As a former Yamaha DX7 owner (current PLG150DX owner) I was interested in the DAS F07 to supplement my FM synth arsenal.  Both the original DX7 and its plug-in card PLG150DX incarnation are 16-voice polyphonic (but mono-timbral).  Whilst composing arrangements that use multiple DX sounds this meant sampling or rendering each DX MIDI track to audio individually.  My previous workaround for this was to sample the DX7 using Propellerhead REASON.  However, this was time consuming (especially if one were to sample individual notes at multiple velocities) so I considered the F07 as an alternate route to FM multi-timbral heaven (and much cheaper than the expensive Eighties option of buying a TX816 rack).

Dante: So what inspired you to create a DX7 emulation, and was it easy to make?

Eric: I'm about 50 years old, and the DX7 was a revolution (like Prophet and Oberheim).  It was not as difficult as coding dedicated audio plug-ins, but I prefer audio versus synthesizers.  It was just a game for me and I wanted to verify how difficult it was so it was just like playing with a Game Boy.

 

As a user of half a dozen key favorite DX7 presets, the question was how easy was it to reproduce these immortal sounds on the F07, given that the parameter structure of the F07 was slightly different than the original DX7. 

The DX7 envelope structure consisted of four rates and four levels, rather than the traditional ADSR.  DAS addressed this the same way other native DX clone makers addressed it - by going back to the traditional ADSR structure for familiarity.  A good move for ease of use, but one which forces programmers to tweak the original patches in order to get them to sound the same.

To supplement the ADSR values, DAS also added three extra parameters, the L1, L2 and M2 sliders.  Experiment with these sliders to fine tune the output of carrier and modulator operators.

 

Dante November 2011