Yamaha Reface DX in the house

UPS surprised me and delivered Yamaha Reface DX one day early. Hurray!

As I’ve mentioned before, I owned and played a Yamaha DX21 back in the late 80s and early 90s. (The 4-op, FM DX21 was released in 1985.) The DX21 was the first synth that I took to church. I remember playing string, brass and organ patches.

After I unboxed the Reface DX, my head was spinning. Did Rock Moranis’s mad-scientist dad hit my old DX21 with a shrinking ray? The styling and feel is so DX21 that it was a definite case of déjà vu.

The Reface DX has the same solid feel and build as my well-worn Reface YC. I bought Reface YC in 2017 and I’ve played the snot out of it. I take care of my tools and the Reface YC has held up pretty well. I expect the same from Reface DX.

One difference tho’, the Reface YC keys have become clacky (for lack of a better term). Playing the new Reface DX reminds me of how smooth the YC felt at first. The DX velocity response is nice. The DX is still three octaves, so my major complaint about mini-keyboards remains valid. The Reface HQ mini-keys have a more substantial feel than the Yamaha PSS-A50.

After turning this bugger on and playing — Wow, this is a real instrument, a real synthesizer. The DX stores patches unlike its Reface brethren. I went through the presets and found roughly 20 keepers. I’m not into aggressive so patches like “Wobble Bass” got the ax. I made a chart and took note of target memory locations.

Sound-wise, it’s a very nice 4-op implementation. Eight note polyphony is enough to be dangerous. In comparison, Modal Skukpt SE is four voice polyphonic and I always get frustrated when the fifth note causes note theft. I’m putting the Reface DX through a Yamaha Stagepas100 and it sounds great. The built-in speakers are the same old “courtesy speakers” and aren’t meant for serious use.

The effects section is strong. Reface DX implements two post effects in series. The workflow is simple and direct: Hit the EFFECT button and use the data entry strips/switches to make your choices. There is a lot you can do through effects alone without getting into FM programming.

You all might say, “Late to the party, PJ.” However, I made a conscious decision in 2017 to buy one Reface and the YC filled most of my needs. With YC, it’s organ or nothing and that has always felt limiting. Reface DX is a true synth and covers a lot of sonic territory. Maybe I would have been happier with Reface DX from the start? It just doesn’t matter…

Yamaha Soundmondo

Being late has one advantage, Yamaha’s Soundmondo patch-sharing site is full to the brim with Reface DX programs. I decided to start with Manny Fernandez’s patches — go pro. I honestly don’t have time to wade through a lot of, well, crap.

Speaking of which, there are so many DX programs that Yamaha’s tagging scheme is not sufficient to efficiently filter out irrelevant dreck. People can tick off as many tags as they like — inappropriately so. Worse, Soundmondo game-ified contributions, encouraging people to use more tags than necessary in order to win more ears and likes. These factors make efficient search impossible. Yamaha should limit the number of tags per sound to three, max.

Beyond those negatives, Soundmondo works like a charm with Reface DX. I never used Soundmondo with the YC since pulling drawbars is so natural and immediate. With Soundmondo, I quickly found useable string and brass patches. The workflow is smooth and it’s easy to store a new voice on the DX as long as you know which memory locations to sacrifice. No problem.

My only remaining quibble with Soundmondo is, again, due to scale. Soundmondo uses the scrolling reveal approach to search results and does not return to the last selected result. That means you have to re-scroll through search results all the way from the beginning! Since people over-tagged their entries, that makes for a lot of dreck to scan through over and over again. Tedious.

Quick summary

So, Reface DX is now on sale for $250 USD (MAP). I stayed good to my word and waited for close-out pricing before buying a second Reface. If you can find a Reface DX for $250, buy it. You won’t regret the decision.

What’s next? I’m going to try loading converted DX21 patches from the Reface DX Legacy Project. Soundmondo is a little short on FM woodwinds and I’m going to give the old DX21 sounds another shot at glory.

Copyright © 2024 Paul J. Drongowski

More DX/FM learning resources

While waiting and waiting for the Superbowl, I went on a treasure hunt through my archives. I found and scanned a few old Yamaha DX learning resources for people who want to learn FM programming.

Yamaha DX21 Play Book

The Yamaha DX21 Play Book is a more user friendly manual for the DX21. It’s closer to what we call a “user manual” than a stuffy reference manual.

The DX21 Play Book has a bright orange cover and takes the reader through the steps of using a DX21. It concludes with a very basic introduction to DX21 programming, including the FM voice data for Glockenspiel (seriously?) and brass.

The DX21 Play Book came with a cassette tape. Side A is audio covering basic operation and performance memory. Side B contains performance and voice data to load onto the DX21. Welcome to 1980’s technology — digital data encoded as audio. Modems, anyone?

FM preset charts

I hand-copied (!) patches for eight DX21 factory presets. Primitive, but I can still read the results today unlike my variable speed floppy disks for Mac SE. 🙂

Yamaha Aftertouch Magazine

Before YamahaSynth.com and forums, there was Yamaha Aftertouch Magazine. Aftertouch was edited by the talented Tom Darter of Keyboard Magazine fame. Yamaha dropped real money on Aftertouch. I loved that mini-magazine and read it religiously.

There is a great collection of Aftertouch magazines at Yates Family. In the January 1989 issue, you will find a brief bio and comments by a young guy named Phil Clendeninn. (Thanks, Phil!)

Here is the January 1986 issue of Aftertouch. Speaking of youth, our kid was six months old in January 1986. Time flies!

How to program the DX7

Back in the day, Keyboard Magazine published in-depth reviews and how-to articles. That’s why many of us mourn the loss of Keyboard Magazine.

Here is a scan of “How to Program the DX7” by Bo Tomlyn as told to Jim Aikin. Bo Tomlyn was a consultant and clinician for Yamaha. If you read this article and the series by Manny Fernandez, you’ll be ready to go.

Yamaha FM Essential app

Finally, the Yamaha FM Essential app is a quick and free way to check out 4-op FM programming. You need to connect your iPad to a Mark 2 MX series synthesizer to unlock all of its presets (including the DX100).

I unlocked the app — once. Unfortunately, if you archive the app to iCloud, it loses the unlock data. So, the FM Essential app is now locked again.

Hey, Yamaha! Maybe it’s time to fully unlock the FM Essential app for everybody? I can’t find an MX at a local store to do another unlock. Maybe unlock the app when its connected to any Yamaha synth?

Copyright © 2024 Paul J. Drongowski

Reface DX: No static at all

If you’ve browsed Yamaha Reface at on-line retailers, you’ll know that Reface DX and Reface CS are currently on sale. The DX and CS are the two Katzenhammer kids which share the same internal design, using a Yamaha-proprietary SSP-2 processor as the central compute engine.

The Reface DX price is startling: $250 USD (MAP). Wow! That’s the price of a mid-range guitar pedal. Makes me wonder if the DX and CS are being closed out or if Mark 2 models are in the works. The venerable SSP-2 is supplanted by the SSP-3 and perhaps the inventory of SSP-2 is depleted.

The Reface CP and Reface YC MAP prices remain the same. I suspect that sales of these models remain solid as there always seems to be a need for good EP and organ sounds.

That DX price is a clearance price. When Reface was released, I vowed to buy at blow-out pricing. Yep, I put a Reface DX on order.

A few Reface DX programming links

First off, I’m amazed at the number of contributed DX patches at Yamaha’s Soundmondo sharing site. There are literally thousands of Reface DX patches. The Soundmondo tagging idea is good, but too many punters over-tagged their submissions. I’m looking for “orchestral” sounds and there are many tagged patches that are not remotely “orchestral”. A search system is only as good as the quality of its tagging.

If that’s not enough patches for you, try the Reface DX Legacy Project. Martin Tarenskeen maintains this vast library of Reface DX patches converted from old FM machines. I can’t vouch for the quality of the conversions (yet), but I’ll be heading there for old 4-op DX21 patches. I had a DX21 back in the day, and know the factory sound set quite well. I still have the original cassette tape with DX21 patches on it!

I also plan to do a little FM programming. This series of articles by Manny Fernandez is excellent:

Learn from the best in the field — that would be Manny. His articles have links to his example patches in the Soundmondo library.

You’ll need a Reface DX algorithms and envelope cheat-sheet (PDF), too.

Reface DX is old enough to be a grown up by now. So, there’s plenty of on-line support if you choose to jump into the Reface DX pool.

Yamaha SEQTRAK FM

I was curious to see how SEQTRAK FM stacks up against Reface DX. My conclusion — it’s the same FM engine:

  • 4-op, 12 algorithms, polyphony 8
  • Same algorithms and parameters
  • SEQTRAK includes many Reface DX patches

Looking beyond FM, SEQTRAK does AWM2, sampling and sequencing, and offers more effects. I’m more of a player than a button-pusher, so Reface DX is better for my personal needs.

Reflecting on the SEQTRAK FM and AWM2, I would expect to find a Yamaha proprietary SWX09 at its heart. The SWX09 core executes the Renesas SH architecture, same as SSP. Plus, SWX09 has an integrated AWM2 tone generation engine.

Copyright © 2024 Paul J. Drongowski

AWM, AN and VL in one Yamaha synth

What if you could buy a Yamaha synth with AWM2, AN and VL synthesis and buy it today? It’s not the unicorn super-Montage, it’s the Yamaha EX5 (released in 1998). The EX5 supports:

  • AWM tone generation
  • VL tone generation
  • AN tone generation, and
  • FDSP tone generation.

The EX5 had brothers, the EX5R rack module, and the diminuitive EX7. The EX7 is more limited in a number of ways including the absence of VL. Formulated Digital Sound Processing (FDSP) is a note- and velocity-dependent effect processor — an early version of Virtual Circuit Modeling. FDSP models electromagnetic pick-ups, water, PWM, flanger, phaser, etc. [I won’t say too much more about FDSP.]

AWM, AN, VL and FDSP can be combined (layered) in a variety of ways. (See the EX5/EX7 manual for details.) All of the synthesis methods share a common element structure as shown in the image below.

Yamaha EX5 common element structure [Yamaha]

The main difference between the synthesis types is how the “oscillator” is handled:

  • AWM: The oscillator is formed via sample-playback.
  • VL: The oscillator is the instrument model (mouthpiece, bow/string, etc.)
  • AN: The oscillator is a simulated VCO (Voltage Controller Oscillator).
  • FDSP: Same as AWM.

The remainder of sound processing is based on the standard AWM pipeline with the addition of a few extra VL, AN and FDSP parameters.

Yamaha EX5 allowed combinations of synthesis methods

All is exciting and fantastic until one reads the polyphony spec:

    Voice Type      EX5/5R Polyphony  EX7 Polyphony 
-------------- ---------------- -------------
AWM/Drum 126 64
VL+AWM 1+AWM
FDSP 16 8
AN(Poly)+AWM 2+AWM 1+AWM
AN(Layer)+AWM 1+AWM
AN+FDSP AN:1; FDSP:8

So, I would forget about that fat stack of AN or VL oscillators (layers). Forget phat two-handed analog chords.

How did Yamaha create this many-headed beast? Glancing at the EX5 service manual, the EX5 tone generation hardware consists of two SWP30B processors configured in the age-old master/slave tandem. (The SWP30B is two generations older than the current SWP70.) The EX7 has only one SWP30B. Further clues come from Yamaha itself:

The DSP (Digital Signal Processing) system used to create the EX effects is also used by the AN, FDSP, and VL (EX5/5R only) tone generators to create voices. This means that less DSP capacity is available to produce effects when the aforementioned voice types are used. This imposes limitations which are different for the EX5/5R and EX7. The Reverb and Chorus effect units function normally regardless of the type of voice used.

There are no limitations to using insertion effects in the EX5 or EX5R Voice mode. In the Performance mode, however, insertion effects can be used on a maximum of 4 parts (voices) if the performance setup consists entirely of AWM voices. If a VL, AN, or FDSP voice is used in the performance setup, however, an insertion effect can only be used on one part (voice).

Colloquially, Yamaha have robbed Peter to give to Paul.

Yamaha EX5 DSP limitations [Yamaha]

In EX5, DSP1 is always assigned to reverb, chorus and one level of insert effects. DSP2, however, is flexibly assigned between insert (AWM), VL, AN, and FDSP. Likely, Yamaha returns DSP2 output to a single TG channel in the front-end of the AWM2 pipeline (i.e., a return datapath).

Given the limitations in the EX5 internal architecture, I understand why Yamaha deployed the SSP2 digital signal processor in the Reface CS. Reface CS uses AN Analog Physical Modeling and is eight voice polyphonic. Although Yamaha don’t say much about its filter, Reface CS is not restricted as to filter algorithm (i.e., can be something other than the AWM2 hardware filters).

Sometimes you need to look back in order to see forward. AN-X™ is on the horizon and we will soon see if Yamaha raids its treasure vault. [Again, 25 years later.]

Copyright © 2023 Paul J. Drongowski

Where to put AN-X™?

Let’s not miss the forest for the trees…

Wishful thinking abounds — Let’s add an AN-X™ engine to the Yamaha Montage and/or MODX+. From the comments, you would think this is a done deal.

Well, the frenzied demand is certainly there. 🙂 With demand wafts the smell of money. How will Yamaha make money with AN-X?

Occasionally I see a forum comment that is so spot-on, it bears repeating. This comment comes from CyberGene on the Musicplayer Keyboard Corner:

The more I think about it (and knowing Yamaha of course, as well as owning and selling a MODX for being too awkward to work with) I have no high hopes for this hypothetical AN-X being integrated into anything intuitive and easy to use. 🙂 Most certainly it would need to be preprogrammed in advance rather then having a good hands on interface for real time manipulation. Yeah, you can route the knobs and faders to it as usual but still — I just think they should make a YC/CP type of instrument where they add the entire reface CS panel and engine. 😉 Why not add it to the YC73/88, so that it becomes a Nord Stage competitor. Call it a YCS73/88, bingo!

Amen. Could you imagine programming or controlling an AN-X engine within the context of the current Montage (MODX) user interface (UI)? Kill me now.

If Yamaha learned one thing from the YC and CP stage instruments, it’s “stage instruments with a focused user interface and engine (drawbar organ, piano, whatever) are desirable and sell.” [Ka-ching.]

Yamaha marketing folks are players as well as business people. The right way to do analog is to put the engine in a box that it is studded with knobs, buttons and analog controllers. Analog synthesis is meant to be interactive. Yamaha marketing surely knows this and the Reface CS — on a small scale –is proof.

So, AN-X on Montage and MODX+? How would that fit within a menu-based UI which many people find too complicated? In the case of MODX+, would you be happy with four sliders, four knobs and a Superknob for control? Would you enjoy menu-diving? [Sound of shrieking noises here.]

So, thanks, CyberGene for your insight. If Yamaha want to do AN-X right, they need to do it in a focused stage instrument. And make money.

Update: Yamaha have filed for a stylized (figurative) trademark in the European Union. See image below.

Yamaha trademark ANX (European Union, filing: 018741845)

Copyright © 2022 Paul J. Drongowski

You spin me right round

Spot product shortages have sparked speculation about discontinued products, new products, etc. Given the human propensity to look for and find patterns, it’s no wonder that conspiracy theories take hold!

The on-line inventory picture is mixed. Some retailers show Yamaha Montage/MODX, for example, in stock, some show them out of stock pending September availability and, in one case, discontinued.

Random “discontinued” tags seem to come and go. A month ago, the Yamaha Canada site marked the MX as discontinued. Now the marker is gone. Better indicators are blow-out pricing to move stock or a Yamaha spiff incentive to move old stock. So far, I haven’t seen any clearance pricing or promotions.

Yamaha’s mid- to upper-end keyboard products have a vulnerable supply dependency on Asahi Kasei Microdevices (AKM) DACs and ADCs. The AKM factory fire was worse than originally thought and production is still not back on-line. Renesas has offered to manufacture AKM devices. The Yamaha UK site has the disclaimer, “Due to the difficulty in procuring semiconductors and procuring parts worldwide, some of our product area deliveries may be delayed. Thank you for your understanding.”

AKM aren’t very public about their recovery and certainly haven’t released a public roadmap. A recent press release for VELVET SOUND DACs and ADCs mentions sampling (no pun intended) in January 2022 with “mass production scheduled for the third quarter of 2022.” Given that Toyota is a top AKM customer, who wins, Toyota or Yamaha? 😉

The AKM shortage inspires other conspiracy theories, too. Theory #1: Yamaha are using non-AKM DACs and ADCs in Montage — the analog/jack (AJK) board was redesigned or manufactured with inferior non-AKM devices. Theory #2: MODX is suspended in order to give preference to and ship the wider-margin Montage. Someone went so far as to ask about replacement DACs in Montage and got the usual non-response from Yamaha. (What did they expect?)

Some of the Yamaha boards use Yamaha proprietary ICs, e.g., SWL, SWX, or SSP2 processors, creating a different supply dependency. When production inventory is exhausted, Yamaha need to re-spin end product to use a newer part. The July 2016 MX refresh is one interesting example. I believe that was the case with the MX refresh.

I haven’t seen a new version of the heavy weight SWP70 tone generator. However, Yamaha have updated both the SWX and SSP lines:

  • The SWX08 is replaced by the SWX09.
  • The SSP3 — now appearing in Steinberg and Yamaha pro audio products — will likely replace the SSP2.

The SWX update would affect mid-range keyboards, notably the Yamaha Reface CP and YC. The SSP update would affect Montage, MODX, and Reface CS and DX.

Are new product spins in the works? Something is coming (eventually) given the CK61™/CK88™ and AN-X™ trademarks. Once again, only Yamaha really knows. 🙂

Copyright © 2022 Paul J. Drongowski

Review: Arturia Keylab Essential

Oh, did I fail to mention, I added an Arturia Keylab Essential 49 to my iPad rig. I wanted a super light-weight MIDI controller with knobs, sliders, and a minimum of 49 keys with good action. The Keylab Essential 49 fits the bill at 6.6 pounds (3kg), eight pads, nine encoders and nine faders (sliders). The street price is attractive, too: $229 USD. I had a good experience with the Arturia Keystep 32 and decided to give the Keylab Essential a go.

I use the Keystep mainly for control voltage (CV) and gate with littleBits synth modules. Mini-keys are OK for experiments, but not for real playing. If your Keystep keys get dirty, here’s a guide to Keystep teardown and cleaning.

Why the Keylab Essential after Korg Microkey Air joy? I gave the Air’s mini-keys the old college try and then some. First off, most mini-key instruments are three octaves and too short for two-fisted playing. The Microkey Air 49 has four octaves, making it much easier to play most tunes without finger gymnastics. [If you’re a pianist, we’re not even having this conversation!] Although the Microkey Air has Bluetooth MIDI built-in and is battery-powered — genuine plusses — it doesn’t have knobs/sliders for VST control. And, well, it still has those mini-keys.

Arturia Keylab Essential 61

The Keylab Essential 49 is only three inches longer than the Microkey Air: 30.9″ versus 27.9″. Sure, the Keylab Essential is twice as deep, but them encoders and 30mm faders have to go somewhere! I will admit, the Keylab Essential is not a “lap board” like the Air; it needs a proper stand and power source.

The Keylab Essential key action is decent enough. Like the Keystep, it feels a bit soft. If you want a fast, crisp action, this isn’t the droid you’re looking for. Even though the Keylab Essentials are Arturia’s budget line, the encoders and faders feel sturdy with a reasonable amount of resistance.

I’m happy with the Keylab Essential and, yes, I’ll be keeping the Microkey Air, too. Here’s my short Keylab Essential wish list:

  • Battery power
  • Bluetooth MIDI
  • Expression input, not simply sustain (on/off)

Then again, the price would be higher and/or the build quality would be lower. No free lunch.

Analog Lab

I’m mainly interested in iPad (IK BX-3) and hardware (YC and Skulpt SE) control, not PC-based VSTs. However, Analog Lab is a fun leisure destination. Analog Lab and its integration with Keylab Essential are simply brilliant. Prepare to waste long hours jamming away with the best sounds of yester-year with lots of knob twisting and fader slamming.

Controlling Yamaha Reface YC

Yamaha Reface YC is one of my keeper keyboards. It’s been a handy companion at rehearsals and even a few church services. You’ve already heard my gripe about three octave mini-keyboards and Reface YC occupies that doghouse. No need to repeat.

Fortunately, Keylab Essential is almost made for Reface YC. [Dreamers, Yamaha has a full-size YC; forget a Reface re-issue.] Keylab Essential has a 5-pin MIDI OUT which links to the Reface YC dongle MIDI IN. Thank heavens for 5-pin MIDI.

Arturia provide their MIDI Control Center (MCC) app for configuration. The Keylab Essential has eight configuration slots: Analog Lab, DAW and six user slots. MCC communicates with Keylab Essential over USB. Fortunately, the 5-pin MIDI OUT operates concurrently with a USB connection back — no either/or.

Obviously, the faders map to the YC drawbars. Fortunately, the Keylab Essential faders have a drawbar mode, flipping low and high values. The Reface YC drawbars are controlled by MIDI continuous controller (CC) messages CC#102 to CC#110. It’s all right there in the Reface Data List PDF available on the Yamaha Web site.

Amazing how many people will ask a forum for such info. Please RTFM.

The rest of the front panel controls — waveform, rotary speed, vibrato/chorus, percussion, and effects — are under MIDI CC control, too. Keylab Essential has three switches (Part 1, Part 2, Live) which are mapped in the following way:

  • Vibrato/chorus select (CC#79)
  • Percussion on/off (CC#77)
  • Percussion harmonic (CC#112)

The switches are configured as toggles, so that the switch LEDs indicate individual switch state.

Rotary speed is interesting because Reface YC has four states: OFF, STOP, SLOW and FAST. By default, Reface YC modulation (CC#0) switches between SLOW and FAST. As an alternative to the wheel, I assigned OFF, STOP, SLOW and FAST to pads 5 through 8. It’s a shame that Keylab Essential doesn’t support radio buttons. If it did, one could make each pad in the group a toggle showing the current rotary speed state.

As I mentioned, Keylab Essential does not have an expression pedal input. Thus, I route a Yamaha FC-7 expression pedal to Reface YC directly. The Keylab Essential sustain input is still useful, however. I attach a sustain pedal and assign the sustain input to rotary speed (CC#19: SLOW and FAST). Momentary switch mode allows quick changes and speed bumps.

It’s worth noting here that rotary speed has four settings:

     CC#19       Value 
---------- -----
0 - OFF 0
1 - STOP 42
2 - SLOW 85
3 - FAST 127

Switching between SLOW and FAST means changing CC#19 between 85 and 127.

Making the rest of the story short, the remaining Reface YC parameters are assigned to the encoders. Waveform, vibrato/chorus depth and percussion length have five discrete settings each, i.e., they do not sweep continuously across 1 to 127. Expect to hear discrete changes (steps). The step values are: 0, 32, 64, 95, 127.

Vibrato/chorus does not have a Reface on/off switch. Vibrato or chorus are OFF when the vibrato/chorus depth is zero.

Here is a table which summarizes the control mappings:

--------------------------------  ---------------------------------------- 
Reface YC Arturia Essential 49
-------------------------------- ----------------------------------------
Rotary speed 19 0-127 Mod wheel, Pad 5-8 OFF, STOP, SLOW, FAST
Wave 80 0-127 Knob 1

16' 102 0-127 Slider 1
5 1/3' 103 0-127 Slider 2
8' 104 0-127 Slider 3
4' 105 0-127 Slider 4
2 2/3' 106 0-127 Slider 5
2' 107 0-127 Slider 6
1 3/5' 108 0-127 Slider 7
1 1/3' 109 0-127 Slider 8
1' 110 0-127 Slider Master

V/C type 79 0-63, 64-127 Switch Part 1
V/C depth 77 0-127 Knob 2
Perc on/off 111 0-63, 64-127 Switch Part 2
Perc harm 112 0-63, 64-127 Switch Part 3
Perc length 113 0-127 Knob 3

Effect Dist 18 0-127 Knob 7
Effect Reverb 91 0-127 Knob 8
Volume 7 0-127 Knob 9

Oh, yeah, don’t forget volume! With the Keylab Essential at hand, you’ll probably have the Reface YC out of reach at the end of its MIDI tether.

I intend to get into good trouble with the Arturia Keylab Essential. Expect future experiments with iPad, IK Multimedia BX-3 and Modal Skulpt SE.

Copyright © 2022 Paul J. Drongowski

Wire Less: Part 1, Korg Microkey Air 49

With the pandemic raging, I’m searching for ways to reduce my physical gig footprint and schlep factor. I thought I would share my adventure in battery-lowered, almost wireless keyboard-land.

Months ago, I had a good experience with Korg Module Pro. It has the range of high quality sounds that I need for my church gig. So, I decided to eschew battery-powered MIDI modules like the MidiPLUS miniEngine USB and go iPad and Korg Module Pro.

Yamaha SHS-500 Sonogenic (labels added)

I tried a bunch of controller candidates. (See the end of this post for more info.) I had the best experience and minimal number of wires with built-in Bluetooth MIDI. The SHS-500 Sonogenic, in particular, is nearly ideal:

  • Pluses: Built-in Bluetooth, pitch bend and mod wheels, decent mini-keys, narrow depth is good for a lap-board.
  • Estimated battery life is OK (10 hours); AC adapter jack is well-placed and secure.
  • Minuses: 37 keys (3 octaves), no expression pedal input, mod wheel works backwards when played in one’s lap.

No, I am not playing the SHS-500 as a keytar. I find the whole keytar thing to be gimmicky and not appropriate for church. I intend to play the controller in my lap, thereby keeping my physical profile small. (Social distancing!) A lap-board lets me ditch the keyboard stand, minimizing schlep.

Mini-keys deserve comment. Mini-keys enable short, lap-held keyboards. They are very lightweight and easy to transport. If the basic key feel is good, I make peace with play-ability.

My trouble isn’t so much with key size. It’s that three octaves (37 keys) are too short. Many melody and bass lines require two octaves and a player needs two octaves below middle C and two octaves above. Otherwise, I do unnecessary mental and hand gymnastics in real-time to fit the music onto the keyboard. That ain’t right.

Just me? Watch Harry Connick Jr. rock a 3 octave Reface CP. Harry sez, “There’s not a lot of room here.” [Tonight Show: Jimmy Fallon, NBC, 1 September 2016, Playing starts at 3:00.]

Korg Microkey Air 49

In the end, I broke down and bought a Korg Microkey Air 49. It is a good size for a lap-board and the Korg Natural Touch mini-keys ain’t too bad. The Microkey Air firmware was already at v1.04 when it arrived and it connected with Korg Module Pro under IOS 14.1 without a problem. [More on this in a future post.]

The Microkey Air 49 has an estimated 30 hour battery life. Good thing, because Bluetooth operation must use battery power (two AA batteries). Be sure to have two spare AA batteries at the gig; there isn’t a USB powered safety net.

The Microkey Air has a footswitch input. Expression input would be better. Of course, connecting a pedal to the Microkey Air adds a cable. Fortunately, Bluetooth pedals like the Airturn BT200-S4 get the job done. I have a BT200-S4 and found it easy to switch sustain, etc. via Bluetooth in Korg Module Pro. The BT200-S4 is small and light, not any worse than schlepping a wired sustain pedal.

I made a few advances with iPad wiring along the way. The Korg Microkey Air 49 is working out pretty well and I’m practicing with it every day. I have a few custom layers in Korg Module Pro and the day is coming when I’ll try out the rig in front of a congregation.

Going native

For completeness sake, I tried “going native” with sounds built into the Yamaha SHS-500 Sonogenic, Yamaha Reface YC, Yamaha PSS-A50 and Korg microKorg XL+ — all fine battery-powered instruments in their own right with sounds appropriate for rock, soul, jazz, and pop, but not church. I need good strings, reeds, classic organ and gospel B-3. Before moving on, I give props to the Reface YC as it is truly gig-worthy and have play it on the job.

Blooming BLU

I also tried using “the natives” as Bluetooth MIDI controllers. All of the candidates have USB and/or 5-pin MIDI DIN ports, and can be fitted with Yamaha UD-BT01 and MD-BT01 wireless MIDI adapters. The candidate keyboards are battery-powered, so what the heck!

Yamaha UD-BT01 (with AC adapter) and UD-BT01 Bluetooth MIDI

To make a long story short, all candidates worked well with the Yamaha adapters and with Korg Module Pro on iPad — even the lowly, dirt-cheap PSS-A50. A few specific observations:

  • The Yamaha UB-BT01 not only does Bluetooth MIDI, it supplies power to the PSS-A50. If you must add a cable to connect the A50 to the UD-BT01, you might as well get power, too, and save batteries. If you own a PSS-A50 and want to go Bluetooth MIDI, don’t hesitate!
  • The Reface YC has the added bonus of an expression pedal input. An expression pedal is a vital part of my gig toolkit. Korg Module Pro will connect simultaneously to more than one Bluetooth MIDI source (like the BT200-S4 previously mentioned). In one experiment, I used Reface YC as my expression source while playing the black and whites on the SHS-500. Neat. I might add the new Boss EV-1-L wireless expression pedal once it ships.
  • I looked into expected battery life. The Korg Microkey Air is the best at 30 hours estimated life. The other solutions are burdened by tone generation and DSP. The added power-burn is unnecessary if we’re not using the internal synthesis engines.

Even though you take a power hit, an internal engine is a good back-up in case there is a technical problem with Bluetooth, the iPad or Module Pro.

    Instrument     Estimated battery life 
------------- ----------------------
Microkey Air 30 Hours
PSS-A50 20 Hours
SHS-500 10 Hours
Reface YC 5 Hours
microKorg XL+ 4 Hours

In terms of key feel and play-ability, all candidates are acceptable. The Yamaha HD mini-keys are more synth- and organ-like, and are good for legato (especially organ). The Korg Natural Touch mini-keys are more piano-like — good for striking, not quite as good as Yamaha HD for legato. Unlike Microkey Air 49, the other candidates are 37 keys and are too short for unfettered play.

                           Key dimensions 
--------------------
Instrument Width Length Depth
------------------ ----- ------ -----
Reface HD 19mm 88mm 9mm
Korg Natural Touch 20mm 80mm 8mm
MODX 21mm 133mm 10mm
Genos FSX 22mm 133mm 10mm

Check out these related blog posts:

Copyright © 2021 Paul J. Drongowski

Combo organ: Reface YC

Checking out organ-related threads in the music forums, combo organs get short shrift while most folks focus on the Hammond B-3 tonewheel sounds. Today’s post will (almost) ignore the B-3…

Organ-focused keyboards from Nord, Hammond, Yamaha and others have combo organ emulations in addition to tonewheel synthesis. All offer two vintage flavors: Vox and Farfisa. Nord and Hammond throw in pipe organ, piano, EP and instrument emulations, too, making for full all-rounders.

Drawbar control abounds! In the case of Vox, each physical Nord drawbar corresponds to a Vox Continental drawbar footage (with possible extensions). Nord Electro 6, for example, offers 16′, 8′, 4′, 2′, II, III, IV and sine. The 16′, 8′, 4′, IV and sine are basic Continental tones. Nord’s emulation kicks the basics up to dual-manual, Continental II territory by adding a 2′ footage and two overtone mixtures, II and III. The mixtures consist of the following ranks:

  • II: 5 1/3′ and 1 3/5′ pipes
  • III: 2 2/3′, 2′ and 1′ pipes
  • IV: 2 2/3′, 2′, 1 3/5′ and 1′ pipes

The III and IV mixtures add the Hammond-like overtones missing from the original Continental. Hammond employ a similar Vox drawbar assignment in the Sk1/Sk2 series.

Discrete voice (tab) stops pose a minor problem: How to provide discrete On/Off control with sliders (drawbars)? In the case of Farfisa emulation, Nord and Hammond assign each Farfisa tab to a drawbar:

    Drawbar  Farfisa (Nord)  Farfisa (Hammond) 
------- -------------- -----------------
1 Bass 16' Bass 16'
2 Strings 16' Strings 16'
3 Flute 8' Flute 8'
4 Oboe 8' Oboe 8'
5 Trumpet 8' Trumpet 8'
6 Strings 8' Strings 8'
7 Flute 4' Flute 4'
8 Strings 4' Piccolo 4'
9 2 2/3 Strings 4'

The Hammond voice set is the same as the Farfisa Combo Compact. The Combo Compact Deluxe replaced the Piccolo 4′ voice with a bright 2 2/3′ overtone tab, adding a bit of Hammond-like whistle. The Nord voice set covers the Combo Compact Deluxe model.

Yamaha have taken their own approach to combo organ emulation with the YC61. The YC61 synthesizes tonewheel tones through Virtual Circuit Modeling (VCM) that emulates the sound of analog tonewheels and associated circuitry. Vox (YC61 organ model F2) and Farfisa (model F3) sounds are produced using frequency modulation (FM) synthesis. The YC61 also provides a sine wave “combo” model (F1). The YC61 drawbars bring in the usual drawbar footages with the exception of the 1′ drawbar which is disabled in all FM models (F1, F2, and F3).

Gotta wonder if we can port the F1, F2 and F3 FM organs to Montage and MODX?

Thanks to the frapping pandemic, I have yet to play a YC61. (Grrr.) However, I have played the Nord Electro 6D and Hammond Sk1. Both provide excellent combo organ sounds. Pipe organ (Nord and Hammond) is a big plus for a church player. I give Nord’s orchestral samples and library the edge over Hammond.

Yamaha Reface YC

Yamaha Reface YC promises tonewheel and combo organ sounds on the cheap. By and large, it delivers. I have really worked the Reface YC as a rehearsal instrument and as a gig instrument in church. That said, here are some detailed observations (positive and negative).

Reface YC Typical Vox and Farfisa settings (Source: Yamaha)

I roll my eyes a bit whenever anyone posts about how they “wish the Motif XF (Montage, MODX) had the Reface YC technology inside.” News flash, the Reface YC shares much of its technology with Motif XF, Montage and MODX already. Yamaha simply repackaged and revoiced the basic AWM2 DNA in a wonderfully accessible form. Wisely, Yamaha reacted to the warm user reception and reaction caused by the YC and its popular pal, the Reface CP. Yamaha is now taking it to the bank with the current full-sized CP and YC keyboards.

The Reface YC emulates five different organ models:

  • H: Hammond tonewheel
  • V: Vox transistor organ (1960s)
  • F: Farfisa transistor organ (1960s)
  • A: Acetone transistor organ (1970s)
  • Y: Yamaha transistor organ (1972)

The Reface YC drawbars, buttons and sliders directly map to Hammond organ drawbars and controls. What about the combo organs?

I stripped away all of the effects (percussion, chorus, distortion, reverb, etc.) and sampled each of the five voices (8′ foot pipe, middle C). The five waveforms are pictured below. The H and V waves, especially, have a sinusoidal shape. The nasal F wave is truly unique. [Click image to enlarge.]

Reface YC waveforms (middle C, 8′ organ stop)

Since the Vox Continental had drawbars itself, the YC drawbars correspond to a single Vox drawbar sound (the V wave) played back at the appropriate footage (pitch). The YC Vox is based on a single Vox wave, just like the Montage (MODX and Motif XF). In Montage land, this is the “Vx Drawbar1-3” waveform. In the “you get want you pay for” department, the YC Vox does not have the reed and sine drawbars/sounds, and you must dial in the II, III, and IV mixtures yourself.

For the sake of authenticity, one should never put a combo organ through the rotary speaker effect. Trust me. Most of us in the 60s could barely afford an organ and an amp, let alone buy a Leslie. Then there is the issue of getting to the gig. Everything needed to fit into the back of Dad’s car!

The YC Farfisa, Acetone and Yamaha organ implementations follow the same design as the Vox. Each of the four combo organs (V, F, A and Y) consist of a single wave played back at different pitches according to drawbar footage.

Listening to the stripped down F wave, my first thought was “Accordion!” The 60s Farfisa organs were designed by accordion makers and I believe that the raspy Farfisa tone is their intentional attempt to build an electronic accordion. [Memories of Mom and Dad saying, “Why don’t you play accordion and learn a few wedding songs?” Who knew?] The name “Farfisa” is a contraction of “Fabbriche Riunite De Fisarmoniche”, the company formed by pre=World War 2 Italian accordian makers Settimio, Soprani, Scandalli, and Frontallini. It ain’t an accident, folks.

Thus, in terms of control, the Reface YC is quite unlike a real Farfisa Combo Compact with its discrete voice tabs. Once again, you pay more for Nord or Hammond and you get more authenticity. That doesn’t mean you can’t get a decent Farfisa tone out of Reface YC. It’s raspy enough for Wooly Bully and other cover songs. The chosen F wave is versatile and, well, Farfisa voices are pretty much the same wave filtered differently. The screaming Tone Boost is missing in action, though.

I give the Reface YC an A- and B+, respectively, for Vox and Farfisa authenticity. I don’t have any direct experience with Acetone and early Yamaha organs — just the soundtracks of old Japanese kaiju (monster) movies. The YC sounds realistic enough.

I experimented with YC percussion in isolation, too. Each of the Reface combo organ voices has its own distinctive percussion. I recommend trying this at home as some of the settings are almost clav-like and would do in a pinch. A few settings remind me of the 1970s Crumar Roadrunner electronic piano — the most crap-tastic electronic piano ever made. Yes, I owned one, played one, and sold it off as fast as humanly possible. 🙂

After analyzing the Reface YC, I understand better how Yamaha teased organ voices from modest hardware. I also have renewed respect for the Montage (MODX, Motif XF) organ voicing and real-time control. The Montage, MODX and Motif XF have all the sonic materials necessary to meet and/or best the Reface YC. Still, you can’t throw a Montage or a MODX into a tiny bag and jump on the bus, train or plane.

DIY drawbar control

If you want to add a few drawbars via MIDI, try my Sparfun Danger Shield drawbars project. Or, at least read my Sparkfun Danger Shield review.

Crumar D9U DIY MIDI drawbar controller

I also gave the Crumar D9U drawbar kit a spin:

The Crumar D9U is a DIY, Arduino-compatible drawbar kit. This series of articles describe my experience from beginning to end and include C code. Don’t want DIY? Then try the ready-made Crumar D9X.

Copyright © 2021 Paul J. Drongowski

Combo organ: Montage, MODX, Genos

Contemporary workstation instruments offer several options for combo organ emulation. Every workstation has at least a few internal combo organ waveforms. Korg Kronos, for example, has two Vox organ waves built in. Even the lowly Korg microKorg XL+ has two Vox waveforms (DWGS single cycle).

Yamaha MODX and Montage — my focus in this article — have a good variety of Vox and Farfisa waveforms. Yamaha Genos has a lesser endowment as we’ll see. Yamaha Reface YC shares sonic DNA (AWM2 and effects) with the Motif XF and will be the subject of a future post.

Motif, Motif ES and Motif XS

Models in the early Motif series primarily base combo organ patches on two waveforms:

  • Portable Electronic: Vox-y tone
  • Compact Electronic: Farf-y tone

You can hear these waveforms at work in the Tiny Combo Bars 1 performance and the Tiny Combo Bar 2 performance. The patches layer three are more elements playing Portable Electronic or Compact Electronic (respectively). Each element is filtered differently: low pass, band pass and high pass. The net effect is like several distinctive tab stops or drawbars pulled at once.

These waveforms are very old, going back to the original Motif (maybe S80) in the early 2000s. I’ll bet dollars to donuts that the Portable Electronic waveform is the basis for the 60’sOrgan voice (MSB: 0, LSB: 116, PC: 18) in PSR and Tyros keyboards. The 60’sOrgan voice was the sole combo organ mainstay in the arranger line for a loooong time.

Motif XF, Montage, MODX

Motif XF got a big shot of combo juice. Motif XF added several combo organ waveforms:

  • Fr All Tabs
  • Fr Bright Boost
  • Fr Flute
  • Fr String Lo
  • Fr String Hi
  • Fr Trumpet
  • Fr Piccolo
  • Fr Pedal
  • Fr KeyOff
  • Vx Drawbar1-3
  • Vx DrawbarIV
  • Vx KeyOff

The Farfisa (Fr) waveforms support emulation of specific Farfisa features: individual voice tabs (flute, string, trumpet and piccolo), the wicked Bright Boost knee lever, bass keys (pedal), and key off sound. The Fr All Tabs waveform covers one of the most common use cases — all of the tab stops turned on. Subtlety was not a hallmark of sixties combo organ music. 🙂

The Vox (Vx) Vx Drawbar1-3 waveform covers the three Continentel footage drawbars while the mixture drawbar is handled by the Vx DrawbarIV waveform. The Vox waveforms include a Vox key-off noise.

In terms of voice programming, one uses note shift to achieve different footage ranks. Passive filtering is emulated through filter type (low pass, band pass, high pass) and cutoff frequency. Of course, everything can be routed into insert effects for distortion, amp simulation, and other grunge.

Since Montage and MODX inherit all things Motif, these waveforms and the Motif performances are there for you. The Montage and MODX sliders allow control over individual voice elements. For example, choose the Raspy Tabs performance and assign slider control to element level. The Fr Raspy Tabs waveform-to-element assignment is:

El# Waveform     KeyLo KeyHi VelLo VelHi Coarse Level Cutoff XA Ctrl 
--- ------------ ----- ----- ----- ----- ------ ----- ------ -------
1 Fr String Lo C2 G8 1 127 0 97 255 Normal
2 Fr Trumpet C2 G8 1 127 0 82 255 Normal
3 Fr Flute C2 G8 1 127 24 120 236 Normal
4 Fr Pedal C-2 B1 1 127 0 127 160 Normal
5 Fr String Hi C2 G8 1 127 19 24 236 A.SW2 On
6 Fr KeyOff C2 G8 1 127 6 87 80 Key Off

Different tabs are brought in and out by moving the corresponding slider. Assignable switch 2 turns on additional brightness. The low keyboard octaves play the bass (pedal) tones. Overall, this is a fairly controllable representation of a wheezy Farfisa Compact.

Because the sliders are not discrete, you can probably make up Farfisa tones which aren’t entirely authentic. But, really, should one care? 😉

Vox performances have similar control-ability. Here is the waveform-to-element assignment in the Vx Full Bars performance:

El# Waveform      KeyLo KeyHi VelLo VelHi Coarse Level Cutoff XA Ctrl 
--- ------------- ----- ----- ----- ----- ------ ----- ------ -------
1 Vx Drawbar1-3 C-2 G8 1 127 0 75 255 Normal
2 Vx Drawbar1-3 C-2 G8 1 127 12 77 255 Normal
3 Vx Drawbar1-3 C-2 G8 1 127 24 91 255 Normal
4 Vx DrawbarIV C-2 G8 1 127 0 127 250 Normal
5 Vx KeyOff C-2 G8 1 127 4 68 85 Key Off

The first three sliders control the 16′, 8′ and 4′ Vox drawbar settings and the fourth drawbar controls the Mixture (IV) tone. Go ahead, just everything to eleven. 🙂

Montage and MODX FM

But, wait, there’s more! Montage and MODX have two FM combo voices: BOX FM Combo Organ and FM YC Combo Organ. Although these performances don’t sound authentic to my ears, they provide starting points for further programming. I haven’t heard the YC61 as yet, but I wonder if the YC61 combo emulations can be ported to Montage and MODX?

Genos

As I mentioned earlier, the arranger series has been historically short on combo organ sounds, relying on the old 60’sOrgan voice. Wheezy, raspy Farfisa tones are noticably absent. The 60’sOrgan voice sounds like the Portable Electronic waveform on which the Motif 1967 Keys performance is based.

Tyros 4 and Motif XF were introduced at approximately the same time. They certainly were together in the development lab during late 2009. Tyros 4 added four combo organ voices:

  1. 60sComboOrgan1: VoxContiComb1_Full_NoVib waveform
  2. 60sComboOrgan2: VoxContiComb1_Full_VibOn waveform
  3. 60sComboOrgan3: VoxCombi4NoVib waveform
  4. 60sComboOrgan4: VoxCombi4NoVib091117 waveform

Voices 1 and 2 capture one Vox Continental drawbar combination (Comb1) and voices 3 and 4 capture a second combination (Combi4).

Voices 1 and 3 are without vibrato. Voices 2 and 4, unfortunately, have an excessive amount of vibrato — almost painfully so. When I use voices 2 and 4 in a MIDI sequence, I dial down the vibrato depth using MIDI CC#77 messages. Vibrato frequency is about 5Hz. I also remove touch sensitivity by setting:

  • Velocity sensitivity depth to zero, and
  • Velocity sensitivity offset to 114.

An organ voice should not respond to touch (key velocity) — ever.

PSR, Tyros and Genos players shouldn’t forget the “hidden” Italian 60s organ voice (It60’sOrgan) in the GM2 sound set. On PSR and Tyros, you’ll find It60’sOrgan within the Legacy voices Organ subfolder. On Genos, you need to download GM2 and XG user voices to the USER voice folder. (See this thread in the PSR Tutorial Forum.) Of course, you can select
It60’sOrgan from a DAW (MSB: 121, LSB: 2, PC: 17) .

All-in-all, you can get a nice Vox tone out of Genos. Farfisa is still missing in action, tho’. Kind of an odd shortcoming of a keyboard with styles and a user base that want to play popular hits from days past.

In the next post, I’ll compare Reface YC combo organs against Montage/MODX (Motif XF). The result may surprise you.

Copyright © 2021 Paul J. Drongowski