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Guitar Arpeggio Study MOXF

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

Listen closely to the following ARPEGGIO TYPE:
MOXF Guitar (GtMG) MegaVoice Arpeggio Type: 1718 MA_Worship Fast_ XS

This is used in the PERFORMANCE: “Free Fall” – Here you can hear this Guitar MegaVoice Arpeggio in context.
MOXF: USER 2: 003(A03) Free Fall
As you listen closely to this Guitar strumming riff, can you tell it took four MIDI tracks to make it happen? …probably not, and that is the whole idea. This is partially a testament to the technology, but mostly it is because the way that our brains interpret sounds “accepts” this combination of components as being organic. It’s a pretty good emulation of guitar strumming. It is a very nifty reconstruction of what happens when a person strums a steel string guitar – reassembled by four separate MIDI Tracks. The Arpeggiator is used to reconstruct the musical riff (phrase) with an acceptable amount of realistic noises and pitch gestures. Here, this is accomplished with an artful assembly of components: Sampled articulations and the ability to construct a ‘control phrase’ that can mimic a real musical performance. The note-on data must accurately access a specific articulation at a specific moment. The notes are used to trigger a specific Element (sound component) at a specific time because each note-on has a KEY and a VELOCITY – this MIDI data determines when an Element will contribute its portion of the whole.

Brain Game: Deconstruction
The arpeggio is MIDI data – in this case, MIDI note data – that triggers a particular articulation, by a specific velocity. There were four separate MIDI tracks used to reconstruct this guitar part. All Parts were directed to a single Voice (Mega Steel), but four separate conversions were done. As we, literally, take this sound apart to study it, you will experience the sensation that, for your ears, is the equivalent to an “optical illusions” for your eyes. It’s a “brain game”. With optical illusions you can look at something and see it one way, but when pointed out that the vase you are looking at can be seen as two faces, you can never then “un-see it”. You will always now wonder how or why you didn’t see the faces in the first place. You cannot un-see this once you’ve seen it – because now you know to look at it differently to “see” the other view. Once you know though you can accept your perception.

Once you pull apart a synth sound, isolating each component, you can never “un-hear” them. But it will give you a new appreciation of how MIDI, in this case, is used to convincingly mimic a musical performance by a real player. And this will undoubtedly affect how you begin to think about using alternate “articulations” in your own arpeggio creations.

In general, the arpeggiator feature is a step up from simply playing back an audio clip of a real player particularly when you wish to customize and/or adjust what the phrase sounds and/or feels like within your music. The idea is not just to be repeatable, but have the phrase be bendable and flexible, in a musical sense; to work as a creative function. Arpeggios are simply another (rather unique) way to manipulate the MOXF Voice in a completely different/creative way.

Let’s learn about how to isolate the components so you can hear what I mean. As humans we tend to listen to the whole instrument tone and accept (or not) how it sounds, however, once we take this sound apart and analyze the components individually, you will never quite hear it the same again. Any organ Voice, be it a Tone Wheel organ sound of the B3 or a traditional Pipe organ, is made up of multiple harmonics in specific volume balance to each other. As you isolate the different elements that make up the instrument’s overall tonality, you become super-aware of the separateness of each drawbar/pipe actively contributing its particular harmonic component.

Well, with arpeggios like the one we’ll take a look at here, there are more than just pitched components making up the Guitar Voice – there are specific noise components and other articulations that are placed in the phrase that add to the usefulness of this arpeggio.

Press [F2] VOICE
Here you can see the four Voices assigned to Parts 1, 2, 3 and 4. Drums, Bass, Steel Guitar, Lead Guitar

Isolate the Guitar Part:
Press [PERFORMANCE CONTROL]
This re-tasks the sixteen numbered buttons on the right front panel with control over the four possible PARTs of a PERFORMANCE Program. Four groups of four controls:

[1]-[4] Part Select
[5]-[8] Part Arp On/Off
[9]-[12] Part Mute
[13]-[16] Part Arp Hold On/Off

Use the PART MUTE buttons [9], [10] and [12] to Mute the Drums, Bass and Lead Guitar Parts
You should now hear just the strummed Guitar PART.
With just [11] lit, you will hear only the “Mega Steel” guitar phrase

Can you hear the discreet components that make up this ARP TYPE Phrase?
We know it is difficult – because we tend to listen to the Guitar sound here as a whole instrument.

How can we isolate each of the different components?
For this we will need to recall this VOICE in VOICE mode – where it was originally programmed. In PERFORMANCE mode we are really just referencing the original Voice. By calling it up in VOICE mode we will be able to dig deep and get inside what makes it work (down to the individual Element and Waveform level).

Fact: PERFORMANCE mode is where you can play/perform a sound in combination; VOICE mode is where you can construct (and deconstruct) a sound.

VOICE Mode
Voice mode is where you can assign and customize controllers so you can manipulate each of the 8 Oscillators as you may require. We are going to have a Voice where the different Elements are each responsible for a specific articulation (component) that will bring this detailed strumming arpeggio phrase to life.

• Go to [VOICE] mode
• Recall the “Mega Steel” guitar: Pre 8:082(F02)
Before we associate our arpeggio with this VOICE, it would be a good idea to attempt to manually play this Mega Voice Guitar sound (without any Arpeggio) – just to convince yourself that it is virtually impossible to play this from the keys. Mega Voices are not designed to be played in traditional fashion – they are designed to be “played” by an arpeggio phrase designed specifically for this Voice. This particular MEGA VOICE made up of different guitar articulations; it’s made up of 7 Elements – each responsible for recalling specific guitar articulations that make up the details of this strumming guitar.

The Elements are carefully mapped to specific VELOCITY RANGES and/or NOTE RANGES. The Arpeggiator can repeat not only the specific notes, it can play at specific velocities on demand (we as humans have no problem playing the correct notes, mostly, it’s the velocities where we as humans are not so very precise). When you hear the arpeggio Phrase “play” this same Voice, you quickly realize the purpose of these MEGA VOICES. They are designed to be used with the “technology” of the arpeggiator. Which can, like a sequencer, playback a musical phrase with precisely accurate velocities, on demand. You will find Mega Voice and Mega Voice ARPs for both Guitars and Bass. Unlike a normal sequence phrase an arpeggio phrase can be CHORD INTELLIGENT… or, not.

Yamaha has been refining this Chord Intelligence engine since the 1980’s. Here it is applied to voicing the chords – using music theory. It will not only recognize Major, Minor, Dominant, Diminished, Augmented chords and more… And depending on the Arpeggio CONVERT TYPE you use the note data can follow or not, the instructions input by the keyboard – in real time!

Even if you know the Velocity Limit Ranges and Note Limit Ranges of each Element, it would be impossible, as a human, to play with the same accuracy as the Arpeggio phrase – well, we should never say ‘impossible’. Let’s say you should do something else with your time! It might be easier to learn on a real Steel String guitar.

Extra Credit: Arpeggios are not really a part of the Voice. Arpeggios are ‘associated’ with a Voice but they are not, technically speaking, part of the construction of the Voice. Just as, in the real world, what a guitar player plays (a musical phrases) is not a part of the instrument they are holding. This is why when you place a Voice in a Performance or a Mixing setup, it does not automatically “bring along” the Arpeggios associated with the Voice in VOICE mode. Arpeggios are musical performances (a stream of MIDI notes in this example), that can be associated with any number of Voices and is not a part of the instrument that is assigned to play it. It’s a separate thing. Any arpeggio can be associated with any Voice. There is an important difference between the parameters that “describe” the instrument and those that are used to manipulate or control aspects of its performance (See “Parameter with Voice” for how to copy these associated and offset parameters between the Voice mode (where the instrument is originally programmed) and the Performance, Song/Pattern modes (where you are placing the Voice in a PART).

Let’s assign this arpeggio (GtMG: 1718) to the “Mega Steel” Guitar
The Category is GtMG: Guitar Mega

• Press [F5] ARP ED or the dedicated [ARP EDIT] button
• Press [F2] TYPE
• Set the TYPE = 1718

• Press [F3] MAIN
• Set Tempo = 90
• Set the ARP SWITCH = ON
• Set the ARP HOLD = ON
• Set the CHANGE TIMING = Measure

Once you have assigned the ARP, set whatever tempo is comfortable for you. The Tempo is not necessarily brought along either – it also is a parameter that is independent of the instrument Voice parameter data. This makes sense because arpeggios can be used at any tempo and will automatically sync with the MOXF clock. Set it around 90 BPM just so you can hear what is going on. The fact that this phrase can work at any number of tempos is an important advantage arpeggios and arpeggiators provide. Slow it down too hear all the details.

Trigger a note to begin the arpeggio playback. Let the phrase play… It’s 8 measures before it repeats. Listen.

Extra Credit: This Arpeggio Type is Phrase: “1718 MA_Worship Fast_ XS” – the “MA” denotes it is a Main “A” section, and the “XS” at the end denotes that it is designed to voice the chord properly for the instrument being emulated, no matter where on the keyboard you trigger the chord. If, for example, you play an Fminor chord, it will not matter where in the trigger Note Limit region you play the chord, it will voice the chord properly for a guitar’s range. And the “wrap around” for guitar tuning will be respected.

From the VOICE EDIT area we can pull apart this Voice and listen to exactly what is going on.

• While in [EDIT] the number buttons help us navigate the various Elements. Buttons [1]-[8] Select an Element for Editing
• Buttons [9]-[15] illuminate to indicate that this is a 7-Element Voice
• Press [SOLO]

This will allow us to listen and isolate each of the Elements in turn. It is an 8-measure phrase so take your time – it takes a full eight measures for each item to play through and some Elements are very sparsely used, as you will hear.
Extra Credit: Set the Arpeggio Phrase to play just once. Typically, an arpeggio phrase is set to “loop”, but recognize that this is a setting you can make. The Arpeggiator can be set with Loop = Off, this would be used to play a specific riff on cue. This use would require that when you touched the “trigger note” or played in the Note Range set to control the Arpeggio, the phrase would play through once and end. You can also use the trigger note to “toggle” a phrase on and off.

While in [ARP EDIT]
Press [F5] PLAY FX
Cursor Right to see the second screen of parameters
Set the LOOP = OFF

Arpeggios will use precisely placed (and repeatable) commands, via Velocity and specific Notes, to trigger specific articulations. Isolate each Element in turn and listen closely for its contribution to the Phrase (remember to let the phrase count through 8 full measures – some articulations are subtle and sparse).

To start the arpeggio phrase touch a single “F” on the keyboard – and let it play.
Use the buttons [9]-[15] and [SOLO] to isolate each. You will discover that Elements 1, 3, 4, 5 and 7 contribute different articulations to the Arpeggio Phrase.

Element 1 – Open; the main body of the guitar and the principal strummed notes of the chord.
Element 2 – Dead-note sound. (This is not used in this phrase).
Element 3 – Mute; a muted tone and adds an articulation to the phrase
Element 4 – Hammer-On; articulations in the Phrase; isolated you hear them quite easily
Element 5 – Pitch slides that occur in the Phrase; again isolated you can hear them easily
Element 6 – Harmonic; articulation (it is not used in this phrase, at all)
Element 7 – FX; the raking noise of the strings being strummed. Surprisingly, when isolated you recognize it, as being separate, but not really before. Once reassembled you now can mentally isolate it, but not before…

Of the seven Elements, all but Element 2 and 6, has its own rhythm and makes its own contribution to the arpeggio Phrase. You cannot “play” this entire phrase in real time from the keys without the assistance of the Arpeggiator technology. When heard by most listeners, this arpeggiator phrase might as well be an acoustic steel string guitar, playing a very intricate guitar riff. When in fact all that is necessary is to voice an Fminor chord.

Press the [MUTE] button and try different combinations of just these Elements. The arpeggio Type (phrase) is an 8-measure phrase. So you will discover that Elements 3, 4, and 5 only occur occasionally to support the realistic recreation of the guitar riff, as you will hear.

Start with just Element 7 – the raking noise; add the pitch slides of Element 5; then add the Hammer-on articulation of Element 4. Finally add the main body of the guitar in Element 1.

As you do this, your ear/brain is now able to keep separate each of the components and you are more aware of the individual contributions of each Element. You don’t necessarily think consciously about all of this detail when you are listening to the Mega Steel Voice as PART 3 of a four PART PERFORMANCE, like “Free Fall”, and not even when you isolated the guitar from the rest of the band in Voice mode, but these components add to your overall acceptance of this as an actual strummed guitar. And if you just use Element 1, something is definitely missing from the overall impact of the guitar part. This is MIDI data artfully triggering audio Elements in a precise manner.

In creating an arpeggio phrase like this you would need to take advantage of the multiple Arpeggio Tracks simply because of how you need the resulting phrase to behave. A portion of the phrase requires specific notes because the sampled audio of the particular articulation is “fixed” to a specific Key, while other portions of the phrase will need to adjust to the chord quality requested by the trigger notes. The raking noises require several “fixed pitch” Waveforms assigned several adjacent Keys. Therefore it needs to be converted via a “Fixed Note” arp track. Element 1 which carries the main string sound and pitch will require that its data is converted to the arp with the “Org Note” function (which is chord intelligent).

So you can imagine to create this multifaceted phrase, it is assembled from several tracks of MIDI data. Articulations, this is a big part what having eight Elements is all about. The more Elements you have the more details you can express. Each of these noise articulations are directed to the single Guitar Voice in a single arpeggio phrase. This is really what the four tracks of the arpeggio creation function is all about: you can have a totally different response, per Element, to the trigger notes, but all together they create a musical result.

Someone sat down, analyzed what the guitar player was doing and then recreated it (meticulously) by programming the tracks that contribute to this ARP TYPE Phrase.

While listening to just the Hammer-ons or just the Pitch Scoops, or just the raking noise, you can see that by themselves they are not much, but what they add to the overall vibe of the Arp Phrase is magical. It brings the phrase to “life”.

The multiple tracks of the “Put Track to Arpeggio” Job were used to separate the CONVERT TYPES needed. Those that require chord intelligence are converted using the “Original Note” Type, and those that are strictly percussive would be converted using the “Fixed Note” Type.

This Study of a Preset Arpeggio was provided so you can gain a deeper understanding of how arpeggio data works – there can be pitched/chord intelligent data, and non-pitched/fixed note data. In future studies we will help you construct your own arpeggios from data you generate yourself and/or from existing MIDI data. Enjoy!

Loading Peter Jung’s CS-80 Library to MOXF

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

Motif XF File formats .X3A or .X3V
MOXF File formats .X6A or .X6V

There is VOICE compatibility between the MOXF and the Motif XF. This is true even though they do not share the same number of Banks. The Motif XF has four USER Voice Banks, while the MOXF has but three. This means you cannot just load ALL data from the Motif XF file to the MOXF internal. The products are indeed different. Data that is stored in a Motif XF File in the User 4 folder, must be redirected to one of the available Banks of the MOXF. Here are some of the basics you need to be aware of:

Motif XF __ MOXF VOICE Mode
PRESET 1 __ PRESET 1
PRESET 2 __ PRESET 2
PRESET 3 __ PRESET 3
PRESET 4 __ PRESET 4
PRESET 5 __ PRESET 5
PRESET 6 __ PRESET 6
PRESET 7 __ PRESET 7
PRESET 8 __ PRESET 8
________ __ PRESET 9
USER 1 _ __ USER 1
USER 2 _ __ USER 2
USER 3 _ __ USER 3
USER 4 _ __ N/A

Fortunately, when loading data from a Motif XF ALL data (.X3A) or ALL VOICE (.X3V) File, you can opt to load individual Voices or redirect an entire Bank of 128 to any available target Bank In your MOXF. The MOXF is able to read and extract specific types of data from Motif XF Files. This is covered in the REFERENCE MANUAL on page 157.

As it points out not every Type of data will be loaded when you attempt to LOAD a file created for the Motif XF. Only Voice, Performance, Arpeggio, Mix Template, and Waveform data can be extracted from a Motif XF File. And from the SEQUENCER (Song/Pattern) files only the Waveform data that was recorded using the Motif XF’s INTEGRATED SAMPLING SEQUENCER will be loaded to the MOXF. The actual sequencer track data must be transferred via Standard MIDI File (SMF) in a .MID file.

FLASH BOARD Slots:
The Motif XF has Flash expansion capability of two boards; 2048 Waveforms per Board, 4096 Waveforms total.
The MOXF has one Flash expansion slot; 2048 Waveforms total.

VOICE Bank Locations:
The Motif XF has one more USER bank than the MOXF. The Motif XF can hold 512 USER VOICE, the MOXF can hold 384. Therefore, if you are loading data created for a Motif XF you must follow instructions and learn to redirect the VOICES you want to the Banks and locations you want to place them in your MOXF.

VOICES: Waveforms and Samples
We will state this here because it is the KEY to understanding this whole thing: a VOICE is the individual playable sound in the Yamaha Music Production synthesizer. A Voice is made up of three main building blocks: an Oscillator section, a Filter section, and an Amplifier section. The sound source is the Oscillator, which in the case of the Motif XF and MOXF is always based on a digital audio recording (sample). Sampled audio is stored in memory and is recalled when you play a Voice. This data is stored at a sample rate of 44,100 samples per second. By far the largest data is this sampled audio that makes up the Oscillator. Literally, hundreds of individual samples can be used to recreate a single VOICE. And this data can be quite large in size. This is why it is “burned” to the Flash Board so that each time you want to access it, you do not have to wait several minutes for it to load.

When you recall a VOICE like the Full Concert Grand Piano (which is stored as a Preset Voice) the Voice data knows where to “look” to find the appropriate Waveform (audio) data. The hundreds of Samples that are used to recreate this 9-foot Concert Grand are organized by several Waveforms that have a permanent numbered location. Even if you STORE edited versions of the Full Concert Grand to a number of USER Voice Bank locations, the Voice data will always “know” where to find the Waveforms and Samples that will make it sound properly.

The VOICE can be relocated, the data will always “point to” the correct Waveform location! What you will be doing when you install (burn) data to the Flash Board, is giving the Waveforms of the Voices you Load a semi-permanent numbered location on your Flash Board. This way any time you load the Voice data from one of YOUR files, all the instructions about where the Waveforms are to be found is there… This is how YOUR instrument “knows” how to find it without you having to wait for the audio to load.

Waveforms on your FLASH BOARD cannot be overwritten. Not by mistake, and not even on purpose. The only way to remove an installed Waveform (and the Samples that it organizes) is to DELETE it or FORMAT the BOARD.

INFORMATION About the FILE
The CS80 Library is made up of the following data:
Approx 470MB of data total – this requires the majority of a 512MB board and about 47% of a 1GB Board.

61 Waveforms
1179 Keybanks (samples)
Total VOICES = 128

VERY IMPORTANT INFORMATION
The original VOICE data for this Library for the Motif XF was housed in USER 4 bank of the file – so you cannot just blindly load the data without knowing where it is or where you are going to put it.

How can you know where the original Voices are coming from (which Bank)? Read the included documentation that comes with the File. The person (in this case Dr. Peter Jung) who created the original File (for the Motif XF) determined which USER Bank they are contained in. The File will contain five Folders, one for each Motif XF USER Bank, as follows:
USER 1 – contains 128 normal Voices
USER 2 – contains 128 normal Voices
USER 3 – contains 128 normal Voices
USER 4 – contains 128 normal Voices* *this is the CS80 Voice data
UDR – contains 32 drum kit Voices

_ “CS80.n2.X3A” is the name of the File as it appears in the Motif XF… the name will be truncated to fit the MOXF screen dynamics: “CS80N2~1.X3A” is the file name as seen in the screen of your MOXF.

Load via “1 BANK VOICE” Method
According to the included instructions, the Voices are located in the FILE at the following location:
USER 4 Voices: 001-128

_ Place the “CS80N2~1.X3A” File in the root directory of a USB stick that you use with your MOXF.

Press [FILE]
Set the File TYPE = 1 BANK VOICE
Highlight the “CS80N2~1.X3A” file
Mark the box “[x] With Sample”

We will redirect the load intended for the Motif XF’s USER 4 bank to USER 1, 2 or 3 of your MOXF. (As explained above, the MOXF has no USER 4 bank, necessitating this redirection)

Press [ENTER]
You will see the 5 Folders of the original FILE
Highlight “USER 4” in the column on the right side (It contains the 128 new Voices)

Move the cursor to the LEFT and set the target as USR1, USR2 or USR3 in your internal MOXF. (USR1 is shown)
Press [SF1] EXEC to execute

This will load all the VOICES from USER 4 Bank of the FILE to your MOXF USER Bank 1. When loading this Library with Waveforms it will take approximately 53 minutes to load the Voices to the User 1 Bank and to “burn” the audio data to a Flash Board. Once you determine that you will “keep” a Waveform set, you never have to wait for this data to transfer again. The initial installation is a lengthy process. This is normal. But please recognize that this is not some thing you do often. Only when auditioning new Libraries or installing new data to your collection.

The installation of audio to the FLASH BOARD will take some time…
Please use this time to either relax or do another activity: A watched pot seems to take much longer to boil than if you get involved with something else during this time. The screen will indicate that data is being installed on the Flash Memory Expansion Module. Do not interrupt it. Do not conclude it is not working. DO note the time on the clock – 53 minutes will seem like forever only if you are watching the pot boil. Be patient. “Flash” does mean quick – but it does not refer to this BURNING (installation process). “Flash” means quick in that when you press a key and demand as many as 128 channels of audio from any of these samples, the MOXF’s Flash Board will access this data in nanoseconds… in a flash.

Now that you have customized your WAVEFORM data on your FLASH BOARD, you must make a BACKUP file of your data. The fact that you redirected the CS80 data to your Flash Board, needs to be documented in a MOXF ALL data file to back up your work. Do so.

From now on you would use your file (not the Motif XF File). Your File will be in a native MOXF format, and having the data backed up as a MOXF File means it will be easier to access in the future. You may only decide “to keep” a select number of the Waveforms in this Library. Assembling the data you require is always a FILE LOAD task. When you load an individual Voice, the MOXF will load the Waveforms and Samples to make the VOICE work. If it detects that it has already loaded (installed) the Waveforms from this File, it smartly redirects the Elements within the Voice to the Waveform’s new Flash Board location.

This is is why it is imperative to backup this data in a MOXF “ALL” data File “with Samples”. It will make the process of “selection” much easier later when you decide which Voices from this Library you like.

Alternate Method: Loading Individual VOICES from an ALL data File

The most efficient way for a MOXF Owner to load this Motif XF data is to load the entire BANK of 128 as described above. Loading all 128 as “1 Bank Voice” is the best way to audition the Library. Decide what Voices appeal to you, then you can Format the Board and selectively install only the data you need “permanently” to your Flash Board.

The steps for loading individual Voices from a Library File follows:

Place the .X3A (or .X6A) File in the root directory of a USB stick that you use with your MOXF.
Decide ahead of time which 128 VOICES you wish to overwrite in your current USER 1, USER 2 or USER 3 banks. When you first encounter a MOXF, data in USER 1, 2 and 3 Banks are simply repeats of data found elsewhere in the Presets Banks… So feel free to overwrite any of these locations.

The CS80 Voices are located in the FILE at the following location:
USER 4 Voices: 001-128.

Let’s say you decide to load the VOICE data to the locations of USER 1 in your MOXF.

What this means in layman’s terms:

Data in the Motif XF FILE originating at USER 4:001(A01) will be directed to USER 1:001(A01).
This can be done one VOICE at a time as follows:

Press [FILE]
Press [F3] LOAD
Set TYPE = VOICE
Move the CURSOR into the DIRECTORY (right side of the screen) and highlight the CS80N2~1.X3A file

Make sure the “WITH WAVEFORM” is marked.
Press [ENTER] to ‘open’ the FILE
You will see the five FOLDERS: USER 1, USER 2, USER 3, USER 4, USER DRUM
Highlight the “USER 4” Folder (The unique VOICE data for this Library is contained in the USER 4 Folder)

Press ENTER to view data in the Motif XF USER 4 FOLDER… you will see a list of 128 VOICES that occupy the File’s USER 4 Folder.

Highlight the first Voice in the list: “001:*PJ CS80 V.A”
Move the cursor to the LEFT side and select the Target DESTINATION
Set the Destination to USER 1:001

Press [SF1] EXEC to execute.

Screen translation: The VOICE data will be loaded from the root directory of the File “CS80N2~1.X3A”, from the Folder named User 4 to the internal USER 1:001(A01) of your MOXF – overwriting the current VOICE data in “USR1:001(A01) Everlasting Glory”

The VOICE data will be placed into USER 1:001(A01) and the Waveform and its Samples will be installed on your Flash Board (The Voice data will be converted to MOXF format, then the audio data will be installed).

When complete (all Waveforms/Samples necessary to make this Voice sound properly will be installed),
You can setup to load the second VOICE… Simply move the cursor to the LIST on the Right and select “002”; Then move the cursor to the Left side and set the target to USR1:002(A02).

If the Waveforms and Samples are already in place (and your MOXF “knows” it) and the Voice will load very fast. As you select VOICES to LOAD, the MOXF will determine if the WAVEFORM name is already installed on your Waveform List, if the data is not found – then the MOXF will install the data to make the VOICE work. If the data is found, the MOXF will skip duplicating the data and simply repoint the VOICE to the data’s currently internal Flash location.

An important thing to learn here is:
Because the data is all coming from the same Source File, the MOXF “knows” if the Voice you’ve selected to load uses the same Waveforms and Samples as data already installed and it will not duplicate its work. It simply repoints the new Voice to the Waveform List location it placed the data of the first Voice. So the VOICE parameters load in about 2 seconds when the MOXF detects that the WAVEFORM has already been installed from this file. What this means is anytime you need a VOICE that uses the CS80 data, that data is semi-permanently installed on your FLASH BOARD. This means loading VOICEs you made that use that data will only take sesonds… not minutes.

Continue to direct the USER 4 Voices to the corresponding locations in USER 1 of your MOXF… 003 to USR1:003(A03) and so on. You can actually point the Voice data to any internal location. The internal location does not really matter in terms of the Waveforms and Samples. The MOXF “catalogs” where every bit of the audio data is placed. This means no matter in which User Bank and Voice location you direct the Voice data, the MOXF will ensure that each Element finds its Waveform.

And as long as you are loading from the same Source File, or one of your backup Files, your Waveform information is documented.

POST SCRIPT:
When you have loaded all of the Voices you desire and played each to verify they are sounding properly, make a BACKUP ALL data file (.X6A) – this is critical and the most important step… Because not only is this now going to make a fully compatible MOXF file, it will contain unique information about exactly where it placed your Waveforms!

You will no longer use the Motif XF (.X3A) file. By creating a new File, it will be in native MOXF file format which will allow you to have the proper number of USER Folders for your instrument. Every ALL data (.X6A) and/or ALL VOICE data (.X6V) you create will automatically include YOUR unique Waveform List. Even when you opt to Save “without Samples”, the Waveforms (instructions for where to find the Samples) are always written to the file. Because the Sampled audio is archived (burned) to the Flash Board, loading in just the Voice data is quick and efficient.