Wind Controller FAQ
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Last updated Monday, July 14, 2008
Here is the long awaited updated MIDI Wind Controller FAQ (Frequently Asked Questions). This Wind Controller ( WindSynth ) FAQ replaces the earlier one compiled in 1995 by David Rees of the old WindList newsgroup. It had become very outdated and was in need of serious revision for many years.
This Wind Controller / Wind Synth FAQ is forever a work in progress that will be regularly updated so be sure to bookmark this page. No warranty is expressed or implied as to the accuracy of this information. This version has been provided by Patchman Music as a free service and resource to the wind controller community. This information is updated frequently, so be sure to visit often. You may LINK to this page but you may NOT copy the any of the contents from this copyrighted text or republish it in any form.
Please feel free to contact me if you find broken links or have additional material that might be useful for this Wind Controller FAQ.
Matt
Patchman Music
What is a Wind Controller?A wind controller, sometimes referred to as a "wind synth", "windcontroller", or "windsynth" , can loosely be defined as an electronic wind instrument. Wind controllers are, for no logical reason, most commonly played and fingered like a saxophone though models have been produced that play and finger like other acoustic instruments such as the trumpet, recorder, tin whistle, harmonica, and others. A wind controller might convert fingering, breath pressure, bite pressure, finger pressure, and other sensors into control signals which are then used to control internal or external devices such as analog synthesizers, MIDI synthesizers, MIDI softsynths, MIDI sequencers, MIDI lighting systems, etc... A wind controller usually does not make a sound on its own- though a few have built-in synths. A wind controller is usually connected to some sort of sound generating device such a MIDI or analog synthesizer or sound module / generator which is then connected to an amplifier. For this reason, a wind controller generally can sound like ANYTHING depending on the capabilities of the connected sound generator. The fingering and shape of the controller are not related to how the wind controller sounds. A woodwind type wind controller can sound like a trumpet, drum, or barking dog. A brass type wind controller could sound like a sax, etc.
Why play a Wind Controller?Wind Controllers are used for numerous reasons:
How can I learn more about the
Wind Controller?Well, reading this Wind Controller FAQ is a great place to start! There are also lots of resources on the Internet. Here are some of the best wind controller links to check out:
The Official Wind Controller Forum
The Yahoo Wind Controller Group
An excellent collection of Wind Controller Links
You might also try a http://www.google.com search.
Which Wind Controllers are currently in production?There have been a number of wind controllers produced over the years dating back to the early 1970s. Currently there are a small number of models produced available from the large manufacturers as well as a handful of controllers crafted by individuals or very small companies. The most common commercially produced wind controllers are the Yamaha WX5 and the Akai EWI4000S. Other models from smaller scale firms are the MIDI EVI which is handmade by EVI/EWI inventor Nyle Steiner, the Softwind Synthophone made by Martin Hurni in Switzerland, and the MDT made by Steve Marshall in Australia. Yamaha also makes the EZ Play Trumpet (though it is more of a toy and is only available in Japan).
Which Wind Controllers have been
produced previously?There have been a number of wind controllers produced over the years starting back in the early 1970s. The most common commercially produced wind controllers of the past were the Computone Lyricon series of instruments, the Steiner EVI (Electronic Valve Instrument models Steiner-Parker EVI, Steiner EVI, Steinerphone EVI, Crumar EVI, Akai EVI1000) and EWI (Electronic Woodwind Instrument models Steinerphone EWI, Akai EWI1000, EWI3000, and EWI3020), the Casio DH series (DH-100, DH-200 being the most common, also DH-500, DH-230, DH-800 and DH-800), and Yamaha's WX7, WX11, and WindJamm'r controllers. All of these models are no longer in production. There was even an uncompleted wind controller from synth designer Buchla called the "Buchla Wind" that was part of a series of alternate controllers that included the "Lightning" and the "Thunder".
What is a Breath Controller?A Breath Controller is basically an electronic breath pressure sensor that is housed inside some form of enclosure that is usually held between the teeth or worn on the head as a headset and blown into. Its function is to measure the musician's breath pressure and translate that into a varying electronic control signal that can be used in some expressive manner. The control signals can be used to control devices such as analog and MIDI synthesizers, MIDI sequencers, MIDI lighting systems, etc...
Which Breath Controllers are available?The only commercially produced breath controller now available is the Yamaha BC3a (often referred to simply as the BC3) breath controller. Info on the Yamaha BC3a is available here. Previous models from Yamaha were the BC1 and BC2 which are both no longer in production. The BC3 is 100% interchangeable with the BC1 and BC2. They all function the same and work with the same devices. Akai made the X335i breath controller which was supposedly produced and included a bite sensor as well as the breath pressure sensor, but this model has rarely been seen- at least in the US. Casio also made the BFC-1 breath controller. This is a rather rare device intended to be plugged into the rather rare Casio CT-410V and MT-400V keyboards. The Akai and Casio breath controllers are NOT compatible with the Yamaha BC series devices.
Which devices feature a Breath Controller
input?Here is a list of devices that feature a breath controller input of some sort. All will work with any of the Yamaha BC series breath controllers unless noted. Many of these devices are no longer in production:
Anatek Wind Machine
Artistry Electronics The Windbox
JL Cooper Expression Plus
CME UF5, UF6, UF7, UF8
Crumar Composer (proprietary- not Yamaha BC compatible)
Kat Systems DrumKat, DrumKat EZ, MalletKAT, MalletKAT Pro, trapKAT
Kenton XC5
Korg Oasys Keyboard (Original model never produced. New Korg Oasys
does NOT have a BC input.)
Kurzweil ExpressionMate, K2500, K2600, K2661, PC2, PC2X, PC88,
Percussion Controller
MIDI
Solutions Breath Controller box, previously known as the "Breathalyzer"
Roland A-90, A-90EX
Starr Labs Several of their controllers offer a breath controller
option but it is for their own proprietary breath controller
Yamaha CS01, CS01-II, CS6R, CS6x, DS55, DX1, DX5, DX7, DX7s, DX7II,
DX7II-FD, DX9, DX11, DX21, DX27, DX27s, DX100, EX5, EX5R, EX7,
G10, KX1, KX5, KX76, KX88, MCS2, Motif 6/7/8 and ES series (keyboard
versions only), S80, S90, SY55, SY77, SY99, UF5, UF6, UF8, V80FD
(Never in production), VL1, VL1-m, V50, VP1, VL7, VL70-m, VX5,
VX6, VX7, VX8
Where can I buy a WOODWIND-Style
Wind Controller?Yamaha WX Series, VL Series - Outside the US visit: Yamaha's Global Website
Akai EWI Series - Outside the US visit: Akai's Global Website
Where can I buy a BRASS-Style
Wind Controller?To locate a dealer in your country go to:
Akai EWI4000s (has an EVI / brass-style fingering mode)
The MDT (Morrison Digital Trumpet) USA customers only. Outside USA go here.
Yamaha EZ-TP Easy Trumpet (more of a toy and available in Japan only)
Are there any dealers that specialize
in wind controller gear?Yes. Patchman Music is a unique dealer that specializes in sales and support of all things relating to the wind controller. If you are in the USA, you can buy a variety of new and used gear from Patchman Music. New Yamaha wind controller gear is available here. New AKAI wind controller systems are available here. New Roland wind controller systems are available here. Patchman Music also maintains a stock of quality used wind controllers and wind controller related accessories and synthesizer modules that work well with a wind controller. Details are here. Patchman Music also repairs wind controllers. and creates sounds specifically designed to be played with a wind controller or breath controller.
Where can I get my wind controller
repaired?Patchman Music specializes in repairing wind controllers for US-based clients only. Patchman Music is a factory authorized service center for Akai, Yamaha, and MDT wind controllers. They have a FULL-TIME wind controller specialist in house for repairs on these and other wind controllers such as the Crumar EVI, Steiner EVI, Steinerphone, etc... If you are outside the US, you will need to find a repair shop in your area or have the unit shipped to a contact in the US- and this contact can send it to Patchman Music and make payment. Contact Matt Traum for further details.
How do I put together a complete
wind controller gig rig system?This link offers several ideas for creating a professional level wind controller rigs.
Additional rigs are documented and discussed at the Yahoo Wind Controller Group's Website and at Patchman Music's Wind Controller Forum (you will need to join these groups to access the posts).
Patchman Music offers complete wind controller packages.
What is the best WOODWIND-STYLE wind controller
to buy?It's not possible to say which is the "BEST" wind controller. It's a matter of what is best for YOU. The Akai EWI series, Yamaha WX series, and Synthophone are all amazing and highly expressive instruments though they have slightly different design philosophies. Everyone has their own preferences depending on their personal tastes so this is a question that can only be answered by each individual after they decide what it is they wish to accomplish with the wind controller and research the options available to them. Also note that an appropriate MIDI sound source / module is also required to complete the system. The EWI4000s has a virtual analog type synth built into the controller. More on this elsewhere in this FAQ.
Currently there are three major woodwind style wind controllers in production- the Akai EWI4000s, the Yamaha WX5, and the Softwind Synthophone. The handmade and more expensive Softwind Synthophone is an excellent controller though it is also the most expensive making it the least popular of the three woodwind style wind controllers. It is an actual alto saxophone that has been modified and stuffed with electronics transforming it into an electronic MIDI wind controller. Other woodwind-style wind controllers are being developed by small companies as well but not currently in production. All other models such as the Akai EWI1000, EWI3000, EWI3020, and Yamaha WX11, WX7, and WindJamm'r have been discontinued.
Currently, the most popular wind controller systems are the Yamaha WX5 with the VL70-m upgraded with the Patchman Music TURBO VL upgrade chip and the Akai EWI4000s (many EWI4000s players also add the TURBO upgraded Yamaha VL70-m module as well). The Synthophone is significantly more expensive and is not as widely used as the former two models.
When comparing between the two most popular models, the WX5 and the EWI4000s, the WX5 is clearly the most "sax-like" of the two. That is to say that a sax or woodwind player should have the shortest learning curve on the WX5. The EWI system is more "recorder-like". That is, the EWI has non-moving touch sensors for the keys as opposed to the moving sax-like keys found on the WX5. On the EWI, you cannot rest your fingers on the keys. The WX5 is a little more forgiving in this regard though the WX5 keys have a rather light touch similar to a clarinet. The WX5 also has a plastic reed- though it does not vibrate. It is used for vibrato and pitch bending. The EWI has a rubber mouthpiece with what we like to call a "wiggle sensor" for user-controlled vibrato. The EWI player gently wiggles the jaw to add and control vibrato. For actual bending of the pitch, the EWI player uses the right hand thumb bender sensors to bend the pitch up or down. The WX5 also features a right hand thumb bender wheel for additional pitchbend capabilites as well as additional MIDI controller options.
With either WX5 or EWI, the left hand thumb is used to change octaves. This is another area where these controllers differ. The WX5 uses a series of four buttons, two on either side of the center point, which are pressed either alone or in combination to jump one, two, or three octaves in either direction. The EWI uses a series of rollers to change octaves. The left hand rolls between any two rollers to select any octave from its 8 octave range. In either case, the left hand octave mechanism always seems to be the biggest hurdle for any person starting up on the wind controller. One should expect to spend a few months getting used to the left hand thumb system on any wind controller device.
As far response goes, they both feel excellent and have great speed and response. There are no tracking delays. The breath sensors are very responsive. The EWI4000s being connected internally to its built in analog modeling synth uses "better than MIDI resolution and speed" to control its internal synth. When using the MIDI OUT to control external MIDI modules, the EWI4000s is comparable to the WX5 using its MIDI OUT.
It should be noted that even though the EWI is less "sax-like" than the WX5, this is by no means a negative. The EWI was intentionally designed the way it is for good reasons and once learned can be as or more expressive than any other wind controller. Though it may take slightly longer to adapt to, many professionals play it such as Michael Brecker, Bob Mintzer., Jeff Kashiwa, etc... As well, many many professionals play the WX series. Deciding on the right wind controller is a personal decision that no one else can make for you.
There is a nice comparison chart here.
What are the differences between the Yamaha
WX series and the Akai EWI series?The current Yamaha model wind controller is the WX5. The current Akai wind controller model is the EWI4000s. The Akai EWI3000, EWI3020, and Yamaha WX11, WX7, and WindJamm'r have all been discontinued.
All of the commercially made controllers are incredibly expressive when all the parts of the system are in place and properly set up. It is important to remember that a wind controller needs to be connected to an appropriate synth and the receiving synth needs to be programmed to respond properly to the signals that the wind controller generates. This may or may not be a problem depending on your synth programming skill level. But keep in mind that almost all synths and softsynths are designed for keyboard control which is a VERY different type of patch programming compared to wind controller programming. More on this subject can be found elsewhere in this FAQ.
AKAI: The new Akai EWI4000s features a virtual analog type synth with digital effects built right into the controller's body. This allows the EWI4000s to be completely self contained. It has a headphone jack and a 1/4" audio output that allows you to connect it directly to an amp or you can use a wireless audio transmitter, like those used by guitarists, to connect wirelessly. Since the EWI4000s can be battery powered, you can also use a wireless MIDI system as well. The EWI4000s also has the expected MIDI OUT and MIDI IN jacks for controlling other external MIDI sound devices such as the VL70-m or softsynths on a computer. These jacks are also used to edit and store sounds using a PC or Mac computer with its included synth editing software. It should be noted that the built in analog synth is indeed designed to produce more synthetic type sounds. For more realistic emulative sounds, a TURBO VL70-m or XV-2020 loaded with the Patchman Music wind controller soundbank connected via MIDI to the EWI4000s would be highly recommended.
The out of production Akai EWI3000 and EWI3020 required at least their companion synth modules (either the real analog EWI3000m or EWI3020m, or the sample-based EWI3030m). These modules were connected to the EWI3000 / EWI3020 controllers via a proprietary connecting cable (thus the need for one of these Akai modules). The new Akai EWI4000S has a built-in virtual analog sound module INSIDE the body of the controller and thus does not require a companion sound module- though one certainly can be used as well.
YAMAHA: The Yamaha WX5 is simply a MIDI CONTROLLER- it does not have the ability to make sound on its own. It needs to be connected to a companion sound module as well. The companion sound module can be one of a variety of synths. Click here for a listing of synths that can work well with a wind controller when the proper patches are in it. The module designed specifically for use with the WX5 is the highly recommend Yamaha VL70-m physical modeling tone generator. Even better is to upgrade it with the Patchman TURBO VL upgrade chip. The WX5 features a WX connector as well as a more common MIDI OUT connector. The VL70-m features both types of connectors so either can be used to connect the two devices together. The advantage of the WX connector is that it provides power to the WX as well as receiving the MIDI data from the WX thus eliminating the need for batteries in the WX5. Only a couple of synths have the WX connector such as the Yamaha VL70-m and WT11. The older WX7 and WX11 have only the WX connector (no MIDI connector) for direct connection to a WT11 or VL70-m. To get a MIDI signal from the WX7 or WX11, you would need to connect them to a Yamaha BT7 adaptor, WindWorks WW-Bat, VL70-m, WT11, or MFC10. Here is a link to the Yamaha WX5 webpage.
The older WX7 and WX11, as well as the older Akai EWI1000, EWI3000, and EWI3020 are all excellent controllers as well but none of those are in production any longer. Some people find that they like the original WX7 the best. The WX7 was made with a metal body- the others are plastic. The WX7 was also the only Yamaha controller to ship with a hardshell case. The downside is that parts are becoming very hard to find for the older wind controllers. If you are looking for a used wind controller or have a used one that needs repairs, Patchman Music sells used wind controllers and repairs them. Patchman Music is also a dealer for NEW Yamaha wind controller gear.
Regarding MIDI Controllers: The EWI4000s actually has the advange here... I count 10 for the EWI4000s. The EWI4000s has the ability to send up to 4 continuous controllers at the same time from the breath sensor, vibrato in the form of pitchbend data from the bite sensor, a seperate continuous controller for the UP Bend sensor, a seperate continuous controller for the DOWN bend sensor, a seperate continuous controller from the glide strip, a seperate continuous controller (switched between 2 values toggled or momentary) from the Octave side switch, and a seperate continuous controller (switched between 2 values toggled or momentary) from the Hold side switch. The WX5 has 5 different continuous controllers to shape the sounds: the assignable up thumb rocker, down thumb rocker, high D momentary, high D# toggle, the bite sensor, and the breath sensor.
MORE: The WX5 has a reed for bending and vibrato, the EWI has a rubber mouthpiece that you "wiggle" for vibrato. Bending on the EWI is done with the right hand thumb. Having played both, I find this a non-issue in most cases. Indeed the slope of the return to zero is not adjustable but this is hardly a problem because of the way it works and was originally designed by EWI / EVI inventor Nyle Steiner. One can do a quick "quivering" vibrato or a slow drawn out vibrato on the EWI. I like this "Nyle Steiner vibrato design" so much that I totally modded my MIDI EVI to do vibrato with the bite (like on an EWI). I thus physically removed the thumb vibrato sensor. My sax and solo brass emulations never sounded more real. I can get every possible sort of vibrato that I have ever needed with the Steiner type vibrato. In fact, I actually find it easier to do vibrato on the EWI system than on the WX5. Of course the WX5 has some nice features as well like moving keys and a "reed" which, in my opinion, makes it perhaps easier to learn by woodwind players. Neither controller is "better". It is all personal preference.
The EWI4000s is definitely heavier than the WX5 as much of the body is made of metal and it has an internal synth and batteries.
So which one do I choose?
As mentioned, you basically have a choice of two mainstream wind controllers on the market- the Yamaha WX5 and the Akai EWI4000s...
The Yamaha WX5 is the most "sax-like" in the way it is played as it has a plasic reed which does not vibrate but is used to bend notes and do vibrato. The WX5 also has moving keys. The Akai EWI4000s has touch sensor keys which do not move so the player must be sure to keep the fingers off the keys when not pushing them. Recorder players love this and sax players usually adjust quickly to them. Also the EWI4000s has a rubber mouthpiece with, what we call, a "wiggle sensor". You gently wiggle your jaw for a nice vibrato. To bend notes on the EWI4000s you use the right hand thumb bend sensors. The EWI4000s can run on batteries and has a headphone jack right on the instrument so it is completely portable- a definite plus.
Both horns are wonderful controllers and many top professionals play each of them. The choice of which one to go with is a personal one. No controller is "the best". What matters is only what is best for YOU.
Also equally important to consider is the sound source you will need. The Akai EWI4000s has a built-in analog modeling synth which is a big plus. The Yamaha WX requires an external module such as the TURBO VL70-m. Although the Akai EWI4000s has its built-in synth, understand that the sounds it generates internally are not necessarily realistic. It sounds like the mp3 demo on this page. So if you are looking to emulate real world instruments you would still want to add an external module likely putting the cost of the EWI system higher than just buying the WX5 / TURBO VL70-m system from the start. Of course, the Akai EWI4000s + TURBO VL70-m would provide you with two synths, and the WX5 + TURBO VL70-m provides one synth.
The Ultimate WX5 / VL70-m feels closest to an actual sax for the reasons described above and is likely the easiest to learn. It also has extremely realistic sounds with the Patchman TURBO VL upgrade.
With either unit you will likely want to plug it into a quality amp or PA system. Recommendations on amps can be found elsewhere in this Wind Controller FAQ.
You can research the pros and cons of each controller on the net. You might check out this link.
Where can I download the manual
and latest OS for my wind controller gear?Here are some links to the PDF manuals and OS updates for the most popular wind controller gear:
Where can I SEE a wind controller
being played? Where can a beginner learn about
MIDI? Is there a good website or book you can recommend?Click here for a great website on the Basics of MIDI
There are several books that teach the basics of MIDI- though they are not specifically geared towards wind controller users...
- "The MIDI Companion: The Ins, Outs and Throughs" by Jeff Rona
- "Basic MIDI by Paul White" Sanctuary Publishing, Ltd, ISBN: 1860742629
- "MIDI for Musicians" by Craig Anderton; Music Sales Corporation, ISBN: 0825610508
- "MIDI for the Professional" by Paul Lehrman, Tim Tully; Music Sales Corporation, ISBN: 0825613744
- "MIDI for the Technophobe" by Paul White; Sanctuary Press (UK), ISBN: 1860744443
- "MIDI Power!" by Robert Guérin; Muska & Lipman/Premier-Trade, ISBN: 1929685661
- "The MIDI Manual, Second Edition" by David Miles Huber; Focal Press, ISBN: 0240803302
There are others as well. A search on www.amazon.com will get you started. Also, click here for the Wind Controller Bibliography where you will find a listing of wind controller related articles from past years. Also, the creators of MIDI, the MIDI Manufacturers Association (MMA), have a great website which provides some useful tutorial material. Check out the Resources area at their site. Also, joining one of the wind controller groups on the internet can be very helpful. Info on them is elsewhere in this Wind Controller FAQ.
The soundcard / softsynth / MIDI sound module
doesn't respond right to my wind controller. All I get are notes
turning on and off but no control from my breath? Why?When using a sound generator with a wind controller the results you get will depend largely on the programmability of the soundcard/softsynth/MIDI sound module. Almost no soundcards/softsynths/MIDI sound modules come preprogrammed to respond to the MIDI data that the wind controller sends so it is probably that you will need to do some programming or find some pre-programmed patches that have already been set up to respond to a wind controller. Some soundcards/softsynths/MIDI sound modules can be programmed to work, others cannot, others can to a certain degree.
Most synths will respond to MIDI Volume data (MIDI controller #7) and many will respond to MIDI Expression data (MIDI controller #11). Most synths will respond to MIDI Volume data without having to do any special programming so try setting your wind controller so that it sends MIDI Volume data. This form of control is limited since it usually can only control the volume of the patch and there is usually no control over how much it does this. Plus MIDI Velocity is a factor. Velocity data is sent by wind controllers only at the beginning of each note in response to how hard you tongue a note. The problem with MIDI Volume is that you could tongue a note softly and not be able to get the volume any louder than the initial attack level. These two types of MIDI data interact.
Also, a synth's response to MIDI Volume very often cannot be turned off on a synth which can be very undesirable. Sometimes all 16 parts of a multitimbral synth will be controlled by the MIDI Volume data on MIDI channel 1 for example. Sometimes the reverb level of a synth will follow the MIDI Volume level which is undesirable and sounds very unnatural.
Another problem with sending MIDI Volume is that you cannot use it to adjust the overall RELATIVE volume or mix of a layered synth sound because as soon as you send MIDI Volume data, the synth jumps to that value on all parts of the layer! You may just want to control the overall volume a small amount and this IS possible with MIDI Expression or many other MIDI controllers.
MIDI Expression (MIDI controller #11) is just another MIDI controller like breath controller (MIDI controller #2) or MIDI Volume (MIDI controller #7). The advantage of MIDI Expression over MIDI Volume, though they are almost the same, is subtle. As just mentioned, with MIDI Volume data, the total volume of the synth is controlled fully. Whereas with MIDI Expression, the relative balance of your layers will remain intact.
Overall, the best way to control a synth is to program it to respond to a MIDI controller such as breath controller (MIDI Controller #2). This is the most commonly used MIDI controller for controlling synths with your breath. I recommend using breath controller data to control a synth and programming your patches to respond to it. This is how almost all of the commercial wind controller / breath controller patches that have been developed by Patchman Music have been set up. (The exception is some of the older Korg synth banks which use Aftertouch data since those synths are not able to respond to breath controller data.) If you are using a Patchman Music wind controller soundbank, you should leave OFF the transmission of MIDI Volume, MIDI Expression, Aftertouch, etc... on your wind controller. Just transmit breath controller, pitchbend data, and velocity data for best results. If you want to program your synth to respond to breath controller data, you basically need to set up the filter and amplifier to respond to breath controller data. Often it helps to turn off velocity response and leave the envelopes full on as well.
What is the Akai EWI4000S?The EWI4000S is the latest EWI model from Akai released in March 2006. This new EWI features battery operation, a built-in analog modeled synth with digital effects and 100 user editable patches, MIDI IN and OUT, PC/MAC Editor for the internal synth, and much more. Complete details on the EWI4000S are here. Of interest to brass and EVI players is that the EWI4000s has an "EVI Fingering Mode" built in which was designed by EVI player Matt Traum. This allows EVI players to play the EWI4000s with very little change to their already learned EVI technique.
What is the difference between
the EWI ("Ei") and the new Sax ("Sa") Sax
type fingering systems on the EWI4000s? What types of fingering
systems are on the Akai EWI4000S?
With the release of OS Version 2.3 and higher for the Akai EWI4000s, there are now four selectable fingering systems- two woodwind types ("EI"/EWI and "SA"/Sax), and two brass types ("Ev"/EVI and "Er"/EVI with reversed rollers). The "EI" system is the classic EWI fingering system- whereas all the keys are active in any fingering combination- and the "SA" system is more sax-like where certain keys are disabled depending on whether other keys are touched. Woodwind players may want to try both systems to see which is best for them. There are advantages and disadvantages to both systems.
The new "SA" fingering mode is more in line with a real saxophone fingering in that it allows you to leave the G# key down without altering other notes. It will act as a C# key for the low C however. It does the same for the Eb key, allowing it to stay down without affecting anything other than a D fingering. The G# key will be ignored on all notes except G and low C. This allows you to use it for a simulated low C#. The same is true for the D# button. It will be ignored in all fingerings except D. The middle key in the lower pinky keys is now ignored in this mode. It will be active only if you are fingering a low B so that you can roll your right pinky off the lowest key and on to both the lowest and middle key for a Bb.
Of interest to brass and EVI players is that the EWI4000s has an "EVI Fingering Mode" built in which was designed by EVI player Matt Traum. This allows EVI players to play the EWI4000s with very little change to their already learned EVI technique. There is detailed info on the EWI4000s EVI Fingering Modes here.
Additional info on the fingering systems is in the EWI4000s manual and manual addendum available at www.akaipro.com.
What
is the Akai EWI4000S "EVI Fingering Mode"?The EWI4000S is the latest EWI model from Akai released in March 2006. This new EWI features battery operation, a built-in analog modeled synth with digital effects and 100 user editable patches, MIDI IN and OUT, PC/MAC Editor for the internal synth, and much more. Complete details on the EWI4000S are here. Of particular interest to brass and EVI players is the innovative new "EVI Fingering Mode". This alternate fingering system designed in November of 2005 for Akai by EVI player Matt Traum, allows brass and EVI players to play the EWI4000s with very little change to their already learned technique. It allows for the standard EVI trill key fingerings as well- a big plus for experienced EVI players.
Click here for complete details on the EWI4000s EVI Fingering Mode
Here is Matt Traum's spec submitted to Akai for an "EVI Fingering System for Woodwind Type Wind Controllers" from November 2005 (modified slightly to reflect later improvements) that explains some of the choices made when designing this special fingering system:
I recently spoke with Nyle Steiner, the father of the EWI and EVI, on this subject of fingering standardization and one of the most important things to him is that there is a standard fingering system / mechanism that is maintained on wind controllers. This is no small matter and should not be taken lightly. He likens it to a musician being able to sit down and play ANY MODEL piano or guitar and KNOWING that the fingering patterns they have learned on another model will translate to it as expected. So even though the Akai EWI4000s is not a true EVI with a canister, let us consider this fingering system very carefully in honor of Nyle's legacy that he has worked on for 35+ years and try to carry over all the fingerings from the EVI as would be expected and as best we can in the EWI form factor. The EVI has not changed fingering systems in about 30 years so it is unlikely that we will, or even need to, come up with a better one. I think is best that we simply translate the EVI to the EWI fingering scheme as closely as possible.
For the EVI fingering system on an EWI body I propose the system shown below. I came up with this with an EWI3020 in hand. I find it very logical and simple. As an EVI player for nearly 20 years, it is the only way I could play a converted EWI properly.
My system allows you to easily grip the EWI by keeping most of your left hand fingers on the instrument at all times. This is important since with this system you can grip and support the EWI in your left hand and play the instrument without a neck strap- and EVI/brass players may be reluctant to wear a neck strap. It also allows all the standard EVI fingerings (including trill keys) that are neccessary.
Also, there several intentionally duplicated or dead keys that simplify the fingering and block unwanted glitches from happening. Keep in mind EVI players are not used to using all their fingers like a sax player so this is quite acceptable. As I said, I have held an EWI in my hands and felt how this works. I found it is important to have these dead keys as safeguards and physical barriers to the active keys. I think a brass player can understand this system easily.
L1: -5 (EVI left hand index finger) BIS: 0 (dead key to prevent glitches) L2: +1 (EVI 2nd Trill Key. Normally held down. Lift to trill up 1/2 step.) L3: +1 (EVI 2nd Trill Key. Normally held down. Lift to trill up 1/2 step.) L4A: 0 (dead key to prevent glitches) L4B: +1 (EVI 2nd Trill Key) R1A: +2 (EVI 1st Trill Key) R1: -2 (EVI Valve 1) R2: -1 (EVI Valve 2) R3: -3 (EVI Valve 3) R4A: 0 (dead key to prevent glitches, rest the pinky on this) R4B: 0 (dead key to prevent glitches, rest the pinky on this) R4C: +4 (EVI 3rd Trill Key)* + / - Numbers indicate half-steps.
* C is played with the following keys held down: L2, L3. This is the normal "open" fingering position allowing an easy grip on the instrument.
* L2 and L3 are normally held down at all times, either finger, or both fingers, add +1 half step up when NOT touched. These keys do not add together. They also do not add with the L4B key. EVI players will note that the middle finger logically correlates to the 1/2 step 2nd trill key as on the EVI's right hand middle finger. L2, L3, and L4B allow for three ways to raise the pitch 1/2 step for C to C# trills and G to G# trills simply by lifting this finger.
Matt Traum
PATCHMAN MUSIC
November 2005
I just got an EWI4000s and none of my Breath Controller patches
work on my MIDI synths. What happened?There is a simple fix. The EWI4000s ships from the factory set up in a certain way which may not be what is required for the wind controller sounds on your MIDI synth. You will usually need to turn on Breath Controller data (CC#2) and turn on variable velocity in order to use breath controller specific patches such as those available from Patchman Music and on the TURBO VL chip. Changing these settings will not affect the internal sounds of the EWI4000s. This simply changes what is sent from the EWI's MIDI OUT.
To turn on breath controller data and variable velocity on the Akai EWI4000s:
I can't stand the factory sounds
on my EWI4000s. Is there a way to make them better?Yes. Patchman Music offers a completely new set of 100 sounds for the Akai EWI4000s's internal synth which are far more punchy and responsive than the factory sounds. Click here for complete details and an mp3 audio demo. Since the EWI4000s's internal synth is designed for analog modeling and not necessarily highly realistic sounds, it is best to add an appropriate MIDI module for emulative / realistic type sounds. For this, the Patchman TURBO VL70-m is highly recommended and the most popular amongst wind controller players. Click here for details and over 200 mp3 audio demos.
The keys on my EWI4000s are not
responding correctly. Sound is cutting in and out and the LED
display is coming on and flickering. What is the proper way to
adjust the Key Sensitivity Knob on the EWI4000s?If you are experiencing problems with the EWI4000s with a flickering LED display, sound cutting out or "gurgling", or a seemingly "dead" horn, try adjusting the key sensitivity. Here is the procedure for adjusting the key sensitivity knob on the EWI4000s...
The way to set the key sensitivity is to turn the knob counter-clockwise until numbers show in the LED. Then put four fingers of your left hand on the top buttons, put your thumb of your left hand on the ground plate next to the octave rollers and turn the knob clockwise until the numbers disappear. Turn the knob another 1/4 turn clockwise and then lay every finger on all the keys including the right hand ground plate. If the numbers show up, turn the knob a little further clockwise, if not, you are all set. Adjust this knob with your finger. You do not need to (and should not) use a screwdriver to adjust it. If you over-crank it with a screwdriver you could damage the pot and be in for a costly repair. NOTE: Due to internal changes in its design, later EWI4000s units may not be adjustable until the LEDs light up. In this case, simply start by setting the knob fully clockwise then gradually back it off until the right hand index finger knuckle key responds properly.
NOTE: Improper adjustment of the Key Sensitivity knob can also cause the EWI's sound to completely cut out or gurgle if the "dp" parameter is not turned off. We recommend setting the "dp" parameter to OFF. Your EWI4000s manual explains this parameter in detail.
The Bite Sensor on my EWI4000s
is acting unpredictably. What can I do about this?Make sure you have not bitten through the mouthpiece. A hole in the mouthpiece can cause moisture to get into the electronics causing all sorts of problems. If there is a hole in the mouthpiece don't panic but do replace it right away. They are available in the USA here.
I cannot blow enough air through
my EWI4000s. What can I do about this airflow problem?It is important to understand that the EWI4000s was designed with a semi-open airflow system. That is to say that unlike what your teachers may have taught you, you SHOULD let some air escape from the corners of your mouth when blowing into the EWI4000s. This type of system allows for far greater control over air flow by the player and feels exactly the same as blowing all the air through the horn. This design also minimizes the amount of moisture that collects within the EWI- a very important factor in any electronic instrument. In time, players come to appreciate this system- though at first it may seem a bit unintuitive.
Also make sure the air passages are clear of debris. Remove the mouthpiece (unscrew the one mouthpiece screw and pull it straight off) and visually inspect the small holes in the mouthpiece and the holes in the two protruding black plastic recepticles on the body of the horn for blockage.
My EWI4000s completely stopped
making sound. My EWI4000s all of the sudden is VERY hard to blow.
What to do?If you are experiencing problems with the EWI4000s with a flickering LED display, sound completely cutting out or "gurgling", or a seemingly "dead" horn, try adjusting the key sensitivity. See above for the procedure for adjusting the key sensitivity knob on the EWI4000s. Also make sure the air passages are clear of debris. Remove the mouthpiece (unscrew the one mouthpiece screw and pull it straight off) and visually inspect the small holes in the mouthpiece and the holes in the two protruding black plastic recepticles on the body of the horn for clogs.
My EWI4000s completely stopped
working and now shows "8.8" or "o.o" in the
display. There is no sound and no response at all. What can I
do?If your EWI4000s display shows "8.8" or "o.o", this is generally not a good sign. You can try resetting the horn by holding down all four of the GRAY buttons on the EWI WHILE turning the power on. If that doesn't fix it you will need to contact your EWI dealer or Akai for a repair. If your horn is out of warranty and you are in the USA, you should contact Patchman Music directly for a repair.
My EWI4000s has a noisy headphone
jack. When I plug headphones into my EWI4000s I hear a high pitched
squealing static noise or a loud white noise sound. What can I
do?If you are hearing a hissing / squealing / radio-like noise in the 1/8" headphone jack on your EWI4000s you might try using a different pair of headphones. The impedance and other electronic characteristics of the headphones can greatly affect the level of noise that you hear in the headphone jack on the Akai EWI4000s.
Patchman Music has developed an internal hardware circuit modification to eliminate the squealing / hissing in the 1/8" headphone jack signal in the EWI4000s. If you are in the USA and would like the mod done, contact Patchman Music directly for info.
Regarding the white noise issue (noise that sounds like wind or the ocean) we recently noticed that plugging in a MONO set of headphones (i.e. types whereby the 1/8" plug has only 2 conductors - not 3) can cause very loud noise. Make sure to use ONLY stereo (3 conductor) type headphones with the EWI4000s headphone jack.
Note that the 1/4" line out jack usually has a very clean signal. Noise is not usually an issue with the 1/4" line out jack on the EWI4000s.
Another way to reduce the apparent level of noise is to upgrade the factory sounds with the Patchman Music EWI4000s soundbank. This upgraded soundbank for the EWI4000s has a far greater output level and dynamic range than the anemic factory sounds.
I cannot change or save patches on my EWI4000s using the finger
pads. How do you change patches on the EWI4000s? How do I turn
OFF transmission of MIDI Program Changes?The EWI4000s manual is not very clear explaining how the assignable program change feature works on the EWI4000s. The most important thing to remember is that the program change numbers are NOT assigned to individual KEY PADS. Instead, programs are assigned to a CHROMATIC NOTE. The FINGERING you use to play a given note does not matter when it comes to programmed patch changes and thus does NOT affect this feature. So remember to assign your patch numbers according to the chromatic note of the scale and not a single key sensor pad. Note that Program Changes can be stored in one of two ways- per octave where only 12 are stored and these 12 stored values can be selected from any octave- or they can be stored thoughout the ENTIRE RANGE of the EWI. This is selected with the "dp" parameter. Further info on this is in the manual.
Personally, I recommend setting the "dp" parameter to OFF and using the Octave and Hold side keys to scroll up and down through the patches. Your EWI4000s manual explains this parameter in detail.
Too bad you can't select patch locations from 101 to 128 as this would be useful when using external MIDI sources. Also, it is true that you currently cannot turn OFF transmission of MIDI program changes on the EWI4000s! This is a serious omission that needs to be addressed in a future OS update for the EWI4000s... I suggest Akai add an option to globally toggle MIDI program change transmission. I also suggest they make it so that if "AD" mode is selected (the SETUP LED is ON) then MIDI program changes are NOT sent via MIDI OUT. This would allow a user to select a patch on the EWI4000s internal synth and not change connected external MIDI synths. If this bothers you as much as it does us, please call AkaiPro in the USA at 401-658-4032 or email them and tell them you would like to see this feature added!
I cannot GET the patches from
my EWI4000s into the Akai Editor. I keep getting the message "Error!
Sysx data is missing bytes". At best, I get a partial transfer.
How do I fix this?There are some bugs in the UniQuest EWI4000s Editor but here is a suggestion that seems to work for the time being. Load the factory preset bank into the UniQuest Editor from the CD ROM that came with your EWI (or from your hard drive) then send (PUT) them into the EWI. After that you should be able to do it both ways. We think there may be something in the original EWI presets causing the problem. Reloading them seems to clear up this problem. Note that there is a newer version of the Editor for Mac OSX 10.4.8 available here that has since been released. An even newer version that is compatible with later Mac and PC operating systems is now available from Vyzor. You can get it from the AkaiPro website. Additional info and support is available in the Vyzor Forum. Archived info is still available from the inactive UniQuest Yahoo Group.
I am trying to load a .BNK format
EWI4000s soundbank into my EWI4000s using the Akai EWI4000s Editor
but the file is greyed out in the list. I can't select or load
the file into the Editor. How do I fix this?There are some bugs in the UniQuest EWI4000s Editor. On some systems (usually Mac) an Editor soundbank file may show up grey and not selectable from the list. If you are experiencing this, try sending the soundbank in another format if available. (Patchman Music's EWI4000s soundbank is shipped in three formats for this very reason.) After the bank is loaded in the EWI, you can then "Get" the soundbank from the EWI into the Editor and re-save it to your hard drive in the .BNK format. For sending Sysex and Midifiles, we recommend this helpful webpage. Also note that there is a newer version of the Editor for Mac OSX 10.4.8 available here that has since been released. An even newer version that is compatible with later Mac and PC operating systems is now available from Vyzor. You can get it from the AkaiPro website. Additional info and support is available in the Vyzor Forum. Archived info is still available from the inactive UniQuest Yahoo Group.
My
EWI4000s is playing out of tune on all patches. Why?There can be several reasons for this:
Is there a hard case or gig bag
made for the EWI4000s?
There is no hard case specifically designed for the EWI4000s. Patchman Music recommends using the Protec soprano sax hard case available here. You could also try a padded soprano sax gig bag made by Ritter, a Reunion Blues soprano sax gig bag, this one is reported to work, and the Gard Leather Soprano gig bag. Jenart Design has reportedly designed a case specifically for the EWI4000s. It should be noted that the Yamaha hard case designed for the WX5 will NOT fit the EWI4000s.
Is there a better neck strap made
for the EWI4000s? The factory supplied one gets in the way of
my right hand thumb.Some EWI4000s users find that the factory supplied neckstrap gets in the way of the right hand thumb. One user reports that using the Neotech neckstrap improved this situation. It allows more room for using the octave rollers. He reports, "The Neotech neckstrap feels very comfortable and comes with an easy adjustment mechanism that can be used with one hand. I chose the clarinet version over the sax version because it had thinner straps and was more than strong enough but they make a nice sax neckstrap too for those used to a more substantial strap."
How
are others setting up the Oct and Hold buttons on their EWI4000s?I turn off the "dP" parameter and prefer to touch the Program Change sensor and use the two side keys to scroll through patches.
I also have my "Ho" parameter set to "LE" and my "Oc" parameter set to "ln". This allows me to play two notes and change the interval then, while blowing, lock in the interval and play it in parallel. This is great fun! You can do this in realtime while playing. I did this a bit in the EWI4000s soundbank demo here. It's even more fun when you have an EWI4000s patch that has the two oscillators already set to an interval, then you add the second note and you can create four note chords. The possibilities are staggering with just using the internal synth in this way.
Matt
PATCHMAN MUSIC
I have a EWI4000s and MIDI interface
for my Mac computer. I've followed the quick start instructions
but my iMac G5 can't seem to find the EWI when Uniquest searches
for it. Does anyone have any suggestions?If you are getting the "SysX data is missing bytes" error, try uploading the factory presets .BNK file into the EWI. Also make sure you have the latest OS installed in your EWI4000s. This .BNK file can be found on the CD ROM that came with your EWI4000s or at Akai's website. The latest OS can be downloaded from Akai's website as well. After that, it should be ok.
On my EWI4000s I cannot transpose
to C. The available transpose options skip from "b"
to "Db". How do I transpose to "C"?Simple, make sure the TRANS light is off! The EWI4000s is a "C" or "concert pitched" instrument by default. Thus there is no reason to "transpose" it to "C" or "Concert Pitch". This is why there is no selection to transpose it to C. It is supposed to skip from "b" to "Dd". Simply keep in mind that when the TRANS LED is off, the horn is pitched in "C". When the TRANS LED is on, only then is the horn actually transposing to something other than "C".
My Mac running OSX cannot read
a .BNK EWI4000s soundbank file. Any suggestions?The problem (so well known it's in the manual for UniQuest!) lies in the UniQuest program using the old Mac way of file recognition. The .BNK file is indeed compatible but it needs the correct TYPE and CREATOR flags in the file system to be recognized by UniQuest (OS 9 heritage). You need a program like FileBuddy or XRay to change them to type SQDA and creator SQUQ. You might also try "fixing permissions" using Apple's Disk Utility included with OSX. Also be sure to download the latest version of the EWI4000s Editor from AkaiPro.com.
When I play my Roland JV / XV
with my EWI4000s the portamento on the JV / XV acts strangely.
If I touch the glide strip the time either takes forever to get
from one note to another or else I don't get portamento and the
patch cuts in and out randomly. Any thoughts?Samplers and sample based sysnths (Romplers) are all different in how they respond to portamento time parameter (MIDI controller #5). Try editing the offending patch and setting the Portamento Type parameter to "Rate". If there is a Portamento Start parameter set that to "Pitch". You can also simply turn off the portamento reception on the JV / XV patch altogether. There should be a Portamento Switch parameter that you can set to "off". Otherwise you can turn down the glide sensitivity knob on the EWI4000s (top right hand knob) or use a MIDI Event Processor to filter out / block portamento time controller (MIDI controller #5) and/or portamento switch (MIDI controller #65).
I have seen pictures of the EWI4000s
in other colors. Are they available in different colors? Is there
a way to make my EWI4000s look cooler?The EWI4000s is available in only one color- silver. Eddie Davis has come up with a clever solution with some smart looking EWI4000s decals that he sells which can dramatically transform the look of the EWI4000s.
How do I adjust the WIND GAIN and WIND ZERO
sensor on my WX5?The breath sensor is adjusted by carefully adjusting the WIND GAIN and WIND ZERO trimmers located on the bottom of the WX5 under the removable rubber plugs. It helps to have a VL70-m with its wonderful BC display meter in the LCD or a MIDI monitor utility such as MidiOx to see what is happening.
WIND ZERO = Sets the threshold or turn on point. This sets
the threshold point where the note is sent from the WX5.
WIND GAIN = Sets the sensitivity of the breath sensor. This adjusts
how hard you have to blow to get to full level.
These trimmers are located under small rubber plugs. Remove these plugs to adjust then be sure to replace them when done to keep water out of the sensitive electronics.
In adjusting these trimmers, you use a small flat head screwdriver. IMPORTANT: The internal trimmers are made of plastic. They turn only about 270 degrees. They do not turn all the way around. Use great care not to turn them past the point where they stop. If you strip them out or break them, the repair can be expensive.
You essentially want to set the WIND ZERO trimmer so that the "BC" meter on the VL70-m shows no bars when you are not blowing into the WX5. Then adjust the WIND GAIN trimmer so that you get to full meter when you are blowing as hard as you plan to blow. Note that these two trimmers interact so you will likely have to go back and forth between them a few times to get it feeling right.
Note that the rightmost LED on the top of the WX5 lights up when the zero point is crossed and a note is being sent. Adjust the WIND ZERO trimmer to the point JUST BELOW the point where this LED lights. This adjustment is very sensitive so do it slowly.
When everything is set right, the WX should feel comfortable and natural to play just like on an acoustic reed instrument. Blowing notes and tonguing should be natural and not difficult.
Additional setup ideas for the WX5 can be found at Bob Norton's WX5 Tips And Tricks page.
How do I adjust the LIP ZERO on
my WX5?When adjusting the reed (lip) sensor, it helps to have a tuner or a MIDI monitor (such as the bend display in the VL70-m) nearby to see where the bend sensor is at. Assuming you have "Tight Lip Mode" selected with the WX5 DIP switches, you essentially want to set the MIDI pitchbend data to be hovering around the middle point (0) when you are using a normal amount of bite on the reed. If it is set right, then you will be able to loosen your bite to bend down, and tighten your bite to bend up. The LIP GAIN pot sets how SENSITIVE the bite sensor is. The LIP ZERO sets the zero or middle point- i.e. the point of no pitchbend.
Adjusting the Lip Zero on the WX5 without a MIDI monitor:
Put the mouthpiece in your mouth and apply a comfortable amount of pressure on the reed, that is, the normal amount of pressure you would use to play a centered pitch. While doing that, watch the Lip LED on the top of the WX5 and adjust the Lip Zero thumbscrew until the LED goes turn OFF. When the LED is OFF the bend is properly set to the middle point. You should now be able to bend up or down. If not, you may need to adjust the Lip Gain pot on the WX5 and do the preceding steps again since the Lip Zero and Lip Gain adjustments interact.
Note that the LED turns off at only a very small spot in the travel of the reed.
Adjusting the Lip Zero on any WX wind controller with a MIDI monitor:
Look at your MIDI monitor utility or the Pitchbend bar graph on the VL70-m. This shows you pitchbend relative to the center on-pitch vertical mark. Tighten and loosen your bite on the reed and you should see this bargraph move from left to right. When properly set, it should hover mostly around the middle point (a single line). If the lip adjustment is way off, you may not see much, but likely you can see some change as you change your bite pressure. If the pitchbend display is not very close to the middle point when you apply normal bite pressure to the reed, then you need to adjust the LIP ZERO and possibly the LIP GAIN pot as well. These do interact with each other and sometimes it takes a few adjustments on each to get it all properly set up. With a comfortable bite pressure, gently turn it the LIP ZERO adjustment right or left until you see the pitch bargraph center on the on-pitch vertical mark. Do not force this adjustment- stop when you feel the resistance. These trimmers are only made of plastic and can break or strip if turned beyond their limits. If you cannot get the bend meter to center most of the time then you may need to adjust the LIP GAIN pot then do the preceding steps again since the Lip Zero and Lip Gain adjustments interact.
When everything is set right, the WX should feel comfortable and natural to play just like on an acoustic reed instrument. Bending notes and creating vibrato should be natural and not difficult to do.
Page 26 in the WX5 Owner's Manual also discusses how to do this.
The Lip Zero adjustment should NOT be used for the purposes of fine tuning your synth. See elsewhere in this FAQ for an explanation.
Additional setup ideas for the WX5 can be found at Bob Norton's WX5 Tips And Tricks page.
Sometimes
the module connected to my WX wind controller abruptly goes out
of tune. It's almost as if one of the side semitone keys is stuck-
which is not the case. Switching the unit off for a few seconds
and then on again seems to cure the problem temporarily.It is important to understand how the WX series bites sensor works and is interacting with a connected sound module. First, the problem is almost certainly not because of the MIDI sound module. What usually needs to be done is to calibrate the WX Lip/bite sensor. Detailed info on doing that is elsewhere in this Wind Controller FAQ.
Here is likely what is happening. When you first turn on the WX, no bend data is sent from the WX and the pitch was most likely centered on the MIDI module when it was first turn on. Assuming the WX is in Tight Lip mode and the reed is not in your mouth, the initial pitchbend (bite) sensor position has not yet been sent to the connected sound module. Pitchbend data is only sent when the bite sensor or thumb bend sensor is actually moved. So it appears everything is fine but the controller and the module are actually "out of sync" until you move or bump the bend/bite sensor on the WX. At this point pitchbend data is generated and sent to the sound module. Now the VL and WX are "in sync" as to the real position of the WX's reed. If the WX is calibrated correctly and in tight lip mode, the VL SHOULD show a pitchbend reading below zero in the meter since you are not biting the WX reed. This would be normal. As you put the mouthpiece into your mouth and apply the nominal bite pressure you should see that the pitchbend now is more centered and fluctuates around the "zero point" as you vary your bite on the reed. If not, then you need to calibrate the lip sensor as described elsewhere in this Wind Controller FAQ.
Also note that this can happen if the WX5 has the recorder mouthpiece on it and the LIP ZERO is not centered properly and you accidentally move the recorder mouthpiece while playing. In this case simply adjust the LIP ZERO knob on the WX to center the pitch propely. Turning down the LIP GAIN all the way may help as well in this case.
The WX7 and WX5 have two lip modes-
Tight Lip and Loose Lip. What does this mean?The WX5 and WX7 allow the user to select between Tight Lip and Loose Lip type response from the reed sensor.
Tight Lip Mode means you need to apply a moderate amount of pressure to "center" the pitch (assuming your LIP ZERO and LIP GAIN are calibrated correctly). Note that you can bend upwards or downwards in Tight Lip mode. Tight Lip Mode is most like an acoustic instrument. Tight Lip mode is strongly recommended as it allows for maximum expression when bending and doing vibrato with the WX reed.
Loose Lip Mode means that the pitch is "in tune" only when no pressure is applied to the reed. Applying pressure to the reed bends the pitch upwards. Note that you can only bend upwards in Loose Lip mode.
It is important to calibrate the WX properly as described elsewhere in this FAQ for the various modes to respond correctly and to play in tune. The Akai EWI series does not have these modes and does bending and vibrato via a different means as described elsewhere in this FAQ.
I have seen pictures of the WX5
in other colors. Are they available in different colors? Is there
a way to make my WX5 look cooler?When the WX5 was first released there was a very limited number of horns made in a blue marble color and a white pearl color. These models were made in very small numbers and are no longer available. The WX5 is now only available in the standard black/silver color. WX5 player Eddie Davis has come up with a clever solution with some smart looking WX5 decals that he sells which can dramatically transform the look of the WX5.
Is there a hard case made for
the Yamaha WX5 and WX11?Yamaha makes a case specifically designed for the Yamaha WX5. A WX11 can fit in it also (but not perfectly). In the USA, it is available here. Additional info on this Yamaha WX5 hard case is here. It should be noted that the Yamaha hard case designed for the WX5 will NOT fit the Akai EWI4000s. This soprano sax case made by Protec and available in the USA here, also works very well with the WX5, WX11, WX7, and EWI series.
How do I adjust my Yamaha BC1
/ BC2 / BC3 Breath Controller?The Yamaha BC series breath controllers can be adjusted for optimum results. There are two trim pots on the BC2 and BC3, and just one on the BC1. Very important: First, make sure you have selected a patch on your synth that was properly programmed to respond to breath controller data. If you don't have such a patch, a MIDI monitor utility that can display MIDI controller values in realtime can be used.
The BC1 has an internal trim pot that is adjusted with a small screwdriver. Adjust this trimmer so that you get a comfortable, full response from your breath expression while holding a note. You will probably want to set this trimmer to the point just below where the sound begins to increase dramatically.
The BC2 and BC3 have two adjustment knobs. Temporarily set the GAIN knob to the middle setting, and hold a note on the keyboard. Adjust the OFFSET knob to the point just below where the sound begins to increase dramatically. Now adjust the GAIN knob so that you get a comfortable, full response from your breath expression.
When the breath controller is adjusted right and the receiving synth patch has been programmed right to respond to the breath controller's signal, playing it should feel comfortable and natural.
On my WX11, what are those two
adjustment pots for that are covered by the rubber plugs? How
do I adjust the LIP and WIND settings on the WX11?On the WX11, there are two adjustment pots under the two rubber plugs located just below the mouthpiece. The one nearest the mouthpiece is the LIP GAIN and the one below that is the WIND GAIN. A detailed in the manual, LIP ZERO is set by the thumb wheel adjustment and BREATH ZERO is set automatically by the WX11 when it powers up (so don't blow into the WX11 while powering it up). BREATH ZERO can also be set by pushing the WX11's SETUP key at any time. (Be careful not to push the SETUP key while playing.) The WIND GAIN is also adjustable in software on the WX11. See page 7 of the WX11 manual for details on these features.
How do I remove a WX mouthpiece?Before proceeding, be aware that inside the mouthpiece is a thin metal lever, one end of which normally rides on the reed. You can see this end through the mouthpiece tip opening. The lever extends back through a rubber shield to the actual lip pressure sensor. This metal lever is all too easily damaged when the mouthpiece is off- so proceed with extreme caution.
First of all, don't try to twist it! The mouthpieces on a WX7, WX11, and WX5 can be removed by holding the body of the instrument firmly with one hand, the mouthpiece with the other, and pulling them straight apart slowly and firmly. Wiggle the mouthpiece from side to side just *slightly* if it is stuck. Do not twist. I have found that some hot water run over the end of the mouthpiece can help loosen it up. But be very careful not to get the water inside the horn!! Hold the horn upside down when running water over the mouthpiece.
Because the lip-pressure lever/sensor is so vulnerable when exposed, be sure to replace the mouthpiece (slowly and firmly) as soon as possible. A thin coating of the highly recommended Yamaha Recorder Cream or Silcon7 lubricant (available here) on the rubber parts will help make the next removal a LOT smoother. These products also help preserve the rubber parts reducing dry out which can cause the rubber to crack- at which point it would need to be replaced- if you can find the parts! Moral- keep these parts lubricated.
If you have the mouthpiece off, it is a good idea to make sure there is no gunk in the openings. That gunk can clog the openings to the breath pressure sensor and to the breath exhaust tube that leads down through the instrument. The best prevention is to wash your mouth out with water before you play, as with any wind instrument.
How do I change the MIDI Channel
on my VL70-m?First, make sure you are actually changing the MIDI Channel and NOT the Device ID Number. These are two very different things and it is a little confusing by looking at the front panel of the VL70-m. The Device ID Number (not the MIDI channel number) is accessed from Play mode by repeatedly pushing the Left SELECT button in Play mode.)
Here is how to set the MIDI Receive Channel on the VL70-m:
From Play mode, press BOTH PART buttons at the same time. The display will change. Push the left SELECT button two times to get to the Receive Channel parameter. Use the VALUE buttons to select the desired MIDI Receive Channel. (Set it to "ALL" to receive on all MIDI channels.) To exit, push the EDIT button then the PLAY button to resume playing.
How can I change Banks (Pr1, Pr2,
Int, Cst) on my VL70-m from the VL70-m front panel? How do I access
the other 128 sounds in the other bank?Changing banks on the VL70-m is very easy. Use the SELECT buttons to move the cursor to the left of the bank name (i.e. Pr1, Pr2, Int, etc..) so that the little triangle is BLACK. Then use the VALUE buttons to change to the desired bank. Then push the right SELECT button one time to move the cursor to the left of the patch number (the little triangle to the left of the 3 digit patch number should be BLACK). Now you can use the VALUE buttons to select patches within the bank.
How can I change Banks (Pr1, Pr2, Int, Cst)
on my VL70-m from my WX5?The VL70-m responds to MIDI Bank Select messages and the WX5 can send such messages. On the WX5, hold the low C key, hold the Patch Change button, press the following number keys (in order down from the B key = 1 through the E key = 0). The Banks in the VL70-m are numbered as follows:
Bank Select 000 = Pr1
Bank Select 001 = Pr2
Bank Select 002 = Cst
Bank Select 003 = Int
Release the keys and now the next program change you send from the WX5 will select the new program AS WELL AS the new bank. Note that the bank change won't take effect until you do a program change. Additional instructions and illustrations are available in the WX5 User Manual on pages 16-17.
Or, here is another way to explain it:
To switch to Pr1 (Bank 000), hold down the program change button (the one on the back of the WX5 that is furthest from the mouthpiece) and the low C key (again, the one that is furthest from the mouthpiece) at the same time, and while holding those two keys down, press the E key (the one on which your right middle finger normally rests). Then release everything and use the program change key to select a patch, and that patch will be from bank 0. To select Pr2 (Bank 001), press the B key instead of the E key. Look at the diagram on page 16 of the manual to see why the E and B keys correspond to 0 and 1.
How can I change Banks (Pr1, Pr2,
Int, Cst) on my VL70-m from my MFC10?To program the MFC10 to change the banks on the VL70-m: Set the Status to C0 (MIDI Channel 1), set the Data/Ctrl to the Voice # that you want to use, Set the Bank MSB to 33, set the LSB as follows:
0 = Preset 1 bank
1 = Preset 2 bank
2 = Custom bank
3 = Internal bank
Can the Yamaha MFC10 transpose?No, the Yamaha MFC10 does NOT have a transpose feature. If you wish to transpose "on the fly", you might look into a MIDI transpose pedal such as from Midi Solutions or try to find an out of production Anatek Pocket Transpose box. If you are using a VL70-m, note that you can transpose individual patches on this synth and easily save them to the Int bank. Info on transposing the VL70-m globally and on a per-patch basis is explained elsewhere in this FAQ. Note that changing the transpose value on the VL70-m DOES NOT alter the MIDI data that passes through it or goes out its MIDI ports. So if you transpose the VL70-m any connected MIDI modules will still be "un-transposed" and will not match its pitch.
Note that the older (out of production) Yamaha MFC2 MIDI foot controller DOES feature a transpose function. The (out of production) MFC1 does not. Sometimes used MFC2 pedals are available here.
What do you recommend for a
quality Volume Pedal for my wind controller rig?
Keep in mind that some cheaper passive type volume pedals tend to have very little range of motion from full off to full on. Also the sound quality can get muddy (loss of high frequencies) as you decrease the volume on passive type pedals. For controlling volume, I recommend using the active type Yamaha FC9 Stereo Volume footpedal. It is an active pedal so the audio quality is maintained at all volume levels. It is built like a tank and the feel is very smooth and linear. It also has a knob on the side to set the Minimum volume. You can set the minimum volume rather high so that the pedal goes from about half volume to full. This allows for a very wide range of physical motion to fine tune the volume with your foot. If you need to be able to pull the volume all the way down to zero, then you can set the Minimum Volume knob all the way down so that the pedal goes to full off. This pedal runs on a single 9 volt battery for a long time but an optional AC adaptor can be used if you don't want to use a battery.
I
have two synths connected to my wind controller- a Roland XV-2020
and a TURBO VL70-m. Is there a way to change patches and volumes
without using my hands on both tone generators, independently?
The problem is that you probably have both of your synths set to the same MIDI channel (which is required for them to respond to your wind controller at the same time) so they will both receive and respond to the same MIDI program change data (unless you use Device ID which gets more complicated and may not be possible anyway).
So I recommend a good MIDI footpedal like the Yamaha MFC10 to send program changes, then line up your patches in the synths to do your various layers and non-layers. Program change #1 might be sax only on module 1 (Module 2 has a silent patch in that location), Program change #2 might be trumpet only on module 2 (Module 1 has a silent patch in that location), Program change #3 might be trumpet on module 1 AND sax on module 2, etc... Actually you could bypass the MFC10 and simply use the program change feature on the wind controller using this method of patch arrangement. The Midi Mouse pedal is also excellent.
For controlling volume, I recommend using two Yamaha FC9 Stereo Volume footpedals. You run each of your synth's audio outs through a pedal and you have complete control of volume at all times with your feet. This works very well.
If you wish to set up layers on more than one MIDI synth where the patches in the layer are NOT at the same location numbers, I recommend a device such as the (out of production) Digital Music MX-8 or the Ground Control pedal. These devices allow you to send different Midi Program Change numbers on multiple MIDI channels.
I am a flute player. How difficult
is it to adapt to the wind controller?While flute and sax both share a Boehm fingering system, there are some differences that may or may not be an issue to a flutist. The Yamaha WX5 has 4 selectable fingering modes called WX, SAX A, SAX B, and one called FLUTE. Some flautists find the WX5's FLUTE fingering mode useful, but most simply learn to use one of the sax fingerings. Over the years, the consensus seems to be that the WX5 flute fingering is not all that useful and simply using one of the sax fingerings is far better for flute players. One interesting note about the WX5 FLUTE fingering mode is that instead of using the reed as a pitchbend sensor, when the WX5 is set to FLUTE fingering mode, the reed sensor is used to jump an octave.
If
I purchase a Yamaha WX5, do I also need to purchase a VL70-m,
or can I start out simple and connect to my computer with a MIDI
cable?You can use your WX5 directly with any number of sound sources but the degree and quality of control that you will get will vary dramatically depending on the programmability and capabilities of the receiving synth. Many soundcards simply do not have the capabilities to work well with a wind controller. One sound card that we enjoyed using, though it is now out of production, is the Korg Oasys PCI card. Since a wind controller transmits a lot of MIDI data from its sensors, some sound cards and softsynths can have trouble keeping up. Also latency (response time) is a big issue with softsynths- especially considering the amount of MIDI data that is sent from a wind controller. Latency is critical in a realtime situation like playing a wind controller. To be fair, even some hardware synths have a significant amount of latency. See elsewhere in this FAQ for info on programming a synth for use with a wind controller.
There certainly are many people using softsynths with laptops- notably Michael Brecker. The majority of wind controller players seem to still be using hardware synths such as the highly recommended Yamaha VL70-m with their wind controllers. Perhaps this will change in the future as softsynths and computers get better and faster. There are a lot of good things to be said for a hardware synth such as the VL70-m, especially with the Patchman Music TURBO VL chip installed. It is perhaps the best choice for a wind controller sound module for most people. It was designed specifically for use with a wind controller and thus the sounds are extremely responsive to a wind controller. It also have several utilities that help in setting up and adjusting a connected wind controller. The VL70-m also features a WX Connector on the face of the module which can connect directly to any WX series wind controller. In addition to receiving the data from the WX, this connector also provides power to the WX so batteries are no longer needed. Indeed there are other sound modules that also work well that cost less than a VL70-m. See next question.
What are your favorite HARDWARE
sound modules to use with a wind controller?As a wind controller sound designer who has worked with the majority of synthesizers on the market, I'll give you my favorite wind controller synths...
Yamaha VL70-m with the Patchman TURBO VL upgrade - The VL70-m is probably the most popular wind controller module. It is a superb module when upgraded with the Patchman Music TURBO VL upgrade chip (the factory sounds are only so-so). It is compact (only a half rack in size), it has a WX connector which can power a WX5/WX11/WX7, a nice LCD with helpful visual feedback on reed and breath sensors, and many other excellent wind controller features. The VL70-m is a one-note-polyphonic synth designed for mainly doing realistic solo instrument sounds- so layered ensembles (string/brass ensembles) and chords are not possible. For what is was designed for, the VL70-m is almost perfect. Nothing else does solo winds like the TURBO VL70-m.
Roland XV series. The XV-2020 is highly recommended with the Patchman Music wind controller bank installed though the XV series has been discontinued. It contains excellent ROM samples. Fast response. Better sounding filters than on the Alesis modules. Legato is not quite as good as the Alesis synths. The XV-5050, XV-3080, and XV-5080 are also an excellent choice though these models are no longer in production.
Roland Fantom series. The rack mounted Fantom XR is great if you program it to respond to the data a wind controller sends. Currently Patchman Music does not offer a wind controller bank for this unit. It has excellent samples and very fast response. Better sounding filters than on the Alesis modules. Legato is not quite as good as the Alesis synths.
Yamaha VL1-m/VL1/VL7 - Ultimate wind controller synth module. Absolute pro-level specs and effects. But with the release of the Patchman Turbo VL chip for the VL70-m, the VL70-m takes top spot over the VL1/m/7. Unfortunately, the sounds from the VL70-m Turbo chip are not available for the VL1/m/7.
Alesis QSR / S4+ - Great legato, small, 2 PCMCIA cards for your own samples. Very fast MIDI response. The filter is not as good as on the Roland XV series unfortunately.
Korg Oasys PCI - Incredible PCI card synth for older PC and Mac computers. Does everything including physical modeling. Has almost no latency.
Kurzweil K2500/2600 - Possibly the best sampler for use with a wind controller. Can do almost anything including excellent legato with some fancy programming.
Triton Rack (w/MOSS card) - Add the MOSS physical modeling
card for an incredible combination.
Oberheim Matrix-1000 and Matrix-6 and Matrix-6R - Super fat, analog. Responds great to breath if you load proper wind-friendly patches into it.
Yamaha FS1R - The very best FM synth ever made. Great analog filter emulation. An amazing yet complicated synth.
Yamaha Motif XS Series - We are excited about the possibities of the Motif XS series with its new legato articulation features. Yamaha seems to have finally started to think about legato in these new ROMplers as we had written about (see elsewhere in this FAQ for our thoughts). We are hoping with fingers tightly crossed that Yamaha will release a Motif XS Rack soon! Previous Motif models do not have these new legato features, unfortunately.
Akai EWI4000s - The synth built-in to the Akai EWI4000s controller is not designed to be used via the MIDI IN port, but we wanted to include it here anyway. This fully digital analog modeling synth coupled directly with the EWI4000s breath, bend, glide, and vibrato sensors is extremely fast (14 times faster than MIDI) and smooth (32 bit resolution). It sounds great when programmed well. It is capable of two notes of polyphony and has a built in noise source with its own dedicated filter. If Akai were to release this synth in module form with four note polyphony and add back in chord features of the older EWI modules, it would be a wonderful synth to connect to ANY MIDI wind controller!
Akai EWI3020m and other EWI modules - great, FAST CV connection to EWI/EVI. If using these module via their MIDI IN, you lose the advantages of the CV interface. But they still work well under MIDI control.
Korg Z1 - Polyphonic physical modeling. Lots of fun to play. Works well with the wind controller if you load proper wind-friendly patches into it.
Overall, the Yamaha VL70-m with the Patchman TURBO VL chip is strongly recommend. It currently is the wind controller synth of choice for the majority of wind controller players. One thing to note, the VL70-m is only one note polyphonic so it cannot do layers on its own. To do nice string sections and brass ensemble layers you will need a polyphonic synth. For that, the Roland XV Series modules (XV-5050, XV-2020) or Alesis QSR or S4+ is recommended. To do layers with the VL70-m, you can use multiple VL70-m units as shown here to create incredibly responsive and dynamic layered section sounds. Remember, layering synths that generate sounds via different synthesis methods generally defies mathematics- the result is greater than the sum of the parts. Layering synths is a highly rewarding expressive experience.
What SOFTWARE synths soft synths
softsynths work with a wind controller?With additional programming to allow them to respond to the wind controller's MIDI data, we have had very good results from the Native Instruments synths especially Kontakt 2 and later, FM7 and FM8, and Reaktor. There are many others as well. Folks have reported that Reason works well. Keep in mind that most synths are designed to work with a keyboard out of the box. Thus to make them work with a wind controller often requires a good amount of programming assuming that the softsynth can actually be made to work well and has the proper controller mappings, smoothness, and speed that wind controller players require.
What is the difference between the Roland
XV-2020 and the Yamaha VL70-m? Which one is better?Since both of these 1/2 rack sized modules are very popular with wind controller players, we will directly compare these units. Neither is "better" than the other. It's a matter of YOUR needs and what pleases YOUR ears. As far as sound goes, there are numerous demos of these modules being played with a wind controller at the Patchman Music website. The XV-2020 audio demo is here. If buying a VL70-m, we strongly recommend the Patchman Music TURBO VL upgrade chip for it. The VL70-m TURBO VL audio demos are here. These two modules use completely different types of synthesis to generate their sound. The Yamaha VL70-m uses a very special type called physical modeling. The benefits of physical modeling are explained elsewhere in this FAQ. The XV-2020 uses a more common sample playback type synthesis. The VL70-m is strictly a lead instrument, i.e., it can only play one note of polyphony due to the highly computational nature of this type of synthesis. No samples are used in the VL. Instead, the sound is generated "from scratch" within its computer model of an actual acoustic instrument. The sound is generated and responds interactively in realtime based on the input you are sending it from your wind controller. You cannot create layers of sounds or chords within a single VL70-m (several VL70-m units can be layered though). But its one note of polyphony produces more realistic legatos and responds in amazing ways based on HOW YOU ARE PLAYING. Because of this realtime interaction it does things a sample based synth simply cannot do. The XV-2020 is 64 note polyphonic and thus is capable of generating very complex sounds with layers of multiple patches and chords. So for big layered string sections, brass sections, and ensemble sounds, the XV-2020 is essential. Samples are, of course, actual recordings of real instruments so the general sound is quite realistic although not as flexible as the VL which reacts and changes its sound based on your playing. For example, the Tin Whistle in the VL can jump up an octave simply by blowing harder as with a real Tin Whistle. You can also crack notes on the trumpets and do real "lip shakes" on the VL. The samples in the XV are "pre-recorded" and cannot change the way a physical model can. So the sounds in the XV do not respond quite as "acoustically" as the VL can.
The best thing to do is to listen to the audio demos and compare the sound for yourself and decide which YOUR ears prefer and also consider your needs and what you are trying to do with your wind controller. Most people that play wind controllers tend to have one of each of these and they layer them for a sound that is greater than the sum of the parts. Aural magic can happen when two different types of synthesis are layered. We love to load up a brass section on the XV and layer it with the Maynard trumpet patch on the TURBO VL70-m for a really sizzling brass ensemble sound.
One other difference to note is that the VL70-m can power the WX series wind controllers via its WX IN jack so batteries would not be needed in the WX. To use the XV-2020 with a wind controller, you need to use the MIDI OUT jack on the wind controller or wind controller module/interface. The VL70-m also has several meters in the LCD to help show the input activity and this also helps in setting up the WX.
Overall, both modules work extremely well assuming you have proper wind controller patches loaded in them. They are both highly recommended. Listen to the audio demos at Patchman Music and compare for yourself.
What is the difference between
the Alesis QSR, S4, S4+ and NanoSynth?Some of the main differences are detailed here. The QSR and S4+ are both excellent wind controller modules. Importantly, they both respond very fast to wind controller data and have a very smooth legato. The Alesis NanoSynth IS also capable of the smooth legato like the QSR and S4+. Please note that the older S4 model (non-PLUS model) does not have the super smooth legato capabilities of the three newer models. It isn't capable of triggering new legato notes at the sample loop point but it still responds quickly and sounds good. One of these units layered with a TURBO VL70-m is great and highly recommended. The biggest drawback with these units is that their filter is not terribly steep and sounds thin.
What is the Yamaha VL series?The VL series synthesizers from Yamaha are superb for use with wind/breath controllers. All of the Yamaha VL series synths are physical modeling type synths. No samples or preset waveforms are used in these synths. Their sound is derived from complex mathematical models of real instruments. These models are computed in realtime in the VL synth and thus interact with the player unlike any other synth.
The VL1-m (module version of VL1 keyboard) uses Physical Modeling synthesis - it simulates actual acoustic interactions between a sound generator (reed, bow, trumpet-type mouthpiece) and a resonator (pipe, string). It does the computations for this in realtime. It is not a sample player. It has 2-voice polyphony, 5-band parametric eq, several amplifier simulators, distortion settings, reverbs, delays, and flanger. The virtual controllers (assignable to physical controllers like breath pressure, foot pedal, pitchbend) include growl, scream, distortion, and a whole bunch of others. It holds 128 voices (patches) in 8 banks, saveable to DOS-compatible 3.5" floppy disks.
A VL7 is similar to the VL1 except that it can't do layers, it stores only 64 patches, and costs less.
The VL1, VL1-m, and VL7 are all out of production. The VL70-m is still in production.
So what's so special about the Yamaha VL70-m?Samples can easily always sound better than a synthesized sound in a single dimension. But sounds have another dimension for most of us wind controller players- that is, they need to respond and be played and adapt to the musical demand. Samples are merely a snippet of a real recording so I would expect them to sound as good as any CD recording of that instrument playing. Essentially, that's all samples are anyway. The problem is when you try to manipulate the sample and play it expressively or differently than how it was originally recorded. You run into insurmountable problems once you try to do expressive things that are not already recorded into the samples. A sampler's filters and layers only go so far. I've tried to find ways around it with just about every sampler made. But when you start to get down to trying expressive things that really matter with samples you end up hitting the wall of limitations- at least given our current technology.
For example, let's say you want to crescendo a simple flute sound from ppp to fff. Ok, you need some samples of a flute at several different levels. A soft flute sounds far different than a loud flute that is blown hard. So you sample them. You create 50 layers of flute samples. You can even crossfade them so that different samples come in and out as you blow. But along that slope you either have to hard switch between the samples or crossfade between them. If you hard switch between them, that sounds completely unnatural as you hear the switch. If you crossfade them you will have to be hearing more than one sample in some proportion at the boundaries and that sounds unnatural. You would need to match the pitch exactly so you don't get chorusing- but samplers aren't generally phase locked so you will get some weird out of phase composite sound or actual cancellation of sound. Real flutes don't do that either so that sounds unnatural. On the VL since it is a true synthesizer with no samples, with the proper patch, you simply blow harder and the overtones are created and added as on a real flute.
Then we have the issue of slurring with samples which no sampler can really do right. That's a mess with samplers. At some point you need to switch samples within the slur. Currently samplers cannot do a realtime crossfade between adjacent samples. So you either overlap them slightly which is unnatural, or you hard switch between them which is unnatural, or you change the sample playback rate which is too smooth and causes a "chipmunk" effect which is unnatural. If you can't play a simple slurred melody on a sampler, I'd say that's a pretty big problem with samplers. On a VL, you can slur easily and the timbre changes properly and smoothly. The VL even reacts to how you are playing. It reacts to the previous notes that were played and how you tongue, and the slope of your breath etc... People need to realize this. The physically modeled synth is a dynamically responsive instrument like a real acoustic instrument.
There are other significant problems with samplers. After thinking about it for years, I decided that the only way to even POSSIBLY do it right with today's mainstream technology is with physical modeling. So I decided to commit nearly a year of my life to trying to make the VL's physical modeling sounds as close to real as possible. I realize that the VL Voices are not 100% perfect copies of real instruments, but I think they are far better, more realistic, and more natural to play than any sampler could be capable of. Personally, I'd go as far as to say that the timbre on the many of the TURBO VL sounds is also as good as a sampler and approaches the sound of the real thing.
You could offer me the biggest Gigasampler setup with every Gigasampler CD ROM ever created and I'd still choose my TURBO VL70-m for playing with my wind controller. Once you play a VL and get used to it, playing samples will feel very unsatisfying no matter how good the samples are. Once you are used to the responsive interaction you get from the VL, you will easily sense the "lack of control" feeling you get when playing samples. Playing samples feels like you are triggering a sound. Playing a physically modeled sound feels like you are interacting directly with the sound. The Yamaha VL line of synthesizers employs Physical Modeling to create their sound. This type of synthesis is vastly different from anything else. Physical modeling synthesizers can actually respond to HOW you are playing just like an acoustic instrument. You can play middle C three different ways and it will sound three different ways depending on if you are coming from an adjacent note or a note a large interval away, or if you slurred into it or tongued into it or if you were bending into it, etc...
I'm amazed to discover new characteristics of these instruments every time I play them. Try playing a VL tenor sax very softly and listen how the sound almost magically goes from breath noise to a defined pitch, or play very staccato and listen how the horn resonates, or play very fast and listen to how the instrument might squeak or skips octaves. You really need to play an instrument for a decent amount of time to understand all of its complexity. It's an amazing feeling the first time you play a VL tenor sax and skip down an octave- the sound doesn't just jump the octave but it instead resonates to the lower harmonic. Or a VL Tin Whistle can actually jump an octave as you blow harder just like on the real thing. Listen to over 200 mp3 clips demonstrating the best the VL70-m has to offer.
Another example: It is possible to do true lip shakes on VL brass patches. Not only that but the VL knows to shake a major second from high "Bb" to high "C" but it knows to shake a minor third from high "G" to high "Bb". It can follow the true harmonic series of a real trumpet. Along these lines. I've experimented with actually controlling the embouchure with the bite pressure on my EVI to simulate the way a bugle or trumpet player can skip harmonics with the lips. It works, but it's hard to control it this way. All that's needed is for someone to build a trumpet controller with an embouchure sensor and we've got a "virtual trumpet". On trumpet patches it is even possible to split notes between the mode breaks!
Here is an excellent series of articles about physical modeling
Here is a great article about programming the Yamaha's VL series
What is the Patchman Music TURBO
VL Upgrade Chip for the Yamaha VL70-m?The PATCHMAN TURBO VL chip is a user-installable EPROM chip that contains 256 new state-of-the-art wind controller patches. These new upgraded patches replace the 256 factory sounds found in the Pr1 and Pr2 banks. A TURBO-ized VL70-m is considered by many to be the ultimate wind controller sound module. The 256 new TURBO VL Voices have been meticulously edited by expert wind controller programmer Matt Traum. The TURBO VL chip includes tons of amazing new sounds, the very best Voices selected from the Patchman Music VL70-m Volumes 1 and 2 newly optimized, as well as improved versions of the best of the factory presets. The Turbo VL chip represents nearly a year of intense physical modeling programming. All of the Voices on the chip have been carefully programmed for maximum realism, re-tuned, and tweaked to respond in a far more satisfying and dynamic manner. The effects have also been optimized for smoothness. Complete details on the TURBO VL chip is available here. An FAQ about the TURBO VL chip is available here.
WX5 / TURBO VL70-m owners might enjoy Bob Norton's "WX / VL70-m TURBO Tweaks" page.
I'm confused about the way the
various Banks are set up in the Yamaha VL70-m?The VL70-m has 4 banks: Pr1, Pr2 (the two Preset banks which each have 128 permanent patches), Cst (Custom bank- contains 6 slots that you can put 6 complete original patches into), and Int (Internal bank- contains 64 slots where you can save any front panel edits you do to any of the patches).
The Cst bank allows you to store your own sounds using one of the free downloadable patch editors on your PC or Mac and then save them to the VL70-m. Or you can find patches online and load them into any of the 6 slots using one of the editor/librarian programs.
From the front panel of the VL70-m, you have access to only a subset of a patch's total parameters. These parameters consist of controller assignments, effects settings, transposition, etc... These parameters can be changed on any patch in the VL70-m and then saved to one of the 64 Int bank memories. Keep in mind that since the edits in the Int bank are referencing specific patches which are stored in Pr1, Pr2 and Cst banks (similar to how Performances or Multis work in other synths), if you change the original Cst patch data, you will then get unexpected results. This isn't a concern with Int patches that point to a Pr1 or Pr2 patch since the referenced data in those banks is permanent. BUT, if your Int patch is referencing a Cst patch and you later change the original Cst patch, then any Int patches referencing it will be changed as well.
I modified a sound on my computer
and sent it to the VL70-m. It works fine. Then on the VL70-m,
I saved the