The Yamaha DX7 like few have ever heard it. Capable of much more than many realize. An amazing sonic spectrum that makes the composition of an entire track possible. As always 100% DX7 sounds.
All sounds from the 1976 Yamaha CS-50 !
The Yamaha CS-50 is the baby brother to the mighty CS-80. Actually it has almost exactly the same Voice cards as the CS-80. However the baby brother has only 4 Voice cards where the CS-80 has 16 ! Also the CS-50 is lacking the velocity polyphonic aftertouch keyboard so even though the core sound is similar the CS-80 has a more organic and dynamic sound because of the better keyboard. The Kenton MIDI gives the CS-50 the ability to play with MIDI velocity for example controlling the filter depth. Unfortunately you can´t assign MIDI aftertouch to the CS-50 Touch Response section but only to the modulation section.
All sounds coming from The mighty 1977 Yamaha CS-80 analog synthesizer.
The song is called Ode To The Holy Grail Part II composed by Firechild.
The CS-50 was released just ahead of its famous big brothers, the CS-60 and CS-80. The CS-50 looks like a scaled-down version of the monstrous CS-80, and it is! This will benefit those who crave the famous classic Yamaha synth sound without the struggle of lugging around the 215 pound CS-80! The CS-50 weighs in at about 100 pounds. The CS-50 is also just 4-voice polyphonic, and lacks the quality weighted 61-note keyboard of the CS-80. The CS-50 has just a 49-note standard keyboard. It does feature pressure (aftertouch) sensitivity route-able to several destinations, however.
The CS-50’s sound is unmistakably related to other classic CS-series synthesizers. At just four voices with one osc. per voice and lacking warm filters (at just 12dB/oct) the CS-50’s sound can be thin. There are 13 preset sounds of various instruments and synth sounds but, unfortunately, no on-board memory storage for your edited presets. At its low street price, the CS-50 makes a great way to get your hands on these classic sounds without going broke! It’s too bad their tuning is just as unstable as the other CS-series synths. It’s housed in a built-in travel-case like the other (big) CS-synths
Dave Bryce checks out Roland’s first new workstation since the Fantom-G, the FA series.
Roland has announced two new workstation keyboards, the FA-08 and FA-06, which it says meet the needs of anyone who wants an instrument that they can use both on stage and in the studio.
Featuring a built-in audio interface, DAW integration, more than 2000 sounds from the Integra-7 sound module and an 88-note weighted action keyboard, the FA-08 weighs in at 16kg. It comes with a 16-track sequencer, and each of the 16 available parts can access its own effects engine, which sports 67 effect types. The UK price is £1529.
Full specs are below. The FA-06 boasts very similar specs but comes with a 61-note velocity-sensitive keyboard. It retails for £975. You can find out more about both models on the Roland website.
Featuring a huge selection of Roland’s best sounds, a 16-track sequencer, seamless DAW integration, an easy-to-use sampler, and much more, the new FA series completely reimagines the music workstation for effortless real-time power, ultra-fast workflow, and maximum versatility.
One Yamaha TX81z in performance mode (8 sounds max on keyboard). No Fx, no mastering. Drumkit is composed of basics presets sounds. Heavier bassdrum can be made with editing.
Sequence via computer
Yet another FM synthesizer from Yamaha, this one comes in a compact, multitimbral, 1-unit rackmount module and is basically a key-less version of the DX-11. It has far more professional features than its relative, the FB-01. The TX81Z features great FM type synth sounds similar also to the DX-21 and DX-27. It’s still not as good as the classic DX-7, but it’s an inexpensive source of those sounds with lots of programmability. Eight voice polyphony, 128 preset sounds, 32 user and lots of functions hidden behind 11 push buttons.
The TX81Z features a new ability to use waveforms other than just a sine wave. There are eight voices that can be split, layered and detuned. Also onboard are pseudo-effects including delay and reverb. These features can be stored as performance setups. The effects are simply envelope and re-triggering effects. The TX81Z works great as a sound-module for any live or studio production. It’s got a wider range of sounds than the DX-7, may not be quite as warm or ‘classic’ sounding, but at its low price and with the excellent MIDI implementation it makes a great alternative or backup synth for percussive, punchy FM synth sounds.
We start with a great demo of the Yamaha CS80 illustrating how Vangelis used presets for many of his signature sounds, music for free – NJ White AKA Whitey lets of steam about an approach from Betty TV, Cassette documentary in the making and finally the panel is split on news of the new Yamaha Tyros 5.
Background video information:
Hi everyone! SynthFreq here with a new composition titled “Industrial World” written by Crystal (msMotif-6), performed by Danielle and Crystal using the following synths:
Jupiter-8: filtered bell patch
Roland D-50: bright ice
Roland Alpha Juno-1: Z-lead
Roland A-90ex: split syn bass/(midi) to JV-1080 pulse lead
Yamaha Motif-6: percussion live set
Here’s a simple 8 bar vamp with elaborate percussion I composed on Finale. Nord Lead begins playing at (0:40).
“I created controller patches for the Nord and MU80 on the Nord Modular G1. There are no Nord Modular sounds in this, although it was used as the main controller. Whoever messes around with their portamento settings on their MU80? Easily when the midi CCs are mapped to a controller. Also switched in and out of ‘modulated delay’ preset on the Lexicon MX300. I didn’t want the delay on during the complex drumfills.”
Compact in size, but underneath packing a massive xg punch, with 8mb of stunning wave samples, and 64 note polyphony with 2 independent midi inputs, this is the connoisseurs choice in XG devices. With the same simple but powerful user interface as it’s baby brother, the MU50, but with the added bonus of also acting as an analogue effects processor for vocals/guitar/saxophone or anything else you need to process, this is the ultimate in XG.
Vintage synthesizer demo track featuring the classic Yamaha DX7
all synthesizer sounds: YAMAHA DX7 II FD FM-Synthesizer (1987)
recording: multi-tracking without midi
fx: reverb and delay
The demo shows typical and not so typical FM sounds. a bit PPG and Fairlight like.
“I like this synth a lot! Yamaha should built a DX7 III with realtime controller like the old PSS FM keyboards, with internal arpeggiator, step sequencer and a fx unit with reverb and delay and chorus. this would be fantastic.“
Well the reviewer ain’t to happy
Craptastic Yamaha drum machine from 1985 featuring Latin sounds. Boring as hell. Get a Roland TR727 instead!
A quick play of the sounds and several patterns.
Quick demonstration of a pair of mid 80’s drum machines. Demo starts out with dry, direct signals from the machines and then I add a little reverb from Alesis MultiMix 8 at the very end. These machines are popular with circuit benders.
An ’80s-style ditty showcasing a few classic sounds of three of the most iconic instruments of that era: Emulator II, DX7, and LinnDrum.
Emulator II: Marcato Strings, Choir, Strings Plus
DX7: Bass, Tubular Bells, Marimba
LinnDrum: drum & percussion patterns
“UNFORTUNATELY I inadvertently left an aux open on the mixer and the LinnDrum spilled on the tracks, causing the flanging effect but it’s still listenable. I will re-upload a better version when I have a chance.”