Genos voice editing: An example

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

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

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

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

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

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

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

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

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

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

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

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

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

4. Edit the new voice.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The final result is:

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

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

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

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

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

Commentary

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

Copyright © 2018 Paul J. Drongowski

Genos voice editing: XML Notepad

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In my previous post about Yamaha Genos™ voice editing, I introduced the voice editing features provided by Yamaha Expansion Manager (YEM). This post describes a way to work around the shortcomings in YEM.

YEM stores low-level voice programming information in XML files with the “UVF” file name extension. In case you’re not familiar with XML, it’s a mark-up language that captures document formating and structure. HTML is the well-known predecessor to XML. XML is quite general and is used to represent structured data files as well as regular ole text documents.

YEM ships with a few hundred UVF files that describe the Genos (and separately, Tyros 5) factory voices. There are files for Regular, Sweet and Live voices. UVF files are not provided for Super Articulation (1 and 2) voices because YEM does not support SA voice editing.

The UVF files are stored in the directory:

    C:\Program Files (x86)\YAMAHA\Expansion\Manager\voices\genos

The UVF directories and files are both hidden and read-only. You need to configure Windows Explorer to display hidden files. On Windows 7, you need to do something like:

  1. Select the Start button, then select Control Panel > Appearance and Personalization.
  2. Select Folder Options, then select the View tab.
  3. Under Advanced settings, select Show hidden files, folders, and drives, and then select OK.

Just to be safe, I make a complete copy of the genos directory in my own working directory elsewhere on disk. That way, I leave the original files alone. I also change the directory and file properties to remove the read-only restriction. Don’t mess with the files in the YAMAHA subdirectories!

There are two subdirectories under “genos“:

    DRUM_KIT            Drums kit definitions
    EKB_LEGACY          Electronic Keyboard (EKB) legacy voices

The EKB_LEGACY subdirectory has the UVF files for the Normal, Sweet and Live voices. The files are organized by category (e.g., “A.Guitar,” “Accordion,” and so forth).

UVF (Universal Voice Format?) contains XML markers and attributes to represent and store voice parameters. If you’ve ever browsed a Yamaha Motif reference manual, you realize the great number and scope of voice parameters. Yes, a typical UVF file is a difficult to navigate jungle of voice information! You can open a UVF file with a text editor, but be prepared to get lost.

Since you can open a UVF file with a text editor, you can change the file, of course. Just be darned sure you know what you’re doing. Tweaking a single parameter here or there is possible, but I wouldn’t make any large scale edits with a text editor.

XML Notepad is a keener way to browse complex XML documents like UVF. XML Notepad was written by Chris Lovett and is distributed by Microsoft. It’s open source and free.

XML Notepad displays an XML document as a tree. The screenshot below shows the top level view of the UVF file named “SeattleStrings p.uvf”. [Click on a screenshot to enlarge.] The tree view on the left side displays the file tree in expandable/collapsible form. The panel on the right side displays the value corresponding to the XML attributes, etc. in the file tree. There are four important subtrees in a UVF document:

  1. voiceCommon: Detailed programming information
  2. voiceSet: Parameters accessible through Genos Voice Set
  3. effectSet: FX sends and insertion effect parameters
  4. information: Voice info such as name, MSB, LSB, etc.

The five subtrees marked “voiceElement” should immediately catch your eye. This is where the element-level voice programming data is stored.

There are five elements in the “SeattleStrings p” voice. Click on the expansion square (i.e., the little plus sign) of the first voiceElement to view its contents. [See the next screenshot below.] Notable element parameters are:

  • name: 1st_Violins p [the waveform name]
  • volume: -2.6 [the element’s volume level]
  • pan: 0 [the element’s pan position, 0 is center]
  • noteShift: 0 [note transposition]
  • noteLimitHi: G8 [highest note for which the element sounds]
  • noteLimitLo: C#4 [lowest note for which the element sounds]
  • velocityLimitHi: 127 [highest velocity level]
  • velocityLimitLo: 1 [lowest velocity level]

This information is essential for understanding the purpose and scope of each individual voice element. You’ll also see nine elementBank entities which represent the nine key banks within the voice element. You shouldn’t really need to mess with the key banks for factory voices.

I put the basic information for all five voice elements into a table for you:

Element Name Note lo Note hi Vel lo Vel hi Pan
0 1st_Violins p C#4 G8 1 127 0
1 2nd Violins p G2 G8 1 127 0
2 Violas mp C2 E5 1 127 0
3 Celli p C1 C4 1 127 0
4 Contrabasses p C-2 E2 1 127 0

A summary table like this reveals the overall voice structure. The “SeattleStrings p” voice consists of five elements, one element for each of the string sections. Each section sounds in a different region of the MIDI keyboard. All voice elements respond for velocities between 1 and 127, so there aren’t any velocity levels. All elements are center-panned (0). Legacy stereo voices have pairs of elements that are panned left (-1) and right (+1).

YEM provides the means to copy an element from a different existing voice. First, select the destination element by clicking on its button. Then, click on the “>” box above the element buttons. [See screenshots below.]

YEM displays a dialog box from which you can choose the element to be copied.

Unfortunately, one really needs to have the basic information as seen in the table above in order to “comp together” new voices from existing elements. It comes down to the question, “How do I know which element in a factory voice to choose and copy?” Yamaha need to display more basic voice information in YEM. For now, one can browse UVF files using XML Notepad and keep personal notes.

XML Notepad is an XML editor as well as a a browser. Let’s say that you want element 1 to sound in the note range C3 to G7. Simply change noteLimitLo to “C3” and change noteLimitHi to “G7”. Then save the UVF. I don’t recommend modifying the factory files, but what about a UVF file of your own creation? That’s the subject of my next post in this series.

Other tools to consider

XML Notepad is one of many tools to try.

If you only want to browse XML without making any changes, most Web browsers can open and display an XML file. Simply open the UVF file in your regular browser.

  • Internet Explorer: Choose File > Open in the menu bar.
  • Mozilla Firefox: Choose File > Open in the menu bar.
  • Google Chrome: Type Control-O to open a file.

Navigate to the UVF file that you want to view using the file selection dialog box, etc. Firefox and Chrome format the XML and use color to enhance keywords.

Another editing tool to try is Notepad++ with its XML plug-in installed. Notepad++ is a source code editor and needs the XML plug-in, which must be separately downloaded and installed. Plug-in installation is a little baroque, so be sure to read the “install.txt” file. You need to copy the plug-in files to the correct Notepad++ program directories.

The Notepad++ plug-in has many options including XML syntax check and pretty printing (formating). If you’re comfortable with XML code, then Notepad++ is a good alternative to XML Notepad.

Copyright © 2018 Paul J. Drongowski

Genos voice editing: YEM

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

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

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

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

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

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

  • Level Key Follow Sensitivity
  • Amplitude Scaling

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

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

Enter Yamaha Expansion Manager (YEM).

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

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

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

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

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

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

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

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

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

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

However, Yamaha omit vital information:

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

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

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

Copyright © 2018 Paul J. Drongowski

NAMM 2018: Montage 2.0

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Check out the obligatory Yamaha video which summarizes the OS 2.0 update. Also, catch Yamaha’s Blake Angelos in the Sonicstate video. [Hold that camera steady, dude!] Catch Blake (again) in the Ask.Audio video — wormholes in the sonic universe. Gratefully, there isn’t too much background noise behind either interview and Blake is still fresh!

Sample Robot Pro Montage Edition is a tool to capture the sounds of your vintage keyboards. (Check the Sample Robot site, too.) It sends MIDI notes to the vintage board and captures an audio sample for each note. Of course, it does this at different velocities making it easy to build velocity-switched voices. Hmmm, I’ll be looking at Sample Robot closely (once it’s released) to see if I can apply it to Genos™ and Yamaha Expansion Manager (YEM). Available in April 2018.

Another big addition to the Montage software ecosystem is the John Melas tool suite for Montage.

Read more about everything in the latest Yamaha/Easy Sounds Music Production Guide (PDF).

Quoting the Yamaha press release:

Yamaha today released MONTAGE OS version 2.0, the fourth free firmware update to its flagship synthesizer line. Yamaha has continuously updated MONTAGE with new content as well as sound, control and workflow enhancements. Now, MONTAGE OS v2.0 adds full Voice and Performance compatibility with recent MOTIF series instruments, additional control and workflow improvements.

MONTAGE adds full Voice and Performance compatibility with the Yamaha MOTIF XF, MOTIF XS and MOXF music production synthesizers. The MOTIF family dominated the music production synthesizer world for over 15 years. Now, MOTIF users can have confidence that their favorite sounds will load seamlessly into MONTAGE and perform without a hitch.

MONTAGE users have always been able to employ the free FM Converter web app at yamahasynth.com/fmconverter to convert DX7, DX7II, TX816 and TX802 Voices and Performances to MONTAGE Performances. Coupled with the Advanced Wave Memory 2 sound engine in MONTAGE and compatibility with legacy MOTIF content, musicians now have access to the largest and most established hardware synthesizer sound library in the world – a sonic palette that has been expanding and developing for over 35 years.

User-friendliness is essential in both modern studio and live-gig rigs, and MONTAGE OS v2.0 makes it easier to assign synth parameters to controllers such as the knobs, faders and Super Knob. For example, moving any physical controller now immediately shows destinations on the Controller Overview page. Several other workflow enhancements make it easier for musicians to interact with the vast MONTAGE Motion Control Synthesis.

Additional new features include a global setting for the A/D (external audio) input, which overrides the setting at the Performance level. This is useful for gigs or sessions where the player is using the input for the same purpose across all Performances. MONTAGE OS v2.0 also adds 87 new Performances, further expanding the amazing onboard content.

Yamaha MONTAGE OS v2.0 is a free update that will become available to all MONTAGE users on February 7.

This is big news for Montage folks!

NAMM 2018: And now Yamaha

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

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

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

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

Copyright © 2018 Paul J. Drongowski

NAMM 2018: Spin me ’round

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

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

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

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

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

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

Update: The Teenage Engineering metal series

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

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

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

Copyright © 2018 Paul J. Drongowski

NAMM 2018: Rainin’ tonewheels

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

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

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

It’s still red. No pricing yet.

NAMM 2018: Ain’t kiddin’ around

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

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

Specs include:

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

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

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

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

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

Too many questions? I’m under-caffeinated.

Copyright © 2018 Paul J. Drongowski

NAMM 2018: The ‘wheels roll out

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

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

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

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

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

Copyright © 2018 Paul J. Drongowski

NAMM 2018: Today’s catch

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

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

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

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

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

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

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

Copyright © 2018 Paul J. Drongowski