Here are a few musical samples of Genos in action. Think of them as a Christmas gift to you. Peace.
Hope you enjoyed that. I’ll add a few technical notes later. Merry Christmas!
Here’s a little bit of Java code to brighten your day.
Two weeks ago, I described the additional hi-hat notes in the Yamaha Genos™ Revo drum kits. The hi-hat sounds replace noises like sequence click, etc. in the lowest numbered notes of the MIDI scale. Thus, a Genos factory style wheezes, zings and clicks when it is played on a legacy PSR or Tyros arranger workstation.
Quite a few people would like to try the new Genos styles, but the hi-hat notes pose a major barrier to conversion (i.e., porting a Genos style to legacy PSR/Tyros). Jørgen Sørensen’s Revo Drum Cleaner suppresses these sounds, but does not remap the Genos hi-hat notes to General MIDI (GM) standard notes.
That’s where note remapper comes in. Note remapper is an experimenter’s kit, not a finished tool. Jørgen (and Michael Bedesem) have written many rather nice tools for the PSR/Tyros arranger workstations. Note remapper gets the job done from the command line, so don’t expect a graphical user interface (GUI) or even a nice installer! It’s an experimenter’s kit.
However, what you do get is source code. Here is the ZIP file containing source, precompiled Java classses (executables), map files and examples.
What else can you do with note mapper? Well, note mapper operates on any Standard MIDI File (SMF). Thus, it’s not just a PSR/Tyros utility. Maybe you want to write a Java program of your own. The source code will give you a good starting point. Copy and modify to your heart’s content.
If you are into converting PSR/Tyros styles, take notice (pun) that note mapper changes both the MIDI note number and velocity according to maps in the files keymap.txt and velmap.txt, respectively. Therefore, you can also map to and from Mega Voices.
Interested? Then please read on. The following text is taken from the README files.
This Java program maps the notes in a standard MIDI file according to a key (note number) map and a velocity map. Use it to map the Yamaha Revo hi-hat/drum sounds. Or, use it to map to and from Mega Voice. It’s all up to you and how you design your key and velocity maps.
The note mapper is launched from the command line (no GUI). There are two command line options:
-v Verbose flag -w Write default keymap.txt, velmap.txt and hhmap.txt files
The -w option gives the user a quick start by writing a few default map files. Both -v and -w are optional.
The rest of the command line consists of an (optional) MIDI channel number and the name of the MIDI file to be mapped. The channel number must be an integer in the range [1:16]. Only notes in the specified channel are mapped. The default channel is 10 (the GM/XG drum channel).
The note mapper writes a new file named mapped.mid. It’s up to the user to rename or save this file. If the file in not renamed or saved, it will be overwritten when note mapper is run again.
The note mapper assumes there are two files, keymap.txt and velmap.txt, in the working directory where the note mapper is launched. The note mapper reports an error if it cannot read these two files. The default key and velocity maps preserve the input; the input notes are sent to the output without change.
A map file consists of 128 positive integers in the range [0:127]. Each integer defines how its corresponding note or velocity value is mapped to a new value. Essentially, each integer in the file is loaded into a 128 byte map array indexed by either the incoming MIDI note number or the incoming MIDI velocity value.
The hhmap.txt maps the Revo hi-hat note numbers to General MIDI hi-hat note numbers.
Revo notes GM notes
------------- ----------------
13 14 15 16 --> 42 Hi-Hat Closed
21 --> 44 Hi-Hat Pedal
17 18 19 20 --> 46 Hi-Hat Open
22 --> 55 Splash Cymbal
The Examples directory contains two example Genos styles. Be sure to read the READ_THIS.TXT file in that directory, too!
Map the notes for channel 10 in the MIDI file named “Mr.Soul_factory.T552.mid”.
java MapNotes 10 Mr.Soul_factory.T552.mid
Write the default keymap.txt, velmap.txt and hhmap.txt files before mapping:
java MapNotes -w 10 Mr.Soul_factory.T552.mid
The default keymap.txt and velmap.txt files do not change/map notes, i.e.,
they are the “identity mapping.”
To use the note mapper on a style, you must split the style into its MIDI and non-MIDI parts using Jørgen Sørensen’s Split/Splice tool. Note mapper, like most commercial MIDI tools, does not recognize or retain non-MIDI data. Thus, you need to run the style through Split/Splice to save the non-MIDI information.
After splitting the style, run the style through the note mapper. The note mapper writes a file named “mapped.txt”. Splice mapped.txt with the non-MIDI data produced in the preceding step. Splicing the mapped MIDI data with the non-MIDI data produces a complete style file (MIDI+CASM+OTS).
Transfer the style file to your PSR/Tyros and revoice the style parts, test the style, edit the OTS, and so forth.
If you don’t like how the mapped file sounds, then you can reuse the non-MIDI data and do another map/splice, assuming that you didn’t modify the OTS.
The distribution comes with source code (*.java files) and precompiled class files (*.class files).
You can, of course, modify the source code and recompile. You need the Java development kit which includes the Java compiler, package definitions, and so forth. To recompile, just enter:
javac MapNotes.java
javac NoteMapper.java
I have included source for a quick and dirty MIDI file dumper:
javac QuickDumper.java
javac QuickDump.java
You may prefer to dump MIDI files using one of the much better tools written by Jørgen Sørensen or Michael Bedesem. See:
The Examples directory contains two example styles: Mr.Soul and SoulSupreme. Each style has several files, so here’s a little guide.
Mr.Soul_factory.T552.prs Original Genos factory style
Mr.Soul_factory.T552.mid Original Genos MIDI part
Mr.Soul_factory.T552.nmi Original Genos non-MIDI part
Mr.Soul_mapped.T552.mid MIDI with mapped hi-hats
Mr.Soul_mapped.T552.sty New style file with mapped hi-hats
The *.class files are the Java executable files. Example command line:
java MapNotes 10 Mr.Soul_factory.T552.mid
The note mapper produces a file named “mapped.mid” which you may rename to something else, e.g., Mr.Soul_mapped.T552.mid.
keymap.txt and velmap.txt are the key (note number) and velocity map files needed by note mapper. hhmap.txt is my initial hi-hat note map.
The overall workflow is:
Mr.Soul_factory.T552.prs
|
|
V
Jørgen's Split/Slice (split)
| |
| |
V V
Mr.Soul_factory.T552.mid Mr.Soul_factory.T552.nmi
| |
| |
V |
Note mapper |
| |
V |
Rename mapped.mid |
| |
V |
Mr.Soul_mapped.T552.mid |
| |
| |
V V
Jørgen's Split/Slice (splice)
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|
V
Mr.Soul_mapped.T552.sty
Copyright (c) 2017 Paul J. Drongowski
Winter NAMM 2018 is January 25 to 28 in Anaheim, California. Get your ear protectors ready!
Even though I’ve been concentrating on the Yamaha Genos™, two Yamaha promotions have not escaped my attention.
Back in October, Yamaha began offering a MOXF promotion: Buy a MOXF and get an FL512M flash memory expansion board and the MOXF Premium Content Pack. Not bad. The MOX6 is my gig workhorse and I still enjoy playing it even though I have often pined for flash expansion memory. If you like the Motif XF sound or miss built-in sequencing, then now is a good time to find a good deal on the MOXF and buy one.
This is one of those rare times when a promotion is a harbinger of a future product release. The MOXF uses the previous generation AWM2 tone generation chip, SWP51L. The SWP51L has been superceded by the SWP70 family now deployed in the Montage, PSR-S770/S970 and Genos. The MOXF is the only current product in the synth and arranger product lines based on the SWP51L. Once Yamaha uses up its internal supply of SWP51Ls, that’s it.
So, the MOXF is due to be refreshed (like the MX line) or updated. If you’re OK with the MOXF as it is — and it is a fine machine — then make your move now or wait a little longer for close-out.
Be sure to take advantage of the free flash offer or get you dealer to kick in an expansion board. Yamaha have moved to built-in flash expansion memory and this is definitely the end of the line for the Yamaha flash expansion boards. The boards do not “speak” with the new tone generator and you won’t need them for future Yamaha products.
What would the MOXF replacement look and sound like? Would the MOXF be a “half-Monty?” Tough question.
I’ve spent a lot of time researching both the Montage and Genos as my next instrument for the long-term. Due to the widespread availability of Montage, I’ve had more seat time with Montage (several hours over several days) than the Genos (a two hour go at Audioworks CT). I play an MOX6 and/or PSR-S950 on a daily basis.
Given this experience, Yamaha’s top-of-the-line (TOTL) instruments are more than an incremental cut above middle-of-the-line instruments. In terms of control (knobs, sliders and such) and sound, the TOTL is way above the mid-range.
Hope springs eternal. People are hoping that the next mid-range arranger workstation will be a “mini-Genos.” Similarly, synth people may be hoping for a “half-Monty.”
I think these people will be disappointed. Montage and Genos command a premium price and they both need the feature set and sound to justify the TOTL value proposition. I think the big gap between TOTL and mid-range will persist. In the case of the MOXF replacement, Yamaha aren’t under much pressure to make and sell a half-Monty (e.g., a synth with the Montage’s AWM2 sound set, no FM). The recently refreshed MX, at the low end, has the Motif XS sound set, now ten years old. The MOXF has the very respectable seven year old Motif XF sound set and the sequencing capability that so many people miss in Montage. Thus, Yamaha could give the MOXF a minor spiff and still have a very marketable product in the mid-range.
The same reasoning applies to the next mid-range arranger workstations.
Hey, so I mentioned two promotions. The second promotion is “Buy a Montage and get a pair of HS5 studio monitors for free.” Until the Yamaha promotion came along, Sweetwater was giving away a free Yamaha Reface CS with the purchase of a Montage. The Montage (AKA “the full Monty”) is just turning two years old. I’m a little surprised that the Montage needs a promotion at this point to spur sales.
Might we expect a Montage 2.0 at NAMM? Yamaha have issued a series of successful, substantive updates for the Montage and a major software update might give the full Monty a bit of a shove and a boost.
Copyright © 2017 Paul J. Drongowski
If you’re following all of the Genos™ hoopla, you know that Revo! drums are one of the major features extensively advertised by Yamaha. You probably know that Revo (I’m dropping that darned exclamation point 🙂 ) drums use wave-cycling to to help remove the mechanical, robotic sound of MIDI drum and percussion parts.
All true.
Revo drums also offer one additional major feature which, in skilled hands, can fend off the MIDI robots: hi-hat drum instruments that help you mimic all of the crazy stuff that drummers do.
Some of us first noticed the new hi-hat sounds while converting Genos styles to other Yamaha arranger keyboards like the Tyros 5, PSR-S970, PSR-S950, etc. Yamaha styles are actually Type 0 Standard MIDI Files (SMF), consisting of a normal MIDI part (regular old SMF MIDI data) and non-MIDI parts (CASM to handle note transposition and OTS to select RIGHT1, RIGHT2, … voice sets on the fly). Whenever a new Yamaha arranger keyboard like the Genos comes along, there is a cottage industry backporting new styles to old axes.
If one installs and plays a Genos style on, say, the PSR-S950, and the style uses a Revo drum kit, you’re entertained by a percussion track that sounds like a Spike Jones novelty tune or a Benny Hill episode. Bells, scratches and other mayhem. What’s up?
For answers, check out the Genos Data List file, a downloadable PDF published and distributed by Yamaha. The Data List file contains the drum kit layout (i.e., how the MIDI note numbers are assigned to individual drum instruments/samples) for all of the drum kits. Many Yamaha drum kits to date approximately follow the note-to-drum instrument layout of the so-called “Standard Kit.” The lowest notes (C#-1 to E0, MIDI note numbers 13 to 28) are sounds like scratch, sequence click, click noise, etc. The highest notes (C#5 to G6, MIDI note numbers 85 to 91) are silent, i.e., no instrument is assigned.
Jump to the new modern age and the Revo “Rock Drum Kit,” for example, assigns ten hi-hat instruments to the notes C#-1 to A#-1. The Rock Drum Kit also assigns four snare drum variations to notes C#0 to E0. The rest of the Revo Rock Drum Kit follows (roughly) the Standard Kit layout.
The Genos styles make use of the new hi-hat and snare instruments assigned to the lowest MIDI note numbers. When a Genos style is played on an old non-Revo keyboard like the S950, the notes bark, ring and wheeze.
Before moving on, I should mention that assigning drum instruments to the highest note numbers is not a new practice for Yamaha or any other vendor, for that matter. Contemporary electronic and dance styles are percussion-rich and the corresponding Yamaha kits often have instrument variations and other fun sounds in the “north country.” Revo drums continue this practice for electronic- and dance-oriented kits.
Even keyboard players are remotely familiar with the real-world hi-hat instrument. The hi-hat is that pedal thing with two opposing cymbals, one platter above the other platter. The pedal controls the top platter, closing the gap between the platters or leaving them apart in the open position.
To appreciate the new Revo world, let’s look back to the MIDI Standard Kit. Drum kits which follow the Standard Kit form have conventionally offered three hi-hat (HH) sounds:
That’s just enough to cover basic hi-hat territory. HH closed is a bright chick or tick. HH open is shimmering and sustained like a ride cymbal. HH pedal is the sound of the pedal closing after being struck.
The top cymbal area is divided (roughly) into three parts: the bell near the center, the edge, and the region between the bell and the edge.
Regular hi-hat sounds are played using the tip of the drum stick hitting the top cymbal somewhere between the bell and the edge. The area closer to the bell has a brighter sound (high frequency tone). Drummers strike the cymbal edge for accents, striking with the thick part of the stick shank (the “shoulder”). Hard rock and metal tend to whack the edge no matter what in order to get an open slushy sound.
Open hi-hat is usually played with the tip on the top of the upper cymbal. For most genres, drummers want a crisp, clean sound. A drummer might hit the edge of an open hi-hat when they want the hi-hat part to stand out in the mix or they want an accent.
As I mentioned, the pedal closes the hi-hat cymbals. Drummers snap the cymbals together as part of their timekeeping (maybe to emphasize quarter notes, for example). It’s not just a binary choice (open/closed), however. Drummers apply more or less foot pressure in order to change the sound, even when the hi-hat cymbals are closed!
Then there are special techniques like choking the hi-hat. The drummer holds the cymbals tight with the pedal, opens the cymbals just before striking the top cymbal, and then quickly clamping the cymbals closed again.
Drummers sometimes look for extra sizzle in the open position and hang a light chain (or other random object) on the top cymbal. Want a completely different tone? Play the hi-hat with brushes or mallets.
Well, combine all of these techniques and the hi-hat is one expressive instrument! The three MIDI Standard Kit sounds don’t even begin to capture the full range of the hi-hat. With all of these playing techniques, the hi-hat has a dynamic sound; it’s no mystery why MIDI hi-hats sound robotic.
This is where Revo comes in.
If you want to learn more about hi-hat playing technique, search the Web. There’s a lot of free info out there. Knowing about real-world instruments is essential knowledge for arranging and orchestration.
Wave cycling is important, but it only takes you half-way to hi-hat Nirvana.
Here is a table of the new hi-hat instrument sounds in the Genos Revo Rock Drum Kit:
Alternate
Note# Note RockDrumKit Group
----- ---- ----------------------- ---------
13 C#-1 Hi-Hat Tip 00 RD 64
14 D-1 Hi-Hat Edge 00 RD 64
15 D#-1 Hi-Hat Tip 10 RD 64
16 E-1 Hi-Hat Edge 10 RD 64
17 F-1 Hi-Hat Edge 25 RD 96
18 F#-1 Hi-Hat Edge 50 RD 96
19 G-1 Hi-Hat Edge 75 RD 96
20 G#-1 Hi-Hat Edge 99 RD 96
21 A-1 Hi-Hat Pedal Closed RD 64
22 A#-1 Hi-Hat Pedal Splash 96
Even better, the hi-hat instruments (except the splash) use wave-cycling, i.e., there are multiple samples per instrument. The old school hi-hat MIDI note numbers are assigned to Revo sounds in the following way:
Alternate
Note# Note StdKit RockDrumKit Group
----- ---- --------- ----------------------- ---------
42 F#1 HH Closed Hi-Hat Edge 00 RD 1
44 G#1 HH Pedal Hi-Hat Pedal Closed RD 1
46 A#1 HH Open Hi-Hat Edge 75 RD 1
Given the new-to-old school assignment, I interpret the number in the instrument (sample) name to mean “how open the cymbals are.” This value is the distance between the cymbals where “00” is closed and “99” is open. Warning! I may be totally wrong as Yamaha have not explicitly defined the meaning of the number in the Data List.
Here’s a few more new-to-old school hi-hat MIDI note assignments:
# Note StdKit PopDrumKit VintageOpenKit JazzStickKit -- ---- ------ ---------------------- ---------------------- --------------- 42 F#1 Closed Hi-Hat Edge 00 PD Hi-Hat Tip 00 VO Hi-Hat Edge 00 JS 44 G#1 Pedal Hi-Hat Pedal Closed PD Hi-Hat Pedal Closed VO Hi-Hat Pedal Closed JS 46 A#1 Open Hi-Hat Edge 75 PD Hi-Hat Edge 75 VO Hi-Hat Edge 99 JS
The closed position is “00” whether the hi-hat is played on the edge or tip. The open position is either “75” or “99”.
These assignment tables suggest a starting point when converting Revo drum parts in Genos styles or songs to legacy, non-Revo kits, e.g., PSR-S950 kits. (More below.)
The Alternate Group controls how an incoming hi-hat note affects an on-going hi-hat sound. Here’s the description from the Yamaha Genos Data List:
The image below is a snapshot of the MAIN B section in the Genos “Mr. Soul” style (MP3). [Click image to enlarge.] The DAW is SONAR, which names notes from zero instead of Yamaha’s -2. Subtract 2 from the SONAR note name to get the Yamaha note name.
Section MAIN B plays the following notes and hi-hat instruments in the Revo Rock Drum Kit:
Note# Note RockDrumKit Standard Kit ----- ---- ----------------------- ------------ 13 C#-1 Hi-Hat Tip 00 RD --> HH Closed 14 D-1 Hi-Hat Edge 00 RD --> HH Closed 15 D#-1 Hi-Hat Tip 10 RD --> HH Closed 16 E-1 Hi-Hat Edge 10 RD --> HH Closed 17 F-1 Hi-Hat Edge 25 RD --> HH Open
Section MAIN C starts off with F#-1 Hi-Hat Edge 50 RD. The other drums instruments are:
Note# Note RockDrumKit Standard Kit ----- ---- ----------------------- ------------ 35 B0 Kick 2 RD --> Kick Tight 38 D1 Snare 1 RD --> Snare 39 D#1 Clap Power --> Hand clap
These notes carry the kick, snare and clap pattern.
When converting this style to a legacy kit, the kick, snare and clap pattern map to corresponding instruments in the Standard Kit. For the hi-hat, I would first try the mapping shown above for the Revo hi-hat notes. Conversion, though, pretty much sucks the Anton Fig right out of the pattern.
I hope you enjoyed this mini-tour through the Revo drum hi-hats and I encourage you to explore the other extensions in the new Genos drum kits. Yamaha have added variations for snare, brushes, and other drumming techniques. Like the SArt2 acoustic instruments, Genos is a ready-to-play, sample library. The Revo additions greatly enhance the realism of Genos styles. Revo — it’s more than wave-cycling.
Once I get a Genos, or even access to a Genos, I will add audio examples of the individual Genos hi-hat sounds. Meanwhile, give the “Mr. Soul” MP3 a listen
Copyright © 2017 Paul J. Drongowski
A few more thoughts after writing my Genos snap review…
The Yamaha Genos™ is a mini, ready-to-play, orchestral library. The player has a large number of physical controllers including joystick, articulation buttons and aftertouch. This is what draws me to Genos.
One big take away: exploiting all of this capability is going to take practice, practice, practice.
Fortunately, the Genos has a few features to ease the process.
The DEMO touch button is your friend. Each voice has a DEMO button that plays a musical phrase. The phrase typically triggers one or more articulations. The appropriate front panel button (ART1, ART2, ART3) lights up when the associated articulation is triggered.
Another helpful feature appears in the Voice Part Setup display. (Hit the front panel VOICE button to go there.) Genos displays a small icon next to the voice name for each available articulation. [See image below. Click to enlarge.] It’s a way to learn quickly what to try or do.
The Genos Data List PDF is another helpful resource. The Data List has a table of all Super Articulation 2 (SArt2) voices, including the articulations supported by each voice.
It really is humbling to record yourself and listen to the playback.
I recorded my noodling and doodling while evaluating the Yamaha Genos. There were a few decent moments in the two hour recording and a number of musical divots:
The first two divots are partially due to unfamiliarity with the split point and positioning of the left and right hand voices. In retrospect, I didn’t drop the left hand voice an octave (via the Genos MIXER panel) and wound up playing the bass line quite close to the lowest keys. This problem is easily fixed technically when programming splits and layers for actual use. (Once I get a Genos. 🙂 )
Without setting the left hand range properly, I’m playing away and, suddenly, my little finger is hitting the end cheek (or whatever that inert block of plastic or metal is called). That moment of frustration just enough to throw me off tempo. (The huge reason why I hate 37-key keyboards.)
Playing outside the natural range of the acoustic instrument is mostly on me. I wanted to test the full range of the oboe (for example) and that was a deliberate choice. I usually assess a musical score ahead of time to determine if and when I can play a higher oboe line. However, a big “however,” I know there are times when I botch this — live in front of a congregation. My face flushes and I desperately think about how I am going to gracefully get myself out of the situation.
The third divot is all on me. Alot of my improvisations were down right embarrassing — solo lines that made noise and went nowhere. Some of the meandering was due to the Genos evaluation — pushing buttons to change a voice or randomly flogging the articulation buttons to see what they would do. However, some of the meandering is due to distraction and lack of engagement in what I was playing.
Self-reflection led me to a few rules that I need to follow when improvising:
The best moments in the recording are when I was fully engaged with either the score or the backing track. I can sense this while listening. Without engagement, I’m a dead duck and I should just kick back and comp in sync with the beat. (Of course, comping requires a level of engagement, too!)
Being deliberate goes along with engagement. When you’re deliberate, you’re involved. It raises the energy level and mental concentration. All good.
The notions of intention and having a musical guide are very important. Intention means having a message and a direction. Know where you’re going and what you want to say. Otherwise, it really is random noise, even if it’s played in the pocket.
By “musical guide,” I mean a lead sheet or other kind of score. The lead sheet may be mental rather than paper. It’s a structure. With the structure in place, you can make the changes and play around the melody. It’s no wonder that many jazz improvisations start and finish with a head.
I hope these reflections help you out while I hope that I live up to them myself.
It always comes back to the money. 🙂
The Genos is not a cheap instrument. A large part of its cost is the research and development that went into the instrument. Yamaha outdid themselves with new SArt and SArt voices. (Yamaha finally broke the waveform memory barrier imposed by their previous generation hardware.)
However, let’s be rational about the price and strategize. Nobody pays MSRP (list price) for a car and you’re not going to pay list. Everyone advertises the Minimum Advertised Price (MAP), $5,499.99 in the United States. If you put in modest effort, you’re not going to pay MAP either.
Don’t just click “Add to cart.” Call. Don’t just call big on-line retailers. Support small dealers. That’s “deal-er.” Aside from good customer service, this is one of the main reasons why I call Audioworks CT.
You may choose to buy Genos somewhere else, but a little bit of phone shopping can save you rent money.
Copyright © 2017 Paul J. Drongowski
Before I dive into Yamaha Genos™, I need to send a big shoutout to Frank Ventresca of Audioworks CT. I tested and bought my PSR-S950 from Audioworks CT. I’m ba-ack, having had a good experience the first time — largely due to Frank’s customer service. If you’re interested in trying and buying an arranger keyboard, I recommend visiting Audioworks CT and/or giving Frank a call.
For me, it’s about 140 miles one way from home to Audioworks CT. Preparations are similar to getting ready for a long day hike — only with sheet music instead of boots. The long car trip means that testing time is limited. I try to hit the driving sweet spot between morning rush on I-495/I-290 near Boston and the afternoon rush from New Haven and Hartford, leaving me about two hours to play.
After arriving at Audioworks CT, I found a three tiered stack: Yamaha Montage, Korg Pa4x and Yamaha Genos, from top to bottom. Thanks to a tip from Stephen on the PSR Tutorial Forum, I expected to see the Pa4x. With that foreknowledge, do I A/B the Genos and the Pa4x? I chose to focus solely on the Genos given the two hour window for testing. Frank, BTW, invited me to stay longer, but I knew that I needed to avoid traffic Hell later in the day.
I warmed up while Frank finished a business meeting. No music stand, so I used the Pa4x as a very expensive music rest. Once Frank was available, he quickly installed the Genos music stand.
I decided to listen through headphones rather than use Audioworks’ house system. It’s a good system, but I decided to go with my usual, lightweight headphones (Roland RH-7A). Headphones also freed up the LINE OUT which I connected to a Roland MicroBR digital recorder. This setup let me hit record, play and forget.
At the time of this writing, I pulled a few snippets among the noodling and posted them here. I’m trying to get my first impressions down fast and don’t want audio production to get in the way of my initial thoughts.
Before recording, I set the Genos EQ to flat and turned off the master compression. Audio is recorded direct to MP3 (192 kbit/sec). Not the best quality, but I was afraid of overrunning the rather small SD card in the MicroBR. After setting initial levels, I tried to forget that the MicroBR was there and that the red light was ON.
It’s humbling to listen to my noodling. Hats off to everyone’s main man Katsunori UJIIE, who seems to rip this stuff effortlessly!
One shouldn’t have to say this, but the Genos is an instrument in the same league as Montage or Kronos. With the limited time available, I concentrated on Genos as a performance instrument first and as an arranger keyboard second. This approach is consistent with my musical priorities: church gig first, fun and possibly one man band (OMB) second.
As a liturgical musician, I play with a pianist on acoustic piano and a 12-string guitar. That’s a lot of rhythmic content right there. Much of what I play complements piano and 12-string guitar. Subconsciously, I fill in and hear these missing parts when practicing. Hopefully, you will fill in this context, too. If and when you hear the audio snippets, I’m playing fuller than I would with the group. There is always a tendency to “be the whole band” when playing alone. Apologies in advance.
The focus is on emulation of acoustic instruments, orchestra and pop. You won’t hear any synth and given the short trial time, you won’t hear many styles (unfortunately).
The FSX keyboard is a more robust keybed than the PSR-S950. The FSX action is heavier. You do get what you pay for. The FSX affords aftertouch; the S950 does not.
The Genos has three front panel articulation buttons to trigger voice articulations. The voice display shows the available articulations for each selected voice. (Nice.) The voice display also shows a drawbar icon for organ flute voices. Touching the drawbar icon brings up the drawbar display. (Extra nice.) I made extensive use of the voice DEMO touch button in order to play and sort through voices quickly.
The user interface is responsive. I didn’t get a sense of lag as reported by other players. I discovered that the MENU front panel button is your special friend. It brings up two pages filled with touch buttons leading to all internal settings. It’s kind of a “site map” for the Genos.
The Genos is like having a compact orchestral sample library in a portable, immediately playable keyboard. Think Garritan Personal Orchestra.
There are two major options for strings in addition to legacy voices: Kino strings and Seattle strings. The Seattle strings first appeared in the Tyros 5 before they were explicitly identified and advertised in the Montage. The Kino strings have a different character and the violin sections are panned separately left and right. Both options have multiple bowing and playing techniques (legato, spiccato, pizzicato) plus articulations. The options are also broken out into sections as well as the standard ensemble voices.
The Kino strings have more power and are more in your face than the Seattle strings. Dare I say, more bow? Where is Dave Stewart when you need him? (This review would be wittier if written by Dave Stewart, too.)
The voice DEMO feature is really handy when approaching a deep keyboard like Genos for the first time. I quickly settled on the “warm” variation of the Kino strings and Seattle strings. Either choice (Kino Seattle) would work as a bread and butter ensemble patch. I give the edge to Seattle because, well, they would sit better with piano and acoustic guitar, given our repertoire. Tyros 5 people, hold up your heads with pride.
With the loss of our group’s flutist, I’m play a lot of exposed solo lines using violin, oboe and flute. The Genos offers four Super Articulation 2 solo voices: Celtic Violin, Jazz Violin, Classical Cello and Pop Cello. The Celtic Violin is a good fit with our liturgical repertoire. The Genos cellos are quite good, definitely a big cut above the MOX6 that I currently play. I wish that I had more time to check out the cellos.
Meta-comment: Exploiting the Genos, especially its articulations and ensembles — will require practice, practice, practice.
In the case of woodwinds, I need both ensemble voices (or layers) and solo voices (mainly oboe and flute). The Genos does not disappoint in either category.
I quite easily built and tried a few layers. It wasn’t difficult to create a workable reed plus horn layer — another bread and butter, every Sunday patch. Less is often more. It isn’t necessary to layer up a preset woodwind ensemble with French horn; sometimes a mellow oboe or clarinet will do.
The Genos has two SArt2 oboes (classical and pop) and an SArt “MOR Oboe.” The Classic Oboe is bright and thin, able to cut through strings. For exposed lines, I would prefer the Pop Oboe or MOR Oboe voices that have a warmer, fuller sound.
The SArt2 Classical Bassoon and Pop Bassoon are quite pleasant without moving into comedic territory. (Peter and the Wolf.)
The Genos has a mess’o’horns and classical brass. Symphony horns are quite useful in liturgy as pads and mid-range filler. Fanfare brass is too much except for the obvious holidays when all sorts of sonic mayhem can be let loose. The Genos has a wide range of horns from mellow to a brighter more open tone.
The brasher instruments (trumpet and trombone) are available solo and in sections. All quite good. Trombones are especially useful due to their wider range and deeper timbre.
The demo phrases for certain brass voices are way hotter level-wise than the strings or woodwinds. I had to adjust the audio record level way down to prevent clipping. Unfortunately, this affected the level for everything else that I recorded during the day. Sorry, I just spaced out and didn’t reset the level. (Argh!) So, you may need to adjust the audio volume at your end.
Huh? That’s not classical. Our church means gospel and a little Hispanic music, too.
I enjoyed getting into the Genos drawbar organ. There’s no undiscovered clone killer here, but Yamaha’s drawbar emulation will work in a lot of churches (and stages, too). I’m already quite familiar with Yamaha’s emulation having played both the MOX and PSR-S950.
The physical drawbars are a treat. The knobs are shaped like, er, classic drawbar knobs. The bars can be changed and played in real time, something that I miss on the MOX and to a large extent, the S950. If you select a preset, the physical position of the sliders does not directly relate to the sound, of course. The sliders are not motorized. When a slider is moved, it won’t change the sound until the slider “catches” the current internal bar value. That’s why Martin Harris “warms up” the sliders before playing the bars in his demo videos.
The new rotary speaker simulation is an improvement, but won’t knock the Neo Ventilator from its perch. Here, Yamaha have some work to do immediately:
Yamaha needs to fix these divots.
The rotary speaker sim is set too fast out of the box. This gave me a chance to dive into the DSP effect editing menus. I made the changes without too much difficulty and without a manual. Good job. I just wish that I could change the rotor (de)acceleration times, too.
This seems to be a good place to mention that sound programmers universally tend to set the times too fast, especially the ramp times. Players love it when it takes a while for those old, vintage belts and pulleys to spin the rotor/horn up and down. A lot of real B-players habitually hit the half-moon switch to keep the Leslie in its intermediate, changing state. Watching Gregg Allman do this in 1971 was a revelation that stuck with me for a lifetime!
Wot? No pipe organ? Genos carries over the quite excellent handful of pipe organ voices from Tyros 5. They’re good. Move along.
Now that the main job is done, it’s time for the funk and blues.
You probably noticed by now that I haven’t said anything about the CFX and C7 acoustic pianos. You’re right and you won’t hear another word about them from me. They’re covered elsewhere, everywhere.
I did try the Suitcase Rhodes (oh, why this charade about names?), the Wurlitzer and the Clav. All will do the business. The Suitcase is still waaaay too polite for my taste in fusion. Think the fuzzed out bliss of “Mahavishnu.” That’s a 70’s Rhodes.
The SArt2 Funk Alto Sax and Funk Baritone Sax are welcome additions. I look forward to exploring those. The Jazz Flute sounds good to my ears and has interesting articulations. The Classical Flute can jam, too.
I took a listen to the new Active Bass (Music Man Stingray?) Sweet. Should provide new options when sequencing.
Then there’s the mess’o’guitars. I presume that 50’s is Telecaster and 60’s is Stratocaster? With all the DSP at hand, the electric guitars are instant “tone” with all of the right pedal-board effects dialed in. The jazz guitar sounds good. I often reach for jazz guitar when playing pop. (Need more technique, though. Practice, practice, practice.)
The sax and brass demos start out with the new funk saxes. The rhythm section demo includes Suitcase Rhodes, Wurli, Clav, CP80, Active Bass, electric guitars and jazz guitar.
At this point in the day, my ears and hands were getting trashed. I was hoping to try the styles that have been getting short shrift in on-line videos. Given the time that was left, all I could hit was “Mr. Soul” and “Soul Supreme” with the old chestnut “Acoustic Jazz” thrown in. All good for a fun-time jam.
Neither style was harmed by playing over them. I did jam quite a bit and got a decent Fishbelly Black organ tone out of the drawbar organ and rotary sim. Oh, happy day!
You should be able to sense my time urgency at this point because my comments are getting shorter and shorter.
I played along with a few MIDI and WAV audio songs in order to assess the workflow for OMB. Even without playlists and registrations, the Genos has a much smoother workflow than the Montage in this regard. Montage designers should take note because many Montage players incorporate audio and MIDI tracks into their performances, too.
I botched a chance to try Revo drums with a MIDI file. I brought the USB drive that contains my WAV audio and MIDI backing tracks. I played along with “Just My Imagination,” a track that suffers from extreme “machine gun” drum rolls. Darn, with time pressing, I forgot to re-voice the file with a Revo drums kit! Bummer.
Genos is waaaaaay too much for two hours. Two weeks, two months, maybe.
There you have it. Genos? Yes, I played one. As you can tell from this quick review, I’m more enthusiastic than ever about Genos.
Need more information about Super Articulation voices? Please look here.
Copyright © 2017 Paul J. Drongowski
The first public European demos started over the weekend. I’ve been watching Peter Baartmans and Sander Tournier put the Genos through its paces.
The whole experience has me thinking about how the Genos is being positioned in regional markets, mainly, western Europe versus North America.
First off, the arranger keyboard culture is completely different in Europe than the United States. Arranger demonstrations are big public events. One recent demo had over 500 attendees in the audience. In some venues, audience members buy tickets! This is unimaginable in the United States (except iPhone).
The European demos show off a broader range of styles. In this aspect, I’m comparing the European demos with videos made for American retailers (Guitar Center, Sweetwater, and Kraft Music). The European demos cover everything from jazz to rock to EDM to classical to traditional European pop. For the latter, think outdoor cafes and biergartens where you can spend hours with a few hundred like-minded souls. Not to mention that acquired taste, Schlager. (And that’s not a beer!)
The American demos concentrate on contemporary musical genres and styles. The Genos has new acoustic and pedal steel guitars, so Nashville and country get special emphasis. Martin Harris highlights the Kino strings coming more from a cinematic or singer-songwriter perspective. These are customers that Yamaha hopes to hook in North America. With all of its articulated sounds, the Genos is a mini-library of sampled instruments both pop and orchestral.
The American videos avoid any whiff of cheese. Unfortunately, many American listeners regard (too) many musical styles as “cheese” and the typical Guitar Center clientele are the worst offenders. Thus, you won’t hear traditional European pop in a video targeted for American retailers. In the U.S., arranger keyboards are regarded as the evil spawn of the cha-cha home organ. After playing Montage and hearing the Genos demos, a lot of folks need to adjust their thinking.
Yamaha run a risk, here, because on-line media is world-wide. I’m thinking about the videos for the Dexibell drawbar organ. A few people saw one video which didn’t fit their musical taste and bad-mouthed the Dexibell to high Heaven. They never moved on to the other videos which had some very tasty jazz.
At this point in the Genos launch, it’s a little difficult to dig out the deeper jazz, soul, R&B, and funk possibilities of the Genos. You need to wade through a lot of video to even get a sniff.
The customer base for high-end arranger keyboards is aging. Even the European audiences have a lot of “gray heads.” (I’m getting grayer by the day, too. 🙂 ) Yamaha and its dealers want to entice a younger crowd with arranger keyboards. But, they have a dilemma. A young person today does not have the disposable income for a $5,500 (USD street) keyboard, especially when they can make music with their smart phone, tablet or laptop. The entry price to EDM, for example, is much lower than the price of a Genos.
[Source: Yamaha Easy Product Guide, 2017; Click to enlarge.]
Yamaha led the Genos campaign with EDM. This gave the Genos a youthful cachet, but alienated many people in the historical customer base for high-end arranger product. Folks wondered, “Did they drop the big band styles?” However, let’s say that Yamaha did put a schmaltzy big band tune into the Guitar Center video. Instant turn off. Personally, I wouldn’t mind a big band tune. I grew up listening to Glenn Miller and Benny Goodman, but that was my father’s music. (BTW, I respect that music; I just don’t play it.) Most people can’t look beyond the end of their own musical nose.
So, where do Yamaha find customers with sufficient disposable income and maybe the time and interest? Back to the 80s! The Genos has some excellent styles that allow note-for-note covers of famous 1980s pop and rock, including synth-heavy 80s pop. We all tend to relate emotionally to the music of our teen years and early 20s. Let’s take 1985 as the midpoint, subtract 20 years and look to people born around 1965 or so. They were teens when 80s music was happening. Thus, Yamaha are targeting people in their late 40s and early 50s — old enough to have the disposable income for a high-end arranger while young enough to rebuild the aging customer base.
Well, I hope this ramble has given you a different perspective on Genos and arranger keyboard marketing. The Yamaha demos are carefully designed and scripted to appeal to target market segments. Where do you fit?
Copyright © 2017 Paul J. Drongowski
To my way of thinking, Genos/Tyros/PSR DSP effects consist of two parts: an effect algorithm and sets of preset parameters for the algorithm. That’s my mental model. Genos adds a number of new effect algorithms and effect presets versus Tyros 5. Here is a terse summary of the additions:
BTW, it’s not clear if the Genos does half-pedal like the Montage. I’m thinking, “No.” Yamaha have reserved Virtual Resonance Modeling (VRM) for the Clavinova series. Genos and Montage get the DAMPER RESONANCE DSP algorithm instead.
I’ve been trying to decode the names of the guitar effect algorithms. Yamaha seem incredibly paranoid about stepping on someone’s trademark or copyright. Here’s my current guesses:
I wonder if we’ll see these algorithms ported to the Montage in an update? Just after the Tyros 5 was released, the T5’s “Real Distortion” effect algorithms were added to the Motif XF (version 1.5).
I did a quick compare of Montage effects vs. Genos effects. As mentioned above, Genos adds the new rotary speaker effect algorithm first released in Montage. Here is a correspondence table:
Montage Genos MSB LSB Genos preset name
---------------- ---------------- --- --- --------------------------
ROTARY SPEAKER 1 ROTARY SPEAKER 1 99 16 Dual Rotary Speaker Bright
99 17 Dual Rotary Speaker Warm
ROTARY SPEAKER 2 REAL ROTARY 69 32
“ROTARY SPEAKER 1” is the former, go-to rotary speaker effect algorithm (WARM and BRIGHT).
At this level, all looks great. Except, the Genos Data List PDF shows 16 parameters for the REAL ROTARY algorithm while the Montage Data List shows 18 parameters. The Genos leaves out:
No. Parameter Range Value Tbl No. --- ----------------------- --------------------- ---------- ------- 17 Slow-Fast Time of Rotor x0.21 - x1.00 - x2.00 (14 - 127) 49 18 Fast-Slow Time of Rotor x0.21 - x1.00 - x2.00 (14 - 127) 49
Either the Genos cannot store more than 16 DSP parameters or it cannot display/edit more than 16 DSP parameters.
Whatever the reason, this stinks and Yamaha need to fix this divot. People need to set the (de)acceleration times for both the horn and rotor. They have sinned in the eyes of B-3 purists and must atone.
All is not bleak, however. Genos Firmware version 1.10 has been announced. Yamaha’s quick summary:
The update adds support for Yamaha Expansion Manager (YEM) voice editing and pack installation.
The update is scheduled for release on 1 November 2017. The Genos Reference Manual and Data List were pulled pending the release of the update. The fact that a quick update was in the works might explain why the V1.0 Reference Manual and Data List were delayed. Big corporations move with leviathan speed. [No real news, there.]
Copyright © 2017 Paul J. Drongowski
The Yamaha Genos™ Reference Manual and Data List PDF files are now available. Please see your local Yamaha support site.
When I check out a new keyboard, I ask, “What’s truly new and what’s recycled?” The Genos breaks new territory and draws heavily on new Montage waveforms, as well as recycling the good stuff from Tyros 5. Now that the waveform memory barrier is broken, Genos includes all of the Tyros 5 legacy stuff, adopts many waveforms from Montage, and gives many voices a major boost to Super Articulation 2 (SArt2).
Many of the T5 voices are renamed in Genos. One needs to compare the MSB, LSB and program change numbers across models. Renaming drives me crazy! The Telecaster guitar voices now begin with the prefix “50s,” and presumably, the new Stratocaster guitar begins with the prefix “60s.” I guess the Gibson SG is next to be sampled. 🙂
I have to warn you that my analysis reflects my own musical interests and needs: mainly liturgical music and funk. If you’re looking for pads, synths, etc., there aren’t the droids you’re looking for.
First, the major stuff recycled from Tyros 5:
Please don’t consider “recycled” as a negative criticism. These instruments are all quite good.
Now the stuff from Montage:
Voices that did not make the jump to hyperspace are: euphonium, piccolo trumpet, contra bassoon, Celtic harp. I’m still trying to sort out solo French horn. If these voices are critical to you, I guess you’re buying a Montage.
The Wurlitzer electric piano might have gotten a touch up. I won’t know until I play the Genos. The Montage Wurli included ambient noises. For some reason, The Yamaha euphemism for “Wurlitzer” is “70sVintage”. Arg, I hate this naming nonsense.
Let’s move on the totally new stuff:
There are other new voices like accordions and such.
Woodwinds, in general, appear to have gotten a major update. Many of the voices are now SArt2. I’m very happy to see SArt2 oboes since I use oboe (and flute) in many exposed lines. I’m also glad to see SArt2 funk alto sax and baritone sax.
If you are a songwriter or composer and need strings, look no further. You have choice between two very able and tricked out string “packages:” Seattle and Kino. The Seattle strings first appeared in Tyros 5 and then were heavily promoted during the Montage launch. Kino strings are an all new addition. Genos offers solo cello voices, too. Yeah!
That’s my preliminary analysis. Genos is checking off a lot of my boxes and criteria for a new ax. More to come as I dig deeper.
Copyright © 2017 Paul J. Drongowski
Motif XF Montage Genos
---------------- ---------------- ----------------
CF3 CFX CFX
S6 S700
C7
EP 1-3 EP 4
Rd 70sSuitcase
Rd73
Rd78
Rd Noise 70sSuitcase
Wurli EP Wr 1-3 70sVintageEP
Wr Noise
Clav 1-4 Clav 5 Clavi/ClaviFunk T5
Clav Noise
Upright UprightPiano
CP70 CP80 CP80 ElectricGrand
CP80 KeyOff
Vibraphone 1-2 Vibraphone 3 Vibraphone T5
Motor Vibes
Pipe Organ 1-5
Tone Wheel 1-6
SctAcc Musette ScottishAccordeon
Nylon 1 Nylon 2
Flamenco FlamencoGuitar T5
Steel 2-3 SteelAcoustic, D-FolkGuitar
Telecaster (TC) 50sVintageStage T5
Acoustic Bass 1 Acoustic Bass 2
Violin 1 Violin 2 1st Orchestral 1stVln T5
Violin 2 2nd Orchestral 2ndVln T5
Viola 1 Viola 2 OchestralViola T5
Cello 1 Cello 2 OrchestralCello T5
Contrabass 1
US Strings SeattleStrings T5
Violins 1st Seattle1stViolins T5
Violins 2nd Seattle2ndViolins T5
Violas SeatleViolas T5
Cellos SeattleCellos T5
ContBasses SeattleBasses T5
CelticHarp
Celtic Violin CelticViolin SArt2 T5
Trumpet 1-2 Trumpet 3 ClassicTrumpet SArt2 T5
Piccolo Tp
Trumpet Mute MuteTrumpet SArt2 T5
Soft Trumpet SoftTrumpet SArt2
Trombone 1-2 Trombone 3 ClassicTrombone T5
Bass Trombone BassTromTenuto
Euphonium
French Horn 1 French Horn 2
French Horns 1 French Horns 2-3 OrchHorns T5
Trumpets 1-2 OrchTrumpets T5
Trombones 1-2 OrchTrombones T5
Soprano Sax 1-3 BalladSopranoSax T5
Alto Sax 1-3 AltoSax SArt2
Tenor Sax 1-2 TenorSax SArt2
Clarinet 1 Clarinet 2-3 Clarinet SArt2
Oboe 1-2 Oboe 3-4 Oboe SArt2
Bassoon 1 Bassoon 2-3 Bassoon SArt2
Flute 1-2 Flute 3-4 ClassicalFlute SArt2 T5
CBassoon 1-2
Piccolo 1-2 Piccolo 3-4
Note :T5" means "Added in T5 and included in Genos"
A member of the Yamaha Synth forum asked me for some thoughts about the future of Montage given what we know about Yamaha Genos™. Here is my reply with a few additions.
I tend to think about the Genos and Montage as brother and sister in the same way that Tyros and Motif are brother and sister. Different, but they share the same technological DNA and a lot of the same musical DNA (waveforms and voices).
Since the two flagship products are on different development schedules, they tend to leap frog each other with respect to new waveforms and voices. This was certainly true over the 10+ year history of the Motif and Tyros product lines.
I’m now calling this my “Leapfrog hypothesis.” It’s a hypothesis because I don’t have any privileged knowledge of Yamaha’s development process. (I wish I did, but then, I’d be under NDA and couldn’t tell you. 🙂 ) I started thinking about this last year and if you’re interested, please read about it here.
The hypothesis is based on clues from Martin Harris, one of Yamaha’s key developers. The Montage, for example, adopted the much-promoted Seattle strings and Telecaster guitar from the Tyros 5. In return, the Genos has adopted the CFX acoustic piano, electric piano ambient noises and other waveforms from the Montage. Other examples of lateral DNA transfer are VCM effects and Real Distortion guitar effects.
Sound development is so expensive that Yamaha must reuse sonic DNA. It simply cannot afford to fund two independent lines of sound development. As long as the waveform quality is high — and it is — sharing is good for all of us. It spreads out the cost of sound development over a larger number of units and customers. I honestly don’t begrudge the inclusion of some musical style or instrument voice which I will likely never use. If someone else’s purchase helps me to make my kind of music, then I don’t mind paying it forward a little bit.
I don’t have any inside knowledge, but sound development at Yamaha seems to be a continual process. The next top-of-the-line (TOTL) taps into the latest results. Expect larger, detailed waveforms and more articulations in future Montage voices. Also, stereo doesn’t rob polyphony anymore and there will be wider use of stereo waveforms.
So, yes, I would expect the newest voices from Genos to eventually appear in the Montage series: C7 acoustic piano, resonator guitar, Strat, Revo drums, Mega Voices, etc. We haven’t seen the Data List for the Genos as yet, so it’s hard to do a detailed analysis of what’s new in Genos above Montage. Would Montage voices be programmed differently? Sure, Montage and Genos are different platforms serving different needs.
I think it’s safe to say that there will be a re-spin of the Montage hardware sometime. When? That’s on Yamaha’s secret road map. Like the Genos, the Montage sound engine is scalable and can grow into new shoes, so to speak. Everything else in the crystal ball is vapor.
Beyond all that, I see a revenue opportunity for Yamaha by providing new waveforms, voices and related content through Yamaha Musicsoft. If I had a TOTL synth with expansion memory, I would be willing to pay for a sonic upgrade. I currently play a “lowly” MOX6 without expansion memory, so I’m looking for a new platform — either Montage or Genos — based on my musical needs, goals and process.
Here is the most useful paragraph that I’ve read all week. It’s taken from the October 2017 issue of Sound On Sound magazine. Hope it helps you, too.
“These days, many studio engineers create their mixes with a compressor and an EQ sitting across the master stereo bus, whether in their console or DAW software. With the compressor set up to deliver maybe 2-3 dB of low-ratio compression and the EQ adding a gentle boost to the low and high frequencies (and/or slightly scooping the mid-range), the intended result is an enhancement of a mix’s energy and excitement that approximates the effect of that part of the mastering process.”
Copyright © 2017 Paul J. Drongowski
Except the excerpt from Sound On Sound magazine