The sensational follow-up to the DX7-inspired FM7, FM8 is a powerhouse synth that transcends the limitations of its hardware inspiration with some awesome sound. DirectGuitar 3.0. is an innovative 10Gb (The Download is 3.5Gb) Stratocaster guitar for NI Kontakt 3 4 and 5 FULL retail ver ( it is NOT compatible with kontakt. The Yamaha DX7 is an FM synthesis-based digital synthesizer and electronic keyboard manufactured by the Yamaha Corporation from 1983 to 1989. It was the first. Password: Transcriptions More Information Home About FJI Departments Linear Jazz Improvisation. ![]() Korg Legacy Collection | Vintage Synth Explorer. The ‘Legacy Collection’ bundle from Korg is an awesome set of virtual. Korg has recreated some of their most beloved and classic. MS- 2. 0 mono- synth of the 1. Polysix analog synthesizer and the. Wavestation. digital synthesizer. Using Korg's own CMT (Component /modeling. ![]() Technology) these virtual instruments sound as good, if not better. The Legacy collection is simply a must- have for any synthesist. The Limted Edition 8. MS- 2. 0 replica controller is worth the price. This USB/MIDI controller lets you feel like you’re editing and. The fourth plug- in in the bundle, Legacy Cell allows. MS- 2. 0 & Polysix plug- ins for even more dynamic. ![]() Stand- alone operation via ASIO or Core Audio as. RTAS and VST/Audio Units make it at home in almost any computer. Starting with the MS- 2. Korg's CMT tries to. MS- 2. 0's circuitry and thus - its sound! The. MS- 2. 0 sounds great, it's fat, buzzy, resonant, and (unlike the original). Excellent for today's standards but still with a. The original MS- 2. Every knob and patch can be. MIDI or the MS- 2. It's fun to watch any physical. MS- 2. 0 controller appear on- screen in the. And every patch you create (unlike the original). It ships with a slim 3. The Polysix was Korg's answer to Roland's Juno- series, and it was one of. Now that. it's virtual, it's still as lush and warm as the original. The original. was only 6- voice polyphonic, but the plug- in has stepped things up to 3. The LFO and. Arpeggiator can be synchronized to MIDI clock. True to the original, the. Additional close- up Edit Views of. Polysix let you get into tweaking the sounds, but you can also use. MS- 2. 0 controller or any other MIDI source too. The previous plug- ins are pretty nostalgic and fun. But the Wavestation. First, it offers a major update to user- friendliness in. But. you may never need to get into editing your own as it ships with 5. What's more. performances, patches, and wave sequence data created on original. Wavestations can be loaded into this plug- in via System Exclusive MIDI. The Vector Joystick of the original is here (and MIDI. A. B, C, & D). Various edit page views allow you to delve deep into. It's almost too complex to get into here, but the. Wavestation plug- in alone is an amazing resource of superb sounds from. Simply stated, these plug- ins are everything. The Wavestation plug- in. Hz sample rate and the new plug- in supports 4. Hz - simply awesome! As if all this isn't enough, Korg also included Legacy Cell, a. Performance based plug- in that lets you freely combine two instances of. MS- 2. 0 and/or Polysix together along with a dual- effects processor. It offers 1. 27 presets. The MDE- X effects. MS- 2. 0's filter section is available as an. A virtual Korg micro. Kontrol is built- in to the Legacy Cell. Kontrol too! The bottom line with this whole package is great plug- ins, great sound. In 2. 00. 7, Korg released a new bundle called the ‘Legacy Collection Analogue Edition’. Mono/Poly and M1 synthesizers to the line- up. The Mono/Poly was a monophonic behemoth with polyphonic capabilities. Korg ever. made. And they’ve improved its functionality in software by adding eight. The. Mono/Poly offers four full banks of rich, fat sounds, covering. And you’ll never get lost looking for sounds. Mono/Poly’s simple category select feature. In 1. 98. 8, the M1 created the workstation category and went on to become. The M1 software synthesizer reconstructs the M1. Topping the list of software improvements are. Insert effects per part, and two Master. The M1 also contains all PCM, Program, and Combination data. M1 and M1. EX PCM expansion sets, all 1. ROM cards, plus the full sound set of the acclaimed T Series. Plus there. are plenty of new sounds – including some slammin’ drums. That’s over. 3,0. Yamaha DX7 - Wikipedia. The Yamaha DX7 is an FM synthesis- based digital synthesizer and electronic keyboard manufactured by the Yamaha Corporation from 1. It was the first commercially successful digital synthesizer.[2][3][4] The DX7 was the moderately priced model of the DX series keyboard synthesizers that included the larger and more elaborate DX1 and DX5; the feature- reduced DX9; and the smaller and not directly compatible DX1. DX2. 7), DX1. 1, and DX2. Over 2. 00,0. 00 of the original DX7 were made,[4][5][6] and it remains one of the best- selling synthesizers of all time.[3][7][note 1] The DX- 7 was MIDI- compatible, which meant that it could be connected to other MIDI- compatible synth modules, drum machines, audio sequencers and computers. Its distinctive sound can be heard on many recordings, especially pop music and dance music from the 1. Its preset sounds were particularly popular due to the difficulty of FM synthesis programming combined with the immediacy of the stock (preset) DX7 sounds, meaning that players tended to perform and record with the sounds they had at their fingertips. These stock sounds ultimately proliferated to the point that they were regarded as clichéd by the end of the 1. Synthesis engine[edit]Tone generation in the DX7 is based on frequency modulation synthesis, which was developed based upon research by/licensed from John Chowning at Stanford University.[8] This uses multiple sine wave oscillators, which can modulate each other in various configurations offered as 3. Yamaha's implementation used DDS oscillators[citation needed] based on linear phase modulation, allowing improved precision and stability. The DX7 was known for the precision and flexibility of its bright, digital sounds, which could be clearer and less linear than those of the subtractiveanalog synthesizers that preceded it. The DX7 is well known for its emulation of percussive instruments, such as electric piano, bells, and other "struck" and "plucked" sounds which emphasize complex attack transients, which most analog synthesizers of the time could not produce. Phase modulation as used in this and later synthesisers is capable of generating a wide range of both imitative (like acoustic instruments, such as flute, violin, etc.) and purely synthetic, artificially- created sounds. Programming[edit]The DX7's "voices" (synthesizer sounds) can be programmed by the user, and stored into a 3. RAM internal memory, or corresponding 3. DX7 RAM cartridge inserted into a port on the front of the unit. Pre- programmed ROM cartridges could also be inserted, and the original DX7 shipped with two of these cartridges with two banks of 3. Several computer applications were available for various operating systems (Atari, Mac OS, and Windows) that could enable a user to load different presets into the keyboard from a computer via MIDI; most computer- based MIDI recording software could also load to or save from the DX7. Because of the complexity of FM synthesis, and the almost limitless possibilities of sounds, many users considered the DX7 difficult to program. A particular challenge was that Yamaha's DX "synth envelopes" were very different than the Attack, Decay, Sustain and Release (ADSR envelope) methods used to create sounds in older synths. With ASDR synth envelopes, which were familiar to most synth players in the early 1. Another difficulty was that programming the DX7 required the manual entry of numbers for parameter values, rather than the simple turning of a knob.[9] As a result, many musicians did not get far with programming and instead tended use Yamaha's factory preset voices.[1. However, a few musicians who were skilled at programming the DX7 found employment creating new DX7 sounds for other bands, creating the "synthesizer programmer" as a new entry in music production credits and a new musical occupation.[1. Breath controller[edit]The Yamaha DX7 came with a minijack connection for an optional breath controller, which sensed the air pressure inside the player's mouth and sent an analog output voltage to the DX7. The Yamaha BC1 breath controller, first developed for the Yamaha CS0. DX7, was gripped by the teeth of the player while the later BC2 and BC3 were supported at mouth level by a headset. With one of these, the player could use breath pressure to modulate vibrato, tremolo, dynamics (loudness or softness), harmonic "brilliance" or any other programmable value in the DX7. The breath controller allowed the DX7 to be used to produce sounds similar to a wind instrument but with a piano keyboard for note selection. This could enable a synthesizer player to produce a more vocal- like performance of a melody, as it overcame one of the limitations of keyboard controllers, namely that the note is only triggered, and then either decays (as with a piano sound), or is sustained at the same volume (with a pipe organ sound). In contrast, with a breath controller, a synthesizer player could imitate a singer or a flute player's performance of a melody, swelling notes with crescendos. Many of the preset Yamaha voices allowed for breath- controlled modulation, and such modulation could be programmed into any other voice. However, pop musicians performing on stage did not usually want to put a breath controller in their mouth, for visual reasons.[1. Yamaha also produced the WX series of dedicated wind controllers which emulated familiar wind instruments. The MIDI ports on the rear of the instrument. The three jacks are, from left to right, "Thru", "Out" and "In". The MIDI out jack can be used to send the player's keyboard presses to another MIDI- compatible instrument or computer. The MIDI in jack can be used to send an external MIDI controller's instructions to the DX- 7. The DX7 includes Musical Instrument Digital Interface (MIDI) ports, so it can be plugged into external MIDI- compatible devices, such as synth modules or electronic drum machines. However, it was released shortly before the specification was completed, and indeed, MIDI was added very late in its development. Thus, its MIDI implementation is quite modest; It only transmits information on MIDI channel 1 and, although it can be set to receive information on any one of the sixteen MIDI channels, it lacks the Omni feature of the MIDI standard that enabled later MIDI- equipped instruments, including ones by Yamaha, to receive on any of the 1. MIDI channels simultaneously. Additionally, the maximum MIDI velocity value that the DX7 will transmit is limited to approximately 1. The DX7 will, however, respond to the full range of velocity values when sent from an outside MIDI source. This means that when using the DX7 as a MIDI controller to play external sound modules, the patches on these modules will have to be adjusted to be more sensitive to velocity. It also means that when playing the DX7's own sounds using an external MIDI controller or sequencer, the velocity values will have to be rescaled before input to the DX7, or the DX7 patches would have to be adjusted to be less sensitive to velocity. Other jacks[edit]At the rear of the DX- 7 is a small patch bay providing various input and output jacks. These include two jacks for a piano damper pedal- style momentary switch pedal (one for portamento, an effect that makes one note "glide" up or down in pitch to the next note, and a second jack for sustain, which holds any notes that the performer was pressing at the time she/he depresses the sustain pedal); two expression pedal jacks for modulation and volume (loudness and softness); and an output jack, which can be connected to a keyboard amplifier and loudspeaker, PA system or sound recording system. All of the jacks on the patch bay are standard 1/4" jacks. The external pedals must be purchased separately. For the output jack, the performer needs a standard 1/4" patch cord. To connect the DX- 7 to an audio console (mixing board), a DI unit may be needed to convert the signal to a level that is appropriate for mixers. Variants[edit]Upgrades[edit]Yamaha released an updated ROM titled the Special Edition ROM (SER) that added oft- missed features such as the ability to choose the output MIDI channel (rather than having it preset just to channel 1), the ability to store function data (settings for pitch bend, portamento modulation, etc.) per- voice rather than just globally as in the original, and other frequently desired enhancements. Moreover, third- party upgrades for the DX7 flourished in the 1. Yamaha's official SER. These included Super.
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