Yamaha

Some synth manufacturers seem to be hedging their bets lately, building home keyboard auto-accompaniment features into seemingly serious synths, to appeal to both types of keyboard buyer. Will the strategy pay off for Yamaha's QS300? Derek Johnson finds out in style...

Yamaha's new flagship workstation mixes 'n' matches several of the company's existing synthesis technologies and throws in a new one for good measure. But have they over-extended themselves? Simon Trask spends some time with the EX5 to find out...

If you liked the look of last year's Minidisc-based digital 4-track machines, but need more tracks, look no further. The Yamaha MD8 manages 8-track recording and palyback, but is still priced at just under a thousand pounds. Martin Walker suddenly finds less need to bounce.

Paul White returns from the land of the rising Sterling with tidings of a whole new range of Yamaha hi-tech and pro audio products.

Yamaha's new CD-ROM burner comes with the option of a cut-price copy of Toast 3.5, allowing you to create backups, burn CDs, and even make your own CD-ROMs. Paul White tries out the combination.

Yamaha's soundcard is a synth, a mixer and an effects unit in one. Martin Walker finds plenty to talk about.

Yamaha have taken their MU90R, wired in a VL tone generator and put three-part harmoniser in the effects section. The result is the MU100R. Christopher Holder gets virtual.

When such an established name in the world of electronic pianos comes out with something new, you'd be wise to sit up and take notice. Yamaha's latest offering, the P200 promises up to 64-note polyphony, state-of-the-art on-board sounds, and a brand new fully weighted 88-note keyboard. Interested? Paul Farrer finds out if it has all been worth the weight.

When Yamaha Launched the A3000 a year ago their approach won quite a few fans, and now they're demonstrating their renewed commitment to sampling with a comprehensive upgrade. Chris Carter's movin' on up...

In the penultimate part of his series on synthesizer technology, Paul Wiffen turns his attention to the problem of emulating acoustic instruments in which the sound is produced by a string or reed, and amplified and modified by the body of the instrument.