FC1 and FC2 are designations for ports on the back of MODX. Foot Controller Port 1 and Foot Controller Port 2. You plug into this port an expression pedal - and the official pedal happens to be called the "FC7" - which is an accessory.

Now, FC1 and FC2 ports, for all preset Performances, are setup to default to do very specific actions. FC1 (the first foot controller port) defaults as "Expression" (Modulating CC#11 - which changes the volume of all PARTs simultaneously). FC2 (the second foot controller port) defaults as "Superknob" - which will rotate the superknob knob with a foot controller.

If you leave these defaults alone and ADD modulation under the Source -> Destination matrix, then the pedal will end up doing BOTH simultaneously. And this may mess your results or cause something unexpected if you were not aware of what's going on.

At this point, I'm not sure there is anything different with the response of your FC1 or FC2 ports. At the moment, I think you may be hearing the result of default FC assignments to CC values.

If you gave more details about what you are doing (programming) - and what you are hearing which you do not expect - this would minimize the amount of assumptions required to help. Giving specifics like a starting preset Performance plus the specific parameters you are changing to interact with the FC1 and FC2 ports would help as well.

By 'calibrate', I am referring to the values generated by the foot pedal in the max down (toe down) position vs. the min (heel down) position, for example. Which, in the case of FC2 assigned to the SuperKnob, are then mapped into the 0-127 SuperKnob value. Typically you can calibrate expression pedals so the full physical range of the pedal maps to the full value range of the controlled parameter.

I understand the notion - but there was not enough detail about what you are experiencing and wanted to be sure there was not a short-circuit in the process jumping to a conclusion as it was not clear what you are experiencing exactly.

There is a screen which shows the exact numerical value of the superknob. Are you saying that when you assign FC1 to Superknob - you are not seeing full swing from 0 to 127 and/or FC2 (which is already assigned to Superknob) - the superknob value does not report full swing from 0 to 127?

There is no calibrate function available to the user.

Is it possible to calibrate the FC1 and FC2 expression pedals? Different pedals seem to give different results.

If you are using a Yamaha FC7 plugged into the MODX Foot Controller 1/2 jacks, you will be guaranteed the intended response as programmed. We refer to the FC7 as a “sweep pedal” (the word expression has a specific connotation for keyboards); the programmable device within the synth are referred to as “Foot Controller 1” and “Foot Controller 2” - each has a jack on the back panel of the Synthesizer. The recommended pedal for these is the Yamaha FC7 sweep pedal.

You can certainly program a minimum and/or maximum range of the parameter they are set to control. If you are using a non-Yamaha branded sweep pedal, it’s throw from minimum-to-maximum may differ and you might never get proper response. I’m not sure this is what you are referring to, but thanks for the question. It does come up often. Hopefully this will shed some light on the Foot Pedal discussion.

Note: We are in the process of discussing this with stores that are selling off-brand pedals that do not match the ‘throw’ of the Yamaha Pedal.... this is very frustrating to users who expect, for example, the parameter to move a specific amount only to not quite get there.
All sweep pedals are not the same. You are not controlling audio output with this pedal (sounds strange to say, because, of course, you are) just not directly; you are inputting data to something that, in turn, can effect the audio output. It is not connected to the analog audio Outputs, it gets connected directly to the synth engine! It’s data entry. So not just any sweep pedal really works.

If you are using Yamaha FC7 pedals, we can show you how to set the effective range of the parameter change induced by the Pedal position.

For example, if controlling output level, you can set a heel down minimum, which does not have to be no sound.
You could use heel down at zero and set a toe down maximum that is not as loud as it could go. Or do both, scale the minimum and maximum parameter change to your exact needs!

And what happens to the parameter between minimum and maximum is programmable to a degree that is simply mind boggling. One of the strengths of the Motion Control Synthesis Engine is this very thing...

Programming the full range of a parameter is, of course, possible, but you can set a minimum (which does not have to be zero) a maximum (which does not have to be full on) and what goes on in between can be virtually anything you design.

In other words, application of the parameter change does not have to be linear... while the position of the Pedal is always described as 0 (heel down) to 127 (toe down), the parameter movement that it is assigned to, is extremely programmable... it does not have to follow that when applying change.

The graphic on the Control Assign screen shows the movement/physical position of the controller, min-to-max, along the x-axis left to right.
The parameter change (application) increases/decreases along the y-axis bottom to top.

By selecting, manipulating or creating your own response using Curve, Polarity and the shaping Parameters, you can control the start and end point of any control change... as I said, to a mind boggling degree. This is the heart of control matrix.

I recently spent time going over with someone the creation of a particular 3-way instrument morph - where the programming detail was to make the ‘controlling gesture’ one that was comfortable for sitting versus standing! You can do that when you have the kind of system as setup here... Well, long story short, whatever Pedal they *substituted* did not completely cover the range... (in other words: it’s toe down was never registered as 127)... which is also part of the reason why I am such a big stickler about the Yamaha FC7. (You bought a race car, get the recommended accessories... it’s usually worth it!)

Yes, the FC7 is a wonderful pedal; I have a number of them. However, they weigh almost three pounds. As one of the advantages of the MODX over the Montage is its light weight and portability, the added weight of two FC7s has a significant impact when gigging. The ability to sometimes use a lighter weight pedal would be nice.

For example, this excerpt from the Nord Stage manual...

"Different brands of control pedals have different
specifications (resistance, offset and linearity). To
simplify setup and to optimize the response of the
pedal for the Nord Stage, the most common pedal
makes are preconfigured, and you simply select the
type of pedal you connect. Roland, Yamaha and
Fatar are linear control pedals with different scaling
and offset. Ernie Ball pedals (“ErnieB”) are marketed
as volume pedals, with a logarithmic response, but
the response is rescaled internally in the Nord Stage
to make them work nicely as control pedals.

PEDAL
...
4 - VOLUME PEDAL GAIN ranges from 1-10 and enables boosting the
signal of the connected pedal in the event it does not provide full range.
The Default value is 1.
When this menu option is selected and a Volume/Control Pedal
is connected the current value of the pedal will be indicated as a
percentage (0-100%) in the display. Refer to this value for checking
the available range of operation."

That's a nice feature on the Nord... and one that makes lots of sense for them since they don't sell foot pedals. 😉

This is something I've asked for on multiple fronts. Sustain, expression, footswitch. Dealing with polarity, zero offset, and range. I've wished there were options other keyboards have to be more accommodating to 3rd party pedals. I'm not sure these sort of features will be appearing in MODX any time soon.

Until this is done (if ever), I would suggest modifying your existing footpedal or purchasing a light-weight footpedal you like with the intention of modifying it (meaning either you can do this, if qualified, or hire a technician to do the modification). The FC7 has a 50k logarithmic potentiometer. This would be the part you would replace in your existing pedal to achieve compatibility (or attempt it). The mechanical design of the footpedal you are modifying must also have the same amount of travel. This may also be able to be dealt with by changing out the gear to a smaller size to increase the amount of travel or larger size to decrease the amount of travel. There are physical limits here since the potentiometer itself has mechanical limits on the rotation of its axle.

Note the QUIKLOK VP26U is said to be compatible with Yamaha - I do see information that it has a 50k pot. Not sure if it is linear or logarithmic. It also features a polarity switch.

Potentiometer is not the only consideration. T/R/S wiring (which is mainly polarity) is another item. Zero offset is also a consideration. Some pedals have a 2nd potentiometer which can add or trim series resistance to set the "0" value. If you needed an offset - then a resistor of the proper value would work as well.

This is easily something you can have built for you if you are not qualified to do so.

My experience has been that modifying foot pedals sometimes works, sometimes doesn't...as mentioned above, there are so many variables, pot resistance, taper, travel, mechanical mounting, gears, etc...I do like the Yamaha FC7, it's solid and reliable, I've used several for many years without any problems...but I agree with Sidney - a pedal that's smaller and doesn't weigh as much as the FC7 is better for gigging, since light weight is one of the real advantages of the MODX...I've used the M-Audio M-Audio EX-P, it's not nearly as nice or solid as the FC7, but is lightweight and inexpensive, has been reliable for me, and it works with the MODX...

Every synth, including the MODX, should have a pedal calibration function, since there are so many different pedals, applications, preferences, etc...even when calibrated or modified, different pedal are going to have a different feel, and [insert manufacturer name here] synths will always work best with [same manufacturer] pedals...

df

Historical thread with similar content - contains some references to other pedals which seem to work with Montage (and should transfer OK to MODX).

https://www.yamahasynth.com/ask-a-question/fc-7-pedal-throw

Every synth, including the MODX, should have a pedal calibration function, since there are so many different pedals, applications, preferences, etc...even when calibrated or modified, different pedal are going to have a different feel, and [insert manufacturer name here] synths will always work best with [same manufacturer] pedals...

All great points, but in the world of the reality of manufacturing... that is problematic. Some companies that don’t bother build their own pedals simply depend on those that do to make it work for everyone. Tough to sell that idea to companies who bother to make their own pedals.

All excellent points... I call ahead when I travel for Yamaha (expressly to make sure they have an FC7) wherever/whenever I’m doing a presentation... if they don’t have one I’ll add the six pounds to my luggage and I bring my own set (2). Or if it’s a long trip out the 3 pounds for one of them. So I feel your pain. While I maybe able to do without the half damper (FC3A) and use just a regular Sustain Pedal, if I get a sweep pedal that doesn’t do the job, WHY BOTHER? I’d just rather not.

The reason they last so long is they are built like a tank (they are tanks)... they’ll outlast your keyboard. I still have one I got with my SY77 (circa 1989)!
It is essential when playing the MONTAGE or MODX. There are some sounds that it is all about putting the Super Knob in Motion via Foot Control, period.

You purchased the Cadillac get the Cadillac accessories... you owe it to yourself. And you’re saving so much weight with the MODX, the extra for the pedal is like nothing... haha!

You wrote "If you are using Yamaha FC7 pedals, we can show you how to set the effective range of the parameter change induced by the Pedal position."

Exactly how can I do this on an S90es for one voice in a performance?