Underworld's Rick Smith on the Yamaha DX7: "The DX7 is my oldest and favorite synth. I have a set of sounds that I've programmed and that seem to work consistently. Recently I've started programming it again, but in ridiculous fashion, with sounds just coming out like noise. When you sample it and time-stretch and create other sounds and rhythms it can be interesting. It's true that most of my synths are analogue. I think most modern digital synths do too much. They fill all the gaps, and make up for a lack of imagination. And tweaking buttons is nice. You have to really struggle with these old synths. You may walk in on Tuesday, and for some reason it sounds shit all day, but the next day it may be sounding great."more
He also told Musician magazine in October 1982, “the Multimoog is where I get the effect that everybody thinks is a saxophone.” That should put to rest any Internet chatter that it was a Minimoog, or even a Yamaha DX7, which he did use later in concert. Keyboard Mag January 15, 2015 Jerry Kovarskymore
BT tweets, "Whole family watching the wedding singer and installing a new display and SuperMax! on my DX7. Could a Friday possibly get better?" DX7 refers to his Yamaha DX7 Synthesizer. SuperMax is a modification/expansion for the DX7, providing more patches, more features, and better MIDI implementation.more
The Yamaha DX7 shows up in the pictures during this interview with Marc Houle RA:"What was your impression of the DX7 before you picked one up?" Marc Houle:"Awful, I hated the DX7. All the early '80s stupid digital pop music, "bling, bling, bling" and all the really bad R&B? All the DX7. All the bad metal bands. It was the worst synth. Every track that was on the radio had a DX7 at that time, because it was so revolutionary, but they used it all in such a strong, breathy way. I got it four years ago because there's something about me... Like as much as I hate it, I kind of love it too. 1985 Prince sounds, crap digital, it's kind of fun"more
In [this transcribed interview](http://music.hyperreal.org/artists/brian_eno/interviews/sos90b.html) from *Sound On Sound* magazine's October 1990 issue, Eno is asked if he has a lot of instruments in his studio. He replies, "No, I don’t have a lot of instruments. I have a DX7 which is my main instrument. I still keep discovering great new things about it. I’m not really interested in all the options that an instrument can give you, and I know now that they are pretty much infinite. What I’m interested in is the kind of rapport I have with an instrument, and that takes a long time to develop. You wouldn’t just pick up a guitar and expect to immediately understand the thing."more
In this Audient Producer Profile from [Audient's Official Blog](http://blog.audient.com/post/96087135159/audient-producer-profile-shook), Shook is asked: "Q: What’s your synth setup? A: I really love old synthesizers and new ones. For my album, I used a lot of [Prophet 08](http://equipboard.com/items/dave-smith-instruments-prophet-08-synthesizer), [Juno 60](http://equipboard.com/items/roland-juno-60-synthesizer), DX7, [Arturia Minibrute](http://equipboard.com/items/arturia-minibrute-analog-synthesizer) and some old string synthesizers like the Korg PE-1000."more
During Legowelt’s Studio Tour for *Future Music Magazine*, at 10:25 Legowelt shows us his Yamaha DX-7 with a wooden top. Legowelt says “I always like to put FM synthesizers through through little analog boxes, like this really cheap [Monotron](http://equipboard.com/items/korg-monotron-delay-analog-ribbon-synthesizer) so I can filter it a little bit."more
A Yamaha DX7 is shown and described at 2:39 in this studio tour by *MusicTech*. Ulrich says "Over here, there is a classic that everyone will know, the DX7, but what's nice about this is that at some point I managed to buy a [programmer](http://equipboard.com/items/jellinghaus-dx-programmer) for it. Only, I think, about twenty or twenty-five of these exist. The DX7 is obviously a great and very versatile instrument, but it's very difficult to program, and the good thing with this programmer is that it makes this process a lot more intuitive."more
William Orbit (about the gear he used for the recording session of Madonna's Ray of Light album) : “How did I know you would ask me that? Oh, it’s all in a pile there if you wanna look at it . It’s not a ton of gear. Most of it is pretty retro; a Korg MS-20, a [Roland] Juno-106, a [Roland] JD-800. Much of the album was done on a Juno-106. You can get so much out of that synth. Also a significant amount of it was done on the MS-20 – the more spiky sounds. A few things that people think are guitar are actually the MS-20. And then there were a few more bits and pieces: a few modules, a Yamaha DX7, a Novation Bass Statlon, a [Roland] JP-8000, a lot of Roland stuff. I’ve always liked Roland stuff. ”more
Go Get One! You'll see I'm right when I say there's no way to start talking about his lovely synth. This synth is why Brian Eno got rid of all his analogs at a certain point in time. Okay, maybe he was overdoing it a bit, but still it does indicate what this synth is capable of. It was and it remains a revolutionary synth.more
«I got the DX7 about three years ago maybe. It’s pretty cheap (they produced a lot of them back then) and a lot of its presets are used in classic songs that I love, whether it’s house, funk, new jack swing or pop in general. It’s very heavily used – if I played you a couple of notes it’d bring so many songs to mind. So yeah, I bought it originally for its ‘classic’ sounds, not really to fuck with it – it’s notoriously known for being a pain to program – but then I discovered FM synthesis is actually super interesting and weird compared to analogue»more
We liked digital because it presented a new sound. I'm always looking for something fresh, and when Yamaha came out with the DX7, which I think was the first fully programmable digital synth, the sounds were amazing. They had those ring modulators and ring sounds – the ring-modulating overtones and undertones that the DX7 provided, no other keyboard had. The digital keyboards were a nightmare to program, but if you were just starting out programming synths, the DX7 was like your first bicycle. You could get really good at it.more
"Their layered style of recording also made it easier to work from Stanley's home studio, which the band had recently upgraded using advance money from the second album. Stanley's newly expanded home studio included a 32-channel Soundcraft console, a 24-track analog tape machine and room for the band's keyboard and synthesizer collection, which included such classic designs as Sequential Circuits Prophet 5, Fairlight CMI, Roland Jupiter 8, Yamaha DX7 synthesizer and PPG Wave. They also had a LinnDrum LM-2, another recent acquisition."more
In the video in which Moonlight Matters is taking Future Music Magazine on a tour of his studio, at 1:05:12 he says "Next up is something of the same caliber [about the Roland Juno-106], I mean a very nice bread and butter synth. Obviously totally different style of synthesis, this is FM synthesis, the DX7 . . .".more
From the FAQ page found on The Enigma Archive: "From the credits of various albums, it is known that Michael Cretu uses or has used the Waveframe 1000, Audi Frame Workstation, MIDIMoog, PPG System, Korg M1, C-Lab Notator, Takamine 6 and 12 String, Tom Anderson Electric Guitars, Otari DTR-900, Akai 900, Linn 9000, Prophet 2002, X-Pander, EMS Vocoder, DX-7, and Roland Super Jupiter."more
Sure they're tough to wrap your head around programming, but they're cheap enough that you can just screw around with it and not feel terrible if you can't make the sounds you have in your head come out of it. Great for punchy, crisp bass sounds, and cold, bright pads... and pretty much anything else if you put the time into it.
Amazing sound and depth of synthesis, great tonal character, can be programmed to sound both analogue and digital, although it is quite hard to program using its retro 80's unlighted, onboard interface.
I've tried all the free VST emulations including Dexed (which works as a patch editor/creator for the real thing), the sampled sounds on a Nord Electro, and even put converted MK1 patches on my SY77 (which has an enhanced DX7II inside). Although the SY77 and indeed the DX7II both sound lovely, there is nothing like an actual DX7 for that '80s FM sound. It is fairly heavy and programming it is notoriously difficult, but nothing can replace that sound.
Noise,just noise is what I love mostly about this one,harsh digital leads,with huge bass,that sound just like an old rusty saw chewing through bones and thick flesh.
What the DX7 lacks in analogish performance capability it makes up for in sheer amount of downloadable patches and the great feel of the keyboard. It'd be a 5 if it had more knobs, layering/splitting or a better MIDI implementation.