Whenever Moog releases a new synth it is a norm getting a little excited about it. And the Moog Subsequent 25 or Sub 25 is no exception. It is the successor to the Sub Phatty.
The new Moog Subsequent 25 is a two-note paraphonic analog synth paired with a 25-note keyboard, making it the most compact of Moog’s current crop of non-modular synths. It packs two oscillators, which are accompanied by an additional sub oscillator and noise generator. These can be used in two ways – Unison mode, in which the three oscillators are stacked, and the new Duo Mode, which is inherited from the Subsequent 37 and allowing users play two distinct notes with the individual oscillators.
In addition, the synth includes full MIDI implementation for the knob-per-function front panel, and a free editor/librarian application allowing users to save and recall an unlimited number of sounds. Other improvements inherited from the Subsequent range include reshaped gain staging for the ladder filter, increased headroom and improved keybed. The Multidrive circuit has been retuned as well, and according to Moog, this now extends far beyond the level of grittiness achievable from the Sub Phatty.
Other highlights of the Subsequent 25 include an input for processing external audio, CV inputs to control pitch, filter, volume and a gate trigger, plus a high-powered headphone amplifier.
The Sub 25 takes what made its predecessor such a powerful and aggressive tone monster and just goes bigger.
The Yamaha YC61 may be your perfect stage keyboard!
The new Yamaha YC61 drawbar organ has great features for a digital organ, but it looks like it has plenty to offer to any gigging keyboardist. Though organ tones are its speciality, but there are plenty of other sounds packed in the instrument as well.
The Yamaha YC61 features 61-key waterfall keyboard and is the first Yamaha stage keyboard to include real drawbars, while the organ sound comes courtesy of a new engine that is powered by Yamaha’s Virtual Circuit Modeling technology (VCM). This is designed to recreate the behaviour of all the transistors and resistors of real tonewheel and drawbar circuits, and you get detailed control over your organ’s parameters.
Inside, there is a rotary speaker emulation in the YC61, along with effects. As Yamaha mentioned earlier that it has not scrimped on the non-organ elements of the YC61, meaning either there are two concert grands – S700 and CFX, electric pianos – FM models and synths.
The Yamaha YC61 definitely has the look and everything you need in one keyboard. A portable and lightweight gigging instrument with real drawbars.
The new Roland RD-88 Stage Piano is lighter, compact and more affordable Digital Stage Piano than some of the competitors. It takes the RD 30 years history and puts it in a gig and home-friendly compact package.
The Roland RD-88 features a 88-note PHA-4 keyboard with a hammer action and Ivory Feel keys, and there are built-in speakers as well, which are useful for practice and monitoring. Inside the RD-88 there are assortment of new SuperNATURAL Piano and SuperNATURAL E.Piano sounds powered by Roland ZEN-Core. The digital stage piano comes with more than 3,000 tones and 400 scenes that make use of the 3-part split and layering. Each part gets its own effects system with 90 effect types, EQ and Tone Colour plus multi-effects for the scenes. It has Sympathetic Resonance, 8 types of Chorus/Delay, 6 types of Reverb, a Master compressor and EQ and reverb and EQ on the mic/line input.
In addition, the interface is designed to offer quick, easy access to the essential controls, so you should not have any problem selecting sound categories, creating splits/layers and adding in effects. Favourite sounds can be stored for quick recall, and the one-touch piano button takes you straight back to the core piano sound any time you want.
As mentioned earlier by Roland, the RD-88 offers easy computer integration so is also possible to play your software sounds through the instrument via USB.
