A look at REGISTRATIONS and STYLES

[Hugh Wallington]

Just to make it clear ..

1.  A STYLE disk contains files that end in .STY.  When loaded (you don't press the 'PLAY' on the Music Disk Recorder itself .. you press the button for LOAD under the screen) it puts the Styles you have chosen into the USER section of the AR.  To find them you have to press the 1 (or the 2) on the right in the STYLE section.  No, this is not a USER button!  It brings all the available Styles up on the screen.  You then have to 'scroll' left or right until you see USER on the screen.  Press the button next to that.  You still haven't got a USER Style!  You then have to press the button under the screen to choose which USER you want from USER 1, USER 2, USER 3 etc.  Then you have it ready to use.  Please note that there are no VOICES set up.  None of your REGISTRATIONS you have set up in the Registration Memory buttons 1 to 16 (1 to 12 in the AR80) will be disturbed.  You just have the opportunity now to choose a STYLE from USER rather than use the 'default' Styles in the AR.

2.  A REGISTRATION disk loads everything into the Registration Memories (between the Upper and Lower manuals).  This will set up VOICES for you to use with whatever you're playing .. as well as a suitable STYLE.  You don't of course have to use the Style.  You press the PLAY on the Music Disk Recorder this time or the button for PLAY under the screen.  This will set up the STYLE and the VOICES into those Registration Memories.  Note: There may or may not be some new STYLES loaded.  You'll have to check that out by going and having a look at USER.  You use what has been set up by pressing each Registration Memory button in turn and listening to what has been set up in there.  You can also check out which VOICES you are listening to as they are set up into eg. Upper Voices 1 & 2, LEAD Voice, Lower Voices 1 & 2, Bass Pedals etc. and can make adjustments to those Voices to suit yourself.  To SAVE your changes press and HOLD the RED M and press that Registration Memory Button so it 'flashes'.  You now have the organ set up with the sounds that you want.  Start playing, and press the Registration Memory buttons as required to change the sound.

[Hugh Wallington]

It should be pointed out that a REGISTRATION (ie. choosing VOICES for a song) is very much a case of personal preference. 

If you are playing Church Organ, Theatre Organ or Hammond (or even Piano), setting the organ up and playing it is fairly straightforward.

Listen to this piece played by Ed Wootton using Theatre Organ.

Ed Wootton playing Moonglow (MP3)

And here's one using Hammond/Electronic Organ in conjunction with the Leslie (Tremolo) effect.

All The Way (MP3) played by Hugh Wallington

And this one with Mark Burbridge playing Church Organ.

Jesus Be First (MP3) played by Mark Burbridge

If you are choosing individual voices like Trumpet, Trombone, Saxophone, then there are other considerations to take into account, like Sustain; Reverb; Vibrato etc.  Listen to this piece by Don Wherly where he has switched between various solo instruments.  At the start, his Trumpet is 'panned' to the right.  This is followed by Saxophone, Piano, and Trumpet (again) all panned to the centre, with loads of Reverb applied.

Trad Dixie (MP3) played by Don Wherly

We now come to what happens when you have more than one Voice playing the melody at the same time.  I'm sure you can see where this is leading to!  The Glenn Miller setup we were talking about in General Interest - This and That doesn't just have a single instrument playing the melody.  This is the Glenn Miller Orchestra!  So a general look first at things to bear in mind when setting a Registration up using multiple voices.

If you have your voices at the same footage and all coming from the same place then it will be difficult for the ear to pick out what the various instruments are, and everything will sound a bit of a mishmash.  There are three things you can do to rectify this.

1.  Have the instruments at different footages.  This will make them easier to identify. 
2.  Pan the voices, one to the right and one to the left (and if you have a third, to the middle as well).  This will make it even easier to sort out what is what.
3.  Have one instrument as a 'percussive voice' and the other as a 'continuous voice'.  When you play the melody, hold the notes down; then the percussive voice will fade away and the continuous one will continue playing until you take your fingers off.

I have an example of this here .. a piano being played with Cinema Organ.  Both are at the same footage.  The Cinema Organ is quieter than the piano, so just makes a 'background' to the piece.  The piano is centre stage; and the Cinema Organ has been panned to the right.  This was played by Paul Dolman.

What I Did For Love .. Paul Dolman playing the melody with Piano & Cinema Organ

Another consideration when you have more than one voice is whether or not to use a LEAD Voice for one of them, which is Monophonic (ie. it will only play one note .. the top one of any notes you are playing).  You have to adopt a certain technique to use this, as if you take your finger off the top note you are playing before releasing the lower ones it will 'drop down' to that lower one. And you won't want to have that happening!

So what is the use of LEAD Voice, you may well ask?  Well, it comes into it's own when you use it with Melody On Chord (M.O.C.).  And what does Melody On Chord do?  Well, the idea here is that when you play single notes on the upper manual, any notes you are playing in a chord on the lower manual are picked up and 'added' into the mix on the upper.  If you are not playing notes on the lower then M.O.C. doesn't have any effect at all.  And what is even more significant, LEAD voice does not pick up notes from the lower manual at all.

So here is a situation where you can quite happily play 'single notes' on the Upper (and get no 'jumping' from LEAD Voice) and at the same time get harmonies added into the melody taken from the chord you are playing on the Lower.  The harmony VOICES are taken from what you have set up for Upper Voice 1 and Upper Voice 2.  This means that you can set the LEAD voice; Upper Voice 1; and Upper Voice 2 all at different Volume levels to get the balance you want between those sounds.  Probably have the LEAD voice loudest; and Upper Voice 1 and/or 2 (if you are using both) set lower, so it's forming a harmony background.  Note that M.O.C. has several levels of involvement.  Level 1 plays higher notes into the mix; Level 2 adds in more notes from further down; and Level 3 .. probably too far down and would make the notes 'growl'.  I always use Level 1.

So here is an example of using LEAD Voice, together with Upper Voice 1 and Upper Voice 2 in conjunction with M.O.C. to produce some very good sounding strings.  Please note that the whole essence of a setup like this is that you are only playing single notes for the melody ... yet you hear a full range of notes being played.

Moonlight & Roses - STRINGS



The STRINGS have been set up with:

4' Orchestral Strings on Upper Voice 1, panned to the left
4' Classical Strings on Upper Voice 2, panned to the right
16' Chamber Strings on LEAD, panned to the centre.

Plenty of Reverb; the Sustain is ON.

Melody On Chord (MOC) is ON (Level 1).   This means the 'chord notes' from the left hand are picked up with the String Voices on Upper Voice 1 and Upper Voice 2 and 'panned' to the left and right.  But MOC does not pick up the LEAD Voice.  This means that the 16' Chamber Strings are heard 'playing the melody' and the Upper Voice Strings are forming the harmony above it (but playing the tune as well).

The Lower is set up with 8' Choir Ooh and 8' Orchestral Strings.

When switching to the Accordion sound, the Accordion is set at 16' on LEAD, and 8' Musette is on Upper Voice 1.  Again, MOC is ON (=1), and this doesn't pick up the LEAD Voice.  This means the 16' Accordion is heard 'playing the melody' and the Musette is forming the harmony above it (but playing the tune as well).

In my next post I shall take a look at these Glenn Miller setups we have been talking about.

[Hugh Wallington]

I have now done three recordings of At Last with three different REGISTRATIONS.  And I have so say again what I said earlier, that setting up a REGISTRATION for a song is very much a case of personal preference.

First, the Registration I set up to play this.

STYLE (from the STYLE section) - BIG BAND FOXTROT from BALLROOM; Tempo 75.

I have not tried to play fistfulls of notes on the Upper to get that 'Big Band' sound, but have made use of the ideas on producing multiple notes as outlined in my previous post.  That is, to use LEAD voice in conjunction with Melody On Chord (M.O.C.) on Level 1.  The M.O.C. picks up notes from the chords I am playing with my left hand and mixes them in with the melody.  These extra notes are played with whatever voices are selected for Upper Voice 1 and/or Upper Voice 2.  LEAD voice is a monophonic voice so does not play more than the one single note of the melody.  Doing it this way I can play the melody with single notes and get a 'big band' playing along with me.

We had Chris Powell at our Organ Club a while ago and he was playing a Roland Atelier.  He had a very good Miller sound and I noticed he was just playing the melody with single notes.  In the interval I had a chat with him, and he confirmed that he was using the setup as I have described above, using a monophonic voice and picking other notes up from his left hand.

Here's the rest of my setup.

LEAD Voice - 8' Orchestral Clarinet; Vol 20; Brill -3; panned to the right; Vibrato .. USER, Delay 1, Depth 2, Speed 1.
I have put this into VOICE EDIT and put REL. to -30.  This is to give the clarinet an effective 'Sustain' as there is no sustain button for Lead Voice.

UPPER VOICE 2 - 8' Sax Ensemble; Vol 20; Brill +3; panned to the left; Vibrato .. PRESET; Sustain ON (=6).

LOWER VOICE 2 - 8' Horn Ensemble; Vol 24; Brill 0; panned to the left.

LOWER ORGAN - 8', 3 lights; 4', 2 lights (Note: 1 light = no sound); Vol 8.

With a less 'harsh', more 'rounded' sound on the Lower I suppose I am playing this with a sound I like rather than trying to get a genuine Miller sound. 
Anyway, this is my recording.

"At Last" played with my own Registration

Hugh

[Hugh Wallington]

Now a look at the Registration taken from the AR's REGISTRATION MENU.  If you look in ORCHESTRAL PRESETS, BIG BAND you will find Sweet Miller.  Press the button under the screen corresponding to that and the Upper, Lower and Pedals will be set up with a suitable Glenn Miller Registration.

Now strictly speaking, this has been designed for playing Moonlight Serenade (not At Last) and the backing PARTS in the STYLE reflect this.  So I have turned to OFF .. CHORD 1, PAD, PHRASE 1 and PHRASE 2 (just kept the RHYTHM, the BASS PART, and CHORD 2).  Also, I thought this time I would play it with the automatics (AUTO BASS CHORD), so have pressed FINGERED CHORD; and MEMORY .. top right.

Melody On Chord (M.O.C.) is on throughout (Level 1), so notes are picked out from the chord played on the Lower.  But this time both Upper Voice 1 and Upper Voice 2 have voices selected so both are put into the mix, Upper Voice 1 to the centre, and Upper Voice 2 to the left.

STYLE (from the STYLE section) - SWING SEREN from SWING/JAZZ; Tempo 75.

LEAD Voice - 16' Sax Section; Vol 16; Brill -3; panned to the left; Vibrato .. USER, Delay 0, Depth 3, Speed 1.

UPPER VOICE 1 - 8' Sax Ensemble; Vol 24; Brill +1; panned to the centre; Vibrato .. USER, Delay 0, Depth 3, Speed 1.

UPPER VOICE 2 - 8' Dixie Clarinet; Vol 24; Brill -3; panned to the left; Vibrato .. USER, Delay 0, Depth 3, Speed 1.

LOWER VOICE 1 - 8' Smooth Trombone; Vol 12; panned to the left

LOWER VOICE 2 - 8' Muted Trumpet; Vol 18; panned to the right.

No SUSTAIN on anywhere.  Gives the instrumentalists a chance to breathe!

In the second part of the tune I have selected a Smooth Trombone on LEAD voice to play the melody (as far as I could tell, there was only the one Registration for playing the piece).  Didn't want the whole piece to play with just the one sound.

"At Last" played with the AR's Miller Registration

Note:  Chris Powell had said to me at our organ club meeting that he always had the Clarinet predominantly on top.  This is definitely not the case with the 'default' registration on the AR.  The predominant sound is the Saxophone.  Maybe that's why I didn't like it? 

And I have found this by doing a search about this.

Clarinet
It was Glenn Miller, pioneer of big band music, along with his orchestra. The unique sound of Miller's orchestra owed to his vision of a clarinet in the lead, backed by several saxophones playing in harmony.

Hugh

[Hugh Wallington]

Now for a look at the Miller Moods REGISTRATION Disk by Glyn Madden from Yamaha Club.  As I said earlier, had this been a STYLE disk it would have been no use to me, as it's not the STYLE we are after here but the setup of the VOICES to give us that Glenn Miller sound.

Looking at the instructions on the box it actually says that the Registrations are for At Last (as well as other Glenn Miller pieces) , so that's a good start.  I chose Track 9 to load, as that is the one using FINGERED CHORDS and I thought I would play it that way again (with the Auto-Bass).

What I found loaded in was Registrations for At Last in Registration Memories 1 - 4; something else in 5 - 8, which used Big Band Fast (and it was fast!); and a fast 'German Style' waltz in 9 - 12.  Don't know what was in 13 - 16 as I have an AR80, which only has 12 Registration Memories.  So I just concentrated on 1 -  4.

Registration Memory 1

STYLE - SWING SEREN from SWING/JAZZ; Tempo 75.

LEAD Voice - 16' Wind Ensemble; Vol 24; Brill 0; panned to the centre; Vibrato .. USER, Delay 1, Depth 7, Speed 1.

UPPER VOICE 1 - 8' Breathy Tenor Sax; Vol 24; Brill 0; panned to the centre; Vibrato .. USER, Delay 0, Depth 4, Speed 2.

LOWER VOICE 1 - 8' Brass Band; Vol 12; panned to the left

LOWER VOICE 2 - 8' Big Band Brass; Vol 8; panned to the right.

Registration Memory 2

STYLE - BIG BAND 1, a USER STYLE (sounds very much like Big Band Fast); Tempo 75.

LEAD Voice - 8' Dixie Clarinet; Vol 24; Brill 0; panned to the centre; Vibrato .. USER, Delay 1, Depth 6, Speed 1.

UPPER VOICES - No Upper Voices, so there are no 'extra' notes added to the mix.  So all you hear is the Clarinet on it's own.

LOWER VOICE 1 - 8' Brass Band; Vol 12; panned to the left

LOWER VOICE 2 - 4' Muted Trumpet; Vol 8; panned to the right.

Registration Memory 3

STYLE - BIG BAND 1, a USER STYLE; Tempo 75.

LEAD Voice - Smooth Trombone; Vol 24 (too loud! .. had to turn it down to 18!); Brill 0; panned to the centre; Vibrato .. USER, Delay 1, Depth 6, Speed 1.

UPPER VOICES - No Upper Voices.  Didn't want any as just want a 'solo' instrument playing when using this Registration.

LOWER VOICE 1 - 8' Popular Strings; Vol 10; panned to the left

LOWER VOICE 2 - 8' Grand Piano; Vol 16; panned to the right.

Registration Memory 4

STYLE - BIG BAND 1, a USER STYLE; Tempo 75.

But this STYLE had the PARTS that give you the 'response' when you are playing the Glenn Miller number Moonlight Serenade.  Not really applicable when playing At Last!

To play the piece with the Miller Moods Registrations I have used Registration Memory 1 at the start; then Registration Memory 3 (with the solo Trombone); then Registration Memory 2 (just a single Clarinet sound for the melody here); back to the Trombone .. and finally back to Registration Memory 1 again.

This is what it sounds like.

"At Last" played with the Registrations from the Miller Moods disk

I'm not impressed with the result!  Too 'brassy'.  This is not "Clarinet as the lead, backed by several saxophones playing in harmony".  And as for a Vibrato of "USER: Delay 1, Depth 7, Speed 1", this creates a sort of 'wobbly' sound that is not pleasant to listen to.

My next post will be to try Andrew Gilbert's 'Miller' Registration.

Hugh

[Hugh Wallington]

Roger,

I have gone through Andy's Miller Registrations, and the ones suitable for playing At Last are the same as the 'default' ones from the AR's REGISTRATION MENU .. Sweet Miller in ORCHESTRAL PRESETS, BIG BAND (almost). 

Andy has altered the Vibrato for ...

Sax Selection in LEAD voice  from Delay 0, Depth 3, Speed 1 to Delay 0, Depth 5, Speed 1;
Sax Ensemble in Upper Voice 1 from Delay 0, Depth 3, Speed 1 to Delay 1, Depth 7, Speed 2; and ...
Dixie Clarinet in Upper Voice 2 from Delay 0, Depth 3, Speed 1 to Delay 1, Depth 8, Speed 2.

And the rest is the same.  So there is no difference to the overall 'Miller sound'.  Maybe it's just a bit 'wobblier'.

I still haven't found anything that remotely compares with the Miller sound Peter Wood got out of his EL90 ..

Peter Wood playing I Know Why (And So Do You)

And here (so we all know) is the 'Miller Sound' we are trying to emulate.



Hugh

[Roger Mardon]

Here's the rest of my setup.

LEAD Voice - 8' Orchestral Clarinet; Vol 20; Brill -3; panned to the right; Vibrato .. USER, Delay 1, Depth 2, Speed 1.
I have put this into VOICE EDIT and put REL. to -30.  This is to give the clarinet an effective 'Sustain' as there is no sustain button for Lead Voice.

UPPER VOICE 2 - 8' Sax Ensemble; Vol 20; Brill +3; panned to the left; Vibrato .. PRESET; Sustain ON (=6).

LOWER VOICE 2 - 8' Horn Ensemble; Vol 24; Brill 0; panned to the left.

LOWER ORGAN - 8', 3 lights; 4', 2 lights (Note: 1 light = no sound); Vol 8.

With a less 'harsh', more 'rounded' sound on the Lower I suppose I am playing this with a sound I like rather than trying to get a genuine Miller sound.

The GM Orchestra was made up of lead clarinet, four or five saxophones one of which [Edit: (tenor)] sometimes played the melody with the clarinet, four trumpets, four trombones, [bass, of course], percussion and piano. [I have seen the band with a guitar, even without clarinet and, of course, the trumpets and trombones are often muted]. No horns (your lower voice 2). Yamaha deliberately omitted sustain from the lead voices because those voices don’t sustain (your lead voice is clarinet which I know started as an upper keyboard voice).

[Edited approx 15:00 to 15:45 Wed 12 Feb]

So presumably that should be our starting point but not to say we can’t vary it, as you have done, if it gives a better result. I’m not offering any opinions at this stage, just thinking aloud.

Roger

[Hugh Wallington]

Roger,

That's a very good analysis of the instruments available to Glenn Miller to use in his Orchestra.  You can see from that YouTube clip how all the various instruments blend together to make that 'sound' we are so familiar with.

Thing is, we only have two hands, so have to make use of the features in the AR to try and create a suitable sound.  We know what instruments are available to us by looking in the VOICE categories.

There are several considerations for getting sounds, and features we can utilise.

1.  LEAD Voice, which is monophonic, and not picked up by M.O.C., so you just get the melody playing with this one.
2.  Melody On Chord (M.O.C) which picks up the notes from your left hand and adds them into the melody.
3.  These extra notes come from the voices set in Upper Voice 1 and Upper Voice 2.
4.  We can choose VOICES for Lower Voice 1 and Lower Voice 2.
5.  We can set up a STYLE to use and put little bits of counter melody into the PARTS (with trumpets or trombones) to mimic what these instruments are doing in the orchestra.

Concentrating first on the basic 'Miller' sound:
1, 2 and 3 are all to do with the melody ie. notes are moving about; either playing the melody itself, or the harmony notes added in to the mix.
Lower 1 & 2 are 'static' in that yes, the chords are changing, but the notes playing are not associated with the melody.

So below I have analysed how the Miller Registrations I used earlier actually sound.

1.  In each MP3, first you hear the LEAD Voice on it's own
2.  I have then turned OFF (in ENSEMBLE) all the LOWER VOICES.  So in the next bit of the recording you hear the LEAD voice; plus the harmony notes added in to the mix from the chord played with the left hand.  The VOICE you hear is the one set up in Upper Voice 1/Upper Voice 2.  You don't hear the voices from the Lower .. I have turned them OFF!  Listening to these two gives you the opportunity to set the Volume controls to get a balance between them.  Remember that the 'harmony notes' coming from Upper Voice 1/2 are also playing the melody, so you have to decide whether you want the LEAD voice to be predominant in playing the melody, or one of the other voices.  The volume controls will sort that out.  And one could also try other instruments other than the ones we chose and see how they sound in the setup.
3.  For the third part of the recording I have added in the LOWER VOICES.  As I said, these are static chords and are not moving with the melody.

So the question is, "What is the best setup of voices and volumes to get the sound that we want".

Here are the three Registrations.  I'll do them in reverse order.

First Glyn's from the Miller Moods REGISTRATION disk.  First you get the LEAD Voice, Wind Ensemble. With that Vibrato depth of 7, which to me gives a 'wobbly' effect.  Then in the second bit, Glyn has got M.O.C. on Level 2, and you can hear clearly that lower notes are brought into the mix.

I Know Why played with the Miller Moods Registration

This next one is using the AR's Miller Registration from the ORCHESTRAL PRESETS on the right.  Analysing it this way, it sounds quite good!

I Know Why played with the AR's Miller Registration from Orchestral Presets

And finally, the one I set up.  Sounds OK until I bring in the Lower 1 & 2 .. the Horn and the Organ.  Not instruments in the Miller Orchestra!  I'll have a go at changing these for something else.

I Know Why played with my Registration

I'm sure we can work on these and get a better sound than the ones we have had to date.

Then later we can look at a STYLE to use and program in some PARTS with trumpet or trombone, which will give 'moving notes' to blend in with the melody we are playing.

Hugh

[Hugh Wallington]

All the Glenn Miller MP3s you have been listening to in the posts above, ie:

1.  At Last played with the Miller Moods Registrations
2.  At Last played with the AR's Registrations
3.  At Last played with Hugh's Registrations
4.  DEMO of setup with Hugh's Registrations
5.  DEMO of setup with the AR Registrations
6.  DEMO of setup with the Miller Moods Registrations

.. are on a floppy disk that you can download from the LINK below.  This is a 'self extracting ZIP file' so works in the same way as the files you download from Peter's JOTS.  Put the files onto a floppy disk in the A: Drive, play the floppy through your AR and you can see the Registrations that are set up for yourself.  Play about with the DEMO Registrations and see if you can get a better sounding Miller Registration than we have achieved so far.

Note 1:  All four of the Glenn Miller Moods Registrations are in Registration Memories 1, 2, 3 and 4 on both the Miller Moods disks.
Note 2:  The ones I have used for recording the tracks are further on.  I press the Registration Memories as I play so prefer to have them somewhere near the middle of my organ.  Easier to access by hand.

Glenn Miller DEMOS

Another thing that will change the overall sound of what you are listening to is the key the piece is playing in.  Too high?  Use the TRANSPOSE button to put the pitch down a few notches and see what that sounds like.  You can do that while it is playing back.  Any better?

Hugh

[Roger Mardon]

That's a very good analysis of the instruments available to Glenn Miller to use in his Orchestra.  You can see from that YouTube clip how all the various instruments blend together to make that 'sound' we are so familiar with.

Thing is, we only have two hands, so have to make use of the features in the AR to try and create a suitable sound.  We know what instruments are available to us by looking in the VOICE categories.

It’s pretty much standard formation for a big band/jazz band so the unique Glenn Miller sound must come from the way he blends the instruments together. Unfortunately we can’t see the Miller blend, only hear it. We have the instruments on the AR with the ability to apply different effects, e.g. add symphonic effect to make one voice sound like an ensemble. Then we have voices such as Big Band Brass and Sax Ensemble already set up for ensemble sounds. With our two hands, and feet if you do, and these features, we know we can make a very reasonable attempt at replicating the Miller sound.

I suspect that improving on what we already have will not be easy. I did do some great James Last registrations on my EL but generally I am hopeless at recognising how the sounds we hear are made up, so don’t expect a lot from me. I am hoping my theoretical contributions, which I haven’t yet tried to put into practice, will help you, and others, discover the holy grail!

Roger

[Hugh Wallington]

I certainly intend to continue trying to get that sound I am looking for for Glenn Miller.  But first a look at some other attempts at creating this sound.  I have come across this.  Now I know this is for a Tyros keyboard, but if we translate some of the terminology we will find that what he is doing can be done on the AR too.

Harmony Echo is what is called Melody On Chord (M.O.C.) on the AR.  When he is talking about 'applying' the Harmony Echo to the voices he wants .. we have no choice.  For us, the M.O.C. functions on Upper Voice 1 and Upper Voice 2, but not on LEAD Voice.  M.O.C./Harmony Echo of course is about picking up the notes you are playing in the chord with your left hand, and 'adding' them into the melody.

How to get a nice Glenn Miller orchestra sound on Yamaha Tyros 1, 2, 3, 4 and 5 using Harmony/Echo

Please note that the first part of this Video is how to get a 'Repeating Banjo' .. which we can do on the AR as well.
The Glenn Miller bit starts at 1:30.



He has opted for both Clarinet and Saxophone to have Harmony Echo.  So we would have to set these up on Upper Voice 1 and Upper Voice 2. He has said nothing about the Volumes of these two Voices (which would give us a 'balance' between them); and nothing about any Pan (which would separate them out a bit between left and right so we can hear each voice more clearly).

So what did I think of the sound he got for the Glenn Miller sound?  Well, not a lot.  No Vibrato; no Pan; no Volumes set to get a balance between the two sets of instruments.  A mishmash of sound, all coming from the centre.  Not enough thought gone into how best to set it up!

[Hugh Wallington]

Still looking to get that elusive Glenn Miller sound on the AR.  In case you have forgotten what that sounds like, here is another good example of it.  This has been played on a Tyros 3 .. and is exactly the sound we are looking for.

Moonlight Serenade Heidrun Dolde

[Neville Allen]

Hi Hugh

This is an excellent rendition of Moonlight Serenade. In this example it appears that the voices of the Tyros 3 are particularly appropriate for the Glenn  Miller sound.

I am not too familiar with the Tyros range, but I wonder if later versions of these models include an MDR facility similar to the AR.

Keep safe and well.

Best wishes

Neville

   

[John Szczechowski]

Hi Hugh.

The sounds used are not the standard ones found on the Tyros but specially programmed by Heidrun. They are available (for 24Eurios) on this website.

https://soundwonderland.de/pages/en/shop/registrations.php

There is a Youtube video demonstrating these registrations.

Best of Glenn Miller - Registrierungen für Yamaha Genos und Tyros von Heidrun Dolde



According to Heidrun the lead sound was created using a lead clarinet, a very smooth tenor sax and a very old, vibrato modified clarinet sound with harmony function.

Best wishes

John

[Hugh Wallington]

Hi John,

Thanks for that observation.  When I spoke to Chris Powell at one of our organ club meetings, he played the melody with one finger on the Upper of his Roland organ (well, not literally one finger.  I meant single melody notes played with all his fingers).  He then had the sort of setup you are describing above. A Clarinet; a Tenor Sax; one was on Monophonic (ie. LEAD voice on our AR) so only played single notes; and the other was Polyphonic (ie. in Upper Voice 1) .. and he had his harmony function applied.  Which on our AR means we should have the Melody On Chord (M.O.C.) activated.  This function picks up the notes you are playing in your left hand and transfers them to the voice chosen for Upper Voice 1 (it doesn't apply these harmony notes to LEAD voice).  This is how you get that lovely harmony coming through, yet you are playing single notes.