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Does anyone use the 'Performances' on the Yamaha Mox series?


seratone

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I've had a MOX 6 for a couple of years. It's my main performance board, I use it for Piano's, Pads, Horns, a few Electric piano's. It accompanies my my Nord 4d quite well. It replaced a Motif ES6 - that simply became a pain carrying around. I've never needed a DAW, but having all those Motif sounds.

 

My question is - Who uses those Performance patches? and for what? I was trying the new MOX series today at my local store to see if there was any update to mine....just more of the scores and scores of those brittle digital sounding Hip Hop or electronic 'one finger' soundscapes. Are these meant as demo patches to sell the unit?

 

They're not conducive to collaborating with other musicians - my drummer and bass player just stare at me with a pained look, begging for it to stop. The sequenced bass lines don't track fast enough to be a song writing tool.... I'm baffled. Most of them include horrible DX sounding guitars.

 

Does anyone have examples of them used in the production of real music?

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Not sure they are the same, but I used to use Performances on my Motif all the time. Any song where I needed a split I used it. This was for live performance it should be said. Not all of the performance where "1 finger" deals, there were some nice patches in there as well that layered up to 4 Voices.
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I think that, to some extent, yes, the Performances--specifically those of the "one finger soundscape" variety--are there as demo patches... both to help sell the unit, and to give you an idea of the kinds of things you can create within the board. They could possibly provoke an idea that leads to an original composition, too, I think that's another intended function. But overall, I consider them largely "demos" to be replaced with more useful Performances of your own as you see fit.

Maybe this is the best place for a shameless plug! Our now not-so-new new video at https://youtu.be/3ZRC3b4p4EI is a 40 minute adaptation of T. S. Eliot's "Prufrock" - check it out! And hopefully I'll have something new here this year. ;-)

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I'd say that a lot of the Performance patches on the Motif line of workstations are there to give you an idea of what you can do with that section of the KB. I played around with patches that had drums, bass, and Rhodes so I could jam. Great practice, it can be edited and remixed. Nice feature if you make use of it.

 

 

Cheers!

 

 

Mike T.

Yamaha Motif ES8, Alesis Ion, Prophet 5 Rev 3.2, 1979 Rhodes Mark 1 Suitcase 73 Piano, Arp Odyssey Md III, Roland R-70 Drum Machine, Digitech Vocalist Live Pro. Roland Boss Chorus Ensemble CE-1.

 

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I'd say that a lot of the Performance patches on the Motif line of workstations are there to give you an idea of what you can do with that section of the KB. I played around with patches that had drums, bass, and Rhodes so I could jam. Great practice, it can be edited and remixed. Nice feature if you make use of it.

 

 

Cheers!

 

 

Mike T.

 

Same here. I love using performance mode in my ES8 for practice! I have set up a lot of splits with upright or electric bass, A or E piano, and drum patterns in various styles such as swing, bebop, samba, salsa, calypso, funk, or maybe just hihat for a metronome. It is great to have instant access to all those at the push of a button. What great practice tools to help tighten up one's playing!

 

I do wish there were some New Orleans rhythms like those in Drumcore, which I like practicing with also. I wonder if any were added in the Motif XF and Moxf series?

"It is a danger to create something and risk rejection. It is a greater danger to create nothing and allow mediocrity to rule."

"You owe it to us all to get on with what you're good at." W.H. Auden

 

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Yeah, Master Mode is a great way of organizing things, no matter what they are....a Voice, a Song, or a Performance. All within the same User Bank of any or all of the above.

 

 

 

Cheers!

 

 

 

Mike T.

Yamaha Motif ES8, Alesis Ion, Prophet 5 Rev 3.2, 1979 Rhodes Mark 1 Suitcase 73 Piano, Arp Odyssey Md III, Roland R-70 Drum Machine, Digitech Vocalist Live Pro. Roland Boss Chorus Ensemble CE-1.

 

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I have a Motif XF6 and use the Performances all of the time. I do a lot of solo gigs, mostly using the XF for pianos. About one song a set, I use Performance mode, (sometimes MIDI'd to an Alesis Micron). I have worked up a few setups for this that allow me to improvise live.

 

If you are playing with a real drummer and bass player, obviously, you would not want to use the performances with drums or bass arps.

 

I think that it is one of the best parts of the instrument.

The performances are also great starting points for song writing.

Yamaha Motif XF6, Yamaha AN200, Alesis Micron, Sonar X3, Arturia Microbrute, Behringer Model D, Yamaha UX-3 Acoustic Piano, assorted homemade synth modules
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I have a ton of performances in my S70XS that I created for specific songs. Splits, layers, layered splits :) I have all of these set up to be recalled from Master Mode, where I also have any midi mappings and patch changes being sent to the rest of my rig.

 

The arp stuff is fun to play with. There are a few that I like to jam over just to have fun at home. Bop Til You Drop is pretty cool with how the bass line is smart enough to follow your chords. And who can't resist playing the "Pink Panther" over Film Noir?

Live: Korg Kronos 2 88, Nord Electro 5d Nord Lead A1

Toys: Roland FA08, Novation Ultranova, Moog LP, Roland SP-404SX, Roland JX10,Emu MK6

www.bksband.com

www.echoesrocks.com

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A couple comments about the Performances and the arps.

 

1) They are likely intended to allow a novice to walk up to demo the instrument and get maximum amount of music (and musical styles) with minimal effort or musical knowledge.

2) They're also good starting point to demonstrate different layering and splitting capabilities.

3) Many of them I would never use, but many I could play around with for hours. A lot of them invoke an 'arranger keyboard' vibe.

 

One other thing about the performances and arps, You can get a lot more mileage out of them if you understand the context in which they're intended to be used. For instance, a guitar arp will sound like poo if you play a 10 finger chord across the keyboard.

 

Sequencing and songwriting, I think the Motif series bread and butter sounds and arps easily justify the cost of a MOX or MOXF. Many of the drum, bass and guitar arps are wonderful and very useful when constructing a song. I'll often use arps for drum fills along with my own sequenced drum parts.

 

Yes, I think they're that good.

 

Greg

Kurzweil Forte, Yamaha Motif ES7, Muse Receptor 2 Pro Max, Neo Ventilator
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Performances are multitimbral setups. The "1-finger" situations that you're bemoaning are the Arpeggios. Turn those off, split/layer your sounds, and make the most of the keyboard.

 

Exactly. I use PERFORMANCE mode with my Motif most of the time. Many of the voices seem a bit thin-sounding to me, so I do a lot of layering.

When an eel hits your eye like a big pizza pie, that's a Moray.
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A couple comments about the Performances and the arps.

 

1) They are likely intended to allow a novice to walk up to demo the instrument and get maximum amount of music (and musical styles) with minimal effort or musical knowledge.

2) They're also good starting point to demonstrate different layering and splitting capabilities.

3) Many of them I would never use, but many I could play around with for hours. A lot of them invoke an 'arranger keyboard' vibe.

 

One other thing about the performances and arps, You can get a lot more mileage out of them if you understand the context in which they're intended to be used. For instance, a guitar arp will sound like poo if you play a 10 finger chord across the keyboard.

 

Sequencing and songwriting, I think the Motif series bread and butter sounds and arps easily justify the cost of a MOX or MOXF. Many of the drum, bass and guitar arps are wonderful and very useful when constructing a song. I'll often use arps for drum fills along with my own sequenced drum parts.

 

Yes, I think they're that good.

 

Greg

 

I only wish there were a way to find the arp you want easier. I was looking for a straight ahead acoustic guitar strum for "Torn" by Natalie Imbruglia, it took way too long scrolling thru hundreds of them until I found one that worked. I know they are classified under different themes, but it's still cumbersome.

Live: Korg Kronos 2 88, Nord Electro 5d Nord Lead A1

Toys: Roland FA08, Novation Ultranova, Moog LP, Roland SP-404SX, Roland JX10,Emu MK6

www.bksband.com

www.echoesrocks.com

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A couple comments about the Performances and the arps.

 

1) They are likely intended to allow a novice to walk up to demo the instrument and get maximum amount of music (and musical styles) with minimal effort or musical knowledge.

2) They're also good starting point to demonstrate different layering and splitting capabilities.

3) Many of them I would never use, but many I could play around with for hours. A lot of them invoke an 'arranger keyboard' vibe.

 

One other thing about the performances and arps, You can get a lot more mileage out of them if you understand the context in which they're intended to be used. For instance, a guitar arp will sound like poo if you play a 10 finger chord across the keyboard.

 

Sequencing and songwriting, I think the Motif series bread and butter sounds and arps easily justify the cost of a MOX or MOXF. Many of the drum, bass and guitar arps are wonderful and very useful when constructing a song. I'll often use arps for drum fills along with my own sequenced drum parts.

 

Yes, I think they're that good.

 

Greg

 

I only wish there were a way to find the arp you want easier. I was looking for a straight ahead acoustic guitar strum for "Torn" by Natalie Imbruglia, it took way too long scrolling thru hundreds of them until I found one that worked. I know they are classified under different themes, but it's still cumbersome.

 

DanL,

 

Understand your frustration. I look at selecting arps the same way as I do auditioning sounds. It is often time-consuming, but after a period of time, you start to remember some of them and it becomes a matter of scrolling through and doing some quick listening to find what you want. Using the category's and descriptions also helps.

 

When I'm trying to find drum fills, I'll look at the description and can normally hone in on some options fairly quickly. You can also get more mileage out of the fills by changing what drums are played (using event editing), but that's another story.

 

Greg

Kurzweil Forte, Yamaha Motif ES7, Muse Receptor 2 Pro Max, Neo Ventilator
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Personally I'm overwriting all the preset Performances with my splits and layers. Only kept a few 'blues' preformances for fun's sake.

 

 

IMHO the preset Performance SUCK. I'd rather have 256 blank performances in my MOX than 256 disappointments.

 

 

 

Also, IMHO the way Yamaha splits functions between Performance and Master modes is simply ridiculous. I always find myself programming a performance and then programming a Master to call it up (since external midi gear can be controlled only in Master mode). It's just double the work, for nothing.

 

 

Yamaha sure has it's own way of doing things.

 

 

Master mode is cool because it will let you chain sequences with performances for live work. Still, I see no reason there's no 8-timbral mode with 4 internal voices and 4 external midi zones (or just 8 zones which can be anything - like in Korg Triton for instance..)

Stage: MOX6, V-machine, and Roland AX7

Rolls PM351 for IEMs.

Home/recording: Roland FP4, a few guitars

 

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While I understand the frustration of having to program a performance and then program a Master to call it up, Master lets you choose any type of voice, performance or sequence setup and have it a button press away. The homework to set that up is really not that bad and makes things real easy for live use. Pressing one button and having all of my keyboards change their sounds makes fast patch selection in a live setting much easier. One of my bands takes about 2 seconds between songs, if that, and having to change between voice or performance mode to pick a sound, and then changing the sounds on my other 2 boards would be really difficult to do without master mode. It's really one of the things that has kept me from looking at other keyboards that might have more capable soundsets.

Live: Korg Kronos 2 88, Nord Electro 5d Nord Lead A1

Toys: Roland FA08, Novation Ultranova, Moog LP, Roland SP-404SX, Roland JX10,Emu MK6

www.bksband.com

www.echoesrocks.com

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Hi --

 

I use performances for practice and for starting arrangements.

 

I had the same problem as other folks trying to get my mind around all of those arpeggios. I noticed that a lot of the arpeggios were related. Like "ContempRock" has arps for drum, guitar and bass. So, I organized and programmed a bunch of performances into "construction kits" in order to learn about the MOX and to build starting points for songs. If you want to check out what I put together, here's the URL: http://sandsoftwaresound.net/music/mox/

 

I used Yamaha's iPad app called "Performance Editor Essential." This made it much easier to browse arpeggios and to program new performances. I only wish that Yamaha included a feature to name a performance. Doh!

 

Thanks for all the comments -- pj

 

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IMHO the preset Performance SUCK. I'd rather have 256 blank performances in my MOX than 256 disappointments.

It's easy enough to wipe them all out. Those performances do serve some purpose in possibly giving someone an idea of what the board can do, or the idea for a song, etc. What bugs me are the ones that, once you press a key, they keep playing, even if you let go. I don't think that should ever be the default operation of a preset on a board out of the box. All you have to do is hit a wrong button at a gig, and suddenly there's this awful noise you have to shut off...

 

Also, IMHO the way Yamaha splits functions between Performance and Master modes is simply ridiculous. I always find myself programming a performance and then programming a Master to call it up (since external midi gear can be controlled only in Master mode). It's just double the work, for nothing.

I also would prefer the MIDI assignments be available in Performance mode, at least theoretically, though I'm not sure what that might do to the interface in terms of what particular buttons and knobs do what when you call up the patch. You could also make a case that splitting the functions into the two sections makes it easier to use the same set of internal sounds (Performance) with different sets of external sounds.

 

Master mode is cool because it will let you chain sequences with performances for live work. Still, I see no reason there's no 8-timbral mode with 4 internal voices and 4 external midi zones

The way I see it, Master mode is an 8-timbral mode with 4 internal voices (specified via a Performance associated with that Master) and 4 external midi zones (specified within the Master). On the MOXF, they actually enhanced that function, where you can set it so that, while that Master is invoked, 4 buttons are dedicated to turning on and off the 4 internal parts while another 4 buttons are dedicated to turning on and off the 4 external parts. (I think that's how it works... I haven't tried it yet.)

Maybe this is the best place for a shameless plug! Our now not-so-new new video at https://youtu.be/3ZRC3b4p4EI is a 40 minute adaptation of T. S. Eliot's "Prufrock" - check it out! And hopefully I'll have something new here this year. ;-)

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AnotherScott - I think I know what you mean about the performances continuing to play on auto-pilot, but all you have to do is punch the "Arp" to off, that has become a real quick reflex for me since buying the board!

Rich Forman

Yamaha MOXF8, Korg Kronos 2-61, Roland Fantom X7, Ferrofish B4000+ organ module, Roland VR-09, EV ZLX12P, K&M Spider Pro stand,

Yamaha S80, Korg Trinity Plus

 

 

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AnotherScott - I think I know what you mean about the performances continuing to play on auto-pilot, but all you have to do is punch the "Arp" to off, that has become a real quick reflex for me since buying the board!

Yup. You shouldn't need to have developed that quick reflex though! And really, the time it takes between taking your finger off the key and reaching for the ARP button (or, perhaps, the actual preset button you meant to hit) still means a bunch of excess noise hits your audience, compared to if it had stopped as soon as you lifted your finger. It can make the difference between whether people really notice or not.

Maybe this is the best place for a shameless plug! Our now not-so-new new video at https://youtu.be/3ZRC3b4p4EI is a 40 minute adaptation of T. S. Eliot's "Prufrock" - check it out! And hopefully I'll have something new here this year. ;-)

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AnotherScott - I think I know what you mean about the performances continuing to play on auto-pilot, but all you have to do is punch the "Arp" to off, that has become a real quick reflex for me since buying the board!

Yup. You shouldn't need to have developed that quick reflex though! And really, the time it takes between taking your finger off the key and reaching for the ARP button (or, perhaps, the actual preset button you meant to hit) still means a bunch of excess noise hits your audience, compared to if it had stopped as soon as you lifted your finger. It can make the difference between whether people really notice or not.

 

Wow, talk about First World Problems. :facepalm:

 

There are numerous times where you might want to have an ARP latch... as you suggested, if you 'accidentally' hit these sorts of things on a regular basis, perhaps you either need to be more careful navigating the board, or remove the offending patches, not complaining that those patches exist.

 

Maybe it's just me, though. :/

 

(oh, and if you use Master Mode, you'll never come across these random noisemakers in your set.... problem solved... :thu:)

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There are numerous times where you might want to have an ARP latch...

Of course. I don't mind that the feature exists if the user wants to make use of it. I don't like that factory default patches are programmed that way.

 

The worst is the fact that the MOX actually defaults to such a patch as soon as you turn it on! So if you set set the board up on the stand and power it up, and leave to do something else, and someone else comes by and hits a key just to see if there's sound, he gets a perpetual one man band! Of course, there are solutions. Change the default startup mode of the board, change the default start-up patch, re-save the patch with the arp off... but I still think it was a dumb thing for them to do in the first place.

 

if you 'accidentally' hit these sorts of things on a regular basis, perhaps you either need to be more careful navigating the board

It's not a on a regular basis, but a few times a year is still too much. If you're a physical player, moving around, and the stage is dimly lit (or you just mess up), sure, you can hit a button you didn't mean to hit... most of the time, the results aren't as annoying. I've had metronomes (tick-tick-tink-DING) and other things start up on Casios, too...

 

(oh, and if you use Master Mode, you'll never come across these random noisemakers in your set.... problem solved... :thu:)

Not true. The default Master presets include some of these auto-play Performances with ARP on. In fact, when the MOX starts up, that default annoying patch is Master 1. So if you have any Master locations you haven't specifically put something else into yet, and you hit one of them accidentally, it is perfectly possible to get one of these patches. (Or you could think you're in Master mode, but you're really in Performance mode...) Anyway, the point is, people make mistakes, and IMO, a feature that can wreak that much havoc should be off by default, and simply be available to be explicitly turned on if the user wants it.

Maybe this is the best place for a shameless plug! Our now not-so-new new video at https://youtu.be/3ZRC3b4p4EI is a 40 minute adaptation of T. S. Eliot's "Prufrock" - check it out! And hopefully I'll have something new here this year. ;-)

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