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Comparison Korg Pa1000 vs Roland BK-5

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Korg Pa1000
Roland BK-5
Korg Pa1000Roland BK-5
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Typework stationsynthesizer (rompler)
Keys
Number of keys6161
Sizefull sizefull size
Mechanicsactiveactive
Rigiditysemi-weighted
Specs
Polyphony128 voices128 voices
Built-in timbres1750 шт1232 шт
User timbres640 шт
Auto accompaniment
Accompaniment styles430 шт305 шт
Tempo change20 – 250
Metronome
Sequencer (recording)
Sampling
Mixer
Built-in compositions
Effects and control
Timbres layering
Keyboard split
Arpeggiator
Reverberation
Chorus
Transposition
Pitch controller
Modulation controller
Fine tuning
 /415.3 – 466.2 Hz/
Connectors
Inputs
 
Jack (6.35 mm) /x2/
MIDI in
USB to device (type A)
card reader
mini-Jack (3.5 mm)
 
MIDI in
USB to device (type A)
 
Microphone2 шт
Connectable pedals2 шт2 шт
Outputs
USB to host (type B)
MIDI out
headphones
USB to host (type B)
MIDI out
headphones
Linear outputs22
In box
In box
music stand
PSU
disc
 
PSU
 
General
Built-in acoustics66 W24 W
Number of bands21
Displaycolourmonochrome
Touch screen
Power consumption25 W
Dimensions (WxHxD)1030x133x378 mm1044x129x317 mm
Weight11 kg7.5 kg
Color
Added to E-Catalogfebruary 2018october 2016

Type

- Synthesizer. In this case, we mean classic digital synthesizers - keyboard musical instruments that can reproduce the sounds of various instruments and sound effects. The functionality of such models can be very diverse - from budget devices with minimal functionality to advanced instruments suitable even for professional musicians.

- Work station. High-quality synthesizers for professional use, capable of playing the role of not only a musical instrument, but also a remote control for recording and mixing sound. Accordingly, a mandatory feature of such instruments is a sequencer (see below). In addition, workstations are distinguished by advanced equipment that corresponds to the class: among such instruments there are models with full-size hammer-action (see “Mechanics”) keyboards with 88 keys, an abundance of adjustments and connectors is available to the user, and the sound quality and reliability in inexpensive models is good , in advanced ones - almost ideal. True, synthesizers of this type are very expensive, therefore, combined with their extensive capabilities, they are indispensable assistants for composers, sound engineers and other specialists involved in both performing and recording music.

Children's synthesizer. The features of such instruments are generally clear from the name - these are synthesizers designed for children's. Externally, such models differ from “adu...lt” ones primarily in the small number of keys (up to 49, often less) and the size of the keys themselves, which is reduced to suit a child’s hand. In addition, the performance characteristics and functionality of children's's synthesizers are also most often more modest: for example, polyphony (see below) rarely exceeds 8 voices, and the overall sound reliability is very low. But the learning opportunities in such instruments, on the contrary, can be very extensive, and in general, children's's synthesizers are considered a good choice for initial training.

Analog synthesizer. Instruments in which sound is generated not through digital processing, but through passing through a real electrical circuit. In a very simplified way, the principle of operation of such an instrument can be described as follows: each key, when pressed, turns on its own sound generator of a certain frequency, which is responsible for the desired note, and with the help of additional settings (oscillators, envelope, filters), the musician gives color to this sound. From the user's point of view, the most noticeable difference between an analog synthesizer is the lack of built-in tones - the musician adjusts all the details of the sound manually. Analog instruments, on the one hand, are more difficult to control, but on the other hand, they allow you to achieve effects that are not available digitally. In addition, the color of the sound itself on analog synthesizers is somewhat different. Historically, instruments of this type appeared earlier than digital ones, but today they are highly specialized solutions, designed mainly for professional performers and used in specific musical areas.

Rigidity

Unweighted. Keys with a very low pressing force, literally "failing" under the fingers. This option is well suited for inexpensive synthesizers with passive mechanics (see above), but is rarely used in active models — a small resistance force makes it difficult to choose the optimal pressing force.

— Semi- weighted. Medium-strength keys, not up to the hardness of a full-fledged piano, but showing noticeably more resistance than unweighted ones. This variant is most popular among instruments with active mechanics (see above) — the force on the keys provides adequate feedback and at the same time playing such an instrument does not cause any special difficulties even for those who previously dealt only with unweighted keyboards.

Weighted. Keys with high actuation force, comparable to that of a classical piano. Used only in professional hammer action instruments (see above) — high rigidity is a must for such mechanics (more precisely, for the response that it must provide).

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.

User timbres

The number of memory slots for user tones provided in the synthesizer.

For Voices in general, see “Preset Voices” above. User timbres are sound settings that were not originally provided in the synthesizer's memory and are created by the user according to their preferences. This feature is indispensable in cases where the built-in set of timbres does not contain the necessary options. However, the capabilities of the User Voices may vary from model to model. So, one instrument only allows you to edit and supplement existing timbres (for example, add a “wah-wah” effect to a bass guitar and save such a bunch as a user setting), another makes it possible to set the sound parameters almost manually, and the third even allows you to load timbres through USB (see below).

The more user timbres in the synthesizer, the more personal “instruments” you can register in its memory.

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.

Tempo change

The range in which you can change the tempo of the programme played by the synthesizer — auto accompaniment, lesson tune (see above), metronome (see below), recorded sample, etc.

Pace is measured in beats per minute. Changing it allows you to adjust the speed of the synthesizer to the specifics of the situation — for example, slightly slow down the tutorial if it is too hard to master at the initial pace. The wider the range of tempo adjustment, the more options the musician has to choose from, especially in the area of very slow and very fast tempos.

Note that the traditional range of musical tempos covers values from 40 beats / min (“grave”, “very slowly”) to 208 beats / min (“prestissimo”, “very fast”), however, in synthesizers it can be more extensive — for example, 30 – 255 bpm.

Sampling

Synthesizer support for sampling.

Samples are short sound fragments used in the creation of musical compositions. Such a fragment can contain almost any sound — from a note on a musical instrument or a fragment of a drum part to a siren signal, a bird's chirp, the sound of a mechanism, etc. Specifically, the sampling function implies the ability to use the synthesizer to record samples for further use. Recording can be done either through the built-in microphone or through the audio input (from an external microphone or other audio device). At the same time, many synthesizers with this function are able not only to keep the sound not only "as is", but also to pass the incoming signal through the processing circuits, adding various effects to it — echo, "wah-wah", metallic sound coloring, etc. And ready-made samples can usually be "bound" to individual synthesizer keys and played back in real time. Other functions are possible, depending on the level of the instrument.

Mixer

The presence of a mixer in the design of the synthesizer.

A mixer in this case is a device designed to control individual audio channels that make up the sound of a synthesizer as a whole. The list of these channels includes, in particular, the main voice, the layered voice (see “Dubbing voices”), several auto accompaniment channels (main, bass, drums, etc.). With a mixer, the musician can manually control these channels — turn some of them on and off, switch the timbre, tempo, key, etc. This greatly expands the possibilities for using the synthesizer.

Built-in compositions

The presence of built-in compositions in the design of the synthesizer.

This function is similar to the auto accompaniment described above — in the sense that it involves playing songs on the synthesizer itself. However, unlike Auto Accompaniment, Preset Songs play strictly by note and cannot be controlled using chords on the left half of the keyboard. In other words, with auto accompaniment, the musician has a lot of freedom, and you have to play along with melodies in strict accordance with it.

Built-in compositions can be used for a variety of purposes. One of the options is training: the musician listens to a reference recording and then tries to reproduce it, either plays along with the melodies according to the given notes, or improvises to it. In addition, in some cases (for example, at mass events), the ability to turn on the synthesizer as a player can be very useful. Also, built-in songs are used to test and demonstrate the general capabilities of the instrument: it is assumed that the recorded song can be repeated using the synthesizer itself.
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