Category Archives: Music technology

Genos voice editing: An example

Posted on by

Welcome to the third article in a short series about Yamaha Genos™ voice editing with Yamaha Expansion Manager (YEM). The first article introduces YEM and the second article discusses work arounds for a few shortcomings in YEM.

Time for an example! Let’s create a voice similar to the “2 Oboes & Bassoon” voice on the Yamaha MOX. This voice gets a lot of use in situations calling for a delicate solo voice balanced by a heavier single voice in the left hand. The table below summarizes the basic voice design on the MOX:

Element Name Note lo Note hi Vel lo Vel hi Pan
1 Bassoon Med L C-2 E3 1 100 0
2 Bassoon Hard L C-2 E3 101 127 0
3 Oboe2 Med L A#2 G8 1 100 0
4 Oboe2 Hard L A#2 G8 101 127 0
5 Oboe 2 Med R A#2 G8 101 127 0
6 Oboe1 A#2 G8 1 127 0

This voice is not a straight split. The bassoon and the oboes overlap in the key range from A#2 to E3, so there isn’t a sharp sonic break when the melody moves into bassoon range or vice versa. All three independent voices implement two velocity layers: hard (101 to 127) and soft (1 to 100).

The best way to start out is to create a Genos custom regular voice from an existing factory bassoon voice. Earlier, I had browse the Genos factory preset UVF files with XML Notepad as described in the second article. I decided to start with the Genos “OrchestralBassoon” voice because its programming is similar to what we need. In case you want to browse its UVF file with XML Notepad, the full path to the file is:

C:\Program Files (x86)\YAMAHA\Expansion Manager\voices\genos\EKB_LEGACY\Legacy\Woodwind\OrchestralBassoon.uvf

Here is a table summarizing the four elements which make up the “OrchestralBassoon” voice:

Element Name Note lo Note hi Vel lo Vel hi Pan
1 Bassoon Med St R C#3 G8 1 85 0
2 Bassoon Hard St R C#3 G8 86 127 0
3 Bassoon Med St R C-2 C3 1 85 0
4 Bassoon Hard St R C-2 C3 86 127 0

The lower and upper bassoon elements are split at C3. There are two velocity levels: hard (86 to 127) and soft (1 to 85). We will need to extend the lower bassoon elements to E3. Much later in the process, we might want to change the velocity layers to match after we hear how everything sounds and plays.

Here are ten steps to the finished result. This scenario assumes that you have YEM installed and your personal computer is connected to Genos with a USB cable. The best way to test is to actually play the voice while editing! When YEM is launched and Genos is connected, Genos enters a voice editing mode with the new voice in the RIGHT1 part.

1. Create a new pack “SplitVoices”. [Click on screenshots to enlarge.]

2. Create a new Genos custom normal voice starting with “OrchestralBassoon”.

3. Rename the new voice to “2 Oboes & Bassoon”.

4. Edit the new voice.

Copy “OrchestralOboe” element 1 (upper) to element 1 of the new voice.

5. Copy OrchestralOboe element 2 (upper) to element 2 of the new voice.

The new voice contains the following elements at this point in the process:

Element Name Note lo Note hi Vel lo Vel hi Pan
1 Oboe Hard v3 C#4 G8 65 127 0
2 Oboe Med V3 C#4 G8 1 64 0
3 Bassoon Med St R C-2 C3 1 85 0
4 Bassoon Hard St R C-2 C3 86 127 0

This leaves a silent gap between C3 and C#4. Eventually, we need to change bassoon’s note high to E4 and change oboe’s note low to G#2 using XML Notepad. The lower note limit is slightly out of the oboe’s real world range. The overlap is for blending purposes and the bassoon should hide this musical faux pas.

6. Copy “ClassicalOboe” element 1 to element 5 of the new voice.

The new voice contains the following elements at this point in the process:

Element Name Note lo Note hi Vel lo Vel hi Pan
1 Oboe Hard v3 C#4 G8 65 127 0
2 Oboe Med V3 C#4 G8 1 64 0
3 Bassoon Med St R C-2 C3 1 85 0
4 Bassoon Hard St R C-2 C3 86 127 0
5 [V-645 El-1] C-2 G8 1 127 0

We need to change element 5’s note low to G#2 eventually. We’ll make all of these note changes with XML Notepad.

Save your work by clicking the small file (disk) icon in the upper right corner of the editing window.

7. Exit YEM. Find the new pack and voice file using the file browser. Look in the directory:

    C:\Users\XXX\AppData\Local\Yamaha\Expansion Manager\Packs\

Substitute your user name, e.g., “pjd”, where “XXX” appears in the file path. Identify the new pack by its modification date and time, i.e., the date and time when you saved the new voice in YEM. As seen in the screenshot, YEM stores its packs with very cryptic names. Programmers call this kind of name, a “Global Unique Identifier” or “GUID”. The directory named “{1c2a0107-db86-4600-8e0a-b95993120573}” is the example “SplitVoices” pack.

Click to drill down into the pack directory. Copy the UVF file for the new voice to your own working directory. Launch XML Notepad and open your copy of the UVF file. (Save the original to be extra safe!)

Voice file names are also GUIDs. In the example, the file named “{2a6409fa-77b0-41b1-a374-71d1f4524386}” is the new “2 Oboes & Bassoon” voice.

8. Use XML Notepad to change the note limits as required. The “voiceElement” entities are listed in order and you’ll find the note high and low limit parameters within the fifth “voiceElement”.

The final result is:

Element Name Note lo Note hi Vel lo Vel hi Pan
1 Oboe Hard v3 G#2 G8 65 127 0
2 Oboe Med V3 G#2 G8 1 64 0
3 Bassoon Med St R C-2 E3 1 85 0
4 Bassoon Hard St R C-2 E3 86 127 0
5 [V-645 El-1] G#2 G8 1 127 0

We could also change the velocity limits to make them consistent. Save the UVF file. Copy the working file to the pack’s directory, overwriting the original UVF file for the new voice.

9. Launch YEM and open the voice for editing. Play the keyboard and test the new voice where the instruments overlap. We need to set mix levels for both both oboes (elements 1, 2 and 5) and the bassoon (elements 3 and 4). Change the volume level for each element using YEM. Be sure to save your edits when you’re done!

10. Now that the basic voice is finished, feel free to experiment. Try detuning the oboes to get a fatter sound. Let your imagination run free.

In the next article, we will edit the UVF file to get a better blend across the overlapping note region.

Commentary

I hope to attract Yamaha’s attention to the limitations in Yamaha Expansion Manager which are exposed by this scenario. YEM should display all basic information about a factory voice including the element waveform name, low and high note limits, and low and high velocity limits. We should also be able to change these vital parameters for each element. We should not have to reach for a tool like XML Notepad nor should we have to edit parameters behind YEM’s back by changing files in its database. Yamaha must remove these limitations, otherwise users cannot build split and layered voices of moderate complexity.

Copyright © 2018 Paul J. Drongowski

Genos voice editing: YEM

Posted on by

To date, my experience with Yamaha Genos™ has been generally positive. I’ve got a basic set of registrations set up for church tunes and I just converted the PSR-S950 registrations for rock, pop, jazz, funk tunes. Everything — customized styles, WAV files, and registrations — reside in the Genos’ internal memory.

Although some Genos players are reporting divots and a few serious bugs, my use has been quite reliable and error free. The shortcomings which affect me the most are related to drawbar organ (AKA “Organ Flutes”) functionality. I’ll cover that subject in a separate post.

The church registrations make use of left/right voice splits and layers. The Genos, like Tyros 5, breaks the keyboard into four zones/layers: LEFT, RIGHT1, RIGHT2, and RIGHT3. The RIGHTx parts allow two or three voice layers. If the LEFT part is turned off, the RIGHTx voices extend across the full keyboard. If the LEFT part is turned on, the keyboard is divided into LEFT and RIGHTx zones. The LEFT part plays only one voice (no layering).

The Genos allows considerable flexibility within this model. Please see the Owner’s Manual for details and configuration.

By and large, the LEFT/RIGHTx paradigm is sufficient to cover 90% of my needs. However, sometimes the hard split between LEFT and RIGHTx sounds unnatural. Consider a split with strings in the LEFT and oboe in the RIGHT. If the melody line crosses the split point, uh-oh, the melody shifts to the strings.

Now, it may be possible to avoid this issue through Genos ensemble voices, which are a big unexplored territory for me. I will look into ensemble voices eventually. As a synth guy, I’m used to addressing this issue through voice programming. In the synth world, one can have overlapping zones where both left and right voices are heard — usually good enough to fool the ear. Even better, features such as:

  • Level Key Follow Sensitivity
  • Amplitude Scaling

perform a blend across the split point. Think of this as a “horizontal cross-fade” similar to the “vertical cross-fade” which smooths the switch point between velocity levels.

None of these deep techniques is immediately available through the Genos user interface (UI). Genos voice editing reminds me of the TG-500 Quick Edit mode — a way to make fast voice-level changes (via “offsets”) which affect all of the underlying voice elements at once. Quick edit is not unique to Yamaha having seen and used a similar capability on Roland JV/XP gear.

Enter Yamaha Expansion Manager (YEM).

Having a PSR-S950, I nearly and dearly missed Yamaha Expansion Manager. YEM first supported the PSR-S970, S770 and Tyros 5 keyboards, now Genos. YEM is the means to make and install expansion packs. It also allows creation of new voices based on user waveforms (samples). On Tyros 5 and Genos, one can create new voices from preset voices of the “Regular,” “Sweet” or “Live” variety. Super Articulation voices cannot be edited or created via YEM.

My one brush with YEM was the implementation of the Scat Voice expansion pack for the PSR-S970, S770 and Tyros 5. YEM’s voice editing was sufficient to get the job done.

The screenshot below (click to enlarge) shows YEM’s Common voice parameters. YEM has all of the usual sliders and UI gizmos found in a typical computer-based synth voice editor. The Common parameters correspond to the Quick Edit parameters that are accessible through the Genos UI. These tweaks are also the high-level voice parameters found in Yamaha’s XG voice architecture.

The next deeper level of editing adheres to Yamaha’s AWM2 voice architecture. I recommend studying the Motif documentation to learn more about the AWM2 voice architecture, including the Yamaha Synthesizer Parameter Manual. (All manuals are available directly from the Yamaha Web site.) Concisely, a voice consists of one to eight elements. Each element is a mini sample-playback synthesizer with its own waveform, amplitude, pitch, filter and LFO blocks. Through YEM, you can tweak parameters within these blocks as shown in the screenshot below.

When working with user samples, YEM provides access to the key banks which make up an element waveform. In the screenshot above, you can see twelve key banks laid out across the middle of the MIDI keyboard. Velocity for each key bank ranges from 1 to 89. This is a velocity-switched voice, so other elements handle the rest of the full MIDI velocity range of 1 to 127.

I want to mention two major shortcomings of YEM at this point:

  1. YEM does not provide vertical cross-fade to smooth the transition between velocity levels.
  2. YEM does not provide control over velocity sensitivity at the element level.

Lack of vertical cross-fade means a hard sonic change across velocity split points. Inability to control element-level velocity sensitivity prohibits construction of well-behaved Megavoice voices. Yamaha need to add these capabilities to YEM.

As I mentioned earlier, YEM allows Tyros 5 and Genos users to edit preset voices. The screenshot below shows the YEM screen for element 1 in the “SeattleStrings p” voice.

Wow, a big blank where we expect to see the key banks. YEM does not provide access to the individual key banks for the factory waveform assigned to an element. To some extent, this is understandable as they would need to extract and distribute a lot more detail about the factory waveforms with YEM.

However, Yamaha omit vital information:

  • What is the waveform name? A string section? A car horn? What?
  • What range of the keyboard does the waveform cover?
  • How is key amplitude scaling applied to the waveform?
  • How is key velocity scaling applied to the waveform?

These omissions significantly reduce the effectiveness of YEM. Yamaha need to add these capababilities to YEM.

The missing information is available in the Genos voice definition files (UVF) that are distributed with YEM. In my next post on the topic of Genos voice editing, I will describe how to find, access and change the missing parameters.

Copyright © 2018 Paul J. Drongowski

NAMM 2018: And now Yamaha

Posted on by

Yamaha have revamped nearly every model in its previous digital and arranger keyboard line:

  • PSR-S975 Arranger Workstation (MSRP: $2,599 USD)
  • PSR-S775 (MSRP: $1,699) Arranger Workstation
  • PSR-EW410 (MSRP: $599) adds Quick Sampling function – 5 samples (1 Key Follow type + 4 One shot/Loop type) 9.6 sec/sample (maximum) – and Groove Creator
  • PSR-E463 (MSRP: $479) adds Quick Sampling and Groove Creator.
  • KS-SW100 Compact Subwoofer (MSRP: $199) targeted for home keyboard players.

The PSR-S775 and PSR-S975 were announced a few weeks before the NAMM show. The all important Owner’s Manual, Reference Manual and Data List are now available for each model. These documents are very helpful when making purchase or upgrade decisions.

Yamaha are featuring the entire digital and arranger workstation line at Winter NAMM 2018, including the rather wonderful Genos flagship and the lower mid-range PSR-S670. Musicians looking for a MOXF successor will just have to wait a little bit longer.

Copyright © 2018 Paul J. Drongowski

NAMM 2018: Spin me ’round

Posted on by

Aside from the teased iRig Stomp I/O, IK Multimedia are offering the official Leslie® collections for AmpliTube and T-RackS. What makes it “official,” I suppose is the co-branding with Hammond USA and Suzuki Music Corporation of Japan. You get 5 amp and 6 cabinet simulators with can be used in AmpliTube and T-RackS. [This capitalization is annoying.]

The AmpliTube and T-RackS Leslie collection are $99.99 USD each (pre-order price). Get ’em both for $149.99 USD (pre-order price).

Will we finally see the Teenage Engineering PO-33 KO Pocket Operator ($89 USD) and the PO-35 Speak Pocket Operator ($89 USD)? [Yes! See the update below.] Will we see the Yamaha VKB-100 Vocaloid keyboard? A Half-Monty to replace the MOXF? Montage enthusiasts may be disappointed to learn that “flagship digital workstation” in the recent Yamaha NAMM press release refers to the Genos. Don’t forget about the new PSR-S775 and PSR-S975 arranger workstations.

In case you missed it, the street price (MAP) for the Studiologic Numa Compact 2x is $699.95 USD.

Pipes is an upcoming Kickstarter project for a stand-alone, sample playin’ hardware module. It is the latest product from Synesthesia Corp. Synesthesia will be showing off their work at NAMM 2018. It’s in the prototype stage.

That’s a seven inch touch screen in the mock-up image. [Click image to enlarge.] Small it’s not.

Update: The Teenage Engineering metal series

Teenage Engineering updated their site after Winter NAMM 2018 opened. The PO-35 Speak Pocket Operator and the PO-33 K.O! are part of the new metal series The third member of the series is the PO-32 Tonic drum synthesizer and sequencer ($89 USD)..

The PO-35 Speak ($89 USD) has a built-in microphone which lets you sample your voice or whatever (up to 120 seconds of sampling time). Once sampled, you can apply effects, transpose and so forth to mangle the sound.

The PO-33 K.O! ($89) is a micro-sampler. It also has a built-in microphone. Sampling time is 40 seconds. Seems like the main difference is that the PO-33 is melodic while the PO-35 is vocal. What does that really mean anyway? Just sample away and make beats!

Copyright © 2018 Paul J. Drongowski

NAMM 2018: Rainin’ tonewheels

Posted on by

In addition to the Dexibell S9 flagship stage piano and the Studiologic Numa Compact 2x, Nord have announced the Electro 6.

The NE6 continues the Nord tradition by adding more memory (512MB sample memory) and functionality: Seamless transitions, 3-part multi-timbral, extended synth voice polyphony, two pipe organ models, and dual organ mode. Up to six split points with split point crossfade capability.

The Nord Electro 6 will be available in three (familiar) models: Electro 6D 61, Electro 6D 73 and Electro 6 HP.

It’s still red. No pricing yet.

NAMM 2018: Ain’t kiddin’ around

Posted on by

“It’s a music toy. It’s a synthesizer. Actually, it’s both.” With an integrated drum machine.

The Playtime Engineering Blipblox looks like a modern-age version of the busy-box that I built for our son way back when. (Importantly, without sharp edges and other hazards.)

Specs include:

  • MIDI input for an external keyboard or sequencer controller.
  • Eight unique oscillator modulation schemes.
  • One Low Pass Filter.
  • Two Envelope Generators.
  • Two LFOs.
  • 3-in/3-out modulation matrix.

MIDI input, for pity’s sake! How many pro-sumer fun boxes have left this essential feature out?

Playtime Engineering make references to STEM (Science, Technology, Engineering, Mathematics) and algorithms because there is a logical signal flow as suggested by the arrows on the front panel. I don’t think young kids have the mental development to grasp such abstract concepts, preferring concrete manipulation instead. (What would Piaget think of this?)

Playtime Engineering describe product status as “In manufacturing now.” No price yet.

Just wait until the little tike can’t find that groovy patch, again! Sound familiar?

Too many questions? I’m under-caffeinated.

Copyright © 2018 Paul J. Drongowski

NAMM 2018: The ‘wheels roll out

Posted on by

The teased Dexibell keyboard is the Dexibell S9 flagship stage piano. It combines the Combo J7’s tonewheel engine with Dexibell’s piano technology. Features include:

  • 88 weighted keys
  • Nine motorized faders
  • Over 100 preset sounds
  • 320 oscillators
  • Extra long piano samples
  • 3GBytes memory for preset and user sounds and samples
  • Bluetooth, USB to Host (MIDI), USB to Device (memory), digital audio I/O
  • 128 x 64 pixel organic LED display

The motorized faders should make drawbar players happy. The “catch” operation of the Genos (and other instruments) makes live drawbar adjustments jumpy. The motorized faders also mean “this thing ain’t gonna be cheap.”

It’s just rainin’ tonewheels up in here. The Numa Compact 2x is a new addition to the Studiologic Numa Compact family. The Compact 2x has three sound engines: piano, tonewheel organ and Sledge synthesis. Sample memory is 1GBytes. The Compact 2x has nine drawbar sliders. The Compact 2x also does audio over USB. Like the rest of the Compact line, the 2x is light: 7kg (15.4 pounds). Inclusion of Sledge synthesis is really exciting. The Compacts have been reasonably priced, so I can’t wait to see the asking price for the 2x.

[Update: The street price (MAP) for the Numa Compact 2x is $699.95 USD.]

Copyright © 2018 Paul J. Drongowski

NAMM 2018: Today’s catch

Posted on by

Terrada Music Score is launching the GVIDO electronic paper dual screen score reader. Basically, it’s a dual screen (13.3-inch) tablet and stylus. The low-reflection display mimics paper and if the real thing is as good as the photo on their web site, it looks fabulous. The GVIDO stores PDF music scores. Terrada Music Score has a content agreement with Hal Leonard, who sell and provide scores. Internal memory is 8GBytes, has a rechargeable lithium-ion battery, and is 660g light. Ain’t cheap: $1,600USD.

I like the two page display and PDF compatibility. Most of the lead sheets that I read are two pages. I hate page turns and haven’t got the hang of using a foot controller for this purpose.

Check out the Jamboxx hands-free MIDI wind controller ($399 MSRP). It looks like an harmonica and mounts in a bracket. Would Dylan use one?

Korg are also announcing a limited edition Korg Minilogue with a polished gray finish. The rear wooden panel is dark ash. I like the sound of the Minilogue, BTW. So many toys, so little money, so little time.

For readers who are grandparents, Schoenhut are releasing a 30-key tiny grand and a 25-key table-top piano. Hook ’em up to either iOS or Android.

Mukikim have a mini electronic drum kit for kids. The kit has color-coded drum pads (five drums, four cymbals, plus hi-hat/bass pedals). The color-coding takes the player through basic rhythms.

Get the tikes started early! Have your grandchildren drive your own kids crazy! Pay-back!

Copyright © 2018 Paul J. Drongowski

Winter NAMM 2018: More fun toys

Posted on by

The closer we get to Winter NAMM 2018, the closer we get to nerd-vana.

A few fun toys worth a look…

Korg have been busy:

  • The prologue polyphonic analogue synthesizer
  • The volca mix analogue performance mixer
  • The KR-55 Pro rhythm machine ($299.99)
  • The Konnect portable stereo PA system ($399 street)
  • The D1 digital piano ($799.99 street)
  • And a raft of accessories (tuners, metronome, etc.)

It’s all there on the Korg Web site.

The prologue comes in 49- and 61-key models. I like the portability of 49 keys although the 49 ($1,499.99 USD street) is eight voices while the 61 ($1,999.99 USD street) is 16 voices. The industrial design looks quite appealing and inviting — can’t wait to actually try one.

Although I don’t own any modules in the volca range, the volca mix ($169.99 USD street) would make a very useful table-top utility module for analog experiments. In addition to a three channel mixer, the volca mix provides three 9V DC output jacks, tempo control and sync, and two stereo speakers. Would combine nicely with littleBits. (littleBits, I haven’t forgot ya. I’m just flat out of time!)

The Sonicware ELZ_1 compact synth is in the “too cool for school” category. It has multiple sound engines: FM, 8-bit wave memory synthesis, DNA Explorer (a waveform extractor and mangler), granular, standard oscillator and low-bit oscillator.

The ELZ_1 keys are dinky chicklets, but it’s really about small size and portability (15.7″ x 5.2″ x 1.8″, 2.2lbs, 4 AA batteries, built-in speaker). It doesn’t have 5-pin MIDI which is a shame, because with its small size, it would be great to MIDI it up with a full-size controller. (The world needs a $10 self-contained USB-B to 5-pin MIDI converter.) No word on price.

Nintendo are going maker — a nifty idea for extending the Nintendo Switch beyond gaming. Nintendo Labo kits are very low cost (cardboard!) maker kits. The Variety Kit includes a cardboard, Switch-driven toy piano. Teachers need to pick up on this one.

Copyright © 2018 Paul J. Drongowski

Winter NAMM 2018: Melo Audio MIDI Commander

Posted on by

OK, OK, I know about the Arturia MiniBrute 2 and Moog Drummer From Another Mother — and so do you. 🙂

You may not have heard about the Melo Audio MIDI Commander, which was teased last year. Melo Audio’s teaser targets guitar players, but this ten button foot controller might appeal to keyboard players who need to make fast patch changes and so forth.

In addition to ten foot switches, the MIDI Commander has two expression pedal inputs. “Fusion mode” combines program change (PC) and control change (CC) MIDI messages. (We’ll have to wait for the documentation to find out what’s really going on here.) The MIDI Commander is compact (286mm x 110mm x 60mm, 11.3″ x 4.3″ x 2.4″), can run on two AAA batteries and has an OLED display.

The “Coming soon” page for the MIDI Commander shows a preproduction mock-up. I’d love to know if good ole 5-pin MIDI is included. Could be an alternative to the Yamaha MFC-10.

Speaking of teasers, Hammond are teasing a new model in the SK series of clones, the SKX.

Also, Dexibell are teasing a new organ: tone wheel (including pedal), Farfisa, Vox and pipe organ (upper, lower, pedal). An extension to the COMBO J line?

Another new product on the way is the Dexibell Vivo S7 Module which incorporates the sounds of the Dexibell Vivo S7 Digital Piano.

Copyright © 2018 Paul J. Drongowski