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Yamaha | SK10
Yamaha's SK-series are combo-keyboards with synthesizer, organ, brass and string sections. The SK-10 was the first of the SK-series, released in 1979 - the SK-20, 30 and 50D followed in 1980, and the SK-15 in 1981, possibly as a replacement for the SK-10. The SK-10 is the only one in the series that does not incorporate a synth section, but has organ, brass and string sections that can all be played together for more interesting combinations. Very sturdy casing, 4-octave and fully polyphonic the features also include a leslie simulator, vibrato, attack and sustain rocker switches, a slider for 'brilliance' and a one-octave transpose switch. Not exactly feature-laden, but a lovely string synth sound. Interestingly, they are often referred to as 'analog', but in fact do have a digital section. Its organ has one of the early implementations of Yamaha's FM technology in a very limited form, concurrent with the GS-1/2 development platforms which eventually led to the DX series.
The ORGAN SECTION is available in all the SK series synthesizers. It offers a full range of stop levers from 1' to 16', percussion levers with adjustable decay, and controls for overall sustain, brilliance and decay. This gives you quite a lot to work with in the way of synthesis. The organ's sound is FM based and it sounds very B3 like. You can add a Vibrato and a noisy but good Tremolo to it. Its sound is all about the 70's era rock organ, especially with the Ensemble chorus effect in use. It also has a Leslie-speaker output around back.
The PRESET STRINGS section isn't very sophisticated and offers very limited editing capabilities. It is the string section though, that is worth aquiring this keyboard for. Very similar to the best of the string synths, (such as the Arp Solina/Omni or the Logan String Machine) it has a sound reminiscent of the opening of 'Oxygene' (J-M Jarre) or the lead line from 'Love Will Tear Us Apart' (Joy Division).
All the different sections of the SK synths can be layered and stacked via the slider bars. You use the slider bars as a mixer to set the individual volume for each section. All sections have their own separate audio outs (though a mix out is also available). A great thing for live performances is the split keyboard mode. Although it has no patch memory, there are push buttons for instantaneous selection of organ, preset sounds etc. There are three presets in each section. It also, has no arpeggiator or sequencer, and lacks MIDI. But it's cheap, easy to use, has a nice sound, 49-note keyboard, and classic wooden panels.
|LFO||One with Sine waveform only (leslie simulator - 2 speed)|
|Engine Detailed||1 VCO + FM|
|Filter (VCF)||Brilliance control, Resonant low-pass 12dB filter (non-self-oscillating)|
|Envelope (VCA)||rocker switches for attack and sustain|
|FX||Vibrato, Tremolo and Ensemble effects for the organ|
|Memory||3-preset patches per section.|
|Produced:||1979 - 1980|
|Legend:||Obvious||Y: Yes, N: No, N/A: Not Applicable|
|VCO||Voltage Controlled Oscillator||DCO||Digital Controlled Oscillator|
|LFO||Low Frequency Oscillator||Sub||Sub Oscillator|
|VCF||Voltage Controlled Filter||VCA||Voltage Controlled Amplifier|
|Velocity||As with a piano, the harder you hit a key, the louder the sound, unlike most organs which always produce the same loudness no matter how hard you hit a key.||Aftertouch||Pressing a key after you activated it. Channel Aftertouch, no matter which key, it will send a Channel message. Poly Aftertouch, sends the pressure per key instead of the whole channel.|
|Values for OSC, LFO, Filter, Envelope are per voice unless stated otherwise.|