How to set up a Yamaha EX5 for a YouTube synth jam (sound design)

video upload by Floyd Steinberg

"You are in possession of a #Yamaha #EX5 and you want to create a typical YouTube synth improvisation without breaking the synth community guidelines? This video walks you through all the steps necessary from sound design to key mapping, so you'll set up your machine for filter tweaking, arpeggiating and huge reverb in no time. ;-)

00:00 intro
00:24 hello
00:46 turn off all the internal effects
01:17 selecting a proper wave form
01:35 adjusting the amp envelope
02:00 filter setup
02:49 naming and storing the sound
02:57 setting up a control matrix: filter cutoff frequency
03:50 ... filter resonance
04:18 ... amp attack time
04:40 ... decay time
04:59 ... release time
05:25 stereo panning
06:16 oscillator fine tuning
06:34 controlled tuning
06:52 setting up insert effects: amp sim
07:13 setting up realtime control for the amp
07:49 important considerations
08:12 setting up a performance (multi mode)
08:25 choosing sounds
08:47 insert effects
08:57 note ranges (keyboard split), transposing
09:20 global effect setup
10:34 recording some patterns (instead of arpeggiating)
11:06 keymapping (assigning patterns to keys)
11:45 demo
15:48 bye-bye

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Yamaha TX816 FM Synthesizer Fully Loaded with 8 TF1 Midi Rack Modules SN 1512

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

via this auction

"The TX816 is a monster of DX and FM digital synthesis. It is a unique system in that it is a rack unit that could take up to eight TF1 modules. A TF1 module is basically a DX7 condensed down to a single circuit board with almost no front panel controls. Definitely designed for use with external hardware and software controllers the TX816 allows you to easily carry around up to eight DX7s! Software such as MOTU Unisyn, Emagic SounDiver, or even another DX7 can be used to program the sounds in each module via MIDI.

Each TF1 module consists of a 16-voice, 6-operator digital FM synth engine. So a complete TX816 with all eight TF1 modules would offer up to 128 voices and 48 operators! Each TF1 also features an independent audio out (XLR) and MIDI I/O for a total of eight audio outputs and MIDI I/O's. It also has one global MIDI in/out port with 8-part multitimbrality, but no common stereo or mix output.

The TX816 was designed for demanding live use where portability, polyphony, and lots of outputs are a must! The TX816 is fully compatible with all other DX synthesizers including Native Instruments FM7 software-based plug-in. You can use the TX816 like it's eight separate DX7s or mix and pan each module together to layer your sounds into one monstrous DX powerhouse! It has been used by Kitaro, Chick Corea, Michael Jackson, Europe, and Scritti Politti.

In the early eighties these sold for anywhere between $2,000 to $5,000 depending on how many TF1 modules were installed (from two to eight typically)."

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The NAMM Show Announces Return to Anaheim in June 2022

via NAMM

"We are excited to announce that The NAMM Show, the annual 'family reunion' of the global music, sound, and entertainment technology industry, will reconvene in Anaheim, California at the Anaheim Convention Center on June 3–5, 2022.

Previously scheduled for January 20—23, the new dates will offer global industry leaders, buyers, sellers, music educators, artists, media, and music makers the opportunity to reconnect and renew their businesses while taking greater advantage of reimagined indoor and outdoor events, activations, professional development sessions, an expanded digital reach and more at the crossroads of business opportunity."

And the press release:

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Yamaha TX816 FM Synthesizer 128 Voice SN 3202

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

via this auction

"Each TF1 module consists of a 16-voice, 6-operator digital FM synth engine. So a complete TX816 with all eight TF1 modules would offer up to 128 voices and 48 operators! Each TF1 also features an indepednent audio out (XLR) and MIDI I/O for a total of eight audio outputs and MIDI I/O's. It also has one global MIDI in/out port with 8-part multitimbrality, but no common stereo or mix output."

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Japanese Panel Yamaha SY20 w/ Built-In Speakers

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

via this auction

Note the labels on the front panel are in Japanese.

"The SY20 was Yamaha's last analog synthesizer model before committing to digital FM synthesis with products like the DX-series. It is an all-analog mono-synth that came out in 1982 but was never commercially sold outside of Japan, making it very rare. In fact, it was originally intended to be an "educational" synth to help students learn about synthesis. However, as most of the controls are labeled in Japanese characters, you will already need to be familiar with analog synthesizers (or Japanese) to grasp the SY20.

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Oops They Did it Again - Behringer Introduces the Swing USB MIDI Controller Keyboard

Update: see Arturia's & interface designer Axel Hartman's response further below.

Look familiar?

"32-Key USB MIDI Controller Keyboard with 64 Step Polyphonic Sequencing, Chord and Arpeggiator Modes

The Behringer SWING gives you full control over any synthesizer or virtual instrument in your DAW via USB or MIDI. Featuring a 64-step sequencer with an 8-note polyphonic sequence combined with 32 compact-sized keys and pitch and modulation touch-strips provide unlimited ways to express yourself in a compact and portable package.

The SWING’s 32-compact-sized keys create a perfect balance between size and playability. The keys give you the ability to create more nuanced and colorful passages with velocity and after-touch functionality. Use the Pitch and Modulation touch-strips to add even more character to your music. Chord Play Mode allows you to play a chord with up to 16 notes with one single key for some really enchanting Trance music. The SWING also features a 64-step polyphonic sequencer so you can create any progression imaginable and even play over it. Switch to Arpeggiator mode and create an amazing string of notes that can sync to the clock of any device the SWING is connected to.

The Mode knob on the SWING can select up to 8 saved programs in Sequencer mode, while in Arpeggiator mode, you can select different playing orders such as up, down, inclusive, exclusive, random, note order, double up and double down modes. Select from 8 different time signatures with the Scale knob and adjust the tempo with the Tempo knob or the Tap button. Press the Record button to start recording a sequence. This also doubles as an Append button when holding down Shift. Use this along with the Stop/Clear Last button and you can edit your sequences and arpeggios on the fly.

Update: And a response from Arturia followed by Axel Hartman who designed the physical look of the Keystep:

Arturia:

"Hello everyone,

We have been informed on Sunday November the 22nd of the upcoming release of a new product called Swing, by Behringer. This product is in no way the result of a partnership between Arturia and Behringer.

We have worked hard to create the _Step range. We have invested time and money to imagine, specify, develop, test and market the KeyStep. Along our distributors we have been evangelizing this product, placing it in stores, explaining it, servicing it.

Of course we accept competition, and would absolutely understand that Berhinger give their own interpretation of a small and smart controller that would also be a sequencer. Others do, we have no problem with that and see good for the customer, as well as for the industry, in fair competition.

But this is not fair competition here.

Coco Chanel once said: “If you want to be original, be ready to be copied”. So we could in a way consider the Swing as a compliment.


We could.

In any case, thank you, everyone who came out and supported us these past 36 hours! It's been very helpful, very much appreciated.

Frédéric Brun
Co-founder and CEO, Arturia"

Axel Hartman:

"I do feel the need to comment on the many postings I can find here @ Facebook in several places regarding my thoughts, feelings, but also the truth about the blunt Behringer copy of the Arturia key step.

Arturia and myself, aka my company design box are designing instruments, synthesizers, controllers, interfaces since many years. As industrial designer, I contribute mostly my services on the asthetical side of a product. This is true for almost all hardware products that you know from Arturia. In all cases, Arturia is buying my services - I never licensed any of the designs. Arturia always pays, and naturally owns the output of my work, that - by the way - is alway the result of an in-depth cooperation with their internal team of specialists.

Arturia and myself are working together since many years, and we share the deep desire of designing innovative products. I could never share any of the designs, that came out of that cooperation with any body else, legally not, and not from my personal high attitude in that regards. So anything, pointing in that direction is simply fake information. Neither the company Behringer, nor Uli himself have ever approached me with a request like that. And I would also never ever do something like that - I can not license anything that is not in my possession.

Personally, I feel sad, and am also upset about that sheer copy of a design, that I once created for, and together with Arturia, the team around Frederic Brun. These people have spent lots of efforts and great energy in building a brand and all that belongs to a brands assets. It is simply not right, somebody else is taking advantage of that hard work (which is not only true for Arturia, but for all great brands, that must see their most successful products being copied) I do not understand (Uli) Behringer - with his huge company and the power of many great R&D teams - some of the best and most respected and innovative companies we know in our business, that Uli was able to simply buy in the past with his money. A product like that copy simply can not represent the core values of the people, he could convince to be part of his company. It is simply sad, and I can not understand that move (like many, it seems)."

And then there's the following mock-up from Atomic Shadow that pretty much sums it up:

Update via Wikipedia: "Music Tribe, formerly Music Group, is a holding company based in the City of Makati, Metro Manila, Philippines.[2] It is chaired by Uli Behringer, founder of Behringer. Music Group rebranded to Music Tribe in December 2017.[3]...

In 2015, Music Group's portfolio included Midas, Klark Teknik, Behringer, Bugera, Eurocom, Turbosound, TC Electronic, TC-Helicon, Lake, Lab.gruppen, Tannoy, TC Applied Technologies and CoolAudio[6]"

Update: And Behringer's response via Musictribe:

"Since various magazines and Arturia have publicly called us out over the launch of our Swing MIDI Controller, we would like to respond and share some facts around the principles of competition and clear up some misconceptions.


Competition is a highly effective tool to drive innovation by empowering Customers to make their best choices and force manufacturers to constantly reinvent themselves. Innovation means progress and this happens on many levels, whether it relates to customer experience, functionality or cost efficiencies etc.
There are 4 established marketing strategies: market leader, market challenger, market follower and market nichers. Here is a great article: https://aytm.com/blog/brand-positioning-for-a-competitive-edge-part-3/


The competition law was designed to avoid companies creating a market monopoly and stifle innovation, which would be detrimental to the rights of the Customers to expect better offerings. The law was specifically designed to encourage everyone to fiercely compete, even when it means over the same functionality and design, provided intellectual property such as utility (functional) and design patents as well as trademarks etc. are respected.


How many Fender Stratocaster or Gibson Les Paul clones are out there in the guitar world and how many SM58 clones are available? How many cars or mobile phones look alike? It is not surprising that Gibson recently lost a substantial legal case trying to prevent others from making V-shape guitars or Fender, who lost all trademark cases related to their Stratocaster design.
The reason is simple: the law encourages competition and provides maximum freedom for companies to engage head-on, all for the benefit of the Customer.


We are spending large amounts of resources on innovation, which is reflected in products such as X32, XR18, Flow, DDM4000, etc. This made us the global market leader for analog and digital mixers and over the years we have built an extensive patent portfolio:
https://community.musictribe.com/pages/intellectual-property
However, we also clearly choose to follow successful brands and products, while adding more features and/or competing on price. Much of our innovation is invisible to the Customer as it relates to our highly advanced and automated design and manufacturing processes and for that we are spending hundreds of millions of US$.
For this reason, we have become strategic partners with Microsoft, Siemens, Adobe and many other Tier 1 companies as we are pushing for extreme digitization and automation.


The follower marketing strategy is a very common business model in any industry, which is enabled by law to encourage competition. With our new Swing MIDI Controller, we followed an established concept, but of course wrote our own firmware with added functionality. However, these unique features will only come to life when we launch our free DAW.


The free Music Tribe DAW will form the heart of an incredible eco-system, where all our controllers, synthesizers and drum machines etc. will integrate seamlessly, thus dramatically improve connectivity and workflow. This will make it incredibly easy for our Customers to create, edit and share their music.
Only our upcoming controllers will feature total integration with our synthesizers, drum machines, digital mixers and other Music Tribe equipment, while also offering standard functionality with all 3rd party products.


For anyone familiar with the industry landscape, Arturia has been cloned for years (Worlde MiniMidi, etc.), while the company has also been “borrowing” from others with their VST replicas of legendary hardware synths, open-source code from Mutable Instruments, the “Expressive Touche” controller or the registration of known “DX7” and “Synthi” marks. Equally, our own analog Xenyx mixers and many other products have been widely cloned.
¬We will absolutely continue to deliver innovative products but also follow our competitors as we expect our products to be cloned - fair play.


We are very cautious when it comes to our follower approach and employ expert intellectual property firms to ensure our products stay within the boundaries of the law; we are committed to never intentionally infringe on other companies’ intellectual property.


Many years ago, we were entangled in bitter lawsuits with Mackie and Pioneer, which we all won. But we also recently lost a case against Yamaha in China related to a simple fader knob design that involved a design patent we were unfortunately not aware of. We changed the design, we will pay the fees and move on. Notably, Yamaha themselves were sued by Dr. Dre over their headphone designs (https://www.cnet.com/news/dr-dre-sues-yamaha-over-headphones/) or entangled in other legal matters (https://www.gov.uk/government/news/musical-instrument-firms-to-pay-millions-after-breaking-competition-law), which clearly shows how competitive business is. The heated Apple versus Samsung disputes are a prime example.


It is our Purpose and Mission to empower Customers who don’t have deep pockets and provide them with the best possible equipment at fair prices. We do understand that we are a fierce competitor and at times controversial as we’re relentlessly push the envelope.


We would like to thank all our Customers who have supported us over the past 30 years. We are absolutely committed to continue to deliver the best possible products at the lowest possible cost."

The Yamaha CS15 Analogue Synthesizer from 1979 - a forgotten beauty

Published on Feb 21, 2020 Alex Ball

"I've had a dozen requests to cover this synth and I said I'd do it if I was able to get hold of one and I'm glad to say that that happened.

The CS-15 is a two-oscillator analogue monosynth from 1979 that has an awful lot more to it than meets the eye. The signal and control routing is so much more flexible than many other comparable synths from this era that command legendary status and so I'm kind of baffled as to why the CS-15 doesn't seem to be held in the same high regard.

What's so good about it?

Two great sounding oscillators with triangle, sawtooth and pulse and a crazy wide range from clicks to stuff only dogs can hear.

The LFO runs up into the audio range and so the pulse width and oscillator frequency can be modulated at audio rate for cool cross mod and pulse-width distortion FX. This can be done discretely to either oscillator to taste.

The filters - There's two and they're multimode / state variable! Contouring can come from either of the two envelopes and can be positive or negative and you can do audio-rate modulation of the filter because of that LFO mentioned earlier.

The VCAs - There's two (notice a pattern here) and they can have their own envelope contouring and/or be modulated by the LFO (again right into the audio range).

Envelopes - There's (drum roll) two! They're super snappy or long and loose as there's a switch to extend the time period from x1 to x5. They can be triggered by an external signal as well as the keyboard.

Signal Routing - VCO 1, noise or an external signal can run through VCF 1. VCO 1 and VCO 2 can run through VCF 2.

Rear Control - CV and trigger? Yep, there's two of each. You can control the oscillators and envelopes discretely (I don't know of many comparable synths from this era that allow for that that aren't modular).

Anything else? Yes; portamento, glide (positive and negative and discrete for each oscillator), pitch bend and dual or signal filter control in the performance section.

So what's wrong with it?

LFO can't be retriggered with note on or clocked, there's no oscillator sync, the filters sound great but they're 2-pole and don't self-oscillate, there's no global LFO control in the performance section and despite being able to make two entirely different sounds at once, there's only a mono output.

But all in all, it's a very versatile and powerful synth considering its era and the prices have tended to remain less than even the Roland SH-101 which is far more limited. It's certainly much cheaper than an original Pro~One, MS-20 or Odyssey that are held in high regard (I have all of those and love them too btw).

Anyway, I hope this answers the question for those who asked it."

The Mighty CS-80

Published on Feb 18, 2020 GForce Software

"GForce Software’s Dave Spiers and ace CS-80 tech Kent Spong (together with occasional contributions from Ken Freeman and salient comment from Matt Berry) take an in-depth look at one of the most exquisite and iconic polyphonic synthesisers ever made, the Yamaha CS-80.

Opening CS-80 Track: 00:03
History & Overview: 02:17
Mix Panel Controls: 08:02
Global Controls: 15:47
Ribbon Strip: 24:47
Ring Modulator: 27:56
Presets: 31:08
CS-80 Funk Interlude: 38:57
Performance & Effects Panel: 40:35
Summary: 44:20
Selected CS-80 Users: 47:22
Outro CS-80 Track: 50:01
Credits & Kent Spong CS-80 Track: 51:52"

Unnofficial Volca FM firmware 1.08 Update

Published on Oct 19, 2019 ranzee

Disclaimer: this is an unofficial update. Install at your own risk. Posting this only to let you know it exists. This was sent in via @dashcammusic. You can find the download link and comments at this reddit thread. Also, not sure why the download link would expire tomorrow.

"Volca FM firmware 1.08 [UNOFFICIAL] - velocity on note in, LFO fix, patch transfer, more CCs etc.
TLDR; I hacked the Volca FM firmware, fixed a bunch of really old bugs, added some features.

I have received a lot of feedback from people requesting the "1.05" FW (that added velocity on MIDI in) that I posted this spring. In June, I made a 1.06 version that added a bunch of other stuff as well. Big THANKS to the small group of beta testers that helped me evaluate that :-)
Imagine my surprise when KORG did the september FW drop - I thought the older Volcas were orphaned. But they did release FW for the FM - and still ignored the bugs! It was a bit rich. Now I have grafted my tweaks onto the 1.07 FW - you guys like it super fresh I imagine.
Check the KORG official FW update instructions carefully. 2 files need to go through for this to work as intended. Make sure no other sounds are playing, and use 44.1kHz native sample rate.
I take no responability whatsoever if you manage to mess up your FM. THIS IS ON YOUR OWN RISK.
Get it here: https://we.tl/t-gADWuRk37k (expires on oct 24th)

Change log (from ORIGINAL KORG fw (1.03, 1.04, 1.07)):

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Press Release for Yamaha's Major OS Updates for MONTAGE, MODX and CP Stage Piano

Published on Sep 23, 2019 Yamaha Synths Official

Update: Playlist above added.

Montage OS v3.0 | New Features
Montage OS v3.0 | Pattern Sequencer
Montage OS v3.0 | Global Tuning
Yamaha CP88 OS v1.20 | Sound Demo

Related posts:

Yamaha #Synths1974 Live from Japan | Innovation Road Tour
Yamaha #Synths1974 Live from Japan
MONTAGE OS V3.0 Sound Demos
White Montage + OS V3 Updates from Yamaha Japan
BoBeats: Yamaha MODX 2.0 Update — How to get started with the new sequencer
Yamaha Synth Story & the Montage White & MODX OS v2.0
You can also see the Yamaha Label at the bottom of any related post for more.

High level overview of what's new:

"Yamaha has launched major operating system updates today to three Synthesizer product lines as part of the celebration of the 45th Anniversary of Yamaha Synthesizers: MONTAGE OS v3.0, MODX OS v2.0 and CP OS v1.2, building on feedback from users. Yamaha has added significant features to all three synths:

MONTAGE OS v3.0 and MODX OS v2.0:
Pattern sequencer
Improved synth engine
Wave Folder effect
Hybrid MIDI mode
New Performance content

CP OS v1.2
30 new Voices in the CP Sub section
More assignments and range parameters for the foot controller and mod lever
Quick navigation features like LIVE SET Reset and Quick Enter
MONTAGE OS v3.0 and CP OS v1.2 are available for free download now; MODX OS v2.0 will be available October 25.

And the official press release:

Yamaha Synthesizers Launches Major OS Updates for MONTAGE, MODX and CP Stage Piano

BUENA PARK, Calif. (September 23, 2019) – Yamaha launched major operating system (OS) updates today to three Synthesizer product lines, integrating features, enhancements and content based on feedback from the community of synth artists.

As part of the larger celebration of the 45th anniversary of Yamaha Synthesizers, the company unveiled the enhanced operating systems MONTAGE OS v3.0, MODX OS v2.0 and CP OS v1.2. These new OS versions are designed to help music makers get the most out of their instrument and take inspiration from input submitted to Yamaha by users.

The flagship Yamaha synth MONTAGE gets its sixth free OS update in v3.0, a first for any Yamaha synthesizer, and its more compact counterpart MODX takes on a similar array of added features in its v2.0 OS. The biggest new feature is a pattern sequencer, ideal for creating and playback both linear songs or pattern-based arrangements with real time arrangement control. There’s also an improved synth engine, with Virtual Circuitry Modeling Mini Filter and Mini Boost effects for vintage synth-style sounds. Yamaha has also added a Wave Folder effect for adding complexity creating more experimental sounds as well as a high-speed LFO for even more creative possibilities. Improved MIDI capability with a hybrid MIDI mode makes integrating MONTAGE or MODX with MIDI gear even easier. In addition to these major new features and capabilities, MONTAGE OS v3.0 and MODX OS v2.0 both come with a collection of new Performance content created by Yamaha artists and sound designers.

OS v1.2 for the Yamaha CP stage pianos represents the second major OS upgrade for this product line. Responding to user input, Yamaha has added 30 new Voices to the CP Sub Section. The foot controller and mod lever now have more assignments and range parameters so musicians can have them work within a chosen range. Quick navigation features like LIVE SET Reset and Quick Enter have been added to streamline the CP’s interface even further.
“We constantly receive great feedback from our users,” said Nate Tschetter, product marketing manager, Yamaha Synthesizers. “It’s great to be able to realize that input with three new OS updates. We hope these new enhancements inspire more music-making with MONTAGE, MODX and CP and look forward to helping people get the most out of their instruments.”

Pricing and Availability
Yamaha MONTAGE OS v3.0 and CP OS v1.2 are currently available via free download to all MONTAGE and CP stage piano users. MODX OS v2.0 will be available via free download to all MODX users on October 25. For details see http://4wrd.it/45THOSUPDATES

For more information about Yamaha Synthesizers, visit www.YamahaSynth.com

Casio VZ-10M Interactive Phase Distortion FM synth ( rack version of VZ-1 )

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

via this auction

You can find a video demo of the VZ-10m posted here.

"This VZ-10M is identical to the VZ-1 keyboard in functionality in a smaller, rack mountable package. Working great and sounds awesome. A unique feature on this is that in addition to the unbalanced outputs, it also features a TRS and XLR jack for a stereo mix output.

Very Rare! Casio RA-500 RAM CARD for Casio VZ-1, VZ-10M, 8M, PG-380 is included. Each RAM card holds up to 64 VZ-10M patches and 64 VZ-10M operation memories.

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Adamski ft. Seal - 'Killer' Deconstruction in Ableton + Adamski Interview

Published on Mar 13, 2019 Point Blank Music School

"For this extra special deconstruction, Ski Oakenfull was joined by Adamski himself to delve into the magic behind his global Seal-featuring hit, 'Killer'. Shown here is also the Roland TR-909 and the Ensoniq SQ-80." And the Yamaha RX120.

The live version featured:

Adamski Feat' Seal Killer - 1990 Top of the pops


And the original:

Adamski & Seal - Killer (Original Video Clip)

Published on May 30, 2007 moonfloated

"This was THE BEST video clip made by Adamski and vocals by Seal !"

Power DX7 Going Global Part 5 - San Francisco, America 4K

Published on Jul 27, 2018 Power DX7

"Now I'm going to another amazing place in America!!

What a beautiful city, San Francisco is!

Best result using 4K TV!

Music created using only Yamaha DX7 MK1 (except drums). It's a re-mix version of 'Soft Dance'.
- Waaah Male Choir
- Soft Square Bass
- Gamelan like bells
- Saw Filter Sweep
- Slow Ice Strings
- Soft, Warm and Silky Pad"

Yamaha CS5 repair tips/demo/feature review

Published on Jun 14, 2018 sounddoctorin

"Bob Weigel of http://www.sounddoctorin.com shows a peculiar manifestation of a bad IG00156 vcf chip in the Yamaha CS5 synthesizer from 1978. Pardon absence of highest frequencies that my camera and audio at 22khz doesn't register but I was hearing those shrill upper notes here and sounded reasonably in tune :-) . I added a description of this issue to my global synth resource pages for synths using this vcf in case others see this failure mode."

Yamaha CS80 Sustain & Portamento test

Published on May 29, 2018 Michael Geyre

"after some requests regarding the Deckard clone, i've made that short video where i'm testing reactions of Global Sustain 1/2 compared to user presets release
pretty interesting, as it shows:
- when adding global sustain, it adds on both vcf/vca
- sustain 1/2 switch is functionning when you add release on your user preset
- release is a bit longer when using the one on user presets (than global release)
i've been using that instrument for 20 years, i'm still amazed by its sound and expressiveness
Ribbon is active on all notes in sustain 2 mode, only on played (not released) notes in sustain mode 1"

Yamaha Expands Soundmondo Sound-Sharing Website to Include MONTAGE Content

Published on May 9, 2018 Synthtopia

"At Superbooth 2018, Yamaha's Blake Angelos gave us a quick update on Soundmondo, and its new support for the Montage synthesizer."

And the press release:

BUENA PARK, Calif. (May 3, 2018) – Yamaha is expanding Soundmondo, the groundbreaking social sound-sharing website originally conceived for sharing reface Mobile Mini Keyboard sounds. Soundmondo now supports the MONTAGE Music Synthesizer, broadening its technological and user base to include an immense source of content.

Since launching in 2015, Soundmondo users created over 20,000 free reface sounds online. Now, MONTAGE users have the ability to explore and share new content of their own on a daily basis. To launch this new branch of the network, Yamaha produced 400 MONTAGE Performances, including content from the original DX ROM Cartridges, special content from Yamaha Music Europe and 16 original Performances from legendary synthesizer sound designer Richard Devine. Along with the content, Soundmondo is free for all MONTAGE users.

Soundmondo makes it possible to organize Performances into set lists, add demo audio/video and discover new pieces made by the global music-making community. All content is accessible via Google Chrome or the newly-launched Soundmondo (formerly “reface Soundmondo”) iOS app.

The MONTAGE Music Synthesizer, introduced in 2016 and enhanced with four major OS updates since then, represents a new era in synthesizer technology, offering unprecedented levels of control in sound and workflow.
“Soundmondo is to sound what photo-sharing networks are to images,” says Nate Tschetter, marketing manager, Synthesizers, Yamaha Corporation of America. “It’s a great way to share your sound experiences and get inspiration from others.”

For more information, visit http://4wrd.it/soundmondo

Introducing ES01 Rack Extension Based on the Yamaha CS-01

Published on Feb 16, 2018 Ekssperimental Sounds Studio

"The ES01 is a faithful recreation of a beloved analog classic. While the hardware which the ES01 is based on was originally marketed as an entry-level synth, it is still a popular tool of many professional artists for its ease of use in getting great sounds, particularly leads and bass lines.

The ES01 is not a 1:1 emulation - it also has additional features like Sub Oscillator, Unison and last but not least, Polyphony. The Touch Data Programmer with its Global Settings and modulation matrix together with the CV connectivity of the Reason Rack gives ES01 massive tweaking possibilities. This all makes the ES01 unique and quite capable of producing many classic analog synth sounds like fat basses, vibrant pads, synthetic arpeggios and leads that cut through the mix.

Ekssperience the sound of the past with the possibilities of the future with the ES01 Analog Synthesizer."

Yamaha Introduces Montage 2.0 OS Update Featuring MOTIF Compatibility & More

Published on Jan 25, 2018 Yamaha Corporation

"Yamaha MONTAGE OS Version 2.0 Adds MOTIF Compatibility, New Control and Workflow Enhancements

ANAHEIM (January 25, 2018) — Yamaha today released MONTAGE OS version 2.0, the fourth free firmware update to its flagship synthesizer line. Yamaha has continuously updated MONTAGE with new content as well as sound, control and workflow enhancements. Now, MONTAGE OS v2.0 adds full Voice and Performance compatibility with recent MOTIF series instruments, additional control and workflow improvements.

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

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

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

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

'With its absolute realism across acoustic and electronic Voice categories, plus the FM-X engine and extensive control and modulation options rivaling modular synths, MONTAGE was already the most powerful and versatile synthesizer in the world when it launched,' said Nate Tschetter, marketing manager, Yamaha Music Production. 'With OS v2.0, MONTAGE advances even further ahead of any other synthesizer in terms of sound, control and workflow.'

Pricing and Availability

Yamaha MONTAGE OS v2.0 is a free update and will be available to all MONTAGE users February 07, 2018.

For more information, visit the Yamaha Booth at the 2018 NAMM Show in the Anaheim Marriott Hotel, Marquis Ballroom, January 25-28, 2018, or http://4wrd.it/MONTAGE"

Waldorf Demos with Saga's Jim Gilmour at the Frankfurt Musikmesse in 1992

Saga - Jim Gilmour Demo - Musikmesse Frankfurt 1993 1992 Published on May 12, 2013 MadSevenFilms

"Jim Gilmour ( Saga keyboardist) in a demo at the Waldorf stand during the musikmesse in Germany.
Humble Stance, Wind Him up, Don't be late, Careful where you step, On the loose,etc ...."

Update: according the swissdoc, these videos are actually from 1992. That would make the appearance of the prototype Wave in 1992, not 1993. This post has been updated to reflect that. Note swissdoc's write-ups are from 1993 as you can see in the datestamps for the links, and I believe the production model Wave was indeed released in 1993.

Here's a blast from the past featuring a bit of Waldorf history in via swissdoc. This may very well be the only Waldorf footage from the event. Check out the non-working prototype of the Waldorf Wave in the background. 1992 was the year it made its first appearance to be released in 1993. Note the Microwave rack was released earlier in 1989. Further below you will find some notes on Musikmesse 1993 (the following year after these videos) from swissdoc, followed by a transcription of the Wave flyer. This is a fascinating look back on synth history. But first, one more video from the 1992 Musikmesse.

Update2 via swissdoc: "In addition, for those who can read and understand German, there is a big series of three articles available for download (email has to be provided) from the German Keyboards magazine. Inside Wave. Amazing level of detail plus in part three an interview with developers and users plus additional interviews with the people behind the Wave.

https://www.keyboards.de/heftarchiv/1994-10/inside-wave-1-wave-intro/
https://www.keyboards.de/heftarchiv/1994-11/inside-wave-2-tech-talk/
https://www.keyboards.de/heftarchiv/1994-12/inside-wave-3-wave-story/"

Update3: The following scans have been added to the bottom of this post:
Messe.1992.TSI.Messeinformation
Messe.1992.Preliminary.Wave.Info
Messe.1993.TSI.Show.Information
Messe.1993.Wave.Flyer

Saga - Jim Gilmour Scratching the surface - Musikmesse Frankfurt 1993 1992

Published on May 13, 2013 MadSevenFilms

"Jim Gilmour ( Saga keyboardist) in a demo at the Waldorf stand during the musikmesse in Germany.
Scratching the surface"

---

The following is a Musikmesse 1993 recap via swissdoc aka George Mueller, who attended, from way back in 1993 (you'll find a transcript of the Waldorf Wave flyer text further below). P.S. for a quick look at the gear released at the 1993 Musikmesse see here and here, both from swissdoc.

"Before I go into this Wave stuff, I'd like to tell you a little about the Frankfurt Musik Messe. Those restless gear junkies, skip the next 24 lines.

The Frankfurt International Music Fair was held for the 14th time and was attended by a record number of exhibitors: 1194 from 40 contries. So it's the leading event for the music business.

The Messe Frankfurt has 10 halls of different sizes, three of them are used by the Musik Messe. Hall 9.0 is the most interesting, it's for electronic instruments, 9.1 is for guitars and amps, 9.2 is for stage light, sound and mixers. These halls are middle in size, rows range from A to F, with booth numbers up to 90 each. Hall 8 is for acoustic instruments and publishers; it's funny, all that noise from test-playing violins, flutes and so on. This is the biggest hall, rows from A to P. The monster booth of Yamaha is in the back of this hall with all their synths, FXs and personal keyboards. So it's a long walk to Yamaha. It's a bit risky in this hall, if you enter one booth, browse thru the pages of some book, after talking to the salesman you probably lost your orientation. Hall 10.1 is reserved for grand pianos and uprights. No elctricity allowed there.

It's funny, when you change from 9.0 to 9.1, all those long haired heavy metal guys. One amp or guitar company has a Hard Rock Cafe at their booth, evertime overcrowded with guys drinking cocktails or beer.

So, here we are, the promised report on the TSI shows WAVE MUSIC DEMO and INSIDE THE WAVE.

CLICK FOR MORE »

GForce Intros RE STRINGS for Reason w/ Billy Currie Interview & Freeman String Symphonizer Overview

Published on Apr 11, 2017 GForce Software

"RE-STRINGS is our Rack Extension version of the award winning VSM and contains a selection of its most popular and iconic String Ensembles including: ARP Quadra, Crumar Multiman, Elka Rhapsody, Eminent 310, Freeman String Symphonizer, Godwin String Orchestra, Hohner K4, Junost 21, Korg Lambda, Korg PE2000, Logan String Melody II, Mellotron Violins, Moog Opus III, Roland VP330, ARP Solina, Technics KN200, Yamaha CE-25 & Yamaha SS-30.

With it's dual layer capability, it's possible to load the classic string ensemble sounds from years gone by or create your own hybrid ensembles.

Legal Notice
All musical instrument manufacturer and product names are trademarks of their respective owners and in no way associated or affiliated with GForce Software Ltd. The trademarks of other manufacturers are used solely to identify the products of those manufacturers whose sounds and technical data were studied for this instrument. All names of instrument inventors have been included for illustrative and educational purposes only and do not suggest any affiliation or endorsement of GForce Software Ltd."

Billy Currie talks String Synths, VSM & RE-STRINGS

Published on Apr 11, 2017 GForce Software

"During the process of creating patches for RE-STRINGS Rack Extension, we talked with Billy Currie about his use of String Ensemble keyboards over the years and how the Elka Rhapsody and Yamaha SS-30 contributed to some of Ultravox's classic tracks.

Billy also talks about how valuable the VSM and RE-STRINGS libraries are to him and how they've been used in his latest album, Doppel."

Freeman String Symphonizer

Published on Apr 11, 2017 GForce Software

"A brief walkthrough of the Freeman String Symphonizer, invented by Ken Freeman, sounds from which are in both VSM and RE-STRINGS.

The Further Adventures of K.FREEMAN and his Incredible Machine of a Thousand Strings courtesy of I Monster - BRIGHT SPARKS album. www.imonstermusic.com

Ken Freeman footage courtesy of BRIGHT SPARKS Documentary
http://brightsparks.movie"

via Propellerhead

"50% OFF Release Offer! 2 weeks.

The modern, polyphonic string synthesiser was invented in 1970 by Ken Freeman, a British keyboard player and engineer who discovered that if you layered two notes then detuned and slightly modulated one a pleasant ‘chorused’ sound resulted. Over the next 10+ years Ken’s initial discovery spawned an industry that saw the manufacture of more than one hundred ‘string machines’ and multi-keyboards.

Although viewed by some as a one-trick-pony or a poor man’s polysynth, string machines had so much character they’ve graced tracks by artists as diverse as; Lonnie Liston Smith, Air, Pink Floyd, The Cure, Parliament, Herbie Hancock, Camel, Joy Division, Jean-Michel Jarre, Thomas Dolby, Tonto’s Expanding Head Band, Genesis, Toni Tone Tony and countless others.

Product details
Based on our award winning Virtual String Machine (VSM), RE-STRINGS comprises 67 individual sample sets from a plethora of classic analogue string ensembles including the ultra rare (and first) Freeman String Symphonizer, the highly coveted Solina, the eminently desirable Eminent 310, the highly-lauded Logan String Ensemble, plus several other classic (and not so classic) string machines.

Each sample set spans 49 notes (4 octaves), each individually sampled and looped, plus RE-STRINGS contains a 700+ patch library created by respected patch designers including legendary string machine user and keyboard maestro, Billy Currie.

With Dual Layer capabilities - each layer comprising of a Lowpass, Bandpass & Highpass Resonant Filter Section, Two Envelope Generators, Pitch or Filter LFO, Dynamic control including filter aftertouch - if you want to create your own hitherto unrealised hybrid combinations of classic and evocative string ensembles, it’s a cinch. Finally, global vintage style Ensemble & Phaser effects are provided, allowing you to hone your sound to evocative, retro, string ensemble perfection.

RE-STRINGS includes string tones from the following classic instruments ARP Quadra (1978) Crumar Multiman (1975) Elka Rhapsody (1975) Eminent 310 (1972) Freeman String Symphonizer (1973) Godwin Model 749 String Concert (1980) Hohner K4 (1977) Junost 21 (c 1986) Korg Lambda (1979) Korg PE2000 (1976) Logan String Melody II (1977) Mellotron (1963) Moog Opus III (1980) Roland VP330 (1979) Solina String Ensemble (1974) Technics KN200 (1982) Yamaha CE-25 (1983) Yamaha SS30 (1977)"