KONTAKT | 700 MB
Darth Vader的造型，闪亮的FM音调和尖齿！ •使用多个速度层和超过830Mb的压缩样本，精心制作了8个经典的钢琴和EP音色•在真正的DX程序插槽的真实再现中组合，平衡和失调了任何两个音色•满满的全色音色……继续吧，你知道你想 ？？？？ •我们认为，这件事听起来有些声音，即使坚强的DX怀疑论者也会感到惊喜
如果您还活着在1980年代，您可能很早就接触了不健康的Yamaha DX7。实际上，即使是现在，科学家告诉我们，生活在城市而不是农村的人们离DX7也永远不会超过2米。
等待。那可能是老鼠。无论如何，我们想说的是，这个东西在80年代无处不在，以至于许多人都讨厌Synth To Hate：它不仅迎来了小型LCD面板和按钮的新时代，菜单驱动的编辑，再加上一个非常复杂且坦率地让人不堪重负的合成新形式，但它也定义了一种全新的声音-干净，清晰，有光泽，也许只是一种触摸效果。这是CD对黑胶，数字对模拟，DX对……其他所有合成器。它比它们拥有一个杀手kill：它拥有地球上最好的电子钢琴补丁。
回想起来，很容易理解为什么人们对此感到震惊。原始的DX7可能是一个不好的披萨梦，但它具有16声音和弦，稳定的调音，可以将其放在一只手臂下，并且内部隐藏着各种各样可靠的声音-好的，所以琴弦有些细，但是，伙计，听听那些电子钢琴，挖出那些funkadelic的低音！
最重要的是，实际上，它听起来与模拟听觉有所不同。在我们不知道这一点之前，每个人都为数字化的一切而疯狂，这是二十年之后，世界才再次焕然一新。当时根本没有希望：简·汉默（Jan Hammer）和赫比·汉考克（Herbie Hancock）的每个人都必须拥有其中之一。布赖恩·伊诺（Brian Eno）有几十个。
DX7 II取消了原始型号的薄膜开关，动听的绿松石色和嘶哑的12位DAC，并以其闪闪发光的16位荣耀呈现了FM综合功能。看起来像是死星桥上的东西，听起来很棒。第二种形式有多种版本：IIS（cheapo选项，仅一个声音，不值得拥有）； IID（您可以拆分或分层的两种声音，凉爽得多）；和IIFD（像D一样，但也带有软盘驱动器-极致奢华！）。当然，这是每个人都真正记得的经典的电子钢琴，要么是喜爱，要么是带有某种PTSD闪回南韩的恐怖。
yamaha-dx7-kontakt-instrument-1好吧，好吧，我们在这里把颜色钉在桅杆上：我们与DX一起长大（真的–第一个合成器）。我们削减了DX的编程技巧（这就是为什么编码Kontakt就像在公园里漫步的原因）。而且我们喜欢DX。在那里，我们说了。 DX就像突击步枪：您必须提醒自己，DX不会杀死音乐，人们会杀死音乐。换句话说，这些闪亮的尖齿补丁可能在80年代就已经被杀死，但这并不意味着您现在找不到合适的用法。
此外，DX除了电钢琴外还有其他补丁。因此，为了庆祝这些按键音，我们要做的是将它们全部放到一个接口中，该接口重新创建一个DX7 II Program Memory插槽：即，两个可以单独调音的Patches，可以对其进行失调和平衡以创建所有声音。令人回味的DX风格的钢琴和EP的方式。更重要的是，我们使用多个速度层和大量的多重采样精心创建了原件的速度响应，使其听起来像原件一样动感且可播放。我们认为这里有一些组合，这会让DX怀疑论者感到惊喜。作为一个巧妙的画龙点睛，我们添加了一些卷积的Lexicon混响，以提供额外的数字奢华。结果是很小，优雅，特定的时间扭曲，使您成为80年代最酷的合成器之一的驾驶座。忘记您的先入之见：如果您只听过DX7，也许是时候玩一台DX7了，找出原因，几年来，这件事统治了整个宇宙。
主页
http://www.rhythmicrobot.com/product/dx-keys
Darth Vader styling, shiny FM tones and tines! • 8 classic piano and EP patches recreated in meticulous detail, using multiple velocity layers and over 830Mb of compressed samples • Combine, balance and detune any two Patches in an authentic recreation of a genuine DX Program slot • Full Tines patch in all its glory… go on, you know you want to ???? • We think there are sounds in this thing that will pleasantly surprise even hardened DX-skeptics
If you were alive in the 1980s, you were probably exposed to unhealthy amounts of Yamaha DX7 at an early age. In fact, even now, scientists tell us that people who live in cities rather than the countryside are never at any time more than 2 meters away from a DX7.
Wait. That might be rats. Anyway, the point we’re trying to make is, this thing was everywhere in the 80s, so much so that it’s become for many folks the Synth To Hate: not only did it usher in a new age of tiny LCD panels and pushbutton, menu-driven editing, plus a hugely complex and frankly rather overwhelming new form of synthesis, but it also defined a whole new sound – clean, crisp, shiny, and perhaps just a touch sterile. This was CD versus vinyl, digital versus analogue, the DX versus… well, every other synth out there. And it had one killer advantage over them all: it had the best Electric Piano patches on the planet.
In retrospect it’s easy to understand why people were blown away by it, though. The original DX7 may have been a bad pizza dream to program, but it had 16-voice polyphony, stable tuning, you could carry it under one arm, and there was a whole range of credible sounds lurking in its innards – okay, so the strings were a bit thin, but man, listen to those electric pianos, and dig that funkadelic bass!
Most of all, really, it just sounded different from analogue; before we knew it, everyone was swept up in the craze for everything digital, and it would be 20 years before the world came to its senses again. At the time, there was simply no hope: everyone from Jan Hammer and Herbie Hancock on down had to have one of these things. Brian Eno had dozens of them.
The DX7 II did away with the membrane switches, garish turquoise and hissy 12-bit DACs of the original model and presented FM synthesis in all its gleaming 16-bit glory. It looked like something off the bridge of the Death Star, and it sounded amazing. This second incarnation came in various versions: the IIS (cheapo option, one voice only, not really worth having); the IID (two voices which you could split or layer, much cooler); and the IIFD (like the D but with a floppy drive too – the ultimate luxury!). And of course it’s the tine-tastic electric pianos that everyone really remembers – either fondly, or with a kind of PTSD flashback-to-Nam horror.
yamaha-dx7-kontakt-instrument-1Well, okay, let’s nail our colours to the mast here: we grew up with DXs (really – first synth). We cut our programming chops on DXs (which is why coding Kontakt is like strolling in the park). And we like DXs. There, we said it. DXs are like assault rifles: you have to remind yourself that DXs don’t kill music, people kill music. In other words, those shiny tines patches may have been balladed to death in the 80s, but that doesn’t mean you can’t find a proper use for them now.
Moreover, the DX had other patches up its sleeve besides THE electric piano. So what we’ve done, in a celebration of these key sounds, is to put them all into one interface which recreates a single DX7 II Program Memory slot: that is, two individually-selectable Patches which can be detuned and balanced to create all manner of wonderfully evocative DX-style pianos and EPs. What’s more, we’ve lovingly recreated the velocity response of the original, using multiple velocity layers and tons of multisamples to get this to sound as dynamic and playable as the original. There are combinations in here which we think will come as a pleasant surprise to DX skeptics. As a neat finishing touch we’ve included some convolved Lexicon reverbs for that bit of extra digital luxury. The result is a small, elegant, specific timewarp that puts you in the driving seat of one of the coolest synths of the 80s. Forget your preconceptions: if you’ve only ever heard a DX7, perhaps it’s time to play one and find out why, for a few years, this thing ruled the universe.
home page
http://www.rhythmicrobot.com/product/dx-keys
