Control Sets MOXF
You can view and set the parameters for the Controller Setups in the MOXF itself or via the “MOXF6/MOXF8 Editor” in your computer. To navigate to the Controller Sets in the MOXF from Voice mode:
• Press [EDIT]
• Press [COMMON], if not already selected
• Press [F4] CTL SET (Control Set)

• There are 6 sets. Setup in three pairs, reachable via [SF1] Sets 1 and 2, [SF2] Sets 3 and 4, and [SF3] Sets 5 and 6. Each “Set” includes:
• Element Switches – determines if an Element is affected (when parameter permits individual assignment)
• Source – the physical Controller and its Control Change number, if applicable.
• Destination – the target Parameter
• Depth – the direction and amount applied

Setting the SOURCE/DESTINATION:
Select a Source controller and assign a target Destination parameter.

Control “Elements” or “Common”:
The ‘ElementSw’ or Element Switch activates control for each Element. If the destination is ‘common’ (global) for all Elements you will see parenthesis (———) around the eight dashes that represent the individual Elements. Parenthesis around a parameter means you cannot get at it (This is the equivalent of being ‘grayed-out’)… in this case because all Elements will be treated together. The Common parameter destinations are “Volume”, “Reverb Send”, “Chorus Send”, “Portamento Time”, “Mono/Poly”, or any designated specifically as ‘common’ (typically starts with a “C” as in “CLFO” or Common Low Frequency Oscillator). When assigned to control the CLFO you have a controller assignment matrix (called the “BOX”). It allows you to assign the Common LFO with great precision within the MOXF’s 8-Element architecture. There are 3 controller matrices in the BOX. Destinations include Pitch Modulation Depth, Filter Modulation Depth, Amplitude Modulation Depth, Resonance, Pan position, and Element LFO Speed… and the amount is programmable per Element per Box! Additionally, the CLFO can be assigned to available parameters within the INSERTION EFFECTS and VOCODER. The Common LFO (covered separately) is extremely flexible – in addition to the preset Wave types you can create your own USER LFO and apply it to your synth sound.

If the destination can be assigned to a specific Element(s) you will see the destination parameter name as ELM-Lvl = Element level, ELM-Dly = Element delay, or ELM-Pan, etc. Parameters that are for the filter, amplitude, or pitch functions are always selectable per Element. You can select which Elements are to respond to this control setting. An “ElementSw”, Element Switch setting of “-2——“, represents a setting where Element 2 will be affected, and the others are unaffected.

Real-time Control over Insertion Effects:
Other possible destinations include real-time control over the powerful DUAL INSERTION EFFECTS (including the Vocoder parameters) that can be applied to a VOICE. Refer to the Effect Parameter List (page 98-105 of the DATA LIST Booklet) for an idea of potential here. When targeting a control destination if an effect parameter can be real-time controlled you will see an abbreviation of the parameter name appear in the Control Set. If not, the parameter will be designated with a number, as in “insB: P10”. For example, call up the Organ sound PRE1:083(F03) “Or:16+8+5&1/3”;

This Voice uses the Rotary Speaker algorithm for INSERTION B. You will find data about this effect on the top right of page 101 of the DATA LIST booklet.

Navigate to its Control Set;
• Press [EDIT]
• Press [COMMON], if necessary
• Press [F4] CTRL SET

This Voice has the Destination set to “insB: EfSpCtl” which translates to “Insertion B: Effect Speed Control”. It has two speeds (like a Leslie) Slow and Fast. This Control Set is using the Modulation Wheel to switch between Slow/Fast speeds. It is a “switch” – do not mistake this for the transition time (the ramping up or gradual slow down in speed) – that is handled by parameters within the Effect algorithm. The switch selects either SLOW or FAST – how it transitions is extremely programmable within the Effect parameters.

Most of the parameters of the Rotary Speaker algorithm are assignable for real-time control. There are 16 possible parameters in any processor. Speed Control is listed as MIDI Parameter Number 16. MIDI Parameters 10 and 15 are unavailable for real-time control assignment. If you attempt to select them you will see “insB: P10” and “insB: P15” instead of a parameter abbreviation – meaning they are unavailable. (MIDI Parameter Number 10: (typically Wet/Dry Balance) is totally unavailable because of the dreaded “phase cancellation” possibilities – it is not even listed. After all, in a real world situation either your entire signal is going through the speaker or none of it is going through the speaker. It is simply not a parameter that would logically be adjusted in this instance; and Number 15 “Microphone L-R angle” is the angle of the ‘modeled’ stereo microphone on the Leslie cabinet…simply not a parameter you would move in real-time. Mic angle is a “set and forget” parameter. Parameters that are unavailable typically have no musical or practical use. If you want to see and tweak this effect press [F6]:EFFECT/ [SF3]:INSB.

This is a source of many “how come?” questions – you will have to take the designer’s recommendation about the viability of the choices they made as to whether a parameter is practical and delivers a musical result. Just because moving the “mic angle” might seem like something you might want to try, trust us, we tried and it rendered no musically useful use (and in the real world is not a practical function, any way).

DEPTH:
The setting here must be set with care and some thought. The range here is –64 ~ 0 ~ +63. How the MOXF responds to a setting will depend on which parameter and which controller is selected. A Depth setting of 0 defeats all other settings in the Controller Set (and renders them meaningless). In general, the higher the number the more it increases the range of control. Negative value settings reverse the effective direction of the controller. You will have to be logical here.

A Getting Started Guide: MOXF6/MOXF8 EDITOR VST

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

VSTi Audio Routing:
The advanced audio routing means you can use software based plug-ins to process your audio streams coming from the MOXF. 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 Plug-in Effects is not possible. But VSTi routing means that the MIDI data for the hardware MOXF engine will be routed in such a way that the MOXF (hardware) tone engine returns audio to Cubase via the special VST AUDIO LANE provided for VST Soft-synths. This audio lane allows you to hear exactly what will be rendered when you execute the “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 MOXF for the MOXF 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 MOXF VST data separately. It is automatically saved with the Cubase Project. So exactly like any software synthesizer you may have used, the MOXF and all its Voices, Edits, etc., are saved as apart of the Project itself. You can opt to save just the CURRENT MIXING setup or you can Save the entire Voice Library contained in your MOXF at the time of the project. This includes any MIX VOICES, or custom USER VOICES you may have created. If you are using the MOXF Editor as ‘standalone’ naturally, you will need to save an Editor File (.X6E) for your MOXF 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 MOXF VST is to read through the 57 page online (PDF) HELP manual that comes with it.

The Standalone version of the MOXF Editor cannot be run simultaneously with the VST version because you only have one MOXF (in all likelihood).

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

· Start a NEW PROJECT
· Use the EMPTY Template
· Once the empty Track View window is showing:
· Go to DEVICES (called “STUDIO” in Cubase series 9) > 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” > “MOXF6/MOXF8 VST” – D

This is how you access the new “MOXF 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 “MOXF 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 “MOXF6/MOXF8 VST MIDI In” for each MOXF 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 MOXF 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 MOXF requires you create a new MIDI track assigned to the MOXF VST’s MIDI IN. Do not miss this point: The “MOXF6/MOXF8 VST MIDI In” (circled in red in the screenshot below) is different from the “MOXF 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 graphic keyboard indicate what you are playing, the knobs and parameters in the Editor will animate in response to the data you are generatoring – it is literally the MOXF’s 1:1 representative in the computer. Each MIDI track will address this one instance of the MOXF VST. The number of audio lanes will depend on the number of audio Outputs you activate for the MOXF.

Activating outputs is done on the VST INSTRUMENT rack by clicking on the OUTPUT icon (indicated in the yellow box below) or by activating them in the MOXF6/MOXF8 Editor VST (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.

Important note: Remember multiple MIDI PARTS can share an audio output. You may wish to group your musical PARTS to outputs, as makes sense for your music project. PARTS of your MOXF 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 MOXF take the following steps:

· Make sure the MOXF is set to communicate via USB. You do so by pressing [UTILITY] > [F6] MIDI > [SF4] OTHER. 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 MOXF 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 another 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: “Yamaha MOXF6/MOXF8-Port 1” under MIDI OUT.

Select for PORT 4: “Yamaha MOXF6/MOXF8- 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 MOXF tone engine and then returns the audio from the MOXF 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 MOXF 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. Each of the assignable paired (USB) outputs. Shown below is the VSTi INSTRUMENT SETUP within the MOXF Editor VST.
Go to FILE > VSTi Setup

The center panel shows the outputs of the MOXF (which is acting as your computers audio interface). “MOXF6/MOXF8 – 3” and “MOXF6/MOXF8 – 4” are the default Left/Right output for the MOXF’s internal synthesizer PARTS. All PARTS routed to OUTPUT SELECT = “3&4” will travel to the DAW via the indicated bus. “MOXF6/MOXF8 – 1” and “MOXF6/MOXF8 – 2” are the default Ports for the A/D INPUT PART and can be used for any synth PART you wish to isolate.

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 driver L and R would be selected here. Your audio interface supports just stereo outputs from the MOXF (you would connect the main analog Left and Right outputs of the MOXF 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).

Auto Sync parameter:
To really start enjoying your MOXF 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 MOXF to the computer, or vice versa, from the computer to the MOXF. Thinking this through, if you start work in the hardware MOXF, 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 XF.

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 MOXF 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 MOXF 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 MOXF 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 MOXF (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 MOXF. 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 384 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).