Specifications

Part 2 Yamaha Musical Instruments
9
8
Part 1 Introduction to Sampling
◊ Producing “Good Sound”
Sound processing section
Samplers are different from recorders; their design is
based on the assumption that multiple notes will be
played back at the same time. To ensure that the sound
does not distort internally when a large number of notes
are being played at once, the playback volume for each
note is kept to a minimum. By “minimizing playback
volume,” we mean minimizing the number of bits fed to
the D/A converter (circuitry that converts digital data to
an analog signal; hereafter called the DAC) which is
connected downstream of the sound processor. In other
words, no one sound can extract the maximum
performance of the DAC. Sound quality changes
dramatically simply by reducing the output by a single
bit of resolution. Dropping bits has a negative effect,
resulting in a flat sound that lacks punch. This is a
problem not only in samplers, but also in digital
synthesizers that generate multiple sounds simulta-
neously, such as PCM synthesizers and DSP tone
generators. The effect might not be noticeable when
using the analog outputs, but if you were to make a
digital connection to a device equipped with a level
meter, such as a digital mixer or a digital recorder, the
meter would probably only move to the halfway point.
To get a good sound, it’s important to make the sample
level and/or program level as high as possible, without
causing distortion internally, in order to optimize the
processing power of the DAC.
Output section
The digital signal output from the sound processing
section is converted to an analog signal via the DAC.
It then passes through the analog circuitry of the
sampler’s outputs, and is input to a device connected
downstream via a cable. As explained in the input
section above, subtle changes in sound can be expected
to occur until the signal is finally output to the
connected device. The three major factors affecting the
sound are the DAC, the output circuitry, and the cable.
As mentioned earlier, you should try using different
cables to get different sounds.
This applies even to digital output. When digital
equipment first appeared on the market, there was a
misconception that because it’s digital the sound won’t
degrade. But actually the circuitry and cables that move
the digital signals back and forth transmit a pulsed
signal that contains “analog-like” fluctuations. Digital
Hint:
The A4000/5000 have a parameter called “Filter Gain” in the filter section, which suppresses internal distortion when boosting
resonance, allowing you to raise the output level of the sample. In addition, the UTILITY function lets you boost the “Stereo” and
“Assignable Out” outputs to +24 dB in 6-dB increments, enabling you to drive the DAC to its full capacity even when playing only a
single note.
Part 2 Yamaha Musical Instruments
◊ Enriching People’s Lives throughout the World ◊ History of Yamaha Musical Instruments
Before we start talking about specific models of
samplers, let’s take a look at the unique pioneering spirit
of Yamaha—the world’s largest manufacturer of musical
instruments—as well as its long history of manufacturing
musical instruments and its passion for developing
electronic instruments.
Enriching People’s Lives throughout the World
Yamaha was founded in 1897. Our corporate philosophy
is embodied in the words “We contribute to enriching
the lives of people throughout the world.” By 1892, our
predecessor, the Yamaha Organ Works Co., Ltd., had
already begun exporting organs to Southeast Asia, thus
launching our long history as an international brand
name. This history continued with our taking up new
challenges in other fields. Not stopping with musical
instruments, we moved on to create other new products
that enrich people’s lives. The challenging spirit of
creating new types of sound-generating products is a
Yamaha trait that goes back more than 100 years.
Major Product Areas and Year Production First Began
1887 Organ production begins
1900 Upright piano production begins
1914 Harmonica production begins
1946 Guitar production begins
1954 Yamaha Music School system inaugurated
125 cc motorcycle production begins
1958 “Electone” electronic organ production
begins
1959 FRP (fiber-reinforced plastic) archery bow
production begins
1960 Motorboat production begins
1961 FRP ski production begins
1964 FRP bathtub production begins
1968 Stereo system production begins
Snowmobile production begins
1971 IC production begins
1973 Tennis racket production begins
1974 Analog synthesizer production begins
1981 Industrial robot production begins
1982 Golf club production begins
CD player production begins
1983 Digital synthesizer production begins
Marketing of custom ICs begins
History of Yamaha Musical Instruments
The link between musical instruments and musical
expression is extremely close. There are musical
expressions that would never have come to exist if the
piano had not been invented in Italy. There is also music
that can only be expressed by the didgeridoo of
Australia, and rhythms that can only be expressed by
the steel drums of Trinidad. Consequently, electronic
musical instruments, which were originally developed to
emulate acoustic instruments, have given birth to
musical expressions that can be rendered only by
electronic instruments. For example, many electronic
music artists use pure sine waves to represent bass
notes and tone adjustment knobs to change the sound
over time. You could say that a collaboration exists
between creators of music and creators of electronic
instruments.
Since first starting production of the Electone in 1958,
Yamaha has been continuously manufacturing electronic
musical instruments for 42 years. Let’s take a look at
just a few of Yamaha’s historical models of combo
keyboards.
■ Analog Synthesizers
[1974]
GX-1 Electone
This was Yamaha’s first synthesizer. We take pride in its
brilliant tonal qualities, which were revolutionary at the
time. It offered a full suite of superb synthesizer
features, and was introduced as the ultimate electronic
organ with 36 oscillators, 3 full-scale manuals, and a
pedalboard. In a word, it was a monster encapsulating
36 monophonic synthesizers.
equipment depends on high-precision circuitry (such as
the logic circuit, which synthesizes a high-frequency
clock to synchronize the internal circuitry to the word
clock) and the analog-like fluctuations in these pathways
have a detrimental effect on sound quality. Simply put,
the sound will vary even if it’s digital.
Extra Power supply
Something that is important to remember is that the
power supply provides power to all parts of the
machine. Inside electronic devices such as samplers,
sound is handled entirely in the form of electrical
signals, and the power supply is the sole source of
electrical current. The power supply takes electricity
from a wall outlet and supplies it to the equipment
through the power cable. If the power supply is
unstable, the sound will also be unstable. Consequently,
you should provide the equipment with a power supply
in the best possible condition. It’s nearly impossible to
change the path that electricity takes from the power
plant to the wall outlet, but you do have control over the
connection between the wall outlet and the equipment.
For example, you should connect the unit directly to the
power outlet without using an extension cord and be
careful not to reverse the polarity when plugging it in.
Every day, thousands of people around the world strive
to get good sound. These may be people involved in the
manufacture of electronic musical instruments,
professional synthesizer engineers, or artists. Yamaha
samplers are permeated with the notion that what links
the people of the world are the fleeting moments of joy
experienced in the act of creation.