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Motas -6 User Manual

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User Guide
document version 1.16 (non-printed)
for firmware version 06020107
September 10, 2018

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Summary of Contents for Motas Motas-6

  • Page 1 User Guide document version 1.16 (non-printed) for firmware version 06020107 September 10, 2018...

  • Page 2: Table Of Contents

    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 . 25 11.1 Master Pitch . 25 11.2 Oscillator 1 . 25 11.3 Oscillator 2 . 27 11.4 Oscillator 3 . 29 11.5 Mixer. . 30 11.6 Low-pass filter 1 . 32 11.7 High-pass filter .
  • Page 4 16.4 Sequence edit mode . 45 16.5 Load/save sequences . 45 Vector morphing. . 46 Setup . 47 18.1 Patch settings . 47 18.2 Tempo settings . 47 18.3 MIDI channels . 48 18.4 Modulators . 48 18.5 Morph modulators .
  • Page 5 EU Declaration of Conformity . 64 CONTENTS page iv User Guide v1.16...

  • Page 6: 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 7: Proper Use And Maintenance

    If for some reason this should oc- erating sound. Any other use is prohibited. Motas cur, switch the power off, unplug the device and Electronics Limited is not liable for damages due to consult qualified service personnel.
  • Page 8 ing to reduce the appearance of 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 surface finish of the chassis and/or the markings.

  • Page 9: 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 10: 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 11 defined from incoming MIDI controller data and/or internal clock. A special global mode allows rapid analogue signals on the CV/gate inputs. patch changing as the arpeggiator plays. The pattern sequencer allows 1-bar patterns to be The internal architecture uses high- entered where each note in each pattern can be resolution digital signals for the modulation adjusted for pitch, velocity, time, duration, micro-...

  • Page 12: 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 13: Rear Panel

    Rear panel The lettering at the top of the rear panel is printed upside down so that the user can read the lettering when peering over from the top of the unit. headphones out (2 channel mono) [ Stereo 6.35mm phone socket ] main audio out (mono) [ Mono 6.35mm phone socket ] external audio input (leave unconnected for...

  • Page 14: 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 15: 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 16 whilst a preset page is displayed. See chap- for more details. Setup To access various global settings and parameters (such as MIDI receive channel, calibration and mod- ulation sources) press . See chapter SETUP for more details. Live sound changes can send and receive MIDI NRPN mes- sages to allow external recording and control of patch settings.

  • Page 17: 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 18: Parameter Page Display Overview

    • Low-pass filter 1 pages: eration of one of the parameter pages you will un- derstand most of all the others as the basic opera- cut-off frequency and tion is common to all pages. input routing options So let’s start by explaining operation of one of the resonance amount and parameter pages.
  • Page 19 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 20: 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 21: 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- ). The dle value the modulation effect will be zero. modulation icon flashes to show it is in primary edit For a positive modulation amount when the mode (i.e.
  • Page 22 Note pitch modulation selected global LFO 1–4 amount On row 2 of the display, starting at the left-hand lfox amount side is shown the note modulation setting, indicated dedicated LFO frequency by the symbol. This controls how much the lfo freq MIDI note-on signals or CV pitch voltage affect the dedicated LFO amount page’s destination (which in the example shown...

  • Page 23: Global Low-Frequency Oscillators (Lfox)

    waveform and frequency is global the level of mod- ulation is unique to each page. On the fourth row down on the display, on the left hand side the settings for LFOx are shown. Modulation sources M1, M2, M3 and M4 Each of these separate modulation sources can be assigned to any MIDI controller code e.g.
  • Page 24 They give the intended pitch with an LFO amount LFO waveform set to 12.00s There is a choice of 50 waveforms for each of the chrom 4 global LFOs. The first 33 waveforms are: chromatic increasing major major chord triad sine minor minor chord triad...

  • Page 25: Dedicated Low-Frequency Oscillator (Lfo)

    LFO frequency Use a negative modulation amount to LFO X Here the frequency of can be modified. have an inverted modulation waveform. To change the frequency press FREQUENCY LFO X and then use rotary encoder . The frequency can be set from 0.001Hz – Try applying the stepped 452Hz (time period from 1000s to 2.2 ms).
  • Page 26 They give the intended pitch with an LFO amount LFO waveform set to 12.00s There is a choice of 50 waveforms for each dedi- chrom cated LFO. The first 33 waveforms are: chromatic increasing major major chord triad sine minor minor chord triad sine phase-shifted by <...

  • Page 27: Envelope Generator (Eg)

    LFO trigger options 10.4 Envelope Generator (EG) When frequency is the active op- FREQUENCY Each parameter page can be assigned either a tion pressing buttons selects unique EG (labelled on the screen as ) or one from the LFO trigger mode options. The selected of four global EGs (labelled on the screen as mode is shown as a small icon on the screen to the left of the waveform icon, from the following 3 op-...
  • Page 28 note-off events is determined by a global patch setting for all EGs (see section 18.1). All EGs can be set to never re-trigger on note-off events, or can re-trigger under certain conditions. EG trigger mode means that whenever there is a new ’highest’ note played the EG will trigger.
  • Page 29 to the attack phase to the decay phase and then hold at the sustain level whilst a note is held. When the EG repeat option is set shown by the sym- bol (to the right of the displayed EG choice) the EG will move to the delay phase after the decay phase, repeatedly.

  • Page 30: 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 31 osc-1 pitch Hard-sync means that the oscilla- PITCH tor core resets whenever the oscillator it is This parameter page sets the pitch (frequency) of synced to resets – this causes the oscillator oscillator 1. The basic offset settings displayed here to track in pitch although because the reset are relative offsets.

  • Page 32: Oscillator 2

    Hard-sync oscillator 1 to oscillator 2 To create a classic PWM (pulse width and use phase-modulation on oscillator 2. modulation) phasing effect apply a slow Then, vary oscillator 1 pitch with modula- sine-wave LFO (< 1 Hz) to modulate the out- tion.
  • Page 33 own level parameter page you can easily apply note-off events is determined by a global patch track note-off offset and modulation to the overall volume level setting for all oscillators. of oscillator 2 from this parameter page. See section 18.1 for more details.

  • Page 34: Oscillator 3

    osc-2 :sawtooth osc-3 :phase mod PHASE MOD This parameter page sets the volume level of the This parameter page sets the phase modulation sawtooth wave output of oscillator 2. depth for oscillator 3. This waveform can be phase-modulated to distort The triangle, sawtooth and pulse waveforms from the waveform from a pure sawtooth.

  • Page 35: Mixer

    osc-3 :sawtooth ber of different ways. Choose the mode desired by pressing the button and cycling through the following 7 options: This parameter page sets the volume level of the pitch set to the last note on. sawtooth wave output of oscillator 3. pitch set to the 1st or earliest note on.
  • Page 36 When the feedback connection is ac- Use an EG to modulate the noise level tive the feedback effect will vary with the to give a short burst of noise at the start output level, and will change according to of each note press to simulate percussive the clipping options in the output stage.

  • Page 37: Low-Pass Filter 1

    11.6 Low-pass filter 1 make noise even without any input signal - watch your speakers! A key part in subtractive synthesis is the use of fil- ters to shape the harmonic content to give a rich The signal from where the feedback signal is de- variety of sounds.

  • Page 38: High-Pass Filter

    roll-off of the filter is at it’s most steep and so the harmonics of the sound above the cut-off frequency Use this filter in series with the low-pass are most strongly attenuated. Most traditional ana- filters to produce a band-pass filter effect. logue synthesizers only have a maximum roll-off of For example, set the output levels of the -24dB (i.e.

  • Page 39: Output Stage

    Usually an EG controls this level to allow the sound output of the main mix to be off when no keys are pressed. However, of (normal setting). pole-1 low-pass filter 1 pole 1. course, this does not have to be so: by setting EG pole-2 modulation to zero and increasing this parameter low-pass filter 1 pole 2.

  • Page 40: Patch Summary

    Patch summary When not called upon for other functions, pressing changes When a lot of modulation is being used the 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 41: 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 42: Copy/Reset/Randomise Patch

    case the selected save slot is irrelevant as the quick- The main output stage page is inten- access patches are stored in their own dedicated tionally not randomised when you choose area). ’randomise patch’ to more reliably allow Erase patch you to hear something (normally you would set up a local EG on this page with a fixed Turn the rotary encoder...

  • Page 43: 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 44: Oscilloscope

    The oscilloscope mode allows you to ’see’ the out- put audio waveform on the display. Time increases from left-to-right horizontally. Using the rotary en- coder the display time can be zoomed in or out. The horizontal scale is divided into divisions with feint vertical dashed lines.

  • Page 45: Spectrum Analyser

    Use the spectrum analyzer feature with ’page-lock’ enabled whilst adjusting parameter controllers for e.g. filter cut-off or resonance to see the effect on the wave- form! 14.4 Spectrum analyser Use the spectrum analyser mode to In spectrum analyser mode the amplitude (or vol- look at the harmonics of a waveform.

  • Page 46: 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 47: Internal Arpeggiator Settings

    giator. notes are used for the arpeggiator sequence). custom uses up to 8 notes as defined lower delay sets a delay from -15 to +16 (normal set- down on this page. Otherwise choose from notes ting would be 0) to allow correction of any synchro- played from following chords: nisation issues with external equipment (when us- major...

  • Page 48: 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, micro-tune and patch (from button.
  • Page 49 Note edit page to select the events and the rotary encoder Press to create, edit and delete notes NOTES change the values/times. in the active pattern. Up to 30 notes can be stored in each pattern. Press and hold to delete a series of values. Press to change to pitch edit mode.

  • Page 50: Load/Save/Copy Patterns

    Use the buttons to navigate the Note that the number of parameter options for the active pattern: change and controller events that can be stored is limited, due to memory limitations. x pname pattern to play at that slot repeats set number of repeats 16.3 Load/save/copy patterns transpose...

  • Page 51: 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 52: Setup

    Setup track note-off The setup pages allow setting of a variety of op- sets whether the erating settings arranged over 16 pages. Press the pitch of the oscillators can update and the enve- lope generators can re-trigger after note-off events. button to enter the setup pages.

  • Page 53: Midi Channels

    ext midi sequencer. Choose for external MIDI ext clk (incoming on USB or MIDI in), for gate internal pulses on the CV/Gate inputs or internal clock source. int tempo The internal clock tempo can be set from 30 to 300 beats per minute (bpm). 18.4 Modulators clk out sets the options for output clock (only...

  • Page 54: Cv/Gate Inputs

    If your MIDI keyboard has a joystick then that is a perfect controller for the mor- phing x and y. 18.6 CV/Gate inputs CV/gate offset and scaling Here the offset and scaling of the input signals on the CV/gate inputs can be indepedently set.

  • Page 55: Sysex Data Backup

    pythagorean 14, 4, -6, 8, -2, 12, 2, 16, 6, -4, -1 werkmeister -10, -8, -6, -10, -2, -12, -4, -8, -12, -4, -8 kirnberger -10, -7, -6, -14, -2, -10, -3, -8, -10, -4, -12 vallotti -6, -4, -2, -8, 2, -8, -2, -4, -6, 0, -10 18.9 NRPN control + SysEx...

  • Page 56: Custom Settings

    trast from 0 to 127. real analogue synthesiser (not a digital synth) and the properties of the analogue components can screensaver – when set to the display vary with time and temperature. dims (to contrast level 0) after a certain period of inactivity.

  • Page 57: Calibration Values

    Since has real ana- logue oscillators and filters these will drift a small amount in frequency over time and temperature (helping to give the rich sound quality). Occasionally you may wish to run the calibration particularly if the unit is moved from one extreme of temperature Pressing on this page allows all of the user...

  • Page 58: Real-Time Patch Change Recording

    Real-time patch change recording Parameter Page NRPN MSB data can send and receive MIDI NRPN mes- Feedback/Ext in Level sages to allow external recording and control of Low-pass Filter 2 cut-off Low-pass Filter 2 resonance patch settings – see 18.9. Low-pass Filter 2 Level Output Level When a patch parameter is changed using the ro-...
  • Page 59 Global data NRPN LSB data LFOx 1 frequency LFOx 2 frequency LFOx 3 frequency LFOx 4 frequency EGx 1 delay EGx 2 delay EGx 3 delay EGx 4 delay EGx 1 attack EGx 2 attack EGx 3 attack EGx 4 attack EGx 1 decay EGx 2 decay EGx 3 decay...

  • Page 60: I Signal Path Diagram (Simplified)

    Signal path diagram (simplified) page 55 User Guide v1.16...

  • Page 61: 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 62 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 63 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 64: 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) RPN 00 (Pitch Bend Sensitivity) (Yes/No) RPN 01 (Channel Fine Tune) (Yes/No) RPN 02 (Channel Coarse Tune) (Yes/No)
  • Page 65 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 66 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 67: Midi Sysex Messages

    Motas Electronics identifier B = index# 0x2F Motas Electronics identifier Pattern 0x37 A = 0x73 0x06 product id (6 = motas-6) B = current pattern# MIDI channel byte ’X’ Pattern bank 0x38 A = bank# 0x00 reserved B = index# SysEx command byte ’CB’...

  • Page 68: Specifications

    Specifications Input power connection ....... 12 V DC ( 10 %) on 2.1 mm socket (positive centre pin) Power/current consumption .
  • Page 69 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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