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Motas Electronics Motas-6 User Manual

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User Guide
document revision 1.0
for firmware version 06020100
October 8, 2017

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Summary of Contents for Motas Electronics Motas-6

  • Page 1 User Guide document revision 1.0 for firmware version 06020100 October 8, 2017...
  • Page 2 Contents Foreword Proper use and maintenance Document conventions Introduction Top panel Rear panel Quick-start Control Overview . 10 Parameter pages . 12 Parameter page display overview . 13 Modulation. . 15 10.1 MIDI / CV Modulations . 16 10.2 Global low-frequency oscillators (LFOx) .
  • Page 3 Parameter pages - in depth . 24 11.1 Master Pitch . 24 11.2 Oscillator 1 . 24 11.3 Oscillator 2 . 26 11.4 Oscillator 3 . 28 11.5 Mixer. . 29 11.6 Low-pass filter 1 . 30 11.7 High-pass filter .
  • Page 4 16.4 Sequence edit mode . 43 16.5 Load/save sequences . 44 Vector morphing. . 45 Setup . 46 18.1 Patch settings . 46 18.2 Tempo settings . 46 18.3 MIDI channels . 46 18.4 Modulators . 47 18.5 Morph modulators .

  • Page 5: Foreword

    (gratefully received) please email support@motas-synth.uk Whilst every effort has been made to ensure that this guide is as accurate as possible Motas Electronics Limited will not be liable for any erroneous information. This manual may be updated at any time without prior notice.

  • Page 6: Proper Use And Maintenance

    Proper use and maintenance damaged (or potentially has been damaged) in Please read the following instructions any way such as power connections damaged, liquid has been spilled or objects have fallen into carefully and keep them with the appara- the apparatus, the apparatus has been exposed tus.
  • Page 7 finger marks. Use only a dry, soft cloth (e.g. a micro-fibre cloth) or brush to clean the device. Never use alcohol, cleaning solutions or similar chemicals as they will probably damage the sur- face finish of the chassis and/or the markings. The symbol below indicates that this product must not be disposed of with your other household waste.

  • Page 8: Document Conventions

    Document conventions You will find many screenshots taken from throughout this guide. An example Advanced information section high- is show below: lighted with a ’gears’ icon. It is not nec- essary to understand these sections to suc- cessfully use Warning section highlighted with a ’warning’...

  • Page 9: Introduction

    Introduction is a super-flexible monophonic syn- • Flexible arpeggiator thesizer with classic analogue subtractive synthesis • Built-in pattern sequencer and powerful digital control - giving huge modula- • Non-volatile internal memory for saving 500 patches, tion possibilities. 56 patterns, 16 sequences and user settings •...
  • Page 10 The internal architecture uses high- resolution digital signals for the modulation allowing a total of 37 simultaneous LFOs and EGs. User interface Dedicated analogue rotary potentiometers used to access the basic analogue parameter pages and to allow fast ’tweaking’ in real-time. In addition uses a rotary rotary encoder in combination with tactile push buttons...

  • Page 11: Top Panel

    Top panel sound editing ’parameter’ knobs with LEDs [x 33] quick-access patch-change buttons with LEDs [x 5] OLED display, main volume knob and mon- itor button modulation settings / sequence control but- tons [x 18] rotary encoder and buttons [x 4] for data entry/options buttons to access other features [x 9]...

  • Page 12: Rear Panel

    Rear panel headphones out (2 channel mono) [ Stereo 6.35mm phone socket ] main audio out (mono) [ Mono 6.35mm phone socket ] external audio input [ Mono 6.35mm phone socket ] CV/gate inputs [ 3.5mm sockets x 4] MIDI out [ 5-pin DIN socket ] MIDI in [ 5-pin DIN socket ] USB MIDI socket for connection to PC [ USB type-B ]...

  • Page 13: Quick-Start

    Quick-start 1. Firstly ensure that the power button is off and the main volume control is set to min- imum. 2. Plug a MIDI cable from your MIDI keyboard to the MIDI IN connector . Turn on your MIDI keyboard and set it up to send MIDI notes as you play.

  • Page 14: Control Overview

    Control Overview To access the settings (also known as parameters) access a particular parameter page turn the ap- that determine the sound you turn a rotary knob propriate rotary knob . The active parameter corresponding to the setting that you want page is shown by the adjacent flashing LED.
  • Page 15 Setup To access various global settings and parameters (such as MIDI receive channel, calibration and mod- ulation sources) press . See chapter SETUP more details. Live sound changes can send and receive MIDI NRPN mes- sages to allow external recording and control of patch settings.

  • Page 16: Parameter

    Parameter pages The sound generated by is controlled • Oscillator 2 pages: by the settings on 33 parameter ’pages’ – each phase modulation control PHASE MOD parameter has its own ’page’ shown on the dis- overall volume level play. These are listed below and explained in de- tail in chapter 11.

  • Page 17: Parameter Page Display Overview

    • Low-pass filter 1 pages: tions on each page, once you have mastered op- eration of one of the parameter pages you will un- cut-off frequency and derstand most of all the others as the basic opera- input routing options tion is common to all pages.
  • Page 18 When the parameter page displays Use the rotary knobs for smooth fine modulations not active control of the parameter page offset. Use the current value will follow the basic offset, buttons to jump set since all the modulations amounts are set amounts in offset.

  • Page 19: Modulation

    Modulation Modulation means changing parameter values from Perhaps the most common ’modu- a modulation source. This could be a freely-changing lation’ used in synthesizing sounds (and of- modulation with time, such as from a low-frequency ten not really considered as modulation) oscillator (LFO) that is not synchronised or modula- is simply applying an envelope modula- tion that is synchronised to the start of a key press,...

  • Page 20: Midi / Cv Modulations

    From a patch parameter page press the modula- The modulation signals are ’bipolar’ – tion button desired once (i.e. VELOCITY this means that when the source is at its mid- M1 , M2 , M3 or M4 ). The modu- dle value the modulation effect will be zero.
  • Page 21 selected global LFO 1–4 amount lfox amount output On the parameter page dedicated LFO frequency set a secondary destination of EG rate (and lfo freq an appropriate secondary level amount) for the MIDI note modulation source. Set dedicated LFO amount lfo amount the output page to use the unique EG.

  • Page 22: Global Low-Frequency Oscillators (Lfox)

    ulation signal. The harder the key is struck (on a and waveform to be applied to several parameter touch sensitive MIDI keyboard) the higher this sig- page destinations. This is in contrast to the unique nal. LFO for each parameter page. Although the LFO waveform and frequency is global the level of mod- ulation is unique to each page.
  • Page 23 LFO waveform (however this only is active when the LFO is also set The waveform of the global LFOs have a wide choice to trigger mode, see below). of 16 options these are: LFO frequency sine wave Here the frequency of LFOx can be modified. To sine wave phase-shifted by sin-90 90 degrees...

  • Page 24: Dedicated Low-Frequency Oscillator (Lfo)

    LFO waveform Use a negative modulation amount to The waveform of the LFO has a choice of 17 op- have an inverted modulation waveform. tions, these are: sine wave sine wave phase-shifted by Try applying the stepped sin-90 90 degrees waves to modulate the oscillator pitch and triangle wave the oscillator will play an arpeggio where...

  • Page 25: Envelope Generator (Eg)

    The dedicated LFOs cannot be synchronised to the arpeggiator clock. master pitch Modulate the with the dedicated LFO and use the modu- LFO trigger options lation option to create a vibrato effect that is delayed and builds in amplitude as a When frequency is the active op- FREQUENCY...
  • Page 26 EG response curve options When attack or release is the active option pressing selects from the EG response curve options. The selected response curve option is shown as a small icon on the screen to the far left of the area from the following 3 options: faster initial rise with slower settling to...
  • Page 27 Use the EG reset feature on percussion sounds where you want the EG cycle to al- ways restart from zero. Modulation amount and EG choice To control the strength of the active EG on the pa- rameter page destination press and use the rotary encoder Choose the active EG by pressing...

  • Page 28: Parameter Pages - In Depth

    Parameter pages - in depth This chapter describes each parameter page in detail. The settings on each parameter page con- Internally the analogue pitch con- trol the sound makes. To access a trol signals for each oscillator are generated particular parameter page turn the appropriate from the output of this parameter page rotary knob .
  • Page 29 osc-1 pitch Hard-sync means that the oscilla- PITCH tor core resets whenever the oscillator it is This parameter page sets the pitch or frequency synced to resets – this causes the oscillator of oscillator 1. The basic offset settings displayed to track in pitch although because the reset here are relative offsets.

  • Page 30: Oscillator 2

    osc-1 :triangle osc-1 :pulse level This parameter page sets the volume level of the This page sets the volume level of the pulse wave triangle wave output of oscillator 1. for oscillator 1. This wave is a rectangular wave with a pulse width (or duty cycle) determined from the The triangle wave has a linear rising and falling shape osc-1...
  • Page 31 Oscillator 2 has hard-sync options. Cycle through the options with the button – the display will Setup a global modulation source show: such as the MIDI modulation wheel on this parameter page with a positive modula- sync is off tion amount. When that controller value in- sy:1 hard-sync to oscillator 1 creases the volume level of oscillator 2 go-...

  • Page 32: Oscillator 3

    osc-2 :sub-osc osc-3 level This parameter page sets the level of the sub-oscillator This parameter page sets the overall volume level wave going to oscillator 2 mix. of the waveforms from oscillator 3 into the mixer. The sub-wave is a square wave at half the frequency Although each waveform from oscillator 3 has it’s of the other oscillator 2 waveforms (one octave own level parameter page you can easily apply...

  • Page 33: Mixer

    the waveform so that the pulse-width varies with the phase-modulation (i.e. at audio frequencies). Set each of the three oscillators in a patch to slightly different pitches to create 11.5 Mixer a thick, very rich analogue sound. The mixer combines the audio signals from the 3 oscillators together with the noise source and feed- Since has real ana-...

  • Page 34: Low-Pass Filter 1

    mixer dio output (after the ’output’ stage but before the final volume control stage) to the mixer. This pa- rameter page sets the level of that signal into the This parameter page sets the total level of the out- mixer. This internal ’feedback’ feature allows addi- puts of oscillators 1, 2 and 3 together with the noise tional feedback effects to be generated.

  • Page 35: High-Pass Filter

    lpf-1 :output the main mix (normal setting). lpf2 low-pass filter 2. the high-pass filter. noise This parameter page sets the level of the audio sig- the noise source. nal passing into the final mixer stage. Note that puls1 pulse waveform of when chaining the output of this filter to the input oscillator 1.

  • Page 36: Low-Pass Filter 2

    lpf-2 :cutoff low frequencies is attenuated. This parameter page also allows control of which audio signal is input to the filter. Press The cut-off frequency is controlled with this param- to select the input signal from the following eter page. The lower the setting the more filtering options: will be applied to the input signal.

  • Page 37: Output Stage

    lpf-2 :output This parameter page sets the level of the audio sig- nal passing into the final mixer stage. Note that when chaining the output of this filter to the input of another filter this setting is not relevant - it only sets the level to the final mixer.

  • Page 38: Patch Summary

    Patch summary When not called upon for other functions, pressing 4 or 5 changes the When a lot of modulation is being used active patch (from 1 – 5) and shows a summary it sometimes be difficult to work out what is page of the patch settings similar to that shown in going on! Use the patch summary page to the screenshot below.

  • Page 39: Load, Save And Copy Patch

    Load, save and copy patch allows up to 500 individual patches The load/save page remembers to be saved and loaded (in addition to the patches which patch you last accessed so when you saved with sequences) and these are arranged into load or save again you will return to the 10 ’folders’...

  • Page 40: Copy/Reset/Randomise Patch

    case the selected save slot is irrelevant as the quick- access patches are stored in their own dedicated area). Erase patch Turn the rotary encoder or push to select the patch you want to erase. Use to change ’folder’. 5 to erase the selected patch (you will Press be asked to confirm by pressing 1 ).

  • Page 41: Monitor

    Monitor attenuated automatically to not exceed approxi- Press to enter monitor mode. There MONITOR mately 0 dBU on the main audio out . When the are 4 types of monitor mode: Volume level, MIDI, limit limiting is activated will appear on the Oscilloscope and Spectrum Analyser.

  • Page 42: Oscilloscope

    Depending of the data coming in the display will 2 to pause/unpause the display (pause Press change. In the example screenshot above the last 1 to auto- shown by on the screen). Press data received was a note-off event over the USB scale the vertical display (shown by an on the interface on channel 1 with note value 60 (C3).
  • Page 43 divisions with feint vertical dashed lines. The current frequency scale is shown in the bottom left-hand Use the spectrum analyser mode to side of the display. For example, in the figure the look at the harmonics of a waveform. With setting is 100 Hz per division.

  • Page 44: Arpeggiator

    Arpeggiator The arpeggiator feature allows to au- • plays notes in ascending order of pitch down tomatically play notes from a chord in succession • plays notes in descending order of pitch updn with adjustable direction, number of octaves, pat- •...

  • Page 45: Internal Arpeggiator Settings

    giator. change to show the notes corresponding to the chosen chord. delay sets a delay from -15 to +16 (normal set- ting would be 0) to allow correction of any synchro- If MIDI note data is received then the nisation issues with external equipment (when us- chord will be transposed to start from the ing an external clock source).

  • Page 46: Pattern Sequencer

    Pattern sequencer allows 1 bar patterns to be created. 16.2 Pattern edit mode Each pattern can contain a series of notes, param- eter changes and controller events. The start-time, To enter pattern edit mode press the pitch, velocity, duration and micro-tune of each button.

  • Page 47: Load/Save/Copy Patterns

    To change the value of the active item turn the select the events and the rotary encoder rotary encoder change the values. Note edit page Press to create, edit and delete notes NOTES in the active pattern. Press to change to pitch edit mode. PITCH Then each note can be selected and the pitch changed.

  • Page 48: Load/Save Sequences

    Press to insert a pattern at the current point or press to remove a pattern from the se- quence. Use the to move between the patterns in the sequence. A pattern in the sequence is active when brighter than the other patterns.

  • Page 49: Vector Morphing

    Vector morphing Set 4 preset patches on preset buttons 1–4 with similar sounds and then use vec- tor morphing mode to blend between them in real-time. You could use the copy func- tion to initially setup 4 identical patches and then edit each patch to provide the differ- has a ’vector morphing’...

  • Page 50: Setup

    Setup The setup pages allow setting of a variety of op- bend. Set from 0 (no effect) to 24 (for 2 octaves erating settings arranged over 16 pages. Press the shift at maximum pitchbend signal). button to enter the setup pages. SETUP 18.2 Tempo settings Press...

  • Page 51: Modulators

    whether responds to MIDI data ac- cording to the current patch setting or according patch to the global setting. When is set the global editing is for the current patch and when is set the editing is for the global setting. channel sets the MIDI channel to receive from.

  • Page 52: Tuning

    off (ignored) cv mod signal routed to modulation (M1 – M4) cv pitch signal routed to control master pitch velocity signal routed to control note velocity gate+ werkmeister kirnberger signal triggers note on vallotti meantone c (on positive edges) gate- pure a minor signal triggers note on (on negative edges)

  • Page 53: Nrpn Control + Sysex

    18.10 System settings are over USB/MIDI. Sometimes too small a setting here will cause loss of packets by the receiving de- vice so increase as required (a value of 10 is nor- mally ok). The only downside to a larger number here is slower data transfer.

  • Page 54: Calibration

    18.12 Calibration Since has real ana- will have been factory calibrated, logue oscillators and filters these will drift a but sometimes re-calibration of the internal ana- small amount in frequency over time and logue circuitry may be necessary because it is a temperature (helping to give the rich sound real analogue synthesiser (not a digital synth) and quality).
  • Page 55 1 on this page allows all of the user Pressing settings to be initialised to default values. CHAPTER 18. SETUP page 51 User Guide...

  • Page 56: Real-Time Patch Change Recording

    Real-time patch change recording Parameter Page NRPN MSB data can send and receive MIDI NRPN mes- N/A (global parameter) sages to allow external recording and control of Master pitch patch settings (to set up the sending and receiv- Oscillator 1 Level ing settings see 18.9).
  • Page 57 Page data NRPN LSB data Global data NRPN LSB data Offset LFO 1 frequency EG mod depth LFO 2 frequency EG delay LFO 3 frequency EG attack LFO 4 frequency EG decay EG 1 delay EG sustain EG 2 delay EG release EG 3 delay LFO mod depth...

  • Page 58: I Signal Path Diagram (Simplified)

    Signal path diagram (simplified) page 54 User Guide...

  • Page 59: Ii Glossary

    Glossary Here are some terms used in sound synthesis rele- tack, Decay, Sustain and Release (D-ADSR). This sig- vant to nal can be applied to the parameters of the patch to cause the sound to vary over time. ADSR – Abbreviation for Attack, Decay, Sustain and Release, the four stages of an envelope control The Delay, Attack, Decay and Release segments commonly present on classic analogue synthezis-...
  • Page 60 two terms are not always interchangeable. Fre- ate complex sounds and add interesting variation. quency is an objective measurement of a sound, Morphing – a feature on where you while pitch is the perception of a sound, low, high, can smoothly change the sound settings from one or mid-ranged.
  • Page 61 guitar generates low pitches (low frequencies), while means, where programmer/performer has the abil- a flute generates high pitches (high frequencies). ity to change the pitch, volume, timbre and artic- ulation. Pole (or poles) – A term referring to the design of a filter circuit.

  • Page 62: Iii Midi Implementation Chart

    Key-based Instrument Ctrl (Yes/No) Master Fine/Coarse Tune (Yes/No) Other Universal System Exclusive Manufacturer or Non-Commercial System Exclusive Motas Electronics Ltd ID# : 00H 21H 2FH NRPNs (Yes/No) see ?? RPN 00 (Pitch Bend Sensitivity) (Yes/No) RPN 01 (Channel Fine Tune) (Yes/No)
  • Page 63 MIDI Implementation Chart v. 2.0 (Page 2 of 3) Manufacturer: Motas Electronics Limited. Model: Motas 6. Version: r2. Date: September 2017. Control # Function Transmitted (Y/N) Recognised (Y/N) Remarks MIDI Bank Select (MSB) 18.4 Modulation Wheel (MSB) 18.4 Breath Controller (MSB) 18.4...
  • Page 64 MIDI Implementation Chart v. 2.0 (Page 3 of 3) Manufacturer: Motas Electronics Limited. Model: Motas 6. Version: r2. Date: September 2017. Control # Function Transmitted (Y/N) Recognised (Y/N) Remarks Sustain Pedal 18.4 Portamento On/Off 18.4 Sostenuto 18.4 Soft Pedal 18.4 Legato Footswitch 18.4...

  • Page 65: Iv Specifications

    Specifications Input power connection ....... 12 V DC ( 10 %) on 2.1 mm socket (positive centre pin) Power/current consumption .

  • Page 66: V Eu Declaration Of Conformity

    Object of the Declaration: Named product: Motas-6 Synthesizer Manufacturer: Motas Electronics Limited, Windsor House, Station Court, Station Road, Great Shelford, Cambridge, CB22 5NE, United Kingdom. email: info@motas-synth.uk web: www.motas-synth.uk This declaration of conformity is issued under the sole responsibility of the manufacturer.

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