Page Count: 52 Operation is subject to the following two conditions: (1) This device may not cause harmful interference and (2) this device must accept any interference received, including interference that may cause undesired operation. This Class B digital apparatus meets all requirements of the Canadian Interference-Causing Equipment Regulations. Cet appareil numerique de la classe B respecte toutes les exigences du Reglement sur le materiel brouilleur du Canada.Liste n to the so unds, twiddle some knobs, have som e fun. Please Register! Please go to w ww.davesmi thinstrume nts.com and re gister your sy nth. If you purchased di rectly from us, there is no need to register — we already have your contact inform ation. You can use the P USH I T switch to trigger sounds w ithout a keyboard. If you’r e using a MI DI keyboa rd, try ap plying keyb oard press ure (aftert ouch) and t he mod wheel. Many sounds are fairly simple at first, then come alive when you use the contr ollers. With other soun ds, yo u may need to hold the notes a while to let the sound u nfold. There are 3 banks of 128 program s. If you want to edit a program, just turn any knob. The new value will be displayed in the bottom line of the LCD (th e top line displays the programmed value for handy reference ). The P ROGRAM kno b changes the display ed page and increment and decrem ent change the values. These settings are remembered when the synth is turned off. Summary You should be up and running now; for more operatio n inform ation, read on. Or, just look u p specific pa rameters for detailed not es. Pages 2 6 through 28 contain a handy refe rence for m od desti nations and sources. At so me point y ou should Don’t forg et you get a free editor fo r Mac OS or Windows with your purchase. It assumes you already know what an oscillator is, how a low-pass filter affects the sound, what an ADSR envelop e looks like, an d so on.
Fortunately, these days it is quite easy to find such reso urces on the Internet. If you want to learn the lingo and the basics, just try a search in Google (or the search engine of your choice), som ethin g like “analog synthesizer t utorial.” You’ll find plenty of good reading material. Have fun! Dave Smith Special thanks to: Jeff Koepper, Andrew Mc Gowan, Dave Polich, an d Stefan Tri ppler. Thanks al so to the authors of the Prop het ’08 pro grams, many of which are used in M opho. Power Input — Conn ect the power supply includ ed with your Mopho. The power supply comes with differen t AC adaptor prongs that allow it to work anywhere in the worl d. If for whatever r eason you need to use a differe nt supply, it must match the specifi cations printe d on the front panel. Note: The power supply label says “Evolver” on it; we use th e same supply for the m ono Evolvers and the Prophets. MIDI In — To receive MIDI data from another device, connect this to the other device's MIDI Out. MIDI Out — To send MIDI data to another device, connect this to the other device's MIDI In. This out put can also be configu red as a MIDI Thru using the MIDI Out Select parameter in the Global menu. Audio In — Mopho ca n be used as a signal proces sor. Audi o is routed t hrough the filter and envelopes and, when the signal level is high enough, a gate is generated. Au dio can also be used to ad vance the seq uencer when Se q Trigger is set to Audio In. Note: Thou gh Mopho ca n process exte rnal audio, i t does not have a pi tch detector, so the oscillators do not track the pitch of the source audio. Audio Out — Mopho’s unbalanced, stereo outpu ts.For more about using Mopho to proc ess external au dio, see page 11. For l ow-level sources (like guitars), I NPUT G AIN should be turned up. For line-level sources, it will usually be turned down. Turning it down does not turn it off, it just decreases the gain.
External Input Volume (see Mixer Par ameters on pa ge 17) contr ols the a mount of signal that gets mixed into the filter and must be turned up for any audio— external or feedback—t o be heard. Note: The fact ory program s use a nam ing conventio n where “FB” indicates a program is designe d to take adva ntage of the fe edback capability. When nothing is plugged in to the Audio In jack, the left Audio Output is normalled to the inpu t. This provides a feedback path that will create some unique, wild sounds. I NPUT G AIN is not a programmable control, so its position will have an effect on those programs. For m ost FB sounds, the I NPUT G AIN should be set to minimum, and will get out of control (often nicely!) when turned up. Program — Use P ROGRAM to change and scroll through the programs. Also used to select parameters in Global mode. Program Mode — Mopho has three modes of operation: progra m, edit, and global. Whe n in program mode, the display shows the name, n umber, and bank of the current program. Editing any of the parameters puts Mopho into edit See Program Parameters starting on page 15 for more information. Global mode is accessed by briefly hol ding down the P ROGRAM M ODE butt on. The Global menu is displayed. See Global Parameters on pa ge 13 for m ore info rmation. To return to program mode from edit or glo bal mode, si mply press P ROGRAM M ODE. Write — Use W RITE to save an edited program to any of Mopho’s 38 4 memory locations. To cancel a write, press W RITE, decrement (-), or P ROGRAM M ODE. W RITE is also used to execut e certain opera tions in the Global m enu. Note: You can store a program in a di fferent location. Be careful ch anging th e ba nks. If you hit the in crement button qui ckly, it saves t he program wherever yo u are at th at point. If y ou want to change banks, just be sure to hold the button fo r a couple seconds. They are also used to select Mopho’ s three program banks.
Hold i ncrement bri efly to swit ch to the ne xt highest bank; hold decrem ent to switch t o the next l owest bank. Assignable Parameters 1-4 — Any of Mopho’ s program parameters can be edited from the front panel using the A SSIGNABLE P ARAME TERS controls and the assignments f or the contr ols are saved per program, to best sui t that progra m. In other word s, the assignm ents for t he controls can be com pletely di fferent from one program to anothe r. Assign Par ameters — Whe n t he A SSIGN P ARAMETERS LED is lit, turn any of the A SSIGNABLE P ARAMETERS controls to select from the list of program parameters. Press A SSIGN P ARAMETERS again (t urn the LED off) to use t he A SSIGNABLE P ARAMETERS controls to edit the selected parameters. For a description of the parameters, see Pr ogram Parameters begi nning on pa ge 15. For a list of t he param eters, see page 29. The relative interval between the two oscillato rs is maintained, even when the extremes are reached. Cutoff — Controls the filter cutoff. Resonance — Controls filter resonance. Note: The filter will only self oscillate when in 4-pole mode. See Low- pass Filter Parameters on page 17 for m ore inform ation. It can trigger a specific note (at a specific velocity) or a gated se quence, lat ch notes or sequences on and of f, and manually step through a sequence. For more information, see Progra m Parameter s, begin ning on page 15. Toward that en d, we want ed to give players enou gh control over paramet ers to make it usef ul for per formance, so we came up wit h a combination of “hard-wi red” com monly used c ontrols a nd user-assi gnable controls. A ny of Moph o’s param eters can be edi ted in real time from the front panel controls. But we also recognize that m ay not be t he quickest or easiest way to program sounds from scratch. Note: Most of the Prophet ’08’s cont rols map directly to Mopho’s controls, s o if you ha ve a Prophet ’08, you ca n use it as a MIDI control surface for Mopho.
When Mopho first powers up, it is in Program mode. The P ROGRAM knob changes t he program. To increment to the next bank, hold the increment switch briefly; to decrement to the previous bank, hol d the decrem ent switc h. To edit a program, simply turn any knob. The A SSIGNABLE P ARAMETERS knobs have been pres et to useful p arameters fo r the facto ry program s. To change a knob’s assignment, press A SSIGN P ARAMETERS to light the LED. Turning any of the A SSIGNABLE P ARAMETERS knobs now will scroll through the list of av ailable parameters. Ch oose one o r more param eters to edit an d then press A SSIGN P ARAMETERS again to exit the assignm ent mode ( A SSIGN P ARAMETERS LED should now be off). See Program P arameters on page 15 for a detailed list of all parameters and their functions. After editing parameters, press the P ROGRAM M ODE switch to exit edit mode and return to program mode. Feedback As you can see from the illustration on the following page, the left Audio Output is normalled to the Audio In. (This conn ection is broken when a plug is inserted in the Audio In.) Turning up the external input volu me (ExtIn Vol parameter) will cause varying amounts of the audio output to be mixed back in pre-filter. For most purposes, small amounts of feedback are most useful and the resu lting effect is similar to an overdrive distor t ion. Hig her levels of fee dback can get very squirrel ly and ru de (which m ay be exactly the effe ct you’re looking for). Several of the factory prog rams already ha ve some l evel of feedback programmed in, as indicated by the letters “FB” following the name. To hear the effect of ExtIn Vol and I NPUT G AIN, call up one of those programs and vary those param eters. Audio In Audio In can also be used to process an external audio s ource, to get access to the analog filter as a sound processor. In general, when using a lin e-level input, you will want the I NPUT G AIN control set to mini mum.
When using a low-level source, such as an electric guitar, you’ll need to turn up the I NPUT G AIN to get sufficient signal level. When processing external aud io, you will first need to turn up the ExtIn Vol level in the Mixer. Otherwise no signal gets to the filter. Also note that the VCA needs to be op en to hear t he input. This ca n be done a number of way s: 1. Just tur n up the VCA Level if you want t he signal to go through continuously 2. Manually trigger the VCA envelope with the P USH I T button or a MIDI keyboard 3. Select AudioIn as the mode in the PushItSw parameter, which automatically gates the VCA envelope with an input signal greater than a fixed thres hold There are also numerous other ways o f opening t he VCA usi ng modulati on. Saving a Program To save a Program, press the W RITE switch and the following screen appears: Write. To store i n a diffe rent location, use P ROGRAM to select a new destination, a nd hold the i ncremen t or decrement switch to c hoose a diffe rent bank. Exampl es include MIDI channel and fine tune. To edit the Global parameters, hold down the P ROGRAM M ODE switch until Global Parameter is displayed. The P ROGRAM knob changes the global para meter an d the increm ent and decrement buttons change the value. All receives on all 16 chan nels. Clock: see table — Selects the MIDI clock status. Transmission of parameters can also be t urned off. See MIDI Implementation on page 3 0 for details. Note: NRPNs are the prefe rred m ethod of pa rameter t ransmission, si nce they cover the complete range of all parameters, while CCs only handle the main parameters. MIDI Parameter Recei ve: All, NRPN, CC, Off — Sets the method by which Mopho receives param eter changes via MI DI. As with transmission, NRPNs are the preferred method, t hough som e controll ers may onl y be able to send CCs.
MIDI Control: Off, On — Wh en On, the synth will respond to MIDI controllers, including Pitch Wheel, Mod Wheel, Pedal, B reath, Volume, and Expressi on. MIDI SysEx: Off, On — When On, t he synth will respond to receive d MIDI SysEx messages, and will transmit them, wh en prompted, to the MIDI Out. See Sysex Messages on pa ge 41 for detail s. When set to Mono, this par ameter defeats all pan setti ngs and modul ation, effecti vely making each of the outp uts a mono o utput. MIDI Out Select: Out, Thru — MIDI Out can be switched to MIDI Thru to daisychain multiple MIDI devices. Basic Patch — Press the W RITE button to load a basic patch into the ed it buffer. (The patch will not actually be written to the current program location unless intentionally written to memory in program mode using the W RITE butt on.) Reset Globals — Mopho does not have a full har dware reset, but sel ect this parameter and press W RITE to reset the global parameters to their factory defaults. MIDI SysEx Dump: see table — Allows dumping of Programs in SysEx format via MIDI. Display MIDI Transmit Operation Current Program Dump current program Current Bank Dump all 128 programs in current bank All Banks Dump all programs in all 3 bank s Press the W RITE switch to start transmission. This feature is handy for saving Programs on a comput er in SysEx format, or for sending t hem to anot her Mopho via a direct MIDI connection. The dum p s include Program and Bank number s, so when received, the programs will be stored in the same location. T o assign a param eter to a cont rol, press the A SSIGN P ARAMET ERS button to li ght the LED, a nd then t urn any of t he knobs (1 t hrough 4) t o select a parameter. A full list of the parameters can be found on page 29. The selected parameter and value appear in the LCD display. The top line of the LCD displays the programmed value for reference; the bottom line disp lays the edited value.
To then change the value of t he param eter you selected, hit the A SSIGN P ARAMETERS button ag ain, and the same knob will now change the value. You can also use the increment and decremen t switches to adjust parameter values. Press both switches at the same time to set the param eter to zero. Note: Once you are done editing a program, before you save it, you should consider what parameters you wa nt to access when playing the new program. Generally, w hen maki ng a program, we try to assign each of the 4 knobs to a different param eter that makes sense f or that particular program, providing ext ra live c ontrol. Though it is ce rtainly p ossible to per form detail ed program gene ration and editing using these controls, it is usually much faster to use the free editor available for Mac OS or Windows. The minimal f ront panel of the Mopho is designed for fast, real-time change s in live performance. Following are descriptions of each Mopho Program parameter. Oscillator Parameters Mopho has two analog oscillato rs. The basic controls for each oscillato r are the same. Note: There are additional modulation co ntrols that can affect the pitch of Oscillators 1 and 2. These are covered in other sections of the Parameter definitions. Shape: see table — Selects the o scillator waveshape as follows: The pulse width will t urn off at the two extremes — this allows some interesting modulation possibilit ies. A square wave will be at Pulse 50. Glide can be set independently for each oscillator. Low valu es are faster. Note: See “Glide Mode” in Miscellaneous Oscilla tor Parameters on page 22 for additional Glide settings. Keyboard: On, Off — T urns keyb oard tracki ng for the osci llator o n and off. Sub Osc 1: 1.127 — Sub-oscillator 1 generates a square wave pitched one octave below oscillator 1. This parameter controls the level. W ith sync on, whenever oscillator 2 resets, it will force oscillator 1 to reset for th e classic hard sync sound.
Glide Mode: see table — Sets the way the oscillators respond to Glide settings. Display Glide mode FixRate The Glide rate is fixed. The ti me to transition from one note to another varies depending upon the interval betw een the notes. FixRate A The same, but Glide is only applied when played legato; that is, when a new note is hit while another note is still held. FixTime The Glide time is fixed. T he time to transition from one note to another is the same, regardless of the interval. FixTime A The same, but Glide only is applied when played legato; that is, when a new note is hit while another note is still held. Th is works great for accurate sounds, and allows precise de-t uning. The Oscillator Slop param eter allows subtle amounts of frequency drif t. For larger amounts, use a random LFO or white noise mod. The setting is the range in the positive or negative d irection. For example, a setting of 7 lets you bend a no te up or down by a fifth. Key A ssign: see table — Determines how Mopho re sponds to keyed notes. Display Key mode Low Note Low note priority LowRetrig Low note priority, re-trigger envelopes HighNote High note priority HighRetrg High note priority, re-trigger envelopes LastNote Last note hit priority LastRetrg Last note hit priority, re-trigger envelopes Mixer Parameters Osc Mix: 0.127 — Enables the outpu ts of Oscillators 1 and 2 to be mixed in varying amounts. A setting of 0 is equivalent to 100 Oscillator 1 and 0 Oscillator 2. A setting of 127 is just the opposite. A setting of 64 is essentially a 50-50 mix of both oscillators. Ext In Volume: 0.127 — Control s the level o f external au dio input m ixed into the filter. This is used for processing other audio sources (gu itars, recordings, etc.) through Mopho’s an al og electronics. This work s in conjunction with the front panel’s I NPUT G AIN cont rol.
Also, si nce the left ch annel of A UDIO O UT is normalled to A UDIO I N, this control sets the amoun t of Mopho ’s audio output ret urned to t he audio i nput. Use this for crazy feedb ack sounds. Low-pass Filter Parameters Mopho utilizes a switchable, 2- or 4-pole analo g low-pass filter coupled with a 4-stage (plus del ay) ADSR envelope gene rator. This c ontrol ste ps in semi tones. If the filter does not oscillate, switch to 4-pole m ode. A setting of 64 will step the filter one semitone for each note, 32 would be hal f-semit ones, and so on. Audio Mod: 0.127 — Controls the amount of audio from Oscillator 1 used to modulate the filter cutoff frequenc y. For filter-only audio, set O SCILLATOR M IX to 127, O SCILLATOR 2 S HAPE to Off, and O SCILLATOR 1 S HAPE to the desired waveshape. This is useful for bell-like FM sounds. A wide range of sounds can also be made u sing A UDIO M OD with the oscillators routed normally through the filter. Config: 2 Pole, 4 Pole — Selects either 2- or 4-pole operation for the filter. This can be positive or neg ative, allowing inverted envelope control of the filter. This allows the VCA to be essentially bypassed, which is necessary for Programs that drone. Note: If VCA L EVEL is on fu ll, Envelope Amount has no effect. Y ou normally want VCA L EVEL set to zero. For droning so unds, or usi ng the Mopho to process external audio, you will probably turn the VCA Level up. The same parameters are available for each. Ran ge 0—150 for un- synced LFO; speed ranges fr om slow (3 0 seconds) to ve ry fast — at 90 (8 HZ, C-2) and above the speed steps in semitones, up to 150 (261 Hz, middle C). Note: Some of the analog functions may not respond well to the fastest LFO speeds, due to speed limitations of the control voltages; but they will certainly generate some interesting sounds. Above 150, the sync speeds a re as follows: Display Timing Sync 32 Steps Sequence speed divided by 32; i.e.
one LFO cycle takes 32 steps 16 Steps Sequence speed divided by 16 8 Steps Sequence speed divided by 8 6 Steps Sequence speed divided by 6 4 Steps Sequence speed divided by 4 Key Sy nc is set inde pendentl y on each LFO. Destination — See Modulati on Destinatio ns on page 2 6 for a lis t of poss ible destinations. Envelope 3 Parameters Envelope 3 is an aux iliary envelope for modulating various destination s. It can even be used as a sort of LFO usi ng th e Repeat parameter, which is unique to Envelope 3. Destination — Sets the Envelope 3 destination. See Modulation Destinatio ns on page 26 for a list of possibl e destinations.Modulation Parameters The Modulatio n Paramet ers let you c onfigure the m odulation routing and amount f or Mopho ’s four gen eral-purpose m odulation sl ots as well as for MIDI controllers (Mod Wheel, Key Pressure, Breath Control, Velocity, and Foot Controlle r). Since each Mo pho mod so urce has a sin gle destinat ion, the four general pu rpose Mods provi de a way to send a mod so urce (such as a sequence or LFO) to additional destinations, with a different amount. There are also additional m od sources available here, such as Noise, a llowing a wide variety of possibilities. To configure a general-pur pose modulat ion slot, select the appropri ate modulator (Mod 1, Mod 2, Mod 3, or Mod 4 ), and use the Source, Desti nation, and Amount parameters t o route the m odulation as desired. To configure modulati on for a standar d MIDI cont roller, select the desired controller and amount, and th en set the desti nation. Source — Selects a m odulation source. See Modulation Sources on page 28 for possible so urces. Destination — Selects a modulatio n destination. See Modulation Destin ations on page 26 for a list of possibl e destinations.See Modulation Destinations on page 26 for a list of possible destinations. Press Destination — Selects the destination to which the Chann el Pressure is routed.
See Modulation Destinations on page 26 for a list of possible destinations. Breath Destination — Selects the destination to which the breath co ntrol is routed. Veloc Destination — Selects the destination to which the note-on velocity is routed. Foot Destination — Selects the destination to which the foot con trol is routed. See Modulation Destina tions on page 26 for a list of possibl e destinations. Push It Switch Parameters These parameters det ermine the behavio r of the P USH I T switch, Mopho’s manual trigger. Mode: Normal, Toggle, Audio In — When set to No rmal, P USH I T resp onds like a key: press it and a note plays, release it and t he note ends. But when set t o Toggle, P USH I T turns the note on with one press and off with a second press. This is handy for making a note drone or f or latching a gated se quence on. When the signal gets above a ce rtain level, the gate will go on. When it drops below that level, the gate will go off. Clock Parameters The sequencer and arpe ggiat or share the BPM and C LOCK D IVIDE settings. Clock Divide: see table — Sets the note value for each sequence step relative to the BPM. Note: If the arpeggiator does not seem to be worki ng, check t he G LOBAL parameters to make sure Clock is set to Internal. If Clock is set to use an external clock source, Mopho must be receiving MIDI cl ock messages in order for the arp eggiator to run. The tempo a nd note value a re determi ned by the Cloc k Parame ters. Mode: see table — Sets the order in which the arpeggiator plays notes. Down Arpeggiated notes play in descending order. Up Down Arpeggiated notes play in alternately ascending and descending order. Assign Arpeggiated notes play in the order in which they were struck. Turning it on will turn off the Sequencer if it is on. Sequence Parameters Mopho features a 4 x 16 “analog-style” st ep sequence r that can generate four separate sequence tracks of up to 16 st eps each.
Individual seque ncer tracks can be routed to a ny standard modulatio n destinati on (see the t able on page 26). Using VCA En velope as a des tination, f or example, va ries the vol ume of e ach step; a destination of Filter or Filter Envelope Amount will produce different filter settings per step. Typically, however, at least one sequence is routed to an oscillator to control pitch. The sequencer is a “gate d” sequencer. That i s, a note must be played, eit her from the P USH I T switch or via MIDI, in order for the sequence to be heard an d it will continue to play as long as the no te is held (gated). The actual gate dur ation for eac h step is fi xed at half t he step time. Use the envelopes to generate notes of longer or shor ter duration. One very useful way to modulate a parameter in sync with a sequence is using LFOs with syn c; LFO freque ncy runs from 0 to 15 0, after whic h you can select the sync settings. A setting of 16 Steps fo r LFO Frequency with a Triangle wav e selected and routed to the filter will provide a clean filter sweep over a 16 step sequence, perfectly in sync. This is much easier (and sm oother) than programming a filter sweep using sequence steps. Note: If the sequencer does not seem to be workin g, check the G LOBAL settings to make sure Clock is set to Internal. If Clock is set to use an external clock source, Mopho must be receiving MIDI cl ock messages in order for the sequencer t o run. Display Trigger mode Normal Sequence plays from the first step when a key is held, and resets to step 1 each time a new note is played. Each sequence step retriggers the envelopes. No Reset The same, but does not reset to step 1 on every note. No Gate The keyboard triggers the envelopes; the sequence steps do not. NoGateNR Same, but does not reset with subsequent notes. Key Step Striking a key advances the sequencer one step. Audio In Steps the sequencer whenever the external audio input gets over a certain level.
Seq 1, 2, 3, or 4 Destinations — Sets the destination for each of the four sequence tracks. For a com plete list, see Modulation Destination s on page 26. T he values are displayed as both relative note values a nd as sim ple numerical values. The two hi ghest values are Reset and Rest. Reset causes the sequence to reset t o the firs t step, enabling sequen ces of fewer than 16 steps or e ven sequences i n which the tracks are di fferent l engths. Rest inserts a rest on the selected step. Name Parameter Edit Name — The lower LCD line displays the name of the Program with the active character blinking. When A SSIGN P ARAMETERS is lit, the parameter control changes the positio n of the active character. When A SSIGN P ARAMETERS is not lit, the parameter control steps th rough all the available characters fo r the active character. The increm ent and de crement buttons also change t he character. In addition, there is interaction between some of the Program parameters that determine the overall response of Mopho to MIDI data. All receives on any channel. MIDI Parameter Recei ve: All, NRPN, CC, Off — Sets t he method by which Mopho receives param eter changes via MI DI. MIDI SysEx: Off, On — When On, t he synth will respond to receive d MIDI SysEx messages, and will transmit them, when prompted, to the MIDI Out. MIDI Messages System Real-time Messages Status Description 1111 1000 MIDI Timing Clock Velocity is ignored 1001 nnnn 0kkkkkkk 0vvvvvvv Note On.
I gnored if MIDI channel set to ALL 0vvvvvvv Value Received Controller Messages Status Second Third Description 1011 nnnn 1 0vvvvvvv Mod Wheel — directl y assignable controller 1011 nnnn 2 0vvvvvvv Breath Controller — directl y assignable controller 1011 nnnn 4 0vvvvvvv Foot Controller — directly assignable controller 1011 nnnn 7 0vvvvvvv Volume — Combined with Master Volume and Voice Volume 1011 nnnn 74 0vvvvvvv Brightness — Added to lowpass filter cutoff frequency 1011 nnnn 11 0vvvvvvv Expression Controller — directl y assignable controller 1011 nnnn 32 0vvvvvvv Bank Select — 0 -2 select banks 1 - 3; others ignored 1011 nnnn 64 0vvvvvvv Damper pedal — holds envelopes in Sustain if 0100 0000 or higher 1011 nnnn 123 0vvvv vvv All Notes Off — clear all MIDI notes 1011 nnnn 121 0vvvv vvv Reset All Controllers — clears all MIDI controllers to 0, MIDI volume to maximum See sections be low for ad ditional Cont inuous C ontroller (CC) and N on- registered Parameter Number (NRPN) messages received. Transmitted Channel Me ssages Status Second Third Description 1100 nnnn 0ppppppp Program chan ge, 0 — 127 for Programs 1 — 128 within current Bank They are transmitted when MIDI Parameter Send is set to CC in Global, and recognized when received when MIDI Para meter Receive is set to either CC or All in Global.They are transmitted when MIDI Param eter Send is set to NR PN in Global, and received when MIDI Parameter Receive is set to either NRPN or All in Global. The messages are handled in standard MIDI format using the NRPN CC commands i n running status byte form at.
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Page Count: 52 Operation is subject to the following two conditions: (1) This device may not cause harmful interference and (2) this device must accept any interference received, including interference that may cause undesired operation. This Class B digital apparatus meets all requirements of the Canadian Interference-Causing Equipment Regulations. Cet appareil numerique de la classe B respecte toutes les exigences du Reglement sur le materiel brouilleur du Canada.Liste n to the so unds, twiddle some knobs, have som e fun. Please Register! Please go to w ww.davesmi thinstrume nts.com and re gister your sy nth. If you purchased di rectly from us, there is no need to register — we already have your contact inform ation. You can use the P USH I T switch to trigger sounds w ithout a keyboard. If you’r e using a MI DI keyboa rd, try ap plying keyb oard press ure (aftert ouch) and t he mod wheel. Many sounds are fairly simple at first, then come alive when you use the contr ollers. With other soun ds, yo u may need to hold the notes a while to let the sound u nfold. There are 3 banks of 128 program s. If you want to edit a program, just turn any knob. The new value will be displayed in the bottom line of the LCD (th e top line displays the programmed value for handy reference ). The P ROGRAM kno b changes the display ed page and increment and decrem ent change the values. These settings are remembered when the synth is turned off. Summary You should be up and running now; for more operatio n inform ation, read on. Or, just look u p specific pa rameters for detailed not es. Pages 2 6 through 28 contain a handy refe rence for m od desti nations and sources. At so me point y ou should Don’t forg et you get a free editor fo r Mac OS or Windows with your purchase. It assumes you already know what an oscillator is, how a low-pass filter affects the sound, what an ADSR envelop e looks like, an d so on.
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Fortunately, these days it is quite easy to find such reso urces on the Internet. If you want to learn the lingo and the basics, just try a search in Google (or the search engine of your choice), som ethin g like “analog synthesizer t utorial.” You’ll find plenty of good reading material. Have fun! Dave Smith Special thanks to: Jeff Koepper, Andrew Mc Gowan, Dave Polich, an d Stefan Tri ppler. Thanks al so to the authors of the Prop het ’08 pro grams, many of which are used in M opho. Power Input — Conn ect the power supply includ ed with your Mopho. The power supply comes with differen t AC adaptor prongs that allow it to work anywhere in the worl d. If for whatever r eason you need to use a differe nt supply, it must match the specifi cations printe d on the front panel. Note: The power supply label says “Evolver” on it; we use th e same supply for the m ono Evolvers and the Prophets. MIDI In — To receive MIDI data from another device, connect this to the other device's MIDI Out. MIDI Out — To send MIDI data to another device, connect this to the other device's MIDI In. This out put can also be configu red as a MIDI Thru using the MIDI Out Select parameter in the Global menu. Audio In — Mopho ca n be used as a signal proces sor. Audi o is routed t hrough the filter and envelopes and, when the signal level is high enough, a gate is generated. Au dio can also be used to ad vance the seq uencer when Se q Trigger is set to Audio In. Note: Thou gh Mopho ca n process exte rnal audio, i t does not have a pi tch detector, so the oscillators do not track the pitch of the source audio. Audio Out — Mopho’s unbalanced, stereo outpu ts.For more about using Mopho to proc ess external au dio, see page 11. For l ow-level sources (like guitars), I NPUT G AIN should be turned up. For line-level sources, it will usually be turned down. Turning it down does not turn it off, it just decreases the gain.
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External Input Volume (see Mixer Par ameters on pa ge 17) contr ols the a mount of signal that gets mixed into the filter and must be turned up for any audio— external or feedback—t o be heard. Note: The fact ory program s use a nam ing conventio n where “FB” indicates a program is designe d to take adva ntage of the fe edback capability. When nothing is plugged in to the Audio In jack, the left Audio Output is normalled to the inpu t. This provides a feedback path that will create some unique, wild sounds. I NPUT G AIN is not a programmable control, so its position will have an effect on those programs. For m ost FB sounds, the I NPUT G AIN should be set to minimum, and will get out of control (often nicely!) when turned up. Program — Use P ROGRAM to change and scroll through the programs. Also used to select parameters in Global mode. Program Mode — Mopho has three modes of operation: progra m, edit, and global. Whe n in program mode, the display shows the name, n umber, and bank of the current program. Editing any of the parameters puts Mopho into edit See Program Parameters starting on page 15 for more information. Global mode is accessed by briefly hol ding down the P ROGRAM M ODE butt on. The Global menu is displayed. See Global Parameters on pa ge 13 for m ore info rmation. To return to program mode from edit or glo bal mode, si mply press P ROGRAM M ODE. Write — Use W RITE to save an edited program to any of Mopho’s 38 4 memory locations. To cancel a write, press W RITE, decrement (-), or P ROGRAM M ODE. W RITE is also used to execut e certain opera tions in the Global m enu. Note: You can store a program in a di fferent location. Be careful ch anging th e ba nks. If you hit the in crement button qui ckly, it saves t he program wherever yo u are at th at point. If y ou want to change banks, just be sure to hold the button fo r a couple seconds. They are also used to select Mopho’ s three program banks.
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Hold i ncrement bri efly to swit ch to the ne xt highest bank; hold decrem ent to switch t o the next l owest bank. Assignable Parameters 1-4 — Any of Mopho’ s program parameters can be edited from the front panel using the A SSIGNABLE P ARAME TERS controls and the assignments f or the contr ols are saved per program, to best sui t that progra m. In other word s, the assignm ents for t he controls can be com pletely di fferent from one program to anothe r. Assign Par ameters — Whe n t he A SSIGN P ARAMETERS LED is lit, turn any of the A SSIGNABLE P ARAMETERS controls to select from the list of program parameters. Press A SSIGN P ARAMETERS again (t urn the LED off) to use t he A SSIGNABLE P ARAMETERS controls to edit the selected parameters. For a description of the parameters, see Pr ogram Parameters begi nning on pa ge 15. For a list of t he param eters, see page 29. The relative interval between the two oscillato rs is maintained, even when the extremes are reached. Cutoff — Controls the filter cutoff. Resonance — Controls filter resonance. Note: The filter will only self oscillate when in 4-pole mode. See Low- pass Filter Parameters on page 17 for m ore inform ation. It can trigger a specific note (at a specific velocity) or a gated se quence, lat ch notes or sequences on and of f, and manually step through a sequence. For more information, see Progra m Parameter s, begin ning on page 15. Toward that en d, we want ed to give players enou gh control over paramet ers to make it usef ul for per formance, so we came up wit h a combination of “hard-wi red” com monly used c ontrols a nd user-assi gnable controls. A ny of Moph o’s param eters can be edi ted in real time from the front panel controls. But we also recognize that m ay not be t he quickest or easiest way to program sounds from scratch. Note: Most of the Prophet ’08’s cont rols map directly to Mopho’s controls, s o if you ha ve a Prophet ’08, you ca n use it as a MIDI control surface for Mopho.
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When Mopho first powers up, it is in Program mode. The P ROGRAM knob changes t he program. To increment to the next bank, hold the increment switch briefly; to decrement to the previous bank, hol d the decrem ent switc h. To edit a program, simply turn any knob. The A SSIGNABLE P ARAMETERS knobs have been pres et to useful p arameters fo r the facto ry program s. To change a knob’s assignment, press A SSIGN P ARAMETERS to light the LED. Turning any of the A SSIGNABLE P ARAMETERS knobs now will scroll through the list of av ailable parameters. Ch oose one o r more param eters to edit an d then press A SSIGN P ARAMETERS again to exit the assignm ent mode ( A SSIGN P ARAMETERS LED should now be off). See Program P arameters on page 15 for a detailed list of all parameters and their functions. After editing parameters, press the P ROGRAM M ODE switch to exit edit mode and return to program mode. Feedback As you can see from the illustration on the following page, the left Audio Output is normalled to the Audio In. (This conn ection is broken when a plug is inserted in the Audio In.) Turning up the external input volu me (ExtIn Vol parameter) will cause varying amounts of the audio output to be mixed back in pre-filter. For most purposes, small amounts of feedback are most useful and the resu lting effect is similar to an overdrive distor t ion. Hig her levels of fee dback can get very squirrel ly and ru de (which m ay be exactly the effe ct you’re looking for). Several of the factory prog rams already ha ve some l evel of feedback programmed in, as indicated by the letters “FB” following the name. To hear the effect of ExtIn Vol and I NPUT G AIN, call up one of those programs and vary those param eters. Audio In Audio In can also be used to process an external audio s ource, to get access to the analog filter as a sound processor. In general, when using a lin e-level input, you will want the I NPUT G AIN control set to mini mum.
When using a low-level source, such as an electric guitar, you’ll need to turn up the I NPUT G AIN to get sufficient signal level. When processing external aud io, you will first need to turn up the ExtIn Vol level in the Mixer. Otherwise no signal gets to the filter. Also note that the VCA needs to be op en to hear t he input. This ca n be done a number of way s: 1. Just tur n up the VCA Level if you want t he signal to go through continuously 2. Manually trigger the VCA envelope with the P USH I T button or a MIDI keyboard 3. Select AudioIn as the mode in the PushItSw parameter, which automatically gates the VCA envelope with an input signal greater than a fixed thres hold There are also numerous other ways o f opening t he VCA usi ng modulati on. Saving a Program To save a Program, press the W RITE switch and the following screen appears: Write. To store i n a diffe rent location, use P ROGRAM to select a new destination, a nd hold the i ncremen t or decrement switch to c hoose a diffe rent bank. Exampl es include MIDI channel and fine tune. To edit the Global parameters, hold down the P ROGRAM M ODE switch until Global Parameter is displayed. The P ROGRAM knob changes the global para meter an d the increm ent and decrement buttons change the value. All receives on all 16 chan nels. Clock: see table — Selects the MIDI clock status. Transmission of parameters can also be t urned off. See MIDI Implementation on page 3 0 for details. Note: NRPNs are the prefe rred m ethod of pa rameter t ransmission, si nce they cover the complete range of all parameters, while CCs only handle the main parameters. MIDI Parameter Recei ve: All, NRPN, CC, Off — Sets the method by which Mopho receives param eter changes via MI DI. As with transmission, NRPNs are the preferred method, t hough som e controll ers may onl y be able to send CCs.
MIDI Control: Off, On — Wh en On, the synth will respond to MIDI controllers, including Pitch Wheel, Mod Wheel, Pedal, B reath, Volume, and Expressi on. MIDI SysEx: Off, On — When On, t he synth will respond to receive d MIDI SysEx messages, and will transmit them, wh en prompted, to the MIDI Out. See Sysex Messages on pa ge 41 for detail s. When set to Mono, this par ameter defeats all pan setti ngs and modul ation, effecti vely making each of the outp uts a mono o utput. MIDI Out Select: Out, Thru — MIDI Out can be switched to MIDI Thru to daisychain multiple MIDI devices. Basic Patch — Press the W RITE button to load a basic patch into the ed it buffer. (The patch will not actually be written to the current program location unless intentionally written to memory in program mode using the W RITE butt on.) Reset Globals — Mopho does not have a full har dware reset, but sel ect this parameter and press W RITE to reset the global parameters to their factory defaults. MIDI SysEx Dump: see table — Allows dumping of Programs in SysEx format via MIDI. Display MIDI Transmit Operation Current Program Dump current program Current Bank Dump all 128 programs in current bank All Banks Dump all programs in all 3 bank s Press the W RITE switch to start transmission. This feature is handy for saving Programs on a comput er in SysEx format, or for sending t hem to anot her Mopho via a direct MIDI connection. The dum p s include Program and Bank number s, so when received, the programs will be stored in the same location. T o assign a param eter to a cont rol, press the A SSIGN P ARAMET ERS button to li ght the LED, a nd then t urn any of t he knobs (1 t hrough 4) t o select a parameter. A full list of the parameters can be found on page 29. The selected parameter and value appear in the LCD display. The top line of the LCD displays the programmed value for reference; the bottom line disp lays the edited value.
To then change the value of t he param eter you selected, hit the A SSIGN P ARAMETERS button ag ain, and the same knob will now change the value. You can also use the increment and decremen t switches to adjust parameter values. Press both switches at the same time to set the param eter to zero. Note: Once you are done editing a program, before you save it, you should consider what parameters you wa nt to access when playing the new program. Generally, w hen maki ng a program, we try to assign each of the 4 knobs to a different param eter that makes sense f or that particular program, providing ext ra live c ontrol. Though it is ce rtainly p ossible to per form detail ed program gene ration and editing using these controls, it is usually much faster to use the free editor available for Mac OS or Windows. The minimal f ront panel of the Mopho is designed for fast, real-time change s in live performance. Following are descriptions of each Mopho Program parameter. Oscillator Parameters Mopho has two analog oscillato rs. The basic controls for each oscillato r are the same. Note: There are additional modulation co ntrols that can affect the pitch of Oscillators 1 and 2. These are covered in other sections of the Parameter definitions. Shape: see table — Selects the o scillator waveshape as follows: The pulse width will t urn off at the two extremes — this allows some interesting modulation possibilit ies. A square wave will be at Pulse 50. Glide can be set independently for each oscillator. Low valu es are faster. Note: See “Glide Mode” in Miscellaneous Oscilla tor Parameters on page 22 for additional Glide settings. Keyboard: On, Off — T urns keyb oard tracki ng for the osci llator o n and off. Sub Osc 1: 1.127 — Sub-oscillator 1 generates a square wave pitched one octave below oscillator 1. This parameter controls the level. W ith sync on, whenever oscillator 2 resets, it will force oscillator 1 to reset for th e classic hard sync sound.
Glide Mode: see table — Sets the way the oscillators respond to Glide settings. Display Glide mode FixRate The Glide rate is fixed. The ti me to transition from one note to another varies depending upon the interval betw een the notes. FixRate A The same, but Glide is only applied when played legato; that is, when a new note is hit while another note is still held. FixTime The Glide time is fixed. T he time to transition from one note to another is the same, regardless of the interval. FixTime A The same, but Glide only is applied when played legato; that is, when a new note is hit while another note is still held. Th is works great for accurate sounds, and allows precise de-t uning. The Oscillator Slop param eter allows subtle amounts of frequency drif t. For larger amounts, use a random LFO or white noise mod. The setting is the range in the positive or negative d irection. For example, a setting of 7 lets you bend a no te up or down by a fifth. Key A ssign: see table — Determines how Mopho re sponds to keyed notes. Display Key mode Low Note Low note priority LowRetrig Low note priority, re-trigger envelopes HighNote High note priority HighRetrg High note priority, re-trigger envelopes LastNote Last note hit priority LastRetrg Last note hit priority, re-trigger envelopes Mixer Parameters Osc Mix: 0.127 — Enables the outpu ts of Oscillators 1 and 2 to be mixed in varying amounts. A setting of 0 is equivalent to 100 Oscillator 1 and 0 Oscillator 2. A setting of 127 is just the opposite. A setting of 64 is essentially a 50-50 mix of both oscillators. Ext In Volume: 0.127 — Control s the level o f external au dio input m ixed into the filter. This is used for processing other audio sources (gu itars, recordings, etc.) through Mopho’s an al og electronics. This work s in conjunction with the front panel’s I NPUT G AIN cont rol.
Also, si nce the left ch annel of A UDIO O UT is normalled to A UDIO I N, this control sets the amoun t of Mopho ’s audio output ret urned to t he audio i nput. Use this for crazy feedb ack sounds. Low-pass Filter Parameters Mopho utilizes a switchable, 2- or 4-pole analo g low-pass filter coupled with a 4-stage (plus del ay) ADSR envelope gene rator. This c ontrol ste ps in semi tones. If the filter does not oscillate, switch to 4-pole m ode. A setting of 64 will step the filter one semitone for each note, 32 would be hal f-semit ones, and so on. Audio Mod: 0.127 — Controls the amount of audio from Oscillator 1 used to modulate the filter cutoff frequenc y. For filter-only audio, set O SCILLATOR M IX to 127, O SCILLATOR 2 S HAPE to Off, and O SCILLATOR 1 S HAPE to the desired waveshape. This is useful for bell-like FM sounds. A wide range of sounds can also be made u sing A UDIO M OD with the oscillators routed normally through the filter. Config: 2 Pole, 4 Pole — Selects either 2- or 4-pole operation for the filter. This can be positive or neg ative, allowing inverted envelope control of the filter. This allows the VCA to be essentially bypassed, which is necessary for Programs that drone. Note: If VCA L EVEL is on fu ll, Envelope Amount has no effect. Y ou normally want VCA L EVEL set to zero. For droning so unds, or usi ng the Mopho to process external audio, you will probably turn the VCA Level up. The same parameters are available for each. Ran ge 0—150 for un- synced LFO; speed ranges fr om slow (3 0 seconds) to ve ry fast — at 90 (8 HZ, C-2) and above the speed steps in semitones, up to 150 (261 Hz, middle C). Note: Some of the analog functions may not respond well to the fastest LFO speeds, due to speed limitations of the control voltages; but they will certainly generate some interesting sounds. Above 150, the sync speeds a re as follows: Display Timing Sync 32 Steps Sequence speed divided by 32; i.e.
one LFO cycle takes 32 steps 16 Steps Sequence speed divided by 16 8 Steps Sequence speed divided by 8 6 Steps Sequence speed divided by 6 4 Steps Sequence speed divided by 4 Key Sy nc is set inde pendentl y on each LFO. Destination — See Modulati on Destinatio ns on page 2 6 for a lis t of poss ible destinations. Envelope 3 Parameters Envelope 3 is an aux iliary envelope for modulating various destination s. It can even be used as a sort of LFO usi ng th e Repeat parameter, which is unique to Envelope 3. Destination — Sets the Envelope 3 destination. See Modulation Destinatio ns on page 26 for a list of possibl e destinations.Modulation Parameters The Modulatio n Paramet ers let you c onfigure the m odulation routing and amount f or Mopho ’s four gen eral-purpose m odulation sl ots as well as for MIDI controllers (Mod Wheel, Key Pressure, Breath Control, Velocity, and Foot Controlle r). Since each Mo pho mod so urce has a sin gle destinat ion, the four general pu rpose Mods provi de a way to send a mod so urce (such as a sequence or LFO) to additional destinations, with a different amount. There are also additional m od sources available here, such as Noise, a llowing a wide variety of possibilities. To configure a general-pur pose modulat ion slot, select the appropri ate modulator (Mod 1, Mod 2, Mod 3, or Mod 4 ), and use the Source, Desti nation, and Amount parameters t o route the m odulation as desired. To configure modulati on for a standar d MIDI cont roller, select the desired controller and amount, and th en set the desti nation. Source — Selects a m odulation source. See Modulation Sources on page 28 for possible so urces. Destination — Selects a modulatio n destination. See Modulation Destin ations on page 26 for a list of possibl e destinations.See Modulation Destinations on page 26 for a list of possible destinations. Press Destination — Selects the destination to which the Chann el Pressure is routed.
See Modulation Destinations on page 26 for a list of possible destinations. Breath Destination — Selects the destination to which the breath co ntrol is routed. Veloc Destination — Selects the destination to which the note-on velocity is routed. Foot Destination — Selects the destination to which the foot con trol is routed. See Modulation Destina tions on page 26 for a list of possibl e destinations. Push It Switch Parameters These parameters det ermine the behavio r of the P USH I T switch, Mopho’s manual trigger. Mode: Normal, Toggle, Audio In — When set to No rmal, P USH I T resp onds like a key: press it and a note plays, release it and t he note ends. But when set t o Toggle, P USH I T turns the note on with one press and off with a second press. This is handy for making a note drone or f or latching a gated se quence on. When the signal gets above a ce rtain level, the gate will go on. When it drops below that level, the gate will go off. Clock Parameters The sequencer and arpe ggiat or share the BPM and C LOCK D IVIDE settings. Clock Divide: see table — Sets the note value for each sequence step relative to the BPM. Note: If the arpeggiator does not seem to be worki ng, check t he G LOBAL parameters to make sure Clock is set to Internal. If Clock is set to use an external clock source, Mopho must be receiving MIDI cl ock messages in order for the arp eggiator to run. The tempo a nd note value a re determi ned by the Cloc k Parame ters. Mode: see table — Sets the order in which the arpeggiator plays notes. Down Arpeggiated notes play in descending order. Up Down Arpeggiated notes play in alternately ascending and descending order. Assign Arpeggiated notes play in the order in which they were struck. Turning it on will turn off the Sequencer if it is on. Sequence Parameters Mopho features a 4 x 16 “analog-style” st ep sequence r that can generate four separate sequence tracks of up to 16 st eps each.
Individual seque ncer tracks can be routed to a ny standard modulatio n destinati on (see the t able on page 26). Using VCA En velope as a des tination, f or example, va ries the vol ume of e ach step; a destination of Filter or Filter Envelope Amount will produce different filter settings per step. Typically, however, at least one sequence is routed to an oscillator to control pitch. The sequencer is a “gate d” sequencer. That i s, a note must be played, eit her from the P USH I T switch or via MIDI, in order for the sequence to be heard an d it will continue to play as long as the no te is held (gated). The actual gate dur ation for eac h step is fi xed at half t he step time. Use the envelopes to generate notes of longer or shor ter duration. One very useful way to modulate a parameter in sync with a sequence is using LFOs with syn c; LFO freque ncy runs from 0 to 15 0, after whic h you can select the sync settings. A setting of 16 Steps fo r LFO Frequency with a Triangle wav e selected and routed to the filter will provide a clean filter sweep over a 16 step sequence, perfectly in sync. This is much easier (and sm oother) than programming a filter sweep using sequence steps. Note: If the sequencer does not seem to be workin g, check the G LOBAL settings to make sure Clock is set to Internal. If Clock is set to use an external clock source, Mopho must be receiving MIDI cl ock messages in order for the sequencer t o run. Display Trigger mode Normal Sequence plays from the first step when a key is held, and resets to step 1 each time a new note is played. Each sequence step retriggers the envelopes. No Reset The same, but does not reset to step 1 on every note. No Gate The keyboard triggers the envelopes; the sequence steps do not. NoGateNR Same, but does not reset with subsequent notes. Key Step Striking a key advances the sequencer one step. Audio In Steps the sequencer whenever the external audio input gets over a certain level.
Seq 1, 2, 3, or 4 Destinations — Sets the destination for each of the four sequence tracks. For a com plete list, see Modulation Destination s on page 26. T he values are displayed as both relative note values a nd as sim ple numerical values. The two hi ghest values are Reset and Rest. Reset causes the sequence to reset t o the firs t step, enabling sequen ces of fewer than 16 steps or e ven sequences i n which the tracks are di fferent l engths. Rest inserts a rest on the selected step. Name Parameter Edit Name — The lower LCD line displays the name of the Program with the active character blinking. When A SSIGN P ARAMETERS is lit, the parameter control changes the positio n of the active character. When A SSIGN P ARAMETERS is not lit, the parameter control steps th rough all the available characters fo r the active character. The increm ent and de crement buttons also change t he character. In addition, there is interaction between some of the Program parameters that determine the overall response of Mopho to MIDI data. All receives on any channel. MIDI Parameter Recei ve: All, NRPN, CC, Off — Sets t he method by which Mopho receives param eter changes via MI DI. MIDI SysEx: Off, On — When On, t he synth will respond to receive d MIDI SysEx messages, and will transmit them, when prompted, to the MIDI Out. MIDI Messages System Real-time Messages Status Description 1111 1000 MIDI Timing Clock Velocity is ignored 1001 nnnn 0kkkkkkk 0vvvvvvv Note On.
I gnored if MIDI channel set to ALL 0vvvvvvv Value Received Controller Messages Status Second Third Description 1011 nnnn 1 0vvvvvvv Mod Wheel — directl y assignable controller 1011 nnnn 2 0vvvvvvv Breath Controller — directl y assignable controller 1011 nnnn 4 0vvvvvvv Foot Controller — directly assignable controller 1011 nnnn 7 0vvvvvvv Volume — Combined with Master Volume and Voice Volume 1011 nnnn 74 0vvvvvvv Brightness — Added to lowpass filter cutoff frequency 1011 nnnn 11 0vvvvvvv Expression Controller — directl y assignable controller 1011 nnnn 32 0vvvvvvv Bank Select — 0 -2 select banks 1 - 3; others ignored 1011 nnnn 64 0vvvvvvv Damper pedal — holds envelopes in Sustain if 0100 0000 or higher 1011 nnnn 123 0vvvv vvv All Notes Off — clear all MIDI notes 1011 nnnn 121 0vvvv vvv Reset All Controllers — clears all MIDI controllers to 0, MIDI volume to maximum See sections be low for ad ditional Cont inuous C ontroller (CC) and N on- registered Parameter Number (NRPN) messages received. Transmitted Channel Me ssages Status Second Third Description 1100 nnnn 0ppppppp Program chan ge, 0 — 127 for Programs 1 — 128 within current Bank They are transmitted when MIDI Parameter Send is set to CC in Global, and recognized when received when MIDI Para meter Receive is set to either CC or All in Global.They are transmitted when MIDI Param eter Send is set to NR PN in Global, and received when MIDI Parameter Receive is set to either NRPN or All in Global. The messages are handled in standard MIDI format using the NRPN CC commands i n running status byte form at.