Patience is a virtue

But, wait! There’s more!

mx49 posted this list of new product names extracted from a Yamaha warranty registration site:

    147641 - MODX6+ //E 
147642 - MODX7+ //E
147643 - MODX8+ //E
147752 - P-125AB
147753 - P-125AWH
147970 - CK88
147971 - CK61
149017 - P-143B
149018 - P-145B
149019 - P-225B
149020 - P-225WH
149496 - GENOS2 //Y2
149720 - MONTAGE M6 //E
149721 - MONTAGE M7 //E
149722 - MONTAGE M8X //E
149729 - P-525B //Y2
149730 - P-525WH //Y2

Oh heck, might as well throw in the new STAGEPAS 100 BTR and STAGEPAS 200 BTR:

    STAGEPAS100 //B 
STAGEPAS100BTR
STAGEPAS200 //B
STAGEPAS200BTR

Thank you, mx49, and the rest of the folks at Yamaha Musicians Forum.

The Montage M series leaked yesterday. Now we know that GENOS2 is on-the-way sometime in the near-term future, too. 🙂

Regular readers know that I’m trying out 88-key digital piano keyboards and developed a fondness for the Yamaha P-515. The P-515 was release in 2018 and it will be replaced by the P-525, again, sometime in the near-term future.

Wow, the new Montage MX8 and P-525 — both are worth waiting for and both potentially fill an actual need. Patience is a virtue. Keep repeating that. 🙂

I’ll have more thoughts about all of this tomorrow. Today is a typical Sunday — gig, God and football. Take a breather and start the new week fresh!

Copyright © 2023 Paul J. Drongowski

Yamaha VRM vs. VRM Lite

Virtual Resonance Modeling (VRM) is one of one of Yamaha’s strongest differentiating technologies. Many of Yamaha’s home and portable digital pianos implement some form of VRM. Up to this point, the CP series stage pianos and other products in the synthesizer (music production) product families do not have VRM. Perhaps this will change in CP Gen 2. Yamaha arranger keyboards do not feature VRM, either. [Some synths and arrangers have a damper resonance insert effect. See “Synthetic fun” below.]

Yamaha Virtual Resonance Modeling [Source: Yamaha]

Sampled piano can sound lifeless even when the damper pedal is depressed. VRM adds a subtle dynamic quality to the overall sound. I tried turning VRM off via Piano Room while holding down notes with the damper pedal applied. There is a subtle difference in the sound. With VRM on, the overall tone (such as the P-515 or DGX-670) is fuller, more dynamic. Personally, I find the effect pleasing enough to regard it as a “must have” feature.

In slightly more technical terms, VRM adds sympathetic resonances such that the piano tone grows (blooms) over the duration of the notes. Acoustic piano makers and technicians go to great lengths to add and tune pleasing harmonics through resonance. Acoustic pianos are incredibly complex machines in the scientific sense!

You’ve probably read Yamaha’s description of VRM on its web site or in an owner’s manual. If you’re unsure of what it all means, then I recommend doing the same experiment yourself and hearing the difference. [Get thee to a dealer.] Whether you like the effect (or not) is personal. If it doesn’t immediately strike your fancy, please read on. Some models let you tweak VRM depth in Piano Room.

VRM technology has evolved since its introduction in 2014. The first models with VRM were the up-scale CLP 575 and 585. Per usual Yamaha practice, VRM trickled out to lower-end models in the 600 series and to the CSP and CVP series. Another thing happened, too. Yamaha began referring to “original VRM” and “enhanced VRM”. Yamaha describes original and enhanced VRM in the following way:

The original VRM (CSP-150/170) calculates the various states of the strings for each of the 88 notes on the keyboard, from one instant to the next, and timing and depth of damper pedals pressed.

Enhanced VRM (CLP-635 / 645 / 675 / 685 / 665GP / 695GP) now also calculates aliquot resonance in the upper octaves, and the full resonance of the soundboard, rim, and frame.

The calculations require some heavy mathematics and are computational intensive. I’ll say more about this in a future post. I will say, now, that VRM is a substantial, technological achievment!

Lately, Yamaha have dropped “original” and “enhanced” in favor of “VRM Lite” and “VRM”. I contacted Yamaha support asking about the specific modeling components supported by VRM and VRM Lite. They replied:

  • VRM has five components in it:
    • Damper resonance
    • String resonance
    • Body resonance
    • Duplex scale resonance
    • Damper noise
  • VRM Lite has two components:
    • Damper resonance
    • String resonance

As you would expect, VRM Lite is a subset of VRM. I preseume “duplex scale resonance” means Aliquot resonance although technically the two are related, but not identical.

If your Yamaha digital piano has VRM or VRM Lite, you’ll have one or more VRM-related settings at your disposal in Piano Room and/or the Smart Pianist app. The DGX-670, for example, has three settings:

  • VRM effect ON/OFF
  • Damper resonance effect depth
  • String resonance effect depth

Thus, you can ditch VRM entirely, or individually control the amount of damper or string resonance. The latter two settings let you dial in the amount of each effect to suit your preference. P-515 (enhanced VRM) provides five settings:

  • VRM effect ON/OFF
  • Damper resonance effect depth
  • String resonance effect depth
  • Aliquot resonance effect depth
  • Body resonance effect depth

Special thanks to Dan (Yamaha Support) who chased down this information for me.

Synthetic fun

Yamaha Montage/MODX, Genos, and other Yamaha synths implement a Damper Resonance effect “that reproduces the rich harmonics and unique sound characteristics of an actual grand piano when using the damper pedal.” [Check the Data List PDF for your particular model.] The Damper Resonance effect depends upon the sustain pedal (Damper Control) — you must depress the sustain (damper) pedal to hear the effect.

For Montage/MODX cheap thrills, select the four-part “CFX Concert” Performance. All four parts assign Damper Resonance to insert effect A. The initial dry/wet balance is set to D21>W or thereabouts. Raise the dry/wet balance to D<W63 — full wet. Now when you strike a note and depress the damper pedal, you’ll hear only the sound of the damper resonance effect.

For further background information about the Damper Resonance effect, check out Half Damper Function, Damper Resonance Effect and Key Off Sample (Motif XF).

Copyright © 2023 Paul J. Drongowski

Here are my working definitions for Aliquot resonance and duplex scaling.

“Aliquot is a stringing method for pianos that uses extra, un-struck strings in the upper octaves to enhance the tone. These strings sympathetically vibrate with other strings in an acoustic piano, resonating with overtones, and adding richness, brilliance and complex color to the sound. Since they do not have a damper, they will continue sounding even after you release your hands from the keyboard.” [Source: Yamaha P-515 Owner’s Manual]

“Duplex scaling, built into some grand pianos, can be found on that portion of the string in the treble section between the back bridge pin and the hitch pin which is normally the non-speaking part of the string and dampened with a strip of cloth. Where there is duplex scaling this section is deliberately left open to resonate in sympathy with the speaking part of the string and add brightness to the upper partials.” [Source: Cambridge Piano Tuner]

These two Yamaha videos are still informative after 13 years: Stereo Sustain Samples and String Resonance.

MODX: Overdrive slight return (part 4)

Today’s post is part of a short series of articles relating to MODX drawbar organ sound:

I’m trying to recreate the experience of playing the new Yamaha CK keyboards with MODX. A bird in the hand is worth two in the bush…

I received a few comments and ideas that are worth passing along. All of the basic principles and sonic DNA are applicable to Genos and PSR, I might add.

First up, what makes a good overdrive or distortion? My colleague Uli is pursuing a similar investigation and he is using an Electro Harmonix Lester K as a reference. Using a reference sound is a super idea.

So, I dug into my old bag of tricks — literally. I have four different references on hand:

  • ART Tube MP
  • Electro Harmonix Lester K
  • Behringer GDI21 guitar preamp
  • Fender Super Champ xD modeling guitar amp

As yet, I haven’t tried the Super Champ xD because it is a solid state and tube hybrid. I will need to find a way to isolate the effect of the 12AX7/6V6 power stage. That experiment will likely require high volume and there’s only so much my poor ears can take! [Be sure to protect your ears.]

I bought the ART Tube MP mic preamp a zillion years ago. Tube MPs are still inexpensive going for roughly $100 USD. I used the Tube MP to warm up the sound of my old Nord Electro 2, trying to file the edge off of its digital sound.

The Tube MP is really intended as a mic preamp having a 12AX7 vacuum tube gain stage. If you crank up the gain, you can hit the 12AX7 pretty hard and get gobs of distortion. The Tube MP distortion gradually increases with gain and is warm and smooth. By “smooth”, I mean distortion which is not grainy or fizzy. To me, grainy distortion has an uneven clickiness to it, like a fast-ticking geiger counter instead of an old analog TV receiving the sounds of the universe. [Really.]

That said, the Lester K overdrive — a digital simulation — is not bad. The Lester K overdrive gets good reviews and deservedly so. The Lester K overdrive has a pleasing smoothness.

The Behringer GDI21 is sometimes disparaged as a copy of the Tech21 SansAmp. Compare schematics and you will find differences. The GDI21 uses a pair of JFETs to simulate a tube preamp (12AX7).

Both GDI21 and SansAmp emulate the input stage and power amp effects of a guitar amp. There are lots of variations to dial in, but you pretty much get three flavors: Fender Tweed, Mesa/Boogie high-gain and British lead. Maybe the GDI21 is authentic on guitar, but I didn’t care for its sound when applied to drawbar organ. The Tube MP and Lester K are better references, IMHO.

Given all that, what is my favorite MODX (Genos) amp sim (or whatever) for overdrive? Here are my top three picks:

  • SMALL STEREO (Preset: Overdrive)
  • US COMBO (Preset: Rich clean)
  • BRITISH LEAD (Preset: Dirty)

Judging from its distortion parameters, the SMALL STEREO is part of the MULTI FX pedal board chain. Thus, if you want to slap pedal effects on a drawbar organ, MULTI FX is a good way to go, giving you a pedal or two for free along with the amp sim. Uli is experimenting with chorus, too, and is giving MULTI FX a try.

The presets mentioned above are just starting points. Check out other settings in Part 3.

I grew up with the sound of 1960s Fender and that’s probably why I have a fondness for the US COMBO. I always wanted a Fender Twin Reverb (or Bassman) as a kid. Well, THAT dream never came true. [Might as well add a Vox Continental to the list of broken dreams, too.] 🙂 Twin and Bassman amps were the weapons of choice for combo organ back in the day.

The BRITISH LEAD conjures the sound of Wakeman, Emerson and others. Nuf said.

Have fun, tweak and don’t forget to boogie.

Copyright © 2023 Paul J. Drongowski

Yamaha keyboards: Which amp (sim) is that?

While diving into overdrive and distortion effects for drawbar organ, I challenged readers to identify the real-world amplifiers on which Yamaha based its MODX (Montage, Genos) amp simulators. I took my own challenge over a cup of coffee today and made my own list of best guesses.

Yamaha introduced several new amp simulators during the 2013-2014 time-frame. They first appeared in Tyros 5 under the sobriquet “Real Distortion”. Next, they were added to Motif XF by way of the Motif XF OS1.5 update. Since then, the “Real Distortion” effect algorithms have trickled down to mid-level synthesizer and arranger keyboard products.

Without further ado, here are my best guesses:

Tweed Guy         Fender '59 Bassman Tweed (6L6GC, 4x10) 
Boutique DC Matchless DC-30 (EL84, 2x12)
US Combo Fender Twin Blackface (6L6GC, 2x12, Super Twin?)
Jazz Combo Roland JC-120 Jazz Chorus (Solid state, 2x12)
US High Gain Mesa Boogie Mark II or Mark III (6L6GC, 1x12)
British Lead Marshall Plexi Super Lead (EL34, 4x12)
British Combo Vox AC30 Top Boost (EL84, 1x12 and 2x12)
British Legend Marshall JCM 800 Lead (EL34, 4x12)
Distomp 1980s Yamaha distortion pedals (SHD-100/MBD-100)
Y-Amp Yamaha DG series guitar amplifiers and stomp
Small Stereo Fender inspired?
Multi FX Inspired by the Yamaha DG Stomp

Blake Angelos (Yamaha) wrote an early article which provides important clues. Unfortunately, the article doesn’t spill specific amplifier names.

A real Matchless DC-30 and the Boutique DC amp sim front panel

Better clues come from the faux front panel graphics on display in the Genos Mixer. These skeumorphic images resemble the actual amplifiers which inspired the amp simulators. More definitively, the control names resemble or are identical to the front panel knobs, switches and input channels of the original amps. The Fender-style graphic knobs threw me off at first, until I discovered that the first generations of Mesa/Boogie amps were housed in Fender Princetons.

There are a few inconsistencies, though. The “US Combo” clearly models Fender “blackface” amplifiers, most notably the famous Twin. The Fender Twin has a middle EQ knob, but does not have mid cut, width or sweep controls like the amp sim. Perhaps Yamaha’s software engineers replaced the single middle EQ knob with three other parameters giving great control over the mids? Or, maybe the software engineers had the Fender Super Twin in mind which has a five band EQ at fixed frequencies?

The Small Stereo Amp doesn’t claim any particular ancestor. The speaker types include Twin and Tweed, so maybe there is a Fender influence? Whatever its name, Small Stereo Amp is one of my favorites. It’s like Nando’s hot sauce; I use it anytime I want a little grunge.

The Distomp simulator is a blend of 1980s Yamaha distortion pedals. In particular, it combines controls from the SHD-100 Super Hard Distortion and MBD-100 Multi-Band Distortion pedals. Shred on, dudes.

The Y-Amp is clearly based on Yamaha’s own DG guitar amp series. The DG amplifiers are among the first digital modeling amplifiers. (Nerd note: DSP horsepower is delivered by a Yamaha proprietary DSP6 integrated circuit.) I wouldn’t be surprised if some of the DG amp sims and effect models jumped species and landed in Yamaha keyboard products, too.

Yamaha engineers often return to the same wellspring. The DG Series Amp Models (circa 2012) are:

    1) Lead 1 - Marshall 
2) Lead 2 - Soldano
3) Drive 1 - Fender Bassman
4) Drive 2 - Fender Twin
5) Crunch 1 - Vox AC30
6) Crunch 2 - Matchless
7) Clean 1 - Fender Twin Nasal Silverface
8) Clean 2 - Fender Twin Full Blackface

The list makes you go, “Hmmm?” “Soldano” brings the Soldano SLO-100 classic to mind.

Before VCM (Virtual Circuitry Modeling) there was DG’s ECM (Electric Circuit Modeling). In this vein, the Y-Amp sim offers a choice of power tube: 6L6GC, EL34, or KT66. These vacuum tubes were used in some of the most famous and collectible guitar amps:

6L6GC: Fender '59 Bassman and Twin, Ampeg B-15, Mesa/Boogie Mark I  
EL34: Marshall Plexi, DSL 100, Super Lead, Orange
KT66: Marshall JTM45 Bluesbreaker

Oddly, Y-Amp does not have an EL84 option (Vox AC30, Matchless DC-30). The KT66 is an improved version of the 6L6. The KT66 was first made in Britain by Marconi-Osram Valve Co. Ltd.

In addition to guitar amplifiers, the DG series included the DG Stomp multi-effects pedal. I can see where the DG Stomp might have inspired the MULTI FX pedal board simulation. The MULTI FX algorithm is a jack of all trades with compression, wah, distortion, phaser, delay and speaker simulation.

Hope you found this fun!

Before leaving, here is my speaker type decoder, once again, based on a little analysis and guess work.

    BS 4x12    British Stack 
AC 2x12 American Combo
AC 1x12 American Combo
AC 4x10 American Combo
BC 2x12 British Combo
AM 4x12 American Modern
YC 4x12 Yamaha Combo
JC 2x12 Jazz Chorus
OC 2x12 Orange Combo
OC 1x8 Orange Combo

Copyright © 2023 Paul J. Drongowski

God Rest Ye, Merry Gentlemen (ChordPro)

“God Rest Ye, Merry Gentlemen” by Jon Batiste, Judith Hill, and Stay Human really grooves and I wanted to get in on the fun(k). So, I started with Yamaha Chord Tracker and worked out a similar chord progression.

Wanting to hear the progression and jam on it, I wrote the progression and lyrics in Extended ChordPro:

{title: God Rest Ye, Merry Gentlemen} 
{Artist: Jon Batiste}
{Key: Cm}
{Time: 4/4}
# Style: JazzGuitarClub
{stylecode: 3878}
{Tempo: 120}

{start_accomp}

# Intro [Cm][*IA]

# Verse 1
God [Cm:2][*MA] rest ye [Bb/D:2] merry, [Eb5:2] gentle [Fm:2] men,
Let [Gm:2] nothing [Ab:2] you dis- [Gm:2] may. [G7:2][*FA]
Re- [Cm:2][*MA] member, [Bb/D:2] Christ our [Eb5:2] Sa- [Fm:2] vior was
[Gm:2] Born on [Ab:2] Christmas [Gm:2][*FA] day. [C7:2]
To [Fm:2][*MA] save us [Bb:2] all from [Eb5:2] Satan's [AbMaj7:2] pow'r when

[Eb5:2] We were [Dm:2] gone a- [Bb/D:2] stray. [Bb:2]
O [Eb5:2] Ti- [Ab:2] dings of [Dm:2] com- [Gaug:2] fort and
[Cm:2] Joy, [Fm7:2] Comfort and [Bb7][*FA] joy.
O [Eb5:2][*MA] Ti- [Ab:2] dings of [Dm:2] com- [Gaug:2][*FA] fort and

# Funky interlude

[Cm7:2][*MB] joy. [F:2] ---- [Cm7:2] ---- [F:2] ----
[Cm7:2] ---- [F:2] ---- [Cm7:2] ---- [F:2][*FB] ----

# Ending
[Cm7-9][*EA] --------

Extended ChordPro adds auto-accompaniment features to the well-known and widely used ChordPro song format. I translated the ChordPro to a Yamaha-compatible auto-accompaniment file and played it on Genos™.

In “God Rest Ye,” you’ll notice the new extensions right away. There are a few more directives like: {stylecode: 3878} and {start_accomp}. Chord symbols are enhanced with a beat count, e.g., “[Cm:2]“, placing chord changes on beats within a measure. Annotations indicate auto-accompaniment section changes. For example, “[*MA]” and “[*FA]” mean “Main section A” and “Fill in A”, respectively.

Getting to hear the progression — not just play it by hand — was a huge help. I found a few places where a minor chord was required instead of a major. Play-back encouraged me to listen critically and to find a few hipper voicings.

If you would like a copy of the Java program (cp2mid) which translates Extended ChordPro to a Yamaha auto-accompaniment Standard MIDI File, here is a pointer to the ZIP file page. If you would like more information, please see the ChordPro auto-accompaniment example and demo and my article with ideas and uses for Extended ChordPro auto-accompaniment.

Copyright © 2022 Paul J. Drongowski

ChordPro auto-accompaniment

Before we close out the year, a Christmas gift!

Last January, I developed and wrote about “cp2mid“, a Java program to convert extended ChordPro files to a Yamaha accompaniment MIDI files. cp2mid lets someone compose in extended ChordPro format and play the composition on a Yamaha arranger in an auto-accompaniment style of your own choosing. If you don’t feel like composing, just grab one of the many ChordPro songs on the Web, clean it up, translate it, and play it.

You’ve probably seen ChordPro on the interwebs. It looks like:

# A simple ChordPro example 

{title: God Rest Ye, Merry Gentlemen}

God [Cm] rest ye merry, [Cm] gentlemen,
Let [Ab] nothing you dis[G7]may.
Re [Cm] member, Christ our [Cm] Savior
Was [Ab] born on Christmas [G7] day.

Extended ChordPro adds a few new directives (the things between curly braces) and tightens up the notion of musical time in order to mark measures and place chord changes within measures.

cp2mid translates the chords and lyrics into a Standard MIDI File (SMF). The SMF contains all the magic needed to play an auto-accompaniment on a supporting Yamaha arranger keyboard. (PSR E series, unfortunately, is out of luck.)

If you would like more information, here are some links to dive into:

The first three posts are essential reading for cp2mid users. The last two posts are intended for coders and other technically inclined folks.

Oh, yeah, you’ll need the ZIP file with example songs and cp2mid Java code.

Copyright © 2022 Paul J. Drongowski

In the house: V3 Sound YAMMEX XXL

Thought I would post a quick note about the new unit under test — the V3 Sound YAMMEX XXL tone module. The YAMMEX is a member of the V3 Sound XXL family of tone modules. They all share the same triangular shape and are light as a feather:

V3 Sound YAMMEX XXL expansion tone module

The lump-in-the-middle power supply is roughly the same weight!

You might have seen and heard Piano Man Chuck demonstrate the V3 Sound Grand Piano XXL module. [Piano Man Chuck is a V3 Sound dealer, BTW.] Well, the YAMMEX has the same sound set as the Grand Piano XXL. The main differences are:

  • The MIDI bank and program change layouts are different: Grand Piano XXL for general use as an expander, YAMMEX XXL as a Genos/PSR expander.
  • Grand Piano XXL is supported by the V3 Sound Control app; the YAMMEX XXL is not.
  • Grand Piano XXL is supported by two different MIDI Designer templates; the YAMMEX is not.
  • YAMMEX XXL voices are selected using custom Genos/PSR user voices.

YAMMEX XXL arrives from the factory with a USB flash drive containing the custom user voices (VCE files) needed to select voices through Genos/PSR. It’s all described in the YAMMEX XXL manual. [Henceforth, “Yammex” means “YAMMEX XXL”.]

I found a Yammex on ebay at a price that was impossible to refuse. It would be a shame to confine Yammex to Genos duty alone, so I studied the heck out of its MIDI implementation. I also examined the VCE files available from the V3 Sound Web site. Hmmm, looks like it’s a simple matter of uttering the appropriate Bank Select MSB, Bank Select LSB and Program Change messages. We can do that!

An inquiry to V3 Sound about compatibility was answered quickly, but implied that Yammex was only for Genos/MIDI. If you know MIDI and your controller’s capabilities, and if you don’t mind a little work, Yammex definitely can do more than Genos/PSR.

I was sorely tempted by the V3 Sound XXL series because it is based on the Dream S.A.S. SAM5716B synthesis chip. After hearing the SAM2635 and its GM/GS sound set, I wanted to hear what a high-end Dream chip could do with 3GBytes of professionally produced instrument samples. Cut to the chase, V3 Sound do not disappoint especially at the price I paid.

Jeff’s Music Gear is Sweetwater!

The box arrives. I open the shipping carton and what the? The Yammex box is in fine shape, but is covered in round “Demo” labels. I instantly smell “Sweetwater”. And there’s candy, and a Sweetwater “Thank You” card. The ebay seller is Jeff’s Music Gear. After a Google, I discover that Jeff’s Music Gear is Sweetwater’s ebay consignment shop! Nice to know that I was in good hands all along.

OK, then, plug everything up using Yamaha MODX as a controller. (See my article about Yamaha MODX Zone Master.) Ooops, no flashing MIDI light and no sound. I’m already composing a message to Jeff’s when I remember this note in the Yammex manual:

No sound? The YAMMEX XXL sound expander only creates a tone when you call up a sound from the V3 folder in your keyboard’s display. Just connecting it to your keyboard is not enough.

They aren’t kidding! I select a voice through the MODX Zone Master screen and suddenly the MIDI light starts flashing and Yammex starts talking. Delete the message to Jeff’s.

One other note from the manual is helpful during bring up:

Testing MIDI connections and settings. After connecting your MIDI cable and making sure your MIDI settings are correct, select a V3 User Voice. The MIDI LED on the YAMMEX XXL should now blink with every keystroke.

I find this behavior to be a dubious design decision. The purpose of a MIDI light is to indicate MIDI reception under any condition. While troubleshooting, I connected the Yammex THRU port to MIDI-OX on a PC and verified MIDI operation. Most of V3 customers will not be that savvy…

I’ve just begun auditioning sounds and already I’m pleased. I like and prefer the Bösendorfer Imperial 290 (Vienna) over the Steinway Model D (Hamburg). I fell in love with Bösendorfer when I first touched one in 1980. The electric pianos are good although too clean and polite. The organ samples are damned good. There are two flavors: No Leslie and Leslie sampled in. Sans-Leslie voices are meant to be dirtied up by an external pedal. I’ll try the Electro-Harmonix Lester K for spin and throw some overdrive on the EPs, too.

I like the Oberheim pads — another love. The classical strings are solid. That’s as far as I’ve gotten into the sound set. I’m looking forward to hearing the rest.

As to the supplied USB flash drive, the previous customer zorched the factory VCE files. I found an X6A file instead which I recognize as a Yamaha MOXF dump file. I guess the previous customer tried Yammex with MOXF and was disappointed. Fortunately, V3 Sound provide the Genos/PSR VCE files on their Web site. The supplied drive is only 64MB. [Not really a complaint.]

Experiments to come? Once I get my faves down to 8, 16 voices or so, I’ll configure the Arturia Keylab Essential. The extra knobs and sliders will come in handy. Also, I will whip up a simplified MIDI Designer template for the Yammex. The existing templates are comprehensive — yet overwhelming. I’m thinking about a UI similar to Korg Module. Those Korg folks are definitely on to something. Simplicity is king. MIDI Designer (with StreamByter) on iPad should give me splits and layers — maybe even a wireless Bluetooth interface to Yammex? Finally, Dream multi-FX.

Copyright © 2022 Paul J. Drongowski

“P” is for “piano”: Yamaha P-S500 digital piano

While we’re distracted with “CK”, “AN”, and whatnot, Yamaha sneaks out a new P-series digital piano in Europe: the Yamaha P-S500.

Natch, you can read all about the P-S500 at Yamaha’s European web site. Physically, it’s a minimalist slab that’s designed primarily for the home or small studio market segments. Cost is about 2,100 Euro and I would expect it to retail for about $2000 USD in the States.

Yamaha P-S500 digital piano

Basic features [courtesy of Yamaha] are:

  • Compatible with Smart Pianist app installed to a smart device
  • Stream Lights feature helps you perform even if you can’t read music notation
  • Enjoy playing along with the 403 preset Songs, covering a wide range of genres from pop music to classical music
  • Audio To Score function converts your favorite audio songs into piano accompaniment scores
  • Authentic Yamaha CFX & Bösendorfer Imperial concert grand piano Voices
  • Virtual Resonance Modeling (VRM)
  • 88-note weighted GHS keyboard
  • Huge variety of 660 high-quality instrument Voices, including Super Articulation Voices
  • Built-in Auto Accompaniment features with 370 Styles
  • Microphone input and automatic Vocal Harmony

Auto-accompaniment, styles, Super Articulation voices? We’ve seen these features in the DGX series, notably, the most recent DGX-670 model. The table below compares the P-S500 against the DGX-670. The DGX-670, by the way, goes for considerably less dough: $850 USD.

                DGX-670           P-S500 
----------------- ---------------------------------
Main piano: Yamaha CFX CFX, Bösendorfer Imperial
VRM: Yes Yes
Key-off sound: Yes Yes
Action: GHS GHS
Piano Room: Yes Yes
PB wheel: Yes No
Dual/layer: Yes Yes
Split: Yes Yes
USB audio: Play/record Play/record
Bluetooth: Yes Not built-in (optional)
Amplification: 2 x 6W 2 x (20W + 6W)
Speakers: 2 x (12cm + 5cm) 2 x (12cm x 6cm oval+2.5cm dome)
Display: 480x272 color 80x16 mono LCD
Weight 47.2 pounds 48.1 pounds

Here’s the decoder ring for Yamaha acronyms: Virtual Resonance Modeling (VRM), Graded Hammer Standard (GHS), Super Articulation (SA), Cool (velocity switched), Live (stereo), Organ Flute (drawbar organ).

The P-S500 looks to be the upscale, uptown sibling of the DGX-670. At 48 pounds, I don’t think you’ll want to schlep the P-S500 out of the house very often. In terms of styles and voices, the P-S500 is superior:

                          DGX-670  P-S500 
------- ------
Total voices 601 660
VRM voices 9 13
SA voices 49 111
Natural voices 11 25
Sweet voices 26 27
Cool voices 53 47
Live voices 68 58
Organ Flute voices 0 29
Total styles 263 370
Pro styles 215 328
Session styles 19 25
Free Play styles 0 3
Pianist styles 29 13
Drum Kits 29 29

The P-S500 factory voice set includes many of my favorites. If you’re looking for a more than decent, mid-level keyboard with auto-accompaniment and a graded hammer keyboard, the P-S500 is worth a look. Versus a mid-level arranger keyboard, you’re still giving up a pitch bend wheel, multi-pads, style control buttons, MIDI record/edit, etc. If you just want to play and have a good piano experience, I’d go with the P-S500 in a heartbeat. (The DGX-670 is no slouch, either.)

There are many other differences that I’ve glossed over. So, if you’re trying to decide between DGX-670, an arranger or the P-S500, be sure to dig into the manuals and data list files. Yamaha doesn’t always make it easy to compare, especially as to your specific musical goals and use cases.

One enormous difference needs to be emphasized, however. The P-S500 front panel is utterly minimalist. If you want to exploit the P-S500 to its fullest, you must use the P-S500 with the Yamaha Smart Pianist app on a tablet (Apple or Android). In this respect, the P-S500 is more like the CSP series of digital pianos for the home. It’s like a CSP without the furniture. The CSP models have enhanced GH3X or NWX keybeds which improve the piano playing experience. Given that the Smart Pianist is almost a necessity, it’s kind of weird (cheap) to omit built-in Bluetooth.

Yamaha are certainly giving us choices!

A final, electronics nerd comment. While studying the internal design of current arranger, synth and digital piano products, the designs often seem like a deconstructed tablet connected to a keybed, tone generator and MIDI/USB interface. The digital electronics are remarkably similar. With the P-S500 and the CSP series, it’s like Yamaha said “Aw, the heck with it” and moved functionality out of the piano (arranger, synth) chassis into a stock, commercial tablet like iPad or Google Pixel tablet. I don’t think we have seen the end of this approach to instrument design…

Other reviews and comments about digital pianos:

Copyright © 2022 Paul J. Drongowski

Out Of The Shadows

I’ve been working on backing and lead instruments for the classic Del Shannon song “Keep Searchin'”.

Yamaha Genos™ is made for this tune. First off, its “ShadowedPop” style is the perfect fit for that old 1950s rock’n’roll vibe. It has just the right amount of swing and attitude.

Next, Genos has very good electric guitars for lead. Want clean Tele or Strat? Genos has them. Genos also has a suite of effects to obtain a complete, authentic guitar tone.

Yamaha arranger styles have “One Touch Settings” which are mini-registrations. Hit an OTS button and Genos will both change song section and bring up an appropriate voice. The Genos “ShadowedPop” style has two OTS mini-registrations that are worth deconstructing to see how the Yamaha sound designers got their Shadows guitar tone: “60sShadowLead” and “ShadowedGuitar”.

Of course, the “shadow” in all of these voice and style names refer to Hank Marvin and The Shadows — one of, or perhaps, THE iconic 1950’s guitar band and sound. The Shadows’ treatment felt absolutely right for the Del Shannon cover. Hank Marvin was perhaps the first English artist to pick up a Fender Strat, usually putting it through a Vox amp.

The PSR “ShadowedGuitar” voice goes back four or five years and is a standard factory preset. If your Yamaha arranger does not have “ShadowedGuitar”, choose a clean, 1960’s vintage guitar preset voice. Change the insert effect to Tempo Echo and set the insert effect send level to 30. Change the effect parameters to:

 Param#  Parameter name       Value 
------ ------------------- ------
1 Delay Time 8th
2 Feedback Level +28
3 Feedback High Damp 1.0
4 L/R Diffusion +14ms
5 Lag 0ms
10 Dry/Wet D34>W
13 EQ Low Frequency 500Hz
14 EQ Low Gain 0dB
15 EQ High Frequency 4.0kHz
16 EQ High Gain 0dB

Reverb is a big part of the 50’s vibe and you’ll need gobs of it on the guitar. Select a hall reverb and set the reverb send level to at least 50. If your arranger has it, I recommend the “Real Medium Hall+” preset. It’s one of Yamaha’s best reverbs, in my opinion.

Only Genos has the “60sShadowLead” voice voice. Fortunately, it’s easy to add a close sound-alike to your instrument. Start with “ShadowedGuitar” or a clean, 1960’s vintage guitar preset. Get into the mixer (or DSP effect page) and change the insert effect to Multi FX Vintage Echo and set the insert effect send level to 127 (if necessary). Then change the effect parameters to:

 Param#  Parameter name       Value 
------ ------------------- ------
1 Comp Sustain 2.9
2 Wah Switch Off
3 Wah Pedal 0
4 Dist Switch Clean
5 Dist Drive 5.0
6 Dist EQ Mid Boost
7 Dist Tone 3.5
8 Dist Presence 4.3
9 Output 110
11 Speaker Type Twin
12 LFO Speed 2.103Hz
13 Phaser Switch Off
14 Delay Switch Delay St
15 Delay Control 60
16 Delay Time 33

We met the Multi FX algorithm once before. This algorithm is like a virtual guitar pedal board:

Compressor -->  Wah --> Distortion --> Phaser --> Delay --> Spkr Sim 

The above parameter values dial in The Shadows’ guitar tone.

You’ll need gobs of reverb, again, to complete the scene. Choose the “Real Medium Hall+” preset and set the reverb send to at least 40.

The “60sShadowLead” OTS also configures the chorus system effect. Having listened to the overall tone with and without chorus, this step is optional. (Possibly some other style part may be affected by this change or a change to any other system-level effect including reverb.) Change the chorus type to “Celeste 1” and set the chorus send level to 12. 12 is not especially high, so you can see why this last step is optional; it’s just a little sweetener.

You might consider changing the chorus effect to tremolo (e.g., “E-Piano Tremolo”). Guitarists in the 50s and 60s didn’t have guitar pedals. (Sorry, Edge.) So, folks relied on guitar amp spring reverb and tremolo (often mislabeled “vibrato”) to get space-y effects. I still have the sound of an Ampeg Gemini going through my head. 😎

Select the “E-Piano Tremolo” effect preset, increase the AM Depth to max, and set the chorus send level to 127:

 Param#  Parameter name       Value 
------ ------------------- ------
1 LFO Frequency 5.38Hz
2 AM Depth 127
3 PM Depth 0
6 EQ Low Frequency 500Hz
7 EQ Low Gain 0dB
8 EQ High Frequency 4.0kHz
9 EQ High Gain 0dB
11 EQ Mid Frequency 2.0kHz
12 EQ Mid Gain 0.0dB
13 EQ Mid Width 1.0
14 LFO Phase Difference +39deg
15 Input Mode Mono
Return Level 127

You’re looking for that deep, “Spaghetti Western”, Ennio Morricone effect. Play the lead line an octave down. Have fun!

The EQ parameters in the tremolo algorithm make this a good guitar tone mangler — swept mid EQ with Q (width)! Mid boost or cut is right at hand.

Here are short demos (MP3) on Genos with tremolo and without tremolo. Yamaha Montage and MODX have the same effect algorithms, so you should be able to apply the same techniques on those instruments, too.

Links to a few other posts about chasing tone on Yamaha gear:

Copyright © 2022 Paul J. Drongowski

STEP EDIT → Chord Looper

Yamaha Genos and PSR-SX900 arranger workstations have a feature called “Chord Looper”. Chord Looper records your left hand chords and saves them in a memory slot. (8 slots per Chord Looper bank.) Once recorded and saved, you can play back the chord progression and play over the changes. Neat.

Obviously, one way to enter a chord progression is to play it in. Let’s say, that the chord progression is long and has jazz chords like the Coltrane changes (AKA “Giant Steps”). These changes are notoriously difficult to solo over because the changes come fast, furious, and in three different scales! On top of musical difficulty, Chord Looper does not allow edits. Make a mistake and you need to record the entire sequence over again. So, folks are looking for ways to create and edit Chord Looper progressions.

Chord Looper CLD files

Fortunately, Chord Looper let’s you import and export individual chord progressions (i.e., a slot). Chord Looper exports a progression into a file with the CLD extension. Henceforth, I will call these files “CLD files”.

A CLD file is actually a Type 0 Standard MIDI File (SMF) in disguise. You can examine (or possibly edit/create) a CLD file by renaming the extension to “MID”. Once renamed, conventional software tools (Cubase, SONAR, etc.) will recognize the renamed CLD file as a Type 0 SMF and import it.

A CLD file recorded by Chord Looper is very simple inside. It contains a sequence of Yamaha XF chord events, one event for each chord change. Here are the metadata events for a simple progression (C-Am-F-G) played in by hand:

Chord Symbol   1.1.1.0     Metadata    Chord:  C/C 
Chord Symbol 1.4.4.112 Metadata Chord: Am/A
Chord Symbol 3.1.1.34 Metadata Chord: F/F
Chord Symbol 4.1.1.40 Metadata Chord: G/G

Each event specifies the chord root, chord type and alternate root bass. That’s it! A CLD file does not contain any other kind of event (notes, controller, time signature, tempo, etc.)

Each chord is a Yamaha XF Metadata chord event. The event time is the time of the chord event, i.e., when the player changed the chord and Genos recognized the chord. In the example above, the chord was changed at the beginning of each measure (sometimes a little early, sometimes a little late).

Chord STEP EDIT to CLD

Folks on the PSR Tutorial Forum have found a few ways of creating CLD files using existing software tools. Flip over to the forums and check out some of the Chord Looper threads.

Here’s a new method!

Yamaha arrangers have long supported a basic MIDI sequencer and editor. Like many software editors, the Yamaha sequencer supports step edit, letting you enter notes, control events, etc. with precise timing. One better, the Yamaha sequencer supports Chord STEP EDIT through which one can easily enter a chord sequence from a lead sheet into a separate chord track.

Thus, it’s possible to enter a chord progression easily using STEP EDIT and save the progression in a Type 0 Standard MIDI File. Initially, the progression is stored in a special part (Cds chunk) within the SMF. DAWs and so forth ignore the special proprietary data and typically delete it when writing the file back to MIDI. This kind of Chord STEP EDIT data does not contain the Yamaha XF chord events needed by Chord Looper. If you import one of these files into Chord Looper, Chord Looper comes up empty.

Once you EXPAND the step edit chord sequence, however, the expansion process creates Yamaha XF chord metadata events along with the notes and other MIDI events for the accompaniment parts. That’s the normal compositional process anyway — step edit the chord part, expand the chord part using the selected style, and save the expanded file as a Standard MIDI File.

One fly in the ointment. The Yamaha arranger software hides file extensions. This streamlines user workflow, but it inhibits interesting experiments! So, save the expanded MIDI file to a USB flash drive, take the flash drive to a personal computer, and rename the expanded SMF. Replace the “MID” extension with “CLD”. Copy the CLD file to the flash drive and reinsert the flash drive in the arranger workstation.

Import the newly renamed CLD file into Chord Looper. Voila! Chord Looper scans the file and produces a chord progression using the embedded Yamaha XF chord events. If you export the progression as a different CLD file, the exported data includes all of the other MIDI data, e.g., notes, etc. [I wouldn’t count on Chord Looper always doing this; software subject to change by Yamaha.)

Bottom line: If you pine to create and edit Chord Looper progressions with precision, use Chord STEP EDIT to create the progression, expand the backing, save as a Standard MIDI File, replace the file extension with CLD, and import into Chord Looper. Of course, you need to rename the MID file to a CLD file using a personal computer, but that’s a small hassle. Give it a try!

I tested this procedure on Genos with the Coltrane changes. Once the progression was captured in Chord Looper, I could try different tempos and different styles. Those changes do come fast and furious indeed!

Copyright © 2022 Paul J. Drongowski