There are three effects banks, with 54 extremely versatile, editable effects patches in each bank, and a 'feed‑through' feature for real‑time effects treatment of external audio sources. As if that wasn't enough, each sample has its own envelope generator, LFO, single‑band EQ and resonant, multi‑mode filter (VCF), while the main stereo mix also has an additional 4‑band parametric EQ. There is no upper limit to the number of samples it can hold, subject to how much memory is installed. The standard model is 16‑bit stereo, 64‑note polyphonic, comes with 2Mb of on‑board memory and is capable of accommodating an additional 128Mb of sample RAM, using standard SIMMs. Yes, most of the rumours you may have heard about it are true. Operating Theatreīefore we get down to the nuts and bolts of using the A3000, let me say that for £1299 it has some pretty mind‑boggling features. However, it's not all lovely in the garden: the A3000 is amazing and infuriating in equal measure. Of course, since then Yamaha have made the successful SU10 mini‑sampler (reviewed in SOS March 1996), but what a way to re‑enter the pro sampler market: at last, a machine which is both affordable and powerful, a turning point in sampler evolution.

Their TX16W was launched way back in 1988, and was pretty uniformly received as being very powerful but also unnecessarily hard to use. A possible scenario, I suppose, and in the case of something like the A3000, very likely.ĭespite what you may have read elsewhere, the A3000 is not the first serious sampler Yamaha have ever made. 'No,' they say, 'we'll include a REALLY BIG instruction manual!'. Are there a lot of tech‑heads in lab coats, or nerdy net‑head types in pizza‑stained T‑shirts, sitting around telling the company execs about their great ideas? 'Yeah, we'll include 64‑note polyphony, unlimited samples, 54 different effects, editable parameters for everything, tons of output options, a sequencer, masses of storage, and it will have lots of red and green flashing LEDs and we'll include a really cost‑effective display.' And the marketing manager says 'but won't it be a bit difficult to use?'. Chris Carter finds that still waters run deep.ĭo you ever wonder how all these marvellous machines that we use are designed? I do, all the time. Now, after putting a toe in the water with the well‑received SU10 mini‑sampler, they're taking the pro sampling plunge once more with the A3000. Given the wide range of studio and synthesis equipment Yamaha make, it's perhaps odd that there's been no serious sampler in their catalogue for almost 10 years.

Yamaha a3000