Yamaha • DX7s/IID/IIFD
A classic synth gets a make-over by three significant updates to the original. The DX-7 was an amazing digital FM synth. The DX-7s carries on the torch once held by the DX-7. It offers the same great FM synthesis method and can also create sounds just as unique and wild as the DX-7. However, they can be just as difficult to program and understand for most users. Some general improvements include enhanced MIDI support, micro-tuning, aftertouch controlled pitch bending, and multiple LFOs. Although many improvements have been made to the DX-7 in this upgrade there still could have been room for improvement, which is where the DX7IID and DX7IIFD come in.
These next models allowed for keyboard split and layering capabilities. The DX7IID (pictured above) and DX7IIFD hold 64 voices in internal memory, as well as an additional 64 voices in a RAM/ROM cartridge that can be accessed. These voices can be layered in dual mode providing very rich sounds or a nice combination of sounds that would be impossible on the original DX7. They can also be split, for a two voice multi-timbral capability. Again, impossible on the original DX.
They have wonderfully clean sound and are stereo, providing pans and chorus and a few other nice effects. There are two real time sliders on these instruments, allowing control of user-programmable items in real time. Micro-tuning, as well as fractional tunings for eastern music etc. is possible. The FD includes a floppy drive for storage of patches, performance presets and sysex information. Like the DX7, these new models may have been used by The Crystal Method, Kraftwerk, Underworld, Orbital, Talking Heads, Brian Eno, Depeche Mode, D:Ream, Front 242, U2, A-Ha, Enya, The Cure, Stabbing Westward.
Pictured in silver & gold above is the DX-7 Centenniel, released in 1988 to celebrate Yamaha's 100th anniversary. Not just a new paint job, the limited edition model had 64-voice internal RAM memory and 64-performance memory, 32-note polyphonic stereo output (2 x 16 voices), and a 76-key velocity and after-touch sensitive keyboard that glows in the dark. Additional improvements include enhanced MIDI support, stereo panning, 6 envelope generators and enhanced 16-bit circuitry. Only about 300 were made and it originally sold for $4,000!
Still prefer the output of the MK2 to the MK1, cleaner yes but doesn't mean 'worse' as that can sometimes mean.
Transitioning patches to FM7 (a softsynth by native instr product) is good and usually very close, but doesn't always work if you are into the detail or "grain" of a specific patch.
I think alleged difficulties of programming FM are overstated. If you know some *basic* acoustics/physics, you are fine. If you are twiddling knobs at random, you are less likely to "get lucky" with FM than analog or filter based tech.
It's a brilliant synth for programmers, hooked up to outboard effects of course. It's well laid out, nice backlit LCD which Mk1 sadly lacked, clean outputs (in a good way imo) and stereo/layers.
These synths (Mk1 and MK2) are going to be legends forever of course, so you can never go wrong picking one up - preferably a nice condition IID (FD is nice but not essential and usually has a drive you need to fix anyway).