Yamaha

I’ve been the happy owner of this keyboard for a little over a month now. The Genos is now the core of my studio, I write music for events (e.g. soundtracks) as well as for my own pleasure in an Electro/Chill genre. I quit my previous "100% in-the-box" workflow as I really needed a “real” instrument under my fingers that could quickly render my inspiration on the spur of the moment – plus, I already spend well enough time in front of a computer the rest of the time. The “arranger keyboard” philosophy behind it is interesting as it instantly provides a good basis to compose, improvise, reproduce and rearrange your own creations. While I wanted to leave DAWs and VSTs for composing purposes, needless to say I also required high quality sounds to make the jump, and the Genos gathered all these elements I was after. Regarding its design and building quality, the Genos is really great. Plastic parts are thick and well-made, knobs and faders are pleasant to use and really bring something in terms of creativity and live playing. The touchscreen makes navigating through the machine easy, making its use even more intuitive. The keyboard’s touch is very pleasant and perfect for all kinds of instruments. The number of audio (2 main, 4 subs) and MIDI (1 in, 2 outs) outputs suit my needs (multitrack recording + controlling my synth through the Genos if need be). The keyboard instantly brings in a very wide sound palette in all kinds of instruments. Acoustic sounds are very convincing. Of course, you can always find a VST that will be even more realistic for such or such instrument but as far as I’m concerned the Genos is the first hardware that managed to please me so much through all of its presets. Regarding synth-type sounds, I can find what I’m after with punchy bass and lead sounds and thick pads – though you’d better look elsewhere if you’re into tweaking oscillos, LFOs, filter and so on! The Genos is to be seen as a “ROMpler”: you pick a preset, put effects behind it if necessary and play! You can tweak the filter, resonance, effects and EQs but this is it. The arpeggio is a real asset to me as I like playing mindblowing, evolutive synth parts, but so far I have to do with the factory arpeggio presets (an update will certainly correct this). They are numerous enough for me but again it won’t suit just anybody. The drumset and drum machine sounds sound great – at last! Thank the RevoDrums and new electronic kits. I’ve always found arranging keyboards to lack punch in that field, but the Genos is a real gamechanger to me. Plus, if you’re still not convinced, you can create your own kits using the YEM software. Styles cover all kinds of music genres, from house to club jazz to 60s rock to cha-cha, and so on… They’re great starting points to build tracks. I consider many of them to sound kitsch when taken as is, so I always modify the accompanying sounds, the rhythm patterns and the effects, which allows me to get what I want quite quickly (using StyleCreator + the mixer part). The included effects are high-quality (reverb, chorus, delay, phaser, flanger…). The GUI is very practical when setting the effects, reminding the universe of computer music, VSTs and so on. I haven’t used the sequencer so far. The mixing part (volume, EQ, compressor…) is basic but does the job for both creating and live playing. While I’ve left computer music for composing, it still is a necessary step in finalizing a track (final mixing + mastering). As for its cons, as far as I’m concerned, I’ll go with the impossibility to apply effects other than reverb and chorus on the aux Ins and multipads, and to combine MIDI and audio multipads. Hopefully, Yamaha will correct this in a future update, especially as it seems far from impossible… In the end, the Genos is a really great machine for live and studio provided you like the philosophy behind it. No way to do pure synthesis, its sound design features are very minimal, and for in-depth editing it never will rival with a Montage-like workstation either. What you have here is a simple interface which offers instant, ready-to-use beautiful sounds with styles that provide a solid basis over which you can build your tracks – or just play a quick trip after turning the machine on. Playing and writing music with the Genos is a real pleasure, and I find its €4000 price tag legit (I wouldn’t have paid more for it, though).

After 3 months spent watching videos and dreaming to lay my hands on this new synth, the day has finally come. As an owner of an MO6 and Motif XS, I really believed the Montage would be Yamaha’s most elaborate synth, but in the end the longer the wait, the cruellest the disillusion. The mere unboxing step already reveals a rushed product: the machine lays in a hastily rolled plastic cover with four old-looking yellowish tapes on the corners, a power cord and a hastily written manual with blurry pics and little explanation at all… Quickly plugged on, but a sturdy stand is necessary as the keayboard is particularly heavy. Manufacturing quality is good, it gets turned on in no time and everything works so no problem so far. This is the moment you’ll want to listen to its sounds. Here comes the first surprise: everything is messy, hard to find anything and the so-called “performances” include complex sounds featuring arpeggios, motion control and other basic –effectless– sounds… And there are many crappy sounds that’ll never get used… HEY, YAMAHA, you DO know that not everyone buying this kind of keyboards is a programmer, don’t you? There are also musicians who don’t want to wait for two years before being able to play something interesting! This is a bitter disappointment, as except for perhaps ten sounds nothing is even just playable, let alone the rhythms that were forgotten on most sounds – the same goes with the arpeggiator. While we’re at the arpeggiator, it’s way too complicated – so much as it’s almost unusable, plus too many steps are necessary to just insert one. The designers of this pretty toy wanted to please themselves, but in the end this synth is like a cake with so much flavor that it just ends up being plain disgusting – and there we are, you can’t find anything intuitively and making the best out of the Montage requires spending thousands of hours. So you spend your time toying around with ordinary Voices – the same you find on a Motif, except that the Motif’s performances actually do the job. I’m sorry to only be able to give a musician’s advice, in contrast with what an electronic genius’s might be so perhaps this device wasn’t designed for me but they really could have included great sounds – especially considering the many blank memory banks. In the end, the Montage is a last-generation war machine without an ammo, and Yamaha provides a half-empty box. Now I understand why all the demos and videos feature the same PEARLS, DJ and piano sounds – as usual. I feel like I’ve thrown 3000 euro away, and all I can do now is cry over it while trying to sell it.

One input jack, two output jacks, you choose the operating level (+4 or -20 dB), 16-bit linear conversion, 31.25 kHz sampling frequency, which results in a frequency range of 20 to 12 kHz, maximum. The effects can't be edited via PC, but those interested should know that besides being MIDI controllable, the SPX 90 also works with the lovely remote controls of the REV 7 and REV 5. You wouldn't believe how practical that can be when you don't have the SPX 90 in sight. On the other hand, these remotes don't have an editing screen, they only allow you to control some very simple parameters that don't need too "complicated" settings. But it's still not bad! UTILIZATION Given its simplicity, it's useless to describe the programming procedure, despite the limited number of buttons on the front panel and the number of parameters. To be true, the manual is superfluous. SOUND QUALITY When it came out (1986), the Yamaha SPX 90 wasn't the first digital multi-effects, far from that, actually. Ever since sound can be manipulated on the time axis you have effects with names such as chorus, flanging, slap back, pitch shifting, or simply echo. But it was more complicated to get a stable pitch transposition or a quality reverb, and that's where the SPX 90 really made a difference compared to other gear of the day. Set against other contemporary products, the reverbs of the SPX 90 are pretty convincing in most situations, less dense and complicated than those of the REV 7 or the Roland SRV 2000, obviously (since it doesn't have early reflections). Even if there are many plug-ins that are better nowadays, the SPX 90 has something particular: Its character which suits perfectly different uses. Try the reverse-gate to convince yourself. The chorus, flange and phasing effects are perfectly usable and appreciated, even if they are clearly outdated, they provide an undeniable "vintage tone." The Early Ref.1 and 2 modes, which help you determine the size of a simulated room are still truly excellent. OVERALL OPINION Bought in 1988, this formidable little machine has never left me "stranded." Even if it's fully outdated today in terms of technology, it still serves me well thanks to that "different" touch its effects have, which only it can reproduce. In short, I'll keep it still several decades and by no means out of nostalgia. What's more, it's Indestructible. It's far from the "disposable" character of some modern gear. Try it and you'll want it.

After having worked 8 years with a Roland G70 (which is excellent), I fell for the T5. Finally 76 keys, something we had been waiting for a long time. Pianists are grateful. In terms of sounds, it sounds silky overall and the super articulations are a significant plus, as long as you use them wisely, which demands some training. In terms of effects, there's not much to say, the DSPs are formidable and cover all your needs. Perfect connection both over Midi (it has 2) and USB (it has 3), although there's a small and bizarre thing: To access the HD directly, without a computer, you need to turn it off and turn it on again pressing Song List. It would've been better to include a dedicated function in the menu. Sounds are barely editable, there's no synthesis section, but hey, it's an arranger not a synth. It was a good idea to separate MIDI and audio, because it allows you to use both at the same time if you want to, or to go from one to the other without problems. In terms of audio, it supports all common formats, the choice is up to you. UTILIZATION Very good and fast usability. It's easy to do anything without breaking your head, On the other hand, the printed manual is disappointing and you are forced to download the Reference Manual in PDF to go any further. Not very smart of Yamaha, especially for a product with such a price tag. Fast but limited sound and effects editing. OVERALL OPINION I've had it for a month but I had already studied it thanks to the different forums and demos. Overall, it's very easy to use. After some experiences with arranger keyboards, especially Roland's G70, I was never confused, so there's not much to add. What I do regret, is everything that has to do with the sequencer (the visualization on the screen), which isn't even close to the one on the G70 that resembles a DAW, as well as the lack of clarity for editing (you have to browse a lot of pages). But most of all, something that is a real pity for a product at this price point, is the lack of a touchscreen! And the pretext used by the brand (the price), just doesn't hold up. But you'll get used to it!!! The price is justified, given the technology and performance of the T5, although I would've expected a more solid shell and not this fragile-looking plastic one ─ Flight Case mandatory. Another small drawback is that the keyboard is a bit light, for my taste, especially coming from the semi-weighted keyboard on the G70, which was wonderful. However, I don't regret my investment at all because it is exactly what I was looking for in terms of sounds and usability, as well as modern and well-written arrangements. Even if traditional sounds (accordion, folklore among others) are not up to par, guitars, brasses, wind instruments and strings are really cool. And the Ensemble section is a real treasure, because instruments really sit in their place. In short, a good tool for people who do piano bars or who record demos directly or with a DAW. And, besides, Yamaha cares about its products and often offers updates that always add something more. In terms of reliability, if it stems from the same line as previous instruments (DX Series and more recent ones), I think you don't have anything to worry about. I strongly recommend it, even if it seems expensive. After all, quality and reliability have a price.

• 61 dynamic-note piano • 5.7" TFT color screen • 1564 sounds and 408 styles • 25 audio styles • Super articulation • Extension packs • Audio recording via USB & mp3 playback • Advanced audio functions • Mic input & vocal harmonizer • 2 x 15 W UTILIZATION I am here to "speak up for" the PSR S950, which comes out pretty bad in the previous review. I bought it new for approximately $2200 in December 2012. I used to have a PSR 3000 and I can certify that Yamaha has introduced real improvements, both in terms of sounds and functions, on this instrument, including many of the Tyros 3, especially when it comes to sounds. I am musically inclined towards commercial music (rock, folk and a bit of jazz-blues). I have no interest in electronic music so, consequently, Yamaha's more traditional styles and sounds suit me perfectly. One of the rare defects that can I point out is that it lacks "factory" accompaniment styles in 3/4, but it's not really a deal-breaker, because I can always create my own with the Style Creator. (In this regard, I think Roland is the one that sounds more European, but the pianos of the brand currently lag slightly behind the competition). Sigh! There's also Ketron, which is excellent…end very European, but it costs more or less the same as a Tyros 4!! Let's focus now! I really like the sounds with super articulation: Their realism comes through very well, depending on the touch. By the way, I'd say the keyboard is all right, but nothing more. The organs are also pretty good. I used to hate that my PSR 3000 didn't have any settings to resemble as closely as possible a Leslie speaker. Yamaha has solved that issue with the PSR.S950 which provides several parameters to emulate quite successfully the magical sound of a Hammond with Leslie. I also like the Audio USB function, which allows you to listen to MP3 files, to play along and also to record a song (performance) in Wav format. This allows you to listen to it immediately on an MP3 player, for instance. Learning to use it was pretty straightforward for me, because it is very similar to my PSR 3000. Besides, I had already tried a friend's Tyros 3 and, as I mentioned before, the PSR S950 has almost the same accompaniment styles. What's more, I "borrowed" from it the ones that the PSR S950 lacks, because it can read them perfectly. OVERALL OPINION I'm happy with the PSR S950, given its sounds and quality, especially considering the price. I nevertheless find regrettable Yamaha's unfortunate commercial approach, not being very generous with additional styles nor sounds, which you can nevertheless buy online from the manufacturer. And one last remark: During the test, ask the shop assistant to connect it to a small PA system or two active speakers. The stereo image is superbly accomplished and the sonic performance is amazing. What I did is try it out with a set of 2x75 W speakers. It's a real delight to have at home a good, round low end, enveloping synth pads, etc. However, the keyboard has two "bass reflex" built-in speakers that deliver 2x 15 watts, which is all right to cover a medium-sized room, office or similar. I'll finish now with the vocal harmonizer, which allows you to sing with a choir, made up of...your own voice. My old PSR 3000 already had this feature. It's simply stunning! I would buy it again without hesitation and I hope I could reassure those hesitating before buying the arranger. It's a good instrument aimed at amateur (but demanding) musicians. Soundkid Images linked to this review

(Originally written by roger2004ien/translated from Audiofanzine FR) Already detailed (see bellow) Mine has the option for separate SCSI outputs I didn't install the maximum RAM and it's a pity because the maximum sample length depends on that... I can only sample about one minute But that's already enough to make loops, isn't it? I found a secondhand 4-GB SCSI HDD to save via SCSI (it wasn't easy to get the right cable) The separate outs can be assigned in a dedicated menu. It's probably nice to transfer the separate outputs to a computer in order to process each track (EQ, compressor, etc.) but I produce the songs entirely in the SU. I bought it a long time ago but I didn't use it a lot. I will update this review as soon as I learn more about it. UTILIZATION I've already owned similar devices and I have the user's manual, so it wasn't much of a problem... Once you learn how it works, the configuration is logical and the small vintage LCD with blue pixels helps you. It displays the track status (on/off, volume, effect intensity, etc.) and much more to make it easy to understand... People who work with software sequencers and don't know hardware sequencers must have a strong will. Although you can find the user's manual on the web and the device isn't that complicated. It's even very user friendly, a groove box is almost as difficult. And the user's manual is very clear. Sound editing is very intuitive (for example, the effect section is similar to the Yamaha RS7000 or RM1X), you must only adjust the different submenus with a rotary control, which makes the unit perfect for live applications where you need to configure effects on the fly. The pads are quite responsive. The recording section couldn't be easier. The ribbon controller is nice: you can assign several cut-off or high-pass filters to it. It's fun! This is essentially a device for live applications but it will easily find a place in your studio if you want to spend less time with your computer. I know you would be only replacing one machine with another one but this one is more like a toy... I'm a big retro fan! For me it's a delight. Of course it CANNOT replace a modern software sampler with all its functions (forget time stretching for example), but it's great if you combine it with a computer. You just have to prepare your samples on a PC (which is impossible with the SU), transfer them to the hardware, and enjoy more basic parameters (and good ergonomics!) that let you explore your creativity. Yes, it can be an amazingly creative tool. Obviously you can't compare it with a software sequencer (not that you can't get creative with software, but it's different...) The multi-effects processor is also great because it provides you with everything you need to test ideas. I started assigning effect parameters to an UC33E: it's perfect for live applications... SOUNDS This unit has a real sound character of its own. Compared with my sound card, it's much better! The sound is quite warm. You'll notice it as soon as you crank it up a bit. It produces a big low-end. The overall sound is round, but I don't have professional monitors or headphones to give you more details. The multi-effects is nice (compression, distortion, flanger, phaser, pan effects, etc.) and it has enough editable parameters. OVERALL OPINION The device is not as heavy as you might think and it is RELIABLE. I haven't had any crashes although it sometimes doesn't load songs properly. When that happens I just reboot, reload and everything works fine (but you have to patient, that's all). I bought it secondhand for a good price. I also bought the 4-GB SCSI HDD. I'll give you a couple of tips if you plan to buy such a device: Check all rotary controls while playing samples (ask for a demo with sample) and make sure that everything works as it should. Check the in/outs for noise. If the unit works without a problem you can have all options for a good price. It's a real delight and a good deal!

On paper, 400 watts into 4 ohms! It's obviously "dynamic." An exotic output power. In fact, it's rated at 125 watts before clipping (with 1% THD, 1khz @ 1W) per channel into the same impedance (percentage of the 3rd harmonic with respect to the root note). Nominal, it's no more than 37 watts! The power divided by 5, two times 40 watts RMS!!! In practice, you will never have more than 50 watts per channel. Enough for a musician to do a small hall, especially if you connect all your instruments to the small mixer. The mic inputs are very faithful for vocals, especially with dynamic mics. As a PA system with around 100 people in the audience (applying a 1 watt/1meter per person rule), it's a reasonable choice that won't hurt your budget. The Stagepass 400I is rated at 125 db SPL, but in the manual there's not a single word about the speakers, which is 8" big and seems quite stiff, so you will need to break it in to get the best of it. The Bass Reflex speakers almost don't vibrate at all and have a good diffraction. The StagePas 400I is IPOD and IPhone compatible, according to the manual. But not only. First generation IPADs are also welcome. And even more so the later versions. The Stagepass 400I plays the audio and recharges the iPAD! MP3s obviously. A good EQ is needed for pre-mixing. A limiter and an EQ per band will do the job. To get better results you can use an external CD player. You should preferably listen to the mix using the monitor's mono output to avoid phase shifts. A drawback is that it has no stereo headphone connector for the controls. The simple addition of a powered sub of at least 120 watts RMS will give this system the power it lacks in the bottom end. In conclusion, the Yamaha StagePas 400I is not exceptional on paper, in terms of power characteristics, for a low-end PA system. On the other hand, its overall quality is all right. And its durability is a bonus.

16-track digital mini studio that works at 16 bits/44kHz. It records simultaneously 8 tracks and also has a stereo track to record a master. It uses an internal hard drive to store what your record. The CD player/burner allows you to import (as long as you respect the ISO formatting mentioned in the documentation), export and save an entire project, or parts of it, in wav format. No USB, no SCSI...not very practical, but you get used to it, given the quality of the unit. You have 12 mono and 2 stereo tracks for mixing, as well as 8 levels of independent virtual tracks. No track automation (although it's possible via midi and an external sequencer) but there is a Scene Memory that can be useful. In terms of precessing, you have a parametric equalizer (4 freq) and a compressor (expander, limiter, etc...) per channel (inputs+tracks!) whose settings are very comprehensive. 2 very comprehensive multi-effects, too. A (very limited) 4-channel sample player. For more info see the (lengthy) documentation. UTILIZATION The studio is rather well thought-out, although it is not the same in terms of usability as a PC software (but that applies only to the usability!). The track editing functions are laborious, but the results have an impeccable quality. Audio routing is the same as on a standard analog mixer, so it shouldn't pose a problem for people familiar with them. And for those who don't, this mini studio will be useful for the future. SOUNDS In my opinion, this is the main strength of this unit, which is why I don't want to let go of it. The converters (16bits/44kHz) are of a very high quality. No converter is transparent, but how can I put it...I prefer them over several 24bit/96kHz ones. The headphone and main outputs are very good, which is ideal for mixing. The EQs, dynamic processors and effects are simple and effective (it's yamaha, remember?...). OVERALL OPINION It breathes quality. It's solid. A safe bet, despite the absence of something that seems crucial today in terms of communication with the external world (usb, firewire) but...it's a (nice) unit from another era.

A lot of great reviews with regard to functionality, however, now these are starting to age - I thought it was a good time to show how to repair one the most common problems - a failing data encoder! Part 1: Part 2: I have attached a track that I made using mainly the AN200 - Syncola :) please visit my blog page for more examples: http://ranzee.com I will be doing a functional review using today's operating systems and the aging legacy software to still manage and connect to the AN200 - coming soon!

I essentially play bossa and jazz standards, plugged on a SR Technology Jam 100 (a great amp by the way), and this guitar is perfect for this register. Great wood, flawless construction, no problem with the finish either, the frets don't grip or anything (I've had some reasons to be disappointed with the finishes of "made in China" guitars in the past but not here , Yamaha's quality control know their job). The neck is pleasant for an electric guitar player (48mm at nut). The action was originally set a bit high, but slightly sanding the saddle allowed to solve it easily. The guitar sounds good unplugged, with a well-balanced sound but an average projection as the body is slightly narrower compared with a standard classical guitar. Once plugged, the preamp is really great, both powerful and allowing a very precise modulation of the sound with no risk to induce a feedback (the two sensors under the bridge work marvel and sound way more natural than a standard piezo). I'm very satidfied with this purchase, and I think I'll keep this guitar for a long time.

I won't repeat what has been said already. It's a modern, light, powerful, well-designed keyboard with everything you can expect and more. I only regret the lack of aftertouch on the keyboard, even though the quality of the sounds make you long for it... UTILIZATION I've had plenty of synths, workstations, digital pianos...put this is my first arranger, my first PSR. I got it yesterday and I immediately understood its design. Rather smart menus (copy-paste works for everything), very clear functions, everything is easily accessible. And it has lots of practical details when you play, you can tell the years of know-how and user feedback. Well done! OVERALL OPINION I got it yesterday and I have hardly been away from it. It's a treat to play with it! The sound are a nice surprise: Much better than I expected! I had an unfavorable prejudice against this type of keyboards, which I always imagine being played by aficionados on Sundays to entertain the family or by street musicians. But I was wrong. The sounds are terrific, sometimes better than those of a Motif or Kronos!! For example, it's the first time I find truly convincing and playable brass sounds... As for classic sounds (pianos, rhodes, organs, pads...) they are fine. Guitars, sax, etc. benefit from the "super articulations" functions, which you can find almost anywhere nowadays, and which are nice for this type of sound. 128-voice polyphony and WAV audio player. I feared the lightness of the keyboard, but I had one several days to test it and I can confirm that this keyboard is light but comfortable, very nice to play (it's obviously not the same as my Proméga3, but it isn't meant to be a piano imitation). Once again you can feel Yamaha's know-how (which I don't usually like much). The styles... I think they are spectacular, amusing, inspiring, great to entertain yourself and play on your own. Everything is of very good taste and very playable. I have lots of fun triggering the different variants of an arrangement, making the song evolve in real time, etc. The amplification: The built-in loudspeakers are of good quality and the sound acquires a nice coloration (a little like Bose), with a large enough stereo spatialization. It might not be powerful enough to play along with two or three musicians in a room (I just did that with a guitarist and a sax player, who BTW were stunned by the keyboard). Connected to my monitoring system, the sound is very, very good. Precise, well-defined, very usable with a band, onstage (although I must confirm this). And well, it's 22lbs... What a delight!!! I can take it anywhere with me, to rehearsals or to the countryside. And I wouldn't need anything else. I was looking for something comprehensive, light, self-sufficient, that I could play with a band but also on my own to have fun. I must admit that this PSR meets all conditions hands down. And for a very decent price, in my opinion.

Three keyboards, including a synth. One semi-pedalboard. Synth: 37 keys. Upper and lower keyboards: 49 keys each. Pedalboard: 13 pedals Synth: 12 tunable instruments. Portamento. Transposition. Volume. Brilliance, wahwah, vibrato. Depth, speed, delay. Touching or auto. Upper: 23 multiposition levers. 7 flutes, 8 orchestra instruments, 4 preset tones. 4 attack tone levers. Sustain. Lower: 10 multiposition levers. 4 flutes, 5 orchestra instruments, 1 preset tone. Sustain. Pedalboard: 5 multiposition levers. 2 basses, 3 orchestra instruments. Sustain. Overall: 4 multiposition levers. Brilliance, vibrato (delay, depth, speed). Upper/lower balance Reverb. Volume pedal+multi-function switch (glide, damper, rhythm stop, portamento). Flute response, orchestra response, flute percussive decay. Solo to upper and Solo to pedal couplers. Drum machine: 16 rhythms with 4 variations. Volume, drums/cymbals balance Sync. Tempo. 6 different breaks for each variation. Sequencer programmer, 3 programs, 3 variations. Special effects: Automatic tunings (4 types, 2 memory, 4 multi-bass) Special preset: 8 instr. Repeat. Volume. 2 voice groups and 8 other custom voices. Brilliance, volume. 5 special/custom couplers. 8 auto arpeggios with 3 adjustable voices. Sustain. Rhythm chord 4 pianos/guitar aut. Sustain. Tremolo: Adjustable speed. Chorus. Upper flute, lower flute, upper orch., lower orch. Symphonic chorus. Celeste, upper flute, lower flute, upper orch., lower orch., pedal. Other: Headphones jack, aux. in, aux. out, exp in. Leslie speaker connector. Tone cabinet connection. Fold-away music rest. Bench with sheet music storage space. Amp: 220V, 480W power supply. Center channel: 60W with 3 speakers (12", 8", 2") Tremolo channel: 60W with one 8" rotating speaker Left channel: 30W with one 8" speaker Right channel: 30W with one 8" speaker Dimensions: L=46-1/2" P= 29-1/2" H=41" Weight: 253 lbs. Music rest: lutrin L=29" H=8". Bench: L=26", H=22", P=12" Organ and bench in Walnut. Customizations: lighting of the keyboard with LED underneath the music rest The mark given corresponds to the purchase date. UTILIZATION 3 clear and comprehensive user manuals. Introduction for beginners User guide Registration manual Easy configuration for most controls. Programming of rhythm sequences not very practical. The mark given corresponds to the purchase date. SOUNDS The sounds were very good back in the time. Today, the drum machine obviously sounds pretty basic and the sounds are limited. However, all in all, it still suits my music perfectly: Commercial music and chanson. A bit of classic music. Lots of jazz and blues. I hate noise and distorted sounds. The rating I gave it corresponds to the purchase. OVERALL OPINION 30 years of use. I tested it a lot before buying it. I love most of all the synth. The value for money was good but passion had a lot to do with my decision. In hindsight, I would've bought something with a full pedalboard and richer sound register. I lack midi right now. The mark given corresponds to the purchase date.