Steiner MIDI EVI User manual

Version 1.12 - 6/30/2023

Original manual by Nyle Steiner / Revised by Matt Traum

What's Included

The following items are included with the MIDI EVI:

•

The MIDI EVI Brass Style MIDI Wind Controller

•

AC adaptor. 9 Volt DC. Tip/Center is Positive (+). 1/8" male plug

MIDI EVI Description

Congratulations and thank you for purchasing a Nyle Steiner MIDI EVI. This EVI, or "Electronic Valve

Instrument, is a brass style MIDI wind controller developed by trumpet player, inventor, studio musician,

Nyle Steiner. The concept of a "brass-type synthesizer" was ﬁrst conceived in the late 1960s when Nyle

Steiner wanted to give brass players the ability to control synthesizers. The ﬁrst units were hand made, as is

this one, by Nyle Steiner in the early 1970's. The MIDI EVI is the latest in what has turned out to be decades

of development and reﬁnements.

What is a MIDI EVI?

The MIDI EVI is a "MIDI controller". That is- it does not make a sound on its own. It sends MIDI data from

its MIDI OUT jack which is then connected to the MIDI IN jack on a MIDI synth. The connected synth is the

source of all the sound. The MIDI EVI simply converts the players' performance gestures into appropriate

MIDI data. This MIDI data can then be responded to in a connected synth to do an almost unlimited number

of things depending on the abilities of the connected synth(s) and how the patch is programmed in the

responding synth(s).

What Else is Needed to Play the MIDI EVI?

The MIDI EVI is a MIDI controller- that is, it generates a MIDI signal that is used to control a MIDI sound

source. It must be connected to a MIDI sound source to create sound. There are numerous MIDI sound

modules, keyboards, and computer soft synths that will work with the MIDI EVI.

You will also need a quality ampliﬁer or pair of headphones. It is best to avoid guitar or bass guitar amps

since they are EQ'd for guitar and lack a full frequency response range. A much better choice is a full range

keyboard or PA type ampliﬁer. Companies such as Yamaha, Roland, Mackie, Peavey, Bose make excellent

amps.

Also, it is strongly recommended that you load some patches into your sound source that are programmed

speciﬁcally for use with wind controllers (or program them yourself).

HOLDING THE EVI

The proper left hand position is shown below.

Notice how the thumb points almost straight up.

This position is very important because it

creates well deﬁned octave positions (between

any two rollers), and it keeps the hand and arm

in a position that is directly in line with the

canister rotation axis. All octave positions can

be easily reached with a simple and easy arm

rotation. If you try wrapping the thumb around

the canister, you will notice how much

awkward wrist bending it takes to reach all of

the octave positions. It is important that the left

thumb also be on top of the small ground tab on

the side of the canister. This is how the body

gets grounded to complete the current path that

activates the keys and octave rollers.

Each octave position of the thumb is deﬁned by

resting the thumb between two rollers. Do not

try to touch just one roller at a time; it is very

awkward. The instrument responds only to the

highest octave roller touched. The lowest octave

position is played by not touching any of the

rollers at all. Since the thumb rests on the

canister, a roller is not necessary for all octave

positions. Having no rollers on the bottom

octave and a non moving roller on the top octave helps give more uniqueness to each octave position. This

helps to eliminate the necessity of looking at the rollers every time one starts to play.

The Electronic Woodwind Instruments have two more rollers since the thumb needs something to rest on in

the bottom octave. The pitch range is the same as the EVI. The AKAI EVI's have an extra roller on the

bottom but it is a dummy and has the same pitch range.

The mouthpiece end of the instrument is supported by the front teeth biting lightly on the soft rubbery

mouthpiece.

OCTAVE ROLLERS

The octave rollers slide on and off ﬁve of the screws on the underside of the instrument. On most

instruments, the top octave roller is screwed on tight because it does not need to rotate. The only thing that

keeps the rollers from falling off is the fact that the canister is beneath them. The canister is also easily

removable simply by unscrewing it. This makes cleaning and oiling of the rollers and canister shaft very easy.

The proper adjustment of the canister is to screw it on all the way until it starts to tighten against the rollers.

Then back it off one or two turns until it turns freely and the ground tab is facing you. The rollers will be

hanging down a fraction of an inch as they rest on the top of the canister. The rollers should turn easily as the

thumb slides across them.

Air Flow and Embouchure

The EVI uses a closed air path. That is; it is unprecedented in being the ﬁrst wind instrument ever, that does

not actually have air ﬂow through it when blown into. The player allows air to leak around the side of the

mouthpiece, creating the same feel as though air is actually ﬂowing through the instrument. The internal

sensor responds only to the pressure created as air is blown past the mouthpiece. Sounds weird - doesn't it!

High jumping backwards over the bar seemed weird at ﬁrst too. Playing a closed air path is a very

comfortable, effective and effortless way to go once you have the hang of it.

The proper embouchure for playing the EVI is like biting the middle of your ﬁngernail with the front teeth

and blowing. The lips are allowed to relax and let air ﬂow around the side of the ﬁnger. By proper tightening

of the lips, just the right amount of air can be allowed to pass to give the same feel as air ﬂowing through the

instrument. Tonguing is facilitated against the roof of the mouth. Double and triple tonguing work very well.

If the lips are too tight (as is the case at ﬁrst for many players), no air will escape and the notes will not

release. If they are too loose, you will work extra hard blowing more air than you need to be.

Practice blowing on your ﬁnger and listening to the hiss of air ﬂowing past the sides of your ﬁnger. When you

can articulate the hiss sound on and off the way you would want your notes to articulate on and off, then you

have got the technique. Just apply the same technique to the mouthpiece of the instrument.

Why would anyone make a wind instrument that does not have air ﬂow through it? No wind instrument in

history has ever been made that plays just from air pressure and not air ﬂow.

The reason is simple- a closed

air path is a better way to go. Traditional wind instruments physically require moving air in order to operate.

A reed needs moving air to vibrate, a vibrating lip needs moving air to operate etc. With the EVI being

electronic, air pressure alone is all that is necessary to make it operate. The very ﬁrst EVI was designed to

have air ﬂow through it but it was very soon discovered that it was more comfortable to play with a closed air

path and that it allowed a greater degree of expression and breath control. When a person is playing the EVI,

they feel the impression that air is ﬂowing through it, as the air actually ﬂows past the sides of the

mouthpiece through the lips.

The main advantages for having a closed air path are:

1. The resistance feel of playing is under player control at all times by varying the lip tightness;

much like the way a bird can control its aerodynamics during ﬂight. Some styles of playing feel

better with different amounts of resistance.

2. Tightening the lips around the mouthpiece and sealing it off makes circular breathing and

exotic phrase sustaining routine.

3. Consistency and reliability; having air ﬂow through the instrument means moisture also ﬂows

through. This means having to incorporate a complicated mechanical labyrinth capable of

keeping the moisture separate from the air ﬂow path to the sensor inside. In addition to being a

threat to the sensor and circuit components inside, moisture in the air path causes droplets and

water plugs that cause erratic and "gurgle-y" breath response (listening to a trumpet being played

with its spit valve use long overdue is a good example). The EVI does away with all of this by

using a closed air path.

There are many who understandably ﬁnd this concept hard to accept because of precedence set by acoustic

wind instruments, but all who scorn the electronic closed air path, are inexperienced in playing a closed air

path. Once you get the hang of it, you'll never look back.

Portamento (Glide)

Biting harder on the mouthpiece controls portamento rate between notes. The harder the bite, the slower the

portamento. The technique of gliding between two notes is to play the ﬁrst one and then bite and hold the

pressure while playing the second. The second note is then arrived at by releasing the bite pressure on the

mouthpiece. How much you let off determines how fast you will arrive at the second note. The ability to play

portamento must of course be implemented into whatever sound module is being played. Many sound

modules do not have portamento capability. Portamento is controlled by MIDI controller #5. Note: Many

sound modules do not support the use of MIDI portamento control.

FINGERING

The ﬁngering on the EVI is exactly like that of a trumpet playing the octave between C, just above A 440 or

third space treble clef, down to C one octave lower. That is:

All D's are played 1 and 3

All C#'s are played 1, 2, and 3

All E's are played 1 and 2, et

What makes it different from a trumpet is that all notes between and including G down to C# require that the

left index ﬁnger be touching the metallic ring around the front of the instrument. The octave being played is

determined by the position of the left thumb on the rollers. Do not try to touch just one roller at a time; the

instrument is designed so that the thumb can always rest comfortably between two rollers. This gives a good

feel of deﬁnition and stability to each octave position; see drawing. The instrument responds only to the

highest roller touched.

The instrument has almost the same range as a piano, using seven octave positions (the lowest one not

touching any rollers at all). You will discover that going between any C and C# or C to D crosses over the

break between octave positions. Going across this octave break and using the left hand to control the octave

and side ring is what makes the EVI at ﬁrst seem difﬁcult to even the most experienced valve brass players.

The difﬁculty is only because the left hand technique has never been required and thus acquired in the past. It

is very easy though (except for trilling across it), much easier than the lip technique that it replaces. The EVI

is much easier to play than a trumpet; but at ﬁrst, you will have much difﬁculty believing it. The EVI is based

on a trumpet, not a copy of it. It was intended to be different than a trumpet. This is what makes it so

powerful and versatile. To exactly copy the playing technique of a trumpet would have imposed the

limitations of a trumpet. These limitations are what we enjoy getting away from. The EVI resembles a

trumpet about as closely as a movie usually resembles the book that it was based upon.

The valves and octave rollers all operate by conducting a tiny amount of current through the skin to ground.

This is why it is important to keep the left thumb in contact with the metal button on the side of the canister.

Playing without proper contact with this canister button, will usually cause the pitches to be erratic.

Sometimes a person can have dry enough skin to create too high of a resistance in the ﬁngers to make reliable

contact with the valves and octave rollers. If this is the case, a couple of drops of glycerin (available from

most drugstores), applied to the tips of the ﬁngers, like a lotion, will make them conductive for reliable

contact with the valves and octave rollers. Glycerin is a thick clear harmless liquid that is water soluble.

FINGERING CHART

Here is a Fingering Chart for the Akai EVI1000. These ﬁngerings apply to the MIDI EVI as well...

Trill Keys

Beside each valve on top of the instrument is an extra key. These make certain alternate ﬁngerings and trills

possible that would otherwise be difﬁcult. You will easily discover your own uses for them. The one beside

1st valve raises the pitch 1 whole tone. The one beside 2nd valve raises the pitch 1 semitone and the one

beside 3rd valve raises the pitch a major third (not exactly the min. 3rd mirror image of its 3rd valve

counterpart that one might expect). One of their biggest uses is for trilling between C and D, C and C#, B and

C# etc.

Vibrato and Pitch Bending

The EVI uses two separate mechanisms to facilitate vibrato and pitch bending. On the bottom of the EVI are

the pitchbend tabs that are mounted at a 45 degree angle. In between them is a soft pad where the right thumb

is placed while playing. Midway between the two benders, you will feel a lump under the pad. This is the

Vibrato sensor.

Vibrato is done on the EVI much in the same way as is done on a violin. It is done with human hand motion

through the right thumb to the vibrato sensor. Sterile sounding LFO modulation can be left to the keyboard

players, as is normally done with synthesizers.

The reason that a separate sensor is used for vibrato is to be able to make it respond only to motion and not to

steady pressure. This makes it so that one can enjoy a lot of vibrato sensitivity and freedom without having to

hold the sensor in exactly the right place to stay in tune. Putting a steady pressure on the vibrato sensor and

holding it, only moves the pitch momentarily and the pitch will return to center.

Pitch bending can be done easily by rolling the thumb on to one of the 45 degree angle bend tabs. One tab

bends the pitch up and one tab bends the pitch down. They are also very useful for making slight pitch

adjustments while playing with other instruments. See the drawing for clariﬁcation on use of pitchbend

usage. Unlike the vibrato sensor, the pitch benders will hold a pitchbend steadily as long as the thumb is in

contact with them. It is possible to do a vibrato using only the benders but the difference between doing it on

a pitchbend mechanism and a vibrato sensor will be immediately obvious after trying it both ways.

The effect of vibrato and pitchbend are combined and converted into MIDI pitchbend information.

Turning On and Power Sources

The MIDI EVI can be powered from any one of three sources of power:

•

9 volt battery

•

9 volt DC wall wart plugged into the1/8" power jack.

•

Through one of the unused pins of the MIDI jack, from a bigger system that I have designed (If and

when I ever produce it for sale).

The POWER SWITCH determines which power source (battery or wall wart) the instrument runs from.

When it is forward (toward the end opposite the mouthpiece), the 9 volt battery powers the instrument. When

the switch is to the rear (mouthpiece end), the wall wart powers the instrument.

When using the battery, the switch therefore can act as an on off switch (important for battery life). When the

switch is forward. The instrument is on; when to the rear, the instrument is off. The battery voltage can be

checked when the instrument is on by putting the leads of a volt meter on the canister bolt (ground) and the

front screw that holds the top of the instrument on. When the voltage gets down to 7.5 volts or below, it is

time to think about replacing the battery. It is likely however that you will still get several more hours of

operation.

The battery can be replaced by removing the top of the instrument. It is held by three nuts called top removal

nuts. You will notice that the middle top removal nut nut is also the Special Button, located between the

second and third trill keys. These nuts should be snug but only ﬁnger tight when put back on. It is a good idea

to set the instrument on a ﬂat surface when taking the top off to prevent it from ﬂopping around and straining

the wire connections.

SPECIAL NOTE:

Always keep a battery in the instrument even if it is dead or not being used. This will

prevent the battery clip from ﬂopping around inside the instrument and shorting its terminals to some circuit

element.

When using the wall wart, the POWER SWITCH should be left in the rear (battery off) position. The

instrument is turned on or off by pulling the wall wart plug from the instrument. If the instrument is being

powered through the MIDI jack, the switch should also be toward the rear; the instrument turned on and off

by pulling the MIDI plug.

Turn on Default Settings

The MIDI EVI has default settings when switched on. At ﬁrst you may ﬁnd it easiest to use the default power

up settings. The closer you can come to having all of your sound modules set up to use this default setting,

the easier and quicker things will be when you turn it on. The default settings are as follows:

1. Note On velocity is ﬁxed at 127 and does not change with any kind of playing. Note off

velocity is always 64.

2. Breath pressure is assigned to be sent as MIDI Volume (MIDI Continuous Controller #7).

3. Vibrato and pitch benders are set to be sent as MIDI pitchbend. It is adjusted to be centered at

64(middle pitch).

4. Instrument plays in concert pitch (ﬁngered C = concert C)

5. Biting on the mouthpiece sends MIDI portamento rate and MIDI portamento switch.

6. MIDI Channel is 1.

The instrument does NOT remember any changes of parameters when turned off. The most likely things that

you will want to change are things such as the use of breath controller instead of MIDI volume or similar

things that can be changed in a couple of seconds.

Programming

Most of the instruments parameters and features are turned on and off or varied by touching the

PROGRAMMING BUTTON while not blowing. The PROGRAMMING BUTTON is activated by reaching

over the PITCHBEND 1/2 BUTTON and touching with the right little ﬁnger. The idea is to touch the

PROGRAMMING BUTTON as certain key and octave positions are held. There is a BARRIER (dummy

post) between the PITCHBEND 1/2 BUTTON and the PROGRAMMING button to prevent unintentional

touching of the PROGRAMMING button.

There are 7 octave positions. B, -2, -1, C, +1, +2, and T. The B stands for the Bottom octave position (not

touching any octave rollers). C stands for the Center octave position and T stands for the top octave position.

B, C, and T each have a uniqueness of

their own that makes each of them easy to

identify without looking at the rollers. B

has the quality of not touching any rollers

at all. The C has the quality of touching

the roller that makes the thumb exactly in

the middle of the instrument. T is

identiﬁable because the top roller does not

spin. The other four positions can be

easily extrapolated from these positions.

So, from C (center position) we have,

going down, -1 -2 and B. From the center

position going up, we have +1 +2 and T.

This is how we will refer to octave

positions in this set of instructions. With

no keys down or side button down, -1 will

play the traditional "middle" C (MIDI

note 60). B will play the low C (MIDI

note 36) two lines below the bass clef. +1

will play a traditional hi C. etc.

The PITCHBEND 1/2 BUTTON has the function of cutting the range of the MIDI pitch benders in half. This

means that if your sound module is set to bend up or down a max of 1 full step, it will bend up or down one

half step while the PITCHBEND 1/2 BUTTON is held.

The PITCHBEND 1/2 BUTTON also serves the purpose of latching any ﬁngered note into a memory

that represents zero is Center C.

Instrument Transposition

The default transposition when turned on is concert pitch. Instrument Transposition is accomplished by

touching the PROGRAMMING BUTTON while keying an open C of the top octave. The last note relative to

C72 (center position) that was latched using the PITCHBEND 1/2 BUTTON will be the new instrument key.

To transpose the instrument to be a B-ﬂat instrument for example, you hit the PITCHBEND 1/2 BUTTON

while holding the ﬁngering for Bb (center octave) (middle line of the treble clef). This latches the Bb into the

latch memory. Then you hit the PROGRAMMING BUTTON while holding the highest C "T".

Breath and Dynamics

Breath and dynamic settings are set using the "C" (Center) octave position. The default setting at power up is

MIDI volume (controller 7). This can also be turned on by touching and releasing the PROGRAMMING

BUTTON while the ﬁnger is on 1st valve.

Touching the PROGRAMMING BUTTON with no keys down turns off all breath and velocity control and

sends a control number of 127 to MIDI volume #7, and MIDI expression #11.

THIS IS A GOOD WAY TO

GET A SOUND IN A PANIC SITUATION WHEN NOTHING PLAYS

. See the section on PANIC.

Touching the PROGRAMMING BUTTON momentarily while holding a particular key or combination of

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