With all the effects processors, a small numeric LCD display next to the red or black rocker switches gives a vague idea of what effect you’re on (h1, c3, etc.). The Reverb engine can apply globally to all sections or, like the Effects and Speaker/Amp Sim, can apply to a single section.
Next is a Speaker/Amp simulator which also treats a single engine at a time. Then to the right is another Effects section which can be applied to a single engine – Organ, Keys A or Keys B. The list of 34 effects is fairly exhaustive, with distortions, compressors, a ring modulator, phaser, auto-wah, tremolos and more, creating a rather vast sonic universe within the Keys realm alone. That means you can run, for example, Keys A as a Piano with both reverb and compression, then simultaneously dial up a Rhodes with its own chorus and delay on Keys B. Two effects processors live within the Keys engine, which is doubled to four when you count both Keys A and Keys B layers. Yamaha has taken an interesting route with effects.
The A/B button at the top toggles the physical controls to match the layer you’re working on. Both Keys A and Keys B can run simultaneously and are fully independent of each other. Piano, Synth and Others (sample-based sounds). The Keys section of the YC73 is comprised of four libraries: Piano, E. You’ll notice there are two switches in the Keys section – Keys A and Keys B – because Yamaha has duplicated this engine to allow for more layering and splitting options. Both can be individually switched on and off. The meat and potatoes of the Yamaha YC73 comes in two parts – the Organ section and the Keys section. Rather than try and cover every nitty gritty aspect, I’ll attempt to give you my overall impressions of the YC73 with the slant of being a Nord owner. Disclaimer: this is entirely in acknowledgment of the similarities between the two keyboards, not in ignorance of the fact the Nord is nearly $2k dearer than the Yamaha.įinding the right stage piano is a very personal decision, especially if you’re after a gigging companion. Coincidentally, I own a Nord Stage 3 Compact which is identical in size to the YC73, creating the perfect conditions for a comparison. Yamaha Music Australia sent AudioTechnology the mid-sibling YC73 model to review. Aesthetically speaking, it’s a clear rivalry. If that’s not similar enough to the trio of Nord Stage 3 models, just look at the panel layout: organ section with drawbars on the left, piano and synths section in the middle, and effects on the right. Three models comprise the YC lineup: the 61-note YC61 with waterfall action keybed, 73-note YC73 with balanced EP action, and 88-note YC88 with a triple sensor wood keybed. Among a handful of formidable new stage piano releases from Yamaha is the YC Series, which I couldn’t help but notice bears more than a passing resemblance to the Nord family of products.
Suddenly black keyboards were transposed for red ones across the globe and the Yamaha faithful were left wondering when the Japanese would give the Swedes a run for their krona. In particular, Nord’s Stage and Electro keyboards became something like a de facto standard they redefined the stage piano by proving big sound and deep functionality can be intuitive and tactile rather than buried in menus. However, in recent decades it would seem Yamaha has ceded territory to competing brands in the hotly contested stage piano market.
No wonder Yamaha enjoyed huge success when this market first broke out, starting with the CP Series in the 1970s. A pedigree in manufacturing $100k+ grand pianos found in the world’s greatest concert halls speaks for itself, and I appreciate the company’s uncompromising recreations of the acoustic piano experience in its digital pianos.
I’ve played endless models of stage pianos over the years and have always held a reverence for Yamaha’s offerings. “About time!” was the thought that immediately followed. “It’s a black Nord!” That was my first thought when I saw an advertisement for Yamaha’s new YC Series stage pianos.