It has 10 outs from the MODX into the computer (DAW).
The Main LR is one Stereo pair and there are 8 additional channels (4 Stereo pairs).

More details, including Cubase setup, here:
https://www.yamahasynth.com/learn/part-1-mastering-modx-audio-record-on-daw
https://www.yamahasynth.com/learn/audio-record-on-daw-part-ii-mastering-modx

It has 10 outs from the MODX into the computer (DAW).
The Main LR is one Stereo pair and there are 8 additional channels (4 Stereo pairs).

More details, including Cubase setup, here:
https://www.yamahasynth.com/learn/part-1-mastering-modx-audio-record-on-daw
https://www.yamahasynth.com/learn/audio-record-on-daw-part-ii-mastering-modx

Thanks, I had seen some of that article already but not the entire article. I was hoping that the ModX would do 16 outs in stereo or at least 8.

Thanks, I had seen some of that article already but not the entire article. I was hoping that the ModX would do 16 outs in stereo or at least 8.

Only the Montage does that.

The advantage of recording first as MIDI data is it lets you “change you mind” about sound selection, it lets you correct musical mistakes, if any, and in general try out things.

True the MONTAGE has a 32-bus audio out capability, but even there you do not have to output all Parts to audio at once. Once you begin to work with it, you’ll discover you limit your options by doing every thing simultaneously.

Here’s what I mean… in doing a pop music session often you may want to take separate audio outputs on the Kick, Snare and Hihats — because you plan on doing some additional processing in your DAW. I have done hundreds of sessions on this gear, and have never wound up where each MIDI Track turns into a corresponding audio Track. Some instruments need to be rendered in stereo — other definitely do not!

I might with the MODX transfer the Drums (separate Kick USB1), Snare (separate USB2), Hihat (all three assigned to USB3), Crash Cymbal (separate USB4), TomToms (stereo USB5/6), Bass separate on USB7, Guitar (separate USB8, and Keyboard (stereo main L/R)… This would be a transfer from MIDI to Audio. Just the rhythm section

Once I have the rhythm section printed as audio, I can reassign the MODX audio outputs for the “sweetening” Parts: Strings, brass, pads, sound Fx etc., etc. On each pass you can reconfigure your outputs — this means you can, in multiple passes, accomplish what you need to do.

Rarely, have I ever transferred each MIDI Track to an audio Track, one to one… it just never happens.
MIDI Tracks are not stereo (they make no sound) — but when you render audio you must consider MONO or STEREO
Bass when considered as an Audio transfer is typically mono - why record it as a stereo track?
Acoustic Piano when considered as an Audio transfer might be rendered as stereo (it depends on its role musically)
While a B3 is typically a mono audio out, the Rotary Speaker works in stereo - so it will use a stereo feed. Recording it in mono will defeat the stereo-ness of the Effect!
Guitars are generally mono when rendering audio, but again you must consider the Effect processing… does it benefit from being rendered in stereo? If it uses a LEFT-CENTER-RIGHT Delay effect you’ll want to use a stereo bus to carry the signals to the DAW.

These are the music production decisions you will need to make… once you are comfortable with the routing and assigning.

Even with MONTAGE, I have never had a session where the 16 MIDI Parts turned into 16 Audio tracks 1:1… (only if I was in a real big hurry and was giving someone a “rough mix”. Music benefits from how you go about rendering the results.

If you are in a hurry… understandable
But your mix might live on forever, you want to be proud of your results. I have found that taking your time, processing only those items that you consider worthy of separating, and making those production decisions is what separates excellent results from those that are just “ok”.

Multiple passes — I remember one User that went through the process of naming every Audio bus.
I tried to tell them that the numbers are just fine… because although USB1 might be transferring the Kick Drum on the first pass, we might be using USB1 to transfer the solo guitar in a later pass.

The numbers work just fine — naming it doesn’t really help you… name the track… the wire it was transferred on is of no consequence once you have transferred the audio through it. The USB1 wire can now be retasked with another instrument in the next audio pass.

You do not have to render all Parts to Audio at the same time!

I guess its becuase I am so used to VST where I never commit anything to audio so I alsways just have the one midi track I can tweak at any given time with minimal effort.
I know I should get used to a new way to work but really just prefer and love the simplicity of VST.

You can still use this workflow.
When you render MIDI Tracks to audio, you still have your original MIDI tracks (you keep them, but you keep them MUTED)… playback the rendered audio while you continue to add musical parts. If later you want to change something, trash the audio track and then unMUTE the MIDI data, fix the data and render new audio.

Workflow is fundamentally the same.