Noodle Soufflé with Virus TI ~ R2m ~ FS1r ~ Strymon Cloudburst

video upload by Ebotronix

Conductive Labs The NDLR V2
Access Virus TI
2x Doepfer R2 m Ribbon Controller
2x Mutable Instruments Midipal
Yamaha FS1r , MCS 2, 2x FC 7
Strymon Cloudburst
Dorian Scale Midipal and NDLR
8.11.2023
video # 2298

Yamaha Introduces New Montage M - Next Gen Flagship Synthesizer - Overview & Sound Demos

video upload by Yamaha Synths Official

Curious if Yamaha will ever re-introduce their Formant & fseqs synth engine found on the FS1R. The FS1R was crippled by the UI.

Yamaha | Montage M Sound Demo
video upload by Yamaha Synths Official

"Enjoy this sound demo video showcasing sounds available in the new Yamaha MONTAGE M Series Synthesizers.

0:00 - 0:36 : AN-X Syn Orch Pat - AN-X Poly Synth with Polyphonic Aftertouch
0:37 - 1:00 : Hamburg Grand - AWM 2 Concert Grand Piano
1:01 - 1:19 : Sweet Synths - AN-X Poly Synth
1:20 - 1:48 : RD 67 Smooth - AWM2 1967 Tines E. Piano
1:49 - 2:10 : Classic Mini Sawlead - AN-X Mono Lead
2:11 - 2:35 C7 + Analog String Ensemb - AWM2 Yamaha C7 Grand Piano + AN-X String Ensemble
2:36 - 2:55 : Poly Dreams - AN-X Poly Synth
2:56 - 3:10 : SFZ Tremolo BPM Sync - AWM2 Tremolo Strings
3:11 - 3:49 : Distant Memories - AN-X Poly Synth
3:50 - 4:11 : Drawbar Organ - AWM2 Organ with YC Series VCM Rotary Speaker effect
4:12 - 4:29 : FM Piano + Soft Pad - FM-X E.Piano + Soft Pad
4:30 - 4:45 : Synthpop Forever - AN-X Poly Synth
4:46 - 5:05 : U1 Upright - AWM2 Yamaha U1 Upright Piano
5:06 - 5:31 : Dum Drum Bass - FM-X + AWM2 Poly Synth

Yamaha presents our next-generation flagship Synthesizer: MONTAGE M. Featuring three engines that create a variety of sounds – ultra-realistic instruments, vintage analog synths, and cutting-edge FM synths. For keyboardists, synthesists, and pianists, MONTAGE M seamlessly bridges stage and studio, unlocking new possibilities for sound, control and workflow."

NEW AN-X ENGINE

A revolution in authentic analog sound, control and behavior, the AN-X engine recreates the warm, classic sound of an analog synthesizer with a host of sophisticated modulation options.

･Three Oscillators with 5 waveforms (Saw 1, Saw2, Triangle, Square and Sine) and Noise Generator

･Two filters with 10 filter types

･Pulse width modulation

･Oscillator Self Sync

･Ring modulation, FM, and wave shaper

･Amp EG with drive

･LFO for both amplitude and filter,

･Voltage drift and aging settings to simulate vintage synth behavior

Integrated into the Motion Control system, the AN-X Engine allows you to create expressive, unique analog sounds to your heart’s content.

Improved AWM2
Experience realism and detail with MONTAGE M’s improved AWM2. Offering an incredible 128 Elements per part, AWM2 allows for smoother transitions, giving you an expansive canvas for ultra-high-definition sound creation, especially for “nameable” sounds such as piano and strings.

400 NOTE TOTAL POLYPHONY
A significant upgrade from the original MONTAGE’s 256 notes, MONTAGE M offers up to 400 notes of polyphony across its three engines:

･128 notes for AWM2 Preset Waveform Parts

･128 notes for AWM2 User Waveform Parts

･128 notes for FM-X Parts

･16 notes for AN-X Parts

And more about sound
AND MORE
[PRESET WAVE AND FLASH MEMORY UPGRADE] MONTAGE M offers twice the memory over its predecessor with an increase from 5.67GB to 9.97GB of Preset Wave memory, and an increase from 1.75 to 3.8GB of User flash memory. Plus, you’ll find a host of new sounds and instruments, including pianos, orchestral instruments, drums, and more!

[FM-X] MONTAGE M rekindles the Yamaha legacy of expressive and dynamic FM Synthesis with its 8-operator FM-X engine, offering a wide variety of diverse tones: from crisp and bell-like, to edgy and aggressive, to mellow and evolving. This is an excellent complement to the AWM2 and AN-X engines.

[VCM ROTARY AND DRAWBAR BEHAVIOR] Using sophisticated modeling technology, the VCM Rotary Speaker effect simulates the rich and enveloping motion of a classic rotary speaker cabinet. Plus, the new organ drawbar fader setting simulates the vintage “pull out” drawbar organ behavior.

[16 LIBRARY LOCATIONS] With 16 Library slots at your disposal, you can house up to 10,240 additional Performances (that’s in addition to the over 2,700 performances in the presets), facilitating quick searches by Category, Name and Attributes.

[PURE ANALOG CIRCUIT 2] The upgraded Pure Analog Circuit included in MONTAGE M reduces noise and improves the dynamic range, crosstalk, low-frequency phase, and distortion rate, resulting in clearer sound at all volumes. You’ll also find the sound has more detailed low-mids and presence.

GEX ACTION WITH POLYPHONIC AFTERTOUCH (MONTAGE M8x ONLY)
Available exclusively on MONTAGE M8x, GEX Action elevates your performance and sound creation with Polyphonic Aftertouch – a revered synth control found in the legendary CS-80 and DX1. Polyphonic Aftertouch allows you to individual modulate held notes with pressure. GEX also provides key repetition behavior typically found in grand pianos.

NEW PERFORMANCE CONTROLS
MONTAGE M introduces new performance controls: a 5-segment ribbon controller with dedicated HOLD button, a new KEYBOARD HOLD button for sustaining chords while using knobs to edit, and a Portamento on/off button and dedicated Portamento time knob.

DEDICATED KEYBOARD, PART AND SCENE CONTROL
You’ll find dedicated Keyboard, Part and Scene Control buttons to control 16 Parts per Performance. This intuitive control, particularly beneficial for live performances, improves overall usability and adds dimension to each Performance.

AND MORE
[HIGH-RESOLUTION CONTROL] All the Performance Controls – from the Keyboard and Faders to the Super Knob and Sustain, as well as the Sound Engine, are now in High Resolution. Because of the fine resolution, you’ll find the MONTAGE M behaves in a smoother and more “analog” way.

[MOTION CONTROL SYNTHESIS ENGINE]This groundbreaking engine allows you to interact with sounds in a variety of ways, including Motion Sequences, which dynamically automate synth and effect parameters, and can even be synchronized to tempo; the Super Knob, which controls dozens of modulations in a single gesture; the Envelope Follower, which modulates sound from the A/D input or another Part; and many, many more ways!

[NEW AND IMPROVED LED LIGHTS AND COLORS] Enhanced LED lights and colors on MONTAGE M faders, Performance, Live Set and Category Search offer visible, instant feedback, vastly improving the user interface.

WORKFLOW
Expanded Creativity

EXPANDED SOFTSYNTH PLUGIN (E.S.P.) (COMING EARLY 2024)
A game-changer for musicians, the Expanded Softsynth Plugin (E.S.P.) replicates the MONTAGE M in your favorite Digital Workstation (DAW). Free for all registered MONTAGE M owners, E.S.P. allows you to create, edit and mix MONTAGE M Performances anywhere you happen to be – without the hardware – offering an unprecedented level of stage and studio integration. We are planning on releasing E.S.P. in Early 2024. The first version will have all the MONTAGE M sound while being limited to basic editing. The full version will be available in Summer 2024.

FASTER, MORE INTUITIVE NAVIGATION
Upgraded navigation enables quick, intuitive sound editing and operation. You’ll find features like a new 512 x 64 LCD screen, 6 touchscreen display knobs, and a PAGE JUMP button that moves what’s in the LCD screen over to the larger 7” TFT Color touchscreen for deeper editing. And the dedicated Navigation button shows an overview of a Performance. Just touch a graphical object in the screen to jump to that parameter for deeper editing. The dedicated Navigation button allows you go directly from the “surface” of a sound to the deepest part.

USB MIDI AND MULTICHANNEL AUDIO INTERFACE
Simplifying your studio setup, MONTAGE M offers a USB MIDI and multichannel 32 output/6 input audio interface. Streamline MIDI recording, virtual instrument monitoring, and multi-track audio recording through a single USB cable, so you can spend more time being creative.

AND MORE
[FASTER UI] MONTAGE M’s UI is significantly speedier than the previous generation. Plus, the overall look is cleaner and easier to see.

[CATEGORY SEARCH] Search for Performances by Category (Piano, Keyboard, etc.), Sub Category (Acoustic, Vintage, etc.),Name, and Attributes (AWM2, FM-X, AN-X, etc.).

[TWO USB-TO-DEVICE PORTS] Allows simultaneous connection of a flash drive (or drives!) and USB MIDI controllers.

[DEDICATED DAW REMOTE BUTTON] Use your MONTAGE M as a hardware controller for DAWs such as Cubase, Logic, ProTools and Live. Control the mixer, transport, softsynth plugins and more.

[NEW SHIFT BUTTONS] Two new Shift buttons make it effortless to access secondary functions, increasing overall functionality.

[COLOR-CODED BUTTONS and SLIDER LAMPS] Backlit LIVE SET and CATEGORY buttons are colored differently and clearly show mode function. New slider lamps show red LED value increments, while active Parts are illuminated in blue.

Click the pics to zoom in.

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Expert Controller for Yamaha VL1

video upload by Robert Skerjanc

"Demonstration of the hardware prototype. It can edit the complete physical model of the VL1. Musically not much enlightening, but showing some first impressions. See also my home page: https://vl1.skerjanc.de/?p=23"

"This is my vision of an ideal hardware controller for the famous Yamaha VL1 synthesizer. After my experience of making a HW controller for the FS1R, I decided to create an new user interface that deals easily with hundreds of parameters to control this beast. The case is designed as a 19″ rack mount, the same size as the VL1m module. As the name implies, it can edit all physical modelling parameters as you were able with the Yamahas Expert Editor for Macs.

Individual dials for all parameters rendered quite impossible, so I found a way to divide the parameters into several pages of 16 parameters and show the content on an OLED displays.

You have 7 groups on the front panel: Global, Control, Effect, Driver, Physics, Pipe and Modifier. Each group has several buttons and LEDs to indicate the current selected parameter page. In the next image you see that the page for editing breath noise and excitation is selected, and the 16 dials are assigned to the belonging parameters.

The dials are endless encoders with haptic clicks. The displays are divided in two halves, upper display half describes the parameter name and value for the upper dial and vice versa.

That’s it: you have a good overview about the whole context and you can easily dive into all parameters."

You can find additional pics and details at https://vl1.skerjanc.de/?p=23.

Filter-Ambient-Scape w/Yamaha FS1R/ Skerjanc Controller x Waldorf Quantum x Strymon blueSky

video upload by

"Sunday Ambient Improvisation in my private Studio

The 2nd Part is with Sequence from Quantum
Sorry 🙈 for hard change there 🚨

Sounds
Waldorf Quantum : Taurus Bass
FS1R: Platipus

Nice Filter & Modulation on FS1R
Bottom Right is FM-Modulation Wheel
Bottom left is ADR
Top right is Filter Section

Resonance on Quantum and this Taurus Sound is tricky.. little percentage up and it is .. fieps.. ☣️"

MODULATION FM & Formant Sequence w/ Controller Yamaha FS1R

video upload by DACHI Klangmusik

"YAMAHA FS1R / Skerjanc Controller
8 Operators
Algorithm No 25
Formant Sequence No 67
I081 Lead Horn (Squeezed ;))
Step Sequence by Korg Electribe EA-1

Modulation on:
EG: ADR
Tone: Formant & FM
Formant Sequence: Loop Speed, Loop Start/End, Start Delay, Start Offset
OPs 1-8"

Yamaha FS1R Bass-Sequence Modulation w/Skerjanc Controller & Formant Shaping

video upload by DACHI Klangmusik

"FM Synthesizer Yamaha FS1R
Formant Sequence Nr 47
Shaping on FM & Formant Knobs , Speed of Formant Loop

Modulations on ADR, EG, Filter, Fader OP1

You just hear 2 OPs interacting!!!

OP1 & OP2 on I065, Part 1
w/Skerjanc Controller"

Kickdrum Modulation on Yamaha FS1R / FM Synthese/ Minimal Beat Generator /

video upload by DACHI Klangmusik

"Kind of Beatflow starting 28:00

Modulation Faders on OP 1-8
Preset I 064 Drumkit
Arpeggio on 120 bpm with 2 Notes
Osc Form of OP 8 is set on Formant (FS-Synthese)

FS1R FM Synthesis w/ Operators - Kickdrum Modulation on Skerjanc Controller- trying to find the „Kick“ - no effects added

Algorithm 25:
1
2
3-4-8
5-6-8
7-8

Modulations on:
Attack Decay Release
OP1-8
Filter (Scaling/ Scale BP/ F)
EG Depth

.. and no.. I am not a DJ .. 😂

this kind of fading and tweaking has technically almost nothing to do with a DJ

Just 2 sound sources X
each 2 signals per second X
are generating all the wave-signals you hear"

Live Modulation of Operators (Algorithm 17 FS1R Yamaha FM-Synthesizer) with Skerjanc Controller

video upload by

"Sequencer: Arpeggio UP / 1 Octave / 4 Notes

Tweaking/Fading on Operators 1 - 8
of Yamaha FM-Synthesizer FS1R with the Skerjanc Controller

Involved Sections in this Video:

Filter, Attack Decay Release, EG Depth (yellow, upper right), Tone

Operator Sound Section (red, upper left)
Fading on OP1-8, Algorithm 17,
Sound on Fader OP 1/2/6/8.
Modulating on Fader OP 3/4/5/7


additional Modulation on LFO 1

Enjoy ;)"

Exploring the Yamaha FS1R Controller by R. Skerjanc

video uploads by DACHI Klangmusik

Playlist:
Exploring the Yamaha FS1R Controller by R. Skerjanc - Tweaking on Preset Supersaw
Techno live w/Yamaha FS1R Skerjanc Controller & Roland TR8S
Skerjanc FS1R, TR8S, Quantum- Progressive to Minimal with FM, Wavetable - by DACHI SOUND MACHINE
Yamaha FM Synthesizer FS1R & Skerjanc Controller // live Sound & Modulation on Algorithm No. 11
Deep Frequency Sound on Yamaha FS1R (Skerjanc Controller), Waldorf Quantum & Roland JD-990
Roland JD800, JD900 - Waldorf Quantum - Yamaha FS1R Skerjanc CTRL // Impro by DACHI SOUND MACHINE

See the Skerjanc label below for more.

New Voices for the Yamaha FS1R - Demo w/ Custom Hardware Controller

video upload by Robert Skerjanc

"Demonstration of my Sound Set for the Yamaha FS1R, containing 117 new Voices and 86 Performances using some of these voices.
If you are interested in the purchase, contact robert@skerjanc.de"

You can find additional demos of the controller here.

FS1R improv with the wonderful Skerjanc controller

video upload by Video muzak

"More or less random noodling with the Yamaha FS1R using the hw controller designed and handbuilt by Robert Skerjanc. The Blokas Midihub (small grey box) helping things out. Just playing with the formants, FM and the nonvoiced operators at the part level. Audio could be better."

See the Skerjanc label below for more.

What is better than a Yamaha FS1r with a HW Controller?

video upload by Robert Skerjanc

"Answer: 2 FS1r with 2 HW controllers...
Testing session of controller #3 before shipping."

Follow-up to this post.

Yamaha FS1R Unleashed

Robert Skerjanc

"A small session controlling the FS1r Synthesizer live with a custom hardware controller."

Custom controller for the Yamaha FS1r. Almost looks like custome eurorack modules.

Curious how many of the FS1r parameters it controls. I once made an 80 page editor with Touch OSC with over 1000 parameters. It was ported to TB MIDI Stuff. There is also an editor for Patch Base here and free Edisyn 26 editor here. Without an editor it's like trying to paint a canvas through a keyhole.

MATRIXSYNTH Review and Overview of the Novation UltraNova

Hi everyone, you might remember, back in July I posted some pics of my newly acquired UltraNova, and mentioned that review posts would eventually follow. Well, I’m happy to tell you the first post is here. The UltraNova is one powerful synth, so to make the overall review a bit more consumable, it will be broken up over time. This first section includes an Overview, the Oscillators, and the Mixer sections. When new sections go up, I will be sure to let you know via a new post.

As with most of my reviews, I will say this one goes pretty deep into the synth engine and all editable parameters. If you are the type of person that likes to dissect and explore all of the available parameters on a synth, then this post is for you. I will touch on what each parameter does and will call out any interesting features and limitations as I do so. There are some pretty special parameters on the UltraNova that give you control beyond most other synths. Hopefully this review will give you some insight into what makes the UltraNova special.

Overview & Quick Comparison to Previous Nova Synths

The Novation UltraNova, released back in 2010, is a 20 voice virtual analog & wavetable synth with three oscillators, two ring modulators and one noise source per voice. The UltraNova also features two audio ins that can be assigned to the oscillator section and/or a 12-band vocoder. It’s worth noting that the Novation Nova from 1999 featured a 40-band vocoder, while the Supernova II from 2000 featured a 42-band vocoder. The UltraNova is a monotimbral synth while the 12 voice Nova was six part multitimbral and the Supernova II (24, 36, or 48 voice) was eight part multitimbral. The UltraNova supports up to 5 simultaneous effects per patch. The Nova supported 42 simultaneous effects, while the Supernova II supported up to 56. The Supernova II also supported FM synthesis while the Nova and UltraNova omit it.

The UltraNova, however, is the first Nova synth to feature wavetable synthesis. An interesting side note is that all of the oscillators on the UltraNova are actually stored as wavetables, including the standard waveforms. According to Novation, “The wavetables in the Supernova series are all calculated. The wavetables in the UltraNova, even the standard analogue waves are wavetable oscillators. This change in oscillator generation was first used on the A-Station and K-Station and subsequently in the KS series, X-Station and Xio.” This allows the UltraNova to have some advanced tricks when it comes to the oscillator section, which will be covered in detail below.

I asked Novation about the lack of FM synthesis and they told me, “FM would have been a lovely addition to the UltraNova, but it would have been asking too much of the DSP to be able to run everything the UltraNova can do and also add in FM. The wavetables were a really good way to introduce a new (to Novation) type of synthesis that is able to cater for some of the synth sounds that FM is known for and also to be able to create lush evolving pads.”

The UltraNova features two routable filters per voice with a total of 14 filter types to chose from including 6dB (no resonance), 12dB, 18dB, and 24dB with Lowpass, Bandpass and Hi-pass modes. The Nova and Supernova II lacked a 6dB mode.

As for hardware, although the UltraNova may have fewer knobs per function than its predecessors, it is extremely well laid out and super intuitive to use. Along with both keyboard velocity and aftertouch, the UltraNova has touch sensitive knobs. They literally respond to touch and can be assigned to various parameters. Worth noting, velocity is configurable, however, aftertouch is not. I found the aftertouch to be good, but it does require a little extra force than I prefer; it’s good for not accidentally triggering it, but not so good for subtle, natural performance.

Please note the above comparisons with the Nova and Supernova II were only for quick reference. The UltraNova of course is its own synth with a few tricks up its sleeves that are lacking in the original Nova line, including a level of control over the synth engine often only found in the modular realm. It sounds incredible, and for the price, currently only $599 new, it is an extremely flexible and powerful synth. You get the current top-of-the-line Novation Nova synth engine with new wavetables and more. The UltraNova is both a performance oriented synth as well as a synth programmers dream. It can be configured for easy access to specific parameters for a live situation, or you can dig as deep as you want with a clearly well thought out interface.

That said, let’s dig in.

The following review and overview will essentially go over the signal flow of the UltraNova followed by performance controls including the arpeggiator and the hardware interface. I’ll go into a little detail on what each feature can and cannot do in an attempt to give you a detailed idea of what the synth is capable of. Because my reviews tend to be a bit on the longer side, I will be posting the sections in chunks over time to make it easier on you to consume and for me to compose.

First we start with…

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PEAVEY PC 1600 Midi Programmer

Note: Auction links are affiliate links for which the site may be compensated.

via this auction

"PEAVY PC 1600 MIDI CONTROLLER PROGRAMMER
fully working
IT WORKS WITH SEVERAL SYNTHS AND SOFTWARES

boss rv-70 effects
cubase vst 4.1(mac)/3.7(pc) mixer
ensoniq asrx
ensoniq fizmo
korg dw-8000 synth
logic es-1
logic faders
oberheim expander
oberheim matrix 6/6r/1000 synths
rebirth 1.5 (all functions)
roland d-50
roland mks-50 synth
roland jx8p synth
soundblaster awe 32
suzuki sx-500 synth
waldorf microwave synth

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MIDIBox MBProgramma Knob Box Controller for Synths

[techdemo] MBProgramma vs Alpha Juno Published on Jan 19, 2015 Maelstroem3

"...demonstrating the first test run of the DIY MBProgramma! :-)
Many thanks to TK. for his fantastic MBNG base, and to jojjelito for sourcing parts, gathering ideas, documenting stuff and so on! :-)

The Programma contains 64 LEDring enhanced encoders and corresponding OLED labels. It was built to control multiple synthesizers, that don't have sufficient hardware user interfaces, it should be especially useful for patch programming. The label displays make parameter lookup a lot easier for the user, also there is support for multiple banks with different labels, as well as patch snapshot support (store and retrieve from SD card, for synths with limited memory).

The MBProgramma is a MIDIbox NG with hardware specific software extensions, that utilize the standardized hardware (eg., the 128x64px OLEDs). The hardware list is defined, so it is a "named" MBNG variant, that other users can build, too. This version 0.3 only has support for graphical encoder label loading, nothing more, yet :-). But, thanks to TK., MBNG (which is the base) is extremely powerful, it can be scripted, it can serve as a MIDI router, ... :-)

In this quick demo, the MBProgramma controls a Roland Alpha Juno 2 (MKS 50).

More info: http://midibox.org/forums/topic/19287...

Thanks for watching and listening!
Hawkeye"

via Hawkeye in the forum:

"Hola folks,

Jojjelito and myself are currently collaborating on a bigger MIDIboxNG project, that should help facilitate patch programming for all those synth users, that are unhappy with the bad/minimalistic user interfaces of their rack and keyboard synths, especially when programming new patches. This project was planned for years and never took shape...
But, thanks to TK., MIDIboxNG came to the rescue!
Its codebase has all of the needed functionality integrated in a very generic way, allowing to do so many things!

So... why this project, additionally?

CLICK FOR MORE »

What iPad MIDI Editors Might Look Like Stretched Across a Synth

via Superdan Rosenstark on The MATRIXSYNTH Lounge:

"I've been thinking a lot recently about virtual space vs. "real" (physical) space and control. I finally got a 3D artist to do a rendering. This one is for our layout for the Casio XW keyboards... one for our massive layouts for the Roland U.S. JD-990 would probably be more appropriate for this lounge, but anyway... this is just a fun concept image. Hope you dig it and don't mind the plug."

via MIDI Designer: "Virtual space does have its advantages. Here's what the iPad controller for the Casio Music Gear XW line of keyboards looks like if you spread it out.

Find out more:
here"

Like a PPG Realizer on steroids. This is why I was a fan of the iPad from day one. It opens up synths in a way that would be virtually impossible with hardware. Not to mention you can jump spaces on a virtual controller. You can't on hardware sliders and knobs. But it's not one vs. the other. Nothing beets physical knobs and sliders for that tactile experience, but if you can't have them the iPad is the next best thing and it does have some advantages. Check out my FS1R editor - 80 pages and access to over 1000 parameters. Not feasible in hardware.

【DEMO】YAMAHA Dream Synthesizer

Published on Apr 15, 2014 musictrackjp·238 videos

Yamaha KX49, AN1x, FS1r and Motif XS Rack layered.

"We propose this synthesizer structured by AWM2(Sampling),AN（Virtual Analog) and FM/FS Synthesis System by YAMAHA.

It will be Great, isn't it ?

DEMO by Katsunori UJIIE.
Facebook: Like me please!
https://www.facebook.com/musictrack.jp"

The Yamaha EX5 and EX5r rack came close only missing the Formant component of the FS1R.

"AWM is Yamaha's original system for effectively using sampled waveforms in synthesizers and tone generators. The strength of AWM synthesis lies not only in its extraordinary ability to "shape" and control the sound of the samples with a comprehensive system of envelope generators, filters, key scaling parameters, modulation, and more. AWM voices can have from 1 to 4 AWM elements. Each AWM element can use a preset wave or a sampled waveform. The ability to combine AWM elements means that you can, for example, combine separate samples for the attack and sustain portions of an instrument's sound, with independent control over each.

Yamaha AN Synthesis (Analog Physical Modeling) offers all the benefits of traditional analog synthesis with the stability, reproducability, and precise control of digital technology. It is capable of accurately reproducing the sound of classic analog synthesizers without patch cables, setting charts, or the frustrating instability that was the bane of the analog age. A standard (Poly) AN voice can have 1 AN element and from 1 to 3 AWM elements. Classic analog synth type sounds can be created with the single AN element alone. AWM elements can be added as necessary to "modernize" the sound.

FDSP adds a sophisticated note-dependent effect processor to the basic AWM synthesis system. In contrast to a stand effect stage, the FDSP synthesis stage uses individual note and velocity data to control effect parameters, thus making it possible to simulate the characteristics of a number of real-world musical components, as well as produce totally new effects. FDSP can produce totally new sounds that are responsive and "alive". FDSP voices have from 1 to 4 AWM elements with an FDSP stage between the elements and the main effect stage. The FDSP stage can be applied to any or all of the AWM elements used, as required.

Yamaha's Virtual Acoustic ("VL") Synthesis tone generation system applies sophisticated computer based "physical modeling" technology to musical sound synthesis, accurately simulating the very complex vibrations, resonances, reflections and other acoustic phenomena that occur in a real wind or string instrument. VL voices can have 1 VL element and from 1 to 3 AWM elements. The VL element can be used alone to emphasize the full realism and expressive power of the VL tone generator, or with added AWM elements for thicker textures.

The EX5 allows the AN and FDSP tone generator systems to be combined in "AN + FDSP" voices which can have 1 AN element and from 1 to 3 FDSP elements. The FDSP stage can be applied to any or all of the AWM elements used, as required."

The EX5 also features sophisticated sampling capability. Samples can be used in AWM voice elements or mapped to and played via individual keys of the keyboard using the Key Map mode. It is also possible to sample internal sounds created in the EX5. The Sample mode has all the features you'd expect from a professional sampler and is compatible with WAV, AIFF and AKAI formats. Sampled waveforms can be saved to floppy disk or to an external storage device via the optional ASIB1 SCSI Interface.

The features don't stop there. Six Controller Knobs can be assigned to a wide range of parameters for extraordinary real-time control capability along with the Pitch wheel, two Mod wheels, assignable Ribbon Controller and Scene memory buttons. Two types of full featured built-in Sequencers are on-board. A 16-Track Song Sequencer has real-time play effects and "groove" quantization. An 8-Track Pattern Sequencer has most of the functions and features of the 16-track song sequencer, but is more suited to the production of drum tracks, dance grooves, or other frequently used phrases. There's also a great 4-track Arpeggiator with 50 preset and user patterns.

Top-quality digital effects processors of two types are onboard. The "System" effects includes two separate effect units: Reverb and Chorus. Independent reverb and chorus settings can be made for each voice in the Voice mode, and for each performance setup in the Performance mode. Two "Insertion" effects provide up to 79 additional effects like chorus, distortion and overdrive, amp simulation, auto wah, equalization, delay, reverb, and other effects.

Use the 16-part Performance mode to create elaborate sequences, layer sounds and so on. Different parts can be assigned to different areas of the keyboard, there are up to 16 zones. The EX Key Map mode allows you to assign individual samples, patterns, or pattern tracks to different keys of the keyboard. These can then be played or triggered from the keyboard or an external sequencer or other MIDI controller. Every knob and controller on the keyboard sends and receives MIDI data in real-time."

MATRIXSYNTH NAMM 2014 Pics

Mouse over the image above for the slideshow controls.

Update: added a few notes below.  I hate picking highlights because I honestly do love it all.  That and I don't like missing anyone or anything.  The focus is on what's new.  More will come with the videos.

This is the full set of 282 NAMM pics including the following sub-sets just posted:
MATRIXSYNTH NAMM 2014: WMD et al. Modular Booth Pics
MATRIXSYNTH NAMM 2014: Moon Modular Booth Pics
MATRIXSYNTH NAMM 2014: Miselu, Quicco Sound & Audiobus Booth Pics
MATRIXSYNTH NAMM 2014: Studio Electronics & Pittsburgh Modular Booth Pics
MATRIXSYNTH NAMM 2014: Schmidt Analog Synthesizer Booth Pics
MATRIXSYNTH NAMM 2014: Radikal Technologies Booth Pics
MATRIXSYNTH NAMM 2014: Big City Music Booth & Aerosmith Pics
MATRIXSYNTH NAMM 2014: Buchla Booth Pics
MATRIXSYNTH NAMM 2014: Elektron Booth Pics
MATRIXSYNTH NAMM 2014: Dave Smith Instruments Booth Pics
MATRIXSYNTH NAMM 2014: Monome ALEPH Looper Pics
MATRIXSYNTH NAMM 2014: Moog Music Booth Pics
MATRIXSYNTH NAMM 2014: Dubreq Stylophone Pics
MATRIXSYNTH NAMM 2014: Bob Moog Foundation Booth Pics

And that's it for my NAMM pics. Videos will follow over the coming days. As you can see I missed a few of the major synth booths including Clavia/Nord Keyboards, Waldorf, Access, Teenage Engineering, Korg, Roland, Novation, Studiologic and Yamaha. This is no slight to them. I would have loved to check them out, specifically the new A1 from Clavia and the new Waldorf 2-Pole filter.  I did see the new full size KORG MS20 kit but the booth was packed and I didn't get any pics. I knew anything AIRA was not going to be shown so I skipped Roland. I typically go to NAMM on Saturday as I'm literally glued to the site posting away all the NAMM news along with everything else that comes in up to then. By Saturday I have a pretty good idea of what has and hasn't gotten plenty of coverage on the site.  Based on that, new product announcements, and prior commitments with those that reached out to me, I go through my list of booths in order.

As for standouts, although I didn't get to try the new A1 from Clavia, I was impressed by the new oscillator and effects section in the demos to date. I like what I hear. I do think they made a mistake with the messaging on it being an entry level synth. Not sure why they chose to go that route as it degrades the synth's capabilities in my opinion and the price does not reflect an entry level synth.

The new Elektron Rytm sounded fantastic. I should have a video of Highsage jamming on it coming up. Hopefully the audio is good.

The Sub 37 is a thing of beauty.

I'm a fan of the Prophet 12 and the new Prophet 12 module. I'm a fan of mixing digital with analog and I think it is capable of timbres you simply can't get out of pure analog.

The Tiptop Audio system at the Big City Music Booth was absolutely insane! Tomio is a Jedi master on that thing. I should have video of it coming up.

The new Make Noise modules were a mind trip. Video coming.

Noise Engineering is new to the scene and their modules sound fantastic. I particularly like the drum module. They also have a vocal formant module. I mentioned the Yamaha FS1R's formant synthesis and they said it was actually based on it to an extent. Video coming.

The STG EMS Oscillator sounded insane. Video coming.

The new Studio Electronics Boomstars sounded pretty incredible. Video coming.

It takes quite a bit to surprise me.  Two things did.  Full on patch memory on a modular synth with the Buchla Music Easel and what's coming for Audiobus. The Miselu iPad keyboard and Quicco Sound controller were pretty cool devices as well. The Future Retro Triadex Muse based sequencer caught my interest. I didn't show it, but it definitely was a geek out moment for me and caught me by surprise. Who would have thought technology based on the obscure Muse would re-appear today.

That's it for now. The videos and pics should speak for themselves. I love it all.

Thoughts on the iPad as a Synth and Controller

Every now and then I hear about people knocking the iPad in the synth world. Usually the criticism seems to be a reaction to the hype or the inevitable "it can't do this or that" sort of argument. Don't let the hype (negative or positive) influence you. Just see it for what it is - a piece of hardware with processing power, memory, and a multi-touch interface that can be used to turn it into a synth, audio processing device, controller or whatever else might come out for it. I thought I'd share my thoughts on why I'm particularly fond of it and why you see so many posts here. In short, I like synthesizers, and the iPad is as much a synthesizer as any of my other synths. I didn't get an iPad to replace my synths or controllers, I got one to compliment them, which BTW, is the exact reason I buy any piece of gear.

In regards to synthesis, unless a synth is analog it's digital, and digital is software running on hardware. Whether that's a PC, a dedicated hardware synth or the iPad, it's still software running on hardware, and hardware comes in all shapes and sizes. Like any other synth, the iPad has its advantages and disadvantages.

As for the interface, all hardware varies from being completely menu driven to one knob per parameter. I do have to say Moog's Animoog X/Y pad and PATH module trumps my Prophet VS for drawing vector type paths for manipulating sound in time. The visual feedback is useful rather than gimmicky and the customizable virtual touch plate is extremely expressive and responsive. As for complimenting and extending the interface of my current hardware, my FS1R was practically non editable until I made this TouchOSC template for it. I'm also less worried about the Prophet VS joystick going out now that I have my Prophet VS TouchOSC editor. I prefer the editor to the Prophet VS interface.

As for the iPad not being open, it's definitely more open than most other hardware synths when you think about it. Roland VariOS anyone? Not only was it Roland only, it faded long before new models came out for it. The Creamware Noah allowed you to install VSTs but is now gone as well. The beauty of the iPad platform is the support it receives outside of the synth community which means it's not going anywhere. Worth noting is the interface of the VariOS and Noah were also much more rigid than the iPad. Physical knobs? Sit the iPad on a synth or MIDI controller with knobs and have them compliment each other.

Simply put, the iPad is a chunk of hardware with processing power and memory just like any other hardware synth. It's interface is a multi-touch screen and it can be hooked up to any external MIDI controller. It can be used as a synth, a controller, or whatever else you want it to be. Some say the processing power isn't there yet. True for some applications, and the same can be said for other hardware synths. All of this seems so obvious that I almost did not put this post up, but I keep seeing and hearing things... Let's just say I put the two posts above when this went up because I'm more interested in them. As the saying goes, "nothing to see here, please move on."

Think of the iPad as a rack mount synth that can morph into anything with an added multi-touch screen just for the heck of it, and you'll be just fine. The apps will define it for you though. If you don't see what you like, move on. The same goes for all other hardware synths. And no, it never will replace everything, it will just compliment it.

You can find my initial excitement on the iPad and all tablets for that matter here:
A New World in Synthesis.