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Mastering MONTAGE 5: Super Knob Morph

Written by Bad Mister on May 16, 2018. Posted in MONTAGE.

Your journey into learning more about how to leverage the power of the MONTAGE Super Knob continues in this lesson where you learn about “morphing”.

The articles below are great accompaniments to this article. Check them out:

PERFORMANCE 5: Super Knob Morph A

PERFORMANCE 6: Super Knob Morph B

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, 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 or Cutoff Frequency. Use the second row MUTE buttons to isolate each Part, in turn, to convince yourself that you are actually turning the Saw down as you turn the Square up.

The Assignment

The Controller matrix of the MONTAGE is huge. This is why we are starting slowly. The Super Knob, on the upper Common level of the architecture, can have 16 parameter Destinations (1-16); Additionally, each Part can have its own 16 parameter Destinations. The Super Knob can control its 8 AssignKnobs and each Part has its own 8 AssignKnobs. 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)
• Highlight the PERFORMANCE NAME: “Super Knob Morph A”
• Press [EDIT]
• Press the [COMMON] button (right side upper COMMON button)
• 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 setting
• Then Common Assignable Knob #2 to recall its setting

Here you can see that Common Assignable Knob 1: Destination 1 = PART 1 Assign 1; Source = AsgnKnob 1
Move Common Assignable Knob 2: Destination 2 = PART 2 Assign 2; Source = AsgnKnob 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.

Added in version 1.60, 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”. Highlighting each assignment in turn will allow you to review “how” the controller movement is being applied.

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 1/1] right front panel
• The screen will read “Edit – Part1 – Common”

This will light the lower [COMMON] button for ELEMENT/OPERATOR. If not, it means you were last viewing an individual ELEMENT, press the lower [COMMON] button which is also found in the lower left corner of the screen (blue).
For Part 1 the Common Volume will be reduced using Polarity Bipolar and a negative Ratio, the following settings basically works well.
• Select “MOD/CONTROL” (left column of the screen) > “Control Assign”

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 (button is labeled [PART SELECT 2/2])
• Press the [PART SELECT 2/2] button; or touch where it shows “PART1” in the lower left corner and select “PART2”
• The screen is now: “Edit – Part2- Common”

Now when you move ASSIGN KNOB 2 you will see that:

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 AssignKnob 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 AssignKnob 1 of PART 1 and the AssignKnob 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. And as you move the SUPER KNOB the red indicator for the linked AssignKnob moves with it.
Try that: Move the Super Knob while the Auto Select is (green) active – observe the screen information:
Select [PART 1] move the Super Knob – observe the AssignKnob red indicators.
Select [PART 2] move the Super Knob – observe the AssignKnob red indicators.
Select [COMMON] move the Super Knob – observe the AssignKnob red indicators.

The DISPLAY FILTER will recall what items are going to be changed when the Super Knob is moved. When you are viewing a PART edit screen, this is a quick way to see which parameters are being influenced and by which Controller. Simply highlight the Destination box to review/customize the relationship.
Similarly, when on the upper COMMON/Audio level of the architecture, with the “Auto Select”, you can quickly review the PART links to the Super Knob.

As programs get more complex – this is a very important tool. Because as you will see many things can simultaneously be linked to movement of the Super Knob. This Display Filter–Super Knob recall feature, makes it 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).

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 PART SELECT [1/1] and [2/2] buttons on the right front panel.
Try manipulationg the shape of the Curve by highlight “Param 1” and altering the value.
Notice how the application of the controls are 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 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) to RATIO = -64 (above)
Set PART 2 (Square) 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 (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 Montage can get! Try to avoid applying AFTERTOUCH while viewing the ASGN KNOB 1/ASGN KNOB 2 with the “AUTO SELECT” option active. This kind of access to parameters and controllers is the equivalent of ‘patching’ analog synth modules together to make a voltage control sound. This is the first 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.

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 MONTAGE 4: Super Knob Bipolar”.

Next article: “Mastering MONTAGE 6: Super Knob Complex“.

MOXF Sequencing with reface CP/CS/DX/YC

Written by Bad Mister on May 16, 2018. Posted in MOXF.

Working with external modules while using the MOXF sequencer requires an understanding that primarily it is designed to record data for its own tone generator and that when in SONG/PATTERN mode you are transmitting from the KEYBOARD through the SEQUENCER TRACK to the TONE GENERATOR. Each of the sixteen PARTS is assigned to successively higher MIDI Receive Channel – PART 1 is assigned to Track 1 on Channel 1, PART 2 is assigned to Track 2 on Channel 2, and so on. This means that when attempting to play on one of the sixteen MIDI channels available, an internal MOXF-series sound will automatically occupy the channel. We will learn how to, first, silence (MUTE) this internal sound while we allow the reface CP/CS/DX/YC to sound in its place, and then, once recording is completed, how to permanently replace (Store) the external device in the place of the internal MOXF PART.

The MOXF sequencer allows you route any of its tracks either to the internal tone generator or OUT via MIDI, both or neither.

CONNECTIONS & SETTINGS:
_ Connect the reface instrument to your MOXF via the supplied MIDI breakout cable. Connect the MIDI OUT of the MOXF to the MIDI IN, and the MIDI OUT of the reface to MIDI IN of the MOXF using standard 5-pin MIDI cables.

_ Connect the audio L/R Output of your reface to the A/D INPUT on the back panel of the MOXF. You treat the reface input as a LINE level Stereo input. This will allow you to hear the reface through the same sound system as the MOXF and will allow you to record audio by routing the signal on to your DAW via USB 1/2, if you so desire. The reface will become the AD INPUT Part on the mixer with its own Dual Insertion Effect and access to the System Effects via Rev Send and Chorus Send parameters.

[UTILITY] > [F6] MIDI > [SF4] OTHER
Make sure your MOXF is set to use MIDI IN/OUT = MIDI.

Make sure your reface is set for MIDI CONTROL = ON; LOCAL CONTROL = OFF; and SPEAKERS = OFF (see page 41 of the reface Owner’s Manual or separate reface articles for details).

Important Note: The reface CP/CS/DX/YC default to OMNI MODE ON… meaning they will attempt to play all data coming in the standard MIDI cable no matter what the channel of that data. You will be able to place a message in your track data that will turn OMNI MODE OFF, (doing so will automatically set the reface to MIDI RECEIVE CHANNEL 1. If necessary, you can select any appropriate MIDI Channel for the reface (covered in separate reface articles).

OMNI MODE OFF
Call up a blank SONG or PATTERN, whichever you choose to use
Select Track [1]
Press [EDIT]
Press [F5] INSERT>
Select EVENT TYPE = CONTROL CHANGE
Set the CTRL NO = 124 [OMNI OFF]
Press [F6] SET to enter the cc124 OMNI OFF message.

This message, shown inserted at Measure 001, Beat 01, Clock 000, will set the receiving reface unit so that it can receive on a single MIDI channel (instead of “ALL” MIDI channels) and it will default it to MIDI Receive Channel 1. (*The reface DX can be set via the front panel [FUNCTION] button.)

If you require a different MIDI channel, other than 1, you have two options (one easy, one requires a System Exclusive message)
1) EASY: You can use the MOXF’s TRACK JOB: EXCHANGE TRACK to swap whatever you have on Track 1 with an empty track
2) SYSEX: You can select a specific MIDI channel, 2-16, via Parameter Change (System Exclusive) message. (please see the reface article MIDI PRIMER for your particular reface instrument model).

MOXF Sequencer Setup
In order to record to the MOXF sequencer you want to select Sequencer Quick Setup #4: “Stand Alone”
• Press [SONG] or [PATTERN] mode to enter the sequencer (whichever you prefer).
• Press and Hold [QUICK SETUP] + [D/4]
screen will indicate briefly that “Stand Alone applied”

This is the default setup when playing your MOXF as a stand alone instrument (sans computer). It sets the Local Control to ON. This is a requirement when recording to the internal sequencer from the MOXF key bed. When using the internal sequencer, the keyboard and its controllers (MW, PB Wheel, FC, etc.) transmit data to the tone generator via a sequencer track. The SEQUENCER is located physically between the Keyboard and the Tone Generator. This routing is important to understand. It is the same when working with any type of sequencer, be it the internal sequencer or a computer DAW program – the keyboard does not trigger the tone engine directly, rather key presses, which generate MIDI messages, travel to the sequencer’s currently active Track which receives the data and routes it on a specific MIDI channel thru to the tone generator. If you are going to use an external module, you will need to still use this routing scenario. Therefore, both the internal MOXF and your external reface module assigned to the MIDI Channel will initially respond together. We will simply MUTE the internal PART during the record process. Then when finished recording, we will make a permanent routing assignment that selects the (external) reface, turns the internal PART Off and STOREs that into memory. (The tricky part is that the internal sound must be active during the record process and permanently silenced during playback… here’s how…)

HOW THE MOXF MUTE FUNCTIONS WORK
The MOXF has two MUTE functions: MUTE TRACK and MUTE PART. If you have not appreciated the difference thus far, this operation will make the difference in their functions very clear. One is a function of TRANSMIT and the other RECEIVE. A Track will Transmit data to a Tone Generator PART which Receives the data.

You access the TRACK MUTE when you are in either [SONG] mode or [PATTERN] mode, pressing the [MUTE] button will light all buttons 1-16 to indicate the TRACK is “transmitting” data.

You access the PART MUTE when you additionally light the [MIXING] button. MIXING gives you access to the internal MOXF tone generator and the instrument assigned to “receive” from a track. When the [MIXING] button is additionally lit, the number buttons 1-16 now represent the internal tone generator PART and whether they are set to receive data and output sound. Now pressing the [MUTE] button all 16 number buttons light to indicate an internal PART set to output sound.

Muting a sequencer TRACK will prevent all connected devices from responding. (Both the internal PART and the reface will be silenced)

Muting an internal PART will prevent just that one particular internal XF PART from responding. (Only the internal PART will be silenced, the reface will sound).

Therefore, when we MUTE the internal PART, only the external module (reface) will respond…
If, however, you MUTED the TRACK, well, neither the internal nor the external module would be able to respond. Make sense?

We will use the PART MUTE function to silence the internal MOXF PART. You access the PART MUTES when you have the [MIXING] button lit and you light the [MUTE] button. The 16 numbered LEDs light to indicate they are sounded. Turn OFF the LED to MUTE that particular internal TONE GENERATOR PART.

_ If you want an internal MOXF sound to play on a particular MIDI channel this can be set per PART in the MIXING EDIT – PART area (discussed below).
_ It is also a requirement to have the TRACK INT SWITCH ON when recording to the internal sequencer. If the INT SWITCH is not ON MIDI events will not be recorded to the internal sequencer. Very important to know!

Whether or not a TRACK is set to transmit OUT via MIDI can be set on a per track basis by the INT SWITCH and/or EXT SWITCH (shown below) on an individual track-by-track basis. Here’s how:

From the main SONG/PATTERN screen press [F3] TRACK > [SF2] OUT SW; you will see two rows of ON/OFF:
Int Sw – Internal Switch indicates the data on this track is going to be routed internally to the Sequencer and on to any Voice set to receive the selected MIDI channel.
Ext Sw – External Switch indicates the recorded Track data is going to be routed externally OUT via MIDI on the MIDI channel indicated in the TxCh column.

In a situation where you want an external device to play a track and not have the internal engine respond, you cannot simply set the INT SWITCH “Off” (the INT SWITCH is necessary for key presses to reach and be recorded to the internal sequencer. But what if you do not want the Internal tone engine to sound? You must MUTE the Internal PART.

Do the Two-Step(s)
There are actually two steps you must take to prevent the MOXF tone engine from responding to track data:
1) Use the [MIXING] > PART MUTE to temporarily silence the internal PART (during record) Part Mutes, are temporary, and cannot be STORED.
2) Then when you want to play it all back: Set the Internal PART’S MIDI RECEIVE Channel to OFF. This will permanently silence the internal PART (after recording is complete). The Receive Channel status can be stored and recalled when you reload.

Step 1: PRIOR TO RECORD: MIXING Mode PART MUTE
There are two levels of MUTE in the MOXF sequencer. One is called TRACK MUTE and the other PART MUTE. It is like having two separate products: a sequencer with its own mutes and a tone generator with its own mutes. If you are in SONG or PATTERN mode (LED lights green) the MUTE button will allow you to temporarily stop a sequencer track from transmitting data. Neither the internal tone engine nor the external device will receive any MIDI data. However, if you are in SONG mode or PATTERN mode and additionally press the [MIXING] button (LED lights) you are now working with the internal tone generator PARTS. Now the Track Select MUTE buttons will prevent temporarily the internal tone engine from sounding (the internal tone engine will not receive the track data). We say ‘temporarily’ because this status cannot be stored. We are simply muting the internal PART so that you can hear your external module assigned to the current Track’s MIDI Channel.

Step 2: AFTER RECORDING: SET RECEIVE CHANNEL OFF
If you have determined that you want a track to be routed OUT via MIDI, only, and do not want the MOXF to respond to that track’s data, you can simply reassign the MIDI receive channel of that PART to another MIDI channel. (This will layer it with another internal sound). Or you can turn it OFF. From [MIXING] mode:
• Press [EDIT]
• Touch the Track Select button [1]-[16] of the PART you wish to permanently remove from the MIX
• Press [F1] VOICE > [SF2] MODE. Set RECEIVE Channel = OFF
• Press [STORE] to write this to memory

We call this ‘permanent’ because this status will be stored with your Sequencer and Mix information. In the screenshot, the Receive Channel parameter is shown highlighted; use the Data Wheel or the [INC/YES] button to set the Receive Channel = OFF.

Do this for each of the PARTS 1-16 that you do not want to sound internally. When you have assigned all your PARTS appropriately press [STORE] to make the changes to your MIX permanent.

We should explain that you could, on playback, simply set the INT SWITCH = OFF from TRACKS 1 and this would accomplish the goal of ‘permanently’ defeating the internal PART from responding. We recommend the MIDI Channel assignment = OFF because visually you get notice (on the main mode screen) that the internal Tone Generator is not contributing data on Tracks 1. Both methods can be STORED to your file.

Capturing the reface CP/CS/DX/YC Settings in the Sequencer

While the reface DX has the ability to store and easily recall Voices and setup Functions, the rest of them are very much real time interfaces – harkening back to a time ‘pre’ the ability to store and recall programs via Program Changes. Fortunately, the reface units (all of them) can be sent a message called a “Bulk Request” which causes the instrument to send a packet of information that can be used to recall the current settings. Below we’ll give you the information you can insert into the MOXF sequencer prior to recording the reface to a track guaranteeing that the reface CP/CS/DX/YC will sound exactly as you intend when you restart this sequence.

Type the Bulk Request command in a measure attached to the front of the sequence.
Set the track to OVERDUB Record (this will allow the message to be sent, received by the reface, the bulk information to be returned and recorded to this extra measure.
In lieu of a Program Change, this small packet of coded messages will allow the initial setting for your reface to be documented in the sequence track data.

Formula = F0 43 20 “reface Product ID” 0E 0F 00 F7

reface Product ID
CS = 7F 1C 03
CP = 7F 1C 04
DX = 7F 1C 05
YC = 7F 1C 06

F0 43 20 7F 1C 03 0E 0F 00 F7 is the message that will cause the reface CS to bulk dump its current setting…
F0 43 20 7F 1C 04 0E 0F 00 F7 is the message that will cause the reface CP to bulk dump its current setting…
F0 43 20 7F 1C 05 0E 0F 00 F7 is the message that will cause the reface DX to bulk dump its current setting…
F0 43 20 7F 1C 06 0E 0F 00 F7 is the message that will cause the reface YC to bulk dump its current setting…

It is possible to create messages that setup the reface for “Auto Power Off”, “Speaker Output” and “MIDI Control”… By placing these messages in a setup measure placed at the top of your sequence you can ensure the reface will faithfully be prepared to playback your sequence as intended. In the download (below) are setup files that will automate the reface CP/CS/DX/YC from FACTORY RESET condition to setting more conducive to sequencing with an external program:

OMNI OFF (default is OMNI ON)
MIDI Receive Channel 1-16 (default is ALL)
Auto Power Off = Off (default is ON)
Speaker Output = Off (default is ON)
MIDI Control = On (default is OFF)
Send Bulk Request

By using OVERDUB RECORD you can ensure the start condition of your particular reface… Upon receiving the Bulk Request the reface will dump its settings, and you can begin music recording at the top of the next measure (002) – do not attempt to send and receive bulk data during music playback, it can and will adversely affect timing. Bulk Request should always be done prior to the beginning of music playback.

Download the following ZIPPED file. It contains MIDI setup files for the refaceCP/CS/DX/YC. Load this to the MOXF sequencer _ the file names indicate the reface keyboard and the MIDI Channel to which it will set your instrument. Starting your MOXF sequence with this packet of information will allow the current setting to be written into the track (be sure to use OVERDUB RECORD to avoid erasing the messages).

DOWNLOAD (zipped):

Mastering MONTAGE 5: Super Knob Morph

The articles below are great accompaniments to this article. Check them out:PERFORMANCE 5: Super Knob Morph A

PERFORMANCE 6: Super Knob Morph B

MOXF Sequencing with reface CP/CS/DX/YC

The articles below are great accompaniments to this article. Check them out:

PERFORMANCE 5: Super Knob Morph A