Comparison Yamaha PSR-F52 vs Casio CT-S100

— 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).

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 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.

The sequencer is a device that allows you to record music played on the instrument in real time. Recording is usually done in MIDI format. At the same time, the capabilities of the sequencer can include not only the recording and playback of the music being played, but also advanced options for editing it: sequential overlay of several parts, mixing of recorded tracks, changing the volume, tempo, timbre, key of the recorded compositions, quantization to eliminate tempo irregularities, etc. .P. The specific capabilities of the sequencer, usually, directly depend on the type (see above) and the price category of the synthesizer. However, anyway, this function can be an important help for both a novice musician and a professional.

The presence of a chorus effect in the synthesizer.

The word "chorus" comes from chorus, "chorus", and the purpose of this function is quite consistent with the origin of its name — it creates the effect of the choral sound of several instruments. To do this, the original sound signal is copied (one or more times) and the copies are added to the overall sound with a small, up to 30 ms, time shift, and this shift is constantly changing. In this way, a small but noticeable difference in individual "voices", characteristic of a real choir, is imitated. However it is worth noting that a full-fledged resemblance to a choral performance with the help of a chorus cannot be achieved even on the most advanced synthesizer; however, this effect in itself sounds very interesting, thanks to which it does not lose its popularity.

The ability to fine-tune the synthesizer by sound frequencies. Often, such models also indicate the range in which such adjustment can be carried out.

The standard tuning, which is used by default in all synthesizers, is designated as “440 Hz” — this is the frequency of the “la” note of the first octave, as well as the standard frequency of the tuning fork, all other notes are tuned to it. With fine tuning, the musician can set a different base frequency, raising or lowering the overall tone of the synthesizer. At the same time, unlike the transposition described above, in this case the frequency does not change in steps (by tones-semitones), but smoothly, with an accuracy of a hertz or even a tenth of a hertz. Such an opportunity can be useful in some non-standard situations — for example, if you have to accompany a guitarist whose instrument is tuned slightly higher or lower than the standard, and for one reason or another it is impossible to change the guitar's tuning.

— 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.

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.