Comparison Yamaha PSS-A50 vs Medeli M361

The greater the number of keys — the wider the range of the instrument, the lower and higher notes you can take on it right during the game, without resorting to tricks like octave shift (see below). By comparison, a full size piano keyboard has 88 keys. However, in synthesizers, such an amount is rare, because. the instrument would have turned out to be too bulky and expensive, and not every musician, even a professional one, needs such an extensive range. Thus, 88-key keyboards are used primarily in high-end workstations (see "Type"). For ordinary synthesizers, the standard is 49, 61 or 76 keys ( there are also options for 73 keys) — this is usually quite enough (while the "golden mean" option is considered to be 61 keys). And small children's models can have 32 keys.

The size of the keys of the synthesizer — primarily in width.

— Full size. The keys are standard size, the same as on a piano keyboard. Such keyboards are designed for an adult and are used in almost all synthesizers that are not related to children.

— Small size. The keys are reduced in comparison with the standard width (and often also height). Practically not used in "adult" synthesizers, but they are almost mandatory for children's models (see "Type"). On a full-sized keyboard, some features are not available to a child (for example, chords with far notes), and small keys designed for a child's hand can correct the situation.

— 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 polyphony supported by a synthesizer, in other words, is the number of “voices” (tone generators) that can simultaneously sound on it.

This parameter is often described as the number of notes that can be played simultaneously on the keyboard. However, this is not entirely true due to the fact that in many timbres one note can activate several tone generators. As a result, for example, to play a chord of 3 notes in a timbre with 4 tone generators per note, polyphony of at least 3 * 4=12 voices is required. In addition, Auto Accompaniment and Preset Songs (see related sections) also use tone generators, requiring even more voices to work effectively with these features.

The minimum value for a more or less functional modern synthesizer is polyphony for 32 voices — and even then such an instrument can be used mainly for initial training and simple melodies. For a more solid application, it is desirable to have at least 50 – 60 voices, and in professional models (in particular, workstations where you have to deal with several audio tracks at once), there are models with polyphony for 150 tone generators or more.

In general, a more advanced synthesizer is likely to have more extensive polyphony, however, it is only possible to evaluate the class of an instrument by this parameter very approximately — instruments with the same number of voices can differ greatly in level. The only exception to this rule are children's synthesizers (see "T...ype"), which support up to 20 voices.

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 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 number of user auto accompaniment styles supported by the synthesizer, in other words, the number of additional styles that can be stored in memory in addition to the built-in ones. Note that styles can have different volumes (depending on the number of notes used), so this parameter often turns out to be not exact, but only an average-approximate one.

Modern synthesizers may have a fairly extensive set of built-in auto accompaniment styles (see above), but even the richest set may not contain the desired melody. Thus, many models allow you to supplement the standard list with custom melodies. The addition methods themselves can be different: in some models, these melodies need to be downloaded from external media, in others they can even be composed manually. Nevertheless, the presence of user styles allows you to expand the range of auto accompaniment melodies, moreover, at the request of the user himself.

The presence of a learning mode in the design of the synthesizer.

The purpose of this function is clear from the name. It is most often based on the following principle: the synthesizer itself tells the student which keys to press, displaying the keyboard on the display or highlighting the necessary keys using the backlight (if available, see above). Of course, at different levels of learning, the format of such prompts will also be different: for example, at the very beginning, the synthesizer highlights the necessary notes until they are pressed, and at the final stage it highlights them at the tempo at which you need to play the melody, and evaluates the accuracy of the student pressing the desired keys. There are also other features and nuances of learning — for example, the mode of separate learning of parts for the left and right hands, when the instrument itself plays one part and tells the student how to play the second. In addition, a metronome function is practically mandatory for a synthesizer with this mode (see below).

Regardless of the specific functionality, this mode will be very useful for those who are just developing their keyboard playing skills.