Behind the Scenes with John Walker....

I first started calling my instrument set-up 'The Digital Orchestra' back in 1985 when I was looking for an alternative for the word 'Organ' which can, in so many peoples minds, sum up the idea of Church, Theatre and Fairground Organs! Sadly, this stylized image of the organ can put many people off - and whilst our Home Organs and Keyboards can indeed sound like any type of 'Organ' as such, they can also reproduce an infinite variety of amazingly lifelike 'Orchestral', 'Ethereal' and 'Synthesizer' sounds. So the name 'Digital Orchestra' seemed to me very fitting.

I also wanted at this time to get away from the 'instrument manufacturers name' association, which was - and still is to a large extent - prevalent amongst players. Most concert organists are known, not only by their 'name', but also for the 'make and model' of instrument that they play. Their recordings often declare this information too. This is all well and good - and probably very appropriate - for our 'Organ World' where enthusiasts are interested to know these things. I have, however, found that the 'public at large' (and by this I mean those that don't necessarily have any interest in playing, don't go to clubs and festivals etc) generally have no real interest in the equipment being used. They simply just appreciate the music. 

This 'product association' has always been peculiar to the organ world! One never hears of, for example, 'Richard Clayderman plays the Steinway Piano', 'James Galway plays the Boosey and Hawkes Flute' or 'Paul McCartney plays the Fender Jazz Bass'. These great musicians are known simply for their 'instruments' and wonderful music. 

So, although my main control instrument is the Yamaha HX1 Keyboard, I prefer to call it 'The Digital Orchestra'. I must say, I have every respect for the Yamaha Company - but I don't work for them or demonstrate and endorse their products, so I see no real reason for ever describing myself as, for example, 'John Walker plays the Yamaha HX1'!! 

Well, I'm going to contradict myself now in one respect and tell you all about the workings of 'The Digital Orchestra', which at the end of the day, is the purpose of this article! 

The HX1 multi-keyboard - the backbone of 'The Digital Orchestra' - was launched in 1987 so it's becoming a bit of an antique in many ways. It is however, in my opinion, the best organ Yamaha have ever made. An absolute classic instrument with a depth of tone which, to my ear, later models lacked. I used the HX1 for many years as a 'stand alone' organ and when the next generation of Yamaha Organs were released (The EL range) and other makes of new instrument appeared, I decided that none of these were for me. At the same time, I did realize that some of the HX1 sounds were by then becoming somewhat 'dated' - and so there was a definite need for more up-to-date samples, rhythms and effects. 

Welcome M.I.D.I. (Musical Instrument Digital Interface) 

M.I.D.I. was developed in the mid-eighties (by Roland) as a universal communications link between all makes of digital keyboards, expanders, sequencers and computers. In its basic form M.I.D.I. is very easy to use and can be a great deal of fun. All you need to get started is an 'expander' (in simple terms, consider this to be all the electronic workings of an organ stuffed into a small box but without the keyboards and cabinet!) and a couple of M.I.D.I. leads along with an audio link. Away you go! However, if you want to take M.I.D.I. further, all sorts of problems can arise - and 'linking up' more than one M.I.D.I. device, addressing and controlling everything - and finally saving the 'set-up data'…..well this, certainly for me, proved to be a nightmare when I first started!

I currently use the HX1 as a 'master control keyboard' (it's M.I.D.I. specification is superb) along with 3 additional expander boxes, namely the KORG M1-Rex, the Roland JV880 and the Roland XV-5080 (you can tell I'm pretty impressed with Roland gear!). These expander boxes, along with various other devices, are all installed into my 12-unit 'rack box' (Fig.1 below). The 'audio output' from each expander is fed back into the HX1's auxiliary input via a 'line mixer' so that the expander sounds will benefit from the HX1's expression pedal. The combined, mixed stereo sound then goes through to the amplifier and speakers.  

At home in my studio (Fig 2. below) I have an ATARI computer which I use, not only for recording my arrangements, but also for controlling the expanders. The ATARI is also now rather 'vintage', but it still does all of the various jobs I need it to do superbly, so I'm sticking with it for the present! I also have an all-singing, all-dancing 'P.C.' at home but don't use this very much for music. 

I think at this stage, to give you an insight into how it all works, I'll describe the basic processes which I go through to achieve a completed arrangement. 

I start by setting up the HX1 and all of the expanders with the various voices I intend to use. This takes hours and hours, sometimes days. I make up new, special voices (patches) for every single arrangement I produce. A standard 'fanfare trumpet', for example, in it's default mode will only really be suitable for certain applications. I tailor the sounds - their waveforms, envelopes, vibrato and effects settings etc. - to suit the piece of music I am working on. Atari 'Editing' programmes are invaluable tools at this stage. Sometimes I combine more than one voice to make a 'composite' or 'layered' patch. My 'big-band brass sound', for example, uses up to 7 different voices taken from the HX1 and the expanders. 

I next work on the arrangement itself using the Atari computer and a M.I.D.I. sequencer programme called C-Lab Notator SL. All of the various tracks are recorded one by one and the drums tracks (every 'rhythm backing' I use is made up especially and tailored for the particular song) also use various percussion instruments taken from the HX and one or more expanders. Sometimes I record all parts simultaneously; this really depends on the arrangement. I try to keep backing tracks to a minimum; not because I am opposed to the notion of 'backing tracks', but simply because at the end of the day, when all is completed, it's more fun to play as many parts as possible 'live'. 

All of the various parts use different M.I.D.I. channels. Typically, the upper keyboard is set to channel 1, the lower keyboard channel 2, the pedals channel 3, drums channel 4 and 5 and so on. Channel 16 is usually used as the master control channel for 'global' changes. 

I have a device called a 'M.I.D.I. Event Processor' and this is very useful for converting M.I.D.I. data. For example, notes played on Channel 1 can be converted to Channel 2. Similarly, M.I.D.I. control numbers can be changed, or note Velocities altered. These are just a few of the many applications of this very versatile tool, manufactured by Yamaha. 

There are many different combinations of M.I.D.I. 'routing' used throughout this whole exercise. I need at various stages to be able to connect, say, HX1 to MEP4, Korg to DataDisk, Roland to Computer etc. Rather than unplugging and re-connecting the M.I.D.I. cables, this process is made much simpler by the use of a 'M.I.D.I. Patch Bay'. All of the M.I.D.I. 'in' and 'out' leads from each piece of equipment are plugged into this device - and then various M.I.D.I.  'patches' (or combinations of M.I.D.I. circuits) can be set up and stored - up to 128 in total. I use around 30 different M.I.D.I. patches, including 'Merge' combinations (mixing two or more 'inputs' to go to a single 'output'). 

Once the arrangement is completed, I have to record the set-up data in much the same way as songs or registrations are recorded on to a 'floppy disc' with an instrument such as the Yamaha EL90. However, very sadly, the process of saving data on my 'Digital Orchestra' is a long one and can take a few hours. Once it's done though, it's done - I only have to do it once! Saving M.I.D.I. system-exclusive data is one of the many areas where it's all too easy to come 'un-stuck' when you are new to M.I.D.I. 

In a nutshell, here's how it works: 

The 'set-up data' from each piece of equipment (the HX1 and the expanders) is loaded into the Atari computer. I have to use a M.I.D.I. Librarian programme to 'extract' the HX1 data as it will not initiate it's own 'bulk dump' (under normal circumstances, Yamaha organs use a Music Disc Recorder - or MDR - to save data. Upon selecting 'record', the MDR sends a 'bulk dump request' to the instrument, which then in turn transmits the data back to the disc drive. (Funnily enough, this process is called 'handshaking'). 

The expanders do send their data using a button called 'bulk dump' which makes life somewhat easier but the data then has to be edited (compressed) to make each data file as small as possible. For various reasons, this usually means editing 'system exclusive data' in the Atari 'Notator' programme already mentioned. 

Once all of the data files are ready - hours later - they are all loaded together as a single file on to a M.I.D.I. disc recorder (I use the Alesis DataDisk). Each chunk of data for each piece of equipment has it's own 'Header Code' or 'ID' so that things don't get mixed up. I'm sure the HX1 would have a major headache if it started to respond the Roland JV880 data! Upon playback, the DataDisk sends ALL of the data to ALL the pieces of equipment and they in turn only respond to the chunk of data with the appropriate 'Header Code' and 'ID'. 

Simple! You must be joking. It often doesn't work first time round; or else I forget to do something. Then the whole process, or at least part of it, has to be done again! What a nightmare compared with the good, old fashioned stand-along organ and MDR! 

OK, so it's a long drawn out process to record my 'sys-ex' data. But then, as I said, once it's done (successfully) it doesn't have to be done again! 

When I go 'on the road' for concerts (Fig. 3 below) I take my 'Digital Orchestra'; the HX1, the M.I.D.I. (rack) box and the P.A. system, but not the computer - this is not necessary. All of the set-up data, registrations and sequences are handled by the Alesis DataDisk. I also have on board a Compact Disc Player, which I use when I go on promotions with my record company.

The advantages of using M.I.D.I. and more than one piece of equipment are endless, more than offsetting the few disadvantages. I love the glorious richness and depth of the HX1 but, to compensate for the drawbacks of its age, the modern expanders offer excellent crisp sounds and top quality samples. In total, I have over 5000 voices and effects at my disposal! At the end of the day, it's a bit like having your four favourite organs or keyboards all rolled into one. One could say that M.I.D.I. stands for 'My Instrument Does It' because it certainly does! Mixing different technologies from different manufacturers also adds a new, refreshing depth to the overall sound - and this concept I have yet to find in a single instrument. I regularly update my expanders and add new ones. The possibilities are endless. I love it. 

It saddens and annoys me when I hear concert artistes on stage saying things like: "I don't use Discs or RAM Packs or Backing Tracks" - (N.B. "I don't 'cheat'! Aren't I clever?").  What they should really be saying is: "I don't use Discs or RAM Packs or Backing Tracks because they are dreadfully complicated and I've never bothered to try and work them all out". You will also note that these same players invariably use factory-made 'drum' or 'style' patterns. These are, of course, 'backing tracks' too; but other peoples work - programmed by the manufacturer.

When I first set out in the music business, I started on the 'steam' Piano and Church Organ, Theatre Organ and Hammond - well before the advent of modern organs and keyboards and all the gimmicks that go with them. I'm glad of those days - it taught me the fundamentals of music without the clutter of modern, mainly useless teaching aids or 'easy-play' facilities; an invaluable background and experience which I'm very glad of. However, I also believe that it's important to 'keep up with the times' which is why I decided to move into M.I.D.I. and computers. 

Discs, Ram Packs, Expanders, Data files, Patch Bays, Computers and Sequencers….. namely, 'The Digital Orchestra'….. a wonderful concept …..Cheating? NO way! Working with high-tech equipment and M.I.D.I. has proved to be more demanding both technically and musically than anything I can previously recall. Playing a stand-alone organ 'Hammond- style' (which I still love to do on the odd occasion) is, in my own opinion, a 'piece of cake' by comparison and I think that most people who have had a go at M.I.D.I. would, in all honesty, agree. 

So, that basically sums up 'The Digital Orchestra' which I dearly love and intend to stick with, albeit with minor changes and updates along the way!

If you would like to see and hear the 'D.O.' in the flesh, so to speak, I would love to see you at one of my many Concerts around the country.

I have made 10 CD's on 'The Digital Orchestra' and details of these can be seen on the Recordings Page of this Website. 

Thank you for reading about The Digital Orchestra !