Yamaha Intros $400 SEQTRAK Music Creation Station

Yamaha today introduced the SEQTRAK, an all-in-one, music creation station designed for composing and performing electronic music anywhere.

SEQTRAK is sure to draw comparisons with the Teenage Engineering OP-1 and, arguably, validates the OP-1’s success by bringing more competition into this space. Like the OP-1, the SEQTRAK is designed to be an all-in-one portable music workstation, with built-in speaker and a microphone for sampling.

SEQTRAK builds on Yamaha’s strengths, though, featuring an AWM2 sound engine that offers 128-note polyphony, plus a four-operator FM sound engine. The sound library comes with more than 2,000 presets. And you can sample directly on the device into seven sound slots in 44.1 kHz/16-bit format.

“Every musician has experienced getting a musical idea outside of their music-making space. SEQTRAK’s compact size allows those ideas to be recorded and developed further. Plus, the depth of the SEQTRAK app adds an entire dimension for turning those ideas into completed music and video,” says Nate Tschetter, senior manager, product marketing at Yamaha Corporation of America.

You can get a full overview of SEQTRAK via the video playlist, embedded above.


  • All-in-one mobile solution: Drums. Synths. Sound design. Sequencing. All included. With an array of features, all loaded in a compact, lightweight design, SEQTRAK allows you to start producing right away – no matter where you are.
  • Fast workflow: SEQTRAK makes capturing ideas simple with a clear 3-part user interface and real-time, hands-on controls. You’ll produce your music without menu-diving or waiting for boot times.
  • Deep sound library: SEQTRAK’s extensive library contains over 2,000 presets. You’ll find a vast collection of professionally crafted sounds – from rich pianos, to shimmering synths and thundering drums.
  • Onboard sampling: Capture your own unique sound samples effortlessly. SEQTRAK’s sampler offers seven sound slots and a variety of effects, allowing you to shape and transform your samples with ease. Say a phrase, tap a spoon, or record your favorite pet – then customize to create polished Tracks – all in high-quality 44.1 kHz/16-bit format.
  • Portable: With its compact size, lightweight design, built-in speaker and microphone, as well as a rechargeable battery, you can take SEQTRAK anywhere.
  • Sound engines & effects: Double your creative potential with two versatile sound engines. AWM2 (Advanced Wave Memory 2) boasts an impressive 128-note polyphony and specializes in authentic sounds like pianos, strings, and guitars, while the four-operator FM engine produces stunning synth pads, leads, FM electric pianos, and more. Additionally, SEQTRAK includes powerful effects.
  • Sequencer: SEQTRAK’s advanced Sequencer allows for intuitive and seamless composition, arrangement, and playback of musical Tracks. With its user-friendly interface, you can easily navigate and control various parameters, such as tempo, swing, and track settings.
  • Sound editing: Inside the included SEQTRAK app you’ll find an intuitive graphic user interface that lets you dive into each Track and shape your sounds with precision. Editing includes a comprehensive set of functions, including envelopes, filters, and effect manipulation, enabling you to refine your compositions with meticulous detail.


  • Bluetooth MIDI: Connect wirelessly to the SEQTRAK App & Visualizer, enhancing convenience and mobility.
  • Wi-Fi: Transfer WAV samples wirelessly, eliminating the need for cables.
  • MIDI In/Out: Connect to other hardware synths, MIDI controllers, or a computer; expanding your sound options and enabling integration with external devices.
  • USB-C: Establish a single cable connection for MIDI and stereo audio to a computer simplifying setup and streamlining workflow.
  • AUX In: Connect to drum machines, synths, and other external sources, expanding and diversifying your sound.

SEQTRAK Performance Videos:

Pricing and Availability:

The SEQTRAK is available now for $399.99.

45 thoughts on “Yamaha Intros $400 SEQTRAK Music Creation Station

  1. Not find oscillators of 2 synths possible to configure ? I find only screens with preset names of Synths, not edition of them

    Preset box, only 7 samples, only 7 key buttons for synths, all editions under the cut.
    For 400 I prefer Elektron Digitakt

      1. Lets forget for a moment that the Model:Samples is not a sampler and that the Model:Cycles is more a drum machine than a synth.
        Looking at Thomann they both cost €329 each (in my region), makes it €658 versus €398 for the SEQTRAK. And that doesn’t even take cables, mixer, power-bank and so on, into account.
        Further the SEQTRAK is advertised as a portable sketchpad for ideas. To carry around a Model:Cycles, a Model:Samples, Mixer, cables and some means to power them (like the exploding handle or a power-bank) is not really my idea of portable.

        By the way, the Digitakt cost €849!

    1. Not sure why they didn’t show it in the demo but all the bottom keys can actually be used as a keyboard for the synths

      Even so, it’s still a weird device with even weirder choices that seem to have been made

      That the function of the drum knobs being for pattern selection is probably the weirdest of all

    1. OP-1 have editable modules from the panel. Here only preset selection, for sound editing you need App. Just a preset box without its App

      1. Seems to be infinitely more capable easier to use and also better sounding than a standard OP1 and at a third of OP1’s price…
        I could be wrong but for the design I suspect Yamaha and TE have worked together…
        I would have preferred a more traditional design though!

        1. I have no idea how you could have arrived at any of this

          Say what you like about TE but at least there seems to be some kind of company ethos connecting the design of their music gear

          This on the other hand is a poorly thought out, out of the blue shot in the dark with a clunky interface which seems to basically only play presets

          As for TE working with Yamaha on this – that’s just absurd

          1. OK as I said I might be wrong about Yamaha and TE working together. But fact is that TE works a lot with other companies. Designing both good and seriously crappy products. Just as their own products. TE might have an ethos but it seems mostly to be about overcharging for most of their products and services..
            TE really wants to be Apple but TE are not even close quality or designwise.

          2. “This on the other hand is a poorly thought out,…”
            What makes you say that? Maybe if you stop your typical hate routine for a moment to inform yourself a bit better about this device, then you’ll see that actually a lot of thought went into this thing and how you use it.

            “…out of the blue shot in the dark…”
            Are you complaining here about, that this thing wasn’t announced 5 years ago, with no teaser two years ago nor an announcement for a teaser for an announcement a week or so ago?

            “Even so, it’s still a weird device with even weirder choices that seem to have been made”
            I guess, your problem is, that this thing isn’t a knockoff of a vintage synth.

            “That the function of the drum knobs being for pattern selection is probably the weirdest of all”
            Actually, that’s quite clever and works for the other tracks the same way. You have 6 pattern for each of the 11 tracks and you can change the pattern for each track individually. To use the knobs for each part means that you don’t have to switch to the part first before you can change the pattern. The leds next to the knobs give enough visual feedback to tell you where you are.
            It’s definitely harder to make an UI if no screen is involved. Which makes your “poorly thought out” remark even more ignorant.

  2. This is only like the OP-1 in style and the fact they’re both grooveboxes. This is way, way closer in function (and price) to the OP-Z

      1. Well….
        This particular device uses/depended on a screen/display along with a many other electronics to utilize that very screen part (all of which do not come with the package and the user is expected to own them) to fulfill its intended purpose.
        Would you care to elaborate or revise your point upon that fact?

      2. Well I’d have to disagree, the OPZ had a slight learning curve but once you’ve sorted it out, a few hours for me, it was highly functional.

  3. I wonder if it will draw comparison to that groovebox released a while ago for a similar price. . .

    It has near infinite polyphony, built in sampling, an infinitely expandable architecture with sequencers, large instrument libraries, fully realized DAWs, gigs of storage, endorsement from major brands and independent developers, runs on battery has a touch screen built in cameras, wifi and bluetooth. . .

    1. Addendum:

      Why is it that when a product like this is released, its relative worth is derived from a comparison to gear with like-capabilities, as opposed to something with a similar form-factor that could easily out-class it for similar money that was/is available in the era of its initial release?

      For example:

      Akai’s MPC One is a worthy competitor to a modern IPad because it bolsters a workflow and custom software that rivals the capabilities of what an IPad can do with the physical controls users are willing to pay for. While the IPad can do more for the money the “gear-lust satiation ratio” ($ spent for hardware vs. relative cost of an IPad with like-capability) does not exceed the cost-threshold of a Midi Controller with like-functionality. (My personal formula for judging new hardware toys like this).

      Thus, I decree this new toy garbage! An IPad Mini can accommodate all that this does and do much, much more for the same money and a similar form-factor. I suppose I have to remind myself that these products are not intended for music making. They are overpriced fidgets for a generation that have more money than creative output.

      1. To each his own.

        Most people would consider an iPad Mini a toy for music making – not because of a lack of processing power – but because the complete lack of tactile control, expression and feel.

        The other big concern for music makers is that they lifespan of an iPad is effectively 4-5 years, with Apple killing support by 7 years at the latest, where any good piece of music gear can usually be considered a lifetime purchase.

        Speaking of creative output – if you’re going to diss an entire generation and call their instruments ‘toys’, you should at least have the balls to show us what you do on your awesome iPad mini. But we know that’s not going to happen.

        1. I might be a little long in the tooth to understand the expiration of support but I suppose it’s about chasing the newest, latest and greatest app as opposed to fully utilizing what one already has.

          Don’t take offence to my “diss”, it wasn’t personal. I’m looking at trends in this specific market-space and it’s all about tactile toys that have less ability than other like-products competing in the same space. It is only because it is a successful business model, as evidenced by the numerous entrants in the same space (Teenage Engineering, Sonic Wave, Chompi Club, Roland, Korg, Yamaha, Behringer etc.) that I ascribe the trend to the “current generation” (which is a terrible generalization, granted).

          You’re missing my point, Chiara. I’m not saying “NYAH NYAH, my IPAD MINI is BETTUR DAN URS NEW SEQTRACKS!!!!!”. I’m launching a criticism (opinion) based on my observations in this particular market which I summarize as “Tonnes of shitty toys that are less useful than an IPad”.

          Personally, I have owned a couple of IPads and I have used one for music related tasks. I have also owned many of the toys that I am criticizing, including an OP-1, Volcas, Modular, Sonic Wave and many others over the years.

          If you love the gear as much as I have (I’ve spent a small fortune!), nothing I say ought to dissuade you — however, you cannot argue in good faith that my points are not valid criticisms. There’s nothing any of the aforementioned products can do that one with an IPad cannot. There’s room for argumentation with some of Behringer’s low-cost analog offerings but that’s also more a point of preference as opposed to capability.

          Even if you just like to collect gear for that sake alone, brush what I say off and rock on by continuing to support these companies. I’m sure they love people such as that, continuously buying the next little box that falls slightly short of satisfying a never ending itch.

          For what it’s worth, I use a Linux computer with Open Source software for Arrangement, Editing and Mixing whereas the rest is analog.

          Take care.


  4. The specs are impressive, so if you think in terms of this sort of platform, you get a good deal for the money. I’m too spoiled by the lush goodness of a DAW to miniaturize my work this way, but it deserves some cred. An OP-1 feels a bit too cutesy until you play it from a controller and hear how big it is on the inside. I just draw a line where I have to operate something with a stylus in each hand.

  5. The reliance on an app to unlock its full potential is worrisome. Plus I can’t see from the UI how you’d update the firmware to do those software implemented features natively (e.g. FM operator ordering). The OP-1 has been so successful because of its non-reliance on a computer and TE’s commitment to valuable firmware updates.

  6. So many people are using hardware these days. But no company seems to think of the business potential to do a good and simple 16 track sequencer. I’ve been looking for one since Roland MC-300/500. Instead we get these useless and way too expensive hybrids.

      1. Not really. It’s only 64 steps pr. track and in that sense I’m fine with my SQ64 which is much cheaper. I did not know the Toraiz Squid. Thanks for the suggestion, anyway.

  7. im a Yammy fanboy so this is party time for me

    btw, the visualizer looks super cool

    one thing i dont like::: changing patterns with knobs? wtf? it doesnt make sense to me from a practical perspective considering the lack of precision compared to pressing buttons

    1. I wouldn’t bury those dreams just yet. Surely if enough people are intrigued to buy a Seqtrack, Yamaha will get the clue and follow this up with a larger, much more advanced sampling-groovebox eventually.

  8. Good product that is crippled by bad UI (like… the power button is the play button? You really didn’t have enough space?)… I really wonder who is the targeted audience? It’s really a shame that they crammed all the good stuff in an app and button combos… sounds great but no thank you, I have enough ptsd from the Octatrack and SP404…

  9. The news here is that Yamaha is willing to get back into the sequencer market after a very long dry spell. Having read the manual it seems like a very nicely specced device with a very flexible UI – all hands-on, or computer-assisted.

    The people whining here are being silly, this is a lot of capability for $400 although it’s heavily geared toward dance music. The knobs-for-pattern switching decision is smart and delivers a lot of the immediacy of the RM1x without all the selection/menu diving overhead. The ability to have different lengths on every drum and synth pattern and mix them freely is a big part of what made Yamaha sequencers a lot more fun and powerful than most of their competitors. Here you’re limited to 1/2/4/8 bars rather than full polymetric freedom, but that’s an understandable decision to prevent users getting lost or thinking things are getting out of time. Scale and key selection also eliminate a lot of pain points. 6 patterns per track, parameter locks, microtiming, and 16 scenes are more than enough to build monster jams, and 8 projects are enough material for an album.

    The sound engine is a mixed bag. The presets are not that editable, and most notably there doesn’t seem to be any way to tweak LFOs – but with motion sequencing/parameter locks I’m not sure if this will be a such a big problem in practice. There’s a lot more sample storage; you can load up to 392 of them, although only a small number are available at once. For pure sound design this is pretty limiting…but it’s not sold as a synthesizer. Thinking back to when I first started with electronic music (with a Yamaha CS1x), this is kind of a smart decision: the more programmable the synth, the easier it is to get completely lost in the sound with no idea of how you got there or how to get back. In this sense the limitations work to keep the focus on the sequencing.

    That said, the actual sounds seem very good. Yamaha’s AWM synth architecture may be simple, even boring, but it sounds pretty lush and 128 voices of polyphony mean no worries about voice stealing or sounds being too thin. AWM voices typically have 4 oscillator layers running into nice warm filters. The DX voices are flexible while still being accessible and offer 12 algorithms, the sample engine is obviously basic but enough to get a bit weird. The FX block is also unadventurous, but Yamaha’s FX sound very good, without imho being as heavily colored as on Roland boxes (which make everything sound a little samey after a while). The modulation FX do have LFO options so you’ll still be able to do long whooshy sweeps at the track/master level.

    It’s not an RS7000, and RM1x, or even a QY70; they’ve dumped a lot of advanced editing capability on both the sequencer and the synth side. But the flip side of that is that they’ve let go of all the modal editing conventions and menu diving that got in the way of pure jamming. To my mind this combines a lot of the flexibility and sonic variety of the RM1x with the immediacy of the Tenori-On.

    The connectivity is good, the apps are simple and easy to work with, and being able to pull in MIDI, stereo audio, and do patch management is Enough. The limitations are such that you probably won’t be coming out with sounds or genres never heard before, but you should definitely be able to churn out minimalistic bangers or use the MIDI as the jumping off point for more ambitious arrangements.

    I personally like the no-display design and the aesthetics, except for the ‘Yamaha’ fabric tag sticking out the back. Fabric tags are just weird, it’s not a pair of Levis. Don’t know how it feels physically obviously, but almost every Yamaha device I owned in the past was well-engineered and solid feeling. I plan on finding out, as I expect to be traveling a lot soon and the size, battery power, and affordable price make this an almost no-brainer for me.

    1. Further investigation of the software shows I was wrong, it does include voice LFOs and some other good stuff although it still seems like you can’t access this from the front panel. This is the best video demo I’ve found, although it’s in Japanese it’s all pretty self-evident and the software demos on screen are all in English: https://www.youtube.com/watch?v=adc2djjT4UA

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