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I had a Roland D-10, and when looking for an upgrade, I noticed everyone was buying the M1. I had done some simple hacks to turn the D-10 into a song sequencer instead of drum pattern sequencer, so didn't need a workstation. I realised the M1's filter didn't have resonance, so I wasn't going to get one, it would have been a major regression in synthesis abilities. I went for the Kurzweil K2000 after I read the Electronic Musician review. Been with Kurzweil ever since, and now have a K2500XS with KDFX. It is the most powerful platform, with V.A.S.T. : Variable Architecture Synthesis Technology.

It's hard to imagine that the DX7 absolutely broke the synthesizer scene with the hastily thrown together patches it came with. When it comes to factory patches, I think the DX7 really showed is claws when the DX7II came out in 1986, those patches are awesome. Although we tend to forget that the DX1 and DX5 were also around, with double the oscillators of the DX7, and boy do those sound amazing.

FM bass cuts though any mix!

Thanks for the cool tips

I love FM basses, still prefer using them instead of analog ones.

Great sound programming! Thank you very much for sharing. DX7 is still full of good surprises after that many years…

Hello Off The Matrix, Thank you for making this video. I was wondering if this method would work on a Yamaha TX7? Best, Robert

Very cool.

Shh! I don’t want everyone to find out how great these are and make prices go up. ;p

Yes, wouldn't that be nice. I moved house and lost MPC-00P and the rest I had , but EX can do much more: ( can anybody help? )

👍Good video! I enjoyed the Spinal tap clip. This is your nephew btw. Hope all is well w/you.

Thanks for this! I picked mine up from a Goodwill for $20, and it sounds great.

I kno this video is old but i just got a dx7 and i would to know what do i need as products and software to restore back the factory sounds?

Always making the best patches! :D

Great sound, love it! I’m sure it’s even better in person. Good job!

Great music! Great CGI video. Pure talent. Gave you a like.

Thanks. Can we get a walkthrough for the arpeggiator and Workstation?

Thank you!!!

For a pedal without polarity switch, you can reverse polarity by using dual mono to stereo cables with complimentary orientation (male and female) and switch those 2 mono cables, so they are connected in X way. At least, this trick worked for me with Yamaha piano-style sustain pedal without polarity switch.

I agree that those Yamaha sustain pedals have the feel of a real grand piano. The shape, force, and travel of the "spoon" is very comfortable. The pedal may not be working with the ARP for several reasons. Without having a schematic for it, I would guess the ARP uses a 3 contact (stereo) plug (Tip, Ring, and Sleeve). Where the Yamaha (and other simple Sustain Pedals) use a 2 contact (mono) plug - whether it be an Nomally Open (N.O.) or Normally Closed (N.C.) type. I think the ARP uses a common contact (mostly likely the Sleeve) and the Tip and Ring contacts for the pedal position. For example, let's say they designed it as follows: Sleeve: Common Ring: Pedal Up Normally Closed to Common Tip: Pedal Up Normally Open to Common But when the Pedal is Down: Ring: Open to Common Tip: Closed to Common This technique not only gives you and On/Off signal (like a Sustain [Loud, or Forte] would give you, but it ALSO provides Pedal Velocity Sensitivity (that other effects could possibly use). The ARP may be measuring the time between the breaking (opening) and the making (closing) of the two contacts to determine how quickly you press and/or relase the Pedal. True, velocity is not normally used with electronic sustain pedals, but having the capability of including Velocity Sensitivity in the Pedal makes it more versatile. Or, the ARP may be expecting a Pedal that has a potentiometer inside rather than a switch or switches. This way, the synthesizer can tell how far the Pedal is pressed and not just fully up or down. This can provide velocity information as well, but it can miminic a real piano sustain pedal - where there are techniques to partially press the sustain pedal to get a less muted effect on the strings but not cause them to sustain (ring) for very long. Not many musicians use this technique but it is possible. The trick is every piano has its own "sweet spot" on the pedal for this. Also, not ever string will partially mute equally to each other. I have tried it and it takes some time to master.

Thankfully a good master controller only needs 1 setting and can send the midi sustain cc regardless

Gave your video a like. This is Nigel Webb here (Lead Bassist for the band Xyaxis), Nigel Tufnel's cousin. Yes, if you get so much sustain that you can go grab a bite to eat and then come back and it is still sustaining, then that is what you want... but be sure to set your amp to 11 for that little push over the cliff.

KORG 01/W > M1.

Congratulations on demonstrating a new generation of potential of this synthesis method (often perceived as tedious).

Using davlippo7 as an example is probably not your best choice, as he doesn't even play keyboards, is actually a guitar player, and basically just collects numerous synths as toys to play around with. He doesn't like anything that takes much thinking & understanding of how to create sounds, like on a DX7 or SY99 or Montage. He prefers synths that have shiny knobs that make cool sounds without needing much programming understanding or ability, that look cool, have cool graphic displays, and are easiest to get lots of cools sounds by turning a few knobs. He actually literally bought new shiny knobs for his new Yamaha Montage M8x synth & replaced the factory ones... The Montage classic wasn't intuitive and cool enough looking for him, and at first he didn't like the look of the Montage M8x, nor it's display either, but once he found out it had Poly Aftertouch, he pre-ordered one over a month before it was released.

Would your patches work on the dx9 as well?

M1 is one of the greatest synth for digital pad sounds! M1 is not good in reproducing "real instruments" - but wonderful in making pads, atmos, cinema sounds...

I rememer we got an M1 at school. It was like an alien landed. The sleek mysterious box, and the teacher able to play a whole band on his own. I was mesmerized. The sound may be dated by now, but the casing, built quality and finish are still unsurpassed. What a beauty!

And then came the Triton and surpassed everything for 2 decades.

Thank you Off The Matrix, i was able to get my BC1 working on my DX11

that's pretty incredible work. this is inspiring me to dive in and see what I can create. I have an m1 new since 88 and EX added as soon as that came out. I'll have a look at the patches, and would you know some links where old libraries of M1 and M1ex patches are stored to try out? would T1 patches downloaded just work in an M1ex as well ? thank you!

I wonder if they made them duller to hide aliasing

16 like,sub,great work,best wishes;-)

From what I know from your prior work, I think your Symphonic Library is going to sell well. You put out World Class samples, never any fill work. I am sure "one man symphonies'" will be able to orchestrate beautiful symphonies from the past a well as new ones from today - all from your one library alone.

At 0:57 I think going to a Zulu drive using SD cards is the way to go. Zip drives use fancy floppy disks and I think compression. SD I belive is not compressed but is formatted just like a hard drive, plus it is digital memory. Zulu uses a SCSI interface which the E-mu E-III and others have, but even if a computer does not have an external SCSI port, the SD Card may work in PCs as well (not sure). But if for some reasons PCs can't read the Zulu Formated SD cards, I am sure you could put the sample data on SD cards formatted for PCs for those that don't have a E-III and like equipment but have an E-III emulator on a PC.

Uber Impressive.

How to load them into the M1 after purchase? Video or link for more instructions?

rubber chicken

Did you get an EIII?

Although both SY and M1 PCM cards limited to 512kB/0.5MB (artificially so on SY, as the card bus could actually address 2MB), the SY/TG/77/99 supported 44.1kHz samples, while M1 only 31.25kHz. Of course, higher fidelity, higher frequency samples would eat more memory, but that might partially explain the quality differences in the compared horn PCM cards.

You kinda have a part of what was the poibilities in th 80's with FM in the Synclavier, problem was the computer's was not fast enough in the 80's to make real physical modelling. The other idea was to use several FM Synths, Have a computer analyze eg. a Piano sound and split the different part of the sounds into something the 6 operator FM generator can do and combine it into the TX816. That way the Synth itself didn't need a Super Computer to produce the sound on the fly. It was kinda the birth of one of the possible ways of doing Physical modelling

Really nice work- the patches have lots of nice motion in them. Will check them out!

Thanks!!!

Yes, at 2:36 U just put the "HUMP". Any FM synth before that only used two "operators" anyway, like the Synclavier.

Holy shit

Did you run the PC800Fixes channel?

Nice video as always. Gave you a like. Why did the DX7 EG settings need tweaking when moved to the TX802? I thought the TX802 is built upon the DX7 FM architecture. Do you see that porting DX7 to TX802 requires tweaking often?

You're getting into wizardry territory now. 🧙‍♂️

When I read the title I immediately thought of the SY99! Love this!

Very interesdting in depth stuff. Ive had TX7, DX7FD, TG33, TG500, EX5 and CS6X ( the last one left) of Yamaha synths. Used to do some comparissons myself. Thanks!