Awesome Hank
Review
The very first fixation you notice on the subject of the MM6 is how extremely light it is, weighing in at a hair over 11 fat. The synthetic construction might not arise to every day abuse on the road, but it sure makes the keyboard easy to carry to weekend gigs and recording sessions in a pal’s dwelling studio. Similarly, the keyboard action doesn’t have the unyielding feel of pricier synths such as Yamaha’s own Motifs, but it’s perfectly serviceable.
The MM6’s uniquely sleek shape resembles a stealth aircraft. The keyboard is velocity-perceptive, but lacks aftertouch. Pitchbend and accent wheels are included, as well as dedicated knobs for filter and degree envelope control. The pedals are easily readable, and all the buttons have a nice rubbery surface. Taking the “category” method of sound collection one step further are dedicated buttons for various common sound categories. An eight-track onboard sequencer rounds out the package.
SOUNDS AND EDITING
The standard of the noises here contrast with the entry-level appearance of the MM6, which is not shocking, prearranged that they’re derived from in cooperation the Motif ES and “classic.” Most of the acoustic pianos were a little dark for my tastes, but the Rhodes and Wurly electric pianos sounded very authentic. There are several spitty, vibey organs, with fixed rotary presenter effects (i.e. they’re part of the model itself) and the mod wheel adding conventional vibrato. The MM6 delivers plethora of other great sounds, such as the famous Yamaha acoustic guitars, plenty of fat synth leads and basses, plus impressive strings and brass. The “synth lead/pad” category offers lots of techno-oriented prospects as well as some huge analog pads. The mass of sound approaching out of this little jual keyboard yamaha is often surprising! Drum kits run the length from retro analog beat boxes (think Roland TR-808 and 909), to house, dirty garage, and more instantly ahead rock and R&B styles. It’s hard to put my finger on, but all the drum looks had a bit of grit to them that functioned up a little extra impact and punch.
Despite the fact that the MM6 is primarily a preset-based instrument, you can edit some key sound parameters. Four front-panel knobs let you tweak what are likely the four “most wanted” settings: filter cutoff and timbre, and volume envelope attack and release. Chorus, reverb, EQ, and a selectable DSP effect are assigned and saved as well, but the effects themselves are preset. Having a split or layer, you can edit how much of each sound gets sent to each effect, but that’s about it. This limitation is offset, though, by the sheer variety of onboard effect presets. You can still store these adjustments in 64 performance memories, which are also where you store splits and layers, as well as accompaniment rhythm outline and musical tones settings, which we’ll get into in a second.
IN USE
Like scores of other aspects of the MM6, the single arpeggiator is a preset-based affair, with 213 different patterns covering everything from basic up-and-down riffs to complex, polyphonic variations that, true to the Motif line’s sophistication in this area, are better described as phrase sequences than as mere arpeggios. Additionally, various pattern names contain prefixes directing the user to appropriate sounds. This is most evident in the drum “arpeggios” that offer time beats with drum presets.
In the residence-organ-of-doom realm, the MM6 has 168 built-in rhythms, each with four variations. But that’s not all, folks! Each rhythm includes a stylistically appropriate chord and bass supplement pattern that can track right hand chords or left hand bass notes. While they don’t offer as a lot of realtime variations as full-on arranger keyboards like keyboard yamaha PSR-3000 (see page 20), the patterns are in general pretty hip, covering a whole lot of ground from rock to R&B to hip-hop, and relatively adeptly at that. Yamaha has kindly frightened in Turkish and Oriental pop styles as well as some cool Indian tabla beats. One could really get into trouble here . . . the good brand, that is.
There’s an eight-track sequencer onboard too, with a ninth trail dedicated to rhythm patterns. It’s clearly proposed as a musical sketchpad, as its features are very basic: There’s no quantizing, cut-and-paste editing, or loop mode, just straight-up linear demo. I suspect this is precisely why Yamaha tosses in a Mac- and PC-compatible copy of Steinberg Cubase LE on an included CD-ROM should you need to do more complex songwriting and arranging.
Yamaha openhandedly includes two USB ports. One accepts standard USB storage devices, allowing support of all internal data as well as direct playback of Standard MIDI files right beginning the device. I downloaded a pretty wicked SMF of the Village People’s “In The Navy,” and playback was as simple as saving to my USB flash drive, popping it into the MM6, and pressing play. The second USB port is for MIDI communication with your Mac or PC. You do need to download the correct driver from Yamaha’s web site, but the download and installation process was quick and hassle-free, and once applied, MIDI worked perfectly with Apple Logic Pro.
CONCLUSIONS
The MM6 occupies a unique niche. It succeeds in bringing the sound value of the pricier Motifs to the more casual or novice person, and is clearly aimed at those don’t want to use up a lot of time dealing with the nooks and crannies of a deeper workstation. Though it’s easy for some “pros” to take place their noses at the accompaniment features, it only takes a couple of seconds to realize that you can quickly coin a heck of a lot of music this way. This tends to prove highly valuable for singer-songwriter types who like to work fast.
Comparing likely opposition in this price range, the Korg X50 ($899) and Roland Juno-D ($749) both have about twice over the polyphony and are a little more proficiently oriented in terms of their synth feature sets, but they’re also more scary to the beginning user. More outstandingly, neither has any multitrack sequencer onboard, as compared with the MM6’s basic but practical sketchpad. For ease of use and important sounds at a light price, the Yamaha MM6 accomplishes its objectives with aplomb.
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Tags: alat musik, jual alat musik, jual keyboard yamaha, keyboard yamaha, toko alat musik
Posted in Music · September 2nd, 2010 · Comments (0)
The critical to excellent product shots is lighting, composition, and focus on the essentials. It is good when the photograph is sharp, as well! Most persons take photos of people and scenery, so macro photography of modest objects can be a new world to them. Many photographs on ebay are murky and don’t exhibit the auction products at their ideal. Here are some guidelines to take excellent macro shots with typical consumer digicams.
Shooting Close-Up (macro photography)
Most cameras can focus on objects a couple of inches from the lens. Seem for a close-up button or menu setting, commonly indicated having a flower. Set your camera halfway among the wide-angle and zoomed in position. Focus over a coin and appearance at how close you may go with the close-up setting compared to normal. With the macro setting you’ll be able to get in closer, filling the screen with more of your respective item with no having to zoom in. That signifies your photographic camera will have more light to work with and your photo will likely be sharper (while using lens zoomed suitable in much less lumination gets towards photographic camera so the shutter is open longer, along with the extra magnification amplifies minor hand trembling loosing picture sharpness).
Lights!
On-camera flash may be the worst kind of lighting you may use, so turn it off. Put your item over a table in front of you, that has a big window illuminated by daylight behind you, while using lighting coming over your suitable shoulder. This sort of soft lighting works a charm for many tiny objects. If the left-hand side of your item is in too very much shadow, bring up a piece of white paper or a white box on the left to reflect some of the lighting from the window back into the shadows.
Some objects like crystals and glass looks far better having a harder light from a modest source like a desk lamp – in that case wait for darkness and shoot with all the brightness coming just from the lamp, experiment with the angle to get the sparkle correct, You may need to change the white balance on the camera to compensate for artificial light. A white piece of paper held just out of view on the other side of the object from the lighting can help soften the shadows cast by this sort of lighting.
Composition
You want your viewers to appearance at your item, not at your taste in wallpaper, books or carpets. So find a method to make your item stand apart from the background. Lift it up a little bit from the table, and maintain the background some distance away. Really don’t shoot it from above, resting on the carpet or the table – we wouldn’t normally appear down at many objects like that, as well as the background are going to be just as significantly in focus as the object you are promoting, stealing attention away from the star of the display.
Isolating your object from the background is particularly crucial for the thumbnail product image, and here you may want to come in closer to a important feature of what you happen to be promoting to produce it stand out in such a tiny photo.
Jewelry and glassware
The techniques described work for daily objects, but if your are shooting specialised subjects like jewelry, crystals and glassware, it is simpler to use lighting aids designed for the task, like those from Tabletop Studio or Lastolite
Applying these basic techniques as well as the digicam you currently have will make your auction photos more lifelike so your buyers see your products in a much better lighting. Use a firm support or tripod for the camera for sharp images free of camera shake. Consult your camera’s manual to see how to compensate if your photos are overexposed (washed out) or as well dark, and if you’re employing a tripod use a lower ISO like 100 or 200 rather than automatic for the cleanest outcomes
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Tags: Photography
Posted in Photography · September 1st, 2010 · Comments (0)