Yamaha MODX M review - Succession well assured

The Montage series will soon be 10 years old. It was first presented at NAMM 2016. In 2018, Yamaha released the MODX, which was feature-limited compared to the original version, but was still a well-stocked mid-range workstation (or vitaminized digital synth, depending on how you view the internal sequencer).

At the end of 2023, Yamaha unveiled a significant evolution of its flagship Montage M series, featuring a new AN-X analog-modeling synthesis engine based on technology developed for the AN1x in 1997, and a redesigned ergonomic design. As the manufacturer has opted for selective distribution, we were unable to procure a review unit. Since then, the Montage M has evolved into the V3 system, featuring new sounds and functions.

Two years later, a more affordable version was released, logically named MODX M. Despite selective distribution, apparently more extensive than for the Montage M, we were able to borrow a review unit from Yamaha, thank you. Let’s see what the little newcomer has retained from the big brother to make a workstation (or a supercharged synth) that’s as attractive as it is affordable.

A lighter package with rigid plastic materials and an improved keyboard

Like the MODX, the MODX M is compact and lightweight, in stark contrast to the Montage M. The knobs are positioned above the keyboard. The construction is rigid plastic, with a hollowed-out underside, yet it’s not a low-end instrument. Three versions are available: 61 semi-weighted keys with FSB keyboard (MODX M6), 76 semi-weighted keys with FSB keyboard (MODX M7) and 88 piano keys with enhanced GHS keyboard (MODX M8). The three models measure 88 × 35, 109 × 35, and 131 × 39 cm, respectively (34.6 × 13.7, 43 × 13.7, and 51.6 × 15.3 inches), and weigh 6.6, 7.6, and 13.6 kg. (14.5, 16.7 and 29.9 lbs.).

The keyboards respond to velocity, but not to pressure (polyphonic pressure is recognized in reception). On our review unit, we immediately noticed clear improvement in the keyboard, with better response, greater resistance and less noise than its counterpart on the MODX 6. That’s excellent news, even if this new keyboard doesn’t match the quality of the FSX fitted to the brand’s top-of-the-range models.
The front panel has been enriched and reorganized: there are two knobs with assignment keys, two volume knobs (global, A/D input), a portamento knob, a matrix section for quick editing of groups of four parameters for global or part synthesis, a row of eight keys to select/isolate a part, keys for selecting/isolating a multitimbral part, an AWM2 layer, an FM-X operator or an AN-X oscillator.

Additionally, there are eight backlit mixing sliders, a multicolor Super Knob for complex macro-modulations (more on this later), eight scene keys, two transposition keys (by octave or semitone), an encoder surrounded by four navigation arrows coupled with four yes/no/enter/exit keys, full sequencer transport controls, program mode selection keys (performance, scene lists, category) and various function keys (utility, navigation, editing, quick settings, DAW control, quick split four zones). What’s missing compared to the Montage M is the direct category-selection pad on the right side of the panel.

A large TFT screen with neat graphics that make editing easy

The same 7-inch TFT color touchscreen is found in the center (a little off-center, depending on the model). The menu pages are well designed, taking advantage of the increased resolution, with beautiful graphics, varied colors according to the type of function/synthesis engine, tabs, drop-down lists, selection zones, and scrollbars.

In addition, Yamaha equipped certain keys with rainbow LEDs, making it easy to discern status or the current editing mode. They’ve even included two Shift keys on either side of the panel, a good idea that allows you to access secondary functions while playing with the hand of your choice without contorting your body. In short, enough to quickly build up multitimbral performances with arpeggios, sequences and various direct controls.
On the rear panel, you’ll find all the connectivity: A headphone output on a 6.35 (1/4-inch) stereo jack, L/R audio outputs and L/R audio inputs on 6.35 (1/4-inch) TS jacks, the latter for sending external sources to effects, vocoder, envelope follower or the sequencer’s automatic audio sync generator.

Additionally, there are two switch pedal inputs (one of which is hold), two assignable continuous pedal inputs, two MIDI DIN jacks (Thru switchable input + output, with MIDI 2.0 high resolution on keyboard velocity, knobs and Super Knob), two USB sockets (type A and B for connecting a PC, keyboard controller or backup unit) and a terminal for the external power supply of the central block type (much better than a wall-mounted power supply).

A powerful synth calling on three sound engines over 16 multitimbral channels, with a soon-to-be-integrated software version

The MODX M uses the same AWM2, FM-X and AN-X engines as the Montage M, making it a very powerful synth! It starts up in around 20 seconds and operates permanently in Performance mode, assembling up to 16 independent sound channels, each using one of the three integrated synthesis engines.

Each channel has its own settings for volume, panning, insert effects A and B (limited to 13 units in total — eight for channels 1–8, four to be shared between channels 9–16, and one for audio input), sends to the two master effects, note range, velocity window, audio output (analog or USB mono/stereo), play mode (mono/poly), pitch, portamento, microtonal range, keyboard zone (internal or external control on eight simultaneous channels) and everything that moves (arpeggios, motion sequences, modulations).
Numerous parameters can be modulated, sometimes simultaneously, using physical controllers (Super Knob, sliders, wheels, pedals) and programmable sources (motion sequencer, envelope follower). Synthesis parameters can also be assigned to controllers and saved as scenes (eight scenes per Performance, directly accessible via dedicated buttons).

A handy quick-edit function lets you modify dozens of parameters, linked to one or more sound parts, on a single screen. Internal parameters are quantified at high resolution — precision enthusiasts will appreciate this. Finally, it’s worth mentioning that lucky MODX M owners will be able to download the ESP plug-in free of charge from 2026, a complete synth model for host DAWs, with no need for the hardware version, ensuring total continuity, whatever the working environment. Already, the MODX M provides access to a free download of Cubase AI, to complement its internal sequencer.

A large sound panoply and good quality audio output mixing samples fm and analog modeling

The audio output represents a real improvement over the MODX, with greater dynamics, clarity, and depth. Stereo width is impressive, the synth sinks very low in the bass, and rises without batting an eyelid in the treble. Output levels are high, and background noise is non-existent (unless you want it to be, for example, on a B3 model where the phonic wheels crease as much as the distortion).

MODX M comes with 3,427 Performances and 256 Live Sets (favorites), most of them taken from the Montage M bank, with which it is fully compatible. In addition, it can store 640 Performances and 2,048 Live Sets (and as many in each of the 24 User Libraries), so there’s plenty to look forward to. These include acoustic pianos (CFX, CFX2, C7, Steinway D, Bösendorfer Imperial…), electric pianos (CP80, various Rhodes, Wurlitzer, Clavinet — including YC sounds), organs (B3, Farfisa, Vox, pipe), guitars (nylon, metal, electric), strings (ensembles of various sizes, solo), wind instruments, choirs and percussion kits (so everything!).

These sounds benefit from numerous articulations to enhance rendering, and in our opinion, this is the most homogeneous and musical multisample bank on the market for a hardware synth. Of course, it doesn’t reach the level of specialized DAWs, but how much power and budget does it take to send 16 channels without flinching after 20 seconds of boot-up? Not to mention the other synthesis engines we’ll talk about later.
We also appreciate the wide range of synthesis sounds, based on samples passed through the filters, the FM-X engine with eight operators, or the new AN-X engine with three modeled oscillators. The FM-X and AN-X synthesizers offer spectacular dynamic range, with sometimes monstrous attacks. We’ve been familiar with the typical sounds of Yamaha FM synthesis for over 40 years, so we won’t dwell on them here.

The new AN-X engine delivers powerful, punchy, all-purpose sounds. The sound temperature is very neutral (neither hot nor cold). The rendering doesn’t match the specific vintage synth modeling found in some competitors, which, in our opinion, has more character and realism. Beyond the sound, it lacks the dedicated controls of a subtractive synth, making it harder to get straight to the point. Be that as it may, the three engines blend and complement each other wonderfully, one of the MODX M’s indisputable strengths, to which are added its extensive manual and automatic modulation possibilities. It excels in complex evolving textures, driven by physical controllers or motion sequences. Add to this the power and musicality of the integrated effects section (including superb vintage effects modeling and a bewitching new Shimmer). Performance changes are seamless (SSS) as long as they are limited to six parts (compared to eight for the Montage M). Very big sound!

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• MODX M_01audio 18 CFX100:23
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• MODX M_01audio 20 Imperial00:33
• MODX M_01audio 21 Steinway00:33
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• MODX M_01audio 29 AGuit00:25
• MODX M_01audio 30 EGuit00:33
• MODX M_01audio 31 Ens Strings00:33
• MODX M_01audio 32 Chamb Strings00:19
• MODX M_01audio 33 Section Strings00:34
• MODX M_01audio 34 Choir Organ00:44

A first sound engine made up of multisamples AWM2…

The MODX M incorporates a first synthesis engine identical to that of the Montage M, but with half the polyphony (128 mono/stereo voices instead of 256), which is still plenty. The key point is that the same internal sample memory is available: 10.7 GB in linear equivalence (7,635 multisamples and samples). Added to this is 1.9 GB of flash memory for loading user samples or those developed by third parties (the MODX was limited to 1 GB, while the Montage M offers 3.7 GB).

Let’s move on to synthesis: an AWM2 part can contain a multisample (Normal type) or a percussion kit (Drum type). The Normal type offers up to 128 simultaneous sound elements. This number may seem insignificant, but it eliminates a well-known constraint for MODX users limited to eight elements: the need to use several channels of a Performance for sounds that stack many layers of samples (for example, certain grand pianos and string ensembles). As a result, when you want to assemble several complex sounds, you quickly consume channels. On the MODX M, even a very complex AWM2 sound occupies just one channel.

Each element consists of a stereo multisample -> filter -> amp, with associated modulations (detailed later). We start by choosing the multisample (internal or imported), its range, velocity window, playing articulation (legato, staccato, cycle, random, release effect) to make real instruments more real, its tuning and its routing to the two insert effects. Pitch is modulated by velocity, a random generator, keyboard tracking and a 5-time/5-level envelope, itself modulated by velocity (time and levels) and keyboard tracking (time). You can go down to the level of the multisample zones (Key Bank) and redefine their range and velocity, which is great fun!

The waveform is then sent to the resonant filter. It offers 18 distinct types: high-pass, low-pass, band-pass or rejection with different slopes (1–2–3–4 poles) and colors (analog modeling, aggressive high-resonance digital, hard, soft); there are even series and parallel combinations. Velocity can modulate cutoff and resonance; cutoff can then be modulated by keyboard tracking, a dedicated 5-time/5-level envelope and a 4-point tracking generator.

We continue with the amp part, featuring a dedicated 4-time/4-level envelope, a 4-point tracking generator, pan modulation (keyboard tracking, random), and a Half Damper mode (with Decay time, useful for simulating an acoustic piano pedal with a compatible pedal, such as the FC3). Still at the element level, there’s an LFO with three basic waveforms (sawtooth, triangle, square) that can affect pitch, filter, and amp, followed by a simplified EQ bands, one parametric band, (two semi-parametric or +6/+12/+18 dB boost). All that for one element!

Let’s move on to the Drum type: this allows you to define separate parameters for the 73 assignable keys, and thus create a drum kit: choice of sample, audio output (analog, USB), range, velocity, pitch (modulated by velocity), trigger mode (exclusive, note off, hold), assignment to the two insert effects, starting levels to the two global effects, filter cutoff, etc; global effects, low-pass filter cutoff (modulated by velocity), resonance, high-pass filter cutoff, volume (modulated by velocity and a 3 time/1-level envelope), panning (fixed, auto sweep, random) and EQ. Alas, there’s no access to the different layers of samples sometimes present on the same note. It’s also a pity that drum kit sounds are limited to the AWM2 engine; it would have been nice to be able to assign FM-X or AN-X sounds.. To avoid starting from scratch, the MODX M features 152 pre-programmed kits in various styles (Pop, rock, jazz, Latin, EDM, classical, ethnic, FX).

A second FM-X sound engine based on FM synthesis with eight operators

The second synthesis engine is also inherited from Montage M (and Montage). It’s called FM-X, for extended FM synthesis. Polyphony is 128 notes (as many as the Montage M and two times more than the MODX), which is quite comfortable. Let’s recall once again some basic principles of Yamaha FM: oscillators are operators producing cyclic waves. There are two types of operators: carriers, which produce sound, and modulators, which modulate sound. The operators are linked in various predefined configurations called algorithms: carriers are added together, while modulators are multiplied. This means phase modulation rather than frequency modulation.

FM can be performed according to a frequency ratio or a fixed frequency over the entire range (creation of formants). MODX M contains 88 algorithms with eight operators. The algorithm defines the nature and interaction of the operators. Thus, we can have eight carriers added side by side, carriers modulated by several separate branches of modulators, and carriers modulated by one to four modulators in cascade. Some operators can self-modulate, alone or in combination (feedback). This feature enables complex spectra to be created from basic cyclic waves. On the MODX M, there are several possible waves for each operator, which go much further than early FM synths like the DX7, confined to sine waves.

To create an FM part, we start by defining the general and common parameters as for an AWM2 part (volume, panning, effects start, audio output, note range, velocity window, pitch, pitch envelope, filter, filter envelope, amp, amp envelope, panning, common LFO, additional second common LFO…), then select the algorithm, in matrix form depending on the type required. The rest is done at operator level: choice of waveform (seven types, including sine, spectrum and resonance, but not FS1r voice formants), wave base width, wave resonance, frequency mode (ratio/fixed), frequency (coarse, fine, detune), pitch envelope (two beats/two levels), pitch velocity and wave cycle retriggering (or not); all this is far more powerful than on a DX7, which acts on the global pitch of all its operators.

We then move on to the operator’s level parameters: initial level, velocity on level, 4-time/4-level envelope, keyboard tracking (time, levels, curves, center point). Remember that a level corresponds to volume on a carrier operator and to modulation intensity (timbre) on a modulator operator. The ergonomics of the FM editor are always appreciated, whether for algorithm selection or envelope curves. It almost makes you want to dive in!

A third analog-modeled AN-X sound engine based on three oscillators, a waveformer and two filters

The third and final sound engine of the MODX M is identical to that of the Montage M, namely an analog model called AN-X. Although the reference to the AN1x is often made, in reality, there’s not much in the way of more powerful possibilities on this new model. Nor is it a model of the brand’s vintage CS or any other well-known analog synth — we’ve already touched on this in the section on sounds. There are 12 voices (compared with 16 for the Montage M), which, in addition to poly or mono modes, can be played in unison (2 or 4 voices) with detuning and stereo widening. Oscillator frequencies and phases can be freely set or retriggered. There are also voltage fluctuation and component wear parameters acting on oscillator frequency, filters and envelope times, to simulate the behavior of more or less rinsed old cuckoo clocks.
Editing is a bit special since the AN-X engine dissociates oscillators and noise (each with its own menu page, as separate elements) from the other synthesis modules (global pitch, waveform deformer, filters and amp), considered as common elements and whose tabs are placed first. You’ll have to get used to this and navigate back and forth between several menu pages, which doesn’t make editing any easier.

There are three oscillators, offering sawtooth, saturated sawtooth, square, triangle and sine waves, all with PWM and inversion settings. Each oscillator offers a virtual oscillator for cycle sync, which is a nice touch. Oscillator 3 can modulate oscillators 1 and 2 in FM and ring. There’s also a variable color noise. The volume of these four sources can be metered, and each can bypass the filters.

A Wave Folder folds the wave spectrum into different intensities and colors, creating new harmonic content or a certain saturation, more or less aggressive. Then there are two multimode filters in series (low-pass 1–2–3–4 poles, high-pass 1–2–3–4 poles, band-pass 1–2 poles) with saturation settings. They cannot self-oscillate. Finally, a final amp lets you adjust volume and add an extra drive. As for modulations, there are envelopes, LFOs and velocity settings at almost every level (oscillator frequencies, PW, volumes, wave distorter, filter cutoff frequency, resonance, final volume), impossible to fully list here. And let’s not forget the matrix modulations per part, which we’ll talk about next, as they are the same for all synthesis engines, apart from the specific destinations for each engine. For the FM-X and AN-X engines, a Smart Morph function lets you create a new program in a matter of seconds by interpolating eight others from the same engine, all at the touch of a fingertip — nice.

Beautiful modulation possibilities, whether with dedicated physical controllers or programmed sources

The MODX M incorporates the same modulation capabilities as the Montage M. In addition to the manual and automatic modulations already mentioned, there are classic modulations (global LFO type per part), modulations generated by a motion sequencer and macro modulations controlled by specific physical controllers. Almost everything is tempo-synchronized. We start with the Super Knob, a large, multi-colored light encoder, whose color evolution and rhythmic beat can be adjusted.

It can control the movements of eight encoders assigned to destinations such as synthesis or effects parameters. For each encoder, mini/central/maxi values are set, representing the range of action to be controlled by the Super Knob. Turning the Super Knob causes the encoders to act between any values and in any direction. The action of the Super Knob can be controlled by a modulation pedal (type FC7), keeping both hands free, which is a good idea for those who play the keyboard with more than one finger. It can even be assigned a MIDI CC or controlled via the motion sequencer. Buttons on the front panel let you immediately set the Super Knob to mini, center and maxi positions.
The motion sequencer is a rhythmic step modulation generator. It is composed of modulation lines, with four lines per sound part and a maximum of eight lines across the entire Performance. Each line is made up of one to eight sequences of 1 to 16 steps. The neat editor makes it easy to navigate this plethora of parameters. A single line can modulate a destination, to be chosen from among several hundred synthesis or effect parameters, some per part, some global.

In each step, you define a modulation quantity (mono or bipolar) and a curve (various editable types, from smooth to highly chaotic). For the line, you can set playback speed, tempo synchronization, note synchronization, length, looping, activation velocity window, global smoothing between steps, etc. MODX M offers 24 modulation sequence presets and 256 user memories. In master keyboard mode, you can have eight sequences of movements running at the same time, which is huge!

Still on the subject of complex modulations, the modulation matrix has 32 cords per sound part. There are some forty sources at your disposal: knobs, pressure (incoming), virtual ribbon, switches, pedals, encoders, four motion sequencer lines, 18 envelope followers (16 sound parts, A/D part, Master. Modulation quantity is a curve parameterizable in input, output, polarity, and profile. Destinations are either common to each part or targeted to different elements/operators/modules within a part. There are over a hundred of them, including synthesis parameters, parameters for the two insertion effects and three global effects, sends to the first two global effects, assignable encoders. In short, it’s heavy stuff! The envelope follower transforms an audio signal into a control signal, with automatic synchronization to the audio present at the A/D input. To create this signal, you can choose between different sources: the output of one of the 16 sound parts of a Performance, the entire Performance or the audio input. The signal created then becomes a modulation source in its own right.

A powerful multieffects section available on multiple channels

Like the Montage M, the MODX M boasts a very large effects section. It breaks down into insertion effects (linked to each channel) and global effects (shared by all channels). Each part (16 sound parts + A/D audio input) has a set of 3-band EQ + Insert A + Insert B + 2-band EQ. However, unlike the Montage M, there are only 13 sets of insert A+B effects: eight sets for channels 1–8, four sets to share for channels 9–16 and one set for the audio input. So there’s arbitration for channels 9–16, whereas the more powerful Montage M offers a set of A+B insert effects for all its channels (17 sets in all).

Insert effects are, in fact, powerful multieffects comprising 88 complex algorithms (up to 24 parameters) that can be modulated in real time: reverbs, delays, ensembles, compressors, amp simulators, distortions, EQ, signal destructors, beat effects and cascade effects. Insert effects (A, B) can be placed in series (A -> B or B -> A) or in parallel. Each element of a sound section can be connected to them. Some algorithms feature a Side Chain (from a part from 1 to 16, from the master or external audio input): 376 compressor, classic compressor, multiband compressor, classic ring modulator, dynamic ring modulator, dynamic filter, dynamic phaser, dynamic flanger. A vocoder effect enables internal sounds (carriers) to be processed via the audio line/mic inputs (modulator); 10 bands are available, with compression/Gate at input, formant offset, noise, HPF and separate gains for the bands. To save us time, Yamaha has provided each effect with a number of ready-to-use presets, which is an excellent idea!
The global effects consist of a variation effect (multieffects with 88 algorithms, identical to the insert effects), a specialized reverb unit (13 algorithms, including various room, plate and outdoor ambience simulations, plus a new, soaring Shimmer) and a master effect (23 mastering-type algorithms, such as distortion, multiband compression). Each part has a send to the first two effects, and there is also a send from the variation effect to the reverb unit. The returns are then mixed with the unprocessed signal, with levels and panning, before attacking the master effect placed in stereo insertion.

At the end of the chain is a final 5-band EQ (Peaking / Shelving for the center bands, Shelving for the extreme bands). But that’s not all, as the MODX M is equipped with an ultra-sophisticated VCM rotary speaker model, available only on the first channel of the Performance. This effect, highly polished and highly parameterizable, goes far beyond the rotating-speaker effects otherwise available on the synth. It is available in three models: classic, with transistor overdrive and 3D. That makes a total of several dozen multieffects, with new algorithms compared to the MODX, and the quality is top-level!

A big arpeggiator allied to an always-basic MIDI sequencer

The MODX M takes the arpeggiator from the Montage M, namely a powerful 8-channel multitimbral rhythmic pattern generator. A far cry from basic up and down modes. There are 10,922 preset patterns categorized by destination or playing mode: arpeggios generated from a single note, chord-driven rhythm patterns, drum patterns, parameter modulations, hybrid sequences, and Mega Voices (complex multi-samples of highly realistic instruments, unplayable by hand). Each arpeggio features eight pattern variations per channel, selected via the touchscreen (since we’ve lost the Montage M’s right-hand pad). The arpeggio can be launched in different ways: as long as the notes are held, as soon as the notes are played, or alternately.

The many playback parameters include note order, looping, quantization, range, octave transposition (-3 to +3) and random effects (noise triggering, e.g., guitar frets). MODX M is also capable of creating 256 user arpeggios and extracting them from a Song part. You define the Song portion to be exported, the type of notes to be generated (tracking, fixed, tracking the original note) and the destination tracks in the arpeggio. Inherited from MODX, a button gives direct access to a rhythm track, consisting of a kit selected from the machine’s memory and a pattern drawn from the drum arpeggios. This track is assigned to one of the first eight channels; in conjunction with the envelope follower, this makes it possible to create rhythmic pumping effects.

The MODX M also includes a basic 16-track MIDI sequencer, capable of replaying or recording up to 520,000 notes in 128 looped patterns or 128 linear pieces, with a maximum resolution of 480 PPQN. Recording is in real time only (with or without quantization) and in three modes: Add, Replace or Punch In/Out, with or without looping.

It’s impossible to precisely edit any track once it’s been recorded; all you can do is undo the last take. This limits the sequencer to the reproduction of preset tracks or a notepad for immortalizing ideas, and deprives the MODX M of workstation status; fortunately, you can export a track to a PC, edit it (for example, in the Cubase AI supplied) and then import it back into the MODX M in SMF 0 or 1 format. Finally, MODX M lets you record up to 74 minutes of fixed-level 24-bit/44 kHz stereo audio onto a USB stick. It can also play 16–24 bit/44 kHz audio files from the same key. Always useful!

Advanced keyboard capabilities to drive internal sounds and external-devices

While the MODX M can receive on 16 MIDI channels, it can also transmit on 8 channels simultaneously. Simply activate the Keyboard Control mode on the desired parts to drive the internal sound module in conjunction with external MIDI modules: the first eight channels of a Performance can then be played simultaneously, in layers, in splits, according to the velocity window, with arpeggios and multiple motion sequences. Each zone can also transmit specific MIDI messages (bank/program numbers, tessitura, transposition, physical commands), with precise data filtering. Channels 9–16 can then be controlled by an external keyboard or DAW, which is a very good compromise.

In general, the first eight channels are used to drive internal or external sounds with the keyboard, and the next eight to drive the synth from the outside. Each part can have its own MIDI channel, so there are no constraints. Settings are saved in Performances. The MODX M can also control the main DAWs on the market from its front panel and display.
On the audio side, the MODX M functions as a 4-channel input (2 stereo channels) and 10-output (5 stereo channels) USB interface, so it’s a little less powerful than the Montage M (4 and 16 stereo channels). This enables it to exchange data at 44–48–96 kHz with a DAW on PC/Mac. The synth can’t sample directly, but it can import stereo WAV or AIFF files, which it then plays back at 16–24 bit/44 kHz.

Finally, as far as sound banks are concerned, MODX M is fully compatible with Montage M, as already mentioned, but also with the Motif series for the AWM2 engine. As for the FM-X engine, it can be fed with DX7/DX7II/TX802/TX816 banks after conversion. In short, the MODX M is not only virtually autonomous, but it also interfaces very well with the outside world.