Novation MiniNova User manual

1
Novation
A division of Focusrite Audio Engineering Ltd.
Windsor House,
Turnpike Road,
Cressex Business Park,
High Wycombe,
Bucks,
HP12 3FX.
United Kingdom
Tel: [phone]
Fax: [phone]
e-mail: [e-mail]
Web: http://www.novationmusic.com
Trademarks
The Novation trademark is owned by Focusrite Audio Engineering Ltd. All other brand,
product and company names and any other registered names or trademarks mentioned in
this manual belong to their respective owners.
Disclaimer
Novation has taken all possible steps to ensure that the information given here is both
correct and complete. In no event can Novation accept any liability or responsibility for
any loss or damage to the owner of the equipment, any third party, or any equipment
which may result from use of this manual or the equipment which it describes. The
information provided in this document may be modified at any time without prior warning.
Specifications and appearance may differ from those listed and illustrated.
IMPORTANT SAFETY
INSTRUCTIONS
1. Read these instructions.
2. Keep these instructions.
3. Heed all warnings.
4. Follow all instructions.
5. Clean only with dry cloth.
6. Do not install near any heat sources such as radiators, heat registers, stoves, or other
apparatus (including amplifiers) that produce heat.
7. Do not defeat the safety purpose of the polarized or grounding-type plug. A polarized
plug has two blades with one wider than the other. A grounding type plug has two blades
and a third grounding prong. The wide blade or the third prong are provided for your safety.
If the provided plug does not fit into your outlet, consult an electrician for replacement of
the obsolete outlet.
8. Protect the power cord from being walked on or pinched particularly at plugs,
convenience receptacles, and the point where they exit from the apparatus.
9. Only use attachments/accessories specified by the manufacturer.
10. Use only with the cart, stand, tripod, bracket, or table specified by the manufacturer, or
sold with the apparatus. When a cart is used, use caution when moving the cart/apparatus
combination to avoid injury from tip-over.
11. Unplug this apparatus during lightning storms or when unused for long periods of time.
12. Refer all servicing to qualified service personnel. Servicing is required when the
apparatus has been damaged in any way, such as power-supply cord or plug is damaged,
liquid has been spilled or objects have fallen into the apparatus, the apparatus has been
exposed to rain or moisture, does not operate normally, or has been dropped.
No naked flames, such as lighted candles, should be placed on the apparatus.
WARNING: Excessive sound pressure levels from earphones and headphones can cause
hearing loss.
WARNING: This equipment must only be connected to USB 1.1 or 2.0 type ports.
ENVIRONMENTAL
D E C L A R AT I O N
This device complies with part 15 of the FCC Rules. Operation is subject to the following
two conditions: (1) This device may not cause harmful interference, and (2) this device
must accept any interference received, including interference that may cause undesired
operation.
For USA
To the User:
1. Do not modify this unit! This product, when installed as indicated in the instructions
contained in this manual, meets FCC requirements. Modifications not expressly approved
by Novation may void your authority, granted by the FCC, to use this product.
2. Important: This product satisfies FCC regulations when high quality shielded cables
are used to connect with other equipment. Failure to use high quality shielded cables or
to follow the installation instructions within this manual may cause magnetic interference
with appliances such as radios and televisions and void your FCC authorization to use this
product in the USA.
3. Note: This equipment has been tested and found to comply with the limits for a Class
B digital device, pursuant to part 15 of the FCC Rules. These limits are designed to
provide reasonable protection against harmful interference in a residential installation.
This equipment generates, uses and can radiate radio frequency energy and, if not
installed and used in accordance with the instructions, may cause harmful interference
to radio communications. However, there is no guarantee that interference will not occur
in a particular installation. If this equipment does cause harmful interference to radio
or television reception, which can be determined by turning the equipment off and on,
the user is encouraged to try to correct the interference by one or more of the following
measures:
• Reorient or relocate the receiving antenna.
• Increase the separation between the equipment and receiver.
• Connect the equipment into an outlet on a circuit different from that to which the receiver
is connected.
• Consult the dealer or an experienced radio/TV technician for help.
For Canada
To the User:
This Class B digital apparatus complies with Canadian ICES-003
Cet appareil numérique de la classe B est conforme à la norme NMB-003 du Canada.
CAUTION:
The normal operation of this product may be affected by a strong electrostatic discharge
(ESD). In the event of this happening, simply reset the unit by powering off and on again.
Normal operation should return.
COPYRIGHT AND LEGAL
NOTICES
Novation is a registered trademark of Focusrite Audio Engineering Limited.
MiniNova is a trademark of Focusrite Audio Engineering Limited.
VST is a trademark of Steinberg Media Technologies GmbH.
Audio Units (AU) is a trademark of Apple, Inc.
RTAS is a trademark of Avid, Inc.
2012 © Focusrite Audio Engineering Limited. All rights reserved.
Compliance Information Statement: Declaration of Compliance procedure
Product Identification: Novation MiniNova
Responsible party: American Music & Sound
Address: 4325 Executive Drive
Suite 300
Southhaven, MS 38672
Telephone: [phone]
RoHS Notice
Focusrite Audio Engineering Limited has conformed and this product conforms, where
applicable, to the European Union’s Directive 2002/95/EC on Restrictions of Hazardous
Substances (RoHS) as well as the following sections of California law which refer to
RoHS, namely sections 25214.10, 25214.10.2, and 58012, Health and Safety Code;
Section 42475.2, Public Resources Code.
FA0743-02

2
CONTENTS
Important Safety Instructions ................................1
Environmental Declaration...................................1
Copyright and Legal notices .................................1
Introduction ................................................3
Key Features:...............................................3
About this manual ..........................................3
What’s in the box? ..........................................3
Registering your MiniNova .................................................. 3
Power requirements ....................................................... 3
Hardware Overview .........................................4
Top view – controls ........................................................ 4
Rear view – connections ................................................... 5
Getting Started .............................................5
Standalone and computer operation – a foreword.............................. 5
Standalone operation – audio and MIDI connections...........5
Using headphones ........................................................ 6
A word about Menu Navigation...............................6
Scrolling through Patches .................................................. 6
Searching through Types or Genres. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Using the FAVORITE button to load Patches .................................. 6
Assigning a Patch to a Pad ................................................. 6
Loading a Patch from a Pad ................................................. 6
Demo Mode .............................................................. 6
Modifying Sounds - using the performance controls ...........6
Parameter Controls........................................................ 6
Rows 1 and 2 – Tweak and (FX) Tweak controls............................ 7
Rows 3 to 6 – Fixed Tweak controls ...................................... 7
The Filter knob ............................................................ 7
Using the Pads as performance controls...................................... 7
The Arpeggiator........................................................... 7
The Vocoder .............................................................. 7
Pitch and Mod wheels ..................................................... 7
Octave Shift .............................................................. 8
Storing a Patch ........................................................... 8
Updating the MiniNova’s Operating System ................................... 8
Synthesis Tutorial...........................................8
Synth Menus – Reference section ...........................12
Top Menu: Audio In ....................................................... 12
Top Menu: Global ........................................................ 12
Top Menu: Arp ........................................................... 13
Top Menu: Chord......................................................... 14
Top Menu: Edit........................................................... 14
Edit menu - Submenu 1: Tweaks ........................................ 14
Edit menu - Submenu 2: Osc ........................................... 14
Per-Oscillator parameters............................................ 14
Common Oscillator parameters....................................... 15
Edit menu - Submenu 3: Mixer ..........................................16
Edit menu - Submenu 4: Filter .......................................... 16
Per-Filter parameters ................................................ 17
Common Filter parameters ........................................... 17
Edit menu - Submenu 5: Voice .........................................19
Edit menu - Submenu 6: Env............................................20
Amplitude Envelope.................................................20
What is Legato? ....................................................21
Common Envelope Parameter ........................................22
Filter Envelope .....................................................22
Envelopes 3 to 6....................................................23
Edit menu - Submenu 7: LFO ..........................................24
Edit menu - Submenu 8: ModMatrx ......................................25
Edit menu - Submenu 9: Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
EQ Menu ..........................................................28
Compressor Menu ..................................................28
Distortion Menu ....................................................29
Delay Menu ........................................................29
Reverb Menu.......................................................29
Chorus Menu ......................................................30
Gator Menu ........................................................30
Edit menu -Submenu 10: VoxTune .......................................31
Edit menu - Submenu 11: Vocoder ......................................32
Top Menu: Dump .........................................................33
Waveform Table ......................................................34
Sync Values Table ....................................................34
LFO Waveforms Table.................................................35
Modulation Matrix Sources Table ......................................35
Modulation Matrix Destinations Table..................................36
Tweak Parameters Table ..............................................36
Filter Table...........................................................38
Arp Mode Table ......................................................38
Gator Modes Table ...................................................38
Effects Type Table ....................................................38
Firmware updates..........................................39

3
INTRODUCTION
Thank you for purchasing the MiniNova synthesizer. The MiniNova is a powerful compact
digital synthesizer equally at home in live performance or a recording environment.
NOTE: The MiniNova is capable of generating audio with a large dynamic range, the
extremes of which can cause damage to loudspeakers or other components, and also to
your hearing!
KEY FEATURES:
• Full polyphony, with up to 18 voices
• Classic analogue synth waveforms
• 36 wavetables
• 14 filter types
• Built-in digital FX section with compression, panning, EQ, reverb, delay, distor-
tion, chorus and gator effects
• Four assignable rotary controls for immediate access to up to 24 primary sonic
parameters
• 8 performance pads for arpeggiator control and adding expression while playing
• 12-band Vocoder with dynamic gooseneck microphone (supplied)
• VocalTune processor
• 37-note velocity-sensitive keyboard
• MIDI input and output
• LCD display
The following features are available in conjunction with the appropriate MiniNova/Novation
software (downloadable):
• MiniNova Editor (VST™, AU™, RTAS™ plug-in) for DAW
• Mac/Windows-based librarian software for management of patches
ABOUT THIS MANUAL
We don’t know whether you’ve got years of experience with electronic keyboards, or if this
is your very first synth. In all probability, you’re somewhere between the two. So we’ve tried
to make this manual as helpful as possible for all types of user, and this inevitably means
that more experienced users will want to skip over certain parts of it, while relative novices
will want to avoid certain parts of it until they’re confident they’ve mastered the basics.
However, there are a few general points that are useful to know about before you continue
reading this manual. We’ve adopted some graphical conventions within the text, which we
hope all types of user will find helpful in navigating through the information to find what they
need to know quickly:
Abbreviations, conventions, etc.
As the four rotary controls in the PERFORM area of the control panel are referred to
repeatedly throughout the manual, we’ve abbreviated them to RCn, where nis a number
between 1 and 4, referring to the control in question.
Where top panel controls or rear panel connectors are referred to, we’ve used a number
thus: [x] to cross-reference to the top panel diagram, and thus: {x} to cross-reference to the
rear panel diagram. (See page 4 and page 5 )
We’ve used BOLD CAPS to name top panel controls or rear panel connectors. We’ve
used LCD dot-matrix text to denote text which appears on the LCD at the
beginning of each parameter description and within the parameter tables, but Bold to
indicate this text within the main manual paragraphs.
Tips
These do what it says on the tin: we include bits of advice, relevant to the topic
being discussed that should simplify setting up the MiniNova to do what you want.
It’s not mandatory that you follow them, but generally they should make life easier.
Extra Info
These are additions to the text that will be of interest to the more advanced user
and can generally be avoided by the novice. They are intended to provide a
clarification or explanation of a particular area of operation.
Performance Parameter
PMiniNova has a fantastic degree of flexibility in tailoring sounds, as you will see in
the second part of this manual, where each individual parameter available in the
menu system is described. However, to avoid having to navigate menus during live
performance, we have made the most useful and commonly-needed parameters
immediately available for adjustment by the four rotary controls in the PERFORM area of
the control panel. We have clearly indicated these parameters within the parameter
descriptions.
WHAT’S IN THE BOX?
The MiniNova has been carefully packed in the factory and the packaging was designed to
withstand rough handling. Should the unit appear to have been damaged in transit, do not
discard any of the packing material and notify your music dealer.
Save all the packing materials for future use if you ever need to ship the unit again.
Please check the list below against the contents of the packaging. If any items are missing
or damaged, contact the Novation dealer or distributor where you purchased the unit.
• MiniNova synthesizer
• Gooseneck microphone
• DC power supply unit (PSU)
• USB cable
• Software download card and Warranty Registration card
• This manual
Registering your MiniNova
It is important to register your MiniNova on-line using the Software download and warranty
registration card. Apart from validating your manufacturer’s warranty, you will also then be
able to download the additional software that you are entitled to as a MiniNova purchaser.
The card also contains codes you will need to enter in the on-line forms on our website to
download the software, but before you attempt to do this, warranty registration is required.
Power requirements
The MiniNova is shipped with a 9 V DC, 900 mA power supply. The centre pin of the
coaxial connector is the positive (+ve) side of the supply. The MiniNova can either be
powered by this AC-to-DC mains adaptor, or by the USB connection to a computer. To
obtain the best possible audio performance from the MiniNova we recommend using the
supplied adaptor.
There are two versions of the PSU, your MiniNova will be supplied with the one appropriate
to your country. The PSU comes with detachable adaptors; use the one that fits your
country’s AC outlets. When powering the MiniNova from the mains PSU, please ensure
that your local AC supply is within the range of voltages required by the adaptor – i.e., 100
to 240 VAC - BEFORE you plug it into the mains.
We strongly recommend that you only use the supplied PSU. Failure to do so will invalidate
your warranty. Power supplies for your Novation product can be purchased form your music
dealer if you have lost yours.
If powering the MiniNova via the USB connection you should be aware that
although the USB specification agreed by the IT industry states that a USB port
should be able to supply 0.5 A at 5 V, some computers - particularly laptops – are
unable to supply this current. Unreliable operation of the synth will result in such a case.
When powering the MiniNova from a laptop’s USB port, it is strongly recommended that
the laptop is powered from AC mains rather than its internal battery.

4
HARDWARE OVERVIEW
12
345 6 7
8910
15
16
17
18
21
22
23
24 11
12
13
14
20
19
Top view – controls
1. 37-note (3 octaves) keyboard with velocity sensing.
2. PITCH and MOD wheels: The PITCH wheel is mechanically biased to return
to the centre position when released.
SELECT/EDIT section
3. Custom 2-row x 8-character LCD dot matrix display for patch selection and
menu access. The LCD also incorporates a bargraph meter showing audio
input signal level, tempo indication in BPM and other status information.
4. TYPE/GENRE selector: Use this to select a subset of available patches.
5. SORT switch: allows you to order your set of patches by patch number or
alphabetically by name.
6. DATA detented rotary control: Used in patch selection, and to alter parameter
values within menus.
7. PAGE Iand Hbuttons: these are used to step forwards and backwards
between menu pages.
8. MENU/BACK button: Press to enter menu system; within the menu system,
pressing again will jump back to the previous menu level. A ‘long’ press (> 1
sec) will exit the menu system entirely.
9. OK button: Used within the menu system for navigation (goes to next menu
level), and to confirm data entry.
10. SAVE button: Used to save alterations to patches.
11. Patch Iand H: dedicated buttons to scroll through the currently available
patches. Pressing both buttons simultaneously for at least one second enters
DEMO mode.
PERFORM section
12. Rotary controls: 4 rotary “Tweak” controls for parameter adjustment. The
function of each control is determined by the setting of the PERFORM ROW
selector [13]. (Use of a rotary control in the manual text is indicated by ‘RCn’,
where n is the number of the control; e.g., ‘RC1’ refers to rotary control 1).
13. Perform Row selector: This 6-way switch determines the functions of the
four rotary controls [12]. An LED indicates the currently selected row, and the
parameters then available for adjustment are printed on the MiniNova’s top
panel. Moving the switch allows you to select any row of the table printed on
the panel. The first two rows assign the Tweak controls to parameters which
have been factory-selected by the Novation programming team for each Patch,
giving you immediate access to the most useful and striking sonic variations.
14. FILTER : this is a large rotary control intended to aid more expressive
performance when playing live. It always adjusts Filter 1’s cut-off frequency.
PAD section
15. PADS 1 to 8: a set of eight backlit, multicolour, pressure-sensitive pads,
which may be used in two primary ways – Animate or Arpeggiate. Additionally,
in conjunction with the FAVORITE button [17], they may be used as “Quick
Load” buttons to recall preferred patches.
16. ANIMATE/ARPEGGIATE switch: A 2-position switch (spring-loaded to
return-to-centre), which assigns the pads [15] to act as Animate controls or
Arpeggiator pads.
17. FAVORITE button: used to store and recall preferred patches in conjunction
with the eight pads [15].
18. HOLD button: modifies the action of a pad [15] in Animate mode by “locking”
it in an “On” state.
ARP section
19. ON: backlit button to switch the Arpeggiator on and off. When selected ‘On’,
the eight pads [15] enter Arpeggiator mode and the Arpeggiator LED in the
Pads section illuminates.
20. LATCH button: applies the Arpeggiator effect to the last note(s) played
continuously, until a subsequent key is pressed. LATCH can be pre-selected
so that it is effective as soon as the Arpeggiator is enabled.
21. TEMPO control: sets the tempo of the Arpeggiator pattern being played. An
adjacent LED blinks to give a visual indication of the tempo, and the actual
BPM value is displayed on the LCD.
Misc
22. Dynamic Mic Input: an XLR socket for the connection of the supplied
gooseneck microphone, or alternative dynamic microphone (i.e., a mic not
requiring phantom power to operate). The mic can be used with the MiniNova’s
vocoder and VocalTune features, or routed to the audio outputs. This input is
overridden when a jack plug is plugged in to EXT IN {8} on the rear panel.
23. MASTER VOLUME: the level control for the main audio outputs and the
headphone output.
24. OCTAVE +and –buttons: these transpose the keyboard up or down one
octave each time they are pressed. Associated multi-colour LEDs confirm that
a transposition has been applied.

5
Rear view – connections
25. DC power connector: standard 2.2 mm socket for connecting the external
9 V DC PSU (supplied). See “Power requirements” on page 3.
26. On/off switch: 3-position switch:
POSITION ACTION
ext DC Enables external 9 V DC input
OFF Off
USB Enables power via USB port
27. USB port: Type B USB Type 1.1 (2.0-compatible) socket for connection to
PC or Mac
28. MIDI connectors: standard MIDI In/Out sockets (5-pin DINs)
29. Sustain pedal socket: 2-pole (mono) ¼” jack socket for connection of a
sustain pedal. Both NO (Normally Open) and NC (Normally Closed) pedal
types are compatible; if the pedal is connected when the MiniNova is powered
on, the type will be automatically sensed during boot-up (provided your foot is
not on the pedal!). See “Parameter: Footswitch configuration” on page 13
for more information.
30. Headphones socket: 3-pole ¼” jack socket for stereo headphones. Phones
volume is adjusted by the MASTER VOLUME control [23].
31. OUTPUT LEFT and RIGHT: 2 x ¼” jack sockets carrying main stereo output.
Outputs are unbalanced, at +5 dBu maximum level.
32. EXT IN:¼” jack socket for external instrument or line level audio inputs. This
input overrides an XLR connector plugged into the Dynamic Mic Input [22]
on the top panel. Input is balanced, and can accept a maximum input level of
0 dBu. The sensitivity of the input can be adjusted via the menu system (see
“Parameter: Input Gain” on page 12).
33. Kensington Lock Port: to secure your synthesizer.
G E T T I N G S TA R T E D
Standalone and computer operation – a foreword
The MiniNova may be used as a standalone synthesizer, with or without MIDI connections
to/from other sound modules or keyboards. It may also be connected - via its USB port –
to a computer (Windows or Mac) running a DAW application. The MiniNova can then be
controlled entirely from the computer by using the MiniNova Editor plug-in. The MiniNova
Librarian is a separate software application, which greatly assists in the organising, saving
and recall of patches.
Audio In
Audio Out
USB
MiniNova connected to a computer via USB.
USB transmits MIDI to and from the computer
The various ways of connecting the MiniNova to accommodate the various methods of
working are covered in the documentation supplied with the MiniNova Editor and MiniNova
Librarian software packages. The Installers for this software, and the related USB drivers
may be downloaded from http://novationmusic.com/support.
When using the MiniNova with the MiniNova Editor, an EDITOR flag is displayed on the
LCD to confirm the connection. Also note that a USB flag is displayed when MiniNova is
connected to a computer via USB, and valid data interchange has been established.
STANDALONE OPERATION
– AUDIO AND MIDI
CONNECTIONS
The simplest and quickest way of getting started with the MiniNova is to connect the two
rear panel jack sockets marked OUTPUT LEFT and RIGHT {31} to the inputs of a stereo
amplifier, audio mixer, powered speakers, third-party computer sound card or other means
of monitoring the output.
Audio Out
If using the MiniNova with other sound modules, connect MIDI OUT {28} on the MiniNova
to MIDI IN on the first sound module, and daisy-chain further modules in the usual way. If
using the MiniNova with a master keyboard, connect the controller’s MIDI OUT to
MIDI IN on the MiniNova, and ensure that the master keyboard is set to MIDI channel 1
(the MiniNova’s default channel).
MIDI In
Controller Keyboard
MIDI Out
Sound Modules
Note: the MiniNova is not a computer MIDI interface. MIDI can be transmitted
between the MiniNova synth and computer via the USB connection, but MIDI
cannot be transferred between the computer and external equipment via the
MiniNova’s MIDI DIN ports.
25 27
28
29
30
31
32
33
26

6
With the amplifier or mixer off or muted, connect the AC adaptor to the MiniNova {25}, and
plug it into the AC mains. Turn the MiniNova on by moving the rear panel switch {26} to
ext DC. After completing its boot sequence, the LCD display will indicate the Patch which
has been loaded. If the TYPE/GENRE knob has not been moved since the last power-off,
this will be the last Patch used. If the TYPE/GENRE knob has been moved, the Patch
loaded will be the lowest-numbered (or lowest alphabetically-sorted, depending on the
setting of the SORT switch) in the selected Type or Genre.
Turn on the mixer/amplifier/powered speakers, and turn up the Master Volume control
[23] until you have a healthy sound level from the speakers when you play the keyboard.
Using headphones
Instead of speakers via an amplifier and/or an audio mixer, you may wish to use a pair of
stereo headphones. These may be plugged into the rear panel headphone output socket
{30}. The main outputs are still active when headphones are plugged in. The MASTER
LEVEL control [23] also adjusts headphone level.
NOTE: The MiniNova headphone amplifier is capable of outputting a high signal level;
please take care when setting the volume.
A WORD ABOUT MENU
NAVIGATION
The MiniNova has been designed to give the player maximum control over sound character
and system operation with the minimum of hassle. The menu system is always entered by
pressing the MENU button [8]. The menu system consists of six individual menus:
Audio In
Global
Arp
Chord
E dit
Dump
Step between the menus with the PAGE Iand Hbuttons [7], and press OK [9] to enter the
desired menu. Use the PAGE buttons again to access the parameter you wish to change;
use the DATA control [6] to alter the parameter value.
The menu system can be exited by pressing the MENU/BACK button again; otherwise,
it will automatically time-out after a short period, and the screen will revert to display the
currently-loaded Patch information.
Scrolling through Patches
Your MiniNova comes pre-loaded with a set of factory Patches, which may be auditioned at
any time, providing you are not in the menu system. The Patches are arranged as 3 banks
(A to C), each with 128 patches (000 to 127). Banks A and B come pre-loaded with a full
set of factory Patches, while Bank C contains 128 copies of an Initial Patch, which you can
either overwrite, or use as the basis for creating your own sounds. With the TYPE/GENRE
selector [4] set to ALL, either rotate the DATA control [6], or use the PATCH Iand H
buttons [11] to step through the patches. The new sound is loaded as soon as the patch
data shows in the display.
The Patch set can be browsed in either bank and numerical order, or alphabetically by
name, according the setting of the SORT switch [5].
Searching through Types or Genres
Apart from being arranged in 3 banks, the patches are also categorised for you according
to the type of sound; this makes finding suitable sounds much easier. Each patch
belongs to both a Genre and a Type; the Genre broadly indicates the musical area for
which the patch might be suitable, the Type alternatively arranges the patches by sonic
characteristics. Use the TYPE/GENRE control to select the Type or Genre in which you
are interested.
Once the Type or Genre has been specified, the patch set can again be browsed either in
numerical or alphabetical order.
The Genres and Types are listed below:
TYPES GENRES
All
Vocoder/VocalTune Rock/Pop
Bass R&B/Hip Hop
Keyboard/Lead Dubstep
Pad/Strings House/Techno
Arp/Movement D&B/Breaks
Classic Synth
Using the FAVORITE button to load Patches
You can assign up to eight of your favourite Patches to the eight Performance Pads, and
then quickly reload them without needing to search through the whole Patch list.
Assigning a Patch to a Pad
With the Patch already loaded, press and hold the FAVORITE button [17], and
simultaneously press and hold a Pad button. The display will show A s s ig nIn, with
a 3 second countdown timer. After 3 seconds, the display changes to Favorite
A s sig n e d, and the Patch is now assigned to that Pad. Note that the Pad turns red to
confirm the assignment.
Loading a Patch from a Pad
Press and hold the FAVORITE button; all the Pads will flash blue (unless the currently-
loaded Patch is one that was previously assigned to a Pad, in which case, the Pad shows a
steady red). While they are flashing, press the Pad which has the Patch you want assigned
to it, and that Patch will now be loaded. The LCD will confirm the new Patch by name.
Demo Mode
Press the two PATCH Iand Hbuttons [11] simultaneously, and the MiniNova will enter
Demo Mode. Using any control will cause a brief description its function to be displayed
on the LCD screen. Note that none of the controls (except master volume) or keyboard are
active in Demo Mode.
MODIFYING SOUNDS -
USING THE PERFORMANCE
CONTROLS
The MiniNova is equipped with a set of controls specifically designed for use in live
performance. These allow you to modify the sound of the loaded patch in a variety of
interesting and sometimes startling ways!
These controls are found in the PERFORM, PADS and ARP areas of the control panel
(see items 12 - 21 on page 4 ).
Parameter Controls
While playing live, it is often desirable to manually adjust some aspect or other of the sound
– i.e., “tweak” a particular parameter. Although the MiniNova’s design allows you to access
all the parameters defining a particular sound, it is useful if the most important parameters
that you need while playing live are readily available, on a convenient set of controls. These
are the four rotary controls to the right of the control panel, see item 12 on page 4.
Use these four knobs in conjunction with the Perform Row Selector switch [13]. An
LED will illuminate to show you which of the six banks of available parameters the knobs
are assigned to. Note that Rows 3 to 6 always control the same parameters, regardless of
the patch you have loaded – though the actual effect of the control will quite likely sound
different! Rows 1 and 2 place the four knobs into “Tweak” mode, where the parameters
they control vary with the patch (see below).
Don’t worry too much at this stage what words like “Resonance” and “Sustain” mean – all
these (and many other) terms are explained in much greater detail further on in the manual.
Just try to become familiar with the actual sonic effect you hear when you adjust each of the
parameters in turn, for different categories of patch.
The four knobs used for “tweaking” will almost never be in the correct position
relative to the value of the parameters they control which are stored as part of the
currently-loaded Patch. For example, in the Patch A000 (“BassIsWet DC”), the
value of the Filter Envelope Decay Time parameter is 27. If the Tweak control for this (RC2
in Row 4) is set to – say – 2 o’clock, the knob position implies a completely different value.
The LCD display includes two arrows which tell you which way to turn the knob to get the
knob position to “match” the stored parameter value. As long as Pot Pickup is set On (in
the Global Menu), the knob will have no effect until both arrows are off. If Pot Pickup is
Off, turning the knob will immediately alter the parameter, which may produce an audible
“jump”. See page 13 for more information on Pot Pickup.
Vocoder
Voc/MFX
T
u
r
n
T
u
r
n
T
u
r
n
Vocoder
Voc/MFX

7
Rows 1 and 2 – Tweak and (FX) Tweak controls
With either Rows 1 or 2 selected, the knobs will have a different effect depending on
the patch loaded. This is because the actual assignment of the controls forms part of the
Patch. You will find that all the factory Patches have some Tweak Controls pre-assigned,
but you can change their function or add others if you wish.
The best way of understanding the Tweak controls is to load a patch and play with them. Try
loading the Patch “Synchromatic 1 PS”, which can be found in the Arp/Movement TYPE*.
Select the TWEAK row with the Perform Row Selector switch [13]. As you play, adjust
each of the four TWEAK controls in turn to hear their effect. You will find that you can
introduce further variations to the sound. Now select the (FX) TWEAK row; you’ll find that
the TWEAK controls now do something different and the sound can be modified in other
ways – in this case, by altering the audio effects processing applied to the sound.
The important point to grasp here is that the effect of each TWEAK control on the sound
is specific to the patch. With different patches loaded, the TWEAK controls will alter
different sonic characteristics.
NOTE: RC4 is preset to control the level of FX level when Row 2 ((FX) TWEAK) is
selected. However, this can be changed in the TWEAK submenu of the EDIT menu.
* You will be able to find this – or any Patch you know by name – more quickly by setting SORT to A-Z
and scrolling through the listed Patches alphabetically.
Rows 3 to 6 – Fixed Tweak controls
The function of the four rotary controls is predetermined when any of Rows 3 to 6 is
selected. The table below lists the functions, and tells you where to look in the User Guide
to find out more information on the parameter controlled in each case.
PFull details of the parameters each of the Tweak controls in Rows 3 to 6 are
available at the page number indicated in the table below.
Row Group RC1 RC2 RC3 RC4
Parameter More Info? Parameter More Info? Parameter More Info? Parameter More Info?
3Filter Resonance F1Res page 17 Tracking F1Tra c k page 17 Type F1Ty p e pag e 17 Drive F1Damnt page 17
4Filter Envelope Attack Flt A tt page 22 Decay FltDec page 22 Sustain FltSus page 22 Amount F1Env2 pag e 17
5Amplitude Envelope Attack AmpAtt page 20 Decay AmpDec page 20 Sustain AmpSus page 20 Release A m p R el page 21
6Oscillator Osc1 Virtual Sync O1V S y n c page 14 Osc 1 Density O1Dense page 15 Osc 2 Virtual Sync O2VSync page 14 Osc 2 Density O2Dense page 15
The Filter knob
Adjusting the frequency of the synth’s primary filter (Filter 1) is probably the most
commonly-used method of sound modification. For this reason, Filter 1 Frequency has
its own dedicated control in the form of a large rotary control [14] next to the parameter
controls. Experiment with different types of patch to hear how changing the filter frequency
alters the characteristic of different types of sound.
Using the Pads as performance controls
The eight Pads below the parameter controls have a number of functions on the MiniNova. In
this section, we are concerned only with their use as performance controls. To enable the Pads
for performance use, set the ANIMATE/ARPEGGIATE switch [16] to ANIMATE.
Like the TWEAK controls, the precise effect that each Pad will have on the characteristic
of the sound is Patch-dependent. Again, the best way of understanding what they can
do is to load a Patch and play with them. Load the Patch “Cry4Moon DF” - which can be
found in the Keyboard/Lead TYPE*- and lightly touch each of the pads in turn while playing
normally. You’ll find that when you touch a pad, something distinctive happens to the
sound. Try loading different types of Patch to see what effect the Pads have in each. Note
that not all Patches have all eight Pads assigned.
Later in the manual, you will discover how to reassign the Pads to make specific parameter
changes to any given patch, and that these assignments remain with the patch for your
future use.
* You will be able to find this – or any Patch you know by name – more quickly by setting SORT to A-Z
and scrolling through the listed Patches alphabetically.
The Arpeggiator
The MiniNova has a powerful Arpeggiator feature which allows arpeggios of varying
complexity and rhythm to be played and manipulated in real-time. If a single key is pressed,
the note will be retriggered by the Arpeggiator. If you play a chord, the Arpeggiator
identifies its notes and plays them individually in sequence (this is termed an arpeggio
pattern or ‘arp sequence’); thus if you play a C major triad, the selected notes will be C, E
and G.
The MiniNova Arpeggiator is enabled by pressing the ARP ON button [19]; its backlight
will confirm and the eight Pads will turn red. Holding a note down will repeat the note in
the sequence, and you will see the Pads’ illumination changing to purple as the pattern
progresses. Initially all enabled beats in the sequence are sounded, but if you press a Pad,
the beat corresponding to that Pad’s position will now be omitted from the sequence,
generating a rhythmic pattern. The ‘deselected’ Pads will not illuminate. A ‘deselected’ Pad
may be re-enabled by tapping it a second time.
Arpeggiator operation in the MiniNova is controlled by the three ARP buttons [19], [20] &
[21]: ON, LATCH and TEMPO. The ON button enables or disables the Arpeggiator.
The LATCH button plays the currently selected arp sequence repeatedly without the keys
being held. LATCH can also be pressed before the Arpeggiator is enabled. When the
Arpeggiator is enabled, the MiniNova will immediately play the arp sequence defined by the
last set of notes played, and will do so indefinitely. The tempo of the arp sequence is set by
the TEMPO control; you can make the sequence play faster or slower by altering this. See
page 13 for further details.
The Vocoder
Your MiniNova comes with a Vocoder section, which allows you to create some really great
sounds by combining synth sounds with either a voice or another instrument such as a guitar.
To use the Vocoder, rst connect a microphone (one is supplied with your MiniNova) to the
MIC socket [22] on the top panel. Alternatively, you can plug a guitar or other instrument
into the EXT IN socket {8} on the rear panel (this will disconnect the mic socket). Next,
you need to set the audio gain of the mic or instrument. To do this, press MENU [8], select
Audio In using the DATA wheel [6], then press OK [9]. This will open the menu system,
and Audio In is the first menu displayed. The first menu item in the Audio Menu is Input
Gain (In ptGain); adjust the input gain with the DATA wheel [6] while noting the signal
level as displayed at the top of the LCD screen as a horizontal bargraph meter. Ensure that
the loudest audio level does not cause the OVER segment to illuminate.
Set the TYPE/GENRE control [4] to VOCODER/VOCALTUNE, and select a patch from
the available subset. Now hold one or more keys down and sing into the microphone (or
play the instrument connected at EXT IN). You will hear the sound of the synth, modified by
the external audio input. As with any other patch, you can alter various parameters with the
FILTER and four rotary encoders in the PERFORM section, or use the Animate functions
as described above.
As with all the other performance controls, we recommend that there is no substitute for
experimentation to get an understanding of how the various controls interact.
Pitch and Mod wheels
The MiniNova is fitted with a standard pair of synthesizer control wheels adjacent to the
keyboard, PITCH and MOD (Modulation). The PITCH control is spring-loaded and always
returns to the centre position.
Moving PITCH will always raise or lower the pitch of the note(s) being played. The range of
operation can be set via the menu system, from a semitone to an octave, in semitone steps.
The MOD wheel’s precise function varies with the Patch loaded; it is used in general
to add expression or various elements to a synthesised sound. A common use is to add
vibrato to a sound; another is to control the speed of a “virtual” rotary speaker.
It is possible to assign the MOD wheel to control any parameter constituting the sound
– or a combination of parameters simultaneously. This topic is discussed in more detail
elsewhere in the manual. See “What is Legato?” on page 21.
Note that two of the factory Vocoder Patches, “Aaah 1” (B073) and “Aaah 2” (B074),
do not make use of the built-in microphone. Although these use the MiniNova’s
Vocoder functions, they use xed formants which are stored with the Patches.

8
Octave Shift
These two backlit buttons [24] transpose the keyboard up or down one octave each time
they are pressed, to a maximum of four octaves. The colour displayed by the buttons
indicates the number of octaves shifted: when both LEDs are off (the default state), the
lowest note on the keyboard is one octave below Middle C.
Middle C
SHIFT COLOUR
(no buttons pressed) LEDs off
± 1 octave Red
± 2 octaves Magenta
± 3 octaves Purple
± 4 octaves Blue
Normal keyboard pitch may be reinstated at any time by pressing both Octave buttons
together.
Storing a Patch
Novation have worked hard to create a really useful and great-sounding set of factory
Patches, and we are sure that many of them will meet your needs without further
modification. However, the scope for altering – or creating completely new - sounds in the
MiniNova is almost limitless, and when you have done so, you will probably want to save the
sounds for future use.
It is possible to store or write your own patches directly into the MiniNova without using
the MiniNova Editor and Librarian software applications. Once any of the parameters of a
Patch have been changed, the SAVE flag will illuminate in the LCD, to remind you that you
are no longer working with an unmodified Patch. To save the modified Patch:
1. Press the SAVE button [10], which will display the name that the Patch had
when it was first loaded.
NOTE: The Memory Protect function is active by default, so you are likely to see the words
Memory Protect! flash on-screen. It will not be possible to save a modified version of the
current patch, without turning this option off. See “Parameter: Memory Protection” on
page 12.
Memory
Protect
Note that the screen will prompt you for a new name for the modified version (Name?), and
that the current name will be offered as a suggestion, with the first character flashing. Use
the DATA control [6] or the PATCH Iand Hbuttons [11] to select a different alphanumeric
character.
• Use the PAGE Iand Hbuttons [7] to move to the next character, and continue in this
manner until the new name has been entered.
• Press SAVE again. You will now be prompted to choose the location where the new
Patch is to be saved. The location of the original Patch will be offered as the default;
if you choose this, the original patch data will be overwritten. Use the DATA control
[6], or PATCH Iand Hbuttons [11] to select a different location. Note that Bank C
(128 locations) has been left empty for you to save your own patches; this avoids
overwriting any of the original versions.
• Press SAVE again, and you will now be prompted to choose the TYPE Category
that will allow MiniNova’s sorting system to retrieve it. Use the DATA control to select
the most appropriate one, and press SAVE again.
• You will finally be prompted to choose the GENRE for filing purposes. Use the DATA
control to select the most appropriate, and press SAVE again.
• The screen will now confirm the new Patch with the message
Patch Saved. Note that whichever location is chosen for the new Patch, any
Patch data already saved to that location will be lost.
NOTE:A faster method of managing patches (writing, loading, renaming, reordering etc.)
is by using the downloadable MiniNova Librarian. This can be downloaded free of charge
from www.novationmusic.com/support.
Updating the MiniNova’s Operating System
OS update files will be available from time to time at www.novationmusic.com/support in
the form of a MIDI SysEx file. The update procedure requires the MiniNova to be connected
via USB to a computer which has first had the necessary USB drivers installed. Full
instructions on performing the update will be supplied with the download.
SYNTHESIS TUTORIAL
This section covers the subject of sound generation in more detail and discusses the
various basic features available in the MiniNova’s sound generation and processing blocks.
It is recommended that this chapter is read carefully if analogue sound synthesis is an
unfamiliar subject. Users familiar with this subject can skip this chapter and move on to the
next chapter.
To gain an understanding of how a synthesizer generates sound it is helpful to have an
appreciation of the components that make up a sound, both musical and non-musical.
The only way that a sound may be detected is by air vibrating the eardrum in a regular,
periodic manner. The brain interprets these vibrations (very accurately) into one of an
infinite number of different types of sound.
Remarkably, any sound may be described in terms of just three properties, and all sounds
always have them. They are:
• Pitch
• Tone
• Volume
What makes one sound different from another is the relative magnitudes of the three
properties as initially present in the sound, and how the properties change over the
duration of the sound.
With a musical synthesizer, we deliberately set out to have precise control over these three
properties and, in particular, how they can be changed during the “lifetime” of the sound.
The properties are often given different names: Volume may be referred to as Amplitude,
Loudness or Level, Pitch as Frequency and Tone as Timbre.
Pitch
As stated, sound is perceived by air vibrating the ear drum. The pitch of the sound is
determined by how fast the vibrations are. For an adult human, the slowest vibration
perceived as sound is about twenty times a second, which the brain interprets as a bass
type sound; the fastest is many thousands of times a second, which the brain interprets as
an high treble type sound.
Time Time
A B
If the number of peaks in the two waveforms (vibrations) are counted, it will be seen that
there are exactly twice as many peaks in Wave B as in Wave A. (Wave B is actually an
octave higher in pitch than Wave A). It is the number of vibrations in a given period that
determines the pitch of a sound. This is the reason that pitch is sometimes referred to as
frequency. It is the number of waveform peaks counted during a given period of time which
defines the pitch, or frequency.
Tone
Musical sounds consist of several different, related pitches occurring simultaneously. The
lowest is referred to as the ‘fundamental’ pitch and corresponds to the perceived note of
the sound. Other pitches making up the sound which are related to the fundamental in
simple mathematical ratios are called harmonics. The relative loudness of each harmonic
as compared to the loudness of the fundamental determines the overall tone or ‘timbre’ of
the sound.
Consider two instruments such as a harpsichord and a piano playing the same note on the
keyboard and at equal volume. Despite having the same volume and pitch, the instruments
still sound distinctly different. This is because the different note-making mechanisms of
the two instruments generate different sets of harmonics; the harmonics present in a piano
sound are different to those found in a harpsichord sound.
Volume
Volume, which is often referred to as the amplitude or loudness of the sound is determined
by how large the vibrations are. Very simply, listening to a piano from a metre away would
sound louder than if it were fifty metres away.

9
Volume
A B
Having shown that just three elements may define any sound, these elements now have to
be related to a Musical synthesizer. It is logical that a different section of the Synthesizer
‘synthesizes’ (or creates) these different elements.
One section of the synthesizer, the Oscillators, provide raw waveform signals which
define the pitch of the sound along with its raw harmonic content (tone). These signals
are then mixed together in a section called the Mixer, and the resulting mixture is then fed
into a section called the Filter. This makes further alterations to the tone of the sound, by
removing (filtering) or enhancing certain of the harmonics. Lastly, the filtered signal is fed
into the Amplifier, which determines the final volume of the sound.
Oscillators Mixer Filter Amplifier
Additional synthesizer sections - LFOs and Envelopes - provide further ways of altering the
pitch, tone and volume of a sound by interacting with the Oscillators, Filter and
Amplifier, providing changes in the character of the sound which can evolve over time.
Because LFOs’ and Envelopes’ only purpose is to control (modulate) the other
synthesizer sections, they are commonly known as ‘modulators’.
These various synthesizer sections will now be covered in more detail.
The Oscillators And Mixer
The Oscillator is really the heartbeat of the Synthesizer. It generates an electronic wave
(which creates the vibrations when eventually fed to a loudspeaker). This Waveform is
produced at a controllable musical pitch, initially determined by the note played on the
keyboard or contained in a received MIDI note message. The initial distinctive tone or
timbre of the waveform is actually determined by the waveform’s shape.
Many years ago, pioneers of musical synthesis discovered that just a few distinctive
waveforms contained many of the most useful harmonics for making musical sounds. The
names of these waves reflect their actual shape when viewed on an instrument called an
Oscilloscope, and these are: Sine waves, Square waves, Sawtooth waves, Triangle waves
and Noise.
Each waveform shape (except noise) has a specific set of musically-related harmonics
which can be manipulated by further sections of the synthesizer.
The diagrams below show how these waveforms look on an oscilloscope, and illustrate
the relative levels of their harmonics. Remember, it is the relative levels of the various
harmonics present in a waveform which determine the tone of the final sound.
Sine Waves
These possess just a single harmonic. A sine waveform produces the “purest” sound
because it only has its single pitch (frequency).
Triangle Waves
Volume
Harmonic
1
Sine Wave
Sawtooth Wave
Volume
Volume
Harmonic
Square Wave
Volume
Harmonic
1 2 3 4 5
Volume
Harmonic
1 3 5 7
Triangle Wave
1 2 3 4 5
Harmonic
1 2 3 4 5
Noise
These contain only odd harmonics. The volume of each decreases as the square of its
position in the harmonic series. For example, the 5th harmonic has a volume 1/25th of the
volume of the fundamental.
Sawtooth Waves
Volume
Harmonic
1
Sine Wave
Sawtooth Wave
Volume
Volume
Harmonic
Square Wave
Volume
Harmonic
1 2 3 4 5
Volume
Harmonic
1 3 5 7
Triangle Wave
1 2 3 4 5
Harmonic
1 2 3 4 5
Noise
These are rich in harmonics, and containing both even and odd harmonics of the
fundamental frequency. The volume of each is inversely proportional to its position in the
harmonic series.
Square / Pulse Waves
Volume
Harmonic
1
Sine Wave
Sawtooth Wave
Volume
Volume
Harmonic
Square Wave
Volume
Harmonic
1 2 3 4 5
Volume
Harmonic
1 3 5 7
Triangle Wave
1 2 3 4 5
Harmonic
1 2 3 4 5
Noise
These only have odd harmonics, which are at the same volume as the odd harmonics in a
sawtooth wave.
It will be noticed that the square waveform spends equal amounts of time in its ‘high’ state
and its ‘low’ state. This ratio is known as the ‘duty cycle’. A square wave always has a duty
cycle of 50% which means it is ‘high’ for half the cycle and ‘low’ for the other half.
In the MiniNova, it is possible to adjust the duty cycle of the basic square waveform to
produce a waveform which is more ‘rectangular’ in shape. These are often known as Pulse
waveforms. As the waveform becomes more and more rectangular, more even harmonics
are introduced and the waveform changes its character, becoming more ‘nasal’ sounding.
The width of the pulse waveform (the ‘Pulse Width’) can be altered dynamically by a
modulator, which results in the harmonic content of the waveform constantly changing. This
can give the waveform a very ‘fat’ quality when the pulse width is altered at a moderate rate.
50%
40%
10%
60%
It does not make any difference to how
a pulse waveform sounds whether the
duty cycle is 40% or 60%, since the
waveform is just “inverted” and the
harmonic content is exactly the same.
Noise Waves
Volume
Harmonic
1
Sine Wave
Sawtooth Wave
Volume
Volume
Harmonic
Square Wave
Volume
Harmonic
1 2 3 4 5
Volume
Harmonic
1 3 5 7
Triangle Wave
1 2 3 4 5
Harmonic
1 2 3 4 5
Noise
These are basically random signals, and have no one fundamental frequency (and therefore
no pitch property). All frequencies are at the same volume. Because they possess no pitch,
noise signals 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 MiniNova
also offers a set of carefully selected, digitally-generated waveforms containing useful
harmonic elements normally difficult to produce using traditional Oscillators.
Wavetables
A “wavetable” is essentially a group of digital waveforms. The MiniNova’s 36 wavetables
each contain 9 separate digital waveforms. The benefit of a wavetable is that consecutive
waveforms in the wavetable can be blended. Some of the MiniNova’s wavetables contain
waveforms with similar harmonic content, while others contain waveforms with greatly
differing harmonic content. Wavetables come alive when the ‘wavetable index’ – the
position within the wavetable - is modulated, resulting in a sound that continually changes
character, either smoothly or abruptly.
Volume
Harmonic
1
Sine Wave
Sawtooth Wave
Volume
Volume
Harmonic
Square Wave
Volume
Harmonic
1 2 3 4 5
Volume
Harmonic
1 3 5 7
Triangle Wave
1 2 3 4 5
Harmonic
1 2 3 4 5
Noise

10
9 Waves make up a wave table
Ring Modulation
A Ring Modulator is a sound generator that takes signals from two of the MiniNova’s
oscillators and effectively “multiplies” them together. The MiniNova has 2 Ring Modulators,
one takes Osc 1 and Osc 3 as inputs, and the other takes Osc 2 and Osc 3. The resulting
output depends on the various frequencies and harmonic content present in each of the
two oscillator signals, and will consist of a series of sum and difference frequencies as well
as the frequencies present in the original signals.
OSC 1
OSC 3
X
The Mixer
To extend the range of sounds that may be produced, typical analogue synthesizers have
more than one Oscillator. By using multiple Oscillators to create a sound, it is 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. The MiniNova’s
Mixer allows mixing of three independent Oscillators, a separate Noise Oscillator and two
Ring Modulator sources.
The Filter
The MiniNova is a subtractive 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 the Filter
section subtracts some of the harmonics in a controlled manner.
14 types of Filter are available on the MiniNova, though these are varieties of three basic
filter types: Low Pass, Band Pass and High Pass. The type of Filter most commonly
found on synthesizers is the Low Pass type. With a Low Pass Filter, a cut-off point
(or cut-off frequency) is chosen and any frequencies below the point are passed, and
frequencies above are filtered out. The setting of the Filter Frequency parameter dictates
the point below which frequencies are removed. This process of removing harmonics
from the waveforms has the effect of changing the sound’s character or timbre. When the
Frequency parameter is at maximum, the filter is completely “open” and no frequencies are
removed from the raw Oscillator waveforms.
In practice, there is a gradual (rather than a sudden) reduction in the volume of the
harmonics above the cut-off point of a Low Pass Filter. How rapidly these harmonics
reduce in volume as frequency increases above the cut-off point is determined by the
Filter’s slope. The slope is measured in ‘volume units per octave’. Since Volume is
measured in decibels, this slope is usually quoted as so many decibels per octave
(dB/oct). Typical values are 12 dB/oct and 24 dB/oct. The higher the number, the greater
the rejection of harmonics above the cut-off point, and the more pronounced the filtering effect.
A further important parameter of the Filter is its Resonance. Frequencies at the cut-off point
may be increased in volume by the Filter Resonance control. This is useful for emphasizing
certain harmonics of the sound.
As 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 control (the filter’s cut-off point). This resonance-produced sine wave can
actually be used for some sounds as an additional sound source if wished.
The diagram below shows the response of a typical low pass filter. Frequencies above the
cut-off point are reduced in volume.
Volume
Volume
Frequency
Cut-off
Frequency
Volume
Volume
Frequency
Cut-off
Frequency
Frequency
Cut-off
Frequency
Frequency
Cut-off
Frequency
When resonance is added, frequencies at the cut-off point are boosted in volume.
Volume
Volume
Frequency
Cut-off
Frequency
Volume
Volume
Frequency
Cut-off
Frequency
Frequency
Cut-off
Frequency
Frequency
Cut-off
Frequency
In addition to the traditional Low Pass Filter type, there are also High Pass and Band Pass
types. The type of Filter used is selected with the Filter Type parameter.
A High Pass Filter is similar to a Low Pass Filter, but works in the “opposite sense”, so that
frequencies below the cut-off point are removed. Frequencies above the cut-off point are
passed. When the Filter Frequency parameter is set to zero, the filter is completely open
and no frequencies are removed from the raw Oscillator waveforms.
Volume
Volume
Frequency
Cut-off
Frequency
Volume
Volume
Frequency
Cut-off
Frequency
Frequency
Cut-off
Frequency
Frequency
Cut-off
Frequency
When a Band Pass Filter is used, only a narrow band of frequencies centered around the
cut- off point are passed. Frequencies above and below the band are removed. It is not
possible to fully open this type of Filter, and allow all frequencies to pass.
Volume
Volume
Frequency
Cut-off
Frequency
Volume
Volume
Frequency
Cut-off
Frequency
Frequency
Cut-off
Frequency
Frequency
Cut-off
Frequency
Envelopes And Amplifier
In earlier paragraphs, the synthesis of the pitch and the timbre of a sound were described.
The next part of the Synthesis Tutorial describes how the volume of the sound is controlled.
The volume of a note created by a musical instrument often varies greatly over the duration
OSC 1 OSC 1 VOLUME
OSC 2 VOLUME
OSC 3 VOLUME COMPLEX
WAVEFORM
MIX OF
OSC1, 2 AND 3
MIXER
INPUT TO
FILTER
OSC 2
OSC 3

11
of the note, according to the type of instrument.
For example, a note played on an Organ quickly attains full volume when a key is pressed.
It stays at full volume until the key is released, at which point the volume level falls instantly
to zero.
TIME
KEY "ON" KEY "OFF"
VOLUME
ATTACK DECAY RELEASE
SUSTAIN
TIME
KEY "ON" KEY "OFF"
VOLUME
TIME
KEY "ON" KEY "OFF"
VOLUME
TIME
KEY "ON" KEY "OFF"
VOLUME
ATTACK DECAY RELEASE
SUSTAIN
SUSTAIN
RATE
TIME
KEY "ON" KEY "OFF"
VOLUME
ATTACK DECAY RELEASE
SUSTAIN
SUSTAIN TIME
TIME
KEY "ON" KEY "OFF"
VOLUME
ATTACK DECAY RELEASE
SUSTAIN
TIME
KEY "ON" KEY "OFF"
VOLUME
ATTACK DECAY RELEASE
SUSTAIN
TIME
KEY "ON" KEY "OFF"
FILTER
CUT-OFF
A Piano note quickly attains full volume after a key is pressed, and gradually falls in volume
to zero after several seconds, even if the key is held.
TIME
KEY "ON" KEY "OFF"
VOLUME
ATTACK DECAY RELEASE
SUSTAIN
TIME
KEY "ON" KEY "OFF"
VOLUME
TIME
KEY "ON" KEY "OFF"
VOLUME
TIME
KEY "ON" KEY "OFF"
VOLUME
ATTACK DECAY RELEASE
SUSTAIN
SUSTAIN
RATE
TIME
KEY "ON" KEY "OFF"
VOLUME
ATTACK DECAY RELEASE
SUSTAIN
SUSTAIN TIME
TIME
KEY "ON" KEY "OFF"
VOLUME
ATTACK DECAY RELEASE
SUSTAIN
TIME
KEY "ON" KEY "OFF"
VOLUME
ATTACK DECAY RELEASE
SUSTAIN
TIME
KEY "ON" KEY "OFF"
FILTER
CUT-OFF
A String Section emulation only attains full volume gradually when a key is pressed. It
remains at full volume while the key is held down, but once the key is released, the volume
falls zero fairly slowly.
TIME
KEY "ON" KEY "OFF"
VOLUME
ATTACK DECAY RELEASE
SUSTAIN
TIME
KEY "ON" KEY "OFF"
VOLUME
TIME
KEY "ON" KEY "OFF"
VOLUME
TIME
KEY "ON" KEY "OFF"
VOLUME
ATTACK DECAY RELEASE
SUSTAIN
SUSTAIN
RATE
TIME
KEY "ON" KEY "OFF"
VOLUME
ATTACK DECAY RELEASE
SUSTAIN
SUSTAIN TIME
TIME
KEY "ON" KEY "OFF"
VOLUME
ATTACK DECAY RELEASE
SUSTAIN
TIME
KEY "ON" KEY "OFF"
VOLUME
ATTACK DECAY RELEASE
SUSTAIN
TIME
KEY "ON" KEY "OFF"
FILTER
CUT-OFF
In an analogue synthesizer, changes to a sound’s character which occur over the duration
of a note are controlled by a section called an Envelope Generator. The MiniNova has 6
Envelope Generators (called Env 1 to Env 6). Env 1 is always related to an Amplifier, which
controls the note’s amplitude – i.e., the volume of the sound - when the note is played.
Each envelope generator has four main controls which are used to adjust the shape of the
envelope.
Attack Time
Adjusts the time it takes after a key is pressed for the volume to climb from zero to full
volume. It can be used to create a sound with a slow fade-in.
TIME
KEY "ON" KEY "OFF"
VOLUME
ATTACK DECAY RELEASE
SUSTAIN
TIME
KEY "ON" KEY "OFF"
VOLUME
TIME
KEY "ON" KEY "OFF"
VOLUME
TIME
KEY "ON" KEY "OFF"
VOLUME
ATTACK DECAY RELEASE
SUSTAIN
SUSTAIN
RATE
TIME
KEY "ON" KEY "OFF"
VOLUME
ATTACK DECAY RELEASE
SUSTAIN
SUSTAIN TIME
TIME
KEY "ON" KEY "OFF"
VOLUME
ATTACK DECAY RELEASE
SUSTAIN
TIME
KEY "ON" KEY "OFF"
VOLUME
ATTACK DECAY RELEASE
SUSTAIN
TIME
KEY "ON" KEY "OFF"
FILTER
CUT-OFF
Decay Time
Adjusts the time it takes for the volume to fall from its initial full volume to the level set by the
Sustain control while a key is held down.
Sustain Level
This is unlike the other Envelope controls in that it sets a level rather than a period of time.
It sets the volume level that the envelope remains at while the key is held down, after the
Decay Time has expired.
Release Time
Adjusts the time it takes for the volume to fall from the Sustain level to zero once the key is
released. It can be used to create sounds that have a “fade-out” quality.
A typical synthesizer will have one or more envelopes. One envelope is always applied to
the amplifier to shape the volume of each note played. Additional envelopes can be used to
dynamically alter other sections of the synthesizer during the lifetime of each note.
The MiniNova’s second Envelope Generator (Env 2) is used to modify the filter cut-off
frequency over the lifetime of a note.
In the MiniNova, Envelope Generators 3 to 6 can be used for special purposes, such as
modulating the Wavetable index or FX levels.
TIME
KEY "ON" KEY "OFF"
VOLUME
ATTACK DECAY RELEASE
SUSTAIN
TIME
KEY "ON" KEY "OFF"
VOLUME
TIME
KEY "ON" KEY "OFF"
VOLUME
TIME
KEY "ON" KEY "OFF"
VOLUME
ATTACK DECAY RELEASE
SUSTAIN
SUSTAIN
RATE
TIME
KEY "ON" KEY "OFF"
VOLUME
ATTACK DECAY RELEASE
SUSTAIN
SUSTAIN TIME
TIME
KEY "ON" KEY "OFF"
VOLUME
ATTACK DECAY RELEASE
SUSTAIN
TIME
KEY "ON" KEY "OFF"
VOLUME
ATTACK DECAY RELEASE
SUSTAIN
TIME
KEY "ON" KEY "OFF"
FILTER
CUT-OFF
LFOs
Like the Envelope Generators, the LFO section of a synthesizer is a Modulator. Thus
instead of being a part of the sound synthesis itself, it is used to change (or modulate)
other sections of the synthesizer. For example, an LFO can be used to alter Oscillator pitch,
or Filter cut-off frequency.
Most musical instruments produce sounds that vary over time both in volume and in pitch
and timbre. Sometimes these variations can be quite subtle, but still contribute greatly
towards characterising the final sound.
Whereas an Envelope is used to control a one-off modulation during the lifetime of a
single note, LFOs modulate by using a repeating cyclic waveform or pattern. As discussed
earlier, Oscillators produce a constant waveform which can take the shape of a repeating
sine wave, triangle wave etc. LFOs produce waveforms in a similar way, but normally at a
frequency which is too low to produce a sound that the human ear could perceive. (In fact,
LFO stands for Low Frequency Oscillator.)
As with an Envelope, the waveforms generated by the LFOs may be fed to other parts of
the synthesizer to create the desired changes over time – or ‘movements’ - to the sound.
The MiniNova has three independent LFOs, which may be used to modulate different
synthesizer sections and can run at different speeds.
A typical waveshape for an LFO would be a Triangle wave.
TIME
PITCH
Imagine this very low frequency wave being applied to an Oscillator’s pitch. The result is
that the pitch of the Oscillator slowly rises and falls above and below its original pitch. This
would simulate, for example, a violinist moving a finger up and down the string of the
instrument whilst it is being bowed. This subtle up and down movement of pitch is referred
to as the ‘Vibrato’ effect.
Alternatively, if the same LFO signal were to modulate the Filter cut-off frequency instead of
the Oscillator pitch, a familiar wobbling effect known as ‘wah- wah’ would be result.
As well as setting up various sections of the synthesizer to be modulated by LFOs,
additional Envelopes may also be used as modulators at the same time. Clearly, the more
Oscillators, Filters, Envelopes and LFOs there are in a synthesizer, the more powerful it is.
Summary
A synthesizer can be broken down into five main sound generating or sound modifying
(modulating) blocks.
1. Oscillators that generate waveforms at a various pitches.
2. A Mixer that mixes the outputs from the Oscillators together.
3. Filters that remove certain harmonics, changing the character or timbre of the sound.
4. An Amplifier controlled by an Envelope generator, which alters the volume of a sound
over time when a note is played.
5. LFOs and Envelopes that can be used to modulate any of the above.
Much of the enjoyment to be had with a Synthesizer is with experimenting with the factory
preset sounds and creating new ones. There is no substitute for ‘hands on‘ experience.
Experiments with adjusting the MiniNova’s many parameters will eventually lead to a fuller
understanding of how the various controls alter and help shape new sounds.
Armed with the knowledge in this chapter, and an understanding of what is actually
happening in the machine when tweaks to the knobs and switches are made, the process
of creating new and exciting sounds will become easy - Have fun.

12
OSCILLATOR 1 FX 1
FX 2
FX 3
FX 4
FX 5
OSCILLATOR 2
OSCILLATOR 3
NOISE
AMP OUT
MIXER
RING MOD 1*3
RING MOD 2*3
FILTER 1 DISTORTION
FILTER 2 DISTORTION
FILTER 1
FILTER 2
ENVELOPE 1
ENVELOPE 2
ENVELOPES 3 - 6 LFO 1 - 3
SYNTH MENUS –
REFERENCE SECTION
This part of the User Guide gives you a detailed description of every parameter available
for adjustment in the MiniNova. As previously explained, all adjustments to patches – other
than those made via the controls in the Perform and Pads sections of the top panel – are
made via the MiniNova’s comprehensive menu structure. The menus also include “System”
or setup options, such as patch dumping, keyboard setup, and so on.
The structure is “context-sensitive” – this means that you will be offered a range of options
which is dependent on what it is you are trying to do.
The menu system is always entered by pressing the MENU button [8]. The menu system
consists of six individual menus:
Audio In
Global
Arp
Chord
E dit
Dump
Step between the menus with the PAGE Iand Hbuttons [7], and press OK [9] to enter the
desired menu. Use the PAGE buttons again to access the parameter you wish to change;
use the DATA control [6] to alter the parameter value.
The menu system can be exited by pressing the MENU/BACK button again; otherwise,
it will automatically time-out after a short period, and the screen will revert to display the
currently-loaded Patch information.
NOTE: The Default values shown for each parameter apply to Initial patches; other
factory Patches will have different values as part of the Patch definition.
Top Menu: Audio In
Parameter: Input Gain
Displayed as: InptGain
Default value: +20 dB
Range of adjustment: -10 dB to +65 dB, Off
This control adjusts gain for the Audio input. The gain is displayed directly in dBs. As the
gain is increased, the signal at the input will be seen on the bargraph meter at the top of the
LCD display. The gain should be adjusted so that the meter peaks two or three segments
below the right-most on the loudest passages. The meter also includes an OVER ag; aim
to set your signal level so that this never comes on! Note that if InptGain is set to Off, the
audio input is inoperative.
Vocoder
Voc/MFX
Parameter: Input FX level
Displayed as: InputFX
Default value: 0
Range of adjustment: 0 – 127
This parameter adjusts the amount of the input signal sent to the FX processor for the
currently selected Patch.
Top Menu: Global
Parameter: Operating System Version
Displayed As: OS Ver
Displays the firmware version currently installed in your MiniNova. You may need to
know this in the event of a technical issue arising, or to check whether a newer version is
available from the Novation website.
Parameter: Memory Protection
Displayed As: Protect
Default value: On
Range of adjustment: On, Off
This is a safety feature, used to prevent accidental erasure of memories and loss of data.
When set to On, writing Patches or Global data into memory will be prevented, and a
brief warning message (Memory Protect!) shown on the MiniNova’s display. It
is recommended that Protect is left On unless Patches are being edited for storing in
memory, or a System Exclusive dump from a computer is to be received.
Parameter: Local Control On/Off
Displayed As: Local
Default value: On
Range of adjustment: On, Off
This control determines whether the MiniNova is to be played from its own keyboard, or
to respond to MIDI control from an external device, such as a MIDI sequencer or master
keyboard. Set Local to On to use the keyboard, and to Off if you are going to control the
synth externally via MIDI or use the MiniNova’s keyboard as a master keyboard. When Off
is selected, a LOCAL OFF flag appears in the LCD display.
Vocoder
Voc/MFX
A primary use of Local Control On/Off is to avoid unwanted MIDI loops through
external equipment. When set to Off, the MiniNova’s keyboard and all other controls
still transmit MIDI messages from the MIDI OUT port. If any external equipment is set
to re-transmit MIDI back to the MiniNova, then the synth will still operate. This will avoid notes
sounding twice, a reduction in polyphony or any other unpredictable effects.
SIMPLIFIED MININOVA
BLOCK DIAGRAM

13
Parameter: Assign MIDI Channel
Displayed As: MIDI Ch
Default value: 1
Range of adjustment: 1-16
The MIDI protocol provides 16 channels allowing up to 16 devices to co-exist on a MIDI
network, if each is assigned to operate on a different MIDI channel. MIDI Ch lets you set
the MiniNova to receive and transmit MIDI data on a particular channel, so that it can
interface correctly with external equipment.
Parameter: Master Fine Tuning
Displayed As: TuneCent
Default value: 0
Range of adjustment: -50 to +50
This control adjusts the frequencies of all the Oscillators by the same small amount,
allowing you to fine-tune the whole synth to another instrument if necessary. The
increments are cents (1/100 of a semitone), and thus setting the value to ±50 tunes
the synth to a quarter-tone midway between two semitones. A setting of zero tunes the
keyboard with the A above middle C at 440 Hz – i.e., standard Concert Pitch.
Parameter: Key Transposition
Displayed As: Transpse
Default value: 0
Range of adjustment: -24 to +24
Transpose is a very useful global setting which “shifts” the whole keyboard one semitone
at a time up or down. It differs from oscillator tuning in that it modifies the control data from
the keyboard rather than the actual oscillators. Thus setting Transpose to +4 means that
you can play with other instruments in the actual key of E major, but only need to play white
notes, as if you were playing in C major.
Parameter: Pot Pickup (Rotary Perform Control value matching)
Displayed As: PotPckup
Default value: Off
Range of adjustment: On, Off
Operates with the four rotary PERFORM controls and the FILTER knob to match the
parameter value stored in the Patch to the Tweak control’s position. If PotPckup is set On,
the rotary control will have no effect until its level matches that stored in the Patch, thus
avoiding sudden changes in parameter value. Also, the display shows ->Pickup until the
value is reached. With PotPckup set Off, the parameter value will change as soon as the
control is turned.
Parameter: Keyboard Velocity
Displayed As: VelCurve
Default value: Normal
Range of adjustment: Low, Normal, High, Switch, Fixed 4 to 127
Selects the MIDI NoteOn Velocity value which relates the Velocity response of the keys to
the force applied to them as they are played. The values 4 to 127 correspond to the actual
Velocity values. Normal is the default setting, and should be acceptable for most playing
styles.
Use Low if playing with heavy touch, and High if you have a lighter touch. Switch
is useful for accenting a change in touch where a lighter touch will output a velocity
value of 90 and a heavier touch will output a value of 127. Try different curves to
suit your individual playing style(s).
Parameter: Footswitch configuration
Displayed As: FootSwth
Default value: Auto
Range of adjustment: Auto, N/Open, N/Closed
A sustain footswitch (pedal) can be connected to the MiniNova via the SUSTAIN pedal
socket {29}. Ascertain whether your sustain pedal is of the Normally-open or Normally-
closed type, and set this parameter to suit. If you are unsure which it is, connect the
footswitch with the MiniNova unpowered, and then power it on (without your foot on
the pedal!) Provided the default setting of Auto is still selected, the polarity will now be
correctly sensed.
Parameter: Clock Source
Displayed As: ClkSourc
Default value: Internal
Range of adjustment: Internal, USB, MIDI, Auto
The MiniNova uses a master MIDI clock in order to set the tempo (rate) of the arpeggiator
and to provide a time base for synchronisation to an overall tempo. This clock may be
derived internally or provided by an external device able to transmit MIDI clock. The
ClkSourc setting determines whether the MiniNova’s tempo-synchronised features
(Arpeggiator, Chorus Sync, Delay Sync, Gator Sync, LFO Delay Sync, LFO Rate Sync &
Pan Rate Sync) will follow the tempo of an external MIDI clock source or follow the tempo
set by the TEMPO knob [21].
• Internal – the MiniNova will synchronise to the internal MIDI clock irrespective of
what external MIDI clock sources may be present.
• USB – synchronisation will only be set to the external MIDI clock received via
the USB connection. If no clock is detected, the tempo “flywheels”
to the last-known clock rate.
• Midi – synchronisation will only be to an external MIDI clock connected to the
MIDI input socket. If no clock is detected, the tempo “flywheels” to the last-
known clock rate.
• Auto – when no external MIDI clock source is present the MiniNova will default
to the internal MIDI clock. Tempo (BPM) will be that set by the TEMPO knob. If
an external MIDI clock is present the MiniNova will synchronise to it.
When set to any of the external MIDI clock sources the tempo will be at the MIDI Clock rate
received from the external source (e.g., a sequencer). Make sure the external sequencer is
set to transmit MIDI Clock. If unsure of the procedure, consult the sequencer manual for
details.
Most sequencers do not transmit MIDI Clock while they are stopped. Synchronisation of
the MiniNova to MIDI Clock will only be possible while the sequencer is actually recording
or playing. In the absence of an external clock, the tempo will flywheel and will assume the
last known incoming MIDI Clock value.
Parameter: Wheel Illumination
Displayed As: WhelLeds
Default value: On
Range of adjustment: On, Off
The PITCH and MOD wheels [2] are internally illuminated; this setting allows them to be
turned on or off.
Parameter: MiniNova Power Save
Displayed As: PwrSave
Default value: On
Range of adjustment: On, Off, 10 mins
This is an energy-saving option. Setting PwrSave to On will make the MiniNova turn off
(saving the current settings) when the computer goes into sleep mode. This only applies if
it is powered via the USB connection. If set to 10 mins, the keyboard will turn off after that
period regardless of how it is powered. In either case, pressing any key will restore power.
If set to Off, the keyboard will remain on.
Top Menu: Arp
Parameter: Arpeggiator Rate Sync
Displayed As: ArpSync
Default value: 16th.
Range of adjustment: See Sync Values table “Sync Values Table” on page 34
This parameter effectively determines the beat of the arp sequence, based on the current
tempo. See “Parameter: Clock Source” on page 13.
Parameter: Arpeggiator Gate Time
Displayed As: Arp Gate
Default value: 64
Range of adjustment: 1 to 127
This parameter sets the basic duration of the notes played by the Arpeggiator (though
this will be further amended by both the Arp Pttn and Arp Sync settings). The lower the
parameter value, the shorter the duration of the note played. At its maximum value, one
note in the sequence is immediately followed by the next without a gap. At the default value
of 64, the note duration is exactly half the beat interval (based on the current tempo), and
each note is followed by a rest of equal length.
Parameter: Arpeggiator Mode
Displayed As: Arp Mode
Default value: Up
Range of adjustment: See Arp Mode table “Arp Mode Table” on page 38
When enabled, the Arpeggiator will play all notes held down in a sequence which is
determined by the Arp Mode parameter. The third column of the table describes the nature
of the sequence in each case.
Parameter: Arpeggiator Octaves
Displayed As: Arp Octv
Default value: 1
Range of adjustment: 1 to 4
This setting adds upper octaves to the arp sequence. If Arp Octv is set to 2, the sequence
is played as normal, then immediately played again an octave higher. Higher values of
Arp Octv extend this process by adding additional higher octaves. Arp Octv values
greater than 1 have the effect of doubling, tripling, etc., the length of the sequence. The
additional notes added duplicate the complete original sequence, but octave-shifted. Thus
a four-note sequence played with Arp Octv set to 1, will consist of eight notes when Arp
Octv is set to 2.

14
Parameter: Arpeggiator Pattern
Displayed As: Arp Pttn
Default value: Arp Edit
Range of adjustment: Arp Edit, UN pat 2 to 33
On the MiniNova, Arpeggiator sequences may be user-configured to be up to eight notes in
length by setting Arp Pttn to Arp Edit. In this setting you can edit the Arp sequence using
the eight Pads in ARPEGGIATE mode. It is only possible to modify an Arp sequence with
the Pads when Arp Pttn is set to Arp Edit.
UN pat 2 to 33 are pre-assigned Arp patterns of various lengths (greater than eight notes)
and timings, and are derived from the UltraNova. These are not modifiable.
You should spend some time experimenting with different combinations of
Arp Mode and Arp Pttn. Some patterns work better in certain Modes.
Parameter: Arpeggiator Length
Displayed As: ArpLen
Default value: 8
Range of adjustment: 1 to 8
This parameter is only available when Arp Pttn is set to Arp Edit. This parameter
represents the number of steps making up the sequence.
Parameter: Arpeggiator Swing
Displayed As: ArpSwing
Default value: 50
Range of adjustment: 1 to 100
This parameter is only available when Arp Pttn is set to Arp Edit. If this parameter is set to
something other than its default value of 50, some further interesting rhythmic effects can
be obtained. Higher values of Swing lengthen the interval between odd and even notes,
while the even-to-odd intervals are correspondingly shortened. Lower values have the
opposite effect. This is an effect which is easier to experiment with than describe!
Top Menu: Chord
The MiniNova’s Chorder is a very useful feature which permits you to play chords
containing up to ten notes by pressing a single key. The resulting chord uses the lowest
note played as its root; all the other notes in the chord will be above the root.
Parameter: Chord Mode
Displayed As: ChrdMode
Default value: Off
Range of adjustment: On, Off
Turns Chord mode On or Off.
Parameter: Chord Transposition
Displayed As: ChrdTrns
Default value: 0
Range of adjustment: -11 to +11
The transposition control is calibrated in semitone intervals, and the pitch of the chord can
be shifted up to 11 semitones, either up or down.
Parameter: Save Chord
Displayed As: SaveChrd
To save a chord, first set ChrdMode to On and then select this menu option (SaveChrd).
The bottom line of the display will show OK?; press the OK button [9]. The display will
change to PlayChrd; you should now play the chord you want to capture; you can play
it in any key or inversion you wish. Then press the the OK button. After a short delay, the
display will confirm the action by with Chord SAVED!
PlayChrd Chord
SAVED!
Note that the Arpeggiator precedes the Chorder in the MiniNova’s synth engine.
This has the consequence that if both the Arpeggiator and Chorder are in use, the
entire chord resulting from each key press will be arpeggiated.
Top Menu: Edit
This menu is where you can modify the sound of a Patch, or create a new one from first
principles. The Edit menu is divided further submenus as follows:
Tw e a k s
Osc
Mixer
Filt e r
Voice
Env
LFO
ModMatrx
Effects
V o x Tu n e
Vocoder
Edit menu - Submenu 1: Tw e a k s
Parameter: Tweak Number
Displayed As: Tw e a k n (where n is 1 to 8)
Default value: (unassigned)
Range of adjustment: See Tweak Parameters table on page 36.
Use the PAGE Iand Hbuttons [7] to select which of the eight Tweak controls you wish
to configure, and the DATA control [6] to select the parameter which the selected Tweak
control will vary.
Edit menu - Submenu 2: Osc
With this submenu, it is first necessary to select the oscillator whose parameters are to be
adjusted. This selection is made with the PAGE Iand Hbuttons [7].
Displayed As: Osc n (where n is 1 to 3)
Default value: Osc 1
Range of adjustment: Osc 1 to 3, OscComn
The MiniNova has three identical oscillators and a noise source; these are the synth’s
sound generators.
Per-Oscillator parameters
In the following parameter descriptions, the text refers to Oscillator 1; however, it applies
equally to whichever oscillator is selected. A separate set of parameters applicable to all
three oscillators is available when the Oscillator submenu is selected to OscComn (see
“Common Oscillator parameters” on page 15).
Parameter: Coarse tuning
Displayed As: O1Semi
Default value: 0
Range of adjustment: -64 to +63
This parameter sets the basic per-oscillator tuning. Incrementing its value by 1 shifts the
pitch of every note on the keyboard up by one semitone for the selected oscillator only,
thus setting it to +12 effectively shifts the oscillator tuning up one octave. Negative values
detune in the same manner. See also “Parameter: Key Transposition” on page 13.
Parameter: Fine tuning
Displayed As: O1Cents
Default value: 0
Range of adjustment: -50 to +50
This parameter lets you make finer adjustments to the tuning. The increments are
cents (1/100 of a semitone), and thus setting the value to ±50 tunes the oscillator to a
quartertone midway between two semitones.
Parameter: Virtual Oscillator Sync
Displayed As: O1V S y n c
Default value: 0
Range of adjustment: 0 to 127
Oscillator Sync is a technique of using an additional “virtual” oscillator to add harmonics
to the first, by using the virtual oscillator’s waveform to retrigger that of the first. This
technique produces an interesting range of sonic effects. The nature of the resulting sound
varies as the parameter value is altered because the virtual oscillator frequency increases
as a multiple of the main oscillator frequency as the parameter value increases. When the
Vsync value is a multiple of 16, the virtual oscillator frequency is a musical harmonic of the
main oscillator frequency. The overall effect is a transposition of the oscillator that moves
up the harmonic series, with values in between multiples of 16 producing more discordant
effects.

15
VSync = 0
VSync = 5
VSync = 16
PO1V S y n c can be also adjusted directly from Row 6 of the PERFORM section of
the control panel with Tweak Control RC1.
PO2VSync can be also adjusted directly from Row 6 of the PERFORM section of
the control panel with Tweak Control RC3.
To get the best out of Vsync, try modulating it using an LFO. Alternatively, select Row
6 in the PERFORM section, and vary it while playing with Tweak Control RC1.
Parameter: Oscillator Waveform
Displayed As: O1Wave
Default value: Sawtooth
Range of adjustment: See Waveforms table on page 34.
This selects the oscillator’s waveform from a range of 72 options. As well as analogue synth
type waveforms like sine, square, sawtooth, pulse and 9 ratios of sawtooth/pulse mix, there
are various digital waveforms and 36 wavetables consisting of nine individual waveforms
per wavetable, plus two audio input sources.
Two audio sources are included in the Waveform table; although the MiniNova only
has a single audio input (AudInL/M), AudioInR is included for compatibility with
UltraNova Patches.
If audio input sources are selected, then any additional oscillator parameters will
have no effect on the sound. The audio input will be used as the source for
subsequent manipulation (e.g., filters, modulation, etc).
When the external input is selected as an oscillator source it is really being selected in
place of that oscillator and fed through the synth’s signal path from this point. To hear the
audio input when selected as an oscillator source, a note must be played on the keyboard.
It is possible to create a MIDI gate effect on vocals using audio inputs as the
source.
Parameter: Pulse Width/Wave Table Index
Displayed As: O1PW/Idx
Default value: 0
Range of adjustment: -64 to 63
This control has two functions, depending on the waveform selected by O1Wave. With
pulse waveforms, it varies the pulse width of the oscillator output. This basic effect can
most easily be heard by adjusting this parameter with O1Wave set to PW; you will note
how the harmonic content varies and at high settings the sound becomes quite thin and
metallic. A pulse wave is essentially an asymmetric square wave; when set to zero, the
waveform is a normal square wave. (See page 9.) This parameter has a different
function if the oscillator waveform is set to be one of the 36 Wave Tables (see O1Wave
above). Each Wave Table consists of nine related waveforms, and the setting of O1PW/
Idx determines which is in use. The total parameter value range of 128 is divided into 9
(approximately) equal segments of 14 value units, so setting the value to anything between
-64 and -50 will generate the first of the 9 waveforms, -49 to -35 the second, and so
on. See also the Wave Table Interpolation parameter (O1WTInt), which can be used to
introduce further variation in the way wavetables are used.
Parameter: Hardness
Displayed As: O1Hard
Default value: 127
Range of adjustment: 0 to 127
The Hardness parameter modifies the harmonic content of the waveform, reducing the level
of the upper harmonics as the value is decreased. Its effect is akin to that of a lowpass
filter, but operates at oscillator level. You will note it has no effect on a sine waveform, as
this is the one waveform with no harmonics.
Parameter: Density
Displayed As: O1Dense
Default value: 0
Range of adjustment: 0 to 127
The density parameter effectively adds copies of the oscillator waveform to itself. Up
to eight additional virtual oscillators are used for this, depending on the value of the
parameter. This produces a “thicker” sound at low to medium values, but if the virtual
oscillators are detuned slightly (see O1DnsDtn below), a more interesting effect is
obtained.
PO1Dense can be also adjusted directly from Row 6 of the PERFORM section
of the control panel with Tweak Control RC2.
PO2Dense can be also adjusted directly from Row 6 of the PERFORM section
of the control panel with Tweak Control RC4.
Parameter: Density Detuning
Displayed As: O1DnsDtn
Default value: 0
Range of adjustment: 0 to 127
This parameter should be used in conjunction with the Density control. It detunes the
virtual density oscillators, and you will notice not only a thicker sound, but the effect of
beating as well.
The Density and Density Detune parameters can be used to “thicken” the
sound, and simulate the effect of adding additional Voices. The Unison and
Unison Detune parameters in the Voice Menu can be used to create a very
similar effect, but using Density and Density Detune have the advantage of not needing
to use additional Voices, which are nite in number.
Parameter: Pitch Wheel Range
Displayed As: O1PtchWh
Default value: +12
Range of adjustment: -12 to +12
The pitch wheel can vary the oscillator pitch by up to an octave, up or down. The units
are in semitones, so with a value of +12, moving the pitchwheel up increases the pitch of
the notes being played by one octave, and moving it down takes them down an octave.
Setting the parameter to a negative value has the effect of reversing the operating sense
of the pitch wheel. You will find that many of the factory patches have this parameter set
to +2, allowing a pitch wheel range of ±1 tone. It is worth noting that (like all per-oscillator
parameters) the value can be set independently for each oscillator.
Parameter: Wave Table Interpolation
Displayed As: O1WTInt
Default value: 127
Range of adjustment: 0 to 127
This parameter sets how smooth the transition is between adjacent waveforms in the same
wavetable. A value of 127 will create a very smooth transition, with the adjacent waveforms
blending together. With a value of zero the transitions will be abrupt and obvious. With a
high 01WInt value set, it is possible to retain a mix of adjacent waveforms if the modulation
value remains fixed. When modulating the wavetable Index (via LFO, etc.), the wavetable
interpolation parameter sets how smooth (or not!) the transition is.
Common Oscillator parameters
The remaining parameters in the Oscillator Menu are common to all 3 oscillators. They are
available when Oscillator Number is set to OscComn.
Parameter: Vibrato Depth
Displayed As: ModVib
Default value: 0
Range of adjustment: 0 to 127
Adding vibrato to an oscillator modulates (or varies) the pitch of the note cyclically,
adding a “wobble” to the tone. This parameter determines the vibrato depth, and hence
how obvious the “wobble” is. The mod wheel is used to apply vibrato, with the ModVib
parameter value representing the maximum depth of vibrato that can be obtained with the
mod wheel in its fully ‘up’ position. On the MiniNova, VibMod and MVibRate are common
parameters that affect all oscillators and do not require the use of the LFO section.

16
Parameter: Vibrato Rate
Displayed As: MVibRate
Default value: 65
Range of adjustment: 0 to 127
This parameter sets the rate (or frequency) of the vibrato from very slow (value= 0) to very
fast (value=127).
Parameter: Oscillator Drift
Displayed As: OscDrift
Default value: 0
Range of adjustment: 0 to 127
When the three oscillators are set to the same tuning, their waveforms are perfectly
synchronised. Old analogue synthesizers were unable to stay perfectly in tune, and
Oscillator Drift ‘emulates’ this imperfection by applying a controlled amount of detuning so
that the oscillators are slightly out of tune with each other. This adds a “fuller” character to
the sound.
Parameter: Oscillator Phase
Displayed As: OscPhase
Default value: 0deg
Range of adjustment: Free, 0deg to 357deg
This adjusts the point in the waveform at which the oscillators start, and is adjustable in
3 degree increments over one whole waveform cycle (360º). The effect of this is to add a
slight “click” or “edge” to the start of the note, as the instantaneous output voltage when
the key is pressed is not zero. Setting the parameter to 90deg or 269deg produces the
most obvious effect. With the parameter set to 0deg, the oscillators always start precisely
in step. If Free is set, the phase relationship of the waveforms is unrelated to when a key is
pressed.
Parameter: Single Fixed Note
Displayed As: FixNote
Default value: Off
Range of adjustment: Off, C#-2 to G8
Some sounds need not be chromatically-dependent. Examples would be certain
percussion sounds (e.g., bass drums), and sound effects, such as a laser gun. It is possible
to assign a fixed note to a patch, such that playing any key on the keyboard generates the
same sound. The pitch on which the sound is based may be any semitone note in a range of
over ten octaves. With the parameter set Off, the keyboard behaves as normal. With it set
to any other value, every key plays the sound at the pitch corresponding to the value.
Parameter: Noise Source Type
Displayed As: N ois eTy p
Default value: White
Range of adjustment: White, High, Band, HiBand
In addition to the three main oscillators, the MiniNova also has a noise generator. White
noise is defined as a signal with “equal power at all frequencies”, and is a familiar “hissing”
sound. Restricting the bandwidth of the noise generator alters the characteristic of the
“hiss”, and the other three options for this parameter apply such filtering. Note that the
noise generator has its own input to the mixer, and in order to hear it in isolation, its input
will need to be turned up and the oscillator inputs turned down. (See “Parameter:
Noise Source Level” on page 16.)
Edit menu - Submenu 3: Mixer
The outputs of the three oscillators and the noise source are passed to a simple audio
mixer, where their individual contributions to the overall sound output can be adjusted.
Most of the factory Patches use either two, or all three oscillators, but with their outputs
summed in various combinations of levels. A total of 6 inputs and two FX sends are
available for adjustment.
As with any other audio mixer, don’t be tempted to turn all the inputs up. The mixer
should be used to balance sounds. If multiple sources are in use, then each input
setting should be about halfway – about 64 or so, and the more inputs you are
using, the more careful you need to be. If you get this wrong, you risk internal signal
clipping, which will sound extremely unpleasant.
Parameter: Oscillator 1 Level
Displayed As: O1Level
Default value: 127
Range of adjustment: 0 to 127
This parameter sets the amount of Oscillator 1’s signal present in the overall sound.
Parameter: Oscillator 2 Level
Displayed As: O2Level
Default value: 0
Range of adjustment: 0 to 127
This parameter sets the initial amount of Oscillator 2’s signal present in the overall sound.
Parameter: Oscillator 3 Level
Displayed As: O3Level
Default value: 0
Range of adjustment: 0 to 127
This parameter sets the initial amount of Oscillator 3’s signal present in the overall sound.
Parameter: Ring Modulator Level (Oscs. 1 * 3)
Displayed As: RM1*3Lvl
Default value: 0
Range of adjustment: 0 to 127
In its simplest form, a Ring Modulator is a processing block with two inputs and one output,
which effectively “multiplies” the two input signals together. Depending on the relative
frequencies and harmonic content of the two inputs, the resulting output will contain a
series of sum and difference frequencies as well as the fundamentals. The MiniNova has
two Ring Modulators; both use Oscillator 3 as one input, one combines this with Oscillator
1, the other with Oscillator 2. The Ring Modulator outputs are available as two additional
inputs to the mixer, controlled by RM1*3Lvl and RM2*3Lvl. The parameter controlled by
RM1*3Lvl sets the amount of the Osc. 1 * 3 Ring Modulator output present in the overall
sound.
Try the following settings to get a good idea of what a Ring Modulator sounds like.
In the Mixer Menu, turn down the levels of Oscs 1, 2 & 3 and turn up RM1*3Lvl.
Then go to the Oscillator Menu. Set Osc3 to an interval of +5, +7 or +12
semitones above Osc1 and the sound will be harmonically pleasing.
Changing the pitch of Osc 1 to other semitone values creates discordant, but interesting
sounds. O1 Cents can be varied to introduce a ‘beating’ effect.
Parameter: Ring Modulator Level (Oscs. 2 * 3)
Displayed As: RM2*3Lvl
Default value: 0
Range of adjustment: 0 to 127
The parameter controlled by RM2*3Lvl sets the amount of the Osc. 2 * 3 Ring Modulator
output present in the overall sound.
Parameter: Noise Source Level
Displayed As: NoiseLvl
Default value: 0
Range of adjustment: 0 to 127
This parameter sets the amount of Noise present in the overall sound.
Parameter: Pre-FX level send
Displayed As: PreFXLvl
Default value: 0 dB
Range of adjustment: -12 dB to +18 dB
The summed mixer inputs are routed through the FX block (even if no effects are active)
at a level determined by PreFXLvl. This control should be adjusted with care to avoid
overloading the FX processing.
Parameter: Post-FX level send
Displayed As: PostFXLv
Default value: 0 dB
Range of adjustment: -12 dB to +18 dB
This parameter adjusts the level returned from the output of the FX processor. Thus both
PreFXLvl and PostFXLv will alter the signal level even when all FX slots in the FX block
are bypassed.
PreFXLvl and PostFXLvl are critical controls and incorrect adjustment can
produce clipping in the FX processing section and elsewhere. It is always a good
idea to set up the FX parameters you think you need first (see “What is Legato?”
on page 21), and then increase these two parameters carefully until you get the
amount of FX you’re after.
Edit menu - Submenu 4: Filt e r
With this submenu, it is first necessary to select the filter whose parameters are to be
adjusted.
Displayed As: Filt e r n (where n is 1 or 2)
Default value: Filter 1
Range of adjustment: Filter 1, Filter 2, FiltrCmn
The MiniNova has two identical filter sections, which modify the harmonic content of the
oscillators’ outputs. They can be thought of as elaborate tone controls, with the additional
ability of being dynamically controllable by other parts of the synth. A total of 8 parameters
per filter are available for adjustment. Note that some parameters are common to both
filters (found in the FiltrCmn submenu). It is possible to use the two filter blocks together,
placing them in various series/parallel configurations, by adjustment of the common
parameter FRouting.

17
Per-Filter parameters
Filter 1 is used as the example in the descriptions which follow, but the two are identical in
operation, except where indicated.
Parameter: Filter frequency
Displayed As: F1Freq
Default value: 127
Range of adjustment: 0 to 127
This parameter sets the frequency at which the filter type selected by F1Type operates.
In the case of hi-pass or low-pass filters, it is the “cut-off” frequency; for band-pass filters,
it is the “centre” frequency. Sweeping the filter manually will impose a “hard-to-soft”
characteristic on almost any sound.
If Filter Frequency Link is set On (see FreqLink below), F2Freq assumes a
different function:
Parameter: Filter 2 frequency offset
Displayed As: Fq1<>Fq2
Default value: +63
Range of adjustment: -64 to +63
See “Parameter: Filter Frequency Link” on page 19 for more information.
Parameter: Filter resonance
Displayed As: F1Res
Default value: 0
Range of adjustment: 0 to 127
This parameter adds gain to the signal in a narrow band of frequencies around the
frequency set by F1Freq. It can accentuate the swept-filter effect considerably. Increasing
the resonance parameter is very good for enhancing modulation of the cut-off frequency,
creating a very edgy sound. Increasing Resonance also accentuates the action of the Filter
Frequency parameter, so that as the FILTER knob [14] is moved, a more pronounced effect
is obtained.
PF1Res can be also adjusted directly from Row 3 of the PERFORM section of the
control panel with Tweak Control RC1.
If Filter Resonance Link is set On (see ResLink page 19), the values of filter
resonance for Filters 1 and 2 become equal and are varied by either control.
Parameter: Filter 1 & 2 resonance
Displayed As: F1&F2Res
Default value: not applicable
Range of adjustment: 0 to 127
Parameter: Filter control by Envelope 2
Displayed As: F1Env2
Default value: 0
Range of adjustment: 0 to 127
The filter’s action may be triggered by Envelope Generator 2. Envelope 2’s own menu
provides comprehensive control over precisely how this shape of the envelope is derived,
see “Filter Envelope” on page 22. F1Env2 lets you control the “depth” and “direction”
of this external control; the higher the value, the greater the range of frequencies over
which the filter will sweep. Positive and negative values make the filter sweep in opposite
directions, but the audible result of this will be further modified by the filter type in use.
PF1Env2 can be also adjusted directly from Row 4 of the PERFORM section of
the control panel with Tweak Control RC4.
Parameter: Filter tracking
Displayed As: F1Tra c k
Default value: 127
Range of adjustment: 0 to 127
The pitch of the note played can be made to alter the cut-off frequency of the filter. At the
maximum value (127), this frequency moves in semitone steps with the notes played on
the keyboard – i.e., the filter tracks the pitch changes in a 1:1 ratio (e.g., when playing
two notes an octave apart, the filter cut off frequency will also change by one octave).
At minimum setting (value 0), the filter frequency remains constant, whatever note(s) are
played on the keyboard.
PF1Tra c k can be also adjusted directly from Row 3 of the PERFORM section of
the control panel with Tweak Control RC2.
Parameter: Filter type
Displayed As: F1Ty p e
Default value: LP24
Range of adjustment: See Filter Table on page 38
The MiniNova filter sections offer 14 different types of filter: four hi-pass and four low-
pass (with different slopes), and 6 band-pass filters of various types. Each filter type
differentiates between frequency bands in a different way, rejecting some frequencies and
passing others, and thus each imposes a subtly different character on the sound.
Parameter: Drive Amount
Displayed As: F1DAmnt
Default value: 0
Range of adjustment: 0 to 127
The filter section includes a dedicated drive (or distortion) generator; this parameter
adjusts the degree of distortion treatment applied to the signal. The basic ‘type’ of drive
added is set by F1DType (see below). The drive is added pre the filter (but see below).
PF1DAmnt can be also adjusted directly from Row 3 of the PERFORM section
of the control panel with Tweak Control RC4.
Filter Drive is always added before the filter, and therefore the filter frequency
affects the amount of drive you hear. If you want to filter your sound before it is
treated by the drive processor, try settings similar to the following:
PARAMETER IN MENU VALUE
FRouting FiltrCmn Series
FBalance FiltrCmn 63
F1DAmnt Filter 1 0
F2DAmnt Filter 2 As required
Parameter: Drive Type
Displayed As: F1D Ty p e
Default value: Diode
Range of adjustment: Diode, Valve, Clipper, XOver, Rectify, BitsDown, RateDown
The drive processor for each filter is located immediately before the filter section itself. The
type of drive (or distortion) generated can be selected with the F1DType parameter.
Parameter: Filter Q Normalisation
Displayed As: F1QNorm
Default value: 64
Range of adjustment: 0 to 127
This parameter alters the bandwidth of the peak created by the resonance control F1Res.
The value of F1Res has to be set to something other than zero for this parameter to have
any effect. This feature enables the Filter section to emulate many of the filter responses
found on various classic analogue and digital synths.
Low Resonance,
Low Q Normalization
High Resonance,
Low Q Normalization
High Resonance,
High Q Normalization
Cut-off
Frequency
Common Filter parameters
With Filter number set to FiltrCmn, the displayed parameters in the Filter Menu are
common to both filters.
Parameter: Filter balance
Displayed As: FBalance
Default value: -64
Range of adjustment: -64 to +63
MiniNova’s two filter sections may be used simultaneously, but configured in different
ways (see FRouting below). Low-pass and band-pass filters could be combined in
parallel to create speech-like sounds (see page 19). For configurations using both
filters, FBalance lets you mix the outputs of the two filter sections together in whatever
combination you want. The minimum parameter value of -64 represents maximum output
from Filter 1 and no output from Filter 2, and the maximum value of +63 represents
maximum output from Filter 2 and no output from Filter 1. With a value of 0, the outputs of
the two filter sections are mixed in equal proportion.
PF1Ty p e can be also adjusted directly from Row 3 of the PERFORM section of
the control panel with Tweak Control RC3.

18
Parameter: Filter Routing
Displayed As: FRouting
Default value: Parallel
Range of adjustment: Bypass, Single, Series, Parallel, Paral2, Drum
MiniNova provides five possible combinations of the two filter blocks, plus bypass. Single
mode uses Filter 1 only, the other modes interconnect the two filter sections in various
ways.
NOISE 2*3 1*3 OSC 3 OSC 2 OSC 1
FILTER
BALANCE
EFFECTS
Bypass - No filiters in circuit
NOISE 2*3 1*3 OSC 3 OSC 2 OSC 1
FILTER
BALANCE
EFFECTS
FILTER 1
FILTER 2
Single - Filter 1 only
NOISE 2*3 1*3 OSC 3 OSC 2 OSC 1
FILTER
BALANCE
EFFECTS
FILTER 1
FILTER 2
Series - Filter 1 feeds Filter 2, but output is still derived from Filter Balance control
NOISE 2*3 1*3 OSC 3 OSC 2 OSC 1
FILTER
BALANCE
EFFECTS
FILTER 1
FILTER 2
Parallel - Filter sections are driven with the same input signal, and their output mix is
adjusted by the Filter Balance parameter.
NOISE 2*3 1*3 OSC 3 OSC 2 OSC 1
FILTER
BALANCE
EFFECTS
FILTER 1
FILTER 2
Parallel 2As Parallel Mode, but Filter 1 is driven by Osc 3 and Noise source,
remaining sources feed Filter 2.
NOISE 2*3 1*3 OSC 3 OSC 2 OSC 1
FILTER
BALANCE
EFFECTS
FILTER 1
FILTER 2
Drum - As Parallel Mode 2, but Filter 1’s output is added to Filter 2’s input signals.
Note that Paral2 and Drum modes differ in an important respect from the others in that the
Filter 1 and Filter 2 are fed from different sources. This allows the noise source and Osc 3
to be filtered in a different way from Oscillators 1 and 2 and the Ring Modulator Outputs,
an important requirement when creating certain percussive sounds.

19
Two examples of Filter routings…
…a Notch Filter:
F1Ty p e: LP
F2Type: HP
F1Routing: Parallel
Frequency
Volume
Filter 1 Filter 2
Frequency
Volume
Filter 1 Filter 2
…a wideband bandpass filter
F1Ty p e: HP
F2Type: LP
F1Routing: Series
Frequency
Volume
Filter 1 Filter 2
Frequency
Volume
Filter 1 Filter 2
Parameter: Filter Frequency Link
Displayed As: FreqLink
Default value: Off
Range of adjustment: Off or On
Setting FreqLink to On creates a relationship between the frequencies of the two Filter
sections, and re-assigns the function of F2Freq for Filter 2 from Frequency to Frequency
Offset (see F1Freq, above). Filter 2’s offset is relative to Filter 1’s frequency.
Frequency
Volume
Filter 1 Filter 2
Frequency
Volume
Filter 1 Filter 2
Frequency
Volume
Filter 1 Filter 2
An increase in Filter 1’s frequency will also increase Filter 2’s frequency
An increase in Filter 2's frequency will decrease Filter 1's frequency
A decrease in Filter 2's frequency will increase Filter 1's frequency
Parameter: Resonance Link
Displayed As: ResLink
Default value: Off
Range of adjustment: Off or On
Setting ResLink to On applies the same Resonance parameter value to both Filter 1 and
Filter 2. The Filter Resonance control (F1Res) affects both filters, regardless of which filter
is currently selected for adjustment.
Edit menu - Submenu 5: Voice
The MiniNova is a multi-voice, polyphonic synthesizer, which basically means you can play
chords on the keyboard, and every note you hold down will sound. Each note is termed
a ‘voice’, and the MiniNova’s DSP engine is sufficiently powerful to ensure that you will
always run out of fingers before you run out of voices! However, if you are controlling
the MiniNova from a MIDI sequencer, it is theoretically possible to run out (there are a
maximum of 18 voices internally). Although this is likely to happen only rarely, users may
occasionally observe this phenomenon, which is termed ‘voice stealing’.
The alternative to polyphonic voicing is mono. With mono voicing, only one note sounds at
a time; pressing a second key while holding the first down will cancel the first and play the
second – and so on. The last note played is always the only one that you hear. All the early
synths were mono, and if you are trying to emulate a 1970s analogue synth, you may wish
to set the voicing to mono as the mode imposes a certain restriction on playing style that
will add to authenticity.
In addition to selecting polyphonic or mono voicing, the Voice menu also lets you set the
portamento and other related voicing parameters.
Parameter: Unison Voices
Displayed As: Unison
Default value: Off
Range of adjustment: Off, 2, 3, 4
Unison can be used to “thicken” the sound by assigning additional voices (up to 4 in
total) for each note. Be aware that the “reservoir” of voices is finite and with multiple
voices assigned, polyphony is accordingly reduced. With 4 voices per note, a four-note
chord approaches the MiniNova’s limit, and if further notes are added to the chord, “voice
stealing” is implemented and the initial note(s) played may be cancelled.
If the limitation on polyphony imposed by Unison Voices is restrictive, a similar
effect can be obtained by using multiple oscillators and adjusting their Density
and Detune parameters. In fact, most of the factory patches use Density and
Detune rather than Unison to achieve their thickening effect.
Parameter: Unison Detune
Displayed As: U niD Tu n e
Default value: 25
Range of adjustment: 0 to 127
Unison Detune applies only when Unison Voices is set to something other than Off.
The parameter determines how much each voice is detuned relative to the others; you will
be able to hear a difference in the sound of the same note with different numbers of voices
even if Unison Detune is set to zero, but the sound gets more interesting as it is increased
in value.
Changing the settings of Unison Voices or Unison Detune while holding a
note down has no effect on the sound. The new settings will only be effective
when a fresh note is played.
Parameter: Portamento Time
Displayed As: P o r tTim e
Default value: Off
Range of adjustment: Off, 1 to 127
With Portamento active, notes played sequentially glide from one to the next, rather than
immediately jumping to the desired note pitch. The synth remembers the last note played
and the glide will start from that note even after the key has been released. The PortTime
is the duration of the glide, and a value of 115 equates to approximately 1 second.
Portamento is primarily intended for use in a mono Mode (see PortMode below), where
it is particularly effective. It can also be used in a Poly mode, but its operation can be
unpredictable, particularly when chords are played. Note that PreGlide must be set to zero
in order for Portamento to be operative.
Parameter: Portamento Mode
Displayed As: PortMode
Default value: Expo
Range of adjustment: Expo or Linear
This sets the ‘shape’ of the Portamento and PreGlide (see following page) transitions from
one note to the next. In Linear mode, the glide alters the pitch evenly between the previous
note and that being played. In Expo mode, the pitch changes more rapidly at first, and then
approaches the ‘target’ note more slowly, i.e., exponentially.

20
TIME
KEY "ON" KEY "ON"
PITCH
Portamento Time
TIME
KEY "ON" KEY "ON"
PITCH
Portamento Time
PortMode = Linear
PortMode = Expo
Parameter: Pre-Glide
Displayed As: PreGlide
Default value: 0
Range of adjustment: -12 to +12
PreGlide takes priority over Portamento, though it does use the PortTime parameter to
set its duration. PreGlide is calibrated in semitones, and each note played will actually
begin a on a chromatically-related note up to an octave above (value = +12) or below (value
= -12) the note corresponding to the key pressed, and glide towards the ‘target’ note. This
differs from Portamento in that, e.g., two notes played in sequence will each have their own
PreGlide, related to the notes played, and there will be no glide ‘between’ the notes.
Although the use of Portamento is not recommended in Poly modes when playing
more than one note at a time, this restriction does not apply to PreGlide, which
can be very effective with full chords.
Parameter: Polyphony Mode
Displayed As: P oly M o d e
Default value: Poly1
Range of adjustment: Mono, MonoAG, Poly1, Poly2, Mono2
As the names imply, three of the possible modes are mono and two are polyphonic.
1. Mono – this is standard monophonic mode; only one note sounds at a time, and the
“last played” rule applies.
2. MonoAG – AG stands for Auto-Glide. This is an alternative mono mode, which
differs from Mono in the way Portamento and Pre-Glide work. In Mono mode,
Portamento and PreGlide apply both if notes are played separately, or in a legato
style (when one note is played when another is already held down). In MonoAG
mode, Portamento and Pre-Glide only work if the keys are played in a legato style;
playing notes separately produces no glide effect.
3. Poly1 – in this polyphonic mode successively playing the same note(s) uses
separate voices and the notes are therefore ‘stacked’, so the sound gets louder
as more notes are played. The effect will only be evident on patches with a long
amplitude release time.
4. Poly2 – in this alternative mode, successively playing the same note(s) uses the
original voices, so the volume increase inherent in Poly1 mode is avoided.
5. Mono 2 – this differs from Mono in the way the Attack phases of the Envelopes
are triggered. In Mono mode, when playing Legato style, the envelopes are only
triggered once, by the initial key press. In Mono 2 mode, every key press will re-
trigger all the Envelopes.
Edit menu - Submenu 6: Env
The MiniNova provides a great deal of flexibility in the use of envelopes in sound creation,
based on the familiar ADSR concept.
TIME
KEY "ON" KEY "OFF"
VOLUME
ATTACK DECAY RELEASE
SUSTAIN
TIME
KEY "ON" KEY "OFF"
VOLUME
TIME
KEY "ON" KEY "OFF"
VOLUME
TIME
KEY "ON" KEY "OFF"
VOLUME
ATTACK DECAY RELEASE
SUSTAIN
SUSTAIN
RATE
TIME
KEY "ON" KEY "OFF"
VOLUME
ATTACK DECAY RELEASE
SUSTAIN
SUSTAIN TIME
TIME
KEY "ON" KEY "OFF"
VOLUME
ATTACK DECAY RELEASE
SUSTAIN
TIME
KEY "ON" KEY "OFF"
VOLUME
ATTACK DECAY RELEASE
SUSTAIN
TIME
KEY "ON" KEY "OFF"
FILTER
CUT-OFF
The ADSR envelope can be most easily visualised by considering the amplitude (volume)
of a note over time. The envelope describing the “lifetime” of a note can be split into four
distinct phases, and adjustments are provided for each of these:
• Attack – the time it takes for the note to increase from zero (e.g., when the key is
pressed) to its maximum level. A long attack time produces a “fade-in” effect.
• Decay – the time it takes for the note to drop in level from the maximum value
reached at the end of the attack phase to a new level, defined by the Sustain
parameter.
• Sustain – this is an amplitude value, and represents the volume of the note after the
initial attack and decay phases – i.e., while holding the key down. Setting a low value
of Sustain can give a very short, percussive effect (providing the attack and decay
times are short).
• Release – This is the time it takes for the note’s volume to drop back to zero after
the key is released. A high value of Release will cause the sound to remain audible
(though diminishing in volume) after the key is released.
Although the above discusses ADSR in terms of volume, note that the MiniNova is
equipped with six separate envelope generators, allowing control of other synth
blocks as well as amplitude – e.g., filters, oscillators, etc. Note that envelope
generators 1 and 2 are dedicated to Amplitude and Filter control respectively, and
are referred to as Amp Env and Fltr Env. A total of 16 parameters per envelope is
available for adjustment.
With this submenu, it is first necessary to select the envelope whose parameters are to be
adjusted:
Displayed As: xxx Env or Env n (see range below)
Default value: Amp Env
Range of adjustment: Amp Env, Fltr Env, Env 3, Env 4, Env 5, Env 6
Amplitude Envelope
The following parameters apply only to the Amplitude Envelope, and will be available if
Env n (above) is set to Amp Env.
Parameter: Amplitude Attack Time
Displayed As: AmpAtt
Default value: 2
Range of adjustment: 0 to 127
This parameter sets the note’s attack time. With a value of 0 the note is at its maximum
level immediately the key is pressed; with a value of 127, the note takes over 20 seconds
to reach its maximum level. At the mid-setting (64), the time is approx. 250 ms (provided
Amplitude Attack Slope (AmpAtSlp) has a value of zero).
PAmpAtt can be also adjusted directly from Row 5 of the PERFORM section of
the control panel with Tweak Control RC1.
Parameter: Amplitude Decay Time
Displayed As: AmpDec
Default value: 90
Range of adjustment: 0 to 127
This parameter sets the notes’ decay time. Decay time only has meaning if AmpSus (see
below) is set to less than 127, as the Decay phase will be inaudible if the sustain level is
the same as the level reached during the attack phase. At the mid-setting (64), the time is
approx. 150 ms (provided AmpDcSlp has a value of 127).
PAmpDec can be also adjusted directly from Row 5 of the PERFORM section of
the control panel with Tweak Control RC2.
Parameter: Amplitude Sustain Level
Displayed As: AmpSus
Default value: 127
Range of adjustment: 0 to 127
The value of the Sustain parameter sets the volume of the note after the completion of the
decay phase. Setting a low value will obviously have the effect of emphasising the start of
the note; setting it to zero will render the note silent after the decay phase has elapsed.
PAmpSus can be also adjusted directly from Row 5 of the PERFORM section of
the control panel with Tweak Control RC3.