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Softwind Synthophone Manual

The midi sax
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Synthophone
the MIDI sax
9th revised edition
copyright (c) 1987 - 2016
SOFTWIND INSTRUMENTS

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  • Page 1 Synthophone the MIDI sax 9th revised edition copyright (c) 1987 - 2016 SOFTWIND INSTRUMENTS...

  • Page 2: Table Of Contents

    TABLE OF CONTENTS INTRODUCTION Finally - MIDI for sax players The SYNTHOPHONE - some background Warranty and technical support SETTING UP THE INSTRUMENT Precautions Unpacking and assembly Reed mounting System connections Getting started PERFORMANCE CONTROLS Panic function Alternate tunings in Bb, C & Eb...
  • Page 3 Additional performance facilities SOUND DESIGN CONSIDERATIONS Programming expressive voices Sound enhancement with external signal processing MIDI event processing Sequencing with the SYNTHOPHONE SYNTHOPHONE CARE AND UPDATESG Cleaning your mouthpiece Getting your personal altissimo fingerings Installing new software TROUBLE SHOOTING GUIDEE...

  • Page 4: Introduction

    MIDI-equipped, although a separate hardware unit was still necessary to convert a sax into a MIDI-controller. A later model then was selfcontained: the processor was put into the bell of the sax. This new SYNTHOPHONE was built in late 1986 and then refined to be produced by SOFTWIND INSTRUMENTS.

  • Page 5: Warranty And Technical Support

    SOFTWIND INSTRUMENTS is commited to answer all questions concerning the SYNTHOPHONE. It’s one of our company's goals to stay in close contact to our individual customers and to learn through their experiences. Please do not hesitate...

  • Page 6: Setting Up The Instrument

    2. S E T T I N G UP T H E I N S T R U M E N T 2.1 P R E C A U T I O N S The SYNTHOPHONE is reliably built and easy-to-use. However, the differences in handling compared to a regular sax, are very important. Read the following instructions carefully, before assembling your instrument.

  • Page 8: Reed Mounting

    There is a special reed readily mounted on your mouthpiece when the instrument is shipped. Reeds for the SYNTHOPHONE are specially made up with a metal plate and a magnet on the back to give input to the lip pressure sensor inside the mouthpiece.

  • Page 10: Performance Controls

    3. P E R F O R M A N C E C O N T R O L S 3.1 P A N I C F U N C T I O N The SYNTHOPHONE panic function is used to return to known performance conditions immediately when you get lost. It's also a very helpful when starting out programming new patches.
  • Page 11 3.1 P A N I C - F U N C T I O N...

  • Page 12: Alternate Tunings In Bb, C & Eb

    3.2 A L T E R N A T E T U N I N G S in Bb, C & Eb Your SYNTHOPHONE can be set instantly to any of three standard tunings: • Tune to Bb hold front Bb & press the panic keys •...
  • Page 13 3.2 A L T E R N A T E T U N I N G S in Bb, C & Eb...

  • Page 14: Sound Selection

    M U S I C A L A P P L I C A T I O N S Prepare your performance by selecting your favorite sounds first and storing them to the internal Synthophone memory for quick recall. See chapter 3.6 for storing your settings in the internal patch memory.
  • Page 15 3.3 S O U N D S E L E C T I O N...

  • Page 16: Midi Channel Selection

    3.4 M I D I C H A N N E L S E L E C T I O N It is important, that your synthesizer is set to receive the same MIDI channel on which the SYNTHOPHONE is transmitting its MIDI data. Any of 16 MIDI channels available may be selected: •...
  • Page 17 3.4 M I D I C H A N N E L S E L E C T I O N...

  • Page 18: Patch Selection

    3.5 P A T C H S E L E C T I O N There are 32 PATCHES available from the built in memory. Each patch contains a COMPLETE configuration and can be recalled anytime, even after months of power down.
  • Page 19 3.5 P A T C H S E L E C T I O N...

  • Page 20: Store Patch To Memory

    3.6 S T O R E P A T C H T O M E M O R Y When a suitable setting for playing a particular sound has been found, it can be stored into the currently selected PATCH memory. Previous contents of that memory location are overwritten.
  • Page 21 3.6 S T O R E P A T C H T O M E M O R Y...
  • Page 22 3.7 T O T A L M E M O R Y R E S E T Total memory resetting is only recommended when planning for all new patches. This function will reset your instrument to "factory conditions". Caution: this action will cancel out all previously stored PATCHES! •...

  • Page 23: Total Memory Reset

    3.7 T OT A L M E M O R Y R E S E T...

  • Page 24: Modulation Control

    Your synthesizer(s) can be programmed to produce vibrato. Lip pressure applied to the reed on your mouthpiece controls the intensity of the vibrato much like a MOD WHEEL on a MIDI keyboard. The SYNTHOPHONE offers six intensity levels of vibrato control from your reed.
  • Page 25 3.8 M O D U L A T I O N C O N T R O L...

  • Page 26: Pitch Bend Control

    M U S I C A L A P P L I C A T I O N S To obtain a smooth PITCH BEND response, it is generally a good idea to set the PITCH BEND range on your synthesizer to 1 or 2 semitones first and then select an appropriate PITCH BEND level from the Synthophone.
  • Page 27 3.9 P I T C H B E N D C O N T R O L...

  • Page 28: Breath Control

    3.10 B R E A T H C O N T R O L (MIDI Code Bn 02 yy) Wind pressure in the Synthophone mouthpiece can be assigned to produce BREATH control. Typically, sounds that are specifically programmed for wind controllers receive BREATH control for dynamics and timbral changes.
  • Page 29 3.10 B R E A T H C O N T R O L...
  • Page 30 3.11 V O L U M E C O N T R O L (MIDI Code Bn 07 yy) In order to produce a natural dynamic feel, the SYNTHOPHONE provides six different exponential curves with variable dynamic responses. • Increase VOLUME level side Bb, high F &...
  • Page 31 3.11 V O L U M E C O N T R O L...

  • Page 32: Aftertouch Control

    3.12 A F T E R T O U C H C O N T R O L (MIDI Code Dn xx) Wind pressure can also be assigned to procuce AFTERTOUCH. Most commonly, synthesizers will respond with a vibrato much like with modulation control (s. 3.8), but now your vibrato control is derived from wind pressure rather than from lip pressure.
  • Page 33 3.12 A F T E R T O U C H C O N T R O L...

  • Page 34: Velocity Range

    However, most synthesizer "factory" sounds depend heavily on velocity levels for variation and therefore it is nice to be able to adjust the velocity values of the SYNTHOPHONE to a specific range that works best for a given sound.
  • Page 35 3.13 V E L O C I T Y R A N G E...

  • Page 36: Key Speed Control

    When playing large intervals, or when playing across the octave break point from C# to D, unwanted short (in between) notes may be sounding due to the Synthophone's accurate key tracking. You can slow down - or speed up the key response time of the Synthophone to match it up to your sounds for best performance results.
  • Page 37 3.14 K E Y S P E E D C O N T R O L...

  • Page 38: Transposition By Octaves

    3.15 T R A N S P O S I T I O N I N O C T A V E S The SYNTHOPHONE can be transposed up or down by 2 octaves from its normal pitch. This, in addition to the sub- & top-octave (s. 3.15) and the thumb-X-press octave option (s.
  • Page 39 3.15 T R A N S P O S I T I O N I N O C T A V E S S...

  • Page 40: Extended Playing Range

    3.16 E X T E N D E D P L A Y I N G R A N G E The normal range of the SYNTHOPHONE can be extended through the use of the F#-trill and low-C-keys respectively as additional octave keys.
  • Page 41 3.16 E X T E N D E D P L A Y I N G R A N G E...

  • Page 42: Start / Continue / Stop

    3.17 S T A R T / S T O P / C O N T I N U E The following REALTIME MESSAGES are useful when working with sequencers. Start (MIDI Code $FA) Continue (MIDI Code $FB) Stop (MIDI Code $FC) There are 2 fingerings that are used in an ON / OFF "toggle switch"...
  • Page 43 3.17 S T A R T / S T O P / C O N T I N U E...

  • Page 44: Dynamic Harmony

    4. D Y N A M I C H A R M O N Y 4.1 P L A Y U P T O 5 – P A R T H A R M O N Y Now for the first time, you can play complex chords using a monophonic wind instrument. It is possible to add a second, third, fourth or even or fifth voice to your melodic lines.
  • Page 45 4.1 P L A Y U P T O 5 – P A R T H A R M O N Y...

  • Page 46: Choosing New Tonality

    4.2 C H O O S I N G N E W T O N A L I T Y You can specify a reference tonality, so that DYNAMIC HARMONY generates chord structures diatonic to the key of your choice. Chords result from that reference tonality, the actual note played and the momentary lip pressure (for their inversion).
  • Page 47 4.2 C H O O S I N G N E W T O N A L I T Y...

  • Page 48: Using Freeze Harmony

    4.3 U S I N G F R E E Z E H A R M O N Y You may - for a change in flavor - want to play all voices in parallel motion,. FREEZE HARMONY does just this. The last chord played will be memorized and played in the same intervalic relation over the full range of the instrument.
  • Page 49 4.3 U S I N G F R E E Z E H A R M O N Y...

  • Page 50: Select New Harmony Tables

    4.4 S E L E C T n e w H A R M O N Y T A B L E Threre are three different harmonisation tables in the EPROM and another six USER harmony tables in the RAM memory (s. 4.5). The basic chord materials are shown in the appendix of this manual (s.
  • Page 51 4.4 S E L E C T n e w H A R M O N Y T A B L E...

  • Page 52: Input Personal Harmony

    4.5 I N P U T P E R S O N A L H A R M O N Y The harmony tables in the user RAM (tables 4 - 9) can be personalized by defining 5 new notes for each chord in the chromatic scale: Follow these easy steps: •...
  • Page 53 4.5 I N P U T P E R S O N A L H A R M O N Y...

  • Page 54: Chord Variations Through Lip Pressure

    4.6. C H O R D V A R I A T I O N S t h r o u g h L I P P R E S S U R E Chords can be varied by your lip pressure in five different ways. Select any of the five methods below with the following fingerings: •...
  • Page 55 4.6. C H O R D V A R I A T I O N S t h r o u g h L I P P R E S S U R E...
  • Page 56 4.7 H A R M O N Y E X C H A N G E t h r o u g h L I P P R E S S U R E With your lip pressure you can interchange chords from three harmonizing techniques for each note that you play.
  • Page 57 4.7 H A R M O N Y E X C H A N G E t h r o u g h L I P P R E S S U R E...

  • Page 58: Multi Channel Mode

    4.8. M U L T I C H A N N E L M O D E The SYNTHOPHONE is capable of playing each voice of a chord on a separate MIDI channel. This is of interest if your synthesizer can be set to MULTI mode, or when working with notation programs on computers, where your entry of harmonized passages can be printed out on paper.
  • Page 59 4.8. M U L T I C H A N N E L M O D E...

  • Page 60: Additional Control Functions

    T H U M B - X - P R E S S - F U N C T I O N S thumb-X-press is a device for the SYNTHOPHONE that opens a whole new dimension of control over sound - at the touch of your right hand thumb! The highly dynamic pressure sensor is multi- functional, i.e.

  • Page 61: Thumb-X-Press" Functions

    T H U M B - X - P R E S S - F U N C T I O N S Level 0 / Off thumb-X-press is turned off by activating the "Panic" fingering (3.1). Since the "Panic" function is usually employed to "clear the deck" for a new patch, this is also a good starting point for work with thumb-X-press.
  • Page 62 5.2 L I P S W I T C H I N G F U N C T I O N S Lip pressure can be applied for "switching" on / off certain performance features, using the fingerings below: • next higher level low F &...

  • Page 63: Lip Switching Functions

    5.2 L I P S W I T C H I N G FU N C T I O N S...
  • Page 64 5.3 A D D I T I O N A L P E R F O R M A N C E F E A T U R E R S Built-in (standard) Altissimo fingerings The following built-in altissimo fingerings are included: (s.

  • Page 65: Sound Design Considerations

    6.1 P R O G R A M M I N G E X P R E S S I V E V O I C E S The SYNTHOPHONE is a powerful MIDI wind controller for sax players. The sounds of this expressive instrument however depend on the programming of your synthesizer.

  • Page 66: Midi Event Processing

    Play your sounds and add some reverb, delay or other external signal processing. Some signal processing units allow for MIDI preset changes, so that you can change effects simultaneously when changing your sounds from your SYNTHOPHONE. More complex effect units can even vary some of their parameters dynamically, according to some MIDI controllers.
  • Page 67 6.4 S E Q E N C I N G w i t h T H E S Y N T H O P H O N E SYNTHOPHONE MIDI data can be sequenced much like with any keyboard, but it sends out much more MIDI data and may therefore use up more sequencing space.

  • Page 68: Cleaning Your Mouthpiece

    7.2 P E R S O N A L A L T I S S I M O F I N G E R I N G Many experienced sax players use their own ALTISSIMO fingerings. If you want to use yours on the SYNTHOPHONE, please fill in your personal altissimo fingerings in the chart provided (s. 9.2) and send it to SOFTWIND INSTRUMENTS, Switzerland.
  • Page 70 • If the MIDI LED never turns ON while playing, then probably the MIDI cable connecting the SYNTHOPHONE to its power supply may be defective. Replace it with an other cable. Note that it has to be a 5-pin (fully wired) MIDI cable.

  • Page 71: Appendix

    9. A P P E N D I X 9.1 M I D I I M P L E M E N T A T I O N C H A R T n = MIDI channel, all 16 MIDI-channels are selectable. xx = first data byte yy = second data byte MIDI TRANSMIT DATA...

  • Page 72: Altissimo Fingerings

    9.2 A L T I S S I M O F I N G E R I N G S Fill in your personal altissimo fingerings in the table below and send to: SOFTWIND INSTRUMENTS Falkenplatz 1 CH-3012 Bern, Switzerland softwind@swissonline.ch...

  • Page 73: Harmony Illustrations

    USER modified to create PERSONAL HARMONY (s. 4.5) Example 2: was produced directly with DYNAMIC HARMONY and the use of a notation program. The SYNTHOPHONE has been set to MULTI mode (vgl. 4.8), to produce easily distinguishable instrument lines on separate staves.
  • Page 74 Example 3: shows some possible variations of harmonizing in thirds. In this example, lip pressure was used to do the INVERSIONS of the basic chords (s. 4.1) ---> five voice closed position • Closed ---> 2nd voice dropped an octave (8vb) •...

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