The last time Gordon Lightfoot played here in Cape Breton, I took two visually impaired friends to hear him.

One of them, Jim, is an exceptionally good musician, both guitar (mainly acoustic) and keyboards (arranger and piano...in fact, he has my old PSR-8000).

After several tunes, Jim turned to me and asked what brand/model of pedal steel was the steel player using.

He was quite surprised when I told him there was no pedal steel player at all...but, there was a guy playing a Yamaha DX7II, who was doing all the pedal steel parts...and did so for the entire show.

First time I ever saw a DX-7, or any other synth, for that matter, being used exclusively as a substitute for pedal steel...or for any other type guitar.

I did hear some terrific lead guitar on a demo video done by Ronnie Foster (George Benson's keyboardist) on a Yamaha PSR-8000, and he did a pretty cool Sax simulation on a Yamaha VL-1.

That Lightfoot concert was quite revealing on how technique can play such a major role in emulating another instrument, as the DX7II wasn't noted for it's realistic guitar sounds (it did have terrific basses).

Ian

Yep... DX7 is still my favorite pedal steel keyboard. Got an E! expanded one to this day. A classic.

Best thing abut FM was, if it got the sound about right, velocity could alter the sound in a very smooth way, not the sudden jumps of sound that cross-switched samples do. And, as a horn player, you can imagine how the breath controller used to make my day!

The late great pianist/vibraphonist, Hagood Hardy (big hit was instrumental "The Homecoming")a guitarist, bassist, drummer and three keyboard players, that did the orchestra parts on his recording in the live show albums...I saw him at our famous Savoy Theatre, in Glace Bay, only a few years before he passed away.

The Homecoming... http://www.youtube.com/watch?v=bKu2j7BJZA0&feature=related

The DX-7's were all MkI's and one player did mostly cello and contra-bass, the second did the rest of the string section sounds, and the third did flute, oboe, and other solo instruments.

I didn't see any modules or rack mount synths, and afterwards, backstage, the lady keyboardist who did the string section sounds, and who used to play with the group, "The Parachute Club", told me both DX-7's were totally stock (so it could be easy to get a replacement on the road) and used no effects other than a touch of reverb, and they were using strings, and other sounds, that were programmed by Bo Tomlyn.

If you closed your eyes, you'd swear you were listening to a piano accompanied by a full orchestra...very talented players, and players who's technique was instrumental (sorry)in how these parts were able to sound so realistic.

Many of the sounds in Tyros and PSR are reminiscent of the FM synthesis used in DX instruments.

Many bands used DX-7's for their bass sounds, which were usually doubled with bass guitar...lots of disco tunes had that combo.

Certainly the DX-7 was a ground-breaker...and yes, the breath controller was a hoot (sorry again)...I still use one on my CS-01 mono synth...tres cool!

Ian

That youtube clip isn't DX7's though, is it?!

No, it certainly isn't...back then, 1975, people still used/hired orchestras, at least in the studio.

Don't see much of it nowadays...

Sure looked pretty cool, those three synth players on stage, and it sounded even cooler to these ears; in fact, it was downright inspirational.

I've got an instrument coming tomorrow, The Tyros4, that makes the DX-7 look and sound so primitive...yet, it might not have existed without the latter's overwhelming popularity and acceptance.

Ian

Hi:

As a former sax player I find the SA2 Breathy and Jazz Tenor sax on the Tyros 3 the best of all emulations. It was in fact the key to my purchase of the T3. I found no other product that came close except possibly the PA2X. But it also missed the mark. On the other hand the Alto Sax which is just an old sample and is pretty bad. The Soprano Sax samples are fairly good though.

Also the SA Clarinets are very good as well as the Acoustic Guitars. If I struggle with anything it's the Piano. The T3 Acoustic pianos are just missing warmth and I have yet to tweek them to a point where I am satisfied.

String sounds in general are too bright and aggressive. I can only use Live Strings with some modification. So I wish that area was better.

Joe

Hi Joe,

I too find the SA/SA2 Saxes and Clarinets (and guitars) about the best emulations I've heard, or played, on an arranger.

The Tyros3 Concert Grand left me cold...very thin, especially in the middle...I use Live Grand instead.

To warm it up a little, I went to the MIXER, then tab> to FILTER (PANEL PART) and reduced the BRIGHTNESS level to minus 12 (I'm reading this off my S910 as the T3 was sold to make way for a Tyros4...but the piano edit works the same for both.

The Live Strings work very well layered with Strings with VOLUME at 100 for each, and Octaves for both at 0...I set the HARMONY/ECHO to OCTAVE, VOLUME at 70, ASSIGN to R1, CHORD NOTE ONLY-OFF

Word is that the Tyros4's strings are even more aggressive, so I will attempt to warm them up, and post any successes, especially the sounds common to both T3 and T4.

Ian

Ian:

I didn't find Live Grand or Warm Grand much better. Actually I liked just plain old Grand Piano slightly better.

Yes, Live Concert Grand is thin in the middle and bright. So far I've added reverb and damped it by moving the Modulation Wheel forward slightly.

Thanks, I will try your settings.

Joe