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Click here for a photo showing the types of plugs we are discussing. Yes, but it takes a few additional items. This is needed to supply power to the USB wind controller. An authentic Apple branded Lightning to USB cable is strongly recommended because most of the cheap replacement cables of this type will not transfer the power properly although we have an "Insignia" brand cable that worked.

Special patches for wind controller use are required because almost all soft synth libraries are designed to be played with a keyboard controller. Programming for wind controllers is a completely different thing. More info on using soft synths with a wind controller is elsewhere in this FAQ. One drawback of this setup is that you need to be wired to a wall outlet for power.

It may be possible to use a separate USB battery pack to power the system but we have not tried this yet. Is there an alternative? With the release of OS Version 2. The "EI" system is the classic EWI fingering system- whereas all the keys are active in any fingering combination- and the "SA" system is more sax-like where certain keys are disabled depending on whether other keys are touched.

Woodwind players may want to try both systems to see which is best for them. There are advantages and disadvantages to both systems. The new "SA" fingering mode is more in line with a real saxophone fingering in that it allows you to leave the G key down without altering other notes. It will act as a C key for the low C however. It does the same for the Eb key, allowing it to stay down without affecting anything other than a D fingering. The G key will be ignored on all notes except G and low C.

This allows you to use it for a simulated low C. The same is true for the D button. It will be ignored in all fingerings except D. The middle key in the lower pinky keys is now ignored in this mode. It will be active only if you are fingering a low B so that you can roll your right pinky off the lowest key and on to both the lowest and middle key for a Bb. The Flute and Oboe fingerings are self-explanatory. Fingering charts are available in the manual.

For the first time ever, both woodwind players and brass players can play the same physical instrument using the fingerings they are familiar with. This is a big plus for experienced EVI players. Here is Matt Traum's spec submitted to Akai for an "EVI Fingering System for Woodwind Type Wind Controllers" from November modified slightly to reflect later improvements that explains some of the choices made when designing this special fingering system:.

This is no small matter and should not be taken lightly. The EVI has not changed fingering systems in about 30 years so it is unlikely that we will, or even need to, come up with a better one. I came up with this with an EWI in hand. I find it very logical and simple. My system allows you to easily grip the EWI by keeping most of your left hand fingers on the instrument at all times. It also allows all the standard EVI fingerings including trill keys that are necessary.

Also, there several intentionally duplicated or dead keys that simplify the fingering and block unwanted glitches from happening. Keep in mind EVI players are not used to using all their fingers like a sax player so this is quite acceptable. I found it is important to have these dead keys as safeguards and physical barriers to the active keys. I think a brass player can understand this system easily.

Normally held down. This is the normal "open" fingering position allowing an easy grip on the instrument. These keys do not add together. They also do not add with the L4B key. Complete details on the EWIS are here.

See elsewhere in this FAQ for details. Akai discontinued production of the EWIs in March It wasn't designed to do those types of sounds since it is based on an analog type synthesis engine. Other MIDI synths and softsynths can work well also.

I can't stand the factory sounds on my EWIs. Is there a way to make them better? Patchman Music offers a completely new set of sounds for the Akai EWIs's internal synth which are far more punchy and responsive than the factory sounds. Click here for complete details and an mp3 audio demo.

My EWIs has too much effects mixed in. Can I change the reverb and delay effects settings on my EWIs? Yes, you can set the effects to any level on the EWIs. Please note that there are few ways to do this. This is done simply by holding the FX button down on the EWIs and using the two side keys to change the level. But sometimes you want to change the effects individually of the 3 separate effects processors in the EWIs Reverb, Delay, and Chorus. For this you can either use the editor that came with the EWIs and edit the patch, or you can do all this on the EWI itself.

It's a little tricky, so we recommend watching this video by Alistair Parnell starting at about the 3 minute mark for some clear instructions. What happened? There is a simple fix. The EWIs ships from the factory set up in a certain way which may not be what is required for the wind controller sounds on your MIDI synth. Changing these settings will not affect the internal sounds of the EWIs.

As a wind controller sound designer who has worked with the majority of synthesizers on the market, Matt Traum from Patchman Music shares some of his favorite wind controller synths It has been the wind controller synth of choice for the majority of wind controller players for many years. One thing to note, the VLm is only one note polyphonic so it cannot do layers on its own. To do nice string sections and brass ensemble layers you will need a polyphonic synth.

To do layers with the VLm, you can use multiple VLm units as shown here to create incredibly responsive and dynamic layered section sounds. Remember, layering synths that generate sounds via different synthesis methods generally defies mathematics- the result is greater than the sum of the parts. Layering synths is a highly rewarding expressive experience. For what is was designed for, the VLm is almost perfect. With the Patchman Music wind controller sounds loaded, the Motif XS becomes an amazing wind controller sound module.

Roland XV series. The XV or XV now out of production is highly recommended with the Patchman Music wind controller bank installed. Unfortunately the XV series has been discontinued so you can look here for a used one. It contains excellent ROM samples. Fast response. Better sounding filters than on the Alesis modules. Legato is not quite as good as the Motif XS series or Alesis synths. Roland Integra The Roland Integra-7 Rack Mount MIDI sound module works well with wind controllers and breath controllers when loaded with special sounds designed for such use.

Patchman Music offers two such wind controller soundbanks for the Roland Integra-7 here. The Integra-7 features the amazing SuperNatural sound technology and the sample playback technology from the proven XV Read all about it here. Roland Fantom X series. These synths have excellent samples and very fast response. They have much better sounding filters than on the Alesis modules.

When loaded with Patchman Music's wind controller soundbanks this is a superb wind controller synth! Roland SonicCell. The excellent table top Roland SonicCell synth module now out of production is a great synth to use with the wind controller with appropriate patches loaded. Patchman Music offers excellent wind controller sounds for the Roland SonicCell here.

This synth has excellent samples and very fast response. It has much better sounding filters than on the Alesis modules. When loaded with Patchman Music's wind controller sounds this is a superb synth! Absolute pro-level specs and effects. Patchman Music offers wind controller sounds for these synths. Very fast MIDI response. The filter is not as good as on the Roland XV series unfortunately.

Korg Radias, R3 - Excellent results can be obtained but re-programming of the patches is necessary to get proper breath control over the sounds. It has a smooth legato as would be expected with this analog modeling synth. Korg MicroX - As with the Korg Triton series, excellent results can be obtained but re-programming of the patches is necessary to get proper breath control over the sounds. Does everything including physical modeling. Has almost no latency. Out of production.

Add the MOSS physical modeling card for incredible combination layers and exponential possibilities. It can do almost anything including excellent legato with some fancy programming. Responds great to breath if you load proper wind-friendly patches into it. Great analog filter emulation. An amazing yet very complicated synth.

This fully digital analog modeling synth coupled directly with the EWIs breath, bend, glide, and vibrato sensors is extremely fast 14 times faster than MIDI and smooth 32 bit resolution. It sounds great when programmed well. It is capable of two notes of polyphony and has a built in noise source with its own dedicated filter. If Akai were to release this synth in module form with four note polyphony and add back in chord features of the older EWI modules, it would be a wonderful synth to connect to ANY MIDI wind controller.

But they still work well under MIDI control. Korg Z1 - now out of production Polyphonic physical modeling. Lots of fun to play. Works well with the wind controller if you load proper wind-friendly patches into it. There are now many soft synths that can be made to work well responding to a wind controller or breath controller. But keep in mind that most synths are designed to work with a keyboard controller "out of the box".

Consequently, making them work correctly with a wind controller almost always requires a great deal of re-programming- and this is assuming that the softsynth can actually be made to work well and has the needed controller mapping routings, controller smoothness and speed, and legato implementation that wind controller players require. Patchman Music offers their WindPak Series library of sounds for Kontakt version 4 and higher that were specifically designed to be used with a wind controller or breath controller.

Patchman Music offers a special Reakor WindSynth Soft Synth designed specifically for use with a wind controller or breath controller. Email Matt for your special price. There are others as well- check this link for the most updated list. Folks have reported that Reason works well but the sounds need to be reprogrammed to respond to a wind controller. Also see this dedicated software page at Patchman Music for additional possibilities. It comes with many superb soft synths including their analog modeling ES2 softsynth which Patchman Music supports with their ES2 wind controller soundbank.

You need to buy MainStage first from Apple to get started. Logic Pro is Apple's full featured recording package and is also superb and available from Apple as well. If you are looking for iPad softsynth soundbanks to use with your wind controller or breath controller, here are our recommendations Complete info and audio demos are here. The results are excellent- pretty much equalling the performance of a real Korg M1. In order to use these sounds, you will first need to buy the Korg iM1 softsynth for iPad from the Apple Store.

All the info on these sounds as well as an extended audio demo is here. The harder I blow the more out of tune the sound gets. This is great for keyboardists for natural sounding bends, but wind controller players need to make sure their wind controller is NOT sending aftertouch data or the patch will play wildly out of tune. The Akai EWIs has aftertouch turned on as a factory default controller sent from its breath sensor. EWIs users should turn this off.

Release the SETUP button and use the side keys to scroll through the parameters for the breath sensor. The keys on my EWIs are not responding correctly. Sound is cutting in and out and the LED display is coming on and flickering. If you are experiencing problems with the EWIs with a flickering LED display, sound cutting out or "gurgling" or distortion, or a seemingly "dead" horn, try adjusting the key sensitivity. Here is the procedure for adjusting the key sensitivity knob on the Akai EWI s The way to set the key sensitivity is to turn the knob counter-clockwise until numbers show in the LED.

Then put four fingers of your left hand on the top buttons, put your thumb of your left hand on the ground plate next to the octave rollers and turn the knob clockwise until the numbers disappear. If the numbers show up, turn the knob a little further clockwise, if not, you are all set. Adjust this knob with your finger. You do not need to and should not use a screwdriver to adjust it.

If you over-crank it with a screwdriver you could damage the pot and be in for a costly repair. In this case, simply start by setting the knob fully clockwise then gradually back it off until the right hand index finger knuckle key responds properly. We recommend setting the "dp" parameter to OFF.

Your Akai EWIs manual explains this parameter in detail. Make sure you have not bitten through the mouthpiece. A hole in the mouthpiece can cause moisture to get into the sensors and the electronics causing all sorts of problems. If there is a hole in the mouthpiece don't panic, but do replace it right away. They are available in the USA here.

Also make sure the bite sensor is not bent out of proper shape. Remove the Akai EWI mouthpiece and look at the shape of the bite sensor plates. If they are not shaped like this you can try bending them back into shape carefully. What can I do about this airflow problem? That is to say, you need to allow air to escape via the corners of the mouth as you play the EWI. If you try to force all the air through the internal tubing of the EWI you will likely soon find the experience quite uncomfortable as the horn will feel very "stuffy" this way.

Instead, unlike what your teachers may have taught you, you should let some air escape via the corners of your mouth when blowing into thesse EWIs and the EVI. This type of system allows for far greater control over airflow by the player and feels exactly the same as blowing all the air through the horn. This extremely flexible design allows the user to choose the amount of airflow they are comfortable using.

If a player likes to use a lot of air or release excess air at the end of a phrase , then all they need to do is loosen the corners of their mouth slightly. If the player prefers to use very little air or even use circular breathing techniques, then they only need to tighten the corners of the mouth a little more. As a side benefit, this design also minimizes the amount of moisture that collects within the Akai EWI which a very important factor in any electronic instrument.

In time, players come to appreciate this system- though at first it may seem a bit non-intuitive. If the Akai EWI still feels too stuffy, make sure the air passages are clear of debris. Remove the mouthpiece unscrew the one mouthpiece screw and pull it straight off and visually inspect the small holes in the mouthpiece and the holes in the two protruding black plastic receptacles on the body of the horn for blockage.

To clean the mouthpiece, use dish washing liquid with warm water. Make sure the mouthpiece is completely dry especially inside the white internal mouthpiece chambers before re-installing. If the EWI bite sensor plates are wet they will not function. It is interesting and important to note that this type of system either fully closed or semi-closed has been in effect since The system works and it was not a quick afterthought or just a stroke of luck by inventor Nyle Steiner.

It is this way for good reason. We encourage beginners, as does Mr. Steiner, to learn the system even though it seems strange at first. The benefits will soon be understood. My EWI seems to play too "stuffy". I can't seem to put enough air through the instrument to play comfortably. Is my EWI plugged up? No, this is normal. There are two different methods of air flow employed by the various EWI models. These original models were designed so that the player must allow the air to escape out the corners of the mouth.

These models were designed so that the player should allow some air to escape through the corners of your mouth. Some air flow goes through the horn and some goes out the corners of the mouth. This gives the player more control of the air flow rate and freedom to do easy circular breathing etc Once you get used to this concept it feels great and absolutely no different than from a "full flow" system.

The closed or semi-closed systems have many advantages as described elsewhere in this Wind Controller FAQ. My EWIs completely stopped making sound. What to do? If you are experiencing problems with the EWIs with a flickering LED display, sound completely cutting out or "gurgling", or a seemingly "dead" horn, try adjusting the key sensitivity.

See above for the procedure for adjusting the key sensitivity knob on the EWIs. Also make sure the air passages are clear of debris. Remove the mouthpiece unscrew the one mouthpiece screw and pull it straight off and visually inspect the small holes in the mouthpiece and the holes in the two protruding black plastic receptacles on the body of the horn for clogs.

If you suspect that they may be clogged, you can insert a straightened paper clip up to 2 inches into each hole to clear it. To clean the mouthpiece, use a dish washing liquid with warm water. NEVER unscrew the two screws located inside the mouthpiece receptacle and try to remove that part.

Doing so will result in an expensive repair bill. My EWIs completely stopped working and now shows "8. There is no sound and no response at all. If your EWIs display shows "8. Sometimes the horn can be brought back to life trying this a few times.

If that doesn't fix it and your EWI is in warranty, you should contact Akai for a repair. If your horn is out of warranty and you are in the USA, you should contact Patchman Music directly for a repair. My EWIs has a noisy headphone jack. When I plug headphones into my EWIs I hear a high pitched squealing static noise or a loud white noise sound. The impedance and other electronic characteristics of the headphones can greatly affect the level of noise that you hear in the headphone jack on the Akai EWIs.

Regarding the white noise issue noise that sounds like wind or the ocean we recently noticed that plugging in a MONO set of headphones i. Another way to reduce the apparent level of noise is to upgrade the factory sounds with the Patchman Music EWIs soundbank.

This upgraded soundbank for the EWIs has a far greater output level and dynamic range than the anemic factory sounds. The right hand thumb bend sensors on my EWIs won't bend all the way to two half steps. Also the Bend Up sensor seems to be less sensitive than the Bend Down sensor.

The bend sensors on the Akai EWIs have always had this problem. It is a design flaw. Also the Bend Up sensor feels like it is less sensitive than the Bend Down sensor. This is due to the differing amount of skin that actually touches each of the sensors. Fortunately, Patchman Music has developed a wonderful internal hardware circuit modification to fix this.

This special mod evens out the response of the right hand bend sensors so they feel like they respond evenly. The mod also boosts the overall gain of the thumb bend sensors so that the full bend range is easily acccomplished. I cannot change or save patches on my EWIs using the finger pads. How do I change patches on the EWIs? To select patches on the EWIs, we prefer the method whereby you simply scroll up and down through the patches by touching and holding the silver pitchbend sensor screw located on the pitchbend up sensor and using the two clear side keys.

Your EWIs manual explains this parameter in greater detail. See pages of the EWIs v2. See page 19 of the EWIs v2. So remember to assign your patch numbers according to the chromatic note of the scale and not a single key sensor pad. This is selected with the "dp" parameter. For further info, see page 19 of the EWIs v2. This would be useful when using external MIDI sources. If you would like to have this feature added in the future, contact Akai and tell them!

If you need this feature, be sure to download and install version 2. You should see "dP" in the display. Now use the two side keys to scroll to the "Et" parameter. I keep getting the message "Error! Sysex data is missing bytes". At best, I get a partial transfer. How do I fix this? After that you should be able to do it both ways. We think there may be something in the original EWI presets causing the problem. Reloading them seems to clear up this problem. An even newer version that is compatible with later Mac and PC operating systems is now available from Vyzor via the AkaiPro website.

Additional info and support is available in the Vyzor Forum. I am trying to load a. I can't select or load the file into the Editor. On some systems usually Mac an Editor soundbank file may show up gray and not selectable from the list. If you are experiencing this, try sending the soundbank in another format if available. Patchman Music's EWIs soundbank is shipped in multiple formats for this very reason.

BNK format. For sending Sysex and Midifiles, we recommend this helpful webpage. Alistair Parnell has uploaded a series of excellent EWIs tutorial videos on youtube. This one deals with connecting the EWIs to your computer and loading and saving sounds. My EWIs is playing out of tune on all patches. In order to hear more than one note on an external MIDI synth or soft synth connected to the EWIs, you must make sure you have a polyphonic type patch loaded on the external synth and you must make sure that the synth is actually capable of playing more than one note at a time.

This is because a mono mode patch or a mono synth is only capable of playing one note at a time. You could also try a padded soprano sax gig bag made by Ritter, a Reunion Blues soprano sax gig bag, and the Gard Leather Soprano gig bag.

The factory supplied one gets in the way of my right hand thumb. One user reports that using the Neotech neckstrap improved this situation. It allows more room for using the octave rollers. He reports, "The Neotech neckstrap feels very comfortable and comes with an easy adjustment mechanism that can be used with one hand. I chose the clarinet version over the sax version because it had thinner straps and was more than strong enough but they make a nice sax neckstrap too for those used to a more substantial strap.

For a while Akai offered a nice stand designed specifically to hold a wind controller such as the Akai EWI series and Yamaha WX Series but it has since been discontinued. Some folks have made their own out of PVC piping. We like to turn off the "dP" parameter and prefer to touch the Program Change sensor and use the two side keys to scroll through patches. We also like to set the "Ho" parameter to "LE" and the "Oc" parameter to "ln". This allows you to play two notes and change the interval then, while blowing, lock in the interval and play it in parallel.

This is great fun! You can do this in real time while playing. This technique was used a bit in the EWIs soundbank demo here. It's even more fun when you have an EWIs patch that has the two oscillators already set to an interval, then you add the second note and you can create four note chords. The possibilities are staggering just using the EWIs internal synth in this way. Does anyone have any suggestions? If you are getting the "SysX data is missing bytes" error, try uploading the factory presets.

The latest OS can be downloaded from Akai's website as well. After that, it should be OK. The available transpose options skip from "b" to "Db". How do I transpose to "C"? The EWIs is a "C" or "concert pitched" instrument by default. Thus there is no reason to "transpose" it to "C" or "Concert Pitch". This is why there is no selection to transpose it to C. It is supposed to skip from "b" to "Db".

My Mac running OSX cannot read a. Any suggestions? The problem so well known it's in the manual for UniQuest! If I touch the glide strip the time either takes forever to get from one note to another or else I don't get portamento and the patch cuts in and out randomly. Any thoughts? Samplers and sample based synths Romplers are all different in how they respond to portamento time parameter MIDI controller 5. Try editing the offending patch and setting the Portamento Type parameter to "Rate".

If there is a Portamento Start parameter set that to "Pitch". There should be a Portamento Switch parameter that you can set to "off". I have seen pictures of the EWIs in other colors. Are they available in different colors? Is there a way to make my EWIs look cooler? They are not available in the USA. There is no difference in the two units- only the color is different. If you bite, the pitch goes in a positive direction. When you release, the bend goes in a negative direction.

If at any point along the way you hold the bite at a certain level, the pitchbend data will always return to the zero point. For this reason, we sometimes refer to this type of EWI bite sensor as a "wiggle sensor". Think of it as trying to move a flexible stick of rubber through honey. Move it, and the other end lags behind a bit. Wherever you stop, the stick will eventually straighten be at 0 pitchbend. So it is not a linear sensor that tracks your bite directly.

All in all, it works well and is very musical. It provides that "EWI sound" when you play it, which is quite desirable. Since it is self-centering it also means the player does not have to worry about playing out of tune. On the other hand, it does not allow for the "bend and hold" effect like you can get on a WX wind controller or Synthophone. To do that on the EWI, you use you right hand thumb bend sensors. So these models offer the user the choice of either the traditional auto-centering bite sensing or bite-and-hold bite sensing.

It depends If anyone else has found others, please let us know and we will add it to this section. In any case, you would need properly programmed wind controller patches in the receiving synth to allow for full expression. Patchman Music sells many wind controller soundbanks here. If you don't see the USB Audio port here, then you need to add a new route. It will add a new routing check if the option Automatically attach Inputs to Outputs during selection is checked. Better results were attained with a USB Midisport 2x2.

This is set in Aria's Preferences screen. There are also some DIY threads on the web for doing a Raspberry Pi based device for this but it is unclear if they work. Search the web and see if anyone has a working solution ready to go; or, if you are wizardly enough, attempt it yourself. Here is a link to get you started. Although in principle they could work but they likely do not support USB-MIDI , usually the transmitter of these systems is not battery powered. They are very expensive too.

This device could be built from cheap, existing components. The only problem is that the market is very small remember, only a fraction of the small group of EWI-USB buyers would buy this , so it is likely not economical to produce it. Mac computers are pretty good at providing low latency audio right out of the box, but PC computers can be quite frustrating when it comes to using them as an audio source to generate sound for your wind controller. Once you get the settings right on a PC, it should perform to your satisfaction.

Here are some tips sent in to us that may help PC users:. I have two laptop computers. Both are standard issue machines with ordinary processors and sound cards. On both machines I experienced an amount of latency time delay between playing notes and hearing them that made the instrument unplayable. I have since gotten the instrument to work with very little latency on both machines by following these steps Go to www.

Click on Run. A Setup Wizard comes up. Follow the instructions. A small piece of software is installed on your computer. You won't need to run it or think about it again. The order of these previous two steps is important. Select Tools on the menu and then Preferences. Under Output Devices, select nothing. The remaining settings are set automatically as follows:. Click OK. Select an instrument. How do I contact Akai?

I have very dry hands and sometimes the EWI's touch sensors don't respond right. Any tips? Newer models have greatly improved this. If you have tried adjusting the Key Sensitivity knob on the EWI and still have trouble with the sensors not sensing your fingers you might try a tiny bit of hand lotion with a high Glycerin count on the fingertips. Look at the ingredients and notice if Glycerin is the first one listed.

Nyle Steiner recommends rubbing a couple of drops of glycerin available at most drug stores into the fingertips. We have also used a little ChapStick on the fingertips with great success. Be careful not to put too much on. Only a very small amount of this need be applied. You don't want to have the lotion building up on the keys.

If this happens, wipe the keys clean. When I use my EWI to control sounds on my external MIDI synth or softsynth the external synth locks up, plays slowly, and doesn't play smoothly or predictably. The EWI factory default settings were unwisely chosen by Akai yes, we have notified Akai of this many times to no avail. So do this There is a also a parameter on the EWI that adjusts the breath sensor's "rate of change".

Try a setting of You can also adjust the rate of change parameters for the other sensors on the EWI and we suggest you adjust them as well. The full EWI user guide manual can be downloaded from the www. How can I turn that off? Check the manual of your MIDI synth to see if this is possible. The display should show "dP". Push the top side key to select the "Ot" parameter.

If there is a dot between these two letters in the display then push the TRANS button to turn off the dot. Contact Patchman Music for details. Is my EWI broken? Your EWI is not broken. This behaviour is normal. Only the fingered note is transmitted with the EWI This sets the threshold point where the note is sent from the WX5. This adjusts how hard you have to blow to get to full level.

These trimmers are located under small rubber plugs. Remove these plugs to adjust then be sure to replace them when done to keep water out of the sensitive electronics. In adjusting these trimmers, you use a small flat head screwdriver.

They turn only about degrees. They do not turn all the way around. Use great care not to turn them past the point where they stop. If you strip them out or break them, the repair can be expensive. Note that these two trimmers interact so you will certainly have to go back and forth between them making small adjustments to each a few times to get it feeling just right. Note that the right most LED on the top of the WX5 lights up when the zero point is crossed and a note is being sent.

This adjustment is very sensitive so do it slowly. When everything is set right, the WX should feel comfortable and natural to play just like on an acoustic reed instrument. Blowing notes and tonguing should be natural and not difficult. When adjusting the reed lip sensor, it helps to have a tuner or a MIDI monitor such as the bend display in the VLm nearby to see where the bend sensor is at.

Assuming you have "Tight Lip Mode" selected with the WX5 DIP switches, you essentially want to set the MIDI pitchbend data to be hovering around the middle point 0 when you are using a normal amount of bite on the reed. If it is set right, then you will be able to loosen your bite to bend down, and tighten your bite to bend up.

In order for the bite sensor to work at all on the Yamaha WX series wind controllers, the little bite sensor cantilever rod inside the mouthpiece must be lightly touching the reed at all times in order to sense its position. Getting it right can be quite difficult. If your WX needs professional attention, Patchman Music does wind controller repairs. Put the mouthpiece in your mouth and apply a comfortable amount of pressure on the reed, that is, the normal amount of pressure you would use to play a centered pitch.

You should now be able to bend up or down. This shows you pitchbend relative to the center on-pitch vertical mark. Tighten and loosen your bite on the reed and you should see this bar graph move from left to right. When properly set, it should hover mostly around the middle point a single line.

If the lip adjustment is way off, you may not see much, but likely you can see some change as you change your bite pressure. These do interact with each other and sometimes it takes a few adjustments on each to get it all properly set up. With a comfortable bite pressure, gently turn it the LIP ZERO adjustment right or left until you see the pitch bar graph center on the on-pitch vertical mark. Do not force this adjustment- stop when you feel the resistance.

These trimmers are only made of plastic and can break or strip if turned beyond their limits. Bending notes and creating vibrato should be natural and not difficult to do. Note that these trimmers are not screws. They are delicate electronic trimmers that turn only about halfway. Do not force them or they can break resulting in a costly repair. They are also very sensitive to slight movement- so getting them set just right can be tricky.

Lip Zero always needs to be centered. Fine tuning of pitch should be done on the receiving synth s. See elsewhere in this FAQ for an explanation. What do I do? Turn off the WX5 then turn it back on. If you are in the US, we strongly advise that you not open up the WX5, and contact Matt Traum at Patchman Music for professional wind controller repair.

Sometimes the module connected to my WX wind controller abruptly goes out of tune. It's almost as if one of the side semi tone keys is stuck- which is not the case. Switching the unit off for a few seconds and then on again seems to cure the problem temporarily. It is important to understand how the WX series bites sensor works and is interacting with a connected sound module. First, the problem is almost certainly not because of the MIDI sound module.

Here is likely what is happening. Assuming the WX is in Tight Lip mode and the reed is not in your mouth, the initial pitchbend bite sensor position has not yet been sent to the connected sound module. Pitchbend data is only sent when the bite sensor or thumb bend sensor is actually moved. At this point pitchbend data is generated and sent to the sound module. This would be normal. As you put the mouthpiece into your mouth and apply the nominal bite pressure you should see that the pitchbend now is more centered and fluctuates around the "zero point" as you vary your bite on the reed.

If not, then you need to calibrate the lip sensor as described elsewhere in this Wind Controller FAQ. Also note that this can happen if the WX5 has the recorder mouthpiece on it and the LIP ZERO is not centered properly and you accidentally move the recorder mouthpiece while playing.

What does this mean? Note that you can bend upwards or downwards in Tight Lip mode. Tight Lip Mode is most like an acoustic instrument. Tight Lip mode is strongly recommended as it allows for maximum expression when bending and doing vibrato with the WX reed.

Loose Lip Mode means that the pitch is "in tune" only when no pressure is applied to the reed. Applying pressure to the reed bends the pitch upwards. Note that you can only bend upwards in Loose Lip mode. It is important to calibrate the WX properly as described elsewhere in this FAQ for the various modes to respond correctly and to play in tune.

I have seen pictures of the WX5 in other colors. Is there a way to make my WX5 look cooler? When the WX5 was first released there was a very limited number of horns made in a blue marble color and a white pearl color. These models were made in very small numbers and are no longer available. WX5 player Eddie Davis came up with a clever solution with some smart looking WX5 decals that dramatically transformed the look of the WX5.

Patchman Music sometimes offers customized Yamaha WX5s with various color combinations. Yamaha made a case specifically designed for the Yamaha WX5 but it is no longer in production. What is a Breath Controller? A Breath Controller is basically an electronic breath pressure sensor that is housed inside some form of enclosure that is usually held between the teeth or worn on the head as a headset and blown into while fingering a note on a MIDI keyboard or MIDI guitar etc.

The breath controller must be plugged into a device equipped with a breath controller input jack see below for a list. The function of the breath controller is to measure the musician's breath pressure and translate it into a varying control signal usually MIDI controller data that can be used in some expressive manner.

The note information is determined by a MIDI controller of some sort such as a keyboard. In other words, the player fingers a note on their controller to determine and trigger the note and then blows into the breath controller at the same time. Extremely expressive performances can be produced when a breath controller is used with patches specially set up to be used with a wind controller. Which Breath Controllers are Available?

The most recent commercially produced breath controller by Yamaha was the Yamaha BC3a often referred to simply as the BC3 breath controller. Unfortunately, it was discontinued as of and no replacement has been announced for it from Yamaha.

Info on the Yamaha BC3a is here. They all function the same and work with the same devices. Akai made the Xi breath controller which was produced in very small quantities in Japan in the early s. It included a bite sensor in addition to the breath pressure sensor, but this model has rarely been seen- at least in the USA. Casio also made the BFC-1 breath controller. The UK company Eigenlabs makes the Eigenharp line of controllers that feature a custom breath controller built in.

Which devices feature a Breath Controller input? Here is a list of devices that feature a breath controller input of some sort. All will work with any of the Yamaha BC series breath controllers unless otherwise noted. Many of these devices are no longer in production:. Uses a tube for breath sensor- not Yamaha BC compatible. Not to be confused with the Softwind Synthophone.

Eigenlabs makes the Eigenharp line of controllers that feature a custom breath controller built in. Not Yamaha BC compatible. The Yamaha BC series breath controllers can be adjusted for optimum results. Very important : First, make sure you have selected a patch on your synth that was properly programmed to respond to breath controller data. If you don't have a patch specifically designed to respond to the breath controller, the breath controller will likely have little or no effect on the patch.

The BC1 has an internal trim pot that is adjusted with a small screwdriver. Adjust this trimmer so that you get a comfortable, full response from your breath expression while holding a note. You will probably want to set this trimmer to the point just below where the sound begins to increase dramatically. The BC2 and BC3 have two adjustment knobs. Temporarily set the GAIN knob to the middle setting, and hold a note on the keyboard.

Now adjust the GAIN knob so that you get a comfortable, full response from your breath expression. Note that these are not screws. They are also very sensitive to slight movement- so getting them just right can be tricky. When the breath controller is adjusted right and the receiving synth patch has been programmed right to respond to the breath controller's signal, playing it should feel comfortable and natural.

The Yamaha VLm is a perfect mate for the Yamaha breath controller as it has sounds set up to work with a breath controller as well as a meter in the display that shows the breath level. Unfortunately it is now out of production. Used VLm units are usually available here. No replacement has been announced.

On my WX11, what are those two adjustment pots for that are covered by the rubber plugs? On the WX11, there are two adjustment pots under the two rubber plugs located just below the mouthpiece. See page 7 of the WX11 manual for details on these features. How do I remove a WX mouthpiece?

Before proceeding, be aware that inside the mouthpiece is a thin metal lever, one end of which normally rides on the reed. You can see this end through the mouthpiece tip opening. The lever extends back through a rubber gasket to the actual lip pressure sensor.

This metal lever can be damaged or bent out of calibration when the mouthpiece is off- so proceed with extreme caution. First of all, don't try to twist it! The mouthpieces on a WX7, WX11, and WX5 can be removed by holding the body of the instrument firmly with one hand, the mouthpiece with the other, and pulling them straight apart slowly and firmly.

Do not twist. I have found that some hot water run over the end of the mouthpiece can help loosen it up. But be very careful not to get the water inside the horn!! Hold the horn upside down when running water over ONLY the mouthpiece. A thin coating of the highly recommended Yamaha Recorder Cream lubricant available here on the rubber parts will help make the next removal a LOT smoother.

These products also help preserve the rubber parts reducing dry out which can cause the rubber to crack- at which point it would need to be replaced- if you can find the parts! Moral- keep these parts lubricated. An affirmative answer certainly would solve my 4-plug-ins, 3-slots dilemma. Why would sound coming in from the outside be treated differently worse? Or are you suggesting that the sound produced by the DX plug-in is higher quality sound than, say, that from a TG77?

Yeah, the harmonies, gender-bending, and vocoder sounds are what interest me. The sounds that Carlos created!! Thanks for your response! The VLm and the PLGVL share the same synthesis engine, but they have only 1 voice of polyphony and can store fully custom voices in only 6 slots. In terms of controllable parameters, there is very little difference between the VL1 and the VLm. In fact, there are many more parameters to control than there are controllers available! To control everything at once, you would have to stack destinations i.

It includes all the factory voices on a disk, but again, you are limited to loading only 6 into the synth. But USER voices in both are treated the same: you point to a factory voice model or one of the 6 custom voice models, then add effects and controller mappings. Enthusiasts love the VL1.

It represents the purest incarnation of the VL idea. But the effects engine in the Motif ES has been updated significantly since the VL1 was released, thus there are many new and improved effects to incorporate into the sound. Also, you can swap the cards in and out fairly easily one screw, and cable snaps for each board.

Another nice feature of the Motif ES: you can save Patchman or other custom voices usable only 6 at a time on your SmartMedia or USB storage fob, then quickly reconfigure by loading a new set of 6. This only takes a few seconds. Also, as was mentioned, it can be a bit problematic in practice. The DX is also noisier than the other plug-ins it is actually a DX-7ii or TX era engine , but that is not a huge problem in practice.

Try and find a vendor who will let you try the four that you are interested in with a fair return policy. The series boards such as the VH board, as I recall, are even harder to remove. It took me almost an hour, and I was quite concerned I was going to do some serious damage. Well, in a literal sense, of course not, as you must power down.

But they seem designed to be installed once and not moved around. Wait a minute! What am I missing here? Scott said: … you can swap the cards in and out fairly easily one screw, and cable snaps for each board. And Mark said: In my experience, it is so difficult to get the pins to release once you have a plug-in board secured in your Motif These responses are completely opposite of one another! Scott, since Mark seems to have had problems getting these cards in and out, do you have some technique that permits the easy installation and removal that you refer to?

Is this a serious concern, or how do you easily handle it? Scott, you also wrote: In terms of controllable parameters, there is very little difference between the VL1 and the VLm. When creating sounds regardless of which synthesis technique is being used: analog, FM, virtual modeling, formants, etc. Am I understanding you correctly to say that, in some instances, the MIDI controller resolution may be too coarse for a particular need?

If so, how successfully does that work for you? If I were ever to invest in one of the older VL products, it would most likely be in order to feed its sound into my ES. My chief interest is in creating and manipulating sounds for musical purposes. And Mark, you wrote, regarding the subject of this thread: None of the above Well, that was an unexpected answer!

However, the consensus of opinion from a number of different posts seems to be that the plug-in route is the better one to take because of the ease of integration between the plug-ins and the Motif ES host, without adding all sorts of extraneous issues and potential problems when involving external tone generators and such.

Your response clarified things for me. Thanks, Scott and Mark, for your wonderful responses so far! My experience of the PLG boards is that inserting them and removing them is very straightforward and relatively quick. That being said, they are essentially exposed circuit boards so you do have to be careful with them. I sold it to make room for my still-to-be-purchased second AN board, a few months back.

Yamaha probably revved the connecting plastic slightly with the series to make it easier to snap them into place and to remove them. Either that or I had a poorly-toleranced board connection for my VH board. This is a subject that has concerned me for some time; though less so when using a keyboard as the controller. I expect the former as I doubt MIDI could be interpreted quickly enough for the internals of a keyboard to behave well. If the latter, then I guess we have fairly discrete data points to deal with whether going out to audio or to MIDI.

In which case, does the VL70m provide for more steps for dynamics, when simply using its audio outs vs. Notion Music is a fairly new notation program that provides for steps of dynamics, saying the limit of MIDI is not enough to result in a musical performance from a score.

Oh, I see now how I missed that other post—it was coincident with my own. Whichever way you go, the VL is probably the most exciting and unique of all of the technologies Yamaha has ever come up with. They even suggest this themselves on the chronology chart that was recently cited for being out of date If you come up with something good, you might win an honourary degree from Bad Mister University I find the PLG board to be thin, in that although the attack of a sound is okay, the sustain portion sounds weaker than that on my VL7.

Also a lot of the off the wall presets just sound completely crazy and organic on the VL7, yet the patches with the same name on the PLG just sound like poor thin imitations… But all that being said, like Mark says the EX5 is the real surprise board… it has all the PLG plug in boards all together in one package..

I stand by my comments that the cards are fairly easy to swap in and out. You asked how I handle it. I typically use one setup 2xVL, DX. As to control: yes, all the parameters are available for control from Windows. You can go absolutely nuts with this. But you can certainly wire it up any way you want using hardware MIDI controllers or software. First: there is no difference between what the VL sounds like when played live, or when played back using a sequencer. That is NOT what we are talking about.

And yes, you may want the sound of

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And of course wait the approximately 2 months for the bonus to post. I use 2 months or 60 days, when principal can be removed after 45 days, while the bonus make take as long as 75 days to post. It is approximate, I believe reasonable to use for comparison purposes. Motif Customer Support confirms no credit pull regardless of account type opened. Don L Thanks for the heads up on this. Like Illa J I have had an account for a while. Each Motif is about 20 different fractional shares of common stocks.

So much for buying low and selling high. To be fair, I did end up making money, but still. They are allowing transfers to other brokerages, but, does anyone have any knowledge of what would be a good option? I have no allegiance to doing what they would like for me to do… I hate fees. I would rather just eat the loss upfront. My investment style, I buy something, and I keep it until I am ready to sell — normally many, many years down the road. This is a first for me… being told to take my toys and go elsewhere.

I never once rebalanced my Motifs in the 7 years I owned them. I plan to hit Reddit and see if anyone is discussing this, maybe find out what the scoop is, but wondering if the DoC crowd has any recommendations? No messages that I see anywhere.

Even the referral program is still alive! I would assume though that you should be able to transfer out your stock in kind with out selling to another brokerage one that you currently have or possibly to a new brokerage to earn a signup bonus. Just initiate an ACAT transfer. I think even the fractional shares should transfer correctly, but double check with the receiving side to be sure.

They required small deposits to make outsized bonuses. The bigger story here is that venture capital, which has been in decline for a year, has ground to a halt since February. All these cute little fintech startups like are going to disappear unless they can become self-sufficient really quick. I would say the biggest percentage of promotional money in the space has always come from the big banks Chase, Amex, BoA, … but the VC promotional money used to supercharge growth was significant.

See the trend? Bonus posted yesterday, and Don noticed before I did and emailed me to confirm my info for referral bonus transfer. He sent me half of his referral bonus within the same day of confirming the payment details. Thanks to Don for writing this and the great offer and follow through, and to DoC for putting up the article. Bonuses will go into an Ineligible State if funds are removed shortly after meeting the 45 day requirement and bonuses will not auto post.

You may also like. Notify of. Vote Up 0 Vote Down Reply. April 21, , am. Don L. Gadget thanks for confirming the shutdown email. April 23, , am. Illa J. April 19, , pm. I hear you, especially on the VC Money part. The bigger story is not that cute IMHO. February 27, , pm. Vote Up 1 Vote Down Reply. April 20, , pm. Item Location. Canada Only. North America. Shipping Options. Free International Shipping.

Local Pickup. Free Local Pickup. Show only. Free Returns. Returns Accepted. Authorized Seller. Completed Items. Sold Items. Authenticity Guarantee. More filters Condition Any Condition. Gallery View Customize. Not finding what you're looking for? Save yamaha plg to get e-mail alerts and updates on your eBay Feed. Postal code. Shop on eBay Opens in a new window or tab Brand New. Free returns. Shipping not specified. Opens in a new window or tab Pre-Owned.

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