“P” is for “piano”: Yamaha P-S500 digital piano

Posted on October 8, 2022 by pj

While we’re distracted with “CK”, “AN”, and whatnot, Yamaha sneaks out a new P-series digital piano in Europe: the Yamaha P-S500.

Natch, you can read all about the P-S500 at Yamaha’s European web site. Physically, it’s a minimalist slab that’s designed primarily for the home or small studio market segments. Cost is about 2,100 Euro and I would expect it to retail for about $2000 USD in the States.

Basic features [courtesy of Yamaha] are:

Compatible with Smart Pianist app installed to a smart device
Stream Lights feature helps you perform even if you can’t read music notation
Enjoy playing along with the 403 preset Songs, covering a wide range of genres from pop music to classical music
Audio To Score function converts your favorite audio songs into piano accompaniment scores
Authentic Yamaha CFX & Bösendorfer Imperial concert grand piano Voices
Virtual Resonance Modeling (VRM)
88-note weighted GHS keyboard
Huge variety of 660 high-quality instrument Voices, including Super Articulation Voices
Built-in Auto Accompaniment features with 370 Styles
Microphone input and automatic Vocal Harmony

Auto-accompaniment, styles, Super Articulation voices? We’ve seen these features in the DGX series, notably, the most recent DGX-670 model. The table below compares the P-S500 against the DGX-670. The DGX-670, by the way, goes for considerably less dough: $850 USD.

                DGX-670           P-S500 
                ----------------- --------------------------------- 
Main piano:     Yamaha CFX        CFX, Bösendorfer Imperial 
VRM:            Yes               Yes 
Key-off sound:  Yes               Yes 
Action:         GHS               GHS 
Piano Room:     Yes               Yes 
PB wheel:       Yes               No 
Dual/layer:     Yes               Yes 
Split:          Yes               Yes 
USB audio:      Play/record       Play/record 
Bluetooth:      Yes               Not built-in (optional)
Amplification:  2 x 6W            2 x (20W + 6W) 
Speakers:       2 x (12cm + 5cm)  2 x (12cm x 6cm oval+2.5cm dome)
Display:        480x272 color     80x16 mono LCD 
Weight          47.2 pounds       48.1 pounds

Here’s the decoder ring for Yamaha acronyms: Virtual Resonance Modeling (VRM), Graded Hammer Standard (GHS), Super Articulation (SA), Cool (velocity switched), Live (stereo), Organ Flute (drawbar organ).

The P-S500 looks to be the upscale, uptown sibling of the DGX-670. At 48 pounds, I don’t think you’ll want to schlep the P-S500 out of the house very often. In terms of styles and voices, the P-S500 is superior:

                          DGX-670  P-S500 
                          -------  ------ 
Total voices              601      660     
    VRM voices            9        13     
    SA voices             49       111     
    Natural voices        11       25     
    Sweet voices          26       27     
    Cool voices           53       47     
    Live voices           68       58     
    Organ Flute voices    0        29 
Total styles              263      370     
    Pro styles            215      328     
    Session styles        19       25     
    Free Play styles      0        3     
    Pianist styles        29       13 
Drum Kits                 29       29

The P-S500 factory voice set includes many of my favorites. If you’re looking for a more than decent, mid-level keyboard with auto-accompaniment and a graded hammer keyboard, the P-S500 is worth a look. Versus a mid-level arranger keyboard, you’re still giving up a pitch bend wheel, multi-pads, style control buttons, MIDI record/edit, etc. If you just want to play and have a good piano experience, I’d go with the P-S500 in a heartbeat. (The DGX-670 is no slouch, either.)

There are many other differences that I’ve glossed over. So, if you’re trying to decide between DGX-670, an arranger or the P-S500, be sure to dig into the manuals and data list files. Yamaha doesn’t always make it easy to compare, especially as to your specific musical goals and use cases.

One enormous difference needs to be emphasized, however. The P-S500 front panel is utterly minimalist. If you want to exploit the P-S500 to its fullest, you must use the P-S500 with the Yamaha Smart Pianist app on a tablet (Apple or Android). In this respect, the P-S500 is more like the CSP series of digital pianos for the home. It’s like a CSP without the furniture. The CSP models have enhanced GH3X or NWX keybeds which improve the piano playing experience. Given that the Smart Pianist is almost a necessity, it’s kind of weird (cheap) to omit built-in Bluetooth.

Yamaha are certainly giving us choices!

A final, electronics nerd comment. While studying the internal design of current arranger, synth and digital piano products, the designs often seem like a deconstructed tablet connected to a keybed, tone generator and MIDI/USB interface. The digital electronics are remarkably similar. With the P-S500 and the CSP series, it’s like Yamaha said “Aw, the heck with it” and moved functionality out of the piano (arranger, synth) chassis into a stock, commercial tablet like iPad or Google Pixel tablet. I don’t think we have seen the end of this approach to instrument design…

Other reviews and comments about digital pianos:

Out Of The Shadows

Posted on October 3, 2022 by pj

I’ve been working on backing and lead instruments for the classic Del Shannon song “Keep Searchin'”.

Yamaha Genos™ is made for this tune. First off, its “ShadowedPop” style is the perfect fit for that old 1950s rock’n’roll vibe. It has just the right amount of swing and attitude.

Next, Genos has very good electric guitars for lead. Want clean Tele or Strat? Genos has them. Genos also has a suite of effects to obtain a complete, authentic guitar tone.

Yamaha arranger styles have “One Touch Settings” which are mini-registrations. Hit an OTS button and Genos will both change song section and bring up an appropriate voice. The Genos “ShadowedPop” style has two OTS mini-registrations that are worth deconstructing to see how the Yamaha sound designers got their Shadows guitar tone: “60sShadowLead” and “ShadowedGuitar”.

Of course, the “shadow” in all of these voice and style names refer to Hank Marvin and The Shadows — one of, or perhaps, THE iconic 1950’s guitar band and sound. The Shadows’ treatment felt absolutely right for the Del Shannon cover. Hank Marvin was perhaps the first English artist to pick up a Fender Strat, usually putting it through a Vox amp.

The PSR “ShadowedGuitar” voice goes back four or five years and is a standard factory preset. If your Yamaha arranger does not have “ShadowedGuitar”, choose a clean, 1960’s vintage guitar preset voice. Change the insert effect to Tempo Echo and set the insert effect send level to 30. Change the effect parameters to:

 Param#  Parameter name       Value 
 ------  -------------------  ------ 
      1  Delay Time           8th 
      2  Feedback Level       +28 
      3  Feedback High Damp   1.0 
      4  L/R Diffusion        +14ms 
      5  Lag                  0ms 
     10  Dry/Wet              D34>W 
     13  EQ Low Frequency     500Hz 
     14  EQ Low Gain          0dB 
     15  EQ High Frequency    4.0kHz 
     16  EQ High Gain         0dB

Reverb is a big part of the 50’s vibe and you’ll need gobs of it on the guitar. Select a hall reverb and set the reverb send level to at least 50. If your arranger has it, I recommend the “Real Medium Hall+” preset. It’s one of Yamaha’s best reverbs, in my opinion.

Only Genos has the “60sShadowLead” voice voice. Fortunately, it’s easy to add a close sound-alike to your instrument. Start with “ShadowedGuitar” or a clean, 1960’s vintage guitar preset. Get into the mixer (or DSP effect page) and change the insert effect to Multi FX Vintage Echo and set the insert effect send level to 127 (if necessary). Then change the effect parameters to:

 Param#  Parameter name       Value 
 ------  -------------------  ------ 
      1  Comp Sustain    2.9 
      2  Wah Switch      Off 
      3  Wah Pedal       0 
      4  Dist Switch     Clean 
      5  Dist Drive      5.0 
      6  Dist EQ         Mid Boost 
      7  Dist Tone       3.5 
      8  Dist Presence   4.3 
      9  Output          110 
     11  Speaker Type    Twin 
     12  LFO Speed       2.103Hz 
     13  Phaser Switch   Off 
     14  Delay Switch    Delay St 
     15  Delay Control   60 
     16  Delay Time      33

We met the Multi FX algorithm once before. This algorithm is like a virtual guitar pedal board:

Compressor -->  Wah --> Distortion --> Phaser --> Delay --> Spkr Sim

The above parameter values dial in The Shadows’ guitar tone.

You’ll need gobs of reverb, again, to complete the scene. Choose the “Real Medium Hall+” preset and set the reverb send to at least 40.

The “60sShadowLead” OTS also configures the chorus system effect. Having listened to the overall tone with and without chorus, this step is optional. (Possibly some other style part may be affected by this change or a change to any other system-level effect including reverb.) Change the chorus type to “Celeste 1” and set the chorus send level to 12. 12 is not especially high, so you can see why this last step is optional; it’s just a little sweetener.

You might consider changing the chorus effect to tremolo (e.g., “E-Piano Tremolo”). Guitarists in the 50s and 60s didn’t have guitar pedals. (Sorry, Edge.) So, folks relied on guitar amp spring reverb and tremolo (often mislabeled “vibrato”) to get space-y effects. I still have the sound of an Ampeg Gemini going through my head. 😎

Select the “E-Piano Tremolo” effect preset, increase the AM Depth to max, and set the chorus send level to 127:

 Param#  Parameter name       Value 
 ------  -------------------  ------ 
      1  LFO Frequency        5.38Hz 
      2  AM Depth             127 
      3  PM Depth             0 
      6  EQ Low Frequency     500Hz 
      7  EQ Low Gain          0dB 
      8  EQ High Frequency    4.0kHz 
      9  EQ High Gain         0dB 
     11  EQ Mid Frequency     2.0kHz 
     12  EQ Mid Gain          0.0dB 
     13  EQ Mid Width         1.0 
     14  LFO Phase Difference +39deg 
     15  Input Mode           Mono 
         Return Level         127

You’re looking for that deep, “Spaghetti Western”, Ennio Morricone effect. Play the lead line an octave down. Have fun!

The EQ parameters in the tremolo algorithm make this a good guitar tone mangler — swept mid EQ with Q (width)! Mid boost or cut is right at hand.

Here are short demos (MP3) on Genos with tremolo and without tremolo. Yamaha Montage and MODX have the same effect algorithms, so you should be able to apply the same techniques on those instruments, too.

Links to a few other posts about chasing tone on Yamaha gear:

Mid-September new products

Posted on September 15, 2022 by pj

Korg dropped two new products for Fall 2022: The Liano digital piano and drumlogue hybrid drum machine

The Liano is about as minimalist as it comes. The Liano is a sleek monolith with just a few simple controls. This keyboard absolutely does not require a user manual! You get the standard eight preset voices (two grands, a Rhodes, an FM EP, harpsichord, pipe organ, electric organ, strings), two effects (reverb and chorus), metronome, two built-in 8cm bass reflex speakers (8 Watts a side), USB-B, and sustain. That’s it.

This board is such a slab, Kubrick could have used it as the monolith in 2001: A Space Odyssey. 🙂 Imagine monkeys dancing around a Liano tipped on its side. You know, Korg, every search engine in the world will auto-correct “liano” to “piano”?

The Liano is super-light 6.0kg (13.2 pounds). The demos sound pretty decent. Aside from being a student piano, I could see using a Liano at choir rehearsals or any occasion requiring portability (six AA batteries). The down-side of the small sound set is that a given preset either fits the musical situation or it doesn’t. This is especially true of the pipe organ (uni-dimensional full pipes) or the electric organ. I hate to slag the Liano’s electric organ as it would be fine in a jazz setting, but forget rock or gospel.

Korg clearly are going head-to-head with Yamaha and Casio in the entry-level piano market. Liano’s minimum advertised price (MAP) is $399 USD.

I’m sure the Interwebs will be filled with drumlogue news. It’s analog! The Korg demos have punch! It accepts ‘logue synth plug-ins! It’s $599 USD MAP.

Both the Liano and drumlogue are pre-order. I hope Korg gets a move on because I an still waiting for the Korg Nu:tekt NTS-2 oscilloscope ($230 USD MAP). Come on, man!

Not from Korg, the Intech Studio Knot is another USB host to MIDI bridge box (AKA stand-alone USB MIDI host). It is tiny and has an $89 pre-order price. (That’s 25% off.) Knot takes power from either USB-C or a DC adapter. External power is critical because some controllers draw enough current to power a small town. (Well, that’s exaggerating.)

The down-side of its tiny size is 3.5mm MIDI IN and OUT ports instead of 5-pin DIN. Yes, you will need 3.5mm to DIN adapters.

Knot is an open source project and supports firmware updates.

If you need a MIDI bridge and have a Raspberry Pi, check out these articles:

All it takes are a few simple Linux commands. Admittedly, a dedicated bridge like the Knot is the better option for gigging.

What if CS and SK had a baby?

Posted on September 12, 2022 by pj

Got a PM from Jan, a long-time reader. Jan found a page on YamahaSynth about the Yamaha MX product line. The page features the phrase “CK — Classic Keyboards”. CK?

I suspect that CK61™ and CK88™ refer to a new line of keyboards, not a refresh of the MX series. I have to agree that the MX product line is in serious need of a refresh; It is based on the geriatric Yamaha Motif XS sound set.

Still, Jan’s comments got me thinking, especially about the early history of Yamaha synths.

The earliest Yamaha synths — SY-1 and SY-2 — Appeared in the mid-1970s. These 3-octave beasts provided a range of factory presets like trumpet, clarinet, guitar, piano, etc. and a small handful of sliders and knobs on a panel to the left of the keybed.

The SY-1 and SY-2 were quickly superceded by the more popular CS series. The CS series had monophonic and polyphonic models covering the range from the highly portable CS-01, through the Concertmate-like CS-5, to the revered altar of synthesis, the CS-80. The CS synths appeared in the late-70s and early-80s.

The Yamaha SK series appeared in roughly the same time-frame and were somewhat eclipsed by the CS synths. I remember playing both CS and SK keyboards in Salt Lake City, wearing out my welcome at local music shops around town. 🙂

Like the beefier end of the CS line, the SK keyboards sported beautiful — and heavy — wooden end-cheeks and cases. Yamaha have always found a way to spotlight their expertise in woodworking!

Sonically, the SK series are an extension of digital organ technology. The SK-30, for example, had three independent sound generators: organ, poly synth and solo synth. The organ has footage tab stops and percussion. The poly synth is split into two subsections: string and poly synth. Each section is 7-note paraphonic. The monophonic solo synth consists of a VCO feeding a wave-shaper that sends a sawtooth or pulse into the VCF and VCA stages. The organ and poly synth sections each have their own timbre shaping circuitry akin to the tone shaping one finds in organ designs of the era.

Why two concurrent product lines, both ostensibly synthesizers? Engineers were fighting analog VCO pitch stability at that time. The SK series had better pitch stability overall than the CS series and offered polyphony to boot. Who knew that analog would be more popular than digital?

So, what if the CS series and the SK series had a baby? “C” from the “CS” series plus “K” from the “SK” series equals “CK”. Yamaha have been known to dip from their historic well for naming. Perhaps the new CK series are a poly/mono hybrid? Just guessing!

TMI

Looking at the service manuals for this old tech is a blast down memory lane. The SK series use several Yamaha proprietary chips from their electronic organ and CS synthesizer product lines.

A number of on-line resources claim that the poly-synth tone generators use FM synthesis. This is incorrect. Specifically, the poly-synth uses YM70400 GOA integrated circuits (IC) based on Yamaha’s Pulse Analog Synthesis System (PASS). The YM70400 (and the other tone generators) receive a serial 4-bit key code from a key scanner/assigner IC. The key codes tell the tone generator(s) which notes to produce and trigger. The SK-30 has dual poly-synth generators which are each 7-note polyphonic, producing 8’/16′ square waves and 4′ sawtooth waves. Each side is routed through analog filters tailored for strings on one side and an EG-controlled VCF on the poly synth side.

The SK-30 organ section consists of a YM62200 top-octave tone generator (TGC) and two YM70200 organ generators, GF1 and GF2. The organ section is 7-note polyphonic. GF1 and GF2 generate sine waves which are sent through the drawbar tabs for mixing and filtering. GF1 and GF2 support all common organ footages and percussion.

All three sections can take advantage of a tremolo/ensemble effect and/or a multi-pin Leslie connector. The effect is a bucket brigade device (BBD) delay/vibrato generator. [The term “Tremolo” is abused here.]

Much is described in the excellent article “Yamaha Symphonic Ensemble SK20”, Electronics & Music Maker, March 1981. Back in the day, electronic music magazines occasionally gave a detailed glimpse inside — sadly lacking in today’s review articles. sandsoftwaresound.net tries to fill that void.

Akai MPK Mini beauty products

Posted on September 7, 2022 by pj

Well, at first, I was going to strip it for parts. Then I changed my mind.

My original plan was to mod and customize an Akai MPK Mini Play (Mk1), making it a stand-alone synthesizer. As to cosmetics, I wanted to jazz it up with colorful knobs and a reverse white-on-black keybed. I would either find replacement keys or I would buy an Akai MPK Mini White Edition (Mk2), bust it down, and swap in the white-on-black keybed.

Hopes were dashed when I discovered the limitations of the MPK Mini Play’s implementation. Akai’s firmware blocks full access to the Dream S.A.S. SAM2635 synthesizer. I made a MIDI IN/OUT mod, letting me communicate with the Dream through 5-pin DIN MIDI. My original goal of a stand-alone synth, though, went down the tubes.

While the mod was playing out, I bought an Akai MPK Mini White Edition (Mk2) on ebay, ostensibly, for parts. BTW, if you’re looking for an MPK Mini, there are scads of them available on ebay for much less than retail. [If you’re OK with used.]

Gratefully, the previous owner had not registered the MPK Mini and I was able to download Akai’s software bundle. I installed MPC Beats — Akai’s MPC-style DAW — and the five expansion packs included in the bundle. I gave MPC Beats a try. Lo and behold, it was a lot of fun! I found the MPK Mini to be a better companion for MPC Beats than the MPK Mini Play. Suddenly, all desire to strip the White Edition was lost.

Now I want to keep using the MPK Mini (Mk2) as an MPC Beats controller and treat the MPK Mini Play as a MIDI module. Time to beautify the White Edition. [Spared from the chopping block.]

As to appearance and use, my one major quibble is the short, skirted knobs on both the MPK Mini and MPK Mini Play. I find these knobs hard to grab — more appropriate for small hands than my mitts.

Adafruit knobs versus original Akai MPK Mini knobs

Short knobs mean short pot shafts. Due to the short potentiometer shafts and the front panel recess around the pots, any old knob will not due. Casting around on the Web, I found two candidate knobs at Adafruit:

Adafruit #5093 Slim rubber rotary encoder knob, 11.5mm by 14.5mm D-shaft
Adafruit #5532 Red micro potentiometer knob (4 pack)

The red knobs are part of a multi-colored family. If red isn’t your fancy, try blue, black, white, cream, green, etc. Individually, both knob types are about $.70 USD per knob — not bad. Adafruit’s shipping is a tad high (one pound weight minimum charge) and you should look around for a few other things to buy in the same order. If you’re thinking about a 5-pin MIDI mod, I suggest the Adafruit MIDI FeatherWing Kit.

First up, is the Adafruit #5093. These knobs are only available in black. They are rubber and have a very nice feel. They only fit D-shaft potentiometers (or encoders) and are not appropriate for knurled or round shafts. The rubber knobs just barely cover the panel holes, but should keep out dust.

Akai knobs (left) versus Adafruit rubber knobs (right)

The pointers are well-placed and hit the min and max positions exactly. The rubber knobs are twice as tall as the factory knobs and are easy to grab. They are just snug enough on the pot shaft and can be removed without much force. I like these knobs and recommend them. Buy ten and get a price break.

I tried a few different Yamaha knobs on the MPK Minis. Forget it. The pointers don’t align with the min and max positions. Avoid knobs where the inner opening or set screw is too high above the bottom. Such knobs will float above the darned short Akai shafts.

Next up, is the Adafruit micro pot knob family. I bought red, black, blue, white and cream. The cream knobs look especially handsome. Unfortunately, cream clashes with the White Edition. Better to go with bright white (which match the sharp keys) or best to go full contrast and a splash of color, red.

The micro pot knobs have a very small set screw. Adafruit recommend a 2mm hex wrench, but the 1.5mm hex wrench in my Craftsman set is the better fit. This set screw is freaking small! Fortunately, the set screw is down low enough to hit the flat face of the rather short D-shaft.

Akai knobs (left) versus Adafruit micro pot knobs (right)

The red knobs look great. The pointers align properly with min and max. The knobs are twice as tall as the factory knobs. The only down-side is the set screw. If you intend to open and close the MPK Mini case frequently, go with the rubber knobs. You will get tired for loosening and tightening the set screws on the micro pot knobs.

New knobs are a quick, inexpensive way to brighten up a front panel from dreary black. Tall knobs are easier to grab, too. There you have it.

MODX+: Glad that’s over!

Posted on September 1, 2022 by pj

Yamaha launched its MODX+ keyboards today. The MODX+ has a few modest improvements over the MODX (Mk1):

1.75GB user waveform memory
Rubberized pitch and mod wheels
New livery (black end-cheeks)
128 tone FM-X polyphony (maximum)

Seamless Sound Switching (SSS) is the same as MODX (limited to 4-part Performances). There are a few on-line videos that are incorrect. The USB audio spec has not changed either.

In case you missed it, Yamaha have a MODX+ Early Adopter Promo Rebate. Register your MODX+ and receive a free FC7 expression pedal and FC5 foot switch. The promotion ends 31 December 2022. That should take some of the sting out of the new prices: $1,499 MAP for the MODX6+ versus $1,399 for the MODX (Mk1). Look for a bundled gig bag, too.

Yamaha are promoting a downloadable Bösendorfer piano. Gotta fill up that expansion memory! Look for new additions to the Montage/MODX+ library in the future. Yamaha IdeaScale participants previewed a new CP-90 piano currently in development. Big multi-samples to drive MODX+ sales.

Anticipatory discussion was filled with wishful thinking and speculation concerning the addition of a second SWP70 tone generator chip and possibly AN-X™ virtual analog synthesis. Judging from the boost in FM-X polyphony, the MODX+ quite likely got the second SWP70.

Speculation about AN-X borders on fantasy. It is based on the premise that an SWP70 is even capable of virtual analog synthesis. Other than Yamaha, does anyone really know what is inside of an SWP70 tone generator?. I don’t.

Adding further doubt for the wet-blanket brigade, I offer the design decisions surrounding the Reface series. The Reface YC and CP are genetic sisters. Both are based on AWM2, both using the SWX08 processor with integrated AWM2 tone generation. Why then, did Yamaha deploy the SSP2 digital signal processor in the Reface CS? Surely, it would have been more cost effective to share the same logic board as Reface YC and CP. Thus, I have my doubts unless SWP70 has some hidden, yet-to-be revealed functional capabilities. Yamaha have the new SSP3 to play with, too.

Given the limitations of the Montage/MODX user interface, including relatively few front panel controls, AN-X on Montage/MODX+ is just putting a bag on the side of a fine product. [Apologies to Tracy Kidder.]

So, I don’t think Yamaha is finished with announcements. There are still CK61™ and CK88™ to account for. Marketing 101 says “Don’t muddy the waters with multiple product launches in a given lane.” Plus, Yamaha marketing is not that big and poor Blake needs to flog the MODX+ while it’s hot. Stay tuned, boys and girls.

Punters are trying to justify the small price increase in terms of component count, etc. Yamaha priced MODX+. Done. If they don’t shift boxes, Yamaha will drop the regional MAP. Currency fluctuation may have more to do with variations in price than component count. Unfortunately, the suits often win.

As to price, one more observation. MODX and MODX+ have crashed the psychological $1,000 USD barrier. Smash it. The MX series is the only sub-$1000 offering. (Reface don’t count with its mini-keys.) There is a big gap between MX and MODX. I don’t think Yamaha can raise prices on the current MX, so maybe something else is coming?

Where to put AN-X™?

Posted on August 26, 2022 by pj

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)

Akai MPK Mini Play: GM/GS MIDI mod

Posted on August 25, 2022 by pj

In order to make your Aka MPK Mini Play (Mk1) into a GM/GS module, you must modify its hardware. As it is with all mods, modifications void the warranty, could damage the keyboard, and may affect resale value. The risk is yours alone.

That said, I’ve now thoroughly tested my Akai MPK Mini Play (Mk1) MIDI mod. Not only is a General MIDI module hiding inside, it does Roland GS, too!

Recapping, the MPK Mini Play main printed circuit board has a group of test pads for the internal synthesizer. The test pads are bigger than surface mount (SMT) traces, which makes soldering much easier. I tapped four signals and brought them out from the board on a ribbon cable:

SAM2635_RX: MIDI IN (white wire)
SAM2635_TX: MIDI OUT (black wire)
D Ground: Ground for external power (grey wire)
D +3.3V: +3.3V for external power (purple wire)

“SAM2635” refers to the Dream S.A.S. SAM2635 synthesizer chip — the MPK Mini Play’s tone generator.

Akai MPK Mini Play (Mk1) test pads (before and after)

I did a reasonably thorough analysis of the internal MIDI messages and the Mini Play’s MIDI over USB implementation. The Akai software is much too limiting and I became determined to unleash the Kraken within (the SAM2635).

Akai MPK Mini Play (Mk1) connected to UBLD.IT MIDI breakout board

I connected the other end of the ribbon cable to a UBLD.IT MIDI breakout board. The UBLD.IT board provides Akai MPK Mini Play 5-pin MIDI IN and MIDI OUT ports to the Dream SAM2635. I recommend turning INTERNAL SOUNDS off so controller messages do not interfere (collide) with incoming 5-pin MIDI messages. Don’t expect signals/messages to merge.

What else do you need to start using the SAM2635 as a MIDI module? Documentation! The Dream S.A.S. web site has:

You can skip the datasheet, but you will definitely need the firmware and sound bank guides.

The firmware guide describes the GM/GS implementation including, of course, the supported MIDI messages. You’ll find a few interesting and useful enhancements beyond General MIDI and Roland GS:

Several selectable reverb and chorus effect types.
1-, 2- or 4-band equalization.
A spatial effect.

Near as I can tell, the microphone and CODEC are not connected in the MPK Mini Play electronics. Maybe you’ll discover a hack of your own…

The sound bank guide describes the available voices and drum kits:

128 General MIDI instruments.
Nine drum sets and one sound effects (SFX) set.
225 variation instruments.

The variation instruments are a true bonus. You get additional electric pianos, organs, guitars, synth basses and orchestral instruments. The variations are a little light on synth leads and pads, but I think you are expected to roll-your-own by programming amplitude and filter characteristics via MIDI CC messages. The GS implementation offers many options that way.

How does it sound? Here is an MP3 of my standard GM test: Traffic’s Feelin’ Alright. Compare with the Yamaha PSS-A50 rendition. There is a decent piano solo during the last 30 seconds or so, if you want to skip ahead.

I pulled together links to all of my previous articles about the Akai MPK Mini Play (Mk1):

All in all, this has been a successful hack!

Yamaha MODX+ madness

Posted on August 23, 2022 by pj

Thanks to a few pages posted from the Yamaha MODX+ user manual, the new MODX+ is a bit of a nothing-burger — a product spiff. The MODX+ got a few bumps over MODX (Mark 1): more expansion memory (1.75GB), FM-X polyphony on-par with Montage (128), and a way to add rhythm patterns:

Also, the MODX+ has a new feature for instantly adding rhythm patterns so that the players can take their music creation forward with dynamic rhythm parts. With this feature, creating rhythmic changes in the “Motion Controls” is easier than ever! [Yamaha]

Just enough to keep MODX+ competitive in its price bracket. The bump in FM-X polyphony indicates the likely addition of a second SWP70 tone generator IC.

I suspect Yamaha will use new downloadable libraries to drive a few pack-rat punters to upgrade to MODX+. Recently, IdeaScale participants had a chance to preview a new CP-80 voice (and waveforms). Yamaha were soliciting opinions as to which voices/waveforms had the most sonic appeal. A flood of must-have content might create demand among current MODX (Mark 1) players, making that 1.75GB a necessity.

The forums are filled with speculation about AN-X™. Again, a lot of wishful thinking about AN-X coming to Montage and/or MODX+. Only Yamaha know for sure.

As yet, however, no one has solved the mystery of the other registered trademarks: CK61™ and CK88™.

Yamaha have moved on from the SSP2 signal processing chip to the SSP3. The SSP3 first appeared in the Yamaha AXR4U and Steinberg UR44C audio interfaces. Yamaha move ahead like a shark and the SSP2 is deprecated for new designs. In fact, the MODX+ refresh likely includes the SSP3 as SSP2 production inventories must be low or exhausted.

That turns my attention to the Reface DX and Reface CS. The Reface DX and CS are sisters, sharing the same internal design modulo screen interface and front panel gizmos. Both are based on SSP2 and, thus, both may be in need of a refresh — or replacement. The SSP2 signal processor provides the FM and VA synthesis horsepower.

Simply put, will CK61 and CK88 replace the Reface DX and CS? Will the CK61 and CK88 be the AN-X machine? How will Yamaha monetize AN-X? When it comes to business, Yamaha are not fools. Never sell one model when two will do as well! Ka-ching. 🙂

On a personal note, I started this site to inform players about music technology and what’s inside the tin. It’s gratifying to read the forums and see how much this site has influenced discussion, especially discussion about Yamaha products. Thank you for reading and please keep coming back! — pj

A few handy links:

Is MODX+ on the way?

Posted on August 17, 2022 by pj

[Updated 18 August 2022.] Rumors are circulating about Yamaha MODX — either replacement or refresh.

Now pictures of a misdelivered “MODX8+” have appeared. Naturally, one asks “fake or real?” Cosmetically, the only external differences are:

A different product model legend on the right side of the top panel, e.g., “MODX8+ Music Synthesizer”.
Black plastic end-cheeks instead of grey.

The MODX8+ was shipped mistakenly to a customer. Support anticipates release in the Sepember or October timeframe.

The new livery reminds me of the Yamaha MX series V2 spiff. It was somewhat difficult for a customer to identify an MX V1 vs. an MX V2. The new MODX+ legend makes the mark 2 clearly distinguishable. No word about enhanced features or sound set. One must also ask if the Montage will get a spiff, too?

I’m going out on a limb — real.

Update: MODX+ discussion is rampant in the forums. Here are a few quick comments, corrections and a request.

SWP70 is an integrated circuit designed by Yamaha. It is manufactured by a partner fab. Yamaha is fab-less. Yamaha transferred its semiconductor manufacturing subsidiary to Phenitec Semiconductor in 2014. It takes a lot of money to build and maintain semiconductor fabrication factories — a money losing proposition for Yamaha (or my old employer, AMD, for that matter). Yamaha remains a manufacturing powerhouse at the board level and sells its own line of PCB assembly equipment.

SWP70 processors are manufactured in batches based on Yamaha’s estimated need. Depending upon the portability of the SWP70 design, Yamaha may turn to multiple alternative partners for fab. “Portability”, in this sense, means how easily the design can be re-targeted for a specific fabrication process.

Generally, Yamaha has done a good job exploiting commodity components. The SWP70 uses ONFI-compatible NAND flash and RAM. The MODX and Montage host processors are high-volume, embedded ARM microcomputers. Although Yamaha has preferred suppliers for NAND flash and RAM (e.g., Cypress/Spansion, Winbond), these are commodity parts and are available from many suppliers. Commodity components are probably not a pressure point.

As I’ve said before, Yamaha have just a few critical external supply vulnerabilities. Aside from fab capacity, SWP70s or other Yamaha proprietary processors are likely not the issue here. When it comes to DACs and ADCs, however, Yamaha is very reliant on Asahi Kasei Microdevices (AKM). AKM is still trying to recover from its factory fire. The AKM supply shortage has put Yamaha and many other vendors on the back foot.

Yamaha have the right to substitute components. Every manual has the following disclaimer:

Specifications and descriptions in this owner’s manual are for information purposes only. Yamaha Corp. reserves the right to change or modify products or specifications at any time without prior notice. Since specifications, equipment or options may not be the same in every locale, please check with your Yamaha dealer. Visit the web page for information on the latest Owner’s manual.

Of course, this could mean substituting for AKM devices. DACs and ADCs communicate via the I2S digital audio interface format. If Yamaha did substitute — speculation — would we hear an audible change?

Much speculation surrounds the second, unpopulated SWP70 position (TG slave) on the original MODX printed circuit board. The TG slave has an associated open position for DSP RAM only. Thus, if Yamaha choose to use the same board and to populate the open positions, these changes would bring MODX+ up to the same polyphony spec and tone generation horsepower as the current Montage. Montage would still have the advantage in digital audio routing and processing (including audio channels over USB). The original MODX board does not have provisions for upgraded audio channels.

A product spin is needed when a Yamaha proprietary component is obsoleted and out of inventory. Such may be the case with the venerable SSP2 — a workhorse in many Yamaha products including mixers, Reface CS and Reface DX. Yamaha and Steinberg have moved on to the SSP3.

Finally, a request. Please do not publicly reveal your source of leaks. Yamaha are incredibly paranoid, exceeded only by Apple and Sony in this regard. First, leaks get real people in trouble. Second, Yamaha learn from their mistakes. Protect your sources and methods!

Sand, software and sound

Electronics and computing for the fun of it