How do I create a split?
Do I start with a voice, or do I have to be in Performance mode?
Please Advise
Ray L

Hi raylamatrice,

You can start with a Voice or in Performance Mode with an initialised Performance.  No matter which way you start, you will end up with a Performance of up to 4 parts.

What kind of split do you have in mind and what does it contain?

I purchased the download vintage keys a while back
I am doing a song in Church that requires a sound similar to ELP Lucky Man Synth which I have as a voice upper register
and underneath it just either a grand piano or Rhodes
How should I start?
I tried from ELP Lucky Man but got some wired message when I pressed split?
Many Thanks

Make sure you save an ALL file of your MOXF as it currently is to a thumb drive in case you accidentally wipe anything, first.

Find a Performance you don’t care about and initialise it:

Press [JOB]
Press the [ENTER] button twice to initialise the performance.

Let me know when you’ve done that.  It will be renamed ‘Initialized Performance’ and will just be Piano.

Press STORE and ENTER twice, to store it.

I’m presuming you want a near central split point at C3 or E3 or something like that?, with a Piano or Rhodes to the left and your synth sound on the right?

If I’m not right, have a think about how you want to lay it out.

OK 😉👌 done
C5

ok, cool.

Make sure you are now on your newly created initialised performance.

Press F2 Under VOICE, below your screen.

You will see a screen showing you a column of the 4 parts available to you.

The first will be checked and in use by a Piano.  Let’s use this as your lower register, even though, for now, it is spread across the whole keyboard.

The other 3 parts will be unchecked and empty

At this point you should change the piano to whatever Voice you want for the lower register if it isn’t what you want.  You can do that by using the curser buttons to highlight it and using the inc/dec buttons or the wheel to change it.

You will also notice that immediately to the right of the part/voice you’ll see a horizontal strip with the word ‘NOTE’ above it.  That’s the note range or limit.

When you have decided on your Voice for the lower register, you should edit it’s UPPER note range limit.  So that it won’t interfere with your synth Voice, when you add it.

You do that by pressing LimitH [SF5] keeping it down and playing a C5 note. 

You will see the strip change length and you should notice that your lower register voice now only goes as far as C5, with nothing above it.

When you are happy, press STORE and enter to store it.

Rinse and repeat with your other part(s), and keep in mind you’ll need the next part lower limit at C sharp.

Can I edit the cutoff
Of only the synth part ?

I originally wrote C4 by mistake, but you want C5, I’ve edited my post, but if you were thinking, what on earth is he on about?

i meant C5 :-)

I would edit the cutoff first and store that voice to a User Voice location.  Then you can bring it into your Performance sounding the way you want it.

It was c4
Many Thanks

Have you now got either the Piano or Rhodes on the lower register and the synth on the upper register now?

There’s a lot of deeper editing that you can do if you press EDIT and select a PART.

For example you may wish to rebalance the volume of your parts or transpose them.  This is all possible in EDIT.

Yes I was thinking I would save it first and then edit later

That’s great.

I think when that moment of clarity arrives in your brain and you are really set on trying a split, if you can just take a step back for a moment and write down the voices you’ve got in mind for it, or remember them somehow, then take the time to start from an initialised performance, it always seems to work out much easier.

Splitting from Voice Mode, which can work nicely, seems to be riddled with it’s own idiosyncrasies.

Many Thanks
Much appreciated

If I might jump on this thread. I often find myself wrestling with the difference between the note limit function (the little High/Low bar and the two buttons) that displays in the main Performance mode VS the specific notes you can set by entering EDIT mode and changing the notes in the column format—AND then find myself often with “dead” notes that don’t seem to have any reason to be not sounding and no amount of tweaking in those two modes seems to get those notes back. Really aggravating. And, as you mentioned, I’ve found that trying to start with the Performance Creator is a slippery slope—which is too bad cause I presume the point of Creator is to be able to do things “on the fly” during a gig as inspiration hits. And (then, assuming you liked the result) be able to save that exact Performance without a lot of hassle.

Anyway, any thoughts on this, or if you can point me to another thread or article.

I agree muscarella, and I’ve had the same experience.

They don’t seem to relate to each other at all, and use of both ways (one then the other) seems to create problems.

I might be wrong, but I too have always thought of the Split button (and Layer) and resulting screens of info as an ‘on the fly’ or fast kind of thing.  Maybe something I’d use at a gig, in a pinch, for something I could safely not store and forget about after I’ve used it.

I have the John Melas Performance Editor for my MOX6 and XF7 and it makes things so much easier.  The layout is also very time saving and lets you see much more info all at once.  (that’s if you don’t already have it)

I’ve now changed my Performance and set the High/Low Limit in basic Performance menu for the two instruments to spread the entire keyboard and then went into EDIT mode and redid the Note Limits in the respective column format to have the two voices meet at one particular note (no Layer/Overlap, that is) and there are STILL dead notes. Is there another function that could effect this? It is entirely counter-intuitive.  I think that there is some programming difference due to the need to assign which keys will trigger Arps. I’m not using an Arp on this Performance, but I’m wondering if there’s some residual setting that is still interfering.