WHEN I FIRST COLLECTED the TQ5 from the offices of PHAZE 1 I had a pretty good idea of what I was going to write about it. Something along the lines of "Yeah, well it's OK I suppose, if you like that sort of thing — which personally, I don't..." Now, a little contrite, I have to find a way to explain, in only a few words, not only what the TQ5 is (and isn't) but also what caused me to change some pretty strong pre-conceptions.

The TQ5 is some demented designer's idea of a hip piece of gear. It's awkward, ugly, disgustingly trendy and I think most people will justifiably hate the look of it. On the other hand, it appears to be robust and comes well packaged with good documentation. There are also some serious design faults, the worst of which is the screen. The screen itself is clear and well illuminated, but it's recessed into the casing and is stuck at an angle of 15 degrees from the horizontal. This means that you have to be right on top of the expander to use it — a serious design error.

Inside the TQ5 are some pretty advanced electronics. The Tone Generator (which allows you to play up to eight notes at the same time) is based on a system called FM (Frequency Modulation) which was pioneered by Yamaha back in 1981. Ever since then FM has been at the heart of some of the world's most successful synths, and (with the exception of Roland's keyboards) has dominated the polyphonic synth market ever since. The TQ5 uses the latest version of FM, which is multi-timbral and has a new easy-editing system. (Multi-timbral means that you can play different sounds at the same time using just this one expander — vital for use with the sequencer section.)

Next to the synth section (figuratively speaking) is the eight-channel sequencer. A sequencer is basically a tapeless tape recorder which enables you to record music in a number of different parts (there are eight of these on the TQ5, just like an eight-track tape recorder) and then change it by inserting or deleting bits, changing the instruments being played back, and many other things as well (which is much more than you can achieve on an eight-track tape recorder). Finally, an effects unit is included which gives you digital reverb, echo, and distortion for all you frustrated would-be guitarists.

So what does it sound like? I have always felt that FM (which is basically a thin, precise sounding type of synthesis) needs reverb and delay to fatten up the sound and make it interesting, and the TQ5 integrates these two features extremely well. There are 100 factory defined sounds, and these can be edited in a number of straightforward ways to enable you to fill a further 100 memories with your own sounds. You can also use optional memory cards to store further sounds, giving you unlimited memory. (Note: another magazine reviewed the TQ5 as having no permanent onboard memories. Don't worry — this is not true.) The sound editing features appear, at first glance, to be quite limited compared to a full blown synthesizer and I expected to be pretty unimpressed by this. Well, that'll teach me. Having played with the editing for a few days I find it quick, easy, intuitive and (amazement!) very flexible. Mucho brownie points to Yamaha's let's-make-FM-easy research team.

The sequencer is not as lovable as the synth section, simply because it's not as straightforward to understand or operate. The recessed screen is at its most annoying here, making everything more difficult than it needs to be. But look, who am I trying to kid? Where else are you going to find an eight-track sequencer that works, has a good range of basic features, and costs (if you see what I mean) about 150 quid?

And this sequencer can also drive a complete MIDI studio setup, so if you already have other MIDI synths, pianos, or drums these can all be successfully used with the TQ5. This gives you unlimited sound potential (well, limited by your pocket, perhaps) and overcomes the limitation of the eight-voice capability of the TQ itself.

Overall, the TQ5 is a strange beast which refuses to drop into any slot I can think of. It's a unique instrument with a unique combination (and lack of) features. I don't know which senior Yammy executive needs a lobotomy for allowing the design out of the genetic mutations laboratory. More to the point, perhaps, I can't imagine why Yamaha left out the drum box.

The truth is that the TQ5 deserves a much longer review than this. There's not enough space here to mention all its features, let alone discuss who it's aimed at, or what the competition is like. Nevertheless, as a serious attempt to combine the basic functions of a hi-tech music "workstation" (God! I'm beginning to hate that word) in an expander instead of a keyboard instrument, and also to give some pretty tired technology yet another facelift, it works well. And, despite some truly awful shortcomings, I actually ended up quite liking the monster. The sounds are good (a few are excellent), the sequencer is usable, and the effects unit does a convincing job of injecting life into the whole thing.

And, even though it lacks that rhythm unit, I can't for the life of me think of any way to do the same job cheaper. I didn't want to like the TQ5, but there you are. Move along in the queue, mate — I want to order some 'umble pie.

YAMAHA TQ5 SOUND MODULE: £449 inc VAT

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