Yamaha S90 Review
At the point when the Yamaha S-90 was discharged in August 2005, it denoted a tremendous advance in digital piano and blend innovation.
Its Motif ES roots and its different capacities aside, the Yamaha S-90 is the better sounding and feeling digital piano/ synth we’ve played up until this point.
The best new substitution for the Yamaha s-90sx is the MX88 Yamaha:
The piano console runs on the new multi-speed, the sound system great piano example with soundboard reproduction and half hosing (when joined with the FC3 pedal) that is rich and unfathomably sensible. Up until now, it’ the best Yamaha has utilized in a synthesizer.
The studio associations similarity, 128 note polyphony tone generator, PLG expandability, and LAN extension opening give it all the amalgamation control and amazing usefulness of Yamaha MOTIF ES.
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Yamaha S-90 Features
Right off the bat, Yamaha has pitched the keyboard as an “ideal harmony between digital piano and synthesizer”. How’s that for a precise proclamation. This piano offers one of the best, best-feeling weighted keyboard activities we’ve at any point experienced on a synth.
The mod wheels, continuous sliders, and pitch twist display the S90 synth side. Furthermore, the Yamaha S-90 offers 128 notes of polyphony (barring the additional polyphony one can include with any module extension sheets), and well more than 500 projects utilizing the 228 MB great waveforms driven from the AWM2 24 piece DSP chip.
In case you’re as of now experienced with the Yamaha Motif you will feel comfortable with S90ES. The S90ES keeps recognizable menus, similar to, voice, ace, and execution modes for changing your sound settings. The S90ES sound banks are organized especially indistinguishable.
Yamaha S-90 console activity is an even mallet component with an aftertouch. We cherished the structure of this console; its smooth reaction gives the artist a wide powerful choice of volume. On an 88-key synth/ digital piano, the S90ES is unimaginably light weighing just 22.5kg (49lbs, 10oz) making the S90ES an incredible console for voyaging artists.
Discretionary PLG Boards
Up to three PLG’s particular amalgamation’s sheets can be mounted inside the S90, including additional sound-production facilities, expanding polyphony, and increasing the multitimbrality of the Seq Play Mix mode, also growing a Performance to up to seven sections. The current range is as per the following:
- The PLG150DR: a sound system drum board.
- The PLG150AN: a simple demonstrating board.
- The PLG150PF: a 64-voice polyphonic piano board.
- The PLG100XG: a 16-section multitimbral XG (expanded General MIDI) board.
- The PLG150PC: a Latin percussion board.
- The PLG150DX: a six-administrator FM combination board.
- The PLG150VL: an acoustic-demonstrating board.
- The PLG100VH: a three-section vocal agreement board. This isn’t a synth all things considered, yet can be utilized with a vocalist singing into a mic connected to the S90’s sound contribution for continuous concordance age.
Synth and Synthesis
The S90’s synth sound motor depends on Yamaha’s S&S (test and union) norm, AWM2. Albeit essential waveforms are continually being altered or improved and impact supplements fiddled with, Yamaha’s synth voice-age framework has would, in general, stay comparable recently.
That implies that the fundamental engineering of the S90 is basically that of the first Motif family (not the new Motif ES run, which is expected any day now).
The waveform assortment on the S90 is indistinguishable (bar some additional acoustic and electric console waves, of which more in a second), and the production line voices are likewise comparable, albeit again with new Voices and Performances exploiting the uprated information.
The S90 is organized in the typical various leveled style. Combination begins with an Element, which contains all the nuts and bolts for electronic sound creation:
An oscillator with one of 1347 inspected waveforms at its heart, tuning and pitch-envelope boundaries, a full channel (accessible in no less than 21 kinds) with channel envelope, level, and dish controls, and an abundancy EG and LFO that can be directed to the pitch envelope, channel envelope, and plentifulness envelope.
Up to four Elements make up an S90 Voice, and those Elements can be given their own key and speed ranges, making for a small scale ‘Execution’.
Be that as it may, on the off chance that you utilize more than one Element in a Voice, the all-out polyphony drops in like manner.
Notwithstanding standard Voices, there are Drum Voices, which are extensively comparative in combination highlights, however, an alternate waveform/blend matching can be set for each key of the S90’s 88-note run.
By and by, the union highlights are somewhat less difficult, yet separating, pitch, tuning, the LFO, etc are on the whole accessible.
Next, we have the Performance, whereby up to four Voices are layered, with or without speed exchanging, as well as split over the console. Execution creation is connected to some degree to the S90’s lord console capacities, which I’ll address in a second.
Balances can likewise be applied to huge synth boundaries for Voices inside a Performance (envelopes and channel reaction, for instance), so you don’t need to continue making new Voices each time you’d like a Performance part to be only somewhat extraordinary.
This standard structure turns into somewhat more entangled on the off chance that you introduce at least one of Yamaha’s discretionary PLG synth sheets — the S90 can oblige three —
Yet just in that you’ll need to get used to a given board’s synth-altering framework, and that an S90 Performance can incorporate one Voice from each of up to three sheets notwithstanding the four Voices sourced locally available (there’s additional on the PLG sheets in the case above).
The S90 is liberally provisioned with industrial facility settings; 384 Preset Voices and 48 Drum Kits, 128 General MIDI Voices and one GM drum unit, and for the client, 128 Voice and 16 Drum Kit recollections (the last are loaded up with processing plant settings when you take conveyance of the S90, however, can be overwritten whenever).
Production line preset Voices are reasonably allocated to various classifications on the S90 (for instance ‘Acoustic Piano’, ‘Console’, ‘Synth Lead’, ‘Drum/Percussion, etc) and this is a propensity you ought to consider shaping as you program your own Voices.
The S90 has a complex pursuit office that knots comparable Voices together, and unmistakably marked catches permit you to access and tryout related Voices through the showcase.
At last, there are 128 industrial facility Performance recollections, yet these too can be overwritten by the client. More recollections, preset and client, become accessible in the event that you introduce PLG sheets.
Sounds and Effects
The sound arrangement of the S90 is basically that of a unique Motif, albeit over 30MB of additional wave ROM is offered over to new acoustic and electric piano waveforms. Thusly, the production line sound set is somewhat unique to take into account the numerous piano and console sounds.
Yamaha has overplayed the new sound system piano examples provided with the S90. On first assessment, the arrangement merits making: the pianos have nearness and an energetic vibe, and play well from the keyboard.
The examples are likewise liberated from irritating antiquities, for example, buzzy circles. On closer assessment, be that as it may, the circumstance is less obvious.
There don’t give off an impression of being sufficient multisamples for a beginning, thus a counterfeit edge shows up where a few examples have been key grouped somewhat farther than they should.
I every so often discovered a portion of the independent preset piano Voices to be somewhat plummy, however tweaking alter settings helped here; regardless, not all experience the ill effects of this issue.
The three-layer split of the primary piano in the set — ‘A01 3LayerS700’ — is additionally a bit of disillusioning: there is a lot of timbral differentiate between layers, particularly the low-and mid-speed layers.
This difference makes it exceptionally hard to play a persuading crescendo or decrescendo, as the timbral change at the hybrid point ruins the impact.
So I wouldn’t stick my neck out with the S90 on an independent traditional gig. Be that as it may, in a pop (or even troupe jazz) setting, the piano is certified and persuading, sitting pleasantly in a blend, and including a significantly refined sheen, especially to pop plans.
I have fewer misgivings about the electric piano sounds: Yamaha generally get these right, and the S90 is no special case. No matter how you look at it, they’re superb to play, particularly with this astounding console.
I preferred the Motif’s sound set, so it’s nothing unexpected that I saw the remaining S90 sounds as well up to Yamaha’s elevated requirement.
The drums, basses, cushions, and synth diversions are for the most part deserving of acclaim.
Furthermore, in the event that you wrench up the volume, you’ll notice the S90’s extremely stout base end, which looks good for move and electronica work — despite the fact that that may appear to be abnormal thinking about the calm outside of this specific instrument.
What’s more, how do impacts fit into this condition? Once more, these are to a great extent equivalent to those on the first Motif. Above all else, there are the Reverb and Chorus send impacts, accessible in all modes.
Reverb offers 12 sorts, including all way of rooms and lobbies, in addition to ‘Cellar’, ‘Plate’, and ‘Gorge’ among others. Chorale offers 25 impacts, with the typical suspects (melody, spine, and staging) joined by various straight (and not all that straight) defer impacts.
In Performance and sequencer-playback method (of which more in a second), a third send impact, Variation, is included; the choices here number 25, extending from more theme, flanging, and staging impacts to bending, auto-dish, amp reproduction, pressure, EQs and enhancers.
Likewise, there are two additional impacts that can be unreservedly allocated in equal or sequentially to at least one Elements inside a Voice.
One addition copies the 25 impacts offered by the Variation impact, while different offers 104 impacts that truly consider every contingency, including off-the-divider medicines, for example,
‘Advanced Turntable’, ‘Assault Lo-Fi’, ‘Low Resolution’, ‘Computerized Scratch’, and ‘Talking Modulator’. Ultimately, there’s a five-band Master EQ area over the S90’s principle yield.
The Arpeggiation Station
It’s somewhat of astonishment to see the Motif’s arpeggiator making the intersection to the S90, however, the shock is totally lovely! I like arpeggiators, and this one is about in the same class as they get.
Actually, it’s advanced to such an extent that it moves rather excessively far from exemplary arpeggiation to ‘moment satisfaction’ auto-backup. All things considered, everything has its place.
There are 256 preset arpeggio designs, and the standard broken-harmony designs are joined by a colossal number of what must be named phrases.
These suit distinctive melodic styles and instrument types, so you have trills, woodwind vacillates, guitar picking and plays, move bass notches, and drum designs.
There is lamentably no chance to get of making your own arpeggiation designs, in spite of the fact that those made on the Motif can evidently be brought into the S90 in the event that they’ve been spared to a Smart Media card first.
In any case, the reaction of the arpeggiation can be changed a bit. It very well may be limited to a given note or speed run, for instance, and the speedy reaction and door time can be changed.
A worldwide rhythm can likewise be set, and the arpeggiator can, obviously, be synced to approaching MIDI Clock.
In Performance mode, the arpeggiator can be exchanged in or out for each part, yet it’s impractical to have an alternate example for each part. Tragically, notes produced by arpeggiations aren’t yielded over MIDI from the S90, similar to the case with the Motif.
Multitimbrality and Sequencing
The S90 comes up short on a completely included sequencer and consequently needs what may be named a ‘Tune’ mode on a workstation synth. It does, as recently noted, offer a playback sequencer, and it’s in this mode that you discover the instrument’s multitimbral arrangement. Furthermore, it’s here that you likewise play the S90 multitimbral from an outer sequencer.
A catch marked ‘Seq Play’ brings you into the sequencer-playback mode, which is the place you can load and play MIDI documents from Smart Media cards situated in the S90’s backboard card space.
Capacity key 6 in this window is named ‘Blend’ and gets to a pretty completely highlighted set of blender pages. On the essential S90 (ie. one not yet extended with PLG cards), this compares to 16 channels of level and dish controls on one window.
You can explore to the channels through the S90’s standard Edit bolts, or by means of the lower two lines of catches marked 1-16 to one side of the front board (these catches twofold as solo/quiet capacities).
Other sub-windows of the Mix page permit you to change the sends to the reverb, chorale, and variety impacts, set up the sound info, and select Voices for each part to play. The S90’s Category search office can likewise be utilized here.
At first, apparently there are no recollections for Seq Play Mix arrangements, however, closer assessment uncovers a Template window.
Here, not exclusively would you be able to choose from a bunch of manufacturing plant blend layouts focused on different melodic styles, however,
You can spare your own Templates (which comprise Voice tasks, levels, impacts settings, etc) for review sometime in the not too distant future. There are 50 areas, and all can be named and overwritten by the client.
Conveniently, it’s likewise conceivable to rapidly send all the settings of a Template as a mass dump to an outer sequencer, with the goal that they can be recorded toward the start of a MIDI document for moment reconfiguration of the S90 at whatever point that Song is chosen.
When utilizing the playback-sequencer work, it’s conceivable to make chains of MIDI Files from an embedded Smart Media card and transmit singular succession tracks to outside MIDI gadgets through the S90’s MIDI Out.
MIDI Files are channeled to a Smart Media card introduced in the S90 by means of a bit of packaged programming (File Utility, which takes a shot at the two Macs and PCs). Likewise, your custom Voices and Performances can be spared to Smart Media card without you messing with the PC.
On the off chance that I have one niggle with the S90’s multitimbral arrangement, it’s that bustling succession substantial in controller information can make the sequencer ‘gag’ and delayed down.
Squeezing some front-board catches during playback —, for example, you may scan for new Voices in the Mix Template — can likewise cause little hiccups during a bustling presentation. Progressively ordinary successions, with a touch of limitation on the controller front, work perfectly.
Yamaha is nothing if not liberal with the complimentary gifts they gracefully with their instruments nowadays, and the S90 is no special case.
Fundamental to the set-up of programming packaged with this instrument is the Voice Editor for S90 application (indicated right), for both Mac and Windows, which gives nitty-gritty and graphical access to all Voice boundaries, in addition to simple PC based offlining of banks of your custom Voices.
The main thing you can truly groan about is that you can just load up the Voices from the User bank and that it’s impractical to alter Performances. Document Utility is additionally cross-stage, permitting records to be sent to and removed from a Smart Media card opened in the S90.
USB drivers for the two stages are additionally provided, as are arrangement documents that permit different blend boundaries and transports of some well known MIDI sequencers, for example, Cubase, Logic, and Sonar, to be controlled from the S90.
There is more for PC clients, however: they gain SQ01, a full sequencing programming bundle, and the coordinating Auto Arranger utility that works couple with SQ01. Note that there is nothing explicitly for Mac OS X yet, however a Mac OS X driver is accessible at www.yamahasynth.com.
At long last, an extra CD gives demo melodies of, and editors for, Yamaha’s group of PLG sheets.
The Yamaha S90 is adaptable enough to let you program the controllers to influence one or various boundaries of your projects at the same time.
For example, you could assign the mod wheel to ace panning and LFO pitch profundity, in this way letting you all the while perform panning and control pitch profundity with one controller.
The S90ES’s 4 sliders, pitch wheel, mod wheel, breath, foot controllers, and switch are assignable with the bit of a catch. Yamaha structured pre-allocated capacities to the sliders.
In the event that you chose to contact the PAN/SEND button, the sliders would control reverb, beat, container, and ensemble. Be that as it may, when you press the TONE button, the sliders will control assault, reverberation, cutoff, and discharge boundaries. How cool?
Regardless of whether you want to just peruse and mess around with the voices or control an entire MIDI apparatus, the S90 ES’s colossal LCD screen, and instinctive hands-on UI make it amazingly easy to utilize.
Smartmedia™ playback sequencer
The S90 ES’s playback sequencer permits you to playback MIDI records (group 0) directly from a SmartMedia ™ card. Utilize this capacity to make a library of up to 100 melodies, which can all be instantly called upon the bit of a catch incredible for live shows! Chain playback is in like manner conceivable.
The gave File Utility programming will make it simple and brisk to move MIDI records out of your PC to a SmartMedia ™ card with the goal that you can leave your PC at home next time you have a gig.
For the individuals who have an outer sequencer, the S90ES could be utilized as a multitimbral tone generator. One component we discovered proved to be useful is the REMOTE catch. This lets you control sequencer programming on your pc from the S90ES’s board.
The Yamaha S-90ES incorporates an arpeggiator with well more than 1700 styles, 3 openings for upgrading the S90ES sounds utilizing the alternatively accessible measured blend module sheets, and the mLAN16E board that adequately stations your MIDI and sound information to one IEEE 1394 association annihilating the requirement for heaps of links.
- More than 500 Motif quality sounds.
- Offers incredible programmability–numerous channels, oscillators, LFO shapes, channel, speed, DSPs, and pitch envelopes.
- Staggeringly sensible pianos.
- Extremely smooth 88-key pleasantly adjusted mallet keyboard activity.
- Four programmable sliders, pitch wheel, mod, and aftertouch.
- Expandable with discretionary mLAN16E board and combination module sheets.
- Lightweight for a 88 key console (22.5 kg/49 lbs, 10oz).
- Needs a locally available sequencer for recording.
- Doesn’t accompany a switch pedal.
End on the Yamaha S-90
Yamaha S90 has the most pleasant 88 weighted key activities we have seen on Yamaha’s consoles. The piano sounds are strikingly exquisite and playable-we were unable to quit playing them!
Other than the pianos, different sounds are exactly what you would anticipate from Motifs without the Motif sticker price.
We adored the adaptability and expandability on the S90ES alongside its lightweight; all things considered, we anticipated that it should,
In any event, incorporate a footswitch pedal along with an inherent account sequencer for those among us that aren’t utilizing programming sequencers.
It could likewise be pleasant if Yamaha presented an S90ES rack module later on for the individuals who have just got a devoted 88 key controller.
The Yamaha S-90 is extraordinary for proficient artists who need a piano and synth controller that they can use as their fundamental instrument in their studio while being sufficiently compact to be put on the rearward sitting arrangement of a Honda when essential. The S90ES is a perfect harmony between advanced piano and synthesizer.