Yamaha MODX Tutorials

Yamaha Corporation
Compilation by errorsys
2019-04-14
2018 © Yamaha Corporation of America and Yamaha Corporation.
All rights reserved.

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Mastering MODX: The Basics

New to MODX? Start here!

Welcome! If this is your first encounter with the Yamaha MODX, this short
guide can help you find your way around. You are about to experience the
MODX, Motion Control Synthesis Engine, based on the milestone
MONTAGE Music Synthesizer. Not only are these Synthesizers new in
concept, but they offer a new level of sonic possibility. Let's get started!

You’ll want to experience the MODX under the following conditions:

through a quality stereo sound system and with the optional FC7
expression pedal and an FC3A sustain pedal.

Connect a Yamaha FC7 pedal to the Foot Controller 2 jack, and the FC3A
to the dedicated Sustain Pedal jack on the MODX back panel. The FC7
pedal is essential to fully experience the Motion Control Synthesis Engine
in action. The Foot Controller becomes an extra hand. The stereo speaker
system allows the sound to animate, swirl and surround the player in the
high definition sound. The pedal allows you to move the “Super Knob” with
your foot - this means as a performer, you can change multiple parameters
while keeping both hands on the keyboard. This is an important part of the
full experience of Motion Control. And as you’ll hear, the Super Knob can
be tasked with simultaneously changing scores of parameters resulting in a
depth of control you’ve likely not encountered on any Synthesizer.

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 FINDING PERFORMANCES

The MODX boots up in what is called a “LIVE SET” - which looks like a grid
of 16 titles:

Basically, this is exactly like a “set list”, reading left to right - a way to
quickly access different programs.
The “Bank” = Preset, the “Page” = Best of MODX 1.
In the MODX screen, touch the Down Cursor arrow located just to the right
of the Page name, “Best of MODX 1”, to view the next Page of 16
Performances. There are 16 Preset Pages offering a variety of
Performances.
Preset “Live Set” Pages:

• Best of MODX 1
• Best of MODX 2
• Spiralizer + Synth
• Motion Synth
• FM
• Motion Control
• Keyboard 1
• Keyboard 2
• Organ
• Synth 1
• Synth 2
• Synth 3
• Orchestra
• Guitar/Bass
• Chromatic Perc./Drums & Perc.
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• Live Set Page 16 (currently blank)

To move between the programmed Performances, you can use the touch
screen; or, you can use the hardware front panel [Cursor Arrow] buttons;
or, you can use the hardware front panel increment [INC/YES] and
decrement [DEC/NO] buttons; or, you can use an optional (assignable)
Foot Switch programmed to advance through your list. The currently
selected item will appear in orange and its Name will be repeated in large
font at the bottom center of the LIVE SET screen. Get comfortable with
several methods of changing Performances.

With over 2000 Factory Preset Performances onboard, trying out sounds
can be a daunting task. This Preset “LIVE SET” Bank organizes some 240
of the Factory Presets into a kind of “best of” listing, grouped by kind, and
can be used to quickly find and try out a variety of different types of
programs. Some are familiar “bread & butter” instruments, like pianos,
organs, strings and brass. Some are intriguing other worldly Synth Pad
sounds, like "Wax and Wane" from the “Synth 1” Page and "Pearly Gates"
from the “Best of MODX 1” Page. Still others are musical
soundscapes/mini-compositions with musical Sections accessed by the red
SCENE buttons, like "Plastic Beat" from “Best of MODX 1” and "DJ
MONTAGE" from “Synth 3”. And still others offer several versions of an
instrument sound stored within one Performance - examples would be, "Rd
1 Gallery" and "Wr Gallery" in the “Best of MODX 1” Live Set. They
represent a virtual history of the different Rhodes (felt hammer, rubber
hammer, upgraded preamp, Dyno-my-Rhodes) and Wurlitzer electric
pianos. While "8 Amps and a TC" from the “GUITAR/BASS” Page, plugs a
Telecaster-type guitar into eight different Amp and Effect combinations.
Use the red SCENE [1-4]/[5-8] buttons to select 8 completely different
treatments of the instrument (or simply press the [AUDITION] button).

Take your time, explore!

MODX features a complete arsenal of boutique level Effects and

Equalizers. Each of the PARTs within a Keyboard Control (KDB CTRL)
Performance can have its own set of Insertion Effects, which can be
adjusted in real-time as you perform. Listen for the depth of control as you
interact with MODX. Listen as sounds move forward and then split off left
and right into the stereo panorama! Listen for the interplay between
channels - for example, the positioning of the String Orchestra sections, left
to right in front of you in “Romantic Strings” from the “Best of MODX 1”,
and in the “Seattle Sections” found on the “Orchestra” Page.

There are simply too many Performances to try out in one sitting (and you
wouldn't want it any other way!) If you played each Factory MODX sound
for one minute you’d need more than 36 hours to try them all. Use the “Live

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Set” to quickly get an idea of what is available.

To effectively use the Live Sets, recognize each screen, (called a PAGE),
features access to 16 Performance programs. When onstage you can use
a Foot Switch to advance through ‘set list’ - allowing you to keep both
hands on the keyboard. The Preset “Live Sets” are grouped conveniently to
give you a good wide variety of Performances to try out. You can create
eight Banks of your own customized USER “Live Sets” (some 2048 setups)
which then can be moved into your own Libraries.
For more on getting around please see the article on “MODX Navigation
Tips” in the LEARN Section on YamahaSynth.com website.

LIVE SET TOUR

Let’s start with “CFX + FM EP 2”. It is in the upper left corner of the LIVE
SET grid on the “Best of MODX 1” Page. When selected, the slot
containing its name will appear orange. Once you have selected a
Performance program on the grid press the button labeled
[PERFORMANCE (HOME)] or touch the “home” icon in the upper left
corner of the screen. The HOME button is used to direct the screen to
show you the data contained in the selected program. Pressing this
[PERFORMANCE (HOME)] button repeatedly will toggle between two
different HOME screens views; each providing vital information about the
currently selected Performance.
It can show you current KNOB assignments, or give you a split screen
showing the Key mapping of the various PARTs making up the
Performance:

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Main HOME screen (above) – shows the Knob icons and the eight PART
Slots available for KBD CTRL:

Toggle the [PERFORMANCE (HOME)] button to the “VIEW” HOME screen

which shows a split screen that reveals key range and velocity mapping on
the right side.
Moving the cursor around the screen will reveal different features. Each
vertical slot represents a “PART” - which can be an entire instrument sound
or a component building block. A slot with a “+” sign is currently empty.

"CFX +FM EP 2" is an Acoustic Piano and a DX7-style Electric Piano,

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showing the two major technologies of the MODX: sample playback
(AWM2) technology and Frequency Modulation (FM-X) synthesis, linked by
Motion Control. With the FC7 pedal in the heel down position you are
playing an acoustic piano, and as you move the pedal towards toe down
position you crossfade; bringing in the FM-X electric piano sound and
ultimately fading out the acoustic piano. The FC7 is moving the Super
Knob, simultaneously turning the acoustic piano down as it fades in the
electric piano. The FC7 foot pedal allows you to keep both hands on the
keyboard as you adjust the balance between the two instruments. Please
note: The Foot Controller must “grab” or “hook” the position of the Super
Knob (red indicator located around the rotary encoder) to take over control.
This allows a sound to be recalled with a specific Knob value, then you can
go “grab” control of it with the pedal.

MOTION CONTROL Concept: As the Super Knob is moved from minimum

to maximum you are simultaneously controlling multiple parameters within
the synth Parts. This basic concept needs to be understood because it is
the key to ‘what’s new’ about Motion Control – this can be expanded to
include all your synth PARTS simultaneously, changing literally scores of
parameter details within the Parts. The Super Knob, on the upper level of
the synth engine, has eight Assignable Knobs (COMMON), and each
individual Part has eight Assignable Knobs of its own. Selected parameters
from any of the multiple Parts can be linked to the movement of the Super
Knob via a vast user programmable Control Matrix. This means a single
gesture can dramatically change the resulting musical sound in ways
previously unavailable in music synthesizers. And all of this can be
accomplished via the Super Knob (and “hands-free” - if you have that FC7
Foot Controller connected)!
You can return at any time to the LIVE SET grid by simply pressing the
[LIVE SET] button.

AUDITIONING THE PERFORMANCE

You can use the “Live Set” as an easy way to find a “best of” listing of the
Factory Preset Performances. But you’ll also want to learn to explore and
find your own favorite Performances. The LIVE SET programs are just the
tip of the iceberg – there are almost 2000 more Preset Performances!

Once you are comfortable moving between the [LIVE SET] grid screens
and the selected Performance’s [HOME] screen, you’ll want to familiarize
yourself with the [AUDITION] function.

Each of the Factory Performances has an Audition phrase associated with

it. The Audition phrase is MIDI data stored in the MODX internal memory
that plays back through the current Performance at the tempo stored within

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 the program. The phrase can be a few seconds to almost a minute of
music. The point is, in almost every instance it is a real-time musical
performance that shows off what the original programmer had in mind for
this sound. In other words, it shows you what you can do, in real-time,
playing this Performance. This can be an excellent way to discover the
hidden ‘magic’ within each Performance. Later, you will learn to create your
own Audition Phrases.

Let’s try it:

• Recall “CFX + FM EP 2” the first sound listed on the “Best of MODX 1”

Page, of the Preset “LIVE SET”.
• Touch "CFX + FM EP 2" on the LIVE SET grid and then press
[PERFORMANCE (HOME)] so we can see the activity meters on the Part
slots.

From the [HOME] screen:

• Press the [AUDITION] button.

• Listen and observe the front panel…

Because it is streaming MIDI data, the front panel will animate, repeating
each move made by the performer. A short phrase plays, the Super Knob
moves, the Assign 1/2 switches next to the MW, illuminating on cue,
changing the effects being applied, all in response to the recorded MIDI
messages - faithfully reproducing every nuance of the original
performance. Hear and observe as the sound morphs from acoustic piano
to both sounds together, then to electric piano alone, followed by both
together, then back to acoustic piano...

The Audition phrase will repeat and continue to cycle, if you do nothing to
prevent it. You can press the [AUDITION] button again to STOP playback
or you can simply advance to another Performance and let it play on. You
can stop it at any time and when you do you will be able to play that sound
in its current state.

As mentioned, the LIVE SET Bank is only the very tip of the iceberg - you’ll
want to find Performances efficiently on your own. Enter the [CATEGORY]
Search function.

SEARCHING PERFORMANCES BY CATEGORY

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 To use the built-in CATEGORY SEARCH and find specific Performances:

• Press [CATEGORY].
• The “Performance Category Search” appears. The very top line of the
screen will always tell you where you are.
• This function allows you to find Performances quickly and efficiently.

Try it!

Say you’re looking for an acoustic guitar sound:

• In the screen under the “Main” heading touch [Guitar].

• Then narrow the search by providing the “Sub” Category [Acoustic]:

• Touch an individual Performance name on the bottom half of the screen to

select/hear that Performance.
• Play your selection.
• Press the [AUDITION] button - notice in the lower left corner you can
activate the AUDITION function right from the PERFORMANCE
CATEGORY SEARCH screen. You can leave it active – while you select
various Performances.
• Listen and observe.
• Press the [HOME] button to see the information concerning this program.

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 You can understand listening to these guitars why we recommend a high-
quality stereo sound system. The attention to the smallest detail in the
sound - finger noise, the appropriate amount of fret noise on the "Flamenco
Guitar", pitch scoops, dead notes, hammer-one, etc. Again, you find a
“Gallery”, try “Steel Twin Gallery”... return to the [HOME] screen. Observe
that you are hearing two measures each of four different treatments of the
Steel String Guitar. The red SCENE buttons, [1]-[4], are recalling mix
volumes so that you are hearing and odd/even pair of Parts, each for two
bars. The Super Knob is manipulating the Sends to the “Tempo Cross
Delay” Effect. Stop the AUDITION at any time to play a specific Guitar
setup. Manually recall the setups with the [SCENE] buttons, 1-4. The
[ASSIGN 1] and [ASSIGN 2] buttons, are set to ‘momentary’. Press and
hold to switch guitar articulations (Assign 1 = harmonic; Assign 2 = Mute).

Try finding a horn section, from the [HOME] screen:

• Press [CATEGORY].
• Touch Main = “Brass”.
• Touch Sub = “Ensemble”.
• Select “PopHorns Dyn Shake”.
• Press [HOME] and play the Performance.
• Press the [AUDITION].
• Listen and observe.

For more information about getting the most out of the CATEGORY Search
function please see the following article:
“Mastering MODX: Using Category Search"

MARK YOUR FAVORITES

When you encounter a Performance you enjoy, you can mark it as a

“Favorite”. This makes it much easier to find it later. By marking a
“Favorite” you can group those you gravitate to for each Main/Sub
Category - by additionally marking them as a “Favorite” you will quickly be
able to access them in the future. It is like making a custom bank. Here’s
how:

• On the [PERFORMANCE (HOME)] screen, tap the Performance title box to

view a pop-in menu with multiple options.
• Touch “Favorite” (shown below):

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The Favorite box will turn green (active) and a yellow star icon will appear
in the title box indicating you have added this program as one of your
“Favorites”. The yellow star will now accompany your Favorite selection
whenever it appears. You can now find your Favorite Performances quickly
- from the HOME screen, press the [CATEGORY] button twice to select the
search Bank: FAVORITE:

While you are initially trying out the MODX, don’t be afraid to mark those
you enjoy as a Favorite - this makes it so much easier to find later. Initially,
you may not fully appreciate just how many programs are in MODX, so it is
a very good idea to use this feature. There really is no limit on how many

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you can mark as FAVORITE, and you can, of course, change your mind at
any time about what is marked as a Favorite. By marking your
Performances as Favorite, they join this Search Category and will continue
to be refined by the MAIN and SUB Category items. For example, when
you want to find your FAVORITE > BRASS > ENSEMBLE Performances –
you can! And it is just as quick as that on the Search screen.

MAKE A QUICK BEAT BY ADDING DRUMS

From the HOME screen, press [CATEGORY].

Find an instrument sound you would like to work with… For this example,
let’s use “CFX + FM EP 2” .
To add a Rhythm Pattern, press the [RHYTHM PATTERN] button, located
to the left of the screen directly below the Super Knob.
You are taken to a screen where you can “search” for a Drum Kit (shown
below):

Because we started with a two-Part Performance (CFX + FM EP 2) the

“search” is “PART 3 – Rhythm Pattern”.

Each Drum Kit will have several Arp Phrases stored with it. You can
access them using the ARP SELECT 1-8 boxes that appear along the
bottom of the screen. When you select a Drum Kit, the Arp phrases are
automatically assigned, the Arp is automatically set to HOLD. Sliders 1, 2
and 3 will allow you to mix the CFX, the FM-EP and the Drum Kit volumes,
respectively. You can set the Tempo and Volume right here on the screen.

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KEY-ON START: You can select a Drum Kit, then trigger the Keyboard to
start the ARP.

You can use the transports [STOP] button if you wish to stop the rhythm
pattern. Each Kit has an appropriate set of Arp Phrases associated with it.
Later you can refine your search for a particular Arp Type, but to get going
quickly – simply select a Kit and use the ARP SELECT 1-8 boxes to switch
the phrase at the top of the next measure. The screen shows you the
selected ARP Phrase Name on the “ARP” line. If you touch the ARP
“NAME” box, a pop-in menu will appear allowing you to search for a
specific type of ARP. Using the now familiar Category Search grid screen,
now in purple (for Arp Phrases).

The Sliders will give you PART Volume Control so you can mix the
instrument program you are playing versus the Drum Kit Part you are
adding. You can strike a balance and then quickly, return to the [HOME]
screen and press the RECORD button to engage the MODX Performance
Recorder. Document your idea directly to memory. The data will be placed
in the MODX SONG FOLDER and can be exported, via USB, to your
computer using the free MONTAGE CONNECT software Utility. You can
literally, drag n drop your recording into your favorite DAW as a .MID file.
Then begin to expand on your original idea.

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 Mastering MODX: Using Category
Search

The complete guide to the powerful Category Search tools in MODX - with
instruction by our own Phil "Bad Mister" Clendeninn.

There are three separate types of SEARCH for PERFORMANCES:

• "Performance Category Search"

• "Performance Merge"
• "Part Search"

The results will be in shown in blue or green font. Confusing? Let our own
Bad Mister clarify for you. In this article he'll explain why and how the
Category Search Function can help you "know" what you are looking at
when you use this most powerful MODX feature:

This “search” is used when you wish to find a new Performance - this will
replace the current selection. When searching, you can view just the data
you are interested in viewing. MULTI PART Performances appear in blue
and the SINGLE PART Performances appear in green.

PERFORMANCE CATEGORY SEARCH

This type of Performance search appears when you press the

[CATEGORY] button while the cursor highlights the Performance Name;
from what MODX considers the “Home” screen (the little house icon
appears in blue in the upper left corner of the screen). This search will
show you other complete Performance programs which will completely
replace the currently selected one:
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• Press [CATEGORY]. The top line of the screen reads: "Performance
Category Search".
• Touch the “Bank/Favorite” option to view a dropdown revealing the Bank
options: "All", "Favorites", "Preset", "User", followed by your eight installed
Library Banks (if any). Alternatively, you can repeatedly press
[CATEGORY] to toggle through the options one-by-one.
• Press and hold [CATEGORY] to return the BANK search to “All”. Use the
“Attribute” option to refine the search by technology or type of behavior:
"All", "AWM2", "FM-X", "AWM2+FM-X", "MC", "SSS", "Single", "Multi".
• All – every Performance associated with your MODX no matter the Bank.
• AWM2 - the sampled based engine, only.
• FM-X - the Frequency Modulation Engine, only.
• AWM2+FM-X - combination Performances, only.
• MC - Motion Control, means those featuring Arpeggios, Motion Sequences,
and/or Super Knob automation.
• SSS - Seamless Sound Switch (Performance contains 4 Parts or less,
under KBD CTRL).
• Single - one Part instrument.
• Multi - multiple Parts combined to make an instrument or form an
ensemble.

You can enter characters in the Text box (magnifying glass) and/or use the
Main and Sub Category listings.
Along the bottom of the screen, you can sort the results shown: Default (as
listed in the Data List), Name (alphabetical or reverse) or Date (useful for
User created data):

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PERFORMANCE MERGE

This is the type of Category Search initiated when you have added a new
Part by touching the ("+") icon on an empty Part slot. You may see a “+”
icon on the first 8 PARTS of a MODX Performance – these are the PARTs
that can be linked under simultaneous Keyboard Control (KBD CTRL).

From the [PERFORMANCE (HOME)] screen, touch the first available slot
(“+”) to ADD a new Part. The top of the screen will identify the Search as a
"PartX - Performance Merge". This means you could select an additional
Single (green) or Multi (blue) Part program and add it to the original Parts
already in the Performance. They are then "merged" into a new Multi Part
(KBD CTRL) program.

The screenshot below appears when entered from the [HOME] screen of a
two-PART PERFORMANCE. This means, on the [HOME] screen a "+" was
touched in Part 3. For example, if you attempted to ADD (+) a PART to the
“CFX +EP 2” Performance you would touch the empty slot (+) to launch
this Merge type Search.

It is ready to MERGE "All" (Source) the PARTs of the "FM CS80 Brass"
Performance to the existing data. The screen reads: "Part 3 - Performance
Merge":

When a new Part, or Parts, are merged together with an existing

Performance, they were two programs - they are now merged and become
one Performance.

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It is important to understand: There can be only one, Multi Part KBD
CTRL Performance. By merging a two-Part Performance with the existing
two Parts, the new “merged” Performance will now contain four Parts.

While the Merge screen is shown, you can set the BANK, ATTRIBUTES,
and SOURCE to narrow your search. The "Source" can be "All", meaning
all of the Parts from a selected Multi Part program (listed in blue); or a
selected Single Part program (listed in green) Part 1-16; you can also
designate any specific Part from any Performance. This means you can
merge an entire Multi Part program or just any one of the Parts in this
operation.

Notice in the lower left corner of the Performance Merge screen you can
“Mute” the original Parts ("Org”), and, audition just the Part(s) you highlight
in the Search view. You can also “Mute” the Search Part(s) ("Add") while
hearing just the originals. This makes balancing and trying out things while
merging much more practical.

For example, maybe you only want the mechanical Rhodes piano noise
from Part 5 from the Factory Performance "Rd 1 Gallery". You could merge
just that component building block that works as KEY-OFF noise (Source =
Part5). Or perhaps you are interested in just the FM EP that you know is in
the "CFX + FM EP 2" Performance at PART #2. Perhaps the drum kit you
assemble for a multi-track session would be perfect in another
composition, you can recall any single Part from any program. You can
recall “All” Parts from any Performance.

PART CATEGORY SEARCH

The third type of Search for Performances appears if you enter

[CATEGORY] by searching from an already occupied individual Part
location, which would be the case if you start with the INIT > “MULTI/GM”
template (shown below):

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 Starting from the MULTI/GM template would be the logical place to begin
when using the MODX as a multi-timbral tone engine - for example, when
starting a session with a computer-based DAW software. There are two
methods to arrive at the “PART - Category Search”:

1. Touch the box with the PART “Type/Name” (Concert GrandPiano). A pop-
in menu comes in from the left. Select "Category Search".
2. You can also activate the Part Category search anytime you have a PART
*selected*: Hold [SHIFT] + [CATEGORY].

For example, Press the [PART SELECT—MUTE/SOLO] button. In the

screen, tap “Select” > PART 1-8 or 9-16 > then select the PART number.
Once the PART is identified you can press [SHIFT] + [CATEGORY] to
execute the PartX Category Search.

Under these conditions and you will see the "PartX Category Search"
screen (as shown below). Again, you can refine your search using BANK,
and ATTRIBUTE will let you view “All”, “Single” or “Multi”. Additionally, you
can set the SOURCE Part, but this time you are not able to select "All" as
the SOURCE (we are not 'merging', we are 'replacing' an existing single
Part). You can, however, search for any one Part from any Performance -
be it from within a MULTI PART or just a SINGLE PART. You might want
to access just the first violin section from the "Seattle Sections" (PART 1),
or just the Drum Kit from an existing Performance. ("CFX + FM EP", we
know is a MULTI Part Performance, for example, it appears, but as
separately accessible components):

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There is an issue here, however. Let's say you import just PART 1 of the
"CFX + FM EP" (shown above) – because this PERFORMANCE uses
multiple PARTS to create a massive 9-way velocity switching piano sound,
PART 1 is only a partial piano. In other word, it is only responsible for
Velocities from 46-127 and without PARTS 2, 3 and 4 it is not a completely
playable instrument sound... not necessarily what you want if you are
looking for a whole playable piano sound. But how can you know whether
you are importing a fully playable layer or just an incomplete component
Part?

Wouldn't it be useful to view just those Single programs that are fully
playable Parts, separate from those that are not? Here's how...

Initially, MODX shows you all of the potential 'Source' programs, if you set
the ATTRIBUTE to "Single”, however, the search results will eliminate the
Multi Part PERFORMANCES and be limited to only those Single Part
programs that are full, complete playable layers! This is necessary
because some of the Multi Parts when selected alone do not play from all
key ranges, and some do not respond to all velocities. Simply use the
ATTRIBUTE to search "Single". This is completely logical and very useful!

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The “Part - Category Search” shown above, includes the "Parameter with
Part" feature that allows the PART selected to join this PERFORMANCE
with the same MIXING settings, the same ARPEGGIOs and MOTION
SEQUENCEs assigned, and/or the same SCENE settings from its previous
PERFORMANCE Home. This is very useful when attempting to duplicate
the previous behavior of this PART in your new PERFORMANCE. If,
however, you wish to bring the PART in without its previous programming -
simply deactivate the option in question.

Translation: For example, if you would prefer the sound you select inherit
current PERFORMANCE settings (say you are substituting a BASS sound
in a SPLIT PERFORMANCE) then you do not want to bring along the
previous MIXING settings. - particularly if previously the PART was
mapped across the entire key range. By deactivating 'MIXING" (grey) your
current SPLIT Note Limits will be respected!

The default is for "Parameter with part" to be active (green). Iif you would
rather assign new Mixing settings, new Arpeggios, create new Motion
Sequences, and store new Scene snapshots concerning this instrument
sound in its new Home, you can opt out by deselecting these options
before making your Search selection final.

If you have activated the Zone Master feature in UTILITY, a Part can,
additionally, bring along the Zone Settings using the "Parameter with Part"
option. This is very useful when you wish to duplicate work you have
previous done:

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Mastering MODX: Navigation Tips

Find your way around MODX!

On the MODX, there are often more ways than one to go from here to
there when navigating the operating system. We will give you some tips
and shortcuts that you may not be aware of that will help you in developing
your own workflow.

We only offer these tips as suggested methods, you will need to decide for
yourself the “best way” to navigate in each situation. Feel free to mix and
match techniques to move from place to place. Highly recommended is a
read through the QUICK GUIDE section of the Owner’s Manual, download
the Reference Manual, the Data List booklet and the Synthesizer
Parameter Manual here.

PERFORMANCE (HOME)

Repeated presses of the [PERFORMANCE (HOME)] button will toggle

between the main "Home" screen (top screenshot below), and the
informative "View" [HOME] screen (second screenshot below).

The main HOME screen:

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Here you can see eight of the sixteen Parts slots along with the positions of
the eight Knobs (in two sets of four, 1-4 and 5-8); Each of the first seven
slots (above) contain a synth program, PART 8 is a blank slot. The “+” icon,
in PART 8, invites you to ADD a new program to the existing PART, if you
so desire. Below the Knob indicators are the numbered PART slots: an
ARP On/Off button; the Key Range; the KBD CTRL icon that indicates
simultaneous access via the keyboard; a MUTE and a SOLO button; a Part
Volume slider; and, an audio activity level meter to show each PART’s
contribution.

The VIEW HOME screen:

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Here you see detailed information concerning the makeup and layout of the
currently selected PERFORMANCE- including a split screen that can show
Key mapping, a keyboard icon for setting help in setting split points. It can
also show velocity and oscillator activity monitor, etc. depending on where
you place your cursor highlight

The VIEW option: Activating the VIEW box (green), just to the left of the
Performance Name in the screen, is the same as physically toggling the
[PERFORMANCE (HOME)] button.

When the "View" screen has the cursor highlight outlining the
PERFORMANCE NAME (as shown above), the 16 PARTS of the
PERFORMANCE are laid out in four sets of four: 1-4, 5-8, 9-12, and 13-16.
Active Parts will have a corresponding green ‘active box’ directly below the
Performance name and Part indicator. You can see four green boxes
under '1-4" and three green boxes under "5-8", indicating that “Seattle
Sections” has seven PARTS active. The Parts under “KBD CTRL”
(Keyboard Control) will be shown on the right half of the screen showing
their "Type/Name" and their relative Note regions mapped across the keys.
The small keyboard icon across the bottom, will indicate the triggered note
when setting a KEY RANGE.

As you move cursor down within a selected PART slot, initially you will see
the display change to show activity of Elements, their Volume settings
(AWM2), if FM-X you will see the Algorithm (arrangement of Operators)
and Feedback Level. Cursor down again to highlight the Note and Velocity
Range:

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You will see a graphic appear on the right side that monitors and reports on
the key velocity and where across the keyboard you are triggering – you
use these to assist you when you create splits and layers, both horizontally
and vertically. It is possible to create Splits and Layers without ever having
to drop into [EDIT], it can be accomplished right here on the HOME screen.

The small blue arrow next to the PART Volume indicator, shows where
your physical Slider is in relationship to the stored PART Volume – when it
turns white, the value is equal to the stored value, and at that time it
“engages” control over the Part Volume.

NOTE: There may be sounds where changing the Volume Slider has no
effect on the output level. This will occur when the control over this PART’s
Volume has been purposefully assigned to another means of control –
could be the Super Knob, or the Ribbon Controller, or under control of
some performing controller.

WORKING THE [ASSIGN] AND QUICK EDIT KNOBS

There are just four physical Knobs so you use the [ASSIGN] button,
located just to the left of the four Rotary Encoders, to toggle access to
“Assign 1-4” or “Assign 5-8”.

When on the main HOME screen, you will see the eight “Common Assign”
knobs. (Common Assign Knobs are the ones that are linked to the Super
Knob movement); When you select an individual PART slot, you would be
viewing the eight Assign Knobs for that Part.

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Additionally, you might see the positions of the 8 knob functions of the
“Quick Edit” area: Located on the left front panel, just above the [ASSIGN]
button, you have a button that toggles four rows of “Quick Edit”
parameters: "Common Tone", "Common EG/FX", “COMMON EQ” or
"Common ARP/MS" depending on which of the four rows is selected:
[TONE], [EG/FX], [EQ] or [ARP/MS].

This is an important thing to know. From the Main HOME screen, you can
examine other specific areas of the Synth engine. The Knob Functions that
appear when a PERFORMANCE is initially recalled will be either the
"Common Assign" Knobs, or one of the four QUICK EDIT area functions:
"Common Tone", "Common EG/FX", “Common EQ” or "Common
ARP/MS"; you can STORE your version of the PERFORMANCE with those
items on the Knobs that you feel you will use.

If you want to access a particular PART’s ASSIGN KNOBs, you simply

need to select that PART via the [PART SELECT] routine.

The info shown for the eight screen Knobs changes depending on the
current context. We can see that when the [PERFORMANCE (HOME)]
option is selected, most often on the Factory PRESETS the "COMMON
ASSIGN" functions for the eight Knobs are shown, but this is customizable.

SELECTING A PART AND USING THE MUTE AND SOLO FUNCTION

Press the dedicated [PART SELECT-MUTE/SOLO] button found on the

right front panel.

A screen overlay appears across the lower portion of the screen – what it
offers you are methods to *select* either Common, or individual Parts 1-8
or Parts 9-16; you can also opt to *mute/solo* the selected Part:

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CONTROLLERS AND QUICK EDIT

If you select PART [1], the screen will show you Part 1’s eight Assign
Knobs.

When you select a PART, its controllers are active. This is true for all
sixteen Parts. And you can understand that you can customize for each of
the sixteen Parts which 8 parameters are shown when that PART is
selected.

This allows you to have the knobs one way for a LEAD SYNTH sound and
an entirely different set of parameters for controlling your E.Piano sound -
even if they are in the same PERFORMANCE. The Assign Knobs allow
you to have what you need available when you access that PART.
“Assignable” means customizable to your needs - whatever you need when
you select the that PART!

When you have selected a Part, 1-16, you can then use the [TONE],
[EG/FX], [EQ], [ARP/MS] functions, located on the upper left front panel.
These are parameters that are used to apply overall offsets to the selected
Part’s stored programming. As you select a particular row, the parameters
are accessible via the physical Knob directly below it.

You have a way to apply an offset that would apply to all Filter Cutoff
settings within the Part. Remember, a Part can have multiple filters, for
example, each AWM2 Element each could have its own separate filter and
filter settings. Changing the CUTOFF Knob for Part 1 would tell all filters of
this Part to open or close from their current stored position. You are literally

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 applying an offset that raises the cutoff frequency or lowers the cutoff
frequency proportionally for each filter.

Some of these Quick Edit functions can be viewed directly by touching

“Motion Control” on the HOME screen, then touching “Quick Edit”. Shown
below PART is "COMMON":

Moving the CUTOFF KNOB here would affect all PARTS in common. If you
select an individual PART, however, the parameters are going to address
just that one PART.
By selecting the [TONE] row you have access to: Cutoff, Resonance, Pan,
and Portamento:

• If you select the [EG/FX] row: Attack, Decay, Release, Rev Return.

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• If you select the [EQ] row from the HOME screen the Knobs will indicate:
Low Gain, Mid Freq, Mid Gain, High Gain.
• If you select the [ARP/MS] row will show the ARP Play FX Offsets: Swing,
Gate Time; and the Motion Sequence Offsets: Amplitude, Shape.

EXTRA CREDIT

When assigning sounds to a PERFORMANCE - each PART could have its

own custom arrangement of 8 parameters assigned to its PART Assign
Knobs. For example, in my custom Performance shown above (called
"Favorites"), I have an Acoustic Piano in PART 1, a String Ensemble in
PART 2, an Electric Piano in PART 3, a Tone Wheel Organ sound in PART
4 and so on... each setup as an individually selectable program. Instead of
linking multiple instruments to play simultaneously, this Performance is an
example of using the one PERFORMANCE program to assemble those
sounds I need extremely rapid access to while on stage. You can switch
without any interruption in the sound when the instruments are contained
within the same Performance program. Smooth, seamless transitions
within the PERFORMANCE environment is one of the things Motion
Control does for you.

PART 1 (Acoustic Piano) When PART 1 is *selected* playing the keyboard

will sound as an acoustic piano. It happens that I have selected the
following parameters for real time access: “Cutoff”, “InsB EQ 3 Gain” (Mid-
Range on Insert EQ), “Element Level” (KeyOff Sound), “Reverb Send”, and
“Variation Send”.

“Cutoff” and the Mid-Range EQ Gain allow me enough room to tweak this
piano for use in the band and as a solo piano - the Element Level can bring
up and down the amount of 'hammer noise' - Reverb and Variation Effect
Send levels.

Shown below PART SELECT 1 is activated. The first five PART 1 Assign
Knobs are ready for real-time manipulation:

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PART 2 (String Ensemble) when I *select* PART 2, which can be done by
using the [RIGHT CURSOR] button, I decided that for the Assign Knobs I
needed just “Volume”, “Reverb Send” and “Variation Send”. PART
Selection can be done by accessing the dedicated [PART SELECT-
Mute/Solo] button as described above, or you can simply CURSOR RIGHT
to move the highlight to PART 2:

PART 3 (Electric Piano) it happens I've opted to just control the High Gain
of the EQ and the LFO Speed of the Auto Pan in Insert B. The MW
happens to control the Auto Pan Depth, but Speed (InsB LfoSpd) is
assigned to PART 3’s Assign Knob 2:

PART 4 (Tone Wheel Organ) here I have decided to access “InsA

Rotar/Horn balance”, “Element Level” (leakage noise), “InsB Dist Drv”
(overdrive), “Coarse” tuning (Turning up this knob creates pitch and volume
drop; emulates powering down the mighty B3), “Rev Send”, “Var Send”,
and “InsA Rotary Speaker Speed Control”:

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Point being that when recalling a sound by selecting a PART you can
customize what Assign Knobs are available for that PART on an individual
basis - it is entirely up to you on each PERFORMANCE. You would base
your selection of parameters on what you require from this sound at the
time. Rather than hunting through the architecture every time, if you know
you want to adjust certain parameters in real time, simply make sure you
customize the PART's "Mod/Control" > "Control Assign" screen to serve
your needs - within the PERFORMANCE PART.

You can create custom "NICKNAMES" (Display names) for the PART
Assign Knobs, this way you do not have to guess at what a Knob is
controlling when you select that PART. In the Tone Wheel organ sound in
PART 4 (shown above), at the end of the organ solo, I need the sound
effect of turning the B3 OFF - it dies in both pitch and volume
simultaneously. This is accomplished by assigning a single PART Assign
Knob to do both COARSE tuning (with a negative curve) and Part
VOLUME (with a negative curve) - as the Assign knob is turned up, the
pitch and volume will dramatically decrease. By adjusting the Curves, I can
get just the right feel for the simultaneous pitch and volume fade.

Important Tip: The Super Knob and its COMMON ASSIGN Knobs are
always available for control via the movement of the Super Knob (or your
FC7 set to control it). That means, no specific front panel button needs to
be selected, nor does any special lighted button need to be illuminated for
the Super Knob assigned parameters to be engaged. This allows you to be
viewing and engaging other functions assigned to the individual PART
Assign Knobs while you can continue to control those linked to Super Knob
position via its movement. Understand that if you want to set physical Knob
#1 to be available as a real time PART control, yet still use the Super Knob
to do what is assigned to it, that is possible!

The [ASSIGN] button located to the left of the Assign Knobs determines if
turning the knob directly will apply. It is totally possible to have the physical
knobs doing [TONE] row control functions for a specific PART, while

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movement of the Super Knob parameters is taking place as normal - when
the FC7 or Super Knob is moved. Remember, the Super Knob can be
addressing multiple PARTS while you can have the physical knobs set to
control a specific individual PART.

This makes for the utmost flexibility while performing. You can be directly
controlling a set of parameters on your lead sound, while simultaneously
morphing the backing Arps, pads, and motion sequences being applied to
other PARTs via the movement of the Super Knob. One of the 'super'
powers of being a 'Super Knob' is you can be everywhere simultaneously -
and you can continue to work behind the scenes even though the screen
currently is not showing what you are doing.

Conveniently, a drop-down item will appear in the screen indicating what

the ASSIGN KNOB is controlling (either “Common Assigned” or “Part x
Assigned”) and it will show the current value 0-127.

Translation: You do not have "see" what parameters are assigned to

control them when it concerns the Super Knob. They work without having
to select any button. (Simple explanation: just as you don't need to be
looking at the Volume parameter for the Foot Pedal to control volume, you
don't have to be looking at the Modulation screen for the MW to work,
likewise you do not have to be in any special place or have any special
button active in order for the Super Knob to do what it is assigned to do.)

You can be assured that when you move the Super Knob it then in turn
moves the eight Common Assign Knob functions that are linked to it - and
this happens regardless of what's in the screen, what's showing on the
Knob LEDs, or what buttons are pressed! However, when you want to work
with an individual PART’s Assign Knob directly, you need to *select* that
PART and make sure the [ASSIGN] button is illuminated. The PART
Assign Knobs are only ‘super’ within the PART they are programmed in.

THE "QUICK EDIT TO FULL EDIT" WORMHOLE

You can move between the QUICK EDIT screen and several of the actual
parameter areas using the SHORTCUT boxes that appear near the top
right of the QUICK EDIT screen. This "QUICK EDIT" overview is not a
traditional EDIT screen. It is a way to apply “offsets” to the deeper levels of
the architecture.

From the HOME screen by touching "MOTION CONTROL" > "QUICK

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EDIT":

You have three 'shortcut' boxes shown when "COMMON" is selected: "Edit
Master EQ", "Edit All Arp" and "Edit Common MS".

Again, COMMON is when you are addressing everything (all Parts)

together. So certainly, the MASTER EQ would make sense because it is
the EQ that everything runs through. The “Edit All Arp” view takes you to
the screen where you can review all PARTs, eight at a time, 1-8, or 9-16;
what Arpeggio Phrases are assigned for each of the eight Arp Selects.
“Edit Common MS” - will take you to the COMMON (AUTO KNOB) Motion
Sequencer where you can create or tweak your MS. Touching a Shortcut
box takes you directly to the deeper Edit screen, and pressing [EXIT] will
bring back to this QUICK EDIT screen - avoiding several steps to get from
here to there and back.

If on the QUICK EDIT screen you select an individual PART, or an

individual PART is already selected when you arrive on the QUICK EDIT
screen, your options will concern the selected PART: "Edit Part x EQ"(this
will take you to the 3-Band EQ just pre the INSERTION EFFECT block),
"Edit Part x Arp" (this will take you to the Arpeggio edit area for just this
one PART), and "Edit Part x MS" (this will take you to the Motion Sequence
setup page for this PART). This is very convenient when tweaking existing
parameters as well as when you are about programming your own setups.

QUICK EDIT are those for quick tweaks, the shortcut takes you to the
deeper area where you can get at all the details. Shown below when "Part
1" is shown as ‘selected’ the options for the shortcuts appear just to its left:

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Touching the box that is labeled "Edit Part 1 MS" would take you directly to
the screen where you could edit or create a MOTION SEQUENCE for Part
1. Motion Sequences are automated changes in parameters. If you think of
Arpeggios as NOTE phrases, think of Motion Sequences as Parameter
Change phrases - automating the opening of a Filter, or the Panning of an
Element or any of some 250 parameters in the synth engine:

Pressing the [EXIT] button will take you right back to where you were, (the
QUICK EDIT screen). The usefulness of this quickly becomes apparent as
you can imagine applying timing offsets to the Motion Sequence playback,
then jumping to tweak the Motion Sequence parameters in depth, then

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 returning to where you can apply offsets to timing, shape, etc. Or when
working with the "feel" of an arpeggio, you may want to drop down into edit
or try out a different one. This "wormhole" quickly lets you toggle between
the two screens you want to work with. (Wormhole being a theoretical
direct connection between dimensions in deep space - between what we
know as the known universe and the 'beyond'.) Here, you are dropping
from a general overall offset to the deeper level of the architecture where
the actual parameter lives.

On stage you may not want to deconstruct the deeper level, so you
program the engine so a particular parameter you wish to manipulate in
real time is available for quick access.

LIVE SET

Repeated presses of this button will efficiently take you through your Live
Set Banks. We use the word "efficiently", because this shortcut will
advance you, on each press, to the first PAGE of each Bank - Preset 1 >
User 1 > then the first Page of each of your installed Library Live Sets. This
is an improvement over scrolling through potentially empty User locations
before reaching your Libraries.

There are 8 "Live Set" USER BANKS, each with 16 PAGES, each Page
with 16 slots. Once you know about this Live Set shortcut, you can move
through your data quickly and yes, more efficiently. Many of you will
discover there are many more locations than you first thought. The Bank
"User 1" has 256 Live Set slots; "User 2" has 256 Live Set slots, and so on
through to “User 8” (that’s some 2,048 User Live Set slots; and when you
multiply that by the 8 Libraries… that means 16,384 Library Live Set slots).

Since you can create Live Sets and install them in your Library (ROM)
area, you can amass quite a collection. Repeatedly press the hardware
[LIVE SET] button to quickly define the Bank, then use the Cursor arrows
in the screen to select a PAGE. If a Library has data but there are no LIVE
SETs stored in that Library, it will not be selected via this toggle method
(blank Banks are skipped).

PERFORMING TIP: NAVIGATING WHILE USING [LIVE SET+] "LIVE"

This tip is more of a "Did you know...?" You can advance through your
LIVE SET list with a FS (FC4/5 type momentary pedal connected to the
Assignable Foot Switch jack) assigned to "Live Set+.

• Press [UTILITY] > "Settings" > "MIDI I/O".

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• Set "FS Assign = Live Set+":

• Press [LIVE SET] and select the first slot in the LIVE SET grid.

You can now be on any screen of this Program when stepping on the FS to
advance to the next Program in your current LIVE SET. As long as you do
not manually change Performances you can use the FS to advance, it will
matter not whether you are Editing the sound – whether you are deep into
real time manipulation of the Motion Sequencer, or tweaking the Filters,
you can advance to the next Program in the current active "Live Set" at any
time by stepping on the pedal.

You would only need to view the Live Set (Home) screen grid if you need
to see what's coming next in your set... once you realize you are not locked
into looking at the names of 16 Programs, it really frees you to be
anywhere. The better you get to know your way around MODX, the bigger
a feature "Live Set+" via FS Assign becomes. When manipulating Motion
Sequence Lanes in real time on your first LIVE SET program, you can
advance to the next set by simply stepping on the pedal - and without
leaving the 'Edit Sequence' screen you can advance to the similar screen
in your next program. Very cool!

CATEGORY

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 Repeated presses of this button when used to search for a Performance or
for a Part (or Parts), will toggle you through the "Banks" available on your
MODX- "All" > "Favorite" > "Preset" > "User" > "Library1" > "Library2" >
"Library3" - and so on, then back around to "All". If you simply press and
hold this button it will return to showing “All” selectable items.

This can help you quickly define your search area. It is highly
recommended that you use the “Bank” and “Attribute” functions whenever
searching - in addition the Main and Sub Category refinements make it
possible to zero in on just what you need. You can use the TEXT box
(under the magnifying glass) – type in the name or any portion of the name
to see results.

MULTI/GM

Say you are using your favorite DAW software and you want create a 16-
Part setup to begin your Project:

• Press [CATEGORY SEARCH]

• Touch “Init” > “Multi/GM”

This creates a 16-Part Mixing Setup, where you can substitute the
instrument you wish in each Part.
You will want to set the MODX to MIDI I/O Mode = MULTI so that the Tone
Engine can Receive MIDI on multiple Channels simultaneously and the
Keyboard will be able to transmit out on any channel you require:

• Press [UTILITY] > touch “Settings” > “Advanced” > Set MIDI I/O Mode =
MULTI.
• Recall the HOME screen of “MULTI/GM”.
• Start by pressing [PART SELECT-Mute/Solo] and selecting PART 1.
• Then using [SHIFT] + [CATEGORY] you can enter PART search.
• Set the BANK you wish to search; Set the ATTRIBUTE to “Single”.

Because you entered “Part Category Search” from the INIT “MULTI/GM”,
where you are substituting for the default data in the slot, you will be shown
only those Single Part programs that are complete playable instruments on
their own. Therefore, you will see all complete Single Part instruments
created for MODX. Once you have defined the BANK and ATTRIBUTE
settings, use the Main Category and Sub Category boxes to narrow the
search further. Rinse and repeat.

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 SLIDER FUNCTIONS

You can STORE a Performance with either the SLIDERS acting as

individual PART VOLUMES or you can have them function as
ELEMENT/OPERATOR Level controls. Here’s how to set that up and see
how a Performance is setup.

When you STORE a PERFORMANCE with “PART CONTROL” active the

Sliders will be individual Volumes for each PART – each PART can be on a
separate MIDI channel so the Sliders will send and respond to cc007.
When you STORE a PERFORMNCE with “ELEM/OP CONTROL” active
the Slider will be individual Levels for each AWM2 Element or each FM-X
Operator, allow you to address components within the sound (drawbars,
would be an example).

There are two methods to switch the role of the Slider:

1. Use the dedicated [PART]/[ELEMENT/OPERATOR] button on the left front

panel just to the left of the Sliders
2. Press [SHIFT] + [HOME] to view the Motion Control “OVERVIEW” screen;
here you see the two options on the right side (top) of the screen:

Above you can see that ELEM/OP CONTROL is selected. This Single
PART Performance when recalled has the four SLIDERs acting as
individual Element Level controls – Each could represent a “drawbar” when
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the Elements are mapped as individual Footages.

Storing the PERFORMANCE with “Elem/Op Control” active will mean that
this is how the Sliders will be set when you recall the Performance.

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Mastering MODX: Performance
Basics I

We are kicking off this "Snorkel Level" series (for all MODX users
regardless of experience level) with Performance Basics and then we will
tackle how to create and use your own Live Sets.

There are well over 2,000 PRESET Performances in the MODX. A “Preset
Performance” is burned into permanent Read Only Memory (ROM) at the
Yamaha factory. These programs form the backbone of your instrument.
You can never lose or destroy a Factory Preset. You can use it as is, or
you can customize it in any number of ways. When you go to store your
edited version of this program, you should rename it… then, it will be
written into the “User” Bank of Performances. (A little like doing "save as"
when you save copies of files on your computer). The USER Bank is your
own personal work area. You will want to get a USB stick to keep your
USER Bank creations as .X7U (User) Files. You can make as many .X7U
Files as you need.

In the USER Performance Bank, you can store 640 of your own
Performances. These can be edited versions of the Presets; they can be
items you’ve ‘imported’ from a Library; User Performances can be loaded
from a USB storage device; or they can be creations you’ve made from
scratch. A set of 640 User Performances can be ‘saved as’ a Library File.
The Library files are then ‘burned” into MODX semi-permanent Flash ROM
and become your own ‘Custom Presets’.

There can be eight Libraries resident in your MODX at any one time - each

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containing as many as 640 Performances. In addition to the 640
Performances themselves each Library can contain 2048 Waveforms,
2048 Live Set slots, 256 Arpeggios, 256 Motion Sequences, 32 User
Curves, and 8 Micro Tunings.

So… let's get started!

THE PERFORMANCE

Let's begin by painting a clear picture of this entity called a

PERFORMANCE. We need to know exactly what makes it tick. A
Performance can take on many different looks and can be flexibly
configured to meet *your* requirements.

A PERFORMANCE can be made up of as few as one “Part” and as many

as sixteen Parts. Each Part can be a complete instrument sound on its own
or it can be a building block in creating a big Multi-PART sound. As many
as eight PARTS can be placed under simultaneous, real-time, Keyboard
Control (KBD CTRL). A Performance can be a 16-PART multi-timbral
ensemble (useful for working with a Sequencer or DAW).

A Part is made from either a multi-sampled AWM2 program, or an FM-X

synth program. AWM2 is Advanced Wave Memory (second generation) is
Yamaha’s proprietary sample playback engine, while FM-X is the latest in a
long line of Yamaha’s innovative Frequency Modulation synthesizers (the
technology that made the DX7 famous). If you’ve never heard of the DX7,
please, look it up! It made synthesizer history.

Each Single Part, AWM2-based, program found in the MODX, is the

equivalent of a Motif XF Voice. And a Single Part, FM-X-based sound
found in the MODX, is the equivalent of an 8-Operator advanced DX/TX
engine. Each slot in a Performance can be addressed as an individually
playable program or, as mentioned you can "link" as many as eight of them
for simultaneous control by placing them under “KBD CTRL” (Keyboard
Control).

Additionally, you have as many as 8 separate Arpeggiators – so you can

be playing some PARTs directly and controlling others via an
Arpeggiator… in any combination! There are over 10,000 Arpeggio
phrases for unlimited inspiration and variation; additionally, you can create
your own Arp phrases and store them onboard.

Your Way…

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How you configure and use a Performance can vary based on what you
need to accomplish. Live players may lean toward setting up for real-time
play, while those in the studio may use the engine entirely differently.

You may, as a live performer, never use the Arpeggiators in the traditional
way, but with this Motion Control Engine, you may find new uses for a
“tempo-aware” clocked energy source. We invite you to “think outside of
the box”, the MODX does offer some new features that you may not have
encountered before in a synthesizer. An Arpeggio can be used as a
rhythmic modifier for influencing some other sound – that is, instead of
using the sound of the notes that a phrase generates, you can use the
amplitude energy produced by those note events to impact the some other
part of the sound - filter resonance, the amount of effect, the pan position,
or the loudness of another PART etc., etc., etc.

A Performance can be a solo instrument, it can be a layer of multiple

instruments that you are switching between; it can be multiple layers
creating a single instrument, it can be a complex multi-layered, key-ranged
construction partially under control of arpeggiators. The limits are really
necessity and imagination.

A Performance can be used as a collection of individual instrument

programs arranged in a specific order for quick access. There is a lot of
flexibility and no one-way to work. You will need to decide for yourself what
workflow makes the most sense for what you need to accomplish.

The take away here is – that if you thought a Performance was a single
playable sound, it can be so much more than that. It could be a collection
of instruments you need to get to within a single song. Not all sounds have
to be active when a Performance is recalled – you can bring them in when
you require.

The sounds can be related in some fashion. You do not always have to
change Performances to call up a different instrument sound. You can use
the Super Knob to move from Piano to Strings, or from Piano to Strings to
Electric Piano, or from Piano/Strings to Electric Piano, to Piano/Electric
Piano or any combination. By placing them in the same Performance you
can design any combination and get to it quickly and efficiently without ever
moving from this one Performance. Say you place the string volume on the
MW, (often the MW is not used on piano sounds); you can have the Super
Knob morph between acoustic and electric piano sounds, while the string
volume is manipulated by the position of the MW.

A Part, a single slot of a Performance, can be copied and used in other

Performances. You can “merge” Performances; you can edit the existing

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data for your own purposes. There is enough on board MODX storage so
that you can get very creative!

THE PART

You can think about Parts of a Performance in a similar way to how

instruments are connected to a mixing console. Each PART of the
Performance has a ‘channel strip’ on the built-in digital mixer. That channel
strip includes some functions that are unique to the sound assigned to it –
Volume, Pan position, 5-bands of EQ, two Insertion Effects*, two “Aux-like”
Sends to the System-wide Effects, separate control of the Dry Level, and
each PART has its own routing assignment to the USB record Outputs (10
Outputs total – Stereo plus 8 Assignable USB buses).

* Two Insertion Effects – 12 of the MODX PARTS, plus the A/D In, can
utilize two Insertion Effects each, at any one time. Parts 1-8, those PARTS
available for simultaneous KBD CTRL, will always have access to two
Insertion Effects each, but when using PARTs 9-16, you can select any
four of them to recall their Dual Insertion Effects at the same time. This
should not present a problem when multi-tracking to a DAW, as you can do
multiple passes and reallocate the INSERT EFFECTs. With the ability to do
PARTs 1-8 on the first pass, and PARTs 9-16 on the second pass, you can
reallocate your Insertion Effects to ensure the ultimate flexibility when
recording to your favorite DAW software.

Shown below is the main [PERFORMANCE (HOME)] screen of a Single

Part (Acoustic Piano) Performance
“CFX Stage”:

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 Let’s take a close-up look at this typical single Part Performance.

It is made from AWM2 (sample-based data). It is made up of 8 Elements

(Waveforms) to recreate the Yamaha CFX Acoustic Grand Piano:

• Press [EDIT]
• Press [PART SELECT - MUTE/SOLO] and touch PART “1”,
• Press [EXIT]
• Touch “All” along the bottom of the screen to view the Oscillator screen
which will show the mapping of the Waveforms. (See below):

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This takes you to a screen (“Osc”) that will show you an overview of the All
8 Elements and their layout - from which you can determine exactly when
they will sound. An Element only uses polyphony when its requirements,
shown here, are met.

“SW” is the Element Switch (green is active). An Element Switch must be

“On” in order to potentially produce sound.
“XA Control” (Expanded Articulation Control) which determines when a
particular Element will be called upon to sound; “Normal” means that
nothing extraordinary has to occur for this Element to sound… as long as
the Velocity Limit Range and the Note Limit Range requirements are met;
the “Key Off” articulation means that this Element (8) will only demand
polyphony when a key is released or you let go of the Sustain pedal.
“Group” Elements can be set in groups when you wish to have only
specific ones respond together (Cycle or Random).

These Elements are set to respond when a Note-on event meets their
requirements (Group, XA Control, Velocity Limit, and Note Limit). Each
Element can access a Waveform.

“Waveform” is a collection of individual samples. As many as 256 samples

can be collected into a single Waveform. You can see which Element is
sounding in response to a Key press, by viewing the green activity buttons
for “Elem1-Elem8” along the bottom of the screen.

Analysis: There are 5-velocity switches in the main body of the piano, see
Elements 1 through 5:

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p = very piano (soft)
mp = mezzo piano (medium soft)
f = forte
ff f = triple forte
ff ff – quadruple forte

Elements 6 and 7 form a velocity switch (mf to ff f) but only above G#5
(where there are no felt dampers on an acoustic piano); Notice how they
ring out.
“Key-Off Sound” the sound of the dampers falling back on the strings; set
to articulate only on the Release of any Note-On event triggering a Note up
to G5.

“CFX Stage” occupies just one of the sixteen available slots of a

Performance. A PART is the fundamental playable sound. The KBD CTRL
feature, which allows you to link as many as 8 PARTS together to create a
program, can be seen on the HOME screen, as a small green colored icon
showing an octave of keys.

This symbol says that this sound will be active anytime you are in a
COMMON area on this PERFORMANCE.

The more Parts available in a single PERFORMANCE program under KBD

CTRL, the more detail and nuance you can add to your sound. Contrast
the single Part “CFX Stage” acoustic piano with the multiple Part “CFX
Concert”:

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In this Performance, the programmer decided to create more nuance by
using multiple PARTs of a Performance (4) to break the limit of 8
Waveform Elements for a sound. Because each PART can have as many
as 8 Elements, each PART builds a different portion of the CFX Concert
Acoustic Piano sound, allowing for more detail, more velocity switches.
There are now 18 Elements in total: There is a 9-way velocity
switch setup across the main body of the piano (up to G5), and an 8-way
velocity switch setup on the notes above G#5 (those without dampers),
plus there is a Key-Off Sound Element.

This version of the Yamaha CFX piano has much more nuance and detail
in the soft, medium-soft, medium, and medium-loud velocity layer ranges,
and is ideal for solo piano work where this detail can be heard and
appreciated.

The “CFX Concert” occupies four PART slots. Each contains only
a partial instrument. When performing “live” you are not as concerned with
how many slots or MIDI channels this occupies, you simply want the best
sound available!

Analysis:

PART 1 only has data across the body of the instrument up to the note
“G5” and is a 6-way velocity switch through to a maximum velocity of
“92”. It cannot be used alone – it only makes sense used with these other
components.
PART 2 only has data across the keys up to G5 and is a 3-way velocity
switch starting at higher velocities “93” through “127”. It cannot be used
alone – it only makes sense as part of these other components.

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PART 3 only has data above G#5 and is an 8-way velocity switch in the
undampered area of the piano.
PART 4 only has the Key Off Sound – the dampers and felts falling back in
place on notes up to G5.

“CFX Concert” is one example, of using the multiple PART architecture to

recreate a single instrument sound. The advantage is greater detail within
the sound itself. Imagine building a piano sound with the resources of four
Motif XFs, that is what is on tap here. Instead of four separate instruments
– the four Parts construct a more detailed single playable sound. It does
not use any more polyphony than the Single Part version because of the
mapping.

Examples of the four Part, 18 Element, detailed CFX (CFX Concert)

acoustic piano can be found layered with a variety of different sounds.
You’ll also find a version that uses the single Part, 8 Element CFX piano
(CFX Stage) with the same layers.

Please see the following PERFORMANCE examples:

“CFX & Pad” – 5 Parts: the 4 Part, 18 Element detailed CFX combined with
a lush Pad sound
“CFX & Pad 2” – 2 Parts: the 1 Part, 8 Element CFX combined with the
same lush Pad sound

“CFX & Orch” – 6 Parts: the 4 Part, 18 Element detailed CFX merged with
a Strings and a Brass component
“CFX & Orch 2 – 3 Parts: the 1 Part, 8 Element CFX plus the same String
and Brass Parts:

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“CFX + FM EP” – 5 Parts: the 4 Part, 18 Element detailed CFX plus and
FM-X Electric Piano (above)
“CFX +FM EP 2” – 2 Parts: the 1 Part, 8 Element CFX plus the FM-X
Electric Piano (below):

The above examples, show the basic thinking. Yes, they sound very similar
– the devil is in the detail!

You can build big versions or small versions, as you may require. You
might decide to combine the CFX piano with a number of other instruments

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– recognizing that the total number of PARTS you can control
simultaneously is 8, you may opt for the thinner (less Part) version of the
CFX when building a Performance with more instruments simultaneously. It
makes sense to do so.

Creating layers is as easy as hitting the “+” ADD icon on the next available
PART which will allow you to “MERGE” data from other MODX
PERFORMANCES to the current selection. When a PART is under KBD
CTRL, you will be able to interact with it in real time. If, additionally, it is
under control of an Arpeggiator Phrase, you may be able to feed it control
commands as programmed within the PERFORMANCE and PART
settings.

PERFORMANCES with Arpeggios

An example of a multi Part Performances with a couple of different

arpeggios going is “Pearly Gates”.
You can find this Performance in the “Best of MODX 1” Live Set in slot #3.
Press the [PERFORMANCE (HOME)] button

A 3-PART Performance with an FM-X arpeggiated synth sound (Part 1),

layered with an AWM2 Synth Pad (Part 2), and when a SCENE 2, 3, 4, 5,
6, 7 or 8 (red buttons on the left front panel) is selected, the Drums (Part 3)
are under arpeggio control:

Analysis:

PART 1 responds to chord qualities as you change chord voicings on the

keyboard. You are not ‘playing’ the sound in Part 1, the Arp is actually

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‘playing’ it, based on the chords you outline.
PART 2 sound plays directly to your key presses… the Super Knob
controls how much of it you hear
PART 3, the Drum Kit only comes in when a red [SCENE] button, other
than SCENE 1, is selected.

The SCENE buttons can be used to change Arp Phrases, Motion

Sequences, and various mix parameters… in this case, at the top of the
next measure a new Drum groove will be selected. The Drum Part Arp is
set to HOLD On (orange in the screenshot above); this means that once it
starts you will not have to continue to press keys for it continue playing. It
does not play in SCENE 1 because it is “playing” a ‘rest’ Arp phrase. (A
Part can be assigned a “Mute 4/4” Arp Phrase – which simply counts the
time without playing notes… a musical rest Arp).

Pressing a red [SCENE] button will switch Arpeggio patterns at the top of
the next measure. Among the items that can be memorized in a SCENE is
the Arp Select 1-8 Phrase.

The Super Knob changes the Envelope Decay of the arpeggiated FM-X
sound in Part 1, and it simultaneously opens the Cutoff Frequency on the
Part 2 brightening the Warm Pad sound.

KEYBOARD CONTROL (KBD CTRL): THEORY OF OPERATION

Parts 1-8 have the option of being linked into a single massive playable
entity, where you can split, layer, and assign some portions for real time
direct play while others are under control of one of eight arpeggiators. It is
when you are addressing eight Parts simultaneously, in this fashion, that
the massive Controller Matrix of the synthesizer comes into full play. When
you link eight sounds, they do not all have to sound simultaneously – you
could, but having a PART “in-waiting” means you can transition between
instrument sounds smoothly with a simple performing gesture.

If you need to perform on stage with an acoustic piano and later need an
orchestral string sections, you might “Merge” two such MODX
Performances into one and create the type of musical transition you need!
If you need to overlap the selection of the second with the first – rather
than changing Performance program numbers, you might opt to create one
PERFORMANCE that contains all of the sounds you require in one
program.

While SSS (Seamless Sound Switching) allows you to move from one four
PART Performance to another four Performance without any interruption in

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sound, as an alternative method, you can “merge” multiple Performances
into one and move between the sounds within the one program.

You might have two or three, or more, different leads sounds in one
Performance. You can program it so that using the MODX’s ability to
morph sounds, you can smoothly transition between the lead sounds
without removing your hands from the keyboard. The Super Knob can be
programmed to follow commands from an optional FC7 Pedal plugged into
a Foot Controller jack. Sounds can even be seamlessly transitioned with
the Assign Switches (which can also be operated with pedals).

You will find a wide variety of different types of Performance programs. But
one key to understanding the MODX is the understanding that these are
not simply layered sounds being addressed together (as if you had 8 MIDI
modules you were triggering all together), instead each can have a unique
relationship to your control. You can bring in specific portions of the sound
only when you need to express a particular musical articulation.

Each of the eight Keyboard Control (KBD CTRL) Parts, 1-8, has multiple
knob-controlled parameters; 8 of which are completely assignable and
scalable to your requirements - it is this that is new and expanded in
Motion Control Synthesis Engine.

What’s new is the method you can use to apply changes to each PART as
you require – not just playing them altogether, you can design
individualized control on a scale previously unavailable in hardware
synthesizers.

If, for example, MIDI'd 8 synth modules together and used cc074 to control
Filter Cutoff, you'd have two options: either all the filters in the sound would
change together or you could set a Part to ignore cc074, completely. It’s all
or nothing at all.

On MODX, with its massive Control Assign matrix, not only can each
normal AWM2 Part have its own 8 Filters, but each one of those 8 filters
are individually and directly addressable and controllable, if and when you
need it. You can assign a different amount of movement for each; even
movement in opposite directions; you can be opening some, closing
others, customized and controlled with a single gesture (via the Super
Knob and its ‘linked’ Assign Knob system). This is not like anything you've
necessarily encountered before in a synth. All parameter changes are
scalable.

The so-called “alien-technology” allows each of the 16 PARTs to have its

own 8 Assign Knob, any of which can be linked to the Super Knob’s 8
Common Assign Knobs. This type of system allows you to truly customize

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movement on a level that must be experienced to completely comprehend.

The movement of these individual parameters can be ganged or linked to

the movement of the Super Knob – It is called “Super” simply because it
can be responsible for such dramatic changes across any or all 16 PARTS
of the MODX.

When sound designing, the Keyboard Controlled (KBD CTRL) PARTs can
be used for very unique and highly refined music transitions. You can
design sounds for any specific purpose you may encounter.

In other words, with one approach of problem solving when it comes to

accessing programs during a stage performance, you could use two slots
of a LIVE SET to transition from one instrument to another, however, with
another approach you could “merge” the two instruments into a single
Keyboard Controlled PERFORMANCE where the transition is customized
and personalized. Each person will need to seek the depth they wish to
dive down to... There are PERFORMANCES where this is demonstrated to
great effect - and we'll take a look at some of these.

The Super Knob, its Common Assign Knobs and the individual Part Assign
Knobs are all about this deeper multi-dimensional control.

Shown below is the MIXING screen view when a PERFORMANCE

contains 8 PARTs under KEYBOARD CONTROL (Kbd Ctrl). The KBD
CTRL icon appears as a green octave of keys for Parts 1-8. (Only PARTs
1-8 can be KBD CTRL):

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DIFFERENT PERFORMANCES FOR DIFFERENT USES

Each Performance slot can contain a normal AWM2 (sampled based) Part,
which can have as many as eight Oscillators, eight Filters, eight filter
envelope generators, eight amplitude envelope generators, etc., etc., or a
PART can contain an FM-X Part. The FM-X engine, coincidentally, has
eight Operators (more on this in a future article) and its own complete set
of controllable parameters within the specialized Frequency Modulation
engine, including its own Filter. The third possibility is a PART that contains
an AWM2 Drum Kit; this will have 73 oscillators, 73 Filters, 73 Amplitude
Envelope Generators, etc., etc. In a Drum Kit Part each KEY (C0~C6) is
autonomous.

When you ‘start from scratch’ on the MODX, you build a Performance one
PART at a time, from one of the following four templates:

Init Normal (AWM2) – a single initialized AWM2 Part in slot 1

Init Normal (FM-X) – a single initialized FM-X Part in slot 1
Init Drum – a single initialized Drum Kit Part in slot 1
Multi/GM – sixteen Parts, one in each slot (used primarily for work with
DAW software and multi-timbral work); Piano in all Parts, except Part 10
which has a Drum Kit.

Building Your Own Examples:

In the screenshot shown below, a Multi Part, KBD CTRL sound occupies
PARTS 1 and 2 (green keyboard icon) while PARTS 3 through 16 each
have a Single Part sound available for immediate individual selection or
available for simultaneous play from a sequencer or via MIDI file/or
external controller:

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Flexibility. You get to design how a Performance serves your needs. The
above could be a situation where you are playing along with a SONG file…
using/reserving the first two PARTS as your lead sound, while PARTS 3-16
respond to Tracks of a .MID file.

Hint: The MODX will allow you to associate data from your [UTILITY] >
“Contents” > “Data Utility” > SONG Folder with any of your 640 User
Performances – as an Audition Phrase. You can have as many as 128
Songs ready to go immediately when you recall the associated
PERFORMANCE. The linked Audition Phrase will play from the HOME
screen. Playback is started and stopped with the [AUDITION] button. (More
on this in future articles).

You can combine as many as 8 PARTS for yourself to play live, the others
can be “played” from a file or from an external controller set to transmit IN
on the MIDI channel of the corresponding PART.

SELECTING A PART

In the example above, Parts 1 and 2 will play together whenever you select
Performance “Common” or press the “HOME” button. When the program is
initially recalled, the Performance Name is highlighted, those Parts marked
as KBD CTRL will be in play. If ever, you recall a program and nothing
sounds – it could be that it was stored with no “KBD CTRL” Part active – in
such a case you will need to *select* a PART, directly, for there to be
sound.

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This is not as unusual as you might think, but allows for the Performance to
be played from a DAW or sequencer. If you elect to play along with a
PART or a set of PARTS, you can do so by activating the KBD CTRL on
the PARTs you wish to trigger directly with the keys. Or simply directly
select the single PART you wish to interact with.

The Super Knob can affect all 16 PARTS, if you so desire, even if you are
only triggering some of them directly via the keys (KBD CTRL) – it is that
flexible. Both the Scenes and the Super Knob can be applied to all PARTs,
whether or not you are directly engaging the sound from the keyboard. This
means you can change the backing instruments in real time, even as you
perform directly on the KBD CTRL Parts.

You can *select* an individual PART by simply touching that slot on the
screen or moving the Cursor highlight to the individual PART slot on the
screen.

Here’s an example of a PERFORMANCE where each PART is to be

selected individually. You might setup several instruments in the same
PERFORMANCE for rapid changes. Using the CURSOR arrows or the
touch screen, you can rapidly move between instruments in the same
program without any interruption in the audio:

Alternative Method to select a PART:

Press the [PART SELECT - MUTE/SOLO] button to view the overlay

(shown above).

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What you need to know about this “Part Select” overlay:
“Common” refers to settings that will apply to all PARTs of the
PERFORMANCE together.
“1-8”/”9-16” allows you to switch between the two sets of eight PARTS
using the row of numbered soft buttons.
“Select-Mute-Solo” gives you access to the Select function, Mute and Solo*
functions.

*Solo, here, refers to just a single sound. While some system allow multiple
items to be solo’d, that is not the case here. In order to isolate more than
one item, you must work the other way, and MUTE those you do not wish
to hear. This accomplishes the same thing.

“X” in the lower left corner closes this overlay, same as hitting the [EXIT]
button.

Directly selecting any of the other Parts will allow the keyboard to play that
single PART assigned to that slot. You can move between these PARTS,
seamlessly, without any sound glitch or loss of continuity when you move
to any of the adjacent Parts.

When you select a PART, the left front panel turns into the control panel for
that synth PART. You have access to Quick Edit parameters via the four
rows of functions labeled TONE, EG/FX, EQ, ARP/MS:

You have the currently selected PART's eight Assignable Knobs, when the
[ASSIGN] button is lit; plus you always have access to the Super Knob.
The Super Knob is always active, nothing needs to selected or lit in order
for it to function - it functions any time you access it directly or via an FC7
pedal assigned to control it. And yes, all 16 Parts have access to their own
set of Quick Edit Knobs and all have their own 8 Assignable Knobs!

Faders 1-4/5-8

The FADERs work so that any time you have selected a PART numbered
1 through 8, the FADERs automatically correspond to the PARTs in two
sets of four, 1-4, 5-8. When you select a PART numbered 9 through 16, the

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FADERS automatically adjust to that range, respectively, 9-12, 13-16.

Naturally, the Assign Switches 1/2, the Motion Control ON/OFF, the Motion
Sequence Trigger, the Foot Controllers, the Sustain pedal, the Assignable
Foot Switch, the Pitch Bend and the Mod Wheels, all immediately apply to
the currently selected PART or linked Keyboard Control PARTS.

Assembling your own Multi Part Performances

A single Part AWM2 Performance is the equivalent to a Motif XF VOICE. In

fact, all 1353 XF Voice programs are available in MODX as Single Part
Performances and make up the core of the factory Presets. A Single Part
Performance has an instrument sound in slot 1 and then fifteen empty
slots. When building your own USER programs each Performance can
contain sixteen Parts! at maximum. In a performing situation one way to
use this type of PERFORMANCE setup is to place the sounds you are
going to use into this one program. Quick and completely seamless access
(selection) among these sixteen Parts:

The PARTs assembled in your own custom User Performances could

represent your favorite sixteen "go-to" sounds. By placing them side-by-
side in a single recallable Performance, you have seamless transitioning
between the Parts by using the PART SELECT 1-16 options to directly
switch between the active Part.

You can hold one Part with the sustain pedal, while you switch and begin
playing the new sound - all while continuing to sustain the original. You can
hold one Part by holding the keys, while you switch to another using the

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sustain pedal on the newly selected Part. When you directly select a Part, it
becomes the active sound - and your arsenal of controllers immediately
control the active Part. Each Part can even be linked to an external device
for control (using the ZONE MASTER keyboard settings).

The PARTs assembled in your Performance could represent the

instruments you are using to playback a MIDI file or that you are triggering
from your favorite DAW computer program. How you use a Performance
can be designed by you, for whatever purpose you require.

BUILT-IN: A FULL DIGITAL MIXER

On the MIXING screen you can see each of the sixteen PARTS and their
parameters: Each has a Volume setting (Fader); a PAN position; Dry Level;
Sends to the Variation and the Reverb (System) Effects; a 3-Band EQ pre
the Insertion Effect block; a 2-Band EQ post the Insertion Effect blocks; the
KBD CTRL icon on the first 8 Parts; a SOLO and a MUTE button.

If you were to press the [EDIT] button while a PART is selected, you would
drop into EDITING the synth sound assigned to this channel/slot - this
EDIT area will include access to the Oscillator, the Filters, the envelopes
and of course, the Dual Insertion Effect blocks which are, technically
speaking, part of the Synth instrument (and is why they do not appear on
this mixer view). You can assign physical controllers to manipulate the
synth Part parameters and the parameters of the two assigned Insertion
Effects.

Think of the MIXING screen as the band's Mixer (because it is); think of
dropping into EDIT as modifying the actual instrument assigned to the
current slot of the mixer (synth engine).

Each PART in a PERFORMANCE can be a completely unique customized

instrument for whatever use. For example, a unique version of your
Favorite piano can appear in as many different PERFORMANCES as you
deem fit. And the MODX allows you to completely customize it in each use
case! Think of the PERFORMANCE as a place to gather your sounds for a
specific use. How you organize your data is strictly a personal preference
and can range from the very basic single instrument requirements to very
complex setups integrating external devices with multiple internal sounds.
The MODX seeks to accommodate the full gamut.

YOUR REQUIREMENTS

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Your PERFORMANCE could represent any combination of different
sounds. Perhaps you want to have a PERFORMANCE that features the
multi-Part CFX CONCERT piano (KBD CTRL in PARTS 1-4), while PARTs
5-16 are your favorite other twelve "go-to" sounds.

You can certainly combine a multi-Part Keyboard Controlled Performance

with a series of single Parts. Depending on your needs, you may never
have to leave this one PERFORMANCE. Knowing when you need to
actually create a new PERFORMANCE is a programming skill you will
need to work out for yourself. But recognize assembling your favorite
sounds into one Performance is very doable and represents one of the
many available workflows.

Additionally, some PARTS can be assigned to playback from the

PERFORMANCE RECORDER while you use other PARTS to play along
with the MIDI data or AUDIO file. This is how this works: Any single
PERFORMANCE can be accessed prior to activating the PLAY/REC
feature. But you must access the PERFORMANCE prior to playing back or
recording - therefore, it makes sense to have a prepared PERFORMANCE
for each SONG... use the Load feature "Song&Perf" so that your sixteen
PARTS are in place before starting playback.

An understanding of the construction of Performances will help you decide

on how best to transition between sounds that you need to access. There
are going to be times on-stage when you need to smoothly transition
between instrument sounds. There are other times when you have plenty
of time to move between instrument sounds. Don't talk yourself into the
corner where you think you need both hands on the keyboard at all times!
This is a synthesizer, "playing" the front panel is part of what playing a
synthesizer is all about... Knowing that there are times when you can
actually work the front panel can help you plan out your Performances and
plan out how you'll list them in your "Live Set". You may need just one slot
for the whole gig, you may need scores of slots for the first set. The
mileage here will vary dramatically, user-to-user. However, knowing the
power of a single Performance can serve both types of user. Efficient use
of the available program resources can save you lots of time and effort.
You can place 256 Live Set slots in any one list. You can have eight of
these lists in your USER Bank.

SEAMLESS SOUND SWITCHING (SSS), [PART SELECT]

TRANSITIONS, AND SYNTH PROGRAMMING

SSS works between Multi (4) Part KBD CTRL Performances. But also
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know you can switch seamlessly between single Parts in a Performance.
And for those of you who program, you can create a sound that morphs
between Elements/Operators, morphs between PARTs and does exactly
what you need for the specific transition you require. Knowing which will
work for you will be important.

SSS is specifically for overlapping one sound (hold/sustain) while you

switch to a new sound and begin playing it without cutting off the first
sound. Knowing how to use this is a skill worth a few minutes time to
master. This can be done via the screen, buttons or even with a foot
switch.

Part Select transitions are handled strictly by using the Touch Select
function or Cursor Arrows and allows you to instantly play the newly
selected Part, while you can still hold/sustain the previous PART. These
transitions are the fastest way to transition between two sounds. There will
be no hesitation or sonic glitch whatsoever using this method.

Synth Programming the MODX has the ability to transition sounds simply
in the programming. In fact, many of the factory Presets show this off to
great effect. The “CFX + FM EP” transitions an acoustic piano with an
electric piano with a crossfade executed by the SuperKnob/FC7… while
the Choir-to-Choir/Strings-to Choir/Strings/Pipe Organ is a pretty dramatic
build up.

Press [CATEGORY] > set Main to “Pad/Choir” > set the Sub to “Choir” >
select “Choir/Str/Pipe Org”
Slowly move the FC7 pedal from heel down to toe down position to hear
this incredible transition. Or use the [AUDITION] button to trigger a phrase
that shows this type of build-up transition.

You can have one sound morph into another, morph into many (ensemble),
or smoothly switch using the Motion Control Engine to morph sounds
and/or the innovative XA Control (Expanded Articulation Control) which
was designed to be musically invisible when transitioning Elements.

THE LIVE SET FUNCTION

Placing a Performance into the USER LIVE SET could not be easier:

Call up the PERFORMANCE you would like to include in your USER LIVE
SET

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• Press [SHIFT] + [LIVE SET] to "Register" the current Performance

You are offered the lowest available empty space in the USER Live Set
area.
You will see a white highlight flashing around the Live Set slot. Touch the
slot you wish to place this PERFORMANCE.

Done!

Next time we'll take a look at some different Performance examples and
assemble them into a "Live Set" in “Performance Basics: The Live Set Part
II”. Knowing when and how, exactly, to use a Live Set is an important skill.

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Mastering MODX: Performance
Basics 2 and the Live Set

More about Performances, the Live Set and how to access and organize
your MODX content.

In the first installment of this series, we discussed several different

configurations of PERFORMANCES for your MODX. Here you will use
what you learned to take a closer look at putting together your own
Performances and your own LIVE SETs. A “Live Set” is designed to give
you access to your MODX configurations when you are performing, thus
the name, LIVE SET. Let's get started...

Each LIVE SET slot (box) can be used to call up: a Performance. This
could be a single Part Performance; a multi Part Performance; a
Performance associated with a MIDI file you are going to play along with; a
Performance that is setup to control an external device; or, any
combination of things you have put together. There is no one way to use
these tools - we encourage you to learn the basics and then be creative:

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 LIVE SET EXAMPLES

Creating your own Live Set could not be easier:

• Recall the Performance you wish to assign - as an example, I’ve recalled

“CFX + FM EP 2”.
• Hold [SHIFT] + [LIVE SET] (Register) to register the current Performance
to the first empty location in the User Live Set.
• A box will outline (in white) the target location.
• Touch that box or the box of the location you wish to place this
Performance:

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LIVE SET can be used to organize your sounds for performing on stage.
Each time you increment to a new “Live Set” slot you are recalling (re-
patching) Insertion Effects for the various Parts, scores of oscillators,
filters, amplifiers, envelope generators, etc. Each slot can be a whole set's
worth of sounds, or it could be just a single setup among several others for
a single composition.

What is it? That's going to be up to you. Once you recall a "slot", you may
wish to interact with your front panel to control your various sounds. Don't
be afraid to use your front panel while on stage: you are not locked into
looking at that 'set list' grid view if you'd prefer to "play/interact" with the
synth engine.

If your LIVE SET slot contains a PERFORMANCE with 4 or less PARTS, it

can utilize SSS (Seamless Sound Switching) which specifically allows you
to hold one sound while silently switching to another Performance of 4 or
less PARTS. For example, holding the last chord of one section of music
while switching to another sound. If, however, your PERFORMANCE
contains more than 4 PARTS, there will be a slight pause while a new
PERFORMANCE is recalled. This should not be a problem once you
understand how to prepare your data for on-stage access. We will discuss
several ways of setting up smooth, overlapping transitions between
instrument sounds.

Simply prepare for the situations where you need to transition

rapidly/seamlessly. Part of the concept of Motion Control is transitioning
sounds - prepare by learning to merge instruments so they "perform" as
you musically require.

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 MODX is a very programmable synth!

NEW CONCEPTS: LOOKING AT THE LIVE SET GRID SCREEN, OR NOT

Leaving the LIVE SET screen grid maybe a scary prospect, at first, but
your LIVE SET is just a user created, custom list, laid out in the order you
find convenient to access the programs. The MODX display does not have
to be on that LIVE SET screen to follow your list. Once you activate the
LIVE SET, you can use a momentary Foot Switch (like a Yamaha FC5) to
advance through your LIVE SET's programs, in the listed order, even while
you are looking at the [PERFORMANCE (HOME)] screen or any EDIT
screen. You do not have to be viewing the LIVE SET grid of 16 slots to be
using your LIVE SET. In fact, you may prefer not to view it (unless you've
forgotten what's coming up next). Here’s how it works:

• Recall the Preset LIVE SET: "Best of MODX 1".

• Connect a Yamaha FC5 (momentary) Foot Switch to the Assignable Foot
Switch jack.
• Press [UTILITY] > "Settings" > "MIDI I/O" > set the “FS ASSIGN” = Live
Set+:

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• Press [EXIT] to return to the LIVE SET screen:

With a Yamaha FC5 plugged into the Assignable Foot Switch jack, (FS =
Live Set+) a simple press will advance to the next item in your programmed
list. You may already know that the FS will advance you through these 16
programs with each press.

But here's the "did you know?" moment:

• Start by selecting "CFX + FM EP 2", in the upper left corner of the LIVE
SET grid.
• Press [PERFORMANCE (Home)] button to navigate so you are looking at
the Main screen of "CFX + FM EP 2":

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• Step on the FS to advance to "Creation" > step again to advance to
"Pearly Gates", again to advance to “Plastic Beat”, and so on.

You do not have to be looking at the "Live Set" grid screen, the pedal
advances you through the most recently accessed Live Set, in the order
you listed them. Continue advancing through the list one by one. The pedal
will advance you through the currently active LIVE SET list even without
the grid screen showing... even if you’ve dropped into EDIT... it matters not
what screen you are on, you can advance when you step on the pedal.
You don't need to see the grid (unless you've forgotten what's coming
next).

You can return to the LIVE SET grid view, at any time, by pressing the
[LIVE SET] button. This is extremely useful when working with Motion
Sequences during a “live” performance, you don’t have to EXIT out – you
can just advance when you’re ready.

You may be wondering how many User Live Sets are available. You have
eight BANKs containing USER 1-8. Each of the eight BANKs has 16
PAGES, and each PAGE has 16 Slots. That’s 2048 Live Set slots. You can
organize your data as you see fit. Each BANK could represent a different
band, if you happen to play in multiple situations.

Your current User “LIVE SETS” are stored in their own MODX Folder. The
Live Set is also placed in Read Only Memory (as a part of the data that
makes up a LIBRARY).

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The current User Bank LIVE SET can be managed from the [UTILITY] >
“Contents” > “Data Utility” > “Live Set” folder. Like all Library data (ROM:
Read Only Memory) you must execute a “Library Import” which moves the
data to the USER BANK, in order to make any changes; then you can
replace the old data. Read Only Memory can only be read, so editing it is
basically redoing it. The advantage of having your data in ROM is that it will
always be apart of your instrument (sort of like your own set of PRESETS).

LIVE SETS IN THE REAL WORLD

Each user will have to figure the most efficient way to utilize and manage
LIVE SETS. If you play in a situation where you are constantly changing
and altering your set list order, you may wish to use an external solution.
The MODX's current system does not have an "insert" function where
subsequent assignments are pushed back, nor a "delete" function where
assignments “close rank”, therefore, you will need to rely on an external
application to assist you in instant realignment of programs. (See the
“SoundMondo” App for iOS devices). With the App creating Set Lists is
more easily accomplished and can be done ‘offline’ – you can then plug in
your iOS device and use its touch screen to recall your Performances.

Warning: SAVE anything you have in your current USER Bank before
loading the download example file below. The example file will overwrite
your internal User memory. If you make a backup you can restore your
User setup after learning from the tutorial.

For the next part please download the Live Set examples here!

Let's look at the download examples of some typical "LIVE SETS" _ USER
1, PAGE 1:

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The purpose of these programs is to serve as examples of the different
TYPES of Performances and how you might use them on a gig... We will
highlight some of the entries and explain their particular use.

"My CFX Concert": Press [LIVE SET] - select slot 1: "My CFX Concert";
Go to its Home screen. You do so by pressing [EXIT] or [HOME]:

Here we have a multi Part, single instrument Performance. The "CFX

Concert" in its full 4-Part, multi Element glory, is here, by itself, for when I

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need a solo piano, with lots of nuance and expression. I don't use this
piano when I'm in with other instruments, because much of what it does
extremely well is in the soft, medium-soft and medium strike ranges. I use
this particular program when an acoustic piano sound is used as a solo
instrument (a rubato introduction, for example, before the rest of the band
comes in). The acoustic piano I use in heavily instrumented compositions
is typically a bit brighter and setup to cut through the mix of other
instruments. I use this big multi Part acoustic piano for solo use or
accompanying a vocalist or in small jazz trio ensembles where (frankly) the
nuance can be heard and appreciated. And "featured"!

Tip: I renamed the Performance to distinguish it from the Factory CFX

Concert. If you take the time to customize a Preset, be certain to rename it
before you STORE it.

"Bad Mr. Favorites MODX": In slot 2 of this LIVE SET is a Performance

made up of Single Part programs. It contains my twelve favorite "go-to"
sounds - I can cover a wide variety of standard gigs with just this one
PERFORMANCE slot! In contrast to using a Performance per instrument,
here is an example of how multiple sounds can occupy the same
Performance. The benefit is you do not have to go far and all transitions
are seamless (no interruption of sound when switching between Parts
when using the PART SELECT method).

Touch slot 2 to recall "Bad Mr. Favorites" and then go to its Home screen...
Or if you are using the FS for advancing through "Live Set+", simply
advance and then go to the Home screen.

My edited version of the Single Part "CFX Stage". This piano is designed to
be the Single PART CFX! It is initially selected to play when the
PERFORMANCE is recalled (KBD CTRL is active), but I designed this
Performance to be played by accessing each of the PARTs, separately,
using the “PART SELECT” function to activate each instrument as a single
sound:

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 When a PERFORMANCE has active PARTS in the 9-16 area, you will see
an icon, just to the right of the Performance Name box, indicating the
number of PARTS active in the second eight: "9......16" you can see a
square for each active PART.

Try switching between Parts using the “PART SELECT” method of your
choice:

1. Touch the PART Name box in the screen

2. User Cursor Arrows to move the cursor highlight
3. Press [PART SELECT-MUTE/SOLO] and select via the screen overlay

Notice how this is a glitch-free method to move between your favorite

single Part programs. As you access a Part the controller functions switch
with you. You can, however, hold the sustain pedal on one PART, move to
several new PARTs and play. Or you can hold the keys of one PART,
move to a new PART and play using the sustain pedal on the new PART.

The Faders can do PART Volumes or can be switched to do

ELEMENT/OPERATOR Levels depending on the [PART –
ELEMENT/OPERATOR] button just to the left of the Faders. The button
toggles the function.

Navigation Tip: In order to switch Sliders 1-4 so that they control 5-8, is
accomplished with the button labeled for the task (left front panel). In order

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 to switch from 1-4/5-8 to being 9-12/13-16 use the [SHIFT] + [1-4 5-8]
button. The green LED will flash next to 1-4 when 9-12 are available, and
the LED will flash next to 5-8 when 13-16 are available:

• Try switching the Faders from controlling Part Volume 1-4/5-8, or 9-12/13-
6, to controlling Element/Operator Volume. Once you've selected a Part the
FADERs now work to "perform" and "control" the selected PART - and give
you Element/Operator Level control.
• The button located just below the [PART - ELEMENT/OPERATOR] button
will let you switch between the 1-4, 5-8, and when used in conjunction with
the [SHIFT] button, 9-12 and 13-16 Parts:

• Try switching PART SELECT: Press the button [1-4/5-8] to toggle between
the Performance Home screen and Part 5.
• Try the same button in conjunction with [SHIFT] + [1-4/5-8] button to toggle
between Part 9 and Part 13.

ANALYSIS:

“Bad Mr. Favorites” In Use: Here I have assembled a solid "bread and
butter" set of sounds with which I could do a standard gig. If ever you have
someone come up and sit in, without having to baby-sit them, you could
place them in this single Performance and they have everything they need,
easily accessible via the “PART SELECT” function.

PART 1 - Acoustic piano: Shown below the Name box “CFX Stage” is
highlighted (selected):

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 I've edited the “CFX Stage” data to suit my needs. I built this from the "CFX
Stage" a Single Part version of the "CFX Concert". I tweaked the Single
Part CFX to cut through a band. Access to the 5-Band boutique EQ is
available on Assign Knobs 1-5. When you *select* PART 1 you will see the
“nicknames” for the PART 1 Assign Knobs:

• Assign 1 – EQ 1 Low
• Assign 2 – EQ 2 Low-Mid
• Assign 3 – EQ 3 Mid
• Assign 4 – EQ 4 High-Mid
• Assign 5 – EQ 5 High
• Assign 6 - Cutoff
• Assign 7 – Reverb Send (Rev-X Hall)
• Assign 8 – Variation Send (Symphonic)

Theory… Because this is an acoustic piano sound I use often, setting up

the boutique VCM 5-band EQ on the first five Part Assign Knobs lets me
tweak this for different venues without having to go through much trouble.
Access to Filter Cutoff, the Reverb Send and Variation Send are also
available.

PART 2 – Strings+:

These Single Part Strings have a hidden feature: This is based on the "St
Ensemble K" program which has the orchestral brass on the MW and the
Super Knob, and an orchestral bell tone in the upper octaves... All in a
single Part, showing the full power of a single MODX component. Notice
moving the Super Knob moves only the one linked parameter (Brass
Level). Or you can access the Brass Level directly with “Part 2 Assign 1”.

PART 3 - Electric Piano:

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Rhodes style, "Dyno Chorus MW", complete with L/R movement and
Phaser. The Assign Knobs are controlling High EQ and Speed of the Auto
Pan. Raise the MW to increase Auto Pan, use “Part 3 Assign 2” to change
the Speed of the Auto Pan.

PART 4 - Jazz Drawbars:

Jazz B3. Part 4 “Jazz Drawbars” is what B3 synthesis is all about… No, it
is not all 9 drawbars but because I lean on the Jazz oriented side for this
sound, my customized "drawbar" organ has Element 1 sounding the first
four drawbars set as 8-8-8-8, full out; I’m using this to establish a solid jazz
foundation (the first four ‘drawbars’ are all on Fader 1), followed by an
Element each on Sliders 2-6; they are the next five drawbar footages: 2
2/3', 2', 1 3/5', 1 1/3', 1'; then a noise Element (Fader 7) and a Percussion
Element (Fader 8).

This gives me a strong basis for the Jazz organs I use. When you select
PART 4 the ASSIGN Knobs will show the Display names of the parameters
selected for real time control. “Part 4 Assign 4” is both Coarse tuning and
negative Volume – this can be used to mimic the sound of a B3 being
powered down while playing – as you turn this Knob up the volume
decreases as the tuning drops.

PART 5 Horns: Constructed from the multi-Part Performance “PopHorns

Dyn Shake” this is just the Saxes, Horns and Shake on velocity.

PART 6, 7, 8, 9 - Guitars: This one Performance has several guitars

(acoustic and electric); Jazz Guitar “American Garage”, Nylon string “Nylon
Slide Vel”, Steel string “Steel Slide Vel”, Distortion lead with Feedback
“Crunchy Guitar”. Each has its own Assign Knob controls for quick tweaks.

PART 10 - Clavinet: “Nu Touch Clavi” wah-wah on velocity. Virtual

Circuitry Modeling “Touch Wah”.

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PART 11 - Brass Orchestral: - “Fr Horn Swell” Super Knob/FC7 controls
the timbre change from softly blown French Horns to raucous blaring
section! When selected, the Assign Knobs will display the parameter
assigned to be controlled. (Yes, the Super Knob can control any of the 16
Parts). Here the Super Knob is morphing Elements to bring that dynamic
change in timbre.

PART 12 - String Orchestral: “MediumLargeSection” Orchestral Strings

with pizzicato on [AsSw1].

A well-rounded basic gig set – all in one Performance. You, of course, will
select your own favorites and begin to make your own collections. This just
shows another unique way you can utilize the PERFORMANCE structure.
No, there are no Factory setups like this, because it would be impossible
for programmers to know exactly what you need – that is for you to figure
out.

MAKE A PLAN

When assembling your sounds into custom Performances, like this, you
can begin to customize the Assign Knobs on a per Part basis, linking those
Part Assign Knob parameters and/or if you wish, with the Super Knob.
When you create a new Performance by “merging” (adding) existing
programs, the PART level controller assignments are brought along,
automatically, but you must establish new relationships between your
newly added PARTs and this Performance's Super Knob.

A Part, quite naturally, does not bring along its Super Knob relationship
when added to a new Performance - the COMMON parameters of this, the
new Performance home, need to be established. But the good news, for
each individual Part, 1-16, you can establish a unique relationship with
Super Knob control. And you don't have to guess what an individual Part
Assign Knob is controlling because you can give it a custom 'Display
Name' or you can simply "get" the parameter name. This assignment will
appear above the Knob in the screen when you select the Part.

As you get to know your favorite sounds, you can begin to customize
exactly which performing parameters you want to have real-time direct
Assign Knob access to and which ones should be ganged together on the
Super Knob's movement. Take your time.

Take a look at the tweaks made to PARTs listed here, when you select a
PART, for example, you can see what your Assign Knobs are doing. You
can customize the knobs so you have access to any parameters you feel

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you want direct access to when playing this sound.

In this example, each of the twelve instruments is a Single Part and has an
equal weight. A Part plays only when selected directly. Once selected, the
front panel can be used to interact with that sound. Because all Parts are
equal, only one of them is activated when you first access this
Performance or you press the [COMMON] button. Typically, a KBD CTRL
icon is lit to designate the sound set to be played when Performance
Common is selected. Once you are familiar with operations you can quickly
create split and layers without leaving the Home screen! Positions of the
PARTs can be EXCHANGED using an option of the "Copy" feature.
([SHIFT] + [EDIT])

"MovieScore+": Return to LIVE SET - select slot 3 "MovieScore+" and go

to its Home screen or advance using LiveSet+:

Here we have a MODX "merged" combination built up from an Orchestral

Brass Swell, a String Orchestra and a ranged Timpani sound. Dynamic use
of the Yamaha FC7 pedal controlling the Super Knob brings your best John
Williams themes to dramatic life. Here we are, again, using KBD CTRL to
address multiple Parts. If I need this type of thing for a particular theatrical
introduction or interlude, I can use Performance slots 6-16 for holding
convenient "go-to" Single sounds for what follows. This way I can easily
switch between the big theatrical score setup and any individual
instrument(s) I require, immediately. In Parts 9-16, for individual use, I have
"go-to" bread and butter sounds.

Note: This Performance was created initially by using the Performance

"Merge" function, (+) adding Parts to an existing Multi Part program ("Orch

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Brass Swell") to create a new customized instrument, in this case one that
morphs strings, brass and dramatic timpani effects based on velocity and
Super Knob control. This sort of "merge" programming is a type of
transitioning that is keyboard oriented and extremely musical, from a
performing point of view. You can customize the selection of sounds to suit
your personal musical needs. This represents a type of musical instrument
merging that can be accomplished within MODX.

When a PERFORMANCE has active PARTS in the 9-16 area, you will see
an icon in the upper right corner of the screen indicating that Parts
"9.......16" have PARTS available. I've elected to add eight Single Part
programs to slots 9-16 - sound related to the Movie Score - sounds I need
to switch to immediately during this recording session.

When viewing PARTs 9-16 (shown below), you can see the icon in the
upper right corner indicates that specifically PARTs 1-5 are occupied back
on the first view, 1-8: Below PART 9 has been selected (cursor highlight
indicates this):

Theory of use: By building this merged multi Part Performance up from the
Orchestra Brass Swell Performance, we are using the Super Knob
programming (links between the Brass Ensemble Parts and the Super
Knob) in the original configuration. We must add links to the Super Knob
movement for our newly added Parts, if desired. Remember, when you
"merge" a new Part into an existing program, only the "Part" edit
assignments are brought along, the upper "Common" level (Super Knob
assignment) settings are not brought along, automatically.

You can, however, activate them which will activate the assigned

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 parameter, updating it with the new PART number (if Control Set
Destinations are available). The Common level settings of its new home
now apply. This we will cover in a separate tutorial.

The new location for the Part in this new Performance, means a new
relationship with the Super Knob (upper level) programming. When you
merge a Part into an existing Performance make new associations with the
Super Knob on a per Part basis. A maximum of sixteen Source/Destination
Control sets exist for the upper level links.

Above: When “Common” is selected in the overlay, you are playing the
‘John Williams’ movie combination Brass/Strings/Timpani, by having the 9-
16 option in waiting, I simply touch a number 9-16 to directly play those
individual instruments.

• Below I’ve touched the “9” box to access the S700 Acoustic Piano:

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The take away here is that a PERFORMANCE can be combination of a
MULTI PART construction (like the MovieScore+: String/Brass/Timpani)
using Super Knob multiple morphing parameters and individual sounds that
can be used in the same composition. One MULTI Performance can
occupy a PERFORMANCE, the other slots are always available for
whatever individual PARTs you might need to switch to within the context
of the current composition. The MULTI PART (KBD CTRL) sounds are
interactive and linked such that selecting any one of them selects them all,
likewise, selecting [COMMON] selects them all. All transitions between
sounds are seamless.

"Bass/Split"

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Here a PERFORMANCE is setup with an acoustic bass for (uninterrupted)
left hand walking, and uses the SCENE buttons to switch right hand
sounds: Acoustic piano, Electric Piano, Vibraphone, and Jazz Guitar.
Scenes are instantaneously recallable conditions. Here we are using it to
switch right hand sounds. Part 1 is the left-hand bass and the right-hand
sound is changed in each of the red SCENE buttons. This is a perfect use
for Scene buttons because, presumably you are "walking the bass" with
your left hand and need to swap the right-hand lead sound while
maintaining the walking bass... This is not "seamless transitioning", this is a
'switch', the bass remains sounding, while you change to the next right-
hand sound.

Viewing and editing the stored values in any SCENE can be done by
touching "Scene" in the left column of the Home screen. This will drop you
into an area where you can view and edit what is assigned to each Scene
1-8:

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The SCENEs 1-8 are along the top of the screen (four Scenes are stored in
the example). Once active a MEMORY area will show ON. Scenes can be
used to instantly recall these select parameters.

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 Mastering MODX: MIDI Record on
DAW

Want to setup MODX for MIDI recording in Cubase? This article will get
you there.

Let's start with a basic MIDI example where you are recording Drum, Bass,
Keyboards, Guitar, etc., to Cubase - one after the other (traditional). This
workflow will be most familiar to those used to working in the Motif/MOXF
series, and will work very much like working in PATTERN Record mode.
We will use the ability of Cubase to Cycle record (Loop while recording) to
build as many as sixteen tracks of MIDI data. In this workflow we will be
selecting SINGLE PART programs (only) and we will be using the QUICK
SETUP Template called: “MIDI RECORD ON DAW”:

• This MODX “Quick Setup” template will make eight important MIDI
parameter settings concerning MODX when selected.
• Press [SHIFT] + [UTILITY] to jump to the QUICK SELECT screen.
• Touch Quick Setup 1: “MIDI Rec on DAW”:

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 As soon as you touch Quick Setup the template parameters are changed.
Local Control is turned off, MIDI Sync is set so MODX will follow Cubase,
among the other setting preparing to record MIDI to a computer.

WORKFLOW EXAMPLE #1: CUBASE - PATTERN MODE-LIKE

RECORDING

• Setup the Left/Right Markers in Cubase to define an eight-measure region.

(1.1.1.0 through 9.1.1.0)
• Set the CYCLE icon (purple) to activate loop recording.
• Set “MIDI Cycle Record Mode” attributes on the TRANSPORT to MIX and
set Auto Quantize, if desired. Check it out below:

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• On the MODX Press [CATEGORY] and Select "Init":

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• Select "Multi/GM". This Performance template has sixteen Parts, each on a
separate MIDI channel. You can see Parts 1-8 or Parts 9-16:

• To view PARTS 9-16: Press [SHIFT] + Slider Select [1-4] to select Part 9.
Check it out below:

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• Press [SHIFT] +
• Slider Select [5-8] to jump to Part 13:

POWER TIP

When working in a “Multi/GM” Performance setup, where there is a PART

in each slot, turn the KBD CTRL icon OFF for each Part - this will allow you
to address just the currently selected MODX Part.

Set the Markers in Cubase to outline the number of measures you’d like to
Cycle (loop) recordi. Let's say you want to do 8 measures. This would
mean you have a Left Marker at measure 1 and the right Marker at
measure 9. Click on the CYCLE icon (purple) on the Cubase Transport:

Set the attributes for your MIDI recording on the Cubase Transport bar...
Set "Auto Quantize" if that is what you desire, and set it so each cycle
allows you to "Mix" new data with existing data as it loops around.

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 I suggest that you select several instruments first before you ever hit
record, this way you don't have to break your concentration to pick sounds.
Besides you can always change your mind and substitute for anything later
(it's MIDI, after all).

For example, in the “MULTI/GM” Performance I will select the following

four Parts:

1. Real Drums Kit

2. Velo Bass
3. Clavi Stuff
4. Mega 60s Clean

Touch the TYPE/NAME box on PART 1.

An overlay pops in from the left with an option to “Category Search”:

Touch “Category Search”.

The SEARCH field allows you to search for any PART, from any
Performance; you can use the “Bank”, “Attribute” and “Source” items to
narrow your search. “Source” can be set to any single Part.
Shown below is the DRUM/PERC Search Results:

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Create one MIDI track in Cubase, set to receive MIDI IN from “MODX 1”,
set to MIDI OUT to “MODX 1”, and set to the OUT Channel = ANY:

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SO...LET'S REGROUP AND CHECK OUT WHAT WE'VE LEARNED!

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The Track Inspector in Cubase will give you the information about the
current track. You can see that the INPUT is set to “MODX Port 1 (or could
be set to "All MIDI Inputs") and you can define the “MIDI Inputs” in the
STUDIO SETUP > MIDI PORT SETUP screen.

The MIDI OUTPUT is set to my MODX PORT 1.

The MIDI OUT CHANNEL is "Any" which determines how Cubase will pass
the data THRU (echo back to the MODX):

We have selected "Any" so that the incoming MIDI is echoed back OUT on
the channel it comes in on.

This "Any" Channel setting for the MIDI OUT is a key. It allows Cubase to
THRU the data back Out on the channel on which it comes in. How it will
work: The Drums [Part 1], when selected on the MODX, will trigger data as
CH1, the Bass in [Part 2] will trigger data as CH2, the Clavi sound [Part 3]
will trigger data on CH3, and the Clean Guitar sound [Part 4] will trigger
data on CH4.

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 LOCAL CONTROL is OFF; in order for the MODX Tone Generator to
respond to your key press, a complete circuit must be maintained. The key
presses travel OUT via USB-MIDI, arrive at this active MIDI Track, which
echoes the data back to the MODX Tone Generator on the MIDI channel
that the data was generated on.

THE COOL THING IS THIS...

I don't have to worry about the channel number - I just set the instrument
sound in the PART and when I select it to play I will be transmitting on that
MIDI channel. I don't have to worry about switching Tracks, I'm using just
one track initially that will capture all the data.

MODX Port 1 represents 16 MIDI channels. Now I can just concentrate on

playing.

Later, we can have Cubase divide the data (DISSOLVE PARTS) to

separate tracks for viewing/editing. While I'm recording, I don't even want
to deal with creating a track for each Part that I play. Once I select a PART
[1]-[16] in the MODX, Cubase is ready to record it.

Dividing data out to separate tracks for MIDI data is a convenience for
viewing and editing the data, and we can deal with that when we have data
for viewing and editing.

On MODX, we are using the Quick Setup #1 = MIDI REC on DAW:

• Setup the Cubase CLICK and Count-in; Set the Tempo*... And go.

*Both can be set on the Cubase TRANSPORT. Go to TRANSPORT and

click on “Transport Panel”.

See the Cubase documentation (HELP) for details about CLICK options
and Tempo Maps.

Recording is exactly like recording to Pattern mode in a MOTIF XF/MOXF:

• You can use the front panel PART SELECT [1]-[16] function to directly
select the Part you want to play...
• Press [PART SELECT-MUTE/SOLO] and with “1-8’ selected, touch ‘1’.

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And you don't have to hit STOP to switch to the next instrument, or even
setup or arm another track, or route via a MIDI channel or any of that. Use
the RIGHT CURSOR to move to PART 2 and continue playing. Get your
musical ideas down while you've got on your musician hat.

Basically, this is how I build my rhythm section tracks - or the basic core
ensemble that will play throughout the composition. For the next "section",
set the left Marker at 9 and the right Marker at 17... and so on.

EXTRA CREDIT: SPLITTING THE DATA (DISSOLVE PART)

If I need to edit the data of one of the tracks you can use the MIDI pull
down option: DISSOLVE PARTS _ by channel... This separates the four
Parts to four tracks for easier viewing.
In Cubase, go to MIDI > DISSOLVE PARTS > ‘by channel’.

Once I have my rhythm section tracks in a reasonably workable state... I

render them as audio. (The process of transferring the MIDI data to Audio:
simply playing back the MIDI data and recording the Audio Output of the
MODX to an Audio Track... rather than utilizing the MODX hardware to
recreate the data, I will now have an audio waveform documenting these
musical parts. This allows me to reuse the MODX hardware for more MIDI
data.

This allows me to play along with them while I free my MODX for more
creative duties. I keep the MIDI Tracks in a muted folder -so that if later I
change my mind about what's there, I have my original data.

I've found that working with the rhythm section and rendering audio via the
8 studio bus outputs is awesome workflow... Parts can be routed to
discreet outputs; Parts can be assigned to use their own dual Insertion
Effects... And depending on the Project I can even route each drum on its
own discreet output to its own audio track (future article)! Heaven!

Now that the rhythm section is rendered as audio, I'm free to use anything I
want on my MODX. Because we have MIDI clock, adding things, after-the-
fact, like arpeggios, tempo driven effects and LFOs, even replacing earlier
Parts, is totally possible.

Finally, everyone will find their own "best method" of working! Scores of
variations exist. Spend time learning the available tools in Cubase AI. If
Pattern mode style recording is your workflow of choice, you can setup
Cubase AI (free download) to function this way, as described above. Those
with Cubase Pro have more options as there is an ARRANGER - PLAY

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ORDER feature that makes Chaining Sections, placing/creating fill-ins, and
the overall task of arranging your data, a breeze. Enjoy!

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 Mastering MODX: Audio Record on
DAW, Part I

The first of a two-part series about recording MODX audio to Cubase.

The MODX features a built-in AUDIO Interface. The Yamaha Steinberg

USB driver enables the MODX to act as a 10-in/4-out USB audio interface
for your computer system. This allows the MODX to act as your computer's
soundcard, and affords you the opportunity to do high quality digital audio
recording to your computer DAW (Digital Audio Workstation) software.

BASIC AUDIO RECORDING

Let's connect the MODX to your computer - and learn about how audio is
being routed to the computer, including how to ensure that the signal is
properly received on an audio track of Cubase. For this basic tutorial, all
you need are the following:

• The MODX connected to your computer via a USB cable.

IMPORTANT NOTE: Install the “Yamaha Steinberg USB Driver” version for
your particular computer operating system (Mac or PC) and make sure
your MODX is updated to the most recent firmware. You can download this
directly from the Yamaha website HERE.
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• The current version of Cubase AI (provided free to MODX owners via
download HERE) or Cubase Pro, installed and updated.
• A pair of quality Studio Monitors connected to the Main L&R analog outputs
of the MODX (quality headphones can be used, if you prefer).

We will keep this first tutorial very basic. This way you can see, learn, and
understand how the signal is being routed.

In this "signal flow" tutorial we will route audio to Cubase from a MODX
PERFORMANCE (simple basic) and we will use it to record a stereo audio
track to Cubase.

PREPARE THE MODX

• Press [UTILITY]
• Touch "Settings" > "Quick Setup"
• Touch the option "Audio Rec on DAW":

This will set the DIRECT MONITOR SWITCH to OFF. “Direct Monitor”, as
we’ll see, determines whether or not, the MODX audio signal travels
directly to the analog L&R outputs. When it is ON, you hear yourself
playing the MODX through the Main L&R (Analog Outputs) - Basically, the
sound of the MODX will travel its normal path to your speakers. But when
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recording on the computer, the default condition is to turn this Direct
Monitoring OFF. This means the only path for audio to travel is through the
USB Out connection to the computer. Audio must then be ‘returned’ to the
MODX, acting as audio interface, in order to reach the Analog Outs.

What you need to take from this is the following: If DIRECT MONITOR is
active - and you are monitoring through the computer - that would be
where doubling occurs. The Quick Setup #3 template turns DIRECT
MONITOR = OFF. Expect to hear the MODX only after you have your
Cubase routing complete - that is, the signal is routed to an active Audio
Track with the Track's Monitor Switch set to ON:

EXTRA CREDIT

On the “Audio I/O” screen, move the cursor to highlight “Direct Monitor”.
Turn it ON and OFF, and observe the Audio Signal Flow graphic. When
ON signal from a PART, whether routed to Main L&R or to a USB 1-8
Output, has a method to get directly to the “Main L&R (Analog Out)”. When
OFF signal must traverse the computer in order to reach the Analog Out
(your sound system):

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 In Cubase, the Track has a red Record Ready button, and a tan Monitor
speaker button. In order to hear the MODX in a situation where DIRECT
MONITOR is OFF, you must be connected to an active audio track with the
Monitor Speaker icon selected (shown). The Monitor Speaker icon is there
so that you do not have actually place the transport into record in order to
hear it. This is helpful, during level setting and run-throughs before
recording begins. When the Track is actually placed in RECORD, the
Monitor Speaker will be automatically activated.

USING THE "AUDIO REC ON DAW" TEMPLATE

This Template is specifically designed to route Parts of the current

Performance to specific audio Output buses. It is really just a starting point.
Be prepared to make changes to this as you go. What we'll learn here will
prepare you to make these assignments as your project requires. It will
allow us to send audio on any of MODX's audio buses (Main L/R or any of
the 8 assignable) to the computer.

Note: As with any Template it is ‘general’, you must know if it fits what you
want to accomplish. For now, let’s just deal with the factory defaults – later
you can customize the QUICK SETUPs to reflect your own workflow.

An audio "bus" simply is a means to transport signal from one place to

another along a specific route. One or more passengers (signals) can be
assigned to ride any bus we choose, on the way to the designated
destination. In the Audio Signal Flow chart above, you can see that
"PART", the "A/D In" and the "Digital In" (USB) are being routed (using the
Output Select parameter) set to "Main L&R" and are being 'bused' to the
"Main L&R (USB Out)" (to your DAW - Cubase). The PART (any of them)
can also be routed to any of the 8 assignable USB outputs. This allows
discreet recording on your DAW. When you want to take a separate output
on a single sound, or drum, you can route it to a single USB bus isolating it
for special processing.

The default OUTPUT SELECT assignments made in this factory Template

are as follows:

• PART 1 – Main L&R

• PART 2 – USB 1&2
• PART 3 – USB 3&4
• PART 4 – USB 5&6
• PART 5 – USB 7&8

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• PART 6 – USB Main L&R
• PART 7 – USB Main L&R
• PART 8 – USB Main L&R
• PART 9 – USB Main L&R
• PART 10 – USB Main L&R
• PART 11 – USB Main L&R
• PART 12 – USB Main L&R
• PART 13 – USB Main L&R
• PART 14 – USB Main L&R
• PART 15 – USB Main L&R
• PART 16 – USB Main L&R

When you touch the QUICK SETUP #3: “Audio Rec on DAW”, the MODX
makes specific changes to your System’s setup and to the current
Performance. Each of the three QUICK SETUPs are customizable. They
can be changed and renamed to reflect your own workflow. For now, just
realize that when you tap the template, the stored settings are *sent* and
they can reconfigure both MIDI I/O and AUDIO I/O settings. In the case of
this AUDIO Template, it also changes the PART OUTPUT configuration
within the current Performance (only).

CHANGE THE TEMPLATES FOR YOUR NEEDS

A Template sets up a specific routing scenario. It is important to

understand exactly what it is doing, because you will need to make the final
routing decisions and you are expected to customize the default routing to
suit your immediate requirements. We will use this template to do the first
example - a simple stereo record using a single Part Performance. We will
use the sound in PART 1, which defaults to the “Main L&R” Output. We'll
learn why this particular template will not work for all audio recording needs
(again, you are expected to customize the settings as you require). Then
we'll learn to solve routing issue by ensuring that the selected Output is
properly routed and there is a corresponding Input in the computer DAW to
receive it. This is a per Part decision.

For this basic experiment we want the MODX to run on its own clock (later
we will deal with synchronizing the MODX's MIDI clock to the MIDI clock of
Cubase):

• Call up a PERFORMANCE: CFX Stage or Full Concert Grand

These are single PART acoustic piano PERFORMANCEs (green). In the

MODX you are working with a multi-channel digital mixer, our piano

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 occupies just one channel of our mixer.

• From the HOME screen, touch "Mixing":

• We have the “Part 1-16” (green) view selected.

We will start here because it is a single PART and we will send audio
output to the “MAIN L&R (USB Out)” for recording. As we go along we will
learn to setup (bus) multiple audio outputs, as necessary, to record. The
lesson here is to create an audio INPUT in Cubase to match each audio
OUTPUT you use in the MODX; and then finally create an audio Track to
document that signal. Let’s take it one at a time:

• Press [EDIT].
• Select [PART SELECT 1] to view PART 1 parameters. “Part 1 – Common”
appear in blue in the lower left corner of the screen.
• Touch "Part Settings" > "General". "PART OUTPUT" is set here: Touch the
box to see the pop-n menu with various options. We want "Main L&R" but
you can use the Data Dial to scroll through the possible routing scenarios.

This is where the PART is assigned to an OUTPUT BUS. We are taking

the passenger (acoustic piano) and are directing them to the bus labeled

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 “Main L&R” on its way Out via “Main L&R USB Out”:

CUBASE PROJECT

We will use Cubase in our example, but you can pretty much substitute any
professional DAW software that can utilize ASIO protocol (the Yamaha
Steinberg USB driver is an ASIO driver) the setup will similar (although the
steps to get there may vary:

• Launch Cubase.
• Select the EMPTY Project Template (found under the "MORE" options).
This will create an empty Project for this experiment. Click CREATE
EMPTY.
• Verify Port Setup.
• STUDIO > STUDIO SETUP > VST Audio System:

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• In the "VST AUDIO SYSTEM" folder, the DRIVER is selected for streaming
AUDIO IN and OUT of the computer. This is the ASIO Driver:

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You can see MODX has 10 In Ports (yellow) and 4 Out Ports (blue). Notice
that the eight USB buses are listed as IN (from the computer's perspective,
they are INPUTS). Notice also that there are "Main L&R" plus USB 1-8,
they are not listed USB 1 through 10. The significance of the “Main L&R” is
that it has the SYSTEM and MASTER EFFECT/EQ. (If you are using a
DAW other than Cubase and the numbers for the buses are simply 1-10,
remember that the first two are the “MAIN L&R”).

If you are using a Windows computer the option for ASIO DRIVER may be
listed as "Yamaha Steinberg USB ASIO".
If you are using a Macintosh computer the option for ASIO Driver will be
listed by the product name "MODX". This is the equivalent setting. The
MODX is acting as the Audio Interface for the application.

The “Inactive”, “Active” status (State) column - this will always indicate
what resources you are currently accessing. It is not a setting you make
(on this screen) as much as it is a status report for each of the ports and
whether it is currently being used to bus signal. (You can check if any
passengers have been assigned to travel on that particular bus – so it’s a
status report, not an assignable function. You do not click on it to turn it on,
you make an assignment and it gets reported here). The process is route a
PART to a MODX Output, set the DAW software to receive that signal to
an Input.

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 For example, currently it is showing that only the MAIN L/R IN and the
MAIN L/R OUT are “active”. The others are activated only when you add
an INPUT (Add Bus) in Cubase and connect the MODX Part to that bus.
Nothing is assigned to the individual USB buses, 1-8, that’s why they show
“Inactive”. If you were to assign a PART to a USB Output 1-8, that item
would then show “Active”.

MAKING THE CONNECTIONS

Next, let's create a specific connection between the computer and Cubase
so that audio we are sending on the "Main L&R" stereo bus from the
MODX can be received in the software on an Audio Track. This is done as
follows:

• Go to STUDIO > AUDIO CONNECTIONS > INPUTS:

Selecting the INPUTS tab makes sense, because we are connecting the
MODX's "Main L&R" stereo USB bus OUTPUT to Cubase's INPUTS.
Signal flow is from the synth to Cubase.

Typically, there is already a "STEREO IN" created and assigned (we see
this in the VST AUDIO SYSTEM > Ports view it is listed as "Active"). This is
fine - we can use it.

Likewise, on the OUTPUTS tab the "STEREO OUT" is already created and
assigned (also listed as Active). Before we return to the main Track view,
click on the OUTPUTS tab. This is where Cubase is set to route audio OUT
to its audio interface (which is the MODX). Notice the Cubase ‘Click’ is sent
from the computer to the MODX as audio. You do not have to worry about
the Cubase Click being recorded because it is only sent to the Computer
Output:

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Summary: The Cubase Bus "Stereo In" is set to receive audio from the
MODX (the Audio Device) on "USB Main L" and "USB Main R" (the Audio
Device's Device Ports). The Cubase Bus “Stereo Out” is set to return audio
to the MODX and go to the Main L and Main R.

RENAME THE INPUT BUS

The “Stereo In” is audio coming from the MODX arriving at Cubase. You
can double click on the name "Stereo In" and rename it "MODX Main"
(shown below):

We can now set up an Audio Track, with this Input, and complete our
journey to an Audio Track.

Return to the main Cubase Track View screen.

Next, we will need to create an AUDIO TRACK... You can do so by right

clicking in the darker grey area on the Track View screen or by going to
PROJECT > ADD TRACK > AUDIO.

Add a single Stereo Track:

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You can see your renamed INPUT: “MODX Main”. The OUTPUT is routed
to Stereo Out which is MODX “Main L” and “Main R” as audio interface.

This ensures the signal path to and from the computer. When this track is
selected you will hear the MODX.

When the Record Ready and Monitor Speaker icons are activated, it will
ensure we can hear what we are doing (remember: “Direct Monitor” is Off
by default in this template, meaning we must route audio through the DAW
(Cubase) in order for the audio to reach the outputs to your speakers).

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This is all that is required to begin recording. The basic recording does not
have to involve a metronome or any clock reference - you can simply set
Cubase in record and play, if you wish. (Using the Click can, of course,
help if you are thinking about adding other parts later... but in this basic
recording you can just record as if the DAW was an old-style tape recorder
- which didn't count measures or keep track of beats!)

You can even set Cubase to read out in “SECONDS” (that is, regular
minutes/seconds of clock time) for the length of your recording. You do so
by either right clicking in the Timeline area that runs the length of the Track
Record area, just above the first track; then select "Seconds" or you can go
to PROJECT > PROJECT SETUP... > Set the DISPLAY FORMAT =
"SECONDS". (Until we establish MIDI communication, the computer best
count in minutes and seconds).

Select the Audio track, then as you begin to play, you should hear your
playing and see the audio meter for Track 01 respond. The RED Record
Ready icon routes audio to the track, while the TAN Monitor Speaker icon
sends audio back to the MODX (as audio interface) via USB:

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You can open the Cubase Mixer and check your record levels - Go to
STUDIO > MIXER or touch F3 on your QWERTY keyboard (Fn+F3 on a
Mac).

You will see the “MODX Main” (Audio Input), the Cubase “Audio 01” Track,
and the “Stereo Out”. In this situation they all read the same because we
are seeing the MODX signal arriving in Cubase, Cubase delivering it to an
Audio Track, and the Audio Track outputting data back to the Audio
Interface.

RECORD and PLAYBACK to get a feel for operating the Transport and feel
of recording.

In our next setup we will introduce you to multiple audio bus recording.

DETAILS AND TAKE-AWAYS

If the Monitor Speaker icon is activated, audio that is returned from Cubase
will arrive back in the MODX and pass through the MODX "Monitor
Volume" parameter setting.

The Cubase Faders will be set at nominal 0.00. This is typical when
recording, the fader is set "open" 0.00 - input gain is regulated at the
source (in this case, the MODX). Do not touch the Faders in Cubase,
adjust the record level for this channel by increasing or decreasing the
OUTPUT level of the source (MODX).

The Cubase Mixer will show you the maximum "peak" level reached –
avoid clips.

Level adjustment is not made with the main VOLUME Slider on the MODX
- in fact, you can pull the main VOLUME Slider all the way down and audio
signal is still arriving in Cubase.

In the Signal Flow diagram below, all signal travels left to right; we have
colored in the signal flow so you can follow it to and back from the
computer: YELLOW is the signal traveling from MODX on its way to the
computer (Cubase sees this as INPUT)... BLUE is the signal returning from
the computer and going to the speakers:

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• You play a “PART” (yellow line) which is assigned to the “MAIN L&R”
Output, which means it travels through the “SYSTEM” and “MASTER
EFFECTS” before being routed to the “MAIN L&R (USB Out)”... the USB
cable (yellow) is going TO the computer DAW (Cubase).
• At the bottom left, audio ‘returning’ from the DAW (Cubase) via USB (blue)
is returned to the MODX's “MAIN” travels through the MODX's “USB
Volume” and “Monitor Volume” and goes to your speakers via the “MAIN
L&R (Analog Out)”.

Conclusion: The audio that is routed via USB OUT to the computer does
not go through the main front panel VOLUME slider before it arrives in the
computer. So "how loud" your speakers are really has nothing (whatever)
to do with what gets routed to the Cubase audio recorder. It will have no
effect on the record level. We are making this rather basic and obvious
point for a good reason - it is fundamental to understanding signal routing.

So how do you adjust the overall output level of the MODX in this case?

There are actually several places you can affect the overall recorded
OUTPUT of the MODX. You adjust the main OUTPUT VOLUME within the
PERFORMANCE:

• Press [EDIT]
• Select COMMON
• Touch "General”:

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Here you can see the OUTPUT VOLUME of this PERFORMANCE was
stored at 76 (on a scale of 0-127). This is where you set the overall output
volume of this PERFORMANCE for recording purposes. Try it. Lower this
VOLUME and see how it affects the levels arriving in Cubase. Raise this
OUTPUT VOLUME as necessary to set your record level.

Always use METERS to judge record Gain. Always use your EARS to
judge the quality of the signal, but not to set the Gain - Gain must be set
with a METER.

You may have noticed that there is both a PERFORMANCE (overall)

Volume for the CFX Stage (76), and there is a PART Volume (individual
PART, 118). This is true for each of the sixteen PARTS when you deal with
a Multi-Part Performance. The PERFORMANCE Volume obviously
represents all PARTs together, and a mix of the individual PARTs makes
up the total overall Volume. Trust your Meters to set your level. "How Loud"
something is in the room/in your speaker is irrelevant to the amount of
signal that is being recorded. Piano is a percussive instrument - leave
plenty of headroom (room between the maximum output level and
maximum record level) - "noise floor" is not an issue in MODX.

MULTIPLE OUTPUT SETUP

Many of the PERFORMANCES in the MODX can take advantage of

multiple audio outputs. As you go along you can start to take advantage of

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 this powerful feature. You have enough audio buses to accomplish stereo
outputs from each MODX PART when recording to a DAW because you
can do so in multiple passes.

Assigning PARTS to OUTPUTS and then setting your DAW to receive

them as INPUTS is what we've just covered. Adding to this basic setup for
multiple Output recording is just a matter of repeating the process for each
MODX OUTPUT: create a Cubase INPUT and assign that INPUT to an
AUDIO TRACK. It is a bus route... you can place one or more passengers
(Part signals) on a particular bus, that bus is being routed from point A to
point B to point C. Let's create the first Assignable Output Bus:

• In Cubase, go to STUDIO > AUDIO CONNECTIONS > INPUTS tab > Click
"Add Bus".
• Add a Stereo Bus.
• "STEREO IN" set to receive audio from MODX on "USB 1" and "USB 2"
(See graphic below):

In this fashion you can ADD new Buses for additional routing. Each Bus
that you add creates a discreet path (bus route) between the MODX and
Cubase. Remember we can have a total of 4 stereo pairs in addition to the
Main L&R (later we'll learn that you can setup mono pathways as well).
This will come in handy when recording MULTI PART Performances where
we may want to isolate each PART on a separate AUDIO TRACK!

In this case, add STEREO BUSES, as you require. (Screenshot is from a

Macintosh).

Any time an AUDIO TRACK is set to receive signal from "MODX Main" it
will be receiving audio from the MODX's "Main L&R".

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 Any time an AUDIO TRACK is set to receive signal from "STEREO IN" it
will be receiving audio from the MODX's USB 1/2. And so on, for each
Audio Device/Device Port pairing you create. All PARTS that you assign to
this pair will be routed on the same bus to the same destination.

EXTRA CREDIT

By default, the "USB Main L"/"USB Main R" contain both the SYSTEM
EFFECTS and the MASTER EFFECTS/EQ, the eight assignable (USB 1-
8) outputs go to those outputs without passing through the System (Reverb
and Chorus) and the Master Effects or Master EQ. Each of the 8 USB
buses allow the sounds to use their dual Insertion Effects. The difference
between the “Main L&R USB Out” as a stereo pair and any of the
numbered USB stereo pair Outs is the SYS/MFX/MEQ blocks. If you
Bypass the System, Master Effect and Master EQ, they are the same as
any of the numbered USB stereo pairs. This can be useful in some setup
scenarios.

This mimics a real-world situation where a musician can have their own
personal effects (those being the dual Insertion Effects), while the studio
mixer has two auxiliary Sends (Rev Send and Var Send) to shared Effects
(typically Reverbs and Time Delays). Often on recording projects things
like reverb are not initially recorded but instead added at the final mixdown.
The routing system here supports working this same way, if you wish. If
you would rather add the System Effects and Master Effects (shared
effects) later, at final mixdown, you can BYPASS those specific blocks as
follows:

• In the top center of the screen you see the letter FX, if you touch that area
you will be taken to the “Effect Switch” screen. Alternatively, you press
[UTILITY] > touch “Effect Switch”. Here you can select to Bypass the Effect
Blocks you do not want to use, globally:

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When any of the Effect Blocks are ‘bypassed” you will see a line through
the “FX” icon on the top line (shown above).

By turning OFF the System FX, the Master FX and the Master EQ Blocks,
items assigned to the “Main L&R” will arrive at the Audio Track without
those shared effects. By leaving the Insertion FX Block active you can
continue to use the Effects programmed into the instrument PART. Again,
this is a production decision and one that you will make on a per Project
basis. The advantage of waiting until final mixdown to add effects like
Reverb has a long history as a studio practice. It is predicated on the fact
that it is very difficult to change your mind about “how much” reverb is right
until you have all instruments assembled. You usually want to have all the
instruments playing together, because the differing SEND amounts to the
Reverb chamber add to the illusion of ‘placement’ in the stereo panorama –
placing instruments before they are all present can be counterintuitive.

When you listen to music in stereo, the illusion of something being slightly
to your right or left or in the dead center helps you picture a music
ensemble playing in a room. The ear/brain use the reflections
(reverberations) to help locate and position where a sound is coming
from… the amount of Send from instrument can influence an illusion of
distance from the listener.

By default, the “Main L&R” Outputs include the System/Master FX and

Master EQ, you may notice a sonic difference when you change the PART
OUTPUT to a pair of numbered USB Outs.

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Mastering MODX: Audio Record on
DAW Part II

More on recording audio using MODX, Cubase and your computer. Even if
you don't use Cubase you'll want to check out this article for recording tips.

In the last article (Audio REC on DAW Part 1) we introduced you to the
basic Cubase configuration and we learned to follow the routing from the
MODX PART (OUTPUT) to the Cubase AUDIO CONNECTIONS > INPUT,
and finally assigned that INPUT to an Audio Track. This time we will begin
with more details on the MODX OUTPUT assignment side of things and
discuss MULTI PART PERFORMANCES.

In our first installment we saw that QUICK SETUP #3: "Audio REC on
DAW" template mapped out PART 1 to the “Main L&R”, while PARTS 2-5
were mapped to “USB 1&2”, “USB 3&4”, “USB 5&6” and “USB 7&8”
respectively; while all others remain mapped to the “Main L&R”. All are set
to stereo pairs. In a situation where you are building a multiple track
composition in your DAW, where you are using the MODX as your principal
multi-timbral tone engine, you may have different instruments in each
PART of your PERFORMANCE. Let's recall such a PERFORMANCE and
take a look at the impact that the template has when applied.

We learned that the only difference between the “Main L&R” pairing and
any of the USB numbered pairings is that that “Main L&R” include the
shared System and Master Effects, and go through the Master EQ. The
numbered USB outputs are discreet and include only that individual PART
and the Part’s own Dual Insertion Effects.

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If you notice a difference in the sound between when a PART is assigned
to the “Main L&R” and when it is reassigned to a numbered pair of USB
outputs, it is because of the lack of the shared Effect Blocks. The purpose
of the numbered USB outputs is to keep the instrument routed there,
isolated and discreet.

You can opt to ‘Bypass’ the shared blocks: System FX, Master FX and/or
Master EQ, if you so desire.

In general, only those PARTS that you are going to treat (process)
differently in Cubase or that you want to have separate control over, need
to be routed to separate Audio Tracks. You can record all PARTS via the
“Main L&R” or you can opt to re-route any signal you so desire.

Learning to master the PART OUTPUT assignment will help you whether
your record directly to audio tracks or you record MIDI first, and then
render audio later. The physical process and decision-making process will
be the same.

EXAMPLE: "CFX + FM EP"

This is a 5-PART PERFORMANCE where four of the PARTS make up the

(AWM2) Acoustic Piano sound and the fifth PART is the FM-X Electric
Piano. Let's analyze and discuss just what would be the best way to record
audio from this PERFORMANCE. The CFX acoustic grand created here
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 actually uses four PART slots to recreate the acoustic piano. There are
some 18 Oscillators that go into making this acoustic piano.

Analysis:

• PART 1 and PART 2 cover the acoustic piano from the lowest key up to G5
(the highest note on a piano that has felt dampers) – between these two
Parts you have a 9-way velocity switching acoustic piano sound.
• PART 3 covers the acoustic piano from G#5 and above, where the strings
are undamped. This PART is an 8-way velocity switching acoustic piano
sound for this region of keys only, G#5 and above.
• PART 4 is the KEY-OFF Sound of the hammers falling back and the felts
moving off of keys – across all keys.
• PART 5 is the FM-X Electric Piano – which sounds only when the Super
Knob is raised. The Super Knob fades out the acoustic piano and fades in
the electric piano.

Playing this PERFORMANCE, you can hear that it is a stereo acoustic

grand piano and the FM electric piano is using a stereo Chorus effect.
Understanding how the default "AUDIO REC on DAW" template works, you
quickly realize that it will not work for this PERFORMANCE. There is no
reason to separately record the body of piano up to G5 on a separate track
from the notes above G#5, and no reason to record the Key Off Sound
separately.

The four PARTS making up the acoustic piano belong together – they
should ride the same stereo bus to the Audio Track. If we think of these
four PARTs as the "passengers", we can put them all on the same bus to a
single stereo Destination. Assigning the first four PARTs to “Main L&R”
would allow the them to arrive together at the destination.

And if we wish, we can record the Electric Piano on its own stereo pair, or it
can also be placed on the same bus with the four acoustic piano PARTS. It
will depend on whether or not you plan to do something special with the
FM-X Electric Piano… say you have a plugin Effect you want to apply to
this in your DAW (Cubase) – that would be a good reason to record it to its
own audio track. If assigned to the same bus, then you will have tricky
transition when the two sounds both exist – so you can see it very much
depends on what you are attempting to accomplish musically.

But we certainly do not need to record each of the five PARTs to its own
stereo audio track - that would make no sense (in this case). Therefore, the
AUDIO REC ON DAW Template, which automatically routes the first
couple of PARTS to separate OUTPUTS does not really apply here. And
that is the “take away” from this: You will need to decide what makes the

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 most sense based on what type of instrument setup you are playing.

When you have a multiple PART PERFORMANCE that is using the

multiple Parts as building blocks, you must adjust your thinking about your
routing decisions. As ‘Producer’, you must make these production
decisions based on the bigger picture… that is your Project as a whole.

Here are some experiments to try with "CFX + FM EP" Performance

Setup and record audio as a basic stereo program - all Parts going through
the System Effects and recorded as a single Stereo Track. (Arm a single
Audio Track; Record the AUDITION data and play it back).

The ASSIGNMENTS: Navigate to each Part and ensure the “PART

OUTPUT” assignments are as follows:

• PART 1 _ Main L&R

• PART 2 _ Main L&R
• PART 3 _ Main L&R
• PART 4 _ Main L&R
• PART 5 _ Main L&R

"PART OUTPUT" is always found by editing the PART:

From the HOME screen you can select (touch) “PART 1” to view the pop-in
menu, touch “Edit’
Or you can press the [PART SELECT-MUTE/SOLO] button and use the
SELECT function to select “PART 1”

Touch "Part Settings" > "General" > find the “PART OUTPUT” = MainL&R:

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 You can move between PARTs by touching the blue “PART 1” item in the
lower left corner of the screen… to view A pop-up menu – for PART Select.

In Cubase, using a single Stereo Bus, record yourself to a single Stereo

Track.

Alternative Routing:

Setup and record with the acoustic piano (Parts 1-4) bused via the "Main
L&R" while the FM-X piano is routed to a discreet USB audio pair. (Arm
two audio tracks):

• PART 1 _ Main L&R

• PART 2 _ Main L&R
• PART 3 _ Main L&R
• PART 4 _ Main L&R
• PART 5 _ USB 1&2

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In Cubase, using two Stereo Buses, record an Acoustic Piano/E. Piano
performance recording to two tracks. Use the Super Knob/FC7 Foot
Controller 2 to morph the sound between the Acoustic Piano and the FM-X
Electric Piano as you record. (You can just press the [AUDITION] button if
you want to observe how the audio will be recorded to each Track in
Cubase):

In Cubase, you will go to STUDIO > AUDIO CONNECTIONS > INPUTS

and create a second Stereo Bus. The first four PARTS will use the MODX
“USB Main L/R” to travel to the computer and the FM-X Part will travel on
the second bus (“USB 1/2”) by itself.

On the Cubase main Track view, you will want to make sure that Audio 01

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is set for INPUT = “Stereo In”; while Audio 02 is set for INPUT = “Stereo In
2”

If you think of plugging and instrument into an input on the band’s mixer,
this is what we are doing digitally. The instrument is the PART OUTPUT,
we create the INPUT, and then we assign the Track to receive data from
that INPUT.

You can highlight both tracks – using SHIFT + CLICK:

If you opt to ‘Bypass’ the FX (System FX, Master FX and Master EQ) the
results will be just the PARTs with their Insertion Effects.

SYSTEM AND MASTER EFFECT, TO BE OR NOT TO BE?

If you wish to record without the SYSTEM EFFECTS and MASTER

EFFECT, you can simply use the “FX” Bypass feature - found on the top
line of the screen, touch "FX" and select to turn OFF System Effects,
Master Effect and Master EQ (shown below):

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The only difference between the "USB 1-8" Assignable Output pairs and
the "Main L&R" stereo pair is the SYSTEM EFFECTS, MASTER EFFECTS
and MASTER EQ are applied to the "Main L&R" Outputs. By turning the
SYSTEM EFFECTS, MASTER EFFECT, and MASTER EQ = OFF: No
System Effects are recorded to the DAW - You would use this scenario
when you are opting to add a plugin Reverb during mixdown*. (Arm two
audio tracks).

*It is often preferred to leave adding Reverb Send amounts until you have
assembled all the musical components.

Leaving the INSERTION FX active means that the PARTs with active dual
Insertion Effects programmed will be output with those effects, intact.

Again, you can use the [AUDITION] function during these routing
experiments to provide music content so that you can concentrate on the
signal flow and assignments, rather than splitting concentrating on 'what to
play' and how to route it. Later, as you become comfortable with routing
and assigning, you can play/record something meaningful. Your choice.

Not to repeat myself, but just to stress the fundamental point: Any
Template, and specifically this "AUDIO REC on DAW" template, is just a
starting point. You will, more often than not, have to make changes in the
routing of the PART OUTPUT settings to match what you have selected to
record.

Please take the time and get comfortable using the OUTPUT assignment
function on the MODX and the INPUT creation in your DAW (Cubase). It's

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 as easy as 1-2-3:

1. Set the MODX instrument “PART OUTPUT” >

2. In Cubase go to “AUDIO CONNECTIONS > INPUT” > create an Input Bus,
if necessary.
3. Assign the Input to an AUDIO TRACK

“THE GREEN FLASH” MULTI PART EXAMPLE

Let’s look at one more example, where we actually use the templates
default assignments:

• Recall the Performance: “The Green Flash”.

• You can do so by pressing [CATEGORY] and typing the word “green” in
the text box.

For this example, let’s BYPASS the SYSTEM FX, the MASTER FX and the
MASTER EQ:

• Touch the “FX” that appears on the top line of the screen to open the
BYPASS screen.

This is a 5-Part Performance that includes a pulsating pad, a couple of

traditional arpeggiated Parts, a Drum kit and an arpeggiated Synth Bass.
Use the different (red) SCENE buttons to change the musical sections…

A SCENE can store a myriad of synth and mixer settings for instant recall.
It can store Mute status, mix Volume, Pan positions, Effect Send amounts,
Arp Selections, Motion Sequence Selections, Swing and Timing offsets,
etc., etc. However, in this particular Performance it is changing the current
Arp Selection and Motion Sequence Selection.

There are eight SCENES, accessible via the red buttons 1-4 and 5-8 on
the left front panel.

RECORD SETUP: Press [SHIFT] + [UTILITY] to access the “Quick Setup”

screen
Select “Audio Rec On DAW”

This action will make the following default PART assignments

automatically:

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 Audio

• A/D Input = Line

• Outputs = +0dB
• Direct Monitor = OFF

MIDI

• MIDI In/Out = USB

• MIDI Local Control = ON
• Arp MIDI Out = OFF
• MIDI Sync = MIDI
• Clock Out = ON
• Song Play/Stop Rcv/Transmit = ON
• Controller Reset = Reset
• FS Assign = Arp Sw
• Super Knob CC = 95
• Scene CC = 92

If you had these set differently, please realize that activating a QUICK
SETUP template, your Audio I/O and MIDI I/O settings will be changed. It
will also set the following PARTs to these OUTPUTS:

• PART 1 will be assigned to Main L&R

• PART 2 will be assigned to USB 1&2
• PART 3 will be assigned to USB 3&4
• PART 4 will be assigned to USB 5&6
• PART 5 will be assigned to USB 7&8

We should mention that the settings made by any of the QUICK SETUP
templates is user programmable. We highly recommend you work with the
MODX before you attempt to make any changes to the Factory defaults.
But you can customize them as a part of your MONTAGE’s system
settings. For example, if you always work with a Microphone, you might opt
to overwrite the factory default with “A/D Input” = Mic.

Because this Performance features Drums – let’s take a look at how you
can have your data line up with Bars and Beats in Cubase. We’ve learned
that computers count time like civilians, in minutes and seconds but we can
have it count time like a musician would, in bars and beats. This particular
Performance is 140 BPM.

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SETTING THE TEMPO IN CUBASE AND MAKING IT THE MASTER
CLOCK

In Cubase, go to PROJECT > Tempo Track > set the Tempo to 140.000.
Also, under PROJECT find “Project Setup” > set the “Display Format” =
“Bars+Beats”.
Go to TRANSPORT > PROJECT SYNCHRONIZATION SETUP… > MIDI
CLOCK OUT > MIDI Clock Destinations = “MODX Port 1”:

Click "OK".

When you start Cubase, MODX will take its tempo cues from it.
In this Performance the Arpeggios and the Motion Sequence will follow the
Tempo of the Cubase Project.

Go to STUDIO > AUDIO CONNECTIONS > INPUTS > create the Audio
Buses to carry the signal. You are typically given the first “Stereo In”
assigned to the “Main L&R” – you will need to add four more Stereo Buses:

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Go to PROJECT > ADD TRACK > AUDIO and add 5 Stereo Audio Tracks:

Your track appears like this:

Select each in turn, and assign the Track INPUT as follows:

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• Audio 01 – Stereo In (already assigned)
• Audio 02 – Stereo In 2
• Audio 03 – Stereo In 3
• Audio 04 – Stereo In 4
• Audio 05 – Stereo In 5

To record all five Tracks simultaneously you can select them all together,
Select Track 1, then SHIFT Click Track 5:

Let’s learn something about Level setting. You can, of course, adjust the
individual PART Level using the MODX front panel Sliders. However, what
we will learn next is that all PARTS of a PERFORMANCE also share a
“common” master volume, if you will, that affects the overall MODX output
of this Performance. It is the equivalent of raising all 5 Part’s output level
with a single parameter. And, no, it is not the main VOLUME SLIDER (as
we know this does not affect record level Out via USB). Here’s where to
find it:

In the MODX:

• Press [EDIT] - the word “Common” appears (blue in the lower left corner).
• Touch “General” (shown below).
• Here you can see the Common overall Volume of “The Green Flash” = 65l
• Raise the Volume here to between 110-115. This will raise the output level
of all of the PARTS without destroying the original balance between the
items. (Common Volume versus Part Volume):

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The goal in setting levels is to avoid clips. Clipping is wrong (always). The
Meters in Cubase will always tell you the maximum value reached by the
audio – so that even if you are not looking at the Meter, when a clip occurs
it leaves behind a footprint. In the Cubase meter below:

Shown above are the Meters after a run-through to check levels.

On the left you see the first five channels (with red faders); These are the
Audio Connection Inputs.
Next, you see the five Tracks channels (with blue faders); These are the
individual Stereo Tracks.
The main Stereo Out is on the far right.

The fader levels are all set for REC: 0.00; In light grey next to that number
is the maximum (peak hold) value reached by that channel. After a run-
though with the PERFORMANCE Common VOLUME = 115 these are the

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 results:

• Channel 1 -3.2
• Channel 2 -10.8
• Channel 3 -12.0
• Channel 4 -2.4
• Channel 5 -2.1

The main Stereo Out (red fader cap) reached a maximum of -0.4.
Therefore, no CLIPS occurred. Had a clip occurred a RED line would
appear on the channel – alerting you to reset your levels.

Here is a view of channels that have CLIPPED (bad); you never want to
see these red indicators (other than in this article screenshot):

Stereo Out ‘clipped’!

You could adjust the original MODX Part Sliders to create a *new mix* of
the PARTS. But recognize that the COMMON VOLUME adjusts all the
PARTs in proportion to each other. And depending on the programming in
the PERFORMANCE you cannot assume that the programmer left Volume
control on the MODX Slider.

The PART Slider may not actually change the Volume of a PART – In the
MODX, this is true, particularly when the Volume control has been
specifically programmed to respond to another controller.

For example, in “The Green Flash” PART 2 does not respond to the
SLIDER – instead the output level has been set under control of PART 2
ASSIGN Knob 2, which has been linked to Super Knob position. This was
the original programmer’s choice. As you play with this Performance, you
will discover that PART 2 only sounds when you raise the Super Knob.

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 How loud PART 2 gets is a function of the Control Assign RATIO
parameter (just FYI).

As you get to know more about controller assignments you will discover
that you can customize control over each PART under your KBD CTRL
(Keyboard Control).

THINGS TO TRY

• Play and hold a right-hand Chord while SCENE 1 is selected. Turn the
Super Knob from minimum to maximum, you will hear the arpeggiated
PART 2 fade in as you increase the Super Knob. In MODX, you can
reassign PART VOLUME to a physical controller – because you will be
playing with both hands the option to control individual PARTS with
alternate controllers is available. Using a Yamaha FC7 sweep pedal
(plugged into the Foot Controller 2 jack) lets you move the Super Knob
‘hands-free’.
• In SCENE 2 PART 2 fades in as you raise the Super Knob, and the
arpeggiated sound in PART 3 fades out – from that same gesture.

The MODX PART Sliders are not always active as the only Volume control.
The architecture is flexible enough to with a single gesture from the
Super/AssignKnob matrix, you might change the volumes of each Part in a
pre-specified manner. Unlike traditional single channel transmit systems
the Motion Control Engine (MONTAGE/MODX) offer real-time control of
volumes in totally customizable ways – allowing multiple Parts to
simultaneously be changed while each is changed in its own pre-
determined manner. You ca program whether they get louder, get softer,
remain the same, more a little or a lot, on a per PART basis. More on that
in future articles!

For now, the take away is: when a Slider does not affect the PART’s output
level, then you can rest assured that it is under a real time physical
Controller.

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Mastering MODX: Arp Record on
DAW

All about recording your MODX Arpeggios to the DAW!

In the previous installment we covered the basic setup for recording MIDI
Tracks in a Cycle (loop) to Cubase using the QUICK SETUP = "MIDI REC
on DAW". This time we'll pick up with overdubbing a Part that is controlled
by an Arpeggio... Using the QUICK SETUP ="ARP REC on DAW".

This setup template places the Arpeggiator block prior to the USB-MIDI
output, so those PARTs set to utilize an Arpeggiator will output the MIDI
data of the Arpeggio as opposed to the Notes you use to trigger them
directly. One of the important things to realize when you are triggering an
arpeggio phrase, the notes you use to trigger them are usually not what
you want to record to your MIDI Track, you want the phrase data (the note
data) of the Arpeggio.

QUICK SETUP

Selecting this template will automatically set the MIDI OUT of the active
arpeggiators so that its data is sent to the DAW while the ‘trigger notes’ are
blocked.
Press [UTILITY]

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 Touch "Settings" > "Quick Setup"
Touch Quick Setup 2: "ARP REC on DAW":

In the previous article we setup to record Drums, Bass and Clavi, using the
"MIDI REC on DAW" template - which allows us to record our keyboard
playing directly as normal MIDI data. Now let's setup the "Mega 60s Clean"
Guitar in Part 4 to use an appropriate arpeggio phrase.

When you select an Arpeggiator for a PART, it will automatically reference

the tempo as currently set for the PERFORMANCE or for the Montage as a
whole (if you are using external clock).

Here is our setup thus far:

• Part 1 - Drums (recorded as MIDI)

• Part 2 - Bass (recorded as MIDI)
• Part 3 - Clavi (recorded as MIDI)
• Part 4 - Guitar w/Arp - which we will setup and record as MIDI.

From the HOME screen:

• Press [EDIT].
• Select Part 4 by either using the blue Part item in the lower left corner of
the screen or by using the [PART SELECT-MUTE/SOLO] method.
• “Part 4” and “Common” appear (blue) in the lower left corner of the screen.
• Touch "Arpeggio" > "Individual".
• Touch the box under “Name” in the first slot to engage the pop-in ARP
“CATEGORY SEARCH” function... we are looking for the following ARP
Phrase:

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You can type in "jazzfunk" into the portion of the screen with the
magnifying glass to initiate a text search...
We want to assign Arpeggio "[Mg]MB_JazzFunk1_C" to slot 1. Do this and
Press [ENTER]:

In the screenshot above you can see a column with the 8 ARP SELECT
locations... (only 5 are currently filled)...

As is true throughout MODX - the important functions that you need to

access are repeated on the related screens to give you convenient access.
The ARP PART SWITCH, "Arp Part", and the MASTER ARP SWITCH,

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"Arp Master", both appear here at the top of the screen. Both need to be
activated.

The MASTER ARP SWITCH must be ON for any of the ARPEGGIATORS

to work and obviously each individual PART has its own switch which must
also be activated. Remember, an ARP does not start simply by turning the
ARP SWITCH ON. You must also meet the requirements setup for that
ARP to play. To see these requirements:

Touch "Common" in the second column to see the “Limit” requirement and
settings that define the arpeggio:

ARPEGGIO COMMON

On the PART > "Argeggio" > "Common" screen you can see how this
arpeggio has been set to respond.

“SYNC QUANTIZE” - Sets a value for the accuracy of feeding chord

intelligent information to the ARPEGGIATOR. If set to a value like 240
clock pulses (an eighth note, to you and me) then you need only be within
an eighth note of the downbeat to correctly have the arpeggio change at
the top of the next measure. With computer-based/chip-based, artificial
intelligence, you can be ANY THING BUT LATE. It is better to feed the
information to the technology prior to the downbeat. If you are late
(musically, late) you will hear the error as the technology tries to

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accommodate you. If however, you feed the F7#9 chord within an eight
note of when you wish to hear it, the 240 setting will make you sound great,
immediately! It QUANTIZES only the start of the ARPEGGIO PHRASE - it
does NOT, change the timing of the phrase itself, just the "START" of the
phrase. This means if you are late by an eighth note, the phrase will remain
clock shifted exactly 240 clock ticks behind the beat!

“HOLD” - determines how it responds to your key presses. “ON” means

you do not have to hold the keys for it to continue. “OFF” means you do
have to hold the keys for it to continue. “SYNC-OFF” means you release
the keys the arp runs in the background without sounding, maintaining
tempo and position within its phrasing – in a kind of “needle-
drop/peekaboo” like phrasing. You can use this to create new variations by
adding rests to the phrase by lifting your hand.

“KEY MODE” - has to do with how the arpeggiator deals with the phrase
data. Currently, (Key Mode = “SORT”) your Key presses are being sorted
by the specific Arp phrase. If set to “DIRECT”, your trigger notes are heard,
instead.

“CHANGE TIMING”- Set to change at the top of the next measure. This
forces the Arp phrase to always begin positioned properly within the
measure count.

“Velocity”, “Gate Time”, “Arp/MS Grid”, “Quantize Strength”, “Unit Multiply”,

and “Swing” are a part of the Arpeggio Play Effect and can alter the timing
and feel of the arpeggio phrase. (More in a future article)

“VELOCITY LIMIT” / “NOTE LIMIT” - These define which KEYS on your

keyboard will *control* the arpegggio phrase for this PART and at what
play strength is required to control it. Phrases can be set to start by
triggering specific keys at specific velocities.

“OCTAVE SHIFT” - will increase or decrease the octave that the phrase is
set to play.

“OCTAVE RANGE” - will allow each successive phrase to transpose up

and octave. First time through original Octave, next time through the
Octave will be offset by the value set here.

In Cubase, if you have Dissolved Parts (separated the data to individual

MIDI Track), or even if you elect to always record to separate tracks, you
can setup to record the Guitar ARP to its own MIDI track. But it is totally

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possible to continue to use a single MIDI RECORD TRACK in Cubase
(Channel = ANY) as MIDI does allow data to remain discreet by Channel
alone.

If you create a separate MIDI Track set the Channel to "4" to match the
Channel of the MONTAGE; PART 4 is set to transmit on MIDI Channel 4,
you will want to turn the CYCLE RECORD function OFF.

When recording arpeggios, you want to record through once, start-to-end,

to avoid doubling when it loops around. If you think that you are fast
enough to stop it before it begins again, you are not!

Use the Cubase Click and Count-in, because your main job is to trigger
that arpeggio chord on the downbeat so that the phrase sits in time with the
track.
Record the rhythm guitar.

After recording ARPEGGIO data to an external DAW, you must ensure that
on playback you are not triggering the ARPEGGIATORS. An
understanding of the MIDI Signal Flow chart will help here. When you
setup for "ARP REC on DAW" the routing places the Arpeggiators just after
the keyboard and just prior to the MIDI OUT (shown below) so that it is
able to filter out your control trigger notes and output just the arpeggio
phrase data instead.
MIDI SIGNAL Flow: KEYBOARD > ARPEGGIATOR > MIDI OUT:

When the data returns (echoes back) from the DAW, it arrives via USB
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“MIDI IN” and triggers the MODX “TONE GENERATOR”.

Whenever you are going to playback data, so as not to have the incoming
MIDI data trigger the arpeggiator, it must be in the condition you see
above. The MIDI IN does not travel through the arpeggiator. If ever you are
playing back data and it is retriggering the ARPS it will sound and behave
strangely.

Once you have completed recording Arps, you will want to make sure that
the ARPEGGIATOR is out of the way of returning MIDI IN data.

In the screen above (Settings > MIDI I/O) toggle the ARP MIDI OUT
parameter ON and OFF and notice the MIDI Signal Flow diagram. What
this switch does is move the location of the ARPEGGIATOR. All signals
travel left to right:

ARP MIDI OUT = ON: KEYBOARD > ARPEGGIATOR > MIDI OUT > DAW
(Cubase) > MIDI IN > TONE GENERATOR
ARP MIDI OUT = OFF: KEYBOARD > MIDI OUT > DAW (Cubase) > MIDI
IN > ARPEGGIATOR > TONE GENERATOR

EXTRA CREDIT

You can bypass the Arpeggiator by pressing [SHIFT] + [ARP ON/OFF], the
button will flash to indicate the Arpeggiators are bypassed.

MULTI PART RECORDING - WITH MULTIPLE

ARPEGGIATORS

Any time you have multiple Parts and multiple arpeggiators, it works the
same as recording one. Use the QUICK SETUP #2: ARP REC on DAW.
This sets the ARP MIDI OUT parameter to ON, and allows those PARTS
with ARPEGGIOS to be documented as MIDI data, yet those PARTs you
are playing directly are recorded normally. Try a quick experiment using
the "Kreuzberg Funk" Performance. This 8 PART Performance includes 7
Arp PARTS controlled in a left-hand split, and has a synth lead sound C#3
and above:

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 Checklist:

• MODX is set to MIDI I/O mode = Multi - meaning you are set to transmit
and receive on multiple MIDI channels simultaneously. [UTILITY] >
"Settings" > "Advanced" > MIDI I/O mode = Multi.
• Create a single MIDI track in Cubase with the MIDI OUT channel set to
"ANY" - allowing each recorded channel to be echoed back OUT on the
channel on which it arrives - "Dissolve Parts" later.
• Set Cubase to transmit MIDI Clock Out to MODX Port 1. Go to
TRANSPORT > PROJECT SYNCHRONIZATION SETUP > MIDI CLOCK
OUT > DESTINATION > MODX Port 1.
• Use the "ARP REC on DAW" Quick Setup template to record and to
playback what you've recorded. This automatically sets the MIDI SYNC =
MIDI and sets ARP MIDI OUT = ON.
• Because the MIDI data recorded may contain SCENE change, and
therefore ARP commands, ensure that ARP MIDI OUT = ON is selected
when playing back your MIDI d.

IMPORTANT: [SHIFT] + [ARP ON/OFF]

This is the shortcut to ARPEGGIO BYPASS. This function causes the main
[ARP ON/OFF] button to flash, as it bypasses all ARPEGGIO Functions.
This can be useful when you want to playback data from a DAW and not
have that data trigger the internal ARPEGGIOS... chaos will always
follow if you let MIDI data playback and trigger the Arpeggiator (again). You
must defeat input to the arpeggiator during playback! ARPEGGIO BYPASS
accomplishes this!

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Mastering MODX: Rhythm Pattern

Creative ways to use the Rhythm Pattern feature in MODX!

The Rhythm Pattern feature introduced in MODX is useful for practice and
production. This article will show you how to use this cool feature in these
two use cases.

ACCESSING THE RHYTHM PATTERN FEATURE.

You can add a Rhythm Pattern to any Performance by pressing the

[RHYTHYM PATTERN] button located at the bottom left of the
Touchscreen adjacent to the [CONTROL ASSIGN] button. It illuminates
automatically when you have selected a Performance.

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It is really easy to add a Rhythm Pattern to an existing Performance. First,
select the Performance “CFX Concert” (Press [CATEGORY SEARCH] and
type in “CFX Concert” in the upper right of the Performance Category
Search Screen):

Press [PERFORMANCE (HOME)] to call up the main Performance play

screen and the dynamic CFX Concert Grand Piano Performance is active.
To add a drum groove, press the [RHYTHM PATTERN] button and the
Drum Kit select screen appears:

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Each of the drum kits listed above is programmed with a minimum of 5
Arpeggios. Touch on the first kit in the list, “Real Drums Kit”, and that kit
along with its 8 corresponding drum Arpeggios appears in Part 5. As soon
as you touch a key on the keyboard the drum Arpeggio will start playing:

To stop Arpeggio playback either press the Transport [STOP] button

located directly above the [RHYTHM PATTERN] or touch the [ARP
ON/OFF] button on the far left side of the keyboard.

Selecting any of the other kits changes the Arpeggio set as well in a

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musical genre that works with the selected kit. For example, when you
select a kit like “T’s Hip Hop Kit” the drum Arpeggios that are recalled are
in the Hip Hop/R&B genre:

Touching on the “Category/Sub Category/Name” area in the screen brings

up a crawl on the left. Here you can drop into Arpeggio Category Search or
you can select an Arpeggio Phrase by number from the MODX Data
List on Pages 85-143 (this lists all 10239 Preset Arpeggios):

The Arpeggio Category Search works in a similar way as the Performance

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Category Search. You can search by instrument type in the “Main” section
and by musical genre in the “Sub” section. You can even set your own
favorite Arpeggios for instant recall:

Experiment with various Performances and the Rhythm Pattern feature.

Below are two ways you might find it useful

Practice: The Hip Metronome

Practicing with a metronome is a great way to improve time feel and your

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ability to play with other musicians, especially drummers. Because there
are literally thousands of high-quality drum arpeggios in MODX you can
use the Rhythm Pattern feature to play to a very hip metronome!

Say you want to practice playing rhythm changes at 180 beats per minute
(“rhythm changes” refers to the chord progression of George Gershwin’s “I
Got Rhythm”, an essential 32 measure song form in the jazz idiom and the
basis of hundreds of different jazz compositions). You could always set a
metronome to 180 bpm and go practice. But with the MODX playing to a
hip metronome is as easy as 1-2-3:

1. Set the tempo. In the very top left of the Performance (Home) screen is
the tempo indicator. You can touch that icon, OR you can press and hold
[SHIFT] and touch the [ENTER] button (which also serves as the shift
shortcut to the tempo) to go to the Tempo Settings screen in Utility:

2. Press the Rhythm Pattern button:

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3. Select a jazz drum kit to play to a swinging drum Arpeggio.

Production: Adding a Drum Groove to Arpeggio

Performances.
There are many Arpeggio Performances in MODX that have no drum
groove and the Rhythm Pattern feature is a great way to add them. For this
example, I have selected the Performance “Motion Pad”, A 5-Part
Performance with no drum part. Take a moment and check out this
Performance: It has some great movement and textures.

Touch the [RHYTHM PATTERN] button and select the drum kit “T’s EDM
Kit 2”. Once selected as soon as you touch a key the Drum Arp will play
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along with the rest of the Arpeggio Parts. To exit press the
[PERFORMANCE (HOME)] button.

A few tips for musical experimentation:

1. Use the Cutoff and Resonance knobs to adjust the filter for different
variations and touch the Knob Function button to adjust the gate time of the
Arpeggios. To adjust all the Part of the Performance simultaneously touch
the [PERFORMANCE (HOME)]; to adjust Parts individually, touch the
[PART SELECT MUTE/SOLO] button and touch individual Parts).
2. Keep pressing the Knob Function button to access each level (TONE,
EG/FX, EQ and ARP/MS). Use these other mixing features to further
change the overall sound.
3. Adjust SWING and ARP GATE TIME to change the feel and gate rate of
the Arpeggios. Again: To adjust all the Part of the Performance
simultaneously touch the [PERFORMANCE (HOME)]; to adjust Parts
individually, touch the [PART SELECT MUTE/SOLO] button and touch
individual Parts).

4. Many of the Arpeggio Performances are optimally mixed and the existing
Parts may need to brought down in volume to balance with the drum Part.
To do this, press the [PERFORMANCE (HOME)] button so you have
selected the entire Performance and use the faders to mix each Part to
taste. Hint: It’s much easier to first bring the Parts down in volume and
them mix them together:

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You may have noticed the shortcut to the Envelope Follower in the Rhythm
Pattern screen.

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Mastering MODX: Side Chain
Modulation

In this next article in the "Mastering MODX" series, Bad Mister explains the
"Side Chain" function of the Motion Control Synthesis Engine which allows
for modifying one Part with another.

MODX allows some cool side chaining options for both internal Parts and
audio coming in via the external A/D input (because the source PART
could be an external input from a microphone, guitar, audio device, etc.).
This can take several forms and in this session, we'll take a brief look at
three of the basic possibilities - including one popular in Electronic Dance
Music.

(This Performance example is found in the tutorial content file

"SuperKnobExamples.X8U")

SIDE CHAIN MODULATION

PERFORMANCE 11: Side Chain Comp

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 PERFORMANCE 12: Side Chain Arp
PERFORMANCE 13: Side Chain RingMod

The following Insert Effect Types have a Side Chain Input Routing option,
when a source, called the 'Side Chain Part', is selected for the Insert Effect
in the Part Effect window:

• VCM Compressor 376

• Classic Compressor
• Multiband Compressor
• Ring Modulator
• Dynamic Ring Modulator
• Dynamic Filter
• Dynamic Phaser
• Dynamic Flanger

Insert Effects are those that are unique to the instrument sound occupying
the PART. Twelve of the MODX synth PARTs plus the A/D input PART has
its own pair of Insert Effects - which are customizable on a per
PERFORMANCE basis. These can be configured in series or in parallel
and can be routed from within the synth engine. Significantly, the Insert
Effect is not shared by any other PART, and is routed "inline" with the
particular instrument sound, allowing you to control this Effect on a per
PART basis with assigned physical controllers.

Please note: The Side Chain Modulation is immediately active upon

selecting a Side Chain Part for the respective Insert Effect, even if the Side
Chain Input Level is set to zero. The zero level is an offset value, which
can be increased or decreased for controlling the depth of the Side Chain
Modulation.

Translation: To avoid unintended Side Chain Modulation, basically, the

Side Chain Part selections for Insert Effects should be left in the default
condition; that is, set to OFF. A Part selection should be made only for
activating the Side Chain Modulation. To understand this, the SIDE CHAIN
connection option allows audiosignal from the source PART to enter and
influence (modify) the output of the current PART via its assigned INSERT
EFFECT. So just by making the connection, audio is routed in; what we
can do is increase or decrease that audio. If you do not want audio signal
to route via the side chain, simply leave the parameter set to OFF.

The PART with the INSERT EFFECT Side Chain Input will be modified by
the PART you route in via this 'side' input.

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The source signal becomes the modulation energy. Its audio creates the
nature of modulation - the energy is used to make changes in the target
destination parameter. In the case of a compressor you can have the audio
pulse of one Part influencing the target destination's audio. The Ring
Modulator Side Chain can be used to add radical detuning on cue from the
pulse of the audio source; the Dynamic Filter, Dynamic Phaser and
Dynamic Flanger each add a distinct audio result in response to the
selected SOURCE. We can only give you some very basic examples, to
get you started; like patching in a modular synth, the actual results will
really depend on your creative imagination - what you choose as the
source and what you choose as the sound being modulated. We'll show
some typical examples, but these are what's already been done (and is
now popular). Experimentation is required here for best (unique) results.
The best way to understand this is to hear it, then explore the settings:

PERFORMANCE 11: SIDE CHAIN COMP

This example shows a very typical Side Chain Compression result, where
a "pumping sound" is created for a synth pad caused by the input of a bass
drum groove. The Pad sound is interrupted by the input of the bass drum.
To be clear: Part 1 contains the PAD sound and Part 2 contains the
arpeggiated Kick Drum. The Kick drum causes the Pad to "duck" in
volume. The Compressor is applied to the PAD in PART 1, and instead of
using the Compressor to respond to the attack and release of the Pad
itself, we are using Part 2's audio to 'duck' the Pad (Side Chain).

In Part 1's Compressor you would set Part 2 as the input (Side Chain
Input). Side Chain uses the compressor's Gain Reduction function to
create an envelope. The Kick and the Pad cannot happen at the same time
when fully applied. (Please note: The Live Set that is used in the Mastering
MODX series is located here.)

Only two settings are needed for programming the Side Chain
Compression of PART 1.
First, the Side Chain ‘Part’ number must be selected Insert Effect "A" in the

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 Part Effect window. It is "Part 2", in this example, it includes the bass drum
groove.

The Side Chain Input and its Level parameter are found in the MODX by
navigating to the PART's Insertion Effect.

From the main PERFORMANCE (HOME) screen:

• Press [EDIT].
• Select and view PART 1 (Pad). Use the [PART SELECT _ MUTE/SOLO]
button, then touch “1”
• “Part 1 - COMMON" appears in blue in the lower left of the screen.
• Touch "EFFECT" in the left column of the screen.
• Touch "INS A" in the second column.

“Side Chain” Input source selection and the Side Chain Lvl are found on
the right side of the screen.

In the view of the overall Effect ROUTING, you can see where the SIDE
CHAIN function is attached to the INSERTION EFFECT "A" box.

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In this "Routing" screen you can see that each Element can be routed
through one or the other (or neither) of the two Insert blocks (A or B).
Currently, only Element 1 is active, and it is routed to the VCM
COMPRESSOR 376. Notice that it passes through a 3-Band EQ pre the
Insert Effects block, and there is a 2-Band EQ post the Insert Effects
blocks.

You can also see the "INS CONNCT" option in the center can configure the
Inserts in series (A>B, B>A) or in parallel. The "Side Chain" option appears
above the Effect block where you select the Insert Effect TYPE (Insert A).
You can reassign it easily here - convenient redundancy - so you can
quickly and easily try out different modulation sources.

If you select one of the eight Insert Effect TYPES that support the Side
Chain Modulation function, the Side Chain option box will appear. Notice
the INSERT "B" (not used in this particular PART) has an empty space
where the Side Chain function would appear, but nothing is there because
one of the 8 TYPEs is not selected. (The option only appears when the
context is proper).

Background Details: The SIDE CHAIN is a routing situation that allows

audio signal from the SOURCE PART, in this case "Part 2", (an
arpeggiated Kick Drum) to create a modifying signal. In this case, the
amplitude 'shape' of the audio of the Kick Drum, will cause the compressor
to engage. Compressors are amplifiers where the more signal input in the
less you get out. It, literally, compresses the dynamic range. The
Compressor reduces GAIN of the signal it is applied to, however, in SIDE
CHAINING, we flip the script, instead of compressing the Pad, we are
going to create an envelope from that incoming signal, the Kick drum, and

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 use it to 'turn down' or "duck" the Pad sound in PART 1. As the incoming
signal rises in amplitude (as it attacks) it will cause the PART 1 sound to
decrease (duck down) and as the Kick's audio signal (energy) disappears,
the PART 1 sound will return. For a rhythmic pulsing/pumping sound.

"Ducking" is used on the radio - where the DJ's Voice (source) causes the
music program to duck down, and it automatically returns to full volume
after the DJ finishes speaking. You can control the ATTACK (how quickly it
engages) and RELEASE (how quickly/slowly it ‘lets go’) of this signal
creating the ducking action. The Attack Time and Release Time settings
are critical to shape the results. When used for speech or singing, the
Release is obviously less abrupt than it would be on a percussive signal
like a Kick drum or Snare drum. Basically, set them by ear!

And while this particular effect is extremely popular in Electronic Dance

Music, exactly how you choose to use it will be a matter of experimentation
and preference. Side Chain Compression is one of the most popular uses
for Side Chaining. In MODX, however, the options for this function are
expanded - and the possibilities are many.

The Side Chain Input Level must be adjusted for Insert Effect "A". Each
SOURCE is likely to need specific adjustment, depending on exactly what
you are using to create the reaction. A pre-recorded source is likely to be
consistent and therefore easier to deal with, but virtually anything can be
used as a source. Experiment.

The depth (application) of the Side Chain Modulation can be controlled

with the Super Knob, which is assigned to the Side Chain Input
Level (InsA SChnLvl). In this manner you can use the Pad normally and
then morph to a situation where the Pad and Kick are interacting at the
extreme.

Here you can see the required settings in the Common and Part Controller
Boxes:
Using the SHORTCUTS:

• From HOME (touch the HOME icon upper left corner).

• Press [SHIFT] + [PERFORMANCE (HOME)] to jump to the OVERVIEW
screen.
• With the PART = COMMON touch "Edit COMMON Control Settings".

Make sure AUTO SELECT is green; move Assignable Knob 1:

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The start position of the Super Knob is center (64). Moving to right
increases the depth, moving to left reduces the side chain compression.
Moving to leftmost position cancels the modulation completely.

You can return to the OVERVIEW screen by pressing [EXIT] or using the
[SHIFT] + [PERFORMANCE (HOME)]
Change the PART = PART 1; touch "Edit PART 1 Control Settings":

EXTRA CREDIT: Call up factory Preset PERFORMANCE: "Mr. Side

Chain"; Play and hold a nice big full chord (hold with the sustain pedal),

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recall SCENE #3; Slowly rotate the Super Knob from 0 towards 127. You
will hear the KICK appear as you reach the 12 o'clock position, and as you
increase from there, you will hear the Side Chain Compression Kick
"ducks" the Pad sound. Explore further. The MW will control the volume of
PAD sound in reverse. In this PERFORMANCE - the KICK drum in PART 7
is used as the Side Chain input to influence the big synth PAD in PART 1.
At the same time PART 1's Output is used as a Side Chain compressor
input to influence the Arpeggiated PARTs 2 and 3. Play with this multi-
dimensional interaction.

PERFORMANCE 12: SIDE CHAIN ARP

This example is a variation of the previous Performance = Side Chain

Comp.
But this time instead of the arpeggiated bass drum groove in Part 2, a
synth arpeggio part is used for the Side Chain Compression. The audio
pulses caused by the arpeggio phrase now become the modifier - you can
use the ARPEGGIO Play FX to create Swing, change the Gate (duration),
or offset the Velocity, even change how the phrase references the clock
(tempo).

Part 1 uses a soft string pad Waveform, which works complementary in

combination with the synth arp of Part 2. In this Performance example, the
synth arpeggio plays a dual role, musically complementary to the chords
played and rhythmically interacting with the Pad sound underneath.

Below we see PART 1 - Common > "Effect" > "Routing" where the Side
Chain input arrives from PART 2. Notice in the lower left corner you can
see the PART OUTPUT, which is sent to the MAIN L&R outputs:

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In the screenshot below, we see PART 2 - Common > "Effect" > "Routing"
but the cursor is showing the PART OUTPUT... experiment by turning the
PART OUTPUT from "MAIN L&R" to "OFF". You will still now hear the
influence of the Arpeggiated PART 2, but you will not hear the sound of the
PART directly. We point this out because, it can be a very useful tool, and
greatly expands how you "look" at arpeggios. You can use the rhythmic
shape they create without using the musical note pattern that we typically
always hear/expect from arpeggios. Remember, most anything can be a
modifier in the Motion Control Synthesis Engine.

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 PERFORMANCE 13: SIDE CHAIN RING MOD

This example is another variation, using the same modulation source (part
2 with synth arp), but a different Insert Effect in Part 1. Different from the
complementary functionality of the previous example this time Part 1
supports the arpeggio groove, which is used as modulation source.

EXTRA CREDIT PART 2: We will mention the VOCODER here simply

because it is another INSERT EFFECT that allows for Modulation. While
technically speaking, not a SIDE CHAIN in the same manner as the ones
described above, one Part's signal is fed into another via the target's
INSERTION EFFECT.

Try the PERFORMANCE: "Chilled Vocoder" found in the PAD/CHOIR

Category.
Here a Drum groove (Arp) in PART 2 is used to modify the synth Vocoder
Pad sound in PART 1. The Drum groove "speaks" through the Vocoder.
And a slowly evolving Sound Effect (Rainmaker) in PART 6 is modifying a
string sound (PWM Strings) in PART 5 via a second Vocoder assigned to
Part 5:

• Turn the Super Knob to the right from center to add more "vocoded" effect.
• Press [EDIT].
• Use the PART MUTE buttons to isolate just PARTS 1 and 2.-
• The direct out of the Drum Groove is assigned to OFF, so that you only
hear the drums encoded onto Pad sound in PART 1.
• Use the PART MUTE buttons to isolate just PARTS 5 and 6.

The direct out of the Rainmaker sound effect is assigned to OFF, so you
only hear its output encoded onto the string (PWM Strings) in PART 5.

(Again) The "source" could be a "live" drummer, a "live" guitar player, a

vocalist, a mix tape, your favorite playback device - another synthesizer -
sky's the limit.

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Mastering MODX: The Envelope
Follower

The Envelope Follower works with external audio and with internal Parts.
The Mastering MODX Article Series continues with a deeper look at this
cool feature.

PERFORMANCE 14: ENVELOPE FOLLOWER

(The Performances associated with this tutorial series can be found here)

Using the Envelope Follower you can use the output of a Part for
modulating selectable parameters of any other part. This way you can
transfer the movement or rhythm of a Part to other Parts. This way of
shaping the sound works especially well using percussive arpeggios or
drum grooves.

In the Controller Assign box you will find the sources named "Envelope
Follower, 1 – 16, AD, Master".

Translation: An Envelope is used to describe a shape. In synthesizers, we

talk about three main components: Pitch (oscillator), Timbre (filter), and

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 Loudness (amplitude). There are Pitch Envelopes, Filter Envelopes and
Amplitude Envelopes. And what we mean by "shape" is, we need a way to
describe how they behave over time. How they start, what they do while
they are happening and how they disappear. In the case of this Envelope
Follower we are using the Loudness (Amplitude Envelope) shape of one
PART's sound to create an attack-decay-sustain-release shape for another
Part to follow. Envelope Follower - the Source PART creates
the envelope, the Destination PART follows that shape.

We saw an example of how the Side Chain Compression uses one sound
to replace or "duck" the volume of another, here the one sound will follow
the shape of the other. A drum groove’s pulsing nature can cause the
affected sound to follow exactly the rhythmic movement. You could take a
phat synth bass and marry it to the shape of the kick drum pattern, so that
whenever the kick drum occurred the synth bass sound would strike.

In this example, a Synth Comping sound in PART 2 is used to influence a

Synth Pad sound in PART 1. The Synth Comping sound is under control of
an ARP, its pulsing techno groove triggers the Synth Pad to increase in
volume. (Please note: The Live Set that is used in the Mastering MODX
series is located here).

For using the Envelope Follower you simply have to make one control
assignment for the Part, which receives the modulation:

This assignment is found in the MODX by editing the PART Controllers.

From the main Performance (Home) screen:

• Press [EDIT]
• Select Part 1 (touch the blue box in lower left corner and select “Part 1”)
• Touch "MOD/CONTROL".
• Touch "CONTROL ASSIGN".
• Touch the “DISPLAY FILTER” box to open the LIST VIEW.
• Use the DATA WHEEL to scroll to "EnvFollow 2" (which means that PART
2 will be referenced as the SOURCE).

Here you can see how the VOLUME is being controlled:

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 In this example, the Dance pad is shaped by the rhythm of the synth
arpeggio of Part 2.
Selecting the Source "Envelope Follower 2" and the Destination common
"Volume" means, that the output of Part 2 modulates the Volume of Part 1.
You can really intensify what this means by disconnecting Part 2 from the
audio output. Here’s how:

• Select Part 2 (blue box, lower left corner, select “Part 2”)
• Touch “Part Settings” > “General”
• Set the “Part Output” = Off

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 What this does is allow just the amplitude of the arpeggiated Part 2 to
manifest itself through the Dance Pad in Part 1. You are no longer hearing
Part 2 directly. So you hear the dancing pattern of the arp, only as it
triggers the volume of the pad sound…. Return to PART 1:

• Part 1 > “Mod/Control” > “Control Assign”:

Temporarily reduce the Ratio to +0. This will remove the influence of Part 2
on Part 1 - you will hear the normal steady sound of the pad sound. As you

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 increase the Ratio toward +63, you hear the increased influence of Part 2
on Part 1.

Helpful to understand the routing will be to navigate to the EFFECT itself.

In the screenshot above you can see a box next to the “DISPLAY FILTER”
> EnvFollow 2 that is a shortcut box "Edit Envelope Follower" - touch this to
be taken directly to the Envelope Follower:

In the screenshot above: PART 2 is selected. It is identified as the

SOURCE; the bottom of the screen shows which Parts are feeding into the
Envelope Follower as SOURCES to create the "envelope" and which are
set to "follow".
From this it is clear that Part 2 “SynCp”, is the source (arrow pointing up),
and Part 1 “Pad” is the "follower" (arrow point down). You have GAIN,
ATTACK and RELEASE - to help "shape" the envelope. Experiment by
changing the Attack and Release to hear the effect on the results. Gain
simply increases the audio output of the source energy.
Set the Attack to 1ms and the Release to 15ms

Important Note: It should be mentioned here that the screenshot above

allows you to Edit the GAIN, ATTACK and RELEASE of the item that you
have selected as the ENV FOLLOWER source. You do not *select* the
SOURCE on this screen. The SOURCE is selected back on the PART
CONTROL ASSIGN screen. When you change the "PART" on this screen,
you are simply looking at (viewing) this PART's meter - its contribution to
the mix. Above, we are looking at the INPUT LEVEL of PART 2, we are
also looking at the Envelope Follower Output Level; Changing the GAIN,
ATTACK and RELEASE of PART 2 will influence the sonic result.

An important chance for changing the character of the modulation further,

exist by using the filter envelope of Part 2 (Element 1). Especially the short
filter decay (Decay1Time) is very important for the conciseness for the
shape of the modulated Pad sound. If you increase the Decay Time the
intensity rhythmic modulation will be reduced more and more.

The Envelope Follower's impact can be easily demonstrated in this

example by navigating to the Filter EG:

From the main PERFORMANCE (Home) screen.

• Press [EDIT].
• Select Part 2 to view PART 2 parameters.
• Touch "Elem1" on the bottom line of the screen to view Element 1 settings.
• Touch "Filter".
• Touch "Filter EG".

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• You can see you are editing “Part2 - Element1”.

Highlight the TIME parameter "Decay1" in the screen (shown):

Increase the value above 42; then decrease it again to hear what the
Envelope Follower is doing. It allows you to shape the overall sound.

The same chance for changing the character of the sound exist in
the Amplitude Envelope Generator of PART 2 (Element 1). Both
the Filter EG and Amplitude EG must be seen as influencing the sound
output over time. Filter EG often depends on the Amplitude EG, because if
the AEG does not allow for sound to happen, movement in the filter is
meaningless. Therefore, if the AEG is not allowing any sound to occur, you
will not be able to tell what the Filter is doing - they work together! (Plain
Talk: the AEG allows for volume change, if there is no volume allowed, you
will not be able to hear filter movement. Simple as that!)

Of course, the sound and/or device you choose to generate the source
signal will have a great deal of influence of the result.

EXTRA CREDIT

Volume (amplitude) is a very typical use for the Envelope Follower,

because we are using the loudness of the source to control the loudness of
the target; but do not limit your thinking to the obvious or typical. This
happens to be the best way to understand what this tool does, but be sure
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to use your imagination and do not be afraid to ask "I wonder what will
happen..." This is part of the joy of synthesis.

Try "Element Pan" instead of VOLUME as a destination for the Envelope

Follower. Now instead of changing the volume of the target you can have
that audio burst create a movement in position in the mix - get out your
headphones as you can send sounds swirling off into the atmosphere. As
we dive deeper you will have more of the MODX tools under your belt and
with knowledge of what they can do, you will find an endless source of
inspiration and things to try.

Things do not all have to happen in a typical pulsating rhythmic way, you
can create your own custom CONTROL motions over entire sections of
music. You can offset the timing, extend when and where and how things
occur. We can only open the door, let you peek down the long infinite
hallway - it is for you to explore and create the music.

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Mastering MODX: Assignable
Knobs

Bad Mister introduces us to the next lesson in leveraging the power of the
MODX - using the Part Assignable Knobs.

PERFORMANCE 9: ASSIGNABLE KNOBS

The previous examples were showing how to use the Assignable Knobs of
the Performance Parts for building Super Knob assignments. Independent
of the Super Knob use, you can use the Part Assignable Knobs for
individual assignments, which are used after *selecting* the Part.

(Please note: The Live Set that is used in the Mastering MODX series is
located here).

Important: You can control only one Part at the same time with Part
Assignable Knobs (the currently selected/highlighted PART). But you can
use the Super Knob and the Assignable Knobs of the *selected* Part at
same time!

This example shows how Super Knob assignments can be combined with
individual assignments to the Part Assignable Knobs, which have not been

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linked to the Super Knob. Getting your head around this may take some
time, but before there was a Super Knob, an Assignable Knob would be
assigned to control a specific parameter within the current PART. This can
still be done, and it remains unaffected by the movement of the Super
Knob for this PART.

Often a PART in your PERFORMANCE may be selected (highlighted) for

individual direct play/control, while the others are responding to messages
generated by the Arpeggiators. For example, you might have a two-Part
split Performance, a lead sound in the right hand and a bass in the left; you
might want to have a knob that just affects the lead Part. In such a case
you may opt to simply use the Assignable Knob independent of the Super
Knob movement.

Each PART, when selected for *direct* play/control, has access to the four
rows of four Knob functions plus its own eight Assignable Knobs. In effect,
you have 24 Knobs, plus the physical controllers (MW, PB Wheel, the two
Assignable Switches, FC1/FC2, Faders (Control Sliders), the Motion
Sequences, Arpeggios, the Envelope Follower, etc., that can all be called
upon while this Part is selected. An extensive Receive Switch matrix allows
you to determine which physical controllers are active per Part, thus
making your performing work as you deem necessary. Between the Super
Knob which can work independently, and the controls available to your
currently highlighted (selected) Part, you can design most any scenario.

This example Performance includes only one Part with a typical fat
sawtooth synth pad. All eight Part Assignable Knobs are assigned to
parameters within this PART, but only two of them (1 + 2)
are also routed/linked to the Super Knob:

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Translation: In the previous examples of the SUPER KNOB assignment,
we saw how on the Performance upper "COMMON/Audio" level you
needed to assign "Part 1 Assign 1", "Part 1 Assign 2" and so on, to make
each Knob accessible via the Super Knob. In this example, only these first
two are using the Super Knob. The other six Part Assign Knobs are
individually accessible when you highlight/select the PART, as we'll see
below. (This is very similar to the Motif XS/XF Performance where when
you directly *selected* an individual PART, the Assign 1 and 2 Control
Knobs would address just that individual PART parameters). On MODX
you have 8 Assign Knobs per Part and they can be used, directly when
performing.

To view the Assignable Knob layout go to the OVERVIEW screen: [SHIFT]

+ [PERFORMANCE (HOME)] or from the main screen touch "MOTION
CONTROL" > "OVERVIEW".
First view the Performance COMMON Assignable Knob assignment:

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Above you see the two Assign Knobs that are linked to the Super Knob.
Change the PART parameter from "COMMON" to "PART 1" to view the
Assignable Knob layout for PART 1:

Above you can see that Part 1 Assign Knobs 1-4 are active.
Press the [ASSIGN] button (Flashes) to reveal that Part 1 Assign Knobs 5-
8 are also active.

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 There is one DESTINATION parameter assignment to each of the PART's
eight Assignable Knobs.
To view the actual 8 Destination Control Settings use the "Edit Part 1
Control Settings" shortcut.

• Touch the box – “Edit Part 1 Control Settings”

• Set the DISPLAY FILTER to "ALL".

You can view Destination 1 ~ Destination 4 on the first Page.

There are two PAGES:

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Page 2:

The currently displayed "DESTINATION" (blue) has a number, 1-16,

highlight that box to view it's data. Touch the parameter setting to view a
pop-in menu of possible parameter Destinations. Looking at
DESTINATIONs 1 and 2, (above) you learn that CUTOFF and
RESONANCE are being controlled by Assign Knob 1 and Assign Knob 2,
respectively. Because the AUTO SELECT is active (green) moving the
SUPER KNOB will reveal that, indeed these are the "PART 1 ASSIGN 1"
and "PART 1 ASSIGN 2" parameters that are linked to the movement of
the Super Knob:

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The Super Knob starts with the center position (64). This is useful for
combining with the use of Part Assignable Knobs, which are set to center
position by default. For this reason, selecting Bipolar (Polarity) for all
assignments in the Part Controller Box is needed: Bipolar allows you to
move the parameter up or down depending on whether a Positive or
Negative value is set for RATIO. Positive values increase as the Knob is
turned clockwise.

The Assignable Knobs can be used for controlling the listed eight
parameters: Cutoff, Resonance, Insert "A" Dry/Wet, Insert "A" LFO Speed,
Insert "A" Feedback Level, Element LFO Pitch Modulation Depth (vibrato),
AEG Attack, AEG Release.

At the same time you can use the Super Knob, which controls the
Assignable Knobs 1+2. But you should avoid using the Super
Knob and the Assignable Knobs 1+2 at same time, because they are
controlling the same parameter.

When PART 1 is highlighted (shown below) on the Home screen, you can
see the movement caused by the Super Knob’s control over the
Assignable Knob 1+2, “Cutoff” and “Resonance”.

I've edited and stored this PERFORMANCE renaming the individual

Destinations for this PART (PART 1) (DISPLAY NAME). By default, they
are simply named: Assign 1, Assign 2, Assign 3, Assign 4 and so on.

This DISPLAY NAME will appear on the main PERFORMANCE screen

when PART 1 is the "selected" (highlighted) PART. Shown below:

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When you *select* the PART, Part 1, the name you provide as the "Display
Name" will appear - very useful when performing to know what your
assignable knobs are going to do (select the Part by touching the
TYPE/NAME box above PART1) – Now you will see that I've identified
what each of them is doing to PART 1. Because you can SELECT only one
PART at a time, it makes total sense to be able to read what that Knob is
assigned to (this cuts down immensely on the guessing about what a Knob
is doing!) It appears that many of the PRESETs have the word "Assigned"
simply as the PART "Display Name" – which at least lets you know it is
doing something – if it is not assigned the Display name area appears
blank.

Using the "Display Name"

Hint: From the upper COMMON/Audio level (or when the

PERFORMANCE NAME is highlighted) the KNOBS will simply read
ASSIGN 1 – ASSIGN 8. When you select an individual PART, you have
the option of viewing the KNOB assignment by what it is doing. You can
even give it a "nickname" – it can be anything that you wish. This is
extremely cool because you can be descriptive. The Presets only indicate
with Knob is "Assigned" when you select an individual PART.

Imagine the PART Knob is controlling an FM Element that causes RING

MODULATION when you raise its Modulation Index (Output Level) saying
it is "Output Level" is not as helpful as naming it "+RingMod".

So selecting any single PART (so that it is the highlighted PART) will show
you what each of the knobs is assigned to control. This can be very useful

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and can make exploring Performances much easier because when scuba
diving, it can get quite deep!

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Mastering MODX: Controller Box
Switches

In this lesson, Bad Mister introduces us to how to leverage the Controller

Box Switches in MODX.

PERFORMANCE 10: CONTROLLERBOXSWITCHA

Sometimes it is needed to make control assignments only to specific

Elements within the AWM2 PART (or to specific Operators within the FM-X
PART). In the default setting the control assignments are valid for all
Elements of a Performance. The individual assignments for Elements can
be done on the Controller Set screen - you can select the Element for
Destinations that allow individual selection.

Please note: The Live Set that is used in the Mastering MODX series is
located here.)

This means that all used control settings made in the Part Controller Set
are initially enabled. If you select a parameter that allows for individual
Element assignment, you must OPT OUT for the individual Element. The
default is that an ELEMENT is set to OPT IN. In other words, if you select a
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parameter Destination that does offer individual ELEMENT assignment, the
Elements are initially set to active (ON) by default. If you don't want to
control an Element turn its individual Switch OFF. Of course, if you do not
select the parameter Destination, its being ON or OFF is of no
consequence, because you will not be changing anything.

For better understanding it may help to compare this function with the
corresponding function of MOTIF XF, which is the "Element Switch" in the

Controller Set Assignment.

As you can see in the displayed screenshot, the Effect parameters are
unchecked or greyed out, because they cannot be used individually for
Elements. This is because of the selected Destination. The entire sound
(all Elements together) are routed through the selected destination (Effect).
"InsA-HSH G" (Insert A - High frequency Shelving Gain) which is an EQ
parameter and "Reverb send" are situations where the entire program is
processed, it is not a possibility to select just a single Element.

In CONTROLLER SET 4 and 6 (Destinations "cutoff" and "AEG release",

respectively) are checked for all Elements. Here you have a choice, and all
Elements are opting in.

In CONTROLLER SET 3 (Destination "Element Level") is checked only for

Element 8. The programmer would have had to uncheck Elements 1-7 in
order to OPT OUT.

A CONTROL SET on the Motif XF consists of a SOURCE (physical

control) and a DESTINATION (target parameter). The DEPTH dealt with
the application of the controller both range and direction, and for those
Destinations appropriate you were provided the option to select specific
Elements individually.

The MOTIF XF had only 6 Control Sets; MODX provides 16 Control Sets
per PART and an additional 16 for the COMMON/Audio level of editing;
plus new parameters like Curve Type and Polarity and advanced shaping
tools designed so you can customize the application of controllers.

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 These new shaping tools exponentially increase the DEPTH function as
was available in the Motif and MOXF series. DEPTH does not have to be
linearly applied. In fact, you can completely customize the shape of how
the application of a controller is applied. You can manually apply it or
automate its application. This is at the core of the Motion Control Synthesis
Engine.

The layout is a bit different. But the operation is fundamentally the same.

• If a Performance Part doesn't require individual Element assignments you

can keep the Controller Box Switch as it is. All Element Switches default to
ON
• If you want to make individual Element assignments you have to edit the
Controller Box Switch matrix.

Translation: CONTROL ASSIGNMENTS are easy to deal with because

they are seen within the PART's Element/Operator view and are made as
you think about them - which is intuitive. It is very much like patching a
modular synth, in that as you build your sound, you make the necessary
connections/assignments. The key thing here is the Destination
(parameter) determines whether or not the Element/Operator Switches
appear or not. Obviously, some Destination parameters are PART
destinations (affect all Elements or Operators together like common
Volume, Send to Reverb and Variation, etc.) and others are individually
switched per Element or Operator (like Element Level, Element Pan, AEG,
FEG and PEG parameters, Cutoff, Resonance, LFO etc.). Think about all
the individual envelopes you can control within the 8 PARTS, each with as
many as 8 Elements (if AWM2) or each with 8 Operators (if FM-X).

PERFORMANCE 10: ControllerBoxSwitchA

This example includes a simple Super Knob morphing between two

different organ Waveforms within a single Part:

• Element 1 = Gospel
• Element 2 = 1st Four Draw

Instead of the organ sound occupying a Part, here each B3 (Tone Wheel)
Organ sound is a single Element within the same Part.

Element 1 Gospel is assigned to the right (fully clockwise) position,

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Element 2 1st Four Draw is set to the left position of the Super Knob. In
the center position you will hear a mix of both. First step, for the Super
Knob assign is the assignments in the "Common/Audio" Controller Box:
The first two Knobs (Assign1 and Assign2) are set to link with PART 1 on
this upper Common/Audio level (the Super Knob level). Instead of
morphing between PARTS, we are now working within a single PART by
manipulating individual Elements (since this is an AWM2 sample based
program). Each Element references a Waveform. A Waveform organizes a
set of samples mapped to respond across the keyboard at specific pitches
and velocities.

From the HOME screen:

Press [EDIT].
COMMON (blue) > Select "Control" > " Control Assign.
With the “AUTO SELECT” (green) active you can view the assignments
either by moving the Knob itself or setting the DISPLAY FILTER =
SuperKnob:

Next follow the assignments in the Part Controller Box, which is basically
the same as morphing between Parts, but this time using the Element
Level as destination. Below, we can take a look at the two PART 1
destinations.

Select Part 1 – touch the box "Edit Part1 Control Settings":

Ensure that "Auto Select" is active (green).

Move ASSIGN KNOB 1:

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Move ASSIGN KNOB 2:

This Performance is a Single Part and only two Elements.

(Top screenshot) Assign Knob 1 (Ratio +63) = Element Switch 1 ON,
Element Switch 2 OFF
(Bottom screenshot) Assign Knob 2 (Ratio -64) = Element Switch 2 ON,
Element Switch 1 OFF

It should be noted here that, you can STORE the position of the Super
Knob with the PERFORMANCE. If you want this Performance to come up
with the 1st Four Draw Element alone, you would store the Super Knob at

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a value of 0. If you wanted the Gospel Element alone, you would store the
Super Knob at a value of 127. And finally if you wanted to recall the sound
with both set equally, you would store the Super Knob at 64, or the balance
you desire.

From the PERFORMANCE (HOME) screen:

Touch "Motion Control" in the main screen's left column.
Touch "Super Knob" in the second column.
SUPER KNOB value is in the upper right corner.

SOURCE/DESTINATION CONTROL ASSIGN Shortcut:

This is a good example to illustrate how easy it is with MODX to assign a

parameter (Destination) to a controller (Source). While up until now, we
have been going through the screens where this all takes place on the
"scuba diving" tour. The following is a quick and easy assignment – for the
“snorkelers”. Say you've selected the Rotary Speaker TYPE as Insert
Effect "A" and you want to assign Rotary Speaker: “Speed Control” to the
MOD WHEEL. (Notice this Performance does not have it assigned).

Start from the HOME screen (touch the icon in the upper left corner):
Press [EDIT].
Select PART 1 to view the PART 1 parameters:
Press [PART SELECT – MUTE/SOLO] > touch “1” > then [EXIT]

Touch "Effect" in the left column.

Touch “Routing”

This is where you can assign the Effect Types to the INSERTION A and B
blocks.
I have already set Rotary Speaker 1 as the Effect Type for INSERT A

Touch "INS A" to view the parameters of the Rotary Speaker.

Move the cursor to highlight Speed Control (shown): SLOW

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Press the [CONTROL ASSIGN] button (located to the left of the screen
below the Super Knob), which is now illuminated. This button will glow
when you have placed the highlight on an assignable parameter.

The Destination Parameter screen will appear and it will tell you to activate
(move) the controller you wish to assign:

Move the Mod Wheel:

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Done! It takes you immediately to the Controller Assign screen where you
can tweak the Controller response (Depth) and/or Delete the assignment
(Lower right corner of this Control Set screen). Notice that the Element
Switches do not appear as they are unavailable - because all Elements will
be affected by the application of the Rotary Speaker Speed change.

In the OVERVIEW you can now see how the MW (Controller) is linked to
PART 1 (magenta):

The [CONTROL ASSIGN] button, located to the lower left of the screen
below the Super Knob, will glow whenever you move the cursor highlight to

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a potential assignable parameter. This allows you to rapidly assign, then
scale and shape the application of that controller.

EXTRA CREDIT: NEW ROTARY SPEAKER TYPE

With PART 1 selected try substituting the new "Rotary Speaker 2" Type for
the one above:

Tap the PRESET box to view the various starting points. A pop-in menu
will appear; Use the DATA WHEEL or touch the Preset you would like try:

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183 / 366
Mastering MODX: Motion
Sequences

In this lesson from our own Bad Mister, learn more about how the Motion
Sequence dedicated controls on the front panel make it easy to manipulate
and change in real-time, providing incredible interactivity and expression.

Motion Sequences are tempo-synchronized, completely customizable

control sequences which can be assigned to virtually any synthesizer
parameter - and provide incredibly creative new ways of programming
sound.

BACKGROUND AND THEORY

Before we recall and look at the example Performance, let’s take a moment
to get some new terminology clear. While the concept of a sequence is
clear to most of us, what actually is a "Motion Sequence" really? We think
of Notes as being the things recorded to a sequence. Similar to how when
someone mentions "arpeggiator", it is the Noted arpeggio Type that we
think of first. In the Motif series you could, however, select arpeggios that
where Controller messages instead of notes. These control Arps would

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 apply control changes to your direct playing. They might rhythmically adjust
volume or pan position, some added pitch bends, some made changes to
filter cutoff and/or resonance. This is a good background for gaining an
understanding of what Motion Sequences are like in MODX.

They are not Notes, but are automation for parameter controls - what
exactly you patch them to do is a part of the creative use of this feature.
How you use this is wide open. The comparison to Arpeggios is very on-
point. There are 8 Arps and 8 Motion Sequences.

They can be paired and recalled in tandem; they can be assigned, in any
order, to one of the eight SCENE buttons.
[SHIFT] + [SCENE] will register selected Motion Sequence and Arpeggio to
a [SCENE] button.

KEY THINGS TO KNOW

Please take a moment to read through pages 88-95 in Reference Manual

(PDF) to familiarize yourself with the Motion Sequencer parameters:

• A Motion Sequence is a series of up to 16 steps. It can be as short as 1

step and 16 steps at maximum.
• Each Step has an “Amplitude” setting and can be extremely complex.
• A Motion Sequence can be set to Loop, or play when Triggered (like an
arp).
• A Motion Sequence can be adjusted as to timing, intensity, feel (like an
arp) via MS FX.
• You can assign up to eight desired Motion Sequence types for any one
LANE.
• You can also set up to four LANES for one Part.
• A LANE is a pathway to a specific parameter or multiple parameter
destinations.
• Up to eight LANES can be used at the same time for the entire
Performance - simultaneously.

You can construct these Sequences manually or select from a variety of

preset Sequences. They can be real time adjusted, shaped, and interacted
with as they happen. The shapes and nature of these Sequence steps is
wildly and amazingly deeply programmable. Sequences can be set to loop,
or they can be triggered manually as "one shot" phrases, or retriggered at
"each key-on", or just play from the very first key-on, etc., etc., etc. They
can be sync'd to tempo, they can be set to divide or multiply the current

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tempo (stretching out to some 64 measures; they can follow the
arpeggiator and start when it does, they can run freely. Tempo and timing
offsets can be applied (like PLAY FX in the XF) allowing you great flexibility
in how they "feel" when applied to the synth. You can sharpen and/or
amplify their influence on the target.

You can use these in rhythmic ways - the obvious and typical use would be
a very rhythmic movement of the cutoff frequency, or the rhythmic pulsing
when assigned to volume or pan position. The assignments go way beyond
these typical uses - they can manipulate a wide palette of parameters,
even parameters that control other parameters. And since they can
reference tempo, or even be manually triggered, you can use this feature
to accomplish all kinds of musically related automation.

Ability for MODX to link with and derive tempo from external devices
means that it can play "tempo/measure aware" of its surroundings. More
on this in future articles. You can use it to add a single change event that
occurs at set intervals - many times events are set to occur at 4, 8, 12 or
more measure - using the “Unit Multiply” setting you can change how your
Sequence references the Tempo. “Unit Multiply” = 100% would make
sixteen steps equivalent to 1 measure. You can expand the reference out
to 6400%.

PERFORMANCE 15: MOTION SEQUENCE 1

MODX: from the PERFORMANCE (HOME) screen touch "MOTION

CONTROL" > "MOTION SEQ". Here you will find the "MS MASTER" switch
and an overview of the various PART SWITCHES. (Please note: The Live
Set that is used in the Mastering MODX series is located here.):

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• The PART SWITCH for each of the 16 Synth Parts defaults to ON. You
must additionally activate a LANE for anything to happen.
• The MS MASTER (Motion Sequence Master) Switch is repeated in this
screen and this operates the front panel button's [MS On/Off] function.

(The Master ARP ON/OFF and MS ON/OFF are adjacent to each other on
left front panel).

In the screenshot above, you can see the four Lanes available per PART.
Total - there are 64 LANE switches. - the "ACTIVE" box counts how many
of the eightsimultaneous LANE switches are currently active. Only PART 1
has a Lane Switch active in the above shot, so 1 of 8 is shown as Active,
"1/8".

Actually, there can be 8+1 Lanes active. The "+1" refers to

the dedicated Motion Sequence available for automating the Super Knob
movement (covered separately).

When you drop into the PART level of editing for MOTION SEQ > LANE
you see that in this example, only LANE 1 is active (blue LANE 1). MS FX
is ON, which allows timing offsets to be applied. We are viewing Sequence
#1 of 8 possible sequences:

• Press [EDIT]
• Select Part 1 to view its parameters

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• Touch "Motion Seq" > "Lane":

Shown (above) "Edit - PART 1 - COMMON > "Motion Seq" > "Lane"
screen. Here you will find the Master Switch for the Motion Sequencer
(repeated) and the PART Switch, as well (repeated) for convenience.
Notice the Shortcut Boxes to 'LOAD SEQUENCE' and to 'EDIT
SEQUENCE'.

You have to make the Destination assignments in the Part "Mod/Control"

box: without a parameter Destination, the Motion Sequence does nothing.
It is controller data, that needs a Destination to manifest its influence. This
is a very important concept to understand. Say the Motion Sequence is a
series of values that decrease and then increase, until you assign that to a
parameter (Destination) it doesn't mean anything. If assigned to a LPF's
cutoff frequency then you will hear it manifest itself changing the timbre of
the synth on the notes that you play:

• Touch "Mod/Control" > "Control Assign"

• The DISPLAY FILTER is highlighted and "MS LANE 1" is selected. You
can see the Destination 1 = Cutoff, and Destination 2 = Elem Pan:

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 We start here with two very obvious Destinations - easy to hear and
recognize. Increase the Ratio to get a sense of what is being changed.

Polarity is set independently for each to bipolar - we are offsetting the

cutoff frequency above and below a normal setting; with pan we are
moving right and left from a center position. Switch between Destination 1
and 2, and adjust the Ratio amount, observe (hear) the influence.

IMPORTANT CONCEPTS TO UNDERSTAND

In this example the used Control Sets are both routed:

• Source: MS Lane 1 > Cutoff.

• Source: MS Lane 1 > Element Pan.

As you can see it is possible to assign more than one parameter to a Lane.
You simply touch the "+" ADD icon to add a new Source/Destination setup.
The significance of being able to select as the SOURCE "MS Lane" means
that you can group your automation shapes - In a Part with multiple
Elements, a Lane could be assigned to influence Elements 1-4 to create
coordinated movement in both filter cutoff and pan position, while a second
MS Lane could be used to automate contrary movement in Elements 5-8,
or move at slightly different rates and directions. It's a synthesizer!

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Touch the box next to the DISPLAY FILTER called "Edit Motion
Sequencer" to take the shortcut to the currently selected Motion Sequence
data:

For this example we only need Lane 1, which uses these settings. With
LANE 1 selected (blue), touch the box labeled “Edit Sequence”:

As mentioned before, each Part includes eight Motion Sequences, 1 – 8,

which can be selected at any time using the “SEQUENCE SELECT”
buttons, while here on this EDIT screen; they can also be linked to the red

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SCENE buttons (more on this later).

If, for example, you switch to SEQUENCE SELECT number 2, you will
receive a new set of 4 lanes with completely different Motion Seq steps,
Curves and other parameters. It's huge.

But please remember the limitation of maximum 8 Lanes, simultaneously.

Later we'll take a look at a PERFORMANCE that uses all 8 Lanes of
assignment.

Basically, you will not always need several Lanes for a Motion Seq,
because you can assign more than one parameter to a Lane. But it can be
extremely interesting to use different Lanes for specific control
assignments. Using the UNIT MULTIPLY feature, you can space events
out over entire sections of music. If you think of the 16 Steps as one
measure, this equates to UNIT MULTIPLY of 100%. You can expand the
time out to 6400% (64 measures). Your mileage will vary.

The ramifications of assigning more than one parameter to a Lane are that
it will follow the same control movement, which, musically speaking, can be
just fine. The degree of response is individually programmable. In our
example, both Cutoff and Element Pan share the same Lane, but each has
its own set of "depth" parameters that determine how deeply it gets
applied. When making your own programs you will need to determine
which parameters need to be controlled with their own independent
movement, and which can share.

You can edit the steps of the Lane to an extremely deep degree.

Notice that the Steps are divided into two sets of eight on the screen, 1-8
and 9-16. (A white box in the screenshot above outlines STEPS 1-8). You
can set the CYCLE value to any number of steps, for odd time signatures,
etc. They are grouped in sets of 8 so that you can use the 1-4/5-8
Faders and the 1-4/5-8 SceneSwitches to adjust the Amplitude and select
the shape Pulse Type A or B in real-time, respectively. This hands-on
method will allow you to intuitively set accents or swap Pulse Types to
create different movements. Rather than step-editing by accessing one
Amplitude value in the screen at a time, you can quickly
create Amplitude 'shapes' using the Faders. Then you can dial it in, by
accessing the individual values. Try it. Move the Faders to adjust the
amplitude of the corresponding Step and touch the blue SCENE buttons to
switch it from Pulse A to Pulse B (blue).

Beside setting the values of the steps, the most important thing is to set
the Curves and determine their Shape (prm1/prm2) – separately for the
Normal and Accent steps.

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You can select one of the 18 PRESET Curve types.
Each Curve Bank A/B includes a specific number of curves with different
shapes.

For example, we see Resonance is shown for Pulse A, with the Prm
(parameter) numbers 2 and 4;
Prm1 = 2 and Prm2 = 4

You can see what they are talking about by adjusting: Prm1/Prm2 – which
help shape the segment.
When the "SMOOTH" parameter is turned down (lower the value), you will
hear more of a radical impact. "Smooth" does just what it says, it rounds off
the results - so you can make sharp abrupt changes or rolling smooth
changes.

The two numbers (PRM1/2) are used for distinguishing the different shapes
of a Curve type.
The first number stands for coarse, the second number
for fine distinctions.

18 PRESET CURVES

The Curve types are Standard, Sigmoid, Threshold, Bell, Dogleg, FM, AM,
M, Discrete Saw, Smooth Saw, Triangle, Square, Trapezoid, Tilt Sine,
Bounce, Resonance, Sequence, and Hold

Example:
In case of the Curve type Resonance there are totally 30 possible Curves
Forward and 30 possible Curves Reverse.
Prm1 can be set to one of six values: 0 through 5
Prm2 can be set to one of five values: 0 through 4

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 On the Lane 1 line in the screen you can see the Lane Switch and the MS
FX Switch. Then the "Trigger" (currently Off) allows you to manually trigger
the MS to play as a one-time event. You do so by using the dedicated
[Motion Sequence Trigger] button located near your Wheels. Much like
Arpeggio Phrases, there are a variety of ways to use a Motion Sequence.
Think beyond just "looping" (Cycle) events.

The parameter Direction, (found in the MS Edit area) selects between

forward and reverse.

If you want to realize separate Steps and Curve settings for specific
parameters you can use more than one Lane. In this case you have to
make different control set (Source/Destination) routing for each parameter.

EXTRA CREDIT

Try Loading some of the PRESET CURVES:

• Touch the shortcut box "Load Sequence".

• Find the PRESET Folder.
• Touch it to open it and select "BIG TRIANGE 4".
• Below I have set SYNC = TEMPO.
• UNIT MULTIPLY = 200%.
• And the CYCLE = 16 steps.

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Touch the "Edit Sequence" box to drop into detailed editing of the
Sequence:

Press [EXIT] to return to your "Mod/Control" > "Control Assign" screen and
experiment with the parameters. You can clearly see/hear the Filter follow
this movement and the Pan also follows this same movement. Visually you
can picture the filter closing and opening following this Big Triangle as it
makes four trips per Cycle. If you assign it to Pan, then you will hear it
manifest itself by moving the signal from hard right toward center and then
to hard left. Play with + (positive) and - (negative) RATIO values to hear the

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 change in application.

Just because a Part can utilize four Lanes does not mean you will apply
that many to a Part. A single Lane could be simultaneously changing
multiple parameters. In the example we see it change filter cutoff and
panning. Panning the Element might be enough. Certainly panning, and
volume, and cutoff and LFO speed might be overkill for a single Part, but
you could use all four pathways to assign control on this one Part. That
would leave you just four other pathways (Lanes) you could establish
elsewhere for this Performance! A quick study of how the programmer's of
MODX use Motion Sequences (MS) will give you a better idea of how to
apply this tool. We'll give you a list of Performances to look at in the Extra
Credit area at the end of this article.

The Super Knob has its own dedicated Motion Sequence which can be
used to automate the parameters assigned to it. This is in addition to the 8
Motion Sequences available to the individual synth Parts.

The Sync and Tempo settings are complex.

Sync settings:

• Off - not synchronized

• Tempo - references MODX clock settings
• Beat - references internal or external tempo starts at beat timing
• Arp - synchronized to internal/external tempo starts when triggered with
Arp phrases

"Speed" setting used only when SYNC = Off.

SUPER KNOB MOTION SEQUENCE

The Super Knob Motion Sequence works basically same way as the Part
Motion Sequence.
But assignments in the Controller Box are not needed, because it is simply
an automation of the Super Knob movement.
From the HOME screen:

• Touch "Motion Control" in the first column, "Knob Auto" in the second
column
• Set the SUPER KNOB MS = ON (shown below):

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If you want to control the complete range of the Super Knob it is needed to
set Polarity to Unipolar and Amplitude to 127.
Touch the "EDIT SEQUENCE" box and work with the POLARITY.

Study PERFORMANCE: "Wax and Wane"

MOTION SEQUENCES: PERFORMANCES TO STUDY

"Pad Pulsations" - This Performance utilizes the maximum 8 Lanes of

Motion Sequence. And has 8 different Motion Sequences. Explore.
"Motion Filters AF" - Try different Filter automation via the SCENE
buttons.
"Pond Ripples" - This Performance uses the Super Knob Auto Play.
"Bit Performer" - This is an example of the Motion Sequence placed on
the button [Motion Seq Trigger].

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Mastering MODX: Assignable
Switches 1&2

Bad Mister wraps up this "deep dive" into the functionality of the MODX
with Assign Switches.

Closing out this introduction into programming basics and Mastering

MODX, we'd like to make mention of the Assignable Function buttons.
These were introduced back in 2007 when the Motif ES evolved into the
Motif XS. The [AF1] and [AF2] buttons had a dual role, if you will. Available
within the Control Set to act as either a momentary or latching switch for
those parameters requiring this type of control, but also a new performance
enhancing role where they controlled the XA CONTROL (Expanded
Articulation Control) functions.

In MODX, these are now referred to as Assign Switch 1 and Assign Switch
2. If you see a Part with a name including "AF1", "AF2" or "AF1&2", it will
be referring to these two switches located just to the right of your
Modulation Wheel. They can be used to send an ON or OFF message
(typical switch). The switch can be momentary (works like a sustain pedal,
you must hold it for it to take affect) or the switch can be latch (works like
typical light switch, it stays on until pressed again). This momentary or
latch behavior is programmable on a per PERFORMANCE basis so that
each can react as you expect. You decide based on how you wish to

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perform the articulation.

This is programmed on the following screen:

Press [EDIT] > “Common” in blue, lower left corner > “General":

A good example would be some of the acoustic guitar Performances

("Steel Twin Gallery"), where the Assign Switch 1 is used as a
"momentary" switch to bring in a harmonic, and Assign Switch 2 is used to
articulate a muted note. A good example of "latch" would be the String
Orchestra Performance "MediumLargeSection" where engaging "Assign
Switch 1" changes the Element set that is playing from the bowed
orchestra to a pizzicato articulation. The "latch" setting would be more
appropriate for extended play.

When studying the Preset PERFORMANCES, knowing what to look for,

and where to find it, concerning the Assign Switches is going to be
important. They can be used within the PART setup to flip/switch any
available parameter - bring in an effect, change speed of an effect
parameter, etc., etc. but also can be used as a musical tool to expand your
performance palette. The XA CONTROL is designed to be musically
invisible. It is the way that different articulations can be recalled
instantaneously and smoothly "knitted" into the sound you are performing.
These functions are assigned on a per AWM2 Element basis
include: Normal, Legato, Key Off, Cycle, Random, Assign Switch Off,
Assign Switch 1 On, Assign Switch 2 On. (Please note: The Live Set that is
used in the Mastering MODX series is located here):

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The XA CONTROL is found within the individual Element of an AWM2
PART (not with the other Control Assign settings). Each Element can
specifically use the Assign Switch 1 and/or Assign Switch 2 to setup
conditions under which this particular Element will reproduce sound. This
control is deep within the sound engine and directly affects the behavior of
sounds produced and is an integral part of the dynamic performance
capability of this technology.

Normal - the Element will sound when the Note Limit, Velocity Limit and
other programmed requirements are met.

Legato - the Element will only sound when the Part is set to mono and a
legato gesture is used on the keyboard. If a new key is pressed before the
original is released then, and only then, will this Element be called upon to
sound. When this Element's Waveform excludes the attack portion of the
instrument, you can get a more natural legato phrasing result. Typically, a
flute sample is recorded with the player attacking the note, making playing
a legato phrase impossible with samples. The Legato XA Control feature
allows the legato performing gesture to recall an entirely different flute
Waveform, one that is without the attack portion of the wave (the sampled
data is "offset" so the player's attack is not included). The synth engine will
"knit" this waveform into the sounding phrase. This allows more natural
phrasing when attempting to play fluid woodwind or horn sounds, and can
be used to great effect on lead sounds like electric guitar and solo string
sounds, as well.

Key Off - the Element will only sound when the Key is released or the
sustain pedal is released. Used to recreate the sound after the release of

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 the mechanism. In a piano it is used to recreate the noise of the hammers
and the reengaging of the felts. Noise that happens on release can be
"knitted" onto the currently sounding Elements with this XA Control.

Cycle - the Element can be set to a "Element Group" number, Elements

with the same Group number will interact. Instead of all being triggered
simultaneously, you can set the Elements to sound one after the other.
Grouping Elements can create a situation where it cycles between the
groups.

Random - the Element behavior is like Cycle but this time the Elements
within the Group will be selected randomly rather than in numerical order.

Assign Switch Off - the Element will only sound if the condition of both
Assign Switches is OFF.

Assign Switch 1 On - the Element will only sound when this Switch is
active.

Assign Switch 2 On - the Element will only sound when this Switch is
active.

To navigate to the screen where the XA CONTROL is assigned, you must

select an individual Element within the AWM2 PART:

• Press [EDIT].
• Press [PART SELECT 1/1].
• Select Element 1 for Editing by either touching "1" along the bottom of the
screen or by pressing the ELEMENT [1] button on the right front panel.
• The next to bottom row of buttons are ELEMENT/OPERATOR SELECT 1-
8 when you are in EDIT.
• The bottom row of buttons are ELEMENT/OPERATOR MUTE/UNMUTE 1-
8.

THINK OUTSIDE THE BOX

The Assign Switches can be used to switch not only between Elements
within a PART, but in fact, between entire PARTS of a PERFORMANCES.
In other words, if you have a multi- Element String Part, you could set the
XA CONTROL function so that it only sounded with both ASSIGN
SWITCHES were OFF. When you engage Assign Switch 1, you could
program a Brass Part to play. This means that while playing the Strings,
simply pressing Assign Switch 1 would change the next keys you play to

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 Brass. This is a musically invisible change - no notes get cut off - no
glitches because it is musically invisible to the ear.

The Assign Switches can be set as Momentary or Latch for the PART. This
is found on the upper "Common/Audio" level of the program. The example
shown below is from the PERFORMANCE "88 Key Case Hard" Electric
Piano PART:

• Press [EDIT].
• Select “Common” in the lower left corner of the screen
• Touch "General" in the first column in the screen:

Momentary or Latch can be selected for each of the assignable buttons.

In addition to the dedicated XA CONTROL feature, the Assign Switches

can be used as a SOURCE in a PART's "Mod/Control" assignment box.
They can flip an Insert Effect parameter from one condition to another
which is useful for activating effects in real time. When assigned within the
Control Set the Assign Switch will glow, indicating that something is
assigned to the Switch. In order to hunt down and discover what exactly is
assigned to a particular Switch, the MODX's AUTO SELECT feature can
be useful. The Display Filter allows you to view what is assigned to a
specific controller - you can either manually set the Display Filter to view a
particular controller or you can activate the AUTO SELECT (green) box
which will let you touch the control to change the view:

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In the screenshot above the Display Filter is set to limit the controller
assignment view to just those things assigned to AsgnSw 1. What this is
saying is that for this particular PART, Assign Switch 1 is being used to
control INSERT EFFECT B's "Left/Right Pan Depth" by taking it from
current setting to maximum (Off to On). On this particular Electric Piano
Part this is used to bring in the AUTO PAN Left/Right movement - a typical
use case of OFF to ON status.

Also by moving the highlight to the “Destination 13” box, we can view the
other Assign Switch 1 Destination:

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Here it is assigned to change the E.LFO AMD (Element Low Frequency
Oscillator responsible for Amplitude Modulation Depth) from current state
to OFF for Elements 1, 2, 3 and 4. AMD is musically called “tremolo”.

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Mastering MODX: Super Knob
Common

Understanding the Super Knob begins at the Super Knob Common level.
Bad Mister begins his deep dive into Super Knob programming right here!

Let's begin our look at the Super Knob with a basic assignment on the
uppermost level of the Performance architecture. The MODX has two
levels of programming: COMMON – which as the name implies is
parameters that affect things overall. And PART – which are parameters
concerning an individual PART of a Performance.

The upper COMMON level affects all Parts in common - no matter how
many Parts were added. We will use a single PART Performance to keep
things simple. But recognize if additional PARTS were added to this
Performance they could be affected by these COMMON level settings. This
is a very simple Super Knob programming example using just two Effect
parameters.

What you will learn here is how the Super Knob can be used to change
multiple parameters. Some of the Factory Performances are so complex it
is often difficult to decipher exactly what is going on. We will learn to
explore an existing program that focuses on a single basic concept – and

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while these may not be the most remarkable synth sounds, we will use
them to clearly explain a programming concept. It is assumed you are
navigating the screens as we explore. As we progress we will introduce
several of the useful “shortcuts” to navigating the firmware.

In MODX, the architecture is divided into two segments: Common (overall)

and Part (individual).

EXAMPLE #1: "SUPER KNOB COMMON"

In this particular program a Sawtooth Wave is being used. The Variation

Effect being applied is a Chorus Type called “2 Modulator” (dual
modulation). Hit and hold a note you will hear the undulating sound of the
dual chorus. A very simple programming change occurs as you move the
Super Knob from minimum-to-maximum. You hear the Speed increase but
something else is happening, as well. The amount (Depth) is decreasing as
the Knob is increased.

New Terms and Concepts: The Super Knob automatically controls the
eight Performance Common Assign Knobs, 1-8. No special assignment
needs to be made to have these upper level functions respond to the
Super Knob – this is the default. When you turn the Super Knob, the 8
Common Assign Knobs, 1-8, are initially ‘linked’ to its movement and they
all will move in concert, 0-127. You can see that here:

From the HOME screen, touch “Motion Control” > “Super Knob”. It is here
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that the default “Super Knob Link” between the 8 Common Assign Knobs
and their range (0-127) exists. Turn the Super Knob and observe the
above screen. The Knobs move from the green dot (minimum) to the blue
dot (maximum).

What they are assigned to do, exactly, and how they move, as we will see,
will depend on the deeper levels of programming.

The Super Knob, typically, sends minimum value (0) when fully
counterclockwise (at 7 o'clock) thru to maximum (127) when fully clockwise
(at 5 o'clock). The green (1) value is minimum and the blue (2) value is
maximum, by default.

New Terms you will encounter:

Polarity = Uni (Unipolar) describes a parameter that moves in just one
direction and back, as in a minimum value moving toward a maximum
value and back from a maximum toward a minimum. You can change from
here to there and back again. This is described as “unidirectional” motion.
“Uni” is the polarity that is used in our first example.
Ratio Applying a positive Ratio will increase, while applying a negative
Ratio will decrease the parameter value. Ratio is a comparison between
two items and in this case represents the DEPTH of application. How it is,
and how it changes.
Curve Type is a parameter that allows you deeper control over the
application of modulation/change. In the first examples, we'll limit ourselves
to the "Standard" Curve Type (linear), which is very easy to hear and
understand.

This is a very simple Super Knob programming example using just two
System Effect (Common) parameters. The “concept” is the important thing
here: We will be increasing one parameter and at the same time
decreasing another parameter.

SYSTEM EFFECTS = REVERB AND VARIATION

Like its predecessors, the MODX has "shared" Effects using a Send/Return
type scenario (called the "System Effects") and each PART has access to
them. The shared System Effects would be considered among the
COMMON parameter settings – because they are available to all PARTS
via an AUXILIARY-type Send/Return situation; just as you would find on
any professional mixing console. There are two SYSTEM EFFECT
processors. One is called "Reverb" – it provides the overall acoustics of the
virtual room for your instrument ensemble; and the other is called the
"Variation" which provides a variety of time delay and other types you

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 might wish to apply to several music parts.

In this example, the Variation Effect is assigned to a Chorus type called "2
Modulator" (a dual chorus effect that was extremely popular back in the
1970s-80s). Any PART with the Variation (VAR SEND) amount turned up
will be sent to this dual chorus effect and therefore, the changes assigned
here would be applied to all the Parts using the Variation Effect, in
common.

The Variation Effect parameters we will be controlling are: LFO

Speed (Low Frequency Oscillator speed) and PM Depth (Pitch Modulation
Depth). These are assigned to the Assignable Knobs 1 and 2,
respectively.

The assignments are made on the "Edit - Common/Audio" > “Control” >
“Control Assign” screen. The very top line in the screen will always identify
exactly where you are "Edit - Common/Audio".

Let's navigate there using the front panel buttons:

From the main HOME screen

• When you are "HOME" the PERFORMANCE NAME is highlighted: "Super

Knob Common"
• Press [EDIT]
• “Common” is selected in the lower left corner of the screen (blue); You
arrive at the "Edit - Common/Audio" edit screen.
• The top line of the screen will always identify “where” you are:

• In the screen touch "Control" (the left column in the screen) > then in
second column select "Control Assign"
• Make sure the “AUTO SELECT” option is active (green). Touch it to
activate/deactivate. This allows you to touch/turn/move a controller to
immediately access its parameters in the screen. “Auto Select” works with
the adjacent “Display Filter” box to show you the selected controller and all
that is assigned to it.
• Move ASSIGN KNOB 1 to immediately view its assignment. (Var LfoSpd)
"Variation Low Frequency Oscillator Speed". See screenshot below. (If you
ever have a problem deciphering the abbreviations, please refer to the
“Synthesizer Parameter Manual” (PDF)).

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• Move ASSIGN KNOB 2 to view its assignment (Var PmDpth) Variation
Pitch Modulation Depth. See screenshot below.

If you do not see this screen make sure your [ASSIGN] button, located just
to the left of the four Knobs is lit.

The Polarity setting in each is Uni (Unipolar). You can see that one has a
Curve showing increase (a positive Ratio value) while the other has a
Curve applying a decrease (a negative Ratio value).

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 As you turn a Knob clockwise the graphic is read left-to-right.

• Turning Assign Knob 1, directly, you hear the Speed of the LFO increasing.
• Turning Assign Knob 2, directly, you hear the Depth or amount of
modulation, decreasing.
• Turning the Super Knob, we know, turns both Knobs simultaneously _ due
to the Super Knob Link.

This means as you turn the Super Knob up, you are increasing the SPEED
of the LFO, but simultaneously you are decreasing the DEPTH (amount)
that is being heard. By working these two parameters together we can
tailor the response of the change of Speed. As it gets beyond a certain
value – perhaps it becomes none useful from a musical standpoint. We can
decrease the amount heard before that happens!

EXPLORE

To fully understand this, next, we will navigate to within the Variation

Effect and find the parameters being offset.
From the “Edit – Common/Audio”:

Touch “Effect” > “Variation”

LFO Speed = 0.21Hz

PM Depth = 80

“LFO Speed” – Low Frequency Oscillator Speed. The Chorus effect has a
slowly undulating quality. This movement is handled by the Low Frequency
(slow speed) oscillator. This controls ‘how fast’.
“PM Depth” – Pitch Modulation Depth, is what musicians refer to as vibrato
– pitch modulation is the change in tuning above and below a center point.
The Depth is ‘how much’.

The Assign Knobs are applying an “offset” to the originally stored value.
You can hear as you turn Assign Knob 1 that the speed of modulation
increases dramatically, as you turn clockwise, and returns to the slowly
undulating quality when you return it to minimum.

The parameter value is not 0, rather, it starts at the value as set, and is
offset from this value by the Knob movement. Therefore, you can anticipate
that when turning the Knob assigned to control the value change, it begins
with the ‘stored value’ and is offset from that position. Assigning control

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does not have to mean absolute minimum to absolute maximum, we can
start at the ‘stored value’ and when we apply our controller, you will hear
the change. This means assigning control does not mean that everything
must start at ‘off’ and run the full range that the actual parameter moves –
you can ‘scale’ the control knob movement to a precise range. Another
important concept.

When the Super Knob is at minimum (fully counterclockwise) the “LFO

Speed” is equal to the ‘stored value’, which we can now see is “0.21Hz”
and the “PM Depth” is 80. (Screenshot below)

Highlight and adjust the LFO Speed parameter directly to hear its
adjustment to the speed of modulation from a minimum of 0.0Hz to a
maximum of 39.7Hz. You can do so by highlighting the parameter in the
Variation Effect screen (shown above) and use the Data Dial (just to the
right of the screen) to change the actual setting value. The entire range
travels from 0.0Hz through to 39.7 cycles per second.

Notice the profound change in the sound as you reach 0.0Hz. If you
listening in stereo (and you should be) you will suddenly be thrust into the
world of mono. And then, change it to 0.04Hz and the swirl of stereo
begins. Your ears are very sensitive to changes, direction and movement.
You are hearing two undulating movements 11.1ms apart (Delay Offset). If
you want to hear just one signal, set the “Delay Offset”
from 11.1ms to 0.0ms

Slowly increase the “LFO Speed” value throughout the range. Listen and
observe.

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The initial setting of 0.21Hz is approximately one cycle every 5 seconds -
as you approach 20 times a second, you will notice that the speed of
modulation/movement itself is creating a low frequency pitch of its own - it
practically becomes a “buzzer” like sound - at the maximum of 39.7Hz the
LFO is fast enough to be an audible oscillator. The LFO crosses over from
being a (low frequency) "rate" into being an audible pitch. Not very musical
or useful – in most instances.

• Return the value to 0.21Hz.

Next, try this at different settings for the “PM Depth” (Pitch Modulation
Depth). Notice that if “PM Depth” is 0, naturally, you hear no modulation,
no matter what the speed. Depth has to do with ‘how much’ is applied.

• Return the value to 80.

Now: Listen while moving the Super Knob from minimum-to-maximum; The
Super Knob will change both parameters simultaneously.

Touch “Control” > “Control Assign” > Move the Super Knob:

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Destination 1 is highlighted (left); Destination 2 is highlighted (right)

Destination 1 increases the LFO Speed (Ratio +22, the positive value
indicates how steep the change is) and Destination 2 decreases the PM
Depth (Ratio -19, the negative value indicates how steep the decline is).
The LFO Speed starts at 0.21Hz and will offset (increased) from there.
While the PM Depth starts at a setting 80, the -19 (negative value) setting
ensures it will be offset (decreased) from there. The RATIO determines
what happens (direction and depth of application) to that parameter as the
Super Knob is moved from minimum (0) toward maximum (127).

The result is as the Speed increase toward the “buzzer” type response, the
Depth is reduced, simultaneously so we never hear the “buzzer” sound.

Experiment with different values for both the Ratio values and the initial
LFO Speed/PM Depth values to gain an understanding of what you are
changing and how they interact.

Param 1 (Parameter 1) – experiment with this and observe how it changes

the incline of the application of the control. It alters the shape of the Curve!
Turning the Super Knob does not have to be a straight-line increase or
decrease (not at all), you can customize this "curve type" by an astounding
degree - additional "Parameters" will be added according the Curve Type
selection; more on that in a future article. For now, let's just stick to the
Standard Curve.

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EXPERIMENTS

Important Hint: If LFO Speed is initially set to 0.0Hz you will hear no
modulation when the Super Knob is set to 0. By having an initial setting
of 0.21Hz there is a slight movement to the sound initially. This, of course,
is a programming preference. Often you want a certain amount of
movement from the very start, and then have the controller adjust that
amount.

Controlling the range of application is a programmer's choice. When

discussing the assignment of Controllers, we will refer to the “stored value”
when referring to the starting point. Remember, it does not always have to
be 0. Scaling the amount of change and direction of that change is what
Control Assignment is all about.

Here's a situation where this type of programming would be used:

You want to increase the LFO SPEED but not have it go into the bizarre,
sci-fi (pitch) range that happens as you approach maximum speed. You
want to increase the Speed but decrease the Depth, simultaneously! (This
is a job for either two hands, or the Super Knob!)

This is a rather simple example of an important concept within the Motion

Control Engine, and of the Super Knob in particular. One gesture can
accomplish multiple things. Here we are just doing two things – but, as
you’ll see it can be scores of parameters across several Parts.

Summary:

Here we have learned that the eight COMMON Assign Knobs, 1-8, are
initially, automatically, assigned to be controlled by the Super Knob (Super
Knob Link). The significance of this will become clear when we begin to
program links between the PART Assign Knobs, 1-8, where you can assign
a PART parameter and then link the Part's Assign Knob to the movement
of one of the Super Knob’s linked COMMON Assign Knobs. This is why we
are unfolding this onion – a layer at a time!

Depending on your front panel EDIT selection (COMMON or PART) the

Assign Knobs 1-8 take on different roles. If you envision a full front panel -
you would have 8 Assign Knobs for the COMMON edit parameters, you
would have 8 Assign Knobs for PART 1 edit parameters, another 8 Assign
Knobs for PART 2 edit parameters, another 8 Assign Knobs for PART 3
edit parameters, and so on. That would be a total of 72 physical Assignable
Knobs in an 8-Part Keyboard Controlled (KBD CTRL) Performance. And a
massive 132 physical Assign Knob across all 16 PARTs!

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Now the reason for the Super Knob comes into focus. You would probably
never need to assign this many controls to a single playable sound _ it
would be difficult for your ear/brain to take in what was happening. But if
you think of the 8 Parts of a Keyboard Controlled Performance program as
one big modular synth that could easily have 64 Oscillators, 64 Filters, 64
Filter EGs, 64 Amplifiers, 64 Amplitude EGs, etc., etc., etc. you begin to
understand the scale and scope of the controller matrix on tap here with
MODX. The word "massive" is not hype.

Each PART can have 16 assignable Control Sets. A Control Set consist of
a Source (a controller) and a Destination (a parameter) and a set
parameters that determine how the change will occur (direction, intensity,
shape). Among your Source Controllers you have Assignable Switches 1/2,
Mod Wheel, PB Wheel, Foot Controllers, Aftertouch and more. You can
choose to use the Assignable Knobs directly or linked to the Super Knob.
You can assign multiple functions to a controller or spread them out as you
desire. As we go deeper into the Motion Control Synthesis Engine, we will
explore these possibilities and pick up some useful tips on how to navigate.
We highly recommend you take your time - unfold this a layer at a time.

In the example above, we see that the Super Knob can control multiple
parameters simultaneously to achieve a specific result – in this case, the
Chorus' LFO Speed is increased, at the same time its Depth is reduced.
By adjusting the CURVE you can fine tune this dual action with a single
controller gesture.

EXTRA CREDIT: USING THE NAVIGATION SHORTCUTS

Shortcuts: Call up the PERFORMANCE "Super Knob Common" and touch

the HOME icon or press the [HOME] button.
Press [SHIFT] + [HOME] (Info) buttons to jump to the Motion Control
OVERVIEW screen. (Shown below):

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 Here you can select to view Controller (Wheels/Ribbon), Assignable
(Knobs/Buttons), Fader, and Super Knob assignment. Touch those words
directly in the screen to toggle its connectors on and off. Shown are the
"Assignable" Knobs (green) and the "Super Knob" (blue). Turned off in the
viewer are the "Controller" and "Fader". You can see how the two knobs
and the Super Knob are linked to COMMON. Next, we will learn what this
is representing.

TIP: In the "Part" box the word "COMMON" appears, change this using the
[INC/YES] button or the DATA DIAL. You can select any of the numbered
Parts 1-16 to update the graphic

• Return the item to "COMMON" on the OVERVIEW screen.

The box next to the PART = “COMMON” is a direct shortcut to the

Controller Setting screen of the currently selected Part: "EDIT COMMON
CONTROL SETTINGS".

Touch "Edit Common Control Settings" to drop directly to the “Edit –

Common/Audio” > “Control” > “Control Assign” screen.
This “shortcut” from the Overview jumps you directly to the controlled
parameter setup.

POWER TIP: Once you arrive on the Control Assign screen, you can view
the 16 assignable Source/Destination functions to any 'Part' or to the

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'Common/Audio' level. Four are shown at a time, by highlighting the
“DISPLAY FILTER” box and selecting to view "ALL". (Shown below):

Use the “PAGE” function to view up to 16 Destinations per programming

level. MODX will keep track of the number of assignments per 'Part' and for
the 'Common/Audio' level of editing. The "+" sign in a Destination box
would allow you to ADD a new Source/Destination parameter assignment.
The "DELETE" box in the lower right corner will remove the selected
Source /Destination assignment.

If the [AUTO SELECT] is green, you can move a controller to see what is
assigned to it or you can move the cursor to the “DISPLAY FILTER” box
and use the Data Dial to view the available options. This Display Filter
allows you to *view* assignments made to a specific controller – this must
be stated less you believe you are making an assignment – when you
change the “Display Filter” you are only changing what you are viewing on
this screen.

Take your time with this screen because it is the key to the Matrix!
Above we are set to view “ALL” assignments – this is because the “Display
Filter” is set to “All”.
We are currently viewing “Destination 1” (blue denotes current).
The “Source” controller is Common Assign Knob 1.
Curve Type = Standard
Polarity = Uni
Ratio = +22
Param1 = 5

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 Move the Super Knob to change the “Display Filter” to read what is
assigned to its movement.

As we know both parameters are set to be moved by the Super Knob.

It is a Display *Filter* because it is allowing you to see just what is
assigned:

• Assign Knobs 1-8

• Super Knob
•
• Motion Sequence Lanes 1-4
•
• Envelope Follower Parts 1-16, the AD, the Master

Or view “All”

Touch the “Display Filter” box to view the options (shown below):

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The “Destination 1” box is assigned to control the “Var LfoSpd”. A box with
a "+" sign will allow you to ADD a control routing (called a Destination). The
"DELETE" box in the lower right corner will allow you to undo a
Destination. There can be 16 Destinations (assignments) per PART.
Destination 2 in our example assigns Assignable Knob 2 to Var PmDpth.

In future articles – where we tackle programming from the bottom up, you
will see how by highlighting a parameter that you wish to control, the
[CONTROL ASSIGN] button (left of the screen) will glow to indicate this is
an assignable Destination parameter. Pressing the [CONTROL ASSIGN]
button will make that assignment – it is that easy.

COMMON ASSIGNMENTS

At this upper COMMON/Audio level of the architecture this includes the

following PARAMETER DESTINATIONS:
When you touch a parameter DESTINATION box the following option pop-
in menu appears:

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• INSERT A (when assigned to the A/D INPUT you can assign real time
controllers to parameters of this Effect)
• INSERT B (when assigned to the A/D INPUT you can assign real time
controllers to parameters of this Effect)

The significance here is that you can control, in real time, the Insertion
Effects that are assigned to the A/D INPUT Part. Twelve MODX PARTs
(plus the A/D Input) have their own dedicated dual Insertion Effect
processor – which now can be automated by the Motion Control Synthesis
Engine. Example: A Microphone can use a pair of Insert Effects (a Delay
LCR and something else) and you can control the Dry/Wet Balance and
number of repeats (Feedback level) by assigning control to one or more of
the available COMMON Assignable Knobs.

• REVERB (System Effect)

• VARIATION (System Effect)

The significance here is that on the upper COMMON level, all Parts can be
influenced, or not, depending on how much signal you send into the shared
System Effect processors. In other words, every PART has a SEND
amount into the Reverb and Variation processors, you determine *how
much* per Part. Effect parameters for the chosen Effect TYPE will be
available as assignable Destinations. We see this in the first example
where we are controlling parameters within the “2 Modulator” Chorus
TYPE.

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• AD INPUT Parameters

Here you can control the VOLUME, and SEND amounts to the Reverb and
Variation SYSTEM EFFECTS for the AD INPUT Part. This gives you full
automation of audio signal coming into MODX – which could be anything
you place in front of a microphone or another keyboard, or other playback
source.

• MASTER EFFECT

The significance here is that you can automate control over the Master
Effects – making it a PART of the Motion Control situation.

PART ASSIGN KNOBs

• PART 1 – Part 1 AS1 through AS8

• PART 2 - Part 2 AS1 through AS8
• PART 3 - Part 3 AS1 through AS8
• PART 4 - Part 4 AS1 through AS8
• PART 5 - Part 5 AS1 through AS8
• PART 6 - Part 6 AS1 through AS8
• PART 7 - Part 7 AS1 through AS8
• PART 8 - Part 8 AS1 through AS8
• PART 9 - Part 9 AS1 through AS8
• PART 10 - Part 10 AS1 through AS8
• PART 11 - Part 11 AS1 through AS8
• PART 12 - Part 12 AS1 through AS8
• PART 13 - Part 13 AS1 through AS8
• PART 14 - Part 14 AS1 through AS8
• PART 15 - Part 15 AS1 through AS8
• PART 16 - Part 16 AS1 through AS8

The significance here separates the MODX from most other synthesizers.
It is very important to understand these assignments. They allow the Super
Knob to control specific items within each individual PART, as you require.
We stated at the beginning, the Super Knob automatically controls the
eight COMMON Assignable Knobs 1-8 and it works directly on those upper
level/shared parameters. Notice that listed here is each of the PARTS, and
each of their 8 Knobs. This means with an assignment selection here, you
are linking the individual PART's control of a Destination Part parameter to
the movement of the Super Knob. Any of the 16 PARTS, even those not

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directly under the KBD CTRL, can still be affected by the movement of the
Super Knob (via changes to the shared System and Master Effects).

In our next example, we will see how this intermediate step opens the door
to a wide, wide world of synth patching. We will drop down a level to the
individual Part and to parameters that will only affect that single Part within
the Performance. We will assign PART 1's Assignable Knob 1 so that it
follows the movement of Super Knob and yet controls a parameter
exclusively (locally) within just one Part, PART 1. The selection of potential
Destinations will change and will include parameters specific to this
particular PART as an individual component within the PERFORMANCE.

Example programs used in this series of articles can be

downloaded: SuperKnobExamples.X8U

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Mastering MODX: Super Knob
Unipolar (Positive and Negative
Values)

The exploration of MODX Super Knob programming continues with Super

Knob Unipolar settings.

The next two PERFORMANCE examples show the assignment of a Part's

parameters to the Super Knob, which are a bit more complex than
using Common parameters. (Please note: The Live Set that is used in the
Mastering MODX series is located here).

E X AM P L E 2 : S U P E R K N O B U N I P O L AR +

Our first step in exploring these basic setups is looking at how the Knob
within a Part can be linked to a Knob that is controlled by the Super Knob.
As you get to see how this works, you’ll begin to understand how one
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 movement can be farmed out to several different locations, in differing
control amounts. We’ll see how the Part Assignable Knob 1 is linked to
the Common Assignable Knob 1.

In this Performance, we have assigned control of PART 1's Assignable

Knob to COMMON (Super Knob) control. Remember the Super Knob
automatically controls all 8 Common Assignable Knobs. And the Part
Assign Knob 1 can be used to control parameters within this specific Part.
By this link we can move the Super Knob and change a parameter within
any Part…

This means once this link is established whatever we assign to PART 1's
Assignable Knob 1 will automatically be controlled by the Super Knob.
Recall PERFORMANCE 2: “Super Knob Unipolar +”:

We will, again, navigate to the upper level of editing (Common/Audio) and

take a look at the assignment.

From the HOME screen (touch the "Home" icon in the upper left corner of
the screen):

• This highlights the PERFORMANCE NAME: "Super Knob Unipolar+".

• Press [EDIT].
• Press the [PART SELECT – MUTE/SOLO] button and Select > “Common”,
then EXIT

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 “Common” appears in a blue in the lower left corner.

• In the screen select "Control" (left column of the screen) > "Control Assign"
(second column).
• Make sure the AUTO SELECT option is active (green).
• The SOURCE is Common AsgnKnob 1; The DESTINATION 1 is “Part 1
Assign 1” or Part 1's Assignable Knob 1;

This is linked to SUPER KNOB movement.

The upper Common level has 8 Assign Knobs which, we know, are linked
to the Super Knob.
The first of these, Assign Knob 1, is controlling "Destination 1 = Part 1
Assign 1" (Part 1's Assignable Knob 1).

Translation: the first COMMON assignable destination (Destination 1) for

this Performance concerns the program occupying PART 1. This
assignment gives the Super Knob control over Part 1's Assignable Knob 1.
To see exactly what "PART 1 Assign 1" is controlling, we simply follow this
screen. Remember, if we think about the playable Performance as having
72 Assignable Knobs (Common has 8 Knobs, and each of the 8 possible
Parts can have 8 Assignable Knobs...) - we are assigning the Super Knob
to control a parameter within PART 1. We do so by linking Part 1's Assign
Knob #1 here.

In this example Performance we are assigning the first of the eight

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 (Common) Assignable Knobs to PART 1 of this PERFORMANCE. To
manually navigate to the actual parameter that is being controlled,
the EDIT - PART 1 – Common screen. Here's how:

• Touch the box “Edit Part 1 Control Settings” this will take you directly to the
Part 1 “Mod/Control” > “Control Assign” screen.

Again the top line of the screen and the lower left corner will indicate where
you are within the architecture.

In this simple example, you can turn Assign Knob 1 directly, and view its
controller box - and if you turn the Super Knob the “Display Filter” will show
the same parameter assignment (as we have only linked this one thing to
the Super Knob).

Please observe the control range when you move Assign Knob 1 from
minimum-to-maximum, and that this starts out as the same range when
you move the Super Knob, minimum-to-maximum - they both control the
same range. Observe how the Super Knob controls the movement of
Assign Knob 1, but Assign Knob 1 can be moved directly and independent
of the Super Knob. You can imagine that the Super Knob can be linked to
other PARTS and other functions (we are just looking at one).

Hint: to understand the two “Common” selections, you must realize that a
playable PERFORMANCE can have 8 KBD CTRL PARTS; together they
share the PERFORMANCE NAME, the SYSTEM EFFECTS, the MASTER

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 EFFECTS, the MASTER EQ, and they include the AUDIO IN settings.
Each PART, however, is a like a complete Motif XF level VOICE with 8
Elements and each with its own Part COMMON parameters. Or a PART
can be an FM-X creation with 8 Operators. Each Part has its own Name, its
own Insertion Effects, and its own 8 Assignable Knobs! So, if you think of
each PART as a separate synthesizer, with its own complete set of
parameters, what we are doing is linking control of this ‘synthesizer’ with a,
well, you know, a "SUPER KNOB". A single KNOB that when moved can
send a different message out to each as it treats each as a separate
synthesizer. It takes a minute or two to let this sink in. But it is as if we are
dealing with a large 'modular' synth; where a Keyboard Controlled program
(with 8 complete) synthesizers is linked to this MOTION CONTROL
ENGINE. And like patching cables in an old-style analog synth, we are
linking controls, and later we'll see how we can fine tune the control range
of scores of controllers. It is quite fascinating when you get a glimpse of the
whole thing!

Once you select a PART you can move around within it: Select
"MOD/CONTROL" (left column of the screen) > "Control Assign". The
Controller setting is Unipolar with Ratio +32 (giving a linear response -
shown above).

With the AUTO SELECT highlighted, you can turn Assignable Knob 1 and
view the assigned Destination = InsA LfoSpd. This happens to be
the LFO Speed of the CLASSIC FLANGER assigned to PART 1 (and
only PART 1).

• Press [EFFECT] (second item left side of the screen to view the Effect) >
select "Routing" for PART 1.
• INSERT A is the Classic Flanger.

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You can drop into edit the Effect parameters by touching "INS A" in the
second column.

The LFO Speed of the Classic Flanger is set to a minimum level in the Part
Effect window (shown below).

The Super Knob position 0 (left) is the start position. It corresponds to the
parameter setting of LFO Speed = 0.00Hz.

The Super Knob moved from left to right controls the complete parameter

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range from LFO Speed 0.00Hz to 39.7Hz.

[Note: We often get questions as to why the values do not animate in the
MODX screen when the Super Knob is moved. The Super Knob can be in
control of more than one hundred parameters – beside it is not necessary –
when you move the MW or PB or FC, you do not expect to see the value of
the movement appear anywhere). You can clearly hear the Speed change
as you move the Super Knob. The potential here is tremendous as one
KNOB can be assigned to do multiple things with different ranges for
different areas of the PERFORMANCE].

Summary: At the upper COMMON (overall) level of the architecture, we

have assigned Super Knob control over PART 1's Assign 1 Knob. This is
done by linking the "PART 1 ASSIGN 1" to the Super Knob, whatever
parameter is selected for this knob to control will be influenced by the
Super Knob. The "DESTINATION 1" within PART 1 indicates that this is
the first controller assignment for PART 1. There is a maximum of 16
Source/Destinations per PART. In this example, the LFO SPEED of the
Classic Flanger is the selected parameter within PART 1.

We must state again, we are limiting ourselves to a single Part

Performance in this case. Each additional PART added under Keyboard
Control will have the same opportunities to be programmed with their own
set of 8 Assignable Knobs, and destination parameters. The assignment
we make for Part 1 will only apply to Part 1; the Classic Flanger is an
Insertion Effect and belongs only to this Part, Part 1.

EXAMPLE 3: SUPER KNOB UNIPOLAR

This next example shows the modulation of the LFO Speed in opposite
direction (negative). This is achieved here by starting the Classic Flanger
at its highest Speed (39.7Hz), and by selecting the Polarity as a
NEGATIVE value, so that applying the same movement reduces the LFO
SPEED from Maximum-to-Minimum.

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The Classic Flanger LFO Speed is set to the maximum level in the Part
Effect window: 39.7Hz.

The Part Controller setting is Unipolar with Ratio -32.

Select "Mod/Control" > "Control Assign"

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The Super Knob position 0 (left) is the start position. It corresponds to the
parameter setting of LFO Speed at maximum = 39.7Hz.

The Super Knob moved from left to right controls the complete parameter
range in reversed order from LFO Speed 39.7Hz to 0.00Hz. Turning the
Super Knob up, actually decreases the Speed.

EXTRA CREDIT EXPLORATION

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In this example, the COMMON ASSIGN KNOB 1 has been tasked with
controlling PART 1's Assign Knob 1. PART 1's ASSIGN KNOB 1 is set to
control the Part 1 INSERTION EFFECT "A" parameter (LFO SPEED).

Touch the parameter contained within the "DESTINATION 1" box, to reveal
the list of potential assignment destinations that can be selected. There are
a ton of potential options. More than you might first think. Use the DATA
DIAL to explore the options. In this particular example, by selecting PART
1 > PART 1 Assign 1 we are linking PART 1's first knob with the Super
Knob.

The potential Destinations will give you an idea of the depth of the engine.
These are the parameters available via the upper overall
"COMMON/Audio" level of the program. When you see the top line
indicate "EDIT - Common/Audio" you are able to assign these parameters
to the Super Knob. The INSERT A and B referred to here are those
dedicated to the A/D (Audio) INPUT PART. It now, like every other KBD
CTRL PART, has its own Dual Insertion Effect. The A/D INPUT is grouped
with the COMMON overall parameters. This is why this level of the
architecture is referred to as "Common/Audio".

If you select an Ins A or B (A/D Part), the Reverb, the Variation, or

the Master Effect each can have as many as 24 potential parameter
destinations (the actually number of available parameters will vary
depending on the effect TYPE currently active in the processor). When an
Effect Type is assigned to the processor, automatically the parameter

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names that are available to be controlled will appear on this list. Those
parameters that are not available for real time control, will not appear.
(Only parameters that are deemed musically useful are available for real
time control).

If you select the "AD Param" you can control Volume, Rev Send, and
Variation Send amounts of an incoming analog signal. (This is new!!! A
very common Motif XS/XF request was to be able to control the AD
PART with an assignable controller). These are followed by each of the 16
MODX synth PARTS which each have 8 assignable knob destinations.
[Wow!] That's 128 Assignable Knobs plus the 8 for the Common/Audio
level.

As we'll learn, Parts 1-8 can be linked with the Super Knob, but every Part
has its own 8 Assignable Knobs for when that Part is individually selected
(highlighted).

Press the "X" in the screen to exit or press [ENTER] to make a selection
assignment.

If you touch the "DISPLAY FILTER" box, you can see all of the assignable
devices. Changing the Display Filter does not change anything but what
you are currently viewing.

Overview shortcut: Again, let's practice navigating using the available

shortcuts. Recall the PERFORMANCE and touch the HOME icon.
[SHIFT] + [HOME] (Info) = Overview screen (shown below)
Notice in the PART box, "PART 1" is selected and in the diagram a
highlight box also appears around the number "1".

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The Part Assign Knob 1 is linked to PART 1 (green line); which is under
control of the Super Knob (blue line); Notice you can drop from
here directly to "Edit Part 1 Control Settings" from this information
screen. This shortcut will take you directly to the Part 1 Mod/Control >
Control Assign screen. If you then activate the AUTO SELECT box,
touching/moving a controller will display its assignment. Or simply set
the "Display Filter" = ALL to view all assignments for the currently
selected PART.

Important Note: Parameter Destinations for the COMMON/Audio level of

the PERFORMANCE are different from the available parameter
Destinations for an individual synth PART.

The INSERT EFFECT A and B that appear among the COMMON/Audio

Destinations refer to the A/D INPUT (AUDIO IN) PART; While the INSERT
A and B that appear among the synth PART parameter Destinations are
those applied to this particular PART.

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Mastering MODX: Super Knob
Bipolar -/+

MODX Super Knob programming continues with thos exploration of Super

Knob Bipolar negative and positive values.

This example introduces the polarity "Bipolar" - for moving parameters

above and below the starting point. Often Destination parameters need to
revolve around a central starting point - where you need to increase and/or
decrease from the starting value. Bipolar is the parameter that answers this
requirement. (Please note: The Live Set that is used in the Mastering
MODX series is located here).

EXAMPLE PERFORMANCE = SUPER KNOB BIPOLAR-/+

This allows for movement in either direction from the 12 o'clock position of
the Super Knob. In this example, the LFO SPEED is set to a value
somewhere between the Minimum and Maximum value. The Classic
Flanger's LFO Speed is set to a medium level in the Part Effect window.
The full range is from 0.00Hzthrough 39.7Hz - Using the Bipolar Curve will

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allow the Super Knob to start at 12 o'clock (64) and increase when turned
clockwise and decrease when turned counterclockwise. When you recall
this Performance, the Super Knob is stored at the 12 o'clock position -
observe how when at straight up at “64”, two sets of 2 LEDs light at the
very apex.

You will also notice when using a Yamaha FC7 sweep pedal, (Foot
Controller 2) to control the Super Knob, you will need to move the pedal
past the mid-point to grab the Super Knob. If the pedal is at rest in toe
down position, you will need to move it back to "hook" the stored value.
Once you pass the ‘stored value’ the pedal will control the Knob as usual.
This prevents any jumping of values.

The Controller Polarity setting for PART 1 Assign Knob 1 is Bipolar with a
linear Ratio +32.
Positive values for Ratio will increase when turned clockwise. To verify this
let's use the navigation shortcuts to verify the assignments.

Hold [SHIFT] + [HOME (INFO)] to view the OVERVIEW screen.

Set the PART to "COMMON"
Touch the shortcut box "EDIT COMMON CONTROL SETTINGS" - to see
how the parameter is linked to the Super Knob.
“Part 1 Assign 1”:

See the graphic that indicates the Polarity is Bi directional – you can move
above and/or below the ‘start value’

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• Press [EXIT] to return to the OVERVIEW screen.
• Set the PART to "PART 1"

Touch "EDIT PART 1 CONTROL SETTINGS" to ride the shortcut to Part

1's assignment to control INSERT "A" LFO Speed.

The Super Knob position 64 (Center) is the start position. When the
Performance is stored the current position of the Super Knob is
documented.

It will correspond to the STORED parameter setting of LFO Speed =

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2.69Hz.
In the left column of the screen press "Effect" > "Ins A" to drop into viewing
the parameters inside the Part’s “Classic Flanger.”

The Super Knob moved from center to left reduces the LFO Speed
from 2.69Hz to the minimum of 0.00Hz.
The Super Knob moved from center to right increases the LFO Speed
from 2.69Hz to the maximum of 39.70Hz.

As a result, the Super Knob controls the complete parameter range, as

well, just as in the previous Unipolar examples. But the starting point is
different. In case of Bipolar the Super Knob works bi-directionally. In the
Unipolar examples, the initial setting was the minimum and we could
increase the speed and return to the original speed, only; here we can
move in either direction from the initial setting.

If a specific LFO speed is intended for the basic starting point, using
Bipolar might be more useful, because the intended speed will correspond
exactly to the center position (Super Knob = 64). Modulations in both
directions are possible using Bipolar.

But basically the decision for Unipolar or Bipolar will depend on the start
position of the Super Knob and the kind of control you require musically. If
it starts at left, Unipolar is more useful. If it starts at center position, Bipolar
is recommended.

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Mastering MODX: Super Knob
Morph

Super Knob Morph is all about smooth fades between two or more different
Parts. This tutorial shows you how this works in MODX.

One of the most important usages of the Super Knob will be morphing
(smoothly fading) between two, or more, different Parts. In this example
Part 1 is using a Sawtooth wave, while Part 2 is using a Square wave.
While Part 1 (Saw) is faded out, Part 2 (Square) is faded in.

The Sawtooth Wave is bright and buzzy - in includes all whole integer
multiples of the Fundamental (all harmonics).
The Square Wave is the perfect case of the Pulse Wave where it is on 50%
of the time and off 50% of the time - it is made up of only the odd
numbered harmonics (3rd, 5th, 7th, 9th, etc.)

Listen closely as you morph from all harmonics (Saw) to just the odd
harmonics (Square) and back - slowly turn the Super Knob from minimum-
to-maximum and slowly return. You will continue to hear and identify the
odd harmonics as you morph the Square Wave back into the Sawtooth. It
is as if the Square Wave “hides” inside the Sawtooth Wave - and indeed by
this morphing action we are changing the harmonic content of the sound,

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 but in a very different way than you could do with Filter. A Filter works to
remove all harmonics above (LPF) or below (HPF) a center frequency
called the “Cutoff Frequency”. Use the screen “MUTE” buttons to isolate
each Part, in turn, to convince yourself that you are actually turning the
Sawtooth down as you turn the Square up.

THE ASSIGNMENT

The Controller matrix of the MODX is huge. This is why we are starting
slowly. The Super Knob, on the upper Common/Audio level of the
architecture, can have 16 parameter Destinations (1-16); Additionally, each
Part can have its own 16 parameter Source/Destinations. The Super Knob,
on the upper Common level of the architecture, can control its 8 Common
Assign Knobs and each of the 16 Parts has its own 8 Assign Knobs. Huge!

Let's begin by seeing how the Sawtooth Wave that we hear when we
initially recall this sound, is turned down by the Super Knob, and the
Square Wave in Part 2, which starts silent, is turned up by a single gesture.

Recall "Super Knob Morph A"

From the HOME screen (touch the Home icon in the upper left corner or
press the [PERFORMANCE (HOME)] button)

• The cursor highlights the PERFORMANCE NAME: "Super Knob Morph A"
• Press [EDIT]
• Select the “COMMON” option (lower left corner of the screen appears in
blue)
• In the screen select "Control" (left column of the screen) > "Control Assign"
• Make sure the “AUTO SELECT” option is active (green)
• Move Common Assignable Knob #1 to recall its settings
• Then Common Assignable Knob #2 to recall its settings

Here you can see that Common Assignable Knob 1: Destination 1 =

PART 1 Assign 1; Source = AsgnKnob 1
Translation: The first Control Set has Common Assign 1 as the Source,
and as it is turned by the Super Knob it will influence the parameter
destination that is assigned to the Part 1 Assign Knob number 1.

Move Common Assignable Knob 2: Destination 2 = PART 2 Assign 2;

Source = AsgnKnob 2

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Translation: The second Control Set has Common Assign Knob 2 as the
Source, and as it is turned by the Super Knob it will influence the
parameter destination that is assigned to the Part 2 Assign Knob number 2.

You can view both of these assignments by touching the DISPLAY

FILTER and setting it to ""ALL" or by moving the "SUPER KNOB"
The “Display Filter” simply changes what you are viewing at the current
time.

As you move the Super Knob, with "Auto Select" active, you can review all
parameters linked to the Super Knob.
"Destination 1" is the currently selected item (it's blue). Move the cursor to
highlight "Destination 2". When you do it will be ‘selected’ and it will turn
blue. Highlighting each assignment in turn will allow you to review "how"
the controller movement is being applied.

You will observe the Curve indicates as you turn the Knob toward
maximum (right) the Volume of Part 1 will decrease.

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 When Destination 2 is highlighted, you will observe that as the Curve
moves towards maximum so does the Volume output.

After that the assignments in the individual PARTS can be made. You do
so by dropping into PART EDIT.
Let's view PART 1, first:

• Press the [PART SELECT - MUTE/SOLO] right front panel > Select PART
1
• The screen will read "Edit - Part1 - Common"

Press [EXIT] or “X” to close the overlay.

For Part 1 the Common Volume will be reduced using Polarity

Bipolar and a negative Ratio, the following settings basically works well.

• We want to view the Assignment: "MOD/CONTROL" (left column of the

screen) > "Control Assign"

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 If you move SUPER KNOB you will see that:
Destination 1 = VOLUME
Source = AsgnKnob 1
Polarity = Bi
Ratio = -64
Param 1 = 5

The Curve graphic shows (reading left to right) the Volume is full and that
as you turn up the SUPER KNOB this PART will be turned down in
Volume.

Select PART SELECT 2

• In the lower left corner touch where it shows "PART1" for a pop-up menu
and select "PART2"
• The screen is now: "Edit - Part2- Common"

Now when you move ASSIGN KNOB 2 you will see that:

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Destination 1 = VOLUME
Source = AsgnKnob 2
Polarity = Bi
Ratio = +63
Param 1 = 5

The Curve graphic shows (reading left to right) that as you turn up the
Assign Knob 2, this PART, which starts at silence, will be turned up in
Volume. In the minimum position you will only hear the Saw wave, in the
maximum position only Square wave, in the center position a mix of both.
These particular examples use the STANDARD Curve Type. This should
be easy to follow, to hear and to understand.

Because both the Assign Knob 1 of PART 1 and the Assign Knob 2 of
PART 2 are linked to the SUPER KNOB, moving the SUPER KNOB with
"Auto Select" active, will show you these same two Controller boxes.

Return to the Main HOME screen.

Move the cursor down to select [PART 1] in the screen, move the Super
Knob - observe the Assign Knob red indicator and value within.
Move the cursor to select [PART 2] move the Super Knob - observe the
Assign Knob red indicator and the value within.

As programs get more complex – the “Display Filter” will be a very

important tool. Because many things can simultaneously be linked to
movement of a Knob or the Super Knob. The fact that the “Display Filter”
can show you what is assigned to the Super Knob movement, this makes it

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 much easier to sort through deeper complex Motion Control programs. For
now, just recognize that the “Auto Select” function helps you *Filter* the
data that is recalled to the *Display*. The “Display Filter” can show
everything assigned to a specific SOURCE (Controller). And remember the
SOURCE box is where you see the Controller assignment

Recall "Super Knob Morph B"

Basically the same with a few small changes: The Super Knob starts at
127 (fully clockwise) thus starting with the Square Wave, and morphs to
the Sawtooth as you move counterclockwise. And the rate of change is
different. Let's see what's going on:

From the HOME screen (touch the Home icon in the upper left corner):

• Highlight the PERFORMANCE NAME: "Super Knob Morph B".

• Touch "MOTION CONTROL" in the screen just under "HOME".
• Touch "SUPER KNOB" in the second column.

Here you can see that the SUPER KNOB is stored at a value of 127,
effectively reversing its application:

• Touch "OVERVIEW" top of the second column to view the routing scheme.
• Change the "PART" from COMMON to "PART 1" to view the assignments to PART 1.
• Touch the box "Edit PART 1 Control Settings".

This will take you directly to the PART 1 Controller setup... Now you can
toggle between PARTs 1 and 2 using the blue PART [1] pop-up in the
lower left corner of the screen.

Try manipulating the shape of the Curve by highlight "Param 1" and
altering the value.
Notice how the application of the control is being altered by the PARAM
1 setting of "3" (for PART1) versus "7" (for PART2). These determine how
fast one PART fades out and the other PART fades in:

By setting PART 1 to the CURVE created by "Param 1 = 3" and setting

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PART 2 to the CURVE created by "Param 1 = 7" creates a different
crossfade - changing how long they overlap...

EXTRA CREDIT

Let's experiment by checking out using different Curve Types for getting a
slightly different morphing process - because PART 1 has a Negative
RATIO and PART 2 has the Positive RATIO, you can create these
interesting mirror images with the CURVE TYPES:

For example, set the CURVE TYPE = "BELL" shape with opposite
positive/negative RATIO settings for the PARTs;

Set PART 1 (Sawtooth wave) to RATIO = -64 (above)

Set PART 2 (Square wave) to RATIO = +63 (below)

This allows you to get the Sawtooth wave at the extremes (top graphic)
and the Square wave only in the middle (bottom graphic) of the Super
Knob travel.

Another example, the "AM" shape with opposite positive/negative RATIO

settings, allows you to switch alternately between Saw and Square as you
turn the knob from minimum toward maximum

NOTE: Navigating back and forth may, at first, seem to be a chore

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(because you must select the PART and then move the KNOB in order to
view what you want) but as you begin to recognize that each PART has its
own set of functions the power of this is revealed. Spending time
navigating and experimenting here will be well rewarded as you get used to
just how deep "scuba diving" with MODX can get! This is the first big step
into the MOTION CONTROL SYSTEM.

Recommended: For example, the STANDARD Curve Type selection

would work a bit more smoothly. Set the RATIO = -32 and +32 for the
respective Parts 1 and 2, using the Bipolar CURVE TYPE for both. Set
the PARAM 1 = 3 for PART 1 and PARAM 1 = 7 for PART 2. This PARAM
(will change the CURVE TYPE structure. The graphic gives you a good
indication of what is actually happening). Explore the PARAM 1 settings to
see how it changes the curve.

At the RATIO'-32' and '+32'; and both set as PARAM 1 = 5, you still get a
bit of the PART that fades out when you reach the extremes – instead of
silence from the faded PART at the extreme

For Part 1 (fade out of Saw wave) you could use alternately polarity
Unipolar with a Ratio of 32, which works especially fine if the Super Knob
starts with left position.

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Mastering MODX: Super Knob
Complex

This article will show you deeper ways to modulate chord sequences and
melodic lines with the Super Knob. Wecome to Super Knob Complex!

PERFORMANCE: SUPER KNOB COMPLEX

(This Performance example is found in the tutorial content file

"SuperKnobExamples.X8U")

This type of Performance is very useful for typical EDM Synth Chord
Sequences.
 The Super Knob modulation works from percussive
sequence sound (left) to full chord sound (center) and continues with filter
control from center to right. (Please note: The Live Set that is used in the
Mastering MODX series is located here).

It is an example for dividing the ranges of Super Knob movement into "left-
to-center" and "center-to-right" for two different modulations. Compared to
the previous examples, this Super Knob programming is already more
complex and multi-dimensional.

This will require routing the corresponding Part Assignable Knobs to the

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Common Assignable Knobs on the "Edit-Common/Audio" level. And then
assigning the PART Knobs to the controlled Part destination parameters.

Let's decipher what Knobs are assigned to the Super Knob.

Navigation tip: By looking at the OVERVIEW screen we can learn

that PART 1: AssignKnob1, AssignKnob2 and AssignKnob3 are under
control of the Super Knob.

From HOME: Touch "Motion Control" > "Overview"

or
From HOME: Press [SHIFT] + [PERFORMANCE (HOME)]

The cursor highlights the "PART" or shows "COMMON" - you can select to
view any of the overall controller assignments or just a single Part's
controller Assignments.

Set PART = "Part 1"

View PART 1 (I have removed the "FADER" connection from the view to
isolate the Knobs):

We also learn, by selecting "PART 2" that PART 2's: AssignKnob4 and
AssignKnob5 are under control of the Super Knob:

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On the MODX in order to view Knobs 5-8, simply press the lit [ASSIGN]
button (it flashes when 5-8 are selected) this toggles the view between
Assign Knobs 1-4 and 5-8:

The Overview is one way to see this - the actual Controller assignment
takes place on the "Edit - Common/Audio" > "Control" > "Control Assign"
screen.

Below we have set the DISPLAY FILTER to "Super Knob. Four

Destinations of the sixteen available for this level of Editing are shown at a
time:

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PAGE 2: To see the next four Source/Destination locations, advance the
PAGE to PAGE 2 (shown below):

The five Destinations are as follows:

Part 1 Assign 1
Part 1 Assign 2
Part 1 Assign 3
Part 2 Assign 4
Part 2 Assign 5

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 Now, in turn, move each Assign Knob 1-5, directly - each Assign Knob’s
Destination is shown individually. As you can see the Part Assignable
Knobs are all assigned to a corresponding Common Assignable Knobs.
This allows individual control of each assigned parameter.

Because the "AUTO SELECT" function is active (green) moving any

controller will reveal what is assigned to that particular device Additionally,
utilizing the "Auto Select" feature, you can turn the Super Knob and review
just those controller assignments linked to its movement. Because these
assignments are basically made as you develop your ideas about what you
want to accomplish, you will naturally start by assigning individual controls
to a knob, but recognize that it can get as complex as you desire. Multiple
destinations can be assigned to a single knob. This is important to mention
here because often you may be using two similar PARTS to create a LEFT
and a RIGHT version - and will want to use a single Knob to control both
together. We'll get to that in a future article... but it is important to mention
that you have the choice! (For now we'll keep it so each is assigned a
separate Knob).

To locate what is shown above in the actual MODX, from the

PERFORMANCE (HOME) screen:

• Press [EDIT] (Edit - Common/Audio)

• Select "CONTROL" in the left column in the screen
• Select "CONTROL ASSIGN" in the second column
• Activate AUTO SELECT and turn the first 5 Knobs.

Common Assign Knob 1/ Part 1 Assign 1. This is on that upper level

COMMON/Audio – the overall COMMON Level. The actual PART 1
Assign 1DESTINATION parameter is “Volume”

Part 1 of this example includes a percussive analog synth sound, which is

faded out (volume) by moving the Super Knob to right (Destination 1). At
same time the Filter Decay Envelope gets longer (FEG Decay1 –
Destination 2) and the Reverb Send increases (Destination 3).
Highlight each of the DESTINATIONs 1, 2 and 3 in turn to view the
SOURCE, CURVE TYPE, POLARITY, RATIO and PARAM 1 (curve
dynamic) for each assignment.

Navigate to PART 1 – you can do so by highlighting the “Destination 1” box

since it is assigned to control PART 1, the “Edit Part 1 Control Settings”
shortcut appears touch that to be whisked directly to the PART 1 Controller

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Sets…

Below: See the three PART1 assignment Destinations simultaneously, by

touching the Super Knob; recalling setting the DISPLAY FILTER = SUPER
KNOB:

Above Translation: Turning the SUPER KNOB will recall the Destination
parameters of PART 1 that will be affected by its movement. They are: 1
(Volume), 2 (FEG Decay1) and 3 (Rev Send). Currently Destination 1 is
selected and we can see that Volume is linked via AsgnKnob 1. Therefore,
as the Super Knob moves Assign Knob 1, the volume of PART 1 will follow
the CURVE as shown. It is a negative RATIO so the Volume will be turned
down. The Volume is not reduced until way late in the movement of the
Knob.

As you highlight each Destination, in turn, you can see

what SOURCE (which physical Assign Knob) is directly involved. Each
Destination will have its own programmable Curve, Polarity, Ratio, etc.

As you turn AsgnKnob1 towards maximum you will hear the sound rapidly
drop off after you reach about 4 o'clock.
As you turn AsgnKnob2 towards maximum you will hear the filter envelope
get longer and longer - allowing more sound output and a brighter tone.
As you turn AsgnKnob 3 toward maximum you will hear an increase in the
Reverb.

As you turn the Super Knob all of these happen simultaneously with a
single gesture. And, importantly, each can be scaled to perform as you

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design.

Hint: You can [SOLO] PART 1 or simply [MUTE] PART 2. By isolating just
PART 1 you can hear how turning ASSIGN KNOB 1 turns down PART 1.
Notice the RATIO is -32 (Negative values reduce), and the PARAM
1 function (10) is the CURVE you are hearing – changing this to anything
else will make this clear. Please experiment. When PARAM 1 = 0, notice
that the turn-down in volume is practically immediate. PARAM 1 = 5 is
basically linear

Since five of the SUPER KNOB functions are listed in the upper COMMON
level – three to PART 1 and the last two (KN4/KN5) that are affecting
PART 2. These are seen by selecting PART 2 and viewing its individual
PART CONTROL > CONTROL ASSIGN

Part 2 includes a fat, stacked trance pad sound, which is faded in moving
the Super Knob to right. Starting from the center position the filter
modulation starts.

PART 2 - DESTINATION 2 Cutoff (Assign Knob 5) - as you turn the Super

Knob clockwise you close the FILTER for all Elements.

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SELECT PART 2: Nothing is assigned to PART 2 for Knobs 1, 2 and 3 - But KNOBS 4 and 5 are set
to VOLUME and CUTOFF.

You can isolate PART 2 and listen to how individual Knobs 4 and 5 interact
with PART 2.

Notice that in the screen (Destination Volume) this is COMMON VOLUME

and affects all Elements. While the Destination 2 on the right (Cutoff) is a
destination that can be switched per Element (similar to the Motif Control
Sets).

Explanation: The Common VOLUME parameter turns all Elements in this

PART up or down together, if you wish to control individual Elements you
would target "Element Level" not the Common Volume. Since each
Element has its own FILTER and therefore its own CUTOFF setting, you
can opt out or opt in on a perElement basis when you are dealing with this
setting. The MODX will show you the Element Switches based on the
DESTINATION parameter in question.

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Mastering MODX: Super Knob
Values
Learn more about using the MODX Super Knob in setting parameters and
limitations for shaping your modulations.

PERFORMANCE: SUPER KNOB VALUES

(Performances used in the Mastering MODX Series are here)

In the previous examples the range and envelope of the modulations was
set in the Part Control Box using the parameter Curve, Polarity and Ratio.
Additionally, you can use another setting for shaping the modulation that is
a bit more targeted. This is possible using the Super Knob Value
1 and Value 2 of the “Super Knob” window. The values are setting limits for
the modulation ranges. (Basically, setting MINIMUMs and MAXIMUMs).
Please note: The Live Set that is used in the Mastering MODX series is
located here.

If you have programmed a wide, or even the whole-range, for controlling a

specific parameter in the Part's Control Assign you can limit this range
using the Super Knob Values 1 and 2.

In the default setting you will find the Super Knob set to full range (0 – 127)
for all knobs.
Stored value here is Super Knob = 64:

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Limiting the range via the Super Knob Values might be easier than trying to
find the intended ranges using only the parameter of the Part Controller
Box. If you make rough settings in the Part Controller Box first, then you
can do the fine adjustment of the range to be controlled in the Super Knob
window with Value 1and Value 2.

To be clear: It is not the range of the Super Knob itself that is limited with
the Value settings that it will be changing. The Super Knob is still working
for the complete range from leftmost to rightmost. Only the controlled
parameter range of the target will get smaller or change direction.

You can use the example Performance 0008 “Super Knob Values” for
checking the Value 1 + 2 function. It includes only one Part and one
Control Set with the Destination LFO Speed of the chorus effect. This
allows you to recognize the parameter changes very easily.

The settings in the Common/Audio and Part1 Controller Boxes are very
simple and basically not different from previous examples:

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The CURVE is Standard; The POLARITY is Bi; the RATIO is set to +32,
which enables full parameter control when the KNOB is moved minimum to
maximum: Touch the box labeled “Edit Part 1 Control Settings” to view the
actual Control Set.

Above the RATIO will determine “how much” change is applied… At +63
you hear the maximum speed of the LFO, at -64 you hear the minimum
speed of the LFO, at +0 you hear the “stored value”.

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For fine adjusting the controlled parameter range, now you can use Value
1 and Value 2 of the Super Knob window. Please change the default
values of 0 and 127 to values, which are setting a useful control range -
Here’s how

From HOME > touch “Motion Control” > “ Super Knob”…

Setting the Common Assign Knob 1 = 12 – 86, for example, would allow a
control from a very slow chorus to a fast vibrato chorus. As you initially
make the setting you may need to move the Super Knob to REFRESH its
control over the parameter.

Green dot represents VALUE 1 and the blue dot is VALUE 2.

I have set the VALUE 1 to 12 and the VALUE 2 to 86

As you move the SUPER KNOB from its minimum position (7 o'clock)
through its maximum position (5 o'clock), you will see that this parameter is
only moving from a value of 12 through a value of 86 (with a Value of 49 in
the center).
Please note: If you use the center position of the Super Knob as start
position, the center position will no more correspond to the current
parameter setting. In general, set the range for what you require, and
STORE the PERFORMANCE with the Super Knob's direct value wherever
you desire/require.

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For example: If the Values range is set to 32 – 96 the value of the center
will not change, because the amount of decrease and increase is
basically 32 on both sides of the center position. But in case of 12 – 86 the
center position would change.

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 Mastering MODX: An FM-X
Exploration, Part I

Want to learn more about the FM-X engine inside MODX? This article is a
great place to start!

MASTERING MODX: AN FM-X EXPLORATION PART 1

This article references content saved in MODX Connect, the VST/AU and
standalone software component for capturing and recalling MODX
Performances.

• Get MODX Connect for Mac or PC here.

• Get the file referenced in this article (P4.X8B) here.

In this short quick series, we'll take a look at a number of simple two
Operator FM-X stacks and discuss how you can begin to learn to program
source waves using FM-X intuitively, by ear - without any heavy math.
Please download the example Performance (P4.X8B). This is a MODX
Connect bulk file. It is assumed you are making the adjustments and
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hearing the results yourself. One of the best ways to gain an understanding
of the FM-X engine is to experiment with a few key parameters and work
with them until you're comfortable with what they do and exactly when they
do it.

FM-X STUDY: A DETAILED LOOK AT AN FM-X PART

We will look at four separate FM-X Parts, each built from a simple two
Operator Stack - where Operator 1 is modulating Operator 2. We have
deconstructed a Multi-Part Performance to take a closer look at what
makes this FM-X tick. Then we will assemble all four Performance PARTs
and hear them in context of a full MODX Multi Part Performance.

PERFORMANCE: P4

Here we have an FM-X PART using just two Operators (OP1, OP2) to
illustrate the variety of wave shapes you can build with just these two
components interacting. Download the file “P4.X8B” (located at the very
bottom of this article). Unzip the file and open it with MODX Connect. You
can do so by going to LOAD, highlighting the File Name and clicking
“LOAD” while the MODX Connect application is ONLINE. This will send the
tutorial Performance to the Edit Buffer of your MODX. It will not overwrite
anything currently in your User Bank. You can work with it and explore
while it exists in the edit buffer:

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 From the HOME screen, we have activated the alternate VIEW Home
screen:

• Touch the “View” box (turns green) or press [HOME] a second time, to flip
to the alternate information view.
• Press the [PART – ELEMENT/OPERATOR] button, located just to left of
the Faders, to select “Element/Operator”.
• The Faders become Part “Element/Operator” Level controls. Lower right
side of the screen: “Part 1 Operator level”.

Here you can see that only Operator 1 and 2 have Output Level (99) the
other six Operators are Level 0 (and are not used in this tutorial).

BASIC FM-X

The “View” screen can show us much about this particular sound. This
Performance contains a single FM-X Part (Part 1) made from just two
Operators. Operator 1 is the Modulator and Operator 2 is the Carrier.

If you are new to FM synthesis:

• Carriers are always on the bottom of the Algorithm diagram; 2-5-8 in the
diagram above.

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• Modulators are always stacked above the Carriers.

Carriers can output audible sound, Modulators are not audible directly. To
understand this important basic concept in FM synthesis, think of the
Carrier as the violin string – when placed in motion by the bow, you hear it
making the sound we identify as the violin. Think of the Modulator as the
left hand applying vibrato - you hear the effect of this movement
manifested as a subtle change in the pitch of the sound; above and below
the original pitch.

You do not hear the vibrato (Modulator), directly; you hear its effect on the
Carrier. If you remove the right-hand violin bow from the strings, the
Modulator (left hand vibrato) is inaudible by itself. It makes no sound on its
own. You only hear it when it is modifying the Carrier. And it is same here
in FM synthesis. You can see that Faders 1 (99) and 2 (99) are up full,
while Operators 3-8 are all set to 0 (and are not used at all). The Faders 1
and 2 control the OPERATOR LEVEL. Lower each one in turn to
understand this simple function. OP2 is audible. You only hear the effect of
OP1 applied through OP2.

Important Point 1: the blue arrows in the screen indicate the current
physical position of your physical slider. The arrow will turn white arrow
when the Fader reaches the stored value, until then, the Fader is not
active. Both OP1 and OP2 are stored at a value of 99… therefore, you will
need to move the physical Fader all the way to the top in order to ‘grab’ or
‘hook’ the arrow and turn it white. From that point on it is an active slider.

Important Point 2: While Operator 5 and Operator 8 are Carriers - they

are not being used in this example - leave them set to 0 - we will be using
just Operator 1 and 2 for these simple experiments.

When you remove the Modulator, by lowering Fader 1, you’ll hear that
Operator 2 is a smooth, pure tone. This is a Sine wave assigned as
Carrier, and as you raise Fader 1 (so that you are hearing both Op1 and 2)
you can hear the timbre (tone) starts to change as your reach about 3/4 of
the way up. You are hearing the influence of the Modulator on the Carrier.

Later we will see that because the initial Frequency of OP1 is exactly
double that of OP2, this sets up for a very square/pulse wave type tone
family: woody, hollow, round are words that come to mind. (Do not worry
about this mathematical Frequency relationship right now, we'll come back
to it).

If you raise Fader 1 but lower Fader 2, you hear nothing. This is because it
leaves just the Modulator and you cannot hear the modulator (vibrato) by
itself. Remember our violin example, Vibrato makes no noise, it creates no

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sound output, it influences the component that does (the Carrier):

You can see in the Algorithm diagram that Operator 1 is set to “Feedback”
on itself.

Feedback is a term you already know - it is similar to what happens when

a microphone is pointed at the speaker that is reproducing its sound. The
sound comes out of the speaker enters the microphone, then comes out of
the speaker, enters the microphone and so on, and on. The same principle
was used by some guitar player back in the 1950's and every guitar player
since does a variation on the same thing. Feedback: the pickups of the
guitar in proximity of the amp/speaker.

This Feedback loop is one of the ways in FM synthesis you can build a
more complex tone from the lonely pure sine wave. As the energy cycles
back on itself it builds in complexity.

In the original DX7-style FM, this was an alternate method to making a

more complex wave shape. In the current mobile synth, reface DX, each
Operator has the ability to Feedback on itself.

The location of the Feedback loop, whether on a Modulator or on a Carrier,

or whether applied to a single Operator or applied to a stack of Operators,
will make a difference to its effect on the resulting tone.

The single Feedback loop here, in the FM-X engine Algorithms, is included
to provide compatibility with legacy DX-style FM sounds (which had just the
one loop per Algorithm), as we'll soon see, this new FM-X engine in the
MODX provides an updated, far more controllable method of evoking more
harmonics from a single Operator.

When the Feedback loop is located on a Modulator, as above, you can

deduce that it's energy will be applied to timbre change; if the Feedback
loop is on a Carrier, however, you would anticipate you would hear its
effect more directly.

In the screenshot below, PART 1 is selected (the cursor highlights the Part
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1 “TYPE/NAME” area) and the normal “VIEW” is selected so that we can
view the 8 Assign Knobs for PART 1 in the screen. You can toggle the new
“View” with the normal HOME screen by simply pressing the
[PERFORMANCE (Home)] button repeatedly:

Above PART 1 ASSIGN 1-4 are selected.

Below PART 1 ASSIGN 5-8 are selected.
To select “Assign 5-8” press [ASSIGN] again. It will flash to indicate Knobs
5-8 are active:

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We have deactivated the “View” function and Part 1 is selected.
This allows us to see the PART 1 Assign Knobs and their current
assignments.

The parameters have been given Names so you can see and experiment
with changing this sound in real time. They are: Frequency, Form, Skirt,
Resonance, Feedback, EG Level, OP1 Decay, OP2 Decay.

These 8 parameters have been selected for real time manipulation via the
PART 1 Assign Knobs - they will be used to quickly fashion and shape the
resulting FM-X wave. At this time, none of the Part Knobs has been linked
to the Super Knob. At this point, parameters have been assigned to the 8
Part Assign Knobs. We will manipulate each KNOB directly so that you can
hear and understand when and what each is doing. Later, you can get in
and design your own Knob assignments.

Important Point 3: Because of the initial percussive envelope you will

need to continuously restrike the keys as you turn a knob to hear the
results. The Envelope of this PART is set to be in the percussive family of
sounds - which means the sound will die out even if a key is held
continuously. Hammered, struck and plucked instruments have this type of
envelope behavior (we describe this as ‘percussive’). Use the screenshot
above as a reference for your experiments - return to it as your “start
point”.

ASSIGN KNOB 1: FREQUENCY (OP FREQ)

“Operator Frequency” has been assigned to Knob 1. Turning this Knob will
cause a change in the timbre (tone) of this two Operator stack. The
fundamental pitch of the note you play is still identifiable, but the timbre, the
harmonic relationship, is changing. The tone is getting brighter, more high
overtones/harmonics, as you turn Knob 1 clockwise. The fundamental pitch
remains unchanged. So even with the little bit we know about FM synthesis
so far, you know that we are changing the frequency of the Operator that is
the Modulator, OP1. Using the Faders, set to “Element/Operator”, again
listen to just Operator 1 and then Operator 2 to understand what each is
contributing. If you think in terms of analog (subtractive) synthesizer
structure, this would be similar to how opening a Low Pass Filter reveals
more high harmonics. The sound gets brighter the higher you go with the
Operator 1 Frequency. Instead of allowing more high harmonics to be
heard by opening a filter, we are actually generating more high harmonics
by increasing the Frequency of the Modulator. You don't necessarily use
this Frequency control in the same way as a filter, but the role is parallel;

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you are controlling high frequency content (harmonic content) which
shapes the tone.

ASSIGN KNOB 2: FORM (SPECTRAL FORM)

“Spectral Form” allows you to select 'other' waveforms and to construct

other starting points when building a sound. The original DX7-type FM was
built on simple Sine wave Operators interacting. Each of the DX7's six
Operators output just a Sine wave. Since, by nature's design, Sine waves
contain no harmonics, this meant it was necessary to use at least two
Operators to make a complex wave shape or you had to FEEDBACK the
Operator on itself to generate complexity.

In the new FM-X engine, you get a variety of what are called “Spectral
Forms” or wave shapes. There are two different Sawtooth waveform types,
one called “ALL 1” and the other “ALL 2”. The word “ALL” here refers to
all whole integer multiples of the fundamental - a fancy way of saying: All
the harmonics in the harmonic series are generated. For those familiar with
analog synths – this gives us the Sawtooth family of waves.

Example: When you play the note A110, the second harmonic is A220, the
third harmonic is E330, the fourth is A440, the fifth is C#550, the sixth
is E660 - and so on - whole integer multiples of the fundamental form the
“harmonic series”.

You also get two Pulse type Spectral Forms, one called “ODD 1” and the
other “ODD 2”. The word “ODD” here refers to the fact that every other
harmonic is generated – just those that are odd number multiples of the
fundamental. When you play A110, the next harmonic would be the at
E330 (third), the next the C#550 (fifth), and so on - just the ODD
harmonics.

And finally, you get two different Resonant Waveforms – Resonance is

when there is a loudness peak, so that a particular harmonic frequency is
louder than their neighbors. “RES 1” and “RES 2”.

The “1” and “2” after the Form type are described as being 'broad' and
'narrow' variations of each category. A broad and narrow spectral array of
the ALL (sawtooth), the ODD (pulse) and the RES (resonance).

You don't have to know the math of this, instead: let's use our ears. If you
are familiar with analog synthesis, you now know how to start to build
sounds that use Sawtooth, Pulse (square) and Resonant Waveforms as
the source. In the FM-X engine you can do it with a single basic Carrier

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Operator by selecting the Spectral Form that gives you the harmonics you
want. Sawtooth waveforms contain every harmonic, Pulse waves contain
only the odd harmonics. But beyond just selecting a single wave as a
source, you can fashion it to a great degree for a wide array of tonal
possibilities, as we'll see.

When Spectral Form = Sine you'll initially have no harmonics while these
other six Form types are rich in harmonic content right away. Knob 2 will
allow you to switch (select) between these different SPECTRAL FORM
starting points. Lower Fader 1 (Modulator), so that you will hear just OP2:
the Sine, Sawtooth (All), Pulse (Odd) and Resonant Waveforms generated
by OP2.

Try the following: Return Assign Knob 1 to 0, and slowly turn KNOB 2
clockwise and listen for the timbre change.

Summary: A Sine wave, as Carrier, will only produce the fundamental

tone, any harmonics must be created by using a Modulator to influence
that Carrier and shape its tone. What you will hear is that OP2 is the pure
sine but if you change the SPECTRAL parameters, you will hear that it can
take on harmonic character all by itself. This can have a profound effect on
the resulting tone (even without the Modulator):

Let’s navigate into the architecture to see what we are actually changing
with this KNOB 2. Shown above: PART 1 is selected > EDIT > touch “OP2”
> touch “Form/Freq”

In Operator 2, highlight the “Spectral” parameter: “Sine”. Touch the box,

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the pop-in list shown in the screenshot above appears - listing the different
Forms.

With KNOB 2 all the way down (counterclockwise), use the DATA
WHEEL to select each one in turn, play a little on each of these Spectral
Forms. Hear how the timbre changes in character. You may notice very
little difference now between types “1” and “2” of each kind, initially. But
also notice that additional boxes appear (“Skirt” and eventually
“Resonance”) that will allow you to branch off in different tonal directions on
these particular waveform selections! As we'll see and hear in a moment.

For now just take note of the fact: the “Sine” is the pure tone – no
harmonics; the “ALL”, the “ODD” and the “RES” families have completely
different tones and will be variable using the “Skirt” and the “Resonance”
parameters, when applicable. We'll take a listen to that.

Return the parameter to the original “SINE” setting and get back to our
“starting point”:

Return to the HOME screen > Select “PART 1”. (Shown above). What
happens when you turn Assign Knob 2 (“Form”) is you are actually
switching between these 7 types of Waveforms (Spectral Forms). Here is a
map of when that occurs - done by ear:

Sine: 0-19
All: 20-58
Odd: 59-97
Res: 98-127

You can hear a distinct change in the character of the sound – and it is
rather abrupt at the value it switches. If you notice this, you may decide
that is not a good candidate for real time manipulation but one that can be
set specifically for a certain tonal character. After all, you rarely switch the
source waveform during performing. You select the sound you want to play
based on the original source waveform. We'll see later how this can be put
to good use.

You should hear four distinctly different tonal families depending on the
position of Assign Knob 2 (Form). If you are not hearing them make sure

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you set the Spectral parameter back to its original “Sine”.

Please return the Spectral FORM parameter set to SINE (Form = 0) as a

starting point for these next experiments.

ASSIGN KNOB 3: SKIRT

Skirt – all the FORMS have a 'skirt' (except the Sine). A 'skirt' flares out
and is like an umbrella under which you have additional harmonics both
above and below a center point. The wider the skirt the more harmonics
are heard, and the narrower the skirt, the fewer additional harmonics will
be heard. Turning the Assign Knob 3 assigned to “Skirt” while Form is a
Sine wave (“Form” is a value between 0-19) – will result in no change in
timbre. A sine wave generates no harmonics - so no matter how wide we
allow the search, none will be discovered.

However, as soon as you pass the value 20 for the Spectral “Form”, the
Spectral “Skirt” parameter (Assign Knob 3) will engage.

Set FORM = 20, you should now hear a change in timbre as you change
the Skirt setting.

For this experiment set Assign Knob 3 “Skirt” to about 96-100 so that it is
very engaged. Now slowly turning Knob 2, Form, starting at 0.

You'll recognize you can now find a difference between ALL “1” and “2”,
between Odd “1” and “2”, and between Res “1” and Res “2”. By widening
the Spectral Skirt, you now have a different array of harmonic
overtones/sidebands/frequencies that are being generated – you are now
able to detect two distinct families of waveforms between ALL 1 and ALL 2
– which was not so apparent previously. Likewise, between ODD 1 and 2,
you now notice a new range of timbres available. The same with RES 1
and 2. Here is a value map once the Skirt is unfurled.

With the Skirt unfurled a bit, you can now hear distinct families of wave
shapes, again by ear, turn the Assign Knob 2 FORM and hear the timbre
families:
Sine: values 0-19
All 1: values 20-39
All 2: values 40- 58
Odd 1: values 59-78
Odd 2: values 79-97
Res 1: values 98-117
Res 2: values 118-127

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You can see now that depending on what FORM is selected at the moment
can greatly influence what timbres you will be able to get. FM-X is very
interdependent this way. How wide the “Skirt” is set can determine the
sonic result, as well. And a single Operator is capable of a very wide
variety of tones all by itself. This is like having a fully programmable timbre
option on every Operator – because on a per Operator level you can have
an even wider array of musical starting points, as we'll see as we dive even
deeper into this component.

Resonance will give very radical results, same as a resonant filter would in
an analog synth. The frequencies will begin to leave the planet and go off
into a range only your dog will fully appreciate. The RESONANCE knob,
coming up next, you can anticipate that it will only function when the
Spectral FORM is set to the range that gives “RES 1” or “RES 2” and will
also be influenced by the width of the Skirt setting. (That is, when KNOB
2 is at a value of 98 or higher, and KNOB 3 is in play). Let's hear that - in
the next article, we'll take a look at where this is assigned, for now just
move the controls and observe results, by ear.

ASSIGN KNOB 4: RESONANCE

The concept of resonance can be understood as the frequency that is

louder than the others on either side of it; it appears as a peak in the level
graphic, at a specific frequency. It is very similar to when a certain pitch
seems stronger in a particular room – we say the frequency is resonating.
Some rooms, for example, may accentuate F#s, this frequency will seem to
resonate in the room and ring longer and louder than other notes. This
distinct 'resonance' sound is well known to users of analog synthesizers as
there is often a resonant peak applied at the cutoff frequency of the Low
Pass Filter.

It is also well known to any musician who has played a gig in a school
gymnasium where there is that one frequency that seems to just “howl”
when the band plays. On many analog synths you could turn Resonance
up enough to get it to ‘howl’ (self-oscillate). The tones you get from this end
of the spectrum are familiar. And although no acoustic instrument actually
accomplishes a Filter Sweep, (that is one of analog synthesis' additions to
the musical lexicon) – a rapid move through the frequency range
accentuating a specific frequency at the Cutoff point of the Low Pass Filter.
Classic sound.

Here we are more precisely controlling the harmonic content while

accentuating a specific central frequency. A proper analog synth-like Filter

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Sweep can be best accomplished by applying an actual Filter, here we are
just discussing how FM-X deals with resonance at the wave construction
level. The original DX-style FM had no filters (at all). FM-X has the same
powerful 18 Filter types you will find over on the AWM2 sample-based
side of the synth!

Please return FADER 1 back to 99, (set both OP1 and OP2 back to 99) so
that we can again hear the influence of the Modulator on the Carrier. We
have accomplished creating a more complex wave using just OP2 (Carrier)

Important Point 4: To select Assign Knobs 5-8 press [ASSIGN] a second

time… the [ASSIGN] button flashes to indicate Knobs 5-8 are active.

ASSIGN KNOB 5: FEEDBACK

Feedback is the output of a source being fed back to the input, creating a
buildup in energy and in this case, since it is a Modulator being fed back on
itself, a change in timbre.

In the original DX7-style FM, at least one of the Operators in each

Algorithm was being 'fed back' on itself, sometimes a stack of Operators
fed back upon themselves. The result was to open the door to a wider
range of timbres. What you are observing above (FM-X) is the method
introduced in the Yamaha FS1R back in 1998 – where it is a
programmable function – not just a selection of Waveforms but a full set of
variable parameters that can be used to dial in that source wave shape that
is so important to building a sound.

Here with Knob 5 we are dealing with the traditional DX7-style Feedback.
To hear its influence clearly: Set the P4 Assign Knobs as shown above...
then begin to slowly add “Feedback”.

ASSIGN KNOB 6: EG LEVEL

The more EG LEVEL (Knob 6) you apply, the more you will hear the
influence of the Feedback. Try EG LEVEL of 105 or 110, then experiment

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with FEEDBACK. The “chaos” at the extreme top values can be used as
a noise component – you can hear its rough edgy quality. “EG LEVEL”
here is offsetting the Amplitude Envelope of the Modulator (OP1)
lengthening its duration - making it easier to hear its influence. (We'll take a
look at that in a future article). The Algorithm diagram shows us that it is
OP1 that is being fed back onto itself – the result is a more complex
harmonic output, and by increasing the EG LEVEL with more influence
over the Carrier. As you can hear, you can take this Feedback to the edge
of chaos. The EG LEVEL allows the influence of the Modulator amplitude
shape to increase. At minimum, the EG LEVEL prevents the Modulator
from influencing the Carrier so the sound returns very much to a sine wave
tone, but as you increase the EG LEVEL the Modulator has more influence
over the Carrier.

ASSIGN KNOB 7 & 8: OP DECAY

Knob 7 and Knob 8 are “OP1 DECAY” and “OP2 DECAY”, respectively.
Turning them left and right you can hear that one affects the total sound
(OP2) the other affects those components modifying the sounding.
Increasing the “OP1 DECAY” will have a paired affect to what EG LEVEL is
accomplishing – it is changing the influencer, the shape OP1's amplitude
(its energy), the modifier, is taking. If low values are sent, the influence is
decreased (a really fast blip at the attack), but as “OP1 DECAY” is
increased you can hear clearly how it can change the sound particularly
when the FEEDBACK is also used. When you need inharmonic noise to
add a bit of “spit” to an attack, set OP1 DECAY to create a short, quick
burst of chaos at the attack. OP2 DECAY controls the overall duration of
the sound we hear - it is the Carrier's amplitude envelope.

The relationship between these two can greatly influence how the timbre
changes over time. If the OP1 DECAY is set higher than OP2 DECAY, the
influence of the Modulator will last throughout the Key press, if OP1
DECAY is set lower than OP2 DECAY, notice that the timbre changes
accordingly… you get a quick burst of timbre change followed by a smooth
held tone

When you combine the “Form”, the “Skirt”, the “Resonance” with the
“Feedback” and fashion some control over the envelope shape of the
audible Carrier and over what is being used to modify that Carrier, you can
pretty much see how this goes just a bit farther than just simply having a
Feedback loop on each Operator (ala the baby brother FM synth: reface
DX) what you have here in the FM-X of MODX is a deeply programmable,
continuously variable, waveform shaper per Operator. It is all about the
family of tonalities you can build from these sources when combined to

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work with each other.
_ Raise Fader 1 to bring back in the Modulator, OP1.

TRY AND THE FAMILY TONES

You can fashion wooden, metallic, nasal, broad, plucky, blippy, bell-like,
clangorous, buzzy, etc., etc., etc., tones by just experimenting with
Frequency, Spectral Form, Spectral Skirt, Resonance, Feedback, EG
Level, and the Decay parameters. Experiment with what you have
observed. See just how many different types of basic tones you can build
using just these eight parameters.

Observe how OP1 DECAY and OP2 DECAY, change the entire character
of the amplitude envelope. From short percussive envelopes to more
plucked and struck envelopes where there is a longer duration. If OP2
DECAY is turned up and OP1 DECAY is short, the modifier's energy
dissipates before the sound dies out. We are simply building the source
Waveform here, and using just two of the eight available Operators. You
can begin to see that not only can you let your ears take the lead, but it is
possible, with some experimentation and observation, to begin to decipher
programming FM-X, by ear!

As we explore further, we will learn how to navigate to the actual parameter

Assign locations - but for now, experiment with this 2-Operator stack, and
the 8 Assign Knob parameters to hear the wide variety of tones you can
produce. In the next article, we will take a look at another two Operator
stack built from the same Modulator:Carrier, 2:1 tuning Ratio, with the
same set of Assign Knob parameters and you can hear for yourself the
variety of timbres that can be created. To say there are just 7 Waveforms is
to not really understand what you have here (and all this before we even
get to the Filters!)

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 Mastering MODX: An FM-X
Exploration, Part II

Real time control over FM is one of the cool features of MODX. Part II of
"Mastering MODX: An FM-X Exploration" begins where Part I left off and
dives deeper into the details of real time control MODX mastery.

MASTERING MODX: AN FM-X EXPLORATION, PART II

This article references content saved in MODX Connect, the VST/AU and
standalone software component for capturing and recalling MODX
Performances:

• Get MODX Connect for Mac or PC here.

• Get the file associated with this article (P3.X8B) here.

In Part 2 of this series we will study a Performance made with the same
basic setup as in Part 1, but featuring different settings for our 8 Assignable
Knob parameters. In our previous article, we turned some knobs and made

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some observations and speculations about what was being controlled -
was it the Modulator or the Carrier that was being altered by a specific
Knob parameter? Now we will follow through and see where those Control
Assignments were made and how they are applied by the settings.
Included at the bottom of this article download the zipped MODX Connect
(P3.X8B) file for the tutorial, PERFORMANCE: “P3”

This single PART Performance contains an FM-X Part made from just two
Operators. Just as in the previous example, Operator 1 (99) is
the Modulator and Operator 2 (99) is the Carrier. Above, we have touched
“View” to see the information split screen, and we have pressed the [PART
– ELEMENT/OPERATOR] button to select the “Element/Operator” view.

You can see that Faders 1 and 2 are still up full in a similar manner to the
previous example.

This time when you lower Fader 1, you hear that Operator 2 is no longer
just a smooth, pure tone (Sine wave) as in P4. This time OP2 has a more
complex timbre all by itself, and as you raise Fader 1 you can hear the
timbre (tone) change further. We know now that by altering the Spectral
FORM and SKIRT we can generate a complex source Wave from just a
single Operator.

If you lower Fader 2, you hear nothing. The Modulator cannot be heard by
itself. You can see that Operator 1 is, again, set to Feedback on itself.

In the screenshot below, PART 1 is selected (cursor highlights the Part 1

TYPE/NAME box) so that we can view the 8 Assign Knobs for PART 1:

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 Compare the setting on our 8 PART Assign Knob parameters – these are
what make the difference between these two Performance PARTS, P4
from last time and now P3.

The parameters have been given Names so you can see and experiment
with changing this sound in real time.

ASSIGN KNOB 1: FREQUENCY (OP FREQ)

In the previous experiments we determined that Operator 1 (the

Modulator's) Frequency has been assigned to Assign Knob 1. Let's learn
about where and how this takes place. To do so let's navigate to where
Controllers are assigned to destination parameters. There are two methods
to get there listed below - Learn to use both so that you can add to your
navigation skills.

From the HOME screen you can manually navigate to the Control Assign
area as follows:

• Press [EDIT].
• Make sure “Common” is selected in the lower left portion of the screen.
• Touch “Mod/Control” > “Control Assign”.

Alternatively, from the HOME screen you can take the following shortcut:

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• Press [SHIFT] + [HOME] (INFO).
• From the “Overview” screen set the PART = “PART 1”.
• Touch the box “Part 1 Control Settings”.

We want to see the setting assigned to PART 1's Assign Knob 1.

Touch the “Auto Select” box so it turns green (active).
Move Assign Knob 1 (this will automatically select its setup screen):

What you can learn from this screen is that physical controller (called the
“SOURCE”) is “AsgnKnob 1”.

Locate the SOURCE box - this is where you assign/select the Control. The
parameter (or “DESTINATION 1”) is “OP Freq”, Operator Frequency.

The “Curve Type” (Standard) and “Polarity” (Uni), you can see the graph
(looks like a ramp) that increasing the Knob will increase the frequency.
You can see that the OPERATOR RATE is being applied to only Operator
1 (value = +7).

Translation: The graphic next to CURVE TYPE represents what happens

when the Knob is increased. You read it from left-to-right. You can
understand this to mean: as the Assign Knob 1 is increased from minimum
toward maximum, the Frequency of this Operator will increase. The
amount that it will increase will be determined by the Operator Rate. You
will notice that each of the 8 FM-X Operators could be included, or not, in
this change - by setting an amount under the “Switch/Rate” for each
Operator 1-8. Well, we are only using two (OP1 and OP2) so by placing a
value next to Operator 1, we can conclude that turning this Knob will
increase the Frequency of the Modulator at the Rate as set by the value

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shown - which is exactly what we concluded (by ear) in our first
experiment. This screen is exactly *where* this change in Frequency is
assigned to happen.

See the +7 value for OP1 Rate, change it to hear and understand that it is
the “depth” control or the amount of application of Frequency change of
Operator 1. Try all values from +7 ~ 0 ~ -7, while tapping on notes. Make a
setting for this value, then turn Assign Knob 1. Hear and understand how
the frequency change can be reversed at the parameter assignment (and
not just by changing the direction of the Assign Knob). In other words,
experiment at all values. Observe that when Operator Rate = -7 you can
hear how increasing the Assign Knob does the opposite of the +7 setting, it
lowers the frequency of the harmonics - even though the Ratio
is positive with a Standard Curve. This is very much akin to closing a filter
in an analog (subtractive) environment. Hear how it darkens the tone
(timbre). It could be described as “placing a blanket over the sound”,
“removing air from the sound”, “rounding the sound down”, etc., etc.

Experiment by changing the Ratio parameter from positive to negative to

hear and understand how controllers are applied. When Operator Rate is
+7 but Ratio is set to a negative value, you have reversed the movement.
The graphic changes to illustrate what you are hearing.

Finally, change the Param 1 (Parameter 1) to see and hear how it

influences the application of the Assign Knob 1. You will discover that
“Param 1 = 5” is very much a linear application of the control, while a
setting of “10” would apply the change very late in the movement of the
knob. You have to move, see and hear this change for the concept to be
clear.

Return the sound to “start point” settings.

ASSIGN KNOB 2: FORM (SPECTRAL FORM)

Spectral Form allows you to select from six 'other' waveforms, other than
the basic Sine wave and to construct other starting points. The setting
of FORM = 113 will result in selecting one of the two Resonant Waveforms,
“RES 1”. “RES 1” is described as being 'broad' (wide). In our previous
article, we took a close up look at the parameter Assign Knob 2 is assigned
to change. And we discovered that when the Skirt was unfurled a bit, we
could recognize distinct differences in the “1” and “2” families of
waveforms:

Sine: values 0-19

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All 1: values 20-39
All 2: values 40- 58
Odd 1: values 59-78
Odd 2: values 79-97
Res 1: values 98-117
Res 2: values 118-127

Simply touch Assign Knob 2, and because the “Auto Select” function is
active (green) MODX will recall the Source/Destination assignment for this
physical controller. Remember: Assign Knob 2 is changing the Spectral
Form of the Carrier, Operator 2. As the Knob is increased the parameter is
set to increase the value. The values between 98-117 are equivalent to
selecting “RES 1”.

You can hear a distinct change in the character of the sound – and it is
rather abrupt change at the change point. You should hear distinctly the 7
different tonal families depending on the position of Knob 2.

ASSIGN KNOB 3: SKIRT (SPECTRAL SKIRT)

Skirt – all the SPECTRAL FORMS have a 'skirt' (except for the Sine). The
wider the skirt, the more harmonics are heard; and the narrower the skirt,
the fewer additional harmonics will be heard. Turning the Knob assigned to
“Skirt” while Form is Sine (“Form” is a value between 0-19) – will result in
no change in timbre. However, turning the Knob on any of the other six
Forms will have a dramatic effect.

Our PART “P3”, starts with Form = “Res 1”; try moving the Assign Knob 3
through its range, listen for the change in timbre as you do; then set Assign
Knob 2 to max (127) “Res 2” and try the same thing with Assign Knob 3.
Notice an even more dramatic change:

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Simply touch Assign Knob 3 to view the assignment screen. As you
increase the Assign Knob 3 you are setting the waveform to allow more
harmonics. The screen tells us that we are adjusting the Skirt for OP2, the
Carrier.

ASSIGN KNOB 4: RESONANCE

We learned previously that the Resonance parameter will be effective on

the “RES 1” and “RES 2” Forms. Turning the Assign Knob 4 with the initial
settings of Performance P3 will have a dramatic effect on the resulting
sound. We know that the FORM (113) is RES 1 territory, so we can
anticipate that increasing Resonance will rocket the harmonics skyward.

Note: If you need to return to the original Performance - you can simply
click on RECALL in MODX Connect and then the top icon showing the
direction “COMPUTER > SYNTH”; This will resend the program to the Edit
Buffer again - restoring it to original condition.

Touch Assign Knob 4 to view the assignment screen:

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Here the Operator Switch is turned on for OP2 which we know is the
Carrier. So the Resonance movement should, indeed, be dramatic - even
though the Ratio is only set to just +10. As you can hear as you move
Assign Knob 4, a little goes a long way! Notice with a good ear you can
“tune” (select) the harmonic that is sounding.

Note: Press the [ASSIGN] button to toggle to control KNOBS 5-8 (flashes).

ASSIGN KNOB 5: FEEDBACK

Feedback is the output of a source Operator being fed back to the input,
creating a buildup in energy and in this case, since it is a Modulator being
fed back on itself, expect a very subtle change in timbre. View the
assignment by turning Assign Knob 5.

ASSIGN KNOB 6: EG LEVEL (ENVELOPE GENERATOR LEVEL OFFSET)

This is Envelope Generator Level and when we navigate to Knob 6, we

discover that the parameter is “OP AEG Offset”, and is being applied to the
Modulator (OP1); Value = +7.
Turning the Knob clockwise will increase; turning the Knob
counterclockwise will decrease the Level of the Amplitude Envelope for
timbre change. The more you raise Knob 6 the more you increase the
influence of the Modulator. If you wanted to create an artful noise, a “spit”

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or some kind of chaotic noise at the attack of a sound, you would raise the
“EG Level” (Knob 6) and lower the “OP1 Decay” (Knob 7) to make it
short/quick, you could dramatically change the timbre of that chaotic noise
by increasing the Modulator Frequency (Knob 1):

The Polarity being set to “Bi” means that the parameter can be both
increased and decreased from its originally stored value. And with this
Envelope Offset, this means we can lengthen or shorten the length of time
that the Modulator has influence. In a future article we will take a close look
at the Amplitude Envelope Generator (AEG) of an Operator. AEG is a
fancy term for, how the sound starts, what it does while it is in and how it
exits in reference to its loudness (Amplitude). It describes the loudness
shape of the sound. Yes, here we are offsetting that AEG but we will
ultimately want to know how to setup that envelope. For now, recognize
that this OFFSET is being applied to or could be applied to each of the
eight Operators with a differing amount of application.

Here we are simply offsetting the loudness envelope of the Modulator

(OP1) so that we can easily make the timbre change component longer or
shorter.

ASSIGN KNOB 7: OP1 DECAY/ASSIGN KNOB 8: OP2 DECAY

Turning them left and right you can hear that they affect the duration of the
Modulator and Carrier, respectively. The Amplitude Envelope shape.
Turn Knob 7 to view the Control Assignment: We will look at the

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“Destination 7” first = “OP AEG Decay1” (we'll come back and explain “OP
AEG Release”, later):

Destination 7: “OP AEG Decay1” you see that Operator Switch #1 is active
(green). The “Curve Type” is Standard, Polarity is Bipolar.

Translation: Turning this knob (Knob7) from 12 o'clock position will

lengthen the envelope when turned clockwise and will shorten the
envelope when turned counterclockwise. Decay determines whether the
sound dies out immediately after the Attack portion. Does the sound
remain at the same volume or does it diminish a bit while the key is held?
Organ envelopes do not have any DECAY - they remain at the full volume
all the time the key is held. A Piano envelope, by contrast, dies down a bit
after the Attack portion and slowly dies out as time continues, so do all
hammered, plucked or struck instruments. This behavior is considered
“percussive”. The Decay setting determines if the sound dies out (or not)
while a Key is held. This parameter is being applied to the Operator
responsible for timbre change. The 12 o'clock position (64) represents the
stored Amplitude Envelope Generator setting.

ASSIGN KNOB 8: OP2 DECAY

Turn Knob 8 to view the Control Assignment:

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Turning this knob from the 12 o'clock position will length the envelope and
turning counterclockwise will shorten the envelope, but this time you are
applying it to Operator 2 (the Carrier). Destination 8 “OP AEG Decay1”.

Translation: The difference between the Decay of the Modulator and the
Decay of the Carrier is something best understood by using your ears. The
Carrier will affect the overall output level, the Modulator will affect timbre
change in the overall sound. So when the Modulator has a longer envelope
than the Carrier it is modifying, its influence will last throughout the duration
of the sound, when the Modulator's envelope is shorter than the Carriers
then its influence will be momentary.

Let's now return to Assign Knob 7 and view the other parameter that is
assigned to change when Knob 7 is moved:

We've moved the CURSOR highlight to show Destination 9: ”OP AEG

Release”.

Note: It may not be immediately clear but, this control matrix is huge. Each
Destination has its own settings for Curve Type, Polarity, Ratio, Parameter
adjustment, etc. and there can be 16 Destination per PART! So, the Curve
Type and setting for this Destination can be different entirely from what we
have setup for “OP AEG DECAY 1” in Destination 7 which also happens to
be under control of the same Assign Knob. So, this one Knob is performing
two different functions at two separate Destinations - each with its own
response setting:

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Notice it is assigned to affect both the Modulator and the Carrier: OP1
and OP2 Switches are active. “Curve Type” is Standard, the Polarity is “Bi”.
Again, the Ratio of +6 means this is a very limited adjustment - it is
controlling Amplitude Envelope Generator RELEASE.

Translation: what happens to the sound AFTER the key is released. So, a
little dab will do ya'!

If you want the sound to ring out after you release the keys you can
increase the RATIO in a positive direction.

Translation: This is using Polarity = Bi. Moving the Knob from 12 o'clock
clockwise will lengthen the Release time of both the Modulator and the
Carrier, turning the Knob counterclockwise will shorten the Release Time.
Release Time is the parameter that affects what happens when you let go
of the KEY or the SUSTAIN PEDAL. It is how long it takes the sound to die
out. As you can see by the Ratio setting - the Release amount is very
subtle. It is not going to last for very long even when turned fully clockwise.
Increasing the RATIO will impact the total length of time the sound lasts
when the key is released. Between Knobs 7 and 8 you can create all kinds
of envelope shapes for the sound. Notice how DECAY is different
from RELEASE.

“Decay” occurs during the key being held, “Release” only occurs when the
key is let go. If the Carrier Decay is very short, there may be nothing left to
sound, even if the Carrier Release is set long.

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 TIME, LEVEL AND BUILDING FM-X AMPLITUDE ENVELOPES

When you strike a Key, the behavior of the sound in terms of its loudness
is described by its Amplitude Envelope Generator (AEG). In analog
synthesis, this was called the ADSR (Attack, Decay, Sustain, Release) -
and in general, this describes how the sound comes in out of the silence, if
it is a percussive sound there will be a peak of loudness made by the
Attack, it will drop off in level (Decay), and if it can be held, it will sustain,
until the Key is released. But ADSR on four sliders is only one way to
describe AEG. In the FM-X engine, you have a series of TIME and LEVEL
parameters that define this shape:

• TIME is simply “how long” it takes to get somewhere.

• LEVEL is simply “how loud” it is at that point.

The higher the TIME value, the longer it takes to get there.
The higher the LEVEL value, the more intense the amplitude is at that
point.

• Press EDIT
• Select PART 1
• Touch “OP2”
• Touch “Level”
• Highlight TIME parameter “DECAY 1”:

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We experimented with Assign Knob 8 set to control OP2 Decay. Here is
where that particular parameter lives. Working with OP2 (Carrier) above,
you will quickly understand how shortening and lengthening the Decay
works.

Highlight TIME parameter DECAY 1 (46) as shown above: Move this to a

lower value (see and hear). Then move this to a higher value. Time
parameter DECAY 1 will impact what happens if you strike a key and hold
it down. Lower values the sound will reach a LEVEL of 0 in spite of you
holding the key - but as the values increase, you can get a longer envelope
shape while the key is held, which means more time before LEVEL of 0 is
reached.

Now this is important. When you change this parameter directly (Decay1),
you can set it to 0 through 99 - getting the full range of the parameter.
When we moved Assign Knob 8 (OP2 Decay) we were only moving
through a specifically limited range of values (set by ear) and set by the
RATIO setting. When you view the “OP2 DECAY” Assignment - it
is Bipolar (which means we are using the Assign Knob to move above and
below the stored value. The “stored” value here is “46”. So, when we move
the Assign Knob 8 from its 12 o'clock stored position, we can shorten and
lengthen the duration of the sound - but notice the range is restricted by
the Ratio setting. The RATIO setting being +20 limits the range of change.
The larger the RATIO the bigger the range for the assigned knob to move
above and below that stored setting.

If the Polarity was Uni this would mean we can move from the stored
value but in one direction and back.

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 Experiment with what you see and hear. Hint: the values are not a linear
scale. They are designed and optimized for musical use, so the weighting
of the time is concentrated in the short time area.

TIME

• HOLD - the amount of time before the envelope begins, the time between
Key-On and the Attack. You can delay the start of the envelope by putting
a value here. (Careful, HOLD = 99 can be over a minute and half) Hint: Do
not worry about the time. In seconds - set these envelopes by ear!
• ATTACK - the amount of time between envelope start and the full Attack
Level.
• DECAY 1 - the initial decay in the sound. The Time it takes to reach Decay
1 Level.
• DECAY 2 - the secondary decay in sound. The Time it takes to reach
Decay 2 Level. If Decay 2 Level is 0 the sound will die out no matter you
are holding down the keys (like a piano or any percussion instrument) If
DECAY 2 Level is 0 the vibration of the instrument stops. If Decay 2 Level
is a value other than 0 the AEG will eventually settle at that Level until you
let go of the key. If you release the KEY prior to the TIME outlined by your
AEG settings, the RELEASE parameter setting takes over. If you continue
to hold down the key the sound will remain at DECAY 2 LEVEL indefinitely.

Experiment. In our next installment, we will look at two more

Performances - each built, again, with just two Operators in the
same Modulator:Carrierarrangement. But we'll build an entirely different
set of tones. In PERFORMANCES P4 and P3, the basic tuning of the
OPERATORS was 2:1 - meaning that when a key is struck say A-440 - the
Carrier outputs 440Hz, the Modulator outputs 880Hz (that is your 2:1 ratio).
In the next installment we will look at two PERFORMANCE where the
Modulator to Carrier Ratio is 1:1. The result will be an entirely different set
of timbres.

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 Mastering MODX: An FM-X
Exploration, Part III

Mastering MODX: An FM-X Exploration continues with more discovery of

the Carrier and Modulator relationship.

MASTERING MODX: AN FM-X EXPLORATION, PART III

This article references content saved in MODX Connect, the VST/AU and
standalone software component for capturing and recalling MODX
Performances:

• Get MODX Connect for Mac or PC here.

• Get the file associated with this article (P1.X8B and P2.X8B in a single .zip
file) here (P1.X8B and P2.X8B in a single .zip file) here.

In this chapter, we'll take a look at two more Single PART Performances,
each one made from just a simple two Operator stack. These are exactly
like the previous examples, with the exception that the Modulator to Carrier

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 tuning Ratio is 1:1 here. It was 2:1 in the previous examples - and this will
give us yet another array of timbres we can build - as your ears will tell you.
We will apply the same 8 Assign Knob parameters as in the previous
examples and, again, show that with just these parameters, we can fashion
a very wide variety of initial FM-X waves.

The zipped download (at the very bottom of this article) has two (P1.X8B
and P2.X8B) MODX Connect Performances. Unzip them and use MODX
CONNECT to BULK them into the MODX - You can bulk the first one,
press [STORE] to write it to a USER Bank Location, then bulk the second
one over.

COARSE AND FINE TUNING - THE RATIO SETTING

We've mentioned that these two new FM-X Performances are built from a
Modulator to Carrier tuning Ratio of 1:1, while the two previous examples
were built from a tuning Ratio of 2:1. In an attempt to avoid too much
mathematics, we dove right into editing existing structures. But let's back
track a bit and talk a bit about this fundamental FM concept.

Your typical FM tutorial will always begin with the fundamental

mathematics of these Sine Wave Ratio relationships. Since we bypassed
this and went directly to listening experiments, we want to be sure you
understand it. And that you also don't bog yourself down with starting
always with a SINE Wave. The basic Tuning of the Operators greatly
affects the tone you get when they interact:

• In short, a 1:1 relationship in the Tuning of the Modulator to the Carrier will
produce all harmonics in the series.
• And a 2:1 or higher relationship in the Tuning will produce just the odd
numbered harmonics in the series.

Yeah, but what does that really mean? When seeking to understand the
Tuning of an Operator, we must look at the Coarse and Fine tune settings
which are referred to as Ratio.

Let's take a look: The Coarse setting is '1', the Fine setting is '0': translates
to a RATIO setting written 1.00:

• Press [EDIT].
• Press [PART SELECT 1].

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• Touch “OP1” along the bottom of the screen (or Press the first button in
row three on the right front panel which is Operator Select [1]).
• Touch “Form/Freq” in the first column.

Operator 1 as Modulator:

Operator 2 as Carrier:

This is how MODX represents “1.00” as the Ratio. What this means is

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when you play the “A” above middle C, it should naturally reproduce the
pitch A-440. If the Ratio is 1.00 that is exactly what you will hear because
A-440 x 1.00 = A-440. If the Ratio is 2.00 (Coarse = 2) what you hear will
be A-440 x 2.00 = A-880.

When both the Modulator and the Carrier are the same value - the resulting
harmonics generated will be whole integer multiples of the fundamental
pitch. All harmonics are reproduced.
When the Modulator is 2.00 and the Carrier is 1.00 - the resulting
harmonics generated will be every other harmonic (only the Odd
harmonics) sound familiar?

Every whole integer multiple (every harmonic in the series) results in

sawtooth waveforms. Every other harmonic in the series results in a pulse
wave. When the relationship is exactly 2 to 1, the result is a special
equilateral Pulse waveform called the “Square”. As the relationship gets
higher and higher 3 to 1, 4 to 1, 5 to 1 the result are Pulse waves but the
sound gets narrower and narrower, more nasal sounding, pinched.

Experiment with COARSE Tuning. Set OP1 Coarse = 2, OP2 = Coarse =

1, hear the square wave tone. Increase the OP1 Coarse to 3, hear how the
sound gets narrower.

If you change the Modulator's FINE tune setting, you will start to hear what
we describe as bells - when the mathematics is not whole numbers, we
describe the tone as a bell tone. You will hear why immediately. Because
the Tuning of OP1 and OP2 are different than in our previous two
examples (P4 and P3), even if you make the same 8 Assign Knob Settings
you did previously, the result will be dramatically different.

The important thing to realize is that starting with the basic mathematical
relationship between the Modulator and the Carrier has an influence on the
tones/timbres you will be able to construct. You will hear immediately, that
the sounds we are able to get from this pairing of Modulator: Carrier, differ
in character from those we heard in our examples, P4 and P3. That is what
is important here. If the math makes no sense, don't worry about it. But
don't be afraid of it either, it is musical mathematics and useful (at times).
Now on with our experiments!

PERFORMANCE P2

Examine and compare the settings for Performance P2 and P1 from the
perspective of the 8 (PART 1) Assign Knob parameters:
From the HOME screen, select PART 1:

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P2 – Assign Knobs:

P2: Spectral “Form” (64) is in the “ODD 1” family (pulse wave) range, with
the Skirt set a bit more than half-way, to taste - move Part Assign Knob 3,
“Skirt”, to hear the subtle tone color change from smoother (lower) to more
edgy (higher). Play in different ranges on the keyboard to check out how
the timbre changes as the Skirt is unfurled. As you continually tap the keys,
change the setting and hear how the timbre changes. Then stop and play it
at a setting to get a feel for how it plays.

Explore the settings here as you have learned to do in the previous two
articles. The arrangement of Modulator (OP1) to Carrier (OP2) is the same
in all examples - what is changing is how these eight Assignable Knobs are
set to alter the resulting timbre.

Quick Reminder: the “Frequency” Knob is changing the tuning of the

Modulator (OP1); “Form” is a pulse wave (Odd 1); “Skirt” will allow more
harmonics on all Forms except the Sine; “Reso” will work only when Form
is above 98 (Res1/Res2); “Feedback” will intensify the energy of the
Modulator; “EG Level” is offsetting the envelope of the Modulator; “OP1
Decay” shortens/lengthens the Modulator; “OP2 Decay”
shortens/lengthens the Carrier.

FORM Values:

Sine: values 0-19

All 1: values 20-39
All 2: values 40- 58
Odd 1: values 59-78
Odd 2: values 79-97
Res 1: values 98-117
Res 2: values 118-127

P1 – Assign Knobs:

P1: Spectral “Form” (0) is the traditional “Sine”, “Feedback” is at maximum

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 - move AsgnKnob 5 to hear the affect of the Modulator set to Feedback on
itself. From round (0) to nasal (127). There are times when the Feedback
parameter had a subtle effect on the overall timbre, but here, with “EG
Level” up a bit - raise it to 114, then changing the amount of Feedback
routed through the Modulator has a profound affect. You can begin to hear
the creation of “noise”.

Noise by definition is the opposite of Music (no jokes, please, about some
music being noise), but Noise is the result of all frequencies combined
simultaneously, in differing balances. While Music is the antithesis, it is the
organized vibrations that relate to each other in a supportive way. While
Noise is chaos, Music is order. Noise as a waveform looks very random,
Musical tones have a pattern that repeats.

Take the “EG Level” up to 127, and as you increase “Feedback” you will
hear a bit of noise, sounds like the whoosh of wind or the ocean surf.

Return your settings to the P1 “starting position”. Explore the setting here
as we have learned in the previous examples. With Feedback on the
Modulator, you will notice a radical “ringing” when the FREQUENCY (Knob
1) is swept. Because we are tuning the Frequency of the Modulator and
there are non-whole integer relationships being swept - you will hear what
we describe as bell tones, ring modulation, ringing... (A little math here:
When the Modulator to Carrier RATIO is whole numbers like 1:1 and 2:1 or
even 4:1 or 4:3, the results are musical tones that we describe as pure, but
when fractions are involved like, 1.50:1 or 3.50:1 or 1.73:1 we describe the
tone as 'ringing' or a bell tone).

In this particular PART, “P1”, a Compressor and an Auto Wah TYPE are
assigned as Insertion Effects A and B, respectively. When working with
FM-X you can send the CARRIER's output into the Insertion Effects. To
view this routing:

• Press [EDIT].
• Select PART 1 to view PART 1 parameters.
• “Part 1 - Common” appears in the lower left corner.
• Touch “Effect” > “Routing”:

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Here you can see the signal flow going left to right across this screen:
the Carrier is being routed through the 3-Band EQ, which is routed
to INSERT A (“VCM Compressor 376”) which is routed to INSERT
B (“VCM Auto Wah”), which is routed to the 2-Band EQ, which is then
delivered to SYSTEM processing - Reverb, Variation, a send is available to
the Envelope Follower, and the PART Output assignment.

The Auto Wah Effect seems to make this nasal Clavinet-type tone
complete somehow. The Wah Effect, in itself, is a moving filter. The
Modulator “Feedback” (Assign Knob 5) seems to revel in the Auto Wah.

TASK

Try to make as many different tones as you can from manipulating just the
8 Knobbed parameters presented here in this example. Make yourself
comfortable with both when and how these parameters will interact. Know
that when they have, or seem to have, no effect on the result, it is probably
because the context is not proper. You should not expect to hear
RESONANCE, for example, when the Spectral FORM is not “RES 1” or
“RES 2” (in the range of 98-127). You will not hear the Modulator's effect
on the Carrier if the “EG Level” is too low, or the “OP1 Decay” is too quick
(short) - same goes for Feedback. If Feedback is on the Modulator and the
Modulator's influence is too low or too short, then it will be impossible to
hear the Feedback.

The way that you can find these things out is by going over them through

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exploration and experimentation. As your ear and brain start to commit
some of these relationships to memory, you will know just what to do when
you want a particular timbre. It is how you can become familiar with the
tones and how to get them.

You should be aware now that when Operators are (Coarse/Fine) tuned
to whole integer numbers 1.00, 2.00, 3.00 etc., you can make musical
tones, and when Coarse/Fine results in a fraction, you make musical “bell”
tones. One of the early reviews of the DX7 was confused about this, they
thought that the potential for making Bells and ringing tones was somehow
far too dominating in the DX7 - well, if you don't tune the Operator to
WHOLE INTEGER Ratios, you will get bell tones. That's not just true in FM
synthesis, it is true in nature; it is the mathematics of what we call music!
There are simply many more fractions: Between 1.00 and 2.00 are 99
fractions. 1.01, 1.02, 1.03 etc.

SUPER KNOB INVOLVEMENT

Up until now we have simply been working directly with the 8 Assignable
Knobs, and nothing has been assigned (linked) to the Super Knob's
movement at all. From our experiments you may have concluded that
some things make better moving controls than others. For example,
assigning the SPECTRAL FORM to a Knob like the Super Knob might not
be an audibly pleasing for real time manipulation, but when
designing sounds you might wish to have it on a Knob you can change
when you desire. Spectral Form is the parameter that selects the wave
shapes: Sine, All 1, All 2, Odd 1, Odd 2, Res 1 or Res 2. Once you observe
the range of control you can make-a-decision on just how far you want your
assigned controller to change the value. If Resonance is left to travel the
full range you may find that the piercing high frequencies go just a little too
far for comfortable listening. This is where setting limits for parameter
movement becomes important. This is very much personal taste. There is
no right or wrong.

So let’s make an informed decision about assigning a few things to

movement of the Super Knob.

RECALL EXAMPLE PERFORMANCE: “P2”

We will assign control of the Modulator “Frequency” and the “EG Level” of
the Modulator to the Super Knob. There are basically two steps in this
process: You Assign the Part parameter to PART Assign Knob, then you
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 link that Assign Knob to one the SUPER KNOB's Assign Knobs.

Super Knob Assignments take place, not on the PART Edit level of editing,
but on the upper “Common/Audio” level of the architecture. Just like each
Part has 8 Assign Knobs and 16 Source/Destination Control Sets, this top
“Common/Audio” level of the architecture has its own 8 Assign Knobs and
16 Control Sets, as well.

It is important to understand this point. The Super Knob assignments can

be directed at any or all of the 16 PARTS in a PERFORMANCE. Each
PERFORMANCE has an upper “Common/Audio” level of programming,
and it is here that a PART joins the community of PARTS. (For more on the
workings of the Super Knob see the Mastering MODX tutorial on the Super
Knob).

Each Performance has a unique relationship with its PARTS via this level
of the architecture. When you move or add a PART to an existing
PERFORMANCE, you must establish a new relationship with the Super
Knob in its new home. The settings linking a PART to the Super Knob
assignments are not transferable from Performance to Performance... this
is not a problem, it is a matter of each PERFORMANCE has its own
relationship to its PARTS. Add a New PART you must then create a
relationship for it with THIS Super Knob.

Let's create the first one.

Here's how: From the “P2” HOME screen:

• Press [EDIT].
• Select “Common” lower left corner of the screen.
• Touch “Control” > “Control Assign”.
• Touch the “AUTO SELECT” option to activate it (green), if necessary.
• Turn Assign Knob 1, The KNOB name will appear in the DISPLAY
FILTER: “AsgnKnob 1”.
• Touch the box “+” to ADD a CONTROL SET (Source/Destination)
Assignment to PAGE 1.

There are no assignments here on the upper Common/Audio level, initially.

(FYI: there are 4 Pages of 4 Control Boxes). “InsA Param 1” will appear, as
the default assignment - “touch” that parameter name to open the POP-IN
menu and view your assignment options:

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• Use the DATA DIAL (just to the right of the screen) to move through the
possible Destinations... or if you see the Destination you want, simply
touch it.
• Select “Part 1” > “Part 1 Assign 1”, press [ENTER]. Your screen will look
like this:

Literally, this means: Part 1's Assign Knob 1 - which we know is “OP
Frequency” (Modulator). As you turn the Super Knob you get the same
result as we got previously when we turned the PART 1 Assign Knob 1,
directly.

Next, let’s assign the PART 1 “EG LEVEL” (which we know is PART 1
Assign Knob 6) to Common Assign Knob #2:

• Turn Assign Knob 2, its name will appear in the DISPLAY FILTER:
“AsgnKnob 2”.
• Touch the next “+” to ADD a CONTROL DESTINATION Assignment. It will
be designated “Destination 2” as this is our second assignment.

“InsA Param 1” will appear by default. Touch that parameter name to view
the POP-IN menu and your assignment options.
Select “Part 1” > “Part 1 Assign 6”, press [ENTER].

Literally: Part 1's Assign Knob 6 - which we know is “EG Level” (OP AEG
Offset) of the Modulator is now linked to the movement of Super Knob's
AsgnKnob2:

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 We have now linked two of the eight Part Assign Knob parameters to the
Super Knob. Turning the Super Knob, or moving an FC7 pedal plugged
into Foot Controller 2, will move the assigned parameters:

• Return to the HOME screen.

• Touch PART 1 to select it, so you can view the 8 Assign Knobs for PART
1.

Notice now when you turn the Super Knob (or move the optional FC7
plugged into Foot Controller 2) that Assign Knob 1 (Frequency) and Assign
Knob 6 (EG Level) will move when the Super Knob is in motion!

We have linked Part Knobs 1 and 6 to the Super Knob-controlled Assign

Knobs 1 and 2. This means when we turn the Super Knob, its Assign
Knob position for Knobs 1 and 2 are in control of what happens to PART
1's Assign 1 and 6 Knobs, respectively. Next, we can set a range of
motion for the knobs.

Say we want to have the “Frequency” Knob sweep the entire range from 0
to 127, but would like the “EG Level” Knob to only increase from its stored
condition of 80 through to 127. We can set up ranges for the movement of
the Super Knob's Assign Knobs. To be clear: We can restrict or limit the
range of movement, even change the direction of movement, by setting the
minimum and maximum values for the Super Knob's 8 Assignable Knobs:

• From the HOME screen, touch “Motion Control”.

• Touch “Super Knob”.
• Here we can set the Super Knob controlled Assign 1 to full range: 0-127.

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• And set Assign 2 range to 80-127:

Now when you move the Super Knob observe (see and hear) the changes.

You can select whichever Assign Knobs you want and link them to the
movement of the Super Knob. Some parameters make more sense than
others to control via the Super Knob.

REVERSE THE CURSE

Let's reverse the application of FREQUENCY parameter by reversing one

of the Super Knob controlled knobs. We've already seen that a parameters
direction can be altered on the Control Assign screen by setting the Curve,
Polarity, Ratio and Param 1 appropriately. Here we will take a look at
reversing the application of the Assign Knob system.

Here's how:

Navigate to the “Motion Control” > “Super Knob” screen:

• From the Home screen touch “Motion Control” located in column 1.

• Touch “Super Knob” in column 2.

Here you can see the 8 Super Knob linked Assign Knobs. We are going to
reverse the direction of Assign Knob 1 by setting the VALUE 1 = 127 and

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the VALUE 2 = 0:

You can see that the KNOB now moves contrary to the others. Value 1
shown in green and Value 2 shown in blue. And likewise, the parameter
now works in reverse. In our last installment, we learned that the
application of the Controller can be customized on the Control Assign
screen by using the CURVE TYPE, RATIO and even the parameter itself.
There are many ways to accomplish the same function. Why? Because as
you start to build your sounds or design your Performance PARTS you
may want to link all parameters that move in the opposite direction to a
specific Assign Knob. If, for example, we had another parameter we
wished to reverse, we could link that parameter with COMMON Assign
Knob 1.

Programming can get very involved (and you wouldn't want it any other
way) - as you go deeper and deeper into MODX you will discover that a
single Knob can be doing multiple things to multiple parameter Destination
each with a different scaling.

For more background on the Super Knob programming see the article
here.

EXPLORE AND EXPERIMENT

We have included a BONUS download: Containing the PARTS we have

studied combined - since P3 and P4 are 'bookends' and P1 and P2 are

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also 'bookends' - they complement each other so well. And together the
random/alternate panning makes so much sense!

Performance, “P3-P4”, that combines the Parts P4 and P3 together. You

will discover that they both are meant to work together. The Random
Panning (hopefully you are listening in “glorious stereo” so that you can
hear how they interact with each other). Assign Switches 1 and 2 will
defeat the Reverb and Variation (delay), respectively, when activated.
When performing these remember you can choose to either put all
parameters in motion (Super Knob) or grab an individual parameter to
control by directly addressing the knob. Again, we have named both the
Common Assign Knobs and the individual Part Assign Knobs.

We also built a Performance, “P1-P2”, that combines P2 and P1 together.

You will discover that they both are meant to work together, as well. Assign
Switches 1 and 2 will defeat the Reverb and Variation (delay), respectively,
when activated.

In our next installment in this series, we will look at Multi-Part AWM2/FM-X

Performance that includes Arpeggios - and more. It will pull together much
of what we have learned thus far.

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 Mastering MODX: An FM-X
Exploration, Part IV

In Part 4 of "Mastering MODX: An FM-X Exploration" we take what we've

learned in Parts I-III and bring it all together!

MASTERING MODX: AN FM-X EXPLORATION, PART IV

This article references content saved in MODX Connect, the VST/AU and
standalone software component for capturing and recalling MODX
Performances:

• Get MODX Connect for Mac or PC here.

• Get the file for this article (Moving Floor ex.X8B) here.

In an effort to show how to go about building basic wave shapes using FM-
X parameters, we've looked at four different, simple 2-Operator FM-X
Single Part Performances - each using just a simple Modulator:Carrier

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stack. Now let’s move on with a look at a Multi-Part Performance. Please
find the zipped download example at the end of this article:

This is a specially edited version of the Factory Preset

Performance: Moving Floor.

EXPLORING FM-X “MOVING FLOOR(EX)"

Please download this edited version at the very bottom of this article - it is
provided in a “MODX Connect” Bulk file, .X8B. It's been edited so that the
different Assign Knob functions have been identified per Part and for the
Super Knob's Assign Knobs. This program is made up our four very simple
FM-X components, and as we've seen in our previous installments, by
looking at each of the FM-X component individually, it leaves plenty of
room to build. The “Motion” here is provided by the Arpeggiators; and
“Motion Control” is involved in the selected Part parameters that are linked
to the Super Knob.

The FM-X Parts 1, 2, 3 and 4 are those that we have studied over the past
few weeks, so they should sound familiar and their behavior will be familiar
now. While many people think you need all 8 Operators to create intense
complex tones, we've seen that it all begins with just a simple two Operator
stack; the basic M:C (Modulator:Carrier) interaction, and we've learned that
because each Operator can begin as a more complex Wave than the
traditional (FM) Sine Wave, you can vary the timbre, shaping the harmonic

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content in ever more interesting ways. In keeping with our learning to swim
analogy: we have waded out with our snorkel gear, and peeked under the
surface at some very basic relationships. In future articles, here on
YamahaSynth, we will get out the Scuba gear and go even deeper. The
key thing to take away from this is: *exploring* is one of the best ways to
learn. We have revealed some of the basic fundamentals of FM synthesis.
We've done so avoiding the heavy math (we never even mentioned Bessel
functions, not once) to show that you can accomplish a lot without it. Don't
over think or over analyze, use your ears first - then seek out the reason
why it behaves as it does.

Keep in mind the Modulator (like the vibrato added by the violinist's left
hand) is not audible by itself; its influence is manifest as a change in the
Carrier (the violin string in motion). It is the Carrier that is audible. It is the
Modulator that affects the tone.

The “Recipe” or Algorithm: This Performance is made up of the four FM-

X Parts, 1-4, plus a single Element AWM2 pad (Part 5 “Dance Pad”) and
an AWM2 Drum Kit (Part 6 “Dancefloor Kit). You can mute this rhythmic
Part or replace it with any percussion of your choosing. If you've
experimented with Blake's “MODX Connect Arpeggio 101” experiment, you
can use the Drum Arp you created for that tutorial. Mostly we will be
concentrating on the Assign Knobs and their interaction with each of the
Parts we've studied.

Play through this Performance while on the basic [PERFORMANCE

(HOME)] screen, shown below, where you can view all Parts, the Knobs
and the Part’s activity meter. Move through the eight Scenes (red buttons).
You will see that not all Parts are in each Scene, and the Super Knob
causes sonic changes in the tone:

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 A SCENE can, among other things, remember which ARP SELECT
number, 1-8, is playing. And while SCENE memories can also remember
MUTE status - we are not using that here. When a PART is not active via
an ARPEGGIO it is because it has been instructed to “rest” (yes, the
musical term). More on that in moment, as well. Even if this type of “One
Finger Performance” is not your cup of tea, the ARPs here make it very
easy for us to explore and learn about what is happening in the FM-X
engine. Because the ARP is “playing” the phrases, we can concentrate our
attention on designing the sound - which is fun!

The Modulation Wheel (MW) is responsible for fading in the AWM2 Pad
from Part 5. Unless the MW is advanced a bit, this Pad Part remains
hidden. The Volume of the pad in Part 5 is biased to the position of the
MW.

We often get a question because you can see above that the Fader for the
Dance Pad in PART 5 is set at 0. This is because it is not in charge of
changing the Volume of this PART, Volume has been re-assigned, so the
position of the MW is in charge of its Output level. If you wish to remove
this assignment, you can DELETE the CONTROL BOX
(Source/Destination) assignment. More on this later. For now, realize that it
is a programmer’s choice as to where Volume is controlled. Here they
opted to use the MW as a “mix amount” control for the Pad – add to taste.

Let's explore PART 5:

• Touch [PART 5] to select it

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• Press [EDIT]
• Touch “Mod/Control” > “Control Assign”
• With the AUTO SELECT box active (green) move the MOD WHEEL to
recall the screenshot shown below.

The MW is actually responsible for Volume, Cutoff, and Resonance.

[SOLO] PART 5 and move the MW to see/hear this:

To Solo a PART: Press the [PART SELECT – MUTE/SOLO] button.

Touch “Solo” > Touch the Part Number “5”.
Touch “X” or press [EXIT] to put the pop-up display away.

The assignment of both FILTER “Cutoff” and “Resonance” to the same

SOURCE (controller) allows a single gesture to simultaneously open the
Filter (raise the Cutoff Frequency) and decrease the Resonance so that the
sound doesn't “run-away” and go crazy, howling at the moon (remember
“resonance” is that spike at one particular frequency making it louder than
all others that can send harmonics flying off into the stratosphere); all this
while increasing the volume of the PART. You can hear this by holding a
chord as you slowly raise the MW. Hear how it is not just a linear sweep, it
is multi-dimensional. You can see in the graphic above (Curve Type) how
Cutoff is increasing as the MW is advanced. It begins to increase at about
1/3 of the way. But there is more going on....

Part 5 is single Element AWM2 PART - in keeping with the very minimalist
construction. In the graphic below, we've highlighted the Resonance
Control Box (Destination 3) to show how Resonance changes when the

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MW is advanced. At about half way, the Resonance is reduced:

The MW is responsible for moving three parameters simultaneously. When

you highlight the VOLUME parameter (Destination 1, shown below) you will
see that it immediately increases as the wheel is moved - the weights this
Curve so that the change in volume occurs early in the movement of the
MW... while the movement of the Cutoff Frequency and Resonance is
delayed a bit. This, as we've seen, is how the Control Box for each
assignment allows you to shape the application of change. It does not have
to be a linear movement, it can be customized to a dizzying degree, and
shaped as you desire:

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 On an analog synth, opening the filter, reducing the resonance while
increasing volume could take two hands, and possibly, a foot Control
pedal. I say this not to imply that this is better, but just to point out certain
moves you may be used to making on an analog synth’s front panel with
multiple knobs, instead can be accomplished here, 'ganged' to a single
gesture on a single control - allowing massive changes while you are
occupied playing the keys. After all, the role this pad sound plays in this
Performance is like the background chordal movement. It is not the
“featured sound,” it is simply the sonic harmonic glue holding the patch
together.

As you slowly change the Volume/Cutoff/Resonance by advancing the MW

you can hear an interesting movement - in an AWM2 PART, each Element
has its own Filter and Filter settings. To view this Element's FILTER, from
the screen shown above:

• Touch “Elem1” along the bottom of the screen while in PART EDIT.
• Touch “Filter” > “Type”:

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When reading the FILTER diagram, you are looking at Frequency from
low-to-high as you move left-to-right on the graphic. The shaded area of
this Dual Low Pass Filter is the relative loudness of the frequencies the
filter is allowing to Pass. The dip in the middle there can be heard - if you
listen closely enough as you slowly sweep the MW. This particular PART is
just a single Element, but each Element in a Normal AWM2 Part can have
its own Filter, with its own unique Filter settings and movement in response
to controller movement.

In future Explorations, we'll see how FM-X sounds can be routed through
one of the 18 Filter Types of MODX.

EXTRA CREDIT: MOVE MOD WHEEL PARAMETERS WITH FC1

For those of you with two FC7 pedals, you can opt to assign FC1 to
become your Mod Wheel - allowing you to control this movement with
your foot while keeping both hands on the keys.
This is done by navigating to the “COMMON/Audio” > “Control” > “Control
Number” screen and setting Foot Ctrl 1 = 1:

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 [SOLO] let's you listen to just the ONE selected Part; Manipulating several
of the MUTE buttons you can chose to listen to any combination of Parts.
Therefore, to listen to multiple Parts in combination, you would use the
[MUTE] function.

Once you've selected a Part, you have, in effect, entered that Part and
you've “opened” it for exploration. You will notice that you can switch the
role of the FADERS from PART VOLUME to OUTPUT LEVEL for the
ELEMENT (if AWM2) or OPERATOR (if FM-X) of the currently Selected
PART using the left front panel button [PART – ELEMENT/OPERATOR].

If you then press [EDIT] - you enter Edit mode on the *selected* PART -
you can then “Mute” and/or “Solo” the individual Operators or Elements
(within this Part) using the touch screen option in the lower right corner of
the Element screen:

 If FM-X is involved, please remember, you cannot hear a Modulator

directly, you can only hear the influence the Modulator has on the Carrier it
is attached to in the Algorithm... therefore, Solo'ing a Modulator alone will
result in silence (vibrato without the violin string = silence).
 If AWM2 is involved you will be able to hear when that Element is active if
it meets the required parameters as outline within the PART (key range,
velocity range, etc).

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 EXPERIMENT

For this experiment set the MW at minimum (Heel down if using FC1 as
MW). If you do so, you will hear just the following PARTs as stored in the
Scenes: While holding a Chord or note on the keyboard advance through
the 8 SCENES (1-4, 5-8 red buttons) allowing each to play for several
measures:

 Scene 1: Part 4, 6
 Scene 2: Parts 3, 4, 6
 Scene 3: Parts 3, 4, 6
 Scene 4: Parts 2, 3, 4, 6
 Scene 5: Parts 1, 2, 3, 6
 Scene 6: Parts 1, 2
 Scene 7: Parts 1, 2, 3, 4, 6
 Scene 8: Parts 3, 4, 6

And again, you can bring in PART 5 at any time by advancing the MW (or
FC1).

ARPEGGIO NAVIGATION: Let's take a look at the ARPEGGIO

ASSIGNMENTS. We want to call to your attention two different views of
the ARPEGGIO data.
In the first view, shown below, you are seeing an overview of all the active
PARTS (you can view either 1-8 or 9-16) and the assignment of the
ARPEGGIO Phrases for each of the 8 ARP SELECT locations. This view is
helpful, when multiple PARTS are following Arps. You are viewing what is
happening right now for the currently selected Arp, 1-8, ARP SELECT #1 is
active in the screenshot:

Press [PERFORMANCE (HOME)].

Touch “Motion Control” > “Arpeggio”:

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 Here you are looking at PARTs 1-8. You see that PARTS 1, 2, 3, 4 and 6
will at some point, be responding to an arpeggio phrase. Currently ARP
SELECT #1 is active (bottom of the screen). Notice that PARTs 1, 2 and 3
are assigned to play an ARP named “Mute 4/4” -- this is equivalent to
placing a musical REST in this location. It allows the PART to stay ‘armed’
and in synchronization with the clock - it will just be silent - like a musician
reading rests on a page - they don't play, they simply count the time. This
is quite different from “OFF”. And that is the takeaway here. “OFF” means
you would have to re-arm and then re-trigger a key to restart the PART
arpeggiating. If you use a MUTE ARP phrase Type, then the PART will
simply come in automatically at the top of the next measure, if an Arp
phrase is posted in the next SCENE. This screen view shows us what each
of the PARTs is doing for ARP SELECT 1. The MUTE Type arpeggio
phrase is used instead of the regular PART MUTE button.

Notice: Arps can be set to change at the “top” of the next measure…
making them musically intelligent. When you press a SELECT button to
change SCENEs, the Arp phrase does not change immediately - you can
choose to have the ARP wait until the top of the next measure.

But what if we want to view just the ARP Phrases assigned to the PART 4,
individually, for example. There is a Part view of the Arpeggio assignment:

 Select PART 4.
 Press [EDIT].
 You want to see in blue “Part 4 – Common” in the lower left of the screen.
 Touch “Arpeggio” > “Individual”:

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Here you are looking at the PART 4 Arp Phrase assignment across the
eight ARP SELECTIONs.

For now, recognize these two different views. As they will come in handy
when you are making and assigning your own Arpeggio Phrases. The take
away here is that for convenience you have these two views. The overall
view (all Parts) and the individual Part view. Each PART will have its own
set of assigned phrases.

SCENE 1:

PART 4 is active.
For this experiment, select SCENE 1. Select PART 4.
Doing so will show you the PART 4 Assign Knobs in the screen:

As you move the SUPER KNOB (or advance the FC7 pedal assigned to
Super Knob), you will observe that Part 4's Assign Knobs 1, 6 and 7 are
linked to its movement. PART 4's Assign Knob 1 moves the distance
0~127, PART 4's Assign Knob 6 moves from its stored value 64~127, while
Assign Knob 7 advances from its stored value 50~127:

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• Assign Knob 1 is doing “Operator Frequency” (Modulator).
• Assign Knob 6 is changing “EG Level” (Modulator).
• Assign Knob 7 is changing “OP1 Decay” (Modulator).

You should recognize this as “P4” in our FM-X Explorations “Part 1” article:
the range settings for each of the PARTS is being determined by the
Motion Control > Super Knob VALUE 1 and 2 settings. These determine
just how much change is applied. The assignments to the Super Knob's
Assign Knobs, takes place here:

• Press [EDIT]
• Press [PART SELECT – MUTE/SOLO]
• Touch “Common” > “X” to put the pop-in menu away
• Touch “Control” > “Control Assign”

There are 8 Assignment Destinations in this Performance, four are shown

per PAGE, tap “PAGE” and advance to PAGE 2.
The “Display Name” box is where you can assign a nickname for the
SOURCE function - tap that box to create a Name. Selecting a good name
can be tricky when you have more than one thing assigned to a particular
controller or Knob. But you do not have to use any official title, you can call
it “Purple” if that helps you remember what you've designated a particular
controller to do. Below, it is called “P4_Freq” because it is only assigned to
do Part 4's Modulator Op Frequency. This reminds me what this Knob is
going to do and to which PART it is going to do it. You can touch the
“Destination to Name” box to use the default Destination name and assign
it to the “Display Name”:

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We should expect to see among the assignments the following concerning
Part 4: ”Part 4 Assign 1”; “Part 4 Assign 6”; “Part 4 Assign 7” linked to
Knobs on the upper Common/Audio level that move 0-127, 64-127 and 50-
127, respectively.

In the screenshot above DESTINATION 6, “Part 4 Assign 1” is linked to the

Super Knob's “Assign Knob 6” as its SOURCE.
If you highlight “Part 4 Assign 6” you will see it is linked to the Super Knob's
“Assign Knob 7” as its SOURCE.
And if you highlight “Part 4 Assign 7” you will see it is linked to the Super
Knob's “Assign Knob 8” as its SOURCE.

From this we now know that on the Super Knob level of editing: Knobs 6, 7
and 8 will move 0-127, 64-127 and 50-127, respectively.
Return to the [HOME] screen, you will see the “Common Assign 1-4” as the
active Knobs in the screen.
Press [ASSIGN] (flashes) to switch the active Knob to “Common Assign 5-
8”.

You can see that Knobs 6, 7 and 8 are being applied to PART 4. The
Display Name appears for KNOBS: Knob 6 (“P4_Freq”), Knob 7
(“P4_Mod”), and Knob 8 (“P4_Decay”). You can directly move these Knobs
to affect change on PART 4. Try it:

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SCENE 2:

PARTs 3 and 4 are active, along with the Drums.

SOLO PART 3 and SELECT it. View PART 3 Assign Knobs in the screen.
As you move the SUPER KNOB, you will observe that only Part 3's Assign
Knob 4 (Resonance) is linked to the movement. You will recognize this as
“P3” from our second article in this series.

Use the MUTE function to isolate just PART's 3 and 4.

You can hear how PART 3 is mostly in your left speaker with some content
that sneaks over to the right channel, and PART 4 is mostly in your right
speaker with some content that sneaks over to the left channel. This is
accomplished though PART Pan parameters (Part 3 is panned “L32”; Part
4 is panned ”R32”). The bits that sneak over to the opposite channel do so
because the ”Alternate Pan” and ”Random Pan” parameters on the PART
'x' > “Part Settings” > “General” screen - shown below for PART 3 and
PART 4, respectively:

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SCENE 3:

Same as SCENE 2 except the Drums have added a Snare sound layered
with the Kick drum.

SCENE 4:

PARTs 2, 3 and 4 are active along with the Drums.

PART 2 has joined PARTs 3 and 4, bringing in a counter-rhythm. You
should recognize this as “P2” from the previous article.
SOLO Part 2
Part 2 has two parameters linked to the Super Knobs: Operator Frequency
(Knob 1: 0-127) and EG Level (Knob 6: 80-127)

When you return to the COMMON ASSIGN view, you can see the two
linked parameters listed as “P2_Freq” (Common Assign Knob 3) and
“P2_Mod” (Common Assign Knob 4) - giving you direct access when on
the HOME screen.

SCENE 5:

PARTs 1, 2, 3 and 6 are active. PART 1, which is a bookend to PART 2,

joins in and replaces PART 4. PART 1 is duplicating the Arp phrase of
PART 2. PART 1 (“P1”) has the same two parameters linked to the Super
Knobs. Again, it is Operator Frequency and EG Level, but moving through
a different range for “EG LEVEL”. “Operator Frequency” (Knob 1: 0-127)
but “EG LEVEL” (Knob 6: 87-127) - creating a bit of dissonant ring.

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When you return to the COMMON ASSIGN view, you can see the two
linked parameter listed as “P1_Freq” (Common Assign Knob 1) and
“P1_Mod” (Common Assign Knob 2) - giving you direct access when on
the HOME screen.

SCENE 6:

PARTs 1 and 2 are active; all other Arps are resting (MUTE 4/4). You can
play chords with your right hand and fade in the Pad (PART 5) by slowly
raising the MW.

SCENE 7:

PARTs 1 and 2 continue with the same phrase, but are joined by all the
others; 3, 4 and 6, slowly fade out the Pad (PART 5).

SCENE 8:

PARTs 3 and 4 continue, while PARTs 1 and 2 go to MUTE 4/4; a hihat

joins the Kick drum in PART 6.

The individual Assign Knobs can be moved directly, whenever you desire.
We have brought the Super Knob linked parameters and show their
“DISPLAY NAME” so you have access to them. Because moving the Super
Knob (at any time) will cause all those parameters linked to it to change
together, while accessing a COMMON ASSIGN Knob directly gives you
individual unique control.

SUMMARY AND FINAL THOUGHTS

How you go about editing and approaching any MODX Performance is a

personal thing. Hopefully some of the instructions here will tweak your
imagination to go in directions of your own. Do not feel the need to over
analyze everything. We picked out a few things that make a point about
how things are designed to work. It becomes very easy to disappoint
yourself when learning through this exploration and discovery method.
When you first learn to drive a car, it is very easy to make the complaint
that “how come the car can't fly?” You get so used to getting from place to
place faster than you could walk or ride your bicycle - but don't jump to
conclusions that it will take you to the moon. For its purpose, the car
moving as it does, will suffice. That said, we probably never would have
flown to the moon if someone hadn't thought 'wouldn't it be cool if...' but
that is product design, not SOUND DESIGN. The purpose here was to
learn to use the Crayons in this box, to create your picture - not to design a

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different product. (Although it's fun to imagine the future...)

Just because you can link something to be offset by the Super Knob or an
Assignable Knob, please do not expect that every parameter you are
offsetting will animate to show how that parameter value is changing - it is
enough to program the response “by ear” and hear the change. While it
might be helpful to actually see how the envelopes change, for example,
but it is totally NOT necessary.

If you assign the PB Wheel to change the Pitch - the parameter setting
does not show you HOW FAR you've bent the pitch. Not because you
couldn't have the instrument do that, but simply because it is quite
unnecessary (music is for the ears, not the eyes) - this is something that
the musician does “by ear”. You do not need to see the confirmation of how
the Pitch parameters changed on the screen. Offsetting an Envelope
Generator, or the Pitch of a sound, is better analyzed as a musician (not as
a technician) - the whole purpose of this series was to show that “by ear” or
by listening, you can begin to learn how to edit and program FM-X.

If you are going to over analyze anything, do so trying to figure out what
the original programmer was attempting to do with each assignment. Then
decide what you would like to do with the assignment. The parameters that
you do see animate to physical controllers are those that are directly
assigned (as opposed to being OFFSETS). For example, when you move
the Element Level, or Part Volume parameters, directly.

Once you begin to see the scope of what is happening here, such a
request would require (perhaps) just a little too much CPU power. We have
been looking at a PERFORMANCE that uses only a small portion of the
processing power of the MODX. We have left 48 Operators doing
absolutely nothing. We have used an AWM2 (Pad) PART that leaves 7 of
its Elements doing absolutely nothing. And from the Drum Kit with 73
Elements, we are using approximately a half dozen different sounds (kick,
snare, hihat, etc). When you start to realize the size of the controller matrix
you are actually dealing with, you begin to appreciate what is going on.

This Performance (Moving Floor) is a 'snorkeler's delight', because of its

simplicity. When there is actually a lot going on, you may begin to scratch
your head about what is doing what to what. Please come back for future
Exploration tutorials. It is important to experiment and to learn to navigate
to the various areas of the MODX architecture. Getting used to
Performance Control and PART selection, and then Part parameter
controls.

FM-X Final Notes: This particular Performance had a very unique selection
of knob assigned parameters. Each FM-X sound is likely to be entirely

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different in layout and assignments. The idea is when finding a sound you
enjoy playing, lose the fear, dive in and explore what is assigned to do
what. We basically had one thing assigned per knob, with one or two
exceptions. When going deeper you will discover that multiple items can
easily be assigned to a single Controller each with customized results,
there is no one-way to accomplish a goal.

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Manny's FM-Xpert #1: "Acoustic
Eccentricities and Stuff"

Ready for some next level FM-X programming? Let FM-Xpert programmer
Manny Fernandez show you the way!

Manny’s FM-Xpert is a deep dive into the the FM-X engines of the
MONTAGE and MODX Music Synthesizers. This five article series is
delivered in an accessible and entertaining way and includes MONTAGE
content programmed by Manny himself. The other articles in the series are
accessible via the links below:

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Manny FM-Xpert 2: "I'm Fixing a Hole Where the Timbre is Thin"
Manny FM-Xpert 3: "It's Just a Phase, Man"
Manny FM-Xpert 4: "The Envelopes, Please"
Manny FM-Xpert 5: "Everybody's Doin' the Knob-O-Motion"

Check out his previous article series on FM Synthesis below:

MANNY'S MODULATION MANIFESTO (REFACE DX TUTORIAL SERIES

AND A GREAT PLACE TO START!)

Manny's Modulation Manifesto 1

Manny's Modulation Manifesto 2
Manny's Modulation Manifesto 3
Manny's Modulation Manifesto 4
Manny's Modulation Manifesto 5
Manny's Modulation Manifesto 6
Manny's Modulation Manifesto 7

MANNY'S FM-XPLORATIONS (MONTAGE AND MODX TUTORIAL

SERIES)

Manny's FM-Xplorations: Article 1

Manny's FM-Xplorations: Article 2
Manny's FM-Xplorations: Article 3
Manny's FM-Xplorations: Article 4
Manny's FM-Xplorations: Article 5

ABOUT MANNY

Manny Fernandez has been involved with sound programming and

synthesizer development for over 30 years. Initially self taught on an ARP
Odyssey and Sequential Pro-One, he also studied academically on Buchla
modular systems in the early 80's. With a solid background in analog
synthesis, he then dove into digital systems with release of the original
DX7. Along with his aftermarket programming for Sound Source Unlimited,
Manny is well known for his factory FM programming work on Yamaha's
DX7II, SY77, SY99, FS1R and DX200 as well as the VL1 and VL70
physical modeling synthesizers.

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FM-Xpert #1: Acoustic Eccentricities and Stuff

OVERVIEW AND BASIC BUILDING BLOCKS

Download the file associated with this article series here! (Manny
FMXpert.X7L)

Note: Remember to watch the video at the end of this article!

In the pursuit of emulative synthesis – recreating traditional acoustic

instrument sounds – often where pure synthesis has often come up short
compared to sampling is in recreating what I like to refer to as the ‘acoustic
eccentricities’ of a real instrument sound resulting from its physical
properties, construction and imperfections. These sonic components have
been traditionally referred to as “stuff” -- the aperiodic noise components,
inharmonic overtones and transients along with mechanical noises in
acoustic sounds that are key to their character – think of the breath in the
attack of a flute sound or the scrape of the bow on a cello string. Sampling
is a very effective ‘brute force’ solution where we capture the stuff exactly.
But other than filtering there’s little to no dynamic or realtime control of the
timbre, having to rely on velocity switched multisampling essentially ‘fake
it.’ Plus, stuff can vary widely in timbre and characteristics across the note
range of an instrument so there’s all the note multisampling as well. At the
end of the day, this is a somewhat crude way to get around the fact you’re
playing a sound who’s harmonic behavior is ‘frozen’ as captured in the
original recording of the sample. It’s not really ‘synthesis’, which for me
means creating and manipulating harmonic structures dynamically and
over time in the manner I choose. Physical modeling synthesis advanced
the ability to build dynamically and realtime controllable “stuff” but is
unfortunately very complex and time consuming to program to achieve that
controllability in effective emulative synthesis.

In contrast, one of the great capabilities of FM synthesis is the ease and

efficiency in creating “stuff.” The basics for this consists of creating
waveforms with non-integer harmonic series by setting your Operator
Frequency Ratios to non-whole number values and/or using Fixed
Frequency Mode Operators. The most well known examples of stuff in FM
synthesis is in many electric piano sounds– the clinks, clanks and metallic
attack transients of the ‘tine’ portion of the sound. So by using a few
Operators to make this stuff you can improve the character and detail in
your synthesis. Thinking big, consider what can be possible in FM

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synthesis if you have a lot of Operators available. When Yamaha released
the TX816 module way back in 1984, it was typically used as an 8 Part
multi-timbral DX7. But in another context, is was a bunch of Operators in a
box that could be used instead to create one single sound. Those who
programmed the TX816 in that context have experienced what can be
accomplished in the ‘old school’ DX7 FM engine when having 48 simple
sine wave Operators available to build a single sound.

With Montage, we now have the FM-X synthesis engine that expands the
Operator capabilities with non-sine waveforms and an implementation of
Operator Fixed Frequency Mode that allows for variable key frequency
scaling and velocity modulation of frequency per Operator. Then there are
64 of these multi-waveform FM-X Operators available to create a single
sound - 8 operators in each of the 8 parts playable live from the keyboard.
Finally each Part has powerful Filtering, DSP effects & EQ available as
well. Thus there are some extremely rich synthesis capabilities lurking in
Montage when using it as a modern TX816 to create a single sound with 8
FM-X Parts. So, let’s get into programming the “FM-X816” !

As to the title of this article, here I’m presenting an educational example

highlighting the creation of acoustic eccentricities and “stuff” utilizing the
approach of multi-Part complementary voicing. I touched on this earlier in
the “Manny’s FM-Xplorations” article series, but now I’m going to go take it
to another level. So, let’s pick an instrument. I decided to synthesize an
acoustic instrument sound with dynamic, complex harmonic and
inharmonic attack transients, a rich harmonic structure with overtone quirks
that create a drastically changing timbre across the playable range, all
housed within a sophisticated resonating body. Then, just for good
measure throw in some significant mechanical noises from the excitation
mechanism. Let’s synthesize -- an acoustic Piano!I know what you’re

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thinking -- ‘why bother’ in this age of awesome sampled and computer
hosted physically modeled piano sounds. The reasons are 1) It makes for
an excellent tutorial in the concepts mentioned above; 2) As a synthesized
sound it has true dynamic and timbral range continuity unlike velocity
switched samples; and 3) while in the end we won’t have nailed the perfect
“Brand X” piano sound we will create some extremely responsive &
playable piano timbres that can be simply manipulated and changed in
ways that samples and physical modeling cannot.

To map out an approach to take in building our piano let’s take a general
overview of it’s physical and acoustic characteristics. It’s an impulse
excited string instrument, meaning energy is transferred to the strings by
the act of hitting them with the keyboard hammer. There are both wound
and unwound metal strings and those strings may be grouped as one, two
or three per key/note depending on the piano and note range. They are
strung at high tension across a metal harp, which sits inside a complex
wooden resonating body. Then there is the mechanical noise from the
keyboard mechanism itself, both the initial sound of the hammers hitting
the strings and the key bottoming out on the keybed.

To build a piano sound “FM-X816 style” I’ll be using an approach called

Harmonic Component Modeling. Harmonic Component Modeling in the
context of FM synthesis means using groups of Operators to create
discrete ‘building block’ parts of the overall piano sound – i.e. the general
attack & body sustain; the bright & sustaining low register high order
harmonics; the ‘plink’ and inharmonicities accentuated in the upper
registers from the hammer attack on the short, taught strings; and key bed
‘thunk’ & noise, etc. These will all be combined together to give the
completed sound. While assembling the harmonic components together, I’ll
enhance the synthesis versatility of the FM-X Operators utilizing the
powerful Part Insert and Master Effects and EQ in the Montage for
additional timbral shaping. So, lets do it… load up the Library file “Manny
FMXpert”, select the Live Set “HCM Pianos” and we’ll dive in. Also, please
check out the companion video on YouTube here.

Select the Performance “MF.HCM PianoEx1”. In this example I’ll begin

using two Parts to build the basic ‘body’ timbre, one Part for lower register
with the wound strings and one Part for the upper register with solid
strings. Additional Parts are then used for adding & enhancing the attack
transients and sustaining harmonics for each register. With this example
Performance I'll be using three Parts for the lower register wound strings
and one Part for the upper register solid strings to synthesize the
sustaining harmonic enhancements. The remaining 2 Parts are used for
the hammer attack characteristics, both the harmonic and with the
inharmonic overtones along with the hammer and key bed noise across the
entire range. To easily isolate and hear the various harmonic components

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of the total sound, I’ve set up this Performance with Scenes that turn off &
on the different harmonic component Parts.

Press Assignable Switch 1 to bypass the effects then select Scene 2 to

hear Parts 1 and 5 that make up the basic ‘body tone’ of the sound. Part 1
is the lower register timbre, Part 5 is for the upper range, split between
keys E3 & F3. Go into Edit Mode, Select Part 1 so we can take a look.
These Parts both use Algorithm 25:

We’re using Operators 3 - 8 for the basic timbre, and Operators 1 & 2 for
some initial high harmonic overtones. While playing both very softly and
loudly, toggle off and on Operators 1 & 2 to hear the subtle yet important
character they add, then toggle off Operator 8 to here Ops 1 & 2 in
isolation. I’ve done the same thing with Part 2 for the upper range, so
select Part 2 and again play both soft and loud, toggle off and on Operators
1 & 2 to hear their contribution to the sound, and then toggle off Operator 8
to here Ops 1 & 2 in isolation. Ops 1 & 2 in these 2 Parts use “Stuff Trick
#1” -- fixed frequency mode Operators. For Ops 1 & 2 in both these Parts
I’ve set the Freq Mode to Fixed, with partial pitch change per note – for
reference, at a value of 99, the Fixed Mode Operator would track pitch with
the notes normally as a Ratio Operator. With a value of 0 it plays the same
pitch for every note, and a value of 25 would give quarter pitch note
tracking. In Part 2, I’ve added a little Pitch/Vel as well. Thus, these Ops are
not truly ‘fixed’ and static, but vary in a non-equal tempered manner across
the keyboard and with velocity. This contributes some nice inharmonicities
in the higher harmonics in the attack which is an important characteristic of
acoustic sounds.

Next Select Scene 3 to isolate Part 7. This Part is adding both the
harmonic and inharmonic hammer attack portion of the sound. For this Part
I’m using Algorithm 74:

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Each of the three Stacks is used to create a different harmonic component
of the overall “hammer attack” harmonic structure. Mute Op 2, and you can
hear I’ve set the Op 3-4 Stack and the four-Op Stack of Ops 5, 6, 7 & 8
create the non-harmonic hammer attack and noise portion. Mute Op 4 to
hear the Op 5-8 Stack creating the noise & “thunk” portion. All these
Operators are using Fixed Mode, with small amounts of Pitch/Key Scaling
and Pitch/Velocity Scaling. Now, Mute Op 8 and unmute Op 4 to hear the
Op 3-4 Stack ‘metallic’ attack portion -- Note that as you play in the upper
register above E4 you’ll start to hear the contribution of the Op 3-4 Stack
creating one of the ‘acoustical eccentricities’ of a piano. Because of string
length, stiffness & tuning tension, the upper register attack begins to get
quite inharmonic like a percussion instrument – so I’m Fixed Frequency
mode with non-integer Frequency settings and completely different amount
of Pitch/Key Scaling -- Op 3 set to Pitch/Key=6, and Op 4 set to
Pitch/Key=39. This Op 3-4 Stack is the basis for these upper register
inharmonic components, which will be refined later with Part 8. Finally,
mute Ops 4 & 8, and un-mute Op 2 to hear that the Op 1-2 Stack creates
the harmonic ‘hammer hitting a string’ timbre, similar to a very hard plucked
string. Finally, note the Velocity sensitivity range is set to be a wide volume
and harmonic velocity response to mimic the wide dynamic range in the
attack of a piano. To summarize, this Part expands on our “Stuff Tricks” to
synthesize more complex inharmonic components using combinations of
Fixed Frequency Mode for both Carriers and multiple Modulator Operators

Let’s next select Scene 4 to isolate Part 8. This Part is adding higher order
“plink” harmonics and additional key bed ‘thunk’ noise of the hammer
attack across the entire key range. For this Part I’m using Algorithm 67:

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Each of the 2 Op Stacks is once again creating portions of harmonic
spectra components of the overall harmonic structure. Op Stacks 1-2, 3-4
and 5-6 are in Ratio Mode, using various non-integer settings for Operator
frequency for the inharmonic components that play ‘pitched’ across the
range – meaning they track the equal tempered pitches for each key. Ops
1 & 2 frequencies are set to 1.03 / 4.00 for the “low high” harmonics; Ops 3
& 4 frequencies are set to 13.80 / 12.72 for the “high high” harmonics; and
Ops 5 & 6 frequencies are set to 9.27 / 5.00 for the “mid high” harmonics.
Note how the Operator level scaling and envelope rate scalings are set so
that the overall harmonic blend is sustaining and ‘buzzy’ in the low resister
and transforming to a metallic ‘clank’ that quickly decays in the upper
registers. As I mentioned above in looking at Part 7, this continues to
expand on synthesizing the ‘acoustical eccentricities’ of the piano.
Basically, because of the string length, type (wound or unwound), and
stiffness & tuning tension relationships across the 88 note range, two
characteristics come into play. One is the upper register behaves much
more like a tuned percussion instrument than a stringed instrument – think
vibraphone in the upper range vs. acoustic bass guitar (extra large!) in the
lower range. For the lower registers, the non-integer tuning Ratios are to
capture the ‘out of tune’ nature of the wound strings high order harmonics
that skew progressively ‘sharp’, which is one of the reasons real pianos are
‘stretched tuned’. Finally Ops 7 & 9 are used for additional woody key bed
‘thunk’ noise, using Fixed Freq mode with moderate and minimal Pitch/Key
tracking respectively. Thus Parts 7 and 8 combine together to synthesize
these important harmonic quirks.
Finally, before moving on, select Scene 5 and play, and toggle back and
forth between Scene 5 and Scene 2 to hear how using 4 of the 8 Parts --
Parts 1, 2, 7 & 8 – all blending together their harmonic components begin
to give us a nice basic timbre with a lot of the “stuff” and “acoustic
eccentricities” of a piano. However, we’re still missing a lot of harmonic
content and it’s a bit ‘thin’ and ‘digital’. Part 2 of this article series will
explore how I use the remaining 4 Parts to finish building our FM-X Piano –
“Fixing the Holes” in our harmonics.
https://youtu.be/Ax0zRysLT1Q

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Manny's FM-Xpert #2: "I'm Fixing a
Hole Where the Timbre is Thin..."

The second article in Manny Fernandez's FM-Xpert series continues with a

great study in filling out an FM-X sound. This advanced tutorial will help
you add fullness and detail to FM-X sounds in your MONTAGE and MODX!

Manny’s FM-Xpert is a deep dive into the the FM-X engines of the
MONTAGE and MODX Music Synthesizers. This five article series is
delivered in an accessible and entertaining way and includes MONTAGE
content programmed by Manny himself. The other articles in the series are
accessible via the links below:

Manny FM-Xpert 1: "Acoustic Eccentricities and Stuff"

Manny FM-Xpert 3: "It's Just a Phase, Man"
Manny FM-Xpert 4: "The Envelopes, Please"
Manny FM-Xpert 5: "Everybody's Doin' the Knob-O-Motion"

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I'M FIXING A HOLE WHERE THE TIMBRE IS THIN...

DOWNLOAD THE FILE ASSOCIATED WITH THIS ARTICLE SERIES HERE!

(MANNY FMXPERT.X7L)

Filling out our piano sound: In the first part of the FM-Xpert examples
series, I broke down in detail using 4 of the 8 Parts in our FM-X
Performance to create the body timbre, the overtone quirks of the lower
and upper registers, and the hammer attack noise and ‘thunk’ of an
acoustic piano. But those basic building blocks left us with a timbre that
was ‘thin’ and missing some significant harmonic content. In this article I’m
going to address the ‘timbral holes’ in our FM-X Piano and use the
remaining 4 Parts to add additional components for the missing harmonics
in order to fill out and ‘warm up’ the sound to replicate the rich & full
dynamic characteristics of the piano. So, let start fixing the holes where our
timbre is thin, to keep our ears from wandering….

Please reference the companion video on YouTube here. So, let’s continue
with the example Performance “MF.HCM Piano Ex1” and select scene 6 to
isolate Parts 2, 3 & 4 which are used together to fill out both the sustaining
high harmonics and body timbre, as well as create additional hammer
attack brightness in the lower register. Play the notes below E3 at very soft
and very hard velocities and pay close attention to the timbral response.
These Parts are following the same general approach as Part 8, with Part 2
using Algorithm 25 and Parts 3 & 4 using Algorithm 67:

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Part 2 is used to warm up and fill out the basic Part 1 Piano timbre, and I’ll
get to it in a moment when discussing the Insert Effects. I’ve used Parts 3
& 4 to give a multitude of 2 Op Stacks combined and blended together to
generate additional body and high harmonic content.

You may wonder why so many 2-Op Stacks – that’s 8 Stacks in two Parts.
The short answer -- the lower register of a piano has a LOT of bright upper
harmonics that behave very ‘linear’ in regards to volume & brightness with
velocity dynamics, which is not how FM behaves. The longer, geeky
answer is that harmonic creation is very non-linear, dynamically speaking,
in FM because of Bessel Function behaviors.

Quick technical detour -- To get more & brighter harmonic content in FM,
we increase the Modulation Index, which is the output level of the
Modulator Operator input to the Carrier Operator. However, the math of the
FM algorithm dictates that the relative amplitudes and the phase of those
various harmonics will change in a non linear manner with the Index. Thus
a waveform that we’ve made with nice ‘integrated’ harmonic amplitude
relationships can literally ‘disintegrate’ with the Modulation Index changes,
resulting in what we hear as ‘holes’ or ‘voids’ in the harmonic series – this

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is the classic FM characteristic that people have historically described as
‘thin’ or ‘digital’ sounding, which sometimes is really cool and what we want
for some sounds – but which is definitely not what we want to maintain the
rich & full dynamic harmonic integrity of our piano timbre. With more
Modulator stacking and branching you have in your algorithm, along with
the higher Frequency Ratios used to get those high harmonics, the more
complicated it gets. Thus to get a ‘linear’ dynamic response I decided to
mix together those eight 2-Op Stacks available in Algorithm 67 from 2
Parts. Each Stack has different Operator Ratios and Waveforms, each
adding different harmonic spectra components in the mid, upper mid, high,
and upper high harmonic range, etc. Then the relative amplitudes of each
harmonic range are controlled by straightforward mixing of the Carrier
Operator Levels. Thus, we don’t have to worry about the Modulator
Index/FM math issues. Additionally, instead of using much Velocity
Sensitivity for the Modulator Op levels (i.e. Modulation Index) for dynamic
brightness I’m using velocity control of Filter cutoff to get the appropriate
linear dynamic brightness response and prevent the timbre from
‘disintegrating.’ Essentially, it’s using a hybrid combination of additive and
FM synthesis concepts.

There are additional tricks used in Parts 2, 3 and 4 to finesse, filling out,
and warming up the timbre. The first is basic detuning of the Operators
across all 3 Parts, as well as the Parts themselves. The second is the use
of the Chorus Insert Effect for Part 3. The third is a slow LFO Pitch
Modulation of selected Operators across all three Parts to recreate the
harmonic ‘beating’ movement in sustained piano overtones. This helps to
replicate the richness in a piano where there are multiple strings closely
tuned for the majority of the notes. Another trick is liberal use of Part EQ.
As mentioned above, using the Modulator Index gets very wonky when
trying to make specific tonal changes in the harmonic balance without
having FM math phase issues begin to make the timbre disintegrate. EQ is
a quick & linear way to vary the tone, and Montage has powerful EQ
available per Part. I used a lot of parametric equalization in throughout all
the Parts, and here’s the particular settings for Parts 3 & 4:

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I’ve also used the Phaser Insert Effect as a trick to alter timbre for Parts 2
& 4. Now, I mentioned previously that certain changes in harmonic phase
can make an FM timbre fall apart, so why use a Phaser? The (grossly)
simplified reasons are Phaser parameters do not change with velocity
dynamics, and with the Phaser Insert Effect the phase of the entire

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waveform as a whole is uniformly altered by the effect, not individual
harmonics within the Operator groups as occurs in the FM synthesis
Bessel Function domain. Thus, the Phaser effect with values of 0-5 for the
Depth actually becomes a simple tone controller, without the waveform
harmonic ‘disintegration’ issues (BTW - the next article, “It’s Just a Phase,
man…” will be a deep dive into FM phase phenomena).

Anyway, I’ve used the VCM Stereo Phaser in four of the eight Parts. This
can create subtle or drastic tonal variations in each Part’s timbre without
messing around with Operator Ratios, Waveforms or Modulation Index
while maintaining the desired dynamic characteristics. Using the Phaser
insert as a timbral waveshaper is one reason I choose to use an entire Part
-- Part 2 – as a modifier of the basic Piano timbre layered with Part 1 and
using the Phaser to modify the timbre sound:

The overall timbre of the sound can be altered by simply tweaking the
Manual, Feedback, Stage, Mode and Color parameters. Play around with
these Parameters of Insert Effect A for Parts 2, 4, 7 & 8 to see how they
shape the timbre, without damaging the dynamic response.

To look how I’ve approached the velocity dynamic hammer attack and high
harmonics in the upper register, Select Scene 7 to hear Part 6 in isolation.
The basic philosophy is the same as what was done with Parts 2, 3 & 4.
Part 6 fills out the timbre along with adding additional ‘tuned percussion’
style attack transients, again using Algorithm 67 with the four 2-Op Stacks.
Ops 1 & 2 create a basic sawtooth wave type timbre to warm up the sound.
Then I’m using Stacks 3-4 and 5-6 to create wide-range velocity dynamic
marimba/vibe type of tuned percussion harmonics for the upper register

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notes. Ops 3 & 6 are in the Fixed Freq mode, with the Pitch/Key parameter
set to 86 and 31 respectively, to enhance the inharmonicity in the attack
playing up the keyboard to help better approximate those quirks of upper
piano notes mentioned in Part 1 of the article. Ops 7-8 add in some more
key ‘thunk’ transients. Then this Part is using the Chorus insert effect for
more detuning/thickening.

So, let’s review from the beginning to see how all these Parts with all their
harmonic components fit together. Select Scene 2 again to hear the
isolated basic FM body timbre for the lower and upper notes ranges. Play
dynamically at low and high velocities and listen to how the timbre varies in
the typical FM manner. These 2 Parts creating the body timbre use a fair
amount of Modulator Operator Velocity sensitivity in addition to using
Algorithm 25 which is a complex 6 Op Stacked & branched structure:

Thus the typical FM math harmonic phase and amplitude behavior with
modulation index results in ‘holes and voids’ in the overall harmonic
structure of the waveform. Next, select Scene 8 again to hear all the
isolated body timbre ‘warming’ overtones, dynamic high harmonic
brightness, and the ‘stuff’ and ‘acoustical eccentricity’ components across
the lower and upper note ranges. Play dynamically at low and high
velocities and listen to how the timbre varies in linear manner, getting
brighter as you play louder without the ‘holes and voids’ behavior. As
detailed above, this is because most of these Parts use Algorithm 67,
giving a combination of eighteen simple 2 Op Stacks to work with:

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Plus, all these 2 Op Stacks use minimal Modulator velocity sensitivity. Filter
velocity control of the Part and velocity control of the individual Carrier
levels of each of the various mid, upper mid, high, and upper high
harmonic component Op Stacks is used instead for dynamic brightness
that prevents the FM harmonic ‘holes and voids’. This gives the final sound
a full and ‘integrated’ harmonic behavior across the dynamic range. The
sustain pedal subtleties in the sound are enhanced by the use of the
Damper Resonance Insert Effect on every Part. The final timbral tonal
tweaks and ‘sonic space’ enhancements make use of the Stereophonic
Optimizer Master Variation Effect, the Master EQ and the Master Reverb.
Whew ! Finally go back to Scene 1 to play and enjoy the fully assembled
acoustic Piano sound.

Wrapping up, these first two articles examined the concept of Harmonic
Component Modeling and using discrete groups of FM-X Operators to
recreate a specific portion of the overall sound “TX816” style. Using the
Montage’s Filters for controlling dynamic harmonic behaviors minimizing
the typical quirky “FM sound” from using too much Modulator velocity
sensitivity. We then used additional 2 Op stacks to create additional
components to fill out the timbral holes in the sound that result from those
same FM math quirks. We used non-integer Operator Ratios and Fixed
Freq Mode Operators to recreate real instrument “Acoustic Eccentricities”
and synthesize “Stuff” in our sound. Finally we touched on how the
Montage DSP and Effects can be used as timbral shapers to tweak and
refine our sound without diving back into the FM parameters.

I hope you’ve enjoyed the overview in these first two articles, and I’ll get
into some extra geeky deep diving of the finesse and polish of the acoustic
piano tone and response in the next two FM-Xpert eXamples articles, “It’s
Just a Phase, Man…” and “The Envelope(s), Please.”
https://youtu.be/M-kgxhasZug

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Manny's FM-Xpert #3: "It's Just a
Phase, Man. "

FM Synthesis Grandmaster Dr. Manny Fernandez's third article in the "FM-

Xpert" series is his most advanced yet. Are you ready to snatch the pebble
from the Grandmaster's hand? Then enter the FM-Xpert temple and begin
the training...

Manny’s FM-Xpert is a deep dive into the the FM-X engines of the
MONTAGE and MODX Music Synthesizers. This five article series is
delivered in an accessible and entertaining way and includes MONTAGE
content programmed by Manny himself. The other articles in the series are
accessible via the links below:

Manny FM-Xpert 1: "Acoustic Eccentricities and Stuff"

Manny FM-Xpert 2: "I'm Fixing a Hole Where the Timbre is Thin"
Manny FM-Xpert 4: "The Envelopes, Please"
Manny FM-Xpert 5: "Everybody's Doin' the Knob-O-Motion"

IT'S JUST A PHASE, MAN

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Download the file associated with this article series here! (Manny
FMXpert.X7L)

Previously in Article 2 of this series I mentioned the interaction of “Phase”

in two contexts. One was the use of the Phaser Effect as a generalized
Part tonal shaper, using the Manual setting of the effect delay (aka phase
shift) parameter to make quick changes to the timbre avoiding the FM
parameters. The second was in the context of how changes in FM
Modulation Index change both the intensity of harmonics created in our
sound and their phase. It is this behavior of FM synthesis that gives it much
of its characteristic ‘flavor’ and gives both great versatility and great
challenges in creating certain types of harmonic behaviors.

I covered this from a different perspective in the previous article in the

series, mixing Operator stacks from different Parts or add in the missing
harmonic pieces in our timbre. This article will discuss in detail the ‘how
and why’ the ‘holes’ occur and show a technique to create fine, detailed
control of this ‘natural’ FM behavior in the construction our FM-X Piano
sound. Understanding that the amplitude and phase of the overtones
(harmonics) has huge implications to our perception of timbre & sound, it’s
important to be able to tweak phase for timbral shaping when needed.
Advanced apologies -- this gets pretty geeky in the first half so be sure to
watch the companion video at the bottom of the article!

OK, let’s board our deep dive submersible and head on down for an
overview of the harmonic behaviors underlying in FM synthesis, using the
example of a classic sawtooth wave. The harmonic series of a classic
sawtooth wave is every harmonic “n” has an amplitude of 1/n relative to the
fundamental. Meaning if you were to build a sawtooth wave from scratch
with additive synthesis to match it as it is generated from an analog
oscillator or a digital (wavetable) oscillator, you would do it as follows --
The fundamental (harmonic 1) would have an amplitude of 1; the 2nd
harmonic at half (½) the amplitude of the fundamental; the 3rd harmonic at
a third of the amplitude of the fundamental; the 4th at ¼ the amplitude, etc
ad infinitum. The bare waveform is very bright and buzzy, and then in
subtractive synthesis we apply a filter, typically a low pass with a -12db or -
24db per octave slope, to attenuate the harmonics above the cutoff
frequency. Harmonics below the cutoff frequency are not affected
regardless of how much you continue to raise the filter cutoff. Velocity and
envelopes are used to create the time and dynamic timbral behavior of the
cutoff. The critical point is that the amplitude and phase of the harmonics
are fixed and static in the base waveform, and application of the filter is
uniformly applied to all the harmonics (based on the cutoff and filter slope).

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Dynamic changes of the filter cutoff setting have no effect on the loudness
of the harmonics below the cutoff as you raise the cutoff frequency to allow
more of the higher harmonics to be heard.

FM is completely different. To review some FM math fundamentals -- when

you modulate the frequency of a Carrier wave by and audio rate Modulator,
you create sidebands (i.e. harmonics) that are a series of the sum and
difference frequencies of the Modulator frequency added to/subtracted
from the Carrier Frequency “n” times. Meaning, if you for example
modulate a 800 hz sine wave Carrier with a 200 Hz sine wave Modulator,
you will create the sum sideband harmonics at 1000 Hz (800 + 200x1),
1200 Hz (800 + 200x2), 1400 Hz (800 + 200x3) etc. The difference
harmonics are 600 Hz (800 – 200x1), 400 hz (800 – 200x2), 200 Hz (800 –
200x3) etc. How many “n” harmonics are generated is dependent of the
Modulator level, or Index:

Unlike tradition analog oscillators or digital wavetable waveforms, the

amplitude of the harmonics in an FM created waveform are not fixed in
amplitude, but are related to the Modulator Level (Index), and will both be
increasing and decreasing in amplitude as the Modulator Level increases.
This behavior of the amplitude of the Harmonics is determined by Bessel

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Functions, which look like this:

J0 (blue) shows the amplitude behavior of the fundamental, J1 (red) is the

1st (n=1) Harmonic; J2 (green) is the 2nd (n=2) Harmonic; J3 (purple) is
the 3rd (n=3) Harmonic etc. The 1-10 on the bottom axis is the Modulation
Index. Illustrates how the amplitude of the fundamental and all harmonics
goes up and down in amplitude as the Index increases, and at certain
points the amplitude is negative (phase inverted).

A curious question arises as to what happens when “n” gets large enough
that the difference harmonics “pass through zero” and become negative.
The short, broad answer is in Yamaha’s FM implementation the negative
harmonics “bounce off” off zero back, phase shifted, into the ‘normal’
frequency range like light reflecting in a mirror or ripples in a pond
bouncing off the shore. These two behaviors – sinusoidal evolution of
harmonic amplitude with Index and phase inversion – is what gives FM it’s
characteristic sound.

Back to our sawtooth wave example. We start to build a “sawtooth type”

wave by setting a Modulator/Carrier Ratio of 1.00 to 1.00 This gives the
harmonic template able to create all the possible “nth” harmonics just as in
our sawtooth wave. To begin to hear those harmonics we increase the
Modulator Output Level (the FM index). Now the key difference again as
noted above – increasing the Modulator Level will brighten the timbre by
creating more harmonics in the sound, similar to how opening the filter
cutoff lets more of the harmonics through. However the amplitude of the
harmonics created in ‘through zero” FM follow that non-linear mathematical
behavior (Bessel Functions) and do not keep the fixed 1/n amplitude
relation to the fundamental of a sawtooth wave as Modulation Index
increases.

Great, so what does that mean soundwise to your ears or apply to

Modulator Level settings? Here’s an example, detailed in the video below

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(please watch it!) to demonstrate the concept. Say we have an FM
waveform with the Modulator / Carrier ratios both set to 1.00, and the
Modulator Level set to 65. This creates a timbre very similar to a sawtooth
wave with the filter closed down about ¾ of the way. The 2nd harmonic is
about half (50%) the amplitude of the fundamental; the 3rd is about one
third (33%), the 4th is about one forth (25%), and the 5th and higher
attenuated so they’re about half of the natural 1/n amplitudes (10% - 5%).
Now to mimic the ‘opening of the filter cutoff’ in the classic sawtooth wave /
subtractive synthesis example, we need to increase the Modulator Level
(Index). If we increase the Modulator Level to 78, the 2 harmonic will
increase to an amplitude of 75% of the fundamental, the 3rd to 60%, the
4th to 50%, the 5th to 40%, the 6th to 30%, the 7th to 25%, etc, and the
fundamental will actually decrease to half the original level! So the sound
starts to sound less than the original sawtooth as the amplitudes are
completely different. Continuing to increase the Modulator Level to get a lot
of brightness from increasing the high harmonics above the 16th will then
also start to decrease the amplitude of the 3rd, 4th and 5th harmonics. This
is because of Bessel Function behavior means the harmonic amplitudes
change non-linearly with the FM Index (i.e. Modulator Level). Increasing
the Modulator Level to 86 changes the relative levels of all the harmonics
once again, and the fundamental gains amplitude, creating a sound very
similar to a filtered pulse wave. And at these higher Modulator Level
settings, the Bessel Function behavior becomes much more pronounced
so even changing the Modulator Level just 4 increments from 86 to 90
makes drastic changes in the timbre due to the non-linear evolution of the
harmonic amplitudes and the phase inversions. Again, please watch the
video at the bottom of the article!

ALGORITHMS AND MATHS AND PHASE: SAME AS IT EVER WAS...

As you hear this happening with just a simple 2 Op Stack, you can imagine
what happens with 2, 3 and 4 Op stacked and/or branched Algorithms,
where we have Modulator Ratios of 1.00, 4.00, 5.00, 7.00 and higher.
There’s no ‘linearity’ to the timbre as the Modulator Levels change, so how
do we make our sound play with the essentially linear dynamic timbre
response of a Piano? Well, you will remember from the prior articles I
made liberal use of the Montage Filters to create the dynamic brightness,
and smaller amounts of Velocity Sensitivity for the Modulator operators. In
addition, using the harmonic component modeling concept I utilized
multiple 2 operator stacks in multiple Parts to independently create specific
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portions of the overall harmonic spectra. These were combined back in an
‘additive’ manner to the final timbre, controlling their intensity directly by
their Carrier operator velocity settings. This was one way to separate the
addition of more harmonics from much of the weird FM math behaviors,
phase inversion and ‘holes’ that would have occurred if we attempted to
add those harmonics using more Modulator Level, or additional Modulators
within a more complex stacked/branched Algorithm.

Now knowing that due to the math quirks of FM the phase of various
harmonics can interact and compromise our desired timbre, lets consider
the converse scenario – can we use phase interactions to improve our
timbre in a desired, controlled way? In other words can we use this
phenomenon as another method to ‘fix the holes’ in our timbre, or better
yet, change just certain harmonics and avoiding the otherwise wholesale
changes in the harmonics created by the natural FM behavior of changing
Modulator Level? Yes we can, and ideally this could be simply done by
having a phase parameter setting for every Operator as in AFM synthesis
on the Yamaha SY77/99. In those synths, precise tweaks of Operator
Phase for specific Modulators in complex branched/stacked algorithms can
prevent the ‘hole’ from occurring, or shape the timbre without changing
Index or Ratios. FYI – to hear an example how this can be used to model
the behavior of a analog filter, check out this Soundcloud example on the
SY99. While FM-X does not have an Operator phase parameter, there’s a
trick and a backdoor to get similar results.

Again, it’s important you watch the video at the end of this article to hear
the following examples in action. I’ll start with the trick (covered briefly in
the prior article “Fixing the Holes…”), which is a focused use of a Part’s
effect processing – the Phaser effect specifically – as initially mentioned in
the prior article. From the Live Set select the Performance “MF.HCM
WrmSus7fSH2” and exit the Live Set. Compared to the “close mic’ed’” type
timbre of Pianos Ex1, 2, 3 and 4SH in the Live Set, this Performance is
meant to capture the warmer timbre of hearing a piano in a natural room
setting. Go into Performance Edit mode and select Edit\Common\Audio
and turn off the Master Reverb. Then select Scene 3 to isolate Parts 4, 5, &
6. All three of these Parts are used in this performance emphasize ‘warmth’
in this sound, which is quite different in timbre than Pianos Ex1, 2, & 3. And
a large part of then ‘warmth’ comes from using the Phaser effect to
enhance the 2nd and 3rd harmonics. To hear how much the Phaser effect
is enhancing the timbre, go to Edit\Part\Common\Effect and turn off the
Phaser insert effect for each of these Parts and play the sound – you will
hear the Phaser is clearly enhancing the low order overtones to fill in the
holes in the basic timbre from Part 1. (BTW- this can also be done with a

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different flavor using the Flanger effect)

So, with the right Phaser settings this trick can be very effective but
somewhat limited as it doesn’t allow for control of phase at the Operator
level, as it is applied to the entire Part. For individual Operator control of
phase we need a backdoor, and fortunately we have one – in FM-X each
Operator has it’s own Pitch EG ! To show this in action, lets again select
the Performance “MF.HCM PianoEX1.” We’re going into Edit Mode, Select
Part 2, which is the first “thickening” Part for the lower register for our HCM
Piano. Mute Parts 1, & 3 through 8 – we want to look at Ops 3 and 4 for
Part 2. They are a “branch” in the Ops 3-8 stack:

Below are the Form and Frequency Settings for Op 3:

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Here are the Form And Frequency Settings for Op 4:

Now you will notice Op 4 has the Pitch EG Attack level set to +13. Next,
play G2 (G below middle C) repeatedly as you simultaneously use the Data
Wheel or the Dec/No button to gradually change the Attack value from +13
down to zero and hear how the timbre changes. Note especially how
different it is with values of +13 and +6. So, what’s happening here as the

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timbre changed without us changing the Operator Frequency Ratios or the
Modulator Level (Index)?

What has occurred is the quick, positive (sharp) Pitch EG Modulation of Op

4 changed it’s phase relative to all the other Operators, which through all
the quirky FM math results in changes in the amplitudes of the harmonics
in the final waveform. Very simply, the Phase shift of Op 4 caused of
‘cancellation’ or ‘reinforcing’ of certain harmonics, making some softer and
others louder -- very similar to what the Phaser Insert Effect did for the
whole Part. But the Pitch EG backdoor allows for fine tonal shaping at the
Modulator level within the Part ! Just for fun, select Op 3, and start
changing it’s Pitch EG attack level, and hear a different flavor of the same
effect. The specific harmonics altered by this Pitch EG trick are influenced
by the Operator Ratio Tuning, the Spectral Waveform and the actual Pitch

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EG settings. If you look through all 64 operators in all 8 Parts of our sound,
you will see I’ve tweaked this for 45 of them and in some other
Performances in the Library -- nearly all of them! Again please watch the
companion video below as this is easier to grasp if you see & hear than
just reading:
https://youtu.be/S-FlQokcGb0

So to shape the timbre in a particular way, you may ask yourself how do I
work this… ? And you may ask yourself where does that highway lead to…
? (Apologies to the Talking Heads…)

Basically, how would one even figure out where to begin editing like this…?
I would answer “Start with the Modulator with the highest Output Level,
having the Ratio setting creating the harmonic range you need to tweak,
that’s in the Part that contributes the greatest amount of that harmonic
range in the final sound.” That may sound like a bit of a vague answer, but
that’s what I personally found most efficient after the extensive hours
creating & tweaking the progression of Piano sounds that culminated in the
16 Performances included in the Live Set! … Gave me flashbacks to
programming the VL1 Physical Modeling engine where we developed a
generalized editing approach – an algorithm so to speak, no pun intended
– to nudge values in particular groups of the model parameters to get us
the results we needed. Hence, “Harmonic Component Modeling” is a very
apt description of what’s going on, and in FM-X it is much more
sophisticated than in the TX816 as there was no way to accomplish this
level of detailed harmonic tweaking.

Hopefully you’re head isn’t spinning right ‘round like a record, baby! To
settle things down in your noggin’ a little before we move on to the next
article, please take some time to play & listen to Performances “MF.HCM
WrnSus7fSH2”, “MF.HCM2WrmSusUD4eOP7”, “MF.HCMBrtSus7i3” and
“MF.HCMOld Soft Felt”. These “warm room” Performances have expanded
utilization of the topics discussed here, along with different allocations of
the Ops/Algorithms across the Parts, to create a completely different range
of timbres compared to the “Piano EX” performances. Now that we’ve
created our timbre and harmonic structures in detail, we have to control
them and make them playable. So, next up, “The Envelope(s), Please.” If
this article got way too deep into the depths of arcane FM concepts, rest
assured that our next topic will be much more relatable!

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Manny's FM-Xpert #4: "The
Envelope(s), Please"

Last month FM-Xpert Manny Fernandez showed us that he's pretty good at
math in article 3, "It's Just a Phase, Man". This month he shows how
envelope generators affect an FM-X sound and require much less math!

Manny’s FM-Xpert is a deep dive into the the FM-X engines of the
MONTAGE and MODX Music Synthesizers. This five article series is
delivered in an accessible and entertaining way and includes MONTAGE
content programmed by Manny himself. The other articles in the series are
accessible via the links below:

Manny FM-Xpert 1: "Acoustic Eccentricities and Stuff"

Manny FM-Xpert 2: "I'm Fixing a Hole Where the Timbre is Thin"
Manny FM-Xpert 3: "It's Just a Phase, Man"
Manny FM-Xpert 5: "Everybody's Doin' the Knob-O-Motion"

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THE ENVELOPE(S), PLEASE

Download the file associated with this article series here! (Manny
FMXpert.X7L)

After the arcane topic of our prior article, now it’s time to go back to
something familiar. The prior articles covered the harmonic structure
(frequency) components, and now I’ll delve into the time components --
Envelopes!

Quick review – an envelope generator is an automated control source that

modifies the amount of another control source or parameter. Once the
envelope is triggered, its modifies that control source or parameter in a pre-
defined shape over time determined by its settings – Attack, Decay,
Sustain, Release etc. for traditional envelopes, Rates & Levels for FM
envelopes, etc. Envelopes are what shape the volume of our sound and
control the harmonic evolutions as you play the notes -- which in
essentially dictate the difference between, for example, something like a
pizzicato versus bowed violin sound.

So, continuing on our journey of building our FM-X piano, this article will
mainly focus on Envelopes in context of the attack transients in the sound.
When doing emulative synthesis, the trick in a convincing resynthesis is
getting both the harmonic structure and the behavior of that harmonic
structure to closely mimic the target sound. With a Piano this is especially
important in the getting the ‘feel’ of playing the notes correct. And
envelopes are how we’re going to create lot of that behavior.

So without further suspense… the Envelope(s), Please ! For the piano, it’s
the initial half second or so of the hammer attack that is so critical to
achieve a convincing result. Along with the creating the proper harmonic
structure, we’ve got to tailor both the general time behavior of the envelope
in addition to the touch response to get a final result that both sounds and
‘feels’ like a piano. Part of that is emulating the inertia of the Piano key
mechanism.

Continuing with the example Performance “MF.HCM Piano Ex1, and let’s
look at ‘hammer’ parts 7 and 8. I mentioned we need to emulate the inertia
of the key mechanism – what do I mean? Obviously some of this will come

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from the keyboard action of the Montage itself, but to truly get a ‘feel’ that
our playing is actually ‘connected’ to the final sound, we have to have the
onset and evolution of the ‘hammer’ sound match our expectations and the
idiosyncrasies of the piano. The first thing to keep in mind, nothing is
‘instant’ in this regard on a piano, and the envelopes in FM are famously
‘fast’. So, we have to ‘slow things down’ to emulate physics of playing a
piano action. Both in the regards of how long it takes before the hammer
strikes and the tone itself starts to ‘sound’ after playing the key. Looking at
Part 7, using Algorithm 74 the Carrier Operators are 2, 4 & 8:

Each of the envelopes for these Operators share a slight initial delay, with
the Hold Parameter set from 10 – 13, and the Attack parameter from 2 -11:

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The Hold parameter is creating the subtle delay before the hammer
actually hits the string after playing the note, and the attack parameters of
2-13 are softening the envelope time to something more in line with the
real would physics of the small amount of time the strings needs to start
vibrating after hit by the hammer. If you look at Part 8 you’ll see the same
thing for the Carrier Operators 2, 4, 6 & 8 -- here’s Ops 6 & 8:

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So, that’s an overview of the ‘hammer’ noise envelopes, using the Hold
parameter to introduce slight delays in the start of the envelope to mimic
the inertia effect of a real keyboard. Make sure you watch the companion
video to see and hear this in action, along with doing the example edits on
your Montage. You can literally ‘feel’ the difference in these, and following
tweaks. Next, let’s look into the harmonic parts of the timbre, and we’ll take
a look at Part 1, which is creating the basis timbre for the lower register
notes. This Part uses Algorithm 25:

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If you remember from our first article, the branched stack of Ops 3-8 is
creating the basic tone, and Ops 1 & 2 are creating some high harmonic
acoustic eccentricities. Mute Op 8 to re-familiarize yourself with this. Then
notice that the Envelope Hold delay for the high harmonics from Ops 1 & 2
is longer than that for Op 8 of the base timbre – Op 1 Hold is set to 8, Op 2
is 10 and Op 8 is only a value of 4. This is to emulate the phenomenon in
most impulse-excited acoustic instruments where it takes a fraction longer
for the higher harmonics to sound compared to the lower harmonics as the
excitation energy builds up into the system -- in the case of a piano, into
the strings and soundboard. If you look at Part 3, the Carrier Ops for the
additional high harmonics in the timbre -- Ops 2, 4, and 6 -- have similar
Hold settings of 9, 13 and 12 respectively. If you look at all the Operators
envelopes you’ll see this repeated, with Hold values in the 2-13 range and
Attack times in the 4-17 range.

Now one thing you have to be aware of is that with so many harmonic
components making up this sound, getting all the pieces to ‘align in time’
with each other in all 8 Parts and across the keyboard range can be a bit
time consuming. Just a variance of +/- 3 values can make the sound ‘flam’
a bit where some harmonic components are just a little too early, others a
little too late, so be patient in adjusting and tweaking. In building these
sounds, I found the area causing most of the ‘flam’ issues was the
Envelope Time/Key parameter. So, what is this, and what’s the issue?

The Envelope Time/Key parameter speeds up all the Envelope Times as

you play up and down the keyboard. And you need to use this parameter
as the harmonic components of acoustic sounds die out, or Decay, faster
in high notes compared to low notes. In addition, the Attack time of low
notes is slower than the high notes, as the impulse energy takes longer to

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get the long, heavy piano strings in the low notes to vibrate and sound
compared to the high notes. Finally there’s the essentially constant Attack
and Decay times for the hammer and key thunk noise of the keyboard
mechanism across the entire range. These have to all stay aligned so that
the sound ‘feels right’.

Thus, we have to balance the Hold value with the Attack value to keep the
desired feel up and down the keyboard. A challenge arises because the
Time/Key parameter only changes the Attack time, not the Hold time. Think
of it as this – One envelope has a setting of 12 for the Hold and 4 for the
Attack; another envelope has a Hold of 4 and an Attack of 12. Both
envelopes have the Time/Key values set to 5. So when playing C3, both
envelopes reach their initial peak at the same time. But as you play up the
keyboard, the attack time of the second envelope gets faster as the
Time/Key parameter speeds up the Attack time, so the second envelope
sounds sooner than the first envelope. That’s because the first envelope
has the long Hold value that doesn’t change with the Time/Key parameter.
The converse is true as you play below C3 – the second envelope will
reach it’s peak later than the first and sound later, as it’s Attack time is
slowing down as we play down they keyboard. I show this is detail in the
video below.

The two most time consuming tweaks in creating these sounds were the
adjustments to the Operator Pitch EG’s for timbre finesse (as discussed in
the prior Article), and the Modulator and Carrier Level Envelope Hold &
Attack times for feel and playability. First I had set the Decay and Sustain
times along with the Time/Key parameter to obtain the correct time contour
for held notes across the keyboard range. Then I had to tweak the Hold
Time/ Attack Tine values up or down for specific Operators to compensate
for their Time/Key scaling. In general, if an Operators’ envelope got ‘too
slow’ compared to the others as I played lower, I would decrease the
Attack Time and increase the Hold Time so it would slow less as I played
lower notes. Conversely, if an Operator envelope started lagging to the
others as I played up the keyboard, I’d increase the Attack time and
decrease the Hold Time so it would speed up a little more in playing higher
notes. Like the addition of the per Operator Pitch EG’s for timbre tweaking,
the envelope Hold parameter in FM-X gives the ability to go in and really
adjust envelopes to remove the ‘synthy’ and ‘artificial’ quality in the attacks,
transients and ‘feel’ that are often the result in less sophisticated FM
programming – we didn’t have these in the TX816, so there was a much
greater amount of artificial character in the Harmonic Component modeled
sounds from those days.

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Also the envelopes in real instruments, especially the attacks, are a lot
more complex than can be replicated by a single Attack stage. So if you
look though the Modulator envelopes in the “warm” piano series
Performances, you’ll see I made a lot more use of combining the Attack
Time and the Decay1 Time, setting the Attack Level below the Decay1
Level and now having two envelope stages available for more versatile
control of the initial transients compared to just having a single Attack
stage. A few milliseconds can make or break a sound’s ‘feel’.

Outside the specifics of the Hold and Attack to control the initial transients
mentioned above, the envelope Decay and Sustain times & Levels also
have a large effect on the piano sound we’re making. We can vary how
long or short it takes specific harmonic components to Decay and/or
Sustain – we’re synthesizing from the ground up, not playing samples
where those behaviors are locked into the recording. Make sure you play
and take a look at “MF.HCM Old Soft Felt”; “MF.HCM ElectricGrand”;
“MF.HCM PianoHeyBulDg”; “MF.HCM PianoMrthaMyD”. These
performances show have the Modulator and Carrier envelopes adjusted to
create different piano “types” with a much shorter harp/frame and string
length compared to a large grand piano, like uprights. You’ll hear the
distinct difference is the attack, decay and sustain in these timbres.

I’m going to end with an overview of a specialty sound that’s possible with
the synthesis control we have in FM-X. Select the performance “MF.HCM
BowedPiano AT” and let’s take a look. You’ll hear this is the sound of a
piano being played with a bow instead of a keyboard. There’s a very
dynamic, noisy bow scrape in the attack, and the harmonics and sustain
make is sound like some sort cello with wound metal strings. For fun I
mapped vibrato to both the Mod Wheel and Aftertouch. I think this is a
really cool sound to play. So, how was this accomplished? Basically I
changed the Attack, Decay and Sustain parameters of the Envelopes to
morph the hard hammer attack noise and thunk transients into a bowed
noise transient, and did a similar thing to the harmonic tonal elements to
mimic a bowed string behavior. And the really cool thing – this can be done
very simply, in real time, right from the Montage assignable Knobs ! Take a
close look at the home screen:

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Notice I’ve used the Assignable knobs to make adjustments in the Cutoff,
Attack. Decay and Sustain – these knobs control those parameters for
every Filter Envelope and Operator Level Envelope throughout the entire
sound, and is what creates the “bowed” morph of the piano. If you set them
all back to Zero, it returns to the original piano behavior. This is what
makes actual synthesis much more versatile than sample playback.
Though we tradeoff losing some tonal accuracies, we gain extensive
control. Here’s a variation that is very similar to a harpsichord to try:

Again, please make sure you watch the companion below to see and hear
these examples in greater detail. Until next time, dive in, deconstruct,
tweak and have fun! Coming up: “Everybody’s Doin’ the Knob-O-Motion”
where I’ll cover how to build in some extreme realtime FM-X control of our
piano sound.
https://youtu.be/TKnl9_ioydk

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Manny's FM-Xpert #5: “Everybody’s
Doin’ the Knob-O-Motion”

Dr. Manny Fernandez's epic 5 part series ends with cool Super Knob
programming tips and one last pun.

Manny’s FM-Xpert is a deep dive into the the FM-X engines of the
MONTAGE and MODX Music Synthesizers. This five article series is
delivered in an accessible and entertaining way and includes MONTAGE
content programmed by Manny himself. The other articles in the series are
accessible via the links below:

Manny FM-Xpert 1: "Acoustic Eccentricities and Stuff"

Manny FM-Xpert 2: "I'm Fixing a Hole Where the Timbre is Thin"
Manny FM-Xpert 3: "It's Just a Phase, Man"
Manny FM-Xpert 4: "The Envelopes, Please"

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EVERYBODY'S DOIN' THE KNOB-O-MOTION

Download the file associated with this article series here! (Manny
FMXpert.X7L)

Way back in the first article, I posited a huge advantage that true synthesis
has over sampling is that we can create some extremely responsive &
playable piano timbres that can be simply manipulated and changed in
ways that samples (or physical modeling) cannot. The trade-off is some
timbral accuracy in specific emulative sounds like our piano, but hopefully
as you’ve heard the sounds in the Performance Library that the Harmonic
Component Modeling approach has yielded eminently usable sounds
easily recognized as an acoustic piano.

One of the cool features of the MONTAGE is the extensive realtime control
available at your fingertips, and in creating our FM-X Piano we can build in
the ability to really morph the sound in extreme directions. I showed a tiny
taste of this with simple envelope tweaks in the “Bowed Piano” example
mentioned in the prior article. In this article I’m going to show some
extremes in which the FM-X can be completely mangled and morphed. I
know you’ll like it if you give it a chance, now – so come on, come on and
do the Knob-O-Motion with me… (apologies to Goffin & King!)

Starting with a basic example, lets again choose the example Performance
“MF*HCM Piano Ex1. Press the audition button, and let it play the full 40
seconds. Something cool happens at bar 9 – the Super Knob sweeps
clockwise and the sound changes to a nice, bell/chime digital synth. When
it’s finished playing, turn off the Audition and note when turning the Super
Knob to the full Left (counter clockwise) position we have our normal grand
piano sound. As you slowly turn it to the right you’ll hear 8 stepped
changes in the timbre. This occurs as the FM-X parameters for certain
Operators Modulator Frequency and Level in all eight Parts are mapped to
Assignable Knob 1 and then assigned to the Super Knob:

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You’ll notice I’ve set a custom Curve Type for the Op Freq, so that the
frequencies stay locked to integer values from 1.00 (the far left value) to
8.00 (the far right value) This mimics what happens when you change the
Operator Freq Coarse parameter, keeping the Frequency of the
Modulators in whole harmonic relationships. There are also decreases in
the Modulator Levels as the frequencies go up to keep the sound from
getting to harsh or create aliasing noise.

That was a simple example, now lets look at a more complex one. Select
the Performance “MF.HCM Piano Ex2” and press the Audition button – it’s
the same Audition pattern as in “Piano Ex1” but hear when the Super Knob
sweep starts at bar 9, the effect is very different. Go into edit mode, and
mute all the parts except Part 1 and lets take a look:

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Play and move the Super Knob all the way right (clockwise) and back. The
difference here is a custom Curve Type for the OP Freq modulation that
creates a continuous sweep of frequency in some regions with plateaus,
and it then returns back down to a value corresponding to Op. Coarse Freq
2.00. In addition certain Modulators are not being changed -- their Operator
SW(itch) is set to ‘OFF’. Two things are occurring – first, as we sweep
through the continuous region we create non-integer values as in changing
the Operator Freq Fine parameter, so you’ll hear the classic FM ‘clang’
tones along the sloped portion of the Curve. The second is we almost
‘return home’ when the Knobs go ‘full right’, leaving some Ops set to a
different whole integer Ratio from their original setting, so the timbre is a
little more clavinet like. Make sure you watch the companion video below to
see and hear this.

Throughout the eight parts, some Ops have this curve, or a variation of it
that fully returns to the original Ratio Freq. Others have the Stepped curve
as in “MF.HCM Piano Ex1” so there’s a variable mix & match of integer and
non-integer harmonic changes as you sweep the knob. In addition
Assignable Knob 2 is set to control Envelope parameters, with a “bell”
curve so at the “top center” position of the SuperKnob the resulting sound
is a slow attack, sustaining FM pad with a long release:

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As you continue go to full right (clockwise) many Operator envelopes return
to the starting values, some stay altered. This gives a timbre that sounds
like a piano layered with a synthy sitar. Oh, I forgot to mention – both
examples also have some changes in the Insert Effect parameters as well

One other thing you can do with MONTAGE is capture and store the Super
Knob position, as well as a number of other settings in Scenes to recall at
the press of a button. To see an example of how I’ve set this up that
highlights the extremes to which we can alter an FM-X synthesized piano,
select the Performance “MF.Dalai La’ MoBlaD2”. The Scene 1 “home”
sound is a very bright, noisy and over compressed piano sound ala’ The
Beatles “Ob La Di, Ob La Da.” . Scene 2 is a cool sitar like synth (move the
Mod Wheel up all the way, and watch the Aftertouch pitch bend!). Scene 3
is steel drums, best above C3. Scene 4 played between C2 to C1 is the
classic Synclavier FM sound from the “Beat It” intro, and above C4 it’s a
useful music box /chime sound. Scene 5 is a nice, metallic, sustaining FM
pad, and Scene 6 is a bright, FM harpsichord/kalimba hybrid sound with a
long release tail. Six drastically different sounds morphed from our starting
piano timbre from the versatility of FM-X modulations ! Again, watch the
video to see a demo of these Scenes.

Finally, call up the Performance “MF.HCM PianoArp+Mseq”. This one is

structured a little differently, with the FM-X modulations in the normal
“home” settings when the Super Knob is at top center. The modulations
then change as you go both left and right, using a bipolar Curve Type for

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Op Freq:

In the Performance, I’m using the Motion Sequencer to control the

SuperKnob for an auto-play interaction with the Arpeggiator:

I’ve also utilized the Scenes -- Scene 1 has the Arpeggiator & Motion
Sequence both “ON” together, and Scene 2 has the Arpeggiator without
the Motion Sequence. Also, the Scenes 3-7 call up various versions of the
clangorous timbres (reviewed in the video below) all with both the

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Arpeggiator and Motion Sequence “OFF”. Play around with the Super Knob
and find a sound you like!

Check out the video below:

https://youtu.be/eSA_3Bq6AxE

So, that’s a wrap! This article has given you a taste of a lot of really cool
stuff you can build into FM-X synthesis to transform a convincing emulative
sound – a piano – into some wild digital synth timbres and back through
easy, front panel control. Now, dig in and apply the concepts in this article
series in building your own sounds. I hope you appreciated these articles,
found them useful and managed to survive the deep dive into the covered
FM-X programming techniques without getting the bends! If you would like
to learn more FM Synthesis tips and tricks, check out the prior two article
series (with videos) – “Manny’s FM-Xplorations” and “Manny’s
Modulation Manifesto” at YamahaSynth.com.

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Table of Contents
Mastering MODX: The Basics ............................................................................................................................................... 2

Mastering MODX: Using Category Search ........................................................................................................................... 14

Mastering MODX: Navigation Tips ...................................................................................................................................... 22

Mastering MODX: Performance Basics I ............................................................................................................................. 40

Mastering MODX: Performance Basics 2 and the Live Set ................................................................................................... 63

Mastering MODX: MIDI Record on DAW .............................................................................................................................. 83

Mastering MODX: Audio Record on DAW, Part I................................................................................................................... 95

Mastering MODX: Audio Record on DAW Part II ................................................................................................................ 114

Mastering MODX: Arp Record on DAW .............................................................................................................................. 130

Mastering MODX: Rhythm Pattern ................................................................................................................................... 139

Mastering MODX: Side Chain Modulation ......................................................................................................................... 148

Mastering MODX: The Envelope Follower .......................................................................................................................... 158

Mastering MODX: Assignable Knobs ................................................................................................................................ 165

Mastering MODX: Controller Box Switches ....................................................................................................................... 174

Mastering MODX: Motion Sequences ............................................................................................................................... 184

Mastering MODX: Assignable Switches 1&2 ..................................................................................................................... 197

Mastering MODX: Super Knob Common ........................................................................................................................... 204

Mastering MODX: Super Knob Unipolar (Positive and Negative Values) ............................................................................ 222

Mastering MODX: Super Knob Bipolar -/+ ......................................................................................................................... 234

Mastering MODX: Super Knob Morph ............................................................................................................................... 238

Mastering MODX: Super Knob Complex............................................................................................................................ 247

Mastering MODX: Super Knob Values ............................................................................................................................... 255

Mastering MODX: An FM-X Exploration, Part I ................................................................................................................... 260

Mastering MODX: An FM-X Exploration, Part II .................................................................................................................. 275

Mastering MODX: An FM-X Exploration, Part III ................................................................................................................. 290

Mastering MODX: An FM-X Exploration, Part IV ................................................................................................................. 304

Manny's FM-Xpert #1: "Acoustic Eccentricities and Stuff" ................................................................................................. 323

FM-Xpert #1: Acoustic Eccentricities and Stuff ........................................................................................................ 325

Manny's FM-Xpert #2: "I'm Fixing a Hole Where the Timbre is Thin..." ................................................................................. 331

Manny's FM-Xpert #3: "It's Just a Phase, Man. " ................................................................................................................ 339

Manny's FM-Xpert #4: "The Envelope(s), Please" ............................................................................................................... 349

Manny's FM-Xpert #5: “Everybody’s Doin’ the Knob-O-Motion”.......................................................................................... 359

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