What it is and what it was built for
It is an analog synthesizer built for expressive, physical performance — not programming or portability. Yamaha introduced it in 1977 to compete at the top tier of studio and stage instruments.
How it works, in terms a player would use
It gives you two full synth layers per voice — each with its own front-panel controls — and true 8-voice polyphony. You play on a keyboard that senses both how hard you strike (velocity) and how much pressure you apply after the note starts (polyphonic aftertouch). A ribbon controller lets you bend or glide individual notes while others hold steady.
What it does better than anything else
It does polyphonic aftertouch and polyphonic pitch-bend better than anything before or since. No other analog synth gives independent control over every voice’s pitch, timbre, and dynamics in real time.
What it does badly
It does not store sounds digitally. Presets rely on banks of subminiature potentiometers, not recallable memory. It has no MIDI, no USB, no patch librarian. Tuning drifts. Maintenance is rare and expensive.
What people made with it
People made film scores, ambient textures, and lead lines that breathe like wind instruments — using its ribbon and aftertouch to shape phrases in ways no sequencer could replicate.
Who should use it, and who should not
A working composer who records live, needs hands-on control over every voice, and has space, budget, and access to specialist servicing should use it. Anyone needing presets, portability, or reliability should not.
Is it worth your time
It is worth your time only if you need polyphonic expression no other analog synth delivers — and can accept its size, weight, cost, and lack of digital memory.
