Category Archives: Montage

Montage (M)usings

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Just in case you don’t have enough to read, here are links to the latest Music Production guides:

It’s raining in The PNW (as usual) and I’ll kick back with these as should you.

Now for a few random thoughts.

Got the power

I owe (Another)Scott for this observation. He found the following error message in the Yamaha Montage M Operation Manual:

CPU Fan Error: The instrument internal cooling fan has stopped.

CPU fan?

Yes, CPU fan. Demonstrators and punters alike have noted the snappy, responsive Montage M performance. As I thought, Yamaha have upped the host CPU in Montage M. We’ll have to wait for pictures or service manual, but I suspect multi-core (Montage gen 1 is a single core ARM) and/or a higher clock speed.

This means more power in and more power (heat) out.

I wouldn’t expect to find a massive, x86-sized blower and heat sink. Even lowly Raspberry Pi 3 (Broadcom BCM2837 quad-core ARM Cortex-A53 at 1.2GHz) needs a small cooler when running compute-intensive jobs. Raspberry Pi coolers are modestly small and light.

The new Montage M CPU probably includes a more up-to-date, integrated graphics processor, too. It would be interesting to know if the graphics processor (GPU) speeds up the Smart Morph operation. Inquiring minds want to know!

Sub display

I loves me that big old 512×64 LCD “sub display” and the way it is integrated with the rest of the Montage M workflow. The Montage M engineers took this idea from Genos “Live Control” and made it bigger and better in every way.

The Genos host CPU (AM4376 ARM operating at 1GHz) handled its sub display over a relatively slow, 2MHz Small Peripheral Interface (SPI) bus.

This got me thinking and speculating. The Yamaha SWX09 processor (248MHz internal clock) has a heavy weight DSP, integrated display interface, and low(er) resolution analog-to-digital converters. What if an SWX09 handles the sub display, scans the knobs and sliders, and performs AN-X synthesis? That structure and assignment of duties would make AN-X synthesis incredibly low-latency and responsive to knob and slider control. The SWX09 would need to send controller values over the E-bus to SWP70 and other destinations.

Please file this speculation under “daydreams.”

AWM2/FM-X tone generation

If I had to guess (and I will), Montage M has two SWP70-type “Standard Wave Processors” just like Montage gen 1. AN-X is computed by either an SWX09 or an SSP3. Both SWX09 and SSP3 are SH-2 RISC cores. The SH-2 has been a Yamaha stalwart for nearly two decades, appearing throughout a wide variety of products from audio interfaces, to mixers, to Reface, to digital pianos.

Here’s food for thought. In Montage gen 1, the Master SWP70 handles AWM2. The Master SWP70 has two wave RAM channels: one populated, one empty (“not installed”). Perhaps — perhaps — Yamaha populated the second wave RAM channel and doubled the size of the NAND flash from 4GB to 8GB.

The fly in the ointment is the stated Montage M AWM2 polyphony spec: 128 factory preset elements plus 128 user waveform elements. If both operate from the same NAND flash, then there should not be this artificial split (factory vs. user). Perhaps Yamaha added user NAND flash and wave RAM to the Slave SWP70? Or maybe this is all wet and there is a third SWP70? (See Genos internals.)

128 elements per part

As I mentioned yesterday, allowing up to 128 elements per Performance part is a big win for piano and organ voice programming. In Montage gen 1, sound designers often needed to split voice elements into several Parts, 8 elements per Part (max).

This improvement opens a can of worms with respect to real-time element assignment and activation. The E-bus carries note on/off directly from the keybed scanner to the Master SWP70. How much does the host CPU intervene? Does the SWP70 handle element assignment and activation by itself? If the SWP70 does this by itself, then Yamaha probably needed to revise the SWP70 IC, i.e., a new silicon spin and a new part number (“SWP71”).

BTW, just for kicks, someone should try programming a Performance Part with 128 elements. Hit a note, then hit a second note. What happens?

Fun with fuses

Some folk still conceptualize SWP70 as “a big ole programmable CPU”. I prefer to conceptualize the SWP70 as a collection of AWM2 pipelines, FM-X pipelines, 32 or so very simple DSP effect processors, and a very flexible digital audio mixing system. (Of course, there’s other stuff, too.) The AWM2 pipelines and FM-X pipelines are circuits dedicated to AWM2 and FM-X synthesis, respectively and specifically.

Each group of pipelines reside on their own power and clock grids. Circuit fabrication is not a perfect process. The AWM2 pipes or the FM-X pipes could suffer a fabrication flaw. During QA, Yamaha could sort parts into four categories: both AMW2 and FM-X good, AWM2 good and FM-X bad, AWM2 bad and FM-X good, both AWM2 and FM-X bad. Both sides bad is a reject.

In the cases of one side good, the bad side can be fused off. Yep, there may be fuses to cut bad pipes from the power and clock grids. Parts can be assigned to either AWM2-only duty or FM-X-only duty when a PCB is manufactured.

This is standard industry practice. The processor you are using right now probably has bad circuits fused off!

E.S.P. all over again

Dedicated pipelines are why Yamaha tone generators and polyphony are so predictable and stable. There isn’t any nonsense about effects, this or that cutting into polyphony because everything shares the same processor.

That’s why I don’t expect the Expanded Softsynth Plugin (E.S.P) to provide stellar polyphony. The initial release (“early 2024”) will support sound design. That’s a modest goal for PC-/MAC-synthesis. I wouldn’t expect too much — “all the Montage M sound while being limited to basic editing.” The full version is planned for Summer 2024.

As to development, pricing and distribution, I’m sure Steinberg will have a hand in. Steinberg completed a rent-to-own partnership deal with Splice in April 2023. Yes, Steinberg and Yamaha have caught the subscription model disease. If it’s rent-to-own, the price isn’t going to be cheap. You didn’t expect to get a Montage M for a few bucks, did you? You want to play, you gonna pay.

Copyright © 2023 Paul J. Drongowski

Yamaha Montage M8x: Initial take

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Well, my site got hammered last night while I was trying to live blog a few details from the Yamaha Montage M documentation. Thanks for visiting SSS.

Yamaha Montage M6

By now, everyone has downloaded the documentation and watched Blake’s Take on the Montage M. There isn’t a need to rehash that information here. Below are a few comments which are “value added”, I hope.

Bread and butter

The Montage M sound demo should assure long-time users that Montage M continues to cover the basics. I don’t think the AN-X demos in the video will get pulses racing among the cultists. If anything, the Montage M is the all-rounder that we wanted six years ago!

Those prices

Montage M pricing is in premium keyboard territory:

    Model          MSRP     MAP
    -----------   ------  ------
    Montage M8x   $4,999  $4,500 USD
    Montage M7    $4,499  $4,000 USD
    Montage M6    $3,999  $3,500 USD

Minimum Advertised Price (MAP) is what you will see on-line, of course. I wouldn’t expect much wiggle room for negotiation while the Montage M is hot. You might be able to find an open box unit after the Fickle Freds return ’em.

Even the M6 is a step up from the gen 1 Montage6. Gulp.

Elementary

Montage M AWM2 Normal Parts may have up to 128 elements. The old limit was eight. This gives punters a way to create massive stacks within a single element. Or, you can shrink those multi-part performances into a single part. I did this recently in order to make a MODX Performance Seamless Sound Switching (SSS) eligible.

Getting rid of the old limit enables single-part, multi-strike pianos with more than eight velocity levels — among other uses.

Me, the tech nerd, wonders if removing the limitation is software-only or if the AWM2 hardware was revised (i.e., SWP71). Get out your screwdrivers!

AWM2 polyphony is split between factory presets and user waveforms. Knowing what little I do know about SWP70, Yamaha may have enabled the second, unpopulated waveform memory channel in the Master SWP70. Or, maybe they went the Genos way. Montage M may have two SWP70s still; AN-X is either an SSP3 or SWX09. Screwdrivers, anyone? Take good pictures while you void your warranty.

The rotary speaker effect

Montage M gets the Virtual Circuit Modeling (VCM) rotary speaker effect which was added to Stage YC in the V1.2 update. The algorithm has three main variations:

  • VCM Rotary Speaker Classic: Standard rotary speaker effect
  • VCM Rotary Speaker Overdrive: Simulates the distorted sound of a rotary speaker with a transistor preamp connected
  • VCM Rotary Speaker Studio: With three-dimensional rotation

I’m still trying to get my head around the VCM rotary effect routing. It appears in the insert signal chain (below), but is listed as its own effect block in the Data List PDF.

There is also a limitation. The VCM Rotary Speaker Switch parameter is available only for Part 1. According to the Operation Manual, “Only Part 1 of the VCM Rotary is enabled. All other Parts cannot be used.” Hmmmm.

Fortunately, you can put all of the drawbar elements into a single part (i.e., Part 1). That should phase-align the rotary speaker across elements. Drawbar sounds are generated by AWM2, FM-X or AN-X. No modeling.

I still can’t find a satisfying effect routing diagram in the manuals. Grrr. Further, the routing screen above, IMHO, is a jumble.

Them pianos

The Montage M is fat with pianos: CFX, C7, Nashville C3, CF3, S6, S700, Imperial, Hamburg Grand, U1 Upright, Felt. A few of these pianos were released as a parting gift to existing Montage (and MODX) users. On voices alone, CP88 is in bad need of an upgrade.

I haven’t spotted any significant additions to the EP line-up — yet. I need to cross check the Montage M waveform list against gen 1. I’m looking for improvements to the orchestral instruments, too. Frankly, I don’t care about Performances named “Flowerpot Hats” (or whatever) because what the heck do they sound like? They are what they are. 🙂

Doing a thorough comparison takes time and caffeine. I’ll get around to the task someday…

Am I gonna buy one?

“M8x for the pianist”

My primary need right now is a digital piano for practice. I would love to get my hands on a Montage M8x and test drive the new GEX keybed. I want to know how it measures up against GrandTouch (wood plus counterweights) and NWX.

Here’s a few considerations. The price of M8x is comparable to a mid-range Clavinova CLP or CSP. The Clavinova digital pianos have Virtual Resonance Modeling (VRM), Grand Expression Modeling, triple-pedal unit, and built-in sound system. Montage M, at a minimum, demands an external sound system, a robust stand (62 pounds!) and a bench.

There is also the aesthetic side, namely, furniture versus stage instrument. I’m out of studio space and my next purchase will reside in one of our common living spaces, the so-called “dining room.” Guess which alternative wins with spouses? 🙂

Bottomline: The Clavinova digital pianos remain attractive. Yamaha P-525 is an even better value after its bump from P-515, although the visual aesthetic is not as appealing as Clavinova. Just for piano, M8x is a difficult sale.

E.S.P.

The Expanded Softsynth Plugin (E.S.P.) provides an “in the box” version of Montage M.

The Yamaha Montage M series press release has further information about the Expanded Softsynth Plugin (E.S.P.):

MONTAGE M series keyboards come with a download code for the Expanded Softsynth Plugin (E.S.P.) for MONTAGE M, which is a software synthesizer (VST3, AU) that can replicate all MONTAGE M series sounds, offering more powerful stage and studio integration.

We are planning on releasing E.S.P. in early 2024. The first version will have MONTAGE M sound, while being limited to basic editing. The full version is planned for release in summer 2024.

Notice that the first version will be limited to basic editing.

I suspect that E.S.P. started out as a prototyping and development tool for Montage M. Shoot, Montage runs on Linux, why the heck not? Mid-stream, the team decided to productize E.S.P. A good idea™.

However, I doubt if E.S.P.’s polyphony spec will be very good. It’s hard to replace several hundred hardware tone generation channels and effect DSP units with software. You’re still going to want to buy hardware. Just sayin’…

Copyright © 2023 Paul J. Drongowski

Happy birthday, Montage M!

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Sunday was our grandson’s birthday party. At age six, this kid is already an automotive gearhead. We watch car racing and Motortrend together. “No street racing!” — your Mom said so. [And, go to college!]

I got him a spiffy red Ferrari 812 Competizione. Lego, of course, his other love.

Kid takes one look. Says, “No spoiler,” and moves on to the next gift.

Think that one over. 🙂

Montage M (emulated)

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Thanks, again, to Saul at Yamaha Musicians Forum. Quoting:

Yamaha has created a software version of the Montage M. This is a 1:1 emulation with all features present.
My understanding is that the software will come free with the purchase of a new Montage M but that it will also be available as a standalone purchase.

Of course, this raises many questions about capabilities, end user licensing, distribution, pricing, yada-yada. We’ll know soon. BTW, only n00bs launch a new product on a Monday. 🙂

Back in April, Steinberg announced a “rent-to-own” partnership with Splice. Could the new partnership bring the emulated Montage into fruition?

Will the emulated Montage M interoperate with Yamaha’s new control surface?

Flash: Major leakage

A few highlights from the Hispasonic article.

The Expanded Softsynth Plugin (E.S.P.) provides an “in the box” version of Montage M. Available in January (at no cost to Montage M users), E.S.P. provides hardware and software integration (editing, use of sounds, etc.)

AN-X polyphony is 16 voices (as rumored). The basic voice architecture includes 3 oscillators, noise source, double filter section, ring and FM modulation, autosync, PWM, 2/4-voice unison modes.

Each AWM2 part of a performance can stack up to 128 elements. AWM2 polyphony is doubled. The 8-part limit on Seamless Sound Switching (SSS) remains.

Montage M factory AWM2 preset sounds (7,620 multi-samples) occupy 10GB of memory when converted to 16-bit linear format. USER flash memory space is 3.7GB (presumably uncompressed). The article refers to an additional 128 voice polyphony when playing from USER flash memory — which is similar to Genos (gen 1).

FM-X polyphony remains 128.

Yamaha Pure Analog Circuit (PAC) is improved with better mids and bass.

As rumored, only the M8x model gets polyphonic aftertouch. The M6 and M7 have channel aftertouch. (Probably FSX keybeds as before.)

Overall, the Hispasonic article repeats, confirms or amplifies the most recent leak. I’m still waiting to see the manuals, especially the Data List PDF. The analog cultists hate everything already.

A few other random comments. A separate leak claims “VCM Rotary Speaker effect and realistic drawbar behavior deliver authentic organ control and sound.” Well, as far as eight sliders will take you, anyway. I think this means flipping the slider behavior. Maybe Yamaha ported the Stage YC rotary speaker effect to Montage M? That would be welcome on both Montage M and Genos (mark 2).

Wonder where all the preset waveform memory went? The “Best of Montage M” screen lists four pianos: CFX Concert, Ballad Piano, Hamburg Grand and Imperial. Pianos notoriously chew through sample memory.

The pictures aren’t up to Yamaha PR quality (resolution). Seem kind of home-brew. That carpet is hideous. I tore out one like it from our first house — 30 years ago. 🙂

Copyright © 2023 Paul J. Drongowski

 

Montage M: More early info?

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Congrats to Saul and the folks at Yamaha Musicians Forum for snagging leaked Yamaha Montage M specs. We won’t have to wait too much longer for details. Maybe next week’s Yamaha Tech Talk will explain all?

Caution is recommended at this stage. Some of the numbers in the leaked specs don’t add up for me and the grammar doesn’t read like smooth marketing-speak. The dealer — who is now in trouble with Yamaha — might have transmogrified the original specs while copying them to their Web site. For example, Yamaha usually state whether wave memory size is physical capacity or “converted to 16-bit linear format.” [The latter is their current practice.]

The polyphony spec looks a little off, too. Yamaha avoid specifying polyphony in terms of notes, knowing that it’s number of active elements that matter.

As to pricing, the leak claims:

  • Yamaha Montage M6: $3,999.99
  • Yamaha Montage M7: $4,499.00
  • Yamaha Montage M8X: $4,999.00

MSRP? MAP (street)? The cents aren’t consistently stated either. Perhaps another transcription error?

For $5,000, the M8X had better have piano features comparable to Yamaha’s best (VRM, Grand Expression, etc.) I’m primarily chasing a good piano playing experience, so my needs probably don’t match yours — and that’s cool. 🙂

Have fun. Exciting times!

Copyright © 2023 Paul J. Drongowski

The other unicorn in the room

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With discussion focused on the upcoming Yamaha Montage M, we’ve forgotten about the other unicorn in the room: Yamaha SEQTRAK™.

It’s a Yamaha trademark

Before I add anything new, here’s a brief review of what we know from the public record. As many others have cited, “SEQTRAK” is a trademark registered by Yamaha. The “SEQTRAK” character mark is registered with both the United States Patent and Trademark Office (USPTO) and the European Union Intellectual Property Office (EUIPO). None of this should be surprising.

The USPTO trademark process has two major steps: intent to use and statement of use. The initial filing data — intent to use — was filed October 20, 2020. An applicant (Yamaha) must eventually file a Statement Of Use (SOU) when the mark is placed into actual use, i.e., the trademarked product is available for sale. If an applicant doesn’t file a timely SOU, they must apply for an SOU extension. As to “SEQTRAK”, Yamaha filed for and received its fourth extension on April 13, 2023.

Given the pandemic, supply chain issues, etc., SEQTRAK has been delayed. There may be technical reasons, but we don’t know that.

It’s got class

A trademark is valid only within a specific field of goods and services. “SEQTRAK” is valid within the following clases:

  • Primary class: 009 Electrical and Scientific Apparatus; US Classes: 0021, 023, 026, 036, 038
  • Primary class: 015 Musical Instruments; US Classes: 002, 021, 036

Breaking this down into English, we get the following uses under Class 009:

  • audio amplifiers;
  • audio mixers;
  • electric and electronic effects units for musical instruments;
  • sampling units, namely, digital phrase samplers used to record, replay, and edit digitally stored music samples;
  • music synthesizers, namely, desk top control units used to synthesize music that do not function independently as musical instruments;
  • electronic tone generators for musical instruments and audio effect processors;
  • electronic music sequencers;
  • electronic rhythm programmers;
  • downloadable computer software for generating, reproducing, effecting, and recording sound;
  • downloadable computer software for arranging, sequencing music;
  • downloadable computer software for creating computer music.

For class 015, Yamaha state:

  • electronic musical instruments;
  • electronic music synthesizer;
  • electronic drum machines;
  • electronic percussion instruments;
  • electronic rhythm machines.

Well, that really narrowed things down, didn’t it? Not. 🙂

Standing back, however, one gets the impression (gestalt) that SEQTRAK is a piece of hardware (like a sophisticated synth/beatbox) which integrates with downloadable software for sequencing. The software part kind of sounds like Steinberg Cubase, Groove Agent, Halion, etc.

What’s new?

First, I am not going to reveal sources and methods, and neither should you. The “SEQTRAK” name appeared in the warranty list spill to which Yamaha put a quick end. Zip it, Scott.

I’ve seen SEQTRAK described as a “music production studio”. Yamaha have used the term “music production studio” in the past. The most relevant past use is the venerable Yamaha RS7000 Music Production Studio. The Yamaha RS7000 is a groovebox combining a sequencer, sampler, synth, digital effects and mastering tools.

The RS7000 is the beast from 2001. [The year, Not the film.] Yamaha haven’t played in this space since then. They are due.

We know from the earlier reveal that there are two SEQTRAK models. Both models are functionally the same; you get a choice of black or orange livery. Physically, SEQTRAK is about 13.5″ wide, 3.8″ deep, 1.5″ high. That’s roughly the size of a small QWERTY keyboard. Connectivity is USB-C and Wi-Fi. Wired connections are made through one of the side panels. SEQTRAK is intended for desktop use, maybe in front of a QWERTY keyboard or laptop.

Let’s imagine an attractive, modern-looking desktop control surface. The surface is divided into five panels:

  • Sequencing (8 knobs, 16 buttons)
  • Mixing (4 knobs, 8 buttons)
  • Status (back-lit legends and LEDs)
  • Effects (4 knobs)
  • Output (master volume knob and built-in speaker)

On-board, one expects a synthesizer — oh, what the heck, make that two synthesizers — and a sampler.

Questions

Two big questions loom in my mind. First, what is the assignment of music production activies (synthesis, editing, ya-ya) to hardware and software? Is synthesis built in or is synthesis performed by Halion, for example? Second, does SEQTRAK integrate with other hardware products like Montage M and the new FGDP-50 finger drum? Please recall, FGDP-50 does not have standard MIDI IN/OUT and seems a little lonesome by itself. The FGDP-50 would be a natural companion for a groovebox. Is Montage M part of the “music production studio”?

Yamaha have been very, very busy…

Copyright © 2023 Paul J. Drongowski

Isn’t this awkward?

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I checked out an interesting observation made on the Yamaha Musicians Forum. The Steinberg Online Shop is currently (and temporarily) kaput.

“Our online shop is run on our behalf by a third party, Asknet Solutions AG. Unfortunately, Asknet has entered into self-administered insolvency, and consequently Steinberg has decided to engage a new trusted business partner to restore our online shop.”

“The Steinberg online shop is currently unavailable. A wide range of Steinberg products is available via our worldwide network of authorized resellers. To find your nearest Steinberg reseller, use our reseller locator. We know you may have questions about this unusual situation, so please read: Online Shop Info”

Makes it rather awkward to synchronize the Cubase 13 release (MIDI 2.0) with the Montage M or GENOS II announcements.  🙂

Launches are never that easy or turbulence free!  🙂

Copyright 2023 © Paul J. Drongowski

KORG Keystage MIDI 2.0

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Thank you Gearnews and KORG for rescuing us from endless discussions about the meaning of “M”. [Be Zen. Labels are useless and wrong. Accept.]

A retailer slip-up previewed the new KORG Keystage line of MIDI 2.0 controllers. The retailer’s page is now gone.

Hmm, Gearnews and other big-name sites have been rather quiet about the Yamaha Montage M. Perhaps they have review units already? Rumor-wise, mark October 9th on your calendar. Gearnews, by the way, is a subsidiary of Thomann.

The Keystage are handsome beasts. The big news is polyphonic aftertouch (Polytouch®) in partnership with ASM. Neat! Keystage are equipped with an audio interface. Each of the eight parameter knobs has its own OLED display. Slider fans will be disappointed, however — no faders.

The 49- and 61-key models are light: 9.3 pounds and 11 pounds, respectively. Both have 5-pin MIDI IN and OUT. The 49 is priced at $599 USD (MSRP? MAP?) and the 61 is $699.

A small music/tablet rest is provided. The rest can be positioned at center or left/right. This is thoughtful.

From my own perspective, I wonder if the two pedal inputs support an expression pedal in addition to footswitch? At these prices, it should. The front panel seems a little short on assignable buttons. I like to use buttons for patch changes while playing. Hope it can send a full Bank MSB, Bank LSB, Program Change MIDI message sequence — my pet peeve and soapbox issue. Hope it’s all MIDI 1.x backward compatible, too.

Copyright © 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

Yamaha synthesizer sneak peek

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Blake comes through! [Thanks, Blake.] If you’re interested in Montage M, go direct to the official sneak peek on YamahaSynth.com. Do not pass GO. Save $200 for your new Montage M, if you collect it. 🙂 The sneak peek page has Soundcloud audio demos.

Check out the large subdisplay on Montage M!

The “Vegas nightline” shots pretty well confirm the leak pictures. I loves that subdisplay above the knobs and sliders. It’s much bigger than Genos, can handle graphics, and will prove to be more informative than Genos. I wonder if GENOS2 will get the same subdisplay? That would be grand!

Jason’s labelled flow diagram (from YamahaSynth.com)

I’m trying to make sense of the fuzzy screenshot which looks like an effects routing diagram. Yamaha have clearly done some user interface work, here. Maybe the boxy icons open into parameter tables?

[Update: Jason at YamahaSynth.com did everyone a service by labelling the fuzzy flow diagram. It is the classic synth signal flow. At Yamaha Musicians Forum, a member noted the AN1x color scheme, and then Saul let on that AN-X is included in the M. Good times ahead!]

I don’t see texturing on the white piano keys (in the picture with the ribbon controller). I suspect that the “spy pictures” are an earlier prototype or sound development ‘board. I still have hopes for a decent 88 keybed. The grand piano audio snippets have that distinctive CFX brightness and clarity. The fusion-y “bass effect” audio example is 70s cool and I dig the playing.

The organ Soundcloud snippet has many pulses running fast — my own included. Dare we hope for Stage YC technology? I’ll settle for the improved, Stage YC rotary speaker sim. Yamaha must and will keep reserve special tech in order to differentiate product lines (Montage M vs. Stage vs. P-series).

The Soundcloud examples skew toward bread and butter sounds. The selection of examples will not please the synthbois. Maybe Yamaha is holding AN-X fire for the full Montage M announcement?

This is the way to create excitement for a product instead of boga-zoid teaser videos. The Genos (gen 1) pre-announcement teaser, for example, had nothing to do with the actual instrument — it was a promotional video for some idiotic, boring producer. I hope the GENOS2 roll-out is intelligent, too. Customers are not stoopid.

Now we have something to look at! See you later… If info is slow to appear on my site, it’s because WordPress has suddenly decided to inflict the Gutenberg UI on me. 🙁

Copyright © 2023 Paul J. Drongowski