loading
reading
writing
saving
searching
Yamaha AN200 Desktop Control Synthesizer Analog Modeling Synthesizer - $490
QR Code Link to This Post
REAL BUYER CALL THE NUMBERS . Dial a ONE (9#2x5\7^2^7\z/-76+14. ,> I DON'T REPLY TO TEXT.OR E-MAIL. NO LOW BALLERS PLEASE
Yamaha AN200 Desktop Control Synthesizer Analog Modeling Synthesizer Groovebox. Was$549
The AN200 has two types of voices. First there are AN derived synth voices featuring the now familiar configuration of two VCOs, a multi mode VCF, a VCA, two ADSRs, two LFOs, a Noise source, a ring modulator, effects block and a dedicated analogue style 16 step sequencer track. These synth voices stretch to a respectable maximum polyphony of five notes. The AN200 also offers three sample based Rhythm voices, each with their own 16 step sequencer tracks. Each Rhythm track has access to 120 onboard instrument samples and these range from acoustic and electronic drum, percussion and bass samples to complex synth tones and special effects loops. There is also a range of basic sample shaping tools.
I should point out that the AN200's sequencer Pattern and synth Voice arrangement is slightly unconventional in that the two are inextricably linked. You can't have one without the other, and the two parts are always treated as one, although it is possible to copy Voice information from one pattern to another.
• OSCILLATORS
The two VCOs are well specified and can generate a wide variety of waveforms including: Sawtooth, Pulse, Square, Triangle, and Sine types. There's also a noise source, a sub oscillator for VCO 1, and a few non standard waveforms with curious titles like Inner and Vari. Yamaha do not provide any information about these, other than pointing out that they change in tone depending on the VCO Sync settings, which is true as far as it goes. To my ears, they sounded as though they were merely combinations or filtered versions of the other more conventional waveforms.
Pitch modulation is well catered for and you can modulate the VCOs with either LFO 1 or 2, pitch synchronise one to the other (with either oscillator as master or slave), or frequency and cross modulate one with the other oscillator or the LFOs, Pitch Envelope Generator (PEG) or the ADSR Filter Envelope Generator (FEG) or Amplitude Envelope Generator (AEG), or various combinations of all the above!
Interestingly, the shape of most of the waveforms is adjustable (not just the Pulse width) and can be modulated by the LFOs or Envelope generators for extra movement and depth. Some presets obviously use waveform modulation, but as with many of the other esoteric synth features, I found it impossible to edit them using the front panel controls and had to resort to using the supplied editor software.
• LFOS
The LFOs have everything you would expect from analogue versions and more. Modulation waveforms available include: Sine (five types), Triangle (five types), Square (three types), Saw (four types) and Sample & Hold (four types). Using only the front panel controls it is only possible to route LFO 1 to the VCOs, VCF and VCA. However, using the software Editor you also get the option to add a Delay to the onset of the LFO 1 and use numerous routing and modulation options for both LFO 1 and 2.
• FILTER
Although the VCF looks like any other run of the mill filter with just three controls, it's not that simple. Using just the front panel controls six filters can be called up (24dB low pass, 12dB low pass, and 18dB low pass, band pass, band eliminate and high pass types). The VCF also has its own ADSR generator (the FEG) and using the Editor software, it's possible to adjust filter Keyboard Tracking, Velocity depth and indeed access a second variable 6dB high pass filter.
As pseudo analogue filters go, this one sounds fine, with plenty of range and bite at the more extreme settings and a pleasing mellowness at the lower ends of the spectrum. If you are used to real analogue filters you may not be quite so impressed, as there is occasionally a certain digital quality to the sound. It's hard to pin down but is probably a lack of noise or harmonic distortion. This may concern you if you are fussy about this sort of thing, but I didn't lose any sleep over it!
• EFFECTS
The Effects block includes various types of delay, reverb, flangers, chorus, phasers and overdrive effects. The only physical editing controls available are one marked 'Parameter' and a Wet/Dry knob. The function of the Parameter control varies depending on the selected effect, but it usually controls either the speed of the effect modulation or the length of the reverb or delays. The AN200's selection of effects isn't bad, but I'm not going to pretend that it's terribly inspired either. And given that the software editor gives access to additional parameters in so many other areas of the AN200, it's a shame there aren't any software editable options available for the main Effects block.
However, there is a separate front panel activated Distortion effect which includes further software editable options. These transform it into a fully fledged Distortion/three band EQ block. Under software control you then have the choice of various distortion and EQ based amp simulator processes, as well as variable low, mid and high EQ and a variable low pass filter. Although this section is no substitute for the lacklustre effects, it is capable of transforming an otherwise dull sounding patch into something interesting.
• AMPLIFIER & MIXER
The VCA is a simple but effective one with basic ADSR control, though software editable features also include Velocity and Volume. The VCF and VCA have independent envelope generators, but because of the relative lack of real front panel controls, both share the same knobs.
The AN200 offers basic onboard mixing which requires the use of multi function knobs to set the required balance and levels for most of the various VCO, Noise and effects combinations, but a fully featured mixer is available via the editing software. This makes available a decent ring modulator, an interesting Feedback function and individual level controls.
• VOICE ASSIGN
Finally, various MIDI keyboard assign modes are available: Poly (five note polyphonic), Mono Legato (one note monophonic, no envelope retriggering) and Mono (one note monophonic, with envelope retriggering). There is also a Unison setting; in this monophonic mode, the synth voice is duplicated four times and the tuning interval of the voices can be offset to give a fatter sound — but this is another software only tweak.
Sequencer
The AN200's rear panel. Note that there are only two MIDI sockets, In and Out, with the Out configurable as a 'soft Thru'.
Pattern and Rhythm construction is carried out using a four track sequencer, one track for the synth and three for the rhythms. This is modelled on the classic analogue 16 step design favoured by Moog, Roland, ARP, and so on, but with a few 21st century additions. While in Pattern mode the sequencer tracks.
REAL BUYER CALL THE NUMBERS . Dial a ONE (9#2x5\7^2^7\z/-76+14. ,> I DON'T REPLY TO TEXT.OR E-MAIL. NO LOW BALLERS PLEASE