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Painting Drum Arpeggios to the Sequencer

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

The [SF] buttons in PATTERN or SONG can store what Arpeggio Type is active at the current time. You can assign a different Arp Type to each of the six [SF] buttons. These can be recalled in real time. This allows you to transfer the MIDI data to a track of the sequencer using the RECORD function. For example, let’s say you want to use an arpeggiator to create a drum track in PATTERN mode. Here’s an example:

• Call up a blank PATTERN, go to [MIXING]
• Press [EDIT]
• Press [TRACK] to light its LED, if not already lit
• Press Track [1] to select PART 1 edit parameters
• Press [F1] VOICE
• Press [SF1] VOICE
• Turn “P.WithVce” = ON

If you turn “PARAMETER WITH VOICE” to ON before you select your VOICE, then when you select the VOICE it will automatically copy the Voice’s associated Arpeggios into your MIXING setup.

Here’s how that is done:
• Cursor up and select Bank = PDR
• Number = 001 Power Standard Kit 1 for your PART 1

Each of the Preset Drum Kits has some arpeggios associated with them. You can, of course, select any drum kit and any arpeggio. We are using this shortcut so that the assignment of arpeggios to the [SF] buttons is quick, and easy.

Set Arp Parameters
• Press the dedicated [ARP EDIT] button
• Press [F3] MAIN
Here you can setup the Part Arpeggio parameters

• Switch = ON
• Hold = ON
• Change Timing = Measure

The “SWITCH” parameter will allow the PART to respond to the arpeggio. The “HOLD” parameter will mean you do not have to manually continue to hold the trigger key down. And CHANGE TIMING means the Arpeggio type selection will only occur at the top of a Measure – so you can hit the button to recall each arpeggio anywhere in the measure prior to you wanting it to start. Not all VOICES will have arpeggios assigned – and certainly not all Voices will have the ARP Switch active in VOICE mode, so even though you use “PARAMETER WITH VOICE” to copy parameters from Voice mode, please recognize that you still may need to Switch the ARP ON, set the HOLD function and set the Change Timing parameter.

• Turn ON the main [ARPEGGIO ON/OFF] switch

You may have noticed that in SEQUENCER mode (and PERFORMANCE mode) there are multiple ARP ON/OFF switches. Activating the Arpeggio is a two-step procedure. The reason is because in these modes there are four arpeggiators, each with an individual PART ON/OFF switch, and of course the MAIN ARP ON/OFF switch. This allows you the flexibility to turn them all OFF or ON together, yet you can arm each one individually. We are using one of the arpeggiators to record this one PART to the sequencer.

The main ARP ON/OFF must be ON, for any PART Arp to work. Therefore both switches (main and PART) must be ON and you must trigger a key within the Key Range (NOTE LIMIT) set for that particular Arpeggiator.

• Press [F2] TYPE to view the BANK/CATEGORY/SubCategory and TYPE
You will be able to see/select the ARP Number next to TYPE at the bottom of the screen and the Name of the Arp Type on the top line

• Press [SF1] ARP1
When you touch a key you can now hear Drum Arp #4570 (Main B _ 70s Rock)

• Press [SF2] ARP2
You can now hear Drum Arp #4571… notice it changes at the top of the next measure due to our CHANGE TIMING parameter setting! (Main C _ 70’s Rock)

• Press [SF3] ARP3
You can now hear Drum Arp #4573 (Intro A _ 70’s Rock)

• Press [SF4] ARP4
You can now hear Drum Arp #4574 (Fill-in A _ 70’s Rock)

• Press [SF5] ARP5
You can now hear Drum Arp #4569 (Main A _ 70’s Rock

• Currently nothing is assigned to [SF6] ARP6 You can tell because no eighth note icon appears next to ARP6

Initially, Arp Types are set with LOOP = ON, but please realize that this is a programmable setting. Arps can be set with LOOP OFF independent of the Pattern looping, in which case their Phrase Length plays once and then stops. These five arpeggio Types happen to be related. Please recognize you can select any arpeggio Types that you like and simply place them on the six Sub-Function buttons [SF1]-[SF6]. They do not have to be related. It may in fact be preferable to select your own arpeggios – we only point out the “PARAMETER WITH VOICE” feature so you are aware that if you discovered a VOICE in [VOICE] mode and want to use its arpeggios, you can quickly have the MOXF copy those parameters to your PATTERN or SONG MIXING setup.

[SF5] – is like the main “A” groove. Simple and straight…
[SF4] – is like a fill-in that could lead you to the next main groove. It’s a one-measure fill-in
[SF1] – is like the main “B” groove. A little more complex rhythmically
[SF3] – is another fill type one-measure thing (even though it is labeled an INTRO- it can be used as a fill or pick-up
[SF2] – is the drummer opening up for the chorus

Now you can listen to these and imagine that you could plan to build the first 32-measures of a drum track as follows:
[SF5] = Measures 001-007 (First Verse)
[SF4] = Measure 008 (fill-in)
[SF5] = Measure 009-015 (Second Verse)
[SF4] = Measure 016 (fill-in)
[SF1] = Measure 017-023 (Chorus 1)
[SF3] = Measure 024 (fill-in)
[SF2] = Measure 025-31 (Solo)
[SF3] = Measure 032 (fill-in)

In PATTERN mode I do not have to record all of this to one SECTION I might decide to break this into smaller workable SECTIONS. Pattern Mode allows you to concentrate on each musical section. So in this example I will break it down with the first 8-measures to SECTION “A” as follows:

Our first move could be:
[SF5] for 7 measures
[SF4] for 1 measure

Example: RECORDING to the SEQUENCER
When recording directly to a PATTERN, you must set the number of measures you will record prior to recording. This is simply so that the MOXF knows when the Pattern Phrase should cycle.

• Press [PATTERN]
• We have selected a blank Pattern
• Set the LENGTH parameter to 008 measures

You do so by moving the cursor to the MEASURE/BEAT Counter. The last number is the LENGTH setting. Set it so that it reads; 001:01/008
Learn to read this as telling you that the transport is currently located at Measure 001, Beat 1, out of a Phrase Length of 008 measures.

• Press [RECORD]

The [F1] SETUP screen appears. Please notice that your options above the [F] (Function) buttons now include a shortcut to the ARP EDIT screen [F3] ARP ED>. As you begin to work and experiment with painting arps, this shortcut comes in very handy. You can quickly view your Arp parameters via [F3] ARP EDIT and you can return to the Record functions by touching the [RECORD] button again.

• Set the RECORD TYPE to REPLACE
• Set the LOOP parameter to OFF

This is important in PATTERN mode when working with arpeggios because you want the sequencer to stoprecording when it completes our eight measures, automatically. This Loop parameter only refers to the record function. Playback will automatically loop in Pattern mode.

• Set the QUANTIZE parameter to OFF

It is initially important to record with QUANTIZE OFF so that any “swing” applied to the arp is accurately documented to the data recorded to the Track.

The [SF] buttons will allow real time access to changing the Arp TYPE selection in real time as the sequencer records.

Now when you are ready to record your first moves to a sequencer track… Briefly toggle the main ARP ON/OFF switch OFF and back ON to reset the arpeggio to the top and start from silence. Make sure your MEASURE counter is reading Measure: 001:01. If not press the transport’s “TO TOP” button |<

You are ready to “paint” the first two arpeggio types to SECTION “A”. Press [SF5] to select it.

• Press the transport’s PLAY BUTTON [>] to begin the count-in. The default count-in is 1 Measure. We are in 4/4/ time – Touch a Key on the downbeat after 4 clicks to begin recording.

And when the measure counter reaches measure 007, (anywhere within measure 007) press [SF4] – the sequencer will switch to that Arp at the top of measure 008. And because we turned LOOP OFF, the sequencer will automatically punch out and stop when it completes recording the phrases.

Summary: We have setup and recorded the data contained in the arps [SF5] and [SF4], and have written them out as MIDI data to the track’s EVENT LIST. It will no longer be necessary to have the Arp On for this data to play, because its data now exists on the track as if we had manually played it ourselves. We can now edit that data as we can any MIDI data on a Pattern Track.

Let’s get ready to play it back.

• Turn OFF the main ARP ON/OFF switch
• Press PLAY [>]

As you can hear, we have the basic pop groove. There is a nice open hihat transitioning measure 004 to 005, and there is a basic fill in measure 008.
So that we can gain a clear understanding of what we have accomplished thus far:

• Press [EDIT]

This will take you to the MIDI EVENT LIST – where each Note-On event’s position (measure:beat:clock), duration (Gate), and Velocity is shown. You can Cursor Down to hear each individual event.
• Press [EXIT] to return to the main screen
• Press [F4] PATCH

Here you will see that our recording is “patched” to the grid of 16 track on to Track 1 and is identified as001:M008. This translates to “Phrase 001” with a Phrase Length of “008 Measures”

Now that we have SECTION “A”, I can create a variation on this 008 measure phrase – I may want to have a slightly different fill-in for measure 008 than at 016. This is where you can bring in the REMIX function. REAL TIME LOOP REMIX is a PATTERN mode function to create endless variations from the MIDI data recorded to a Phrase. We will take a quick look at how this can be used to spice up the rather basic drum fill in measure 008

By setting the INTERVAL to 8 (every 8 measures) I can try out literally thousands of variations for Fill-ins, Breaks, Rolls, etc. See the dedicated article/tutorial on REAL TIME LOOP REMIX for details on this extremely powerful tool to continue your customization of the arpeggio data. Remix is another advantage in working out your drum phrases or any arpeggio phrases while in PATTERN mode – because it offers you so many musical alternatives to the stock data.

Let’s try few so you can see how this works. Return to the main PATTERN screen
With Track [1] selected…
• Press PLAY [>]
• Recall SECTION [A]

You do so by lighting the [PATTERN SECTION] button and touching button [1]

• Press [F5] REMIX
• Set the screen that appears so that
TYPE = 6
VAR = Roll 3
INTERVAL = 8

• Press [ENTER] to audition the Remix

When you press [ENTER] immediately “CANCEL” and “OK” options appear above [SF4] and [SF5] respectively. You can try out differnt remix setting the higher the TYPE and VARIATION number the wilder the Remix. The “remix” will be applied to measure 008.

When you find one that you like press [SF5] OK to create a new PHRASE. If you press [SF4] CANCEL – the original Phrase is restored.

For more on REMIX – see the dedicated article: “Real Time Loop Remix”

The INTERVAL being set to 8 means that only measure 008 will be remixed.

This is a non-destructive edit, until you press [SF5] OK, so you can audtion as many different ‘remixes’ as you desire. When you find the keeper, press OK

If you press [SF5] OK, a new Phrase, 002, will be created and “patched” to the [F4] PATCH grid. Your original Phrase, 001, will still exist but the new one will be selected for this Section.

Rinse and repeat for SECTION “B”

Set the LENGTH to 008 measures; Select [SF1] ARP1 prior to beginning recording and while recording during measure 007, press [SF3] ARP3

And finally for SECTION “C”

Set the LENGTH to 008 measures; Set the [SF2] ARP2 initially and during measure 007 you will press [SF3] ARP3 for the final fill-in

Now to accomplish the linear 32-measure form you can create a PATTERN CHAIN that is A-A-B-C SECTION

“A” measure 001; SECTION “A” measure 009; SECTION “B” measure 017; SECTION “C” measure 025

A PATTERN CHAIN (found from the main pattern mode screen at [F6] CHAIN, is simply the sequencer record function documenting the play order of your musical Sections. Here you can experiment with which Section is to play first, second, third and so forth. Chains can be created in real-time by pressing the [RECORD] button while on the [F6] CHAIN screen. Or can be created offline by pressing [EDIT] while on the [F6] CHAIN mode.

One of the advantages of recording your music initially in PATTERN mode is this: You now can play around with the structure of the composition. I may decide that I want to add another Verse before going to the “C” section. AABAC. There is a classic story that the band Genesis when working on their huge hit, did not have a title for the song, but while they were working out the arrangement on paper at one point the structure was A-B-A-C-A-B. This, of course was their huge hit ABACAB… only musicians knew what it meant. The name kind of stuck – even though the actual final version did not follow that section structure. Classical, pop, jazz, and even country musicians alike have used this lettering system. It addresses the fact that you might change your mind during the development of the music.

If you are working in SONG mode when you discover that you might want to change your mind about the musical flow of your sections… the MOXF sequencer provides a SONG JOB called SPLIT SONG TO PATTERN which is designed for just this purpose. It allows you to define a region of measures and target a specific SECTION of a PATTERN. Please see the article on DRUM TRACK CONSTRUCTION for a discussion of how the SONG and PATTERN modes of the Sequencer are designed specifically to work together in music composition. Moving data back and forth can be done easily with Song and Pattern jobs designed to move individual phrases or entire movements of music containing multiple parts.

In our next section we will discuss the differences you encounter when “painting” arpeggios to a linear SONG.

SONG MODE
With only a few differences, you can/could record the 32-measure example above directly to a linear song (SONG mode). This can be accomplished while other tracks have already been recorded or you can start your composition by laying out a drum framework. As you can see, there is total freedom in how/when you can implement this feature. Simply place your main drum grooves (arp Types) on the [SF] buttons and your fill-ins on other [SF] buttons and as the Song advances you can intuitively construct the drum track. With SONG mode Punch In/Out function you could simply prepare and insert fill-ins where appropriate.
Here again is our 32-bar DRUM track as follows:
[SF5] = Measures 001-007 (First Verse)
[SF4] = Measure 008 (fill-in)
[SF5] = Measure 009-015 (Second Verse)
[SF4] = Measure 016 (fill-in)
[SF1] = Measure 017-023 (Chorus 1)
[SF3] = Measure 024 (fill-in)
[SF2] = Measure 025-31 (Solo)
[SF3] = Measure 032 (fill-in)

Because SONG mode is linear, I simply make the transitions one after the other. Making sure I press the [SF] button in the measure just before I want the Arp Type to change.
• Press [RECORD]
• Press [>] Transport PLAY to start the count-in… you will need to press a key on the downbeat of 1 to begin the arpeggio.

By setting the sequencer to Record mode and then using the [SF] ARP select button, you will have real time access to the ARP1-ARP5 assignments we have made during the record process. This may take some practice but is very intuitive because you can hear the drums as you make the changes. By setting the CHANGE TIMING parameter to “Measure” you need only select the next ARP you want to recall sometime during the measure prior to when you want it to play. For example, I want to start out with [SF5] and then somewhere during measure 007 we want to press [SF4] – so that it begins play at the top of measure 008. Once it begins to play I want to press [SF5] to return to that arpeggio. You can temporarily slow the tempo down if you are under too much pressure… Remember: tempo can be adjusted back to speed later.

Now you can “paint” (transfer) the drum arpeggio data to the track… using just the [SF1]-[SF5] buttons… because you set HOLD to ON, you do not have to hold down a key, the drums will continue to play. But because SONG mode is linear in nature you will have to manually end recording. You can use the PUNCH IN and PUNCH functions to help you automate the recording. It is as important to STOP on time as it is to START ON time. (See our Troubleshooting section below for some tips on fixing unfortunately placed data)

ABOUT THE ARPEGGIO TYPES
All the arpeggio types are categorized by main Category (instrument) and Sub-Category (genres of music). And can be non-destructively altered in real time via ARP FX. There are over 6700 arpeggios total. When looking at Drum Type arpeggios you will notice that many have a two-letter prefix in their name… these are general suggestions (only suggestions):

MA = Main A section
MB = Main B section
MC = Main C section
MD = Main D section
each is a little more complex (busy)

IA = Introduction type
FA = Fill-in A
FB = Fill-in B
FC = Fill-in C
etc. Each is more complex as you move A, B, C…

BA = Break A

EA = Ending A
And so on… You do not have to follow any of these suggestions – use any arpeggio pattern as you see fit. You do not even have to follow any rules about instrument and you can mix ‘n’ match Types from multiple genres… there are no rules. There is only more or less appropriate when it comes to musical taste.

PUNCH Record: We mentioned that in SONG mode you may opt to use RECORD TYPE = PUNCH. This would allow you to set a measure where the sequencer begins printing data and when it will stop printing data. You may think that you are quick enough to press STOP on time. But trust us, you are a human… (You’d have to have the timing of an android, like Data, to nail it on the 000 clock tick). If you were to do it, it would be by accident. Do note, however, that the PUNCH OUT will not stop the arpeggio from playing. It will simply stop the sequencer from recording – which in the end is what you want to accomplish.

Other methods exist to handle this as well. With the ARP MAIN and ARP OTHER setup screens you can further customize how the arpeggio behaves. For example, there is an arpeggio Trigger Mode setting “Toggle” where you can start and stop the arpeggio when you touch the keyboard. Alternatively, the arpeggio can be set to Loop = Off, which will make the phrase play once and stop. Explore and experiment!

Summary: In this fashion you can intuitively add drums to your composition – creating fills where appropriate. You can record them first or you can record them after you have recorded other tracks and you are listening back to them… And with a little imagination, you can use this technique for arpeggio Types other than drums. And the beautiful thing about this is that once you have ‘painted’ (output the arpeggio data) to a track, you are free to re-assign the [SF] buttons with additional arpeggio Types and work on other portions of your composition. Enjoy!

Troubleshooting:
Triggering the start of the arpeggio is done manually. After the count-in (default is a 1 Measure count-in) it is the player’s responsibility to trigger the KEY to start the arpeggio. If you are early or late, the event data may be clock shifted. The arp will automatically sync with the sequencer – if you start the arp recording 20 clock ticks late, the entire pattern will be shifted 20 clock ticks late. In other words the spacing between events will be maintained. You can CLOCK SHIFT the entire set of events in the Phrase early or later as necessary.

Press [JOB]
Press [F3] EVENT
Select SHIFT CLOCK
Set the region of measures to include the entire phrase
Set the number of Measures/Beats/Clocks you need to shift the data
Select the Direction = ADVANCE or DELAY

S90 XS/S70 XS EDITOR VST

Written by Bad Mister on May 16, 2018. Posted in 2010s.

A Getting Started Guide: S90 XS/S70 XS EDITOR VST

There are two different ways of running the S90 XS/S70 XS Editor. It can run as a standalone program, or it can run as a VST3 plug-in for audio integration (requires an external audio interface), called the “S90 XS/S70 XS VST”. The VST version requires a DAW software capable of running VST3 plug-ins. The advantage of running the S90 XS/S70 XS Editor as a VST is that it allows not only advanced audio routing, but when you SAVE your DAW Project file, all the Voices, Multi setups and settings of your S90 XS/S70 XS are remembered along with the Project. When you next open this Project it will restore every setting of your instrument!

VSTi Audio Routing:
The advanced audio routing (requires an external audio interface) means you can use software based plug-ins to process your audio streams coming from the S-XS. Without this advanced routing you would typically be recording just standard MIDI tracks into your DAW (Cubase), and as we all know MIDI is not audio and therefore processing MIDI tracks with VST Plug-in Effects is not possible. But VSTi routing means that the MIDI data for the hardware S90 XS/S70 XS engine will be routed in such a way that the (hardware) tone engine returns audio to your audio interface/Cubase (instead of just OUT via the speaker system), VST routing redirects the signal back to Cubase via the special VST Instrument AUDIO LANE provided for each VST Instrument Output. This “audio lane” allows you to hear exactly what will be rendered when you execute the “Export Audio Mixdown”. VST Instruments all play through the VST INSTRUMENT FOLDER which contains an AUDIO LANE and an AUTOMATION LANE – the AUDIO LANE is “virtual” audio, it is not yet printed as an audio waveform – you are simply monitoring the audio before it is rendered as a Waveform by the process known as EXPORT AUDIO MIXDOWN. This is exactly how all soft synths are treated – via the ‘virtual audio’ lane prior to rendering the waveform. It is only during the EXPORT AUDIO MIXDOWN that the “virtual audio” becomes “real audio”. External VSTi are rendered in real time – this makes sense because the MIDI data needs to be played back to the XS for the XS to generate the AUDIO which is then converted to a high resolution audio waveform on the computer.

Saving your VSTi Setup:
When you Save the Cubase Project, you do not have to save the S90 XS/S70 XS VST data separately. It is automatically saved with the Cubase Project. So exactly like any software synthesizer you may have used, the S90 XS/S70 XS and all its Voices, Edits, etc., are saved as apart of the Project itself. You can opt to save just the CURRENT MULTI setup or you can Save the entire Voice Library contained in your S90 XS/S70 XS at the time of the project. This includes any MIXING VOICES, or custom USER VOICES you may have created. If you are using the XS Editor as ‘standalone’ naturally, you will need to save an Editor File (.X2E) for your S90 XS/S70 XS setup and you will need to restore it manually.

We cannot strongly enough recommend that the one thing you should do while learning to use the S90 XS/S70 XS VST is to read through the 55 page online (PDF) HELP manual that comes with it.

The Standalone version of the S90 XS/S70 XS Editor cannot be run simultaneously with the VST version because you only have one S90 XS/S70 XS (in all likelihood). The Editor represents the hardware – it has a VOICE mode and a MULTI mode. You never need to open more than one instance of this Editor. The one instance handles both VOICE mode and MULTI mode!

Let’s see how the S90 XS/S70 XS Editor VST is accessed within Cubase as a VSTi (depending on the version of Cubase you are using – screenshots might appear slightly different)…

· Start a NEW PROJECT
· Use the EMPTY Template
· Once the empty Track View window is showing:
· Go to DEVICES > VST INSTRUMENTS (or use the quick key: F11)
In the first space in the VST Instrument Rack click where it says “No Instrument” and select “External” > “S90 XS/S70 XS VST” – D

This is how you access the new “S90 XS/S70 XS Editor VST”. In a similar scenario as you would in setting up any VSTi, you will be asked if you want to create a MIDI track assigned to the “S90 XS/S70 XS VST”.

Create the MIDI track. The MIDI Track is assigned to the VST MIDI In. You will create a new MIDI track assigned to the “S90 XS/S70 XS VST MIDI In” for each S90 XS/S70 XS PART you wish to use … or as we’ll see in another article, you can set the MIDI Track’s Channel = “ANY” (more on this later)

The MIDI track for S90 XS/S70 XS data and a VST Folder for the audio lane will appear. Later you can create as many MIDI tracks, assigned to this VSTi, as you require. Each new PART you want to use in your multi-timbral S90 XS/S70 XS requires you create a new MIDI track assigned MIDI OUT to the S90 XS/S70 XS VST’s MIDI IN. Do not miss this point: The “S90 XS/S70 XS VST MIDI In” (circled in red in the screenshot below) is different from the “S90 XS/S70 XS MIDI In” – and is selected as different. The VST MIDI IN allows the MIDI stream to traverse the graphic user interface that you consider the “editor”. Not only do the keys on the Editor’s keyboard animate to indicate what you are playing, the knobs and parameters in the Editor will animate in response to the data you are generating – it is literally the XS’s 1:1 representative in the computer. Each MIDI track will address this one multi-timbral instance of the S90 XS/S70 XS VST. The number of audio lanes will depend on the number of audio Outputs you activate for the XS. We are simply placing the Editor VST between the MIDI OUT of the Track and the XS hardware.

Activating outputs is done on the VST INSTRUMENT rack by clicking on the OUTPUT icon (indicated in the white box below) or by activating them in the S90 XS/S70 XS Editor VST (small chevron in the upper right corner of the Editor VST). You can select to activate all outputs or simply click on the output you require. There are Dual Stereo Outputs available: the main analog L/R and the assignable L/R which can be used as two separate mono outputs or as a second stereo pair.

Important note: Audio Output from the S90 XS/S70 XS is always via the analog outputs on the rear panel: Main L/R and Assignable L/R. You would connect your OUTPUTS to your Audio Interface and would select the ASIO Driver that controls that interface within the S90 XS/S70 XS Editor: Go to FILE > VSTi SETUP > make sure you select the ASIO Driver you use for audio as the LEFT and RIGHT RETURN in the very first slot. Remember multiple MIDI PARTS can share an audio output. You may wish to group or solo your musical PARTS, as makes sense for your music project. PARTS of your S90 XS/S70 XS MIXING setup are routed to the different OUTPUT buses with the OUTPUT SELECT parameter on the main Editor window (on the far right of the screen).

The Editor will launch. If it does not automatically find the ports and communicate with your S90 XS/S70 XS take the following steps:

· Make sure the S90 XS/S70 XS is set to communicate via USB. Set the MIDI In/Out parameter to USB. (The Editor cannot be run with just a 5-pin MIDI interface).
· On the menu bar of the S90 XS/S70 XS Editor VST click FILE > SETUP

Make appropriate Device and Port settings on the Setup screen and click OK. Shown below is the USB Data port assignments for Port 1 and Port 4.

If you are using the USB-MIDI port for MIDI and an external audio interface, you will need to additionally connect your external audio interface in order to successfully use this Editor’s audio routing functions. Select USB and turn the DETAIL ON.

Select for PORT 1: “S90 XS-1” (Port 1) under MIDI OUT.
Select for PORT 4: “S90 XS-4” (Port 4) for both MIDI IN and MIDI OUT

The VST version of the Editor works by establishing both the MIDI path between your computer software applications (Cubase) and an audio path for the returning audio signal (discussed below). Often you will see the reappearing question where the answer outlines the difference between MIDI and audio. We will repeat that discussion, here, as it is pertinent. MIDI data cannot be heard. It only represents the music as notes on staff paper represent the music; as holes punched in the paper of a piano-roll represent the music… these coded messages must be reinterpreted and translated back to the instrument of origin in order to be turned back into music (audible to the human ear).

By establishing a signal path that routes the MIDI data from Cubase to the S90 XS/S70 XS tone engine and then returns the audio from the S90 XS/S70 XS to Cubase, we can establish the same kind of relationship that a computer-based VSTi has. When you launch a computer-based VST Instrument, you establish a MIDI track for the data that is routed to the VSTi engine, because its audio path is known (within the computer) you can process the signal using VST Effects and use the EXPORT AUDIO MIXDOWN to render your MIDI data to audio tracks. Basically you are sending MIDI to the tone engine and then returning audio from the tone generator… the only difference is the S90 XS/S70 XS is external hardware. External to the computer – we reach it by ROUTING the MIDI signal back to the hardware, and the AUDIO signal then arrives in the Cubase VST INSTRUMENT audio lane!

The VST EDITOR allows you to establish this type of communication by enabling the returning audio path. Shown below is the VSTi INSTRUMENT SETUP within the S90 XS/S70 XS Editor VST.
Go to FILE > VSTi Setup

The center panel shows the four analog outputs of the S90 XS/S70 XS that can be connected to your AUDIO INTERFACE (which sends the signal to the DAW). All PARTS routed to OUTPUT SELECT will travel to the DAW via the indicated bus.

Special note for users with an external audio interface: In the center panel above you would select the Audio Return Ports of your particular Audio Interface. Your audio interface’s ASIO Driver L and R would be selected here. If your audio interface supports just stereo outputs from the S90 XS/S70 XS (you would connect the Main (analog) Left and Right outputs of the S90 XS/S70 XS to the appropriate inputs on your interface), therefore, you would set the first two RETURNS for the LEFT and RIGHT channels, respectively, of that audio interface (you will not be able to use the other stereo bus). If your audio interface has additional inputs, you might opt to connect cables between the Assignable L/R and that interface.

For example, if you have a Steinberg UR44 as your audio interface – you could connect all four of the analog S-XS audio outputs to the UR44 and create a workflow where the Main L/R outputs are for Stereo monitoring of your tracks, while you can selectively use the Assignable L/R when you wish to “bounce” (render) certain Parts, in isolation, to the DAW; Using the Assignable outputs to track audio when you need to record a PART separately. In such a case, you would select the ASIO Driver for the Steinberg UR 44 under the “AUDIO RETURN PORTS” – changing the “Not Assigned” to reflect to which port on the UR44 you connected each of the S90/70 XS’s physical OUTPUTS.

VSTi Routing will allow you to further process this audio within your DAW before ‘rendering’ (committing to) the waveform to a proper AUDIO TRACK. VSTi Routing gives external synthesizers (hardware) all the advantages of a synthesizer generated on your computer (a soft-synth): All the settings are automatically stored and recalled with the Project; the signal is virtual and is rendered in a separate MIXDOWN operation; you can process the audio signal with additional VST plug-ins prior to printing the audio waveform; you can even use the “FREEZE” operation, which creates a temporary audio file) to lower the overall drain on your computer’s CPU. Running the VST Editor is worth it, even if you do not edit, because it will update everything (even when running in the background) as long as it is ONLINE. Or you can develop a workflow where you have it take snapshot of all your settings before you close the Project.

Auto Sync parameter:
To really start enjoying your S90 XS/S70 XS Editor VST it will be important to get a handle on the Auto Sync function. This deals with the direction of the flow of information. You have two choices: Data can flow from the S90 XS/S70 XS to the computer, or vice versa, from the computer to the XS. Thinking this through, if you start work in the hardware XS, and want to capture what you have done as far as setup data, you want the arrow pointing from the XF to the computer. However, when you have archived a session and wish to recall your work, this is when you want the arrow pointing from the computer towards the XS.

Stating this sounds so very obvious, but you will not appreciate it until you wipe out some work that you have done by replacing it with all piano Voices in all 16 PARTS. Even if this happens to you, do not panic. Remember the hardware S90 XS/S70 XS can be returned to the last stored state by simply recalling the current program. So even if you have a setup you’ve made in the S90 XS/S70 XS and you have the Editor’s AUTO SYNC setup to go in the wrong direction, all may not be lost. You can simply recall the current Program in the hardware S90 XS/S70 XS and then set the Auto Sync in the correct direction.

Also learning to use the ONLINE/OFFLINE function will be important. Anytime you want to make a change in the hardware without the software documenting it, you can simply click the ONLINE option. This will take the Editor OFFLINE. You can try out your change. If you like it and want to keep it you can bring the Editor back ONLINE.
· ONLINE (active) data will automatically be synchronized in hardware and software
· OFFLINE (active) data will not automatically be synchronized
· OFFLINE (non-active) you have a problem to troubleshoot as you have no communication.

The “BULK > DATA SYNC” function is also an important tool. This tool allows you to initiate Bulk dumps from the Editor to the S90 XS/S70 XS (TRANSMIT) or to receive bulk dumps from the XF into the Editor (RECEIVE). This can be accomplished with the Editor in the active OFFLINE status.

Data Sync can be used to import the Normal USER and Drum USER Voices into the Editor – this, as mentioned, is useful when you want to store an entire Library (all or a bank of Voices that you used for this Project) – Rather than limit you to just the 16 Voices of the multi-timbral MIXING setup, you can have the Project store/recall every Voice currently in your XS. This is useful when your Project includes several Program Changes and/or you are not completed and wish to keep your current Library of Voices available. To restore all the VOICES in the Library, you would opt to configure the AUTO SYNC SETTING for VOICE (if you recall, we did not have that set to synchronize, because it does take some time to restore all 512 Normal User Voices and 32 Drum User Voices from memory and this would only need to be done once, and for this specific use case).