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Let's get more serious, and experiment a bit
Let's get more serious, and experiment a bit
Release Date: 1987
Introduction: Exploring the Middle Earth
In early and mid-80s there was a clear and sharp distinction between synthesizers (the “serious” and “professional” gear for the studio or live performance) and “home keyboards” (with built-in speakers and auto-accompaniments for entertainment at home). Even the high-end models such as the PS-6100 or the PSR-6300 lacked some basic functions present in every synth, mostly the ability to create/tweak sounds. On the other hand, synthesizers were quite difficult to use and required some amount of technical knowledge from the user, whereas home keyboards were made with the idea of simplicity and ease of use as one of their main goals.
At some point, though, some people at Yamaha thought that there might be people (mostly non-professional musicians) who, while liked many of the sounds that were commonly used in the songs of the DX7 era, and also interested in the possibility of creating and modifying sounds, were probably reluctant to the daunting complexity of full-blown FM synthesis, and also would appreciate some of the common features of home keyboards, such as built-in speakers and auto-accompaniments.
In that context, Yamaha designed and released in 1987 a new line of keyboards, the DSR line, that laid somewhere in between of the DX line of synthesizers and the PSR line of home keyboards (although, in practice, it was closer to the PSR line). The DSR line had nevertheless a quite short life, with only three models released: the DSR-2000 and the DSR-1000 (1987), which are almost identical, being the velocity-sensitive keyboard and the LCD screen of the higher model the major differences between the two, and the DSR-500 (1988), a lower-end model, actually based in a different sound generation hardware (the lower-end OPU, instead of the OPZ of the 1000/2000).
They key point of the DSR series, as highlighted by all the marketing, was the ability to tweak and transform the preset sounds, giving also to the users up to 40 registers for saving their custom sounds. As we will see, though, the editable synthesis parameters are severely limited compared to any DX synthesizer model, in order to make it more user-friendly. You are not told about operators or algorithms, and even envelope editing is greatly simplified. But considering the fact that you are given 100 different presets, which in general terms are of a good quality and include many “classic” sounds from the DX7 (or which sound very close), and that you can tweak to adjust them to your personal taste and, to some extent, do quite radical transformations, it’s not bad at all. It must be also highlighted that, despite having auto-accompaniments, this keyboard is more focused on music creation rather than in “mere” entertainment, as we’ll have the opportunity to see. On the other hand, this also implies that their capabilities as an arranger are not exactly conceived in the same manner and are also more limited than, say, in the previous PSR-6300. For those reasons, the DSR models are quite unique and cannot be considered neither as synthesizers nor as arrangers (and this was probably, at the end of the day, the main reason for the short life of the line).
Looks and Design
The PS-6100 and PSR-6300 had quite a unique aesthetical design that tried to state clearly that we weren’t in front of another “simple” keyboard, but of a special one that stood out from the rest. In the case of the DSR-2000, Yamaha opted for a more conservative and standard looks, although without renouncing to include some ‘classy’ touches that show that this was a high-end model. While using a quite standard and regular shape, what soon catches our attention is that the control panel tilts, allowing for two different positions: totally flat or inclined in about 40 degrees. The fact is that the keyboard looks pretty good with the panel inclined. The build quality is very good, despite being plastic, because it feels solid and sturdy, while not being an especially heavy board.
Another detail that shows that this is a “serious” model is the custom LCD screen. In the 80s, LCD screens were quite uncommon in “home” keyboards and even synthesizers used to have small screens. The screen of the DSR-2000 is quite big, although without backlight (as most screens at that time), and provides information about the synthesizer parameters, the selected sounds and some other details. There is also a more conventional segment LED screen for the tempo and some other functions.
Another quality touch is the inclusion of the same type of pitch bend and modulation wheels as those found in the DX-series, including the DX7-II. They are pretty thin by today’s standards (in fact, Yamaha would soon exchange them for a thicker ones in the next SY-series), but provide a nice and precise feeling. The buttons of the control panel are big and with a good feeling, as it is the keyboard, which responds to velocity, but not to aftertouch. The DSR-2000 also retains the compatibility with the same type of memory cartridges used in the PSR-6300.
On the negative side, this model drops the internal PSU and uses an external power supply, being the only flagship model, together with the PSR-4500/4600, that doesn’t have a built-in one.
The hardware
Sadly, I haven’t been able to find the service manual of this model, so I cannot confirm at 100% what I state in this section, although I’m pretty sure of what I’m saying. Regarding the sound generation, everything points to the fact that the DSR-2000 is based on the YM-2414 chip, the “OPZ”, just like the previous PSR-6300 and many other models like the DX-11 or the TX81Z. As already explained, this is a 4-Operator, 8-Algorythm, 8-Voice poly, 8-Waveform and 8-Part multitimbral FM sound source. This might lead to the conclusion that, soundwise, the DSR-2000 might sound very similar to the PSR-6300, but the fact is that it doesn’t (I mean, it’s not that it sounds radically different, as the FM sound source remains the same, but it sounds quite a lot more different than one might expect). As we will see below, not only the sound palette is wider (100 sounds in total), but it includes some of the DX “classics”, there are more “synthy” patches, and, in general terms, even the sounds that emulate real instruments are significantly better programmed than before.
The most important drawback, though, when compared to the PSR-6300, is that polyphony is limited to 8 voices (including accompaniment), so it’s most likely that it has only a single OPZ chip (just like the TX81Z, the DX11, the TQ5 or the YS200, by the way). As we will see, this has an impact in the capabilities of the DSR-2000 as an arranger keyboard.
For the rhythm part, there are 23 PCM (sampled) drum and percussion sounds, compared to the 27 different sounds of the previous PSR-6300. According to this website, the drums are managed by the same RYP4 chip found in the PS-6100 and PSR-6300, although at least some of the sounds are different. Maximum polyphony for drums seems to be 6 voices.
The sounds
When comparing the DSR-2000 to the previous PSR-6300, despite sharing the same sound generation engine (4-Operator FM synthesis OPZ chip), there is an obvious improvement both in quantity and in quality of the sounds. First, the DSR provides 100 preset tones, many more than the previous models. Second, although many of those presets still are (or try to be, at least) emulations of real instruments, there are many more synthesizer and/or experimental sounds than before, making the sound palette more varied and versatile. And even the emulations of real instruments are noticeably better than before, thanks to a greater expertise in FM sound programming. Third, some of the presets are “classic” or recognizable sounds of the DX line, which is a very nice touch. And last, but by no means least, the presets can be edited (at last!!), and 40 out of the 100 voice numbers (from 00 to 39) can be used to store the custom edited sounds, although overwriting the original factory patches (anyway, the original patches are stored in ROM and can be restored at any time).
Sound editing, though, is by no means comparable to any FM synthesizer such as a DX11 or a TX81Z (to mention a couple of siblings in terms of synthesis). There is no way to access the operators or to choose the algorithm, and all the user can do is to alter a selected number of parameters in a limited number of steps, so the resulting sound depends heavily on which preset has been chosen to start with. Sound editing, then, is more oriented to retouch or adapt a certain preset sound to our personal tastes rather than to make radical transformations, although it’s possible to make some important changes to the sound.
The selectable parameters are the following:
1) Spectrum: According to the manual, “this controls the timbre or the tone color of the voice”. In my limited experience in FM synthesis sound editing, I guess that this parameter controls the amount of amplitude of the modulator operator, and it’s the parameter with the greater impact on the sound timbre. Usually, the greater the value, the more “metallic” and harsh the character of the sound is.
2) Brilliance: Quite self-explanatory. As the value increases, the sound becomes more brilliant, but usually without affecting very much to the character of the timbre. Probably this parameter affects the amount of the feedback of the operator.
3) Attack 1: Affects the attack section of the envelope of the modulator operator, because it has an impact on how the timbre changes during time, but not on the volume.
4) Attack 2: Affects the attack section of the envelope of the carrier operator (the volume).
5) Decay: Affects the decay section of the envelope. It affects the carrier, not sure if it also affects the modulator.
6) Release: Affects the release part of the envelope (what happens after the key is released). I believe it only affects the carrier operators.
7) Volume: Affects the general volume level of the sound.
8) Vibrato Depth: Although it seems very self-explanatory, this is a curious one. There is a total of 8 steps, but the first 4 ones do not affect the intensity of the vibrato (cyclical oscillation of the pitch), but the intensity of the tremolo (cyclical oscillation of the volume). So it’s possible to select either tremolo or vibrato (although not both at the same time), in different levels of intensity. There is no way to edit a delay time for the vibrato.
9) Vibrato speed: Controls the speed of the tremolo/vibrato effect.
10) Portamento Time: Controls the speed of portamento (continuous change of the pitch from one note to the next played one). Only applicable when a voice is set to “mono” and portamento is activated.
11) Octave: Allows for shifting the sound one octave lower of higher than the original setting.
12) Chorus On/Off: Activates or deactivates an analog chorus effect for the sound. It’s only a switch; it’s not possible to edit any parameters of the chorus effect.
13) Mono/Poly: Sets the voice either in monophonic or in polyphonic mode.
14) Touch Sensitivity: The higher the value, the greater change in the sound (volume and timbre) according to the touch. The minimum setting turns sensitivity off (useful for organs, for example).
15) Pitch Bend Range: Sets the interval affected by the pitch bend wheel, from zero (no effect) to a full octave.
The selection and edition of the parameters is very easy and straightforward, using at any time the four cursor keys at the right side of the keyboard (no need to navigate through menus), and all the information is visible at a glance in the LCD screen (the amount of each parameter, the activation/deactivation of the chorus, the octave, the mono/poly mode…).
As already said, the drum and percussion sounds are PCM sampled, and generated by a RYP4 chip, the same one as in the previous PS-6100 and PSR-6300 models. The bad news is that the number of sounds drops from 27 to 23, being the hand clap the most noticeable absence, IMHO. On the other hand, many of the sounds are different samples and, in general terms, they sound better, although they are still far from excellent.
A few examples of the DSR-2000's voices (some of them are slightly edited):
Rythms and Accompaniments
Whereas in the sounds part the DSR-2000 is clearly an improvement compared to its ancestors, this is not the case regarding the accompaniment part. Indeed, it could be said that it's a step backwards, at least in some aspects.
There are 32 different auto-accompaniments in total, 16 non-editable presets (Bank A) and another 16 that can be overwritten with original ones created by the user (Bank B). A relevant difference when compared to the previous models is that the accompaniments are more quite like "patterns" rather than "styles". The DSR is much more focused to music creation rather than to mere entertainment, and the accompaniments are more like "building blocks" for the creation of original music. Of the 16 presets of the Bank A, the first 4 ones are labelled "8 Beat" 1 to 4, and the next 4 "16 Beat" 1 to 4. They are more like different rythmic patterns rather than recreations of a certain music style. Only presets 9 to 16 are related to a specific style: Bossanova, Samba, Salsa, Reggae, Shuffle, Swing, Jazz Waltz and Waltz. Accompaniments of the Bank B aren't even labelled, although in some of them a certain music style is recognizable.
Another shortcoming is that, contrary to previous models, there is no "variation" for each style, and although there is still an intro and an ending, there is only one "fill-in" pattern, instead of the 4 different ones previously available.
Third, there is not the option of selecting different digitations for the chords. Instead of the usual "single finger" and "fingered" modes, the DSR-2000 always acts as in "fingered" mode, hence having to play the full chords. There is nevertheless more flexibility in the sense that the chords played correspond to the actual notes, so you can play the same chord in different octaves or inversions, according to your playing.
In contrast to the older models, the DSR also lacks harmonization functions (duet and trio), probably due to the limited polyphony.
Finally, while in the PS-6100 and the PSR-6300 there were independent volume sliders for the drums, the bass and the chords, in the DSR-2000 there are just a "rythm vol." (for drums) and a "lower vol." (for both the bass and the chords of the accompaniment) sliders.
In sum, the only aspect in which the DSR is clearly an improvement is the fact of being able to create more custom accompaniments (up to 16).
A few examples of accompaniment patterns:
A closer look to the panel, showing the accompaniment section
There are no separate sliders for bass and chords
The Sequencer
As in prior flagship arranger models, the DSR-2000 also has a built-in multi-track recorder, specifically a five-track one, as in the previous PSR-6300, although with some differences which stress the different character of this model, more oriented towards music creation than its predecessors, and hence giving more flexibility.
Each track has its own fixed polyphony: four notes for track 1, two notes for track 2, one note for tracks 3 and 4, and drums for track 5. As opposed to the previous PS and PSR, it's possible to select any voice for any track (with the exception of the drums). As an option, track 1 can be used to record the chords of the auto-accompaniment part, and track 4 to record the bass. The recorder also includes the possibility of re-recording one track from a certain point to the end (no punch-in yet), without having to make the whole recording again. That's a primitive edition function, but better than nothing.
The total capacity of the sequencer is 22 "memory units", of which 1 is always reserved for each track and the remaining 17 can be freely assigned depending on the needs. Yamaha doesn't give details about what a "memory unit" really is, but the manual states that corresponds to 15 notes for the first two tracks, 200 notes for track 3, 250 notes for track 4, and 400 changes of the rhythm pattern for the rhythm part (track 5).
As in the PSR-6300, the data is recorded into non-volatile memory, and can be saved into tape or cartridge (RP-5).
Amplification, connections and MIDI
The amplification power of the built-in speakers increases from 5 watts per channel in the PS-6100 and PSR-6300 to 8 watts per channel in the DSR-2000. Still, the sound quality is not very good and it's much better to use an external amplification or monitoring system whenever possible. Another detail that shows that this model is more oriented to music creation and/or use in a studio, is that there is an on/off switch for the internal speakers (no need to connect headphones to mute the internal amplification), and two sets of RCA stereo outs and one RCA stereo in, so for instance you can send the original signal to an external effects processor, get the processed signal back to the DSR-2000, and send the final (processed) signal to a mixer or an amplification system. Or simply send one signal to a mixer and another signal to a monitoring system, or to a recorder, among other possibilities.
The DSR-2000 completes its connections department with a sustain (jack) and expression (RCA) pedal connectors, tape in/out (mini jack), headphones (stereo jack) and MIDI (in/out/thru 5-pin DIN).
Regarding MIDI, this model keeps the default MIDI mode 1 (omni on, poly), so it receives all data through any channel. Luckily, this time Yamaha made things better and made it easy to select a multi-channel reception mode (omni off, MIDI mode 3) through the MIDI menu. In this mode, it's possible to use the keyboard as a 5-part multitimbral sound source, although with fixed MIDI channels and fixed polyphony for each channel: four notes for channel 1, two notes for channel 2, and 1 note for channels 3 and 4. All the drum and percussion goes through channel 15.
Here's a short example of MIDI sequencing in a DAW using the DSR-2000 as the sound source:
Verdict
With no doubt, the DSR-2000 is quite unique among the Yamaha's line of keyboards, and this makes it an interesting model. IMHO, some things are better than in the previous models, but some others are quite a step backwards or could have been done better. This is my own list or pros and cons:
Pros:
The sound palette is greatly improved, both in quantity and quality of the voices.
The synthesizer!! (although edition is quite severely limited when compared to its DX counterparts).
The LCD screen and the cool tiltable control panel.
Standard pitch-bend and modulation wheels, at last.
Easily selectable multichannel MIDI mode for use with external sequencers or DAWs.
Cons:
The polyphony, the polyphony, the polyphony!!! 8 notes is far too short for the potential and the possibilities of this keyboard. The DSR-2000 should have mounted two OPZ chips.
Fewer drum and percussion sounds than in the previous model, and no hand clap.
The arranger section is rather poor: no variations, only one fill-in, no single finger mode, no separate volume levels, and little variety of styles.
External PSU
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