Comparison Korg Pa1000 vs Korg Pa900

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.

— Digital. Digital audio output, usually via coaxial S/P-DIF interface. It is similar in purpose to the line outputs (see below), differs only in the type of connector and the digital signal format. It can be useful, in particular, for connecting the synthesizer to a device that does not have line inputs, or if these inputs are occupied.

— USB B. A connector designed to connect the synthesizer to a computer or laptop as a peripheral device. Such a connection provides very extensive possibilities: it allows you to load new timbres, auto accompaniment styles and melodies into the synthesizer, edit existing ones; record the played music on the computer (or rewrite the music recorded in the memory of the synthesizer itself); use the instrument as an external MIDI keyboard; change various fine settings and troubleshoot, etc. The specific functionality available with a USB connection depends on the synthesizer model.

— MIDI. Output for transmitting MIDI signals (MIDI events) to external devices. MIDI is a specialized type of digital control signal used in musical instruments. Such a signal is generated when a key is pressed, it contains data about the pressing itself (duration, strength and speed), as well as the note number; Based on this signal, as well as the set settings, the electronic “hardware” of the synthesizer generates a sound of the required duration, timbre and other characteristics. Accordingly, the MIDI output allows you to transmit MIDI events to...an external device — a sequencer, sampler, another synthesizer, a computer (although it is more convenient to connect the instrument to a computer via USB), etc. This interface can be used for various purposes — MIDI recording, playing music through an additional synthesizer if the main model does not have the desired tone, etc.

— MIDI thru. An output designed to transmit to another device MIDI events received by the synthesizer via a MIDI input (see "Inputs"). In this case, the stream of MIDI commands is transmitted unchanged, pressing the keyboard of the synthesizer does not affect it. This function can be useful in some situations where the instrument is connected to several external devices at the same time. For example, if you need to control two others at once from one synthesizer, you can compose such a system as follows: the MIDI output of the control synthesizer is connected to the MIDI input of the first controlled one, and the MIDI thru output of the first one is connected to the MIDI input of the second one. Thus, the control signal goes to the first controlled synthesizer, and, through it, to the second one, while it would be difficult to connect both instruments directly.

— Headphones. Dedicated headphone output. It usually uses a mini-Jack 3.5 mm or Jack 6.35 mm connector — the vast majority of modern headphones are equipped with the first, the second is less common in the “ears”, but more reliable, and is also compatible with 3.5 mm through a simple adapter. Using "ears" when playing the synthesizer is convenient because only the musician hears the music played — this can be useful in situations where you need to practice, but it is undesirable to make noise (for example, at late hours of the day). In addition, some instruments do not have built-in acoustics, and you can listen to them normally only through additional equipment — the role of which can be played just by headphones.

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.