Comparison Yamaha PSR-E473 vs Yamaha PSR-E373

The polyphony supported by a synthesizer, in other words, is the number of “voices” (tone generators) that can simultaneously sound on it.

This parameter is often described as the number of notes that can be played simultaneously on the keyboard. However, this is not entirely true due to the fact that in many timbres one note can activate several tone generators. As a result, for example, to play a chord of 3 notes in a timbre with 4 tone generators per note, polyphony of at least 3 * 4=12 voices is required. In addition, Auto Accompaniment and Preset Songs (see related sections) also use tone generators, requiring even more voices to work effectively with these features.

The minimum value for a more or less functional modern synthesizer is polyphony for 32 voices — and even then such an instrument can be used mainly for initial training and simple melodies. For a more solid application, it is desirable to have at least 50 – 60 voices, and in professional models (in particular, workstations where you have to deal with several audio tracks at once), there are models with polyphony for 150 tone generators or more.

In general, a more advanced synthesizer is likely to have more extensive polyphony, however, it is only possible to evaluate the class of an instrument by this parameter very approximately — instruments with the same number of voices can differ greatly in level. The only exception to this rule are children's synthesizers (see "T...ype"), which support up to 20 voices.

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.

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.

The presence of a pitch controller(Pitch Bend) in the design of the synthesizer.

This function allows you to smoothly change the pitch by a small amount. In this way, specific playing techniques on some instruments are imitated — for example, tightening the strings on a guitar, which gives a characteristic, “floating” sound in frequency. The pitch control usually has the form of a wheel or lever.

— mini-Jack (3.5 mm). Line-level analogue audio input using a 3.5mm mini-jack. The line input itself is used to connect an external analogue audio signal to the synthesizer — for example, from a computer sound card. The use of such a connection can be different: playing accompaniment through the built-in speakers of the instrument, switching the signal to an external amplifier with “mixing” the sound of the synthesizer itself into it, etc. Specifically, the 3.5 mm mini-Jack connector is small in size, it is popular mainly in portable equipment and inexpensive stationary devices — “serious” audio equipment is usually equipped with more reliable connectors, like Jack (see below). As a result, an input with this type of connector is typical mainly for entry-level synthesizers.

— Jack (6.35 mm). Line-level analogue audio input using a 6.35 mm jack. By purpose, such an input is completely similar to the input with a 3.5 mm mini-Jack jack described above, however, the Jack connector is larger, provides a more reliable and high-quality connection and is considered more suitable for stationary audio equipment, especially high-end ones. Therefore, in synthesizers of an average and advanced level, usually, this type of line input is used. At the same time, we note that a 3.5 mm plug can be connected to a 6.35 mm jack using a simple adapter.

— Digital. Input for connecting to a digital audio signal synthesizer. It is similar in purpose to the linear interfaces descri...bed above, but differs both in signal format and in connector type — most often it is a coaxial S / P-DIF interface using an RCA connector, although other options are possible. Digital outputs are quite popular both in professional audio equipment and in home appliances like PCs and even TVs, so such an input may be useful.

— MIDI. MIDI is originally a digital signal format used in electronic musical instruments. Each key pressed on the synthesizer gives just such a signal: it contains data on the duration, force and speed of pressing, as well as the note number, and based on the control signal (MIDI event), the “hardware” of the synthesizer generates the desired sound. Accordingly, the MIDI input allows the synthesizer to receive MIDI events from external electronic musical devices — other synthesizers, MIDI controllers, etc. This connection can be useful, for example, if the external instrument does not have the desired timbre; in addition, many synthesizers are capable of recording received MIDI signals. In some cases, the possibility of switching such a signal via MIDI thru may also be useful (see "Outputs").

— USB (type A). A classic USB connector that allows you to connect various external devices to the synthesizer — primarily flash drives and other drives, other peripherals are rarely supported. The features available when working with a flash drive depend on the general functionality of the synthesizer and may be different in different models. So, some instruments are capable of playing music from such a carrier, which plays the role of accompaniment for the main part — this can be more convenient than using auto accompaniment. Others are able to record music on a flash drive. It may also include updates to the Voice Set and/or Auto Accompaniment Styles (see above), firmware updates, etc.

— Card Reader. A slot for reading memory cards, most often SD: this is a universal format widely used in many types of modern electronics. Like a USB flash drive (see above), the card reader can be used for different purposes — most often for playing musical accompaniment or recording music, but there are other options (loading additional timbres, updating firmware, etc.).

Additional items supplied with the synthesizer in addition to the instrument itself.

— Music stand. A stand for musical notations, installed in such a way that the materials on it are constantly in front of the musician's eyes. In modern synthesizers, the music stand can be built-in or removable.

— Pedal. An additional control in the form of a pedal, which can be responsible for a wide variety of functions, depending on the model of the synthesizer. For more information about this, see "Connected pedals", here we note that the presence of a pedal in the kit eliminates the need to look for and select it separately.

— Power Supply. Power supply for connecting the synthesizer to the network. The very possibility of working from the outlet is important for most modern synthesizers. Therefore, the absence of a power supply in the kit means either that it is made internal, or that we have a simple and inexpensive model (usually for children, see "Type"), designed mainly for battery operation and not equipped with a PSU or not providing for it at all connections. An external power supply unit is convenient because it can be disconnected when working from autonomous power sources, saving the tool from unnecessary wires.

— Disk. Optical disk (CD or DVD) with various additional materials on the synthesizer. These can be instructions and other documentation, drivers for connecting to a computer, specialized software for editing music on a PC,...etc.

— Rack. Own stand for installing the synthesizer on the floor — usually folding, in the unfolded state resembling the letter X in shape. With such a stand, the musician does not have to look for a free table, window sill or other similar place to place the instrument — there is enough free space on the floor. Racks for synthesizers are also sold separately, but it is often more convenient or even cheaper to buy such a device along with an instrument.

— Microphone. The microphone can be used both for singing and for creating samples based on external sounds. However it is worth noting that usually relatively inexpensive synthesizers for beginner musicians are equipped with microphones — it is more convenient for a professional to independently choose additional equipment (including a microphone) to suit their own needs and preferences, without relying on the choice of the manufacturer. Accordingly, the complete microphones themselves usually have rather modest characteristics.

Rated power of the built-in acoustics of the synthesizer.

This indicator characterizes, first of all, the volume at which the instrument's built-in speakers can sound. At the same time, one should not forget that in most cases such speakers are intended rather for individual use — so that the music can be heard by the musician himself and the people in close proximity to him. With this application, high power is not needed for normal hearing; and if you still need a loud sound, you can connect the instrument to an external speaker.

Therefore, it makes sense to pay attention to the power of the built-in acoustics if the synthesizer is planned to be used for more serious tasks than individual listening, and if external acoustics may not always be available.

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.

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.