Category Archives: Music

Arrangers need respect!

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Sometimes I like to kick back and jam to a simple chord progression and a groove. It’s a lot more fun to play to a groove than it is to practice to a boring old metronome.

The Yamaha MOX workstation is full of delicious factory performances where you can play a progression with the left hand and let the right hand roam where it wants to. I’m always impressed by the creativity and talent of professional sound designers and programmers, especially those cats that have a deep understanding of the keyboard architecture and its “content” like samples and musical phrases. It was initially hard to imagine, as a new user, getting my mind around 6,720 phrases (arpeggios) in the MOX let alone making them work for me!

The MOX needs to appeal to a wide range of musical tastes in order to be a successful product. Thus, it has a wide range of factory performances for demo purposes and for getting people started with the ax. I really dig the rock, funk, soul and jazz performances, but I just don’t work in rap, hip-hop or EDM. (Although, chill is interesting…) So, I set out to program my own performances and to overwrite some of the factory performances that didn’t work for me.

I browsed through the list of arpeggios in the data list PDF just trying to find a place to start with 6,720 phrases! Even a casual reader would notice certain names like “Unplugged,” “Pop Shuffle,” or “Slow Blues” showing up again and again. Well, I quickly realized that there is a full back line (drum, bass, guitar) for “Unplugged” or whatever, and that several main, fill and break phrases are available for each instrument. The construction kit idea was born and I programmed 90+ new performances where each performance is based on a construction kit. I wrote about my experience here.

Hmmm, main, fill and break arpeggios look and sound like phrases that were lifted from an arranger like the old Yamaha QY-70. However, unlike the old QY from 1997, the MOX arpeggios sound good. Some of the improvement comes from the MOX samples and sound engine, but the phrases themselves had much better musical groove and style.

So, I took a little time to investigate and audition Yamaha’s current generation of arranger keyboards from the inexpensive PSR-E433 ($249 street) up to the Tyros 4 (now about $4,000 street). Yamaha has recently released the new top-of-the-line Tyros 5, but I haven’t had a chance to try one yet. Sure enough, many of the MOX arpeggios were lifted from Yamaha arranger keyboards circa 2006.

Are the arpeggios better than the old QY-70? You betcha! Even the PSR-E433 outshines the QY and for less than half of what I originally paid for the QY. I wouldn’t hesitate to use some of the sounds and styles in the PSR-E433 at a gig. The Tyros Super Articulation 2 (SA2) voices are amazingly playable. The Tyros tracks your playing in real time and drops in the little nuances which enhance a solo performance. You don’t need to consciously think about switching articulations — just play. The Tyros styles are very realistic and maybe sound too much like a studio recording, if one regards that as a criticism.

Best of all, playing these keyboards is terrific fun! BTW, Korg, Roland, and Ketron make pretty darned good arranger keyboards, too.

So, why did I feel guilty — almost dirty — auditioning arrangers in public, especially at the infamous store which shall not be mentioned? I think arranger keyboards still suffer from the stigma of the dreaded “home organ” with a cheesy rhythm box. These organs were designed for (gasp!) the home musician including the one finger wonder (usually dad) in the family.

First off, we run into the musical class system of professional vs. amateur. I respect the talent, training, practice and skill of the pros. However, since when should amateurs be reduced to the play button on an iPod in order to experience music? Bosh! An amateur is a person who pursues music for pleasure and is most likely to support the arts and artists.

Next, I think arrangers are misperceived as instruments for the home (or the nursing home) even when they have essentially the same sound set and effects as “professional” workstations. Tyros SA2 voices are still way ahead of professional workstations in out-of-the-box playability.

Finally, there is the lingering aftertaste of cheese from a 1960s fallout shelter. The QY and its home organ predecessors really did sound cheesy. This is where contemporary arranger keyboards unfairly take the bad rap. Get thee to a music store! Try one! Don’t forget to feel love, again, and have fun.

RPi MIDI bridge

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[Update: See Send MIDI from USB-B to 5-pin.]

Here’s a vexing problem that many electronic musicians face.

Let’s say that you own a lot of gear, some of which uses the old school 5-pin DIN MIDI interface. For example, there are a ton of classic (and not so classic) tone modules and keyboards that have 5-pin MIDI IN and MIDI OUT ports.

Then, you buy a new mobile MIDI controller which only does MIDI over USB through a USB B device port. The M-Audio Keystation Mini 32 is an example. This design covers the most common case — hooking the controller to a computer having a USB A host port — but you can’t connect the controller directly to the 5-pin MIDI IN port on one of your old tone modules or keyboards. USB ain’t RS-232 and class-compliant MIDI over USB has its own protocols, too. So, you can’t just whip up a simple cross-over cable or signal converter.

There are two commercial solutions to this problem: the Kenton USB MIDI host and the iConnectivity iConnectMIDI4+. Neither of these solutions is cheap and they cost more than a lot of MIDI controllers themselves!

Some people on the web have suggested an Arduino-based solution. However, here’s an easy riddle. What super low cost single-board computer has two USB host ports? Answer: The Raspberry Pi Model B.

The RPi Model B seems like a natural for this problem. It’s inexpensive, it has the necessary ports, and there are plenty of rugged cases available. Musicians will want to use this solution at the gig, so a good case is essential. There are two issues. First, the RPi can source only a limited amount of power to a USB device. Some MIDI controllers may draw too much current. Second, musicians don’t like to haul extra gear to a gig, so they won’t want to take a display and keyboard to a gig just to boot the RPi and run the software needed to bridge the two USB A ports. The solution must be stand-alone, plug-and-play, and consist only of the RPi itself, a power source, and a few cables.

Here’s what I have in mind for the hardware. The MIDI controller is connected to the RPi using a standard USB A to USB B cable. The MIDI controller draws power from the RPi. Some MIDI controllers have a dedicated power supply jack and in that case, a separate power adapter for the MIDI controller seems prudent. The other USB host port on the RPi is connected to an inexpensive commercial USB to 5-pin MIDI interface — the kind used to connect 5-pin equipment to computers. The commercial interface should be MIDI class-compliant and should not require special drivers. Knowing the state of the world such as it is, you may not easily find proprietary Linux drivers for the interface. The commercial MIDI interface provides the connection to the 5-pin DIN MIDI ports on your old piece of gear.

Musicians usually have an old USB MIDI interface like the Edirol/Roland UM-2EX in the studio. These interfaces are readily available at very low cost on the web for not much more dosh than a cable. This approach doesn’t require custom hardware or shields like an Arduino-based solution.

Here’s what I have in mind for the software. Folks already bridge PC MIDI ports using MIDI-OX. Linux has the ALSA MIDI software. The amidi -l command displays the physical and virtual MIDI ports. The aconnect command connects MIDI ports. The trick will be discovering and connecting MIDI ports after boot without manual intervention, i.e., the RPi boots and builds the bridge without a keyboard, display, a log in, etc.

So, there it is! My hardware lab is currently in disarray so I can’t easily do a proof of concept implementation. However, if you have the RPi and the pieces/parts, please give this a try.

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And now for something completely different

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Been a while since the last post, eh?

After the intensive push to publish courseware, I took a little “dreadlock holiday” and spent the last few months devoted to music. (Ahhh, the privileges of retirement!) In particular, I decided to deep dive into the Yamaha MOX workstation which is now my main gigging instrument. I learned to create songs using the rather wonderful library of musical phrases that are built into the MOX. I bought an iPad to use some of the many apps developed by Yamaha, including the Yamaha Mobile Music Sequencer.

As always, in the spirit of sharing what I have learned, I have published a page about getting started with the Yamaha MOX synthesizer. It describes my own journey and it is meant to complement the MOX owner’s manual. I hope that it helps you out.

Finally, I also learned a lot more about “arranger” keyboards. These keyboards ain’t your father’s Wurlitzer any more and surely have a place in professional studios as well as the home recreation room. I’ll have more to say about arranger keyboards in a future post.

On the nerd front, I took a side trip into the basics of quantum mechanics and quantum computing.

Needless to say, this all took a bit of time.