Yamaha has been involved in the manufacture of pianos and other keyboard instruments for well over a century — including acoustic pianos, reed organs and fully transistorised organs — but it isn’t until the mid-1970s that it started its journey with the kind of synths and home keyboards we know today.
Here we take a brief look at the evolving history of Yamaha home keyboards, digital pianos and synths.
Contents
- CLP series
- CP Series
- CS synth family
- CV series
- CVP series
- DGX series
- DSR series
- DX series
- EX series
- EX series (Baldwin keyboards)
- EZ series
- GS series
- HD series
- HS series
- J Series
- KB series
- MIE series
- MM Series
- MO Series
- MOTIF Series
- MOX series
- MX series
- NP series
- P series
- PC series
- PCS series
- PF series
- PSR series
- PS/PSS series
- QS
- S Series
- SHK series
- SHS series
- SK series
- SKB series
- SY analog synths
- SY series
- TYROS series
- TYU series
- VL series
- VP1
- VSS series
- YDP series (ARIUS)
- YP series
- YPP series
- YPR series
- YPT series
- YS series
CLP series
Although the CLP series of Clavinova “traditional” digital pianos is still going strong today, the first models were launched in the mid-1980s.
Over one hundred models have been released, with an expected rise in quality of sound and touch over four decades.
The first models, such as the CLP-20 and CLP-30, focused more on the keyboard feel than the sound itself. Mid-’80s instruments were still using FM synthesis — excellent for many types of sound but imperfect for accurate reproduction of an acoustic piano’s sound.
It wasn’t until the 1990s that Yamaha’s AWM sample-based technology was advanced enough to be installed on its digital pianos. This led to a huge leap in sound realism, making these and other models far more useful to professional musicians as well as home users.
Generally, the CLP range of Clavinovas were styled as upright pianos and came with the accompanying stands to make them a genuine piece of furniture with similarities to acoustic uprights.
Sound and touch improved over the decades:
- 1985: First CLP models—digital alternative to an acoustic upright.
- Early 1990s: Shift from FM synthesis to AWM sampled pianos, a huge leap in realism.
- Mid-1990s: Graded Hammer (GH) keyboard action introduced.
- Early 2000s: GH3 action and multi-layer stereo sampling.
- 2008: CFIIIS concert grand sampling.
- 2014: CFX + Bösendorfer Imperial piano voices and Virtual Resonance Modelling (VRM).
- 2020: Grand Expression Modelling and GrandTouch keyboard mechanism.
- 2024/25 (CLP-800): Further refinements to key action, speaker systems and grand-piano behaviour rather than revolutionary new features.
CP Series
The CP Series is an interesting multi-tech range of stage pianos featuring acoustic instruments, analog and digital keyboards, and spanning over four decades.
From 1976-1982, Yamaha launched acoustic grand pianos and analog electric pianos.
The electric grands included modes such as the CP-70 and CP-80. They were fully acoustic in much of their design — strings, hammers, piano action — but had no soundboard and instead had piezo pickups to allow them to be connected to an amplifier.
Some were modelled on miniaturised grand pianos while others were uprights. A few models also had MIDI capability.
Alongside this were analog electric pianos such as the CP-10, CP-20, CP-30 and CP-7. These were fully electronic, but analog, instruments.
In the early 2000s, Yamaha launched fully digital pianos in the CP range, including the CP1, CP5, CP4 Stage, and culminating in the CP73 and CP88 still in production today. Technology here includes sampled acoustic pianos and physical modelling, Spectral Component Modelling, virtual electric pianos, and modern effects.
CS synth family
The CS series of synths comprised of fourteen models spanning the years 1977-1983. The CS-80 is perhaps the most widely known and influential model in that series, with notable users including Vangelis, Jean-Michel Jarre, Toto and Stevie Wonder.
CV series
Two CV Clavinova pianos launched in 1984, the CV-100 and CV-300, as predecessors to the CLP series. Had similar technology to the YP line launched a year earlier.
CVP series
The Clavinova Ensemble series started out in 1985 with the CVP-3, CVP-5 and CVP-7, continuing on to the present day with digital pianos such as the CVP-905 and CVP-909.
There are over 70 models in this series.
These have always been a mixture of upright and grand styled instruments, fully furnished, with finishes such as dark rosewood, cherry, mahogany, polished body and polished mahogany.
Fully digital, sound and feel quality has improved over time.
DGX series
Yamaha’s DGX series of portable digital grand pianos currently spans about two decades, with the DGX-200 being launched in 2002 and the latest 600-line models appearing from 2006 until 2021.
It’s interesting to consider where exactly these models (and the virtually identical YPG models with alternative casing colour) sit in Yamaha’s thinking, because they are marketed as fairly entry-level pianos, and yet in Yamaha’s history they are listed among other keyboards and not digital pianos.
They started out with fairly low polyphony, as expected for their age, expanding to high polyphony in later models. Yamaha’s AWM system is used along with Virtual Resonance Modelling on newer instruments.
Other features include accompaniment and rhythm, basic learning modes, and built-in speakers.
DSR series
Two models were launched in 1987, the DSR-1000 and DSR-2000, followed by the DSR-500 in 1988.
They can be considered something of an experiment by Yamaha. At the time, the company wanted something more advanced than the emerging PSR series of keyboards (which were squarely aimed at the home consumer market), to include more advanced arranging and sound editing/synth features.
This may have been borne from the success of the popular but difficult-to-master DX7.
The DSR-1000 and DSR-2000 used both FM and AWM synthesis, while the DSR-500 relied on FM only.
They’re often described as part of the Portatone family, but are dwarfed by the huge number of models in the PSR series itself, many of which took on more advanced features, particularly arranger capabilities, once Yamaha pulled the plug on the DSR branding.
It’s possible the DSR line saw Yamaha trying to achieve too much, based on DX success, at a time when the technology wasn’t quite advanced enough to set them apart.
DX series
Including the most well-known ’80s staple, the DX7, Yamaha’s DX series occupied a short period (1983-1985) but had a huge cultural impact.
It was virtually impossible to listen to chart music in the 1980s without hearing many of the stock DX voices — partly because it was relatively difficult to program the synth to create decent custom sounds.
EX series
Yamaha’s EX series of synths, predecessors to the MOTIF line, launched in 1998 with the EX5 and EX7, plus a rack mount version of the EX5.
The EX5 was the flagship model, featuring not only AWM2 synthesis but also four other tone generators for sound creation — Analog Physical modelling (AN), Formulated Digital Sound Processing (FDSP), Virtual Acoustic (VL), plus sample based synthesis.
Various combinations of synthesis types could be used, subject to technical constraints, making these quite advanced instruments for their time.
It also had an onboard sequencer, arpeggiator, and floppy disk storage.
The EX7 was a cut down version of the EX5.
EX series (Baldwin keyboards)
Not to be confused with Yamaha’s Electone organs which also used the EX branding, or Yamaha’s EX synths, these were three electronic keyboards released in 1986.
The EX-10, EX-20 and EX-30 featured FM synthesis for voices and AWM synthesis for rhythm, had 61 or 49 organ style keys, and modest polyphony.
These instruments were in fact made by Yamaha for Baldwin, so in the wild may be branded as such, possibly also with the “Explorer” name.
EZ series
The first models in Yamaha’s EZ range of lighted keyboards were the EZ-20, EZ-30 and EZ-J22 launched in 2001.
There have been around 18 models to the present day (the EZ-310 in 2024) with some models (with a J in the name) being sold in Japan.
Most models featured 61 touch sensitive keys, modest polyphony, and accompaniment features. The main selling point was the lighted keys, which when following various installed songs would light up the correct keys to be played.
GS series
The GS1 and GS2 were released as high-end FM synthesis electric pianos, styled as upright pianos.
They are now incredibly rare, and at the time were unaffordable to all but the biggest studios and richest musicians. Only around 100 units of the GS1 were sold.
The GS1 used an 8-operator FM tone generator which produced highly realistic electric pianos, metallic sounds and brass. Its 88 key keyboard had both touch sensitivity and aftertouch. Built in effects included chorus and tremolo. It loaded voices via card reader.
It was used by the band Toto on Africa, and by jazz pianist Herbie Hancock.
The GS2 was a scaled-down, lighter version of the GS1 intended for touring musicians. It had 73 keys without aftertouch, and a four operator FM engine. It did sell more units than the GS1. Notable users included Vangelis.
HD series
The HD series is interesting as it sports only four models across nearly four decades.
The HD stands for “Harmony Director” and was primarily intended for the Japanese education market rather than home or international consumer markets.
The earliest model, the HD-81, was released in 1984 and uses FM synthesis, as does the HD-100 launched fourteen years later in 1998.
The HD-200 (2007) uses a mix of FM and AWM sounds as does the HD-300 from 2021.
Yamaha maintained strong links with the Japanese educational market and it seems as if the company has produced keyboard instruments containing the required features for a shared learning environment. This potentially also explains why new models were released infrequently.
HS series
The four HandySound mini keyboards, launched in 1981-2, were primarily intended to be used by children.
They were simply constructed with 25 miniature keys, a rudimentary speaker, limited polyphony, Yamaha’s PASS sound system, and rudimentary musical games.
J Series
The J series was a line of five digital pianos sold exclusively in the Japanese market for a decade from the late ’90s until the late 2000s.
With varying levels of functionality from the first generation J-3000 in 1998, through the J-5000 (2000), J-7000 (2002), J-8000 (2005-6) to the fifth generation J-9000 in 2008, the J Series was intended to sit somewhere between the Clavinova ranges and the P series of portable instruments, and aimed at the home market.
KB series
Over 20 instruments in the KB series of music keyboards, spanning over two decades from the KB-2000 in 1988 to the KB-90 in 2012, were released by Yamaha primarily for the Chinese education market.
Yamaha had strong Chinese manufacturing and education links, so a dedicated range of fairly rudimentary music keyboards which could be used in the classroom would have likely been highly lucrative.
Though the range looks quite large, the fact it spans nearly 25 years shows it wasn’t updated as frequently as other more consumer-focused ranges such as the PSR family.
Throughout the range’s evolution the instruments used a range of Yamaha’s sound technology including FM, DASS and AWM.
The feature set was rather scaled back compared to other ranges, with a focus more on doing a few things well — likely what was required in an educational setting. So these were not simply Chinese-market equivalents of PSR or PSS instruments, but models in their own right. Chances are, though, they would have rarely if ever been seen outside China at the tine, and even now they are rare sights.
MIE series
Three models in the MIE series of keyboards, from the MIE-1 launched in 1990 to the MIE-3XG launched in 2006.
As the Music In Education name suggests, they were intended for use in education. As well as a collaboration with Hal Leonard, seeing printed learning books being made available, it came with a split divider which split the keyboard into two separate sections for use by two students simultaneously.
Although Yamaha claims its education system was used by a large number of students, particularly in America, it’s not clear how popular these keyboards were.
MM Series
Two synthesisers released in 2007 — the MM6 and MM8 — identical in specifications except for the number of keys and key weight.
They featured high quality samples using AWM2 synthesis — based on those found on the MOTIF series — a modest polyphony, sound editing and 9-track sequencer.
They were considered professional instruments. Main competition at the time included the Roland JUNO-D, JUNO-Di and XPS-10, the KORG X50 and Kross.
MO Series
Similar to the MM series, two music production synths with identical specs but varying key number and weight.
Launched in 2006, the MO6 and MO8 are based on the MOTIF ES sound set and have thousands of sounds, 64 note polyphony, a sequencer, and digital audio out.
Apparently Yamaha intended the instruments to be integrated with Steinberg Cubase.
The MO series was superseded by the MoX series.
MOTIF Series
The MOTIF series of synths covers a significant period in the early 2000s, from the original MOTIF6/7/8 in 2001, through the MOTIF ES6/7/8 in 2003, the MOTIF XS6/7/8 in 2007, and the MOTIF XF6/7/8 in 2010, with all but the XF series having rack versions released in the subsequent year.
Releases can be split into four distinct generations.
Generation 1, the original MOTIF, launched in 2001, comprised three keyboard instruments and a rack mount unit. Key numbers ranged from 61 to 88, with weights from light, through semi-weighted and balanced hammer effect. The balanced hammer action is that found on the S90 series.
It featured modest polyphony and sound banks.
Generation 2, MOTIF ES, from 2003, also came as three keyboard and a rack mount unit. Polyphony had increased along with number of presets.
Generation 3, MOTIF XS, from 2007/8, with its trio of keyboards and rack mount unit, kept the same polyphony, keys, and expanded sounds.
Generation 4, MOTIF XF from 2010, again with a trio of keyboards but no rack mount unit.
MOX series
Released in 2011 as an entry-level version of the MOTIF XS from four years earlier, available as 61 (MOX6) and 88 (MOX8) key variants with either light or hammer action keys, reduced polyphony and sounds.
MX series
Released in 2012 as another entry-level variation on the MOTIF XS from five years earlier, as MX49, MX61 and MX88 — the model denoting the number of keys — with either light or hammer action keyboard.
NP series
Known as the Piaggero range, these are relatively recent instruments and indeed two models are still in production.
Designed to be lightweight and portable digital pianos for more beginner musicians, they came in a range of sizes from 61 key versions such as the NP-11 up to full 88-key. All had some kind of semi-weighted feel to the keyboards.
Three models were launched in 2010 — the NP-30, NP-V60 and NP-V80. While the standard models were marketed primarily as pianos, models with a V in the name offered “value” or “versatility” — meaning they came with additional sounds, styles, a display and other features.
Nine NP models were produced, with the NP-15 and NP-35 of 2023 the current ones.
P series
The P series of digital pianos is a significant set of portable keyboards, first launched in the 1990s and with models still being produced today.
Around 30 models have been released, with a focus on relative portability, a decent but not overindulgent feature set, and good build quality.
Most utilise some version of Yamaha’s AWM sample-based synthesis and have a variant of graded hammer or other weighted keyboard mechanism.
PC series
The PC (Play Card) series were a distinct part of the PortaSound family of instruments and launched in the early 1980s. This handful of entry-level mini keyboards offered a low-cost way into music making, primarily aimed at young children.
They used Yamaha’s PASS sound synthesis engine, had very limited polyphony (usually around six or eight notes) and just a handful of sounds.
Perhaps its most innovative feature was the use of a card reader (not in the sense we’d use the term today) which could read magnetic strips on paper cards in order to load various melodies to aid in learning.
The PC-100 featured lighted keys, the later PC-1000 had full sized keys. These were fun if largely impractical instruments — an interesting point in history but with only rudimentary learning credentials.
PCS series
The PCS series comprised two models — the PCS-30 and PCS-500 — launched in the mid-1980s as a continuation of the PC family.
The PCS-30 featured a LED learning system and a rather quirky sound system. The PCS-500 had larger speakers on board.
Given the PCS-500 specs, it’s possible the S stood for “stereo”, although it would likely be of little benefit on such relatively simple instruments. It may also have simply been an extension of “PlayCard System”.
PF series
A dozen or so Clavinova-styled instruments in the PF series, mainly launched in the mid to late 1980s with a couple of additional models released in 2002.
These were more accurately stage electric pianos, for although they had the full-size 88-key weighted keyboards, they generally used FM synthesis, making them more useful for replicating electric pianos rather than accurately reproducing acoustic piano sounds.
Later models, such as the PF85, PF1200 and PF1500 launched in 1987/8, did take on board Yamaha’s new AWM sample-based synthesis, which offered far more realistic acoustic piano sounds.
The PF-500 and PF-1000, both launched in 2002, feel as if they sit outside the main PF series. Although they share much of the same named functions as later 20th century models, advances in technology mean they sit considerably further ahead in their capabilities.
PSR series
The PSR series of PortaTone models is Yamaha’s largest and widest-spanning collection of music keyboard, primarily aimed at home, amateur and perhaps semi-professional musicians.
The range covers a huge time period and comprises around 200 models, so it’s not easy to simply categorise them.
The majority feature full size, unweighted style keyboards, with more expensive/newer models having touch sensitivity. Keyboard ranges are usually either 49 or 61 keys, with a few 76-key models.
Sound wise, they generally utilise some version of Yamaha’s AWM synthesis. Other features often include accompaniments, recording, a basic learning system and MIDI. Most accept a sustain pedal.
The PSR series has been one of Yamaha’s most successful non-digital piano range of keyboard instruments, competitively priced, of decent build quality, with a range of features suited to kids, beginners and improving musicians.
PS/PSS series
Around 75 models in the PS/PSS PortaSound range of keyboards were released, primarily in the 1980s and 1990s.
They were generally miniature keyboards with often basic feature sets, aimed at children. Most used FM synthesis, some allowed for samples to be recorded, others used wavetable synthesis.
Few had any advanced features, but they often implemented accompaniments, basic recording, and rudimentary learning.
QS300
The single QS300 model from 1995 was a five-octave workstation which mixed accompaniment features usually found on lower-end keyboards with synth functionality.
It uses the well-established AWM2 sound system and features a sophisticated sequencer and auto-accompaniments taken from the QY300 16-track sound module, plus 3.5-inch disk drive, and a velocity and aftertouch sensitive keyboard.
Modes include voice editing, phrase and pattern editing, song, and effects.
S Series
An interesting series of instruments launched around the dawn of the 21st century, with the S80 launched in 1999, the lighter S30 in 2000, a handful of lower cost models in the early 2000s and then MOTIF-inspired models for the remained of the ‘noughties’.
The first generation, if you like, of the S80 and S30, were aimed at musicians wanting a decent piano feel but with synth capabilities. They used the same AWM2 sound engine as found in the CS6x.
These models focused more on performance and built-in sound quality and removed onboard sequencing and sampling — live performers would appreciate this and those using them in a studio likely had access to DAWs and other MIDI equipment should they want sequencing ability.
The second generation, featuring the S03 and S08, were smaller, simpler and cheaper models (perhaps non coincidental that the two model numbers were reversed from the first generation).
The S03 had 61 keys without aftertouch, reduced editing capabilities and fewer effects. The S08 kept the 88 keys but with a reduced feature set making it more affordable yet still a good option for simple performance setups.
The third generation featured the S90, S90ES, S90XS and S70XS and were heavily based on equivalent MOTIF instruments of the time. They often removed the sequencing and more advanced elements, but kept the high quality basics of sound and feel, making for a simplified, highly usable performance keyboard that removed complexities such as menu diving, generally not appreciated by live performers.
SHK series
The two SHK models were intended to be used in Japanese school music education. The SHK-1000 and SHK-1000II were launched in the mid-2000s and were designed with features and build quality that would stand up to a communal learning environment.
In some ways the SHK were simplified, rugged variants of that found on PSR models of the age. They had 49 keys, accompaniments, AWM sounds including piano, MIDI and touch sensitivity. They were also built more robustly to handle perhaps hundreds of students using them over many years.
They would have been perfectly adequate for teaching basic music theory and playing technique to a large group of students, not necessarily those who would have aspired to professional musicianship.
SHS series
The SHS series were mini-keyed keytars. The SHS-10, launched 1987, came in three distinct colours and 32 keys, while the SHS-200 (1988) was a successor with wider key range (49 keys).
They used FM synthesis and had limited polyphony and built-in sounds.
SK series
The SK series from 1979-1981 was a relatively short-lived but interesting collection of instruments, listed as synths but based on an electronic organ with most models combining an analog synth.
Known for its ability to produce warm, thick organs, strings and brass, models ranged from the SK-10 – which had no analog synth built in – up to the SK-50D which was a dual-keyboard instrument incorporating independent upper and lower sections, mono and poly synth and bass section.
The SK-30 (1980) is often seen as the classic SK synth. This lead synth is effectively a simplified CS-style instrument with VCO, VCF, VCA, envelope and LFO, with the ability to play and mix strings, organ, brass and analogue lead.
SKB series
A couple of models in the SKB range — the SKB-130 (2000) and SKB-180 (2008) — were intended for the Chinese school market.
They seem to have had some overlap with KB models, such as the SKB-130 updating the KB-130 and the SKB-180 updating the KB-180.
They had fairly decent specifications for the time, including 61 keys, AWM sound, larger voice bank.
SY analog synths
In 1974 Yamaha launched the SY-1 monophonic analog synth, followed by the SY-2 in 1975. These were the predecessors to the following CS series.
Initially designed as accessories to be used with larger organs and pianos, they became useful instruments in their own right.
SY series
The SY range of digital synths (not to be confused with the analog SY-1 and SY-2) were six keyboards launched around the early 1990s, from the SY77 in 1989 to the SY35 and SY85 in 1992.
They were generally 61 key instruments (SY99 was 76 key) with full size lightweight keys, touch sensitivity and aftertouch, fairly low polyphony, and either pure AWM2 or a combination of AWM2 and FM synthesis.
A defining feature was the newly-developed digital filters which claimed to duplicate the behaviour of analog synths. Models such as the SY55 also allowed four sample-based wave component “elements” to create combined sounds, while the SY99 allowed for sampling external sounds for use in the AWM2 tone generator.
Many of the technologies introduced in the SY range continued to be honed and used in Yamaha’s MOTIF series.
TYROS series
Yamaha launched its first TYROS arranger workstation keyboard in 2002, with the final Tyros 5 being released in 2013, superseded by the Genos in 2017 and with many of the features taken over by the PSR-S line.
Designed for both musicians who wanted a way of sequencing and arranging music on one hardware device, and performers wanting more realistic and varied accompaniments and styles, the Tyros range offered a wide range of functions, with price tags to match.
They were generally well received, relying on many of Yamaha’s tried and tested technologies and packing in large numbers of sounds, styles and effects.
TYU series
The TYU trio of mini keyboards launched in the 1980s had the ability to read music card ROM cartridges, and also featured lit keys.
Very much designed for use by children, they were bright, colourful and rudimentary in capability.
The TYU-20 (1984) only had one note of polyphony, while the TYU-30 of the same year and the TYU-40 of 1986 had four.
They used Yamaha PASS sample technology and mini keys. The TYU-40 had a pitch bend and microphone.
VL series
The VL series of synths comprised of two keyboards (the VL1 and VL7) plus module versions (VL1m and VL70-m) first launched in 1993. The VL1 also received a second enhanced version.
Known as virtual acoustic synths, Yamaha had developed its first physical modelling instruments, rather than using oscillators, function generators, preset waveforms or samples.
Yamaha claimed its synths offered more realism, depth, and sound variance that you’d find in real acoustic instruments, with the added sound possibilities a synth can offer. They were intended primarily for replicating woodwind, brass and string instruments, and synthetic versions of such.
They really were marketed and designed as lead-style instruments, with a low polyphony but immense control over the produced sounds. Used in a wider recording context they would’ve brought a powerful set of tools.
VP1
The rare VP1 (1994) used much of the same synthesis technology as the VL series but with a different implementation, more suited to modelling plucked or struck instruments.
The F/VA (free-oscillating VA) sound system creates a computerised model consisting of a driver and a string component. The driver simulates the playing action and the string component simulates the vibrational system.
VSS series
The VSS trio of instruments, first launched in 1985 with the VSS-100, were mini keyboards capable of sampling. They were labelled as being part of the PortaSound range of instruments.
The naming suggests they were based on models from the larger PSS range, but with a deeper focus on sound sampling.
Although rudimentary by today’s standards, it was great fun at the time, and a worthy introduction to sound sampling for kids.
Sampling was generally at a low rate and only for a few seconds, though it included both microphone and line in connections for capturing audio.
YDP series (ARIUS)
The YDP line of digital pianos, also named ARIUS, is a current series but with roots dating back to the late 1990s.
Over 40 models have been released, generally aimed at beginning and improving pianists, with generally lower price tags than higher end Clavinova offerings. They still offer decent sound, which has evolved over time but is based on AWM2 technology and samples of some of Yamaha’s acoustic pianos.
YP series
The YP series were some of the earliest Clavinova pianos to be released, in 1983, with models the YP-10, YP-20, YP-30 and YP-40. It used Yamaha’s Stereo Symphonic effect. They are predecessors to the CLP line.
YPP series
The YPP series were a set of smaller digital pianos, featuring either 76 or 61 keys, launched in the 1990s and early 2000s.
Models included the YPP-100, YPP-15, YPP-200, YPP-35, YPP-45 and YPP-55. They sued the AWM sound system but did not have weighted keys. They were likely designed to be more portable, although some did come with accompanying stands making them more fitting in a home environment.
YPR series
Eight models launched in the mid 1980s and 1990s, the YPR range were generally 61 key light weighted key models (the YPR-50 had 76 keys) with AWM sound. Relatively low cost, they were more akin to cut down PSR models.
YPT series
Still being produced, the YPT series of keyboards launched in 2010 with the YPT-210, YPT-220, YPT-310, YPT-320, YPT-410 and YPT-420.
They had similarities with models in the PSR and PSR-E range at the time, were often coloured with silver cases, generally 61 key lightweight actions wth AWM sound, and usually on the budget end of the scale at a few hundred dollars at most.
YS series
The YS100 and YS200 were FM synthesis keyboards launched in 1988 and marketed as “Entertainment Operating System” keyboards sporting richly textured sounds, professional quality effects and amazing expressive power.
Features included easy and advanced sound editing, audio effects, performance controls, aftertouch on the YS200, preset and user voices, and (again on the YS200) an 8-track sequencer.
They could read and write data to memory card, and optionally use a breath controller for expressive sound shaping.
