Yoshimi extras

[Folderol]

One of our people wanted to get a WahWah effect (controlled by a foot pedal) on a sound.

The best way to do this (as reported by another user) is to direct one of the main Insertion Effects to the part you want to control, and select the EQ effect. Set a Low pass filter and a fairly high Q, then MIDI-learn the frequency to the pedal.

[Eddy Deegan]

Oops, I missed this one ... thanks Will. In my case, wah-wah is not an effect that I particularly like but I know some do, so the fact that Yoshimi can cater for those who do is only a plus in my book.

It's a great demonstration of how MIDI learn is incredibly useful.

[Folderol]

And another new small feature addition has landed from one of Yoshimi's little band of helpers. This is an extension of the Solo control. As well as the existing ones, there will now be a Channel setting.

In this case when the CC is sent with a value greater than 63 only parts set to receive that channel will accept new notes, any others will still accept a note off, but will otherwise continue to sound only existing notes.

If an instrument on a different channel sends this CC, the first one will be cancelled, and this channel will become the active one.

If an instrument on any channel sends the CC with a value less than 64 the feature will be simply cancelled.

Aaaand another thing.

There is just a slim possibility of polyphonic aftertouch coming to Yoshimi. The control outline is there in my local branch. It's now a matter of trying to work out what controls to make available , and the precise mechanism for each. This is somewhat complicated by the fact I don't have a polyAT keyboard, and have to emulate it - fiddling a CC at the MIDI entry point.

[zenguitar]

There is just a slim possibility of polyphonic aftertouch coming to Yoshimi.

That will cheer someone in Amsterdam

Andy

[Martin Walker]

There is just a slim possibility of polyphonic aftertouch coming to Yoshimi.

That will cheer someone in Amsterdam

...who has both a Yoshimi and a recently received polyAT-equipped keyboard, so could be a possible beta tester if any spare time becomes available

[Eddy Deegan]

There is just a slim possibility of polyphonic aftertouch coming to Yoshimi.

That will cheer someone in Amsterdam

...who has both a Yoshimi and a recently received polyAT-equipped keyboard, so could be a possible beta tester if any spare time becomes available

You heard the men Will!

PolyAT support in Yoshimi would be beyond amazing.

[The Elf]

PolyAT support in Yoshimi would be beyond amazing.

Has me interested!

[Folderol]

Well, I think I've survived a brief entry into Here-Be-Dragons country

The current master version of Yoshimi now has PolyAT for filter cutoff. A comparatively easy one to implement. The more harmonically rich the sound is, the more noticeable the result. However if the filter cutoff is already set high you won't notice much difference.

As I said before I had to attempt to emulate PolyAT so it needs someone {cough} who has such a keyboard to test it. The 'Prophesy' sound is quite a good one for this.

I'm particularly interested in how smooth the change is - hopefully there will be minimal 'zipper' noise.

It so happens, that those with a Yoshimi Pi, are actually running 'master' so are just a git pull away from this

[Eddy Deegan]

Sounds like a very positive step forward Will! I have a Yoshimi-Pi on my travels with me but sadly I'm nowhere near my Hydra and won't be until a week on Friday. That said I'll certainly try it when I get back

[Folderol]

Some more progress on Poly AT. There is now a GUI entry, and you can set Filter cutoff, and/or pitchbend. You can set the latter to go either upwards or downwards. This is found in the Controllers window - which seemed the logical place to put it, and the current settings are saved in patch sets.

It still needs some form of interpolation, but should be quite usable when automation derived, or coming from a really good keyboard.

I should also be able to include modulation, and also either volume or velocity. Velocity is particularly interesting, as filters can be velocity sensing.

Modulation is a bit odd, as it's response is determined by the frequency LFOs. Zero depth here, means no modulation at all.

[Folderol]

Not only do we now have Key aftertouch, we also have the same range of Channel aftertouch which uses a very similar process. This I can test with my QS300, and although it's a bit sensitive it seems to be pretty smooth.

You can have both forms at the same time, but not controlling the same effect - you are prevented from trying

The effects now are:
Filter Cutoff
Pitch Bend (up or down)
Modulation

[zenguitar]

I've got enough on my shopping list without adding a PolyAT keyboard.

With a regular MIDI keyboard I'm a 'two finger touch typist' at best.

But glad to hear you are making progress, I know it will be worth the effort. Even for a two finger 'typist' like me.

Andy

[Folderol]

A few points that seem to get overlooked.

Most buttons and controls have tooltips if you hover the pointer over them. With controls, it usually includes the current numeric value. Sometimes in MIDI 0-127 styles, but mostly in actual values.

Yoshimi uses window 'stacks' to limit controls to sensible groups. A normal left click on the appropriate button opens a window to the next level. However, if you instead use the right mouse button, when it opens the new window it also closes the previous one which is particularly useful on a small screen. If you then right click on the close icon at the bottom, it will reopen the previous one so you can quickly run up and down the stack.

Effects always have one of their presets loaded (apart from EQ), which you can then edit as you please. As soon as you do so the background behind the preset name will turn blue. This is to warn you that it no longer is the default for that preset. It is particularly relevant when you save, and later reload an instrument or patch set, when you might not know it was changed.

[Martin Walker]

All very useful information Will - thanks!

There seems to be a very short shallow end for the Yoshimi, where even a few steps can take you into the deep end

Martin

[Folderol]

That's true, but at least there are steps, and you're not thrown straight into the deep end. Also you can stop at any step you like and still get useful results.

[Martin Walker]

Well said Will!

Martin

[Folderol]

If you have a controller that can send NRPNs then these will get much better resolution for things like detune sliders in the engine editors. The same is true for the frequency element of any effects. Even for the controls that don't have that amount of detail, you still get the benefit of having vastly more controller values to chose from than ordinary CCs.

However, there are a few NRPNs that take priority, such as vector control.

For those interested, there are two conversions. The first is from the input source, via the min/max modifiers, to a common floating point variable, and the second is from this to the actual control range of the learned item.

[Martin Walker]

[Folderol]

When Paul Nasca did the original design he put a lot of thought into default settings. The result is you can get some dramatic results with the simplest operations.

All the suggestions below are just starting points, and I would say most emphatically if you hear something you really like, save it immediately - you might never get it again!

With all of these your starting point is 'Simple Sound' and click on the 'Edit' button in the main window

AddSynth: Organ sound
Right click on the ADDsynth 'Edit' button.
Right click on 'Show Voice Parameters'.
Right click on 'Waveform'.
Click on 'Base Function' and change it from Sine to Sqr.
On the top row of the harmonic sliders set 2 and 4 to maximum, and 6, 8, 12, 16 about half way up.
Have a listen. This will already sound reasonable.

Right click on the Close icon, to go back to the Voice window then click on the '2' tab, and 'On'.
Here is where we cheat. Near the bottom click on 'Internal' and change it to 'Osc. 1', then move the 'Frequency' detune slider to the right so the box alongside reads about 2.33.
Also set the 'Pan' control at the top to the 3 O'clock position.

Click on the '3' tab, and 'On'.
Do the same to pick up Osc 1, but this time set the frequency slider to about -3.20 and 'Pan' at 9 O'clock.
You now almost have your pipe organ.

Click on the 'Close' icon, to go back to the ADDsynth window, then in 'Filter', set 'VSnsA' to zero for a bit of extra brightness.

Finally, right click on the 'Close' icon, then click on the 'Effects' button (below Kit Edit) and click on 'No Effect' and select 'Reverb' this will put your organ in a cathedral where it belongs

AddSynth Modulator:
Right click on the ADDsynth 'Edit' button.
Right click on 'Show Voice Parameters'.
Under Modulator click on 'Type' and select 'FM'.
Have a listen

Then below this, click on the Amplitude 'On' button.
Bit different isn't it?

Next move to the filter section an switch it on, also switch on the filter envelope. Which adds yet another dimension.

All of this is using just two sinewave oscillators. For a bit more depth try switching Unison on.

SubSynth: Choir sound
Disable ADDsynth and enable SUBsynth then right click on its edit button.
On the top row of the harmonic sliders raise number 4 so the bottom of its 'thumb' is level with the top of slider 5, then raise 2 and 3 until all the first 4 give a fairly natural looking slope. If you have the 'Reports' window open this will show as 2 @ 78, 3 @ 39, 4 @ 12.
That will already start to sound quite nice, but now, at the top pf the window set 'Band Width' to about 65 and try that.

To put our choir in it correct setting, right click on the close button, then right click on 'Effects'.
Click on 'No Effect' and select Reverb.

PadSynth: Chimes sound
Disable ADDsynth as before, then enable PADsynth and enter it's editor. This takes you to the harmonic structure. Every time you change these controls you will have to hit 'Apply' to register the changes.

Right click on 'Waveform' then change 'Base Function. from Sine the Gauss.
Move the second harmonic slider to maximum.
Switch Adpt. Harm to 'On'
This won't sound anything like chimes yet, but we are about to apply magic

Right click on 'Close.

Back in the padsynth harmonics window, set 'Overtones Position' to 'Power', then set 'Par1' to about 232, 'Par2' to 101 and 'Force H' to 100%.
Remember to click on apply.

This is pretty close now, so click on the 'EnvelopesLFOs' tab.
In the 'Amplitude Env' panel set 'D.dt' to about 3.6 seconds and 'Rdt' to about 5.3 seconds.

[Martin Walker]

Right - I'll be trying all that out forthwith.

Thanks Will!

Martin

[Folderol]

For those Yoshimi-cally challenged, this is what that AddSynth Organ sounds like, with the following extra tweaks:
Voice 3 moved up an octave (but still with voice 1 sound)
The main AddSynth Amplitude A.dt moved up to 41.4mS
The part effects Reverb D/W set to it's mid position.
http://www.musically.me.uk/themainevent/Test_Organ.wav

[Folderol]

Been doing 'stuff'. However this is what the chimes sound like. The only change I made here was dropping the Amplitude envelope S.val (sustain value) to zero. Otherwise if you hold on to the note, it doesn't sound very chime-like.

I can imagine this would make a nice doorbell sound for Arpangel

http://www.musically.me.uk/themainevent/Test_Chimes.wav

[Martin Walker]

Impressive!

Toccato could do with a little more bottom end on the pedals though

Martin

[Drew Stephenson]

That is a fine organ sound.