Is Native Instruments FM8 the best for DX7 epiano sounds?

[@midnight]

Also, it's called The Breakfast Club, dude. Beautiful young women love the sounds of the 80's, and they are really popular in music right now.

Are you in touch with modern music? I love going out and getting laid.

[glokraw]

http://www.kvraudio.com/forum/viewtopic ... &start=435

A new Hexter version for linux is out, I listed the new editing possibilities
in a post at the link. Before, it was just a sysex rompler.
Sounds great. Just flipping among the 32 algos gives
a couple dozen variants on each sound. With the massive number of
sysex to import, and actual controls to manipulate the parameters, it's a
great linux addition.
Cheers

[mumpcake]

In the late 80's I used to work in an office where they piped in an easy listening station. As a result, I can't hear that sound without expecting to hear either a crappy Whitney Houston-like ballad or something by Kenny G.

[VitaminD]

Also, it's called The Breakfast Club, dude. Beautiful young women love the sounds of the 80's, and they are really popular in music right now.

Are you in touch with modern music? I love going out and getting laid.

If a person's prime goal in life is getting laid and staying in the 'cool' club, then doesn't that seem like really shallow living and perhaps a bit immature to you?

In any case.. we are all entitled to our opinions.. if someone wants to think 80s music was terrible, then their opinion is valid. Just as yours is equally valid that 80s music was not terrible.

[himalaya]

The thing is...I see both sides of the oscillator, er, I mean coin.
I love and at the same time cringe at some of the DX7 EP-1 infested songs. However, for me I look at this sound from a design point of view, and it's here where it becomes a very beautiful sound. Just like Sendy stated previously. However, it is a lovely sound to play as well. I have a different version of EP-1 in my Yamaha SY77, and it also sounds like it has been used to death in many records, but my holy filter sweep, it's such a nice sound to play. It's very dynamic, with a nice full 'body' and glassy 'tines'.

My 'cheese' radar detector is set to off so I'm ok with what people call 'cheezy' sounds (or music). I recommend all those interested in synths and sounds to set that detector to 'off' as well.

Perhaps a more poignant sentiment behind all of this is that most synth sounds just date badly. Most are associated with specific music styles, specific point in music history, hair styles and divas (?!) etc... is it?

[@midnight]

To me the sound has a lot of class, and maturity, and really just gives me a feeling that I can not put into words. I hear it differently than most people I guess. It has a ruminating quality about it.


Check out the track "Sleeping on the Roof" by The Flaming Lips >



Also I'm really curious about the synth that comes in at 0:34...

[himalaya]

To me the sound has a lot of class, and maturity,

Yeah, I'd say so...well put.

[Aroused by JarJar]

I think the DX-7 e-piano sound has a very long way to go before it becomes as overused as the acoustic piano- and 90% percent of the acoustic piano music around is as cheesy as any '80s ballad.

The DX-7 e-piano sound has something quite unusual about it- you can hear as plain as day the feeling of the seventh harmonic partial intervals. I would guess that there must be an M:C of 7:1, 7:2, something like that, in the patch.

This is perfect for soft-jazz ballads, because the seventh harmonic partial is a key element of the blues. With the e-piano sound you can sing "blue" more easily and smoothly, and jazzy tall chords are different than on an acoustic piano, which like most western classical instruments avoids the seventh partial as best it can.

[hakey]

The DX-7 e-piano sound has something quite unusual about it- you can hear as plain as day the feeling of the seventh harmonic partial intervals. I would guess that there must be an M:C of 7:1, 7:2, something like that, in the patch.

Two M:C at 1:1 (= 'filtered sawtooths') and one at 1:11 (= partials
1,10,12,21,23,32,34,43,45,54,56...etc.).

Adapting DX7 Patches for Additive Synthesis

[hakey]

Check out the track "Sleeping on the Roof" by The Flaming Lips >

I don't hear any DX E. Piano in that. Sounds like a real piano to me.

[Aroused by JarJar]

The DX-7 e-piano sound has something quite unusual about it- you can hear as plain as day the feeling of the seventh harmonic partial intervals. I would guess that there must be an M:C of 7:1, 7:2, something like that, in the patch.

Two M:C at 1:1 (= 'filtered sawtooths') and one at 1:11 (= partials
1,10,12,21,23,32,34,43,45,54,56...etc.).

Adapting DX7 Patches for Additive Synthesis

Where did you get that information? According to the paper you link to:

"C1 and M2 have a ratio of 1:11 (the original patch has the ratio at
1:14 but I changed this to 1:11 because it sounded better to me)."

1:14 will also give that "seventh partial" sound. 1:11 should sound more (semi or pseudo)"inharmonic", as the harmonic ratios created by the eleventh partial are "quartertone" in nature compared to the western system. It probably sounds more "piano" like, or generally bell-like, with 11:1 and less "blue".

How about someone fire up an original sysex patch of the e.piano and let's find out exactly?

edit- thinking about it, I think I'm wrong- at 1:7 and 1:14 the seventh partial would cancel out, wouldn't it? I think it would be 1:6 that would give that bluesy 7th partial sound.... LOL, can't remember, better look it up.

[hakey]

"C1 and M2 have a ratio of 1:11 (the original patch has the ratio at
1:14 but I changed this to 1:11 because it sounded better to me)."

Yep, I missed that bit.

[hakey]

at 1:7 and 1:14 the seventh partial would cancel out, wouldn't it? I think it would be 1:6 that would give that bluesy 7th partial sound

Using the algo from my link:

C, C+M, C+2M, C+3M, C+4M, etc.
C, C-M, C-2m, C-3m, C-4m, etc.

Gives harmonics: 1,13,15,27,29,41,43,55,57 (...etc)

Don't know if any of those are a seventh interval apart.

[Aroused by JarJar]

at 1:7 and 1:14 the seventh partial would cancel out, wouldn't it? I think it would be 1:6 that would give that bluesy 7th partial sound

Using the algo from my link:

C, C+M, C+2M, C+3M, C+4M, etc.
C, C-M, C-2m, C-3m, C-4m, etc.

Gives harmonics: 1,13,15,27,29,41,43,55,57 (...etc)

Don't know if any of those are a seventh interval apart.

Nope- of course we don't know if that paper is accurate, we really have to fire up the preset and take a look. I've been doing FM by ear for years now and had forgotten the formula- 1:3 (C+2M) would give a seventh partial. How strong it is with 1:1 depends on the modulation index, for anyone up to calculating Bessel functions. I would guess that 1:6 would be the quickest and cleanest way to get a strong distinct seventh partial with space around Of course I could be mistaking some similar effect- there's kind of a sweet broad lazy bluesy "bwong" to it which is obviously one way to describe the DX-7 sound. Some inharmonic kalimba-like sounds also are perfectly "bluesy"- I strongly doubt that a Rhodes even has exactly harmonic partials at all (basically it's a big electric kalimba), but of course it's perfectly suited to blue notes in singing, sax, etc.

[hakey]

Sounds like there's some confusion of intervals and harmonics here.