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New Yamaha PSR-E portable keyboards promise “pro-quality sound for the first time”

The Yamaha PSR-EW425 and PSR-E473 are said to be a step up from the previous generation.

Yamaha is promising more bang for your beginner keyboard buck with the PSR-EW425 and PSR-E473, which promise “pro-quality sound for the first time” at their price points. These are set to replace the ​​PSR-E463 and PSR-EW410 in the PSR range.

The PSR-EW425 and PSR-E473 features 76- and 61-note touch-sensitive keyboards respectively, and offer 820 voices apiece. In addition, they come with a Super Articulation Lite feature, with compatible voices promising to simulate the tone, resonance, and material characteristics of the instruments they are emulating.

Yamaha says that this kind of sound quality was only previously available in its higher-end keyboard models: both of the new PSRs offer “high resolution” voices, and are the only models in the PSR-E range to feature two channels for insert effects. Like the sounds, these effects are said to be “top-quality”.

Both keyboards have redesigned control panels and LCD displays for a better workflow, and the numeric keyboard has been replaced by direct category access. This should make it easier to get to the voices, styles and other features that you are looking for.

If you require more volume when you are playing, there is a Mega Boost button that gives you an additional +6dB. Yamaha says that, in some performance situations, this could mean that you can get away without hooking up to a PA system, but if you do need to do that, there are left and right audio outputs in addition to the headphones jack.

Other features include a mic input, so you can sing along to your playing, along with vocal effects, quick sampling and motion effects. The Rec’n’Share and MusicSoft Manager apps, meanwhile, enable you to share your music, exchange data and communicate.

The  PSR-EW425 and PSR-E473 are expected to be hitting stores in March or April. Prices are $489.99/£545 and $369.99/£412 respectively.

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Moog has announced that it’s ending production of the Dark Series versions of the Matriarch and Grandmother keyboard synthesizers.

“Originally released with distinct multi-colored overlays, Grandmother and Matriarch have become staples in studio setups and live performance settings, go-to synthesizers for beginners, and multifaceted creative tools used by musicians of all skill levels to explore the power of analog sound.

The all-black aesthetic of Dark Series came about as a nod to the modular control panel designs that inspired their very creation. The circuitry, spirit, and analog effects of Grandmother and Matriarch are derived from the classic Moog modular synthesizers designed by Bob Moog himself during the ’60s and ’70s.

Dark Series for Matriarch and Grandmother strikes the perfect balance between classic and modern with a timeless look of early Moog modular systems—and with all the functionality and versatility these two state-of-the-art sound design machines are known for.”

A live performance by synthesist Lisa Bella Donna that features the Dark Series synths:

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BLEASS has introduced Omega, a new software synth for desktop and iOS.

Bleass Omega features 11 FM algorithms, each of which interconnects the four operators in a different way, and there are more than 160 presets. Modulation comes courtesy of two LFOs and a third ADSR envelope, there’s a dedicated motion sequencer, and you can dial in chorus, tremolo, delay and reverb effects.

Bleass claims that it’s Omega is “not just easier than other FM synths, it’s easy – period!” meaning, Omega can produce all the FM tones you’re familiar with – sparkly electric pianos, pads and bells, plus deep basses – but without the hassle. There are four operators, which are all editable on one screen, along with an analogue-style waveshaper and multimode filter.

Here’s what they say about it:

“All of the classic capabilities of FM Synthesis are available in BLEASS Omega – expressive electric pianos, deep thundering basses, crystal-clear pads, sparkling bells, and soulful leads. And thanks to the instrument’s analogue-style Waveshaper and multi-mode Filter, BLEASS Omega can inject powerful analogue-like flavour into those pure FM tones, giving searing filter sweeps, growling distortions, and harmonically-rich resonances.

The four FM operators that sit at the heart of BLEASS Omega are edited simultaneously from within a single screen, with all operator envelopes and controls available to the touch of your finger. This amazingly user-friendly approach makes light work of sound editing, and encourages experimentation and exploration in a way no other FM synth can achieve.

With eleven FM algorithms on offer, each providing a different way of interconnecting the four operators for radically different results, the sonic scope of BLEASS Omega is vast. The included library of over 200 professionally designed presets makes full use of this versatility, furnishing you with a varied and inspirational sound palette to use in your music making and sound design projects.”

BLEASS Omega fits in with your workflow and studio setup, no matter how you like to create. The iOS edition provides both standalone and AUv3 versions for use on iPad and iPhone, whilst the desktop edition for Windows and macOS comes as a VST3/AU plugin instrument, compatible with all major DAWs.

More information, tutorials and specifications on Bleass website.

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