“A picture is worth a thousand words”, some great mind said. Please refer to the MOXF Reference Manual pages 19-20 for the full graphic story on the Effects routing in the MOXF for VOICE mode, PERFORMANCE mode and for SONG/PATTERN MIXING modes. This makes it very clear where the Effects blocks are and when they are available via a simplified flow chart. We will try and make clear how this impacts you using the instrument to its fullest.

In VOICE mode:

There are up to 8 Elements in a normal MOXF Voice. Each can be individually assigned to the INSERTION EFFECT block, which is a dual block (Insertion A and Insertion B). These two units can be routed in series or in parallel (see the routing as A-to-B, B-to-A or parallel). Each Element can be routed to “ins A” to “ins B” or to neither (“thru“). The two SYSTEM EFFECTS (Reverb and Chorus) each have their own send levels for the entire Voice (that is, all Elements together). The output of the Chorus can be routed to the Reverb. And there is an independent RETURN level and PAN position control for each System effect – mixing the signal back into the main flow; and a PAN position control. Next, the entire signal then goes on through the MASTER EFFECT, the MASTER EQ (a 5-band EQ) then on to the main stereo output.

1) Element EQ applied to each Element (for a Normal Voice) and each Key (for a Drum Voice)

2) Common EQ applied to all Elements and Keys

3) Selection of which Insertion Effect, A orB, is applied to each Element/Key

4) Insertion Effect A/B related parameters

5) Reverb and Chorus related parameters – These are referred to as the “SYSTEM EFFECTS”

6) Master Effect related parameters

7) Master EQ related parameters

An important thing to understand about these VOICE mode effects is that the Insertion Effect assignment can be recalled for up to 8 of the 16 Parts when the VOICE is used in a multi-timbral setup in SONG/PATTERN mode and all Parts of a PERFORMANCE even the A/D INPUT can recall their two Insertion Effects …more on this point in a minute. There is one A/D INPUT PART setup for all of Voice mode – your A/D Part can be routed to its own dual Insertion Effects.

What this means in simple terms is: A MOXF Voice can be very complex in terms of how it deals with Effects. Each multi-sample component within a Voice can be routed to one or the other or both or neither of the INSERTION processors. These are the effects that you can control in real time – by assigning important parameters to physical controllers like your Mod Wheel, Foot Pedals, Assignable Knobs or Assignable Function buttons, etc. The INSERTION Effect often gives the Voice its personality. The Rotary Speaker for a B3 sound, the soundboard Damper Resonance for the piano, and the Overdrive Distortion for the electric guitar are all examples of effects that give a sound its identity/personality.

The SYSTEM EFFECTS (Chorus and Reverb) are shared effects – they are shared by all the Elements together. They provide the outer environment for the sound. That is, the room acoustics. Reverb is the size and shape of the room in which the instrument is played. The Chorus processor can be thought of as a “time delay” effect. Its principal function is from extremely short time delays (Flanging and Chorusing) to long multiple repeat delays (like Echoes).

When the VOICE is placed in an ensemble (either a PERFORMANCE or a SONG/PATTERN MIXING program) it does not take along the SYSTEM EFFECTS. And therefore the Voice will not always sound the same as it does alone in VOICE mode. This is because the SYSTEM EFFECTS may, in fact, be very different. The SYSTEM Effects are shared by all of the PARTS. This makes sense because, remember, System Effects are the OUTER environment. It would be analogous to the musicians all being in the same room acoustics. You have an individual Send amount for each Part allowing you to place each instrument near or far from the listener.

We have mentioned this before, and it’s worth repeating in this article, the VOICE is the basic fundamental playable entity in the MOXF. The other modes we will discuss (Performance, Song and Pattern) use VOICES but place them in an entity called a PART. Knowing what a PART is very important because what it allows us to do is to address the same VOICE differently when we combine it with other Voices. Say you want to use the FULL CONCERT GRAND combined with a Bass sound to create a split, at middle “C”, for example – you would do this by placing the Full Concert Grand in PART 1 of a Performance and your favorite Bass in PART 2. Part parameters would allow you to play the piano above a particular note and the Bass below a particular note. Those would be PART parameters. You do not have to destructively edit the original VOICES to use them in combination. PART parameters allow the same Voice to be treated differently in each ensemble. It is not necessary to create a separate version of the FULL CONCERT GRAND that only plays above the “C3” split point. 

Later you decide to use the Full Concert Grand piano in combination with a String sound to create a layered sound. Again, you would place the Full Concert Grand piano in PART 1 of a Performance, and your favorite String sound in PART 2 to create a layered sound without destructively editing the original Voice data.

In PERFORM mode:
There can be up to 4 Voices plus an A/D INPUT in a Performance. The DUAL INSERTION EFFECTS are available for all Parts of the Performance. That is, Voices in a Performance can recall their original Dual Insertion Effect routing and control while in a Performance. What actually happens is you are activating the Dual Insertion effects that are programmed in at Voice level. Insertion Effects are applied at the VOICE Edit level.

What this means: An organ sound that has a Rotary Speaker and Amp Simulator effect back in Voice mode will automatically recall these (personality) effects when you place it in a PART of a PERFORMANCE and activate the INSERT FX SWITCH. The guitar sound that has an Overdrive Distortion and Wah-Wah effect back in Voice mode will automatically recall these effects when you place it in a PART of a PERFORMANCE and you activate the INSERT FX SWITCH. The Full Concert Grand piano will automatically bring along its Damper Resonance – because INSERTION EFFECTS can be considered a part of the VOICE. Of course, any assigned controllers are also automatically recalled, as well.

Each Voice in a Performance is called a ‘PART’. And each Part has an individual send level to the System Effects so that you can control how much is applied individually. There is a return level from each System effects. The total signal is delivered to the Master EFFECT, then to the Master EQ and then on to the stereo outputs.

1) Part EQ applied to each Part – each Part features a 3-Band EQ

2) Selection of the Parts to which the Insertion Effect is applied

3) Reverb and Chorus related parameters – these are referred to as the “System Effects”

4) Master Effect related parameters

5) Master EQ related parameters

In SONG/PATTERN MIXING mode:
The Tone Generator block can have up to 16 Parts total. The DUAL INSERTION EFFECT can be activated on any 8 Parts from the internal MOXF (1-16). Each Part will have an individual Send to the System Effects (Reverb and Chorus). And finally, all signal goes through the Master Effect, the Master EQ and then on to the main stereo outputs.

1) Part EQ applied to each Part

2) Selection of the Parts to which the Insertion Effect is applied

3) Reverb and Chorus related parameters

4) Master Effect related parameters

5) Master EQ related parameters

Again you do not see what Voice Insertion Effects or what A/D Insertion Effects are active as you would have to see the Voice parameters to know… Insertion Effects are a part of the individual Voice programming.

Background
The algorithms (a fancy word for ‘recipe’ or specific arrangement) in the MOXF Effects are deep. Please refer to the DATA LIST booklet to see the individual parameters and effect types. On page 98-105 of the DATA LIST you will see a list of the different Effect Categories and Effect Names. It will list the parameters available in a convenient form to see them all and the ranges of control. This is worth a look. The TABLE Number heading is for those that need to know the exact value of each setting – refer to the charts on pages 108-115 for exact values for each parameter setting. Basically settings are made to taste (by ear). However, knowing what is subjective and what is objective is what separates a bogus mix from a brilliant mix.

So much of working with sound is subjective (meaning it is up to you) but some of it is very objective (meaning there actually is a right and wrong). It’s true. Knowing the difference between these two concepts is the key to greatness in the audio business. For example, when routing signal to an effect, do you return more than you send or send more than you return? Gain staging is the objective part of audio. Making sure that you work on the side of SIGNAL when dealing with the SIGNAL-to-NOISE ratio. The rule of thumb: Send up to the limit of clean audio and return just enough to taste.

If you are sending signal to an effect processor that you have configured as an EQ, how much signal do you send? Again this is not subjective, there is a right and wrong. Send all the signal through the EQ. If you were to return dry signal from certain routing scenarios you can cause phase cancellation – a situation where you will be adversely affecting the signals integrity. Knowing what you are doing with effects can mean confident utilization with stunning results. Just experimenting willy-nilly can lead to bogus results. Of course, you could eventually wind up with something useable but the old saying: “Knowledge is power” does apply here. In most instances the MOXF will not let you get into too much trouble – sometimes you are prevented from controlling certain things because it would be illogical or lead to bogus results …those decisions are made by the designers. For example, you will see where a subjective return is allowable a DRY/WET balance so that you can mix your amount of effect return, but from a device like an EQ there is no balance control, because the design will not let you make that “mistake”. This is a good thing.

As you will learn, not all parameters are available for real time control – again, a design decision is made to prevent unfortunate illogical assignments that would cause sonic problems.

The Processors: System – Insertion – Master
The Effect processors are divided into SYSTEM Effects (Reverb and Chorus processors); INSERTION EFFECTS (applied within the Voice architecture); MASTER Effects (applied overall just before the output).

The REVERB processor has 9 main algorithms available. When working with a reverb algorithm you can select by size environment: REV-X HALL, R3 HALL, SPX HALL, REV-X ROOM, R3 ROOM, SPX ROOM, R3 PLATE, SPX STAGE, and SPACE SIMULATOR. Then from there you can tweak it to match your specific needs.

Yamaha was the first company to introduce DSP effects that were based on the actual dimensions of the great concert halls of the world. A “HALL” is typically a large concert environment. The REV-X is the most recent development in a long line of Yamaha reverberation chamber algorithms and is the same effect found in the SPX2000 processor and in the high-end digital touring consoles from Yamaha. The Pro R3 was one of the first high-resolution digital studio reverbs and enjoys a stellar reputation in the field. The Yamaha SPX introduced the project studio digital reverb back in the 1980’s.

“ROOMS” have a definite size factor to the space. A “STAGE” is usually a loud reverberant environment. A “PLATE” is a brilliant emulation of the old 10-foot boxes that used to contain these reverb chambers that used a transducer (driver) at one end and second transducer (microphone) at the other…in between was a large aluminum plate. You sent signal from the mixing board’s aux sends and returned up to a maximum of 5 seconds of cool reverb. This was the standard for drums and percussion “back in the day”. The SPACE SIMULATOR will help you design your own environment and can teach you about how the other presets where made. It allows you set width-height-depth of the walls and the ‘wall vary’ lets you set the reflective texture of the surface from rug to steel. A rug absorbs sound, while the steel would be highly reflective. Under the SPACE SIMULATOR you will find several presets that will give you an idea of just what type of spaces you can simulate: Tunnel, Basement, Canyon, White Room, Live Room, and 3 Walls…

When you are thinking about these you must imagine how each will sound and why. A tunnel, for example, is long and narrow with reverberant surface walls; while a basement has a low ceiling and probably not much reflection of sound. A canyon you can picture has no ceiling so it is a wide-open space with a long reflection and bounce back. The “white room” is a starting point – you configure the space – but this preset is simply a neutral start…

Also important in working with reverb is an understanding of how it works in the real world. In most listening situations you are hearing a certain amount of signal, directly from the sound source, while the rest of the signal bounces off the environment you are standing in. If, for example, you are 30 feet from the stage you will hear a portion of the sound direct from the stage but most of it will bounce off of the walls, floor and ceiling to arrive at your position. Because we often record and/or amplify musical signal with a technique called “close-miking”, reverb became a necessary evil (if you will). Close-miking allows us to isolate a particular sound from others in the environment but there is a trade off…we lose that sense of distance and environment. To regain some of the distancing we use artificial reverb to do the trick. Recognize that when you put a different amount of reverb on the snare than you do on the flute this does not occur in nature. All the musicians in the same room would naturally have the same reverberant environment with very subtle differences due to positioning in the room. This gets back to the subjective part of the audio business. SO WHAT? You can use effects to taste. There is no rule that says everyone has to have good taste nor do you have to exercise it.

An important parameter in all the reverbs is the INITIAL DELAY this is the time before the reverb receives the signal and can help position the listener near/far from the instrument source. The initial delay in any acoustic environment is the time it takes before the signal reaches a significant boundary. In a large hall it could be several hundred milliseconds before signal bounces off the back wall.

The HPF and LPF are there to help you shape the reverb signal itself. There is a rule of thumb here: low frequencies reverberate less than high frequencies. Low frequencies tend to hit a surface like a wall and spread out while high frequencies hit a wall and bounce back into the room. This is why when you are sitting next door to the party you only hear the bass through the wall – all the high frequency content ‘reverberates’ and stays in the source room. So use the HPF (high pass filter) to allow the highs to pass through to the reverb and block the lows from reverberating. Reverb on bass just adds MUD. MUD is not a subjective term but if it is what you want go for it (but yuck, it is mud). Low frequencies don’t bounce back they tend to hug the walls and spread out. If you want cutting, punchy bass leave the bass “dry” (without reverb).

The MOXF Reverb processor features a brand new effect algorithm set based on the heralded Yamaha “Rev-X” technology. “REV-X” is a whole new generation of Yamaha Reverb with the richest reverberation tone and smoothest decay. There are “Hall”, “Room” and “Plate” algorithms. Newly introduced parameters like ROOM SIZE and DECAY envelope also bring much higher definition and finer nuance. The number of reflective impulses determines reverb quality it uses… the higher the number the more definition and the finer the quality of sound. It is processor intensive – these are very short reflections but lots of them to make the sound smooth.

The CHORUS processor features short time period delays from phasing, flanging, to chorusing and on out to multiple repeats and echoes. When we say “short” here we are talking much larger than the distance between reverb reflections because these can be heard as separate events. You even get additional Reverb algorithms for maximum flexibility when mixing. There are also tempo control delays that can be synchronized to the BPM of the music.

A Flanger is a time delay effect. If two identical signals arrive at your ear-brain, you will not be able to perceive them as two separate signals until one is delayed slightly. Imagine 2 turntables in perfect synchronization playing the same record at exactly the same speed. You would perceive the second one as just making the first signal louder until you delayed one of them a bit. If one slips 1ms behind the other you will perceive what we call flanging. The actual name comes from two 2-track reel-to-reel tape decks playing the same material. This was used as a real time effect, “back in the day”. You would have 2 identical 2-track decks running in sync (no, there were no protocols to sync them – you pressed the buttons at the same time!!!) The engineer would slow one down by placing his thumb momentarily on the flange (reel holder). The resulting swirling sound is called flanging. And there were no settings – it was all done by ear.

Any delay between exact sync and 4ms is considered flanging. Delays of 4ms-20ms are considered chorusing and somewhere beyond 30ms the ear-brain starts to perceive two separate events, called doubling or echo. Among the ‘time-delay’ algorithms in the Chorus processor you will find: Cross Delay, Tempo Cross Delay, Cross Delay Mono, Tempo Delay Stereo, Delay L/R, Delay L/C/R, Delay L/R Stereo, G Chorus, 2 Modulator, SPX Chorus, Ensemble Detune, Symphonic, VCM Flanger, Classic Flanger, Tempo Flanger, VCM Phaser Mono, VCM Phaser Stereo, Tempo Phaser, Early Reflection; additionally you will find three SPX Reverbs available in the Chorus processor (very useful when you want to set a lead or section of instruments apart from the rest of your mix), a Hall, Room and Stage reverb.

Each of these main algorithms has their own “Presets”. A Preset simply is a starting point. Remember, only you can know what is working for your particular composition. The Presets are provided and they are meant to be tweaked by you. They are “starting points”.

The INSERTION EFFECT is made up of two identical units (INSERTION A and INSERTION B). The 53 effect types and scores of preset can be the subjects of intense study. We will try and introduce you to some of the more unusual and unique ones in this article. Many of the recipes (algorithms) are repeated in the Insertion Effects simply to allow you more options when processing your mixes. In addition to all the reverbs, delays, echoes, cross delays, tempo delays, etc., you get some that are available nowhere else. Insertion Effects can be considered a part of the Voice itself, and can be assigned real time controllers so that you can manipulate them while performing.

The Yamaha VCM (Virtual Circuitry Modeling) Effects are revolutionary in that they are recreations constructed by modeling the circuit components (transistors, capacitors, resistors) of the classic gear they emulate. The designer then could reconstruct the products by creating virtual circuit boards. The VCM Flanger is a simulation of the classic vintage flanger devices. The VCM Phasers faithfully reproduce the response of the old mono and stereo guitar stomp box of the ’70’s.

Among the innovative effects from the Yamaha Samplers A4000/5000 are the Lo-Fi, Noisy, Digital Turntable, Auto Synth, Tech Modulation, Isolator, Slice, Talking Modulator, Ring Modulator, Dynamic Ring Modulator and Dynamic Filter.

There is a Multi-band Compressor algorithm that is great for fixing and punching up specific frequency ranges. Multi-band compressors are used to finalize mixes and bring out (punching up) specific frequency bands without raising overall gain. These are ideal when importing a stereo sample audio clip or when you are resampling within the MOXF.

The Digital Turntable algorithm adds “vinyl record surface noise” to your mix. You can program the tone of the noise, the frequency and randomness of the clicks and pops, and you can even program how much dust on the stylus!!!

Slice is also the name of one of the effect algorithms in addition to being a sample edit process. This Slice effect can divide the audio into musical timed packets that it can pan left and right in tempo. You can select a quarter note, eighth note or sixteenth note slice and there are 5 different pan envelopes and some 10 different pan types.

The innovative CONTROL DELAY effect is a digital version of the old style tape delay (Echoplex) where you can create wild repeating effects. When using the Control Type = Scratch you can assign a controller to create insane echo effects.

Why is it called “Insertion Effect” and what is the difference between it and a “System Effect”?
On an audio console you have a series of channels. Channels carry input or returns from a multi-track (we refer to them as Input Channels or Track Channels depending on their role). Each channel has an on/off button, EQ, a fader, and a set of auxiliary sends. These ‘aux’ sends allow each channel to send a portion of the signal on what is called a bus (a group of wires carrying like signal). That bus can then be connected to an offsite effect processor in a rack. The return comes back to the board and is mixed to the stereo signal. That scenario is an example of what happens in MOXF with the SYSTEM EFFECTS. That is, when you are in a Song or Pattern and on the MIXING screens, the REVERB, and the CHORUS Effects are arranged so that access is just like the auxiliary sends of a console – each channel (Part) has an individual send amount to the system effects. There is a composite return signal that is mixed to the stereo output.

An Insertion Effect on an audio console is usually accessed via ‘patch points’ (interruption points in the channel’s signal flow) that allow you to reroute all of the channel’s signal via a patch bay through the desired effect or device. You are, literally, inserting a processor on that specific channel alone. This is how the INSERTION EFFECT block works on the MOXF.

Examples: Typically, when a reverb effect is setup, just a portion of each sound is sent to it. This is the perfect example of what a System effect is about. However, things like rotary speaker (organ) or amp simulator (guitar) are effects that you might want to isolate on a specific channel. Therefore these type effects are usually accessed as an Insertion Effect. One key advantage of the Insertion Effect is that it can be controlled in real time, during the playing performance. Since the Insertion Effects are programmed at the VOICE level you can use the Control Sets (there are 6) to route your physical controllers to manipulate the parameters of the Insertion effect in real time. You can change the speed of the rotary speaker, or you can manipulate the Guitar Amp simulation setting while performing the guitar sound. This type of control is beyond just the send level (you are given access to System Effect send level only from the Voice mode Controller assignment). In the real world, the size of the room does not change (hopefully) so System effects like reverb are pretty much “set it/forget it”. However, changing the speed of the rotary speaker effect is something that you may want to perform during the song.

Just how are you able to control certain parameters in an Insertion Effect? …via MIDI commands, of course. In the hierarchy of modes in the MOXF VOICE mode is the most important when it comes to programming. This is where Yamaha spent hours and hours developing the sounds you play. The programmer’s assembled the multi-samples into waveforms, and combined the waveforms into the Voice and worked with the envelopes, the response to velocity, the pitch, the tuning, the filters and so on. Each sample in the MOXF has its own EQ, the meticulous programming goes on for months at a time. Of course part of the arsenal available to the programmers were the Effects.

How are the EFFECTS routed?

Navigate to the MOXF Effect connection screen.
• Press [EDIT]
• Press [COMMON]
• Press [F6] EFFECT
• Press [SF1] CONNECT

For PERFORMANCE and/or SONG/PATTERN mode
• Press [MIXING]
• Press [EDIT]
• Press [COMMON]
• Press [F6] EFFECT
• Press [SF1] CONNECT

This screen shows you an overview of the connections and the signal flow (follow the routing left-to-right). It pays to study the diagrams to get a clear understanding of how signal travels. Each Element is routed to “INS A”, “INS B” or “thru”. The INSERTS are routed in parallel, A>B, or B>A; You have sends to the Reverb, to the Chorus, between the Chorus and Reverb. There are Return Levels and Pan position.

VOICE Mode:
Each normal Voice can have as many as eight Elements each with its own Element EQ. A drum Voice has a different Element on each of its 73 keys and each has its own EQ. The entire Voice (all Elements together) then go through the Voice’s COMMON EQ.

While in VOICE mode each Voice can use a pair of Insertion Effects processors [A] and [B]. Each of the eight Elements of a normal Voice can be routed to one, the other, both or neither of the Insertion processors. Real time control over selected parameters is possible in the Voice’s CONTROL SET. Each drum Key can be routed to one or the other or neither of the Insertion processors.

Next is the SEND/RETURN setup where a portion of the total Voice signal can be routed to the SYSTEM EFFECT processors (Reverb and Chorus). There is a SEND amount routing the output of the Chorus processor to the input of the Reverb, if desired.

PERFORMANCE Mode:
A PERFORMANCE is a combination of as many as four internal synth PARTS plus an A/D INPUT PART. In other words, there are storable parameters for the A/D INPUT for each individual PERFORMANCE. The important thing to understand here is how the Effect processors are allocated in this mode. All of the PARTS can use their own dual Insertion Effect routing. All five of the PARTS have a separate SEND amount control to the Chorus processor, and to the Reverb processor. Then the entire signal goes through the MASTER EFFECT, the MASTER EQ before going to the output.

Each Part will have its own control for the amount of signal sent to the System Effect on the Part Edit level. While in Edit, you can select the PART to edit by touching the numbered button – corresponding to Part.

Notice that between the Chorus processor and the Reverb processor you have a level Send control knob: Chorus-to-Reverb Send. This can be used to create a situation where the System effects are used in series (one after the other) rather than in parallel (side by side). An example of how this can make a difference is when you select a DELAY as the effect for the Chorus and a HALL for the Reverb…when parallel routing is selected, you could send a signal independently to the delay and to the reverb. Only the initial note will have reverb, each repeat would be dry. By routing “0” send to the Reverb, but send the signal through the Chorus first, then through the Chorus-to-Reverb send, on to the reverb, you will now have a signal where each repeat of the Delay will have reverb.

• Press [SF2] INS SWITCH

You can select any PART.

As you move your cursor to the right in the [SF1] CONNECT screen you can move the cursor highlight into the CHORUS or REVERB effect and select from among the different algorithms. A convenient Category function (“c”) lets you quickly sort through the different effect types (“DST”, for example, is the Distortion category, and “AmpSim 1” Amplifier Simulator 1 is the program type).

You can drop into edit any of these four processors via the associated [SF] (Sub Function) button. For example, in the screen above [SF2] is INS A, [SF3] INS B, [SF4] is Chorus and [SF5] is Reverb.

One you enter EDIT of one of the processors, you may need to use the PAGE [<]/[>] buttons to view multiple screens. It varies according to the particular effect type in question.

You do not access the INSERTION EFFECTS via PART parameters so where do you edit the Insertion Effects?
The Insertion Effects are simply accessed from Voice mode. When you go to this same [CONNECT] screen in VOICE mode you will see [SF] buttons available to access the INSERTION EFFECT parameters. The Insertion Effects do not appear in the MIXING CONNECT screen because the Insertion Effects are part of the VOICE mode edit parameters. If you need to radically change an Insertion Effect from the original programming then you will need to create a USER Voice with your new Insertion Effect edits and STORE it as a USER VOICE. That USER VOICE can then be used in your PERFORMANCE.

What if I want to edit a Voice’s Insertion Effects while I’m working on a SONG or a PATTERN?
You have the ability to edit a Voice directly while still in a Song Mixing or Pattern Mixing program. Because it is so often required to make changes to a VOICE when used in a sequence, the MOXF provides a shortcut method to access full edit functions for a VOICE while you remain in the SONG MIXING or PATTERN MIXING mode. Here’s how this works:

Press [EXIT] to leave EDIT mode but press [MIXING] to view the MIX screen. The MOXF allows you to drop into full Voice Edit for any Voice while still in the MIXING mode. Press the [F5] VCE ED (Voice Edit) button to drop into edit.

This allows you to edit a Voice and its two Insertion Effects (provided the INS SWITCH is active for the PART) while you are using the sequencer so that edits can be done in the context of the music sequence. When you STORE this edited Voice it will automatically replace the Voice in your MIX in a special “MIX VOICE” bank, which is “local” to the current Pattern or Song. (If you are editing a DRUM KIT you will need to store this KIT to one of the 32 provided USER DRUM Bank locations).

What this means is the Mix Voice will automatically load when you load the Pattern or Song, even if you load just the individual Pattern or Song. Each Pattern Mix and Song Mix has 16 Mix Voice locations total. Due to complexity, Drum Voices cannot be stored in Mix Voice location.

In Voice Edit you have 6 Control Sets that allow you to customize how the available effect parameters are controlled. Choose your assigned MIDI controls wisely, they will be available when you go to Song or Pattern Mixing.

Master Effects
The Master Effects are “post” everything but the Master EQ. So they are applied to the overall System signal (stereo). These are 8 effect algorithms that you will also find in the Dual Insertion Effects. If you want to apply them to a single sound, you can create a Voice and find the algorithm within the 116 Dual Insertion Effects.
These selected types are:

• DELAY L,R STEREO
• COMP DISTORTION DELAY
• VCM COMPRESSOR 376
• MULTI BAND COMP
• LO-FI
• RING MODULATOR
• DYNAMIC FILTER
• ISOLATOR
• SLICE

These are typically “DJ”-type effects, for lack of a better term, because like a DJ would, they are applied to the entire recording. DJ’s are either playing back a record or CD that is a finished mix. So the effects that they add are always post, they cannot put a Dynamic Filter on just the snare drum, if you get my meaning, so “DJ-style effects”. These Effects are applied to the entire SYSTEM signal. Don’t be afraid to use your imagination with these Master Effects – some of them are quite radical. Things like putting a Delay on the final hit of the song so that it repeats and fades …or using a frequency Isolator to roll out all the bass for a section of a song, then bringing it back in for dynamic impact …or wacky panning effects with the Slice algorithm where you can pan signal left and right in tempo with the groove. Also on the more normal side, you are given a powerful Multi-band Compressor for pumping up the frequency bands of the final mix. Awesome tools… experiment!!!

Master EQ
Although not technically an effect (EQ is an essential utility for any mixer), the Master EQ is the last process the signal goes through prior to the main outputs.

In Voice mode, the Master EQ is setup and is global for the mode (applies to all Voices). While in Voice mode:
• Press [UTILITY]
• Press [F3] VOICE
• Press [SF2] MASTER EQ

Here you find the full 5-band parametric EQ. Parametric means you can select the Frequency, the Gain (increase/decrease) and the Q (or width) of the bands). Within each VOICE you will find a three band (adjustable Mid-Frequency) Equalizer available via the KNOB CONTROL FUNCTIONS for quick tweaks.

In PERFORMANCE mode or in Song/Pattern MIXING modes you can setup the Master EQ on a per program basis
• Press [EDIT]
• Press [COMMON EDIT]
• Press [F2] LEVEL/MEF
• Press [SF3] MASTER EQ

Conclusion and final thoughts
Signal flow is the most important thing to get a handle on when you are seeking a better understanding of audio. This is particularly true when it comes to affective effect processing. The MOXF uses professional mixing console routing as the basis for how signal flows through the synthesizer. A Voice or Part is like a musician playing an instrument. So imagine a guitar player with a wah-wah pedal, and a combo amp. These are like his Insertion effects… He inserts the guitar into the wah-wah pedal and then to his combo amp. Insertion Effects are controllable in real time by the player – and this is an essential part of performing. That is the guitar Voice in Voice mode.

Now take that player and his rig to a recording studio. This would be the Sequencer mode. When you activate the INSERTION SWITCH for the PART containing the Guitar Voice, it is like the player brought along his wah-wah pedal and combo amplifier from home. And they will be able to manipulate them in real time as they perform.

In the studio (SONG MIXING) mode they are plugged into the console, the guitar channel has two auxiliary sends. One connects to the studio’s reverberation chamber, the other send can be routed to some sort of delay/chorus/flanger/delay (as may be required by the session).

That is what you have here in the MOXF; Real time control over personal effects, and a mixing console’s Send/Return situation with the System Effects.

Now to continue with this analogy, if you route a signal to a direct out on a mixing console, you interrupt the signal in the patchbay… this takes that channel out of the main mix and allows you to route it, in isolation, to some other destination. This interruption removes that channel from the auxiliary sends (the ones feeding the Reverb and the Chorus processors), but you would be doing this interruption precisely because you are going to process the signal in isolation, separately.

When you take a PART of your MIXING program and route it to a direct (assignable) pair of outputs, it is removed from the main stereo mix, and it no longer is pooled with the others via the aux sends to the studio’s effects.

More on this type of advanced routing in our next article which will integrate USB audio recording into our discussion of Effects. Routing a channel to a direct output is done when you have something you want to do to it in isolation.

UNDERSTANDING MASTER MODE: MOXF6/MOXF8
“This synthesizer is loaded with such a wealth of different features, functions and operations, you may find it difficult to locate and call up the particular feature you need. This is where the Master function comes in handy. The MOXF6/MOXF8 has space for a total of 128 of your own User Master settings. You can use it to memorize the operations you use most often in each mode, and call them up instantly anytime you need them with a single button press.”

Press the [MASTER] button to enter the Master Play mode.

The Master programs can be used to organize and memorize your MOXF6/MOXF8 programs into one neat bank. It can also function as a place to store your external MIDI Controller setups when using the MOXF6/MOXF8 as a 4-Zone Master MIDI controller in a large multiple keyboard rig. Familiarize yourself with basic MOXF6/MOXF8 modes and operations before diving in this end of the pool. Save any personal data before following this document. This document is designed to help you learn how to customize the MOX to your own personal needs and does so with specific examples to help you grasp the concepts. Please follow the document, learn the concept, then apply it to your to your particular needs.

ABOUT THIS TUTORIAL:

To get the most out of this document, make a backup ALL data file of your own data so that you can restore it when you complete the tutorial. Once you have your custom data backed up please perform a Factory Set so that items referred to in the tutorial will align with your MOXF.

Press [UTILITY]
Press [JOB]
Press [ENTER]
Press [ENTER] to confirm

The principal Modes of MOXF6/MOXF8 are VOICE, PERFORMANCE, SONG and PATTERN. A Master mode setup can be used to recall a Voice, a Performance, a Song or a Pattern Program. Rather than jumping back and forth between modes, organize things in one Bank to rule them all. You can then easily access setups advancing through them with a Foot Switch (FS). The programmable FS assigned to cc98 will increment you through your Master setups.

A second use for Master setups is to integrate and organize your external MIDI gear, in addition to recalling an internal setup. (This is with the ZONE Switch active). You can send a Bank Select and Program Change messages on four different MIDI channels simultaneously when you recall a MASTER setup. The Bank Select and Program Change data can be “preset” so that you can address external device setups from any of your 4 Zones while one of the Zones addresses an internal program.

The Master setups are non-volatile. This means they remain in memory between power cycles. They are written to the MOX’s internal Flash ROM. In general, if you are going to setup and use MASTERS you will want to save (back-up) your data in “ALL” data files (.X6A).

MASTERING MASTER MODE

If you are using a MOXF6/MOXF8 alone (that is, no external MIDI devices), Master Mode can be used to assemble your on-board MOXF6/MOXF8 setups (Programs) in one convenient bank. Here is what that means: A Master location can “point” to a Voice, a Performance, a Song Mix or a Pattern Mix. Study the Factory data for examples of this type of usage of the Master setups. The MASTER setups are used to recall different Performances, Voices, Patterns, or Songs. You can set up a Footswitch (FS) assigned to Control Change 98 to advance through the Master setups.
To learn from these MASTER setups: Recall MASTER 008

From the main MASTER screen
• Press [F2] MEMORY

Here you can see how they are directly associated (linked) with a “MODE”: Voice, Performance, Song or Pattern; and a specific “MEMORY” location.
Master number 008 is associated with “MODE”: SONG; “MEMORY”:01 [Dusk2Dawn ] which has been named “Demo Song 1”

• Press [F3] ZONE SW (Zone Switch)
Master mode has this second more complex use – with ZONE control. Master mode can be used to control internal sounds, and/or complex configurations where both internal and external sounds are used together, that is, setups where some “Zones” are controlling Internal MOXF6/MOXF8 PARTS or a MOXF6/MOXF8 Voice or Performance while other Zones might be controlling external devices. By the time you reach the level of creating your own Master setups you should have gained a thorough working knowledge of the MOXF6/MOXF8 and its modes. We will state them here so that you can fully understand what is possible and what is impossible from a Master setup. Then we will look at a few possible scenarios. Master mode must be understood through the internal mode which is associated with each Master program.

Rule 1: A Voice is the fundamental playable entity in the MOXF6/MOXF8. The internal Voices are made up of up to eight multi-sampled sounds called “Elements”. Each Voice has a Dual Insertion Effect, a reverb and a chorus processor available. The Dual Insertion Effect can be real-time controlled via MIDI controllers and has an intricate relationship to the individual Elements of the Voice. The Dual Insertion Effect is an important component – and is often the “personality” of the Voice. A Voice occupies a single MIDI channel and in Voice mode, significantly, only one Voice can be recalled at a time. There are 1156 Preset Voices in 9 banks of 128. There are 384 User Voices in 3 banks. There are 128 Normal General MIDI Voices and a GM Drum Kit; 72 Preset Drum Kits; and 32 User Drum Kits. When you associate a MASTER with VOICE mode, you will be able to play just one VOICE from the internal MOXF memory (Voice mode rules will apply). Even if you activate the ZONE SWITCH, only one Zone will be able to access an internal sound – because in VOICE mode only one Voice can be recalled at a time.

Rule 2: A Performance is a combination of up to four Voices. Each Performance has a reverb, a chorus effect processor (System Effects) and each of the four assigned Voices can recall their own Dual Insertion Effects from Voice mode (including the real-time Controller assignments). All four Voices can recall their full complement of arpeggios, as well, because the MOXF features up to four simultaneous arpeggios. It is important to realize that Performances are made up of sounds found in Voice mode. It places up to four of them into what are called “PARTS”. Through these, PARTS, you can edit the sound of a Voice in a Performance without changing the original Voice data. This is accomplished by applying “offsets” to the original data. All Voices in a Performance occupy the same basic MIDI channel and only one Performance can be recalled at a time. There are 256 USER Performances in 2 Banks of 128. In fact, all the Performances are USER. A Performance can be copied into a Song and/or Pattern, as necessary. This actually places the PARTS (up to 4) in a MIX with each one set to the same Basic Receive Channel. A Performance can be recorded directly to either a SONG or PATTERN via the new innovative DIRECT PERFORMANCE RECORD feature. When you associate a MASTER with PERFORMANCE mode, you will be able to play just one (Performance mode rules will apply). Even if you activate the ZONE SWITCH, only one Zone will be able to access an internal Performance – because in PERFORMANCE mode only one PERFORMANCE can be recalled at a time. All four PARTS of the PERFORMANCE will be addressed together by a single ZONE.

Rule 3: Then there are the SEQUENCER MODES: Song and Pattern. These have multi-part setups (called MIXING) to hold up to 16 PARTS, typically used when playing back from the sequencer. When you enter a Song or Pattern you can play on one MIDI channel at a time (unless you use a MASTER Zone setup – at which point you can play on up to 4 MIDI channel simultaneously). Several PARTS, however, can be assigned to the same MIDI channel, as necessary to accomplish very complex setups. Thus it is possible to transmit from a single channel yet play multiple VOICES (PARTS). But typically a SONG MIXING and/or PATTERN MIXING program is used to place 16 different sounds on 16 different MIDI channels for play from a sequencer. You can, as mentioned, use the Master Mode ZONE function to actually play on 4 separate MIDI channels simultaneously. That is how powerful the combination of MIXING and MASTER mode can be… as we will see. When you associate a MASTER with a SONG MIXING or PATTERN MIXING setup – the Masters can be routed internally and/or externally as necessary in any number of combinations totaling four Zones. Therefore you can use this to address multiple internal PARTS on discreet MIDI channels (which is not possible in Voice or Performance mode).

Rule 4: 128 MASTER Control setups can be created with a MOXF6/MOXF8 Voice, Performance, Song or Pattern MEMORY location associated (memorized) with it. You have the option of activating the ZONE switch with any of them – which adds communication to both internal and external sounds to create your own Master setups. You can have up to 4 Zones. The MOXF6/MOXF8 can transmit to itself and OUT via MIDI on up to 4 Zones. Zones can address internal sounds and/or external sounds.

To understand rule 4 please take your time with this article. We have already seen how MASTER setups can be used to simply recall a Voice, a Performance, a Song or a Pattern. Now, we need to understand how a MASTER can work as a “multi-zoned” controller setup, controlling both internal and external tone modules. The architecture of the MOXF6/MOXF8 is extremely flexible.

NOTE: Your mileage will vary depending on the external MIDI module you may be using. Please refer to the Owner’s Manuals of your external gear for Bank Select and Program Change numbers. Also find out what information they are capable of receiving in this fashion. Some modules require you store the Volume and Pan information locally in their own setup, which you recall. Some modules can receive Volume and Pan commands directly. Additionally, you can control parameters on each ZONE ‘live’ from within a Master program.

When a Master Zone Switched Setup is recalled you can have it send a Bank Select and Program Change both to the internal tone generator and OUT via MIDI or, if you wish, to one or the other, as is necessary to setup your rig. The key thing to know is that you can control up to 4 individual ZONES. That said, you might find some unique uses for the Master setups as you get to know them better.

Learning About Bank Select and Program Change information

Although you do not necessarily need to use MSB and LSB Bank Select commands to “associate” a MASTER program with an internal sound, we will learn about these here so that you can see how they can be used to add flexibility. This is the type of information you will need to find about for any of your external MIDI modules, keyboards, etc. Bank Select messages are actually MIDI Control Change messages. MSB (Most Significant Byte) is Control Change message 000, and LSB (Least Significant Byte) is Control Change message 032. In spite of the name, both are (significant) important. They are used together to allow MIDI devices to have 128 x 128 banks (That’s 16,384 banks for you math majors). Not that you will need all of these but they are there for you if you need that many banks. Each will have 128 places, 001-128, to store program data.

The Bank Select messages for the Yamaha Motif and MOX series are shown below (as an example of how these types of messages can be used to selected data on your external devices).

Bank _ MSB ___ LSB____PC range

~ (63/60) A Mix Voice can be recalled if you are within the Song or Pattern Mix for which it was created … There are 16 per Song or Pattern but a maximum of 256 MIX VOICES total.
* (63/50) A Sample Voice is found in the Motif-series only.

MOXF6/MOXF8 Performances can be recalled via the same type of Bank Select messages. You can use a Performance only when a Performance Memory location is associated with the Master setup.

Bank ______ MSB _____LSB ___ PC range
Performance__ 063 ______ 064 ______ 1-128

I will reiterate this important point – you do not have to use MSB/LSB number to associate an internal program: Voice, Performance with a MASTER. If, for example, you want a MASTER to recall the Organ Voice: You could simply associate the MASTER with the VOICE without activating the ZONE Switch and without using MSB/LSB numbers. But, so we can learn about all of this: let’s see how you could use the MSB/LSB screen to address external and/or internal sounds.

Initialize a MASTER location by pressing the [JOB] button followed by [F1] INIT.

Press [ENTER] to execute. This creates an “Initialized Master”
Press [MASTER] to view the main MASTER mode screen

Make sure the ZONE Switch is set to ON:
• From the main MASTER screen
• Press [F2] MEMORY.
• Memorize MODE = VOICE
• Set MEMORY = PRE 1: 085(F05) First 3 w/Perc
• Press [F3] ZONE SW
• Set ZONE SWITCH = ON
• Set the ZoneKnob parameter = ON
• Press [EDIT]
• Press Track [1]

This will select ZONE 1 for editing…

Press [F1] TRANS to view the Transmit screen where you can set the ZONE to ON
Press [F2] NOTE
Press [F3] TX SW (Transmit Switch) – Here set the Master to transmit Bank Select/Program Change to the INT and or EXT device:
Bank Select (TG) = ON and set the Program Change (TG) = ON
Press [F4] PRESET – Here you can set the MSB/LSB numbers and select the Program.

The Tone Wheel organ sound: “First 3 w/Perc” located in PRESET 1, position 085(F05), translates to MSB = 063/ LSB = 000 (to select Preset 1) and PC 085.

Notice that when you activate the MASTER mode the Voice, Performance, Song, or Pattern mode LED is also illuminated signifying that you are actually in that mode… Its rules will apply! Don’t fight this – this is a rule.

* To recall an entire Performance you would have to associate the MASTER with PERFORMANCE mode and then send MSB = 063/ LSB = 064 followed by the Program Change number to recall the desired Performance.

* You cannot use Bank Select commands to address a single Voice within a Performance. Nor can you switch from Performance Mode to Voice Mode or vice versa with these types of commands. If you select the MASTER to associate with a VOICE you can select a VOICE. If you associate the MASTER with a PERFORMANCE you can select a PERFORMANCE.

* A Performance must be recalled as a unit. The reason should be obvious but let’s state it again anyway: A Performance addresses all of its component PARTS (Voices) on the same (Basic) MIDI channel and only one Performance can be recalled at a time. There would be no way to recall with a Program Change different Voices within the PERFORMANCE – it is a unit.

When Zone is ON and the associated Memory mode is “VOICE”, you will be able to address one internal Voice via the Zones. The other three Zones are available for external communication, only. Technically speaking, you are in Voice mode. Voice mode rules apply: i.e., In Voice mode only one internal Voice can be recalled at a time.

When a Master Zone is associated with a “Performance” mode Memory, you will be able to address up to 4 internal Voices via a single Zone (i.e., one internal Performance). The other three Zones at that point will be available for external communication, only. Depending on how you have configured your Performance, you can have complex split/layers. Technically speaking, you are in Performance mode. Performance mode rules apply. In Performance mode only one Performance can be recalled at a time.

COOL FEATURE:
When a Zone is associated with a “Song” mode Mix or a “Pattern” mode Mix, however, you will be able to address up to 4 separate MIDI channels, simultaneously and you can transmit to any combination of internal and/or external ZONES. This is because these are MULTI-TIMBRAL/MULTI-MIDI Channel modes. This can be very flexible depending on how you have configured your MIX. Now you can address individually four separate PARTS of a MIX. That said, if you have copied a Performance into the MIX of your Song or Pattern, it can have multiple PARTS assigned to the same MIDI channel. Then you can still address the MOXF6/MOXF8 internally with the other available Zones. Go crazy. But know the rules!

COOL “NEW” FEATURE:
When the ZONE SWITCH is ON and you are associated with a SONG setup, press the [PERFORMANCE CONTROL] button to activate the MASTER MODE ZONE MUTE function. This will allow you to use buttons [1]. [2], [3] and [4] to MUTE and UNMUTE Internal ZONES; While buttons [9], [10], [11] and [12] will MUTE and UNMUTE External ZONES. This works by activating and deactivating MIDI Transmit to these ZONES so no polyphony is used in the receiving tone engine. 

Combining internal and external:
–Tips and Tricks—
The Basic Receive Channel and the Keyboard Transmit Channel are global for when the MOXF6/MOXF8 is in Voice or Performance mode. When you are in a multi-timbral SONG/PATTERN MIX your transmit channel will be determined by the track you select. However, when in MASTER Mode your transmit channel will depend on what Zones are active in the current Master program.

• Press [UTILITY]
• Press [F6] MIDI
• Press [SF1] CH

The MIDI channel parameters (Basic Receive Channel and Keyboard Transmit Channel) apply to VOICE and PERFORMANCE mode only.

• Set the KBD Transmit Channel = OFF
• Set the Basic Receive Channel = 1
• Press [STORE]

This will write the changes in the UTILITY mode settings to FLASH ROM. Setting the Keyboard Transmit Channel OFF is typical when you are going to use the MOXF6/MOXF8 as a MASTER Mode MIDI CONTROLLER in a large setup. All of your settings will be determined by your MASTER configurations. Setting the MIDI channel transmit to OFF will mean that you will play only the internal MOXF6/MOXF8 sounds when you are in [VOICE] mode or [PERFORMANCE] mode, however, when you activate the MASTER MODE you can be transmitting on the MIDI channels as defined by the current Master settings.

This is a useful when you want to break the fulltime MIDI connection between the MOXF6/MOXF8 and your external rig. When you recall a MASTER that is associated with either Voice or Performance mode (without the ZONE SWITCH active) you will communicate with the internal Voice and Performance as normal. If you activate the Zone Switch for a MASTER with a Voice or Performance Memory associated, as we’ll see, it then will receive according to the Basic Receive Channel selected in [UTILITY] mode. You will address any external modules only when you activate the MASTER Zone control function – giving you complete control over MIDI transmit via your MASTER setups. When a MASTER ZONE setup is associated with a Song or Pattern MIX you can address the MIX on four independent channels via the four ZONES.

Let’s create a MASTER program. First lets associate it with an internal MODE and MEMORY location:
• Recall [MASTER] and Initialize MASTER 001. Press [JOB]/ [F1] INIT and check the ALL box. Press [ENTER]/ [YES] to execute.

• From the main MASTER 001 screen press [F2] MEMORY. To associate this memory location select “VOICE” as the MODE, and “PRE1: 001(A01): Full Concert Grand” as the MEMORY.
• Press [F3] SWITCH (Set the ZONE SWITCH = ON)
• Press [F6] GET NAME (if you wish to capture the name of the associated program). Handy.
• Press [STORE] / [ENTER] / [YES] to store this Master setup to location 001 (A01).

This is how a Master is associated with a particular Program location. You have 4 different Mode choices, as we have been speaking about: Voice, Performance, Pattern or Song. Each MASTER will always be associated with one of these 4 Modes. Just thought I’d mention it again as now you can see where this takes place (screen above). Now let’s use the knowledge of MASTER mode to get creative – a real world application:

Scenario 1: On the opening number of the evening you need to start with a single Voice, a solo MOXF6/MOXF8 acoustic piano, (Full Concert Grand). Later you will need the MOXF6/MOXF8 piano Voice layered with an external MIDI module set to a string-pad sound.

There are a several ways to accomplish this. We will use the Master 001 that we just stored to connect to the complex setup. This example will give some idea of the flexibility of the MASTER mode when used as a Zone Controller.

• We are already associated with the VOICE mode Memory location “PRE1: 001 Full Concert Grand”. We will activate the ZONE parameters to recall both the internal piano sound and the external string sound.
• The ZoneSwitch = ON.
• Set the ZoneKnob= ON
• Now we will assign the Zones to select the sounds. This will entail going to MASTER- EDIT.
• Press [EDIT]
• Press Track [1]-[4] for Zone parameters.

Like other MOXF6/MOXF8 modes there are two levels of editing here: the COMMON EDIT level and the individual ZONE EDIT level. The [COMMON] button selects the upper level that affects all Zones ([F1] NAME). The Track Select buttons [1]-[4] will select editing of the individual Zones 1-4.

• Activate Zone 1.
• Press [F1] TRANS (transmit). Set the transmit channel to communicate with the internal MOXF6/MOXF8 Tone Generator, Channel 1.
• INT SWITCH = ON 
• EXT SWITCH = OFF

• Press [F2] NOTE and make any Octave, Transpose or Note Limits, if you need them.
• Press [F3] TX SW (Transmit Switch). Here you use the UP/DOWN Cursor to view a list of functions
• Activate both Internal Bank Select “BANK(TG)” = ON and Internal Program Change “PC(TG)” = ON for ZONE 1.

This will enable us to send a Bank Select/Program Change to the internal MOXF6/MOXF8 tone generator when the MASTER is recalled. Nothing is sent right now, the actual value is sent when you recall the MASTER or you activate the SEND command (more on this later). You will see the change when you STORE this MASTER setup.

• Press DOWN Cursor to view a list of CONTROLS – you will see switches for your various controllers per Zone. In the upper left corner just below the MODE, you can see the PAGE UP/DOWN indicator – denoting that more parameters exist both above and below the currently shown items. Here is where you can activate and deactivate specific Controllers for this particular ZONE. Often you want to use the MW or Sustain Pedal on one ZONE but have it not affect another. This is where you make that happen, per ZONE.
 
• Press [F4] PRESET. Here you can set the Bank Select and Program Change values for the MOXF6/MOXF8 tone generator. Set this to: PRESET 1; Voice 001(A01)

• “Bank MSB” = 063
• “Bank LSB” = 000
• “Pgm Change” = 001 (Full Concert Grand)
• Set “Volume”, as required
• Set “Pan”, as required

Now let’s setup the external sound.

• Press [F1] TRANS (transmit) and set parameters for ZONE 2. Press Track Select [2] or cursor right. Set the transmit channel to communicate with your external module. This can also be set to MIDI channel 1, as it will not interfere with the internal setup – this zone will be setup for external use only. (Select any channel, as necessary for your external module).
• INT SWITCH = OFF (this is why it doesn’t interfere with internal sounds, each Zone has an independent destination in this case)
• EXT SWITCH = ON
• Press [F2] NOTE and make any Octave, Transpose or Note Limits, if you need them.

• Press [F3] TX SWITCH (Transmit Switch). Activate both Ext Bank Select = ON / Ext Prog Change = ON for ZONE 2. This will set up the Bank Select and Program Change messages we will send. Make sure your external module is set to receive these messages.
• Press [F4] PRESET. Here you can set the Bank Select and Program Change values for your external module. Refer to the documentation of your external device to find the MSB/LSB and PC numbers. Check to see if your external module will receive Volume and Pan information in this manner. With some devices you will have to store that information in the external devices setup. You also need to decide whether to use your external module in its single or multi-timbral mode.
• You can change the NAME of the MASTER if you prefer. [COMMON] > [F1] NAME
• [STORE] your MASTER setup. [ENTER]/[YES].

When setting up the MASTER location, we “associated” it with VOICE mode. In our example we associated the Voice “Full Concert Grand” as that single Voice. We also used the MASTER Zone’s MSB/LSB function to point to the “Full Concert Grand” sound, internally, and the String-pad sound, externally. When this [MASTER] program is recalled, the Full Concert Grand/External layer sound will play. To play just the “Full Concert Grand” simply press the [VOICE] mode button – this will exit MASTER mode and recall the Full Concert Grand piano sound in VOICE mode. To play the internal/external layer, press the MASTER button. This will return you to your Internal/External layered program.

This works because when you exit the MASTER mode by pressing the [VOICE] button, it recalls the MODE and MEMORY associated with the Master MEMORY. When you return to [MASTER] mode the BANK SELECT and PROGRAM CHANGE information you set will be sent to the internal Tone Generator and the Master will also send commands to the external Zone. When returning to VOICE mode you are not transmitting OUT via MIDI (MIDI Transmit OUT parameter, which effects Voice mode, is set to OFF, remember?) so that the Full Concert Grand Voice is played without transmitting out via MIDI. Cool!

This tip will work anytime your principal sound, in this case a MOXF6/MOXF8 Voice, and your Zone controlled sound is also a MOXF6/MOXF8 Voice. It will work if your associated sound is a Performance and your Zone controlled sound is also a MOXF6/MOXF8 Performance. In other words, you cannot use this trick to switch from an associated Voice to a Zone-selected Performance (or vice versa) with this power tip. This should not present a problem since a Performance can be made that contain any single Voice you need, if necessary. In fact, the sounds that are active when a MOXF6/MOXF8 Performance is recalled are programmable. For example, the Volume slider position is stored in a Performance; therefore a Performance that normally contains a Piano layered with strings could be recalled with the Volume of the strings stored at zero. You can fade them in or out, as you need, with a CS (control slider).

Summary:
A Master setup can be activated (associated) with a single MOXF6/MOXF8 Voice, or a single MOXF6/MOXF8 Performance. Basically, a MASTER memorizes the MOXF6/MOXF8 MODE and the selection (Voice or Performance). If the Zone Switch is active, a MASTER can additionally include all the setup parameters for communication, internally to the memorized mode, and externally to your connected MIDI modules. Yes, you could attempt to create a setting where you were simultaneously attempting to communicate with the MOXF6/MOXF8 TG via 4 different channels while in association with a Voice or Performance. Nothing in the parameter page prevents you from setting this up…however you would be deluding yourself. It ain’t gonna happen! Although you can make these settings, they will be illogical and ignored. By definition, Rules 1 and 2, the MOXF6/MOXF8 Voices and Performances occupy a single MIDI channel and only one can be active at a time. If you wish to address four MOXF6/MOXF8 Voices simultaneously, then you need to create a MOXF6/MOXF8 Performance. (Again, by definition, this is what a Performance is). If you want to address the MOXF6/MOXF8 on four separate MIDI channels via four discreet Zones you would have to associate the MASTER with a SONG or a PATTERN MIX and setup a 4-ZONE program. Then you can address multiple PARTS of the MIX, independently. In fact, you can address the internal MOXF6/MOXF8 on as many as 8 Zones.

KNOBS and Zones
In a MASTER you can set up how the Knobs behave per Master setup. You can select either to set the ZoneKnob = ON which will mean the top four Knobs act as PAN Controls, and the bottom four Knobs act as Volume Controls per ZONE. If, however, you set the ZoneKnob = OFF then you can select which row of Knob Control functions will be lit and active for your Master Program.

If your Master program is associated with an internal VOICE you can select between TONE 1 (row 1), TONE 2 (row 2), and TONE 3 (row 3). What this refers to is how the first four KNOBS are set when the MASTER setup is recalled. Using the second KNOB CONTROL button you can select EQ (row 1), EFFECT (row 2), and ARP (row 3).
If you select TONE 1 for Knobs 1-4, for example, the LED at the top of the Knob Control Function will illuminate and you will have access to:
• Knob1 = Cutoff
• Knob2 = Resonance
• Knob3 = FEG Depth
• Knob4 = Portamento

If you select TONE 2 then the four knobs will be:
• Knob1 = Attack
• Knob2 = Decay
• Knob3 = Sustain
• Knob4 = Release

If you select TONE 3 then the four knobs will be:
• Knob1 = Volume
• Knob2 = Pan
• Knob3 = Assign 1
• Knob4 = Assign 2

The second set of four knobs control EQ:
• Knob1 = EQ LOW (gain)
• Knob2 = EQ MID Frequency
• Knob3 = EQ MID (gain)
• Knob4 = EQ HI (gain)

The second row of the second set of knobs control EFFECT Select/Send:
• Knob1 = EFFECT (Chorus Preset)
• Knob2 = EFFECT (Chorus Send amount)
• Knob3 = EFFECT (Reverb Preset)
• Knob4 = EFFECT (Reverb Send amount)

The third row of the second set of knobs control ARP PLAY FX
• Knob1 = Gate time
• Knob2 = Octave Range
• Knob3 = Unit Multiply
• Knob4 = Tempo

If your MASTER program is a “Zoned” setup you may want to select “ZoneKnob = ON”. This will make the settings you make per each Zone, active. Use Track buttons [1]-[4] to view individual Zone parameters.
The default assignment when you select ZONE is for PAN (10) for the top row of KNOBS and Volume (7) for the second row of KNOBS.

You can set the KNOBS per Zone to any MIDI control change message between 1-95 (except 32), per MASTER setup.

A feature found in the MOXF for the KNOB Control area for VOICE mode, PERFORMANCE mode, and SONG/PATTERN MIXING modes:

Press both KNOB Control Function buttons simultaneously – all LEDs will light and the KNOBS now control Element Output LEVELS for the Elements 1-8 (Voice), or PAN and VOLUMES the for Parts (PERF/SONG/PATTERN), in a side-by-side arrangement – making it convenient to control these functions when multiple Elements and/or Parts are being accessed by the Program.

There is a difference between the Element VOLUME assignment of the KNOBS, as when you are in [VOICE] mode, and when the ZONE assignment is set to control VOLUME. In VOICE mode the KNOB assignment can be controlling the internal Voice’s Element Volumes 1-8. If you are in a MASTER program and set the ZONE SWITCH = ON, then the KNOBS will be controlling the Volume of the entire Voice assigned to that ZONE (not the individual Elements as in Voice mode).

If you wish to still have access to the individual Element VOLUME assignments: set the “ZoneKnob = OFF”. Let’s take a look at how this works:

In the MASTER 008 it is associated with a SONG: 01. If you turn the ZONE SWITCH = ON (Lets do so):

Press [F3] SWITCH
Set the ZONE SWITCH = ON
Set the ZONE KNOB = ON

Check it out:

Notice that “Int Switch” is active for the first three Zones – by using this MASTER setup to recall the “Dusk2Dawn” Song you can actually select 3 different PARTS and play them ‘live’ on top.

If you turn the ZONE SWITCH = ON, an additional set of MASTER mode settings will take over. There are actually 3 ZONES active allowing you to play three sounds Note Limited across the keyboard, simultaneously. In order to edit and view the MASTER mode settings:

Press [EDIT]
Press a numbered button [1] – [4] to select a ZONE Edit view

Press [F1] TRANS – here you can view the Transmit Channel for each of the 4 Zones and you can activate the ZONE SWITCH per ZONE… either INTERNAL or EXTERNAL transmit. 

Here you can see you are transmitting on Channels 10, 12 and 5 to the “internal” Tone Generator. Zone 4 the INT SW and EXT SW are OFF. As you can see MIDI channel 10, 12 and 5 are active, internal Zones. Letting you play a Drum kit, Synth Bass (left-hand), and a Synth Comping (right-hand) on the keyboard. If you simply recall the Song (from Song Mode) you could only play one PART at a time. Master mode is giving the ability to address multiple Parts, on separate MIDI channels via the Zone setup. These Parts are NOTE LIMITED and OCTAVE shifted by the Master Zone setup.

Press [F2] NOTE – here you can view the NOTE LIMITs and the Transpose settings for each ZONE.

Designing your own setups
How complex can these setups get? This is unknown. If you have a need, you’ll figure it out, necessity being the mother of invention. The thing is; if you understand the fundamental rules, you will know the difference between what is and what is not possible. For example, if you play in a live scenario, you may need to play more than one keyboard at some time during the madness of an evening’s set. Can you recall a Master setup on the MOXF6/MOXF8 that sends setup data to your other devices and play an internal/external combination when you are playing on the MOXF6/MOXF8’s keybed and play a different sound from the MOXF6/MOXF8 when you move to a second external keybed? Well, yes, that is possible. If you have a Master Zone setup that is associated with a MIXING program, you can certainly play a Zone setup with as many as four internal/external sounds and still access the MOXF6/MOXF8 sound set, independently, via the MIDI IN jack. Because the MOXF6/MOXF8 is multi-timbral and capable of receiving on multiple MIDI channels when in a SONG or PATTERN MIX, you will be able to control a PART or PARTS of that MIX via MIDI IN. Imagine that your second keyboard when set to transmit on MIDI channel #16 communicates with PART 16 of the MOXF6/MOXF8’s MIX. At the same time you can independently be transmitting via a ZONE MASTER to 4 separate PARTS when you play the MOXF6/MOXF8’s keyboard (let’s say on channels 1-4). If you send Program Changes from your external keyboard on any unused MIDI channel (5-16) you can select and change the sounds in the MOXF6/MOXF8’s MIX remotely. If that external keyboard can send Bank Select and Program Changes you can select VOICES from the entire MOXF6/MOXF8 palette.

No one article can outline all the possibilities. But if you understand MIDI and you understand how the MOXF6/MOXF8 behaves in response to your MIDI settings you will be able to design some pretty complex but thoroughly useful setups. This article can only hope to get you started.

You cannot, however, slave MASTER mode. You can when using an external controller to control the MOXF6/MOXF8’s Voice mode, Performance mode, Song Mixing mode or Pattern Mixing mode. In other words, your external controller can address the MOXF6/MOXF8 in these modes… but there are no commands that you can send in via MIDI to manipulate Master mode… it is after all, MASTER mode.

Storage issues
Your MASTER setups will be saved as part of an “ALL” data FILE type (.X6A). Master setups will remain in memory after power down but will be cleared if you perform a Factory Reset or you load in another ALL data file (.X6A). Backup all data by saving an “ALL” file type to an optional USB drive. The data that they “point” to must be returned to its appropriate place, i.e., Voice data, Performance data, Song/Pattern. If you change or replace any of the target data, then the MASTER setups will be altered. The MASTER actually stores ‘pointers’, not the actual data. So a MASTER setup may be there but the song, pattern or sound it is referencing may not. For example, if your MASTER setup targets a USER bank Voice, if you do not have that USER Voice in the proper location, the data for the MASTER will be incorrect. It will simply ‘target’ the Voice in that location. If the MASTER is associated with a SONG MEMORY location and the song data is not loaded into that location, the MASTER will point to the location but the data will not be there. For this reason Master’s cannot logically be loaded individually – they depend on all the components being in the proper places, because all a Master is, is a collection of pointers. To restore your MASTER setups you would need to restore ALL data. It is simply a matter of logic.