New “ethnic” style composition using the Yamaha Motif-6 flute with delay and reverb as well as Motif-6 cymbals. Roland JV-880 is used for a classic analogue string patch and Roland D-50 patch “Juno clav” is used for the accompaniment.
Synths: Yamaha Motif 6 classic
Roland JV-1080 and JV-880
Roland S-10 sampler- midi controller for JV-880
Shock-HRz, captures a live performance, Tactical Shadow.
Technical details below.
Simone Ciacci a.k.a. “Storm 3003″:
- Access Virus TI
- Elektron Analog Four
- Korg Kaoss Pad 3
- Korg Kaossilator Pro
Gabriele Marini a.k.a. “ReD”:
- Akai Miniak
- Yamaha RM1X
- Korg Volca Bass
Francesco Salvatici a.k.a. “4TeK”:
- Korg Electribe MX
- Korg Mini-KP
- Korg Monotron
- Korg Monotron Duo
Yamaha product specialist Dom Sigalas visited to show us the Yamaha MOXF6 workstation. With most of the brains of the flagship MOTIF its way more affordable.
Vintage Yamaha PS-20 analog keyboard connected to iPad using Apogee Jam interface, played through Crystalline. Also features iOS apps Animoog, Audiobus and Arturia iSEM. No other effects or processing done.
Crystalline: Shimmer Effects Processor for iPad
Here is a demo track of the Yamaha TX802 FM Synthesizer.
All sounds (including drums) are from the TX. The tune was recorded and mixed in Cubase, with effects added.
You can download a high quality audio file of this track here:
Despite its name, the TX802 FM Tone Generator is basically a rack-module version of the DX7mkII with full 8-part multi-timbral operation for sequencing and/or key mapping. It has 16-voices of polyphony and six digital FM Operators, the same as in the DX7mkII. There are 128 preset and 64 user patches for your sounds, as well as an external memory cartridge slot.
As if the large keyboard DX versions weren’t difficult enough to program, the TX802’s limited interface makes editing and programming your own sounds next to impossible without the help of external hardware or software editors. In the late 1980’s, the TX802 was an excellent way to get a compact box full of Yamaha’s DX sounds.
Background video information below:
An analog session with the Alesis Andromeda in four-voice unison mode, accompanied only by the Yamaha FS1R FM Synth and an Elektron Machinedrum for percussion and samples.
All pattern changes and filter actions are performed live, this would have been impossible without the incredible MIDIbox Sequencer. Many thanks to TK. for his work!
Filmed in Fuerteventura with a quadcopter and a GoPro Hero3.
Hope you enjoyed the flight – thanks for watching and listening!
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.