MAC OS X Driver Software Installation With the X-Station disconnected from the computer, insert the CD labeled X-Station USB Drivers Resources into the CD Rom drive. Drag the X-Station.hqx file to the desktop and double click this icon to expand this. A file will appear on the desktop called 'X Station'. Open this folder to reveal the X-Station installer. Double click the 'X-Station Installer' icon and follow the instructions that appear. It will be necessary to enter the administrator password to complete the installation. At the end of the installation the computer will prompt to be rebooted. Accept this prompt. Important Notice The X-Station core audio driver cannot be loaded if the X-Station is turned on and connected to the computer when the computer is booting. Only connect the X-Station to the computer or turn on when the computer has booted fully. The X-Station core audio driver is called 'Novation X-Station'. This should be selected as the core audio driver to be used from the appropriate Audio application, system preferences / sound or the application 'Audio MIDI setup'
About ASIO on Windows XP Once the drivers are installed a special piece of software known as an ASIO driver is available for use. This ASIO (Audio Stream Input Output) driver allows for very fast direct communication between the XStation and the music sequencer/audio recorder (such as Cubase, LOGIC, Sonar, etc.) and keeps audio delays down to a minimum. If using a Windows system, for optimum performance this ASIO driver must now be selected. About Core Audio on MAC OS X Similar to Windows systems, once the drivers are installed a special piece of software known as a Core Audio driver is available for use. This also allows for fast direct communication between the X-Station and the music sequencer/audio recorder (such as Cubase, LOGIC, Sonar, etc.) and keeps audio delays down to a minimum. If using a MAC system, for optimum performance the Core Audio driver must now be selected.
The ASIO driver installation will begin.
Click the icon 'install the ASIO and MIDI drivers' Follow the on screen prompts to install the X-Station drivers. (if the X-Station or computer behaves erratically it may be necessary to power it from an external PSU or batteries - See page 3)
Selecting the X-Station as the Audio Device
Selecting The X-Station as the Audio Device Open the music application such as Steinberg Cubase, Emagic Logic, Cakewalk Sonar, MOTU Digital Performer or Propellerhead Reason and select the X-Station as the Audio and MIDI Device.
The X-Station Control Panel Certain audio settings may be changed by clicking on Control Panel in the Device setup window. A panel will appear as illustrated below.
Selecting the X-Station as the Audio Device in Cubase SX or SX2 In Cubase SX or Cubase SX2 open the Device setup window from the pull down menu under Devices

Keyboard MIDI Channel (Menu Page 2) Sets the MIDI channel used for transmission when the keyboard is played. Note: The MIDI channel used for the Pitch and Modulation joystick is programmable within the template. This channel value is over-ridden if the Override MIDI Channel setting on page 4 of this menu or in Play Mode is used.
Template Edit Mode - The Template Edit CC Pages
The Template Edit CC Pages The following Menu pages are available if Control Type on menu page 1 is set to CC :

Template Edit 'CC' Pages

Page 10 Function Controller Number Value Display Type Low Value High Value Button Action Type Pot / Slider Control Type MIDI Channel MIDI Ports Control Name Display Controller Num: Display Type: Low Value: High Value: Button Type: Pot/Slider Ctrl: MIDI Channel: MIDI Ports: Control Name: Value - 127, -64 to +- 127 or -64 to +- 127 or -64 to +63 NormalStep Jump, Pickup 116 ---U12 Text string
Template Edit Mode (Editing A Template) The menu in Template Edit Mode is used to define the settings of each of the programmable front panel controls which comprise a Template. The pages which make up the menu are different according to the type of MIDI information to be transmitted by the control. For example if a CC type of control is chosen, the menu path will be different for that of a SYSEX type control It is always the last touched control which is edited. If no control has been touched since the X-Station was turned on, the default control selected for editing will be Pot one (the knob at the top left corner). The controls which can be edited are any of the programmable knobs, buttons or sliders to the right of the display, the pedals, the joystick, the X / Y touchpad or any of the Transport buttons. Because the displayed menu pages are always in context according to the type of MIDI message used by the currently selected control (and in some cases, the type of control itself), the information shown on the display may change if a new control is touched during the editing process. The first page of the Template Edit Menu is always displays / prompts for the type of control. In the example below it is a CC type.
Controller Number (Menu Page 2) Sets the MIDI continuous controller number assigned to the control. Any controller number from 0 to 127 can be assigned, however the MIDI standard defines controller numbers 0, 6, 32, 38, 96, 97, 98, 99, 100, 101 & 120-127 for specific specialised purposes. These values should not be used unless the consequences upon the connected MIDI device are appreciated. Value Display Type (Menu Page 3)
The type of MIDI information that will be transmitted for the control is specified in this page. The options available depend upon the type of control selected for editing. These are : CC Continuous Controller. Any controller number can be used, however the MIDI standard defines controller numbers 0, 6, 32, 38, 96, 97, 98, 99, 100, 101 & 120-127 for specific specialised purposes. These values should not be used unless the consequences upon the connected MIDI device are appreciated. NRPN Non-registered Parameter Number. RPN Registered Parameter Number. MMC MIDI Machine Control. This can only be selected for buttons. Note On/Off Note On / Note Off message. This can only be selected for buttons. SYSEX MESSAGE System Exclusive string. This can contain a value altered by the control. A string of up to 20 bytes can be defined for each control. Program Change Program Change message. This can only be selected for buttons. Pitch Bend Pitch Bend. This can only be selected for the X / Y Touchpad. No Control The control will transmit no MIDI when touched. There are no further menu pages available if this option is selected.

Template Edit 'Note On/Off' Pages
Page Function Note Value Button Action Type Note Velocity Value MIDI Channel MIDI Ports Control Name Display Note Value: Button Type: Velocity Value: MIDI Channel: MIDI Ports: Control Name: Value C-2G8 NormalToggle ---U12 Text string
The Template Edit SYSEX MESSAGE Pages The following Menu pages are available if Control Type on menu page 1 is set to SYSEX MESSAGE :
Template Edit 'SYSEX MESSAGE' Pages
Page 10 Function Value Display Type Low Value High Value Button Action Type Pot / Slider Control Type MIDI Channel MIDI Ports Sysex Byte Edit Control Name Display Display Type: Low Value: High Value: Button Type: Pot/Slider Ctrl: MIDI Channel: MIDI Ports: SYSEX MESSAGE: Control Name: Value 0 - 127, -64 to +- 127 or -64 to +- 127 or -64 to +63 NormalStep Jump, Pickup 116 ---U12 0.7F, EM, DV Text string
Value Display Type (Menu Page 2) Low Value (Menu Page 3) High Value (Menu Page 4) Button Action Type (Menu Page 5) Pot / Slider Control Type (Menu Page 6) MIDI Channel (Menu Page 7) MIDI Ports (Menu Page 8) These menu pages are exactly the same in operation as those settings already described for the Template Edit CC menu pages. These are described in detail on pages 16 to 17. Sysex Byte Edit (Menu Page 9) Here the individual bytes of the System Exclusive message are defined. Up to 20 data bytes can be defined on this menu page
Note Value (Menu Page 2) Sets the note to be played when the button is pressed. Any note value in the MIDI note range can be defined. Button Action Type (Menu Page 3) This setting determines how the button will behave. For flexibility, there are three available options : Normal - The velocity value (See below) will be transmitted when the button is pressed. Data is only sent when the button is pressed, not when released. NOTE: Caution is required when using this option since a permanent Note On message would be received by a device and there would be no corresponding Note Off command to silence an increasing number of Notes! Momentary - The velocity value will be transmitted when the button is pressed and a Note Off command (Note On with zero velocity value) will be transmitted when the button is released. This would be the most commonly used option. Toggle - Pressing the button alternates between transmitting the velocity value data value and a Note off message. The velocity value is sent on the first button press. Data is only sent when the button is pressed and not when it is released. It is clear to see that when a button is defined as a Momentary type, it can become a reasonable trigger device for Drum type sounds or a one shot sample, although the note velocity is fixed (see below) not dynamic. Note Velocity Value (Menu Page 3) Defines the fixed velocity value used in the MIDI Note On message, transmitted when the button is pressed. The remaining menu pages are exactly the same in operation as those settings already described for the Template Edit CC menu pages. These are described in detail on pages 16 & 17.

Saving A Template To Memory Once a Template has been configured in Template Edit Mode, it may be written to any of the X-Stations 40 Template memories. Note that it is possible to overwrite any of the Template presets loaded into the XStation at the factory. The Template write procedure is invoked by pressing the TEMPLATE WRITE button while in Template Edit Mode or Template Select Mode. If the Memory Protect switch is set On, the following screen is displayed :

MEMORY PROTECTED

And the write procedure is halted. After about half a second, the XStation resumes in Play Mode. It will be necessary to set the Memory Protect switch to Off before any X-Station memories can be over-written. This is described on page 25. Otherwise, pressing the TEMPLATE WRITE button brings up the first screen in the write process :
Using The Footswitch Or Pedal Normally, MIDI Continuous Controller Numbers (CCs) 11 and 64 are used for the Expression Pedal and Sustain On/Off Pedal. These CC numbers are defined in all Factory Preset Templates, but of course may be edited within a Template to transmit any other type of Controller data instead. Sustain Footswitch In Play Mode, the following display will appear if a footswitch is activated :

V Station To Template

Shown on the top line is the existing name of the Template (this can be changed later in the write procedure - see below). On the bottom line is the Template memory location where the Template data is to be written (this defaults to the current location). A different destination memory can be selected by using the DATA / VALUE encoder. A second press of the TEMPLATE WRITE button will show :

Sustain Pedal 127 CCU12

The value to the bottom left of the display will indicate if the switch is On or Off (On = 127, Off = 0). The name of the pedal may be edited in Template edit mode if required. The Footswitch normally transmits using CC64. Expression Pedal In Play Mode the following display will appear if the Expression pedal is moved.
Template Name ? V Station
Here it is possible to edit the instrument name for the Template. The name is limited to 16 characters long. A cursor indicates the current character in the name selected for editing. Use the CURSOR LEFT / RIGHT buttons to select a different character to edit. The currently selected character in the name can be altered by using the DATA / VALUE encoder. On this display, the five TRANSPORT buttons provide useful functions : REWIND button FAST FORWARD button STOP button START button RECORD button Upper Case Alphas Lower Case Alphas 0 - 9 Numbers Special Chars Replaces current character with a space character

Attack Release

: 20 : 65

Compress Ratio dB: 2.0

Turning the knob will set ratios from 1.0 to 13.7 in steps of 0.1 dB. For example, if this is set to Ratio 2.0, any part of the input signal that exceeds the Threshold Level will be attenuated by a factor of 2 to 1. This naturally has the effect of making any peaks in the incoming signal sound less loud.
Turning the TOP LINE knob adjusts the Attack time from 0.1mS to 200mS. If the Attack time is set to a low value (Fastest Attack time) then the compression effect will be instantaneous. Setting to a longer time will result in the input signal passing through unchanged for a longer time before being compressed. Very often when recording percussive instruments such as Drums and Guitars, setting the attack time to a medium setting (say 20-40) will enhance the characteristics of the instrument since the transient portion at the start of the Drum beat or Guitar pluck will remain unchanged. This has the effect of making the sound more punchy.
The Distortion Effect - The EQ Processor
Release Time The compressor needs to know how quickly to turn off the compression effect once the signal level drops to below the threshold level. Turning the BOTTOM LINE knob adjusts the Release time from 50mS to 5 Seconds. If the Release time is set to a low value then the compression effect will be turned off very quickly once the signal drops below the threshold level. Setting to a longer time will result in the compression effect gradually disappearing over a period. Start by using a setting of about 64. Hold Time If the Attack and Release times are set to fast (low) values then it is useful to be able to Hold the compression effect for a time. The Hold Time control allows a slight delay to set before the compressor initiates the release time phase. Turning the TOP LINE knob adjusts the Hold time from 0.1mS to 200mS Seconds. A setting of about 64 will give good results. The EQ Processor Occasionally it may be desirable to adjust the Bass, Mid range or treble content of the incoming signal before committing to recording it. For example it may be required to remove an annoying mid range hard edge present on a Brass sound prior to committing it to a recording. The EQ processor can apply a boost or cut to the Bass, Mid and Treble frequency ranges of the input signal. To adjust the controls for the EQ processor use the UP and DOWN arrow until the EQ LED next the EQ label is selected. Turn the LEVEL knob to adjust the Mid Range frequency content. The display will alter to show the Mid Range setting as illustrated below.

OFFPSU/USB

ONOFF 44.1K48K
Sets the Memory Protect switch. This is a safety feature to prevent Templates or Global settings being accidentally over-written. Setting Memory Protect to On also prevents memories being over-written by incoming System Exclusive Template dumps. Memory Dump (Menu Page 2) Selects either the currently selected Template, all Template data or KS Synth Patch data to be saved in System Exclusive format. Use the DATA / VALUE encode to select the type of dump to be sent. This feature is useful for creating libraries of X-StationTemplates / Synth Patches or as a safety backup. Transmission of the Sysex dump is initiated by pressing the WRITE button while this menu page is displayed. Sysex editor / librarian programs can be downloaded from the internet as shareware or freeware. Using such a program is recommended for building a library of templates and synthesizer programs. A System Exclusive dump can be replayed into the X-Station from a sequencer or sysex librarian at any time. A single Template dump or
Pickup - Each knob and slider will only transmit MIDI once it has passed through the position represented by the controls data value as stored in the Template. This applies globally to all knobs and sliders in all Templates. Display Timeout (Menu Page 7) When many controls are adjusted (such as the LEVEL control in the effects section) the display switches to show an updated value for period of time. The time period is set by this Timeout value option. It has a default value of 64 which will give about 0.5 seconds of display time before the display switches back to the previous screen. The range of the control is 0 ( no timeout) to permanent whereby the display does not switch back to a previous screen.

The Global Mode Menu

Pitch Bend / Mod Calibration (Menu Page 8) Here the Modulation / Pitch Bend joystick can be calibrated. Power Status (Menu Page 11)
Cal Pitch/Mod: --- --The joystick is moved from the extreme left to the extreme right. The digits below the word Pitch will show 0 to 255. The joystick is then moved from the extreme top to the extreme bottom. The digits below the word Mod will show 0 to 128. The joystick mechanism is now calibrated. The calibration is saved by saving the global settings. See page 27 for details. Normally, it should not become necessary to calibrate the joystick again. Aftertouch Calibration (Menu Page 9) Here the Aftertouch response of the keyboard can be calibrated.

Sine Wave SineWave 1 Harmonic Harmonic
50% These have just a single frequency. This waveform produces the purest sound because it only has this single pitch (frequency). Triangle Waves 40%
Triaangle Wave TriangleWave 1 Harmonic Harmonic 7
Various duty cycles of rectangular (pulse) waves
These contain only odd harmonics. The volume of each is the square of its position in the harmonic series. For example, the 5th harmonic has a volume of 1/25th of the fundamental. When listening to a pulse wave, it does not make any difference to the perceived sound whether the duty cycle is 40% or 60% since the waveform has just been inverted and the harmonic content between the two is exactly the same.

The Filter

Noise Waves The Filter The X-Stations KS Synth is an Analogue subtractive type of music synthesizer. Subtractive implies that part of the sound is subtracted somewhere in the synthesis process. The Oscillators provide the raw waveforms with plenty of harmonic content and it is the Filter that subtracts unwanted harmonics in a controllable manner.
Noise Noise 1 Harmonic Harmonic 4 5
These have no fundamental frequency (and therefore no pitched element). All frequencies are at the same volume. Because they have no perceivable pitch, noise waves are often useful for creating sound effects and percussion type sounds. Digital Waveforms In addition to the traditional types of Oscillator waveforms detailed above, the KS Synth also offers carefully selected digitally sampled preset waveforms containing useful harmonic elements normally difficult to produce using traditional Oscillator waveforms. The Mixer To extend the range of sounds that may be reproduced, a typical Analogue synthesizer often has more than one Oscillator. By using more than one Oscillator when creating a sound, it possible to achieve very interesting harmonic mixes. It is also possible to slightly detune individual Oscillators against each other which creates a very warm fat sound. There are has three independent Oscillators and a separate Noise Oscillator.
Three types of Filter are available. The type of Filter most commonly found on synthesizers is the Low Pass type. With a Low Pass Filter, a cut-off point is chosen and any frequencies below that point are passed. Any frequencies above are filtered out. The setting of the FREQUENCY knob on the front panel dictates the point below which frequencies are removed. This process of removing harmonics from the waveforms has the effect of changing the sounds character or timbre. When the FREQUENCY knob is set fully clockwise, the filter is set completely open and no frequencies are removed from the raw Oscillator waveforms. In practice, there is a gradual reduction in the volume of the harmonics above the cut-off point. How quickly these harmonics are reduced in volume above the cut-off frequency is determined by the Filters slope. This slope is measured in volume units per octave. Since Volume is measured in decibels, this slope is quoted in number of decibels per octave (dB). Typical values are 12dB or 24dB per Octave. The higher the number, the faster the harmonics are cut and the more pronounced the filtering effect. The button on the section marked SLOPE allows either the 12dB or 24dB type filter slope to be selected. A further important feature of the Filter is the RESONANCE control. Frequencies at the cut-off point may be increased in volume by this control. This is useful for emphasizing certain harmonics of the sound. As the RESONANCE is increased, a whistling like quality will be introduced to the sound passing through the filter. When set to very high levels, RESONANCE actually causes the filter to self - oscillate whenever a signal is being passed through it. The resulting whistling tone being produced is actually a pure sine wave, the pitch of which depends on the setting of the FREQUENCY knob (the filters cut-off point). This resonance-produced sine wave can actually be used for some sounds as an additional sound source if desired.

The Filter Section

SYNC Button The Filter Section This function provides a way of producing interesting, piercing, metallic sounds. It does this by using the frequency of Oscillator 1 to periodically restart the waveform used by Oscillator 2. This technique is known as Oscillator Sync. Set this to ON to activate Sync. It should be remembered that the frequency of a waveform corresponds to the number of waveform peaks (cycles) over a given period of time. The frequency also determines the Oscillators pitch. Therefore if Oscillators 1 and 2 are detuned from each other, Oscillator 2s waveform will be periodically interrupted and started again from the beginning of the waveform cycle every time Oscillator 1s waveform begins a new cycle. The diagram below illustrates this. The Filter can be used as a Low Pass, High Pass or Band Pass type.

Oscillator 1

FREQUENCY Knob This controls the basic Cut off frequency of the Filter. The Low Pass type of Filter is the most common type of Filter found on classic analogue synthesizers and is musically the most useful, especially for bass sounds. As the FREQUENCY knob is adjusted anticlockwise, harmonics are gradually removed from the sound. When almost closed, only the fundamental frequency remains. Fully closed and no sound at all passes. With the High Pass Filter type, as the FREQUENCY knob is adjusted clockwise, harmonics are gradually removed from the sound. When almost fully anticlockwise, only the fundamental frequency remains. When Fully clockwise and no sound at all passes. With the Band Pass Filter type, a narrow band of frequencies are passed, centered on the position of the FREQUENCY knob. This kind of Filter is useful when it is desired to pass only a small range of specific frequencies present in a sound. RESONANCE Knob This knob controls the Resonance of the Filter. The control will boost frequencies at the Cut off frequency. On on some synthesizers, this control is known as Emphasis since it will emphasize certain frequencies. At the zero position there is no effect. Turning clockwise slowly introduces the emphasis. Set fully clockwise, the Filter will begin to self - oscillate, producing a new pitched element (similar to feedback on an electric guitar). Note : At least a small signal must be fed into the Filter in order for the resonance to take effect. It is not possible for the filter to self - oscillate if no signal at all is fed into it. If the KS Synth produces a high pitched whistling sound, it is probably due to this knob is being adjusted too far clockwise. If this self-oscillating effect is not desired, keep the Resonance control away from the extreme clockwise setting. Increasing the Resonance is very good for bringing out modulation (movement or change) in the filter Cut off frequency, such as in Acid bass lines and other very edgy sounds. KEY TRACK Knob This controls the amount of change to the filter Cut off (set by the FREQUENCY knob) by the pitch of the note played. When the knob is turned fully anticlockwise, there is no change to the filter Cut off frequency. With clockwise movement there will be an increasing amount of modulation. The filter will be opened more as higher notes are played on the keyboard. This control is used to define how the timbre of a sound changes over the keyboard. At the fully clockwise position, the filter tracks the pitch changes in a 1 to 1 ratio. This means that with RESONANCE set to a high level, the pitch of the Filters self - oscillation will increase in semitone steps as notes are played on the keyboard. This effect is akin to adding an extra (Sine Wave) Oscillator to the sound when notes are played on the keyboard.

Oscillator 2

Synced waveform
It can be seen that the resulting synced waveform has subsequently been modified into a different shape. Altering a waveforms shape in this way introduces new harmonics into the sound which gives the resulting waveform its distinctive synced sound qualities. It should be realised that the greater the difference in tuning between the Oscillator waveforms, the more pronounced the sync effect will become, since more drastic changes will be made to the final synced waveform. Changing the pitch of one of the Oscillators during the duration of a note (for example, modulated by an LFO) will add a dynamic quality to the synced sound.
Other functions associated with the Oscillators and Mixer can be found in the Oscillators and Mixer Menus. See Pages 19 &21.

The LFOs Section

ENV DEPTH Knob Controls the amount of change to the filter Cut off (set by the FREQUENCY knob) by the Modulation Envelope. In its central position there is no change to the filter Cut off frequency. Adjusting the knob anticlockwise from centre will introduce an increasing amount of negative modulation. The filter will close as the MOD ENV runs through its cycle. Adjusting the knob clockwise from centre will introduce an increasing amount of positive modulation. The filter will be opened by the MOD ENV. LFO DEPTH Knob Controls the amount of change to the filter Cut off (set by the FREQUENCY knob) by LFO 2. In its central position there is no change to the filter Cut off frequency. Adjusting the knob anticlockwise from centre will introduce an increasing amount of negative modulation. The Filter will close and open in time with LFO2 (this creates the popular wow wow effect of LFO2 wavefrom is set to Triangle). Adjusting the knob clockwise from centre will introduce an increasing amount of positive modulation. The filter will open and close in time with LFO 2. OVERDRIVE Knob This knob controls how much the filter is overdriven. When used in large amounts it will have the effect of making the sound richer and slightly distorted. SLOPE Button Controls how drastically the frequencies above (Low Pass), below (High Pass) or around (Band Pass) the Cut off point are removed from the sound. When the 12dB position is selected, the Cut off slope is gentle so higher harmonics are not attenuated (reduced in volume) as sharply as they are when the 24dB position is selected. TYPE Button Determines whether the Filter is acting as a Low Pass, High Pass or Band Pass type. HPF ON Button This button is not used in KS Synth Mode. FILTER SELECT Button This button is not used in KS Synth Mode since the KS Synth only has a single Filter. There are two LFOs - Low Frequency Oscillators - available on the KS Synth. These produce regular electronic variations which are too low to be heard when converted into audio vibrations. They can modify various elements of the sound, producing regular changes in pitch (vibrato), pulse width or filter Cut off. SPEED Knob Controls the speed of the selected LFO. Faster speeds are set by turning the knob clockwise. These are suitable for vibrato and tremolo effects. Slower speeds are more appropriate for Pulse Width changes or special effects. DELAY / AMOUNT Knob Controls how long after the note is struck the selected LFO begins to take effect. Fully anticlockwise and the selected LFO effect will begin immediately. Turning clockwise will cause the LFO effect to fade in. The time of the fade in is dependent on the knob position. This is used for delayed vibrato effects. LFO SELECT Button Selects the desired LFO for editing. Only LFOs 1 or 2 can be selected on the KS Synth. WAVEFORM & DEST Buttons Selects the LFO waveform. Use the WAVEFORM button to move up the waveform list and the DEST button to move down the waveform list.

Transmitting MIDI Program Change does not affect a connected MIDI device Some MIDI devices will not accept Program Change messages without receiving a Bank Select (CC32 or CC0) first. Transmitting Bank Select does not affect a connected MIDI device The X-Station sends a Bank select message using CC32. Some MIDI devices use CC0 for this purpose. It may be necessary to configure a control in a Template to send CC0 instead. System Exclusive messages not accepted by connected MIDI device There are several possible reasons : The MIDI device is set to filter out System Exclusive, or The Manufacturer ID is set incorrectly in the Sysex data consult your manual for details, or The Sysex message contains the wrong number of data bytes, or The Sysex message requires a checksum which has been calculated incorrectly - consult your manual for details.
X-Station cannot be selected as an AUDIO / MIDI device from within an application When opening an application that uses the X-Station as it's source for MIDI and Audio and it is found that the X-Station cannot be selected as the MIDI input - either the X-Station is grayed out or it does not appear in a list of available MIDI devices close the application, wait for 10 seconds, reopen the application and try again. For the Mac platform it is important that the X-Station is turned on only once the Mac has booted fully. If this is not done, the true Novation combined core audio driver will not load. The KS Synth stops responding to note data when the X-Station is connected to a computer via USB. If the computer does not have the MIDI driver installed (Windows PC or Apple Mac running OSX), or if an Apple Mac does not have an application open that could use the MIDI driver, stuck notes may occur as the X-Station waits for communication with the computer. Either load the driver (Win / OSX), open an application that could use the X-Station (OSX -even selecting the utility application Audio MIDI set up will suffice) or simply stop the X-Station from transmitting data to the USB port (set in the template common menu).
Using The X-Station with Reason
Using The X-Station With Reason It is possible that when using the Reason instrument templates that certain controls dont respond as would be expected. If this is the case, it is most likely that the version of Reason being used is not responding to the incoming MIDI controller information correctly. It is possible the template in use has been programmed incorrectly. To check which controller numbers are being sent, observe the LCD display when a control is moved. The X-Station will be sending these values over MIDI or USB. Known Anomalies With Reason General Reason will NOT currently respond to Program change commands. Therefore it is NOT possible to select new sounds from the X-Station. Reason 1.0 The transport bar will not respond to incoming MIDI messages and therefore will not work with the transport buttons. Reason 2.0 The transport bar will respond to incoming MIDI messages but they are not allocated a standard MIDI control message. They may however be Auto Learnt. The Transport buttons have been factory pre-programmed as below for all the Reason instruments. Refer to the Reason documentation for information on using the Auto learn feature.

Native Instruments - Reactor Panel Legend Actual Control Function Oscillator Section OSC 1/2/3 WAVEFORM OSC 1/2/3 SEMITONE OSC 1/2/3 DETUNE OSC 1/2/3/ LEVEL PORTAMENTO OSC ENV DEPTH OSC LFO DEPTH Filter Section FILTER FREQUENCY RESONANCE KEYTRACK FILTER ENV DEPTH FILTER LFO DEPTH Slope Type HPF ON LFO Section LFO 1 SPEED LFO 1 DELAY Envelopes Section AMP ENV GATE MOD ENV GATE F1 AMP ENV ATTACK AMP ENV DECAY AMP ENV SUSTAIN AMP ENV RELEASE OSC 1/2/3 WAVESHAPE OSC 1/2/3 COURSE OSC 1/2/3 FINE OSC 1/2/3 LEVEL-MIX GLIDE ENV OSC MOD LFO OSC MOD FILTER FREQUENCY RESONANCE KEYTRACK ENV FILTER MOD ENV LFO MOD FILTER SLOPE FILTER TYPE HI PASS LFO 1 RATE LFO 1 DELAY ENV / GATE TRIG / ENV / GATE INVERT AMP ENV ATTACK AMP ENV DECAY AMP ENV SUSTAIN AMP ENV RELEASE
It is very easy to learn a MIDI function to a particular control by right clicking on a control within Reactor and then MOD ENV ATTACK FILTER ENV ATTACK turning the appropriate control on the MOD ENV DECAY FILTER ENV DECAY Remote. Preference files have not MOD ENV SUSTAIN FILTER ENV SUSTAIN been included on the X-Station MOD ENV RELEASE FILTER ENV RELEASE Drivers/Resources CD because of the open ended nature of Reactor. Instead it is suggested that users learn the functions they require to the controls they want to use or introduce to a Reactor model. ReDrum - Propellerhead REASON Use the supplied template label Drum since the panel layout does not suit the format of the ReDrum machine. Two electronic templates ReDrum 1 and ReDrum 2 are used to control ReDrum. Use the DATA/VALUE encoder to quickly switch between the two. The Mute and Solo buttons respond to Note On/Off type messages and these are setup on the buttons above the sliders. The top row of Nine rotary controls alter the Pitch of each Drum 1 - 9 in the first template and the Length in the second template. There are many undefined controls and blanks areas are provided under these controls for customisation as required. Consult the Reason documentation on using the auto learn feature within Reason for defining controls.
Native Instruments - PRO 53 Panel Legend Actual Control Function Oscillator Section OSC 1/2 WAVEFORM OSC 1/2 SEMITONE OSC 2 DETUNE OSC 1/2/NOISE LEVEL OSC 1 PWM POSITION PORTAMENTO OSC 2 OCTAVE OSC 1 ENV DEPTH OSC 1 LFO DEPTH Filter Section FILTER ENV DEPTH LFO Section LFO 1 DELAY LFO 1 WAVEFORM LFO 1 DEST Envelopes Section AMP ENV ON/OFF F1 F2 MOD ENV ATTACK MOD ENV DECAY MOD ENV SUSTAIN MOD ENV RELEASE Arp Section ARP TEMPO ARP ON Effects Section EFFECTS SELECT EFFECTS CONTROL EFFECTS LEVEL DELAY SYNC ON/OFF DELAY FEEDBACK DELAY DEPTH NO CONTROL OSC A/B FREQUENCY OSC B FINE TUNE OSC A/B/NOISE MIX OSC A/B PULSE WIDTH GLIDE OSC B LFO ON/OFF POLY MOD FILTER ENV AMOUNT POLY MOD OSC B AMOUNT ENV FILTER MOD LFO / NOISE MOD LFO ENV TRIGGER LFO MIDI SYNC RELEASE ON/OFF VELOCITY ON/OFF INVERT FILTER ENV ON /OFF FILTER ENV ATTACK FILTER ENV DECAY FILTER ENV SUSTAIN FILTER ENV RELEASE DELAY TIME DELAY ON/OFF

Bank2 No. Bank2 No. 298 299
Category Bass Dance Arpeggio Dance Pad Bass Trance EP/Clav Bass Bells Bass Hard Lead Arpeggio Dance Dance Dance Trance Dance Bass EP/Clav Bass Arpeggio SFX Dance Soft Lead Arpeggio Pad Dance Organ EP/Clav Bass Sweep / Brass Arpeggio EP/Clav Arpeggio Strings Hard Lead Brass Motion Hard Lead Bass Hard Lead Arpeggio EP/Clav Pad Soft Lead Trance Brass Arpeggio Bass
Name Passion Bass Cake dear? Rhythm Flight Go Lieth Paddle Wheel Bass Addict Join the Club Chick Career Thick Bass Big Benny Travelator Arabia Game Show A Touch 2 Much Mr Gurner Trance Bass A Wasp Ian Vandal String Bass Choco Eclav Fruit Gums Sun Cream Hyperspice Circus of Humans PP3 Moving Target Flush All OSCS blazing F' Ground Plink Lay Tex Ky Lee Sweep ChatterBox Metal Tines Rand n Rand Bow and Flex Twin Overdrive Softy Acidout Edgeit On the Bounce It Feels Like Whos from Mars Klavicord Radio Head Go to Church Suspender Simple Saw Arp Pad FemBass
Category Bass Hard Lead Arpeggio Dance Arpeggio Hard Lead Trance Brass SFX EP/Clav Bass Hard Lead Arpeggio Soft Lead Pad Dance Sweep Pad Bass Arpeggio Bass Soft Lead Arpeggio Dance Arpeggio EP/Clav Bass Sweep SFX Bass Bass Soft Lead Arpeggio Strings Pad Arp Arpeggio Brass Hard Lead Pad Bass Hard Lead Ep/Clav Dance Pad Motion Arpeggio Pad SFX Initial Sound
Name Bootsy Bass Rub the Band Told you So On the Ice Banjo Strump Squeeze One Out Squeeler Liquid Brass Suck Me In Vibratine Dark Paper Suck the Guitar Fly By Soft Finger Lets Pluck Get the Timp Pins and Needles Silly Pad BulgeBass Witneys Pluck Rubber Bass Toy string Guitar OctaBass Swallow It! Arp Fantasy Light Finger ResoBass At Mosfet Cyber Landing Accoustic Bass Eastern Bass Arp not Arp Press a Chord Chambers Glass Whisper Ali Gatter Blippy Welcome Brass Lick Quid The END Slip Bass Monster Modular MW Wurlit Stop It Soon Talk the Talk Kotoswitch HarpBeat Fminate Space Storm Init Program
MIDI Implementation Chart
Version 1.0 - 13 / 4 / 2004
Model : Novation X-Station
Function Basic Channel Default Changed

Transmitted 1 - - 16 X X

Received
Remarks Memorised in Template data

Default Messages Altered

X ****************
Memorised in Template Data

Note Number

True Voice

0 - 127 ****************

0 - 127

Note On Note Off

O v = 1 - 127 X
Fixed Velocity used for button definitions

Aftertouch

Keys Channel

Pitch Bend

Combined Modulation & Pitch Bend joystick

Control Change

Definable RPNs & NRPNs

Program Change

0 - 99
0 - 39 Valid For Selecting Templates