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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 & 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 these 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:

MODES

Off . . . . . . . Not quantised. Mode 1 . . . . Quantised.

Mode 2 . . . . Intelligently quantised.

Mode 3 . . . . Quantised with the pattern locked to the sequencer & other quantised Arpeggiators.

Mode 4 . . . . Intelligently quantised with the pattern locked to the sequencer & other quantised Arpeggiators.

The range of this parameter is Off, Mode 1, Mode 2, Mode 3 & Mode 4. This parameter is memorised with a Program.

NOTE:

In Performances if more than one Part has a Program with Arpeggiators activated & 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 &/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 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 & 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 & 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.

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ARPEGGIATOR SECTION

Page 5 looks like so:

As can be seen the higher parameter is “Fill-in”, in this case with a value of 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 pattern 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 highest 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 & number of notes played while a mono arpeggiation is running. 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 & 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 & 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 & 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 & 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 determine 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 "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 ) & 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.

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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 Global Mode ) will Transpose the Arpeggiator’s output by the number of semitones difference between the note played on the “Realtime Transpose Channel” & the note assigned in the “Arp Reference Note” ( Set in the Global Mode ). Basically if this is “On” then you can transpose 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 & the note played on the realtime transpose channel. Both the “Realtime Transpose Channel” & the “Arp Reference Note” Parameters can be found in the Global Mode. Another Great live performance feature. Set Arp Latch to “On” & away you go! The range of this parameter is On & 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 75%

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 & large values produce a “Legato” effect to the Arpeggiation. The range of this parameter is 25%, 50%, 75% & 99%. This parameter is memorised with a Program.

Page 7 looks like so:

Arpeggio notes to :

Program & MIDI

As can be seen the parameter is “Arpeggio notes to:”. In this case with a value of Program & 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 & MIDI then the Nova is heard playing the Arpeggiation & 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 & the Nova is not played directly. The range of this parameter is Program Only, Program & MIDI & 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 higher Fast Data knob to adjust the value. The range of this parameter is On & Off. This parameter is memorised with a Program.

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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 especially 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 & 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 was set to ‘On’. Use the lower Fast Data knob to adjust the value. The range of this parameter is On & 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 & are not sounded.

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OSCILLATOR SECTION

Oscillators

This section contains all the knobs & buttons associated with the Oscillators & Mixer.

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 button selects the output of the Ring Modulator between Oscillators 1 & 3 & the 2*3 button selects the output of the Ring Modulator between Oscillators 2 & 3. For example, to adjust the “Octave” setting of Oscillator 1 press the “Osc 1” button, ( it will light up indicating it is selected ) & 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 display will change to indicate the parameter that has been selected & 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 & 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 ) & 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 )

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OSCILLATOR SECTION

Copy - Button

This button activates a Copying utility & 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:

Copy oscillator 1 to?

It is now a simple matter of pressing the destination ( the oscillator that you wish to copy oscillator 1’s settings to ). i.e. Press the Oscillator 2 button & the display shows:

Oscillator 1 copied to oscillator 2

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 ).

This is a menu of oscillator waveforms for the oscillator selected with the Osc 1, 2, & 3 buttons. To adjust the waveform of oscillator 1 press the “Osc 1” button & select the waveform required. The selected waveform will light. The Saw button selects a Sawtooth waveform, the Sq button selects a Square waveform & the Special button selects either Audio input 1, Audio input 2 or the DoubleSaw “special” waveform.

When the DoubleSaw waveform is selected, the currently selected Oscillator actually becomes 2 Saw waves that can be independently 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 & 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, Pitch, Sync & 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.

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OSCILLATOR SECTION

When the Special button in the Oscillator Section is pressed the Display shows:

Special waveform

Double saw

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) & Double saw. This parameter is memorised with a Program.

How to use the Double Saw waveform

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 difference between the waves & so at this setting Double Saw waves 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 difference 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 & negative cycle are used providing 360˚ of 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 & clicks will occur.

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