Rss

Archives for : ram

Upgrading the E5000 to E4XT Ultra + extras

They said it wasn’t possible! Considering the ridiculously high price of the E4XT Ultras these days (they go as high as $1.5k, depending on the condition and installed options) and how little I’ve paid for my E5000 (I think it was 250 notes), I’ve decided to upgrade it to E4XT Ultra, despite the “online community” saying it is not possible. It will be a fun project learning new things out. Browsing thru the web it was common knowledge that the E-6400 Ultra could be upgraded, but for some reason, the E5000 was listed as non-upgradeable. This didn’t make sense to me, as the E6400 and E5000 are technically the same unit, with the only difference being that the E5000 has four outputs instead of eight. So I started digging a little deeper…

Looking at the E5000’s motherboard, I noticed that it wasn’t fully populated, but the traces and pads were all there, meaning the additional outputs and polyphony could theoretically be added. Both the E6400 and E5000 Ultra are 64-voice units. E-MU offered an upgrade option for E6400 Ultra owners to double the polyphony to 128 voices and essentially convert it to an E4XT specs, but they never offered this for the E5000. Perhaps this is where the misconception about the E5000’s upgradeability comes from.

After examining the motherboard and seeing that it was identical, I had no doubt that the E5000 could be upgraded in both polyphony and outputs.

Chapter 1 Polyphony Expansion
Let’s first look into polyphony expansion. As long as you have one “G” chip (IC402) and two “H” chips (IC413), you should be able to upgrade the unit to 128 voices. Unfortunately, these chips are no longer in production. Many years ago, I bought the “H” chips from EPR Electronics, but this company no longer exists, so I can’t provide information on where to obtain these ICs now.

The purpose of this article is to document the process rather than serve as a technical guideline, as this is a delicate job that requires professional skills and specialized tools for SMD soldering. I won’t be able to answer any technical questions, as those who perform this type of work are typically already knowledgeable and don’t require additional guidance.

Here are the three ICs needed for the polyphony upgrade. The smaller one contains the voices and was desoldered from a broken Proteus 1000 unit with a damaged front panel and PCB. However, the voice IC itself was in good condition, though there was a lot of solder residue. The bigger two are the filters. They are ok to work with.

After about three hours, I finally managed to solder all three ICs with majority of the time spent on the voices IC (smaller one). The task was extremely challenging and needed to work exclusively under a magnifying glass. To give you an idea of how small the pins are, in this photo I placed a small CR2032 battery next to the ICs for size comparison. The work was incredibly delicate, especially because the “G” chip had excess solder and slightly bent pins. It took a lot of flux, patience, and effort, but I eventually succeeded.

Truth be said, I was extremely nervous during this entire process. These SMD pads are less than 1 mm in size, and any solder blob in the wrong location can cause serious trouble. I used a lot of flux, but accidents happen. The biggest mistake was using solder that was too thick. I used 0.7 mm solder when I should have used 0.25 mm, which I didn’t have at the time. I decided to take a gamble—a big mistake! This led to numerous issues, including solder bridges and a lot of stress. I had to clean them all with soldering wick far too many times. But I was impatient. I didn’t want to wait a week for the Mouser order with the ultra-thin solder. I guess this is what they call passion!

Moment of Truth
Then came the moment of truth: powering up the unit. And it worked! I couldn’t believe it. This was my first serious SMD project, involving pins smaller than the soldering tip itself, and it worked perfectly on the first try. No jumper adjustments or software modifications were needed—the unit simply booted up, displaying “128 Channel Card Installed.”

I was too anxious to test the playback immediately, but when I did the next day, everything worked flawlessly. We now have an Emulator E5000 Ultra with 128 voices!

Chapter 2 – Outputs Expansion
The E5000 has only 4 outputs, while the E4XT has 8, so our next task was to add 4 additional outputs. In terms of electronics, this actually means adding 8 analogue audio channels since the Emulator uses balanced outputs. This is why it might seem that some components around the outputs are “doubled” in quantity, but in reality, they aren’t. It’s simply the + and – of the same balanced signal going to each individual output.

Here is how the E5000 output section looks. As we can see, all of the SMD pads are present. They’re empty, but they’re there—and that’s what matters. Please ignore the grey wires; they’re from some phase tests I did earlier (more on that in another article detailing a design bug in the E5000 Ultra series, which also affects some E4XT Ultras).

Back to the topic. I placed a large order of parts from Mouser. To help myself, I drew the entire output section in vector software to precisely map out which component goes where. The Ultra service manual, which contains schematics, was incredibly helpful. With that information, all that was left was to go to Mouser and gather all of the necessary SMD parts. The only components not available at Mouser were the DACs, which I had to source elsewhere (eBay, etc.). Photo below shows the two DAC chips which I bought on eBay.

A few days later, my Mouser order arrived, including the output jacks.

It was go time. I’ve prepared the paper containing the graphics which I drew in vector software (Inkscape), showing the rough location and component values so I knew exactly what to solder and where. As soon as a component was soldered, I used a pen to cross out the corresponding square. Without this graphics this would have been a total nightmare with an error or accident awaiting to happen any moment.

A few hours later, all of the squares were crossed out. Meaning the output expansion work is finally completed!

I actually used a regular soldering tip for all of the passive SMD parts, it somehow worked better. I would apply a little bit of solder, bring the component and let it go. Then I would solder the other side and move to the next component. It wasn’t really hard as I have this kind of experience. And here it is the before:

And after:

Sharp-eyed readers will notice that I used through-hole tantalum capacitors. This was because I accidentally ordered the wrong SMD version from Mouser—I chose too small of a physical size. I’m not sure how I made that mistake, but fortunately, I had the through-hole versions at home, and they weren’t too large either.

So, I tested the new balanced outputs, and the Sub2 output (left) didn’t work at first. Cue the moment of cold sweat. But after a few seconds, I realized that I had inserted the audio jack too gently, and it didn’t click all the way in. I re-plugged it, and it worked! All 4 new outputs now work flawlessly! I guess we can say—another myth busted. The E5000 can be upgraded to a full E4XT. But wait, we’re not done yet. Something very important is still missing. A few things actually, but we will take care for that in the chapters that follow.

Hard to believe all of these bags were full of parts. And these parts are now installed in my E5000. Total cost was around $100 which includes to DAC integrated circuits.

Regarding the Mouser order I’ve ordered components for one other project as well so it’s not useful at all, it was a huge order and figuring out what is for what would take too much time. If you decide to upgrade the outputs, I have prepared the above graphics in PDF file that list every component value and location and is available here. There is one error in the graphics: the resistor networks are not 4.7 but 4.7k. When I was creating these graphics, I was referring to the service manual, which lists them as 4.7. However, after reviewing the schematics and applying some common sense, it’s clear that the resistor networks are definitely 4.7k. On the motherboard, they are located near the DAC area. Resistor Network 10 (RN10) needs to be removed as shown in my PDF file, in order for the new outputs to be seen by the sampler (special thanks to Ricardo Dias). Regarding the service manual, I don’t have the bandwidth to share the entire document with all the schematics, but it is available for anyone to download in the “EMU Samplers & Software” Facebook group. In general, the graphics I created are all that’s needed to make the parts order and install the components in their correct locations, in order to expand the E5000 to 8 outputs.

Chapter 3 Designing And Building A New Display Bezel
What’s the point of upgrading our E5000 to an E4XT Ultra if the front panel still says E5000? Fortunately, I took the time to create new graphics using vector software and found a way to manufacture a new bezel. It’s a bit pricey, but what other options do I have?

In order to initiate the manufacture, I had to order a batch of several bezels (it’s a big studio and they don’t have time for little projects). By the time I am writing this, unfortunately all of the bezels have been sold out. But if anyone is interested, leave a comment below. The price is $60 plus shipping – sorry it ain’t cheap – but that’s a brand new bezel for your screen, no scratches no damage. It would be cheap if I made 1000 of them, but I didn’t. If you have a scratched or damaged bezel this might come handy. To install the new bezel I first removed the original one. A hairdryer came very useful to help loosen the adhesive. Then I attached the new one using double-sided sticky tape. Prior to that the entire area should be thoroughly cleaned with alcohol, benzine, or a similarly strong solvent. I highly recommend applying hot glue just to be on the safe side, at least that’s what I did. Here are a few shots of before and after.

Old display bezel:

New display bezel:

This E5000 now proudly says E4XT Ultra. We are heading into good direction however there are couple of more things to add to make it a true E4XT Ultra. More on that in the chapters that follow.

Chapter 4 DWAM Board
The E4XT Ultra comes stock with the DWAM 6862 board. It provides the ASCII port for connecting an ASCII keyboard to the sampler, a second set of MIDI ports (MIDI channels 17-32), coaxial Wordclock in and out ports, as well as AES/EBU ins and outs. This board requires the AES chip, which must be fitted into the socket on the Ultra series’ mainboard.

Fortunately, I know someone who owns an E4XT but never uses this board, so I bought it from him. For some reason the board was extremely dirty, so I desoldered some of its components and literally washed everything with dish soap—that’s how filthy it was. The ribbon cable was so gross that I decided to build a new one. A few hours later, an almost new-looking DWAM board was installed in my E5000.

With this board, we can use an ASCII keyboard to name samples, projects, and utilize shortcuts. More importantly, it makes it much easier to integrate the Emulator digitally into my DAW setup. Now, I can sample anything I find interesting playing from my speakers—whether it’s coming from the digital TV/radio, or online—all in the digital domain using the AES input on the DWAM card.

For analog sampling I connected a coaxial cable from my RME UCXII Fireface to the DWAM’s Wordclock input to take advantage of RME’s famous Femtosecond technology. This provides an incredibly precise clock, far more accurate than the Emulator’s internal clock, ensuring the highest possible quality when sampling analog signals into the Emulator. DWAM board was installed in here to actually be used, rather than just thrown in for historical purposes.

Here is how the back side looked like originally:

Here is how it looks now:

With 8 outputs available and DWAM board installed our E5000 is now officially E4XT! Well…almost. There are still a few things left to do.

Chapter 5 Hard Disk & SCSI Adapter
The Emulator E4XT Ultra came with a hard disk, so in our unit we have to install a hard disk. There is internal IDE port into which I have installed a relatively “modern” 80GB laptop hard disk which is silent enough that no noise is emitted from my unit. I will format it in FAT, as the FAT file system is far superior when it comes to banks, hard drive space, and overall hard disk management compared to the old (and outdated) E-MU format.

Regarding the SCSI port, I need it for a SCSI-to-IDE CF adapter, which will go to the front of the unit in the floppy bay. This way, I can easily remove the CF card and insert it into my computer, which natively reads CF cards formatted in FAT. This method is much faster to work with than ZuluSCSI.

To be fair, I do have a ZuluSCSI that I can connect to the back of the unit, giving me access to all three storage systems simultaneously: the internal IDE disk, the internal CF card, and the external ZuluSCSI. The advantage of using the CF card is that since Mac or PC computers natively read the FAT file system, this method significantly speeds up sample transfers, banks, programs, etc. The Emulator can also read and save .wav files, making the workflow even faster. This is why I chose not to install the ZuluSCSI in the floppy bay.

I have ZuluSCSI Rp204 and have to work with .ISO images, and you can’t access the card natively. While this is fine on other samplers, on the Emulator, it adds an unnecessary step of taking out the card, mounting the image, and then accessing it. Although macOS can do this, Windows 10 can’t even mount FAT16 .ISO images. This makes the solution I chose, using the SCSI-to-IDE bridge, far superior. For traditional .ISO images of my E-MU sample CD-ROMs, I will use ZuluSCSI connected to the back of the unit via a standard SCSI cable.

There is a better alternative which I would recommend since now it is available as of recently. ZuluSCSI V 6.4. Not only it can work natively with the card but you can access it via USB directly. For Emulator users this literally means one can install ZuluSCSI 6.4 drive in the unit and add a simple USB port adapter on the back of the unit as a sleek solution to access the card, transfer files without any cable clutter or removing the SD card.

Chapter 6 Hardware Restoration
Given the fact that this device is now 25 years old, it would be a good idea to restore its usual weak points: the power supply, the encoder, and the tact switches. Another order to Mouser, and here we are.

The first task was to have the power supply recapped. I also installed a noiseless fan in the PSU case, ensuring that no noise is ever released by this emulator.

I replaced the old tact switches with new ones, making the unit more comfortable to operate as each switch responds to the lightest touch.

And of course, the encoder in the later Ultras wasn’t of the best quality, so I installed a new one. No more skipping values or erratic behavior—it’s such a pleasure to work with now.

Chapter 7 Output Upgrade
I bought this output expander many years ago for the E5000 because as we all know E5000 has only 4 outputs, which is too few for some serious work. With the expander, my E5000 became 12 outputs, which was enough.

Since my Emulator now has 8 outputs, I was thinking about selling this expander, but after some thinking the conclusion was to keep it – especially given how expensive these expanders have become. Plus, it gives me access to the “sound” of the non-Ultra Emulator, the E4X (Classic) as it features the same converters as the Classics. Spoiler alert: the difference is minimal (I have documented it on this website). Back to the bench! At this stage, my Emulator was in individual parts, and it was time to reassemble it all together.

This was a good opportunity to clean the inside of the metal casing.

The freshly upgraded motherboard installed.

With the DWAM card, output expander, and disks installed, this Emulator is now pretty crowded inside. In the picture, you can see the noiseless fan I mentioned earlier.

The back of the unit now proudly sports a DWAM board and a total of 16 outputs. This looks like a serious instrument now.

Chapter 8 E-Synth And Max RAM Upgrade
E-Synth is probably one of the best ROM upgrades that E-MU ever designed. Think of JV-1080-style presets but with much higher fidelity and plenty of complex modulations. It’s a great upgrade that essentially upgrades the Emulator with ROM-pler like features (waveforms in the ROM, presets remain in the memory after power down).

When needed, this board can be disabled from the menu. The machine then reboots, and you’re back to a standard Emulator sampler. The key point is that E-Synth can be used alongside all of the sampler’s functions, but in that case, the memory is limited to 64 MB. If your Emulator only has 64 MB, this doesn’t matter, but if you have 128 MB, you would need to reboot the machine with E-Synth disabled to use all 128 MB.

There is one extremely important thing to understand about the E-Synth. Although it contains some presets on the board, these are not the actual E-Synth presets but rather a generic GM set. Many people were misled by this, thinking, “E-Synth sounds weak and boring,” not realizing that what they were hearing wasn’t even the real E-Synth.

To properly install the E-Synth into the Emulator, two additional things are needed: Flash RAM and the E-Synth programs floppy disk. You load the E-Synth programs from the floppy, write them into the Flash RAM, and only then do you have the actual E-Synth, which retains all of its presets even after the Emulator is powered off. It literally behaves as if it were a ROM-pler. The patches, as I mentioned, are excellent. Anyone who loves JV-1080 and JD-990 types of patches will love the E-Synth.

Here is the E-Synth ROM that I bought many years. Again back when Emulator 4 related stuff was still affordable. Most importantly, it came with the floppy. Without that floppy, don’t even bother with the patches on the card—they have nothing to do with the actual E-Synth.

But what’s the use of this ROM if all of the presets are lost once the unit is powered off? Fortunately, I received E-MU Flash RAM with the E-Synth, something I rarely see these days from people selling E-Synth expanders. With this Flash RAM, the presets remain in the unit even after powering down the Emulator.

I mention this because E-Synth is one of the most sought-after expansions for Emulator samplers, and I hope people won’t make the mistake of buying just the ROM without the Flash RAM and the floppy disk containing the E-Synth presets.

With the Flash RAM installed, we now have E-Synth presets permanently stored in the Resident memory. This is non-volatile memory that retains data even after power is turned off, unlike the Preset memory, which loses data after a power cycle. In the image, you can see that with E-Synth enabled, the sampling RAM is limited to 64 MB, even though the unit has 128 MB installed. When E-Synth is disabled, the RAM returns to the full 128 MB.

I found this 128 MB upgrade on eBay a few years ago. It was gathering dust in a drawer, but with this upgrade project, it was finally time to maximize the RAM.

Chapter 9 Display
The E5000 uses a green display. However, as we all know, the E4XT uses a white backlight high-quality display. Fortunately, there is a company in Germany that offers these displays: https://studio-services.de/. At the time of writing this, their display is still being developed, but it should be available within a few weeks. As soon as I receive it, I will update this chapter, and that will conclude our original mission of upgrading the E5000 into an actual E4XT Ultra. The final photo will be provided showing the final result.

To be continued…


Yamaha TX16W the hidden gem!

When I first heard the Yamaha TX16W sampler back in 2009, I immediately knew it wouldn’t stay in the sub $50 price range for long. The sound was simply outstanding—rich with character, and the low end was astonishingly powerful! This realization hit me during a quiz posted in 2009 on the Harmony Central forum by Paolo Di Nicolantonio. The quiz presented several options, and I was convinced the mysterious sampler was either the Emulator III or one of the high-end Roland models like the S-750 or S-770. When Paolo revealed the TX16W as the answer, I was completely stunned. I couldn’t believe it! Without hesitation, I purchased one, which at that time was for a little more than the cost of shipping.


Paolo Di Nicolantonio

Paolo, by the way, deserves the credit (or blame!) for this discovery. He runs the exceptional Synthmania YouTube channel, which I highly recommend. At the time, I didn’t know Paolo very well. He looked kind of like Paul Sorvino and I didn’t wanted to critique the quiz, I wondered what if he’s a mafioso, and I didn’t want to end up in the river with a pair of cement shoes. (note: previous sentence is an old inside joke from the ole Harmony Central forum… Paolo is not a mafioso, but a synth enthusiast and a great music tutor). After I submitted the quiz with the wrong answer, Paolo kindly messaged me privately with the correct one. Thankfully, I managed to secure one. Nowadays finding a cheap TX16W for $50 is more less a statistic rather than rule. You might have to prepare the amount of cash that is order of magnitude larger.

Here are a few demos from the quiz. Keep in mind these are mp3 quality, you should really hear one in person. Still I hope they impress you as they did me:

  • Synth.mp3 – lush, 3D spacious sound with huge bottom end. Copyright Paolo Di Nicolantonio.
  • Fat Synth.mp3 – another thick stereo synth pad. Copyright Paolo Di Nicolantonio.
  • NewOrder.mp3 – a nice beefy bass. Copyright Paolo Di Nicolantonio.
  • Quadro.mp3 – Retro rave stab showing the beautiful charming character of TX16W. Copyright Paolo Di Nicolantonio.
  • Underwater.mp3 – Crunchy and gritty when transposed low! Copyright Paolo Di Nicolantonio.
  • Resosynth.mp3 – Sweet and juicy filter in action. Copyright Paolo Di Nicolantonio.
  • More audio examples can be heard on Synthmania website in here.

The Character
As opposed to some other 12-bit legends such as the Akai S950 and Roland S-550, the Yamaha TX16W does not darken or tame the sound as the audio is pitched down! This is a crucial point when discussing its character. Rather than becoming duller or less engaging, the sound actually becomes more fascinating as it is pitched down. Examples like Underwater.mp3 and Quadro.mp3 illustrate this beautifully. Instead of losing its edge, the TX16W retains all the sharp transients. But why is this the case?

Let’s start with the Akai S950. When slightly overdriven, its inputs produce a gorgeous overdrive, thanks to its retro PCM converter / electronics, making it perfect for trip-hop and similar styles. However, when you transpose a sample down, the CV signal unfortunately forces the filter to track permanently. No matter how much the filter is opened, the CV overrides and closes it, resulting in a dark, dull sound. All the grit and crunch are lost in the process.

Another example is the Roland S-550, another cult favorite, widely used in early rave and techno tracks. Its “problem” lies in its nearly perfect transposition. When you pitch samples down, they become increasingly round and smooth. This is in stark contrast to the TX16W, which unveils entirely new sonic textures as you lower the pitch. Random samples reveal unexpected patterns and sounds, with harmonics that were originally too high to hear now entering the audio range, preserved rather than smoothed out or filtered away entirely.

And that’s the secret of the TX16W. To quote Acreil from the Gearspace forum, who’s top expert in audio playback of old hardware synths and samplers: “Yamaha (TX16W) uses linear interpolation with 3 fractional bits and (effectively) a 400 kHz sample rate (though it’s actually considerably more complicated than that, and I won’t get into all the details here). This can sound pretty clean if you want it to, but it can also sound extremely nasty if you transpose down a lot—just like all the other AWM models. – It’s mostly the way the samples are transposed. As far as that goes, the TX16W already has a more interesting sound than the Akais.”

The punchy drums
Another fascinating characteristic of the TX16W is the punchiness of its sound when the signal is driven slightly hot into its converters. While this trait is typically associated with the Akai S950, I was completely taken aback when I compared the TX16W to some of the most renowned samplers in this area, such as the E-MU Emax, SP-12, Ensoniq ASR-10, EPS, Roland W-30, Akai S950, S3000XL, MPC 2000XL, MPC 3000, and a few others. In one particularly extensive test involving a sampled breakbeat, I listened with my eyes closed and consistently found the TX16W to be the punchiest. This was surprising, as I never expected it—or at least, I assumed the Emax and S950 would dominate in this regard. Here’s a link to the test—feel free to listen for yourself and draw your own conclusions: Vintage Samplers contest (sound test. comparison)

The secret of its unique sound
As you may know, most hardware and all software samplers use a fixed sample rate and resample data in real-time to transpose the sample. However, some older samplers like Emulator II, Emulator III, Akai S950, Prophet 2000 and Korg DSS-1, employed a “divide by n” technique, which functions like tape playback. In this method, the pitch is altered by changing the speed (or clock), eliminating the need for dithering filters because there is no interpolation—pitch changes occur by directly adjusting the clock speed.

When it comes to the TX16W, things get a bit confusing. It appears to use both techniques to some extent. Let me first quote Magnus Lidström, the author and programmer of the Typhoon, operating system for the Yamaha TX16W:

“The TX16W has a fixed 400 kHz output sample rate and linear interpolation for pitching whole octaves only. It then holds samples for exact pitch within octaves (essentially changing the length of individual sample points). The output filters are pretty sloppy with only 24 dB per octave (18 dB for the individual outputs). Sampling filters are much more impressive with an eighth-order Chebyshev design. Also, the main output DACs are not linear but use a floating-point 16-bit resolution (the individual output DAC, on the other hand, is 12-bit linear).”

Acreil, from the Gearspace forum, provides further insights on this topic:

“It’s super weird and complicated, but great. It generates a variable clock from 25 to 50 kHz and uses that to increment the sample address. The clock is derived from a 400 kHz master clock (essentially the sample rate), so it has a lot of jitter, but unlike a phase accumulator, the period of each succession of 64 (I think) clocks is always constant. So you hear some distortion of the harmonics, but not aliasing per se. Higher and lower octaves are obtained by making the sample address increment larger or smaller, so it sort of decimates the waveform by powers of 2 at higher octaves (the PPG Wave 2 also does this). When the address increment is less than 1 sample, it does linear interpolation with 3 fractional bits. The RX5, TG33, etc., work the same way. The TX16W’s filters are even weirder than that.

The original AWM sample playback engine (used in the TX16W, RX5, RX7, TG33, plus some other stuff that no one cares about) uses what Yamaha called pitch-synchronous sampling. It’s basically what I described earlier in the thread—constraining pitch so that each waveform period is an integer number of samples. At the time, I didn’t realize it, but similar methods were used by Casio, Seiko, and Technics. The sample rate is effectively 400 kHz, generating a clock frequency from 25 to 50 kHz to increment the sample address.

When transposing down, it uses linear interpolation (though it’s quite rough, with up to 3 fractional bits only). When transposing up, it skips samples in powers of 2. Technically, there’s no aliasing, but there are sub-harmonics. Pitch resolution is about 3 cents at any frequency. And it’s got extremely weird time-varying FIR filters, but the effect is rather weak. On the whole, it’s my favorite sample playback engine—both for the sound and because it’s an ingenious technical oddity.”

Upgrades
Due to the large number of online sound banks (I counted a total of over six hundred floppies), including awesome sounding factory disks, I highly recommend installing a FlashFloppy or HxC drive, ideally with an OLED screen (as shown in the image above), again due to huge library it’s much easy to navigate rather than stare at the 3 segment LCD (which I removed and installed an OLED). The main display of TX16W can also be upgraded—in my case, I installed a white-on-black LED screen, which looks great.

One important point to mention is that the TX16W uses a switching power supply, which, as of 2025, needs to be recapped since its components have exceeded their lifespan. I’ve witnessed this firsthand, where at least half a dozen capacitors had dried out.

Lastly, let’s talk about RAM. From the factory, the TX16W comes with 1.5 MB of RAM. Based on my personal experience with my Akai S950 (upgraded to the maximum RAM of 2.25 MB), I would strongly recommend upgrading the TX16W to 3 MB (one expansion module). For more serious work, it’s ideal to have the full 6 MB installed. Since this is a 12-bit sampler, 6 MB is equivalent to having about 9 MB on an Akai S1000, which is sufficient for most use cases. The factory-installed 1.5 MB is adequate for loading factory disks, but for more demanding projects—such as properly sampling a TR-909 or TR-808 kit—at least 3 MB is highly recommended.

Fortunately, there’s a modern solution for RAM expansion. A company called Indigo Audio recently designed an excellent RAM upgrade board (created by Suad Cokljat), shown in the image above. Their expansion is superior to the original, as it draws significantly less current, which helps extend the lifespan of your power supply. The price is also comparable to existing RAM upgrades for the TX16W, making it a great investment.

Finally, the magic number: 3072 kB, or 3 MB, in my TX16W—I’ve been waiting for this moment for so long! Now, I can finally enjoy my MFB-503 sample set and still load a few additional sounds, which was previously impossible. Considering how amazing this sampler sounds, I doubt I’ll stop at 3 MB.

Another important reason I recommended FlashFloppy earlier has to do with saving. Let me give you an example. My MFB-503 set, which I sampled, edited, and programmed on the TX16W,  occupies two floppy disks. This is because the TX uses SD (single density) disk format which is 740 kB. Now imagine saving the fully expanded 6 MB RAM onto floppies. This could take as many as 8-9 disks, depending on the number of programs and samples. At the very least, it would require 8 floppies. This is where FlashFloppy becomes essential.

The image above shows the newly installed 1.5MB expansion. It stands firmly and does not wobble. As of the floppy emulation. For those nostalgic for the ‘vintage’ floppy experience, you can even add a small piezo speaker to emulate the sounds of head movement. FlashFloppy natively supports these classic “clicks” and “zaps,” and I’ve installed one myself for that authentic retro touch.

Operating system
One of the most talked-about aspects of the TX16W is its operating system. Yamaha’s original OS was considered unintuitive and clunky, leading many users to struggle with its workflow. Navigating through the menus required patience and a thorough understanding of its manual, which could be a steep learning curve for beginners.

Fortunately, a third-party operating system called Typhoon 2000 was released later, dramatically improving usability. Typhoon streamlined the interface, making sampling, editing, and playback more straightforward. Many modern enthusiasts recommend using Typhoon for a smoother experience with the TX16W.

Conclusion
Sonically, the TX16W is a true gem! Nothing else sounds quite like it. No other sampler features this unique playback method, and the way harmonics emerge during transposition is pure magic—almost as if it sings on its own. It can proudly and confidently hold its place in your rack alongside any of the big names, like the ASR-10 or the Akai S series.

Library
Let’s not forget the huge library for the TX16W that is available online from various sources. Eventually, I ended up with 630 disk images, which is why the FlashFloppy/Gotek solution is a must. Below is a screenshot of the library I’ve compiled for my Yamaha. Using actual floppy disks for this would be impractical.

Regarding online resources, there’s one important thing to understand: Yamaha uses a (PC) DOS-style disk format. Some of the floppies you find online may be in the form of a folder. To create a disk image from such folders, there’s a great tool called TX16W Floppy Baker, which is available here.

I’m unsure of the legal status of Yamaha’s library, which is why I don’t share my collection. Besides, I built it the same way you can—by downloading zip files, extracting them, selecting the folder content for each “disk,” and sending it to the Floppy Baker. I know it’s a lot of work—I’ve been through it—and after 2–3 days, you’ll have a complete library in .img format. If you’re not keen on building the library yourself, there are other sources that provide precompiled images you can put directly onto a USB stick. However, I can’t guarantee those will include everything I have, or vice versa. Each entry you see below represents one floppy image created using the Floppy Baker utility. Happy disk hunting!

Typhoon OS
If your Yamaha TX16W still uses a floppy drive, you can load Typhoon 2000 from here. However, if you’ve already upgraded your TX16W with a Gotek floppy emulator, I’ve prepared an archive that will save you hours of work. (Typhoon is not originally in .img format, and extra software is typically required to install it, etc.). This archive contains the Typhoon OS converted into a floppy image, along with two configuration files. Place all three files in the root directory of a FAT32-formatted USB stick. You can also edit the FF.CFG file to adjust the speaker loudness or change the display type. Currently, it’s set for an OLED display, but you can change it to a 3-segment LCD if needed. The archive can be downloaded from here.