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ROLAND GO:KEYS
The GO:KEYS has a street price (MAP) of $299 USD and is intended to inspire new keyboard players without a big out-of-pocket outlay. The hook is the five zone, Loop Mix mode. The 61 keys are separated into 5 one octave zones: Drum, Bass, Part A, Part B and Part X. Each key in a zone triggers a two measure musical loop that repeats until the MODX: GET STARTED WITH SAMPLE ROBOT Today, I’m moving on to Sample Robot for Montage with hopes of making the job easier. Sample Robot by SKYLIFE is a spiffy tool for copping sounds from old keyboards or any other sound source. Yamaha formed a parnership with SKYLIFE resulting in Sample Robot for Montage, a version of Sample Robot that is tailor-made for Montage(and MODX).
MODDING THE PSS SERIES Previews have given the digital effects high marks. Unfortunately, the NTS-1 is spec’ed 12.9cm by 7.8cm by 3.9cm, which won’t fit directly into a PSS case. A lot depends upon the size of the NTS-1 electronics board. Even if we can’t fit the NTS-1 into a PSS case, the NTS-1 would be a nice complement to the A50. SEND MIDI FROM USB-B TO 5-PIN Please see the bottom of this page for an update. Way back in January 2014, I outlined a way to send MIDI from a USB-B only controller to a keyboard or module with classic 5-pin MIDI using Raspberry Pi as a bridge. Finally, one year later, I got to try out this idea. It seemslike
RASPBERRY PI 4 ARM CORTEX-A72 PROCESSOR Raspberry Pi 4 (RPi4) is a big step beyond the earlier models 1, 2 and 3. Both desktop interaction and browsing are snappier and don’t have that laggy feel. I haven’t even thought (yet) about the RPi4’s music making and synthesis potential!. The Raspbeery Pi 4 is powered by a new processor from Broadcom: the BCM2711. LITTLEBITS ARDUINO MIDI INTERFACE The littleBits proto module directly to the left of the USB port brings the logic-level MIDI IN signal to the Arduino RX pin. The proto module directly to the right of the USB port sends the Arduino TX signal to the MIDI OUT circuit. The signals to and from the 5-pin MIDI REVIEW: MIDIPLUS MINIENGINE USB One of these little gems is the MIDIPLUS miniEngine USB. The miniEngine is a General MIDI engine in a small blue box (approximately 3″ by 4″ by 1″). It has a bright blue three digit LED display, three buttons and a data wheel. Connectivity includes: 3.5mm headphone jack. 3.5mm MIDI IN. USB Host (type A) port for MIDI-over-USBcommunications.
REVIEW: YAMAHA PSS-E30 REMIE YAMAHA MODX VS. MONTAGE Of course, the important question is, “How much of the Montage did Yamaha leave out?” First, let me say, you do get a lot. The MODX has full fat waveforms, arpeggios and performances (including voices in the flat Yamaha user interface world).Having heard and played the Full Monty, I will definitely be looking at the MODX to replace my MOX6, especially if the MODX6 weighs in at roughly the SAND, SOFTWARE AND SOUND It is a system-on-a-chip (SOC) containing the CPU, memory, and tone generator. The SWLL has five pins (TRST, TDI, TMS, TMS, TCK, and TDO) for serial input/output — most likely USB. This doesn’t bode well for people who want to add 5-pin MIDI to the A50 (or other SWLLROLAND GO:KEYS
The GO:KEYS has a street price (MAP) of $299 USD and is intended to inspire new keyboard players without a big out-of-pocket outlay. The hook is the five zone, Loop Mix mode. The 61 keys are separated into 5 one octave zones: Drum, Bass, Part A, Part B and Part X. Each key in a zone triggers a two measure musical loop that repeats until the MODX: GET STARTED WITH SAMPLE ROBOT Today, I’m moving on to Sample Robot for Montage with hopes of making the job easier. Sample Robot by SKYLIFE is a spiffy tool for copping sounds from old keyboards or any other sound source. Yamaha formed a parnership with SKYLIFE resulting in Sample Robot for Montage, a version of Sample Robot that is tailor-made for Montage(and MODX).
MODDING THE PSS SERIES Previews have given the digital effects high marks. Unfortunately, the NTS-1 is spec’ed 12.9cm by 7.8cm by 3.9cm, which won’t fit directly into a PSS case. A lot depends upon the size of the NTS-1 electronics board. Even if we can’t fit the NTS-1 into a PSS case, the NTS-1 would be a nice complement to the A50. SEND MIDI FROM USB-B TO 5-PIN Please see the bottom of this page for an update. Way back in January 2014, I outlined a way to send MIDI from a USB-B only controller to a keyboard or module with classic 5-pin MIDI using Raspberry Pi as a bridge. Finally, one year later, I got to try out this idea. It seemslike
RASPBERRY PI 4 ARM CORTEX-A72 PROCESSOR Raspberry Pi 4 (RPi4) is a big step beyond the earlier models 1, 2 and 3. Both desktop interaction and browsing are snappier and don’t have that laggy feel. I haven’t even thought (yet) about the RPi4’s music making and synthesis potential!. The Raspbeery Pi 4 is powered by a new processor from Broadcom: the BCM2711. LITTLEBITS ARDUINO MIDI INTERFACE The littleBits proto module directly to the left of the USB port brings the logic-level MIDI IN signal to the Arduino RX pin. The proto module directly to the right of the USB port sends the Arduino TX signal to the MIDI OUT circuit. The signals to and from the 5-pin MIDI REVIEW: MIDIPLUS MINIENGINE USB One of these little gems is the MIDIPLUS miniEngine USB. The miniEngine is a General MIDI engine in a small blue box (approximately 3″ by 4″ by 1″). It has a bright blue three digit LED display, three buttons and a data wheel. Connectivity includes: 3.5mm headphone jack. 3.5mm MIDI IN. USB Host (type A) port for MIDI-over-USBcommunications.
REVIEW: YAMAHA PSS-E30 REMIE YAMAHA MODX VS. MONTAGE Of course, the important question is, “How much of the Montage did Yamaha leave out?” First, let me say, you do get a lot. The MODX has full fat waveforms, arpeggios and performances (including voices in the flat Yamaha user interface world).Having heard and played the Full Monty, I will definitely be looking at the MODX to replace my MOX6, especially if the MODX6 weighs in at roughly the SAND, SOFTWARE AND SOUND It is a system-on-a-chip (SOC) containing the CPU, memory, and tone generator. The SWLL has five pins (TRST, TDI, TMS, TMS, TCK, and TDO) for serial input/output — most likely USB. This doesn’t bode well for people who want to add 5-pin MIDI to the A50 (or other SWLL USB AUDIO FOR RASPBERRY PI Behringer UCA-202 audio interface. The Behringer UCA-202 is an inexpensive ($30 USD) USB audio input/output interface. Analog signals are transfered on RCA connectors (left/right IN and left/right OUT). The UCA-202 also has a headphone output and an S/PDIF optical output. The UCA-202 is bus-powered and class-compliant. AUDIO VIA ARDUINO 16-BIT PWM TIMER1: 8-bit and 16-bit PWM, pins D9 and D10. TIMER2: 8-bit PWM, pins D3 and D11, tone () Timers 0 and 2 are used by the Arduino delay () and tone () functions, respectively. So, you cannot use these functions and expect to generate PWM at the same time. All appears lost for audio until one discovers TIMER1’s 16-bit PWM mode. MODX: GOING TO THE LIBRARY After resolving yesterday’s Sample Robot teething issues, I pulled together two new sampled pipe organ voices.Each voice is stored into its own MODX Library file as exported by Sample Robot for Montage (SRM).. At this point, I realized that libraries and voices are going to stack up quickly. REVIEW: YAMAHA PSS-E30 REMIE The PSS-F30 is the “Honey I Shrunk the PSR-F50” arranger keyboard. The F30 essentially has the same sounds, styles and songs as the F50/F51. The F30 could be the mini-keyboard for arranger enthusiasts on the go. That said, after taking a peak inside the A50 (see the YouTube demo) and the Remie, the program and waveform memory is quitesmall
REVIEW: MIDIPLUS MINIENGINE USB One of these little gems is the MIDIPLUS miniEngine USB. The miniEngine is a General MIDI engine in a small blue box (approximately 3″ by 4″ by 1″). It has a bright blue three digit LED display, three buttons and a data wheel. Connectivity includes: 3.5mm headphone jack. 3.5mm MIDI IN. USB Host (type A) port for MIDI-over-USBcommunications.
YAMAHA GENOS
The Yamaha Genos™ V2.0 update is available for download from your regional Yamaha musical instrument site.. Reading through the list of changes, the Yamaha engineers have changed many of the internal data structures and file formats in order to support new features. YAMAHA GENOS: TONE GENERATION Yamaha Genos: Tone generation. After visiting the Genos CPU complex yesterday, let’s take a look at the two Yamaha SWP70 tone generators in Genos. The SWP70 is the latest generation, top-of-the-line Yamaha tone generator. We know that the SWP70 is capable of both sample-playback AWM2 synthesis and FM-X synthesis as demonstrated bythe Yamaha
MINING THE YAMAHA DJX II The Yamaha DJX II was the second generation of Yamaha “DJ” keyboards that were targeted for musicians/producers working in “dance” styles (e.g., tekno, hip-hop, drum’n’bass, etc.) Thus, the DJX II uses loop-like “patterns” as its basic musical element instead of arranger styles. The DJX II is best remembered for itsunusual
PERF TUTORIAL: FINDING EXECUTION HOT SPOTS PERF tutorial: Finding execution hot spots. This article is the first of a three part series on the PERF (linux-tools) performance measurement and profiling system. Part 1 demonstrates how to use PERF to identify and analyze the hottest execution spots in a program. It covers the basic PERF commands, options and software performanceevents.
USB AUDIO FOR RASPBERRY PIROLAND GO:KEYS
The GO:KEYS has a street price (MAP) of $299 USD and is intended to inspire new keyboard players without a big out-of-pocket outlay. The hook is the five zone, Loop Mix mode. The 61 keys are separated into 5 one octave zones: Drum, Bass, Part A, Part B and Part X. Each key in a zone triggers a two measure musical loop that repeats until the AUDIO VIA ARDUINO 16-BIT PWM TIMER1: 8-bit and 16-bit PWM, pins D9 and D10. TIMER2: 8-bit PWM, pins D3 and D11, tone () Timers 0 and 2 are used by the Arduino delay () and tone () functions, respectively. So, you cannot use these functions and expect to generate PWM at the same time. All appears lost for audio until one discovers TIMER1’s 16-bit PWM mode. MODDING THE PSS SERIES Previews have given the digital effects high marks. Unfortunately, the NTS-1 is spec’ed 12.9cm by 7.8cm by 3.9cm, which won’t fit directly into a PSS case. A lot depends upon the size of the NTS-1 electronics board. Even if we can’t fit the NTS-1 into a PSS case, the NTS-1 would be a nice complement to the A50. MODX: GET STARTED WITH SAMPLE ROBOT Today, I’m moving on to Sample Robot for Montage with hopes of making the job easier. Sample Robot by SKYLIFE is a spiffy tool for copping sounds from old keyboards or any other sound source. Yamaha formed a parnership with SKYLIFE resulting in Sample Robot for Montage, a version of Sample Robot that is tailor-made for Montage(and MODX).
LITTLEBITS ARDUINO MIDI INTERFACE The littleBits proto module directly to the left of the USB port brings the logic-level MIDI IN signal to the Arduino RX pin. The proto module directly to the right of the USB port sends the Arduino TX signal to the MIDI OUT circuit. The signals to and from the 5-pin MIDI SEND MIDI FROM USB-B TO 5-PIN Please see the bottom of this page for an update. Way back in January 2014, I outlined a way to send MIDI from a USB-B only controller to a keyboard or module with classic 5-pin MIDI using Raspberry Pi as a bridge. Finally, one year later, I got to try out this idea. It seemslike
MINING THE YAMAHA DJX II The Yamaha DJX II was the second generation of Yamaha “DJ” keyboards that were targeted for musicians/producers working in “dance” styles (e.g., tekno, hip-hop, drum’n’bass, etc.) Thus, the DJX II uses loop-like “patterns” as its basic musical element instead of arranger styles. The DJX II is best remembered for itsunusual
YAMAHA GENOS
The Yamaha Genos™ V2.0 update is available for download from your regional Yamaha musical instrument site.. Reading through the list of changes, the Yamaha engineers have changed many of the internal data structures and file formats in order to support new features. YAMAHA MODX VS. MONTAGE Of course, the important question is, “How much of the Montage did Yamaha leave out?” First, let me say, you do get a lot. The MODX has full fat waveforms, arpeggios and performances (including voices in the flat Yamaha user interface world).Having heard and played the Full Monty, I will definitely be looking at the MODX to replace my MOX6, especially if the MODX6 weighs in at roughly the USB AUDIO FOR RASPBERRY PIROLAND GO:KEYS
The GO:KEYS has a street price (MAP) of $299 USD and is intended to inspire new keyboard players without a big out-of-pocket outlay. The hook is the five zone, Loop Mix mode. The 61 keys are separated into 5 one octave zones: Drum, Bass, Part A, Part B and Part X. Each key in a zone triggers a two measure musical loop that repeats until the AUDIO VIA ARDUINO 16-BIT PWM TIMER1: 8-bit and 16-bit PWM, pins D9 and D10. TIMER2: 8-bit PWM, pins D3 and D11, tone () Timers 0 and 2 are used by the Arduino delay () and tone () functions, respectively. So, you cannot use these functions and expect to generate PWM at the same time. All appears lost for audio until one discovers TIMER1’s 16-bit PWM mode. MODDING THE PSS SERIES Previews have given the digital effects high marks. Unfortunately, the NTS-1 is spec’ed 12.9cm by 7.8cm by 3.9cm, which won’t fit directly into a PSS case. A lot depends upon the size of the NTS-1 electronics board. Even if we can’t fit the NTS-1 into a PSS case, the NTS-1 would be a nice complement to the A50. MODX: GET STARTED WITH SAMPLE ROBOT Today, I’m moving on to Sample Robot for Montage with hopes of making the job easier. Sample Robot by SKYLIFE is a spiffy tool for copping sounds from old keyboards or any other sound source. Yamaha formed a parnership with SKYLIFE resulting in Sample Robot for Montage, a version of Sample Robot that is tailor-made for Montage(and MODX).
LITTLEBITS ARDUINO MIDI INTERFACE The littleBits proto module directly to the left of the USB port brings the logic-level MIDI IN signal to the Arduino RX pin. The proto module directly to the right of the USB port sends the Arduino TX signal to the MIDI OUT circuit. The signals to and from the 5-pin MIDI SEND MIDI FROM USB-B TO 5-PIN Please see the bottom of this page for an update. Way back in January 2014, I outlined a way to send MIDI from a USB-B only controller to a keyboard or module with classic 5-pin MIDI using Raspberry Pi as a bridge. Finally, one year later, I got to try out this idea. It seemslike
MINING THE YAMAHA DJX II The Yamaha DJX II was the second generation of Yamaha “DJ” keyboards that were targeted for musicians/producers working in “dance” styles (e.g., tekno, hip-hop, drum’n’bass, etc.) Thus, the DJX II uses loop-like “patterns” as its basic musical element instead of arranger styles. The DJX II is best remembered for itsunusual
YAMAHA GENOS
The Yamaha Genos™ V2.0 update is available for download from your regional Yamaha musical instrument site.. Reading through the list of changes, the Yamaha engineers have changed many of the internal data structures and file formats in order to support new features. YAMAHA MODX VS. MONTAGE Of course, the important question is, “How much of the Montage did Yamaha leave out?” First, let me say, you do get a lot. The MODX has full fat waveforms, arpeggios and performances (including voices in the flat Yamaha user interface world).Having heard and played the Full Monty, I will definitely be looking at the MODX to replace my MOX6, especially if the MODX6 weighs in at roughly the USB AUDIO FOR RASPBERRY PI Behringer UCA-202 audio interface. The Behringer UCA-202 is an inexpensive ($30 USD) USB audio input/output interface. Analog signals are transfered on RCA connectors (left/right IN and left/right OUT). The UCA-202 also has a headphone output and an S/PDIF optical output. The UCA-202 is bus-powered and class-compliant. RASPBERRY PI 4 ARM CORTEX-A72 PROCESSOR Raspberry Pi 4 (RPi4) is a big step beyond the earlier models 1, 2 and 3. Both desktop interaction and browsing are snappier and don’t have that laggy feel. I haven’t even thought (yet) about the RPi4’s music making and synthesis potential!. The Raspbeery Pi 4 is powered by a new processor from Broadcom: the BCM2711. REVIEW: MIDIPLUS MINIENGINE USB One of these little gems is the MIDIPLUS miniEngine USB. The miniEngine is a General MIDI engine in a small blue box (approximately 3″ by 4″ by 1″). It has a bright blue three digit LED display, three buttons and a data wheel. Connectivity includes: 3.5mm headphone jack. 3.5mm MIDI IN. USB Host (type A) port for MIDI-over-USBcommunications.
YAMAHA PSR/TYROS ARRANGERS Check this area for free PSR/Tyros content like styles, expansion packs, voices, samples and audio files. Expansion pack: ScatVoices. The ScatVoices expansion pack for Yamaha PSR-S750 and S950 arranger workstations is a set of voices suitable for jazz background and scat vocals. The expansion pack has five voices: DooLoops, GetLayeredUp, DatStuff, BopOnBop, and Dow2008 — all inspired by theYAMAHA GENOS
The Yamaha Genos™ V2.0 update is available for download from your regional Yamaha musical instrument site.. Reading through the list of changes, the Yamaha engineers have changed many of the internal data structures and file formats in order to support new features. CREATING A MEGA VOICE IN YEM Example 2: MIDI note A4, velocity 2 makes an Open Med guitar sound which is quiet. Example 3: MIDI note A4, velocity 110, makes a Slide guitar sound. Now, let’s look at the last two columns in the Mega Voice map, again, for the Mega NylonGuitar voice. For MIDI MODX: CREATING A NEW WAVEFORM Select the first element. Take a deep breath and touch the New Waveform button. MODX displays a screen allowing you to select and load the WAV file for the first keybank. As you can see in the screenshot, you can easily get into the weeds if you haven’t comeprepared with a
YAMAHA MODX VS. MONTAGE Of course, the important question is, “How much of the Montage did Yamaha leave out?” First, let me say, you do get a lot. The MODX has full fat waveforms, arpeggios and performances (including voices in the flat Yamaha user interface world).Having heard and played the Full Monty, I will definitely be looking at the MODX to replace my MOX6, especially if the MODX6 weighs in at roughly the NSX-39 | SAND, SOFTWARE AND SOUND At long last, Yamaha have announced their Vocaloid™ keyboard, the VKB-100.The VKB-100 is a keytar design similar to the prototype shown at the “Two Yamahas, One Passion” exhibition at Roppongi Hills, Tokyo, July 3-5, 2015.. More details will be released in December 2017. However, this much is known: Lyrics are entered using a dedicated application for smart phones and tablets via Bluetooth. PERFORMANCE STYLES FOR PSR-E443 PSR-E443 and other SFF1 arrangers. These styles are translated for and tested on the PSR-E443 arranger. They should be fully compatible with the E433, too. Some of the styles use the Power Kit and/or Cuban Kit, which are not available on earlier members of the E4xx family or other entry-level arrangers. If that’s the case, I suggest using one SAND, SOFTWARE AND SOUND ELECTRONICS AND COMPUTING FOR THE FUN OF ITSearch
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WHERE IN THE WORLD?
Posted on September 2, 2019by pj
Been quite a while since the last post, eh? All I can say is that moving is a long journey! I’m currently holed up in a hotel outside Everett, WA — 3,000 miles west of our old home. Fortunately, our former house sold quickly and we found a new house in just two weeks of intensive search. We’re still waiting to move to the new house and nearly everything is in storage. Probably a month to go before we will get our stuff and to try to get back to normal. Our grandson is a hyperactive package of joy. It’s a real kick to be here as he learns so much every day. I started reading “Child Language” by Mathew Saxton, an easy read that I can recommend already. He is well into the “vocabulary spurt.” “Nearly everything is in storage” means that I did bring along a few items for amusement… So, OK, what is my desert island synthesizer? Ta-da, it’s the Yamaha MODX. It’s my regular gig instrument and I need to keep my chops up in order to audition for a new church group. Before moving, I built 30+ Performances for pop, rock, jazz and funk, expecting to play a few favorites over backing tracks. I can’t live on church music alone! I shipped the MODX ahead, not wanting to check it with the airline. For that, I packed the Yamaha Reface YC, my rehearsal machine. The YC fits into the enormous suitcase which also holds my clothes. The clothes and gig bag held the YC rather securely and like the MODX, itgot here just fine.
I guess that makes two desert island synths. Blog posts will remain rather sparse in the near term, I’m afraid. We need to plan for delivery, complete the deal and get the job done. Yamaha just announced three new portable toys: the PSS-E30, PSS-F30 and PSS-A50. Might be good for amusement?Bests.
Posted in MODX , Musictechnology ,
Reface | Tagged
Desert island synthesizer YAMAHA GENOS UPDATE V1.4 Posted on June 28, 2019by pj
Yamaha have posted Genos™ update v1.4 to their support sites. I’m in the process of downloading and installing the update. Yamaha have also updated the Genos manuals and the AudioPhraser program. AudioPhraser definitely needed some touch-ups. Hopefully, there is a new version of Yamaha Expansion Manager (YEM) and ChordTracker just around the corner. Looking through the list of changes, v1.4 is not the major update many punters are looking for. However, Yamaha’s strategic decision to issue updates for its flagship products is VERY welcome. This move brings Yamaha into parity with its major competitors (Korg,especially).
Here’s the list of changes from the Version History: * Some information displays have been added to the Home display. * Many additional functions have been included for assignment to individual controllers on the Live Control display and the Assignabledisplay
* You can now see the result of operations of the ASSIGNABLE buttons via the pop-up window. * It is now possible to output to an external display by connecting a commercially USB-display adapter. For details on the supported device list, download from the “Downloads” tab on the productsite.
* You can now select the content displayed on the external display, from the Utility display. * Changes: The maximum capacity per file of MIDI Song has been expanded to about 3 MB. * Changes: Disabled switching between Dual Player mode and Song List mode during Song playback. * Changes: Changed the buttons for display/operation on the Song List mode to the SONG B buttons instead of the SONG A buttons. * Changes: The font settings on the Lyrics display and the Text display are backed up and retained even after the power is turned off. * Changes: The “Song” item which can be selected on the Registration Memory window is divided into “MIDI Song” and“Audio Song.”
* Changes: When operating the on-screen knobs and vertical sliders, the first touch will not change the value immediately, but only select(focus) it.
* Changes: The Voice Guide function supports display changes of this version. Please download the latest Voice Guide file from the product site for the additional sounds to work properly. * Fixed a problem in which, under a certain situation, the Audio Section of Audio Style would not play back. * Fixed a problem in which, under a certain situation, an Audio Song longer than 80 minutes would not play correctly. * Fixed a problem in which the instrument would become unresponsive to operations when playing back a specific MIDI Song. * Fixed a problem in which the instrument response would slow down when certain Preset Wallpaper settings were selected. * Fixed a problem in which Initial Touch On/Off settings would not function properly when calling up a specific Registration Memory. * Fixed a problem in which, under a certain situation, the Registration Freeze function would not work properly. * Fixed a problem in which certain Music Finder Record files of Tyros series could not be imported. * Fixed a problem in which the Panel Sustain parameter seems to have an effect on the Left part because the Panel Sustain can be edited on the Voice Edit display for the Left part. * Fixed a problem in which the instrument would occasionally become unresponsive to operations when executing Search. * Fixed a problem in which the instrument would occasionally become unresponsive to operations when changing the mode of Wireless LAN. * Fixed a problem in which the instrument would become unresponsive to operations when the pop-up window is closed in certain situations. * Fixed a problem in which the instrument would become unresponsive to operations when saving a file in certain situations. * Fixed a problem in which characters would occasionally not be displayed correctly. The previous firmware version cannot be restored after updating the firmware to this version (v1.4). Well, I can confirm that the v1.4 update did not kill my Genos. The Home page definitely displays more useful information. (Check out the link to the video to see what I mean.) I like the visual feedback as to where “the one” (downbeat) is. Some styles do not have a firm downbeat in MAIN A and I easily get lost. I love having more assignable functions although nothing blows me away initially. The assignable functions are listed in the updated (e0) Genos Reference Manual starting on page 126. I’m glad to see the MIDI file size limit kicked up to 3MB. Controller intensive MIDI filescan get pretty big.
Overall, I’m looking forward to improved stability. Yamaha gave us a few functional improvements, but nothing stunning. The list of bug fixes, however, shows attention to detail and quality. I will certainly miss the Genos while it’s in storage during the move! Copyright © 2019 Paul J. DrongowskiPosted in Genos ,
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Yamaha Genos
MODX, RATT, GUITAR TONE Posted on May 28, 2019by pj
This post is a welcome escape from the mental anguish of cleaning, packing, moving, etc. A member of the YamahaSynth.com MODX forum asked for help in obtaining a particular guitar tone for Rock/Metal. I confess that Metal is not a genre that I dip into and I was somewhat at a loss to help out. Fortunately, the chap posted a link to a video with an example of the kind of tone he was looking for: > Ratt — _Lay It Down_>
He noted the smoothness of the distorted tone. His attempts to achieve this tone on MODX led to “waves” that were “almost like the strings are not perfectly in tune”, for example, when hitting apower chord.
I passed along links to my two articles about guitar waveforms and effects on MODX (Montage) and Genos: > Single Coil, Double Coil>
> Which Guitar Is Which?>
I wrote these articles when I was trying to achieve Ian Bairnson’s tone during his 1970s Alan Parsons era. Maybe the info would help out. Folks on the YamahaSynth thread suggested the Telecaster (TC) waves, but I wasn’t so sure. A Telecaster is a single coil guitar and is not used all that frequently in Metal or Heavy Rock — a dual coil (humbucker) is more likely. The typical examples of type are the Gibson Les Paul and SG models (P90 pick-ups). Of course, it still comes down to the MODX factory waveforms and whatever works in a given situation without regard for the actual source instrument. Well, not being familiar with Ratt meant a little Internet digging. The two guitarists in Ratt of the “Lay It Down” era were Warren DeMartini and Robbin Crosby. Thankfully, guitarists are obsessive about gear and tone, and it was relatively easy to find information about DeMartini’s kit. Demartini is well-known for his smooth tone, so I dug into his gear. I’ll leave Robbin Crosby as an exercise forthe reader.
DeMartini was fond of playing a Charvel superstrat with a Floyd Rose bridge and Seymour Duncan JB humbucker (dual coil) pick-ups. “Superstrat” in this context does not necessarily mean “Fender.” “Superstrat” is used somewhat generically to mean a guitar which is similar to a Stratocaster, but customized in one or more significant ways. Standard Stratocasters typically employ single coil pick-ups, so humbuckers are already a major departure from theoriginal design.
In later days, DeMartini used Seymour Duncan Quarter Pounder and DeMartini Custom Signature RTM (dual coil) pick-ups. All of these pick-ups have big magnets that interact with the strings as well as pick-up vibrations. Those big magnets mechanically damp the strings. Thus, the Custom Signature RTM pick-up “compresses to make evey note smooth and balanced.” The whole sampling business raises an even larger question. Customizations aside, a multi pick-up guitar can be configured in a nearly infinite number of ways. What pick-ups are switched in or out? How is the tone knob set? Where are the strings plucked? (Near the bridge? The neck? Somewhere in between?) Does the player employ anyspecial technique?
A sampled waveform is just one configuration of all these factors and more! Thus, the MODX waveforms cover an extremely small corner of a very large sound space. Moving on from the instrument, DeMartini preferred Marshall amplifiers (heads) and cabinets. Marshall heads include JCM800/900, Plexi and JCM2000. He preferred 1960AX (4×12) cabinets: two with Celestion Vintage 30 speakers and two with 25W Celestion Greenbacks. Thus, I would look to the BRITISH LEAD or BRITISH LEGEND DSP effect algorithms and dial in the BS 4×12 speaker type as a starting point. One Web article mentioned that DeMartini often turned down the bass drastically and that might be worth a try, too. When you need a particular guitar tone, I recommend a little bit of Internet research for inspiration. Copyright © 2019 Paul J. DrongowskiPosted in MODX ,
Montage , Music
technology
| Tagged amp sim , cabinet sim , guitar waveforms, Ratt
, Warren DeMartini
SUPERBOOTH 2019
Posted on May 10, 2019by pj
Most of my days are now spent prep’ing our house for sale and an eventual move. If you’ve been there before, you know quite well why my blog posts have become infrequent! Rest assured, my eyes are still gazing at new music technology and, especially, the gizmos announced at Superbooth 2019. Korg’s recent announcements caught my attention. You’ve no doubt heard about the Korg Minilogue xD module and the Korg Volca nubassvacuum tube
synthesizer. The xD module and the nubass will hit the streets at $549.99 USD and $199.99, respectively. The Minilogue xD module looks pretty sweet and gets around the issue of mini-keys. The other little gem slips out from Japan. Korg have a line of do-it-yourself kits: Nu:Tekt . (I wonder what search engines will do with THAT punctuation.) The line already includes headphone amplifier (HA-KIT) and nutube overdrive kit (OD-KIT). Soon, there will be a digital synthesizer kit! From the pictures, it will have a 3.5mm MIDI IN, SYNC IN, SYNC OUT and AUDIOIN.
This kit looks like a heck of lot of fun! Back to the grind. Unfortunately, the lab is packed up, so hands-on electronic investigations will have to wait. Copyright © 2019 Paul J. Drongowski Posted in Music technology| Tagged
Korg nu:tekt ,
Superbooth 2019
GENOS SOUND ALIKE VOICES ON MODX Posted on April 30, 2019by
pj
I love kicking back in the afternoon and playing some old classic tunes from the 60s and beyond. The Yamaha Genos™ is a great machine for producing backing tracks and for jamming against them. I spent a fair amount of time selecting the appropriate instrument for each cover tune. Now, I’d like to play the MODX over the same backing tracks and perhaps keep the same voices. Time to play “What’s that voice?” The Yamaha arranger keyboards and synthesizers share a lot of the same sonic DNA. This is a theme that I’ve written about in earlier blog posts. Sometimes the arranger voice and the MODX Performance share the same name. Sometimes you need to find a sound-alike. And, as I’ve learned, sometimes I need to do some MODX programming to get what Iwant.
The table below is a quick, rough correspondence between my favorite Genos voices and a MODX Performance (or two, or three). In the case of multiple mappings, the preferred Performance is marked with a star(“*”).
MODX Performance Genos Voice ----------------------- ----------------------- TC Clean Pick SingleCoilClean Clean Ballad Pick SingleCoilClean TC Clean Pick VintageAmp (BRITISH LEGEND CLEAN) Dual Coil Slap Vel Slapback (ROCKABILLY)) Clean Fingers 50sVintagePure (MULTI FX OLDIES DELAY) Melodic Jazz JazzGuitarClean Fat Oil Jazz AF1&2 JazzArtistGuitar Jazz Blues JazzGuitarAmp (MULTI FX OLDIES DELAY) Jazz Guitar JazzGuitarClean (JAZZ COMBO) Crunchy Guitar MetalMaster Hard Drive MetalMaster Hard Ramp MetalMaster Tenox Max Rock Sax SoftTenorSaxLegato SmoothTenorSax Sweet Flute AF1 JazzFlute Concert Flute OrchestralFlute Latin Flutist* OrchestralFlute Oboe1 AF1 OrchestralOboe Oboe2* OrchestralOboe Clarinet 1 AF1 OrchestralClarinet OrchClarinet BalladClarinet Flute & Clari Clarinet&Flutes Bluz Distort BluesHarp FM Accordion 1 JazzAccordian Dynamic Brass DynamicBrass Mixed Sax Section SaxSection FM JP Brass 80sSynthBrass Simple Saw Brass 80sSynthBrass Flugelhorn Flugelhorn Soft Case 70sSuitcaseTrem (E-PIANO TREMOLO) Rd Old 70sSuitcaseClean Contempo* SuitcaseEP Hard Vintage SuitcaseEP Wr Rock 70sVintageEP Vibraphone Vibraphone Vibes JazzVibes Soft RnB SoftR&B Singleline 1 WireLead SingleLine 2* WireLead WindSynth WireLead VeloMaster VelocityMaster Bleep Lead AF2 BleepLead Detuned Vintage DetunedVintage FM Syn Lead 2* FusionLead Straight RB FusionLead Saw Lead FusionLead Dynamic Mini BrightMini Whistle Whistle Early Lead Oxygen Saw Lead Oxygen Big Strings ButterStrings Analog AnalogPad Dark Light DarkFatSaw VP Soft VPSoft Feeling LightPad Dark Atmo Pad NewAtmosphere Angel Eyes DarkAngelPad NighttrainToMunich NightMotion Gospel Hmm Mmh, GospelVoices Boy Choir MW Xfade GothicVox All Out None AllBarsOutFast Fully AllBarsOutFast Bowed Bars CV CurvedBars, UpsideDownSmile Draw Organ BalladOrgan Whiter Bars WhiterBars Jazz 2nd Perc + C3 RotarySwitch Vx Full Bars* 60sOrgan, Italian60sOrgan Clean 60sOrgan 1967 Keys 60sOrgan Even when the name matches (e.g., Bleep Lead), you’ll find slight differences in programming. The basic sound is there, but maybe one implementation will open up the filter dynamically, or maybe it will have a longer portamento time. These differences are easy to iron out, if they’re important at all. Occasionally, a Performance and its corresponding Genos voice responds differently due to Expanded Articulation vs. Super Articulationprogramming.
Such differences are fundamental to the arranger or synthesizer design. I’ll just need to keep mental notes about what to do where when playing, that is, push an assignable function button or some other gesture. If a Super Articulation voice is based on a Mega Voice, then chances
are good that one can find a way to get a similar result on MODX using Expanded Articulation (XA).
Of course, the Super Articulation 2 (Articulated Element Modeling)technology does
not carry over to MODX (Montage). Super Articulation 2 (SArt2) stitches successive notes together, blending tone heads, tails and bodies in real time depending upon the playing gesture. SArt2 requires additional samples and computation which are not implemented in MODX(Montage).
Not so easy are a few of the electric guitar voices. Electric guitar
tone depends heavily upon the DSP effectchain.
The Genos VintageAmp voice is a good example. It’s a single coil guitar driving the British Legend Clean effect. I couldn’t find a MODX preset to match. However, I quickly cooked up a Performance starting with the TC Clean Pick Performance (a single coil Telecaster). It was a piece of cake to put the British Legend clean effect into the signal chain. Voila — a new sound-alike Performance! Copyright © 2019 Paul J. Drongowski Posted in Genos , MODX, Montage
, PSR/Tyros
| Tagged voice
programming ,
Yamaha Genos , Yamaha MODX , Yamaha Montage GENOS/PSR ORGAN REGISTRATIONS Posted on April 26, 2019by pj
I’m deep in another one of those “cross-platform” projects in which I share voice programming between Yamaha Genos™ and Yamaha MODX. In this case, I’m recreating some of the PSR/Genos “organ flutes” registrations on MODX. “Organ flutes” is Yamaha-speak for drawbar organ emulation. Genos and S-series PSR arranger workstations implement two kinds of drawbar (Hammond B3) organ voices: normal sample playback voices and organ flutes voices. The organ flutes have their own drawbar user interface where the user can move virtual footage drawbars, including percussion. Organ flutes voices make use of a rotary speaker DSP effect while sample playback organ voices may have the rotary effect sampled-in instead of using a DSP effect. The chief disadvantage of sampled-in is the inability to smoothly change rotary speaker speeds (i.e., ramp up or ramp down between speeds). The abrupt speed change is very unrealistic. Of course, you can’t change the drawbar setting of a sampled-in voice either. Everyone loves new organ registrations, so here is my go-to table of Yamaha presets. Vibrato is OFF in all cases. Preset Drawbars VOL RESP 4' 2 2/3' 2' LENG Rotary effect -------------- ----------- --- ---- --- ------ --- ---- ------------- OrganFlutes 78 6600 000 8 0 8 0 0 6 DUAL ROT BRT USDSmile 87 4323 468 8 0 0 0 0 0 DUAL ROT BRT ReggaeBars 70 0000 008 8 0 0 0 0 0 DUAL ROT BRT WarmTheatre 80 0605 000 8 0 0 0 0 0 DUAL ROT WRM OrganPops 70 8000 000 8 0 8 0 0 8 DUAL ROT BRT RockOrgan 65 5444 644 8 0 0 0 0 0 DUAL ROT BRT SoulPercussion 70 0000 530 8 0 0 7 0 0 DUAL ROT BRT GospelTruth 87 6000 568 8 0 0 0 0 0 DUAL ROT BRT PadOrgan 00 8520 000 8 0 0 0 0 0 DUAL ROT WRM FullOrgan 88 7677 788 8 0 0 0 0 0 DUAL ROT BRT StringBars 48 0787 532 8 0 0 0 0 0 DUAL ROT BRT LatinSpin 70 0003 443 8 0 0 0 0 0 DUAL ROT BRT ShadyBars 68 8600 000 8 0 0 0 0 7 DUAL ROT BRT FunkOrgan 83 5035 788 8 0 0 0 0 7 DUAL ROT BRT BalladOrgan 86 7300 000 8 0 0 0 0 7 DUAL ROT WRM RichBars 63 8457 530 8 0 0 0 0 0 DUAL ROT BRT TrumpetBars 06 0786 540 8 0 0 0 0 0 DUAL ROT BRT SoulBars 80 0050 578 8 0 0 0 0 0 DUAL ROT BRT ClariBars 08 0080 760 8 0 0 0 0 0 DUAL ROT BRT JazzSquabble 80 0008 888 8 0 0 0 0 0 DUAL ROT BRT These are the registrations for Yamaha’s preset organ flutes voices. The RESP, 4′, 2 2/3′, 2′ and LENG columns control envelope and percussion. The manual describes these parameters in the followingway:
* Response (RESP): Affects both the attack and release portion of the sound, increasing or decreasing the response time of the initial swell and release, based on the Footage controls. The higher the value, the slower the swell and release. * 4′, 2 2/3′, 2′: 4′ is second harmonic percussion level and 2 2/3′ is third harmonic percussion level. * Length (LENG): Controls the length of the percussion sound. There is also an Attack switch to apply percussion to the first note or each note. For realism, I apply first note. Always. The registrations above use the older rotary speaker effect algorithm which had two PSR/Genos presets: DUAL ROTARY BRIGHT and DUAL ROTARY WARM. I recommend trying the “new” rotary speaker algorithmif you got it
(Montage, MODX, Genos). Here are a few bonus registrations, just for grins: Preset Drawbars VOL RESP 4' 2 2/3' 2' LENG Rotary effect ----------- ----------- --- ---- --- ------ --- ---- ------------- SmithPlus 88 8800 000 8 3 0 4 0 0 DUAL ROT WRM Simmerin 83 0000 378 8 0 0 0 0 0 DUAL ROT WRM MellowDee 80 4600 000 8 4 0 0 0 0 DUAL ROT BRT Shoutin 66 8848 588 8 4 0 0 0 0 DUAL ROT WRM WhistleStop 88 8000 008 8 3 0 0 0 0 DUAL ROT WRM WhiterShade 68 8600 000 8 0 4 0 0 8 DUAL ROT WRM If you want to ditch the sampled-in voices and use organ flutes instead, many of the Yamaha organ flutes presets are equivalent to a sampled-in voice. You just need to decode the names: WhiterBars → ShadyBars, Curved Bars → USDSmile, GospelOrgan (Legacy) → GospelTruth, etc. Save the registrations as Genos or PSR USER voices and use them in place of the sampled-in voices. Then, enjoy the rotary speaker ramp up and down! Copyright © 2019 Paul J. Drongowski Posted in Genos , MODX, Music technology
, PSR/Tyros
| Tagged GENOS
, MODX
, Organ flutes
, Yamaha Genos
, Yamaha MODX
YAMAHA MODX GOSPEL ORGAN Posted on April 9, 2019by pj
I’ve been woodshedding an up-beat gospel tune, “Stop By, Lord” by Doris Wesley Bettis. It needs a brighter B3 registration than my typical church registrations. So, I turned to Genos™ forinspiration.
Two Genos voices stood out: GospelOrgan and UpsideDownSmile. They are similar and the drawbar settings form an arching curve (i.e., the upside down smile). Here are the registrations:Genos GospelOrgan
16 5 1/3 8 4 2 2/3 2 1 3/5 1 1/3 1 Perc ---- ----- --- --- ----- --- ----- ----- --- ---- 8 7 6 0 0 0 3 4 5 No Genos UpsideDownSmile 16 5 1/3 8 4 2 2/3 2 1 3/5 1 1/3 1 Perc ---- ----- --- --- ----- --- ----- ----- --- ---- 8 7 4 3 2 3 4 6 7 No The UpsideDownSmile voice is at essence a brighter version of theGospelOrgan voice.
We need to translate the drawbar registrations (range ) into MODX Element levels (range ). The MODX factory patches use a range from 0 to 104. My own patches are using the range 0 to 127. Below is a table mapping each drawbar setting to the equivalent MODX Elementlevel:
1 * 13 = 13 1 * 16 = 16 2 * 13 = 26 2 * 16 = 32 3 * 13 = 39 3 * 16 = 48 4 * 13 = 52 4 * 16 = 64 5 * 13 = 65 5 * 16 = 80 6 * 13 = 78 6 * 16 = 96 7 * 13 = 91 7 * 16 = 112 8 * 13 = 104 8 * 16 = 128 Take your pick: soft or hot. I decided to implement each voice in its own MODX Part. Thus, we need to drop one of the drawbar harmonics in order to shoe horn the registration into eight Elements, the maximum number of individual elemental tones per Part. (Each Element is a drawbar footage.) A quick experiment on Genos found that I could drop the 2 2/3′ bar from the registrations without much sonic effect. It was pretty much buried inthe harmonic mix.
The next table shows the Element levels for each MODX Performance.Genos GospelOrgan
16 5 1/3 8 4 2 2/3 2 1 3/5 1 1/3 1 ---- ----- --- --- ----- --- ----- ----- --- 104 91 78 0 0 0 39 52 65 127 112 96 0 0 0 48 64 80 Genos UpsideDownSmile 16 5 1/3 8 4 2 2/3 2 1 3/5 1 1/3 1 ---- ----- --- --- ----- --- ----- ----- --- 104 91 52 39 26 39 52 78 91 127 112 64 48 32 48 64 96 112 The upper row in each case contains the Element levels over the range . The lower row shows the Element levels over the range.
Starting with one of my church Performances, I created a three Part MODX Performance. There is one Part for the GospelOrgan setting and one Part for the UpsideDownSmile setting. The third part handles rotor noise, etc. I programmed two Scenes, one for each registration setting. Scene 1 mutes the UpsideDownSmile Part and Scene 2 mutes the GospelOrgan Part. Thus, I can switch between registrations by switching between Scenes. Next up is the rotary speaker effect. Genos applies the REAL ROTARYeffect:
USD Smile Gospel --------- ------ Drive 2.5 4.0 Tone 8.5 10.0 Low/High Balance L* Clean and Wide* Vintage Mono
* Slow and Dirty
* Full Drive
* Broken Motors
The following table shows the parameter values for each preset. Clean Vint Mono Slow Dirt Full Dr Broken -------- --------- --------- ------- ------ Drive 0.0 1.9 4.6 10.0 1.9 Tone 6.0 4.4 5.4 8.0 7.5 Low/High Balance R=H R=H R7>H R=H Ralgorithm.)If you’re looking for a gospel organ sound on MODX (Montage), I hope this information will help you out. Copyright © 2019 Paul J. Drongowski Posted in Genos , MODX , Montage
, Music technology
| Tagged
GENOS , Yamaha Genos , Yamaha MODX
, Yamaha Montage
“JOY, BEAUTY, CONFIDENCE, AND DISCOVERY” Posted on April 8, 2019 by pj
I’ve been reading Yamaha’s 2018 Annual Report to investors and would like to pass along these observations. Yamaha, the business, is in transition. It reorganized its by-product line structure into a function-specific structure: production, sales, marketing, R&D, design. These functions have centralized management and are not distributed into product line units. Hopefully, this change and Yamaha’s Innovation Center will break down stove-pipes between arrangers and synths, for example. Worldwide, Yamaha has many factories: Japan (3 factories), Indonesia (5), China (4), and Malaysia (1). Yamaha will be adding two new factories in 2019: Chennai India (January) and Jakarta Indonesia (July). The Chennai factory will produce products for the local Indian market. The new Jakarta factory will produce digital musical instruments (DMI) as well as pianos. Yamaha have been actively revising selling prices. This explains why we have seen price fluctuations in certain regional markets. One important goal of note to customers, Yamaha are working to establish appropriate pricing at time of product launch. Personally, I throw out Reface as an example, where everyone said “Are they nuts?” after seeing the initial high street price. Yamaha list their primary competitors: * Pianos: Steinway & Sons (Germany and the U.S.); Guangzhou Pearl River Piano Group Co., Ltd. (China); Kawai Musical Instruments Manufacturing Co., Ltd. (Japan) * Digital music instruments: Casio Computer Co., Ltd., Roland Corporation, and Kawai Musical Instruments Manufacturing (Japan) * Wind instruments: Conn-Selmer, Inc (the U.S.); Buffet Crampon (France); Jupiter Band Instruments, Inc. (Taiwan) * String and percussion instruments: Fender Musical Instruments Corporation, Gibson Brands, Inc., C.F. Martin & Co., and Taylor Guitars (the U.S.
Gearheads will be surprised to see who’s missing. Korg? Nord? In terms of R&D, Yamaha have a central Technology Unit responsible for advanced technology research and intellectual property (IP) management. The Technology Unit spins results into the technology development departments of each business field such as musical instruments, audio products, etc. Every Yamaha annual report highlights a few technological stars. This year, it’s the Venova wind instrument (which uses branched pipe theory first seen in the VL1 virtual acoustic sound source), the Rivage PM10 digital mixing system and the SST-102 desktop ultrasound scanner.
The Yamaha Innovation Center was completed in June 2018. This new building centralizes the R&D staff, who were scattered over multiple locations. Surely, Yamaha is looking for new synergies. The Innovation Center also brings together specialized laboratories (e.g., anechoic chamber), recording studios and reverberation chamber. I’d love to visit!
Periodically, I browse recent patents filed by Yamaha and other technology leaders. Yamaha group has about 4,00 patents in Japan and roughly 4,000 patents in the United States, Europe and China. Patents, trademarks and copyright are important tools in defending its intellectual property. Increasingly, Yamaha have been filing design patents in the USA to cover industrial product design, too. Speaking of industrial design, the annual report spotlights the NS-5000 bookshelf speaker, Venova, the SX series of grand pianos and Genos™.
I’m a little too fried to dive into the P&L right now. However, I hope these observations are enlightening. Copyright © 2019 Paul J. Drongowski Posted in Music technology | Tagged
Yamaha annual report PACIFIC NORTHWEST VINTAGE COMPUTER FESTIVAL Posted on April 5, 2019 by pj
I apologize for the pause in blog posts. Between travel and prep’ing the house for sale, the last few weeks have been insane. The painters are wrapping up their work today, leaving a little bit of time for writing.
Our trip took us to the Seattle area for a visit with family. Fortunately, our trip coincided with the 2019 Pacific Northwest Vintage Computer Festival .
The festival was held at Living Computers Museum + Labs .
The weather was gloriously spring-like (for a New Englander), making the walk from the Link light rail to the museum a pleasure. The festival took over most of the first floor of Living Computers, including the lab space. If you get the opportunity to attend, I recommend it. There are vintage personal computers, workstations, calculators — all sorts of gear, most of it up and running. A few highlights…
I had a pleasant chat with Josh Dersch who restored and maintains a Three Rivers Perq workstation . The Perq is one of the first “3 M” machines (1 MIP, 1 MByte, 1 mega-pixel). The Perq originated from the electronics lab associated with the Carnegie-Mellon University Computer Science Department during the mid-70s. I worked at the CS department as a computer operator while grinding my way through C-MU as an undergrad. The electronics lab was a source of many innovative systems: one of the first Xerographic printers (the XGP), a vector display replete with C-MU’s own space war game, and the Perq prototype. The principal players took the Perq commercial in 1974 (just as I was graduating, BTW). The initial prototype was wire-wrapped .
The computer machine room had large glass windows into the electronics lab and I remember watching Brian Rosen as he wrapped and debugged massive prototyping boards stuffed with parts. Josh has one of the original prototype boards. The wire density is staggering. At that scale, one really needed to get things wired right the first time because debugging that rat’s nest of wiring was no fun. (Today’s engineers are spoiled with simulators!) One of the sweetest systems to combine the new and old is the PiDP-11/70 .
The PiDP-11/70 combines a Raspberry Pi running simh with a beauty, small-scale PDP-11/70 front panel with all the blinken lights and switches. If the 11/70 is too modern for you, try the PiDP-8/I , which is just
as spiffy.
Finally, I quite liked the Gigatron TTL Microcomputer by Marcel van Kervinck and Walter Belgers. I acquired a pile of 7400 series logic components in 1976 with the intention of building my own 16-bit processor with an instruction set architecture (ISA) of my own design. It’s still a pile of parts. Marcel and Walter made this dream into a reality. I spoke with Marcel for several minutes and enjoyed hearing about his approach and design choices.
The Vintage Computer Federation organizes and sponsors Vintage Computer Festivals throughout the United States. Check the schedule and visit one! Copyright © 2019 Paul J. Drongowski Posted in Uncategorized PSR-EW410: TOUR OF ITS ELECTRONICS Posted on March 14, 2019 by
pj
Last August, I took an in-depth look at the internal design of Yamaha’s entry-level, low-cost keyboards .
Up until the last few years, Yamaha’s low-end keyboards were based around its proprietary SWL01 processor. The SWL01 is a high volume LSI part which combines a microprocessor, tone generation and DSP resources into a single integrated circuit. The embedded software program and sound waveform data (AKA “the samples”) are stored together in a single flash memory device. Polyphony is limited to 32 voices due to the relatively low memory transfer bandwidth between the SWL01 and flash memory. Newer entry-level keyboards, such as the Piaggero NP-32 and the PSR-EW410, have received a boost in polyphony (and DSP effects) over their respective predecessors. This boost in spec is due to a new central processor, the SWX03: * SH RISC instruction set architecture (ISA) * Internal clock: 135.4752MHz (external 16.9344MHz crystal) * System/CPU bus interface * Bus clock: 67.7MHz * 24-bit address bus * 16-bit data bus
* Parallel digital inputs and outputs * USB to Host interface (USB1.1 full speed) * USB to Device interface * Low resolution analog-to-digital conversion (ADC) * Serial I2S interface for incoming and outgoing digital audio The digital I/O pins sense the key and front panel switches and encoders. They also send data to the LCD panel via an LCD driver. Yamaha designs typically sense the presence of AUX IN and PHONE connections, too. The ADC pins sense the front panel knobs, pitch bend wheel, master volume and battery condition. The SWX03 microarchitecture is shown in the block diagram below. The internal clock and bus clock are derived from an external 16.9344MHz crystal. 16.9344MHz is a multiple (384) of the sample word clock (44,100Hz). Digital audio is transfered serially in I2S format (24-bits per sample word). Thus, the CPU operates in lock step with the serial audio input and output interfaces. The earlier generation SWL01U typically has a 33.8688MHz internal clock. Thus, the SWX03 is quite a bit faster. Yamaha must be taking advantage of fabrication process improvements that allow a higher clock speed while keeping power low enough for battery operation. The higher clock speed of the SWX03 supports greater voice polyphony and the addition of new features such as Quick Sampling and audio playback/record over USB (See the Yamaha PSR-EW410 site for details).
The USB interfaces are clocked by an external 48MHz crystal resonator. The USB interfaces operate at full USB 1.1 speed. The SWL01 required an external USB interface component. The SWX03 integrates the USB interfaces on chip and eliminates the external USB component. This change reduces cost, board real estate and wiring. The I2S digital audio converters are external. Entry-level products typically use the Asahi Kasei AK4430ET 24-bit DAC followed by an RC filter.
The NP-32 and PSR-EW410 implement audio conversion and amplification differently. The NP-32 sends serial audio data to an AK4430 DAC. The analog signal is then sent to a TDA7266 analog power amplifier (2 x 6Watt). The PSR-EW410 sends serial audio data to a Yamaha YDA176 digital power amplifier, which handles conversion as well as amplification. The EW410’s AK4430 produces an analog signal for both the PHONES output and the stereo line out (OUT L/L+R, OUT R). While on the subject of audio, the PSR-EW410 has, in addition, a PCD1803A 24-bit stereo ADC which converts the buffered, analog AUX IN signal.
Both the NP-32 and PSR-EW410 store the embedded software and waveform data in a single flash ROM device. The flash ROM device communicates with the SWX03 CPU on the system bus provided by the SWX03. Physical storage devices are quite small by today’s mega standard: * NP-32: 8M x 16-bit words (64Mbits) * PSR-EW410: 16M x 16-bit words (256Mbits) The CPU runs code and fetches waveform sample data from the same flash storage device. Thus, code and samples share the available transfer bandwidth. The EW410’s PROG/WAVE memory is twice as large as the earlier PSR-E443 (128Mbits). Hopefully, Yamaha are using the extra space for better instrument samples. The NP-32 is dirt simple. The only memory attached to its SWX03 is the PROG/WAVE ROM. The EW410 is more sophisticated having an 8MByte SDRAM and a 16MByte flash ROM. I’d love to take a look inside the SWX03 and see how it ticks. The internal design of the Yamaha NSX-1 may have some
clues and I need to revisit the NSX-1 documentation. Copyright © 2019 Paul J. Drongowski The PSR-EW410 block diagram — in all its glory — appears below. Click the image to enlarge it. Posted in Music technology , PSR/Tyros
| Tagged PSR-E443
, PSR-EW410
, SWL processor
, SWX03 processor
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, Yamaha Montage
“JOY, BEAUTY, CONFIDENCE, AND DISCOVERY” Posted on April 8, 2019by pj
I’ve been reading Yamaha’s 2018 Annual Report to investors and would like to pass along these observations. Yamaha, the business, is in transition. It reorganized its by-product line structure into a function-specific structure: production, sales, marketing, R&D, design. These functions have centralized management and are not distributed into product line units. Hopefully, this change and Yamaha’s Innovation Center will break down stove-pipes between arrangers and synths, for example. Worldwide, Yamaha has many factories: Japan (3 factories), Indonesia (5), China (4), and Malaysia (1). Yamaha will be adding two new factories in 2019: Chennai India (January) and Jakarta Indonesia (July). The Chennai factory will produce products for the local Indian market. The new Jakarta factory will produce digital musical instruments (DMI) as well as pianos. Yamaha have been actively revising selling prices. This explains why we have seen price fluctuations in certain regional markets. One important goal of note to customers, Yamaha are working to establish appropriate pricing at time of product launch. Personally, I throw out Reface as an example, where everyone said “Are they nuts?” after seeing the initial high street price. Yamaha list their primary competitors: * Pianos: Steinway & Sons (Germany and the U.S.); Guangzhou Pearl River Piano Group Co., Ltd. (China); Kawai Musical Instruments Manufacturing Co., Ltd. (Japan) * Digital music instruments: Casio Computer Co., Ltd., Roland Corporation, and Kawai Musical Instruments Manufacturing (Japan) * Wind instruments: Conn-Selmer, Inc (the U.S.); Buffet Crampon (France); Jupiter Band Instruments, Inc. (Taiwan) * String and percussion instruments: Fender Musical Instruments Corporation, Gibson Brands, Inc., C.F. Martin & Co., and TaylorGuitars (the U.S.
Gearheads will be surprised to see who’s missing. Korg? Nord? In terms of R&D, Yamaha have a central Technology Unit responsible for advanced technology research and intellectual property (IP) management. The Technology Unit spins results into the technology development departments of each business field such as musical instruments, audio products, etc. Every Yamaha annual report highlights a few technological stars. This year, it’s the Venova wind instrument (which uses branched pipe theory first seen in the VL1 virtual acoustic sound source), the Rivage PM10 digital mixing system and the SST-102 desktop ultrasoundscanner.
The Yamaha Innovation Center was completed in June 2018. This new building centralizes the R&D staff, who were scattered over multiple locations. Surely, Yamaha is looking for new synergies. The Innovation Center also brings together specialized laboratories (e.g., anechoic chamber), recording studios and reverberation chamber. I’d love tovisit!
Periodically, I browse recent patents filed by Yamaha and other technology leaders. Yamaha group has about 4,00 patents in Japan and roughly 4,000 patents in the United States, Europe and China. Patents, trademarks and copyright are important tools in defending its intellectual property. Increasingly, Yamaha have been filing design patents in the USA to cover industrial product design, too. Speaking of industrial design, the annual report spotlights the NS-5000 bookshelf speaker, Venova, the SX series of grand pianos andGenos™.
I’m a little too fried to dive into the P&L right now. However, I hope these observations are enlightening. Copyright © 2019 Paul J. Drongowski Posted in Music technology| Tagged
Yamaha annual report PACIFIC NORTHWEST VINTAGE COMPUTER FESTIVAL Posted on April 5, 2019by pj
I apologize for the pause in blog posts. Between travel and prep’ing the house for sale, the last few weeks have been insane. The painters are wrapping up their work today, leaving a little bit of time forwriting.
Our trip took us to the Seattle area for a visit with family. Fortunately, our trip coincided with the 2019 Pacific Northwest Vintage Computer Festival.
The festival was held at Living Computers Museum + Labs.
The weather was gloriously spring-like (for a New Englander), making the walk from the Link light rail to the museum a pleasure. The festival took over most of the first floor of Living Computers, including the lab space. If you get the opportunity to attend, I recommend it. There are vintage personal computers, workstations, calculators — all sorts of gear, most of it up and running.A few highlights…
I had a pleasant chat with Josh Dersch who restored and maintains a Three Rivers Perq workstation . The Perq is one of the first “3 M” machines (1 MIP, 1 MByte, 1 mega-pixel). The Perq originated from the electronics lab associated with the Carnegie-Mellon University Computer Science Department during the mid-70s. I worked at the CS department as a computer operator while grinding my way through C-MU as an undergrad. The electronics lab was a source of many innovative systems: one of the first Xerographic printers (the XGP), a vector display replete with C-MU’s own space war game, and the Perq prototype. The principal players took the Perq commercial in 1974 (just as I was graduating, BTW). The initial prototype was wire-wrapped.
The computer machine room had large glass windows into the electronics lab and I remember watching Brian Rosen as he wrapped and debugged massive prototyping boards stuffed with parts. Josh has one of the original prototype boards. The wire density is staggering. At that scale, one really needed to get things wired right the first time because debugging that rat’s nest of wiring was no fun. (Today’s engineers are spoiled with simulators!) One of the sweetest systems to combine the new and old is thePiDP-11/70 .
The PiDP-11/70 combines a Raspberry Pi running simh with a beauty, small-scale PDP-11/70 front panel with all the blinken lights and switches. If the 11/70 is too modern for you, try the PiDP-8/I, which is just
as spiffy.
Finally, I quite liked the Gigatron TTL Microcomputer by Marcel van Kervinck and Walter Belgers. I acquired a pile of 7400 series logic components in 1976 with the intention of building my own 16-bit processor with an instruction set architecture (ISA) of my own design. It’s still a pile of parts. Marcel and Walter made this dream into a reality. I spoke with Marcel for several minutes and enjoyed hearing about his approach and designchoices.
The Vintage Computer Federation organizes and sponsors Vintage Computer Festivals throughout the United States. Check the schedule and visit one! Copyright © 2019 Paul J. Drongowski Posted in Uncategorized PSR-EW410: TOUR OF ITS ELECTRONICS Posted on March 14, 2019by
pj
Last August, I took an in-depth look at the internal design of Yamaha’s entry-level, low-cost keyboards.
Up until the last few years, Yamaha’s low-end keyboards were based around its proprietary SWL01 processor. The SWL01 is a high volume LSI part which combines a microprocessor, tone generation and DSP resources into a single integrated circuit. The embedded software program and sound waveform data (AKA “the samples”) are stored together in a single flash memory device. Polyphony is limited to 32 voices due to the relatively low memory transfer bandwidth between the SWL01 and flash memory. Newer entry-level keyboards, such as the Piaggero NP-32 and the PSR-EW410, have received a boost in polyphony (and DSP effects) over their respective predecessors. This boost in spec is due to a new central processor, the SWX03: * SH RISC instruction set architecture (ISA) * Internal clock: 135.4752MHz (external 16.9344MHz crystal) * System/CPU bus interface * Bus clock: 67.7MHz * 24-bit address bus* 16-bit data bus
* Parallel digital inputs and outputs * USB to Host interface (USB1.1 full speed) * USB to Device interface * Low resolution analog-to-digital conversion (ADC) * Serial I2S interface for incoming and outgoing digital audio The digital I/O pins sense the key and front panel switches and encoders. They also send data to the LCD panel via an LCD driver. Yamaha designs typically sense the presence of AUX IN and PHONE connections, too. The ADC pins sense the front panel knobs, pitch bend wheel, master volume and battery condition. The SWX03 microarchitecture is shown in the block diagram below. The internal clock and bus clock are derived from an external 16.9344MHz crystal. 16.9344MHz is a multiple (384) of the sample word clock (44,100Hz). Digital audio is transfered serially in I2S format (24-bits per sample word). Thus, the CPU operates in lock step with the serial audio input and output interfaces. The earlier generation SWL01U typically has a 33.8688MHz internal clock. Thus, the SWX03 is quite a bit faster. Yamaha must be taking advantage of fabrication process improvements that allow a higher clock speed while keeping power low enough for battery operation. The higher clock speed of the SWX03 supports greater voice polyphony and the addition of new features such as Quick Sampling and audio playback/record over USB (See the Yamaha PSR-EW410 sitefor details).
The USB interfaces are clocked by an external 48MHz crystal resonator. The USB interfaces operate at full USB 1.1 speed. The SWL01 required an external USB interface component. The SWX03 integrates the USB interfaces on chip and eliminates the external USB component. This change reduces cost, board real estate and wiring. The I2S digital audio converters are external. Entry-level products typically use the Asahi Kasei AK4430ET 24-bit DAC followed by an RCfilter.
The NP-32 and PSR-EW410 implement audio conversion and amplification differently. The NP-32 sends serial audio data to an AK4430 DAC. The analog signal is then sent to a TDA7266 analog power amplifier (2 x 6Watt). The PSR-EW410 sends serial audio data to a Yamaha YDA176 digital power amplifier, which handles conversion as well as amplification. The EW410’s AK4430 produces an analog signal for both the PHONES output and the stereo line out (OUT L/L+R, OUT R). While on the subject of audio, the PSR-EW410 has, in addition, a PCD1803A 24-bit stereo ADC which converts the buffered, analog AUX INsignal.
Both the NP-32 and PSR-EW410 store the embedded software and waveform data in a single flash ROM device. The flash ROM device communicates with the SWX03 CPU on the system bus provided by the SWX03. Physical storage devices are quite small by today’s mega standard: * NP-32: 8M x 16-bit words (64Mbits) * PSR-EW410: 16M x 16-bit words (256Mbits) The CPU runs code and fetches waveform sample data from the same flash storage device. Thus, code and samples share the available transfer bandwidth. The EW410’s PROG/WAVE memory is twice as large as the earlier PSR-E443 (128Mbits). Hopefully, Yamaha are using the extra space for better instrument samples. The NP-32 is dirt simple. The only memory attached to its SWX03 is the PROG/WAVE ROM. The EW410 is more sophisticated having an 8MByte SDRAM and a 16MByte flash ROM. I’d love to take a look inside the SWX03 and see how it ticks. The internal design of the Yamaha NSX-1may have some
clues and I need to revisit the NSX-1 documentation. Copyright © 2019 Paul J. Drongowski The PSR-EW410 block diagram — in all its glory — appears below. Click the image to enlarge it. Posted in Music technology, PSR/Tyros
| Tagged PSR-E443
, PSR-EW410
, SWL processor
, SWX03 processor
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