I’m just starting to discover my new mox8, but i’m still encountering problems which I don’t really understand. So I really apreciate your help

What i’m trying to do is a “4-way split”, a master mode with 4 zones with a different tone for each zone. No big deal since i’ve done that before. But I need this one special tone, is an edited version of the original Bassoon. I added effects and i saved it in a USR bank. Entered the master mode and i assigned it to zone 1.

The problem is that if I set master mode to pattern, I only have the original tone without the added effects. If i choose song mode, i have no reverb in zone 2, is the only one wich has no reverb, all other zones have the original tone reverb. The sound is really dry. (On zone 2 i have assigned the original Angel Eyes tone) and i can’t find a solution to this.

This is a matter of resources, that you’re running into the limits of the machine.

I work in voice mode to put all the resources into the best sounding voice it can make.

Ok for me recording but would be a problem for live performances.

Some voices really suffer when working in the other modes.

Okay, we can help you with this… We see you properly put “4-way split” in quotes… As you know, the Yamaha MOX defines a split as just a two way entity, where a PART can be assigne to the Upper, Lower or Both regions.

You can accomplish your 4 Part program in the following modes:
PERFORMANCE - 4 PARTS each containing 1 Voice mapped to the keyboard as you require. This is probably where you should setup your program.

SONG or PATTERN modes - here you can assign your Voices to Parts and can map them as you require. However, you must make MIDI Channel assignments so that you can play the Parts simultaneously

MASTER mode - in order to use Master mode you must associate the Master with a Song or Pattern that contains your 4 Parts already setup.

We’ll come back to those in a minute, let’s deal with how edits you’ve done to a Voice in VOICE mode get removed when you move that Voice to Performance, Song or Pattern PART. This is normal and can be dealt with.

It depends on what parameters exactly you’ve edited in VOICE mode that determines whether or not they are brought along to the PART. Here I use an analog to help understand what is going on. A VOICE in Voice mode is very much a musician playing solo (at home), when you place the Voice in PART it is like joining a band or ensemble (like going to a rehearsal or to a studio).

When you join a band or go to the studio some of the parameters actually belong to band’s mixer or the studio’s mixer. Say you EQ’d the Voice in Voice mode, when you go to the band’s mixer, the channel you plug into has the EQ set to flat, the send to the reverb might be different, etc., etc. Some of the settings belong, not to the voice itself but to the new mode’s mixer.

The INSERT EFFECTs, for example, are an integral part of the Voice, but the SYSTEM EFFECTs (Reverb and Chorus Blocks) are not. So while the Insert Effects are normally brought along with the Voice to the PART, the SYSTEM Effects belong to the studio’s mixer. And are stripped off when you move to the band’s mixer.

Those examples will hopefully help you understand that some of the edits made to Voice are actually edits to instrument, while others are really like OFFSET edits that are ADDITIONAL external edits applied to the Voice. For example, the ARPEGGIOs are another example of data that is external to the voice, not really apart of the instrument itself, but are added to it to enhance the experience.

Also, because the synth engine of the MOX has four oscillators (called Elements), you have some controls that are purely for convenience. Let’s take the Filters for example… Unlike ancient analog synths from back in the day… Each oscillator of the MOX has its own Pitch Envelope Generator, its own Filter and Filter Envelope Generator, its own amplifier and Amplitude Envelope Generator… Instead of sharing just one of each.

Imagine how cumbersome it would be to make a sound brighter - you’d need to manipulate the Cutoff Frequency of the four separate Filters… Cool if your sitting at home programming but terrible if you are on stage performing… Here is where the OFFSET functions come in. You will notice in the KNOB CONTROL FUNCTION area that certain of the knobs have the ability to ADD (+) or SUBTRACT (-) values to a parameter… CUTOFF is not a Filter Knob… It is a “ganged” control that edits by OFFSETTING the actual cutoff frequencies of the four possible Filters. Each Filter can be set independently, yet when turn the CUTOFF knob clockwise you have ADDED (increased) the FREQUENCY of each of the individual Filters.

Say you are on stage playing a 4 ELEMENT string sound, and you need to slow the Attack (loudness), do you have to go and adjust the Attack parameter for the 4 Elements separately? No, the AEG ATTACK knob will apply an OFFSET to all four oscillators together.

Okay, so when you say you edited a Voice, it will matter whether you edited parameters that are actually at the deep level (actually apart of the Voice) or you edited parameters that are additions (like arpeggios, Reverb, Chorus, etc)/ offsets (Cutoff, Resonance, Envelope).

What you need to learn next is the parameter called PARAMETER WITH VOICE
This short article will show you how to have the MOX copy certain of the Offset parameters to your Performance/Song/Pattern PART.

The System Effects are Effects that literally belong to the mixer - they represent the outer acoustic environment that all the musical instruments of the ensemble share. They work so that each PART has a SEND amount control, exactly like a channel on a mixing console where each channel has an Auxiliary Send 1 and 2 to two off board effects. But the point is they do not belong to just one instrument when there is an ensemble of instruments as in Performance, Song or Pattern modes… They are the shared effects to which each Part has a Send.

Make sense?

Now you need to analyze what you edited on your Bassoon Voice, see if you can understand what got changed and how you would go about programming it in its new environment.

Let us know, if you get stuck. Nothing has to suffer if you know why it is not automatically brought along!!!

Somewhat related to the explanation of System effects, performances, etc. --

Can we assign a Master Effects parameter (in my case, ‘delay feedback amount’) to [assign 1] or [assign 2] rotators? or to an external controller? I just don’t see it in the list of controller assignment choices, but I can’t think of a reason why it wouldn’t be there.

thanks!

The [ASSIGN 1] or [ASSIGN 2] knobs can control Parameters of Insert Effects via Controller Set settings in Voice Mode, per Voice.

Master Effects settings can be applied to all Voices in Voice Mode via Utility Mode settings. Master Effects can be applied per Performance and per Song/Pattern Mixing. However, Parameters for Master Effects can’t be assigned to [ASSIGN 1] or [ASSIGN 2] knobs.

Master Effect Parameters can be controlled via MIDI by SysEx messages - details are in the MOX Data List. It’s not particularly convenient.

Thanks for this clarification!