Arturia dx7

Instruction for recreating the patches. The magazine shared four patches, called Kalimba 2, Tamboura, Glide and Violin 3. I’ve recreated the patches in Arturia DX7 V, with some use of the onboard effects to bring the patches to life, and you can download them below. I used edited versions of the Glider patch for the An Ascent cover and the Arturia factory preset Ice Organ for the U2 Where the Streets Have No Name cover. “The reason I love the DX7 so much is because it teaches me so much about sound. Compared to samplers for example, it is a new concept in sound-making. Samplers are fine and dandy, but not conceptually different from a tape recorder or a Mellotron. The DX7, on the other hand, is a cute new way of generating sound.” – Brian Eno Toro y Moi Toro y Moi crafted many of the sounds for his 2017 album Boo Boo on a Yamaha DX7s, and said about it in an interview: “I recently got this Yamaha DX7s synth. It’s awesome. I’m using that on everything right now.” You can read more about it in my Reverb.com article, Recreating Toro y Moi’s Synths with Software Instruments, where I look at a few of his songs, and how they can be played in Arturia DX7 V. Versace on the Floor The DX7’s electric piano sound made a comeback in 2017 when it was prominently used in the Bruno Mars track Versace on the Floor. The song is an obvious nod to the R&B of the 80s, and the DX7’s use to conjure that era is no accident. The synth player on the song was Greg Phillinganes, a prolific session keyboard player who recorded some of the Michael Jackson classics, and he actually used to use a DX7 when playing live shows for MJ! You can hear the velocity sensitivity at work, where softer playing sounds more like a dull Rhodes piano, but harder playing sounds more bell-like. You can also add chorus to bring this sound to life – I used Ableton’s Chorus with the mix set to

Patch appears in the Arturia DX7 V factory presets, called Dire Dreams, although the envelope decay time needs lengthening to sound like the original patch. Take On Me The Yamaha DX7 wasn’t just a one-trick-pony, it could also produce fat, complex bass sounds. The FM basses sound more like a bass guitar than the growling analog synth basses produced by the subtractive synths before it. The slap bass sound in a-ha’s Take on Me is the DX7’s 15-Bass 1 patch run through a chorus effect. DX7 V’s onboard Analog Chorus effect sounds great, just be sure to take the width down to preserve the track’s mono power. The Take on Me lead sound is a Yamaha DX7 doubled with a Roland Juno-60, with the Juno providing the bulk of the sound and DX adding some percussive clarity to the recording. The DX7 patch is 02 Syn-Lead 3, and I used TAL U-NO-LX to recreate the Juno synth part. To learn more about Take on Me‘s troubled recording, check out Sound on Sound’s Classic Tracks article. Take My Breath Away Take My Breath Away features another classic DX bass sound, this time the patch 16 Bass 2. The song was written by Italian disco legend Giorgio Moroder, and collaborator Arthur Barrow recorded the synth parts, with the bass track being unmistakably Yamaha DX7. The song actually seems to have influenced Julee Cruise’s Falling from the previously mentioned Twin Peaks. The song was written for the film Top Gun, which also featured another classic DX7 song: Danger Zone, which makes use of the DX7’s slap bass patch. What's Love Got to Do With It Tina Turner’s producer seriously loves the Yamaha DX7, at least he did when recording 1984’s What’s Love Got to Do With It. The synth had only been out for a year at that point, but it ended up being used for the flute, electric piano, bass and harmonica tracks. The opening flute sound is the patch 20-Caliope, which uses uneven ratios to achieve its complex sound. The bass guitar is the 15-Bass 1 patch again, and the harmonica

This is Part Two of Exploring the Yamaha DX7, focusing on the individual songs it was used on. Click here for Part One. Twin Peaks Theme For me, the Twin Peaks theme’s soft electric piano sound encapsulates the Yamaha DX7’s classic sound. The patch in the theme is the DX’s most famous sound: the E.Piano 1 preset, which is factory preset 11. The synthesizer player for the shows soundtrack, Kinny Landrum, confirmed in a reddit AMA that “a Yamaha DX-7 and TX-7 were used for all the electric piano sounds.“, with additional synths used including the Roland MKS-70 and D-550 for strings, and a Linn 9000 for drums. The velocity sensitivity of the patch allows it be expressive, similar to a real electric piano. Learn more about the synths of Lynch’s surreal masterpiece by checking out Reverb.com’s videos, The Synth Sounds of Twin Peaks. Whitney Houston Ballads The Yamaha DX7’s electric piano sound is heavily associated with 80s ballads, in part because of a slew of Whitney Houston ballads that used the E.Piano 1 patch. There is some debate as to which songs were DX7, modified Fender Rhodes, or layering of the two, but some songs to check out are and I Have Nothing, Greatest Love of All and Saving All My Love for You. Because of the popularity of the patch in the 80s, virtually every digital synth that came after the DX7 featured some sparkling electric piano preset that emulates this famous sound. Arturia DX7 V has a nice, FX processed patch called RoadsForMe that nails the sound. Use it sparingly! Dire, Dire DX7 The Yamaha DX7 EP sound even makes an appearance in the Nintendo 64 classic, Super Mario 64 . The soundtrack was composed by Koji Kondo, and the water level theme Dire, Dire Docks sounds like a souped up version of the DX7’s electric piano. The basis of the patch is similar to the E. Piano 1, with some subtle changes to the operators to make it sound even brighter. There is also chorus, delay and reverb effects to give it that wet sound. The

Sound or control live—like the drawbars on a B-3 V or the filter controls of a Matrix-12 V. They’re even mapped automatically to the most logical controls on Arturia KeyLab and MiniLab keyboards, or NI controllers via NKS.But they may be wrong and you right which is why I asked further questions.Thanks for your input either way. Only the individual instruments on V collection are NKS- althou analog lab has some of those individual presets from the instruments it in itself is not NKS, and this is still the case even in V collection 6 which includes analog lab 3 ( and the new instrument including Buchla & DX7 are still not NKS) the specs in v collection 6 is quite clear in that respect.Analog Lab was originally with the minilab controller, so Arturia clearly want you to use their controllers.You can if you use google, find some user Analog Lab NKSF presets done for KK/Maschine.* NKS compatibility currently unavailable for Analog Lab 3, CMI V, Clavinet V, Buchla Easel V and DX7 V. Lives for gear Joined: Sep 2012 🎧 10 years If you google it, you will find several people have mapped Analog Lab for KK/Maschine and saved as NKSF so will show in the user part of KK browser. Lives for gear Joined: Aug 2017 🎧 5 years Quote: Originally Posted by Technostica ➡️ On the page you linked they clearly state:"With each preset, Analog Lab surfaces the most common controls you might want to get your