Vintage Synth Explorer

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!

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Posting Rules: Please keep your comments relevant! Do not post requests for help, do not use for sales, do not post unless you have something interesting to say about this instrument, or we may delete your post.

 

Jamie B

Posted 41 days ago

Considering the very low price of a DX7 these days, don't even consider the TX81z. There IS a big difference in 4op and 6op. The only 4op board I ever liked was the V50, which was basically two TX81z modules plus drums, effects, and sequencer. The big advantage here was that instead of being a 12 bit system like the other 4ops, it used a 16 bit system like the 6ops, resulting in better sound quality. Aside from that, it had a thicker sound due to its layering capabilities, and also because of its effects.
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.

goring

Posted 45 days ago

How does the TX81Z compare to the DX? Is 4ops realy thinner than 6 ops?

Maxim

Posted 47 days ago

I've owned a DX7 mkII FD for a few months, and recently got a TX81Z, and I don't feel like I'll ever need to buy another synth. It's fun to program and seems to be able to make any kind of sound I throw at it. Don't listen to anyone who says it's difficult to program--with a bit of reading and experimentation it's a breeze to make your own patches. Remember that setting output levels for modulators is essential for creating the kind of sound you want, and operator frequencies are best set (at least at first) to ratios for clean simulation of musical instruments. And I'd like to hear any other synthesis method create such intricate overtones!

The units I have are beat up from apparent gig use, but the tact switches and potentiometers still react without a problem. It's a shock to see noiseless operation from potentiometers that old that obviously have never been cleaned.

mike

Posted 91 days ago

hi. i have a dx7IID and i would like to have the brass patches from the original dx7. i have the patches but i dont seem to been doing it ok. do you do programming? i hope you do because i need this keyboard to record our first cd in june. thank you and hope to hear from you soon.

Pro5

Posted 170 days ago

The more I delve into this synth's possibilities the more I love it. I've programmed my own voices, and then 'performances' which made a massively 'fat' digital lead sound *unison mono mode in stereo*.. this is then put through some outboard effects to level the playing field against modern synths and it sounds... mind blowing. On top of that the playing feel is awesome, it really inspires when you have the right sounds and don't stick with presets or the overused stuff from the 80s.

Also, I know the mk1 is very cool - and worth owning just as the classic it is, but I know now that I'd really miss the layering and stereo/extra features found in this MkII so I'd easily advise this over the original for it being more usuable today (but both are still great regardless of what the cool analog crowd say - this thing does some amazing stuff I've not heard on my analogs or even my D50)

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