Dubstep. I keep staring at those words, sandwiched prominently between “R&B/Hip-Hop” and “Techno/House” on Novation’s MiniNova, and I keep thinking: “What were they thinking?” You see, that Novation MiniNova synthesizer, released in 2012, and bought by yours truly not too many years later, remains a compelling, if not slightly confounding, synth.
From above, the MiniNova’s outward design appears geared towards novice users wetting their feet on their first synth – the presence of a “genre” knob signals that Novation wanted prospective customers to quickly access the telltale tones of their favorite genres. A large knobby filter control places the next largest synth onus on what most would tweak first. A simple performance section condenses a deep synthesis engine into four main parameters, brought up via a simple slider, controlled via four knobs.
Yet, what’s behind this seemingly simple synth is an impressive history and legacy. Let’s explore, so we can paint a fuller picture of just how deep the MiniNova synth can go.
A History of Novation
Born from the ashes of Cheetah Marketing, an early British purveyor of cheap little-loved synths and keyboards, Novation Electronic Music Systems was officially started in 1992 when Cheetah’s in-house designer Ian Jannaway left the lab to create a new name in the music industry.
The company’s early success can be attributed to their innovative MIDI controllers and synthesizers, most notably the Bass Station, released in 1993. This monophonic, analog bass synthesizer’s unique sound resonated with electronic music producers.
The Birth of a SuperNova
Novation’s early instruments, like their debut MM10, a battery-powered MIDI controller for Yamaha’s QY10 handheld workstation, showed a focus on providing tactile control for increasingly menu-oriented digital instruments. This came to a head with their first “professional” synthesizer, the SuperNova.
Originally a 3U rack-mounted model, version 1 of the SuperNova was a 16-note polyphonic hybrid synthesizer with heavy input from iconic English instrument designer, the late Chris Huggett of EDP WASP and OSCar synth fame. Huggett suggested a virtual analog synthesis design with the added benefit of multitimbrality and full MIDI functionality. In a way, the Supernova was trying to bridge digital synths of the past and virtual software-based digital synths of the future.
As groups like The Orb and others were spotted on stage donning Novation’s blue synth, Novation introduced keyboard versions of it, dubbed simply as “Nova.” They then revamped their original ideas for 2000’s SuperNova II, a heavy-duty VA synth masterpiece capable of FM and vocoder synthesis that took its design to its outer limits.
The Dawn of an UltraNova
The idea for the MiniNova stemmed from Novation’s desire to create a compact, user-friendly synthesizer that didn’t compromise on sound quality. The MiniNova’s development began with its predecessor, the UltraNova, released in 2010, nearly a decade after their last synth attempt. The UltraNova featured an enhanced version of the classic SuperNova II’s Nova series synth engine, celebrated for its rich, full-bodied sound.
Using ideas gleaned from other Novation branches like their now ubiquitous Launchpad grid controller and even their fleeting DJ-oriented Dicer and Twitch controllers, the UltraNova treated itself as some kind of mid-based point between the control paradigm of MIDI instruments and software patch-based VA synths like those from Access, Waldorf, and the like.
The presence of a software-based VST plug-in and editor couldn’t help but make you feel that this was a synth caught between these new worlds.
Rebirth in a MiniNova
Two years later, the development team aimed to distill the essence of the UltraNova into a smaller, more affordable package. The result was the MiniNova, officially released in September 2012. Designed as a performance-oriented synthesizer with deep sound design capabilities, it was accessible to both beginners and seasoned musicians.
Forming part of a growing legion of preset-based VA synths with “mini keys” like Korg’s microKorg and Alesis’s, sadly unheralded Micron, Novation’s entry straddled the line between wanting to be a “professional” instrument but also being something easy enough to tempt an entry-level consumer. Looking now at its central genre-based preset knob, especially the outdated “DUBSTEP” slot, one can’t help but feel a bit puzzled by what it’s trying to accomplish. Was this for the performer or for those killing time demoing one at a brick-and-mortar store?
Powered by the same robust sound engine as the UltraNova, the MiniNova offers 256 onboard sounds, 18 voices, and up to five effects per voice. It employs three oscillators and provides a wide range of virtual analog and digital waveforms, enabling a vast sonic palette. A slider in a “Performer” section allows a user to access key synthesis features in a matrix-based modulation system that could be further fleshed out under its hood (through a bit of menu diving).
One of the MiniNova’s standout features is its vocoder and VocalTune effect, allowing users to process their voice in real-time. This feature adds a dynamic element to live performances, enabling artists to create unique vocal effects and harmonies.
The synthesizer also includes a powerful arpeggiator with multiple modes and a unique “animate” function. This allows users to trigger modulation and filter changes on the fly, enhancing live performances with expressive sound manipulations.
The MiniNova’s user interface is compact yet intuitive, featuring a 37-note keyboard, backlit pitch and modulation wheels, and large, easy-to-use knobs and buttons for real-time control. This design makes it both portable and highly functional, catering to the needs of live performers and studio producers alike.
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A Stellar Reception
Upon its 2012 release, the MiniNova garnered positive reviews from both beginners and experienced musicians. Its versatility, portability (surprisingly, USB-powered, as well), and affordability made it a popular choice among electronic music producers and live performers.
A vibrant community of MiniNova users quickly emerged, sharing patches, performance tips, and creative ideas. Novation supported this community with regular updates and expansions, further enhancing the synthesizer’s capabilities and appeal.
Then in 2015, in a first, Novation teamed up with disco great Giorgio Moroder (R.I.P.) to release a limited edition, co-branded silver version of the MiniNova they’d ingeniously dub the “MoroderNova”. Hidden away in Bank C were patches that recall his most iconic sounds, beckoning you to skip this synth’s dicier house and trance tones.
Through the MiniNova we can see seeds planted of what was possible for marketing keyboards and synths to consumers just like electric guitars and sneakers are. It could be argued that Novation’s limited edition Aphex Twin-approved AFX Station, had roots in their re-imagination of the MiniNova.
So, who is the Novation MiniNova for?
Now, nearly ten years later, I keep asking myself a different question: “Is the MiniNova still worth it?” As I look at my blue MiniNova – now featuring mini keys aged to beige from years of sun damage, now looking at its faux (?) wooden ends, now looking at that huge filter knob that somehow became an endless filter encoder (after a precipitous fall from a desk years ago), I still keep looking at that “DUBSTEP” bank given some unholy prominence in between “R&B/Hip-Hop” and “House/Techno,” I pause and really think about this.
My opinion: the MiniNova still remains a gateway keyboard for those burgeoning musicians or producers who understand that there’s a difference between playing someone else’s sounds and crafting your own. The brilliance of Novation’s MiniNova is how it invites its users to inspect a little closer and grow their synth knowledge up just by doing minor sonic tweaks that lead them into full-fledged sound design (if they so wish). In the end, it’s one of those synths that, if you ask me, will still be compelling in ten more years for the same reason it stays on top of my desk.
And for now, I feel inspired enough to use it to create a groovy little ditty full of a bunch of its funky tones.
