"Novation X-Station 用户说明书: MIDI和音频控制器介绍"

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The Novation X-Station is a versatile and powerful synthesizer and MIDI controller that offers a wide range of features for musicians and producers. The user manual provides detailed instructions on how to set up and use the device, including information on product registration and an overview of the main features of both the MIDI controller and audio sections. The MIDI controller section of the X-Station includes a variety of features such as assignable knobs and sliders, as well as transport controls for easy integration with your DAW. The audio section of the device includes inputs for audio recording and monitoring, as well as a variety of effects and processing options. In addition to its MIDI controller and audio capabilities, the X-Station also boasts powerful synthesizer features that allow users to create a wide range of sounds and textures. With a variety of oscillators, filters, and modulation options, the X-Station is capable of producing everything from classic analog tones to modern digital sounds. Overall, the Novation X-Station is a comprehensive and flexible tool for musicians and producers looking to expand their sonic palette and streamline their workflow. With its intuitive interface and powerful features, the X-Station is sure to inspire creativity and enhance your music-making experience.

Dual Mono Recording

If it is desired to record two different inputs

simultaneously - for example a guitar and

a vocal, repeat the setup process and set

the input gain for both the microphone and

the guitar independently. Use the INPUT

button to switch between each input to set

the signal level using the LED’s Begin

recording and use the BALANCE knob to

move the left to right position of either of

the two inputs. Within the sequencer set

one track to Input Channel 1 and the other

track to Input Channel 2.

Stereo Recording

Plug in a Stereo source (such as a CD player) and press the STEREO

button. Both input LED’s will light. Use the GAIN knob as previously

described to set the appropriate input level.

The BALANCE knob behaves in a different way when recording a

Stereo device. Rotating it fully anti-clockwise will result in the signal

being summed into a MONO signal. Rotating it fully clockwise will result

in a WIDE Stereo signal As in the previous examples the balance

between the previously recorded tracks and the new live stereo input

may be adjusted to suit by rotating the MONITOR input to output knob.

Recording And Listening With Effects

Most modern software audio sequencers allow the input signal to be

monitored with low latency but this is only a copy of whatever is

plugged into the audio input(s).

An outstanding feature of the X-Station is the ability to record and / or

monitor complete with effects, such as Reverb, without the need for an

external hardware effects box or without the need to engage additional

effects processors within the recording software.

This is particularly useful when recording vocals since the artist will nor-

mally prefer some amount of reverb in the headphones during a per-

formance. It usually will help him/her to envisage a live situation with

some ambience in the room.

There are three options with regard to monitoring and recording the

effects:

1. Bypass

This option will disable the effects section and the computer system will

record any audio data 'dry' - that is, an amplified version of the signal

appearing at the audio inputs. Any monitoring of the signal by head-

phones or on the main left and right outputs will also be 'dry'

2. Listen - Record

This option will enable the effects section and the computer system will

record any audio data 'wet' - that is, an amplified version of the signal

appearing at the audio inputs together with any of the audio effects

(such as reverb). Any monitoring of the signal by headphones or on the

main left and right outputs will also be 'wet'

3. Listen - No Record (Listen wet and Record Dry)

This option will enable the effects section BUT the computer will record

any audio data 'dry' - that is, an amplified version of the signal appear-

ing at the audio inputs. Any monitoring of the signal by headphones or

on the main left and right outputs will be 'wet'. This would be consid-

ered as a very useful option when, for example, recording a voice the

signal can be recorded 'dry' but the artist will be able to listen (monitor)

his or her performance with effects applied.

Adding Reverb

In the effects section press the UP/DOWN buttons to select the Reverb

effect - the corresponding LED will light. Adjust the LEVEL knob for the

desired amount of Reverb effect. The effects processors are powerful

multi effects type whereby one of each different effect may be applied

simultaneously if desired

See section ‘ Detailed Operation - The Dual Effects Processor’ on page

21 for more information on audio control and using the effects proces-

sor on recordings.

QUICK START GUIDE

Recording And Listening With Effects

• 11 •

Introduction

MIDI is an acronym for Musical Instrument Digital Interface. The MIDI

standard was devised in the early 80’s as a means for allowing musical

instruments to communicate with each other as well as with other

devices such as sequencers and computers. Before the advent of MIDI,

it was often very difficult (if not impossible) for instruments to effectively

communicate with each other, especially if they had been made by dif-

ferent manufacturers. Nowadays, most types of electronic musical

equipment are equipped with a MIDI interface fitted as standard, includ-

ing synthesizers, drum machines, samplers, sequencers, computers

and even some effects units.

The MIDI standard allows many different instruments to be controlled at

once (say from a sequencer or a controller keyboard such as the X-

Station) using the same network of MIDI cables. Each instrument in the

MIDI chain is usually assigned its own unique MIDI channel and will

only respond to information that it may receive on that particular chan-

nel. The MIDI standard allows for sixteen different channels to be

assigned to the various instruments in a MIDI network. This means that

it is normally possible to have up to sixteen instruments playing simulta-

neously within a MIDI system.

Some people may feel that being restricted to just sixteen MIDI chan-

nels might be a little limiting, especially if they are composing very com-

plex pieces of music. However, most current sequencers, MIDI ports for

computers and master keyboards offer a neat way around this problem.

They can offer several different MIDI outputs, each of which is treated

as a separate MIDI system in its own right with its own set of sixteen

MIDI channels. The X-Station may use any combination of its MIDI

OUT & USB ports for this purpose.

How MIDI Ports Are Used

The X-Station has three MIDI ports, one labeled ‘In’ and two ‘Outs’.

Additionally, there is a USB port which acts in a manner similar to a

combined MIDI IN / MIDI OUT. Each type of MIDI port has a specific

purpose :

MIDI IN ports

These are used by the X-Station to receive incoming MIDI information.

It is possible to configure the X-Station to immediately re-transmit this

MIDI information to any of the X-Station MIDI Out ports or to the USB

port. This is detailed on page 25. The X-Station can process incoming

MIDI from the MIDI IN port or the USB port simultaneously.

MIDI OUT Ports

These can transmit any MIDI information which might be generated by

the X-Station. For example, if a note was played on the X-Station key-

board or one of the controls were moved on the front panel. This MIDI

information is intelligently merged with any MIDI being re-transmitted

after arriving at the MIDI IN / USB ports.

USB Port

This port is used to connect the X-Station to a computer that features a

USB port. It can be regarded as a special port that can send and

receive MIDI information simultaneously. It is the most convenient way

of connecting to a computer, avoiding the need to connect two sets of

standard MIDI cables between the X-Station and a separate MIDI inter-

face. The information which flows through the USB connection con-

forms to the same Message format as standard MIDI.

Since MIDI information flows in one direction only along a standard

MIDI cable, it is not possible to have a MIDI In socket connected to

another MIDI In socket. If this were done the MIDI network would sim-

ply not work! In fact, the only two routings allowed are MIDI Out to MIDI

In or MIDI Thru to MIDI In.

Keyboard Controllers such as the X-Station are used to generate MIDI

data for controlling other instruments. Examples of other common MIDI

controllers are drum percussion pads or footswitch controllers. Of

course, the X-Station is capable of much more than just controller key-

board duties!

MIDI Messages

The X-Station is capable of transmitting various types of MIDI events.

These are as follows :

Note Messages

A note message is transmitted every time a key on the X-Station key-

board is pressed down or released. When a keyboard note is pressed

down, the MIDI message also includes velocity information. This repre-

sents how hard the key was pressed down. This velocity value can be

used to add dynamics to the sound, depending on how hard the note

was played.

It is also possible to configure buttons on the front panel to transmit

Note messages such that a Note On message is sent when the button

is pressed and the corresponding Note Off message sent when the but-

ton is released. This is detailed on page 18.

Control Change Messages

These messages are commonly used to alter synthesizer parameters

by MIDI. In many of the Preset Templates, it is actually Control Change

messages which are sent when the front panel controls are moved.

The MIDI specification allows for 128 different types of controller mes-

sage. These are often referred to as Continuous Controllers (CC0 to

CC127).

Some controllers are rigidly defined by the MIDI standard for specific

functions. For example, CC1 is always used for the modulation wheel.

Therefore, whenever the X-Stations modulation joystick is moved, it will

transmit MIDI control change information using CC1. All makes of syn-

thesizers will also use CC1 for modulation wheel data.

The Continuous Controller numbers rigidly defined include 0, 6, 32, 38,

96. 97, 98, 99, 100, 101 & 120 - 127. These are used for specialised

specific purposes.

Many Control Change numbers have no set purpose within the MIDI

specification. For example, whenever a Novation KS series Filter FRE-

QUENCY knob is moved, it will transmit using CC105. There is no

guarantee however that other makes of synthesizer will use this control

change number for the same purpose.

A CC MIDI message can contain a data value anywhere in the range 0

to 127.

Use of Control Change messages is detailed on page 16 .

Non-Registered Parameter Messages

Some synthesizers (such as the Novation KS series) actually have

many more than 128 different parameters that can be transmitted by

MIDI, but because the number of different types of control change mes-

sage is limited to just 128, a more complicated arrangement for trans-

mitting additional parameters is used. This arrangement is known as

Non-Registered Parameter Numbers (NRPNs for short).

NRPNs actually consist of three MIDI control change messages

grouped together, rather than a single MIDI control change message

which is normally used. The first two CC messages define the NRPN

number of the message. CC98 is used to specify the least significant

byte (LSB) of the NRPN number and CC99 is used to specify the most

significant byte (MSB) of the NRPN number.

MIDI TUTORIAL

Introduction - MIDI Ports - MIDI Messages

• 12 •

To calculate the MSB, divide the full NRPN number by 128. The

remainder is the LSB value.

Once the LSB & MSB of the NRPN number have been sent, CC6

(known as Data Entry) immediately follows. This contains the actual

data value to be sent in the NRPN.

As an example of how this works, consider sending a data value of 10

on NRPN number 260. The three grouped Continuous Controller mes-

sages would be :

CC98 (NRPN LSB) 4 (260 modulus 128 = 4)

CC99 (NRPN MSB) 2 (260 / 128 = 2)

CC6 (Data Entry) 10 (data value)

Many synthesizers do not use NRPNs. Consult your synthesizer manu-

al for details of which NRPNs are recognised.

The use of NRPNs is detailed on page 17.

Registered Parameter Messages

These are known as RPNs and are similar in format to NRPN mes-

sages. CC100 is used to define the RPN LSB and CC101, the RPN

MSB (usually zero). As for NRPNs, CC6 contains the actual data value.

RPN numbers assigned by the MIDI specification are :

0 Pitch Bend sensitivity

1 Fine Tuning

2 Coarse Tuning

3 Tuning Program Select

4 Tuning Bank Select

Many synthesizers do not use RPNs. Consult your synthesizer manual

for details of which RPNs are recognised.

The use of RPNs is detailed on page 17.

Pitch Bend Messages

These messages are transmitted whenever the X-Station’s joystick is

moved along the X axis. It is also possible to define the X - Y touchpad

to transmit Pitch Bend.

As the name implies, pitch bend messages are used to move sounding

notes up or down in pitch.

Aftertouch Messages

These messages are transmitted by some keyboards whenever

already-held down keyboard notes are pushed further or wiggled.

Aftertouch messages can be used to add extra expressiveness to a

sound, for example introducing an extra vibrato effect.

The MIDI specification actually defines two different types of aftertouch

message; Mono and Poly. The type transmitted by the X-Station is the

Mono type. This affects all sounding notes simultaneously.

Poly aftertouch includes information in the MIDI message about which

keyboard note was used to trigger the aftertouch effect, allowing individ-

ual sounding notes to be affected. Poly aftertouch is actually very rarely

found nowadays as only a very few synthesizers ever used it.

Program Change & Bank Select Messages

These messages are used to remotely select sounds on a synthesizer.

The MIDI Specification only allows a MIDI program change message to

select one of 128 different sounds. When the MIDI specification was

originally designed, this was rarely a problem since synthesizers sel-

dom had more than 128 memories. Modern synthesizers such as the

Novation K-Station offer many more memories than this (the K-Station

for example, actually has 400 memories divided into four ‘banks’ of 100

memories each), so it is often convenient to send a MIDI program

change preceded by an additional MIDI message which specifies which

‘bank’ of sounds the following Program Change message will select

from.

The Bank Select MIDI message used for this purpose is actually a MIDI

Control Change message. CC32 is the control change number used by

Novation and most manufacturers, but a few manufacturers may use

CC0 instead. Consult the synthesizer manual for details on the Bank

Select Continuous Controller number used.

For example to select Program A100 on the Novation Supernova, the

following MIDI messages would be needed :

CC32 5 (5 selects Program Bank A on the Supernova)

Prog Change 100

Synthesizers which implement Bank Select usually require that the

appropriate Bank Select message is sent before a following Program

Change message. Synthesizers not implementing Bank Select need

only receive a Program Change message.

Warning : Many synthesizers will only accept a Program Change

message if a Bank Select message has been received first !

Bank Select Messages may be sent from the X-Station by either using

the DATA / VALUE encoder from from within Play Mode (CC32 is

always sent) or by defining a control within a Template to transmit CC0

or CC32 as appropriate.

Program Change messages may be sent from the X-Station by either

using the PROG / PAGE UP / DOWN buttons from within Play Mode or

by defining a control within a Template to transmit Program Change.

Channel Messages

All of the different types of MIDI messages outlined so far include infor-

mation detailing which MIDI channel was used when the message was

transmitted. MIDI channel messages will only affect receiving devices

using the same MIDI channel. For example, a Pitch Bend message

sent using MIDI channel 1 would have no effect at all if it were received

on a synthesizer set to respond on MIDI channel 2.

Some MIDI messages do not include any MIDI channel information

defined in them. Some examples of these are :

System Exclusive Messages

This is special type of MIDI message, often referred to as ‘Sysex’.

System Exclusive messages can actually contain any type of data,

depending what the synthesizer manufacturer decides to put in it! The

only constraint with system exclusive messages is that they always

contain certain header information which is exclusively used by the

manufacturer (and usually the relevant synth model as well). What this

effectively means is that a MIDI device will only accept a system exclu-

sive message designed especially for it. For example, If the Novation

K-Station should receive a system exclusive message transmitted by a

different make of synthesizer, the message would simply be ignored.

Similarly, other makes of synthesizer will ignore any system exclusive

messages originally sent by a Novation K-Station.

Unlike other types of MIDI message, System Exclusive messages do

not have a fixed length. The MIDI specification allows any number of

data bytes (each with a value between 0 to 127) between a Sysex

Start byte and a Sysex End byte. The first data bytes in a Sysex mes-

sage always contain the manufacturer ID. This is unique to each

Synthesizer manufacturer.

Some manufacturers (such as Yamaha) employ short Sysex messages

for sound editing purposes rather than using Control Change mes-

sages. The X-Station can send short System Exclusive messages con-

taining up to 20 bytes (including the manufacturer ID). See page 18 for

details.

The X-Station employs system exclusive messages for two distinct pur-

poses. Firstly, they can be used to back up all of the X-Station memo-

ries and global data. This feature is extremely useful in building up a

Template library or a Synth program library on a computer or for making

a safety copy of data in case the worst should happen. Data backup is

discussed in detail on Page 25 in the Advanced Features chapter.

MIDI TUTORIAL

MIDI Messages

• 13 •

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