Yamaha PortaSound Keyboard Electronic Piano PSS-170

Product Information

There is also the "Auto-Bass-Chord" accompaniment section which will play a chord and bass line appropriate to the selected rhythm pattern. Chords are selected from the lower octave-and-a-half of the keyboard, so you can play the melody/lead in the upper octave. The rhythm section also offers "Fill-In" and "Variation" buttons to keep your rhythm pattern from getting too boring. Another nice feature Yamaha added was individual volume controls for the "Auto-Bass-Chord" and Drum sections. PSR-74, PSR-140, PSR-140PC, PSR-240, PSR-248, PSR-340, PSR-540, PSR-540PC, PSR-640, PSR-740, PSR-J20, PSR-J20C (12)

For nearly 40 years, Yamaha has created a host of portable musical keyboard instruments under the “PSR” branding. This article sheds light on those models, from 1984 when the first “PortaTone” models emerged, right up to the present day with versatile, high-technology instruments good for both beginners and seasoned keyboard musicians. Electronic musicians and sound engineers have used these instruments to achieve an authentic lo-fi sound [3] and some modify them with circuit bending to extend their sound palettes. As of 2015, musician Dan Friel continues to use a Portasound that he received as a gift in 1984. [4] Circa 2017, Italian artist Modula released an EP called 780's Chronicles, recorded primarily using a Yamaha PSS780. [5] Cyril Hahn uses a Yamaha PSS380 in his original compositions, and notes its noise profile as an endearing characteristic. [6] Unofficial software and VST plug-ins [ edit ] November 2013, Tony Ware 28. "Cyril Hahn talks production techniques, the influence of DIY culture and creating ambience". MusicRadar . Retrieved 2020-05-21. {{ cite web}}: CS1 maint: numeric names: authors list ( link)It isn’t clear from the manual which sound generation technology was being used, although we presume some kind of PCM but not Yamaha’s much developed AWM system as this didn’t really come into its own until the 1990s. No MIDI, as this was still a very young technology in the mid ’80s and not really of much value on such a basic keyboard. An interesting feature of the A50 that we really weren’t expecting is that the motion FX not only work on the internal sounds, they also transmit over MIDI when using the unit as a MIDI controller. Depending on the synth you’re using it with, this can have some really interesting results - we tested it without any expectation that it would work and were pleasantly surprised when it did. Yamaha PSS-A50 review: Verdict By now Yamaha had launched some quite advanced synths and keyboards in its other ranges, such as the SY22, SY35 and TG33, and with technology advancing at a rapid pace and prices inevitably dropping, some of that architecture began making its way into the PSR instruments. Into the ’90s

Yamaha Portasound electronic musical keyboards were produced by the Yamaha Corporation during the 1980s and 1990s. The name suggests the instruments' portability, with battery operation being a consistent feature across the line. Many of these keyboards were designed for children with small keys and simple preset functions suitable for educational use. [1] In 1982 the line introduced a card reader system which allowed players to learn and play along with sequenced songs. [2] The PSS line features mini keys and the PSR line features full size keys. Some of the higher-end keyboards have advanced features like programmable synthesizer controls, midi capability, and sampler functions. Aside from the arpeggios, the motion FX are one of the more entertaining aspects of the A50. The effects are momentary, meaning that they only operate as long as the button is held down, and each effect exhibits its own behaviour. There are ten types of filter effect, and twelve each of the pitch and modulation effects.

Based on the same architecture as the PSS-470, the 480 offers intimate command of the sound, while sacrificing some playability by comparison. Synth parameters can be edited with precision, but only one at a time. 5 user patches may be saved to memory, which is retained when the unit is powered off.

Various models used a range of sound generation technology including playing samples, FM synthesis and wavetables. None used the AWM technology to be found on later PSR PortaTone keyboards. Yamaha Portasound keyboards include several popular lines of portable electronic musical keyboards produced by the Yamaha Corporation during the 1980s and 1990s. The name suggests the instruments' portability, with battery operation being a consistent feature across the line. Some of the higher-end keyboards had advanced features like programmable synthesizer controls and midi capability. This list is not exhaustive. Yamaha Portasound advertisement (1982)". Great Falls Tribune. 1982-09-05. p.98 . Retrieved 2020-05-16. The Synth section offers a depth of control that allows for smooth, refined sounds, as well as the glitchy, noisy stuff you'd expect from a strange cheap little digital synth. Although the envelope generator is terribly primitive and there's no real way to control the release, the sounds that come from a well-programmed patch can be surprisingly professional-sounding... or simply bizarre. Fine control over the decay envelope allows for all kinds of percussion sounds, so it's great to pair this synth with a nice percussion sampler.Amount of polyphony is unknown but it certainly wasn’t monophonic as it allowed for playing at least one note alongside rhythms and accompaniment sounds. Our guess is perhaps around 8 simultaneous sounds. MIDI and Buttons Digital recreations in the form of VST plugins have also been released, allowing musicians to experience the sounds, if not the feel, of some of these keyboards. Yamaha PortaSound keyboards were designed for both home and educational use, being compact and lightweight for easy carrying, and featuring simple and user-friendly interfaces, making them accessible to musicians of all skill levels. Italian artist Modula released an EP called 780’s Chronicles, recorded primarily using a PSS-780. Cyril Hahn uses a PSS-380 in his original compositions, and notes its noise profile as an endearing characteristic.