Adding Voice Libraries to Cubase as VST PRESETS
“MOXF Editor VST”
If you have purchased Voice Libraries or if you have created your own custom Voices, you may wish to have access to these sounds when working in Cubase without having to find the particular file which may be on any number of separate USB sticks. And without having to use the FILE LOAD routine every time you simply want to audition a VOICE. There must be a way you can have total access to your data! You can add your favorite sounds to the VST SOUND Browser function within Cubase as “VST PRESET”. You can keep a copy of every VOICE and every MIXING setup (including Mixing Voices) as accessible data via Cubase. And this includes Voices that may access custom Waveform and Sample data on your optional FLASH BOARD. This is a powerful example of the integration of your hardware with your software.

VST SOUND – you may have noticed a small “cube” icon at the top of the MOXF Editor VST. This is your “quick access” button to a Sound Browser that will allow you to search for a specific Voice (or as we will see later, an entire MIXING program). You can access your sounds by selecting LOAD PRESET… (more on this as we go…)

THEORY OF OPERATION:
In Cubase you have the full-featured MediaBay and Sound Browser, which allows you not only to search for synthesizer Voices, but for all types of media (be they MIDI files, audio clips, loops, video clips, full Projects, effect presets, etc.). However, even in the entry level Cubase AI you can get a very useful introduction to this powerful functionality. What we will learn here is not only is this a great way to organize your individual Voices but it is a great tool for backing up and storing entire Libraries, and Mixing setups. Although you can search your entire computer for all types of relevant music/video related data, in this case we will be interested in the SOUND BROWSER to organize and make available our MOXF sounds. As the name implies, the Sound Browser will limit the context of our search to synthesizer sounds, specifically MOXF sounds. Let’s start with individual Voices.

This means that any VOICE can be easily searched for and found and recalled. You actually are keeping a version of that Voice data on your computer, and Cubase will “know” where to go to find it. It will be searchable by Category, Sub Category and/or by name. Even if you only remember a portion of the name you can do a TEXT SEARCH and all relevant data will be shown. The item when found will be bulked to the VOICE Edit Buffer of the MOXF – where you can experience the VOICE with its full complement of processing and offset programming. If you decide you wish to use this VOICE or would like to hold it, simply STORE it to a location in your Normal USER 1-3 Banks. By moving the data to the VOICE mode Edit Buffer you can fully access the Voice data and switch between several Voices in the same category… ideal for auditioning.

The Sound Browser is already populated with the entire MOXF factory Library – these were installed when you installed the “Yamaha MOXF6/MOXF8 Editor Standalone/VST” on your computer. The data for every Voice was sent to a special VST3 FOLDER on your computer. We will show you how to add your own data to this librarian function. As an example in this article I will use the DCP VOICE LIBRARIES: “Vintage Keys” – You can use any Library that you wish to import into the Sound Browser, or any VOICE that you edit, change or tweak.

After playing through the “Vintage Key” Library I decide that these are sounds I would like to have quick access to at all times when I’m working in Cubase. I can import the entire library (128 Voices) into Cubase’s VST Sound Browser, en masse, and then I do not have to worry about finding this particular file, on any number of USB drives and I don’t have to worry about loading individual Voices from a File. When I want a sound, I can have Cubase search for it, I click on it and it is sent to my MOXF just as fast as System Exclusive messages can fly! Too cool! In this fashion I can audition dozens of Voices from the Edit Buffer of the instrument and when I make a selection I can transfer it in seconds to the current internal Library. Plus all of my sounds are in one place!

How to get started
First, this function is launched from the MOXF Editor VST. In the upper left corner of the Editor VST you will see the VST SOUND cube icon. This is where you click and select “LOAD PRESET…” to open the convenient Browser & Filters window (shown below).

In the extreme lower left corner, click on the icon and you can set the attributes of what you will be viewing: “Location Tree”, “Filter” and “Previewer”, make sure all are selected – you should get a view similar to one above. With a Folder that is your MOXF VST. Currently it contains all of the Voice data from your basic MOXF Library. Above you can see how the CATEGORY: Keyboard> SUB-CATEGORY: E.Piano > (Character: Electric) > RESULT: “Vintage’74” is selected. Clicking on the Voice will send it to the MOXF and select [VOICE] mode on the hardware. You can play it (Audition) it directly from here. Try it to get a feel for what happens. Naturally, it finds the VOICE because these represent the PRESET VOICES in the default Library. As we will soon see, once we have saved a VOICE as a VST PRESET, the Voice does not have to be currently loaded in the MOXF – you will be able to audition any of your Voices whether they are loaded into the MOXF at the time or not – by accessing them from your computer. We should mention, this is accomplished through the Editor bulking the Voice data to the hardware’s Voice Edit Buffer. In the Edit Buffer you can play it, explore it, edit it further, and if you wish to use it – STORE it to the hardware. If you do not STORE it, moving away discards it. So this is the ultimate way to Audition Voices – and this is the use case. If you have a client or you, yourself, are looking for an appropriate Electric Piano sound for a Project you are working on, gaining access to scores of electric pianos now is at your fingertips. Over time you will undoubtedly amass quite a large selection of Electric Piano Voices, from various Libraries and from edits and tweaks you have made yourself – all your Voices, no matter the original source, in one place, instantly accessible!

We will be adding the DCP “Vintage Keys” VOICE Library to this browser so we can easily search for them. The right hand side of this window is the RESULTS area… you see a magnifying glass and “Search Results” option at the top – this is where you can click and then type in the name or a part of a name to have the browser search for the Voice data. Just above the Search Results line you see a return symbol (like a REWIND icon) to clear the text search and restore the full currently selected listing. On the left hand side of this window is the LOCATION TREE and the FILTERS areas… again you see a return symbol (like a REWIND icon) if a specific Category is selected your Search will only be in that Category, if you wish to search the entire MOXF data base, hit the REWIND icon to reset the FILTERS to search the entire data base.

Of course, the left hand side lets you narrow the search by Main Category and Sub Categories.

Troubleshooting: When adding new items to the data base you may need to refresh the listings, you do so by unchecking the MOXF VST folder, at which point you will be asked if you want to KEEP, REMOVE or CANCEL; Select “Keep”. Click and place a CHECK by the Folder. By unchecking and then rechecking the folder (which will turn RED) Cubase will search its CONTENT folders for your MOXF VST Voice data. And this will refresh your listings. NOTE: If the Browser closes after you uncheck the Folder, relaunch the VST SOUND Cube… and recheck the Folder. This action causes Cubase to re-scan the VST3 Folder and automatically updates your Sound Browser with all new entries.

Okay, for our example lets add the DCP “Vintage Keys” Library to the data base (If you don’t have this particular Library, you can use any Voice Library you wish to import as VST PRESETS).

Load the Vintage Keys Library (or the Library you wish to install as VST Presets) to the MOXF – as you would normally. We will use the Editor’s ability to extract the VOICES as follows:

Open CUBASE normally.
• Launch the MOXF Editor VST
• You do so by going to DEVICES > VST INSTRUMENTS > in the “Instrument Rack” click in a rack space to add an instrument > select EXTERNAL > MOXF6/MOXF8 VST
• You will be asked to create a MIDI Track – do so. The Editor will open and come ONLINE. 
• Click ONLINE to take the Editor temporarly OFFLINE (this will allow you to move data from the computer to the Voice Edit Buffer without overwriting data: Audition)
• On the Editor VST’s toolbar go to BULK > DATA SYNC
• Click “RECEIVE” as the data flow direction (we will be receiving the data into the Editor).
• Select the USER BANKS containing the VOICES in question and execute the Bulk transfer.
This will capture the VOICE data and bring it into the EDITOR – from here we can transfer it to the Sound Browser. This can be done with the EDITOR “OFFLINE” (active but Offline). If you do this with the EDITOR “ONLINE” you actually load the Voice to the MOXF hardware. (Just FYI).

The VOICE LIBRARY window shows the list of FILE’s data. On the main Editor screen, click on the NAME in PART 1 to bring the VOICE LIBRARY overlay…

On the top line you can select to view the data in this FILE by Voice “Category” or by “Bank” number. You will want to view by “BANK” so that you can select the NORMAL USER Folders (In my example I have transferred the VOICES in question to USER 1 – I have loaded the 128 sounds for this particular Library). It is from here that we can transfer the parameters for each Voice into the VST PRESETS folder on our computers.

VOICE LIBRARY (overlay):

Select “Normal User 1” (shown above) and highlight the first sound in this Bank.., which should now read: “Suitcase 1965”

At this point you could RIGHT CLICK on that VOICE and select “Save VST Preset” – which would write this one VOICE to the Sound Browser. That is how you can select a single Voice; you could select any number of non-contiguous individual Voices by CTRL clicking, or you can SHIFT-CLICK to capture a contiguous range. What we will do is use the SHIFT-CLICK option to select all 128 Voices in the Normal User 1 Folder:

Import all 128 (Vintage Keys) Voices to Cubase as VST PRESETS.
Here’s how:
In the screen shot above you can see that “Suitcase 1965” is highlighted
In the column on the far right is a ruler that we can drag down to see the list of 128 sounds… drag that down so you can see the last sound in the “Normal User 1” list.
While holding [SHIFT], click on Voice 128 “Clockwork Orange”
This will select all 128 Voices in the list. (Shown below)

Now you can Right Click  on the last VOICE and select the “SAVE VST PRESET” option.

This will take all 128 Vintage Keys Voices and copy them to Cubase AI’s MediaBay/Sound Browser and allow you to access these Voices via the VST SOUND cube icon – “Load Preset…” You can access the VOICES of this Library whether or not they are actually loaded into your USER 1-USER 3 bank locations. By this you can greatly extend the number of VOICES accessible for any given project. In fact, every VOICE you acquire can be installed in the SOUND BROWSER! What a great way to have all of your sounds organized. No more hunting through half a dozen USB sticks with various Voices listed in various Files… everything right where you can get at it. And once you realize that you can access even those Voices that access Samples and Waveforms installed on an option Flash Board, this becomes an essential workflow. 

In order for them to show up in the Librarian we may need to REFRESH it by rescanning the Folder for the newly added data.

Again: You do so by unchecking the MOXF VST folder in the Browser & Filter area (if you do not see the folder make sure that the “SHOW LOCATION” radio button is pressed).
You will be asked if you want to KEEP, REMOVE or CANCEL… Select “KEEP”

Now, recheck the MOXF VST folder
It will briefly turn RED while it searches for and updates your listings… when the rescan is complete the folder turns its normal color and the listings are updated.

You can now search through your MOXF sounds by Category, Sub Category, or simply click on “SEARCH RESULTS” and type in any portion of the name to access any of your sounds.
Shown below, I have typed in “Suitcase” in the Search Results area, immediately any Voice containing the word Suitcase will appear…

I then click on “Suitcase 1965” and in a few seconds, the data will be bulked to the hardware. “Suitacse 1965” has been added to the VST SOUND search… and the Voice is recalled in the MOXF in VOICE mode.

It is actually sitting in the MOXF Edit Buffer – If your Editor is still OFFLINE, you have not overwritten anything just yet – you are in a position where you can fully audition the Voice, even tweak it. If you think it is one you want access to for this project you STORE it and access it in through the MIXER view for your SONG or PATTERN. The Editor allows you to audition the Voice in the VOICE mode EDIT BUFFER, and when you decide on the VOICE you can either immediately audition another, or you can STORE the Voice to an internal USER location in the hardware. When you return to your SONG or PATTERN you can access this Voice through your MIXING setup. The beautiful thing is you are assembling Voices for just this Project and they will always be associated with this Project. Plus you can have access to your entire collection of MOXF Voices!

Vintage Keys (by DCP) and other MOXF Voice Libraries are available at the YamahaMusicSoft.com website: Yamaha Music Soft

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