Comparison Yamaha MOXF6 vs Yamaha MX61

— Synthesizer. In this case, we are referring to classic digital synthesizers — keyboard musical instruments capable of reproducing the sound of various instruments and sound effects. The functionality of these models can vary greatly — from budget devices with minimal features to advanced instruments suitable even for professional musicians.

— Workstation. High-end synthesizers for professional use, capable of serving as not only a musical instrument but also as a control panel for recording and mixing sound. Therefore, a sequencer (see below) is a mandatory feature of such instruments. Additionally, workstations are characterized by advanced equipment appropriate to their class: it is among these instruments that you find models with full-sized hammer-action (see "Mechanics") 88-key keyboards, the user has access to a wealth of adjustments and connectors, and the sound quality and authenticity in low-cost models are good, while in advanced ones — nearly perfect. However, synthesizers of this type are quite expensive, so combined with their extensive capabilities, they are indispensable tools for composers, sound engineers, and other specialists engaged in both performance and music recording.

— Children's Synthesizer. The features of such instruments are generally clear from the name — these are synthesizers designed for children. Externally, these models differ from "adult" ones pr...imarily in the smaller number of keys (up to 49, often less) and the reduced size of the keys themselves for a child's hand. In addition, the performance characteristics and functionality of children's synthesizers are also, more often than not, more modest: for instance, the polyphony (see below) rarely exceeds 8 voices, and the overall sound authenticity is quite low. However, the educational capabilities of such instruments, on the other hand, can be very extensive, and in general, children's synthesizers are considered a good choice for initial learning.

— Analog Synthesizer. Instruments in which sound is created not through digital processing but by passing through a real electrical circuit. Very simply, the principle of operation of such an instrument can be described as follows: each key, when pressed, activates its sound generator at a certain frequency responsible for the desired note, and with additional settings (oscillators, envelope, filters), the musician gives this sound its color. From the user's perspective, the most noticeable difference in an analog synthesizer is the absence of built-in timbres — all details of the sound are manually adjusted by the musician. Analog instruments are more complex to operate, but on the other hand, they allow for effects that are not possible with "digital." Moreover, the coloration of the sound on analog synthesizers differs somewhat. Historically, instruments of this type appeared before digital ones; however, today, they are specialized solutions mainly intended for professional performers and used in specific musical directions.

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 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.

The presence of the auto accompaniment function in the synthesizer.

This function allows the instrument to automatically play an accompaniment melody that you can play along with the main part on the keyboard. At the same time, the left hand of the musician can control the accompaniment: it is enough to take a chord on the left half of the keyboard, and the auto accompaniment will automatically “decompose” it into instrument parts that sound in accompaniment. Thus, the musician turns into a "man-orchestra": one synthesizer can replace the whole ensemble, or at least a solid part of the ensemble. Of course, the sound quality in such models can be different, and not every synthesizer with accompaniment is suitable for an event more serious than a children's party, although there are quite advanced models.

In addition, playing to accompaniment can also be useful for educational purposes: it contributes to the development of general technique, a sense of rhythm, and additional accompaniment is very convenient during improvisation exercises.

It should be taken into account that not only the sound quality, but also the number of accompaniment styles (melodies) can be different; and some models allow you to record your own melodies. See below for more details on these features.

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 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 ability to overlay different timbres of the synthesizer sound on top of each other. This creates the effect of the sound of two (or even more) instruments at once — for example, piano and violin. At the same time, in advanced models, it may be possible to set different settings for different timbres so that the sameness of the extracted notes is not so noticeable — for example, the same "violin" can be set to smooth transitions between notes, while on the "piano" they will sound jerky.

Possibility of dividing the keyboard of the synthesizer into two parts, each of which is responsible for its own timbre of sound. Thus, on one keyboard, you can play two "instruments" at once in real time — for example, accompany the solo part of the violin with chords of a string orchestra. At the same time, unlike auto accompaniment (see above), all notes are taken by the musician himself, without relying on the automatic settings prescribed in the programme.

Usually, several “split keyboard” combinations are pre-written in the synthesizer’s memory, however, some models allow you to separately select a timbre for each half, at the discretion of the musician.

In a very simplified way, a vocoder can be described as a device that allows you to combine the sound of a voice with the sound of another instrument. In more detail, the vocoder allows you to transfer the properties of the voice to the signal of another timbre; in this case, the voice plays the role of a modulator, and the other timbre plays the role of a carrier. Due to this, various interesting effects can be achieved: give a live voice the intonation of a “robot”, create the effect of a “speaking” instrument (guitar, piano, etc.), supplement the performer’s own voice with a synthesized “choir”, etc. Technically, even another instrument can be used instead of a voice as a modulating signal — for example, you can combine drums with a guitar or a piano with a trumpet. However, in fact, it is the voice coming from an external microphone that is most often used as a modulator (although it would not hurt to clarify the specific functionality of this module separately).