Mark Ayres

Radiophonic Workshop

"I’ve owned many Yamaha FM variations down the years and I am delighted I can reproduce them all and even load my original patches. It sounds great."

Paul Frazier

Arrested Development, St. Vincent, Chaka Khan

"The DX-7 was never an easy keyboard to program and I never loved it. Arturia has made me a fan! "

Paul Godfrey

Morcheeba

"I like playing The Doogie Howser theme with the new DX7 V. "

Metrik

DJ / Producer

"Love the Arturia DX7 V. It has that vintage FM sound yet can be programmed like a modern soft-synth. "

Dense & Pika

DJ / Producer

"Can’t believe how close the DX7 V is to the real thing... it is mind blowing, next level!"

Beacon

"The DX7 V retains so much of the character that made the original instrument unique and the presets are top-notch. Definitely a new regular in our toolkit."

Eren Cannata

Writer / Producer

"Arturia's DX 7 V makes me feel at home. It's amazing having the familiar sounds of the DX 7 at my finger tips, but finally easy to navigate; sounding not just as good as the original, way better."

Krikor

Producer

"Arturia’s DX7 emulation has become my go to synth, I don’t think I made a track without it in the last year. I can load my programs to it, its vintage DAC mode is great and it just sounds like the real deal."

Richard Henshall

Haken

"I've always been a sucker for the synthwave sounds of the 80s. I was blown away by the quality of the tones it has to offer and the intuitive user interface made creating my own patches a walk an absolute breeze!"

Allert Aalders

"There is so much creative potential"

Allert Aalders

"I have to admit, when I first heard the DX7 in the 80s I hated it. I though it was cold and it couldn’t do what a Prophet or a Jupiter could. Then I started studying music technology at Utrecht School of Arts, and Ernst Bonis introduced me to FM synthesis. The DX7 suddenly became incredibly inspirational, it had so much creative potential once you got your head around it! It’s a world of it’s own, there’s almost no way you could do these sounds with a subtractive synth. I love the fact that the DX7 V expands on that with a great modulation matrix, excellent new envelope generators, and great added FX."

Allert Aalders

"First and foremost, I wanted to do a balance of “Typical FM” sounds and more organic sounding stuff. If you set modulator levels beyond a certain point you start hearing the “bessel functions” in the sound; a sort of harsh movement that’s typical of many abrasive FM sounds. Although this sound is in itself an important feature, taming them leads to a more natural quality. While programming I was looking for usability, expressiveness through the use of the velocity parameters and the macro sliders, and of course a bit of experimentation."

Mark Gijsman

"There is so much creative potential"

Mark Gijsman

"What made the original DX7 special in my opinion is that it sounded like nothing else out there, it was ahead of it's time, it is a very dynamic synthesizer. The DX7 V expands on the original, not only the new waveforms but also the inclusion of the modulation matrix, in which this instrument is in a league of it's own. The coolest thing is that the YM3812 sound chip waveforms are included, a brilliant move!"

Mark Gijsman

"Because the DX7 V can be programmed in the same way as the original, I could approach it exactly like I was programming my old DX7 Mark 1. I like to give the user a wide palette of sounds, so that no matter what genre you favor, you can always find something to use in your production. Pads and emulations of acoustic instruments are my favorites."

Clément Bastiat

"Simple things done well are often the best"

Clément Bastiat

"I feel that the original DX7 is thought to have democratized FM synthesis, even though technically it uses a type of synthesis called phase modulation. I was pleasantly surprised to see that the DX7 V also utilizes this rare form of synthesis! I would say the main strengths of the DX7 V are its new features: the additional waveforms which greatly enhance its versatility; better envelopes than the original hard-to-predict ones; great new filters; and the Mod Matrix. All those things make it possible to do old school DX7 sounds, as well as modern PM-subtractive hybrid synthesis."

Clément Bastiat

"As the factory sounds of the original DX7 are already inside the DX7 V factory bank, and thousand of DX7 Sysex presets can be found online, I decided to experiment with the more modern tones available in the emulation. Most of the time I had specific sounds in mind, but I also let myself float and explore."

Clément Bastiat

"The first thing I do is find a great operator sound, without using the envelopes or anything else. Just tweaking the ratios and making sure your first ingredient is great. From there, you can start to 'freestyle'."

Clément Bastiat

"I tried my best to cover the whole range of the sounds the machine could create. From complex percussion sequences to skull shaking aggressive bass sounds, but also softer ambient pads."

Matt PIKE

"It takes the original depth and diversifies it."

Matt PIKE

"The original DX7 opened an entirely new sonic palette to musicians with its approach to synthesis. It's routing, envelopes, and keyboard scaling options allowed for an extremely broad range of timbres, from the natural to the extreme. What the DX7 V does exquisitely is take that original depth and diversify it. The modulation matrix and alternative waveforms let you combine modular and subtractive synthesis techniques with the power of digital FM."

Matt PIKE

"I tried to free my mind from the sounds people expect to hear from the DX7, as classic presets are available online for SYSEX imports and sound fantastic on the DX7 V. Instead I wanted to push the sonic capabilities the extra features enabled and explore textural themes that felt synonymous with the era of the original synth. Some sounds came about by building new timbres, some from heavily modulating and breathing new life into classics."

Summa

"The DX7 V is so close to the original"

Summa

"In my opinion, the DX7 is what I tend to call the Minimoog of FM synths, with just the right amount of depth and complexity. Due to its imperfections, it has a wider sweet spot than most of the other hardware FM-Synths, it always seems to sound 'right', or at least 'interesting'. In a way, it's a perfect synth to get into FM."