Smart Pianist, CSP and ChordPro

Yamaha repurposes hardware and software technology all the time. The Yamaha CSP series digital pianos (CSP-100 series and CSP-200 series) and Smart Pianist borrow a lot of technology from the Yamaha Genos and PSR arrangers. Yamaha Chord Tracker users know that Smart Pianist also has Chord Tracker technology inside.

Chord Tracker provides a number of Smart Pianist-like features. Chord Tracker analyzes an audio song, extracts its chords, and displays the chords in a chart. Like Smart Pianist, Chord Tracker follows the chord chart while playing back the original audio file. Pretty much anyone can use Chord Tracker in this way to figure out the chords to a song and play along.

Genos and PSR arranger people, however, get extra goodies. Chord Tracker can send the chords to the arranger for playback. Even better, you get to choose the accompaniment style. Want to re-imagine a song as a country tune? You can do it.

Extended ChordPro

Chord Tracker sends the chords to an arranger in a Standard MIDI File (SMF). Instead of notes, the chords are represented in Yamaha System Exclusive MIDI messages.

When I analyzed the file format and chord messages, my first thought was “ChordPro”!

You’ve probably seen ChordPro on the Interwebs. It’s that simple text format for song lyrics and chords. I extended ChordPro adding a few new features to make musical time explicit and precise. (Original ChordPro relies on the musician for time.) Then I wrote a Java program to translate an Extended ChordPro song to an SMF suitable for playback on a Yamaha arranger. Check out an Extended ChordPro demo.

Playback ChordPro Example

Well, guess what? Smart Pianist and CSP-170 can play back SMFs generated from Extended ChordPro songs.

Here is a short ChordPro snippet for Steve Winwood’s “Can’t Find My Way Home”.

{t: Can't Find My Way Home}
{key: D}
{artist:Blind Faith}
{time: 4/4}
# Style: SongwriterBallad (stylecode: 5980)
{stylecode: 5980}
{tempo: 96}

{start_accomp}

# Introduction
[C][*IA]
{c: Introduction}
[Csus2:2][*MB] ---- [G/B:2] ---- [Gm/Bb:2] ---- [D/A:2] ---- 
[F:2] ---- [G:2] ---- [D] --------
[Csus2:2] ---- [G/B:2] ---- [Gm/Bb:2] ---- [D/A:2] ---- 
[F:2] ---- [G:2] ---- [D][*FB] --------

{c: Verse 1}
Come [Csus2:2][*MB] down off your [G/B:2] throne, and 
[Gm/Bb:2] leave your body a- [D/A:2] -lone.
[F:2] Some- [G:2] -body must [D] change.
[Csus2:2] You are the rea- [G/B:2] -son, I've been
[Gm/Bb:2] waiting so [D/A:2] long.
[F:2] Some- [G:2] -body holds the [D][*FC] key.

An Extended ChordPro song begins with a header containing the title, artist, key, tempo, time signature and auto-accompaniment style. After the header, you hit the {start_accomp} directive which tells the arranger (Genos, PSR or CSP) to start playing.

The rest of the Extended ChordPro file consists of chords, e.g.,

    [C]   [Csus2:2]   [G/B:2]   [Gm/Bb:2] ...

section control directives, e.g.,

    [*IA]  [*MB]   [*FC] ...

and lyrics (plain text). Oh, yeah, you can throw in comments, too, e.g.,

    {c: Introduction}
    {c: Verse 1}

The Java program (cp2mid) translates the chords, directives and lyrics into an arranger-ready Standard MIDI File.

So, what do we get after we import the SMF into Smart Pianist? The screenshot above [click to enlarge] is the score. The chord symbols and lyrics appear with the staves. There aren’t any notes because the SMF doesn’t have any notes; it’s contains only chords and lyrics.

The chord chart looks familiar. But, hey! Smart Pianist display lyrics interspersed with chords. I never saw Chord Tracker do that.

The final screenshot shows the lyrics alone. All of those dashes (“—-“) come from the Extended ChordPro song. They are placeholders during instrumental interludes.

Summary

Today’s example demonstrates a different way to use Smart Pianist and CSP digital pianos. If you own both a Yamaha arranger workstation and a CSP, you should be able to transfer Chord Tracker SMFs to Smart Pianist and the CSP.

If you want to know more about Extended ChordPro and its implementation, please see:

Copyright © 2025 Paul J. Drongowski

The quest for Backing Conductor

Yamaha released a new version of the Smart Pianist app. The release notes list three new features:

  • Backing Conductor (CSP Series, CVP Series and P-S500 only)
  • A-B Repeat for PDF scores
  • Scores for the 50 Classics are distributed and displayed via PDF

The Backing Conductor sounded intriguing and I was anxious to jump on it right away.

I noticed that the CSP Series 200 models require a Firmware Update for Backing Conductor. Be sure to check the downloads page for your CSP.

The Apple App store pushed version 3.6.0 to my iPad. No problem there. The screen shot (above) shows Smart Pianist 3.6.0 (January 15, 2025) running and firmware 1.09a installed on the CSP-170. Hopefully, firmware version 1.09a is good because Yamaha never stated if an update is required for the CSP 100 series.

What is Backing Conductor?

The big question: “What is Smart Pianist Backing Conductor?” At this point in time, Yamaha have not publicized any additional information. The Smart Pianist guide, such as it is, has not been updated.

Yamaha software engineering believes that they design intuitive user interfaces (apparently). No documentation required! Quite frankly, if one of my CS students made such a statement, they would have been corrected and marked down. Seriously. 🙁

And so began my quest for “Backing Conductor.”

Post-install splash screens

At one point in my quest, I deleted the Smart Pianist app and re-installed it. Below are two rather informative post-install screens which highlight Smart Pianist’s capabilities.

Blink or idly flip by and you will miss these highlights. Forever — they won’t be repeated.

Yamaha should distribute the example score “New York Hustle”. It appears in other examples. By the way, “Hustle” is misspelled as “Hastle” in the second splash screen. Sorry, I live with a professional editor…

Start-up splash screens

Every time you start up Smart Pianist and connect to your instrument, you will be treated to a different splash screen. Again, don’t blink because you will miss something.

Here are three of the screens which highlight new features in version 3.6.0. Yeah, I know. What are they and how do I use them?

“Backing Conductor” gets mentioned again without details.

Backing Conductor, finally

Finally, I hit on the fourth of these elusive splash screens (below).

Oh, now I see what I should look for!

When a PDF is displayed, Smart Pianist displays this playback control box at the top. Folks who have used earlier versions of Smart Pianist recognize the three part buttons: Others, Left and Right. Backing Conductor adds a new part button: Backing. I guess when Backing is turned ON, you can change the auto-accompaniment style, in this case, Cool 8Beat.

There’s “New York Hustle” and “Hastle”, again.

Taco Bell’s Cannon

Now that I have a clue, let’s try a PDF score: Canon D dur by Pachelbel.

Uh, oh. The Backing button and accompaniment style are greyed out. What gives? In this case, Smart Pianist plays back the PDF score without backing.

One of my big frustration using Smart Pianist is what appears to be inconsistent behavior and options. There must be rules governing behavior and user operations. The rules probably differ by the content/media type:

  • PDF score (PDF file)
  • MIDI song (Standard MIDI File)
  • Audio song (MP3, AAC, etc.)
  • Chords extracted from an audio song

I wish Yamaha would explicitly write down the dos and don’ts for each data type. Explicit rules would set expectations straight and reduce frustration.

Bonus screen

To round things out, here is the Song Settings Arrangement screen for Audio to Score playback.

In this screen, you can choose the accompaniment score pattern to be used when displaying the extracted score and you can choose the backing style. I like the ability to turn different backing parts off (on) individually. Sometimes ya just want a beat, sometimes a beat plus bass, and sometimes a full backing.

Summary

I hope my difficulties have not discouraged you. Maybe you’ll be a little bit smarter then I when you sit down with Smart Pianist.

Before ending, I want to mention my top Smart Pianist want: the ability to add new styles to Smart Pianist. I’m not asking for Style Creator as one finds in the arranger workstations — simply the ability to load new styles and play new backing styles. There are so many user-contributed styles (including my own!), the ability to load and play with new styles would give CSP a huge boost.

Copyright © 2025 Paul J. Drongowski

Yamaha PSR-SX920 new voices

Yamaha arranger folks would like to know about the new(er) voices added to the PSR-SX920. Unfortunately, at the time of this writing, the PSR-SX920 Data List is not yet available.

However! Yamaha did make available a new version of its MIDI Song to Style application, including voice list files for the SX920 and SX720. Here are some of the additions which I spotted.

  • CFX piano and its many variations
  • C7 studio grand and its variations
  • Suitcase EP is upgraded to S.Art, now called “70sSuitcase”
  • 70sVintage (Wurli) EP now S.Art
  • Kino Strings
  • New brass including 80s synth brass and bass trombone
  • New sax sections
  • D-model folk guitar
  • Mandolin and uklele
  • Active bass (finger, pick, etc.)
  • Mini Moog lead
  • Drum kits: Vintage Muted Kit, Vintage Open Kit, Jazz Stick Kit, Jazz Brush Expanded, Brazilian Kit, Pop Latin Kit 2 Comp

And, of course, everyone wants to know about the new S.Art2 voices added to the SX920. This is the first time a mid-range PSR has gotten S.Art2.

  • S.Art2 JazzViolin
  • S.Art2 CelticViolin
  • S.Art2 SoftTrumpet
  • S.Art2 ClassicTrumpt
  • S.Art2 BalladSopranoSax
  • S.Art2 PopSopranoSax
  • S.Art2 TenorSax
  • S.Art2 FunkTenorSax
  • S.Art2 PopTenorSax
  • S.Art2 Clarinet
  • S.Art2 BalladClarinet
  • S.Art2 RomanceClarinet

MegaVoices got a big boost. Here are the new-to-SX920 MegaVoices:

  • Kino strings (4 small ensembles, 5 large ensembles)
  • Martin D folk guitar (5 variations)
  • Steel acoustic finger and thumb picking variations
  • Uklele
  • Mandolin
  • 60s vintage guitar (regular Strat and slap)
  • Active bass (Stingray)

Don’t forget, the MegaVoices are the sonic base for S.Art instrument voices. Look for a bunch of new electric guitar voices based on the 60s Strat, for exaample.

I can’t and won’t guarantee that these lists are complete. They will have to do until the Data List PDFs roll out and we can pore over them in detail.

Copyright © 2024 Paul J. Drongowski

New PSR-SX720 and PSR-SX920 models

I just found this information about the new Yamaha PSR-SX720 and PSR-SX920. It is now appearing on multiple on-line retailer sites. 🙂 I will have further in-depth comments after I get my hands on the manuals.

Yamaha PSR-SX720 Arranger Workstation

  • FSB keyboard, with 61 touch-sensitive keys
  • 1,377 Voices + 56 Drum/SFX Kits + 480 XG Voices including 9 S.Articulation+ and 252 S.Articulation Voices
  • 128 notes of polyphony
  • 450 Styles including 3 Free Play Styles
  • Dynamic Style Control
  • Expansion Memory 1 GB
  • Assignable: Joystick, 2 controllers, 8 buttons (AF, 1-2)
  • Improved User Interface
  • Buttons with greater visibility
  • Chord Looper Function
  • Bluetooth Audio NOT AVAILABLE
  • Speakers: 13 cm x 2 + 5 cm x 2
  • Speaker power: 2 x 15W
  • Dimensions: 1174mm x 511mm x 246 mm
  • Weight: 12.9kg
  • 1,573 Euro VAT included (Spain), $1,599.99 USD MAP

Yamaha PSR-SX920 Arranger Workstation

  • FSB keyboard, with 61 touch-sensitive keys
  • 1,587 Voices + 63 Drum/SFX Kits + 480 XG Voices including 12 S.Articulation2, 15 S.Articulation+ and 340 S.Articulation Voices
  • 128 notes of polyphony
  • 575 Styles including 6 Free Play Styles
  • Dynamic Style Control
  • Expansion Memory 2 GB
  • Assignable: Joystick, 2 controllers, 8 buttons (AF, 1-2)
  • Improved User Interface
  • Buttons with greater visibility
  • Chord Looper Function
  • Bluetooth Audio
  • Speakers: 13 cm x 2 + 2.5 cm (dome) x 2
  • Speaker power: 2 x (15W + 10W)
  • Dimensions: 1174mm x 511mm x 246 mm
  • Weight: 12.9kg
  • 2,662 Euro VAT included (Spain), $2,299.99 USD MAP

The PSR-SX920 will be the first mid-range PSR to have a few S.Art2 voices. Previously, S.Art2 voices appeared only on the top of the line arranger (such as Tyros 5 and Genos). The two models also introduce Super Articulation+ (S.Art+) which responds to articulation buttons on the front panel. There is a new “128-note” drum kit. [Who knows what that marketing-speak means.]

Both models have doubled the number of DSP effects assigned to Style parts. Both models have Dynamic Style Control adjusting the energy and dynamics of a Style with a single knob.

Yamaha is also introducing Portamento Crossfade to the mid-range (first appeared in G2 and A5000 [Mark]).

“Flexible time signatures” are supported. “Style Section Reset ensures your virtual drummer stays on the down beat with a single button press, especially useful for songs with random 3/4 or 6/4 bars.” A lot of Beatles fans will be happy because they notoriously mixed time signatures. 🙂

Several on-line retailers in the USA have the new models in stock!

Copyright © 2024 Paul J. Drongowski

Whither PSR Tutorial Forum?

Thank goodness the Olympics are not held every year — I wouldn’t get anything done. This year’s competition was outstanding. On to NFL football!

If you’re a Genos, Tyros or PSR person, you’ve certainly heard about the demise of the PSR Tutorial Forum by now. If it wasn’t for the Olympics, I would have been wandering around aimlessly without the company of the Forum community.

Unfortunately, the PSR Tutorial Forum was struck by the server upgrade of doom. I fear such upgrades to a limited extent myself as PHP/hosting upgrades nudge WordPress which nudges me. Running a forum, however, is a much larger headache and the underlying server upgrade forced the site’s founders and administrators to reconsider the future of the Forum. There are discussions going on in the background, so stay tuned.

In the meantime, we have the terrific Yamaha Musicians Forum run by Saul. Yamaha Musicians Forum has a broader scope than Yamaha arrangers alone. Thanks to the broader scope, I feel more comfortable making comparisons against Yamaha synths as well as arrangers. My first Yamaha keyboard was a 2-op FM CE-20 (1983). It’s in the garage and I should treat it better. 🙂 Still got the TG-500, too.

Many of the denizens of the PSR Tutorial Forum have registered at Yamaha Musicians Forum and discussions are already under way. If you haven’t made the move, c’mon over. 🙂

You might ask why I’ve never enabled comments on SandSoftwareSound.net. Fact is, moderating comments is a pain in the neck. That’s why I’m grateful to people who host, administer and moderate forums like PSR Tutorial and Yamaha Musicians. There is a lot of crazy on the Interwebs (both technical and mental) and they work through it.

It’s important to note that our current loss in PSR-land is limited to the PSR Tutorial Forum. The main PSR Tutorial site is still up and running. Feel free to dip into its many lessons, styles and other resources.

Before closing, I’d like to mention a small tidbit. About two months ago, I noted the first signs of new mid-range Yamaha arrangers (PSR-SX720 and PSR-SX920). Searching reveals a few early prototypes circulating in the far east. I saw similar indicators before SEQTRAK was publicly introduced. Stay tuned, indeed!

Copyright © 2024 Paul J. Drongowski

SampleRobot, again

Sampling pipe organ with 1010Music’s tangerine renewed my interest in SampleRobot. I figured, what the heck, lets use SampleRobot to capture Yamaha CSP-170 pipe organ voices.

Cabling

The CSP-170 digital piano is located downstairs from my studio. I don’t have a laptop at hand, so, I had to string long MIDI and audio cables between the CSP-170 and the Yamaha AG06 connected to my personal computer (Windows 10). I put a small Rolls mini-mixer in the middle of the audio cables in order to prevent signal loss. Similarly, I put a trusty old MX MIDI Patchbay in the MIDI path, again to prevent signal loss.

SampleRobot’s set-up wizard really streamlines the configuration process. Choose the sample rate (44.1kHz, 16-bit), key interval (every third note), MIDI channel and a few other things. After a few minor glitches, I could see signal in SampleRobot’s peak meter. All seemed operational. Hit record.

Mistake number one — I should have monitored and checked the sound across the full range of keys.

Uh-oh

Well, I couldn’t leave cables strung through the house without causing major grief for my spouse.

Mistake number two — I tore down the cabling before reviewing the samples.

I exported MODX Performances (in Montage library format X7L) and loaded them into the MODX6. That’s when I noticed a buzziness, especially in the lower octaves. Totally unacceptable.

The buzz is not electrical noise, but probably due to the Rolls mini-mixer being slightly overdriven. That’s my guess, anyway. I didn’t feel like stringing cable again, so…

Tangerine to the rescue

Toss the samples captured with SampleRobot. Copy and rename the tangerine sample files (to reflect the key names) and import the tangerine samples into SampleRobot. Export new MODX libraries and test.

Everything sounded good except that I noticed one sample file much shorter than the others. Whoops! Looks like tangerine had failed to collect and write a full eight seconds for one of the lower notes (D#1). Instead of re-sampling the note, I substituted a similar sample from one of the Genos pipe organs. Amazingly, I couldn’t hear a difference playing across the notes! That’s a lucky win in my book.

Although Montage/MODX can probably handle 48kHz samples — I wish Yamaha was specific about this in their documentation — I decided to down-sample to 44.1kHz, 16-bit. SampleRobot handled down-sampling with aplomb.

Gotta mention a couple of fails. I tried auto-looping the tangerine samples with SampleRobot and got too many short and/or lumpy loops. Cross-fade looping was not helping, either. I chose to go ahead without loops as an eight second sampling time is enough for most musical situations (e.g., a note held for two measures at 60BPM, worst case).

Better or just different?

The tangerine samples and Performances sound pretty good on MODX. A/B’ed against my existing pipe organ voices, however, the new pipe organ voices are just OK. There isn’t a “Wow, that is sooooooo much better” sound.

I’m going to leave the samples unlooped rather than invest more time with little return. If I had my socks knocked off, I would feel differently. Those Genos pipe organs are pretty darned good and I’m going to stick with what I’ve got.

Copyright © 2024 Paul J. Drongowski

MODX EP umph!

This short post is for MODX/Montage people looking for a little more electric piano (EP) “umph”.

I haven’t been all that happy with the factory stock suitcase and “Rd” patches. They seem to be lacking guts. So, I turned to the Genos 70s Suitcase Ballad voice for inspiration. Here are the EQ and effect settings:

Genos voice: 70sSuitcaseBallad

    EQ Low    -4/64  = -0.75dB @ 200Hz
    EQ High   +16/64 = +3.00dB @ 2.0kHz

Reverb: Real Medium Hall +  (MODX/Montage: HD HALL)

    1 Reverb Time          1.7s
    3 Initial Delay Time   22.1ms
    4 High Damp Frequency  8.0kHz
    6 High Ratio           0.8
    13 EQ Low Frequency    800Hz
    14 EQ Low Gain         +6dB
    15 EQ High Frequency   1.0kHz
    16 EQ High Gain        +4dB
       Return Level        64

Insert: Chorus 2  (MODX/Montage: SPX CHORUS)

    1 LFO Frequency        0.34Hz
    2 LFO Depth            29
    3 Feedback Level       0
    4 Delay Offset         0.0ms
    6 EQ Low Frequency     500Hz
    7 EQ Low Gain          0.0dB
    8 EQ High Frequency    7.0kHz
    9 EQ High Gain         +2dB
    10 Dry/Wet             D63>W
    11 EQ Mid Frequency    2.0kHz
    12 EQ Mid Gain         +4dB
    13 EQ Mid Width        1.0
    15 Input Mode          Stereo

The 70s Suitcase Ballad voice has the guts and warmth that I’m looking for. Always steal from the best! I plugged these effect and EQ values into the stock Case 73 Soft Performance.

Yamaha’s signal flow introduces equalization at multiple levels. This makes it difficult to suss or judge the overall EQ curve. However, these settings appear to add a significant bump in the 800Hz to 2.0kHz range. The reverb stage, in particular, has an major effect.

The chorus effect gives a nice shimmer after tweaking. It replaces auto-pan in the original factory patch. I adjusted the chorus dry/wet mix to D16>W in order to get a deeper/richer chorus.

Have fun!

Copyright © 2024 Paul J. Drongowski

A smorgasbord of electric pianos

I’m well into the process of sampling Genos/CSP electric pianos using 1010Music tangerine. I’ll have more to say about the process of sampling the EPs in a later post. Today’s blog is laden with enough detail about EP velocity levels to make your eyes roll. Suffice to say, one needs to know where the levels are in the source material before choosing exact velocities for sampling.

There are so many Genos EP voices that I produced a short list of my favorites:

  Genos/PSR/CSP electric pianos

  Voice            MSB/LSB/PC1 Velocity ranges
  ---------------- ----------- --------------------------------------
  Magnetics          104/0/5   1-75  76-104  105-115 116-127
  Electric Piano 1   0/119/5   1-75  76-106  106-127
  Electric Piano 2   0/122/5   1-60  61- 81   82-112 113-127
  SmoothTine         0/119/6   1-70  71-100  101-127
  SuitcaseSoft       104/7/5   1-46  47- 75   76- 99 100-118  119-127
  SuitcaseWarmth     104/14/5  1-46  47- 75   76- 99 100-118  119-127

I like the warm bell-like character of Magnetics. This voice have been around for ages — Tyros 4! Still, oldies can be goodies. Electric Piano 2 is unique to the CSP/CLP instruments and has a nice, unaggressive character.

I decided to sample: Magnetics, Electric Piano 2, and SuitcaseSoft. Those three voices give me a big enough spectrum of tone colors. I determined source voice velocity ranges by sending fixed velocity values to Genos/CSP and listening for velocity steps. I verified the velocity ranges against UVF meta-data when possible.

For comparison’s sake, I took a brief look at a few MODX voices to identify the waveforms in use (and typical velocity ranges). Here’s a mini-dump:

    MODX/Motif electric pianos

    Performance      Wave
    ---------------- ----
    Vintage 74        EP1  3 levels: Soft, Med, Hard
    R&B Soft          EP3  4 levels: Soft1, Soft2, Hard1, Hard2
    Early 70s         EP1  
    Soft Case         EP3  
    Crunchy Comp      EP3
    Vintage Case      EP3
    Hard Vintage      EP1
    Sweetness         EP1
    Case 75 Amp       EP4  5 levels: p, mp, mf, f, ff
    Dyno Chorus Rd    EP2  4 levels: Soft1, Soft2, Hard1, Hard2
    Dyno Straight MW  EP2
    E.Piano 1         EP3

After A/B testing, MODX EP4 is the same multi-sample as the Genos Suitcase, that is, comparing “Case 75 Amp” versus “SuitcaseSoft” with all effects and EQ turned off. Yamaha added the EP4 waveforms with Montage along with the new, detailed “Rd” and “Wr” multi-samples. Yamaha probably captured EP4 during the long gap between Motif XF and Montage, then tossed it into Montage along with the other new electric piano waveforms.

I also like the MODX Performance “Case 73 Soft”. It uses the newer Rhodes 73 waveforms:

    Part 1                  Part 2
    ----------------------  -------------------------
    Rd73 p         1 -  49  Rd KeyNoise p     1 -  84
    Rd73 mp       50 -  85  Rd KeyNoise mf   85 - 116
    Rd73 mf       86 - 108  Rd KeyNoise f   117 - 127
    Rd73 f       109 - 119  Rd KeyOff mf    Keyoff
    Rd73 ff      120 - 127  Rd KeyOff f     Keyoff
    Rd73 KeyOff  Keyoff     EP2 Soft1+      Keyoff
    Rd73 KeyOff  Keyoff     EP2 Hard1+      Keyoff
    EP2 Hard1+   Keyoff     Rd Soft Keyoff  Keyoff

Yamaha paid far more attention to mechanical noises in Montage/MODX. I’m in the process of punching up this Performance. [Yet another small distractions er, project.]

After a number of “lessons learned”, sampling EPs has progressed well. More to come about the actual process later.

For more about 1010Music tangerine, please see:

Check out my article about Yamaha piano voice programming.

Copyright © 2024 Paul J. Drongowski

1010Music tangerine: A rough edge here and there

After sampling Genos woodwind voices with 1010Music tangerine, I moved on to horns, strings and simple pads:

    SeattleStrings mf 104   5  50  Live       1-127
    Strings mf          0 118  49  Live       1-127
    Strings             0 117  50  Live

    VP Soft           104   0  90  Regular    1-127
    DarkLight         104   3  90  Regular    1-127
    MellowPad           0 117  96  Regular    1-127
    ButterStrings     104   2  51  Regular    1-127

    OrchHornsPad      104  11  62  Live       30-127, 1-127
    SoftHorns           0 117  61  Live       1-127
    MellowHorns         0 119  62  Regular    1-127

That’s enough to cover my basic needs (for liturgical music).

I dialed back all of the Genos EQ and effects, leaving a small amount of room reverb (Genos Real Room+ algorithm) for a bit of ambience. Yamaha “Live” voices are stereo, so I sampled them in stereo. [Duh.] The pads sound rather plain without Genos effects, but I’m adding modulation, delay and reverb on the tangerine itself.

I’m leaving quite a lot of head room when sampling Genos — a good thing. The Symplesound instruments have a bit of graininess which I chalk up to the high level of Symplesound’s multi-samples. The grain shows up when playing big, two-fisted chords and I think something is getting clipped somewhere. I haven’t experienced the same graininess with my own multi-samples, thanks to the head room.

Here are the tangerine voice parameter settings for the SeattleStringsMF preset:

    Level      +3.0dB
    Pitch      +0.00
    Filter     -30.0
    Res         50.0%

    Attack      10.0%
    Decay       10.0%
    Sustain     90.0%
    Release     28.0%
    Velocity    70.0%

    Filter MOD  VEL
    Amount      15.0%
    Filter MOD  KEY
    Amount      30.0%

The level adds a little overall boost. The filter settings bring in LPF through velocity and key scaling. As I said, these voices need sweetening. Reverb is added and I’m still working on chorus…

No filter envelope

My enthusiasm for tangerine has not waned. However, tangerine has a few shortcomings.

The biggest shortcoming is that the envelope does not modulate the filter. Yikes, this could be a deal-breaker for some people. Driving the filter is a pretty basic, needed capability and I hope that 1010Music add a solution in a future update.

What do those numbers mean?

You’ll notice that tangerine states many of its parameters as a percentage. Take the envelope parameters above, for example. Sustain and Velocity as a percentage are meaningful (i.e., percentage of full scale), but what the heck do the time-based parameters mean?

Percentage of what? There must be maximum attack, decay and release times. At the very least, 1010Music should state the maximum times and I’ll do the arithmetic. 1010Music state min and max for the LFO rate, for example.

1010Music need to improve the filter documentation, especially the way filter cut-off interacts with modulation. In particular, I’d like to know when to use negative values to tilt control curves the other way (e.g., key scaling or velocity scaling).

Effects

Based on Web comments, the first version of tangerine’s software implemented a more extensive set of delay and reverb parameters. Early adopters complained about the difficulty of dialing in delays and reverbs. 1010Music responded by “simplifying” the effect parameters.

I think they have gone too far. The reverb parameters are decay, pre-delay and damping — all expressed as percentages. Damping as a percentage makes sense. But, decay and pre-delay are time-based and a percentage is kind of meaningless. I often steal (borrow?) effect parameters from elsewhere and know that a 2.7 second reverb time and 20 millisecond initial delay will get me a large hall. tangerine doesn’t let me dial these basic values in directly and min/max time delays aren’t stated in the manual.

And — I confess — I’m at a total loss with the delay effect. [For now.] I haven’t been able to dial in a chorus effect. The maximum delay is stated, but I can’t get the delay short enough. Chorus needs a delay in the 10 to 50 millisecond range.

Hope these comments are helpful. Fingers are crossed for future updates from 1010Music.

My initial comments about 1010Music tangerine are here.

RTFM (update to an update)

Well, reading the manual can be beneficial. 🙂 You never know what you’ll find.

As to configuring a chorus effect, the manual does specify the maximum delay time: 4 seconds. Thus, the delay time needs to be around one percent (1%) in order to get a chorus-like delay time within 10 to 50 milliseconds.

The real bad news WRT chorus, however, is the lack of LFO modulation. The delay time should be LFO modulated in order to get a dynamic pitch shifting effect. I can hear a difference when delay is set in the 10 to 50 millisecond range, but it ain’t a true chorus without LFO mod. I may experiment with two slightly detuned layers and hear what happens.

So, that’s two big misses for tangerine:

  • The envelope cannot modulate the filter cut-off.
  • The LFO cannot modulate delay time.

Bummer! I hope 1010Music adds these modulation options in a future update. These options are quite essential and expected.

I stumbled across an essential detail about the filter parameter. Filter values between 0 and 100% (positive values) enable a high-pass filter (HPF). Negative filter values enable a low-pass filter (LPF). This explains why I had trouble tuning in the filter and modulation by ear alone. Information like this is someetimes a bear to pull out of the tangerine documentation.

The tangerine manual is pretty good by today’s standards. However, it needs better organization and an index. Some information — like parameter names, description, min and max values — should be collected into a single table. Believe it or not, Yamaha is quite good at organizing this sort of detailed information. See their “Data List” and Synthesizer Parameters PDFs.

Copyright © 2024 Paul J. Drongowski

Yamaha announce the Clavinova CLP-800 series

Yamaha have announced the much-anticipated CLP-800 series Clavinova digital pianos.

Personally, I was hoping for a significant bump over the CLP-785, the main reference point for this post. The CLP-785 — and now the CLP-885 — are the flagship “spinet” models. Although I enjoy my CSP-170, my dealer offers an attractive trade-in, trade-up plan which I would exercise given the right motivation. After a quick glance through the Owner’s Manual and Data List, my ardor cooled, sad to say.

Yamaha CLP-845 digital piano

The user interface (i.e., front panel and key functions) and choice of keybed (e.g., GrandTouch and GrandTouch-S) remain largely the same. The piano engine features the same capabilities as the CLP-700 series:

Secondary voices and the XG (GS, GM2) sound set remain the same. Please see the CLP-800 series comparison table as lower-end models may elide specific features and voices.

The CFX Grand and Bösendorfer are the featured pianos, and include Binaural Sampling. The CLP-800 series adds two new acoustic piano voices: Chill Out Piano and Lo-Fi Piano. The same Fortepianos are offered: Scarlatti, Mozart, Beethoven, and Chopin Pianos. All other secondary voices are the same in the CLP-800 series. No big upgrades.

The classical and lesson song lists and rhythm list are the same.

The CLP-800 series Owner’s Manual has many revisions for readability. The different organization makes it difficult to make an exact features by feature comparison between the series. I haven’t spotted any gotta-have new features.

Yamaha have made significant changes in the built-in sound system(s):

Component      CLP-885                  CLP-785
-------------  ------------------------  ------------------------
Amplifiers     (45 W + 30 W + 40 W) × 2  (50 W + 50 W + 50 W) × 2

Speakers       (16 cm with diffuser +    (16 cm + 
               8 cm with diffuser +      8 cm + 
               2.5 cm (dome) with        2.5 cm (dome) +
               Bidirectional Horn) × 2,  transducer) × 2,
               Spruce Cone Speaker       Spruce Cone Speaker

You will find similar changes in spec for other models, should you look at the CLP-800 series comparison chart.

Yamaha have given the DSP effect types a modest boost by adding “Effect types used for a specific Voice”. These effect types are:

    VCM EQ 501             Virtual Circuit Modeling (VCM) vintage EQ
    Comp Distortion        Compressor stage followed by distortion
    Vintage Phaser Stereo  VCM analog vintage phaser
    Stereo Overdrive       Stereo overdrive distortion
    Damper Resonance       Simulates grand piano damper resonance
    Hall 5                 REV-X hall reverb

Yamaha arranger and synth enthusiasts will recognize these effect types. They are DSP algorithms that are typically applied to electric piano and other keyboard voices.

Initial Reaction

My initial reaction is “Big-whoop”. [“Disappointment” for those of you who are not familiar with American sarcasm.]

The big functional change appears to be the use of “diffusers” in the built-in sound system. The CLP-800 Web page has a big chart comparing sound system components. The chart made me feel like I was buying a PA system, not a piano. Yamaha need to find a different way to promote this technology — something to make the technology approachable and cuddly to the average customer. Way too techie!

Frankly, I’m left cold. Since I’m happy with my CSP-170, I cannot find a compelling reason to upgrade to the CLP-800 product line (or the CLP-885, in particular). Guess that trade-up option is going to go unexercised…

Why the underwhelming Clavinova Series 800 update?

We know — from Yamaha’s quarterly call with analysts and investors — that the bottom has fallen out of the world-wide market for home digital pianos. China, in particular, is slow. Possibly, Yamaha did not feel the need or want to drive the home digital piano market too hard at this point in time. Perhaps they are saving bigger updates for the future when the market is more favorable?

This doesn’t mean that the CLP-800 series are bad pianos. I liked the Yamaha CLP-785 very much. As far as I’m concerned, personally, CLP-885 doesn’t give me a compelling reason to upgrade.

Technical footnote

The CLP-700 and CLP-800 series generate high resolution velocity and acceleration data with each MIDI note ON message. Two MIDI continuous controller (CC) messages are generated:

    CC#19    Key acceleration
    CC#88    High-resolution velocity prefix

By “prefix”, I suspect Yamaha mean the high order byte of an extended velocity data value. If you intend to use a “Grand Expression” digital piano with a personal computer-based software instrument (e.g., Modartt Pianoteq, Arturia Piano V, etc.), you will need to filter out or map these “extra” MIDI messages. Check the MIDI Implementation Chart for your model and software instrument (VST).

Copyright © 2024 Paul J. Drongowski