Hi Scott,

I'm sorry I missed your phone call...I was at a meeting...and thank you for your thorough coverage of the issue.

I know it won't be a problem for me, nor for 99% of the players, but, it is there nonetheless.

My humble apologies to Leigh.

It doesn't happen on the Tyros3, so it must be the new vocal patches eating up polyphony.

No doubt Yamaha are aware of the issue, but, if not, I can assure you they will after I finish this post.

Thanks again,

Ian

Hey Scott was this Craig_UK? If so , tell him I said Hi!

Nick

Yes, Fran, I believe you are correct...it could be the new vocal patches...until Yamaha confirms it, we'll just have to go with that idea.

Also, these voices, being SA and SA2 use a lot more of the tone generator than the scat voices on your G-70.

I'm curious to see if it happens on your G-70, if you follow the protocol that Scott laid out in his post.

Certainly it is a very extreme situation, but, it is there, nonetheless.

Ian

Nope, not him. It's another UK Yamaha buddy!

Posted from my iPad while watching game playoff 3. Go Giants!

Scott

or maybe The Wolf?

Nope . . . guess again

For one thing, most changes of sound within a voice are done by velocity cross-SWITCHES, not with cross-fades. Thus, all voices have the same polyphony (usually, just the one or two oscillators). Now, you start stacking stereo voices like crazy, then yes, even a 128 voice keyboard will choke... But I am inclined to think this is more due to some SA type logic rules, rather than a simple polyphony issue. For an entire PART to drop out just because one voice of polyphony is exceeded seems a bit strange... And because it IS those fancy vocal sounds, I think the issue relates to more than just the basic polyphony of the instrument.

Most of the issues of the Dynamic Allocation have been addressed, I think that when you use either layer sounds and or that have velocity switch in either the style or Right hand, I am not certain if it is the case that the Vocal Styles in question use it.

Note that not all the players have a "norm" on how to use it, I have also seen some mostly amateur players stacks 2 or 3 voices in the Right hand and using MOC (Melody on Chord) and to make things worse, play chord in the Right hand (mushhhhy)... most keyboards will choke.

In any case, in most of the arrangers forums, there are members that range from beginners and anywhere in between to professional players, and some MAY have bad playing habits. But if it is what makes them happy, more power to them.

One thing to say based on my own experience, among all the arrangers I had, considering the ones that have less polyphony like when I had my old Korg PA60 with only 62 notes hardly missed notes, and the "magic" is the Dynamic voice allocation processor that Korg use, is one of the fastest and best, perhaps, Yamaha needs to see how that works from Korg.
The current PA series has. PA2X&800 120notes polyphony, and the PA500 has 80...no problems here, even stacking up to 3 sounds plus the arranger, also considering that this board do not use any velocity switching or layer stacking sounds on the styles.

When I had my Ketron SD1, I had polyphony issues, since it had only 64, and even a single sound and a single note, where actually 3 notes...so, it was easy to chocked in you play a full chord + the arranger without layering sounds on the right hand, that was the reason I switch to a different brands.

Manuel

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mdorantes

I was told, the vocal patches are velocity cross fades...that actually overlap..thus using up polyphony more than a Roland type velocity switch..It seems to make more sense to me..

When you Tyros4 owners play the vocal patches ..can you hear an overlap of the different tones?

Even so, losing an entire accompaniment PART, rather than just a note or so, I still think there's something about the SA nature of the sounds. This is the first arranger Yamaha have allowed SA sounds to be in the accompaniment section. Perhaps there are still some issues to be sorted out...?

But, bottom line is, you want to stack insane amounts of voices and play insane layers with Melody Intell on, you can choke just about anything.

The thing I find the most important isn't necessarily polyphony, but processor SPEED. The thing I noticed the MOST going from the G1000 to the G70 was that I could stack three stereo, VERY percussive sounds together, then play fast repeated chords by hand, and not hear the TRACE of 'flamming' amongst them. A HUGE improvement, and one that made for an incredible sense of being 'connected' to what you play, even on single note lines...

I wonder how many arrangers out there can pass this torture test (that you are actually more likely to do)..?

Try it... stack all THREE RH Parts in a layer, assign them to percussive stereo sounds (like piano, vibes and marimba), then play rapid four note chords. Hear it getting sloppy at all?