Creator of the world famous Yamaha was mister Yamaha Thorakusu. In 1887, as a medical equipment repairman in the city of Hamamatsu, he was approached with a request to repair a physgammon (organ). Thorakusu became so fascinated with working with this musical instrument that he decided to handcraft every detail and assemble his own harmonium.
After 2 months, he delivered the organ to Tokyo for testing at the Music Institute. The institute acknowledged that the corpus was chalked to the correct shape, but found several shortcomings in the instability of the reed organ tuning. Thorakusu decided not to deviate from the intended goal and became a lecturer at the Institute of Musical Research.
A month after graduation, the future founder of the company Yamaha Organ Works, returned to his hometown, where he decided to assemble a second harmonium, which subsequently successfully passed the test at the Institute and was a worthy replacement for imported analogues.
In 1897 Thorakusu founded the company Nippon Gakki, which in the same year received a large order from Southeast Asia for the assembly of 80 organs. In the first half of the 20th century, the company successfully mastered the technique of producing various musical instruments.
In 1954, the first, experimental motorcycle " Aka-Tombo
", which received great sales success. After the small displacement motorcycle was a great success, it was decided to create a new division that would develop Vehicle. Genichi Kawakami became the head of the Yamaha Motor division, created in 1955.
Later, the company's developers began the process of creating the first outboard motor for boats. And by 1960, the Japanese market was the first serial motor for boats called R-7. A year later, the company released its first scooter model, which turned out to be of poor quality and did not make a splash among consumers. After that, new models of scooters were released, already better and more reliable.
- In honor of the centenary of the company Nippon Gakki Co.., it was renamed Yamaha, in honor of the founder of the company.
- During the Second World War, the plant carried out military orders, underwent restructuring and was confiscated from the owner in the post-war years. True, by 1952, Yamaha still regained the factory and continued to produce tools.
- Yamaha Logo It consists of three purple tuning forks enclosed in a circle. For differentiation, the Yamaha Motor logo is in symmetrical font in red.
- Yamaha created the world's first titanium hockey sticks.
- In Japan, it is compulsory to receive musical education for children. First Yamaha music schools were opened in 1954. After 10 years, similar schools opened in the United States.
- A piano model from the Silent series was released in 1973, which allowed you to listen to the performance with headphones, turning off the sound.
- The first YT 665 snow blower was produced in 1978 and is still in production.
- 1983 was marked by the release of the first personal computers Yamaha KUVT.
- The most famous motorcycle model YZF-R1 was released in 1998 and recognized best model decades.
The famous Japanese trinity. Three brands that conquered the whole world in the 70s and 80s. Because of them, Moog, Oberheim and Arp suffered losses. They received the most advanced patents and flooded the world with affordable and relatively inexpensive synthesizers.
Like-minded or ruthless competitors? Competing for progress or saving for the sake of increasing sales?
Probably, not every keyboard player knows about such monsters of synthesizer building as Sequential Cirquits, Buchla, Doepfer, Analogue Solutions. Many also heard only out of the corner of their ear, or accidentally stumbled upon Waldorf, Quasimidi, Clavia. For some, even Kurzweil is uncharted territory. But almost everyone at the very beginning asks himself the question - “ Yamaha, Roland or Korg?».
On the one hand, it's really justified. Each of these three companies at any given time had and has in its arsenal a fairly rich choice for the musician. These are digital pianos, and instruments with auto accompaniment (self-plays, or, in other words, interactive synthesizers), analog modeling synthesizers and workstations, and romplers, midi keyboards and keyboardless tone generators. Any large store will offer you a wide choice - pay money and take it.
So, which one is better? Some tear the shirt on the chest - "Only Yamaha!". Others oppose - "Yamaha is for amateurs, and professionals choose Korg!". Still others shout over everyone - "My friend does all the arrangements on Roland, and they sound branded!".
Each of them is right in some ways, and wrong in some ways. And the problem is not that one of this trinity is better or worse, but the problem is just that the speakers are not well informed.
There are great breakthroughs in the history of each of these three firms. Super-bestselling synthesizers that have made thousands of keyboardists around the world happy. Technological solutions that brought millions in profits to company owners. The most popular instruments of all times and peoples.
Yamaha DX7 (1983), Roland D-50 (1987), Korg M1(1988) - legends that raised their creators to the crest of a wave. Pushing everyone else into the background for a while and forcing competitors to muster all their will into a fist, to consolidate all available resources in order to produce something even more perfect.
Is it possible to say that one of the three listed tools is better than the others? No way. Each of them gave something new, expanded opportunities, stimulated musicians to creativity, opened up unprecedented horizons.
But we need to separate the wheat from the chaff and, finally, figure out why it is so difficult to make a choice - Yamaha, Korg or Roland.
Yamaha
One of the world's oldest corporations, Yamaha was founded by a Japanese Thorakusu Yamaha(Torakusu Yamaha) in 1897. It all started with making a copy harmonium(a small wind organ with pedal air injection), but grew into a huge diversified brand that launched its innovative tentacles into completely different areas - from the production of sports equipment (racquets, bows, etc.), aircraft propellers, computers, to motorcycles, electric orangs, pianos , synthesizers, professional and household musical equipment and much more. Yamaha is also heavily involved in education and laboratory research. Despite all of the above, Yamaha's musical roots are underscored by their logo, which features three crossed tuning forks.
But, since we are more interested in synthesizers, we will not delve into other areas. Yamaha created its first electronic instrument in 1959. It was an electric D-1 Electrone, based on Yamaha's laboratory research in the field of analog simulation.
Further, for almost 20 years, no special breakthroughs were made on this path. The main attention of the company was directed to the production of acoustic instruments - guitars, drums, wind instruments. In addition, 1967 was marked by the fact that he himself Svyatoslav Richter chooses a Yamaha grand piano for tours in Italy. Soon, Yamaha pianos will take the leading position in the world, and confidently compete with older brands.
And after some time, Yamaha presents the world with a unique instrument called Disklavier(Disklavier, 1982). Looking like an ordinary piano, the Disklavier had a built-in electronic system that made it possible to play melodies pre-recorded on a disc, while imitating their performance by moving the keyboard and the entire hammer mechanism. The Disklavier was not just another interesting invention. Unfortunately, he served and not very good service. But more on that a little later.
Let's get back to the organs. Here, Yamaha does not stop releasing new models to this day. From the late 50s to the early 80s, all organs were analog. Since 1983, when Yamaha bought the exclusive use rights FM synthesis technologies, which was developed by John Chowning, forms the basis of the signal generation of Yamaha organs, starting with the FC, FE, FS, FX series. The FX series also pioneered the use of sampled waves, so far only to emulate percussion in the organ section of a drum machine.
Well, since 1987, in the HS and HX series of organs, Yamaha has already been exploiting its own development with might and main called AWM(Advanced Wave Memory), essentially a technology based on sampled sound. The last swallow among Yamaha analog organs was the model Electone D-500 released in 1983.
Of course, this tool was wonderful and very powerful. But it cannot be said that he brought success to the company. Ascension to the synthesizer Olympus was still ahead, but by this time (mid-70s), its outlines were becoming clearer.
The first real breakthrough was the creation of one of the most significant synthesizers of all time, powerful and unrestrained Yamaha CS80(1976). In the already mentioned you can read some technical and general information about him. It is impossible to exaggerate the significance of the appearance of the CS80. Until now, many quite justifiably consider him the king of synthesizers. With the advent of this model, Yamaha began to be perceived as an extremely serious competitor in the electronic instrument market.
However, the main achievement for the Yamaha Corporation will forever remain the creation Yamaha DX7 one of the most widely used synthesizers in the world. Digital to the marrow, it has, in fact, buried the future of analog synthesizers. But, speaking about this synthesizer, it is impossible to come up with a single negative epithet.
Like it or not, progress was unstoppable, and the digital age was asserting its rights more and more loudly. John Chowning's invention, coupled with the insight and foresight of Yamaha management, created the unique conditions for the emergence of the DX7.
A polyphonic synthesizer capable of storing a fairly large number of presets, with the widest palette of sounds from solo and noise, and to electric piano timbres, soft pads, imitations of guitars, basses ... Plus, an iron tuning stability, light weight and small (relatively) price. Yes, the days of analog synthesizers were numbered. Was sold 160 thousand copies this synthesizer, and it has remained among the best-selling synthesizers in the world.
Let's return from triumph to the prosaic. Technological success led to financial success. And without that, a well-to-do company, Yamaha, having known the joys of many millions in dollar terms, is moving on to global expansion.
Two words spoken by Yamaha in the early 80s, DX7 and Disklavier, doomed the company to constant tossing from side to side. One Yamaha is a manufacturer of professional musical instruments. The other is entertainment for housewives and teenagers.
In 1983, the first Yamaha Clavinova YP-40 appears. At that time it was just a compact digital piano with a slightly expanded set of sounds. But since 1985, the Clavinova CLP and CVP series have appeared. It was based on simple ideas, implemented in the Disclavier a year earlier - the ability to playing parts by the instrument itself, almost without the participation of the musician. Clavinovs are endowed with the ability to play drums, bass and harmonic filling, replacing the keyboardist of partners in a musical group.
In parallel, Yamaha is developing another line of tools - Porta Sound. First the PSS series (1982) and then the PSR (1984). Unlike the bulky Clavins, these were small portable synthesizers equipped with the same automatic accompaniment features. Gradually, the possibilities of PSR-instruments expanded, interactive tools multiplied, synthesizers became more and more adapted to the needs of the "soloist". And now it was no longer necessary to be able to play well. With the most basic knowledge of musical theory and harmony, as well as some vocal ability, a musician with such a Yamaha could easily perform as an all-in-one, human orchestra.
Only thanks to all this, Yamaha has alienated the instruments from their roots. On the one hand, of course, this is another step towards progress. On the other hand, there is a departure from creativity to technogenicity. These were no longer literally synthesizers. The terms orchestrator, later interactive synthesizer, appear. In the professional environment, the glory of taverns was fixed behind such instruments, and they quite deservedly began to be called the not very pleasant term “self-playing”.
Yamaha continues to produce PSR series instruments to this day. With each new instrument, the manufacturer's promises about the best sound, super-sophisticated abilities, and so on are multiplying. However, the meaning of the instrument does not change. As before, this is an instrument with a not very high-quality keyboard, two speakers on the sides(to avoid having to connect to professional equipment), multi-colored (most often) buttons on the control panel. Much more important than sound in these devices is given to the size of the display and other external factors.
Undoubtedly, the PSR series brought and still brings Yamaha millions of dollars in revenue from amateur musicians, as well as from those who want to get a musical toy for fun at home. However, the proliferation of these instruments backfired on the company, damaging Yamaha's reputation for making serious musical instruments in the eyes of many professionals and beginners.
Given all of the above, we can somewhat agree with those who shout that "Yamaha is for amateurs." At the same time, we must not forget all the merits of this company to music. Tools created over several decades will forever remain in history. And hundreds, thousands of musicians will hunt for the Yamaha CS80, DX7, RX5, SY77, EX5, FS1R, as well as dozens of other models - until the last copy of them is erased by time into dust.
Korg
The company was founded in 1962 by an entrepreneur Tsutomu Kato(Tsutomu Kato) and musician Tadashi Osanai. The initiative came from the latter, and its meaning was reduced to the need to create a convenient and high-quality drum machine model. The fact is that Tadashi performed, playing the accordion, accompanied by Wurlitzer Sideman rhythm machines, which he didn't think too highly of, both in terms of sound and comfort. So he convinced Kato to invest in a new rhythm machine project that would meet the basic needs of musicians of the day.
The company was originally named Keio, and after a year of its existence, it presented its first instrument to musicians - it became Donca Matic DA-20. Compared to modern descendants, she was simply gigantic. A huge box with controls on the top end, and with a built-in tube amplifier and a large speaker. Moreover, it was an electromechanical device, that is, it made sounds not of electronic origin, but of a mechanical one. The technology was similar to Wurlitzer - a mechanical rotating disk, rotating, launched certain percussion sounds with special contact plates, the generation of which was carried out using vacuum tubes. By the way, “donka” got its name due to the articulatory similarity of this word with the sounds that it made.
Three years later, in 1966, Keio released already Donca Matic DE-20- already based on electronics, solid-state drives. True, this thing was not much smaller.
In 1967, Kato received an offer from Fumio Mieda to take up keyboard instrument development. Soon a programmable electric organ was presented to the public. By this time, Keio received a new name - KORG, consonant with the word "organ".
With the production of organs at Korg, the first wave of success is associated. The still modest young company begins to compete with more serious companies, among which Yamaha was already firmly entrenched at that time. However, Kato decides to make a knight's move and break through to new market, not yet available to Japanese companies - synthesizer market.
In 1973, the first synthesizer appeared Korg MiniKORG. It was a small instrument, as the name suggests. Ideologically, it was the Japanese answer to the Moog Minimoog - a portable analog monophonic synthesizer that the keyboardist could carry with him to rehearsals and take on tour. Some time later, Korg again surprises musicians by releasing Korg MaxiKorg 800DV(1975), one of the world's first duophonic synthesizers. Personally, as the owner of this model, I can say that this is one of the most beautiful instruments. And both in terms of sound and appearance. Also, in 1976, another similar model was released, Korg 770(on the picture).
In 1977, Korgov's line of PS series synthesizers appeared. These were large semi-modular synthesizers (semi - because the modules are inseparably fastened in a single case), which were rather similar to the Arp 2600. In total, three devices were released in this series - Korg PS-3100, PS-3200(pictured) and PS-3300. In accordance with the numerical designation, the degree of sophistication of the instrument also changed. The most powerful of these was the 3300, which is still considered by many to be one of the best polyphonic synthesizers in the world, on par with the Yamaha CS80. The PS-3300 offered unprecedented polyphony in 48 voices, which the legendary Yamaha could envy.
With this line, Korg finally entrenched itself in the minds of musicians as one of the legislators in the field of synthesizer construction. Huge possibilities of modulation and signal routing using patch cords, unique polyphony, excellent sound quality - put these instruments on a par with the best modular systems of that time. Now these instruments are super-rare, and fierce bidding is taking place for them, inflating prices to prohibitive heights. Of course, this is largely due to collectors who take away synthesizers from musicians in order to replenish their collections.
In addition to expensive and rather large PS instruments, Korg releases another legendary series of synthesizers. Of course, it was everyone's favorite (and me, in particular, especially) - the line MS(1978). This line includes not only synthesizers. It was represented by five devices at once, united by their appearance and some elements of sound architecture and design. These were two monophonic synthesizers Korg MS20 And MS10(simplified model of his older brother 20s), expander MS50(keyboardless "add-on" to MS20, which, however, can be used as independent device), as well as an analog sequencer SQ10 and vocoder VC10.
MS20 and today has a truly cult status. The incredibly powerful and aggressive sound that can be obtained from this instrument is wonderfully combined with the softness and warmth of two filters. These filters themselves proved to be so successful that many manufacturers of modular systems began to try to clone these filters, in particular - Doepfer, MOTM, Analogue Solutions and others. The MS20 itself was not just a synthesizer, but semi-modular, that is, like more expensive PS synthesizers, it allowed signal routing using patch cords, which significantly expanded its capabilities.
In the 1980s, the company refocused somewhat on the production of electronic pianos. However, Korg did not forget about synthesizers either.
In 1980, a very interesting instrument was born Korg Trident(in 1982 its second version, the Trident MkII, was released). Its unique feature was the combination of three sections - synth, strings (strings) and brass (brass). Naturally, the string and horn sections were also created by means of analog synthesis, but thanks to the combination of all three sections, it was possible to get rich and interesting harmonies.
In 1981, two magnificent instruments were released at once. Korg Monopoly And Korg PolySix. Similar in design, they were somewhat different ideologically. MonoPoly was four independent monophonic synthesizers controlled from one panel, while PolySix was a full six-voice polyphonic.
It was PolySix that went down in history as one of the best analog instruments in the world. Its sound is difficult to confuse with anything else. All thanks to the chips SSM(which were equipped with much more expensive instruments), unique filters, as well as (importantly) the ability to save sounds in the instrument's memory, and even then transfer them to external media (cassette) through a special interface.
Polisix can sound soft, it can sound harsh. He knows how to make deep and beautiful basses, but soft pads are too tough for him. It works great in any mix. Presets with names similar to "polisix" have long been included in almost any workstation and in any concert synthesizer.
Unfortunately, the days of analog synthesizers at the time of the release of the PS-6 (as Polisix was otherwise called) were already numbered, and musicians soon found themselves at the mercy of the digital age. Nevertheless, PolySix is still the object of desire of many electronics engineers, and not only.
But the real breakthrough for Korg was yet to come. In 1988, when the Yamaha "seven" had already died down, a legend of all times and peoples came out, Korg M1. 16-voice polyphony, excellent sound, diverse timbres (from synthetic to acoustic), combining sampled sound with digital synthesis, a comfortable keyboard, sophisticated features of a music workstation that allowed you to create ready-made arrangements right inside one instrument - all this ensured the incredible success of the M1.
The tool was sold in quantity 250 thousand copies, and went down in history as the best-selling synthesizer of all time. Even with its 160 thousand left behind. But meanwhile, Korg's success with the M1 was inextricably linked to Yamaha. The fact is that at the time the model appeared, 40 percent of Korg belonged to ... Yamaha. Here is such a turn. The deal was made back in 1987, Yamaha was then at its peak after several years of selling DX7 in various modifications. Tsutomu Kato bought back Yamaha's stake in his company only in 1993.
However, with the advent of the M1, Korg became a leader among synthesizer manufacturers. The rest are forced to breathe in the back, seeking resources to conquer the new heights set by Kato and his firm.
In the 90s, Korg continued to produce workstations. All production has now been reoriented to this. Series 01/W (1991), then X (1993), Trinity (1995), Triton (1999) appear. And all this was the impetus of the same M1.
By the way, interesting story was associated with the name of the 01/W series instruments. Initially, they wanted to call it M10, as a continuation of M1. But, one of the developers, seeing the working title, mistakenly read it upside down - 01W. The chance grew into an idea, and everyone else liked it so much that it was decided to change the working title. As a result, it has remained so.
Be that as it may, Korg was building up the potential of his workstations. Gradually leaving directly from synthesis technologies. Each new station of theirs received a new name for the type of synthesis, but the essence was unchanged - more and more emphasis on sampled sounds. According to the musicians themselves, each next model sounded worse than the previous ones. The manufacturer tries to cram as many samples as possible into the instrument's limited memory. The samples themselves become more and more weighty. In order to save on increasing memory requirements, sample compression. As a result, when playing samples, the synthesizer is forced to decompress them very quickly. And, even though these samples were originally very High Quality, at the output, decompression leads to a significant deterioration in sound.
Such a race for extensive improvement of their synthesizers led to the fact that at one time Korg completely abandoned development in the field of synthesis. Years later, the company returned to its roots again, already in the form of tools analog simulation, and released the MS2000 series. Unfortunately, only the letter designation remained from the classics in this instrument. And in terms of sound, it was no longer up to its own standards of the 70s and 80s, nor to the new standards set by modern manufacturers of analog modeling synthesizers Clavia and Access. Grasping at straws, Korg is exploiting its history by releasing software parodies of its legendary synths of the past. True, their quality is not much up to the level of their ancestors.
Therefore, the attitude towards Korg today is ambivalent. On the one hand, the great past, on the other, the inexpressive present. But in no case should you dismiss everything that was done by this company. In addition to the above, Korg has created a lot of interesting and great-sounding instruments - atmospheric Korg Wavestation, great Korg X5D, hybrid DW-8000, based on physical simulation Z1, FM synthesizer DS-8 not to mention various sound processors, samplers, drum machines.
In 2010, Korg unexpectedly releases a real analog instrument - Monotron. Inexpensive and compact, it causes a surge of interest in the company from serious musicians. Who knows, perhaps this is a symbol of the return to the former glory of Korg, although it is difficult to guess here.
Unfortunately, in 2011, the founder and permanent leader of the company, Tsutomu Kato, passed away. He always sought to meet the requirements of modernity, and in many ways set an example for other manufacturers. But today, Korg continues to produce increasingly sophisticated and expensive workstations. All the same large displays, a bunch of often unnecessary functions, huge opportunities, but less and less attention to the main component - sound.
Personally, I would like to believe that one day Korg (and maybe someone else) will make another breakthrough in the synthesizer industry. Perhaps this will finally be done not for the sake of increasing the number of sales, but for the sake of at least one more really wonderful instrument being printed in history, comparable in importance to the MS20 or PolySix.
Roland
The most prolific synth brand in my opinion. Not by the number of riveted tools (although in general by this criterion too), but by a kind of "efficiency" - the ratio of interesting and high-quality devices in the total mass produced.
Founder Roland, Ikutaro Kakehashi(Ikutaro Kakehashi), previously ran another company for the production of organs and rhythm machines for them, Ace tone which was established in 1960. It later became the Japanese branch of Hammond. In 1972, Kakehashi left her to form Roland. So, formally, this is the youngest corporation from the Big Japanese Trinity.
One story is connected with the birth of the Roland name. According to some sources, Kakehashi, while still the head of Ace Tone, began to think that this name at the international level has not quite the correct meaning, and is not associated with something musical (acetone - in English "acetone"). At that time, Yamaha and Korg already existed, and two bright, in his opinion, capital letters were already occupied by these brands. Other letters - were occupied by global manufacturers of musical instruments (O - Oberheim, M - Moog, S - SCI, L - Linn, A - Arp, and so on). So, Kakehashi decided to come up with a bright and memorable name, using some letter that until then had not been associated with any company. The choice fell on the letter R, and the name was born Roland. By the way, there is no “l” sound in Japanese, so in Japanese this name is pronounced “rorando”. It would seem an insignificant fact, but if you think about it, already at the stage of the idea, the company was given global plans. And, as time has shown, these ambitious plans were fully implemented.
Already in the first decade of its existence, Roland confidently declares itself as a manufacturer of completely different professional musical equipment.
It all started with drum machines TR-77, TR-55, TR-33- as a legacy from Ace Tone (1972). Already in 1973, the first monophonic synthesizer appears Roland SH-1000(in parallel with Korg's Minikorg). Further, almost every year was marked by something new.
Spatial audio processing devices - Roland Space Echo RE-201(1974) - this model is still considered the standard of its kind. The world's first electric piano with velocity sensitivity - Roland EP-30 (the same 1974).
Modular systems Roland System-100(1975) and giant System-700(1976), which took pride of place in the list of the best modulars in the world, and received its continuation a few years later in a more democratic and compact version System-100M(1981) (pictured).
combo booster Roland GC-120 Jazz Chorus(1975) - a device that was originally created as a guitar instrument, but which was loved by keyboardists around the world in combination with Rhodes Piano electromechanical pianos.
Great guitar synth Roland GR-300(1977), which is still highly regarded by guitarists who experiment with sound, Roland MC-8 digital sequencer (1977), programmable drum machines Roland CR-78(1978) and CR-8000(1980) (pictured).
One of the best Hammond B3 clones - Roland VK-1 (1980).
And all of the above - in less than a decade. An impressive scatter, agree. Practically the whole range of devices, necessary for the whole musical group or any recording studio .
But that was only the beginning! Since 1980, Roland has made revolution after revolution, producing instruments that followers and envious people still struggle in vain not only to surpass, but even to authentically clone. Each instrument becomes the pinnacle of sound aesthetics. They are used in their recordings and at concerts by world-famous stars, spreading the glory of Roland around the planet.
As always, Roland found the perfect solution. Combining two approaches within one device, created a tool worth about 2 thousand dollars, and made another breakthrough - both technological and economic.
The D-50, by the way, unlike the M1 and DX7, proved to be capable of retaining its value in today's world. True, not quite in the manifestations for which it was created. Thanks to the unique internal structure, playing this instrument turns out to be very authentic within the framework of oriental musical genres, primarily in Armenian music. Therefore, a huge number of Roland D-50 lovers are among Armenian musicians. So, if the M1 today sells for 200-300 dollars, DX7 - for 400-500, then the D-50 in good condition in the secondary market may well cost up to a thousand dollars. And, unlike other manufacturers, Roland often provided their fixtures with special programmers for real-time access to sound parameters, and the D-50 was no exception (its native programmer is PG-1000).
Today, Roland, like the other two members of the "big three" from Japan, is not primarily investing in new musical developments, but is competing for markets and maximizing profits at a minimum of costs. The production of expensive and sophisticated workstations is the trend of the decade, and, as in the case of Korg, the more functions the manufacturer tries to cram into one station, the more he is forced to save on the elementary components of his offspring as a result.
Most Roland models (maybe even all) today are made in China. The quality of the instruments deteriorates noticeably from year to year. If at the turn of the millennium, good devices still appeared, then a dozen years later everything slipped into a normal routine. Cheaper components, lower quality, more investments in advertising and external tinsel, and, as a result, market saturation low-quality goods, which only inexperienced lovers can enjoy. And then - until the first time they encounter really good synthesizers of previous years.
By a strange irony of fate, it was 2001 that was associated with the departure of the permanent leader and ideologist of the Roland Corporation Ikutaro Kakehashi, who, by the way, for his invaluable contribution to the development and popularization of electronic instruments a decade earlier was awarded the title of Honorary Doctor of Science. After his departure, the company did not produce a single device in which there would be even a hint of something radically new. The only thing Roland has done in the last ten years is the rather unscrupulous exploitation of past merit for the sake of profit.
So, in 2005, the production of cheap, almost toy, Roland Juno D synthesizers was launched, and then this series was replenished with a number of models with similar names. In no way other than the name, these instruments were associated with the magnificent Junes from Roland's past.
2006 was marked by the introduction of the Roland SH-201 analog modeling synthesizer, whose name clearly alludes to a series of fine instruments from thirty years ago - SH-101, SH-1/2/5/7/09.
In 2011, as a result of another marketing reincarnation, the Jupiter-80 was introduced to the world, and in 2012, its truncated continuation, Jupiter-50, was introduced. As with the previous tools, the "beginners", being ordinary workstations, have nothing to do with the Jupiters of the 80s. Even despite the fact that the manufacturer tried to bring their appearance as close as possible to the original.
Well, Roland has made a lot of instruments throughout history. Still with might and main you can cash in on the names using the markings TR, TB, RS, SDD, MKS and so on.
As you already understood, it is not worth drawing conclusions about a company using modern instruments. This is really wonderful, very worthy and good brand. You just need to be able to see the difference between tools born inventors and tools created by businessmen for profit.
What's better?
In the 80s, Japan gave musicians real instruments. And this is not some kind of compassionate nostalgic sermon, this is reality. Yamaha, Korg and Roland made it clear to the whole world that they not just worthy competitors whose opinion can be taken into account. They are equal participants in the division of the world, though not in a militant sense. And, regardless of anyone's desire, everyone will have to reckon with their authority.
Three small digital instruments, the Yamaha DX7, Roland D-50, and Korg M1, brought the synthesizer world to its knees. One by one, America's strongest brands are bursting, all because of the breakthrough that the mighty "Japanese trinity" made.
In 1981, one of the greatest synthesizer manufacturers, the American company, disappears from the face of the earth. Arp.
Bankrupt in 1985 Oberheim.
Roger Lynn closes his company in 1986 Linn Electronics and leaves to work for the Japanese company Akai, within which he creates several wonderful devices.
In 1986, Robert Mog, who once gave us the first commercial Minimoog synthesizer, declares bankruptcy of the company. Moog.
In 1987, Dave Smith, unable to compete, sells his offspring to Yamaha. Sequential Circumstances, which created, among other things, the great Prophet-5.
In 1990, inventor Ray Kurzweil, inventor of one of the world's first samplers, Kurzweil 250, sells his company to Young Chang Koreans.
Of course, the history of American synthesizers did not end there, but as the Great Synthesizer Power, the USA ceased to exist, losing all laurels to the Japanese. Today in America there are a considerable number of companies that produce high-quality and expensive boutique-class instruments. Such as Studio Electronics, Buchla and so on. Unlike modern Japanese multi-colored workstations with huge colorful displays, very decent synthesizers come out of the hands of American manufacturers.
In his later years, shortly before his death, Robert Mog revived the Moog company and produced a number of good instruments. And although they are still inferior in quality to his old brainchildren, nevertheless, these are noteworthy devices.
Tom Oberheim also reincarnated his company not so long ago, adding his first name to his last name.
Roger Linn and Dave Smith also returned to production, each in his own way - the first with new models of his old drum machines, the second with the revival of the Prophet line of synthesizers and some other new models on the old theme. Basically, by the way, analog.
So, which is better, Korg, Roland or Yamaha? The answer is that they are all wonderful. They are wonderful as part of the history of synthesizers, as companies that gave musicians dozens, or even hundreds of amazing instruments. If you are passionate about electronics, synthesizers, you do not need to give your preference to only one brand. Take a look around! And not only for the Japanese! So many inexpensive and high-quality tools are sold in ads, on forums, at auctions! , get new features, create music on these great instruments.
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Interesting information about Yamaha brand. Reference data about the Yamaha trademark.
Yamaha is one of the oldest corporations in the world, founded in 1897 by entrepreneur Thorakusu Yamaha. The history of Thorakusu Yamaha's work with musical instruments began in 1887, when a man asked him, a medical instrument repairman living at that time in the city of Hamamatsu (Shizuoka Prefecture), to repair a reed organ (harmonium). Working with this instrument so captivated him that after the completion of the repair, he decided to create his own sample of the harmonium. Based on the knowledge about the structure of this musical instrument, obtained during the repair process, he began to hand-craft every detail. Two months later, he on your own delivered the finished organ for testing to the Institute of Musical Research in Tokyo (currently Tokyo National University of Fine Arts and Music). The institute's experts acknowledged that the tool has the correct body shape, but identified a number of shortcomings, including tuning instability. Not succumbing to disappointment, Thorakusu Yamaha decided to stay in Tokyo and achieve his goal by studying music theory and tuning techniques, becoming a special student at the Institute of Musical Research. After a month of intense study, Thorakusu Yamaha returned to Hamamatsu, where he began to work from early morning until late at night, making his second reed organ. After re-check his instrument was deemed "worthy to replace imported analogues".
In 1889, Torakusu Yamaha founded the Yamaha Organ Works, and eight years later, in 1897, he created the Nippon Gakki company, whose symbol was the tuning fork, and trademark- a figure of a Chinese phoenix with a tuning fork in its beak.
The modern Yamaha logo is the name of the founder of Yamaha written in Latin combined with tuning forks. The three tuning forks symbolize the strong link between technology, production and sales, the three founding elements of Yamaha Corporation. Now at Yamaha Motor and Yamaha, the difference between the logos is the arrangement of tuning forks that cross the circle (Yamaha Motor) and enclosed in a circle (Yamaha).
Over the period of its more than a century of existence, Yamaha has come a long way in development and has become one of the world's flagship manufacturers of musical equipment.
In 1897, Nippon Gakki received its first order to export 78 organs to Southeast Asia, and in 1900 produced the first batch of pianos. In 1902, the production of the first Yamaha grand pianos began, and in 1904, the Yamaha organ and piano received the Grand Prix at the World Exhibition in the American city of St. Louis.
In 1903, using their experience in woodworking, the company began to manufacture furniture.
In 1914, Yamaha began producing the first harmonicas and later that year began selling them for export.
In 1921, the Japanese government decided to use Yamaha's vast experience in woodworking to create aircraft propellers. After 10 years, the company re-profiled production for the production of metal propellers. Subsequently, metalworking technologies were in demand for the casting of frames for grand pianos and pianos, and later, for the production of wind instruments. In 1922, Yamaha began producing high-quality phonographs, in 1930 the first laboratory for the analysis of acoustics was founded, in 1932 it mastered the production of wind organs, and since 1941 it has been producing acoustic guitars.
In 1954, the Yamaha Music School system of musical education was created. In the same year, the production of the first Hi-Fi class audio systems began. Thanks to the accumulated experience in the field of metallurgical technologies, the production of the first Yamaha YA-1 motorcycle was launched. During the year, 125 motorcycles were produced. As a result of successful sales, in 1955 it was decided to found the Yamaha Motor Company.
Genichi Kawakami, president of Yamaha from 1950-1977 and from 1980-1983.
In 1956, the company first took part in an exhibition of musical instruments in Chicago, in 1958 the first branch was opened abroad - in Mexico, and in 1960 a branch in the USA was opened.
In 1959, an archery goods business was established, which closed in 2002. In 1959, the Yamaha Technical Laboratory opens, where the company develops analog modeling technologies and soon creates the D-1 Electone electric organ. Thanks to research in the field of metals, the company was able to create a line of fiberglass equipment. Since 1961, Yamaha has invested in the production and sale of alloys. In 1961, the company opens the production of fiber-reinforced polymer skis and begins selling them. In 1962, the Yamaha Recreation division was opened, which created resort complexes for musical and sports leisure: Nemu-no-Sato in 1967, Tsumagoi in 1974, Katsuragi in 1976, Haimurbushi in 1979 and Toba in 1964.
In 1965, the company began producing pipes at the Kakegawa and Iwata factories, in 1970 it merged with the manufacturer of wind instruments Nippon Wind Instruments (currently Saitama Factory). In 1977 and 1978, wind instrument workshops were opened in Tokyo and Hamburg respectively. Also in 1965, the first Yamaha music school was opened abroad - in Los Angeles.
In 1966, the company expands its activities in Europe, Yamaha Europa opens in Germany. In cooperation with the Japanese Ministry of Education, the Yamaha Foundation is being established to enhance the skills of music teachers and promote music education. Yamaha music schools open in Mexico, Canada and Thailand.
The first production line for electric guitars and drums is opened. Yamaha patents Air-seal System drum technology. In 1967, the company demonstrates the CF series concert grand for the first time.
In 1968, the corporation (at that time - Nippon Gakki Co., Ltd) begins issuing shares.
In 1971, the company launches the production of semiconductors.
In 1973, the production of tennis rackets was mastered, and a full-scale production and sale of furniture items was also launched. From 1974 to 2007 there was a production of musical instruments in the USA. Also in 1974, the production of the NS 1000M loudspeakers (the NS series has been produced since 1967) with a beryllium diaphragm, as well as the first CSY-1 synthesizer and the first PM-1000 analog mixer, was launched. In 1976, the production of electric pianos began.
In 1980, Yamaha organizes The educational center Piano Technical Academy (Technical Academy of the Piano). PortaSound portable keyboards launched.
In 1982, the company develops a line of carbon-composite materials for golf. In the same year, the company introduces the first CD-1 CD player and the first Disklavier piano goes on sale.
In 1983, the Clavinova electronic piano appeared on the market. Yamaha's LSI (Large Scale Integration) division begins production of large integrated circuits. This division has been producing circuits for FM synthesis, graphics controllers, since 1999 - electronic chips for tone generators for mobile phones, since 2002 - chips for digital amplifiers, and since 2005 - chips for GPS navigation. Unlike many European and Japanese companies that were forced to sell their semiconductor divisions to Chinese owners, Yamaha continued to produce microcircuits in the 2000s, including LSI (Large-Scale Integration) at its own facilities, which does not bring too much income ( about 5%), but allows you to focus on your own element base when developing AV components.
In 1983, the Yamaha DX7 digital synthesizer was released, which was very popular in the 80s and became one of the best-selling models in the history of synthesizers.
In 1983, the company mastered the production of personal computers, releasing a series of MSX machines (Yamaha KUVT). A little later, the Yamaha CX5 computer was released, which has a built-in SFG-01 synthesizer module (with the ability to connect SFG-05) and was designed specifically for creating music, which was used by some domestic musicians who worked in the electronic music genre from the mid to late 1980s.
In 1984, the corporation developed its own technology for the production of the first industrial robots. In 1986, the company began selling the first digital sound field processors DSP-1, in 1986 the SRS (Sound Room System) direction was launched.
In 1987, on the centenary of its founding, the company's name was officially changed - the company was renamed "Yamaha Corporation".
Yamaha Artist Services Center at 5th Avenue and 54th Street in New York
In 1987, centers for working with artists, Yamaha Artist Services, Inc., were opened in several capitals of the world, later centers were opened in Moscow, London, New York, Paris, Beijing, Seoul, Tokyo, Kakegawa, Taipei. In the same year, schools for teaching English were established in Japan, operating as of the 2010s.
In 1988, the company acquired Sequential Circuits, and from 1989-1993 owned a controlling stake (51%) of Korg, a competitor in the market for musical instruments and music production equipment.
1989 The New York Museum of Modern Art acquires a Wind MIDI Controller WX7 for its collection. In the same year, the corporation introduces the world's first CDR CD burner. In 1990, the production of musical instruments was launched in China. In 1991, the Museum of Modern Art replenishes its collection with the Active Servo Processing Speaker YST-SD 90 subwoofer. In 1992, the production of AV equipment was launched in Malaysia and Indonesia.
In 1993, Yamaha creates the world's first titanium golf clubs.
In 1993, the debut of the Silent piano series took place, and in 1994, Yamaha introduced pianos of this series to the market. In 1995, the production of drum kits of the Silent series begins. In 1996, the company releases the DTX Silent Session drums, the following year, it introduces the Silent series violin to the market, and in 1998 and 2002, the production of cellos and violas of the Silent series, respectively, begins.
In 1994, the production of digital mixers was mastered, the first model was the Pro-mix 01 mixer, and in 2001 the PM1D console was released. In 1998, Yamaha combined patented technologies to create a digital sound field processor and a home theater system.
In 1999, the production of multimedia speaker system for computers, in 2000 the company founded the record company Yamaha Music Communications. In 2003, the company introduced Vocaloid singing synthesis technology on the market - software that imitates a person's singing voice based on a given melody and text.
Since 2004, Yamaha begins to cooperate with Klipsch. in the same year, the production of the new YSP-1 Digital Sound Projector speaker system was launched. In 2004, Yamaha bought out from Pinnacle Systems, a German manufacturer software to create music - the Steinberg company (Steinberg Media Technologies GmbH) known primarily for the Cubase program).
In 2007, Yamaha Corporation was awarded the Technical Grammy. On December 20, 2007, Bösendorfer was acquired, and in 2008 the corporation bought Nexo.
In 2008, the production of the tenor-one synthesizer began. In 2010, Yamaha demonstrated the TLF-speaker, a poster-shaped, flexible loudspeaker that emits a highly directional sound wave.
In 2014, the corporation announced the acquisition of Line6, a manufacturer of equipment for digital guitar processing and amplifiers.
The end of the revolution that swept Japan in 1867-1868. led to major changes. This dynamic was noticed by Taraguchi Yamaha, who soon founded the Nippon Gakki company for the production of musical instruments for Europe. The Second World War made its own adjustments, the company was re-profiled and produced components for military aviation, but after the defeat, all specially created production was stopped for a long time. So far, at a meeting of the board of directors, it was not decided to invade a new intensively developing segment of the production of personal vehicles. For the name of the company, the name of the creator was taken, the Yamaha logo was left unchanged - a view of three intersecting tuning forks.
Yamaha motorcycle history
The history of Yamaha motorcycles begins in 1955, when the first YA-1 model was released, it was simply a copy of the German DKW RT 125 model that underwent minor revision: the three-speed gearbox was replaced by a four-speed one; single-cylinder - 123 cc two-stroke engine with a capacity of 5.5 hp, simply attached to a single tubular frame. The VC-1 model is released next, and a decision is made at the director level to bring the motorcycle into a separate production structure of Yamaha Motor Co.
At the end of 1956, the motorcycle model was radically modernized: a forced motor was installed on the YA-2, with a power of almost 7 hp. The chassis was completely modernized, the frame was specially designed and stamped, the forks became short-lever. 1957 saw the introduction of a new two-cylinder two-stroke Yamaha modifications YD-1 with a 247 cc engine, and a power of -15 hp, also the prototype of which was the German Adler MB250.
Japanese buyers enthusiastically received new brand motorcycle, inspired by the first success, the company's leaders decided to compete with the Honda manufacturing concern. However, at that time, even the top-end Yamaha motorcycles were seriously inferior to the competitor: both in dynamics and in the rigidity and reliability of the frame structure.
In 1959, the frame design of the YD-2 motorcycle was thoroughly modified, reinforced with a tubular tie, and then the first YDS-1 sports bike was produced, the engine of which used a system of two carburetors, this increased the power to - 20 hp. the package included a five-speed gearbox, the main achievement was a new tubular frame. The YDS-1 sportbike entered the world stage in 1960 and immediately became the hallmark of the company. 
In 1960, Japanese consumers were offered a couple more original novelties: the first single-cylinder 49-cc, two-stroke model MF-1, whose power was some 3.5 hp. the second futuristic model was the SC-1 scooter, with a volume of 174 cm3 and a power of 10.5 hp. with a new automatic, hydromechanical transmission. The cardan shaft served as the drive on this device. Unfortunately, which, as it turned out, was too expensive, and was discontinued, as for the first novelty of the Yamaha MF-1 scooter, it did not lose its position even after numerous improvements. Today they are produced in various variations with two- and four-stroke power units from 49 cm3 to 89 cm3. 
Presentation in 1961 of the new 125cc YA-5 with 10.4 hp. went quite well, Yamaha had its own development of injection disc spools, which were very different from its previous DKW prototype. Released in 1964, the YA-6 model was equipped with a motor that had cylinders with an inclination of 45 °, separate lubrication was used.
The history of Yamaha motorcycles was created by its bestsellers, in 1963 it became the Yamaha YG-1 - a lightweight version, with a spinal stamped frame, to which a 73-cc two-stroke power unit was attached, with a power of only 6.6 hp. This unit has become the base for a whole family of new motorcycles. 
The most important step in the historical development of Yamaha was the two-cylinder 24 horsepower motorcycle YDS-3, which debuted in 1964, with a volume of 245 cm3 and separate lubrication. Soon, Yamaha is launching the 305, a 28 horsepower cubic version of the YM-1, into mass production. 1967 was the debut for a more powerful 30-horsepower and modern YDS-5 motorcycle: aluminum cylinders were used in the engine design and cast iron sleeves.
Yamaha motorcycles of the YDS series become the base for 250cc TD-1 sportbikes. From the middle of 1963, a completely new generation of devices began to be produced, the engines of which were liquid-cooled. Japanese rider Fumio Ito in a 250cc Yamaha TD-1 takes an honorable third place. 
FIM since 1968 prohibits the use of four-cylinder 125 and 250 cc engines. This was to Yamaha's advantage, as they had "two-cylinder" for racing! 1969 was the release of new, upgraded versions: Yamaha TA-2 and TD-2, with a volume of 124, 246 and 347 cc engines with a power of 24, 44 and 54 hp. respectively. In the history of these serial motorcycles Yamaha were won for the period from 1970 - to 86 years 14 - championship titles with engine sizes of 125, 250 and 350 cm3.
Since the beginning of the 60s, off-road competitions have become very popular, this has become an impetus for the production of road motorcycle models of the so-called "scramblers". Yamaha is initially exhibiting the Yamaha 70 YP-1 single-cylinder model and the 305 YDS-3C twin-cylinder sportbike.
And since 1968, the developers of Yamaha for the first time offer a version of a motorcycle with advanced capabilities, devices perfectly adapted for driving on rough terrain. Such a single-cylinder, two-stroke 246-cc was the DT-1 with a power of 18.5 hp, with a five-speed gearbox, with an impressive ground clearance of -240 mm. and weighing -110 kg. Yamaha DT-1 immediately becomes a hit, which gives rise to a lot of imitators.
In the early 70s, Yamaha's plans were based on the development of analogues with a difference in working volumes, starting from 50 cubic models and up to 400 inclusive. 
The history of Yamaha in the 1970s was quite successful, on the Yamaha DT 250 motorcycle they update the old motor with a modernized power unit with a reversible petal valve, this significantly increases maximum power engine - up to 24 hp, which positively affected the performance at medium and low speeds. This technique was used in the production of two-stroke engines, it is worth noting that only Yamaha's developers have achieved 100% return. And subsequently, almost all two-stroke engines of the company began to use innovation, but today it is an integral part of a two-stroke engine.
The increased interest in highway racing is forcing the Japanese concern to remake models that had dual purpose, and soon a 250 cc 30 hp DT-1 MX, specially designed for cross-country competitions, was introduced.
On which the first champion title was won in 1973.
In 1974, Yamaha YZ cross-country motorcycles were produced, which covered almost the entire range from 80 to 500 cm3.
Yamaha motorcycles manufactured since 1975 have been equipped with gas-filled monoshock absorbers. Cross-country sportbikes since 1975 have been expanding their line with a modification - 1T. 
Almost until the end of the 60s, Yamaha specialized and produced models exclusively with two-stroke engines, however, the American and then the European market began to be intensively filled with four-stroke engines. Yamaha executives caught on time positive dynamics for four stroke engines. In addition, these engines were not new for the company, it already had experience in the production of car engines. The first Yamaha XS-1 four-stroke motorcycle debuted in early 1969.
The Yamaha XS-1 motorcycles did not differ much from the British “classics”, they used in-line two-cylinder, 653 cubic meters, engines with a power of 53 hp. But japanese motorcycle significantly began to surpass English in technical terms. After some time, motorcycles began to be equipped with disc brakes and began to install an electric starter. Buyers are happy to accept the update, and after Yamaha releases two more two-cylinder motorcycles. Models TX 750 debuted in mid-1972, the motorcycle was equipped with a powerful, 743 cc, 63 horsepower engine. The originality consisted in the fact that the engine design had cylinders inclined forward, on this model a balancing shaft was installed for the first time in the world, which significantly reduced vibration. Since 1973, the lineup has been replenished with the 483 cc, 48 hp new TX 500. This was the first production model in the world to have a four-valve cylinder head. 
But at the Tokyo show in 1971, Yamaha introduced two new concepts: the first RZ 201 had a twin-rotor 68-horsepower engine, and the second was the GL750-4, 743 - 70-horsepower, which was equipped with a two-stroke, four-cylinder liquid-cooled power unit.
The models did not go further than the concept, however, two-stroke engines become the base for all sportbikes in the motorcycle class from 500 to 750 cm3. In 1975, Italian rider Giacomo Agostini managed to win the championship title on a Japanese 500cc bike for the first time, but that's not all, American rider Kenny Roberts won the crown three times in the 500cc class in 1978, 1979 and 1980.
The history of Yamaha motorcycles in the 70s.
The serious situation with the outbreak of the fuel crisis in the market confirmed the chosen course of the company's management. This period was the debut for three new families. 
The model in the middle class became the Yamaha XS 360, which was equipped with a two-cylinder 358 - 34 hp engine. with 6-speed gearbox Next comes the 250cc, 27hp XS 25. The new, third model XT 500, with a single-cylinder, four-stroke, 30hp 500cc powertrain, opened up completely new horizons. The Yamaha XT 500 stood out from its predecessors in terms of economy, which was quickly appreciated by motorcycle travelers. It was the participation of these motorcycles in rally marathons that brought well-deserved victories to the Paris-Dakar.
In 1975, a 64-horsepower, three-cylinder, four-stroke XS 750 was produced, which already included a cardan drive. Since 1977, the leading position in this model line has been taken by the XS1100, which has a four-cylinder power unit, the working volume of which was 1100 cm3, the power of which was 95 hp; the device is capable of developing a ball of 225 km / h, accelerated in just 4 seconds.
The company's engineers carefully monitored market demands, and in the mid-70s, Yamaha launched the production of custom models, typical American style, with the steering wheel raised high, the saddle looked like a “step”, the shape of the gas tank was in the form of a drop.
In 1977, the company began developing single-cylinder, four-stroke and economical models.
But the biggest victory in the history of Yamaha motorcycles was the introduction of the Passol scooter for housewives in 1977, a single-cylinder 49-cc, two-stroke model that turned out to be very simple and extremely economical to drive: the scooter had no gearbox, an automatic centrifugal clutch system was used. The model immediately created an increased demand, which contributed to the rise of imitators, and Yamaha remained at the top. From 1981 to 1990 The company's engineers have constantly improved and upgraded scooter models. We experimented with sports models of Tracy scooters with a volume of 123 cubes and a power of 15 hp. liquid cooled. A little later, the company releases the super popular 50cc Jog scooter model - which by the end of 1990 had sold 1.5 million copies.
Yamaha motorcycles from the 80s.
In the 80s, the debut of a completely new generation took place - a two-cylinder 347cm3 Yamaha RD 350LC with a 6-speed gearbox. developing power of 50 hp 
In 1982, the Yamaha XL was launched into mass production, with a 653 cc turbocharged power unit, whose power reached 85 hp. The Yamaha XJ 650 Turbo featured a more powerful fairing.
The history of Yamaha motorcycles in 1982 was marked by the release of the 854 cc Yamaha XJ 900 motorcycle with a power of 96 hp.
The FJ 1100 sports touring 1097-cc motorcycle had a four-cylinder air-cooled power unit with a capacity of 126 hp. The kit included a semi-fairing, which had a large windshield. 1198 - the cube model of the XVZ 12TD Venture luxury tourer was equipped with a V-shaped four-cylinder engine with a water-cooled system with a similar power of 96 hp, almost all motorcycle components were covered with lining, the kit included a stereo radio, on-board computer, three luggage cases. Its engine in the forced version, which reached 145 horses, was registered on Yamaha models The V-Max debuted in 1984, a unique combination of a dragster and a cruiser. 
The journey of the V-4 engine did not end there. Derated engine - 74 hp was installed on a 1294 cc XVZ 1300A Royal Star cruiser in 1995, a couple of years later a 96 hp engine is also installed on the XVZ 13TF Royal Star Venture tourist cruiser.
In 1983 he made his debut two-stroke with a V-shaped four-cylinder engine sportbike RD 500LC whose volume was -499 cm3, developing 225 km / h, accelerating in - 4 seconds.
Yamaha sport bikes
The real sensation of Yamaha motorcycles in 1980 was the first two new models, the first Yamaha XV 750 Special with a volume of 749, with a power of 65 hp, it fully corresponded to the American style, the second XV 1000 TR-1 adhered to the “classics” - with 981 cc motor, engine power was 70 horses. Both models were based on new spinal frames. A four-stroke, V- figurative motor air cooled. 
classic model soon dropped out of the range, which was not the case with the American-style model, the motorcycle spawned a highly popular separate family of cruisers. In 1981, the new family receives given name Virago, and includes motorcycles from 549 to 1070 cm3.
Road-sport motorcycles of the XZ series released in 1981 with engines of 550 cm3 with a capacity of 64 horses, and 398 cc with 45 hp. did not win recognition, they were discontinued in the mid-80s.
Much more success was achieved by 653 cubic meters, 73 strong, developing 190 km / h. road-sport model, released in 1978 of the Yamaha XJ 650 series with a four-cylinder in-line air-cooled power unit. 
In 1984, for the first time in the world, Yamaha demonstrated the 749, a 100 hp FZ 750 cc concept road bike with a five-valve cylinder head. It was a logical continuation of this development, which was the debut of the Genesis sportbike in 1986. Equipped with a fairing, made of aluminum alloy. The FZR 750 motorcycle was equipped with an engine inherited without significant modifications. 1000 - cc, 135 hp FZR1000 model was equipped with an exhaust control system, which made it possible to increase the maximum power to 145 hp.
The main technological breakthrough in motor-building is considered to be 1992, when the GTS 1000 touring motorcycle is produced with an Omega frame specially designed for it, with a four-cylinder 1002 - cc engine with a developing power of 100 hp. 
And developed in 1997 for sports tracks, the YZ 400F model won motocross victory in world competitions.
In addition, the YZF-R1 sportbike, which was developed soon, was for a long time a recognized standard among classmates: it had a four-cylinder 998 cc power unit whose power was equal to 150 hp. the weight of the sportbike was 180 kg.
Today, Yamaha holds the second place in the world in the production of motorcycles, has high-tech equipment, its own design offices and modern factories located in 45 countries around the world.
). Working with this instrument so captivated him that after the completion of the repair, he decided to create his own sample of the harmonium. Based on the knowledge about the structure of this musical instrument, obtained during the repair process, he began to hand-craft every detail. Two months later, on his own, he delivered the finished organ for verification to the Institute of Musical Research in Tokyo (currently Tokyo National University of Fine Arts and Music). The institute's experts acknowledged that the tool has the correct body shape, but identified a number of shortcomings, including tuning instability. Not succumbing to disappointment, Thorakusu Yamaha decided to stay in Tokyo and achieve his goal by studying music theory and tuning techniques, becoming a special student at the Institute of Musical Research. After a month of intense study, Thorakusu Yamaha returned to Hamamatsu, where he began to work from early morning until late at night, making his second reed organ. After re-testing, his instrument was recognized as "worthy to replace imported analogues." 
In 1889, Thorakusu Yamaha founded the Yamaha Organ Works, and eight years later, in 1897, he created the company Nippon Gakki, whose symbol is tuning forks, and whose trademark is the figure of a Chinese phoenix with a tuning fork in its beak.
The modern Yamaha logo is the name of the founder of Yamaha written in Latin combined with tuning forks. The three tuning forks symbolize the strong link between technology, production and sales, the three founding elements of Yamaha Corporation. Now, the Yamaha Motor and Yamaha logos differ in the location of the tuning forks, which cross the circle for the Yamaha Motor and are enclosed in a circle for the Yamaha.
Over the period of its more than a century of existence, Yamaha has come a long way in development and has become one of the world's flagship manufacturers of musical equipment.
In 1897, Nippon Gakki received its first order to export 78 organs to Southeast Asia, and in 1900 produced the first batch of pianos. In 1902, the production of the first Yamaha grand pianos began, and in 1904, a Yamaha-made organ and piano won the Grand Prix at the World's Fair in the American city of St. Louis.
In 1903, using their experience in woodworking, the company began to manufacture furniture.
In 1914, Yamaha began producing the first harmonicas and later that year began selling them for export.
In 1921, the Japanese government decided to use Yamaha's vast experience in woodworking to create aircraft propellers. After 10 years, the company re-profiled production for the production of metal propellers. Subsequently, metalworking technologies were in demand for casting frames for grand pianos and pianos, and later - in the production of wind instruments. In 1922, Yamaha began producing high-quality phonographs, in 1930 the first laboratory for the analysis of acoustics was founded, in 1932 it mastered the production of wind organs, and since 1941 it has been producing acoustic guitars.
In 1954, the Yamaha Music School system of musical education was created. In the same year, the production of the first Hi-Fi class audio systems began. Thanks to the accumulated experience in the field of metallurgical technologies, the production of the first Yamaha YA-1 motorcycle was launched. During the year, 125 motorcycles were produced. As a result of successful sales, in 1955 it was decided to found the Yamaha Motor Company. 
In 1956, the company first took part in an exhibition of musical instruments in Chicago, in 1958 the first branch was opened abroad - in Mexico, and in 1960 a branch in the USA was opened.
In 1959, an archery goods business was established, which closed in 2002. In 1959, the Yamaha Technical Laboratory opens, where the company develops analog modeling technologies and soon creates the D-1 Electone electric organ. Thanks to research in the field of metals, the company was able to create a line of fiberglass equipment. Since 1961, Yamaha has invested in the production and sale of alloys. In 1961, the company opens the production of fiber-reinforced polymer skis and begins selling them. In 1962, the Yamaha Recreation division was opened, which created resort complexes for musical and sports leisure [ ] : Nemu-no-Sato in 1967, Tsumagoi in 1974, Katsuragi in 1976, Haimurbushi in 1979 and Toba in 1964.
In 1965, the company began producing pipes at the Kakegawa and Iwata factories, in 1970 it merged with the manufacturer of wind instruments Nippon Wind Instruments (currently Saitama Factory). In 1977 and 1978, respectively, wind instrument workshops were opened in Tokyo and Hamburg. Also in 1965, the first Yamaha music school was opened abroad - in Los Angeles.
In 1966, the company expands its activities in Europe, Yamaha Europa opens in Germany. In cooperation with the Ministry of Education of Japan, the Yamaha Foundation is being created to improve the skills of music teachers and promote music education. Yamaha music schools open in Mexico, Canada and Thailand.
The first production line for electric guitars and drums is opened. Yamaha patents Air-seal System drum technology. In 1967, the company demonstrates the CF series concert grand for the first time. 
In 1968, the corporation (at that time - Nippon Gakki Co., Ltd) begins issuing shares.
In 1971, the company starts the production of semiconductors.
In 1973, the production of tennis rackets was mastered, and a full-scale production and sale of furniture items was also launched. From 1974 to 2007 there was a production of musical instruments in the USA. Also in 1974, the production of the NS 1000M loudspeakers (the NS series has been produced since 1967) with a beryllium diaphragm, as well as the first CSY-1 synthesizer and the first PM-1000 analog mixer, was launched. In 1976, the production of electric pianos began.
In 1980, Yamaha organized the Piano Technical Academy (Piano Technical Academy) training center. PortaSound portable keyboards launched. 
In 1982, the company develops a line of carbon-composite materials for golf. In the same year, the company introduces the first CD-1 CD player and the first Disklavier piano goes on sale.
In 1983, the Clavinova electronic piano appeared on the market. Yamaha's LSI (Large Scale Integration) division begins production of large integrated circuits. This division is engaged in the production of FM synthesis circuits, graphics controllers, since 1999 - electronic tone generator chips for mobile phones, since 2002 - chips for digital amplifiers, and since 2005 - chips for GPS navigation. Unlike many European and Japanese companies that were forced to sell their semiconductor divisions to Chinese owners, Yamaha continued to produce microcircuits in the 2000s, including LSI (Large-Scale Integration) at its own facilities, which does not bring too much income ( about 5%), but allows you to focus on your own element base when developing AV components.
In 1983, the Yamaha DX7 digital synthesizer was released, which was very popular in the 80s and became one of the best-selling models in the history of synthesizers.
In 1983, the company mastered the production of personal computers, releasing a series of MSX machines (Yamaha KUVT). A little later, the Yamaha CX5 computer was released, which has a built-in SFG-01 synthesizer module (with the ability to connect SFG-05) and is designed specifically for creating music, was used by some domestic musicians who worked in the electronic music genre from the mid to late 1980s.
In 1984, the corporation developed its own technology for the production of the first industrial robots. In 1986, the company began selling the first digital sound field processors DSP-1, in 1986 the SRS (Sound Room System) direction was launched. 
In 1987, on the centenary of its founding, the company's name was officially changed - the company was renamed "Yamaha Corporation".
In 1987, centers for work with artists were opened in several capitals of the world, Yamaha Artist Services Inc., later opened centers in Moscow, London, New York, Paris, Beijing, Seoul, Tokyo, Kakegawa, Taipei. In the same year, schools for teaching English were established in Japan, operating as of the 2010s.
In 1988, the company acquired Sequential Circuits, and from 1989-1993 owned a controlling stake (51%) of Korg, a competitor in the market for musical instruments and music production equipment.
In 2007, Yamaha Corporation was awarded the Technical Grammy. On December 20, 2007, Bösendorfer was acquired, and in 2008 the corporation bought Nexo.
In 2008, the production of the tenori-on synthesizer began. In 2010, Yamaha demonstrated the TLF-speaker, a poster-shaped, flexible loudspeaker that emits a highly directional sound wave.
In 2014, the corporation announced the takeover of a manufacturer of equipment for digital guitar processing and amplifiers. Line6.
Also, in 2014, Yamaha Corporation announced an agreement with Revolabs, Inc. (headquarters: Sudbury, Massachusetts) is a company that designs, manufactures and sells wireless microphones and phones for corporate conference rooms and other products. As part of the agreement, Revolabs becomes a wholly owned subsidiary of Yamaha.
Some Yamaha Products
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Brass and woodwind instruments
Sound projectors
Premium grand pianos
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Digital mixers
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