Novation Drum Station four page colour brochure from approximately 1996.
So, it's looking like May could become Novation month. Well, the last half of May any way. I've been drilling down into their brochures and I'm really liking what I'm seeing. But first, a little house-keeping....
I haven't posted anything for almost a month a half. And that last post was my April Fools number - its been about two months since my last real post about the BassStation (one word). I know I've had droughts before but this time I actually have a reason. I got a job. No really... a REAL job. Digital marketing of course. But this time with a dash of business development involved too. Anywhooos, point being that time is becoming a little more limiting. Let's hope I can keep this going. Probably means keeping 'em short and sweet.
Now back to this lovely brochure.
After Novation's mind-blowing launch of the BassStation (one word) around 1993, it was hard to think they could follow it up with something that, personally, I found even more mind-blowing. Mind-melting even. That product - the Drum Station (two words).
Novation called their sound creation system A.S.M. - short for Analogue Sound Modelling, and state in the brochure that the technology "re-created with stunning realism the original character and flexibility of the TR-808 and TR-909 drum sounds". Weirdly, although the acronym A.S.M. is peppered about the first half of the brochure, it isn't until halfway down the second page that we actually learn what it stands for.
Instead of spending time on needless definitions, Novation decided to go straight to the jugular of P.C.M.-based systems on page one, explaining just how crappy and un-variable sampled sounds are.
"Yesterday's analogue drum machines, while not as authentic sounding as today's digitally-sampled equivalents, have the character and warmth which PCM-based systems just can't seem to replace. What's more, a sampled version of an analogue drum sound loses all the variability of the original as the sound is "frozen" in just one of the myriad combinations of the editable parameters which the original machines offered."
Bam! That's how you hit 'em where it hurts.
The intro goes on to explain that this is why there has been a resurgence of analogue drum sounds (true) and that the TR-808 and TR-909 are the much sought after "dream machines" (also true).
And with full control over parameters, these sounds could be as varied as the originals.
So how did it sound...? Unlike the BassStation (one word), which I'm already on record saying it doesn't sound much like a TB-303, this thing was a dream machine. Sure, no sequencer - it had to be controlled through MIDI (and most likely a computer sequencer). But who cares. It cost a lot less than a TR-808 and TR-808 - even at 1995 prices.
So yeah. Love it.
The brochure itself is lovely too. A gorgeous front page that has the Drum Station (two words) floating over top a black reflective texture of some sort. Very reminiscent of Roland textures from their "We design the future" period of the 80s. Inside we have a really large photo spread of the front face, a cool block diagram and lots of juicy info. Back page - the specs in a black font in a large light yellow box with rounded corners.
I mention the colour and shape of that box because I have an older version of this brochure that is slightly different. On the back page that box is square and black, with a white font. Exact same info in the exact same order. Just a different colour theme.
And that's not the only difference. This version of the brochure has that cool "Future Music Platinum Award" logo and blurb on the front page with a July 1996 date. The other version of the brochure doesn't have that award info, suggesting it probably came out earlier - maybe even 1995 when the machine was first released.
If you can find one of these (the machine, not the brochure) for a decent price. Definitely worth picking up. Great sounds. Rack mountable. Lots of tweaking.
Yum!
