#Yamaha

#Education & #Entertainment;-)#Boss #FV-#500L(2008) Pedal can control #Volume,#Vibrato,#Sustain and #Portamento on #Yamaha #Dx-7!
#Yamaha#Dx-7-1983#Synth&#Boss #Fv-500L(#Setting #Exp-#0) #prof #Miki
Mixer and HD recorder;#Yamaha #Aw-#16g+#Zoom H1
Post Production;#Adobe #Audition 1.5
Video;#Power #Director 11+#Photo #Scape

The DX7 story begins with music composer and researcher John Chowning. While working at Stanford University in the late 1960s, he begin experimenting with digital FM synthesis methods.

Running on the slow computers of the era, he developed means of computing FM timbres to emulate real instruments such as bells and pitched percussion instruments, without needing inordinate amounts of CPU time to compute the sounds. Through Stanford, he obtained patents on the applications of FM to music synthesis.

A digital synthesizer introduced by Yamaha in 1983. The DX7 was the first mass-produced synthesizer to use frequency modulation extensively, and the first digital synthesizer to sell in large quantities.

It defined the direction of Yamaha's entire keyboard line for the next seven years after its introduction. At over 100,000 units sold, it still stands as by far the best-selling synthesizer ever produced. It was made and released in 1983.

So Yamaha pulled out the FM circuits and built a synth around them -- the DX7. A key feature of the DX7 was its well-executed factory patches, which provided ear-pleasing renditions of grand pianos and Rhodes pianos, as well as brass sounds. Introduced in 1983, within two years the DX7 had crushed most of its competition.

Further models added more patch memory, improved processing circuitry, additional sounds, and floppy disk storage for patch data. In the songs "If I Say Yes"Five Star (1986) and "Wind Beneath My Wings" (1989), the Yamaha DX7 Sound Sources "ROM 128" patch "Sloe Bells" and ROM-4A patch "Tub Bells" were heard.

The Yamaha DX7 internal patch "Electric Piano 1" and ROM-1A patches "Electric Piano 1" and "Tub Bells" in the songs "Dreamin'" (1988) and "Wind Beneath My Wings"Bette Midler (1989) and covered songs on Kids Incorporated "Dreamin'" and "Wind Beneath My Wings".

The DX7's dominance changed the synthesizer market in several ways, not all of them good. Yamaha had realized that many players would be intimidated by the complexity of the FM synthesis method, plus the number of parameters would make for a very cluttered and expensive-to-produce panel if every parameter was given its own control.

So Yamaha minimized the user interface, with a set of buttons that stepped through menus to select editing parameters on a small alphanumeric display, and a single knob to set the value of whatever parameter was selected -- the now familiar one-knob interface.

They guessed right; a large number of DX7 players did little or no patch editing, perferring to either buy sound banks or just play the factory patches. In fact, the DX7 was the first synth to be purchased in large volume by performers who had no interest in it as a synth; they simply wanted to use it as a substitute for a piano, with the additional ability to cover organ and brass sounds.

Meanwhile, the DX7's popularity pushed many other synths off the market; by creating a demand for realism in synthesis, it forced out the early-80s analog synthesizer designs that couldn't produce accurate-sounding piano sounds. Patch design began to be thought of as a speciality job, rather than something that most synth players should do for themselves.

And anybody who did want to design their own sounds was pushed back by the DX7's minimal and user-unfriendly interface. Some parties tried to improve this situation; the famous Jellinghaus DX7 programmer consisted of a knob-laden box that edited parameters via the DX7's MIDI interface.

And interestingly, Yamaha itself offered up the CX5m music computer with a software cartridge that turned it into a graphical DX7 patch editor. But none of these sold well; most DX7 customers were simply not interested in patch editing.

FV-500L: stereo, low-impedance
Heavy-duty aluminum die casting body 1.6.kg
Ultra-smooth pedal movement for the utmost in comfort and control

Pedal rubber is for comfortable play and non-slip action
Expression pedal function
Convenient tuner-output jack

FV-500L (stereo, low-impedance) pedal. These tank-tough diecast pedal are designed to meet the needs of the most demanding customers. The pedal offer a new stylish design, a road-tough build, and a comfortable, smooth action.

FV-500L provide an Expression output for use with expression-compatible amps, effects, and even synthesizers like #Roland #D-50 and #Yamaha #Dx-7;-)