Category Archives: MODX

Patents: GEX, InfiniQ, DX7

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I apologize for not posting recently. I expended way too much energy on Yamaha Montage M. Don’t get me wrong, Montage M is a worthy subject and I gave it careful consideration as an 88-key piano solution for home. In the end, I decided to venture into Clavinova-land and have ordered a CSP-170. [That’s another story for another day.]

Gotta build energy for the GENOS2 launch in two weeks (November 15). 🙂

GEX keybed technology

I posted this short fresh take on the GEX keyboard technology at the Keyboard Corner forum. After learning more about the EM induction sensor approach, I felt the need to clarify.

The optical shutter sensing system is used in the older AvantGrand and SilentPiano instruments. The “Non-contact continuous detection electromagnetic induction sensor” is the latest Yamaha tech and will be delivered in the newer AvantGrand and SilentPiano models. GEX is derived from the EM induction sensor approach.

I’m still searching for information, but a recent Yamaha patent describes such a key articulation system. The key side has one or two coils of wire. The substrate (PCB) side has similar opposing coils. The circuitry senses flux direction, etc. on a key-by-key basis.

U.S. Patent 11,657,790 B2, Operation detection device for key operation of keyboard device, Kenichi NISHIDA, Harumichi HOTTA, Jun ISHII, May 23, 2023.

Yamaha’s latest patent is interesting because they want to measure “yaw” and “roll”, not just vertical “strike” distance. Couple this with their recent key/note articulation patents and you’ve got an “MPE” keyboard!

Quite possibly, they were not able to finish the keybed design and set up the manufacturing for these advanced designs. Thus, the m6 and m7 got FSX (for now). The Montage M team were probably ordered to “deliver or die in October 2023” by the suits. Concessions were made to meet schedule.

Sonuus InfiniQ position sensor

While investigating the GEX technology, I found the U.S. patent for the Sonuus InfiniQ position sensor. Sonuus deploy the InfiniQ sensor in their Voluum analogue effects pedal. The InfiniQ is based on electromagnetic induction, avoiding the usual potentiometer approach and its disadvantages.

U.S. Patent 8,933,314 B2, Musical effects devices, James Hastings Clark, Morag E. Clark, John M. McAuliffe, January 13, 2015.

I recommend reading the Sonuus patent because it is well-written — real English instead of the patent-ese written by American attorneys. The Sonuus patent provides useful background information about the applied science of electromagnetic induction.

Yamaha DX7 reverse engineered

I stumbled across a brilliant bit of DX7 reverse engineering by Ken Shirriff.

He created a composite die photograph of a decapsulated DX7 YM21280 OPS (operator) chip. Ken annotates and relates the die photo to U.S. Patent 4,554,857, explaining the operation of the DX7 OPS chip in detail. The YM21280 is driven by its brother, the YM21290 EGS (envelope) chip.

Quite frankly, this is fantastic work!

If you’re interested in how Yamaha implements FM (or FM-X) in hardware, you need to visit Ken’s pages and read the U.S. Patent on the DX7 internal design:

U.S. Patent 4,554,857, Electronic musical instrument capable of varying a tone synthesis operation algorithm, Tetsuo NISHIMOTO, November 26, 1985.

I also recommend the Yamaha DX7 Technical Analysis by ajxs.

Yamaha DX7 block diagram (U.S. Patent 4,554,857)

I will revisit Ken’s analysis when I have more energy. I fully expect, however, to see a modern day, scaled-up FM-X equivalent in the Yamaha SWP70. This — this! — is how Yamaha achieves 128 voice FM-X polyphony. Please keep this approach in mind when discussing what the SWP70 can do or what it can be extended to do. Montage/MODX FM-X ain’t code running on a RISC…

Copyright © 2023 Paul J. Drongowski

Montage M8x review: Yes, I played one!

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Grabbed this week’s music binder and tried out a Yamaha Montage M8x for an hour. Overall, a good experience. The demo M8x was set up at Guitar Center with two Yamaha HS-8 monitors.

Here are my observations…

Pianos galore

I dove into the pianos first, because acoustic piano (AP) sounds and practice are my primary need at this time.

The CFX and Bösendorfer Imperial sounded good and clear. In fact, everything sounded good and clear. Might be due to the HS-8s being brighter than my studio monitors; might be due to Pure Audio Circuit 2 (PAC 2).

The Hamburg Grand — a Steinway, presumably — is brighter than I expected. It should cut through a band mix, no prob. Definitely a high-quality addition to the Montage range.

I briefly checked out the Nashville C3, the C7, and the Felt pianos just to verify that they are there. The audio definitely had more clarity than MODX or even Genos (gen 1).

I dove into the CFX grand programming. Yep, one part with 18 elements.

Yet, with all the acoustic pianos, something was missing. Don’t get me wrong, Montage M acoustic pianos will be great for the stage, especially if the pianist is competing with guitar, drum and/or other general cacophony. The APs don’t have the depth or dynamism that I hear in Clavinova, for example. Maybe it’s the missing VRM, Grand Expression Modeling, whatever. People still may choose to record exposed piano solos using virtual instruments or the real deal itself.

The user interface

If you’ve been using either Montage or MODX, be ready for change. It took a little while to come to grips with the new user interface (UI). I managed to navigate through AWM2 element programming and effects without too much trouble. However, old habits must change!

The main screen is clear and responsive enough. Much has been said about the touch screen response — didn’t bother me. I like the button matrix for voice selection. Very easy to use and I quickly depended upon it. Performance search is different and it required some trial, error and time before I became accustomed to it.

The sub display is beautifully clear and readible. Some people have been grumbling about pixel jaggies. Again, didn’t bother me. I’ll take that large display any day over the slim sub display on Genos. The large subdisplay allows BIG numbers and parameter names — good for stage work.

UI-wise, I’m on board with Montage M although one hour is not really enough to get the full sense of workflow.

Electric pianos

Montage M has new electric piano (EP) waveforms and performances. They beat everything I’ve played on MODX, Clavinova and Genos. I’m jealous and can’t wait to get my hands on these waveforms and voices on a ligher weight, more affordable gig instrument. My homework shows anywhere from 8 to 12 strike levels. Definitely top-notch.

Rotary speaker sim

I tried diving into the drawbar organs through the voice category buttons. Not the best idea as I kept running into old familier organ Performances. I dialed in a few Performance, heard swirlies and mentally shrieked, “No, no, this can’t be happening again!”

I suggest starting out in the “Best of Montage M” Live Set. Or, do a little menu diving to verify that you are hearing the new VCM rotary speaker sim. Familiar, old organ Performances continue to use the old ROTARY SPEAKER 1 and ROTARY SPEAKER 2 effect types.

Keep your eyes open and look for a big VCM rotary icon. The VCM icon pops up on the sub display as well as effect edit screens. For some reason, Montage M treats the VCM rotary sim as a separate effect block. You won’t necessarily find it in the Insert A or Insert B slots.

Once found though, you’ll be happy. Well, at least happier than Montage/MODX. I’d like it better if rotary speed could be switched by a pedal, right out of the box. It’s a long reach to the MOD wheel or ribbon controller on the 88.

GEX keyboard

AP and EP with GEX is satisfying. I would not call GEX “light.” The key weight felt similar to the GH3/GH3X — and left my hands somewhat tired, too. Crazy me, NWX or GrandTouch (wood, linear grading) remain at the top of my list.

Playing drawbar organ on GEX is a chore, but you probably guessed that already. Palm swipes are not fun. I could say the same for strings, woodwinds and the other non-piano voices which I auditioned. The lack of PAT on M6/M7 is a genuinely awkward subject for synthesists, organists, or people like me who spend a lot of gig time playing non-piano voices.

AN-X Performances

I didn’t invest a huge amount of time trying AN-X. I browsed the AN-X Performances in the “Best of Montage M” Live Set. The AN-X sound reminds me of the my old AN-200 groove box and why I love it. Maybe it’s just the patches that I tried, but the sound connected me to AN/VA back in the day — reminiscent of the Sequential Circuit Prophet upon which AN was modelled.

I would be very pleased to own a Montage M with AN-X. I’m more excited about AN-X, now, than FM-X. The AN-X Performances have a certain dynamism.

The F-word

At this point, I don’t give a fig. GC had classic rock on the PA and how are you going to listen for anything quiet and subtle during “Smoke on the Water”? So, all I can say is, “Make your choices.”

Where does this leave me?

This time around, I’m interested in getting the best digital piano experience that I can — for the money. I want good value and I’m not willing to spring for any old expensive 88.

The Yamaha Montage M series sound terrific. In person, they look terrific. Whatever 88 I buy will sit in our dining room. Therefore, visual aesthetics are important. As much as I like the look of Montage M8x and P-515 (P-525), a furniture digital piano is more appropriate for the dining room. All the dancing lights would entertain guests, but… Might as well rule out CP88, too, on aesthetic grounds.

The other issue is the GEX keyboard. It’s a good keybed, but I find the NWX to be more comfortable for extended play. I may be in a bit of trouble here as Yamaha seems to be phasing out NWX. The P-515 successor, P-525, for example, has a GrandTouch-S (wood) keybed.

As to sound, the Montage M series acoustic and electric pianos are damned good. I love the variety. (Same could be said of Stage CP since it’s roughly the same line-up.) The VCM rotary speaker sim is very welcome and long overdue. The acoustic piano sounds, however, are missing VRM and I don’t want to compromise. VRM definitely enriches the digital sound especially when you’re playing solo or practicing.

Not that it’s a GEX thing specifically, but I have real concerns about playing non-piano voices on a so-called piano action keybed. I play organ, strings, woodwinds, etc. daily on MODX (el-cheapo semi-weighted action) and Genos (FSX). FSX is still a decent compromise across a wide spectrum of voices. I think synth players will be happier with M6/M7. Even Yamaha pitch M8x as “M8x for the pianist.”

At this point, I will probably find a landing place in Clavinova-land. That doesn’t mean I dislike the Montage M series. On the contrary, I can’t wait for “MOM” or “MOMO”! My MODX6 is going to wear out eventually…

GENOS2 incoming, November

It’s official.

Still awaiting SEQTRAK™

Copyright © Paul J. Drongowski

Montage M APs and EPs

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I’m starting to compare Yamaha Montage M waveforms against Montage/MODX waveforms.

Montage M acoustic (AP) and electric pianos (EP) got a very big bump! The table below has my raw, working notes.

    Montage       Montage M      Strike levels
    -----------   -----------    ---------------
    CF3 Stretch   CF3 Stretch    3       Soft/Med/Hard
    CF3 Flat      CF3 Flat       3       Soft/Med/Hard
    S6 Stretch    S6 Stretch     4       pp/mp/mf/ff
    S6 Flat       S6 Flat        4       pp/mp/mf/ff
    CFX           CFX            9    
    S700          S700           3       pp/mf/ff
    Upright       Upright        3       mp/f/ff
                  C7             5       pp/mp/mf/f/ff
                  Nashville C3   5       p/mp/mf/f/ff
                  Imperial       8    
                  Hamburg Grand  10    
                  U1 Upright     5       p/mp/mf/f/ff
                  Felt Piano     4       p/mp/mf/f
    CP70          CP70           1 
    CP80          CP80           5       p/mp/mf/f/ff
                  CP80-2 Attack  4       mp/mf/f/ff
    
    EP1           EP1            3       Soft/Med/Hard
    EP2           EP2            2       Soft/Hard
    EP3           EP3            2       Soft/Hard
    EP4           EP4            5       p/mp/mf/f/ff

    Rd Soft       Rd Soft        5       p/mp/mf/f/ff
    Rd Hard       Rd Hard        4       mp/mf/f/ff
    Rd73          Rd73           5       p/mp/mf/f/ff
    Rd78          Rd78           5       p/mp/mf/f/ff
    Wr1           Wr1            3       Soft/Med/Hard
    Wr2           Wr2            4       p/mf/f/ff
    Wr3           Wr3            5       p/mp/mf/f/ff

                  67Rd           9    
                  73Rd Studio    8    
                  74Rd Stage     10    
                  78Rd Studio    10    
                  Wr Warm        12    
                  Wr Wide        10

The Hamburg Grand is nicely detailed with 10 velocity levels. Given the change in waveform name, the CFX might (emphasis, “might”) have been refreshed. We should ask Yamaha about that. Yamaha are making good use of the new 128 element per part capability.

I can verify that the U1 Upright, Nashville C3 and Felt pianos in the character piano give-away are full fat (i.e., same number of strike levels as Montage M).

The Yamaha talking points don’t mention it much, but there are new Rhodes and Wurlitzer waveforms. And, they are beautifully detailed. There’s a new CP80, too.

I didn’t spot any changes in sampled DX, Clav, drawbar, combo, and pipe organ waveforms. Why update sampled DX when Montage has FM-X? Duh.

This is all pretty spiffy for AP and EP players. I hope some of these waveforms trickle into Genos2 and the Clavinova digital pianos. I’d love to see that Hamburg Grand in the (much anticipated) CLP-800 series. Throw in a few of the new EPs along with the Hamburg and Yamaha will tempt a lot of upgrades.

Given the range of pianos in Montage M, one wonders about the future of Stage CP (mark 2). Perhaps Stage CP will adopt technology from the Clavinova line — Virtual Resonance Modeling (VRM), in particular?

Copyright © 2023 Paul J. Drongowski

Ridin’ the E-bus

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Jan was kind enough to send me his thoughts about the “M” in “Montage M”. He hears evidence of MPE — MIDI Polyphonic Expression — in at least one of the audio examples posted by Yamaha.

Well, my ears probably aren’t as finely tuned as his, but his conjecture (“M” for “MPE”) makes sense. By now, you’ve probably seen the list of new Cubase 13 features including MIDI 2.0. Cubase has supported MPE for quite some time, and oddly, Yamaha synths (when used as external controllers) do not support MPE! Thus, it’s time for Montage M and future Yamaha synths to catch up with their Steinberg cousins.

MIDI 2.0 has a number of MPE-like features to control individual notes, e.g., pitch bend individual notes instead of all active notes in a MIDI channel. Some analysts regard MPE as a “bridge” to MIDI 2.0 with MIDI 2.0 as the final destination.

I was happy to leave it there, but my mind wandered down to the circuit level. In particular, I wondered if Yamaha’s internal controller design is up to the task of MPE and MIDI 2.0. MIDI 2.0, after all, increases controller resolution up to 32 bits and note velocity up to 16 bits. That’s quite a leap from MIDI 1.x 7-bit resolution in both cases (modulo the few situations where a few more bits are set aside).

Web discussions usually focus on synthesis and ignore control implementation. With the change to MIDI 2.0, suddenly the control infrastructure requires examination, too, and possibly an update. (“We cannot develop the current MONTAGE any further.”)

So, how are key, knob, slider and button gestures detected and communicated in a mid- to upper-tier Yamaha synth/arranger? By mid- to upper-tier, I mean those instruments which incorporate an SWP70 (SWP50/51) tone generator IC.

In the case of Montage (and MODX), keys, knobs, sliders and buttons are scanned by dedicated microcontrollers. The Montage has three microcontrollers:

  • E-PNS4: 40MHz ARM Cortex-M3 32-bit single core microcontroller (MB9AF131NBPQC)
  • E-VKS: 40MHz ARM Cortex-M3 32-bit single core microcontroller (MB9AF131KAPMC)
  • E-PNS3: 10MHz Toshiba 8-bit microcontroller (TMP89FW24AFG-7KH4)

E-PNS4 scans knobs (24 lines, 12-bit ADC) and the left/right front panel switches. E-PNS3 scans the sliders (8 lines, 10-bit ADC). E-VKS scans the keyboard.

The three microcontrollers and the Master SWP70 tone generator are connected by an I2C bus which Yamaha calls the “E-bus”. The three microcontrollers send events directly to the tone generator. The event message stream does not pass through the ARM host CPU (running Linux). Latency is minimized thanks to the direct path. And, as far as internal synthesis is concerned, the events are not converted nor passed through conventional MIDI links.

The ARM host CPU gets its E-bus messages from the Master SWP70. The Master SWP70 generates an E-bus interrupt request (SWP_EIRQN) when message data is available.

The best way to describe I2C is “poor man’s Ethernet.” I2C is serial and requires only three wires: clock (E-SCL), data (E-SDA) and reset (E-IC). I2C can send multiple bytes in a single bus transaction.

I found three European patents that describe the E-bus: EP1235202A2, EP1235202A3, EP1235202B1. Basically, Yamaha (re)filed three separate patents with the European Patent Office in order to extend the life of the IP. The patent title is “Bi-directional serial bus system for electronic musical instrument,” and the inventors are Shinya Sakurada, Akira Iizuka, Harumichi Hotta, Shizuhiko Kawai, Kozo Tokuda, Masaki Kudo. The first patent was published August 28, 2002.

There are two message data formats:

  • Standard data: 5 bytes in length (3 data bytes)
  • Extended data: 17 bytes in length (15 data bytes)

Generally, events are communicated in the 5-byte, standard data format. The following table (“FIG. 8”) is taken from the patent. It summarizes the E-bus events.

You probably picked up on the similarity to standard MIDI 1.x events. There aren’t any channels, however. The low-order nibble of the first data byte provides additional event-specific information (port number or 4 additional velocity bits).

This analysis opens a can of worms. Will Montage M scan analog signals at 10-bits? 12-bits? Can the existing E-bus protocol communicate values measured at higher resolution? Can the stock SWP70 tone generator at the receiving end of the event stream interpret and respond to higher resolution events? How will low resolution values be up-scaled to 32 bits? Is that even required by the MIDI 2.0 spec?

I guess we’re gonna find out! We should all thank the engineers who took on this rather unglamorous task.

Copyright © 2023 Paul J. Drongowski

“M” for multi-core? Multi-touch?

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One phrase from the Sayonara Montage announcement sticks in my mind: “As much as we would have liked to, we cannot develop the current MONTAGE any further.”

So, how might the current Montage platform be improved?

SWP70 Standard Wave Processor

The current Montage platform has two SWP70 Standard Wave Processors arranged in a so-called — and somewhat offensively named — master/slave configuration. This tandem has been the mainstay of top-end Yamaha synth and arranger keyboards since the early days of Advanced Wave Memory (AWM). The pair are interconnected by a dedicated, addressable 16-bit data bus (ABUS).

The SWP70 is highly tailored for AWM2 and FM-X synthesis. The tone generation channels are dedicated hardware feeding an internal mixing/effects complex. Digital audio is conveyed on- and off-chip via I2S format serial audio streams. The SWP70 can support up to eight input and eight output I2S streams.

I doubt if this microarchitecture will change much. It seems to be entrenched in the Yamaha engineering DNA. There are two possibilities for improvement.

First, the current Master SWP70 uses only one of its two available WAVE SDRAM memory channels. The WAVE SDRAM is where the SWP70 caches samples fetched from ONFI 4.0 NAND flash waveform memory. The Master SWP70 handles AWM2 synthesis alone. (The second SWP70 handles FM-X synthesis and does not have any wave-related memory.) The unused WAVE SRAM channel is marked “Not Installed” and “For Future Model”. Most likely, the second channel would be used to increase the polyphony spec.

Next, Yamaha could re-spin the SWP70, perhaps producing an SWP71 variant. There is precedent for a re-spin. The Motif ES is based on the SWP50 and its successor, the Motif XS, is based on the SWP51. What Yamaha adds to silicon is anybody’s guess. 😉

ARM host processor

The current Montage host processor runs Linux and has many duties — none of which perform synthesis. The host processor is a Texas Instruments AM3352BZCZ80 processor operating at 800MHz.

The AM3352 Texas Instruments Sitara processor has a spec which is nearly quaint by today’s standards:

  • ARM Cortex-A8 32-bit RISC processor
    • Single core
    • NEON SIMD coprocessor
    • 13-stage superscalar pipeline
  • PowerVR SGX Graphics Accelerator

The modest 800MHz clock lets Yamaha hit the desired power/heat operating point, thereby avoiding active cooling.

The key limitation that catches my eye is “single core”. This means that only one computational thread can run at any given time. Yamaha engineers must positively envy Korg’s use of Raspberry Pi 3 (Broadcom BCM2837):

  • Quad-core ARM Cortex-A53 (ARM V8 ISA)
  • 2 wide issue, in-order pipelines
  • 1.2GHz clock

With RPi3, one gives up superscalar for simpler in-order pipelines, but you do get to run four threads simultaneously.

I’m sure Yamaha engineers have studied newer, available embedded ARM processors for Montage M. Does the “M” stand for multi-core?

Guesses, anyone?

If Montage M goes multi-core, this opens the possibility of software instruments (and effects) running on one or more of the host processor cores. Current Yamaha synths allow expansion through sample libraries only, while competitors support the addition of new engines. Kind of ironic considering that its captive Steinberg developed VST plug-ins in 1996.

Even the lowly Korg NTS-1 supports the development and addition of new oscillator and effect models through the logue SDK (API) and librarian.

So, readers of Yamaha Musicians Forum, does the prospect of software plug-ins get Saul’s pulse racing, again? 🙂

The new choice for host processor and its embedded display controller may also give Montage M a new multi-touch display. Could “M” also stand for “multi-touch”. Using the Montage touch screen as an X-Y pad always seemed like a no-brainer… Then there are new possibilities for multi-touch articulation.

It’s worth noting that the new Montage M platform may leave MODX+ in the dust. I don’t expect much functional trickle-down from Montage M to MODX+. The MODX+ platform is riding the profit-pumping, low-cost technology curve and won’t be able to keep up with its jacked brother.

Copyright © 2023 Paul J. Drongowski

Montage M preseason

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Forum folks are picking over the Yamaha Montage M leak photos, so no need to duplicate that here! Wish we spent as much attention on world peace. 🙂

Many comments — my own included — are reading personal hopes and dreams into the new boxen. My own special hope is a decent keybed action for piano practice. I’m seriously looking for a practice digital piano in order to work out arrangements and get ready for Sundays when I need to sit down at the Petrof acoustic grand. That’s why my own guess of “X” for “escapement” is an act of wishful thinking. Dare I hope for Virtual Resonance Modeling?

The time period between leak and reality is much like football preseason. Right now, it’s the perfect season. Your team looks pretty good, no major injuries, and “Superbowl here we come!” Then, like a perennial Browns fan, your hope is slowly extinguished week by week. [Well, that was bleak.]

When I saw Yamaha’s parting gift — the character pianos — I thought, “We’ll be seeing these, again, shortly.” So, I won’t be surprised to find CFX, Bösendorfer, U1 Felt, U1 upright, Nashville C3 and friends in Montage M. Even if the pianos aren’t factory installed, there’s always expansion flash memory. Could I hope for the CK pipe organs? Same answer.

The most striking features in those horribly blurry, low-rez, leak pictures are the textured keys, six new knobs below the main touch screen and a new subdisplay above the bank of eight knobs and eight sliders. The subdisplay is a feature borrowed from Genos. On Genos, it’s called the “Live Control” subdisplay. Instead of fixing internal parameters to TONE, EQ/FX and ARP/Motion FX, the user can assign internal parameters to knob/slider groups and switch between groups in real-time. The subdisplay tracks current parameter values, updates and so forth.

Of course, the big question is “What are the internal engines?” AWM2 and FM-X are givens. Wishes include AN-X and the YC stage tonewheel organ. More engines means more parameters, so that Live Control subdisplay seems like a really good ideaâ„¢.

The more I contemplate functional details, a larger question arises: “How will Yamaha keep the Montage M, Stage CP and Stage YC in their own lanes?” Yamaha need to make Montage M inviting while keeping the CP and YC specialists special. I think Montage M will follow the Montage line and remain a jack of all trades, integrating multiple engines into motion control, sequencing and studio audio/MIDI channels. Sound designers and players who need a generalist keyboard will still turn to Montage M.

Organists and pianists will turn to Stage YC and Stage CP. The simplified, focused user interfaces have proven successful — little or no menu-diving required. Yamaha have learned a lot after introducing the Stage CPs at January NAMM 2019. [The Stage CP tech is even older; check dates in the manuals.] The Stage YC interface is an improvement on the Stage CP. Hopefully, some of this experience has trickled over to the Montage M.

Which brings me to my concluding question. Even if we see AN-X in Montage M, will we eventually see an AN-X specialist keyboard, a Stage AN? Montage M would need to fit AN-X into its generalist usage model and I don’t think that will satisfy analog purists/players. [How ’bout alternate MPE control, too?] I think there is an open lane for a control-studded Stage AN specialist.

Copyright © 2023 Paul J. Drongowski

Yamaha Montage M6, M7, M8X

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Is this the real life? Is this just fantasy?

Pictures of the new Montage M8X have surfaced on the Facebook. I thank the folks at Yamaha Musicians Forum and the Musicplayer Keyboard Corner for the pictures and off-the-cuff comments. I suggest reading the ongoing discussions at these fine and well-informed Web sites.

Montage M8X in da box

The names “Montage M6”, “Montage M7” and “Montage M8X” are also confirmed.

Montage M8X — Does “X” stand for “escapement”?

Astute forum members at The Keyboard Corner noted the textured keys on the 88 model (Montage M8X). This raised my hope that Yamaha put the Natural Wood, Graded Hammer (NW-GH) keybed into the new Montage M8X. I’m hoping that the “X” stands for “escapement.” Will it have the triple sensors like the CP88? Will it have Virtual Resonance Modeling (VRM)?

Montage M8X — 8 sliders and a simplified button matrix

Yamaha have my attention now and I will hold any decision on a piano for home until I see all of the details. At the premium price tier, I can be patient.

Let the kvetching commence! 🙂 I’m off to Saturday breakfast with the fam.

Copyright © 2023 Paul J. Drongowski

Yamaha VRM vs. VRM Lite

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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: Character Pianos

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As part of the Yamaha MONTAGE bon voyage, Blake announced the availability of a free MONTAGE expansion pack: Character Pianos. The pack contains three pianos: U1 Upright, Nashville C3 and Felt Piano. There are fifteen Performances based on the new pianos.

I really dug the Felt Piano from the get-go, so I had to get this for myself. One of the beauties of MONTAGE and MODX is the ability to share content between the two platforms. Let’s see what happens on MODX.

Installing a library – quick and dirty

Here is my quick and dirty guide to install an MODX library (expansion pack). Further details are described in the MODX Reference Manual.

If you’re looking for content, including the new Character Pianos, , browse the Yamaha USA shop. You will need a free account in order to download. Add a library to your cart and check out. Once you get a transaction confirmation, download the library from the “My Libraries” section of your account.

If you’re deciding how to use your expansion memory, here are the installed sizes of a few popular libraries:

    Library name        Size 
    ----------------   ------ 
    Bosendorfer        409MB 
    Chick Mark V       401MB 
    Montage_expanded   175MB 
    CS80               471MB 
    Character Pianos   140MB

Copy the new library (file extension X7L) to a USB flash drive. Oh, yeah, make sure the library file is unzipped!

In order to load a new library you need 1. sufficient free waveform space and 2. a free library slot. MODX allows up to eight libraries (library slots).

Check your waveform space!

To check free waveform space:

    Utility -> Contents -> Data utility -> Waveform
Display libraries and check number of slots

To display installed libraries and to check number of used library slots:

  Utility -> Contents -> Data utility -> Library
Load library file from USB flash drive

To install a new library (assuming free waveform space and library slots):

    Utility -> Contents -> Load
    Choose Content Type: Library File
    Tap the library file to load (X7L file extension)

To import a specific, new Performance from an installed library into
the User Bank:

    Utility -> Contents -> Library Import
    Touch Import to User Bank (moves Performances and Waveforms)

Don’t want to read? I recommend Yamaha Montage MODX FAQ 10 Install a Sound Library on Rudy’s Hobby Channel. It will show you the way.

So, what up?

The Felt Piano is truly nice and gentle. Of course, I’m now using it on everything whether it needs it or not. 🙂

MONTAGE/MODX Character Piano Performances

I like the Nashville C3 more than I care to admit. It should cut through a mix. The U1 Upright is OK, but I don’t have much need for it by itself.

Some of the Performances layer the C3 or U1 with the Felt. These combinations sound pretty darned useful as the Felt Piano adds depth and ambience while the C3 or U1 cuts through.

A word of caution, tho’. The “Felt Mono-SP Piano” Performance is possibly broken. It produces snap, crackle and pop as soon as it is selected before a single key is struck. Now, that ain’t right. I haven’t tried to troubleshoot the problem by deleting the library, re-installing and so forth. Hmmm. It is free and intended for MONTAGE, after all.

Update

Special thanks to Kevin at the YamahaSynth forum. He investigated the “Felt Mono-SP Piano” Performance and isolated the snap, crackle and pop to its vinyl record noise effect:

Edited: I played with the performance a bit and found the noise is there with the Superknob turned all the way to the left but goes away as the knob is turned to the right (clockwise). Going further into effects I found the noise is coming from the “digital turntable, old record” effect in the “B” slot. the noise goes away when that’s disabled. I guess that’s the way it was designed but I have to ask “why?”: sounds like a defect rather than “effect” in this case.

A few other punters thought it was a defect, too!


“Felt Mono-SP Piano” Digital turntable effect

Using the vinyl record effect is a cool notion by itself, but why does the effect persist into other performances when they are selected? That seems like inappropriate behavior, AKA a bug in handling the effect pipelines, maybe? I wonder if this is an unwanted side-effect of Seamless Sound Switching (SSS) where the synth engine keeps the previous Performance alive after a switch?

Copyright © 2023 Paul J. Drongowski

Montage: Thank you for playing!

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Splashed all over the Interwebs — Yamaha Montage is discontinued after a seven year run.

A tribute

I quite liked Montage from the moment I played it. I opted not to buy it because I need a light-weight gigging instrument and the 61 was simply too much to schlep and set up every week (and/or rehearsal). Thus, I was positively elated when Yamaha announced the MODX as the younger sibling which had all of the Montage sounds I was craving.

As a MODX player, I had the benefit of Yamaha’s new “platform” approach to product development and lifetime management. Instead of forcing customers to buy a new instrument every few years in order to get new features, Yamaha provided periodic updates to Montage. Because Montage and MODX share large amounts of code and content, I got the new stuff as it trickled over to MODX.

I also got the benefit of all the Montage usage tips, explanations and other content posted by Phil Clendennin and Blake Angelos. Thank you, fellows!

The parsing

And, now, everyone is parsing Blake’s announcement. 🙂

“As much as we would have liked to, we cannot develop the current MONTAGE any further.”

Yep, the current hardware platform has run its course. (Even more about the internal design here.)

There is huge expressed demand for a virtual analog engine. The AN-X trademark drove the feeding frenzy throwing chum in the water. For quite some time, I’ve maintained the argument that SWP70 alone is not enough to implement VA synthesis with multiple channels (polyphony). Yamaha tried grafting AN/VL into an AWM synth — the wonderful EX5 — and know the limitations of that approach. Plus, would a punter really be happy controlling VA through the MONTAGE front panel?

“And one more thing… the next generation MONTAGE synthesizer is coming in October.”

October is the important fact, here. If you’ve been reading my recent posts, you know I’m looking for an 88 at home in the studio. If the new ax has wonderful pianos and a decent 88 action, count me in.

Will the new synth bear the mark “MONTAGE”? After a lifetime of choosing variable names, I don’t really care what it’s called. 🙂 How does it play? How does it sound? What’s inside?

Wither MODX+? I think we will see, again, a major split between the MODX product line and the future MONTAGE line. Yamaha is going to monetize those new features (AN-X) and I expect MODX+ to be left behind. That’s marketing for ya.

A gift

“As a thank you we are providing a final set of content free of charge for all MONTAGE owners.” The pack includes three of the character pianos that were released for the YC/CP product lines: Yamaha U1 upright piano, Yamaha C3 grand piano and Felt Yamaha U1 upright piano. I love that felt piano!

I expect to see all of these pianos on the other side along with CFX and Bösendorfer Imperial. Pretty please, Yamaha, with all that extra DSP, may we have VRM, too?

The waiting

So, there you go.

As to the Interwebs, it will be groundhog day all over again as people churn the same bloomin’ rumors, half-truths and nonsense.

As to me, I was getting set to spring for an 88 digital piano. Maybe this is the kick I need to be patient? Yamaha have been rolling out new product like Christmas morn. October isn’t that far away, is it, Santa?

Copyright © Paul J. Drongowski