skew effect is applied to the selected Oscillator Use the lower Fast Data knob to adjust the value of this parameter With this parameter it is possible to set the amount of modulation individually for each oscilla tor Refer to page 8 in the About Analogue Synthesis section for details on this parameter The range of this parameter is 64 to 63 This parameter is memorised with a Program NOTE Sync Skew does not apply to the 1 3 2 3 or Noise buttons If you attempt to alter this parameter when these buttons are selected the display will show Menu Only Available For Osc 1 2 or 3 whilst the adjustment is being made then the display will revert back to the last edited parameter Page 3 looks like so As can be seen the higher parameter is Sync key follow In this case with a value of 010 This parameter determines how the Virtual Sync oscillator is transposed across the keyboard for the selected Oscillator Use the higher Fast Data knob to adjust the value of this parameter With this parameter it is possible to set the amount
17. 303 Trance 4v1 303 Trance 5 UP DN Variation 303 Trance 6 Minor UP DN Bleep 1 Bleep 2 Bleep 3 Bleep 4 Bleep 4v1 Bleep 5 Bleep 6 UP DN Runner Bleep 7 Bleep 8 Bleep 9 303 Trance 7 Bleep 10 Bleep 11 Bleep 12 303 Trance 8 303 Trance 9 303 Trance 10 Bleep 13 303 Trance 11 Bleep 14 303 Trance 12 303 Trance 12v1 303 Trance 12v2 303 Trance 12v3 Bass Trance 3 Bass Trance 4 NAG1 NAG2 NAG3 NAG4 NAG5 NAG6 NAG7 NAG8 NAG9 DNDNDNUP DNDNUPDN DNDNUPDN2 DNDNUPUP DNUPDNDN DNUPUPUP UPDNDNDN UPDNUPUP UPUPDNDN UPUPDNUP UPUPUPDN BASS1 BASS2 BASS3 BASS4 136 BASS5 BASS6 BASS BASS8 BASS9 BASS10 BASS11 BASS12 BASS13 BASS14 BASS15 BASS16 BASS17 BASS18 BASS19 BASS20 TECHNO1 TECHNO2 TECHNO3 TECHNO4 TECHNOS TECHNO6 TECHNO7 TECHNO8 TECHNO9 TECHNO10 TECHNO11 TECHNO12 TECHNO13 TECHNO14 TECHNO15 TECHNO 16 TECHNO 17 TECHNO 18 D D DAA D D DAA2 DADADADA DADADA2 OHH CHH BD Bass lick Octave Pulse Nag 10 Nag 11 Nag 12 Nag 13 Nag 14 Nag 15 Nag 16 Nag 17 Nag 18 Nag 19 Nag 20 Nag 21 Nag 22 Nag 23 Nag 24 Nag 25 Nag 26 Nag 27 Nag 28 Nag 29 Nag 30 INDEX 1 3 Button 53 12dB Button 67 18dB Button 67 2 3 Button 53 24dB Button 67 A About Analogue Synthesis 8 About Performances 22 About Programs 21 Advanced Setup 7 Aftertouch 65 73 76 80 Amplifier 13 14 Analogue Sound Modelling 9 20 Arp Latch 99 Arp Mute 99 Arp pattern editing via MIDI 44 Arp
18. 87 Unison 6 voice 24 Delay sync 3 bar dotted 88 Unison 7 voice 25 Delay sync 7 bar triplet 89 Unison 8 voice 26 Delay sync 5 bars 90 Knob mode Normal 27 Delay sync 8 bar triplet 91 Knob mode Pickup 28 Delay sync 6 bars 92 Oscillators in DCO mode 29 Delay sync 7 bars 93 Oscillators in VCO mode 30 Delay sync 5 bar dotted 94 Finder demos On 31 Delay sync 8 bars 95 Finder demos Off 32 Delay sync 6 bar dotted 96 Global prog ram change Tx On 7 33 Delay sync 7 bar dotted 97 Global prog ram change Tx Off 34 Delay sync 8 bar dotted 98 Global controllers Tx On 35 Global velocity sensing Hard 7 99 Global controllers Tx Off 36 Global velocity sensing Soft 100 Pan effects No 37 Input 1 tim 10 101 Pan effects Yes 38 Input 1 trim 9 102 Filter special width 00 39 Input 1 tim 8 103 Filter special width 08 40 Input 1 trim 7 104 Filter special width 16 41 Input 1 trim 6 105 Filter special width 24 42 Input 1 tim 5 106 Filter special width 32 43 Input 1 trim 4 F 107 Filter special width 40 44 Input 1 trim 3 108 Filter special width 48 45 Input 1 trim 2 109 Filter special width 56 46 Input 1 trim 1 110 Delay ratio 1 0ff 47 Input 1 tim 0 111 Delay ratio Off 1 48 Input 1 tim 4 112 Not Currently Used 49 Input 1 trim 2 113 Not Currently Used 50 Input 1 trim
19. Button 83 Pan depth 92 Pan effects 93 Pan speed 92 Pan type 92 Part 20 22 30 96 Part 1 Button 96 Part 2 Button 96 Part 3 Button 96 Part 4 Button 96 Part 5 Button 96 Part 6 Button 96 Part detune 97 Part Edit Section 2 96 Part Mute 99 Part outputs 98 Part polyphony 100 Part semitone 97 Part velocity curve 97 Pass to effects 91 106 107 Pattern 25 Pattern bank 48 Pattern no 48 Pedal 100 108 110 Pedal mode 40 108 Pedals amp MIDI 109 Percussive 81 Performance 20 22 23 30 32 35 96 Performance Button 35 Performances 21 24 134 Phaser 18 86 87 Pitch 8 14 59 Pitch Button 60 Pitch Button 59 Pitch Bend 14 Pitch bend range 66 Playing the Factory demo 5 Poly mode 81 Polyphonic patterns 26 44 Polyphonic Preset Patterns 136 Polyphony 30 100 Polyphony Button 100 Porta type 80 Portamento 56 80 81 Portamento Knob 56 Power 110 Power On Off Switch 3 Power Supply Socket 3 PPM meters 98 Preglide 81 Prog change 43 INDEX Prog change filt 99 Prog change TX 42 Prog Up Down Buttons 46 Program 20 21 24 28 35 Program Button 35 Program map 43 Programs 21 Programs Bank A 132 Programs Bank B 133 Pulse Width 60 Pulse Width Modulation 8 15 60 PWM 8 Q Q norm amount 72 Quad Chorus 18 86 Quantise 49 R Random 76 Range 22 30 Range Button 101 Ratio 19 Real time trans 51 Rear Panel 3 Release 13 78 Release Knob 78 Res AT amt 73
20. Global Mode will Transpose the Arpeggiator s output by the number of semitones difference between the note played on the Realtime Transpose Channel amp the note assigned in the Arp Reference Note Set in the Global Mode Basically if this is On then you can trans pose the whole arpeggiation by playing a note on the Realtime Transpose Channel The amount of transposition depends on the note value set in the Arp Reference Note Parameter The amount of transposition being the difference in semitones between the Arp reference note amp the note played on the realtime transpose channel Both the Realtime Transpose Channel amp the Arp Reference Note Parameters can be found in the Global Mode Another Great live performance feature Set Arp Latch to On amp away you go The range of this parameter is On amp Off This parameter is memorised with a Program As can be seen the Lower parameter is Gate time In this case with a value of 7596 This parameter determines the gate time of each note the arpeggiator plays Use the lower Fast Data knob to adjust the value of this parameter Small values of Gate time produce a Staccato effect amp large values produce a Legato effect to the Arpeggiation The range of this parameter is 25 50 7596 amp 99 This parameter is memorised with a Program Page 7 looks like so As can be seen the parameter is Arpeggio notes to In this case with a value of Progra
21. However sometimes on early versions of software this function may not be available If this is the case 4 your sequencer does not have a Bank Box or similar you will have to enter in the data man ually in a List Edit or similar function within the sequencer You will have to enter a controller with specific values amp then a pro gram change message all with the right values amp in the right order amp on the right channels If the message you send does not change the bank on the Nova then you are not sending the right messages amp values Consult your sequencer software owners manual for details Bank change messages are as follows They must be sent as shown amp in the correct order A Program Bank A 110 TROUBLESHOOTING KH aaa message is as follows enter a controller 32 message with a value of 5 followed by a program change message with the value of the program you want i e for program 6 enter 7 A Program Bank B message is as follows enter a controller 32 with a value of 6 followed by a program change message with the value of the program you want Alternatively simply select the desired Performance Program from the Nova s front panel while recording into a sequencer Make sure the MIDI output of the Nova is connected to the MIDI input of your sequencer computer either directly or via a merge box NOTE There is a Table of Bank messages recognised by the Nova on page 130 Nova does not respond to MIDI Program Chang
22. Knob is turned so that it has passed through the value of the edited parameter thereby picking it up The knob then becomes live amp will start editing the parameter amp will start to transmit the appropriate controller The range of this parameter is Normal amp Pickup NOTE When this parameter is set to Pickup mode no controller data will be sent amp no edits to the parameter by Knob movements will occur until the Knob parameter has been picked up NOTE The Master Volume Knob always behaves as if the Knob mode parameter is set to Normal In other words the Master Volume Knob is always live amp turning this Knob will always alter the volume immediately regardless of the Knob mode parameter s setting Page 12 looks like so As can be seen the parameter is Incoming control change In this case with a value of Enabled This parameter determines if the Nova responds to incoming MIDI controller messages or not Use the higher Fast Data knob to adjust this parameter This filter is global amp applies to all modes The range of this parameter is Enabled amp Disabled This parame ter is memorised as Global 41 MODE SECTION NOTE The Incoming Control Change filter does not filter Bank select messages CC00 4 CC32 These can be filtered using the Incoming Program Change filter if required Page 13 looks like so As can be seen the parameter is Incoming program change In this case with a value of Ena
23. Number 002 Softena Bass You should now hear the Bass sound when MIDI channel 1 is played into the Nova Il keyboard To assign a String sound to MIDI Channel 2 for example press the Part 2 button amp the display will change to indicate the current sound assigned to that Part In the Factory Programs this is Bank A Program number A000 Sintillator Now use the Bank amp keypad buttons to select the desired sound For example Bank A Prog Number 012 Stringz You should now hear the String sound when MIDI channel 2 is played into the Nova II keyboard The other Parts are assigned in a similar way amp 6 Parts can be used at once NOTE If 2 or more Parts are assigned to the same MIDI Channel all these Parts will sound at once when that MIDI channel is received by the Nova Il keyboard 103 M ULTITIM BRAL USE NOTE Some parameters of a Program in a Part of a Performance are over rideable without having to alter the original Programs set tings These include the Level of the Part the Arpeggiator Speed the Arpeggiator On Off and all the Effects parameters if the Effects used parameter in the Parts Output menu is set to Part This allows the creation of completely different effects settings on a individual Part without effecting the source programs settings NOTE The Part can be optimised so that when Program changes are received on that Part the Nova Il keyboard will keep the above set tings you
24. Off position no Program change or Bank change messages will be transmitted The range of this parameter is On amp Off This parameter is memorised as Global The lower parameter is Controllers TX In this case with a value of On This parameter determines if the Nova transmits MIDI Controller messages Use the lower Data knob to adjust this parameter In the On position whenever a knob slider or switch is manipulated appropriate Controller messages are sent on the appropriate channel In the Off position no Controller messages will be transmitted The range of this parameter is On amp Off This parameter is memorised as Global NOTE This does not affect transmission of Bank select controllers when selecting new Programs Performances or the transmission of Modulation Wheel 42 MODE SECTION Page 15 looks like so The Nova features a Program map that allows any incoming MIDI Program Change command to call up any Program or Performance from any Bank or select a new Arpeggiator Pattern for the currently selected program The Program Map is user pro grammable 4 is Memorised as Global To select the Program Map send a Bank Message of 0 Controller 32 with a value of 0 When this Bank is selected any incoming Program Changes conform to the sequence in the Program Map As can be seen the higher parameter is Prog change In this case with a value of 002 This parameter shows which Part of the Performance Map will be display
25. On Played This parameter applies only to MONOPHONIC patterns it has no affect on polyphonic patterns Use the higher fast data knob to adjust the value In fact this parameter can be thought of as two different parameters combined The first Part always On or Off determines how the Arpeggiator behaves when you play more or less notes than the Arpeggiator pattern was written to cope with When this Part of the parameter is set to Off if you play less notes than the pattern is expecting the highest note you have played will be used for all the notes in the pattern data which are greater than your highest played note If however you have played more notes than the pattern was written to cope with then played notes which are higher than the highest note in the pat tern data are never sounded When this Part of the parameter is set to On if you play less notes than the pattern is expecting your played notes will be used intelligently for all the notes in the pattern data which are greater than your highest played note If however you have played more notes than the pattern was written to cope with then played notes which are higher than the high est note in the pattern data are used replacing their corresponding lower notes every other time the pattern cycles around Perhaps the best way to understand how this works is by experimentation altering the values amp number of notes played while a mono arpeggiation is runni
26. Packed NRPN 1 Data Description 0 Filter 12db slope 1 Filter 18db sbpe 2 Filter24db slope 3 Filter LPF type 4 Filter BPF type 5 Filter HPF type 6 Filter Res LPF type 7 Filter Res BPF type 8 Filter Res HPF type 9 Filter Notch type 10 Filter LPF LPF type 11 Filter BPF BPF type 12 Filter HPF HPF type 13 FilterLPF BPF type 14 Filter BPF HPF type 15 Not Currently Used 16 LFO 1 square wave 17 LFO 1 saw wave 18 LFO 1 triangle wave 19 LFO 1 s h wave 20 LFO 2 square wave 21 LFO 2 saw wave 22 LFO 2 triangle wave 23 LFO 2 s h wave 24 LFO 1 triggering Freewheel 25 LFO 1 triggering Keysync 26 LFO 2 triggering Freewheel 27 LFO 2 triggering Keysync 28 LFO 1 range Slow 29 LFO 1 range Normal 30 LFO 1 range Fast 31 LFO 2 range Slow 32 LFO 2 range Normal 33 LFO 2 range Fast 34 Envs triggering Multi Multi Multi 35 Envs triggering Multi Multi Sing 36 Envs triggering Multi Sing Multi 37 Envs triggering Multi Sing Sing 38 Envs triggering Sing Multi Multi 39 Envs triggering Sing Multi Sing 40 Envs triggering Sing Sing Multi 41 Envs triggering Sing Sing Sing 42 Glide type Normal glide 43 Glide type Auto glide 44 Glidetype 2 semitones down 45 Glidetype 2 semitones up 46 Glidetype 5 semitones down 4T Glidetype 5 semitones up 48 Glidetype 7 semitones down 49 Glide type 7 semitones up 50 Glide type 12 semitones down 51 Glide type 12 semitone
27. This knob adjusts the Portamento effect on the currently selected Program Fully anticlockwise no Portamento is heard Turning the knob clockwise brings in the Portamento effect amp notes will smoothly glide from one pitch to the next The range of this parameter is 000 to 127 semitones This parameter is memorised with Programs 56 OSCILLATOR SECTION Oscillator M odulation M atrix pitch width env2 sync env 3 LJ e soften moddepth wheel This is an extremely powerful feature of the Nova These controls effect the modulation of the selected oscillator The buttons on the left are all Destinations They can all be modulated by the Sources which are the buttons on the right The amount of modu lation applied from any source is determined by the setting of the Mod Depth Knob This can be either Positive modulation Turning the Mod Depth Knob Clockwise or Negative modulation Turning the Mod Depth Knob Anticlockwise Additionally there is a manual Level Knob that allows a static Offset or level to be applied to any of the destinations For example to adjust the level of the Soften setting of Oscillator 1 press the Osc 1 button it will light up indicating it is select ed amp then press the Soften button within the modulation section to define the modulation destination Now adjusting the Level knob will change the Soften setting of Oscillator 1 Similarly to adjust the level of e
28. USING THE INPUTS Using Inputs with the Vocoder Effect The Vocoder can use either input as a Modulator or Carrier Set up the Input sensitivity with the Trim parameters as shown on page 98 Simply selecting the Program B124 Vocoder Program will assign Input one as a Modulator for the Vocoder effect Alternatively you can set up your own Program The simplest way to set up a Vocoder type program is to use B127 Init Prog as a starting point This example will use internal waves as a Carrier Select B127 Init Prog Press the Vocoder button in the Effects section then press the Menu button in the Effects section Go to page 2 The display shows Set the Voc input parameter This sets the Modulator for the Vocoder effect to Input 1 Now when pressing note s on the Master keyboard the Input signal should be heard NOTE If no signal is present on the Input 1 no sound will be heard NOTE If no MIDI note is sent to the Nova 8 the Constant gate parameter is set to Off no sound will be heard 8 if no signal is present on the assigned Input at the moment the MIDI Note is played then no sound will be heard Now all that remains to be done is adjust the Sibilance level Sibilance type amp Width parameters to suit your taste To assign an input as a Carrier is similar to assigning an input to an effect actually that s exactly what you do as the Vocoder is an effect This can be done by simply Passing the input to the effects Se
29. a maximum of 2 parameters displayed on any page One for each line on the display The Fast Data Knobs on the right of the display are used to alter these parameter s values Page 1 looks like so As can be seen the parameter is Envelope triggering In this case with a value of 1 Mult 2 Mult 3 Mult This parameter determines how the Envelopes trigger Turning the lower Fast Data knob selects the various triggering options All three Envelopes are displayed on the lower Part of the display All are currently set to Multi Triggering When Mult Multi is selected for any envelope any new note received will retrigger the envelope When Sing Single is selected there must be a gap in between received notes for the envelope to retrigger Legato notes will not retrigger the envelope The range of this parame ter is 1 Mult 2 Mult 3 Mult 1 Mult 2 Mult 3 Sing 1 Mult 2 Sing 3 Mult 1 Mult 2 Sing 3 Sing 1 Sing 2 Mult 3 Mult 1 Sing 2 Mult 3 Sing 1 Sing 2 Sing 3 Mult amp 1 Sing 2 Sing 3 Sing This parameter is memorised with a Program Page 2 looks like so As can be seen the higher parameter is Porta type In this case with a value of Glissando This parameter determines If the Portamento effect is smooth or stepped in semitones Use the higher Fast Data knob to adjust the value of this parameter In the Porta position the Portamento effect is smooth notes glide smoothly from one pitch to another deter mined by the P
30. as the Nova is set to receive on If this is a Performance you can set the receive channels individually for each Part refer to page 103 for details If this is a Program Programs are played on the Global MIDI Channel Refer to page 36 for details Playing the keyboard should play the Nova through the Headphones Monitors Similarly Tracks in the Computer Software Sequencer that are assigned to MIDI Channel s of the Workstation should make it produce sound If not please refer to the Keyboard amp Computer Software Sequencer manufacturers owners manuals for details on how to do this NOTE This set up does not allow the recording of knob movements on the Computer Software Sequencer This is because the MIDI out put of the Nova is not connected to the MIDI input of the Sequencer Computer To record knob movements in real time refer to the advanced set up on page 7 ADVANCED SETUP Nova Power Supply To Mains Supply input 2 pedal input 1 input sensitivity c ma MIDI Merge Box Sustain Pedal MIDIIN MIDI OUT Master Keyboard Workstation Computer Sequencer Effect Processor Console Amplifer Mixer and Monitors This is the advanced way to set up the Nova This set up allows real time recording of knob movements onto Computer Software Sequencer as both the MIDI output of Nova amp the MIDI output of the keyboard are merged with an
31. be stored Use the lower Fast Data knob to adjust this parameter If this parameter is set to Normal Rx as sent the system exclusive is enabled amp any incom ing bank dumps will be stored in the same location as they were sent i e a Prog bank A dump will be stored in Prog bank A If this parameter is set to All progs to bank A any incoming Program bank dump will be written into Program bank A regardless of their original location All banks of Programs are accounted for If this parameter is set to All perfs to bank A any incoming Performance bank dump will be written into Performance bank A regardless of their original location this is primarily for use when dumping from a Supernova All banks of Performances are accounted for If this parameter is set to Disabled no sysex will be received The range of this parameter is Disabled Normal Rx as sent All progs to bank A All progs to bank B amp All perfs to bank A This parameter is memorised as Global NOTE To write any changes to this parameter into memory press the Write button while in this mode Also note the Memory Protect has to be set to Off for this to be possible 37 MODE SECTION Page 4 looks like so As can be seen the higher parameter is MIDI clock In this case with a value of Int This parameter determines If the Nova is syncing to Internal or External MIDI Clock Use the higher Fast Data knob to adjust this parameter The range of this p
32. by the Frequency knob by ENV 2 In the central position there is no change to the Filter Cutoff Frequency Anticlockwise of centre there will be an increasing amount of Negative modulation i e The Filter will be closed more by ENV 2 Clockwise of centre the modulation is Positive i e The Filter will be increasingly opened by ENV 2 Frequency Button M od Depth Knob ENV 3 Button This combination controls the amount of change to the Filter Cutoff Frequency Initially set by the Frequency knob by ENV 3 In the central position there is no change to the Filter Cutoff Frequency Anticlockwise of centre there will be an increasing amount of Negative modulation i e The Filter will be closed more by ENV 3 Clockwise of centre the modulation is Positive i e The Filter will be increasingly opened by ENV 3 Frequency Button M od Depth Knob W heel Button This combination controls the amount of change to the Filter Cutoff Frequency Initially set by the Frequency knob by the Mod Wheel In the central position there is no change to the Filter Cutoff Frequency Anticlockwise of centre there will be an increasing amount of Negative modulation i e The Filter will be closed more by the Mod Wheel Clockwise of centre the modulation is Positive i e The Filter will be increasingly opened by the Mod Wheel Resonance Button M od Depth Knob LFO 1 Button This combination controls the amount of change to the Resonance Initially s
33. display will change to indicate the parameter that has been selected amp display the newly edited value The Display will stay like this until another parameter is adjusted in which case it will change to display the new parameter To return to the display of the Program Performance name amp number press the appropriate Program or Performance button NOTE Only one Oscillator or one of the Ring Modulators or the Noise Source can be selected edited at one time NOTE Some parameters do not apply to all sound sources i e The Octave parameter has no effect on the Noise generator If this is the case the display will read Not Available when the control is adjusted Solo Button This button is similar to a solo button on a mixing console Pressing this button activates the solo function The button is lit amp the currently selected sound source will be soloed When the solo button is active lit the display will momentarily indicate that the selected sound source has been soloed To return to normal operation press the solo button again unlit 53 OSCILLATOR SECTION Copy Button This button activates a Copying utility amp allows the settings of one Oscillator to be quickly copied to another Pressing the Copy button the button is lit activates the copying function for the currently selected Oscillator also lit Eg If this is Oscillator 1 the display shows It is now a simple matter of pre
34. do so connect a Sustain Pedal to the Master Keyboard The Nova can read MIDI sustain information as Arpeggiator latch On Off so depressing the sustain pedal will switch the Arpeggiator Latch On amp releasing the sustain pedal will switch it Off For this to work properly the Master Keyboard should be transmitting on the same MIDI channel as Nova is set to receive on amp set the Sustain parameter in the MIDI button menu for the selected Part to Arp Latch Additionally this parameter may work in reverse to the manner described if the incorrect footswitch is used with the Master Keyboard If this is the case set the Sustain parameter in the MIDI button menu for the selected part to Arp latch 1 In Program Mode the sustain pedal always latches the Arpeggiator while it is enabled If the Arpeggiator is not enabled the sustain pedal will act as a normal sustain Mute Button This button determines if the Arpeggiator is heard in the currently selected Program When this button is unlit the Arpeggiator is on amp the sound can be heard In the Muted Lit position the Arpeggiator is still running in the background but is no longer passing the notes to the Program or MIDI amp the sound can no longer be heard This parameter is memorised with a Program 47 ARPEGGIATOR SECTION M enu Button When this button is pressed a series of pages is available on the display containing parameters relevant to this sectio
35. ean Negative Skew amp Formant Width on a Saw Wave Negative Skew 8 Formant Width on a Saw Wave Analogue Sound Modelling technology allows even more control over the waveform Once you have selected your basic oscillator waveforms you can further modify then using a Softening process This Softening rounds off all the Sharp edges of the wave form thereby reducing it s harmonic content Below is an example of the Soften parameter on a Square wave Lid f Square W aveform S oftened Square Waveform The Soften parameter is completely variable amp as can be seen can reduce a square wave to only one harmonic producing a Sine wave The Soften process can also be applied to the noise generator providing control over the harmonic content of the noise Below is an example of the Soften parameter on Pink Noise ABOUT ANALOGUE SYNTHESIS TASCA m x 1234567 Noise Waveform Harmonics Jw S Softened Noise Waveform Tag RO Harmonics Finally there is Ring modulation This uses two oscillators but instead of adding them together as would happen in a mixer they are multiplied together This is very similar to FM amp produces the kind of effect shown below Oscl Osc2 Ring M odulated Waveform Oscl xOsc2 The Ring Mod effect creates metallic amp bell like sounds amp is used generally for lead sounds but if used subtly can produce Electric Pianos etc amp if used radically can produce unusual sound effects
36. have made in the Performance amp ignore the settings of the newly selected Program This is done by setting the Effects used parameter in the Output Menu to Part Alternatively the whole of the effects can change when a Program change mes sage is received by a Part by setting this parameter to Program Pressing the Copy button in the effects section activates a Copy mode where the Part s Program effects are copied into the Part effects buffer NOTE Only one Performance is available at any time It is not possible to create a Multi type setup with multiple Performances NOTE When a Program change message is received on the Global MIDI channel it will change the selected Program or Performance If a Program change is received on a Part MIDI Channel that is not the Global one it will change the assigned Program for that Part When it does so the effects settings stored in the Program will be loaded into the Parts Effects section if the Effects used parame ter in the Output menu is set to Program If this parameter is set to Performance the Program will change but the effects setting for that Part will not be altered Additionally the Arpeggiator Parameters from the Program will be loaded into the Part s Arpeggiator z o j m WHEN A PROGRAM CHANGE BANK MESSAGE IS RECEIVED ON THE GLOBAL CHANNEL THIS WILL RESULT IN A POS SIBLE MODE CHANGE FROM PERFORMANCE TO PROGRAM MODE z o 4 m FOR THE ABOVE REASON IT IS STR
37. how the velocity of the notes played effect the notes in the arpeggiation Use the higher Fast Data knob to adjust the value If this parameter is set to Played then the velocities of the notes played will be duplicated in the notes played in the arpeggiation If this parameter is set to Full then the velocities of the notes played will be at full velocity 127 If this parameter is set to Half then the velocities of the notes played will be at half velocity 63 If this parameter is set to Prog then the velocities of the notes played will be at the values programmed into the patterns The range of this parameter is Played Full Half amp Prog This parameter is memorised with a Program As can be seen the lower parameter is Octave range In this case with a value of 2 This parameter determines the number of octaves the Arpeggiator will sweep through Use the lower Fast Data knob to adjust the value The range of this parameter is 1 2 3 amp 4 octaves This parameter is memorised with a Program NOTE When this parameter is set to use octaves greater than 1 then the Fill in parameter will affect how the the pattern sweeps through the octaves on the Monophonic Up Down patterns Mono 000 to 003 Refer to the notes on the Fill in parameter on page 50 for details 49 ARPEGGIATOR SECTION Page 5 looks like so As can be seen the higher parameter is Fill in in this case with a value of
38. in program mode amp Input 1 Input 2 amp parts 1 to 6 in performance mode This parameter is memorised with a Program in Program Mode or memorised with a Program or Performance in Performance Mode As can be seen the lower parameter is Voc insert In this case with a value of Program This parameter determines what is going to be the Carrier for the vocoder Use the lower Fast Data knob to adjust this parameter In Program mode only the currently selected program can be used as the carrier for the vocoder amp this parameter shows only the Program option for clarity In Performance mode any of the 6 parts can be used as the carrier for the vocoder The range of this parameter is Program in Program Mode Part 1 to Part 6 in Performance Mode This parameter is memorised with a Program in Program Mode or memorised with a Program or Performance in Performance Mode Page 3 looks like so As can be seen the parameter is Vocoder width In this case with a value of 00 This parameter determines how wide the stereo output of the vocoder will be Use the higher Fast Data knob to adjust this parame ter If this parameter is set to 00 the output of the vocoder will be Mono If this parameter is set to 15 the output of the vocoder will be Stereo The range of this parameter is 00 to 15 This parameter is memorised with a Program in Program Mode or memorised with a Program or Performance in Performance Mode 94 EFFECTS SECTION BB BBM Aa AA
39. in the Velocity Crossfade example playing the keyboard softly will mean Pad 1 is heard playing the keyboard hard amp Pad 2 will be heard playing the keyboard with medium feel will produce a mixture of Pad 1 amp Pad 2 Velocity 5127 Velocity 2127 B ell 303 Velocity z1 Velocity z1 Keyboard Range Keyboard Range PERFORMANCE SPLIT EXAMPLE PERFORMANCE MULTIPLE EXAM PLE As can be seen in the Performance Split example play the higher end of the keyboard amp Pad 1will be heard Play the low end 4 Pad 2 will be heard Additionally to this it can be seen that different Arpeggiators are assigned to the Lower amp Upper parts of the keyboard Both of these can be played at the same time As can be seen the Performance Multiple example is much more complex a Performance can have 6 Parts in this case all 6 have been used The lower half of the keyboard is a 3 way layer of Programs There is a Pad a Bass amp an Arpeggiated 303 sound These all sound at the same time when a note is pressed within their range A little further up the keyboard a Brass sound has been assigned Further up the keyboard still 2 Arpeggiated sounds are assigned They are arranged in a Velocity crossfade so that playing the keyboard in this range softly produces a Spike sound with an Arpeggiation amp playing it heavily produces a Bell sound with a different Arpeggiation To set the split points use the Range Parameter to sp
40. intensity T2 0 Osc 1 Aftertouch LFO 1 intensity T3 0 Osc2 Aftertouch LFO 1 intensity 74 0 Osc3 Aftertouch LFO 1 intensity 75 0 Osc 1 Sync formant width 76 0 Osc2 Sy nc formant width TI 0 Osc3 Sy nc formant width T8 0 Osc 1 Key sync T9 0 Osc2 Key sync 80 0 Osc3 Key sync 81 0 Osc 1 Sync skew 82 0 Osc2 Sync skew 83 0 Osc3 Sync skew 84 0 Multi purpose packed NRPN 85 0 LFO 1 Speed Aftertouch depth 86 0 LFO 2 Speed Aftertouch depth 87 0 Filter Mod knob Wh frequency 88 0 Filter Mod knob Wh resonance 89 0 Filter frequency Wh LFO 2 intensity 90 0 Filter resonance Wh LFO 2 intensity 91 0 Filter frequency Aftertouch LFO 2 intensity 92 0 Filter res onance Aftertou ch LFO 2 intensity 93 0 Filter Aftertou ch frequency 94 0 Filter Aftertouch resonance 95 0 Comb filter frequen cy 96 0 Comb filter boost 97 0 Effects dry level 98 0 Panning speed 99 0 Panning depth 00 0 Multi purpose packed NRPN 01 0 Delay width 02 0 Vocoder balance 03 67 03 0 LFO 1 speed Wh depth pa 0 FO 7 speed Wh depth 05 0 Env 1 Wh 06 0 Env 1 Aftertouch 07 0 EQ treble 08 0 EQ bass 09 0 Multi purpose packed NRPN 10 0 0 Multi purpose packed NRPN 11 1 0 Part s emitone detune 12 2 0 Part cents detune 13 3 0 Multi purpose packed NRPN 14 4 0 Part range highest note 15 0 Part range lowest note 16 0 Global master tune 17 0 Breath Pedal CC02 remap option 7 18 76 8 0 Arp realtime transpose channel 19 19 0 Arp realtime transpose ref note 20 0 Favourites map edit locati
41. lengthen Release times turn this knob clockwise The range of this parameter is 000 to 127 This parameter is memorised with a Program Menu Button When this button is pressed a series of pages is available on the display containing parameters relevant to this section In the Envelope section there are 4 pages available These are selected using the Page Up amp Page Down buttons to the left of the display There are a maximum of 2 parameters displayed on any page One for each line on the display The Fast Data Knobs on the right of the display are used to alter these parameter s values 78 ENVELOPES SECTION Page 1 looks like so As can be seen the higher parameter is Env1 velocity In this case with a value of 63 This parameter determines how the Velocity of the notes played on the Master Keyboard effect the amount of modulation produced by Envelope 1 In the central position of the higher Fast Data knob there is no volume velocity response to the sound Anticlockwise of centre there will be an increasing amount of negative modulation i e The volume of the sound will decrease as notes are struck harder with more Velocity on the Master Keyboard Clockwise of centre there will be an increasing amount of positive modulation i e The volume of the sound will increase as notes are struck harder with more Velocity on the Master Keyboard The range of this parameter is 64 to 63 This parameter is memorised with a Progra
42. like Drum Loops as the Modulator NOVATION ISH A Translation of terms used throughout this manual In this manual there are several terms used that may lead to confusion if not fully understood Below is an explanation of all the Novationish used in this manual Performance This is the most complex type of sound Nova can create It is made up of 6 different sounds called Parts These Parts can be lay ered or set up as splits to form the Performance Performances are accessed by pressing the Performance button Other Manufacturers sometimes call these Multis Multisetups or Combinations Part This is one of the 6 sounds or Parts of a Performance The sound assigned to a Part is called a Program Other Manufacturers sometimes call these Timbres Program This is the simplest type of sound Nova can create These are accessed by pressing the Program button Other Manufacturers sometimes call these Patches or Partials Voice This is a measurement of polyphony One voice is the equivalent of one note being played One voice in the Nova uses three Oscillators two Ring Modulators amp a Noise generator as sound sources All these sound sources can be used simultaneously in one Voice Oscillator This is the basic waveform generator in the Nova As described above there are three Oscillators per Voice S ync Effect This is a parameter of one oscillator that simulates the Sync Effect generated by 2 Analogue oscillators in an Oscilla
43. lower Data knob to adjust this parameter The range of this parameter is 01 to 64 but depends on the value set in the No of Steps parameter above When this parameter is set to Note the value of the parameter below it determines the note value of the currently selected step Use the lower Data knob to adjust this parameter The range of this parameter is 01 to 12 for the User Monophonic patterns 000 to 063 amp 36 to 36 for the User Polyphonic patterns 064 to 127 When this parameter is set to Vel the value of the parameter below it determines the velocity of the note at the currently selected step Use the lower Data knob to adjust this parameter The range of this parame ter is 1 to 127 When this parameter is set to Gate the value of the parameter below it determines the gate time of the note at the currently selected step In the Normal position the gate equals one step unless the following step is a tie In the Tie position the notes are tied together Use the lower Data knob to adjust this parameter In the Rest position the note is silent in the Glide posi tion the Portamento effect is engaged as it does in Autoglide The range of this parameter is Norm Tie Rest Glide Refer to page 25 for details on programming user patterns These parameters are memorised as Pattern data NOTE The Note parameter can only be accessed if the current step s gate is set to Norm or Glide NOTE To write any changes to the currently sele
44. not apply to the Noise 1 3 amp 2 3 Ring Modulator outputs No audible effect to these sound sources will be heard if an attempt is made to adjust this parameter when these sound sources are selected amp the display will show Not Available Pitch Button M od Depth Knob LFO 2 Button This combination controls the Pitch Modulation of the selected Oscillator by LFO 2 Turning the Mod Depth Knob fully clockwise introduces Vibrato from LFO 2 to the selected Oscillator in a Positive direction Turning the Mod Depth Knob fully anticlockwise introduces Vibrato from LFO 2 to the selected Oscillator in a Negative direction In the Mid position there is no modulation at all The range of this parameter is 64 to 63 NOTE This does not apply to the Noise 1 3 amp 2 3 Ring Modulator outputs No audible effect to these sound sources will be heard if an attempt is made to adjust this parameter when these sound sources are selected amp the display will show Not Available Pitch Button M od Depth Knob ENV 2 Button This combination controls the Pitch Modulation of the selected Oscillator by ENV 2 Turning the Mod Depth Knob fully clockwise introduces Pitch shift from ENV 2 to the selected Oscillator in a Positive direction Up Turning the Mod Depth Knob fully anti clockwise introduces Pitch shift from ENV 2 to the selected Oscillator in a Negative direction Down In the Mid position there is no modulation at all The range of
45. of both of these signals can be boosted or cut by 10 dB using the Fast Data knobs These parameters are memorised as Global NOTE The setting of these parameters is saved along with all the other Global parameters when the Global parameters are saved while in the Global menu M IDI Button This button only works in Performance mode When this button is pressed a series of pages is available on the display containing parameters relevant to this section In the MIDI menu there are 3 pages available There are a maximum of 2 parameters displayed One for each line on the display The Fast Data Knobs on the right of the display are used to alter these parameter s values 98 PART EDIT SECTION NOTE If you are currently on the Sysex transmission page of the Global menu pressing this button will initiate a sysex dump Page 1 looks like so As can be seen the higher parameter is Sustain In this case with a value of Enable This parameter determines how the selected Part will respond to incoming MIDI Sustain pedal data Controller 64 This parame ter is adjusted using the higher Fast Data knob If this parameter is set to Enable the Envelopes are held at their sustain phases if a MIDI Sustain pedal message of On is received This is similar to the Damper pedal on a Piano The Sustain pedal message can be set to do other things as well though If this parameter is set to Arp Latch the Arp latch function will be switched On
46. parameter is memorised with Programs in Program Mode amp Performances in Performance Mode Range Button This button only works in Performance mode This button alters the Key Range of the currently selected Part When this button is pressed the display shows parameters rele vant to this section There are a maximum of 2 parameters displayed One for each line on the display The Fast Data Knobs on the right of the display are used to alter these parameter s values W hen this button is pressed the display shows As can be seen the higher parameter is Highest note In this case with a value of C8 This parameter selects the Highest note the currently selected Part will play on amp is adjusted using the higher Fast Data knob The range of this parameter is CO to C8 This parameter is memorised with the Performance As can be seen the lower parameter is Lowest note In this case with a value of CO This parameter selects the Lowest note the currently selected Part will play on amp is adjusted using the Lower Fast Data knob The range of this parameter is CO to C8 This parameter is memorised with the Performance NOTE If the Lowest note is set higher than the Highest note a reverse window can be created For example If Part Highest key is set to C2 amp Part lowest key is set to C3 The sound appears on the keyboard from CO to C2 8 from C3 to C8 In other words there is a Hole in the middle of the keyboard NOTE The
47. path is reflected on the front panel of the Nova allowing easy understanding of the synthesis process All the essential controls of this process are on the front panel amp in Program mode adjusting the controls will directly effect the sound produced For a deeper understanding of the creation of sounds refer to the section About Analogue Synthesis on page 8 for details 21 ABOUT PERFORMANCES A Performance is a more complex arrangement where several Programs can be used at once This allows the creation of much more complex sounds that are either layered together to create a Fatter sound or a Split of 2 or more sounds on the keyboard In fact a Performance consists of up to 6 Parts Each one of the parts can have its own Program amp as explained before this means each Part has its own Effects Section amp Arpeggiator This means it is possible to layer up to 6 Programs or create a 6 way split of different sounds across the keyboard or any combination of the two Below are some examples Velocity 2127 Velocity 2127 evel d Velocity 1 Velocity 1 Keyboard Range Keyboard Range PERFORMANCE LAYER EXAMPLE PERFORMANCE VELOCITY CROSSFADE EXAMPLE As can be seen in the Performance Layer example there are 2 Pad Programs layered together over the entire range of the key board Playing any one note will play both the sounds on that note As can be seen
48. range 10 Rez HT LFOS amt 63 Ernu 3 delay 10 Button C o py u o Fq AT amt 465 Ernu 1 MHilheel 10 Copy oscillator 1 Res AT amt 63 Eny ATOAN TIO to 3 Special type H S pecial Button l Trigger M enu filter width 000 ial waveform Envelope triggering PANA PAPI S pecial Button i Mult 2 Mult Special type Rez LPF filter width ggg Forta type Glide type Hormal Glide Unison Off linizon mode 2 voice LFO M enu DCO UCO mode Dco Offset amount 000 Constant gate off Eru 3 speed mod 635 Ti HT z d mao 18 Sync i amp th LFO range Slow Triggering Kaysuno Delay trigger Multi 142 MENU MAP util Effects M enus Delay M enu Distortion EQ Config Pan M enu M enu Delay time us Pan type Hutopan 055 Distortion wheel 00 Pan 040 Stereo width O10 Pan depth C80 Delay ratio iii 420 Dru level z 64 Sunc i amp th Pan effeciz Ha Delay HF damp O20 nb frequency nes Comb x 10 Delay wheel 20 Fx config O k 6 Kabi Vocoder M enu Config morph nano Sibilance leuel 15 Sibilance type Reverb M enu Program only Type Medium type 2 Early ref level 5 decay HF damp z Reverb wheel 20 d Macader f spec trum Choru
49. sound just the same as a standard Saw wave NOTE As both waves are adding together exactly when no phase difference is set between the 2 Saw waves the resulting Single Saw wave is twice as loud as a standard Saw wave This can be handy when severe filtering is being employed When this parameter is set to a positive value the phase difference between the 2 Saw waves is modulated by a positive amount Similarly negative values produce a negative phase shift between the 2 Saw waves Fully clockwise or fully anticlockwise the phase shift is 180 has been shifted positive or negative respectively The range of this parameter is 64 to 63 This parameter is memorised with a program The key way to understand how this works is to understand that detuning can be expressed as a continually accelerating or decelerating phase shift When looking at the waves of detuned Oscillators on an oscilloscope it can be clearly seen that one waveform accelerates or decelerates the result is the same in respect to the other The greater the detuning the greater the dif ference in phase shift acceleration or deceleration between the two Oscillators So how is this done The answer is with an LFO Because the modulation of an LFO has been tailored to modulate a Double Saw wave exactly from 0 phase shift to 360 when set to FULLY positive or negative modulation 180 phase shift of modulation of each positive amp negative cycle are used providing 360 of
50. synced but synchronised at a strange time signature Check the synchronisation parameters refer to page 77 for the LFOs page 84 for the Delay amp page 50 for the Arpeggiator for details LFOs Delay and or Arpeggiator is stuck stopped does not work This is almost certainly because the LFOs Delay and or Arpeggiator are set to sync to MIDI Clock To check this see if the Clock parameter in the Global Mode is set to Ext refer page 38 If itis set to External then setting this parameter to internal will restore the operation of the LFOs Delay amp or Arpeggiator If you wish these to be synced to MIDI Clock leave this parameter in External amp confirm that the sequencer is actually sending MIDI Clock A lot of software sequencers default to NOT transmitting MIDI Clock If the LFO Delay Arp is stuck not functioning amp you have the Clock parameter in the Global Mode is set to Ext the sequencer is not sending MIDI Clock There is no other reason Cannot record knob movements on the sequencer Some sequencers software feature a filter for filtering out unwanted data Controllers is usually an option This data must not be filtered out by the program Consult the sequencer software s owners manual for details Cannot change Banks via M IDI Bank changes are different from program changes amp are actually two messages For this reason some sequencers software have a Bank Box or similar in an attempt to simplify things
51. the Pan effects parameter to Yes allows the user to pan the sound amp the effects to a single Mono output NOTE If the Pan effects parameter is set to Yes amp the sound is panned hard to the Left then only the Left channel of the Stereo effects the Comb filter Phaser Flanger Chorus Ensemble Rotary Speaker Delay amp Reverb will be heard In the case of the Phaser Flanger Chorus Ensemble Rotary Speaker effect this may introduce a slight Wobbling sensation to the sound This is due to the Stereo nature of the effect amp is normal If you monitor only one side of a Stereo version of the sound on your Mixer you will experience the same thing M enu Button Vocoder selected NOTE There is only 1 vocoder in the Nova You cannot have a Performance with several different vocoders on different parts When this button is pressed a series of pages is available on the display containing parameters relevant to this section In the Pan section there are 4 pages available Page 1 looks like so As can be seen the higher parameter is Sibilance level In this case with a value of 15 This parameter determines the amount of sibilance there will be in the vocoded signal Typically these are the S type of sounds in speech Use the higher Fast Data knob to adjust this parameter If this parameter is set to 00 no sibilance from the modulator s sig nal will be passed to the output of the vocoder If this parameter is set to 15
52. the device that is being affected by the interference Utilise power outlets that are on different branch Circuit breaker or fuse circuits or install AC line filter s In the case of radio or TV interference relocate re orient the antenna If the antenna lead in is 300 ohm ribbon lead change the lead in to co axial type cable If these corrective measures do not produce satisfactory results please contact the local retailer authorised to distribute this type of product The statements above apply ONLY to products distributed in the USA D CANADA The digital section of this apparatus does not exceed the Class B limits for radio noise emissions from digital apparatus set out in the radio interference regulation of the Canadian Department of Communications Le present appareil numerique n emet pas de bruits radioelectriques depassant les limites applicables aux appareils numeriques de la Classe B prescrites dans le reglement sur le brouillage radioelectrique edicte par le Ministere Des Communications du Canada This only applies to products distributed in Canada Ceci ne s applique qu aux produits distribues dans Canada CE CE mark which is attached to our company s products of AC mains operated apparatus until December 31 1996 means it con forms to EMC Directive 89 336 EEC and CE mark Directive 93 68 EEC CE mark for European Harmonised Standards And CE mark which is attached after January 1 1997 means it co
53. then large amounts of sibilance from the modulator will be passed to the output of the vocoder The range of this parameter is 00 to 15 This parameter is memorised with a Program in Program Mode or memorised with Performance in Performance Mode 93 EFFECTS SECTION NOTE If there is no sibilance in the modulator s signal then this parameter will appear to do nothing As can be seen the lower parameter is Sibilance type In this case with a value of Hpass This parameter determines if the vocoder uses real sibilance filtered from the modulator or artificially generates it using noise Use the lower Fast Data knob to adjust this parameter In the Hpass mode a High pass filter is used to extract the sibilance from the modulator In the Noise mode noise is used to artificially generate sibilance The range of this parameter is Hpass amp Noise This parameter is memorised with a Program in Program Mode or memorised with a Performance in Performance mode Page 2 looks like so As can be seen the higher parameter is Voc input In this case with a value of Input 2 This parameter determines what is going to be the Modulator of the vocoder Use the higher Fast Data knob to adjust this param eter If this parameter is set to Input 1 input 1 will be the modulator If this parameter is set to Input 2 input 2 will be the modulator In performance mode parts 1 to 6 can also be selected The range of this parameter is Input 1 amp input 2
54. this parameter is 64 to 63 NOTE This does not apply to the Noise 1 3 amp 2 3 Ring Modulator outputs No audible effect to these sound sources will be heard if an attempt is made to adjust this parameter when these sound sources are selected amp the display will show Not Available 59 OSCILLATOR SECTION Pitch Button M od Depth Knob ENV 3 Button This combination controls the Pitch Modulation of the selected Oscillator by ENV 3 Turning the Mod Depth Knob fully clockwise introduces Pitch shift from ENV 3 to the selected Oscillator in a Positive direction Up Turning the Mod Depth Knob fully anti clockwise introduces Pitch shift from ENV 3 to the selected Oscillator in a Negative direction Down In the Mid position there is no modulation at all The range of this parameter is 64 to 63 NOTE This does not apply to the Noise 1 3 amp 2 3 Ring Modulator outputs No audible effect to these sound sources will be heard if an attempt is made to adjust this parameter when these sound sources are selected amp the display will show Not Available Pitch Button M od Depth Knob W heel Button This combination controls the Pitch Modulation of the selected Oscillator by the Mod Wheel Turning the Mod Depth Knob fully clockwise introduces Pitch shift from Mod Wheel to the selected Oscillator in a Positive direction Up Turning the Mod Depth Knob fully anticlockwise introduces Pitch shift from Mod Wheel to the
55. trigger In this case with a value of Multi This parameter determines how the Delay parameter is triggered on the selected LFO Turning the lower Fast Data knob anti clockwise selects the Multi option which means the LFO Delay Time is reset to the start value every time any key is pressed Turning the lower Fast Data knob clockwise selects the Single option which means the LFO Delay Time is reset to the start value only if no other keys are currently held down The range of this parameter is Multi amp Single This parameter is memorised with a program TT ENVELOPES SECTION menu trigger envl1 en2 env3 amp decay sustain release This section contains all the knobs amp buttons associated with the Envelopes The Envelopes are used to shape a sound over time Env 1 the Amplifier Envelope is assigned to the Amplifier amp controls the Volume of the Program It is used to decide how quickly the sound starts when you play a note amp how it sustains amp dies away Similarly Env 2 amp Env 3 can be used to create tonal changes over time by modulating the Filter s Cutoff Frequency and or Resonance in a similar fashion or can be used to create sweeping pitch shifts Pulse Width Modulation Sync amp Osc Mix sweeps ENV 1 AMP Button ENV 2 Button ENV 3 Button These buttons select which Envelope the Envelope knobs are going to adjust Attack Knob This knob sets how quickly the Envelope rises to its maximum level w
56. when a Sustain pedal message of On is received amp switched Off when a pedal off is received Similarly if this parameter is set to Arp Mute or Part Mute the respective mute function will be controlled in the same way Some manufacturers have different polarity pedals which can make this parameter behave in reverse so inverse parameters have been added as an option Additionally it is often useful when layering 2 or more Parts to have one Part enabled amp the other s disabled so an Off option is available If this parameter is set to Program 1 the Part s Program advances by one when a Sustain pedal On message is received amp if set to Program 1 the Part s Program decreases by one when a Sustain pedal On message is received If this parameter is set to Pattern 1 the Part s arpeggiator pattern increases by one when a Sustain pedal On message is received 8 if set to Pattern 1 the Part s arpeggiator pattern decreases by one when a Sustain pedal On message is received If this parameter is set to Voc freeze whenever a Sustain pedal On message is received the Vocoder will freeze amp whatever harmonic spectrum was being used as a modulator will be sustained until a Sustain pedal Off message is received amp then normal operation of the Vocoder will resume NOTE This only freezes the Vocoder if the currently selected Part is supplying the Vocoder s carrier signal i e the Part is the same as the Vocoder s
57. write again amp the display shows As can be seen the Nova is asking confirmation that you wish to write over the destination Program replacing it with the newly edited sound Also on the top line of the display it can be seen that there is the category parameter This is where you set the cate gory of the Program so that the Finder mode can locate programs with the same category assigned To adjust this parameter use the higher Fast Data knob There are 20 categories Refer to page 35 for details on the categories To complete the operation press the Write button to confirm amp the display shows This will stay on the screen for several seconds then revert back to the standard Program page NOTE At any stage during the write procedure pressing the Program button will exit the write procedure amp return the Display to showing the Program name amp location NOTE The current selection of Oscillator LFO amp ENV2 or 3 plus the selection of Mod Sources amp Mod Destinations in the Oscillator amp Filter sections are memorised when the sound is written into memory This allows any setup to be recalled when the program is recalled which can be very useful in live performance 29 EDITING amp WRITING PERFORMANCES Editing Performances is very easy After Pressing the Performance button the button lights amp the Display shows Performances are made up of 6 Parts The next thing to do is select the Part of the Perfo
58. 0 Ox i ModknobLFO f hardness 1 od knob LFO 1 mix od knob LFO 2m ix an knob pitch od knob LFO 2 pitch Ose 2 Mod knob LFO 2 sync od knob Wh sync Noise Mod knob Env 2 hardness Noise Mod knob Env 3 hardness 9 25 0 Osc 2 Mod knob Env 3 hardness 26 0 Osc 2 Mod knob LFO 1 hardness Pe lao Os2MoimoblFO2hahes CT 3 0 Osc 2 Mod knob LFO 1 mix 22 34 0 Osc 3 Mod knob LFO 2 pitch TC 35 0 Osc 3 Mod knob Wh pitch 60 25 Ea 0 Osc 3 Mod knob Wh width i 0 Osc 3 Mod knob Env3 sy nc 0 Osc 3 Mod knob Wh sync 2 a 0 Osc 3 Mod knob Env 3 hardness g0 A E e 2B 43 0 Osc 3 Mod knob LFO 2 hardness 2C 44 0 Osc 3Mod knob Wh hardne ss 2E 46 0 Osc 3 Mod knob LFO 1 mix 2F 47 0 Osc 3 Mod knob LFO 2 mix 80 140 Or 3 Modano Whmix 1 33 51 0 od knob Env 3 mix ha ah 37 55 0 od knob Env2 mix 2 57 0 od knob LFO 1 mix 58 0 od knob LFO 2 mix 0 Fa Wm j 23ModknobWhmix 0 00 0 00 I e O D ojoo o Noise 120 E Noise Mod knob LFO 1 hardness Mod knob LFO 2 hardness MIDINRPN TABLES NRPN MSB Description 64 0 Noise Mod knob Wh hardness 65 0 Noise Mod knob Env 3 mix 66 0 Noise Mod knob LFO 1 mix 67 0 Noise Mod knob LFO 2 mix 68 0 Noise Mod knob Wh m ix 69 0 Osc1 Wh LFO 1 intensity 70 0 Osc2 Wh LFO 1 intensity 71 0 Osc3 Wh LFO 1
59. 0 there is no change to the selected LFO s speed Negative values of this parameter will produce an increasing amount of nega tive modulation i e the selected LFO will slow down as the Master Keyboard s Mod Wheel is moved forward amp speed back up as it is brought back Positive values of this parameter will produce an increasing amount of positive modulation i e the selected LFO will speed up as the Master Keyboard s Mod Wheel is moved forward amp slow down as it is brought back The range of this parame ter is 64 to 63 This parameter is memorised with a Program As can be seen the lower parameter is AT speed mod In this case with a value of 10 This parameter determines how the Master Keyboard s Aftertouch effects the speed of the selected LFO If this parameter is set to 0 there is no change to the selected LFO s speed Negative values of this parameter will produce an increasing amount of negative modulation i e the selected LFO will slow down as the Master Keyboard s Aftertouch is applied amp speed back up as it is disen gaged Positive values of this parameter will produce an increasing amount of positive modulation i e the selected LFO will speed up as the Master Keyboard s Aftertouch is applied amp slow down as it is disengaged The range of this parameter is 64 to 63 This parameter is memorised with a Program 76 LFOS SECTION Page 3 looks like so As can be seen the higher parameter is Sync In this ca
60. 1 Bar 2 Bar Triplet 1 Bar Dotted 2 Bars 4 Bar Triplet 3 Bars 5 Bar Triplet 4 Bars 3 Bar Dotted 4 5 Bars 7 Bar Triplet 5 Bars 8 Bar Triplet 6 Bars 7 bars 5 Bar Dotted 7 5 Bars 8 Bars 6 Bar Dotted 9 Bars 7 Bar Dotted 10 5 bars 4 8 Bar Dotted 12 Bars This parameter is memorised with a Program in Program Mode or memorised with a Program or Performance in Performance Mode depending on the value of the Part s Effects Used parameter NOTE If this parameter is set to anything but Off the Delay Time parameter will not work As can be seen the lower parameter is Delay HF damp In this case with a value of 20 This parameter determines the rate at which High Frequencies decay away in repeats of the Delay Use the lower Fast Data knob to adjust this parameter The range of this parameter is 000 to 127 This parameter is memorised with a Program in Program Mode or memorised with a Program or Performance in Performance Mode depending on the value of the Part s Effects Used parame ter Page 4 looks like so As can be seen the higher parameter is Delay Wheel In this case with a value of 20 This parameter determines how much the Mod Wheel controls the amount of Delay effect Use the higher Fast Data knob to adjust this parameter Fully anticlockwise the Delay will be reduced with full modulation of the Mod Wheel Fully clockwise the Delay will be increased with full modulation of the Mod Wheel The ra
61. 11 RESERVED 12 RESERVED 13 Arpeggiator Pattern Bank Mono 14 Arpeggiator Pattern Bank Poly 15 Arpeggiator Pattern Bank User 130 M IDI CLOCK SYNC Sync Setting MIDI Clocks Ticks Off NA 32 Triplet 2 32nd 3 16th Triplet 4 16th 6 8th Triplet 8 16th Dotted 9 8th 12 4th Triplet 16 8th Dotted 18 4th 24 2nd Triplet 32 4th Dotted 36 2nd 48 1 Bar Triplet 64 2nd Dotted 72 1 Bar 96 2 Bar Triplet 128 1 Bar Dotted 144 2 Bars 192 4 Bar Triplet 256 3 Bars 288 5 Bar Triplet 320 4 Bars 384 3 Bar Dotted 4 5 Bars 432 7 Bar Triplet 448 5 Bars 480 8 Bar Triplet 512 6 Bars 576 7 bars 672 5 Bar Dotted 7 5 Bars 720 8 Bars 768 6 Bar Dotted 9 Bars 864 7 Bar Dotted 10 5 bars 1008 8 Bar Dotted 12 Bars 1152 131 PROGRAMS BANK A O O ND OBAWN Sintillator M Wh Skewed Arp Softena Bass M Wh Velo 303 Velocity Mutes Its Not OK Garage Kick FM EP T chu Wave Ravin On Velo 303 Dist SyncHeathHazard Stringz SimpleEnvVeloArp Synthi Harp M Wh Square Basics Synus M Wh PunchiPick M Wh Sparkx Morph Brass M Wh Flathead Bass U no polysynth 1 MW BPF Perc Organ Bass1 Pickled on Slynkie Slide Vorsprung M Wh 909 Snare 1 Pad 4 Landing DigiTrouserCough Anafuzzy logik Spectra Pad Vindalo Noise SlapBass1 Techno crat Obie Paddiviv Soft Brit Sound Echoed Maj 3rd Naked Uni Syn EP Ambient Line RainPicks No Moralies M Wh Highly Strung ItsKindaPhasedWh BP 3032 Clock Clang Sk
62. 16 dotted 69 LFO 1 sync 7 bars 6 Arm sync 8 70 LFO 1 sync 5 bar dotted 7 Ar sync 4 triplet 71 LFO 1 sync 8 bars 8 Arp sync 8 dotted T2 LFO 1 sync 6 bar dotted 9 Arm sync 4 73 LFO 1 sync 7 bar dotted 10 Arp sync 2rd triplet 74 LFO 1 sync 8 bar dotted 11 Arm sync 4 dotted T5 Global Rx controllers Enabled 12 Arp sync 2nd T6 Part prog change filter Off 13 Arp sync 1 bar triplet TT Part prog change filter On 14 Arp sync 2d dotted 78 Arp output ranging On 15 Am sync 1 bar 79 Arp output ranging Off 16 Arp sync 2 bar triplet 80 LFO 2 sync Off 17 Arp sync 1 bar dotted 81 LFO 2 sync 32nd triplet 18 Arp sync 2 bars 82 LFO 2 sync 32nd 19 Arp sync 4 bar triplet 83 LFO 2 sync 16t triplet 20 Arp sync 3 bars 84 LFO 2 sync 16th 21 Arp sync 5 bar triplet 85 LFO 2 sync 8 triplet 22 Arp sync 4 bars 86 LFO 2sync 16 dotted 23 Arp sync 3 bar dotted 87 LFO 2sync 8 24 Am sync 7 bar triplet 88 LFO 2 sync 4th triplet 25 Arp sync 5 bars 89 LFO 2sync 8 dotted 26 Am sync 8 bar triplet 90 LFO 2sync 4th 27 Am sync 6 bars 91 LFO 2 sync 2na triplet 28 Am sync 7 bars 92 LFO 2 sync 4th dotted 29 Am sync 5 bar dotted 93 LFO 2 sync 2d 30 Am sync 8 bars 94 LFO 2 sync 1 bar triplet 31 Am sync 6 bar dotted 95 LFO 2 sync 2 dotted 32 Am sync 7 bar dotted 96 LFO 2 sync 1 bar 33 Am sync 8 bar dotted 97 LFO 2 sync 2 bar triplet 34 Global Rx prog ch Enabled
63. 3 amp 2 3 Ring Modulator outputs No audible effect to these sound sources will be heard if an attempt is made to adjust this parameter when these sound sources are selected amp the display will show Not Available W idth Button M od Depth Knob ENV 2 Button This combination controls the Pulse Width Modulation of the selected Oscillator by ENV 2 Turning the Mod Depth Knob fully clock wise introduces Pulse Width Modulation from ENV 2 to the selected Oscillator in a Positive direction Turning the Mod Depth Knob fully anticlockwise introduces Pulse Width Modulation from ENV 2 to the selected Oscillator in a Negative direction In the Mid position there is no modulation at all The range of this parameter is 64 to 63 NOTE This parameter only works for Square waves amp the DoubleSaw waveform This does not apply to the Oscillators that have Saw Waveforms selected or the Noise 1 3 amp 2 3 Ring Modulator outputs No audible effect to these sound sources will be heard if an attempt is made to adjust this parameter when these sound sources are selected amp the display will show Not Available W idth Button M od Depth Knob ENV 3 Button This combination controls the Pulse Width Modulation of the selected Oscillator by ENV 3 Turning the Mod Depth Knob fully clock wise introduces Pulse Width Modulation from ENV 3 to the selected Oscillator in a Positive direction Turning the Mod Depth Knob fully anticlockwise introduces P
64. 69 Display 2 Display section 46 Dist EQ config 87 Dist EQ Config Button 83 Distortion 16 Distortion wheel 87 DoubleSaw 54 Dry level 92 E Early ref 17 Early ref level 86 Echo 18 Editing amp Writing Arpeggiator Patterns 25 Editing amp Writing Performances 30 Editing amp Writing Programs 28 Effect 16 83 Effect Knob 83 Effects Section 2 21 23 83 Effects used 98 Ensemble 81 ENV 1 AMP Button 78 Env 1 ATouch 80 Env 1 MWheel 80 ENV 2 59 70 71 ENV 2 Button 58 59 61 62 64 70 71 78 Env 2 delay 79 Env 2 velocity 79 ENV 3 60 70 71 ENV 3 Button 58 60 61 62 64 70 71 78 137 Env 3 delay 79 Env 3 speed mod 76 Env 3 velocity 79 Env1 velocity 79 ENV2 58 61 62 64 ENV3 58 61 62 64 Envelope triggering 80 Envelopes 13 78 Envelopes Section 2 78 EQ 16 EQ bass 88 EQ treble 88 Exponential 81 Expression peda 40 Expression pedal 3 100 108 109 F Factory settings 40 Fast 77 Fast Data Knobs 46 Feedback 19 84 87 Fill in 25 49 Fill in 50 Filter 12 14 67 106 Filter Button 75 Filter Modulation Matrix 69 Filter Modulation Section 2 Filter Section 2 67 Filter tracking 72 Filter type 67 Filter width 68 74 Fine Button 56 Flanger 18 86 87 FM 11 Footswitch 3 108 110 Formant width 10 65 Fq AT amt 73 Fq AT LFO2 amt 73 Fq MWh LFO2 amt 72 Freewheel 77 Frequency Button 70 Frequency Knob 68 Front Panel 2 Fx config 88 G Gate 45 Gate T
65. 8 Power Supply Socket This socket is for the supplied power supply CAUTION Only use the supplied Novation Power Supply Model No KA60A 9 Input Sensitivity S witch This switch selects the sensitivity of the 2 Audio Inputs In the single dot position the sensitivity is greatest amp is suitable for micro phones In the 2 dot position the sensitivity is suitable for your average guitar In the 3 dot position the sensitivity is suitable for con sumer audio electronics 10dB In the 4 dot position the sensitivity is suitable for professional level signals 4dB 10 Audio Inputs amp 2 These 1 4 inch jack sockets allow external signals to be processed by the Nova s synth engine and or effects Input 2 can also double as an Expression pedal Footswitch input SETTING UP MR Connect the Master left amp Right Audio Outputs amp the Aux amp Headphones Audio Outputs if required of the Nova to a suitable amplifier or mixing desks stereo inputs amp set the Master Volume control on the Nova to a reasonably high output level 9 10 This will maintain a good signal to noise ratio Make sure the input volume on your amplifier or mixing desk is initially set to zero Make sure that the Nova s mains switch is in the OFF position Connect the MIDI out of your Master Keyboard or Sequencer to the MIDI IN on the Nova Connect the output of the Power Supply unit
66. 93 Menu Map 139 MIDI 30 MIDI Button 98 MIDI Bank Messages 130 MIDI channel 99 MIDI clock 38 77 84 110 MIDI Clock Sync 131 MIDI Controller messages 42 MIDI Controller Table 119 MIDI Implementation 118 MIDI IN 3 MIDI NRPN Tables 120 MIDI OUT 3 MIDI Program Change 43 99 111 MIDI program change amp Bank messages 42 MIDI THRU 3 Mix Button 58 Mix Button 58 Mixer 11 Mod Depth 18 87 Mod Depth Knob 56 58 59 60 62 63 64 Mod Depth Knob 61 70 71 Mod Depth Knob 57 Mod Wheel 58 60 61 63 64 65 70 71 76 80 85 86 87 Mode Section 2 35 Modulation 57 Modulation Matrix 14 15 Modulation Sources 14 Modulator 19 94 107 Monophonic pattern 25 44 Monophonic Preset Patterns 135 Multi 80 Multi Tap Delay 18 Multitimbral 23 Multitimbral Use 103 Mute 102 Mute Button 47 102 MWheel LFO1 amt 65 MWheel speed mod 76 N No of Steps 44 noise 8 Noise Button 53 Note 45 Notes 129 Novationish 20 O Octave 56 Octave Button 56 Octave range 49 Offset amount 76 Omni 99 On Off Button 47 Operating System 115 Osc mode 81 Osc1 Button 53 Osc2 Button 53 Osc3 Button 53 Oscillator 20 Oscillator Modulation Matrix 57 Oscillator Modulation Section 2 Oscillator Section 2 53 138 Oscillator sync 9 OSCILLATORS 8 Output 23 30 Output ranging 52 Outputs 98 111 Overdrive 68 Overdrive Knob 68 P Packet error 115 Page Buttons 46 Pan 19 92 Pan
67. 98 LFO 2 sync 1 bar dotted 35 Global Rx prog ch Favourites 99 LFO 2 sync 2 bars 36 Global Rx prog ch Disabled 100 LFO 2 sync 4 bar triplet 37 Prog table edit bank Arp Mono 101 LFO 2 sync 3 bars 38 Prog table edit bank Arp Poly 102 LFO 2 sync 5 bar triplet 39 Prog table edit bank Arp User 103 LFO 2 sync 4 bars 40 LFO 1 sync Off 104 LFO 2sync 3 bar dotted 41 LFO 1 sync 32 triplet 105 LFO 2sync 7 bar triplet 42 LFO 1 sync 32d 106 LFO 2sync 5 bars 43 LFO 1 sync 16 triplet 107 LFO 2 sync 8 bar triplet 44 LFO 1 sync 16 108 LFO 2sync 6 bars 45 LFO 1 sync 8 triplet 109 LFO 2sync 7 bars 46 LFO 1 sync 16 dotted 110 LFO 2sync 5 bar dotted 47 LFO 1 sync 8 111 LFO 2 sync 8 bars 48 LFO 1 sync 4 triplet 112 LFO 2sync 6 bar dotted 49 LFO 1 sync 8 dotted 113 LFO 2sync 7 bar dotted 50 LFO 1 sync 4 114 LFO 2sync 8 bar dotted 51 LFO 1 sync 2nd triplet 115 Global Rx controllers Disabled 127 MIDINRPN TABLES Packed NRPN 113 Data Description Data Description 0 Part polyphony Off 64 Part 2 mute On 1 Part Program polyphony Mono 65 Part 3 mute On 2 Part Program polyphony Pol 66 Part 4 mute On 3 Part polyphony Prog 67 Part 5 mute On 4 Part sustain Rx option Program 1 68 Part 6 mute On 5 Part sustain Rx option Program 1 69 Reserved 6 Part sustain Rx option Pattern 1 70 Reserved 7 Part sustain Rx option Pat
68. ADDITIONAL SOUNDS Additional sound banks are available on our web site http www novationuk com To install the new sounds follow the procedure below This is actually very similar to upgrading the OS in your Nova 1 Download the Midi file of the Sounds for the Nova 2 Connect the MIDI out of the sequencer to the MIDI in of the Nova 3 Turn the Memory Protect OFF in page 7 of the Global mode amp make sure your Nova is set to Global MIDI channel 1 page 1 of the Global mode 4 Load the Midi file into your sequencer 5 Play the sequence The display will show the status of incoming messages NOTE If you experience problems with this file it is probably due to similar problems that can occur when updating the OS Please Refer to page 115 Upgrading the Operating System 114 UPGRADING THE OPERATING SYSTEM Please follow the instructions below for details on how to upgrade you Nova s Operating System 1 Download the latest Operating System from our site 2 BACK UP YOUR DATA Make a backup of your data to computer By this mean everything Use the Total data setting in the Sysex transmission parameter in global mode 3 VERIFY YOUR BACKUP Change the name of one of the sounds amp write the change in Then reload your sounds from YOUR BACKUP that you have just made If the name has changed back to what it was when you made the backup chances are the backup is OK 4 SWITCH THE NOVA OFF 5 CONNEC
69. Effects Used parameter 91 EFFECTS SECTION M enu Button Pan selected When this button is pressed a series of pages is available on the display containing parameters relevant to this section In the Pan section there are 3 pages available Page 1 looks like so As can be seen the higher parameter is Pan type In this case with a value of Autopan This parameter determines in what way the panning effects are used Use the higher Fast Data knob to adjust this parameter In the Autopan position the Program is Panned automatically from Left to Right 4 back again In the Tremolo position both Left amp Right are controlled in sync creating the classic Tremolo effect Another 2 phases are provided L R 4 R L these are similar to Autopan but the effect is not symmetrical The range of this parameter is Autopan Tremolo L R amp R L This parameter is memo rised with a Program in Program Mode or memorised with a Program or Performance in Performance Mode depending on the value of the Part s Effects Used parameter As can be seen the lower parameter is Pan speed In this case with a value of 040 This parameter determines the rate at which the Autopan amp Tremolo effects run Use the lower Fast Data knob to adjust this parameter The range of this parameter is 000 to 127 This parameter is memorised with a Program in Program Mode or memo rised with a Program or Performance in Performance Mode depending on the val
70. IIDPTPT SU pO BU aed dee el petiuit 133 PerforTrialiCes eme rete eoe uve eed oh anna ceti NG gig Aig aid ALD c UR ERE ey 134 Monophonic Preset Patterns 5 oer e awison Wane TIN NS MENOR ha 135 Polyphonic Preset Pattetris a usare BAKA HAKA ER EUR RR ERE RUN RO Rd VLC RE deH 136 lcm 137 Menu Map citt t ena t reae rev eere oer addiert utt ae LASA tns etae 142 FRONT PANEL input1 input 2 pedal novation perf prog finder compare global write demo Filters menu 12dB 18dB 24dB de special low band high frequency menu delay reverb chorus copy dist EQ pan vocoder config 1 Mode Section This section contains the Performance Program Finder Demo Compare Global 4 Write buttons 2 Display amp Data Entry Section This section contains the Display two Page buttons two Fast Data Knobs Bank Up Bank Down Prog Up amp Prog Down buttons 3 Master Volume Section This section contains the Master Volume Knob 4 Oscillator Section This section contains all the controls associated with the Oscillators These include the Tune amp Portamento Knobs amp the Solo Osc 1 Osc 2 Osc 3 1 2 1 3 Noise Special Saw Square Octave Semitone Fine amp Menu buttons 5 Arpeggiator Section This section contains the Speed Knob amp the On Off Latch On Off Arp Mute amp Menu buttons 6 Oscillator M odulation Section This section contains all the knobs amp buttons associated with modulation of the Oscil
71. INTERFERENCE WHICH MAY CAUSE UNDESIRED OPERATION INSTRUCTIONS PERTAINING TO A RISK OF FIRE ELECTRIC SHOCK OR INJURY TO PERSONS IMPORTANT SAFETY INSTRUCTIONS SAVE THESE INSTRUCTIONS WARNING When using electric products basic precautions should always be followed including the following 1 Read all the instructions before using the product 2 Do not use this product near water For example near a bathtub washbowl kitchen sink in a wet basement or near a swimming pool or the like 3 This product should only be used with a cart or stand that is recommended by the manufacturer 4 This product either alone or in combination with an amplifier and speakers or headphones may be capable of producing sound levels that could cause permanent hearing loss Do not operate for a long period of time a high volume level or at a level that is uncomfortable If you experience any hearing loss or ringing in the ears you should consult an audiologist 5 this product should be located so that its location or position does not interfere with its proper ventilation 6 The product should be located away from heat sources such as radiators heat registers or other products that produce heat T The product should be connected to a power supply only of the type described in the operating instructions or as marked on the product 8 The power supply cord of the product should be unplugged from the outlet when left unused for a long period of time 9 Car
72. Input sensitivity with the Trim parameters as shown above To connect an Input to an effects chain in Program or Performance mode simply press the Dist EQ Config button in the Effects section then press the Menu button in the Effects section Go to page 5 of the Effects sections Dist EQ Config menu amp the display will show 105 USING THE INPUTS 8 set the Pass to effects parameter to either Input 1 Input 2 or Program amp Input 1 or 2 Input 1 or Program amp Input 2 set tings mean only the selected Input goes to the effects on the selected Program or Part amp the sound assigned to the Program or Part is mute Program amp Input 1 or 2 settings mean that the selected Input amp the sound assigned to the Program or Part go the effects Remember there are 7 effects available in each Program or Part so a lot of effects processing can be used on the Inputs Additionally in a Performance the output of the effects can be routed to different output pairs allowing separate returns to be realised To do this select the Part of the Performance you wish to re route amp set the Part outputs parameter on page 1 of the In Out menu in the Part edit section to the output pair you require Passing an Input signal through the Filter amp effects Passing loops amp other signals through Filters has become popular over the last couple of years amp the Nova allows either Input signals to be processed in this way Set up the Input
73. Insert parameter on page 2 of the Vocoder menu The range of this parameter is Enable Arp Latch Arp Mute Part Mute Enable I Arp Latch I Arp Mute I Part Mute Program 1 Program 1 Pattern Pattern 1 Voc freeze amp Off This parameter is memorised with the Performance The lower parameter is MIDI channel In this case with a value of Global This parameter selects the MIDI Channel the Part will receive amp transmit MIDI Data on Use the lower Data knob to adjust this parameter If this parameter is set to Global the Part will play on whatever channel is set as the Global MIDI channel on page 1 of the Global menu If this parameter is set to Omni the Part will play on any MIDI channel The range of this parameter is 1 to 16 Omni amp Global This parameter is memorised with the Performance NOTE The MIDI channel for the Part can be set via MIDI by holding down the Page down button amp while holding it down playing a note into the Nova on the desired channel It is not possible to set the Part s MIDI channel to Omni or Global using this method Page 2 looks like so As can be seen the higher parameter is Prog change filt In this case with a value of Off This parameter determines how the selected Part will respond to incoming MIDI Program Change messages This parameter is adjusted using the higher Fast Data knob If this parameter is set to Off the Part will ignore any Program Change messages s
74. MODULATION The choice of waveform is important as it determines the basic Timbre of the sound you are making There are additional meth ods of synthesis that allow more harmonics to be generated The First of these is Pulse Width Modulation PWM for short Essentially the duty cycle of the normally symmetrical square wave is varied This means the wave form goes from a Square wave to a Pulse wave like so S quare Waveform Pulse Waveform This has a very pleasant thickening chorus like effect amp is often used in Pad type amp String section type sounds ABOUT ANALOGUE SYNTHESIS Additionally there is a synthesis method called Oscillator sync This takes two oscillators amp uses one the Master to reset the other The Slave each time it starts a new cycle The effect is most noticeable when the two oscillators are out of tune as shown below Osc1 M aster Osc1 M aster Osc2 Slave Osc2 Slave Sync Waveform Sync Waveform This Sync Effect creates very piercing amp metallic sounds amp are used a lot as lead sounds It is worth noting that the Nova does not require 2 oscillators to create this effect The Sync Effect is created by the Analogue Sound Modelling process without the need for a Sync Oscillator there is merely a Sync parameter that creates the classic Sync Effect This means that each of the 3 oscilla tors in one Nova voice can be independently Sync ed as if there were 3 Master amp 3 Slave oscillators
75. Mod Depth Knob fully clock wise introduces Pulse Width Modulation from LFO 1 to the selected Oscillator in a Positive direction Turning the Mod Depth Knob fully anticlockwise introduces Pulse Width Modulation from LFO 1 to the selected Oscillator in a Negative direction In the Mid position there is no modulation at all The range of this parameter is 64 to 63 NOTE This parameter only works for Square waves amp the DoubleSaw waveform This does not apply to the Oscillators that have Saw Waveforms selected or the Noise 1 3 amp 2 3 Ring Modulator outputs No audible effect to these sound sources will be heard if an attempt is made to adjust this parameter when these sound sources are selected amp the display will show Not Available 60 OSCILLATOR SECTION W idth Button M od Depth Knob LFO 2 Button This combination controls the Pulse Width Modulation of the selected Oscillator by LFO 2 Turning the Mod Depth Knob fully clock wise introduces Pulse Width Modulation from LFO 2 to the selected Oscillator in a Positive direction Turning the Mod Depth Knob fully anticlockwise introduces Pulse Width Modulation from LFO 2 to the selected Oscillator in a Negative direction In the Mid position there is no modulation at all The range of this parameter is 64 to 63 NOTE This parameter only works for Square waves amp the DoubleSaw waveform This does not apply to the Oscillators that have Saw Waveforms selected or the Noise 1
76. ON Page 4 looks like so As can be seen the lower parameter is Env 1 MWheel In this case with a value of 10 This parameter controls the volume of the Program using the Master Keyboard s Mod Wheel With the lower Fast Data knob fully anticlockwise when the Mod Wheel on the master keyboard is applied the volume of the Program drops correspondingly With the lower Fast Data knob fully clockwise when the Mod Wheel on the master keyboard is applied the volume of the Program gets loud er correspondingly The range of this parameter is 64 to 63 This parameter is memorised with a Program As can be seen the higher parameter is Env 1 ATouch In this case with a value of 10 This parameter controls the volume of the Program using the Master Keyboard s Aftertouch With the higher Fast Data knob fully anticlockwise when the Aftertouch on the master keyboard is applied the volume of the Program drops correspondingly With the higher Fast Data knob fully clockwise when the Aftertouch on the master keyboard is applied the volume of the Program gets loud er correspondingly The range of this parameter is 64 to 63 This parameter is memorised with a Program Trigger Button When this button is pressed a series of pages is available on the display containing parameters relevant to this section In the Trigger Menu there are 6 pages available These are selected using the Page Up amp Page Down buttons to the left of the dis play There are
77. ONGLY RECOMMENDED THAT THE GLOBAL MIDI CHANNEL SHOULD BE SET TO A CHANNEL THAT IS NOT ASSIGNED TO ANY PART IN THE CASE OF PERFORMANCE A126 MULTI CH 1 8 THE GLOBAL CHANNEL SHOULD BE SET TO ANY ONE OF THE UNUSED CHANNELS 7 16 z o 4 m There is only one Arpeggiator Speed control in a Performance Adjusting the speed of any Part s Arpeggiator will control all 6 Arpeggiators z o 4 m If you create your own Performance from existing Performances other than the Factory Init Performances parameters may have been set in individual Parts so that in a multi setup strange things may happen Here s the check list Velocity behaves strangely on one Part The Velocity Curve parameter in the Velocity menu is not set to Normal The Part is Monophonic amp should be Poly The Polyphony parameter in the Polyphony menu is set to Mono The Part is polyphonic amp should be Mono The Polyphony parameter in the Polyphony menu is set to Poly The Part is Muted No response at all If the Part light flashes steadily even with no MIDI input the Part is Muted The Part is Muted No response at all Does the Part light flash when MIDI is sent Yes The Assigned outputs may be different to the ones connected check the setting of the Outputs menu for the offending Part No The MIDI Channel for the Part is set to the incorrect channel in the MIDI menu No Polyphony parameter in the Polyphony menu is set to Off The Part is in a
78. Off NOTE The Note Ordering part of the Fill in parameter is ignored by Mono Patterns 000 to 010 which generate arpeggios by algorithms rather than fixed pattern data As can be seen the Lower parameter is Sync In this case with a value of 16ths This parameter determines the time signature at which the Arpeggiator runs from the Internal or External MIDI Clock Use the lower Fast Data knob to adjust the value of this parameter The range of this parameter is 32nd Triplet 32nd 16th Triplet 16th 8th Triplet 16th Dotted 8th 4th Triplet 8th Dotted 4th 2nd Triplet 4th Dotted 2nd 1 Bar Triplet 2nd Dotted 1 Bar 2 Bar Triplet 1 Bar Dotted 2 Bars 4 Bar Triplet 3 Bars 5 Bar Triplet 4 Bars 3 Bar Dotted 4 5 Bars 7 Bar Triplet 5 Bars 8 Bar Triplet 6 Bars 7 Bars 5 Bar Dotted 7 5 Bars 8 Bars 6 Bar Dotted 9 Bars 7 Bar Dotted 10 5 bars amp 8 Bar Dotted 12 Bars This parameter is memorised with a Program NOTE There is a conversion chart on page 131 giving specific MIDI tick values for each of the options of this parameter 50 ARPEGGIATOR SECTION Page 6 looks like so As can be seen the higher parameter is Real time trans In this case with a value of Off This parameter determines if the Realtime Transpose function is On or Off Use the higher Fast Data knob to adjust the value If this parameter is set to On then any notes received on the Realtime Transpose Channel Set in the
79. Off This parameter activates the Unison mode Use the upper Data knob to adjust the value of this parameter When this parameter is set to Off only one voice is used per note in a Program When this parameter is set to On more than one voice is used per note in a Program The number of voices used per note is determined by the Unison mode parameter on the lower line of this page The range of this parameter is On amp Off This parameter is memorised with a Program The lower parameter is Unison mode In this case with a value of 2 voice This parameter determines the number of voices used on one note when the Unison mode is active Use the lower Data knob to adjust the value of this parameter Larger values tend to create fatter sounds The range of this parameter is 2 to 8 This parameter is memorised with a Program NOTE Large voice settings of the Unison mode can be quite polyphony hungry For example a setting of 8 voice will produce a fat sound but 2 notes will consume all 16 voices Page 6 looks like so The higher parameter is DCO VCO mode In this case with a value of VCO This parameter determines the behaviour of the Oscillators tunings Use the higher Data knob to adjust this parameter When this parameter is set to DCO the tuning between the oscillators is perfect This is the case on DCO Digitally Controlled Oscillator synthesisers such as the Roland Juno 106 or Juno 60 Setting this parameter to VCO recreat
80. Pitch Sync amp Soften still apply but modulate both Saw waves simultaneously NOTE Sync sounds can cause clicks when LFOs are used to detune Double Saw waves This will happen when the modulating LFO is set to anything BUT Tri waves 54 OSCILLATOR SECTION S pecial Waveform Button When the Special button in the Oscillator Section is pressed the Display shows The parameter is Special waveform In this case with a value of Double saw This parameter determines what special waveform the currently selected oscillator is going to have Use the lower Data knob to adjust this parameter If this parameter is set to Audio input 1 Audio input 1 will be substituted for the standard Oscillator If this parameter is set to Audio input 2 Audio input 2 will be substituted for the standard Oscillator If this parameter is set to Double saw the Double saw waveform as described above will be substituted for the standard Oscillator The range of this parameter is Audio input 1 Audio input 2 amp Double saw This parameter is memorised with a Program How to use the Double Saw waveform W idth Button Level Knob When the Double Saw wave is selected the Width part of the matrix is used to control the Difference in phase between the 2 Saw waves The Level control controls the static phase difference between the 2 Saw waves When this is set to 000 there is no differ ence between the waves amp so at this setting Double Saw waves
81. Range for the Part can be set via MIDI by holding down the page up for the Highest note or page down for the Lowest note buttons amp while holding down playing a note into the Nova the desired split point You can set both parameters simultane ously by holding down both page buttons Solo Button This button works only in performance mode Pressing this button Solo button is lit solos the currently selected Part All other Parts flash to indicate they are muted The Solo mode can be cancelled by pressing the Solo button again Solo button is unlit NOTE Solo mode is cancelled when a new Performance is selected 101 PART EDIT SECTION aaa NOTE In solo mode any currently muted Parts not soloed are memorised when a performance is saved M ute Button This button works only in performance mode Pressing this button Mute button is lit activates the Mute mode When this is active pressing any Part Mutes it amp it flashes Unlike solo exiting the Mute mode by pressing the Mute button again Mute button is unlit does not cancel the Mute status of the parts To un mute a Part select the Mute mode by pressing the Mute button Mute button is lit amp press the flashing muted Part The Part will stop flashing amp become active again This is so that the Mutes behave like those on a Mixing desk Additionally the Mute Status of each Part is memorised in a Performance so that a Performance can be recalled w
82. S A 1 IMPORTANT NOTICE DO NOT MODIFY THIS UNIT This product when installed as indicated in the instructions contained in this Manual meets FCC requirements Modifications not expressly approved by Novation may void your authority granted by the FCC to use the product 2 IMPORTANT When connecting this product to accessories and or another product use only high quality shielded cables Cable s supplied with this product MUST be used Follow all installation instructions Failure to follow instructions could void your FCC authorisation to use this product in the USA 3 NOTE This product has been tested and found to comply with the requirements listed in FCC Regulations Part 15 for Class B digital devices Compliance with these requirements provides a reasonable level of assurance that your use of this product in resi dential environment will not result in harmful interference with other electronic devices This equipment generates uses radio fre quencies and if not installed and used according to the instructions found in the users manual may cause interference harmful to the operation of other electronic devices Compliance with FCC regulations does not guarantee that interference will not occur in all installations If this product is found to be the source of interference which can be determined by turning the unit DFF and ON please try to eliminate the problem by using one of the following measures Relocate either this product or
83. Speed Env 3 82 LFO 1 Offset 83 LFO 2 Offset 84 Reverb Mod Wheel Depth 85 Filter Res Env 3 86 Filter Res LFO 2 87 Chorus Speed 88 Chorus Mod Depth 89 Chorus Feedback 90 Distortion Level 91 Reverb Send Level 92 Delay Send Level 93 Chorus Send Level 94 Chorus Mod Wheel Depth 95 Reverb Decay 96 Reverb HF Damp 97 Master Volume Level 98 NRPN Select LSB 99 NRPN Select MSB 100 Reverb Type Early Ref Level 101 Delay Time 102 Delay Feedback 103 Delay HF Damp 104 Filter Overdrive 105 Filter Cutoff Freq 106 Filter Resonance 107 Filter Freq Env 2 108 Env 1 Attack 109 Env 1 Decay 110 Env 1 Sustain 111 Env 1 Release 112 Env 1 Velocity 113 Env 2 Delay 114 Env 2 Attack 115 Env 2 Decay 116 Env 2 Sustain 117 Env 2 Release 118 Env 2 Velocity 119 Delay Mod Wheel Depth 120 All Sound Off 121 Reset Controllers 122 Local Control 123 All Notes Off 124 All Notes Off 125 All Notes Off 126 All Notes Off 127 All Notes Off MIDINRPN TABLES RPN a ITO 9 o o N oj z o o o a al af fa x Description 0 Multi purpose packed NRPN 1 i LA purpose packed NRPN Os NN N A IH OJ 8 N Q mi Osc1ModknobLFO2pith od knob Wh pitch od knob Env 3 width od knob Wh sync od knob Env 3 hardness od knob LFO 2 hardness od knob Wh hardne ss 8 0 P0
84. T MIDI OUT OF THE SEQUENCER TO MIDI IN ON THE NOVA 6 LOAD THE NovaOS4n mid FILE INTO YOUR SEQUENCER 7 HOLD DOWN PART MUTE BUTTON amp SWITCH THE NOVA ON WHILE STILL HOLDING IT DOWN The display should show 8 PLAY THE SEQUENCER If everything is OK you ll get a display like so indicating the amount of file received Once the file has reached 100 the display will show The Nova is now updating the OS in Flash Memory NOTE Under no circumstances switch off the Nova while this procedure is happening Doing so may result in very erratic behaviour amp may lead to the Nova needing to be sent back for service Once the Flash has been loaded the Nova will automatically reboot as normal running the new OS While we have taken every precaution in designing the OS to be upgraded trouble free sometimes problems can occur This is not solely down to us but in almost all cases rests with the sequencer hardware used to perform the upgrade If an error occurs during the upgrade process the display will show This is an indication that an error has occurred in the download process that does not make any sense to the Nova 115 UPGRADING THE OPERATING SYSTEM NOTE This is not caused by the Nova but by the transmitting device This is caused by the software or the hardware used to transmit the OS to the Nova Do what it says switch the Nova off 8 re try If the problem re occurs then please look below PCs PCs have the m
85. TING ARPEGGIATOR PATTERNS Editing amp writing Arpeggio patterns is a bit like Step sequencing It is not immediate amp requires understanding of all the parame ters necessary to create a Arpeggio pattern that performs how you want To fully understand this guide it is necessary to have a good understanding of all the standard Arpeggiator s parameters The first thing to do is select a Program you want to use with an Arpeggiation Use the Program Bank amp Keypad to make your selection Next turn on the Arpeggiator if not already on with the Arp On Off button Now assign a User pattern to the arpeggiator with the Pattern Bank Parameter in page 2 of the Arpeggiator Menu button pages You now have to decide what type of Pattern you wish to create There are two basic types of Arpeggio patterns available These are Monophonic i e a chord is played on the master keyboard amp single notes are played from that chord sequentially at a speed determined by the Speed knob amp Polyphonic i e a chord is played on the master keyboard amp all the notes are played simultaneously but may be transposed at a speed determined by the Speed knob To make a Monophonic pattern select a User pattern in page 2 of the Arpeggiator Menu button pages Select a pattern between 000 amp 063 these are Monophonic amp make a note of the pattern number you have selected For reasons that become clear below we suggest that for the purposes of
86. all the possible combinations of modulation is quick amp easy Below is the Modulation Matrix for the Oscillator section ABOUT ANALOGUE SYNTHESIS Oscilator M odulation M atrix pitch width sync e LJ soften mod depth Simply by pressing the desired Source the row of buttons on the left amp the desired Destination the row of buttons on the right amp adjusting the Level or Mod Depth knobs allows the creation of complex modulation setups easily On older modular Analogue Synthesisers this was done with Patch leads that physically connected the Sources amp Destinations together This allows some very powerful performance features to be implemented i e It is possible to sweep the Sync effect Soften effect Pulse Width Modulation amp alter the Mix of all three oscillators independently plus open the Filter Cutoff Frequency Reduce the Filter Resonance add lots more Distortion amp Delay amp reduce the Chorus amp Reverb all by simply moving the Mod Wheel for ward With the Modulation Matrix relationships like this are quick to set up amp will transform a static sound into one with real hands on control amp flexibility This is where most synthesisers end however the Nova features a very powerful Effect section It could be said that effects are as much part of a sound as the raw sound itself some of the larger old Analogue systems had built in spring reverb amp with the deve
87. ample if 6 notes were played the 5th amp 6th notes played would not sound In the above example if 2 notes were played the following would occur Step 1 Note 1 Step 2 Note 2 Step 3 Note 2 Step 4 Note 2 Step 5 Note 2 Step 6 Note 2 Step 7 Note 2 Step 8 Note 1 25 EDITING amp WRITING ARPEGGIATOR PATTERNS As can be seen the sequence of notes played is 1 2 2 2 2 2 2 1 etc etc This is why the Fill In parameter is there It should be currently in the Off position In this position you can program your patterns more efficiently but for the best results when played it should be set to On In this position the missing notes are inserted by the Arpeggiator so that larger or less numbers of notes than are programmed into the pattern are used NOTE In Monophonic patterns there is a limit of 12 note values that can be programmed into a pattern Of course much more interesting sequences are possible i e Step 1 Note 4 Step 2 Note 1 Step 3 Note 3 Step 4 Note 2 Step 5 Note 3 Step 6 Note 2 Step 7 Note 1 Step 8 Note 4 This produces the sequence of notes 4 1 3 2 3 2 1 4 etc etc A kind of inside out Up Down sequence of notes When you con sider that there are 64 steps available it can be seen that there are many things possible There are 2 other parameters associated with programming Monophonic patterns On page 18 of Global you can assign velocity values for each of the steps amp the Gate
88. arameter is Int 4 Ext This parameter is memorised as Global NOTE To write any changes to this parameter into memory press the Write button while in this mode Also note the Memory Protect has to be set to Off for this to be possible As can be seen the lower parameter is Breath control In this case with a value of Off This parameter determines if the Nova re maps incoming Breath Control MIDI data CC no 2 into Mod wheel data CC no 1 Aftertouch data or any controller from 3 to 119 Pitchbend data amp a selection of NRPN s Use the Lower Fast Data knob to adjust this parameter This allows incoming Breath Control data to manipulate most of Nova s key parameters directly The range of this parameter is Off MW A T CC3 to 119 Bend Bend Bend NRPN75 to NRPN77 NRPN95 amp NRPN96 This parameter is memo rised as Global NOTE To write any changes to this parameter into memory press the Write button while in this mode Also note the Memory Protect has to be set to Off for this to be possible Page 5 looks like so As can be seen the higher parameter is Breath mode In this case with a value of Absolute This parameter determines how incoming Breath controller information is interpreted by the Nova Use the higher Fast Data knob to adjust this parameter If this is set to Absolute then the destination the parameter assigned with the Breath control parameter on Page 6 of global mode wi
89. ard if an attempt is made to adjust this parameter when these sound sources are selected amp the display will show Not Available S often Button Level Knob This combination controls the Soften Effect on the selected Oscillator amp noise waveforms Turning the Level Knob fully clockwise introduces the Soften effect fully to the selected Oscillator amp fully anticlockwise there is no Softening at all The range of this parameter is 000 to 127 NOTE This does not apply to the 1 3 amp 2 3 Ring Modulator outputs No audible effect to these sound sources will be heard if an attempt is made to adjust this parameter when these sound sources are selected amp the display will show Not Available S often Button M od Depth Knob LFO 1 Button This combination controls the modulation of the Soften effect of the selected Oscillator by LFO 1 Turning the Mod Depth Knob fully clockwise introduces Soften from LFO 1 to the selected Oscillator in a Positive direction Turning the Mod Depth Knob fully anti clockwise introduces Soften from LFO 1 to the selected Oscillator in a Negative direction In the Mid position there is no modula tion at all The range of this parameter is 64 to 63 NOTE This does not apply to the Oscillators that have the 1 3 amp 2 3 Ring Modulator outputs No audible effect to these sound sources will be heard if an attempt is made to adjust this parameter when these sound sources are selected amp the dis
90. ard if an attempt is made to adjust this parameter when these sound sources are selected amp the display will show Not Available S often Button M od Depth Knob ENV 3 Button This combination controls the modulation of the Soften Effect on the selected Oscillator by ENV 3 Turning the Mod Depth Knob fully clockwise introduces Soften Effect from ENV 3 to the selected Oscillator in a Positive direction Turning the Mod Depth Knob fully anti clockwise introduces Soften Effect from ENV 3 to the selected Oscillator in a Negative direction In the Mid position there is no modu lation at all The range of this parameter is 64 to 63 NOTE This does not apply to the 1 3 amp 2 3 Ring Modulator outputs No audible effect to these sound sources will be heard if an attempt is made to adjust this parameter when these sound sources are selected amp the display will show Not Available S often Button M od Depth Knob W heel Button This combination controls the modulation of the Soften Effect on on the selected Oscillator by the Mod Wheel Turning the Mod Depth Knob fully clockwise introduces Soften Effect from the Mod Wheel to the selected Oscillator in a Positive direction Turning the Mod Depth Knob fully anticlockwise introduces Soften Effect from the Mod Wheel to the selected Oscillator in a Negative direc tion In the Mid position there is no modulation at all The range of this parameter is 64 to 63 NOTE This does no
91. as set to On Use the lower Fast Data knob to adjust the value The range of this parameter is On amp Off This parameter is memorised with a Program NOTE When Output Ranging is set to On it is possible to obtain interesting Arp pattern variations by adjusting the Part s range values in such a way that certain Arpeggiated notes fall outside the Part s range amp are not sounded 52 OSCILLATOR SECTION osl 05sc2 osc3 noise 1 3 2 3 square saw special octave semitone fine e e portamento soften mod depth wheel This section contains all the knobs amp buttons associated with the Oscillators amp Mixer Oscl Button Osc2 Button Osc3 Button Noise Button 1 3 Button 2 3 Button All these buttons select which oscillator is going to be manipulated by the other parameters in this section Osc 1 button selects Oscillator 1 Osc 2 button selects Oscillator 2 Osc 3 button selects Oscillator 3 Noise button selects the Noise Generator 1 3 but ton selects the output of the Ring Modulator between Oscillators 1 amp 3 amp the 2 3 button selects the output of the Ring Modulator between Oscillators 2 amp 3 For example to adjust the Octave setting of Oscillator 1 press the Osc 1 button it will light up indi cating it is selected amp then press the Octave button within the Tune Part of this section Adjusting the Tune knob will now change the octave setting of Oscillator 1 The
92. ass through the Filter the harmonics above amp below the set frequency do not pass through the Filter Hence the name Band Pass Filter The setting of these buttons is memorised with a Program S pecial Button When the special filter button is pressed the display shows The higher parameter is Filter type In this case with a value of Res LPF This parameter determines what type of Special filter is applied Use the Higher data knob to adjust this parameter There are 9 dif ferent special filters Each one is made up of 2 filter blocks The Hyper Resonant types are in series 4 are the Res LPF Res BPF amp Res HPF filters These types are very resonant amp the Filter width parameter allows the Cutoff frequencies of each filter block to be set at different frequencies The rest of the filter types have the 2 filter blocks in parallel Again the Filter width parameter allows the Cutoff frequencies of each filter block to be set at different frequencies The range of this parameter is Res LPF Res BPF Res HPF Notch LPF LPF BPF BPF HPF HPF LPF BPF amp BPF HPF This parameter is memorised with a program 67 FILTER SECTION ABM AA The lower parameter is Filter width In this case with a value of 00 This parameter determines the spacing offset in filter cutoff frequencies between the two elements of the Special filters This is a duplicate of the Special type filter width parameter that is displayed o
93. auditioning sounds while the sequencer is running The range of this parameter is On amp Off This parameter is memorised as Global Page 11 looks like so The higher parameter is Vel sensing In this case with a value of Hard This parameter alters the velocity response of the Nova Use the upper Data knob to adjust this parameter This is global amp applies to all modes In the Hard position large Velocity changes are required to create a big change in response This is good for weight ed amp semi weighted keyboard actions In the Soft position not so large Velocity changes are required to create a big change in response This is good for cheaper keyboard actions The range of this parameter is Hard amp Soft This parameter is memorised as Global The lower parameter is Knob mode In this case with a value of Pickup This parameter determines if the values of Knob parameters with the exception of the Volume Knob jump immediately to the actual position of the Knob as soon as it is turned or if the Knob has to pass though the value of the edited parameter before the knob starts editing the parameter Use the lower Data knob to adjust this parameter In the Normal position the value of the param eter being edited jumps to the value of the Knob as soon as a knob is turned This is good when creating sounds as the parame ters are always Live In the Pickup position no change to the parameter being edited will take place until the
94. automatical ly redirects the effects outputs for the selected part to go to the same outputs as the part so even if separate outputs are assigned the associated effects follow automatically Additionally it can be seen a Microphone is connected to input 2 This allows external acoustic signals such as your voice to be processed by the Nova This includes passing the signal through the Nova s effects section through the Nova s Filters amp Effects as a Carrier or Modulator for the Nova s Vocoder section or any combination of all of the above Input 1 is connected to the Aux send of the Mixing desk allowing the Nova s effects to be used during performance amp mixdown for any signals running through the desk Input 2 can function as an expression pedal input When used in this way the pedal can be assigned to do virtually anything you like To do this simply connect an Expression pedal to Input 2 amp set the Pedal Mode parameter on page 9 of the Global mode to Breath T Tip or Breath R Ring depending on the type of Expression pedal you have Refer to page 40 for details on common types of pedals After this has been done set the Breath control parameter on page 4 of the Global mode to whatever MIDI con troller is required A good starting point is the MW Mod Wheel setting as this allows the expression pedal to control all the Programs with M Wh at the end of their names in exactly the same way as the Mod wheel itself would This setting by
95. ay 18 LFO 2 Speed 19 LFO 2 Delay 20 Osc 1 Pitch Env 2 21 Osc 1 Pitch LFO 1 22 Osc 1 Pulse Width 23 Osc 2 Fine Tune 24 Noise Soften 25 Osc 2 Pitch Env 2 26 Osc 2 Pitch LFO 1 27 Osc 2 Pulse Width 28 Osc 1 Mix Level 29 Osc 2 Mix Level 30 Noise Mix Level 31 Ring Modulator 1 3 Mix Level 32 Bank Select LSB 33 Osc 3 Mix Level 34 Filter Tracking 35 Filter Freq LFO 2 36 Osc 1 Mix Env 2 37 Osc 2 Mix Env 2 38 Osc 3 Mix Env 2 39 Noise Mix Env 2 40 Osc 3 Pitch Env 2 41 Osc 3 Pitch LFO 1 42 Osc 3 Pulse Width 43 Osc 1 Width Env 2 44 Osc 2 Width Env 2 45 Osc 3 Width Env 2 46 Osc 1 Width LFO 1 47 Osc 2 Width LFO 1 48 Osc 3 Width LFO 1 49 Osc 1 Sync 50 Osc 2 Sync 51 Osc 3 Sync 52 Osc 1 Sync Env 2 53 Osc 2 Sync Env 2 54 Osc 3 Sync Env 2 55 Osc 1 Sync LFO 1 56 Osc 2 Sync LFO 1 57 Osc 3 Sync LFO 1 58 Distortion Mod Wheel Depth 59 Filter Freq Env 3 60 Filter Freq LFO 1 61 Osc 1 Soften Env 2 62 Osc 2 Soften Env 2 63 Osc 3 Soften Env 2 119 64 Sustain Arp Latch 65 Arp Latch 66 Osc 1 Pitch Env 3 67 Osc 2 Pitch Env 3 68 Osc 3 Pitch Env 3 69 Osc 1 Width LFO 2 70 Osc 2 Width LFO 2 71 Osc 3 Width LFO 2 72 Filter Res Env 2 73 Filter Res LFO 1 74 Env 3 Delay 75 Env 3 Attack 76 Env 3 Decay 77 Env 3 Sustain 78 Env 3 Release 79 Env 3 Velocity 80 LFO 1 Speed Env 3 81 LFO 2
96. bled This parameter determines if the Nova responds to incoming MIDI program change messages or not Use the higher Fast Data knob to adjust this parameter When this parameter is set to Enabled any Program Change messages sent on Bank 0 will refer to the Program Map This can be overridden by sending Bank amp Program Change messages to a different Bank Refer to page 130 for details on the Bank messages received by Nova When this parameter is set to Program map any Program Change messages will always refer to the Program map table regardless of any Bank messages that have been received When this parameter is set to Disabled Bank amp Program Change messages ignored This filter is global amp applies to all modes The range of this parameter is Enabled amp Disabled This parameter is memorised as Global NOTE If the Incoming Program Change filter is set to Disabled it also filters out Bank select messages CC00 amp CC32 Page 14 looks like so The higher parameter is Prog change TX In this case with a value of On This parameter determines if the Nova transmits MIDI program change amp Bank messages when a new Program or Performance is selected This includes program changes within a Part of a Performance Use the higher Data knob to adjust this parameter In the On position whenever a new Program or Performance is selected the appropriate Program change message amp Bank message is sent on the appropriate channel In the
97. ccented 3 3 Dn Slightly Accented 3 3 Up Dn Accented 3 3 Up Dn Slightly Accented 9 8 Pattern Accented 9 8 Pattern Slightly Accented Walking Up2 Accented Walking Up2 Slightly Accented Walking Dn2 Accented Walking Up2 Slightly Accented Walk Up Dn2 Accented Walk Up Dn2 Slightly Accented Walk Dn Up2 Accented Walk Dn Up2 Slightly Accented Walk3 Up Accented Walk3 Up Slightly Accented Walk3 Dn Accented Walk3 Dn Slightly Accented House 1 Accented House 1 Slightly Accented Walk Accented Walk Slightly Accented MUSO 2 Accented MUSO 2 Slightly Accented Shuffle Accented Shuffle Slightly Accented 80 s 2 Accented 80 s 2 Slightly Accented 80 s 3 Accented 80 s 3 Slightly Accented C52 s Accented C52 s Slightly Accented C52 s Variation Accented C52 s Variation Slightly Accented Walking up 1 Accented Walking up 1 Slightly Accented Walking Dn 1 Accented Walking Dn 1 Slightly Accented Walking Up Dn Accented Walking Up Dn Slightly Accented Walking Dn Up Accented Walking Dn Up Slightly Accented Techno Accented Techno Slightly Accented Techno Accented Techno Slightly Accented UPUPUPDN UPUPDNUP UPDNUPUP DNUPUPUP DNDNUPUP DNDNDNUP DNDNUPDN DNUPDNDN UPDNDNDN UPDNDNUP DNUPUPDN HARM UP HARM UP2 HARM UP3 HARM DN 1 HARM DN2 HARM DN3 POLYPHONIC PRESET PATTERNS XO NA 01 Co F2 C Bass Trance 1 303 Trance 1 303 Trance 1v1 303 Trance 2 Bass Trance 2 303 Trance 3 303 Trance 3v1 303 Trance 4
98. ch the Reverb effect decays away Use the Higher Fast Data knob to adjust this parame ter The range of this parameter is 000 to 127 This parameter is memorised with a Program in Program Mode or memorised with a Program or Performance in Performance Mode depending on the value of the Part s Effects Used parameter As can be seen the lower parameter is HF damp In this case with a value of 020 This parameter determines the rate at which High Frequencies decay away in the Reverb 8 is called High Frequency Damping Use the Lower Fast Data knob to adjust this parameter The range of this parameter is 000 to 127 This parameter is memorised with a Program in Program Mode or memorised with a Program or Performance in Performance Mode depending on the value of the Part s Effects Used parameter Page 3 looks like so As can be seen the higher parameter is Reverb wheel In this case with a value of 50 This parameter determines How much the Mod Wheel controls the amount of Reverb effect Use the higher Fast Data knob to adjust this parameter Fully anticlockwise the Reverb will be reduced with full modulation of the Mod Wheel fully clockwise the Reverb will be increased with full modulation of the Mod Wheel The range of this parameter is 64 to 63 This parameter is mem orised with a Program in Program Mode or memorised with a Program or Performance in Performance Mode depending on the value of the Part s Effects Used paramete
99. cillators 2 Ring Modulators and a Noise Generator Comprehensive Modulation Matrix with 130 possible routings 6 part Multitimbral 12 18 and 24 dB per octave Resonant filter configurable in Low Pass High Pass and Band Pass modes The filter also features an overdrive control amp 9 dual filter modes 2 LFOs capable of oscillating at Audio rates Distortion Comb Filter EQ Reverb Chorus Flanger Phaser Delay and Panning effects for each Program 42 Effects available simultaneously 7 Effects for each of the 6 Parts of a Performance 40 Band Vocoder that can run simultaneously with the Full Synth Engine no reduction of polyphony etc 6 assignable polyphonic outputs with 128 x Oversampling Delta Sigma DACs for each output 2 Audio Inputs Signals can be routed through the Synth Engine Filters Effects or both 20 bit ADCs Selectable between Microphone Guitar 10dB and 4dB Levels PPM Metering with Variable Trim amp 40 Band Spectrum Analyser on the Display 256 Programs in 2 banks 128 Performances Built in Arpeggiator with 384 Preset Polyphonic Preset Monophonic and User Programmable Polyphonic and Monophonic Pattems 6 Arpeggiators are available simultaneously in Performance mode All knobs switches and Parameters transmit MIDI Controllers and NRPNs Flash upgradeable operating system via MIDI Multi Voltage extemal power supply In Out Thru 6U Rackmount Rack Kit Included H63mm including knobs D193mm W383mm 4kg
100. city values This enables Velocity Switch arrangements to be easily made by setting up appropriate curve on two parts i e To Value 100 on one Part amp From Value 101 on another The range of this parameter is Normal Inverse Cross fade High Cross Fade Low To Value 60 From Value 61 To Value 70 From Value 71 To Value 80 From Value 81 To Value 90 From Value 91 To Value 100 From Value 101 To Value 110 amp From Value 111 This parameter is memorised with the Performance 97 PART EDIT SECTION In Out Button This button works in Program amp Performance mode When this button is pressed a series of pages is available on the display containing parameters relevant to this section In the In Out menu there are 2 pages available There are a maximum of 2 parameters displayed One for each line on the display The Fast Data Knobs on the right of the display are used to alter these parameter s values Page 1 Performance Mode looks like so As can be seen the higher parameter is Part outputs In this case with a value of 1 amp 2 This parameter determines which set of outputs the currently selected Part will be output from Use the higher Fast Data knob to adjust this parameter It is possible to have each Part go to an individual output Mono To do this set Part 1 amp 2 to go to outputs 1 amp 2 then pan Part 1 to the Left output 1 amp Part 2 output 2 to the Right with the panpot Set Part 3 amp 4 to go to
101. creasing amount of Negative modulation i e The Filter will be made less Resonant when the Master Keyboard s Aftertouch is engaged Clockwise of centre the modulation is Positive i e The Filter will be increasingly made more Resonant when the Master Keyboard s Aftertouch is engaged The range of this parameter is 64 to 63 This parameter is memorised with a Program 73 FILTER SECTION aaa Page 5 looks like so The parameter is Special type filter width In this case with a value of 00 This parameter determines the spacing offset in Filter cutoff frequencies between the two elements of the Special filters This is a duplicate of the Filter width parameter that is displayed when the special page is active The reason for this is that it was found to be nice for the display to jump back to this parameter when editing amp as this parameter is duplicated here in this menu it will do exactly that This can provide Formant type filters amp speech like qualities can be easily realised The Filter width is calibrated in semitones amp a range of pre set intervals are available The range of this parameter is 00 08 16 24 32 40 48 amp 56 Note that the Resonance modulation Knob in the Filter Modulation Matrix actually modulates the Filter width parameter amp not the resonance when the Special filters are selected The Resonance knob still retains its function as filter Resonance when in this mode This parameter is me
102. ct on everything can do the reverse In the Nova there are 7 effects units per Program They are Distortion EQ Equalisation Comb Filter Reverb Chorus Flanger Phaser This is one effect that can be a Chorus or a Flanger or a Phaser Delay 4 Panner Tremolo Lets look at all of these effects one by one Distortion This is found in the dist EQ config M enu of the Effects Section This is usually an effect reserved for Guitar players As the name suggests this has the effect of distorting the incoming signal as can be seen in the diagram below Saw Waveform Distorted Saw Waveform This effect not only gives the sound a hard edge amp a dirty kind of quality it also has several other characteristics that are worthy of note Firstly low level harmonics within the waveform are exaggerated Resonant waveforms amp indeed any resonance or addition al harmonics will jump out if this effect is used Secondly as can be seen the maximum level that comes out of the distortion effect is relatively constant so there is a definite compression effect as well This can be useful for mixing as the level of the sound is the same The Distortion parameter as its name implies introduces Distortion EQ This is found in the dist EQ config M enu of the Effects Section This effect is not normally found on most synthesisers but is found on mixing desks amp is very useful for fine tweaking the individual sounds to make them fit to
103. cted pattern into memory press the Write button while any of the pattern edit pages are displayed Also note the Memory Protect has to be set to Off for this to be possible 45 DISPLAY SECTION fast data The display shows the currently selected Performance or Program Name Bank amp Number When editing Knobs on the front panel the relevant parameter name amp value is displayed Page Buttons When editing parameters in Menus there are usually several Pages within each menu The Default page on pressing any menu button is the page selected when the sound was saved Higher pages can be accessed by pressing the Page Up button amp lower pages can be accessed by pressing the Page Down button These buttons are lit when more pages are available If the Page Up button is lit there are higher pages available in the selected menu If both page buttons are lit then pages are available in either direction in the currently selected menu If the page If the Page Down button is lit there are lower pages available in the selected menu Fast Data Knobs In Program mode the higher Fast Data knob will change Banks amp in Program or Performance mode the lower Fast Data knob will change the currently selected Program or Performance Turning this knob fast will sweep through many sounds very quickly When editing parameters in Menus the higher Fast Data Knob on the right of the display is used to edit the higher param
104. d at one time NOTE Even though only one source amp destination combination can be edited at one time all available combinations can happen at the same time 69 FILTER SECTION Possible Combinations amp the effects Produced NOTE The range of all these parameters is 64 to 63 All these parameters are memorised with a Program Frequency Button M od Depth Knob LFO 1 Button This combination controls the amount of change to the Filter Cutoff Frequency Initially set by the Frequency knob by LFO 1 In the central position there is no change to the Filter Cutoff Frequency Anticlockwise of centre there will be an increasing amount of Negative modulation i e The Filter will be closed more by LFO 1 Clockwise of centre the modulation is Positive i e The Filter will be increasingly opened by LFO 1 Frequency Button M od Depth Knob LFO 2 Button This combination controls the amount of change to the Filter Cutoff Frequency Initially set by the Frequency knob by LFO 2 In the central position there is no change to the Filter Cutoff Frequency Anticlockwise of centre there will be an increasing amount of Negative modulation i e The Filter will be closed more by LFO 2 Clockwise of centre the modulation is Positive i e The Filter will be increasingly opened by LFO 2 Frequency Button M od Depth Knob ENV2 Button This combination controls the amount of change to the Filter Cutoff Frequency Initially set
105. de Mode 2 24 Osc 1 pitch bend range 12 88 Sysex Tx Single Program 25 Osc 2 pitch bend range 12 89 Sysex Tx All Programs 26 Osc 2 pitch bend range 11 90 Sysex Tx Single Prog request 27 Osc 2 pitch bend range 10 91 Sysex Tx All Progs request 28 Osc 2 pitch bend range 9 92 Sysex Tx Single Performance 1 29 Osc 2 pitch bend range 8 93 Sysex Tx All Performances 30 Osc 2 pitch bend range 7 94 Sysex Tx Single Perf request 31 Osc 2 pitch bend range 6 95 Sysex Tx All Perfs request 32 Osc 2 pitch bend range 5 96 Sysex Tx Single Arp pattern 33 Osc 2 pitch bend range 4 97 Sysex Tx All Arp pattems 34 Osc 2 pitch bend range 3 98 Sysex Tx Single Am patt request 35 Osc 2 pitch bend range 2 99 Sysex Tx All Arp patts request 36 Osc 2 pitch bend range 1 100 Sysex Tx Global parameters 37 Osc 2 pitch bend range 0 101 Sysex Tx Global parameters req 38 Osc 2 pitch bend range 1 102 Sysex Tx Total data 39 Osc 2 pitch bend range 2 103 Sysex Tx Total data request 40 Osc 2 pitch bend range 3 104 Sysex Tx Prog bank A 41 Osc 2 pitch bend range 4 105 Sysex Tx Prog bank B 42 Osc 2 pitch bend range 5 106 Reserved 43 Osc 2 pitch bend range 6 107 Reserved 44 Osc 2 pitch bend range 7 108 Sysex Tx Prog bank A request 45 Osc 2 pitch bend range 8 109 Sysex Tx Prog bank B request 46 Osc 2 pitch bend range 9 110 Reserved 47 Osc 2 pitch bend ra
106. default also allows control over a large amount of parameters at once via the Wheel parameter in all the Nova s Mod Matrixes amp Effect menus The Nova can have virtually any parameter controlled via MIDI The movement of any knob the pressing of any button or change to any parameter can be recorded with this setup These recordings can then be easily edited on a sequencer Details on all the controllers amp NRPN s Nova uses can be found on page 119 to page 128 ABOUT ANALOGUE SYNTHESIS OSCILLATORS pitch To understand synthesis it is necessary to have some understanding about sound itself Sound is a vibration or oscillation These vibrations create changes in air pressure which is picked up by your ears amp is perceived as sound When dealing with musical sounds the vibrations or oscillations occur at regular intervals amp are perceived as the Pitch or Frequency of a sound The sim plest musical sound is a sine wave because it contains only one Pitch amp is perceived as a very Pure tone similar to a whistle Most musical sounds consist of several different Pitches or Frequencies The lowest is referred to as the Fundamental amp deter mines the perceived Pitch of the note The other frequencies present are called Harmonics amp in musical sounds usually occur in multiples of the fundamental frequency i e if the fundamental note is 440Hz then a musical harmonic series would be 2nd harmon ic 880Hz 3rd harmon
107. different key to the others The Part Semitone parameter in the Tune menu is not set to 0 The Part is out of tune with the others The Part Detune parameter in the Tune menu is not set to 0 The sustain pedal behaves in reverse on the assigned Part The Polarity of the pedal is set incorrectly set the Sustain parameter in MIDI menu to Enable or Enable I so that the desired effect is produced The Sustain pedal does not work on the assigned Part The Sustain parameter in the MIDI menu is not set to Enable or Enable i 104 USING THE INPUTS input 2 pedal input 1 in of midithru midi out midi in o e Microphone Pedal Located on the Nova s rear panel are two 1 4 jack sockets labelled Input 1 amp Input 2 pedal which may be used to connect either an audio source from a microphone CD player sampler etc The input 2 pedal socket can also be used to connect an expression pedal such as the KORG EXP2 to the Nova allowing control over various parameters to be made in real time Setting up the Sensitivity Input level of the Inputs Plug a sound source into one of the Nova s Inputs Adjust the sensitivity with the Input sensitivity switch amp the Trim Parameter on Page 1 Program mode or Page 2 Performance mode of the In Out menu in the Part Edit section to suit the type of sound source connected As a guideline in the position of the Input sensitivity switch the input sensi
108. differing values 27 EDITING amp WRITING PROGRAMS Editing Programs is easy on the Nova as virtually all the controls needed to create a sound are on the front panel First make sure that the Nova is in the Program mode The Program button should be lit Now it is just a case of adjusting the knobs amp buttons in the Oscillator Filter LFOs Envelopes Arpeggiator amp Effects Sections until the desired sound is created Notice that the display changes to display the name of the rotary control you are currently editing The display will remain displaying this parameter after you stopped adjusting the rotary control unless currently in a Menu The display shows the first rotary to be adjusted of course many rotary controls can be adjusted at once but the display only shows the last Writing Programs into M emory NOTE Writing Programs is a destructive operation It is strongly advised to make back ups of your data occasionally to a Computer Sequencer or Data filing device Factory sounds can be recalled from ROM see page 40 for details Once a sound has been created it may be stored in any of the two banks of 128 Programs To do so press the Write button The display shows As can be seen the top line of the display shows the current Program location amp the Programs destination The bottom line dis plays the Programs name in this case Sintillator M Wh While in this mode it is possible to change the destination of the
109. display shows As can be seen the higher parameter is Category In this case with a value of SFX This parameter determines which category of sound you wish to find Use the higher Fast Data knob to adjust the value of this parameter The range of this parameter is Bass Hard Bass Soft Lead Hard Lead Porta Lead Arpeggio Bell Pad Strings key board SFX Drums Piano amp User 1 to 5 As can be seen the Lower parameter is a Program in the selected category In this case with a value of A000 Sintillator M W Use the lower Fast Data knob to select the sounds To return to normal operation press the Program or Performance button Compare Button This button is used to activate the Compare function When editing a Program it is often convenient to monitor the original in com parison to the newly modified version This is called the compare function To enable this feature simply press amp hold down the Compare button As soon as the button is released the modified version of the Program will once again be available 35 MODE SECTION NOTE While the Compare button is held it is also possible to inspect any of the original Program s knob parameters simply adjust any knob while the Compare button is being held The display will show for a short while the value of the original Program s setting then revert back to the last edited parameter No knob parameter can actually be altered while the Compare button is held NOTE I
110. duce strong signal at the beginning of the reverb Decay Time is the time it takes for the Reverb to die away after the sound has stopped This can be thought of a what the hall is made of Very acoustically reflective rooms tend to have long decay times amp very non reflective rooms have short ones HF damp is short for High Frequency Damping This controls the tone of the decaying Reverb This can be thought of as the amount of carpet amp drapes in the hall Carpet amp drapes tend to absorb high frequencies as a sound bounces around the hall giv ing you your Reverb effect With each bounce the sound looses a little treble No HF Damping is a little unusual in the real world but can be used to emphasise sibilant or trebly sounds Normally a little HF Damping is applied to give the Reverb a natural kind of sound ABOUT EFFECTS Chorus F langer P haser This is one effect that can be a Quad Chorus or a Chorus Flanger or a Phaser Chorus an overview This is an effect originally designed to simulate the effect when many people sing together as opposed to one person or the sound of a 12 string guitar as opposed to a 6 string guitar Chorus is an effect that is produced by detuning the signal slightly amp mixing it back together with the original signal The characteristic Chorus swirling effect is produced by an LFO that controls the amount of detuning the chorus performs Quad Chorus This is a effectively 4 Choruses runn
111. e Bank select messages Check that the Incoming Program change parameter in the Global mode is set to Enabled amp or the Prog change filt parameter in MIDI menu of the Part edit section is not On Nova does not respond to Controller messages Check that the Incoming control change parameter in the Global mode is set to Enabled amp or the Controller filt parameter in the MIDI menu of the Part edit section is not On The knobs amp buttons do not alter the sound do anything Check that the Local On Off parameter in Global mode is not set to Off Cannot receive S ysex dumps Progs Perfs Check that Memory Protect is set to Off amp Sysex reception is set to Normal RX as sent If you are sending B bank Perfs or C D Bank Progs from a Supernova to the Nova then these sounds will not go into the Nova as corresponding banks do not exist in the Nova You can however specify All Progs to bank A or B amp All Perfs to bank A to get around this Only the signals from outputs 1 amp 2 appear on outputs 5 amp 6 This is because the Headphones out parameter on page 9 of the Global mode is set to 1 amp 2 refer page 40 for details This is the default setting so that outputs 5 amp 6 can be used as Headphones that monitor the master 1 amp 2 outputs Simply reassign the parameter to 5 amp 6 amp these out puts will behave as outputs 5 amp 6 amp no longer monitor as headphones would The Nova switches itself from Perf mode to Prog mode
112. e From value 101 30 Reserved 94 Part velocity curve To value 110 31 Reserved 95 Part velocity curve From value 111 32 Global MIDI channel 1 96 Delay ratio 1 1 33 Global MIDI channel 2 97 Delay ratio 1 0 75 34 Global MIDI channel 3 98 Delay ratio 0 75 1 35 Global MIDI channel 4 99 Delay ratio 1 0 66 36 Global MIDI channel 5 100 Delay ratio 0 66 1 37 Global MIDI channel 6 101 Delay ratio 1 0 5 38 Global MIDI channel 7 102 Delay ratio 0 5 1 39 Global MIDI channel 8 103 Delay ratio 1 0 33 40 Global MIDI channel 9 104 Delay ratio 0 33 1 41 Global MIDI channel 10 105 Delay ratio 1 0 25 42 Global MIDI channel 11 106 Delay ratio 0 25 1 43 Global MIDI channel 12 107 Reserved 44 Global MIDI channel 13 108 Reserved 45 Global MIDI channel 14 109 Reserved 46 Global MIDI channel 15 110 Reserved 47 Global MIDI channel 16 7 111 Reserved 48 Part MIDI channel 1 112 Reserved 49 Part MIDI channel 2 113 Reserved 50 Part MIDI channel 3 114 Reserved 51 Part MIDI channel 4 115 Reserved 126 MIDINRPN TABLES Packed NRPN 110 Data Description Data Description 0 Arp sync 32rd triplet 64 LFO 1 sync 3 bar dotted 1 Am sync 32 65 LFO 1 sync 7 bar triplet 2 Arp sync 16 triplet 66 LFO 1 sync 5 bars 3 Arp sync 16 67 LFO 1sync 8 bar triplet 4 Arp sync 8 triplet 68 LFO 1 sync 6 bars 5 Arp sync
113. e Fast Data knob clockwise one click selects Gated falling which is a gated type of reverb but does decay away slightly like normal reverb Turning the Fast Data knob clockwise one click selects Dry chamber This is the first of the normal reverb types amp repre sents a very small room The rest of the reverbs model rooms that gradually get bigger amp bigger the last one being Large plate 2 The range of this parameter is Gated reverse Gated rising Gated gentle Gated falling Dry chamber Echo chamber Small room Big room Medium type 1 Medium type 2 Medium plate 1 Medium plate 2 Large type 1 Large type 2 Large plate 1 amp Large plate 2 This parameter is memorised with a Program in Program Mode or memorised with a Program or Performance in Performance Mode depending on the value of the Part s Effects Used parameter 85 EFFECTS SECTION As can be seen the lower parameter is Early ref level In this case with a value of 6 This parameter determines the level of early reflections in the reverb Use the Lower Fast Data knob to adjust this parameter The range of this parameter is 0 to 7 This parameter is memorised with a Program in Program Mode or memorised with a Program or Performance in Performance Mode depending on the value of the Part s Effects Used parameter Page 2 looks like so As can be seen the higher parameter is Reverb decay In this case with a value of 099 This parameter determines the rate at whi
114. e Page Up amp Page Down buttons to the left of the display There are a maximum of 2 parameters displayed on any page One for each line on the display The Fast Data Knobs on the right of the display are used to alter these parameters values Page 1 looks like so As can be seen the higher parameter is Master tune In this case with a value of 00 This parameter determines Global tuning of Nova Use the higher Fast Data knob to adjust this parameter The range of this parameter is 64 to 63 cents This parameter is memorised as Global NOTE To write any changes to this parameter into memory press the Write button while in this mode Also note the Memory Protect has to be set to Off for this to be possible As can be seen the lower parameter is Global MIDI chan In this case with a value of 1 This parameter determines the Global MIDI Channel for the Nova This Channel is used when in Program Mode amp for transmission amp reception of Sysex data Use the Lower Fast Data knob to adjust this parameter The range of this parameter is 1 to 16 This parameter is memorised as Global 36 MODE SECTION NOTE When using the Nova Multitimbrally set the Global MIDI channel to a MIDI channel not being used buy one of the parts as incom ing program change messages on the Global MIDI channel will change the Performance itself NOTE To write any changes to this parameter into memory press the Write button while i
115. e Pickie Moved 124 Chirpy Novae Moved 125 Simple Arp M Wh Moved126 Tin Can Wire M Wh Vocoder Init Input 1 Init Doublesaw Init Init Program PERFORMANCES O OND 014 Cono Blaster Master Pad on Spec Tech Terror Liquid Goo SQ Law SuperStabber Popsickle Sintillated Worry Cool Pad The Pizzacato Klavikle Ravers in 7th Donna Supernova AbsoluteMassive The Glide Skwelchi 7th Electric Aaah Hypersynus Ambient Nation Brass Section HardToTheKore Pink Phycosis Fatty Naked String TwinOvaHead303 s Puff Pipe Layered Pianos SupSupSupJup Pionus Worry Free Conetik Layered Spectra Novestra Kit 1 EP 8 Strings String PluckLead Good Ole 80 s Filming in Space AttackVelo Chord Probe 3rd Party Pad Two Big Ones Trance Nation Morphwave Synth Section LiquidNarcotic PianotPading 1 Finger LSO Teci Fantasam Tingly amp Drugged Sync s R Us Layered Pianos 2 Super Fat Squelchie Heaven OrganPad Super Unisyn Space Pad PiciGater Pad Multimode BPF 2 Nasties Lead amp H20 Minor Evil Botty amp Sparks 134 Juicy Gaff Agro Pad Ambi Bambi Solaris Perci Organ Brass Lead TooPad Chime On Choccie PaddiWhack OrchStrings Liquid Sweep Classic Combo Multimode BPF Annialator Masterbasse Swept Analogue Bleep Synced Clavinux Tinkler The Three Arps Synced Twice Feel Funky A Bunch Obiewan Staccato Square Worry Free Ambient Groover Twin Organ Lead amp Pad 2ForkinRavers Synth Str
116. e level 0 33 Vocoder insert Part 6 1 97 Vocoder sibilance level 1 34 Reserved 98 Vocoder sibilance level 2 35 Reserved 99 Vocoder sibilance level 3 36 Effects config D R C 100 Vocoder sibilance level 4 37 Effects config D R C 101 Vocoder sibilance level 5 38 Effects config D gt C gt R 102 Vocoder sibilance level 6 39 Effects config R gt D C 103 Vocoder sibilance level 7 40 Effects config R gt C D 104 Vocoder sibilance level 8 41 Effects config C D gt R 105 Vocoder sibilance level 9 42 Effects config gt R gt D 106 Vocoder sibilance level 10 43 Effects config D R gt C 107 Vocoder sibilance level 11 44 Effects config D C gt R 108 Vocoder sibilance level 12 1 45 Effects config R D gt C 109 Vocoder sibilance level 13 46 Effects config R C gt D 110 Vocoder sibilance level 14 47 Effects config C D gt R 111 Vocoder sibilance level 15 48 Effects config C R gt D 112 Vocoder width 0 49 Effects config D gt R C 113 Vocoder width 1 50 Effects config R gt D C 114 Vocoder width 2 51 Effects config C gt D R 115 Vocoder width 3 128 129 NOTES M IDIBANK MESSAGES Bank No Nova Bank 0 Program Change Lookup Table 1 Performance Bank A 2 RESERVED 3 RESERVED 4 RESERVED 5 Program Bank A 6 Program Bank B 7 RESERVED 8 RESERVED 9 RESERVED 10 RESERVED
117. e should be taken so that objects do not fall and liquids are not spilled into the enclosure through openings 10 The product should be serviced by qualified service personnel when A The power supply cord or the plug has been damaged B Objects have fallen onto or liquid has been spilled into the product C The product has been exposed to rain D The product does not appear to operate normally E The product has been dropped or the enclosure damaged 11 Do not attempt to service the product beyond that described in the user maintenance instructions All other servicing should be referred to qualified service personnel GROUNDING INSTRUCTIONS This product must be grounded If it should malfunction or break down grounding provides a path of least resistance for electric current to reduce the risk of electric shock This product is equipped with a cord having an equipment grounding conductor and a grounding plug The plug must be plugged into an appropriate outlet that is properly installed and grounded in accordance with all local codes and ordinances DANGER Improper connection of the equipment grounding conductor can result in a risk of electric shock Check with a qualified electrician or servicemen if you are in any doubt as to whether the product is properly grounded Do not modify the plug provided with is product if it will not fit the outlet have a proper plug installed by a qualified electrician 140 FCC Information U
118. eard Tuning the knob clockwise from the mid position fades out the Vocoder s output amp fades in the Modulator s signal At the fully clockwise position only the Modulator will be heard The range of these parameters is 000 to 127 This parameter is memorised with a Program in Program Mode or memorised with a Program or Performance in Performance Mode depending on the value of the Part s Effects Used parameter NOTE Setting the Vocoder balance to anything other than 000 activates the Vocoder NOTE When a Performance Program V will appear after the Performance Program name Menu Button Delay selected When this button is pressed a series of pages is available on the display containing parameters relevant to this section In the Delay section there are 4 pages available These are selected using the Page Up amp page Down buttons to the left of the display There are a maximum of 2 parameters displayed on any page One for each line on the display The Fast Data Knobs on the right of the display are used to alter these parameter s values 83 EFFECTS SECTION Page 1 looks like so As can be seen the higher parameter is Delay time In this case with a value of 020 This parameter determines the Delay time of this effect Use the higher Fast Data knob to adjust this parameter The range of this parameter is 00 to 127 This parameter is memorised with a Program in Program Mode or memorised with a Pr
119. ecify over which Range of notes the selected Part will sound To set the velocity crossfades use the Velocity Curve Parameter to specify how the selected Part will respond to velocity Performance mode is also the mode in which you can use the Nova Multitimbrally This allows the Nova to play up to 6 different sounds simultaneously on 6 different MIDI Channels Each Part of a Performance can have a separate MIDI channel setting This is how you use the Nova Multitimbrally 22 ABOUT PERFORMANCES ce Wes Velocity 127 z Lee Velocity 1 uA Keyboard Range MULTITIMBRAL PERFORMANCE EXAMPLE Above is an example of 6 different sounds assigned to 6 different MIDI Channels Set the individual Parts to the required MIDI channels amp make sure the Part Ranges are set to cover the full range of the keyboard amp Velocities are set to the normal setting otherwise unexpected results may occur Also it can be seen that combinations of Multitimbral amp Split Layered Performances can be made for example a performance could be set up so that parts 1 to 4 were assigned to MIDI Channels 1 to 4 8 part 5 amp 6 assigned to MIDI channel 5 with key ranges set for parts 5 amp 6 so that a split is created NOTE When a Program change message is received on the Global MIDI channel it will change the selected Program or Performance If a Program change is received on a Part MIDI Channel that is no
120. ected Polyphonic patterns differ in the sense that all the notes played sound at once Initially this can be thought of as a kind of Gater Instead of assigning which Note out of the ones you are playing will be played at each step in the pattern in a Polyphonic pattern all the notes may be transposed at each step by a definable amount Here is an example the notes being played are shown below A 4 a G 6 As can be seen this is a C7 chord Below is an example Polyphonic Pattern again of 8 steps in length Step 1 Note 0 Step 2 Note 2 Step 3 Note 2 Step 4 Note 0 Step 5 Note 0 Step 6 Note 12 Step 7 Note 12 Step 8 Note 0 This results in a chord sequence of C7 D7 A7 C7 C7 C7 one octave up C7 one octave below C7 etc etc NOTE In Polyphonic patterns there is a limit of 36 to 36 semitones range that can be programmed into a pattern As can be seen negative as well as positive values can be entered into the Note parameter in polyphonic patterns Again when you consider that there are 64 steps available in a pattern there are many things possible Like the Monophonic patterns there are 2 other parameters associated with programming Polyphonic patterns They perform the same functions in Polyphonic patterns or Monophonic patterns On page 18 of Global you can assign velocity values for each of the steps amp the gate time can be assigned for each step of the pattern When the Gate parameter is s
121. ects a waveform that looks square from which it gets its name amp changes instantly from one level to another This is useful for Trill amp Computer Game effects 75 LFOS SECTION The S H button selects the Sample amp Hold waveform sometimes called Random At a regular interval governed by the Speed knob the level of the LFO jumps to a new random level amp stays there until the next jump This creates a rhythmic effect particular ly if used on the Filter amp assigned to the Cutoff Frequency refer Filter section on page 67 for details Useful results can also be obtained when used in the Oscillator Section in the creation of Computer Game effects The setting of these buttons are memo rised with a Program M enu Button When this button is pressed a series of pages is available on the display containing parameters relevant to this section In the LFO section there are 4 pages available These are selected using the Page Up amp Page Down buttons to the left of the dis play There are a maximum of 2 parameters displayed on any page One for each line on the display The Fast Data Knobs on the right of the display are used to alter these parameters values Page 1 looks like so As can be seen the higher parameter is Offset amount In this case with a value of 020 This parameter allows the LFO to have a DC shift applied to the LFO waveform This allows the creation of realistic Stringed instru ment Vibra
122. ed edited Use the higher Fast Data knob to adjust this parameter The Performance Map allows incoming MIDI Program Change Messages to call up any sound in the Nova This not only allows keyboards amp sequencers that do not support MIDI Bank Select Messages access to any sound via MIDI but also allows a user Order of sounds to be created which can be very useful in live performance The range of this parameter is 000 to 127 This parameter is memorised as Global NOTE The Program map can be made active at all times by setting the Incoming program change parameter on page 13 of the Global mode to Program map NOTE When the Nova is switched on the Program Change Table is automatically active This means that if any Program Part receives a Program Change Message via MIDI IN it will reference the Performance Map until that particular Program Part receives a valid Bank Select Message Controller 32 This allows Master Keyboards which do not transmit Bank Select Messages to be able to call up any Program or Performance in any Bank NOTE When a Program Part receives a valid Bank Select Message Controller 32 via MIDI IN the bank will continue to remain selected for the Program Part until another Bank Select Message is received via MIDI IN NOTE This Map is assigned to MIDI Bank 0 Controller 32 with a value of 0 If this message is received the Nova will switch from nor mal operation to the Performance Map Any Pr
123. encer application Solution 2 is try another MIDI interface Solution 3 is try another sequencer application with a different MIDI interface Some USB MIDI interfaces do seem to have problems handling this data Please contact the manufacturer to get the latest Drivers Operating systems for the interfaces At the point of writing no USB interface known can reliably do this If none of this works Try a different computer However this is rarely necessary ATARI Never had a problem ever an 8meg 16 bit machine can cream the lot of them AM IGA Bars amp Pipes Pro works but it could be down to the interface WORKSTATIONS Workstations such as KORG s Trinity X series O1w amp ROLAND Workstations do not to our knowledge at this stage support sysex as mid files They have Utility modes which can load sysex files but not in the Midi File format Basically this means the files downloadable from our site are not compatible with your workstation You will have to use a computer to upgrade your unit with this file 116 S PECIFICATION Synthesis System Polyphony Sound Sources per Voice Modulation Matrix Multitimbral capacity Filter LFOs Program Effects Total number of Effects Vocoder Number of Outputs Number of Inputs Input Sensitivity Metering Number of Programs Number of Performances Arpeggiator Control Operating System Power Requirement MIDI Dimensions Weight Analogue Sound Modelling 16 Voices 3 Os
124. ent on the Part s MIDI channel If this parameter is set to On the Part will recognise any Program Change messages sent on the Part s MIDI channel The range of this parameter is On amp Off This parameter is memorised with the Performance 99 PART EDIT SECTION NOTE If the Global Program Change filter on page 11 of the Global menu is set to Disabled then no Program Change messages will be recognised regardless of this parameter s setting NOTE If the Program Change filter is set to On it also filters out Bank select messages CC00 4 CC32 As can be seen the lower parameter is Controller Filt In this case with a value of Off This parameter determines how the selected Part will respond to incoming Controller messages This parameter is adjusted using the lower Fast Data knob If this parameter is set to On the Part will ignore any Controller messages sent on the Part s MIDI channel If this parameter is set to Off the Part will recognise any Controller messages sent on the Part s MIDI channel The range of this parameter is On amp Off This parameter is memorised with the Performance NOTE If the Global Control Change filter on page 10 of the Global menu is set to Disabled then no Control Change messages will be recognised regardless of this parameter s setting NOTE The Control Change filter does not filter Bank select messages CC00 amp CC32 These can be filtered using the Program Change filter if req
125. entered whatever Part was selected when the Performance was saved is selected To adjust the Program assigned to any Part for example Part 1 press Part 1 button even if it is already lit It will stay lit amp the display will change from showing the Performance Bank Number amp Name to displaying the Part Program Number amp name To return to the Performance Bank Number amp Name press the Performance button NOTE Solo part mode will be cancelled whenever a new Performance is selected 31 EDITING amp WRITING PERFORMANCES W riting Performances into M emory NOTE Writing Performances is a destructive operation It is strongly advised to make back ups of your data occasionally to a Computer Sequencer or Data filing device Factory sounds can be recalled from ROM see page 40 for details Once a Performance has been created you can store the Performance in any of the 128 Performances To do so press the Write button The display shows As can be seen the top line of the display shows the current Performance location 4 the Performances destination The bottom line displays the Performances name in this case Blaster Master While in this mode it is possible to change the destination of the new sound using the Prog Up 4 Prog Down buttons For example pressing the Prog Up button or turning the higher Fast data knob in the above example the display will show As can be seen the destination of the Performance to be written is n
126. epending on the value of the Part s Effects Used parameter 92 EFFECTS SECTION Page 3 looks like so The higher parameter is Pan effects In this case with a value of No This parameter determines how the Effects behave when a sound is Panned between Left amp Right in the Stereo image Use the higher Data knob to adjust this parameter When this parameter is set to No the sound is panned as it would be on a mixing desk i e the sound can be panned hard Left or Right but Stereo effects such as the Comb filter Phaser Flanger Chorus Ensemble Rotary Speaker Delay amp Reverb will cause effects to appear on both the Left amp Right channels just like Aux returns on a mixing desk Setting this parameter to On forces the Stereo effects to be panned as well as the source sound i e if a sound is panned hard Left amp this parameter is set to On then only the Left side of the Stereo effects are heard The range of this parameter is Yes amp No This parameter is memorised with a Program in Program Mode or memorised with a Program or Performance in Performance Mode depending on the value of the Part s Effects Used parameter NOTE This is particularly handy when using the separate audio outputs as Mono outputs Normally the audio outputs are treated as Stereo pairs when the Pan effects parameter is set to No as the Pan parameter behaves like it does on a Mixing console with effects routed via an Aux return Setting
127. erate amounts are used but you will find that bass sounds ben efit with more Mod Depth than normal Feedback controls how much of the treated signal is fed back into the input Subtle effects like chorus benefit from low levels of feedback Flangers amp Phasers on the other hand sound better with more feedback Feedback emphasises the harmonics in a Flanger amp emphasises the cancellation of harmonics in a Phaser The Type parameter determines if this effect is going to be a Chorus or a Flanger or a Phaser Select the one you want NOTE The effects LFO should not be confused with the front panel Program LFOs D elay This effect is normally a single acoustic reflection of a sound This is commonly called Echo This effect can be heard naturally any where where there is a large flat surface like a concrete wall A Stereo version can be considered to be two concrete walls amp this is the type that the Nova uses The distance from the walls determines the delay time amp as can be seen in the example below the distance between the left wall amp left ear of the listener is different to the distance between the right wall amp the right ear of the listen er This creates a Stereo staggering effect of the echoes amp is normally referred to as Multi Tap Delay or Tap Delay i ABOUT EFFECTS Delay Time This parameter controls the amount of time it takes for the delayed signal t
128. es change from no sound to full volume Vocoder The Vocoder effect allows your Nova to speak What it actually does is it transfers the spectrum of any incoming signal from either Audio Input onto any internal or external sound typical use is to use a Microphone signal as the Modulator that is the sound the spectrum will be copied from amp place the same characteristics onto an internal sound this sound is called the Carrier When the Vocoder button is pressed the knob in the effect section becomes an elegant Balance control between the Un vocoded Carrier when fully anticlockwise the Vocoded Carrier in the mid position amp the Modulator in the fully clockwise position This allows a variety of mixes to be achieved A special High Pass Filter is included in the vocoder to transfer harmonics that are rarely found in normal keyboard type sounds from the Modulator to the Carrier The level of the output of this filter is controlled with the Sibilance level parameter amp when this is turned up the Sibilant Trebly elements of the Modulator are added to the Carrier signal Sibilance can be further modified using the Sibilance type parameter This either filters the sibilant elements from the Modulator when set to H High Pass or artificially uses Noise to do this job if set to Noise When this is set to Noise the Sibilance can not only be Trebly but also Bassey This can be very effective when using things
129. es shown below G 1 2 3 As can be seen there are 4 notes being played C E G amp Af creating a C 7 Chord The Nova scans the keyboard 8 labels each of the played notes with a note number starting with the lowest if the Fill in parameter is set to Off Up or On Up In this case C 1 E 2 G 3 amp Af 4 If a was played instead of the E the numbering would be as follows C 1 D 2 G 3 84 A 4 If a D was played instead of the C the numbering would be as follows D 1 E 2 G 3 amp A 4 It is important to understand this relationship to understand the next step A d 4 As you remember there are 8 steps in the assigned pattern You can edit each step individually by selecting the step you wish to edit with the Step parameter on Page 9 amp altering the Note number assigned to that step on page 10 with the Note parameter Note that a Gate type of Norm or Glide must be assigned to the currently selected step on page 9 for the Note parameter on page 10 to become available For example to create a simple Up Down pattern program the following Step 1 Note 1 Step 2 Note 2 Step 3 Note 3 Step 4 Note 4 Step 5 Note 4 Step 6 Note 3 Step 7 Note 2 Step 8 Note 1 As can be seen the sequence of notes played is 1 2 3 4 4 3 2 1 etc etc NOTE If more or less notes are played than you have programmed the pattern will not play as expected In the above ex
130. es the classic VCO Voltage Controlled Oscillator characteristics of imperfect oscillator tuning The range of this parameter is DCO amp VCO This parameter is memorised with a Program Juno 106 amp Juno 60 are trademarks copyright of Roland Corp Japan The lower parameter is Constant gate In this case with a value of On This parameter determines if the envelopes are constantly gated on as if C3 was being played amp held down Use the lower Data knob to adjust this parameter When this parameter is set to On the signals fed into the Inputs amp that are assigned as Special waveforms to the Oscillators are passed through the Nova s synthesis engine without requiring a MIDI Note message to trigger the envelopes Also this feature can be used to create sustained sound effects that require no trigger note When a Program that has this parameter set to On is selected the Program will sound straight away as if C3 was played This will continue until another program is selected When this parameter is set to Off normal operation occurs i e a note on message is required to trigger the envelopes before any sound can be heard The range of this parameter is On amp Off This parameter is memorised with a Program NOTE When the Arpeggiator is active Constant gate no longer functions 82 EFFECTS SECTION menu delay reverb chorus effect copy dist EQ pan vocoder config This section contains all the knobs amp b
131. escription Data Description 0 Osc 1 pitch bend range 12 64 Osc 3 pitch bend range 2 1 Osc 1 pitch bend range 11 65 Osc 3 pitch bend range 3 2 Osc 1 pitch bend range 10 66 Osc 3 pitch bend range 4 3 Osc 1 pitch bend range 9 67 Osc 3 pitch bend range 5 4 Osc 1 pitch bend range 8 68 Osc 3 pitch bend range 6 5 Osc 1 pitch bend range 7 69 Osc 3 pitch bend range 7 6 Osc 1 pitch bend range 6 70 Osc 3 pitch bend range 8 7 Osc 1 pitch bend range 5 71 Osc 3 pitch bend range 9 8 Osc 1 pitch bend range 4 72 Osc 3 pitch bend range 10 9 Osc 1 pitch bend range 3 73 Osc 3 pitch bend range 11 10 Osc 1 pitch bend range 2 74 Osc 3 pitch bend range 12 11 Osc 1 pitch bend range 1 T5 Part effects used Program 12 Osc 1 pitch bend range 0 T6 Part effects used Part 13 Osc 1 pitch bend range 1 TT Part Sustain Rx option Enable 14 Osc 1 pitch bend range 2 T8 Part Sustain Rx option Arp latch 15 Osc 1 pitch bend range 3 79 Part Sustain Rx option Arp mute 16 Osc 1 pitch bend range 4 80 Part Sustain Rx option Enable I 17 Osc 1 pitch bend range 5 81 Part Sustain Rx option Arp latch 18 Osc 1 pitch bend range 6 82 Part Sustain Rx option Arp mute I 19 Osc 1 pitch bend range 7 83 Part Sustain Rx option Off 20 Osc 1 pitch bend range 8 84 Osc trigger mode Percussve 21 Osc 1 pitch bend range 9 85 Osc trigger mode Ensemble 22 Osc 1 pitch bend range 10 86 Poly mode Mode 1 23 Osc 1 pitch bend range 11 87 Poly mo
132. estored If however One prog was selected Nova asks which Program you want to restore which is selected using the lower Fast Data knob amp then pressing the Write but ton again Nova asks for the location Program bank amp number that you wish to store the program in The range of this parameter is One prog One perf One patt All progs All perfs All patts Prog Ch table Globals All data Prog bank A Prog bank B amp Perf bank A Page 9 looks like so Input 2 on the Nova can double as a Expression pedal Sustain pedal input As can be seen the higher parameter is Pedal mode In this case with a value of Off This parameter determines what Input 2 is going to do In the Off position the Input 2 is configured for use as an Audio Input In the Breath R position Input 2 is configured to work as an expression pedal input amp is re mapped into breath controller In this case an expression pedal with the control output on the ring of the pedal jack In the Breath T position Input 2 is configured to work as an expression pedal input amp is re mapped into breath controller In this case an expression pedal with the control output on the tip of the pedal jack i e a Korg EXP2 expression pedal In the Sustain position Input 2 is configured to work as an sustain pedal input In this case a sustain pedal that is normally open In the Sustain I position Input 2 is configured to work as an sustain pedal input In this case a sustain peda
133. et by the Resonance knob by LFO 1 In the central position there is no change to the Resonance Anticlockwise of centre there will be an increasing amount of Negative modulation i e The Filter will become less resonant by LFO 1 Clockwise of centre the modulation is Positive i e The Filter will become more resonant by LFO 1 70 FILTER SECTION Resonance Button M od Depth Knob LFO 2 Button This combination controls the amount of change to the Resonance Initially set by the Resonance knob by LFO 2 In the central position there is no change to the Resonance Anticlockwise of centre there will be an increasing amount of Negative modulation i e The Filter will become less resonant by LFO 2 Clockwise of centre the modulation is Positive i e The Filter will become more resonant by LFO 2 Resonance Button M od Depth Knob ENV 2 Button This combination controls the amount of change to the Resonance Initially set by the Resonance knob by ENV 2 In the central position there is no change to the Resonance Anticlockwise of centre there will be an increasing amount of Negative modulation i e The Filter will become less resonant by ENV 2 Clockwise of centre the modulation is Positive i e The Filter will become more resonant by ENV 2 Resonance Button M od Depth Knob ENV 3 Button This combination controls the amount of change to the Resonance Initially set by the Resonance knob by ENV 3 In the central pos
134. et to Normal the setting of the Gate Time parameter in page 6 of the Arpeggiator Menu applies When the Gate parameter is set to Tie the note is Tied to the note in the previous step This allows syncopated rhythms to be created amp can be used to great effect if the pattern is set to have many steps When the Gate 26 EDITING amp WRITING ARPEGGIATOR PATTERNS parameter is set to Rest no note is played on the selected step amp finally when the Gate parameter is set to Glide the Portamento is engaged when the selected step switches to the next step amp then the Portamento is switched off This is great for creating those TB303 type patterns with slides NOTE The Fill In parameter does not apply for Polyphonic patterns 4 does nothing if switched On or Off Glide will only work when the polyphony of the Program Part is set to Mono Several Monophonic amp Polyphonic patterns can be used at once in a Performance One doing a Bass type Pattern One doing a TB303 thing One doing a Classic Up Down thing etc etc It is even possible to have the Arpeggiators in the different programs synchronised to different time signatures When doing this turning the Speed knob will alter the speed of all the arpeggiators in other words it is not possible to have arpeggiators running on different clock speeds if you wish the arpeggiators to run at differing speeds set the Sync parameter in the Arpeggiators to
135. eters value Similarly the lower parameters value can be edited in the same way using the lower Fast Data knob Prog Up Down Buttons These buttons select the programs in the Nova Pressing the Prog Up button increments the program selected by 1 Pressing the Prog Down button decrements the program selected by 1 Holding either button down will scroll through the programs NOTE When these buttons are lit they will change a Program Bank Up Down Buttons These buttons select the banks of programs in the Nova Pressing the Bank Up button changes the program selected to the same number program in the B bank Pressing the Bank Down button changes the program selected to the same number program in the A bank NOTE When these buttons are lit they will change a Performance NOTE These buttons have no function when selecting Performances as there is only 1 bank of Performances available 46 ARPEGGIATOR SECTION menu on off speed latch mute This section contains all the knobs amp buttons associated with the Arpeggiator S peed Knob This knob controls the speed at which the Arpeggiator sweeps through is patterns Anticlockwise the speed is slow clockwise the speed is fast The range of this parameter is 64 bpm to 191bpm This parameter is memorised with Programs in Program mode amp Performances in Performance mode NOTE If the LFOs are synchronised to Internal MIDI Clock this control sets the speed of the Inter
136. external not supplied MIDI Merge box If the Master Keyboard is a Workstation i e it has a synthesiser built in set it to Local Off or the equivalent in its MIDI set up Refer to the Manufacturers Owners Manual on how to do this Turn the Computer Software Sequencer s Soft Thru or some times called Echo Back to the ON or Enabled position Now when selecting a Track in the computer Software Sequencer that is assigned to the same channel as the Nova is set to receive on If this is a Performance you can set the receive channels individually for each Part refer to page 103 for details If this is a Program Programs are played on the Global MIDI Channel Refer to page 36 for details Playing the keyboard should play the Nova through the Headphones Monitors Similarly Tracks in the Computer Software Sequencer that are assigned to MIDI Channel s of the Workstation should make it produce sound If not please refer to the Keyboard amp Computer Software Sequencer manufacturers owners manuals for details on how to do this As can be seen there are 3 stereo pairs of Output connected to the mixer The Headphones socket has been designed so that it can double as an extra 2 outputs This allows individual sounds to be processed externally by the mixer amp other outboard equip ment To direct Parts of a Performance to these separate outputs refer to page 98 for details Additionally the Nova
137. f you wish to inspect the value of a modified Program knob parameter rather than the original Program simply follow the above procedure 4 once you have finished turning the relevant knob release the Compare button quickly before the temporary display disappears As soon as the Compare button is released the temporary display will revert to showing the current modified Program s parameter rather than the original Program s parameter NOTE In the Write phase the Compare button performs a different function to it s normal operation The Compare button in this mode toggles between the currently edited Performance or Program amp the destination Performance or Program When the destination Program or Performance is selected the Program and or Performance buttons will flash amp the Compare button will be lit indicating that the sound currently being produced by the Nova is the original still stored in memory Global Button The Global Mode has all the parameters that effect the Global operation of the Nova This mode is accessed by pressing the Global button NOTE When any Global data is written into memory the currently selected Program or Performance will become the Power Up sound i e the sound the Nova defaults to when switched on When this button is pressed a series of pages is available on the display containing parameters relevant to this section In the Global Mode there are 18 pages available These are selected using th
138. fect An Envelope Generator can also be used to Slide the pitch automatically The Filter can be manipulated by LFOs to vary the Tone of a sound at a specific rate creating a Wah Wah type of effect An Envelope Generator can also be used on the Filter so that the Tone of a sound changes over time A feature called Keyboard Tracking can also be used on the Filter so that the Tone of a sound changes depending on the note being played The Amplifier can be manipulated by Envelope Generators so that changes in the Volume of a sound over time can make the sound short amp percussive or more like a piano or even like an organ Additionally the Velocity at which you hit the keys can also be used to manipulate volume making a sound more expressive The elements that manipulate these three main synthesis elements are called Modulation Sources The Nova features 3 Envelope generators amp 2 LFOs Low Frequency Oscillators as Modulation Sources In addition to this Velocity The dynamics of your keyboard playing i e ppp to fff Aftertouch Pressure on the keyboard while note s are held amp the Modulation Wheel are included in a as additional Sources of modulation signals in a Modulation Matrix This allows almost any Source to modulate a given parameter It is even possible to have combinations of different Sources modulating one param eter In the Nova this has been neatly arranged on the front panel so that accessing
139. ffects Used parameter Page 2 looks like so As can be seen the higher parameter is Mod depth In this case with a value of 032 This parameter determines the depth of Chorus Flanger Phaser LFO Modulation to the delay time of the Chorus Higher values tend to sound a bit wobbly Use the higher Fast Data knob to adjust this parameter The range of this parameter is 000 to 127 This parameter is memorised with a Program in Program Mode or memorised with a Program or Performance in Performance Mode depending on the value of the Part s Effects Used parameter As can be seen the lower parameter is Feedback In this case with a value of 00 This parameter determines the amount of Feedback within the Chorus Flanger Phaser Use the lower Fast Data knob to adjust this parameter The range of this parameter is 64 to 63 This parameter is memorised with a Program in Program Mode or memo rised with a Program or Performance in Performance Mode depending on the value of the Part s Effects Used parameter Page 3 looks like so As can be seen the higher parameter is Chorus wheel In this case with a value of 32 This parameter determines how much the Mod Wheel controls the amount of Chorus effect Use the higher Fast Data knob to adjust this parameter Fully anticlockwise the Chorus will be reduced with full modulation of the Mod Wheel fully clockwise the Chorus will be increased with full modulation of the Mod Wheel The ra
140. ge 9 in the Global menu No Power Power Supply not connected properly If applicable check fuse in mains plug No Sound Check the Volume knob is not set at zero Check that the correct MIDI receive Channel is selected Check that all mixer parame ters are not set to zero Check that a Volume MIDI Message of zero is not being transmitted to Nova Check that the Filter Frequency knob or Sustain amp Decay knobs of Env1 are not set to zero Check that Local On Off in Global Mode is not set to Off Check Arp Mute is not active lit Check Part Polyphony is not set to Off Check Pass to Effects parameter in Dist EQ Config menu is not set to Input 1 or 2 but program Check that the Arpeggio notes to parameter in Arp Menu is not set to MIDI only Check Part levels in a Performance are not set to 0 Another possibility is that the Program being monitored is an Arpeggiated one amp the MIDI clock parameter in the Global menu is set to external and there is no MIDI clock being received LFOs Delays and or Arpeggiator do not sync to M IDI Clock Check the Clock parameter in the Global Mode is set to Ext refer page 38 If this is set to external check the Nova is synced by varying the tempo of the Sequencer If the Nova speeds up amp slows down accordingly the Nova is synced to MIDI Clock However it is possible to synchronise the LFOs Delay amp Arpeggiator to many different time signatures This can lead to a situation where the Nova may be
141. gether in a mix Very often a sound may be too muffled sounding or a bass too twangy sounding This is where EQ comes in Muffled sounds have insufficient treble so adjusting the Treble EQ will either boost or reduce the tre ble Similarly the Bass EQ will either boost or reduce the bass In the Nova there is a Treble EQ control amp a Bass EQ control Comb Filter This is found in the dist EQ config M enu of the Effects S ection This effect is a filter that generates many peaks in the frequency response of the signal This can be seen in the frequency response curve below Boost Level Comb Filter Frequency Responce at a low Freqency setting ABOUT EFFECTS Boost Level Comb Filter Frequency Responce at a high Freqency setting As can be seen there are many peaks 8 they look like a comb hence the name Comb Filter There are two parameters associat ed with this effect Comb frequency controls the frequencies at which the peaks occur 4 Comb boost controls how high the peaks are The effect is to alter the timbre of the sound Although similar to EQ this effect can produce effects not possible using a stan dard EQ The resulting sound tends to be quite Metallic sounding especially when large Boosts are applied Reverb This is an Acoustic Simulation of a room Why does singing sound good in the toilet Reverb that s why The Reverb Effect is a computer model of the acoustics of a room The t
142. ggiator Realtime Transpose function Use the Lower Fast Data knob to adjust this parameter The range of this parameter is C 2 to G8 NOTE To write any changes to this parameter into memory press the Write button while in this mode Also note the Memory Protect has to be set to Off for this to be possible Page 7 looks like so As can be seen the higher parameter is Local Control In this case with a value of On This parameter is normally set to On In this position any knob movements or button presses on the front panel are transmitted via MIDI amp also control the synth engine directly i e turning a knob will alter the sound produced regardless of any MIDI setup If this parameter is set to Off knob movements amp button presses on the front panel still transmit MIDI data but make no alteration to the sound directly This is the best way to use the Nova with a sequencer as all the Channel re mapping features in sequencers can be take fully advantage of fully This parameter is memorised as Global NOTE If there is no MIDI feedback loop connected at all a sequencer with MIDI out of the Nova connected to MIDI in on the sequencer amp MIDI out of the sequencer connected to MIDI in on the Nova for example amp local control is set to off the knobs amp buttons on the front panel will appear to do nothing although changing parameters values may be displayed on the display NOTE If local control is set to off amp
143. grading the Operating System 115 User Pattern 44 Using Expression Pedals amp Footswitches 108 Using the Inputs 105 V VCO 82 Vel 45 Velocity 30 45 49 79 97 Velocity Button 97 Velocity Crossfade 22 Vibrato 59 Voc freeze 99 107 Voc input 94 107 Voc insert 94 Vocoder 19 93 99 107 Vocoder Button 83 Vocoder spectrum 95 139 Vocoder width 94 Voice 20 Volume 13 58 Volume Knob 34 W Wheel Button 58 60 61 63 64 70 71 Width 19 Width Button 56 61 Width Button 55 60 Write 28 29 32 33 36 Writing Performances into Memory 32 Writing Programs into Memory 28 WARNING The lightning flash with arrowhead symbol within an equilateral triangle is y BEFORE REMOVING THE COVER A intended to alert the user to the presence of uninsulated dangerous ISOLATE ALL MAINS TO THE UNIT voltage within the products enclosure that may be of sufficient magnitude to WARNING constitute a risk of electric shock to persons TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK O NOT EXPOSE THIS APPLIANCE TO RAIN OR MOISTURE The Exclamation point within an equilateral triangle is intended to alert the OPERATION IS SUBJECT TO THE FOLLOWING TWO CONDITIONS user to the presence of important operating and maintenance servicing 1 THIS DEVICE MAY NOT CAUSE HARMFUL INTERFERENCE AND 2 THIS DEVICE MUST ACCEPT ANY INTERFERENCE RECEIVED instructions in the literature accompanying this product INCLUDING
144. gs up the Preglide options When these options are selected a Preglide is applied to the pitch of the oscil lators starting a a pitch determined by the PreGlide selected amp gliding up or down to the normal pitch The time it takes to do this is determined by the Portamento time The Preglide is triggered with every note received Below is a description of the different types of PreGlide available 2 semitones down A Glide from 2 semitones down is applied to the Oscillators 2 semitones up A Glide from 2 semitones up is applied to the Oscillators 5 semitones down A Glide from 5 semitones down is applied to the Oscillators 5 semitones up A Glide from 5 semitones up is applied to the Oscillators 7 semitones down A Glide from 7 semitones down is applied to the Oscillators 7 semitones up A Glide from 7 semitones up is applied to the Oscillators 12 semitones down A Glide from 12 semitones down is applied to the Oscillators 12 semitones up A Glide from 12 semitones up is applied to the Oscillators The range of this parameter is Normal Glide Auto Glide 2 semitones down 2 semitones up 5 semitones down 5 semitones up 7 semitones down 7 semitones up 12 semitones down amp 12 semitones up This parameter is memorised with a Program 81 ENVELOPES SECTION aaa NOTE You cannot have different settings of this parameter in different Envelopes Page 5 looks like so The higher parameter is Unison In this case with a value of
145. he Pedal breath parameter on page 3 of the Midi menu determines whether the Part will respond to breath pedal MIDI mes sages CC 2 These messages could be generated directly by an expression pedal connected to the Input pedal jack or received from a sequencer via MIDI In When this parameter is set to On the breath control data which is then re mapped according to the setting of the Breath control parameter on page 4 of the Global menu For example if this parameter in the Global menu was set to MW all data generated by the pedal would be passed on to the Part as if it were modulation wheel data CC 1 taking into account all of the Wheel settings in the Parts Program s modulation matrices 109 TROUBLESHOOTING Footswitch does not appear to work when connected to the Input 2 pedal socket Make sure the Input 2 pedal socket is not set to Off on page 9 of the Global menu Make sure the Input 2 pedal socket is not configured for Pedal T or Pedal R on page 9 of the Global menu Pedal footswitch works fine in Program M ode but does not appear to work in Performance M ode Make sure Part is enabled its Polyphony setting is not set to Off Make sure the jack socket is set to On for the Part page 3 in the Part edit Midi menu Pedal footswitch works but behaves in the opposite manner to the way expected Switch to the opposite type of pedal footswitch configuration pa
146. he knob is turned clockwise it will take increasingly longer for the LFO effect to be introduced NOTE This is particularly useful for vibrato effects where if present as the note is struck can make the note sound out of tune Turning the Delay Knob slightly clockwise LFO 1 will not be introduced until after the note is struck thereby removing the problem NOTE If you have problems getting LFO 1 to take effect make sure the delay knob is not set fully clockwise S quare Button Saw Button Tri Button S H Button These Buttons select which waveform the selected LFO has The Tri button selects a Triangle waveform This waveform gives the smoothest continuous change in level to the LFO amp is there fore probably the most useful setting When used in the Oscillator Section it gives you vibrato if used at moderate speed amp subtle amount or Siren effects if used at slow speeds amp large amount or FM type effects if used at high speed amp subtle amount If used with the Filter slow speeds produce Wah Wah effects The Saw button selects a Sawtooth waveform This waveform looks like the teeth of a saw from which it gets it s name amp gives you a falling level which suddenly jumps back up to full level When used in the Filter it produces a rhythmic pulsating effect similar to a sequenced repeated bass line When used in the Oscillator Section it can be used to create Alarm type sounds The Square button sel
147. he step type editing on pages 18 of the Global mode If this parameter is set to On Notes amp Velocity can be entered directly from a MIDI Keyboard To do this set this parameter to On then select a Pattern amp select the number of steps in the pattern required in page 17 of Global mode Now go to page 18 of global mode amp check that the pattern is on step 1 While in page 18 pressing a note on the Keyboard will enter the note value amp velocity value directly into the pattern The note off will automatically advance the pattern to the next step A sustain pedal on the keyboard can also be used when in this mode If no note is held down amp the sustain pedal is pressed a Rest is inserted at the cur rent step Releasing the sustain switch advances the pattern to the next step Similarly pressing the pedal while no note is being played then while still pressing the sustain switch a note is played on the keyboard inserts a tie at the current step Releasing the Note on the keyboard then advances the pattern to the next step Similarly pressing the pedal while a note is being played inserts a Glide to at the current step Releasing the Note on the keyboard then advances the pattern to the next step The range of this parameter is Off On Note only Vel only amp Gate only This parameter is memorised as Global NOTE When Arp pattern editing via MIDI is activated Note Sustain data can be entered on any channel Page 17 looks like so A
148. hen a note is struck Fully anticlockwise this is instantaneous increasing exponentially to 20 seconds fully clockwise To shorten Attack times turn this knob anticlockwise amp to lengthen Attack times turn this knob clockwise The range of this parameter is 000 to 127 This parameter is memorised with a Program Decay Knob This knob sets how quickly the Envelope drops off to the Sustain level once the Maximum level has been reached by the Attack time Fully anticlockwise this is instantaneous increasing exponentially to 20 second fully clockwise To shorten Decay times turn this knob anticlockwise amp to lengthen Decay times turn this knob clockwise The range of this parameter is 000 to 127 This param eter is memorised with a Program Sustain Knob This knob sets the level at which the Envelope remains at after the Decay phase until the note is released Fully anticlockwise the Envelope will decay all the way to zero without being interrupted As the knob is moved clockwise the level at which the Decay is halted increases until full clockwise there is no Decay at all The range of this parameter is 000 to 127 This parameter is memo rised with a Program Release Knob This knob sets how quickly the Envelope drops from the Sustain level to zero once the note has been released Fully anticlockwise this is instantaneous increasing exponentially to 20 seconds fully clockwise To shorten Release times turn this knob anticlockwise amp to
149. how Not Available S ync Button M od Depth Knob ENV 3 Button This combination controls the modulation of the Sync Effect on the selected Oscillator by ENV 3 Turning the Mod Depth Knob fully clockwise introduces Sync Effect from ENV 3 to the selected Oscillator in a Positive direction Turning the Mod Depth Knob fully anticlockwise introduces Sync Effect from ENV 3 to the selected Oscillator in a Negative direction In the Mid position there is no modulation at all The range of this parameter is 64 to 63 62 OSCILLATOR SECTION NOTE This does not apply to the Noise 173 4 273 Ring Modulator outputs No audible effect to these sound sources will be heard if an attempt is made to adjust this parameter when these sound sources are selected 4 the display will show Not Available Sync Button M od Depth Knob W heel Button This combination controls the modulation of the Sync Effect on the selected Oscillator by the Mod Wheel Turning the Mod Depth Knob fully clockwise introduces Sync Effect from the Mod Wheel to the selected Oscillator in a Positive direction Turning the Mod Depth Knob fully anticlockwise introduces Sync Effect from the Mod Wheel to the selected Oscillator in a Negative direction In the Mid position there is no modulation at all The range of this parameter is 64 to 63 NOTE This does not apply to the Noise 1 3 amp 2 3 Ring Modulator outputs No audible effect to these sound sources will be he
150. ic 1320Hz 4th harmonic 1760Hz 5th harmonic 2200hz etc The number amp loudness of these Harmonics determines the Timbre of a sound This gives a sound character amp is why a violin sounds different from a guitar amp a piano sounds different again In an Analogue synthesiser you have the choice of several different waveforms Each waveform has different amounts of harmonics amp so the Timbre of each one is quite different Below are descriptions of some of the waveforms amp indications on what they can be best used for NN L Saw Waveform E dois SUM Harmonics Sawtooth waves have all the harmonics of the fundamental frequency As you can see every harmonic has half the amplitude of the previous one This sound is pleasing to the ear amp is useful for basses leads amp synthesising stringed instruments Level q 2 8r AP Be 6 Square Waveform Harmonics Square waves have only the odd harmonics present These are at the same amplitudes as the odd harmonics in a saw wave Square waves have a hollow metallic sound to them amp so are useful in creating unusual synthesiser sounds amp oboe like sounds A 1 2 3745567 Noise Waveform Harmonics White noise has no fundamental amp all harmonics are at the same level This wave can be used by itself to synthesise explosions or wind amp when used in conjunction with other waveforms can be used to create the illusion of Breath in an instrument PWM PULSE WIDTH
151. igher Fast Data knob to adjust the value The range of this parameter is On amp Off This parameter is memorised with a Program 51 ARPEGGIATOR SECTION NOTE The purpose of this parameter is to allow a sequence of notes to be played in exactly the same musical key regardless of where it has been triggered from the keyboard real time transposing can still be used to transpose poly patterns if required This is espe cially important if the Arpeggiator is being used to trigger drum patterns on an external Drum Machine or Sampler where each drum sound has a specific note value NOTE When Constant Pitch is activated the Arp Poly pattern behaves monophonically since if a chord was played on the keyboard it would be pointless to send several NOTE ONs to the Program MIDI OUT each with exactly the same note value As can be seen the lower parameter is Output ranging In this case with a value of Off This parameter applies when Arpeggiators are used in Performance Mode When set to On this parameter checks to see if the Arpeggiator s final note value taking into account the current octaves shift amp any real time transposing falls within the Part s note range parameters If the final note value falls outside this range it is not passed on to the Program or MIDI When Output Ranging is set to Off the final note value will always be passed on to the Program or MIDI Previous OS Versions always behaved as if Output Ranging w
152. ime 26 51 Gate type 25 Glide 25 Glide type 81 Glissando 80 Global Button 36 Global data 36 Global MIDI chan 36 Global Mode 36 H Harmonics 88 Headphones 40 Headphones Output 5 amp 6 Audio Outputs 3 Headphones out 40 HF damp 17 86 HF Damping 19 INDEX High Button 67 High Pass Filter 12 Highest note 101 HPF 67 In Out Button 98 Incoming program change 42 Input 94 105 107 Input level 105 Input Sensitivity Switch 3 Inputs 82 91 K Key Range 101 Key reset 48 49 Key Sync 9 Keysync 77 L Latch 47 Latch Button 47 Latch type 48 Layer 22 Level Knob 55 58 59 60 62 63 Level Knob 96 LFO 75 LFO 1 58 59 60 62 63 70 75 LFO 1 Button 56 58 59 60 62 63 70 LFO 1 Button 75 LFO 2 58 59 61 62 63 70 71 72 75 LFO 2 Button 58 59 61 62 63 70 71 LFO range 77 LFO Section 2 LFOs 14 LFOs Section 75 Linear 81 Loading Additional Sounds 114 Local Control 39 Low Button 67 Low Pass Filter 12 Lowest note 101 LPF 67 M Master 9 Master 1 Left and 2 Right Audio Outputs 3 Master tune 36 Master Volume Section 2 34 Memory Protect 37 39 Menu Button 76 Menu Button 48 65 72 78 Menu Button Chorus Flanger Phaser selected 86 Menu Button Delay selected 83 Menu Button Dist EQ config selected 87 Menu Button Pan selected 92 Menu Button Reverb selected 85 Menu Button Vocoder selected
153. ing at once from one LFO but in different phases This creates a particularly thick Chorus effect suitable for String Ensemble 4 other Lush sounds Chorus F langer Normal Chorus amp Flanger effects are quite similar Using this effect as a Chorus provides a Stereo effect with a smooth swirling sensation that fattens up sounds 4 provides a stereo image This type of Chorus differs from the Quad Chorus in the sense that although not as thick sounding this Chorus retains the definition of the effected sound making it more suitable for basses organs amp percussive sounds The Flanger effect is similar to a chorus but tends to use more detuning amp feedback to produce an effect with a pronounced swirling sensation that emphasises the harmonics in the sound as it sweeps through them Phaser This effect is almost the reverse of a Flanger A small amount of phase shift is applied to the signal via an LFO When this is added back together with the original signal a pronounced swirling effect is produced that cancels out harmonics in a sound as it sweeps through them Speed This parameter controls how fast the LFO for this effect is going Generally a fairly slow speed is used Higher speeds tend to induce a vibrato like quality to the sound Mod Depth controls the amount of detuning or phase shift that the effect s LFO produces Again large amounts of modulation from this parameter will produce a more noticeable effect Generally mod
154. ings Cave Trippy Psy Pad Tth Heaven 3rd amp 7th Perky Synth Pad MooZ At 7200z Staccato Saw Blip amp Co Trouser Fat Invert Filta Pad Perci Fellow Flutter Pad Liquid Sweep JammyLoop When U Wanna Chimez Layered Sweeps TinCanDiffusion Brass Section 2 Endless Arps Atmospherics Super Unisyn 2 Wet Sintillation Comp 1 Vocoder FX Processor 1 FX Processor 2 FX Processor 1 amp 2 Init Velo Xfade Init Velosw V110 Init Split at C3 Multi Ch 1 6 Init Perf O XO NOD UBAWDN MONOPHONIC PRESET PATTERNS UP DOWN UP amp DOWN UP amp DOWN2 PLAYED WALKINGUP WALKINGDOWN WALKINGPLAYED RANDOM1 RANDOM2 RANDOM3 TB1 TB2 TB3 TB4 TRANCE1 TRANCE2 TB9 TB10 UP TB11 DN TB12 UP DN TRANCE BASS1 TRANCE BASS2 TB GLIDE1 TB19 TB GLIDE2 TB GLIDE3 TB20 Muso 1 Accented Muso 1 Slightly Accented Trill Dn Accented Trill Dn Slightly Accented Trill Up Accented Trill Up Slightly Accented Trill Dn Up Accented Trill Dn Up Slightly Accented Trill Up Dn Accented Trill Up Dn Slightly Accented Rave 1 Accented Rave 1 Slightly Accented Rave 2 Accented Rave 2 Slightly Accented Shimmie Accented Shimmie Slightly Accented Running Up Accented Running Up Slightly Accented Running Dn Accented Running Dn Slightly Accented R ning Up Dn Accented R ning Up Dn Slightly Accented R ning Dn Up Accented R ning Dn Up Slightly Accented 3 3 Up Accented 135 64 65 3 3 Up Slightly Accented 3 3 Dn A
155. is engaged Clockwise of centre the modulation is Positive i e The Filter will be increasingly made more Resonant by LFO 2 when the Master Keyboard s Aftertouch is engaged The range of this parameter is 64 to 63 This parameter is memorised with a Program Page 4 looks like so As can be seen the higher parameter is Fq AT amt In this case with a value of 63 This parameter determines how the Aftertouch on the Master Keyboard effects the amount of Modulation of the Cut off frequency of the Filter In the central position of the higher Fast Data knob there is no change to the Filter Cutoff Frequency when the Master Keyboard s Aftertouch is engaged Anticlockwise of centre there will be an increasing amount of Negative modulation i e The Filter will be closed more when the Master Keyboard s Aftertouch is engaged Clockwise of centre the modulation is Positive i e The Filter will be increasingly opened when the Master Keyboard s Aftertouch is engaged The range of this parameter is 64 to 63 This parameter is memorised with a Program As can be seen the lower parameter is Res AT amt In this case with a value of 63 This parameter determines how the Aftertouch on the Master Keyboard effects the amount of Modulation of the Resonance of the Filter In the central position of the lower Fast Data knob there is no change to the Filter Resonance when the Master Keyboard s Aftertouch is engaged Anticlockwise of centre there will be an in
156. it will not be possible to take across all of the parameters into the Nova Laptop Certain features such as FM algorithms extended envelope parameters and extended effects parameters are unique to the 2nd generation series and cannot be taken across These features will be ignored if taken across via Sysex Other features such as special filter width and unison are common to both series but are available in a reduced form on the Nova Laptop In such cases the settings will be approximated as closely as possible when taken across via Sysex New features common with 2nd generation series can be taken across Osc special waveform Double saw Filter special types all Unison on off Unison voices Special filter width modulation Pan effects Constant gate Global prog change tx option Global controllers tx option Global finder demo switch Global knob mode NOTE The Pan effects Special Filter width amp VCO Drift parameters can only be transferred successfully if the transmitting Supernova Il or Nova Il has the forthcoming OS 2 or above installed New features common with 2nd generation series in limited form can be taken across Unison detune default unison detune value applied when Unison is on Special filter width rounded to nearest pre set value VCO drift converted to DCO VCO mode Arp gate time rounded to nearest pre set value 112 COM PATIBILITY WITH OTHER NOVATION PRODUCTS Features unique to 2nd generation se
157. ith some or all Parts muted but set up amp ready to go Mutes can be transmitted amp recorded as controller data to a sequencer amp then played back at the Nova NOTE Whenever a Part is Muted the Program Name display will show Muted underneath the Program s name 102 M ULTITIM BRAL USE The Multi Mode for the Nova II keyboard is Performance mode To make a multitimbral setup follow this procedure Press the Global Button amp select page 1 Set the Global MIDI Channel to 16 Make sure the Nova Il keyboard is in the Performance Mode by pressing the Performance Button It will light Select Performance A 126 Multi Ch 1 6 of the Performances as a starting point as this is set up specifically for Multitimbral use amp is a good starting template In this Performance Part 1 is assigned to MIDI channel 1 Part 2 is assigned to MIDI channel 2 etc etc Hence its name Multi Ch 1 6 If you wish to alter the MIDI channel setting press the MIDI button amp set the MIDI Channel to whatever channel required but make sure it is not the same as the MIDI channel setting as the Global MIDI channel To assign a Bass sound to MIDI Channel 1 for example press the Part 1 button amp the display will change to indicate the current sound assigned to that Part In the Factory Programs this is Bank A Program number A000 Sintillator Now use the Bank amp keypad buttons to select the desired sound For example Bank A Prog
158. ition there is no change to the Resonance Anticlockwise of centre there will be an increasing amount of Negative modulation i e The Filter will become less resonant by ENV 3 Clockwise of centre the modulation is Positive i e The Filter will become more resonant by ENV 3 Resonance Button M od Depth Knob W heel Button This combination controls the amount of change to the Resonance Initially set by the Resonance knob by the Mod Wheel In the central position there is no change to the Resonance Anticlockwise of centre there will be an increasing amount of Negative modu lation i e The Filter will become less resonant by the Mod Wheel Clockwise of centre the modulation is Positive i e The Filter will become more resonant by the Mod Wheel 71 FILTER SECTION M enu Button When this button is pressed a series of pages is available on the display containing parameters relevant to this section In the Filter section there are 5 pages available These are selected using the Page Up 4 Page Down buttons to the left of the dis play There are a maximum of 2 parameters displayed on any page One for each line on the display The Fast Data Knobs on the right of the display are used to alter these parameters values Page 1 looks like so As can be seen the higher parameter is Filter tracking In this case with a value of 063 This parameter controls the amount of change to the Filter Cutoff Frequency initially
159. l Knob This combination controls the Volume of the selected Oscillator Noise Generator or Ring Modulator Turning the Level Knob fully clockwise turns the selected sound source to full volume amp fully anticlockwise turns the selected sound source to off No Volume The range of this parameter is 000 to 127 M ix Button M od Depth Knob LFO 1 Button This combination controls the modulation of the Mix of the selected Oscillator Noise Generator or Ring Modulator by LFO 1 Turning the Mod Depth Knob fully clockwise introduces Mix modulation from LFO 1 to the selected sound source in a Positive direction Turning the Mod Depth Knob fully anticlockwise introduces Mix modulation from LFO 1 to the selected sound source in a Negative direction In the Mid position there is no modulation at all The range of this parameter is 64 to 63 M ix Button M od Depth Knob LFO 2 Button This combination controls the modulation of the Mix of the selected Oscillator Noise Generator or Ring Modulator by LFO 2 Turning the Mod Depth Knob fully clockwise introduces Mix modulation from LFO 2 to the selected sound source in a Positive direction Turning the Mod Depth Knob fully anticlockwise introduces Mix modulation from LFO 2 to the selected sound source in a Negative direction In the Mid position there is no modulation at all The range of this parameter is 64 to 63 M ix Button M od Depth Knob ENV 2 Button This combination contr
160. l that is normally closed Use the higher Fast Data knob to adjust this parameter The range of this parameter is Off Breath T Breath R Sustain amp Sustain l This parameter is memorised as Global As can be seen the lower parameter is Headphones out In this case with a value of 1 amp 2 This parameter determines if the Headphone outputs Outputs 5 amp 6 are configured for use as Headphones or as separate out puts Use the lower Fast Data knob to adjust this parameter In the 1 amp 2 position the Headphones monitor signals from outputs 1 amp 2 In the 3 amp 4 position the Headphones monitor signals from outputs 3 amp 4 In the 5 amp 6 position the Headphones can be used as additional outputs 5 amp 6 In the Mix position the Headphones monitor signals from outputs 1 2 3 4 5 amp 6 The range of this parameter is 1 amp 2 3 amp 4 5 amp 6 amp Mix This parameter is memorised as Global 40 MODE SECTION Page 10 looks like so The higher parameter is Finder demos In this case with a value of Off This parameter determines if the Finder plays a demo or not when activated Use the higher Data knob to adjust this parameter In the On position whenever the Finder mode is activated a small demo tune will play in the style of the category currently assigned to the selected program In the Off position the finder function still works but no demo plays This is useful when working with an external sequencer amp
161. lators These include the Level amp Mod Depth Knobs amp the Pitch Width Sync Soften Mix LFO 1 LFO 2 Env 2 Env 3 amp Wheel buttons 7 Part Edit Section This section contains all the knobs amp buttons associated with the Parts of a Performance These include the Level Knob amp all the 6 Part buttons amp the associated Tune Velocity Output MIDI Polyphony Range Mute amp Solo buttons 8 Filter Section This section contains all the knobs 4 buttons associated with the Filter These include the Frequency Resonance amp Overdrive Knobs amp the Special Menu 12db 18db 24db Low High amp Band buttons 9 Filter Modulation Section This section contains all the knobs 4 buttons associated with modulation of the Filter These include the Mod Depth Knob amp the Frequency Resonance LFO 1 LFO 2 Env 2 Env 3 amp Wheel buttons 10 LFO Section This section contains all the knobs amp buttons associated with the two LFOs These include the Speed amp the Delay Knobs amp the Menu LFO 1 LFO 2 Square Saw Tri amp S H buttons 11 Envelopes Section This section contains all the knobs amp buttons associated with the three Envelopes These include the Attack Decay Sustain amp release Knobs amp the Menu Trigger Env1 Env 2 amp Env 3 buttons 12 Effects Section This section contains all the knobs amp buttons associated with the effects these include the Distortion Reverb Chorus Flanger Pha
162. learning initially set the Sync parameter to a low value i e 8th s amp the Fill In parameter to Off Both of these parameters are on page 5 of the Arpeggiator Menu button pages Go to the Global Mode by pressing the Global Button Go to page 7 amp switch the Memory Protect parameter to Off Go to page 15 amp select the same pat tern you assigned to the Arpeggiator in the Program You are now ready to start creating a Pattern The procedures for editing Monophonic amp Polyphonic patterns are slightly different M onophonic Patterns A Monophonic pattern can be 1 step long although there would not be much point in this except for recreating effects like LFO trig gered basslines to 64 steps long Bear in mind that this can be also thought of as the Resolution of the pattern as the pattern can be Synchronised at differing time signatures i e a 16 Step pattern synchronised at 16th s would be the same time duration as a 32 step pattern synchronised at 32nds Decide on the number of steps you want to use amp set the Pattern Steps parameter to suit We suggest that for the purposes of learning initially set this to a low value i e 8 this will mean that The Arpeggiator is synchro nised to 8ths amp the Number of steps you have assigned to the Pattern is 8 So this is a 1 bar pattern In a Monophonic pattern you decide which Order the individual notes within the chord you play are played Imagine you are playing the not
163. ll be modulated directly regardless of its setting in the currently assigned program If this parameter is set to Mod then the breath control value would be added to the value of the destination in the currently loaded program If this parameter is set to Mod then the breath control value would be subtracted from the value of the destination in the currently loaded program i e If the destination was Cutoff Frequency amp the currently assigned programs Cutoff Frequency was assigned to a level of 64 in Absolute mode when a breath control message with a value of 1 was received the Cutoff Frequency would change to 1 If in this case this parameter was set to Mod the value of the Cutoff Frequency would be 65 amp if in this case this parameter was set to Mod the value of the Cutoff Frequency would be 63 The range of this parameter is Absolute Mod amp Mod This parameter is memorised as Global NOTE To write any changes to this parameter into memory press the Write button while in this mode Also note the Memory Protect has to be set to Off for this to be possible As can be seen the lower parameter is Breath sensing In this case with a value of Norm This parameter determines how sensitive the Nova is to incoming breath controller messages Incoming Breath control messages can be dealt with as they are when this parameter is set to normal If this parameter is set to a negative number 3 for example incoming breath control mes
164. ll set the Range parameter to Slow In this mode the Speed knob of the select ed LFO will have a Range that goes from stopped to moderate speeds Turning the higher Fast Data knob to the mid position will set the Range parameter to Norm In this mode the Speed knob of the selected LFO will have a Range equivalent to that found on a normal synthesiser Turning the knob clockwise will set this parameter to Fast In this mode the full range of speed will be available on the selected LFO The range of this parameter is Slow Norm amp Fast This parameter is memorised with a Program Page 4 looks like so As can be seen the higher parameter is Triggering In this case with a value of Keysync This parameter determines how the selected LFO is triggered Turning the higher Fast Data knob anticlockwise selects the Freewheel option which means all the LFOs of the Voices that are being played are not in phase or in sync This is the most natural sounding for vibrato effects etc Turning the higher Fast Data knob clockwise selects the Keysynced option which means all the LFOs of the Voices that are being played are in phase amp the cycles of the LFOs are reset to start from the beginning when a new note is struck This is the most useful setting for use with Sequencers amp the Arpeggiator The range of this parameter is Freewheel amp Keysynced This parameter is memorised with a Program As can be seen the lower parameter is Delay
165. ll show Not Available 61 OSCILLATOR SECTION Sync Button Level Knob This combination controls the Sync Effect on the selected Oscillator Turning the Level Knob fully clockwise introduces the maxi mum Sync Effect fully to the selected Oscillator amp fully anticlockwise there is no Sync Effect at all The range of this parameter is 000 to 127 NOTE This does not apply to the Noise 1 3 amp 2 3 Ring Modulator outputs No audible effect to these sound sources will be heard if an attempt is made to adjust this parameter when these sound sources are selected amp the display will show Not Available S ync Button M od Depth Knob LFO 1 Button This combination controls the modulation of the Sync Effect on the selected Oscillator by LFO 1 Turning the Mod Depth Knob fully clockwise introduces Sync Effect from LFO 1 to the selected Oscillator in a Positive direction Turning the Mod Depth Knob fully anti clockwise introduces Sync Effect from LFO 1 to the selected Oscillator in a Negative direction In the Mid position there is no modula tion at all The range of this parameter is 64 to 63 NOTE This does not apply to the Noise 1 3 amp 2 3 Ring Modulator outputs No audible effect to these sound sources will be heard if an attempt is made to adjust this parameter when these sound sources are selected amp the display will show Not Available S ync Button M od Depth Knob LFO 2 Button This combination cont
166. lopment of DSP technology digital effects have become available in modern synthesisers However when in a Multimbral application all the sounds generally are passed through one set of effects In the Nova a block of 7 effects is part of the Program amp can be considered to be part of the synthesis engine These include Distortion EQ Reverb Chorus Flanger Phaser Delay Panning amp Comb Filter effects These can simulate Real World effects like Echo amp Room Reverberation etc Or they can be used to do really weird things to your sound For details on what each effect does amp how best to use them refer to the About Effects section part of this manual on page 16 for details The best thing to do is just get in there amp tweak those knobs after all that s why we put them there Experiment amp you ll soon be creating your own sounds Don t worry about erasing the factory sounds in the memory If you want the factory sounds can be recalled To do this refer to page 40 for details ABOUT EFFECTS The Nova s effect section is arguably one of the most powerful in a synthesiser of this type today With all this power it is possible to obtain a level of production that was previously unattainable Effects can be Effects or they can be Acoustic Simulations Both are useful in the production of modern music in fact they are almost essential Clever use of effects can enhance a track beyond compare However slapping loads of effe
167. m Page 2 looks like so As can be seen the higher parameter is Env 2 velocity In this case with a value of 63 This parameter determines how the Velocity of the notes played on the Master Keyboard effect the amount of modulation produced by Envelope 2 In the central position of the higher Fast Data knob there is no change to Envelope 2 amount of modulation Anticlockwise of centre there will be an increasing amount of negative modulation i e Envelope 2 amount of modulation will decrease when notes are struck harder with more Velocity on the Master Keyboard Clockwise of centre there will be an increasing amount of positive modulation i e Envelope 2 amount of modulation will increase when notes are struck harder with more Velocity on the Master Keyboard The range of this parameter is 64 to 63 This parameter is memorised with a Program As can be seen the lower parameter is Env 2 delay In this case with a value of 10 This parameter introduces a Delay time before Envelope 2 starts when a note is struck on the Master keyboard With the lower Fast Data knob fully anticlockwise there no delay i e Envelope 2 will start immediately when a note is struck on the Master Keyboard Turning this knob clockwise will introduce an increasing amount delay before Envelope 2 starts After a note has been received from the Master keyboard The range of this parameter is Off 1 to 127 This parameter is memorised with a Program Page 3 l
168. m amp MIDI This parameter determines if the Arpeggiation is sent to the Nova s sound engine MIDI output or both Use the lower Fast Data knob to adjust the value If this parameter is set to Program then when the Arpeggiator is triggered the Nova is played by the Arpeggiator but no MIDI data is output If this parameter is set to Program amp MIDI then the Nova is heard playing the Arpeggiation amp the Arpeggiation is also output via MIDI If this parameter is set to MIDI Only then no sound is heard from Nova when the Arpeggiator is triggered as the Arpeggiation is output via MIDI amp the Nova is not played directly The range of this parameter is Program Only Program amp MIDI amp MIDI Only This parameter is memorised with a Program NOTE In program mode the MIDI channel used for Arp transmission is the Global channel In Performance mode the part s MIDI channel is used If the part s MIDI channel is set to Global or Omni the Global channel is used Page 8 looks like so As can be seen the higher parameter is Constant pitch In this case with a value of Off This parameter applies only to Polyphonic patterns If this parameter is set to On then all Arpeggiator note s will be sounded at a constant pitch regardless of where they have been played from the keyboard If this parameter is set to Off then the transposition of the notes played by the Arpeggiator will be at the values programmed into the patterns Use the h
169. memorised with a Program T2 FILTER SECTION Page 3 looks like so As can be seen the higher parameter is Fq AT LFO2 amt In this case with a value of 63 This parameter determines how the Aftertouch on the Master Keyboard effects the amount of Modulation of the Cutoff Frequency of the Filter from LFO 2 This produces the Growl effect In the central position of the higher Fast Data knob there is no change to the Filter Cutoff Frequency when the Master Keyboard s Aftertouch is engaged Anticlockwise of centre there will be an increasing amount of Negative modulation i e The Filter will be closed more by LFO 2 when the Master Keyboard s Aftertouch is engaged Clockwise of centre the modulation is Positive i e The Filter will be increasingly opened by LFO 2 when the Master Keyboard s Aftertouch is engaged The range of this parameter is 64 to 63 This parameter is memorised with a Program As can be seen the lower parameter is Res AT LFO2 amt In this case with a value of 63 This parameter determines how the Aftertouch on the Master Keyboard effects the amount of Modulation of the Resonance of the Filter from LFO 2 In the central position of the lower Fast Data knob there is no change to the Filter Resonance when the Master Keyboard s Aftertouch is engaged Anticlockwise of centre there will be an increasing amount of Negative modulation i e The Filter will be made less Resonant by LFO 2 when the Master Keyboard s Aftertouch
170. morised with a program NOTE Adjusting the value of this parameter will alter the value in the Special page It is not possible to have different values set in the 2 pages 74 LFOS SECTION menu Ifo1 Ifo 2 square Saw This section contains all the knobs amp buttons associated with the LFOs The LFOs Low Frequency Oscillators produce regular electronic variation which are normally too low a frequency to be heard when converted into audio vibrations However when used to modify various elements of the sound they can be used to create regular changes in pitch Vibrato or Pulse width amp Filter Modulation these create tonal changes in the waveforms for example LFO 1 Button Filter Button S peed Knob Delay Knob The LFO 1 amp LFO 2 buttons select which LFO the Speed amp Delay knobs are going to adjust To adjust LFO 1 press the LFO 1 but ton To adjust the LFO 2 press the LFO 2 button With the LFO 1 button selected amp lit the Speed knob controls the rate at which LFO 1 oscillates Turning the Speed knob fully anti clockwise sets the LFO running at its slowest speed which is actually stopped amp turning the Speed knob fully clockwise sets the LFO running at its highest speed Which can be KHz With the LFO 1 button selected amp lit the Delay knob controls how long after the note is struck before LFO 1 begins to take effect If the knob is fully anticlockwise LFO 1 will begin immediately As t
171. mp Range menus For details refer to the Part Edit Section of this manual on page 96 NOTE Pressing any of the Part buttons when in Performance mode not only makes the display show the Program name amp location but also brings the selected Part up on the front panel controls This allows editing of Programs possible while in Performance mode All the edits made are transmitted as Controllers amp NRPNs on the MIDI channel assigned to the Part of the Performance so in a Multitimbral Performance each Part can be individually edited recorded on a sequencer amp played back into the Nova 30 EDITING amp WRITING PERFORMANCES NOTE At any stage during editing a Performance pressing the Performance button will exit the Part display amp return the Display to showing the Performance name amp location It is possible to Solo Parts of a Performance allowing the easy auditioning of separate Parts of a Performance This is done by selecting the Part to be soloed amp simply pressing the Solo button in the Part Edit section The Soloed Part will be lit amp the rest will flash indicating they are muted To return to normal operation simply press the Solo button again It is possible to Mute Parts of a Performance temporarily allowing the easy auditioning of separate Parts of a Performance whilst editing or during live Performance in a Multitimbral Performance This is done by simply pressing the Mute button in the Part edit sectio
172. n In the Arpeggiator Section there are 8 pages available These are selected using the Page Up 4 Page Down buttons to the left of the display There are a maximum of 2 parameters displayed on any page One for each line on the display The Fast Data Knobs on the right of the display are used to alter these parameters values Page 1 looks like so As can be seen the parameter is Key reset In this case with a value of Off This parameter controls the way the Arpeggiator resets itself when new notes are played on the Master Keyboard Use the higher Fast Data knob to adjust the value In the Off position the cycle of the Arpeggiator is not interrupted when new notes are played on the Master Keyboard the Arpeggiator simply changes the notes being played to the new ones In the On position the cycle of the Arpeggiator is reset to the start of its patterns when new notes are played on the Master Keyboard In this condition if the Quantise parameter on page 3 of the Arp menu is set to Off it behaves like triggering a loop in a sequencer If the Quantise parameter is set to modes 1 or 3 the reset will occur at the start of the next step If the Quantise is set to modes 2 or 4 notes played slightly late will reset immediately amp following steps will be in sync The range of this parameter is On amp Off This parameter is memorised with a Program Page 2 looks like so As can be seen the higher parameter is Pattern ba
173. n When this button is lit the Mute mode is active When the Mute button is lit active pressing any Part will mute amp it will flash indicating that it is muted Any number of Parts can be muted Unlike the solo function the mute status is retained when you exit the mute mode This is exactly like a mixing desk if a Part is muted you will have to enter into the mute mode mute button lit to un mute it This mute status is also memorised with a Performance This means that you can recall a Performance with several or even all Parts muted This allows separate sounds to be manually dropped in amp out during Performance amp the Performance is set up ready with the desired Parts muted B NOTE More than one Part button can be pressed at once while in the mute mode Mute button lit For example if Part 1 is flashing muted amp Part 2 is not active then pressing Part 1 amp 2 buttons simultaneously when the Mute button is lit will make Part 1 active unlit amp Part 2 muted flashing This is great in live Performance z o 4 m To assign no Program to a Part Off press set the Polyphony Parameter in the Polyphony button menu to Off z o 4 m Only one Performance can be used at any one time Performances cannot be used as Parts of other Performances amp you cannot assign different Performances to different MIDI channels amp expect to get Multiple Performances z o 4 m When Performance mode is
174. n at all The range of this parameter is 64 to 63 This parameter is memorised with a Program NOTE This is actually set up in Program D126 DOUBLE SAW Init In this program LFO1 is used positively amp negatively on 2 oscillators amp LFO2 is used at a slightly different speed to make sure all 6 oscillators are at different pitches NOTE The detune effect will not be smoothly produced if anything other than a modulation level of either 64 to 63 is used Anything else may produce clicky artifacts But these in themselves may be interesting NOTE These buttons do not apply to the Ring Mod Oscillators 1 3 amp 2 3 or the Noise Generator Octave Button Semitone Button Fine Button Tune Knob The three buttons determine if the Tune knob edits the Octave setting Semitone transposition or fine tuning of the selected Oscillator If the Octave button is selected the Tune knob will shift the selected oscillator up 2 octaves when turned fully clockwise amp down 2 octaves when turned fully anticlockwise If the Semitone button is selected the Tune knob will shift the selected oscillator up 12 semitones when turned fully clockwise amp down 12 semitones when turned fully anticlockwise If the Fine button is selected the Tune knob will shift the selected oscillator up 63 cents when turned fully clockwise amp down 64 cents when turned fully anticlockwise These parameters are memorised with a Program Portamento Knob
175. n page 6 of the Filter menu The reason for this is that it was found to be nice for the display to jump back to this parameter when editing 4 as this parameter is duplicated in the Filter menu it will do that when the Filter menu is selected This can provide Formant type filters 4 speech like qualities can be easily realised The Filter width is calibrated in semitones amp a range of pre set intervals are available The range of this parameter is 00 08 16 24 32 40 48 amp 56 Note that the Resonance modulation Knob in the Filter Modulation Matrix actually modulates the Filter width parameter amp not the resonance when the Special filters are selected The Resonance knob still retains its function as filter Resonance when in this mode This parameter is memorised with a program NOTE Adjusting the value of this parameter will alter the value in the Filter menu It is not possible to have different values set in the 2 pages Frequency Knob This knob controls the Cutoff Frequency of the Filter Fully Clockwise amp the Filters Cutoff frequency is set to the highest position generally this produces a very trebly sound Fully anticlockwise amp the Filters Cutoff frequency is set to the lowest position generally producing a very mellow sound The range of this parameter is 000 to 127 This parameter is memorised with a Program NOTE It is possible to set the Filter so that it Filters out all of the sound This normally ha
176. n this mode Also note the Memory Protect has to be set to Off for this to be possible Page 2 looks like so As can be seen the higher parameter is Sysex transmission In this case with a value of Single Program This parameter selects the type of data to be dumped via MIDI Use the lower Fast Data knob to adjust this parameter Whatever value is set on the lower line of the display is transmitted when the MIDI button is pressed in the Part edit section The range of this parameter is Single program All programs Single prog request All progs request Single performance All performances Single perf request All perfs request Single arp pattern All arp patterns Single patt request all patts request Global parameters Globals request Total data Total data request Program bank A Program bank B Program bank A request Program bank B request Performance bank A amp Performance bank A request This parameter is memorised as Global NOTE The Nova can accept System Exclusive dumps while in any mode NOTE To write any changes to this parameter into memory press the Write button while in this mode Also note the Memory Protect has to be set to Off for this to be possible Page 3 looks like so As can be seen the higher parameter is Sysex Reception In this case with a value of Normal Rx as sent This parameter determines if incoming Sysex data will be received amp if it is Bank dumps where it will
177. nal MIDI Clock amp the LFOs 8 or Delay will be synchronised with the Arpeggiator at whatever time signature has been selected in the LFOs amp or Delay On Off Button This buttons determines if the Arpeggiator is active or disabled in the currently selected program Pressing this button makes the Arpeggiator active amp the button will light Pressing it again will deactivate the Arpeggiator amp the light will go out The range of this parameter is On amp Off This parameter is memorised with Programs in Program mode amp Performances in Performance mode Latch Button This button determines the way in which the Arpeggiator remembers which notes you are playing or have played on the Master Keyboard When this is Off unlit the Arpeggiator will only sweep through its patterns when you hold down notes on the Master Keyboard If you are not playing any notes on the Master Keyboard no arpeggio will be heard If the latch is set to On Lit the Arpeggiator remembers what notes you last played i e If you play a C triad amp then release the keys on the Master Keyboard the Arpeggiator will not stop it will continue to sweep through the C triad until a new set of notes is played then it will sweep through the new notes until another set it played etc etc The range of this parameter is On amp Off This parameter is memorised with a Program NOTE This parameter can be controlled via MIDI in the Performance mode To
178. ncy Cutoff Frequency Volume High Resonance Frequency Cutoff Frequency Volume Frequency ABOUT ANALOGUE SYNTHESIS AM PLIFIER volume The last major process that makes up a sound is it s Volume The Volume of sounds vary as time goes by amp so an Organ has very different volume characteristics than that of a Piano or String section See the following diagrams for details Volume Key On Key Off Time Organ Type Volume Responce Curve The Organ can be seen to go to full volume instantly when a key is pressed amp then stay there until the key is released at which point the volume drops instantly to zero Volume Key On Key Off Time Piano Type Volume Responce Curve The Piano can be seen to go to full volume instantly when a key is pressed 8 then gradually fall back down to zero over several seconds Volume Key On Key Off Time String Section Type Volume Responce Curve The String section can be seen to go to full volume gradually over several seconds when a key is pressed amp then stay there until the key is released when gradually over a couple of seconds the volume drops to zero These curves are called Envelopes amp in an Analogue synthesiser Envelope Generators are used to recreate them Envelope Generators have 4 parameters which are used to adjust the shape of the envelope see the diagram below Volume Key On Key Off Sustain level At
179. new sound using the bank amp the prog buttons or the upper fast data knob For example pressing the Bank Up button in the above example the display will show As can be seen Bank B has now been selected It is possible to alter the location within the destination bank with the prog buttons or higher fast data knob For example pressing the prog up button twice amp the display shows As can be seen the destination of the sound to be written is now B Bank number 002 NOTE While in this mode the Compare button has a different function to its normal operation The Compare button in this mode toggles between the currently edited sound amp the destination Program The Program button will flash amp the Compare button will be lit when this function is active 28 EDITING amp WRITING PROGRAMS Once the destination for the Program has been decided press the Write button again amp the display shows The name of the Program can be altered when in this mode As can be seen in the display the first character of the Programs name has a cursor under it Using the higher Fast Data knob you can scroll through the character set for that character Using the lower Fast Data knob you can move the cursor horizontally NOTE Pressing the Page Up button while in this mode inserts a space at the cursor position amp pressing Page Down while in this mode deletes the character to the right of the cursor Once the name has been selected press
180. nforms to EMC Directive 89 336 EEC CE mark Directive 93 68 EEC and Low Voltage Directive 73 23 EEC Also CE mark which is attached to our company s products of Battery operated apparatus means it conforms to EMC Directive 89 336 EEC and CE mark Directive 93 68 EEC EET a ee ccc c o x 6 Trademarks All trademarks or registered trademarks used in this manual are the property of their respective holders oun C CC LLG amp du HU CT QC M S pecifications subject to change The information contained in this manual is believed to be correct at the time of going to press However Novation reserves the right to change or modify the specification without notice or obligation to update existing units While every effort is made to make sure no errors are present in this document Novation cannot accept responsibility or liability for loss of data incorrect operation or misleading operation due to errors Copyright 2001 Novation Electronic Music Systems Ltd 141 MENU MAP l Oscillator M enu Filter M enu Envelope M enu Hiheel LFO 1 amt 10 Filter tracking O00 Ens 1 velocity 10 ATouch LFO 1 amt 10 B norm amount O00 Formant width 10 Fq Muh LFOZ amt 63 Enu 2 velocity 10 Sunc 10 Rez Huh LFOS amt 63 Enu 2 delay 10 Sunc key follow 10 Faq AT LFOZ amt 63 Enu 3 velocity 10 Pitch bend
181. ng These buttons select which Part of a Performance is going to be edited Pressing any Part button will assign all the front panel to the Program assigned to the selected Part To assign a different Program to this Part use the Bank amp Prog Up amp Down buttons to select in a new Program Moving any knob will bring up the Parameter name on the display in the normal way To return to the dis play showing the Part s assigned Program simply press the appropriate Part button again Any modifications to the Program made in this mode will have to be written into the Program See Editing amp Writing Performances on page 30 for details NOTE Part selection can be transmitted amp recorded as controller data to a sequencer amp the played back to the Nova Tune Button NOTE This button only works in Performance mode This button alters the Tuning of the Program assigned to the currently selected Part When this button is pressed the display shows parameters relevant to this section 96 PART EDIT SECTION W hen this button is pressed the display shows As can be seen the higher parameter is Part semitone In this case with a value of 07 This parameter Transposes the Program by the number of semitones selected using the higher Fast Data knob The range of this parameter is 24 to 24 semitones This parameter is memorised with the Performance As can be seen the lower parameter is Part detune In this case with a value of
182. ng The second Part of the parameter Up Down or Played determines which note ordering system is used for the monophonic pattern When set to Up note 1 in the pattern data will refer to the lowest note played note 2 the next note up amp so on When set to Down note 1 in the pattern data will refer to the highest note played note 2 the next note down amp so on When set to Played note 1 in the pattern data will refer to the earliest note played note 2 the next note to be played amp so on By adjusting this value you can in effect treble the number of available monophonic patterns you have access to The most musical settings for this parameter are any of the On options The range of this parameter is Off Up On Up Off Down On Down Off Played amp On Played This parameter is memorised with a Program NOTE When the Arpeggiator is using one of the standard Up Down patterns Mono patterns 000 to 003 Fill in can be used to deter mine how the pattern sweeps through the number of octaves set on page 4 of the Arpeggiator Menu When the Fill in parameter is set to any of the On settings the pattern will sweep through all of the available in octaves in a single pass of the pattern When the Fill in parameter is set to any of the Off settings the pattern will use each octave in turn for a single pass of the pattern When using these patterns previous OS Versions always behaved as if Fill in was set to
183. nge 10 111 Reserved 48 Osc 2 pitch bend range 411 112 Sysex Tx Perf bank A 49 Osc 2 pitch bend range 12 113 Reserved 50 Osc 3 pitch bend range 12 114 Sysex Tx Perf bank A request 51 Osc 3 pitch bend range 11 115 Reserved 124 MIDINRPN TABLES Packed NRPN 100 Data Description Data Description 0 Delay sync Off 64 Input 2 trim 4 1 Delay sync 32 triplet 65 Input 2 trim 3 2 Delay sync 32 66 Input 2 trim 2 3 Delay sync 16 triplet 67 Input 2 trim 1 4 Delay sync 16 68 Input 2 trim 0 5 Delay sync 8 triplet 69 Input 2 trim 1 6 Delay sync 16 dotted 70 Input 2 trim 2 7 Delay sync 8 71 Input 2 trim 3 8 Delay sync 4 triplet 72 Input 2 trim 4 9 Delay sync 8 dotted 73 Input 2 trim 5 10 Delay sync 4th 14 Input 2 trim 6 11 Delay sync 2d triplet 75 Input 2 trim 7 12 Delay sync 4th dotted T6 Input 2 trim 8 13 Delay sync 2nd TT Input 2 trim 9 14 Delay sync 1 bar triplet 78 Input 2 trim 10 15 Delay sync 2nd dotted 79 Constant gate Off 16 Delay sync 1 bar 80 Constant gate On 17 Delay sync 2 bar triplet 81 Unison Off 18 Delay sync 1 bar dotted 82 Unison On 19 Delay sync 2 bars 83 Unison 2 voice 20 Delay sync 4 bar triplet 84 Unison 3 voice 21 Delay sync 3 bars 85 Unison 4 voice 22 Delay sync 5 bar triplet 86 Unison 5 voice 23 Delay sync 4 bars
184. nge of this parameter is 64 to 63 This parameter is mem orised with a Program in Program Mode or memorised with a Program or Performance in Performance Mode depending on the value of the Part s Effects Used parameter M enu Button Dist EQ config selected When this button is pressed a series of pages is available on the display containing parameters relevant to this section In the Dist EQ config section there are 5 pages available Page 1 looks like so As can be seen the higher parameter is Distortion wheel In this case with a value of 63 This parameter determines how much the Mod Wheel controls the Distortion effect Use the higher Fast Data knob to adjust this parameter Fully anticlockwise the Distortion will be reduced with full modulation of the Mod Wheel fully clockwise the Distortion will be increased with full modulation of the Mod Wheel The range of this parameter is 64 to 63 This parameter is memorised with a Program in Program Mode or memorised with a Program or Performance in Performance Mode depending on the value of the Part s Effects Used parameter 87 EFFECTS SECTION Page 2 looks like so As can be seen the higher parameter is EQ treble In this case with a value of 04 This parameter adjusts the Treble of the selected Program Use the higher Fast Data knob to adjust this parameter The range of this parameter is 64 to 63 This parameter is memorised with a Program in Program Mode
185. nge of this parameter is 64 to 63 This parameter is memorised with a Program in Program Mode or memorised with a Program or Performance in Performance Mode depending on the value of the Part s Effects Used parameter M enu Button Reverb selected When this button is pressed a series of pages is available on the display containing parameters relevant to this section In the Reverb section there are 3 pages available These are selected using the Page Up amp Page Down buttons to the left of the display There are a maximum of 2 parameter s displayed on any page One for each line on the display The Fast Data Knobs on the right of the display are used to alter these parameters values Page 1 looks like so As can be seen the higher parameter is Type In this case with a value of Gated reverse This parameter determines the type of Reverb effect Use the higher Fast Data knob to adjust this parameter There are 16 differ ent types of reverb available in the Nova Turning the higher Fast Data knob fully anticlockwise selects Gated reverse reverb This is a special reverb where the reverb builds to a point amp then stops as opposed to decaying away like normal reverb Turning the Fast Data knob clockwise one click selects Gated rising again this is a gated type of reverb that is slightly reverse in characteristic Turning the Fast Data knob clockwise one click selects Gated gentle which is a classic gated sort of reverb Turning th
186. nk In this case with a value of Mono This parameter determines type of Pattern the Arpeggiator will use Use the Higher Fast Data knob to adjust the value The Mono Bank is 128 preset patterns that are Monophonic a single note is played at any one time The Poly Bank is 128 preset patterns that are Polyphonic all the notes played on the Maser Keyboard are played at once amp transposed The User Bank is 128 pat terns that are user programmable in the Global Mode Patterns 000 to 063 in this bank are Monophonic amp 064 to 127 are Polyphonic The range of this parameter is Mono Poly amp User This parameter is memorised with a Program As can be seen the lower parameter is Pattern no In this case with a value of 120 This parameter determines which pattern in the bank specified by the parameter above is used by the Arpeggiator Use the lower Fast Data knob to adjust the value The range of this parameter is 000 to 127 This parameter is memorised with a Program Page 3 looks like so As can be seen the higher parameter is Latch type In this case with a value of Constant This parameter determines how the Latch function behaves Use the higher Fast Data knob to adjust the value In the Constant position when the Latch is On the Arpeggiator remembers what notes you last played i e If you play a C triad amp then release the keys on the Master Keyboard the Arpeggiator will not stop it will continue to sweep
187. nvelope 3 modulation of the Soften setting of Oscillator 1 press the Osc 1 button it will light up indicating it is selected amp then press the Soften button within the modulation section to define the modulation destination Press the Env 3 button to define the modulation source Now adjusting the Mod depth knob clockwise will modulate the Soften setting of Oscillator 1 by envelope 3 NOTE This makes it possible for all modulation sources to effect any one destination in varying amounts amp even in different polarities The display will change to indicate the parameter that has been selected amp display the newly edited value The Display will stay like this until another parameter is adjusted in which case it will change to display the new parameter To return to the display of the Program Performance name amp number press the Program or Performance button NOTE Only one source amp destination can be edited at one time NOTE Even though only one source amp destination combination can be edited at one time all available combinations can happen at the same time NOTE Some combinations do not apply i e Pulse Width Modulation of Noise Generator When such a parameter is edited the display shows Not Available amp no audible effect is heard 57 OSCILLATOR SECTION Possible Combinations amp the effects Produced NOTE All these parameters are memorised with a Program M ix Button Leve
188. o MIDI If this parameter is set to Mono only one voice is assigned to the Part Monophonic If this is set to Poly voices are dynamically allocated to the Part All voices will be dynamically shared by the Parts If this parameter is set to Prog the Polyphony setting of the currently selected Program in the currently selected Part is mirrored by the Part i e If a Monophonic Program was selected in the Part then the Part s polyphony would be Monophonic amp if a Polyphonic sound was selected then the 100 PART EDIT SECTION pu T6 cd lc ca ee polyphony would automatically change to Polyphonic In Program mode the display is different It shows Program Mode on the top line of the display amp Polyphony on the bottom line When in Program mode use the lower Fast Data knob amp nudge buttons to adjust this parameter The range of this parameter in the Performance mode is Off Poly Mono amp Prog In the Program mode the range is Poly amp Mono This parameter is memorised with Programs in Program Mode amp Performances in Performance Mode When this button is pressed when in Program mode the display shows When in Program mode the display is different but the function is the same Use the lower Data knob to adjust this parameter The range of this parameter in the Program mode is Off Poly Mono amp Prog In the Program mode the range is Poly amp Mono This
189. o anything other than Off then the input 2 pedal cannot be used as an input only as an expression pedal input 108 USING EXPRESSION PEDALS amp FOOTSWITCHES Pedals amp M IDI An expression pedal connected to the Input 2 pedal jack transmits MIDI CC 2 also known as breath control NOTE In Performance Mode MIDI messages will only transmitted if at least one Part has the Expression pedal on page 3 of the Part edit Midi menu set to On W hat the Pedal does in Program mode An expression pedal connected to the Input 2 pedal jack generates breath control data which can then be re mapped accord ing to the setting of the Breath control parameter on page 4 of the Global menu Page 4 looks like so For example if the Breath control parameter in the Global menu was set to MW all data generated by the pedal would be passed on to the currently selected Program as if it were modulation wheel data CC 1 taking into account all of the Wheel set tings in the Program s modulation matrices W hat the Pedal does in Performance mode In Performance Mode each individual Part has its own settings which determine whether it transmits Pedal data amp how the Part responds to any MIDI data generated by a Pedal both when received directly from the pedal or played back later from a sequencer These parameters are accessed on pages 3 amp 4 in the Part edit Midi menu Page 3 looks like so T
190. o be heard after the original signal In the example given above this is the same effect as the distance you are from the wall A large distance produces a long delay amp a short distance produces a short delay In the Nova the Delay time is the time of the Longest delay The shorter delay will be a per centage of this value See Ratio below Feedback This parameter controls how much of the delayed signal is fed back into the delay s input No feedback produces a Slapback Echo effect that is just one delayed signal with no repeats Small amounts of feedback produce repeated signals giv ing the Echo effect This can be thought of as standing in between two parallel concrete walls The sound bounces back amp forth between them In this case the Decay Time represents the distance between the walls HF Damping HF Damping is short for High Frequency Damping This controls the tone of the decaying Echo This can be thought of as the amount of drapes on the walls Drapes tend to absorb high frequencies so as a sound bounces from wall to wall giving you your Echo effect with each bounce the sound looses a little treble No HF Damping is a little unusual in the real world but can be used to emphasise sibilant or trebly sounds This characteristic was found in older Tape based echo units Higher values of this parameter simulates the effect of worn out tape or heads in a tape echo Normally a little HF Damping is applied to gi
191. of modulation indi vidually for each oscillator Refer to page 8 in the About Analogue Synthesis section for details on this parameter The range of this parameter is 000 to 127 This parameter is memorised with a Program NOTE Sync Key Follow does not apply to the 1 3 2 3 or Noise buttons If you attempt to alter this parameter when these buttons are selected the display will show Menu Only Available For Osc 1 2 or 3 whilst the adjustment is being made then the display will revert back to the last edited parameter As can be seen the lower parameter is Pitch bend range In this case with a value of 10 This parameter determines how the Pitch Bend Wheel on the Master Keyboard effects the pitch of the oscillators Use the lower Fast Data knob to adjust the value of this parameter With this parameter it is possible to set the pitch bend range individually for each oscillator allowing the creation of effects like using the Pitch bend control to bend into a chord The range is 12 to 12 in semitone steps This parameter is memorised with a Program NOTE Pitch bend Range does not apply to the 1 3 2 3 or Noise buttons If you attempt to alter this parameter when these buttons are selected the display will show Menu Only Available For Osc 1 2 or 3 whilst the adjustment is being made then the display will revert back to the last edited parameter 66 FILTER SECTION Lee Filters modulation menu 12dB 18dB 24dB destination source
192. ogram changes received after that will be re mapped according to the Performance Map This can be disabled by sending another MIDI Bank Message calling up either one of the Program or Performance Banks See page 130 for details on the Bank Messages received by the Nova NOTE To write any changes to the performance map into memory press the Write button while this page is displayed Also note the Memory Protect has to be set to Off for this to be possible As can be seen the lower parameter is Selects In this case with a value of Perf A010 This parameter shows which sound is assigned to the selected Program Message set in the parameter above Use the lower Fast Data knob amp the Bank button to adjust this parameter In this case the sound assigned is Performance A010 Pressing the Bank button while in this mode allows the selection of any of the Performance or Program Banks Using the lower Fast Data knob allows any sound from the selected Bank to be set The range of this parameter is Curr Prog A Prog B Perf A Arp M Arp P amp Arp U This parameter is memorised as Global 43 MODE SECTION Page 16 looks like so As can be seen the parameter is Arp pattern editing via MIDI In this case with a value of Off This parameter determines if the Arpeggiator pattern data can be entered via a MIDI keyboard or not When this parameter is set to Off editing of Arpeggiator patterns via a keyboard MIDI is not possible only t
193. ogram or Performance in Performance Mode depending on the value of the Part s Effects Used parameter NOTE If the Sync Delay parameter is set to anything but Off this parameter will not work As can be seen the lower parameter is Feedback In this case with a value of 090 This parameter determines how much feedback there is in the Delay effect Use the Lower Fast Data knob to adjust this parame ter The higher the value of this parameter the more Repeats are in the delayed signal The range of this parameter is 000 to 127 This parameter is memorised with a Program in Program Mode or memorised with a Program or Performance in Performance Mode depending on the value of the Part s Effects Used parameter Page 2 looks like so The higher parameter is Stereo width In this case with a value of 010 This parameter determines how wide the stereo image of the delay is Use the upper Data knob to adjust this parameter In the 000 position the Delay is mono In the 127 position the delay is fully stereo The range of this parameter is 000 to 127 This param eter is memorised with a Program in Program Mode or memorised with a Program or Performance in Performance Mode depend ing on the value of the Part s Effects Used parameter The lower parameter is Delay ratio In this case with a value of 1 1 This parameter determines the relationship of the Delay times in the Delay In the 1 1 position the Left amp Righ
194. ols the modulation of the Mix of the selected Oscillator Noise Generator or Ring Modulator by ENV 2 Turning the Mod Depth Knob fully clockwise introduces Mix modulation from ENV 2 to the selected sound source in a Positive direction Turning the Mod Depth Knob fully anticlockwise introduces Mix modulation from ENV 2 to the selected sound source in a Negative direction In the Mid position there is no modulation at all The range of this parameter is 64 to 63 M ix Button M od Depth Knob ENV 3 Button This combination controls the modulation of the Mix of the selected Oscillator Noise Generator or Ring Modulator by ENV 3 Turning the Mod Depth Knob fully clockwise introduces Mix modulation from ENV 3 to the selected sound source in a Positive direction Turning the Mod Depth Knob fully anticlockwise introduces Mix modulation from ENV 3 to the selected sound source in a Negative direction In the Mid position there is no modulation at all The range of this parameter is 64 to 63 M ix Button M od Depth Knob W heel Button This combination controls the modulation of the Mix of the selected Oscillator Noise Generator or Ring Modulator by the Mod Wheel Turning the Mod Depth Knob fully clockwise introduces Mix modulation from the Mod Wheel to the selected sound source in a Positive direction Turning the Mod Depth Knob fully anticlockwise introduces Mix modulation from the Mod Wheel to the selected sound source in a Negative direction
195. on 21 0 Favourites map program number 22 0 User pattern number edit select 23 0 User pattern edit step 24 0 User pattern edit note value 7 25 7D 0 User pattern edit velocity value 7 26 0 User pattern edit no of steps 27 0 Filter Q normalise Always sent amp received on the Global MIDI channel 121 MIDINRPN TABLES Packed NRPN 0 Data Description Data Description 0 Osc 1 square wave 64 Osc 1 semitone tune 7 1 Osc 1 saw wave 65 Osc 1 semitone tune 8 2 Osc 1 Audio input 1 wave 66 Osc 1 semitone tune 9 3 Osc 1 Audio input 2 wave 67 Osc 1 semitone tune 10 4 Osc 1 double saw wave 68 Osc 1 semitone tune 11 5 Not Currently Used 69 Osc 1 semitone tune 12 6 Not Currently Used 70 Osc 2 semitone tune 12 7 Not Currently Used 71 Osc 2 semitone tune 11 8 Not Currently Used T2 Osc 2 semitone tune 10 9 Not Currently Used 73 Osc 2 semitone tune 9 10 Osc 2 square wave 74 Osc 2 semitone tune 8 11 Osc 2 saw wave 75 Osc 2 semitone tune 7 12 Osc 2 Audio input 1 wave T6 Osc 2 semitone tune 6 13 Osc 2 Audio input 2 wave TT Osc 2 semitone tune 5 14 Osc 2 double saw wave 78 Osc 2 semitone tune 4 15 Not Currently Used 79 Osc 2 semitone tune 3 16 Not Currently Used 80 Osc 2 semitone tune 2 17 Not Currently Used 81 Osc 2 semitone tune 1 18 Not Currently Used 82 Osc 2 semitone tune 0 19 Not Currently Used 83 Osc 2 semitone tune 1 20 Osc 3 square wave 84 Osc 2 semitone tune 2 21 Osc 3 saw wave 85 Osc 2 semitone tune
196. on boost will be applied to harmonics in the sound The range of this parameter is 64 to 63 This parameter is memorised with a Program in Program Mode or memorised with a Program or Performance in Performance Mode depending on the value of the Part s Effects Used parameter Page 4 looks like so As can be seen the higher parameter is Fx config In this case with a value of D R C This parameter changes the order arrangement of the Delay Reverb amp Chorus Flanger Phaser effects Use the higher Fast Data knob to adjust this parameter Different configurations can make the effects sound quite different i e a sound that is delayed then reverbed amp then chorused sounds quite different to a sound that has been Chorused then Delayed then Reverbed There are 19 different effects configurations available in the Nova Below is a diagram showing how the Normal effects configuration 88 EFFECTS SECTION EFFECTS SECTION IN THE NORMAL POSITION The section enclosed D R C can be Morphed into different configurations MEIN Below are diagrams showing how the different effects are connected in different configurations Output SERIES CONFIGURATIONS D gt R gt C D gt C gt R BEREE bbs R gt D gt C R gt C gt D Baga gt R Delay C F P C F P Delay C gt D gt R C gt R gt D F EP gt gt pte EREEREER 89 EFFECTS SECTION SERIES PARALELL CONFIGURATIONS D R gt C D C gt R
197. ooks like so As can be seen the higher parameter is Env 3 velocity In this case with a value of 63 This parameter determines how the Velocity of the notes played on the Master Keyboard effect the amount of modulation produced by Envelope 3 In the central position of the higher Fast Data knob there is no change to Envelope 3 amount of modulation Anticlockwise of centre there will be an increasing amount of negative modulation i e Envelope 3 amount of modulation will decrease when notes are struck harder with more Velocity on the Master Keyboard Clockwise of centre there will be an increasing amount of positive modulation i e Envelope 3 amount of modulation will increase when notes are struck harder with more Velocity on the Master Keyboard The range of this parameter is 64 to 63 This parameter is memorised with a Program As can be seen the lower parameter is Env 3 delay In this case with a value of 10 This parameter introduces a Delay time before Envelope 3 starts when a note is struck on the Master keyboard With the lower Fast Data knob fully anticlockwise there no delay i e Envelope 3 will start immediately when a note is struck on the Master Keyboard Turning this knob clockwise will introduce an increasing amount delay before Envelope 3 starts After a note has been received from the Master keyboard The range of this parameter is Off 1 to 127 This parameter is memorised with a Program 79 ENVELOPES SECTI
198. or memorised with a Program or Performance in Performance Mode depending on the value of the Part s Effects Used parameter As can be seen the lower parameter is EQ bass In this case with a value of 04 This parameter adjusts the Treble of the selected Program Use the Lower Fast Data knob to adjust this parameter The range of this parameter is 64 to 63 This parameter is memorised with a Program in Program Mode or memorised with a Program or Performance in Performance Mode depending on the value of the Part s Effects Used parameter Page 3 looks like so As can be seen the higher parameter is Comb frequency In this case with a value of 069 This parameter adjusts the Frequency range of the Comb Filter Use the higher Fast Data knob to adjust this parameter The range of this parameter is 64 to 63 This parameter is memorised with a Program in Program Mode or memorised with a Program or Performance in Performance Mode depending on the value of the Part s Effects Used parameter NOTE No effect will be heard when altering this parameter if the Comb Boost parameter is set to 00 As can be seen the lower parameter is Comb boost In this case with a value of 10 This parameter adjusts the amount of boost to harmonics the Comb Filter provides Use the Lower Fast Data knob to adjust this parameter If this parameter is set to the mid position 00 no effect will be heard If turned Clockwise or anticlockwise from this positi
199. orta Time setting In the Gliss position the Portamento effect is Glissando notes glide in semitone steps from one pitch to another determined by the Porta Time setting The range is Porta amp Gliss This parameter is memorised with a Program 80 ENVELOPES SECTION As can be seen the lower parameter is Porta mode In this case with a value of Exp This parameter determines if the glide of the Portamento effect is Linear or Exponential Use the lower Fast Data knob to adjust the value of this parameter Some synthesisers like the TB303 have an Exponential curve which gives them a Character to the way slides are performed on the other hand for Portamento lead Linear is the norm The range is Lin amp Exp This parameter is memorised with a Program Page 3 looks like so As can be seen the higher parameter is Poly mode In this case with a value of Mode 1 This parameter determines If new voices are used when the same note is played Use the higher Fast Data knob to adjust the value of this parameter In the Mode 1 position the voice allocation behaves like most modern synthesisers i e a new voice is allocated to every new note played even if the new note is being already played by another voice In the Mode 2 position the voice allocation behaves like vintage 8 6 voice analogue synthesisers i e If a new note is played that is already being played by another voice the existing voice is soft retriggered amp plays the new n
200. ost problems As said above this is not a fault in the Nova but the transmitting device In these devices it seems to be a compound problem with hardware amp software Some applications will work with some MIDI inter faces amp not with others Solution 1 is try another sequencer application Solution 2 is try another MIDI interface Solution 3 is try another sequencer application with a different MIDI interface Cubase works most of the time depending on the version amp interface Cakewalk works sometimes depending on the version amp interface Logic works most of the time depending on the version amp interface Media Player works sometimes depending on the version amp interface Freeloader works most of the time depending on the version amp interface Some USB MIDI interfaces do seem to have problems handling this data Please contact the manufacturer to get the latest Drivers Operating systems for the interfaces At the point of writing no USB interface known can reliably do this If none of this works Try a different computer Feel free to ask the sequencer manufacturer why large sysex files as mid files are incompatible with their application mid files are meant to be an international standard M acintosh Mac s seem to be relatively trouble free Problems have been encountered with older ones though If you experience problems the same solutions as described above for PC apply Solution 1 is try another sequ
201. ote No new voice is allocated The range is Mode 1 amp Mode 2 This parameter is memorised with a Program As can be seen the lower parameter is Osc mode In this case with a value of Percussive This parameter determines if the Oscillators are reset on note on or not Use the lower Fast Data knob to adjust the value of this parameter In the Percussive position the Oscillators are reset on note on This makes it possible to create Punchy basses amp Drum sounds In the Ensemble position all the Oscillators are free running amp this allows the creation of fat string sounds etc The range is Percussive amp Ensemble This parameter is memorised with a Program Page 4 looks like so As can be seen the lower parameter is Glide type In this case with a value of Normal Glide This parameter determines how the Portamento is controlled Turning the lower Fast Data knob fully anticlockwise sets this param eter to the Normal position In this mode the Portamento behaves normally Turning this knob clockwise selects the AutoGlide option In this mode the Portamento will be switched off when notes are played with a gap in between them however when Legato overlapping notes are received the Portamento effect is switched on This is particularly useful as it makes TB303 type glides in a sequencer very easy to program by simply overlapping the notes where you want the glide to occur From this position turning the knob clockwise brin
202. ound amp Oscillator 3 is using a Square wave modulated by Skew amp Formant width to produce a bright PWM like waveform The 1 3 Ring modulator amp the 2 3 Ring modulator are producing complex waveforms amp these along with all the Oscillators amp the Noise generator are fed to the Mixer ABOUT ANALOGUE SYNTHESIS FILTER tone There are several different types of filter These are Low Pass Filter High Pass Filter 4 Band Pass Filter The Low Pass Filter allows harmonics below a set frequency to pass through the filter Hence the name Low Pass Filter The High Pass Filter allows harmonics above a set frequency to pass through the filter Hence the name High Pass Filter The Band Pass Filter allows harmon ics at a set frequency to pass through the filter the harmonics above amp below the set frequency do not pass through the filter Hence the name Band Pass Filter Below are the frequency response curves of the three types of filters Cutoff Frequency Cutoff Frequency Volume Volume Frequency Frequency Low Pass Filter Responce Curve High Pass Filter Responce Curve Cutoff Frequency Volume Frequency Band Pass Filter Responce Curve Additionally the slope of the curve at which the filter rejects unwanted harmonics can be altered The effect is similar to a Q con trol on a parametric EQ In the 12dB position the Cutoff Frequency slope is less steep so the higher f
203. outputs 3 amp 4 then pan Part 3 to the Left output 3 amp Part 4 output 4 to the Right with the panpot Set Part 5 amp 6 to go to outputs 5 amp 6 then pan Part 5 to the Left output 5 amp Part 6 output 6 to the Right with the panpot The range of this parameter is 1 amp 2 3 amp 4 5 amp 6 amp 7 amp 8 This parameter is memorised with the Performance NOTE If the Delay Reverb Chorus Flanger Phaser or Vocoder effects are used they will produce stereo signals over an output pair To isolate a sound to a single mono output it is necessary to make sure the send levels of these effects are set to 000 As can be seen the lower parameter is Effects used In this case with a value of Program Use the lower Fast Data knob to adjust this parameter This parameter determines if the Effects to be used by the Part will change when a MIDI Program Change mes sage is received from the current settings to the settings of the new Program or not This can be useful for dramatic changes in Effects by setting this parameter to Program or this parameter can be useful for retaining the effects used on this Part when a MIDI Program Change is received by setting it to Part The range of this parameter is Program amp Part This parameter is memorised with the Performance Page 1 Program mode Page 2 Performance mode looks like so The inputs 1 amp 2 can be monitored using this page PPM meters show the level of both inputs The levels
204. ow A001 NOTE While in this mode the Compare button has a different function to its normal operation The Compare button in this mode toggles between the currently edited Performance amp the destination Performance The Performance button will flash amp the Compare but ton will be lit when this function is active Once the destination for the Performance has been decided press the Write button again amp the display shows The name of the Performance can be altered when in this mode As can be seen in the display the first character of the Performances name has a cursor under it Using the higher Fast Data knob you can scroll through the character set for that char acter Using the lower Fast Data knob or nudge buttons you can move the cursor horizontally NOTE Pressing the Page Up button while in this mode inserts a space at the cursor position 4 pressing Page Down while in this mode deletes the character to the right of the cursor 32 EDITING amp WRITING PERFORMANCES Once the name has been selected press write again 4 the display shows As can be seen the Nova is asking confirmation that you wish to write over the destination Performance replacing it with the newly edited Performance On the top line of the display Nova is asking if you wish to update re write all the Programs used in the cur rently selected Performance If this parameter is set to No then the Performance only is written into memory If this
205. parameter is set to Yes then any alterations made to the Programs excluding the over rides such as Part Volume Arp On Off amp Effects set tings if the Parts Effects used parameter in the Output menu is set to Part will be written into all the Programs used in the select ed Performance If this parameter is set to Each then any alterations made to the Programs excluding the over rides such as Part Volume Arp On Off amp Effects settings if the Parts Effects used parameter in the Output menu is set to Part can be selectively saved one by one The Nova asks for confirmation to save each Part individually showing the Part number amp the Program number Individual Parts can be left unsaved Skipped by turning the lower Fast Data knob while in this mode NOTE When in this mode the Compare button toggles between the Destination Program amp the edited Program Both the Performance amp the Program buttons will flash amp the Compare button will be lit when the Compare mode is active To complete the operation press the Write button to confirm amp the display shows This will stay on the screen for several seconds then revert back to the standard Performance page NOTE At any stage during the write procedure pressing the Performance button will exit the write procedure amp return the Display to show ing the Performance name amp location 33 MASTER VOLUME SECTION master volume Volume Knob This knob adju
206. phase shift continuous detuning effects can be reproduced To create straight pitch shift detuning effects use a Saw wave on the modulating LFO Moderate speed is required Typically 110 when set to Slow Slow speeds produce small pitch shifts Fast speeds produce large ones To create chorus like detuning effects use a Tri wave on the modulating LFO Fairly slow speeds are all that is required NOTE Anything less than FULL positive or negative modulation will result in less than 360 phase shift amp clicks will occur 55 OSCILLATOR SECTION Tips amp Tricks Try setting the modulating LFOs Keysync parameter to Keysync to get really percussive attacks to Double Saw sounds This simu lates all the Oscillators starting in phase Setting this parameter to Freewheel means all Oscillators will start at random phase loca tions Below is an example of how to set up a detuning effect using a Double Saw wave W idth Button M od Depth Knob LFO 1 Button This combination can be used to create a Pitch shift using LFO 1 The first thing that needs to be done is to set an LFO in this case LFO 1 to a Saw wave running at a moderate speed i e 110 when set to Slow Turning the Mod Depth Knob clockwise intro duces a pitch shift in one of the Saw waves in a positive direction Turning the Mod Depth Knob anticlockwise introduces a pitch shift in one of the Saw waves in a negative direction In the Mid position there is no modulatio
207. play will show Not Available S often Button M od Depth Knob LFO 2 Button This combination controls the modulation of the Soften Effect on the selected Oscillator by LFO 2 Turning the Mod Depth Knob fully clockwise introduces Soften Effect from LFO 2 to the selected Oscillator in a Positive direction Turning the Mod Depth Knob fully anti clockwise introduces Soften Effect from LFO 2 to the selected Oscillator in a Negative direction In the Mid position there is no modu lation at all The range of this parameter is 64 to 63 NOTE This does not apply to the 1 3 amp 2 3 Ring Modulator outputs No audible effect to these sound sources will be heard if an attempt is made to adjust this parameter when these sound sources are selected amp the display will show Not Available 63 OSCILLATOR SECTION S often Button M od Depth Knob ENV 2 Button This combination controls the modulation of the Soften Effect on the selected Oscillator by ENV 2 Turning the Mod Depth Knob fully clockwise introduces Soften Effect from ENV 2 to the selected Oscillator in a Positive direction Turning the Mod Depth Knob fully anti clockwise introduces Soften Effect from ENV 2 to the selected Oscillator in a Negative direction In the Mid position there is no modu lation at all The range of this parameter is 64 to 63 NOTE This does not apply to the 1 3 amp 2 3 Ring Modulator outputs No audible effect to these sound sources will be he
208. ppens at extreme settings i e The Frequency knob set fully anticlockwise in Low Pass Filter mode or the Frequency knob set fully clockwise in the High Pass Filter mode Resonance Knob This knob controls the amount of Resonance the Filter has The effect is to emphasise the harmonics around the Cutoff Frequency Set by the Frequency knob above For this reason on some synths this control is known as Emphasis Fully anticlockwise there is no boosting of the Cutoff Frequency but as you turn the knob clockwise this frequency will be boosted until fully clockwise it goes in to oscillation producing a new pitched element similar to feedback on an electric guitar Increasing the Resonance is very good for bringing out modulation movement or change in the Filters Cutoff Frequency such as TB303 basslines The range of this parameter is 000 to 127 This parameter is memorised with a Program Overdrive Knob This knob determines how much Overdrive is applied to the Filter This can warm sounds up amp give them a different harmonic con tent from the standard waveforms Warmer sounds are produced by modelling the Saturation effect common in classic Analogue Filters Fully anticlockwise the signal will be unaffected by the Overdrive Fully clockwise amp full drive will be applied The range of this parameter is 000 to 127 This parameter is memorised with a Program 68 FILTER SECTION Filter M odulation M atrix modulation de
209. pression pedals which have the control output on the tip of the pedal jack for example a Korg EXP2 pedal If you are not sure which type of expression pedal you have try the Breath R option first If the pedal then seems to behave in the opposite manner to what you would expect then come back to this menu amp change the parameter to Breath T instead Similarly there are 2 types of Footswitches available These are the normally open amp normally closed types In the Sustain position Input 2 is configured to work as a sustain pedal input In this case a sustain pedal that is nor mally open In the Sustain l position Input 2 is configured to work as a sustain pedal input In this case a sustain pedal that is nor mally closed Go to page 4 of the Global menu amp the display shows Page 4 looks like so The Breath control determines if the Nova re maps incoming Breath Control MIDI data amp Pedal data if the Pedal mode parame ter above is set to a Breath option into Mod wheel data CC no 1 Aftertouch data or any controller from 3 to 119 Pitchbend data amp a selected number of NRPN s This allows incoming Breath Control data to manipulate most of Nova s key parameters directly NOTE Remember to save your Global parameters if you wish the Nova to remember the expression pedal setting after it has been turned off NOTE If the input 2 pedal is assigned to be a pedal that is the Pedal mode parameter is set t
210. r M enu Button Chorus F langer P haser selected When this button is pressed a series of pages is available on the display containing parameters relevant to this section In the Chorus Flanger Phaser section there are 3 pages available These are selected using the Page Up 4 Page Down buttons to the left of the display There are a maximum of 2 parameters displayed on any page One for each line on the display The Fast Data Knobs on the right of the display are used to alter these parameter s values Page 1 looks like so As can be seen the higher parameter is Type In this case with a value of Quad Chorus This parameter determines the type of effect the Chorus Flanger Phaser will be Use the higher Fast Data knob to adjust this parameter The range of this parameter is Quad Chorus Chorus Flanger 4 Phaser This parameter is memorised with a Program in Program Mode or memorised with a Program or Performance in Performance Mode depending on the value of the Part s Effects Used parameter 86 EFFECTS SECTION As can be seen the lower parameter is Speed In this case with a value of 010 This parameter determines the speed of the Chorus Flanger Phaser LFO Use the lower Fast Data knob to adjust this parameter The range of this parameter is 000 to 127 This parameter is memorised with a Program in Program Mode or memorised with a Program or Performance in Performance Mode depending on the value of the Part s E
211. r a Sustain pedal On message is received the Vocoder will freeze amp whatever harmonic spectrum was being used as a modulator will be sustained until a Sustain pedal Off message is received amp then normal operation of the Vocoder will resume NOTE This only freezes the Vocoder if the currently selected Part is supplying the Vocoder s carrier signal i e the Part is the same as the Vocoder s Insert parameter on page 2 of the Vocoder menu 107 USING EXPRESSION PEDALS 8s FOOTSWITCHES input 2 pedal input 1 input sensitivity ier in on of midithru midi out midi in headphones master out An 65 ge Tm Uv e C e o e Microphone Pedal Foot pedals amp Footswitches should always be connected to the jack marked Input 2 pedal To configure the jack socket for use with an expression pedal you should set the Pedal mode parameter on page 9 of the Global menu to either Breath R or Breath T To configure the jack socket for use with a Footswitch you should set the Pedal mode parameter on page 9 of the Global menu to either Sustain or Sustain l Page 10 looks like so The reason why this parameter is set to one of the Breath positions is because you will use the Breath control re mapping func tion to assign what parameter the Foot pedal is going to modulate Use Breath R for expression pedals which have the control output on the ring of the pedal jack Use Breath T for ex
212. rent one playing is indicated on the top line of the display To change the demo to a different one simply select a new demo by turning the higher Fast data knob to the right of the display NOTE Once a demo has finished the next demo in sequence will automatically start NOTE Once the last demo has finished playing the sequence of demos loop amp the first demo starts again NOTE A demo can be stopped at any time by pressing the Finder Demo button again while the demo is playing A playing demo may also be stopped amp Demo Mode exited by simply selecting any normal mode button or selecting any Menu button BASIC SETUP input 2 pedal input 1 input sensitivi ower on of in aux oi ONC Nova Power Supply To Mains Supply m Sustain Pedal MIDI OUT MIDI IN MIDI OUT Audio Inputs Master Keyboard Workstation Computer Sequencer Amplifer Mixer and Monitors Above is a diagram of the basic way to set up the Nova Normally the set up would be as follows If the Master Keyboard is a Workstation i e it has a synthesiser built in turn Local Off or the equivalent in its MIDI set up Refer to the Manufacturers Owners Manual on how to do this Turn the Computer Software Sequencer s Soft Thru or sometimes called Echo Back to the ON or Enabled position Now when selecting a Track in the computer Software Sequencer that is assigned to the same channel
213. requencies are not attenuated as much as they are in the 24 or 18dB positions This makes the resulting filtering in the 12dB position more subtle than the 24 or 18dB positions which you should select if you want the Cutoff Frequency to be more obvious The slope is measured in dB per Octave amp below are the response curves of a Low Pass Filter with 24 18 amp 12 dB per Octave slopes Cutoff Cutoff Frequency Volume Volume Frequency Frequency Frequency 24dB oct LPF Responce Curve 18dB oct LPF Responce Curve Cutoff Frequency Volume Frequency 12dB oct LPF Responce Curve All these filters have a Resonance parameter This has the effect of emphasising harmonics at the cutoff frequency of the filter This is very useful for creating large tonal differences to a basic waveform The effect is shown below as both frequency response curves when resonance is applied in a the Filter Cutoff Frequency Cutoff Frequency Volume No Resonance M id Resonance Frequency Frequency Low Pass Filter with Resonance Responce Curves Cutoff Cutoff Frequency Frequency Volume Volume No Resonance M id Resonance Frequency Frequency High Pass Filter with Resonance Responce Curves Cutoff Cutoff Frequency Frequency Volume Volume No Resonance M id Resonance Frequency Frequency Band Pass Filter with Resonance Responce Curves 12 Cutoff Frequency Volume High Resonance Freque
214. resting Cross connections to occur between the different effects blocks The range of this parameter is 000 to 127 This parameter is memorised with a Program in Program Mode or memorised with a Program or Performance in Performance Mode depending on the value of the Part s Effects Used parameter Page 5 looks like so As can be seen the parameter is Pass to effects In this case with a value of Program only This parameter allows the Audio inputs to be connected into the effects Use the Lower Fast Data knob to adjust this parameter If this parameter is set to Program only then the program will be connected to the effects chain of the Program or Part if in perform ance mode If this parameter is set to Audio input 1 only then the Audio from Input one will be will be connected to the effects chain of the pro gram or Part if in performance mode amp the program will be disconnected If this parameter is set to Program amp input 1 only then the Audio from Input one amp the Program will be will be connected to the effects chain of the program or Part if in performance mode Similar values are provided for Audio input 2 The range of this parameter is Program only Audio input 1 only Program amp input 1 Audio input 2 only amp Program amp input 2 This parameter is memorised with a Program in Program Mode or memorised with a Program or Performance in Performance Mode depending on the value of the Part s
215. ries cannot be taken across FM configurations Envelope level tracking Envelope level note Envelope A D repeat Envelope sustain rate Envelope sustain time Oscs start phase Arp output channel Filter overdrive curve Oscs filter bypass Effects bypass Comb filter speed Comb filter depth Comb filter spread Comb filter freq wheel Comb filter boost wheel Distortion output level Distortion gain compensate Distortion curve Chorus delay Chorus LFO wave Chorus speed 2 Chorus inertia Chorus stereo width Chorus type Ensemble Chorus type Rotary speaker LFO delay fade LFO slew amount Drum played as Global input switch settings Global aftertouch tx option Global velocity tx option Global arp kbd note tx option Global sysex tx delay Global temp display time Arp transpose zone settings All external part settings Drum maps Digital i o card options S quarewave pulse width compatibility Before OS4 0 maximum or minimum setting of width 63 or 64 for an oscillator set to square wave gave a 5 pulse width For compatibility with series 2 this has changed to 0 ie silence OS4 0 does not automatically adjust this Few programs use these extreme settings and it is unlikely that any change will be heard However if upgrading to OS4 0 has made any of your programs silent or distinctly different please check oscillators using square wave and reduce extreme settings of width by 3 or 4 counts 113 LOADING
216. rmance you wish to edit To do this press the appropriate Part button in the Part edit section In the above example pressing Part 1 button the display will show The display is showing the Program currently assigned to the selected Part Any Program from any one of the Program Banks can be assigned to any Part of a Performance You can use the Bank button amp the Prog Up amp Prog Down buttons to alter the Program assigned to this Part of the Performance When in this mode pressing the Tune Velocity Output MIDI Polyphony amp Range buttons will display the relative parameters for the currently selected Part If any of the Tune Velocity Output MIDI Polyphony amp Range buttons are pressed it will flash indicating that it has been selected This allows comparison of values in different Parts easy For example Press the MIDI button when a Part 1 of a Performance has been selected amp the display will show The MIDI button is flashing indicating it is selected Pressing another Part button will light the selected button amp the display will show the MIDI parameters for the newly selected Part as shown below To exit any of the Tune Velocity Output MIDI Polyphony amp Range Menus simply press the Performance button again amp the dis play will change back to showing the currently selected Performance as shown below a For details on the parameters in the Tune Velocity Output MIDI Polyphony a
217. ro duce similar effects to Pulse width modulation except width modulation over 100 can be achieved allowing may cycles to be squashed into one original one This can also be described as Frequency Modulation within the cycle amp so mimics classic Cross Modulation with a Saw wave This can produce effects similar to Sync but when this parameter is used in conjunction with Formant Width the results can be very different Below are examples of Skew on standard Square amp Saw waveforms Note how the wave is squashed at one end amp more than one cycle has been squashed into the original cycle LLLI IS Negative Skew on a Square Wave Negative Skew on a Saw Wave LULUL NIN Positive Skew on a Square Wave Postive Skew on a Saw Wave Formant width is a parameter that controls the level of the cycles of the virtual slave oscillator This can be used to simulate reso nance within the oscillator itself by using the Soften parameter to smooth out the sharp edges of this wave form As can be seen the effect is to reduce the level of every successive slave cycle Additionally this parameter has an effect on the normal Saw amp Square waveforms The effect is to boost the treble content of these waves NNN D Sync Waveform Formant Width on a Square Wave Qe a tn Sync Formant Width Waveform Formant Width on a Saw Wave Both Skew amp Formant Width can be used in conjunction to create yet even more waveforms Below are examples WSS
218. rols the modulation of the Sync Effect on the selected Oscillator by LFO 2 Turning the Mod Depth Knob fully clockwise introduces Sync Effect from LFO 2 to the selected Oscillator in a Positive direction Turning the Mod Depth Knob fully anti clockwise introduces Sync Effect from LFO 2 to the selected Oscillator in a Negative direction In the Mid position there is no modula tion at all The range of this parameter is 64 to 63 NOTE This does not apply to the Oscillators that have the Noise 1 3 amp 2 3 Ring Modulator outputs No audible effect to these sound sources will be heard if an attempt is made to adjust this parameter when these sound sources are selected amp the display will show Not Available S ync Button M od Depth Knob ENV 2 Button This combination controls the modulation of the Sync Effect on the selected Oscillator by ENV 2 Turning the Mod Depth Knob fully clock wise introduces Sync Effect from ENV 2 to the selected Oscillator in a Positive direction Turning the Mod Depth Knob fully anticlockwise introduces Sync Effect from ENV 2 to the selected Oscillator in a Negative direction In the Mid position there is no modulation at all The range of this parameter is 64 to 63 NOTE This does not apply to the Noise 1 3 amp 2 3 Ring Modulator outputs No audible effect to these sound sources will be heard if an attempt is made to adjust this parameter when these sound sources are selected amp the display will s
219. s M enu Effects section Copy Button Tupe Quau cup program effects to part effer Chorus wheel 00 143 MENU MAP Part Edit Section Tune M enu Part detune 35 Fart semitone 07 In Out M enu Performance Velocity M enu Part outputz Poly M enu Performance Fart polyphony Poly Part velocity curve Hormal cM Trim 1 00 TION AU eap Trim 2 00 Poly M enu Program In Out M enu Program Program mode polyphony Hono aaa Trim 1 00 Trim 2 00 Range Menu Highest note e 0 cu M IDI M enu Sustain Enable HIDI channel Global Frog change filt Off Controller filt Off Expression pedal Off MENU MAP vB Arp Menu Utilities Global M enu Master tune 00 Global MIDI chan i Kay reset Orn z l Oscillator section Copy Button Pattern Bank Pattern no illator 1 transmission Single program chart Latch type C Quant Effects section Copy Button Uelocity Flaued HIDI c Breath 1 Int Off Octave range i Copy program effects to part effects Fill in n Sunc 4th Breath mode Absolute Breath sensing Horm time
220. s can be seen the higher parameter is User Pattern In this case with a value of 000 This parameter determines which of the User Patterns for the Arpeggiator is to be edited with the following pages Use the higher Fast Data knob to adjust this parameter The range of this parameter is 000 to 127 This parameter is memorised as Global NOTE User Pattern 000 to 63 are User Monophonic Patterns amp User Pattern 64 to 127 are User Polyphonic Patterns NOTE To write any changes to the currently selected pattern into memory press the Write button while any of the pattern edit pages are displayed Also note the Memory Protect has to be set to Off for this to be possible As can be seen the lower parameter is No of Steps In this case with a value of 32 This parameter determines The number of steps in the chosen User Pattern Use the lower Fast Data knob to adjust this parame ter The range of this parameter is 01 to 64 This parameter is memorised as Pattern data 44 MODE SECTION Page 18 looks like so The higher parameter is Step Note Vel Gate In this case with a value of Note This parameter determines what type of pattern parameter is going to be edited with the lower Data knob Use the upper Data knob to select the parameter to be edited The cursor indicates the current selection in this case Note When this parameter is set to Step the value of the parameter below it determines the step to be edited Use the
221. s up Data 65 66 67 69 70 71 72 73 74 75 76 TT 78 79 81 8698959 8 89 91 92 93 95 97 98 100 101 102 103 104 105 106 107 108 109 110 111 112 113 114 115 123 MIDINRPN TABLES Description Breath sensing Norm Breath sensing 1 Breath sensing 2 Breath sensing 3 Breath sensing 4 Breath sensing 5 Arp constant pitch Off Arp constant pitch On Arpeggiator On Arpeggiator Off Arp keysync On Arp keysync Off Arp pattern bank Mono Arp pattern bank Poly Arp pattern bank User Arp latch type Constant Arp latch type Pattem Arp quantize Off Arp quantize Mode 1 Arp quantize Mode 2 Arp quantize Mode 3 Arp quantize Mode 4 Arp velocity Played Arp velocity Full Arp velocity Half Arp velocity Programmed Arp mute Off Arp mute On Arp realtime trans pose On Arp realtime trans pose Off Arp edit gate Norm Arp edit gate Tie Arp edit gate Rest Arp edit gate Glide Part outputs 1 amp 2 Part outputs 3 amp 4 Part outputs 5 amp 6 Reserved Arp output Program only Arp output Program amp MIDI Arp output MIDI only MIDI clock Intemal 7 MIDI clock External Prog table edit Current bank Prog table edit Perf bank A Reserved Prog table edit Prog bank A Prog table edit Prog bank B Reserved Reserved Reserved Reserved MIDINRPN TABLES Packed NRPN 84 Data D
222. s where you select the various operating modes of the Nova initiate the Demo Finder function Write amp Compare Performances amp Programs Performance Button The Performance button is used to select the Performance mode A Performance is the most complex sound Nova can create A Performance is made up of 6 Parts A Program is assigned to each Part amp these can be set up into layers or splits etc For more details on Performances refer to page 22 Program Button The Program button is used to select the Program mode A Program is a single sound played across the entire keyboard For more details on Programs refer to page 21 Demo Finder Button With so many sounds it can be a little difficult to find your favourite sounds quickly For this reason Nova features a Finder mode that can find similar types of sounds The Nova has 20 Categories of sounds They are as follows 1 Bass 9 Pad 17 User 2 2 Hard Bass 10 Strings 18 User 3 3 Soft Lead 11 Keyboard 19 User 4 4 Hard Lead 12 SFX 20 User 5 5 Porta Lead 13 Drums 6 Arpeggio 14 Pianos 7 Motion 15 Organ 8 Bell 16 User 1 Each Program in the Nova has a Category assigned to it The Finder uses categories to find similar sounds To use the Finder press the Demo Finder button amp a small sequence will play There are 20 different sequences one for each of the categories The Demos will play once then stop to hear the demo again press the Demo Finder button again The
223. sages are scaled down alternatively incoming breath control messages can be exaggerated or ampli fied by setting this parameter to a positive number 3 for example Use the Lower Fast Data knob to adjust this parameter The range of this parameter is 5 to 1 Norm amp 1 to 5 This parameter is memorised as Global 38 MODE SECTION Page 6 looks like so As can be seen the higher parameter is Arp trans chan In this case with a value of 2 This parameter determines which MIDI channel the Arpeggiator uses to perform the Arpeggiator Realtime Transpose function Use the higher Fast Data knob to adjust this parameter If this is set to 2 amp if a Program or Performance is set up to play on MIDI Channel 1 amp the Realtime Transpose parameter in the Arp Menu is set to On then you can transpose the whole arpeggiation by playing a note on the Realtime Transpose Channel in this case channel 2 The amount of transposition depends on the note value set in the Arp Reference Note Parameter relative to the note on received on the Transpose channel The range of this parameter is 1 to 16 NOTE To write any changes to this parameter into memory press the Write button while in this mode Also note the Memory Protect has to be set to Off for this to be possible As can be seen the lower parameter is Arp trans ref In this case with a value of C3 This parameter determines the reference note as described above for the Arpe
224. sc 3 down to a volume of 000 Now the only audible Oscillator should be Oscillator 1 Select Oscillator 1 amp then press the Special waveform button Use the lower fast data knob to select the desired Input Now when pressing a note on the Master keyboard the Input signal should be heard NOTE If no signal is present on the Input no sound will be heard NOTE If no MIDI note is sent to the Nova amp the Constant gate parameter is set to Off no sound will be heard amp if no signal is present on the assigned Input at the moment the MIDI Note is played then no sound will be heard Now all that remains to be done is set up the Filter Envelopes LFOs amp Effects to the type settings that you require Once that is done then save the Program so you can recall it later Some cool things can be done here Filter sweeps can be carried out by the envelopes amp or LFOs LFOs of course can be synced to MIDI clock amp used to Modulate the Oscillator Mix level thereby creating Gater effects In an unsynced mode amp with the LFO range parameter set to Fast strange effects can be achieved when Gating the Inputs at Khz similar to Decimator type effects Remember that Envelope 3 can also modulate the speed of the LFO that is used for the Gating effect NOTE Input choices are memorised with the program so different programs could use different Inputs or even both at once by using Oscillator 2 or 3 for the other Input 106
225. se messages is received but will not make any sound When the keyboard is played in this condition the Arpeggiator will play the correct step in the pattern not start from the beginning of the pattern Below is a table showing the different options Off Not quantised Mode 1 Quantised Mode 2 Intelligently quantised Mode 3 Quantised with the pattern locked to the sequencer amp other quantised Arpeggiators Mode 4 Intelligently quantised with the pattern locked to the sequencer amp other quantised Arpeggiators The range of this parameter is Off Mode 1 Mode 2 Mode 3 amp Mode 4 This parameter is memorised with a Program NOTE In Performances if more than one Part has a Program with Arpeggiators activated amp if these Programs have the Arpeggiators Quantise parameter set to active modes 1 2 3 or 4 then activating any Arpeggiator will start all of the Arpeggiators in the Performance in Sync with each other Although you wont actually hear them until the correct Range amp or MIDI channel is triggered This means that the phrases created by the separate Arpeggiators are always in sync even if triggered at different times NOTE This parameter also affects how the Key reset parameter on page 1 of the Arp menu behaves Refer page 48 for details Page 4 looks like so As can be seen the higher parameter is Velocity In this case with a value of Played This parameter determines
226. se with a value of 16th This parameter determines where the selected LFO gets it s Clock Turning the higher Fast Data knob fully anticlockwise selects the Off option which means the selected LFO is running on its own clock amp is not in sync with anything else Turning the knob clockwise from this position makes the selected LFO sync to Internal or External MIDI Clock in various signatures ranging from 12 Bars to 32nd Triplets Refer to page 38 to see details on how to set the Global MIDI clock parameter when syncing the LFO to external MIDI Clock The range of this parameter is Off 32 Triplet 32nd 16th Triplet 16th 8th Triplet 16th Dotted 8th 4th Triplet 8th Dotted 4th 2nd Triplet 4th Dotted 2nd 1 Bar Triplet 2nd Dotted 1 Bar 2 Bar Triplet 1 Bar Dotted 2 Bars 4 Bar Triplet 3 Bars 5 Bar Triplet 4 Bars 3 Bar Dotted 4 5 Bars 7 Bar Triplet 5 Bars 8 Bar Triplet 6 Bars 7 bars 5 Bar Dotted 7 5 Bars 8 Bars 6 Bar Dotted 9 Bars 7 Bar Dotted 10 5 bars amp 8 Bar Dotted 12 Bars This parameter is memorised with a Program As can be seen the lower parameter is LFO range In this case with a value of Slow The LFOs in the Nova are capable of reaching audio frequencies This allows the creation of unique sounds currently unavailable on any other equipment However this means that the Speed knob has to cover a frequency range of 0 Stopped to several KHz Turning the higher Fast Data knob anticlockwise wi
227. selected Oscillator in a Negative direction Down In the Mid position there is no modulation at all The range of this parameter is 64 to 63 NOTE This parameter is calibrated in semitones so a setting of 12 will produce an octave shift Up in the selected oscillator when a Mod Wheel value of 127 is received NOTE This does not apply to the Noise 1 3 amp 2 3 Ring Modulator outputs No audible effect to these sound sources will be heard if an attempt is made to adjust this parameter when these sound sources are selected amp the display will show Not Available W idth Button Level Knob This combination controls the Pulse Width of the selected Oscillator Turning the Level Knob fully clockwise makes the selected Oscillator Pulse Width very thin In the mid position the Pulse Width is 25 75 amp fully anticlockwise the Pulse Width is 50 50 The range of this parameter is 64 to 63 NOTE This parameter only works for Square waves amp the DoubleSaw waveform This does not apply to the Oscillators that have Saw Waveforms selected or the Noise 1 3 amp 2 3 Ring Modulator outputs No audible effect to these sound sources will be heard if an attempt is made to adjust this parameter when these sound sources are selected amp the display will show Not Available W idth Button M od Depth Knob LFO 1 Button This combination controls the Pulse Width Modulation of the selected Oscillator by LFO 1 Turning the
228. sensitivity with the Trim parameters as shown above Simply selecting the Program B125 Input1 Program will assign Input one to an Oscillator amp will therefore pass this signal through the Filter Additionally this Program also uses the Constant Gate parameter meaning no MIDI event is required to trigger the envelopes Alternatively you can set up your own Program To set this up it is necessary create a Program that is set up so that an Oscillator waveform is substituted with an Input signal amp to supply a MIDI note to trigger the Envelopes the Amp Envelope in particular or set the Constant gate parameter to On so that you can hear the signal The best thing to do is to use B127 Init Prog as a starting point from which to create an Input Program Select Prog B127 Init Prog Select Oscillator 1 amp then press the Mix button so that it is lit in the Oscillator Mod Matrix Turn the Level knob in the Oscillator Mod Matrix fully clockwise to a value of 127 This turns Osc 1 up to a volume of 127 Select Oscillator 2 amp then press the Mix button so that it is lit in the Oscillator Mod Matrix Turn the Level knob in the Oscillator Mod Matrix fully anticlockwise to a value of 000 This turns Osc 2 down to a volume of 000 Select Oscillator 3 amp then press the Mix button so that it is lit in the Oscillator Mod Matrix Turn the Level knob in the Oscillator Mod Matrix fully anticlockwise to a value of 000 This turns O
229. ser Delay amp Pan buttons amp there associated Menu buttons plus the Special button REAR PANEL input 2 pedal input 1 in on of midithru midi out midi in headphones master out 65 0000o 1 Master 1 Left amp 2 Right Audio Outputs These 1 4 inch Jack sockets deliver a Stereo Line Level output signal for connection to a mixing desk or amplifier The level of these outputs is controlled by the Master Volume Knob on the front panel 2 Aux Out 3 Left amp 4 Right Audio Outputs These 1 4 inch Jack sockets deliver a Stereo Line Level output signal for connection to a mixing desk or amplifier These outputs can be used in addition with the Master Audio Outputs for more flexibility in live amp studio applications 3 Headphones Output 5 amp 6 Audio Outputs This 3 5mm Jack socket delivers a Stereo Headphone output amp via a breakout cable not supplied provides Line Level output signal for connection to a mixing desk or amplifier These outputs can be used in addition with the Master Audio 4 the Aux 1 Outputs for even more flexibility in live amp studio applications 4 MIDI IN This connector is used to receive MIDI Data from an external device 5 MIDI OUT This connector is used to transmit MIDI Data to an external device 6 MIDI THRU This connector re transmits MIDI Data received by the MIDI IN socket to an external device 7 Power On Off Switch This switch turns the Nova On amp Off
230. set by the Frequency knob by the pitch of the note being played Placing the higher Fast Data knob fully anticlockwise means that playing notes at different pitches will have no effect on the Cutoff Frequency of the Filter Clockwise from this position there will be an increasing amount of modulation i e The Filter will be opened more as higher notes are played in the keyboard This control is used to determine how the timbre of a sound changes over the keyboard At the fully clockwise position the Filter tracks the pitch changes in a 1 1 ratio The range of this parameter is 000 to 127 This parameter is memorised with a Program As can be seen the lower parameter is Q norm amount In this case with a value of 000 This parameter determines how the Resonance of the Filter behaves Use the lower Fast Data knob to adjust this parameter Fully Anticlockwise the Resonance is added to the incoming signal to the filter This means that higher levels of resonance will produce a louder output signal form the Filter Fully Clockwise the output level of the filter is maintained regardless of the position of the reso nance control The range of this parameter is 000 to 127 This parameter is memorised with a Program Page 2 looks like so As can be seen the higher parameter is Fq MWh LFO2 amt In this case with a value of 63 This parameter determines how the Modulation Wheel on the Master Keyboard effects the amount of Modulation of the Cutoff
231. ssing the destination the oscillator that you wish to copy oscillator 1 s settings to i e Press the Oscillator 2 button amp the display shows NOTE It is only possible to copy an Oscillator to another Oscillator NOTE To exit this mode without copying an Oscillator press the copy button again the Copy button is unlit Saw Waveform Button Sq waveform Button S pecial Waveform Button This is a menu of oscillator waveforms for the oscillator selected with the Osc 1 2 amp 3 buttons To adjust the waveform of oscillator 1 press the Osc 1 button amp select the waveform required The selected waveform will light The Saw button selects a Sawtooth waveform the Sq button selects a Square waveform amp the Special button selects either Audio input 1 Audio input 2 or the DoubleSaw special waveform I DoubleSaw When the DoubleSaw waveform is selected the currently selected Oscillator actually becomes 2 Saw waves that can be independ ently phase shifted or detuned with the use of an LFO If all Oscillators are set to Double Saw then each voice has effectively 6 Oscillators This has no effect on total Polyphony amp can allow Unison type sounds to be created without the need to use the Unison feature thereby saving voices but then again it is possible to Unison a Double Saw Program to create truly HUGE sounds Whoever said size does not matter is deluding themselves NOTE All the functions like Mix
232. stination source frequency resonance e e mod depth wheel This is an extremely powerful feature of the Nova These controls effect the modulation of the Filter The Buttons on the left are Destinations They can all be modulated by the Sources which are the buttons on the right The amount of modulation applied from any source is determined by the setting of the Mod Depth Knob This can be either positive modulation Turning the Mod Depth Knob Clockwise or negative modulation Tuming the Mod Depth Knob Anticlockwise For example to adjust the level of Envelope 2 modulation of the the Freq setting of the Filter press the Frequency button to define the modulation destination it will light up indicating it is selected Press the Env 2 button to define the modulation source Now adjusting the Mod depth knob clockwise will modulate the Frequency setting of the Filter by Envelope 2 NOTE This makes it possible for all modulation sources to effect any one destination in varying amounts amp even in different polarities The display will change to indicate the parameter that has been selected amp display the newly edited value The Display will stay like this until another parameter is adjusted in which case it will change to display the new parameter To return to the display of the Program Performance name amp number press the Program or Performance button NOTE Only one source amp destination can be edite
233. sts the overall output of the Nova on the Left amp Right outputs NOTE This can be overridden by MIDI Controller Data If a MIDI Controller 97 with a value of 0 has been received by the Nova no out put will be heard regardless of the position of this knob To reset the volume either transmit the relevant MIDI Volume level or move the Volume knob This automatically overrides the MIDI setting NOTE The volumes of each Part in a Performance can be set individually using the Part select buttons amp the Level rotary in the Part Edit Section NOTE This is a Global control If the Nova is used in Local Off mode the this knob will not change the volume unless a MIDI loop is present When the Local parameter on page 7 of the Global menu is set to Off this knob amp all the other knobs amp buttons will not directly control the synthesiser but only output the relevant MIDI data In this case the knob will appear to do nothing when turned unless a MIDI loop that maps the MIDI data transmitted by the Nova back to the Nova on the Global MIDI channel NOTE The Master Volume Knob always behaves as if the Knob mode parameter on page 11 of the Global menu is set to Normal In other words the Master Volume Knob is always live amp turning this Knob will always alter the volume immediately regardless of the Knob mode parameter s setting 34 MODE SECTION perf prog finder compare global write demo This i
234. t apply to the 1 3 amp 2 3 Ring Modulator outputs No audible effect to these sound sources will be heard if an attempt is made to adjust this parameter when these sound sources are selected amp the display will show Not Available 64 OSCILLATOR SECTION M enu Button When this button is pressed a series of pages is available on the display containing parameters relevant to this section In the Oscillator section there are 3 pages available These are selected using the Page Up amp Page Down buttons to the left of the display There are a maximum of 2 parameters displayed on any page One for each line on the display The Fast Data Knobs on the right of the display are used to alter these parameter s values Page 1 looks like so As can be seen the higher parameter is MWheel LFO1 amt In this case with a value of 10 This parameter determines how the Mod Wheel on the Master Keyboard effects the amount of LFO1 modulation on the selected Oscillator Use the higher Fast Data knob to adjust the value of this parameter With this parameter it is possible to set the amount of modulation individually for each oscillator The range of this parameter is 64 to 63 This parameter is memorised with a Program NOTE Mod Wheel LFO Amt does not apply to the 1 3 2 3 or Noise buttons If you attempt to alter this parameter when these buttons are selected the display will show Menu Only Available For Osc 1 2 or 3 whilst the adjus
235. t channel Delays are the same Delay time In the 1 0 5 position the Right Delay is half the time of the Left Delay In the 0 5 1 position the Left Delay is half the time of the Right Delay In the Off 1 position the there is no output from the Left Delay amp there is an output from the Right Delay at the specified delay time The range of this parameter is 1 1 1 0 75 0 75 1 1 0 66 0 66 1 1 0 5 0 5 1 1 0 33 0 33 1 1 0 25 0 25 1 1 Off amp Off 1 This parameter is memorised with a Program in Program Mode or memorised with a Program or Performance in Performance Mode depending on the value of the Part s Effects Used parameter Page 3 looks like so As can be seen the higher parameter is Sync In this case with a value of 32nd Triplet This parameter determines if the delay is synchronised to MIDI Clock or not amp at what resolution Use the higher Fast Data knob to adjust this parameter Turning the higher Fast Data knob fully anticlockwise selects the Off option which means the Delay is run ning on its own clock amp is not in sync with anything else Turning the knob clockwise from this position makes the Delay sync to Internal or External MIDI Clock in various signatures ranging from 12 Bars to 32nd Triplets 84 EFFECTS SECTION The range of this parameter is Off 32 Triplet 32nd 16th Triplet 16th 8th Triplet 16th Dotted 8th 4th Triplet 8th Dotted 4th 2nd Triplet 4th Dotted 2nd 1 Bar Triplet 2nd Dotted
236. t synthesisers except the Nova differs in 2 areas Firstly the Effects Section is memorised with the Program Although this may seem standard in comparison to other equipment the real difference happens when a Performance is selected Because the Nova can run 42 Effects at once all 6 Parts of a Performance have their own Effects Section This allows all the Parts of a Performance to sound exactly the same in Performance mode as they do in Program mode This is unique to the Nova amp Supernova series amp is literally like having the equiv alent of 6 separate synthesisers with 6 sets of effects sections allowing a very high level of production to be achieved with just one box Secondly the Arpeggiator Sections parameters are also memorised with a Program Similarly because the Nova can run 6 Arpeggiators at once all 6 Parts of a Performance have their own Arpeggiation Below is a simplified block diagram of a Program in the Nova Arpeggiator Oscillators and Ring M odulators LFO 2 Envelope 1 Envelope 2 Effect Section Shown in Normal Configuration D R C Program As can be seen in a Program incoming MIDI messages get processed by the Arpeggiator If it is On amp control the Oscillators The signals produced are mixed together in the Mixer section amp the resulting signal is passed on to the Filter The signal then is passed to the Amplifier which then sends the signal into the effects section This signal
237. t the Global one it will change the assigned Program for that Part When it does so the effects settings stored in the Program will be loaded into the Parts Effects section if the Effects used parame ter in the Output menu is set to Program If this parameter is set to Part the Program will change but the effects setting for that part will not be altered Additionally the Arpeggiator Parameters from the Program will be loaded into the Part s Arpeggiator NOTE There is only one Arpeggiator Speed control in a Performance Adjusting the speed of any Parts Arpeggiator will control all 6 Arpeggiators Below is a simplified block diagram of a Performance in the Nova Naa oscustors d d d d fl Modulators OL wu Envelope 2 NS Output N Effects ection NS Shown in Normal Configuration D R C Performance As can be seen a Performance is literally a duplication of 6 Programs including the Effects Sections amp the Arpeggiators 23 SELECTING PROGRAMS amp PERFORMANCES HHT 2 Sess There are a lot of sounds in Nova amp they are arranged into Banks of 128 sounds There is 1 Bank of 128 Performances amp 2 Banks of 128 Programs So in total there are 128 Performances amp 256 Programs in 2 Banks A amp B Pressing the Program but ton will activate the Program Mode amp the display will show As can be seen it is a Program because the Program button is lit amp the bottom line of
238. t up the Input sensitivity with the Trim parameters as shown on page 98 To connect an Input to an effects chain in Program or Performance mode simply press the Dist EQ Config but ton in the Effects section then press the Menu button in the Effects section Go to page 5 of the Effects sections Dist EQ Config menu amp the display will show Set the Pass to effects parameter to either Input 1 Input 2 or Program amp Input 1 or Program amp Input 2 Input 1 or Input 2 settings mean only the selected Input goes to the effects on the selected Program or Part amp the sound assigned to the Program or Part is mute Program amp Input 1 or Program amp Input 2 settings mean that the selected Input amp the sound assigned to the Program or Part go the effects NOTE The Carrier should be a different sound source from the Modulator amp therefore care should be taken to assign ONE of the inputs to the Voc input parameter the Modulator amp the OTHER input to the Pass to effects parameter the Carrier The Filters can be also applied to the Carrier but to do this the input that is to be the Carrier must be assigned to an oscillator as on page 106 Additionally the Vocoder can be frozen allowing the user to Capture the Harmonic spectrum of the Modulator amp sustain it for as long as desired To do this set the Sustain parameter on page 1 of the Midi menu in the Part edit section to Voc freeze Now wheneve
239. tack Time Decay Time Release Time ADSR Type Volume Responce Curve Attack time is used to adjust the time it takes when the key is pressed for the envelope to go from zero to full value Fade in Decay time is used to adjust the time it takes for the envelope to go from full value to the value set by the Sustain level Piano like decay of volume Sustain level is used to set the level that the envelope remains at while the key is held down Release time is used to adjust the time it takes when the key is released for the level to go from the sustain value to zero Fade out ABOUT ANALOGUE SYNTHESIS An Analogue Synthesiser can be broken down into three main elements 1 The Oscillator is the part of a synthesiser that generates Waveforms at a certain Pitch 2 The type of Waveform selected in the Oscillator amp the settings of the Filter determine the Tone of the sound 3 The sound is then passed through an Amplifier which is controlled by an Envelope Generator These alter the Volume of a sound over time All of these three main elements can be controlled by various methods for example The Pitch of a note can be played on a keyboard or a synthesiser amp additionally it can be manipulated in real time using the Pitch Bend Wheel to create Slides amp Bends in pitch LFOs Low Frequency Oscillators can be used to Wobble the pitch of a note at a specific rate creating a Vibrato ef
240. tern 1 71 Pass to effects Program onl 8 Part sustain Rx option Voc freeze 72 Pass to effects Audio input 1 onl 9 Not Currently Used T3 Pass to effects Program amp input 1 10 Not Currently Used 74 Pass to effects Audio input 2 only 11 Pedal Off T5 Pass to effects Program amp input 2 12 Pedal Pedal R 76 Select Part 1 13 Pedal Pedal T TT Select Part 2 14 Pedal Switch 78 Select Part 3 15 Pedal Switch I 79 Select Part 4 16 Vocoder sibilance type Hpass 80 Select Part 5 17 Vocoder sibilance type Noise 81 Select Part 6 18 Vocoder input Audio input 1 82 Reserved 19 Vocoder input Audio input 2 83 Reserved 20 Vocoder input Part 1 a Arp patt edit via kbd Off 21 Vocoder input Part 2 85 Arp patt edit via kbd On 22 Vocoder input Part 3 86 Arp patt edit via kbd Note only 23 Vocoder input Part 4 87 Arp patt edit via kbd Vel only 24 Vocoder input Part 5 88 Arp patt edit via kbd Gate only 25 Vocoder input Part 6 89 Breath mode Absolute 26 Reserved 90 Breath mode Mod 7 27 Reserved 91 Breath mode Mod 28 Vocoder insert Part 1 92 Phones 1 amp 2 29 Vocoder insert Part 2 1 93 Phones 3 amp 4 30 Vocoder insert Part 3 1 94 Phones 5 amp 6 31 Vocoder insert Part 4 95 Phones Mix 32 Vocoder insert Part 5 1 96 Vocoder sibilanc
241. the level of the Program This can be considered to be similar to Volume slider on a mix ers channel If the Program is distorting regardless of the setting of this knob in Performance mode the Program mode level is set to high Select the distorting Program in Program mode amp adjust this parameter until distortion ceases amp rewrite the Program to memory Then it will stop distorting in Performance mode Fully anticlockwise the Program is not heard Turning the knob clockwise turns the volume of the currently selected Program up The range of this parameter is 000 to 127 This parameter is memorised with a Program in Program Mode or memorised with Performance in Performance Mode NOTE If a Program or Performance is distorting it most likely because the Level of the Program is to high Try reducing the level until distortion ceases Part 1 Button Part 2 Button Part 3 Button Part 4 Button Part 5 Button Part 6 Button NOTE These buttons select Parts in Performance Mode In Program mode they can be used to Audition the currently selected Program Simply press the Part buttons amp a note will play as long as the button is held down Part 1 button plays C1 Part 2 button plays F1 Part 3 button plays C2 Part 4 button plays F2 Part 5 button plays C3 amp Part 6 button plays F3 Additionally in Program mode these buttons light to display the sequence of steps of an Arpeggiator pattern If the Arpeggiator is on amp playi
242. the display is indicating Prog followed by the Bank amp number of the sound The top line is displaying the name of the sound Pressing the Bank Up button amp the display changes to This indicates that the B Bank has been selected If the number you wish is different to the one currently selected press either of the prog buttons until the desired number is found or turn the lower fast data knob If you press the prog up button once from the position indicated above the display shows And the sound has changed Pressing the Bank down button will bring Nova back to the A Bank Selecting Performances is done in exactly the same way When sounds are selected the appropriate MIDI Bank amp Program change messages are sent as changes are made on the front panel amp can be recorded on Computer Software Sequencer Selecting sounds via MIDI is very simple just send the appropriate MIDI Bank number amp Program change commands to Nova from the Master keyboard or Computer Software Sequencer To change Programs amp Performances these messages should be sent on the Global MIDI Channel If however you have a Multitimbral Performance individual Parts can be changed with suitable Bank number amp Program change messages on the individ ual MIDI Channels assigned to the Parts of the Performance There is a chart on page 130 outlining all the different Bank numbers for selecting the different modes via MIDI 24 EDITING amp WRI
243. thi Trumpet Squeege M Wh Organ Perc Bass2 Don t Pick Stab Dance Bass Hartkern M Wh 909 Snare 2 Devolution M Wh DualFiltStringWh Syn Section M Wh Spectrux Pad M Wh Filter Sweep KHz SlapBass2 VeloUniSync Choral Pad M Wh Messy Sync M Wh Old n Rickety Trance6 M Wh DualFiltPWMingWh Velo Stabber Dreamy Arp Ringglass Handbagin Bass Stringie Thingie Lead 1 Worry free Pad Bell 1 Garage Swelch Single Sub Wheel 303 Groover 2 M Wh PWM Crunchie BlubberPick M Wh Simple Bass Super Nova TramP Brassic Upstairs Holgers SuperStrings2 Max Bass Attacka M Wh Xfade HPF Explosion Pocket stylophone 133 PROGRAMS BANK B 64 65 SuperBassStn 1 Synth Backslip Staccato Square Leader D you know Pick Perci Blip M Wh Simple Bass 2 Snotty Nose NeedleBleep M Wh Harmonic Dist303 Dat D n BassM Wh Obie String Pad Random Arp Sweep 24dB Filmskore Liquinova M Wh FM Clav VeloReso PVC Pipe Tom M Wh Rhythm Sweep BP Organ Self Osc Clean n Clear jh Syncker Psy1 Sawtooth Seq jh Perckie Sq M Wh Obie Extravert SupJup BrassM Wh Throbba M Wh Wineglass HiRage Kick M Wh Phillharmonic Obie Tootle Wheelreso Slow Sweepa 2 Osc 84 M Wh Sub MultiHigh Hat Radar gt Comms Rio Mod Wheel VeloQuack Boogie Lead Emerald FilterBass M Wh Rubber Filter M Wh Sync Brass Pad Tinkerbell BP Barker Whiteout Sync amp Ring Bass Needle Pick M Wh Electro Wire TecknoTecknoM Wh Low Transmitter Strings Ens Boot Bass Clicki
244. through the C triad until a new set of notes is played then it will sweep through the new notes until another set it played etc etc In the Pattern posi tion the Arp will behave as above except that it will stop when it reaches the end of the pattern This is like playing a loop on a sampler Again another powerful feature for live performance The range of this parameter is Constant amp Pattern This parameter is memorised with a Program 48 ARPEGGIATOR SECTION As can be seen the lower parameter is Quantise In this case with a value of Mode 1 This parameter determines if the Arpeggiation played is quantised to the Arp Sync parameters time signature or not Use the lower Fast Data knob to adjust the value The Arpeggiator can correct timing errors for you in several different ways The arpeggiator can correct timing errors by quantising the played notes like a sequencer package we will refer to this method as Quantised This corrects the mistakes but can introduce a Skip if you play late i e the first note played is on the next quantised step This is what would happen in a sequencer as well but is not so useful for live performance so we have introduced a kind of Intelligent Quantise i e if you play slightly late those notes will sound immediately amp the next step will be quantised Additionally things change if MIDI Clock is being used The Arpeggiator reads MIDI Start Continue Messages The pattern will start when one of the
245. tivity is suitable for accepting signals from Studio equipment such as Samplers Synths Workstations Mixers etc 4dB In the position the sensitivity is suitable for Consumer Audio Equipment such as Cassette decks etc 10dB In the position the sensitivity is suitable for guitars etc 258B In the position the sensitivity is suitable for Microphones etc 55dB These settings may vary from equipment to equipment To set this correctly press the In Out menu of the Part edit section amp go to Page 1 Program mode or Page 2 Performance mode The display looks like so In this page meters are available showing the level of incoming signals on the 2 Inputs The 2 Data knobs access Trim controls allowing fine adjustment of boost or gain to the signal When the meters reach the highest segment of the display the signal is clip ping Set the Trim amp Input sensitivity switch to get the loudest possible signal without clipping NOTE The Trim can be set individually for each channel The Inputs on the Nova can be used in 3 different ways Firstly an Input can be used to Tack on to an effects chain in a Program or to the Effects chain of a Part of a Performance Secondly as a waveform that can be processed by the Filter LFOs ENVs amp in turn the Effects Thirdly as a Modulator or Carrier in a Vocoder setup Lets look at these individually Setting the Inputs to be routed to the effects Set up the
246. tment is being made then the display will revert back to the last edited parameter As can be seen the lower parameter is AT LFO1 amt In this case with a value of 10 This parameter determines how the Aftertouch on the Master Keyboard effects the amount of LFO1 modulation on the selected Oscillator Use the lower Fast Data knob to adjust the value of this parameter With this parameter it is possible to set the amount of modulation individually for each oscillator The range of this parameter is 64 to 63 This parameter is memorised with a Program NOTE Aftertouch LFO1 Amt does not apply to the 1 3 2 3 or Noise buttons If you attempt to alter this parameter when these buttons are selected the display will show Menu Only Available For Osc 1 2 or 3 whilst the adjustment is being made then the display will revert back to the last edited parameter Page 2 looks like so As can be seen the higher parameter is Formant width In this case with a value of 010 This parameter determines how much Formant Width is applied to the selected Oscillator Use the higher Fast Data knob to adjust the value of this parameter With this parameter it is possible to set the amount of modulation individually for each oscillator Refer to page 8 in the About Analogue Synthesis section for details on this parameter The range of this parameter is 000 to 127 This parameter is memorised with a Program NOTE Formant Width does not apply to the 1 3 2
247. to effects by allowing creation of vibrato which does not decrease the pitch of a played note Turning the higher Fast Data knob fully Anticlockwise there is no effect on the normal operation of the selected LFO Tuning the higher Fast Data knob clockwise of this position introduces an increasing amount of offset applied to the LFO waveform until at fully clockwise the LFO waveform is only in the upwards direction The range of this parameter is 000 to 127 This parameter is memorised with a Program As can be seen the lower parameter is Env 3 speed mod In this case with a value of 63 This parameter determines how the Envelope 3 effects the speed of the selected LFO In the central position of the lower Fast Data knob there is no change to the selected LFOs speed Anticlockwise of centre there will be an increasing amount of negative modulation i e the selected LFO will slow down as the Envelope rises amp speed back up as the envelope falls Clockwise of centre there will be an increasing amount of positive modulation i e the selected LFO will speed up as the Envelope rises amp slow down as the envelope falls The range of this parameter is 64 to 63 This parameter is memorised with a Program Page 2 looks like so As can be seen the higher parameter is MWh speed mod In this case with a value of 10 This parameter determines how the Master Keyboard s Mod Wheel effects the speed of the selected LFO If this parameter is set to
248. to the Power In socket on the Nova Connect the supplied mains lead to the Mains Socket on the Nova s Power Supply Connect the other end to the mains supply amp switch the supply on The display should now illuminate showing the performance or program that was selected the last time Global data was written into memory Refer to page 36 for details on this function Now switch on your amplifier amp adjust the volume accordingly whilst the Sequencer is playing or you are playing the Master Keyboard The Master Keyboard or Sequencer will be playing the currently selected Performance or Program To listen to all the Factory sounds make sure you are in the Performance or Program Mode by pressing the Performance or Program Button amp use the Bank amp Prog buttons to the right of the display to call up different sounds For details on how to select the different Performances amp a Programs amp what they are refer to pages 21 for details on Programs amp page 22 for details on Performances If no sound is heard check that you are transmitting on MIDI Channel 1 as the Nova is set up to receive on MIDI Channel 1 at the factory PLAYING THE FACTORY DEM O The Demo mode is activated by either pressing the Global button amp while this is active lit pressing the Finder Demo button perf prog finder compare global write demo When demo mode is activated the display shows There are two different demo s in the Nova The cur
249. tor Sync configuration For more details refer page 8 About Analogue Synthesis S often Effect This is a parameter that controls the harmonic content of any waveform Full Soften Effect on a waveform produces a near sine wave For more details refer page 8 About Analogue Synthesis ANALOGUE SOUND MODELLING Analogue Sound M odelling This is the Synthesis System the Nova uses to create sound Created by Novation this new method of synthesis was first used in the Award winning Novation Drum Station NOTE When this symbol appears in the manual this indicates an important feature or a destructive function such as Writing data to mem ory etc 20 ABOUT PROGRAMS There are two types of Sounds you can select in the Nova They are Programs amp Performances When the Program Button is selected a single Program is recalled from memory A Program is the most basic type of sound in the Nova This sound is made up of the 3 oscillators the 2 ring modulators amp the noise generator These are Mixed together 4 are fed through the Filter Amplifier amp effects processors The sound produced by a Program in Program Mode comes out of outputs 1 amp 2 A Program uses the Global MIDI Channel to receive MIDI Data A Program covers the entire range of notes on a keyboard amp has the standard velocity curve In other synthesisers a Program is sometimes referred to as a Patch or Partial This is fairly stan dard amongs
250. trans Real Arp trans chan 1 Bate time Arp trans ref cz Moge i Hormal R Local control Or HIDI Hemory protect off Constant pitch Off Restore from ROM Dut t ranging Off One og am Fedal mode ff Headphones out Mix Finder demos off Uel sensing Hard K ib mode Pickup Incoming control charge Enabled Incoming program change Enabled xj change Tx Or Tx Or rogram change noz Selects Ferf R i Arp pattern editing via kbd off User pa ttorn Hogg Ho af Step Hote Wel Gate Horm Controllers 145 For More Information Contact innovation Platinum House 32B Clivemont Road Maidenhead Berkshire England SL6 7BZ Ph 44 0 1628 678520 Fax 44 0 1628 671122 E Mail sales novationuk com Web Site http www novationuk com
251. trans chan 39 Arp trans ref 39 Arpeggiator 23 25 44 47 82 110 Arpeggiator Section 2 21 47 Arpeggio notes to 51 AT LFO1 amt 65 AT speed mod 76 Attack 13 78 Attack Knob 78 Audio input 55 91 Audio Inputs 3 Audio Inputs amp 2 3 AutoGlide 81 Autopan 19 92 Aux Out 3 Left and 4 Right Audio Outputs 3 B Band Button 67 Band Pass Filter 12 Bank 24 111 130 Bank Select Message 43 Bank Up Down Buttons 46 Banks 24 Basic Setup 6 Bass 88 BPF 67 Breath control 38 108 109 Breath mode 38 Breath sensing 38 C Carrier 19 94 107 Category 35 Cents 56 97 Chorus 18 86 87 Chorus Button 83 Chorus wheel 87 Chorus Flanger 18 Chorus Flanger Phaser 18 86 Clock 77 Comb boost 88 Comb Filter 16 88 Comb frequency 88 Compare 28 32 33 35 36 Compare Button 35 Compatibility 112 Compatibility with other Novation Products 112 Config morph 91 Configuration 88 91 Constant gate 82 106 Constant pitch 26 51 Controller Filt 100 Controller messages 100 111 Controllers TX 42 Copy 54 Copy Button 54 95 Cross Modulation 10 Cutoff Frequency 12 67 68 70 72 73 D Damper 99 Data Entry 2 DCO 82 DCO VCO mode 82 Decay 13 78 Decay Knob 78 Decay Time 17 Delay 18 77 79 84 85 Delay Button 83 Delay Knob 75 Delay HF damp 85 Delay ratio 84 Delay Time 19 84 Delay trigger 77 Delay Wheel 85 Demo Finder Button 35 Depth 19 Destination 15 57
252. type can be assigned for each step of the pattern When the Gate parameter is set to Normal the setting of the Gate type parameter in page 6 of the Arpeggiator Menu applies When the Gate parameter is set to Tie the note is Tied to the note in the previous step This allows syncopated rhythms to be created amp can be used to great effect if the pattern is set to have many steps When the Gate parameter is set to Rest no note is played on the selected step amp finally when the Gate parameter is set to Glide the Portamento is engaged when the selected step switches to the next step amp then the Portamento is switched off This is great for creating those TB303 type patterns with slides NOTE Glide will only work when the polyphony of the Program Part is set to Mono Patterns do not have to be entered in step time Patterns can be entered in via a MIDI keyboard Note amp Velocity settings for each step can be easily entered amp using a sustain pedal also allows gate characteristics to be entered Refer to the Arp pattern editing Parameter on page 44 for details NOTE The Constant pitch parameter does not apply to Monophonic patterns amp in this mode will do nothing if set to On or Off Polyphonic patterns To make a Polyphonic pattern select a User pattern on page 2 of the Arpeggiator Menu button pages Select a pattern between 064 amp 127 these are Polyphonic amp make a note of the pattern number you have sel
253. ue of the Part s Effects Used parameter Page 2 looks like so As can be seen the higher parameter is Pan depth In this case with a value of 080 This parameter controls the intensity of the Autopan amp Tremolo effects Use the higher Fast Data knob to adjust this parameter In the 000 position there is no movement of sound in the stereo field amp no change to the Program s volume No Autopan or Tremolo effects will be heard As the value of this parameter is increased the Autopan amp Tremolo have more amp more effect The range is 000 to 127 Off This parameter is memorised with a Program in Program Mode or memorised with a Program or Performance in Performance Mode depending on the value of the Part s Effects Used parameter As can be seen the lower parameter is Dry level In this case with a value of 020 This parameter determines how much Dry signal is in the mix Use the lower Fast Data knob to adjust this parameter This allows Pre effects Sends arrangements to be realised If this parameter is set to 000 no Dry sound from the Program will be heard The sound you will hear will be 100 effect signals i e If the Chorus Send is set to 127 amp the Dry level parameter is set to 000 you will hear only the Chorused signal none of the original The range of this parameter is 000 to 127 This parameter is memo rised with a Program in Program Mode or memorised with a Program or Performance in Performance Mode d
254. uired Page 3 looks like so As can be seen the parameter is Expression pedal In this case with a value of Off This parameter determines if the currently selected Part responds to any data generated by a connected Expression Sustain pedal The type of data generated by a connected pedal can be specified by setting the Pedal Mode parameter on page 9 of the Global menu This parameter is adjusted using the higher Fast Data knob If this parameter is set to Off pedal data is ignored by the Part If this parameter is set to On pedal data is recognised by the Part This parameter is memorised with a Performance Polyphony Button This button works in Performance amp Program mode This button alters the Polyphony of the currently selected Program or Part When this button is pressed the display shows parame ters relevant to this section There are a maximum of 2 parameters displayed One for each line on the display The Fast Data Knobs on the right of the display are used to alter these parameter s values When this button is pressed the display shows As can be seen the higher parameter is Part polyphony In this case with a value of Poly This parameter assigns how the much polyphony is assigned to the selected Part amp is adjusted using the higher Fast Data knob amp nudge buttons If this is set to Off Performance mode only the Part is disabled No sound will come from this Part amp it will not respond t
255. ulse Width Modulation from ENV 3 to the selected Oscillator in a Negative direction In the Mid position there is no modulation at all The range of this parameter is 64 to 63 NOTE This parameter only works for Square waves amp the DoubleSaw waveform This does not apply to the Oscillators that have Saw Waveforms selected or the Noise 1 3 amp 2 3 Ring Modulator outputs No audible effect to these sound sources will be heard if an attempt is made to adjust this parameter when these sound sources are selected amp the display will show Not Available W idth Button M od Depth Knob W heel Button This combination controls the Pulse Width Modulation of the selected Oscillator by the Mod Wheel Turning the Mod Depth Knob fully clockwise introduces Pulse Width Modulation from the Mod Wheel to the selected Oscillator in a Positive direction Turning the Mod Depth Knob fully anticlockwise introduces Pulse Width Modulation from the Mod Wheel to the selected Oscillator in a Negative direction In the Mid position there is no modulation at all The range of this parameter is 64 to 63 NOTE This parameter only works for Square waves amp the DoubleSaw waveform This does not apply to the Oscillators that have Saw Waveforms selected or the Noise 1 3 amp 2 3 Ring Modulator outputs No audible effect to these sound sources will be heard if an attempt is made to adjust this parameter when these sound sources are selected amp the display wi
256. uttons associated with the Effects Section There are 7 effects available on each Program in the Nova Delay Button Reverb Button Chorus Button Dist EQ Config Button Pan Button Vocoder Button These buttons select the effect that will assigned to the Effect knob amp which set of effects parameters will be displayed when the Menu button is pressed i e If the Delay button is pressed lit the the effect knob controls the amount of Delay amp the Delay parameters are displayed when the menu button is pressed similarly if the Reverb button is pressed lit then the effect knob con trols the amount of Reverb amp the Reverb parameters are displayed when the menu button is pressed etc etc Effect Knob This knob controls the amount of effect that is currently selected in the effects section i e If the Delay button is pressed lit the the effect knob controls the amount of Delay similarly if the Reverb button is pressed lit then the effect knob controls the amount of Reverb etc etc Fully anticlockwise no effect will be heard amp as the knob is rotated clockwise more amp more effect is added When the Vocoder button is selected the knob controls the balances between the Carrier Modulator amp Vocoder output signals At a position of 000 the Program Carrier only will be heard Turning the knob to the mid position will fade this into the Vocoder s out put At the Mid position only the Vocoder s output will be h
257. ve the Echo a natural kind of sound Ratio The Ratio parameter automatically adjusts the Ratio of the longest Delay time amp the shorter Delay time into timings that are useful for Musical use This parameter does not effect the Delay Time parameter but does alter the shorter Delay time so that it works well with the Delay Time setting Width is the Stereo spread between the long amp shorter Delay times When set to 0 width both delays appear in the middle of the stereo field Mono At a width of 127 the long delay will appear on one output amp the shorter delay on the other producing a dramat ic stereo effect Pan This effect controls where the sound sits in the stereo field In the Nova this performs exactly the same function as Pan does on a Mixing console It can be used to statically position a sound anywhere from Left to Right in the stereo field This as everything else on Nova can be controlled via MIDI controllers Pan Type determines if the Pan is set to Pan automatically If set to Autopan the sound will swing from side to side of the stereo field at a rate determined by the Speed parameter If set to Tremolo the sound goes up 4 down in volume at a rate determined by the Speed parameter Speed determines the speed of the Autopan amp Tremolo effects Depth determines how much the Autopan amp Tremolo effects control the Volume of the sound small amounts produces subtle movements amp full amount produc
258. very qued va veru mauu VL HERRERA 47 Oscillator Section ott ash tet e ait eg o DO ERE ENRETE E EA a a 53 Filter SECON 2s 65 4 hates thereto bue b pa a B EE I PANDA A aa wha et debes 67 LEGS Section ca me cete UR eta AMG aa URSUS a T DATE oat 75 Envelopes Section muang iiber ertet ee Cette vete roedtel ao tS ane e reor preter 78 AE 83 Part EditSection iiem beoe dedos e erhpu rt BG KA DD NYAN dog bigs A e ERE ders 96 Wc Re na A TA BAR Ka ATA inate LGE KA BAN EPI NEA ot Gg Span ALAK 103 Aa AA 105 Using Expression Pedals 4 Footswitches II 108 Troubleshooting iii aceto ebbS buhi pnp bin Bb ISI QI ART AIR RR bb been 110 Compatibility with other Novation Products IRI n 112 Loading Additional Sounds i 2 ae wee ee Pees e UNE NIU oes ed PARAN EU PEER 114 Upgrading the Operating System IIIA eens 115 Specification s honean nn MS 117 MIDI Implementation rte mur trm tt o ect ir I PP TERR ALAIN Rb PUER 118 MIDI Controllet Table 2r son sateen RD SEA EY EX NS Crime E EO HR EM PET 119 MIDINRPN Tables oie ct ER eO La RR cine RICE UR UURRO OUO Re AN ERR RARE gen 120 anc dahan haba pa bp BG hee ay ag da ab Ya doled haaha 129 MIDI Bank Messages 3e cc Dem oer PRO ao n DR ULL ALI ACE EROR AG 130 MIBICIoCK Syn6e a roh Re bet en oats bck rk plat asin NG NG APP 131 Programs Bank A octo e geni An he d Ra s bbs NENA OR RO Dc e c UR OR Reden 132 Programs Bank B aisle iin here Ups LRUPU ER e
259. wusha 2 M Wh Jungle sine 303 Groover 1 M Wh Pick Bass M Wh Sonar C3 M Wh TeaSub Bass Bright EP Brass Eleventh HourPad SuperStrings1 Electric Insect All The Rave Stack HPF M Wh Infiltrator SFX Cheesy Spice 132 Pulsebass Synth Scratch Staccato Filter Vienna Bender Piki Rez Square M Wh DetuneBass M Wh Randevous 2 harp Comb Snare Arpy 30Dist Hard Bass LFO madness Arp Fingers Sweep 12 dB Strillan M Wh Waterphones Pulse Clav M Wh SimpleAnaBass Wh Burbler InVinceable M Wh Pinchi Pick M Wh Down Osc DontSurrender Wh Sinker M Wh No FM Huh 909 Clap Perckie Saw M Wh Coke Filter M Wh Sup Jup Horn M Wh Clockworks M Wh Comatose Open High Hat 1 Your Pad or Mine Xtal Drop S ash Tray M Wh Uplifting M Wh Subbass M Wh Clix Organ Swidge M Wheel Delicate Arp Syncapation Closed High Hat 1 Juice Bass X mod Bass Ahh Voices 2 Obie Jumpin Novebella Pianola M Wh Talker Poms Bass3 Just Cant Get It Bubble Arp 909 Tom M Wh Virtual Panpipe Glider 2 Pad M Wh Hard Nosed Drubex SQ Piano Pad M Wh Raver Pad M Wh Roundhouse Bass Pick n Mix Rain Piz Mechatron Arp Poms Bass2 OO O YO OBRWN c Filtered H2O SuperBassst n 19 Width Bass M Wh Wheel 303 Lonely Olive Z Plane VeloPick Kickin Hardcore Giggin EP Chatter Arp M Wh Screaming Raver DistortOrgan Bigger 1 Polysikz Strings Voxi Organ Lead Gat HolidayLeadBass Sine us Bottie End StaccatoString Obie Brass Flatter Head M Wh Syn
260. ype of room is up to you anywhere from the toilet to the local Concert hall is pos sible Below is a simplified diagram of the reflections of sound in a room Note there are many reflections from all directions When the Reverb button is pressed the knob in the effect section controls how much Reverb there is Anticlockwise there is little effect This can be thought of as being very close to the sound source within the hall Fully clockwise there is lots amp this can be thought of as being at the other end of the hall from the sound source Basically one way of looking at this parameter is where you are amp where the sound source is in the hall Different types of rooms amp halls have different acoustics For this reason Nova features several different Reverb types These range from very very small rooms like the Dry Chamber setting to the very large hall like the Large type 2 setting Additionally special types have been included These are Gated types amp are an artificial type of reverberation that sustains for a period amp then typically dies away suddenly rather than smoothly decaying away as reverb does naturally These types can be used as a special effect especially on drums Most rooms have dominant large reflective surfaces Larger walls typically amp these create dominant echoes in the reverberated signal Early ref reflection level simulates these reflections Large amounts of Early ref level will pro

NOVA Owners Manual

Contents

Download Pdf Manuals

Related Search

Related Contents