Built-in timbres
The number of built-in sounds provided in the synthesizer.
The number of timbres is often described as the number of instruments that a given model can imitate. However, this is not entirely true — rather, this parameter can be called "the number of instruments and sound effects." For example, the same instrument — an electric guitar — with different "gadgets" (distortion, overdrive) will sound differently, and in the synthesizer each such gadget will be considered a separate timbre. The “drums” timbre usually combines different types of drums and other percussion instruments — in other words, it allows you to portray both the “bass drum” and the cymbals without switching settings, just by pressing the desired keys. And some timbres may not have analogues among real instruments at all.
The more built-in timbres, the more extensive the possibilities of the synthesizer, the more diverse the sounds that can be extracted from it. At the same time, in high-end models like workstations (see "Type"), this number can reach 1000 or even more.
Accompaniment styles
The number of auto accompaniment styles (see above) originally provided in the synthesizer, in other words, the number of accompaniment options available to the user.
The more extensive this set, the higher the probability of finding among these melodies suitable options for a particular case. At the same time, the abundance of styles in itself is not yet a 100% guarantee that among them there will be a suitable one, especially since different synthesizer models can differ markedly in a specific set of melodies. So the list does not hurt to clarify before buying. Also note that the situation can be corrected by user styles (see below) — many synthesizers with auto accompaniment support them.
Arpeggiator
The presence of an arpeggiator in the design of the synthesizer.
The term "arpeggio" originally means the technique of playing a chord, in which the notes are not sounded all at once, but one after another. Accordingly,
arpeggiator, roughly speaking, is a device for the automated playing of chords using the arpeggio technique. Compared to manual playback by notes, this function is convenient because the arpeggiator can provide various additional settings: set the direction of playback (up or down), speed, interval between notes and their duration, special effects, background accompaniment, etc. At the same time, all effects work automatically, the user only needs to press the keys that make up the chord (and in some synthesizers in some modes, only one key can generally be responsible for a whole chord). The specific capabilities of arpeggiators can be different, often such a device allows you to create entire compositions just by pressing a sequence of chords.
Microphone
The number of microphone inputs provided in the design of the synthesizer.
Microphones are mainly used for working with voice or recording sound samples (see "Sampling"). At the same time, in high-end models like professional instruments and workstations (see "Type"), there may be more than one microphone input — for example, for simultaneous recording of two vocalists, recording a sample from several sources on the fly, or recording stereo sound from a pair of microphones . At the same time, such tasks are quite specific and rare, and for most modern synthesizers one microphone is enough (if there is such an input at all).
Number of bands
The number of bands provided in the synthesizer's built-in speaker system. A band in this case can be called a separate set of speakers responsible for its part of the frequency range. For example, a system with separate bass and treble speakers would be called a two-way system.
The meaning of this division is due to the fact that for different frequencies the requirements for speakers will also be different. Accordingly, the allocation of its own speakers for each frequency band can significantly improve the sound quality. At the same time, it is worth remembering that in synthesizers, the built-in acoustics are not intended for high-quality sound reproduction, but rather to give a general idea of \u200b\u200bwhat the instrument is currently playing. Therefore, even in the most advanced models, more than two bands are not found, and for the entry-level and intermediate level, one is often enough.
Display
The type of
display provided in the instrument.
— Monochrome. The name
"black and white" is also found, although this is not entirely true — the background can use other colours, for example, green or orange. However, the main image on such a display is a single colour, usually black. Such displays are simple and inexpensive, while their capabilities are enough for most synthesizers, even quite advanced ones. And anyway, this is at least some information content, compared with models
without a display.
— Coloured. A display capable of displaying an image in different colours. Theoretically, such an image is more pleasing to the eye than a monochrome one, and the possibilities for informing that it gives are much wider. On the other hand,
colour screens are noticeably more expensive than black-and-white ones, despite the fact that the mentioned abundance of features is not required in most cases. Therefore, this option is found exclusively in workstations and high-end synthesizers, where you have to deal with an abundance of complex settings and you simply cannot do without a large high-quality display.
Power consumption
Rated power consumed by the tool during operation. Modern synthesizers, even the most powerful and advanced ones like workstations (see "Type"), consume very little energy — up to 100 W, and often noticeably less. Therefore, it is rarely necessary to pay attention to this parameter in fact, mainly in rather specific situations — for example, when working from an autonomous generator, when you need to take into account the entire load connected to such a power supply.
