Question by startrak_06: I just bought a yamaha 310 keyboard. I want to make beats with it. Is it a good keyboard to make beats?
What midi software do i need for it?
Best answer:
Answer by mac4life2death
Fl studio, cubase/nuendo, Reason. logic (mac), cakewalk and more.
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Question by Thaminda E: how to link a yamaha mo6 with cubase?
how do you link the keyboard to cubase so that you can record into your computer? I already have the driver installed and my computer recognizes it, but I cannot figure out how to get it into cubase so I can record.
Best answer:
Answer by Daniel K
I don’t think Cubase can record directly from the keyboard because the keyboard would not be seen by the software as a recording device. There must be a setting in Cubase to select the recording device and if the Motif shows up on that list, you need to select it. If it does not show up on the list, you can connect the keyboard directly to your computer’s line input with a standard 1/4 inch to 3.5mm cable:
http://www.zzounds.com/item–HOSCMP15
An even better way to connect the keyboard to your computer for recording is to get a simple USB audio interface:
http://www.zzounds.com/item–LEXALPHA
Know better? Leave your own answer in the comments!
Read the full story @ KVR Audio
Steinberg Media Technologies has released the Yamaha Vintage Plug-in Collection. Announced at this year’s Musikmesse in Frankfurt, Germany, the Yamaha Vintage Plug-in Collection comprises [Read More]
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Question by storm7052: How do I setup my ‘Yamaha PSR-500′ to work in Cubase SX?
i need to know as i bought a midi cable but i cannot set up my psr with my laptop.
Best answer:
Answer by mac4life2death
i don’t know if you mean a usb cable because thats what you need. this keyboard has usb out and it can be used as midi. install the midi drivers on your computer. once the midi drivers are installed connect the keyboard to the laptop via usb power it on before starting cubase. start cubase, open a new project, create a midi channel and then it should be on the list of midi devices
Give your answer to this question below!
Yamaha doesn’t often launch an entirely new line of acoustics. Instead, the FG, APX/CPX and L ranges have evolved or been revised over the years – which makes the recent introduction of the A Series cutaway electros a significant one.
Comprising eight models split between the solid-top 1s and all-solid-wood 3s, guitars are then sub-divided into rosewood- and mahogany-backed versions. The range focuses on just two body styles: dreadnought and concert.
“Powered up, the new pickup makes for a happy marriage. Piezo ‘quack’ is entirely absent, and the delivery sounds natural, fluid and open.”
The 1s carry a three-band analogue preamp, while the 3s load in an SRT mic-imaging blender system. Both use the new SRT undersaddle pickup – incorporating six individual piezo elements on a wide ribbon strip – recently seen on the APX/CPX1000 and APX500II.
In pricing terms the As, loosely speaking, slot into the catalogue between the FGs and the L-Series derivatives. Yamaha’s aim is to appeal to gigging and recording guitarists looking for a serious performance instrument, as opposed to, say, the FGs, which have a more playing-at-home vibe.
The A Series’ revised neck configuration and string spacings, which we’ll look at in a minute, are intended to more overtly attract the electric-leaning player. It’s understood that much of the impetus behind the development of the A Series came from Yamaha in the USA.
Given that and the guitars’ mid-market pricing between around £600-£900, it’s hard not to infer that the company has Taylor’s 100 and 200 Series on its hit-list.
Save for its large, pointy tortie scratchplate – borrowed from the company’s mid-seventies N1000 acoustic – the A1M is, at quick first glance, standard Yamaha cutaway-dreadnought fare. But a closer inspection reveals various departures.
The gloss, solid Sitka spruce/laminated mahogany body is bound in mahogany, a first for Yamaha at this price point, even though wood bindings are fairly commonplace on some competitors’ instruments. The guitar, like all As, also gets a second strap button at the heel (good to see), and its ebony bridge is a nice upmarket touch.
The full-scale mahogany neck is a key design aspect, its set-up common throughout the series. Kicking off at 43mm across the nut, it offers a shallower-than-previous, flattish-back ‘C’ profile of near-constant depth.
The edges of the rosewood fingerboard’s binding are comfort chamfered and, joy of joys, string spacing at the bridge is broadened to a respectable 55mm: an arrangement sadly rarely encountered on earlier Yamahas. The result is a snug handful at one end, and decent pickability at the other.
Construction-wise, minimising timber wastage is clearly a priority, since the scarf-jointed neck is a three-piece sandwich on both the main length and headstock, with another trio of timber making up the heel. As opposed to Yamaha’s usual, smooth satin finishing, the finish is an open-pore – not grain-filled – low gloss.
The company spins this positively for its ‘woody’ touch, though some might say it looks and feels a tad rustic. It remains a slick player, though.
With its batteries housed in a separate compartment on the shoulder, the guitar’s System 66 preamp’s layout is familiar territory, with three-band EQ on small rotaries, a wide-range (80Hz-10kHz) mid-sweep slider, and an auto-chromatic tuner. We can’t argue with the tuner’s accuracy but it still doesn’t mute the system when activated; it’s about time it did.
While all-solid A Series models, such as the AC3R, have a slightly deeper low-end and a shade more resonance, the A1M sacrifices little acoustically. It packs a decent dread punch, and the highs have that Yamaha trait of sustainful, sweet-edged balance and brightness.
Powered up, the new pickup makes for a happy marriage. Piezo ‘quack’ is entirely absent, the delivery sounds natural, fluid and open, and the EQ and wide-range mid-contour access an impressively broad tonal palette, without ridiculous or harsh extremes. Reasonable gain and spot-on cross-string output balance contribute to a very enjoyable performance.
For most of us, the 1′s analogue system will do very nicely, offering a high quality, easy-to-use repertoire – but players doing a lot of recording may want to take a look at the all-solid 3′s imaging system, with its ability to add mic-led textures and its enhanced overall versatility.
One thing’s for sure, though: whichever route you take, and whether you go for a dreadnought or a concert, you’ll find these new A Series are well-sorted instruments, built to Yamaha’s usual high standards, sounding good and playing well.
Read more about Yamaha A1M at MusicRadar.com
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Yamaha doesn’t often launch an entirely new line of acoustics. Instead, the FG, APX/CPX and L ranges have evolved or been revised over the years. All of which makes the recent introduction of the A Series cutaway electros a significant one.
Comprising eight models split between the solid-top 1s and all-solid-wood 3s, guitars are then sub-divided into rosewood- and mahogany-backed versions. The range focuses on just two body styles: dreadnought and concert.
The 1s carry a three-band analogue preamp, while the 3s load in an SRT mic-imaging blender system. Both use the new SRT undersaddle pickup – incorporating six individual piezo elements on a wide ribbon strip – recently seen on the APX/CPX1000 and APX500II.
In pricing terms the As, loosely speaking, slot into the catalogue between the FGs and the L-Series derivatives. Yamaha’s aim is to appeal to gigging and recording guitarists looking for a serious performance instrument, as opposed to, say, the FGs which have a more playing-at-home vibe.
The A Series’ revised neck configuration and string spacings are intended to more overtly attract the electric-leaning player. It’s understood that much of the impetus behind the development of the A Series came from Yamaha in the USA.
Given that and the guitars’ mid-market pricing between around £600-£900, it’s hard not to infer that the company has Taylor’s 100 and 200 Series on its hit-list.
The all-solid Sitka/rosewood AC3R might be called a concert, implying a smallish body, but the rims are actually a few millimetres deeper than the corresponding dreadnought’s, and allied with a near 15-inch lower-bout span, the soundbox is quite capacious.
Trim-wise, you get a mahogany and rosewood-inlaid soundhole rosette and an ebony bridge and fingerboard, the latter being bound with rosewood. The back also carries a wood (mahogany?) centre strip. The neck configuration, finish and string spacing are dead ringers for the dreadnought’s.
There’s plenty happening on the System 63 SRT preamp. Apart from three-band EQ and the pickup/image blend control, there’s a selector for the three mic images (Neumann U67 and KM56, and Royer R-122) with a choice of ‘focus/wide’ (far or close mic’ing) for each; a five-band AFR anti-feedback filter that can be triggered progressively and which proves mightily effective; and a resonance rotary – dedicated to the image signal – which in practice subtly adds lower-end warmth and body.
The tuner usefully mutes the system and can also be recalibrated between 438Hz and 445Hz for accompanying instruments that are slightly off concert pitch. Handy.
The AC3R has a crisp, piano-like attack and sustain, with excellent mid-range clarity and separation, and a very pleasing picker-friendly articulation. If all this sounds rather un-rosewood-like, be assured that the requisite low-end richness is present and correct.
SRT translates these traits admirably and the powered tones, whether pickup, image or blended, have a distinctly hi-fi-like quality without sounding cold or clinical.
Which image you might prefer is a matter of personal taste – they sound fairly similar. But the best thing, unlike with some blenders, is that high ratios of image-to-pickup can be used without introducing too much artificiality, making this an engagingly ‘musical’ system.
It’s also worth noting that there is more gain on tap than from early SRT systems we tried, which were frankly rather feeble. So that’s good news too.
Taking the decision on whether to opt for the 3′s all-solid spec over its cheaper counterparts such as the A1M may ultimately rest less with your budget, and more by which preamp better suits your needs.
For players doing a lot of recording, not just live gigs, the imaging system is likely to edge it for its ability to add mic-led textures and its enhanced overall versatility.
One thing’s for sure, though: the new A Series are well-sorted instruments, built to Yamaha’s usual high standards, sounding good and playing well. In short, sound investments.
Read more about Yamaha AC3R at MusicRadar.com
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The acoustic guitar industry seems to be having a baby boom at the moment. We’ve seen small acoustics from giants such as Taylor and Takamine emerge this year, and as the name suggests, the JR2 isn’t Yamaha’s first stab at building a small guitar.
While Taylor’s GS Mini feels like a ‘proper’ guitar that’s shrunk in the wash, the JR2 is about portability and affordability first, with tone and playability a respectable second.
“The JR2 is designed to be easy to sling around your neck when you’re lugging a tent and a crate of beer through a festival field.”
Build-wise, a few things have changed since the JR1, seeing this new model with an authentic-looking mahogany Ultra Thin Film finish to the laminate poly-board back and sides, and a subtly arched tidy spruce top. The styling, which apes that of Yamaha’s full-size FG models, has also been tweaked to look more grown up.
First impressions are mixed: strum a chord and you’ll hear a pleasant but lightweight acoustic tone, making the JR2 at home when playing fast, folky numbers.
Although hard-strummed chords can sound boxy, the guitar is quite punchy and is richer in sweet mids than the super-compact, 90mm-deep body might suggest. Full-fat bass tones are nearly absent, but sustain is pretty decent for the size too.
Less pleasing is the way your fingers have to crowd into what feels like a space the size of a two pence piece when, say, forming a D chord. The narrow 43mm nut means playability is cramped compared to a full-size guitar.
You get used to it after a while, but playing fingerstyle on the JR2 initially feels about as roomy as trying to breakdance in a broom cupboard. This guitar suits breezy, easy strummed chords far better, which fits its intended purpose.
Yamaha hasn’t made the JR to put vintage dreadnoughts to shame. Instead, it’s designed to be easy to sling around your neck when you’re lugging a five-man tent and a crate of beer through a crowded festival field, and it excels at that kind of caper.
Smaller and lighter than Taylor’s GS Mini and Takamine’s EG Mini, it’s also much cheaper, so if it picks up a few scuffs and dings after being slung in vans, dropped in the mud and accidentally kicked, it’s no big deal. Plus, the rugged nylon gigbag it comes with should keep the worst of the damage at bay.
The JR2 is meant to be played, not hung on a wall, and for that Yamaha should be commended. While you’re unlikely to fall in love with it for its tone alone, as a tidy little tool for outdoor strumming it’s likeable and cheap enough for you not to resent the inevitable compromises that have been made to achieve its small size.
Yes, almost any decent standard-size acoustic will outdo it in terms of both volume and tonal richness, as will premium-grade small guitars from the likes of Martin and Taylor. But if you take the JR2 where space and portability are at a premium, it will shine.
Read more about Yamaha JR2 at MusicRadar.com
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Despite increasing activity at the lower end of the market – with new budget options from various brands arriving almost week-by-week it seems – higher up the electronic drum ladder it’s still Roland and Yamaha that dominate. The competition between the two shows no signs of abating.
And it’s good news for punters, as they push each other to constantly improve specs, playability and sounds.
“The pathetic sound of just a few hits per bar making it through the Rhythm Gate really focuses your time-keeping efforts.”
Yamaha’s popular DTX series has been around for a good while now, testament to the company’s dedication to ongoing refinement, and the new DTX700K here looks to exemplify the hard work that continues to go into the series.
In the key, mid-market sector, Yamaha has its hopes pinned on the 700K and its slightly higher-specced sibling, the DTX750K.
Both are designed to deliver big in the real world, where price, performance and indeed proportions are keenly balanced. In terms of the latter, the DTX700K impresses right away.
This is a perfectly-sized set-up; not as enormous and sprawling as the DTX900s, but in no way cramped. As such it’s a great choice for home practice or rehearsals – you’ll still need a decent-sized room to house it, but it doesn’t need a master bedroom all to itself.
Sit behind it and everything falls easily to hand, with none of the squashed-in feeling that more affordable kits often exhibit.
The 700K sports the excellent DTX-PADS where the drums are concerned, specifically an XP80 three-zone snare pad and a trio of XP70 single-zone pads for toms. They’re not huge in diameter (8″ and 7″ respectively), but strike a good balance between playability and size.
The DTX-PADS feature Yamaha’s proprietary Textured Cellular Silicon playing surface, which is remarkably quiet and feels fantastic. It’s by some margin our favourite option of all the electronic head offerings currently available, thanks to its yielding but positive response.
In other words, there’s just the right amount of bounce from the head, but a solid, definite feel under the stick that makes playing pain-free and rewardingly close to a standard drum head.
Where the DTX700′s drums are great-feeling but limited to single zones on all but the snare, its cymbal set-up is rather more generous in this regard.
Both crash and ride duties are taken care of by PCY135 triple-zone pads, thus allowing access to bow, bell and edge tones (the pads are also chokeable).
The RHH135 hi-hat controller is also a welcome addition – its dual zones take care of a variety of tonal options while the fact that it mounts on a regular hi-hat stand means it’s in a different league to cheaper kits, with fixed pads and electronic pedal control.
The DTX700 module really does justice to the rest of the kit, too. Yamaha continues to harness the R&D efforts that go into its flagship Motif synths where its electronic drums are concerned, and the DTX700 boasts no less than 1,396 voices, arranged into 50 preset kits, with 10 spaces for users to create and save their own.
The sound and dynamics of the DTX line has improved leaps and bounds in the last few years and it’s reassuring to note that Yamaha seems committed to making advances with modules as important as the 700.
Talking of which, the new brain also allows the importing of WAV and AIFF sound files, so you can load in one-shot samples of loops and integrate these with what’s already on offer from an impressive device.
You’ll have gathered that first impressions of the Yamaha DTX700K are strong. And when it comes to a thorough audition, there’s little that feels lacking in Yamaha’s new mid-ranger. As mentioned, the DTX-PADs always feel excellent and the necessary cost-cutting in terms of the single zone-only tom pads is wholly acceptable.
The snare, after all, is the most important instrument, so Yamaha judges well in giving us the three-zone XP80 here, but we don’t miss extra-zone toms at this price.
The XP80 proves itself a great little performer. Combined with some satisfyingly subtle and responsive sounds from the module, the snare pad does a sterling job of translating a wide range of dynamics into feathery ghost notes and ear-cracking backbeats.
You will notice even better response from the 900 series, but Yamaha’s more affordable kits have never sounded or felt better.
If there’s an area where the DTX700K stumbles slightly, it’s in the aesthetics of its module. A bit bland compared to Roland offerings, it doesn’t match the slick appearance of those TCS-equipped pads. But it nonetheless proves easy to navigate around.
There’s not the level of deep editing on offer as with top-end brains, but parameters are easy to access and tweak, and there’s a sense of organic changes being made, rather than simple EQ curves being applied to sounds when they’re altered.
Given the DTX700K’s status as a home/bedroom-friendly set-up, it’s good to find a couple of very useful practice features built into the module’s spec.
The Groove Check function monitors timing and gives a visual display of just how close to being bang on the beat you are. Or how lazily behind or rushing ahead you are – it’s frustrating but super-useful.
Equally likely to have you pulling your hair out, as it unflinchingly highlights issues with your groove, is the Rhythm Gate. In hilarious fashion, this mutes notes that aren’t in time, allowing you no quarter whatsoever. The pathetic sound of just a few hits per bar making it through the Rhythm Gate really focuses your time-keeping efforts.
You can also work on your feel alongside no less than 44 playalong tracks. Not all of them will inspire your best work, but there are some decent-sounding songs within, and certainly better than previous DTX incarnations.
Is the DTX700K the best DTX we’ve seen so far? Definitely. The range has been getting better and better of late, and this new arrival is a big step in the right direction for Yamaha.
Read more about Yamaha DTX700K at MusicRadar.com
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Question by problem: Can a make good beats on a yamaha ypg-625?
i just started making beats and i have a yamaha ypg-625. Is this a good keyboard to make beats on. If its not what kind of keyboard do i need
Best answer:
Answer by Skinny Cartman
ah thats a gooden..dre used to have one do those ya know.and Dre is one of the greats.so yeah its a good one.
what software ya usin though?
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According to Yamaha, total sales of the Pacifica are in excess of 1,000,000 since its launch in 1989, and it’s arguably the only brand that can hold its own at the lower and mid reaches of the market against the massive names of Squier, Fender and Epiphone.
This new model is the result of more than a year’s worth of planning, refining and testing and is based on two Custom Shop prototypes.
“The vintage white finish of our example looks the business in tandem with the tortoiseshell pickguard”
Driving the concept of revisiting the range of mid- priced Pacificas were Yamaha’s Mark Kirkland and Julian Ward, and the latter takes up the story.
“We decided to base what was becoming the unofficial new Custom Shop Pacifica series on two models, ostensibly one each for the blues-rock player and the slightly heavier classic rock player.
“The two models eventually became three, so we could offer a more affordable version of one of them, but the concept was based around the two guitars that would become the 510V and 611HFM.
“The first thing we did was to spec some guitars that were very clearly targeted at specific players and that also filled a gap that we saw in the market,” continues Ward.
“We determined a target player’s key style influences fairly easily – heavier blues-rock and crossing into some classic hard rock: Def Leppard, not Creed. It sounds like an obvious target of guitarist to go after, but there are surprisingly few choices if you’re that guy and you don’t want something ‘standard’.”
The model has a solid alder body that’s the same dimensions as the bread-and-butter Pacifica 112, and the spec also includes Grover locking tuners and Graph Tech Black Tusq nuts.
“We decided on a two-pickup design to suit bluesier players primarily, and we chose a P-90 for the neck position,” confirms Ward. “An under-used pickup, in our minds at least, the P-90 seems to be the one everyone loves, but almost nobody has… especially on a non-Les Paul-style guitar.”
The 311 is a more affordable version of the 611HFM’s design, with its unfinished neck and headstock mirroring the stage-ready vibe of the 112, and the spec includes Yamaha’s own custom-wound versions of both a hot-yet-vintage-voiced humbucker, complete with coil-split, and a P-90.
The alder body is fashioned from a five-piece spread, and the vintage white finish of our example looks the business in tandem with the tortoiseshell pickguard.
The feel of the 311′s neck is, to us, slightly different. It’s certainly rounded at the edges, and the unfinished version feels simply fantastic.
Plugging the guitar in, it’s immediately apparent just how versatile the Pacifica design is. The 311 isn’t quite as tonally articulate as the 611 – the humbucker is lower in power and the P-90 a little flat. However, as a standalone instrument it provides a good level of versatility.
In fact, its humbucker is, if anything, better suited to giving warm, Gibson-style tones and, with a moderate gain setting, the reduced amount of bite from the guitar allows for a reasonable impression of Warren Haynes’s fat sound, albeit with a more transparent edge.
We love the feel of the 311, and it plays very well indeed.
Let’s not pull punches. Fender and Gibson have the heritage in this market, but that doesn’t mean there aren’t plenty of us out there who fancy something that’s different, cool and great value for money.
Yamaha’s Pacificas have always ticked the value box, but this guitar adds an air of something more unique and desirable in the classic rock and blues cool of the 311: a good idea, well executed. Give it a go and see if there’s a budget boutique choice here for you.
Read more about Yamaha Pacifica 311H at MusicRadar.com
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