Soul Calibur 3 Voice Files For Yamaha

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[26]
Abyss
Amy / Pyrrha / Lynnette
Astaroth
Cassandra
Cervantes
Ivy
Kilik
Maxi
Mitsurugi
Night Terror
Nightmare
Olcadan
Raphael
Rock
Seong Mi-na
Setsuka
Siegfried
Sophitia
Taki
Talim
Tira
Voldo
Xianghua
Yoshimitsu
Yun-seong
Zasalamel
[6]
Girl
Man
Old Man
Old Woman
Woman
Young Man
[27]
Abyss
Amy / Pyrrha / Lynnette
Astaroth
Cassandra
Cervantes
Ivy
Kilik
Lizardman
Maxi
Mitsurugi
Night Terror
Nightmare
Olcadan
Raphael
Rock
Seong Mi-na
Setsuka
Siegfried
Sophitia
Taki
Talim
Tira
Voldo
Xianghua
Yoshimitsu
Yun-seong
Zasalamel
[2]
Narrator
Unused Voice
[6]

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The new Yamaha Genos™ platform greatly expands the number of DSP insertion effects for styles and MIDI songs. No doubt, you would like to put these insertion effects to work in your own styles and MIDI songs. This blog post should help you get started. There are 28 insertion effect units at your disposal:.

Insertion Effect 1 to 19: Keyboard parts (RIGHT1, etc.) and Song channels 1 to 16. Insertion Effect 20: Microphone and Song channels 1 to 16. Insertion Effect 21 to 28: Style Parts (except Audio Styles). Within the constraints of these three groups, any Insertion Effect unit within a group may be assigned to any audio source associated with the group. I will use the terms “Insertion Effect” and “DSP effect” interchangeably. This is true when you delve into the Yamaha XG parameters, too. With all this flexibility, effect resource management can easily get out of control.

I’ve developed a few personal guidelines to help keep things organized:. Genos assigns RIGHT1, RIGHT2, RIGHT3, and LEFT to Insertion Effects 16, 17, 18 and 19. Avoid using these Insertion Effect units in a MIDI Song.

Assign the remaining Insertion Effect units on a 1-to-1 corresponding basis: DSP unit 1 to Song part 1, DSP unit 2 to Song part 2, etc. These simple guidelines make it easier to manage track DSP usage when doing the busy-work of Song editing. Genos also provides a Variation Effect which can be configured as either a System effect or an Insertion Effect. Let’s not even go there for now.

The Variation Effect offers additional opportunities for signal routing and control. Unfortunately, opportunity comes at the cost of complicated configuration. If you want more information about using the Variation Effect, here’s a pair of blog posts for you: and. It’s simple then — each DSP unit (Insertion Effect) corresponds to a single Song part. Each unit and its part have the same identifying number.

If you’re sequencing on the Genos itself, you can assign Insertion Effects to Style and Song parts using the Mixer. Go to the Mixer, touch the “Effect” tab at the Left of the screen, and then touch the “Assign Part Setting” button. Genos displays the insertion effect assignment dialog box where you can make assignments. This dialog box is a good way to check that your MIDI sequence is making the correct assignments, too.

I do my MIDI sequencing and editing in BandLab Technologies SONAR (formerly Cakewalk SONAR). This means configuring DSP effects via System Exclusive (SysEx) MIDI messages. Many people fear SysEx because the messages are encoded in hexadecimal numbers. I’m going to give you a head start. At a minimum, we need to create two SysEx messages for each Insertion Effect:. One message to assign the DSP unit to the Song part, and.

One message to select the DSP effect type (e.g., British Legend Blues). This is enough to assign a DSP effect preset (and its algorithm) to a Song part. Once assigned and the MIDI sequence is loaded, you can edit the effect parameters in the Genos GUI by spinning the faux knobs and such. When you hear a setting that you like, you can translate the settings into additional SysEx messages and incorporate the messages into the sequence using a DAW like SONAR. First things first. The SysEx message to assign the DSP unit to a Song part has the form: F0 43 10 4C 03 XX 0C YY F7 where XX is the DSP (Insertion Effect) unit number and YY is the Song part number.

The only potential gotcha is MIDI unit and part numbering — it starts from zero instead of one. For example, let’s assign DSP unit 6 to MIDI part 6.

(I’m assuming that the MIDI part and channel numbers are the same; the usual default situation.) In this example, XX=5 and YY=5, so the final SysEx message is: F0 43 10 4C 03 05 0C 05 F7 Straightforward. You may already be aware that hexadecimal (hex) is a way of counting (i.e., representing numeric quantities) in base sixteen.

The hex digits 0 to 9 have their usual meaning. Hex digits A, B, C, D, E, and F represent the numeric quantities 10, 11, 12, 13, 14, and 15, respectively, when those quantities are written in base 10, decimal notation. You’ll need those hex digits when connecting DSP units 10 to 16 and Song Parts 10 to 16. I’m pleased to announce my collection of Motif performance styles for the Yamaha PSR-S950 arranger and its close cousins: Tyros 5, PSR-S770 and PSR-S970. Motif and MOX are great song-writing machines with thousands of built-in musical phrases. In Motif-speak, these phrases are called “arpeggios.” Motif/MOX also have built-in “Performances” which combine these musical phrases into jam-along song starters.

Although Motif-series workstations are not arranger keyboards, the Performances are fun for live jams, covering many modern genres (contemporary jazz, funk and R&B) which are underserved by arranger workstations. To fill this gap, I translated 23 Motif performances to PSR/Tyros styles.

In keeping with the original source material, these styles are stripped down and lean. No orchestration to get in the way! Some styles use only bass and drum. INTROs and ENDINGs are short and basic. Depending upon the source performance, a translated style may have only three MAIN sections. However, all styles bring the groove. Many of the styles use Megavoice bass and guitar.

Plus, I’ve added appropriate OTS voices. Of course, you’re welcome to ditch the OTS voices and replace them with your own. Here is the link to the ZIP file:. The file unzips into a directory named “PERFforS950”.

The ZIP file includes a short READ ME file with more information. If you would like to know how I translate a Motif/MOX performance to a PSR/Tyros style, please read the following articles:.

Posted inTagged,. This is part 4 of a series of articles about DSP effects for electric pianos and other electrified instruments like guitar. The first three articles are:. This article covers two more techniques that should help you create and apply DSP effects to PSR/Tyros voices. Beg, borrow and steal As Picasso once said, “When there’s anything to steal, I steal.” I’m not encouraging larcency or piracy, but when there’s a good effect in an OTS or voice, copy and paste is the way to go. I like writing these blog posts because they encourage me to learn more about PSR/Tyros features that I might have ignored or overlooked. Such is the case with the section titled “Disabling Automatic Selection of Voice Sets” in the Reference Manual.

This features gives us a way to selectively copy certain aspects of a voice to another (new) voice. This feature is like a “mini-freeze” that applies solely to VOICE SET, not entire registrations. Navigate to: FUNCTION E REGIST SEQUENCE/FREEZE/VOICE SET then TAB over to the VOICE SET page. There are four buttons at the bottom of the page controlling, respectively, four aspects of voice loading when a voice is selected: VOICE EFFECT EQ HARMONY/ECHO When a button is ON, the corresponding voice parameter settings are loaded automatically from the selected voice. When a button is OFF, the corresponding voice parameters settings are not loaded. So, if we set the button for EFFECT to OFF, we essentially “freeze” the current effect settings. When we load a new voice, the effects remain the same.

This gives us a poor man’s copy and paste between voices. Let’s say that we like the distortion effect on the “Clavi” voice and want to apply it to “VintageEP”. First, I load the Clavi voice to call up the DSP effect. Then, I navigate to the VOICE SET page (as described above) and turn the EFFECT button OFF. This freezes the effect part of the voice programming.

Then, I select the VintageEP voice. Voila, the VintageEP voice plays using the distortion effect that was frozen. Wait a minute!

Once you save the VintageEP voice to the USB drive or an OTS button, be sure to unfreeze the EFFECT aspect of voice loading. If you don’t do this, you will surely wonder why all of the voices you load are distorted!

Hey, where’s the loot? The built-in voices are the most obvious source of inspiration for new basic voice plus effect combinations. Yamaha need to maintain backward compatible voices, however, and the older voices such as the electric pianos may not use the latest and greatest effects (e.g., REAL DISTORTION). The guitar voices tend to turn over more quickly and adopt the latest effects. Backward compatibility is less of an issue for the OTS voices within styles.

You are more likely to find new and interesting effects under the OTS buttons. Take the built-in “WahClavi” voice, for example. The built-in voice uses the old CLAVI TC.WAH effect. The “WahClavi” voice in the JazzFunk style, on the other hand, uses the new REAL DISTORTION multi-effect MLT CR WAH (Multi FX Crunch Wah). The following table is a list of OTS voices showing the parent style and DSP effect. Follow this map to find buried treasure! This is part 3 of a multi-part series about PSR/Tyros effects for electric piano.

Presents a basic approach to grunging up an electric piano sound with distortion (amp simulation). Describes how to save a custom PSR/Tyros effect to USER EFFECT memory. In this part, I’ll cover the REAL DISTORTION multi FX algorithm.

If you’re a real gear-head, you probably heard about the new Yamaha Reface mini keyboards including the Reface CP, which is rich in electric pianos. (See my ) Aside from good samples, it’s the effects that make the Reface CP a winner. The Reface CP has an effects chain driven by the basic EP voice: Tremolo Chorus Digital Delay Drive - X - X - X - Reverb Wah Phaser Analog Delay Switches select between Tremolo and Wah (or pass-through), between Chorus and Phaser (or pass-through), and between Digital Delay and Analog Delay (or pass-through).

Thus, either Tremolo or Wah is active, but not both at the same time, etc. Each effect has one or two knobs that control the most basic parameters:. Drive: Amount of distortion (including none). Tremolo/Wah: Depth and Rate. Chorus/Phaser: Depth and Speed.

Digital Delay/Analog Delay: Depth and Time. Reverb: Depth (including none at all) The front panel controls let you tailor your sound, e.g., maybe a little distortion (Drive) followed by Tremolo and some Reverb. This article shows you how to make a similar effects chain on your PSR/Tyros.

I assume that reverb is applied by the PSR/Tyros REVERB effect block, so I won’t discuss reverb here. If you have a late-model Yamaha arranger workstation (PSR-S950 or later, Tyros 5 or later), Yamaha have already done much of the work for you. These workstations are equipped with REAL DISTORTION effects. One of the REAL DISTORTION effect types is a multi-effect.

On the PSR-S950, look for the effect presets called “MLT DS SOLO,” etc. The “MLT” stands for “MULTI.” A little product family history. The REAL DISTORTION effects first appeared in the Version 1.5 Motif XF upgrade. Yep, these are among the latest effects in the Motif series. Yamaha implemented all of these effects in the Tyros 5 and about half of these effects in the S950.

Yamaha added the rest of the REAL DISTORTION effects to the S970. Fortunately, S950 owners have the versatile “Multi FX” algorithm (effect type). If you don’t have REAL DISTORTION effects, you’re not totally out of luck. Look in the Data List manual and find combination effects (distortion plus delay, etc.) and use them instead. You won’t have as many effect stages, but the approach still applies. The REAL DISTORTION MLT effect chain is quite complete: Vibe Chorus Compressor - Wah - Distortion - Speaker - Phaser - Flanger Tremolo Delay Echo The effect chain is really intended for guitar, but hey, people in the sixties and seventies put electric pianos through stomp boxes and guitar amps. There are six REAL DISTORTION multi-effect presets: MLT DS SOLO, MLT DS BASIC, MLT OD CHO, MLT CR WAH, MLT OLD DLY, and VINTAGE ECHO.

Use these as starting points for your experiments. I suggest starting with VINTAGE ECHO as it is the cleanest of the lot. Do what guitarists do — dive in and tweak. Here is a list of the parameters and the allowed values. See the full information in the REAL DIST section of the Data List manual.

# Parameter Display - - - 1 Comp. Sustain Off, 0.1 - 10.0 2 Wah Sw Off, Wah Pedal, Auto+Full, Auto+Mid, Auto+Light, Auto-Full, Auto-Mid, Auto-Light 3 Wah Pedal 0-127 4 Dist Sw Off, Overdrive, Distortion1, Distortion2, Clean, Crunch, Higain, Modern 5 Dist Drive 0.0-10.0 6 Dist EQ High Boost, Mid Boost, Mid Cut 1, Mid Cut 2, Mid Cut 3, Low Cut 1, Low Cut 2, High Cut, High/Low 7 Dist Tone 0.0-10.0 8 Dist Presence 0.0-10.0 9 Output 0-127 10 11 SP Type Off, Stack, Twin, Tweed, Oldies, Modern, Mean, Soft, Small, Dip1, Dip2, Metal, Light 12 LFO Speed 0.1Hz. 9.925Hz (table#27) 13 Phaser Sw Off, Standard, Wide, Vibe, Tremolo 14 Delay Sw Off, Delay M, Echo1 M, Echo2 M, Chorus M, Dl Chorus M, Flanger1 M, Flanger2 M, Flanger3 M, Delay St, Echo1 St, Echo2 St, Chorus St, Dl Chorus St, Flanger1 St, Flanger2 St, Flanger3 St 15 Delay Ctrl 0-127 16 Delay Time 0-127 The parameters look overwhelming, so let’s break things down. There are six “switches” that turn effects on and off. In a few case, the switches also select the flavor of the effect when it is turned on. For example, “Dist Sw” turns off the effect in the chain or turns on one of the seven available distortion types (Overdrive, Distortion1, etc.) In addition to switches, there are effect-specific knobs.

“Dist Drive,” “Dist EQ”, “Dist Tone” and “Dist Presence,” for example, change the sonic characteristics of the distortion effect. The “Delay Sw” acts like one of the switches on the Reface CP. “Delay Sw” disables the effect stage, or it turns on a delay, echo, chorus or flanger effect.

Some effects are mono (M) and some effects are stereo (St). The “Phaser Sw” switch disables the stage (off) or it turns on a phaser (type: standard, wide, vibe) or tremolo effect. The Low Frequency Oscillator (LFO) Speed parameter controls the effects that need modulation: phaser, chorus, flanger, tremolo, etc. You need to dial in the appropriate LFO frequency for the modulation effect type. Wow, that’s a lot of choices!

Here is a table of the parameter values for each preset. MSB/LSB - 95/32 95/33 95/34 95/35 95/36 95/37 # Parameter DS SOLO DS BASIC OD CHO CR WAH OLD DLY VINT ECHO - - - - - - - - 1 Comp. In my previous post, I give some tips and ideas for improving PSR electric piano sounds through customized DSP effects. Before going any further, you need to know how to edit and save a DSP effect. Newer Yamaha arranger workstations (e.g., PSR-S970) have a graphical interface for guitar effects and the ability to store edited effects in OTS locations and Registrations.

Older model workstations store edited effects in the USER EFFECTS memory locations. See the “Parameter Table” in the Data List manual for your workstation to see the capabilities for your particular instrument. Look under: Main Mixing Console Effect to see where “Effect Parameters” can be stored. On the S950, you may store an edited effect to either the USER EFFECT memory locations or a SONG. This is typical for older model arranger workstations. Not being able to store an edited effect to OTS (within a style) is a major bummer.

This limitation makes it hard to share new effect settings with friends. It also means that you cannot directly customize a DSP effect for a particular style.

You must first save the edited effect to a USER EFFECT memory location. Then, the OTS in the style is set to refer to the USER EFFECT memory location. On the up side, the USER EFFECT can be assigned a meaningful name.

On the down side, the style cannot be transfered to a different keyboard without moving the USER EFFECT data, too. The Yamaha reference manual does a decent job of describing the “push this, select that” of editing and saving a user effect. Read the chapter about the MIXING CONSOLE for detailed information. The Yamaha manual is a little short on “big picture.” Hopefully, this short note provides a strategic overview that makes all of the button pushing a little more understandable. It might also save you the frustration of trying to save an edited effect to an OTS button and failing. I tried saving to an OTS button (and style) for an hour before checking the parameter table in the S950 Data List and realizing that it ain’t possible.

I included a brief outline of the process of editing and saving an effect at the very end of this blog entry. It should help you to find the parts of the reference manual with the details.

The other part of “the big picture” that you should know is how to save and restore USER EFFECT memory to a USB file. The USER EFFECT memory is part of a bigger package of stuff that is all saved to a single file.

That package of stuff contains: USER EFFECT types and associated parameters User master EQ types User compressor types User vocal harmony types All of this is stored in a single USER EFFECT file. Old goan konkani songs free download mp3. So, if you want to move your user effects to another workstation, write a USER EFFECT file to the USB drive.

Then, take the USB drive to the other workstation and load the file. The bad news is that you are forced to load the user master EQ, compressor and vocal harmony types, too, thereby overwriting these settings on the target machine. Saving and loading a USER EFFECT file is handled on the CUSTOM RESET page. Navigate to the SYSTEM RESET page: FUNCTION UTILITY SYSTEM RESET and press H USER EFFECT FILES. Then TAB over to the USB drive page and press 6 SAVE. The usual file dialog box displays where you can rename the file.

The default name is “UserEffectPreset”. The file extension is “.eff”. If you don’t change the name, the PSR writes the file “UserEffectPreset.eff” to the USB drive. (More stuff the Yamaha manual didn’t tell you) The subjects of factory and custom reset remind me that it’s a good idea to make a full system back-up to a USB drive. See the: FUNCTION UTILITY OWNER page in the Owner’s and Reference manuals for further details. Full system back-ups have saved my bacon on the MOX on the few occasions when I had to perform a complete factory reset.

Also, make sure to save the back-up file on a PC or Mac. You never know when that USB drive will fail or get lost!

The PSR-S950 writes a back-up file to the USB drive. The back-up file is named “PSR-S950.bup”. Presumably, other workstation models name the back-up file after themselves, too.

MIXING CONSOLE Changes to REVERB, CHORUS and DSP effects are made on the EFFECT page in the MIXING CONSOLE. The knobs on the EFFECT page control the effect sends. Press F TYPE (in the upper right corner) to change the effect type assigned to each part or channel. USER EFFECTS The EFFECT TYPE SELECTION page is a four column browser that lets you choose the effect BLOCK, PART, CATEGORY and TYPE. After selecting the effect type, press F PARAMETER (in the upper right corner) to change the effect parameters. The EFFECT PARAMETER page has a scrolling list of parameters for the chosen effect type.

Use the buttons below the LCD display to set the effect BLOCK, CATEGORY, TYPE, PARAMETER and VALUE. Press I SAVE to save the edited type and parameters as a new USER EFFECT. The USER EFFECT page displays the memory locations where you can store the new effect. The number of available memory locations depends upon the chosen effect block: REVERB 3 locations CHORUS 3 locations DSP 10 locations Choose a memory location using the buttons below the LCD display and press I SAVE. Enter a name for the new user effect and confirm the save. Once a user effect is saved, it appears in the EFFECT TYPE SELECTION page under the USER category.

The user effect is recalled just like a built-in effect preset. SYSTEM RESET USER EFFECT: Restores the User Effect settings including the user effect types, user master EQ types, user compressor types, and user vocal harmony types created via the Mixing Console display to the original factory settings. CUSTOM RESET For the items below, you can save your Original Settings as a Single File for future recall. SYSTEM SETUP FILES MIDI SETUP FILES USER EFFECT FILES MUSIC FINDER FILES The User Effect settings including the user effect types, user master EQ types, user compressor types, and user vocal harmony types created via the Mixing Console displays are managed as a single file.

The USER EFFECT settings can be saved to a file and loaded from a file. OWNER BACKUP: Lets you backup all data on the instrument to a USB storage device. Refer to the Owner’s Manual.

RESTORE: Loads the backup file from the USB storage device. Posted in Tagged,. A common complaint about the electric pianos on the Yamaha PSR arranger workstations is their lack of “guts” or “grit.” The voice samples are reasonably good, but the effects programming is vanilla and way too polite, especially for rock and soul styles. As I mentioned in an, the Yamaha PSR-S770 and PSR-S970 arranger workstations have a new tone generator (TG) integrated circuit (IC) — the SWP70. (“SWP” stands for “Standard Wave Processor.”) The SWP70 is a new TG family in a long line of Yamaha tone generators. The SWP70 replaces the SWP51L, which has been the mainstay in recent generations of Tyros, upper range PSR, Motif, and MOX series workstations.

The SWP70 has much in common with the SWP51L, but also some very significant differences. The SWP70’s external clock crystal frequency is 22.5792 MHz versus 11.2896 MHz for the SWP51L. This funky looking clock rate is a multiple of 44,100 Hz: 22.5792MHz = 44,100Hz. 512 Samples are transferred to the DAC, etc. At a multiple of 44,100 Hz (Fs).

Thus, it makes sense to derive Fs and its multiples from the chip-level master clock. The higher crystal frequency and faster memory read clocks lead me to believe that the SWP70 is clocked twice as fast as the SWP51L. I am comparing SWP characteristics as deployed in the S970 (SWP70) and the S950 (SWP51L) workstations.

This keeps the basis of comparison even although many characteristics (clock rates, DSP RAM size) are the same in higher end models like Tyros 5 or Motif. Higher end models employ two SWPs in master/slave relationship and both SWPs share the same wave memory. For more information about the PSR-S970 internal design, look. Five interfaces are essentially the same as the SWP51L:. CPU interface: Communicate with the Main CPU (e.g., Renesas SH7731) via the parallel CPU bus. Serial audio: Send/receive audio data to/from the DAC, audio ADCs, and main CPU. Clock interface: Synchronize serial audio data transfers (generate multiples of Fs).

DSP SDRAM interface: Store working data for effect processing. EBUS interface: Receive controller data messages (e.g., pedal input, keyboard input, pitch bend, modulation, live knobs, etc.) from front panel processors. The DSP SDRAM is the same size: 4Mx16bits (8MBytes).

The SWP70 read clock is 95.9616 MHz, while the SWP51L read clock is 45.1584 MHz. This is more evidence for a higher internal clock frequency. The Tyros 4, Tyros 5 and S950 have an auxiliary DSP processor for vocal harmony. The microphone analog-to-digital (ADC) converter is routed directly to the auxiliary processor.

Prior to these models, the microphone ADC is connected to the tone generator. With the SWP70, the S970’s microphone ADC is once again routed to the SWP70 and the auxiliary processor disappears from the design. Thus, vocal harmony processing (fully or partially) is located in the SWP70. See my post about for further details. The biggest change is the wave memory interface.

A little history is in order. The SWP51L (and its ancestors) were designed in the era of mask programmable ROM. I contend that tone generation is memory bandwidth limited and the earlier interface design is driven by the need for speed. The SWP51L (due to its evolved history) has two independent wave memory channels (HIGH and LOW). Each channel has a parallel address bus (32 bits) and a parallel data bus (16 bits). The two channels account for over 100 pins.

(System cost is proportional to pin count.) The user-installed, 512/1024MB flash DIMMs plug directly onto the two channels. The SWP70 wave memory interface takes advantage of new NAND flash memory technology.

The interface is described in US patent application 20 and is covered by Japanese patent 2012-244002. I analyzed the US patent application. The SWP70 retains the HIGH port and LOW port structure. Each port communicates with an 8Gbit Spansion S34ML08G101TFI000 NAND flash device. Address and data are both communicated over an 8-bit serialized bus. This technique substantially decreases pin count and the resulting board-/system-level costs.

I did not anticipate, however, the introduction of a new parallel memory interface called “wave-work”. The wave work interface communicates with a 16Mx16bit (32MBytes) Winbond W9825G6JH-6 SDRAM. The read clock is 95.9616 MHz. The purpose of the wave work SDRAM is revealed by US Patent 9,040,800.

This patent discloses a compression algorithm that is compatible with serialized access to the wave memory. The wave work SDRAM is a cache for compressed samples.

The characteristics of the Spansion memory device give us a clue as to why a cache is required: Block erase time 3.5ms Horrible (relative to SDRAM) Write time 200us Terrible Random access read time 30us Bad Sequential access read time 25ns Very good As the patent explains, two (or more) samples are required to perform the interpolation while pitch-shifting. If there is only one tone generation channel, access is paged sequential.

However, random access is required when there are multiple tone generation channels. (The patent mentions 256 channels.) Each channel may be playing a different voice or a different multi-sample within the same voice. One simply cannot sustain high polyphony through random access alone. The cache speeds up access to recently used pages of uncompressed samples. The wave work interface takes additional pins, thus adding to board- and system-level costs. The overall pin count is still lower when compared to SWP51L.

The penalty must be paid in order to use contemporary NAND flash devices with a serialized bus. This is the price for catching the current (and future) memory technology curve. A few SWP70-related printed circuit board (PCB) positions are unpopulated (i.e., IC not installed) in the PSR-S970. There is an unpopulated position for a second Winbond W9825G6JH-6 wave work SDRAM which would expand the wave work memory to 32Mx16bit (64MBytes).

A larger cache would be needed to support additional tone generation channels. Perhaps only half of the tone generation channels are enabled in the mid-grade PSR-S970 workstation. There is what appears to a second separate wave work interface that is completely unpopulated. The intended memory device is a Winbond W9825G6JH-6, which is consistent with the existing wave work interface.

The PSR-S970 also has a stubbed out interface that is similar to the DSP SDRAM interface. The existing DSP SDRAM signals are labeled “H” for HIGH while the unused interface is labeled “L” for LOW. Perhaps only half of the hardware DSP processors are enabled for the mid-grade S970, waiting to be activated in future high-end Tyros and Motif products. I refer to future high end products by the names of the current product lines.

Yamaha may choose to rebrand future products (e.g., the much-rumored “Montage” trademark). The Spansion S34ML08G2 8-Gb NAND device is Open NAND Flash Interface (ONFI) 1.0 compliant. The S34ML08G2 device is a dual-die stack of two S34ML04G2 die. The 8-bit I/O bus is tri-state allowing expansion e.g., multiple memory devices sharing the same I/O bus and control signals with at most device enabled at any time.

The SWP70 has additional chip select pins that would support this kind of expansion. The current expansion flash DIMMs will no longer be needed or used. In this note, I concentrated on observations and fact, not speculation about future products. I’ll leave that fun for another day!

All site content is Copyright © Paul J. Drongowski unless indicated otherwise. Posted inTagged,. Once upon a time (around the year 2000), Yamaha was into beat boxes and other spiffy tools for creating dance, hip hop, and other forms of “electronic” music. The DJX-II groove machine was an entry-level keyboard designed for budding DJs and musicians.

It combined a funky looking 61-key keyboard, pattern-based sequencer and basic sound engine into an all-in-one, battery-powered instrument with built-in amplifier and speakers. Genres included techno, trance, garage, hip hop, old skool and trip hop.

The musician or DJ could select from 70 preset patterns, each pattern with ten variations. The variations were further categorized into six MAIN patterns and four FILL patterns. The keyboard was divided into five 12-key zones where each octave performed a specific performance function. One of the zones selected the current variation allowing the player to switch between pattern variations. Another zone transposed the pattern into the current root key.

Yamaha still makes the original DJX-II patterns available through its support site. Each of the files is a standard MIDI file (SMF) containing a single pattern.

Although they are in SMF format, the files are not immediately useable. The rhythm tracks are programmed for some truly ancient and arcane Yamaha drum kits, none of which adhere to GM or XG layout conventions. Further, the files cannot be imported and played as an arranger workstation style, i.e., they do not contain the information and format needed by a PSR/Tyros style. Last December, I developed a process for converting a DJX-II pattern file to a PSR/Tyros style file. I wrote and posted an on the DJX-II style format and conversion process.

I then got to work and converted fifteen patterns to PSR/Tyros style format. The patterns are all on the jazz tip and they include some pretty hip chord changes! I quickly found that I needed to transcribe the chord changes and bass lines in order to play along.

I used Sibelius First to notate the MIDI data in each pattern and saved the lead sheets in PDF files. Knowing the changes makes jamming easier and a lot more fun. At long last, I’m ready to distribute the converted patterns. Here is a link to the. The ZIP file contains fifteen style files (one for each DJX-II pattern), fifteen PDF lead sheets and a README.TXT file with performance tips. I strongly recommend reading the before using the new styles. The converted patterns behave like the new Yamaha DJ styles on the PSR-S670.

You only need to play a single note in the left hand accompaniment. No chords are necessary because the chord progressions are cooked into the patterns. The note sets the root note for the progression and the arranger and DJ style take over from there. Current and recent workstation arrangers should play these styles without problem, save the occasional kit or voice substitution. Good news for musicians with entry-level models (e.g., PSR-E443) as the style files are SFF1 and no OTS. Thus, entry-level arrangers should load and play these pattern styles, too. Please enjoy playing with these “DJ styles.” In terms of the future, the DJX-II trip hop styles are genuinely sick and I hope to convert them one of these days!

Posted inTagged,. Yamaha Mobile Music Sequencer includes features for Motif, MOX and Tyros5, but did you know that you can create music using MMS on your PSR arranger?

Yes, you can! I’m using MMS with both the Yamaha PSR-E443 and PSR-S950 and I have written up a. This article concentrates on set-up, MIDI voice selection and MIDI file export which are aspects not covered by the MMS manual.

The tutorial complements the many on-line videos that demonstrate composition and mix down. In particular, I show how to use the full 128 voice General MIDI voice set in the PSR, thereby expanding your sonic palette beyond the limited range of voices built into MMS. Enjoy and keep on keepin’ on! Posted inTagged,.