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YAMAHA DX-7
One of the most popular digital synths ever was the DX7 from Yamaha, released in 1983. It featured a whole new type of synthesis called FM (Frequency Modulation). It certainly is not analog and it is difficult to program but can result in some excellent sounds! It is difficult because it is non-analog and thus, a whole new set of parameters are available for tweaking, many of which seemed counter-intuitive and unfamiliar. And programming had to be accomplished via membrane buttons, one data slider and a small LCD screen.
Still the sounds it shipped with and that many users did manage to create were more complex and unique than anything before it. Percussive and metallic but thick as analog at times, the DX-7 was known for generating unique sounds still popular to this day. The DX-7 was also a truly affordable programmable synth when it was first released. Almost every keyboardist bought one at the time making the DX-7 one of the best selling synths of all time! It also came with MIDI which was brand new at the time - Sequential had already released the first MIDI synth, the Prophet 600. Roland wouldn't get around to adding MIDI for another year with the Juno-106, and it would be three years before Roland can counter the popularity of the DX7 with a digital synth of their own, the D-50.
The DX-7 has been used by the Crystal Method, Kraftwerk, Underworld, Orbital, BT, Talking Heads, Brian Eno, Tony Banks, Mike Lindup of Level 42, Jan Hammer, Roger Hodgson, Teddy Riley, Brian Eno, T Lavitz of the Dregs, Sir George Martin, Supertramp, Phil Collins, Stevie Wonder, Daryl Hall, Steve Winwood, Scritti Politti, Babyface, Peter-John Vettese, Depeche Mode, D:Ream, Les Rhytmes Digital, Front 242, U2, A-Ha, Enya, The Cure, Astral Projection, Fluke, Kitaro, Vangelis, Elton John, James Horner, Toto, Donald Fagen, Michael McDonald, Chick Corea, Level 42, Queen, Yes, Michael Boddicker, Julian Lennon, Jean-Michel Jarre, Sneaker Pimps, Lynyrd Skynyrd, Greg Phillanganes, Jerry Goldsmith, Jimmy Edgar, Beastie Boys, Stabbing Westward and Herbie Hancock. Pretty impressive for just a partial listing!
Following the monaural DX-7 came the stereo DX-7 mkII - just as popular and much more advanced. Its unique sounds are very popular for industrial techno type music as well as ambient and electro. The TX-7 is essentially a desktop module form of the DX-7 but is even harder to edit or program since it requires external editors or software. The monolithic DX-1 and DX-5 models which packed two DX-7 synth engines into one instrument were the epitome of the DX line of synths created by Yamaha. There have also been a few budget spin-offs like the DX-9, DX-100, DX-21 and DX-27. FM synthesis has also made its way into the TX-81Z & TX-802 and software synthesizers like Native Instruments FM7.
http://www.vintagesynth.org/audio/dx7.ram
YAMAHA DX-1
Among Yamaha's DX line of synthesizers, the DX-1 is definitely the biggest and most expensive. With a dual 6-operator digital FM engine, it's like two DX-7's wrapped up in a wood-paneled case and comes with a truly professional weighted 73 note keyboard sensitive to both velocity and aftertouch. The DX-7 style membrane buttons have been replaced by actual push-buttons, display screens and the overall layout of buttons and diagrams is nicer and better organized.
Sound-wise, the DX-1 is like a fatter DX-7. It too features FM synthesis. That means that although the DX-1 is a digital synthesizer, its sounds are unique and fresh with an analog/digital hybrid feel. Programming however, is not at all like analog synth programming. All DX series synths use FM synthesis and all are rather difficult to program or, at least, difficult to understand what to program. Fortunately the advanced DX-1 has display screens that show amplitude modulation, envelopes, velocity, levels and de-tuning parameters unlike previous DX synths so you can better visualize what and how you are editing parameters. A neat new feature for the DX-1 is that two patches (Channel A and B) can be used simultaneously with the keyboard in layer or split-mode. This mode is generally 16-voice polyphonic, but with just one patch loaded you can have 32 voices of thick polyphony! Pretty good for a synth over 15 years old!
Although the DX-1 may seem like a better buy than the more popular DX-7, remember that the DX-1 is expensive. There were only about 140 of these synths made and the retail value of a DX-1 during its production year in 1985 was $13,900. The DX-1 was the most expensive project Yamaha ever invested in. Expect to pay well over $2,000 for one of these today. They were followed by the DX-5. Under the hood, the DX-5 is identical to the DX-1. The DX-5 has done away with the heavy wood-paneling and has a less fancy keyboard. The DX-5 also has a more compressed layout of buttons, sliders and diagrams on the front panel. The DX-1, outdone by cheaper and more competitive DX synths is today, primarily reserved for those musicians big enough or wealthy enough to splurge on a real Vintage instrument with exquisite performance and interface features and sounds. It is used to this day by Depeche Mode, Vince Clarke, Kitaro, Elton John and Herbie Hancock.
YAMAHA DX-21
A consumer level DX synth that sounds just like the DX-100 - thin and brittle. Following the DX model this synth also uses FM synthesis which is difficult to master. You will need to program this synth to get better sounds because the presets are only moderately useful. It's capable of a good string, bass and droney-pad sound as well as industrial sound-effects and metallic like sounds.
Still it makes a better option than a DX-27 or DX-100 because it has the capability of layers and splitting the keyboard and there is a chorus effect. Portamento and a Unison Mono-Mode are also nice features for screaming lead synth performances. For a cheaper source of DX sounds with moderate programmability, check out the DX-21. It's been used by Hardfloor, Level 42, Brother Beyond, Astral Projection, Technotronic, Vangelis, and Norman Cook (Fat Boy Slim).
YAMAHA SY-77
The SY-77 is like having a super-sized sample-memory workstation with the added synthesis and sounds of a DX-7mkII. For its synthesizer section it employs a 6 operator FM synth engine similar to, if not better than, the original DX's. The FM section offers 45 algorithms, 3 feedback loops and 16 waveforms for creating some of those unique FM sounds. Sampled sounds (AWM) which are in memory (or on external ROM cards) can then be mixed with the FM sounds to create entirely wild new sounds! And these sounds are quite shapeable thanks to the resonant multi stage Time Variant Filters which offer the chance to recreate the warm analog sounds of classic synths, or create something entirely new.
There's an on-board sequencer section for creating your songs right on the SY-77. It's got 16 tracks, channel 16 belongs to the SY-77's built-in drum synthesizer which holds up to 61 sounds. The sequencer can hold up to 16,000 notes, 99 patterns and 1 song. And since the SY-77 features 16 voices of polyphony for the FM section, and another 16 voices for the sampled sounds, there are (32) plenty of voices to go around to build your song. Add the fact that there are 4 independent digital multi-effects which include reverb, delay, chorus, panning and more and you have yourself a classic music production workhorse.
The SY-77 was also marketed in a rack-mount module called the TG-77. All the same features as the SY-77, except the keyboard, sequencer and 3.5" disk drive are gone. Following the SY-77 came the upgraded SY-99. Its main features and guts were the same however it had increased memory, waveforms and a bigger keyboard. The SY-77 (or TG-77) is great for really controlling and creating sounds for use in various electronic forms of music and has been used by 808 State, Skinny Puppy, Brian Eno, Europe, Toto, Chick Corea, and Front 242.
YAMAHA SY-99
The SY-99 is like having a super-sized sampling workstation with the synthesis and sounds of a DX-7mkII. Basically the same as the SY-77 it features a larger 76 note keyboard with upgraded synthesis, sample memory, sequencer and more! For its synthesizer section it employs a 6 operator FM synth engine similar to, if not better than, the original DX's. Sampled preset sounds (AWM2) can then be fused with the FM sounds to create entirely wild new sounds! And these sounds are quite shapeable thanks to the resonant multi stage Time Variant Filters which offer the ability to recreate the warm analog sounds of classic synths, or something entirely new.
There's an enhanced on-board sequencer section for creating your songs right on the SY-99. It's got 16 tracks, from which channel 16 belongs to the built-in drum synthesizer. The sequencer can hold up to 27,000 notes, 99 patterns and 10 songs. And since the SY-99 features 16 voices of polyphony for the FM section, and another 16 voices for the sampled sounds, there are 32 voices to go around to build your song. Not to mention there are 2 digital multi-effects processors which include reverb, delay, chorus, panning and more! Professional features for those of you want to really control and shape your sounds using the unique sounds (and complex synthesis) of a Yamaha FM synth with some special features up its sleeve.
YAMAHA W-5/W-7
The Yamaha W-5 and W-7 synths are powerful workstations utilizing Yamaha's own AWM2 tone generation, coupled with an excellent GM set and a powerful set of onboard features including a 16-track fully featured sequencer. The W-5 model is only slightly different from the W-7 in that it has a full 76-note semi-weighted keyboard and the W-7 has a typical 61-note keyboard, both of which respond to initial-touch (velocity) and aftertouch.
The AWM2 tone generation system provides 8 MB of wave memory with 384 realistic voices to choose from. Each voice is composed of 4 elements for added realism and depth. Editing is made simple with Voice Templates - choose from preset amplitude types (39), filter settings (59), pitch envelope settings (40) and LFO settings (33) to quickly punch up and edit various voice parameters. This eliminates the need to get deep into tedious editing of your sounds from scratch, but the option to get deep into editing is also there. A large backlit LCD display facilitates easy visual programming. There's also a double dial which allows for quick access parameter tweaking.
Also onboard are studio quality DSP effects. They can be assigned to individual voices or they can be used as a global effect over the whole system. There are 3 Insertion Effects and 3 System Effects available. With a ton of tried and true effects processors to its name, you can expect these Yamaha effects to be of superb quality and there are enough processors in the W-5/W-7 to provide you with all the sweetening you need!
A powerful sequencer is onboard to provide you with the creative flexibility to create entire songs and performances right from the synth itself, with no need for any other gear! The sequencer has a 100,000 note capacity. It is a 16-track sequencer and its memory can hold up to 16 different songs. There is only 32 notes of polyphony, but it should be enough for most arrangements and performances. Sequences, voices and songs can be stored to an external disk and as standard MIDI files for archiving. Yamaha released a "Version 2" upgrade for all models made before 1996 which added more voice banks (P2 and P3). The W-series has since been replaced by Yamaha's new EX-5 and EX-7 synthesizer workstations.
YAMAHA SK20 / SK30 / SK50D
Yamaha's SK series are combo-keyboards with synthesizer, organ, and string sections. Specifically the SK20 has poly-synth, string-synth, and organ sections. The SK30 (weighing in at over 90 lbs.) adds a mono-synth section. The bigger SK50D adds a bass-synth section and a second keyboard to what the SK30 offers. Interestingly, they are often referred to as 'analog', but in fact do have a digital section. Its organ has one of the early implementations of Yamaha's FM technology in a very limited form, concurrent with the GS-1/2 development platforms which eventually led to the DX series.
The ORGAN SECTION is available in all the SK series synthesizers. It offers a full range of stop levers from 1' to 16', percussion levers with adjustable decay, and controls for overall sustain, brilliance and decay. This gives you quite a lot to work with in the way of synthesis. The organ's sound is FM based and it sounds very B3 like. You can add a Vibrato and a noisy but good Tremolo to it. Its sound is all about the 70's era rock organ, especially with the Ensemble chorus effect in use. It also has a Leslie-speaker output around back.
The POLY-SYNTH SECTION is a 7-note polyphonic synthesizer with basic filter, pitch, envelope, and portamento controls. It features two (detuneable) oscillators per voice so it's good for thick pads. It lacks any bite whatsoever and, even in normal attack mode, has way too slow an envelope to be used for any bass or percussion sounds. But, the pads and strings you can get certainly shine and glitter like Bowie a-la Ziggy Stardust (especially when layered with the String-Synth...more on that below). It's like a good entry-level synthesizer. Basic and simple LFO, filters and ADSR envelopes. It has a built-in sustain and the Tremolo and Ensemble chorus effect also apply to this section.
The PRESET STRINGS section, however, isn't very developed and so it offer very limited editing capabilities and a rather thin sound. Its only real purpose is to layer with the Poly-Synth section. If you're looking for that classic '70's string machine, you can do a lot better than the SK.
YAMAHA CS-70M
The CS70M is a great big powerful polyphonic analog synthesizer which belongs to Yamaha's excellent line of CS series synthesizers. Fat sounds, cutting leads and bubbly basses, the CS70M has 6 voices of polyphony each supported by 2 oscillators for a total of 12 analog VCO's! It's got very flexible LFO, envelope and filter controls all of which sound really nice and smooth. The VCF filter has its own independent envelope control as well.
Truly a lush sounding instrument that would please anyone looking for that J.M Jarre or Tangerine Dream sound. Other features include a 4 track polyphonic sequencer, a 5 octave keyboard with aftertouch sensitivity and external magnetic data card memory storage. With only a slim 30 preset sounds that are mediocre, this is the kind of synthesizer that begs you to grab its knobs and start editing (that could possibly explain its big flashy knobs and buttons).
All in all an excellent and large synthesizer that will make any synthesist happy! It has been used by Kajagoogoo. The next step up from this synth is Yamaha's CS-80 which is an eight voice monstrous beast quite similar to the CS70M. The CS70M is likely to be too large for anything more than studio use but if you can find one it is definitely worth a listen!
http://www.vintagesynth.org/audio/cs70m_mix.ram
YAMAHA CS-80
A very old and very huge (over 200 lbs.) classic synthesizer. Considered Japans first great synthesizer. It had some pretty amazing features for its time such as eight voice polyphony, patch memory storage and polyphonic aftertouch. It can generate great analog strings, brass, drones and pads with that instantly recognizable classic polysynth sound. No synth sounds greater. Some examples of its extremely fat sound can be heard in "Blade Runner" and "Mutiny on the Bounty" by Vangelis as well as "Dune" by Toto. The thing that really made this synth sound so powerful was its "natural" detuning....thus its brass and string sounds were unparalleled not only for authenticity, but for pure width! Unfortunately for the CS-80, it was released the same year as the more programmable and cheaper Prophet 5.
With two analog oscillators per voice, the CS-80 has the potential for some really fat sounds! A great VCF filter with independent hi pass and low pass resonant filters, a powerful ring modulator and plenty of modulation controls further enhance the CS-80's sonic potential. There are 22 preset sounds (6 user) selected from bright and ugly colored buttons above the keyboard. The keyboard is weighted and has a full 61 keys with performance controllers for vibrato, pitch, brightness and volume. Surprisingly there's also a long ribbon controller for the pitch-bending, located above the keyboard. There is no MIDI or cv/gate control. The only way to MIDI it is via a rather complex retrofit receive-only kit from Kenton.
It has been used by Vangelis, Chicago, Jethro Tull, Kraftwerk, Ultravox, Bon Jovi, Simple Minds, Paul McCartney, Michael McDonald, Brian Eno, Toto, Eddie Jobson, Doug Johnson (Loverboy), the Crystal Method, Jean Michel Jarre, Geoffrey Downes (Yes, Asia), Rick Wakeman, Stevie Wonder, Phish, Daft Punk, BBC Radiophonic Workshop, and Tony Banks of Genesis.
http://www.vintagesynth.org/audio/cs80.ram
YAMAHA DX-7
One of the most popular digital synths ever was the DX7 from Yamaha, released in 1983. It featured a whole new type of synthesis called FM (Frequency Modulation). It certainly is not analog and it is difficult to program but can result in some excellent sounds! It is difficult because it is non-analog and thus, a whole new set of parameters are available for tweaking, many of which seemed counter-intuitive and unfamiliar. And programming had to be accomplished via membrane buttons, one data slider and a small LCD screen.
Still the sounds it shipped with and that many users did manage to create were more complex and unique than anything before it. Percussive and metallic but thick as analog at times, the DX-7 was known for generating unique sounds still popular to this day. The DX-7 was also a truly affordable programmable synth when it was first released. Almost every keyboardist bought one at the time making the DX-7 one of the best selling synths of all time! It also came with MIDI which was brand new at the time - Sequential had already released the first MIDI synth, the Prophet 600. Roland wouldn't get around to adding MIDI for another year with the Juno-106, and it would be three years before Roland can counter the popularity of the DX7 with a digital synth of their own, the D-50.
The DX-7 has been used by the Crystal Method, Kraftwerk, Underworld, Orbital, BT, Talking Heads, Brian Eno, Tony Banks, Mike Lindup of Level 42, Jan Hammer, Roger Hodgson, Teddy Riley, Brian Eno, T Lavitz of the Dregs, Sir George Martin, Supertramp, Phil Collins, Stevie Wonder, Daryl Hall, Steve Winwood, Scritti Politti, Babyface, Peter-John Vettese, Depeche Mode, D:Ream, Les Rhytmes Digital, Front 242, U2, A-Ha, Enya, The Cure, Astral Projection, Fluke, Kitaro, Vangelis, Elton John, James Horner, Toto, Donald Fagen, Michael McDonald, Chick Corea, Level 42, Queen, Yes, Michael Boddicker, Julian Lennon, Jean-Michel Jarre, Sneaker Pimps, Lynyrd Skynyrd, Greg Phillanganes, Jerry Goldsmith, Jimmy Edgar, Beastie Boys, Stabbing Westward and Herbie Hancock. Pretty impressive for just a partial listing!
Following the monaural DX-7 came the stereo DX-7 mkII - just as popular and much more advanced. Its unique sounds are very popular for industrial techno type music as well as ambient and electro. The TX-7 is essentially a desktop module form of the DX-7 but is even harder to edit or program since it requires external editors or software. The monolithic DX-1 and DX-5 models which packed two DX-7 synth engines into one instrument were the epitome of the DX line of synths created by Yamaha. There have also been a few budget spin-offs like the DX-9, DX-100, DX-21 and DX-27. FM synthesis has also made its way into the TX-81Z & TX-802 and software synthesizers like Native Instruments FM7.
http://www.vintagesynth.org/audio/dx7.ram
YAMAHA DX-1
Among Yamaha's DX line of synthesizers, the DX-1 is definitely the biggest and most expensive. With a dual 6-operator digital FM engine, it's like two DX-7's wrapped up in a wood-paneled case and comes with a truly professional weighted 73 note keyboard sensitive to both velocity and aftertouch. The DX-7 style membrane buttons have been replaced by actual push-buttons, display screens and the overall layout of buttons and diagrams is nicer and better organized.
Sound-wise, the DX-1 is like a fatter DX-7. It too features FM synthesis. That means that although the DX-1 is a digital synthesizer, its sounds are unique and fresh with an analog/digital hybrid feel. Programming however, is not at all like analog synth programming. All DX series synths use FM synthesis and all are rather difficult to program or, at least, difficult to understand what to program. Fortunately the advanced DX-1 has display screens that show amplitude modulation, envelopes, velocity, levels and de-tuning parameters unlike previous DX synths so you can better visualize what and how you are editing parameters. A neat new feature for the DX-1 is that two patches (Channel A and B) can be used simultaneously with the keyboard in layer or split-mode. This mode is generally 16-voice polyphonic, but with just one patch loaded you can have 32 voices of thick polyphony! Pretty good for a synth over 15 years old!
Although the DX-1 may seem like a better buy than the more popular DX-7, remember that the DX-1 is expensive. There were only about 140 of these synths made and the retail value of a DX-1 during its production year in 1985 was $13,900. The DX-1 was the most expensive project Yamaha ever invested in. Expect to pay well over $2,000 for one of these today. They were followed by the DX-5. Under the hood, the DX-5 is identical to the DX-1. The DX-5 has done away with the heavy wood-paneling and has a less fancy keyboard. The DX-5 also has a more compressed layout of buttons, sliders and diagrams on the front panel. The DX-1, outdone by cheaper and more competitive DX synths is today, primarily reserved for those musicians big enough or wealthy enough to splurge on a real Vintage instrument with exquisite performance and interface features and sounds. It is used to this day by Depeche Mode, Vince Clarke, Kitaro, Elton John and Herbie Hancock.
YAMAHA DX-21
A consumer level DX synth that sounds just like the DX-100 - thin and brittle. Following the DX model this synth also uses FM synthesis which is difficult to master. You will need to program this synth to get better sounds because the presets are only moderately useful. It's capable of a good string, bass and droney-pad sound as well as industrial sound-effects and metallic like sounds.
Still it makes a better option than a DX-27 or DX-100 because it has the capability of layers and splitting the keyboard and there is a chorus effect. Portamento and a Unison Mono-Mode are also nice features for screaming lead synth performances. For a cheaper source of DX sounds with moderate programmability, check out the DX-21. It's been used by Hardfloor, Level 42, Brother Beyond, Astral Projection, Technotronic, Vangelis, and Norman Cook (Fat Boy Slim).
YAMAHA SY-77
The SY-77 is like having a super-sized sample-memory workstation with the added synthesis and sounds of a DX-7mkII. For its synthesizer section it employs a 6 operator FM synth engine similar to, if not better than, the original DX's. The FM section offers 45 algorithms, 3 feedback loops and 16 waveforms for creating some of those unique FM sounds. Sampled sounds (AWM) which are in memory (or on external ROM cards) can then be mixed with the FM sounds to create entirely wild new sounds! And these sounds are quite shapeable thanks to the resonant multi stage Time Variant Filters which offer the chance to recreate the warm analog sounds of classic synths, or create something entirely new.
There's an on-board sequencer section for creating your songs right on the SY-77. It's got 16 tracks, channel 16 belongs to the SY-77's built-in drum synthesizer which holds up to 61 sounds. The sequencer can hold up to 16,000 notes, 99 patterns and 1 song. And since the SY-77 features 16 voices of polyphony for the FM section, and another 16 voices for the sampled sounds, there are (32) plenty of voices to go around to build your song. Add the fact that there are 4 independent digital multi-effects which include reverb, delay, chorus, panning and more and you have yourself a classic music production workhorse.
The SY-77 was also marketed in a rack-mount module called the TG-77. All the same features as the SY-77, except the keyboard, sequencer and 3.5" disk drive are gone. Following the SY-77 came the upgraded SY-99. Its main features and guts were the same however it had increased memory, waveforms and a bigger keyboard. The SY-77 (or TG-77) is great for really controlling and creating sounds for use in various electronic forms of music and has been used by 808 State, Skinny Puppy, Brian Eno, Europe, Toto, Chick Corea, and Front 242.
YAMAHA SY-99
The SY-99 is like having a super-sized sampling workstation with the synthesis and sounds of a DX-7mkII. Basically the same as the SY-77 it features a larger 76 note keyboard with upgraded synthesis, sample memory, sequencer and more! For its synthesizer section it employs a 6 operator FM synth engine similar to, if not better than, the original DX's. Sampled preset sounds (AWM2) can then be fused with the FM sounds to create entirely wild new sounds! And these sounds are quite shapeable thanks to the resonant multi stage Time Variant Filters which offer the ability to recreate the warm analog sounds of classic synths, or something entirely new.
There's an enhanced on-board sequencer section for creating your songs right on the SY-99. It's got 16 tracks, from which channel 16 belongs to the built-in drum synthesizer. The sequencer can hold up to 27,000 notes, 99 patterns and 10 songs. And since the SY-99 features 16 voices of polyphony for the FM section, and another 16 voices for the sampled sounds, there are 32 voices to go around to build your song. Not to mention there are 2 digital multi-effects processors which include reverb, delay, chorus, panning and more! Professional features for those of you want to really control and shape your sounds using the unique sounds (and complex synthesis) of a Yamaha FM synth with some special features up its sleeve.
YAMAHA W-5/W-7
The Yamaha W-5 and W-7 synths are powerful workstations utilizing Yamaha's own AWM2 tone generation, coupled with an excellent GM set and a powerful set of onboard features including a 16-track fully featured sequencer. The W-5 model is only slightly different from the W-7 in that it has a full 76-note semi-weighted keyboard and the W-7 has a typical 61-note keyboard, both of which respond to initial-touch (velocity) and aftertouch.
The AWM2 tone generation system provides 8 MB of wave memory with 384 realistic voices to choose from. Each voice is composed of 4 elements for added realism and depth. Editing is made simple with Voice Templates - choose from preset amplitude types (39), filter settings (59), pitch envelope settings (40) and LFO settings (33) to quickly punch up and edit various voice parameters. This eliminates the need to get deep into tedious editing of your sounds from scratch, but the option to get deep into editing is also there. A large backlit LCD display facilitates easy visual programming. There's also a double dial which allows for quick access parameter tweaking.
Also onboard are studio quality DSP effects. They can be assigned to individual voices or they can be used as a global effect over the whole system. There are 3 Insertion Effects and 3 System Effects available. With a ton of tried and true effects processors to its name, you can expect these Yamaha effects to be of superb quality and there are enough processors in the W-5/W-7 to provide you with all the sweetening you need!
A powerful sequencer is onboard to provide you with the creative flexibility to create entire songs and performances right from the synth itself, with no need for any other gear! The sequencer has a 100,000 note capacity. It is a 16-track sequencer and its memory can hold up to 16 different songs. There is only 32 notes of polyphony, but it should be enough for most arrangements and performances. Sequences, voices and songs can be stored to an external disk and as standard MIDI files for archiving. Yamaha released a "Version 2" upgrade for all models made before 1996 which added more voice banks (P2 and P3). The W-series has since been replaced by Yamaha's new EX-5 and EX-7 synthesizer workstations.
YAMAHA SK20 / SK30 / SK50D
Yamaha's SK series are combo-keyboards with synthesizer, organ, and string sections. Specifically the SK20 has poly-synth, string-synth, and organ sections. The SK30 (weighing in at over 90 lbs.) adds a mono-synth section. The bigger SK50D adds a bass-synth section and a second keyboard to what the SK30 offers. Interestingly, they are often referred to as 'analog', but in fact do have a digital section. Its organ has one of the early implementations of Yamaha's FM technology in a very limited form, concurrent with the GS-1/2 development platforms which eventually led to the DX series.
The ORGAN SECTION is available in all the SK series synthesizers. It offers a full range of stop levers from 1' to 16', percussion levers with adjustable decay, and controls for overall sustain, brilliance and decay. This gives you quite a lot to work with in the way of synthesis. The organ's sound is FM based and it sounds very B3 like. You can add a Vibrato and a noisy but good Tremolo to it. Its sound is all about the 70's era rock organ, especially with the Ensemble chorus effect in use. It also has a Leslie-speaker output around back.
The POLY-SYNTH SECTION is a 7-note polyphonic synthesizer with basic filter, pitch, envelope, and portamento controls. It features two (detuneable) oscillators per voice so it's good for thick pads. It lacks any bite whatsoever and, even in normal attack mode, has way too slow an envelope to be used for any bass or percussion sounds. But, the pads and strings you can get certainly shine and glitter like Bowie a-la Ziggy Stardust (especially when layered with the String-Synth...more on that below). It's like a good entry-level synthesizer. Basic and simple LFO, filters and ADSR envelopes. It has a built-in sustain and the Tremolo and Ensemble chorus effect also apply to this section.
The PRESET STRINGS section, however, isn't very developed and so it offer very limited editing capabilities and a rather thin sound. Its only real purpose is to layer with the Poly-Synth section. If you're looking for that classic '70's string machine, you can do a lot better than the SK.
YAMAHA CS-70M
The CS70M is a great big powerful polyphonic analog synthesizer which belongs to Yamaha's excellent line of CS series synthesizers. Fat sounds, cutting leads and bubbly basses, the CS70M has 6 voices of polyphony each supported by 2 oscillators for a total of 12 analog VCO's! It's got very flexible LFO, envelope and filter controls all of which sound really nice and smooth. The VCF filter has its own independent envelope control as well.
Truly a lush sounding instrument that would please anyone looking for that J.M Jarre or Tangerine Dream sound. Other features include a 4 track polyphonic sequencer, a 5 octave keyboard with aftertouch sensitivity and external magnetic data card memory storage. With only a slim 30 preset sounds that are mediocre, this is the kind of synthesizer that begs you to grab its knobs and start editing (that could possibly explain its big flashy knobs and buttons).
All in all an excellent and large synthesizer that will make any synthesist happy! It has been used by Kajagoogoo. The next step up from this synth is Yamaha's CS-80 which is an eight voice monstrous beast quite similar to the CS70M. The CS70M is likely to be too large for anything more than studio use but if you can find one it is definitely worth a listen!
http://www.vintagesynth.org/audio/cs70m_mix.ram
YAMAHA CS-80
A very old and very huge (over 200 lbs.) classic synthesizer. Considered Japans first great synthesizer. It had some pretty amazing features for its time such as eight voice polyphony, patch memory storage and polyphonic aftertouch. It can generate great analog strings, brass, drones and pads with that instantly recognizable classic polysynth sound. No synth sounds greater. Some examples of its extremely fat sound can be heard in "Blade Runner" and "Mutiny on the Bounty" by Vangelis as well as "Dune" by Toto. The thing that really made this synth sound so powerful was its "natural" detuning....thus its brass and string sounds were unparalleled not only for authenticity, but for pure width! Unfortunately for the CS-80, it was released the same year as the more programmable and cheaper Prophet 5.
With two analog oscillators per voice, the CS-80 has the potential for some really fat sounds! A great VCF filter with independent hi pass and low pass resonant filters, a powerful ring modulator and plenty of modulation controls further enhance the CS-80's sonic potential. There are 22 preset sounds (6 user) selected from bright and ugly colored buttons above the keyboard. The keyboard is weighted and has a full 61 keys with performance controllers for vibrato, pitch, brightness and volume. Surprisingly there's also a long ribbon controller for the pitch-bending, located above the keyboard. There is no MIDI or cv/gate control. The only way to MIDI it is via a rather complex retrofit receive-only kit from Kenton.
It has been used by Vangelis, Chicago, Jethro Tull, Kraftwerk, Ultravox, Bon Jovi, Simple Minds, Paul McCartney, Michael McDonald, Brian Eno, Toto, Eddie Jobson, Doug Johnson (Loverboy), the Crystal Method, Jean Michel Jarre, Geoffrey Downes (Yes, Asia), Rick Wakeman, Stevie Wonder, Phish, Daft Punk, BBC Radiophonic Workshop, and Tony Banks of Genesis.
http://www.vintagesynth.org/audio/cs80.ram
