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?
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-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.
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.”
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.
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 idea™.
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.
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.
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.]
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.
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]
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)
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?
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.”
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?
It should go without saying — the Leslie rotary speaker sound is critical to getting a good drawbar organ sound.
The Montage/MODX and Genos/PSR product lines have two rotary speaker effects in common:
MODX effect name Genos effect name ---------------- ----------------- Rotary Speaker 1 ROTARY SPEAKER 1 Rotary Speaker 2 REAL ROTARY
Yamaha’s naming scheme often makes it difficult to match up algorithms across product lines. Rest assured, however, the algorithms (and code) are the same. If you need to double check yourself, simply match up the effect parameters as listed in the Data List PDFs.
It’s like the engineers deliberately chose bad, meaningless variable names. Throw preset names on top of the algorithm (effect type) names and things get really confusing!
Rest assured, a lot of the information discussed in this post can be applied to Yamaha synthesizer and arranger products alike.
The real thing: mechanical
Ain’t nothin’ like the real thing, baby. A real Leslie speaker moves air and throws it around in a 3D space. A “2D” stereo simulation will never do. Further, rotary speaker simulators model a mic’ed up speaker putting strong energy surges into the left and right channels.
We all know that a Leslie speaker, like the 122, has a rotating horn and rotor. Yamaha sometimes refer to the rotor as a “woofer”, so keep that in mind when reading through effect parameters!
The horn and rotor each have a motor. The motors have two speeds when turning: slow and fast. A pulley and belt system transfers rotation from a motor to the horn or rotor. The horn motor has three different sized-pulleys: small, middle, and large. The belt is usually around the middle pulley, AKA the factory setting. If the belt is around the small pulley, the rotor turns slower. Put the belt around the large pulley and the rotor turns faster (relative to the factory setting, of course.)
You should keep these speeds in mind when tweaking parameters, if you want authenticity. Please note that the rotor turns more slowly than the horn.
I gave the nominal speeds in both rotations per minute (RPM) and cycles per second (Hertz). Some algorithms need RPM and other algorithms need Hertz. Here are conversion formulas:
RPM = Hertz * 60 Hertz = RPM / 60
The pulley and belt system causes even more fun. The belt is flexible and slips around the pulley. Belt tension and wear determine slip. Tension (slip) has a greater effect on acceleration (change from slow to fast) than deacceleration (change from fast to slow). If you want authenticity, acceleration time should be shorter than deacceleration. In other words, the pick-up rate is higher than the slow-down rate.
The real thing: electronics
The Leslie 122 tweeter and woofer are driven by a three tube power amplifier through a cross-over network. The classic Leslie crossover frequency is 800 Hertz. The crossover filter is not super steep and there is definite frequency bleed beyond the crossover frequency.
The power amp consists of a 12AU7A tube driving dual 6550 power tubes. The 12AU7A belongs to a family of nine pin, twin triode tubes. The chief difference between family members is the gain factor. The 12AU7A has a gain factor of 20 while the more powerful 12AX7 — the most familiar member of the family — has a gain factor of 100.
The power amp has a gain knob. At about 70%, the power amp starts to distort. Oh, never, ever go past 70%. Ever. 🙂
The sims
With that background in mind, let’s take a look at the Yamaha MODX rotary speaker effect algorithms.
Yamaha MODX Rotary Speaker 1
Historically, “Rotary Speaker 1” came first. The following table summarizes the Genos parameter values for the “Dual Rotary Speaker Bright” and “Dual Rotary Speaker Warm” presets:
# Parameter Bright Warm -- -------------------- -------- ---------------- 1 Woofer Speed Slow 40.2rpm 40.2rpm 0.67Hz 2 Horn Speed Slow 45.6rpm 45.6rpm 0.76Hz 3 Woofer Speed Fast 383.4rpm 363.6rpm 6.06Hz 4 Horn Speed Fast 403.8rpm 403.8rpm 6.73Hz 5 Slow-Fast Time Woofer 39 45 6 Slow-Fast Time Horn 7 7 7 Drive Low 35 31 8 Drive High 37 36 9 Low/High Balance L<H4 L13>H 10 11 EQ Low Frequency 100Hz 100Hz 12 EQ Low Gain +8dB +8dB 13 EQ High Frequency 1.0kHz 1.0kHz 14 EQ High Gain -3dB -4dB 15 Mic L-R Angle 177deg 177deg 16 Speed Control Slow Slow
Feel free to borrow the Genos settings for MODX (and vice versa).
The horn and woofer speeds are ballpark with respect to the factory settings. If there is one major complaint with this algorithm, it’s the relatively weak drive effect. Increasing drive does not add distortion. On MODX, be prepared to couple “Rotary Speaker 1” with an amp simulator (e.g., STEREO SMALL or MULTI FX).
Obviously, there are a lot of parameters to tweak: microphone angle, equalization, rotor and horn balance (low/high balance). Imagine yourself as a studio engineer mic’ing up a real Leslie.
Just for grins, the following table summarizes rotary speaker parameters for four MODX presets:
# Parameter Basic Horn Mic Light Heavy RTR -- -------------------- -------- -------- -------- --------- 1 Rotor Speed Slow 0.88Hz 0.80Hz 0.88Hz 1.01Hz 2 Horn Speed Slow 1.30Hz 0.72Hz 1.30Hz 0.93Hz 3 Rotor Speed 6.06Hz 6.06Hz 6.06Hz 6.06Hz 4 Horn Speed Fast 7.07Hz 6.73Hz 7.07Hz 6.73Hz 5 Slow-Fast Time Rotor 40 40 40 64 6 Slow-Fast Time Horn 13 12 13 33 7 Drive Rotor 52 37 26 28 8 Drive Horn 31 29 21 22 9 Rotor/Horn Balance RH 10 11 EQ Low Frequency 1.0KHz 1.0KHz 1.0KHz 1.0KHz 12 EQ Low Gain 0.0db -1db 0.0db 0.0db 13 EQ High Frequency 2.0KHz 2.0KHz 1.0KHz 2.0KHz 14 EQ High Gain 0.0db +1db 0.0db 1.0db 15 Mic L-R Angle 150deg 177deg 180deg 30deg 16 Speed Control Slow Slow Slow Slow
Enough starting points yet? Please don’t be afraid to tweak, listen and evaluate. It’s only bits and if you don’t like what you’re hearing, then throw the bits way away. Ever wonder why people spend so much time in the studio? That’s why!
Yamaha MODX Rotary Speaker 2
The MODX “Rotary Speaker 2” algorithm is the newer algorithm. It first appeared in Montage and Genos, and it’s been trickling down to mid- and low-range Yamaha products. In Genos-land, it’s known as “REAL ROTARY”. This algorithm provides control over both acceleration and deacceleration times and drive level/tone.
Here are settings from Genos for three drawbar organ voices:
# Parameter Jazz Gospel Rock -- ------------------- -------- -------- -------- 1 Speed Control Slow Fast Fast 2 Drive 2.0 4.0 10.0 3 Tone 8.2 10.0 10.0 4 Low/High Balance L<H10 L<H9 L<H9 5 Output Level 100 100 100 6 Mic L-R Angle 180deg 120deg 120deg 7 Input Level +6dB +6dB +6dB 8 Modulation Intensity 0 63 63 9 10 11 Slow-Fast Time Horn 1.19 1.13 1.13 12 Fast-Slow Time Horn 0.86 0.97 0.97 13 Woofer Speed Slow 43.5rpm 43.5rpm 43.5rpm 14 Horn Speed Slow 47.3rpm 47.3rpm 47.3rpm 15 Woofer Speed Fast 413.8rpm 403.7rpm 413.8rpm 16 Horn Speed Fast 474.4rpm 464.3rpm 464.3rpm 17 Slow-Fast Time Rotor ? ? ? 18 Fast-Slow Time Rotor ? ? ?
Unlike “Rotary Speaker 1”, REAL ROTARY brings overdrive. Turn up the drive to add distortion. Tone sweeps from darker to brighter.
No doubt, you noticed values missing in the last two rows. The Genos user interface supports only 16 effect parameters! [Genos engineers need to fix this limitation.] Your guess is as good as mine — maybe 1.22 and 1.86?
Other blog posts about Yamaha MODX drawbar organ sound design:
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.
