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!
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. 🙁
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.
Regular readers know that I’m trying out 88-key digital piano keyboards and developed a fondness for the Yamaha P-515. The P-515 was release in 2018 and it will be replaced by the P-525, again, sometime in the near-term future.
Wow, the new Montage MX8 and P-525 — both are worth waiting for and both potentially fill an actual need. Patience is a virtue. Keep repeating that. 🙂
I’ll have more thoughts about all of this tomorrow. Today is a typical Sunday — gig, God and football. Take a breather and start the new week fresh!
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.
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.
So far on our tour of MODX (Montage) drawbar organ tech, I’ve discussed drawbar control and drawbar waveforms. Convincing overdrive and distortion are essential to an authentic drawbar organ sound (B-3 plus Leslie). Technically, the overdrive (or distortion) is produced by the tube electronics in a Leslie rotary speaker. We synthesizer types must use amp and speaker simulators to produce overdrive or distortion.
Engineers are creatures of habit. After browsing a zillion MODX and Genos organ voices, I noticed that Yamaha engineers kept returning to the same effect algorithms albeit with slightly different parameter values:
MODX Algorithm Genos Algorithm Characteristics --------------- --------------- ---------------------- BRITISH COMBO BRITISH COMBO Vox combo amp MULTI FX MULTI FX Pedal board AMP SIMULATOR 1 V DISTORTION Vintage amp AMP SIMULATOR 2 STEREO AMP SIM Vintage stereo amp SMALL STEREO SMALL STEREO DIST Stereo amp and speaker sim
Usually, overdrive is configured as a MODX (Montage) insert effect. Once you navigate to the effects routing page (or one of the insert effect pages), you can change the effect type (algorithm) and/or effect parameters. Yamaha documentation refers to “effect types”; I use the word “algorithm” instead because we are selecting an algorithm (code) along with its parameters.
MODX/Montage MULTI FX insert effect
Yamaha provide several different distortion, overdrive and amp simulator algorithms. As if that isn’t enough choice, sometimes the kind of overdrive (or distortion) can be chosen by a parameter (e.g., tube, transistor, etc.) In some cases, we can choose the speaker cabinet (e.g., 2×12), too.
Why are there so many choices? If you follow the guitar pedal market, you would ask “Why are there so many distortion pedals?” Like anything else in sound and music, there are many varieties of distortion or overdrive. Some are warm (tubes), some are bright (transistor), and so forth. The trick is to use your ears and find the most appropriate kind of distortion, overdrive or amp type for the sound you want to obtain. Guitarists call this ephemeral quality “tone”.
I’ve cataloged several detailed examples in the next section. These are starting points for experimentation. If you don’t know where to start, choose something and start tweaking! If you can’t get your tone, change the kind of distortion effect if the selected algorithm allows, or move on to a different effect algorithm.
An effect algorithm is a mathematical model of a real-world device. Each algorithm simulates one or more real-world distortion, overdrive, amplifier and/or speaker cabinet effects. The models mimic an audio signal hitting a component like a tube, transistor or a mic’ed speaker cabinet. The amount of distortion usually increases when the incoming audio signal is stronger, i.e., the input level or gain (sometimes called “drive”) is turned up. The input signal drives the simulated device or component harder.
One thing to keep in mind — increasing input level (gain) also increases the output level. When you increase the gain (drive), you must decrease the output level lest you cause nasty digital distortion in the outgoing digital audio stream. Digital distortion (digital clipping) sounds unnatural and is not desirable.
Warning
Increasing drive also raises the volume of the outgoing audio, sometimes to painful levels! Keep volume low when experimenting with high drive. Protect you ears.
Most of the algorithms provide a parameter controlling the Wet/Dry mix. You’ll see settings like “D15>W”. The wet/dry value range is:
D63>W to (D=W) to D<W63
This determines the balance between the direct, unprocessed signal (dry) and the processed sound (wet). At dead center, “(D=W)”, the wet and dry signals are equal. Move to either side to pass more of the dry sound or wet/effected sound.
The details and examples
The BRITISH COMBO effect algorithm (Vox AC30) is a Yamaha favorite. In the table below, the first settings are taken from the MODX “All Bar None” Performance, and the second and third settings are from the Genos “ClassicJazz” and “RockOrgan JS” voices, respectively.
MODX Genos Genos ## Parameters All Bar None ClassicJazz RockOrgan JS -- --------------- ------------ ----------- ------------ 1 Mode Bright Bright Top Boost 2 Normal 5.8 3.6 4.0 3 Brilliant 6.0 5.4 6.0 4 Bass 4.4 5.0 4.4 5 6 Treble 6.0 6.2 6.0 7 Cut 0.6 0.0 0.6 8 9 Output Level 69 126 71 10 11 Speaker Type AC 4x10 AC 1x12 AC 4x10 12 Speaker Air 2 2 0 13 Mic Position Center Center Center
The parameters “Normal” and “Brilliant” dial in the distortion.
Here’s the rotary speaker settings for two Genos drawbar organ voices. Both voices use the Genos V DISTORTION effects algorithm. The equivalent MODX algorithm is AMP SIMULATOR 1.
The first voice simulates a tube preamp and the second voice simulates a transistor preamp. Tube amps have a warmer sound than transistor amps.
MODX does not have all of the Genos distortion algorithms. MODX implements the latest and greatest algorithms while Genos (Tyros and PSR) retain many legacy algorithms for backward compatibility. The table below shows the settings for the STEREO AMP SIMULATOR used by the “ClassicBars JS” voice.
Genos MODX ## Parameters ClassicBars JS The Jazz Organ -- ----------------- -------------- -------------- 1 Drive 0 15 2 Amp Type Stack Tube 3 LPF Cutoff Frequency 8.0kHz 5.0kHz 4 Output Level 114 112 10 Dry/Wet D24>W D17>W 11 Edge (Clip Curve) 0 n/a
The nearest equivalent MODX algorithm is AMP SIMULATOR 2. The parameters are the same except “Edge (Clip Curve)” is missing on MODX. Still, I would give these parameter values a try on MODX.
The MULTI FX algorithm simulates a guitar pedal board. The input signal hits a simple compressor (sustain) which drives a distortion block (Dist). The phaser and wah blocks are turned OFF in the examples below.
MODX Performance: More Shade MODX Algorithm: MULTI FX MODX Preset: Distortion Solo MODX MODX ## Parameters More Shade 8.8.8.8.6.2.2.0.0 -- ----------------- ---------- ----------------- 1 Comp. Sustain 2.3 2.7 2 Wah SW Off Off 3 Wah Pedal 0 0 4 Dist SW Clean Clean 5 Dist Drive 2.1 1.3 6 Dist EQ High Boost High Boost 7 Dist Tone 0.8 1.3 8 Dist Presence 6.0 5.2 9 Output Level 108 115 10 11 Speaker Type Twin Twin 12 LFO Speed 0.1Hz 0.1Hz 13 Phaser SW Off Off 14 Delay SW Echo1 St Off 15 Delay Ctrl 40 40 16 Delay Time 48 48
The “More Shade” Performance adds a stereo echo effect using the delay block. MULTI FX is a super handy algorithm and I’ve discussed its use with organ and electric piano before.
Yamaha CK- and YC-series
The table below summarized the YC- and CK-series rotary and distortion insert effects.
YC61 rotary effects Rtr A Standard rotary speaker for organ Rtr B Rotary speaker connected to a transistor preamplifier with strong distortion Lead Guitar amp (bass of high sound pressure and sharp treble) Crunch Guitar amp (crunch sound) Double Guitar amp (bright sound) Case Speaker amp for vintage electric piano CK61 drive (rotary) effects Rotary A Standard rotary speaker for organ Rotary B Rotary speaker connected to a transistor preamplifier with strong distortion O.Drive Warm distortion (overdrive) Dist Hard rock distortion Comp Compressor controlled by a single knob YC61 and CK61 insert effects British Combo Crunch distortion (Vox AC30 Top Boost) British Lead Hard rock type distortion (Marshall Plexi) Small Stereo Stereo distortion
I’ll let you guess as to which Yamaha algorithms are (re)used. If you want to re-create the CK sound on MODX (Montage), have at it!
