Good catch there, Don...I noticed it too. When I was in the Yamaha Electone teaching system, we had a seminar by the head product specialist at the time, Claude Dupras, and he focused on making the organ's many instrument emulations sound more realistic by understanding how the imitated instrument would be played.

It's an important detail some arranger players never seem to pick up on.

Even worse are the players that play every sound the way you would play a piano.

I use a volume pedal to fade out the sounds that don't decay naturally with the sustain pedal.

I really am impressed by your guitar emulations...that's a great skill to have, and you have it covered very nicely. You must be a guitarist as well as a keyboardist.

Ian

You know it makes sense to go out and buy one, PB is probably the best demonstrator of all times, he doesn't have the fun that MV has but he will sell Tyros 5 if you go to one of his venues. 124 you keep your beer I will have the T5, I won't end up with a bad head.

Yes peter is simply the best . I also noticed that this was a packed out venue with standing room only and they were all men my age and younger . Excellent demo !

And the question that we should ask is why are such events not held in the USA???
Deane

You want to get realistic with horn and wind emulation? Sing along with your solo! When you run out of breath, stop playing. Don't start until after your breath.

You might also take a stab at learning to play what you are singing. Most of us can scat a decent solo under our breath, so to speak. OK, you may not get the pitch dead on with your singing, but I bet you it's a dozen times more naturally flowing than a simply PLAYED solo. Our voices are the only instrument we have directly wired into our brains. Everything else is second hand, but the voice is the window into the soul. We all dream about those mythical 'brainwave to MIDI' converters, but here is one you already have!

Practice scatting a bar or two, then try to play what you scatted. Keep it simple. Work it up to more and more bars, more and more complexity. Then try doing BOTH at the same time. Start simple, work your way up.

Pretty soon, you are playing expressive, natural sounding solos that would make a horn player proud!

although he is a great player this IMO was more of a concert vs a manufacturers demo to sell the T5 I would say,...people enjoyed the music but inside they are saying I could never play like that or sound like that either,.....I'd say to sell make it simple so that the ordinary consumer can say top themselves .....
that doesn't look to hard...now I could do that!.....

Yep, the singing should work for sure...haven't tried it but will give it a go.

When doing sax, trumpet, and other wind instruments, I usually breath out as if I am blowing into the mouthpiece, and when I run out of wind, I either let the key up, let it fade with the sustain pedal, or back off on the volume pedal if the sound has a continuous hold with the sus pedal.

I've also weaned myself away from using a string pad in the left hand (when in style play mode) as, unless the chords are voiced fairly open, it tends to get a little too thick sounding, and not sounding much like strings. I usually put the string pads in the style itself, and I have several donor styles with these great moving string pads/phrases that really sound smooth. I can also revoice them to other sounds like synth, organ, French Horn etc. to create another mood.

Usually the only sounds I now use in the left hand would be acoustic/electric pianos, some appropriate drawbar settings on the tonewheel sim. and the occasional choir and brass sounds.

Of course, all the above depend on the genre and/or style being used.

Ian

Peter is a good demonstrator...he is not a great player...as in the top 10 percent...maybe better than average.

When he played the solo instruments on this video..he was unrealistic...his phrasing was not as a flute, sax, or trumpet player would play..and as mentioned ..zero breathing room to even sell a real performance..

I think he depends more on the Yamaha gimmicks than actually playing realistically..
It is also very noticible ..everything he plays is like playing a piano..Real horn players ..lay back a bit in phrasing...that alone would help..


I have an old VHS tape, maybe I can convert it to an MP4...It is Roland's Eric Persing, in mid 80's demo of Roland samples with I think an A series controller..He used a breath controller...as Diki mentions if you are thinking or in this case playing as a breath player...it comes across as real..

BTW: the sample library Eric was using did sound every bit as real as today's stuff..

Just my opinion
Meet Eric..

Peter is not only a good demonstrator, he is also a GREAT entertainer and performer, which is what sells the machines - Good players are a dime a dozen, Fran, and you know that. I know lots of professionally trained players that couldn't entertain if their lives depended upon it. I also know great entertainers and performers who can't play worth a damned, but they still make a great living using a keyboard, piano, guitar and accordion.

Cheers,

Gary

I started out playing trumpet, but I am SO guilty of doing the same thing I was criticizing him for doing. That's why I'm so aware of it, because I have to guard against it. When I'm playing sax or trumpet I actually do as Diki recommended, hold my breath or sing along with the ride.
Ian, I used to play guitar, but haven't picked one up in quite a while other than to strum around the house a little. I have had the honor of playing with some world class pickers though, and I try to listen to them and learn something every time. I thought I was ready to die and go to Heaven when James Burton complimented my guitar emulation one night! He said something like, "you can do all that and don't even have callouses".
I think the secret is to keep it simple. I get in trouble by playing too much and too fast.
I play best regardless of the sound if I don't think about it.
To paraphrase Chevy Chase in Caddyshack, BE THE MUSIC.