Two Oscillators that have been carefully modelled to preserve the precise tonal character of the classic sawtooth and square waveforms of the original instruments. The top half of this monophonic, monotimbral synth is dedicated to the pots, switches, and sliders used to coax audio out of it. All of these are sensibly split into different sections, including the Master section, Oscillator section, LFO section, Filter section, Arpeggiator section, Envelopes section, Effects section and Mixer section. So, for example, in the Master section, you'll find the three-character alphanumeric LED and volume dial while the Filter section is home to the large rotary knob used to control the filter's cut-off frequency or its center frequency. The layout looks a little crowded at first, but everything is grouped together logically and it soon becomes second nature to make tweaks and changes. The build quality is decent, but not outstanding, though. Low Frequency Oscillation which can directly control the harmonic content of the sound by pulse width modulation or filter cut-off. Classic analogue filter – switch between low-, high – and band-pass modes with 12 and 24dB/octave slopes – with an aggressive overdrive

A brand new "Acid" filter joins the "Classic" original Bass Station filter -("Classic" switches between low, hi and band pass with 12 and 24dB slopes). With the Bass Station II you get Ableton Live Lite, the lightweight version of one of the most popular digital audio workstationsaround to get started making music. And with Loopmasters you get access to a 4GB library of royalty-free samples to inspire or use in your music. Knobs and keys are all of good quality and become familiar like "old friends" after a period of usage. This, to me, symbolizes a quality instrument created for human interaction and experimentation.Analogue effects section: Bass Station II includes fully analogue distortion and filter-modulation effects and a separate filter overdrive to add an aggressive, crunchy sound-quality

Then comes the Filter section, which has been significantly revamped. The Classic option here evokes the Bass Station's original filter, which was a key part of its appeal - raspy, powerful and capable of real spit. For the final splash of sonic mangling, there's an 'Effects' section. It's just possible that Novation's terminology guys got carried away one Friday afternoon because the knobs concerned are: distortion (a post-filter overdrive) and 'osc filter mod' (audio level modulation, the source oscillator being 2). However, you won't bemoan the creative labelling once you realise how valuable the two are. Distortion is thrashingly excellent and is the ideal stimulant for the 303-curious everywhere. I won't risk the wrath of the Bassline Gods by claiming you can exactly match that fabled silver box, but when you've engaged the Acid filter and spread resonance akimbo, distortion is clearly the last piece of the jigsaw. There's further dirt, too, thanks to that second effect. Audio-level filter modulation adds its own distinctly toothy bite, and when you begin exercising the mod source's pitch, the currently-selected filter gets an electrifying workout. Filter FM also works wonders when processing external signals. The Pulse Width rotary comes into its own when either of the primary oscillators is set to square or pulse waves and controls the width of that cycle. Again this can be modulated by the Mod Envelope, manually or with the second LFO. Experimenting with this you can get some great edgy and very big sounds, with the Mod Envelope especially taking a dramatic role. Indeed, by exploring this section I found I’d created a pretty impressive hoover like sound from scratch. Press save and that’s preset number 70 in the clip!I would say without hesitation that the plugin is clearly an inferior sound source to the original. To be in with a chance of winning the limited edition monosynth, join the Synth Owners Facebook group and like the competition post from 1st - 7th November 2018. Select triggering mode between: ♣ Single trigger (holds envelope state when new note is played) ♣ Multi trigger (re-triggers with every new note played) ♣ Autoglide (engages portamento) There is also a VCA limiter Bass Station II's secret sound-design weapon is envelope retriggering. It’s now possible to configure your envelopes to retrigger once the decay stage has ended, opening up a whole range of new possibilities. The BSII was my first hardware synth but I have some synthesis experience programming patches on VSTs for a few years now.

Bass Station II has two sync-able, tune-able oscillators with four selectable waveforms, plus a third sub-oscillator for generating enormous bass sounds.

Those expecting Delay or Chorus might be disappointed but both dials offer an impressive sonic flavour and significantly beef up the Bass Station II's personality. To the left, you can add Portamento, with variable Glide Time, whilst further to the left you can access the Bass Station II's Arpeggiator and Sequencer options. Note that you will need to have the latest version of each unit's firmware installed. This can be applied by running the relevant product's installer:

Its tone-shaping capabilities have now been expanded to break away from the original's low-pass shape alone; now you'll find high-pass and band-pass options too, all available with 12dB or 24dB slopes. There's also a brand new filter option, Acid. As its name suggests, it's capable of tones which evoke the 303 and its relationship with resonance will have synth lovers drooling. Modulation station

What is a synth?

Novation put as many controls as possible onto Bass Station II, so you can totally lose yourself in discovering and creating new sounds. Of course, Novation also laid out all those controls in the clearest and most useful way, to keep the sound design as straightforward and fun as possible. Save and Load Patches Bass Station II includes fully analogue distortion and filter-modulation effects and a separate filter overdrive to add an aggressive, crunchy sound-quality. In short, AFX Mode allows you to make changes to a sound for every key on the keyboard. This works by enabling an ‘overlay’ on any patch. Overlays are a modulation source which remembers knob and switch positions for 25 different keys (the length of the AFX Station’s keyboard). Outside of these 25 keys, the patch on top of which the overlay sits will play as normal.