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
Used only for live performances of "Don't Come Around Here No More", as mentioned by Tench in this May 2017 *KeyboardMag* article. > **What gear are you using on the Tom Petty & The Heartbreakers 40th Anniversary Tour?** > > I’m using my Hammond C3 organ that I’ve had forever, with a Wurly on top. Also, my Steinway B grand piano that I picked-out for the tour. The people at Steinway set a bunch of them up and I was like, “Wow. This one’s terrific!” They were great, and it’s the best one I’ve had in a while for touring. I have a Nord Stage EX on top of the Steinway, and I also have a Vox Continental with a Yamaha DX7 on top. I use the DX7 only for “Don’t Come Around Here No More,” because I don’t like DX7’s at all. But that’s what makes that sound! > > So you’re still using your original DX7 from the time that song came out in 1985? > > It’s the only one I’ve ever had! But there’s a spare one somewhere. Before they were ever available in America, Don Henley got me one when they were only available in Japan because he loved it. And I had fun with some of the sounds in it for a while, but they got old fast. They didn’t wear well to me, and the fact that the DX7 doesn’t have an ADSR and you can’t just reach over and turn a knob and say, “Ok, I need to change the filter on this,” or, “I need less *attack*,” is insane to me. It actually makes me furious. If we didn’t play “Don’t Come Around Here No More” ever again, which *wouldn’t* make me happy, I would have a party and get an axe, and I’d make a big bonfire, and I would *destroy* that damn thing. I hate the DX7. > > The Nord has been really effective and good, but for the purposes of playing with The Heartbreakers, I’m thinking of getting my Oberheim OB-Xa’s from storage and going back to them. There’s just something about analog that’s special. Also, on the last couple of tours, I used the digital Mellotron, but I couldn’t get it to sound right. I realized the deal is that if you take a *mono* sound out of it, you can turn the tone down. But if you’re taking it out direct and you want two different stereo signals, it bypasses the tone and it sounds too harsh. So what I’ve done is I’ve gone back to the old, lower quality Mellotron and Chamberlin samples that I used on the *Echo* tour. They come from the [David Kean library](http://www.mellotron.com/cdrom.htm), and they’re playing through an [Akai] S-series sampler, triggered off of the DX7. These are the samples I used back on the Johnny Cash records and other things with Rick Rubin, if I wasn’t able to get the Chamberlin into my car! And they sound infinitely better to me.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](https://equipboard.com/items/dave-smith-instruments-prophet-08-synthesizer), [Juno 60](https://equipboard.com/items/roland-juno-60-synthesizer), DX7, [Arturia Minibrute](https://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](https://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](https://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
Bill mentions he still owns the synth. "Yes, I do still have the Yamaha DX7 keyboard, though I don't really use it these days. Many of the sounds on it are available on the Yamaha Motif, which is my main keyboard. But the DX7 was groundbreaking when it first came out, an astonishing instrument and very complicated to program."more
Nowadays the Western Works is furnished with machines of an altogether different calibre. The workhorse is E-mu's SP12 sampling drum machine, which Kirk used to sample and sequence up most of the rhythm tracks for *Code*. Further sampling power is provided by the Emax, sequenced by the Korg SQD1 which is synced to the SP12 and a trusty TR808 with a Roland SBX90. And if this little lot isn't enough, an adjoining room contains an Alpha Juno 2 and a DX7 to be called upon when required: usually to provide synth bass samples for the SP12. With a six-foot high rack of effects to one side of the mixing desk and a 2" 24-track machine to the side of that, the Cabs have everything they need to produce master quality recordings just as and when it suits them.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
Quote from Zoolook album (1984) booklets (cd and vinyl): "... Keyboard and electronic devices: Fairlight CMI, Emulator, Moog 55, ARP 2600, DX7, Prophet V, OBXA, AMS, Simmons SDS V, Matrisequencer, AKS, EMS Vocoder, Eminent, Doctor Click, Linn 1, Linn 2 ..." More information at https://en.wikipedia.org/wiki/Zoolookmore
"The down side of technology, and having lots of it and collecting lots of it, is that you tend to not make up your own sounds any more, because it's easier. When I first noticed it was happening to me was with the DX7. I was really lousy at trying to program a DX7 when they first came out, and I ended up falling back on the pre?programmed sounds, and that's when I realised that I was being told what colours to use, what palette to use, by tech people somewhere in Japan."more
"The next instrument I put down was a synthesized bass which helped pull the elements together and made things tighter. I used an OSCar mono synth for that, on its own, as well as MIDI'd up to a Yamaha DX7. I find that a good combination soundwise because the OSCar has a very warm and thick sound and the DX7 is a bit thinner but adds the definition. If I want just a deep bass sound I'll use only the OSCar synth."more
"The best string sound is a composite one. We'll use a sound from the OBX, then combine it with the Prophet 5 and the DX7. No one company makes a perfect programme. I prefer real people, but the synthesisers can definitely do things that real people can't. We can smooth out a string section. We'll take a string section with 12 strings, and put our MIDI'd-together string sound and we can pump that out to sound like 28 strings. The Mishima soundtrack is a good example. That's a small section, maybe 18 strings, but you listen to it, it's gorgeous."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
"The instruments I'm using at the moment are an Oberheim OB8, a Jupiter 8, and a Yamaha DX7 that I've just bought. I got it when we were about halfway through recording the new album, so I've only really just started using it. I was really surprised by the DX7, first because it was so cheap, and second because the digital sound quality is very high. No matter how softly you're playing, the DX can still lift your sound above the other instruments in the band, and that's something very few other keyboards that I've tried can do."more
The album's an unusual one enhanced by text relating the essence of Steve's experiences. Already another album is in the pipeline and the equipment used on 'Journeys' has been replaced by some of the latest in technology — a Yamaha DX7 and Roland JX-3P permanently MIDI-linked, a TEAC 38 8-track and mixer and a selection of wind instruments — minus the Lyricon which has been retired in favour of the more traditional expression of flute and sax.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
In the interview "Watermark recording process". The Music Magazine (Australia) July/August 1989 THE SET UP: They use a variety of keyboards but the mainstays are a Yamaha KX88master Yamaha DX7 Emulator 111 Oberheim Matrix synths and Akai S900 but particularly Roland's D50 and Juno 60. Enya: "The Juno is one of our favorites. We had intended to replace its parts with better sounds but we couldn't find better substitutes so we left them in. It's not always possible to have all the sounds I want for a song at the time of composing .I'd usually start with the D50. But most often, sounds suggest parts and the ones I use then are usually used on the final recording. Like on Storms in Africa... that arpeggiated line on the Juno 60 was the basis of the piece." Also mentioned in the cover album Enya - The Celts (1986 / 1992 remastered).more
"I'd worked something out on the piano, and was trying to play the chord shape on the bass. It was impossible for my fingers to reach it, so I started tuning up two of the strings so I could use a simple shape and play the thing I wanted to play. Then it led on to all the shapes I played on a normally tuned guitar giving me a whole catalogue of new songs. It plays havoc with John, as I now play A/C/D/A# instead of E/A/D/G. And I've used a DX7 on 'Red Over White'."more
"The Yamaha QX1 and the TX816 live right by the mixing desk because they're the brains that everything else triggers off. The MemoryMoog and DX7 are the most used instruments for immediate sounds when working out an idea, particularly for Steve Bronski who likes to get to a sound quickly. I tend to have the analogue synths like the Pro One and the OSCar together, and the drum machines are littered about wherever we're working."more
Donovan started his musical life on the piano, and still prefers piano keyboards to those on any synthesiser he has played. Throughout the time he was learning piano, he looked forward to the day he would acquire his first synthesiser. That was a Roland JX3P and it was quickly followed by a Yamaha DX7. In retrospect he sees these two purchases as the best investments of his life - six months later and he was recruited into the band. However, neither synth is retained in his current line-up.more
BOTH CLIMIE AND Fisher have their own separate home set-ups. These have Fostex B16's, A&H mixing desks and recently acquired D50's in common, but very little else. Climie works mainly with the Sequential Studio 440 linked to a Macintosh run Performer sequencing program, while Fisher prefers the Atari based Steinberg Pro24 driving a combination of DX7, TX802, Akai S900 and LinnDrum. Between them they also have a full complement of effects including the Roland SRV2000 ("thoroughly recommended") and the Yamaha REX50.more
Yanni used a Yamaha DX7 in his albums and concerts up until 1997. You can see it used in the first part of this video. He used it for many of his famous sounds such as his Guitar (Keys to Imagination) and Harmonica (Reflections of Passion) pacthes. It was also used as the "Crash" sound that is heard in 'Santorini'.more
According to this article on the making of Goldie's *Timeless* album from the [June 1998 issue of *Sound on Sound* magazine](https://web.archive.org/web/20150416233330/http://www.soundonsound.com/sos/jun98/articles/goldie.html), Playford's studio gear includes a DX7 synth.more
"The track 'Colour By Numbers' must be the very first use of a Yamaha DX7 on record," recalls Steve Levine. "The importer brought one down to the studio to show it to us. It was a Friday, and he said 'You can have it here for the weekend but I must have it back on Monday.' The first moment you heard a DX7 it was the Holy Grail, particularly for the famous Fender Rhodes sound. Most of the Culture Clubs tracks had Fender Rhodes on them, but we were always struggling to get the brightness in the sound, and then when this thing came, the fact that the MIDI didn't really work didn't matter — it was the best piano sound I'd ever heard at that time."more
Instruments around the room include a Fender Strat with a telecaster neck; a Yamaha CS80 ("still my favourite synth") and a MultiMoog, both of which he tries to steer clear of since they are distinctive of After The Fire days; latest acquisition: a Yamaha DX7 with the KX5 ("it's a dummy MIDI keyboard that works with the DX7 for slinging round your neck and posing with. It's great actually. It's got all the things the DX7 does; all touch response, breath control, modulation, pitch bend, sustain.").more
Space Harrier is perhaps most memorable for its lengthy and melodic opening theme, in which SEGA’s renowned in-house composer, Hiroshi “Hiro” Kawaguchi (OutRun, After Burner), armed with a Yamaha DX-7 and the most minimal of resources, sought to recreate the sound of a full bandmore
Equipment used on Rick Astley's "Never Gonna Give You Up," which was recorded at Stock, Aitken & Waterman's PWL Studio, included "The Linn 9000, which most sequences and drums were done on, was run from a [Friendchip] SRC synchroniser, and a [Yamaha] DX7 was used for virtually all of the bass lines. There was also a [Roland] Juno 106; a [Yamaha] Rev 5 and Rev 7; Dbx 160 compressors; SDE 3000 delays; an Emulator; and the wonderful Publison Infernal Machine 90, which was the first sampler that could actually pitch?change without really affecting the time signature. You could time?stretch things and make them fit reasonably well — It was a little choppy, but for the time it was phenomenal. Other than that, there was an AMS delay/harmoniser, which always had a number of kick and snare samples, and that was pretty much it."more
In his hardcorejunglism.com interview, John recounts the studio setup of his Foul Play days: > "... the set-up changed quite a bit over the first couple of years but the kit we used included an Atari ST, Akai S1000, Yamaha DX7, Roland W-30 Workstation and later an Apple Power Macintosh 8100"more
Both Thomas Leer and Claudia Brücken have home studio setups, although Brücken's is at an early stage in its development. Having lost his Fairlight, Leer has had to settle for a less elaborate, though still useful, personal system. He now owns an Amstrad PC running Voyetra Sequencer Plus software, linking it up to an Akai S900, Yamaha DX7 and Roland Jupiter 6 - the only surviving keyboard from his 1984 line-up.more
> Der [Sequential Circuits] Prophet 5 war mein erster Synthesizer, dann hat mich Froese gefragt, ob ich den Moog kaufen will. Dann hatte ich noch den [Roland] Jupiter 8 und dann kam irgendwann die FM- Modulation, ich war ja der Erste, der hier im Osten einen Yamaha DX7 gehabt hat, was ich allerdings auch in erster Linie Edgar Froese zu verdanken hatte. Ich habe das erste Mal auf einem Minimoog gespielt von der Gruppe Omega aus Ungarn, das war so um 1973 oder 1974, da habe ich gestaunt, was man damit alles machen kann! Den großen Moog habe ich so um 1981/82 gekauft. Den Moog finanzierte Lakomy mit einem Kredit der GEMA.more
This synth is one of my favourite classic ones as well! The value is not great which makes it easier for people to pick up. But be aware that the programming matrix with those buttons takes some time getting used to.
Yes it is the glossy, commercial sound of the 80s pop music machine. However, push beyond the cliche e. piano presets and you will discover a strange instrument that is capable of producing sounds that sometimes cannot even be distinguished as "synth sounds". It can be cold and glassy, yes, but it can also be warm and organic, sounding almost like a living, breathing organism with alien biotechnology enabling it to communicate through otherworldly atmospheric sound.
Still have mine after 15 years. But some broken keys, broken membrane buttons, volume slider stoped work and fixed on maximum volume... This synth is GREAT for today pop, trap, hip hop, edm, etc. Like Michael Mcdonald said in one interview, is fabulous for stacking sounds. You can create a bass, pad, lead, percs, noises, and all will sound very musical and logic in your music, almost in a "workstation quality feel". Not a lot synths can do this. People still say is thin sounding. Not true, sounds fuller than any soft synth. Bass? ANY bass you can do, and fits easily in mixes even betther than operator. Is a beast for ambient music, throw a simple pedal delay on it and the magic happens. Its hart to program, but if you try you can do a lot with. Using reverb and a good chorus you can recreate all that Tears for Fears pads and brasses without much effort. Im a huge fan for using mic preamps for recording synth, (for extra juice) but this guy dont need it. Not even a DI box. Just direct to converter, line level. Well, i can spend all day telling you about this synth, but moderators here will kick me out ahahah. I wish i can buy another on in mint condition, and some day i will!
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.
The DX7 is an iconic synthesizer with many iconic sounds, but with those iconic sounds, there are some pretty worthless ones. Despite those, this is a great synth that is programmable, MIDI ready, and decently cheap nowadays. Definitely worth picking up
A must have for 80's inspired music, plus it has a great keybed that feels great to play. Yes, programming is difficult be there are thousands of patches available online.
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.
I can say I'm a big fan of Yamaha synth from the 80ties. DX7 is a classic must have and I used a lot with breath controller. Famous rhodes pianos are the best...
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.
This keyboard was the main ax in my rig throughout the 1980's. It is clearly one of the most successful keyboard of all time having sold more than 200,000 units at that time. FM synthases became available at a price point that was accessible to everyone. I still have that board and use those sounds a quarter of a century later!
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.
I found out the hard way that the keys (which break very easily) were a different design from subsequent DX7s. I spent 100s of hours creating custom patches, still some of my favourite.
I always been very impressed with the DX7 of the way it was used in many wonderful film and TV scores.
It was the very first synthesizer i ever bought when i have enough cash to afford the money on.
The electronic pianos are the best preset of the whole thing.