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Mastering MODX: Super Knob Common

Written by Bad Mister on November 14, 2018. Posted in MODX/MODX+.

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 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 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 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)).

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).

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 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.

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:

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.

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!

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):

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 ‘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

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):

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:

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.

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 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

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

Next Article: “Mastering MODX: Super Knob Unipolar” is available here.

Mastering MODX: Performance Basics 2 and the Live Set

Written by Bad Mister on November 13, 2018. Posted in MODX/MODX+.

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:

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:

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.

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+:

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“:

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).

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:

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 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:

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:

Touch the PART Name box in the screen
User Cursor Arrows to move the cursor highlight
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 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):

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:

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”.

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 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 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 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:

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”

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:

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.

Stay tuned for the next article in this series, coming soon!

In the meantime, join us to discuss this article on the Forum.