Comparison Korg Pa700 vs Korg Pa600

The number of built-in sounds provided in the synthesizer.

The number of timbres is often described as the number of instruments that a given model can imitate. However, this is not entirely true — rather, this parameter can be called "the number of instruments and sound effects." For example, the same instrument — an electric guitar — with different "gadgets" (distortion, overdrive) will sound differently, and in the synthesizer each such gadget will be considered a separate timbre. The “drums” timbre usually combines different types of drums and other percussion instruments — in other words, it allows you to portray both the “bass drum” and the cymbals without switching settings, just by pressing the desired keys. And some timbres may not have analogues among real instruments at all.

The more built-in timbres, the more extensive the possibilities of the synthesizer, the more diverse the sounds that can be extracted from it. At the same time, in high-end models like workstations (see "Type"), this number can reach 1000 or even more.

The number of auto accompaniment styles (see above) originally provided in the synthesizer, in other words, the number of accompaniment options available to the user.

The more extensive this set, the higher the probability of finding among these melodies suitable options for a particular case. At the same time, the abundance of styles in itself is not yet a 100% guarantee that among them there will be a suitable one, especially since different synthesizer models can differ markedly in a specific set of melodies. So the list does not hurt to clarify before buying. Also note that the situation can be corrected by user styles (see below) — many synthesizers with auto accompaniment support them.

The number of user auto accompaniment styles supported by the synthesizer, in other words, the number of additional styles that can be stored in memory in addition to the built-in ones. Note that styles can have different volumes (depending on the number of notes used), so this parameter often turns out to be not exact, but only an average-approximate one.

Modern synthesizers may have a fairly extensive set of built-in auto accompaniment styles (see above), but even the richest set may not contain the desired melody. Thus, many models allow you to supplement the standard list with custom melodies. The addition methods themselves can be different: in some models, these melodies need to be downloaded from external media, in others they can even be composed manually. Nevertheless, the presence of user styles allows you to expand the range of auto accompaniment melodies, moreover, at the request of the user himself.

Synthesizer support for octave shift function.

This function allows you to shift the sound of the instrument one or more octaves up or down — for example, so that the keys of the first octave sound the notes of the second, or vice versa. This function can be used for both simple convenience and more practical purposes — it allows you to play very low and very high notes that are not initially covered by the keyboard range. This is especially useful for shortened 49- or 61-key synths that do not initially fit the full range of the piano.

— mini-Jack (3.5 mm). Line-level analogue audio input using a 3.5mm mini-jack. The line input itself is used to connect an external analogue audio signal to the synthesizer — for example, from a computer sound card. The use of such a connection can be different: playing accompaniment through the built-in speakers of the instrument, switching the signal to an external amplifier with “mixing” the sound of the synthesizer itself into it, etc. Specifically, the 3.5 mm mini-Jack connector is small in size, it is popular mainly in portable equipment and inexpensive stationary devices — “serious” audio equipment is usually equipped with more reliable connectors, like Jack (see below). As a result, an input with this type of connector is typical mainly for entry-level synthesizers.

— Jack (6.35 mm). Line-level analogue audio input using a 6.35 mm jack. By purpose, such an input is completely similar to the input with a 3.5 mm mini-Jack jack described above, however, the Jack connector is larger, provides a more reliable and high-quality connection and is considered more suitable for stationary audio equipment, especially high-end ones. Therefore, in synthesizers of an average and advanced level, usually, this type of line input is used. At the same time, we note that a 3.5 mm plug can be connected to a 6.35 mm jack using a simple adapter.

— Digital. Input for connecting to a digital audio signal synthesizer. It is similar in purpose to the linear interfaces descri...bed above, but differs both in signal format and in connector type — most often it is a coaxial S / P-DIF interface using an RCA connector, although other options are possible. Digital outputs are quite popular both in professional audio equipment and in home appliances like PCs and even TVs, so such an input may be useful.

— MIDI. MIDI is originally a digital signal format used in electronic musical instruments. Each key pressed on the synthesizer gives just such a signal: it contains data on the duration, force and speed of pressing, as well as the note number, and based on the control signal (MIDI event), the “hardware” of the synthesizer generates the desired sound. Accordingly, the MIDI input allows the synthesizer to receive MIDI events from external electronic musical devices — other synthesizers, MIDI controllers, etc. This connection can be useful, for example, if the external instrument does not have the desired timbre; in addition, many synthesizers are capable of recording received MIDI signals. In some cases, the possibility of switching such a signal via MIDI thru may also be useful (see "Outputs").

— USB (type A). A classic USB connector that allows you to connect various external devices to the synthesizer — primarily flash drives and other drives, other peripherals are rarely supported. The features available when working with a flash drive depend on the general functionality of the synthesizer and may be different in different models. So, some instruments are capable of playing music from such a carrier, which plays the role of accompaniment for the main part — this can be more convenient than using auto accompaniment. Others are able to record music on a flash drive. It may also include updates to the Voice Set and/or Auto Accompaniment Styles (see above), firmware updates, etc.

— Card Reader. A slot for reading memory cards, most often SD: this is a universal format widely used in many types of modern electronics. Like a USB flash drive (see above), the card reader can be used for different purposes — most often for playing musical accompaniment or recording music, but there are other options (loading additional timbres, updating firmware, etc.).

The number of pedals that can be connected to the synthesizer at the same time.

Pedals are additional controls that expand the capabilities of the instrument. One of the most famous pedal functions, familiar to many from classical pianos and grand pianos, is “sustain”, where the sound continues to sound after the key is released, slowly fading out. However, the matter is not limited to this, the purpose of the pedals can be very diverse: enabling or disabling additional effects, switching between octaves or keys, etc. At the same time, in some synthesizers, mostly inexpensive, the assignment of the pedals is fixed, in others it can be reconfigured to fit your goals.

For most instruments, one pedal is sufficient, but high-end models such as workstations (see "Type") may support multiple connections.

— Digital. Digital audio output, usually via coaxial S/P-DIF interface. It is similar in purpose to the line outputs (see below), differs only in the type of connector and the digital signal format. It can be useful, in particular, for connecting the synthesizer to a device that does not have line inputs, or if these inputs are occupied.

— USB B. A connector designed to connect the synthesizer to a computer or laptop as a peripheral device. Such a connection provides very extensive possibilities: it allows you to load new timbres, auto accompaniment styles and melodies into the synthesizer, edit existing ones; record the played music on the computer (or rewrite the music recorded in the memory of the synthesizer itself); use the instrument as an external MIDI keyboard; change various fine settings and troubleshoot, etc. The specific functionality available with a USB connection depends on the synthesizer model.

— MIDI. Output for transmitting MIDI signals (MIDI events) to external devices. MIDI is a specialized type of digital control signal used in musical instruments. Such a signal is generated when a key is pressed, it contains data about the pressing itself (duration, strength and speed), as well as the note number; Based on this signal, as well as the set settings, the electronic “hardware” of the synthesizer generates a sound of the required duration, timbre and other characteristics. Accordingly, the MIDI output allows you to transmit MIDI events to...an external device — a sequencer, sampler, another synthesizer, a computer (although it is more convenient to connect the instrument to a computer via USB), etc. This interface can be used for various purposes — MIDI recording, playing music through an additional synthesizer if the main model does not have the desired tone, etc.

— MIDI thru. An output designed to transmit to another device MIDI events received by the synthesizer via a MIDI input (see "Inputs"). In this case, the stream of MIDI commands is transmitted unchanged, pressing the keyboard of the synthesizer does not affect it. This function can be useful in some situations where the instrument is connected to several external devices at the same time. For example, if you need to control two others at once from one synthesizer, you can compose such a system as follows: the MIDI output of the control synthesizer is connected to the MIDI input of the first controlled one, and the MIDI thru output of the first one is connected to the MIDI input of the second one. Thus, the control signal goes to the first controlled synthesizer, and, through it, to the second one, while it would be difficult to connect both instruments directly.

— Headphones. Dedicated headphone output. It usually uses a mini-Jack 3.5 mm or Jack 6.35 mm connector — the vast majority of modern headphones are equipped with the first, the second is less common in the “ears”, but more reliable, and is also compatible with 3.5 mm through a simple adapter. Using "ears" when playing the synthesizer is convenient because only the musician hears the music played — this can be useful in situations where you need to practice, but it is undesirable to make noise (for example, at late hours of the day). In addition, some instruments do not have built-in acoustics, and you can listen to them normally only through additional equipment — the role of which can be played just by headphones.

The number of line outputs provided in the design of the synthesizer.

The line output is used to transmit the sound produced by the synthesizer to external devices. At the same time, unlike the MIDI output, a “ready” sound is transmitted through such a connector — an analogue line-level audio signal that can be connected to another audio device — for example, to a power amplifier or active speakers for playback, to a computer or mixing console for recording, etc. Keep in mind that the line outputs can use different types of connectors — for example, 3.5 mm mini-Jack or 6.35 mm Jack; Specifically, these connectors are described in more detail in the “Inputs” section, but the matter is not limited to them.

Multiple analogue inputs make it possible to connect the synthesizer to several external audio devices at the same time — for example, to an amplifier for playback and a recorder for recording.

Rated power of the built-in acoustics of the synthesizer.

This indicator characterizes, first of all, the volume at which the instrument's built-in speakers can sound. At the same time, one should not forget that in most cases such speakers are intended rather for individual use — so that the music can be heard by the musician himself and the people in close proximity to him. With this application, high power is not needed for normal hearing; and if you still need a loud sound, you can connect the instrument to an external speaker.

Therefore, it makes sense to pay attention to the power of the built-in acoustics if the synthesizer is planned to be used for more serious tasks than individual listening, and if external acoustics may not always be available.