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Yamaha MOXF6 Manual

Manual is about: Reference Manual

Summary of MOXF6

  • Page 1

    Synthesizer parameter manual en en introduction this manual explains the parameters and technical terms that are used for synthesizers incorporating the yamaha awm2 sound generators. You should use this manual together with the documentation unique to the product. Read the documentation first and us...

  • Page 2: Table of Contents

    2 table of contents 1 voice parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 1-1 basic terms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 1-1-1 definitions . . . . . . . . . . . . . . . . . . . . . . . . . . . . ....

  • Page 3

    3 2-3-5 e . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58 2-3-6 f . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59 2-3-7 g . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ...

  • Page 4: Voice Parameters

    Voice parameters 4 1 voice parameters 1-1 basic terms 1-1-1 definitions voice a voice is a musical instrument sound that is built into an electronic musical instrument. There are two voice types: normal voices drum voices normal voice normal voices are mainly pitched musical instrument-type sounds. ...

  • Page 5

    Voice parameters 5 1-2 synthesis parameters 1-2-1 oscillator an oscillator outputs the waveform that determines the basic pitch of an element and is one unit of the tone generator block of the electronic musical instrument. You can: assign the waveform (or basic sound material) to each element of a ...

  • Page 6

    Voice parameters 6 waveform bank specifies the waveform bank of an element or drum key (drum voice). Preset user : this lets you create user waveforms based on samples that are recorded in the sampling mode. Waveform category and number specifies the waveform of an element (normal voice) or drum key...

  • Page 7

    Voice parameters 7 velocity limit determines the minimum and maximum velocity values in which an element responds. Each element will only sound for notes played between its specified velocity limits. For example, this lets you have one element sound when you play softly and have a different one soun...

  • Page 8

    Voice parameters 8 1-2-2 pitch the processing unit that controls the pitch of the wave output from the oscillator on the tone generator block of the electronic musical instrument. This unit controls the pitch of the sound (wave) output from the oscillator. In the case of a normal voice, you can detu...

  • Page 9

    Voice parameters 9 1-2-3 pitch eg (pitch envelope generator) this lets you control the transition in pitch from the moment the sound starts to the moment the sound stops. You can create the pitch eg by setting parameters as illustrated below. When you press a key on the keyboard, the pitch of the vo...

  • Page 10

    Voice parameters 10 c: time d: pitch e: hold time f: attack time g: decay 1 time h: decay 2 time i: release time j: hold level k: attack level l: decay 1 level m: decay 2 level = sustain level n: release level hold time determines the time between the moment you press a key on the keyboard and the m...

  • Page 11

    Voice parameters 11 eg depth velocity sensitivity determines how the pitch range of the element responds to velocity. Positive values: high velocities cause the pitch range to expand and low velocities cause it to contract, as shown in figure 4. Negative values: high velocities cause the pitch range...

  • Page 12

    Voice parameters 12 eg time velocity sensitivity determines how the pitch eg transition time (speed) responds to velocity, or to the strength with which the key is pressed. Positive values: high velocities result in a fast pitch eg transition speed while low velocities result in a slow speed, as sho...

  • Page 13

    Voice parameters 13 1-2-4 filter a filter is a circuit or processor that modifies tone by blocking or passing a specific frequency range of the sound. Filters work by allowing portions of the signal lower or higher than a given frequency to pass, and cutting the remainder of the signal. This given f...

  • Page 14

    Voice parameters 14 cutoff velocity sensitivity determines how the cutoff frequency responds to velocity, or the strength with which you play notes. Positive values: the cutoff frequency rises the stronger you play the keyboard. Negative values: the cutoff frequency rises the softer you play the key...

  • Page 15

    Voice parameters 15 cutoff key follow center key this indicates the central note for cutoff key follow. Figure 10: cutoff key follow and center key a: lower range b: center key = c3 c: higher range d: amount of cutoff frequency change e: when cutoff key follow sensitivity = 100 f: large g: small dis...

  • Page 16

    Voice parameters 16 1-2-5 filter type lpf (low-pass filter) this is a filter type that only passes signals below the cutoff frequency. The sound can be brightened by raising the cutoff frequency of the filter. On the other hand, the sound can be darkened by lowering the cutoff frequency of the filte...

  • Page 17

    Voice parameters 17 lpf24d a dynamic -24 db/oct low-pass filter with a characteristic digital sound. Compared to the lpf24a type, this filter can produce a more pronounced resonance effect. Figure 12: lpf24d a: resonance b: frequencies that are “passed” by the filter lpf24a a digital dynamic low-pas...

  • Page 18

    Voice parameters 18 hpf24d a dynamic -24 db/oct high-pass filter with a characteristic digital sound. This filter can produce a pronounced resonance effect. Figure 14: hpf24d a: resonance hpf12 -12 db/oct dynamic high-pass filter. Bpf (band-pass filter) a filter type that only passes a band of signa...

  • Page 19

    Voice parameters 19 bpf12d the combination of a -12 db/oct hpf and lpf with a characteristic digital sound. Figure 16: bpf12d a: resonance b: cutoff range c: frequencies that are “passed” by the filter d: -12 db/oct x: frequency y: level bpf6 the combination of a -6 db/oct hpf and lpf. Figure 17: bp...

  • Page 20

    Voice parameters 20 bpfw a -12 db/oct bpf that combines hpf and lpf filters to allow wider bandwidth settings. Figure 18: bpfw a: width can be increased b: cutoff range c: frequencies that are “passed” by the filter x: frequency y: level bef (band-eliminate filter) the band-eliminate filter has an o...

  • Page 21

    Voice parameters 21 dual lpf two -12 db/oct low-pass filters connected in parallel. You can edit the distance between the two cutoff frequencies. Figure 20: dual low-pass filters a: distance b: lower cutoff frequency is set directly on the display x: frequency y: level dual hpf two -12 db/oct high-p...

  • Page 22

    Voice parameters 22 1-2-6 filter eg (envelope generator) this lets you control the transition in tone from the moment the sound starts to the moment the sound stops. You can create a custom filter eg by setting parameters as illustrated below. When you press a key on the keyboard, the cutoff frequen...

  • Page 23

    Voice parameters 23 m: decay 2 level = sustain level n: release level hold time determines the time between the moment you press a key on the keyboard and the moment the envelope starts to rise. Attack time determines the speed of attack from the initial cutoff frequency (at hold level) to the maxim...

  • Page 24

    Voice parameters 24 eg depth velocity sensitivity determines how the range of the cutoff frequency responds to velocity. Positive values: high velocities cause the filter eg range to expand and low velocities cause it to contract, as shown in figure 24 and figure 25. Negative values: high velocities...

  • Page 25

    Voice parameters 25 eg time velocity sensitivity determines how the filter eg transition time (speed) responds to velocity, or the strength with which the key is pressed. Positive values: high velocities result in a fast filter eg transition speed while low velocities result in a slow speed, as show...

  • Page 26

    Voice parameters 26 1-2-7 filter scale this controls the filter cutoff frequency according to the positions of the notes on the keyboard. You can divide the entire keyboard by setting four break points, and assign different cutoff frequency offset values to these break points. The cutoff frequency c...

  • Page 27

    Voice parameters 27 figure 30: filter scale a: break point 1 b: break point 2 c: break point 3 d: break point 4 x: note y: cutoff frequency 1-2-8 amplitude the amplitude unit controls the output level (amplitude or volume) of the sound output from the filter. The signals are sent at this output leve...

  • Page 28

    Voice parameters 28 level velocity sensitivity offset raises or lowers the level specified by the level velocity sensitivity. If the result is higher than 127, the velocity is set to 127. Figure 31: level velocity sensitivity offset = 0 figure 32: level velocity sensitivity offset = 64 figure 33: le...

  • Page 29

    Voice parameters 29 level velocity sensitivity curve determines how the actual velocity will be generated according to the velocity (strength) with which you play notes on the keyboard. Figure 34: level velocity sensitivity curve a: soft b: strong c: low d: high x: velocity (playing strength) y: vol...

  • Page 30

    Voice parameters 30 level key follow sensitivity center key this indicates that the central note for level key follow sensitivity is c3. Figure 35: level key follow and center key a: lower range b: center key = c3 c: higher range d: amount of amplitude eg level change e: when level key follow = 100 ...

  • Page 31

    Voice parameters 31 1-2-9 amplitude eg (envelope generator) this lets you control the transition in amplitude from the moment the sound starts until the moment the sound stops. You can create a custom amplitude eg by setting parameters as illustrated below. When you press a key on the keyboard, the ...

  • Page 32

    Voice parameters 32 half damper switch determines if the half damper is switched on. When the half damper switch is set to on, holding down the fc3 foot controller produces a "half-pedal" effect just as on a real acoustic piano. Half damper time determines how quickly the sound decays to silence aft...

  • Page 33

    Voice parameters 33 1-2-10 amplitude scale this controls the amplitude output level according to the positions of the notes on the keyboard. You can divide the entire keyboard by setting four break points, and assign different amplitude offset values to these break points. The amplitude changes in a...

  • Page 34

    Voice parameters 34 figure 40: amplitude scale a: break point 1 b: break point 2 c: break point 3 d: break point 4 x: note y: amplitude 1-2-11 lfo (low-frequency oscillator) the low-frequency oscillator (lfo) unit of the tone generator block generates a low- frequency signal. The signal from the lfo...

  • Page 35

    Voice parameters 35 phase determines the starting phase point for the lfo wave when it is reset. Figure 41: phases of a wave a: phase x: time y: level tempo sync determines whether or not the lfo speed is synchronized to the tempo of the arpeggio or sequencer (song or pattern). Tempo speed this para...

  • Page 36

    Voice parameters 36 each-on : the lfo resets with each note you play and starts a waveform at the phase specified by the phase parameter. Figure 43: key on reset each-on a: key on (first note) b: key on (second note) x: time 1st-on : the lfo resets with each note you play and starts a waveform at th...

  • Page 37

    Voice parameters 37 fade-in time determines the amount of time for the lfo effect to fade in after the delay time has elapsed. A higher value results in a slower fade-in. 0 : the lfo effect will not fade in but reach the maximum level immediately after the delay time has elapsed. Figure 45: lower va...

  • Page 38

    Voice parameters 38 hold (hold time) determines the time during which the lfo is held at its maximum level. A higher value results in a longer hold time. 127 : no fade-out. Figure 47: hold time a: key on b: maximum c: hold x: time b c a x.

  • Page 39

    Voice parameters 39 fade-out time determines the amount of time for the lfo effect to fade out (after the hold time has elapsed). A higher value results in a slower fade-out. Figure 48: lower value: faster fade-out figure 49: higher value: slower fade-out a: key on b: maximum c: hold d: fade-out x: ...

  • Page 40

    Voice parameters 40 control depth determines the lfo wave depth. Lfo element switch determines whether or not each element is to be affected by the lfo. Depth offset determines the offset values of the control depth parameter for the respective elements. If the resultant control depth value is negat...

  • Page 41

    Voice parameters 41 1-3 operational parameters 1-3-1 general 1-3-2 play mode voice bank the voice bank is the memory that includes data of normal voices and drum voices. Category the keyword category indicates the instrument characteristics or the type of sound. A preset voice is registered to a cer...

  • Page 42

    Voice parameters 42 1-3-3 portamento portamento is used to create a smooth transition in pitch from one note played on the keyboard to the next one. Mono/poly selects monophonic or polyphonic. Mono : the selected voice is played back monophonically; only a single note is played back simultaneously. ...

  • Page 43

    Voice parameters 43 1-3-4 micro tuning list 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 equal ease. However, none of the in...

  • Page 44

    Voice parameters 44 1-3-5 arpeggio this function lets you automatically trigger musical and rhythmic phrases using the current voice by simply pressing a key or keys on the keyboard. The arpeggio sequence changes in response to the actual notes or chords you play, giving you a wide variety of inspir...

  • Page 45

    Voice parameters 45 key mode determines how the arpeggio plays back when playing the keyboard. Sort : when you play specific notes (for example, the notes of a chord), the same sequence plays, no matter what order you play the notes. Thru : when you play specific notes (for example, the notes of a c...

  • Page 46

    Voice parameters 46 velocity rate determines how much the velocity of arpeggio playback is offset from the original value. 100% : the original velocities are used. Below 100%: reduces the velocities of the arpeggio notes. Above 100%: increases the velocities. If the resulting velocity value is 0, it...

  • Page 47

    Voice parameters 47 1-3-6 controller set the controllers such as knobs on the front panel can be used to change and adjust a variety of parameters for each voice--both in real time and simultaneously. For example, keyboard aftertouch can be used to control vibrato and the modulation wheel can be use...

  • Page 48

    Voice parameters 48 1-3-7 effect the effect unit applies effects to the output of the tone generator block and audio input block, processing and enhancing the sound. Effects are applied in the final stages of editing, letting you change the sound of the created voice as desired. The unprocessed soun...

  • Page 49

    Voice parameters 49 insertion effect connection lets you set the effect routing for insertion effects a and b. Parallel : signals processed with the insertion effect a and b blocks are sent to the master effect, master eq, reverb and chorus blocks. Figure 51: insertion effect connection parallel ins...

  • Page 50

    Voice parameters 50 1-3-8 eq (equalizer) usually an equalizer (eq) is used to correct the sound output from amplifiers 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...

  • Page 51

    Voice parameters 51 q a parameter that determines the eq bandwidth, or range of frequencies, to be attenuated/boosted. Consequently, this parameter determines the frequency characteristic curve. The q setting is only available for the mid band, which is a peaking type eq. The eq shape of the high an...

  • Page 52: Effects

    Effects 52 2 effects 2-1 basic terms 2-1-1 definisions 2-2 effect types 2-2-1 reverb also called "reverberation," this refers to the sound energy remaining in a room or closed space after the original sound stops. Similar to, yet different from echo, reverb is the indirect, diffuse sound of reflecti...

  • Page 53

    Effects 53 2-2-3 chorus depending on the particular chorus type and parameters, this can make a voice sound "larger," as if several identical instruments were playing in unison, or it can give a voice greater warmth and depth. 2-2-4 flanger this effect creates a swirling, metallic sound. 2-2-5 phase...

  • Page 54

    Effects 54 2-2-6 tremolo & rotary the tremolo effect cyclically modulates the volume. The rotary speaker effect simulates the characteristic vibrato effect of a rotary speaker. 2-2-7 distortion this type can be used mainly for guitar, adding distortion with an edge to the sound. 2-2-8 compressor com...

  • Page 55

    Effects 55 2-2-10 lo-fi this effect intentionally degrades the audio quality of the input signal via several methods such as lowering the sampling frequency. 2-2-11 tech this effect changes the tonal characteristics radically by using a filter and modulation. 2-2-12 vocoder this effect extracts char...

  • Page 56

    Effects 56 2-3 effect parameters 2-3-1 a 2-3-2 b 2-3-3 c aeg phase offsets the phase of the amplitude eg. Am depth determines the depth of amplitude modulation. Am inverse r determines the phase of the amplitude modulation for the r channel. Am speed determines the amplitude modulation speed. Am wav...

  • Page 57

    Effects 57 2-3-4 d comp output level determines the level of the signal output from the compressor effect. Control type this is a parameter of control delay. Normal : the delay effect is always applied to the sound. Scratch : the delay effect is not applied if both the delay time and delay time offs...

  • Page 58

    Effects 58 2-3-5 e divide type determines how the sound (wave) is sliced by the note length. Drive determines the extent of a series of specific effects. For the distortion, noisy or slice effects, this parameter determines the extent to which the sound is distorted. For one of the miscellaneous eff...

  • Page 59

    Effects 59 2-3-6 f eq2 q determines the eq2 bandwidth, or range of eq2 frequencies. Eq3 frequency determines the center frequency of the eq3. Eq3 gain determines the level gain of the eq3 center frequency. Eq3 q determines the eq3 bandwidth, or range of eq3 frequencies. Eq4 frequency determines the ...

  • Page 60

    Effects 60 2-3-7 g 2-3-8 h 2-3-9 i gate switch determines whether or not the microphone sound is output from the hpf while you release the keys. Off : the microphone sound is always output. On : the microphone sound is output only while a key is pressed. Normally, set this parameter to on . Gate tim...

  • Page 61

    Effects 61 2-3-10 l input select selects an input channel. Inst input level determines the level of the keyboard performance sound which is to be input to the vocoder. L/r depth determines the depth of the l/r pan effect. L/r diffusion determines the spread of the sound. Lag determines the lag time ...

  • Page 62

    Effects 62 2-3-11 m manual determines a specific value, depending on the selected effect type. For vcm flanger, this parameter determines the offset value of the delay modulation. For vcm phaser mono and vcm phaser stereo, this parameter determines the offset value of the phase modulation. Meter cha...

  • Page 63

    Effects 63 2-3-12 n 2-3-13 o 2-3-14 p noise gate attack determines the amount of time that elapses between the playing of a key and the start of the noise gate effect. Noise gate release determines the amount of time that elapses between the releasing of a note and the end of the noise gate effect. ...

  • Page 64

    Effects 64 2-3-15 r 2-3-16 s pedal control when vcm pedal wah is selected, this parameter determines the cutoff frequency of the wah filter. For best results, assign this parameter to the foot controller in the controller set display, then use the foot controller to control this parameter. Pedal res...

  • Page 65

    Effects 65 2-3-17 t 2-3-18 v 2-3-19 w slow-fast time of horn determines how long it takes for the rotation speed of the horn to change from the current speed (slow or fast) to the other one (fast or slow) when the rotation speed is switched. Slow-fast time of rotor determines how long it takes for t...

  • Page 66: Midi

    Midi 66 3 midi 3-1 overview 3-1-1 about midi midi (musical instrument digital interface) is a standard that allows electronic musical instruments to communicate with each other, by sending and receiving compatible types of midi data or messages. The types of midi data include note, control change, p...

  • Page 67

    Midi 67 figure 57: midi cable a: midi transmit channel 2 b: midi cable c: midi receive channel 2 3-1-3 midi ports the above-mentioned sixteen-channel limit can be overcome by using separate midi "ports," each supporting sixteen channels. While a single midi cable is equipped to handle data over up t...

  • Page 68

    Midi 68 3-2 channel messages 3-2-1 note on/off messages which are generated when the keyboard is played: note on: generated when a key is pressed. Note off: generated when a key is released. Each message includes a specific note number, which corresponds to the key that is pressed, plus a velocity v...

  • Page 69

    Midi 69 portamento time (control #5) messages that control the duration of portamento, or a continuous pitch glide between successively played notes. 127 : maximum portamento time. 0 : minimum portamento time. When the parameter portamento switch (control #65) is set to on , the value set here can a...

  • Page 70

    Midi 70 /i harmonic content (control #71) messages that adjust the filter resonance set for each part. The value set here is an offset value which will be added to or subtracted from the voice data. Release time (control #72) messages that adjust the amplitude eg release time set for each part. This...

  • Page 71

    Midi 71 table 3: rpn parameter list 3-2-5 channel mode message 3-2-6 channel after touch messages that let you control the sounds by the pressure you apply to the keys after the initial striking of the keys, over the entire channel. 3-2-7 polyphonic after touch messages that let you control the soun...

  • Page 72

    Midi 72 3-3 system messages 3-3-1 system exclusive messages changes internal tone generator settings such as voice and effect settings, remote switch control, tone generator more switching, and others via midi. The device number of the synthesizer must match the device number of the external midi de...

  • Page 73

    Midi 73 stop (fch) this message causes midi sequence data (song) to stop playing back. This message will be transmitted when pressing the [ ] (stop) button during playback. Active sensing (feh) this is a type of midi message used to prevent unexpected results when a midi cable is disconnected or dam...

  • Page 74

    U.R.G., digital musical instruments division ©2011 yamaha corporation a0 yamaha web site (english only) http://www.Yamahasynth.Com yamaha manual library http://www.Yamaha.Co.Jp/manual/.