"I'm a big fan of Native Instrument's FM7 program, which is sort of based on the Yamaha DX7 [Eno is famous for his mastery of Yamaha's FM synth]. It's the DX7 that I always wanted to have, because you can suddenly connect things in different ways. With the FM7 you can also tune the keyboard in any way you want, so you can make music in just intonation, or Arabic intonation, or whatever."

In an interview featured on Kreativ Sound, Tom Rowlands of The Chemical Brothers discusses their pursuit of unique sounds in electronic music, highlighting the use of the Native Instruments FM7 synth plugin in their creative process.

"NI asked whether I had ever designed sounds and patches for a company before, so I started working with them on the Battery libraries and helped make early sonic expansion libraries for Kontakt and Absynth, as well as FM7, FM8, Massive and various electronic instruments for Reaktor Vol. 1 and 2."

FM7 was used on the album Light + Shade, according to the liner notes.

"I am also really into FM8 and was into FM7 before that. So dreamy FM synthesis, glass clouds and oceans of molten iron. Love that shit so much."

In this youtube video, at 1:07, 12th Planet mentioned that he used, "FM7... and uh Absynth 1, Absynth 2, and Pro 53. Those are kinda like my go-to synths"

In the background of this image you can see Edgar is using the Native Instrument FM7 Software Synth.

"I use Battery quite a lot for my drums. I like the Model E, I like the Arturia stuff, that's really nice. For the fourth track on the album ['Huis Clos'], I used [Edirol's] Orchestral for the piano. What else do I like? Absynth of course and the Waldorf and the FM7. Lounge Lizard has great Rhodes and stuff like that."

Harry Gregson-Williams's LA studio complex, Wavecrest Music, commenced operations in Venice Beach in August 2003, and comprises three floors of editing suites, mix rooms and a live room, as well as Harry's own studio on the top level. This houses the following gear:

Sequencing and digital audio

*Steinberg Cubase SX and Ableton Live running on dual 3.6GHz Xeon server with 4GB RAM, two RME HD*SP 9652 soundcards, 75GB mirrored SATA system drives and 400GB mirrored SATA audio/sample storage drives. MIDI is streamed over LAN to Gigastudio PCs, and an Emagic Unitor 8 and AMT8 are used for hardware synths. *Pro Tools HD Accel system running on dual 2GHz Apple G5, with one 192 Analog and seven 192 Digital interfaces.

Samplers

*14x Emu E4X. *24x Roland S760. *7x 3.0GHz Pentium 4 PCs with 80GB SATA system drives, RME HDSP 9652 soundcards and 250GB SATA sound drives with custom and commercial sound libraries, running Tascam Gigastudio 3.

Software synths and plug-ins

*Arturia ARP 2600, Minimoog V and CS80. *Antares Filter and Auto-Tune. *Applied Acoustics Lounge Lizard. *Gmedia Imposcar and Oddity. *GRM Tools. *Korg Legacy Collection. *Native Instruments Absynth 3, Battery 2, FM7, Kontakt 2, Pro 53, Reaktor 4. *Ohm Force Ohm Boyz. *Spectrasonics Stylus RMX, Atmosphere and Trilogy. *Steinberg D'Cota, X-Phraze, Virtual Guitarist, VG Electric Edition, Groove Agent and Halion.

Hardware synths

*Access Virus, Indigo 2 and Redback. *Clavia Nord Rack, Nord 3 KB and Nord Modular. *Korg Trinity Pro X, Wavestation A/D and M1R. *Novation Supernova II Pro. *Roland JP8080, JD990, JV1080 and MKS80. *Studio Electronics SE1, ATC1 and Omega 8. *Waldorf Q, Microwave II, Microwave XT and Pulse.

Recording, mixing & outboard

*Avalon 727 preamp. *Eventide DSP4000 effects. *Lexicon PCM80 and 90 reverbs. *Quested HQ108 speakers in 5.1 setup. *5x Yamaha 02R digital mixers.

"Gareth Jones is especially in-demand for his outstanding knowledge of Logic Audio, but is also extremely well versed with NI software like FM7, BATTERY, and ABSYNTH. "

At one point, Neil used Native Instruments’ FM7 for various synth sounds, as is said on the backup of the WikiLemon FAQ page.

Yes, I was there from the start! I got really into Reaktor when it was called Generator in, I don’t know, 1997? Massive was a long way in the distance then. Back then, Generator was tremendously exciting; to have that complexity and configurability in the box was pretty unprecedented, and I’m really happy that 25 years later, Reaktor is still thriving and sitting there solidly underneath all the other great Native Instruments stuff. The Reaktor community is still a treasure trove of odd, imaginative, envelope-pushing goodness. It didn’t take long to meet some of the people involved in those early Native years, and I’ve enjoyed a wonderful friendship with the team and the product ever since.

The next thing that properly sold me was Absynth, which I was a fan of since I had it as a beta v0.1. I got to know Brian Clevinger, who invented it, and just loved the synth from the start. When Native Instruments picked it up – and didn’t mess it up – it was a sign of very good taste. I also used the B4 Organ II and the old FM7 all the time.