Variable Width

Pulse Waveform
This has a very pleasant thickening chorus like effect & is often used in Pad type & String section type sounds.
ABOUT ANALOGUE SYNTHESIS Additionally there is a synthesis method called Oscillator sync. This takes two oscillators & 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( Master )

Osc2 ( Slave )

Sync Waveform

This Sync Effect creates very piercing & metallic sounds & are used a lot as lead sounds. It is worth noting that the Supernova II Rack 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 oscillators in one Supernova II Rack voice can be independently Synced as if there were 3 Master & 3 Slave oscillators. 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 & Formant Width Normally on an analogue synthesiser, even though the Master & 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 & 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 & down the master keyboard. Sync Skew manipulates the frequency of the virtual slave oscillator within one cycle of the master oscillator. The result is that the Sync Effect seems to have a higher frequency at the end of each cycle with positive modulation & 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 Sync Skew also effects the standard Square & Saw waveforms. The effect is to swash the waveform at the end of its cycle with positive modulation & swashing the waveform at the beginning of the cycle. On a square wave, moderate amounts of this effect produce similar effects to Pulse width modulation except width modulation over 100% can be achieved allowing may cycles to be swashed into one original one. This can also be described as Frequency Modulation within the cycle & 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 Sync Skew on standard Square & Saw waveforms. Note how the wave is swashed at one end & more than one cycle has been swashed into the original cycle.

ABOUT EFFECTS

Ensemble - an overview. This effect is designed to simulate the Ensemble effects found in classic String Ensemble keyboards like the Solina or the Roland SE101. This is similar to Chorus in the sense that Ensemble provides an effect that fattens up sounds & provides a stereo image but without the swirling sensation. It could in actual fact be thought of as 4 independent Choruses all running at different speeds, thus masking the wobbly sensation that Chorus can produce. This is particularly suitable for string sounds as it sounds smoother than Chorus for this purpose. 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 & 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 running at once from one LFO but in different phases. This creates a particularly thick Chorus effect suitable for String Ensemble & other Lush sounds. Chorus/Flanger. Normal Chorus & Flanger effects are quite similar. Using this effect as a Chorus provides a Stereo effect with a smooth swirling sensation that fattens up sounds & 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 & percussive sounds. The Flanger effect is similar to a chorus but tends to use more detuning & 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. Chorus 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 effects LFO produces. Again large amounts of modulation from this parameter will produce a more noticeable effect. Generally moderate amounts are used but you will find that bass sounds benefit 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 & Phasers on the other hand sound better with more feedback. Feedback emphasises the harmonics in a Flanger & 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.

The effects LFO should not be confused with the front panel Program LFOs. Delay. This effect is normally a single acoustic reflection of a sound. This is commonly called Echo. This effect can be heard naturally anywhere where there is a large flat surface, like a concrete wall. A Stereo version can be considered to be two concrete walls & this is the type that the Supernova II Rack uses. The distance from the walls determines the delay time & in the example below the distance between the left wall & left ear of the listener is different to the distance between the right wall & the right ear of the listener. This creates a Stereo staggering effect of the echoes & is normally referred to as Multi Tap Delay or Tap Delay.
Delay Time. This parameter controls the amount of time it takes for the delayed signal to 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 & a short distance produces a short delay. In the Supernova II Rack, the Delay time is the time of the longest delay. The shorter delay will be a percentage of this value. See Ratio below. Feedback. This parameter controls how much of the delayed signal is fed back into the delays input. No feedback produces a Slapback Echo effect, that is just one delayed signal with no repeats. Small amounts of feedback produce repeated signals giving the Echo effect. This can be thought of as standing in-between two parallel concrete walls. The sound bounces back & 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 give the Echo a natural kind of sound. Delay Ratio. The Ratio parameter automatically adjusts the Ratio of the Longest Delay time & 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 & shorter Delay times. At a width of 0, both delays appear in the middle of the stereo field. (Mono) At a width of 127, the long delay will appear on one output & the shorter delay on the other producing a dramatic stereo effect. Pan. This effect controls where the sound sits in the stereo field. In the Supernova II Rack 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 Supernova II Rack ) 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 & down in volume at a rate determined by the Speed parameter. Pan Speed determines the speed of the Autopan & Tremolo effects. Pan Depth determines how much the Autopan & Tremolo effects control the Volume of the sound, small amounts produces subtle movements & full amount produces change from no sound to full volume. A Translation of terms used throughout this manual.

Harder Kick Drum aOO2

And the sound has changed showing Program a002. Alternatively as all the 50 programs in Drum Map a are simultaneously available on the master keyboard, the selection can be made from the master keyboard. Play the master keyboard until the sound desired is found, now play the note while holding down the Page down button. If D1 is played the display should look the same as above. When sounds are selected from the front panel, the appropriate MIDI Bank & Program change messages are sent on the last entry of the keypad & can be recorded on Computer Software / Sequencer. Selecting sounds via MIDI is very simple, just send the appropriate MIDI Bank number & Program change commands to Supernova II Rack from the Computer Software / Sequencer. To change Programs & 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 & Program change messages on the individual MIDI Channels assigned to the Parts of the Performance. There is a Chart on page 125 outlining all the different Bank numbers for selecting the different modes via MIDI.
EDITING & WRITING ARPEGGIATOR PATTERNS Editing & writing Arpeggio patterns is a bit like Step sequencing. It is not immediate & requires understanding of all the parameters 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 Arpeggiators parameters. The first thing to do is select a Program you want to use with an Arpeggiation. Use the Program, Bank & 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 1 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 & single notes are played from that chord sequentially at a speed determined by the Speed knob & Polyphonic, i.e. a chord is played on the master keyboard & 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 1 of the Arpeggiator Menu button pages. Select a pattern between 000 & 063 ( these are Monophonic ) & make a note of the pattern number you have selected. For reasons that become clear below we suggest that for the purposes of learning initially set the Sync parameter to a low value. i.e. 8ths & the Fill In parameter to Off. Both of these parameters are on page 4 of the Arpeggiator Menu button pages. Go to the Global Mode by pressing the Global Button. Go to page 7 & switch the Memory Protect parameter to Off. Go to page 18 & select the same pattern you assigned to the Arpeggiator in the Program. You are now ready to start creating a Pattern. The procedures for editing Monophonic & Polyphonic patterns are slightly different. Monophonic Patterns A Monophonic pattern can be 1 step long, although there would not be much point in this except for recreating effects like LFO triggered 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 & set the No of Steps parameter on page 18 of the global mode 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 synchronised to 8ths & 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 notes shown below:

There are a maximum of 2 parameters displayed on any page. One for each line on the display. The upper & lower Data knobs on the right of the display are used to alter these parameters values. Page 1 looks like so:
Master tune Global MIDI chan
The higher parameter is Master tune. In this case with a value of +00. This parameter determines Global tuning of Supernova II Rack. Use the upper Data knob to adjust this parameter. The range of this parameter is -64 to +63 cents. This parameter is memorised as Global.
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. The lower parameter is Global MIDI chan. In this case with a value of 1. This parameter determines the Global MIDI Channel for the Supernova II Rack. This Channel is used when in Program Mode & for transmission & reception of Sysex data. Use the lower Data knob to adjust this parameter. The range of this parameter is 1 to 16. This parameter is memorised as Global.
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 2 looks like so:
Sysex transmission Single program
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 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, Program bank A, Program bank B, Program bank C, Program bank D, Program bank E, Program bank F, Program bank G, Program bank H, Program bank A request, Program bank B request, Program bank.C request, Program bank D request, Program bank E request,Program bank F request,Program bank G request,Program bank H, Performance bank A, Performance bank B, Performance bank C & Performance bank D, Performance bank A request, Performance bank B request, Performance bank C request, Performance bank D request, Drum map a, Drum map b, Drum map c, Drum map d, Drum map e, Drum map f, Drum map g, Drum map h, Drum map a request, Drum map b request, Drum map c request, Drum map d request, Drum map e request, Drum map f request, Drum map g request, Drum map h request, Total data & Total data request. This parameter is memorised as Global.

The page buttons can also be used in conjunction with the keys on the keypad to directly enter note values into parameters such as Range in Part edit of Performances ( see page 118 for details ) & Tuning of Drum Programs. ( see page 114 for details )

ARPEGGIATOR SECTION

menu on/off latch
This section contains all the Knobs & buttons associated with the Arpeggiator. Menu - Button When this button is pressed, a series of pages is available on the display containing parameters relevant to this section. In the Arpeggiator Section there are 7 pages available. These are selected using the page Up & 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 upper & lower Data knobs on the right of the display are used to alter these parameters values. Page 1 looks like so:

Pattern Bank Pattern no.

Mono 12O
The higher parameter is Pattern bank. In this case with a value of Mono. This parameter determines type of Pattern the Arpeggiator will use. Use the upper 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 master keyboard are played at once & transposed ) the User Bank is 128 patterns that are user programmable in the Global Mode. Patterns 000 to 063 in this bank are Monophonic & 064 to 127 are Polyphonic. The range of this parameter is Mono, Poly, & User. This parameter is normally memorised with a Program, however if in Performance mode & the Arp bank & pattern used parameter on page 1 of the Special menu in the Part Edit section is set to Part, then the parameter is memorised with a Performance. 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 Data knob to adjust the value The range of this parameter is 000 to 127. This parameter is normally memorised with a Program, however if in Performance mode & the Arp bank & pattern used parameter on page 1 of the Special menu in the Part Edit section is set to Part, then the parameter is memorised with a Performance.

When the Arpeggiator is using one of the standard Up / Down patterns (Mono patterns 000 to 003), Fill-in can be used to determine how the pattern sweeps through the number of octaves selected. 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.
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. 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 Data knob to adjust the value of this parameter. The range of this parameter is 32nd Triplet, 32nd, 16the Triplet, 16the, 8the Triplet, 16the Dotted, 8the, 4the Triplet, 8the Dotted, 4the, 2nd Triplet, 4the 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 ) & 8 Bar Dotted ( 12 Bars ). This parameter is memorised with a Program. Page 5 looks like so:

Real time trans

The higher parameter is "Real time trans", in this example with a value of Off. This parameter is used to determine whether the Arpeggiator can be transposed in real-time.Use the higher Data knob to adjust the value If set to "On" then the whole arpeggio can be transposed in real-time either by a note played inside the real-time trans56
ARPEGGIATOR SECTION pose zone on the master keyboard (active when the real time transpose button is lit) or by notes received on the "Real-time Transpose Channel" (set in the Global Menu). The amount of transposition applied to the Arpeggiator corresponds to the difference in semitones between the note played & the note defined by the "Arp Transpose Reference Note" (also set in the Global Menu). The transposition can be negative as well as positive. For example, if the "Arp Transpose Reference Note" is defined as note C3, playing C#3 will result in the whole arpeggio being transposed up one semitone from its original key. If Bb3 is played, the whole arpeggio will now be transposed down two semitones from its original key & so on. To return the arpeggio to its original key (a transposition of zero semitones), it is necessary to play the same note value as defined by the "Arp Transpose Reference Note" (set in the Global Menu). If this parameter is set to "Off", then no real-time transposition will be applied to the arpeggiator. It will continue to play in its original key even if note information is sent from the real-time transpose zone on the master keyboard or the "Real-time Transpose Channel". The range of this parameter is On & Off. This parameter is memorised with a Program. Page 6 looks like so:

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. In the Mid position there is no modulation at all. The range of this parameter is -64 to +63.

Pitch Level

Button Knob
This combination controls the Pitch Tracking of the selected oscillator. Turning the Level Knob fully clockwise makes the selected Oscillator track the master keyboard in the normal way. i.e. Notes played one octave apart on the master keyboard are transposed one octave apart. In the Mid position notes played one octave apart on the master keyboard are transposed 1/2 an octave apart & fully anticlockwise notes played one octave apart 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.
This does not apply to the Noise, 1*3 & 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 Mod Depth LFO 1 Button Knob 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.
This does not apply to the Noise, 1*3 & 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 & the display will show Not Available. Pitch Mod Depth LFO 2 Button Knob 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.

Sync Triggering

Off Keysync
The higher parameter is Sync. In this case with a value of 16the. This parameter determines where the selected LFO get their Clock. Turning the upper Data knob fully anticlockwise selects the Off option which means the selected LFO is running on its own clock & 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. The range of this parameter is Off, 32 Triplet, 32nd, 16the Triplet, 16the, 8the Triplet, 16the Dotted, 8the, 4the Triplet, 8the Dotted, 4the, 2nd Triplet, 4the 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 ) & 8 Bar Dotted ( 12 Bars ). This parameter is memorised with a Program. The lower parameter is Triggering. In this case with a value of Keysync. This parameter determines how the selected LFO is triggered. Turning the lower 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 lower Data knob clockwise selects the Keysynced option which means all the LFOs of the Voices that are being played are in phase & the cycles of the LFOs are reset to start from the beginning when a new note is struck. The range of this parameter is Freewheel & Keysynced. This parameter is memorised with a Program. Page 5 looks like so:

Delay fade Delay trigger

In Multi
The higher parameter is Delay fade. In this case with a value of In. This parameter determines how the selected LFOs Delay parameter behaves. Turning the higher Data knob anticlockwise selects the In option which means if a Delay is set using the LFO Delay Knob then no modulation will be present a the start of the note but LFO modulation will Fade in over the Delay period. Turning the lower Data knob clockwise selects the Out option which

Type Big room Early ref level 6
The higher parameter is Type. In this case with a value of Big room. This parameter determines the type of Reverb effect. Use the higher Data knob to adjust this parameter. There are 16 different types of reverb available in the Supernova II Rack. Turning this knob fully anticlockwise selects Gated reverse reverb. This is a special reverb where the reverb builds to a point & then stops as opposed to decaying away like normal reverb. Turning this knob clockwise one click selects Gated rising, Again this is a gated type of reverb that is slightly reverse in characteristic. Turning this knob clockwise one click selects Gated gentle which is a classic gated sort of reverb. Turning this knob clockwise one click selects Gated falling which is a gated type of reverb but does decay away slightly like normal reverb. Turning this knob clockwise one click selects Dry chamber. This is the first of the normal reverb types & represents a very small room. The rest of the reverbs model rooms that gradually get bigger & 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 & 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 Parts Part FX parameter. 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 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 Parts Part FX parameter.
Reverb decay Reverb HF damp
The higher parameter is Reverb decay. In this case with a value of 080. This parameter adjusts the rate at which the Reverb effect decays away. Use the higher 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 Parts Part FX parameter. 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 & is called High Frequency Damping. Use the lower 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 Parts Part FX parameter. Page 3 looks like so:

123 XXX

Switch 1 Disabled
These parameters determine the various Pedal / Footswitch functions are active or not. Turning the higher fast data knob selects the Switch to be edited. The Display shows the selected Switch on the top right of the display & its status is indicated on the bottom left of the display, in this case X. The range of this parameter is Switch 1, Switch 2 & Pedal Switch 3. The lower parameter sets the status, X equals Disabled & O equals Enabled. When set to Disabled, Footswitch operation have no affect on the Part plus no MIDI for the Footswitch is transmitted for this Part. When set to Enabled, Footswitch operation affects the Part plus MIDI is transmitted for the Footswitch on this Part. This parameter is memorised with a Performance. MIDI - 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 4 pages available. These are selected using the page Up & page Down buttons to the left of the display. There are a maximum of 2 parameters displayed. One for each line on the display. The upper & lower Data knobs on the right of the display are used to alter these parameters values.
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:

Sus/sw2 MIDI channel

The higher parameter is Sus/sw2. 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 parameter is adjusted using the upper 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 when a Sustain pedal message of On is received & 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 & the other(s) disabled so an Off option is available. The range of this parameter is Enable, Arp Latch, Arp Mute, Part Mute, Enable (I), Arp Latch (I), Arp Mute (I), Part Mute (I) & 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 & 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 & Global. This parameter is memorised with the Performance.

Program mode polyphony

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 Performance mode is Off, Poly , Mono. & Prog. In the Program mode the range is Poly & Mono. This parameter is memorised with Programs in Program Mode & 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 relevant to this section. There are a maximum of 2 parameters displayed. One for each line on the display. The upper & lower Data knobs on the right of the display are used to alter these parameters values. When this button is pressed the display shows:

Highest note Lowest note

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 & is adjusted using the upper Data knob. The range of this parameter is C-2 to G8. This parameter is memorised with the Performance.
PART EDIT SECTION The lower parameter is Lowest note. In this case with a value of C0. This parameter selects the Lowest note the currently selected Part will play on & is adjusted using the lower Data knob. The range of this parameter is C-2 to G8. This parameter is memorised with the Performance.
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 & Part lowest key is set to C3. The sound appears on the master keyboard from C0 to C2 & from C3 to C8. In other words there is a Hole in the middle of the master keyboard.
The Range for the Part can be set via the master keyboard by holding down the page up ( for the Highest note ) or page down ( for the Lowest note ) buttons & while holding down, playing a note on the Supernova II Rack at the desired split point. You can set both parameters simultaneously by holding down both page buttons. Special - 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 Reverb section there are 3 pages available. These are selected using the page Up & page Down buttons to the left of the display. The lower Data knob on the right of the display are used to alter these parameters values. Page 1 looks like so:

CE mark for European Harmonised Standards CE mark which is attached to our companys products of AC mains operated apparatus until December 31, 1996 means it conforms to EMC Directive (89/336/EEC) and CE mark Directive (93/68/EEC). And, CE mark which is attached after January 1, 1997 means it conforms 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 companys products of Battery operated apparatus means it conforms to EMC Directive (89/336/EEC) and CE mark Directive (93/68/EEC). Trademarks All trademarks or registered trademarks used in this manual are the property of their respective holders. Specifications 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 2000 Novation Electronic Music Systems Ltd. 147
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Equipment list

Studio 1 Desk: SSL AWS 900+ SE 24 Channel SuperAnalogue console with Total Recall AWSomation Recording: Pro Tools HD5 rig 32 in / 40 out Pro Tools HD 8.01 software 2.8GHz Quad-Core Intel Xeon Mac Pro Magma Expansion Chassis Digidesign 192 IO x 3 Digidesign MIDI IO Monitoring: Dynaudio M3s Chord amps and BS Audio crossover KRK Rocket 8 Yamaha NS10M Studio Bryston 3B Hearback System Hub + 5 satellite mixers Mackie active speakers/wedges x 4 Mackie 8.5k stage rig + mixer Headphones Beyerdynamic DT100 / DT150 & AKG271 Outboard: Neve 1073 DPA UA 1176LN Teltronix LA-2A API 3124+ Bricasti M7 DBX 902 x 2 DBX 903 x 2 DBX 905 x 2 Drawmer DS201 dual gate Roland Space Delay Yamaha SPX1000 Avalon U5 Class A Ultra 5 Direct
Sub Bubble Studios, Unit 2 Towers Business Park, Carey Way, Wembley, Middlesex HA9 0LQ www.subbubble.com
Microphones Neumann U87 P48 Vintage AKG C414B XLS x 2 AKG C414B-ULS Royer R121 - x 2 Shure SM7b Telefunken D19c Vintage Beyerdynamic M201 x 2 AKG D112 Sure Beta 52A Sure Beta 57A Sure Beta 58A x x Sure SMx Sure SM58 Audio Technica MB1K Audio Technica AT4033a DIs Avalon U5 Class A Ultra 5 Direct API 3124+ Matchbox DB25 x 3 Synthesisers / Sound modules / MIDI Nord Rack 2X Korg Radius R Novation Supernova II Roland Phantom X8 Roland V Drums + TD3 Sound Module Carillon Control 49 Roland ED-PC180A
Guitar Pedals SansAmp Classic Foxx Tone Machine Crowther Hot Cake Electro-Harmonix Holy Stain Blackstar HT-Boost Blackstar HT-Dist BOSS L2 x 2 BOSS TU-2 DC Brick multi power supply Plug-ins HD5 Plug-in Bundles Waves Platinum Waves API Bundle Waves L3 Multi Maximizer Bundle Soundtoys Bundle Line 6 Echo Farm TL Space Crane Song Phoenix EMI 12413 Abbey Road Massey L2007 Digidesign Smack
Backline Yamaha C3 Grand Piano Fender Hotrod Deluxe Fender Deville Tweed Marshall JMP Master Model MkII Lead 50W Vox AC30 Yamaha Studio Custom 9000 Drum Kit (20 Kick, 10 & 12 R-Toms, 13 Floor Tom) Sabian AAX Cymbals (14H/16C/18C/20R) Mapex Black Panther 14 Snare Full Pearl Hardware Peavey Delta Blues 210 Peavey Classic 50 Peavey JSX212 Trace Elliot stack new AH1200 (410 and 15) Gretsch Electromatic Pro Jet Fender Vintage Modified Squire Jazz Bass Vintage Kimbara Acoustic Crafter Acoustic Raimundo Nylon String Acoustic Yamaha APX-5-12A 12 String Semi-Acoustic Ovation Tangent Series MOB 57 PO30 Semi-Acoustic Shaftesbury Semi-Acoustic Assorted Percussion Conn Artist Symphony Trombone Violin Viola Aulos Recorders (Baritone/Alto/Tennor) Technics SL 1210Mk 2s, CDJ1000s + Pioneer DJM mixer Mackie active speakers/wedges x 4 Mackie 8.5k stage rig + mixer
Studio 2 Production / writing studio with vocal booth 8-core Intel Mac running Logic 9 Dynaudio Air 15 monitors with Air 2 Sub Software: UAD Nevana 32 expansion card Waves Platinum Native Spectrasonics Trilion Spectrasonics Omnisphere Rob Pappen Sub Boom Bass Rob Pappen Predator Native Instruments Komplete 6 Ableton Live 8 Reason 3.0.4 Native Instruments Akoustik Piano Native Instruments B4II MixMeister Fusion v7.2.4 BIAS Peak LE 5 Propellerhead Recycle 2.1 Rob Pappen Albino III v3.0.2 Cubase 4 Synthesisers / Sound modules / MIDI Nord Rack 2X Korg Radius R Novation Supernova II Roland Phantom X8 Roland V Drums + TD3 Sound Module Carillon Control 49 Roland ED-PC180A