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Mastering MODX: Motion Sequences

Written by Bad Mister on November 30, 2018. Posted in MODX/MODX+.

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 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 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.):

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 eight simultaneous 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
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:

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!

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 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 Scene Switches 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.

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

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.

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 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):

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].

If you have any questions or comments about this article, please join us to discuss them on the Forum here.

Catch up on the previous article in the series – “Mastering MODX: Envelope Follower“.

Mastering MODX: Side Chain Modulation

Written by Bad Mister on November 30, 2018. Posted in MODX/MODX+.

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
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 audio signal 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.

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 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.

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 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:

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), 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:

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.

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.

If you have any questions or comments about this article, please join us to discuss them on the Forum here.

Catch up on the previous article in the series – “Mastering MODX 9: Controller Box Switches” here.

Next article now available: “Mastering MODX 11: Envelope Follower” here.