Yamaha P-250 keyboard features and reviews
July 24, 2005
Yamaha’s website claims:
If you play music for a living, you deserve a digital piano that offers the finest selection of acoustic pianos, organs, electric pianos and other essential keyboard sounds. You deserve a hammer-action keyboard that’s so smooth and responsive it feels just like a real piano.
You deserve comprehensive master controller functions and full XG MIDI implementation for connecting to computers, synth modules and other equipment in your musical arsenal. You deserve the P-250.
The P-250 boasts:
- 88-note Graded Hammer-Effect Keyboard (developed with Yamaha’s 100+ years’ experience in acoustic piano design)
- Dynamic Stereo Sampling Layers: Four layers of sampling, 128 note polyphony.
- Four pedalling modes: sostenuto, soft, sustain and expression.
- Ultra Expressive Voices: 48MB wave ROM.
- 5-band equaliser
- Full-function 16-track MIDI sequencer
- USB-to-host-PC system
- Built-in speaker system
- Pitch-bend and modulation wheels
Reviews
The Yamaha Keyboard Guide gives a favourable review of the P250. Notable points are the ’superb’ graded hammer action keys – heavier in the bass and lighter in the treble registers as per an acoustic grand piano – the ‘phenomenal’ sound, through built-in speakers that ‘don’t disappoint’, and the 128-note polyphony that means notes will rarely, if ever, cut out. The only downside is the weight, but this goes with the territory of genuine-action keys.
Harmony Central shares user reviews of the P250. One reader prefers the sounds of the P-60, though the action is better on the P-250.
Do you own the P-250? What do you think? Leave a comment below.
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Got about $24K to spend on a modular synth? Try an MC-24
July 20, 2005
One thing’s for sure—you won’t find this in any ordinary music store.
Gizmodo first alerted me to the No Chip Modular Synthesizer:
est part? This beast costs $24,341 and may or may not come with a super-intelligent goblin that will control it for you while you belt out your latest ballad, “The Girl I Met on the Train on My Way to Prague During My Year Abroad.”
This leads on to MusicThing where we read of The ultimate analog : No chips, military grade, $24k:
“They are hand built using only the finest materials available including military spec. potentiometers, knobs, and scratch/corrosive resistant front panel stock used by the US Navy… no chips whatsoever in the audio path. Many of our competitors say discrete – but the real truth is, their circuits are hybrid – meaning they use a combination of transistors, chips and some even use the dreaded “transistors- on-a-chip” devices, and try to claim discrete.”
Discrete Synthesizers website says (for the jargon-starved amongst you):
The MC-24 comes equipped with 10 of CMS’s new ultra-linear discrete VCOs (4047). 4 of CMS’s new Phatron filters (4042). Also standard on the MC-24 are 4 of the new CMS discrete VCA modules (4088). To mix the copious amount of VCOs together, we have come up with the new 9015 10 channel discrete stereo mixer featuring CMS’s new discrete op-amp modules (4080). These unique elements, and many more too numerous to list here, combine to form an instrument of unparalleled sonic capabilities.
Oh, and
Serious inquiries only.
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What is MIDI?
July 20, 2005
A key component of modern electronic music is MIDI.
The Musical Instrument Digital Interface protocol was introduced in 1983, as a collaborative effort between major electronic instrument manufacturers including Korg, Roland and Yamaha.
MIDI allows compatible devices—usually keyboards, synthesisers, drum machines, sound modules, and computers—to communicate with one another using a standard, efficient ‘language’.
The MIDI protocol does not transmit audio, but rather information about notes, timing, and other related musical information.
Standard MIDI is a fairly simple system, though more advanced add-ons have evolved including MIDI Time Code, the Sample Dump Standard, and MIDI Show Control.
One of the first readily-available MIDI-equipped computers was the (now virtually defunct) Atari ST range of computers. STs became commonplace in both professional and home studios, but were gradually superseded by more powerful PCs and Apple Macs.
Though MIDI is most often seen on keyboard-based electronic instruments, and modular versions of these, it has also made its way onto other electro-acoustic instruments, with varying degrees of success, including guitars, cellos and drum kits.
Some mobile phones use MIDI as a basis for their ringtones.
Because MIDI does not transmit sound, just data about the sound, a MIDI track may sound quite different played on different instruments.
General MIDI was introduced in the mid-90s as an attempt to standardise commonly used sounds across different manufacturers.
MIDI is certainly not ‘old-hat’ though – there’s a thriving community and most music-related equipment, both amateur and professional, can utilise MIDI.
Resources:
- MIDI Manufacturers Association
- Search Engine for MIDI resources
- Wikipedia entry for MIDI
- MIDI Music Downloads Database
- MIDIWorld
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Daniel Pesca’s concert, and not a Mario brother in sight
July 19, 2005
Aged 4, Daniel Pesca was sketching Mario Brothers video game ideas, so by the time he started taking piano lessons at age 7, it was not unexpected that he would compose his own music.
“He was always trying to create something new,” said Pesca’s mom, Robin Pesca.
“I think I was born with the urge to compose,” Pesca, 20, said recently, taking a break from practicing on a Steinway in some friends’ home not far from his family’s Huntsville home. “Often, I’d spend hours a day at it when I was a child.”
“The question is not whether Daniel will become an important composer, but just how soon that’ll happen!” Eastman Professor Dr. Carlos Sanchez-Gutierrez wrote in a recent e-mail.
Read the full article: Mr. Pesca’s opus.
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Osorio plays Spanish piano music
July 19, 2005
Channing Gray writes a review over at Projo.com about Federico Osorio who played a selection of Spanish and German piano music at the Newport Music Festival.
Osorio, a balding man in a business suit, opened his program with three sonatas by the Spanish Baroque composer Padre Antonio Soler, ticklish little pieces that require fleet fingers, a delicate touch, and sound an awful lot like the one-movement sonatas of Scarlatti. Osorio had to scramble at one point, when the music almost ran away from him. But otherwise these were flawless readings that were full of charm and grace.
The only drawback was the overly live sound, which either came from the hall, or a heavy pedal foot. At times the playing sounded muddy.
But Osorio’s real gift is with the Spanish romantics. The set of Spanish dances by Granados, especially the dreamy Chopin-esque second one, were delicious, full of elegance and warmth. The third one had a sort of left-hand figure that sounded like a strumming guitar.
The big offering on the program was the eight-movement Spanish Suite by Isaac Albeniz, a work of many moods and colors. Osorio put lots of kick in the jazzy opening, then dropped back into an atmospheric reading of the second movement, one that takes its cue from Debussy.
Read the full review (registration required): Review: Savor the flavor of Osorio’s piano stylings
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Press Release: Steinberg Ships The Grand 2
July 19, 2005
Highly anticipated update to Steinberg’s virtual concert grand now shipping worldwide
Steinberg Media Technologies GmbH is pleased to announce that the updated version of its virtual piano instrument is now shipping worldwide. The Grand 2 features an entirely new added grand piano, surround capabilities as well as a range of features designed to maximise computer resource efficiency.
“The Grand 2 is one of the leading virtual concert grands available on the market today,” comments Claus Menke, Steinberg ’s Director of Product Management. “Two world class pianos have been painstakingly recorded using state of the art equipment, and the resulting libraries engineered to give not only a breathtakingly realistic sound, but also an unprecedented level of playability,” continues Menke.
The new virtual concert grand which has been added in this update has been sampled from a renowned model by a world-famous piano maker, with added key click, pedal and hammer sounds that offer yet more sonic realism. The unique new four-channel surround implementation allows The Grand 2 to be placed anywhere inside a virtual room, with the position adjustable from directly within the VSTi’s user interface.
Several new features are aimed at providing efficient use of the computer’s resources. The Grand 2 features RAMSave, a technology first seen in Steinberg ’s HALion virtual sampler, allowing for highly efficient use of the host computer’s RAM by unloading unneeded samples from memory. While the general disk streaming performance has also been enhanced in the new version, the selectable ECO mode also reduces demands on the computer’s resources, ideal for older computers.
The Grand 2 supports all major plug-in formats such as VST, DXi, and AU. ReWire support offers easy integration into Pro Tools, while the standalone version allows The Grand 2 to be used without a host application.
Price and Availability
The Grand 2 is available in the US for $299.99. Existing customers can update to the new The Grand 2 version for only $99.99.
For more information, please visit www.steinberg.net.
Popularity: 1% [?]
Maybe a time not to use synthesisers
July 18, 2005
Gary writes I Hate Synthesizers
Here’s why:
see, i’ve been browsing thru my old cd collection, and i come upon that grand 80s musical, Les Miserables. and i’m like “cool! i remember Les Miz having wonderful music! and i throw it in the old cd player. so, it DOES have wonderful music….in concept. the melodies are lovely, the emotions beautiful, BUT (being the 80s musical it is) THEY HAVE TO USE A GODDAM SYNTHENSIZER!!!! example: “Do you Hear the People Sing?” is a very good, recognizable song, but here’s how the music starts:
bum bum bum bum “do you hear the people sing, singing the songs of angry men…”
can you guess what the bum is? yes, its a synthesized organ-piano sound (but mostly shitty sound), framed by a cautious drum and the whispers of a cello. i mean… they’re smart enough to use a cello (cellos have one of the most pleasant sounds in the orchestra), why do they have to use a synthesizer??? synthesizers stand out like a sore thumb, are an artificial, hollow sound, and are generally displeasing. i mean, if they wanted to use a piano SOUND then they could have just used a damn piano. or they could have done more with that drum they’ve got sitting there. ikh.
a full organic orchestra has a beautiful resonance. each instrument is emotional, and full. synthesizers are empty and cheap.
feel free to interpet this as a metaphor for life.
Yep.
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Site: Vintage Synth Explorer
July 18, 2005
The Vintage Synth Explorer is an ever-growing source of reviews, images, sound bytes and links for over 500 popular vintage synthesizers and samplers including many brand new hardware and software synths!
More than 80 makes are represented including legends from ARP, Korg, Moog, Oberheim, Roland and Sequential Circuits as well as current cutting-edge companies Access, Arturia, Clavia, Native Instruments, Novation and more.
The site features forums, classifieds, a useful ‘Synth Finder’ feature, a timeline of synth development, and links to manufacturers and developers. A very extensive, useful, community site.
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Module Records’ Synth of the Week: Gleeman Pentaphonic Clear
July 18, 2005
Module Records’ “Synth of the Week” is the Gleeman Pentaphonic Clear.
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Apple Garageband and Music Loops doing good business
July 18, 2005
MacWorld writes that some loop-production companies, including Beta Monkey Music and SonicEmulations, are producing and converting other format loops into the Apple Loops format, so that GarageBand users can take advantage of them.
“Business is great – It’s growing every month since we started,” Chris Donlon, Beta Monkey founder, told MacCentral. “The Apple sales are really starting to take off.”
When you think of buying third-party music loops, you may have the vision of some guy in his basement recording himself playing the drums or guitar on his computer. However, the Bandmateloops and Beta Monkey founders both have extensive experience in the professional music business.
“We don’t just release stuff that we like; we make loops that we think we be useful – I think that’s really important,” said Shapiro.”
Read the full article: Apple music loops becoming big business
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