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  1. dave
  2. Sherlock Holmes The Voice
  3. MODX Series Synthesizers
  4. Saturday, 06 March 2021
Hi there,

I am using this performance and have noticed that an FC7 pedal/ superknob fully down or fully clockwise gives me the sound I like.

I would like to save this as a new performance with this tone being the default. (I realise I could probably just invert the curves under Mod/Control however I want to understand how the parameters are working and set them manually.)

If I go to Part 1 Edit / Mod Control I see that Assign Knob 1 is controlling InsA EQ 1 Gain and Assign Knob 2 controlling InsB drive.

I then go to Effect/Ins A and see that EQ1 Gain is set to 0.9dB. I ramp it up to 12dB (max) and hear that the volume of the part has increased somewhat.

I go to InsB and I see that "overdrive" is set to 16. Ramping this up does give some more volume but soon goes into distortion. Is this "overdrive" the same as "InsB Drive" referred to on the Mod/Control page?

Either way, changing these parameters does not seem to be able to achieve the same result as pushing the pedal fully down?

Can anyone assist/explain this? This is similar for a number of bass performances.

thanks
Responses (5)
Accepted Answer Pending Moderation
Bump this...

I also have wondered if/how you can save/store "mid-motion" sounds.
  1. more than a month ago
  2. MODX Series Synthesizers
  3. # 1
Accepted Answer Pending Moderation
Steps to achieve this:

"I also have wondered if/how you can save/store "mid-motion" sounds."

Save the performance with a new name of your choosing.

Set the SuperKnob to the position you want.

Store this setting to Scene 1 (Shift + Scene 1 button press), and make sure that the Scene save feature is setting and saving all the features you want saved (this doesn't default to saving everything, in many Performances, which is very annoying. You'll often have turn on saving into scenes)

Now save (again) the entire Performance.

Each time you load it, now, it should load to the desired setting.

-----------

Sorry, Dave.

This doesn't help with reverse engineering a performance, which is a very fiddly thing to do in the MODX/Montage. An iPad view of all settings and all relationships and their values would be a most useful addition to the armoury of creating and editing Performances and Parts.
  1. more than a month ago
  2. MODX Series Synthesizers
  3. # 2
Bad Mister
Yamaha
Accepted Answer Pending Moderation
Recall the Performance “Small Cabinet”
The way to quickly sort out what is going on follows: here is what you will observe...

Background: The Super Knob is always active — this means that no specific button or light has to be engaged for it to do what has been assigned to it.
However, in order for the Part Assign buttons to be active for direct interaction, you must *select* Part 1 and light the [ASSIGN] button.

When this Performance is initially recalled, notice that “Common Tone” is the row of functions selected for the Knobs. “Cutoff”, “Resonance”, etc. These are your “Quick Edit” offset parameters.
For our experiment, light the [ASSIGN] button and use “View 1” so you can see the “Common Assign” knobs

How to Explore:
From the HOME screen press [SHIFT] + [HOME] to see your “Motion Control” > “Overview” screen.
_ You can see in the graphic that when “Common” is the selection, only one Common Assign Knob (green) is linked to the Super Knob (blue).
_ If you set the Part to “Part 1” you’ll see Part Assign Knob 1 and 2 are assigned within Part 1
With “Part 1” *selected* move the Super Knob... you will observe that only Part Assign Knob 1 is linked to the Super Knob movement.

Let’s see how to use the shortcuts to navigate this Performance.
From the “Overview” screen:
_ Set the Part = “Common”
_ Tap the shortcut box that reads “Edit Common Control Settings”
This takes you directly to the “Edit - Common/Audio” Control Assign screen where the actual assignment takes place — where links between the Super Knob’s Assign Knobs and the Part’s Assign Knobs takes place.
Here you’ll see how the Super Knob is set to move Part 1’s Assign Knob 1 which is the “InsA EQ 1 Gain” (Insertion Effect A, EQ Band 1) - band 1 is ‘low freq’ - the VCM EQ 501 is a 5-band EQ

_ Make sure the “Auto Select” box is green - move the Super Knob
This screen indicates what is being controlled ... the Super Knob can control the 8 Common Assign Knobs... you can see that “Assign Knob 1” is the “Source” > it has one Destination “Part 1 Assign 1” > which is the “Insert A EQ 1” > “Bi” Directional means that the Knob at 12 o’clock recalls the current stored setting which you can increase (clockwise) or decrease (counterclockwise)... the Ratio is “how much” change

Super Knob automatically controls Common Assign Knob 1, which is assigned to control Part 1’s Assign Knob 1 > which will boost/cut the Low Frequency Band of the “VCM EQ 501” Insertion Effect

Tap the shortcut box “Edit Part 1 Control Settings” to drop all the way down to the Edit Part 1 Control Assignment.
This is where the Part’s own 8 Knobs can be assigned.
Part Assign 1 we know in the Low Freq band on the Insert A — move it view the assignment
Part Assign 2 — move Assign Knob 2 to recall its assignment “InsB Drive” - this happens to be the “drive” parameter on the “Amp Simulator 2”

Significantly, you can verify that moving the Super Knob only moves the Part Assign Knob 1... as we’ve seen, it is the only one of the Part Knobs linked to an upper level Common AssignKnob (Super Knob).

Concepts
From the Part Edit level of the architecture, you can tap “Effect” > “Routing” to review the Insertion Effect Blocks and how the Part’s components are routed through the two Insertion Effects. Please notice the Elements of this Part are routed through a 3-Band EQ before going to the Insertion Effects, and it goes through a 2-band EQ post the Insertion Effects... (these are options for EQ’ing your bass sound as well.)
You have access to each Insertion block and the EQs

The “Routing” screen shows Elements 1, 2, and 3 travel through the “Amp Simulator 2” (InsB) before going the “VCM EQ 501” (InsA).
Element 4 (which is only the bass sound fx travels through just the “VCM EQ 501” (it does not go through the. “Amp Simulator 2” )

The difference between the EQs is... the original programmer gave you the ability to adjust the low frequency content as a real time parameter. Programmers are going for the the most widely useful - you, of course, should dial it in for your specific use.

But every AWM2 Part features its own 3-band and 2-band EQs. The idea of assigning an EQ as an Insertion Effect was to allow quick/easy access to the low-end amount. If you are looking for a permanent change you can opt to use either. The Insert Effect is a boutique grade plugin effect... while the choice of EQ’ing your instrument both pre and post the Inserts is available.

With the original Low Frequency Band set to a frequency of 80Hz and the Gain 0.9dB — that 0.9dB is the stored value for boost for this frequency band. The “Bi” directional “Polarity” setting will allow you to increase or decrease the bass from this stored value... which equates to 12 o’clock on the Knob.

The “Ratio” parameter is the Depth or “how much” of the parameter is applied. It is an “offset” (not a scientific value). If you increase the GAIN from 0.9dB to 12.0dB that is a scientific value. The “Ratio” is generally increasing and/or decreasing the amount of change.

Therefore, the “Ratio” setting is going to determine how much change from the stored value you will be able to make.
And the shape of that change is also programmable. If the “Curve Type” = Standard it is easy to understand because the values either increase or decrease consistently once change is applied. There are many different Curves and the Param 1 (and sometimes Param 2) help shape the Curve Type... this means change does not have to be linear.

In general, a Standard Curve a higher positive setting will steepen the Curve (change will happen quicker - with less movement) - all positive number normally increase. You cannot offset something beyond its range... in other words, once you turn the GAIN of the bass up via an offset Knob, when it reaches the equivalent of +12dB even if the Knob continues to turn, there will be no more increase in EQ at that band.

By the time you reach +32 you have reached a setting that offsets to maximum amount. Any number higher than that simply means you reach the maximum quicker in the movement of the control.

EQ settings should ALWAYS be done by ear.
  1. more than a month ago
  2. MODX Series Synthesizers
  3. # 3
Accepted Answer Pending Moderation
Thanks BM!

I think I understand this - but maybe not, because I am not getting the result I think I should....

For this particular performance my understanding is that the Super-knob only controls the Low Frequency Gain of the part.

Rotating the Superknob to 5 o clock can only bring the gain to a maximum of 12dB (subject to maximum ratio setting.)

I should be able to manually set the gain to 12dB and get the same (sound) result as a full clockwise rotation of the superknob (with a ratio setting of 32) however this is not the case.

What I am basically trying to do is unlink the superknob and have the equivalent of the 5am/pm superknob sound as the default.

Thanks for your help.
  1. more than a month ago
  2. MODX Series Synthesizers
  3. # 4
Accepted Answer Pending Moderation
If you can rotate superknob and it produces the sound you want without using the foot controller then this would be a fairly simple task of working with the Assignable Knobs at the Common/Audio (global, not Part) level. Unlinking them and setting them to the positions that the superknob would have otherwise placed them in. Even if you're going full heel and full toe with the expression pedal - the assignable knobs have programmable range (and direction) and may not be going full swing themselves. You can see the values of your assignable knobs looking at the overview screen as BM mentioned.

If, however, moving the superknob alone does not do it -- and you have to have the foot controller involved -- then it's possible that your Part(s) have the foot controller as a modulation input and are directly depending on its position without involving superknob's contribution. Certainly both can be happening simultaneously.

It's a lot easier - because it's less stuff - to walk you through setting up the Performance to fix your assignable knobs and decouple them from superknob. If there is any direct foot controller involvement - then that's more layers of the onion to unpack.
  1. more than a month ago
  2. MODX Series Synthesizers
  3. # 5
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