Learn Archives

Get Connected – Part I: MD/UD-BT01 Bluetooth MIDI Adaptors

Written by Blake Angelos on May 16, 2018. Posted in Accessories.

The MD/UD-BT01 Bluetooth MIDI interfaces allow for wireless connectivity between MIDI gear and Mac or iOS. This is perfect for creating a cable-free (or “cable-reduced”) MIDI setup, having MIDI connectivity where cabling is difficult or fulfilling those keytar dreams you’ve always had. The MD-BT01 connects to gear with 5-pin DIN MIDI. The UD-BT01 connects to gear with a USB TO HOST (also known as “USB Type B”) port. This article will take you though:

Connecting and setting up a MD-BT01 using the MD/UD-BT01 iOS set-up app
Connecting an MD/UD-BT01 to iOS apps.
Supported iOS devices are iPhone, iPad and iPod Touch running iOS 9.0 or later.

Connection settings on the UD-BT01 work the same. The difference between the two is the physical connection to the keyboard.

Connection and Set Up
Connect the MD-BT01 to the 5-pin MIDI In/Out jacks of your instrument. Note: you need to at least connect the MIDI OUT because the MD-BT01 gets power from the MIDI OUT jack. Connect the MD-BT01 to the respective MIDI In/Out jacks on your instrument as shown below:

The MD-BT01 will power on automatically when connected and you should see a red light.

The UD-BT01 needs to be connected to a USB AC Adaptor for power (USB AC adaptor sold separately). To configure the MD/UD-BT01 with your iOS device, download the MD-BT01/UD-BT01 Utility located here. This simple app allows you to both update the firmware on the MD/UD-BT01 (if needed) and create a unique name – perfect if you are using multiple devices.

Below are screen shots from the app. Across from left to right is the main app screen, the firmware update screen and the rename screen. If your MD/UD-BT01 requires a firmware update you will see a difference between the current version and the new version. Press update and the new firmware will be loaded into your MD/UD-BT01 over the Bluetooth connection. The screen on the right is where you can enter a unique name up to 8 characters in length. I am using the MD-BT01 and I named mine “BA-BT-01”:

Once connected you can now wirelessly connect to many different iOS apps from Yamaha and others. Let’s take a look at a few scenarios. In all of these, I am using the MD-BT01 but the UD-BT01 works similarly.

Connecting Wirelessly to Yamaha Synth Book AN2015
Yamaha Synth Book is a free iOS app available here. Inside this app is a cool analog modeling synthesizer called AN2015 that you can wirelessly connect to and play using the MD/UD-BT01.

In this case I am going to connect my MIDI instrument with the MD-BT01 attached to an iPhone with Yamaha Synth Book installed. The procedure for connecting to AN2015 is outlined below:

After selecting “Bluetooth MIDI Device” you will see your MD/UD-BT01 appear in the list of available devices. If it says “Not Connected” – touch on the device name and it should switch to “Connected”. Below is how a properly connected MD/UD-BT01 should appear (note that I named mine “BA-BT-01” as described above). If you play a few notes on your MIDI instrument, you should hear the sound of the AN2015 playing from your iOS device:

Now let’stake a look at connecting it to the iPad app Cubasis.

Connecting Wirelessly to Cubasis on an iPad

Cubasis is a powerful MIDI sequencing and audio recording app available here. With the MD/UD-BT01 you can connect your MIDI device wirelessly, create MIDI tracks and play virtual instruments within Cubasis.

First, connect the MD/UD-BT01 to the iPad using the MD-BT01/UD-BT01 Utility app as described above. Once connected open Cubasis and create a new Project. To set up the MD/UD-BT01, follow the procedure below:

A dialog box will open up showing the MD/UD-BT01 as an available device. If it shows that it is disconnected, touch the name to reconnect:

Once connected you can now create and play back external MIDI tracks or use Micro Sonic, the virtual instrument included with Cubasis:

For more information on using Cubasis check out the video here.

And join the conversation about this article – and more – on the Forum here.

The next lesson with opportunities to connect using the MD/UD-BT01 Wirelss Bluetooth MIDI adaptors is now available here.

Manny’s Modulation Manifesto: Synth Pads

Written by Manny Fernandez on May 16, 2018. Posted in Synth Programming.

The first thing I consider is how I want to divide my Operator resources to be either Carriers or Modulators.

The Reface DX is a 4-Operator FM engine. In general, using more Modulators gives the possibility to have more widely varied, complex timbres and harmonic (overtone) control.

Using more Carriers gives the possibility of thicker, detuned sounds or the ability to have multiple pitches played for each key, such as octaves or fifths. Compare the Voices “Detuned Saws” referenced in our prior article with Peter Jung’s “Fat Analog Sawtooth Pad“. For the Voice Detuned Saws, it uses two 2-Operator stacks for an emulation of an analog two-oscillator synth sound, then uses the effects to enhance the ‘thickness’. Because it uses Modulators to create the sawtooth wave harmonics, the brightness can be controlled with velocity dynamics and the Modulator Envelope for ‘filter’ sweeps and decays, etc., by changing the EG’s Rate and Level values.

In contrast, Peter’s Fat Analog Sawtooth Pad uses all four Operators as Carriers, having to rely on the Carrier Feedback to create the sawtooth wave harmonics. This allows for a much thicker and fat detuned four-oscillator analog sawtooth synth sound and doesn’t need the effects to thicken the sound. In addition, you can re-tune some of the ‘oscillators’ (Carriers) to octaves, fifths or other intervals. However, with no Modulators the only harmonics available are simple sawtooth or square waves depending on the feedback setting. More importantly, without any Modulators you lose the ability to create complex or unique waveform harmonics as well as losing any behavior or dynamic change in the harmonics with either velocity or the EGs for ‘filter’ sweeps, etc. You have to consider this trade-off when envisioning the type of pad sound you want to create; when choosing the Algorithm – a complex & dynamic pad needs more Modulators.

So, it’s example time — reference the Voice “Complex Pad Example” on Soundmondo and the linked video. This is a soft-attack sawtooth sound that sustains as a square wave pad, which then gradually evolves into a LFO controlled harmonic ‘shimmer’ effect. Play and hold notes or chords for 10-12 seconds to hear the entire sound. To allow for the independent control of these different components of the timbre, I’m using Algorithm 5 which has Operator 1 as the single Carrier, and Operators 2, 3, and 4 and the modulators:

Operator 2 creates the initial sawtooth harmonics of the timbre with a 1.00 Ratio Frequency setting in combination with Carrier Operator 1’s Frequency setting of 1.00. The Envelope shape for Op 2 is a medium rate decay to a level of zero, so the sawtooth harmonics starts the initial first second or so of the sound. Operator 3 creates the square wave harmonics of the timbre with its 2.00 Ratio Frequency and the Op 1 setting of 1.00. The Envelope for Op 3 is set to slowly fade in over 3-4 seconds or so as you hold sustained notes. Operator 4 creates the repeating harmonic ‘shimmer’ harmonics of the timbre with its 4.66 Frequency setting and the LFO Pitch Modulation Depth setting. The Envelope for Op 4 is set to a very slow fade-in of about six seconds, so you have to hold notes for 7-8 seconds before this portion of the timbre comes in. The repeating effect is created by setting the LFO Amplitude Modulation Depth (AMD) for Operator 4 to 43 to emulate a repeating, or gated, Envelope. As you continue to hold notes past 10 seconds, Op 1 will fade back in to add additional harmonics to the shimmer. Finally, to thicken up this one-Carrier sound, I’m using both the Flanger and Chorus effects.

OK, time for a quick quiz question: Where have you seen the core structural components of this sound before?

Answer: The example Voice “Wave Example” from our first tutorial article! The important tweaks I made to create the significant differences between the basic “Wave Example” Voice and this polished and finessed “Complex Pad Example” Voice are as follows:

* changing the Envelope values for Operator 1 for a sustaining pad sound;
* tweaking the Modulator Ops 2, 3 & 4 Level and Feedback values;
* using the Level Key Scaling to even out the volume and brightness across the keyboard range;
* adding velocity sensitivity to control volume and brightness with playing dynamics;
* using the LFO to control the PMD and AMD of Operator 4 for the repeating ‘shimmer’; and,
* then using Flanger and Chorus Effects for final polish.

The core components – the Algorithm and all Operator Ratio Frequency settings – are the same in both Voices.

Again, I encourage you to play around with changing the Level, Feedback and Frequency settings for the Modulator Ops 2, 3 & 4 and listen to how they change the sound.

To hear a subtle variation of this example Voice using different Frequency settings and faster LFO shimmer effect, check out the Voice “Evo Example” on Soundmondo. For an example of a more complex variation check out the Voice “Complex Bell Pad” which has edits to the Op 1 & Op 4 Envelopes to add the bell tone in the attack, along with adding Pitch EG to Op 4 to accentuate the percussive strike for the bell tone. Also, the Frequency settings for Ops 1 and 3 have been changed for a more ‘digital’ timbre. This shows how much complexity and control can be achieved with three Modulators.

Next let’s see and hear the advantages versus trade-offs in creating a similar type of pad using more Carriers for a ‘lush’ or ‘thick’ type of sound with a little less harmonic complexity as discussed earlier. Reference the Voice “Lush Pad Example” on Soundmondo along with the linked video. For this example, I’m using algorithm 8:

By detuning the two separate Operator stacks, we can create a lusher, thicker sound. However, there will be less opportunity for creating timbral complexity and behavior as there is only one Modulator Operator in each of the Operator stacks to create and control the harmonics. One way that I compensated for some of the loss of complexity is by mixing up the Ratio Frequencies for the Operators in the different stacks, so that in effect we’re mixing two different sounding waveforms with our “two oscillators.” In the first stack, the Frequency for Carrier Op 1 is set to 2.00 and the Frequency for Modulator Op 2 is set to 1.00, which along with the Feedback settings for both Operators and the Op 2 Level create a pulse wave timbre with a soft filter sweep type behavior.

In the second stack, the Frequency for Carrier Op 3 is set to 1.00 and the Frequency for Modulator Op 4 is set to 2.00, which along with the Feedback setting for those two Operators and the Level setting for Op 4 gives a square wave timbre, again with a soft filter sweep type behavior. Note that the Envelope Level and Rate settings are different for Op 2 & 4. The values for Op 4 are set to make the square wave timbre (from the Op 3 & 4 stack) fade-in slower and fade-out faster compared to the Op 1 & 2 stack pulse wave sound. In addition, the Envelope Level 3 and Rate 3 settings for Op 2 and Op 4 have them eventually fade back in with longer held notes. So overall, the Op 1 & 2 stack pulse wave timbre will fade back in sooner than Op 3 & 4 stack square wave timbre. All these variations in the Envelope Level and Rate setting mixes up the harmonic behavior over time to also help compensate for the diminished complexity and control available because there are fewer Modulators as compared to the “Complex Pad Example” Voice. For another example of this approach for creating lusher pad sounds check out the Voice “Subtle Evolution Pad” on Soundmondo.

So there you have it – two different approaches to pad sounds. As always, take some time to tweak the Frequency, Level, Feedback and Envelope values and listen what happens to the sound. Also play around with the Effects. Modulation effects like the Chorus, Flanger and Phaser mixed with lots of Reverb or longer Delays can be very effective enhancements to the final sound. Finally, some additional pad Voices to check out on Soundmondo: “Aetherium“, “Seraphine 1“, “Seraphine 2“, “Mobius Trip“, “Neeto Repeeto“, “Digi Repeeto” and “Evolviane“.

So have fun – and when you are ready, the next lesson is now available: Lesson 5 – Bass Sounds.

Want to discuss this lesson? Join us for a discussion on the Forum here.

Not had a chance to experience the earlier lessons in Manny’s Modulation Manifesto? Catch up now:

A little bit about the Author:

Manny Fernandez has been involved with sound programming and synthesizer development for over 30 years. Initially self taught on an ARP Odyssey and Sequential Pro-One, he also studied academically on Buchla modular systems in the early 80’s. With a solid background in analog synthesis, he then dove into digital systems with release of the original DX7. Along with his aftermarket programming for Sound Source Unlimited, Manny is well known for his factory FM programming work on Yamaha’s DX7II, SY77, SY99, FS1R and DX200 as well as the VL1 and VL70 physical modeling synthesizers.