Category Archives: Music technology

Yamaha MODX vs. Montage

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I’m pretty well convinced that the Yamaha MODX leak is legitimate.

BTW, I think Yamaha will pronounce the name “MO D X” to reflect a continuation of the MO heritage and to emphasize the FM-X technology by recalling the DX synth line.

Here’s a quick table comparing MODX versus Montage. There are still a few blanks in the table which need to be filled out.

Feature MODX Montage
Display 7″ WVGA color TFT 7″ WVGA color TFT
AWM2 poly 128 128
FM-X poly 64 128
SSS 4 parts 8 parts
Faders 4 8
Encoders 4 8
Buttons 4 8
Ribbon No Yes
USB audio in 4 channels (2 stereo) 6 channels (3 stereo)
USB audio out 10 channels (5 stereo) 16 channels
Sampling frequency 44.1kHz Up to 192kHz
ADC inputs 2 2
Dual insert effects 12 parts+A/D 16 parts+A/D
Waveforms 6,347 6,347
Waveform ROM 5.67GB 5.67GB
Flash ROM 1.00GB 1.75GB
User Performances 640 640
Library Performances 5,120 5,120
Scenes 8 per Perf
Arpeggios 10,239 10,000+
Simult Arp 8
MIDI IN,OUT IN,OUT,THRU
Output Unbalanced Balanced
Keyboard Synth FSX
Aftertouch No Yes
Weight 61-key 14.6 pounds 33.1 pounds

Of course, the important question is, “How much of the Montage did Yamaha leave out?”

First, let me say, you do get a lot. The MODX has full fat waveforms, arpeggios and performances (including voices in the flat Yamaha user interface world). Having heard and played the Full Monty, I will definitely be looking at the MODX to replace my MOX6, especially if the MODX6 weighs in at roughly the same weight.

There have always been differences between the top-of-the-line (TOTL) synth and its mid-range brother. The Montage has a metal chassis, balanced outputs, internal power supply (AKA “AC power”) and an FSX keybed with aftertouch. Therefore, I expected a plastic chassis, unbalanced outputs, external power supply and a synth action (61-key model) without aftertouch. Given the history of the MO product line, one could also expect fewer sliders, knobs and buttons. I’m glad to see the return of sliders, by the way. The plastic case of the MOX6 has held up rather well and usually guitars walk away worse for wear when they collide with the MOX6!

At this price point, I wouldn’t expect Pure Analog Circuit (PAC) audio either. I’m still a little surprised that the Genos offers TOSlink in place of PAC, BTW.

Thankfully, Yamaha did not skimp on the display. It’s the same 7″ wide VGA color TFT. I suspect that the Montage and MOXD share the same software code base, which was not true of the Motif XS/XF and the MOX/MOXF. The MODX has the same number of user and library performances. All of this parity is great news for the end user.

The MODX audio spec is cut down from the Montage. I expected this, too, knowing about the internal architecture of the Montage. The Montage has a dedicated SSP2 integrated circuit (IC) for audio routing and USB interface. This is like having a Steinberg UR44+ in the guts of your studio synthesizer. Thus, the MODX (probably without the SSP2) has fewer USB audio input and output channels. Although the leak doesn’t reveal the sampling rate, I doubt if the MODX will do 192kHz. [I wouldn’t mind being wrong about this doubt.]

The leaked write-up suggests that the MODX has the same effect algorithms as the Montage. The number of dual insert effects is lower in the MODX: 12 parts plus A/D input versus the Montage’s 16 parts plus A/D input.

I suspect that the number of parts per performance has been reduced from sixteen to eight. The front panel buttons provide access to eight elements (as expected with AWM2) or eight parts. Seamless Sound Switching (SSS) is supported for performances with up to 4 parts (versus 8 Montage parts). Take this speculation with a grain of salt as it’s trying to read between the lines of the write-up.

It is true, however, that the four sliders, encoder knobs and buttons are shared across eight parts or elements. Each control type has a button to select between group 1 to 4 and group 5 to 8.

  • With four sliders, don’t expect to go all “Hammond” with drawbars.
  • With four immediately accessible scenes (i.e., without making two button presses under live fire), don’t expect to jump across more than four voices on the fly.

The second concern is a serious one because Yamaha ditched a whole raft of buttons from the right hand side of the front panel (cost saving!) I currently rely on the MOX buttons to select among sixteen voices on the fly. This is important to me because I’m holding down bass and melody lines with our trio. I must make fast patch changes or something gets dropped musically.

The only place where I feel like Yamaha gratuitously tiered the Montage over the MODX is expansion flash memory. The expansion flash memory is the left over flash ROM capacity beyond the factory sound set. Trust me, Yamaha is not saving money by cutting this spec — it is a marketing decision.

There is so much yet to learn about the MODX. I’m hoping that Yamaha retained the deep performance (voice) editing from the Montage. The leaked write-up does not mention a “performance recorder,” so this is a total blank spot, too. Pricing for all models is yet known. Yamaha may sell the MODX at a premium versus the MOXF until the old MOXF stock is sold.

At this stage, I’m quite pleased. My MOX is going strong and makes it to the gig every Sunday. However, I have tasted the future with Genos™ and look forward to trying the Yamaha MODX.

Copyright © 2018 Paul J. Drongowski

Do you question?

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The latest hot rumor. Do you question whether this is real or a hoax? An on-line retailer is running the text below with a price of 1,399 British pounds for the 76-key model. The Keyboard Magazine Forum has a picture of a 61-key model. Real or not?

I’ll post more thoughts later. I’ve gotta gig in an hour…

[Update: Please see my MODX vs. Montage comparison.]

[Previous update: Very likely real. Amazon accidentally posted a page for an 88-key model. The page is no longer active.]

AWM2 Synthesis Engine and FM-X Technology

The AWM2 acts as the heart of the synthesizer. The AWM2 (Advanced Wave Memory) synthesis engine is exclusive to Yamaha synthesizers, renowned for its versatility and sound design capabilities. The AWM2 provides processes both samples and synth sounds, providing ultra-realistic emulation of acoustic instruments, digital sounds and drums.

The FM-X (Frequency Modulation) section provides unique and expressive ways to create synth sounds. The highly-programmable technology provides the means for dynamic, electro-modern music creation. It can create everything from 80s synth sounds to cutting-edge EDM leads. The unique technology provides an 8-operator FM architecture with 64-note polyphony and a wide variety of filter types.

Semi-Weighted Keybed and Versatile Performance Controls

The MODX7 features a 76-note semi-weighted keybed, providing fluid playability. The semi-weighted keys provide added expression, emulating the feel of a traditional piano. The AWM2 engine delivers 128-note [?] polyphony and 64-notes of FM-X polyphony, opening up a new world of possibilities for creating sounds.

A wide range of performance controls are included, ideal for live sets and for use with music production. Empower your creativity with versatile controls for virtually every parameter.

The Super Knob is a highly unique control, acting as a virtual conductor for your music. It directs individual dynamic elements into a signal control. It provides simultaneous control of up to 128 parameters within a single performance. This gives you the ability to mix functions such as Volume, Pan, Effect and other parameters such as Filters, LFOs and more.

Four additional faders and encoders are included. These can be assigned to different functions and used for hands-on control of settings. Between each slider (fader) is a Scene button, It features eight Scenes which can be for different assignments such as Motion Sequence, Arpeggio Select number and even complete mixing. A range of transport controls are included, as well as a modulation and pitch wheel.

Integrated Premium-Grade Effects

A wide range of premium-grade effects are included for adding flare to your sounds. From high-definition Reverbs to Virtual Circuit Modelling effects, the powerful DSP engine delivers unparalleled audio fidelity and performance.

The effects range from standard delays and compressores to cutting-edge effects such as Beat Repeat, Vinyl Break or Bit Crusher. The specialised Spiralizer effect creating the sonic illusion of a tone rising or falling in pitch. There is even a Compression with a sidechain, allowing you to achieve the modern-day ducking effect.

Built-In USB Audio Interface

Aiding modern-day computer-based production, the MODX7 features an integrated 2-in/10-out multi-channel USB audio interface. The high-grade interface is coupled with two A/D inputs, making the MODX the perfect choice as a centrepiece in any studio or live setup. It provides single-cable connectivity, and even works with your favourite iOS device.

Envelope Follower and Motion Sequences

The Envelope Follower converts audio into a control source for virtually any synth parameter. For example you can use a drum loop to drive an effects parameter for a unique rhythm and/or vocal recording.

Motion Sequences give you the ability to create tempo-synchronised sequences which can be assigned to any parameter. This opens up new way to control rhythms and sound. It also features dedicated controls on the front-panel, allowing for real-time manipulation.

Ergonomic, Lightweight and Portable

The sleek and streamlined design is highly portable, making it ideal for live performances and studio sessions. The ergonomic layout is split into various sections allowing you to easily navigate between parameters, settings and sounds. The large LCD touch-screen provides a hands-on approach to accessing sounds and files. The Waveform-Rom of the synthesizer has been expanded from 741MB to 5.67GB. It also provides Seamless Sound Switching (SSS) for performances with up to four parts.

The compact and lightweight design makes it easy to transport. A dedicated transport case is available for the MODX, so you can transport your synth with maximum protection and comfort. The rear of the synth features a variety of connections. A foot switch/sustain output is available for incorporating expression pedals. There are also connections available for A/D input, as well as USB connectivity for USB to Device and USB to Host.

Features

  • AWM2 (Advanced Wave Memory 2) sample and synthesis engine
  • 76-note semi-weighted keybed for fluid playability
  • Unparalleled sonic versatility for creating sounds from iconic 80s sounds to modern-day EDM cutting-edge leads
  • Integrated performance controls include faders and encoders for in-depth control over parameters
  • Ideal for both studio and stage use
  • FM-X Synth Engine
  • LCD-Touchscreen 7″-Colour-Wide-VGA-TFT
  • Waveform-ROM expanded from 741 MB to 5.67 GB
  • 2,370 new Waveforms, 6,347 total in ROM
  • 1 GB Flash-ROM built-in
  • Ca. 2,000 preset performances
  • 640 user performances
  • 5,120 library performances
  • Seamless Sound Switching “SSS” for Performances with up to four Parts
  • 13 dual insert effects (12 Parts + A/D Input)
  • Over 256 preset live set slots, 2,048 User & 2,048 library live set slots
  • 10,239 arpeggios
  • Eight arpeggio Parts simultaneously
  • Eight Scenes per Performance
  • Master keyboard functions for each Performance
  • Multichannel USB Audio Interface, 2-in/10-out

Baby’s are cute!

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I have got to get me one of these for my Yamaha Reface YC. Cost (12,000Yen / $108USD) is no object. 🙂

Quoting Suzuki:

The Baby Leslie Bluetooth speaker inherits the look of the original Leslie 122 speaker, developed exclusively for Hammond Organs.

Although the “Baby Leslie” does not provide the Rotary Effect of traditional Leslie Speaker Cabinets, its omnidirectional sound system, including a passive radiator, brings brilliant highs and rich lows, reflecting the heritage that the Leslie Brand is famous for.

An added fun feature uses illuminated LEDs to simulate the look of the spinning horn rotor atop all classic Leslies. The badge and name plate have been recreated from the original Leslie Logo, and the look of real wood offers a touch of vintage style.

See the quasi-demo video and the Baby Leslie leaflet (PDF).

A Google search turns up Suzuki’s application to the FCC. Soon, soon!

Unfortunately, the Baby Leslie does not have an analog audio input — it’s only Bluetooth. Here’s a snap of the BT-122 control panel (click to enlarge).

I’ll add a Bluetooth transmitter to the Reface YC (with the lousy Bluetooth audio latency) or I’ll hack the speaker itself to add an audio input. Another manufacturer who doesn’t “get” their own product and will lose sales because they cheaped out on a connector…

Copyright © 2018 Paul J. Drongowski

[Update: Upon further thought, with its SBC codec, latency will be around 100 to 150 msec — too much for live play. Either Suzuki add a LINE IN, or it’s time to break out the soldering iron and mod.]

All is swell (SWL)

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Yamaha develop a wide range of keyboard products from low-cost entry-level ‘boards to high-end synthesizers and digital workstations (AKA “arrangers”).

Within a market segment, the engineering challenge is to develop, manufacture and test a product with the desired feature set at the target selling price. I won’t discuss profit margin here since no one really knows, but Yamaha. We do know, however, that amortized non-recurring and recurring costs must be low enough to produce a significant return. Cost sensitivity is simply a day-to-day reality.

The entry-level segment is the most cost-sensitive segment because most customers in this segment are looking for an inexpensive keyboard with basic functionality. Think “Parents buying a first keyboard for a kid who may walk away from the whole thing in a week or two.” The entry-level segment outsells the mid- and high-end portable keyboard segment by nearly 2 to 1:

    Category                       Units            Retail value
    -----------------------------  ---------------  -------------
    Acoustic guitars               1,499,000 units  $678,000,000
    Electric guitars               1,132,000 units  $506,000,000
    Digital pianos                   135,000 units  $165,000,000
    Keyboard synthesizers             81,000 units  $104,000,000
    Controller keyboards             160,000 units  $ 32,000,000
    Portable keyboards under $199    656,000 units  $ 64,000,000
    Portable keyboards over $199     350,000 units  $123,000,000
    Total portable keyboards       1,006,000 units  $187,000,000

    Sales Statistics for 2014, USA market

Synth fanatics should note that although the average selling price (ASP) is higher for synths, the portable keyboard segment moves a much higher number of units. Fortunately, for manufacturers playing in the entry-level portable keyboard space, volume is relatively high and non-recurring cost can be laid off across a larger number of units than synths.

The entry-level segment has one other important driver — the desire for portable, battery operation. This design consideration limits the amount of electrical power available for computation and thus, limits the amount of computational capacity itself. Some dynamic power can be bought back through lower CPU clock speeds. Folks accustomed to giga-Hertz CPUs may be shocked to see such low clock speeds! Lower clock speeds simplify cooling and reduce overall weight by eliminating heat sinks and cooling fans.

LSI vs. commodity

Yamaha perceive their proprietary expertise in large scale integration (LSI) as a competitive advantage. Although Yamaha exploit commodity components where possible, tone generation and digital signal processing (DSP) are performed in proprietary hardware.

User interface and control (e.g., USB communications, MIDI, LCD, etc.) are a good fit with commodity CPU technology. Yamaha — and Roland — have a long history with H8 and SH architecture CPUs from Hitachi, now Renesas. Early products employed H8 microcontrollers for host CPU functions. Yamaha eventually migrated to the “Super H” reduced instruction set computer (RISC) family. (In 2011, Renesas announced the end of the H8 line.)

Yamaha have a considerable investment in software built and tuned for the SH family. Thus, migration to a new commodity architecture (ARM) is a pretty big deal with a high internal cost. Yamaha have adopted ARM for panel scanning/control in Reface and are using ARM processors for host computation in Montage and Genos. Time and experience will show if ARM is adopted in the entry- and mid-range segments, too.

Old faithful

Yamaha’s entry-level models rely on “old faithful,” the SWL family of proprietary Yamaha processors. The SWL is used in all entry-level models — a good way to drive volume manufacturing of a custom part. The SWL family has undergone several revisions over the years. I don’t intend to recount that history here.

The SWL01U was used in many products including the PSR-E443. The external clock crystal oscillates at 16.9344MHz yielding an internal clock speed of 33.8688MHz by scaling. The relatively low clock speed reduces heat and power consumption. The following diagram shows the typical “compute complex” in an entry-level keyboard. [Click to enlarge.]

The structure in the diagram is generic across Yamaha entry-level products. If you dive into the service manual for a specific entry-level keyboard, you’re likely to find a “compute complex” like this generic one although memory capacities and such are model specific.

The SWL01U provides a CPU bus to which a USB controller (optional), program/wave ROM, flash ROM and SDRAM are attached. The SWL01 has many on-board interfaces: keyboard scanning, LED/LCD interface, bit-serial audio (ADC, DAC), control knob sensing, etc. The SWL01U has an integrated USB controller which can be deployed in ultra low-cost, minimum component count designs.

The SDRAM is, of course, read/write working memory. The flash ROM retains user data when power is turned off.

The program and waveform data are stored in the same physical memory component. In the case of the PSR-E443, the prog/wave memory is a 16MByte parallel NOR flash memory. The factory sound set, therefore, is smaller than 16MBytes. Panel voices, the XGlite sound set, and drum kits are crammed into this small memory along with the E443’s software.

The SWL01U integrates 32 tone generation channels and relatively “lite” DSP effects (reverb, chorus and flanger). I have not had the chance to browse the service manual for the PSR-E453 (or E463). E453 polyphony increased to 48 voices and the DSP effect types got a modest bump. I expect to find a new, updated member of the SWL family in these newer keyboards.

Anyone modestly familiar with microcomputer systems will look at the diagram above and say, “It’s just a computer system,” and they would be right. The simplicity of the system — and its low cost — severely limit tone generation and effect processing, however. The bottleneck is the shared system bus. All traffic must cross this bus whether it is instructions for scanning the keyboard matrix, waveform samples for tone generation, or working data for DSP effects. There is only so much bus (memory) bandwidth and it must be split several ways.

We often think of tone generation as compute-limited. Tone generation may be memory (or bus) bandwidth limited, too. Each mono channel of tone generation must read 88,200 bytes per second:

    44,100Hz * 2bytes = 88,200 bytes per second

For 32 tone generation channels, total required bandwidth is :

    88,200 bytes per second * 32 channels = 2,822,400 bytes per second

This rate must be guaranteed in order to avoid audible artifacts. (Tone generation reads are probably given highest priority by the hardware.)

The system bus does not operate at the same speed as the CPU clock. Assuming 2 clocks per bus operation (conservative estimate), 2.8MBytes/second is a significant fraction of available system bus bandwidth (17 percent). The number of channels cannot be increased without affecting the latency of host operations such as key scanning and real-time player control (e.g., front panel knobs).

Who’s counting?

Entry-level products have a low component count thanks to all of the functionality integrated into the SWL. Low component count has many benefits including smaller printed circuit boards (PCB), lower power, fewer solder connections to go wrong during manufacturing, smaller chassis, etc.

The SWP01U has 176 pins around a modest-sized, quad flat surface mount package. By putting all memory traffic on the CPU bus, i.e., not using a dedicated memory channel for waveform samples, Yamaha have achieved a relatively low pin count. [I never thought I would ever refer to 176 pins as “relatively low.”] Other Yamaha solutions have a much greater pin count due to separate dedicated memory channels. Those solutions, however, deliver a much higher level of performance and polyphony. More about this in future posts.

What’s up, clock?

What’s up with those clock speeds? Why not something “even,” like 16MHz?

Turns out, 16.9344MHz is a multiple of the sample playback frequency:

    16,934,400Hz = 44,100Hz * 24bits * 16

The SWL generates the sample clock for the ADC and the DAC.

The PSR-E443’s ADC is a Texas Instruments PCM1803ADBR 24-bit analog to digital converter. A note in the schematic states “MCLK=768fs, fs=44.1kHz, 24-bit left justified, HPF on, Slave Mode.” 768*fs is 33.8688MHz which is exactly the CPU clock frequency.

The PSR-E443’s DAC is a Cirrus Logic (Wolfson) WM8524CGEDT/R 24-bit digital to analog converter. A note in the schematic states “SYSCLK=33.8688MHz (768fs), BCLK=2.8224Mhz (64fs), WCLK=44.1kHz (1fs), 24-bit left justified.”

You can find the datasheets for the ADC and DAC by searching the Web.

The PCM803A and WM8524 support three audio formats: left justified, right justified and I2S. The formats and clock scheme are rather common and standard, and are supported by most commodity audio ADC and DAC components. The SWL processor, ADC and DAC remain in synch because the CPU clock and the sample clock are one and the same.

So long!

I hope this blog post has given some insight into the design of entry-level musical instrument keyboards.

Copyright © 2018 Paul J. Drongowski

MIDI TRS pin-out

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The MIDI Association has released Recommended Practice #54 covering the use of TRS connectors for standard current loop MIDI. If you’re not a member of the MIDI Association, I strongly recommend becoming a member. Among other benefits, members have access to the Association’s on-line specifications and recommended practices.

Without putting too fine a point on it, the diagram from RP#54 says nearly all. [Click image to enlarge.]

MIDI device designers are facing the same sort of space issues as phone developers. The physical form factors are getting too darned small! In many cases — no pun intended — connector size is a limiting factor. Old school 5-pin DIN connectors are enormous relative to slender product envelopes. The MIDI Association recommends 2.5mm TRS connectors and a maximum adapter cable length of 2 meters.

So, of course, you’re wondering about the MIDI controllers, etc. that you already own. A quick check with a digital meter or continuity checker will determine if your current device is consistent with the recommended practice or not. I checked the adapters with my Akai MPX8 and, yep, the adapters are consistent.

The Korg HNS-4331 MIDI conversion cable is also consistent with the RP #54 convention. Albeit, both the Akai and Korg adapters have 3.5mm TRS plug, not 2.5mm. 2.5mm is a good idea since it would be all too easy to plug 3.5mm headphones or a live LINE output into a MIDI port. Yikes!

The IK Multimedia cable that came with my iRig MIDI is a bit of an oddball. First, the 5-pin DIN connector is male, not female as shown in the diagram above. Further, the pin 4 and 5 connections are swapped relative to the pin wiring shown above. So, if you’re wiring for IK Multimedia, please take care and check things out for yourself using a continuity checker.

Sure wish this recommended practice was available a few years ago…

In case you missed it, here’s the MIDI reference circuit.

Please join and be sure to read the 2014 update to the MIDI electrical specification.

Copyright © 2018 Paul J. Drongowski

Yamaha VKB-100 redux

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OK, sooner or later, you knew I would circle back to the Yamaha VKB-100 VOCALOID keyboard. This little gem is a vocal keytar that lets you play pre-loaded lyrics using an installed Vocaloid library sound. Up to five libraries may be installed including the VY-1 library that ships with the VKB-100.

The VKB-100 can be had for the relatively low price of roughly $400USD, depending on shipping cost from Japan. The VKB-100 is only available in Japan at the current time.

Here’s a quick summary of the specs (translated from Japanese):

Number of keys: 37
Keyboard type: HQ (High Quality) MINI keyboard
Maximum polyphony: Vocaloid (mono), Instruments (48)
Number of voices:
    Vocaloid: Up to 5 libraries, Preset: 1 library (VY-1)
    Instrument: Preset: 13
Effects: Reverb, distortion, chorus, tremolo
Equalizer: Flat, Boost, Bright, Mild
Lyric operation: Loop, phrase return/forward, head search, recover
Skill
    Vocaloid: 2 assignable skills
    Instrument: Skill 1: Sustain, Skill 2: Portamento
Memory slots: Vocaloid: 20, PCM sound source: 20
Main controls Pitch Bend Wheel, Expression Wheel, Effect Knob, 
    Select Knob, Selector Slider, Transpose button, Phrase Button, 
    Memory Button,  Skill Button, Octave Button, Loop Button, 
    Master Volume Knob
USB: USB to HOST, USB to DEVICE
Audio connections
    Headphone out
    AUX in
    Line out
Amplifier output: 0.7W
Internal speaker size: 3.6cm
Power adapter: PA-150B
Battery power: 6 x AA alkaline or rechargeable NiMH batteries
Battery life: About 7 hours when using alkaline batteries
Width x depth x height: 821 mm x 121 mm x 65 mm
Width x depth x height: 32.3 in x 4.8 in x 2.6 in
Weight: 1.5kg
Accessory soft case: SC-KB350 (5,500 Yen)

The keybed is probably the Reface keybed. (Sturdy, slightly clack-y.) What’s that? Instruments? Hmmm…

I don’t want to run through the operational particulars, again. Please see the following pages for background information:

It’s cheap, it straps on, it has a keyboard and wheels. Can it be used as a MIDI controller? As an instrument in it’s own right?

The build quality looks pretty decent and the ergonomics are nice. There are two wheels on the neck: pitch bend and expression. And here we hit the first bump in the road — no modulation. A quick look at the MIDI chart and we find that the VKB-100 sends:

  • Pitch bend
  • Portamento time (CC# 5)
  • Expression (CC# 11)
  • Portamento ON/OFF (CC# 65)
  • Release time (CC# 72)

That’s it. Now, I suppose one could remap CC# 11 to modulation, but it would be better to have modulation generated natively.

The other gotcha. The VKB-100 has two modes: normal and keyboard mode. The VKB-100 only sends MIDI controller/key messages in keyboard mode, not normal mode. The user must select keyboard mode through a menu and this setting is not retained across power off. That means changing to keyboard mode after every shutdown.

The VKB-100 doesn’t receive much of MIDI anything except some undocumented SysEx. Thus, forget about sequencing.

The final gotcha is MIDI over USB only. If you want to drive an old school 5-pin DIN MIDI module or keyboard, you will need to bridge USB to 5-pin.

So, what about those preset instruments? Here’s a list:

  1. Synth 1
  2. Synth 2
  3. Synth 3
  4. Synth 4
  5. E. Guitar
  6. Harmonica
  7. Tenor Sax
  8. Piano
  9. E. Piano
  10. Synth Bass
  11. Slap Bass
  12. Air Choir
  13. Applause

Quality is comparable to an entry-level PSR keyboard. The Tenor Sax voice, for example, sounds like the Sweet! Tenor Sax in a PSR-E443. At least you have four effect types (reverb, distortion, chorus, tremolo) with four effect depth levels each. Kinda basic.

After a few insipid J-Pop YouTube demos, you want to blow your brains out. I watched them, so you don’t have to. Here are a few demos to check out.

Hey, Blake! You got to go to Superbooth? I’m jealous!

Bottom line, I was intrigued until I dove into the (Japanese) manuals and found the VKB-100’s limitations as a controller and stand-alone instrument. Ordering from Japan is no big deal, but the VKB-100 would have to offer some real cool features and sounds to compensate for the labor of translating Japanese to English and dealing with display messages in Japanese.

If you want to get your feet wet with Vocaloid, I recommend the Gakken NSX-36 Pocket Miku module. No keytar action, but you get a multi-timbral MIDI module that does Miku Vocaloid at a very modest price (less than $50 USD).

Copyright © 2018 Paul J. Drongowski

Insertion effects for MIDI songs

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The new Yamaha Genos™ platform greatly expands the number of DSP insertion effects for styles and MIDI songs. No doubt, you would like to put these insertion effects to work in your own styles and MIDI songs. This blog post should help you get started.

There are 28 insertion effect units at your disposal:

  1. Insertion Effect 1 to 19: Keyboard parts (RIGHT1, etc.) and Song channels 1 to 16.
  2. Insertion Effect 20: Microphone and Song channels 1 to 16.
  3. Insertion Effect 21 to 28: Style Parts (except Audio Styles).

Within the constraints of these three groups, any Insertion Effect unit within a group may be assigned to any audio source associated with the group.

I will use the terms “Insertion Effect” and “DSP effect” interchangeably. This is true when you delve into the Yamaha XG parameters, too.

With all this flexibility, effect resource management can easily get out of control. I’ve developed a few personal guidelines to help keep things organized:

  • Genos assigns RIGHT1, RIGHT2, RIGHT3, and LEFT to Insertion Effects 16, 17, 18 and 19. Avoid using these Insertion Effect units in a MIDI Song.
  • Assign the remaining Insertion Effect units on a 1-to-1 corresponding basis: DSP unit 1 to Song part 1, DSP unit 2 to Song part 2, etc.

These simple guidelines make it easier to manage track DSP usage when doing the busy-work of Song editing.

Genos also provides a Variation Effect which can be configured as either a System effect or an Insertion Effect. Let’s not even go there for now. The Variation Effect offers additional opportunities for signal routing and control. Unfortunately, opportunity comes at the cost of complicated configuration.

If you want more information about using the Variation Effect, here’s a pair of blog posts for you: PSR/Tyros XG effects and XG effects: SYSTEM mode.

It’s simple then — each DSP unit (Insertion Effect) corresponds to a single Song part. Each unit and its part have the same identifying number.

If you’re sequencing on the Genos itself, you can assign Insertion Effects to Style and Song parts using the Mixer. Go to the Mixer, touch the “Effect” tab at the Left of the screen, and then touch the “Assign Part Setting” button. Genos displays the insertion effect assignment dialog box where you can make assignments. This dialog box is a good way to check that your MIDI sequence is making the correct assignments, too.

I do my MIDI sequencing and editing in BandLab Technologies SONAR (formerly Cakewalk SONAR). This means configuring DSP effects via System Exclusive (SysEx) MIDI messages. Many people fear SysEx because the messages are encoded in hexadecimal numbers. Fear not! I’m going to give you a head start.

At a minimum, we need to create two SysEx messages for each Insertion Effect:

  1. One message to assign the DSP unit to the Song part, and
  2. One message to select the DSP effect type (e.g., British Legend Blues).

This is enough to assign a DSP effect preset (and its algorithm) to a Song part. Once assigned and the MIDI sequence is loaded, you can edit the effect parameters in the Genos GUI by spinning the faux knobs and such. When you hear a setting that you like, you can translate the settings into additional SysEx messages and incorporate the messages into the sequence using a DAW like SONAR.

First things first. The SysEx message to assign the DSP unit to a Song part has the form:

F0 43 10 4C 03 XX 0C YY F7

where XX is the DSP (Insertion Effect) unit number and YY is the Song part number. The only potential gotcha is MIDI unit and part numbering — it starts from zero instead of one. For example, let’s assign DSP unit 6 to MIDI part 6. (I’m assuming that the MIDI part and channel numbers are the same; the usual default situation.) In this example, XX=5 and YY=5, so the final SysEx message is:

F0 43 10 4C 03 05 0C 05 F7

Straightforward.

You may already be aware that hexadecimal (hex) is a way of counting (i.e., representing numeric quantities) in base sixteen. The hex digits 0 to 9 have their usual meaning. Hex digits A, B, C, D, E, and F represent the numeric quantities 10, 11, 12, 13, 14, and 15, respectively, when those quantities are written in base 10, decimal notation. You’ll need those hex digits when connecting DSP units 10 to 16 and Song Parts 10 to 16.

In case you’re still unsure of yourself, here’s a simple table to help you out:

DSP#  Part#   SysEx message
----  -----   -----------------------------------
   1      1   F0 43 10 4C 03 00 0C 00 F7
   2      2   F0 43 10 4C 03 01 0C 01 F7
   3      3   F0 43 10 4C 03 02 0C 02 F7
   4      4   F0 43 10 4C 03 03 0C 03 F7
   5      5   F0 43 10 4C 03 04 0C 04 F7
   6      6   F0 43 10 4C 03 05 0C 05 F7
   7      7   F0 43 10 4C 03 06 0C 06 F7
   8      8   F0 43 10 4C 03 07 0C 07 F7
   9      9   F0 43 10 4C 03 08 0C 08 F7
  10     10   F0 43 10 4C 03 09 0C 09 F7
  11     11   F0 43 10 4C 03 0A 0C 0A F7
  12     12   F0 43 10 4C 03 0B 0C 0B F7
  13     13   F0 43 10 4C 03 0C 0C 0C F7
  14     14   F0 43 10 4C 03 0D 0C 0D F7
  15     15   F0 43 10 4C 03 0E 0C 0E F7
  16     16   F0 43 10 4C 03 0F 0C 0F F7

Find the row in the table for the Insertion Effect (DSP unit) number and Song Part that you want to configure. The third column is the SysEx message to use.

Once the DSP unit is assigned to the Song Part, you need a SysEx message to choose the DSP effect type (e.g., British Lead Dirty). The SysEx message to accomplish this job has the form:

F0 43 10 4C 03 XX 00 MM LL F7

where XX is the DSP unit number, MM is the MSB of the effect type and LL is the LSB of the effect type. The effect types are listed in the Genos Data List PDF file. Look under the “Variation/Assertion Block” section of the Effect Type List. British Lead Dirty is a distortion effect with MSB=102 and LSB=32.

The next step is to convert the MSB and LSB to hexadecimal. I think this is the part that scares some folks the most. Actually, Yamaha have made it easy. While you’re in the Geno Data List PDF file, go to the first “MIDI Data Format” page. You’ll find a table that converts between decimal, hexadecimal and binary. Look up 102 and 32 in the table. The equivalent hex values are 0x66 and 0x20. (The “0x” is my way of marking hexadecimal values.)

After converting, it’s time to select the DSP effect type for unit 6 (and by way of assignment, Part 6). Plug XX=5, MM=66 and LL=20 into the template message above, producing:

F0 43 10 4C 03 05 00 66 20 F7

This message sets the effect type of DSP (Insertion Effect) 6 to British Lead Dirty.

That’s it. At this point, you’re ready to assign DSP preset effects to any of the Song parts. Style parts work the same way. No calculator involved, just a few easy tables.

Changing the DSP effect parameters via SysEx is a little bit more complicated. I’ll save that topic for another day.

Copyright © 2018 Paul J. Drongowski

Summer snoozer?

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Summer NAMM 2018 starts in a few days and so far it looks like a snoozer. I haven’t found many preliminary announcements of interest. I’m tempted to predict Yamaha’s MOXF replacement (or upgrade), again. However, at some point, one starts to look like a broken clock being right twice a day. 🙂

Yamaha have announced a new product in the P-series digital pianos. The new model P-515 replaces the P-255 as the P-series flagship.

The P-515 is a slab that incorporates much of the new digital piano technology that was introduced with the CSP series (Smart Pianist and Piano Room). The P-515 includes NWX natural wood white keys with synthetic ebony and ivory key tops. Piano sounds include the Yamaha CFX and Bösendorfer Imperial. It has forty panel voices plus a 480-voice XG sound set. The CFX Grand Voice has binaural sampling which recreates the perspective of the player position. Other goodies include key-off samples, smooth release, Virtual Resonance Modeling (VRM), and half pedaling. VRM includes damper, string, Aliquot, and body resonance. Bluetooth audio/MIDI is built-in. Speakers are built-in: Oval 15W (12cm by 6cm) and dome 5W (2.5cm). [Two of everything, of course.] Weight is 48.5 pounds and MSRP is $1,999 USD and MAP (street) is $1,500 USD. A little too heavy for regular gigs out, but its compact size, sound and action make the P-515 a winner for home, especially at $1,500 street. [Manuals now available.]

60s retro is always in with me, so I’m charmed by the Vox Mini SuperBeetle. (Yes, they are using that abominable spelling.) Vox hit the real Super Beatle with a shrink ray, producing a small version that should have some punch. The Mini puts 50 Watts into a 10″ Celestion speaker (or other 4 ohm cab). It has a Korg NuTube tremolo circuit for warmth and 60s reverb.

The Mini has the distinctive Super Beatle chrome stand. I wish Korg/Vox would reissue the Continental in retro form instead of the form factor and stand that everybody pretty much hates. No pricing information yet.

Although it was announced in May, the IK Multimedia UNO analog synth looks like a good time. For a $200 USD synth, the specs aren’t too bad: two independent VCOs, 2-pole multi-mode VCF, LFO, VCA, step sequencer, battery or USB power, and it’s tiny. The UNO has four control knobs which are mapped to synth parameters through a 4 by 4 matrix. Plus, it has five performance buttons. Wisely, the UNO supports old school MIDI IN and OUT via 2.5mm jacks.

If only IK Multimedia had the presence of mind to add 5-pin MIDI to the iRig Keys I/O (25 or 49). Systems thinking, people. Systems thinking.

Roland (and Boss) have announced a new wireless audio system for guitar and other instruments. Two products are aimed at guitar players: the WL-20 and the WL-50. The WL-20 is a very compact transmitter and receiver pair — transmitter for the guitar and receiver for the amp. The WL-50 is a wireless receiver for the pedal board and has additional functionality like providing pedal board power, transmitter recharging, etc. The WL-20L is like the WL-20, but it’s for electronic instruments with line-level audio outputs. Other features include low latency, automatic rendezvous between transmitter and receiver (10 second rendezvous time) and up to 20 meter range. The WL system operates in the 2.4GHz band. I’m interested in the low-latency aspect because Bluetooth doesn’t cut it in this application.

The WLs will be sold under the Boss brand.

News you can use. Avid has announced and released a free version of Sibelius® | First. Sibelius | First is my go-to notation tool for lead sheets, deconstructing MIDI solos, etc. For sure, I will be downloading it and will appreciate the update. (My current copy is rather old, having been part of an M-Audio bundle.) You need to create an Avid account in order to download the free version. Might as well download Pro Tools® | First for free, too.

The modular synth trend has inspired a lot of great products such as the Moog Grandmother. Expect to see new announcements in the Roland System-500 line and literal “plug and play” products in other realms like the Finegear mixerblocks series.

Well, there is always the Moog One rumor. (Save your pennies.)

Copyright © Paul J. Drongowski

Time stretching applied to rotary speaker sound

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“Sí, sí, I am very intrigued.”

With Summer NAMM 2018 one week away, I cast the net to see what I can catch. I did a quick sweep of recent patents and came up with a good ‘un.

When folks mention Yamaha, “tonewheel clone” does not immediately come to mind. Other players like Nord, Hammond Suzuki, etc. seem to be ahead in the clone market. So, I was a little surprised to find US Patent 9,899,016 B2, “Musical sound signal generation apparatus that generates sound emulating sound emitting from a rotary speaker.” This patent was issued and assigned to Yamaha on February 20, 2018. It is based on the Japanese patent 2015-171065 issued August 31, 2015.

Yamaha currently use two sample-based methods to generate the basic organ sound:

  • Playback and mix of waveforms for each individual tone wheel. On Montage and Genos, for example, the musician can adjust the level of each footage using the sliders to mimic drawbars. The generated sound is passed through a rotary speak DSP effect.
  • Playback of waveforms for “full up” organ registrations with and without the rotary speaker effect “sampled in.” The resulting sound may also be passed through a rotary speaker DSP effect.

In the first case, especially, the overall impression of a genuine B-3 depends upon the quality of the DSP rotary speaker effect. The up-side of the DSP effect is the ability to ramp up and ramp down the rotary speaker speed. So far, reaction to Yamaha’s rotary speaker effects has been mixed.

In the second case, one is not likely to put the sound through a rotary DSP effect — the swirling mass would just not be realistic. The “sampled in” approach can sound more realistic than the rotary DSP effect, but it has two major drawbacks:

  1. The rotary speaker speed cannot ramp up and down between slow and fast rotation.
  2. Sample playback does not align (synchronize) the rotary speaker position, so some noted are “rotating” faster than others and the true spatial characteristics of the horn and rotor are lost.

The second drawback is perhaps the worst of the two since it introduces audible artifacts which are not part of the true rotary speaker sound.

The method in the patent is a different take on sample-based synthesis of tone wheel sound which seeks to eliminate these problems. The notes are sampled for each tone wheel footage after a real world rotary speaker rotating at a particular rate. In each case, wavfeorms are sampled and saved for various rotational angles of the rotary speaker. Thus, the rotary speaker effect is “sampled in.”

Let’s quote from the patent:

Also, the electronic musical instrument has a time stretching function. The time stretching function is a function of changing the length of a sound while maintaining the pitch and formant of the sound. In other words, with the time stretching function, it is possible to extend and shorten a sound in a time axis direction, or in other words, it is possible to change only the reproduction speed (speed with which time advances) of the musical sound signal. The electronic musical instrument uses the time stretching function to extend and shorten each piece of waveform data in the time axis direction by the same extension and shortening rates.

Time stretching is applied to each of the tone wheel samples during playback. Thanks to time stretching, the instrument can reproduce the SLOW and FAST sound, and everything in between when the rotation speed ramps up or down. “A known pitch synchronous overlap and add method is used to achieve the time stretching function.”

The rest of the method — and it is both exhaustive and exhausting! — deals with the synchronization of the waveforms during playback, that is, the alignment of each waveform in accordance with the current virtual position (rotational angle) of the rotary speaker. Throw in separate treatment of the horn and rotor, stereo channels, etc.

The end result is a unique sample-based method that eliminates the problems of “sampled in” rotary speaker effects. I wish that patents came with audio demo files as it would be a treat to hear the method in action and to judge with one’s own ears. Maybe someday in a product?

Copyright © 2018 Paul J. Drongowski

Boston Music Expo 2018

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After having so much fun last year, I couldn’t pass up the 2018 Boston Music Expo (Saturday, June 9). Music Expo brings people together — artists, producers, engineers, composers, tech companies — the whole panoply of folks at the intersection of musical art and technology.

Sound On Sound Magazine is the chief sponsor. This year’s gold sponsors are Yamaha and Steinberg. Of course, both Steinberg and Yamaha were showing their wares along with many other companies big and small.

Loïc Maestracci — the founder of Music Expo — was at the door with the chance for a quick “Hello!” Let’s get started and go in.

Boston Music Expo 2018 was hosted by The Record Co., located in Boston’s South Bay. The Record Co. has the ambitious mission “to build a sustainable, equitable music scene in Boston.” Although Boston already has a busy scene, it isn’t easy for all artists to grow, collaborate and record. The Record Co. provides subsidized studio space, gear and production resources, thereby lowering the financial barrier for artists looking to record.

The Record Co. has two studios, both kitted out with top-notch gear. Rates are very reasonable. The Studio A live room is quite large and was the venue for one of the two parallel seminar tracks running at Music Expo. Studio A held 40 to 50 seats with space to spare. Studio B is smaller and more intimate.

The thing that I like best about Music Expo is the surprises. While getting my bearings, I was blown away to find people soldering! I had stumbled into the Audio Builders Workshop sponsored by the Boston Chapter of the Audio Engineering Society (AES).

The Audio Builders Workshop offers seminars and group builds to encourage and inspire people to make their own audio electronics. I had a great chat with Brewster LaMacchia (Clockworks Signal Processing) who was leading the group build. The workshop participants were building a small metronome kit ($10 donation). The kit consists of a circuit board, 555 timer, speaker, battery connector, and a handful of discrete components. It’s all through-hole construction and looks like a great way to get started with soldering. If you’re in the Boston area and have an interest in audio electronics, then I definitely recommend getting in touch with this organization.

I bought one of the kits and will eventually build and review it. Sometimes I just like to soldering something up on a rainy day.

Another organization at Music Expo that deserves recognition and support is Beats By Girlz. BBG is a “music technology curriculum, collective, and community template designed to empower females to engage with music technology.” BBG sponsors workshops and other events (hardware and software provided!) to get women and girls into music production, composition and engineering.

That last “E” for “engineering” gets me fired up! Music technology, for me, is the gateway drug to Science, Technology, Engineering and Mathematics (STEM) education and careers. Women are so woefully underrepresented in STEM that I wholeheartedly support groups like Beats By Girlz. In addition to Boston, BBG has chapters in Minnesota, Los Angeles, New York and Chicago. I recommend Women In Music, too, BTW.

I arrived at Music Expo a little later than expected due to a traffic tie-up on the expressway. (Saturday morning? Really?) However, I did manage to catch the two sessions in which I was most interested.

Since it was first announced, I wanted to see and hear Audionamix Xtrax STEMS in action. I’ve tried to spice up my backing tracks with vocal snippets and found center extract (and center cancel) techniques lacking. My first “must-hear” session at Music Expo was an Xtrax STEMS plus Ableton Live presentation by Venomisto. Venomisto used Xtrac STEMS to pull a vocal stem from an existing song and then inserted the vocals into his own remix. Xtrax STEMS is not perfect, but it’s darned good for the money ($99 USD).

I really dug Venomisto’s latin remix, Havana. Toe tappin’, head noddin’. I love this stuff on a Saturday in the city! [I’m listening to it right now and can’t get back to work.] Cruise over to his site and you’ll hear Xtrax STEMS in action, too.

My second “don’t miss” session was “From Score To Stage” by Paul Lipscomb joined by Pieter Schlosser via Skype. Paul ran through the process of sketching and delivering the “Destiny 2” game soundtrack (Bungie Software). Wow, this session could have been a full day.

Although Paul wanted to show people that there are many ways to work and create as an artist, we’re talking “Production” here with a capital “P”. The Destiny 2 soundtrack is a AAA (big) budget production with multiple composers, orchestrators and an orchestra. All I can say, if you want to do this kind of work, be good at the hang and collaboration. Be prepared to work in a geographically dispersed team: client (Bellevue/Seattle), co-writers (Los Angeles, Seattle), orchestrator (The Berkshires in Massachusetts).

Paul classifies music (and the process of getting there) as either linear or interactive. Music for film or video is linear, having a start point, several intermediate points one after another and an end. Game music is interactive and must adapt and re-structure itself to fit the actions of the player.

He demonstrated how one can start with a simple motif (or two) and build your way to a 250 track behemoth. Thanks to the wonderful orchestral libraries available today, composers can put together a rather complete mock-up to present to a client for approval. Even on a big budget job, some of the parts in the mock-up may make it to the final mix simply because there isn’t enough money available to fund everything live (e.g., you can have the orchestra, but not the choir).

Paul uses Steinberg Nuendo and swears by it. Pieter uses Cubase. Nuendo is the bigger brother to Cubase and is geared for post-production and scoring. Paul exports MIDI tracks and provides them to the orchestrator for notation. Yep, good old MIDI.

Paul and Pieter’s presentation was thought provoking, especially about the current state/direction of orchestral music for film, video and games. A discussion about clients and aesthetics would be more appropriate for the “Notes From The Deadline” column in Sound On Sound. [My favorite SOS column, BTW.] However, I’m pondering the age-old question of how to raise our clients to a higher level of musicality. Like Paul, many of us listen to a wide range of music including traditional and modern classical music. (Paul’s advice: “Listen to everything!”) How can we move our clients beyond the limited scope of their own musical experience?

Well, shucks, that’s just two of the fifteen Boston Music Expo sessions on offer. Several sessions dealt with the business side — promotion, social media and collaboration — in addition to the artistic side.

I spent time cruising the exhibitor booths. Here’s a few short-takes and shout-outs:

  • Scott Esterson at Audionamix demonstrated Instant Dialog Cleaner (IDC) as well as XTrax STEMS. He humored a lot of my crazy questions and comments. Thanks.
  • The Yamaha folks had Montage6, MX88, MOXF8 and a clutch of Reface keyboards available for trial. Friendly as ever, it was good to touch base. I had an extended conversation with Nithin Cherian (Product Marketing Manager, Steinberg) and I quite appreciate the time that he spent talking with me.
  • The IK Multimedia iLoud Micro Monitors are excellent for the price. Not quite up to the Genelec studio monitors on show in the room next door, but much more affordable. A definite covet.
  • Speaking of IK, the iRig Keys I/O have a decent, solid feel and touch. The 25 key model is seriously small and still has full size keys. Suggestion to IK Multimedia: Please bring out a 5-pin MIDI dongle for us dinosaurs with old keyboards. I’d love to hook up an iRig Keys I/O 49 to Yamaha Reface YC.

A special shout-out to Derrick Floyd at the IK Multimedia booth. He epitomizes “good at the hang.”

I said it last year and I’ll say it again, Music Expo bridges the widening gap between customers and technically advanced products. On-line ads and videos just aren’t the same as playing with a product and experiencing it for one’s self. Brick and mortar stores cannot devote much space, inventory or expertise to the broad range of fun tools and toys that are up for sale. With on-line sales as perhaps the dominant sales channel, whoof, tactile customer experience is utterly lost. Music Expo closes the gap.

If Music Expo is coming to your corner of timespace, please don’t hesitate to attend and participate. I’m sure that you will enjoy the experience and will make valuable connections.

Copyright © 2018 Paul J. Drongowski