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!
hahaha, you mustn't have been bitten properly by the bug! I could never have 'enough' synths :D MOAR SYNTHS!
Can't agree about your D-50 slur though ;) the D-50 is wicked magic, absolutely NO need to use 'dated pcm samples', you really should look into D-50 in struct mode 1 (the common one used this days) it's basically a virtual analog, absolutely NO samples anywhere in this mode and is as warm as [beep] (as any digi synth has ever been). DX7 and D-50 are both legends and don't compete in the same sonic space so can co-exist beautifully. Neither one needs berating at the expense of the other.. get both and live :)
I really like the DX7s model. I used a mk1 a couple of years ago and the DX7s has some great tricks up it's sleeve. The unison mode for me is what's the biggest advantage over the origional. And of course the output is a lot cleaner and makes a lot less background hissing.
Overall, i highly reccomend the DX7s. To me it's far better than the
D-50, M1 and all that bunch because it MAKES it's own sound instead of playing dated but warm ROM samples. This is why it's dated so well and is still a great purcuse, because it still can sound so fresh and exciting.
In my opinion, aside from the V50, all other 4ops like the DX11, 21, 27 should be avoided unless you want something that sounds like a Nintendo system.