Yamaha PSR/Tyros arrangers. DJX-II styles for PSR/Tyros; Performance styles for PSR-E443; Music Gallery. That foreknowledge, do I A/B the Genos and the Pa4x? I chose to focus solely on the Genos given the two hour window for testing. Frank, BTW, invited me to stay longer, but I knew that I needed to avoid traffic Hell later in the day. This video explains the steps to load the SwarTrax voices using the Yamaha Expansion Manager software on.
Tyros5 Styles 539 Preset Styles In November, 2013, Yamaha announced its newest flagship arranger keyboards, the (pictured above), and for the first time since the Yamaha 9000Pro, a 76-key model called the. Visit either of the Tyros5 links to see all the features and specifications of the new models. Like all of the Yamaha arranger keyboards, the these Tyros5 models have many exceptional styles - more of them than any previous Yamaha keyboard. The Tyros5 models feature Yamaha's new 'Audio Styles' (marked with an. in the table below): Adding forty new percussion-based Styles to the Tyros5's impressive backing and accompaniment capabilities, Audio Styles add natural feel, ambience, and warmth to drum and percussion parts, offering greater expressive potential.
Audio Styles also benefit from Yamaha's Time Stretch Technology, which allows the audio to follow your tempo changes without changing pitch, so everything stays in perfect sync. The Tyros5 preset styles in each of the style categories are listed alphabetically in the table below. There are 40 new styles, each highlighted in the table below. (One Tyros4 style, GayGordens, is not included in the Tyros5). Note also that even styles with the same name as those in the Tyros4 may have different OTS voices and other changes and so may not sound exactly like the T4 equivalents. For those of you who would like an Excel file with all of the style, as well as voice and multipad, information for the Tyros5, John Plumridge has generously offered his.
Every now and again, a question pops up on a forum that is worth reposting here. A member of the MODX forum inquired about distortion effects for drawbar organ. Yamaha has introduced new DSP effects with every generation of synth and arranger. Unless you don’t have a life (and I resemble that remark), you’re probably not steeped in the history of Yamaha effect algorithms (AKA “effect types”.) Some of the amp simulations (e.g., AMP SIM 1) have been around a loooooong time. When it comes to distortion or overdrive, I start with the effects added with the Motif XF version 1.5 update: US COMBO JAZZ COMBO US HIGH GAIN BRITISH LEAD MULTI FX SMALL STEREO BRITISH COMBO BRITISH LEGEND Of course, you’ll find these effects on Montage and MODX, too. BTW, These same effect types (algorithms) are available on Genos, Tyros 5 and a few other Yamaha arrangers.
On arrangers, they are called “Real Distortion.” The arranger presets are voiced differently to fit the needs of arranger styles. The insert effects perform distortion and rotary speaker emulation. The effect routing is: Insert B - Insert A where Insert B is MULTI FX and Insert A is Rotary Speaker 1. MULTI FX is effectively a chain of guitar pedal effects and is quite versatile.
The effect parameters for “All 9 Bars!” are: 1 Comp. Sustain 2.0 2 Wah SW Off 3 Wah Pedal 0 4 Dist SW Clean 5 Dist Drive 1.8 6 Dist EQ Hi Boost 7 Dist Tone 1.5 8 Dist Presence 5.0 9 Output Level 100 10 - 11 Speaker Type Twin 12 LFO Speed 7.738Hz 13 Phaser SW Off 14 Delay SW Echo 1 St 15 Delay Ctrl 40 16 Delay Time 48 The Compressor Sustain stage is always on.
Here, the Wah and Phaser are turned off. So, after the compressor, the rest of the chain applies distortion, amp simulation (Twin) and delay. Arranger people might want to try the MULTI FX with these parameter settings in order to spice up the rather polite drawbar organ voices. Then, crank the parameters! There’s plenty to tweak here. I recommend reading Phil’s blog covering the new effects in Motif XF version 1.5: If MULTI FX doesn’t get the sound that your looking for, then maybe one of the other “Real Distortion” effects will get the job done. Copyright © 2018 Paul J.
Drongowski Posted inTagged,. Baby, I’m amazed at how fast I have pulled together enough MODX Performances to take MODX to my gig tomorrow. This is definitely a set up record and testimony to efficient workflow through the touch screen user interface. Of course, being familiar with the Yamaha AWM2 synthesis architecture (and its many parameters) is a big help. There were only a few sticking points like how to delete a Part from an MODX Performance. It works like a right-click context menu — hold SHIFT and touch the Part that you want to delete, etc.
The MODX pops a menu. I did a little A/B testing between MODX and Genos™ as a sanity and ear check. I compared my MODX Performances against the Genos registration settings that I crafted for my church sounds (mainly orchestral instruments/layers and B3 organ). I was surprised to hear the difference between the MODX and Genos drawbar organ. The MODX was grungier and I had to find out why. It’s worth unpacking the “All 9 Bars!” Performance simply to learn about MODX Performance (and voice) programming.
Please remember that MODX (and Montage) Performance structure is relatively flat. A Performance consists of Performance Common data and one or more Parts.
Look inside Performance Common for Variation, Reverb and Multi-effects (MFX) effect routing and parameters. These are the system-level effects that affect all Parts in the Performance. Each Part contains Part Common data and one to eight voice elements. A voice element is either a mini AWM2 or FM-X synthesizer depending on voice type.
Part Common is where the Insert A and Insert B effects are defined. They affect one or more voice elements depending upon insert effect switch status. In “All 9 Bars!” the Insert A and B effects are “Rotary Speaker 1” and “Multi FX”, respectively. Please see for more details. The MODX does not have an explicit Voice (capital “V”) object type; voice (lower case “v”) information is contained within a part.
I will use “voice” (lower case “v”) at times in my writing. Please keep the distinction in mind. “All 9 Bars!” consists of two parts. Part 1 handles the first eight drawbars: Element# Waveform 1 Draw 16′ 2 Draw 5 1/3 3 Draw 8′ 4 Draw 4′ 5 Draw 2 2/3′ 6 Draw 2′ 7 Draw 1 3/5 8 Draw 1 1/3 Expanded Articulation (XA) is “Normal” meaning that all of the elements trigger with a key press.
This chews up polyphony pretty quick. Good thing the MODX has 128 AMW2 voice polyphony. Part 2 has the ninth drawbar (1′) and special effects goodies. Think of “All 9 Bars!” in the same way as a multi-part piano voice with key noises, etc. Element# Waveform Purpose 1 Draw 1′ 1′ drawbar 2 Percussion Percussion 3 Rotor Grit Rotor noise 4 Rotor More rotor noise 5 Draw 8′ Key click 6 Draw 8′ Key click If you want to clean up the sound or turn off key click, look into Part 2. The SuperKnob is programmed to control the amount of distortion drive in the Insert B “Multi FX” effect. The MOD wheel and Assignable Function button 1 (AF1) controls the rotary speaker speed.
Why the Genos B3 is soooo polite The Genos B3 is too polite and clean, especially for rock and grungier forms of jazz, funk and gospel. Both the MODX and Genos have the same rotary speaker effect. The MODX, however, has a longer effects chain and includes a “Multi FX” distortion with top boost effect. After shutting down “Multi FX,” the MODX is still grungier. That’s why I decided to deconstruct “All 9 Bars!”.
The Genos does not have the rotor noise or key click components. Each of Genos’ RIGHT1, RIGHT2, RIGHT3 and LEFT parts are what MODX folks would call single Part Performance. Each implement a single voice consisting of one to eight elements. Even though an “Organ Flutes” voice behaves like a multi-Part Performance, you cannot extend it or reprogram it. “Organ Flutes” is a closed black box. One could, however, construct a Genos organ FX voice with percussion, rotor and key click elements and then layer the organ FX voice with an Organ Flutes voice, i.e., assign an Organ Flutes voice to RIGHT1 and assign the organ FX voice to RIGHT2. One would have to build the organ FX voice in (Yamaha Expansion Manager) YEM — totally do-able.
I wish Yamaha published a waveform list as the necessary samples may already be hiding in the Genos waveform ROM. Seen it, done that Here’s a peek at the Live Set for Sunday. This is an experimental layout. I hope that I can poke the buttons on the fly. Click images to enlarge.
I took what I learned about the “All 9 Bars!” Performance and build a new Performance called “B3 Church Scene PJ”. The Performance uses scenes to switch in additional drawbars. I have three signature settings that I use every Sunday. I start out with a basic church sound and then add drawbars to it as the hymn (or whatever) progresses. BTW, I have the EQ low dialed way down. Too much bass gets in the way of our pianist. Also, thankfully, Performances remember the state of the selected knob parameters.
I make occasional EQ changes on the fly. The MODX Scene mechanism seems to be built for this kind of voice switching. Plus, the Scene buttons are so close at hand. I successfully put the AF1 and AF2 buttons to work this way on the MOX6. Building a new MODX Performance from “All 9 Bars!” was a good learning experience and it got me ready for Sunday. Maybe I can make orchestral combinations with Scenes and maybe, gasp, put the SuperKnob to work? Copyright © 2018 Paul J.
Drongowski Posted inTagged. The exploration begins! Starting in with a new keyboard is like landing on the Moon. What should I explore first? First stop: Reverb Effects are critical to good sound. I’ve fallen in love with the Genos™ “Real Small Hall+” effect preset. It just sounds nice to my ears and I want to incorporate it into Performances as I port my MOX voices to MODX.
The “Real Small Hall+” preset has a mid-range bump around 700Hz to 800Hz which adds presence. First off, what the heck is the equivalent effect algorithm on MODX?
The Genos “Real Small Hall+” uses the Genos “REAL REVERB” algorithm. Quick comparison between the Genos Reference Manual (RM) and the MODX RM reveals that “HD Hall” is the same as “REAL REVERB”. Frankly, I don’t know why Yamaha names effects differently on different product lines.
Slightly bonkers. MODX provides three presets for “HD Hall”:.
Large Hall. Medium Hall. Bright Hall The “Medium Hall” preset is the closest to “Real Small Hall+”.
It’s not the same, so there will be some extra editing ahead. In case you’re wondering, here are the parameter settings for “Real Small Hall+”: Number Parameter Value 1 Reverb Time 1.3s 3 Initial Delay Time 22.1ms 4 High Damp Frequency 8.0kHz 6 High Ratio 0.8 13 EQ Low Frequency 700Hz 14 EQ Low Gain +6dB 15 EQ High Frequency 800Hz 16 EQ High Gain +4dB — Return Level 64 I would love to make a MODX user effect preset with these specific parameter values. Would sure save a lot of editing Of course, I tried these settings and so forth. In the course of investigation, I found it easier to navigate with the MODX cursor keys instead of poking the touch screen. As I mentioned in, the small size of the MODX widgets requires care and precision when tapping the screen. I also noticed that more finger pressure is required than the Genos touch screen.
Widgets along the edge of the screen are the most troublesome and maybe I’ll need to re-calibrate the touch panel. Next step: Rotary speaker effects One big, lingering question in arranger-land is how to make the PSR/Genos drawbar organ more realistic.
I need to port my B-3 patches, so it made sense to drop into the “All 9 Bars!” Performance. “All 9 Bars!” is a 2-part Performance which marshalls 14 voice elements into a pretty decent B-3 plus Leslie emulation. Part 1 implements the first eight drawbars and part 2 implements the 1′ bar plus some other goodies. I’ll have more to say about the part programming in another post. In the meantime, here is a screen shot showing the insert effects routing for “All 9 Bars!”.
Click images to enlarge. The MODX “Rotary Speaker 1” algorithm is what we could call “the old algorithm.” “Rotary Speaker 2” is the “new algorithm” debuted in Montage. The rotary speaker effect (Insert A) drives the Multi FX (Insert B) algorithm before everything hits the 2-band EQ (flat).
The following screen shot shows the parameters for the “Rotary Speaker 1” effect. The “Rotary Speaker 1” algorithm includes its own 2-band EQ which gives a kick at 200Hz and 4.5kHz. Thus, the 2-band EQ at the end of the Insert A to Insert B chain is flat. The next screen shot summarizes the parameter settings for the “Multi FX” effect. BTW, both the Multi FX and HD Hall reverb were introduced in the Motif XF version 1.50 update. Multi FX is supported in the PSR-S950 (and later) mid-range arrangers, Tyros 5 and, of course, Genos. The effect routing diagram illustrates one immediate advantage of the Yamaha synth effect architecture over the Genos effect architecture.
It is possible to chain two insert effects on Genos, but you need to stand on your head to do it. Also, it’s not easy to chain a distortion effect into the PSR/Tyros “Organ Flutes” mode. These limitations are due to legacy software and the XG voice/effect architecture — and they MODX screen capture About those screen shots! Like Montage, the MODX has a double-secret Easter egg for capturing screen shots.
Insert a USB flash drive into the USB TO DEVICE port. Press and hold the A/D INPUT ON/OFF button.
Press and release the AUDITION button. Release the A/D INPUT ON/OFF button. The MODX writes screen shots to the USB flash drive with names such as “DSNAP0.png”.
I don’t know why Yamaha hides this capability. We live in a modern, visual age, after all, and people need to share screen shots through (anti-)social media. Here’s two tips. To save wear and tear on the USB TO DEVICE port, I plug a short extender cable into the port and then plug the USB flash drive into the extender cable. The cable brings the port to a place where I can easily reach it and it reduces wear on the port connector.
The screen capture procedure doesn’t provide any visual indication that the capture was successful or complete. Use a USB flash drive with an activity LED (e.g., the Kingston Data Traveler Elite G2). You should see the drive’s LED flash when the PNG file is written. Naturally, do not remove the drive when it is active! Copyright © 2018 Paul J. Drongowski Posted inTagged,.
Just when the summer seemed truly boring, Yamaha drops the Montage v2.5 update. I think Yamaha engineers have heard many user comments and requests. They have continued to beef up legacy (Motif XF) Performance support in Montage, providing all of the original Motif XF Performances as presets. The legacy Performances have Super Knob assignments. Good to see and hear! The release video mentions “512 new Motif XF Performances.” Too soon to know how this breaks down — spiffed up old versus brand new.
Kind of like “new” vs. “new old stock.” 🙂 The Motif XF Performances are a lot of first rate content. Coupled with the new Arpeggiator recording modes, one can use a Montage as a songwriting tool much like the earlier Motif XS/XF and MOX/MOXF. Another gap between the old and new was the lack of integrated control between Montage and DAW. Montage has a new REMOTE mode, “DAW Remote Control:”. Mix your DAW tracks using the MONTAGE faders and knobs.
Use the MONTAGE transport to start, stop, record, rewind, fast forward and return to zero. Select, arm, mute and solo DAW tracks with the MONTAGE right-hand buttons. Edit and control virtual instruments. Use the MONTAGE Data Wheel as a jog/shuttle wheel. Customize the SCENE buttons to perform various DAW functions Above list quoted from the web site.
This is more like the old “AI integration” in Motif. Cubase, ProTools, Logic, and Live are supported.
The Yamaha Synth site reminds everyoe to “BACKUP and SAVE YOUR DATA before updating to OS v2.5!” This is good advice in general. Are you ready for a media failure? A worn out back-up battery?
The update is available today, 31 July 2018. Looks like the team met their quarterly milestone. П™‚ Genos™ people on the PSR Forum want to feel the love, too.
Genos and Montage updates are on separate schedules. However, I do hope that Yamaha engineers have been listening as carefully to Genos users. A fair number of us would like to see similar DAW support/integration for Genos along with bug fixes. We are using Genos in our studios and need the same kind of DAW control and VST integration.
Yamaha had to restructure the old Tyros/PSR OS to run on Linux and to interact through the new user interface (UI). I occasionally run into an issue where a setting gets lost when switching “modes,” e.g., going into and out of MIDI song multi record.
Or, most recently, the rotary speed control (both front panel and pedal) is lost and becomes unresponsive. This tells me that more “integration level” software testing is needed.
Software may be passing its unit tests, but errors are lurking when modules/subsystems interact with each other. The Yamaha Synth folks have created a “Yamaha Synth” group on. The purpose is to collect product ideas and suggestions for the synthesizer product line. Members also cast votes in favor of suggestions made by other people. This has got to be better than the mish-mash of proposals, flames and tirades posted in the forums — and much easier for Yamaha marketing to cull.
I’ll be making a suggestions or two myself One lucky member already won the lottery with the new DAW support in v2.5! Hope your summer is going well! I’ve been busy with tracks and charts, so there hasn’t been as much new content here. Copyright © 2018 Paul J. Drongowski Posted inTagged,.
The new Yamaha Genos™ platform greatly expands the number of DSP insertion effects for styles and MIDI songs. No doubt, you would like to put these insertion effects to work in your own styles and MIDI songs. This blog post should help you get started. There are 28 insertion effect units at your disposal:. Insertion Effect 1 to 19: Keyboard parts (RIGHT1, etc.) and Song channels 1 to 16.
Insertion Effect 20: Microphone and Song channels 1 to 16. Insertion Effect 21 to 28: Style Parts (except Audio Styles). Within the constraints of these three groups, any Insertion Effect unit within a group may be assigned to any audio source associated with the group. I will use the terms “Insertion Effect” and “DSP effect” interchangeably.
This is true when you delve into the Yamaha XG parameters, too. With all this flexibility, effect resource management can easily get out of control. I’ve developed a few personal guidelines to help keep things organized:. Genos assigns RIGHT1, RIGHT2, RIGHT3, and LEFT to Insertion Effects 16, 17, 18 and 19. Avoid using these Insertion Effect units in a MIDI Song. Assign the remaining Insertion Effect units on a 1-to-1 corresponding basis: DSP unit 1 to Song part 1, DSP unit 2 to Song part 2, etc. These simple guidelines make it easier to manage track DSP usage when doing the busy-work of Song editing.
Genos also provides a Variation Effect which can be configured as either a System effect or an Insertion Effect. Let’s not even go there for now. The Variation Effect offers additional opportunities for signal routing and control.
Unfortunately, opportunity comes at the cost of complicated configuration. If you want more information about using the Variation Effect, here’s a pair of blog posts for you:. It’s simple then — each DSP unit (Insertion Effect) corresponds to a single Song part. Each unit and its part have the same identifying number. If you’re sequencing on the Genos itself, you can assign Insertion Effects to Style and Song parts using the Mixer.
Go to the Mixer, touch the “Effect” tab at the Left of the screen, and then touch the “Assign Part Setting” button. Genos displays the insertion effect assignment dialog box where you can make assignments.
This dialog box is a good way to check that your MIDI sequence is making the correct assignments, too. I do my MIDI sequencing and editing in BandLab Technologies SONAR (formerly Cakewalk SONAR). This means configuring DSP effects via System Exclusive (SysEx) MIDI messages. Many people fear SysEx because the messages are encoded in hexadecimal numbers. I’m going to give you a head start. At a minimum, we need to create two SysEx messages for each Insertion Effect:.
![Yamaha tyros 5 styles software testing Yamaha tyros 5 styles software testing](/uploads/1/2/5/4/125489891/303882544.jpg)
One message to assign the DSP unit to the Song part, and. One message to select the DSP effect type (e.g., British Legend Blues). This is enough to assign a DSP effect preset (and its algorithm) to a Song part.
Once assigned and the MIDI sequence is loaded, you can edit the effect parameters in the Genos GUI by spinning the faux knobs and such. When you hear a setting that you like, you can translate the settings into additional SysEx messages and incorporate the messages into the sequence using a DAW like SONAR.
First things first. The SysEx message to assign the DSP unit to a Song part has the form: F0 43 10 4C 03 XX 0C YY F7 where XX is the DSP (Insertion Effect) unit number and YY is the Song part number. The only potential gotcha is MIDI unit and part numbering — it starts from zero instead of one. For example, let’s assign DSP unit 6 to MIDI part 6. (I’m assuming that the MIDI part and channel numbers are the same; the usual default situation.) In this example, XX=5 and YY=5, so the final SysEx message is: F0 43 10 4C 03 05 0C 05 F7 Straightforward.
You may already be aware that hexadecimal (hex) is a way of counting (i.e., representing numeric quantities) in base sixteen. The hex digits 0 to 9 have their usual meaning. Hex digits A, B, C, D, E, and F represent the numeric quantities 10, 11, 12, 13, 14, and 15, respectively, when those quantities are written in base 10, decimal notation.
You’ll need those hex digits when connecting DSP units 10 to 16 and Song Parts 10 to 16. I’ve really enjoyed playing Genos. The Super Articulation 2 (SArt2) voices take emulative synthesis to a new level of realism. Although Yamaha have added the new rotary speaker effect to the Genos, there is still work needed to make the drawbar organ experience realistic and competitive with Hammond clones. Yamaha needs to bring the drawbar experience up to the same level as SArt2. The current drawbar organ implementation is much the same as the previous Tyros and S-series drawbar organ mode.
The drawbar signal chain consists of a tone generation stage followed by the rotary speaker effect: Rotary Drawbar tone generator - Speaker - Mixing Console Effect The output is sent into the usual Genos/Tyros/PSR Mixing Control and system-level effects architecture. The drawbar tone generator has an eight level volume control that determines the level of the pure drawbar signal. The user sets this level using a virtual drawbar in the drawbar mode graphical user interface (GUI). So, the signal that hits the input of the rotary speaker effect is constant at the level set by the user.
In Genos-land, the foot pedal sets XG MIDI channel volume, i.e., changes the post-effect volume level of the organ’s channel in the Mixing Console. Problem is, that’s not the way the real-world works.
On a Hammond, for example, the foot pedal changes the signal level hitting the rotary speaker. The foot pedal does two things:. It changes the overall volume level of the instrument (i.e., what the audience hears), and. It changes the signal level hitting the rotary speaker pre-amp.
The second point is crucial for realism as the amount of pre-amp distortion changes with the signal level. A higher signal produces more distortion and a low-level signal is relatively clean. The existing Genos drawbar implementation does not do this. The amount of distortion is set once and is constant. The amount of distortion does not change with the organ volume.
The way the expression pedal changes channel volume sounds unnatural and is not realistic. Many of us, including Uli and Stuart on the PSR Tutorial Forum, have tried to work around this problem. We also find the drive in the new rotary speaker effect to be, well, wimpy. So, we have tried inserting a distortion effect before the rotary speaker effect, etc. And have run into several limitations and roadblocks.
These issues have to do with DSP effect chaining, access to DSP effect parameters and control of DSP effect parameters. Here’s a short list of issues:. Be able to control the signal level from the drawbar tone generator into the rotary speaker drive effect. The distortion level must track the input level in order to accurately emulate real world distortion. Be able to insert a distortion block between the drawbar tone generator and the rotary speaker in order to make up for the wimpy drive in the new rotary speaker effect. Be able to edit parameters of a DSP effect when more than one DSP is assigned to a part. Only the last DSP in the chain is displayed in voice and can be edited.
In Firmware v1.02, there was an edit button in DSP assignment dialog. Please bring this feature back. Thanks for this one, Uli!.
Be able to edit more than 16 DSP effect parameters, including the missing parameters for the UNI COMP and new rotary speaker effect. Be able to use the foot pedal to control all user controllable parameters for all DSP effects that have them, not just the WAH effect. Provide access to the UNI COMP side-chain input, i.e., a way to connect a signal to the side-chain input. Yamaha’s own engineers are getting ahead of the Genos developers by designing effect algorithms with more than 16 parameters, side-chain inputs and so forth. These features are currently hidden or inaccessible to Genos users. For example, we cannot change the slow-fast and fast-slow times of the rotor nor can we connect a signal into the side-chain input of the UNI COMP compressor. The XG architecture has always provided for effect parameters which can be controlled by an assignable controller (e.g., AC1).
Yet, the only two Genos effects which may practically be controlled in this way are the WAH effect and rotary speaker speed. Yamaha need to unleash the power of Genos’ assignable sliders, knobs and buttons by generalizing control.
Please let us assign any MIDI controller to any parameter in any effect block. (Rotary speaker speed only affects the rotary speaker block in the drawbar signal chain.) So, I hope Yamaha takes these suggestions into consideration and makes them part of a future update. These improvements would make Genos truly competitive against other premium-priced keyboards — clones, not just arrangers. DSP effect signal flow When Yamaha’s Genos developers design the graphical user interface (GUI) to manage chained DSP effects, they should call their colleagues at Line 6. The Helix Native plug-in has a spiffy signal flow window (see image below) in which a Helix user creates and edits a virtual pedal board. The user creates effect blocks and interconnects them. Genos should have a similar visual interface for creating and managing DSP effects that are chained.
Touching an effect block should open the detailed parameters for the block. The Genos touch panel would be a natural for this kind of interaction. Click image to enlarge. Slider value pick up I have to thank Simon Sherbourne’s review of the Aturia KeyLab Essential for inspiring the following suggestion. His review appears in the February 2018 issue of Sound On Sound Magazine.
The Genos sliders are noticeably jumpy. Their behavior has prompted several complaints on the PSR Tutorial Forum. Simon likes the value “take over” implemented in the Arturia KeyLab Essential.
Quoting Simon’s review: “Take over is always smooth. Sliders take over using Ableton-style scaling. As soon as you move a slider the software knows where it is and draws a ‘ghost’ fader showing the hardware position. Any movement will produce relative adjustment of the mapped parameter until the physical and virtual sliders come together. Clever!” The Arturia manual calls this “Pickup” behavior: “the faders in your DAW will gradually move to match the current position of the fader on your controller as it moves.” Yamaha should add pickup behavior to the Genos sliders. Slider mode should be selectable by setting either a utility parameter or a controller function setting. Posted inTagged,.