OWNER’S MANUAL MUSIC PRODUCTION SYNTHESIZER EN
SPECIAL MESSAGE SECTION This product utilizes batteries or an external power supply (adapter). DO NOT connect this product to any power supply or adapter other than one described in the manual, on the name plate, or specifically recommended by Yamaha. WARNING: Do not place this product in a position where anyone could walk on, trip over, or roll anything over power or connecting cords of any kind.
FCC INFORMATION (U.S.A.) 1. IMPORTANT NOTICE: DO NOT MODIFY THIS UNIT! This product, when installed as indicated in the instructions contained in this manual, meets FCC requirements. Modifications not expressly approved by Yamaha may void your authority, granted by the FCC, to use the product. 2. IMPORTANT: When connecting this product to accessories and/ or another product use only high quality shielded cables. Cable/s supplied with this product MUST be used. Follow all installation instructions.
PRECAUTIONS PLEASE READ CAREFULLY BEFORE PROCEEDING * Please keep this manual in a safe place for future reference. WARNING Always follow the basic precautions listed below to avoid the possibility of serious injury or even death from electrical shock, short-circuiting, damages, fire or other hazards. These precautions include, but are not limited to, the following: Power supply/AC power adaptor Water warning • Only use the voltage specified as correct for the instrument.
Connections Saving data • Before connecting the instrument to other electronic components, turn off the power for all components. Before turning the power on or off for all components, set all volume levels to minimum. Also, be sure to set the volumes of all components at their minimum levels and gradually raise the volume controls while playing the instrument to set the desired listening level. Maintenance • When cleaning the instrument, use a soft, dry cloth.
Introduction Introduction Congratulations and thank you for your purchase of the Yamaha MO Music Production Synthesizer! You now own a fantastic-sounding, highly versatile keyboard—one that combines comprehensive synthesizer soundcrafting controls and powerful performance/recording features in a total music production instrument. Virtually all of our synthesizer technology and music making know-how went into the design of this instrument.
Main Features Main Features ● Wide range of dynamic and authentic voices. Use the Category Search function to quickly call up the sounds you Page 42 want, based on their instrument type. ● Performance mode lets you use four different voices together—in layers or in a keyboard split.
How to use this manual How to use this manual Application Index ................................................................................................................ Page 9 This special index is organized not by single words, but by functions and applications—allowing you to quickly and easily find how to perform a particular operation or explore a topic of interest. The Controls & Connectors ...............................................................................................
Application Index Application Index Listening to the MO • • • • Listening to the Demo Song/Pattern .............................................................................................................................................................. Page 73 Listening to Song Chain playback.................................................................................................................................................................. Page 95 Listening to Pattern Chain playback .....
Application Index Sounding only the specified Part or Voice • Turning each element on or off in the Voice Edit mode.................................................................................................................................Page 55 • Determining whether each Element is used or not in the Voice Edit mode [VOICE] → [EDIT] → Element selection → [F1] OSC → [SF1] WAVE → ElementSw = on/off ........................................................................
Application Index Storing/Saving the created data • Storing an edited Voice to internal memory (Flash ROM) and saving all the Voices in internal memory to a USB storage device .......................... Page 60 • Storing an edited Performance to internal memory (Flash ROM) and saving all the Performances in internal memory to a USB storage device ..................................................................................................................................................................
Application Index Connecting to a computer/external MIDI instrument • Determining which connector (MIDI, USB TO HOST) is used for MIDI input/output [UTILITY] → [F5] MIDI → [SF4] OTHER → MIDI IN/OUT ................................................................................................................................Page 210 • Using the sounds of the MO for Song playback from a MIDI sequencer...................................................................................................
Table of Contents Table of Contents Introduction ...............................................................6 Accessories...............................................................6 Main Features............................................................7 How to use this manual .............................................8 Application Index ................................................... 9 The Controls & Connectors 14 Front Panel ...........................................................
Front Panel The Controls & Connectors Front Panel MO8 3 6 4 PHONES OUTPUT L MONO FOOT CONTROLLER DIGITAL OUT R FOOT SWITCH MIDI OUT IN TO HOST THRU TO DEVICE DAW REMOTE PAGE SELECT USB ASSIGN A PAN SEND ASSIGN TONE ASSIGN B PAN REVERB CUTOFF RESONANCE SWING GATE TIME LOW LOW MID ASSIGN 1 ASSIGN 2 CHORUS TEMPO ATTACK RELEASE VELOCITY UNIT MULTIPLY HIGH MID HIGH 9 ARP FX MEF ) EFFECT ARPEGGIO EQ MASTER EFFECT ARPEGGIO ON OFF EFFECT BYPASS 7 SCENE SEQ TRANSPORT LOCA
The Controls & Connectors Front Panel DC IN º # * ( 8@ ¶ STANDBY ON ¢ CATEGORY SEARCH MODE VOICE SONG DEC NO SF1 SF2 SF3 SF4 SF5 PERFORM MASTER PATTERN F2 F3 F4 F5 PRE 1 PRE 2 PRE 3 PRE 4 GM – A.
Front Panel The Controls & Connectors 1 Keyboard n The MO6 features a 61-key keyboard, while the MO8 has 88 keys. All are equipped with an initial touch feature. With initial touch, the instrument senses how strongly or softly you play the keys, and uses that playing strength to affect the sound in various ways, depending on the selected voice. 2 OCTAVE [UP] and [DOWN] buttons Page 29 Use these buttons to change the note range of the keyboard.
Front Panel Page 37 For calling up a special “help” feature that shows information about the currently selected mode. You can go back to the previous display by pressing this button again or pressing any other button. Depending on the selected display, this button may be used to call up a window for inputting characters, for inputting numbers, for selecting note lengths, or for selecting keys or note names (page 35). * Data dial Page 35 For editing the currently selected parameter.
Rear Panel The Controls & Connectors Rear Panel MO8 DC IN STANDBY ON 1 2 3 MO6 STANDBY ON DC IN THRU TO DEVICE MIDI OUT IN TO HOST USB 1 2 3 4 1 STANDBY/ON switch Page 20 Press to turn power ON or OFF. 2 DC IN terminal Page 20 Connect the AC adaptor to this terminal. WARNING Do not attempt to use an AC adaptor other than the Yamaha PA-5D or an equivalent recommended by Yamaha.
4 5 MIDI USB TO DEVICE 6 TO HOST THRU OUT 7 IN OUTPUT R ) FOOT CONTROLLER DIGITAL OUT OUTPUT R 6 7 ) FOOT CONTROLLER FOOT SWITCH DIGITAL OUT FOOT SWITCH The Controls & Connectors Rear Panel PHONES L MONO 8 9 PHONES L MONO 8 9 6 FOOT SWITCH jack Page 69 For connection of optional FC4 or FC5 Footswitch. 7 FOOT CONTROLLER jack Page 69 For connection of an optional foot controller (FC7, etc.).
Power supply Setting up and Playing Setting up and Playing Power supply Power supply connections Before you connect the power adapter, make sure that the MO [STANDBY/ON] switch is set to STANDBY (Off). 1 2 Connect the plug of the power adapter PA-5D to the DC IN terminal on the rear panel of the MO. Plug in the AC cable to an appropriate AC outlet.
Power supply Turning the power on Setting up and Playing Make sure the volume settings of the MO and external devices are turned down to the minimum. MASTER VOLUME Turn the power on by pressing the [STANDBY/ON] switch on the MO rear panel, then turn the power on the amplifiers. Connecting MIDI devices or a Mixer Make sure that all volume settings are turned down all the way to the minimum.
Playing the keyboard Playing the keyboard Setting up and Playing Playing the sounds Try playing some of the realistic and dynamic MO sounds from the keyboard now. When you turn the power on following the directions in “Power supply connections” (page 20), the display below appears. n In the default settings, the Master mode is selected. For details about the modes, refer to the section “Modes” on page 24. Indicates that the Master mode is selected. Indicates the type of selected program.
Playing the keyboard Selecting and playing the sounds For playing the keyboard Voice This program contains a basic instrument sound, such as a piano, guitar, bass guitar, drum kit, etc. Setting up and Playing The MO provides three different types of programs for playing the sounds: Voices, Performances, Songs, and Patterns. The basic difference among these programs is in their use—for playing the keyboard, or for creating music with multiple parts.
Modes Modes There are several operation modes in the MO, and they can be selected by using the 12 mode buttons.
Basic instructions Basic instructions Voices—the basic building blocks of the MO Selecting a preset Voice Page 40 Creating a new Voice Page 53 Setting up and Playing Voices—created in the Voice mode—are the basic sonic building blocks for the other modes of the MO. The Performance, Song, and Pattern programs are made up of different Voices, used together for specific performance or song recording.
Resetting the User Memory to the Initial Factory Settings Resetting the User Memory to the Initial Factory Settings The original factory setting of this synthesizer’s User Memory can be restored as follows. Setting up and Playing WARNING When the factory settings are restored, all the Voice, Performance, Song, Pattern, and system setting in the Utility mode you created will be erased. Be sure to save all important data to USB storage device before executing this procedure (pages 60, 66 and 98).
Modes Basic Operation In this section, we’ll take a look at the fundamental operating conventions of the MO. Here, you’ll learn the basics—how to select modes, call up the various functions, change settings, and edit parameter values. Before reading further, familiarize yourself with the basic terms used with the MO in the chart below.
Modes Mode table The functions of each mode and how to enter each mode are as follows: Mode Voice mode Basic Operation Performance mode Song mode Pattern mode (Mixing Voice mode) Utility mode Master mode File mode Voice Play mode Function Playing a Voice How to enter the mode [VOICE] Voice Edit mode Editing/Creating a Voice [VOICE] → [EDIT] Voice Job mode Initializing a Voice, etc.
Modes Keyboard octave setting (MO6) Basic Operation Sometimes when playing a voice, you may wish to play in a lower or higher pitch range. For example, you may want to shift the pitch down lower to get extra bass notes, or shift up to get higher notes for leads and solos. The Octave Up/Down controls let you do this quickly and easily. Each time you press the [OCTAVE UP] button on the panel, the overall pitch of the voice goes up by one octave.
About data storage to USB storage devices About data storage to USB storage devices As you make music with this instrument, you’ll create a wide variety of data—such as custom Voice data (including Voices, Performances, etc.), and MIDI sequence data (Songs, Patterns, Arpeggios). Naturally, you’ll want to store this data for safekeeping and future use, and for this reason the instrument is equipped with a USB TO DEVICE connector—letting you save your data to a convenient USB storage device.
About data storage to USB storage devices Using USB storage devices When using USB storage devices, make sure to connect them to the USB TO DEVICE connector, and follow the important precautions below. ■ Compatible USB devices The MO does not necessarily support all commercially available USB storage devices. Yamaha cannot guarantee operation of USB storage devices that you purchase.
About data storage to USB storage devices TIP Backing up your data to a computer ■ Backing up MO data to a computer ■ Loading data from a computer to the MO Once you’ve saved data to a USB storage device, you can copy the data to the hard disk of your computer, then archive and organize the files as desired. Simply reconnect the device as shown below.
Functions and Sub-Functions Functions and Sub-Functions Each mode described above contains various displays, with various functions and parameters. To navigate your way through these displays and select a desired function, use the [F1] – [F6] buttons and the [SF1] – [SF5] buttons. When you select a mode, the available displays or menus appear directly above the buttons at the bottom of the display (as shown below).
Selecting a Program ■ Using the Group buttons and Number buttons As shown below, you can select a program number by pressing any of the Group [A] – [H] buttons and pressing any of the Number [1] – [16] buttons. The explanations here apply when these button indicators are off. Basic Operation PRE 1 PRE 2 PRE 3 PRE 4 USER 1 A.
Moving the Cursor and Setting Parameters Moving the Cursor and Setting Parameters Changing (editing) parameter values Rotating the data dial to the right (clockwise) increases the value, while rotating it to the left (counter-clockwise) decreases it. Moving the cursor DEC/NO INC / YES EXIT ENTER For parameters with large value ranges, you can increase the value by 10 by simultaneously holding down the [INC/YES] button and pressing the [DEC/NO] button.
About the editing functions About the editing functions There are three types of method for creating data—Editing parameters (Voice, Performance, etc.) and Recording MIDI data (Song, Pattern, etc.). In this section, we’ll explain the basic operations for editing the Voice, Performance, Song Mixing, Pattern Mixing, Mixing Voice settings. n For details on recording MIDI data, see page 73.
Confirmation Message Edit Recall Function If you are editing a program and select a different program without storing your edited one, all the edits you’ve made will be erased. However, the edited program is maintained in a backup memory location called the Recall buffer (page 150). To restore the lost data with your latest edits intact, use the Edit Recall function in the Job mode.
Naming Naming You can freely name your created data such as Voices and files saved to the USB storage device. The chart below lists the types of data that can be named along with the operations for calling up the respective naming displays.
Naming ■ Using the character list If you find it difficult to select the desired characters with the above method, you may want to use the following method— selecting the characters from a list. When the cursor is located at the Name, this [LIST] icon appears and you can call up the Character List display by holding the [INFORMATION] button. Release the [INFORMATION] button to return back to the original display.
Voice Play mode Quick Guide Playing the MO Voice Play mode The Voice Play mode is where you select and play the instrument sounds (voices) of this synthesizer. Selecting a Normal Voice Quick Guide Internally, there are two Voice Types: Normal Voices and Drum Voices. Normal Voices are mainly pitched musical instrument type sounds that can be played over the range of the keyboard. Drum Voices are mainly percussion/drum sounds that are assigned to individual notes on the keyboard.
Voice Play mode 2 3 Select a Normal Voice Bank. Select one of the Banks from Preset 1 – 4, User 1 – 2, and GM. PRE 1 PRE 2 PRE 3 PRE 4 USER 1 Group USER 2 Select a Normal Voice Group. Voices in each Bank are divided into Groups [A] – [H]. – GM A B SYN LEAD SYN PAD/ CHOIR C D E DRUM/ SYN COMP CHROMATIC PERCUSSION PERCUSSION F G H SE MUSICAL FX COMBI Voice 4 Select a Normal Voice Number.
Voice Play mode Using the Category Search function You’ll probably have a lot of fun and inspiration going through the Voices one-by-one, listening to each in order—but it will take you a long time to get through all of them, since the MO has so many. This is where the Category Search function comes in handy. It’s a powerful and easy-to-use way to quickly find the Voices you want. Let’s try out the feature below, searching for a Voice in the Pipe Organ category.
Voice Play mode Favorite Category Press the [FAVORITES] button to see the Voices you’ve set to the Favorite Category in step 2. 3 The MO also lets you collect and store your favorite Voices to create your personal “Favorite” Category. By putting your most often-used Voices in the Favorite Category, you can select your favorite Voices quickly and easily. You also can use the [F5] SET/CLR and [F6] CLR ALL buttons in this display to register/remove the voices to/from the Favorite Category.
Performance Play mode Performance Play mode Each Performance can contain up to four different Parts. This lets you play, for example, Flute, Violin, and Timpani Voices in a layer across the keyboard, or split the keyboard according to the bass and melody parts, then play the two different instruments and sound like a duo—even though you’re playing by yourself. Selecting a Performance 256 Performances (2 banks) are provided in internal User memory.
Performance Play mode 2 Performance Part mute/solo Select a Performance Bank. Each performance can contain a maximum of four Parts, each of which can be turned on or off independently. Muting and soloing of Parts is done in the same way as that of tracks in a Song/Pattern. See page 75. Select one of the Banks from User 1 and 2. PRE 1 PRE 2 PRE 3 PRE 4 A.
Performance Play mode Creating a Performance by combining Voices Performances can be made up of a maximum of four Parts, each of which can be assigned a different Voice. In this section, we’ll create a Performance by combining two Voices. Preparing to create a Performance (Initializing the Performance) Playing several Voices together (Layer) 5 1 Select the desired Performance in the Performance Play mode. 2 Press the [JOB] button, and then the [F1] button. Press the [F2] VOICE button.
Performance Play mode Voice Bank 9-2 Voice Number Press a note on the keyboard while holding the [SF5] LIMIT L button down to set the lowest note of Part 2. Note that the dark bar (at “NOTE”) for Part 2 changes as the note range is changed. SCENE F2 Assigns a Voice to the selected Part. SF3 F3 SF4 F4 SF5 F5 INFORMATION F6 Deletes the Voice assignment of the selected Part. SF 5 7 SF 4 Note limit low Play the keyboard.
Using the Arpeggio feature Using the Arpeggio feature The versatile Arpeggio feature allows you to automatically play various rhythms and phrases by simply pressing a key or playing a chord. The MO contains a remarkably wide variety of Arpeggios—a total of 1,787—from conventional, popular phrases to the latest cutting-edge rhythm patterns. In addition, you can assign your favorite Arpeggios to the [SF1] – [SF5] buttons and switch between Arpeggio phrases instantly.
Using the Arpeggio feature Register your favorite Arpeggio types to the [SF1] – [SF5] buttons Controlling Arpeggio playback by using the Knobs. You can change the default settings and assign any Arpeggio types you like to the [SF1] – [SF5] buttons. These four Knobs let you adjust the tempo and volume of Arpeggio playback. If you like the results and want to save them, you can store the changes as a User Voice, Performance, Song, or Pattern. 1 Press the [ARP FX] button to turn the lamp on.
Using the Controllers on the MO Using the Controllers on the MO This section shows you how to change the sounds by using the controllers on the MO. When using the external controllers, see page 69. Pitch Bend Wheel Use the Pitch Bend wheel to bend notes up (roll the wheel away from you) or down (roll the wheel toward you) while playing the keyboard. The Pitch Bend wheel is self-centering and will automatically return to normal pitch when released.
Using the Controllers on the MO Knob Changing the sounds You can change the brightness and tone characteristics of the current Voice, Performance, Song or Pattern in realtime by turning the knobs while you play. Rotating it to the right (clockwise) increases the program number, while rotating it to the left (counter-clockwise) decreases it. You can select the function set assigned to the knobs among the following seven sets by pressing the appropriate Control function button.
Using the Controllers on the MO Control slider Changing the volume You can adjust the volume of the Voice/Performance you play on the keyboard, or the volume of the specified part (track) of the Song/Pattern by using the Control sliders. In the Master mode, various functions as well as the volume can be assigned to the Control sliders when the Zone Switch is set to on (page 215).
Editing a Voice Editing a Program Editing a Voice Each Voice can consist of up to four Elements. An Element is made up of a basic waveform—the basic sound of a musical instrument—plus the various synthesizer processing parameters used to enhance, alter or define the sound, such as pitch, filter, and amplitude controls.
Editing a Voice 3 Call up the Common Edit display or Element Edit display. If you wish to edit the sounds that make up a Voice and the basic parameters that determine the sound—such as Oscillator, Pitch, Filter, Amplitude, and EG (Envelope Generator)—call up the Element Edit display. If you wish to edit more global parameters related to the overall Voice and how it’s processed—such as Arpeggio, Controller, and Effects—call up the Common Edit display.
Editing a Voice TIP Edit Recall 1 In the Normal Voice Edit mode, simultaneously hold down the [MUTE] button and press one of the Number buttons [9] to [12] to solo the corresponding Element. Once you’ve selected an Element for soloing, the [MUTE] button’s lamp flashes, indicating the Solo function is active and only the selected Element can be edited. In this example, only Element 3 is turned on and can be edited. 2 2 3 Press the [JOB] button in the Voice mode to enter the Voice Job mode.
Editing a Voice TIP Editing a Voice by using the Knobs The four knobs at the top left of the instrument are not only for tweaking the sound while you perform—you can also use them to edit a Voice, either in the Voice Play mode or the Voice Edit mode. ● When the [PAN/SEND] indicator is turned on: PAN Determines the stereo pan position of the Voice. [VOICE] → Voice selection → [EDIT] → [COMMON] → [F2] OUTPUT → Pan Page 154 REVERB Determines the amount of Reverb effect that is applied to the Voice.
Editing a Voice Drum Voice Edit 1 Press the [VOICE] button to enter the Voice mode, then select a Drum Voice to be edited. 2 Press the [EDIT] button to enter the Voice Edit mode. EDIT JOB STORE COMPARE 3 Call up the Common Edit display or Key Edit display. Quick Guide If you want to edit the sounds that make up a Drum Voice and the basic parameters that determine the sound, such as Oscillator, Pitch, Filter, Amplitude, and EG (Envelope Generator), call up the Key Edit display.
Editing a Voice TIP Assigning drum/percussion instruments to individual keys [VOICE] ➞ Drum Voice selection ➞ [EDIT] ➞ Key selection ➞ [F1] OSC ➞ [SF1] WAVE In the Drum Voice Edit mode, you can create your own original drum kits by assigning specific instrument sounds to individual keys—in any desired order—and edit detailed parameters for each key’s sound. 1 Call up the Key Edit display in the Voice Edit mode.
Editing a Voice TIP Setting the drum key for independent open and closed hi-hat sounds [VOICE] ➞ Drum Voice selection ➞ [EDIT] ➞ Key selection ➞ [F1] OSC ➞ [SF5] OTHER ➞ AltnateGroup In a real drum kit, some drum sounds cannot physically be played simultaneously, such as open and closed hi-hats. You can prevent drum instruments from playing back simultaneously by assigning them to the same Alternate Group.
Editing a Voice Storing/Saving the created Voice Two steps are necessary in order to store (save) your Voice—storing the edited Voice to internal memory and saving the stored voices to a USB storage device.
Editing a Voice To execute the Store operation, press the [INC/YES] button. 4 3 Set the Type parameter to “All Voice.” After the Voice has been stored, a “Completed” message appears and operation returns to the Voice Play display. DEC NO INC YES The following three file types are available for saving Voice data. Here, select “All Voice.” All When this is selected, execute the Save operation to save all the created data including the User Voices as a single file (extension: M7A).
Editing a Voice ■ Loading Voice data from a USB storage device When Type is set to “Voice”: [FILE] ➞ [F3] LOAD In the previous section, we saved Voice data as an “All Voice” file to a USB storage device. Here, we’ll recall that Voice data and load it to the instrument with the Load operation. 1 When Type is set to “Voice,” you can specify and load a specific Voice from a file (with the extension W7V or M7A). Press the [FILE] button to enter the File mode.
Editing a Performance Editing a Performance The Performance Edit mode ([PERFORM] → [EDIT]) lets you create your own original Performances—containing up to four different Parts (Voices)—by editing the various parameters. After assigning different Voices to separate ranges of the keyboard, edit the detailed parameters in the Performance Edit mode. Press the [PERFORM] button to enter the Performance mode, then select a Performance to be edited (page 44).
Editing a Performance 4 Select the menu you wish to edit by pressing the [F1] – [F6] buttons and [SF1] – [SF5] buttons, then edit the parameters in each display. The following briefly describes the main Performance parameters. ● Parameters for the Voice assigned to each Part Page 174 5 Repeat steps 3 – 4 as desired. 6 Name the edited Performance. Enter a name for the Voice from the NAME display ([COMMON] → [F1] GENERAL → [SF1] NAME). For detailed instructions on naming a Voice, refer to page 38.
Editing a Performance TIP Editing a Performance by using the Knobs The four knobs at the top left of the instrument are not only for tweaking the sound while you perform—you can also use them to edit a Performance, either in the Performance Play mode or the Performance Edit mode. ● When the [PAN/SEND] indicator is turned on: PAN Determines the stereo pan position of the Performance.
Editing a Performance Storing/Saving the created Performance Two steps are necessary in order to store (save) your Performance—storing the edited Performance to internal memory and saving the stored Performances to a USB storage device. Internal memory Store Performance Edit USB storage device User Performance 001 User Performance 002 Save User Performance Bank 1 Storing edited Performances individually All the User Performance data in internal memory can be saved as a single file.
Editing a Performance Saving the edited Performances to a USB storage device [FILE] ➞ [F2] SAVE The basic operations are the same as in the Voice mode (page 61). However, keep in mind that you must set the Type parameter to “All.” When Type is set to “All,” executing the Save operation saves all the created data, including the Performances as well as the Voices assigned to them, as a single file (extension: M7A).
Editing a Performance 4 Select the file ( ) to be loaded. Move the cursor to the file (extension: M7A) saved in the operation explained in the previous instructions. If the desired file was saved in specific folder, enter the folder and select the file. For information on how to select a folder, see page 213. If you have set the Type parameter to “All” in step 3, go on to step 5.
Controllers supported by the MO Using the Controllers—Advanced Course Controllers supported by the MO You can control tone, volume, pitch and other parameters by using the controllers on the front panel, as well as by using external controllers connected to several controller jacks on the rear panel.
Controllers supported by the MO Controlling a Voice with Controller Set [VOICE] ➞ Voice selection ➞ [EDIT] ➞ [COMMON] ➞ [F4] CTL SET (page 155) Each of the Preset Voices of MO is programmed with appropriate Modulation Wheel and Knob assignments, for adjusting the sound and effects in ways that best match the selected Voice. For example, you can use the Modulation Wheel to apply a chorus effect to a piano Voice, or use one of the Knobs to control the decay time parameter of a bass guitar Voice.
Controllers supported by the MO Controlling the overall system with ASSIGN A and B [UTILITY] ➞ [F4] CTL ASN ➞ [SF2] ASSIGN (page 208) The ASSIGN A and B (Knob 1 and 2) settings let you control the functions that affect all Voices, Performances, Song, and Pattern. You can store the ASSIGN A and B settings as the system settings by pressing the [STORE] button. n ASSIGN A and B are common to all Voices/Performances/Songs/Patterns.
Controllers supported by the MO Changing Control Change numbers The functions assigned to the controllers by the Controller Set and ASSIGN A/B functions are applied only to the internal tone generator block. For connected external MIDI instruments, use of the controllers generates MIDI Control Change messages, as assigned in the chart below.
Playing the Demo Songs/Patterns Creating a Song on the MO In this section, we’ll explain how to create a Song by using the built-in sequencer of the MO (Song mode and Pattern mode). There are two ways (or modes) that you can use the music production features of the MO to create your own music: Song mode and Pattern mode. In the Song mode, you can create a Song in order from beginning to end.
Playing the Demo Songs/Patterns 2 Set the LoadType to “All.” Any of following three types can be set. However, for this example, select “All.” All ................ Loads both the Demo Song and Pattern data. Song ............ Loads only the Demo Song data. Pattern ........ Loads only the Demo Pattern data. 3 Press the [ENTER] button to load the Demo data. After the data is loaded, the Song Play display is automatically called up.
Playing the Demo Songs/Patterns Press the [PATTERN] button to enter the Pattern mode. PERFORM MASTER SONG PATTERN MIXING FILE Using Mute/Solo with the Song and Pattern tracks UTILITY Try this with the Demo Songs to hear how the tracks sound both in isolation and in various combinations. DEMO EDIT COMPARE 7 STORE JOB ■ To mute a track SCENE STORE SET LOCATE 1 Press the [MUTE] button (the lamp lights). 2 Press any of the NUMBER [1] – [16] buttons to select the track number to be muted.
Creating a Pattern Creating a Pattern When you create a Song, one of the most essential aspects is the rhythm. It is almost always the first thing you start with, and provides a foundation for the rest of the music. The Pattern mode gives you the tools to create rhythm patterns for the accompaniment of the Song. Here, in brief, are the basic steps in using Patterns to create a Song: 1) In the Pattern mode, create and chain together the phrases that will be used for the accompaniment and the Song.
Creating a Pattern Store the Mixing settings. Press the [STORE] button (the display below appears). Press the [ENTER] button to store the Mixing settings with the Pattern. Mixing Template A total of 32 Mixing settings, each designed for a different music category or genre, have been programmed and stored as convenient Mixing Templates. Each Mixing Template includes the Voices, effects, pan and other settings suitable for the corresponding music genre.
Creating a Pattern TIP Creating Mixing Voices exclusively for Songs/Patterns If you assign User Voices to your Song or Pattern and then edit them (in the Voice Edit mode), the Voices may sound different than expected. This convenient feature lets you create dedicated Mixing Voices for your Songs and Patterns—ensuring that the Voices will play exactly as they were edited for the Song/Pattern. The Mixing Voice can be stored with the Song or Pattern.
Creating a Pattern 3 Set the meter (time signature), tempo, and length. Tempo Meter (time signature) 4 Length of pattern TIP User Phrases In addition to the Preset Phrases, you can store MIDI data you’ve recorded in the Pattern mode as User Phrases. User Phrases have the added benefit of being able to use the sounds of other instruments, letting you record bass, guitar, piano and other parts as well as drums and percussion. For details, see page 81.
Creating a Pattern TIP Type, Loop, and Quantize Type The “replace” setting lets you overwrite an already recorded track with new data. The first recording is lost, and the new one takes its place. The “overdub” setting lets you record (layer) additional data to a track that already contains data. These methods are both realtime recording methods. The “step” setting (Step recording) allows you to compose your performance by “writing” it down one event at a time. For details, see page 82.
Creating a Pattern MIDI data recorded in the Pattern mode is stored as a User Phrase. You can store up to 256 User Phrases to a single Pattern. Next, let’s use the Pattern Copy function and record our User Phrases to Section B. Copying Patterns and Creating a Pattern with User Phrases Copying a Pattern Creating a Pattern with User Phrases In order to assign the drum and bass phrases of section A to section B, we’ll copy the performance of Section A to section B.
Creating a Pattern TIP Copying a User Phrase from another Pattern to the current Pattern The User Phrases that can be assigned with the Patch function are limited to the ones contained in the currently selected Pattern. To copy Phrases from other Patterns for use in the current one, follow the instructions below. 1 2 In the [F4] PATCH display, press the [SF5] COPY button to call up the Copy Phrase display.
Creating a Pattern Creating a Pattern with Step recording Press the [TRACK SELECT] button so that its lamp lights, and select the track for the strings part by pressing the Number [5] button. Press the [REC] button to enter the Pattern Record mode. 7 Set the Type parameter to “step” in the [F1] SETUP display.
Creating a Pattern 3 Select a track, then adjust the Groove settings. 1 2 3 4 5 6 7 8 12 13 14 15 16 TRACK SELECT Select a track. ELEMENT PERF. PART ZONE 9 10 11 MUTE SOLO Set each parameter. Move the cursor to the desired parameter and grid point and set the offset value. Move the cursor... DEC/NO Set the value.
Creating a Pattern Creating a Pattern Chain by changing a Section while playing a Pattern Switching of sections, track muting, scene/mute changes, and tempo changes can all be recorded in real time as a Pattern Chain. 4 Press the [F] button to start recording and play the Pattern as you like. Change the Section at the desired points, as the Pattern plays. SEQ TRANSPORT 1 In the Pattern Play mode, select a Pattern for which data has already been created.
Creating a Pattern Editing a Pattern Chain Converting a Pattern Chain to Song data The Pattern Chain Edit mode makes it possible to edit the order of the Sections in a chain, as well as insert tempo and scene/mute event data. Once you’ve made a Pattern Chain, you can convert the data and create a Song with it. Quick Guide Creating a Song on the MO 1 In the Pattern Play mode, select a Pattern for which data has already been created.
Creating a Song Creating a Song The following chart illustrates the basic procedure for creating a Song, using the various methods and functions described in this tutorial. Now, that you’ve assembled the backing tracks for your Song by converting the Phrases or Pattern Chain to Song data, you can now record melody parts on them. Song track Song track 1 Song track 2 Song track 3 Pattern Chain Song track 4 Convert the Pattern Chain to Song data ([PATTERN] → [F6] CHAIN → [EDIT] → [F3] SONG).
Creating a Song Recording with the keyboard to a Song track Arpeggio, Realtime Recording/Step Recording, Groove function In the Song mode, you can use the Arpeggio, Realtime Recording/Step Recording, and Groove function in the same ways as you did in the Pattern mode. The procedure is basically the same as that of the Pattern mode. 5 Press the [F] (Play) button to start the recording. When Song playback reaches the Punch In point, play the keyboard.
Creating a Song TIP Song Recording using a Performance If you have a favorite Performance or one that would fit the Song to be recorded, you can copy certain settings of up to four Parts of the Performance to the Song Mixing settings currently being edited. 3 4 Press the [F5] PF COPY button to call up the Performance Copy display. Set the parameters as necessary in the [F5] PF COPY display, then press the [ENTER] button to execute the Copy operation.
Creating a Song ■ Recalling a Song Scene and Arpeggio type during recording EDIT ARP1 – ARP5 menus appear also in the [F3] ARP display in the Song Record mode as well as the [F1] PLAY display in the Song Play mode. These indicate that you can change the Song Scene and Arpeggio type simultaneously during Song recording from the [F3] ARP display. ■ Recording Song Scene changes to a Song Each Song contains a Scene track to which you can record Scene changes.
Creating a Song To edit data in the Event List, use the up/down cursor buttons to highlight the specific event you want to edit, and use the left/right cursor buttons to highlight the data type or parameter to be edited. Then, change the value as needed by using the [INC/YES] and [DEC/NO] buttons or the data dial. The entire line of the edited event will flash on the display. Press the [ENTER] button to actually enter the edited data (the entire line of the edited event will stop flashing).
Creating a Song Press the [JOB] button to enter the Song Job mode. 2 As shown below, the Jobs are divided into six main groups, each of which is selected using the [F1] – [F6] buttons. Indicates the Job List. Because all the Jobs cannot be displayed simultaneously, you will need to use the cursor buttons to scroll the display in order to find the desired Job. 6 If you are satisfied with the result of the Job, go to step 7.
Creating a Song TIP Using the Undo/Redo functions If you’re not satisfied with the results of a just-executed Job, or you want to hear the difference of the sound before and after using a Job, you can use the convenient Undo and Redo functions. After changing the data with a particular Job, repeat steps 1 – 4 as desired. 2 Press the [SONG] button to return to the Song Play mode, then press the [F] button to hear the Song as it was changed by the Job. This lets you check the results of the Job.
Creating a Song 4 Call up the Common Edit display or Part Edit display. Use Part Edit to edit the parameters for each Part. Use Common Edit to edit the parameters for all of the Parts. While in the Song Mixing Edit mode, you can switch between the Common Edit display and the Element Edit display as shown below. Calling up the Common Edit display Press the [COMMON] button to call up the Common Edit display. In the Edit mode, the [DRUM KITS] button functions as the [COMMON] button.
Creating a Song TIP Song Chain This function allows Songs to be “chained” together for automatic sequential playback. In this section, try using the Song Chain features with the Demo Songs. 1 Press the [F6] CHAIN button to call up the Song Chain display. From this display you can program and play your own custom Song sequences. 3 Play the Song Chain. Move the cursor to the top of the Song Chain display, and press the [F] (Play) button to start Song playback.
Creating a Song TIP Editing a Mixing by using the Knobs (in the Song mode/Pattern mode) The four knobs at the top left of the instrument can be used to tweak the Song/Pattern Mixing settings as they play (in the Song Play/Pattern Play mode). What’s mode, you can use them to edit the Mixing settings, in the Song Mixing Edit/ Pattern Mixing Edit modes. For details on the parameters edited by the knobs, refer to the descriptions in the Performance mode (page 65).
Creating a Song TIP Editing a Mixing by using Control sliders (in the Song mode/Pattern mode) [SONG] ➞ Song selection ➞ [MIXING] ➞ [EDIT] ➞ Part selection ➞ [F2] OUTPUT ➞ [SF1] VOL/PAN ➞ Volume In the Song/Pattern mode, the four Control sliders let you independently adjust the levels of the Parts (Voices), letting you control the overall balance of the Parts. n Inadvertent use of the sliders may result in no sound. If this occurs, move the sliders upward.
Creating a Song Record the MIDI sequence data to a Song or Pattern track, referring to the previous instructions in this chapter as needed. The examples listed below are used as reference. ● Creating a rhythm pattern (using a Drum Voice) Track 1 Record a basic rhythm pattern using various drum instruments. ➔ Convert via “Fixed.” Track 2 – 4 Record a different rhythm pattern using a specific drum instrument to each track. ➔ Convert via “Normal.
Creating a Song Storing the edited Song Mixing/ Pattern Mixing settings to internal memory [MIXING] ➞ [STORE] 2 Press the [F2] SAVE button to call up the Save display. 3 Set the TYPE parameter to “All.” ■ Storing the Mixing settings as a part of a Song All All data in this synthesizer’s internal User Memory is treated as a single file (extension: M7A), and can be saved to a USB storage device.
Creating a Song Saving a Song or a Pattern Section as a Standard MIDI File After connecting the USB storage device to the instrument, follow the instructions below. 1 Press the [FILE] button to enter the File mode. Then press the [F1] CONFIG button and [SF1] CURRENT button. If the device is divided into several partitions, select the specific partition for use. If the device has several media (e.g., discs) inserted, select a specific Slot number.
Creating a Song 3 Select a file type to be loaded. You can load the file (extension: M7A) saved as “All” by selecting one of the following file types. Voice A specified Voice in a file can be individually selected and loaded to this instrument. Performance A specified Performance in a file can be individually selected and loaded to this instrument. Song A specified Song in a file can be individually selected and loaded to this instrument.
Creating a Song TIP Setting a specific file to load automatically when the power is turned on The MO is very easy to use and you can create Voices, Performances, Patterns and Songs very quickly on it. However, there may be times that creating and editing of data may be spread out over several sessions. In such a case, you may find it convenient to have the instrument automatically load the appropriate files for you when you turn it on, so you can easily resume your editing session.
Connections Connecting the MO to external devices Connections Connecting to External Audio Equipment Since the MO has no built-in speakers, you’ll need an external audio system or a set of stereo headphones to properly monitor it. Alternatively, you could use a pair of headphones. There are several methods of connecting to external audio equipment, as described in the following illustrations.
Connections Connecting External MIDI Instruments Using a standard MIDI cable (optional), you can connect an external MIDI device, and control it from the MO. Likewise, you can use an external MIDI device (such as a keyboard or sequencer) to control the sounds on the MO. This section introduces several different applications of MIDI. n Either of the interfaces—MIDI or USB—can be used for MIDI data transmission/reception. However, they cannot be used at the same time.
Connections TIP Splitting the sound between the MO and an external tone generator by MIDI channel (Part 1) Using the connection example shown above, you can play both instruments and have them separately sound different parts—for example, having your keyboard performance sound the external instrument while the Song/Pattern plays the sounds of the MO. Check the following points.
Connections ■ Controlling another MIDI instrument via MIDI THRU If you have more synthesizers and tone generators than MIDI ports, you can use the MIDI THRU jack to connect and control additional devices. Here, the playback data of a MIDI sequencer is used to play the sounds of another MIDI instrument (connected to the MIDI THRU connector) as well as the MO. The MIDI THRU connector simply redirects any received MIDI data (via MIDI IN) to connected instrument.
Connections ● Controlling an MTR by using MMC transmitted from the MO You can control the start/stop and fast forward/rewind of the MMC-compatible MTR from the SEQ TRANSPORT buttons on the front panel of the MO, outputting MMC messages via MIDI. MIDI cable MIDI IN SEQ TRANSPORT LOCATE 1 MIDI OUT MIDI IN MIDI OUT 2 REC MO MMC (MIDI Machine Control) allows remote control of multitrack recorders, MIDI sequencers, etc.
Connections TIP Thru Port Setting MIDI ports can be used to divide playback among multiple synthesizers, as well as expand the MIDI channel capacity beyond sixteen. In the example below, a separate synthesizer connected to the MO is played by MIDI data via port 5, as set in the ThruPort parameter with the following operation. [UTILITY] ➞ [F5] MIDI ➞ [SF4] OTHER ➞ ThruPort = 5 MIDI cable MIDI IN Only MIDI data over port 5 will be transmitted through the MO to this tone generator.
Connections Local On/Off—when Connected to a Computer When connecting this synthesizer to a computer, the keyboard performance data is generally sent to the computer, and then returned from the computer to play the tone generator block. If the Local Control in the Utility mode is set to “on,” a “double” sound may result, since the tone generator is receiving performance data from both the keyboard directly and the computer.
Using as a Multi-timbral Tone Generator for your DAW/sequencer Using as a Multi-timbral Tone Generator for your DAW/sequencer The MO can serve as a high-quality, 16-part, multi-timbral tone generator for playing back song data from your DAW (digital audio workstation) or sequencer software. By assigning each track in a MIDI song file to a different MIDI channel, you can have each track in the song independently play back a different Voice on the MO.
Using as a Multi-timbral Tone Generator for your DAW/sequencer 5 Record your song data to the sequencer song file. For details, refer to the owner’s manual of your sequencer. 6 Play back the sequencer song file using the sounds of the MO. External keyboard Quick Guide When a Note On message is received, the corresponding Part is played. For example, when you play back tracks on the sequencer, the Part whose Receive Channel is same as the sequencer track’s Transmit Channel is played.
Using the MO with computer software Using the MO with computer software Editing the MO as a “virtual” synthesizer Voice Editor and Multi Part Editor The Voice Editor and Multi Part Editor for MO provide a highly intuitive way to create and edit the Voices and Mixing settings (Multis) completely from your computer display.
Using the MO with computer software Remote-controlling the software This powerful feature lets you control your music/audio software programs by using sliders and buttons on the panel of the MO, rather than your computer’s mouse and keyboard. The MO can be used to control sequencer software and DAW software, such as Cubase SX, Logic, and SONAR. These sequencers or DAWs are already set to respond to specific hardware controllers.
Using the MO with computer software 5 Press the [ENTER] button to execute the settings. 6 Press the [STORE] button to store the settings as the system settings of the Utility mode. CAUTION If you turn the power off without storing, the currently edited settings will be lost. ■ Digital Performer 4.52 1 2 3 4 Pull down the [Setup] menu and select [Control Surface Setup] to call up the “Control Surface” window. Click the [+] button. Select “Mackie Control” in the Driver section.
Using the MO with computer software Using the Remote Control functions 1 To enter the Remote Control mode, press the [DAW REMOTE] button (the lamp flashes). The REMOTE display appears, and the panel controls are enabled for Remote operation of the computer software (their normal functions are disabled). DAW REMOTE FILE UTILITY DEMO 2 Press this button again to exit from the Remote Control mode. Select the software to be remote-controlled (Mode A or Mode B).
Using the MO with computer software ■ Data dial, [INC/YES] and [DEC/NO] buttons When the [DIAL] menu appears at the [SF4] button These controls can be used to set the value for the knob of the DAW controller, for the track/part selected by the cursor. The Knobs can also be used, but these help you make fine adjustments to the value that are difficult to make with the Knobs. When the menu does not appear at the [SF4] button The buttons can be used to move the song position in the DAW.
Using the MO with computer software Remote Control Assignments Checking the Remote Control assignments If you’re unsure as to which software function has been assigned to a particular panel control on the MO, this convenient feature lets you quickly check it from the display. 1 2 SF1 SF2 F1 SF3 F2 SF4 F3 F4 SF5 INFORMATION F5 F6 In the Remote Control mode, press the [INFORMATION] button to call up the information display, indicating the function of the last pressed button.
Using the MO with computer software Button/Controller names on 01X Functions [AUX/BUS] Opens the AUX/BUS window or brings it to the front of the computer screen (when the Audio Mixer is active). [OTHER] Starts the Audio Mixer or brings it to the front of the computer screen. This operation applies to the Effect Module software. (Only PAN is available in the R settings.) [BANK ] Scrolls through the track indication every eight channels.
Using the MO with computer software [RWD] Press to continuously rewind. Press repeatedly to rewind more quickly. When the Marker is turned on, this operation moves the song position to the previous Marker. When Nudge is turned on, this operation moves the current object. [FF] Press to continuously fast-forward. Press repeatedly to fastforward more quickly. When the Marker is turned on, this operation moves the song position to the next Marker.
Using the MO with computer software Button/Controller names on Mackie Control Button/Controller names on Mackie Control Functions Functions SEND mode [DYN] (SELECTED CHANNEL only) [AUX] Assigns an AUX BUS to a Fader. Knobs 1 – 8 [MAIN] Assigns output level adjustment of the Virtual Main Bus to the Faders. For editing parameters. PLUG-IN mode [PLUG-IN] (SELECTED CHANNEL only) Knob 1 Changes the Slot Number (on page 1 only). Knob 2 Turns the Effects on or off (on page 1 only).
Using the MO with computer software When controlling Digital Performer 4.52: Functions of Mackie Control assigned to [F1] – [F6] and [SF1] – [SF5] buttons ASSIGNMENT PLUG-INS PAN DIAL RESET EQ BANK-L KN1-4/5-8 BANK-R SHIFT FADER BANKS TONE FLIP CHANNEL-L LEVEL METERS EDIT CHANNEL-R DIAL RESET BANK-L SHIFT Track Groups/Windows SEQ EDITOR ARP FX GROUOP TR OVERVIEW MIXING BOARD UNGROUP SUSPEND DIAL RESET BANK-L KN1-4/5-8 BANK-R Knobs 1 – 8 (turning) For editing parameters.
Creating Your Original Program Set (Master mode) Creating Your Original Program Set (Master mode) The Master mode is the highest mode in the MO hierarchy, letting you instantly switch between programs you’ve created in the Voice, Performance, Song and Pattern modes.
Creating Your Original Program Set (Master mode) Storing your favorite programs 1 Select a Master to be created. 2 Press the [F2] MEMORY button to call up the Mode setting display. 5 Store the edited Master to internal User memory. 5-1 Press the [STORE] button to enter the Master Store mode. 5-2 Select the destination Master by using the data dial or the [INC/YES] and [DEC/NO] buttons. Determines whether Zone Switch is set to on or off.
Creating Your Original Program Set (Master mode) 3 After setting the Mode and Program number which you wish to memorize to the Master, set the Zone Switch to “on.” Determines the mode that is called up when the Master number is selected. Set the Zone Switch to “on.” Determines the program number that is called up when the Master is selected. 4 Press the [EDIT] button to enter the Master Edit mode.
Creating Your Original Program Set (Master mode) Using Zones effectively with an external tone generator The two examples below show how to use the Zones with both the internal tone generator and a connected external tone generator. These instructions correspond to the steps on the previous page. n Though all four Zones are used in the example below, you can use any number of Zones (two, three, or four).
Creating Your Original Program Set (Master mode) Assigning Control Change numbers to the Knobs/Sliders for each Zone Here in the KN/CS display of the Master Edit mode, you can set how the Control Knobs and Sliders will affect each Zone. This lets you specify a separate MIDI Control Change number for each Knob and Slider. DAW REMOTE PAGE SELECT ASSIGN A PAN SEND ASSIGN TONE All indicators are turned off by setting the [MASTER] → [EDIT] → [COMMON] → [F2] OTHER → Knob/Slider parameter to “zone.
Creating Your Original Program Set (Master mode) TIP Setting up the Master Zones to Split or Layer This operation lets you easily determine whether the Zones of the selected Master are to be used in a Split or a Layer. The note range settings for each Zone can be determined by setting the NoteLimitH and NoteLimitL parameters from the NOTE display ([MASTER] → [EDIT] → Zone selection → [F2] NOTE). n Zones 1 and 2 are used in the explanations here.
Internal Structure (System Overview) Basic Structure This section gives you an easy-to-understand overview of the MO—its wide range of sophisticated features, its MIDI control and performance functions, and its convenient file management system for original data you’ve created with the instrument. Internal Structure (System Overview) This synthesizer is made up of several blocks, as shown here.
Internal Structure (System Overview) Tone Generator block The Tone Generator block is what actually produces sound in response to the MIDI messages generated by playing the keyboard, using the controllers, and the playback of the sequencer (Song/Pattern/Arpeggio). Outputs the wave that makes up the sound. Changes the tonal quality of the sound output from the PITCH unit. Tone Generator OSC PITCH FILTER Controls the pitch of the sound.
Internal Structure (System Overview) The illustration below shows the structure and interrelationship of the Voices, Performances, and Mixings. One Voice VOICE Element 1 – 4 or Key C0 – C6 Up to four elements (Normal Voice) Up to 73 keys (Drum Voice) n Common Edit parameters Arpeggio, Effects, Controller Set, etc. This synthesizer has two types of Voices—Voices created in the Voice mode and Mixing Voices (dedicated for the Song/Pattern) created in the Mixing Voice mode.
Internal Structure (System Overview) The following illustrations may help in understanding the memory structure of the Voices, Performances, and Mixings. VOICE Voices Normal Voice Preset Voice Preset 1 PRE 1 Drum Voice Preset 3 PRE 3 (128 Voices) Normal Voices: 512 Drum Voices: 64 A. PIANO 1 2 (128 Voices) ...... 128 ORGAN GM Voice 1 2 1 2 ...... 128 GUITAR PLUCKED A.
Internal Structure (System Overview) ■ Normal Voice and Drum Voice Internally, there are two Voice Types: Normal Voices and Drum Voices. Normal Voices are mainly pitched musical instrument-type sounds that can be played over the range of the keyboard. Drum Voices are mainly percussion/drum sounds that are assigned to individual notes on the keyboard. A collection of assigned percussion/drum waves or Normal Voices is known as a Drum Kit.
Internal Structure (System Overview) ● Filter • Band Pass Filter [VOICE] ➞ Voice selection ➞ [EDIT] ➞ Element selection/ Drum Key selection ➞ [F3] FILTER This passes only those a band of signals around the Cutoff frequency. The width of this band can be varied. Level This unit modifies the tone of the sound output from Pitch by cutting the output of a specific frequency portion of the sound. Range passed Cutoff Frequency and Resonance Here’s how filters work.
Internal Structure (System Overview) ● Amplitude [VOICE] ➞ Voice selection ➞ [EDIT] ➞ Element selection/ Drum Key selection ➞ [F4] AMP Single Timbre Tone Generator (Voice/ Performance mode) and Multi-timbral Tone Generator (Song/Pattern mode) This unit controls the output level (amplitude) of the sound output from the Filter block. The signals are then sent at this level to the Effect block. Also, by setting the AEG (Amplitude Envelope Generator), you can control how the volume changes over time.
Internal Structure (System Overview) Part structure of the Tone Generator block The MO plays the sounds in its tone generator block in response to MIDI messages received from external controllers or sequencer. The MIDI messages are assigned to sixteen independent channels, and the instrument is capable of simultaneously playing sixteen separate Parts, via the sixteen MIDI channels. However, the sixteen-channel limit can be overcome by using separate MIDI “ports,” each supporting sixteen channels.
Internal Structure (System Overview) Sequencer Block This block lets you create Songs and Patterns by recording and editing your performances as MIDI data (from the controller block), then playing it back with the tone generator block. The sequencer block can be operated in the Song mode, in the Pattern mode, and with the Arpeggio feature. When a Song or a Pattern is played back, the musical data of each sequence track is transmitted to the tone generator block according to the Transmit Channel settings.
Internal Structure (System Overview) ● Song Mixing Even if you record your keyboard performance to a Song track, the setup data (non-note events such as voice, pan, volume) which for proper playback should be recorded at the top of the Song will not be recorded to it. For this reason, the setup data handled as Song Mixing settings should be stored in the Song Mixing Store mode.
Internal Structure (System Overview) ● Pattern Mixing ■ MIDI tracks Even if you record your keyboard performance to a Pattern track, the setup data (non-note events such as voice, pan, volume) which for proper playback should be recorded at the top of the Pattern will not be recorded to it. For this reason, the setup data handled as Pattern Mixing settings should be stored in the Pattern Mixing Store mode.
Internal Structure (System Overview) ● Loop Recording (Pattern) [PATTERN] ➞ [REC] (Record) ➞ [F1] SETUP ➞ loop = on Pattern repeats the rhythm pattern of several measures (1 to 256 measures) in a “loop,” and its recording is also done using loops. This method is used when recording a Pattern Phrase using the Overdub method (above). As shown in the example below, notes that you record will play back from the next repetition (loop), letting you record while hearing previously recorded material.
Internal Structure (System Overview) Effect Block This block applies effects to the output of the tone generator block, processing and enhancing the sound using sophisticated DSP (digital signal processing) technology. Effect structure You can bypass the Master Effect by turning on the [MASTER EFFECT] button with a single touch. The System Effect(s) or Insertion Effect(s) can be bypassed by turning on the [EFFECT BYPASS] button.
Internal Structure (System Overview) ■ Equalizer (EQ) ● Part EQ Usually an equalizer is used to correct the sound output from amps or speakers to match the special character of the room, or to change the tonal character of the sound. The sound is divided into several frequency bands, and adjustments are made to the sound by raising or lowering the level of each band.
Internal Structure (System Overview) Effect connection in each mode ● In the Voice mode The Effect parameters in the Voice mode are set for each Voice and the settings are stored as a User Voice. Note that the Master Effect and Master EQ parameters are set for all the Voices in the Utility mode. Once the Master Effect and EQ settings have been made, they can be stored as System settings by pressing the [STORE] button.
Internal Structure (System Overview) ● In the Performance mode The Effect parameters in the Performance mode are set for each Performance. System effects (Reverb effect and Chorus effect) Chorus Ctg, Chorus Typ (Chorus Effect Category, Chorus Effect Type) Reverb Typ (Reverb Effect Type) Determines the effect type for Chorus. Chorus Send, Reverb Send Determines the level of the sound (from Insertion A or B, or the bypassed signal) that is sent to Chorus/Reverb effect.
Internal Structure (System Overview) ● In the Song/Pattern mode The Effect parameters in the Song/Pattern mode are set for each Song/Pattern. System effects (Reverb effect and Chorus effect) Chorus Ctg, Chorus Typ (Chorus Effect Category, Chorus Effect Type) Reverb Typ (Reverb Effect Type) Determines the effect type for Chorus.
Internal Structure (System Overview) Arpeggio This function lets you automatically trigger musical and rhythmic phrases using the current Voice by simply pressing a note or notes on the keyboard. The Arpeggio sequence also changes in response to the actual notes or chords you play, giving you a wide variety of inspiring musical phrases and ideas—both in composing and performing.
Internal Structure (System Overview) ■ Arpeggio playback types The MO features a total of 1787 Arpeggio types divided into 18 categories, each with its own playback type designed for use with particular types of Voices, as described below. ● Arpeggios for Normal Voices Arpeggio types (belonging to the categories except for the DrPC and Cntr) created for use of Normal Voices have the following two playback types.
Internal Structure (System Overview) ■ Arpeggio related parameters The Arpeggio related parameters can be set from the following displays, depending on the selected mode.
Internal Memory and File Management Internal Memory and File Management As you use the MO, you’ll create many different kinds of data, including Voices, Performances, Songs, and Patterns. This section describes how to maintain the various types of data and use the memory devices/media for storing them. Maintaining data You can maintain the data you’ve created via the following three methods.
Internal Memory and File Management Memory Structure This diagram details the relationship among the functions of the MO and the internal memory and USB storage device.
Internal Memory and File Management Internal Memory Below are explanations of the basic terms used in the Memory Structure illustration on the previous page. ● Flash ROM ROM (Read Only Memory) is memory designed specifically for reading out of data, and as such data cannot be written to it. Unlike conventional ROM, Flash ROM can be overwritten – allowing you to store your own original data. The contents of Flash ROM are maintained even when the power is turned off.
Voice Play mode Reference Voice mode [VOICE] ➞ Voice selection Voice Play mode The Voice Play mode lets you perform a variety of general editing operations on the selected Voice. For more detailed and comprehensive editing operations, use the Voice Edit mode. Edited parameters with the exception of some parameters are stored to internal Flash ROM as a User Voice. n In the Voice Play mode and Voice Edit mode, you can set the parameters for each Voice.
Voice Play mode [F5] EG (Envelope Generator) This display contains the basic EG settings, both volume and filter, for the Voice, as well as the filter’s cutoff frequency and resonance settings. The settings made here are applied as offsets to the AEG and FEG settings in the Voice Edit mode. The full names of the available parameters are shown in the chart below, as they appear in the display.
Voice Edit mode Normal Voice Edit Common Edit [VOICE] ➞ Voice selection ➞ [EDIT] Voice Edit mode There are two kinds of Voices: Normal Voices and Drum Voices. The following section shows how to edit the different types of Voices and explains the parameters available. Note that the parameters available for editing differ depending on the Voice types (Normal Voice, Drum Voice).
Voice Edit mode Normal Voice Edit [SF5] OTHER Common Edit From this display you can set the control functions for the Knobs, and determine the up/down range for the Pitch Bend wheel. Determines the function for the assignable Knobs (1 – 4). Pressing the Knob Control Function button on the panel sets the desired function row, which is automatically stored to memory with the currently selected Voice.
Voice Edit mode Normal Voice Edit Common Edit [SF2] LIMIT NoteLimit Determines the lowest and highest notes in the Arpeggio’s note range. Notes played in this range trigger the Arpeggio. Settings: C -2 – G8 n For example, setting a Note Limit of “C5 – C4” lets you trigger the Arpeggio by playing notes in the two ranges of C -2 to C4 and C5 to G8; notes played between C4 and C5 have no effect on the Arpeggio.
Voice Edit mode Normal Voice Edit Common Edit [F5] LFO (Low Frequency Oscillator) From these displays, you can make a variety of LFO related settings. As its name suggests, the LFO creates waveforms of a low frequency. These waveforms can be used to vary the pitch, filter or amplitude to create effects such as vibrato, wah and tremolo. [SF1] WAVE Determines the LFO waveform used to vary the sound.
Voice Edit mode FadeOut Normal Voice Edit Common Edit Determines the amount of time for the LFO effect to fade out (after the Delay time has elapsed). A higher value results in a slower fade-out. Settings: 0 – 127 Low FadeOut value Faster fade-out Hold High FadeOut value Slower fade-out FadeOut Hold Max FadeOut Max Time Time [SF3] PHASE Phase Determines the value for the particular step selected in the Step parameter below.
Voice Edit mode Normal Voice Edit Element Edit [F6] EFFECT n For details on the Effect connections in the Voice mode, see page 142. For details on the Effect Types, refer to the Effect Type list in the separate Data List booklet. [SF1] CONNECT This display gives you comprehensive control over the effects. For details about the parameters, see page 142. [SF2] INS A (Insertion A) These are for adjusting the various parameters of the Effect blocks.
Voice Edit mode Normal Voice Edit Element Edit [F2] PITCH [SF1] TUNE Coarse From this display you can set various pitch-related parameters for the selected Element. Determines the pitch of each Element in semitones. Settings: -48 – 0 – +48 Fine Determines the fine tuning for the pitch of each Element.
Voice Edit mode Normal Voice Edit Element Edit Determines the degree to which the notes (specifically, their position or octave range) affect the Pitch EG times of the selected Element. The Center Key (next parameter) is used as the basic pitch for this parameter. A positive setting will cause the amplitude of lower notes to change slower and that of higher notes to change faster. conversely, negative values will cause it to fall.
Voice Edit mode Normal Voice Edit Element Edit Determines the velocity sensitivity of the FEG Level. For positive settings, the more strongly you play the keyboard, the more Filter changes the sound. Negative settings do the opposite; the more softly you play, the more the sound changes. The Curve parameter lets you select from five different preset velocity curves (graphically indicated in the display), that determine how velocity affects the Filter EG.
Voice Edit mode Normal Voice Edit Element Edit [F4] AMP (Amplitude) [SF1] LVL/PAN (Level/Pan) This display not only lets you make basic Level and Pan settings for each individual Element, it also gives you some detailed and unusual parameters for affecting Pan position. Determines the output level for the selected Element. Level Settings: 0 – 127 Determines the stereo Pan position for the selected Element. This will also be used as the basic Pan position for the Alternate, Random and Scale settings.
Voice Edit mode FCenterKey Normal Voice Edit Element Edit Determines the central note or pitch for the Key Follow effect on Amplitude EG. Depending on the EG Time Sensitivity parameter above, the further away from the Center Key the keys are played, the more the time of the Amplitude EG deviates from the norm. When the Center Key is played, the AEG behaves according to its actual settings. The amplitude change characteristics for other notes will vary in proportion to the EGTime settings.
Voice Edit mode Element Edit [F6] EQ (Equalizer) Determines the Equalizer Type. This synthesizer features a wide selection of various equalizer types, which can be used not only to enhance the original sound, but even completely change the character of the sound. The particular parameters and settings available depend on the specific Equalizer Type that is selected. Type Settings: EQ L/H, P.EQ, boost6, boost12, boost18, thru EQ L/H (Low/High).................
Voice Edit mode Drum Voice Edit Common Edit Drum Voice Edit When a Drum Voice is selected, Voice Edit parameters are divided into Common Edit (parameters common to all keys, up to 73), and Key Edit (parameters of individual keys). Common Edit [VOICE] ➞ Drum Voice selection ➞ [EDIT] ➞ [COMMON] These parameters are for making global (or common) edits to all keys of the selected Drum Voice. [F1] GENERAL [SF1] NAME Same as in Normal Voice Common Edit. See page 153.
Voice Edit mode Drum Voice Edit Key Edit [SF2] OUTPUT From this display you can set certain output parameters for the selected Drum key. InsEFOut (Insertion Effect Output) Determines which Insertion effect (A or B) is used to process each individual Drum key. The “thru” setting lets you bypass the Insertion effects for the specific key.
Voice Edit mode Drum Voice Edit Key Edit [F4] AMP (Amplitude) [SF1] LVL/PAN (Level/Pan) Level This display not only lets you make basic Level and Pan settings for the sound of each individual Drum key, it also gives you some detailed and unusual parameters for affecting Pan position. Determines the output for the selected Drum key (Wave). This lets you make detailed balance adjustments among the various sounds of the Drum Voice.
Voice Job mode [VOICE] ➞ Voice selection ➞ [JOB] Voice Job mode The Voice Job mode features several basic operations, such as Initialize and Copy. After setting parameters as required from the selected display, press the [ENTER] button to execute the Job. [F1] INIT (Initialize) This function lets you reset (initialize) all Voice parameters to their default settings.
Supplementary infomation ■ Supplementary information Micro Tuning List [VOICE] → [EDIT] → [COMMON] → [F1] GENERAL → [SF2] PLY MODE → M.TuningNo./M.TuningRoot (page 153) M.TuningNo. Type M.TuningRoot Comments 00 Equal Temp (Equal temperament) -- The “compromise” tuning used for most of the last 200 years of Western music, and found on most electronic keyboards. Each half step is exactly 1/12 of an octave, and music can be played in any key with identical pitch relationships.
Supplementary Information Filter Type List [VOICE] ➞ [EDIT] ➞ Element selection ➞ [F3] FILTER ➞ [SF1] TYPE ➞ Type (page 160) LPF24D (24dB/oct Digital Low Pass Filter) A dynamic 24dB/oct low-pass filter with a characteristic digital sound. Compared to the LPF24A type (below), this filter can produce a more pronounced resonance effect. HPF12 (12dB/oct High Pass Filter) 12dB/oct dynamic high-pass filter. Dual HPF (Dual High Pass Filter) Two 12dB/oct high-pass filters connected in parallel.
Performance Play mode Performance mode Performance Play mode [PERFORM] ➞ Performance selection The Performance Play mode lets you perform a variety of general editing operations on the selected Performance. For more detailed and comprehensive editing operations, use the Performance Edit mode. Edited parameters with the exception of some parameters are stored to internal Flash ROM as a User Performance.
Performance Edit mode Common Edit Performance Edit mode [PERFORM] ➞ Performance selection ➞ [EDIT] Voice Edit parameters are divided into Common Edit (parameters common to all four Parts), and Part Edit (parameters of individual Parts). [PERFORM] ➞ Performance selection ➞ [EDIT] ➞ [COMMON] Common Edit These parameters are for making global (or common) edits to all four Parts of the selected Performance.
Performance Edit mode Common Edit [F3] ARP (Arpeggio) From this display you can set the Arpeggio related parameters. [SF1] TYPE Same as in Normal Voice Common Edit. See page 154. [SF2] LIMIT [SF3] PLAY FX (Play Effect) [SF4] OUT CH (Output Channel) OutputSwitch From this display you can set a separate MIDI output channel for the Arpeggio playback data, letting you have the Arpeggio sound from an external tone generator or synthesizer. When this is set to on, Arpeggio playback data is output via MIDI.
Performance Edit mode Part Edit [PERFORM] ➞ Performance selection ➞ [EDIT] ➞ Part selection Part Edit These parameters are for editing the individual Parts that make up a Performance. [F1] VOICE [SF1] VOICE You can select a voice for each part. PartSw (Part Switch) Set each pat to on or off. Settings: on, off Bank Determines the Voice Bank (page 40) for each Part. Number Determines the Voice Program number for each Part.
Performance Edit mode VelSensOfst (Velocity Sensitivity Offset) Part Edit Determines the amount by which played velocities are adjusted for the actual resulting velocity effect. This lets you raise or lower all velocities by the same amount—allowing you to automatically compensate for playing too strongly or too softly.
Performance Edit mode Part Edit [F4] TONE You can set parameters related to the pitch and tone for each Part. Keep in mind that the settings made here are applied as offsets to the Voice Edit settings. [SF1] TUNE Determines the pitch (key transpose) setting for each Part in semitones. NoteShift Settings: -24 – 0 – +24 Determines the fine tuning for each part. Detune Settings: -12.8Hz – +12.
Performance Job mode Performance Job mode [PERFORM] ➞ Performance selection ➞ [JOB] The Performance Job mode features several basic operations, such as Initialize and Copy. After setting parameters as required from the selected display, press the [ENTER] button to execute the Job. [F1] INIT (Initialize) This function lets you reset (initialize) all Performance parameters to their default settings.
Song Play mode Song mode ■ Creating Songs—basic procedure Songs consist of the following three types of data: • MIDI sequence data (created in the Song Record mode, Song Edit mode, and Song Job mode) • Setup data (created in the Song Play mode) • Mixing data (created in the Song Mixing mode/Mixing Edit mode and stored in the Song Mixing Store mode) After creating the data in these modes described above, store the Mixing settings in the Song Mixing Store mode to archive it as Song data and save the entire S
Song Record mode Song Record Standby mode Determines the MIDI transmission port for the corresponding track. Playback data of tracks set to off is output via MIDI without any Port message. The internal tone generator parts of this synthesizer can be played back only over Port 1. PORT Settings: off, 1 – 3 n Port data can be output only through the USB terminal. No port data is transmitted through the MIDI OUT terminal, even if the corresponding track is set to a specific port number.
Song Record mode Song Record Standby mode (Tempo) Determines the Song tempo. Settings: 001.0 – 300.0 Determines the measure from which Song recording will be started. Meas (Measure) [F2] VOICE In this display you can set the voice related parameters for the recording track. The settings here affect the Part for which the receive channel (set in the Mixing mode) matches the transmit (output) channel of the recording track. Determines the voice used in the recording track.
Song Record mode During Song Recording During Song Recording [SONG] ➞ Song selection ➞ [REC] ➞ [F] (Play) Realtime Recording Refer to page 88 in the Quick Guide section. Step Recording Examples of Step Recording are described on page 193. Step Recording [F1] SETUP Pointer indicating the current note position. Beat Graph This is the display in which notes are “placed” during step recording. When the meter is 4/4, the display is divided into four beats (one measure).
Song Edit mode [SONG] ➞ Song selection ➞ [EDIT] Song Edit mode This mode gives you comprehensive, detailed controls for editing the MIDI events of individual Song tracks. MIDI events are messages (such as note on/off, note number, program change number, etc.) that make up the data of a recorded Song. [F1] CHANGE Shows the Event List of the selected Song track. For information on how to edit the Event List, see page 90.
Song Job mode RPN (Registered Parameter Number) This event changes parameter values for each tone generator Part. This event is used to set Part settings such as Pitch Bend Sensitivity or Tuning. FMSB-LSB See page 225. FDATA (Data Entry MSB-LSB) See page 225. Settings: 000 – 127 Settings: 000 – 127, *** n Normally three types of control change data are sent: RPN MSB (101), RPN LSB (100), and Data Entry MSB (6).
Song Job mode Delays notes on even-numbered beats (backbeats) to produce a swing feel. For example, if the meter is 4/4 and the quantize value is quarter notes, the 2nd and 4th beats of the measure will be delayed. When a triplet quantize value is used, the last note of each triplet is delayed. When the quantize value is even-numbered, beats will be delayed. SwingRate Settings: See below.
Song Job mode 05: Transpose Transpose lets you change the key or pitch of the notes in the specified range. TR (Track) 001 : 1 : 000 – 999 : 4 : 479 Determines the track (01-16, all) and range of measures/beats/clocks over which the Job is applied. Note Determines the range of note pitches over which the Job is applied. You can also set the Note directly from the Keyboard, by holding down the [INFORMATION] button and pressing the desired key.
Song Job mode [F3] EVENT (Event Job) n Before executing the Event Job, make sure that you specify the track and range (measure : beat : clock) to which the Job is applied. Please note that the track to be specified varies depending on the Job. 01: Shift Clock This Job shifts all data events in the specified range forward or backward by the specified number of clocks.
Song Job mode NumberOfTimes Determines the number of times the data creation is to be repeated. For example, if data is created in the range M001:1:000 – M003:1:000 and this parameter is set to 03, the same data will be created at M003:1:000 – M005:1:000 and M005:1:000 – M007:1:000. This Job lets you insert continuous volume or filter cutoff variations to create tremolo or wah effects.
Song Job mode 02: Delete Measure This Job deletes the specified measures. Measure and meter data following the deleted measures are moved backward accordingly. Source data 001 – 004 005 – 012 013 – 024 Measures M006 – M012 deleted 001 – 004 005 – 016 Delete range Settings: 001 – 999 Delete Range [F5] TRACK (Track Job) 01: Copy Track Source Song and Track Destination Song and Track This Job copies all data from a specified source track to the specified destination track.
Song Mixing mode [F6] SONG (Song Job) 01: Copy Song Source Song This Job copies all data from a selected source Song to a selected destination Song. The Mixing Voice used by the source Song is also copied. CAUTION This Job overwrites any data already existing in the destination Song.
Song Mixing Edit mode Common Edit [F6] TEMPLATE [SF1] MIX From this display you can copy the Mixing Template to the Mixing settings of currently edited Part. As soon as a Template is selected, the relevant Mixing settings will be automatically loaded. n [SF2] PERFORMANCE In addition to the Mixing settings, the tempo setting stored in the Mixing Template will also be automatically loaded. From this display you can copy the Part settings of the Performance to the currently edited Song.
Song Mixing Edit mode Part Edit [F4] CTL ASN (Controller Assign) From this display, you can assign Control Change numbers to the hardware controllers of the instrument (such as the Knobs), for each Song. The parameters are the same as in Performance Common Edit. See page 173. [F6] EFFECT n For information on the effect connections in the Song mode, see page 144. [SF1] CONNECT For more information on parameters, refer to page 144.
Song Mixing Job mode [F5] RCV SW (Receive Switch) From this display you can set how each individual Part responds to various MIDI data, such as Control Change and Program Change messages. When the relevant parameter is set to “on,” the corresponding Part responds to the appropriate MIDI data. Note that two different display types listed below are provided and you can switch between them by pressing the [SF5] button.
Supplementary infomation ■ Supplementary information Song Track Loop—setting example [SONG] ➞ [F3] TRACK ➞ [SF3] TR LOOP (Track Loop) Step Recording — examples page 179 In the example below, a 40-measure song has been recorded and Track 1 is set to play back normally over the 40 measures. Track 2 has been set to loop, and will repeat until the [J] (Stop) button is pressed.
Supplementary infomation • Example 2 (Using the Tie function) 4 Follow the instructions below to enter the next dotted half note. 1 Change this to a quarter note (480). 1 2 Press and release A. Set the parameters as illustrated below. Since the first note is a half note, set the StepTime to the halfnote icon (a value of 960), and set the GateTime to 80%, since you don't want the notes to play in legato. 3 Press the [F4] button twice to expand the quarter note to a dotted half note.
Supplementary infomation • Example 3 (Using the Rest function) 5 Enter the next 4th note C as shown below. 1 Change this value to 480, since the rest value is a quarter note. 1 Set the parameters as illustrated below. Set the StepTime to a quarter note (480) and the Gate Time to 80%. 2 Press and release C. 2 Enter the first note, F. Press and release F. Enter the next 8th rest as shown below. Enter the next 8th rest as you did in step 3 above. 7 Enter the last 8th note, F.
Pattern Play mode Pattern mode ■ Creating Patterns—basic procedure Patterns consist of the following three types of data: • MIDI sequence data (created in the Pattern Record mode, Pattern Edit mode, and Pattern Job mode) • Setup data (created in the Pattern Play mode) • Mixing data (created in the Pattern Mixing mode/Mixing Edit mode and stored in the Pattern Mixing Store mode) After creating the data in these modes described above, store the Mixing settings in the Pattern Mixing Store mode to archive it a
Pattern Play mode [F5] REMIX This function gives you a variety of semi-random presets for dividing the MIDI sequence data and altering the note lengths, letting you create completely new variations of a Pattern. Set the parameters below, then press the [ENTER] button to execute the Remix operation. You can press the Play button at this point to hear the results of the Remix. If you’re not satisfied with the results, try another Type/Variation and press [ENTER].
Pattern Record mode Pattern Record Standby mode [PATTERN] ➞ Pattern selection ➞ [REC] Pattern Record mode Pattern Record Standby mode [F1] SETUP Type (Recording Type) Determines the recording method.For information on each method, refer to page 138 in the Basic Structure section. Settings: replace, overdub, step n Unlike in the Song Record mode, Punch recording is not available for Pattern recording. Turns loop recording ON or OFF. When ON, the phrase will play repeatedly during real-time recording.
Pattern Job mode [PATTERN] ➞ Pattern selection ➞ [JOB] Pattern Job mode The Pattern Job mode contains a comprehensive set of editing tools and functions you can use to change the sound of the Pattern. It also includes a variety of convenient operations, such as copying or erasing data. After setting parameters as required from the selected display, press the [ENTER] button to execute the Job. CAUTION An “Executing...” message is shown when it takes a short amount of time to execute the Job.
Pattern Job mode 03: Mix Phrase This Job mixes all data from two selected user phrases (“A” and “B”), and places the result in phrase B. Phrase B Phrase A Mix Phrase Phrase B 04: Append Phrase This Job appends one phrase (A) to the end of another (B) to create one longer phrase (B). Phrase A Append Phrase Phrase B 05: Split Phrase This Job splits a selected phrase (A) into two separate phrases (A and B).
Pattern Job mode 03: Clear Track Section and track from which data is to be cleared This Job deletes all data of the selected type from the selected Pattern track. The types of data to be cleared are the same as in the Song Job mode. See page 188. Types of data to be cleared 04: Normalize Play Effect This Job rewrites the data in the selected track so that it incorporates the current Grid Groove settings.
Pattern Mixing mode 04: Clear Pattern This Job deletes all data from the selected Pattern, or from all Patterns. When the specific section is selected to be cleared, you can unmark the Chain box. If the Chain box is not checkmarked, the Pattern Chain data will be kept even though the Clear Pattern Job is executed. 05: Pattern Name This Job lets you assign a name to the selected Pattern. For instructions on naming, refer to page 38 in the Basic Operation section.
Mixing Voice Edit mode Common Edit Mixing Voice mode ■ Creating Mixing Voices — basic procedure The Mixing Voice mode provides most of the same Normal Voice editing parameters as the Voice mode, with the main exception that these Voices are dedicated for use with the Songs and Patterns, and are stored specifically as Mixing Voices. The Mixing Voice Job mode lets you use the supplementary functions like Copy and Delete.
Mixing Voice Job mode Mixing Voice Job mode [SONG] or [PATTERN] ➞ [MIXING] ➞ [F5] VCE ED ➞ [JOB] The Mixing Voice Job mode features two basic operations, Copy and Delete. After setting parameters as required from the selected display, press the [ENTER] button to execute the Job. [F2] RECALL If you are editing a Mixing Voice and select a different Mixing Voice, Mixing program, Song or Pattern without storing your edited one, all the edits you’ve made will be erased.
Utility mode Utility mode The Utility mode features a variety of important settings related to overall operation of the MO. These settings can also be stored—simply press the [STORE] button from any mode (with the exception of the Utility Job mode), and store the data to internal Flash ROM as system settings (page 150). You can also save the settings to a USB storage device in the File mode. Utility mode [UTILITY] In this mode, you can set parameters that apply to the entire system of this instrument.
Utility mode [SF4] OTHER Determines whether the Auto Load function is on or off. When this is on, the instrument will automatically load the specified files (from USB storage device) to User memory—whenever the power is turned on. For details about the Auto Load function, see page 102. AutoLoad Settings: on, off This determines the default power-on mode (and memory bank)—letting you select which condition is automatically called up when you turn the power on.
Utility mode RecCount Sets the number of count-in measures provided before recording actually starts after pressing the [F] (Play) button in the Record standby mode. Settings: off (Recording starts as soon as the [F] button is pressed), 1 meas – 8 meas n Since the click sound is created with the internal tone generator, using click playback affects the overall polyphony of this synthesizer.
Utility mode [SF4] QUICK SET If you use the MO for a variety of sequencer based applications and switch between those applications, the Quick Setup comes in handy. It allows you to instantly reconfigure the instrument for four different applications. The following parameters are changed in Quick Setup.
Utility mode [SF3] FT SW (Footswitch) FSAssign (Footswitch Assign) From this display you can determine the Control Change number generated by using the Footswitch connected to the FOOT SWITCH jack. Keep in mind that if the same MIDI Control Change messages set here are received from an external device, the internal tone generator also responds to those messages as if the Footswitch of the instrument was used.
Utility Job mode [SF3] SYNC (Synchronization) From this display you can set various parameters related to MIDI clock and synchronization. Determines whether Song/Pattern/Arpeggio playback will be synchronized to the instrument’s internal clock or an external MIDI clock. MIDI Sync Settings: internal, MIDI, MTC internal ..............................Synchronization to internal clock. Use this setting when this synthesizer is to be used alone or as the master clock source for other equipment. MIDI ........
File mode File mode The File mode provides tools for transferring data between the instrument and USB storage device. n For details about USB storage devices, see page 31. n For details about the relationship between the data created on this synthesizer and the files for saving, see page 149. File mode n [FILE] For information on how to select a file/folder and how to create a new folder, see page 213.
File mode [F4] RENAME Select the desired file type. Select the file/folder to be renamed. From this display you can rename files or folders in the selected USB storage device, using up to eight alphabetic and numeric characters. Files are named according to the MS-DOS naming convention. If the file name contains spaces and other characters unrecognized in MSDOS, these characters will automatically be replaced by “_” (underscore) characters when saving. Rename the selected file/folder here.
Supplementary infomation ■ Supplementary information File ( )/Folder ( ) selection Formatting a USB storage device The instructions and illustrations below show you how to select files and folders on the USB storage devices within the File mode. Before you can use a new USB storage device with this synthesizer, you will need to format it. Follow the instructions below. Move the cursor to the desired file or folder by using the [INC/YES] and [DEC/NO] buttons or the data dial.
Supplementary infomation File types that can be handled by the MO File types that can be saved from the instrument to the USB storage device [FILE] File extension* TYPE → [F2] SAVE → TYPE Description All .M7A All data in this synthesizer’s internal User Memory (Flash ROM) is treated as a single file, and can be saved to the USB storage device. AllVoice .
Master Play mode Master mode [MASTER] ➞ Master selection Master Play mode The Master Play mode lets you perform a variety of general editing operations on the selected Master. For more detailed and comprehensive editing operations, use the Master Edit mode. Edited parameters with the exception of some parameters are stored to internal Flash ROM as a User Master. [F1] PLAY OCT (Octave) Indicates Keyboard Octave setting set via the [OCTAVE] buttons.
Master Edit mode Common Edit [MASTER] ➞ Master selection ➞ [EDIT] Master Edit mode The Master Edit is divided into Common Edit, for setting parameters common to all four Zones, and Zone Edit, for setting parameters of individual Zones. When Zone Switch is set to on in the [F2] MEMORY display in the Master Play mode, only the Common Edit is available.
Master Edit mode Zone Edit [F3] TX SW (Transmit Switch) From this display you can set how the playing of each individual Zone affects transmission of various MIDI messages, such as Control Change and Program Change messages. When the relevant parameter is set to “on,” playing the selected Zone will transmit the corresponding MIDI messages. Note that two different display types are provided (see below).
Master Job mode Zone Edit Master Job mode [MASTER] ➞ [JOB] The Master Job mode contains two convenient operations (called “Jobs”)—one letting you initialize (reset) the Master data, and the other letting you transmit your edited Master data to an external MIDI device or computer. After setting parameters as required from the selected display, press the [ENTER] button to execute the Job. [F1] INIT (Initialize) This function lets you reset (initialize) all Master parameters to their default settings.
Information Displays Appendix Information Displays The convenient Information displays let you see at-a-glance some of the more important settings relevant to each mode. Select the desired mode, then press the [INFORMATION] button to call up the Information display for that mode. To exit from the display, press the button again (or any other panel button). Voice mode Song mode ● Song Play mode Bank Indicates the MSB/LSB (page 224) of the currently selected Voice bank.
Information Displays Pattern mode File mode ● Pattern Play mode USB Free Indicates the amount of currently unused (available) memory (DRAM) for Pattern Phrase recording. Indicates the amount of currently available (unused) memory of the connected USB storage device. ● Pattern Mixing mode Slot, Volume Label Same as in the Song Mixing mode. Indicates the slot number and volume label of USB storage device's directory used in the File mode.
Display Messages Display Messages Explanation Are you sure ? [YES]/[NO] Confirms whether you want to execute a specified operation or not. Press [INC/YES] or [DEC/NO] as required. Arp memory full The internal memory for Arpeggio data is full, preventing storing the recorded sequence data as an Arpeggio. Arpeggio type stored The current Arpeggio type has been stored to one of the [SF1] - [SF5] buttons. Bad USB device The USB storage device is unusable. Format the USB storage device and try again.
Display Messages LCD Indication Explanation Please stop sequencer. The operation you’ve attempted to execute cannot be done during Song/Pattern playback. Power on mode stored The setting of the program number automatically selected when turning the power on has been stored. Read only file. You have attempted to delete, rename, or overwrite a read-only file. Receiving MIDI bulk The MO is receiving MIDI bulk data. Recording stopped The recording has been stopped since the memory became full.
About MIDI About MIDI MIDI (Musical Instrument Digital Interface) is a standard which allows electronic musical instruments to communicate with each other, by sending and receiving compatible Note, Control Change, Program Change and various other types of MIDI data, or messages. This synthesizer can control other MIDI devices by transmitting note related data and various types of controller data.
About MIDI CHANNEL MESSAGES Main Volume (Control #007) Channel messages contain data related to the performance on the keyboard for the specific channel. Messages which control the volume of each Part. Setting the value to 127 produces maximum volume and 0 results in volume off. Pan (Control #010) ■ Note On/Note Off (Key On/Key Off) Messages which are generated when the keyboard is played.
About MIDI Decay Time (Control #075) ■ Channel Mode Messages Messages which adjust the AEG decay time set for each Part. The value set here is an offset value which will be added to or subtracted from the voice data. The following Channel Mode Messages can be received. 2nd BYTE 3rd BYTE 120 0 All Sounds Off Effect1 Depth (Reverb Send Level) (Control #091) 121 0 Reset All Controllers Messages which adjust the send level for the Reverb effect.
About MIDI ■ Pitch Bend Timing Clock (F8H) Pitch Bend messages are continuous controller messages that allow the pitch of designated notes to be raised or lowered by a specified amount over a specified duration. This message is transmitted with a fixed interval (24 times per 1/4 note) to synchronize connected MIDI instruments.
Troubleshooting Troubleshooting If you hear no sound or a strange sound, first check the items described below and take appropriate action. You may be able to solve the problem by resetting the instrument to the factory settings (page 26). (Make sure to back up any important data to an external device first.) If the problem persists, consult your Yamaha dealer. ■ No sound comes from the speakers.
Troubleshooting • When the Song/Pattern produces no sound, is the Velocity Offset parameter in the Groove display set appropriately? [SONG]/[PATTERN] → [F2] GROOVE → VELO OFST (pages 178, 196) ■ Playback continues without stopping. • When the [ARPEGGIO ON/OFF] button is turned on, press it so that its lamp is turned off. • When in the Song/Pattern mode, press the [J] (Stop) button. • When the click sound continues, check the following settings.
Troubleshooting • When the Performance/Song/Pattern produces a wrong pitch, is the Note Shift or Detune parameter of each Part set to a value other than “0”? [PERFORM] → [EDIT] → Part selection → [F4] TONE → [SF1] TUNE (page 176) [SONG]/[PATTERN] → [MIXING] → [EDIT] → Part selection → [F4] TONE → [SF1] TUNE (pages 191, 202) • When the Performance/Song/Pattern produces a wrong pitch, is the Note Offset parameter in the Groove display set to a value other than “0”? [SONG]/[PATTERN] → [F2] GROOVE → NOTE OFST
Troubleshooting ■ Song/Pattern (Phrase) cannot be recorded. • Is there enough free memory for recording? The total memory capacity determines the number of Songs/Patterns (phrases) that can be recorded. For example, if the memory contains Songs/Patterns (phrases) that use up a large amount of memory, the memory may become full even though the available Pattern or Song numbers are not all used.
Specifications Specifications Keyboards Tone Generator block Sequencer block MO8 88 keys, Balanced Hammer Effect Keyboard (Initial Touch) MO6 61 keys, LC Keyboard (Initial Touch) Tone Generator AWM2 Polyphony 64 notes Multi Timbral Capacity 16 parts (internal) Wave 175MB (when converted to 16-bit linear format), 1,859 waveforms Voice Preset: 512 normal voices + 64 drum kits GM: 128 normal voices + 1 drum kit User: 128 x 2 (Bank 1: Original, Bank 2: Picked up from Preset) Normal Voice + 32 dr
Index Index Numerics [1] – [16] buttons .........................................17, 34 1/4 Shift (1/4 shifted) .......................................169 1/4 tone ............................................................169 1/8 tone ............................................................169 BPF12D (12dB/oct Digital Band Pass Filter) ... 170 BPF6 (6dB/oct Band Pass Filter) .................... 170 BPFw (Wide Band Pass Filter) ........................ 170 Breath Controller .........................
Index F [F1] – [F6] buttons .............................................33 Factory Settings ................................................26 FadeIn (Fade In Time) .....................................156 FadeInTime .....................................................163 FadeOut ..........................................................157 Favorite Category ..............................................43 FC1 (Foot Controller 1) ....................................173 FC2 (Foot Controller 2) ...........
Index Mixing Voice Store mode ................................204 MMC ................................................................107 MODE ................................................................24 Mode ...............................................153, 174, 215 Mode A ............................................................113 Mode B ............................................................113 Mode structure ..................................................27 Mode table ..............
Index T TCH (Transmit Channel) ....................40, 151, 171 TEMPLATE ......................................................190 Template ...................................................94, 157 Tempo .....................................152, 154, 180, 198 Tempo Track Edit ............................................197 TempoSpeed ...................................................156 TempoSync .....................................................156 TG (Tone Generator) ................................
Memo 236 Owner’s Manual
Memo Owner’s Manual 237
Memo 238 Owner’s Manual
For details of products, please contact your nearest Yamaha representative or the authorized distributor listed below. Pour plus de détails sur les produits, veuillez-vous adresser à Yamaha ou au distributeur le plus proche de vous figurant dans la liste suivante. NORTH AMERICA CANADA Yamaha Canada Music Ltd.
Yamaha Web Site (English only) http://www.yamahasynth.com/ Yamaha Manual Library http://www.yamaha.co.jp/manual/ U.R.G., Pro Audio & Digital Musical Instrument Division, Yamaha Corporation © 2005 Yamaha Corporation This document is printed on chlorine free (ECF) paper with soy ink. WF68510 510MWCP58.
